National Academy School Fall Catalog 2013 by National Academy Museum & School

fall 2013 art courses + workshops

painting / drawing / sculpture / printmaking / New Media / THEORY / YOUNG ARTISTS

WELCOME

CONTENTS NATIONAL ACADEMY SCHOOL FALL 2013 QUARTER 1 AND 2

We welcome you to explore the National Academy School’s robust program of courses, appropriate for individuals of a wide variety of creative backgrounds—from young students to individuals preparing for a career in the arts. In joining us, you will find small classes, a dedicated faculty, and an intimate and creative learning environment.

Welcome

Director Bio

About the School

Calendar and Registration

Faculty and Administration

One-Day Workshops

Theory

Using a stimulating, thoughtful approach, faculty expertly guide students in their creative practice, and student work is often exhibited in our newly renovated galleries. Welldesigned, thematic exhibitions are integral to the School’s teaching and learning experience.

Drawing

Painting

Watercolor

Please browse our course catalog and visit our website to learn more about programs like our Studio Art Intensive, a two year immersion in fine arts studies. We look forward to meeting you and partnering with you on your creative journey.

Printmaking/Mixed Media

All Media

New Media

Sculpture

Young Artists

About the National Academy

Registration Form

Working in spacious, sky-lit studios, National Academy School students explore painting, drawing, watercolor, sculpture, installation, and printmaking, as well as new media disciplines. Classes are complimented by workshops, lectures by leading artists, vibrant panel discussions, and visits to museums and galleries.

Maurizio Pellegrin Director, National Academy School

NATIONAL ACADEMY SCHOOL FALL 2013

An artist of international reputation, Maurizio Pellegrin is also a revered arts educator who holds a Master’s Degree in Art History from Ca’ Foscari University in Venice. He studied sculpture and painting at the Academy of Fine Arts of Venice, where he also holds the equivalent of the American M.F.A. in Studio Art.

At the National Academy School, creative efforts are celebrated, ideas are exchanged, and individuals enjoy access to the unique resource of the Museum’s collection and archives. The School is an open, creative space where our student body of approximately 950 students learns and experiments under the mentorship of professional artists.

Pellegrin directed the Venice Program Master of Art at New York University and taught Phenomenology of the Arts and Advanced Studio at Teachers College Columbia University. In addition, he has taught Modern Design and Architecture at Rhode Island School of Design.

Expansive Scope & Faculty Expertise.

The faculty of the National Academy School comprises some of the finest, most dedicated artists working in New York City. All are accomplished professionals with extensive experience. The breadth and depth of their expertise allows us to offer a truly diverse range of classes in every artistic discipline: painting, drawing, sculpture, new media, printmaking, and interdisciplinary projects.

As a working artist, he has had more than 150 solo and 400 group exhibitions in major museums and galleries, including the Museum of Modern Art, NY; San Diego Museum of Contemporary Art, CA; Corcoran Gallery of Art, Washington DC; Museum of Contemporary Art, Cleveland, OH; Fort Wayne Museum of Art, IN; Scottsdale Museum of Contemporary Art, AZ; Peggy Guggenheim Collection, Venice, Italy; and the Ca’ Pesaro International Gallery of Modern Art, Venice, Italy.

Individual Attention.

Small class sizes offer students focused, individual attention, giving them the guidance to develop their technical and creative abilities. As experienced teachers and professional artists, our faculty provide demonstrations, lectures, and specialized workshops that supplement and enhance studio work. The Studio System. At the heart of the National Academy School programs is the studio experience. Here students work from the model, antique casts, still life and the imagination. Full time classes meet five days a week in three-hour sessions. For full time classes, instructors attend twice a week. For classes meeting three or fewer times per week, instructors attend one day a week for instruction and critique unless otherwise noted. In most classes, instruction is given on an individual basis. Monitors. When there are at least eight students in a class, a monitor is chosen by the instructor and School Director to assist the instructor and oversee the class when the instructor is not present. In addition to the duties particular to each class, it is required that monitors take attendance at each class meeting and ensure that only registered students attend. Monitors are also responsible for handling students’ requests and acting as liaison between students, faculty and the School Office.

Admissions.

Special Access.

The Academy School does not grant degrees, but does offer 2- and 3-Year Certificates. Students who wish to receive a Certificate of Completion should discuss the prerequisites with the School Director. Students may also enroll in the Studio Art Intensive, described on page 9.

Space to Create.

All students are eligible to take classes. Previous experience is not a prerequisite for most classes. Unless otherwise noted, students may enroll in any class of their choosing. Students may request guidance in the selection of courses by contacting the School Office or an instructor.

The collection of the Academy Museum is a unique resource, one that serves as a technical guide and touchstone for inspiration. In addition to the exhibitions offered, students have access to special museum, gallery, and studio visits, ARTalks, lectures, and panel discussions by prominent artists and architects. Specific dates and times will be announced by faculty members for individual classes or scheduled by the School Office.

The School is located in the heart of New York’s Museum Mile at 5 East 89th Street, between Fifth and Madison Avenues. It is a stone’s throw from Central Park and within walking distance from the city’s most important museums, including the Metropolitan Museum of Art and the Solomon R. Guggenheim Museum.

College Credit. The National Academy School is not an accredited institution and therefore does not offer degree credit for its classes. However, classes taken at the Academy may be accepted for credit by other institutions. Undergraduate and graduate students should contact their home college and individual art departments to determine whether they can receive credit for classes taken at the Academy.

Classes are taught in six sprawling, sky-lit studios, considered among the finest in New York because of their exceptional north light. Public transportation is available via the 86th Street and 96th Street cross-town buses; the Fifth Avenue, Madison Avenue, and Lexington Avenue buses; and the Lexington Avenue subway (4, 5 or 6 lines).

Scholarships. Scholarships are granted to students on the basis of financial need. Proof of financial need is required. Scholarships are made possible by bequests, endowments, and annual gifts from Academy members, Friends of the Academy, Foundations, and alumni. Please contact the School Office to learn more.

Lockers and painting storage area. Lockers are rented to enrolled students by quarter. Students must provide their own padlock and must remove their possessions at the end of their enrollment. The school also provides open racks above the lockers and on floor level for the storage of paintings, drawing pads, and portfolios. The large racks are reserved for large paintings and drawings and small overhead racks are for smaller paintings and drawings. The school is not responsible for belongings left on the premises, including in lockers or in the storage racks.

Work-Study. The Academy’s work-study program offers qualified students an opportunity to gain valuable work experience while taking courses at the school, in exchange for tuition remission when there is available space in a class. International Students. This school is authorized under Federal law to enroll nonimmigrant students. For information about the requirements for admission please contact the School Office.

Uninstructed Studio Rental. Studios are available for a rental fee for independent work. Please inquire at the School Office to learn more.

Student Exhibition Experience.

STUDIO ART INTENSIVE.

Join Us!

The program allows students to: – Learn advanced skills and hands-on techniques from master artist-teachers – Build portfolios in a dedicated studio space – Gain practical tools for developing a career – Exhibit their work

The School highly values student exhibition as a celebration of the creative process. A series of school exhibitions are specifically designed and include works by faculty, international artists, National Academicians, and students. In addition, all students may submit to the Mid-Year and Year-End exhibitions. A select group of works by students is shown in our annual Open House.

For a more personalized curriculum, portfolio development, critiques and exhibition opportunities, students may apply for the Studio Art Intensive within the 2 or 3 Year Certificate Program. The Studio Art Intensive is a practical and creative platform for students seeking artistic enrichment, eager to launch an art career, or in the midst of preparing for competitive MFA programs.

We are a community of artists with diverse visions, backgrounds, and goals. Browse our workshops, courses, and opportunities for young artists (children ages 6-18), and talk with us about enrolling in one of our certificate programs. To learn more about the school, please visit www.nationalacademy.org or e-mail schoolinfo@nationalacademy.org.

Through a guided process of exploration, students select a concentration from painting, sculpture, printmaking or new media. Students collaborate with faculty to develop a curriculum that includes studio-based classes, art theory, and philosophy. Special attention is given to portfolio development, critical thinking, and marketing. Tuition: $13,000 per year. Scholarships available. Applications: Along with a completed application, each student must submit an artist statement and a representational portfolio. An interview will be conducted.

PROGRAMS. Live your passion. Deepen your practice.

Applications are available at www.nationalacademy.org or by requesting one at 212-996-1908.

National Academy School certificate programs offer an intimate and creative environment for hands-on learning.

The Academy School provides dedicated studio space wherein each student has the use of his or her own personal work area.

2 YEAR CERTIFICATE PROGRAM Students enrolled in a full time program at 18 hours per week for 2 years or the equivalent of 1152 hours completed. 3 YEAR CERTIFICATE PROGRAM Students enrolled in a full time program at 18 hours per week for 3 years or the equivalent of 1728 hours completed. ARTS IMMERSION Our immersion programs offer the opportunity to develop creativity; enhance technique; visit galleries, museums, and artist studios; and experience the cultural life of New York City.

2013–14

Calendar Quarter 1 Quarter 2 Quarter 3

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8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 1 2 3 5 6

OCTOBER S M T W T F S 29 30 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 28

29 30 31 1 2

November S M T W T F S 27 28 29 30 31 1 2 3

4 5 6 7 8 9

10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30

4 5 6 7 8

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MARCH S M T W T F S 23 24 25 26 27 28 1

29 30 31 1 2 3 4

REGISTRATION DATES & TIMES

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Registration: Monday, August 19, 2013 Online: 12 AM In-person, phone and fax: 9 AM

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HOW TO REGISTER

To register for classes, visit www.nationalacademy.org. If you are a new student, you will create a National Academy account which will allow you to enroll in a class using a credit card online. If you are a returning student you can log in using your username and password. Once you have logged in to your account, you may complete registration by adding courses to your cart.

APRIL S M T W T F S 30 31 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19

Students may also register by phone, fax, or in-person using a check, money order or credit card. Complete the registration form found online or at the back of this catalog.

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May

22 23 24 25 26 27 28

Veterans Day: Monday, November 11, 2013 Thanksgiving Recess: Tuesday, November 26 – Saturday, November 30, 2013 Winter Recess: Monday, December 23, 2013 – Saturday, January 4, 2014 Martin Luther King Day: Monday, January 20, 2014 Spring Recess: Tuesday, March 18 – Saturday, March 22, 2014

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S M T W T F S 1 2 3 4 5 6 7 8 9 10 11 12 13 14

SCHOOL HOLIDAYS

S M T W T F S 26 27 28 29 30 31 1

27 28 29 30 1 2 3

15 16 17 18 19 20 21

Quarter 1: Monday, September 9, 2013 – Saturday, November 2, 2013 Quarter 2: Monday, November 4, 2013 – Saturday, January 18, 2014 Quarter 3: Tuesday, January 21 – Monday, March 17, 2014 Quarter 4: Monday, March 24 – Saturday, May 17, 2014

February

December

QUARTER DATES

5 6 7 8 9 10 11 12 13 14 15 16 17 18

School Holidays

S M T W T F S 1 2 3 4 5 6 7

REGISTRATION

S M T W T F S 29 30 31 1 2 3 4

Quarter 4

SEPTEMBER

January

The school does not accept cash. Returned checks will incur a $30 fee. New students are required to pay a nonrefundable, one-time only registration fee of $50 for all classes and workshops. Registrations are not transferable to a second party.

S M T W T F S 27 28 29 30 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

WHEN TO REGISTER

Students have the option to register for Quarter 1, Quarter 2, or both Quarters on August 19, 2013. Tuition for all classes and workshops is listed with class descriptions. Students who register for both quarters receive a discounted rate that is reflected in the fee listed. Students may register any time after the start of a class but are required to pay the full tuition and lab fees. No pro -rating is permitted. Classes may be canceled if minimum registration requirements are not met.

REFUND POLICY • • • • •

To receive a 100% refund, students must send a request in writing by e-mail to refunds@nationalacademy.org twelve days prior to the start date of the class. Refunds are made in the same form as payment. Money order and check payments are refunded by check within thirty days. Students requesting a refund prior to the second class will receive a 75% refund applied to school credit only. No refunds will be made after the second class, unless there is a documented medical excuse. There is a $15 administrative fee for each refund.

NATIONAL ACADEMY ADministratioN and Faculty

ADMINISTRATION

MAURIZIO PELLEGRIN Director, National Academy School LYDIA WINTERS School Administrator JONATHAN PARRIS Administrative Assistant to Finance SERGIO SANDOVAL Administrative Assistant, International Student Advisor KAREN WILLIAMS Administrative Assistant

TRANSFER POLICY •

• • • •

To request a transfer, students must send an e-mail to refunds@nationalacademy.org All transfers must occur before the second class. Transfers from one class into another may incur additional fees depending on the transfer. Transfers from one workshop into another are not permitted. There is a $15 administrative fee for each transfer.

VISITING INSTRUCTORS Vincent Baldassano Erol Gunduz Barney Hodes Stanley Lewis, NA Ernestine Ruben Robert Seyffert

FACULTY

Sam Adoquei Jonathan Allmaier Ingo Appel Martha Bloom Kathleen Caraccio Cathy Choi Priyanka Dasgupta Gabriela Dellosso Lisa Dinhofer Lotus Do Henry Finkelstein, NA Filippo Fossati Hannah Frassinelli Borinquen Gallo Jennifer Gennari Dan Gheno John Goodrich Gautam Kansara Michael Leigh Michele LiCalsi Karen Lindsay Eric March Nadia Martinez Takahiro Maruno Mary Beth McKenzie, NA Eric Michelson Maurizio Pellegrin Hall Powell Rhoda Sherbell, NA Brandon Soloff Kerry Stevens Kamilla Talbot Weiqing Yuan

one-day workshops Each workshop is directed by Maurizio Pellegrin and led by three faculty members. During one-day workshops, participants conceive of a creative project, work with focus, build a methodology, and have fun while being guided by Academy faculty. These are intense creative experiences that offer in-depth training. The works created during the workshop will be presented at the end of the day in an open studio, offering a moment of encounter where opinions and critiques are shared between artists and the general public.

DRAWING Friday, September 27, 2013 9:30 AM â&#x20AC;&#x201C; 6:30 PM Eric March Brandon Soloff Gabriella Dellosso Tuition: $400 All topics in drawing will be explored. Three faculty members, each with a distinct perspective on and approach to drawing, will guide participants step-by-step through issues and challenges that arise during the process. All techniques, formats, and materials are encouraged. A model will be present, however, students may choose to work from any subject matter.

REALISTIC PAINTING Friday, November 15, 2013 9:30 AM â&#x20AC;&#x201C; 6:30 PM Eric Michelson Jennifer Gennari Additional faculty member TBA Tuition: $400

Photo: David Plakke Media

An intensive approach to the human figure through the study of line, form, composition, color and value will be offered in this workshop. All methods in realistic painting will be considered. Three major specialists on the field will guide participants through a journey between perception and sensibility in the exploration of painting.

Nadia Martinez, Camino al Inconsciente, junction shells, 52 x 36 inches, 2013

16 Workers and public at the Philadelphia Museum Of Art, Twombly Room, photo by Lippa, 2013

17 Whitney Biennial, Photograph ÂŠ by Lippa, 2012

theory

Workshops

LOOKING AT PAINTINGS IN THE METROPOLITAN MUSEUM OF ART Michele LiCalsi Saturdays September 14, 21, 29, and October 5 9:30 AM –12:30 PM Tuition $145 The collection of paintings in the Metropolitan Museum of Art is diverse and extensive. This workshop provides students with a forum for informal discussion in front of a work of art while gaining an understanding of color, composition, painting techniques, supports, pigments, and varnishes. Viewing the world-class works at the Met is a unique opportunity that offers students an intensive and in-depth look at art and the artistic process. The course covers many of the most important periods in art history and takes advantage of the range and depth of the paintings on view at the Met. On the final night of class, students have the opportunity to discuss one painting that is, for them, particularly meaningful or moving.

COURSES

STUDIO VISITS AND GALLERY COURSE Filippo Fossati One visit each month September – January Exact Dates and Times TBD Tuition: $160 18

Take advantage of the rare opportunity to experience artists at work in their studios. This course provides students an inside look at the rich variety of artistic practices thriving throughout the city. Classes will be taught inside artists’ studios, exposing students to different approaches and materials as well as expanding their understanding of how artists conceive, mold, express, and create. Students will get to see an artist at work during the entire process of creating a new piece. Students will also visit New York City galleries and encounter the most advanced research in contemporary international art.

ONLINE TOOLS AND RESOURCES FOR ARTISTS Nadia Martinez Wednesdays September 11 – October 30 November 6 – January 15 4:15 – 6:15 PM Studio 4/Stone Room 1 Quarter: $250 2 Quarters: $475 Learn to use technology as a powerful tool for your art career. Students will learn how to effectively research opportunities, build an online portfolio, website or blog, and submit work online. Using social networking, students will learn how to promote themselves and design their own branding to attract traffic to their website. Personal laptops are required.

THEORY AND PRACTICE IN ART Filippo Fossati Thursdays September 12 – October 31 November 7 – January 16 9:30 AM – 12:30 PM Studio 4/Stone Room

1 Quarter: $250 2 Quarters: $475 This course aims to give students practical tools to be used in their everyday experience in the art world. Students will develop the ability to view, experience and critique art from an unconventional point of view, and also to awaken their capacity to understand social, economic and political issues. They will gain knowledge of art scholarship, learn how to prepare a portfolio and present their work, not only through oral presentations, analysis and writing papers, but also practically—how to mount an exhibition, from installing it to advertising it. The course includes critical evaluation of students’ work. Frequent field trips, gallery visits and conversations with gallery owners, artists, curators and other art professionals will immerse students in the city’s abundance of cultural possibilities.

A BRIEF HISTORY OF THE ART WORLD Filippo Fossati Thursdays September 12 – October 31 November 7 – January 16 1 – 3 PM Studio 4/Stone Room 1 Quarter: $250 2 Quarters: $475 In this three-part course, students will investigate the history of art from an unconventional point of view, that of the art world. During the first part, students will learn about the history of collections, from the “wunderkammern” to the birth of the museum, the coming into existence of galleries from their beginnings to the contemporary art scene. Part two will offer an overview of the history of art, photography and other media with a substantial survey of works by and imagery of women in world

art and of the work of artists who have changed the way we look at or make art. In the last part of the course, students will be encouraged to participate in group discussions meant to develop a series of tools that will give them the ability to navigate and comprehend the motivations and the context in which contemporary art happens and also to the create their own ones.

Faculty: Theory

In his native Italy, Filippo Fossati worked directly with many artists of the Arte Povera movement in their studios. He was the co-owner of the Esso Gallery in New York City, owner of two art publishing companies, and founder and director of a number of art magazines. He has organized more than 300 exhibitions worldwide. Visit www.essogallery.com to read more about Fossati. Michele LiCalsi received her M.A. from New York University. She has trained for many years as a painter and works in the figurative tradition with a specialty in portraiture. Her training as an artist, art conservator, and a teacher lends a broad range of knowledge and experience to her courses on the technology and structure of paintings. Find out more about LiCalsi’s work at www.michelelicalsi.com. Nadia Martinez was born in Honduras and studied in the Diploma Program at the National Academy School. Martinez is a multimedia artist working in 2D and 3D. Learn about her work at www.nadiamartinez.com.

Photo: David Plakke Media

drawing

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WORKSHOPS

COURSES

LEARNING HOW TO SEE Lisa Dinhofer

FOUNDATION COURSE IN DRAWING Brandon Soloff

Monday – Friday November 18 – 22 9:30 AM – 12:30 PM Assembly Hall Tuition: $375 This workshop is an introduction and a glimpse into the study of everything we see. Though we are bombarded by visual imagery all the time, few of us have the tools to find the fullness of meaning and beauty within it. The ‘eye’ is developed and nurtured through careful study. The surest way to begin is through the use of basic drawing techniques. When the student leaves the classroom each day, the world will be increasingly different and more beautiful. Day One: Perceptual—Drawing an Apple Day Two: Perspective—Spacial Relationships Day Three: Color and Light Day Four: The Figure Day Five: Reading a Painting

Monday – Friday September 9 – November 1 November 4 – January 17 9 AM – 12 PM Studio 1 1 Quarter: $1,069 2 Quarters: $2,031 Through an intensive study of drawing, this course broadens participants’ understanding of the artistic, technical, and historical aspects of art. The class is based on working from the basic gestures, forms and structures of the live model. Museum visits and art history will be included. This is a progressive yearlong course, though students can join each new quarter. Instructor present 2 days per week. All level of students welcome.

FIGURE DRAWING WITH ELEMENTS OF COMPOSITION Gabriela Dellosso Mondays September 9 – October 28 November 4 – January 13 4 – 7 PM Studio 2 1 Quarter: $250 2 Quarters: $475 Gain the tools needed to draw the human figure and place it in a composition. Students will work from a live model each session, beginning with basic gestural poses and progressing to more complex poses. In addition to working with composition, further topics for discussion

include the anatomy of the body, expressive line quality,successful shading, and overlapping of form to create threedimensionality. All levels are welcome.

MODERNISM THROUGH DRAWING Henry Finkelstein, NA Mondays September 9 – October 28 November 4 – January 13 4 – 7 PM Studio 4/Stone Room 1 Quarter: $250 2 Quarters: $475 Modernism is a point of view about art. It is a way of seeing both its creation and the whole history of what went before. Visual structure and personal discovery take priority over making a product. Drawing is the most direct way to acquaint oneself with these things. In this course students will raise their level of visual understanding through drawing from the figure and from different situations. Naturally, they will develop their skills along the way. This class is built around the idea that certain fundamental truths about art never die; they just evolve.

BASIC DRAWING Gabriela Dellosso Mondays September 9 – October 28 November 4 – January 13 7 – 10 PM Studio 5 1 Quarter: $250 2 Quarters: $475 This class will teach the basic skills necessary to approach figure drawing. Students will learn basic shading techniques, simple anatomical concepts, 23

the comprehension of line, how to build solid planes, and a variety of other topics. Working with a live model, poses will range from quick gesture poses to longer poses. This class is designed for beginners and those seeking to develop a personal approach to drawing. Emphasis will be place on individual attention.

FIGURE DRAWING Eric March Tuesdays September 10 – October 29 November 5 – January 14 4 – 7 PM Studio 5 1 Quarter: $250 2 Quarters: $475 In this class students will use figure drawing as a focus for artistic development and technical mastery of the drawing medium. Through their study of the model, students will learn the essential artistic skill of relating parts to a whole in order to capture the unique individuality of the model and create a satisfying composition. The class will use a combination of quick and long poses to sharpen speed and acuity of observation. Other topics will include structure, light and shadow, gesture, basic anatomy, and expression. Instructor will teach through emonstrations and individual coaching. Open to all levels.

DRAWING WITH COLOR Lisa Dinhofer Tuesdays September 10 – October 29 November 5 – January 14 7 – 10 PM Studio 4/Stone Room 1 Quarter: $250 2 Quarters: $475

If drawing is the infrastructure, color is the magic. Combining the two is the key to creating a work of art. This course provides the tools to transcribe a perceptual experience in color to a piece of paper. Working media will include color pencils, watercolor, and gouache.

BEGINNING DRAWING Michele LiCalsi Wednesdays September 11 – October 30 November 6 – January 15 7 – 10 PM Studio 4/Stone Room 1 Quarter: $250 2 Quarters: $475 This course is designed to give students a solid foundation in the fundamentals of drawing. The skills necessary to render a subject three-dimensionally will be taught through a variety of exercises using still life and eventually the model. Observational techniques, composition and different artistic approaches will be explored as students use a variety of media to render their subject. This course is open to beginners with little or no previous drawing experience and is an excellent refresher for the artist who wants to review basic principles or improve their skill level with a particular drawing medium.

FIGURE DRAWING Dan Gheno Wednesdays September 11 – October 30 November 6 – January 15 7 – 10 PM Studio 5 1 Quarter: $250 2 Quarters: $475 24

Working from a model, students explore the human figure while using their choice of drawing materials including charcoal, graphite, colored pencil, pastel, or wet media such as pen-and-ink and watercolor. Designed for all levels, instruction will incorporate a diversity of model types in long and short poses. Students are encouraged to develop their own personal style and work one-on-one with the instructor to develop their understanding of proportions, anatomy, planes and optical principles of light and dark to create an impression of structural form in the human figure.

ANATOMY FOR ARTISTS Eric March Thursdays and Fridays September 12 – November 1 November 7 – January 17 1 – 4 PM Studio 5 1 Quarter: $500 2 Quarters: $950 This class gives students an in-depth look at the forms and structures of the body as well as methods of using anatomical information to create beautiful and accurate figure drawings from observation and imagination. Topics are introduced in a lecture each week and investigated through drawing from the skeleton, casts, and the live model. Q1 covers the “core forms” of the body: pelvis, torso, and skull and the muscles that tie these forms together. Q2 covers the head, shoulders, and the features of the face. Individual instruction provided. Class trip planned to the Met’s drawing study room. Open to all levels.

SKETCHING THE HUMAN FORM Jennifer Gennari

DRAWING THE FIGURE Eric Michelson

Thursdays September 12 – October 30 November 7 – January 16 7 – 10 PM Studio 1 1 Quarter: $250 2 Quarters: $475

Saturdays September 14 – November 2 November 9 – January 18 I – 4 PM Studio 1 1 Quarter: $250 2 Quarters: $475

Drawing correctly from nature is a basic skill and the foundation to good painting. This class is designed to strengthen the students’ observational skills that will ultimately aid them in painting. Students will focus on completing a series of oneand two-night poses, with the occasional study in gesture drawing. This will keep the students’ eyes fresh in capturing movement and overall impression, whereas the longer poses will develop their accuracy in anatomy and shadow shapes.

When drawing the figure, an understanding of the basics allows you to appreciate and convey qualities that are more expressive. At that point, you can begin to organize the light and shade, gesture and rhythm into a single expressive whole. The instructor will work with students of all levels on an individual basis; he will introduce varied approaches and techniques to beginners while encouraging advanced students to develop their skills and insights.

LIFE DRAWING Lisa Dinhofer

Faculty: DRAWING

Saturdays September 14 – November 2 November 9 – January 18 9 AM – 12 PM Studio 5 1 Quarter: $250 2 Quarters: $475

Gabriela Dellosso holds a B.F.A. from Gabriela Dellosso holds a B.F.A. from the School of Visual Arts. Dellosso’s solo exhibitions include the Butler Institute of American Art and the Eleanor Ettinger Gallery in New York City. Her work is in the collections of Allentown Art Museum, Arnot Art Museum, the New Britain Museum of American Art, and others. Learn more and see Dellosso’s work at www.gabrieladellosso.com.

Drawing from a live model prepares students for delving into painting and sculpture. Students gain knowledge, experience, and a base of confidence to develop their own unique interests and perceptions. The course illuminates all aspects of figure drawing in a formal study of structure, gesture, and likeness.

Lisa Dinhofer has a B.A. from Brandeis University and an M.F.A. from the University of Pennsylvania. Dinhofer’s work has been shown extensively both nationally and internationally. Her work is included at Brooklyn Museum of Art, City College, IBM and other venues. Her mural,

Losing My Marbles, was commissioned by the MTA Arts for Transit program. See this and other work at www.lisadinhofer.com. Henry Finkelstein, NA studied at Cooper Union and the Yale School of Art. He has received numerous awards including a Fulbright Fellowship. In1994 he became a National Academician. He has had many solo exhibitions throughout the U.S. including Kraushaar Galleries in New York, June Fitzpatrick Gallery in Portland, Maine, the Simon Gallery in Morristown New Jersey, and the Valley House Gallery in Dallas, Texas where he is currently represented. His teaching, like his painting, is centered on the Modernist Tradition, stressing structure–an abstract understanding of a visual work–through a process of discovery. Please visit www.henryfinkelstein.com.

Dan Gheno, Male Torso, 24 x18 in., sanguine chalk, circa mid 90’s

Jennifer Gennari studied at the Ringling College of Art and Design. She began her career illustrating for Hallmark cards. Later, she studied classical realism under Daniel Graves at the Florence Academy of Art. She works both at the National Academy Museum & School and at the Jeff Koons studio. Find out more about her work at www.jennifergennari.com.

Dan Gheno studied at the Santa Barbara Art Institute, the Art Students League and the National Academy School. Gheno exhibits regularly and has work in various collections including the New Britain Museum of American Art and the Museum of the City of New York. His art and writings have appeared in various publications, and a compilation edition of Drawing Highlights (2007) is devoted entirely to his work. Learn more about Gheno’s work at www.dangheno.net. Michele LiCalsi received her M.A. from New York University. She has trained for many years as a painter and works in the figurative tradition with a specialty in 27

portraiture. Her training as an artist, art conservator, and a teacher lends a broad range of knowledge and experience to her courses on the technology and structure of paintings. Find out more about LiCalsi’s work at www.michelelicalsi.com. Eric March received his B.F.A. from Indiana University and studied at the Art Students League and privately with Andy Reiss. March is represented by Park Slope Gallery in Brooklyn. Awards include the Provincetown Dune Shack residency and the Hudson River Fellowship. Visit www. ericmarch.com to learn more. Eric Michelson received his Bachelor’s degree from Stony Brook University. He presently lives and maintains a studio in New York City. His work ranges from large mythological compositions to portraits and the occasional still life. Brandon Soloff is a classically trained painter and portraitist, whose work has been commissioned throughout the United States and Europe. He studied extensively in Italy, France, and the United States. Soloff has exhibited his work at the Hirschl & Adler Gallery, Alan Stone Gallery, Hammer Galleries, New York; The Royal Society Portrait Painters, London, Galerie Alexandre Butman, Paris, and others. Learn more at www.brandonsoloff.com.

Photo: David Plakke Media

painting

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Workshops

COURSES

URBAN STILL LIFE – PAINTING THE STREET AND ENVIRONS Robert Seyffert

PAINTING THE FIGURECLASSICAL REALISM Jennifer Gennari

Monday - Wednesday October 7 - 9 9:30 AM – 12:30 PM Assembly Hall Tuition: $210

Monday – Friday September 9 – November 1 November 4 – January 17 9 AM – 12 PM Studio 2 1 Quarter: $1,069 2 Quarters: $2,031

In varying color medias (with a focus on oil or acrylic painting) students will work near Central Park within walking distance of the school. Focus will be on strategies of doing a “one shot” work of art inspired by elements of the city–architecture, trees, cars, people, and activity. Students will learn the basics of alla prima painting with an emphasis on color and form.

WORKING FROM THE MASTERS Stanley Lewis, NA Thursday December 5 9:30 AM – 3:30 PM Assembly Hall Tuition: $200 Students will start the day by looking at a group of three images of master works. As a group, students will draw from the images and share what they discover in the process. In the afternoon session students will work individually from reproductions provided by the instructor using any materials they choose. The instructor will give individual instruction.

This course will focus on each student’s personal development in painting. Students will be guided to a complete understanding of anatomy, color harmony, and unity of light through a traditional process that leads the student from a quick grisaille sketch to a finished painting. By these means, students will be able to establish a quick representation of light and shadow and introduce the complex color effects found in the human body. This class will work daily from a live model and each student will receive a critique individually. Trips to the Academy Museum will demonstrate successful uses of the techniques taught in class. Students are encouraged to experiment with a full palette however, limited palette students are always welcome.

ABSTRACT PAINTING Kerry Stevens Monday – Wednesday September 9 – October 30 November 4 – January 15 9 AM – 12 PM Studio 4/Stone Room 1 Quarter: $660 2 Quarters: $1,254

Research and experimentation will be the tools used to expand our relationship with abstraction and create a significant body of new work. From the groundbreaking abstract painting of the early 1900s through our own post-modern moment, we will explore highlights of an entire century of revolutionary process and theory. Students will be encouraged to integrate aspects of this rich history into their own work as we experiment with alternative mediums, applications, formats and surfaces. Individual attention will be given to the student’s technical and formal concerns, so that they may identify a more confident and specific visual direction. The instructor will be present Mondays and Wednesdays.

FIGURE PAINTING Mary Beth Mckenzie, NA Monday – Friday September 9 – November 1 November 4 – January 17 1 – 4 PM Studio 2 1 Quarter: $1,069 2 Quarters: $2,031 Students may work in oil or pastel from a live model. It is possible that we will have the opportunity to paint two figures in one composition. Special emphasis will be placed on color, structure, value, and composition. Figurative painting will be approached in a broad, abstract way. Students will be encouraged to deal with the entire canvas, not just parts of it, developing each painting as a whole. Students will be taught to think in terms of color, form, and relationship, relying less on drawing, particularly in the early stages. Individual attention is given to students at all levels, from beginner to advanced. The instructor will be present on Mondays and Thursdays. 31

COMPLETE ACADEMIC ATELIER Sam Adoquei Monday – Thursday September 9 – October 31 November 4 – January 16 1 – 7 PM Studio 1 1 Quarter: $1,628 2 Quarters: $3,093 This course equips students with broad traditional skills and teaches methods compatible to our times as well as artistic skills that allow the student freedom to explore their unique characteristics. The purpose of the Complete Atelier program is to provide solid traditional skills needed by serious students to pursue an artistic vocation. Beginning students work on the basics of drawing and the fundamentals of oil painting. Advanced students focus on figure painting, portraiture, color, still life, composition, and design. Working intensively, students learn to resolve problems while gaining control of the medium and skillfully commanding the materials.

BEGINNING PAINTING Henry Finkelstein, NA Mondays September 9 – October 28 November 4 – January 13 7 – 10 PM Studio 1 1 Quarter: $250 2 Quarters: $425 This course presents students with some basic visual ideas and technical information involved in the art of painting. Students will explore their potential as they handle the materials of oil paint. They will learn how to stretch canvases, prepare surfaces, and even how to clean

brushes correctly. Students will become acquainted with the painting language through different approaches to working from life. This is often called “drawing with color,” which is quite a different thing from coloring in a drawing. Historical examples will be presented. This is a structured sixteen-week, two quarters, class.

model, students are guided through the fundamentals of painting the figure and will develop a better understanding of light, shadow, halftone, warm and cool colors, sculptural strokes, and expressive simple shapes. The instructor will be present on Wednesday of each week.

FIGURE PAINTING Eric Michelson

ABSTRACT PAINTING & PROCESS Cathy Choi

Mondays September 9 – October 28 November 4 – January 13 7 – 10 PM Studio 2 1 Quarter: $250 2 Quarters: $475

Tuesdays September 13 – October 29 November 5 – January 14 7 – 10 PM Studio 1 1 Quarter: $250 2 Quarters: $475

Emphasizing both the underlying structure of the human form and the means of achieving a vivid, varied surface—one that truly brings the form to life, students will explore a rich variety of methods: brushwork, knife techniques, glazing, and anatomy. The course also provides techniques for developing a critical eye—deemphasizing distracting details to construct a compelling image. The instructor works with students at all levels on an individual basis.

Process cannot be overemphasized. As Picasso once stated, “a finished painting is a dead painting.” This course will introduce various methods for developing one’s intuitive responses, placing greater emphasis on spontaneity and visual sensation by using repetition, color, line and lyricism. Students are encouraged to experiment with unconventional materials, discovering how materials can function as a conduit to “freeing up” the work. Individual as well as group instruction provided.

PAINTING IN PASTEL AND OILS Gabriela Dellosso Tuesday and Wednesday September 10 – October 30 November 5 – January 15 4 – 7 PM Studio 2 1 Quarter: $433 2 Quarters: $823 Improve your technique in pastel and oil painting and learn important principles of picture making. While working from a live 32

INDIVIDUAL PAINTING Jonathan Allmaier Tuesdays September 10 – October 29 November 5 – January 14 7 – 10 PM Studio 2 1 Quarter: $250 2 Quarters: $475

emphasizes individual instruction and is an opportunity for students to identify and develop a rewarding studio practice grounded in the physical realities of painting. Students explore a variety of approaches to materials as they develop a painting practice that suits them—whether representational or nonrepresentational. The course will cover specificity, timing and scale, space and weight, the imagination, and color.

PAINTING THE MODEL IN COSTUME Gabriela Dellosso Wednesdays September 11 – October 30 November 6 – January 15 7 – 10 PM Studio 2 1 Quarter: $250 2 Quarters: $475 Class themes will include historical dress, the use of hats, musical instruments, and other evocative or historically significant props. Students develop a fuller understanding of light and shadow, warm and cool colors, sculptural strokes and expressive simple shapes, while using the painting medium of their choice—oils, pastel or watercolor.

CLASSICAL PAINTING TECHNIQUES STUDIO Brandon Soloff Thursdays September 12 – October 31 November 7 – January 16 4 – 7 PM Studio 2 1 Quarter: $250 2 Quarters: $475

Ideal for those with a strong interest in the form of painting, this class 33

This intensive weekly studio class will focus on traditional oil painting techniques rarely taught but that are incredibly useful for painters of all styles. Students will experiment with under painting and grisaille techniques, as well as alla-prima exercises to improve their understanding of composition, values and color. The goal will be to explore the rich variety of painting approaches and methods used since the Renaissance. Instructor present every session. Students of all levels welcome.

THE ART OF THE PORTRAIT Michele LiCalsi Thursdays September 12 – October 30 November 7 – January 16 7 – 10 PM Studio 2 1 Quarter: $250 2 Quarters: $475 Interpreting the essence of an individual is one of the most rewarding aspects of portrait painting. In this course, students will be given the technical and interpretative tools that will allow them to grow and achieve artistic success in the field of portraiture. Technical topics will include posing the model, choosing a background, props and clothing, lighting the subject, composing the image and the importance of gesture. Interpretative techniques will include creating a likeness, the expressive use of color and the use of abstract elements within a representational image. Throughout the course a variety of oil painting techniques will be taught, reviewed and critiqued. Students will develop a strong technical and creative foundation for further work and a clear understanding of where they fit within the history of portrait painting.

Painting the Figure Eric Michelson Saturdays September 14 – November 2 November 9 – January 18 9 AM – 12 PM Studio 1 1 Quarter: $250 2 Quarters: $475

development of a critical eye: for example, de-emphasizing distracting details may allow for the construction of a more compelling image. The instructor will work with students of all levels on an individual basis.

Cathy Choi, B1119 Untitled, acrylic, oil, glue, resin on canvas, 36 x 36 inches, 2011, detail

Faculty: Painting The instructor will emphasize both the underlying structure of the human form and the means to achieve a vivid surface, which helps to truly bring the form to life. Students will be encouraged to explore a rich variety of techniques, with an emphasis on varied brush/knifework. The course also emphasizes the development of a critical eye: for example, de-emphasizing distracting details may allow for the construction of a more compelling image. The instructor will work with students of all levels on an individual basis.

PAINTING Dan Gheno Saturdays September 14 – November 2 November 9 – January 18 9 AM – 12 PM or 1 - 4 PM Studio 2 Tuition per class 1 Quarter: $250 2 Quarters: $475 The instructor will emphasize both the underlying structure of the human form and the means to achieve a vivid surface, which helps to truly bring the form to life. Students will be encouraged to explore a rich variety of techniques, with an emphasis on varied brush/knifework. The course also emphasizes the 35

Sam Adoquei was born in Ghana and received his B.A. from Ghanatta College of Art. Author of How Successful Artists Study and Origin of Inspiration, Adoquei’s work is in several prominent museum collections. He received a Medal of Honor for his contribution and dedication to the arts and culture in Pomport, Bergerac, France. Learn more at www.samadoquei.com. Jonathan Allmaier earned B.A. degrees in Visual Art (honors) and Philosophy from Brown University. He has an MFA in Painting from the Tyler School of Art in Philadelphia. He has shown his work at the Philadelphia Museum of Art and at galleries in New York, Providence, Berlin, and London. Please visit www.allmaier. wordpress.com. Cathy Choi received her M.F.A. from American University. Her work has been exhibited in Europe and the United States, and it has been published in the New York Times and other outlets. Her previous career in graphic design garnered many awards from magazines, the AIGA, and the Art Director’s Club of Philadelphia. To see Choi’s work, please visit www.cathychoi. com. Gabriela Dellosso holds a B.F.A. from the School of Visual Arts. Dellosso’s solo exhibitions include the Butler Institute

Henry Finkelstein, NA studied at Cooper Union and the Yale School of Art. He has received numerous awards including a Fulbright Fellowship. In1994 he became a National Academician. He has had many solo exhibitions throughout the U.S. including Kraushaar Galleries in New York, June Fitzpatrick Gallery in Portland, Maine, the Simon Gallery in Morristown New Jersey, and the Valley House Gallery in Dallas, Texas where he is currently represented. His teaching, like his painting, is centered on the Modernist Tradition, stressing structure–an abstract understanding of a visual work–through a process of discovery. Please visit www.henryfinkelstein.com. Jennifer Gennari studied at the Ringling College of Art and Design. She began her career illustrating for Hallmark cards. Later, she studied classical realism under Daniel Graves at the Florence Academy of Art. She works both at the National Academy Museum & School and at the Jeff Koons studio. Find out more about her work at www.jennifergennari.com. Dan Gheno studied at the Santa Barbara Art Institute, the Art Students League and the National Academy School. Gheno exhibits regularly and has work in various collections including the New Britain Museum of American Art and the Museum of the City of New York. His art and writings have appeared in various publications, and a compilation edition of Drawing Highlights (2007) is devoted entirely to his work. Learn more about Gheno’s work at www.dangheno.net.

Stanley Lewis, NA graduated from Wesleyan University with a joint major in music and art. His painting teacher was John Frazer. In the summer of 1962, he studied with William Bailey and Bernard Chaet at the Yale Summer School of Art and Music, and earned an MFA from Yale University. His main teachers there were Leland Bell and Nick Carone. In 2007, he had a major retrospective at the Museum in the Katzen Art Center, American University, Washington, DC. In 2005, he received a Guggenheim Fellowship, and was elected to membership in the National Academy. Lewis has taught at universities around the country, and is represented by the Betty Cuningham Gallery in NYC. Michele LiCalsi received her M.A. from New York University. She has trained for many years as a painter and works in the figurative tradition with a specialty in portraiture. Her training as an artist, art conservator, and a teacher lends a broad range of knowledge and experience to her courses on the technology and structure of paintings. Find out more about LiCalsi’s work at www.michelelicalsi.com. Eric March received his B.F.A. from Indiana University and studied at the Art Students League and privately with Andy Reiss. March is represented by Park Slope Gallery in Brooklyn. Awards include the Provincetown Dune Shack residency and the Hudson River Fellowship. Visit www. ericmarch.com to learn more.

Robert Seyffert earned a MFA at the Parsons School of Design. He has taught drawing and painting at the Art Students League, New York, and at Johns Hopkins University. Currently he is an adjunct professor at the College of Mount Saint Vincent in Riverdale, NY and his work is represented by the William Holman Gallery, New York. His work has been shown in numerous solo and group exhibitions internationally including the Baltimore Museum of Art and his portrait of James Michener in the National Portrait Gallery collection. Referring often to art history, he teaches to each individual student in a narrative that includes fine technique but not at the expense of good visual ideas involving the fundamentals of color, form and expression. Kerry Stevens received her B.F.A. from the University of Wisconsin and M.A. from New York University, Venice Program. Her work has been exhibited in galleries and museums in Europe and North America, as well as Artists Space, the Drawing Center, P.S. 122, and Tribes Gallery in New York City, and the online LENS blog of the New York Times. Her work is in the collection of the National Women’s Museum, Washington, D.C., and the Museum of Modern Art archives, among others. Awards include the Helene Wurlitzer Foundation Grant, Taos, New Mexico.

Mary Beth McKenzie, NA was elected a member of the National Academy in 1994. McKenzie has several works in the permanent collection of the Metropolitan Museum of Art, where her work has been on exhibit twice. Her works are also in the collections of the National Museum of American Art, the Brooklyn Museum, and the Museum of the City of New York, among many others. Please visit www. marybethmckenzie.com. 37

Michele LiCalsi, Portrait of Robert, oil on canvas, 36 x 24 inches, 2001, detail

of American Art and the Eleanor Ettinger Gallery in New York City. Her work is in the collections of Allentown Art Museum, Arnot Art Museum, the New Britain Museum of American Art, and others. Learn more and see Dellosso’s work at www.gabrieladellosso.com.

Photo: David Plakke Media

watercolor

38 39

COURSES

WATERCOLOR Weiqing Yuan Monday – Friday September 9 – November 1 November 4 – January 17 9 AM – 12 PM Studio 5 1 Quarter: $1,056 2 Quarters: $2,006 Gain an understanding of traditional watercolor techniques: wet-into-wet, layering transparent washes, and experiment with various papers. The instructor—classically trained in portrait, figure, cityscape, and landscape—will demonstrate loose and controlled watercolor techniques. Teaching will be individually adapted to the direction and level of each student. The instructor will be present on Tuesdays and Thursdays.

PERCEPTUAL WATERCOLOR Kamilla Talbot Monday – Wednesday September 9 – October 30 November 4 – January 15 1 – 4 PM Studio 5 1 Quarter: $660 2 Quarters: $1,254 Students work from a model, still life, and the bucolic landscape of Central Park. Each participant will explore their personal voice and technique, and the final image will be discussed, both individually and in group critiques. Talbot is present Mondays and Wednesdays.

WATERCOLOR Kamilla Talbot Mondays September 9 – October 28 November 4 – January 13 4 – 7 PM Studio 5 1 Quarter: $250 2 Quarters: $475 Painting what you see requires a certain artistic, focused observation. This class explores the process of turning perceptual observation into images. Formal concepts such as composition, space, form, color temperature, and color intensity will be addressed, while maintaining an appreciation for the immediacy of the medium. Students will work from a model, still life, and the landscape of Central Park.

WATERCOLOR Michael Leigh Tuesdays September 10 – October 29 November 5 – January 14 7 – 10 PM Studio 5 1 Quarter: $250 2 Quarters: $475 Students of all levels will explore the spontaneous aspects of watercolor painting while developing a deeper understanding of compositional clarity and complexity. Working from observation of the still life and model, issues of pictorial construction are investigated with an emphasis on dynamic and harmonic spatial relations. This course opens a dialogue between contemporary watercolor practice and the rich and challenging tradition of the medium.

WATERCOLOR IN THE PARK AND STUDIO John Goodrich Saturdays September 14 – November 2 November 9 – January 18 1 – 4 PM Studio 5 1 Quarter: $250 2 Quarters: $475 Explore a range of watercolor and gouache techniques, including wet-into-wet and resists, with an emphasis on direct observation and using sensations of light as the foundation for composition. The class will spend some time working outdoors and some time working from models and still life in the studio. Students will receive individual attention as they investigate the structure of color and strive for an overall sense of space and weight, paying special attention to the rhythm of details against masses.

FACULTY: Watercolor

John Goodrich received his B.F.A. from the University of California at Santa Barbara. He seeks to capture the contemporary world through an awareness of the traditional possibilities of art. He exhibits at the Bowery Gallery and writes reviews for CityArts magazine. In recent years he has also taught at Haverford College and Western Connecticut State University. Please visit www.johngoodrich. net.

Michael Leigh holds a B.A. from Seattle University and an M.F.A. from New York Studio School. Leigh has taught at the New York Studio School and at the City University of New York. He has shown nationally, including an exhibition at the Comisionado Dominicano de Cultura in New York. Learn more at www. michaeltaylorleigh.com. Kamilla Talbot holds a B.F.A. from the Rhode Island School of Design and studied at the New York Studio School. Her watercolors and oil paintings have been shown at galleries in New York and in Denmark. She has been an artistinresidence for the National Park Service on Governors Island, Heliker-LaHotan Foundation, the World Trade Center, and other organizations. Visit www. kamillatalbot.com to find out more. Weiqing Yuan was born in China, received a B.F.A. from Jingdezhen Academy of Arts, Jiangxi, China, and studied at the Central Academy of Fine Arts in Beijing, China. Yuan was vice-chair of the sculpture department and professor of drawing, sculpture and ceramic art at the Shandong Art Institute. Yuan has exhibited his works in China and the United States, where he has received numerous awards. Please visit www.weiqingyuanart.com.

printmaking / mixed media

COURSES

COLLABORATIVE PRINTMAKING Kathleen Caraccio Monday – Wednesday September 9 – October 30 November 4 – January 15 9:30 AM – 12:30 PM Studio 3 1 Quarter: $690 2 Quarters: $1,311

Taka Maruno, Untitled #5, Drypoint, 22 x 40 inches, , 2011

Photo: David Plakke Media

Realize your creativity through collaboration! First-time and advanced printmakers join forces with a master printer to develop custom collaborative projects that foster each student’s artistic intent. The Academy’s wellstocked print shop is equipped with a press suited for printing monoprints, wood and linoleum reliefs, drypoints, and etchings. Projects will be developed in each of these mediums, taking into consideration students’ prior experience. Experimentation with both traditional and unconventional materials is encouraged. The instructor will be present on Mondays and Tuesdays.

overarching goal is: technique + expression = art. Individual projects are encouraged and students work in a variety of mediums including etching copper and zinc, color viscosity roller technique, and monotype. The instructor will be present on Mondays.

EXPLORING MULTIPLICITY, SERIALITY, AND SEQUENCE IN PRINTMAKING Kathleen Caraccio Monday – Wednesday September 9 – October 30 November 4 – January 15 7 – 10 PM Studio 3 1 Quarter: $690 2 Quarters: $1,311 This class will focus on problem solving and experimental approaches Participants will be challenged to use a variety of materials as print receptors (i.e. textile, wood and flexible plastic). They will be guided through aspects of unconventional substrates plus strategies and tools for making printable surfaces. Aspects of this innovative class will be: learning the best of embossing, the playfulness of plastics, and the logic of scale and dimension.

PROJECTS IN PRINTMAKING Taka Maruno

LEARNING THE TECHNIQUES OF PRINTMAKING Taka Maruno

Monday – Wednesday September 9 – October 30 November 4 – January 15 1 – 4 PM Studio 3 1 Quarter: $653 2 Quarters: $1,241

Thursdays and Fridays September 12 – November 1 November 7 – January 17 1 – 4 PM Studio 3 1 Quarter: $433 2 Quarters: $823

Designed to communicate the essence of printmaking and give students freedom of expression through this medium, the

Get an introduction to the basics of printmaking through exploring five distinct processes: monotype, linoleum-relief

MIXED MEDIA & PRINTMAKING Martha Bloom Thursdays September 12 – October 31 November 7 – January 16 7 – 10 PM Studio 3 1 Quarter: $250 2 Quarters: $475 Delve into the depth and breadth of art making and experiment with a blend of classical and innovative techniques involving all fine art mediums. Students are invited to explore their personal passions. Students will work on individual projects in mixed media and printmaking and will receive individual support from the instructor.

Faculty: PRINTMAKING / MIXED MEDIA

all media

Monday and Wednesday September 23 - October 9 7 PM – 10 PM Studio 6 Tuition: $350

Kathleen Caraccio, founder and director of the K. Caraccio Printing Studio, NY, is a master printer and has printed for many international artists. She has taught at Columbia University, Pratt Institute, the Lower East Side Printshop, and Dieu Donne Papermill. Visit www.kcaraccio.com to learn more about her work. Takahiro Maruno was born in Japan and studied at Kuwasawa Design School in Tokyo. Maruno has worked for famous architecture firms including Riki Watanabe, Shiro Kuramata, and Akira Watanabe. As an artist, he studied under Beth Lipman at Urban Glass in Brooklyn, and under various faculty members at the National Academy. He is a member of the Robert Blackburn Printmaking Workshop.

Workshops

PORTRAIT FOUNDATIONS IN COMBINED DRAWING AND SCULPTURE Ingo Appel and Brandon Soloff

Martha Bloom studied at Green Mountain College, the Art Institute of Boston, Bob Blackburn Printmaking Workshop, Stanley Hayter Printmaking Paris, and The Art Students League. Bloom’s work is in the collection of the Metropolitan Museum of Art, the Library of Congress, and other prominent museums.

Taka Maruno, Untitled, color viscosity etching 21.75 x 17.5 in., 2012 Hall Powell, Left on Varick, still from video, 2013, detail

printing, collagraph, paper lithography (or xerox transfer), and drypoint. Each three-week section focuses on acquiring a basic understanding of each printmaking technique and exploring the specific creative potential inherent to each. Press operation as well as paper selection and preparation will be discussed. Beginners welcome!

The ability to understand what we see provides a gateway to greater creativity. A collaboration between two faculty members, this workshop will enhance the student’s capacity to synthesize different ways of seeing and understanding into both drawing and sculpture. Working from a live model, the student will render both a drawing, through understanding the illusion of convexity on a picture plane, and render a clay portrait, through the understanding of convexity in the round. The technical skills of both drawing and sculpting will be addressed and the understanding of either will strengthen the ability of each. One instructor will teach the first week, the other will teach the second week, and both instructors will teach the third week together.

CONTEMPORARY ENCAUSTIC WORKSHOP Vincent Baldassano Friday and Saturday October 11 and 12 10:00 AM – 3:00 PM Assembly Hall Tuition: $225 Let your imagination run wild. Encaustic is a medium capable of harnessing it.

COURSES

ADVANCED STUDIO Maurizio Pellegrin Monday – Wednesday September 9 - October 30 November 4 – January 15 1 – 4 PM Studio 4 and 6 1 Quarter: $760 2 Quarters: $1,444 Designed for artists ready to work at the professional level. All techniques are encouraged. Lectures, conceptual study, as well as studio activity will encompass painting, drawing, sculpture, installation, and will also touch on photography and video. Individual plans, projects, and explorations in a variety of new media will also be included in this intensive, transformative learning experience.

new media

FACULTY: ALL MEDIA

Ingo Appel was born in Hamburg, Germany and received his B.A. from SUN Y New Paltz. Appel’s work has been shown at Brookgreen Gardens, SC and recognized by the National Sculpture Society. Appel also teaches at Visual Arts Center of New Jersey. Vincent Baldassano earned his BA from Wagner College, NY and MFA from the University of Oregon. His paintings and constructions have been shown at the Allan Stone, J. Fields, and Kouros galleries in New York City as well as internationally. Maurizio Pellegrin was born in Venice, Italy and studied at Ca’ Foscari University, the New School University, New York University, and the Academy of Fine Arts of Venice. Pellegrin is the Director of the National Academy School. He has taught at New York University, Teachers College Columbia University, and Rhode Island School of Design. He counts more than 150 solo and more than 400 group exhibitions in major museums and galleries including the Museum of Modern Art, New York. Visit www.mauriziopellegrin.com to learn more. Brandon Soloff is a classically trained painter and portraitist, whose work has been commissioned throughout the United States and Europe. He studied extensively in Italy, France, and the United States. Soloff has exhibited his work at the Hirschl & Adler Gallery, Alan Stone Gallery, Hammer Galleries, New York; The Royal Society Portrait Painters, London, Galerie Alexandre Butman, Paris, and others. Learn more at www.brandonsoloff.com.

Gautam Kansara, Untitled (Tengucho #1), Single-Channel HD Video, 12:34, 2013, detail

Encaustic is a painting technique in which pigment is mixed with a binder of hot wax and fixed by heat after application. Based on the experience of the individual, we will explore and combine painting and sculpture with encaustic and mixed media materials such as collage, transfers, printing and construction. Encaustic painting can “jumpstart” your imagination and provoke your individual expression. This workshop is for all levels.

Workshops

NEW VISIONS IN PHOTOGRAPHY Ernestine Ruben

COURSES

PHOTOREALISTIC SCULPTURE VISUALIZATION WORKSHOP Erol Gunduz

Monday - Thursday December 9 – 12 9:30 AM – 12:30 PM Assembly Hall Tuition: $225

PROJECT IN VIDEO: Essential Training Hall Powell

Monday – Friday November 4 – 8 10 AM – 2 PM Assembly Hall Tuition: $375 This hands-on workshop will focus on 3D lighting and rendering techniques and their application towards visualizing sculpture projects. The digital tools covered will allow artists to create images of installations within photographs prior to physical installation. The rendered images are beneficial when applying for grants and other artist competitions as they depict sculpture projects realistically before the actual creation of the work. Those who attend the workshop will learn how to plan for a fine art installation using simple smartphone photography, measurement techniques, and lighting and rendering methods within 3D software. A survey of principles regarding digital materials will be discussed which will allow students to experiment with surface properties for their intended sculpture within a virtual setting. The workshop will focus on Maxon Cinema 4D as the primary 3D software package. Students are required to bring in a laptop computer which is no older than 2 years.

This workshop is for all artists at all levels who seek (re) discovery through photography. The human imagination can be stretched and strengthened through a continual motion between risking the unknown and incorporating the given, between failure and progress. And photography is the perfect medium for this because it deals with a given reality and yet today it is so open-ended. In the workshop we will address our humanness and passion in creativity, look at the origin of our ideas, and pinpoint barriers in order to release new energies toward a new project. Appropriate techniques will be developed to express our visions. The workshop will emphasize one-to-one contact.

Wednesdays September 11 – October 30 November 6 – January 15 7 – 10 PM Studio 1 1 Quarter: $250 2 Quarters: $475 Produce a video from concept to completion. Designed for students who want to complete a video project from concept and narrative structure to execution with a video camera and editing on Final Cut Pro X. Students will work together or singly, creating beat sheets for narrative structure, storyboards, and shot lists. Each student should come to class with at least one idea for a video project, described in two paragraphs. A final goal is the production of a polished video with a basic understanding of editing for picture and sound. The course will also analyze examples of successful commercial, art house, TV, and conceptual films and videos.

PROJECTS IN PHOTOGRAPHY Priyanka Dasgupta Mondays September 9 – October 28 November 4 – January 13 7 – 10 PM Studio 4/Stone Room 1 Quarter: $250 2 Quarters: $475 This introductory course in digital photography offers a strong foundation in the basic functions of the camera and

an introduction to the work of acclaimed photographers. Technical demonstrations and hands-on exercises will introduce students to exposure (aperture and shutter speed), the shooting modes in the camera, white balance, focal length and composition, and direct them to begin thinking about how these formal aspects affect the mood of the resulting image. Along with lectures and screenings in class, out of class assignments will enable students to explore different genres for themselves and share their photographs with their peers. By the end of the course, students will have a good understanding in the technical workings of their camera and be on their way to developing an individual style. Students must have their own digital cameras (SLR preferred) and bring these with them to class.

ALTERNATIVE PHOTOGRAPHIC PROCESSES Karen Lindsay Thursdays and Fridays September 12 – October 31 November 7 – January 16 9:30 AM – 12:30 PM Studio 3 1 Quarter: $495 2 Quarters: $941 Create images rather than capture them! Expressive possibilities in historic photographic processes offer a compelling alternative to modern digital prints. Fine-art papers, hand-applied archival emulsions, and the mercurial nature of chemistry and changing light provide surprises and opportunities for the adventurous image maker. Topics will include the history of photography, cyanotypes, van dyke brown, toning, paper selection, photograms, making paper negatives, creating film or digital negatives, and drawing or painting on acetate. During gallery and museum visits, students will

gain exposure to work by 19th-century and contemporary artists. No prior experience is necessary.

ADVANCED PROJECT IN VIDEO Hall Powell Thursdays September 12 – October 31 November 7 – January 16 7 – 10 PM Studio 4/Stone Room 1 Quarter: $250 2 Quarters: $475 This course is for students who have made a short video film or who have completed PROJECT IN VIDEO essential training. Students come to the first class with a 5-10 page script for a video project. Students will work together on one project and/ or singly to develop their script and shoot their video, learning camera operation and audio recording essentials. We’ll focus on the director’s role in analyzing and defining the spine of the story and communicating it effectively to the actors and production crew. After the video is shot, students will explore editing picture and sound in Final Cut Pro X. Ultimately, we will always come back to the one thing that makes or breaks a film/video: effective, well-constructed storytelling.

DIGITAL PHOTOGRAPHY Gautam Kansara Fridays September 13 – November 1 November 8 – January 17 1 – 4 PM Studio 4/Stone Room 1 Quarter: $250 2 Quarters: $475

Make photographs with meaning and learn to use digital photography as a medium for documentation and expression. Through technical demonstrations, slide screenings and lectures, students will learn a variety of approaches to the medium and see how it is being used by international artists. Classes will concentrate on camera use, technology, and software, as well as on learning to assess and critique photographs. The course covers photographic essentials such as framing, focus, light, and the depiction of motion while also introducing Adobe Photoshop as an instrumental tool. Students must have their own cameras and ideally their own Mac laptops; some computers are available for student use.

Faculty: New Media

Priyanka Dasgupta graduated with an MA in Studio Art from New York University. Born in India, she lives in New York City. She is the recipient of an NEA grant, and her installations have been exhibited at the International Center of Photography in New York, the Jersey City Museum, the Galleria di Piazza San Marco in Venice, the British Film Institute in London and the Lalit Kala Akademi in New Delhi, among numerous other venues in the US , Europe and Asia. Please visit www.priyankadasgupta.com to learn more. Erol Gunduz is pursuing a Ph.d. in art education at Columbia University. Gunduz is a sculptor and educator who is interested in narrowing the divide between traditional and digital sculpture studio practices. He has worked on movies such as The Hulk and Iron Man, and he teaches digital sculpting at New York University. Please visit www.erolgunduz3d.com. Gautam Kansara was born in London and received his M.A. from New York University. Kansara’s video and photographic work have been featured internationally in numerous exhibitions, including Collapsing Giant at Joyce Soho in New York City and Don’t Hurry, Don’t Worry at Shrine Empire Gallery in New Delhi. Kansara has been an artist-in-residence at Smack Mellon, the LMCC ’s Swing Space, and the Center for Book Arts, and he teaches at Manhattan College and New York University. Please visit gautamkansara.wordpress.com. Karen Lindsay received her M.A. from the University of California at Berkeley and studied at the International Center of Photography, the School of Visual Arts, as well as abroad in France, Germany, and Japan. Lindsay’s series of documentary 51

art films was broadcast on public television and shown at the New York, Toronto, Chicago, and Berlin Film festivals. She has taught photography and art workshops at the International Center of Photography, among other schools. Hall Powell studied at Hampshire College and the University of Tubingen, Germany. Powell has worked as a photographer, painter, screenwriter, producer, and director in television and film, ranging from the feature New York, I Love You to Law & Order. In addition to long form film and video, Powell has written and directed short fiction and documentary films. Visit www. hallpowellnyc.com for more information. Ernestine Ruben is a graduate of the University of Michigan. She is internationally known through extensive exhibits, books, and workshops. Several galleries represent her and her work is included in many major museums and private collections. She uses photography in combination with other art forms such as painting, dance, and music. Her philosophy centers on the importance of human identities in changing time and space. She experiments with varied processes and techniques. As a teacher she encourages each student to take risks in order to find his/her individual artistic voice.

sculpture

WORKSHOPS

COURSES

PORTRAIT AND FIGURE IN CLAY Barney Hodes

REMIXING THE ORDINARY Borinquen Gallo

Monday and Wednesday October 21 – 30 4 – 7 PM Studio 6 Tuition: $ 180 This workshop will provide an introduction to the basics of figure and portrait sculpture with an emphasis on gesture and anatomical information. In addition, students will learn the basic planar structure of the skull as a counterpoint to, and foundation for, the study of physiognomy—the particulars of individual character that make up what is called “a face.” The instructor will be present each session and a model will pose for the entire length of the class. This workshop is ideal for students who desire to enter the fabulous world of clay modeling.

Monday – Wednesday September 9 – October 30 November 4 – January 14 9 AM – 12 PM Studio 6 1 Quarter: $690 2 Quarters: $1,311 Focusing on the transformative qualities of unconventional sculpture materials, students learn to use inexpensive, even disposable materials to transform the familiar into the extraordinary. Students will be introduced to the work of contemporary artists and will be guided to focus on process while experimenting across media and formats. Emphasizing “play,” students will engage with discarded materials including cardboard, styrofoam, textiles and a range of industrial remnants to build a body of work, expanding their visual vocabulary while honing their conceptual capacities. Students will learn new methods and experiment with new media technology to develop a coherent, gallery-ready body of work. The instructor will be present on Mondays and Tuesdays.

Photo: David Plakke Media

PROCESS IN SCULPTURE Ingo Appel

Tuesdays September 10 – October 29 November 5 – January 14 4 – 7 PM Studio 6 1 Quarter: $250 2 Quarters: $475

Sculptural forms can be created using an astonishing array of methods. In this course, students will learn a variety of these methods and how they apply to the human form. Students will consider and explore the infinite means to create new pieces of sculptural iconography. Diverse mediums, technologies, and large sizes are encouraged.

Why be conventional? Visualize and produce sculpture of different scales using a mix of unconventional and unusual materials for both creating and bounding. The course focuses on design principles, repetition, contrast, rhythm, balance, and movement. Instructor is present on Thursdays.

FOUNDATION AND FUNDAMENTALS IN SCULPTURE Ingo Appel

SCULPTURE: REALISM TO ABSTRACTION Rhoda Sherbell, NA

Learn the fundamentals for creating a sculptural work, and in so doing, gain extensive knowledge and familiarity with the technical aspects and methodology of creating. All mediums and processes will be considered and wide-ranging experimentation encouraged. Sculptural work in wood, clay, aluminum, bronze, latex, foam, and plaster, along with light, sound, and 3D applications will be addressed. Large-scale work is encouraged.

Thursdays September 12 – October 31 November 7 – January 16 6 – 9 PM Studio 6 1 Quarter: $250 2 Quarters: $475 This class focuses on achieving the artist’s intent. Students learn to incorporate new innovations with formal elements in anatomy, composition, form, space, values, and technical skills. Individual instruction will be given along with class discussions and critiques. Students are encouraged to develop a critical eye and an objective approach to distinguish the necessary from the unnecessary, moving toward the completion of a cohesive sculpture. Students work from their imagination and a model, creating images with a unique personal voice.

UNCONVENTIONAL MATERIALS: SCULPTURE Nadia Martinez

TERRACOTTA SCULPTURE Weiqing Yuan

Thursdays and Fridays September 12 – November 1 November 7 – January 17 1 – 4 PM Studio 6 1 Quarter: $300 2 Quarters: $570

Saturdays September 14 – November 2 November 9 – January 18 10 AM – 3 PM Studio 6 1 Quarter: $350 2 Quarters: $665

Ingo Appel, Overunder, plaster, iron patina, 14 x 8 x 8 inches, 2011

Thursdays and Fridays September 12 – November 1 November 7 – January 17 9 AM – 12 PM Studio 6 1 Quarter: $445 2 Quarters: $845

Learn the basic traditional technique of terracotta sculpture, including clay-work skills, modeling, and handling the process of the clay from wet to dry then baked in a kiln. Through demonstration and individual instruction, students learn to make a complete sculpture in terracotta. For students of all levels, from beginner to advanced. Sculpture in a variety of styles will be encouraged.

Faculty: SCULPTURE

Ingo Appel was born in Hamburg, Germany and received his B.A. from SUN Y New Paltz. Appelâ&#x20AC;&#x2122;s work has been shown at Brookgreen Gardens, SC and recognized by the National Sculpture Society. Appel also teaches at Visual Arts Center of New Jersey.

Photo: David Plakke Media

Borinquen Gallo was born in Rome, Italy and received her B.F.A. from Cooper Union and M.F.A. from Hunter College. She is pursuing doctoral studies at Teachers College Columbia University. Gallo teaches at the Pratt Institute and is the Director of the Pratt Saturday Art School. Her recent awards include The Cooper Union Artist in residency and Exhibition, The Marion Netter Fellowship, and the Doris Liebowitz Art Educator Award. Please visit www. borinquengallo.com.

Barney Hodes is a founder of the New York academy of Art with painter Francis Cunningham. Hodes has exhibited widely in group shows including at the Denise Bibro gallery, the Art Students League, First Street Gallery, and the Rye Arts Center in New York. He was chairman of the sculpture department at the Brooklyn Museum Art School and has taught at several universities. Find out more at www.barneyhodes.com. 57

Nadia Martinez was born in Honduras and studied in the Diploma Program at the National Academy School. Martinez is a multimedia artist working in 2D and 3D. Learn about her work at www. nadiamartinez.com. Rhoda Sherbell, NA has taught sculpture at the Museum of Modern Art, the Art Students League, Hofstra University and at the National Academy School. She is a renowned portrait artist in sculpture, with commissions from the Baseball Hall of Fame in Cooperstown, NY as well as private commissions from Yogi Berra, Casey Stengel, Aaron Copland, among a host of other celebrities. She has exhibited widely both in solo and group exhibitions, and her work is found in the collections of the Museum of Modern Art, the Brooklyn Museum, the National Museum of American Art, the National Portrait Gallery, The National Art Museum of Sport, and the William Benton Museum of Art, Storrs, CT, among many others. Weiqing Yuan was born in China, received a B.F.A. from Jingdezhen Academy of Arts, Jiangxi, China, and studied at the Central Academy of Fine Arts in Beijing, China. Yuan was vice-chair of the sculpture department and professor of drawing, sculpture and ceramic art at the Shandong Art Institute. Yuan has exhibited his works in China and the United States, where he has received numerous awards. Please visit www.weiqingyuanart.com.

young artists

MIXED MEDIA 6–9 YEARS Martha Bloom Tuesdays September 10 – October 31 November 5 – January 14 4:15 – 6:15 PM Thursdays September 12 – October 31 November 7 – January 16 4:15 – 6:15 PM

This course is designed to increase observational drawing skills and to teach various shading and painting techniques. Lessons include working from a costumed model, landscape, perspective and still life. The instructor provides classroom demonstrations and related examples from art history.

Studio 4/Stone Room Tuition per class 1 Quarter: $250 2 Quarters: $475

STUDIO ART FOR HIGH SCHOOL STUDENTS Lotus Do

Creative habits that are developed early have lasting significance. In this class, children are encouraged to follow their naturally imaginative, unique artistic voice, heart, and mind. They are introduced to classical and innovative techniques and ideas in a supportive and creative environment.

PAINTING & DRAWING 9–13 YEARS Hannah Frassinelli

Photo: David Plakke Media

Wednesdays September 11 – October 30 November 6 – January 15 4:15 – 6:15 PM Studio 5

Studio 4/Stone Room Tuition per class 1 Quarter: $250 2 Quarters: $475

Saturdays September 14 – November 2 November 9 – January 18 10 AM – 12 PM 1 – 3 PM

Thursdays September 12 – October 31 November 7 – January 16 4:15 – 6:30 PM Studio 5 1 Quarter: $250 2 Quarters: $475 At once serious and inspiring, this studio art class enables high school students to study drawing and painting in a traditional “Academy” format. Students will develop compositional and observational skills through working from a clothed figure, as well as realistic still life and landscape. This course references art history and local exhibits and utilizes the Academy Museum collection and archive as a resource. Students can develop portfolio and AP pieces, receiving individual attention and advice. Help is also available in navigating the art supplement for college applications. Students can receive a portfolio review within the first weeks of class.

FACULTY: YOUNG ARTISTS

Martha Bloom studied at Green Mountain College, the Art Institute of Boston, Bob Blackburn Printmaking Workshop, Stanley Hayter Printmaking Paris, and The Art Students League. Bloomâ&#x20AC;&#x2122;s work is in the collection of the Metropolitan Museum of Art, the Library of Congress, and other prominent museums.

Martha Bloom, Lost at See, hand painted transfer collage, 24 x 36 inches, 2012

Lotus Do holds a B.F.A. and M.S.A.E. in Museum Studies. Do is an art faculty member at Dalton School and has taught while exhibiting her own watercolors and drawings around the world. She creates art curricula for the Rubin Museum and the Institute of Contemporary Art. She curates and exhibits in the Guangzhou Fine Arts Academy, the Walters Art Museum, and others.

Hannah Frassinelli holds a B.A. from Sarah Lawrence College, an M.F.A. from Columbia University, and a teacher certification from the School of Visual Arts. Frassinelli taught at the 92nd Street Y, the Dahesh Museum, and the Garrison Art Center and River Arts summer camp. Awards include the Edward G. McDowell Travel Grant, the Karen Hagerty Award, and the Albert H. Baldwin Prize. Her work is included in private national and international collections.

About the National Academy

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The National Academy is a lively community of artists, students, museum-goers, and supporters of the arts. It is a unique institution for those curious to learn more, those passionate about the creative process, and those dedicated to the arts in America. The National Academy Museum, School, and association of artists and architects—National Academicians—are united in the common goal of bringing art to all.

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Academy Museum The Academy Museum celebrates the visual journey of the arts in America. Marked by discovery, experimentation and innovation, the Museum’s permanent collection offers profound insights into the story of American art. Through special exhibits, ARTalks and events, the Museum shares the living, growing legacy of the prominent artists and architects in the National Academy. National Academicians Each year since 1825, a select group of the nation’s most celebrated professional artists and architects are elected to become members of the Academy. Past and present Academicians range from Andrew Wyeth and Frank Lloyd Wright to Cindy Sherman and Frank Gehry. Owing to the vision of the Academicians who present their work upon induction into the Academy, our unique permanent collection now includes over 7,000 works. Academy School The first session of the Academy School commenced on November 15, 1826, with two Academicians and twenty students sketching by candlelight. A proudly progressive institution, the Academy School was the first of its kind to accept women students and offer women’s life-drawing classes. The school rapidly grew in stature and reputation, attracting students such as Winslow Homer, George Inness, Arshile Gorky, and Willem de Kooning. Today the Academy School continues to offer studio-based study in an intimate, creative environment under the mentorship of working faculty artists, who support the artistic journey of each student.

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ACADEMY FRIENDS Become an Academy Friends Member at the Associate Level with a fully tax-deductible gift of $300 and enjoy a 10% discount on classes in the School, reciprocal benefits at other museums, complimentary admission, invitations to special events, and more. For information, contact Arielle Kohan at 212.369.4880 x 228 or akohan@nationalacademy.org. The National Academy Museum & School is grateful to the following for their generous support of our operations: The Bodman Foundation, The Bonnie Cashin Fund, in honor of Henry W. Grady, the Alex J. Ettl Foundation, the F. Donald Kenney Exhibition Fund, The Estate of Geoffrey Wagner in memory of Colleen Browning, NA, The Reed Foundation, Inc. and public funds from the New York City Department of Cultural Affairs in partnership with the City Council. National Academy School 5 East 89th Street New York, NY 10128 Tel: 212 996 1908, www.nationalacademy.org

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Credit Card Verification Code: You may mail this form to 5 East 89th Street, New York, NY 10128 or fax this form to 212 426 1711. Students may also register in-person using a check, money order, debit card, or credit card. Registrations are processed in the order they are received. Mailed registrations will be processed beginning on the second day of the applicable registration period unless otherwise noted. Faxed registrations received before 9:00 AM of the first applicable registration date will be processed on the second day of that registration period. Questions? Call 212 996 1908. You may also register ONLINE at www.nationalacademy.org. Non-discrimination Policy: National Academy School is committed to a policy of equal opportunity in its educational activities, admissions, scholarships and employment. It does not discriminate on the basis of race, color, national origin, religion, sex, sexual orientation, age, physical handicap, or marital status.

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Hall Powell, The Crossing, still from video, 2013