WITH JENNIFER POCHINSKI

February 7-11, 2023

Tuesday-Saturday

All painters are interested in photography to a certain extent.

— David Hockney  

ONLINE WORKSHOP 

The focus of the workshop will be working from photo references. Since the mid 1800s, working from photographic sources has been a common practice in painting. We will explore ways to sharpen our personal language when painting from mediated imagery, as well as ways to add more adventure. This intensive five-day course is geared toward people who have a robust painting practice. Participants will meet in the morning to watch a presentation of ideas and exercises. They will work on their own and then meet again each morning for group discussion and more presentations.

Schedule:

Tuesday Feb 7 

Intros and presentation of concepts and the exercise and discussion

Meeting time: 10 am EST (lasting 1 1/2 --2 hours)

Wednesday Feb 8 

Presentation of concepts and the exercise and discussion

Meeting time: 10 am EST. (lasting 1 1/2 -- 2 hours)

Thursday Feb 9

Critique/feedback

Meeting time (lasts 2 1/2 hours):

GROUP A    10 am EST 

GROUP B   12:30 pm EST 

Friday Feb 10

Final presentations and discussions

Meeting time 10 am EST (lasting 1 1/2 -- 2 hours)

Saturday Feb 11

Final Critique/feedback 

Meeting time (lasts 2 1/2 hours):

GROUP A    10 am EST 

GROUP B   12:30 pm EST

WITH ERIN RAEDEKE

February 16-20, 2023

Thursday - Monday

Hours: 10 a.m.-6 p.m.

eastern time, US and Canada

Three meetings per day on Zoom:

10 a.m.

2 p.m.

5 p.m.

ONLINE WORKSHOP. Still-life painting gained prominence in the 16th century, but it dates back to ancient times. Today, the possibilities of this genre are unlimited. In this workshop we will begin by reflecting on our assumptions about what makes an interesting still life, and what we “bring to the table.” From there we will expand our ideas of what a still life can be. Composition, point of view, space, and color relationships are just some of the ideas that we will focus on.  

WITH MAUREEN NATHAN

March 3-5, 2023

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.

WITH MAUREEN NATHAN

THIS WORKSHOP IS FULL

WEDNESDAYS

October 12

October 19

October 26, 2022

11 a.m.-2 p.m.

Eastern time

ONLINE. This workshop will introduce printmaking techniques that do not require a printing press. Methods will include intaglio and relief printing, together with collage; each process will be introduced by video demonstrations and slideshows. You will learn to print an edition, as well as create unique layered monoprints. Work will be shared on an online platform called Padlet, which will make it easy to discuss our experience and knowledge throughout the workshop. We will use non-toxic water-based inks and, where possible, recycled materials.

WITH NANCY GRUSKIN

THIS WORKSHOP IS FULL.

TUESDAYS

October 11

October 18

October 25

November 1

November 8

2022

11 a.m.-1 p.m. Eastern Time

ONLINE WORKSHOP Searching in the late 1970s for a subject matter that was neither representational nor wholly abstract, American painter Robert Zakanitch embraced ornamentation as an alternative entry into painting, a so-called “third door.” This online workshop will explore pattern and decoration through painting, printmaking, collage, and cardboard and papier-mâché constructions. Slide presentations and demos will introduce the exercises each week. As the workshop progresses, each participant will work toward creating their own installation that includes hand-made wallpaper, paintings and/or collages, and sculptures. Participants will post images of their work on Padlet for written feedback during the first four weeks of the workshop. We will look at Padlet together during our final Zoom meeting, for a group discussion of participants’ completed installations.

WITH PETER VAN DYCK

THIS WORKSHOP IS FULL

ONLINE WORKSHOP

MONDAYS

October 31

November 7

November 14

November 21

November 28

2022

11 a.m.-3 p.m.

Eastern time, US and Canada

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.

WITH JENNIFER POCHINSKI

THIS WORKSHOP IS FULL

It’s easy to create art. What’s difficult is creating the new conditions in which art can arise.

— Brancusi

5 Weekly meetings on Wednesday:

NOVEMBER 2

NOVEMBER 9

NOVEMBER 16

Break for Thanksgiving

NOVEMBER 30

DECEMBER 7

ONLINE WORKSHOP. Going back to basics. During the first two weeks we will work on short, repetitive exercises, designed to develop muscle memory. We will push to those outer limits that we don't always access when painting. Two still-life assignments will follow — these will encourage working in an open-ended manner. Investigation and discovery are the goals in working from observation, whether 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 and demos that illustrate the focus for the week. Exercises will be introduced at each meeting. Participants will post their work on Padlet for group feedback on Zoom. Enrollment is limited to 16 participants.

WITH LUCY MacGILLIS

THIS WORKSHOP IS FULL

NOVEMBER 11-13, 2022

Friday-Sunday

In this three-day ONLINE course via Zoom with Italy-based Lucy MacGillis, painters will look closely at three 500-year-old Italian Renaissance and early Baroque masterpieces investigating what makes them so powerful. Each day will begin with an introduction to the painter whose work we are studying that day and the context in which the painting in question 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 Giorgione to the Baroque Caravaggio and Artemisia Gentileschi we will explore a specific painting on paper and in a discussion. In the later part of each day, participants will create a painting sketch to better grasp the use of color in that day's 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.

Each participant will receive a kit in the mail, prior to the course, containing the prints of the three paintings we will transcribe, as well as Fabriano drawing and primed paper measured in proportion to the works. Throughout the class there will be several demos from Lucy MacGillis' studio. THE COST OF THE KITS IS INCLUDED IN THE WORKSHOP PRICE.

WITH LUCY MacGILLIS

THIS WORKSHOP IS FULL

December 2-4, 2022

Friday-Sunday

In this intensive ONLINE painting class, we'll create our own oil paint from Italian pigments. Once we've created our full earth color palette, we'll do gradient studies in order to understand the colors we are working with. Next we'll sketch a composition of lemons in our respective studios. Finally we'll create a still life of lemons. Each of the three days will include group discussions based on the images uploaded by the participants, guided by Lucy MacGillis. Lectures on the color yellow in painting, the lemon in the history of painting and demos from MacGillis' studio in Italy will also be included.

Prior to the class, participants will receive the kit from Zecchi in Florence containing Fabriano oil painting paper, the pigments, linseed oil, and a palette knife.

The cost of materials from Zecchi is included in the workshop fee.

WITH LUCY MacGILLIS

THIS WORKSHOP IS FULL

FIVE WEEKLY MEETINGS

January 3

January 10

January 17

January 24

January 31

2023

In this ONLINE class, we'll focus on the masterpieces of four female Italian painters, investigating what makes them so timelessly captivating. Using the method of transcription, we will draw from these paintings without copying them, but searching for the brilliant uses of rhythm, duality and repetition within the geometry of these compositions. We'll begin by looking at ancient Roman paintings, into the Renaissance to Plautilla Nelli, Sofonisba Anguissola, Fede Galizia, and then towards the baroque with Artemisia Gentileschi. In each session we will explore a specific painting at length in a group discussion over Zoom. After the introduction to each painting, participants will have a week to prepare a drawing transcription as well as a chromatic study created with oil paints, to better grasp the use of color in that day's masterpiece. MacGillis will present demos from her studio in Italy to show how she goes about mixing the colors in the paintings using a limited earth palette and palette knife.

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 the color painting studies.

Work will be shared on an online platform.

THE COST OF THE KITS IS INCLUDED IN THE WORKSHOP PRICE.

WITH ROTEM AMIZUR

THIS WORKSHOP IS FULL

Sundays

January 8

January 15

January 22

January 29

February 5

2023

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.

WITH CATHERINE KEHOE

THIS WORKSHOP IS FULL

WEDNESDAYS

March 1-29, 2023

1-4:30 p.m.

eastern time

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.

WITH CATHERINE KEHOE

THIS WORKSHOP IS FULL

MONDAYS

April 3 - May 1, 2023

11 a.m. - 2:30 p.m.

Eastern time, US and Canada

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. 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.