We're entering graduation month, so it seems appropriate to ask: When did the M.F.A. become so important? And to whom, exactly, is it important?
Colloquially known as "More Fucking Artists," the Master of Fine Arts degree has become--depending on your point of view:
. essential for a career as an exhibiting artist
. a way to avoid the pressure of showing art in the real world
. an invaluable educational experience
. a colossal waste of money
. network central
. a clique with you on the outside
. the best thing you could do for your career
. a debt that virtually assures you'll never be able to buy a home
The days are gone—and they were few to begin with—when dealers would swoop into the M.F.A. studios of a big-city institution, select a student and then create a career for her, or more likely, him.
If you want to teach, yes, the M.F.A. is essential. But consider this: If every M.F.A. graduate expects to teach, there will need to be more and more students—an educational Ponzi pyramid. Think you're going to get a cushy job in a major city? Think again. Unless you have a great career already, your options will be limited to universities in Podunk, Wahoo, and Boondock Corners. OK, that's extreme, but don't plan on teaching in New York, OK? And once you get tenure in Podunk, you're cemented in there.
As for dealers, when I ask how important this terminal degree is when they're considering an artist, every one I have spoken to says, in almost these exact words: "It's about the work." Daniel, a Chelsea dealer, says unequivocally that it makes "no difference." Edward, also a Chelsea dealer, qualifies his "no difference" with the comment that, "It shows me an artist is serious about his/her career." In other words, an M.F.A. might enhance your chances if you have a chance to begin with. Might.
I want to hear from all you artists out there, but in this post I though I would talk to two painters who are also dealers. Both Miles Conrad and Kathleen O'Hara can address the topic in a way that few others can.
Miles Conrad, a partner in the Conrad Wilde Gallery in Tucson, has a newly minted M.F.A. from the San Francisco Art Institute. Here's what he has to say:
. "As an artist, it was a grueling and vulnerable experience that was absolutely necessary for me to undertake in order to move my work forward. I learned a lot about myself in the process and my work has evolved. "
. "As a gallery director/curator I am most impressed by strong, coherent work from any source. An M.F.A. is not part of our criteria when evaluating work, but we do consider those factors when making hard decisions and distinctions among equally strong candidates."
Kathleen O'Hara, a partner in the OHT Gallery in Boston, says, "The two years I spent in graduate school were a pivotal phase in my life."
. As an artist: "I think it varies from artist to artist, but for me the process of earning my M.F.A. confirmed my commitment to being a professional artist/curator. Having few expectations other than that I would be provided the opportunity to work in depth with good people, helped. Two years of working in a studio environment with fellow students and faculty artists seemed like a dream come true for me, since I had been out of school for a couple of years working 9-5 for a commercial printer."
. As a dealer: "As co-director at OHT, I agree that it's all about the work. But I also have to say that the overwhelming majority of our artists have an MFA or BFA degree...."
If you're in an M.F.A. program for the opportunity to grow as an artist in a supportive environment, you'd better make sure you pick a school that will support you. If the institution is all about new media and you're a painter, oops, bad choice. (This is the situation my friend J encountered, but she stuck it out because she needed that degree to keep her job.) If what you want is to eventually support yourself through the sale of your art or if you're a woman, better make sure you won't be dealing with old-school professors who believe that selling well means selling out, or that women don't "deserve" the same career as men. (Yes, they're still out there.) Ask around. Choose wisely.
In the interest of transparency, I have an M.A. in Visual Arts from Goddard College. I got it when the terminal degree was less important than it is now. It was a low-residency program, which allowed me to continue working to support myself. Perhaps for that reason, I have not found it nearly as helpful as my own hard work. It's important to note that I'm not interested in academia as a career (though I love the professional development course I teach—one, I might add, that has nothing to do with a degree and everything to do with actual experience).
So what about you: Do you have an M.F.A? Was it worth the time and expense? Has it helped you? If you don't have one, do you feel held back by the lack of the degree? If you're a dealer or curator, does an advanced degree make a difference to you when you're considering an artist or is it "all about the work?"
Image taken from the Internet: Arm and Leg charm by Amanda Jo
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