The PhD Creative Culture is a 3-4 year full-time low-residency programme with an average work commitment of 30 hours per week. You will study wherever you live and work conducting independent research with the support of individual advisory teams and peer critique. Our programme is built around your practice and your attendance at intensive residencies which offer opportunities to meet other established international artists, curators and writers; participate in presentations, symposia, fora, research seminars and topical workshops, screenings, cultural excursions, talks, peer presentations; and other events including the Transart Trienniale and seeded projects. You are required to attend at least one residency per year—three over the duration of the programme—giving six months notice of your attendance/non-attendance at the following residency.
A residency of 2-3 weeks to commence the program, with option to attend a second residency in six months. Residencies are held in different cities, always announced one residency in advance. Working with your chosen advisor/s you will identify the goals to achieve in the first 3-6 months of your research and establish a framework that can be used to assess your progress in the early stages of your project. By the end of this first year you will complete the Confirmation of Candidature—a formal and comprehensive process that reviews progress and a plan to completion. This process will typically take place at a residency and is an opportunity to present your research to an independent panel to identify issues and offer feedback for improvements.
A residency of 2-3 weeks, with option to attend a second residency in six months. Present and develop your creative research/thesis to date. Work with your advisor/s on your research project.
An optional residency of 2-3 weeks at the six month point and attendance at a final residency to present your research project—this will include a public dissemination of your practice (or documentation of it) accompanied by your written thesis to be evaluated by two independent assessors.
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. 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.
Your thesis is a self-directed, creative research-based project (in which writing is a vital contributor) led by your research question/s: a combination of your praxis and thinking where your writing—a thesis of approximately 40,000 words—actively contributes to the creative work, functioning as an integral part of the overall research. It will include analysis and contextualisation but also offer you the opportunity to use words/text as a distinct means of further articulating your creative concerns. The PhD programme culminates in the submission of your creative research as a public exhibition/dissemination of new work + thesis—both of which should be in a form/format that best articulates and reflects your work and ideas. Early on—and regularly—you should consider and discuss with your advisors questions like: what am I trying to do/find out and how; what is most the appropriate form my thesis might take to successfully reflect my aims and not undermine my creative process/es?
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, programme 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 PhD creative research for evaluation and to the Transart community. Detailed information about the process will be available here (early 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, formatting and presentation of your thesis, 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 timing, content, form and presentation of the research that is finally submitted and for certifying its originality.
Angeliki Avgitidou (PhD) 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.
Within her practice Sarah Bennett (PhD) investigates institutional sites, both historical and contemporary. She employs a range of artistic research methods and material processes including: digital recording and projection, facsimile object making, observational drawing, and embodied actions. Through this work she aims to reveal how diverse institutional systems operate, and to question the level of complicity society affords such systems, i.e. how we are implicated in their continuance. At the same time, in her methods of making and installing, she endeavours to imbue the artwork with an affective 'charge' that she hopes may elicit critical, interpretative and associative responses on the part of the audience. Sarah Bennett is an artist and academic, whose artistic research critiques the hitory of psychiatry through associated archives and architecture. She is Head of School of Art & Architecture, Kingston School of Art (KSA), Kingston University, London, and a supervisor on the Transart PhD with Plymouth University. http://www.sarahbennett.org.uk
Michael Bowdidge (PhD) is an artist who works with found objects, images and sound. He received his undergraduate degree in Fine Art from Middlesex Polytechnic in 1989, and completed 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 thePhilosophical 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. www.michaelbowdidge.co.uk
A ramble through the paradoxes of space Sydney born Andrew Cooks (PhD) 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. www.andrew-cooks.com
Laura Gonzalez (PhD) is an artist and writer. Her 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. www.lauragonzalez.co.uk
Elena Marcevska (PhD) 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. www.elenamarcevska.com
Simon Pope’s (PhD) art practice is preoccupied with participatory art’s engagement with new materialism and concepts of the more-than-human. He was recently awarded a doctorate from the Ruskin School of Art at the University of Oxford (2012-15) for the practice-led project, Who Else Takes Part? Admitting the more-than-human into participatory art. Formerly a member of the Net.Art group I/O/D – Webby award winners in 2000 – he also represented Wales at their first exhibition at the Venice Biennale in 2003. Pope was a NESTA Fellowship awardee (2002-05), a Reader (tenured-Professor) in Fine Art (2005-10) and is currently an Associate Research Fellow of both Birkbeck and Queen Mary, University of London (2014-). He advises MFA and PhD students, and especially welcomes those with an interest in participation, dialogue, the more-than-human, the anthropocene, and ecological thinking, as they relate to contemporary art and creative practice more generally. He is a UK citizen, and permanent resident of Canada. http://www.tinyurl.com/simonpope
Wolfgang Sützl (PhD) 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 World-Information.org, 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. wolfgangsuetzl.net
ADMISSIONS DEADLINE: DECEMBER 15
(September 15 - December 15 for January admissions).
ADMISSIONS DEADLINE: JUNE 15
(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: a graduate degree—MFA, MA or equivalent
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
A research proposal (1-2 pages) is your opportunity to capture the attention of the reader with an outline of your proposed research project that:
- defines your research question
- highlights its significance
- presents a convincing case for your research to the admissions committee.
The research proposal is divided into the following sections in the online application:
1. The research theme/question/s—be sure to include key words. Clearly and simply define your research question/s and your approach to answering it/them.
2. Overview of current research—contextualise your research and make links to existing work in this field. Frame your project from a review of other work on the topic: discuss what you believe to be the most important examples; demonstrate your understanding of the research issues and identify any gaps that your project is intended to address. Finally highlight links between your research and the research strengths of the advisors you list in your application.
3. Methodologies—how do you anticipate achieving your project aims? What is your rationale for using this approach? You do not need to go into specifics here—rather, demonstrate that you have given thought to how you will undertake your research. Anticipate the methods you will use to achieve the project aims and show that your research project is feasible in the time period (3 years for a F/T PhD).
4. Draft timeline—provide an outline of how you will complete the research within the time frame (3 years F/T). This will be subject to change as the projects evolves.
5. Expectations—what do you expect to find out, prove, demonstrate, analyse at the conclusion of your research? Demonstrate your passion and enthusiasm for your work and ideas.
6. Name/s of advisor/s with whom you have discussed your project—be sure to contact advisors you are interested to work with in plenty of time. It is essential that you identify a prospective advisor and contact them ahead of making your application to discuss your proposal to ensure they are able to support your research and for feedback on your proposal. Contact the Programme Coordinator to discuss your advisory team.
Finally keep the following points in mind:
- ensure your research idea, question or problem is stated clearly and persuasively. Make sure you are addressing a demonstrable gap in the existing research
- 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 research proposal for comment/input
- ensure your proposal demonstrates a clear understanding of research methods and approaches that are appropriate
- ensure that the scope of your research project is reasonable and can be completed in 3 years
- 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
- remember, all good proposals will evolve over the course of your research—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.
22,000 USD (all fees included) per year.
Tuition remains the same throughout your programme.
Students cover their own living and travel expenses.
There is a late fee of $250 for missed tuition deadlines.
Students pay their own bank fees so tuition is received in full.
Students must be current with tuition to enter the next session.
Questions and payment arrangements please contact accounting here.