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The MFA in Art Writing program provides a broad spectrum of courses taught by experts in their respective disciplines. Coursework both informs and guides students toward their personal and professional goals in art criticism and its writing.

Degree candidates must successfully complete 60 credits, including all required courses. A residency of two academic years is required. In the final semester, each student completes a thesis, which must be reviewed and approved by the thesis committee and the department chair in order for the student to be eligible for degree conferral.


• Successful completion of 60 credits, including all required courses and the thesis project. Documentation of all thesis projects must be on file in the MFA Art Writing Department to be eligible for degree conferral. 

• Students are required to maintain a minimum grade point average of 3.0 (B) in order to remain in good academic standing.

 • A matriculation of two academic years. Students must complete their degree within four years, unless given an official extension by the provost.

Note: Departmental requirements are subject to change by the department chair if the chair deems that such change is warranted. 


First-Year Requirements

In addition to the required coures that follow, first-year art writing students must register for a minimum of two elective courses per semester.

ACG-5050 Bases of Criticism I
ACG-5080 Writing I
Electives (2)

ACG-5055 Bases of Criticism II
ACG-5085 Writing II
Electives (2)


Second-Year Requirements
In addition to the required courses that follow, second-year art writing students must register for a minimum of three elective courses in the fall semester.
ACG-6030 Writing III
Electives (3)
ACG-6050 Thesis Seminar
ACG-6060 Thesis
General Course Listing


ACG-5050 / ACG-5055
Bases of Criticism I and II
Fall and spring semesters: 4 credits per semester

Required of all first-year students, these courses will provide background to the history, theory and criticism offered through the elective courses. Foundational texts and other sources will create a base for further studies during the two-year program. These courses will also assist students in understanding the prominent theoretical positions of art criticism—past and present—and their sources. 

ACG-5080 / ACG-5085
Writing I and II
Fall and spring semesters: 4 credits per semester
Why are you here? What are you values, your ethics, your politics, your agendas, your limitations, your beliefs, your blind spots, your fears, your loves? These are big and changeable areas for investigation—people spend their entire lives tangling and untangling their answers. If these people are writers, they do it on the page. This is what it means to find your voice: to gain a singular authority and point of view. To discover the art of living, and the art through which you will communicate your aliveness to others. You will have weekly writing and reading assignments; the former will be workshopped.  

Writing III 
Fall semester: 4 credits
This course will lead to the writing of the thesis in the final semester of the program. Students will read examples from different styles of critical writing. Brief texts, in the nature of reviews of current exhibitions, will be assigned. As the process advances, students are encouraged to dig more deeply into ideas without ever losing sight of the value of clarity. Some students will choose to express themselves poetically and others analytically; the common goal will be clarity of expression. 

Thesis Seminar 
Spring semester: 4 credits
Students will begin thesis preparation by formulating the central ideas that will become the thesis, and will consider appropriate strategies for the research, form, presentation and distribution of their ideas. Thesis Seminar will give students the opportunity to meet as a group with a faculty member and discuss issues related to the development of their theses, and read portions of their work in class. Guest lecturers from various fields will discuss what is important about a thesis.

Spring semester: 8 credits
Each student will meet with his or her thesis advisor and work on a one-to-one basis throughout the semester. Meetings are used for the instructor to respond to drafts of the thesis and discuss its development. 


Late Modernism/Postmodernism: Critical Strategies
Fall semester: 4 credits
With the rise of postwar artistic movements, such as the New York School, critical writing in the United States attained a certain urgency. How do we define the radical new meanings of midcentury art? This course will consider the varied responses of Clement Greenberg, Harold Rosenberg, Meyer Schapiro and Leo Steinberg, among others, and how their essays and reviews either refined pre-existing formalist strategies or turned to philosophical models such as Marxism or existentialism. As their positions became increasingly entrenched in the late modernist period, a fallout ensued with the result that academically trained writers, such Rosalind Krauss, Douglas Crimp and Craig Owens, eventually questioned cornerstone beliefs in originality and the artist’s subjectivity. Others, such as Michael Fried, Philip Leider and William Rubin, remained devoted to formalist criteria. In a postmodern era where little or no critical consensus prevailed, a rich, diverse body of discourse emerged that will be examined in-depth through these and other key critics, such as Arthur C. Danto, bell hooks and Dave Hickey.

Writings by Filmmakers
Fall semester: 4 credits
This course will provide a historically wide-ranging and international survey of writings by filmmakers. Bringing together criticism, manifestos, poetry, autobiography and theoretical tracts, we will explore early Soviet cinema (Alexander Dovzhenko, Sergei Eisenstein, Dziga Vertov), the first European avant-garde (Germaine Dulac, Hans Richter), documentary and propaganda (John Grierson, Humphrey Jennings, Leni Riefenstahl), American experimental film (Stan Brakhage, Maya Deren, Jonas Mekas, Jack Smith), French New Wave filmmakers associated with Cahiers du Cinéma (Jean-Luc Godard, Jacques Rivette, Éric Rohmer), Japanese New Wave (Nagisa Oshima), and movements like Cinema Novo (Glauber Rocha), as well as poet-filmmakers (Forough Farrokhzad, Pier Paolo Pasolini), cinema and metaphysics (Robert Bresson, Nathaniel Dorsky), feminist cinema (Laura Mulvey), the essay film (Harun Farocki, Chris Marker), and the filmmaker-as-film-historian (Thom Andersen). Through a series of workshops, students will refine the way they discuss moving image art, considering how the writings of these auteurs have shaped their filmmaking and vice versa. 

The Oculus: The Light and the Circle
Fall semester: 4 credits
Sight has been the preferred and dominant sense in the history of aesthetic perception. Besides the critique of this domination, this course will delve into two particular qualities of the seeing experience: Light as the agent that stimulates the eye and the circle as the preferred geometric form of seeing objects. Through these two portals we will address theories of perspectivism, animism and vitalism. Our discussions will include politics of transparency (from satellite surveillance to micro-drones), cross-cultural conceptions of the “evil eye” phenomena, photosynthetic properties in nature, and the impact of darkness and shadows as immanently belonging to the sphere of light rather than being its opposites. To this end we will study contemporary artists that use light as their preferred medium, such as James Turrell, Olafur Eliasson, Ann Hamilton, and Christo and Jean-Claude. Furthermore, These studies will be coupled with the reflections of Paul Klee, Vasily Kandinsky, Giordano Bruno, William James and Baruch Spinoza on the physiology and metaphysics of the eye (and the circle). Our goals are to diagnose, politically and aesthetically, the present state of vision, and to unravel its necessity for a more expansive understanding of what constitutes space, creation and inspiration. Finally, we will try to define what “luminous writing” should look like in the sphere of art criticism. 

Against Interpretation
Fall semester: 4 credits
A subjective overview of strategies for resisting criticism, this course will look at the perennial efforts artists have undertaken to resist the authority, and the conventional formats, of criticism. From Dada, Fluxus, and conceptualism, to the Bruce High Quality Foundation and other collectives dedicated to rewriting art history’s curriculum (or pedagogical practice), usurping the critical role has been a recurrent motive. Because the subject is so broad, this course will be organized in part around examples of particular interest to the students who enroll. Susan Sontag’s essay will be one starting point; Sol LeWitt’s sentences and paragraphs on conceptual art will be another.

Graduate Student Conference
Fall semester: no credit
Each year a group of second-year students organize the Critical Information Symposium in early December. This course will provide the guidance and structure for the development and staging of this international symposium, which addresses the intersection of art, culture and technology. In September, we will attend the NY Art Book Fair and then meet weekly to determine panel development based on projects and speakers of interest. Student teams become responsible for the conceptualization and management of individual symposium panels. This course requires regular email interaction with panelists and members of the organizing committee. There will be a brief introductory meeting in June to develop the symposium’s theme.

Aesthetics and the Nature of Image
Spring semester: 4 credits
We will read classical and modern texts on aesthetics, tracing the passage from the Platonic notion of the artist as “demiurge” to the contemporary interest in “emergent” art—art whose very nature comes into being in the process of its production. Inquiry into the nature of image readily involves us in the study of the nature of “form.” Is form imposed on inchoate matter? Or does it rather derive therefrom? Are there fixed archetypes—physical, psychological, metaphysical, or mathematical—that dictate its possibilities? Does form flow organically from the material world? Is there an ontology of the image that can be drawn from our reflection on form? These and many other questions will concern us as we entertain texts from Plato, Aristotle, Plotinus, Goethe, Blake, Ruskin, Wittgenstein, Heidegger, Jung, Olson, Duncan, et al. Writing assignments will be tailored to individual interests and guided through personal conferences.

The Charismatic Image
Spring semester: 4 credits
What is charisma and how is it embedded in an image? In this course we will investigate the modalities of charisma, its power of attraction and repulsion, and its presumed necessity for aesthetic experience. We will try to define the role of charisma in different contexts of art and politics (from revolutionary activity to totalitarianism). In light of this, we will address themes of captivation, becoming, inspiration, violence, vision, prophecy, charm, temperament and mediation. Examples through which we will explore these concepts come from the visual arts, philosophy and the everyday. Assignments will consist of writing about one particular “charismatic image” chosen from any artistic medium (installation, painting, photography and performance, among others).


Read more about the curriculum requirements

The curriculum assists students in the development of both a professional engagement with the visual arts and a professional body of work. These objectives are achieved through training in and exposure to contemporary critical practices, and the simultaneous development of a solid foundation in cultural histories and philosophies, both ancient and modern. The second year concentrates on the refinement of critique and writing skills to enable each student to achieve a personal style of commentary.

Bases of Criticism I and II; Writing I, II and III; Thesis Seminar and Thesis are all required courses. The curriculum is also designed to accommodate specific areas of interest through the elective courses, which relate to major issues in contemporary art criticism. Students work with their academic advisor to create a course schedule that is tailored to their individual academic objectives.

In addition to the core faculty, the program includes visiting lecturers from around the world. These lecturers will both discuss the backgrounds of their traditions as they relate to creative expression and share their perspectives on the relationships between the artistic practices of their cultures and the global significance of these practices.

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