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The following text is comprised of excerpts from a statement by Graham Nickson, Dean of the New York Studio School.
“The New York Studio School is where drawing, painting and sculpture are studied in depth, debated energetically and created with passion. Abstraction and figuration rub shoulders and often interchange. Perceptual deeds and conceptual ideas cohabit.
We strongly believe in drawing. It is the most direct means of describing an experience or an idea. Drawing is the most crucial pathway to understanding in art, and is the common bond between the disciplines of painting and sculpture. There are few places where drawing is so intensely investigated.
The School is not for the faint-hearted. It is for the student with a deep involvement in the desire to be an artist, an intensity of temperament and vision, and an integrity of purpose. It is for those who like to work rigorously, think smart and keenly, and those who are prepared to look hard and long in order to see. A true student is always ‘looking’; a real artist begins to see.
We urge those students to apply who genuinely wish to learn and who are bold enough to take on the challenge of painting and sculpture in the twenty-first century. The New York Studio School is a place where the power of images is still searched for, the philosophy of drawing still present, and the quest for tangible form still engaged. We believe in the strength of art and its ability to change one’s life.”
Jackson’s exhibition The Land Claim began an extensive dialogue with local Indigenous, Black, and Latinx families on Long Island’s East End.
There is not a hint of psychological trauma in Astrup’s art, despite the parallels in his own experience to that of his countryman Edvard Munch.
Over the course of three months, the resident artists in Going to the Meadow will collaborate and create with a curated set of continually changing materials.
Inspired by her foremothers’ recycling of materials, Jan Wade creates altarpieces, shrines, and memory jugs out of found objects.
This retrospective of the work from a São Paulo photo club is a reminder that Modernism was not solely a European phenomenon.