Philip Guston: Painting Revealed

By Carlo D’Anselmi, MFA 2015

 

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Untitled, 1962, Oil on canvas, 167.64 x 185.42 cm / 66 x 73 in, Photo Courtesy of Hauser & Wirth

Striking unease, ponderous reflection of self, and an acute consciousness of two indelible aspects of painting haunt the works at Hauser & Wirth (Philip Guston: Painter 1957-1967). These works are brilliant pieces from the journey of Philip Guston, a man simultaneously amazed with and anguished by the act of painting.

These particular paintings were made at a time after Guston’s career had already taken flight alongside his fellow New York City abstract expressionists. His unease at the loss of figurative imagery in the painting at that time with which he had so much success eventually led his own work down deeply conflicted avenues. This conflict is the crux of the group at Hauser & Wirth. 

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Portrait I, 1965, Oil on canvas 173.7 x 198.1 cm / 68 3/8 x 78 in, Photo courtesy of Hauser & Wirth

The show gives a fantastic sense of the thought process in the paintings from room to room. The more colorful, perhaps flatter paintings of the late fifties spar with a starker patchwork palette, to forms more interloping and bodily in the early sixties. By 1965, as the show moves further, Guston’s paintings have changed massively. The scale is bigger, though the paintings fit easily in Hauser & Wirth’s generous space. In the paintings, masses loom out of the hazy blacks and greys, suggesting heads, ghosts, smoke, rocks, primordial clay. Figuration seems to be writhing out of his process itself, bound up in the paint: lost, found, and lost again. Suppressed hints of his earlier colors hide dramatically behind overwhelming, muscular, sensitive, dark.  

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Untitled, 1967, Brush and ink on paper, 46 x 58.7 cm / 18 1/8 x 23 1/8 in, Photo courtesy of Hauser & Wirth

The drawings, which Guston made between 1966 and 1967, are hung at the back wall of the gallery. These, made during the years before he began his late figurative paintings, are his next step after the paintings in the show. These are simple yet profound marks in ink and charcoal. Repetitions, suggestions, allusions; a hint of what would be next in his career. 

 The show at Hauser & Wirth is a must see, and is up until July 29th. The sheer amount of work is fantastic, combining gracefully to reveal moments in the life of one of the greatest painters in the twentieth century. It is an endless revelation.

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Vessel, 1960, Oil on panel, 76.5 x 55.6 cm / 30 1/8 x 21 7/8 in, Photo courtesy of Hauser & Wirth

 

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Alchemist, 1960 Oil on canvas 154.9 x 171 cm / 61 x 67 3/8 inches Photo courtesy of Hauser & Wirth

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Exuberance on Paper: The Drawings of Gaston Lachaise

New York Studio School Gallery                                                                                         Exhibition Dates: March 21 – April 24, 2016

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Installation View

“The Lachaise Foundation is pleased to present from its collection a selection of never-before-published drawings of Gaston Lachaise, which make their debut in the historic buildings of the New York Studio School, the site of Gertrude Vanderbilt Whitney’s studio and the first Whitney Museum (1931). The Studio School has, since its inception under Mercedes Matter and for the last 27 years under Dean Graham Nickson, placed great importance on the art of drawing. That Lachaise drawings have returned to the walls of the first Whitney, now a school for artists, is magical.

These elegant drawings, which have “the same flow of movement, the same serene power as his stones,” to quote Gilbert Seldes, should transport whoever stands within these hallowed halls, to a place of pure art. Lachaise never taught, believing he could not teach what should come naturally. Yet in these drawings lies his teaching.”
– Paula Hornbostel

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Seated Nude, Horizontal, Right Hand on Hip, Left Holding Veil, c. 1932-34 pencil and black ink

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Installation View

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Installation View

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Installation View

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Opening Reception March 24, 2016

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Opening Reception March 24, 2016

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Opening Reception March 24, 2016

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Opening Reception March 24, 2016

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Opening Reception March 24, 2016

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Peter Rippon/ Royal Academy Travel Award: Martin Dull

NYSS Graduate Martin Dull shares his experience as recipient of the PETER RIPPON/ROYAL ACADEMY Travel Award.

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“The Grid” (diptych), 2015, acrylic and enamel spray paint on canvas,       40″x 60″

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Martin in his North Jersey studio

In May 2015 I received the Peter Rippon/Royal Academy Travel Award from the New York Studio School. I knew this honor would be a milestone in my artistic practice. I was unaware, however, that this pilgrimage would prove to be absolutely transformative.

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“Lapith and Centaur” inspired by the Elgin Marbles in London

During my graduate studies I was exposed to the world of plasticity. I spent countless hours studying the masters, forming guided tastes and opinions, trying to develop my own voice inside the language of painting, drawing, and sculpture.

When I went to Europe, I confronted the masterpieces I studied. It opened my eyes. I experienced, on a visceral level, everything that I spent so long drilling into my head. All of a sudden the shapes I was taught to analyze spoke to my heart and soul. I was privy to one of humanity’s greatest gifts and secrets. It was the culmination of years of thorough training.

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“The Judgment” sketch made mid-travels while in Berlin.

The greatest masters had an overwhelming sense of style, but something else was evident. They were all linked by an abstract aesthetic sensibility—plasticity. It linked all the masterpieces to one source, one language. I believe we are all capable of sensing this plastic universe. But, like anything we are capable of, it requires training the eye and exercising the mind.

While travelling I began keeping an impromptu log of my journey through Instagram (@mgdull) and Facebook (martin.dull). I made it a point to post photographs of artworks that spoke directly to my sensibility. I realized that my experience was too powerful to keep to myself. In fact, I am still posting these images today.

Art truly has the power to enlighten minds. This enlightenment has the capability of crossing all borders and cultures. The plastic arts have an extreme potential that wants to be discovered. Thank you New York Studio School, The Royal Academy, Peter Rippon, and Dean Graham Nickson for affording me this opportunity.

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“Stairway to Heaven,” 2016, acrylic on canvas, 12″x 9″

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A self-portrait inspired by my travels.

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Prince Street Gallery Exhibition

On the occasion of the Prince Street Gallery 8th National Juried Exhibition, curated by Dean Graham Nickson, we asked participating artists who are also Alumni: How does your work in this exhibition connect with or build upon the experiences and influences you gained at the New York Studio School?

The Exhibition is on view February 2-February 27, 2016.

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Aaron Swindle, D.P.J 2013, watercolor on paper, 22″x 30″

Aaron Swindle: The experience at NYSS was invaluable. It provided me with space and time to rediscover myself as an artist, to be emotionally attuned to my natural temperaments, re-define my convictions, and rebuild confidence moving forward pursuing my creative purpose. Without the established studio practice that began in NYSS, exposure to the wonderful work of faculty, and the experience of the intensive marathons, I would not have not been pushed to create watercolors nor establish my continued exploration with them. These practices led directly to the production of watercolor works between 2010-2014, which includes my recent painting showing at the Prince Street Gallery, “D.P.J. 2013” from 2013.

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Leah Raab, Fortress Study, acrylic on canvas, 14″ x 11″

Leah Raab: My recent paintings depict my feelings of displacement and relocation. Paintings of significant and familiar scenes reflect internal tension: seemingly tranquil landscapes overlaid with a sense of impending danger that might explode at any moment.

NYSS taught me to truly perceive the scenes that I wanted to capture. My work has become more representational and my color combinations more unconventional.

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Carlo D’Anselmi, Double Bassist, mixed media on canvas, 24″ x 18″

Carlo D’Anselmi: The New York Studio School taught me many things, but above all, how to be an artist. The painting was made while working outdoors, at a farm in upstate New York. I realized at this point I had enough influences in my head that I could afford to ignore a few of them, and that this was certainly a valuable lesson.

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Linda Bail, oil on board, 10″x8″

Linda Bail: My experiences at the NYSS have taught me that “painting is not therapy.”  When I am planning a composition, whether it is in my studio or plein air; or deciding on my values or mixing colors; or applying the paint and then finally realizing that the value is wrong, then, reluctantly, scraping it out,  I am always thinking.   It is exhausting mentally and physically.

What I do know is that I have a great grounding from the NYSS to help me figure it out.

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Åsa Schick, Harmony, 2015, acrylic, onestrike filler and oil on paper & wood, 36″x 30.5″

Åsa Schick: This painting was created at a time when I was highly frustrated, felt totally stuck and did not know what to do, or how to move forward. This is the second painting in this series. My experience at NYSS taught me to not quit and to explore new and inventive ways to make a painting work.

I had a general idea of where the position of the head and figure should be and an approximate idea of the size of the figure in relation to the space around it. When the sculpting material had dried, I used tools to take away excess and also applied more in order to create form in space and to create rhythm— I made a lot of corrections. I used oil paint on top of the acrylic paint and I aimed to try to create a harmony in the color. I hope the painting feels bold, unpredictable and mystic, with a sense of poetry.

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Margaret Leveson, Along the East Branch, oil on panel, 14″x 18″

Margaret Leveson: The many hours spent drawing from the figure taught me how to structure space, the push and pull of lines and forms. I also worked with Leyland Bell and Harry Kramer in the painting studios and with Sidney Geist in sculpture. All classes were from life. I liked the long hours spent in direct work.

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Eli Slaydon, A Choir, 2015, oil on canvas,            14″ x 11″

Eli Slaydon: The painting “A Choir,” which was included in the 2016 Prince Street Gallery Juried Exhibition, is a direct result of a process of painting that developed during my experience at NYSS. It belongs to a series of work that I have continued since I graduated from the school in 2012.

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Hohenberg Travel Prize: Sarah King

Sarah King MFA 2015 was one of our Hohenberg Travel Award recipients of 2015. We asked her to share with us her experience. 

Join us for The Hohenberg Exhibition Opening Reception with works by Sarah King and Katie Ruiz, January 14, 2016, 6-8 pm, at the New York Studio School.

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Sarah King, Seeking Lions, Parque Madrid, Gouache on Aquaboard, 12″ x 6″

 

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Sarah King, Saint Micheal Transcription, El Prado, Madrid, Pen and Ink, 7″x 5″

Words cannot express how deeply grateful I am to have been awarded the Hohenberg Travel Prize. This award has had a profound impact on my art and has been one of the most important experiences of my life.

The Hohenberg Scholarship allowed me to travel throughout Spain for seven weeks. I began my trip in the South and traveled throughout Andalusia.  I studied the Islamic art and Architecture throughout the region and I was particularly impressed by the azulejos (tiles) that covered the buildings. I was drawn to the Mesquita in Cordoba, with its rhythmic arches and roman columns. I painted at every location, focusing on the landscape and specific light of each place. My favorite place was Ubeda, which was a small Renaissance town that was up in the mountains.

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Painting in Ubeda

After traveling throughout Andalusia I spent five weeks in Madrid. My apartment was located in the Plaza de Santa Ana which was an 8 minute walk to all the major museums. I learned that the godfather theme song was the siren song of all the street musicians and it echoed throughout the stone walls within the Plaza.

I went to the Prado every day, painted in Ritero Park, and saw a variety of retrospectives. The retrospective that had the greatest impact on me was the Bonnard exhibit at the Mapfre foundation. It was so breathtaking I shed a few tears. In the Prado I was truly moved by the paintings of Velasquez, Murillo, Rubens, Bosch, Goya, and Titian, just to name a few. I was so energized creatively from being at these exhibitions that I ended up painting into the early hours of the morning.

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Detail of Bonnard mural painting, Mapfre foundation, Madrid

While traveling and looking at the large scale works of Titan and Ruebens I began to imagine how and what I would paint that would echo both the masterpieces that had such an impact on me and tell my story of my own mythological figure.

Since returning from Spain I have embarked on creating large scale drawings and paintings based on a female biblical archetype that is not well known. These paintings will be based on the story of Lilith, who supposedly was Adam’s first wife, based on the book of Geneses I. She has often been seen as the world’s first feminist icon and has been a misunderstood figure throughout history. I am using the landscapes I have painted from life for the backdrop of these scenes, the sculptures and paintings I saw in Spain to inspire the subject matter, while using the paintings of the great Masters such as Rubens, Titian, Goya, and Velasquez for the structure.

I am so honored to have had this opportunity to travel throughout Spain. This trip has truly shaped my creative life and it is an experience that I will forever cherish.

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Sarah King, Lilith Slaying Eve’s Serpent, Charcoal on Paper, 60″ x 36″

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Sarah King, Blue Trees, Seeking Lions, Madrid, Gouache on Aquaboard, 7″ x 21″

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Sarah King, Retiro Afternoon, Madrid, Gouache on Aquaboard, 18″ x 6″

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Hohenberg Travel Award: Katie Ruiz

Katie Ruiz MFA 2015 was one of our Hohenberg Travel Award recipients of 2015. We asked her to share with us her experience. 

Join us for The Hohenberg Exhibition Opening Reception with works by Sarah King and Katie Ruiz, January 14, 2016, 6-8 pm, at the New York Studio School.

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Katie Ruiz, The Dreamer and the Dream, Oil on Canvas, 30″ x 40″

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Katie Ruiz, Rachel and Jon, Oil on Canvas, 11″ x 14″

As the recipient of the Hohenberg travel scholarship I decided to travel to Paris. I stayed near Luxenburg Garden and walked all through the city every day. I purchased a 4 day museum pass which I highly recommend as it allows you to skip the lines and go directly into the museum.  I started my art journey at the modern art museum the Pompidou. The high-tech architecture was stunning I took the escalator to the top and saw the view of the whole city. I enjoyed the works by Matise, Basquiat, Dubuffet, Cy Twombly, Francis Bacon and others. I learned about a new painter whose work I enjoyed very much by the name of Adrian Ghenie. His painting “Pie Fight Interior” was a big inspiration for me.

Next I went to the Louvre and saw the new light work by artist Claude Lévêque. He created a red neon light travelling down the center of the large pyramid. Inside the Louvre my favorite paintings were the Leonardo Di Vinci pieces, besides the Mona Lisa of course which is wonderful to see but difficult to enjoy with all the crowds. I enjoyed the room of small very old 1300s paintings by Ambroginio Lorenzetti. I took a travel watercolor set with me to Paris and painted the Louvre at night. I did a small painting each day in different parts of the city.

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Watercolor by Katie Ruiz of Louvre at night with light work by artist Claude Lévêque

The next day I went to the Musée d’Orsay. This was a highlight of the trip for me because I got to see a few paintings I have had hanging in my studio for years as a reference. I was so excited by many of the paintings in the Musée d’Orsay. On the top on my list was a Vuillard painting called “In bed” which depicts a person sleeping in their bed in calm Naples yellow colors with blue light. Another one of my favorite paintings I saw was “The bed” (1893) by Toulouse Lautrec and also Van Gogh’s painting “The bedroom” (1889). All of these were pieces I was studying when I was starting my blanket paintings last year at the NYSS. Other paintings I was excited to see were Manet’s “Olympia” and Courbet’s “Origin of the Universe,” Renoir’s “Bal du Moulin de la Galette” (1876). When I left the Musée d’Orsay I sat along the Seine and painted the bridge and the water.

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Édouard Vuillard, In Bed, 1891

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Toulouse Lautrec, The Bed, 1893

On the fourth day I went to the Musée Rodin. Unfortunately the main museum was closed but some of the sculptures were out and the garden was open. I spent the morning drawing from Rodin’s Thinker in the garden. I walked through the gardens and made quick paintings from the sculptures. It was invigorating and inspiring.

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Drawing from Rodin’s sculpture The Thinker at Musée Rodin

Later that day I went to Musée l’Orangerie to see the Monet murals. When I walked into the room of Monet murals chills flooded through my body and tears welled up in my eyes. I have never in my life seen anything so beautiful. It was one of the best moments of my life. Every day I was in Paris I encountered a painting that brought tears to my eyes. I saw art and architecture I have only ever seen in pictures in books I have studied and memorized and transcribed.

In the Musée l’Orangerie I also really enjoyed the room of Chaïm Soutine Paintings. There was a large selection of the bird paintings that were gut wrenching and raw. I love his brush strokes of thick paint and bright reds with blue grays.

That night the galleries were open late to the public because FIAC art fair was going on. My friend Françoise and I went to several galleries. It was wonderful to see what is going on in the Paris art world and meet some gallery owners and artists. We went to Galerie Perrotin and saw new paintings by Hernan Bas and hyper realistic sculptures by Pierre Paulin.

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Katie’s Watercolors from Paris

The rest of the weekend was spent going to FIAC held at the Grand Palace to look at modern art at the France International Art Convention. I saw many artists I like very much such as George Condo, Louis Bourgeois, Sigmar Polke, Leon Golub and many more. Officielle was another part of FIAC held at Les Docks- Cité de la mode et tu Design. We took a boat along the Seine to get there. Officielle was filled with many gallery booths from Paris, Berlin, Los Angeles, New York, and Mexico.

I spend the last morning drawing from Notre Dame and doing some sight seeing at the Eiffel tower. In the concord and all around the city there were sculptures and interactive art up for FIAC.

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Katie plein air painting at Notre Dame

This trip has been a true gift. My world has been expanded and I feel inspired to create new paintings from all of the knowledge I have gained from this experience.

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Katie Ruiz, The Waiting Room, Oil on Canvas, 24″x 18″

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Katie Ruiz, Different Paths you and I but we share the same sky, Oil on Canvas, 84″ x 48″

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Student Perspectives: Sophy Lee

Sophy Lee, second year MFA student, shares with us her Studio School experience.

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Sophy Lee in the Parlor Studio

In three short years, I have been through a transformation.  Since joining the New York Studio School, I have grown through formal training from observation and transcriptions of masterpieces, independent studio time, and individualized critiques.  My work has changed so much from the very beginning when I started my enrollment even though I have a Bachelor in Art.  My work has become compositionally relational in terms of color, mark making, and the overall placement, and my figurative work has become proportional and compelling.

 

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Coming from a conceptual background with limited hours of working from life, I treasure the precious time of being able to work with models. The school promotes intensive drawing practice that guides us to a strong and mature body of work.  I believe that traditional training in drawing is fundamental to be a professional painter because painting starts from drawing.  Having a good understanding of the anatomy of the human body and the underlying structure of master works strengthens my skills in creating compositions that are applicable to both figurative and abstract work.  My previous work was primarily thematic, but my recent work is conceptual and aesthetically in harmony. The New York Studio School has changed my perspective on viewing and executing art with dignity, and incorporating drawing skills into my process.

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Sophy during the Drawing Marathon

The Studio School community is small, specific, and intimate, allowing me to connect with my peers and faculty.  The faculty is experienced and the program is very adaptable. Because of the size of the school, it is not difficult to form close relationships with the faculty.  They are accessible and helpful, and are always open for critiques, advice, and professional development.

The Studio School also promotes a strong studio practice, instilling in me that quality time in the studio is essential to art execution.  I am trained to be comfortable to work in the studio as much as possible every day without losing enthusiasm.  I am now more familiar with my work and routine.  My decisions are more deliberate without rushing.  I put the best of me in every artwork.

Although I am an international student, I do not feel isolated.  The Studio School is multi-cultural, and encourages and welcomes international students to join and participate in their programs. The school also understands the financial difficulty of international students, and provides them with financial support.  As a result, I am able to study abroad regardless of my financial situation.

 

Training from observation, the one-on-one teaching structure, and the close studio environment, has allowed me to learn effectively and with direct individual advice and feedback from the community. This is my last year studying in the school, but I will keep the momentum going after graduation. I am confident that I am able to survive in the art world and work independently in the studio based on all the education I received from the New York Studio School.  I will continue to draw and paint, and pursue my career as an artist.

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A Look Inside “Kongo: Power & Majesty” with Curator Alisa LaGamma

by Rachel Rickert, NYSS Recruitment Coordinator

Dean Graham Nickson of the New York Studio School and his painting students were invited to the Metropolitan Museum of Art’s current Exhibition “Kongo: Power & Majesty” for a tour by Curator Alisa LaGamma, Curator in Charge of the Department of the Arts of Africa, Oceania, and the Americas. Thoroughly and with great care, LaGamma led the students through the exhibition of art produced in Africa’s Kongo Civilization, between the 15th and 19th century. The work shows the responses of regional artists to major historical developments, bringing them in contact with the western world.
LaGamma explained the introduction to the exhibition, where west and east met, starting with a monument from the Portuguese explorer Diago Cão’s ship. The lime stone pillar marked with the sign of the Portuguese Crown was planted at the mouth of the Congo River and marks the start of trade between the Kongo and Europe. Across from the pillar is a white elephant tusk carved in the form of a trumpet, with bands of intricate abstract patterning spiraling up the form. The spiral is not just decorative, but as LaGama explains, in western African Religion stands as a visual metaphor for the trajectory the soul takes when it leaves the body. This piece was commissioned by a Kongo King and presented as a gift to Pope Leon X, who was a Medici Pope, and Rafael’s great patron. This piece is the first work by an African Artist to end up in a European collection.

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Kongo Oliphant with reflection of Standard of Saint Augustine (Portuguese Pillar) at entrance to the exhibition

As the group of students moved from room to room, LaGamma illuminated the historical backdrop that led to the creation, use, and trade of the objects and sculptures. The exhibition combines rare artifacts, gathered together for the first time, and is also the first time curators sought to identify individual artists’ hands. Through delicate loom made Raffia-palm fiber textiles and elaborate carved ivory, LaGamma highlighted the “lavish, inventive geometric covering of surfaces” that is a part of the visual language of Kongo Artistry from antiquity to the 19th century .

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Also included in the exhibition are artifacts commissioned by Kongo leaders, insignias of Power. Staffs with beautiful miniature sculptural elements at the top, often in ivory, are displayed next to textile crowns and capes. The exhibit is structured as a layered experience, where the beautiful refinements of the delicate staff toppers are juxtaposed with the aggressive larger power figures. LaGamma described the underlying beauty of the small figures as “undeniable,” while the power figures are “more complicated to understand aesthetically.”

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Carved Kongo Staff Finial

Soon after Cão went to Africa, Christopher Columbus discovered the new world, which led to the rush to develop new empires and the need to for labor. Despite the promising beginning of communication between West Africa and the East, soon people were displaced and brought to the Americas. The local leaders’ participation in slavery spiraled out of control and became a huge destabilizing force in this region in the 17th century.
Masks used for healing and intervention in times of social crisis are painted with the colors of Kongo Art. LaGamma explained the Kongo Color palette to the Studio School students: White, the absence of color, the color of bones, representing ancestors; Red, the color of transformation and vitality; and Black, the color of the living. Next to the masks are elaborate figurative vessels for medicine, and sculptures for burial sites.

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Curator Alisa La Gamma

The exhibition concludes with two ideas of Kongo power and their visual representations. In the 19th century, the Kongo culture began addressing the depleted population and the urgency to rebuild and fortify with an incredible output of artists creating female figures. Women needed to take on leadership roles to save communities, and these sculptures emphasize the restorative influence of women and the ideal of female power supporting an entire society.

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Female Power Figures

In these small female power sculptors, LaGamma has identified two hands. The “Master of the Boma-Vonde Region,” whose work is characterized with a softness and tender intimacy, and the “Master of Kasadi,” whose style is more experimental, and plays with the interpretation of the female figure and secondary child or male figure.
Adjacent to the Kongo Female Power is the Nkisi N’Kondi: Mangaaka, instruments of Law and Order, coming out of the mid-19th century pressures. The imposing male figures represent an abstract force of Law & Order, imposing vessels. They are collaborations between the artists who sculpt the figures, the priests who add the sacred materials to the containers on their stomachs, and the people in the landscape of conflict whose leaders add the metal protruding nails, that symbolized an agreement or the end of a dispute. LaGamma has gathered 15, most of the remaining Mangaaka Sculptures, at the Metropolitan Museum of Art for this powerful exhibition. By bringing all these sculptures together for the first time, LaGamma and her team were able to debunk the theory that they were created by a single artist, pointing out how they are actually the hands of different sculptors.

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Power Figure (Nkisi N’Kondi: Mangaaka)

The trip to the Metropolitan Museum with curator Alisa LaGamma allowed the Students of the Studio School an intimate insight into the “Kongo: Power & Majesty” Exhibition that was truly an unforgettable experience. This exhibition of rarely seen together artistic and historical treasures is on view through January 3rd, 2016.

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Power Figure (Nkisi N’Kondi: Mangaaka)

 

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Student Perspectives: Rosie Lopeman

Rosie Lopeman, third year Certificate student, shares with us her Studio School experience.

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Rosie in the North Green Room Studio

Before coming to the studio school, I had been out of college for some years, working in New York and painting independently in my apartment. At the time, I knew one person who I could really talk about painting with and that was Joe Santore– a great artist, teacher and friend. I had been slowly painting myself into a wonderfully repetitive rut, making the same picture over and over again alone in my home studio. After hearing about the Studio School from Joe, I decided to take an intensive summer course here.

Working larger and more physically than I ever had before, I felt so focused, challenged and ambitious. As we worked on our final drawings in that first marathon with Graham, I remember telling myself: “Don’t forget this moment. If you ever doubt yourself, remember that you have the potential for this clarity and creativity.” After that summer course I enrolled as a full time certificate student. I am now in my third and final year here.

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Rosie Lopeman, Purse, 14″ x 11″ oil on wooden panel 2014-15

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Rosie Lopeman, A Part from Love, 72″ x 60″ oil and oil stick on canvas, 2014

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Rosie’s palette

Any day of the week, if you come into the building, you will learn something. Everyone here is engaged with their work, experimenting, and pretty much always willing to have a dialogue about it. There is a groundedness to the people I meet here. I think this is because of the school’s emphasis on making as a way of thinking, and working in the studio through trial and error. Students and faculty appreciate the difficulties of making art, and the time it takes. Because of the dedicated community, the studio school has been the perfect place to develop my vision and grow as an artist.

I am very thankful for my time here. These years have prepared me for a lifelong engagement with painting. It has been and still is an adventure.

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Rosie Lopeman, Hot Nights, 15″ x 15″ oil on canvas, 2014-15

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Rosie Lopeman, Real World, 12″ x 9″ oil on wooden panel 2015

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Rosie Lopeman in the North Green Room Studio

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My Marathon Experience: Drawing is an Adventure

Drawing Marathon January 2015

by Rachel Rickert, MFA 2015, practicing artist, Recruitment Coordinator for the New York Studio School

Drawing and Sculpture Marathons are intensive two week programs that kick off each semester at the New York Studio School.  Full-time MFA and Certificate students are joined by outside students of all levels for these immersive studio and educational program.

As an entering MFA student, I had always drawn, but I had never considered what I understood about drawing, never considered how to push myself, and what the implications of each mark I made could be.  I began my experience at the Studio School with Graham Nickson, Dean of the School, Professor of Painting, and creator of the Drawing Marathons.

Day one, faced with the models perched purposefully on a multi-tiered platform, I slowly began an outline of their forms, one that I was trying hard to make perfect.  My drawing barely included anything but the figure.  My marks hovered far from the edges of the extreme thirty inch by eleven inch rectangle we had begun with.  After four hours tackling a few drawings in the huge, sky lit Lehman Painting Studio, we brought our drawings down to the Whitney Studio.  In my first critique, Graham pointed out that I had finished certain parts of my drawing too soon, too conceptually. The dark blob I had made as a notation of the model’s dark hair was creating a distracting bull’s eye in the drawing, punching a hole in the space.  He told me to think about suppressing the literalness of tone to instead support the form.  We looked at the edges of all the drawings up on the wall of the Whitney.  Mine was among the majority that left the edges unactivated, we, as artists, never traveling all the way to them.  Graham explained a drawing could always be complete at whatever time you stop it, the pieces are always there, like a chess game, it should still be dynamic, still together, even if you stop before the game is over.

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Rachel Rickert, Drawing Marathon January 2015, 24″ x 24″ charcoal on paper

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Rachel Rickert, Drawing Marathon September 2014, 44″ x 44″ charcoal on paper

Each day we were presented with a different drawing challenge—pushed to build drawings in new ways, at new scales or sizes, with critiques bringing the students all together to learn from Graham and each other.  The drawing exercises directed our attention to different aspects of a drawing, reminding us that corners exist, to pay attention to the speed and scale of our marks, and to think about how to distribute information within the rectangle.  We drew from 9 am until 6 pm, with a lunch break, and then headed to the Whitney each evening, with drawings that were getting larger and larger, our faces dusted with charcoal.

Graham Nickson asked me “Is the image ruling you or are you ruling the image?”.  Goya established an image before the process of making it, while Monet discovered the image through the process.  He asked us to think about flatness and space at the same time.  The flatness being the basic truth of the paper, and the space arising from the metaphor for the room I was gazing upon.  In critiques we were encouraged to find moments of authenticity in the drawings which showed that the artist was really looking.

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Drawing Marathon January 2014, Evening Critiques in the Whitney (my drawing is second from the right in the top row)

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Rachel Rickert, Drawing Marathon January 2014
36″ x 48″ charcoal on paper

I started to see and enjoy the awkward authenticity that happens when working from life.  I exchanged measured perspective for trusted looking.  Graham told me drawing is not about rendering or copying, but instead about building and remaking.  You can never make a figure, but you can show your response to it.  Graham showed me that making changes is what makes a drawing exciting, that “corrections are the life blood of the drawing.”  Reconsideration and corrections are as much tools for drawing as charcoal and acrylic.  Drawings can develop a density as previous decisions amalgamate into forms.  According to Graham, overworking a drawing is an impossibility, an art school cliché.

Despite the fact that we were all in the same room looking at the same set up, and working with the same materials, the drawings looked incredibly different.  And as the days went on, each artist seemed to fall more into their own expression, their own hand writing.  Graham told us not to let style dominate the truthfulness of the experience.

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Rachel Rickert, Drawing Marathon September 2014, 30″ x 44″ charcoal on paper

Indian Miniatures taught us interlocking geometry; Chauvet cave drawings are relevant though made 30,000 years ago; with Giacometti we were shown to constantly think about the figure in relationship to the whole space; with Auerbach, that the form was found with planes sometimes, and masses other times; Rembrandt showed us to always have a sense of the rectangle, and geometry in depth; Bonnard encouraged the sense of adventure and discovery; and Matisse told us that exactitude is not truth.  Graham showed us these works and many others, presenting a broad definition of drawing, and encouraged us to find our vision of the world.

I began to understand the ingredients of a drawing- space, form, tensions, interconnections between disparate parts, unity- and that these ingredients can change based on the artists intentions and experience.  But in addition to learning these elements, I was challenged to question them- why is unity interesting?  Suddenly the negative space that holds the form, something I previously deemed the lesser “background” of a picture, became my way into a drawing.  I drew the strange shapes around and between, my charcoal seldom leaving the paper as I carved a path through what I was seeing.  I began to think about interior of the form, the figure in context.  Graham told us to exchange the concept of finishing a work, for strengthening and clarifying.  He encouraged us to be ambitious and bold. The last mark should be a dangerous mark, not a safe one.

Rachel Rickert, Drawing Marathon September 2014, each 44″ x 22″ charcoal on paper

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Rachel Rickert, Drawing Marathon January 2015, 8′ x 7′ charcoal on paper

I had not anticipated that I was capable of moving from a twenty-two inch square on day one of my fourth marathon, to an eight by seven foot drawing by day 10. I pushed myself toward new goals in drawing: risk taking, exploration, surprise, and discovery, elements I had not previously realized should be part of the drawing process.  The Drawing Marathon forced me to think differently and to consider drawing an adventure and an emotional encounter. It pushed me through the anguish of art making to find the magic that comes with connection and understanding.

By the end of four Marathons with Graham Nickson, I could not believe what my drawing had become.  Through two years of intense looking and development of my own language, I was now making intense, immediate, particular work, with history and complexity.  My drawing now felt unique to me, while deeply connected to perceptual experience.   The Marathons opened up my understanding of the important issues in drawing which I will continue to confront and realize throughout my life as a visual artist.

Drawing Marathon January 2015 7'x5' charcoal and acrylic on paper

Rachel Rickert, Drawing Marathon January 2015, 7′ x 5′ charcoal and acrylic on paper

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