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MORE TO COME... For Spring 2013

PAINTING

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The Joyce Johnson Chair honors:

The Anatomy of your Painting -Joan Synder
September 2 -6
Monday -Friday
9am -12pm
(open studio 1-4)
5 Sessions
$800

 

 

This workshop will explore the process of making a painting from the beginning to the end. What is under there and why?  What is covered up? What ends up on top, for all to see? Sorting out the many layers of a work and examining what happens in between will lead to discussions of the materials used to make a work and ways to capture the magic, moments when you can let go and not think about any of these things. We will have a week of you working, me looking and talking, and group discussions and individual and group critiques.

Born April 16, 1940, in Highland Park, NJ, Snyder received her A.B. from Douglass College, New Brunswick, NJ, in 1962 and her M.F.A. from Rutgers University, New Brunswick, NJ, in 1966. 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 she received a MacArthur Fellowship.  Snyder first gained public attention in the 1970's with her abstract "stroke paintings" which were included in the Whitney 1973 Biennial and the Corcoran 1975 Biennial, and formed the basis of her first solo shows in NYC and San Francisco. 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.  Abrams Books published a monograph, Joan Snyder, in conjunction with the exhibit. In 2011, "Dancing With The Dark: Joan Snyder Prints 1963-2010", a traveling retrospective of Snyder's prints, opened at the Zimmerli Art Museum in New Jersey and will be accompanied by a catalogue with essays by Faye Hirsch and Marilyn Symmes.

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From the Literal to the Poetic; Working from the Model, Drawing, Painting, Collage, and Sculpture -Ken Kewley
September 20 - 22
Friday - Sunday
8:30 am - 4:30pm
3 Sessions
$800

From the Literal to the Poetic: Working from the Model - Drawing, Painting, Collage and Sculpture.
A figure workshop exploring a combination of ways to work with the model that will take us far away from rendering toward the more thrilling realm of composing and closer to the excitement of reality.
Drawing will be used to simplify form. Painting with acrylic on paper, will be used to compare and relate color. Creating collages with cut color paper will be used to push color and form and to make further adjustments to our paintings. Making sculptures will develop our understanding of space. Corrugated cardboard, masking tape, and acrylic paint will be used to make small stage settings and figures after the model. We will draw, paint, and collage from these sculptures. Then, with our expanded sense of space and abstraction, we will go back to working directly from the model.  The workshop will be fast paced, and will equip us with many ways to push our figurative work, with or without a live model, once back in our own studios.

Kewley graduated from the College of Creative Studies at the University of California, Santa Barbara. While living in New York City, he was a night watch at the Metropolitan Museum of Art 1980-1990 and considers this a major part of his education. Kewley has exhibited his work nationally and internationally, most recently in a 2012 exhibition of paintings and collages at Rothschild Fine Art in Tel Aviv. In New York his work has been exhibited at Steven Harvey Fine Art Projects, Lori Bookstein Fine Art and Pavel Zoubok. He has taught workshops and lectured at the Pennsylvania Academy of Fine Arts, Hollins University, University of Arkansas, National Academy of Design, and the Jerusalem Studio School and its Italian Summer Program. His work is included in many private and public collections and has been reviewed in the New York Times, New York Sun, ARTnews, and the New York Observer.

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The Perceptual Moment - Stuart Shils
September 20 - 22
Friday - Sunday
8:30 am - 4:30pm
3 Days + Thursday night lecture, 6:00 pm
$950

During these three days we are focusing on cultivating perceptual discrimination and visual clarity by understanding close, critical looking at nature and, the relation of that to constructing a drawing or painting. We’re asking ourselves exactly what we are seeing, how we are seeing, and then what to make of it on paper, panel or canvas. The class is intended to push the mid- range to advanced painter further into a kind of visual boot camp, that is also fun and productive.  In the tradition/spirit of “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 in the head of the painter and how that takes form graphically; 3) and perhaps most importantly, on shaking up and/or questioning what is meant by “finish”.  We’re not concerned here 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 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, as it will be impossible to go over the same ground the next morning.) Within those slides I’ll discuss how, via graphic organization, we look at/and or 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 newspapers, journals and magazines, including: 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. For more than a decade he has been an annual visiting critic at the Vermont Studio Center (VSC).   He is weekly critic at Pennsylvania Academy of the Fine Arts (PAFA) where he also teaches painting and drawing.  Shils has also taught the master class for the Jerusalem Studio School in Italy and Jerusalem.   Between 1994 and 2006, Shils spent 13 summers painting on the northwest coast of Ireland, an extended painting campaign described in the PBS film documentary, “Ballycastle,” which was presented nationally and 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.

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CLAY

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WEDNESDAY CLAY IN 2013 with Brian Taylor

Wednesday Clay is an exciting 18-week winter session that is designed to expose students to both wheel throwing and hand building techniques based around pottery making. Demonstrations will vary between handbuilding and wheel throwing depending on class dynamic and interest.
The winter session is broken up into 3, 6-week classes.
Register for 1 classes= $225, 2 classes= $425 or all 3 classes = $625.
Class is held on Wednesdays from 9-Noon.
All classes include free open-studio hours of Tues.-Thurs. 10-4pm.

Wed. Clay I                  January 9 - February 13
Wed. Clay II                 February 20 - March 28 (no class March 20)
Wed. Clay III                April 10 - May 15
Come and get your hands dirty

Brian Taylor
Recently receiving his MFA from Alfred University, Brian Taylor is the Ceramics Studio Manager at Castle Hill. He has been a resident artist, taught classes and worked for several art centers and universities across the country and exhibits his work nationally. Brian utilizes a broad range of making processes for his colorful functional pottery.

 

Try-It! Family Clay
March 9th
Saturday 9-noon
$75 a pair and $25 for each additional related family member

Wish you could take a clay class with your kids? Castle Hill is offering a one-day 3-hour class for families. Father and daughter, Grandma and grandson, or any combination including the whole family! In this class you will learn techniques for hand-building basic pottery forms like bowls, plates and cups. We will color our pieces at the end of class and in a few days they will be glaze fired and ready to go home with you.

This is Brian’s 3rd year as the Ceramics Studio Manager here at Castle Hill. He has been a resident artist, taught classes and worked for many art centers and universities across the country and exhibits his work nationally. Brian utilizes a broad range of making processes for his colorful functional pottery.

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Wood Firing - Brian Taylor

November 3, 4 & 5
Starts Saturday at 9am
Highland Center
$325

Register

Come experience the excitement, camaraderie and beautiful results of wood firing in Castle Hill’s wood kiln! You’ll help stoke the kiln all the way to 2300 degrees using only wood as a fuel source all the while creating colorful flashing and ash deposits on your pieces. Students will participate in all aspects of the firing. Bring your bisque pieces of various sizes (4 cubic feet or about 30 pots) to glaze and fire. All bisque-ware must be ^10 clay. We will glaze and load all day Saturday and fire the kiln from Sunday morning into Monday night. The exciting unload will be on Friday morning. Contact the Ceramics Managers if you have any questions about suitable clay bodies, slips and glazes that will take full advantage of the results possible with the wood firing process.

 

Brian Taylor has been practicing ceramics for the past 16 years.  He received his Masters of Fine Arts Degree in 2010 from Alfred University and his Bachelors of Fine Arts from Utah State University in 2006.  Throughout his career he has taught or been a visiting artist at numerous institutions including Maryland Institute College of Art, The School of The Art Institute of Chicago and Western Kentucky University.  He has also held residencies at several reputable art centers including Arrowmont School of Arts and Crafts and Watershed Center for Ceramic Art where he designed and built a low-fire wood kiln. He has fired and helped construct numerous kilns throughout his career including a train-style kiln at USU designed by his professor, John Neely, the original creator of the train kiln design.  Brian is currently the Ceramic Studio Manager at Castle Hill and has had the pleasure of firing the train kiln there with great results!