MFA 2013 All Art ADMISSIONS freak-out forum!!!!!!!!

[Josholas]

Okay, so I've finally finished my website! (Mostly...haha)

http://www.joshuahaleart.com

All feedback (positive and negative) is definitely accepted. If, as many of you have suggested, I should consider applying to some more "prestigious" programs (in order have any hope of attaining a future teaching job with the degree), I would especially love any feedback regarding which schools/programs I should consider applying to.

Thanks for any feedback you can give!

[AmandaBR]

Any suggestions on portfolios?

For campus visits, are people taking traditional portfolios of matted work?

And for submission portfolios, are you submitting 15-20 works from a single series or from several bodies of work?

Also, if applying to a program that stresses its interdisciplinary approach, how important is it to have work in your portfolio that crosses disciplinary boundaries? I have done some experimental work that blurs those lines, but my larger series are pretty much straight photo.

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Any suggestions on portfolios?

For campus visits, are people taking traditional portfolios of matted work?

And for submission portfolios, are you submitting 15-20 works from a single series or from several bodies of work?

Also, if applying to a program that stresses its interdisciplinary approach, how important is it to have work in your portfolio that crosses disciplinary boundaries? I have done some experimental work that blurs those lines, but my larger series are pretty much straight photo.

I'm fairly new to this game, but I haven't heard of anybody touting around a hardcopy portfolio in some time. But considering you're a photographer, I doubt it would hurt your chances.

My portfolio shows a transition from the earlier work to where I am now. I don't necessarily paint in series, but the work shows consistency in content and execution (which I think bears more weight).

It probably depends largely on the program, but I personally wouldn't try to stick too much interdisciplinary work into my packet. Being a painter who works pretty traditionally, it would appear erratic if I tried tacking a bust onto the end of my slides. Now if your work revolves around the interactions between media then by all means include it.

[alihhammond]

Researching schools for an MFA sculpture degree. I'm in SC so anything out of state needs to offer stipends and excellent financial aid funding/tuition.

Schools considered:

Clemson University

Winthrop University

UCLA

Univ. of Tenn. Knoxville

Univ. of Colorado- Boulder

Univ. of NC Chapel Hill

ANY ADVICE ON SCHOOLS WOULD BE GREATLY APPRECIATED!!!

[inkhouse]

Consider University of Georgia for sculpture. 3 year program, good funding, highly ranked MFA program and up to two years teaching experience.

http://art.uga.edu/index.php?pt=1&id=116

http://www.facebook.com/pages/Sculpture-Program-The-University-of-Georgia/203283046349553

http://art.uga.edu/index.php?cat=53&nav=2

Researching schools for an MFA sculpture degree. I'm in SC so anything out of state needs to offer stipends and excellent financial aid funding/tuition.

Schools considered:

Clemson University

Winthrop University

UCLA

Univ. of Tenn. Knoxville

Univ. of Colorado- Boulder

Univ. of NC Chapel Hill

ANY ADVICE ON SCHOOLS WOULD BE GREATLY APPRECIATED!!!

[TheStranger]

Okay, so I've finally finished my website! (Mostly...haha)

http://www.joshuahaleart.com

All feedback (positive and negative) is definitely accepted. If, as many of you have suggested, I should consider applying to some more "prestigious" programs (in order have any hope of attaining a future teaching job with the degree), I would especially love any feedback regarding which schools/programs I should consider applying to.

Thanks for any feedback you can give!

As a critique, I would say there are a few things to consider about your works. The most noticeable thing about your works as a series is the way you make the paint's physicality present. While it can be beautiful and honest to show the physicality of paint, the paint drips and roughly textured backgrounds don't seem to add anything to the work and it makes me wonder why it is there.

I would look at paintings by Jenny Saville --- the physicality of her paint has a true purpose. It weaves in and out of the figure, exposing the physicality of the body while also showing the physicality of paint. There is movement, energy, and purpose.

I think your painting,"Protection" is a standout in your portfolio while I think your paintings that deal with stark nature/technology imagery are your weakest. I feel "Brave," which is the only image that has a portrait, is the most out of place in your portfolio. I also feel your portfolio generally matures as it progresses in chronological order.

[Josholas]

As a critique, I would say there are a few things to consider about your works. The most noticeable thing about your works as a series is the way you make the paint's physicality present. While it can be beautiful and honest to show the physicality of paint, the paint drips and roughly textured backgrounds don't seem to add anything to the work and it makes me wonder why it is there.

I would look at paintings by Jenny Saville --- the physicality of her paint has a true purpose. It weaves in and out of the figure, exposing the physicality of the body while also showing the physicality of paint. There is movement, energy, and purpose.

I think your painting,"Protection" is a standout in your portfolio while I think your paintings that deal with stark nature/technology imagery are your weakest. I feel "Brave," which is the only image that has a portrait, is the most out of place in your portfolio. I also feel your portfolio generally matures as it progresses in chronological order.

Thanks for your feedback, TheStranger! And thanks for the heads-up about Jenny Saville, especially regarding the purposeful use of the physicality of the paint. My next paintings will likely explore ways of combining the positives of my earlier work (like "Protection") with the positives of the more recent nature/technology paintings (like "Apple Tree"). Once again, thanks for your feedback!

[Onedayx3]

I used to be all about figurative painting & drawing myself. This was merely couple years ago when I was ready to apply to an MFA program with traditional oil paintings and charcoal drawings. I've always loved the figure and when you're rather proficient in depicting the figure, it is easy to stay with it --- especially when people strongly support you to keep going with it. However, there comes a time when an artist has to make a choice. It's an matter of evolving for some. I am not saying people should stop painting the figure in a traditional manner. People will always find interest and love for it. However, I do think it is the responsibility of the artist to make a conscious choice whether they want to push the evolution of art forward or not. Does the artist want to grow for themselves or grow for themselves and the history of art and contemporary society? While I still like figurative paintings, ever since I made the change, I see figurative painting differently.

All this being said, it all comes down to personal choice. You can paint figures and do it well and get even better. But for who? For yourself until you are no longer challenged or excited. You will have followers who love what you do. But in terms of art history, where do you stand? In terms of pushing the envelope and moving art forward into new exciting angles? I have the same problems with 'boring' abstract art but that is my personal opinion. I think art needs to address reality, society and history. Otherwise I think you pan handle to the white gallery walls to make your work seem to matter more than it really does.

You said you are wondering if you should apply soon after being rejected. I have been planning on applying for the past three consecutive years. Every year I tell myself I can do better. Every year I am glad I waited. Grad school is not something to apply to because it's the next step. It should be applied to when you feel mature about the direction your at is going.

I can agree here as well. I have an entire portfolio of work involving the human form in some way or another. Those folks with no art background will always encourage your figurative work- it's what they can relate to and appreciate. However, unless your approach to the figure is completrely new and unique, most art buffs are going to see figurative work as uninteresting, or even irritating. The most helpful thing to me in getting past the anti-figure sentiment I experienced as an undergrad was the ranting of my sixty something year old profesor. He said that as artists we had the power to experiment and invent new things. Unlike a chemist our tools are not viles, but paint and brushes (or video, or whatever). As I grew, I saw the figure as limiting, instead of exciting. In my frenzy to add 12 new paintings to my portfolio in 2 months...I've found nothing new I've done is anything like my figurative work. It's completely different, yet very much "me" in style and has opportunities to grow and evolve.

[lady rainicorn]

In response to the above mentioned topic of traditional figure painting, I'm sharing a passage from "Art and Fear, observations on the perils (and rewards) of artmaking," by David Bayles and Ted Orland. I too am a recovering figure painter who was interested in traditional technique, hehe.

"...artists who need ongoing reassurance that they're on the right track routinely seek out challenges that offer the clear goals and measurable feedback -- which is to say, technical challenges. The underlying problem with this is not that the pursuit of technical excellence is wrong, exactly, but simply making it the primary goal puts the cart before the horse...To the viewer, who has little emotional investment in how the work gets done, art made primarily to display technical virtuosity is often beautiful, striking, elegant...and vacant... Compared to other challenges, the ultimate shortcoming of technical problems is not that they're hard, but that they're easy... It's easier to paint in the angel's feet to another's masterwork than to discover where the angels live within yourself."

This passage doesn't pertain specifically to just figure painting, but I think it addresses a similar hang-up.

[TheStranger]

CAT_2001 and lady rainicorn:

It's true. Art students often think learning the technical skill is harder but it is the opposite. Learning skills passed down since thousands of years ago is not the real challenge--that is just copying and emulating until you achieve the same thing someone already achieved a long time ago. I also will still echo that I feel the same towards boring abstract art which is not as old but is just as tired.

Art will never be the same thing it was all those lifetimes ago and it shouldn't. People think holding on makes them strong but sometimes it is letting go. Innovate.

That being said, to each his own.

[lady rainicorn]

However, I'll also add, that this doesn't mean that I don't believe in a good drawing foundation for all artists. For those who didn't see last year's De Kooning retrospective at the MoMA, at the beginning of the installation there were examples of De Koonings early works which were made when he was training at Rotterdam’s Academy of Fine Arts and Applied Sciences. “Still Life (Bowl, Pitcher and Jug)" (c. 1921) was a shining example of De Kooning's academic drawing ability, taking approximately 600 hours to complete. I didn't record the exact quote while I was there, but to paraphrase, De Kooning claimed that it was because of his classical training, he was allowed to produce everything else that followed.

[TheStranger]

^ You need to know the rules before you break them.

[leee]

It seems to be more of a reinvention of the rule to me.

[ten-of-swords]

Hey everyone! Back again, applying! This will actually be round 3 for me (round one: got accepted to Cranbrook, couldn't afford it, round two: got accepted to SMFA, didn't like it).

So far I am considering for an MFA in painting/visual arts/whatever they call it:

Yale

SAIC

Rutgers

VCU

University of Michigan

Ohio State University

University of Minnesota Twin Cities

University of Chicago

Hunter

But I'm not done researching, so some of those may leave, new ones may be added on.

My website is here, critique/comment if you'd like.

Ready to start this crazy adventure once again!

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What's the consensus on having non-artists write recommendations? I have a certain English PhD interested in writing for me and I think their writing skills would greatly illuminate my art.

[lady rainicorn]

wm000 ~

Recommendations don't necessarily have to be from artists. For instance Columbia specifies, "Recommenders can be undergraduate, graduate, or professional contacts; they should be people who can speak to your creative ability and potential," while SAIC states, "You are responsible for securing letters of recommendation from persons who are qualified to write about your potential for success at SAIC."

With that said, I don't think that all artists are necessarily capable of writing a decent recommendation letter nor that all good writers know how to write about art. I think if the reference can communicate well how he/she is familiar with your work, your creative potential, and how you as a person would contribute to a program, then there shouldn't be a problem. If your relationship to this person is within a professional or academic realm, even better. However if this person is an amazing writer, but is really unfamiliar with the visual arts, I would definitely be weary.

Also, I think reference letters are less about "illuminating" your art and more about discussing the person behind the art. Your images should stand alone to a degree, since that is generally the first admissions cut, blind to your statement, CV, and reference letters. I've talked to people who have sat on admissions committees, and a lot of people don't get past 2 or 3 slides. So if you do get through the first cut, your images have done their job. The committee then wants to see how you would contribute to the dynamic of their potential incoming class, and this is where the reference letters come in.

In the end, use your own discretion. Good luck!

[michaelwebster]

lady ranicorn is spot on.

[add001]

MFA Photography here

Applying

U North Texas

U Houston

UC Boulder

UCLA

UC Irvine

ASU

Still deciding on if I am going to apply else where.

[gottagetin]

Help! I am looking to apply to MFA in Sculpture or Painting or Photography

I have been a working photog since 1989 (!) but I would love to teach at college level, which is why I am seeking an MFA.

I have been rejected from a bunch of NY schools for MFA photography for the past 2 years -- schools don't like photojournalism!

So, I need advice

• I am willing to go anywhere in the US, as long as I can TA, and I can get in for one of the above concentrations.
  
• I need to get in for 2013! I am a non-traditional grad student, as I am older.
  
• And, not toooo expensive.
  

ANY ADVICE would be appreciated!!

Thank you thank you.

[michaelwebster]

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.

[gottagetin]

@michaelwebster: point taken

What about applying for Sculpture instead?

I don't have professional exp in sculpture, but have taken some classes and have some work...any programs that might be easier to get into?

[Tomislav]

Yes you can apply for sculpture, you dont need professional experience as long as your portfolio is outstanding then would be easy

[michaelwebster]

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.

[TheStranger]

10 Pieces of Advice for Artists From Jerry Saltz’s Keynote Speech at Expo Chicago

1. Go to an art school that doesn't cost too much. Those who go to Yale and Columbia might get a nine-month career bump right after graduation, but you’ll all be back on the same level in a year, and you won’t be in as much debt.

2. Envy will eat you alive.

3. Stay up late with each other after all the professors go to sleep. Support one another.

4. You can’t think your way through an art problem. As John Cage said, “Work comes from work.”

5. Follow your obsessions. If you love the Cubs that much, maybe they need to be in your work.

6. Don’t take other people’s ideas of skill. Do brain surgery with an axe.

7. Don’t define success by money, but by time.

8. Do not let rejection define you.

9. Don’t worry about getting enough sleep. Worry about your work.

10. Be delusional. It’s okay to tell yourself you’re a genius sometimes.

[aethiryn]

I have been staring at my portfolio all day thinking what a mess and disconnected it is. Thanks TheStranger, that was a great boost of confidence.