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STILL LIFE: STRUCTURE AND VARIATION Art New England, Bennington, Vermont. July 14-20, 2019.
COPIES: ANALYSIS AND VARIATION 21st - 27th August 2019
Ballinglen Arts Foundation, Ballycastle, Ireland. Paintings from art history will be the jumping-off place for exploration of pictorial structure and invention. Mediums will include graphite, collage, acrylic and/or oil paint.
Each participant will look deeply at one or two images and generate permutations through simplification and abstraction. We will work from reproductions of paintings from the 14th through the 19th centuries. This rigorous and wide-ranging analysis of images from our painting ancestors will feed our own work and imaginations as we engage with images that speak to us still.
Recommended: Start with one image that you would like to work with in various media. Bring a few extra images (postcards, printouts from online, etc) in case you exhaust the possibilities or your interest in the first image.
THE HEAD EXAMINED DAY CLASS, 2-6 p.m. September 4-December 11, 2019. Massachusetts College of Art and Design, Boston, Massachusetts. This course takes a reductive approach to painting the head, experimenting with how little information is necessary. We will investigate whether translating the head into simple, accurate shapes of color and value can create a truer likeness than a detailed description can. A simple, intuitive drawing method will be introduced to help with drawing accuracy. Universal proportions of the head will be covered. Light and the way it affects perception of structure will be emphasized, as well as finding specific and surprising color. Self-portraits and a study of historical and contemporary portraiture will be included. Some drawing and painting experience is helpful; mediums will include graphite, ink wash, cut-paper collage and oil paint.
THE HEAD EXAMINED EVENING CLASS, 6:30-10 p.m. September 4-December 11, 2019. Massachusetts College of Art and Design, Boston, Massachusetts. This course takes a reductive approach to painting the head, experimenting with how little information is necessary. We will investigate whether translating the head into simple, accurate shapes of color and value can create a truer likeness than a detailed description can. A simple, intuitive drawing method will be introduced to help with drawing accuracy. Universal proportions of the head will be covered. Light and the way it affects perception of structure will be emphasized, as well as finding specific and surprising color. Self-portraits and a study of historical and contemporary portraiture will be included. Some drawing and painting experience is helpful; mediums will include graphite, ink wash, cut-paper collage and oil paint.
COPIES FROM THE PRADO: ANALYSIS AND INVENTION January 13-17, 2020. Atelier Villeneuve, Madrid, Spain. Paintings from the Museo del Prado collection will be the point of departure for exploration of pictorial structure and invention. We will work from reproductions of European art’s greatest treasures. Included at the midpoint of the workshop is a visit to the Prado to see the works in person. Mediums will include graphite, charcoal, collage, acrylic and/or oil paint. Each participant will look deeply at one or two images and generate permutations through simplification and abstraction. This rigorous and wide-ranging analysis of images from our painting ancestors will feed our own work and imaginations as we engage with images that speak to us still
STILL LIFE: STRUCTURE AND VARIATION March 2-6, 2020. Townsend Atelier, Chattanooga, Tennessee.
Still life will be the starting point for exploration of pictorial structure, space and invention. We will create images in the simplest terms: a series of shapes and colors made of paint (not a beach ball or a flower). We will generate permutations of the chosen motif through reduction and analysis. As we walk the line between accuracy and abstraction, we will see through and around the meaning of things to grasp relationships between objects and space. Mediums will include graphite, charcoal, ink, acrylic or oil paint, and collage. The personal voice of each painter will come through in the diverse results. Looking at historical and contemporary still life paintings will place the practice in a larger context.
LINEAGE INTO PAINT July10-14, 2020 Black Pond Studio, Rehoboth, Massachusetts. Photos of relatives — those we have known in life and those we can know only from the images — will be the sources for this workshop. These photos might trigger a narrative, imaginary or real. We might begin with an impulse for detail and description, a desire to imagine those we can know in no other way. The ultimate goal will be reduction and a search for how much is enough. By analyzing the images as designs in a rectangle, breaking down the pictorial elements through simplification and abstraction, we will build drawings and paintings that stand on their own. Mediums will include graphite, collage, acrylic and/or oil paint.
STILL LIFE: STRUCTURE AND VARIATION Art New England, Bennington, Vermont. July 14-20, 2019.
Still life will be the starting point for exploration of pictorial structure, space and invention. We will create images in the simplest terms: a series of shapes and colors made of paint (not a beach ball or a flower). We will generate permutations of the chosen motif through reduction and analysis. As we walk the line between accuracy and abstraction, we will see through and around the meaning of things to grasp relationships between objects and space. Mediums will include graphite, charcoal, ink, acrylic or oil paint, and collage. The personal voice of each painter will come through in the diverse results. Looking at historical and contemporary still life paintings will place the practice in a larger context.
COPIES: ANALYSIS AND VARIATION 21st - 27th August 2019
Ballinglen Arts Foundation, Ballycastle, Ireland. Paintings from art history will be the jumping-off place for exploration of pictorial structure and invention. Mediums will include graphite, collage, acrylic and/or oil paint.
Each participant will look deeply at one or two images and generate permutations through simplification and abstraction. We will work from reproductions of paintings from the 14th through the 19th centuries. This rigorous and wide-ranging analysis of images from our painting ancestors will feed our own work and imaginations as we engage with images that speak to us still.
Recommended: Start with one image that you would like to work with in various media. Bring a few extra images (postcards, printouts from online, etc) in case you exhaust the possibilities or your interest in the first image.
THE HEAD EXAMINED DAY CLASS, 2-6 p.m. September 4-December 11, 2019. Massachusetts College of Art and Design, Boston, Massachusetts. This course takes a reductive approach to painting the head, experimenting with how little information is necessary. We will investigate whether translating the head into simple, accurate shapes of color and value can create a truer likeness than a detailed description can. A simple, intuitive drawing method will be introduced to help with drawing accuracy. Universal proportions of the head will be covered. Light and the way it affects perception of structure will be emphasized, as well as finding specific and surprising color. Self-portraits and a study of historical and contemporary portraiture will be included. Some drawing and painting experience is helpful; mediums will include graphite, ink wash, cut-paper collage and oil paint.
THE HEAD EXAMINED EVENING CLASS, 6:30-10 p.m. September 4-December 11, 2019. Massachusetts College of Art and Design, Boston, Massachusetts. This course takes a reductive approach to painting the head, experimenting with how little information is necessary. We will investigate whether translating the head into simple, accurate shapes of color and value can create a truer likeness than a detailed description can. A simple, intuitive drawing method will be introduced to help with drawing accuracy. Universal proportions of the head will be covered. Light and the way it affects perception of structure will be emphasized, as well as finding specific and surprising color. Self-portraits and a study of historical and contemporary portraiture will be included. Some drawing and painting experience is helpful; mediums will include graphite, ink wash, cut-paper collage and oil paint.
COPIES FROM THE PRADO: ANALYSIS AND INVENTION January 13-17, 2020. Atelier Villeneuve, Madrid, Spain. Paintings from the Museo del Prado collection will be the point of departure for exploration of pictorial structure and invention. We will work from reproductions of European art’s greatest treasures. Included at the midpoint of the workshop is a visit to the Prado to see the works in person. Mediums will include graphite, charcoal, collage, acrylic and/or oil paint. Each participant will look deeply at one or two images and generate permutations through simplification and abstraction. This rigorous and wide-ranging analysis of images from our painting ancestors will feed our own work and imaginations as we engage with images that speak to us still
STILL LIFE: STRUCTURE AND VARIATION March 2-6, 2020. Townsend Atelier, Chattanooga, Tennessee.
Still life will be the starting point for exploration of pictorial structure, space and invention. We will create images in the simplest terms: a series of shapes and colors made of paint (not a beach ball or a flower). We will generate permutations of the chosen motif through reduction and analysis. As we walk the line between accuracy and abstraction, we will see through and around the meaning of things to grasp relationships between objects and space. Mediums will include graphite, charcoal, ink, acrylic or oil paint, and collage. The personal voice of each painter will come through in the diverse results. Looking at historical and contemporary still life paintings will place the practice in a larger context.
LINEAGE INTO PAINT July10-14, 2020 Black Pond Studio, Rehoboth, Massachusetts. Photos of relatives — those we have known in life and those we can know only from the images — will be the sources for this workshop. These photos might trigger a narrative, imaginary or real. We might begin with an impulse for detail and description, a desire to imagine those we can know in no other way. The ultimate goal will be reduction and a search for how much is enough. By analyzing the images as designs in a rectangle, breaking down the pictorial elements through simplification and abstraction, we will build drawings and paintings that stand on their own. Mediums will include graphite, collage, acrylic and/or oil paint.
