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Master of Fine Arts: The constructio...

Sefton, Terry Gay.

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Master of Fine Arts: The construction of the artist in academe.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Master of Fine Arts: The construction of the artist in academe./
Author:	Sefton, Terry Gay.
Description:	311 p.
Notes:	Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2527.
Contained By:	Dissertation Abstracts International67-07A.
Subject:	Education, Art. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NR15944
ISBN:	9780494159446

Master of Fine Arts: The construction of the artist in academe.
Sefton, Terry Gay.

Master of Fine Arts: The construction of the artist in academe. - 311 p.

Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2527.

Thesis (Ph.D.)--University of Toronto (Canada), 2006.

Increasing numbers of universities offer graduate programs in studio art practice, culminating in a degree most often called Master of Fine Arts. This, arguably, represents a move towards professional status of the artist. The Master of Fine Arts degree has a relatively short history in North American universities. Programs vary widely from university to university in Canada, with a diversity of program expectations. The research site for this study, a Master of Fine Arts program in a large Canadian university, displays a mixture of academic, theoretical, and practical requirements. The research explores these questions: What role does graduate education play in the development of an artist? How do institutional practices influence the constitution of the artist? What is the place of art practice within an academic program? How do the art student's experiences, as a student, with her peers, through her own art practice, contribute to the formation of her identity as artist? This study uses interviews with students and faculty, field observations, institutional documents, written and artistic production of the students. From localized practices, narratives, and observations, there emerges a picture of institutional practices in a Master of Fine Arts program with implications for how those practices contribute to a particular formulation of the identity of the artist. This study found that the goal of the MFA program is to produce professional artists. The graduate student sees herself, and is seen by the faculty, as being inducted into a community where art work is produced and read within a discourse of critical art theory. Academic achievement is measured by both the production of art and the production of written texts that conform to institutional practices. The student's unique art practice develops within and is reframed by the aesthetic, theoretical and institutional practices of the graduate program, but retains the signature concerns of the artist. The identity of the artist is described, by both faculty and students, as an ongoing project of personal transformation and intellectual engagement through continuous artistic production.

ISBN: 9780494159446Subjects--Topical Terms:

1018432
Education, Art.

Master of Fine Arts: The construction of the artist in academe.
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245 1 0 $a Master of Fine Arts: The construction of the artist in academe.
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500 $a Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2527.
502 $a Thesis (Ph.D.)--University of Toronto (Canada), 2006.
520 $a Increasing numbers of universities offer graduate programs in studio art practice, culminating in a degree most often called Master of Fine Arts. This, arguably, represents a move towards professional status of the artist. The Master of Fine Arts degree has a relatively short history in North American universities. Programs vary widely from university to university in Canada, with a diversity of program expectations. The research site for this study, a Master of Fine Arts program in a large Canadian university, displays a mixture of academic, theoretical, and practical requirements. The research explores these questions: What role does graduate education play in the development of an artist? How do institutional practices influence the constitution of the artist? What is the place of art practice within an academic program? How do the art student's experiences, as a student, with her peers, through her own art practice, contribute to the formation of her identity as artist? This study uses interviews with students and faculty, field observations, institutional documents, written and artistic production of the students. From localized practices, narratives, and observations, there emerges a picture of institutional practices in a Master of Fine Arts program with implications for how those practices contribute to a particular formulation of the identity of the artist. This study found that the goal of the MFA program is to produce professional artists. The graduate student sees herself, and is seen by the faculty, as being inducted into a community where art work is produced and read within a discourse of critical art theory. Academic achievement is measured by both the production of art and the production of written texts that conform to institutional practices. The student's unique art practice develops within and is reframed by the aesthetic, theoretical and institutional practices of the graduate program, but retains the signature concerns of the artist. The identity of the artist is described, by both faculty and students, as an ongoing project of personal transformation and intellectual engagement through continuous artistic production.
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