Housed within one of the most respected research universities in the United States, the MFA program at Carnegie Mellon University’s School of Art 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. The program views artmaking as a vital social, critical, and intellectual pursuit.
The MFA cohort, limited to 18 students, works with highly active faculty members who possess a diverse set of expertise. The program is guided by four core faculty members who — along with the School’s additional 18 full-time faculty — provide extensive support and mentorship for each student. Throughout their study, graduate students also have myriad opportunities for critique and studio visits with highly-acclaimed national and international visiting artists, curators, and critics.
The program is housed in a new facility exclusively for graduate art students. It includes 18 individual studios, each approximately 300 square feet with large windows for ample natural light; common study and community areas; a fully-stocked kitchen; administrative offices; and a 1,200-square-foot flexible-use space for coursework, critique, seminars, and more. In addition, students have access to all the state-of-the-art facilities, encompassing both traditional and new media, at the School of Art.
For more information, visit art.cmu.edu.
The committee’s main responsibilities will be to shape policy goals, stimulate arts philanthropy, and advocate for the expansion of federal backing of the cultural sector.
Some museumgoers pointed out that the museum’s label omitted discussions of HIV/AIDS, which are at the heart of the work.
Featuring over 70 installations and performances at the George Washington University’s historic Flagg Building, the Corcoran’s end-of-year showcase is now available for virtual viewing.
But a museum in Harvard is still named after a member of the disgraced family, notorious for its role in the opioid crisis.
Parker’s stories bring so many of her works alive, give them meaning, and make us warm to her and to them. Is that a problem?
Artists reflect on histories of oppressive power structures in Brazil in this exhibition at the Visual Arts Center at the University of Texas at Austin.
The works, and worlds, on display in Hancock’s exhibition seem saturated with a desire for narrative redemption through self-observation and aspects of his Christian upbringing.
The problem with Andrew Dominik’s biopic Blonde is its assumption that Monroe’s victimization was the most fascinating thing about her.
When I recently came across Sandra Cattaneo Adorno’s photo book Águas de Ouro, I could hear the waves and boomboxes, and even taste the salt on my lips.
Works by over 70 artists of the pan-South Asian diaspora were up for auction to help Pakistan’s most vulnerable communities in a women- and queer-led initiative.
The board of 70 Washington Street in Brooklyn, which previously housed an artist residency, is weighing the replacement of Helen Brough’s “Emulated Flora” with generic photographs of Brooklyn landmarks.