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Stuart Shils - PAINTING OUTSIDE - SEEING AND NOT JUST LOOKINGJune 25 - 30, 2017Level: Intermediate to Masters
Medium: Drawing, Painting, Collage
**This workshop is based on Shils 3-day workshop, (priced the same as this 5-day). Stuart is happy to teach the equivalent of his 3-day workshop in 5 days, allowing for sessions where students work independently in the studio after on-location teaching sessions.
Our class will examine questions related to how we see and how we translate that seeing editorially, into painting and drawing. We work outside in the landscape not to make pretty or sentimental pictures, but to expose our evolving sensibilities to the complex and endless visual possibilities available even at the seemingly most ordinary places. Being in front of nature is an entirely different story than working from memory or from photographs.
We will concentrate on understanding the structure of perception and the perception of structure while out of doors. And while painting will occupy a major portion of these days, drawing will also be an integral focus, not only with graphite, but extending the idea of drawing into the use of outdoor collage, paper folding, paper cutting, drawing with strings, and using the phone camera or the small digital camera. Drawing in its many imaginative forms is really the engine behind not only painting, but seeing as well. Also, collaboration, working in pairs together, will be emphasized as a project offering often-unexpected insight. On the night before the first day there will be a slide talk related to large visual themes to be examined during the days to follow.
Stuart Shils 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 New York, Philadelphia, Tel Aviv, Boston, Scottsdale, Stuttgart, Los Angeles, 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.
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