MFA Program Areas
Includes all cinematic media, from film to video, as well as time-based electronic image production. Includes narrative and non-narrative forms, screen-based or site-based, as well as audio and sound works, photography and cinematic data visualization. We do not encourage applicants whose interests lay with more conventional Hollywood-style cinema and television production.
Includes works with any CPU-based devices or the composition of code to instruct those devices. Includes screen-based and site-based work, as well as work with robotics, sensors, wearable or ubiquitous computation, data visualization, and digital fabrication. We do not encourage applicants whose interests lay primarily with commercial programming or digital illustration, and not also with specific critical intervention.
Includes works ranging from modern color-on-surface and line-on-paper, to the expanded field of painting and drawing with non-traditional media and at various scales. Works should develop the disciplinary discourses of painting and drawing in an original manner and/or extend them into new areas. Practice techniques may range from traditional hand-drawn to serial and automatic programs, as well as machine-mediated operations.
Includes practices across a broad range of media, programs and techniques which are based on the staging of experimental social situations. Works may range from direct audience participation and collaboration to other conceptual and relational intentions. Practices that explore the complexities of political participation and representation, and/or geographic and territorial inscription are particularly encouraged.
Includes a diverse range of practices exploring the contested aesthetics of presence, gesture and temporal immediacy. These may range from gallery-based performances, to composed events of indefinite duration. Practices may explore the questions of site and situation as a frame for depiction or for immediate encounter. Practices may use a wide range of media and stages in the formulation of works, beyond those traditionally associated with theater.
Includes practices which deal with the consolidation of publics and the role of aesthetics in the composition and management of both material and symbolic social systems. These may focus on the role of physical interfaces and protocols to modulate social participation, and/or on the problematics of architectural systems, urban networks, and object flows in relation to those aesthetics. These practices may employ a wide-range of media, sites and tools, from architectural representation to community intervention.
Sculpture/ Object/ Installation
Includes practices which deal directly with the composition and presence of sculptural objects or networks in physical space. These practices may draw from modern sculptural discourses of material, scale, symbolization, texture, quantity and source, and/or may explore the tensions of site-specific installations with or without a narrative basis. We particularly encourage practices which explore the agency of objects in everyday life, still or animated, and which employ advanced fabrication techniques.
Includes practices that engage critical design methods (including interaction, architectural, software, and systems design, etc.) and emerging technologies (including robotic, neuro-technologies, nano-technologies and bio-technologies) to produce works that illuminate and anticipate changes in material culture. These practices may work across different contexts (from studio to laboratory, from the field to the seminar room) to compose models, prototypes, artifacts, interventions, products and/or provocations on behalf of specific future scenarios. These works may be deployed inside or outside of Art contexts, and strategize varied relationships to political, economic and cultural platforms.
Includes practices which draw upon classical, modern and contemporary theoretical discourses to directly inform their work. This may take different paths, from the direct explication of theoretical problematics within original written text, to their activation as the essential basis of works using other media. As opposed to an Art Historical perspective which might employ theory to criticize a work, these practices negotiate considered theoretical positions as the primary basis of a creative work. These also include practices which explore text as an artistic medium separate from any expository requirement.