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: [email protected]
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 [email protected], 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 [email protected].
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 [email protected]