2014 MFA Applicants: Share your work and statement!

[agrobaby]

I'm applying for sculpture (I also do performance).

My new body of work needs to be finished and photographed, but my statement is current.

 

trobinette.com

 

 

[dollsneerpiece]

No statement yet, and putting together a new body of work this fall. deseraestage.com

[natatat]

I am applying to a few schools for painting/painting and drawing/visual arts… whatever the school calls it. I will be graduating in December with a BFA in painting. Any suggestions of schools you think might suit me will be much appreciated.

 

Here's my list in no specific order:

 

Hunter

Yale

SVA

Columbia

SAIC

UCLA

RISD

USC

University of Washington 

 

http://www.natalieescobar.com

Edited July 24, 2013 by natatat

[agrobaby]

Check out VCU as well!

 

I am applying to a few schools for painting/painting and drawing/visual arts… whatever the school calls it. I will be graduating in December with a BFA in painting. Any suggestions of schools you think might suit me will be much appreciated.

 

Here's my list in no specific order:

 

Hunter

Yale

SVA

Columbia

SAIC

UCLA

RISD

USC

University of Washington 

 

http://www.natalieescobar.com

[01010101010101101010101010]

Hi agrobaby,

 

Thanks so much for the insight. Yikes; I didn't realize it was that obvious that I missed art school! I'm just now getting around to using experimental materials, pushing the idea of painting, and considering a more contemporary approach. I chose my list because I like a lot of the work I see coming from those schools, and am ready to be pushed in new directions. Ideas are cookin', but I need to work them out in the studio:) Seriously, thank you! 

 

I'm quite impressed with your work, specifically Minor Devastation and Adit. These signify to me abstraction done correctly. I want to keep searching them for known objects but they are evasive, almost mirage-like. I am not an art historian but these paintings feel new to me, like something I can't recall from history. There's a disconnectedness or an implacable nature in them, like an unreliable memory obscured by time. 

You say you missed art school but I don't feel that way whatsoever. 

Also, the figure drawings are excellent but I'm not sure how relevant they are to the other work. 

[tincanevening]

Wow, thanks so much for the encouragement! That's definitely what I'm going for, and what I'm interested in. I'm working on my statement, and your words make me feel like I'm on the right track. 

 

This whole process is making me painfully insecure, and I've barely begun:)

 

I draw from the figure every week for fun and exercise. Is it worth including one or two with an application, or is it totally taboo? Anyone?

[agrobaby]

Hi agrobaby,

 

Thanks so much for the insight. Yikes, I didn't realize it was that obvious that I missed art school! I have been dealing mostly with spacial relationships, and I'm just now getting around to using experimental materials, pushing the idea of painting, and considering a more contemporary approach. I chose my list because I like a lot of the work I see coming from those schools, and am ready to be pushed. Ideas are cookin', but I need to work them out in the studio:) Seriously, thank you! 

 

Don't feel alarmed! We are all in the same boat! All of us are insecure about the next step, and the rejections that will inevitably come in our careers, whether we are showing it or not!

 

Your figure studies, while academic, are really well done- I know many programs highly value good drawing skills. Maybe do a series that more closely tie into the work you are making. Draw spaces or objects, and treat them with the same care as you would a body. Check out Tyler, too. 

[tincanevening]

Thanks! Rejection is definitely part of the deal, but we all know it's worth it.

 

Good call on drawing objects or spaces that tie into my interests, treating them in the same way. I've done the figures just to feed my other work and because I value drawing too, but I don't want to do figurative work. It's funny; I didn't think of myself as especially traditional, but that's why I'm on here, for feedback! I need to figure out if I should push that, do a 180, or both. 

 

Good luck!

[agrobaby]

Thanks! Rejection is definitely part of the deal, but we all know it's worth it.

 

Good call on drawing objects or spaces that tie into my interests, treating them in the same way. I've done the figures just to feed my other work and because I value drawing too, but I don't want to do figurative work. It's funny; I didn't think of myself as especially traditional, but that's why I'm on here, for feedback! I need to figure out if I should push that, do a 180, or both. 

 

Good luck!

 

I don't think you should change your work to fit some school's general aesthetic. Keep pushing hard, and look at a lot of contemporary art (new american paintings can give you an idea of what is happening in different regions). I don't think I would include the figure drawings in the portfolio, but I would include drawings. Sometimes writing about your own work helps to define what you are trying to achieve, where you fall short, and where you want to go with the work. I rework my artist statement every month, and have for the last 3 years, as my work, material handling, and specific interests evolve. It has really helped my practice. 

[douchamp]

Since your work seems to be investigating more traditional art problems (figure, space, etc.) maybe you should check out Boston Museum School, New York Studio School, or PAFA!

 

I actually have a bit of familiarity with Pafa. I did the after school program for a year way back in high school which was taught by grad students and the head of the painting program. I have at least a dozen good friends who go there for all sorts of programs and I've seen 3 end of year shows (the last one I saw a month ago). The impression I've gotten from these experiences is that Pafa is a great place to learn technical instruction but it isn't as theoretical or experimental as it could be.

 

From the conversations I've had with grad students over the years a common complaint is that Pafas faculty devote more time to undergrads than graduate students. Pafa and NYS school are also heavily observational painting schools. While that's not in of itself, it can be limiting as the practice of painting at Pafa typically revolves around placing objects in front of you or painting in en plein air. I know pafa doesn't really stress formal invention. I can't say about Boston Museum school.

 

What do you think of Indiana University? Painters like Sangram Majumdar graduated from there and its a bit more open to variety.

 

 

I'm quite impressed with your work, specifically Minor Devastation and Adit. These signify to me abstraction done correctly. I want to keep searching them for known objects but they are evasive, almost mirage-like. There's a disconnectedness or an implacable nature in them, like an unreliable memory obscured by time. 

You say you missed art school but I don't feel that way whatsoever. 

Also, the figure drawings are excellent but I'm not sure how relevant they are to the other work.  

I draw from the figure every week for fun and exercise. Is it worth including one or two with an application, or is it totally taboo? Anyone?

 

I agree with wm000 completely except for his point on how relevant the figure is to your practice. I think the abstract work is where you shine. The figure drawings are good, however  I agree with wm000 that it would be better if you didn't include them. I read the figure drawings as preliminary work to the abstract paintings you create. It's well done but I see at least the same level of technique evidenced in your other work. Also, it is taboo at some places (mostly conceptual art schools).

 

Your abstract work has a dreamlike quality that really speaks to me in terms of the relationship between dreams and memories. Whether consciously or unconsciously, when you wrestle with the figure it seems like you take that experience with you to your other work. It's like your attempting to resolve your experience with the figure in those abstract pieces. Gestures appear, disappear then reappear. Contour lines recall the planes of human anatomy. But there's enough looseness and improvisation to keep things ambiguous when it needs to be. I wouldn't say your work is about the human figure per se but the formal components that allow you to represent figures. 

[kafralal]

Tincanevening, I think that agrobaby gave excellent advice about spending time writing (and re-writing) about your work. I understand that for the sake of the forum you are being brief by saying: "I have been dealing mostly with spacial relationships, and I'm just now getting around to using experimental materials, pushing the idea of painting, and considering a more contemporary approach" but you'll need to be more specific about what 'pushing the idea of painting, and considering a more contemporary approach' means to you, and whatever else about painting is important to you.

[tincanevening]

You guys are all awesome. I feel isolated down here in Florida, and this conversation is helping so much!

 

The figures are indeed just exercises, so I think you're right on about not including them with an application. Douchamp- they do feed into my other work, naturally! I am aware of it but it's not exactly intentional, if that makes sense. I just can't avoid the influence, and don't mind it either.

 

And wow, I'm so glad the relationship to dreams and memory is apparent! That's a lot of what my work is about, and what inspired me as an artist in the first place. I actually just rewrote my statement last week. You're right agrobaby and kafralal, it absolutely helps!

 

Here's what I have, and please oh please let me know if any lines ring true (or not), what it is lacking, etc. 

 

Confrontation, collision, and connection with the power of the unseen feeds me, presenting a path to accept and embrace the paradox that shapes experience. In my work, I find myself searching for clues of resurrection on the tense line between desperation and delight. I am interested emergence, alienation, and entanglement in the worlds within worlds that surround me. Pulling from observation, invention, dreams, and memory, I aim to create images that are generous but elusive. The mirage separating me from my environment is steadily dissolving, and this is the territory I explore.

Thanks for the advice on PAFA and NYSS as well. I'm more interested in a school that is less technically focused. Although I know I could continue to work on drawing skills, I'm more interested in concepts and want to push myself in that direction. I don't want to change my work to fit a school's aesthetic perse, but I do want to be relevant and contemporary, or at least show that I am aware of what's going on. And become aware. I just got my subscription to New American Paintings (finally), and it's a valuable resource.

Edited July 30, 2013 by tincanevening

[20koosya13]

Hey everyone, I've been out of the US for two years teaching English, painting the whole time, but haven't had much access to good, honest criticism...save for my friends from home and occasionally my professors from undergrad. I'll be applying to schools as soon as I get back to the US this winter (the first deadline is January 1...eek), and would love some good, honest, helpful feedback on my work. My portfolio is here: 

•  
• http://be.net/colleensmith

 

Schools that I will most definitely be applying to include:

 

NYAA

Missouri U

LCAD

Rutgers

 

...the list is still in the works. Thanks!

[kafralal]

 

Confrontation, collision, and connection with the power of the unseen feeds me, presenting a path to accept and embrace the paradox that shapes experience. In my work, I find myself searching for clues of resurrection on the tense line between desperation and delight. I am interested emergence, alienation, and entanglement in the worlds within worlds that surround me. Pulling from observation, invention, dreams, and memory, I aim to create images that are generous but elusive. The mirage separating me from my environment is steadily dissolving, and this is the territory I explore.

Thanks for the advice on PAFA and NYSS as well. I'm more interested in a school that is less technically focused. Although I know I could continue to work on drawing skills, I'm more interested in concepts and want to push myself in that direction. I don't want to change my work to fit a school's aesthetic perse, but I do want to be relevant and contemporary, or at least show that I am aware of what's going on. And become aware. I just got my subscription to New American Paintings (finally), and it's a valuable resource.

 

IMO this is still pretty vague. It leaves me wondering why I should care. What does any of this have to do with anyone outside of yourself? Please don't misunderstand, I am not trying to be dismissive, I just think that your statement needs to indicate a concrete engagement with something external to your own experience. Also missing is evidence of an awareness of contemporary painting.

[agrobaby]

Yay! Statement critiques! 

I will throw a segment of mine in here for the mix. Would love to hear feedback.

For visual reference, or an expanded version, see trobinette.com, though my new body of sculptural work isn't photographed yet, though there are sketches posted.

 

 

               My current work investigates a compulsive too-much-ness, a maximalization, as I create combinations of hyper-sexed engorged forms. My sculptural work is born out of excess, of bourgeois sensibility, and a perversion of good taste. I consider the fantasy of the sublime in my work, constantly seeking to heighten the clash of beauty and the grotesque.

 

                Both seductive and aggressive, the forms replicate like genetic abnormalities, cancerous cells, and become futile pop culture cadavers.  They are mid-transformation; dangling in a liminal state, suggesting the final metamorphosis will be post-human. They assert that manufactured degradation is the conclusion of consumption.

 

                 My own physical body is key to my work, both in sculpture and performance. The forms reference my size and shape, my appetite, genitalia, and my excrement. The horror of mutation is created using sensuous fabrics, as replicating structures emerge and are perversely disturbed. The fabric operates as skin; following patterns based on the body, both internal and external, and are stuffed, distending the forms.

[tincanevening]

IMO this is still pretty vague. It leaves me wondering why I should care. What does any of this have to do with anyone outside of yourself? Please don't misunderstand, I am not trying to be dismissive, I just think that your statement needs to indicate a concrete engagement with something external to your own experience. Also missing is evidence of an awareness of contemporary painting.

 

Thanks, kafralal! You're right, it doesn't sound to be relevant to anyone outside of myself. I'm still not sure that my work IS relevant to anyone else. I've been thinking about this a lot. I'm completely obsessed with my own experience, but truly value connection. I actively look at what's going on in contemporary painting, but haven't figured out exactly how I fit in, or how to phrase it if I do. I'll work on this! 

[tincanevening]

Yay! Statement critiques! 

I will throw a segment of mine in here for the mix. Would love to hear feedback.

For visual reference, or an expanded version, see trobinette.com, though my new body of sculptural work isn't photographed yet, though there are sketches posted.

 

 

               My current work investigates a compulsive too-much-ness, a maximalization, as I create combinations of hyper-sexed engorged forms. My sculptural work is born out of excess, of bourgeois sensibility, and a perversion of good taste. I consider the fantasy of the sublime in my work, constantly seeking to heighten the clash of beauty and the grotesque.

 

                Both seductive and aggressive, the forms replicate like genetic abnormalities, cancerous cells, and become futile pop culture cadavers.  They are mid-transformation; dangling in a liminal state, suggesting the final metamorphosis will be post-human. They assert that manufactured degradation is the conclusion of consumption.

 

                 My own physical body is key to my work, both in sculpture and performance. The forms reference my size and shape, my appetite, genitalia, and my excrement. The horror of mutation is created using sensuous fabrics, as replicating structures emerge and are perversely disturbed. The fabric operates as skin; following patterns based on the body, both internal and external, and are stuffed, distending the forms.

I looked at your work before reading your statement, and it definitely resonates. The only thing that wasn't obvious to me about your work was the suggestion of the final metamorphosis as post-human. I'm into this idea too, but it's the only thing I wish I saw more of in the work. Everything else seems right on. I'm not saying to remove it from your statement, perhaps just wanting to see it exaggerated visually, as I find it interesting. 

[agrobaby]

I looked at your work before reading your statement, and it definitely resonates. The only thing that wasn't obvious to me about your work was the suggestion of the final metamorphosis as post-human. I'm into this idea too, but it's the only thing I wish I saw more of in the work. Everything else seems right on. I'm not saying to remove it from your statement, perhaps just wanting to see it exaggerated visually, as I find it interesting. 

 

 

I think because (particularly the new forms described in sketches, but actual sculptures won't be photographed for a few weeks) the works explore hybrid genitalia and animal/human/organism composite body forms, they do investigate a post-human body, though I agree that in the older works, that idea is not fully explored. 

[agrobaby]

You guys are all awesome. I feel isolated down here in Florida, and this conversation is helping so much!

 

The figures are indeed just exercises, so I think you're right on about not including them with an application. Douchamp- they do feed into my other work, naturally! I am aware of it but it's not exactly intentional, if that makes sense. I just can't avoid the influence, and don't mind it either.

 

And wow, I'm so glad the relationship to dreams and memory is apparent! That's a lot of what my work is about, and what inspired me as an artist in the first place. I actually just rewrote my statement last week. You're right agrobaby and kafralal, it absolutely helps!

 

Here's what I have, and please oh please let me know if any lines ring true (or not), what it is lacking, etc. 

 

Confrontation, collision, and connection with the power of the unseen feeds me, presenting a path to accept and embrace the paradox that shapes experience. In my work, I find myself searching for clues of resurrection on the tense line between desperation and delight. I am interested emergence, alienation, and entanglement in the worlds within worlds that surround me. Pulling from observation, invention, dreams, and memory, I aim to create images that are generous but elusive. The mirage separating me from my environment is steadily dissolving, and this is the territory I explore.

Thanks for the advice on PAFA and NYSS as well. I'm more interested in a school that is less technically focused. Although I know I could continue to work on drawing skills, I'm more interested in concepts and want to push myself in that direction. I don't want to change my work to fit a school's aesthetic perse, but I do want to be relevant and contemporary, or at least show that I am aware of what's going on. And become aware. I just got my subscription to New American Paintings (finally), and it's a valuable resource.

 

Your statement seems like you are playing a lot with the language itself, rather than the ideas behind it. Maybe pick one word or concept, and explore that fully in a couple paragraphs, analyzing how it relates to your work in very precise language.

[kwonberry]

Thanks, kafralal! You're right, it doesn't sound to be relevant to anyone outside of myself. I'm still not sure that my work IS relevant to anyone else. I've been thinking about this a lot. I'm completely obsessed with my own experience, but truly value connection. I actively look at what's going on in contemporary painting, but haven't figured out exactly how I fit in, or how to phrase it if I do. I'll work on this! 

 

"completely obsessed with my own experience," might be the most interesting bit (wink). Does relevance matter? I'd rather not over think that. Rather not overthink alot of insecurities you have relayed here and there in the thread Most of your statement refers to dichotomy and polar what-have-you's, but that needs a stance or specificity to have any interesting grounding otherwise it's a very blanket condition of anybody considering themselves artists. 

 

Your work, within Chanterelle, sketchbook doodles, and Minor Devastation are compelling. I wouldn't really include the figure works in an application portfolio as you even describe them as exercises. I get a mix of apocalypse ramshackle and romantic chaos that connects well within the first three units (yes the sketchs definitely tie together with your main bodies of work). Some title/dimension/medium/year info? Best to flesh those out over time then crunching it in January.

 

Your list of schools is nothing short of amazing (and most all are in the top percentile of selectivity), that said I hope your ready for cold if you get into a NE or Midwest based graduate program. Might as well toss in Rutgers as one of my old professors is an alum and has quite a reputation for painting. Same goes for Cranbrook and SAIC (no reason not to apply unless you hate chicago)

 

Not just for you but for anybody in this year's round of applications, really think about where you would like to live. Personally I didn't apply anywhere I didn't see myself locating and making a permanent residence (yale excluding as that transitions back to NYC for the most part). I can see quiet and wooded great for residency programs but I don't see the particular merits of a school that is pseudo-secluded. 

[kwonberry]

Yay! Statement critiques! 

I will throw a segment of mine in here for the mix. Would love to hear feedback.

For visual reference, or an expanded version, see trobinette.com, though my new body of sculptural work isn't photographed yet, though there are sketches posted.

 

 

               My current work investigates a compulsive too-much-ness, a maximalization, as I create combinations of hyper-sexed engorged forms. My sculptural work is born out of excess, of bourgeois sensibility, and a perversion of good taste. I consider the fantasy of the sublime in my work, constantly seeking to heighten the clash of beauty and the grotesque.

 

                Both seductive and aggressive, the forms replicate like genetic abnormalities, cancerous cells, and become futile pop culture cadavers.  They are mid-transformation; dangling in a liminal state, suggesting the final metamorphosis will be post-human. They assert that manufactured degradation is the conclusion of consumption.

 

                 My own physical body is key to my work, both in sculpture and performance. The forms reference my size and shape, my appetite, genitalia, and my excrement. The horror of mutation is created using sensuous fabrics, as replicating structures emerge and are perversely disturbed. The fabric operates as skin; following patterns based on the body, both internal and external, and are stuffed, distending the forms.

 

There's quite a bit of interesting material, but also some measure of bloat, to the detriment of the specific maximalism you discuss. I enjoy certain pastiche qualities, the confrontational twist of grotesque to femininity-cake-mold-land, though wish it had a certain more aggression rather than the sort of shock/awe effect. Going through the site I think there's something to be said about your bio "eldest of 9" that could lend a certain emotional or biographical quality to your statement. 

 

Artists who call themselves (or fall under against their will) 'feminist' is always a slippery slope of maintaining my interest unless theres a sense of what I consider 'balance.' Kathe Burkhart, Beverly Semmes, both artists who taught at my undergrad maintain a tight balance between their material delivery and specific statement they choose to make. Cindy Sherman's Society Portraits series was enjoyable because it was hard to tell where the masquerade and where the self deprecation was specifically, and that vagueness against the meticulous photography was compelling. Just some initial thoughts, I'll probably read this tomorrow when my brain is less sluggish and go 'wtf...'

[kafralal]

Thanks, kafralal! You're right, it doesn't sound to be relevant to anyone outside of myself. I'm still not sure that my work IS relevant to anyone else. I've been thinking about this a lot. I'm completely obsessed with my own experience, but truly value connection. I actively look at what's going on in contemporary painting, but haven't figured out exactly how I fit in, or how to phrase it if I do. I'll work on this! 

 

Keep in mind that what I said was about your statement, not your work! Your experience is obviously an important part of what you are doing. I agree with Kwonberry that things start to get interesting when you start to talk about being "completely obsessed."

[tincanevening]

I think because (particularly the new forms described in sketches, but actual sculptures won't be photographed for a few weeks) the works explore hybrid genitalia and animal/human/organism composite body forms, they do investigate a post-human body, though I agree that in the older works, that idea is not fully explored. 

I think this is an interesting and almost logical next step for your work to take! I'm excited to see what happens:)

[tincanevening]

"completely obsessed with my own experience," might be the most interesting bit (wink). Does relevance matter? I'd rather not over think that. Rather not overthink alot of insecurities you have relayed here and there in the thread Most of your statement refers to dichotomy and polar what-have-you's, but that needs a stance or specificity to have any interesting grounding otherwise it's a very blanket condition of anybody considering themselves artists. 

 

Your work, within Chanterelle, sketchbook doodles, and Minor Devastation are compelling. I wouldn't really include the figure works in an application portfolio as you even describe them as exercises. I get a mix of apocalypse ramshackle and romantic chaos that connects well within the first three units (yes the sketchs definitely tie together with your main bodies of work). Some title/dimension/medium/year info? Best to flesh those out over time then crunching it in January.

 

Your list of schools is nothing short of amazing (and most all are in the top percentile of selectivity), that said I hope your ready for cold if you get into a NE or Midwest based graduate program. Might as well toss in Rutgers as one of my old professors is an alum and has quite a reputation for painting. Same goes for Cranbrook and SAIC (no reason not to apply unless you hate chicago)

 

Not just for you but for anybody in this year's round of applications, really think about where you would like to live. Personally I didn't apply anywhere I didn't see myself locating and making a permanent residence (yale excluding as that transitions back to NYC for the most part). I can see quiet and wooded great for residency programs but I don't see the particular merits of a school that is pseudo-secluded. 

I jumped a little when I typed "completely obsessed", and found it quite interesting myself. You're both right about the vagueness of my statement so far. I just kind of tossed together a lot of words I like, but need to tie them closer to the work. I'll work on getting more specific and going into more depth! I have the titles, media all sorted out, though for some reason they don't always show up on my site.

 

I'll add Rutgers, Cranbrook, SAIC, and Indiana. I know this is a really competitive list, but you might as well aim high, right? I love seclusion, but I think you're right about going to a school closer to a city. 

[tincanevening]

Keep in mind that what I said was about your statement, not your work! Your experience is obviously an important part of what you are doing. I agree with Kwonberry that things start to get interesting when you start to talk about being "completely obsessed."

 

I took no offense, and it got my brain working. I'm with you, and found it very interesting to consider how much relevancy matters to me. And now I have this idea of obsession, which has always been there, to focus on. Thanks again!!