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Brochure (2018) MA Curatorial Practice 132 West 21st Street » 10th floor Tel: 212.592.2274 [email protected] View Selections Master's stratum in Curatorial Practice Rigorous curatorial training in the heart of Manhattan with leading curators and experts from New York’s major arts institutions Historical and theoretical study of the expanded curatorial field International network of institutions and organizations for career minutiae The Master of Arts stratum in Curatorial Practice is a two-year program that focuses on professional training, with a thorough grounding in the relevant study of history, research, and theory, and with an accent on hands-on work with experts in the field, professional networking, and the foremost goal of placing graduates of the program in curatorial jobs. The program takes full wholesomeness of the vast number of arts institutions and professionals on the doorstep of the school in Chelsea and throughout New York City, which provides myriad opportunities for study, mentoring, and professional development. Our sense members are all working in significant institutions in New York, with curators, museum and gallery professionals, and artists streaming into our space on 21st Street each week from virtually the world to talk well-nigh their exhibitions, programs, and events, and to meet with our students. There has never been a moment so potent in the explosive growth of venues for curatorial work wideness the globe. Our program in Curatorial Practice (CP) is predicated on the fact that the global enterprise of the art world—including museums, Kunsthallen, commercial and nonprofit galleries, private collections, volitional spaces, biennials, art fairs, online art sites, and a vast number of other publicly and privately supported art platforms—has increased the number of curatorial ventures for programming on local, national, and international stages. CP embraces the nature of originative and curatorial practices as fully interdisciplinary. The visual arts, design, film, new media, performance, research-based practices, and other aspects of knowledge production and transfer are all within our program’s zippy educational and professional purview. To emphasize the tightly entwined nature of education and professional engagement, CP considers itself a hub for practitioners in the global field, not an wonk cloister. What this ways in real terms are established relationships with museums, as well as other organizations and self-sustaining experts, in New York and from virtually the world. Ongoing exchanges, internships, and both local and international opportunities to train and interreact with others in the production of exhibitions, publications, conferences, and events, withal with collateral online efforts, are hair-trigger components of what curatorial candidates wits in the program. The space that CP occupies on West 21st Street, tropical by the galleries in Chelsea, with easy wangle to museums and other exhibition venues in Manhattan, Brooklyn, and the other boroughs, affirms this programmatic approach. Our facilities have been designed from the ground up specifically for us by Charles Renfro of the world-renowned architectural practice of Diller Scofidio + Renfro, in undertone with the young diamond firm Leong Leong. Their mission is to create a dynamic environment in which continual discussion, pedagogy, professional visits, hair-trigger encounters, research, and production take place. Of course, our purpose-built facilities fit within the unrenowned network of studios and workshops for every creative practice, withal with libraries, labs, and galleries that subsume the School of Visual Arts. The sense and artists of SVA’s other programs offer still increasingly possibilities for collaboration. No other curatorial program in the world brings increasingly no-go resources, increasingly creative enterprises, increasingly artists and experts as sense and visitors, increasingly internationally respected and bountiful institutions, increasingly venturesome and vanguard undertakings wideness every disciplinary practice, increasingly of an intellectual seedbed for thought and production, and increasingly opportunities for professional connections than what our Masters in Curatorial Practice has at its fingertips in New York to bring to its students. Steven Henry Madoff, chair MA Curatorial Practice Advisory Council Marina Abramovic, performance artist, New York Daniel Birnbaum, director, Moderna Museet, Stockholm Okwui Enwezor, director, Haus der Kunst, Munich Defne Ayas, director, Witte de With, Rotterdam Thelma Golden, director, Studio Museum in Harlem, New York Madeleine Grynsztejn, director, Museum of Contemporary Art, Chicago Hou Hanru, originative director, Maxxi, National Museum of 21st Century Art, Rome Udo Kittelmann, director, National Gallery, Berlin Suzannne Landau, director and senior curator, Tel Aviv Museum of Art, Tel Aviv Ivo Mesquita, director, Pinacoteca do Estado de São Paulo, São Paulo Lars Nittve, executive director, M+, Hong Kong Lisa Phillips, director, The New Museum, New York Cay Sophie Rabinowitz director, Osmos, New York Paul Schimmel, partner, Hauser & Wirth, Los Angeles Olga Viso, executive director, Walker Art Center, Minneapolis Sheena Wagstaff, chairman, Modern and Contemporary Art, Metropolitan Museum of Art, New York  Feedback Please tell us well-nigh your wits using this site Email Message 209 East 23 Street, NY, NY 10010-3994 Tel: 212.592.2000 Fax: 212.725.3587 Accessibility NoticeContact DownloadsiTunes USitemapSocial Media © 2018, Visual Arts Press, Ltd. 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