Anderson Ranch Arts Center Workshop Catalogs 2000-2009 | Page 16

2d painting and drawing
July 28 - August 1

PREREQUISITES: For intermediate or advanced students with
the experience to work on self-directed projects.

Surface Becoming Form: form

FACULTY: Julie Evans has taught at colleges and universities in
the US and abroad. A Fulbright Scholarship to India enabled her
to research Indian miniature painting, which is a strong influence
in her work. Her work has been exhibited in the US and internationally, and reviewed in Art in America, ArtForum, The New
York Times, New Yorker, and other publications. She is based in
New York, and is represented by Julie Saul Gallery.

mediated by surface 
Jay Coogan   
Tuition: $765  Studio Fee: $50
Code: D0917  Enrollment Limit 9

August 11 - 15

The Dynamics of Abstraction 
Kim Anno   
Tuition: $765  Studio Fee: $50
Code: D1120  Enrollment Limit 8

Jay Coogan, Biological Warfare (detail)

CONCEPT: Drawing is the most basic of two-dimensional art
forms and an essential skill for all visual artists. It can be a
spontaneous or premeditated tool for inquiry. In this workshop you will widen your notions of drawing and its creative
potential. We will explore how surface becomes form and
how form is mediated by surface. We’ll discuss drawing
concepts; use a variety media and drawing surfaces; work
with folded, collaged and cut surfaces; explore connections
between words and images, and alter preexisting images.
Personal expression and aesthetic development will be
encouraged. Class time will be used to experiment with new
materials and processes and to share discoveries.
MEDIA & TECHNIQUES: Students may work with any drawing
media and surfaces they are comfortable with, but should
also be open to experimentation.
ACTIVITIES:  We will primarily work in the studio, but take
some trips to get inspiration from the natural surroundings
and forms.
PREREQUISITES: Anyone with some drawing background, an
openness to trying new ways of working, and a willingness
to push the boundaries.
FACULTY: Jay Coogan received his BA from Brown University
in 1980 and MFA from Hunter College in 1982. He is currently
the Provost at Rhode Island School of Design, where he has
been a professor of sculpture for over 20 years. He has been
the recipient of grants from the National Endowment for the
Arts and the Rhode Island State Council on the Arts.

August 4 - 8

Scale, Detail & Time: exploring the

intimate image
Julie Evans   

Tuition: $765  Studio Fee: $50
Code: D1019  Enrollment Limit 8

Kim Anno, Skylarking (detail)

CONCEPT: Long before the innovations of Modernism, there
was a long global history of abstracting form. Modernism
brought the practice to the center of creative investigation,
and contemporary artists continue to expand its possibilities.
Abstraction is a way of seeing and understanding space, both
solid and ephemeral, and the space between things. This
painting workshop will inspire students in their approaches
to making abstract and mixed-media artwork. We’ll explore
extremity, flatness, metaphor, reference, mapping and painting systems, with regard to what generates abstract form
and how we understand the nature of abstraction today.

ACTIVITIES:  Lectures/demonstrations, learning techniques,
experiments, gathering imagery, internal/external research,
sketchbook notes, studio work.
PREREQUISITES: Intermediate to advanced ability. Some experience with painting materials required. Some knowledge of
color history and theory is desirable but not necessary.
FACULTY: Kim Anno is a painter, bookmaker, and co-chair of the
painting department at the California College of the Arts in San
Francisco. She exhibits in museums and galleries nationally and
internationally, and is represented by Patricia Sweetow Gallery
in San Francisco and Marcia Wood Gallery in Atlanta.

Advanced Painting Studio 
Suzanne McClelland   
Tuition: $785  Studio Fee: $50
Code: D1121  Enrollment Limit 10

ACTIVITIES: Focused studio work, group discussions, critiques
and slide presentations. Please bring sketches, source m aterial and supplies to the first class, and be ready to begin working on your chosen theme or project.

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FACULTY: Suzanne McClelland received a BFA from the University of Michigan and an MFA from the School of the
Visual Arts in New York City. She has exhibited her work
in solo shows throughout the country, most recently at the
Orlando Museum of Art, the Paul Kasmin Gallery in New
York and Galerie Lutz & Thalmann in Zurich, Switzerland. In
1993 her work was included in the Whitney Biennial and
in 2001 she was part of a group exhibition at the museum,
“A Way With Words.” Suzanne’s work is in the collections
of the Museum of Modern Art in New York, the Whitney
and the Jane Voorhees Zimmerli Art Museum at Rutgers
University, to name a few.

August 18 - 22

Watercolor Painting: 

an experimental process
Hiroki Morinoue   
Tuition: $765  Studio Fee: $50
Code: D1222  Enrollment Limit 8

Hiroki Morinoue, Kona Coast (detail)

CONCEPT: Working large-scale, and with unconventional materials such as saw dust, recycled metal plates, plexiglass, cotton strings, aluminum foil, cling wrap and whatever we find
in the studio, students will be engaged with organic surfaces,
as opposed to controlled brush strokes of traditional watercolor painting. The effects with any of these materials can be
both subtle and dramatic.
MEDIA & TECHNIQUES: We will be working with layers of
color to develop depth, atmosphere and spatial relationship. A three-inch watercolor brush for applying large
washes is required.
ACTIVITIES: Students will need to take chances with this process and explore outside their comfort zone. Whether an individual student is able to apply these techniques immediately
to their own image making is a larger challenge. They will
have that opportunity in the second half of the week.
PREREQUISITES: This class is open to intermediate students in
watercolor, especially those who are looking to develop some
new vocabulary to their work.
FACULTY: Hiroki Morinoue spent the first 14 years of his career
as a watercolorist. Through the recognition of his work he has
been awarded two sponsorships, the William Twigg-Smith
Artist in Residence at the Hawaii Volcanoes National Park and
a one-year sponsorship to Japan in 1975 and 1976.

Julie Evans, Bluer Skin with Sound (detail)

MEDIA & TECHNIQUES: Students may use media of their
choice. Class discussions and individually directed projects
will help students explore the possibilities for and impact
of small, intricate works. Both traditional and contemporary
techniques and materials will be explored, and hand-made
Indian miniature brushes will be supplied for optional use.

PREREQUISITES: Advanced. Bring your familiar studio materials
and take advantage of this opportunity for a high level of artistic focus and interaction. Students should arrive with a group
of 20 to 30 drawings. Find something to be specific about– a
place, person, time of day, season or situation. There are no
limits regarding abstraction or “reality” and no requirements
regarding media or size...only a specificity.

MEDIA & TECHNIQUES: Oil, odorless mineral spirits; or acrylic
paint, gel medium (matte and glossy). Brushes, rags, sponges,
sticks, rollers, grounds, heavy paper, tape/canvas, panels.

August 11 - 15

CONCEPT:  Large-scale works require distance to take in the
whole, while small-scale works draw the viewer in to close
the gap, allowing details and nuance to unfold. In this workshop, we focus on the potency of small-scale works, using
Indian miniature paintings as examples. We’ll focus on the
ways scale and detail can slow down the process of seeing,
and how intimate, private exchanges are established.

ing the quality of the work. The class format includes a
full day of teaching on Monday and Friday with Suzanne;
Tuesday, Wednesday and Thursday are half teaching days
for Suzanne, giving the students necessary private working time between critiques.

Suzanne McClelland, 000 (detail)

CONCEPT: Artists with experience in painting and drawing as
well as some art history knowledge will have the opportunity
to expand the conceptual as well as the material aspects of
their current work in this intense studio workshop. Through
description the artists will discover what their teacher and
colleagues see in their paintings and compare this with their
own intentions. Through this process, advanced students will
learn how to make their intentions a reality, which makes for
clear and exciting work.
ACTIVITIES: Students will participate in group critiques and
benefit from individual meetings with Suzanne where the
focus will be on describing what we see rather than judg-

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