PAINT LAB
WITH JENNIFER POCHINSKI

THIS WORKSHOP IS FULL

Five weekly meetings on WEDNESDAYS
April 6
April 13
April 20
April 27
May 4

11 a.m.-3 p.m. eastern time, US and Canada

ONLINE WORKSHOP. The objective for the course is to find new perspectives through short exercises. Exploration and discovery are the goal in working from life — objects or self portraits. Most work will be carried out on paper or on top of old paintings. Participants may work on any scale. There will be slide presentations as well as demos that illustrate the focus for the week. Exercises will be introduced each meeting. Participants will post their work on Padlet for group feedback.
BACK TO LIFE
WITH JENNIFER POCHINSKI

THIS WORKSHOP IS FULL.

APRIL 21-25, 2022
THURSDAY-MONDAY

“Art is an adventure into an unknown world, which can be explored only by those willing to take risks.” – Mark Rothko

IN-PERSON WORKSHOP AT BLACK POND!
In celebration of being able to paint together in person, the workshop will center around painting from life. We will start with objects/still life and move to figures and self-portraits. The workshop will be made up of many short exercises throughout the 5 days. There will be a slide presentation and plenty of discussion.
Lunches are included in the workshop fee.
FULLY VACCINATED ONLY.
TRANSCRIBING ITALIAN MASTERS
WITH LUCY MacGILLIS

THIS WORKSHOP IS FULL

THURSDAYS
March 3
March 10
March 17
March 24
March 31
2022

In this five-week ONLINE course via Zoom with Italy-based Lucy MacGillis, painters will look closely at four 500-year-old Italian Renaissance and Rococo masterpieces, investigating what makes them so powerful. Each meeting will begin with an introduction to the painter whose work we are studying that week, and the context in which the painting was created. Using transcription, we will draw from these paintings, not copying, but searching for the brilliant uses of rhythm, duality, and repetition within the geometry of each.

From Fra' Angelico and Botticelli to Andrea del Sarto and Tiepolo, we will explore a specific painting on paper and in discussion. Participants will create a painting sketch to better grasp the use of color in that week's Renaissance masterpiece. We will conclude with a group critique of the studies and a discussion about the colors which were used to create the original paintings. Work will be shared in an online platform.
Throughtout the class there will be several demos from Lucy MacGillis' studio.

Each participant will receive a kit in the mail, prior to the course, containing the prints of the four paintings we will transcribe as well as Fabriano drawing and primed paper measured in proportion to the works. THE COST OF THE KITS IS INCLUDED IN THE WORKSHOP PRICE.
COLLAGE AFTER MASTERS
WITH ROTEM AMIZUR

THIS WORKSHOP IS FULL

March 18-22, 2022
Friday-Tuesday

ONLINE WORKSHOP We will begin by painting papers with colors that excite us. Then, looking at old masters’ paintings, we will choose hues that create a sensation equivalent to what is evoked by them. Working only with our pre-painted papers helps us find unexpected color combinations. We look for relationships that feel good as opposed to "mixing the colors out there." Once colors are chosen and satisfying to us, we can dive into the continuous cycle of building, overlapping, changing and moving the cutout shapes — thus experiencing painting, drawing, observation, and invention as inseparable.

We will work small, with foam board and pins, pinning the cut-out shapes as we go along. Pinning as opposed to immediately gluing gives us a chance to constantly move shapes around. Making a variation, then another and another... Each new combination of colors leads us to see the reproduction in a new way — memory and familiarity making the game even more exciting and giving us the courage to make decisions we wouldn’t have dreamed of in the beginning. We are using the masters as our source but creating something distinctly personal and our own.
We will use Zoom to meet as as group, view image presentations, and discuss work shared on Padlet.
ON YOUR MARKS
WITH MAUREEN NATHAN

THIS WORKSHOP IS FULL

March 25-27, 2022
Friday-Sunday

ONLINE WORKSHOP. This drawing workshop is about freeing up expectations and engaging in the process of discovery. Participants will undertake various exercises with the aim of generating unexpected and compelling outcomes, as well as finding the drawing vocabulary unique to each artist. This workshop is especially helpful to artists who feel they are becoming stylized in their approach and is equally suitable for those new to drawing.
INTERIOR SPACE
WITH PETER VAN DYCK

THIS WORKSHOP IS FULL

Weekly on Sundays
February 6
February 13
February 20
February 27
March 6, 2022

ONLINE WORKSHOP

Using pencil sketches, color studies, larger drawings and painting on location, we will build paintings of interior spaces from direct observation. Our goal will be to merge two different ways of organizing and depicting space in a painting: one will be through drawing the 3-dimensional, volumetric quality of the space; the other will be through finding large color relationships to express the movement of light through space. Experience in basic observational drawing as well as with oil and/or acrylic paint will be helpful.
THE HEAD IN THE MIRROR
WITH JOE MORZUCH

THIS WORKSHOP IS FULL

Five weekly meetings
SATURDAYS
February 5
February 12
February 19
February 26
March 5, 2022

ONLINE WORKSHOP. Painting one’s reflected likeness is a strange and wonderful experience. It requires focus, patience, and the courage to look deeply at and within. With this workshop, participants will investigate the technical and conceptual challenges of painting self-portrait heads from direct observation. Referencing the work of historical and contemporary painters, participants will complete multiple works over the course of 5 weeks, guided by specific prompts and/or formal limitations. Each subsequent exercise will advance the concerns addressed the week before, resulting in an accumulated understanding of the complexities of painting a self-portrait from direct observation. Topics covered will include: the general structure and proportions of the human head, light, shadow, and tonality, form simplification and planar analysis, color temperature and intensity, and an exploration of various painting implements.
Workshop will be held on Zoom, and work will be shared on Padlet.
THE DIFFERENCE BETWEEN THINGS
WITH CATHERINE KEHOE

THIS WORKSHOP IS FULL

Five weekly meetings.
WEDNESDAYS
February 2
February 9
February 16
February 23
March 2
2022

ONLINE WORKSHOP

I do not believe in things; I believe only in their relationship. For things to exist, there must first come into being a relationship between you and the things, or between the things themselves.
— Georges Braque

In this still-life workshop, participants will build and light their own setups, and have a full week between meetings to explore a series of exercises. Time lends depth to the painted image and frees us to pare down to the essential. The exercises include:
• Mapping the relationships between objects and the rectangle, using a specific drawing method.
• Exploring different limited palettes to discover the nature of a few paint colors at a time, in terms of opacity, transparency, and relative tinting strength.
• Shape will be central to our approach. Reducing the motif to10-15 shapes will bring the focus on color mixing and accurate value structure.
• Adjusting the colors in a multiple-pass painting to keep up with the way appearances can change from day to day.
Medium: oil paint
We will meet on Zoom and share work on an online platform
PAINTING RESET
WITH JENNIFER POCHINSKI

THIS WORKSHOP IS FULL

January 28-February 1
Friday-Tuesday

“If you want to have clean ideas, change them like shirts” — Francis Picabia

The objective for the course is to find new perspectives through short exercises. Exploration and discovery are the goal in working from life-- objects or self-portraits. Most work will be carried out on paper or on top of old paintings. Participants may work on any scale.

ONLINE WORKSHOP. Participants will meet daily on Zoom over the course of five days. There will be slide presentations as well as demos that illustrate the focus for the day. Exercises will be introduced in the meeting each morning. Participants will post their work on Padlet and will have group feedback in the afternoon/evening.
THE THIRD DOOR
WITH NANCY GRUSKIN

THIS WORKSHOP IS FULL

January 14-16, 2022
Friday-Sunday

ONLINE MIXED MEDIA WORKSHOP. American artist Robert Zakanitch has described ornamentation as “the third door,” an alternative entry to painting from representation and abstraction. This three-day workshop will explore ornamentation and
pattern-making through collage, paint, and paper. We will begin on Friday with a slide presentation on the role of pattern in 20th- and 21st-century art. Morning Zoom meetings on Saturday and Sunday will include warm-up exercises and introduce assignments for the day. We will then reassemble on Zoom in the evening for group feedback and discussion. Participants will share their work on an online platform. The emphasis will be on experimentation and discovering new processes.
LINEAGE INTO PAINT
WITH CATHERINE KEHOE

THIS WORKSHOP IS FULL

Five weekly meetings
WEDNESDAYS
December 1, 2021
December 8, 2021
December 15, 2021
December 22, 2021
December 29, 2021
2-6 p.m. Eastern time, US and Canada

ONLINE WORKSHOP. Photos of ancestors — those we have known in life and those we can know only from the images — will be the sources for this workshop. These photos might trigger a narrative, imaginary or real. We might begin with an impulse for detail and description, a desire to imagine those we can know in no other way. The ultimate goal will be reduction and a search for how much is enough. By analyzing the images as designs in a rectangle, breaking down the pictorial elements through simplification and abstraction, we will build drawings and paintings that stand on their own. Mediums will include graphite, collage, acrylic and/or oil paint.
We will meet on Zoom and share the work in an online platform.
THE FIGURE: DRAWING AND PAINTING
WITH CATHERINE KEHOE

THIS WORKSHOP IS FULL

Five meetings
MONDAYS
11 a.m.-3 p.m.
Eastern time, US and Canada

November 1
November 8
November 15
November 22,
November 29, 2021

The figure attracts our attention more than any other subject. In this ONLINE workshop, we will work from images of models in specific lighting conditions. You will learn a drawing method that results in accuracy of proportion, an approach that is a way of looking and seeing, not a style. With practice, this method leads to an intuitive, personal balance between accuracy and individual voice. Exercises will explore line, shape, value, and color. Oil paint is the recommended medium. We will meet on Zoom and share the work in an online album.
LIGHT AND TIME
WITH STEPHANIE PIERCE

THIS WORKSHOP IS FULL

Five weekly meetings.
TUESDAYS
November 2
November 9
November 16
November 23
November 30
1:00-4:30 p.m. eastern time, US and Canada

ONLINE WORKSHOP

In this painting workshop, students will explore light, time, and underlying geometry. Subjects lit by natural and artificial light will be painted from direct observation. Formal strategies such as reductive drawing, use of the grid, and collage will be investigated. Projects will examine color as light to create compositions that amplify aspects of the subject. As Giacometti said, “The object of art is not to reproduce reality, but to create a reality of the same intensity.”
Participants will work on a larger, ongoing painting throughout the five weeks, accompanied by smaller one-session works each week. Emphasis will be on keeping the work open, letting go of preconceived outcomes, and responding to weekly prompts. Reflecting on your work through writing will also be part of the process. Prior painting experience working from observation is recommended. Oil paint is the suggested medium.
Meetings will be held on Zoom, and work will be shared on an online platform.
THE ITALIAN NOVECENTO
WITH LUCY MacGILLIS

THIS WORKSHOP IS FULL

November 12-14, 2021
Friday-Sunday
10:30 a.m.-4:30 p.m.
Eastern time, US and Canada.
Calculate for your own time zone

In this intensive three day ONLINE class, we will study the Italian Novecento, focusing on the works of three protagonists, Felice Casorati, Giorgio Morandi and Fausto Pirandello. After an art historical introduction to each painter and the context in which they were working, we will transcribe from a painting of theirs. Initially with a pencil and paper we will explore the composition, looking how and rhythm and duality are used create depth in each painting. In the second half of each day we will use oil paint to study the specific color relationships in these pieces and practice mixing paint.
Participants will receive a small packet in the mail prior to the class containing prints of the paintings we will be studying, Fabriano drawing paper measured with the proportional dimensions of the original as well as primed paper for painting the color study. The cost of supplied materials is included in the workshop fee.

Italy-based Lucy MacGillis enjoys sharing her knowledge of Italian art history from the perspective of a painter rather than that of a historian.
PAINTERS PAINTING
WITH JENNIFER POCHINSKI
OCTOBER 22-26, 2021
Friday-Tuesday
10:30 am.-4:30 p.m. eastern time, US and Canada
Calculate for your own time zone.

THIS WORKSHOP IS FULL

When you give up on the idea of right and wrong, you get rid of everything — freedom from ideas and responsibilities. — Agnes Martin

ONLINE WORKSHOP. Participants will meet daily on Zoom over the course of five days. There will be slide presentations as well as demos that illustrate the focus for the day. Exercises will be introduced in the meeting each morning. Participants will post their work on Padlet and will have group feedback in the afternoon/evening.

Exploration and discovery are the main objectives for the course. The exercises will be based both from life and from photo sources.
TRANSCRIBING ITALIAN MASTERS
WITH LUCY MacGILLIS

THIS WORKSHOP IS FULL

Five meetings
WEDNESDAYS
September 29
October 6
October 13
October 20
October 27
2021

11 a.m.-2:30 p.m. Eastern time, US and Canada

In this intensive ONLINE course painters will look closely at 500 year old Italian masterpieces, investigating just what it is about them that is so timelessly captivating. Using the method of transcription, we will draw from these paintings each morning without copying them, but searching for the brilliant uses of rhythm, duality and repetition within the geometry of these compositions. From Masaccio to Benozzo Gozzolli, Lippi, Sebastiano del Piombo, and concluding with Michelangelo, we will explore a specific painting at length on paper and in a group discussion over Zoom. Participants will also create a painting sketch to better grasp the use of color in that day's masterpiece.

Each participant will receive a kit in the mail, prior to the course, containing the prints of the five paintings we will transcribe as well as paper measured in proportion to the works. There will also be primed Fabriano paper provided for afternoon painting studies. The cost of the supplied materials is included in the workshop fee.

THE SPACES WE LIVE IN
WITH CLINTEL STEED

THIS WORKSHOP IS FULL

October 8-12, 2021
Friday-Tuesday
10:30 a.m.-4:30 p.m. eastern time,
US and Canada
Please calculate for your own time zone.

This ONLINE workshop will investigate the approach of the Nabis, specifically Vuillard and Bonnard. We will look at how these painters turned their home environments into personal narratives. Our own domestic spaces, and the mundane objects around us, will be our subject matter. Painting strictly from observation will free us to investigate how our own space relates to geometry and the rectangle. We will concentrate on structure (perspective, scale, and relationships) while considering color and light. Our challenge will be to look at our own living spaces to see how they can become meaningful through the act of painting.
There will be three meetings per day on Zoom. Work will be shared on an online platform.
SUMMER'S END
WITH NANCY McCARTHY

THIS WORKSHOP IS FULL

ON SITE AT BLACK POND
(fully vaccinated only)

September 24-26, 2021
Friday-Sunday
10 a.m.-6 p.m.

As summer’s abundance fades and the quiet of autumn begins, we will observe and paint the complex landscape. Our focus will be summarizing this complexity into distinct shapes of value and hue. A series of exercises with large brushes and palette knives will encourage this process, and a one-session painting will be completed each day. we will also view contemporary and historical landscape painters and discuss the issues, tools and procedures unique to painting outdoors. This workshop will energize those who have painted outdoors many times as well as introduce this adventure to those doing so for the first time. Water based or oil paint may be used.
Lunch is included in the price of the workshop.
HOT SUMMER NIGHTS #1
WITH JENNIFER POCHINSKI

THIS WORKSHOP IS FULL

AN ONLINE MIXED MEDIA WORKSHOP

August 13-15, 2021
Friday-Sunday

“I thought art was a verb, rather than a noun” — Yoko Ono

WHY COLLAGE
Mixed media or collage can be a gateway to discover new ideas and processes by bringing in ready-made elements of our surroundings into our work. As a painter, I am constantly striving for richness and layers in my work. By adding imagery directly from the world around me I can test ideas, achieve meaning and develop a broader vocabulary in my painting practice -- in an instant!
This is a short but intense workshop. It is more project based rather than working on general fundamentals of painting within some context. There is a strong physical and sculptural aspect of collage. Ideas can be worked out literally using your hands.
HOT SUMMER NIGHTS #2
WITH JENNIFER POCHINSKI

AN ONLINE MIXED MEDIA WORKSHOP

THIS WORKSHOP IS FULL

August 20-22, 2021
Friday-Sunday

“I thought art was a verb, rather than a noun” — Yoko Ono

WHY COLLAGE
Mixed media or collage can be a gateway to discover new ideas and processes by bringing in ready-made elements of our surroundings into our work. As a painter, I am constantly striving for richness and layers in my work. By adding imagery directly from the world around me I can test ideas, achieve meaning and develop a broader vocabulary in my painting practice -- in an instant!
This is a short but intense workshop. It is more project based rather than working on general fundamentals of painting within some context. There is a strong physical and sculptural aspect of collage. Ideas can be worked out literally using your hands.
CLOSE TO HOME
WITH TIM KENNEDY AND EVE MANSDORF

THIS WORKSHOP IS FULL

August 2-6, 2021
Monday-Friday

ONLINE WORKSHOP. Familiar and overlooked subjects will be the basis for unexpected and inspired paintings. Think of Bonnard’s windows or Fairfield Porter’s views of his neighborhood on Long Island. A landscape does not have to be a mountain in the distance, but might be a space as intimate as your back yard. Often the evidence of human presence can help to organize a motif, and objects can mitigate the boundless quality of landscape with specificity, narrative and humor. Such motifs present the possibility of contrasting the organic color and forms found in nature with synthetic color, shape and manufactured surfaces.

Participants will pick a site where people and nature coexist, whether it be a back yard, a park, a swimming pool, or the outskirts of a suburban neighborhood. Plan to produce a series of small, one-day paintings that explore both the natural beauty of a place and the human use of that space as it may be presented through objects, activities or built structures. We will use Zoom to meet two to three times a day to share our work.


WATERCOLOR: BREAK NEW GROUND
WITH ELIZABETH O'REILLY

ONLINE WORKSHOP
June 5-9, 2021
Saturday-Wednesday

Expand your watercolor fluency by experimenting with value, color, mark making and scale. Through a variety of exercises and techniques including staining, texture, dry brush, wet on wet and accidents, you will become more aware of how to manipulate the medium while maintaining its fluidity. Multiple studies will be created using references from nature. Other exercises may include working large (to put our body motion into the strokes), working abstractly, and creating collages from students’ own drawings and paintings. Looking at images of contemporary watercolor will be included. Participants should have some previous experience with watercolor.
This workshop will be held on Zoom, with three one-hour meetings per day.
INTERIOR SPACE
WITH PETER VAN DYCK

ONLINE WORKSHOP
May 12-16, 2021
Wednesday-Sunday

THIS WORKSHOP IS FULL

Using pencil sketches, color studies, larger drawings and painting on location, we will build paintings of interior spaces from direct observation. Our goal will be to merge two different ways of organizing and depicting space in a painting: one will be through drawing the 3-dimensional, volumetric quality of the space; the other will be through finding large color relationships to express the movement of light through space. Experience in basic observational drawing as well as with oil and/or acrylic paint will be helpful.
PAINTERS PAINTING 2
WITH JENNIFER POCHINSKI
May 7-11, 2021
Friday-Tuesday


THIS WORKSHOP IS FULL

When you give up on the idea of right and wrong, you get rid of everything — freedom from ideas and responsibilities. — Agnes Martin

ONLINE WORKSHOP. Participants will meet daily on Zoom over the course of five days. There will be slide presentations as well as demos that illustrate the focus for the day. Exercises will be introduced in the meeting each morning. Participants will post their work on Padlet and will have group feedback in the afternoon/evening.

Exploration and discovery are the main objectives for the course. The exercises will be based both from life and from photo sources.
COLLAGE AFTER MASTERS
WITH ROTEM AMIZUR

May 1-4, 2021
Saturday-Tuesday

THIS WORKSHOP IS FULL

ONLINE WORKSHOP We will begin by painting papers with colors that excite us. Then, looking at old masters’ paintings, we will choose hues that create a sensation equivalent to what is evoked by them. Working only with our pre-painted papers helps us find unexpected color combinations. We look for relationships that feel good as opposed to "mixing the colors out there." Once colors are chosen and satisfying to us, we can dive into the continuous cycle of building, overlapping, changing and moving the cutout shapes — thus experiencing painting, drawing, observation, and invention as inseparable.

We will work small, with foam board and pins, pinning the cut-out shapes as we go along. Pinning as opposed to immediately gluing gives us a chance to constantly move shapes around. Making a variation, then another and another... Each new combination of colors leads us to see the reproduction in a new way — memory and familiarity making the game even more exciting and giving us the courage to make decisions we wouldn’t have dreamed of in the beginning. We are using the masters as our source but creating something distinctly personal and our own.
We will use Zoom to meet as as group, view image presentations, share and discuss work.

OPENING DOORS
WITH JENNIFER POCHINSKI

Five meetings
WEDNESDAYS
March 31
April 7
April 14
April 21
April 28
2021
1:30-5 p.m. eastern US time
(calculate for your own time zone)

When you give up on the idea of right and wrong, you get rid of everything — freedom from ideas and responsibilities.
— Agnes Martin

ONLINE WORKSHOP. Participants will meet on Wednesdays over the course of five weeks. There will be slide presentations as well as demos that illustrate the focus for the week. Each week exercises will be introduced.
Participants will post their work on Padlet and will have group feedback sessions during the meetings. Exploration and discovery are the main objectives for the course. The exercises will be based both from life and from photo sources.
COLOR RULES
WITH NANCY McCARTHY

April 17-19, 2021
Saturday-Monday

10:30 a.m.-5 p.m. US eastern time
Check your own time zone

ONLINE WORKSHOP. Color Rules! It does, absolutely, but there are NO rules, no formulas, no tricks. There is intention, getting color to say what you want it to say. In this intensive workshop we consider basic color concepts such as value, hue, and saturation and learn how to manipulate them to energize our work. Building color relationships with gouache on paper helps up understand how color functions and to build our personal color vocabulary. This workshop is meant for anyone working with color: painters, designers, architects, etc. We will use Zoom to meet as as group, view image presentations, share and discuss work.
LEMON
WITH LUCY MacGILLIS

April 9-11, 2021
Friday-Sunday

In this intensive three-day ONLINE workshop, we will grind our own paints from raw Italian pigments and walnut oil, for a full earth palette. We will use this palette to create a still life painting of lemons. There will be a strong emphasis on mixing oil paint and the use of the palette knife. Parallel to the exploration of this common yellow form we will explore how we perceive yellow visually, and how artists have historically represented the lemon beginning with early roman frescoes from Pompeii. How does the plasticity of the lemon’s yellow oval affect the composition? The role of the lemon in Italy’s history will accompany our visual exploration.
We will meet on Zoom two or three times per day, and share the work in online albums.
Participants will receive a selection of earth pigments, walnut oil and other materials from Zecchi in Florence. The cost of supplied materials is included in the workshop fee.
DRAWING MARATHON
WITH GWEN STRAHLE

MARCH 27-30, 2021
Saturday-Tuesday


ONLINE WORKSHOP
Drawing can be painterly, whether using charcoal, pencil or ink. This workshop will stimulate and maintain a continuous flow of drawing energy and examination. We will work from observation, using various materials and approaches. Exercises will be woven into the structure, including drawing from memory, gestures, drawing from other members of the studio. We will build abstractly to serve observation — drawing, re-drawing, re-thinking, re-seeing, re-working, to pull the drawing out from the inside, through process. Let’s make changes in order to dig deeper into the drawing experience, and provide opportunity for new invention. And, of course, it’s a marathon, so non-stop drawing...
Price includes model fee.
There will be three meetings per day on Zoom, and work will be shared and discussed as a group on Padlet.
BLACK, WHITE, AND IN-BETWEEN
WITH NANCY McCARTHY

March 11-13, 2021
Thursday-Saturday

ONLINE WORKSHOP The striking contrasts of black and white, and the subtle differences between grays, will be the fuel for our images. First, using brushes with black ink on white paper, we will build compositions from shapes of black and white, with still life and the landscape as our sources. We will move into ink washes, then switch to white on black, and each day delve into more exercises using pens, cut paper, collage and block prints. Our aim is to generate a volume of drawings, from both observation and abstraction, which expand our visual vocabulary, sensitivity to value and shape, as well as compositional skills. We will use Zoom to meet as as group, view image presentations, share and discuss work.
THE OBJECT AS ACTOR
WITH NANCY GRUSKIN

March 6-8, 2021
Saturday-Monday

“A good actor can have a part in ten different plays; an object can play a role in ten different pictures.” Henri Matisse

In this three-day ONLINE workshop, we will make drawings, collages, and paintings of still life objects. These objects will serve as a springboard for experimentation and individual expression. Exercises will focus on playing with form, color and composition, as we see how far we can push our work’s relationship to reality. As we become more acquainted with these objects during the course of the workshop, we will take more liberties with their depiction, incorporating invented imagery and outside source material. Artists will be working in collage and with drawing materials, and water-based and/or oil paint. Slide shows of the work of modern and contemporary artists will supplement the exercises. It is intended to invigorate the practice of newer and more experienced artists alike. The workshop will meet on Zoom, two or three times per day, and work will be shared in an online album for discussion.


TRANSCRIBING ITALIAN MASTERS
WITH LUCY MacGILLIS

February 12-17, 2021
Friday-Wednesday

This ONLINE workshop, with Italy-based painter Lucy MacGillis, will look closely at five 500-year-old Italian secular masterpieces, investigating what makes them so powerful. Each day will begin with an introduction to the painter whose work we are studying, and the context in which the painting was created. We will draw from these paintings, searching for the brilliant uses of rhythm, duality and repetition within the geometry of the painting. Specific paintings from the Renaissance will be our sources. In the afternoons, participants will create a painted sketch to better grasp the use of color in that day's painting. We will conclude with a group critique of the studies and a discussion about the colors that were used to create the original paintings.
Each participant will receive a kit in the mail, prior to the course, containing prints of the five paintings we will transcribe, as well as Fabriano paper measured in proportion to the works. There will also be primed paper provided for afternoon painting studies. (The workshop fee includes the cost of materials and shipping.) The three daily meetings will be on Zoom, and work will be shared in online albums.
Limited to 15 participants. This five day workshop runs over six days, with a day off midweek.
DRAWING: PROPORTION AND ECONOMY
WITH CATHERINE KEHOE

January 13-17, 2021
Wednesday - Sunday

This ONLINE workshop will present a drawing method that results in accuracy of proportion. We will use straight lines to find relationships between the rectangle and the parts of the motif. This approach is a way of looking and seeing, not a style, and can be used to find the essential structure of any subject. We will work from images of the figure and the head. With practice, this method leads to an intuitive, personal balance between accuracy and individual voice.
We will meet on Zoom two or three times each day, and share the work in online albums.
START WITH A PART
WITH SUSAN LICHTMAN

ONLINE WORKSHOP
January 7-10, 2021
Thursday-Sunday

There is a way of constructing a painting that is comparable to writing fiction without an outline. Usually writers and painters compose by starting with a general outline, a design, where parts support the whole. But it is possible to reverse this method. Rather than composing the whole rectangle first, a painter’s starting point might be a detail: a small thing seen, a peculiar shape, shadow or color note. This visual starting point might not be important in itself, but for our eyes, it has a specific allure. By working out from this detail, we can embark on a painting journey where our habits of focus and hierarchy are upended, and all things seen have the potential to matter. By delaying our claim to a finished design, we will organically find a strong composition that is an authentic and possibly surprising account of an intimate visual experience.
We will meet on Zoom two or three times each day, and share the work in online albums.
NEW GROUND
WITH JENNIFER POCHINSKI

ONLINE WORKSHOP
December 12-16, 2020
Saturday-Wednesday

“I don't know what perfection is.”
— Henry Taylor

Many painters work in isolation and find themselves in a rut or just need some direction. Both good habits and bad can get in the way of progress. The workshop is an opportunity to explore the process of painting through exercises with specific objectives. We'll do some premier coup and longer term work. Exploration will be encouraged! Hopefully it will be a week of stretching into new territory which each painter can carry into their own practice.
The exercises will be both working from still life and photos. Each day there will be presentations and group discussions to try to maintain the intimate environment of an in-person workshop. This workshop is best suited to intermediate to advanced painters.
THE HEAD IN THE MIRROR
WITH CATHERINE KEHOE

December 5-9, 2020
Saturday-Wednesday

ONLINE WORKSHOP The head we see every day is a meaningful, personal and convenient subject for a painting. This workshop takes a reductive approach to painting the head, seeking how little information is enough. Universal proportions of the head will be covered, and a simple, intuitive drawing method will be introduced to help with drawing accuracy. Using paint, we will investigate whether translating the head into a few accurate shapes of color and value can create a truer likeness than a detailed description can. We will meet on Zoom two or three times each day, and share the work in online albums.
THE LANGUAGE OF ABSTRACTION
WITH DEBORAH ZLOTSKY

November 9-11, 2020
Monday-Wednesday

ONLINE WORKSHOP. Through an integrative, critical, and sequential process, participants will develop their own distinctive language to create new abstract works. Varied drawing experiences will help participants build vocabulary, create space and structure, and investigate what’s possible. The 3-day drawing workshop will become an experimental lab to generate new work informed by presentations, discussions, visual strategizing, and studio exploration. A description of an assignment to be completed before the start of the workshop will be sent to each participant with instructions and examples. The completed assignment is instrumental in launching the process covered by the workshop. Workshop will be held on Zoom. Three meetings each day.
WATERCOLOR: BREAK NEW GROUND
WITH ELIZABETH O'REILLY

ONLINE WORKSHOP
October 24-28, 2020
Saturday-Wednesday

Expand your watercolor fluency by experimenting with value, color, mark making and scale. Through a variety of exercises and techniques including staining, texture, dry brush, wet on wet and accidents, you will become more aware of how to manipulate the medium while maintaining its fluidity. Multiple studies will be created using references from nature. Other exercises may include working large (to put our body motion into the strokes), working abstractly, and creating collages from students’ own drawings and paintings. Looking at images of contemporary watercolor will be included. Participants should have some previous experience with watercolor.
This workshop will be held on Zoom, with three one-hour meetings per day.
LINEAGE INTO PAINT
WITH CATHERINE KEHOE

October 10-14, 2020
Saturday-Wednesday

ONLINE WORKSHOP. Photos of ancestors — those we have known in life and those we can know only from the images — will be the sources for this workshop. These photos might trigger a narrative, imaginary or real. We might begin with an impulse for detail and description, a desire to imagine those we can know in no other way. The ultimate goal will be reduction and a search for how much is enough. By analyzing the images as designs in a rectangle, breaking down the pictorial elements through simplification and abstraction, we will build drawings and paintings that stand on their own. Mediums will include graphite, collage, acrylic and/or oil paint.
We will meet online two or three times each day, and share the work, on Zoom.
COLOR RULES
WITH NANCY McCARTHY

NOW ONLINE

September 11-13, 2020
Friday-Sunday

8 a.m.-2 p.m. US Pacific time
11 a.m.-5 p.m. US eastern time
5 p.m.-11 p.m. Europe time
Check your own time zone

Color Rules! It does, absolutely, but there are NO rules, no formulas, no tricks. There is intention, getting color to say what you want it to say. In this intensive workshop we consider basic color concepts such as value, hue, and saturation and learn how to manipulate them to energize our work. Building color relationships with gouache on paper helps up understand how color functions and to build our personal color vocabulary. This workshop is meant for anyone working with color: painters, designers, architects, etc. We will use Zoom to meet as as group, view image presentations, share and discuss work.
EXPRESSIVE POSSIBILITIES IN PAINTING FROM PHOTOS 1
WITH JENNIFER POCHINSKI

August 17-21, 2020
Monday-Friday

8 a.m.-2 p.m. US Pacific time
11 a.m.-5 p.m. US eastern time
5 p.m.-11 p.m. Europe time

ONLINE WORKSHOP. Photography as a reference in painting is as old as the photograph itself. It is a tremendous tool that can transform the painter’s practice and content. The workshop will be centered on working from photos.The first two days will be spent painting short exercises. The rest of the week will be devoted to three paintings. They will be discussed at the end of the last day. There will be presentations, demonstrations and group discussions to try to maintain the intimate environment of a normal workshop.

Jennifer will be live for the first hour of each day to introduce the exercises and give demos or slideshows.
She will meet again with the group 1.5 hours before the end of the day for discussion of the work.

Materials:
Assortment of oils, brushes, medium such as Galkyd Lite
Newsprint
Any of the following supports: Canvas, panels, gessoed boards or paper for oils,
Chair or two as still life object
Still life objects
Photos will be provided
EXPRESSIVE POSSIBILITIES IN PAINTING FROM PHOTOS 2
WITH JENNIFER POCHINSKI

August 24-28, 2020
Monday-Friday

8 a.m.-2 p.m. US Pacific time
11 a.m.-5 p.m. US eastern time
5 p.m.-11 p.m. Europe time

ONLINE WORKSHOP. Photography as a reference in painting is as old as the photograph itself. It is a tremendous tool that can transform the painter’s practice and content. The workshop will be centered on working from photos.The first two days will be spent painting short exercises. The rest of the week will be devoted to three paintings. They will be discussed at the end of the last day. There will be presentations, demonstrations and group discussions to try to maintain the intimate environment of a normal workshop.

Jennifer will be live for the first hour of each day to introduce the exercises and give demos or slideshows.
She will meet again with the group 1.5 hours before the end of the day for discussion of the work.

Materials:
Assortment of oils, brushes, medium such as Galkyd Lite
Newsprint
Any of the following supports: Canvas, panels, gessoed boards or paper for oils,
Chair or two as still life object
Still life objects
Photos will be provided
TRANSCRIBING ITALIAN MASTERS
WITH LUCY MacGILLIS

July 9-13, 2020

10 a.m.-4 p.m. US east coast time
7 a.m.-1 p.m. US west coast time
4 p.m.-10 p.m. Italy time
Lucy will be live, and meet with participants, at the beginning, middle and end of each day of the workshop.

In this five-day ONLINE course, painters will look closely at 500 year old Italian masterpieces, investigating what makes them so powerful. Using transcription, we will draw from these paintings each morning, not copying, but searching for the brilliant uses of rhythm, duality and repetition within the geometry of each. From Piero della Francesca to Tintoretto, Raffaello and concluding with Florentine master Pontormo, we will explore a specific painting on paper and in a discussion (using Zoom.) In the afternoons, participants will create a painting sketch to better grasp the use of color in that day's masterpiece.
Each participant will receive a kit in the mail, prior to the course, containing the prints of the five paintings we will transcribe as well as paper measured in proportion to the works. There will also be hand primed paper provided for afternoon painting studies.
Limited to 12 participants.


DRAWING THE FIGURE 2
WITH CATHERINE KEHOE

SATURDAY, MAY 23, 2020
1-5 p.m. Eastern US time

ONLINE COURSE: In one four-hour Zoom session, we will approach the figure from three directions:
1. Blind contour drawing to fine-tune hand-to-eye coordination and remove any pressure about making a “good” drawing.
2. A method to help you draw the figure accurately and in proportion.
3. Finally, a fresh look at gesture drawing, to end on a note of freedom.
There will be an introductory image presentation; after that you will draw from images shown on your laptop or other device. At the end, you will be invited to upload three drawings from the session to share with the group, and talk about your experience with each of the three methods. Perfect for those with limited drawing experience, or for seasoned artists who want to refresh their grasp of the classic ways of seeing and drawing.
Limited to 20 participants.
DRAWING THE FIGURE
WITH CATHERINE KEHOE

SATURDAY, MAY 16, 2020
1-5 p.m. Eastern US time

ONLINE COURSE: In one four-hour Zoom session, we will approach the figure from three directions:
1. Blind contour drawing to fine-tune hand-to-eye coordination and remove any pressure about making a “good” drawing.
2. A method to help you draw the figure accurately and in proportion.
3. Finally, a fresh look at gesture drawing, to end on a note of freedom.
There will be an introductory image presentation; after that you will draw from images shown on your laptop or other device. At the end, you will be invited to upload three drawings from the session to share with the group, and talk about your experience with each of the three methods. Perfect for those with limited drawing experience, or for seasoned artists who want to refresh their grasp of the classic ways of seeing and drawing.
Limited to 20 participants.
THE HEAD EXAMINED THROUGH TIME
WITH CATHERINE KEHOE

June 15-19, 2020
Monday-Friday
10 a.m.-4 p.m. each day. (Eastern US time)

ONLINE COURSE: Portraits from art history will be the point of departure for study of pictorial structure and invention, with a focus on the head. We will work from reproductions of portraits from art history. You may work from postcards, photocopies from books, or images on your devices (tablet or laptop). We will touch upon the universal proportions of the head. Mediums will include graphite, charcoal, collage, gouache, acrylic and/or oil paint or materials you have on hand. Each participant will look deeply at one or two images and generate permutations through exercises that lead to simplification and abstraction. This rigorous and wide-ranging analysis of images from our painting ancestors will feed our own work and imaginations as we engage with images that speak to us still.
Daily schedule: 10 a.m.-4 p.m.
(Eastern US time)
Image presentation: 10-11 a.m.
(Eastern US time)
Work on the exercise of the day
30-minute break
~ 1 p.m. upload images of exercise in progress
Continue with the exercise.
~ 4 p.m. upload images of exercise as is, with brief group conversation
24-hour studio access! to continue or finish exercise.
Limited to 15 participants
THE ACT OF PAINTING
WITH JENNIFER POCHINSKI

November 8-12, 2019
Friday-Tuesday

The act of painting is not about executing something well. It’s what happens instead.

The week will be about setting up exercises that will encourage something unexpected to happen.

During the five days of the workshop we will work on an enormous still life, work from a model and finally end with a day of self portraits from life or photos. We will also devote one day to working from photos. Three of the five days will focus on figuration.

The goals: to learn to trust first instincts, to hone skills by painting what is directly observed — but without overthinking or second-guessing, rendering or decorating. It will be a week of unfiltered mark making; maybe some stretching into new territory which each painter can carry into her own practice.

Participants who paint in oils will get the most out of this workshop.

Price includes a model session.
THE GARDEN
WITH SUSAN LICHTMAN

July 8-12, 2019
Monday-Friday

As a painting subject, the garden sits somewhere between landscape and domestic interior. A planned space used for aesthetic contemplation or for growing food, gardens have also served artists, since the Roman era, as a setting for pictorial narratives.

In this workshop we will make paintings about gardens, working from direct observation and invention. Painting perceptually in the gardens at Black Pond, we will also work from models, photographic sources, still lives of both organic forms and hardware store items. We will use the pure shapes of flowers and fruited vines, sun hats, watering cans, hammocks and hoes. We may evoke themes of Adam and Eve, Agony in the Garden, or a Constant Gardener who digs for truth.

Basic experience in perceptual painting is recommended for participants of this workshop.
PAINTING WITH THE EARTH PALETTE — LA MATERIA
WITH LUCY MacGILLIS

JUNE 26-28, 2019
Wednesday-Friday

In this intensive three-day course, Lucy MacGillis shares her love for paint, beginning with its creation — mixing raw earth pigments from Italy with linseed oil. Venetian and Pozzuoli red, warm Italian earth, yellow ochre, Naples yellow, earth green, Herculaneum blue, burnt and raw umber, roman black earth, and titanium white are created by participants and then used to respond to the still life.
Participants will make several studies and a group critique (including art historical examples) ends each day.
THE NATURAL WORLD: SHAPE AND COLOR
WITH NANCY McCARTHY

May 30-June 2, 2019
Thursday-Sunday
10 a.m. - 6 p.m.

The natural world has remained a potent source for artists throughout history. The focus of this workshop is simplifying complex vistas into distinct shapes of specific value and hue. A series of exercises with large brushes and palette knives will encourage this process. We will view contemporary and historical landscape painters and discuss the issues, tools and procedures unique to painting outdoors. Each day a one-session painting will be completed. Those who have painted outdoors many times or those doing so for the first time are welcome to join this intense workshop meant to energize your painting practice. Water based or oil paint may be used.
THE ACT OF PAINTING
WITH JENNIFER POCHINSKI

MAY 4-8, 2019
Saturday-Wednesday

The act of painting is not about executing something well. It’s what happened instead.

The week will be about setting up exercises that will encourage something unexpected to happen.

During the five days of the workshop we will work on an enormous still life, then work from a model and finally end with a day of self portraits from life or photos. We will also devote one day to working from photos.

The goals: to learn to trust first instincts, to hone skills by painting what is directly observed — but without overthinking or second-guessing, rendering or decorating. It will be a week of unfiltered mark making; maybe some stretching into new territory which each painter can carry into her own practice.
DRAWING MARATHON
WITH GWEN STRAHLE
MARCH 28-31, 2019
Thursday-Sunday

Drawing can be painterly, whether using charcoal, pencil or ink. This workshop will stimulate and maintain a continuous flow of drawing energy and examination. We will work from a still-life set-up that includes the model, using various materials and approaches. Exercises will be woven into the structure, including drawing from memory, gestures, drawing from other members of the studio. We will build abstractly to serve observation — drawing, re-drawing, re-thinking, re-seeing, re-working, to pull the drawing out from the inside, through process. Let’s make changes in order to dig deeper into the drawing experience, and provide opportunity for new invention. And, of course, it’s a marathon, so non-stop drawing...
SUPER BOWL MODEL SESSION
Sunday, February 3, 2019
10 a.m.-4 p.m.
Don't care about football? Join us for a six-hour model session. Single pose all day. No instruction, just a chance to paint or draw uninterrupted. Price includes model, beverages, and snacks. Bring your lunch and painting or drawing supplies. We have easels and palette tables; feel free to bring your own. Only odorless solvent (Gamsol), if used. Come as early as 9:30 a.m. for coffee and to set up. Model will start at 10. Limit: 10 participants.
COMPOSITION AND PAINT
WITH AMY MAHNICK
November 9-12, 2018

The arrangement of flat shapes of color, whether they remain abstract, or coalesce into figuration, is the most important factor in the expressive quality of a painting, and where the heart of meaning can be found.
In this workshop we will investigate our own intuitive sense of design by looking at the coincidence of forms in space with the vertical, diagonal and horizontal divisions of our canvases. Taking that information, we will create variations of placement and tone to reflect different emphasis and moods. Working from observation of the still life, and aided by simple picture plane devices, we will work swiftly, but accurately. Discovery and planning will be equally emphasized.
On the last day we will do an exercise that flips convention on its head, but also reinforces the idea that, at its foundation, all painting is abstract.
BLUEPRINT FOR A BETTER PAINTING
WITH ELIZABETH GEIGER
SEPTEMBER 24-28, 2018
(Monday-Friday)

Geiger’s paintings are informed by art history, intuition and a desire to create visual drama. These forces create tension between nature and the internal world of emotion. In this workshop we will develop a series of studies to address drawing, composition, tonal and color relationships separately BEFORE the final painting. This preparatory work will help participants approach a painting with greater understanding and confidence. Painters will consider compositional ideas with thumbnails and drawings, create an underlying tonal structure with black and white paintings and finally experiment with color using a limited palette. Working from still-life setups, participants will make important decisions before attempting their final piece.
PUSHING PAINT
WITH JENNIFER POCHINSKI
AUGUST 20-24, 2018 (Monday-Friday)

The week will start out with painting from a large still life. These will be quick reactions on small fugitive supports such as canvas boards or paper. Mid-week we will work from a model. Again, these will be quick, untethered exercises. The last two days we will be working from photos that each participant will provide.
Whether working from the natural world, or the mediated world, these subjects are just vehicles that trigger quick responses. Done from the gut, premier coup — no tweaking later! Each afternoon will be spent on one canvas — a new one each day. The goals: to learn to trust first instincts, to hone skills by painting what is directly observed — but without overthinking or second-guessing, rendering or decorating. It will be a week of unfiltered mark making; maybe some stretching into new territory which each painter can carry into her own practice.
PAINTING THE ENERGY IN NATURE
WITH NANCY McCARTHY
MAY 31-JUNE 3, 2018
(Thursday through Sunday)
10 a.m.– 6 p.m.

Those who have painted outdoors many times or those doing so for the first time are welcome to join this outdoor painting experience meant to enrich your painting practice. We will work to simplify the complex vistas of the natural world into shapes of specific value and hue, starting with a series of exercises to encourage rapid work with large brushes and palette knives. Over the four days students will complete four one-sitting paintings. The workshop will begin with a discussion of the issues, tools and procedures unique to painting outdoors and an image presentation of the work of contemporary and historical landscape painters. Black Pond Studio’s 40 acres provide fields, trees, swamp and pond, as well as indoor spaces to work if rain interrupts us. All mediums are welcome.
STILL LIFE: BUILT AND PAINTED
WITH CATHERINE KEHOE

FRIDAY, OCTOBER 6-MONDAY, OCTOBER 9, 2017
10 a.m.-4:30 p.m.

How much is enough? Time lends depth to the painted image and frees us to pare down to the essential. Participants will build and light individual still-life setups and have four 6-hour sessions to complete one painting. This will be an antidote to the typical three-hour classroom paintings.
Day one: Build a setup and light it. Do several drawings to analyze the selection. Arrive at a final drawing on the painting support by the end of the day.
Day two: Do a first pass on the painting, covering it with your best color. By the end of the session the paint will be thin or scraped.
Day three: Do a second pass on the painting, assessing the color and value relationships and changing them, based on current lighting conditions.
Day four: Final pass on the painting, improving color and value relationships. Group discussion and review.
Medium: oil paint
STILL LIFE WITH A TWIST
WITH AMY MAHNICK
March 6-10, 2017

Abstraction and representation go hand in hand. In order to create a convincing illusion, a painter has to find the right relationship of flat shapes of color. Similarly, abstract paintings that convey a sense of light, space, form and atmosphere, either one, or all of these traits found in representational painting, strike a deeper chord. In this workshop we will focus equally on each. First, we will build an unconventional set up using a variety of objects. I will share some of my own props constructed out of recycled plastic and packaging materials, in addition to Black Pond’s unique collection of props, and we will make one or two of our own out of collected detritus or nature. Then we will proceed as if painting a straightforward still life, but after a day and a half of painting we will intervene in our set ups, upsetting what has become familiar in order to break open our compositions. The second phase of our paintings will be a search to find the place where abstraction and representation balance harmoniously, creating canvases that are at once representational, abstract, ordered and energetic.
ONE-SHOT STILL LIFES
WITH JENNIFER POCHINSKI
June 12-16, 2017

In the brush doing what it’s doing, it will stumble on what one couldn’t do oneself.
— Robert Motherwell.

The workshop will be based on working from a large still life set up. The morning session will consist of short, small paintings done on fugitive supports such as canvas boards or primed paper. These will be done premier coup — no tweaking later! Each afternoon will be spent on one canvas — a new one each day. The goals: to learn to trust first instincts; to hone skills by painting what is directly observed — but without overthinking or second-guessing.
THE HEAD EXAMINED
WITH CATHERINE KEHOE

June 24, 25 and 26, 2017.
10 a.m.-4:30 p.m.

This workshop takes a reductive approach to painting the head, experimenting with how little information is necessary. We will investigate whether translating the head into simple, accurate shapes of color and value can create a truer likeness than detailed description can. Universal proportions of the head will be covered. 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. Limited to seven participants. Price includes model fee.
PAINTING THE ENERGY OF NATURE
WITH NANCY McCARTHY
May 6, 7 and 13, 2017

(Saturday, Sunday and Saturday.) 10 a.m.-5 p.m. Those who have painted outdoors many times or those doing so for the first time are welcome to join this outdoor painting experience meant to energize your painting practice. We will work to simplify the complex vistas of the natural world into shapes of specific value and hue, starting with a series of exercises to encourage rapid work with large brushes and palette knives. Over the three days students will complete three one-sitting paintings. The workshop will begin with a discussion of the issues, tools and procedures unique to painting outdoors and an image presentation of the work of contemporary and historical landscape painters. Black Pond Studio’s 40 acres provide fields, trees, swamp and pond, as well as indoor spaces to work if rain interrupts us. All mediums are welcome.
OPEN MODEL SESSION 2
Saturday, November 12, 2016
Sara. Join us for a six-hour model session. 11 a.m.-5 p.m. Single pose all day. No instruction, just a chance to paint or draw uninterrupted. Price includes model, beverages, and snacks. Bring your lunch. Bring a portable easel and painting or drawing supplies. Only odorless solvent (Gamsol), if used. Come as early as 10:30 a.m. for coffee and to set up. Model will start at 11. Limit: 10 participants.
STILL LIFE: BUILT AND PAINTED
WITH CATHERINE KEHOE
Sunday, October 16
Sunday, October 23
Sunday, October 30
Sunday, November 6
11 a.m.-5 p.m.

How much is enough? Time lends depth to the painted image and frees us to pare down to the essential. Participants will build and light individual still-life setups and have four 6-hour sessions to complete one painting. This will be an antidote to the typical three-hour classroom paintings.
Day one: Build a setup and light it. Do several drawings to analyze the selection. Arrive at a final drawing on the painting support by the end of the day.
Day two: Do a first pass on the painting, covering it with your best color. By the end of the session the paint will be thin or scraped.
Day three: Do a second pass on the painting, assessing the color and value relationships and changing them, based on current lighting conditions.
Day four: Final pass on the painting, improving color and value relationships. Group discussion and review.
Medium: oil paint
PAINTING: RESPONDING TO NATURE
WITH NANCY McCARTHY
September 10,11 and 17, 2016 (Saturday, Sunday and Saturday.) 10 a.m.-5 p.m.

Those who have painted outdoors many times or those doing so for the first time are welcome join this outdoor painting experience meant to energize your painting practice. We will work to simplify the complex vistas of the natural world into shapes of specific value and hue, starting with a series of exercises to encourage rapid work with large brushes and palette knives. Over the three days students will complete three one-sitting paintings. The workshop will begin with a discussion of the issues, tools and procedures unique to painting outdoors and an image presentation of the work of contemporary and historical landscape painters. Black Pond Studio’s 40 acres provide fields, trees, swamp and pond, as well as indoor spaces to work if rain interrupts us. All mediums are welcome. Limit: 10 participants.
EARTH AND SKY
WITH HARRY STOOSHINOFF

September 25-29, 2017

We will begin by walking the landscape and recording motifs with photos and quick compositional sketches that will serve as studio reference. The majority of our investigations will take place in studio with a collage resource file that we will produce and use as a group.
There will be ample opportunity for one-on-one feedback and group discussion. Objectives include color mixing, developing composition skills, and resolving a painting in one sitting.
Three types of small painted compositions will be created in a studio setting:
1) abstract collages, with or without over-painted additions.
2) small format paintings from landscape motifs
3) combination collages/paintings from landscape motifs.
Participants will produce two pieces each day of the workshop.
Materials:
• acrylic paints
• small format art papers or painting panels
(9 x 12 inches is a good panel size. 11x14 inch heavy art papers will provide some space for a border around the work).
• Water soluble white glue (Lepages or Natura are common brands. Yes! Paste is an ideal glue choice)
• A brayer or small rolling pin for the collage work.
Limit: 10 participants
COPIES: ANALYSIS AND VARIATION
WITH CATHERINE KEHOE Sunday, June 5, 2016, 7-8 p.m. Monday, June 6, 10-5 Tuesday, June 7, 10-5 Wednesday, June 8, 10-5
We undertake analysis of works of art, not because we mean to copy them, but in order to set ourselves in motion. — Paul Klee Complex paintings from art history will be the jumping-off place for exploration of pictorial structure and invention. Mediums will include graphite, charcoal, collage, acrylic and/or oil paint. Each participant will look deeply at one or two images and generate permutations through simplification and abstraction. We will work from reproductions of paintings from the 14th through the 18th centuries. This rigorous and wide-ranging analysis of images from our painting ancestors will feed our own work and imagination as we engage with images that speak to us still. Recommended: start with one image that you would like to work with, in various media. Bring a few extra images (postcards, printouts from online, etc.) in case you exhaust the possibilities or your interest in the first image. (collage image by Kathy Rubado)
CHAINSAW SAFETY WORKSHOP
TAUGHT BY WILLIAM GIRARD, LICENSED FORESTER

Saturday, October 14, 8:30 a.m.-4:30 p.m.
(Rain date: Sunday, October 15)
Get professional guidance for your chainsaw work!

CHAINSAW SAFETY Level 1 introduces open face felling and the techniques for safe chainsaw use. Topics include personal protective equipment, chainsaw safety features, chainsaw reactive forces, bore cutting, pre-planning the fell, and understanding hinge wood strength. Every participant will fell one tree during this workshop.

Rehoboth, Massachusetts
Please bring your lunch.
LIMIT: 10 participants
PAINTING THE ENERGY OF NATURE
WITH NANCY McCARTHY June 4, 5 and 11, 2016 (Saturday, Sunday and Saturday.) 10 a.m.-6 p.m. Those who have painted outdoors many times or those doing so for the first time are welcome join this outdoor painting experience meant to energize your painting practice. We will work to simplify the complex vistas of the natural world into shapes of specific value and hue, starting with a series of exercises to encourage rapid work with large brushes and palette knives. Over the three days students will complete three one-sitting paintings. The workshop will begin with a discussion of the issues, tools and procedures unique to painting outdoors and an image presentation of the work of contemporary and historical landscape painters. Black Pond Studio’s 40 acres provide fields, trees, swamp and pond, as well as indoor spaces to work if rain interrupts us. All mediums are welcome. Limit: 10 participants.
MODEL SESSION ON SUPER BOWL SUNDAY
Sign up for mailing list to be notified of the next one.
Sunday, February 7, 2016.
11 a.m.-5 p.m.
Don't care about football? Join us for a six-hour model session. Single pose all day. No instruction, just a chance to paint or draw uninterrupted. Price includes model, beverages, and snacks. Bring your lunch. Bring a portable easel and painting or drawing supplies. Only odorless solvent (Gamsol), if used. Come as early as 10:30 a.m. for coffee and to set up. Model will start at 11. Limit: 10 participants.