School Catalogue Quarter 2

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painting / drawing / sculpture / printmaking / new mediatHeOrY / YOung artists

fall 2012 classes

ABOUT THE SCHOOL

the national academy museum and school is located on new York city’s upper east side along museum mile across from central park.

classes are taught in seven sprawling sky-lit studios where students work in painting, drawing, sculpture, new media, printmaking, mixed media, and on interdisciplinary projects. the broad curriculum is enriched by demonstrations, lectures, and specialized workshops. courses are maintained with a limited number of participants, enabling students at varying skill levels and with different goals to benefit from individualized instruction. this focused attention ensures an intimate and creative learning environment. private studio space is available for special projects and portfolio preparation.

the academy museum is an integral part of the learning experience— drawing upon inspiring exhibitions, behind-the-scenes tours, art talks, lectures, and panel discussions. a lecture series at the core of the curriculum also includes theory classes and a guided exploration of new York city’s vibrant arts community of museums, galleries, and artists’ studios.

the academy school’s three newly renovated galleries enhance the learning experience with frequent, well-promoted exhibitions. students enrolled in the studio art intensive have a solo exhibition accompanied by a catalogue. synced with the exhibition schedule of the academy museum, all school exhibitions are open to the public and accessible from the museum.

the school is a global community with students from across the country and abroad, offering a kaleidoscope of culturally diverse contexts, perceptions and creativity. preparation of portfolios for professional or educational review, along with our proven track record, makes this a valued opportunity.

scholarship and work-study opportunities are also available.

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CONTENTS natiOnal academY scHOOlacademic Year 2012–2013Quarters 1 & 2

ABOUT THE SCHOOL

WELCOmE

DIRECTOR

ACADEmIC CALENDAR AND REGISTRATION

FACULTY AND ADmINISTRATION

STUDIO ART INTENSIVE

WORKSHOPS

THEORY

DRAWING

PAINTING

WATERCOLOR

PRINTmAKING AND mIXED mEDIA

NEW mEDIA

SCULPTURE

YOUNG ARTISTS

ABOUT THE NATONAL ACADEmY

REGISTRATION FORm

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4

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16

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WELCOmE

The Academy School offers a rich variety of courses featuring small classes, a dedicated faculty, and an intimate and creative learning environment.

In spacious, sky-lit studios, you will explore painting, drawing, watercolor, sculpture, printmaking and mixed media, as well as new media disciplines. Classes are complimented by workshops, lectures by leading artists, vibrant panel discussions, and visits to muse-ums and galleries, enriching your experience at the Academy School.

The Studio Art Intensive offers a two-year immersion in fine arts studies designed to help students prepare for a career in the arts.

Newly renovated galleries present well-designed, thematic exhibitions that are integral to the School’s teaching and learning experience.

We look forward to the privilege of nurturing and developing your creativity.

Maurizio PellegrinDirector, National Academy School

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mAURIzIO PELLEGRINDIreCTor, NATIoNAl ACADeMy SChool

An artist of international reputation, Maurizio Pellegrin is also a revered arts educator who holds a Master’s Degree in Art history, 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 MFA in Studio Art.

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.

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.

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REGISTRATIONacademic Year 2012–2013

morning and afternoon courses meet five days a week, three hours a day, unless other-wise noted. Faculty provide instruction and evaluation either one, two, or three days per week depending on the course. students are expected to work independently the remaining days, with the presence of a student monitor.

more information about the school programs, policies and instructors is available online at nationalacademy.org.

registration begins monday, august 6 for Quarters 1 & 2 and wednesday, december 12 for Quarters 3 & 4.

go to: www.nationalacademy.org/art-school/ registration/

Forms are also available in the back of this catalog, in the school office (5 east 89th street), or downloadable online.

register by phone, fax, or in person using a check, money order, or credit card.

phone: 212.996.1908Fax: 212.426.1711

Office Hours: monday -thursday, 9:00 am - 8:00 pm, Friday and saturday, 9:00 am - 4:00 pm

new students pay a nonrefundable, one-time registration fee of $50.

REFUND POLICY• Students registering after the first day of

a course pay the full tuition. classes are not pro-rated.

• To receive a full refund, the school of fice must be notified twelve days prior to the first day of classes.

• Refunds are made in the same form as payment 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 without medical documentation.

• There is a $15 administrative fee for each refund.

• Returned checks will incur a $30 fee. registrations are nontransferable to a second party.

TRANSFER POLICY• All transfers must occur before the sec-

ond class.• Transfers from one course 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.

classes may be cancelled if registration requirements are not met.

HOLIDAYSthanksgiving recess: november 19 – 24, 2012 winter recess: december 24, 2012 – January 5, 2013 spring recess: march 18 – 23, 2013

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ADmINISTRATION

MAUrIZIo PelleGrINDirector, National Academy School

lyDIA WINTerSSchool Administrator

JoNAThAN PArrISAdministrative Assistant to Finance

SerGIo SANDoVAlAdministrative Assistant, International Student Advisor

KAreN WIllIAMSAdministrative Assistant

FACULTY

Sam AdoqueiJonathan AllmaierIngo AppelVincent Baldassanohugo Bastidas, NAMartha BloomKathleen CaraccioGabriela DellossoDavid Deweylisa Dinhoferlotus Do Tom Ferrarahenry Finkelstein, NAFilippo Fossatihannah FrassinelliBorinquen GalloDan GhenoJohn GoodrichBarney hodesSean JusticeMichael leighMichele liCalsiKaren lindsayeric MarchMathew MarelloNadia MartinezTakahiro MarunoMary Beth McKenzie, NAeric MichelsonNicki orbachMaurizio Pellegrinhall Powellrhoda Sherbell, NABrandon SoloffSharon SprungDoris StaalKamilla TalbotJames ToogoodJosh WillisWeiqing yuan

NATIONAL ACADEmY ADmINISTRATION AND FACULTY

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Working closely with an advisor, students will select an area of concentration from painting, sculpture, printmaking, or new media.

a personalized curriculum is developed and may include art theory, critical think-ing, and philosophy, in addition to studio based study.

Designed to enhance creativity and inspire artistic achievement, this dynamic, two-year program is ideal for students who aspire to have a career in the arts. Improving technique, clarifying vision and artistic direction, and defining areas of concentration, students will develop a professional portfolio, be mentored by working artists, and experience the vibrant arts scene in New York City. The Studio art Intensive culminates with a solo exhibition and catalogue.

EnvironmentThe National Academy School is located in New york City’s Upper east Side, across from Central Park on Museum Mile. The Academy Museum is an integral part of the learning experience and allows students free access to inspiring exhibitions, behind the scenes tours with curators, art talks, lectures, and panel discussions. The city’s thriving arts community is a backdrop for students’ artistic journey, with frequent museum and gallery visits, and special invitations to meet artists in their studios. Small classes and individual attention ensure an intimate and creative learning environment.

Private studio space is available for special projects.

ApplicationThere is a rolling application system with classes beginning in the fall or winter semester. A personal interview, artist statement, representational portfolio and completed application are required.

Tuition$13,000 per yearScholarships and payment plans available

STUDIO ART INTENSIVE

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WORKSHOPS

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ESSENTIAL SCREENPLAY STRUCTURE hAll PoWell

Monday - WednesdayDecember 3 – 126:30 - 9:30 PM

Stone room$200

What’s in a hit movie? how do you write one that sells? learn how successful film screenplays are structured. Most well-known successful movies share the same structural foundation. Students will examine great structure in a range of screenplays from commercial hollywood movies to indie and art house films—and discover an unexpected similarity at the foundation. Students will begin with their own premise and learn how to write a “beat sheet,” following the structural example common to the classic films we’ll examine. By the end of the workshop, students will have created a two page structure that can be the foundation for writing a feature-length film.

COPYING FROm THE mASTERS AT THE NATIONAL ACADEmYerIC MArCh

Tuesdays September 10 – November 312:30 PM – 3:30 PM

$350

Copying from the Masters offers students the opportunity to study and ultimately rep-licate original works of art in the collection of the National Academy Museum, which includes paintings by Sargent, eakins, Durand, Inness, Chase and others. The course will include discussions and demon-strations of oil painting techniques as well as provide an art historical context for the pieces the students choose to copy. Indi-vidual instruction and private access to the galleries when the Museum is closed to the public.

hall Powell, Crosseye, video, 5:47 min, 2010

eric March, Copy after Duveneck’s Portrait of an Italian Woman, oil on linen, 2011

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Monday – Friday October 15 – October 19 9:00 aM - 12:00 PM

Central Park and Stone room$150

Artists utilize small-scale studies created outdoors to compose large paintings in the studio. learn about micro-macro process, including what to record, quickly capturing a scene with a plein air oil sketch, photog-raphy, and transferring small sketches to a large canvas. Instructor will give painting and drawing demonstrations.

STUDY TO STUDIO: CREATING A LARGE LANDSCAPE FROm SmALL STUDIESerIC MArCh

LOOKING AT PAINTINGS IN THE mETROPOLITAN mUSEUm OF ARTMIChele lICAlSI

SaturdaysSeptember 15, 22, 29, and October 139:30 aM – 12:30 PM

Metropolitan Museum of art$125

Using the extensive collection at the Metropolitan Museum of Art, students engage in guided discussion about color, composition, painting techniques, sup-ports, pigments, and varnishes. The course covers key periods in art history and takes advantage of the range and depth of the paintings on view at the Met. on the final day of class, students will discuss one painting that is particularly meaningful or moving to them.

Metropolitan Museum of Art,

Courtesy Michelle liCalsi

eric March, Central Park Boathouse, oil on linen, 2011Studies: pencil, watercolor, and oil on panel, 2010

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INTENSIVE WATERCOLOR WORKSHOP JAMeS TooGooD

Saturday and Sunday October 13 and 149:00 aM – 4:00 PM

Stone room$140

Designed for those wishing to acquire new skills or enhance existing expertise in specific areas of focus including: design, composition, and the materials and techniques for painting watercolors. each day begins with a demonstration and students will work from a still-life model or their own landscape source materials, discovering their own approach to watercolor. Participants are encouraged to bring examples of their work for critique. The workshop is open to all levels. The instructor is present throughout the workshop.

ANALOG ANImATION WORKSHOP MATTheW MArello

WednesdaysOctober 10, 17 and 247:00 PM – 10:00 PM

Stone room$100

This course discusses the history and psychology of animation, including the phenomena of the “persistence of vision.” Students will learn to calculate screen-time and frame-rate issues, construct a sequen-tial timeline, and create visually effective transitions. In-class projects include the construction of a flip-book, a group locomo-tion project, and, finally, a group claymation project.

Matthew Marello, Three Stooges (Rome), 6-channel video installation, 2008

James Toogood, Rio de le Becarie, watercolor, 2010

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Monday – Friday November 5 –16 1:00 PM – 4:00 PM

Studio 4 $500

This master class explores critical methods of the watercolor, including paper, color, structure, skill, and interpretation. The course commences with an intensive lecture addressing structure, color, method, and interpretation as seen through selected master watercolor painters and continues with a demonstration and another illuminating lecture. Working primarily from figure with some still life, this class aims to enhance your passion and expertise for the practice of watercolor.

WATERCOLOR DAVID DeWey

APPROACHES TO COmPOSITIONToM FerrArA

Monday – Thursday November 26 – December 69:00 aM – 12:00 PM

Stone room$390

Illuminating a variety of approaches for developing composition in painting, this course explores both traditional and modern methods with an emphasis on spontaneous, intuitive responses. The goal of this course is to transcend the concept of pre-visualization and discover a fluid, evolutionary, organic way of working.

David Dewey, Boat and Mooring, gouache, collage, colored pencil, 2010

Tom Ferrara, Guide, acrylic on linen, 2011

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THEORY

One visit each month September – January10:00 aM – 12:30 PM

Tuition $150

Taking advantage of the rare opportu-nity to experience artists at work in their studio, this course provides students a rare insider’s look at the rich variety of artistic practices thriving throughout the city. Students will have the opportunity to experi-ence an artist at work during the entire pro-cess of creating a new piece. Classes will be taught inside the artist’s studios, exposing students to different approaches to various materials, and expanding their understand-ing of how artists conceive, mold, express, and create.

STUDIO VISITSFIlIPPo FoSSATI

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Filippo Fossati, Richard Nonas at His Studio, digital print, 2011

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Thursdays November 8 – January 179:30 aM – 12:30 PM

1 Quarter: $250

ThursdaysNovember 8 – January 174:15 PM – 6:15 PM

assembly Hall1 Quarter: $250

In this three-part course: 1) Students will be encouraged to develop the ability of viewing and critiquing art, reawakening their capacity to understand artwork of different cultures, periods, and styles. 2) Students will learn how to create a portfolio from the point of view of a dealer, including materials, cover letters, content statements, and CDs. 3) Students will explore art through visits to museums, galleries and field trips, immersing students in the city’s abundance of cultural possibilities. lectures on the history of art, video, and photography will further enhance the students’ experience.

This course will focus on using technology as a 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.

ART AND THE CITY: THEORY AND PRACTICE IN ARTFIlIPPo FoSSATI

ONLINE TOOLS AND RESOURCES FOR ARTISTS NADIA MArTINeZ

Nadia Martinez, Marcha, mixed media, 2010

New york City, Courtesy Filippo Fossati

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DRAWING

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Monday – FridayNovember 5 – January 189:00 aM – 12:00 PM

Studio 41 Quarter: $1,069

MondaysNovember 5 – January 144:00 PM – 7:00 PM

Studio 21 Quarter: $250

Drawing has been the foundation of art for centuries, and the diverse and varied approaches of the practice still inspire aspiring artists today. This course will strengthen the fundamentals of drawing by studying the basic gestures, forms and structures of the human figure, and broaden understanding of aesthetic, technical, and historical aspects of art. Students will study original drawings from the National Academy Museum’s collection. All levels of students are welcome. The instructor is present Mondays and Wednesdays.

Students will be given the necessary tools to draw the human figure and place it in a composition. They 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 3-dimensionality. All levels are welcome.

FOUNDATION COURSE IN DRAWINGBrANDoN SoloFF

FIGURE DRAWING WITH ELEmENTS OF COmPOSITION GABrIelA DelloSSo

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Gabriela Dellosso, Figure Study,

charcoal, 2010

Brandon Soloff, David,

oil on canvas, 2011

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Modernism is a point of view and a way of seeing the history of art. This class focuses on visual structure over depiction and personal discovery over making a product, and is built around the idea that certain fundamental truths about art never die; they just evolve. In this course students will work from the figure and beyond as skills are developed through visual understanding.

Focusing on creating life-size drawings from a model, students will explore their individual styles. Topics of instructional lectures include line quality, shading, movement, anatomy, creating interesting detail and composition. Students may use black-and-white or color pastels on toned or white paper. All levels are welcome.

mODERNISm THROUGH DRAWING heNry FINKelSTeIN, NA

LARGE-SCALE WORKS ON PAPERGABrIelA DelloSSo

henry Finkelstein, Reclining Nude, charcoal on paper, 2008

Gabriela Dellosso, Clowns, mixed media, 2003

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TuesdaysNovember 6 – January 154:00 PM – 7:00 PM


lectures and drawing exercises are designed to explore creativity, intuition, and ways to use visual perception to gain a deeper awareness of artistic direction. During this process students explore different ways of examining a subject. A model will be present for all classes.

In this course, students will work with a live model as a focus for artistic development and technical mastery of the drawing. Topics will include structure, light and shadow, gesture, basic anatomy and expression. Studio drawing will be complemented by visits to the Metropolitan Museum of Art and the National Academy Museum to glean inspiration from art history. The instructor will teach through demonstrations and individual advising. This course is open to all levels.

DRAWING AND CREATIVITY NICKI orBACh

FIGURE DRAWINGerIC MArCh

Nicki orbach, Enso, Tsuki, pastel and graphite on paper, 2011

eric March, Reclining Nude, pencil,

2011

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WednesdaysNovember 7 – January 167:00 PM – 10:00 PM




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. The emphasis will be on observation from nature and each class is designed to pose a different challenge: from color mixing and color relationship to reflection, tonal development, texture, design, and composition. Students will be instructed according to their personal needs and skill level. Course includes lectures, group critiques, and individual demonstrations. Individual projects are encouraged.

Creating a believable sense of depth and atmosphere in a drawing can be a major challenge for an artist. learn several techniques that artists can use to create a visual journey through space—including atmospheric perspective, overlapping, linear perspective and focus, as well as other methods. Students will hone these techniques by drawing from still life objects, casts, and the interior of the studio itself. Also discussed will be examples of spatial composition from the great masters and how students can apply these ideas to their own work. Instruction will be given with short demonstrations and individual critiques. Instructor will be present every day.

BEGINNING DRAWINGMIChele lICAlSI

DRAWING WITH COLORlISA DINhoFer

lisa Dinhofer, Chasing Shooters, oil on canvas, 2005

Michele liCalsi, Portrait of Landis and James, oil on canvas, 2011

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Thursdays and FridaysNovember 8 – January 18I:00 PM – 4:00 PM


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 a variety of long and short poses. Students are encouraged to develop their own per-sonal 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.

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. New topics are introduced in a lecture each week and are explored in drawing from the skeleton, casts, and the live model. The first quarter covers the fundamental “core forms” of the body: pelvis, torso, and skull and the muscles that unite them. Second quarter covers the head and shoulders, with a focus on the features of the face. Individual instruction is provided. open to all levels.

FIGURE DRAWINGDAN GheNo

ANATOmY FOR ARTISTSerIC MArCh

Dan Gheno, Gaia Embattled, oil, 2011

eric March, Anatomy Lesson, charcoal and pastel, 2011

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SaturdaysNovember 10 – January 199:00 aM – 12:00 PM


SaturdaysNovember 10 – January 19I: 00 PM – 4:00 PM


Drawing from a live model is the springboard to painting and sculpture. Students gain knowledge, experience, and a base of confidence to develop their own unique interests and perceptions. The course examines, illuminates, and explores these ideas in a formal study of structure, gesture, and likeness.

Students explore the various perceptual elements needed to organize a work of art, especially the multi-dimensional aspects of anatomy. exercises and lectures help students develop a deeper understanding of visual imagery. Individual instruction is emphasized.

FIGURE DRAWINGlISA DINhoFer

DRAWING THE FIGURE NICKI orBACh

lisa Dinhofer, Bat, color pencil, 2009

Nicki orbach, Inferno, charcoal on paper, 2010

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Monday – ThursdayNovember 5 – January 179:00 aM – 12:00 PM




The painted surface holds many possibilities for exploration and experimentation. This course will ask students to think about the medium of painting in a radically new way. Students will learn general technical procedures and then experiment with a range of creative, non-traditional approaches to painting.

Focused on contemporary realism, figure painting in oil from the model, still life, and landscape, this course emphasizes drawing and a basic understanding of anatomy, movement, psychological force, light and shape, rich paint, color, and the use of correct value relationships to create an expressive work that has strength and presence. lectures and demonstrations stress the fundamentals of painting, illustrated by works of significant artists, both historic and contemporary.

EXPERImENTAL PAINTINGhUGo BASTIDAS, NA

PAINTINGShAroN SPrUNG

Sharon Sprung, Tangent, oil on panel, 2012hugo Bastidas, Barcelona Bridge, oil on linen, 40 x 60 in, 2010

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Monday – FridayNovember 5 – January 181:00 PM – 4:00 PM


Monday – ThursdayNovember 5 – January 171:00 PM – 7:00 PM


Working in oil or pastel from a live model, students gain knowledge of color, structure, value, and composition. Figurative painting will be approached in a broad, abstract way while students are encouraged to address the entire canvas, developing each painting as a whole. Students are taught to think in terms of color, form, and relationship, and to rely less on drawing, particularly in the early stages. Individual attention is given to students at all levels, from beginner to advanced.

This course emphasizes the art of painting and drawing the figure, still life, portrait, color and composition. Beginning students work on the basics of figure drawing and the fundamentals of oil painting while more advanced students will work on figure painting, portraiture, color composition, and design. Students are taught a direct approach beginning with broad strokes, blocking masses of form, value, and tones. Working intensively, students learn to resolve problems while gaining control of the medium and skillful command of the materials.

FIGURE PAINTINGMAry BeTh MCKeNZIe, NA

COmPLETE ACADEmIC ATELIERSAM ADoqUeI

Sam Adoquei, Portrait of My Friend Ed Liebston, oil on canvas, 1996

Mary Beth McKenzie, Green Wicker Chair, oil on canvas

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Monday November 5 – January 157:00 PM – 10:00 PM


emphasizing basic painting skills to include handling the materials of oil paint, preparing surfaces (including how to stretch a canvas), and how to clean brushes correctly. Simultaneously, basic approaches to the painting language, of using color as a kind of drawing, and historical examples will be presented. This is a structured sixteen-week class that focuses on technical and foundational knowledge of painting.

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, de-emphasizing distracting details to construct a compelling image. The instructor works with students at all levels on an individual basis.

BEGINNING PAINTINGheNry FINKelSTeIN, NA



FIGURE PAINTING erIC MIChelSoN

eric Michelson, Self Portrait, oil, 2007 henry Finkelstein, Walled Garden III, oil on canvas, 2011

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Tuesday and Wednesday November 6 – January 154:00 PM – 7:00 PM


While working from a live 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. These key concepts will help improve techniques in pastel and oil painting, and will cover important principles of picture making. The instructor will be present on Wednesday of each week.

PAINTING IN PASTEL AND OILSGABrIelA DelloSSo

Gabriela Dellosso, Mending, oil on canvas, 2008

Jonathan Allmaier, World 5-3 (Many-Colored World), oil on canvas, 2012



Ideal for those with a strong interest in the form of painting, this class emphasizes individual instruction and is an opportu-nity for students to identify and develop a rewarding studio practice that is grounded in the physical realities of painting. Students explore a variety of approaches to materials to develop a representational or nonrepre-sentational painting practice. The course will cover specificity, timing and scale, color, the imagination, space and weight, and schematic abstraction.

INDIVIDUAL PAINTING JoNAThAN AllMAIer

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WednesdaysNovember 7– January 167:00 PM – 10:00 PM


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.

PAINTING THE mODEL IN COSTUmEGABrIelA DelloSSo



While a model is present, students will explore composition, visual space, perception and color relationships in figure painting. oil is preferred, but other materials are also acceptable. Students are encouraged to explore other types of subject matter such as abstract or still life. Individual instruction is provided.

FIGURE PAINTING NICKI orBACh

Gabriela Dellosso, Bride, oil on linen, n.d

Nicki orbach, Dante’s Inferno, oil on linen, 2010

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Portrait painting has a rich history, representing humanity through many different approaches, techniques and sensibilities. This intensive weekly course is designed for students of all experience levels who wish to strengthen their ability to paint a portrait from life. Students will paint using either a direct alla-prima approach or a layered underpainting approach, as preferred. The course is enhanced by demonstrations and lectures, challenging students to deepen their understanding of composition, proportion, value, color, edges and personality characterization. Individualized instruction will be given.

PORTRAIT PAINTINGBrANDoN SoloFF



Interpreting the essence of an individual is one of the most rewarding aspects of portrait painting. In this course, students learn the technical and interpretative tools to achieve artistic success in portraiture. Technical topics include posing the model, selecting 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 develop a strong technical and creative foundation, and a clear understanding of where they fit within the history of portrait painting.

THE ART OF THE PORTRAITMIChele lICAlSI

Brandon Soloff, Didier, oil on canvas, 2010

Michele liCalsi, Portrait of Scotty, oil on canvas, 1998

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SaturdaysNovember 10 – January 191:00 PM – 4:00 PM

Studio 2Tuition per class 1 Quarter: $250

Using the figure and surrounding environment, students investigate both the potential and challenges of light and shade, color theory, composition, anatomy, and perspective. They may work from their own source material in any medium, including drawing. Working individually with each student, the instructor respects and encourages personal style and aesthetic sensibility. While this course is designed for all levels, including beginners, it is not recommended for individuals who have never painted before or have not drawn from the figure.

PAINTINGDAN GheNo



exploring many aspects of painting, whether from the figure or abstraction, this course uses creativity as a forum for exploring visual perception as it relates to art, composition, and a broad spectrum of aesthetic issues. oil paint is preferred but students are encouraged to work with any media they are comfortable with. Individual instruction is emphasized.

CREATIVE PAINTING NICKI orBACh

Dan Gheno, Fire in the Gulf, oil, 2011 Nicki orbach, Dependent Arising, acrylic, pastel, graphite and charcoal on paper, 2011

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Monday – WednesdayNovember 5 – January 161:00 PM – 4:00 PM

Studio 51 Quarter: $ 660

Students gain an understanding of traditional watercolor techniques: wet-into-wet, layering of transparent washes, and experimentation 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 Tuesday and Thursday.

Students work from a model, still life, and the bucolic landscape of Central Park. As each explores their personal voice and technique, the final image will be discussed, both individually and in group critiques.

WATERCOLORWeIqING yUAN

PERCEPTUAL WATERCOLORKAMIllA TAlBoT

Weiqing yuan, Light and Wind, watercolor, 2008

Kamilla Talbot, The Islander and Shadows, watercolor on paper, 2008

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SaturdaysNovember 10 – January 191:00 PM – 4:00 PM


Students 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. Working outdoors and from models and still life in the studio, the class investigates structures of color and strives for an overall sense of space and weight, paying special attention to the rhythms of details against masses.

WATERCOLOR IN THE PARK AND STUDIOJohN GooDrICh



Students explore 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.

WATERCOLORKAMIllA TAlBoT

John Goodrich, Pathway, Central Park, watercolor , 2010

Kamilla Talbot, Broken Pier 2, watercolor on paper, 2010

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Beginning and advanced students explore the vital and spontaneous aspects of watercolor while developing a deeper understanding of compositional clarity and complexity. Working from observation of still life and the model, issues of pictorial construction are investigated with an emphasis on dynamic, spatial, and harmonic surface relations. engaging with examples of master watercolorists, this course opens a dialogue between contemporary watercolor practice and the rich and challenging tradition of the medium.

WATERCOLORMIChAel leIGh

Michael leigh, Flowers, watercolor on paper, 2011

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PRINTmAKING & mIXED mEDIA

Monday – WednesdayNovember 5 – January 169:30 aM – 12:30 PM

Studio 3 1 Quarter: $690

realize your creativity through collaboration!First-time and advanced printmakers joinforces with a master printer to developcustom collaborative projects that fostereach student’s artistic intent. The Academy’s well-stocked printshop 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 Monday and Tuesday.

COLLABORATIVEPRINTmAKINGKAThleeN CArACCIo

Kathy Caraccio, The Wealth Of Not Needing Much, glue drawing, perforated plastic bag edition and collage, 2010

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Monday – WednesdayNovember 5 – January 161:00 PM – 4:00 PM


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

PROJECTS IN PRINTmAKINGTAKA MArUNo

Taka Maruno, Untitled, color viscosity etching, 2012

Monday – WednesdayNovember 5 – January 167:00 PM - 10:00 PM


This class will focus on problem solving and experimental approaches. one of the aims is to develop a body of work of paper and non-paper prints pulled from flexible matrices. Participants will be challenged to experiment with a variety of materials as print receptors (i.e. textile and flexible plastic). They will be guided through aspects of unconventional substrates plus strategies and tools for mak-ing printable surfaces. Some creations will come off the press while others will be hand printed or cast. Aspects of this innovative class will be: learning the best of embossing, the glory and variety of plastics, the tricks to professional finishing, and the logic of scale and dimension.

EXPLORING mULTIPLICITY, SERIALITY, AND SEQUENCE IN PRINTmAKINGKAThleeN CArACCIo

Kathy Caraccio, For Clara, edition of 20, wire relief on perforated plastic chine colle, 2003

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Delve into the depth and breadth of art-making, exploring a blend of classical and innovative techniques involving all fine art mediums. Students are invited to explore personal and passionate interests to achieve desired results. Students will work on individual projects in mixed media and print-making and will receive individual support from the instructor.

mIXED mEDIA & PRINTmAKINGMArThA BlooM

Thursday and FridayNovember 8 – January 181:00 PM – 4:00 PM


Introducing the basics of printmaking, students will explore five distinct processes: monotype, linoleum-relief 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!

LEARNING THE TECHNIQUESOF PRINTmAKING TAKA MArUNo

Taka Maruno, Untitled, color viscosity monotype, 2010

Martha Bloom, Hell of War, paper litho on arches, 2011

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FridaysNovember 9 – January 189:00 aM – 4:00 PM


SaturdaysNovember 10 – January 191:00 PM – 4: 00 PM

Studio 3 $30 per day

Develop ideas, conceptualize personal projects, and expand your visual vocabu-lary through experimentation with new and diverse mediums and technologies. explore image making approaches and techniques and learn to work with constructions, as-semblages, and collage, and experiment with transfers from photo and computer images. Creative thinking and visualiza-tion encouraged. In this collegial course students learn from each other and share discoveries while discovering or rediscover-ing their creative path.

PRINT STUDIO RENTALmIXED mEDIAVINCeNT BAlDASSANo

Vincent Baldassano, Let’s Get Started, oil, 2006

Print Studio, Courtesy Academy School

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ThursdaysNovember 8 – January 179:00 aM – 12:00 PM


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. Gallery and museum visits showcase work by 19th-century and contemporary artists. No prior experience is necessary.

ALTERNATIVE PHOTOGRAPHIC PROCESSES KAreN lINDSAy


Stone room1 Quarter: $250

Make photographs with meaning and purpose while exploring how cameras and lenses construct a visual world. Students explore the photographic process from the perspective of the photographer and of the viewer. The course covers photographic essentials such as framing, focus, light, and the depiction of motion while students create a print-on-demand photo book that explores significant aspects of their experience. Classes will concentrate on camera use and technology, as well as on learning to assess and critique photographs. Students must have their own cameras; some computers are available for student use.

BASIC DIGITAL PHOTOGRAPHYSeAN JUSTICe

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Sean Justice, Branch (Animated Breathing Picture), photographic animation, 2010

Karen lindsay, Five Brothers, platinum/palladium photogram, 2010

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Monday – WednesdayNovember 5 – January 161:00 PM – 4:00 PMStudio 6

1 Quarter: $730

Designed for artists ready to work at the professional level. All techniques are encouraged. lectures, conceptual study, as well as studio activity encompasses painting, drawing, sculpture, and 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 and transformative learning experience.

ADVANCED STUDIO COURSE MAUrIZIo PelleGrIN

ThursdaysNovember 8 – January 177:00 PM – 10:00 PMStudio 4

1 Quarter: $250

For students who want to understand the essentials of video storytelling and develop an original point of view. learn how to refine your premise and structure a successful screenplay with professional formatting. We’ll analyze examples from classic commercial and art house films and see how most well-known films share a common structure. We’ll learn how to use a “beat sheet,” go over tricks of the trade— the “unreliable narrator,” twists, reversals and a multitude of important story structure techniques. each student will write a 2-3 minute script, do a simple storyboard, and shoot a short video, learning to choose camera angles that can best tell your story, basic lighting, and editing in quicktime Pro.

VISUAL STORYTELLINGSTRUCTURING A UNIQUE PERSONAL VISION FOR A VIDEO SHORThAll PoWell

hall Powell, Tea for 3, video, 5:05 min, 2009

Maurizio Pellegrin, The Chinese Room, padded fabric, bronzes, Chinese objects, 1997

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Thursdays and FridaysNovember 8 – January 189:00 aM – 12:00 PM


learn the fundamentals for creating a sculp-tural work, gaining 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 kinetics will be addressed. large-scale work encouraged.

FOUNDATION AND FUNDAmENTALS IN SCULPTUREINGo APPel

REmIXING THE ORDINARYBorINqUeN GAllo

Monday – WednesdayNovember 5 – January 169:00 aM – 12:00 PM


Focusing on the transformative qualities of unconventional sculpture materials, students use inexpensive, even disposable materials to transform the ordinary and familiar into the extraordinary. Students will be introduced to the work of contemporary artists’ work and their aesthetic languages and will mainly focus on process. emphasizing “play,” students work with discarded materials including vinyl, styrofoam, textiles, and a range of industrial remnants, expanding their visual vocabulary. Students will develop new methods and experiment with new media technology to develop a coherent, gallery-ready body of work. The instructor will be present on Monday and Tuesday.

Borinquen Gallo, Stitched Bridge (detail), rags and wire’ 2011

Ingo Appel, Paper 1, 3D file, 2012

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Mondays and WednesdaysNovember 5 – January 166:00 PM – 9:00 PM




Students learn a variety of methods for developing sculptural forms in space while touching upon the human form. Students will deeply consider and bravely explore infinite means to create new pieces of sculptural iconography. Many diverse mediums, technologies and sizes will be encouraged in this dynamic course.

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.” Students are challenged to view the face as a significant factor in the history of artistic and scientific achieve-ment.

PROCESS IN SCULPTURE INGo APPel

PORTRAIT SCULPTUREBArNey hoDeS

Barney hodes, Eun Ye, plaster, 2010

Ingo Appel, Virtual Lady, 3-D file, 2012

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ThursdaysNovember 8 –January 176:00 PM – 9:00 PM


This master 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.

SCULPTURE: REALISm TO ABSTRACTION rhoDA SherBell, NA

UNCONVENTIONAL mATERIALS: SCULPTURE NADIA MArTINeZ

Thursdays and FridaysNovember 8 – January 181:00 PM – 4:00 PM


Why be conventional? Visualize and produce different scale sculpture using unconventional and unusual materials for both creating and bounding. The course focuses on design principles, repetition, contrast, rhythm, balance, and movement.

Nadia Martinez, Tree Under Construction, mixed media, 2010

rhoda Sherbell, NA, Portrait of Casey Stengel, polychrome bronze, 1967

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Studio 6 $30 per day

SaturdaysNovember 10 – January 191:00 PM - 4:00 PM


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.

TERRACOTTA SCULPTUREWeIqING yUAN

SCULPTURE STUDIO RENTAL

Sculpture Studio, Courtesy Academy School Weiqing yuan, Figure with Fingerprint, 1992

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Studio 4 Tuition per class1 Quarter: $250

mIXED mEDIA 6 –9 YEARS MArThA BlooM

YOUNG ARTISTS

Creative habits developed early have lasting significance. In this class, children are encourage 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. exhibitions of their work will be ongoing.

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Martha Bloom, Lost Without Her, handpainted collage transfer collage, 2010

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WednesdaysMarch 27, april 3, 10, 17, 24, and May 84:15 PM – 6:15 PM

Studio 4 Tuition $125

WednesdaysNovember 7 – January 164:15 PM – 6:15 PMStudio 5

SaturdaysNovember 10 – January 1910:00 aM – 12:00 PM1:00 PM – 3:00 PMStudio 4

Tuition per class1 Quarter: $250

PORTFOLIO WORKSHOP 12–16 YEARSDorIS STAAl

PAINTING & DRAWING 9–13 YEARShANNAh FrASSINellI

This portfolio workshop prepares students for entrance requirements at specialized art programs in New york City. Students work from the figure, still life, memory and imagination to create advanced portfolio pieces.

Students enhance their observational drawing skills from subjects including life drawing from a costumed model, still life, creative copies of the old Masters and independent projects. The instructor introduces each lesson with demonstrations and thought-provoking visuals. Topics range from the basics of figure drawing, perspective, light and shade, color, theory, and materials techniques.

hannah Frassinelli, Male Figure Study, graphite on paper, 2012

Doris Staal, Cork Regatta 1, color viscosity and oil on paper, 2010

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Studio 5 Tuition1 Quarter: $250

Students register daily per four-hour session.Fee: $30

STUDIO ART FOR HIGH SCHOOL STUDENTSloTUS Do

UNINSTRUCTED STUDIO TImE

At once serious and inspiring, this studio art class enables high school students to study drawing and painting in a traditional “Academy” format. Developing compositional and observational skills 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.

Studios are open for independent work depending on availability. They are open to enrolled students and the general public. For use of the printmaking studio, individuals must get approval from the print instructor, Kathy Caraccio, before they may use the shop.

lotus Do, 2 Squares Away, blue watercolor on montvale paper, 2012

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ABOUT THE NATIONAL ACADEmY

Throughout its storied history, the National academy has followed a simple yet powerful mission: to promote the fine arts in america through exhibition and education. Founded in 1825, the National academy is the only institution of its kind that integrates a museum, art school, and association of artists and architects—the National academicians.

Academy museumIlluminating canonical figures as well as those deserving of reappraisal, the museum widens the lens through which American art is viewed and appreciated. rotating exhibitions include 19th, 20th and 21st century art and architecture, an Annual exhibition, a reflection of contemporary American culture, and selections from the permanent collection. exhibitions are supported with lectures, symposia, and panel discussions that engage the public with the Academy’s living artistic legacy.

National Academicianselected by their peers, the National Academicians’ diploma presentations, given upon induction, shape the academy’s unique and significant perma-nent collection, creating a vibrant, ever-evolving institution where traditions are celebrated and new visions embraced.

Academy SchoolThe 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 inti-mate, creative environment under the mentorship of working faculty artists, supporting the artistic journey of each student.

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Image credits clockwise from top: © Andy ryan, © Andy ryan, David Plakke Media, © Andy ryan

NATIoNAl ACADeMy SChoolREGISTRATION FORm

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registration Fee $ 50.00

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Course registration: Students who enroll at the National Academy for the first time must add a $50.00 registration fee to their total payment. This fee is a one-time only, nonrefundable fee.

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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.

National academy Museum & School 5 east 89th Street New York, NY 10128 Tel: 212 996 1908 nationalacademy.org

Tuition Total

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Documents

School Catalogue Quarter 2