Graduate Programs The Art Practice program Gibellini, Beatrice Glow, Johan Grimonprez, Thyrza Nichols Goodeve, Allison Hewitt Ward, offers an interdisciplinary Baseera Khan, Steven Henry Madoff, Glendalys Medina, Iviva Olenick, Sheila Pepe, Ernesto approach to an MFA degree. Pujol, Stefan Saffer, Heather Schatz, Sarah G. Artists in the program are not defined or separated Sharp, Jovana Stokic, Jacquelyn Strycker, by medium or discipline. Nicolas Touron and Robin Winters. Recent vis- The students in our program engage in iting artists, mentors and guest lecturers have research-based practices and are encouraged included: Diana Al-Hadid, , Edgar to converse and collaborate across subject Arceneaux, Julie Ault, Huma Bhabha, Kalia matters using a combination of traditional and Brooks, Lauren Cornell, Mel Chin, Ben Davis, non-traditional media, technologies and Dawn Dedaux, Mark Dion, Ayana Evans, FAILE, techniques. We aim to facilitate a global conver- Andrea Fraser, Coco Fusco, Anton Ginzburg, sation about the arts. Ultimately, the program Jesse Greenberg, Katya Grokhovsky, MacGre- endeavors to foster an atmosphere of risk-taking gor Harp, Chrissie Iles, Kimsooja, Autumn and experimentation, and to create a commu- Knight, Margaret Lee, Shawn Leonardo, Sharon nity of artists and culture producers who look Louden, Melissa McGill, Tony Oursler, Mike beyond a consensus-driven approach to how we Perry, J. Morgan Puett, Qingsong Wang, define what’s important in contemporary art. , Tom Sachs, Jeanne Silvert- To accomplish this, we bring together a small horne, Roberta Smith, Emma Sulkowicz and carefully selected group of MFA candidates Risë Wilson. who will devote three successive summers and Like the nature of the work we hope to help the two intervening years to a program in which students produce, this program is continuously they will engage with artists, theorists, art his- redefined as a function of the experience of all torians and curators. Faculty members include: its participants. Angel Abreu, Xavier Acarin, Gaelyn and Gus- tavo Aguilar, , Beth B, Kathy —David A. Ross, chair Brew, Jeremy Cohan, Lia Gangitano, Laura F. About the Program

Colleen Comer (MFA 2020), Blue Naked Figure Shaving, 2019, Flashe on vinyl fabric inflatable

The Art Practice program approaches vening academic semesters, participants art-making holistically. We view process as a engage in rich-media online course work. kind of critical thinking. Additionally, each participant is assigned a An underlying thread running through mentor for the entirety of the program. the low-residency program is the ability Degree candidates must successfully to situate one’s creative practice within a complete 60 credits, including all required thoroughly considered social context, and courses. The final summer session includes the ability to remain open to the revision of the presentation of a thesis project and one’s operating premises. Students combine accompanying written thesis document. All personal narrative with critical theory to be candidates must have their thesis proposals active citizen artists. approved by the department chair and thesis Through a low-residency framework, committee at the conclusion of their second students participate in seven weeks of NYC- summer residency period. based course work and studio practice for three successive summers. During the inter-

Texting, memes, standardized tests, all these things break language into pieces. But it’s the brokenness that allows us to enter, to inhabit and remake knowledge from the inside out.” —Brandi Yu, MFA 2015

4 MFA ART PRACTICE CASE STUDY Jason Mena An Artist Finds a Place to Experiment and Explore at SVA

Jason Mena’s (MFA 2019) practice com- bines conceptual strategies with visual immediacy in an effort to disrupt and chal- lenge inherited notions of economic, social and political hierarchies. It is, however, the MFA Art Practice program that helped him further understand what he was experi- menting with. The student body as well as the faculty engaged in precise and open dialogue which helped the artist communi- cate his work: “Being in the Art Practice program made me realize that I was on an experimental path and along the way work happens,” declared Jason. 

6 MFA ART PRACTICE 7 The low-residency program meets on Foundation. His studies at SVA prepared him campus over three summers, and the contact for applying to such grants and fellowships, in between the summers is constant. Jason as well as provided him with the exposure he spoke fondly of the community that he built needed to thrive and continue his research- with his colleagues, the periodic meetings based practice. He is a firm believer in held on the Canvas platform, as well as the growth, allowing the work to organically grow exchange of information, readings and along the way and take varied shapes and discussions. The program pushed him to forms. “Trial and error is part of my process,” better his writing skills, as it was essential he proclaims, while explaining that he tries to write and communicate ideas about his to put out two to three projects a year. work to cohorts. After graduation, Jason took some time to unpack what he’d learned during those two years. He taught at a school in Mexico and has since been nominated for the AICAD Post-Graduate Teaching Fellowship and has received a grant from the Pollock-Krasner

LEFT: El Universal (detail), 2013, installation BELOW: Entfremdung, 2014, ink on found world map

8 MFA ART PRACTICE 9 Jason has participated in residencies in Belgium and Chile, and has received several awards, including the Lexus Grant for the Arts. His work has been featured in a plethora of publications such as Relational Undercur- rents: Contemporary Art of the Caribbean Archipelago, published by the Museum of Latin American Art in Los Angeles, and The Yale Architectural Journal, published by the MIT Press. His work has been exhibited in noteworthy institutions such as Palais de Tokyo in Paris, the Museum of Contemporary Art and Design in Costa Rica, CCA Center for Contemporary Art in Beijing, National Museum of Fine Arts in Argentina and the Hessel Museum of Art in New York. Jason is excited about what the future holds for him: he is curating two shows in Mexico—one of which makes use of a building’s large façade, transforming it into a public projection screen, and the other TOP AND CENTER: El Universal (details), 2013, installation BOTTOM: Nothing Is Mine Everything Is Stolen a show in Peru where he plans on inviting (detail), 2019, installation artists to respond to the current geopolitical and environmental state of affairs. He is committed to placing artwork in its related environment, and most importantly outside of the white cube.

Untitled (Charts & Graphs), 2015, magazine and newspaper cutouts on graph paper, 27.2 x 37.4 cm

10 MFA ART PRACTICE 11 SUMMER II CREDITS Graduate Seminar II 3 Curriculum/ Participant Symposium 0 Performance Workshop 3 Professional Development 0 Sample Program Studio Practice II 6 FALL II (ONLINE) CREDITS As an interdisciplinary program, the course of study Art History II: Challenging the Conventional 2 Autobiography of Place II 2 addresses a wide range of intellectual, aesthetic, tech- Studio Practice Review III 2 nical and practical concerns. SPRING II (ONLINE) CREDITS Art and Politics 1 SUMMER I CREDITS Art and Pedagogy 1 Beginning Video and Sound Editing Workshop 1 Studio Practice Review IV 2 Graduate Seminar I 3 Thesis Preparation 2 Lunchtime Lecture Series 0 Studio Practice I 6 SUMMER III CREDITS Studio Workshop: Digital 1 Graduate Seminar III 3 Studio Workshop: Nature and Technology Lab 1 Studio Practice III 6 Thesis 3 FALL I (ONLINE) CREDITS Artists’ Writings 2 Foundations of Criticism I 2 Studio Practice Review I 2 Class of 2021 in performance with Eleanor Kipping, 2019 artist-in-residence.

SPRING I (ONLINE) CREDITS Art History I: Exploring the Interdisciplinary 2 Autobiography of Place I 2 Studio Practice Review II 2

I was surprised how much the platform provided a sense of community, despite our distance. You cannot hide online. In a physical classroom you can show up and not participate, yet still get credit for being in the room. If you don’t participate online, no one knows that you were there at all.” —Pippi Zornoza, MFA 2016

12 MFA ART PRACTICE 13 Course Offerings A sample of our course descriptions follows. All course descriptions can be found online at: artpractice.sva.edu/classes.

ART AND POLITICS Drawing on art history, philosophy and political theory, this course will explore strategies ARTISTS’ WRITINGS for creative interventions in the political arena. Topics This course will explore a range of of discussion will include race, , bio-politics, artists’ writing forms, including identity, power structures, public space, cultural pol- journalism, manifestos, poetry, icy, censorship and social justice. theoretical writing, letters, artists’ books and artist-run publications. ART AND PEDAGOGY Students will develop an under- This course will explore pedagogical strate- standing of the research process, gies for art practice, including collaborative including finding sources, organization, and dialogues, action research and experiential proper academic formatting and citation. A learning. Topics of discussion will include deeper appreciation of one’s own writing in the role of art in society, aesthetic inquiry relation to the development of one’s artistic into social systems, institutional critique, practice will be underscored throughout the artist accountability and evaluation of social semester. practice projects.

Emily Klass (MFA 2020), Hold on Forever, 2019, mixed media installation at Satellite Art Show, Miami

15 FOUNDATIONS OF CRITICISM I BEGINNING VIDEO Through the revision of material pertaining to differ- AND SOUND EDITING ent disciplines, this course provides a panoramic view WORKSHOP of some fundamental conceptual and critical issues Through various methods includ- PERFORMANCE WORKSHOP that have arisen in the last two centuries or so in the ing instructor-led workshops, field Formally born in the early 20th century—as a critique of the economic spheres of art, the world and the individual. Through experiments, studio production engineering of the art world through the European painting salons for the close examination of texts by Hegel, Baudelaire, Ben- and group critique, students will bourgeoisie—and influenced by cabaret, theater, dance, psychodrama, jamin, Barthe, Foster, Rancière, Jameson, Freud and explore practices for creating audio feminist, queer, civil rights, political and environmental activism, perfor- Lacan, we will consider how the emergence of a “new” and video projects, possibilities for mance practice has many traditions. Until recently, it was an alternative conception of the world and of a globalized economic installation, multichannel works practice that offered few collectibles. Participants in this workshop will system have imploded into transformations of the and performance. Students will explore silence and walking as public following Buddhist consideration of ourselves, of privacy and intimacy, of learn about high-definition video notions of mindful presence, engaging the city as laboratory. The group our relationships and of our location in an increasingly and proper compression for pro- will function like an ephemeral company of soloists and collaborators in accelerated but also close and “familiar” world. Most jection, web and DVD, and become which students will perform and discuss a series of daily exercises. importantly, we’ll consider how such fundamental familiar with basic editing software transformations affect art production. including Apple Final Cut Pro X. STUDIO PRACTICE I, II & III PARTICIPANT SYMPOSIUM The workshop includes screenings The core of the summer session Under the guidance of a faculty member, students GRADUATE SEMINAR I, II & III of film, video and sound work from is studio practice. The objective work to develop and install an exhibition with an In this foundational seminar, students develop their modern and contemporary artists. is to produce original advanced accompanying publication. They also develop and own art practice in conjunction with a deeper under- It considers the use of media as work with instruction and support participate in skill-share workshops, organize a panel standing of contemporary issues in art, theory and both a document and final product. from faculty and a robust roster of discussion and go on guided field trips to artist stu- politics. Topics of special discussion include social individual artists. Individual studio dios, art centers and cultural institutions. engagement, collaboration, transdisciplinary practice visits will primarily take place and personal narrative. from Monday through Friday, with STUDENT WORKSHOP: NATURE AND weekly group critiques on Tues- TECHNOLOGY LAB days. Studio Practice is the central Students in this workshop will have the opportunity to element and primary requirement explore the biological realm as it relates to art prac- of the program. Studios are avail- tice. Demonstrations include microscopy, plant tissue able 24 hours a day, seven days engineering, molecular cuisine and the production of a week. micro ecosystems. Students will be encouraged to dis- cuss and explore how biomedical sciences alter social, ethical and cultural values in society. The workshop will take place in the Nature and Technology (NAT) Lab, which houses microscopes for photo and video, skele- ton collections, specimen collections, slide collections, an herbarium and an aquarium as well as a library.

16 MFA ART PRACTICE 17 Where Faculty To learn more about the faculty members and to read their biographies visit: artpractice.sva.edu/faculty.

OurWe students and alumni haveAre shown at prestigious David A. Ross Beatrice Glow Jovana Stokic writer; curator; chair, MFA Art interdisciplinary artist art historian, curator institutions, including: Practice Department Thyrza Nichols Goodeve Jacquelyn Strycker Angel Abreu critic, writer visual artist, curator MoMA PS1 Moscow visual artist Johan Grimonprez Nicolas Touron Xavier Acarin filmmaker, visual artist visual artist Queens Museum Museum of Nebraska Art curator Baseera Khan Allison Hewitt Ward Corcoran Gallery of Art, Boise Art Museum Gaelyn and Gustavo Aguilar visual artist critic cofounders, TUG Collective Washington DC Steven Henry Madoff Robin Winters Werkstadt Graz/Graz Kunz Suzanne Anker chair, MA Curatorial Practice, visual artist Palacio de Bellas Artes, chair, BFA Fine Arts ; curator; Department, School of Visual critic Mexico City The Arts; visual artist; theorist Glendalys Medina Tate Modern, El Museo del Barrio Beth B visual artist visual artist, filmmaker Iviva Olenick National Museum of Modern and Carriage Trade Kathy Brew textile designer, visual artist Contemporary Art, Seoul documentarian, visual artist, curator Sheila Pepe Field Projects visual artist Kyoto Municipal Museum of Art Jeremy Cohan The ’s Festival sociologist Stefan Saffer visual artist Gl Holtegaard Museum, Denmark of Ideas Lia Gangitano founder, director, Heather Schatz The Living Art Museum, Participant, Inc. visual artist Reykjavik Laura F. Gibellini Sarah G. Sharp visual artist, theorist visual artist

18 MFA ART PRACTICE 19 Lecturers Application and Mentors Diana Al-Hadid Process visual artist Here is just a APPLICATION REQUIREMENTS Hilton Als For a full list of application requirements and detailed instructions, visit: writer, critic sample of guest sva.edu/grad/howtoapply „ Online Application and $80 Application Fee: sva.edu/apply Cory Arcangel lecturers who have visual artist DEADLINES For information on application deadlines, visit: sva.edu/grad/timeline Edgar Arceneaux spoken to and with visual artist our students. IMPORTANT LINKS Charles Atlas „ FAQ: sva.edu/grad/faq visual artist „ International students: sva.edu/grad/intl Coco Fusco Lee Mingwei „ Tuition and fees: sva.edu/tuition Julie Ault visual artist, curator visual artist „ Visit SVA: sva.edu/grad/visit visual artist; curator; co- founder, Group Material Jesse Greenberg Tony Oursler artist; curator; visual artist Alice Aycock co-founder, 247365 visual artist J. Morgan Puett Katya Grokhovsky visual artist; Huma Bhabha visual artist; curator; founder, co-founder, Mildred’s Lane visual artist The Immigrant Artists Biennial Martha Rosler Kalia Brooks MacGregor Harp visual artist curator artist; curator; cofounder 247365 Tom Sachs Holland Cotter visual artist critic, Chrissie Iles curator, The Whitney Museum Lorna Simpson Ben Davis of American Art visual artist critic Paddy Johnson Roberta Smith Mark Dion writer; founding editor, critic, The New York Times visual artist; co-founder, Art F City Mildred’s Lane Risë Wilson Autumn Knight community organizer; director Andrea Fraser visual artist of philanthropy, Rauschenberg visual artist Foundation Shaun Leonardo visual artist, activist

20 MFA ART PRACTICE 21 Contact Us Contact Us

We encourage applicants to visit our department. Contact us ACCREDITATION Pursuant to Section 52.21 of the Regulations of the directly to schedule a department tour or sign up to attend an The School of Visual Arts has been authorized by the Commissioner of Education, the educator preparation Information Session. For more information and to register, go New York State Board of Regents (www.highered. program offered by the School of Visual Arts is con- to: sva.edu/grad/visit. nysed.gov) to confer the degree of Bachelor of sidered to be continuously accredited for purposes If you have any questions about the application process, Fine Arts on graduates of programs in Advertising; of meeting the New York State requirement that all contact Graduate Admissions at 212.592.2107 or email: Animation; Cartooning; Computer Art, Computer such programs maintain continuous accreditation. [email protected]. Animation and Visual Effects; Design; Film; Fine Arts; The School of Visual Arts’ Master of Arts in Teaching Illustration; Interior Design; Photography and Video; in Art Education program was previously accredited David A. Ross, chair Visual and Critical Studies; and to confer the degree by the Council for the Accreditation of Educator Jacquelyn Strycker, director of operations of Master of Arts on graduates of programs in Art Preparation (CAEP). Allison Hewitt Ward, assistant to the chair Education; Critical Theory and the Arts; Curatorial Practice; Design Research, Writing and Criticism; and The Master of Professional Studies in Art Therapy Tel: 212.592.2781 to confer the degree of Master of Arts in Teaching degree program is approved by the American Art Fax: 212.592.2245 on graduates of the program in Art Education; and to Therapy Association, Inc., and as such meets the edu- Email: [email protected] confer the degree of Master of Fine Arts on graduates cation standards of the art therapy profession. Site: sva.edu/artpractice of programs in Art Practice; Art Writing; Computer Department Site: artpractice.sva.edu Arts; Design; Design for Social Innovation; Fine Arts; Illustration as Visual Essay; Interaction Design; CREDITS facebook.com/svaartpractice Photography, Video and Related Media; Products of © 2020, Visual Arts Press, Ltd. twitter.com/svaartpractice Design; Social Documentary Film; Visual Narrative; Executive creative director: instagram.com/artpractice and to confer the degree of Master of Professional Anthony P. Rhodes Studies on graduates of programs in Art Therapy; Creative director: Gail Anderson Branding; Digital Photography; Directing; Fashion Design Director: Brian E. Smith Photography. Design: Anthony Carhuayo Editorial: Sheilah Ledwidge, Abby Kreh Art is the The School of Visual Arts is accredited by the Middle Case study writer: Sahar Khraibani States Commission on Higher Education (msche.org), 3624 Market Street, Suite 2 West, Philadelphia, PA offspring 19104, 267.284.5000. The Commission on Higher The School of Visual Arts does not discrimi- Education is an institutional accrediting agency nate on the basis of gender, race, color, creed, recognized by the U.S. Secretary of Education and the disability, age, sexual orientation, marital resulting from Council for Higher Education Accreditation. status, national origin or other legally protected statuses. unlatching and opening The School of Visual Arts is an accredited institu- tional member of the National Association of Schools The College reserves the right to make changes of Art and Design (nasad.arts-accredit.org). from time to time affecting policies, fees, curric- up one’s invisible suitcase, taking out a ula and other matters announced in this or any The Interior Design program leading to the Bachelor other publication. Statements in this and other selection of items that were placed in of Fine Arts in Interior Design is accredited by the publications do not constitute a contract. Council for Interior Design Accreditation (accredit-id. there, and making-thinking-playing with org), 206 Grandville Avenue, Suite 350, Grand Rap- Colleen Comer (MFA 2020), White Claw and Jet Plane , 2019, ids, MI 49503-4014. Flashe on vinyl fabric inflatable them for a while.” The School of Visual Arts’ Department of Art Education is currently pursuing accreditation of its —Todd Hainline (MFA 2017) educator preparation programs by the Association for Advancing Quality in Educator Preparation (AAQEP).

22 MFA ART PRACTICE School of Visual Arts

209 East 23rd Street, NYC sva.edu/grad