vince pitelka on mon 11 dec 00
> And so there is one area, the time and the space to work and experiment
and
> learn. I get that. I understand its worth. And obviously, if this is the
> value of the degree, then I see it. But out there in the world, does the
MFA
> degree itself have any value? If so, what?
Carrie -
You are completely right about the benefits of an MFA program. It is a time
of intensive study that is difficult or impossible to achieve in other
circumstances. There are many professional artists who attribute their
success to this period of intensive study. As to the specific value of the
degree itself, an MFA is required to be considered for almost any teaching
job at the college level, it can open doors into a variety of gallery and
museum opportunities, and it is helpful in applying for various grants and
other opportunities. It used to be that most college teaching jobs required
"the MFA or equivalent," and many still list it that way, but it is almost
unheard of for anyone to be seriously considered for a college teaching job
without an MFA, and in this age of accountability it is very unlikely that
this situation will change.
Also, don't expect any old MFA program to deliver what you need. Anyone
considering graduate study must make sure to find the right school for them,
with a faculty that will be supportive of their individual artistic
direction and career objectives. And then once they begin graduate study it
is up to the individual to make sure that they are getting their money's
worth in terms of faculty attention and support. That is why I am a little
suspicious of the Vermont College distance MFA program. I cannot see any
conceivable way of getting your money's worth from an MFA program unless you
are completely immersed in the intense, demanding, stimulating environment
of graduate school. I know this will be a dissappointment to some people
considering this program. If it is the only conceivable option for graduate
study, then it is better than nothing for the person committed to getting th
e MFA. But there is no way it will ever accomplish what the "complete
immersion" MFA program will accomplish. If you are going to do it at all,
then I say go for the very best program for you, even if it means yanking up
roots, completely changing your lifestyle for a while, and putting yourself
into hock. You will never regret it. That is the reality of the situation.
I was 37 when my wife and I went to grad school. I shut down my studio
business in Northern California, and we sold our house and almost everything
we owned and moved to Massachusetts. It was the best thing we ever did.
Best wishes -
- Vince
Vince Pitelka
Home - vpitelka@dekalb.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
http://www.craftcenter.tntech.edu/
Marcia Selsor on tue 12 dec 00
Dear Vince and others,
My friend who is in the Vermont College Program is interested in Museum
work. She is a collage artist with a national reputation. She is in her
50's and financially secure. She is already totally immersed in her art
as a profession. She wants that piece of paper for a personal goal.
I agree with your advice for a person who needs that total immersion to
develop their work for a future in a profssion.
Marcia
vince pitelka wrote:
snip
Anyone
> considering graduate study must make sure to find the right school for them,
> with a faculty that will be supportive of their individual artistic
> direction and career objectives. And then once they begin graduate study it
> is up to the individual to make sure that they are getting their money's
> worth in terms of faculty attention and support. That is why I am a little
> suspicious of the Vermont College distance MFA program. I cannot see any
> conceivable way of getting your money's worth from an MFA program unless you
> are completely immersed in the intense, demanding, stimulating environment
> of graduate school. I know this will be a dissappointment to some people
> considering this program. \snip . It was the best thing we ever did.
> Best wishes -
> - Vince
>
> Vince Pitelka
> Home - vpitelka@dekalb.net
> 615/597-5376
> Work - wpitelka@tntech.edu
> 615/597-6801 ext. 111, fax 615/597-6803
> Appalachian Center for Crafts
> Tennessee Technological University
> 1560 Craft Center Drive, Smithville TN 37166
> http://www.craftcenter.tntech.edu/
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
--
Marcia Selsor
selsor@imt.net
http://www.imt.net/~mjbmls
http://www.imt.net/~mjbmls/Tuscany2001.html
MOLINA, RAFAEL on tue 19 dec 00
Vince:
>It used to be that most college teaching jobs required "the MFA...
IMO, I think you need to be more specific here. The MA will suffice at the
two-year community or junior college level.
>...or equivalent," and many still list it that way, but it is almost
>unheard of for anyone to be seriously considered for a college teaching
>job without an MFA, and in this age of accountability it is very >unlikely
that this situation will change.
Again, I have to disagree with you. I can cite numerous examples whereby
studio artists without any kind of graduate degree are hired to teach at a
college or university.
I can't understand how someone with the experience of the narrow focus of an
independant studio artist can be called upon to teach a broad based ceramics
curriculum. I can cite examples where people who have spent many years
concentrating on wheel-thrown high-fired stoneware end up teaching. What
exactly can they offer a student who is interested in materials and
processes different from their experience such as handbuilding ( i.e. pinch,
coil, slab, extrude, model, carving, casting) or oxidation firing at
different temperatures ( raku, maiolica, cone 6, cone 10). Ultimately, they
end up teaching techniques they are familiar with from their studio
experience (leaving students interested in other ways of working to their
own devices) or learning on the job.
I blame search committees who fall victim to the siren song of an artists
reputation and the attention they can bring to a department through
exhibitions, awards, lectures/demonstrations, publications, etc.,... rather
than a potential faculty members pedagogical abilities.
Ciao,
Rafael Enrique
-----Original Message-----
From: vince pitelka
To: CLAYART@LSV.CERAMICS.ORG
Sent: 12/11/00 9:36 PM
Subject: Re: Value of the MFA, Vermont College MFA
Carrie -
You are completely right about the benefits of an MFA program. It is a
time
of intensive study that is difficult or impossible to achieve in other
circumstances. There are many professional artists who attribute their
success to this period of intensive study. As to the specific value of
the
degree itself, an MFA is required to be considered for almost any
teaching
job at the college level, it can open doors into a variety of gallery
and
museum opportunities, and it is helpful in applying for various grants
and
other opportunities. It used to be that most college teaching jobs
required
"the MFA or equivalent," and many still list it that way, but it is
almost
unheard of for anyone to be seriously considered for a college teaching
job
without an MFA, and in this age of accountability it is very unlikely
that
this situation will change.
Also, don't expect any old MFA program to deliver what you need. Anyone
considering graduate study must make sure to find the right school for
them,
with a faculty that will be supportive of their individual artistic
direction and career objectives. And then once they begin graduate
study it
is up to the individual to make sure that they are getting their money's
worth in terms of faculty attention and support. That is why I am a
little
suspicious of the Vermont College distance MFA program. I cannot see
any
conceivable way of getting your money's worth from an MFA program unless
you
are completely immersed in the intense, demanding, stimulating
environment
of graduate school. I know this will be a dissappointment to some
people
considering this program. If it is the only conceivable option for
graduate
study, then it is better than nothing for the person committed to
getting th
e MFA. But there is no way it will ever accomplish what the "complete
immersion" MFA program will accomplish. If you are going to do it at
all,
then I say go for the very best program for you, even if it means
yanking up
roots, completely changing your lifestyle for a while, and putting
yourself
into hock. You will never regret it. That is the reality of the
situation.
I was 37 when my wife and I went to grad school. I shut down my studio
business in Northern California, and we sold our house and almost
everything
we owned and moved to Massachusetts. It was the best thing we ever did.
Best wishes -
- Vince
Vince Pitelka
Home - vpitelka@dekalb.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
http://www.craftcenter.tntech.edu/
________________________________________________________________________
______
Send postings to clayart@lsv.ceramics.org
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
vince pitelka on wed 20 dec 00
> IMO, I think you need to be more specific here. The MA will suffice at
the
> two-year community or junior college level.
Raphael -
You are right. I need to be more specific. The MA does often (not always)
suffice at the community college level, and people with all levels of
training are often hired to teach as adjunct faculty. But it is extremely
rare for anyone without an MFA to be hired into a tenure-track job at the
university level. In university administration today people are obsessed
with accountability and accreditation, and they want everything to be
evaluated quantitatively. So, universities want all of their tenure-track
or tenured faculty to have terminal degrees in their respective areas.
Regarding breadth of skills, that is certainly a worthy challenge for any
search committee, and if they hire someone who is impressive in one narrow
specialization, with no assurance of broad teaching ability, then the
students loose out, and that is a real shame.
> I can't understand how someone with the experience of the narrow focus of
an
> independent studio artist can be called upon to teach a broad based
ceramics
> curriculum.
This is a little unfair, because many clay studio artists are extremely
versatile, and are broadly experienced in ceramics. They offer a range and
depth of skills, and a sense of confidence in the studio which set a very
good example for their students. You can't make generalizations about this.
> different temperatures ( raku, maiolica, cone 6, cone 10). Ultimately,
they
> end up teaching techniques they are familiar with from their studio
> experience (leaving students interested in other ways of working to their
> own devices) or learning on the job.
As you know, no responsible, committed teacher would do this, regardless of
their background. With such well-developed skills in throwing, I imagine
they would slide into other areas very easily, and as you also no doubt
know, we learn very quickly by teaching. Learning on the job is ALWAYS an
essential part of becoming a good teacher.
This is a bit of a sticky area, because invariably there are some freshly
graduated MFAs out there who have been so poorly prepared to teach. Some of
them get into it and then discover that they aren't cut out for it. The
ones who are most committed to teaching find the part-time teaching
opportunities, during and after grad school, which enable them to move into
a full-time teaching job with a great deal of diverse experience. That is
what it takes today. What the search committees need to be looking for, in
addition to the skills and the strong artwork, is the demonstrated
commitment to teaching.
Best wishes -
- Vince
Vince Pitelka
Home - vpitelka@dekalb.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
http://www.craftcenter.tntech.edu/
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