The Marathon, offered with concentrations in drawing, painting and sculpture, is an intensive, all-day program that is held in the first two weeks of the semester. Marathons are taught by NYSS faculty and visiting artists who are present for the entire two-week session. In a concentrated period, students are forced to confront and resolve the problems of drawing/painting/sculpture. This proves to be a demanding yet rewarding introduction to the challenges faced throughout the rest of the semester.

Drawing is an integral part of the education at the School. It is approached in a unique way as a means of understanding perceptual consciousness with regards to scale, spatial geometry, and the nature of mark-making. It is expected that whatever direction a student may wish to follow, they will take part in the essential experience of drawing in order to gain the visual literacy and insistence on clarity that it can promote.

Each drawing course reflects the contemporary and individual approach of the artist teaching. The essential premise is that drawing is an indispensable stimulus to seeing.

The Studio School operates under the Atelier system, where students work closely with two faculty members for the duration of their program. All Ateliers include one-on-one meetings as well as group discussions and critiques. There are varying approaches to philosophy and teaching strategies, which may include working from perception, working from invention, or working abstractly. When perceptual practice is emphasized, faculty may create elaborate arrangements centered either on the figure or on the still life, which students can work from for either one session or perhaps several weeks. Models are an integral part of many aspects of the program. The plastic principles developed through observational work may serve as a point of departure for explorations into the limitless possibilities of painting. The emphasis and approach of each Atelier are outlined in the syllabi, enabling students to choose the Atelier which aligns most closely with their interests.

All Ateliers include critical discussions in which students articulate their intentions, analyze their own work and the work of their peers, and learn to see their own work as part of the continuum of the history of art, from the contemporary to the ancient. Visiting critics provide important feedback and perspective. Weekly critiques occur throughout the semester, culminating in the end of Semester/ Final Critiques. Critiques are held regularly by faculty and visiting artists, either on an individual or group basis. Students are also encouraged to critique each other’s work, in order to gain the confidence of their own artistic conviction.

The Sculpture Atelier, the core of full-time (MFA or CFA) study of Sculpture at NYSS, consists of two independent and complementary courses, taught by practicing sculptors. The Sculpture Atelier and department meld the continual experience of making with materials, with reconsidered and revitalized approaches to observation, and absorption – directly and through images and field trips – of past and current sculpture: being invigorated and interested in contradictory legacies.

The Sculpture Atelier offers a range of approaches presented by the two instructors: from direct work with materials which develop ideas and narrative through process; to working through a range of ways to consider, to observe, to know a source. From a body or a spatial set up, observational practice is both exercised and challenged. Classes frequently start with discussion of images, readings, and topical exhibitions. Focused group projects are unique to each semester as hands-on research of a broad view of sculptural approaches, principles, and motivations. Concurrent is independent studio work. In the studio space, the Atelier supports and expects individual development which is driven both by questions and the flux of realization. As students progress, the program is increasingly structured around the work being done in the individual studio. Regular critiques are attended by the whole department and visiting artists take part in the end of semester critiques, and also visit throughout the year.

There is daytime access to a clay-oriented studio, a wood shop, areas for mixed media work, welding shop, kiln, and on-site support from highly knowledgeable staff. Each semester begins with a 2-week Marathon which can be explored in drawing or sculpture. Evening & Weekend classes may be added as electives for the full-time program, and Drawing courses are required for all full-time majors at the School.

Critiques are a regular part of the School’s curriculum for all programs, both full- and part-time. Critiques fall into two main categories: those done by the Atelier Head or Instructor, and those conducted by visiting faculty and artists.

Critiques can be held on a group and individual, formal and informal basis. Marathons can feature individual critiques with the relevant instructor during the course of the program, and end with a group critique. For full-time programs, group critiques are often held by the Atelier Head in conjunction with a visiting artist or other faculty member.

Students who are enrolled in the MFA program participate in a Final Thesis Critique during their last semester. This panel is comprised of the Dean, another member of faculty and two or more visiting artists and critics. These critiques are scheduled on an individual basis prior to the Thesis Exhibition.

This twice-weekly series provides an inclusive, thought-provoking platform for the NYC arts community to learn, exchange ideas, thoughts and perspectives on the visual arts, offering a live form of art education with engaging speakers and imaginative content. A core part of our innovative curriculum, the Evening Lecture Series offers NYSS students an invaluable real-world complement to studio and classroom studies, while furthering the School’s noted tradition of live presentation and informed debate. Students enrolled in the MFA Program are required to attend all Evening Lectures.

Students are expected to commit to working in unsupervised sessions during part of the week, as personal visions are strengthened in tandem with the more structured approach of the ateliers.

As students progress through the various programs toward completion, working independently becomes a crucial aspect of their individual development as artists.

The Critical Studies seminars are group sessions, led by a recognized working art historian and critic. Seminars are divided over the two years into specific topics, with the first year concentrating on historical contexts of criticism and contemporary practice, and the second year focusing on more independent study topics and research, culminating in the production of a thesis statement in the final semester.

Students are expected to compliment the critical studies seminars with their own objective comment, based on outside reading as well as visits to concurrent museum and gallery exhibitions.

Over the course of the MFA program, students work on an increasingly independent basis to develop their final thesis exhibition through to its fullest expression, culminating in a body of work that represents a distillation of their time at the School.

As a supplement to the visual work, students also submit a companion thesis paper. This serves to support, explain and justify the ideas, processes and objectives of the final thesis project. The completed thesis work will be formally reviewed by a panel at their Final Thesis Critiques. Students develop ideas for their final Thesis Project during the latter part of their first year. Thesis Proposal forms are collected from students during their third semester, and throughout the last semester, students are continuing to work on their visual work as well as the supplemental written thesis.