Studio Visits in which you will have one to one meetings with our core faculty. Group Critique in which your work will be discussed with about of fellow students lead by a core faculty member and a nominated student. In your first year you will have the Critical Thinking courses, which will give you a cross section of critical theory and philosophy relevant to contemporary artists. In your second year you will have the Thesis Writing and Research courses that will build on what you learned in the Critical Thinking courses and support you in your personal research surrounding your own work in the studio.
Perpetually occupied with matters and ideas before the crux of formation and beyond official narratives—the exceptional perspective of the free artistic statement can thus be liberated from the restrictive frameworks of most professional endeavors. Through this unique framework, artists hold a position through which they can propose different aesthetic, social, and political possibilities than the ones dictated by the current, historically stratified, and omnipresent neoliberal realm.
In exploring this opening, they importantly bypass widespread states of passivity and the idea that nothing can be done to change the current status quo, be it in historically constructed modes of representation, broad socio-economical malaise, or deeper philosophical crises we are faced with today.
Instead, they investigate, and act upon the potential to momentarily open up possibilities to transform reality, or seek to establish alternative modes of imagining it, before these opportunities firmly close down again. Instead of presenting a well-structured, overarching curatorial statement, with artworks placed and contextualized in order to make an argument, or suggest a specific reading, the exhibition presents temporal clusters of artworks that momentarily disrupt preconceived ideas of exhibition making.
Here, individual works still in development crucially contribute to and shape the curatorial voice, suggesting a different kind of experiential hierarchy, which emphasizes fluidity and transformation as key components.
Before thus shifts its function from merely serving a curatorial statement to questioning the very foundation of the exhibition, well before it has been finalized. In her work she creates an insular and protective environment, echoing the cultural references of Puerto Rico seemingly removed from the displacement experienced in the US.
Similarly negotiating the dialectic state of the migrant subject, Angela Pulido Zorro elicits the complex relationships Parsons mfa thesis autobiography, a radical political past in Colombia, and her current personal transitory state in-between two countries.
Reassessing this intermediate state, her work explores the relationship between the official history of Colombia and its present state of perpetual warfare. Investigating the omnipresence of war monuments in Israel, Weiss analyzes how their original, commemorative function gets deemphasized, or bypassed entirely, as they become part of everyday public life and the banality of its urban centers.
A second cluster of works deals with multifaceted, playful encounters, which question normatively established notions of interaction and behavior through a series of engaged, performative gestures of varying length and diverging modes of temporal engagement.
Jian Yi, in his project Strangers, contacts people through the internet, involving them in a non-participatory encounter through which he documents their daily activities with a series of snapshots.
Merging the quotidian with the personal, he returns one week later, leaving a gift on their doorstep. Similarly straddling the spheres of intimacy and alienation, albeit in a different sociocultural context, Alejandro Yoshii gets in touch with individuals via various gay dating websites and apps, stripping the subsequent encounters of any sexual or physical connotation and purpose.
A third cluster of works deals with the emergence, as well as breakdown, of narrative structures. David Connolly, in a complex multi-channel video installation, investigates speech acts and their cultural and political implications.
Juxtaposing actual events concerning a mining accident in Zambia with corporate speak and management talk, the work suggests an alternative to the official, biased account of the tragedy, while powerfully subverting the meaning of the language surrounding it.
Focusing on a different field of narration, Lilly Handley is concerned with storytelling and the emergence of narrative structures, using the audio diary format as a way to destabilize meaning. As the stories she tells are both experienced by her, as well as borrowed and found, Handley complicates a straightforward understanding of first-person narration and memory, enhancing her audio installation with an ephemeral image archive of found scenarios.
Whereas these installations address the formation of narrative alternatives, the works by Hala Alhomoud and Cara Nahaul emphasize the breakdown of narrativized constructions.
Employing abstract patterns and repetition, Alhomoud shows short, looping animations depicting manual labor, zooming in on a physical gesture of a body working on farmland.
Through juxtaposing these animations with text pieces that refer to industrialized food products, as well as the reductive mode of narration, the artist suggests an intricate connection between two habitually separated worlds, the one of traditional farming and that of processed food production.
Lastly, in her large scale, colorful paintings, Cara Nahaul confuses the representation of familial identity and ethnic and cultural origins, deconstructing the spatial and formative elements that make up family photographs by recontextualizing them in newly imagined interiors and different time periods.
Her staged, theatrical compositions evoke relatable narratives through their generic content, yet are complicated by the formal abstraction of the painted image. Lastly, a fourth, and final cluster of works evolves around more explicitly open and formal approaches to artistic practices, suggesting a number of transversal links that disregard a clear, upfront thematic determination.
In doing so, they explore the formal implications and deeper meanings inscribed in a range of materials and media, as well as the possibilities that emerge from deliberate genre confusions.
Within this context, the works of Mark John Smith, Rujuta Rao, and Becca Jane Rubinfeld are bound by an interest in the physicality of sculpture elaborated with a wide variety of media, ranging from photography to video, from sound to printmaking, thus deconstructing the different temporal spheres associated with these modes of artistic expression.
Taking a hyper subjective approach to assemblage while exploring the essential yet fragile relationships between objects and materials, they explore a wide range of concepts and approaches, from the notion of ekphrasis, through the translation of an artwork from one medium to another resulting in an altered experience Rujuta Raoto the division between knowledge and intuition, fantasy and reality Becca Jane Rubinfeldto the removal of individual expression and action Mark John Smith.Annual graduate thesis exhibitions and publications extend students’ reach into art communities.
Exposure to Other Disciplines. The MFA in Photography program is part of Parsons’ School of Art, Media, and Technology (AMT), which is also home to the Communication Design, Fine Arts, Design and Technology, and Illustration programs.
About MFA | Fine Arts - Parsons The MFA course in Fine Arts offers an exciting, critically engaged 2-year program that is a combination of studio, theory and professional practices. Parsons School of Design is pleased to announce Second Nature, the Parsons Fine Arts MFA Thesis Show curated by Chelsea Haines.
Katie Chambers, Yeu Ryang Choi, catherine fenton bernath (cfb), Francesca Fiore, James Hsieh, Luma Jasim, Shenyuan Ke, Cali D.
Please join the graduating second year MFA IDD cohort at their culminating end of year show. Works on display encompass their year-long thesis projects. The Parsons MFA Fashion Design and Society program was launched in September It is the first graduate program offered at Parsons and is the only such program offered in the USA.
It offers a unique interdisciplinary approach to fashion design, with an emphasis on making and learning through doing. Create something new at the Parsons School of Art and Design. Our programs in NYC nurture your creativity so you can reach your potential.
Find out how today. P a r s o n s (skybox2008.com) Communication Design (MPS) Data Visualization (MS) Design and Technology (MFA) Design and Urban Ecologies (MS) Design Studies (MA).