Comments on: The Continuous Mark: 40 Years of the New York Studio School https://artcritical.com/2005/02/17/the-continuous-mark-40-years-of-the-new-york-studio-school/ Mon, 17 Jul 2017 20:05:00 +0000 hourly 1 https://wordpress.org/?v=5.5.3 By: marjkramer https://artcritical.com/2005/02/17/the-continuous-mark-40-years-of-the-new-york-studio-school/#comment-355987 Mon, 17 Jul 2017 20:05:00 +0000 http://testingartcritical.com/?p=659#comment-355987 The NYSS was everything an art student could wish for, at least in the early days which is all I know. (60’s and 70’s) Giacometti !!! and Hans Hofmann !!! actually visited in the evening with Mercedes and looked at my!!! and other student’s work The whole art world, which admittedly was smaller then sooner or later came into the school. Going there inspired us all to work hard. The Studio School was fun, student-centered and open-ended as an institutional structure but very clear and rigorous about drawing, painting and sculpture. Students felt we could shake hands with Giacometti, Derain, Matisse, Cezanne ,Poussin,Piero . Thanks for a beautiful study Jennifer.

]]> By: Poul Nielsen https://artcritical.com/2005/02/17/the-continuous-mark-40-years-of-the-new-york-studio-school/#comment-246872 Mon, 22 Dec 2014 02:24:04 +0000 http://testingartcritical.com/?p=659#comment-246872 Studied at the the studio school from 1968 to 1969. This was an exciting time for a 20 year old from the small farming
Community of standard, Alberta, Canada. Although I had previously acquired a BA in studio from the Univ. of Montana.
I worked with George McNeil, Milton Resnik, Philip Guston and Alex Katz. George McNeil essentially took me under his
wing and truly inspired me and I remained in contact with him for many years . I recently retired from Medicine Hat College
In Medicine Hat, Alberta where I am a founding member of the dept. of Visual Communications. I have exhibited extensively internationally and feel that my experiences at the studio school were essential to my commitment to the visual arts. It
really wasn’t until years later that I realized the full significance of the artists that I had the good fortune to work with at
The studio school. This school is still a breath of fresh air when one considers the preponderance of conceptualism
and ideational based work. Thank goodness for Mercedes Matter and her high aspirations to create a great art school!!!!!

]]> By: Arlene Distler (Friedman) https://artcritical.com/2005/02/17/the-continuous-mark-40-years-of-the-new-york-studio-school/#comment-6888 Tue, 24 May 2011 22:12:05 +0000 http://testingartcritical.com/?p=659#comment-6888 So sad I missed this show! I was a student there for what was apparently (I didn’t realize!) the first year of its home on 8th street.

What an exciting time! I loved all my teachers — Estaben Vicente was so old-world charming and astute, as a teacher. Milton Resnick was probably my favorite, aside from Mercedes. His passion for paint just gushed out of him. His vision was luminous, monolithic, no hard edges. He was always taking a rag and wiping away painted distinctions that detracted from the impact of the whole.

Mercedes was such a mother hen…..we were so happy to be her chicks! She had guts and knew what she was about and what she wanted from her students. She was invaluable as a teacher.

I have four grown children, still manage to paint some, but mostly write art criticism with a desire to open up the reader, educate. I publish in regional and national publications…mostly Vermont and New England.

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