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6 A ME R ICA N ART I ST September 2012 www.ArtistDaily.com
Art Education, From Classical to Experimental
M I C H A E L G O R M L E Y
Editorial Director
Cheers,
The lazy days of summer arenot the best time to attemptthe heavy lifting one associates
with serious art study or ambitious stu-dio projects. But as the summer season
ebbs, our minds begin to wander off thebeaches and long for home and work.
This pull is instinctual—by nature, weartists are not an idle lot. Our desire toreturn to our studio work and to our
teaching and studying engagements is asure sign that autumn nears.
Art education has historicallybeen the primary focus of American
Artist . Over the years, the aims andmethods of art education have evolvedthrough risk and experimentation. In
this issue we present some of theseadvances in art education by focusing
on the schools, teaching artists, andallied professionals who have led theway. We begin with a directory of art
schools to guide your return to studyand practice (page 18). Next, we review
two schools that have achieved analmost mythic status in the art world:
Black Mountain College and Ox-Bow
(pages 30 and 34, respectively). Both arefamous for their avant-garde approach
and experiments with cross-disciplinary
EDITOR’SNOTE
study. Sometimes experimentationmeans looking back, and on page 38 we
review the New York Academy of Art, whose founding helped revive the study
of figurative art. Self-portraiture has long been
recognized as an ideal and economi-cal method for advancing practicethrough self-teaching, and on page 44
we present the winners of our recentSelf-Portrait Cover Competition.
Our reporting on traditional educa-tion methods continues with the first
installment of a lesson in classicalpainting by Gregory Mortenson (page52). On page 56, we are introduced to
the Beaux-Arts Atelier, which teachesclassical architecture. We also talk with
Dr. George Smith, whose Institute of
Doctoral Studies in the Visual Arts
seeks to reclaim artists’ leadership
role in society (page 62). We end withwords of advice from artists and allied
professionals describing the perfect art
school (page 66).
We hope this issue inspiresyour return to study and practice.Have a great start to fall.
In the October issue of American Artist, we take a look at the contem-porary “renaissance” in realist art by exploring the working methods ofemerging artists and examining the historical artists they reference in
their efforts to create a compelling view of real life.
Coming Next Month
EDITORIAL
EDITORIAL DIRECTOR
Michael GormleyMANAGING EDITOR
Brian F. RileySENIOR EDITOR
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ONLINE EDITOR
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AR T
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PRODUCTION DIRECTOR
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E P O: A A , 133 W. 19thSt., 7th Floor, New York, N.Y. 10011-4117. Telephone: (646) 841-0050.A A welcomes editorial submissions, but assumes noresponsibility for the loss or damage of any unsolicited material. Unsolicitedmaterial must be accompanied by a self-addressed, stamped envelope.
S S I: A A , P.O. Box469074, Escondido, CA 92046-9074, or call (866) 917-2676; or outsidecontinental U.S.: (760) 317-2316. Additionally, back issues in hardcopyor digital format are available through www.artistdaily.com and can bepurchased for $9.99 each (plus postage and handling for hardcopy only).
A A ® (ISSN 0002-7375) is indexed in The Reader’s Guide to Periodical Literature, EBSCO Publishing, Ipswich, MA01938; is reproduced in Microform by NA Publishing, Inc., AnnArbor, Michigan 48106-0998; and is abstracted by ARTbibliographiesModern. Book reviews are indexed in Book Review Index and BookReview Index Online Plus.
A R: If you are interested in carrying this magazine inyour store please contact us at: (866) 949-1646, [email protected],or www.interweaveretailer.com.
, : Linda Ligon: Clay B. Hall: Troy Wells
, & : John Bolton , & : Bob Kaslik
, : Sara Dumford , : Trish Faubion , : T.J. Harty , : Jamie Bogner
, : Julie MacDonald , : David Dunn , & : Dawn Stewart
SEPTEMBE R 2012
...
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