Profiles of Contemporary Art and - ARTisSpectrum

Being asked to write on the importance of art education could raise many issues to address in the field of contemporary visual
art but what first comes to mind is the relevance of the question. Why would any artist or art student question the value or validity
of an education in their field of endeavor? Having been involved with the Art Students League for over thirty years and in the role
of Executive Director for almost 10 of those years, I’ve watched countless art students come through the League’s doors to avail
themselves of an education driven by their own commitment to learning and exercising the discipline, patience and persistence
it takes to build their skills and visual acumen. There was never any doubt expressed as to the necessity or the value of their
experience. So why do we need an explanation?
I have always held to the understanding
that art, specifically visual art, is a
language. The evolutionary thrust of
the human race has been fueled by its
ability to communicate. Language is
the means to arrive at truth and reality.
Verbal language describes and defines
our thoughts and observations. Mathematics
is the language of science and
logic. Art is the language of perception.
Its grammar is founded in design. Its vocabulary
is based in form, and color. Art
bears a rhythm and cadence that makes
the viewer aware of something words
do not convey. It makes tangible our
awareness. If you explore the surface of
a great painting, there is complexity and
intelligence evident in the arrangement
of paint strokes yielding shapes yielding
metaphor yielding ART. If one wishes to
devote time to understanding and creating
art, then, as sure as we have to
learn to read words before we can write
them, we must be equally literate in the
language of art before we can set out to
create visually with intelligence.
I first came to the League to study over
thirty years ago, studying drawing with
Robert Beverly Hale who was somewhat
of a legend at the League, famous for
his lectures on anatomical drawing and
analyses of drawings of old masters. I
was tending bar at night and all I wanted
to do was learn how to draw as a foundation
for learning to paint. I was determined.
I was also aware that lacking any
experience in painting or drawing (I had
been involved with photography, hence
my penchant for visual art), this process
was going to take a long time before any
proficiency would be achieved. The class
met 5 afternoons per week from 1:00 to
4:45. Mr. Hale came in to lecture Tuesdays
and Thursdays. Mondays, Wednesdays
and Fridays we just drew from the
model. The posing schedule was always
Current League instructor Michael Grimaldi demonstrating figure painting for his class
the same: The first half hour the model
would hold 10 one minute poses followed
by 3 at five minutes followed by a 5 minute
break. The next pose would last for 10 minutes after which there was one for 15. The third half hour was occupied by a 25
minute pose after which there was a 20 minute break, another 25 minute pose and the final pose lasted for two 25 minute sessions.
When Mr. Hale came in to lecture, he would discuss and demonstrate a specific area of anatomy; upper and lower arms,
hands, legs, the torso, head, etc. As he talked he drew the articulated anatomical sections he was discussing in charcoal on a
18 ARTisSpectrum