MFA Art Practice Art a program in which they will engage with The Art Practice artists, theorists, art historians and cura- tors. Faculty members include: Angel Abreu, program offers an Gaelyn and Gustavo Aguilar, , Beth B, Kathy Brew, Lia Gangitano, Laura F. interdisciplinary Gibellini, Johan Grimonprez, Thyrza Nich- ols Goodeve, Baseera Khan, Steven Henry approach to an Madoff, Glendalys Medina, Iviva Olenick, Ste- fan Saffer, Heather Schatz, Sarah G. Sharp, MFA degree. Artists in Jovana Stokic, Jacquelyn Strycker, Nicolas the program are not defined or separated by Touron and Robin Winters. Recent visiting medium or discipline. artists, mentors and guest lecturers have The students in our program engage in included: Diana Al-Hadid, Hilton Als, Edgar research-based practices and are encouraged Arceneaux, Julie Ault, Huma Bhabha, Kalia to converse and collaborate across subject Brooks, Lauren Cornell, Mel Chin, Ben Davis, matters using a combination of traditional Dawn Dedaux, Mark Dion, FAILE, Andrea and non-traditional media, technologies and Fraser, Coco Fusco, Anton Ginzburg, Jesse techniques. We aim to facilitate a global Greenberg, MacGregor Harp, Chrissie Iles, conversation about the arts. Ultimately, the Kimsooja, Margaret Lee, Shawn Leonardo, program endeavors to foster an atmosphere Melissa McGill, Tony Oursler, Mike Perry, of risk-taking and experimentation, and to J. Morgan Puett, Qingsong Wang, Martha Ros- create a community of artists and culture ler, Tom Sachs, Jeanne Silverthorne, Roberta producers who look beyond a consensus- Smith, Emma Sulkowicz and Risë Wilson. driven approach to how we define what’s Like the nature of the work we hope to help important in contemporary art. students produce, this program is continu- To accomplish this, we bring together a ously redefined as a function of the experience carefully selected, small group of MFA can- of all its participants. didates who will devote three successive summers and the two intervening years to —David A. Ross, chair About the Program

Opening reception for “Quality Time,” an exhibition of work by the Class of 2018.

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

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 Pippi Zornoza Low-Residency Program Allows Artist to Pursue MFA While Running an Art

Pippi Zornoza working on art while Space in RI a student in the MFA Art Practice studios. Providence, Rhode Island, has a thriving art scene, and artist Pippi Zornoza (MFA 2016) is firmly rooted in that community. Zornoza practices in many media and across several disciplines, including performance, sound, installation, drawing and print. In 2000, she and fellow artist Xander Marro founded the Dirt Palace, a feminist art space in the Olneyville section of Providence. 

7 An abandoned library building was trans- ABOVE: The Dirt Palace space was a former library. formed into a collective of female-identified RIGHT: A performance in the space. artists, including affordable studio space, facilities, a gallery, and much more for up to seven artists at a time, with over 40 total there has also been a goal of sorts: “to affect artists in residence to date. “The Dirt Palace, the local creative landscape in such a way though highly functional and pragmatic, is by that power would shift so that women were design somewhat of an anarchistic space,” integrated into formal and informal leadership Zornoza explains. The project has had a roles and visible as major artistic forces within range of influences, from feminist collective every aspect of the local art scene,” explains galleries of the 70s to utopian communities Zornoza. “This power shift would be built of the 1800s, and while it has always been on positive relationships of women working open to different directions and outcomes, together, near each other, collaborating, and

8 MFA ART PRACTICE years. But being paired with Winters allayed those fears. “Robin’s history as an artist and agitator is pretty wild and impressive,” she explains. “He was exceedingly generous in sizable grant from the Rhode Island State taking time to discuss my work. As a founder Council on the Arts, they will be restoring a of , and the first artist to do a durational historic Providence mansion into a facility performance at the Whitney, working with with artist-in-residence quarters for 20 to Robin was totally influential and grounding to 50 artists a year that will complement the my practice.” In fact, there were many people program at Dirt Palace. The mansion will at SVA who were influential on her art prac- also include a bed-and-breakfast to bring in tice. “Too many to list! I feel as though I would revenue. The mansion once housed a couture have to list everyone,” she says. design business run by the Tirocchi sisters, Recently Zornoza and her partner at Dirt thereby continuing a tradition of a women- Palace have taken on a new project: the owned arts-based business and highlighting supporting each other’s growth—creatively, Wedding Cake House. With help from a Providence’s history in art and design. Interior details at Dirt Palace. The space was founded in 2000. intellectually and practically.” Because Zornoza is firmly rooted in her community in Providence and has many professional commitments there, she only considered low-residency programs for her MFA. The relative newness of the Art Prac- tice program at SVA appealed to her. She felt there was an air of idealism and vision to the program, and she wanted to be a part of that. “I had a sense that the program wanted to achieve something different in its approach to education and was especially focused on tailoring the program to artists that don’t fit within a traditional gallery system,” she offers. “It was exciting to join a program that was inherently questioning the status quo.” While in the MFA Art Practice program, each student works under the guidance of an assigned mentor. For Zornoza, that mentor was faculty member Robin Winters. Before starting the program, she had wondered whether the experience of being at SVA would be too “institutional” having been away from academic institutions for almost 20

10 MFA ART PRACTICE 11 CASE STUDY Baseera Khan MFA Art Practice Welcomes New Faculty Member Baseera Khan

Baseera Khan is a contemporary conceptual artist whose work spans media including , photography and performance. Her themes often combine the politi- cal and personal and her first solo exhibition, “iamuslima,” showed at Participant Inc Gallery in New York in 2017. It is currently on tour. She first became involved with the MFA Art Practice program in 2017, when she was invited to do studio visits with that summer’s class. There she met a student, Astrid Bai, who she continued to men-

Baseera Khan kneels tor through the year. In on her work Lunar Count Down, Act Up, 2018, Khan officially a handmade silk rug created in 2018. joined the faculty. 

13 What are your goals for the being part of the graduate seminar? Establishing trust and openness, working hard to meet the students on their terms and not project my own ideas onto the work too heavily. I also want to push the artists to work and experiment and not think about the mar- ket—thinking through object-hood is already a mind teaser, adding thoughts around the object’s future value is just too much. This process of speculation can only add a stifling a game. It is a place where many of the relationship to your practice. As the great conflicts in America—around inclusivity, DMX said in 2000, “Do you. Cuz I’mma do justice, reparations and equality—are getting me, truly.” Stay true to yourself and you will exposed. The intersection of performance, fly as an artist and a human being. sculpture and photography lends itself to a living and ongoing dialogue so necessary for What advice would you give to artists issues such as these. I was shaped by art doing an MFA to get the most out of with a capital A and it constantly defines my their experience? otherness, but at the same time it provides Show up, even if you don’t want to. A lot me with pathways of learning unlike other happens when you are present. Also, wit- fields of creative work. What the Participant ness your peers and other artists that are show gave me was that I went into the work having shows. Be there, and expect the same unapologetically as to who I am and what from your peers. Witnessing work, discuss- my concerns are as a person. Though I know ing work, and staying present are the keys to that art-making is a system, and it requires any creative profession. New York City is a ways to sustain itself, I stepped out of all that strange place where you can tap into multiple and took risks based on my conscious and kinds of art-making and that is an incredible lucid sense of being. When you are in school opportunity in itself. Definitely build in time the best thing you can do is take a lot of time to experience this as you make your work and getting to know who you are and what you build your practice. are capable of doing as unfiltered as possi- ble. That is basically what I did during my Congratulations on your solo show, graduate studies. It definitely made me ready “iamuslima.” What did you learn from the for where I am now, and all the work I have to experience that you can share with students? do ahead of me. Doing my show “iamuslima” at Participant Inc Gallery gave me an opportunity to lay down a strong foundation for my future TOP: Khan in her studio. BOTTOM: Unfurling more of her self. For me, art-making is anything but handmade silk rugs.

14 MFA ART PRACTICE SUMMER II CREDITS Graduate Seminar II 6 Curriculum/ Participant Symposium 0 Performance Workshop 3 Professional Development 0 Sample Program Studio Practice II 3 FALL II (ONLINE) CREDITS Art History II: Challenging the Conventional 2 As the nature of the MFA Art Practice program assumes Artists’ Writings 2 students are seeking a fully interdisciplinary program, Studio Practice Review III 2

the course of study addresses a wide range of intellectual, SPRING II (ONLINE) CREDITS aesthetic, technical and practical concerns. Foundations of Criticism II 2 Studio Practice Review IV 2 Thesis Preparation 2 SUMMER I CREDITS Beginning Video and Sound Editing Workshop 1 SUMMER III CREDITS Graduate Seminar I 3 Graduate Seminar III 3 Lunchtime Lecture Series 0 Studio Practice III 6 Studio Practice I 6 Thesis 3 Studio Workshop: Digital Sculpture 1 Studio Workshop: Nature and Technology Lab 1

FALL I (ONLINE) CREDITS Maya Resheff (MFA 2019) performs for a group critique. Autobiography of Place I 1.5 Foundations of Criticism I 3 Studio Practice Review I 1.5

SPRING I (ONLINE) CREDITS Art History I: Exploring the Interdisciplinary 3 Autobiography of Place II 1.5 Studio Practice Review II 1.5

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

16 MFA ART PRACTICE 17 Course Offerings A sample of our course descriptions follows. All course descriptions can be found online at: artpractice.sva.edu/classes.

ART HISTORY I: EXPLORING THE INTERDISCIPLINARY To better understand the role of art history in pre- ARTISTS’ WRITINGS paring and developing one’s own artistic direction, The significant interventions that this course will explore and critique the conventional visual artists have made through masterpiece-based notion of art history from several their own writing into the art criti- perspectives. We will trace the history of modern- cism of their time will be the focus ism in relation to the notion of interdisciplinary art. of this course. We will also explore Starting in the mid-19th century with examples of a range of artists’ writing forms gesamtkunstwerk, the course examines the impact such as journalism, manifestos, of this kind of thinking through an exploration of key poetry, theoretical writing, letters, examples of contemporary interdisciplinary art. In artists’ books and artist-run response to a wide range of primary source readings, publications. The course will also audiotapes, video and film, students will write a series examine some key artists’ writings of critical responses to the readings, and participate in from Russian constructivism to online group sessions and discussions. the Bauhaus, surrealism, abstract expressionism, minimalism, con- ceptual art and feminism. Assigned readings, writings and online group discussions are included. The role of social engagement in the production of individual (or collective) practice will be emphasized, and students will acquire an understanding of the influence of art- ists’ writings on various forms of art criticism. A deeper understanding of one’s own writing in relation to the

Art Army, an installation by development of one’s practice will be underscored Marnie Navarro (MFA 2016). throughout the semester.

19 AUTOBIOGRAPHY OF BEGINNING VIDEO AND SOUND PLACE I EDITING WORKSHOP Through a series of interviews Through various methods, including instructor-led with artists and other creative workshops, field experiments, studio production and PERFORMANCE WORKSHOP professionals, as well as related group critique, students will explore practices for Formally born in the early 20th century—as a critique of the economic reading and viewing materials, creating audio and video projects, possibilities for engineering of the art world through the European painting salons for the students explore the notion of installation, multichannel works and performance. bourgeoisie—and influenced by cabaret, theater, dance, psychodrama, place: where and how we live, how Students will learn about high-definition video and feminist, queer, civil rights, political and environmental activism, perfor- we connect to various communi- proper compression for projection, web and DVD, and mance practice has many traditions. Until recently, it was an alternative ties and how we situate creative become familiar with basic editing software including practice that offered few collectibles. Participants in this workshop will practice into daily life. Students Apple Final Cut Pro X. The workshop includes screen- explore silence and walking as public performance art following Buddhist also complete a series of short ings of film, video and sound work from modern and notions of mindful presence, engaging the city as laboratory. The group production assignments and contemporary artists. It considers the use of media will function like an ephemeral company of soloists and collaborators in engage in group critiques via as both a document and final product. which students will perform and discuss a series of daily exercises. online learning environments. GRADUATE SEMINAR I, II & III STUDIO PRACTICE I, II & III PARTICIPANT SYMPOSIUM FOUNDATIONS OF CRITICISM I In this foundational seminar stu- The core of the summer sessions Under the guidance of a faculty member, students Understanding prominent theoretical positions within dents develop their own art prac- is studio practice. The objective is work to develop and install an exhibition with an art criticism—past and present—is the focus of this tice in conjunction with a deeper to produce original, advanced work accompanying publication. They also develop and par- course. We will begin with theories of the image from understanding of contemporary with instruction and support from ticipate in skill-share workshops, a panel discussion cave paintings to advertising, film theory to the comic issues in art, theory and politics. faculty and under the guidance of and engage in guided field trips to artists’ studios and strip, video to the digital image and current debates in Topics of special attention include an individual mentor, who will offer cultural institutions. animation studies. Classical writings from philosophy social engagement, collaboration, ongoing critical evaluation. Reviews (e.g., Plato), art history (Panofsky, Greenberg, W. J. T. transdisciplinary practice and will primarily take place from Mon- STUDENT WORKSHOP: NATURE AND Mitchell) and film theory (Eisenstein, Bazin), as well as personal narrative. Through class day through Friday, with weekly TECHNOLOGY LAB writers such as Apollinaire and DeLillo will be exam- discussions, group critiques and group critiques on Tuesdays. Studio Students in this workshop will have the opportunity to ined. We will also cover semiotics, feminist theory and one-on-one studio visits, students Practice is the central element explore the biological realm as it relates to art prac- institutional critique, reading key theorists such as Bar- will work with both core faculty and and primary requirement of the tice. Demonstrations include microscopy, plant tissue thes, Benjamin, Baudrillard and Debord, among others. a robust roster of visiting artists. program. As such, it is expected engineering, molecular cuisine and the production of that students will make notable micro ecosystems. Students will be encouraged to dis- progress in their individual practice. cuss and explore how biomedical sciences alter social, Studios are available 24 hours a ethical and cultural values in society. The workshop will day, 7 days a week. 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.

20 MFA ART PRACTICE 21 Where Faculty To learn more about the faculty members and to read their biographies visit: artpractice.sva.edu.

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

22 MFA ART PRACTICE 23 Lecturers Application and Mentors Process Diana Al-Hadid visual artist APPLICATION REQUIREMENTS Here is just a For detailed instructions, visit: sva.edu/grad/howtoapply Hilton Als „„ Online Application and $80 Application Fee: sva.edu/apply writer, critic sample of guest „„ Statement of Intent/Personal Statement „„ Résumé Cory Arcangel „„ visual artist lecturers who have Letters of Recommendation „„ Official College Transcript Edgar Arceneaux spoken to and with visual artist Some applicants may be required to submit the following: our students. „„ Proof of English Proficiency Charles Atlas „„ Copy of Permanent Residency Card visual artist „„ Declaration of Finances „„ Julie Ault Coco Fusco Tony Oursler Verification of Finances visual artist, curator, visual artist, curator visual artist „„ Foreign Transcript Evaluation cofounder Group Material Jesse Greenberg J. Morgan Puett DEPARTMENTAL REQUIREMENTS Alice Aycock artist; curator; visual artist; For specific guidelines about these requirements, visit: sva.edu/grad/deptreq visual artist co-founder 247365 co-founder Mildred’s Lane „„ Portfolio—accepted at svagrad.slideroom.com „„ Writing Sample Huma Bhabha MacGregor Harp Martha Rosler „„ visual artist artist; curator; visual artist Interview co-founder 247365 Kalia Brooks Tom Sachs DEADLINES curator Chrissie Iles visual artist For information on application deadlines, visit: sva.edu/grad/timeline curator, The Whitney Holland Cotter Museum of American Art Lorna Simpson IMPORTANT LINKS critic, The New York Times visual artist „„ FAQ: sva.edu/grad/faq Paddy Johnson „„ Ben Davis writer; founding editor, International students: sva.edu/grad/intl critic Art F City critic, The New York Times „„ Tuition and fees: sva.edu/tuition „„ Visit SVA: sva.edu/grad/visit Mark Dion Kimsooja Emma Sulkowicz visual artist; co-founder, visual artist visual artist Mildred’s Lane Shaun Leonardo Risë Wilson Andrea Fraser visual artist, activist community organizer; visual artist Director of Philanthropy, Lee Mingwei Rauschenberg Foundation visual artist

24 MFA ART PRACTICE 25 Contact Us Contact Us

We encourage applicants to visit our department. Contact us ACCREDITATION The Interior Design program leading to the directly to schedule a department tour or sign up to attend an The School of Visual Arts has been autho- Bachelor of Fine Arts in Interior Design is Information Session. For more information and to register, go rized by the New York State Board of Regents accredited by the Council for Interior Design to: sva.edu/grad/visit. (www.highered.nysed.gov) to confer the Accreditation (accredit-id.org), 206 Grand- If you have any questions about the application process, degree of Bachelor of Fine Arts on graduates ville Avenue, Suite 305, Grand Rapids, MI, contact Graduate Admissions at 212.592.2107 or email: of programs in Advertising; Animation; Car- 49503-4014. [email protected]. tooning; Computer Art, Computer Animation and Visual Effects; Design; Film; Fine Arts; The Master of Arts in Teaching in Art David A. Ross, chair Illustration; Interior Design; Photography and Education program is accredited by the Jacquelyn Strycker, director of operations Video; Visual and Critical Studies; and to con- Council for the Accreditation of Educator Allison Hewitt Ward, assistant to the chair fer the degree of Master of Arts on graduates Preparation (CAEP). of the programs in Critical Theory and the Tel: 212.592.2781 Arts; Curatorial Practice; Design Research, The Master of Professional Studies in Art Fax: 212.592.2245 Writing and Criticism; and to confer the Therapy degree program is approved by the Email: [email protected] degree of Master of Arts in Teaching on grad- American Art Therapy Association, Inc., and Site: sva.edu/artpractice uates of the program in Art Education; and as such meets the Education Standards of Department Site: artpractice.sva.edu to confer the degree of Master of Fine Arts the art therapy profession. on graduates of programs in Art Practice; facebook.com/svaartpractice Art Writing; Computer Arts; Design; Design twitter.com/svaartpractice for Social Innovation; Fine Arts; Illustration CREDITS instagram.com/artpractice as Visual Essay; Interaction Design; Photog- © 2018, Visual Arts Press, Ltd. raphy, Video and Related Media; Products Executive creative director: of Design; Social Documentary Film; Visual Anthony P. Rhodes Narrative; and to confer the degree of Master Creative director: Gail Anderson of Professional Studies on graduates of the Design: Ryan Durinick programs in Art Therapy; Branding; Digital Editorial: Sheilah Ledwidge, Abby Kreh Art is the Photography; Directing; Fashion Photogra- Case study writers: Rachel Leff, phy. Data required by the U.S. Department of Sheilah Ledwidge offspring Education on “Gainful Employment” for each Case study photographer (Baseera Khan): of the above programs may be found on each Jose Alejandro Espaillat resulting individual program page at sva.edu/ge.

The School of Visual Arts is accredited by The School of Visual Arts does not discrimi- from unlatching the Middle States Commission on Higher nate on the basis of gender, race, color, creed, Education (msche.org), 3624 Market Street, disability, age, sexual orientation, marital sta- and opening up one’s invisible Philadelphia, PA 19104, 267.284.5000. The tus, national origin or other legally protected Commission on Higher Education is an insti- statuses. suitcase, taking out a selection tutional accrediting agency recognized by the U.S. Secretary of Education and the Council The College reserves the right to make on Higher Education Accreditation. changes from time to time affecting policies, of items that were placed in fees, curricula and other matters announced The School of Visual Arts is an accredited in this or any other publication. Statements in there, and making-thinking- institutional member of the National this and other publications do not constitute Association of Schools of Art and Design a contract. playing with them for a while.” (nasad.arts-accredit.org). —Todd Hainline (MFA 2017)

26 MFA ART PRACTICE School of Visual Arts

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