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Stuart Shils - The Structure of the Visual Moment
May 24 - 27, 2017Medium: Drawing, PaintingLevel: Intermediate to Masters
This Workshop is now waitlisted - please contact us to be added to the waitlist.
During this three-day workshop, we focus on cultivating perceptual discrimination and visual clarity by understanding close, critical looking at nature and the relation of observation to constructing a drawing or painting. We ask ourselves exactly what we are seeing, how we are seeing it, and then what to make of it on the working surface. The workshop is intended to push the intermediate to advanced painter further into a kind of visual boot camp, each day consists of a concentrated and comprehensive work schedule, but also fun and productive. In the tradition/spirit of “first strike” or direct attack, emphasis will be placed on examining the perceptual processes in front of nature, the editorial response that follows in the head of the painter and how that takes form graphically, and perhaps most importantly, on shaking up and/or questioning what is meant by “finished.” We will not be concerned with making anything “pretty”, sale-able or “trophy” like. With painting, one never really gets a trophy anyway – it’s always work in progress.
Stuart Shils has painted outside or looking through windows for 30 years. Now he works in the studio, but with an eye tuned to the city’s many faces, often through the camera or iPhone lens. Over time his work has been presented in solo shows in NYC, Philadelphia, Tel Aviv, Boston, Scottsdale, Stuttgart, LA, Richmond, San Francisco and Cork (Ireland).
Critical review and commentary has appeared in newspapers, journals and magazines, including: The Brooklyn Rail, The New York Times, The New Yorker, The New York Sun, Ha'aretz, The Jerusalem Post, artcritical.com, The Wall Street Journal, The Boston Globe, The Boston Phoenix, The Philadelphia Inquirer, The Irish Times, Art in America, The New Republic, The New Criterion, Art New England, American Artist and The Hudson Review.
He was an annual visiting critic at the Vermont Studio Center for 13 years and also teaches painting and is a weekly critic at the Pennsylvania Academy of the Fine Arts (PAFA). Beginning in 1994 he spent 13 summers working on the northwest coast of Ireland, an extended painting campaign described in the PBS film documentary, Ballycastle.
He can always be found with a camera in one pocket and a pencil in the other and his photographs are presented in the recent publication, because I have no interest in those questions, with an essay by David Cohen.
Housing in Nearby Berlin
The Atlantic Hotel
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