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 

mail@ArtistDaily.com

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

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, : 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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