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For the record
Chicago Art Inst.
Minneapolis Art Inst.
Kansas City Art Inst.*****(Thomas Hart Benton taught there as well as
many contemporay artists. while Hart was teaching there- Pollock came to
live with him. Also Walt Disney went there and it was speculated had
buried something in front of the gates. Max Beckman was head of Painting
dept. at Washington University in St louis etc........)
and others are all good schools and they are in the mid west.
It may not be Cooper Union or Pratt or Rhode Island school of Design
but they can keep up with the best of them.
San D Hasselman wrote:
> I use critiques extensively from the moment students walk in the door.
> By the time they have made their way through our art program, crits are
> essential to their development of thesis statements and portfolios.
Our critiques range from the "formal", a written assessment to
> "informal" where we all sit around and discuss the work. Each artist
> must state their thesis statement, and tell us what they are working on,
> how they plan to get to their thesis statement, and any problems they
> have encountered so far. They can accompany their statements with
> sketches, etc. I am preparing them for the notion that they will have
> to explain themselves at portfolio reviews, AND again, that the
> difference between an artist with a paintbrush and a monkey with a
> paintbrush, is that one of them is capable of aesthetic and intellectual
> decision making
> AND they all get into at least 6 highpowered art schools on the east
> coast. Not because their work is any stronger than anyone else's, but
> because you can't shut them up! Interviews are "no big whoop" for
> them....and if you haven't gathered by now, their art teacher loves to
> I am a big proponent of having your work speak for itself, but the only
> way artists will ever know if the art is being received, is to ask
> someone what they make of it....and then rethink what you had intended
> and what has come out....If we use vocabulary, principals and elements
> of design, techniques, and the background of art history to make our
> art, we certainly have purpose in the piece, whether functional,
> aesthetic, emotional, or abstract, and the only way to determine whether
> that function is clear is through critiques.
> San D