Common Sense Book Art Williams Pdf To Excel

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5. Pushing Up People Free Download

A somewhat dated, but still a really good book. Art Williams has some great tips for motivating his workforce. Your business attitude is a reflection of the way you look at life! Simple but not easy. I like his emphasis on hard work and ethics - a rarity spoken today. Downloads PDF Pushing Up People by Art Williams Books. This was probably the first book that showed how team building was a profitable. Common Sense Art Williams. Common Sense: A Simple Plan for Financial Independence. Even 44 pages of Art Williams' Common Sense is way better. Ignore this 'Common Sense' book at great. Common sense by Art Williams, June 1992, Parklake Pub edition, Paperback - 10th edition.

Arthur L. 'Art' Williams Jr. (born April 23, 1942) is an American insurance executive living in Palm Beach, Florida. He is the founder of A.L. Williams & Associates, known as Primerica Financial Services since 1991. He also ventured into professional sports, owning the Birmingham Barracudas of the Canadian Football League (CFL) and the Tampa Bay Lightning of the National Hockey League (NHL) for brief periods.

Early life and education[edit]

Born on April 26, 1942, in Cairo, Georgia.^[1] He obtained his bachelor's degree in arts and sciences at Mississippi State University in Starkville, Mississippi, and his master's degree in science from Auburn University. From his early days in high school, Art aspired to be a professional football coach.

Career[edit]

In 1965, Williams's father suddenly died of a heart attack. He had a whole life insurance policy that left their family underinsured. Five years later Art Williams' cousin Ted Harrison introduced him to the concept of term life insurance, a much less expensive and simpler alternative to whole life which at that time was almost never sold and rarely heard of outside the insurance industry. Williams was taken aback by the idea of not knowing that there was a choice when buying life insurance and described the whole conversation as 'disturbing,'^[2] recalling his father's death and referring to the fact that people had no idea of such a product. Believing that families were paying too much for whole life policies that left them poor in the wallet and deeply underinsured, Williams joined his cousin at ITT Financial Services in 1970. In June 1973, six months before ITT went out of business, he left and went on board with Waddell & Reed, another Buy term and invest the difference (BTID) company that saw early success.

Williams gained momentum at W&R and became regional vice-president (RVP) the same year, with a sales force that covered 6 states. Despite the numerous benefits of working at W&R in comparison to ITT, it became clear to Williams that with a corporate structure in which the executives, not the sales force, owned the company, financial decisions would always have priority over the clients and there would be limits on how much the company could grow.

On February 10, 1977, Williams and 85 associates founded their own company A.L. Williams & Associates on a simple philosophy: 'Buy Term and Invest the Difference.'^[3] He convinced many customers to switch from their conventional whole-life insurance to term policies. The company's rapid growth to become the largest seller of life insurance in the U.S. was enhanced by his emphasis on promoting his people. He was one of the first to have weekly video conferences on the company's private television broadcast system. This allowed him to personally speak to each of his 100,000 plus agents and to create a family feeling that inspired them to become Financially Independent.A.L. Williams became Primerica Financial Services.

Williams made a large portion of his fortune from investments, particularly in Citigroup, in which he owned 21 million shares as of 2007.^{[citation needed]}

Williams purchased and entirely renovated the old Edwards Inn and Spa in Highlands, North Carolina, spending nearly forty million dollars. The inn went from being relatively unknown to the #4 hotel according to Tripadvisor in 2012.

Sports ownership[edit]

Birmingham Barracudas[edit]

Williams first entered the ranks of sports ownership in 1995, when he was granted a Canadian Football League (CFL) expansion franchise for Birmingham, Alabama. He wanted a team nickname that would 'scare the spit out of people,' and chose the Barracudas moniker for his franchise.

Like many owners of the CFL's newer American franchises, Williams was in way over his head, being unfamiliar with Canadian football. He felt Birmingham was a logical choice to place his franchise, due to the popularity of football in the state of Alabama. The results of his venture, however, told a different story. Fan support and attendance for home games were initially strong during the summer months, but declined considerably when the NFL, NCAA, and high school football seasons started. Knowing the 'Cudas could not even begin to go head-to-head with Alabama and Auburn football, Williams persuaded the CFL to allow the Barracudas to play their September and October home games on Sundays. This was not nearly enough to prevent a steep decline at the gate. Williams estimated he spent $10 million to launch the Barracudas franchise, and lost a substantial amount throughout the course of the season.^[4]

Williams was outspoken in his criticism of the CFL and its style of play, and along with the other American team owners wanted changes made to several league rules. Amongst these requests were to reduce the size of a CFL field and alter gameplay to match American football standards, and to change the name of the league to better reflect the presence of American teams. He strongly petitioned the CFL to move the season to the spring months, as he was unwilling to risk another season going head-to-head with the other American football leagues, especially college football.^[5]

When the league refused to comply with his requests, Williams decided to sell the Barracudas to a group of investors called Ark-La-Tex Football Association, which intended to move the team to Shreveport as a replacement for the Shreveport Pirates, which had collapsed under the mismanagement of owner Bernard Glieberman. The transaction proposal was for $750,000. Williams said it was a significant loss, based on his own estimates. The league rejected the sale and opted to contract the remaining American franchises prior to the 1996 season instead.^[6][7]

Tampa Bay Lightning[edit]

In 1998, Williams returned to sports ownership when he purchased the National Hockey League's Tampa Bay Lightning from Kokusai Green for $117 million, outbidding Detroit Pistons owner William Davidson for the franchise.^[8]

Williams was visible and outspoken during the early stages of his ownership of the Lightning. He cleared the majority of the team's debt, which was $102 million at the time of the sale, and added an additional $6 million to the player payroll, allowing the team to acquire established players such as Wendel Clark, Craig Janney, and Bill Ranford. This would be a stark contrast to the penny-pinching manner of the previous ownership.^[8]

The Lightning drafted Vincent Lecavalier with the first overall pick at the 1998 NHL Entry Draft, whom Williams declared to be 'The Michael Jordan of hockey.' The statement drew heavy criticism in hockey circles, as it placed lofty expectations on the young forward in addition to revealing Williams's ignorance of the sport.^[9][10]

As with his time in the CFL, Williams was seen as being in way over his head as an NHL owner. His lack of knowledge about ice hockey, combined with his thick Southern accent and fundamentalist Christian views, made him an easy target for ridicule from his NHL colleagues, who often referred him as 'Jed Clampett' behind his back. This perception was reinforced by the fact that Williams did not smoke or drink alcohol and used words like 'goldangit' in place of profanities.^[11]

On the ice, Williams's lone season as team owner was mired in chaos. Despite publicly assuring general manager Phil Esposito and assistant general manager Tony Esposito their jobs were safe, Williams fired them two games into the 1998–99 season, giving head coach Jacques Demers exclusive control of the team's hockey operations as both coach and general manager. The team would record a ten-game losing streak early in the season, all but ending any chance of making the playoffs. The Lightning finished the season at 19–54–9.

By the spring of 1999, the team's on-ice performance, along with the turmoil in the front office and long-term financial situation proved to be too much to handle. Williams hadn't attended a game since the team hosted the 1999 NHL All-Star Game in January. He would go on to explain his refusal for being as visible as he was in the early stages of his ownership was his disappointment regarding the venture, citing 'this team broke my heart'. Williams lost $20 million in the 1998–99 season alone, which was more in one year as he estimated he could have lost in five years.^[12] Williams eventually sold the team to Davidson, whom he outbid a year earlier for $115 million, which was $2 million less than his original purchase price.^[13][14][15]

Wealth[edit]

In 1998, he saved the Christian Liberty University in Virginia, donating $70 million and erasing decades of debt. He stated that 'My wife and I always knew God wanted us to do something special with our money'.^[16]

As of 2006, he ranks number 512 on the Forbes list of the 'World's Billionaires' with an estimated wealth of $1.5 billion.^[17]
[17]
As of 2008, he ranks number 843 on the Forbes list of the 'World's Billionaires' with an estimated wealth of $1.4 billion.^[18]

Books[edit]

He wrote five books:

• Common Sense
• Pushing Up People
• All You Can Do Is All You Can Do, But All You Can Do Is Enough (The New York Times bestseller list in 1988)
• The A. L. Williams Way
• Coach, The A. L. Williams Story

Speeches[edit]

Art Williams's best known speech is 'Just Do It'.^[19] made to the organization of National Religious Broadcasters in 1987.

See also[edit]

References[edit]

1. ^The 700 Club. 'Art Williams : The Life Coach'. Christian Broadcasting Network. Retrieved 2007-09-02.
2. ^Williams, Art; Karen Kassel Hutto (June 2006). Coach. Atlanta, Georgia: Art Williams Productions. ISBN0-9786266-0-5.
3. ^Williams biography, accessed on July 8, 2006
4. ^Cudas Apparently Through in Birmingham. Gadsden Times, Associated Press, November 7, 1995, accessed 29 January 2014 https://news.google.com/newspapers?nid=1891&dat=19951107&id=KrwfAAAAIBAJ&sjid=FNgEAAAAIBAJ&pg=4898,678628
5. ^Symonds, William C. (3 December 1995). 'Canadian football is running out of plays'. Bloomberg BusinessWeek. Retrieved 23 January 2014.
6. ^'Barracudas Bound for Shreveport?'. Gadsden Times. January 7, 1996. Retrieved 26 January 2014.
7. ^Ralph, Dan. Speros reportedly close to pulling Stallions. Associated Press, 1996-01-26.
8. ^ ^abFischler, Stan (1999). Cracked Ice: An Insider's Look at the NHL. Lincolnwood, Illinois: Masters Press. ISBN1-57028-219-6.
9. ^Hodges, Jim (October 28, 1998). 'Here's Looking At You, Kid'. Los Angeles Times.
10. ^Russo, Michael (October 18, 1998). 'Lightning Owner Not Dumb, Just Ignorant'. Sun-Sentinel.
11. ^Duhatschek, Eric; et al. (2001). Hockey Chronicles. New York City: Checkmark Books. ISBN0-8160-4697-2.
12. ^'LCS Hockey : Team Reports : Tampa Bay Lightning'.
13. ^Blunderful, St. Petersburg Times
14. ^http://www.lcshockey.com/issues/115/tam.asp
15. ^Pistons Owner To Buy Lightning
16. ^Chicago Tribune, accessed on October 31, 2017
17. ^ ^abForbes 2006, accessed on October 25, 2014
18. ^Forbes 2008, accessed on March 6, 2008
19. ^'Art Williams Website'. Archived from the original on 2013-09-17. Retrieved 2013-08-06.

Earn your MFA in Book Arts and Printmaking at one of the most prominent and established professional master’s degree programs in the country. University of the Arts is also one of only a few programs that offers a dual master’s degree in both disciplines.

Printmaking uses printing techniques such as lithography, intaglio, relief, screen-print and more to produce multiple unique works of art on paper and other surfaces. Book arts is an artistic discipline where the structure and notion of books are used to create works of art. These two disciplines have historically aligned, due to the use of printing techniques in the production of books. Though they are truly independent disciplines, they inform each other when studied in tandem. Many working artists in book arts are also printmakers and vice versa. UArts offers the combined master’s degree in Book Arts and Printmaking as these disciplines have gone hand in hand, both historically and in contemporary art.

UArts provides an environment that fosters technical and conceptual development and artistic growth, preparing students for a variety of professional careers or advanced studies in the printmaking, papermaking and book arts fields. Though prior experience in book arts and printmaking is recommended, it is not necessary. You will be able to engage in critical contemporary and historical discourse and apply it to methods of professional practices as a foundation for career development.

This master’s degree program is one of only a few programs in the nation that offers professional collaborative print and book publishing. Every year, visiting artists collaborate with faculty and students to produce fine art print and book editions. Our accomplished faculty are professionals in their field, and their work has been exhibited nationally and internationally. Our alumni are a diverse group of professionals who excel in careers in conservation labs, independent studios, museums, publishing and universities.

Through an intense, interactive and rigorous studio environment, you will have a profound conceptual and technical experience. The breadth and depth of possibilities for exploring the art of the book, printmaking, papermaking and letterpress printing are enormous and complex.

This master’s program offers additional disciplines such as book binding, digital printmaking, intaglio relief, lithography, relief/etching, photography and silk screening. While you can study all types of book arts and printmaking, you may choose to concentrate in a particular medium. We encourage students to cultivate a hybrid methodology among these disciplines, delving into text as well as image, the temporal and the spatial, the three-dimensional and the two-dimensional and the traditional as well as the experimental.
Truly interdisciplinary by design, the Book Arts and Printmaking (MFA) program will provide you with access to myriad vibrant artistic and cultural programming across the University, including exhibitions, performances and more. Students are encouraged to embrace and experiment with other artistic disciplines in the university — Photography, Graphic Design, Sculpture and others— to fully realize their visual voices.

Awards and Accolades

• Evgenia Kim MFA ’19 won the 2019 IPCNY Artist-in-Residence Award, International Print Center, New York, and the 2019 Wind Challenge Award, Fleisher Art Memorial, Philadelphia. She has also been in juried exhibitions such as Homebody/New Prints 2020, International Print Center, New York, and Wind Challenge Exhibition, Fleisher Art Memorial, Philadelphia. Kim was recently named a 2020/Winter New Prints artist-in-residence at International Print Center.
• Candy González MFA ’17 is a 2020 Picasso Project Grant recipient for their project Imagining Our Future Through Visual Poetry & Book Arts. They will be a resident artist at Kensington Health Sciences Academy. González was also named a 2019 West Bay View Foundation Fellow at Dieu Donné, Brooklyn; a 2018 40th Street artist-in-residence in the Center for Emerging Visual Artists, Philadelphia; and a Center for Book Arts Chapbook Competition finalist in 2017.
• Maria Welch MFA ’20 won the Holle Award for Excellence and Creativity in Book Arts in 2020 for her submission, Erratic Obsession. As part of the award, Welch will receive a $10,000 prize, which will help her fund artistic projects and look for a studio space after graduation.

2018 MFA Book Arts & Printmaking Exhibition Catalog

Each year, the Holle Awards for Excellence in Creativity and Communication reward “innovative, out-of-the-box thinking” in media writing, public speaking, film, screenwriting and book arts. This year, Maria Welch ’20 (Book Arts & Printmaking) was selected for the Holle Award for Excellence and Creativity in Book Arts for her submission, 'Erratic Obsession.' Welch’s piece is a visual representation of mental illness to encourage dialogue around the topic.

Erratic Obsession uses text from Charlotte Perkins Gilman’s 'The Yellow Wallpaper' and Annie Payson Call’s 'Nerves and Common Sense,' two impactful pieces that focus on mental illness in women. In 'Erratic Obsession,' Welch wove together lines from both works to represent struggles with mental health, specifically the dissonance “between what one presents to the public, what is suppressed, and what societal expectations cause mental strain on a person,” she explained.

In addition to the textual elements, Erratic Obsession includes patterns and images drawn from a 2018 performance centered on repetition as a coping mechanism when unable to stop thinking about a specific memory. Welch photographed the footprints from the performance and created stencil outlines that were used to create the images in Erratic Obsession. The Holle Award judges praised Welch’s work for how well the form accentuated the subject matter, calling Welch “a master of [her] craft.”

As part of the award, Welch will receive a $10,000 prize, which will allow her to fund her artistic projects and look for a studio space after graduation. “I am thrilled that I will have not only a studio to work in, but the necessary tools to continue making paper after I lose access to the school’s facilities,” she said. “This funding ensures that I have physical space and the essential equipment to make my work, and I am so grateful for this security in the progression of my practice.”

The Holle Awards are presented annually by the University of Alabama College of Communication and Information Sciences to honor Brigadier General Everett Holle, a 1950 graduate of the University of Alabama with a 40-year career at an Alabama-based NBC station.

Curriculum

Since the program’s curriculum is interdisciplinary, you will be prepared for multidisciplinary applications in the contemporary art world. You will also examine the transference of ideas, utilizing diverse media in collaboration with paper as a multiple for presenting concepts and ideas. The program champions the union of the head and the hand, the technical and the conceptual and promotes critical thinking — a timely response to ethical, technical and social changes in current printmaking and book art pedagogy.

With faculty, you will develop and discuss new media and digital technologies, advancing ever-richer interdisciplinary study. Most significantly, your education will extend beyond the university to prominent historical institutions of Philadelphia, which offers an arena for research, academic exploration and inspiration, and acts as a fluid, vibrant and prolific classroom.

The program can be individually tailored to your interests and experience and encourages the development of new concepts while offering proficiency in both traditional and contemporary processes. The core studies of bookbinding and printmaking are augmented by investigations into related fields in studio arts through colloquia and seminars on art and the book. Courses in the first semester intersect, reflecting the integration of skills and concepts integral to book arts. You can use your elective credits for internships in professional laboratories and organizations. Many of our students are welcome as interns in prestigious conservation labs.

In your final year, you’ll take Thesis Studio and Thesis Writing Seminar to prepare you for your thesis exhibition. These courses include guest critics, visiting artists, masterclasses and independent meetings to guide you in the planning, implementation and execution of a mature body of work.

Sample Curriculum

Total Credits: 60
Duration: 2 years, full time

Fall: 16.5 credits
The History and Craft of Handmade Paper (3c)
The Book: Past and Present (1.5c)
Print Media (3c)
Letterpress (3c)
Bookbinding I (3c)
Graduate Seminar (3c)

Spring: 12–15 credits
The Digital Province (1.5c)
Bookbinding II (3c)
On Paper: Collaborations in Print and Pulp (3c)
The Visual Voice: Image, Language, Typography (3c)
Elective (1.5–3c)

Summer
Internship opportunities are available for credit.

Fall: 13.5–15 credits
Thesis Studio I (3c)
Thesis Writing Seminar I (1.5c)
Bookbinding III (1.5c)
University Seminar: Criticism (3c)
Expanded Print Media (3c)
Elective (1.5–3c)

Spring: 15 credits
The Atelier (1.5c)
Thesis Studio II (6c)
Thesis Writing Seminar II (3c)
Bookbinding IV (1.5c)
Elective/Independent Study (3c)

Our faculty are well-known in their respective fields and are embedded in extensive networks of prominent professionals and institutions, helping students make rewarding connections, both locally and afar.

BFA '94

Visiting Artists

Visiting Artists lectures, critiques and workshops form a core component of the program. Each semester, a new lineup of artists visits UArts.

Recent visiting artists include

• Sue Coe,

• Lesley Dill,

• Leonardo Drew,

• Carson Fox,

• Nicola López,

• Clif Meador,

• Wardell Milan,

• Carrie Moyer,

• James Siena,

• Barbara Takenaga and

• Didier William.

Engagement with Contemporary Artists

Book Arts and Printmaking students participate in a professional print and book collaboration with renowned artists during their second year in the The Atelier and Book Construction courses. For example, in spring 2019, artist Carrie Moyer completed her first editioned print with UArts MFA students and our master printer; artists James Siena and Wardell Milan have also completed editions with us. Additionally, high-caliber professionals engage and critique with students each semester.

As well as receiving individual private studio spaces, graduate students have access to newly renovated state-of-the-art facilities.

• a fully equipped printmaking studio for intaglio, relief, lithography, serigraphy

• a non-silver printmaking lab and polymer platemaking equipment

• a fully equipped papermaking studio for Eastern and Western papermaking, as well as sculptural work

• a letterpress studio furnished with wood and metal type and four Vandercook proof presses

• a cleanroom

• a fully equipped graduate bindery

• a graduate print studio with a Vandercook proof press, Washington hand press, platen press, and etching press

• a private editioning studio with a Vandercook proof press, etching and lithography press

• a digital lab furnished with a laser cutter, large format printers and film output

Additionally, students have access to the offset lithography studio by working with master printers in the Borowsky Center for Publication Arts on the Heidelberg KORTS. There, students can participate in collaborations with renowned artists, as well as print their own editions. Utilizing the vast opportunities the University of the Arts’ studios offer, the MFA program proudly unites our students with renowned artists through the process of collaboration. Most recently, they completed a handmade paper- and letterpress-printed edition for artist Lesley Dill.

Gallery 224

Gallery 224 is a unique intermingling of student work, from works-in-progress to final thesis shows. Located on the second floor of Anderson Hall, Gallery 224 is primarily used by UArts graduate students, who prototype and exhibit their work in the vibrant open space. The Book Arts and Printmaking program uses Gallery 224 to exhibit work and for critiques.

At UArts, you will be immersed in an environment that fosters conceptual development and prepares you for a variety of professional careers or advanced studies. Students engage in critical contemporary and historical discourse and apply it to methods of professional practices as a foundation for their careers.

Featured Alumni

Kyle Anthony Holland MFA ’19
Holland’s work has been exhibited internationally, including in notable shows at the Robert C. Williams Paper Museum in Atlanta; the Morgan Conservatory in Cleveland; the Center for Book Arts in New York City; and the King St. Stephen Museum in Szekesfehervar, Hungary. Additionally, his work is in the collections of Metropolitan Museum of Art in New York City; Nevada Museum of Art in Reno; New York City’s Center for Book Arts; and Yale University, among other institutions.

In 2012, Holland was awarded the Scholarship for Advanced Studies in Book Arts at the New York Center for Book Arts. He has also been employed at the Morgan Art of Papermaking Conservatory and the studio of artist Lesley Dill. He is currently serving as faculty and studio manager in the MFA Book Arts Program at the University of Alabama in Tuscaloosa. Additionally, Holland continues to teach workshops at prestigious programs, such as the one at Wells College Summer Institute in Aurora, New York.

Evgenia Kim MFA ’19
In 2019, Evgenia Kim received the Artist-in-Residence Award at the International Print Center in New York City and the Wind Challenge Grant at Fleisher Art Memorial in Philadelphia; both awards include an exhibition in 2020. Her work is part of a number of prestigious collections, including the Tisch Library at Tufts University, Princeton and Stanford universities, and Thomas J. Watson Library at the Metropolitan Museum of Art. She has shown work nationally and internationally in countries including Japan, Russia, Spain, United Kingdom, France and Italy. She is currently represented by Booklyn, in Brooklyn, New York.

Candy Gonzalez MFA ’17
Candy Alexandra González is a Little Havana–born and raised, Philadelphia-based, multidisciplinary visual artist, poet, activist and trauma-informed educator. Currently, González’s artwork explores themes of body politics, fat phobia and self-healing, through photography, poetry, printmaking and papermaking.

González received their MFA in Book Arts and Printmaking from University of the Arts in 2017. Since graduating, they have been a 40th Street artist-in-residence in West Philadelphia; a West Bay View Fellow at Dieu Donné in Brooklyn; and a Picasso Project Resident Artist at Kensington Health Sciences Academy in North Philadelphia.

Sue Carrie Drummond MFA ’15
Drummond is assistant professor of art at Millsaps College in Jackson, Mississippi. In 2017, she received the Artist’s Book Residency Grant at Women’s Studio Workshop in Rosendale, New York; that same year, she was awarded a College Book Art Association project assistance grant.

Drummond has been a studio assistant in papermaking at Penland School of Craft in North Carolina and an artist-in-residence at Minnesota Center for Book Arts (MCBA) in Minneapolis. She has taught workshops at MCBA and Purple Word Center for Book and Paper Arts in Jackson, Mississippi. She has also exhibited widely in numerous recognized group exhibitions at such venues as Abecedarian Gallery in Denver, Temple Contemporary in Philadelphia and Delaware Contemporary in Wilmington. Her work is included in several special collections nationally, including those at Bucknell University in Lewisburg, Pennsylvania; Wesleyan University in Middletown, Connecticut; and Baylor University in Waco, Texas. Additionally, Drummond has continued to teach at prominent institutions such as the Women’s Studio Workshop, among other locations.

Internships & Off-Campus Experiences

UArts’ proximity to New York City and Washington, D.C., gives you ample opportunities to regularly visit museums, galleries, print shops, papermaking studios and artists’ studios, and establish lasting relationships with creative professionals and artistic leaders.

The curriculum is flexible and allows for valuable internship experiences at institutions such as the Historical Society of Pennsylvania, the Free Library of Philadelphia, the Library Company of Philadelphia and Magnolia Editions in Oakland, California. Additionally, Philadelphia offers a vital contemporary art landscape, from printmaking collectives to artist-run spaces such as Fabric Workshop and Museum, the Print Center, Second State Press, Space 1026, the Soap Box: Community Printshop & Zine Library and Thomas J. Watson Library at the Metropolitan Museum of Art.

How to Apply

Application Deadline

Fall 2021: Applicants who submit the application form and all required supporting materials before February 1, 2021 will be prioritized for scholarship funding opportunities from the university. Students may continue to apply on a rolling basis after the Feb. 1 priority deadline and will be considered for admission and scholarships on a space-available basis.

To apply, the following materials are required:

Art Williams Speech

• Application fee of $60 (nonrefundable; submitted with your application)

• Official transcripts
  • Official transcripts from all prior undergraduate and graduate schools attended are required. Transcripts should be issued directly by the Registrar's Office at the college(s) attended and sent to the Office of Admissions, The University of the Arts, 320 South Broad Street, Philadelphia, PA 19102 or via email to gradcredentials@uarts.edu. For transcripts from outside the United States, please refer to the instructions provided below for international students.

• Three letters of recommendation
  • Letters of recommendation may either be requested through the online application form, or mailed to the Office of Admissions. At least two must come from professors or professional in your field familiar with your capabilities and credentials. The third may be from a colleague, collaborator or a peer.
    
• Statement of intent and résumé
  • Your statement of intent and your résumé are uploaded and submitted as part of your online application. When writing your statement, please detail your professional objectives for applying to the MFA Program, focusing on your accomplishments and progress within your work to date, and the directions you would like to further explore in graduate study. Why is graduate study a necessary and important part of your future as an artist? What will set you apart from other applicants? Your résumé should highlight all of your professional accomplishments including employment, honors, exhibitions and publications.

• Creative portfolio
  • Applicants should submit a portfolio of 20-30 digital images. These should represent the applicant's full range of studio experience, preferably including printmaking and book arts. All digital images, time-based media and writing samples should be submitted for review online via SlideRoom.com. Applicants may upload images (jpg), video (mov, wmv, flv) or .pdf documents. For good image quality and fast upload, images should be sized no larger than 1280 x 1280 px @ 72dpi. Video files must be kept under 20MB. Further instructions are provided within the SlideRoom Portal. There is a $10 fee to submit a portfolio in addition to the $60 application fee.

• Personal interview
  • After the application has been processed, each applicant is contacted for a personal interview conducted by the program director. For applicants who cannot interview at the university, interviews can be conducted via telephone or Skype.

International Applicants

In addition to the requirements listed above, international applicants or those with foreign credentials must submit the following.

• Official transcripts
  • All transcripts from outside the United States must be in English and must be official. The Office of Admissions may request that international students obtain a transcript evaluation from a third-party credential evaluation service (such as World Education Services or Educational Credential Evaluators) in cases where further information is required to assess international credentials.
    
• Proof of English Language Proficiency
  • International students whose native language is not English must submit the results of the Test of English as a Foreign Language (TOEFL), the International English Language Testing System (IELTS), or the Duolingo English Test. A minimum TOEFL score of 79, IELTS score of 6.0, or Duolingo English Test score of 100 is required for admission. In lieu of the TOEFL, IELTS, or Duolingo English Test, completion of Level 9 in the University of the Arts ESL Institute will be accepted.

Applicants who meet the academic and creative requirements for admission but whose scores do not meet the English proficiency requirement for degree study may receive an offer of conditional admission that first requires enrollment in the University of the Arts' English as a Second Language Institute (ESLI). Applicants who successfully complete Level 9 of ESL study in ESLI will then be able to begin their degree program studies.

In special circumstances, applicants who have not taken the TOEFL, IELTS, or Duolingo English Test can request a waiver of this requirement. The request should be submitted in writing and include the reason for opting not to take the exams. Requests will then be reviewed on a case-by-case basis and may require an interview. A waiver may be considered for those applicants who enrolled full-time in an accredited college or university in the U.S. and successfully completed two semesters of college-level English, not taken in conjunction with ESL study, and earned a minimum GPA of 3.0 in those classes.

I20/F-1 International Student Visa Information: Upon acceptance, students will be contacted by the University of the Arts International Student Programs Office regarding visa counseling and all materials required to create an I-20 in order to obtain an F-1 visa. Contact Mara Flamm, Director of International Student Programs, with any questions regarding your I-20 or F-1 visa.

Events

Upcoming guest lectures include

• Oct. 24, Lynda Sherman;

• Nov. 7, Erin Zona;

• Nov. 14, Sandow Birk and Elyse Pignolet; and

• Nov. 21, Willie Cole.

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Common Sense Book Art Williams Pdf To Excel

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