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THE FIGURE: STRUCTURE AND PAINT January 14 – 18, 2019. Armory Art Center, West Palm Beach, Florida. The figure will be the point of departure for exploration of pictorial structure. We will walk the line between accuracy and abstraction in translating the figure into two dimensions, creating images in the simplest forms: shapes and colors made of paint. This rigorous and wide-ranging analysis of the motif will help us grasp relationships between figure/object and space. Mediums will include graphite, collage, and oil paint. One session will focus on the head. 

THE HEAD EXAMINED NIGHT CLASS. Massachusetts College of Art and Design, Boston, Massachusetts. January 24-May 9, 2019. This course 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 a detailed description can. A simple, intuitive drawing method will be introduced to help with drawing accuracy. 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. Self-portraits and a study of historical and contemporary portraiture will be included. Some drawing and painting experience is helpful; mediums will include graphite, ink wash, cut-paper collage and oil paint.

THE HEAD EXAMINED DAY CLASS. 
Massachusetts College of Art and Design, Boston, Massachusetts. January 24-May 9, 2019. This course 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 a detailed description can. A simple, intuitive drawing method will be introduced to help with drawing accuracy. 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. Self-portraits and a study of historical and contemporary portraiture will be included. Some drawing and painting experience is helpful; mediums will include graphite, ink wash, cut-paper collage and oil paint.

COPIES: ANALYSIS AND VARIATION April 10-13, 2019. Warehouse 521, Nashville, Tennesee. Paintings from art history will be the jumping-off place for exploration of pictorial structure and invention. Mediums will include graphite, 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 19th centuries. 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.

THE HEAD EXAMINED June 10 - 14, 2019. Winslow Art Center, Bainbridge Island, Washington. This workshop takes a reductive approach to painting the head, experimenting with how little information is necessary.  Students 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. There will be two models from which to work to ensure that all students get an excellent and up-close view of the head.   Self-portraits and a study of historical and contemporary portraiture will be included. Some painting experience required; oil paint is the preferred medium.

COPIES: ANALYSIS AND VARIATION 13th - 19th August 2019
Ballinglen Arts Foundation, Ballycastle, Ireland. Paintings from art history will be the jumping-off place for exploration of pictorial structure and invention. Mediums will include graphite, 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 19th centuries. 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.
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. 

 
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