If an MFA doesn’t provide a job, what does it give you? The answer, in one word, is education. A good MFA program can, in just a few years, provide the student with a great deal of knowledge, insight, and artistic growth. It will help the artist find his or her “voice”, that is, to set the directions that they will follow for many years. Just as importantly, students learn how to step back from their own work, and look at it with a clear, critical eye. The ability to critique artwork (including one’s own) is one of the skills that enable an artist to continue to grow and develop over a lifetime. In short, an MFA degree isn’t an end, it’s a beginning.

Is an MFA the only way to acquire this knowledge? No, of course not. Anyone who’s spent time in our field can point to many excellent ceramic artists who have not been to grad school. Some of my favorite potters don’t have an MFA, but all have earned the equivalent through many years of hard work. What successful artists, with or without degrees have in common is a willingness to work hard, explore broadly, take artistic risks, and view their own work with a critical eye.

What could you do instead of the MFA? For one thing, you could buy a lot of equipment. An MFA is expensive, and the amount spent earning the degree could easily provide a nicely equipped studio. As for knowledge, that can be gained from reading, attending workshops, and going to conferences. Insight can come from arranging critiques with other artists, either formal or informal. A small potluck of ceramic friends, for instance, can provide a friendly, non-threatening venue for feedback and growth. Another way to get a critique is to take part in longer, hands-on workshops with an artist whose work you admire. These situations might also allow you to spend time discussing and reflecting on issues pertinent to your work. Of course, even if you have an MFA, it’s a good idea to do all the things I just mentioned: learning should never stop. But for the person who is involved in self-education, these activities are even more important. Which is better? That depends on your personal situation, and (perhaps) on how you hope
to include art in your life. If you wish to teach in a college or university, then the degree is essential. If you simply want to develop as an artist, then either approach can work. Keep in mind that self-education demands more discipline from the artist: outside of the university, you won’t have a committee of pushy professors urging you to keep moving.

Many people start with the notion that they want to be full-time artist: that is, to earn a living from making and selling art. That’s certainly possible, and a great many people do it and derive immense satisfaction (if not immense remuneration) for their effort. I certainly enjoyed the twelve years I spent as a studio potter, and think back wistfully of the long, uninterrupted hours I spent in my studio. For others, the pressure of making a living can suck all the joy out of art. More than one artist has quit all artistic activity after experiencing it as a job. It can be freeing to realize that art can be one’s life without providing one’s livelihood. Many artists have a day job and use their studio as a pleasurable means of escape. If this is what one wants, then an MFA can offer the educational benefits we discussed above but is certainly not essential.

Does a potter need an MFA? So far in this column, I’ve repeatedly spoken of “artists” and “art”. What about potters? Frankly, this opens a giant can of worms that we could discuss at far greater length than this column allows, but I feel that pottery making, as presently practiced in North America, is an art form. The personalization of the decision-making processes, the ways, means, and language of critiquing, the manipulation of formal (visual) characteristics, even the current (Post Modern) emphasis on content places us firmly within the Fine Arts world. We may inhabit the fringes of that world, and fight (at times) with its premises and its values, but this is where we are. We could certainly question whether this is appropriate: is an Art School a good place to learn pottery making? Yes, I think so. The contemporary Western approach to ceramic education, which is so prevalent as to be nearly universal, is for each potter to develop a body of work that is unique and individualistic. That work may make reference to the work of others (living or dead), but we expect it to be as unique as the person who made it. This is in contrast to the apprentice system in which the student learns to make the master’s work, not his or her own. It is only upon reaching “master” status that the potter may begin to make decisions and develop a distinct voice, and that personalization may never occur. That approach may be more efficient, but I don’t believe it does a good job of teaching the kinds of self-critiquing skills necessary for an artist-potter to grow and develop professionally.

Who can get into an MFA program? Most schools I’m familiar with require pretty much the same things. We expect an applicant to have an outstanding portfolio, a bachelors degree (not necessarily in Art), an outstanding portfolio, a good knowledge of Art History, an outstanding portfolio, excellent letters of recommendation, an outstanding portfolio, an ability to write (usually as evidenced by an artist’s statement), and an outstanding portfolio. Of all the requirements listed above, the portfolio is (obviously) the most important. In all honesty, I use the portfolio as a “weeder” to get the number of applicants down to a manageable level, and then I delve into the rest of the applicant’s information. MFA programs are extremely competitive today, and no matter how good someone’s grades and letters might be, if the portfolio isn’t competitive, then the applicant isn’t either. It’s not enough for the recommendations to tell us that the applicant will make very good work “someday”- he (or she) needs to be making very good work now. “Someday” applicants need to be in an undergraduate or “special student” (non degree) program first.

What should be in the portfolio? It should contain the applicant’s best work, whatever that may be. I’m not looking for any particular approach, and I (and my colleagues) are quite open to pottery, vessels, figurative, sculptural object, installation, and/or just about any other art made from clay. We simply want to see good work. I prefer that the work in the portfolio be fairly new: if it contains work that’s several years old, I might question
the applicant’s drive or dedication. Otherwise, I have no particular preference for “breadth” or “depth”. I simply want the applicants to put their best foot forward.

Information regarding age, gender, religion, national origin, marital status, or disability of the applicant are irrelevant, and I would never let that information affect my decisions. I’m looking for interesting, talented, industrious artists who are open to growth and able to work well in close association with the faculty and their fellow grad students. I know that some older artists fear that their application won’t be taken seriously, but that is certainly not the case here, and it shouldn’t be elsewhere.

How do you decide where to apply? To begin with, you choose the people with whom you wish to study, then you find out if you can afford that program (some schools are more expensive than other, some offer more financial aid), and finally, you make sure the school has the equipment and studio space to enable you to make the kind of work you envision. I’ve heard this process described as “the four Fs”: faculty, fellow students,
funding, and facilities. Faculty comes first on that list, and for good reason. You go to school to learn, and good teaching is what makes that possible. If it is at all possible, you should travel to every place you wish to apply, both to meet the faculty and to talk with the grad students
currently in that program.

In second place is fellow students. The quality of one’s colleagues plays an important role in the quality of education. Anyone who attended a good grad school will recall the endless hours talking and debating with fellow students. So many of the insights that one gains in school is an outgrowth of that interaction. You want to make sure that you choose a program in which the students are as motivated and energetic as you are. Funding is also important, unless you have sufficient savings or family money you can fall back on. No matter how good the program is, it may not be worthwhile if your degree is going to leave you in enormous debt, which could impinge on your range of choices after school and prevent you from achieving your ultimate goals. On the other hand, most things in life are not free. We take it for granted that you must borrow money in order to own a car or a house. You should expect to borrow some money in order to afford a graduate degree, but excessive debt could make it impossible to travel overseas or accept an artist residency. Before you accept any offer from a grad program, figure out how much you’ll need to borrow and then look at loan tables so you’ll know how much you’ll be paying on your loan each month. This can help you put these costs into perspective.

As for facilities, you just need to find a program with the minimum necessary to do the work you envision. If you are interested in a particular program solely because of the studios or the equipment, then you should just skip grad school and put together that studio or equipment for yourself. That way you’ll still have it after three years. You’ll want to ignore location. Who cares if the school is in a place with nice weather, good clubs, excellent skiing, or other amenities? Once you’re in grad school, you’re never going to leave your studio anyway- except for brief periods of sleep. Having good skiing nearby will only serve to remind you that you’re way too busy to even think about skiing.

You’ll want to apply to a number of schools because entry in most programs is competitive, and no matter how good you are, you probably won’t get into every place you apply. If, after applying, you are lucky enough to get accepted to several, then youcan compare the larger package (costs, facilities, location, etc) and let that information help you decide. But first and foremost, choose the right faculty for you, and your approach to art. If you are interested in making pottery in an MFA program, it would be wise to find out if the faculty in that program are willing to treat pottery making as an art form, since that viewpoint is far from universal.

Deciding when, how, where, or even whether to go to grad school are extremely difficult, personal decisions. However you decide to structure your life, I hope you will always find joy and satisfaction in the act of making, and pride in the results of your effort. These are the things that give meaning to our work, and keep us striving to be better.

You can email me at ppinnell1@unl.edu

Think deeply about how much debt you should take on. Debt is a deterrent to starting your life professionally, weigh the costs that a university offers with the cost of living in that city.
Find initiatives within the university that can act as a springboard to other art + career streams and interests and can act as a catalyst for a new unknown niche.
Lifelong habits of continuous hard work, perseverance and networking are all absolutely necessary.”

When advising students about graduate school there are a lot of factors they should consider and it takes time and a decent amount of research to determine what program is right for them and the type of work they make.  I always advise student to research the programs thoroughly to determine who the faculty are, the structure, size and length of the programs (2 year or 3 year), the facilities they offer, how many graduate students attend the program and if there is any funding available.  Graduate school is a huge investment and you want to make sure you are applying to the right program otherwise it’s a waste of time and money.  There are many different reasons for choosing a graduate program, some students pick schools based on the faculty, what they make and how they approach their practice, some pick schools based on the facilities they provide, others choose schools based on the reputation of the program and some pick programs based on their geographical location.  Learning about the faculty who teach at various schools and the facilities that are provided is a good start.  Each program has a different focus based on the faculty and facilities in their programs.  In other words, if you want to fire your work in a wood or salt atmosphere there are teachers and programs that have those specific resources, if you are interested in design and would like facilities geared to 3D modeling and rapid prototyping there are schools and teachers specific to that area of study.  Some students are looking for a practice that is multidisciplinary or focuses on social practice so finding faculty and a program structured towards those needs would be vital to your development.  You don’t want to find your self in a program that doesn’t fully support your research and the work you want to make.  Talk to your current or past professors about programs they think you should look into. More research can be done by visiting the school’s website, visiting faculty’s websites, interviewing recent graduates and asking them about their experiences in school.  Social media can also be a tool for seeing what is happening at different programs.  Most programs have facebook and Instagram accounts you can follow.  This will not give you all the answers but allow you to make more informed decisions.  I would suggest picking 5 programs to apply to; 3 top choice schools and 2 back up programs.  Some students pick even more programs but application fees to apply can add up quickly.

Once you have narrowed down your schools you can then do more in depth research to understand how a program is structured.  As a student you want to know what to expect.  You will want to know what classes you will be taking and who is teaching them especially with seminars and history courses.  Some schools have the opportunity to study abroad in places like Jingdezhen or have relationships to other departments like engineering, industrial design or architecture.  These can be incredible resources for any student.  You will want to know how your graduate committee is set up and if faculty outside of your program are available to meet with you.  For example, at some schools you can pick faculty who work in other areas outside of ceramics to be on your graduate committee, they can be a helpful resource for your research as a graduate student.  Some schools are not structured this way and you only work with certain faculty.  Other important factors you will want to know is how often you meet with your advisor; is it once a week, every other week, less?  You will want know how often you are reviewed, is it twice a semester, once a semester or if the program is on the quarter system when are those reviews. They can take place in the 2^nd quarter 3^rd quarter 5^th quarter etc.  Some schools are incredibly structured where as others are more open, similar to a residency program and you work more independently.  Choosing the right program depends on what you want and what best suits you.  Understanding these nuances and how you work is important in supporting your research.  I had two students go to the same grad program at different times.  One left after a year and applied to a different school because the curriculum didn’t fit their needs, the other thrived there because they liked the openness of the program to pursue their ideas.  I think it is very important to visit schools.  It allows you to interview current students and faculty and ask these questions.  It allows you to see the studio spaces and the facilities to better understand the working conditions.  If one is unable to visit programs, then at the very least you should set up phone conversations with department chairs to have a discussion and be able to ask about the structure of the program and the resources it offers.

One of the biggest considerations (in my opinion) for attending an MFA program is the cost.  Students should not apply to or attend schools they can’t afford especially since the cost of education is rising and students are taking on more undergraduate debt.  Some, applicants go to graduate school to pursue teaching as a profession and this is the wrong attitude for applying to / attending an MFA program.  The development of your work and research should be the main focus.  Teaching at the collegiate level is not a guarantee after graduation. There are very little jobs and a lot of qualified candidates. I know a lot of ceramicists who can’t find teaching positions and are saddled with a lot of debt.  Many of these folks regretted not doing more research into the costs of their undergraduate and graduate programs.  There are a lot of programs that offer a tuition waiver and a stipend while attending school.  Often this is in exchange for teaching or working some position within the program.  Some schools offer “full rides”, some offer partial funding and others offer no funding.  You will want to find out about funding when researching a school especially when visiting a program or talking to the department chair.  You want to find out what types of positions are available and how much the monthly stipend is.  In the end do the math and find out how much debt you are willing to take on.  If financial restrictions are not an issue then options will open up for private schools and the ability to study abroad.  I have had students in the past choose some of these programs due to the school’s reputation rather than the program structure, facilities or teachers who work there.  This line of thinking is that the school’s reputation will open doors for you in the field.

Graduate school is a time for self-reflection and risk taking.  It takes a mature, open individual who can research and work independently. For some it can be an incredibly emotional experience.  This is because making art is personal and your ideas, methods and materials are being scrutinized through the process of earning an MFA degree.  Sometimes how we vison the experience of graduate school can be very different to the reality of it and our actual experiences while attending.  Some programs can be very competitive and challenging and the pressure academically and socially can be intense.  As a result, there are different philosophies on when to attend graduate school.  Some people think it’s best to take time off between undergraduate and graduate school to gain some real-world experiences.  Realistically it depends on how mature and driven you are and where you are with the development of your portfolio.  If your portfolio is underdeveloped you might want to wait, with the goal of improving your portfolio.  Looking into post-baccalaureate programs, residencies and apprenticeships are all really good options for this.  These experiences can also open doors to different graduate schools because it demonstrates that you are driven to seek opportunities.  It also expands your network and practitioners who can write letters on your behalf.

There are certain situations like jobs and geography that can also be a factor.  If you want to continue to work at your current employer or do not want to move while earning your MFA there are Low-Residency Programs that allow you to earn your degree remotely, over a longer period of time.  This is ideal for artists and educators who already have established a career but want to earn an MFA.

Ultimately there is no one way to approach choosing the perfect program because there are so many different factors that can play into the decision and your ability to be accepted.  Judging the program solely based on reputation or faculty or recent graduates can be incredibly misleading.  Programs can change quickly over the course of 5 years.  There are certain schools with great reputations but that does not make them the right program for any one individual.  Finding schools that are more regional might be more cost-effective and a better fit for most individuals.  In the end, try to do as much research as possible to be more informed, it’s an important decision one you don’t want to regret.

Some other considerations and questions to ask that may affect your experience while in school are:

Will there be any major renovations happening that could disrupt my research while attending the program?

Will any of the faculty be on sabbatical or leave while attending the program. (This is important if you are choosing a program based on the faculty who teach there).

Are there any faculty who will be retiring or any new hires while attending the program?

• What are your expectations of graduate school?
• Why do you want to apply to graduate school?
• Is it important to have “real life experience” or time off between undergraduate and graduate school?
• How has your drive to work in the studio changed after undergraduate school?
• Do you think there is a certain maturity level required for when you go to graduate school?
• What will your partner / spouse do when you are in graduate school?

• Do you apply to schools that artists you admire attended? By the professors teaching there? The graduate work coming out of a school?
• Are you applying to graduate school to become a teacher? A studio artist? An administrator? Does this change where you apply?
• What schools should you apply to? What are the most important deciding factors to you? Money? Location? Faculty? Peer group? Existing reputation? Facilities?
• What degree are you seeking in graduate school, MA? MFA? International PhD? What does this degree mean for you during your education and your future?
• What are the graduate students from this school doing after completion of their studies?
• Is the school rooted in cross discipline art making or not? Is it important to you if the faculty work in multi media or mostly ceramics?
• How competitive is the school to get into? How many applications do they receive each year and for how many spots?

• Really, I mean, really, how does your application look? How does it read? What words? How do your images of work look when projected? (Suggestion: Have several people look your application over before you send it out. Don’t forget to tailor each application to each school – be specific!)
• Who will you ask for recommendations? Someone from your past? Someone current? Someone not in your field? (Don’t ask your mother!) Suggestion: See chapter 3 – how to ask for letters of recommendation.
• What work is important to include in your portfolio – what do you want the school to know about you? What information do you want the school to know about you in your applying essays?
• Does your work fit with your artist statement, statement of intent, and application cover letter?
• How much does it actually cost to apply (including transcripts)?
• Who evaluated the applications? Just the ceramics professors or all of the art faculty?
• Is a GRE required for your application/acceptance?
• Is this an online application, or both snail mail and download?
• Have you allowed yourself enough time to put together a strong application – many deadlines are in January.
• What is the application process of the Schools: you may hear back as early as the end of January or as late as May!! Ask when you can expect to hear back from schools.

• What is the time structure of the school: do you want to work in a two or three-year program and what is the difference?
• How long do you have to complete the degree requirements? For your thesis exhibition? For your written thesis?
• What does the evaluation of your performance look like? What are the ramifications of these reviews?
• Does the program encourage or discourage you to exhibit your work during your time at school?
• Is there access to exhibition space in the school? In the town/city?
• Is there an option to be involved, exhibiting, or otherwise with NCECA or CAA?
• Is the studio 24 hours access? Do you have access to the studio during the summer and winter breaks?
• What are you encouraged to do during the summer and winter breaks: work in the studio? Travel? Residencies? Study abroad? Workshops?
• Is there a visiting artist program, how large or small, and in what areas? What is the interaction between the visiting artist and the students? Who chooses the visiting artist? Where does the funding come from for the program (student raised, existing budget or raised)?
• What classes are you expected to, or have access to take in and out of the studio – Critical theory? Art History? professional development? teaching? Other studios?
• Can you take classes all across the University or only in your school?
• If you are teaching as a graduate student, are you mentored into this position or “thrown to the wolves”? Are you teaching clay or other courses/media in the school?
• Does this school offer (quality and in depth?) Ceramic Art History , Aesthetic Philosophies, Art / Craft theory ?
• Is there a graduate students handbook that would help answer your questions – on line or hard copy?

• How many Kilns and what types? Clay mixers? Wheels? Pugmills? Extruder? CNC Router? Glaze Mixing? Wired studios? Clay mixing? Mold making? Wood shop? Computer lab? (access to) Resource library? Photography/ documentation set up?
• What is the studio layout: Are the graduate student studios with clay only? With other graduate students? With undergraduate students?
• How easy is it to move work from the graduate studio spaces and the kilns and are there any obstacles? Elevators or stairs? Big doors? Fork lifts?
• Are the facilities near the studios?
• Do students mix or buy their clay? Glaze?
• Are the studios private or public, how private, how public?
• Is the school going to be under a planned remodel, renovation or moving during your time there?

• Is there a student art and/or ceramics club? How active is it?
• Is there regular participation with NCECA or CAA, and is there support for this?
• How strong are the other areas in the school (art history, art criticism, sculpture, design, painting, photography, printmaking and so on)?
• How many graduate students are there total? And in ceramics in particular?
• What is the size of your community? How often are your interactions with this community?

• Is there funding? What type? How much? Where is it from? Scholarship? Assistantships? Loans?
• What do you have to do to get this money?
• Is funding performed based? Is the funding very competitive? Is the funding consistent or variable?
• What are the additional costs beyond tuition?
• Does funding cover the materials, firing, and/or health insurance? What kind of fee’s are going to be on top of your tuition?
• How expensive is it to live where the school is? What is the wage there? See this link for a cost of living comparison: money.cnn.com
• Most students under age 26 are covered under their parents insurance. For those non-traditional students, most schools provide relatively affordable basic health insurance to their students. Even cheaper insurance can be provided in programs where you also have full funding. Do your research, what kind of insurance do they offer?

• Does the location of a school actually matter to you?
• How important is proximity to your family or home base?
• Is this a location that you want to stay in, or is it a way point in your life, does this actually matter to you or not?
• Are there things in a specific schools region that will affect your experience in graduate school? Museums? Galleries? Art Centers? Landscape? Climate? Culture?
• What is the population of the town or city? How does the population density correlate with the cost of living?

• Who are the professors and what kind of work are they making? How much are they exhibiting their own work? Are they primarily teachers or artists or both? Are the professor’s studios at school or at home?
• Are the professors settled or “on the move”/ Does the age of the professor matter to you? Where are the professors in their career and does it matter?
• Will the professors be retiring, on sabbatical, or on maternity/paternity leave during your education?
• Does the gender of the faculty matter?
• How many professors are there in the ceramics as well as the entire art department or school?
• What is the accessibility that you will have with your professors in and outside of ceramics? Casual? Structured? By chance?
• Is there a technician, or is a graduate student the technician?
• How much faculty support do you receive once you finish school?

• Are there employment opportunities for your partner in their field while you are in school? Does the quality of this job matter?
• What is the minimum wage for the state the school is in? What is the cost of living?
• If you have children, are there good schools or daycare programs in the area?
• How difficult is finding housing and arrangement for children, family, and pets?
• Is there family housing?
• Does the school offer you access to health insurance for you, and your family/partner?
• How are you and your partners going to keep some balance in your own lives individually and together as a couple?
• Is the partner welcome at school? Do other graduate students have partners?
• Is there convenient transportation – parking passes, transportation?
• Are there perks to having a student id? Ex. outdoor recreation rentals, sporting events, bus transportation etc?
• Will your partner/spouse come with you or will you live apart for some of all of grad school?
• Grad school will be stressful at times, how will you balance your personal life with your school life?
• What is your financial situation really like? Do you have money saved or will you take out loans to attend school?

• If you get accepted into a lot of schools, how do you decide which one to attend – What is important to you?
• How much does money make your decision?
• Really – what are the deal breakers for you, and what does not actually matter that much?
• Do you feel like you are in a rush to go to school? And is this rush real or are you caught up in the moment?
• If you are rejected from schools, at what point to you decide to go where you are accepted or do you apply again?
• Often you will be interviewed by the faculty from that specific school that you have been accepted, or if you are on their shortlist. The questions that you are asked will vary from school to school, and from applicant to applicant. The school will ask you what they want to know about you. There are no right or wrong answers here, the faculty are trying to get to know you, so speak from the heart, and if you don’t know the answer, it’s better to say that, don’t ramble on and on. The faculty are trying to figure out if you will be a good fit to their school, and if they are the best school for you. Sometimes during an interview, applicants ask about financial support right away, and often the faculty are not in a position to answer that question yet – so wait until at least the end of the conversation, or once you have been accepted, send an email asking to set up another phone call. I would suggest that you have a few questions ready to ask them, and its helpful if the questions are specific to their school. It is a good idea to follow up the interview with a thank-you email.
• Is a post-bac program a good alternative for you? Some schools may defer your graduate application to the post-bac program?
• Many applicants do not get accepted the first or second time applying to graduate school, how will you handle this, what kind of backup plan can you make? Is it try and try again…or are you done with this process?
• Some faculty will be willing to explain to you why you were not accepted into their program, if you are lucky enough to get this information, don’t argue with them.
• Some schools may be interested in accepting you into their program after you have been a post-bac at their school – ask them about this.

• When deciding if, when, and where to apply, is helpful to speak with a professor or someone who has been to graduate school to help you get a list going. Usually, people apply to 4-8 schools. It is expensive to apply to school, so plan ahead.
• Visit the schools you are interested in – can you see yourself working there. Make sure you let the school know you are coming an set up a meeting with faculty if possible.
• Some schools require an interview on the phone or in person. If you are interviewing at a school, bring your portfolio on a flash drive, a resume, questions to ask during the interview.
• Speak with current graduate student in the program, remembering that they are in the middle of graduate school themselves (having a good day, having a bad day).
• Speak with alumni from this school if possible.
• Clearly lay out your financial plan before you start school, the vast majority of students attending graduate school will need to take out loans at some point, consider this carefully and figure out what your comfortable level is (see Chapter 1 in the field guide for help with this).
• Have a back-up plan, graduate school is not for everyone, many artists and professors do not go to graduate school. They have what is called “professional equivalency”. Once a friend of mine had so much anxiety about graduate school, he threw-up, try to avoid this.
• “Try to foresee how the school and department will work for you upon graduation. Does the faculty have a strong track record in actively placing and recommending their grads? Are they socially and professionally respected and active? Great recommendations and connections are essential, especially if they are from those who are respected in the field. Does the school and program have a reputation that will stand out in the hiring process? Will they program prepare you in the portfolio/resume building process? These are things that will matter when you leave the program if you are seeking a teaching career, though they may be the last things on your mind when you are applying!” – Stephanie Stephenson