KPF: Kossak Painting Fellowship

This program is starting its twelfth semester in the Fall of 2017, and has
been the flagship of the Kossak support over time. Painting students
compete for a $1000 grant and a program to monitor and mentor their
advancement. Initially, this programmatic component was a series of
meetings every other week with me, modeled on graduate tutorials. In the
spring of 2012, we began a series called Tuesdays at 10, inviting visiting
artists as critics and speakers on painting. The honorarium is $300. The
posters summarizing each semester’s roster of KPF Visiting Artists reads:
“The Kossak Painting Fellows are Hunter College undergraduate art majors
studying painting, selected by faculty per semester to receive a $1000
grant to advance the development of their work. They also participate in a
weekly series of critiques with a faculty advisor and a roster of renowned
visiting artists.”

The deadline for applications is toward the end of each semester. The full
Kossak Committee votes on the selection of those who will receive the
grant. Participating students are eligible for selection two more times,
based on the committee’s ranking of applications. Several graduates of the
program have been admitted to leading MFA programs, including Yale and
UCLA and VCU in this country and The Royal College of Art, Slade School
of Fine Art and The Glasgow School of Art in The United Kingdom.

Here is the list of Visiting Artists to date:

Johnny Mullen, Judith Linhares, Jules de Balincourt, Joanne Greenbaum,
Gary Stephan, Carrie Moyer, Terry Winters, Bill Komoski, David Humphrey,
Rashid Johnson, Dana Schutz, Katherine Bernhardt, Ellen Altfest, Wayne
Gonzales, Charline Von Heyl, Jacqueline Humphries, Wendy White,
Manuel Ocampo, Bill Saylor, Rosy Keyser, Carroll Dunham, Garth Weiser,
James Hyde, Dike Blair, Elliott Green, Joe Bradley, Stephen Westfall,
Rochelle Feinstein, Ron Gorchov, Dennis Kardon, Elena Sisto, Keltie
Ferris, Rita Ackermann, Rob Storr, Polly Apfelbaum, Nolan Hendrickson,
Lucy McKenzie, Angelo Filomeno, Stephen Ellis, Jenny Snider, Diana
Cooper, James Sienna, Alexi Worth, Melissa Meyer, Anoka Faruqee, Tom
Sanford, Glenn Goldberg, Katherine Bradford, Wyatt Kahn, Ellen
Berkenblit, Mike Cloud, Lauren Luloff, Tatiana Berg, Ross Bleckner, Robin
Winters, Helen Mirra, Inka Essenhigh, Steve Dibenedetto, Sharon Horvath,
Joan Snyder, Peter Saul, Borden Capalino, Fred Wilson, Anna Betbeze,
Paul Resika, Joe Fyfe, Guy Goodwin, Julia Fish, Carolee Schneemann,
Lydia Dona, Suzanne Joelson, Lisa Yuskavage, Fabian Marcaccio, Laylah
Ali, Bill Komoski, Peter Acheson, EJ Hauser, Julie Heffernan, Daniel
Heidkamp, Dana Schutz, Amelia Saddington, Cynthia Daignault, Daniel
Hesidence, Angela Dufresne, Joan Semmel, Richard Kalina, Cullen
Washington Jr, Glenn Goldberg, Peter Schjeldahl, Brenda Goodman, Elena
Sisto, Chuck Webster, Carroll Dunham, David Reed, Terry Winters, Gary
Stephan, Jennifer Packer, Clintel Steed, Doron Langberg, Mary Heilmann,
Yevgenia Baras, Esther Kläs, Sarah Walker, Alexander Iskin, Trenton Doyle
Hancock, Ron Gorchov, Rebecca Quaytman, Paulina Olowska, Hilary
Harkness, Ann McCoy, Judith Bernstein, Louise Fishman, Michelle Segre,
Hanneline Rogeberg, Jackie Saccoccio and Catherine Murphy.

The sessions are hybrids of interview and crit. The student work installed
for each session includes both the KPF core undergraduates and MFA
painters selected by lottery from those interested. I’m there to introduce the
visiting artist, engage the artist in an initial conversation and play bridge to
the students as needed, pitching some questions to the artist about their
own work along the way. It’s a fast, rich two hours, from 10:00 to 12:00
almost every Tuesday morning of the semester. The testimonies of the
artists who’ve come have been transformative for the students, school
that’s not “school.” The informal format of the sessions allows for much
more effective and influential interactions between students and visitors
than the usual artist lecture can accomplish. The visitors are present
without the separation of podium, in live, toe-to-toe discussion and debate
with the students. Painters they admire stand there with them looking into
the potential of their paintings, and that changes what the students think
they can become. We’ve been videotaping the sessions for a couple of
years, and giving the artists control over any compression made from the
footage before posting an approved version at
The list of painters who have already arrived represents the widest stylistic
diversity in contemporary painting as it is now practiced globally, bringing a
range of commentary that a resident faculty could not encompass. By
looking into the work of those invited and hearing from them in person,
students get a picture of the medium that opens up new possibilities and
exposes them to the highest standards.

Drew Beattie, Program Director

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