LENSCRATCH - Fine Art Photography Daily

In Focus: The MFA Review: Hartford Art School by Daniel GeorgeMarch 31, 2026

©Michael Vahrenwald, Faculty

Each installment of In Focus: The MFA Review highlights a different MFA program for photographic artists, offering readers a concise overview of its identity, curriculum, faculty, student experience, financial support, and post-graduation outcomes. It also serves as a showcase of the creative work produced by faculty, students, and alumni. Rather than functioning as rankings or endorsements, these features are intended as practical starting points—tools to help prospective students compare programs, identify what matters most to them, and make more informed decisions about their graduate education. While certain details shared in these articles may change over time, my hope is that these program snapshots offer a clear sense of what each represents in the present moment.

Thank you to Michael Vahrenwald for completing this interview and compiling all the images/resources!

Institution name: Hartford Art School (University of Hartford)

Degree Title: MFA in Photography

Location: West Hartford, CT (meeting locations vary)

Link to Program Page: www.hartfordphotomfa.org

Link to Application Page: https://www.hartford.edu/admission/apply.aspx

©Michael Vahrenwald, Faculty

Tell us a little about your program. How would you define its scope and purpose?

We are a limited-residency MFA program designed for working professionals as well as individuals with a strong interest in photography and the photo-based book.

©Michael Vahrenwald, Faculty

What would you say makes your program special?

Our students are able to live and work wherever they are based. Each student meets regularly with a faculty advisor throughout the semester, and we hold critiques, studio visits, and writing courses during 10–12 day sessions around the world. Currently, sessions take place in Hartford, Berlin, Tokyo, Los Angeles, and Athens.

©Chikara Umihara, Faculty/Alum

What specialized facilities are available for student use (i.e., darkroom, lighting studio, print lab)?

Students have access to our on-campus photo labs throughout the semester. These include two black-and-white darkrooms, one color darkroom with a color film and analogue C-print processor, as well as multiple digital facilities with inkjet printers and a range of scanning equipment.

Is your program strictly photography-focused, or does it encourage/allow interdisciplinary work?

While we don’t discourage interdisciplinary work, the program is primarily grounded in photography and the photographic book. Students are encouraged to experiment with a wide variety of approaches.

©Chikara Umihara, Faculty/Alum

Do you specialize in a particular area (i.e., documentary, experimental, environmental work)? And once in the program, can a student shift their focus if their creative interests change?

We support all of the above and encourage students to experiment and shift focus as they progress through the program. Students are exposed to a wide range of perspectives from artists, curators, and critics they meet around the world. Because the locations we visit emphasize different perspectives on photography, students naturally develop varied approaches to the medium.

How structured is the curriculum? Are there required courses, or is it more self-directed?

While students’ primary focus is their personal projects, there is a structured curriculum of required courses that must be completed to graduate. These courses follow a set schedule as the semesters progress.

©Chikara Umihara, Faculty/Alum

Does the program incorporate video work or emerging media such as AI, VR/AR, or 3D/360 imaging?

Yes. Students have presented projects incorporating all of these technologies.

Does the program offer career development support, such as portfolio reviews, workshop/conference attendance, or networking opportunities?

Yes. Students receive extensive one-on-one attention, participate in portfolio reviews, book sequencing workshops, and artist statement writing sessions—all integrated into the program.

©Marge Westreich, Alum

What are key graduation requirements (exhibition, thesis paper, portfolio, etc.)?

Graduation requirements include a final exhibition, a thesis defense (with a written thesis), and a book dummy.

©Marge Westreich, Alum

Who are your current faculty members? What are their areas of creative interest?

Faculty and visiting critics include: Clara Bahlsen, Melissa Catanese, Michael Famighetti, Mary Frey, Mikiko Hara, Lisa Kereszi, Robert Lyons, Sue Medlicott, Yurie Nagashima, John Priola, Irina Rozovsky, Sasha Rudensky, Yoko Sawada, Michael Schafer, Paul Schiek, Victor Sira, Alec Soth, Stephanie Steinkopf, Mark Steinmetz, Chikara Umihara, Michael Vahrenwald, Thomas Weski, Hannah Whitaker, Emeka Okereke, Dru Donovan, Kate Greene, Hiroko Komatsu, and Osamu Kanemura. Their practices span fine art photography, curation, publishing, writing, and more.

Are faculty members primarily full-time or adjunct?

Currently, our three full-time program advisors are Michael Vahrenwald, Chikara Umihara, and Robert Lyons. Our faculty is a mix of full-time and adjunct instructors.

©Marge Westreich, Alum

How involved are faculty in mentoring students beyond coursework?

Each student is assigned a faculty advisor with whom they meet one-on-one throughout the semester.

How often do guest artists, curators, or critics visit for lectures and/or critiques?

Every session features a number of guest artists, curators, lecturers, publishers, and critics. The summer session includes more than twenty guests and faculty, and during travel sessions, it’s not uncommon to host upwards of twelve guests.

©Juan Orrantia, Alum

How many students are admitted each year, and how many are photography-focused?

Our cohorts are small, averaging around 12 students. Two cohorts run simultaneously throughout the year. Students participate in all sessions abroad with their cohort, meet with their advisors during the year, and hold critiques. During the summer session, three cohorts— including the graduating class—participate together.

What is the approximate cohort size, and what effect does this have on critiques, collaboration, and networking?

About 12 students. This intimate size provides ample one-on-one time with faculty and guest artists.

What kind of work are current students creating?

It’s always evolving. Current projects range from expanded documentary and personal biographical narratives to historical investigations and formal explorations in the darkroom.

What is the total cost of the program (and duration), and what funding options are available?

Tuition is approximately $27,000 per year for two years, plus an additional $5,000 for the final summer. We offer several merit-based scholarships and are committed to helping make the program financially viable for students.

Are there teaching assistantships, and what percentage of tuition do they cover?

Because we are a limited-residency program, we do not offer teaching assistantships. However, we do offer a paid, full-time teaching fellowship to recent alumni.

Are additional grants/resources available to support student projects?

We have a generous alumni network that often contributes funds to help current students with tuition costs. Many students are international, so available grants and resources vary depending on their country of origin.

What types of careers do alumni pursue, and how does the program support students after graduation?

In our 12 years of existence, three alumni have received Guggenheim Fellowships, many have had solo and group exhibitions, numerous book awards have been won, and many graduates now teach full-time or run their own publishing imprints. Because of the program’s structure, many students maintain full-time careers while developing their artistic practice.

How connected is the alumni network, and do graduates stay involved with the program?

Our alumni network is one of our greatest strengths. Graduates stay highly engaged, hosting alumni events around the world. We frequently invite alumni back to present new projects, and many return for thesis exhibitions. We’re also developing alumni workshops to deepen these connections.