Meet Our Member

The IESNYC spotlights a member each month whose volunteerism, perspective or personal story helps advance our goals, piques our curiosity, and makes the IESNYC become a more vibrant and diverse lighting community. We value their expertise and thank them for volunteering their time and energy for the betterment of the section and NYC Lighting Community. #the_iesnycmom

October 2024

Anita Jorgensen
Owner, Anita Jorgensen Lighting Design

Q: How did you first get started in the lighting industry?
I’ve always enjoyed dance, opera, and theater performances, however when I was an undergrad I admired the work of two women lighting designers. Jennifer Tipton, who designed in various shades of white, and Beverly Emmons whose designs for Robert Wilson productions were striking.

While finishing college, I cold-called Jennifer Tipton to ask if I could apprentice with her. She generously agreed to meet with me at New York City Center, where she was in tech rehearsals for Paul Taylor Dance Company, and she informed me that I did not have the knowledge yet to work for her. But she did recommend that I become intimately acquainted with the tools of the trade.

I was disappointed, but I took her advice and worked in summer stock for a season learning the basics of theater lighting. Subsequently, I was accepted to Juilliard’s Professional Apprentice Program in the Electric Shop, under the wonderful and demanding Zane Stemple. I worked on all of the year’s productions on a proscenium opera stage, a thrust drama theater, and a black box space – and garnered as much knowledge and experience as I possibly could.

At the end of my apprenticeship, Zane asked me to design the end-of-year graduating dance performance for the New York City Ballet’s School of American Ballet (from which many stars of the NYCB emerge). Then Zane asked me to stay on at Juilliard for the summer to work as the master electrician in the large Drama Thrust Stage.

At Juilliard I met the head of NYU’s Tisch School of the Arts Lighting Design program, John Gleason, who encouraged me to apply to the MFA program. I did, and while studying there, I started to admire the architectural lighting designs of Manhattan’s prominent buildings. And I began to comb through architectural journals to find out who was creating all of the beautiful architectural lighting around town. Fisher Marantz (now Fisher Marantz Stone) designed much of the work I admired. So beginning in late February of my last year at NYU, I called FMS every Wednesday at 10:00 am to see if I could land an interview for a summer internship. After 3 months of calls, Charles Stone finally relented. Prior to the interview, I rifled through architectural journals to familiarize myself with as many of their projects as possible. When Charles asked why I wanted to work at FMS, I spoke of their projects in Manhattan that I admired. I got the internship and cannot imagine a better place to learn about architectural lighting.

Because lighting architecture was new to me, each night after work I would study in-depth whatever new material I had worked on that day. The talented designers at FMS were patient and generous with their time. In fact, the culture of the FMS office was based on sharing whatever new product or discovery came into the office.

Paul Marantz regularly made the rounds in the office, making constructive comments on the work we had on our desks. I worked on Susan Brady’s team, which was next to Teal Brogden’s. Robert Prouse was in the next bay, and upstairs was Melanie Freundlich’s team, as well as Jules Fisher’s desk. One day Jules stopped at my desk and asked, “Are you having fun? Because if you are not, you should be doing something else.” He was and is absolutely right.

I joined the firm the year after I completed my MFA. After 5 years, an opening for an assistant lighting designer came up at the Metropolitan Museum of Art. Zack Zanolli, formerly of FMS, hired me. Working at The Met was exceptional and akin to working in a lighting laboratory.

We collaborated with the exhibition designers, the curators, the conservation department, the in-house scientist, and the construction department on all projects – temporary exhibitions, permanent installations, new capital projects, and exterior lighting – all of which required final approval from the director. We all shared the common goal of showing The Met’s collection to its best advantage, while being careful to meet conservation department requirements.

It was a phenomenal experience. I participated in extensive lighting studies and mock-ups, which added to the hands-on experience gained at Juilliard and architectural work at FMS. These three NYC institutions gave me a solid foundation for all the work I do today.

When my son was born, I worked part-time with Susan Brady at her new firm. Then, after The Met referred several clients to me, I established my own firm, Anita Jorgensen Lighting Design.

Q: How did you first get involved in the IESNYC?
During my internship at FMS, I joined the IES. In addition to attending marvelous IESNYC programs after work, the IESNA Lighting Handbook was an essential resource. The Lighting Library continues to be a constant go-to for methods and applications in lighting design. While teaching the Lighting Principles in Architecture course at Parsons School of Design, the Handbook was a constant help in preparing for each class.

Q: How do you see your role as “Member of the Month” of the IESNYC?
During the past 10 years, I’ve become more involved with the IES by participating as a judge on the Illumination Awards and contributing to articles in LD+A.

More recently, I joined the IES Outdoor Nighttime Environment (ONE) Committee, which is working on a new standard for nighttime illumination, with a focus on reducing unnecessary and wasteful light in our skies. I am inspired by the expertise of the committee members, including lighting scientists, astronomers, environmental scientists, the CEO of DarkSky International, marine biologists, and members of the National Park Service, among others. All share the goal of reversing the veil of brightness in our night skies, which is currently increasing by 10% annually.

It has been a tremendous honor to be recognized by my colleagues at the IESNYC, with Anita Jorgensen Lighting Design receiving a Lumen Award for 2022, 2023, and 2024, in addition to receiving a 2003 Lumen Award in partnership with Ted Mather.

The tremendous effort the Lumen Awards Committee makes each year is impressive. I especially appreciate how helpful both Adrienne Shulman and Clara Powell have been during the submission process.

Q: In your opinion, what are the best assets of the IESNYC?
Without the IESNYC’s fabulous resources, knowledge, guidance, and programs, our lighting community would not be the strong driver of the industry it is today. IESNYC programming keeps me current on new technology and new ideas, as well as new products. I try to attend as many Section events as possible. The wealth of local talent and generosity is truly impressive, and the IESNYC brings us all together.