2013 Applicants: Post Your Work

[MissBM]

Hi guys, I am glad I found this forum! It has been great viewing a lot of your work. There is some great stuff out there.

I am artist from Australia who moved to the USA 1.5 years ago (I am a permanent resident). I graduated from with a BFA in 2007 (in Melbourne) and then my Honours in 2010 (in Australia this is a 4th year but it is more like a one year post-grad program, almost to the level of Masters but definitely not as in depth).

I have spent the last 5 years practicing professionally, mainly in Australia and have had solo and group exhibitions internationally as well as residencies in Europe, the US and Asia. I recently moved to LA and I love this city! I am wanting to build up a career and life for myself here. I really want to do my Masters next year, I am applying to Roski, UCLA, CalArts, Art Center College of Design, Otis and Claremont at this stage. They are all very difficult to get into and competitive (especially the first 3) but I figure that I can study for free in Australia so I should only do my Masters in the US if it is a very highly regarded course. Also I really want to study somewhere with a recognized faculity and a focus on contmeporary art, with new media programs and facilities.

But I am nervous about not being able to get in! Also I am worried that they will look at the extent of my professional activities negatively and think that maybe it is strange that I want to do Masters now. I really want the critical engagement and to be able to focus completely on the creation of work for the 2 years - rather than worrying about the career side of things. I also want to engage in a dialogue with peers, learn how to better write and speak about my work, develop my practice to a new level, figure out a deeper understnading of what my work is 'about' and build up a community in Los Angeles.

I would love for you to check out my work: http://www.bonnielane.net/bio.html

Thank you for taking the time to look!

[losemygrip]

Hey guys, I could really use your input. I graduated in 2004 (BA Studio Art, focus on printmaking) and have spent most of my time since then just trying to support myself and get by. I worked in an animal shelter for most of that time. Only the past year have I been able to really start doing art again, primarily printmaking. I applied in 2010 for two grad schools and didn't get into either, but it wasn't surprising since my portfolio was very scattered and my statement was terrible. I have developed a lot the past year, however I continue to have terrible angst about my work... The whole "Is it art?" thing turned on its head (so funny, in a despairing way, to think of it that way). There is concept behind my work, of course, but I'm not confident that it's obvious from just looking at it, without having a statement to go with it.

I am planning to apply for printmaking programs. I don't have a website yet, but I've uploaded some of my images here. I have a few new prints and paintings I haven't taken pictures of yet, but they are in line with this work (just better, I like to think )

I would greatly, extremely appreciate any comments. Thanks for looking: http://mothrasue.tumblr.com/

Like WC Fields said, "Never work with children and animals." It's hard to depict animals and not come off cutesy. The place where you succeed is the parrot piece with all the dates. That's very intriguing, and you don't get a sense that it's done because of a love of animals.

[losemygrip]

Oi, here we go. Applying for Drawing/Printmaking or Painting depending on the school.

www.daniel-morgan.com

Thinking of applying to:

Yale

Columbia

Hunter

Bard

Rutgers

UCLA

USC

You desperately need some fallback schools.

Since you seem determined to stay in the NYC area, how about Montclair State? I've seen excellent work coming from there. And in southern California, Cal State Fullerton or Long Beach.

[Emoree]

@losemygrip, it's funny you should say that because that type of old bias is a big part of why i'm working the way i am. i want to see more compassion in art, for people to have regard for creatures other than their own species (or themselves, depending on how far out their regard actually goes)-- for animals to not just be "objects" in art, like women once were (past tense perhaps still isn't appropriate?). I would like to work more conceptually, like the "Outliving Me" piece starts to do, but it's very hard to think of things that aren't trite or been done before (Sue Coe always comes to mind, not that I would ever do work as brutal as hers). that's a huge reason why I want to go to graduate school, to be pushed outside the box and have the resources to develop new skill sets to incorporate into my work (video, sound, whatever else).

anyone else have any thoughts on my work?

[michaelwebster]

Like WC Fields said, "Never work with children and animals." It's hard to depict animals and not come off cutesy. The place where you succeed is the parrot piece with all the dates. That's very intriguing, and you don't get a sense that it's done because of a love of animals.

I agree with Losemygrip. Plenty of people use compassion in their work, but illustration (like Coe) isn't the way to do it. The parrot piece works because it thoughtfully engages us, rather than just showing us an ambiguous image of people with a pet in a house. Keep pushing your limits, and don't feel obligated to use printmaking in every project.

Edited October 25, 2012 by michaelwebster

[michaelwebster]

MissBM, you shouldn't worry about being too expeienced for an MFA, its actually a huge benefit when you're graduating and applying for fellowships. Also, I believe you will not have a rough time getting in, I would expect you to get some good offers.

[MissBM]

Thank you Michael! I appreciate your help! That is really good to know. I just checked out your work and it looks very interesting... I ecpecially enjoyed 'Every Border Has A Width' and 'House Color Project'. Thank you.

[Emoree]

Thanks Michael and losemygrip. I'm going to be applying to Indiana University Bloomington (incredible printmaking facilities, this is where I want to go), Herron, and possibly DAAP. I visited IUB a few weeks ago and brought work with me (they asked me to) and they were very encouraging that I apply. Perhaps they say that to everyone, though. :/

[glittergrill]

Hey guys - any constructive feedback on my work would be great.

www.shannonpartrick.com

Applying to the following for MFA Photography:

Cal Arts

RISD

SAIC

Helsinki University of Art and Design (Finland)

[michaelwebster]

Hey guys - any constructive feedback on my work would be great.

www.shannonpartrick.com

Applying to the following for MFA Photography:

Cal Arts

RISD

SAIC

Helsinki University of Art and Design (Finland)

The photo Keeping it Together is sooo nice. The others in that series are nice as well, but some use a few too many overt symbolic icons for my taste. A few are a little too HDR in my opinion too.

[MissBM]

Hey guys - any constructive feedback on my work would be great.

www.shannonpartrick.com

Applying to the following for MFA Photography:

Cal Arts

RISD

SAIC

Helsinki University of Art and Design (Finland)

I agree 'Keeping it together' is beautiful. I would say probably the strongest work. I think your work shows great potential and I believe that is what they are often looking for in MFA students - someone who they can see developing/changing and someone who they can mentor - someone that has some interesting things going on already but has a lot of room to grow. I think that some of the photographs do risk being a little too symbolic or too similar to 'what contemporary photography is supposed to look like', if you understand what I mean? The more documentary style photos are similar to a very popular trend in photography in the 80's and 90's. I'm sure this would be something that would be brought up when you are doing an MFA. But you defintiely have the technical skills already so I believe they will value this when viewing your application. An MFA is more geared towards ideas rather than technique so if you have those skills already you will be able to focus on the conceptual side. I think you will most likely get into some good schools.

Good Luck!

[ylagandre]

Hey guys - any constructive feedback on my work would be great.

www.shannonpartrick.com

Applying to the following for MFA Photography:

Cal Arts

RISD

SAIC

Helsinki University of Art and Design (Finland)

I can't say that I care for the first two series very much; although, Last Thoughts Before Falling Asleep grabs me by the pure theatricality of it. It reminded me of Pina Bausch's film The Complaint of an Empress in terms of imagery, tone and vignette structure. On the other hand, I feel like the psychological construct of your work is lacking. There is no underlying dramaturgy to tie things together. I neither understand your motivations nor your obsessions, which is perhaps why (and please correct me if I'm wrong) michaelwebster has a problem with the "overt symbolic icons". The images show us a glint of genius but fall apart because we don't understand where the drama is coming from. You need to assert yourself as the director or the metteur en scène.

Keeping It Together is the strongest image; however, and I'm being severe in order to make a point about directing, the boats in the background don't match the nostalgic character I feel overall. Andrei Tarkovsky once cleared an entire meadow of it's spring blossoms because the cheerfulness of the flowers would have interrupted the desolation in the story. I'm curious as to how much shots you take during a shoot. Are you an economical photographer or do you shoot rolls and rolls?

I would also suggest picking one of the schools on your list as your top choice and dropping the rest in favor of some fallback schools. The programs you chose are very competitive and I think the risk of total disappointment is too high.

[glittergrill]

I can't say that I care for the first two series very much; although, Last Thoughts Before Falling Asleep grabs me by the pure theatricality of it. It reminded me of Pina Bausch's film The Complaint of an Empress in terms of imagery, tone and vignette structure. On the other hand, I feel like the psychological construct of your work is lacking. There is no underlying dramaturgy to tie things together. I neither understand your motivations nor your obsessions, which is perhaps why (and please correct me if I'm wrong) michaelwebster has a problem with the "overt symbolic icons". The images show us a glint of genius but fall apart because we don't understand where the drama is coming from. You need to assert yourself as the director or the metteur en scène.

Keeping It Together is the strongest image; however, and I'm being severe in order to make a point about directing, the boats in the background don't match the nostalgic character I feel overall. Andrei Tarkovsky once cleared an entire meadow of it's spring blossoms because the cheerfulness of the flowers would have interrupted the desolation in the story. I'm curious as to how much shots you take during a shoot. Are you an economical photographer or do you shoot rolls and rolls?

I would also suggest picking one of the schools on your list as your top choice and dropping the rest in favor of some fallback schools. The programs you chose are very competitive and I think the risk of total disappointment is too high.

Wow, thanks. This is some of the best feedback I've gotten in a while... and I'm excited to watch that film.

In response to your question on how many shots I take—only a few. Every time I take more than a few shots I find myself spending so much time trying to pick the "best one" (which just seems silly / time consuming). All of the images start out as sketches so when it's time to do the shoot I know exactly what I want and it only takes a minute to get it.

I know the schools I'm applying to are highly competitive, but if I'm going to pursue an MFA, those are the only schools I'm interested in. I know that absolute rejection is a high possibility but I'm willing to take that risk.

Thanks again for the feedback, I need to sit with it for a little while.

[bengston]

I just got an unsolicited e-mail from a professor at UPenn about attending their open house. It was partially personalized to me, but most of it was a pre-written spiel about the program there. I am assuming that the only way they found out about me and knew I was looking into applying to schools was through this website, and more specifically this thread.

Has anyone else gotten this e-mail? I don't know how seriously to take this.

Thanks

[ylagandre]

Wow, thanks. This is some of the best feedback I've gotten in a while... and I'm excited to watch that film.

In response to your question on how many shots I take—only a few. Every time I take more than a few shots I find myself spending so much time trying to pick the "best one" (which just seems silly / time consuming). All of the images start out as sketches so when it's time to do the shoot I know exactly what I want and it only takes a minute to get it.

I know the schools I'm applying to are highly competitive, but if I'm going to pursue an MFA, those are the only schools I'm interested in. I know that absolute rejection is a high possibility but I'm willing to take that risk.

Thanks again for the feedback, I need to sit with it for a little while.

It definitely shows that you only take a few shots. There isn't enough interaction going on between you and the subjects nor enough trial and error. Looking through contact sheets is time consuming but not silly. Annie Leibowitz once talked about how long it took her to learn to size up a contact sheet with a single glance—it took years of apprenticeship under another photographer. The more you shoot the better. One of the better photographers I know once described taking the perfect photograph as like making the perfect sandwich. You can make three sandwiches and never know anything better or make thirty sandwiches and fall upon that truly memorable sandwich. Once you find that best tasting sandwich you'll never be able to reproduce it, no matter how many more times you try, but you'll never taste it to begin with unless you set out to try.

I would suggest working without the sketches as their preconceived notions are tying you down. Play more and allow yourself to be more spontaneous. It is all a game of make believe is it not?

By the way, that particular Pina Bausch film in not readily available. Look out for the documentary by Wim Wenders or look at her theatre work on youtube instead.

[aethiryn]

*phew* here goes!

Sooo, here is my website.

http://jenaleeharmon.com/

I am working on my artist statement, and CV at the moment, so it's mostly just my work up there. Any feedback would be really appreciated. Everyone's work looks amazing!

[michaelwebster]

*phew* here goes!

Sooo, here is my website.

http://jenaleeharmon.com/

I am working on my artist statement, and CV at the moment, so it's mostly just my work up there. Any feedback would be really appreciated. Everyone's work looks amazing!

Apparently full body suits are in this year between you and Caitlingm. Its unusual that you have the Ana Mendieta-ish pieces, which seem very reserved, alongside the more comedic and Ryan Trecartin-ish bodies. I like both, but I am wondering if it might be distracting for some. The Attempt to Fill a Hole was hilarious. You are really sure you have to stay on the west coast?

[aethiryn]

Apparently full body suits are in this year between you and Caitlingm. Its unusual that you have the Ana Mendieta-ish pieces, which seem very reserved, alongside the more comedic and Ryan Trecartin-ish bodies. I like both, but I am wondering if it might be distracting for some. The Attempt to Fill a Hole was hilarious. You are really sure you have to stay on the west coast?

Thanks, I feel like I have two bodies of work and I'm trying to figure out a way how to blend them, if at all. I came from a photography background and I think the Ana Mendieta-ish pieces where at a point in time when I was discovering performance, and I added those pieces because when I look at my body of work I feel like it lacks...(in the words of Tim Gunn) "sophistication and luxury". I think my work is more humorous than reserved, so maybe I will have to eliminate those pieces. I've been working on soft sculpture pieces for the past yr, and I feel really strongly about working with a foreign, amorphic body. Do you feel like those two pieces feel out of place? I have been working with some of the costumes with green screen and placing them into virtual backgrounds, maybe those will work better with my portfolio. (btw I was super self-conscious once I saw caitlingms body suits, but alas great minds think alike!) I will post some of those soon. I really don't know where I would go on the east coast/elsewhere. I really want to get into school for free/as little of money as possible.

[michaelwebster]

Thanks, I feel like I have two bodies of work and I'm trying to figure out a way how to blend them, if at all. I came from a photography background and I think the Ana Mendieta-ish pieces where at a point in time when I was discovering performance, and I added those pieces because when I look at my body of work I feel like it lacks...(in the words of Tim Gunn) "sophistication and luxury". I think my work is more humorous than reserved, so maybe I will have to eliminate those pieces. I've been working on soft sculpture pieces for the past yr, and I feel really strongly about working with a foreign, amorphic body. Do you feel like those two pieces feel out of place? I have been working with some of the costumes with green screen and placing them into virtual backgrounds, maybe those will work better with my portfolio. (btw I was super self-conscious once I saw caitlingms body suits, but alas great minds think alike!) I will post some of those soon. I really don't know where I would go on the east coast/elsewhere. I really want to get into school for free/as little of money as possible.

I was just curious that you weren't applying to SAIC, since they are the school for performance, in the chance you get the free ride (each department has one free ride to give out). Also, you don't have to interview at SAIC in the performance dept, so the application is your only investment. I enjoy both sides of your work, so I don't really have set advice, but it may be tough to reconcile all of it in one application. I don't feel that those suits are ot of place, they fit kinda between the two types of work, maybe that is your bridge? Reminds me of Nick Cave.

[ylagandre]

I was just curious that you weren't applying to SAIC, since they are the school for performance, in the chance you get the free ride (each department has one free ride to give out). Also, you don't have to interview at SAIC in the performance dept, so the application is your only investment. I enjoy both sides of your work, so I don't really have set advice, but it may be tough to reconcile all of it in one application. I don't feel that those suits are ot of place, they fit kinda between the two types of work, maybe that is your bridge? Reminds me of Nick Cave.

Ditto about the suggestion to apply to SAIC's performance dept. and the resemblance to Nick Cave. It's not California and is potentially expensive but the work would really fit in there. There's really no replacement for faculty completely dedicated to your area of interest, no matter how interdisciplinary the alternatives are. I have a friend who graduated from that department and has nothing but good things to say about it. Plus, if you're into costumes, you can take seminars in the fibres dept. with Nick Cave himself! It's really a match made in heaven from where I'm standing.

[aethiryn]

Thank you so much for your feedback everyone! Also working with Nick Cave would be a dream.

So in terms of SAIC, you're both right, I wouldn't have anything to lose by applying, except the fee. I went to SFAI for my undergrad, and so at times it felt like SAIC was our sister school...except their grad program is definitely better than ours at this point. Maybe that's why I didn't initially consider it.

[emeliej]

Thank you so much for your feedback everyone! Also working with Nick Cave would be a dream.

So in terms of SAIC, you're both right, I wouldn't have anything to lose by applying, except the fee. I went to SFAI for my undergrad, and so at times it felt like SAIC was our sister school...except their grad program is definitely better than ours at this point. Maybe that's why I didn't initially consider it.

Just FYI- I got something in the mail from SAIC about a reduced app fee if you apply before Nov. 30. I think you have to submit the online application and fee by that date, however, you don't have to submit additional materials (portfolio, letters of rec) until the regular deadline.

[bengston]

You desperately need some fallback schools.

Since you seem determined to stay in the NYC area, how about Montclair State? I've seen excellent work coming from there. And in southern California, Cal State Fullerton or Long Beach.

I guess I am just having a hard time getting excited about applying to safety schools. I am not getting an MFA so that I can teach, but to have 2 years to work on my art exclusively in a community of students and professors that I am excited to work with. If I don't get in it will be a bummer, but I can always apply again. I have been able to get by in New York, have a studio, show my work a little, and meet other artists. I think I rather do that for another year and try applying again, then I can decide if I want to apply to more safety schools.

Edited October 28, 2012 by bengston

[ylagandre]

I for one would be excited to find a good fallback school. There are really solid MFA programs all over the place only I can't find something that fits. I'm looking for an MFA in film with the flexibility to do installation as well. I am decidedly a non narrative filmmaker so that rules out just about every film school except Bard, SFAI, CalArts and SAIC. I won't apply to Bard because it's low-residency. SAIC is my first choice and the easiest to get into with a 35% acceptance rate for the film program, which is great compared to their painting or sculpture departments. So my question for people is what other school could you think of where my work would fit in? Do I need a fallback school? Michaelwebster, I'm interested to know how you see this fitting in with the work you might have seen from that department.

https://vimeo.com/49641305

https://vimeo.com/49641304

Please excuse the audio/squashed image on The Gift. Someone just stole my hard drive with all my work on it so I can't fix it for the web (good thing I burned DVDs so I at least have something decent to submit to the schools).

Edited October 29, 2012 by ylagandre

[michaelwebster]

The department at SAIC is hard to pin down, since its film, video, and new media all placed together, but I could see you there. I don't know much about film programs, but if there aren't many you like then maybe your safety schools are strong in video and/or critical theory.