Fresco Michael Biddle
September 1 - 5
Monday - Friday
9 - 12pm
Fresco is usually thought of as a mural medium, but today many artists paint on small, lightweight surfaces that can easily be moved and hung on walls. Fresco is a very strong and durable material which can be shaped into three dimensional forms, thus making it a sculptural medium as well.
In this course we will learn how to prepare and paint on lime mortar, the oldest paint surface, dating back to the ancient Minoan culture. We will discuss various supports that can be used, such as styrofoam insulation panels, ceramic tiles, and expanded metal lath. Students will make one or more panels they can take with them. The course will include a brief survey of fresco, from the Greeks and Etruscans up to modern times. Also included will be information on materials, tools and pigments as well as a listing of books, articles and web sites.
Michael Biddle studied fresco painting at Skowhegan with Henry Varnum Poor and Willard Cummings in 1961. He has done large wall murals in both fresco and mosaic, and taught fresco at Skowhegan in 1971 and Castle Hill in 1975. He has exhibited prints and paintings in New York and other locations over the years, and taught at Fashion Institute of Technology, where he was chair of the Fine Arts Department.
The Anatomy of Your Painting - Joan Snyder
Monday - Friday
9am - 12pm
(open studio 1-4)
This is a master workshop for advanced students.
This workshop will allow students to work intensively on a painting project of their choice. There will be continuous discussion of work throughout the week by the instructor and also through group critiques. Group discussions will be about, among other things, materials, process, the language of painting, inspiration and the magic needed to leave all talk behind and just make a good painting.
Born 1940, in Highland Park, NJ, Snyder received her B.A. from Douglass College and her M.F.A. from Rutgers University. She is often called an autobiographical or confessional artist, her subjects range from the landscape to love, death, motherhood, sex and politics. Her paintings frequently contain text as well as such materials, as herbs, mud, silk, straw, flowers, and seeds. Snyder was a recipient of a National Endowment for the Arts Fellowship, a John Simon Guggenheim Memorial Fellowship and a MacArthur Fellowship. Snyder’s work is in The Metropolitan Museum of Art, the Museum of Modern Art, The New York City Jewish Museum, The Guggenheim, The High Museum of Art and The Phillips Collections. The Jewish Museum in New York City presented a 35-year survey of her work which traveled to the Danforth Museum in Framingham, Massachusetts.
The Head Examined - Catherine Kehoe
Friday, September 12, 6:30-8:30 p.m. Image presentation, introduction
Saturday, September 13, 10-4 p.m. model
Sunday, September 14,10-4 p.m. model
2 Sessions + Lecture
This workshop takes a reductive approach to painting the head, experimenting with how little information is necessary. By eschewing formulas in favor of fierce looking, we investigate whether translating the head into simple, accurate shapes of color and value can create a truer likeness than detailed description can. Light and the way it affects perception of structure will be emphasized, as well as finding specific and surprising color. We will work from the model. Self-portraits and a study of historical and contemporary portraiture will be included. Some painting experience required; oil paint is the preferred medium.
Catherine Kehoe received her BFA in painting from Massachusetts College of Art and Design and her MFA in painting from the School of Visual Arts, Boston University. Kehoe has received many prestigious awards and is represented by Miller-Yezerski Gallery, Boston. Kehoe has been a visiting artist at Rhode Island College, Colby College, University of Arkansas at Fort Smith, Indiana University, Boston University School of Visual Arts, and the School of the Museum of Fine Arts, Boston. She teaches painting at Massachusetts College of Art and Design, and has taught drawing at Boston University School of Visual Arts. Kehoe has also taught painting at JSS in Italy, Civita Castellana, a program of the Jerusalem Studio School.
From the Literal to the Poetic; Working from the Model, Drawing, Painting, Collage, and Sculpture - Ken Kewley
September 19, 20, 21
Friday - Sunday
8:30 am - 4:30pm
This figure workshop will explore a combination of means to work from the model that will take us far away from rendering toward the more thrilling realm of composing and closer to the excitement of understanding the reality before you. You will draw to simplify form and also paint with acrylic on paper to compare and relate color. The class will create collages with cut colored paper so as to push your understanding of color and form and to help you make adjustments to your paintings. We will then make sculptures to further develop our understanding of space, using corrugated cardboard, masking tape, and acrylic paint to make small stage settings with figures after working from the model. You will continue to draw, paint, and collage from these 3D sculptures. Then we will go back to working directly from the model. The workshop will be fast paced, and equip you with many ways to push our figurative work, with or without a live model.
Kewley graduated from the College of Creative Studies at the University of California, Santa Barbara. He was a night watchman at the Metropolitan Museum of Art 1980-1990 and considers this a major part of his education. Kewley exhibited most recently at Rothschild Fine Art in Tel Aviv. In New York his work was exhibited at Steven Harvey Fine Art Projects, Lori Bookstein Fine Art and Pavel Zoubok. He teaches workshops and lectures at the Pennsylvania Academy of Fine Arts, Hollins University, University of Arkansas, National Academy of Design, and the Jerusalem Studio School, including the Italian Summer Program. His work has been reviewed in the New York Times, New York Sun, ARTnews, and the New York Observer and included in many private and public collections.
The Perceptual Moment - Stuart Shils
September 18 - 21
Thursday, Friday, Sunday
8:30 am - 4:30pm
3 Days + Thursday night lecture
This workshop will focus on cultivating perceptual discrimination and visual clarity by practicing critical looking at nature and the relation of that looking to constructing a drawing or painting. We will ask what we are seeing, how we are seeing, and then how to translate that to paper, panel or canvas. The class is intended to push the mid- range to advanced painter further -- into a visual boot camp, which is also fun and productive. In the tradition and spirit of the “first strike” or alla prima, emphasis will be placed on;
1.) Examining the perceptual processes in front of nature
2) The editorial response that follows and how that takes form graphically
3) Perhaps most importantly, on shaking up and/or questioning what is meant by “finish”.
We’re not concerned with making anything “pretty”, sale - able or trophy-winning. With painting, one never really gets a trophy anyway – it’s always work in progress. In addition to three full day outdoor sessions, on the evening before the first day there will be a 90 minute slide talk presenting paintings and drawings made by past and modern masters, to lay out a foundation of visual themes for the next three days. (All participants should please attend, it will be impossible to go over the same ground the next day.) Shils will discuss how, via graphic organization, we look and make sense of construction, paint and drawing language, and how different artists have used the processes of working outside (both directly and in the studio) to achieve visual unity in their responses.
Shils (b. 1954), Philadelphia, has painted outside for more than 30 years. His paintings are represented by Steven Harvey Fine Art Projects in New York, Davis and Langdale, New York and Rothchild Fine Art in Tel Aviv. Shils is the recipient of a Pollock-Krasner Foundation Grant, a National Endowment for the Arts Fellowship, a Ballinglen Arts Foundation Fellowship for Residency in Ballycastle, Ireland, and an Academy Award from the American Academy of Arts and Letters. His work has been presented in solo shows in New York, Philadelphia, Tel Aviv, Boston, Scottsdale, Richmond, San Francisco and Cork (Ireland). Critical review and commentary has appeared in The New York Times, The New Yorker, The New York Sun, Ha'aretz, The Jerusalem Post, Art Critical.com, The Wall Street Journal, The Boston Globe, The Boston Phoenix, The Philadelphia Inquirer, The Irish Times, Art in America, The New Republic, The New Criterion, Art New England, American Artist, The Hudson Review and The Philadelphia Daily News. He is an annual visiting critic at the Vermont Studio Center and a weekly critic at Pennsylvania Academy of the Fine Arts (PAFA)where he also teaches painting and drawing. Shils has also teaches the master class for the Jerusalem Studio School in Italy and Jerusalem. Shils spent 13 summers painting on the northwest coast of Ireland, an extended painting campaign described in the PBS film documentary, “Ballycastle,” which won numerous awards, including First Place for Documentary Excellence, Society for Professional Journalists. Shils studied at The Pennsylvania Academy of Fine Arts with Seymour Remenick and at the Philadelphia College of Art.
Layered Media: Expanding Your Vision – Lisa Pressman
October 11 - 13
10:00 - 3:00pm
Sat - Mon
This workshop will focus on using wax and other media to create layered, expressive, richly surfaced paintings. We will be experimenting with a wide range of materials including: R&F pigment sticks, oil paint, cold wax, graphite, ink, and pastels. There is a freedom of gesture, movement and process that occurs when painting with these materials. A variety of techniques, tools and exercises are used to explore personal imagery - abstract as well as representational - and students will be encouraged to use alternatives to brushes for their mark making. Layering, excavating, edge, line, texture, mark making, color and the concept of "editing" will be addressed. Students will work in a series, while revisiting the painting process. Working on multiple panels helps to free the creative spirit so that a personal language and vision can develop into a new body of work. Informal group discussion and individual support will be offered along with basic art fundamentals. This class is for beginners and professionals alike
Lisa Pressman received her M.F.A. in painting from Bard College and B.A. from Douglass College, Rutgers University. Her work incorporates oils, collage, wax and other mixed media. She has been teaching encaustic painting and painting with R&F Pigments for the past 5 years. Lisa has led classes privately at the Center for Visual Arts, Summit, NJ, the Printmaking Council of NJ, Peter’s Valley Arts and Craft