michaelwebster

I would just send them your portfolio, artist statement, and CV as a hint that you want them to talk about your artwork and other experience too. Don't worry about someone being in school or a PhD. I had someone who was in school for an MFA write for me because she is also a museum director. The thing that matters most is that they can vouch for your work ethic and personality, because that is what the school doesn't really get to see.

I know a bunch of US colleges are opening branches in Qatar and Abu Dhabi? Just kidding. I know East Carolina University has an excellent MFA metals program because I went there for undergrad (but not for metals). UNC has a good photo program, and they still have a color processor!

Its not that the figure is taboo, plenty of well-known painters use human imagery on a regular basis. Its the academic, naturalistic, classical, figure drawing 101 kind of work that is taboo...Because we have all seen it a million times. Marlene Dumas or Luc Tuymans are good examples of painters who use figures on a regular basis and in a way that is more complicated and insightful than the figure drawing 101 approach. If you have to use the Jerry Saltz quote, then add in a part about making it your own, because way too many people have an obsession with the figure to not appraoch it somewhat hesitantly and/or critically.

I agree wtih Losemygrip that the fruits/veggies are the weakest because everyone has seen the surface study with trope l'oeil object on top. I feel like it makes the good choices in the other works look less thoughtful. I think the strongest ones are the first one and the (Gerhard Richter picket fence) "Cathedral".

Their definition certainly fits the times, but the question is do we really need a grand, overarching name for a supposed movement that is all about non-fixed positions? Plenty of art historians don't even use post-modernism without scare quotes, so why do we need another name to add onto all the other names for the past decade of cultural production? If you are just asking about the defiition applying to the past 10-20 years of cultural production, then of course it is correct, but its by no means revelatory.

for sculpture programs there are two larger camps, the more design elements/modernist/"object in the round" type of programs and the expanded media (installation, impermanent objects, project-based, public intervention, performance) type of program. Of course its not cut and dry, but you need to first figure out what camp fits you best to narrow down your search.

my advice would be to not submit journalistic looking images for an MFA, getting a teaching job is 100x harder than getting into an MFA program, and you'll probably never get one with photojournalism.

If you don't want a post-bac just see if you can take the advanced undergrad classes. The ones that include critiques.

Community college classes probably won't challenge you as much as a post bac or second bachelor's could. What do you see as the benefit of an MFA if non-degree classes or residencies are a delay? MFA programs aren't usually worth it if youre looking for higher paying jobs, so why not get a post-bac, which is only a 1 year commitment, and see where it goes from there? Lastly, academic records don't really matter in regards to fellowships for MFA students, what really matters is portfolio and interview. Reading through past years of discussions here could give you an idea of the expectations for applicants. Also, if you're up to posting a link to your work up here, it could help. I was a little invovled with the photo dept while at school and so if you want feedback give me a PM.

You might have a chance at a some of the least prestigious schools, but why would you want an MFA when you have no professional experience? You will improve much more if you spend time showing your work, trying to do some residencies, and getting feedback from others artists before applying to an MFA program, because you will know what you actually want from an MFA program. Going now, if you could get in, wouldn't be time or money well spent. I would advise taking classes or getting a second bachelors at your nearest art dept, because you will get the feedback and awareness of art programs to know more about MFAs.

lady ranicorn is spot on.

I don't know much about strong photography schools that give a lot of money. Most of the higher ranked private art schools only have a couple (but sometimes big) scholarships. I would just look at tons of photo programs and see whose work you like, then try to find out if they have any money.

Usually its not required, but rarely do people get accepted if they didn't go to the in-person interview. The only exception is overseas applicants, they don't expect people to fly overseas for the interview.

It might be worth it. You definitely don't want to add work that would be sub-par to the rest of the portfolio, so details would be a better option.

aethiryn you're too nice and emeliej you should apply to tough schools and ones with big scholarships because you should get in nearly everywhere you apply.

Make sure that your friendly and energetic. Try to do as much research as you can into the programs before you arrive so you can ask more intelligent questions. A good question would be about the philosophy and direction of the program and how they see themselves growing over the next two years. Make sure not to say anything that could be considered offensive to the program. At one of my interviews a few years ago another interviewee asked about a social division between the 1st and 2nd year grad students; NOT a good question. Obviously you're not there to point out the flaws, just take mental note of them for yourself later. Most schools will let you go to crits after you've been accepted, but since almost anyone can visit, they want to protect the level of discourse in a crit from getting weird with someone who doesn't know what they are talking about.

If the school is larger then they will probably not know, but I don't think they would care if they found out.

I really like the pieces where you break the flatness of painting, so I vote keeping some kntting around.

Ten-of-swords I am surprised you didn't find a good fit last round. I would keep up the textile "paintings" mixed with the flat images (such as black magic GF), and maybe adventure further off the wall.

SAIC for sure.

Schools will not look at you seriously if you say you are a photojournalist. They may love the images, but they are looking for artists, not photojournalists. Do you have both portfolios online somehwere? I could give you some feedback if you would like. I am actually from NC too.

GPA doesn't really matter for MFA applicants as long as they believe you will work hard once your admitted. If they ask about it during the interview just show them how you changed. Its not likely that they will even notice at most programs.

Great!

I think your BFA show work is much stronger than the stuff under the work folder, which is newer?

photographers usually show images from 2 or 3 series in their portfolio.