with Xenia Hodza
Robert Ryman, who in the late 1950s took a piece of white canvas, painted it white, and called it “finished,” is best known for delving deeply and prolifically into the unusual genre. One of his works sold for $15 million in 2014. But Ryman wasn’t the first and won’t be the last artist to produce the seemingly absurd masterpiece in white. Are we looking at cases of the “Emperor’s New Clothes?” This happy hour conversation explores the uncanny world of white paintings from Kasimir Malevich to the present.
with Xenia Hodza
Understanding how a urinal becomes a work of art almost as famous as the Mona Lisa requires a cognitive shift. In 1917, Marcel Duchamp instigated that shift and the definition of art would never be the same. This talk will look at Duchamp and the “permission” he gave younger artists of his ilk who would confound critics ever anew with minimalist, conceptual, and performance art.
with Xenia Hodza
Robert Rauschenberg and Jasper Johns were two young southerners when they met in New York in 1954. Their intimate and exceedingly productive artistic relationship would last for about six years. During this time they created significant works escaping nomenclature. Irony in their work prompts the label, “neo-dada”, yet their painting style continued to be abstract expressionist. Some call them pop artists because of their use of everyday objects. This talk will explore Johns’ and Rauschenberg’s symbiotically generated works during a period of spectacular creativity.
with Xenia Hodza
“We were like two mountain climbers roped together,” said Braque about his and Picasso’s six-year search for cubism. The two men worked feverishly and met almost daily, exchanging studio visits, and coveting each other’s ideas. At a certain point, their work became almost indistinguishable. This talk looks at the sublime journey taken by Braque and Picasso and how and why it ended.
with Ann Mallory
Who = All wheel throwers who want to challenge + systematically expand their forming skills for the satisfaction of creating more compelling vessels or unique sculptures. Please be able to center, open and pull up 1 - 2 lbs of clay. This is not a speed or size contest, but participants will benefit more if they are not overly struggling with the most basic throwing steps. We’ll be working about the size of a large coffee mug or cereal bowl.
Ceramic artist Ann Mallory* is offering a skills focused weekend workshop. She has spent over 40 years forming clay on and off the potters wheel to create her large and small, indoor and outdoor, functional and non-functional pieces. Each student will have a potters wheel and will throw a series of forms to master architecturally important shapes for creating any vessel or sculpture. Shapes will be saved from each exercise for further assembly. Throwing shapes in a series of increasingly more complicated forms gives the artist a vocabulary of choices for how to execute any idea. These progressive throwing steps were the basis of the original Bauhaus ceramics program leading to a Masters in Ceramics. A lot of technical demonstrations throughout as well as hands-on help.
Saturday is focused on wheel forming skills, Sunday is assembly, alteration and expansion of thrown forms using handbuilding techniques in the main art studio. Each participant will have a dedicated wheel + 6’ table, 50 lbs of clay included …we’ll be making LOTS of work!
with Karen Simmons
In this one day workshop, we will explore Bonnard’s methods in his life long exploration of painting as a medium for expressing emotional recall and impact. The purpose of this workshop is not to paint a Bonnard painting, but to practice his methods of alternating perception and memory to arrive at a personal expression on canvas of a place, the objects and the people who inhabit it. We will work from a casual still life tabletop set up in a separate space, and explore through initial sketches and color notes, working back and forth to a larger interior/still life canvas in the studio. We will also explore his use of both literal and emotional color. Bonnard’s paintings encourage us to look slowly, and discover in his paintings what he apprehended over time, the memories of each object, the peripheral visions of things, people and light. His process will be our inspiration.
with Xenia Hodza
Painting portraits can strike fear into the hearts of the best painters. Many beginners think they’re not “good enough” to even try. It’s as if one wrong brushstroke is a deal breaker. This workshop concentrates on the head alone. Working in ultramarine, burnt sienna, and white, we will practice making a number of portraits - none of them finished, none of them precious - but all of them focused on building confidence, accuracy and speed. From lobes to lashes, lips and lids, we will demystify the shapes and shadows that are typical of the human face.
with Donald Florence
INSPIRATION will be the focus of this workshop. Don has been influenced and inspired by artists such as Walt Disney, Paul Cezanne, Henri Matisse, Richard Diebenkorn and Andy Warhol. Students will explore examples of their work and Don will share what he has learned from them.
Participants in the workshop can work in any medium they choose however, oil paint, for a 1 day workshop may be more challenging
Let's see how well you doodle
Napkins and Pens,
Bar snacks and Beer
All for $30 a person
Prizes for the best doodles!
Saturday, Sept 28th, 2019
Waldingfield Farm Barn
24 East Street Washington, CT
Doodlle by Zeb Meyer
For more information about our classes and to register for a class, you may also telephone us at 860.868.2878 or email us at firstname.lastname@example.org.
Tuition must be paid in full one week prior to the first class. Students are guaranteed a place in class only after full payment is received.
Materials are extra for some classes and workshops.
Please note: Occasionally, WAA documents classes and other educational events using photography and video. This is for publicity purposes and these images may be used in our promotional and informational materials as well as on our website.
Registration for any of these events at WAA or sponsored by WAA assumes permission to collect an image of you and/or your artwork and to use those images publicly to promote WAA. You may inform us at the time of registration, or inform the photographer/videographer at the event, that you do not wish to have your image taken.