“What I am looking for is not happiness. I work solely because it is impossible for me to do anything else.” That’s how Alberto Giacometti summed it up, as told by James Lord in Giacometti: A Biography, published in 1997.
The New York Studio School’s internationally recognized Marathon programs were developed in 1988 by Dean Graham Nickson, initially as a measure for the rest of the semester at the start of the program year.
The New York Studio School’s Whitney Studio in Greenwich Village has been designated a “National Treasure” by the National Trust for Historic Preservation.
New York Studio School is committed to giving a significant education to the aspiring artist that can last a lifetime.
Applications for the New York Studio School’s Summer Session are due May 20.
George Grosz in Germany, on view at the New York Studio School Gallery, offers a rich overview of Grosz’s development as an artist and dissident.
There’s something in the air about art and reading. In addition to Summer Reading at The Hole, the New York Studio School is presenting a show called Reading the Space: Contemporary Australian Drawing 4.
It’s the dog days of summer in New York, and may we suggest some respite from the sizzling heat with an exhibition of two abstract painters, Ying Li and Eve Aschheim, at the New York Studio School.
Leo Steinberg (1920–2011) was the rare scholar with the ability to alter the way we think about art, history and culture, and, inferentially, the things we create.
“The Eye Is a Part of the Mind” is the title of an essay first published in 1953 in Partisan Review and later in Steinberg’s landmark collection, Other Criteria: Confrontations with Twentieth-Century Art (Oxford, 1972).
In the essay, Steinberg seeks to “show that representation is a central esthetic function in all art; and that the formalist esthetic, designed to champion the new abstract trend, was largely based on a misunderstanding and an underestimation of the art it set out to defend.”
William Kentridge was a failure. By his own account, the South African artist racked up a long list of impressive defeats before succeeding as a draftsman and animator. Before the opening of his current retrospective at the Museum of Modern Art Kentridge gave a lecture on “Drawing Lessons” at the New York Studio School.