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berg's gift, comprising more than 50 works; submitted-but asked the architectural firm, includes pictures byManet, Degas, Monet, Cooper~Lecky, to provide a more detailed Renoir, Toulouse-Lautrec;. Cezanne;· van· plan. Gogh, Seurat, Gauguin, Bonnard, Vuillard, ... ;,,,:(In the meantime, the four creators of the Matisse, Picasso, andBraque; Among the,· original p~;oposal, which was approved by masterpieces that will come to the Metropol~ · . the commission and then submitted to Coo­ itan are one of Cezanne's more spectacula(,, per~Lecky for reworking, filed suit, seeking "Mont Ste. Victoire~~;vanGogh'~" mcirethan$500,000indamagesandrequest­ large-version Berceuse; a major Monet s}\ing an injunction to stop work on the Cooper­ from the water lily serie~; and Picasso's Au~,·;Lecky design. The four are Veronica Burns Lapin Agile, bought by Annenberg at Sothe.-' · J,\lcas,.John Paul Lucas, Don Alvaro Leon,

by's in 1989 for $49.7 million~ 'd }:>,and Eliza Pennypacker Oberholtzer, all ar- At the time of tile decision; Annenberg ;:chitects who have their own firm and also was qu,oted as saying·; ''It is my intention that •. ~· .teach at Pennsylvania State University. all my paintings should go to the Metropoli)\·,>··~The original winning design, chosen by a tan Museum. I love them with a passion, and . jury of Korean War veterans from more than I wantthem to stay together afterl'm gone:·~. •:soo entries, features 38 soldiers moving in The bequest is the conclusion to an exten~:: two .columns on a rising path toward a sivecourtshipbytheMetropolitanandmany: horizon created by a wall that encloses a other institutionsnncluding the .. National . public .. ceremonial plaza containing the Gallery of Art in Washington, D.C., the Los American flag. "As the visitor moves along Angeles County Museum of Art, and the the path," John Paul Lucas explained, "he Philadelphia Museum of Art. sees the. horizon, the American flag, the , director of the'.; Washington Monument, and the 38 figures Metropolitan, comtpented, '·'It's enormous- ··all around him. That's the primary experi­ ly gratifying to have acollector who wants to ence of the memorial.'' The leading figure is keep bis...cQ!kl!ti!>n together when so many ' in a position of "repose and reflection," and are being dispersed arid sold. The ambassa~ the visitor is invited also to reflect. The faces dor and his wife and I have been in a. . of the soldiers and certain equipment are in dialogue for 15or.20 years about the col- high detail, but the overall impression, Lu­ lection. And the news now is exhilarating. cas said, is of "ephemeral and ghostlike The bequest brings depthand breadth. We figures in the landscape." own four Gauguins, for example; this adds The trouble started when Cooper-Lecky, four more. It's a collectionfull of marvelous .which had been retained by the government paintings, and for us it adds' strength to to "implement" the original concept, sub­ strength.'' Aside from the Impressionist and mitted a design of their own instead, chang­ Post-lmpressionistpictures, thearrivalofthe ing the dreamlike column of troops into a Picasso and acrucial Braque of 1939, The . ."G.I. Joe battle scene," according to Rob­ Studio, which marked a turning point in the ert Sokolove, an attorney for the four. The artist's development, will bring new force to .. new design shows some of the soldiers the Metropolitan's•20th-century:collection.;.'' kneeling and pulling pins out of grenades ~nnenbe~g so~d •Tri~ngle:Publi.cations~:· and some holding bazookas ready to fire. It whic~.P~bhshed ~G14ide, toRupert;.~~4.f:),~lllso adds a grove of tr~es called a "chapel" ,doch ~n:l9~§49r·~~'J:epute4 $3.2 bilho~.·< . d !\.mural on t.h!f h1story of the war. •· Before his) llJlnQuhcementdAnnenberg's. , . &ccordjng to'Sokolove, the soldiers as · charitabledonl!tioq~to!r\llse.»mshadalready:;foriginally conceived "represented the 38 surpassed·$lj;~i~lion,:~Lasnear be gave $15 :c:,months of the ·war, and they were marching rnillion to the. Metropolitim and $5 millioil'7 towards a goal, an end." The revised design, · each to the:NatiOnatGalleryand to the Phil~. •he charged, "decapitates" the concept by adelphia Museurn.:'rSh!>rtly .after the an-: ,· .. ·.changing the posture and positioning of the nouncement,' he}also. gaye $10 million to L soldiers; ' : . · ·· the L.A. Count J~1u unrof Aft. . \;;J;The. memorial, to be constructed with · . ··· ·'' .~,·~.,=;;:;<; ~;,>>' ·; :''·' private funds at an. estimated cost of $14.9 ·.. ·. ~~· ,,. ~· ' ·i.rt·£~~i::!i~~~.;; ' •·· ,-:y.,· • ,;ffi::reflectillg pool from the Vietnam Veterans THE BATI( •I FTH E 'U;~~}.Nemorial. ·• WAR MEMORIAl~~ ir;·,, "l' : . ~~;~~~s~~~~g~f~~;~ffi~~~;~~e~h~~~ 1 ;':·.:? .:·t.'·[·:,. ••; ' '' ·<;::: . design, .which was approved, has a column he Korean W' arVe... te,ra.~tsmemorial project :•; of soldiers marching beside a 210-foot mu­ is mired in a controversy that threatens to ·•~·.· ral toward a flagpole and a tree-encircled , , Call)'OIIrTrnve!Agt:m or Hl00,23B237 and, drag on as long a& ·the war itself did. The raised plaza with a pool. The figure of a ask for Tht: San$ Souci Brochure. national Commission of Fine Arts has ap-. soldier being shot was eliminated. Member of lh<: El<:gant Resorts ofJamaic;a. 'proved a revised .concept-the third one Lucas declined to comment on the Coo· 40 ARTnews t.f/ei'l ,-,·;' c-!:~; N. A T I 0 N

~>, {r per-Lecky proposal except to say that he Tworkov that op~l\ed~up Yale to the New studiocritiquesoftheworkofstudents who considered it "inappropriate." His team, he York School, buqhat's not true. De Koon-• request them. At the end of the year, the said, will continue to try to convince the ing was the .first vj~itingartist Albers hired,.• : entire ·faculty·· meets for the review boards Commission of Fine Arts and the National and I knew . them •ail-e-Stuart Davis; Ad::.)llat are described.as' 'hell'' for all involved. Capital Planning Commission as well as the Reinhardt, Conrad Marca-Relli, Abraham In addition to these boards, Yale is also client, theKoreanW ar Veterans War Memo­ Rattner, Jame~ Brook~ecause it was my ··unique in selecting students for the program rial Advisory Board, that "our project is job to take them t() lunch. He even tried to by I.ooking at original work by as many as better." The advisory board was created by hire Hyman Bloom; }Yhom he described as 400 applicants rather than at slides. Congress to oversee the memorial project. a great colorist. That~shocked me. He .also Despite the emphasis on acquiring the wanted Mark Tobe){Because ofhis color foundation skills and developing intellectual theory and system, of ,. people as- · discipline, there are undoubtedly students sumed that Albers was narrow in his view~ who view Yale as an opportunity to pick up New Haven point, but he was open and receptive to a the tricks and the contacts that will put them great rapge of work.~'.; ·on the fast track to fame and fortune. The 'WHY NOT START WITH It was Tworkov who recruited Lester 1980s provided abundant examples of mer­ Johnson, a self-described figurative expres- curial careers for artists, but Chaet and THE FEET?" sionist, to counterbalance the Bauhaus view- Johnson take a longer view. ''Often it takes point. Johnson taught life drawing from 1965 more than ten years after Yale for our former here has been an art school at Yale until his retirement in1988. His subject may students to emerge," Chaet says. "The best TUniversity since 1864, but only since the have been traditional, but his teaching meth- artists are the ones who a decade later are 1950s, when Josef Albers became its head, od was unorthodox;. The figure was only a pursuingworkthatistotal)yunlikewhatthey has it become a benchmark for graduate art reference point. "We'ye been programmed were doing as students." programs. Albers had been a professor at the to look and draw in a .certain way that limits "A student who attends graduate schoolto Bauhaus; as the guiding spirit of the Yale our effectiveness," ~ohnson says. "But my pick up the latest style may get a gallery right Department of Design, as it was then called, idea was to find a way to break that program. away and succeed in the short run," Johnson he initiated a Bauhaus-inspired system of We learntostartwitbJhe head.and then work says. ''But I see art as a lifelong pursuit.'' teaching art and design that transformed the our way down iruoJJg9 the shoulders and The Yale teachers do not believe that their school into a launching pad for the careers of torso to the Jegs·.~rt~s*a'ilthi>u~htless process. system of teaching art, developed in Germa­ some of the brightest stars in American art of So why not start with tbe feet and work our · ny early in the century, is outmoded in the past 30 years. , Nancy way up to the head. Or ,have students draw America in the 1990s. On the West Coast,at Graves, , , with their other hand, ·or stand on one foot. such schools as the California Institute of the Chuck Close, Judy Pfaff, and Neil Welliver It's a way of looking with a fresh eye." · Arts, ~tudents are being trained by a genera- are all Yale alumni. In the early days, Yale admitted 20 stu• tion of radical practitioners, from Chris Albers headed the program from 1950 to clents a year for the two-year M.F.A. pro~ .. Burden and John Baldessari to Douglas 1958 and stayed on as visiting critic until gram. Eighty students. are currently en~ . Huebler. The past decade has seen a bicoast­ 1966. His legacy lives on in the teaching of rolled, paying an averageof$23,000 a year _!!I schism in advanced art education, pitting key faculty members who were trained dur­ ($10,750 of that is tuition). Studio courses the, progressive new wave of California ing his tenure. Of 38 faculty members, are also offered, .to undergraduates, and 30 institutions against the traditionalism of including full-time and visiting artists, eight juniors from. VllfioJJs' colleges ·are given schools like Yale. But those who guide the studied at Yale. scholarships to theo)'.ale Summer School ~f, Yale.program believe it will endure as the Recently, however, some critics have Music and Art,: llt;~oitolk, Connecti~ut. • nstandard by which all other programs will be charged that the Yale program is outmoded Thebasisofth~two·yel\fprogramiswo{k;~,~CoJilpared .. · , • , -charles Giuliano or simply irrelevant to much contemporary in the studi() withaccesstpfb,.eelltire faculty:~:.~"'·'..... ·.. · . . . ; . . art making-to Conceptual art, video, and Alumni say the atrno~pherejs intellectually C~rr~po~: In "Richard Hamilton: Father performance. The program is firmly rooted stimulatingand the importa~tce;. of Pop'/;. published in the February 1991 in the basics-painting, drawing, printmak­ of constant. · iss\)e, ,c·aptipn and text wrongly attribute ing, sculpture, and, recently, photogra­ thatYalegave photographs ofMarilyn Monroe used in phy--all areas that are being radically rede· than a glib Hllllli~ton' s painting My Marilyn to Bert fined. How, critics ask, can Yale hold its look or style.; Stern, ,;The photographs were taken by own with a Bauhaus-rooted program when One day a .George Barris, " countless recent international exhibitions have explored the thesis that painting and sculpture, as we have known them, are dead. Bernard Chaet replies that the Yale pro­ gram has never been narrowly focused. The first person Albers hired, Chaet taught from 1951 until he r.etired in 1989. "Albers al· ways encouraged opinions that were counter to his own," he says.lt was Albers, not Abstract Expressionist ,:··· director of the school from 1963 to 1969, . • who opened Yale to the New York School painters. "People always say that it was · Focusing on fundamentals at the Yale Art School: artist and teacher Geor.ge Trakas with student Lars Kremer. 42;RTne~ i jq (