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Curatorial Practice MA
The Master of cated on the fact that the global enterprise of the
art world—including museums, Kunsthallen, com-
Arts degree
mercial and nonprofit galleries, private collections,
alternative spaces, biennials, art fairs, online art
sites, and a vast number of other publicly and pri-
vately supported art platforms—has increased the
in Curatorial Practice is a two-year program that number of curatorial ventures for programming on
focuses on professional training with a thorough local, national and international stages that seek to
grounding in the relevant study of history, research effect change.
and theory, and with an emphasis on hands-on To emphasize the deeply entwined nature of
work with experts in the field, professional net- education and professional engagement, MACP
working and the foremost goal of placing gradu- considers itself a hub for practitioners in the global
ates of the program in curatorial jobs. The program field, not an academic cloister. What this means
takes full advantage of the vast number of arts in real terms are exhibitions, performances, panel
institutions and professionals on the doorstep of discussions, workshops and ample time in the city
the School of Visual Arts in Chelsea and through- for one-on-one encounters with artists and pro-
out New York City, which provides countless fessionals in the field on a continual basis for our
opportunities for study, mentoring and profes- students. They have the opportunity to create,
sional development. Our faculty members work as curate and collaborate with leading profession-
curators, directors or in other professional capac- als and institutions from New York, with further
ities at major New York institutions. Our weekly opportunities in projects and internships, includ-
guest lecturers are curators, artists, conservators, ing research, exhibitions and publications that
writers, architects, critics and theorists who come span the globe. These events and collaborations,
to the program from around the world to talk about along with all of the New York art scene, give the
their exhibitions, programs, projects and events. students daily access to artists and profession-
There has never been a moment so potent in als who become the basis of their own networks
the explosive growth of venues for curatorial work for the future. Nothing can beat the proximity of
across the globe, while the political urgencies we these encounters in the everyday life of New York’s
now see around the world are a call to curators teeming, international art scene.
everywhere to turn their attention toward the The space that MACP occupies, close by the
intersection of social and cultural concerns. Our galleries in Chelsea and within reach of muse-
program in Curatorial Practice (MACP) is predi- ums and other exhibition venues in Manhattan,
2 3
About the
Brooklyn and the other boroughs, affirms our pro-
grammatic approach, which fluidly mixes prac-
tice, research and theory. Our facilities have been
Program
designed from the ground up specifically for us by
Charles Renfro of the world-renowned architec-
tural practice of Diller Scofidio + Renfro, in asso-
ciation with the design firm Leong Leong. Their
mission was to create a dynamic space in which
discussion, study, professional visits, critical
encounters, research and production take place
in an immensely flexible, technologically sophis- The MA in Curatorial Practice offers a prelim-
ticated and comfortable work environment. Our inary boot camp that begins in late summer
beautiful facilities fit within the exceptional as part of its first semester, introducing
fundamentals of research methodologies,
begin work on their curatorial plan for a final
curatorial project. Internships take place at
network of studios, workshops for every creative canonical history and theory texts in the field, major institutions around the world, as well
practice, libraries, labs and galleries that make up and conceptual thinking, followed in the full
four semesters of the program with rigorous
as at national and New York institutions, with
mentors who are internationally renowned.
the School of Visual Arts. The faculty and artists practical and intellectual training. The course The final projects take many forms and are
of SVA’s other programs offer still more possibili- work is designed to offer macro and micro often fully interdisciplinary, as befits the
views of the field, with the study of different expanded field of curatorial work today. These
ties for collaboration. curatorial practices and histories, constant projects are exhibited in public spaces in New
No other curatorial program in the world brings practical exercises in curatorial craft, and York City and in virtual space, replete with
engagement with working curators and other catalogs and documentary online presence.
more extraordinary resources, more creative enter- experts across disciplines and from around Degree candidates must successfully
prises, more curators, artists and experts as faculty the world. complete 50 credits, including all required
and visitors, and more opportunities for hands-on The curriculum is founded on a series
of case study seminars; writing workshops;
courses, while maintaining a high level of
academic and practical performance, as
work and professional networking than our Master practicums in every aspect of exhibi- judged by faculty and mentors. Applicants
of Arts in Curatorial Practice at the School of Visual tion-making and other forms of curatorial
presentation; and programmatic engage-
with a prior background in curatorial work are
especially encouraged, as are art historians
Arts in New York. ments with curators, artists and experts who and artists whose enterprises are relevant
will meet with the students as a group and to advanced work in the curatorial field. Our
on an individual basis. Students will also take students and faculty come from Australia,
—Steven Henry Madoff, chair a semester of art practice in their first year Belgium, Canada, China, Colombia, Germany,
to have a hands-on experience of what it is Iran, Iraq, Mexico, Puerto Rico, Portugal,
to engage in the production of art. Students Spain, Sweden, Turkey, the UK and the United
may draw from the resources of SVA’s other States, and it is intrinsic to the program that
undergraduate and graduate programs, as we continue to develop our global network of
well as its workshops, labs and libraries. connections that serves our graduates in all
During the summer between the first of their future curatorial work, while affirming
and second years, students enter into an our belief in the free movement of knowledge
internship/mentorship program, while they without regard to borders.
4 MA CURATORIAL PRACTICE 5
CASE STUDY
Ana Salazar
From Lisbon to
NYC to Singapore,
Ana Salazar a Curator’s
is assistant
curator of
Journey
exhibitions
at the NTU Centre for Contemporary
Art Singapore, one of that country’s
premier spaces for exhibiting art from
around the globe. Ana was initially
introduced to the center by way of
an internship she completed while
getting her master’s in the MACP
program. The program requires that
students enter into an internship/
mentorship program ahead of their
second year. How did Ana find this
internship? “I tried to figure out a
Ana Salazar at her thesis presentation in 2016.
6 MA CURATORIAL PRACTICE
tecture collective, and started thinking about Ana explains her role as assistant curator
going back to school: “My main goal was at CCA: “I assist the curators on all the exhi-
to be able to do this shift from musician to bition projects. We usually put together four
curator. I wanted to learn as much as possible exhibitions a year. There is a lot of admin-
about curating and visual arts.” Why did she istrative and production work involved, as
ultimately choose the MACP program? “I was well as research and content development,
drawn to it because of the careful language delving into each project and being able to
used (she liked that it was called curato- convey this to our public.”
rial practice, not curatorial arts) and the What upcoming exhibitions is she work-
structure of the program seemed relevant in ing on now? “I’m currently working on the
today’s context.” next two exhibitions, both very exciting! One
How does Ana define the role of a cura- is a solo show by the German artist Ulrike
tor? “For me the curator is the good friend of Ottinger and the other will focus on different
the artist. She is a person who appreciates rituals and beliefs in the region. The latter
and understands or at least wants to under- is called ‘Ghosts and Spectres’ and it will
stand the artists and their practices and is include four artists working in film.”
keen to share the experience of the artwork
with a public. It’s about curiosity and learning
together and wanting to share and connect
with each other. The role of the curator is
often a mixture of a co-conspirator and facil-
itator, researcher and conceptualizer, media- LEFT AND BELOW: Images of the Centre for Contemporary
tor and producer, thinker and educator.” Art Singapore, where Ana Salazar works.
strategy and decided to research curators Did the full-time position come up while
and find people that I identified with. So she was interning? “No, nothing of the sort
instead of looking for the place I looked for was discussed. I actually had other plans for
the person. I discovered that Ute Meta Bauer after graduation. What happened was that
was directing this newly established insti- shortly before I graduated, Ute wrote to me,
tution in Singapore and I thought it sounded saying that CCA might have an opening in
interesting! So I just reached out.” The direc- September and that I should apply. So I waited
tor, who was a longtime friend of MACP chair for the posting and applied. I interviewed via
Steven Henry Madoff, welcomed Ana enthu- Skype in August, received the offer in Septem-
siastically. So, Ana booked a flight, rented ber and started working in November.”
a room and headed off for a three-month Ana grew up in Portugal and was a
sojourn in Singapore. It was her first time in musician before finding a calling in curatorial
Asia. “I interned in the Research and Edu- work. She had an undergraduate degree in
cation department, and was assisting with piano, but had also always been interested
all matters related to the visiting research in the visual arts. In Lisbon, she had been
fellows and their activities at the center.” working at Frame Colectivo, an art and archi-
8 MA CURATORIAL PRACTICE 9
Curriculum/ Second Year
Sample Program FALL
Case Study Seminar 7: Performance and Institutions
CREDITS
1
Case Study Seminar 8: The Expanded Space of Art 1
While the program makes incremental changes every Artist Roundtable 3
year to reflect new issues and the interests of new fac- Practicum 4: Other Disciplines and Formats
Independent Curatorial Plan
3
3
ulty, this sample curriculum indicates the main subject Internship and Fieldwork Program 3
matter and the narrative development of the courses, SPRINGCREDITS
as well as the essential organization of the program into Curatorial Roundtable 3: Visiting International Curators Program 3
practicums, case study seminars and workshops. Workshop In Critical Writing 3: The Catalog Essay
Final Exhibition/Curatorial Project
3
6
First Year As part of a special series of panel discussions, Johannesburg-based Gabi Ngcobo
(left), the curator of the 2018 Berlin Biennial, speaks with Adrienne Edwards, curator of
performance at the Whitney Museum of American Art.
FALL CREDITS
Practicum 1: Research Methodologies 1.5
Practicum 2: Logic and Rhetoric 1.5
Case Study Seminar 1: 20th- and 21st-Centuries Exhibition History 1
Case Study Seminar 2: Curating Digital Art—From Network
and Gallery to Public Space 1
Philosophy and Social Thought Seminar: Phenomenology and Object Studies 2
Curatorial Roundtable 1: Visiting International Curators Program 3
Workshop in Critical Writing 1: Curatorial Analysis 1
Art Practice 0
Workshops in Professional Practice 1
SPRINGCREDITS
Case Study Seminar 3: Models of Thinking—Curating a Program 1
Case Study Seminar 4: Creative Class Warfare 1
Case Study Seminar 5: History as Commodity—On the Contemporary 1
Case Study Seminar 6: Curating the Interdisciplinary 1
Practicum 3: Exhibition-Making 3
Curatorial Roundtable 2: Visiting International Curators Program 3
Workshop in Critical Writing 2: Curatorial Analysis 2
10 MA CURATORIAL PRACTICE 11
Course
Offerings
A sample of our course descriptions follows.
All course descriptions can be found online at
sva.edu/macp/curriculum and macp.sva.edu/courses.
PRACTICUM 1: RESEARCH
METHODOLOGIES
This two-week intensive is held
directly prior to the beginning of
the first semester. It is dedicated to
instruction in research methodolo-
gies that are crucial to the formu- PRACTICUM 2: LOGIC AND RHETORIC
lation of exhibitions, catalogs and This second two-week intensive prior to the first
other curatorial ventures. Research semester is a formal introduction to training in logic
exercises focus on curator and and rhetoric, founded in the classical canon. It is
exhibition histories, with training commonplace in art practices to talk about “conceptu-
in the use of online resources, alism” and the concepts that are the basis of works of
bibliographical information and art, particularly in the post-Duchampian era. However,
physical archives at a major New the foundational ideas of what concepts are and the
York museum. At the end of this way logical structures and rhetorical arguments under-
practicum, students will be better gird the formation and expression of a concept are
prepared to develop exhibition largely unexamined. Through readings and exercises in
concepts and texts of various kinds, logic and rhetoric, this course will provide a background
from wall texts to catalog essays, that will help curatorial practitioners rigorously address
related to curatorial projects. the practice of concept formation as it relates to artists’
works and to their own formulations of exhibitions and
other curatorial expressions.
Students at work in the spaces of the MACP
program in Chelsea in New York City.
13
PHILOSOPHY AND SOCIAL
THOUGHT SEMINAR:
PHENOMENOLOGY AND
OBJECT STUDIES
As it is a common task of curators
to use objects to develop narratives,
this weekly seminar focuses on
an in-depth survey of philosophi-
cal investigations of objects, with
an emphasis on phenomenology,
object-oriented ontology and the
school of speculative realism. The
relationship of the body to objects
in space, investigations of subjectiv-
ity, and concepts of autonomy and
agency will be investigated using
texts by Husserl, Merleau-Ponty
and Heidegger, among others. This
thinking will be toward the goal of
engendering a deeper philosophical
thoughtfulness in the use and recep-
CASE STUDY SEMINAR 1: 20TH- AND Various images from exhibitions held in the MACP tion of objects in curatorial work.
21ST-CENTURIES EXHIBITION HISTORY gallery. This innovative space’s walls slide and
This weekly seminar focuses on curatorial innovation rotate so that students are constantly challenged
in making their exhibitions.
through an historical examination of the work of a
number of significant curators during the previous and
the current century, using as texts curators’ writings,
images of installations, the
reception of their exhibitions CURATORIAL ROUNDTABLES 1-3
in contemporaneous critical Every week a curator visits with the students and faculty to
assessments and related discuss a current project. The curators are from all over the
socio-historical readings. world, work across all disciplines, and represent different
Attention is paid to work kinds of institutions and practices. The format is informal and
in the fields of design, film, intimate, with the curator’s presentation followed by ques-
performance and new media, tions and answers and a reception that allows students to
as well as the traditional interact with guests and develop a growing professional net-
visual arts. This close exam- work. This is augmented by the in-house availability of space
ination of particular curators for invited institutions whose curators can use our facilities
will not only touch on the for brief periods of time while they are in New York, giving
intellectual shape of their students further access to working professionals from across
oeuvres as curators but also the globe. The Curatorial Roundtable is an integral part of the
on the specific formats they program throughout its two years. Because these roundtables
deployed to present work and cultivate relationships with curators and other professionals
ideas. This will be a means from New York institutions, as well as national and inter-
to develop the students’ national colleagues, a substantial network for professional
broader and deeper under- development is acquired that augments the internship pro-
standing of curatorial craft. gram and leads to future opportunities.
14 MA CURATORIAL PRACTICE 15
ART PRACTICE
The Curatorial Practice program intends to fully
immerse its students in the world in which they will
advance their careers as professional curators. Cen-
tral to this world are of course the artists whose works
provide the content of exhibitions and other curatorial
projects. In order to fully value this work, students have
the opportunity to try their hands as art practitioners
for a full year. They will be enrolled in an art course of their choosing at the
undergraduate level, across all disciplines, taking advantage of the training
and facilities that the School of Visual Arts offers. Students will receive
ongoing reviews and critiques from their instructors and peers. At the end
of the course, students will have a deeper understanding of the techniques,
materials, conceptual challenges and risks of being a working artist. This
will contribute directly to their curatorial practices and
collaborations with artists. WORKSHOP IN CRITICAL
WRITING 1 AND 2
CASE STUDY SEMINAR 8: Each week students attend
THE EXPANDED SPACE OF ART museums, galleries and alternative
Taught by an architect, this course uses historical and venues in New York City, ranging
contemporary examples to examine the expanded field across mediums and disciplines.
of exhibition-making in the 21st century. The complex, They are then expected to write
dynamic and productive relationships between exhibi- short reviews with specific refer-
tions and their sites will be explored as the class tack- ence to the curatorial aspect of
les the challenges and opportunities of found or made the project being analyzed. These
space, site specificity, site neutrality, object specificity, reviews are critiqued in a workshop
temporality and media. Using images, videos and texts, setting, refining the students’
students will conduct independent research on exhi- writing and analytical skills. As
bitions and their sites, and visit shows, performances one of the goals of the program is
and events throughout the New York area. Guest lec- to make its candidates highly pro-
turers will include artists, curators, fessional explicators of their ideas,
Final exhibitions and exhibition designers and other this workshop will improve the
performances for the
program, at the end architects. Curatorial exercises students’ writing fluency and refine
of the second year, dedicated to the reconciliation of the author’s voice, while making
are held in public space and art using conventional them more attentive to curato-
spaces in Brooklyn,
Manhattan and online. artworks, design pieces, time- rial craft as practiced in the city’s
Here, performances by based works and performance, as immensely varied spaces and forms
Jaimie Warren (top) well as consideration of the virtual of presentation and deepening their
and Vangeline of the
Vangeline Theater/New exhibition space, will be an essen- knowledge of methodologies as well
York Butoh Institute. tial element of the course. as execution.
17
Faculty
Roddy Schrock Lumi Tan Mick Wilson*
director, Eyebeam, New York curator, The Kitchen, director, Valand
New York Academy, University of
Terry Smith* Gothenburg, Sweden
Andrew W. Mellon Professor Wendy Vogel
of Contemporary Art History writer and independent
and Theory, Department curator, New York
To learn more about the faculty
of the History of Art and
Architecture, University of Keith Whitmoyer
Pittsburgh, Pennsylvania philosopher
members and to read their
biographies, visit:
sva.edu/macp/faculty. Faculty at
large noted with asterisks. International Advisory Council
Steven Henry Madoff Álvaro Rodríguez Fominaya* Maria Lind* Marina Abramovic Udo Kittelmann
chair, MA Curatorial Practice; artistic director, Center of director and chief curator, performance artist, New York director, National Gallery,
curator; art historian and Contemporary Creation of Tensta Konsthall, Berlin
critic; poet Andalusia, Córdoba, Spain Stockholm, Sweden Defne Ayas
former director, Witte de Suzannne Landau
Daniel Birnbaum* David Frankel Chus Martinez* With, Rotterdam director, Tel Aviv Museum
director, Moderna Museet, former editorial director, director, Institute of of Art, Tel Aviv
Stockholm, Sweden Department of Publications, Aesthetic Practice and Ute Meta Bauer
Museum of Modern Art, New Theory, Academy of Arts and director, NTU Centre for Lars Nittve
Ivy Blackman York; contributor, Artforum Design, Basel, Switzerland Contemporary Art, Singapore former executive director,
managing librarian, Whitney M+, Hong Kong
Museum of American Art Tim Griffin Laurel Ptak Daniel Birnbaum
executive director, chief executive director, Art in director, Moderna Museet, Lisa Phillips
Rebecca Clark curator, The Kitchen, New General, Brooklyn, New York Stockholm director, The New Museum,
associate director, York; former editor in New York
SVA Library chief, Artforum Sara Reisman Okwui Enwezor
artistic director, Shelley & director, Haus der Kunst, Paul Schimmel
Joshua Decter Hou Hanru* Donald Rubin Foundation, Munich independent curator
writer, curator, art historian artistic director of MAXXI, New York
National Museum of Thelma Golden Olga Viso
Thierry de Duve* 21st-century Art, Rome Charles Renfro director, Studio Museum in former executive
Evelyn Kranes Kossak principal-in-charge, principal Harlem, New York director, Walker Art
Professor and Distinguished Sofía Hernández Chong Cuy* designer, Diller Scofidio + Center, Minneapolis
Lecturer, Hunter College, curator of contemporary art, Renfro, New York Madeleine Grynsztejn
New York Colección Patricia Phelps de director, Museum of Sheena Wagstaff
Cisneros, New York David A. Ross Contemporary Art, Chicago chairman, Modern and
Clémentine Deliss* chair, MFA Art Practice, Contemporary Art,
independent curator, Berlin Brian Kuan Wood School of Visual Arts, New Hou Hanru Metropolitan Museum of Art,
founding editor, e-flux journal York; former director, artistic director, MAXXI, New York
Sarah Demeuse Whitney Museum of National Museum of
curator, writer, Daniel Kunitz American Art; former 21st-Century Art, Rome
co-founder of Rivet executive editor, director, San Francisco
Sculpture Magazine Museum of Modern Art
18 MA CURATORIAL PRACTICE 19Internship Application
Institutions Process
Each year, students spend from six weeks to three APPLICATION REQUIREMENTS
months during the summer between their first and second For detailed instructions, visit: sva.edu/grad/howtoapply
Online Application and $80 Application Fee: sva.edu/apply
years in for-credit internships at major institutions Statement of Intent/Personal Statement
around the world, learning the day-to-day workings of Résumé
Letters of Recommendation
these institutions from the inside. Many students also Official College Transcript
intern in New York during their second year.
Some applicants may be required to submit the following:
Proof of English Proficiency
Art in General, Brooklyn The Kitchen, New York The 9th and 10th Berlin Copy of Permanent Residency Card
Biennales, Berlin Declaration of Finances
Asia Contemporary Art Kunst-Werke Institute for
Verification of Finances
Week, New York Contemporary Art, Berlin The 11th Gwangju
Foreign Transcript Evaluation
Biennale, Gwangju
Bold Tendencies, London MAXXI Museo nazionale del-
le arti del XXI secolo, Rome The Shed, New York DEPARTMENTAL REQUIREMENTS
Brooklyn Museum, Brooklyn For specific guidelines about these requirements, visit: sva.edu/grad/deptreq
Museum of Modern Art, Tensta konsthall, Stockholm Writing Sample (Proposal)
Center for Creative New York Interview
Photography, Tuscon Whitney Museum of
NTU Centre for Contempo- American Art, New York
Collección Patricia Phelps de rary Art, Singapore DEADLINES
Cisneros, New York Witte de With, Rotterdam For information on application deadlines, visit: sva.edu/grad/timeline
La Panacée, Montpellier
FLORA ars + natura, Bogotá IMPORTANT LINKS
Performa, New York FAQ: sva.edu/grad/faq
Haus der Kulturen der International students: sva.edu/grad/intl
Welt, Berlin Queens Museum, New York
Tuition and fees: sva.edu/tuition
Visit SVA: sva.edu/grad/visit
International Studio & Cura- Solomon R. Guggenheim
torial Program, Brooklyn Museum, New York
20 MA CURATORIAL PRACTICE 21Contact Us We encourage applicants to visit our department. Contact us
directly to schedule a department tour or sign up to attend an
Information Session. For more information and to register,
ACCREDITATION
The School of Visual Arts has been autho-
rized by the New York State Board of Regents
The Interior Design program leading to the
Bachelor of Fine Arts in Interior Design is
accredited by the Council for Interior Design
go to: sva.edu/grad/visit. (www.highered.nysed.gov) to confer the Accreditation (accredit-id.org), 206 Grand-
If you have any questions about the application process, degree of Bachelor of Fine Arts on graduates ville Avenue, Suite 305, Grand Rapids, MI,
contact Graduate Admissions at 212.592.2107 or email: of programs in Advertising; Animation; Car- 49503-4014.
gradadmissions@sva.edu. tooning; Computer Art, Computer Animation
and Visual Effects; Design; Film; Fine Arts; The Master of Arts in Teaching in Art
Steven Henry Madoff, chair Illustration; Interior Design; Photography and Education program is accredited by the
Michael Severance, director of operations Video; Visual and Critical Studies; and to con- Council for the Accreditation of Educator
Brian Kuan Wood, director of research fer the degree of Master of Arts on graduates Preparation (CAEP).
Deirdre Nolan, administrative assistant of the programs in Critical Theory and the
Arts; Curatorial Practice; Design Research, The Master of Professional Studies in Art
Tel: 212.592.2274 Writing and Criticism; and to confer the Therapy degree program is approved by the
Fax: 212.592.2555 degree of Master of Arts in Teaching on grad- American Art Therapy Association, Inc., and
Email: macp@sva.edu uates of the program in Art Education; and as such meets the Education Standards of
Site: sva.edu/macp to confer the degree of Master of Fine Arts the art therapy profession.
Department site: macp.sva.edu on graduates of programs in Art Practice;
Art Writing; Computer Arts; Design; Design
facebook.com/pages/sva-ma-curatorial-practice/ for Social Innovation; Fine Arts; Illustration CREDITS
518153451586360 as Visual Essay; Interaction Design; Photog- © 2018, Visual Arts Press, Ltd.
instagram.com/svacuratorialpractice raphy, Video and Related Media; Products Executive creative director:
twitter.com/svacuratorial of Design; Social Documentary Film; Visual Anthony P. Rhodes
Narrative; and to confer the degree of Master Creative director: Gail Anderson
of Professional Studies on graduates of the Design: Ryan Durinick
programs in Art Therapy; Branding; Digital Editorial: Sheilah Ledwidge, Abby Kreh
Photography; Directing; Fashion Photogra- Case study writer: Sheilah Ledwidge
phy. Data required by the U.S. Department of
Education on “Gainful Employment” for each
The exponential of the above programs may be found on each
individual program page at sva.edu/ge.
The School of Visual Arts does not discrimi-
nate on the basis of gender, race, color, creed,
growth of the The School of Visual Arts is accredited by
disability, age, sexual orientation, marital sta-
tus, national origin or other legally protected
global arts enterprise—museums, the Middle States Commission on Higher
Education (msche.org), 3624 Market Street,
statuses.
galleries, alternative spaces, biennials, Philadelphia, PA 19104, 267.284.5000. The The College reserves the right to make
Commission on Higher Education is an insti- changes from time to time affecting policies,
art fairs, expositions, online art sites, tutional accrediting agency recognized by the fees, curricula and other matters announced
and the sheer number of publicly
U.S. Secretary of Education and the Council in this or any other publication. Statements in
on Higher Education Accreditation. this and other publications do not constitute
and privately supported art venues— The School of Visual Arts is an accredited
a contract.
has greatly increased the need for institutional member of the National
Association of Schools of Art and Design
curatorial knowledge and production.” (nasad.arts-accredit.org).
—Steven Henry Madoff, chair
22 MA CURATORIAL PRACTICE 23School of Visual Arts 209 East 23rd Street, NYC sva.edu/grad
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