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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. Students are required to register for Mentorship (3 credits), Studio (2 credits), 2 Crits (1.5 credits each) and Talks (1 credit) every semester.
Students have flexibility in Seminars and Workshops: In a given semester they can take any combination of Seminars and Workshops totaling 21 credits over their course of study.
In the final semester, students are required to register for Thesis.
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. 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.
Note: Departmental requirements are subject to change by the department chair if the chair deems that such change is warranted.
- Requirements - First Year
FNG-5030, Mentorship I
FNG-5050, Studio I
FNG-5230 / FNG-5235, Crit I
FNG-5510, Talks
FNG-5600 through FNG-5799, Seminars
FNG-5800 through FNG-5940, Workshops
FNG-5035, Mentorship II
FNG-5055, Studio II
FNG-5240 / FNG-5245, Crit II
FNG-5515, Talks
FNG-5600 through FNG-5799, Seminars
FNG-5800 through FNG-5940, 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-5799, Seminars
FNG-5800 through FNG-5940, Workshops
FNG-6035, Mentorship IV
FNG-6055, Studio IV
FNG-6240 / FNG-6245, Crit IV
FNG-6515, Talks
FNG-5600 through FNG-5799, Seminars
FNG-6950, Thesis
- General Course Listing
- Updated course information can be viewed using WebAdvisor, which can be accessed through MySVA (my.sva.edu).
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.
FNG-5510/FNG-5515 and FNG-6510/FNG-6515
Two semesters per year: 1 credit 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.
Fall and spring semesters: 3 credits per semester
Seminars may focus on specific issues in art history, theory, and/or practice, or may survey broader topics. Seminars are developed by faculty in consultation with the chair, and vary from year to year. Assignments may involve reading, writing, presentations, field trips, and various forms of research, including creative projects. Fieldwork Seminars take place almost entirely outside the classroom: students visit galleries, museums, artists' studios, and other places of interest. Note: Students must register for 21 credits in seminars and workshops over their course of study.
Seminar: Art and the Everyday, 1945-1985
Fall semester: 3 credits
Maurice Blanchot put it the best in 1959: "The everyday: what is most difficult to discover." More than half a century later, contemporary art is full of references to the quotidian, the repetitive, the unnoticed, and the overlooked. What happened in between? This course looks at the rise of the everyday in postwar art, the many ways that artists have given visibility to—and intervened in—everyday spaces. Our case studies will unfold against the backdrop of postwar figuration and Ab Ex, neo-Dada and happenings, conceptualism and pop, and the rise of identity politics. They will include urban interventions; audience participation; anti-art rebellion; artist-run factories, stores and garage sales; the potential of everyday objects; labor activism; and feminist critique. Our focus is the political significance of the ordinary, and the way it has opened artistic discourse to ideas of creativity, play, domesticity, craft, commerce and activism. The goal of this course is to try to pin down, through readings and group conversations, what it means to make art that engages with everyday life. We'll look at the development of this idea over the course of the past century and think about its relevance to art practice today.
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: Music, Melodrama and Performance Art
Fall semester: 3 credits
We will engage with work that utilizes experiments in sound and image, including early television, soap operas, classic Hollywood cinema, electronic music, music videos and specific moments in the history of performance art. Reflecting the archetypical hero's journey, students will create short performances on film or video with a central character that calls upon experimental sound, voice, music and environments.
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: 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: Yeezus Structures—Contemporary African American Art and Hip-Hop Culture
Spring semester: 3 credits
This seminar borrows its title in part from Kanye West's 2013 project of the same name. West integrates historical and contemporary art influences from Le Corbusier, Vanessa Beecroft, Jean-Michel Basquiat and Afro-Atlantic ritual, among others, into his Yeezus theoretical, design and performance platform. A central part of the course is a critique of the Yeezus matrix in relation to notions of Black status quo and radicalism regarding both narrative and formal concerns taken on by visual and hip-hop artists. Weekly meetings include short lectures by the instructor as a preamble for student-driven discussion with presentations and analyses of visual artists and readings relevant to the contemporary African-American art landscape and its intersections with the sonic, visual and sociopolitical fabric of hip-hop. The Black Panthers' design and social practice formats of the mid-sixties are the points of departure and the course's line of inquiry spans up to the current Black Lives Matter movement.
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.
Fall and spring semesters: 1.5 credits per workshop
Workshops focus on skills and strategies for creating and taking advantage of professional opportunities. Note: Students must register for 21 credits in seminars and workshops over their course of study. Seminars and workshops cannot be repeated.
Workshop: Writing An Artist's Statement and Résumé
Fall 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
Fall 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.
Workshop: Getting Paid—Strategies for Negotiating the Gallery System
Fall 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
Fall 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)
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: The Artist as Educator
Fall 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: Photo I—Taking Pictures
Spring semester: 1.5 credits
In this workshop, students will learn how to use a digital SLR camera, lenses and lights to build the skills necessary to make strong images. The focus will be on documenting performances, installations, sculptures, paintings, and other kinds of art. We will discuss strategies for shooting various kinds of work, and address the basics of exposure, color space, resolution, lighting and lens selection. Additionally, the skills covered in this workshop will be useful for those who wish to use photography to extend their practice. Students will be encouraged to suggest specific areas of exploration related to their interests, and will give one another feedback on their work.
Workshop: Artist as Catalyst
Spring 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: Video I—Press Play to Record
Spring semester: 1.5 credits
This workshop will focus on the use of video and sound as tools for documenting installations and performances and for making art. Students will learn technical aspects of video cameras, lenses and lighting, as well as digital audio recorders and microphones. Class demonstrations on the recording of video and sound will be emphasized. Students are encouraged, but not required, to take Press Play to Record and Postproduction Concrete in sequence.
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: Photo II—Working with Pictures
Spring semester: 1.5 credits
This workshop will introduce students to image editing and output. We will explore how to best use Adobe Photoshop, Lightroom and Bridge, and address under what conditions each is most useful. Students will learn how to manipulate image layers, adjust masks and channels as well as modifying color bit depth. Image output in all its various forms will be considered, including print, projection, web, and other platforms. Along the way students will learn standard color management practices so that their output looks precisely as intended. These topics include how to calibrate equipment and the meaning and use of color profiles.
Workshop: Video II—Postproduction Concrete
Spring semester: 1.5 credits
This workshop will focus on postproduction of video and sound for documentation and for use in artwork. Students will learn video postproduction, highlighting the use of Adobe Premiere as an editing platform. For sound postproduction, students will have the advantage of learning Ableton Live, Audacity and Premiere's audio interface. Students are encouraged, but not required, to take Press Play to Record and Postproduction Concrete in sequence.
Workshop: Communicating to the WWWorld
Spring semester: 1.5 credits
The overwhelming majority of artists benefit from having a website—one that they can easily control. This workshop will examine how to think about what kind of site you need to support your goals. Would you want a different site if you were wooing commercial galleries than if you were seeking support for socially engaged projects? We will focus on developing and maintaining a website and discuss the key elements that make a professional site. We will look at Squarespace vs. OtherPeoplesPixels vs. WordPress vs. other platforms for presenting your art. This is not a technical course and is not the workshop to learn HTML or PHP. We will discuss the basics of domain names and web hosting. The workshop will involve active evaluation of existing student sites. Participants will update their existing site or create a new one. Part of the workshop will emphasize the writing that supports your work on your website.
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.
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.
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Friday, March 18, 2016
New York Spring Exhibition Highlights: Paula Scher, David Row and Patrick Shoemaker


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The AU notes that the country has attained 35% female representation in parliament, beyond the set target of 30%
Uganda is among the top 10 countries on the continent that have made progress in ensuring that women are represented in Parliament, the African Union(AU) says.
The AU notes that the country has attained 35% female representation in parliament, beyond the set target of 30%.
However, Rwanda is leader with 63.8% of women in its national parliament. The rest are Seychelles (43.8%), Senegal (42.7%), South Africa (42%), Namibia (41%), Mozambique (39.60%), Ethiopia (38,8), Angola (36.8%), Burundi (36.4%) and Uganda at 35%.
In her International Women's day message, Dr. Nkosazana Dlamini Zuma, the chairperson of the African Union Commission said: "More women are exercising leadership in politics and business; and we have witnessed a transformation of women's participation in public life."
Echoing this year's theme "A Pledge for Gender Equality," Zuma added: "This year, being the African Union Year of Human Rights with a specific focus on the Rights of Women, provides yet another opportunity to celebrate African women, while also highlighting issues of concern, such as persistent gender inequalities that hinder women from fully enjoying their human rights."
She was, however, quick to observe that although great strides have been made to redress the gender imbalances, it was not time to sit back.
"A lot more still needs to be done by both African women and men of goodwill to dismantle the gender barriers and ensure that African women's potential is realised," Zuma said.
"As you know, women are key contributors to global economies and play a critical role in the development of their societies.
"Without the equal and effective participation of women in all spheres of socio-political and economic life, the vision of agenda 2063 might not be realized," she added.

subset: commoncrawl


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O Nico
One Love Tattoo Geneva, Switzerland
© Fabian Nitz On the road Berlin, Germany
0 Giancarlo Capra II Pellerossa Tattoo Lodi, Italy
G Greg Brother Laguno Tattoo Laguna Beach, USA
O Lindsay Carmichael Gold Rush Tattoo USA
O Doc Forest
Flash Fighters Tattoo Hagersten, Sweden
0 Adriano Dall'Alpi Primordial Pain Milan, Italy
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If you have any interest in possibly becoming a tattoo artist, this book will give you an inside look. Even if you don't want to become a tattoo artist, it will still give you an inside look at the profession.


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"Extremely Skilled Attorney"
Phoenix Harris is a fabulous attorney and I highly recommend her!! She readily returns calls and e-mails and is an extremely skilled attorney who is very well respected in the community. Both she and her staff are very kind and caring people. The only down side is that I don't get to talk to her frequently any more!!! 11/3/14 by Julie
– Julie


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The following return policies are for purchases made on DerangedComics.com, and do not apply to any purchases made directly at our brick and mortar store.
Shop with Confidence. DerangedComics.com guarantees quality products and service. If an item is damaged in transit, has a manufacturer defect, or is an incorrect item, please contact us for replacement details within 48 hours of receipt.
We do not accept any liability for the content of the items we sell. This means that we cannot accept return on comics, graphic novels or books because the storyline or art wasn't to your liking, or because you accidentally ordered the wrong book. We do take consideration for the following exceptions for returns within the first 30 days after receipt of your order :
* You MUST contact us prior to sending a return back. Please contact us by using our contact form or by calling 1-702-888-0600 (Monday - Friday, 10am-7pm Pacific Time). Please note that you may be charged a 15% re-stocking fee for any returned merchandise unless it was damaged in transit, has a manufacturer defect, or is an incorrect item. We can refund shipping costs only if the return is the result of our error. Otherwise, shipping costs will not be refunded as they are the responsibility of the customer, and refunds will be for product costs only.
If our customer service department instructs you to return an item, please use the address below:
Attn: Customer Service
Deranged Comics
8071 Yellow Daisy.
Las Vegas, NV 89147
Please write your reason for return on the packing slip and include this packing slip with the returned item in its original packaging.
Please note that whichever method of returning your item(s), your refund will be processed only once the item is received and inspected by our customer service department.
Deranged Comics 2018


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530 Jackson Blvd, Nashville
AMAZING NEW PRICE REDUCTION OF $2,000,000. OPEN HOUSE APRIL 23, 24, 25, 11-5. 1358pageroad.com. SOUTHERN BRILLIANCE in Design & Construction. Exquisite Custom, In-Town Private/Gated Grand Estate. Georgian-Style with a European Setting. Adorned with Antique Architectural Features. 3,000 Bottle Wine Cellar/Tasting Room, Pool/Spa/Cabana Room, Private Apt, 2-Stall Barn, Slate Roof/Copper Gutters, Adjacent to Percy Warner
2 - Davidson County (I-65 to Charlotte Pike)
The data relating to real estate for sale on this web site comes in part from the Internet Data Exchange Program of RealTracs Solutions. Real estate listings held by brokerage firms other than [INSERT BROKER NAME] are marked with the Internet Data Exchange Program logo or thumbnail logo and detailed information about them includes the name of the listing brokers.
Disclaimer: All information is believed to be accurate but not guaranteed and should be independently verified. All properties are subject to prior sale, change or withdrawal.
Copyright 2019 RealTracs Solutions.
Listing information last updated on September 20th, 2019 at 8:40pm CDT.


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Printing Notes in Slugline Screenplays
To help you keep your writing organized and your ideas flowing, Slugline uses Fountain's simple, embedded Notes. Like everything in Slugline, they are just plain text. But they have some superpowers, such as optionally appearing in the Outline Navigator, and, of course, not printing in your final screenplay.
But what if you want them to print? Here are three ways to do that, including a free applet for generating a Notes Report from a Fountain Screenplay.
A Slugline Notes Refresher
Slugline's Notes are wrapped in [[double brackets]], and are highlighted in sticky-note yellow. They can be in-line with any text in your screenplay outside of the Title Page, or they can be on their own line. You can create Notes by manually typing the brackets (even in an app other than Slugline!), but there are some shortcuts that make managing Notes even easier.
- If you type the two open brackets
[[, Slugline automatically creates the closing pair
]]and places the insertion point inside.
- Press ⌘Y to create a new, empty Note.
- With the insertion point inside a Note, press ⌘Y to delete the brackets, which converts the Note to normal text.
- If you're typing at the end of a Note and you press Return, Slugline will move the insertion point to just after the Note.
- With the Outline Navigator visible (⌘3), you can show/hide Notes in the Outline by pressing ⌘7.
You can use these notes however you like. They are meant just for you, the writer, so they don't show up in Preview or Print — just like ScriptNotes in Final Draft, for example.
Still, it might be useful to print these kinds of notes every once in a while, so here are some methods for doing just that.
Synopses: Like Notes, But Optionally Printable
Notes don't print, but there's something similar to a Note that can optionally be printed: A Synopsis element. Synopses join Sections in forming Slugline's powerful built-in outlining.
- Sections start with pound signs, and are hierarchical. A Section that starts with
##is considered to be nested within a Section that starts with
- Synopses start with an equals sign
Both Sections and Synopses are invisible in print by default, but Slugline has a special option to print them if you like. This setting is saved with the screenplay itself.
Typically, a Synopses follows a Section element, like this:
But you can also place a Synopsis element anywhere in a scene:
If you get in the habit of making your Notes this way, with Synopsis elements, then you can toggle their printability using File → Document Settings → Include Outline Elements.
Just remember that including these elements will affect your page count.
Generate a Notes Report
Final Draft doesn't support printing its notes inline, but it does allow you to generate a "Notes Report." Through the power of plain text, it's easy to do the same with Slugline.
Since Notes contain double brackets, it's easy to filter for them. I created a simple "droplet" application that does just this, and saves the results to a plain text file. This is basically a bare-bones app wrapped around the Unix
grep command, if you're curious.
The only downside is that there are no page or scene numbers in the report. Still, it can be very handy to have all your notes, and just your notes, in a separate, printable document.
Printing Notes Inline
Still, the dream of many is to print Slugline's Notes right in place. And again, thanks to the power of text, that's a pretty straightforward thing.
Remember that the [[double brackets]] are the trigger that Slugline uses to highlight your Notes, and to ignore them at printing time. Since these brackets are just text in your document, and since it's unlikely that your screenplay has sets of double brackets that aren't related to Notes, all we have to do is search and replace them with something else — ideally something easy to search and replace back into brackets!
You could do this with Slugline's built-in Find and Replace (under Edit → Find), or you could use a free and handy app called MassReplaceIt from HexMonkey Software.
MassReplaceIt lets you batch search/replace multiple matches in multiple files at once. It writes its changes back to the input file(s), so here's a big, fat warning:
Always make a copy of your screenplay before you try this!
Here's how I have MassReplaceIt set up:
I saved these settings in MassReplaceIt as Print Notes and Hide Notes, so that I could recall them easily. Note that for them to work properly, you must turn off Search whole words only under Options.
Run Print Notes on the copy of your screenplay, and here's what you get:
All the Notes become regular, printable text. The double asterisks make them bold, so they pop off the page. The asterisks, of course, don't print:
But again, notice that rendering the notes did affect the pagination of our screenplay.
In case you do some important editing in this visible-Notes version of the screenplay, you can always use Hide Notes to put the double brackets back.
Avoiding an Obvious Amadeus Joke
Are any of these solutions the dream-come-true of printing an annotated screenplay? Maybe not. It's a hard problem to solve elegantly, which is probably why no one has done it yet. But while we think about ways to make this even better, I hope this article serves as a reminder that when you write your screenplays in an open, universally-compatible text format like Fountain, there's no end to the powerful workflows you might create for yourself.


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Prematurity: California gets a C, the nation a D
The March of Dimes has just released its 2009 Premature Birth Report -- and California continues to do badly. Its premature birth rate is 10.9%, up from 10.7% in 2008. It gets a C.
The nation as a whole, which has a pre-term birth rate of 12.7%, got a D.
Prematurity is the No. 1 cause of newborn death and is linked to complications such as learning, behavior and feeding problems, as well as a heightened risk of sudden infant death syndrome. Even late pre-term births (34 to 36 weeks instead of the full-term number of 40) raises risks. Elective cesarean sections have caused the rates of late pre-term birth to rise in recent years.
Read the report at the March of Dimes website.
--Rosie Mestel
Photo credit: Loyola University Medical Center via Getty Images


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For your teenager to have their own specific sanctuary, there is nothing at all like your teens bedroom so it is not a surprise you want it to have leading notch decorating style. Girls like the sound of chimes and maybe it is nice to give your girl 1, as a decoration for her space. Girl's bedroom design and style tips consist of a lot of choices but just a splash of colour here and there will not make it function. Most girls adore colour but that has to be presented in a appropriate quantity for it to operate. The girl bedroom from Altamoda is 1 of the most fashionable and opulent interior design and style, which I've ever noticed. If you are arranging to redecorate your daughter's bedroom and aren't certain of what to do then you require to read this report.
Decorating your bedroom can be a exciting and exciting time to delve into your tastes and creativity, especially if you have some good suggestions to look back on. Begin looking via magazines and on line decorating internet sites to get some ideas of the kinds of bedrooms that you like, the three aforementioned are definitely not the only designs to opt for from.
If you would like to produce a wonderful contemporary bedroom, a lot of great bedroom decorating suggestions for women that can come from the bold pattern that you want to use, no matter if it is striped or floral, you can use the colors integrated as an notion for the remainder of the space. Take a appear at the bedroom to the suitable, in this case the homeowner did like the cleanliness and simplicity of a contemporary space, nevertheless she wanted to add a small bit of cultural excitement to it with the décor that was chosen.
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When you go into the Bermuda Triangle there is always a secret.
The tidal waves raced across the ocean.
A whirl pool whizzes in another.
Crash together!
They run across the ocean in rage.
They run and sprint!
As the storm stops they crash together and the sea is then calm.
No one has lived to tell the secret.
And their salty evil hearts will carry on.
And the secret will remain safe.


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Wan Li Zhu is a senior member of the investment team at Fairhaven Capital, an early stage focused venture capital firm in Boston, and a founder and Managing Director of MIT Alumni Angels. Wan Li's investment focus includes enterprise software, cyber security, and consumer platforms and internet of things. Prior to Fairhaven, Wan Li ran product development and marketing initiatives for Microsoft Dynamics CRM, the company's flagship business software application. Under his tenure, Dynamics CRM became the fastest growing business in the company's history and launched the first SaaS offering at Microsoft. Wan Li has also spent time at Google in online advertising, at Morgan Stanley in technology investment banking, and at Merrill Lynch in IT. Wan Li is Vice Chairman of the MIT Enterprise Forum of Cambridge where he created Invest Smart, an education program for new startup investors. Wan Li also serves as Executive Chairman of the New England Venture Network (NEVN), the largest young venture capitalist organization on the East Coast. Wan Li holds an MBA from Harvard, and Master's and Bachelor's degrees in Electrical Engineering and Computer Science from MIT.
Wan Li Zhu
Principal at Fairhaven Capital


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The workshops will focus on creating your own natural hand-tied bouquet with many beautiful flowers and foliages, including herbs.
You will have the opportunity to design and create your own bouquet from start to finish, including wrapping with water pack.
The goal is to find and create your own flower voice.
Coffee, tea, fruit and snacks will be offered to stimulate your creativity.
Each workshop will start at 10:30 am and end at 1:30 pm.
Workshop Dates :
- Thursday, 16.Feb.2017 10:30 am and end at 1:30 pm. - Wednesday, 01.Mar.2017 10:30 am and end at 1:30 pm.
The price per person is £75 and the maximum workshop size is 5 people.
Please email me if you are interested.
location : near Sloane square
Details to be sent out once confirmed, including bank details.