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Announcement
December 7, 2016

New art from Sam Fox School of Design & Visual Arts at Washington University, and School Watch reports from Glasgow School of Art and the Alternative Art School Fair

Art & Education
(1) Danica Radoshevich, 2016. Installation view of 2016 MFA Thesis Exhibition at Sam Fox School of Design & Visual Arts. Courtesy of James Byard. (2) Garrett Clough, The Artwork Will Be Silent, 2016. Courtesy of James Byard. (3) 2016 Glasgow School of Art Master of Fine Art Degree Show. Photo: McAteer. Courtesy of Glasgow School of Art. (4) JD Kelly Building in Glasgow. Courtesy of Chris Sharratt. (5) MFA students at Crit Club session. Courtesy of Holly McLean. (6) Alternative Art School Fair at Pioneer Works, 2016. Photo: Allyson Lupovich. Courtesy Pioneer Works.

Art & Education features Yearbook – New Art, a platform for schools to present student work from MFA shows, open-studio presentations, and other annual student exhibitions.

Yearbook exhibition currently on view:

Sam Fox School of Design & Visual Arts at Washington University Graduate School of Art
2016 MFA Thesis Exhibition
In response to a complex world—shifting global cultures, rapidly evolving technologies, and environmental concerns—the Graduate School of Art at the Sam Fox School of Design & Visual Arts offers a critically engaged studio program that provides a forum for collaboration and both discipline-specific and interdisciplinary study. The 2016 MFA Thesis Exhibition presents the work of nineteen artists working in painting, sculpture, film and other media following two years of thesis and studio-related research.

School Watch report on the Glasgow School of Art and an interview with the organizers of the Alternative Art School Fair:

Practice Makes Perfect: The MFA at Glasgow School of Art
By Chris Sharratt
The approach of the MFA emphasizes group dynamics and the students’ relationships with Glasgow and its art institutions. Students are encouraged to network and develop connections both among their peers and beyond the JD Kelly’s walls, and to use them to direct the course’s instruction. All the tutors stress—almost to the point of self-deprecation about their own contribution to the program—that it is the students, rather than them, who set the teaching agenda. As Francis McKee, a twenty-year veteran of the program, puts it: “It’s really hard to know [what makes it a successful MFA] … It’s not like someone comes in and you turn them into something; they’ve already been practicing, they come in and want to reassess things and the MFA gives them a chance to do that.” [read more]

Not for Sale: The Alternative Art School Fair at Pioneer Works
By Wendy Vogel
Catherine Despont: The way we define intellectual practice has become really narrow within academia. If you’re hoping to shift the paradigm in some way, it’s important to move through a moment of uncertainty. A lot of these schools are open to incorporating things that might not make sense initially, like movement or improvisation, as a way of getting to something else. New information doesn’t present itself as information but as emotion, as memory, as physical sensation. Until we have a narrative that allows people to understand the way that a full range of experience can be incorporated into intellectual practice, the same systems and the same prejudices will be recreated. [read more]

School Watch presents distilled perspectives on degree programs in the arts, with interviews, critical texts and editorial exposés on MFAs, Masters, Doctorates and certificate programs in fine arts, art history, curatorial, cultural and film studies, and other related areas of specialty.

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