losemygrip

Go for the money. I did, and have never regretted it.

I will tell you exactly what to do. You respond to this POI by saying, "Thank you so much for the information. I appreciate your time. At this time I already have a generous offer from another university. While I remain interested in your program, it probably doesn't make sense for me to bother your colleagues with phone calls or emails. Yours truly, etc." Something to that effect. You need to let them know that others want you. That will make them want you more. But it sounds as if you're going to School A anyhow, so who cares?

There are so many good candidates for this title that it's impossible to choose. I can give you, however, what I think are two wonderful models of scholarship and writing (in VERY different veins): David Bourdon's _Warhol_ and Mary Garrard's Gentilleschi book.

Good point.

I'm telling you, you never know when that verbal fluency will come in handy. I used it to calm down the staff in the Cabinet des dessins at the Louvre one time when I was running through drawings faster than they could re-file them. I knew just what to say to them to make clear my appreciation for their effort. Another time I made a huge impression on a visiting scholar by pointing out a punning reference in some documentary photos of the studios of Picasso. Probably wouldn't have known that with just a reading knowledge. And it's also true, as crossed notes, that you need to be using it in your research at the same time. Particularly in German, the formal written version is a god-awful nightmare, and the sooner you get used to it, the better.

I second that. For printmaking, it's probably better than any of the other of your remaining schools. So you're in good shape!

You know, the more I think about it, the nuttier this sounds. So much of the discipline today is web based and multimedia--motion graphics and all that stuff. It makes Yale sound VERY old fashioned.

Well, if they're specifying actual work (I think that's crazy, but whatever--everyone knows I'm no fan of Yale), then you should do it. I'd say if you're travelling just print things out small. Or you could do as I've seen some people do and have things printed and bound into a book, legal or ledger size. Be sure to design the book cover too, of course.

Temple has a very underrated art history program. They have some excellent faculty there. Good for you!

Well, graphic design applicants for faculty positions--who already HAVE MFAs--do everything with electronic files. Rather than a bulky portfolio, they might print out some images and bind them into a book. I've never once seen a large portfolio.

Cinnamon, Maine is not exactly "opening up your vision to schools outside Mass." if you ask me. If you can afford the drastic drop in income and are dissatisfied with your current career, then go ahead. But definitely do your research and cast a broad net.

Questions 1 and 2 will have to be posed to Yale (although in graphic design "bringing a portfolio" just means a jump drive and maybe a book, and if you think otherwise I don't know how you got the interview in the first place). Not everyone gets an interview. Note the posts in the "freak out forum." Many people received rejection emails from Yale yesterday. I don't know for sure, but my guess is that your chances are good for admission after the interview. Certainly much better than before!

What's your current income like? If you're managing 2 jobs, it doesn't sound as though it's where you want it. If your goal is to feel good about retirement in a financial sense, then skip the MFA. Chances are small that it would help your income significantly. On the other hand, if you want to feel good about retirement personally, then knowing you've had that extra education, plus the boost it give your art, might contribute to a productive, happy retirement. Only go get an MFA if 1) you want a college teaching credential, 2) you need studio space, or 3) you're feeling the need for some serious criticism and development of your artwork. On the other hand, if your hard work at 2 jobs has provided you some financial security, you're free to do as you please. One piece of advice: those low-residency programs are very expensive. If you're mobile, you'll be much better off just moving to a good program that's going to pay YOU for attending.

Rub it in, why don'tcha'? I can tell you it's really fun as a beginning graduate student to go to your first few conferences. I was lucky because my first one was funded by my MA program. At my first conference in 1985, there was a keynote speech by the conservators of the Sistine Ceiling restoration, which had recently begun. It was, I believe, the first public presentation of the images of the cleaned ceiling. Audible gasps, excited murmurs, stunned looks were in abundance. In general, though, the keynotes are a bore. The main reason to go is to see old friends and spend lots of time in the book exhibits. And see all the local art shows.

I've been to CAA every year since 1985, except for one. I'm o-o-o-l-d.

For Russian avant-garde/modern, try Rutgers and CUNY and OSU as a fallback. By the time you're in grad school, John Bowlt at USC will be retired, otherwise he'd be first on the list. Start your language study immediately if you have not already.

Brown, you have a great range of schools there. That should be a model for others in terms of picking a range of selectivity.

Listen, if you guys were offended or hurt just because someone referred to some artwork as "dismal," then maybe you better look for another field. And you're certainly not ready for grad school. You'll hear a lot worse there, and it will be said to your face about your own work. By the same token, the OP's subsequent rant was a bit of an overreaction as well, if you ask me.

And of course, it depends on the department. There are a good number of art historians with studio backgrounds, and they tend to be sympathetic and accommodating about studio interests. (I've also found them to be the art historians I gravitated towards, often not finding out until much later that they had studio backgrounds.) The reactions I noted were more prevalent at my MA institution than my PhD institution, for instance. I can tell you, however, when it comes to the academic job market, having some studio background is a big asset.

Well, I've had personal experience with ALL of those Texas schools. Believe me, you're better off at North Texas. Despite its high rankings in the various lists, the grad student work in UT shows that I saw was not as good as undergrad work at UNT. Could be different now, I suppose (but I kinda doubt it). There's definitely something to be said for mammoth art schools such as UNT and ASU. So much can go on at once.

To those of you hoping to maintain your studio practice in art history grad school: I came in with a BFA, thinking I'd like to continue making and exhibiting art. Ha! Didn't happen. Between being a TA, my courses, and a part-time job, studio work had to go. I'm sure everyone has different levels of commitment, but I had been a pretty serious artist as an undergrad, in lots of national juried shows. I just couldn't make it work. I also discovered that reactions among the art history faculty to my studio interests ranged from bemusement to snide dismissal. It was not encouraged, as it was viewed as merely a distraction to my "serious" art historical work. (Of course, they were fine with all my language study . . . ) YMMV

Good response. I think you're probably right. A lot of Renaissance scholars might have looked askance at my switching from modern to Renaissance, UNLESS I clearly had the tools (Italian and/or Latin, some other classes on the transcript that showed where the interest came from, maybe in literature or history). My MA experience was odd in that I just couldn't come up with a good thesis topic in modern. But I had done this research paper for a Renaissance class that I really loved: very provocative and original, and one of the faculty (not actually the one I wrote it for) found it intriguing and suggested it would make a good thesis. I ultimately decided that because contemporary art was still regarded with suspicion in art history circles (at least, back then--less so now), it would prove my art historical bona fides to do this Renaissance thesis, AND provide me with a strong secondary area. It all turned out to be true (although a lot of people at my PhD institution remained confused for a while). I think all of you guys should remain open to possibilities as you proceed through graduate school. Don't feel locked into anything. It can be hard to change, but very worth it. I know someone who switched from ancient Greek to 18-century French between his MA and PhD. He did it by taking multiple courses in 18th century French history, literature, and philosophy before apply to PhD programs. He's never regretted it.

I just want to say that this description of UCI matches EXACTLY everything I've heard about their program during my career. It wouldn't be something I'd be interested in. But I've met several really wonderful grads from that program.

Interesting in that you didn't list all the "usual suspects" as do most people on these forums. You're the first I've seen to mention North Texas and Houston, for instance. I think the discussion regarding school rankings that occurred subsequent to your original post above is useful. It goes back to my constant mantra of "apply to a range of schools." I think you did that pretty well, although you probably could have applied to one more place that was "more famous."

I did an MA and a PhD without any student loans and with very minimal family support (just some small loans at the very end). It's definitely possible. (And that took a lot longer than 3 years.) This is why I'm always telling people, "Apply to a range of schools." You want to get them to pay you to go to grad school. You're smart to apply to in-state schools, but many programs have out-of-state tuition waivers that are a nice scholarship for students. If the in-state tuition is quite low, that can be a better deal than staying in your home state. So you apply to very competitive, medium competitive, and less competitive, and then you take the best deal. I did it, and I've never regretted it. Places like Columbia will usually offer some kind of aid package so that few if any people actually pay the real tuition. Still expensive, though.