yaa.edu
Transcription
yaa.edu
25 celebrating years Representational painting, drawing and sculpture centering on the human figure have returned to assert their prominence in the mainstream of visual art, and figurative art is once again at the forefront of contemporary cultural discourse. From ancient to recent times, artists have used the human form as a means to express their innermost thoughts and highest ideals. Historically, artists devoted years of training to master the nuances and complexities of the body’s representation in art. Today, the New York Academy of Art and its Graduate School of Figurative Art advance this tradition as the basis for the development of vital contemporary art. The study of the human body and its conceptual and metaphorical aspects are central to the Academy’s intensive curriculum, leading to the Master of Fine Arts degree. New York Academy of Art Graduate School of Figurative Art 111 Franklin Street New York NY 10013 t: 212.966.0300 f: 212.966.3217 e: info@nyaa.edu The delivery of the program relies on a range of teaching methods, including lectures, seminars, practical classes and group tutorials. Students engage in highlevel discourse about the nature of contemporary figurative art within the curriculum and campus that embrace the energetic and culturally diverse milieu of the New York art community. www.nyaa.edu Chie Shimizu, class of 2001, untitled, plaster, white gold leaf, 42 in. history & accreditation Edward Schmidt, Faculty, Conversation, oil on linen, 39 x 43 in. location The New York Academy of Art was founded in 1982 by artists, scholars and patrons of the arts, including Andy Warhol, who were interested in fostering the resurgence of figurative and representational art. The Academy was granted an Absolute Charter on June 24, 1994, by the Board of Regents of The University of the State of New York, for and on behalf of the State Education Department, and executed under the seal of said University and recorded as Number 21,661. It is institutionally accredited by the Board of Regents and the Commissioner of Education acting under their standing as a nationally recognized accrediting agency. In January 2002, His Royal Highness The Prince of Wales conferred his Patronage on the New York Academy of Art. This Royal Patronage is the first of its kind bestowed on a visual arts institution in the United States. The Academy is located at 111 Franklin Street, between Church Street and West Broadway in the lower Manhattan historic district of TriBeCa, once a commercial area and the city's primary distribution center for textiles and dry goods. TriBeCa's warehouses and lofts, many designed by notable architects, were renovated beginning in the 1970s and proved especially appealing to artists and small businesses. TriBeCa and its neighboring districts, SoHo and Chelsea, are noted for their restaurants, boutiques, galleries, museums and large population of artists; TriBeCa hosts its own annual film festival and an annual tour of artists’ studios. Also nearby are New York's Chinatown and the cluster of municipal buildings that includes Federal Plaza and City Hall. New York City's numerous world-class museums, essential resources for artists, are not far from the Academy and easily accessible by public transportation from the Academy. They include the Asia Society, Brooklyn Museum of Art, Chelsea Art Museum, Dahesh Museum, Museo del Barrio, Frick Collection, Hispanic Society of America, Metropolitan Museum of Art, Morgan Library and Museum, Museum of Arts & Design, Museum of Modern Art, Neue Galerie New York, New Museum of Contemporary Art, P.S. 1 Contemporary Art Center, Solomon R. Guggenheim Museum, Studio Museum in Harlem and Whitney Museum of American Art. facilities & special collections Cast Collection The cast collection consists of 59 nineteenth-century plaster casts of Classical, Renaissance and later European sculpture, most on extended loan from the Metropolitan Museum of Art, Harvard University, Cornell University and Amherst College. The Academy has restored its historic cast collection in recent years. The Academy occupies a renovated five story, forty-two thousand square foot landmark building, constructed in 1861. Studio Space During their course of study, all students are provided with either communal or semi-private studio space as dictated by their program track and progress in the course. Student at work in the studio Library The book, periodical, video, DVD and slide collections include works specifically selected to support the curriculum. Emphasis is on anatomical studies and figurative art, as well as the historical periods in which figurative art flourished. The media of painting, sculpture and drawing are emphasized, as are works on theory and method. Currently the collections features over 6,500 books, 12,000 slides, 150 videotapes and 50 periodical subscriptions. Student with Visiting Critic Donald Kuspit Drawing Resource Room, Exhibition Spaces and Wilkinson Hall On view in the Drawing Resource Room are a number of casts as well as anatomical models. These are available for coursework and independent student study. There are several informal gallery spaces throughout the building available for small faculty-curated shows of student work, and the lobby features a rotating display of alumni, faculty and student sculpture. Public exhibitions and lectures are held in the Lawrence and Josephine C. Wilkinson Hall, in which a large portion of the cast collection is on permanent display. Wilkinson Hall, Faculty Exhibition faculty President Wayne A. Linker The faculty of professional artists and experienced academics has extensive exhibition, publication, awards, and grants records, and a variety of professional affiliations. Faculty specialties reflect the major concentrations of the curriculum, assuring that students receive outstanding education in all areas. The ratio of faculty to students allows for ease of access to faculty for individualized attention. Provost Erica Ehrenberg, Ph.D. Senior Critics Steven Assael Vincent Desiderio, B.A., Hon.D.Arts Eric Fischl, B.F.A. Jenny Saville, B.A. The Academy’s teaching strategy is to provide a challenging and supportive learning environment and an instructional experience that prepares students to apply their training to contemporary discourse in the visual arts. Robert Simon, Adjunct Faculty Slumped Head raku ware, pit fired 12 x 9 x 10 in. In class with Steven Assael, Adjunct Faculty and Senior Critic Catherine Howe, Faculty, Hog on the Mountain, oil on linen, 62 x 50 in. Above: Laura Frazure Adjunct Faculty "Beauty is only a promise of happiness" Stendhal microcrystalline wax, plywood, synthetic human hair 48 x 96 x 36 in. Above right: Wade Schuman, Faculty Man Entering Room (Recurrence), oil on linen, 48 in. © Wade Schuman, courtesy of Forum Gallery, NY Fulltime Faculty John Jacobsmeyer, Faculty Chair, B.F.A., M.F.A. Harvey Citron, B.F.A. Catherine Howe, B.F.A., M.F.A. Edward Schmidt, B.F.A., M.F.A. Wade Schuman Adjunct Faculty Margaret Bowland Patrick Connors Peter Cox Adam Cvijanovic Will Cotton, B.F.A. José DeJesús-Zamora, B.S., M.F.A. Jon deMartin, B.F.A. Peter Drake, B.F.A. Cynthia Eardley, B.A. Laura Frazure, B.F.A., M.F.A. Thomas Germano, B.F.A., M.F.A. Debra Goertz, B.S., M.F.A. Jeffrey Hesser, B.A., M.F.A. Werner Hoeflich, B.F.A. John Horn, B.F.A., M.F.A. David Klass Andrew Lenaghan, B.F.A., M.F.A. Leonid Lerman, B.F.A., M.F.A. Nina Levent, Ph.D. Nina Levy Mark Mennin, B.A. Randolph L. McIver, B.A., B.F.A., M.F.A. Frank Porcu, B.F.A., M.F.A. Chris Pugliese Judith Schaechter Robert Simon, B.A. Robert Taplin, B.A. Dan Thompson, B.F.A., M.F.A. John Wellington, B.F.A., M.F.A. curriculum The Graduate School of Figurative Art offers a twoyear, full-time, four-semester program leading to the Master of Fine Arts degree. The Academy offers graduate students intensive advanced education in both the traditions and current developments in figurative art. The creation of convincing works of art that deliver penetrating insights into the human condition requires a level of drawing ability, spatial conception and theoretical underpinning that is unique in the Eric Fischl, Untitled, watercolor on paper, 40 x 60 in. Academy’s MFA. With this goal in mind, the curriculum is organized into a sequence of courses that build on each other but allow for choice and flexibility so that individual artists can tailor their education to particular artistic goals. Students may concentrate in painting, drawing or sculpture, any of which may be combined with printmaking. Mary C. Raap, class of 2007, Fellow 2008, Venus, oil, mixed media on canvas, 44 x 72 in. anatomy Three distinct approaches inform the Academy’s instruction in artistic anatomy. Structural Anatomy entails building planar constructions of the figure with attention to proportion and orientation. Anatomical Drawing lectures provide indepth knowledge of anatomy and are often followed by life drawing sessions. Écorché involves the construction of a three-dimensional anatomically and canonically accurate human figure built out from the skeleton to the muscle masses. The Academy also provides exposure to special areas of artistic anatomy such as comparative anatomy and advanced écorché. There is as much difference in bodies as in faces, and the character should be sought in its complete unity. On seeing a hand one should know instinctively what the foot must be. Thomas Eakins John Horn, Écorché Instructor In-class lecture drawings by Frank Porcu, Anatomy Instructor Joel Mangin, class of 2004, Fellow 2005 Ethereal, pen on paper, 24 x 30 in. drawing The greatest misfortune is when theory outstrips performance. Leonardo da Vinci The drawing core is an intensive sequence of figure drawing challenges culminating in advanced problems in multifigure composition, life-scale and synthetic approaches. Special subjects in drawing include Linear Perspective and Cast Drawing, a quintessential practice within the academic curriculum. As examples of great sculptural art, the Academy’s casts reward close study with insights into how reality is abstracted, simplified, clarified and translated into artistic form. Linear Perspective addresses theoretical and applied perspective in order to build spatial environments within artworks. This page, clockwise from top left: Raphael Sassi, class of 2004, Fellow 2005, Ariana, Lucia and Caitlin, pencil, charcoal, white chalk and walnut ink on paper, 22 x 30 in. each Christian Johnson, class of 2001, Swell, charcoal on paper, 50 x 38 in. Charles Bargue, plate I-56, from The Drawing Course Elizabeth Hutchinson, class of 2000, Sea Horse Study, pen and ink on paper, 8 x 11 in. Opposite page, left to right: Joel Mangin, Class of 2004, Fellow 2005, untitled, pencil on paper, 10 x 7 in. Randy Melick, class of 1991, Figure Study, Charcoal pencil heightened with white and body color on paper, 13 x 10 in. painting Flesh was the reason why oil painting was invented. Willem deKooning Through a core sequence, painting students are immersed in the variety of languages in which the human form is represented in oil. Direct Painting examines opaque perceptual description; Indirect Painting addresses mixing of color through layering, a common method in premodern times and gaining wide acceptance among contemporary artists. Painting III and IV investigate problems of integrating disparate references, including multiple figures, into a coherent composition. Opposite page: Bryan LeBoeuf, class of 2000, Vessel, oil on canvas, 23 x 35 in. This page, left to right: Daniel Hughes, class of 1995, Richard II, oil on board, 12 x 16 in. Maggie Rose, class of 2001, Bovine, oil on canvas, 35 x 37 in. Christian Fagerlund, class of 2004, Fellow 2005, Untitled - SLP 05, oil on panel, 5.5 x 5 in. sculpture You find me at work; excuse the dust on my blouse. I sculpt my marble myself. Camille Claudel The sculpture program is dedicated to the tradition of handmodeling the human figure. The core sequence begins with an emphasis on skill development in perceptual modeling while providing opportunity for and critical response to self-directed projects. In the second year, students address problems of life-scale sculpting, contextualizing sculpture and integrating multiple elements intoacoherent composition. Halla Gunnarsdottir, class of 2003, Fellow 2004, Hello, plaster, oil, paint, 2.5 x 2 x 4’ left: Robert Taplin, The Five Outer Planets, resin, hydrocal, reinforced gypsum, fiberglass and lights Clockwise from top left: Student carving marble; Jeff Hesser, Adjunct Faculty, Baby Head II, hydrocal, 43 x 25 x 16 in.; Jonathan Davies, class of 2005, Fellow 2006, Death Following a Young Woman Home One Night, plaster, 36 in.; Jiwoong Cheh, class of 2004, Narcissus, painted hydrocal, 35 in.; Judy Fox, Master Class Instructor, Ayatollah, aqua resin, casein, 50 in.; Ann Hirsch, class of 2002, Watchers (detail: Faucethead), ultracal, 3/4 lifesize printmaking …every material, by virtue of its phenomenal character and its inherent capacity for artistic treatment, harbors a spirit and poetry of its own which encourages a certain representational character when artistically approached and which can never be replaced by anything else. Max Kinger on the qualities of Durer’s engravings Clara Lieu, class of 2004, Paths X, sugarlift & aquatint, 12 x 18 in. The mission of printmaking at the Academy is to promote the creation of new prints utilizing a wide variety of techniques including mezzotint, etching, woodcut and monotype. This program seeks to bring together a profound respect for printmaking's culture of craftsmanship with the artists' personal dedication to their own pictorial vision. Shauna Finn, class of 2005 Untitled, aquatint, 12 x 10 in. Opposite: John Jacobsmeyer, Faculty Chair and Printmaking Coordinator, Invasion, oil on canvas, 96 x 96 in. history of technique & composition and design Design is not the offspring of idle fancy; it is the studied result of accumulative observation and delightful habit. John Ruskin The objective of courses in these areas is to support the skills learned in studio classes with a sound theoretical and historical base. Composition and Design These courses present art history largely through practice, investigating the various strategies for representing form and content in Western art. Composition and Design I examines historical modalities and methods of compositional construction from Classicism to early Modernism; Composition and Design II begins with the birth of Modernism and culminates with the early 21st century. History of Technique History of Technique classes examine the relationship of technique to content. Students gain both practical experience and historical perspective on the uses of materials and techniques employed by master artists from a variety of periods. Peter Drake, Adjunct Faculty, Siding, acrylic on canvas, 49 x 64 in. Eun Jin Song, Class of 2007, Eternity, oil on canvas, 44 x 52 in. Harvey Citron, Faculty, Sisyphus, (maquette) hydrocal, 22 x 22 x 19 in. Matthew Woodward, Class of 2007, Eighty First Street, graphite on paper, 80 x 120 in. visual culture: art & culture seminars It is not the position, but the disposition. Susan Sontag Art & Culture seminars focus on analysis and interpretation of visual culture and connect with issues raised in the weekly evening lectures. The approach is multidisciplinary and the goals are manifold, including reacting to the ideas of current artists, writers, critics and theorists; exploring the history of figurative art and the methods and theory of art history; learning to underpin personal reactions with established scholarly approaches; and engaging in reasoned discussion and debate with peers and colleagues. The seminars provide forums for lively debate based on shared knowledge. Monica Whalley, Class of 2003, Fawn, oil on aluminum panel, 60 x 44 in. electives Each year the Academy offers different electives in painting, drawing, printmaking and sculpture. Elective courses are instructed by art-world professionals outside of the normal teaching faculty at the invitation of the Faculty Committee. The instructor is generally permitted a wide latitude in the design and implementation of the course. These classes are designed to accent the curriculum with ideas, viewpoints, artistic methods and techniques beyond the core. independent study Occasionally, a student may wish to pursue research in an area not covered by the curriculum. Working with a faculty sponsor, a student may formulate a project designed to develop critical faculties and independent thinking. Proposals must receive approval from the Faculty Committee. Clockwise from top left: Steven Assael, Adjunct Faculty, Venus Pregnant, oil on panel, 72 x 48 in. Cynthia Eardley, Adjunct Faculty, Hot Fiction, aqua resin and paint, 24 in. Kristen Raine, Class of 2007, Green, oil on canvas, 30 x 24 in. the diploma project professional practices In order to move others deeply we must deliberately allow ourselves to be carried away beyond the bounds of our normal sensibility. Joseph Conrad I am not what I am, I am what I do with my hands. Louise Bourgeois The Professional Practices program consists of non-credit workshops that prepare students for the practical realities of operating in the professional world. Workshops expose students to the worlds of private studios, galleries, museums, residencies and higher education. Among the topics addressed are: legal issues concerning studio practice; gallery representation; presentation and promotion of work; writing artists’ statements, resumés, grant proposals and job applications; and researching related career opportunities. Left: Michael Austin Latka, Class of 2007, Connie, ultracal and hydrocal, 13 x 23 in. right: Michael Tschantz-Hahn, Class of 2006, Birth, oil on linen, 48 x 60 in. The Diploma Project (MFA thesis) is a self-directed body of work produced in the second year. Each student is assigned a studio with ample space in which to work. Individual critiques with faculty and distinguished visiting artists occur regularly. The many components of the Diploma Project curriculum are designed to simulate, in a concentrated fashion, the types of discourse and challenges faced by a working artist preparing for a solo exhibition. The Faculty Committee selects one artwork by each student for inclusion in the final critique and MFA Diploma Exhibition. David Pettibone, Class of 2007, Fellow 2008 Liliana with Fish, oil on canvas, 84 x 52 in. Madora Frey, Class of 2002. Wilding, oil on canvas, 22 x 48 in. Will Cotton, Adjunct Faculty, Cotton Candy Cloud Study oil on linen, 20 x 24 in. master classes lecture series The Master Class program invites well-established artists to the Academy to teach intensive workshops that are highly condensed versions of an apprenticeship. Through exposure to artists’ opinions, motivations and working methods, the Master Classes allow students to gain insight into how artists approach the making of art and respond to the work of others. Each invited artist determines the overall design of the Master Class. Some may construct a concentrated period of drawing directly from the model, while others may organize gallery and studio visits along with seminars and/or lectures. The sole directive to each master artist is that a group critique be held at the end of the class. Each fall, the Academy hosts an ambitious speakers’ program. Established visual artists, celebrated authors, seasoned critics as well as noted scholars are invited to address issues of contemporary culture. The series introduces students to a wide range of ideas and topics that enrich the day-to-day academic discourse and impact the contextual decisions shaping studio practice and research. In recent years, Master Class artists have included: Ellen Altfest Lennart Anderson William Bailey Pier Consagra John Currin Amy Cutler Johanna Drucker Inka Essenhigh Eric Fischl interviewed by A.M. Homes Audrey Flack Judy Fox April Gornik Chrissie Iles Juan Cardenas Natalie Charkow Will Cotton Inka Essenhigh Judy Fox Julie Heffernan David Humphrey Kurt Kauper David Ligare Randy Melick James McGarrell Humphrey Ocean Julian Perry Jenny Saville Master Class with Jenny Saville next page: Vincent Desiderio, Senior Critic, detail of Cockaigne, oil on canvas, 111 7/8 x 153 3/8 in. courtesy of Marlborough Gallery, NY Past lecturers have included : Katherine Kuharic Marilyn Minter John Nava Odd Nerdrum Richard Phillips Andrew Raftery Robert Rosenblum Jerry Salz Dana Schutz interviewed by Mei Chin Fred Wilson Thomas Woodruff Alexi Worth Lisa Yuskavage exhibitions Each May, the Academy mounts an exhibition of graduating students’ Diploma works. The opening of the exhibition is held on the day of commencement exercises. In the fall, the Academy exhibits the work of its three annual Postgraduate Fellows. The Fellows are selected through a competitive application process, and the program allows exceptional and promising graduates of the Academy to spend a postgraduate year in residence, creating a body of work while reaping the benefits of the institutional affiliation and faculty critique. tional Cultural Exchange (2007). In honor of the New York Academy of Art’s 25th anniversary, Summer Exhibition 2007 – featuring work by Academy students, past and present, as well as other artists important to the history and evolution of the institution – was presented. Ample opportunities are provided for students to display work outside their studios. These include faculty-organized exhibitions of recent work in the Café, Halls & Walls and Lobby galleries, highAli Banisadr, Class of 2007, Fellow 2008, The Center cannot Hold, oil on linen, 48 x 60 in. lighting cast drawings, en plein air works, museum copies and other themes. Students are also invited to present their work at the Academy’s various special event venues, such as the annual Take Home a Nude® art auction and party, and the annual benefit dinner and dance, the TriBeCa Ball. Alyssa Monks, Class of 2001, The Race, oil on linen, 72 x 96 in. In addition to the MFA Diploma and Postgraduate Fellowship exhibitions, the Academy periodically presents exhibitions of contemporary work by guest and in-house curators. These have included biannual faculty and alumni “salons”; shows of recent sculpture by faculty and alumni; and traveling exhibitions. Guest curated-exhibitions include: “When I Think of You I Touch Myself ”, curated by David Humphrey (2004), and “Emerging Artists from Mexico and Latin America”, curated by the InternaSalon 2006 special events While the Academy remains a small institution, it is renowned for the quality and visibility of its special events, most of which are organized to raise funds for MFA scholarships and educational programs. The most enduring tradition is the annual art auction and party, Take Home a Nude®. As many as 600 artists, collectors, gallerists and supporters gather for this live and silent auction to view up to 350 drawings, paintings, sculptures, photographs, prints and other works by some of this country’s leading artists, Academy faculty, alumni and students. Venues for the event have included Christies, Sotheby’s and Phillips de Pury & Company. Artists whose works have been auctioned include Jasper Johns, Eric Fischl, Julian Schnabel, Cecily Brown, Roy Lichtenstein, David Bowie, Christo and Jeanne Claude, Oscar de la Renta, Zac Posen, HRH the Prince of Wales and William Wegman. Each spring the Academy presents the TriBeCa Ball, an elegant and highly creative party that has attracted sponsors such as Hermes, Cartier, Asprey, Miramax, Gucci, Dolce e Gabanna and MAC. Hosts for the event have included Nicole Kidman, David Bowie and Iman, Moby, Robert de Niro and other media stars. Academy artists participate, leading a drawing and painting session working from live models. In addition to these events, the Academy also hosts smaller occasions such as book-signing parties, drawing marathons, special lectures and receptions, and after-school programs in cast drawing for neighboring elementary schools. The Academy serves as the “home base” for the annual tour of TriBeCa-area artist studios (TOAST). Clockwise: TriBeCa Ball setting; Parker Posey and Liev Schreiber; David Bowie and Iman; Nicole Kidman and Baz Lurhman; Debbie Harry summer at the academy Summers also offer a number of opportunities for MFA students. Students who have completed the first year of coursework may elect to enroll in select MFA classes and thereby reduce their course load in the second year, to concentrate on independent work. Those students who remain in New York over the summer may rent, at modest price, studio space for up to two months. Non-MFA classes are offered each summer through the Atelier of the New York Academy of Art, the institution’s Continuing Education program. MFA students are welcome to take these classes and receive discounts on course fees. More than 400 New Yorkers participate in the Atelier each year. Chateau de Balleroy, Normandy, France opposite page, clockwise from top left: Matthew Greenway, Class of 2005, Balleroy - Village Field, oil on paper, 9 x 17 in. Trine Giaever, Class of 1996, Inger, acrylic on wood, 11 x 14 in. John Jacobsmeyer, Faculty Chair with student in Italy, summer 2006 Through a special arrangement with The Prince’s Drawing School of London and an Academy trustee, ten MFA students are selected to spend two weeks each August painting and drawing en plein air in the Normandy, France countryside, at the historic Mansart-designed, 17th century chateau at Balleroy. The program brings together faculty and students from the Academy and the Drawing School for a unique summer opportunity. Airfare and living expenses are generously provided by the Prince of Wales Foundation and the Forbes family. The Academy occasionally participates in other summer abroad sessions. In recent years, students have enrolled in a three-week program of stone carving and en plein air painting in Asciano, Tuscany. For more information on the Academy and any of it’s programs, please visit www.nyaa.edu, email info@nyaa.edu, or call (212) 966-0300. admission to the mfa program The admissions policies of the New York Academy of Art guarantee fair education opportunity in compliance with existing federal and state laws against discrimination for reasons of race, color, gender, age, religion, ethnic or national origin, sexual orientation or physical handicap. Application Requirements All applicants for the MFA program must submit the following: Application Filing Dates and Notifications Applicants to the MFA program have the option of submitting their completed applications by one of two submission dates, and will receive notification by mail no later than six weeks from that date. The schedule for the annual application cycle is as follows: The application form and fee. Official transcripts from all undergraduate colleges attended. Two letters of recommendation from individuals familiar with the applicant’s work; letters from academic professionals are strongly recommended. A one-page statement of educational objectives and career goals indicating why you believe these will be advanced by study at the Academy. A portfolio of no more than twenty images arranged in chronological order and accompanied by a slide script. The portfolio must include five figure drawings. Those submitting images of sculptures should include no more than two views of each sculpture. Applicants are encouraged to attend an Academy open house event and participate in a portfolio review. For more information on attending an open house, or to schedule a tour of the Academy please call 212.966.0300 x962 or email admissions@nyaa.edu. Filing Date February 1 April 15 Notification March 1 May 5 Tuition and Fees First Year, 2007-08 $11,000 Fees: $350 Annual Total: $22,700 Deposit Due March 15 May 20 Banner at the National Portrait Gallery, Washington, DC featuring a self-portrait by Academy Alumnus Justin Hayward, one of seven finalists in the Outwin Boochever Portrait Competition Please note that tuition and fees are subject to annual increases. For more information please visit www.nyaa.edu, or call (212) 966-0300. financial aid & scholarship programs Federal Stafford Loans Applicants for federally guaranteed loans must be U.S. citizens or permanent residents. Federal Stafford Loans are federally guaranteed loans that enable eligible students to borrow at low, fixed interest rates as much as $20,500 per academic year. Recipients of loans must remain in good standing at the Academy. Graduate Plus Loans and Alternative Loans Students may borrow any amount that does not exceed the cost of attendance less any grants or Federal loans received in private loans or the Graduate Plus loan program. Information on private loans and the Graduate Plus loan program is available through www.nyaa.edu and www.studentloan.com. Academy Merit Awards and Scholarships Students demonstrating merit are eligible for annual scholarships from the Academy. In its distribution of merit aid, the Academy does not discriminate on the basis of gender, age, race, color, religion, sexual orientation, ethnic or national origin or physical handicap. Generous grants from The StratREAL Foundation USA and the LCU Foundation make possible scholarships ranging from $5,000 to $25,000. These awards will be made on the basis of excellence and financial need. Recipients of the StratREAL USA Scholarships will participate in a new mentoring project. For applications and additional information, please visit the Academy’s website, www.nyaa.edu. New York Academy of Art HRH The Prince of Wales, Royal Patron board of trustees Eileen Guggenheim, Ph.D., Chair Wayne A. Linker, Executive Director David K. Schafer, President Dennis Smith, Secretary Ludwig G. Kuttner, Treasurer Richard Blumenthal, Esq. Eric Fischl Christopher Forbes Debra Goertz Margot Gordon Pete Hamill Douglas Oliver Sybil Shainwald, Esq. Russell Wilkinson Hugh Wilson trustees emeriti The Honorable Hugh L. Carey Tom Wolfe senior critics Steven Assael Vincent Desiderio Eric Fischl Jenny Saville New N ew YYork ork Academy of Art 111 11 Franklin St N New ew York York NY 10013 phone hone 212 966 0300 fax 212 966 3217 www.nyaa.edu www w.nyaa.edu info@nyaa.edu