Studio Portraits: Adam Cross (MFA 2014)

Adam Cross, Class of 2014

Studio: 2nd Floor

www.adamcrossartwork.com

THOUGHTS BEFORE THE FIRING RANGE

Uttering the words “mid-year critique” in early December to a second-year student is likely to induce an excited and petrified reaction simultaneously.  Can you imagine the courage it takes for a student to stand in front of an audience of their peers with their work as a backdrop explaining their intent and point of view to a group of esteemed faculty and visiting critics including Alex Kanevsky in under a minutes or less?  Sprinkle in the Dean of Academic Affairs, Peter Drake, Academy President David Kratz and you have quite the all-star squad ready to not only challenge and question the student’s techniques but the success of their outcome. Staying present during this fifteen minute critique is no small feat, especially with the camera rolling and recording every word.  However, beyond the fear and vulnerability lies inspiration that creates the space to expand and grow.

In this blog post, Adam Cross (MFA 2014) shares his experience:

From the moment I stood to present my art pieces, I began to feel a sense of relief.  Soon this public review of my work would be over, and at least now it had finally begun. All of the hard work, preparation, and anticipation for this event – the Mid-Year Critique at the New York Academy of Art – was under way.

 As silence began to fill the room, I was given the floor to introduce my work, and suddenly became fully aware of the fact that I now had the attention of the entire audience.   As I let this realization sink in, I skimmed the assembly I faced.  The first row of the all-star crowd staring back at me represented my critics – esteemed and admired professionals of the contemporary art world who were among my favorite living artists.   Beyond that sat my colleagues, an equally talented and inspirational group of artists, possessing sharp minds and skillful hands.  My fellow classmates were also capable of sophisticated critical feedback – evidenced by numerous faculty and peer discussions of each other’s works throughout the semester – but were resigned to remain silent this time, as they were not permitted comment during the Mid-Year Critiques.

Looking out, I pondered what an honor it is to be counted among these peers with this unique chance to receive comments from such a talented and accomplished panel of reviewers.  Once I introduced my work, and was able to say mostly what I had intended, it was now my turn to listen. Having talked with alumni of their experience “before the firing range,” I was told the experience was for most people like a “black out” and would be “over before you realize it.”  However, for me, it was just the opposite.  I felt as if I was wide awake for my own surgery, but rather unlike being under the knife, it was relatively painless.  Although difficult at times to remain quiet, I knew from past personal experiences that being defensive would be selfish, senseless and only rob me of valuable expert feedback.  What my critics offered was their fair, insightful and, sincere reactions that I feel so fortunate to have received.  As difficult as the truth was to hear, the honesty they provided will help to shape me as an artist, enabling me to create the best work I am capable of producing, and I know this was their goal.

To learn more about Adam and his work visit: www.adamcrossartwork.com

Interested to experience mid-year critiques for yourself?  Find past critiques on Academy’s Vimeo channel.

Giverny, Giverny, Giverny…you can certainly hold your own: Giverny 2013 Residency, Part 1

By Shannon Kenny (MFA 2013)

August 10th, I arrived in Paris to meet with the Chilean women of the group, Alonsa and Daniela. We succumbed to the forces of the infamous Sennelier Store, almost in tears as we left, not because we were sad, but because we were persuaded by our worse judgment to buy way more supplies than necessary.

 

Then, as the weekend was over, we boarded a train to Vernon, a neighboring town just outside of Giverny. As we stepped off the train, we were surprised to find that the other Academy students had been riding along in the same train. This was the first inclining as to just how small Giverny was.

As we walked the platform, we were greeted by two lovely women who ran the program at the Terra Foundation. They then took us to Giverny: the town that encompasses Claude Monet’s house, his private gardens, the Impressionist Museum, and an overabundant supply of beauty. Have you ever heard the saying, “when everything is beautiful, nothing is beautiful”? That’s how some of the residents began to feel. Immersed in Giverny’s encompassing beauty, everything began to mesh together.

 

 

Several after-hour trips to Monet’s gardens gave us an insight into Monet’s painting practice. He created his oasis in Giverny, and over the past two weeks, we got to experience a small part of that dream. We even befriended the head gardener, whose responsibility is to maintain what Monet created over a century ago. He even joined in on the painting while Daniela gave him an unofficial private lesson.

 

 

 

It’s funny, going to Giverny, the eight residents felt the historical burden of all the world-renowned paintings that were born there and the numerous painters who have worked there over the decades. Thus, we all felt that we should give plein air painting the good ole’ try. After being immensely frustrated, many of us realized that we didn’t have to paint like Monet because we were in Giverny. What we needed to do was let that environment influence the work that we already did—let it inject itself into the work that is ours and ours alone.

 

 

Once that pressure melted from our shoulders, the work began to explode, and with only two weeks, we definitely broke some boundaries within our painting practices. For me, in particular, I felt like I went off the deep end, but in a good way. I would begin paintings from life or sketches done in the garden, and then I would let my imagination take over and empower my hand.

 

 

Who knows if what I created is ever going to see the light of day, but my time there helped me to loosen up and really dive into my painting practice. After graduating, and two years at the Academy, you find yourself wondering…what now? I think Giverny gave me a clearer idea as to where I want my work to go, and for that I am ever grateful.

 

 

That place is magical; it’s a painter’s oasis, and if you ever have the chance to experience its wonder, don’t let that opportunity slip from your hands.

Giverny allowed us to create art and art alone. It gave us the freedom to do what we love without the worry and burden of everyday life. Its culture, its beauty, and its charm have changed the way we see. I have also left with friendships that are much stronger than when we first stepped off that train.

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On August 12, 2013, eight Academy students arrived in Giverny, France, to start a two-week residency hosted by the Terra Foundation forAmerican Art-Europe.  Jessica Benjamin (MFA 2014), Adam Cross (MFA 2014), Alonsa Guevara (MFA 2014), William Logan (MFA 2014), Shannon Kenny (MFA 2013), Daniela Kovacic Muzio (MFA 2013), Kerry Thompson (MFA 2014), and Stephen Vollo (MFA 2014) will share their experience while in Giverny!