- Artist Opportunity
- Support Castle Hill
THIS YEAR'S MARY LOU FRIEDMAN CHAIR:
This is an experimental workshop for intermediate and advanced painters about perception and place. Using the landscape and villages of the Cape as inspiration, the class will be prompted to use all five senses to assess specific places and to interpret these experiences with charcoal, pencil and paint. The outdoor sessions will focus on improvisational responses to touch, sound and color. The studio sessions will focus on the formal development of the field notes into rigorous compositions. The goal of the class is to balance the sensuality of perception with the rationality of design.
Mike Glier has exhibited at Barbara Krakow Gallery, Gerald Peters Gallery, The Kitchen, Barbara Gladstone Gallery, the Whitney Museum and the Museum of Modern Art. Both the Drawing Center, NY and The Tyler Gallery, Temple University, have sponsored national touring shows of his painting and his work has been the subject of two survey exhibitions. He is the recipient of a National Endowment Grant, Awards in the Visual Arts 9, and a Guggenheim Fellowship in painting. During the last decade, Glier has been pursued a global, plein air, painting project. He is a Professor of Art at Williams College.
Tim Knowles will lead a 5 day workshop that seeks to explore and map castle hill's new site in creative ways. Pursuing inventive, performative, methods of exploration which seeking to discover and understand the many and varied aspects of the location and will result in tangible outcomes which in alternative ways map and represent the area.
Tim Knowles will introduce a number of experimental methods of exploration and mapping which the group will participate in. Participants will then be supported to develop projects collaboratively, before going on to develop their own ideas and strategies, producing works individually.
The workshop will involve making, mapping, drawing, and performative elements. The outcome of these varied experiments will resulted in diverse range of work, existing in the field (on site) - as land art, as actions, as drawings and digitally.
Artist Tim Knowles lives and works in London. His work is exhibited widely both in the UK and internationally. He is currently artist in residence at IBERS [Institute of Biological, Environmental and Rural Sciences] in Aberystwyth. In 2013 he was commissioned by City of Sydney to produce a new public work and Mass Windwalk - a larger participatory event, he participated in Mildura Palimpsest Biennale, Australia.
Chance is crucial to Tim Knowles’ work, which is generated by apparatus, mechanisms, systems and processes beyond the artist’s control. Akin to scientific experimentation a situation is engineered in which the outcome is unpredictable, directed by the external forces.
For further information please visit; www.timknowles.com
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.
With abstraction as your starting point, you will explore abstraction of the figure, still life, and landscape. The statements, ‘you cannot make it up’ and ‘you must make it up’ will be your guide. Students will create collages with cut colored paper so as to push your understanding of color and form and learn to make adjustments to your paintings. What you put down on your paper or canvas are real things that you will adjust just as you adjust objects in a still life. You will also make sculptures to further develop your understanding of space. Using corrugated cardboard, masking tape, and acrylic paint you will create small stage settings with figures drawn from your work with the model and then continue to draw, paint, and collage from these 3D sculptures. In doing so, a path from copying to composing is cleared. The workshop will equip you with many ways to push your figurative work, with or without a live model, without losing the abstraction,.
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. In New York his work has been 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. An exhibition of his new work will be held March 2015 at Rothschild Fine Art in Tel Aviv.
Skill Level; Beginner to Intermediate
Working outside, students will investigate and record the unique atmosphere and splendor of the natural Cape Cod seashore. Students will hone their observational skills and work intuitively to explore and consider line, form and the distinctive colors that exist in this beautiful part of the world. Thumbnail sketches will help students to understand a simplified sense of space and compositional structure -- without over analysis of detail. Painting will not exceed 10” x 10”. All skill levels welcome.
Kathleen Jacobs has been painting from the Cape Cod landscape for over sixteen years. She attended the University of MA where she received a BFA in Painting/Art History. She was honored at the University with the Chancellor's Talent Award for outstanding achievement that resulted in receiving a full scholarship. She was awarded an Art Fund Scholarship to attend the La Napoule Art Foundation in France. She earned her MFA in Painting/Visual Arts from the Lesley University College of Art and Design in Boston, MA. Her work is shown regionally throughout New England and locally at Kendall Gallery in Wellfleet. www.kathleendjacobs.com
This workshop will focus on using cold wax and other mediums 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 has a BA in Art from Douglass College, Rutgers University and an MFA from Bard College. Her work is exhibited extensively throughout the U.S, and is included in many public and private collections. Lisa most recently had a solo show, "Mapping a Place," at Susan Eley Fine Arts, New York, NY. In 2015, her work was included in “Spaces Between” at Butters Gallery, OR and had a solo show, "Inside/Outside," at R&F Handmade Paints in Kingston, NY. She is represented by Telluride Gallery of Fine Art, Telluride, Co; Causey Contemporary, NY, NY and Susan Eley Fine Art, NY, NY. She lives and works in West Orange, NJ and currently teaches painting locally and nationally.
This hands-on workshop will introduce the technique of painting with pigmented beeswax to create beautiful, subtly layered works. We will begin with fundamental processes and branch out into more experimental approaches. We will go over appropriate substrates, equipment and tools. Introductory exercises will help participants get comfortable with the pace and timing of the material. Specific demonstrations will include creating smoothness and texture, mixing color, and a plethora of layering and mark making techniques, including incorporating other media. Demonstrations will be presented throughout the workshop, allowing ample time in between for individual, hands-on experimentation and one-on-one feedback. Students can expect to complete a small series or a number of sample pieces during the workshop. We will discuss equipment options and best practices for safety in your own workspace. This class is appropriate for beginners and those who are familiar with the medium, but desire a little more guidance, fine-tuning, or feedback from the instructor.
Laura Moriarty makes prints, sculptural paintings and installations that resonate with the geologic. Laura’s honors include two grants from the Pollock-Krasner Foundation and participation in numerous artist residencies, including The Frans Masereel Center in Belgium and The Ucross Foundation in Wyoming. She was the exhibition and workshop director at R&F Handmade Paints from 2003-2013. Recent exhibition venues include the Paul Robeson Galleries at Rutgers University, OK Harris Works of Art, The Handwerker Gallery at Ithaca College and The Jyväskylä Art Museum in Finland. She is the author of Table of Contents, an artist’s book published in 2012.
This class will explore the many wonders of form and surface through a variety of hand-building techniques by building a personal vessel or small figurative sculpture. Students of all levels of experience (beginners welcome) may take this further by building a pedestal that displays the vessel/sculpture. Students will complete an archival object that marks their time and presence with this piece, and then experience and witness its Raku firing. The class will build with clay and other materials for two days, take a one-day break while the pieces dry for bisque firing, and return to Castle Hill for glazing and firing on the final two days.
Jim Brunelle returns to Castle Hill from Hartford, CT, bringing his teaching and hands-on techniques to a variety of interest levels. He has a wide range of experience in working with clay, including wheel throwing, pinching, sculpting, and primarily Raku firing. His works bear evidence of his recent discoveries using the kilns at Castle Hill. Among these are salt reduction and oxidation firings.
Work with renowned flute maker, Susan Rawcliffe, to make a variety of ceramic musical instruments. We begin with the basics: making an ocarina and tuba flute, an airducted pipe, a simple cross-blown flute, and trumpet/didjeridu. Students can continue to develop these projects or begin more complex ones: sculptural whistle structures, and single or double chambered bottles--with whistles inside or outside of a sculptural enclosure; large didjeridus; howlers; and more. Those with patience, persistence, and good ears can begin learning to make and tune fine ocarina flutes.
Please look at my web page and Y ouTube videos for ideas & inspiration.
Susan Rawcliffe has been making, playing and researching ceramic flutes, pipes, ocarinas, whistles, trumpets and sound sculptures for over 30 years. Projects have included a McKnight Visiting Composer's grant in Minneapolis, MN; a National Endowment for the Arts grant to research prehispanic ceramic flutes in Mexico; and in 2011, a Cultural Explorers International grant from the Department of Cultural Affairs, Los Angeles, for research on a collection of 300 West Mexican prehispanic clay flutes in Bangor University, Wales, UK.
Wednesday Clay is an exciting 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.
Class is held on Wednesdays from 9-Noon.
All classes include 2 free open-studio days of Mon.-Fri. 10-4pm.
Brian utilizes a broad range of making techniques for his colorful functional pottery. He has been a resident artist, taught classes and worked for many art centers and universities across the country and is currently the Ceramics Program Manager at Castle Hill. His work is exhibited nationally and he recently co-authored the book Glaze: The Ultimate Ceramic Artists Guide to Glaze and Color. 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.
This class will be a conversation on traditional throwing and how its structural laws relate to you at the wheel. This will be a class open to all interested in the wheel and will be a one-on-one response to giving
traditional directions to your throwing. We will learn how to move clay under compression and the use of ribs, as well as working larger and clay joinery.
Guy Wolff is a potter trained in Britain and America and has been making
pottery since 1966 . His life's work has been a study of how clay moves. His pots are at Monticello, Mt Vernon, the White House, Winterthur Museum, and the Mingai Kon Tokyo. He has also been a frequent guest on Martha Stewart.
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 Saturday 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 18 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. His work is exhibited nationally and he recently co-authored the book Glaze: The Ultimate Ceramic Artists Guide to Glaze and Color. 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 Program Manager at Castle Hill and has had the pleasure of firing the train kiln there with great results!
High Fire Glaze Firings – Ceramics Manager
Ongoing throughout the summer
Did you take an amazing class and leave with new friends, boundless inspiration and bisque-ware? Contact the Ceramics Managers to schedule a time to get your things glazed. (The kiln will be fired as often as possible once there is enough glazed work to fill it.) Fee: $25 per cubic foot of kiln space.
A location, nestled in the dunes of Truro and within walking distance to Cape Cod bay, provides an inspirational and meditative backdrop that enhances the workshop experience.
A distinguished faculty that consists of prominent artists in the fields of painting, photography, printmaking, sculpture, ceramics, photography, jewelry and writing.
A student body consists of both working artists and art students who hail from all over the US and Canada. Today Castle Hill celebrates its 40th year Anniversary.