I’ve had some acquaintance with the Vienna Academy of Visionary Art through their open life drawing sessions twice a week during term, so I was happy to hop along to their end of year show and celebrate the conclusion of their first year with them. The Academy’s teaching faculty come from all over the world, even as far as Melbourne, and many of them were taught in turn by the Viennese Ernst Fuchs, whom they all hold in very high esteem. The small cohort of seven students are all from the US and Canada.
The school itself, on a workday, is light and airy, rocking new age beats, and generally exuding a peaceful calm. Shoes are often shed, and herbal teas steam alongside palettes. Each painting station is beside a window, a bright little hub without a place for a still life, because the students here admirably work from imagination. There is a strong emphasis on traditional techniques, and many works are done in the so-called ‘Mischtechnik,’ layering oil, egg tempera and varnishes. Paintings are built up from raw umber underpaintings through a series of glazes, and in the life drawing session students are encouraged to work into mid-toned paper with a dark and a white chalk or pencil preparation for such painting.
Principal instructor Laurence Caruana’s speech on the opening night expressed despondency with the commercialism that has crept into and strangled art over the last four centuries. The vision of this Academy is to salvage some human dignity in art, and it seeks to do this through (in Laurence’s words) ‘a return to the sacred in art.’ What this might mean in a modern, largely secular world is perhaps contestable, but a heavy dose of mysticism certainly comes as part of the package. And indiscriminately so: Paleolithic, Neolithic, and tribal goddesses are explored as part of the curriculum, as is Egyptian, Mesopotamian and Minoan art, barging right on through Islam, Hinduism and Buddhism. And I’ve perused but one of Laurence’s books sitting by the altar in the teaching room, a novel based on his investigations into the Gnostic Christ.
Now, I know very little about mysticism other than garden-variety Christianity, but it seems you are welcome here to choose your poison, or concoct your own special blend. This desperate grasping after something, anything, spiritual feels strangely backward-looking, a denial of our collective growth and expanding and ever-refined knowledge over the last few centuries. I can’t help but think that a modern ‘sacred’ art ought to shed its gods and evolve into a humanist art, perhaps aligned with philosophy and science. Fractals, anyone? Conformal symmetry is pretty mind-blowing!
I have had some good conversations with students at the Academy about such things as symmetry and composition. When I questioned them about their penchant for symmetry, I was told that it is a calming, grounding compositional strategy: the balance in the image quiets the viewer to a state of steadiness, giving them a clear focal point from which to furtively explore other parts of the canvas. I’m reminded of the strength and simplicity of a radial composition, which may be built of quite complex elements, and wonder if this hypnotic simplification isn’t aiming too low. Then again, perhaps our collective visual literacy is so deplorable that we really do need such obvious cues to find our way around a still image.
Objects from the altar may be used for still lives, which seems to emphasise this somewhat Mischtechnik-mysticism over technical clarity—I try to fathom learning properties of light with the aid of pinecones and crystals instead of the humble spheres and eggs I drew repeatedly until I understood. Students of the Visionary Academy are certainly not in danger of lapsing into lustreless careers as painters of technically proficient but dull still lives and studio nudes, or forgetting that they are learning skills in order to produce art. At every step of the learning process, the Visionary student bears in mind their mystical vision—even the life drawing poses are modelled on famous mystically-oriented paintings or incorporate mythic weaponry props. The ambitiousness of this undertaking shows: the students all exhibited their major piece for the term as ‘works in progress.’ To some extent, I think it is admirable that they keep their vision ever at the forefront, but it also seems to obscure some valuable learning opportunities. I am deeply saddened at the way students are left to languish in the life class, critiqued and yet unassisted by their teacher, until they plead illness and head out in search of herbal teas. And when there is so much to be learned from the figure!
Perhaps most sadly of all, this spiritual quest does not seem to wrench art back from the clutches of Mammon. For unlike shows at large private galleries such as Philip Bacon in Brisbane, where money flows in the tens of thousands and the fine champagne flows just as freely—the lubricant of capital—but no one ever talks about the digits, one topic overshadowed all others on the Visionary Academy’s opening night: money. A student gave a public plea (not her first) in the opening speeches that left me squeamish, drawing our attention to all the money-giving opportunities available that night: that many paintings were for sale, that her own work was especially for sale in a silent auction format, that many small works were available at a ‘pay what you want’ table. After the formalities, we slipped to the bar for a little refreshment and were charged more than we would be at a restaurant per glass, a policy I’d never yet seen in place at an art show. Now that the term is over, the Academy is doggedly cross-posting in all the Vienna life drawing groups, trying to rent out studio space and accommodation over the summer. And all the while, it’s hard to silence that little thought at the back of one’s mind that a year at this Academy will set you back a not-so-trivial €9900. Peace and love, and capitalism, brothers and sisters. It’s the modern world, whatever mysticism you drape it in.
The graduate exhibition runs until June 28th 2014 at the Palais Palffy on Josefsplatz, Wien.