The Academy Blog

All Day Brunch, Improv Tea Ceremonies, and Green Onions For Free


By Daniela Izaguirre (MFA 2016)
I am a bad liar. As I mentioned in my previous post I was a slightly nervous about traveling to China. In all honesty, I didn’t know what to expect. 
It is said that it takes twelve days to recover your body from jet lag and forty days to adopt a new habit. It is our 30th day in Beijing and our group has already formed some new habits together. The days when the newness of experiencing Beijing would confuse us at grocery stores and restaurants are starting to feel distant.
Sophia, Ben, Taylor and I have picked up the tradition of eating brunch together, mostly every day at a Korean restaurant chain called ‘Tous Les Jours’ offering All-Day Brunch; not very adventurous, but a great start to a full day at the studio. It is often funny trying to communicate with the waitresses with probably the only three words in Chinese we have managed to remember –‘vinda’-iced, ‘xie xie’- thank you, and ‘haoshi’- delicious— and hoping they will understand what we mean. Luckily, almost every restaurant in Beijing has picture books for menus.
Polly at Belencre
Being an introvert myself, whenever I move to a new place, I tend to look for quiet spots where I can have some time to unwind my thoughts and recharge my batteries. I found such place in a small coffee shop called Belencre, inside the ‘Little White House´ art supply store near CAFA. Coming from the hustle of living in NY it really surprised me to see a café-in this case also Chinese tea- barista preparing coffees and rose milk teas in such a ceremonious manner. Her name is Polly. It was a delight to see her put so much care and reverence in preparing a drink. It was as if the millenary China of my ‘mundo imaginario’-the one fed by writings of Basho, art history books and period style movies, the same one somehow hidden behind a scene of highways filled with literary ‘millions’ of cars and landscapes of skyscrapers competing with each other- somehow lived within her and shaped the very way she holds the cup, the times she chooses to filter the tea, the seconds she waits for the tea to release its flavor.

Drinking tea at our studio
“Five seconds exactly,” “The first time is the ‘waste,’” “You clean the pot and the cups,” “There are four ‘tao’ or times you filter the tea,” explained Zai Zhou to me during an improvised tea ceremony at one of the CAFA studios. He is also a second year graduate student and my studio mate for the last five weeks in Beijing. “You have to taste the tea with the back part of your palate” Zai Zhou instructed me so that I could taste the transition from bitter to sweet. “For older generations the tea had more meaning.” He also explained to me that due to China’s rapid economic growth and globalization in the last years, it has created a gap between older generations and young Chinese people, conflicting over contrasting values. During one of our many hour-long taxi drives to the clay shop (my ceramic sculpture exploded into 20 pieces in the kiln 5 days before our exhibition!), Zai Zhou shared with me that these scenes of contemporary China inspire him to create paintings that show ‘the invisible truth behind’ through humor. I was very excited to find that our art had some points in common and also to learn more about how Chinese people perceive art and the world around them.

My studio mate Zai Zhou

Clay shop one hour away from Beijing
Although, I still find myself puzzled about Chinese modes of communication and humor, I am starting to tacitly understand some of its elements. I am curious about how it is understood specifically in each culture by the collective mind of their people, to understand the role it plays in communicating concepts, showing the truth and making statements relevant. Due to the language barrier, humorous situations have been the ‘pain quotidian’ of our trip.
Glazing my ceramic pieces
Clay figurines in progress
English is not my first language, so I am used to a certain amount of conversations getting lost in translations. Being in China multiplied that experience exponentially. I wonder every time I go to a store what do Chinese people think of me when I stare at them perplexed trying to figure out what are they saying. I think as much I vo-ca-li-ze my words it doesn’t help. I have resorted to use all the expressive skills my very histrionic Latin mum taught me and talk with my hands. I often feel like Cai Honping, the ‘Chinese Susan Boyle,’ when at the China’s Got Talent show she forgot the lyrics in Italian from the famous song Nessun Dorma and substituted them for the songs she sings at a Shanghai vegetable market where she works: “Chicken leg, chicken wing/ Duck leg, duck wing/Carrots, tomatoes and green onions…/Come and get green onions for free!”

Funny restaurant names
This is what I have learned about myself in this trip to China: to laugh at the detours of life. Beijing has exceeded my expectations and helped get the best out of me. I am going back to NY with an extra suitcase filled with art supplies, souvenirs and a broken project. I am also taking back a heart full of memories and friendships I will never forget. It is hard to condense everything I want to say about China in a one page word document but I will stop or else I will end up turning this post in for the Residency trip of 2016!

Xie xie and Green Onions for Free!! 

At our exhibition opening

Emily Davis Adams – Dumfries Residency

Emily Davis Adams (MFA 2011, Fellow 2012) just completed the “Dumfries House Residency,” at Dumfries House, in Scotland. Dumfries House was built between 1754-1759 for the 5thEarl of Dumfries, and is set on 2,000 acres of land in East Ayrshire, Scotland (about an hour’s train ride South of Glasgow). The estate’s principal rooms and their contents have remained almost completely intact for 250 years, leading to a description of Dumfries House as “an 18th century time-capsule.”

The residency is awarded to a very select group of artists by the Royal Drawing School in London, and its international partners (including the New York Academy of Art). It provides a private studio and accommodation on the Dumfries House estate for up to four artists at a time. It is a unique opportunity for artists who use drawing in their practice, and emphasizes working from observation and the development of new work.

Below, Emily talks about her experience at Dumfries House, and the evolution of her work since the Academy.
Can you describe the setting?
The region is a combination of pastureland (lots of cows and sheep), forested areas and small towns. The estate had been abandoned for a long time, but Prince Charles recently took on its restoration and revival, and it has recently re-opened to the public. There is still quite a lot of work being done – for example, I watched a large maze being built in the earth near my studio building. The buildings are all relatively close together, but the rest of the estate spans several hundred acres of small paths, through gardens and forests and streams. It’s such a lush environment, I felt like I grew extra green receptors in my eyes!
A Path on the Estate
How did the setting influence your work during the residency?
The green was infectious, which caused a bit of confusion at first – I’ve basically been working in an expanded grey scale for coming on two years now. But it was a welcome change. I had made several rules for myself to abide by during my stay in order to both stay focused and use the time to experiment with my studio practice. One of them was to work from life. So for a while my studio was filled with pieces of moss and lichen covered branches and stones. I brought every green in my arsenal of paints, and my viridian and hooker’s green were no longer extant by the third week. I did a lot of painting outside, which was definitely a change from my norm. I fell in love with a stump, and made a lot of quick watercolors of it. It was uprooted, on its side, sawed off—really pathetic—but with life just springing from its every orifice. Ferns, moss in every shape and green, mushrooms, you name it.  I took a lot of photos in addition to my sketches and have plans for a big painting at some point in the future. I spent the final week returning to my grey scale, but with a new perspective.
Close-up of Emily’s Palette
The residency is geared toward “drawing based” work – can you describe how you use drawing in your painting practice?
I guess I’m not always entirely sure where the line is, pardon the pun, between drawing and painting. Most of my work these days has been on paper, typically watercolor and/or gouache, and I use graphite pencil for sketches when I’m trying to work out a composition or idea.







How has your work progressed since your NYAA postgraduate fellowship?
“Buttonwillow” – from Emily’s NYAA years

Moss Covered Specimens in Emily’s Studio
During the fellowship my paintings were mostly boiled down interpretations of places I’d been or lived in, like views from the highways of California, or the brick wall and roof outside my window in Brooklyn. They were all in oil and using the conventions of landscape by showing both sky and ground, with an actual or implied horizon line.  Since the fellowship, I’ve started working a lot on paper, and started looking downward at my subject matter, getting rid of the horizon line and dealing with a more overwhelming space that doesn’t really let you out and doesn’t give you the relief of vast receding distance. I felt like the blue skies and atmospheric perspective were too easy, too pleasing, and I was trying to get at something more challenging. I’ve been working a lot with surfaces that have a human history in them (or on them), like sidewalksand studio floors. Most of the subjects have been flat, but I’ve also made paintings of objects from the ground—that also have a human story—like a piece of trinitite from the atomic bomb test site, and the boulder from the artist Michael Heizer’s work, ‘Levitated Mass’. My newest big project has to do with footprints left on a clay tennis court after my partner and I played a game. I’m terrible at tennis, by the way, but I thought the record of the game on the ground was good stuff for a painting.
View from the Studio Window

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St Peterburg: A Spiritual Labyrinth

By Magaly Vega-Lopez (MFA 2016)

Today I write a story, without much to say, like a room full of forgotten memories: an irrelevant story, the kind that doesn’t stay for long time. A static story, where the dust keeps accumulating and the insects fly with apathy.

I start this story, on a rainy summer day, that type of rain that does not soak you; it just creates a desire of cleanliness that perhaps would never occur. So, you start your journey looking for occasionally refuge in street alleys whose existence you did not recall, you immerse yourself in the city and you start to forget the main avenues, you stop seeing the beautiful ornaments that embellish the buildings and you exchange the powerful façades with windows falling apart and rusty irons that at some point were marveled at by curious child. The rain falls slowly in this city obsessed with the accumulation of unimportant objects. Like this sad story, hundreds of banal objects are on display in old showcases, observed objects by millions of souls that no one would remember; objects without any practical function, some less dusty than others, one thousand different materials and without any clear message to give except the awareness of how meaningless we are.

And like a cheap magic trick, your soul is worthless compared with a 70’s soviet toy; soviet in the terms of fairytale where instead of seeing some rotten plastic by the sun, you see the possibility to connect with a world that will never belong to you. Soviet tools, soviet glasses, soviet bottles, soviet paperweight, soviet mold, soviet deleterious vapors, soviet dreams rooted to plastic spoons that one day someone would tell their grandchildren about the era he never grew up in but they would be convinced of the contrary. And his grandchildren would tell the fantastic stories with such certainty about their soviet grandpa that use to be young at the beginning of XXI century until the day that someone would destroy their wonderful memories with a simple world history book. That is the moment when you create the illusion of going back home and tell all about those stories that never exist, discovering useless objects that maybe you should buy. Meanwhile, you keep your breath away from the sulfuric, dense air, you remember the last days where you imagined all those princesses with huge dresses running through the millions of hallways in a palace where the opulence falls in the grotesque.

You recalled the one and thousand rooms without any purpose, where you can pass months without finding the exit or any other broken soul in the way. You inquire if in those small windows one could contemplate the ancient woods where you can find those monsters that crawl into your nightmares. You wonder if in this shiny palace there a way to find a cosmic connection, elevate your spirit to such a level that would not be necessary to create artifacts to land to the moon. Suddenly, you realize that for those princesses one palace was not enough, so you start doubting if they had the enough time to explore all the chambers of those palaces built by their parents, between extravagant hairstyles and dresses that were the home of more than one crawling creature, the simple idea of running princesses make you laugh.

After a short mind absence, you are still there in the antique shop where a rotten pot has an exorbitant price but as soon you leave the place, you are paying 75 rublos (1.50 US dollar) to see some domestic porcelain, that kind of porcelain that reminds you of your grandma’s house. The same that reminds you of the worst nightmares, your childhood is back when if you dare to look such fragile ornaments, they would break apart and that would mean, hours of insufferable labor work or just staring at a white corner for hours. And there you are, at your adult age paying to see the similar porcelain that you used to hate and you wish to destroy right now with your bare hands. You limit your thoughts by looking to the wonderful painted ceilings and you wonder again, where are hidden the treasures that enlighten our spirits? How do you give any importance to your spirit when the world is collapsing?

You try, in the middle of the city where the palaces vomit gold and the neighborhoods spit the excess of filthy odors, to find sense and try to not drown yourself in a canal, questioning the necessity of becoming another person creating obsolete objects.


You try to decide whether or not believe in daily miracles or give a chance a throw a coin in a rebuilt fountain or pray in a church which for decades was a milk factory, meanwhile your small and fragile mind tries to comprehend how a city relatively young has been modified so many times in order to fulfill its masters’ desires that makes the city something so unique. Because how many places do you know that they build thumbs in the form of churches, or they build churches that had never fit that purpose, where in decades they destroy all the churches and in less than one they rebuild them and make bigger and more powerful ones, where the city is consider beautiful not because their Russian roots but because it resembles some city from Europe, where you pay the same price to see some old unimportant porcelain and some da Vinci masterpiece and where you pay to enter a cemetery where you start a conversation whether Tchaikovsky or Dostoyevsky is more important, and at the end you wonder why no one ever mentions Tolstoy. There you are with all your hopes to find something truthfully magic, without any kind of tags or wondering if it is old or not, you just want to marvel of that far away land that dreamed when you were a child, a place where you can feel that you are not so worthless.

Standing on a roof you observe the city, with a brilliant effort you start to recognize the original buildings and the ones recreated recently, the eternal sunset penetrates that soul that you thought was in danger of extinction.

You imagine the extraordinary live of the whimsical clouds traveling as fast as they can telling the stories that not even your ancestors heard and then you walk into a non-particular room, your eyes glow and everything makes sense. Your spirit at last is been fed.

Altos de Chavon: An Open Mind is Essential For Growth

By Sarah Novio (MFA 2015)

This is my second week in Altos de Chavón, and I am amazed how beautiful this place is! Jess Leo (MFA 2015) and I arrived during Alex Smith (MFA 2015) and Andres de la Torre’s (MFA 2015) last week of their residency. They helped us get acclimated to the new environment, taking us on various day trips and giving us advice based on what they experienced here. It was comforting to see their familiar faces.

Now that Alex and Andres have left, I am excited to see how our residency will differ from theirs and how Altos de Chavón will affect our work. Jess and I will no longer be teaching separate classes like we thought. Fortunately, we were able to plan a one-week intensive workshop scheduled for next week combining painting, collage and woodblock printmaking.

Since neither of us have done it before, Jess suggested to recreate one of my collage paintings into a woodblock print. So far, I have drawn the image on to a block and carved into it. I can’t wait to start printing! The scenario forced us to backtrack, but it forced me to be more open-minded about the outcome of my work.

Lenin’s Body, Space Dogs, and Saint Petersburg

By Lowell Poisson (MFA 2016)


Urban exploring is always a freeing experience, a new place with mystery and questions and excitement. The abandoned escalator was what the group needed, a break from museums and cathedrals and large throngs of zombified tourists. Climbing over broken concrete and fractured steel is always a rush, maneuvering through piles of broken glass and getting some good views. The structure, being weathered by human neglect and nature, always brings up moments of calm amongst a situation of chaos.

But unlike the crumbling neglected escalator once used by many and guarded. Lenin’s body is an odd sight to see. Not that it is amazing or anything special, it is just a comically dark sight to lay ones eyes upon. Matt suggested that we go and check this out. I did not know what too expect out of this experience, but little did I know…After waiting in a somewhat long line for about 30 minutes or so passing through metal detectors and a backpack screening and stern faces of the guards, it started to seem more like a very grim Disneyland ride. We entered a marble crypt environmentally controlled, bringing to mind something like a giant vegetable crisper to keep him, Lenin, as fresh as possible lest decay really take hold of the nearly century-old corpse. As we entered I turned to Magaly to ask…and was immediately quieted by the guard watching over his body and asked to take my hands out of my pockets. As I looked at his surprisingly pink corpse somewhat flattened with time adorned in a lavish casket one hand in a fist the other laying flat and calm; I started to ask myself: Did he really want this done to himself? Who is the poor sap that has to clean him? Is that actually his body? Why is he so pink? What does this accomplish for anyone?
Later on we took a visit to the Russian space museum. Seeing what the space race began with was interesting insight to where we are today. As I stood Gazing upon the original Sputnik 1 that launched in 1957 and thinking about and the storm that immediately followed creating the American Sputnik crisis. I realized that this right here is one of the turning points in human history. Where we are today was literally launched with this metal sphere. A hunk of flying metal intricately engineered by the knowledge of man created a fear of fellow human beings. This term was coined the Sputnik crisis, and with this our government created NASA, ICBMs, chicken that comes in tubes, astronauts, and tin foil hats.  And a fear arose of who would be the world super power, an arms race began, and the Cuban Missile Crisis sent a fear through humanity that global catastrophe could happen. And there is still residual fear of this, as we have stock-piled enough ICBMs to create our own mass extinction twenty times over. It is quite a curious thing how we humans can take such amazing and mind-opening endeavors and then churn them in to a loaf of fear to consume and get always, perpetuating the idea that we are always up to some sort of evil. Why must the glass be half empty?

Laika and Strelka the Soviet space dogs, stuffed and on permanent display.

  
Onward our group traveled, seeing onion dome cathedrals and icons, beautiful Russian art through a haze of Moscow cigarette smoke. I love this place!


We met up with our awesome professor, Chea, and soon after we where boarding a tiny cramped train bound for Saint Petersburg that smelled of B.O. and black tea. Cold beers were a must on this journey. We were taking the night train, chasing the sunrise that starts at 2am because of the higher latitudes that we were traveling towards. I lay in my bunk watching the trees pass, bathed in the light blue glow of the never-setting sun, listening to the murmur of the train and the occasional snores of my fellow travelers, and suddenly I awoke in Saint Petersburg. Sharing some super tight quarters with fellow travelers and Ruskies was great!

 

Later I greeted Saint Petersburg with a proper sunrise! Climbing up on some rooftop at 3am with guide Nikita and a fellow explorer, we looked over the canal. I sat there till 5am; coming back down from being on top of a beautiful city was a difficult, but that day we were going to The Hermitage Museum, so more fun was waiting down in the city that I was just admiring from above.

 

Impressions of Istanbul

By Leonid Lerman (Academy Faculty)

Leonid Lerman serves as adjunct faculty at the New York Academy of Art and participated as the visiting critic for the Academy’s Istanbul residency this summer.

Image courtesy of Austin Lopez

I’m not much of a blogger, but feel like briefly sharing with you some of the impressions of the last few days. I’m slowly falling under the spell of Istanbul – walking a lot every day through the labyrinths of the small streets – I feel myself inside of a living sculpture. The experience reminds me my youth, spent in Odessa, life in the presence of a sea, lots of sun, great food and loud, happy and generous people. Nostalgic…

Two days ago spent an afternoon at the Istanbul Modern. Walking out at the end of the day I saw a large crowd of a young people listening to a man, speaking English with a heavy accent. Coming closer I recognize Slavoy Jijeck, cultural philosopher, speaking on many subjects, including art and politics. It was great, unexpected and very entertaining.

Yesterday at breakfast bumped into two Italians on the way to India, one of them a filmmaker. We shared a meal, had a wonderful conversation and parted friends. Why, it feels so good to see such down to earth, authentic people that you connect to so easily.

I’ve seen a lot for the last three days and looking forward to see and experience more…

Who knows what may come out of it… Not thinking about it but keeping my eyes, ears and mind open…

Will meet Daniel and probably some other students later today, in the afternoon. Time to fulfill the duty, but I’m looking forward to that and will do it with pleasure!

Till next time,
Cheers,

Leonid

Captivated by Istanbul

By Austin Lopez 

Whether it is making friends at cafes, seeing historical structures, visiting museums and galleries, or creating art at Mimar Sinan, the residency here in Istanbul has created a source of inspiration in me that could last a lifetime. 

Just for an idea of a typical week, I will describe this week so far. 
Sunday I had the usual çay (tea) at a cafe and made a new friend there after I had sketched him. Later that day I went to the palace and harem of Istanbul, which is exquisite.
Monday after our day at the studio, we went to the Grand Bazaar and did our best at bargaining there.

Today we visited Hagia Sophia and were amazed by the architecture and grandness of it. After our visit to Hagia Sophia we met with our New York Academy of Art visiting professor and artist, Leonid Lerman. Leonid viewed and critiqued our current works and later visited a few galleries with us.

 

Tomorrow we will visit a few more galleries and museums after our studio hours.

Each day here is so different from another!


Next week is the last week of our residency and we will spend it at our host, Ali’s house in the beautiful island of Büyükada.

Though our residency is nearing its end, Jaclyn, Tatiana, Simon and I can easily agree that Istanbul is a captivating city we feel grateful to be in.

 

Beijing Residency: Inspiration Right Around the Door

By Benjamin Craig (MFA 2016)

Inspiration is right around the door from my studio here at the Central Academy of Fine Art. I’ve spent a good deal of time walking around the CAFA Art Museum looking at the current exhibition. I find myself amazed by the wide variety of student work displaying the best of each department here at CAFA. I hope to go back once more before heading home to New York, because it’s very inspirational to view the work of other students. This show definitely sets the bar high and gets me excited for my class’ graduation show next summer.

“The Start of A Long Journey – 2015 CAFA Excellent Graduation Works Exhibition” is the seventh round of the project which started from 2009.

As a major exhibition of the year, the exhibition features the selected works of 146 graduates of the master or bachelor’s degree from the School of Chinese Painting, School of Plastic Arts, School of Experimental Art, School of Design, School of Architecture, School of Urban Design and School of Humanities, through a strict academic assessment and careful selection. All participating students are highly innovative and curiosity, not only the graduates of CAFA, but also the hope for the future development in Chinese art circles. Through these works we can clearly see the current standards of teaching of CAFA, as well as the achievement of the stage.

“The Start of a Long Journey” has attempted to boldly breakthrough the traditional inner exhibition mode of an academy, after seven years of developments it has been successfully extended to the whole country, and becomes an important brand of academic exhibition of CAFA. 2015 is the first year for CAFA to bring about a comprehensive exhibition of “Graduation Season,” in a panoramic way it showcased the achievements by the graduates from all the disciplines at CAFA.

Text by Yu Ya, translated and edited by Sue/CAFA ART INFO

The following photos are of the CAFA Art Museum and current graduate show.

From Russia with Love

By, Matthew White (MFA 2016)

Our time here in Moscow has been quite a trip! It seems only a couple weeks ago that we arrived in this mysteriously orthodox city. Our days have been filled with plenty of sight-seeing. Stunning architecture, such as the “onion domed” churches, seems to lie around every corner. And centuries old palaces like the one at Kolomenskoye, where President Putin spent his childhood summers.

In addition to this amazing architecture, we’ve also been exposed to some great art at museums like the Pushkin Museum and Tetryakov Gallery, where we’ve discovered some great works of Russian art.

But with so many sights, it’s important to take a break and relax a bit like the locals. Yes, we’ve had a few drinks here in Moscow. On one evening, our hosts took us to a rooftop party with pyrotechnics, kindly celebrating American Independence Day, which happened earlier this month.

Another popular pastime in Russia is ping pong—what fun!

Contrary to popular belief, Muscovites are really very warm and friendly people.

Moscow is a very beautiful city and the people, extremely kind and welcoming. Our guides Sonia and Masha have been extraordinary, introducing us to their many friends and revealing the special places in Moscow that they love. We’re so grateful for their hospitality and for host Nikolay Koshelev for arranging our stay and studio accommodations. Spasibo!

Visit to Artists’ Studios and Museums in Istanbul

By Simon Ramirez Restrepo (MFA 2016)

In conjunction with studio time, Ali has been giving us private tours of Turkish artists’ studios and museums. His visits have been enriching and engaging. The conversations have been related to Turkish social climate in relationship with art, politics and religion. Each visit has been unique to a particular artist but the conversation tends to go back to politics and social structure and the fact of making art in that particular context.

The art world in Turkey is young and evolving. Historically, most art collections have been in the hands of the elite. However, within the past years these families have started foundations and museums to make art more accessible to the public. Although these museums are young, the push to expose a variety of artists has created an interesting conversation with the rest of the art world. Pera Museum is great example of Turkey´s evolving culture. The museum’s permanent collection consists of Turkish craft antiquities (ceramics, jewelry, furniture, porcelains, etc.) as well as 19th century paintings, which exposes Turkey’s switch to a more secular acceptance. The juxtaposition of the permanent collections to the revolving contemporary exhibitions further exemplifies Turkey´s desire to be a part of the global art conversation.

Didem Unlu´s studio

Beysa Boynudelik´s studio

Sultan Ahmed III Receiving a European Ambassador, Jean-Baptiste Vanmour. Oil on canvas, 1725. Pera Museum
Tortroise trainer, Osman Hamdi bey. Oil on canvas, 1906. Pera museum. 

Grayson Perry´s exhibition at Pera Museum