MFA Art Practice program is a low-residency, cross-disciplinary graduate program at the School of Visual Arts in New York City. The immersive program is composed of three intensive summer sessions, with rich-media online coursework in the intervening semesters. Students have access to the state of the art facilities on SVA’s campus, including new digital sculpture facilites, a fibers lab, and a nature and technology lab.
We encourage artists to pursue their practice by engaging an idea first, and then developing a plan that may involve a combination of media, technologies and techniques.
Core faculty members include: David Ross, Suzanne Anker, Dara Birnbaum, Kathy Brew, Eric and Heather ChanSchatz, Laura F. Gibellini, Thyrza Nichols Goodeve, Daniel Kunitz, Steven Madoff, Ernesto Pujol, Sarah Sharp, Gary Simmons, Jovana Stokic, Mickalene Thomas, Mark Tribe, Robin Winters and Linda Yablonsky. Visiting artists, mentors and guest lecturers include: Vito Acconci, Cory Arcangel, Maurice Berger, Mel Chin, Liz Diller, Liam Gillick, James Gleick, Dan Graham, Terence Koh, Mingwei Lee, James Harithas, Glenn Ligon, Maria Nordman, Izhar Patkin, Martha Rosler, Tim Rollins, Philippe Vergne, Cecilia Vicuña and Carrie Mae Weems.
The MFA Art Practice Program is now accepting applications for Summer 2012 admission. Applicants should apply online though the SVA website. Applications will continue to be accepted from qualified applicants as space remains in the program. Detailed instructions about the application process can be found in the apply section of the Art Practice website.
Join Hyperallergic for an online conversation with Kiowa Tribal Museum Director Tahnee Ahtone on January 25 at 7pm (EST).
This week, Patrisse Cullors speaks, reviewing John Richardson’s final Picasso book, the Met Museum snags a rare oil on copper by Nicolas Poussin, and much more.
Graduate students in the University of Denver’s Emergent Digital Practices program work on research with faculty who are engaged directly with their communities, both online and off.
Alexi Worth’s paintings demand a double take that allows viewers to look closer and begin dissembling the painting in order to understand what is being looked at.
Anastasia Pelias’s sculpture builds on this mythological legacy, suggesting we all have the ability to commune with a higher power and influence our futures.
Curated by Jill Kearney, this exhibition in Frenchtown, NJ amplifies stories both local and universal with work by Willie Cole, Sandra Ramos, sTo Len, and more.
Jack Spicer’s poetry can be deeply funny and playful but it has a consistent undercurrent of sadness.
Belinda Rathbone’s biography traces the sculptor’s embrace of kinetic mechanisms to his work in the Singer Sewing Machine factory.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
It’s the first time in the country’s history that objects of this significance are offered for public sale.
Schwartz was at the forefront of computer-generated art before desktops or the kind of software that makes it commonplace today.
Curator La Tanya S. Autry shares a set of crucial questions she considers when curating images of anti-Black violence.