Intern Insights: Summer at NAD

Young Art Enthusiasts

The National Academy of Design is pleased to give our summer interns the opportunity to see exhibitions of their choosing. Below you can learn about our interns and the art and ideas that inspire them. 

 Alison (Ally) Koumantzelis Pappalardo

Alison (Ally) Koumantzelis Pappalardo

I grew up in Mendham, a small town in New Jersey. I am now a rising junior at the University of Miami, studying fine arts, public health, and medical anthropology. I hope to eventually pursue my passion for public health and anthropology by joining the Peace Corps. However, right now the focus of my studies is around the fine arts, specifically graphic design and art history. My interest in the art world is what drew me to the National Academy this summer. I thought it would be a wonderful opportunity to learn the ins and outs of a non-profit within the art industry. I was also attracted to the National Academy because of the opportunity to research and learn about such a wide array of American artists, expanding my knowledge of art history. Along with being a great summer experience, this internship also gives me the chance to get an idea of what I truly want to do after college. 

The Susanna Coffey: Crimes of the Gods at Steven Harvey Fine Arts Projects exhibition seems to combine two very different sets of work, one being a selection of woodcuts on rice paper from her artist’s book, The Homeric Hymn to Demeter and the other being a selection of self-portraits. The woodcuts are primarily black with cut, white lines and shapes, revealing illustrations of the Greek narrative, The Homeric Hymn to Demeter. While these works were inspired by myths, Coffey’s set of self-portraits seem to tell a different story.

Coffey created her woodcuts back in the 1980’s but when looking at them next to her self-portraits, she realized that her work had come full circle, she had “a tale and its teller.” Coffey’s exhibition aims to tell a story that isn’t completely hers, she wants her art to speak for the mother’s defending their daughters, for the innocents and the skeptics, for those crying out against the crimes of gender. Her exhibition is rooted in the notion that her art is intertwined with the lessons within The Homeric Hymn to Demeter.

The woodcuts illustrate the stories told in The Homeric Hymn to Demeter, stories that capture the “criminal behavior of patriarchs” according to Coffey. The woodcuts are intriguing to me because they have just enough detail to understand what the overarching theme of the art is, but not enough detail to take away the ability to make an interpretation of your own. The woodcuts are meant to tell the story of these myths and I think Coffey takes it one step further by creating this mythical feel to the woodcuts, a sense you get without yet knowing the story they tell.

I think you can tell Coffey’s interest in myth through her self-portraits as well. Although the two sets of art look different at first, the self-portraits also have a mystical nature to them. The part of the painting of Coffey’s face stands out and I think you can feel the emotions shown on her face. At the same time, in most of the portraits, I think it also makes you feel like you are in a dream state, with the portrait fading into a background of large brushstrokes, an array of colors, often forming an unrecognizable shape around Coffey’s head.

I felt like I could stand there for hours looking at her portraits, trying to understand how intricate her face could be at times and how, at others, it could lack so much detail, but either way you could feel the emotion on her face. I also found myself fixated on how her face blended so perfectly with the abstract background. The colors she chooses, along with her unique brushstrokes, set her self-portraits apart from most others I’ve seen.

I also think her self-portraits are interesting because she makes no attempt to follow the guidelines of what is usually associated with portraits of women. She feels no need to flatter her face or make herself out to fit under society’s understanding of what is beautiful. This makes sense because Coffey was inspired by the #MeToo movement and intended to join the “chorus of young women and ancient Greek voices” protesting crimes of gender.

Understanding Coffey’s thought process behind setting up this exhibition is essential to understanding why she put these two seemingly different works of art together.  I think it’s amazing how she was able to bring these pieces together and combine her artistic thoughts with her thoughts about the world.

 Léa Miranda

Léa Miranda

Léa Miranda is a French student living in New York for the summer. She has an International Law degree from La Sorbonne University in Paris, France, and has attended classes of History of Art at the School of the Louvre Museum. In her desire to combine her different skills, Léa is now studying Management of Cultural Heritage as part of her MA. In this context, she is carrying out a research project focused on the circulation of artworks between France and the United States of America during the Cold War under the supervision of Sophie Cras, Assistant Professor of Art History at La Sorbonne University. Last year, she interned at the MAC VAL, a Museum Specializing in French Contemporary Art in Paris. She is currently a summer intern at the National Academy of Design in New York and a research assistant for Maura Reilly, curator, writer, and Executive Director of the NAD.

Donna Dennis: Ship and Dock/Nights and Days or The Gazer
May 31 – June 30, 2018 | Lesley Heller, New York City

Donna Dennis is an American artist, best known for her complex sculptural installations with sounds. Including one of her new installations and related gouache paintings on paper, this exhibition at the Lesley Heller Gallery opens a door to an immersive and poetic world —an expanded experience that disrupts our ideas of space and time.

The exhibition starts with the artist’s gouache on paper works representing water landscapes and focusing on the variation of the light and the moment of the day it is referring to. By showing us the recurring elements that she uses (boat, ship and dock, starry sky), these paintings offer a foretaste of the artist’s universe. Using black, grey, smoky blue and tints of white, Donna Dennis depicts a dreamy and smooth world which led to her introducing the “Ship and Dock/Nights and Days or The Gazer” (2018) installation.

Entering in a dark room, you are invited to sit on a bench against a wall drilled by small holes which recreate a starlit sky. This pattern is also used for the gouache paintings on paper seen at the entrance of the exhibition, making a marriage between the three-dimensional installation work and the two-dimensional paper works. The black curtains obstruct the light and isolate you from the outside, making it necessary for you to confront this mixed media assemblage. A video loop alternates days and nights by a slow and almost imperceptible evolution of light, in an immersive landscape background. The soundtrack is composed of sounds of water, boats and unknown noises which seem to come from the structure, in front of the video. By the dints created by shadows, we can guess that the framework is composed of a dock with two sheds. One of them, at the left of the installation, exudes an orangey-yellowish light –mysterious but not too intense, not to monopolize the attention of the viewer. The other shed, further from the viewer, is slightly elevated and facing left to create an impression of depth. The structure is actually made of wood, corrugated metal and rubber. Donna Dennis creates this installation in her studio in New York and recreates it for this exhibition at the Lesley Heller Gallery. By controlling the conditions under which the viewer experiences this installation, the artist invites you to contemplate the landscape and to lose notion of time. This procedure has already been used by Marcel Duchamp in “Étant donnés” (1946-1966), a small room with a locked wooden door where you can see through a peephole a landscape with a naked female figure. The video of this mixed media installation lasts 4.30 minutes, but the gallerist said it wasn’t rare that viewers stayed longer to enjoy a timeless moment, due to the immersive power of this overall installation.

Off the Wall on the Boundary of Painting + Sculpture
June 15 – July 27, 2018 | Locks Gallery, Philadelphia

By: Léa Miranda

Including works by artists who have mounted critical solo exhibitions like the Academicians Richard Artschwager, Jennifer Bartlett, Lynda Benglis, Robert Rauschenberg, Joel Shapiro, and Frank Stella, the Locks Gallery challenges our preconceived ideas about artwork to present a sophisticated and refreshing exhibition.

Some of the artists are best known for their paintings, other ones for their sculptures or for their installations, but the Gallery chooses to focus on the contemporary tendency that was seeded in the late 1950s but continues to the present, which has decided to drop the partition between painting and sculpture and to focus on the first nature of the objects: works of art.

The exhibition starts with a work from Joel Shapiro, who is well known for his sculptures and their position and proximity with the viewer. In his recent investigations of the expressive possibility of form and color in space, he suspends painted wooden elements from the ceiling, wall, and floor, exploring the projection of thought into space without the constraint of architecture. “Untitled” (1987-1988), a bronze with gold patina work hanging on the wall falls within the artist’s latest work.

Frank Stella on his part is using geometric patterns and shapes to create both paintings and sculptures. With “Anecdote from the Recent War” (1999) and “A Passage from the Higher Criticism” (1999), two mixed media on cast aluminum works, he wants to show the painting’s physical parameters rather than the illusion of space contained within it. To create these works, he used collages and maquettes that were then enlarged and recreated with the aid of assistants, industrial metal cutters, and digital technologies. The artist started to utilize this technique in the mid-1980s, when he created a large body of work that responded in a general way to Herman Melville’s Moby Dick.

Furthermore, “Contrapposto” (2017) by Lynda Benglis is a handmade paper over chicken wire painted with acrylic, which distorts traditional rectilinear painted planes as well as the sculptural tradition of casting as it extends out and away from its origin. This artwork was made in the context of “Post Minimalism,” a notion used for the first time by the art critic and historian Robert Pincus-Witten in 1971 to describe Eva Hesse works. While capturing the Minimalist heritage, the Post Minimalist artists depart from it by creating art objects that do not have the representational function of traditional sculpture, objects that are abstract, anonymous in appearance, and have a strong material presence. To a certain extent, they reacted against the earlier movement's impersonality, trying to invest sculpture once again with emotionally expressive qualities. 

Some people may ask “Is it a painting or sculpture?” Earlier in the century, Alberto Giacometti made fun of those distinctions by calling one of his paintings “Sculpture” (1927) and creating an ambiguity between the subject represented and the object. The important point here is the intention of the artists who are consistently interested in dissolving the preexisting distinctions used to classify works of art, and to go beyond them.

Jennifer Bartlett is an artist whose paintings, drawings and prints combine abstraction and representation. “I think of bringing the image out, pushing it down, bringing it out, pushing it down,” she said in an interview with Hillary M. Sheets from the New York Times on the occasion of her retrospective at the Parish Museum of Art in 2013. It is exactly what she did with “Fire / Three Cones” (1989), an oil on canvas representing a fire and three grey cones, that she takes out of the painting and duplicates in sculptures. Placed in the exact same position, the three sculptural cone elements seem to emerge directly from the painting and create an uncanny variation of layouts between the two-dimensional oil on canvas work and the three-dimensional cones, in a kind of augmented reality.

Robert Rauschenberg’s work is about establishing a dialogue between mediums, between handmade and readymade, between the gestural brushstroke and the mechanically reproduced image. In “Pegasits/ROCI USA (Wax Fire Works)” (1990), the artist introduces different unexpected elements between the art work and the viewer and outstrips the rigidity of the framework. By using acrylic and fire wax to reproduce images, wood patterns, bottles and texts from newspapers – elements that can be found in his landmark series of Combines (1954-1964) – he creates an impression of depth, due to the stainless steel used as a canvas. Moreover, he includes a chair arranged horizontally on the top of the work to break with the classical flattened frame. It is painted in the same silvery color as the printed image on the stainless steel, and it easily merges with the other mediums of the work to create a coherent and balanced set. The viewer is free to interact with the artwork by playing with his reflection on the untouched mirrored metal part of this Dada-inspired assemblage.

The thematic narrative of the exhibition continues through the notion of deformation that artists use to alter the viewers’ standards. This is what David Row has recourse to, to produce “Depth Grammar” (2017), an artwork made with three panels forming a hexagonal canvas, on which there is a yellowish-ochre cross on a black background. By pushing the boundaries of the traditional media distinctions and using irregularly shaped canvases and rich colors, the artist questions our a priori and celebrates the canvas in all ways.

Moreover Richard Artschwager is using the intersecting gallery walls to create a form within a right-angled corner to present his peculiar construction “Untitled (Splatter, Desk, Chair, Typewriter)” (1997). He causes a confusion by playing with shapes, materials and colors: on a wood panel base, the artist partly preserves the raw material, while partly covering it with formica and aluminum, and partly paints it to reproduce the wood pattern and create a trompe l’oeil, in a kind of postmodern use of the Greek and Roman technique from the Baroque period.

With Off the Wall, the Gallery takes a side, discusses and challenges our tendency to classify artists by the nature of their works. While continuing to explore this postmodern dissolution of usual media distinctions, the exhibition offers an idiosyncratic snapshot of a dissident contemporary movement, in agreement with the intention of the Locks Gallery to combine fresh perspectives of the 20th century in contemporary art.

 Nathale Annete Nicoletti

Nathale Annete Nicoletti

Nathale Nicoletti is from Sorocaba, Brazil where she is in her second year studying Architecture and Urbanism at Universidade de Sorocaba (Uniso). Nathale received her International Baccalaureate from Rossall School in the United Kingdom. She also completed the Intro to Architecture program at Columbia University’s Graduate School of Architecture, Planning and Preservation in New York. Nathale’s interests in architecture and art history brought her to the National Academy of Design this summer. An avid traveler, Nathale has visited countries on five continents, always looking for inspiration and knowledge from around the world.

Kathy Butterly, NA, 2017 Tiffany Foundation Grant Recipient

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Congrats to Kathy Butterly, NA for being amongst 30 recipients of the 2017 biennial grants from The Louis Comfort Tiffany Foundation!

The Louis Comfort Tiffany Foundation announced the recipients of its 2017 biennial grants. Thirty artists who work in painting, drawing, sculpture, photography, video, craft, and new media will each be awarded $20,000 in order to produce new work. In May 2018, their artwork will be documented in a catalogue published by the foundation.

The recipients were chosen from a pool of 156 people, who were nominated by artists, critics, museum professionals, and foundation trustees. The seven-member jury was made up of Phong Bui, cofounder and artistic director of the Brooklyn Rail; Ruth Estévez, the director and curator of REDCAT Gallery in Los Angeles; Alison de Lima Greene, a curator at the Museum of Fine Arts, Houston; Chrissie Iles, a curator at the Whitney Museum of American Art; artist Charles LeDray; artist Kerry James Marshall; and Bruce W. Pepich, the executive director and curator of collections at the Racine Art Museum in Wisconsin.

“Few events are more exciting and encouraging than being nominated to compete for prizes you can't apply for,” Marshall, a former grantee and foundation trustee, said. “It is the kind of endorsement that gets the wind at your back, and since my 1993 Tiffany grant, it's been full speed ahead.”

Established in 1918 by Louis Comfort Tiffany, son of Tiffany & Company founder Charles Louis Tiffany, the foundation has distributed nearly $10,000,000 in awards to five hundred artists nationwide since it launched its biennial competition in 1980. In November 2017, the Aspen Institute recognized the foundation’s service to artists with its service salute.

The full list of recipients is as follows:

Nina Chanel Abney, Jersey City, NJ

niv Acosta, Brooklyn, NY

Kathy Butterly, New York, NY

Karon Davis, Ojai, CA

Abigail DeVille, Fort Lee, NJ

Rafa Esparza, Pasadena, CA

Raque Ford, Brooklyn, NY

Juliana Huxtable, Brooklyn, NY

Kahlil Joseph, Los Angeles, CA

Titus Kaphar, New Haven, CT

Ellen Lesperance, Portland, OR

Candice Lin, Altadena, CA

Tiona Nekkia McClodden, Philadelphia, PA

Zachary Meisner, Austin, TX

Ebony G. Patterson, Lexington, KY

Beverly Penn, Austin, TX

Sondra Perry, Perth Amboy, NJ

Peter Pincus, Penfield, NY

Sean Raspet, Los Angeles, CA

Wendy Red Star, Portland, OR

Cameron Rowland, Queens, NY

Jessica Sanders, Brooklyn, NY

Beatriz Santiago Muñoz, San Juan, PR

Regina Scully, New Orleans, LA

Kaneem Smith, Houston, TX

Matthew Solomon, Lake Huntington, NY

Jesse Stecklow, Los Angeles, CA

Martine Syms, Los Angeles, CA

Kazumi Tanaka, Beacon, NY

Tomas Vu-Daniel, New York, NY

Maura Reilly, NA Executive Director, in an Interview - Towards a Just Art World


A curator and arts writer, Maura Reilly has dedicated her career to contemporary art in/of/from the margins. She was the Founding Curator of the Elizabeth A. Sackler Center for Feminist at the Brooklyn Museum, the first museum exhibition space of its kind in the world. Established through the generosity of the Elizabeth A. Sackler Foundation, it is an exhibition and education environment dedicated to feminist art — its past, present, and future. While working at the Center, Reilly organized multiple exhibitions, including the permanent installation of Judy Chicago’s The Dinner Party and the blockbuster Global Feminisms co-curated with Linda Nochlin.

Reilly has curated, lectured, and published extensively, both nationally and internationally, and has been a regular contributor to Art in America since 1998. She is the author and editor of many books and articles on contemporary art, including a monograph on Ghada Amer, ARTnews Special Issue on Women in the Art WorldWomen Artists: The Linda Nochlin Reader and Curatorial Activism: Towards an ethics of Curating.

She has received numerous awards, including a prestigious Future Women Leadership Awards in celebration of ArtTable’s 25th year Anniversary, a Lifetime Achievement Award from the Women’s Caucus for Art, and in 2015 was voted one of the 50 most powerful people in the art world by both Blouin Art Info and Art+Auction.

 Installation view of Ghada Amer: Love Has No End at the Brooklyn Museum, curated by Maura Reilly

Installation view of Ghada Amer: Love Has No End at the Brooklyn Museum, curated by Maura Reilly

On Curatorial Activism

This year, Maura Reilly has published Curatorial Activism: Towards an Ethics of Curatinga handbook of new curatorial strategies, based on pioneering examples of innovative recent efforts to offset racial and gender disparities in the art world. Addressing the current art world statistics and the continual underrepresentation of female artists, Reilly asks:


How can we get people in the art world to think about gender, race, and sexuality, to understand that these are persistent concerns that require action?; How can we all contribute to ensuring that the art world becomes more inclusive?

Indeed, Reilly’s book urges us not to sit and wait for change to come, but calls to action in order to create an art world that is just. Focusing on feminism, race and sexuality in thematic sections, the author exposes disparities and exclusionary models of collecting and display, but at the same time examines and illustrates pioneering exhibitions and initiatives that show that new approaches and inclusive solutions are possible.

Celebrating the work of numerous curatorial activists that have committed themselves to insurrectionist initiatives, including Jean Hubert Martin, Okwui Enwezor, Rosa Martinez, Jonathan Katz, Camille Morineau, Michiko Kasahara, and Paweł Leszkowicz, Reilly offers a compelling manifesto for change in the art world.

We had a chat with Maura Reilly to find out more about her latest book and her inspiring work in general. In an exclusive Widewalls interview, Maura talks about curatorial activism, her work at the Sackler Center for Feminist Art, the Linda Nochlin Reader, counting as a feminist strategy, and much more.

  Left:  Curatorial Activism by Maura Reilly /  Right:  Women Artists: The Linda Nochlin Reader, edited by Maura Reilly

Left: Curatorial Activism by Maura Reilly / Right: Women Artists: The Linda Nochlin Reader, edited by Maura Reilly

The Work at the Elizabeth A. Sackler Center for Feminist Art

Widewalls: You are the Founding Curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, where you established the first exhibition space in the world dedicated exclusively to feminist art. How do you see the role of such a space in a renewed mainstream interest in feminist art?

Maura Reilly: I don’t agree that there is a sustained interest in feminist art. I think there is a temporary, fleeting interest at the moment.

Widewalls: While at the Sackler Center for Feminist Art, you organized several exhibitions, including the permanent reinstallation of Judy Chicago’s The Dinner Party. The museum is now revisiting this acclaimed piece with a show examining its formal, material, and conceptual development. How would you describe the legacy of this work and its relevance today?

MR: The Dinner Party is one of the most significant artworks of the 20th century—in scale, content, and influence. It’s also very dated—specific to the 1970s. In order to remain relevant today, I believe its content needs to be shared online and brought-up-to-date, which is why, while there, I built the Dinner Party database, which has entries for all of the 1,083 women featured therein. That database needs to be expanded, renewed; more lectures on the work and its legacy held, especially given the installation is meant to be on view permanently.

 Judy Chicago – The Dinner Party, 1974–79. Ceramic, porcelain, textile, 576 × 576 in. (1463 × 1463 cm). Brooklyn Museum, Gift of the Elizabeth A. Sackler Foundation, 2002.10. © Judy Chicago. (Photo: Donald Woodman)

Judy Chicago – The Dinner Party, 1974–79. Ceramic, porcelain, textile, 576 × 576 in. (1463 × 1463 cm). Brooklyn Museum, Gift of the Elizabeth A. Sackler Foundation, 2002.10. © Judy Chicago. (Photo: Donald Woodman)

Linda Nochlin and Counting as a Feminist Strategy

Widewalls: Over 40 years ago, Linda Nochlin posed the controversial question regarding the existence of “great” women artists, arguing it was opportunity, not ability, that held women back historically. Her groundbreaking body of work that continues to inform feminist artists and art theoreticians is honored in the “Women Artists: The Linda Nochlin Reader,” which you edited in 2015. What was your motivation for editing this book?

MR: Linda was my MA and Ph.D. advisor at the Institute of Fine Arts, New York University. Over the years, we became close friends and collaborators—co-writing essays and co-curating exhibitions, notably the Global Feminisms show we organized for the Brooklyn Museum in 2007. Towards the end of her life, I felt compelled to pay homage to her and thought a compilation of her writings on women artists would be a wonderful contribution to the fields of art history, women’s studies, and visual art, in general. She was very proud of that book. It was a labor of love, but I’m thrilled I did it.

Widewalls: In 2015, you published an essay titled “Taking the Measure of Sexism: Facts, Figures, and Fixes” where you present the factual data that illustrates the gender gap in the art world. What is the significance of statistics and empirical data in the methodology of a feminist theoretician?

MR: Counting is a feminist strategy—or so the Guerrilla Girls have demonstrated. One can argue that women artists are discriminated against but with a graph or chart chockfull of empirical data there can be no denying it. Numbers don’t lie.

 Installation view of Burning Down the House: Building a Feminist Art Collection at the Brooklyn Museum, curated by Maura Reilly

Installation view of Burning Down the House: Building a Feminist Art Collection at the Brooklyn Museum, curated by Maura Reilly

Curatorial Activism

Widewalls: In the last few years, we are witnessing a resurgence of all-women shows, as well as the rise of major solo shows of women artists. What do you think is the reason behind this and what kind of impact could it have regarding the gender disparity? 

MR: Again, I don’t think a handful of all-women or solo women shows represents a “resurgence.”

Widewalls: This year, you have published a book titled “Curatorial Activism: Towards an Ethics of Curating”. Could you tell us something about this publication? What does curatorial activism mean to you?

MR: “Curatorial activism,” is a term I use to designate the practice of organizing art exhibitions with the principal aim of ensuring that certain constituencies of artists are no longer ghettoized or excluded from the master narratives of art. It is a practice that commits itself to counter-hegemonic initiatives that give voice to those who have been historically silenced or omitted altogether—and, as such, focuses almost exclusively on work produced by women, artists of color, non-Euro-Americans, and/or queer artists. The thesis of my book takes as its operative assumption that the art system—its history, institutions, market, press, and so forth—is a hegemony that privileges white male creativity to the exclusion of all Other artists. It also insists that this white Western male viewpoint, which has been unconsciously accepted as the prevailing viewpoint, “may––and does––prove to be inadequate not merely on moral and ethical grounds, or because it is elitist, but on purely intellectual ones.”

The book itself is a manifesto for change in the art world.


Editors’ Tip: Curatorial Activism: Towards an Ethics of Curating by Maura Reilly

Arranged in thematic sections focusing on feminism, race, and sexuality, Curatorial Activism examines and illustrates pioneering examples of exhibitions that have broken down boundaries and demonstrated that new approaches are possible, from Linda Nochlin’s “Women Artists” at LACMA in the mid-1970s to Jean-Hubert Martin’s “Carambolages” in 2016 at the Grand Palais in Paris. Profiles key exhibitions by pioneering curators including Okwui Enwezor, Linda Nochlin, Jean-Hubert Martin and Nan Goldin, with a foreword by Lucy Lippard, internationally known art critic, activist and curator, and early champion of feminist art, this volume is both an invaluable source of practical information for those who understand that institutions must be a driving force in this area and a vital source of inspiration for today’s expanding new generation of curators.

Featured image: Maura Reilly, photo by Andrew Watson.

Works by Aschheim, Burckhardt, and Scott Join the Collection

Intending the National Academy to be an organization of the leading artists and architects shaping American visual culture, the founders stipulated that upon election, each National Academician present a representative work, or diploma work, that becomes part of the permanent collection. This legacy has guided the formation of a collection unlike any other in the United States, shaped by the artist and architect members.  Thus, the Academy’s collection embodies the institution’s distinctive history, which has intersected with and catalyzed the development of 19th through 21st century American art.

Representing more than 2,000 artists and architects, this preeminent collection spans 200 years of history and includes nearly 8,000 works of art, from paintings, drawings, sculptures, watercolors, prints, photographs, videos, and mixed-media works, to architectural drawings, renderings, and models.  It is our pleasure to share news about newly submitted works by artists Eve Aschheim, Tom Burckhardt, and Dread Scott to the Academy’s collection.


Eve Aschheim (NA 2017)

Decider, 2017

Oil and graphite on canvas on panel

18 1/4 x 14 1/16 in.


Tom Burckhardt (NA 2016)

As of Yet Untitled, 2012

Oil on cast plastic

16 x 20 in.


Dread Scott (NA 2016)

Harmed & Dangerous, 1993

Cibachrome prints, soundtrack, phones, Plexiglass, wood, and Masonite

8 x 10 x 8 ft.

Learn about Harmed & Dangerous on Scott's website.

Chuck Webster, NAAF 2017 Winner

 PHOTO – Chuck Webster

PHOTO – Chuck Webster

The National Academy Affiliated Fellow (NAAF) program has been a success in generating a talented group of strong candidates for selection from its inception in 2015. The purpose of the NAAF is to provide an opportunity for mid-career artists and architects to advance their skills through interacting and working in one of the oldest and most inspiring cosmopolitan cities in the world while living in the dynamic community of artists, architects and scholars at the American Academy in Rome (AAR) ( 

Now in its third year, the Abbey Council is happy to announce this year’s Fellow is Chuck Webster, visual artist, who will be heading to the AAR for an eight-week residency to begin in January, 2017 and continue through mid-March.

The NAAF is supported by the Abbey Fund with the aim to create an opportunity for a visual artist or architect to enrich their career through study in the inspiring historic city of Rome at AAR. Abbey Council members: James Siena, NA, Chair; Walter Chatham, NA; Ann Hamilton, NA; Walter Hood, NA; and Billie Tsien, NA and Melissa Meyer, NA would like to thank all of the candidates that were nominated this year.

The National Academy thanks the Abbey Council for their diligence and thoughtfulness in selecting the winner of the 2017 National Academy Affiliated Fellowship.

Click below to view gallery

National Academicians Pen Letter in Support of Dana Schutz and the ICA-Boston

Members of the National Academy recently circulated a letter in support of fellow NA Dana Schutz’s exhibition at the ICA-Boston, which was reported on in Artnews, Art Forum, and elsewhere.  Since its release, even more NAs have added their names, and an updated list of 94 signers, along with the letter in full, is below.