Academy of Fine Arts, Nuremberg

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Around 2500 years ago in Athens the Greek philosopher Plato created the original model of the ‘academy’ with his school of philosophy: a sheltered secluded environment close to the name-giving Akademeia grove dedicated to free thinking, unfettered by any dogmas. This description applies to Nuremberg not only in respect of the unique academy grounds, but also and more importantly, to a key aspect of our fundamental self-conception: as an academy, and especially as the first art academy to be founded in the German-speaking world in 1662, we are committed to this original historical concept of the ‘academy’ institution. We regard our academy as a ‘safe zone’ of the (im)possible, a place of free creative experimentation, in which students can develop their own personal artistic leanings during the study process.

The art academy in Nuremberg provides a creative hands-on space in which apparent self-evidences can be sounded out and uncertainties turned into creative products. Within our liberal range of studies, we seek to enable a wide spectrum of forms and manifestations of contemporary artistic practice, while positioning them in the relevant social and historical-critical context. For our understanding of the academy also includes an engagement with ‘the’ history and theory of art, true to the spirit of a famous maxim, once coined by an artist of a vehemently non-academic character, around 150 years ago: “To know in order to do” (Gustave Courbet). The individual classes in particular, provide those productive frameworks within which core study missions can be realised: to inquire and challenge, explore and – especially in view of the many studios and opportunities to exhibit – to experiment, debate openly and respectfully disagree, and of (self) empowerment and (self) enabling. Thus, regardless of whether students study fine or applied art or art education (ultimately our courses share more common than divisive aspects), the academy lets them develop a personal artistic stance, while also crystallising their individual character. This process entails constant questioning of their position in relation to the present, and an appreciation of their role as part of a fundamentally internationalised field of work, the diversity of which unlocks wider horizons of creative activity for their own art practice.

By nature, the academy provides creative space which must be accessible, nurtured and shaped, yet also critically examined. However, it cannot be ignored that as a result of ‘democratising the values of creativity and freedom’, artists have long ago ceased to be exceptional in character through self-realisation and an independent existence (Luc Boltanski/Ève Chiapello). ‘Creativity’ is no longer deemed a ‘unique characteristic’ of artists, the ‘creativity imperative (Andreas Reckwitz) is meanwhile also directed at neoliberal workforce mobilisation and absorption. Consequently, the academy is also a place of creative-practical debate and theoretical reflection. They not only address the once grand ‘art’ emancipation project dominated by the driving forces of the Modern artists, but also and further, the influences between this artistic potential and its social reality.

If we still regard art as a fundamental social force, then we must keep on resounding, reappraising and unlocking its potentials – in critical reflection and creative practice. The question of art’s position in contemporary society is undoubtedly also an aspect and in this light an art academy must constantly review its social situatedness and remit in practical terms, according to the present circumstances. Permanent re-vision thus also always poses the question of how the ‘academy’ today or ‘today’s academy’ conceives itself and how we together aim to shape study and academy life. Posing such questions in a wide variety of media, discussing them and achieving a clearer focus is our core remit at the Academy of Fine Arts Nuremberg as safe zone of the (im)possible.

Founded in 1662 by Jacob von Sandrart, the Academy of Fine Arts in Nuremberg is the oldest art college in the German-speaking world. Fine and applied arts have since formed key sectors of learning, although emphasizes have shifted in one direction or the other over the centuries.

Today learning takes the form of interdisciplinary interaction, the dialogue between fine and applied disciplines. It is flanked by new degree courses and a new media technology study programme.

In 1954, following temporary residence in the castle of the Teutonic Order in Ellingen, the academy moved to its own premises designed by Sep Ruf in a wooded area around Nuremberg Zoo. The transparent pavilion architecture in the east of the city – the first listed building of the post-war period in Southern Germany – has been extended several times, most recently by a new building by Hascher Jehle Architektur, completed in April 2013.

In 1662 the copperplate engraver and art dealer Jacob von Sandrart, the mathematician, astronomer and engraver Georg Christoph Eimmart, the painter and architect Elias von Goedeler and city council member Joachim Nützel found a 'painting academy' in Nuremberg. It is the first art academy in the German-speaking world. In the beginning the gatherings are held at Sandrart's home. Artists and interested laymen meet, draw and discuss art. A few years later the city of Nuremberg assumes sole responsibility for the institution, which initially is privately funded. The internationally famous painter, copperplate engraver and man of letters Joachim von Sandrart is appointed at its head.

In 1672 the painting academy rents a room in the 'Rose' at the corn market for its gatherings and already two years later, a larger rent-free room in the former monastery of the Discalced Friars. From 1699 to 1819 the academy is located on the premises of St. Catherine's convent, with a brief interlude from 1814 to 1817 when it is used as a Russian military hospital. The academy is then moved to the castle. Another move takes place in 1833 to the Landauer Twelve Brothers' House. The academy will remain there until moving to its new building in Flaschenhofstrasse at the end of the 19th century.

In 1716 a drawing school for training in arts and crafts is founded in Nuremberg. The two imperial city institutions are closely linked from their inception. The drawing school is primarily intended to foster new talent and promote the arts & crafts and building trade in the imperial city, thus maintaining its competitive edge with high quality standards. The drawing school is already affiliated to the academy in 1718. Forty years or so later it again becomes independent and finally closes in 1843.

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