Thanks to a new facility opened last winter, the MFA program at Carnegie Mellon University’s School of Art continues to offer students a robust in-person experience while maintaining strict COVID-19 safety protocols. The 10,000 square foot facility includes an individual 300 square foot studio for each student, along with a reservable flexible-use space for larger art installations or distanced small group meetings.
The facility is equipped with an advanced HVAC system that creates ions in the air to make the filter systems more effective at removing contaminants, including the coronavirus. Additionally, all occupants are required to wear masks, and shared spaces and surfaces are regularly sanitized. Access to the facility, controlled by card swipe access, is limited to graduate students, School of Art faculty and staff, and custodial services, ensuring that only those who need access are permitted.
Beyond the MFA facility, graduate students have access to myriad state-of-the-art facilities including a print media lab, wood and metal shops, a digital fabrication lab, multimedia studios, and more. The use of these spaces is available by reservation only, thus ensuring ample workspace, proper physical distancing, and time to clean shared spaces and tools.
Housed within one of the most respected research universities in the United States, Carnegie Mellon University’s MFA program is a three-year, interdisciplinary, experimental program that provides its students with a challenging and supportive context in which to expand and develop their work and thinking as artists. Ranked in the top ten by US News and World Report, the program offers generous tuition scholarships, guaranteed graduate assistantships, esteemed faculty, and many opportunities for critique from visiting artists, curators, and critics.
For more information, visit art.cmu.edu/mfa.
This week, LA’s new Academy Museum, the intersections of anti-Blackness and anti-fatness, a largely unknown 19th century Black theater in NYC, sign language interpreters, and more.
Titian’s paintings are masterpieces, with all the complications of the term.
Through “Historic Site,” an 8-foot-tall plaque and Historic Sight, a year-long rotating exhibition in Pittsburgh, the Black Cube Fellows investigate how history is constructed, remembered, and retold.
Lawson’s images, and the ways that she has discussed her process, seem to be actively reproducing the kind of big-dick energy power dynamics of White male artists who also claim mastery over their subject matter.
Jenkins’s new short film, the centerpiece of a MoMI exhibit on The Underground Railroad, uses his signature techniques to confront the viewer.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.