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MFA Fine Arts is a full-time, interdisciplinary graduate program in the practice of contemporary art. We offer six kinds of courses: Mentorship, Studio, Crit, Talks, Seminars and Workshops. The normal course of study is two years of full-time enrollment. Satisfactory progress usually means that students complete 15 credits each semester, and pass an annual review of work. Students are required to register for Mentorship (3 credits), Studio (1 credit), 2 Crits (1.5 credits each) and Talks (2 credits) every semester.

Students have flexibility in Seminars and Workshops: In a given semester they can take any combination of Seminars and Workshops totaling 18 credits over their course of study.

Note: Courses in other departments may be substituted for Seminars and Workshops with permission from both the student’s advisor and the chair.


• Completion of 60 credits, including all required courses, with a cumulative GPA of 3.0 (B). Completion of a thesis project, a thesis catalogue and a thesis presentation, each with a grade of B or higher, and pass an annual review of work. Documentation of all thesis projects must be on file in the MFA Fine Arts Department to be eligible for degree conferral. 

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

Requirements - First Year

FNG-5010  Colloquium              
FNG-5030  Mentorship I 
FNG-5050   Studio I                      
FNG-5230 / FNG-5235 Crit I  
FNG-5510  Talks              
FNG-5600 through FNG-5990  Seminars or Workshops     
FNG-5035  Mentorship II            
FNG-5055  Studio II                     
FNG-5240 / FNG-5245 Crit II 
FNG-5515  Talks              
FNG-5600 through FNG-5990  Seminars or Workshops


Requirements - Second Year

FNG-6030   Mentorship III           
FNG-6050   Studio III                    
FNG-6230 / FNG-6235  Crit III
FNG-6510   Talks              
FNG-5600 through FNG-5990    Seminars or Workshops
FNG-6035   Mentorship IV                      
FNG-6055   Studio IV                   
FNG-6240 / FNG-6245   Crit IV
FNG-6515   Talks              
FNG-5600 through FNG-5990   Seminars or Workshops     
FNG-6950  Thesis 

General Course Listing

FNG-5030/FNG-5035 and FNG-6030/FNG-6035
Mentorship I through IV
Two semesters per year: 3 credits per semester
These courses provide a framework for mentorship: students will meet with their mentors throughout the program, on a schedule determined by mentors in consultation with their mentees. In these meetings, mentors will discuss student work and provide feedback. Mentors also guide students through the curriculum and offer advice on matters of professional development such as internships, employment, grants, residencies, exhibitions, and other opportunities. 

FNG-5050/FNG-5055 and FNG-6050/FNG-6055
Studio I through IV
Two semesters per year: 2 credits per semester
The studio plays a vital role in the program as a space for reflection, conversation and presentation. In these courses faculty will visit students in their studios throughout the semester. Students also meet with the chair and visiting artists, curators and critics. Students are required to take one section of Studio each semester. 

FNG-5230 through FNG-6245
Crit I through IV
Two semesters per year: 3 credits per semester
What do we talk about when we talk about art? In Crit we develop a shared language for discussing student work. This course provides each student with feedback from a group of peers and a faculty member. Students develop their ability to receive critical feedback and to offer constructive criticism by describing, analyzing and evaluating the work of their peers. The format and duration of each crit is determined by the instructor. Note: Students must enroll in two consecutive Crit sections each semester. 

Fall semester: 3 credits
First-year Colloquium establishes a common base of pertinent knowledge and provides space and time for incoming first-year students to get to know one another in a group setting. The core activities are student presentations on contemporary artists whose work informs their own, discussion of issues and topics relevant to contemporary art, and participatory activities designed to facilitate conversation and creative exchange. 

FNG-5510/FNG-5515 and FNG-6510/FNG-6515
Two semesters per year: 2 credits per semester
A weekly gathering of all students, Talks begins each fall with short presentations by students: returning students show the work they made in their first year, while incoming students focus on the portfolios with which they applied to the program. These are followed by lectures and panel discussions featuring influential artists, curators, critics and scholars. The last few meetings each spring are devoted to thesis presentations. This course exposes students to the ideas and practices of contemporary artists and those who curate and write about their work. Equally important, it develops students’ ability to present and talk about their own work. As part of the course, students also meet individually with the chair once each semester; first-year students have a group meeting with the chair in the first semester. 


Seminar: Feminism Is for Everybody—Navigating Art Praxis in Patriarchal Space
Fall semester: 3 credits

 “Most people have no understanding of the myriad ways feminism has positively changed all our lives. Sharing feminist thought and practice sustains feminist movement. Feminist knowledge is for everybody.” – bell hooks, Feminism Is For Everybody: Passionate Politicsa

What does feminism mean for an artist like Renee Cox vs. an artist like Cindy Sherman? Why does the art world continue to be dominated by men? Are race, gender and economics in collusion to perpetuate the disenfranchisement of certain groups? How do we create truly equal spaces within the economic landscape? How do women artists speak truthfully about their identities without being accused of self-exploitation and how do women artists of color avoid a two-fold accusation? Rooted in the theories of Intersectionality and the basic principles of contemporary feminist movement; this seminar aims to unpack these questions and more. The course strives to understand how artists can create equitable spaces within the art world, and within larger society through the understanding of intersectional feminism and its subsequent cultural collateral. This seminar will begin with a brief, yet comprehensive, understanding of the foundations of intersectional feminist theory. It will then probe the symbiotic relationship between contemporary art, social practice and intersectional theory through presentations by current artists, curators and writers working within the realm of social change. Each presentation will be followed by an open dialogue between the presenting cultural practitioner and course participants. Grading for this course will be based on incremental assignments in the form of analytical presentations on either course material or presenting artists, class participation in discussions, and a final project that includes a short proposal for a theoretical project seeking to disrupt the inequalities addressed in intersectional theory. The ultimate purpose of this seminar is to understand how and why intersectional feminism affects everyone, and how we can use intersectionality as a means to both uproot the inequities within our own industry, and to cultivate rippling change beyond ourselves. 

Seminar: The Normal and the Pathologica­l—Monsters, Constructions of Race, the Human and Non-Human
Fall semester: 3 credits
Taking our lead from the discipline of Monster Studies, we will explore how monsters mark, question, imagine, perform, construct and eradicate boundaries of the normal and the pathological. From ancient chimeras to contemporary vampires, zombies and cyborgs, monsters display anxieties about difference and create new spaces for imagining worlds and identities that challenge and exceed the normal. We will investigate the history of specific monsters such as Frankenstein’s monster, King Kong, Lovecraft’s Cthulhu and Haraway’s Chthulucene, Medusa, Octavia Butler’s Oankali, as well as larger figurations of anti-colonialism and resistance. Emphasis is on the construction and the subjectivity of the monster. Among the many topics students can choose to explore are constructions of racism and anti-racist movements; feminism; LGTB identities and constructions; disease; human/nonhuman, class, poverty, religion, technology, crime, heresy, subversion, mental illness, age, terrorism, national and personal identity, and the resurgence of the normal as a monster (the “normalization of Donald Trump”). 

Seminar: Socially Engaged Art in the Public Realm
Fall semester: 3 credits
This seminar will explore socially engaged art practices that move beyond the conventions of traditional art spaces and into the public realm—where art as a social practice is grounded in its connection to alternative audiences and communities. Through readings, lectures, site visits and course assignments, students will learn about the processes and challenges in creating collaborative, interactive and community-based art projects in public spaces. We will also address the nuts and bolts of developing socially engaged public art projects, from site-specific research methodologies and community partnerships to writing proposals, budgets and applying for grants. Throughout this seminar, students will develop and refine individual and/or collaborative projects that extend from their own studio practices. 

Seminar: Fieldwork—Walking The City
Fall semester: 3 credits
The city as playground, as source of inspiration, as distraction, as nomadic adventure, as site of protest is the focus of this course. It is organized around excursions to different locations in NYC. Walks examine types of public space—interiors such as malls and hotels, and outdoor spaces such as Times Square, parks, sidewalks and interstitial spaces. We will look at how people use these spaces, how they are designed, the differences among permanent and temporary sanctioned public art. The history of renegade practices, from Baudelaire’s flaneur and DeBord’s derive to Occupy Wall Street will be discussed. We will also consider gentrification and issues associated with these changes. Texts include essays from Evictions by Rosalyn Deutsche, The Practice of Everyday Life by Michel de Certeau, What We Made by Tom Finkelpearl, and Italo Calvino’s Invisible Cities. Works by numerous artists such as Kimsooja, Valie Export, Simone Forti, Janet Cardiff, Alan Sonfist, Sharon Hayes, Reverend Billy and William Pope.L will be considered. Sessions include walks, readings and discussion. Some sessions include assignments to be executed as we walk. Every third week we will meet at SVA to review experiences. Students will present a work as a response to each session. 

Seminar: Fieldwork—The Creative Adventure
Fall semester: 3 credits
The artist’s studio is a place for creative exploration, contemplation and production. It is also a place where artists show their work to peers, curators and gallerists, store their work, stare blankly into space, make messes, and take naps. In this course we will visit artists’ studios each week, including the studios of SVA alumni and faculty. We may also visit some galleries, nonprofit venues and artist-run spaces, casting a large net outside the usual art awareness zones. We will talk with artists about their work, their use of material and space, and what inspires them. We will explore a wide range of artistic practices, and each student’s own artistic processes through personal introspection and vigorous dialogue, creating self-awareness and enhancing vision. This course is designed to further each student’s ability to formulate and articulate his or her own viewpoints on art-making as well as standards for individual practice. Each student will keep a notebook, either in writing or audio recordings, to document insights, interpretations and ideas for future investigations into the creative adventure. 

Seminar: Time-Based Sculpture
Fall semester: 3 credits
Art is there to bring up difficult questions up, shake things up, and possibly make people feel uncomfortable. Though making art is not necessarily a moral act, it’s the artists job to be conscious and fully aware of the issues the work might be stirring. Joseph Polisi conceived of the role of the artist as a leader and communicator of human values. This course will further explore this notion of artist as citizen and the responsibilities inherent in making artwork for public reception. This course will not focus solely on theory. Student work will be presented and discussed within the context of the class. 

Seminar: Art History for Artists—A Primer
Fall semester: 3 credits
This course introduces artists to the significant art practices, theories, and institutions of the past half century. We will focus on two artworks in each session, and consider them in relation to key historic events and discourses. Students will contribute actively to each class by suggesting (and researching) an artwork, reading primary and secondary texts, and writing short responses. We will also be visiting galleries and museums, watching films, and meeting with guest historians, critics and artists. Throughout the semester, students will develop their own artistic “family tree”: an art-centered historic timeline that contextualizes their practice in relation to cultural figures, works, or events (this can be a visual, annotated chart, or take another form). The goal is for students to synthesize their knowledge of contemporary art and its precedents, think analytically about their work and its contexts, and communicate their ideas effectively in conversation and presentations. The course requires a serious time commitment of several hours a week beyond the classroom. Grading will be based on weekly contributions, discussion participation, final presentations, and the final timeline. There is no final paper. 

Seminar: Art After the Internet
Spring semester: 3 credits
How do we produce, disseminate and exchange images? How does the Internet challenge art conventions? This seminar is focused on the troubled relation between contemporary art and the Internet. We will analyze dozens of artworks from the mid-nineties to today and stimulate group discussion around the latest critical issues in contemporary art and media theory. Special attention will be given to how the Internet is reshaping art: its production and distribution, and how we experience it. Versions, dispersion and collaboration versus originality, uniqueness and authorship in art are crucial elements for class discussion. We will examine works by artists who use digital media to produce art or, inversely, use conventional media to explore the digitized condition of contemporary life. Topics include postproduction, Net Art, surf clubs, post Internet, branding vs. invisibility, meme-making, Internet ugly, image circulation, crowdsourcing, performing on the Internet, the Darknet, data mining, surveillance and anonymity. Each class session includes a group conversation based on readings and presentation of case studies (images, videos and websites). Guest speakers will include artists, curators and critical thinkers. In general, wild speculation, a suspicious attitude toward anything presented in class and thought sharing is encouraged. Assignments in the form of creative projects will be given, such as deep web diving, social media interventions, meme-making, imagining new porn genres and inventing exhibition formats. These projects can be carried out individually or collaboratively and the results will be presented in class. At times we will organize field trips to exhibitions. Case studies will include 4chan, Cory Arcangel, Maurizio Cattelan, DIS Magazine, Constant Dullaart, etoy, Harun Farocki, David Horvitz, Jodi, JOGGING, Oliver Laric, Olia Lialina, Jill Magid, Christian Marclay, Trevor Paglen, Philippe Parreno, Pierre Huyghe, Frances Stark, Ryan Trecartin, Amalia Ulman, Artie Vierkant, VVORK. Texts by writers such as Walter Benjamin, Jesse Darling, Nick Douglas, Brian Droitcour, Boris Groys, Seth Price, Hito Steyerl, Brad Troemel and An Xiao Mina will be explored and discussed. 

Seminar: Movies… Madness… and Art—Thinging in the Wane
Spring semester: 3 credits
This is a course about the {What} of movies and not about the {HOW} of cinema. Visual orchestrations, moods, moves and objects articulated in time and space become the place of our individual and collective enjoyment, drawing multiple meanings and metaphors. Also, objects as part of the scenery compel the viewer visually. The rich specifics and ambiguities represented in these movies serve as both aesthetic and conceptual motivators. “Thinging” is not yet an official word....Thinging is to things as singing is to songs. And as for “Thinging in the Wane,” it is an old gay street rhyme based on a lisping pronunciation of the Gene Kelly movie Singing in the Rain. It is said to laugh both at and with ourselves. And, so, this course is about both forms and concepts drawn from the visual thinging within movies. Assignments, projects and reading material will vary according to the diversity of responses to and with the movies and chunks of movies watched. The course serves to increase an awareness of the huge range of visual articulations waiting to be seen and re-stated in as yet unknown ways by the artists of the future gleaning treasures from the gems of the past. 

Seminar: Critical Theory
Spring semester: 3 credits
What is critical theory’s relationship to art? This course is designed to introduce students to the critical issues at stake in contemporary artistic practice. It is organized as a series of discussions around texts and artworks, with each session based on a different methodological perspective. We will look at the writings of artists alongside those of philosophers, theorists, critics and historians, paying particular attention to theoretical models that have been important to the art of the past half century. Our goal is to build a philosophical foundation for understanding the terminology, ideas and issues of today’s critical discourse. Topics include foundational ideas such as Marxism, psychoanalysis and poststructuralism; theories of the subject’s relationship to race, gender, difference; and more recent sociopolitical debates around spectatorship, object-oriented philosophy and neuroscience. Our main goal is to learn to think through ideas—in conversation and writing—in ways that will deepen your understanding of your own practice and its contemporary context. 

Seminar: Fieldwork—The Studio Visit
Spring semester: 3 credits
The artists’ studio is regarded as sacred space: it’s where the “magic” happens and the work is produced. How artists approach their studio practice is eternally fascinating and can be varied, but have surprising similarity and overlap. In this course we will have weekly visits with artists in their studios. The selected artists will range in experience, working methods, discipline and styles. The objective of the course is to experience the work where it’s made, to gain access to a variety of artists and to learn about their respective practices. 

Seminar: Fieldwork—White Cubes
Spring semester: 3 credits
Over the course of the 20th century, the white cube emerged as the spatial archetype for exhibiting and experiencing contemporary art. Art critic Brian O’Doherty compared the ideology of the white cube to the caves where Paleolithic paintings are found: “Sheltered from the appearance of change and time, this specially segregated space is a kind of non-space, ultra-space, or ideal space where the surrounding matrix of space-time is symbolically annulled.” In this course we will spend our time looking at art in galleries and trying not to be lulled into complacency by the aura of aesthetic autonomy that they produce. Students will play an active role in determining the shows we see based on their interests. 

Seminar: Who Owns the Future?
Spring semester: 3 credits
Who owns our imagination in a world of existential vertigo where truth has become a shipwrecked refugee? Is it not the storyteller who can contain contradictions, who can slip between the languages we have been given and who can become a time-traveler of the imagination? Uruguayan writer Eduardo Galeano once said that we are not made of atoms as scientists say, but that we are actually made of stories. Stories are what hold us together or tear us apart, shaping the idea of belonging. Ironically, writer Maurice Blanchot called language an act of murder, because naming things is identical to killing them. But novelist Alfred Döblin claims exactly the opposite: language, he says, is a form of loving others, language lets us know why we are together. But maybe a more pertinent depiction is Vietnamese filmmaker Trinh T. Min-Ha’s idea of language as a “leaking boat,” a lifeboat we are all stuck on together. It’s the disappearing meeting place, but also the same dire biosphere we all share. I often think we live in a society deprived of something essential, not even aware of what we actually miss, since we lack the stories and concepts. It’s not dissimilar to the final scene of Jean-Luc Godard’s film Alphaville, which depicts a society in which every word relating to the idea of love is banned at the threat of the death sentence. And actress Anna Karina, in love with the protagonist, is searching to express her feelings  but doesn’t find the words, because the concept of love is foreign to her. This course explores the idea of “the commons” in the storytelling of our art practices in a twofold way: 1) through examples plucked from film history and/or a media-archeology framed by philosophical tools (e.g., Michael Hardt and Antonio Negri’s definition of the commons, or Elinor Ostrom’s work on the commons, or David Bollier’s writing) and 2) dialoging about countercultural applications, including our own storytelling in our very art practice, in what writer Rebecca Solnit describes as the “duty of delight,” to find new joyful ways of telling, to find better metaphors, untold stories generated by better questions, “tools for the amazing wonderful possibilities for the terrible realities we face,” be they urban guerrilla gardening reclaiming big agriculture’s stronghold on privatizing the very building blocks of life, or new economies through digital shared currencies including shareware, time-banking or peer-to-peer networks. But always backed by the fundamental question of how we belong together through new stories we share in inventing new languages. 


Workshop: Writing An Artist’s Statement and Résumé
Spring semester: 1.5 credits
This workshop will demystify the process of writing an artist’s statement. It will focus on the various roles the statement plays for emerging artists entering the art world. This understanding then naturally leads to a set of strategies and techniques to write a coherent and engaging text to accompany one’s work. The workshop will also address how to write a résumé that will best communicate one’s professional narrative at a quick glance. 

Workshop: Working with Galleries
Spring semester: 1.5 credits
This course will examine the inner workings of the artist/gallery relationship. Participants will gain a comprehensive understanding of forging a meaningful and long-lasting gallery relationship. Artists will learn how to research and identify appropriate galleries, introduce their work to gallerists and conduct studio visits. Representation, sales, exhibition logistics, art fairs, and much more will be covered. 

Workshop: Taste This—Food and Art
Fall semester: 1.5 credits
What does it mean to use food as a subject, a material and conduit for the exchange of ideas in contemporary art practice? How do Renaissance dinner party gags connect to the avant-garde recipes of The Futurist Cookbook, artist-run restaurants like Gordon Matta-Clark’s and Carol Godden’s FOOD, and the glow of a fluorescent Jello mould? Students in this course will learn about art historical and recent examples of artists who have used food and dining as a component of their work, and read and discuss critical texts about food culture. There will also be a significant hands-on component during which we will cover best practices for using food in public performances; sourcing materials; techniques for planning, prepping, executing and styling food; engaging with an audience; and strategies for performance documentation. We will draw on the vast culinary resources of New York City, and through site visits learn to shop for groceries like a chef and a sculptor. Everyone will be required to develop and test a performance in class. 

Workshop: Networking and Friending—A Professional Growth Strategy
Fall semester: 1.5 credits
How does an artist move a casual conversation that occurs at a gallery opening to an exchange of contact details and social media handles, to a studio visit, or a write-up in a respected media outlet, or an exhibition? This workshop treats the cultivation of professional relationships strategically, as a critical tool for moving an artist’s career forward. Students will be shown how to systematically develop their connections to people encountered through social media platforms and informal settings, and shape their social media profiles to become more visible to curators, gallerists and critics. The workshop will include both theoretical tactics and real-life opportunities to engage these action plans. 

Multimedia Art: Installation Practice and Commission Variabilities
Fall semester: 1.5 credits
This workshop will address the initial approach and the realization of artwork for a large variety of venues for both temporary exhibition and permanent installation. Such venues include public space, galleries and museums, biennials, private collections, television and the digital realm. We will also examine the variables to consider when a work is commissioned either privately or publicly. The emphasis will be on multimedia work, including sound, moving imagery and installation elements. Discussions will evolve around more recent as well as historical examples, and will involve bringing in documentation of your own work in order to further direct and extend the discussion. Practical elements, such as the challenge of fast-evolving technology and basic installation practice through varying mediums and structural components will be discussed. 

Cultivating Opportunities
Fall semester: 1.5 credits
Artists often think they have to wait for opportunity to knock on their door. Whether your goal is to exhibit your work, organize an event, publish an artist book or get funding for a project, this workshop will show you how to cultivate and pursue opportunities by doing research, preparing to make contact, reaching out, making the ask and following up. You will learn how to hone in on the opportunities that make sense for your work, organize your research, reach someone without a referral, make a cold call and manage expectations. Building community and audience are integral and intertwined in this process and is stressed throughout. 

Workshop: Getting Paid—Strategies for Negotiating the Gallery System
Spring semester: 1.5 credits
What are the various approaches to getting a gallery? How is work priced and sold? How do artists get paid? This workshop will offer a plethora of strategies for negotiating the gallery system and will attempt to demystify commonly held notions. We will focus on recent changes in the art market and how they can work to an artist’s advantage (e.g., the rise of the fairs, globalization, social media and transparency). Students will interface with galleries through research and going to openings, and put into practice strategies discussed in class and present the findings. There will be a guest speaker, presentations, discussions and a visit to a prominent gallery to speak with its owners. 

Workshop: Web Presence
Spring semester: 1.5 credits
This course will help artists develop a clear and effective web presence. Artists will begin by articulating their professional goals, and then conceive and implement impactful website, social media and email communications strategies in support of those goals. Participants will gain a comprehensive understanding of using the web to effectively communicate about their work in order to build sustainable, professional careers. 

Workshop: On Presentation and Completion—It’s a Time Machine (if You Want It) Part I
Fall semester: 1.5 credits
Some artists have trouble letting go, of saying, without doubt, “this is finished.” There is a tendency to keep a work in play, and a reluctance to let go of a work in progress out of sentimentality, doubts regarding a work’s execution and a concern as to whether a work sufficiently reflects the artist’s way of working. Additionally, in an educational context one can delay completion while relying on contingencies that, in the real world, just don’t exist. All of these issues can inhibit an artist’s development in large part due to accumulated uncertain resolutions springing from unfinished works and thoughts. It is the purpose of this course to address these issues directly—at both physical and theoretical levels. It is not a polemic for “professionalism”; it addresses, rather, the necessity of taking a position on permanence and the ephemeral, and seeks to explore strategies that can be deployed in dealing with the very real and experimental natures of contemporary art-making and display. 

Workshop: Writing to Your Audience
Fall semester: 1.5 credits
It is clearly no longer the age in which “the work can speak for itself.” It can’t because there is a state of over-saturation of visual art presented to the market. For an artist to make her work prominently visible, that work has to be accompanied, impelled and supported by language. This workshop looks to convey the different and particular forms of address and description that must be made to distinct sectors of the art world, and looks to move artists toward insightful clarity about the work they make, by looking at how it may be talked about. The workshop looks to impart awareness of the structure of critical language, the various areas of discourse and the ways in which students can serve themselves by positioning their work is ways that are coextensive with their career goals. 

Workshop: Research into Practice
Fall semester: 1.5 credits
Zora Neale Hurston—American novelist, short story writer, folklorist and anthropologist—is quoted to have said, “Research is formalized curiosity. It is poking and prying with a purpose.” In the course, we will explore historical as well as contemporary texts and works of art to identify how we as artists can transform broad curiosities into bodies of work. How does a weight-loss pamphlet found on the train turn into an immersive installation? How does my interest in Floridian invasive species transform into a series of public performances? How does my love of early ‘90s Hip-Hop find its way into a series of photographs. The emphasis of this course will be on the process and research needed to produce rigorous work. Students will have the opportunity to explore a range of formal and informal research processes to create final projects that integrate their varied research. 

Workshop: Documentation
Spring semester: 1.5 credits
Instructor: A. Nevarez
This course will focus on the use of DSLR, video cameras and sound recording devices as tools for documenting installation and performance work. Students will learn the technical aspect of cameras, lenses and lighting, as well as microphones and sound recorders. Postproduction techniques, including digital retouching and enhancing will be explored using Adobe Photoshop, Premiere and Ableton Live. 

Workshop: The Artist as Educator
Spring semester: 1.5 credits
Many artists choose to teach as a complement to their studio practice, something that keeps them closely connected to the artistic community while forcing them to stay sharp and current. This course will introduce students to the possibilities of teaching—from museum education to K-12 to higher education, and will provide the skills necessary to identify and secure those positions. Time will be spent on the unique and extensive process of applying to college teaching jobs, including the materials required, the process of review and the importance of each required document. Through in-class assignments and peer workshopping, students will leave the course with a final teaching philosophy, cover letter, curriculum vitae and artist’s statement for their teaching packet, as well as an outreach plan. 

Workshop: Artist as Catalyst
Fall semester: 1.5 credits
This workshop is directed toward artists interested in extending their practice beyond the four walls of their studio and engaging in more expansive forms of support for their fellow artists and the greater arts community. This includes writing criticism, organizing exhibitions, running an exhibition space, participating in an artist collective and collaborating with an arts organization, as well as newer forms of proactive engagement with artists and the public. The primary motivation of an artist’s catalyst is to build a strong, sustainable artist community and facilitate a constructive discourse around art-making and ideas. 

Workshop: Your Foundation—Grants, Fellowships and Residencies
Spring semester: 1.5 credits
You’re deep in debt and know how to make art, now what? Grants, fellowships and residencies are an important part of developing an artist’s career. How do you learn about them, how do you apply to them and how do you make a successful application? How do you evaluate which ones are the best fit for you and your goals? If you ever needed $500 to pay for storage after a fire destroyed your studio or $100,000 for your upcoming project, this is the workshop for you. We will discuss researching various funding for artists and artist projects. The workshop will address selecting images for applications and how to write statements tailored to the focus of specific funders. Students will complete mock applications for funding and support opportunities. We will look at how to make the most of a residency, research tools available for seeking funding and support, fiscal sponsorship, writing budgets, developing long-term relationships with funders, and more. 

Workshop: The Law of Art
Spring semester: 1.5 credits
You see a great image on Instagram ... can you use it in your work? You see another great image on Instagram—only this time it is your work incorporated into someone else’s—should you sue? What kind of written agreement is standard with a gallery offering to show your work, consignment or representation? Can you disclaim authorship if your work is damaged during a show? Are you entitled to money if your work is resold by a collector? The law is present in each of your interactions in the art world; it is there when you have a problem (non-payment by a gallery) and when you have an opportunity (request for a big commission). This course introduces a range of issues that confront professional artists from the moment of creation of a work to consignment and sale of the work to the ongoing moral rights of artists in the work even after a sale. You will learn how to spot legal issues, overcome intimidation of contracts and legalese, and successfully negotiate for your desired outcome. 

Thesis Workshop
Spring semester: 3 credits
This course will guide students through the MFA thesis process, from idea to final presentation. The mains goals are to provide structure for the process of writing multiple drafts of the thesis catalog essay, producing documentation and incorporating it into the catalog, laying out and producing the catalog, and preparing and rehearsing the thesis presentation. Feedback will be provided at every step. Topics include: brainstorming and idea maps, research and writing strategies, outlining, time management, topic development, mechanics and organization, writing style and voice, public speaking strategies and academic integrity. By the end of the course you will be ready for your post-MFA professional life, with a catalog and an artist’s talk that you can be proud of. 

School of Visual Arts | 209 East 23 Street, NY, NY 10010-3994 | Tel: 212.592.2000 | Fax: 212.725.3587