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2002-2003 School Circular
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RG.03.04.01
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eng
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PDF
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DOZENS OF GREAT MUSEUMS AND GALLERIES CATER TO YOUR PASSION
FOR ART. WITHIN WALKING DISTANCE OF rHE: PENNSYLVANIA ACADEMY ARE
THE PHILADELPHIA MUSEUM OF ART, THE RODIN MUSEUM, THE: PHILADELPHIA
FREE LIBRARY AS WELL
AS THE ACADEMY OF MUSIC AND THE
KIMMEL CENTER FOR THE PERFORMING ARTS.
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PROGRAMS
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GENERAL INFORMATION
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F.aculty Bios
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r
Simon Huelsbcck, 2nd and April Street, 0,1
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The Pennsylvania Academy of the Fine Arts, the nation's first art school and museum,
will celebrate its 200th anniversary in 2005. Charles Willson Peale and seventy others
founded this unique institution at Independence Hall in 1805. The goal of the new
organization was "To promote the cultivation of the fine arts in the United States of
America (and to) enlighten and invigorate the talents of our countrymen."
Peale and others created a rubric for fine arts education in Philadelphia. Using the
aesthetic traditions of the British Royal Academy and the beaux-arts schools of Europe
combined with the age-old relationship of master and apprentice, the Academy has
produced many alumni who have shaped the history of American art.
The Peale sisters were the daughters of painter James Peale and nieces of Charles
Willson Peale, a well -known portrait artist. Anna exhibited work in the first exhibition
of the Pennsylvania Academy of the Fine Arts in 1811. In 1824 she was elected to the
Academy and exhibited regularly until 1842. Sarah was also elected to the Academy in
1824 and exhibited annually until 1831. The Peale sisters were the first women to attend
the Pennsylvania Academy and were among the first women to achieve recognition
and success as American artists. Cecilia Beaux studied under Thomas Eakins at the
Academy before becoming the Academy's first full-time teacher. Henry Ossawa Tanner,
one of the first African American painters to achieve success both in America and
Europe, also studied with Eakins.
For nearly 200 years the Academy has upheld the traditions that were instituted early
on in the Academy's history. Today, the Academy is still dedicated to the exploration,
education and creation of fine arts in America . The Peale's family history of portrait
painting is still alive in the curriculum. Students are still exhibiting their work at the
Academy through the Annual Student Exhibition each May. The mentoring once done by
Thomas Eakins is now the role of our esteemed faculty who serve as critics and advisors
for students in an independent private studio setting.
PHILADELPHIA'S COLORFUL HISTORIC AND ETHNIC
NEIGHBORHOODS OFFER INSPIRING ART SHOWS, FABULOUS
DINING AND DANCING, AND SHOPPING.
PHILADELPHIA
The Pennsylvania Academy is located in the heart of downtown Philadelphia, the
first capital city of the United States. With a quarter of a million students in the
area, Philadelphia is indeed a college town and certainly a principal city in art and
design education.
Often referred to as "The Place that Loves You Back," this could not be truer for
the visual and performing artists who call Philadelphia home. The love and support
for the arts can be seen in the more than 400 arts and cultural organizations in the
region. Pennsylvania Academy students have the opportunity to become a part of a
community of artists very early on in their studies. The knowledge and experience
they gain outside of the classroom contributes significantly to that which is learned
in the classroom.
Philadelphia is an easy city to get around. It is very much a walking city and public
transportation is highly accessible. Philadelphia is located only a couple of hours
away from New York and Washington, D.C., allowing our students to easily explore
art and culture beyond the region.
I'
('
J"
NEARLY EVERY MILESTONE IN
THE REGION'S ARTISTIC HISTORY
AND NEARLY
EVERY GREAT ARTIST
EMERGING FROM PHILADELPHIA
ARE LINKED TO THE ACADEMY
Bo Bartlett, Tender, 1993, oil on canvas
Gift of anonymous donors
ACAD EMY STARS
Samuel Murray. Thomas Eakins
in profile in his Chestnut Street
studio, 1891-92
Bo Bartlett
Cecilia Beaux
Arthur B. Carles
ST DENTS
Mary Cassatt
Charles Demuth
Vincent Desiderio
The Pennsylvania Academy attracts some of the most committed and promising art
Thomas Eakins
students from across the country and around the globe, They come from diverse
William Glackens
backgrounds - some directly from high school, or transferring from college programs,
David McShane
while others have made the choice to attend after focusing on a variety of careers
Elizab eth Osbo rne
such as medicine, architecture or business, and our MFA students represent college
Maxfield Parrish
graduates from all walks of life. Combined with a common passion for studying the
Rembrandt Peale
tradition of fine arts, the breadth of student experience provides a rich mixture of
Charles Sheeler
perspectives that enhance the rigorous curriculum.
John Sloan
Henry Ossawa Tanner
Pennsylvania Academy alumni are among the leaders of the contemporary art world,
with national and international reputations as exceptional practicing artists.
4
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FACULTY
Our faculty, composed entirely of working artists, maintains high standards in a
rigorous curriculum, enabling students to master themselves and command the
technical, ph il osophical, historical and contemporary aspects of the fine arts . As
working contemporary artists - several with professional studios on campus faculty members are able to share some of their own creative challenges in the
studio with students, putting lessons into a current context.
Thei r own educational and professional experiences are diverse and internationally
renowned, with some having studied at the Pennsylvania Academy - forming an
unbroken chain of artists hand ing down the institution's valuable traditions to
succeeding generations.
Throughout the year, painters, sculptors, performance artists, printmakers, and
critics come to the Pennsylvania Academy as Visiting Artists. They give lectures
and workshops, and visit students' studios for critiques, enriching the curriculum
and augmenting the mentoring provided by the Academy's distinguished
residential faculty.
John Lee
Marilyn Brent
•
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• Matt Freedma. • Phil Frost • Frank Gillette • Sa .. Gillia. • L.on 80lub • N.yaa Gr... 1
6
Clement Greenburg • Nancy Grossman • Wolf Kahn • Donald Kuspit • Jacob Landau • Alfred Leslie • James Lloyd
• Elizabeth Murray. Manuel Neri • Philip Pearlstein. Irving Petlin • Judy Pfaff. Paul Russotto • Betye Saar·
Raymond Saunders • Italo Scanga •
Bill Scott •
Judith Shea • Frank Stella • Donald Sultan • Joan Thorne
• Ursula von Rydingsvard • Lawrence Weschler • Theodore Wolf
7
MUSEUM
The Academy's Museum, chartered in con junction with the School in 1805, is an
integral part of the Pennsylvania Academy, setting it apart from most art schools.
The Museum celebrates the vitality of American art with an unparalleled collection
of more than 1,700 paintings, 400 sculptures and 14,000 works on paper, plus hundreds of manuscripts, photographs, sketches and other primary source material
from the mid- 1700s to the present. The works on paper collection eloquently traces
the development of American prints, drawings and watercolors. It also documents
Philadelphia's primacy as a 19th-century publishing center and the Pennsylvania
Academy's singular role in shaping American art and art education.
The Pennsylvania Academy's active program of acquiring the most exemplary
pieces of contemporary art - including work of Academy students, alumni and
faculty - has created a unique panorama tracing the evolution of the major
techniques, styles, and imagery developed throughout the history of American art.
Each spring, the Museum galleries are cleared to make room for the century-old
Annual Student Exhibition and the Graduate Thesis Exhibition, nationally
acclaimed shows of current, upper-level students' work. Throughout the year, the
Museum fills a powerful role in the students' daily instruction and serves as a
significant resource. Classes are held in the galleries, as well as in the Museum
vaults, where students and faculty may have access to the vast collection not
currently on display.
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Charles Truscott,
Cast Drawing studio,
ca. 1890
9
FACILITIES
FURNESS/HEWITT BUILDING
The Pennsylvania Academy's High Victorian Gothic building was built in 1876 and
designed by Frank Furness and George
W. Hewitt. Identified as a National Historic
Landmark, this building is one of the internationally known examples of historic,
American architecture, and, together with the Museum's collection, is one of the
nation's cultural treasures. Its design, which incorporates gallery space for display
and studio space for creation , symbolizes the institution's mission.
HISTORIC STUDIOS
Students study cast and figure drawing, modeling and painting in the same studios
as generations of Academy students before them. The six historic studios are
designed in the tradition of the beaux-arts schools of Europe, with 20-foot vaulted
ceilings and skylights with northern exposure. These majestic spaces contain the
Academy's famous cast collections of antique and Renaissance sculpture, which
have been part of the Academy's curriculum for nearly 200 years.
ANATOMICAL DRAWING STUDIO
This collection of natural objects, available for study and demonstration, serves
primarily the animal drawing and anatomy programs.
10
1301 CHERRY STREET
Dedicated almost entirely to academic facilities, this 65,OOO-square-foot, nine-story
loft building houses life painting and drawing studios; still life studios; complete
printmaking facilities; the sculpture department, which includes a foundry, wood
shop and stone-carving room; faculty studios; exhibition gallery; library; art supply
store; student lounge and cafe.
PRIVATE STUDIOS
Four of the nine floors are devoted to private studios, which are an integral part
of our curriculum. Every third- and fourth-year student is assigned a private
on-campus space to produce artwork stemming from their studio classes and
enhanced by the guidance of faculty critiques.
PAINTING DEPARTMENT
Located throughout the building, group painting studios have skylights or northern
exposures. There is a studio dedicated to stilllifes, and a separate room with
natural and flexible artificial lighting reserved for critiques.
PRINTMAKING DEPARTMENT
Lithography, etching (intaglio), and woodcut classes are taught in a spacious,
open-plan studio with an abundance of natural light, a state-of-the-art ventilation
system, a separate lecture and student archives room, and broad areas of work
and storage space. There are three presses in the etching studio; two with motorized
press beds. Separately ventilated acid and solvent washout rooms, each equipped
with large vent hoods, provide students with safe and efficient working laboratories.
The four presses in the lithography area are capable of pulling large-format work.
In the woodcut area there is abundant space for cutting, inking and printing.
SCULPTURE DEPARTMENT
One of the two sculpture floors is devoted to figure modeling, casting, and plaster
work. The mold-making room is used for ceramic shell molds, rubber molds, wax
working, patina work, and sand blasting. There is also a fabricating floor with a
wood shop, metal shop, foundry (ceramic shell casting), and a separate shop
dedicated to wood and stone carving. The metal shop has nine welding stations
and is equipped for gas, electric and tig welding. The ceramic shell foundry is
capable of pouring 120 pounds at a time . There is a kiln for firing small clay scu lpture
and a portable hoist. The wood shop is completely equipped with table saw, rad ial
arm saw, st atlOnary
'
. saw, band saw for metal and wo od, drill press,
sander, miter
and pneumatic air tools.
11
TODAY'S PENNSYLVANIA ACADEMY STUDENTS FIND THEMSELVES
ENLIGHTENED BY THE TIME-HONORED FUNDAMENTALS OF
EUROPEAN ART EDUCATION, BUT ALIVE IN A CITY FILLED WITH
ART AND ARTISTS.
IT'S THE PERFECT ENVIRONMENT FOR FULFILLING YOUR DREAMS
AND BECOMING
A PROFESSIONAL ARTIST.
12
LIBRARY
Serving students, staff, faculty, alumni, and the general public, the Library, which is
located on the ground floor, is devoted exclusively to the visual arts. The collections
provide an historical perspective with an emphasis on t~e work of individual
artists, focusing on their thoughts and techniques. The library has more than 14,000
books, a growing selection of videotapes, a collection of 20,000 slides, and current
subscriptions to more than 75 periodicals. An extensive artist file - started as a
Works Progress Administration project - is a collection of newspaper clippings,
gallery announcements, resumes, and pictures of more than 5,000 artists whose
works are difficult to document in books. In the lower level of the library (the
·Wing") are several computers for word processing, Internet access, and weekly
digital media instruction.
GALLERY 1301
Throughout the year, the gallery facilitates the showing and selling of student
works from the Certificate, Graduate, and Continuing Education programs, as well
as from alumni and faculty. Student staff manages the space and exhibitions.
Gallery 1301 is open daily to the public.
ART SUPPLY STORE
Specifically tailored for the fine artist, the store carries a wide range of domestic
and imported art supplies, papers, and fine art books at competitive prices.
Academy students and alumni receive a 20 percent discount on purchases.
STUDENT LOUNGE AND PAFA CAFE
The Student Lounge, complete with baby grand, offers a relaxing environment for
meeting with friends and faculty, and adjoining this space is the cafe, open to the
public, serving meals, snacks and coffee throughout the day.
GILBERT BUILDING
Two floors of this second loft-style building (adjacent to 1301 Cherry Street) are
filled with private studios for the Graduate and Post-Baccalaureate programs, as
well as some additional Certificate private studios. The Graduate office provides
information and a central base for the Graduate program. In addition to studios,
there are larger spaces for community use including a drawing room, a 900-squarefoot seminar room, and installation rooms.
SAMUEL M.V. HAMILTON BUILDING
In fall 2003, Academy Certificate and Graduate students will begin their studies in
a fabulous state-of-the-art facility that will include spacious studios, classrooms,
educational areas, and a greatly expanded library. Comfortable student lounges
will be located on each floor with a grand penthouse student center and terrace
at the pinnacle of the building . Conveniently lo cated directly across the street from
the beloved landmark building designed in 1876 by Frank Furness and George W.
Hewitt, the 300,OOO-square-foot, eleven-story Samuel M.V. Hamilton Building is
dedicated in me mory 0 f
l ' Academy trustee and Chairman
.
ongstandlng
of the Board.
13
ENT AND SERIOUSNESS
A SINGUlAR FOCUS AN
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,
•
•
,
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,
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"WE ARE NOT A SCHOOL IN THE TRADITIONAL SENSE, RATHE
WE ARE A WAY OF LIVING AND BEING. WE ARE MORE THAN CURRICULU
MORE THAN PAINT AND MODELS. WE ARE ABOUT FINDING SELF, THAT TRUT
WITHIN, AND GIVING THAT EXPRESSION ...
- DAN
VIILLU
Micah Cohen
Hisako Inoue, Left Behind, plastic, mohair
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The most historic of the academic progrnms Ht the Ponnsylvania Academy, the
Certificate program is a four-year, full-time progrnm of intensive studio art education,
combining focused group studio classes. with the one-on-one, mentoring experience
of die upper-level faculty critic component The Certificate offers three major areas of
concentration: Painting. Printmaking and Sculpture.
Central to the Academy's philosophy is
the conviction that all the fine arts are
mutually informative and a serious art
education should advance nowledge
in all fine arts disciplines. Further,
You'll spend at least 30 hours per week
in self-directed studio work in addition
to fulfilling additional course requirements. Non-instructed class sections,
a long tradition at the Pennsylvania
the Certificate program provides the
Academy, is an opportunity for students
environment and a curriculum that
to test and practice techniques and to
encourages and accommodates
exploration across departments.
encourage independent exploration
and creation in the first year.
Illustrating this interdisciplinary
perspective is the historic and contin-
INDEPENDENT STUDIO &
uing emphasis of drawing across the
THE CRITICAL PROGRAM
curriculum; drawing classes are
In the second two years, you will
required for all majors in every year of
assume the life of a professional
the program. and are taught by faculty
artist, working independently in your
on-campus private studio most of the
members in all three departments.
time, supplemented with upper-level
STUDIO CLASSES -
seminars. You will meet regularly, in
THE FOUNDATION AND MAJOR
your studio, with three faculty critics,
You'll spend your first two yea rs
a format that is rooted in the centuries-
studying in the aesthetic tradition first
old master/apprentice system that has
proven to be nurturing and effective.
developed at the British Royal Academy.
Working with other students in group
studios much of the day, with a strong
emphasis on representation and work
from life models, the early studio
classes introduce you to the fundamental skills, perspectIVes and matenals
essential for addressing the challenges
of adVanced fine arts study. The second
year stUdio classes, 10 a declared
major, provide a gUided opportunity for
PUshing and expanding the traditional
concepts, focusing in one concentration. In additJon, art history and anatomy
lectures add depth to the first- and
second-year studio curricula .
Participation in group critiques further
disciplines your development as
an artist.
ANNUAL STUDENT EXHIBITION
At the end of the third and fourth
years, students are eligible to participate in the Annual Student Exhibition an unparalleled opportunity for students
to exhibit a body of work in the Museum
galleries, providing experience in
planning and installing a show. The
exhibition is internationally renowned,
attracting art collectors, gallery owners
and the general public from around
the region and country.
CURRICULUM
FIRST YEAR
In the first year, students experience the
fundamentals of drawing, painting, printmaking and sculpture. This year provides:
(1) the necessary familiarization with
media and process; (2) the recognition of
the creative connection among disciplines;
and (3) the discovery of an area of personal
creative strength. All of these assist each
student in declaring a major at the end of
the year.
Cast Drawing
Life Drawing
Drawing
Life Painting
Basic Color
Still Life
Etching
Woodcut
Figure Modeling
Introduction to Anatomy
Perspective
Art History
Total
3.0
3.0
3.0
4.0
1.5
5.0
1.5
1.5
2.5
1.5
1.5
2.0
30.0
17
/
"ALMOST 200 YEARS OF FINE ARTS EDUCATION THAT COMBINES THE PROVEN
TEACHING TRADITIONS OF THE GREAT EUROPEAN ART ACADEMIES ,
AND THE DYNAMIC INNOVATIONS OF CONTEMPORARY ART."
18
CURRICULUM
SECOND YEAR
PAINTING
In the four years, students can draw on the collective experience of the
faculty, who come from a wide variety of backgrounds and produce work
in many different styles and media.
There are those who work with
precision in pen and ink, silverpoint,
or graphite; those who build their
Drawing
(Life Drawing, Studio Anatomy,
Drawing, Animal Drawing or
Advanced Cast Studies)
Life Painting or Figure Composition
Portrait or Head Structure
Media on Paper
Materials & Techniques
Painting Electives
Electives
Total
employing representational, abstract,
or nonobjective imagery. Painting
Total
underpainting; and others who work
directly with paint, pastel, or charcoal,
6.0
6.0
1.5
1.5
3.0
7.5
30.0
THIRD YEAR
Minimum Requirements:
Independent Study
(divided between three critics)
Drawing Seminar
Electives
paintings from a highly developed
4.5
24.0
3.0
3.0
30.0
students are the direct beneficiaries
of this collective experience.
The Department's expectation is that
its graduates will be independent
artists, grounded in the principles of
FOURTH YEAR
Minimum Requirements:
Independent Study
(divided between three critics)
30.0
Total
30.0
the traditions, and launched on a
lifetime quest to make meaningful
statements through their work.
19
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PRINTMAKING
CURRICULUM
SECOND YEAR
The tradition of prinbnaking at the Academy is an independent freestanding
fine art discipline. An extensive technical foundation is provided, to ensure
that the student has the knowledge to be able to fully explore the potentials
Printmaking
Life Drawing
iincludes Studio Anatomy)
Electives
Total
19.5
3.0
7.5
30.0
inherent in prinbnaking.
THIRD YEAR
The emphasis is on merging the
conceptual with the technical in order
to produce works that have relevance
and significance in the context of
contemporary art. The curriculum
focuses on the disciplines of intaglio,
lithography and woodcut, and includes
both traditional and experimental
approaches to image making. In addition
to being printmakers, the faculty paint,
draw and sculpt.
The Department contains a Student
Arc hives Study Collection. Selected
prints from each class and semester
have been acquired for the collection.
The work is used as teaching aids and
for exhibitions. It is a rich source of
(J)lamples of specific tec hniqu es as
,mil as a rosource that so rv es to
IrI:'>trllct arid inspire studen ts.
Minimum Requirements:
Printmaking
Printmaking Critique
Other Critique
Drawing Concepts Seminar
Electives
Total
15.0
3.0
3.0
3.0
6.0
30.0
FOURTH YEAR
Minimum Requirements:
Printmaking
Printmaking Seminar
Printmaking Critique
Drawing/Painting Critique
Total
12.0
3.0
3.0
12.0
30.0
21
THE SCULPTURE DEPARTMENT ENCOMPASSES
MOST MODES OF THREE-DIMENSIONAL ARTISTIC EXPRESSION
IN ORDER TO ADDRESS TODAY'S COMPLEX ART WORLD
IN A COMPREHENSIVE FASHION.
22
SCULPTURE
CURRICULUM
The Sculpture Department encompasses most modes of three-dimensional
artistic expression in order to address today's complex art world in a
comprehensive fashion.
In the second year, majors focus on
understanding the relationship between
SECOND YEAR
Minimum Requirements:
Sculpture
Drawing (200 level)
(Studio Anatomy, Life Drawing,
Animal Drawing or
Advanced Cast Studies)
Electives
Total
18.0
3.0
9.0
30.0
sculpture processes and issues related
to composition and content. The second
THIRD YEAR
year curriculum includes studios in
metal, wood, mixed media or fabrica-
Minimum Requirements:
Seminar
(Drawing Seminar or
Studio Anatomy)
Independent Study
(divided between three critics)
Sculpture Classes
tion, casting, carving, figure modeling
and anatomy.
When students advance to independent
status in their third year, the cooperative atmosphere of various departmental
Total
workshops, in which they are
encouraged to learn from one another,
enhances their studio experience.
Third- and fourth-year students may
also continue to enroll in upper-level
elective studios. These advanced
classes are intended to supplement the
individual focus of the student, whether
it be figurative, abstract work, or
site-specific (public art).
FOURTH YEAR
Minimum Requirements:
Seminar
(Drawing Seminar
or Sculpture Class)
Independent Study
(divided between three critics)
Total
3.0
9.0 to 24.0
3.0 to 180
30.D
3.0
9.0 to 27.0
30.0
23
FOR DECADES, THE PENNSYLVANIA ACADEMY OF THE FINE ARTS
AND THE UNIVERSITY OF PENNSYLVANIA (PENN)
HAVE BEEN WORKING TOGETHER IN A PROGRAM THAT PROVIDES
DEVELOPING ARTISTS WITH ONE OF THE FINEST
EDUCATIONS AVAILABLE.
24
BACHE LOR OF FINE ARTS
COO RJ IN ATED PROGRAM WITH THE UNIVERSITY OF PENNSYLVANIA
For decades, the Pennsylvania Academy of the Fine Arts and the University of Pennsylvania
(Penn) have been working together in a program that provides developing artists with
one of the finest educations available. This program allows the Pennsylvania Academy
to offer academic study in conjunction with intense studio course work.
Pennsylvania Academy students may
obtain a Bachelor of Fine Arts degree
by participating in the Coordinated
BFA Program at Penn. Students who
have completed the first year as a
matriculated student at the Pennsylvania
Academy, in good academic standing,
may be eligible to apply for the program.
Penn will accept Academy credits as
fulfillment of studio credit requirements
for the BFA program. Penn's Admissions
Committee will review all academic
preparation prior to the Academy;
however, Penn will not accept transfer
of credits from other institutions.
Fisher Fine Arts Library,
University of Pennsylvania,
designed by Frank Furness
Students may choose to pursue the
Penn component of the BFA in a
number of ways. A student may 1) take
classes concurrent with Academy
classes, 2) during the summer months,
or 3) after completion of the Certificate
program. Therefore a student's length
of study to complete the BFA course
requirements will vary.
Circle of Eakins, Naked Series,
female nude with dark mask,
ca. 1883
CURRICULUM
Option 1:
BFA with Pennsylvania
Academy Certificate:
120 credits
Pennsylvania Academy 14 years)
16 classes 14B credits) - Penn
• 4 classes (12 credits): Art History
• 12 classes (36 credits): Electives
Option 2:
BFA (only)
90 credits
Pennsylvania Academy 13 years)
16 classes 148 credits) - Penn
• 4 classes 112 credits): Art History
• 12 classes (36 credits): Electives
POST-BACCALAUREATE PROGRAM
Whether your aim is to further develop your work in preparation for a Master of Fine
Arts Program, make a career change, or acquire technical skills and knowledge in an
area outside of your undergraduate degree, the Pennsylvania Academy offers students
the opportunity to satisfy their personal goals through the unique and intensive fine
arts education of our Post-Baccalaureate Program.
The Post-Baccalaureate Program is
designed to address the needs of a
wide range of students: those with a
BA or BS degree, with substantial
studio experience, who need an
additional year of studio work to
develop a strong, cohesive and
competitive body of work; students
requiring a year of intensive studio
work prior to beginning a graduate
level program, or individuals with a
degree in art who wish to pursue
work in a different medium.
The curriculum combines the more
formal structure of an advanced
undergraduate program of foundation
and techniques, with a graduate level
studio/critique system comprised of
independent research and studio
development, and seminars designed
to develop personal vision through
exposure to trends in contemporary
art issues.
CURRICULUM
This is a full-time program that
requires approximately 45 hours of
work per week. All course work as
outlined, is required of all students in
the program.
First Semester
Studio/Critique
Studio/Critique
Studio/Critique
Seminar/Drawing
Seminar/Subject, Form, Content
Total Credits
Select one of the following:
Elective/Painting/Drawing
Elective/Printmaking
Elective Sculpture
Second Semester
Studio/Critique
Studio/Critique
Studio/Critique
Seminar/Drawing
Seminar/Subject, Form, Content
Total Credits
Select one of the following:
Elective/Painting/Drawing
Elective/Printmaking
Elective Sculpture
26
3.0
3.0
3.0
3.0
3.0
15.0
audit
audit
audit
3.0
3.0
3.0
3.0
3.0
15.0
audit
audit
audit
IN REGARD TO FACUL
"WE HAVE A TREMENDOUS DIVERSITY OF OPINION AVAILABLE TO THE STUD
THEY HAVE TO CHOOSE FROM ALL OF THE CRITICISMS RECEIVED AND MAKE THEIR DECISIONS
CONSE~UENTLY, OUR STUDENTS GRADUA
AS INDEPENDENT ARTISTS."
Marilyn Brent
27
I
MASTER OF FINE ARTS PROGRAM
The mission of the graduate program is simple: to encourage the evolution of a
personal aesthetic of forms and images within a context that can be known,
shared and understood. We strive to advance individual ability and potential.
No ideal is ever imposed. Each candidate is expected to possess a strong work
ethic, be productive and work independently.
The MFA program, which requires two
Pennsylvania Academy faculty and
years of full-time study, is centered on
alumni are among the leaders of the
private studio time and critiques. The
contemporary art world,
studios are large, private spaces with
and international reputations as
wonderful natural light, ample ventila-
exceptional practicing artists. They
tion, and locking doors.
exhibit, teach and are included in
with national
some of the most prestigious public
The strength of the graduate program
lies within the Studio Critique system.
and private collections around tileo:; ....,_.
world.
..>c•. '~
The Pennsylvania Academy's highly
•
diverse and respected faculty serves
MFA DEGREE REQUIREM£NTS
as a guide through the creative
• All candidates must cornplt
process. The wide range of artistic
backgrounds offers students an opportunity to select three faculty critics
graduatelevelcredhs
• Minimum matriculation Of1lNO -VIUiI
of full-time study required
who best fit their needs in the pursuit
• Completion of a written thesis
of a figurative or more conceptual
• Submission of work for Final
body of work.
Jury Review
• Exhibit work in the Graduate
In the first year of study, every MFA
Thesis Exhibition
student must enroll in a drawing and
a seminar class, which meets once a
MFA COURSE DESCRIPTIONS
week at scheduled times. This, in
SECOND YEAR
conjunction with extensive access to
Each three -credit Studio/Critique
the private studio, provides a rather
course consists of a minimum of nine
open schedule allowing some flexibility
within the program.
hours per week of individual studio
work and at least three critiques per
semester with each assigned critic.
The second year of the Masters program is spent in the intensive pursuit
of a comprehensive artist's thesis
and a correlative body of work that
exemplifies the student's emphasis
and focus.
SEMINAR/OPEN DRAWING
Two one-semester drawing seminars
are required over the two-year course
of study. One drawing class may be
fulfilled with one of the following
substitutions:
28
1. A printmaking class from the
Certificate Program that has a
drawing emphasis, such as
wood -c ut, lithography or intaglio.
SEM INAR/ AESTH ETICS
AND CRITICISM
requirements.
This yearlong seminar continues the
emphasis of Readings and Research .
It involves formal investigation into the
aesthetic and philosophical issues of
art, as well as examining the professional ethics and practices of art.
Emphasis will be placed on the
methodology of forming value judgments and on the development of
verbal, written and analytical skills.
The Drawing Program addresses the
STUDIO/THESIS
problems, characteristics and activities
The first semester of this two-semester
of contemporary drawing, including
course (A and B) consists of the
any aspects of composition, represen-
completion of a written thesis paper.
CURRICULUM
tation, abstraction, craft, media,
This paper, which is initiated in
FIRST YEAR
techniques and skills pertinent to
Seminar/Readings and Research and
artistic concerns of the students.
concluded in Seminar/Aesthetics and
The course focuses on expanding the
Criticism, is an independent project
student's formal, conceptual and visual
for which each student is personally
vocabulary.
responsible . Students are expected to
consult with their Advisor during the
FALL SEMESTER
Studio/Critique
Studio/Critique
Studio/Critique
Seminar/Drawing/
Open Media (A)
Seminar/Readings and Research
SEMINAR/READINGS AND RESEARCH
writing of this paper. They must follow
Total
This two-semester (A and B) humanities
formal guidelines and include slides of
seminar includes a series of readings
work and curriculum vitae. Completed
and discussions that examine some
copies are bound and added to the
of the major themes in the history of
collection of the Library of the Academy.
2. A sculpture class from the
Certificate Program that has a
drawing emphasis.
Students must officially enroll in
the class and adhere to all class
world art. These themes include the
affect of the visual arts on other
The second semester concludes with
disciplines such as religion, political
two presentations of artworks selected
science, psychology, sociology, applied
science and technology, literature,
dance, and music.
from the work completed during the
two years of the MFA Program. A final
Students review research methodology
and conduct at least one research
project of their own. Faculty guides
eac h project so that it supports and
enhances the student's studio work.
Ora l presentations of projects are an
integral part of the course.
jury review presentation and oral
defense is made to the graduate faculty,
followed by the public presentation of
the Annual Graduate Thesis Exhibition
at the Pennsylvania Academy's
Museum. In preparation for these
presentations, students consult with
their Critics, as well as other faculty
and their Advisors.
SPRING SEMESTER
Studio/Critique
Studio/Critique
Studio/Critique
Seminar/Drawing/
Open Media (B)
SeminarlReadings and Research (B)
Total
3.0
3.0
3.0
3.0
3.0
15.0
3.0
3.0
3.0
3.0
3.0
15.0
SECOND YEAR
FALL SEMESTER
Studio/Critique
Studio/Critiq ue
Studio/Critique
Studio/Thesis (A)
Seminar/Aesthetics and Criticism (A)
Total
SPRING SEMESTER
Studio/Critique
Studio/Critique
Studio/Critique
Studio/Thesis (B)
Seminar/Aesthetics and Criticism (B)
Total
3.0
3.0
3.0
3.0
3.0
15.0
3.0
3.0
3.0
3.0
3.0
15.0
29
Throughout the year. Student Affairs works to provide services that balance and
complement students' education and studio experiences. Whether it is extracurricular
programming after class. lunchtime workshops. off-campus excursions. or counseling
support. we hope to help make our students' Academy experience interesting.
supportive and dynamic.
ACADEMIC ADVISING
Incoming students are each assigned to a faculty advisor, who shepherds a small
group of students through the first-year experience. As students declare a major,
the department chairs and designated faculty within each department advise rising
second-year and upper-level students.
COUNSELING SERVICES
The Student Counseling Program is provided by a professional organization, Penn
Friends, which offers individual counseling as well as educational workshops and
special topic discussion groups.
HEALTH SERVICES
Routine health services are provided to Academy students at a local family medical
30
practice, which
IS
also capable of providing referrals to specialists.
Photographer unknown, Men 's modeling class, ca. 1910
DEMY STUDENTS THINK MORE ART,
AND WHEN YOU THINK MORE ART, YOU DO MORE ART.
WE NOT ONLY TEACH A SKILL, WE HAVE TO
TEACH A TH INKI NG PROCESS, A WAY OF LIFE."
II
31
STUDENTS CAN TAKE ADVANTAGE
OFTHE
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COUNTLESS RESOURCES
OF PHILADELPHIA/PENNSYLVANIA ACADEMY'S
EXTENDED CAMPUS
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STUDENT ACTIVITIES
Students can take advantage of the countless resources of Philadelphia/
rJ
Hamilton Building
[jJ Gilbert Building
m 1301 Cherry Building
m FumesslHewitt Building
Pennsylvania Academy's extended campus. Enjoy programs such as Open Studio
night, drawing marathons, pumpkin-carving and costume contests at Halloween,
movie nights, free student concerts at Curtis Institute of Music, midnight ice skating,
community service projects, bus trips to NYC and Washington, D.C., or student
group critiques. As members of a small school community, students have the
opportunity to initiate programs and events. There are opportunities for everyone
to get involved.
HOUSING
Our students live in a variety of independent living arrangements, from group
houses and individual apartments to dormitory-style accommodations nearby
and across the city. The Pennsylvania Academy has preferred housing in
neighboring facilities, which offers students an opportunity to become a part
of the larger community outside of the College. They can experience the culture
and excitement of neighboring Chinatown and meet students from area colleges
and universities who also live at the Hawthorne Suites. Also, the convenient
locations help students stay connected to the College; minutes away from the
studios, facilities and on -going student activities.
32
CERTIFICATE FACULTY / Appointed
JAN C. BALTZELL
B.F.A., Philadelphia College of Art, 1971.
M.F.A., Miami University, 1976. Collections:
Philadelphia Museum of Art; Bryn Mawr
College; Woodmere Art Museum; National
Museum of Women in the Arts, Washington,
D.C. Represented by Mangel Gallery,
Philadelphia . Numerous solo exhibitions
include Mangel Gallery (2001) and Wayne
Art Center (1999). Group exhibitions include
Concord Art Association, Concord, Mass.
(2001) and U.S. Embassy, Muscat, Oman
(2001 ).
LINDA BRENNER
B.F.A., Rhode Island School of Design, 1962.
Tyler School of Fine Arts, 1963. Leeway
Foundation Window of Opportunity Award,
1999. Artist Residency: The Hambridge
Center, 1998-9. Projects: Philadelphia
Museum of Art: Master Plan Model and
Vanna Venturi House (2001-02); Louis I.
Kahn Models for the Museum of
Contemporary Art, Los Angeles, 1990-91;
Space Study Model, National Gallery of
Art, 1982.
SIDNEY GOODMAN
DANIEL D. MILLER
Philadelphia College of Art, 1958. Boston
Art Institute, Honorary Degree, 1996.
Selected Exhibitions: Philadelphia Museum
of Art, Retrospective, 1996. Salander and
O'Reilly Gallery, N.Y., 1996-1998. Collections:
Metropolitan Museum of Art; Whitney
Museum of American Art; Museum of
Modern Art. Awards: AVA Award in the
Visual Arts; Hazlett Award for Painting;
NEA Grant; First Prize in Painting,
National Academy of Design; Guggenheim
Fellowship.
B.A., Lafayette College, 1951. Certificate
Pennsylvania Academy of the Fine Arts'
1959. M.F.A., University of Pennsylvania'
1958. Dean's Award, Pennsylvania
'
Academy of the Fine Arts, 1989. Numerous
solo exhibitions. Percy M. Owens
Memorial Award, 1986. Numerous public
and private collections. Collections:
Philadelphia Museum of Art; Pennsylvania
Academy of the Fine Arts; Rutgers
University; Pennsylvania State University;
Dickinson College; Princeton University
Library; University of Maine; numerous
private collections. Awards: Percy Owen
Award; Pennsylvania Academy Dean's
Award; Leona Karp Braverman Prize.
Exhibitions (2001) at Artist's House,
Philadelphia and Pennsylvania Academy
Library.
OLIVER GRIMLEY
B.F.A., Pennsylvania Academy of the Fine
Arts, 1949. M.F.A., University of Pennsylvania,
1950. Recipient of the William Emlen
Cresson and Henry Schiedt Traveling
Scholarships, 1948 and 1950. Publications:
American Artist magazine, 1950 and 1970.
Commission: Seven-foot eagle for the
private office of Leonard Tose, former
owner of the Philadelphia Eagles, 1970.
Group exhibition: Metropolitan Museum
of Art, 1953.
AL GURY
Certificate, Pennsylvania Academy of the
Fine Arts, 1965. Collections: Philadelphia
Museum of Art; Pennsylvania Academy
of the Fine Arts; Picker Gallery, Colgate
University; Cornell Fine Arts Center
Museum; Villanova University; Bryn Mawr
College . Numerous solo exhibitions. Group
exhibitions include David Dominguez
Gallery, Tuscan, Ariz. (2002) and Peng
Gallery, Philadelphia (2001).
B.A., Saint Louis University, 1973.
Certificate, Pennsylvania Academy of the
Fine Arts, 1976. M.F.A., University of
Delaware, 1991. Represented in numerous
private and public collections, nationally
and internationally. Public and private
portrait and figure commissions. Exhibitions:
National Academy of Design; National
Capitol, Washington, D.C.; and Philadelphia
Museum of Art. Recipient of William Emlen
Cresson Traveling Scholarship. Recent
solo exhibitions at F.A.N . Gallery,
Philadelphia and Washington and Lee
University, Lexington, Va .
RENEE P. FOULKS
ALEXANDER HROMYCH
B.F.A., Moore College of Art and Design,
1980. M.F.A., Tyler School of Art, Temple
University, 1982. Numerous solo exhibitions.
Mellon Foundation Venture Fund Painting
Grants: 1992, 1994, 1996, 1998. Represented
by Gallery Henoch, N.Y. and Leslie Levy
Fine Art, Scottsdale, Ariz. Represented in
numerous private and public collections
including Delaware Art Museum.
Exhibitions include LaSalle University
Museum (2001. group) and Gallery 911
(2000, two-person). both in Philadelphia .
Certificate, Pennsylvania Academy of the
Fine Arts, 1969. Solo Exhibitions: 2. Private
Collections. Group Exhibition: National
Academy of Design, N.Y., 1978.
MURRAY DESSNER
STEVEN NOCELLA
B.F.A., Philadelphia College of Art, 1981.
M.F.A., University of Pennsylvania, 1984.
Westby Art Gallery, Rowan University,
Glassboro, N.J., 1997. Group Exhibition:
White Box Gallery, Philadelphia; Sande
Webster Gallery, Philadelphia. Several
solo exhibitions.
ELIZABETH OSBORNE
Certificate, Pennsylvania Academy of
the Fine Arts, 1958. B.F.A. with Honors,
University of Pennsylvania, 1959. Fulbright
Grant: Paris 1963-64. Rosenthal Foundation
Award: American and National Academy
and Institute of Arts and Letters, N.Y. 1968.
Percy M. Owens Memorial Award, 1989.
Numerous solo exhibitions including Locks
Gallery, Philadelphia . Numerous group
exhibitions including Davis Dominguez
Gallery, Tuscan, Ariz. and Jane Haslem
Gallery, Washington, D.C.
PETER PAONE
B.A., Philadelphia College of Art, 1958. Two
TIffany Foundation Grants. Guggenheim
Foundation Grant. Solo Exhibitions: Kennedy
Gallery, NY; Institute of Contemporary Art,
Houston; Merlin Verlag Gallery, Hamburg.
Collections: Museum of Modern Art, N.Y.;
Art Institute of Chicago; Victoria and
Albert Museum, London. Numerous group
exhibitions including "Artists of the
Commonwea lth, Realism in Pennsylvania
Painting, 1950-2000" (James A. Michener
Art Museum).
33
JODY PINTO
Certificate, Pennsylvania Academy of the
Fine Arts, 1968. B.F.A., Phil adelphia College
of Art, 1973. Recent awards: "Beach
Improvement Group Project" Santa
Monica (ASLA Merit Award, AlA, San
Diego). Recent Publi c Art Projects: Rio
Salado Park & Open Space Master Plan,
Tempe, Ariz.; Brays Bayou Bridge,
Hermann Park, Houston. Represented in
the collections of: Guggenheim Museum.
Whitney Museum of American Art.
Philadelphia Museum of Art. National
Gallery of Art. Selected Group Shows:
"Terms of Engagement: Urban Design in
Greater Los Angeles at the Millennium
(LA Chapter of the AlA); "New Land
Marks" at the Pennsylvania Academy;
"Echigo-Tsumari Art Triennial 2000,"
Eschigo-Tsumari Region, Japan.
ROBERT ROESCH
B.F.A., Pratt Institute School of Fine Arts;
Recent Public Projects: Wind Spirit
Gateway-Gateway to the city of Wichita,
Kans. Orion: Science Complex Plaza, state
of North Carolina. Cultural Specialist grant
from U.S. Information Agency for travel
to Damascus and Aleppo, Syria and
Alexandria and Cairo, Egypt (2000-200l).
Public Commissions (2002): Texas A & M
University in Corpus Christi; Florida
Atlantic University; transportation shelters
at Philadelphia Zoo entrance. Solo
exhibitions: Moon Gallery, Georgia (2002);
American Cultural Center Gallery,
Alexandria, Egypt (2001); Le Pont Gallery,
Aleppo, Syria and Gallery Amar, Latakia,
Syria (2000).
ANTHONY ROSATI
B.A., Rider College, 1969. M.F.A., Tyler
School of Art, Temple University, 1980.
Numerous solo and group exhibitions.
Pennsylvania Council of the Arts Program,
Artist in Residence Grant (1984,1985).
Represented in numerous public museum
collections including the National Gallery
of Art.
JILL RUPINSKI
Pennsylvania Academy of the Fine Arts,
1977. B.F.A., Philadelphia College of Art,
1981. Spanish Exchange Program for one
month travel in Sp ain from the Creative
Artists Network, Philad elphia, 1989.
34
Landscapes, Oils and Pastels, Philadelphia
Art Alliance, 1996. Lecture: "Color-Earth
and Prismatic," Reading Public Museum,
1998. Collections: Colgate University,
Hamilton, N.Y.; Villanova University.
BRUCE SAMUELSON
Certificate, Pennsylvania Academy of the
Fine Arts, 1968. Collections: Philadelphia
Museum of Art. Pennsylvania Academy of
the Fine Arts. Numerous solo exhibitions
include Esther Klein Art Gallery,
Philadelphia (2001); J. Cacciola Galleries,
N.Y. (2001); Galerie Yoramgil, Beverly Hills,
Calif. (2001); and Valencia College, Orlando,
Fla . (1999). Group exhibition at Hicks Art
Center, Bucks County Community College,
Newtown, Pa . (2002).
STEVEN WEISS
Art Students League, 1974. Skowhegan
School of Painting and Sculpture, 1976.
M.F.A., University of Pennsylvania, 1977.
Group exhibition: "The Unbroken Line ,
1897-1997" (Pennsylvania Acad emy ofthe
Fine Arts, 1997).
RONALD E. WYFFELS
B.F.A., State University College at Buffalo,
1973. M.F.A., Montana State University,
1981. NEA Visual Arts Fellowship Grant,
1983. Pennsylvania Academy Museum
Purchase Award, 98th Annual Juried
Exhibition of the Pennsylvania Academy
Fellowship. Represented by the Roger
LaPelle Gallery, Philadelphia . Represented
in numerous public and private collections
including University of Kyoto, Japan.
PATRICIA TRAUB
York Academy of Arts, 1969. Certificate,
Pennsylvania Academy of the Fine Arts,
1988. Leeway Foundation Window of
Opportunity Award, 1998. International
Solo Exhibition: Oslo, Norway, 1998.
Extensive travel and study in Southeast
Asia, Borneo, East Africa, France and
Ireland. Numerous group exhibitions
include Allentown Art Museum (2002).
Solo exhibition at Rodger LaPelle Galleries
(2002).
ADJUNCT
Anthony J. Ciambella
Patrick D. Connors
Fred Danziger
Stuart M. Feldman
Carson Fox
ANTHONY VISCO
B.F.A., Philadelphia College of Art, 1970.
Accademio della Belle Arti, Florence, Italy,
1971. University of Pennsylvania, 1983.
Fulbright-Hayes Grant, Florence, Italy, 1971.
Elizabeth T. Greenshields Award, 19751976. Several solo exhibitions.
Commission: St. Joseph's University
Chapel, Stations of the Cross, 1993.
Barbara Goodstein
John Horn
Sabin G. Howard
Kevin P. Lewellen
Gilbert B. Lewis
Douglas S. Martenson
William Scott Noel
Marjorie Portnow
GARY WEISMAN
Art Institute of Chicago. B.F.A., Columbia
College, 1970. Solo Exhibition: American
Cultural Center, Taipei, Taiwan, 1998. Berry
Hill Galleries, N.Y., 1997. Commissions: city
of Philadelphia; city of Chicago; American
Embassy to North Vietnam. Solo exhibitions
(2002): Odon Wagner Gallery, Toronto,
Canada; Galleries Yoran, Los Angeles,
Calif., Erin Chen Gallery, Taipei, Taiwan.
Collections/commissions (2002): Ralph
Lauren and Van Furstenberg, N.Y.; Wurtele
Plantation, La.
Richard W. Proctor
James M. Rosen
KATH E RINE BRADFOR D
YVONNE JAC QUETTE
Critic
Critic
Painter. B.A., Bryn Mawr College . M.F.A.,
State University of New York, Purch ase,
N.Y. Collections: Metropolitan Mus eum of
Art; Brooklyn Museum; Portland Museum.
Solo Exhibitions include Bryn Mawr
College (2002); ICON Contemporary Art,
Brunswick, Maine (2001). Group exhibitions: University of the Arts; Center for
Maine Contemporary Art; and Exit Art, N.V.
Pollock-Krasner Foundation Grant (2000).
Painter. Printmaker. 16mm fil m. StUdi ed
at th e Rhode Island School of DeSign .
Coll ection s: Metropolitan Museum of Art·,
Mu seum of Modern Art; Whitney Museum
of American Art; Hirshhorn Museum of Art·,
Philadelphia Museum of Art. Awards:
Painter's Award from the American
Association of Arts and Letters',
Guggenheim Fellowship. Solo exhibitions
(2002-03): Stanford University; Colby
College Museum of Art, Waterville, Maine;
Utah Museum of Fine Arts; Hudson River
Museum, Yonkers, N.Y. Group exhibitions
(2002): Yale University Art Gallery, Center
for Main Contemporary Art. Represented
by DC Moore Gallery, N.V. and Mary Ryan
Gallery, N.Y. (for prints).
VINCENT DESIDERIO
Critic
Painter. BA, Haverford College .
Certificate, Pennsylvania Academy of the
Fine Arts. Collections: Metropolitan
Museum of Art; Denver Art Museum;
Guggenheim Museum, Bilboa, Spain;
numerous private collections. Grants:
Pollock-Krasner Foundation Grant;
National Endowment for the Arts Grant.
Represented by Marlborough Gallery.
JOEL FISHER
Critic
Sculptor. Printmaker. Collections: Museum
of Modern Art; Tate Gallery;
Kunstmuseum; Centre George Pompidou.
Awards: Henry Moore Fellowship (20012003), Howard Foundation Award;
Guggenheim Fellowship. Solo exhibitions:
European Ceramic Work Centrum (2001),
George Frasier Gallery, University of
Auckland, New Zealand (2000). Teaches at
the Ecole des Beaux Arts and the Vermont
Studio Center.
GILLIAN JAGGER
Critic
Sculptor. B.F.A., Carnegie Mellon
University. M.F.A., New York University.
Awards: Adolph and Esther Gottlieb
Foundation Grant; Louis Comfort Tiffany
Foundation Grant; N.V. Council for the Arts
Grant; John Simon Guggenheim Memorial
Foundation Fellowship. Collections: The
Charles Aldrich Museum of Contemporary
Art; Finch College Museum of Art; C.w.
Post College Museum of Art. Numerous
solo and group exhibitions include
Elvehjem Museum of Art, Madison, Wis.
(2002, solo) and John Davis Gallery,
Hudson, N.Y. (2001, group). Represented
by Phyllis Kind Gallery, N.Y.
DENISE GREEN
Critic
Painter. Printmaker. Numerous solo exhibitions include Consulate General of the
Federal Republic of Germany, N.Y. (2002);
Brooklyn Academy of Music (2001);
Brisbane City Gallery, Australia (2001);
Ludwig Museum of Contemporary Art,
Bud apest (2001); National Gall ery of
Contemporary Art, Warsa w (2000). Grou p
exhib ition s include: Tri BeCa Tem porary,
N.Y. (2001 ); Newcastl e Regiona l Art Gallery,
Newcastle, New South Wales (2001);
Sherman Galleries, Sydney. Coll ections:
Guggenheim Museum; Corcoran Gallery of
Art; Cleveland Center of Contemporary Art.
35
JODY PINTO
IRVING PETLIN
Critic
Painter. B.F.A., Art Institute of Chicago.
M.F.A., Yale University. Collections: Museum
of Modern Art; Art Institute of Chicago;
Hirshhorn Museum; Centre George
Pompidou; Stedelijk Museum; major
international museums. Awards:
Guggenheim Foundation Fellowship;
Ryerson Fellowship; Copley Foundation
Grant. Exhibitions: Galleria Tega, Milan,
Italy (2001); Gallery Kent, N.V. (2002);
Gallery Jan Krugier-Ditesheim, Geneva,
Switzerland (2002). Teaches at the Ecole
des Beaux Arts, Paris. Resides in Paris.
JAN BALTZELL
Critic
Sculptor. See Certificate Faculty
Critic/ Advisor
Painter. See Certificate Faculty
BRUCE SAMUELSON
MARK BLAVAT
Critic/ Advisor/Drawing faculty
Painter. See Certificate Faculty
Critic/Advisor
Painter. B.F.A. with a minor in religion,
Temple University. M.F.A., University of
Iowa. Recipient: MacDowell Colony
Fellowship. Director, International School
of Chen Style Taijiquan (Philadelphia
branch).
MURRAY DESSNER
OSVALDO ROMBERG
Seminar/Readings and Research,
Critic/Advisor
Sculptor. Painter. Installation artist.
Collections: The Israel Museum; Museum
of Modern Art; Brooklyn Museum; Library
of Congress; Philadelphia Museum of Art;
Kunstmuseum; Jewish Museum, N.Y.;
Museum of Contemporary Art, Antwerp;
Museo de Bello, Buenos Aires; Tel Aviv
Museum. Numerous solo exhibitions
include Jan von der Donk Gallery, N.Y.
(2001). Group Exhibitions: Kwanglu
Biennale, Korea; Biennale of Johannesburg,
South Africa; Venice Biennale; International
Biennale, Tokyo; Kunsthalle, Berlin, Critic's
Biennala; International Cultural Center,
Berlin. Retrospective: Bypass: 1972-1997,
Kunstmuseum, Bonn; Recipient: Sandberg
Prize, highest award for the arts in Israel.
JAMES ROSEN
Critic
Painter. B.S., Wayne State University.
M.F.A., Cranbrook Academy of Art.
Numerous solo exhibitions. Awards:
Georgia Council for the Arts Grant; Helene
Wurlitzer Foundation Fellowship; Djerassi
Foundation Fellowship; Yaddo Fellowship;
MacDowell Fellowship. Writes, lectures,
and conducts workshops extensively.
Collections: Georgia Art Museum;
Metropolitan Museum of Art; Museum of
Modern Art; Victoria and Albert Museum;
Syracuse University; San Francisco
Museum of Modern Art; Minnesota
Museum of Art; San Di ego Museum of Art.
Critic/Advisor
Painter. See Certificate Faculty
SIDNEY GOODMAN
Critic/Advisor/Drawing faculty
Painter. Sculptor. See Certificate Faculty
RICHARD TORCHIA
Seminar faculty
Artist. Curator. Collections: Philadelphia
Museum of Art; Prudential Life Insurance
Company; Canadian National Postal
Archives. Solo exhibitions: Project for
Morris Arboretum and Philadelphia
International Airport (2002-03); Gallery of
Photography, Dublin (2002). Group exhibition: Aldrich Museum of Contemporary
Art, Ridgefield, Conn. (2002). Awards:
Pew Fellowship in the Arts; Mid-Atlantic
Arts Foundation; Pa. Council on the Arts
Fellowship. Director of Arcadia University
Art Gallery.
DANIEL MILLER
CriticlAdvisor/Thesis advisor/Chairperson
Printmaker/sculptor/painter.
See Certificate Faculty
MICHAEL MOORE
Drawing and Seminar faculty
Graphic Artist. Printmaker. B.F.A.
Printmaking, Syracuse University.
M.F.A. Drawing, University of Washington.
Recipient: Fulbright Teacher Exchange
Grant for Scotland. Exhibitions: regional
and national. Faculty: University of
Southern Maine, 1967-91. Director of
Graduate Programs, Pennsylvania
Academy, 1994-1998.
KATE MORAN
Critic/Advisor/seminar faculty
Sculptor. Photographer. B.A., Antioch
College. Certificate, Pennsylvania Academy
of the Fine Arts. M.F.A., University of
North Carolina at Chapel Hill. Collections:
Philadelphia Museum of Art; State Museum
of Harrisburg; Pennsylvania Academy of
the Fine Arts; CIGNA Museum and Art
Collection; Woodmere Art Museum; New
Orleans Museum of Art. Awards:
Pennsylvania Arts Council Grant ('93, '96);
Pew Fellowship in th e Arts; Leeway
Fo undati on Grant. Repres ented by
Stei nba um Krauss Gallery, N.Y.
36
TOP: Hisako Inoue, Left Behind, plastic, mohair
BOTTOM : Melinda DeBell, Soiourn, installa tion view
38
ADMISSION TO THE COLLEGE
The Pennsylvania Academy encourages
applications from students who are
highly motivated, seeking to develop
their artistic ability and demonstrate a
strong commitment to the fine arts.
We are committed to enrolling students
who will benefit from the unique arts
education we provide.
Once an application is received and
processed, an applicant file is created
and a letter of acknowledgment and
list of outstanding supporting documents
will be sent. An admissions associate
will guide each applicantthrough the
application process.
Applicants may forward application
materials in stages. However, admission
to the Pennsylvania Academy is based
on a number of factors, therefore an
applicant will not be considered for
acceptance to the Academy until all
admissions requirements have been
met. The admissions committee carefully reviews all application materials
and portfolios submitted. Reviews are
conducted as necessary and candidates are notified on an ongoing basis.
Admissions decisions are not disclosed
by phone.
INTERVIEWS AND SCHOOL TOURS
Students interested in attending the
college are strongly encouraged to
schedule a personal interview and
tour. Although interviews are not
required, it provides prospective students and their families an opportunity
to learn more about the Academy and
to discuss how the benefits of the
College might meet the prospective
student's needs. This also allows
admissions staff to learn more about
each applicant.
Prospective students coming for an
interview are encouraged to bring
examples of recent, original artwork.
Large work and three-dimensional
work should be represented in slide
form.
To schedule a visit, please contact the
Office of Admissions at 215-972-7625,
at least one week prior to the date you
would like to visit.
39
S A E
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(1)9 i>AFIrISY!Vi'1nla ACi'1deMY ~Clmlts
new Mild~nts to the w1erarartuafe
ApoiieaMn
A non-refundable $.35 apo!ie?uon fM
::;'~rtfo'io (see (equirements,
,ta Ament of PurposA
Two retters of recommend?+ion
saled cffielal nlg~, schoo! transcr,ot(sl
Off,eia transcr,pt from eac • college
Cr'lniVerS' { atter,ded
IN ERNATIO PoL STUOErs
• Off.cla! traCi"rated senool transcnpts
A minllf,um TOEF (e of English
as a Foreign language) score of 500
(written) or 173 (computerized)
• Affidavit of Support along with a
notariled bark statement
MARCH 1
Merit cholMShip deadline
Re(;{)mmenrled deadline to
file the FAFSA (Free ApplicatIOn
for Federal tudent Aid)
APRIL 1
Priority need -based
scholarship deadline
MAY 1
Dafldllna for need -based
state illd PHI:AA
(PIIIII7SV!Vt/l7il/ (os/dOniS onlV)
Pennsyfvan a Academy arid your goa s
as a student - nd a 1st
LET ER CF
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letters of '9commendatiol1 ~ou d
come from indiViduals
0 are
famlliar Nth our a istic ability sucl1
as: teachers, guidance eounse.orsl
advisors, and emoloyers -l1e full name
of the aDO leant should aoaear H1 aac,
letter c f recommendation submitted to
t~e
Off;ce of AdmiSSions
PORTFO LIO REQUIREMENTS
FOUNDAT IO
IMPORTANT OATES
flF.8RIJARV 1
Recommended deadline
for fflfl applicants
0"
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All app canfs rr ~t subrr a
er:
statement of purpose ?'eas~ cfsc .
our reastjOS (or attend'r 9 tr e
leA. £ :>t>ce. '"
Gsr1ificC'ls e program ,r the fall and
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roiling' r 1111 ~I()ns prlicess ,owp,ver
JIB enco IragA stilr"leritS aopf'/,ng for
tM fC'l I erM ("eptember start d? AI to
SU ,mit their apolica Ion m?t8r ats 0'1
~&brll;;jr"/l i'1r1d llpolicilnts 3001YI~g
for the prinq term (Jflnllarv star
rli1te) by lv'/ember 1 to receIve pr;onW
COl'iSlrtfHi'1tH'm for acceptance anrl
neerl bfl'>erl financial flirt
E T OF
IFR ESHMAN
APPLI CATION AND FEE
A portfolio of artwork cl}[ltaining 12-15
A non-refundable application fee of
$35, payable by check, money order
or credit card, must accompany the
application, App lications received
without the fee will not be processed,
pieces of onginal work is reauirad for
TRANSCRIPTS
All applicants for admission, including
those seeking advanced standing,
must submit transcnpts, Cand id ates
must have proof of graduation (high
school diploma) or high school equivalency (GED) prior to their attendance
at the Academy, Only transcripts in a
sealed envelope will be considered
official. They may be sent directly to
the Office of Admissions or delivered
by the applicant. Transfer applicants
who have earned a Bachelors degree
or higher, do not have to submit a high
school transcript. If you have not
earned a degree please submit a
soaled official and final high school
transcript with date of graduation.
admlssior PortfoUo should contain
examples of the applicant's most
recent work, as this Will reflect the
applicant's current level of ability.
Alth oug h personal or conceptuaf work
is enco uraged, the portfolio should
consist primarily of work done from
direct observation. This can be done
in a variety of media but must be from
real-life observation. Examples may
include self-portraits, figure studies,
still lifes, landscapes and interior
spaces.
If the applicant is submitting original
work, please be sure to label the back
of each piece with your full name. If
necessary, drawings should be covered with a transparent material such
as tracing paper, to protect against
smearing, dust transfer or color pick
up. No framed work will be accepted.
Portfolios presented in standard 35mm
slide format should be placed in a slide
sleeve(s). All slides must be labeled
with the applicant's name and an
arrow or dot indicating the top of the
slide. All three-dimensional works
should be represented in standard
35mm slide format. Please show at
least two views of your work. A slide
sheet, which provides an inventory of
the slides submitted, must accompany
work. This sheet must have the applicant's name, title of the piece, size,
medium, and year of production.
Slides will be returned only if applicant
provides a self-addressed stamped
envelope. Portfolios of original work
may be picked up in the Office of
Admissions once you have been
notified that it has been reviewed.
Portfolios will not be released to any-
INTERNATIONAL STUDENTS
PART-TIME STUDENTS
Due to the amount of time required to
fulfill all necessary legal requirements,
applicants who are not citizens of the
U.S. should submit all application
materials to the Office of Admissions
no later than eight weeks prior to the
semester.
Students may be admitted to the
Academy on a part-time basis for up
to two years. Students must attend a
minimum of five class sessions per
week (7.5 credit hours per semester).
Part-time students may still apply for
financial aid.
Proof of competency of the English
language is required for admission.
Therefore a TOEFL (Test of English
as a Foreign Language) score of 500
(written) or 173 (computerized) is
CONTINUING EDUCATION
required prior to acceptance. All official
high school and/or college transcripts
must be submitted. Any transcripts
containing coursework completed
outside of the U.S. must be translated
and notarized.
APPLICANTS
We encourage applications from
eligible applicants within the Continuing
Education program. Courses taken in
the program will be evaluated for
transfer into the Certificate program,
based on satisfactory completion of
coursework and a review of the
student's portfolio. If approved and
applicable, a maximum of 15 credits
may be accepted as transfer credits.
one other than the artist of the work,
unless the artist has notified the Office
Under the guidelines of the U.S.
Immigration and Naturalization Service,
REAPPLYING
all international students must provide
An applicant, who did not complete
of Admissions by phone or in writing.
proof of financial support. This
the admissions process, did not receive
TRANSFER APPLICANTS
information is to be submitted on the
Affidavit Support form. A form will
The Pennsylvania Academy welcomes
be sent to you after you have been
qualified transfer applicants. A large
percentage of our student body
accepted to the program. The 1-20,
Certificate of Eligibility (required to
a favorable admissions decision or
was accepted and did not attend, may
reactivate their application within two
years. Beyond this period, the student
must complete a new application.
consists of students with prior college
experience. The transfer of credit and
level of placement is evaluated on an
individual case-by-case basis. A
transfer applicant must be accepted
to the program before an evaluation
of transfer credits will be completed.
apply for F-1 visa) will be sent once
we have received a completed
READMISSIONS
The transfer of credits is based upon
the evaluation of a student's portfolio
and review of college transcripts from
each post-secondary school attended.
Affidavit of Support, a notarized statement and the applicant has submitted
a Confirmation of Acceptance form
and non-refundable $200 tuition
deposit.
VETERANS
The Pennsylvania Academy is
approved for Veterans' education
under title 38 U.S. Code Section 1776
and the Veterans Administration
Regulation 14251 E.
Students seeking readmission within
two years of officially withdrawing
from the College should contact the
Dean of Enrollment and Student
Affairs to determine eligibility for
readmission. Beyond this period,
students are required to submit a new
application and portfolio to the Office
of Admissions.
41
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of 13
considered for assistance, but preference
FEDERAL WORK I STUDY
will be given to those whose processed
The Financial Aid Office will make a
FAFSA applications have been received
determination of a student's eligibility to
by the deadline. Applicants to the School
work on campus. A work/study award
need not be accepted to apply for aid, but
indicates the amount a student is eligible
The Academy's goal is to provide financial
must be accepted to the School before aid
to earn if he or she secures a job at the
assistance to students who qualify, based
will be awarded.
Academy.
thirds of students at the Academy receive
The principal types of assistance
EMPLOYMENT
some form of financial aid.
are as follows:
The School is contacted by outside
on need and merit. Approximately two-
FEDERAL PElL GRANT
The amount of assistance allocated to
This is a federally administered program
each student varies according to the
in which eligible students are awarded
individual's needs, portfolio ranking and
grants. The federal government determines
the availability of funds. Because these
eligibility.
factors vary from year to year, financial aid
is awarded on an annual basis. Therefore,
PHEAA GRANT
students who want financial assistance
Awards are available to established
must reapply for aid every year. Students
Pennsylvania residents who have not
are advised to observe and meet deadlines
earned a college degree, are enrolled at
established by the Financial Aid Office.
least halftime, and demonstrate financial
For information, call 215-972-2019.
need. Application must be made by the
deadline. (Note: other states have
The Academy can charge a relatively
lower tuition than many other private
institutions because its endowment and
fundraising efforts underwrite a significant
percentage of the total cost of tuition.
scholarship programs for their residents.
Information and applications should be
other fees or expenses. Applicants who
indicate on their application forms that
they expect to apply for financial aid will
automatically be sent detailed information
from the Financial Aid Office.
The Free Application for Federal Student
must complete the PAFA International
Application to be considered for aid.
Student loans require an additional application. Any applicant or current student
who completes the FAFSA application and
has a complete financial aid file will be
44
Student loans, including Stafford,
Unsubsidized, PLUS, and Alternative are
available at low-interest rates with extended
repayment terms to assist students in
meeting both tuition and living expenses.
Although these loans are transactions
between a student and a bank of his or her
choice, the student must first complete a
PAFA and a FAFSA application as well as
loan applications in order to apply for a
await notification of other possible grants
not be transferable to Pennsylvania.)
or scholarships before undertaking indebtedness of this kind. The student alone is
FEDERAL SUPPLEMENTAL
responsible for repayment of this financial
EDUCATIONAL OPPORTUNITY
obligation. Details are included in the
GRANT (SEOG)
information sent by the Financial Aid Office.
This is a federally funded, school-adminis-
The loan application process usually takes
tered program. Grants are awarded to the
two to eight weeks.
most needy Pell Grant eligible recipients,
TUITION MANAGEMENT
SYSTEMS
Students who have earned a bachelor's
The Academy offers an interest-free
degree do not qualify for the above aid
funds.
monthly payment option, which allows
Aid (FAFSA) serves as the application for
aid programs. International students
LOANS
of Education. However, some grants may
FINANCIAL AID PROGRAM
work/study, loans, and tuition scholarships.
Academy bulletin boards.
student loan. It is suggested that students
based on the availability of funds.
The program is comprised of grants,
Notices of openings are posted on
available from the respective State Boards
Included with this booklet is a separate
sheet listing current tuition charges and
employers with various job opportunities.
students to spread tuition expenses in ten
equal monthly payments over the academic
ACADEMY SCHOLARSHIPS
year, enabling students to more easily
Through its endowment, the Academy
budget expenses. The enrollment fee for
offers numerous named tuition scholarships,
this option includes automatic life insurance
awarded primarily on the basis of need. All
that covers the unpaid balance of the
eligible students, including foreign students
student's annual budget. This option may
and students with college degrees, are
prove helpful, whether or not the student
considered for these scholarships.
qualifies for financial aid.
SCHOLARSHIPS
For third- and fourth-year and
graduate students
The Scholarship of the Alumni Association
of the Pennsylvania Academy
of the Fine Arts
The Joseph Amarotico Scholarship
The Arcadia Foundation Scholarship
The Elizabeth Arrasmith Memorial
Scholarship
The Morris Blackburn Scholarship
The Charles Bregler Art Scholarship
The Rhea K. and Robert T. Brooks
Scholarship
The Gilbert M. Cantor
Memorial Scholarship
The Mary Cassatt Associates Scholarship
The Justine Cretella Memorial
Scholarships
The Violette de Mazia Memorial
The Bobette R. and Nelson C. Leidner
Scholarship
The Conrad J. Linke Memorial Scholarship
The Jimmy C. Lueders Memorial
Scholarship
The Jane Darley Naeye Scholarship
The Salvatore Pinto Memorial Scholarship
The Jane Piper Memorial Scholarship
The William Tylee Ranney, Jr. Scholarship
The Jean B. Reeves Scholarship
The Raymond S. Reinhart Memorial
Scholarship
The Gilroy and Lillian P. Roberts
Graduate Scholarship
The Sara Mary Barnes Roby Scholarship
The Saul Schary Memorial Scholarship
The Marc Clarkson Schoettle Memorial
Scholarship
The Thomas Eakins Associates
The John Sloan Associates Memorial
Scholarship
The G. Ralph Smith Scholarship
The Geraldine Dietz Fox and
The Lucille Sorgenti Scholarship
for the Arts Scholarship
The Samuel T. Freeman Memorial
Scholarship
The Barbara Specker Gorson Memorial
Scholarship
The Catherine Grant Scholarship
The Eleanor S. Gray Memorial Scholarship
The Sophie Victor Greene Memorial
Scholarship
The David J. and Eleanor S. Grossman
Scholarship in Memory of
Franklin G. Watkins
The Allen Harris Memoria l Scholarship
The Fred and Naomi Hazell Art Award
The Robert Henri Associates Scholarship
The Henry Hotz, Jr. Memorial Scholarship
The Hunt Foundation Scholarship
The Frances H. and John G. Johnson
Memorial Scholarship
The Huldah Bender Kerner Scholarship
The John Lambert Scholarships
The Henrietta and Benjamin Landis
Memorial Scholarship
The Jacob Lawrence Scholarship
.. - -
Scholarship
The Robert B. Ehrman Scholarship
The Franklin Mint Foundation
;;j:.... ...... -
The M. Murray Schwartz Scholarship
The Silver and Harting Greenfield
Richard J. Fox Scholarship
Each spring, the Academy awards over
$40,000 in individual prizes for the best
work executed in specific categories. The
faculty judges the work, and students in all
four years are eligible to enter. All of these
prizes provide incentives that increase
students' ambition and aspirations - often
beyond anything they would ordinarily
have expected of themselves.
Scholarship
The Gilroy and Lillian P. Roberts
Scholarship
The Earl T. Donelson Memorial Scholarship
Scholarship
PRIZES
The Helen V. Stone Memorial Scholarship
The Walter Stuempfig Memorial
Scholarship
The Richard C. von Hess Memorial
Scholarship
The Silvia S. and Miron M. Walley
Memorial Scholarship
The Roswell Weidner Memorial
Scholarship
The Renee (Mrs. Jerome B.) Weinstein
Memorial Scholarship
The Polly Mudge Welliver Foundation
Memorial Scholarship
The Margaret M. Welsh Memorial
Scholarship for Continuing
Education Students
The Bonnie Wintersteen Scholarship
The Ruth and Ben Wolf Scholarship in
Honor of Peter Paone
The Scholarships of the Women 's Board
of the Pennsylvania Academy
of the Fine Arts
The Women's Board Special Needs
Scholarship
The Charles Morris Young Scholarship
45
TRAVEl SCHOLARSHIPS
In addition, each year the Annual Student
Exhibition is, in part, a competition for the
prestigious Cresson, von Hess, Schiedt,
and Ware Travel Scholarships, for thirdand fourth -year students.
The Lewis S. Ware Memori al Travel
Scholarships, first awarded in 1938, provide
European Travel Scholarships in amounts
and conditions similar to those of the
Cresson Scholarships. In recent years,
an average of two students per year have
been awarded Ware Scholarships.
The J. Henry Schiedt Memorial Travel
Scholarships, first awarded in 1949, provide
The Jeanne Culver Prize
The Arthur DeCosta Prize for Painting
The Earl T. Donelson Figure
Painting Awards
The James O. Dumont Prize
The Thomas Eakins Memorial Prize
The Louis S. Fine Purchase Prize
The Charles J. Frith, Jr. Landscape
Purchase Prize
The Gamblin Paint Prize
travel scholarships based on requirements
The Catharine Grant Memorial Prize
Travel Scholarships were created by a
similar to the Cresson Scholarships; however, they are not specifically designated
The Eleanor S. Gray Prize for Still Life
The Gross McCleaf Gallery Prize in
generous fund established by the wills of
for European travel. The first one was
Emlen Cresson and Priscilla P., his wife, as
awarded in 1949. In recent years, an
The Historic Yellow Springs Prize
a memorial to their deceased son, William
average of five students per year have
The Lance Roy Lauffer Memorial Prize
Emlen Cresson, academician. The income
been awarded Schiedt Scholarships.
The Jimmy C. Lueders Painting Prize
The William Emlen Cresson Memorial
Memory of Estelle Shane Gross
The Louis and Estelle Pearson Memorial
from the fund provides the opportunity for
Prize for Landscape with Figures
outstanding students to travel and study in
AWARDS
Europe. First awarded in 1902, the Cresson
The James P. Bonelli, Jr. Memorial Prize
The Hobson Pittman Memorial Prize
Scholarships have had significant influence
The Robert Carlen Memorial Endowment
The Robert A. Ricker Memorial
on hundreds of recipients. In the spring of
The Pearl M. and Melvin P. Carpel Award
1969, the one-thousandth award was
The Eagles and Angels Award
made. In recent years, an average of three
The Faculty Awards
students per year have received Cresson
The Fellowship Juried Prizes
Scholarships. The funds cover the expenses
The Fellowship Trust Prizes
of travel for a period of 60 to 70 days in
The Pennsylvania Governor's Award
Europe during the summer, and tuition
The Philadelphia Mayor's Award
costs for the following school year at the
The Rohm and Haas Fine Arts
Academy. Recipients are required to return
Landscape Prize
The Selma and Samuel J. Savitz
Purchase Prize
The Louis B. Sloan Landscape or
Still Life Prize
The Valerie Lamb Smith Landscape
Painting Residency
The Benjamin West Prize
Achievement Purchase Award
to the Academy for the continuance of
The Franklin C. Watkins Memorial Grants
PRIZES FOR DRAWINGS
regular studio work in an additional year
The Women's Board Prize
AND WORKS ON PAPER
as independent students. They are expected
The Susan Carlen Brown Memorial Prize
to help set high professional standards
PRIZES FOR PAINTING
among students after returning from Europe.
The Linda Lee Alter Award
The Richard C. von Hess Scholarship and
Travel Award was established by the
Trustees of the Richard C. von Hess
Foundation in memory, and in accordance
with the wishes, of Richard C. von Hess.
Selected by the appointed faculty and
based on merit and financial need, this
one -year, full-tuition scholarship is
awarded to a third-year student exhibiting
competitively in the Annual Student
Exhibition. The travel portion of the award
will be available for the summer following
the recipient's graduation. First awarded
in 2001.
46
The Elena and Will Barnet Prize for
Abstra ct Art
The Cecilia Beaux Memorial Prize
for Aqueous Media on Paper
The Irma H. Cook Prize, The August Cook
Prize, and the Daniel Garber Prize for
Excellence in Drawing
The Samuel David Memorial Prize
The Frances D. Bergman Memorial Prize
The Lambert and Emma Wallace
The Deena Gu Prize
Cadwalader Prize for Landscape
The Lambert and Emma Wallace
The Packard Prizes
The Philadelphia Water Color Society Prize
Cadwalader Prize for Portraiture
The Lois and Charles X. Carlson Landscape
Painting Residency
The Charles Crawley Landscape Painting
Purchase Prize
The Charles Crawley Still Life Painting
Purchase Prize
The Cuff/Sammak Prize for
Abstract Pa inting
for Cast Drawing
The Ramborger Prize
The Simone C. Titone Prize
The Charles Toppan Prizes
PRIZES FOR PRINTMAKING
The Elena and Will Barnet Prize for
Abstract Art (see Painting)
The Mr. & Mrs. Leon C. Bunkin
Memorial Prize
The Color Woodcut Purchase Prize
The John R. Conner Memorial Prize
The Charles Crawley Black-and-White
Woodcut Purchase Prize
The Wharton Esherick Museum Award
The Charles J. Frith, Jr. Print
Purchase Prize
The Louis and Estelle Pearson Memorial
Prize for Landscape with Figures
(see Painting)
The Henry C. Pratt Memorial Prize
in Printmaking
The Print Center Prize
The Robert T. Wickersham Memorial
Purchase Prize in Lithography
The Ruth and Ben Wolf Printmaking
Department Prize
PRIZES FOR OPEN MEDIA
The Alexander Prize
The Artists' House Gallery Award
The Judith McGregor Caldwell Purchase
Prize for the Academy's Permanent
Collection
The Michael G. Capuzzi, Jr. Memorial
Endowment
The Hortense E. Cauley Memorial Prize
The Janet Fleisher Prize
The John Galasso Memorial Prize
The Haney Foundation Award for
Philadelphia Artists
The Mindel Caplan Kleinbard Award
The Marcia Lampert Prize for a
Construction (see Sculpture)
The Benjamin Lanard Memorial Award
(see Sculpture)
The Michael Pearson Memorial Prize
The Angelo Pinto Memorial Prize for
Experimental Work
The Plastic Club Award
The Seymour Remenick Memorial Prize
PRIZES FOR SCULPTURE
The Don Sabath Award
The J. Kevin and Beth Anglin Cauley Prize
The Edna Pennypacker Stauffer
The Lillian Chandler Memorial
Sculpture Prize
The Mark Cullinane Memorial Prize
in Sculpture
Memorial Prize
The Thouron Prizes
The Vermont Studio Center Residency
The Edna and Charles R. Weiner Prize
The Charles E. Dutrow Award
The Sylvia G. Wexler Memorial Award
The Perez and Mary Epstein Prize
The Wild Animal Life Purchase Prize
James D. Adams
for Sculpture
The KatManDu Prize for Outdoor Sculpture
The Marcia Lampert Prize for a
Construction (see Open Media)
The Benjamin Lanard Memorial Award
(see Open Media)
The Mary Townsend and William Clarke
Mason Memorial Prize
The Edmund Stewardson Prize
The Stimson Prize
The Valley National Gases Prize
The Ward Prize in Sculpture
Aleksandra Vasic Lalovic
47
ADMINI ST RAT ION
President and Edna S. Tuttleman Director
Derek A. Gillman
Director of Admissions
An gela N. Smith
Admissions Associates
Treya Cooper, Enrollment Coordinator
Paul Loughney
Jennifer Renko
Dean of Enrollment and Student Affairs
Anne B. K. Stassen
Director of Financial Aid
Toni N. Papa
Registrar
Rachael D. Ross
Librarian
Aurora Deshauteurs
Models and Props Coordinator
Carey Gates
TRUSTEES
Mark L. Alderman
John B. Bartlett
Elaine B. Bell
Max N. Berry
James C. Biddle
Robert L. Byers, Sr.
Jonath an L. Cohen
Daniel M. Di lella
Jane Fortune
Ba rbara J. Gohn
Mary P. Graham
Kenneth F. Herlihy
Dr. John A. Herring
Dr. Mary Louise Krum ri ne
Marguerite Lenfest
Jeffrey P. Orleans
Thomas N. Pappas
Linda Richardson
Steven L. Sanders
Graduate Programs Chair
Samuel J. Savitz
William H. Schorling
Henry B. du P. Smith
Daniel D. Miller
Timothy P. Speiss
Graduate Programs Coordinator
Gerard H. Sweeney
Kristin Graeff
Edna S. Tuttleman
Harry Wallaesa
Director of Continuing Education Programs
Neil di Sabato
Richard E. Woosnam
Debora C. Zug
COMMITTEE FOR THE SC HOOL
Mark L. Alderman
Chair
George A. Beach
Elaine V. Bell
Di ane Dalto
All an L. Edmunds
Marga ret En gman
Jane Fortune
Ken neth F. Herlihy
Deena Gu Laties
Mary MacG re gor Mather
Guna S. Mundheim
Susan A. Nelson
Samuel J. Savitz
William H. Schorling
Wayne A. Stork
Debora C. Zug
EX OFFICIO
Donald R. Caldwell
Chair, Board of Trustees
Carol Forte
Director of Development and
Capital Campaign
Derek A. Gillman
President and Edna S. Tuttleman Director
Peggy Gyulai
President, Alumni Association
BOARD OF TRUSTEES
EX OFFICIO
OFFICERS
Derek A. Gillman
Donald R. Caldwell
Chair
President and Edna S. Tuttleman Director
Barbara Greenfield
Kevin F. Donohoe
Vice Chair and Treasurer
Peggy Gyulai
Richard B. Lieb
Patricia P. Kermes
Vice Chair and Assistant Secretary
President, Womens Board
Dr. Vivian Potamkin
Vice Chair
Robert Roesch
Faculty Representative
Herbert S. Riband, Jr.
Vice Chair and Secretary
48
President, Alumni Association
Dr. John A. Herring
Patricia P. Kermes
President, Womens Board
Daniel Miller
Faculty Representative
Kim Sajet
Deputy Director
Anne B. K. Stassen
Dean of Enrollment and Student Affairs
Donna D. Stein
Vice President for Finance
and Administration
AP PLI CAT ION
I
CERTIFICATE AND POST-BACCALAUREATE PROGRAMS
CONTACT US
ADMISSIONS
215-972-7625
STUDENT INFORMATION (please print)
FINANCIAL AID
Former/Maiden Name
Middle Initial
First Name
Last Name
215-972-2019
STUDENT AFFAIRS
215-972-2199
Current Address
CONTINUING EDUCATION
215-972-7632
City/ State /Zip
Current Daytime Phone Number
Current Evening Phone Number
E-mail Address
Home
Work
Permanent Address: (if different than current address) City/ State / Zip
Social Security Number
Date of Birth
Citizenship: 0 US
o
Gender (OPTIONAL): 0
Female
0
Male
0 Permanent Resident, Resident Alien 10#
Non-U.S. Citizen, Citizen of _ _ __ __ _ Type of Visa _ _ _ _ __
(OPTIONAL) If you are a U.S. citizen or permanent resident, what is your race or ethnicity?
o
o
0 Asian American/Asian/Pacific Islander
0 Latino/Hispanic
0 Caucasian
African American/Caribbean
Native American
INTERNATIONAL STUDENTS
Place of birth
Have you taken a Test of English as a Foreign Language (TOEFL)?
0 Yes
o
No
If yes, the date of your last TOEFL test taken: _ _ _ If no, date scheduled to take: _ __
TOEFL Exam Score: _ __
o Computer test
0 Yes
Do you intend to apply for financial aid?
o Written test
o
No
Intended Major:
o
Painting
0 Printmakin g
o
Sculpture
Applying to enter:
O Re-admit
o
o
o
o
Prior year(s) of attendance:
First-Yea r/ Fall
First-Yea r/Spri ng
Transfer / Fall
Transfer/Sp ring
200
200
200
200
49
How did you learn about the
CERTIFICATE AND POST- BACCALAUREATE PROGRAMS
Pennsylvania Academy?
EDUCATIONAL BACKGROUND
A portfolio day:
Date
City
Name of High School
City/State/Zip
Date of Graduation
Date GED was taken
State
A college fair:
Date
Cilt
State
COllEGES AND UNIVERSITIES ATTENDED
Name of College/University
City/State
Dates Attended
Degree Earned
A school visit: Name of School:
Other (friend, relative, alumni/ae,
college guide, web, etc.)
Name of College/University
City/State
Dates Attended
Degree Earned
plete the following:
Name of College/University
City/State
Dates Attended
Degree Earned
Have you ever applied to/attended the Pennsylvania Academy?
0 Yes
0
No
If you were enrolled, check all that apply?
o
Undergraduate Program
o
Continuing Program
o
Are you a legal dependent of your parent(s)/guardian(s)? 0 Yes 0
High School Program
No If yes, please complete this section
Name(s) of parent(s)/guardian(s)
Address City/State/Zip
Phone Number
Relationship
STATEMENT OF PURPOSE
This should include your reasons for seeking admission to the Pennsylvania Academy, and your artistic and
career goals. Please be sure to include your full name as it appears on the application.
Applicant's Signature
50
Name (Please Print)
Date
APPLICATION
I
CONTACT
MASTER OF FINE ARTS PROGRAM
Applying to enter:
Fall 200_
Do you intend to apply for financial aid?
D Yes
o
No
STUDENT INFORMATION (please print)
Last Name
Former/ Maiden Name
Middle Initial
First Name
Current Address
City/ State /Zip
Current Daytime Phone Number
Current Evening Phone Number
E-mail Address
Home
Work
Permanent Address: (if different than current address) City/ State/Zip
Date of Birth
Citizenship: 0 US
o
Gender (OPTIONAL):
Social Security Number
0 Female 0 Male
0 Permanent Resident, Resident Alien 10# _ _ _ _ _ __
Non-U,S Citizen, Citizen of _ _
Type of Visa
(OPTIONAL) If you are a U,S, citizen or permanent resident, what is your race or ethnicity?
o
o
o
African American/Caribbean
Native American
o
Asian American/Asian/ Pac ific Islander
o
Latino/Hispanic
Caucasian
INTERNATIONAL STUDENTS
Place of birth
Have you taken a Test of Engli sh as a Foreign Language (TOEFL)?
0 Yes
0 No
If yes, the date of your last TOEFL test taken : _ _ _ If no, date scheduled to take : _ __
TOEFL Exam Score: _ _ __
o
Computer test
o
Written test
How did you learn about the Pennsylvania Academy?
o
A Portfolio Day:
Date
City
State
o
A sc hool visit: Name of School
Date
City
State
o
Other (friend, relative, alumni/ae, college guide, web, etc,)
EDUCATIONAL BACKGROUND
Name of High School
City/State/Zip
Date of Graduation
Date GED was taken
COLLEGES AND UNIVERSITIES ATTENDED
Name of College/University
City/State
Dates Attended
Degree Earned
Name of professor/department chair
Department
Name of College/University
City/State
Dates Attended
Degree Earned
Name of professor/department chair
Department
Name of College/University
City/State
Dates Attended
Degree Earned
Name of professor/department chair
Department
List names and addresses of three persons (art instructors or other professionals who know your work well)
who will furnish letters of recommendation regarding your artistic ability. Please request that each letter be
sent directly to the Office of Admissions.
1.
2.
3.
To which other schools are you applying (please list below)
Have you ever applied to/attended the Pennsylvania Academy?
0
Yes
o
No
If you were enrolled, check all that apply?
o
Undergraduate Program
o
Continuing Program
o
High School Program
STATEMENT OF PURPOSE
This should include your reasons for seeking admission to the Pennsylvania Academy, and your artistic and
career goals. Please be sure to include your full name as it appears on the application.
Applicant's Signature
52
Name (Please Print)
Date
In
.-
.. s
ADM I SSIONS
215-972-7625
FINANCI A L A I D
215-972-2019
ST UDENT AFFAIRS
215-972-2199
CONTINUING EDUCATION
215-972-7632
ACCREDITATION
The Pennsylvania Academy of the
Fine Arts is accredited by the National
Association of Schools of Art and
Design (NASADI.
MEMBERSHIP
The Academy is a member of
the Association of Independent
Colleges of Art and Design (AI CADI.
The Association provides benefits to its
member colleges, including a student
mobility program, access to international study, opportunities to study
and have internships in New York City,
faculty and staff development programs,
and advocacy for the strengthening
of visual arts education.
CREDITS
Design:
Densie Avavou, Avavou Design
Photography:
Rick Echelmever
David Graham
GPTMC photos bV Bob Krist
Linda Johnson
Karen Mauch
Printing:
Mike Prestegord,
Frantz Lithographlcs Services, Inc.
Publication of this catalog is generously
supported by the Womens Board
of the Pennsyh'ania Academy of the
Fine Arts.
