MARCH 25 — SEPTEMBER 10
COLLEGE OF VISUAL AND PERFORMING ARTS
UNIVERSITY OF MASSACHUSETTS DARTMOUTH
2020 MFA THESIS EXHIBITION This annual exhibition celebrates the ART + DESIGN work of graduating students from the College of Visual and Performing Arts graduate program in a large-scale exhibition at the Star Store Campus.
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EXHIBITING ARTISTS
Tri Minh Mai
Elizabeth Bell
Taylor Maroney
Kate Couturier
Anne Schneider
Nicole Winning
Stephanie Sileo
Julian De La Garza
Heather Stivison
Jasmine Gonzalez
Christopher Thomas Smith
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NOTE FROM OUR GUEST SPEAKER Speaking with this year's graduate students has made me cognizant of just how advanced the program has become. The artists from the grad program I encountered were remarkably thoughtful and articulate. They seemed not only capable of making art work of significance, but were also skilled in the eloquent verbal expression of their issues and methodologies. I was impressed with their mastery of art history and theory. It was a sheer pleasure to encounter such a dynamic and competent group of artists. Mark Dion, American Conceptual Artist
GREETINGS FROM THE OFFICE OF THE DEAN The Dean’s welcome to the Thesis Exhibition of our Master of Fine Arts Degree students generally serves to introduce the show to the public and to sketch out its importance in the process of completing the MFA, the terminal degree in studio arts. This year and because of the enormous interruption to all daily routines caused by the COVID-19 virus, my introduction to the 2020 edition of the MFA Thesis Exhibition is a little bit different. The exhibition still presents work that is the product of a rigorous curriculum and demanding faculty in studio, art history, and seminar courses and numerous group and individual critiques. It is still the culminating experience in the degree program for our soon-to-be newest group of graduates. And we are still proud to share it, that is the creative accomplishments of our students, with you, their families, friends, the CVPA and UMass Dartmouth community, and the public. The work of the nine artists who were able, given significant restrictions, to install their pieces and projects in the exhibition spaces at the Star Store Campus, represents a full range of studio practice from the more traditional art materials to digital media, site-specific installations, and ceramic. It also represents an act of bravery and artistic dedication. This exhibition might never be seen by more than the few who were involved in curating and installing it. It will be documented, and it will be shared in this catalog, online and through social media. It offers new and exciting ways to bring art to a public beyond the confines of the gallery. But it is also presented with a sense of loss. The excitement artists get from seeing their work alongside that of their friends and colleagues, the chance to show it to friends
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and family, and the celebration that comes with all of this is absent this year. No social media gathering can replace that experience. I celebrate the success of the exhibition and all our graduating MFA students, including the two who were not able to include their work in this show. At the same time, I share the sense of sadness or loss, the feeling of a larger anxiety that is part of our lives right now, that comes with presenting the MFA Thesis Exhibition. Most of all, though, this exhibition is not only a culmination but also a beginning as our newly minted alumni move forward as artists. Their paths will go in many different directions, but the work you see here is the foundation upon which they chart their courses through the world of working artists and designers. The work each of these students will make in ten years or even five will not look like what they are exhibiting here, but that future work will be rooted in the rigor of the program here and the metaphorical blood, sweat, and tears these young artists invested in it. I am so thrilled by the accomplishments of each member of the MFA class of 2020, and I wish them continued success as they make their way forward and away from the Star Store Campus. I hope you will join me in celebrating their success and their hard work. Congratulations to all.
NOTES FROM THE EXHIBITION CURATOR It is strange to write about an exhibition and not know when it will open or how long it will be up for. This is the first time we have found ourselves "behind the mirror" in the unanticipated and unpredictable world of global pandemic. While it will eventually become an interesting story for our grandchildren, it has been, at times, overwhelmingly challenging. In spite of this, the artists in our exhibition have been able to tell a unique story; of overcoming obstacles and personal resilience. Installing one at a time and facing strict time constraints with curatorial feedback via Zoom (yes, left, right, can you please step away and show me the work from the door, walk around?) our students are now able to tell this unique and often heroic and indeed fleeting story of their final thesis presentation, installed in the Star Store Campus building that has closed as soon as we were done installing and documenting. The exhibition is now sitting in the gallery like in a time capsule, while the 2020 class awaits a time when they can be celebrated for their persistence and creativity.
In the meanwhile, we have moved our programming online and we have for you this catalog. One thing we were again made aware of was how important art is for making sense of things, for formulating and thinking about our situation, helping us to embrace uncertainty and especially, for creating human connection. The art scene, while dormant on the outside, is bubbling like a sourdough yeast starter, waiting patiently to bake bread and share it in a symbolic gesture of togetherness. We will have opening receptions and artist talks again, sharing a glass and hugs with each other as we await the opportunity to savor the art that brings us together. And, from now on, we will not take this experience for granted. Viera Levitt, Gallery Director
Lawrence Jenkens, Dean College of Visual and Performing Arts
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ELIZABETH BELL
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Statement
Biography
The reality of death animates life. In the last few years, I have walked closely with death and have come to appreciate its transformative power and the lessons it has to teach us about living. I created a series of artworks using boats as a metaphor to represent the passage from this life to the next. Each piece approaches this metaphysical journey from a different angle, exploring the tensions between presence and absence, pleasure and fear, love and loss. It is my hope that the work creates a space for the viewer to slow down and appreciate the ephemerality of life, to look to one another with urgency and compassion knowing that we are all on the same boat, all headed toward the same destination.
Born and raised in the Berkshires, Elizabeth graduated from Mount Holyoke College with majors in Studio Art and Art History and earned an MA in Art Education from The University of Cincinnati College of Design, Architecture, Art, and Planning. Before returning to academic study, she worked as an elementary school art teacher within the Ohio public school system and as a CASA and guardian ad litem for children in foster care. Her work has been exhibited in Massachusetts, Pennsylvania, and Ohio.
Saudade, 2020 wood, salt, driftwood 48″ x 24″
Non Terrae Plus Ultra, 2020 codskin, battery-powered lights 17′ x 3′
The Dead, 2020 beeswax, wood, plexiglass 14″ x 28″
Empty-handed I entered the world Barefoot, I leave it. My coming, my going– Two simple happenings That got entangled. – Kozan Ichikyo
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KATE COUTURIER Statement My work is about fat: fat the shape, the texture, the mass, the body, and the identity. A fascination with the function of culture along with my struggles to understand my relationship with my body in the aftermath of an eating disorder drive my exploration of fat identity. My personal journey learning to truly see and trust my body within the context of a culture that condemns fatness, has become a practice in unlearning the internalized stigmas diet culture perpetuates. I am still in the process of relearning to celebrate food, fat and figure, but through this work I am recognizing within myself and others the amazing capability, beauty and strength of the unaltered, unashamed, unapologetic fat body. My artwork is a reflection and celebration of this process. The health, beauty and diet industries and the cultural constructs around the body that these industries create and uphold are primary sources of inspiration in my artwork as I explore what it means to inhabit a fat body in a thin obsessed, diet-centric world. Through fragmented paper bodies I confront issues of consumption, notions of beauty, and fat stigma. I reject the idea of the magical default
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Because, Doctor, A Single Number is No Indication of my Vaginal, Reproductive or Sexual Health (I Won’t Get on Your Scale), 2019 cast paper: abaca, cotton, methylcellulose and freeze-dried strawberries 18″ x 22″
body our culture sells as a fantasy ticket to happiness and success, criticize the means by which we are told we can achieve this body (aka diet culture), and challenge a fatphobic health care system. I intend to break down the cultural biases and misconceptions around the fat body and for my work to serve as a reminder that every single body is worthy of nourishment, respect, happiness, and love.
Biography Kate Couturier is an interdisciplinary artist and designer interested in identity and body activism. She earned her BA in Communications and Foreign Language with focuses in Film & Media Arts, Spanish and Graphic Design from American University and, in 2015, studied photography at the Film and TV School of the Academy of Performing Arts in Prague. Kate runs her own branding, web design and photography business and maintains her artistic practice using photography, book arts, papermaking, sculpture and installation to explore and challenge cultural misconceptions of the fat body through reinterpreting relationships between food, fat and figure in the face of a thin-obsessed, diet-centric health and beauty culture.
Because My Kale Diet Body Was Exactly as Fat and Very Sick (Kale is Not the Answer), 2019 cast paper: abaca, methylcellulose and kale 18″ x 18"
Because Every Body is a Celebration (detail), 2019 cast paper: 8 hour abaca, cotton, methylcellulose and rainbow sprinkles 26″ x 24.5″ 9
NICOLE WINNING Statement
Biography
In my research I have investigated the subjective relationship to the physical body and to those systems and ideologies that serve to enhance or erase this relationship. I began first with contemplating my personal relationship with my body and then expanded this research to others. My research explores these concepts through clay-based performance, sculpture, and photography. Clay has been the fundamental medium of expression in most of these works because I use it as a personal vehicle to reawaken the sensitive, intelligent and intuitive nature of my body. With the understanding of my body’s relationship to clay, I curate performative and visual opportunities for others to contemplate their own connections to their bodies, to the bodies of others, and to their differences and similarities.
Nicole Winning has been a certified yoga and mindfulness meditation teacher since 2010. In 2016 she received her MA in Eastern Philosophy. She has taught mindfulness to the New Bedford Police, students in local elementary schools, and other at-risk and underserved communities. Having this background has inspired Winning to explore socially engaged and performance art in her MFA. She has exhibited in the 2019 NCECA National Student Juried Exhibition, at museums and universities in Massachusetts, Kentucky, Mississippi, Montana, New York, New Jersey, New Mexico and internationally at CICA in Korea. She was invited to speak at the 2019 SECAC conference and at the 2019 Politics, Gender and Craft Symposium at Kentucky University. Winning is a recipient of the 2020 CAA Travel Grant.
Bridging the Gap, 2020 digital photograph of performance 20″ x 30″ 10
Un Govern Able Spaces, 2018 digital photograph of performance 20″ x 30″ 11
JULIAN DE LA GARZA Statement
Biography
My current body of work explores personal ritual and meditation through the language of mourning jewelry and reliquary. These spiritual rituals allow a person to contemplate death, memory, mourning, and longing in a liminal space, outside of the way we normally perceive time. My jewelry encourages this relationship by providing objects for the wearer to focus on; counting stones, following patterns, and exploring intimate spaces, just as rosaries, reliquaries, and sacred spaces do.
Julian De La Garza was born in New York, and raised in Rhode Island. He received his BA in Jewelry/Metals from Rhode Island College and then went on to work in the industry. During this period he was a diamond setter for Tiffany & Co. and then a model maker for C & J Jewelry working on high-end jewelry brands such as David Yurman, Haverhill Leech, and Tiffany & Co. all while also continuing his personal studio practice and jewelry business. Realizing he had always wanted to teach at the college level, he left the stagnancy of the industry and decided to go back to school to obtain his MFA at the University of Massachusetts Dartmouth in Artisanry with a focus on Jewelry/Metals. During his stay at the university he has received high awards for his jewelry design skills through juried competitions and has also had opportunities to teach as well as assist advanced classes.
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Idle Worship, 2019 blackened wood, sterling silver, gold leaf, carved precious black coral, steel, and garnet, burned, carved, fabricated, soldered, gold leafed, hand set 4″ x 2″ x 1″
Draugr, 2020 sterling silver, emeralds, black onyx, gold leaf, carved precious black coral, and pearl, 3D printed, cast, stones set by hand, gold leafed, carved 3″ x 2″ x 1″
Monkey’s Paw (detail), 2020 sterling silver, rabbit’s foot, amethyst, and gold leaf, 3D printed, cast, stones set by hand 1.5′ x 1′ x 1″ 13
JASMINE GONZALEZ Statement
Biography
I have lived in many places. I have experienced many things. I am grounded by the earth, and by default, adaptability has become part of my language. Resourceful by nature, I use what I have available to me as sources of materials to create emotional and seemingly unsettled structures. My process informs the capacity of the structures that I build and assemble. Like a person or a community, the works have limits. I’m interested in ways that I can work my structures to those limits in order to speak about capacity. At what point do we begin to question our strength as well as our weakness, and how can we find balance?
Jasmine Gonzalez studied sculpture and ceramics at the University of Hartford’s Hartford Art School in Connecticut. After completing her BFA in 2014 she became the first resident artist at Guilford Art Center in Guilford, CT where she worked as resident artist, studio assistant, and teacher before pursuing a Masters at the University of Massachusetts Dartmouth.
Expectation can be defined as a strong belief that something will happen or be the case in the future. Hope is complete faith - even if you do not know. I am interested in breaking down our expectations of home and using the structure of the house to define or undefine the ideals of home. Its guidelines are not a means to build structure but to break down the existing ideal, and our expectations of home.
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Tenares Town #1, 2019 mixed media, including recycled earthenware, wire, string, old kiln posts, wood 28″ x 27″ x 10″
House, 2020 mixed media, including reclaimed wood, found recycled fiberglass, seashells, broken ceramic sculptures, string 85″ x 50″ x 50″
Tenares Town #3 (detail), 2019 mixed media, including recycled earthenware, found and recycled fragments, nails and screws, thixotropic fired glazed drips 42″ x 32″ x 13″
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TRI MINH MAI Statement Since my childhood, comics and animations have piqued my interest through a world of colorful and energetic illustrations. This has led me to acquire many skills, such as hand drawing and typography, to explore the power of communicating ideas through colors, texture and images. My fascination with design and creation has continued developing during my time at university, training as an architect, then professionally working in the design industry. Varied skill sets and understandings gained from involving myself in different fields resulted in an idea of combining the best of both analog and digital experiences into a single work. My ultimate ambition is to create seamless, wellmade design work from varied techniques that is responsive to different platforms. My enthusiasm for sports, especially soccer has always been a major subject of my work. By focusing on demonstrating the dynamism and liveliness of sports, my goal is to expound an idea of the recreation and enjoyment of the game. Moreover, since I started engaging with the multi-cultural society in the US, culture
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Interactive book about Vietnamese cuisine featuring recipes and culture related stories (small books), 2020 digital print on paper 8″ x 7.5″ each
related topics have become another major concern of mine. Associating with a multi-cultural community resulted in an urge to speak for my cultural identity, as well as my voice as an artist through promoting Vietnamese culture. While I usually work on sport and culture related subjects separately, blending them into one work is my new goal.
Biography Tri Minh Mai was born and raised in Ho Chi Minh City, Vietnam. After receiving his BA in Architecture at Ho Chi Minh City University of Architecture in 2016, he decided to move into the digital media industry for his profession. Being influenced by comics and illustrations since the early days of his childhood and then with architecture and design, Tri’s work shows his focus on combining different techniques in varied media and platforms. An interest in hybridity can also be found in his overall design’s concept by expressing concern in both sports and culture related subjects.
Interactive book about Vietnamese cuisine featuring recipes and culture related stories (small book, inside), 2020 digital print on paper 8″ x 7.5″
Interactive book about Vietnamese cuisine featuring recipes and culture related stories (small books), 2020 digital print on paper 7″ x 4″ each
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TAYLOR MARONEY Statement
Biography
Painting has always been my way of processing information with my whole body. These paintings are an attempt to understand the ways my various social identities affect how I inhabit the physical world. My greatest focal point has been race; specifically whiteness.
Taylor Maroney graduated with a BFA in painting from the University of New Hampshire in 2012. In 2017, UMass Dartmouth awarded Taylor the Distinguished Artist Fellowship to study in the MFA program, and in 2018, she was the recipient of the Elizabeth Greensheid’s International Grant. A figurative artist since the beginning, Taylor uses the human form to create visual markers for abstract social constructions specifically in regards to race within the United States.
Whiteness is determined by social forces, which are created and maintained by habitual action. Deleting the body of the figure points to the unseen, ubiquitous nature of these actions. I am using my own body to reenact these moments, the repetition indicative of something that builds over time. The figures overlay different iconographic cartographies which act as visual metaphors for the larger systemic structures that organize society. The painting becomes a spectrum, the figure representing the smallest piece of the system and the background, the whole.
Curbside, 2019 oil on canvas 84″ x 144″ 18
Bracing, 2019 oil on canvas 36″ x 110″ 19
ANNE M SCHNEIDER Statement My thesis explores the interaction within a personality between the ego, superego and id as represented by silver animals and abstract cage forms. This is a simplification of how people can react to ideas as a conceptual structure. The id is the original personality which is instinct, intuition and physical urges. This develops and forms the superego. The superego is the overall sense of ethics, philosophy and guiding principles that are usually seen as an outside force, internalized. The ego balances between the id and the superego. Ego is challenged to follow natural instincts while bound by moral philosophies. How the animal reacts to the cage form - creates, rejects, weaves, and breaks these are how people handle ideas and what the ego does with systems imposed by the superego. The id of this process is represented in the making of these pieces. The ego and superego both form from the id.
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Build, 2020 sterling silver, 24K gold plate, lost wax casting and fabrication 4″ x 3.5″
Found, 2019 sterling silver, 24K gold plate, cupule, lost wax casting and fabrication 2″ x 1.5″
Each of my works in this series represents how a person may react to an idea, as the ego reacts to the systems imposed by the superego. The person may choose to carry an idea with them, as the flying fish maintains itself within the cage (Flight). Someone may come upon an old idea and find it comfortable, such as the cat in Found. Another idea may only be sustainable for a limited time, and can be outgrown — the way the rabbit outgrows its cage in Growth. My jewelry is meant to be a reminder of the power of ideas and where they come from.
Biography A native New Englander, Anne completed a Bachelor of Arts in Theater and Drama and an Associate of Arts in Technical Theater at Johnson State College in 2009. After pursuing theater and alternate career opportunities, she returned to craft and began an MFA program at the University of Massachusetts Dartmouth in Artisanry: Jewelry/Metals. Anne has consistently placed in the International Precious Metals Institute competition (2017-2019). She uses the format of jewelry to explore the nature of theatricality and the limits of emotional tangibility.
Growth, 2019 sterling silver, 24K gold plate, steel, lost wax casting and fabrication 12" x .5"
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STEPHANIE SILEO Statement
Biography
Traditionally a medical expert is the interpreter of scans and images related to the body, their interpretation becomes our reality. I view my own work as an unknown medical scan. My collages convey information to the viewer. However, unlike a MRI, X-Ray, CT Scan and PET Scan, which require a professional to interpret, my images invite the viewer to approach the work with their own lived bodily experience and infer its meaning through their own expertise.
Stephanie Sileo graduated from the University of Connecticut with a BFA in Printmaking and is currently an MFA Candidate at the University of Massachusetts Dartmouth. After receiving her BFA she went on to work In New York City as an Assistant Fashion Designer for the company Roller Rabbit. Her printmaking process and drawing practice are influenced by her time spent working in the fashion industry.
Modern medicine aims to understand everything about our bodies and break it down into quantifiable data. We live in a body-centric and body-conscious society that attempts to find a median for which all our bodies must relate to. What if that is impossible and the body is interpreted as an individual and for the individual?
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Humanoid XIV, 2020 wintergreen oil mono-print and charcoal, mounted on light-box 37" x 34"
Scan 4.2, 2020 lithograph, mounted on light-box 11″ x 17″
Stephanie has shown work in many juried exhibitions across the country and has won multiple awards for her work. Most recently, she has been awarded a forthcoming solo show at Silvermine Art Center in New Canaan, Connecticut.
Bodily 4.44 (detail), 2019 digital collage 11″ x 17″ 23
HEATHER STIVISON
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Statement
Biography
In daily solitary walks along the beach, I am overwhelmed by the vastness of the ocean and by the sense of how inconsequential human life is. And yet, in these very same moments when I feel my insignificance in the limitless cosmos, I also feel a liberating joy in life. These are the complex sensations of the sublime. My works explore the sublime, departing from the traditional, heroic, masculine perspective, and instead employing a contemporary, meditative, and feminist perspective. They are dreamlike, fluid expressions inspired by an overwhelming sense of oneness with the micro fundamentals of our biology and the macro formations of our planet. I want to invite the eye to travel around and through the many layers of paint, to contemplate and imagine, and to question layers of meaning beyond rational comprehension.
Heather Stivison is a former museum director and past president of both the New Jersey Association of Museums and the Mid Atlantic Association of Museums. She recently left museum practice to return to her original background in studio art. Since then, her work has been exhibited in over 50 group exhibitions in Massachusetts, Rhode Island, Vermont, New Jersey, New York, and Kentucky. She is currently an elected member of the Art League of Rhode Island and is represented by Norton Gallery in Dartmouth, Massachusetts. She finds art and poetry in the sea and sky.
Voice of a Dream, 2020 oil on canvas 36″ x 36″
Two Worlds (detail), 2019 oil on panel 24″ x 36″
Cosmic Dance, 2019 acrylic on canvas 68″ x 68″
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CHRISTOPHER THOMAS SMITH
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Statement
Biography
Visually, I am referring to man-made utilitarian structures such as office buildings, grain mills, and temples. I also allude to non man-made structures such as canyons, buttes, the desert, and the human body. These structures communicate a sense of honesty and time. Monumental forms have an existential presence which can give a feeling of transcendence, importance, permanence and impermanence. Within all things is a structure that can be seen folding in on itself and deteriorating as it continuously shifts into something else.
Christopher Thomas Smith was born in Lynn Massachusetts and grew up in the nearby town of Danvers. In 2016, he graduated Magna Cum Laude with a double major in Vedic Science and Fine Arts from Maharishi University of Management in Fairfield, Iowa. Deeply interested in the human condition, Christopher has independently studied classical literature and philosophy. Using mainly clay, he constructs works informed by the gestural movements of the human form, deteriorating architectural structures, and barren landscapes. The experience of place, time, and process are the central themes of his work.
Neobrutalist Vase #8, 2020 ceramic sculpture 7″ x 6″ x 10″
Striving (detail), 2020 ceramic sculpture 21.5″ x 21.5″ x 84″
Pile, 2020 ceramic assemblage sculpture 268.5″ x 80″ x 12″
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ELIZABETH BELL
Sculpture lbfly41@aol.com
NICOLE WINNING
Ceramics theaccumulatingbody@gmail.com theaccumulatingbody.com
JASMINE GONZALEZ
Ceramics gonzalez.jasmine@ymail.com jazzgonzalez.com Instagram: @jazzyfresshhh
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2020 MFA THESIS EXHIBITION
KATE COUTURIER
Graphic Design couturier.katelyn@gmail.com katecouturier.com Instagram: @katelyncouturier
JULIAN DE LA GARZA
Jewelry/Metals julianthe2nd@gmail.com julianthe2nd.etsy.com Instagram: @julianthe2nd
TRI MINH MAI
Graphic Design trimai10m@gmail.com Instagram: @mtri.art
TAYLOR MARONEY
ANNE M SCHNEIDER
Painting taylor.a.maroney@gmail.com taylormaroney.com Instagram: @taylor.maroney
Jewelry/Metals artist@foundwaxcasting.com foundwaxcasting.com Instagram: @foundwaxcasting
STEPHANIE SILEO
HEATHER STIVISON
Printmaking stephanie.l.sileo@gmail.com stephaniesileo.com Instagram: @stephsileo
Painting heather@heatherstivisonart.com heatherstivisonart.com Instagram: @heatherstivison Facebook: heatherstivisonart
CHRISTOPHER THOMAS SMITH
Ceramics ctsmithartstudio@gmail.com CTSmithArtStudio.com Instagram: @ctsmith_art
2020 MFA THESIS EXHIBITION
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Kate Couturier
Christopher Thomas Smith, Heather Stivison, Kate Couturier, Heather Stivison, Elizabeth Bell
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Anne Schneider, Jasmine Gonzalez, Christopher Thomas Smith, Taylor Maroney
Julian De La Garza, Stephanie Sileo
2020 MFA THESIS EXHIBITION College of Visual and Performing Arts University of Massachusetts Dartmouth March 25 — September 10, 2020
EDITOR Viera Levitt
PUBLICATION ASSISTANTS Kate Couturier Taylor Hickey
PHOTOGRAPHERS Kate Couturier Viera Levitt Christopher T. Smith Student Archives
DESIGN Maddy Bettencourt Michelle Bowers Brooke Hanson Cassie McKane Talya Pimentel
THANK YOU We would like to thank Graduate Program Director and Coordinator Aaron Bourque and Associate Dean Thomas Stubblefield for their help with the MFA Thesis Exhibition programming and virtual artist talks, Associate Professor Michelle Bowers and her students for designing this catalog, Paula Erenberg Medeiros for creating our new online gallery website, and Dean Lawrence Jenkens for his ongoing support.
UNIVERSITY ART GALLERY College of Visual and Performing Arts UMass Dartmouth Star Store Campus 715 Purchase Street New Bedford, MA 02740 Viera Levitt, Gallery Director email: gallery@umassd.edu phone: 508 999 8555 CVPA at UMass Dartmouth is a proud partner of AHA! (Art, History, & Architecture) Night — New Bedford’s free Downtown cultural event and collaborative organization.
PRINTING Mallard Printing ISBN: 978-1-73380361
Offering an art school experience within a four-year, research university setting, CVPA at UMass Dartmouth offers 15 concentrations in Art + Design, Art History, Art Education, and Music. CVPA courses are taught on two campuses: Paul Rudolph’s distinctive architecture of the main campus in Dartmouth, and the Star Store Campus in Downtown New Bedford.
umassd.edu/cvpa/galleries
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UMass Dartmouth Galleries
CVPA UMass Dartmouth
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