Rinehart Program Overview
Six to eight students are accepted to Rinehart each year; built on a small cohort, students are given direct access to faculty and internationally renowned guests. The oldest program of its kind in the country, Rinehart continues the long tradition of sculptural practice while integrating contemporary concept and forms.
Rinehart offers spacious, individually assigned studios which open onto a common work area for easy access to a comprehensive fabrication shop. Students have access to a seminar space where peers interact and exchange ideas. Critical readings and writing workshops are central to the program, balancing intensive studio practice with a rigorous focus on history and critical theory. Click here to see examples of student work
The Rinehart Seminar consists of weekly lectures and discussions led by Program Director Dolores Zinny and renowned visiting artists & professionals from other disciplines such as journalists, architects, and scientists. Click here to see Recent Visiting Lecturers
These outstanding professionals give public talks, engage in give-and-take class meetings and seminars, and one-on-one consultations with students. This time provides Rinehart Students with a solid theoretical framework, with a greater grasp of regional and global art scenes, critical perspectives, and an approximation on how to position themselves and their artistic practice within current local and international dynamics.
Field trips to New York, Washington, and Philadelphia are part of the Rinehart Seminar. We visit artists' studios, curators, and exhibitions, such as the Philadelphia Art Museum, Jasper Johns Mind/Mirror at the Philadelphia Art Museum. Field trips inside Baltimore are frequent, and Rinehart promotes students working within the city's context and history.
Jasper Johns: Mind/Mirror at the Philadelphia Museum of Art. Students in conversation with the exhibition curator Carlos Basualdo.
Partnerships and Collaborations
Partnership with ETH Zurich
International Collaborations for Models of Art fabrication. The challenge here is to think about all the different modes employed during the pandemic and which ones could remain through time to alter the conditions of production and display of the artworks.
Through one-on-one consultations, students are guided on the essential technical knowledge for fabricating and displaying the artwork they have in mind.
Instructors rotate each semester in order to provide assistance and workshops in core techniques, methods, and technologies. Topics range from introductions to kinetics, metal fabrication, sound capture & editing, studio lighting, circuits and control devices, interactive coding and programming, video, 3-D software, research on traditional and new materials, and construction techniques.
Who Should Apply?
Prospective students who are willing to:
- Consider sculpture as a place of translation, a channel for the confluence of local ideas in a globalized context.
- Create new venues and platforms where different artists from diverse backgrounds can convey and flourish.
- Engage with your regional community and surroundings.
- Investigate the relations between art and architecture, reflect on how urban and architectonic spaces affect how we think and act.
- Examine the conditions of display, how artworks are affected by the circumstances in which they are placed.
- Familiarize with and be ready to discuss critical theory positions.
- Reflect on the current conditions of production and distribution.
- Define, conceptualize and imagine the functions of sculpture today: how and for whom are we producing.
Prospective students who are engaged with:
- Sculptural artistic practice.
- Large-scale projects, public art, installation art. Architectural and urban interventions.
- Space, place, site history and site specificity.
- Theater stage, film, and TV set design.
- Environmental studies within a visual arts language.
- Performative and spatial practices.
- Digital spaces, web-based projects, 3D digital modeling and fabrication.
- Sound, immaterial sculpture.
- Text as sculpture.
- Jewelry, artifacts, and furniture.
- Art movements within differing geographies, critical studies.
- Critical theory and practice.
Each graduate program has unique application requirements and guidelines. Candidates are encouraged to apply to multiple programs but must complete and submit a unique application for each.