The Doctorate of Creative Arts (DCA) is designed for experienced practitioners with an established track record in their field of practice. It offers an opportunity for candidates to engage in intensive creative and intellectual activity and reflection, while contextualising their work within a broader field of practice. Candidates will engage in a combination of independent studio-based creative activity and intensives:  group seminars, presentations and research methodology classes, and individual supervision from a panel of academics and practitioners. Over three years (full-time) or four-six years (part-time) you will be expected to produce a major body of original, coherent and developed creative work and a minor exegesis. The first year of the programme entails a deep retrospective reflection and contextualisation of your practice, history and trajectory. Following common threads and concerns highlighted during this year you will articulate a proposal for a new two-year research project which demonstrates the ability to clearly define your practice as a form of research and shows them to be a form of knowledge.







Research Contextualisation: offers guidance on placing your practice within a wider history and context and introducing how a retrospective reflection will form the basis of your creative research. 
Doctoral Writing Programme 1:  you will work closely with your advisor/s reflecting upon and writing up your own history in a contextualised and scholarly manner.


Progress Presentation: presenting your research to date.
Doctoral Writing Programme 2:  you will continue to work closely with your advisor/s further reflecting upon and discussing a form/s for your writing in an articulate, contextualised and scholarly manner. Drafting and writing a Project Proposal for your new body of work based on the past year's reflective analysis.


Doctoral Writing Development 1: an introduction to research methods and/or methodologies to develop a coherent body of reflective, critical and analytical writing.
Doctoral Studio Project 1: Practice-as-Research working with your advisory team on a new body of work defined in your Project Proposal. 


Doctoral Writing Development 2: ongoing research methods and/or methodologies to develop a coherent body of reflective, critical and analytical writing.
Doctoral Research Project 2: Practice-as-Research ongoing work with your advisory team on a new body of work defined in your Project Proposal. 


Doctoral Writing Workshop 1: looking at various presentation forms, options and formats.
Doctoral Studio Project 3: Practice-as-Research ongoing creative project.


Doctoral Writing Workshop 2: refining and finalizing presentation option/s.
Doctoral Studio Project 4: Practice-as-Research ongoing creative project. Concluding your programme—design and public presentation and/or dissemination of your project and supporting exegesis.



Transart asks you to create and maintain a process blog (typically with monthly posts) commencing with your proposal that documents your ideas, processes and the progress of your research, and to respond to critique in order to reflect, articulate and digest each interaction. Think of your blog as a research laboratory and journal. We encourage you to devise a format that best suits your own research, making it a vital part of your practice where you experiment with presentation, documentation and articulation. Your research milestones and final research project are also documented here. Your blog can be password protected but will be available to your peers, advisors, critics and other invited guests forming an invaluable resource, archive and means of communication for the broader Transart research community.


The DCA is a partially taught programme in which your written research is guided through the cumulative modules (above) and in which a text—approximately 15,000 words—of critical reflection and/or interpretive analysis will emerge. During the first year you will reflect on your past work, seeking common threads and ideas to contextualise your practice and place it within a relevant history/ies. In your second and third years as you forge a new body of work the writing accompanies the work articulating and analysing process/es and outcomes. The form this ultimately takes should reflect your practice. The DCA programme culminates in the submission of a body of work in a public exhibition or dissemination (in a form/format that best articulates and reflects your work) + text.

peer sessions

Transart Researchers self-organize themselves around common interests, topics, genres etc. You will hold initial meetings at residencies then continuing offsite in-between, typically monthly (or by mutual agreement) via Skype (and in person when possible): to share publications and events of interest; present and critique each other's research; discuss readings, program matters or plan events. Given Transart's low-residency global model these groups are extremely useful and many graduates continue meeting to sustain and enrich their praxes, make vital international connections and organise exhibitions and other events in their various localities. 


During your final residency you can choose to design and plan a public dissemination of your practice (exhibition, performance, reading, documentation, screening etc) to present your DCA creative research project for evaluation and to the Transart community. Detailed information about the process will be available here (mid-2018). This should be your first reference point for all you need to know about this process—it explains each step including what to expect, how to proceed and who is responsible for various tasks. You will also find advice about a range of specific topics including: choosing your evaluators, conflict of interest guidelines, presentation of your exegesis, submission, results and reports. It is also useful to review the advice given to evaluators and what they will expect. Note: you are solely responsible for the content, form and presentation that is finally submitted and for certifying its originality.





Your first advisor will come from Transart. Once you have found your first advisor, we will connect you with our WSU advisor liaison who will recommend available, compatible second advisors to you. You need to identify your Transart and WSU advisors prior to applying to the program.


Transart DFA Advisors

Dr. Angeliki Avgitidou studied Architecture at the Aristotle University of Thessaloniki and Fine Art at Central Saint Martins College of Art and Design, University of the Arts (MA, PhD). She has exhibited internationally at venues that include the ICA (London) and the French Museum of Photography. She has participated in all three Performance Festivals of the Biennale of Contemporary Art of Thessaloniki and the Performance Biennale Deformes (Chile). She is Assistant Professor at the Department of Fine and Applied Arts of The University of Western Macedonia in Greece and teaches on the MA Graphic Arts – Multimedia of the Greek Open University. She is Sounding Board member of the i-node of the Planetary Collegium, Plymouth University. Her research interests include the everyday, autobiographical practices, body and space, gender and identity, performance and politics/activism, performance documentation and the archive.

Lynn Book (MFA) creates media-diverse works across a range of cultural sites through research and practice that center on questions and issues of embodiment, otherness, social structures and states of public imagination. She collaborates with a range of people and environments, from media artists to architects, with musicians, whole communities, and recently, an opera company. These works are performance-based and take form in music concert frameworks, multimedia productions, as well as site-specific encounters. Her current research interests include: reading, reception and knowledge-making as performative acts, epistemological relations between bodies, book objects, print and digital media. Themes involved in current work interrogate opera, Greek tragedy, media hybridity, performance, and what I call voicing bodies; deranged boundaries, ancient myths, concepts of hybridity in science and culture, bodies as super-organisms and the human microbiome.
Visit Lynn’s website

Artist Dr. Michael Bowdidge works with found objects, images and sound and received his undergraduate degree in Fine Art from Middlesex Polytechnic in 1989, completing his doctoral research at the University of Edinburgh in 2012. His project took the form of a practice-based investigation into the relationship between the later philosophy of Wittgenstein (specifically the Philosophical Investigations) and assemblage sculpture. This research was fueled by the same curiosity about the possibilties of object-based sculptural practice which has also driven 20 years of creative production in this medium, resulting in a substantial number of exhibitions both within the United Kingdom and internationally. The notion of the sculptural as a distinctive set of qualities and criteria (after Koed) also informs his work. Michael works in a variety of educational contexts, which include academic and community settings. All of these activities enrich his teaching practice, and by extension, his creative output – as, for him, these two areas of endeavour are fundamentally intertwined.

Jean Marie Casbarian, received her MFA from Milton Avery School of Art at Bard College in New York in the year 2000. She has received a number of awards and artist residencies including a Lower Manhattan Cultural Council Process Space Grant, a Research / Studio Art Associate with Five-Colleges, Inc., Louis Comfort Tiffany Foundation nomination, The LaNapoule Foundation Grant in LaNapoule, France, the Chicago Artist's Assistance Project Grant, and an Associateship with The Rocky Mountain Women's Institute. As an educator, Jean-Marie currently teaches and advises graduate students at Transart Institute, a low-residency MFA program based in Berlin and New York City and is also a faculty member with the ICP-Bard MFA program and the General Studies Program at the International Center of Photography in New York City. She has taught in the film and photography departments at Hampshire College and the School of the Art Institute of Chicago. Jean Marie currently lives and works in New York City.

A ramble through the paradoxes of space Sydney born Dr. Andrew Cooks’s peripatetic practice addresses the pleasure garden as a model of created/curated space vis-à-vis his imagining. Titled Between Shadow and Memory his work examines the traverse and occupation of real and imagined space and his spatial curiosity, using pattern and scale discrepancy to effect pictorial space in painting, drawing, photographic side- glances, writing, talking and teaching. Made up of sideways glimpsing and glancing his works are accumulations which attempt the communication of a comprehensive glance; a poetic, visual totalising of space both inhabited and imagined. He describes his practice as a garden where he is the gardener. He has been teaching since 1982 in a variety of academic and community settings in Australia, Europe and the United States and as well as his work with Transart Institute he currently teaches at the School of Visual Arts in New York City and at Dutchess Community College in upstate New York.

Media and performance artist Dr. Chris Danowski is based in Phoenix (in the upper part of the Sonoran desert) and has presented theatre and performance works locally, in Minneapolis, Seattle, New York, in Berlin, Laval, Paris, Vienna, and in Mérida, Yucatán. He focuses on looking for art forms that mix earth religion ritual with post modern and post-structural elements and is initiated in Lukumí and Palo. He teaches experimental performance, reads tarot cards and caracol, is an occasional live model and completed his doctoral research—Thresholds: Desire and Sorcery in New Media Performance—at Transart Institute/Plymouth University. His research interests include creating full-length theatre/performance pieces and studying how performers experience performance when they are working under trance (and spells) from the Orishas (Lukumi spirits), light forms of trance through relating spirit ancestor possession to actorly character work; playing with desire in Lacanian psychoanalytical terms; creating an aesthetic that is very local; and experimenting with trance to come up with a system of performance that might be useful to practitioners, and interesting to scholars and academics.

Jean-Ulrick Désert is a conceptual and visual-artist. He received his degrees at Cooper Union and Columbia University (New York) and has lectured or been a critic at Princeton, Yale, Columbia, Humboldt University and l’école supérieur des beaux arts. Désert’s artworks vary in forms such as billboards, actions, paintings, site-specific sculptures, video and objects and emerge from a tradition of conceptual-work engaged with social/cultural practices,  Well known for his “Negerhosen2000”, his provocative “Burqa Project” and his poetic “Goddess Projects” he has said his practice may be characterized as visualizing “conspicuous invisibility”. He has exhibited widely at such venues as The Brooklyn Museum, Cité Internationale des Arts, The NGBK in galleries and public venues in Munich, Amsterdam, Rotterdam, Ghent, Brussels. He is the recipient of awards, public commissions, private philanthropy, including Lower Manhattan Cultural Council (USA), Villa Waldberta/Muenchen-kulturreferat , Kulturstiftung der Länder (Germany) and Cité des Arts (France). Désert established his Berlin studio in 2002.

Artist and writer Dr. Laura Gonzalez's recent practice encompasses film, performance, dance, photography and text, and her work has been exhibited and published in the UK, Europe and the US. She has spoken at numerous conferences and events, including the Museum for the Fashion Institute of Technology in New York, the Medical Museum in Copenhagen, College Arts Association and the Association for the Psychoanalysis of Culture and Society. When she is not following Freud, Lacan and Marx’s footsteps with her camera, she lectures and supervises postgraduate students at various institutions around the world.  Her doctoral project, completed in 2010, investigated the practice of seduction. She is currently immersed in an interdisciplinary project exploring knowledge and the body of the hysteric. She edited a collection of essays titled ‘Madness, Women and the Power of Art’ (2013) to which she contributed a chapter—although it is really a work— written with the artist Eleanor Bowen.

Caroline Koebel is an Ohio-based filmmaker and writer, with recent retrospectives at Festival Cine//B (Santiago, Chile) and Directors Lounge (Berlin, Germany). Current research focuses on the relationship individuals have to the greater reality of contemporary global experience and the means by which information is disseminated, gathered and assimilated in the Web 2.0 age. Flicker On Of, a three-part series presented at Scope Art Fair (USA), Edinburgh International Film Festival (Scotland), European Media Art Festival (Germany), and LOOP Barcelona (Spain), applies the idiom of experimental film and artist’s video to big-budget movies in order to ponder global warming, the assassination of Benazir Bhutto, and the Haditha Massacre in an alternate essay format. Viewing Blind, her series-in-progress supported by the Texas Filmmakers’ Production Fund and the Kodak Award, extends this trajectory combining different technologies and clashing aesthetics with journalism by redefining the debate about the US drone program in the Middle East. She has published in Jump Cut, Brooklyn Rail, Afterimage, Art Papers, and Wide Angle, and co-authored the acclaimed stencil graffiti book Schablone Berlin. She holds a BA in Film Studies from UC Berkeley and an MFA in Visual Arts from UC San Diego, and is on faculty at Transart Institute (New York-Berlin).

Dr. Dejan Lukic is a scholar and writer, and received his PhD in anthropology from Columbia University. His work revolves around the inescapable convergence of art and politics, while taking seriously stylistic forms of writing around and about this convergence. He has published two books (one on the aesthetics of terrorism and the other as a collection of thought-images), as well as numerous essays on art and philosophy. He is currently writing two manuscripts: a) “The Charismatic Image” (on the nature of charisma) and b) “Sickness Unto Life” (on delirium of literature as a form of health). Dejan is a faculty member in the Art Writing department at the School of Visual Arts in New York City and teaches online courses for the Node Center for Curatorial Studies in Berlin and for the Global Center for Advanced Studies in Ireland. He runs an art & ecology Summer school—Step Not Beyond—on the Adriatic island of Cres and co-directs the culinary-philosophical troupe Vitalist Cuisine. and

Dr. Elena Marcevska is an interdisciplinary artist and researcher (BA, Theatre directing MFA, Performance The School of The Art Institute of Chicago; PhD, University of Northampton). Following her doctoral study on Screen and feminist performance practice, she continued to focus on contemporary multimedia performance practices. For a number of years, her primary interest was on the use of the screen in performance. Through exploring performances which brought together screen, somatic performance practice and auto ethnography, she has increasingly turned her attention to relationships between performance, female body and digital writing. She is currently working on research about radical self-organised performance practices in South East Europe and their urban manifestation.

Dr. Wolfgang Sützl is a transdisciplinary researcher, writer and educator chiefly concerned with a critique of violence and understanding the conditions in which such a critique is possible. His Ph.D. is in Philosophy from the Universitat Jaume I de Castellón, Spain where he wrote on “Emancipation or Violence. Aesthetic Pacifism in Gianni Vattimo”. Previously he was Principal investigator on the research project on media activism at the University of Innsbruck (2009-2012, funded by the Austrian Science Fund) and Chief researcher at, Vienna (2000-2006). He is currently an Assistant Professor at the School of Media Arts and Studies at Ohio University; Faculty and research advisor, Transart Institute (New York/Berlin) and Faculty, MA Program Peace and Conflict Studies at the University of Innsbruck.

Within Mary Ting’s varied art practice of installation, drawing, photography and video, the prevailing emphasis is the use of the fragment within a nonlinear narrative.  Her work inhabits the realm of temporality, private obsessions and the sensual.  Layered with stories, glimpses of memories, metaphors, her animals, figures, limbs, and cropped forms are both personal and allegorical.  Mary completed her MFA at the Vermont College of Fine Arts, is an avid gardener certified master composter and also a frequent lecturer, independent curator and writer. Mary Ting’s artwork has been exhibited extensively in the U.S. and abroad since 1986. Mary currently teaches sculpture, drawing and paper, 2D/3D, and Bookarts for Pratt Manhattan, SUNY at Nassau Community College and CUNY.  She lives and works in New York City.







March 1 - 15

September 15 - December 15 for January admissions
February 15 - June 15 for July admissions

You must start with a residency.
We encourage you to apply as early as possible if searching for funding.
Letters of support available upon acceptance.


Entry is by submission of portfolio, study/research proposal and interview.
Required: 4 year undergraduate, honours degree or partial completion of an MFA or MA degree, ten years experience in your related field. 
Advanced standing: with completed graduate programme (MFA or MA) you are eligible to enter into the second year of the programme.


MFA 1 year
Apply with 30US/60EU/120UK graduate credits. Enter in year 2/2. Earn an MFA in 1 year.
Hone your praxis, focus your proposal, then transfer to the DCA after 1 year. Earn a doctoral degree in 3 years. 

MFA 2 years
Complete the MFA and start the DCA in year 2/3. Earn an MFA and doctoral degree in 4 years.
Prior professional experience but no first degree. Earn an MFA in 2 years.

DCA in 2 years full-time or 4 years part-time  (expected start date July 2018)
Enter the DCA with an MFA. Earn a doctoral degree in 2-4 years.

DCA in 3 years full-time or 6 years part-time  (expected start date July 2018)
Skip the MFA with 10 years experience. Earn a doctoral degree in 3-6 years.

PhD in 3 years full-time or 6 years part-time  (expected start date July 2018)
Enter with a master’s degree or equivalent experience. Earn a doctoral degree in 3-6 years.


1.   List degrees
2.  Certified documentation of relevant degrees and transcripts for credits if no degree (certified English translations if applicable)
3.  Evidence of English language proficiency if applicable (IELTS 6.5; TOEFL 82 total; PTE 58 overall)
4.  Evidence of professional research, record or output (exhibitions, publications, performances, etc.)  
5.  Contact details for first academic referee
6.  Contact details for second academic referee
7.  Certified copy of passport  

Proposal OF STUDY

A proposal of study (1-2 pages approximately) is your opportunity to capture the attention of the reader with an outline of your proposed project that:

  • defines your practice and a project
  • highlights its context and significance
  • presents a convincing case for your project to the admissions committee.

The research proposal is divided into the following sections in the online application:

1.  The themes and ideas that have and continue to underpin your practice over time—be sure to include key words.

2.  Overview of your current work—contextualise your work (historically and within contemporary practices) and establish how your work fits within this broader context. Frame your project from a review of other work: discuss what you believe to be the most important examples; demonstrate your understanding of these issues and articulate how your project might address these. Finally highlight the links between your work and the strengths of the advisors you list in your application.

3.  Methods—this demonstrates that you have given thought to how you will undertake your project (this need not be too specific and be ambitious)

4.  Expectations—what do you expect to do and find out over the course of your study?

5.  List the two advisors who have agreed to work with you - one from Transart and one from WSU. You may take the initiative to contact Transart advisors directly. Once you have your first advisor you will contact our Programme Coordinator for an introduction to our WSU advisor liaison to secure your second advisor.

Finally keep the following points in mind: 

  • ensure your practice and project are stated clearly and persuasively. 
  • research who you intend to have as advisors; make sure they are interested in your project and available to work with you;  provide them with a copy of your proposal for comment/input
  • ensure your proposal demonstrates a clear understanding of methods and approaches that are appropriate
  • ensure that the scope of your project is reasonable and can be completed in 3 years F/T or 6 years P/T
  • demonstrate your passion—those assessing your proposal may not be experts in your field so make sure you engage readers with your passion and enthusiasm, and provide relevant examples of your work
  • remember, all good proposals will evolve over the course of your project—this proposal is your application for entry into the programme
  • if accepted into the programme you will be expected to upload a copy of your proposal to your process blog


You can commence your application here


Video conference (Skype) interview meetings are held with all applicants who meet the basic requirements outlined in the application process. The first meeting is with your chosen Transart advisor and Transart's Programmes Coordinator and the second will be with your Transart and WSU advisors, upon acceptance.  Alumni, students and faculty are available for consultation prior to commitment to the program.