Roy Dowell, Untitled (detail)
August 19 — 23 IV
Talking it Out:
critique & discussion P
Roy Dowell
August 19 — 23
Wet Paint!
Julie Burleigh
I August 19 — 23 II
II Advanced Drawing:
expanded media III
Simonette Quamina
Portfolio review required.
CONCEPT
Engage in critical group dialogs
and individual critiques to hone your work and
deepen your understanding of contemporary
art practice. Produce work at your own pace,
pausing for daily discussion with the instructor
and peers. Topics are in-depth and cover a
wide-ranging scope, including technique,
concept and approach. Students are expected
to work independently and to set studio goals
for the week. A broad interpretation of painting
is encouraged and artists working in installation
and incorporating three-dimensional elements
into paintings are also welcome.
MEDIA & TECHNIQUES Students choose
their own media and techniques to create
their work in the studio. This workshop is also
open to painters who are exploring installation,
sculptural elements and broader interpretations
of the medium. Come prepared with sketches
of ideas and with a presentation of current work.
ACTIVITIES
Students work in the studio
throughout the day. Discussions and studio
visits also take place on a daily basis. Participants
should expect rigorous studio practice and be
prepared to work during the entire class time.
FACULTY
Roy Dowell is the founding Chair
of the Otis College of Art and Design Fine
Arts Department. Solo exhibitions include the
Fawbush, Curt Marcus and Lennon/Weinberg
Galleries in New York and at the Rosamund
Felsen, Margo Leavin and Tif Sigfrids Galleries
in Los Angeles, James Harris Gallery in Seattle
and Fred Snitzer Gallery in Miami.
www.jamesharrisgallery.com/artists/roy-dowell
Simonette Quamina,
Bourda Market Massacre (detail)
Julie Burleigh, 2 Figures (detail)
CONCEPT Tackle the basics of oil
painting, from paint handling, to color use,
to compositional strategies in this workshop.
Working from life (figure, still life, landscape),
students create roughly one painting per day,
and primarily use ‘alla prima’ (wet-on-wet)
techniques. This takes advantage of the flexibility
and viscosity of oil paint, and allows students to
create convincing and often expressive images
without having to wait for the paint to dry.
Even with no past experience, students come
away from this workshop understanding how
to ‘collaborate’ with this flexible, beautiful and
sometimes unwieldy material. CONCEPT
MEDIA & TECHNIQUES MEDIA & TECHNIQUES
Participants use
oil paint, oil painting mediums, and primed,
stretched canvas as a painting ground. The
alla prima (wet-on-wet) painting technique is
presented. Finally, students use a limited palette
to create a variety of subtle colors via paint
mixing.
ACTIVITIES
Students create a color-mixing
chart to practice creating complex colors from
a limited palette, then work from life to create
relatively quick paintings of figures, still lives
and landscapes. Students view images of
paintings related to the workshop and observe
demonstrations related to color mixing and alla
prima painting.
FACULTY
Julie Burleigh has been painting,
drawing and making sculptures since the early
1980s. She studied painting and drawing at
Kansas City Art Institute, Yale, The School of
the Art Institute of Chicago and Tyler. Julie has
taught throughout the Midwest and in Southern
California at many schools and universities.
Explore broader means and
strategies in drawing while delving into its
possibilities to create dynamic, two-dimensional
works on paper. Find a visual balance within
the principles of drawing with other media like
printmaking, collage and alternative methods
that enrich imagery. Students challenge
previous perceptions about drawing and make
fresh responses to develop compositional,
textural, line and rendering skills. There are
experiments in creating mark-making tools, and
unconventional media transform to enliven and
add multiple layers to drawing. Techniques in
economical studio practices are covered.
Students draw
from observation and use alternative media:
powdered graphite; charcoal; inks; pastels;
coffee: and various papers. Several printmaking
techniques are covered in demonstrations
along with learning how to utilize frottage,
collage, silk screened monoprints and multiple
transfer methods.
ACTIVITIES
Each studio day begins with
drawing exercises that defy the norms of
conventional materials, followed by technical
demonstrations, group discussions and slide
presentations that apply to the topics covered.
FACULTY
Simonette Quamina received her
MFA from the Rhode Island School of Design in
2011. She is the recipient of the 2017 Salem Art
Works fellowship, the 2017-2018 Provincetown
Fine Art Works Center residency and is a studio
recipient of the Elizabeth Foundation for the
Arts Studio Program in New York City.
www.simonettequamina.com
www.julieburleigh.com
TUITION $1,200 TUITION $1,090 TUITION + STUDIO SUPPORT DONATION $1,400 TUITION + STUDIO SUPPORT DONATION $1,290 TUITION + STUDIO SUPPORT DONATION $1,290
REGISTRATION FEE $45 | STUDIO FEE $75 REGISTRATION FEE $45 | STUDIO FEE $75 REGISTRATION FEE $45 | STUDIO FEE $75
CODE D1222-19 ENROLLMENT LIMIT 10 CODE D1223-19 ENROLLMENT LIMIT 10 CODE D1224-19 ENROLLMENT LIMIT 10
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andersonranch.org
TUITION $1,090
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970/923-3181 [email protected]
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