MFA in Visual Art Viewbook 2025-26

MFA IN VISUAL ART

A IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUA

IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISU

AN MFA PROGRAM FOR MAKERS AND THINKERS

WELCOME TO THE MFA IN VISUAL ART PROGRAM at WashU’s Sam Fox School. I’m excited to share with you the people and programs that make us unique.

At the Sam Fox School, we know the world needs all kinds of artists. Here, we have programs and funding to support diverse creativity—historical techniques, emerging media, scholarly research, social practice, and everything else you can and can’t yet imagine.

The MFA-VA curriculum is designed to help you craft a future studio practice you’ll mine for a lifetime; parallel courses in making and thinking build the foundation of studio as research.

Our faculty are artists with broad professional experience who work generously and seriously with each of our students.

In our halls, you’re as likely to find intense discussion as concentrated making. Artists, architects, designers, and illustrators cross-pollinate, critically engaging with new media and technology. Dedicated staff connect student and faculty scholarship across fields. Bringing it all together, our six shops and many skilled technicians train and assist students in everything from welding to 3D printing—meaning students can produce the highest level of craft in service of ideas.

Experimentation, discovery, and collaboration are built in, including an inspiring visiting artist program and commitment to strengthening community through the school’s Office for Socially Engaged Practice. The Sam Fox School also hosts Fox Fridays, an offering where members of the school community give workshops on lesser-known and under-utilized methods that might not fit into a class (think: RISO animation, wood lathe, video projection mapping, hollow form handbuilding in clay, Arduino circuit boards, and more).

We’re proud of our home in St. Louis—a real, historic, and complex city in which an artist can make a life. We have stunning museums with worthy collections, world-class music and theatre, and an unbelievable park system. Plus, many of our cultural institutions offer free admission—and we use it!

I hope this catalog makes you excited and curious to learn more about us. If you have questions, please reach out to me at calvertt@wustl.edu.

Tiffany Calvert Associate Professor & Chair, MFA in Visual Art Program Sam Fox School of Design & Visual Arts Washington University in St. Louis

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CONTENTS

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Curriculum Studios & Facilities St. Louis MFA in Visual Art Thesis Faculty Visiting Lecturers & Critics Alumni Scholarships & Financial Aid

Background image: Installation view, Slingshot: 2024 MFA in Visual Art Thesis Exhibition.

Kemper Art Museum, Washington University in St. Louis, 2024.

Photo: Virginia Harold

A IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUAL ART • MFA IN VISUA

LETTER FROM THE CHAIR

RICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICU

CURRICULUM CHAIRED BY Associate Professor Tiffany Calvert, our curriculum instills students with the agency and resiliency essential to the next generation of artists.

As part of a tier-one research university, our MFA in Visual Art program is an inclusive, close-knit community of makers and thinkers. We offer students a site for rigorous inquiry, humanity, and intellectual generosity.

In the Graduate Studio, students work independently with the guidance of a primary faculty mentor as well as a broad range of other faculty and visitors.

Group Critique is the heart of the curriculum. A mix of first- and secondyear students meets for rigorous weekly critiques to share new work and engage in lively, constructive discussion.

A sequence of required Graduate Seminars engages students in research methodologies and prepares them for professional careers in the arts.

MFA-VA students can enroll in Electives across the school and the university that build upon their research interests. Students also participate in Workshops to build essential technical and professional skills.

Form connections

Experiment

1ST YEAR FALL SEMESTER

1ST YEAR SPRING SEMESTER

5 credits

5 credits

4 credits

4 credits

3 credits

3 credits

3 credits

3 credits

1 credit

1 credit

Graduate Studio

Graduate Studio

Graduate Group Critique

Graduate Group Critique

Graduate Seminar: First-Year Colloquium

Graduate Seminar: Professional Practice in Art

Elective

Elective

Workshops

Workshops GRADUATE STUDENT TRIP

EXHIBITION

EXHIBITION

First-Year Fall Exhibition

First-Year Candidacy Exhibition

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FOX FRIDAYS STUDENTS CAN LEARN how to use new tools, processes, and technologies through Fox Fridays, a weekly, low-stress workshop series. Sessions have included Intro to Machine Learning; Sound Design; Alternative Processes in Silkscreening; Arduino Motors & Sensors; and Intro to Game Development, VR, and AR.

–Jordan Geiger, MFA '24

Practice-led research SUMMER PROJECT Students develop a project proposal in spring of their first year, develop the work over the summer, and exhibit it early fall.

SOMMERAKADEMIE In alternating years, students have the opportunity to participate in our study abroad program to Germany.

Thesis development 2ND YEAR FALL SEMESTER

2ND YEAR SPRING SEMESTER

5 credits

5 credits

4 credits

4 credits

3 credits

4 credits

Graduate Studio

Graduate Group Critique

Graduate Seminar: Research for Practice

Graduate Studio

Graduate Group Critique

Graduate Seminar: Thesis & Exhibition Prep Total degree credits: 60

3 credits

Elective

GRADUATE STUDENT TRIP

The College of Art subscribes to the standards for the MFA degree set forth by the College Art Association (CAA) and the National Association of Schools of Art and Design (NASAD).

EXHIBITION

EXHIBITION

Second-Year Fall Exhibition

MFA Thesis Exhibition

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WORKSHOPS

Working alongside my cohort has truly been a joy and inspiration. We have collectively supported each other and developed an open way of communicating and working together even amidst the difficulties which inevitably arise with group projects and high emotion. I’ve loved many things about this experience, and getting to know the bright, intelligent people in my cohort is at the top of the list.”

RICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICULUM • CURRICU

STUDY ABROAD

BERLIN

THE BERLIN SOMMERAKADEMIE explores multiple modes of creative and cultural production in relation to the material, social, and political conditions of Berlin, Germany. In this seminar-based course, students gain an understanding of how artists address history, communities, and social contexts in relation to the conceptual and practical dimensions of their work.

Students spend about one month abroad: three weeks in Berlin, and one week in Venice for the famed Venice Biennale. A purely exploratory program, the Sommerakademie is offered every other

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year; students attend following either their first or second year in the MFA program. An additional course fee applies, and students are responsible for their own travel and lodging expenses.

Students participating in the 2024 Berlin Sommerakademie visited the Palais Populaire, where they toured the exhibition "La Chola Poblete: Guaymallén." Photo: Roy Uptain

STUDENTS HAVE ACCESS to a wide array of fellowships, residencies, and grant funding throughout the MFA-VA program.

›› Counterpublic Fellowship

The Counterpublic Fellowship invites firstyear MFA-VA students to take part in the triennial civic exhibition and includes a $7,500 stipend. The exhibition, begun in 2019, is “one of the nation’s largest public art platforms,” and has been featured in The New York Times.

›› Lewis Collaborative Curator-in-Residence

The Lewis Collaborative Curator-inResidence is a one-year appointment open to MFA-VA students living at WashU’s Lewis Collaborative. The residency includes curating exhibitions and other events in collaboration with TechArtista, a coworking company that manages the space.

›› Grants

The MFA-VA Graduate Student Production Grant and Thesis Research and Production Grant provide up to $1,000 for students to pursue studio production ideas that would otherwise be out of reach.

›› Graduate Student Travel Stipends

The Sam Fox School offers competitive travel stipends for graduate students. These stipends support travel for research and creative activity when accompanied by a strong rationale. By investing in student travel, the school aims to support creative activity and research.

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Counterpublic completely reshaped my perspective on my own work while aiding in profound self-discovery. I worked to engage and activate social spaces and closed loops within community, leading to a stronger and more connected city and helping me see throughlines between my personal story and how it connects to larger community.”

–Micah Mickles, MFA '24, 2023 Counterpublic Fellow

›› Fine Arts Work Center Scholarship

Each year, the school offers two awards for MFA-VA students to attend a one-week workshop at the Fine Arts Work Center in Provincetown, Massachusetts. The award covers tuition, on-site housing, plus a possible additional $500 travel and expenses grant.

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BEYOND THE CURRICULUM

DIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES

STUDIOS & FACILITIES

↑ WEIL HALL Opened in fall 2019, Anabeth and John Weil Hall is a hub for our graduate programs in visual art, illustration & visual culture, architecture, landscape architecture, and urban design. Designed by the firm KieranTimberlake, the 82,000-squarefoot facility includes studio spaces across graduate programs; exhibition and project spaces; communal spaces for socializing and working; and numerous resources for making, including an experimental studio for video, film, and time-based media. The building achieved LEED Platinum status— the U.S. Green Building Council’s highest certification.

Weil Hall offers ready connections to the facilities and maker spaces in the school’s six-building complex.

Photo: Devon Hill

→ KUEHNER COURT Adjacent to the MFA-VA studios, Kuehner Court in Weil Hall offers a welcoming space to relax and work, and includes a lush, twostory living green wall.

Photo: James Ewing / JBSA

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MFA-VA studios are located across the south side of Weil Hall’s second and third floors, providing abundant natural light. Each student gets their own, 180-square-foot, loft-style studio space. Installation spaces throughout the studio areas allow students to convene for critiques, student-curated exhibitions, and impromptu gatherings.

Photos: Audrey Westcott (below, bottom), Caitlin Custer (right)

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UDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES

MFA-VA STUDIOS ↓

DIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES

→ PRINTMAKING AND BOOK STUDIO The school has an integrated printmaking atelier for letterpress, etching, lithography, and illustrated books.

The space includes the Dubinsky Printmaking Studio, which features very large, electrically powered etching presses and Island Press, our collaborative printmaking workshop.

A collaboration with University Libraries, the Nancy Spirtas Kranzberg Studio for the Illustrated Book is a working book and print production facility that includes equipment for letterpress, intaglio, photopolymer plate, RISO, and silkscreen processes.

Photo: Joshua White

↑ CALERES FABRICATION STUDIO The Caleres Fabrication Studio supports digital fabrication, featuring industry-grade tools such as laser cutters, 3D printers, a large-format CNC milling machine, vacuum and thermoforming, and a knife plotter.

Courses and special workshops, including Fox Fridays (see p. 3), provide students opportunities to learn to use these tools.

↑ WOOD AND METAL SHOPS The school’s wood and metal shops are staffed by expert teaching technicians. Walker Hall houses wood and metal shops, a CNC plasma cutter, plaster and mold-making, foundry, and ceramics facilities, including several kilns.

Interior courtyards in Walker and Weil, along with numerous exterior spaces, provide opportunities for large-scale investigations.

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Photo: Joshua White

ISLAND PRESS, directed by Professor Lisa Bulawsky, is a research-based printmaking workshop that creates and publishes innovative prints and multiples. In the context of intensive visiting artist residencies, Island Press explores the expansive theoretical and material terrain of the print.

The Press is project-driven, tapping into the place where the artist’s creative activity intersects with the philosophical underpinnings of printmaking. Experimentation with new modes and technologies is a natural part of this pursuit, resulting in the creation of ambitious editions in a range of media.

Visiting artists work in collaboration with our master printer, faculty, and students, who gain access to the technical and conceptual challenges of a variety of projects. Past visiting artists include Dario Robleto, Nina Katchadourian, Beverly Semmes, Michael Joo, and Radcliffe Bailey.

↑ Diana Guerrero-Maciá. The Beautiful Girls No. 4, 2018.

Relief, monotype, blind embossment, and archival inkjet collage on Rives BFK off white, 17" x 14". Edition of 14. ↗ Paula Wilson. In the Desert: Coupling, 2016. Unique print—monotype and collagraph on muslin, mounted on canvas and wood, 69 ½" x 43 ¾". → Duane Slick. Crafting a Consequential Narrative, 2020.

Collagraph, relief, screenprint, acrylic, and chine collé (on okawara) on Rives BFK white, 34 ½" x 30". Edition of 16.

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UDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES

ISLAND PRESS

DIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES

↑ WASHU SAM FOX SCHOOL GALLERY MFA-VA students are provided numerous opportunities to exhibit their work, both on and off campus. Located on the nearby Delmar Loop, the WashU Sam Fox School Gallery is one of the school’s many exhibition spaces. Throughout the year, it presents work by students, faculty, and alumni, as well as other artists and designers.

Photo: Devon Hill

← KRANZBERG LIBRARY The University’s library system features 12 distinct sites, including the Kenneth and Nancy Kranzberg Art & Architecture Library, which holds more than 105,000 volumes in various media, and subscribes to the foremost electronic article indexes, e-book reference works, and digital image databases. The Dowd Illustration Research Archive (DIRA) is the most comprehensive archival collection of periodical illustration held by any academic institution.

Photo: Caitlin Custer

WHAT DO THE UNIVERSITY’S RESOURCES MEAN FOR YOU? The Sam Fox School is an integral part of WashU’s diverse academic community, which is home to some of the world’s leading experts in the humanities and the sciences. You’ll have access to the University’s system of 12 libraries, a professional media production center, two observatories, an environmental field station, and much more. Immersed in this rich research environment, our students are ideally equipped to develop ideas and artworks of consequence and significance.

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AMONG THE NATION’S leading university art museums, the Kemper Art Museum serves as a center of cultural and intellectual life on campus and in St. Louis.

At the museum, encounters with original works of art inspire creativity, social and intellectual inquiry, and meaningful connections across disciplines, cultures, and histories. With approximately 8,700 works of art in its collection—dating from antiquity to the present—the museum has especially strong holdings of 19th-, 20th-, and 21st-century European and American paintings, sculpture, prints, installations, and photographs, as well as a growing collection of global art. Its special exhibitions present the work of some of today’s most important artists as well as new understandings of historical art. Unique educational offerings focus on multidisciplinary exchange that stimulates critical thinking, visual literacy, and curiosity.

See p. 16 to learn about the MFA in Visual Art Thesis Exhibition, held at the Kemper Art Museum every spring. ↑ Opening of Katharina Grosse Studio Paintings, 1988–2022: Returns, Revisions, Inventions, September 23, 2022. Photo: Virginia Harold ↗ Kemper lobby, featuring Tomás Saraceno, Cosmic Filaments, 2019. Photo: Joshua White → The Gertrude Bernoudy Gallery displays works from the museum's 19th- and early 20th-century American and European collections. Photo: Virginia Harold

Franz Ackermann John Baldessari Alberto Burri Willem de Kooning Nicole Eisenman Olafur Eliasson Isa Genzken Jenny Holzer Barbara Kruger Louise Lawler Henri Matisse Pablo Picasso Jackson Pollock Tim Rollins Ed Ruscha Lorna Simpson Kiki Smith Pierre Soulages Wolfgang Tillmans Kara Walker Carrie Mae Weems Pae White

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UDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES • STUDIOS & FACILITIES

KEMPER ART MUSEUM

SELECTED ARTISTS

LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOU

ST. LOUIS ST. LOUIS IS A GREAT PLACE for artists to integrate with the vibrant local arts scene. With dozens of small galleries, opportunities to show your work off campus are endless. Our historic city is a fascinating place to explore and acts not only as a site of engagement but also as an extension of the studio.

LOCAL MUSEUMS, GALLERIES, AND ARTS SPACES • 21c Hotel* • 31art Gallery • Angad Arts Hotel • Barrett Barrera Projects • Bruno David Gallery • Center of Creative Arts (COCA) • Contemporary Art Museum (CAM) • Cunst Gallery • Duane Reed Gallery • Fifteen Windows Gallery • Granite City Art and Design District (G-CADD)* • High Low Gallery • Houska Gallery • Kranzberg Arts Center Gallery • Lewis Collaborative at TechArtista • The Luminary • Mad Art Gallery • National Building Arts Center • Parapet / Real Humans • Philip Slein Gallery • Pulitzer Arts Foundation • Saint Louis Art Museum • The Sheldon Concert Hall & Art Galleries • Sophie’s Artist Lounge • STNDRD / NON STNDRD • Wildfruit Projects • William Shearburn Gallery * pictured on the following spread 12

Devon Hill / WashU

Photo: Devon Hill

Photo: Caitlin Custer

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. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUI

Photo: Devon Hill

LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOU

St. Louis is a profoundly interesting city for artists. It’s funky, affordable, complex—and has good eats and a ridiculous amount of culture per square foot.”

– Amy Hauft, Director, College & Graduate School of Art; Jane Reuter Hitzeman and Herbert F. Hitzeman, Jr. Professor of Art

MFA-VA first years form connections with local galleries and open-concept spaces such as City Foundry (top, above left) and the Granite City Art and Design District (G-CADD) (right) which have served as venues for past shows. Photos: Devon Hill

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. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUIS • ST. LOUI

Downtown St. Louis' 21c hotel highlights more than 70 works by a wide range of internationally celebrated artists, including MFA-VA alumni Ebony Patterson, MFA ’06 (top), Quinn Antonio Briceño, MFA ’22 (above left); and Yvonne Osei, MFA ’16 (above right). Photos: Whitney Curtis

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MFA IN VISUAL ART THESIS THE MFA THESIS is the culmination of the MFA in Visual Art program. It comprises your thesis artwork, your thesis text, and an artist talk. You’ll present your thesis artwork at the annual MFA in Visual Art Thesis Exhibition, held at the school’s Kemper Art Museum.

THESIS ARTWORK You’ll begin preparing for your thesis exhibition in the fall semester of the second year, working with faculty and curators to shape your vision of the work and develop your thesis plan in the Research for Practice Seminar.

THESIS TEXT In the spring semester, the Thesis + Exhibition Prep Seminar provides tools for negotiating conceptual and practical matters related to the thesis exhibition as well as guidance on the writing of your thesis text and the presentation of your artist talk.

ARTIST TALK The artist talk is given in conjunction with the thesis exhibition and is attended by your thesis committee, invited guest critics, and the general public.

Request a copy of the most recent MFA-VA Thesis Exhibition catalog by emailing us at samfoxgradadmissions@wustl.edu.

Caitlin Custer

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UDENT WORK • STUDENT WORK • STUDENT WORK • STUDENT WORK • STUDENT WORK • STUDENT WORK • STUDENT WORK • STUDENT WORK • STUDENT WORK • STUDENT WORK • STUDENT WORK • STUDENT WORK • STUDENT WORK • STUDENT WORK

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Jamie Lee Harris, MFA '23 Maame Wata Awaits for You, Ma, 2023. Ceramic, terracotta, sand, wood, and copper, 77 × 48 × 48 in. overall.

We Sing, We Wail, We Wake, for Homegoing’s Sake, 2023.

Ceramic tile, wood, raffia, shell, oil on canvas, and found objects, 96 × 72 × 51 in.

Photos: Kalaija Mallery

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—Jamie Lee Harris, MFA '23

Harris’ thesis project primarily focused on the mourning history of the African diaspora. With this research, she looked at different African religions, searching for common threads between a Western lens and an African lens. “I’m looking for elements that resonate with me and speak through my work,” she said.

Photo: Caitlin Custer

Read the full interview.

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I went from thinking I was just going to focus on painting to working more in ceramics, to doing installations and large sculptures. These are things I wouldn’t have been able to do without the facilities here.

Some schools have kilns that will fire right sometimes and not at all other times. Here, I can safely experiment and work large.”

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Jorge Rios, MFA '23 Azul, Amarillo, Rojo, 2023.

Watercolor and acrylic marker on Arches paper mounted on 4 wood panels, 96 × 48 in. each.

Photos: Kalaija Mallery

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—Jorge Rios, MFA '23

Rios’ thesis project is an exploration of painting itself, utilizing watercolors and acrylic markers on paper, then mounting onto plywood panels. The work is directed to painters in the way it’s constructed. “It’s inspired by the way I interact with painting as a painter—I’m very attracted to a painting that resists revealing its process, how it was made,” he said.

Photo: Caitlin Custer

Read the full interview.

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When I was applying to graduate schools, I visited the Sam Fox School and kind of fell in love with the space. I had a great connection with Professor Lisa Bulawsky.

We had meaningful conversations about the work I was doing, and I knew it was a good decision to come here.

When I’m painting, feelings come in waves. There’s a lot of struggle, peaks and valleys, realization and joy”

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Lynne Smith, MFA '24 Every One, 2024. Broken paperclip, thread, and air, 7 x 1/16 x 2 in.

W14, W15 (whatever it takes), 2024.

Non-standard steel (steel, foam, epoxy, adhesive, putty, saliva, and latex paint), 300 x 15 x 15 in.

Photos: Virginia Harold

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—Lynne Smith, MFA '24

“I hope to generate more questions than answers,” Lynne Smith said. Her thesis work examined gestures— from the minute to the massive—using humble materials and the specificity of sites to explore themes of fragility and resilience.

Photo: Caitlin Custer

Read the full interview.

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I’ve made connections in other departments that are actively influencing my practice—I spend time in a neuroscience lab and witness the electrical charge of touch, and talk about materials, matter, particles, and energy with a friend in quantum physics. The generosity of knowledge and enthusiastic reciprocity of engagement in our respective practices is exciting.”

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Joni P. Gordon, MFA '24 [W]hole, 2024. Paint, ink, thread, rope, sand, mirror, kraft paper, and photographs on Masonite, 96 x 126 x 48 in.

Photos: Virginia Harold

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—Joni P. Gordon, MFA '24

This work compares Joni Gordon’s Black identity in her homeland, Jamaica, versus in the United States. “Through this work, I confront displacement, colorism, my ancestry, and racial identity. I question both the possibility and one’s attempt to heal from the psychological scars caused by racial discrimination,” she said.

Photo: Caitlin Custer

Read the full interview.

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The most valuable thing that I will take away from being here at WashU is the community—the people I’ve met—and how the program allowed for experimentation. ”

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Samantha Neu, MFA '24 Homesick, 2024. Insulation foam, joint compound, and paint, 84 x 60 x 120 in.

Photos: Dmitri Jackson (top, right), Virginia Harold (above)

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—Samantha Neu, MFA '24

Samantha Neu’s work explores the various facets of being a material body—erotic, intimate, grotesque, fragile, transient, humorous. Homesick implies body through its organic form, and at ten feet long, six feet wide, and seven feet tall, the large form suggests the body by eliciting an interaction.

“The viewer imagines climbing on the form, but they are denied this experience. They become aware of their physical relationship to the piece through this tension,” she said.

Photo: Caitlin Custer

Read the full interview.

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When I visited WashU …

I could tell the faculty and cohort would be supportive through the program, and the current students emphasized the faculty’s accessibility. I also knew I wanted to attend a school that offered classes outside of art. I have taken creative writing, archaeology, and gender studies classes here, all of which have influenced my work.”

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Photos: Virginia Harold (top), Dmitri Jackson (right)

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—Sophia Hatzikos, MFA '24

Sophia Hatzikos’ work is a recollection of her time, path, motion, and body. “I wanted to make something that people are able to walk into—to be close, to be far, to be longing.

Water has this vastness that is so big and hard to contain, but I feel that everyone shares a common memory and identity with water,” she said of the sculpted relief tiles.

Photo: Caitlin Custer

Read the full interview.

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I like researching, I like learning, I like talking with people. It took me a long time to acknowledge and claim the title of artist— because that does feel like a choice. [Other disciplines] have procedures and expected ways of being. Art didn’t have rules like that.

There isn’t just one way to present things.”

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FACULTY OUR FACULTY are nationally and internationally recognized for their diverse practices, which engage complex territories on the environment, race, politics, material culture, science, and the human condition. Thwarting conventional silos, many work across disciplines and collaborate with practitioners in other fields. Several Sam Fox School faculty have joint appointments in other departments—including Film & Media Studies; American Culture Studies; Performing Arts; Women, Gender, and Sexuality Studies; and African and African-American Studies—so they are poised to connect you with other research areas at the university.

MFA-VA PROGRAM CORE FACULTY

Jamie Adams Heather Bennett Lisa Bulawsky Tiffany Calvert Joe deVera Amy Hauft Meghan Kirkwood Arny Nadler Patricia Olynyk Jack Risley Cheryl Wassenaar Monika Weiss

SELECT FELLOWSHIPS & AWARDS • New York Foundation for the Arts Grant • Pollock-Krasner Foundation Grant • Fulbright Fellowship • National Endowment for the Arts Grant • Louis Comfort Tiffany Foundation Award • Yaddo Residency • UCLA Design Media Arts Center Residency • Civitella Ranieri Foundation Fellowship (Italy) • International Artists Residency Fellowship (Poland) • Pew Fellowship • Howard Foundation Fellowship • The Rome Prize (Italy) SELECT EXHIBITIONS • The New Museum • Museum of Modern Art • American Academy in Rome • MoMA PS1 • Crystal Bridges Museum of American Art • Corcoran Gallery of Art • MASS MoCA • Museum of Contemporary Photography • San Francisco Black Film Festival • Marianne Boesky Gallery • Postmasters Gallery • Yerba Buena Center for the Arts

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Whitney Curtis

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REFLECTING ON THE STUDIO VISIT LET’S THINK ABOUT what takes place during a well-prepared studio visit: an artist and visitor come together to discuss (sometimes over coffee or tea) the work on view. Of the many aspects of this essential (and also vulnerable) exchange, the most important of all is the willingness of both parties to make an effort to truly understand the work on its terms and communicate with each other—on intellectual, visceral, and emotional levels.

The generosity of spirit must come from both sides. In that sense, a studio visit is a perfect ground for a “non-power” place, where the only thing that matters is the work on view and its possible symbolic, aesthetic, affective, conceptual, social, or political meanings. At its best, a studio visit is a deep conversation about the work, but also about the world and about what passions and concerns drive the artist. It’s worth remembering, too, that many artists are shy, as are those who visit the studios of other artists. Mutual space, respect, and listening are necessary to create conditions for sharing. In the context of an MFA program, a studio visit also nods to Emmanuel Levinas’ philosophy of ethical reciprocity, placing accent on the “other.”

In this way, the studio visit isn’t merely free of power dynamics, as much as possible, but marks a reversal of the expected power dynamic, where the accent is on the student as the artist, not on the visitor.

—Monika Weiss, professor

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Studio visits play a critical role in our program, facilitating an open exchange of ideas that can expand the context of work and elevate its content. Professor Monika Weiss reflects on the spirit of these interactions and the opportunities they present.

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Q&A WITH HEATHER BENNETT SENIOR LECTURER HEATHER BENNETT joined the Sam Fox School in 2013, where she teaches a variety of studio art courses that blend into art, feminism, and more. She’s known to students for her willingness to take deep dives into their practices, questions, and curiosities.

What are you teaching this semester?

I’m currently teaching Digital Studio, which is part of the foundations curriculum. I get to teach alongside a designer, so we get to cross-pollinate. I am also teaching Photographing Fiction, which is an art practice course where we’re talking about photography in an expanded sense. It’s not just what you catch with the camera, but what you create for the camera.

This semester, I’m also teaching Capstone with the BFA seniors in studio art, helping them with their exhibition, presentation, and final paper. Next spring, I’m teaching Art + Feminism—for I think the sixth time—which addresses the political ramifications of certain art practices. It has a more theoretical, critical bent, which I really like.

What do you most enjoy about your role as an educator?

I love sitting down with graduate students and having conversations in their studios, finding out what their practice is about, what their inspirations are, and then helping them expand their thinking and simultaneously specify it. I then help the students realize the work and their aspirations for it.

Do you have a favorite hard skill and soft skill to teach?

With soft skills, it’s so much about being confident with your own practice.

Experimentation is key. One of the most important things I learned in school was to not be afraid to go for it, that I don’t have to do something perfectly the first time. You have to be prepared to make something stupid—that’s how you get somewhere. It takes confidence to get to that place.

With hard skills, I have so many weird skills because I worked in the movies in New York painting sets. Sometimes I’ll share with students how to use a resin or arcane materials or how to carve something with a Sawzall, and they’re like, “Why? Why do you know that?” I know all these materials, recipes, and ways of working with plastic media. What was cool about that movie scenic job was how much I got to paint, learn raw skills, and improvise. I picked up a lot of knowledge, much of it probably irrelevant.

What’s the best-case scenario after meeting with a student?

I really hope that they think about things they knew before, but in new and different ways, expanding possibilities. When you look at something from a different angle, the possibilities of what you can make shift

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visual. There’s a distinction between activism and artistic practice, but there’s also an overlap. It’s a powerful way to talk about how certain voices are heard and others haven’t been historically.

and advance. What I really want students to get to is a way to do this—to expand their thinking—for themselves.

Tell me about your practice. Any projects you’re working on right now?

My practice is evolving. It’s always multimedia. Lately I’ve been working with sound and text more and more.

I started this body of work called “Remix,” using photographic work that I did in the past. A couple decades ago, I made work where I used myself in the images to interrogate images of women in contemporary media and culture, thinking about assumptions or tropes. Several feminist artists, particularly in the ’70s, put themselves in their work to recontextualize and reconsider the woman as the presumptive object, and becoming subject/author in that same move.

So many years later, looking back at that work… the impetus for what I was doing is still there, but it’s changed as I’ve changed. I think differently about my own gaze, especially on myself. Even though it seems very selfcentered because it’s my gaze on myself, it brackets out to the evolution of a female body, a female gaze. How does that change as your ideas change, your body changes, your experiences change?

I’ve been taking those old photographs and projecting on top of them, creating new works involving sound and text I’ve written. That’s why they’re remixed, they’re an amalgam of all these different processes to look at these pieces through a different lens and expand them.

Has your own understanding of feminism and engagement with feminism been remixed?

The Art + Feminism course has really changed and reinvigorated my thinking, because I see how powerful those artistic practices are. Feminism is still evolving. That’s one of the main things I tell my students: it is still evolving. We don’t have to throw it all out because of the past. We can change it, we are changing it. Rather than let somebody say that it’s irrelevant or obsolete, we can remake it.

A lot of times, we talk about how art can make you think about changing the world, without actually changing the world. But I really think it does change things, politically, socially, especially when there’s a critical mass of work as there was as certain times in the past using the power of the

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How do you hope someone feels when they view your work?

I’m open to different reactions. I’ve seen over the years how much someone’s personal experience changes the way they think about your work. I want the work to be specific, yet also have the capacity to become a touchstone through a visual cue or title.

In the last 10 years, I always followed a concept-first, realization-second process. But more recently, I did a body of work that was totally the opposite. I didn’t even recognize I was making new work, I thought, “oh, this is just some weird thing I’m doing.” I felt the need to get a new body of work going, and then realized I was in the middle of it. It was interesting to realize that even really deep into your practice, things can change, lines can get blurry, your position can shift. It was surprising in a great way.

Thinking about the cultural moment we’re in, what do you think is important for students right now?

You know, we’re all in a really tough position. I had class the day after the 2024 election, and I didn’t know what I was going to say. I have a healthy sense of cynicism and darkness, but not at the expense of idealism. I question the relevance of my own practice all the time, and I think a lot about what students are working on. It came down to talking with them about how important it is to keep speaking. That’s what we do as artists. That’s what we do very well.

Heather Bennett. Judy Concatenated, 2023. Photograph, video projection, sound. From the series “Remix”. Installed in the exhibition, “To Pillar, To Platform” at The Luminary.

Photo: Vanderheyden

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Heather Bennett. Judy Veiled, 2023. 23 x 35 in., digital print on platine rag, framed in gloss white.

ITING LECTURERS & CRITICS • VISITING LECTURERS & CRITICS • VISITING LECTURERS & CRITICS • VISITING LECTURERS & CRITICS • VISITING LECTURERS & CRITICS • VISITING LECTURERS & CRITICS • VISITING LECTURER

PAST VISITING ARTISTS

Diana Al-Hadid Morehshin Allahyari

VISITING LECTURERS & CRITICS

Shimon Attie+ Jennifer Bornstein+ David Campany Crystal Z Campbell + Jess T. Dugan+ Coco Fusco Ellen Gallagher + Chitra Ganesh

EACH SEMESTER the Sam Fox School engages with nationally and internationally recognized artists, designers, architects, historians, and critics, promoting new ideas in practice, theory, and technology. Invited speakers often interact with students during workshops and informal gatherings, in addition to participating in studio visits, where they engage with students in one-on-one discussions about their work.

Michelle Grabner

Mississippi River canoe trip with visiting artist Marie Lorenz. Photo: Caitlin Custer

Blas Isasi+

Mariam Ghani + Katharina Grosse Pablo Helguera Alfredo Jaar Michael Joo* William Kentridge Meleko Mokgosi + Wangechi Mutu Catherine Opie+ Sarah Oppenheimer+ Trevor Paglen Michael Rakowitz Dario Robleto Mika Rottenberg Claudia Schmacke+ Beverly Semmes Stephanie Syjuco Carrie Mae Weems * WashU alum + Freund Teaching Fellow

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Tamara Johnson 2022-23 Fellow

THE HENRY L. AND NATALIE E. FREUND TEACHING FELLOWSHIP invites a new artist each year to teach a course on a subject matter of their own choice. At the same time, they work alongside students in graduate studio space, making work for a solo exhibition for the Saint Louis Art Museum’s Currents series.

Tamara Johnson, our 2022-23 fellow, taught a course that examined concrete from its history and applications to mixing and casting recipes in class. “We all failed, succeeded, and learned together,” she said. Crystal Z Campbell, the 2023-24 fellow, invited students to explore and be inspired by history in their course, “Artist in the Archive.”

Cracker with Cheese, 2023.

Pewter, pigmented resin, and oil-based paint, matte varnish; 2 x 2 x ½ inches.

Photo: Trey Burns

Crystal Z Campbell

Installation view, Currents 124: Crystal Z Campbell, Saint Louis Art Museum, 2024. Photo courtesy of Saint Louis Art Museum.

Clarissa Tossin

Installation view of Clarissa Tossin: To Take Root Among the Stars, Frye Art Museum, Seattle, 2023.

Photo: Jueqian Fang

2023-24 Fellow

Blas Isasi

2024-25 Fellow

1,001,532 CE, 2023–2024.

Installation view at Ford Motor Plant, Prospect.6: The Future Is Present, The Harbinger Is Home (Nov. 2, 2024–Feb. 2, 2025).

Commissioned by Prospect.6.

Image courtesy of the artist and Prospect New Orleans.

Photo: Alex Marks

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2025-26 Fellow

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FREUND TEACHING FELLOWSHIP

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ALUMNI

ALUMNI OPPORTUNITIES ›› Paris Studio Residency

For more than four decades, alumni, students, and faculty have had the opportunity to work in residence at the College of Art’s Paris studio at the Cité Internationale des Arts. These residencies, which are two to four months long, provide artists working in any medium a place to focus on the development of their work while broadening their international network and immersing themselves in French culture.

Alumni are invited to apply for these residencies in response to a biennial call.

Additionally, MFA students apply the year they graduate for the John T. Milliken Graduate Foreign Travel Award. The winner receives $8,000 and use of the Paris studio for two months.

SUPPORT FOR YOUR ARTISTIC JOURNEY doesn’t end after graduation.

The Sam Fox School provides a number of grants, residencies, and other opportunities exclusively for alumni.

Our alumni have established thriving practices in cities across the country, including New York, Los Angeles, Chicago, and St. Louis, where many have found their first gallery representation. In their careers as university faculty, gallery and museum curators, leaders of arts organizations, and creative entrepreneurs, they build upon the close relationships formed in the program. They continually delight us with the numerous invented ways they have built a life around artmaking. Their many accolades include grants from the Guggenheim Foundation, Joan Mitchell Foundation, Tiffany Foundation, and Andy Warhol Foundation; residencies from the MacDowell Colony, Ox-Bow, the Irish Museum of Modern Art, and MASS MoCA; and inclusion in important national and international exhibitions, including the Whitney Biennial, Venice Biennale, Studio Museum in Harlem, and MoMA. We are enormously proud of who they are, what they make, and what they have gone on to achieve.

Cité Internationale des Arts

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Each year, alumni from the past five years are eligible for the Sam Fox School Gallery MFA Alumnx Residency. The program includes a $2,000 unrestricted honorarium, supporting practices that require time and space for research and experimentation.

The artist-in-residence has use of the school’s gallery space to create and present an exhibition, project, performance, or workshop.

The residency offers an alum the time and space to continue to exercise their artistic ideas, using the gallery as a studio to develop a body of work or standalone project for public presentation.

›› Post-MFA Studio Fellowship

The Post-MFA Studio Fellowship offers a new graduate a chance to work independently alongside the next cohort of MFA in Visual Art students. The recipient is granted a private studio space—including continued access to WashU shops and facilities—throughout the aca­demic year following their graduation for their self-directed work. The fellowship also involves serving as an ambassador for the school, providing pedagogical support, and presenting work to current students.

2024 Sam Fox School Gallery MFA Alumnx Resident Martin Lammert, MFA ’22, installs Carnival/General Behaviour. During the residency, Lammert built a sculptural fountain inspired by carnival attractions and water­ slides. This installation is a continuation of his graduate thesis ideas about the making of water.

Photo: Audrey Westcott

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›› Sam Fox School Gallery Alumnx Residency

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›› Stone & DeGuire Contemporary Art Award

The Stone & DeGuire Contemporary Art Award provides $25,000 in funding to each recipient to advance their studio practice. The award is exclusively for MFA and BFA alumni of the College of Art working in sculpture, painting, printmaking, photography, or expanded mixed media.

This award honors Nancy Stone DeGuire (1947-2013) and Lawrence R. DeGuire Jr. (1947-2006), who met as undergraduate art students at Washington University, married, and forged a life-long, shared studio practice. They created this award to assist fellow alumni in advancing their own work.

Q&A WITH YVONNE OSEI YVONNE OSEI, MFA ’16, was one of three recipients of the 2022 Stone & DeGuire Contemporary Art Awards. In this Q&A, she shares her experience researching in Seychelles, discovering untold history, and making work that moves fluidly from one medium to the next.

Tell us about your practice. Where are you and how do you make work?

My practice is multidisciplinary and very much rooted in multimedia. It’s not fixated on one particular medium because it can transform and translate in so many different ways. Something might start off as a photograph; then, all of a sudden, the photograph is incorporated into textile work. Down the line that textile could be sewn into a garment, and that garment could be featured in a performance.

The performance may later be translated into a video.

There’s fluidity with how I understand mediums and visual language.

Each medium provides a unique entry point into exploring my artistic journey, enabling me to reflect on my decisions, experimentations, and the conceptual shifts that occur along the way.

Image courtesy Yvonne Osei

When you’re creating, how do you notice that the work will move into a new medium?

It’s a sense of asking, ‘what does the work want to do?’

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I allow the work to be what it wants to be.

When I employ a photograph, I’ll think about how photographs have a very strong, almost violent way of cutting the frame, where you get to see only what I show you. With a video, you have sound and a moving image, you glean more from the environment, and passersby can become part of the materiality of the piece. Textiles are also different, and I sometimes use textile as an ode to my own culture as an Ashanti woman. If I want to embody something, then I want to be in a textile.

The way I want people to gather or see the work, or experience it, informs my decisions. I strongly believe that the work is going to be what it wants to be. I allow for that porosity. What I aspire to is allowing viewers to have a place in my work.

What sort of themes do you tend to work with?

My work addresses standards of beauty, issues of race, how history is written and understood. I’ve been very interested in who history is serving, how it’s being told, and for what purpose. History always has a purpose to serve a particular group of people at a particular time. And I’ve been really interested in exploring multiple perspectives and how to glean information through different sources. As a visual storyteller, the reward is being able to present my perspective and allowing others to have the platform to do so too.

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How did you come to this understanding of history, that it’s more complex than we’ve been told?

I think for the most part, it’s been a gradual realization. But there are moments that stand out for me. Growing up in Ghana—I moved to the U.S. in 2009—we used to have social studies classes that taught my country’s history. One of the things I was quick to realize is that a lot of the content seemed fixated on colonial history.

I felt there must have been a life before colonialism. So why weren’t there resources to support our understanding of that? Precolonial history would serve us a lot better as a Ghanaian people.

It’s a similar story here in the U.S. I look at St. Louis, for example. A lot of its history comes from its contributions to the World’s Fair. The issues of race, the lynchings that took place… so many of these racial issues in St. Louis have been erased. I think what is not there is as important and potent as what is there. As an artist, I’m always asking myself what has been omitted, what is not blatant to the eye.

A lot of this has to do with the psyche of Ghanaians—like myself—and also representing the African diaspora. It’s looking at how our stories have been told by other people over and over and over again, and inserting myself into a narrative.

How can I insert myself into a history that I’ve been excluded from? How can I invite others that look like me to do the same?

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Image courtesy Yvonne Osei

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NOTABLE MFA IN VISUAL ART ALUMNI

relationships, comb through historical documents and visit specific sites of colonial significance.

Laylah Ali MFA '94

Lyndon Barrois Jr. MFA '13

Adrian Cox MFA '12

Jill Downen MFA '01

Addoley Dzegede MFA '15

Vita Eruhimovitz MFA '15

Corey Escoto MFA '07

Adam Hogan MFA '14

Kahlil Robert Irving MFA '17

Cole Lu MFA '14

Yvonne Osei MFA '16

Ebony G. Patterson MFA '06

Jennifer Seas MFA '12

Carlie Trosclair MFA '10

Cayce Zavaglia MFA '98

Ian Weaver MFA '08

Image courtesy Yvonne Osei

How does omitted history factor in to your interest in Seychelles?

Being a native of the Ashanti Kingdom of Ghana in West Africa, Seychelles is of specific interest to me because several of my ancestral leaders—who rebelled against colonial subjugation—were exiled to Seychelles. I spent a lot of time researching King Prempeh I and Yaa Asantewaa, who were both exiled there for decades.

What was it like traveling to Seychelles?

Today, Seychelles is this incredible amalgamation of culture, which I had the pleasure of witnessing. They are really respectful of transcultural, transnational people. They welcome people who may be different, look different, worship different, talk different—and that was really refreshing to experience. When you think of Seychelles, you have all of these “exotic” images, of tourism and lush, beautiful scenes pop up. That’s all there for sure, but I saw very little of its glamour because that was not the purpose of my visit. I do hope to return someday to properly soak in all of its beauty. The people are pleasant, but underneath all of that is this unpacking of the history of separation and isolation. We often forget that Seychellois are victims too and that this colonial history is also at the expense of their own country.

It was my first time in East Africa so I was ecstatic—that was huge and so eye-opening for me. The award provided me the opportunity to get there, establish 40

What sort of works did you begin while in Seychelles?

I traveled with analog clocks to feature in the work, because I have felt very burdened by time. I’ve thought a lot about the cost of time. The British were building their empire at the expense of many people’s time—so what does that mean? And, what does it mean to be a prisoner in paradise?

Another element of the work that the award helped with was to fabricate a garment. I designed it based on Queen Victoria’s wedding dress, adopting the colors of the public school uniform in Ghana. This is part of a broader body of work I started in 2018 called Who Discovers the Discoverer? That work involved me visiting cities in countries that contributed to colonialism in West Africa and really questioning and contending with its history.

In the Name of Victoria (Who was No Victor) is about the weight of victory. What does it look like? Is causing your country to excel at the expense of others victory for you? Queen Victoria didn’t visit Seychelles during her lifetime, but there’s a clocktower dedicated to her, which I created a performance around. That clocktower was built to commemorate the British royal family’s official declaration that they have full control over Seychelles as a colony. It’s located at a busy intersection with constant foot and car traffic. I wanted to plant myself there and reckon with that space, primarily because of how time cripples. The fact is that if time is with you, that’s an element in gaining power.

What comes next for you?

I believe it’s essential to visit the U.K. to draw parallels between British rule and their influence in Seychelles. Additionally, it is crucial for me to return to Kumasi in Ghana, having witnessed the places where King Prempeh and Yaa Asantewaa lived during their years of exile in Seychelles.

I intend to revisit St. George’s Castle in Elmina, which, despite its name, should be more accurately described as a dungeon that confined numerous enslaved Africans.

My primary goal is to explore the Prempeh Room, where the King initiated his period of exile.

FINANCIAL SUPPORT is an important part of your graduate school decision, and the Sam Fox School is committed to providing assistance to as many students as possible.

in recog­nition of academic achievement, area of interest, experience, and leadership potential.

PAID ASSISTANTSHIPS Visual Art graduate students are eligible for paid positions assisting in teaching.

Some applicants are awarded positions as assistants in instruction (also known as teaching assistantships) with admission, and most MFA-VA students have positions in their second semester. All MFA-VA students are awarded assistant in instruction positions in their second year.

Assistants support our faculty with lectures and courses in studio art.

SCHOLARSHIP SUPPORT Through our Sam Fox Ambassadors Fellowship program, the school awards 10 full-tuition graduate scholarships each year to candidates in visual art, illustration, and architecture who demonstrate exceptional potential for advanced studies and creative research in their discipline.

Ambassadors receive an annual creative activity and research stipend to support research or school-sponsored travel and participate in events that build meaningful interdisciplinary connections and advance creative work and scholarship.

Additional full and significant tuition scholarships and fellowships are available

LOAN ASSISTANCE Federal guaranteed loans are available to students who are U.S. citizens or U.S. permanent residents who meet all eligibility requirements and who have submitted the FAFSA.

LEARN MORE ABOUT SCHOLARSHIP OPPORTUNITIES ON OUR WEBSITE.

Washington University encourages and gives full consideration to all applicants for admission, financial aid, and employment. The University does not discriminate in access to, or treatment or employment in, its programs and activities on the basis of race, color, age, religion, sex, sexual orientation, gender identity or expression, national origin, veteran status, disability, or genetic information. Applicants with a prior criminal history will not be automatically disqualified from consideration for admission. Inquiries about compliance should be addressed to the University’s Vice Chancellor for Human Resources, Washington University, MSC 8016-292220, One Brookings Drive, St. Louis, MO 63130.

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SCHOLARSHIPS & FINANCIAL AID

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ON THE COVER

Emily Elhoffer, MFA '24. Self-Portrait, 2024. Pleather, plastic, polyester, wood, steel, projector, and computer, 92 x 39 3/8 x 33 in.

Photos: Virginia Harold

MFA-25-0167

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