Amanda on fri 7 jan 05
Hi Folks!
I've been lurking and learning for a while--thank you all for your great
ideas, insights, and inspiration.
I am applying to graduate programs in ceramics in a few weeks. As most of
my work consists of sculptural 3-D vessels, should I include multiple views
of each piece in my slide portfolio? And if I do include multiple views,
should they be included in the 20-25 recommended amount (eg, 4 shots of 6
pieces or 3 shots of 8 pieces). Would it be best to include 20-25 slides of
different pieces and then if I want to include additional views, include
more slides? I don't want to overwhelm the review committee, but I also
want to give them a good representation of my work.
Any suggestions would be greatly appreciated.
Thanks in advance!
Amanda
Warren Heintz on fri 7 jan 05
One suggestion that I would have for you is to make sure that you retain images for yourself,because more than likely they will keep whatever you give them.
Amanda wrote:Hi Folks!
I've been lurking and learning for a while--thank you all for your great
ideas, insights, and inspiration.
I am applying to graduate programs in ceramics in a few weeks. As most of
my work consists of sculptural 3-D vessels, should I include multiple views
of each piece in my slide portfolio? And if I do include multiple views,
should they be included in the 20-25 recommended amount (eg, 4 shots of 6
pieces or 3 shots of 8 pieces). Would it be best to include 20-25 slides of
different pieces and then if I want to include additional views, include
more slides? I don't want to overwhelm the review committee, but I also
want to give them a good representation of my work.
Any suggestions would be greatly appreciated.
Thanks in advance!
Amanda
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Kim Lindaberry on fri 7 jan 05
Amanda,
First I would say ask you present teacher for his/her advice as well as
a reference letter if required by the application materials. (BTW, when
asking for a reference letter always specifically ask if the person can
give you a GOOD reference. Not all reference letters are necessarily
good and you want to be sure the person is definitely on your side)
Second, if the application ask for a specific number of slides NEVER
EVER exceed the specified number. Do not assume that the review
committee will think its OK that you decided to take it upon yourself
know what is best. I know that when some people go through slides if
they see more than requested they immediately put the applicant's
materials to the side for rejection. The rational being that if you
can't follow a simple request you will probably be difficult in the
classroom.
Third, show as many pieces as you can to the review committee within
their guidelines. Sure, some pieces may need 2 different views to give
a good idea of what it looks like but there seldom are very many pieces
that need 3 or 4 views. The fewer pieces you show a review committee
the more they may wonder just how hard of a worker you really are.
Finally, your portfolio is as much about what you choose to put in it
and the critical decisions you can make to leave things out. You need
to be selective and separate the wheat from the chaff.
good luck,
Kim
On Jan 7, 2005, at 10:58 AM, Amanda wrote:
> Hi Folks!
> I've been lurking and learning for a while--thank you all for your
> great
> ideas, insights, and inspiration.
>
> I am applying to graduate programs in ceramics in a few weeks. As
> most of
> my work consists of sculptural 3-D vessels, should I include multiple
> views
> of each piece in my slide portfolio? And if I do include multiple
> views,
> should they be included in the 20-25 recommended amount (eg, 4 shots
> of 6
> pieces or 3 shots of 8 pieces). Would it be best to include 20-25
> slides of
> different pieces and then if I want to include additional views,
> include
> more slides? I don't want to overwhelm the review committee, but I
> also
> want to give them a good representation of my work.
Vince Pitelka on fri 7 jan 05
> I am applying to graduate programs in ceramics in a few weeks. As most of
> my work consists of sculptural 3-D vessels, should I include multiple
> views
> of each piece in my slide portfolio? And if I do include multiple views,
> should they be included in the 20-25 recommended amount?
Amanda -
I wouldn't include more than 25 slides total. Don't include more than one
detail per piece, unless there is some compelling reason to include more
than one detail of a particular piece. They want to see a quantity of
works, showing consistent content and quality through the series. It would
be far better to include images of fifteen pieces with detail shots of some
of them.
Good luck -
- Vince
Vince Pitelka
Appalachian Center for Craft, Tennessee Technological University
Smithville TN 37166, 615/597-6801 x111
vpitelka@dtccom.net, wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka/
http://www.tntech.edu/craftcenter/
URL Krueger on sat 8 jan 05
On Friday 07 January 2005 07:42 pm, Vince Pitelka wrote:
> They want to see a quantity of works, showing consistent
> content and quality through the series.
I don't understand. Isn't the operational word here
oxymoron, conundrum, or maybe catch-22.
Why should an educational institution select a candidate who
can present a portfolio showing consistent content and
quality over a candidate whose portfolio shows a lack of
abilities in both craftmanship and artistic merit?
Isn't the latter candidate the one who most needs and can
profit from what the institution has to offer?
--
Earl K...
Bothell WA, USA
Volunteer U.S. Marine Corps 1967-1971
As we have seen severalfold recently, an election
only has meaning if the People have faith that it
was conducted fairly, openly and without prejudice.
Sam Hoffman on sat 8 jan 05
Just a quick note to mention Pete Pinnell published an EXCELLENT piece
on pursuing an MFA in this month's Clay Times (Jan?). I have always
been a fan of his section "As Far As I Know"; unpretentious, humorous,
and chock full of great info.
Tony's piece for "Around the Firebox" is another goodie...
-Sam
S.L. Hoffman Pottery
Corvallis, Oregon
www.samhoffman.com
On Jan 7, 2005, at 7:42 PM, Vince Pitelka wrote:
>> I am applying to graduate programs in ceramics in a few weeks. As
>> most of
>> my work consists of sculptural 3-D vessels, should I include multiple
>> views
>> of each piece in my slide portfolio? And if I do include multiple
>> views,
>> should they be included in the 20-25 recommended amount?
>
> Amanda -
> I wouldn't include more than 25 slides total. Don't include more than
> one
> detail per piece, unless there is some compelling reason to include
> more
> than one detail of a particular piece. They want to see a quantity of
> works, showing consistent content and quality through the series. It
> would
> be far better to include images of fifteen pieces with detail shots of
> some
> of them.
> Good luck -
> - Vince
>
> Vince Pitelka
> Appalachian Center for Craft, Tennessee Technological University
> Smithville TN 37166, 615/597-6801 x111
> vpitelka@dtccom.net, wpitelka@tntech.edu
> http://iweb.tntech.edu/wpitelka/
> http://www.tntech.edu/craftcenter/
>
> _______________________________________________________________________
> _______
> 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.
>
clennell on sat 8 jan 05
Sour Cherry Pottery
> Just a quick note to mention Pete Pinnell published an EXCELLENT piece
> on pursuing an MFA in this month's Clay Times (Jan?). I have always
> been a fan of his section "As Far As I Know"; unpretentious, humorous,
> and chock full of great info.
>
> Tony's piece for "Around the Firebox" is another goodie...
>
> -Sam
>
> S.L. Hoffman Pottery
> Corvallis, Oregon
> www.samhoffman.com
Sam: thanks for the cudo. There will be reaction to that one. Better to sit
on the fence when it comes to arts politics. I don't have good balance so i
don't do fences.
I will look forward to Pete's column on MFA'
s. One of our students Sarah MacMillian is doing her MFA at Nebraska with
Pete. I know how Sarah crossed every t and dotted every i. When there was a
student show and she had vases in the show she woud spend hundreds of
dollars on exotic flower arrangements. She received a full scholarship for 3
years. Her presentation to Pete and Gail would have been absolutely top
drawer.
I look forward to seeing what he looks for in an applicant and what becomes
of Sarah under his guidance. Look for her landing a big job in the US. She's
a good one.
Cheers,
Tony
Tony and Sheila Clennell
Sour Cherry Pottery
4545 King Street
Beamsville, Ontario
CANADA L0R 1B1
http://www.sourcherrypottery.com
http://www.sourcherrypottery.com/current_news/news_letter.html
Hank Murrow on sun 9 jan 05
On Jan 9, 2005, at 6:19 PM, Louis Katz wrote:
> I may be a minority, but a portfolio that comes my way that
> shows several bodies of mature work makes me sit up and take notice. I
> suspect i had such a hard time getting into grad
> school because Vince's attitude predominates. I received an excellent
> portfolio a few weeks ago. Three bodies of
> work, spanning about 7 years I believe. Growth was apparent, and while
> there is a consistency the work could have been made by speparate
> people. Having several foci should not be confused with having no
> focus.
Dear Louis;
I have endured visits with gallery/shop directors who told me my work
was 'schizophrenic' in its diversity. I was told that clients like to
own pieces that their acquaintances would 'recognize' as soon as they
saw it on their wall or table as a 'Coleman' or whoever. Yet, lately I
have had several folks tell me after a visit to my site that they
enjoyed the diversity and breadth of work. And I take heart from the
work of Kawai and Rosanjin, who were considered by many of their peers
to be dilettantes.
Recently, having shown my "Migrations" series, I was told by many, "I
had no idea you could have done these, bravo!"
Anyway, after 47 years it is too late to contemplate a new way of
proceeding, save to follow my nose............ it has been an effective
if surprising guide.
Cheers to those with focus, whether single or multi-minded.
Hank
www.murrow.biz/hank
Kim Lindaberry on sun 9 jan 05
Many (all) graduate schools have a very limited number of students that
they can enroll. There is often fierce competition to get into some of
them. Students want to go to specific schools because they may have a
good reputation for turning out quality artists. Students need to prove
that they are deserving of those spots and their portfolios are a way
to visually prove that they have met a minimum standard of quality and
craftsmanship. GRADUATE school are where advanced study is carried on,
not remedial throwing 101 is taught.
Should someone that fails to work hard and lacks any technical skill
because they refuse to practice be rewarded because they have proved
they are a slacker? Should graduate schools be forced to have quotas to
allow the unmotivated, the inept and the artistically challenged in?
Or maybe the real question is, should someone that shows promise,
talent, and motivation be passed over because they show exceptional
skills? Should they be penalized because they want to go to a school
that some slacker also wants to go to?
On Jan 8, 2005, at 9:35 PM, URL Krueger wrote:
> I don't understand. Isn't the operational word here
> oxymoron, conundrum, or maybe catch-22.
>
> Why should an educational institution select a candidate who
> can present a portfolio showing consistent content and
> quality over a candidate whose portfolio shows a lack of
> abilities in both craftsmanship and artistic merit?
>
> Isn't the latter candidate the one who most needs and can
> profit from what the institution has to offer?
>
> --
> Earl K...
> Bothell WA, USA
> Volunteer U.S. Marine Corps 1967-1971
> As we have seen several-fold recently, an election
> only has meaning if the People have faith that it
> was conducted fairly, openly and without prejudice.
Vince Pitelka on sun 9 jan 05
> Why should an educational institution select a candidate who
> can present a portfolio showing consistent content and
> quality over a candidate whose portfolio shows a lack of
> abilities in both craftmanship and artistic merit?
> Isn't the latter candidate the one who most needs and can
> profit from what the institution has to offer?
Earl,
I appreciate you playing devil's advocate. Of course no application review
committee, graduate or undergaduate, is going to waste a moment on an
application portfolio showing a lack of ability in both craftsmanship and
artistic merit. There is nothing "oxymoron" or "Catch-22" about that. They
want the strongest candidates, so that their work will be even stronger upon
completion of their degree, especially in the case of a graduate program.
At the graduate level, they do not want to spend time teaching basic skills
and issues of craftsmanship. Those things should already be plainly visible
in the work. The stronger the applicant's work, the better it looks for the
particular graduate program while the student is in the program. The
stronger their work upon graduation, the better it reflects on the school.
So, of course any application review committee is going to be looking for
the student whose work shows a consistency and confidence in style and
craftsmanship.
One of the most common mistakes made in applying for undergrad or grad
programs in art is to present a portfolio that in essence says "look how
much I can do," showing a broad diversity of styles and approaches. Those
are among the first application packets to fall by the wayside. They show a
lack of focus and direction.
Consistency and continuity of style and craftsmanship in the slide portfolio
shows a level of confidence and maturity that is essential for graduate
study. But another common mistake is to come across with a very cocky,
self-righteous, know-it-all attitude in the application letter and/or
statement of purpose. The review committee wants to see competence and
confidence in the slide portfolio, shown by strong consistent style and
craftsmanship, but they are looking for candidates who are open to the
possibilities of graduate study, seeking further growth and development.
One would think this to be a matter of common sense, but it is amazing how
many statements of purpose or application letters essentially say "Look how
cool I am, I'm a done deal, you won't have to do anything with me!"
Best wishes -
- Vince
Vince Pitelka
Appalachian Center for Craft, Tennessee Technological University
Smithville TN 37166, 615/597-6801 x111
vpitelka@dtccom.net, wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka/
http://www.tntech.edu/craftcenter/
Louis Katz on sun 9 jan 05
>
> So, of course any application review committee is going to be looking
> for
> the student whose work shows a consistency and confidence in style and
> craftsmanship.
>
> One of the most common mistakes made in applying for undergrad or grad
> programs in art is to present a portfolio that in essence says "look
> how
> much I can do," showing a broad diversity of styles and approaches.
> Those
> are among the first application packets to fall by the wayside. They
> show a
> lack of focus and direction.
I disagree. I may be a minority, but a portfolio that comes my way that
shows several bodies of mature work makes me sit up and take notice. If
the portfolio also shows junk, I am less impressed but I can ignore a
few bad slides. I suspect i had such a hard time getting into grad
school because Vince's attitude predominates. I find most peoples work
who settle on a style after fthree years of undergraduate school and
then produce it for a year thin. They have to work on refinement for
the next 40 years . Synthesis for these people becomes very hard.
Galleries want consistency.But I do not think this criteria
(consistency) makes for good artists necessarily, although it can.
If you want an example of an artist with a career that was built on
diverse styles it is Kurt Weiser. His recent (last tfifteen years or
so) sucess with china painting is built on a career of diverse work.
His current work is much stronger becasue of this diverse foundation
and he still produces odd pieces that do not fit "his style".
I received an excellent portfolio a few weeks ago. Three bodies of
work, spanning about 7 years I believe. Growth was apparent, and while
there is a consistency the work could have been made by speparate
people. The portfolio did have one weakness and that was some thrown
work. It should have been left out.
Having several foci should not be confused with having no focus.
Louis
Kate Johnson on mon 10 jan 05
Luis Katz wrote (with a big snip)
:Growth was apparent, and while
>> there is a consistency the work could have been made by speparate
>> people. Having several foci should not be confused with having no
>> focus.
To which I say AMEN.
>
And Hank Murrow added:
> I have endured visits with gallery/shop directors who told me my work
> was 'schizophrenic' in its diversity. I was told that clients like to
> own pieces that their acquaintances would 'recognize' as soon as they
> saw it on their wall or table as a 'Coleman' or whoever. Yet, lately I
> have had several folks tell me after a visit to my site that they
> enjoyed the diversity and breadth of work. And I take heart from the
> work of Kawai and Rosanjin, who were considered by many of their peers
> to be dilettantes.
I think we can't allow ourselves to be concerned with what our peers think
of us, but what our art tells us. Otherwise we get lost in trying to please
them, gain their approval, and lose our own authenticity. (Sorry to aound a
bit preachy--I've written on creativity for a couple of national magazines
for years, and I am SO committed to where the muse takes each of us...)
>
> Recently, having shown my "Migrations" series, I was told by many, "I
> had no idea you could have done these, bravo!"
>
> Anyway, after 47 years it is too late to contemplate a new way of
> proceeding, save to follow my nose............ it has been an effective
> if surprising guide.
To which I say, amen and AMEN. I literally cannot focus on one medium, one
style, one direction, one subject matter to the exclusion of all others--I
would expire of boredom. I LOVE learning, stretching, challenging myself,
growing. I have a passion for exploration...I think that IS my art. I
applaud those who have found their true love in only one field, but I can
never number myself among them.
>
> Cheers to those with focus, whether single or multi-minded.
Indeed! As Elca just said, in another context, one size does not fit all,
and thank God for it.
Regards,
Kate Johnson
Graphics/Fine Arts
http://www.cathyjohnson.info/
http://www.epsi.net/graphic/
http://www.ebsqart.com/Artists/cmd_1494_profile.htm
Vince Pitelka on mon 10 jan 05
> I disagree. I may be a minority, but a portfolio that comes my way that
> shows several bodies of mature work makes me sit up and take notice. If
> the portfolio also shows junk, I am less impressed but I can ignore a
> few bad slides. I suspect i had such a hard time getting into grad
> school because Vince's attitude predominates. I find most peoples work
> who settle on a style after fthree years of undergraduate school and
> then produce it for a year thin. They have to work on refinement for
> the next 40 years . Synthesis for these people becomes very hard.
Louis -
I agree with what you say regarding the evolution of the artist and the risk
of getting "trapped" in a tightly-defined style. Artists must evolve, and
must be ready and willing to find new ground. You have heard me talk about
this on Clayart many times. That is why, as a teacher, I make sure that my
students have broad-based familiarity with materials, processes, and
techniques. On my website, on the "course syllabi" page there is a "skill
inventory" sheet that my students use as they proceed through the BFA
program. When artists are familiar with a broad spectrum of approaches and
techniques, it is much easier to take risks and experiment with new
directions.
But you refer to people "who settle on a style after three years of
undergraduate school . . ." Settle on a style? What does that mean? I
want to see my students develop discretion. preference, and self-confidence,
choosing a particular direction for their senior thesis project, directed
and defined by their personal history, inclination, and taste as an
individual, expressive artist. There is never any implication that they are
"settling" on a style that will define there career. The mere thought is
disturbing.
Developing and honing a personal stylistic direction is part of the maturing
process for any artist. It does not mean that one is compelled to continue
that direction long-term, despite the wishes of some gallery owners/buyers.
You seem to imply that developing a consistent artistic style in
undergraduate school inherently implies the long-term continuation of that
style. If you and I do our jobs, there is little chance of that.
I said "One of the most common mistakes made in applying for undergrad or
grad programs in art is to present a portfolio that in essence says 'look
how much I can do,' showing a broad diversity of styles and approaches."
You said "a portfolio that comes my way that shows several bodies of mature
work makes me sit up and take notice." Are these two statements at all
connected, even by the most remote stretch of the imagination? Come on,
Louis. You have seen those portfolios of 20 slides that look like a group
exhibition of a dozen people. Don't tell me that this is a good thing in a
grad school application. Those are the portfolios that immediately fall by
the wayside. A portfolio that shows several bodies of mature work? Yes,
that would make me sit up and take notice too. But as you point out, there
are plenty of faculty out there who would view even that as evidence of
indecision and lack of focus.
In your post you say "I suspect I had such a hard time getting into grad
school because Vince's attitude predominates." Vince's attitude? From your
post, you show little evidence of understanding my attitude.
- Vince
Vince Pitelka
Appalachian Center for Craft, Tennessee Technological University
Smithville TN 37166, 615/597-6801 x111
vpitelka@dtccom.net, wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka/
http://www.tntech.edu/craftcenter/
Louis Katz on mon 10 jan 05
Hi Vince
Thank you for further explaining how you feel about portfolios. The
only way for me to know how you feel on this issue that is practical is
to read what you wrote about it.
I read your letter and reread it. While I would never tell you what you
intended to convey, what you did convey to me was a desire for a
portfolio of consistency. If you had said consistent quality I would
have read something different from it. I may have interpreted what you
mean as consistent different than what you intended but that is what I
read.
I have enclosed a portion of your original post below, but here are
the relevant phrases taken out of context (In context at the bottom):
1. Positive comment: consistency and confidence in style...
2. Negative comment .......showing a broad diversity of styles and
approaches. Those
are among the first application packets to fall by the wayside. They
show a
lack of focus and direction.
3. Positive comment..........consistency and continuity of style.
Louis
On Jan 9, 2005, at 12:07 PM, Vince Pitelka wrote:
> So, of course any application review committee is going to be looking
> for
> the student whose work shows a consistency and confidence in style and
> craftsmanship.
>
> One of the most common mistakes made in applying for undergrad or grad
> programs in art is to present a portfolio that in essence says "look
> how
> much I can do," showing a broad diversity of styles and approaches.
> Those
> are among the first application packets to fall by the wayside. They
> show a
> lack of focus and direction.
>
> Consistency and continuity of style and craftsmanship in the slide
> portfolio
> shows a level of confidence and maturity that is essential for graduate
> study.
http://www.tamucc.edu/~lkatz/cs/files/
Amanda on mon 10 jan 05
Folks,
Thanks so very much for all your opinions and suggestions. It's given me a
much better idea of what to include and what to reject.
Keep your fingers crossed for me!
Best,
Amanda
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