In our 2. Students will also enroll in an online graduate seminar course during remote semesters, meeting online weekly with the rest of their cohort for discussions and presentations. Finally, each remote semester, students will be assigned a visiting artist mentor in their region to meet with in-person on a monthly basis. In this credit, 2. That means a total of 6 residencies — 5 studio residencies plus a final Thesis Exhibition residency.
During the remainder of the semester, students take courses and interact with their faculty online. More detail. During the first campus residency, students are introduced to the key ideas of TM and the Creative Process and then complete that study through the course ART TM and the Creative Process online to fulfill this university requirement for graduate students.
Students are required to remain enrolled in the ongoing Graduate Seminar 4 credits per remote semester in all five remote semesters. The seminar is divided into sections for the first- and second-year cohorts. The seminar meets online as a group once per week, and students are expected to participate in an online Discussion Forum by responding to prompts created by the seminar faculty. This comprises the bulk of the workload between on-campus residencies 5 credits per semester.
Students are expected to spend a minimum of 15 hours per week working independently in their studio. During remote semesters, students consult with the Program Director to choose a regional artist who visits with the student in person for at least 90 minutes four times throughout the semester 1 credit per semester. A core belief in the Art Department is that artists are best taught by other actively engaged artists.
Our nationally recognized faculty are professionally active artists who all have studios on campus and work alongside graduate students during on-campus residencies. Joey Fauerso is a Professor at Texas State. She has exhibited internationally with a recent solo show at Bemis Center for Contemporary Arts. She is a recipient of a Joan Mitchell Foundation grant and has exhibited widely throughout the United States.
Her work is in numerous collections including the Philadelphia Museum of Art. She has exhibited and lectured internationally and is a John Simon Guggenheim Fellow. Matt Phillips is a professor at Fashion Institute of Technology, has exhibited extensively internationally and is a founding member of TSA gallery.
Required Residencies. Education Tax Incentives. Career Resources. Shop Back Issues Subscriptions. Connect with Us. Sign up for our newsletter. Explore the Magazine. Photos from Disorderly Construct at Open Space.
September 5, Words: Cara Ober. That is the Question. Words: Cara Ober. You can save a lot of money by just showing up to shit and making good conversation. Anyway, great table of comparisons above! Are there really so many people who suggest that having only a BFA is a problem? For me though, in casual converstaion with many artists, the topic has come up frequently.
Hi Paddy! Such a great great topic. If you want save money go work for citigroup. Send me where to apply. I do want to teach.
I have been a studio artist for years. I have BFA in graphic design with a minor in painting. I taught public school art a couple of years but I really missed being around other artists. With all this said I was thinking the solution could be teaching higher education. I have two children to support so it would have to be a reasonable idea. Overall, higher education seems like more of a Ponzi scheme these says. The hole you dig may trap you forever. When a high school kid asks me about getting into art, I tell them to get a library card.
I received my MFA from a local public University in I continued to work on commissions and some construction work during my MFA. Some how I managed to accrue minimal debt. The trade off was four years in school as opposed to 2. Yes adjuncts today will not make the paper screening without an MFA, and if you are looking for the rare tenure track job, it is a must. It was fortunate that a very well recognized artist in my field had just accepted a tenure track position at my local University.
It seemed like a no brainer to go back and get that MFA. I came intos the program ten years older than most of the students, and found my cohort to be extremely naive and sheltered about no only he world of Art, but life in general. I was quickly disillusioned about the dialog and quality of feedback from my peers in my particular area of emphasis. Fortunatley the professor was quite well connected and she brought in a tremendous variety of visiting artists for workshops and lectures.
I am still friends with some of them today. We also made a trip to NYC and got into the backdoor of some high end galleries and talked to prominent curators in the field.
That ended up leading to my first exhibition in NYC. Bottom line, those connections and the network created during that time have been invaluable.
The education……eh. I think I came out of the program less focused, than when I came in. I have told many people it took me two years to shake off grad school and really get back to my work. Hi, just to counter your experience a bit; I am an adult, who after working in the commercial art industry animation-special effects in Hollywood for many years without a degree, decided to go back and get a BFA.
My husband and I moved away from LA and I found myself pretty much unemployable outside of Hollywood. I am probably the only older adult that has moderated in studio arts. I can honestly say that the experience has been invaluable.
It has helped me play on my strengths and strengthen my weaknesses. The professors are great, however, I value the input I get from my fellow students. What many lack in real world experience which I have tons of after working ing the NYC club and art scene of the 80s and in Hollywood in the 90s they offer a fresh perspective, which I think keeps my work fresh.
That is the problem….. Too many now have an MFA and does not make them a stellar artist!!! Most do it to teach in Higher Education. The problem is; is that most who teach the arts have had very little exposure or experience with the professional art world that we are then teaching mediocre approaches and understanding of innovative and quality art to the future generation. Glad you linked back to this. Those who go to school dreaming of a job in art writing often think of the big magazines… they should start thinking about well funded art sites.
There is money to be made if you have something to say. True, I may never be respected by critics working in traditional print… but what does it matter as long as I can provide for myself doing something I love. Having an MFA does not necessarily mean that you can jump hurdles. LOL The influence one can establish online has been a game-changer.
The same goes for artists… I know that some art dealers will give an artist a second look if he or she is aware of the following the artist has online.
0コメント