国际学生入学条件
Shorelight offers dedicated support to international students in the US by providing services including:
Choosing the right program and major for your goals
Obtaining your F-1 student visa
Support for improving your English skills
Transitioning to US campus life
Exploring your career paths and opportunities to grow professionally
Test dates must fall within two years of submitting your application and paying your application fee to be valid.
Our office cannot use expired test scores to evaluate the English proficiency requirement.
TOEFL - 80 or higher, IELTS - 6.5 or higher
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雅思考试总分
6.5
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雅思考试指南
- 雅思总分:6.5
- 托福网考总分:80
- 托福笔试总分:160
- 其他语言考试:Duolingo - 105 or higher
CRICOS代码:
申请截止日期: 请与IDP顾问联系以获取详细信息。
课程简介
本科工作室艺术课程将为您准备令人激动的创意表达职业。该计划提供有关视觉艺术,动画,教育或设计等主题的教育。该课程可帮助学生发展一系列动手,正式和概念性技能。该计划的结构是在视觉和身体之间取得平衡:学生在第一年学习Studio Arts Foundations,并从第二年开始侧重于特定的重点。学生有机会通过直接练习使用行业的材料和工具来发展动手技能,该计划还涵盖诸如形式,工艺和技术等主题。最终,艺术BFA将使您了解当代艺术理论,采用新形式,并探索艺术作为当今文化的活跃部分。
The photography emphasis focuses on the interrelation of photography and art, ranging from traditional to digital methods of image making and emphasizes conceptually oriented practices. Students receive technical instruction in black-and-white and silver processes, color photography and digital output, alternative processes, digital image production, and professional studio lighting techniques. The emphasis is committed to a broad definition of the medium and open to a variety of expressive means, including installation, video, and bookmaking.<br><br>The curriculum requires students to use the extensive library collections on campus as well as the Utah Museum of Fine Arts and Utah Museum of Contemporary Art. The combination of traditional and contemporary approaches along with critical ideologies provides a stimulating environment to support the development of visual artists. The photography emphasis is committed to engaging with the discursive history of the medium, as Jae Emerling writes, Throughout its history, photography has been linked to theoretical debates in the fields of philosophy, anthropology, art, and science. These debates tell us about the relation between appearance and truth, about the objectivity versus subjectivity of the photographic image, and most generally about the nature of the photographic medium. Photography requires the ability to think critically about representation. This requirement is not unique to the medium, but it may be that the ubiquity of photographs within the modern world makes it a privileged site for wide-ranging debates about images, modes of address, structures of intention, and the ethics of interpretation.
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