Click here to see pictures of student readings from Week 2!
MONOPRINT FROM THE FIGURE
BERT YARBOROUGH
This workshop uses the figure as a point of departure to explore the process of making monotypes and monoprints. All levels of experience, from beginning to advanced, are welcome. Working daily from the model, participants will engage in several different methods for creating prints including trace monotype, working from ghost images to create multiples and chine colle. The emphasis will be on process rather than product. Individuals will be encouraged to develop their own personal visual language through the figure as principal subject matter.Biography
Bert Yarborough has a degree in Architecture from Clemson University and an MA and MFA in Photography from the University of Iowa. He is currently an Associate Professor in the Department of Fine and Performing Arts at Colby-Sawyer College in New London, New Hampshire, where he teaches drawing and painting. A former two-year resident Fellow at the Fine Arts Work Center in Provincetown, he served as Visual Arts Program Coordinator for four years and is now serving as Chairman of the Visual Committee. He has received two New Hampshire State Arts Council Grants in Painting, an NEA Fellowship in sculpture and a Fulbright Fellowship to Nigeria, also in sculpture. He is represented by artSTRAND Gallery in Provincetown, and McGowan Fine Arts in Concord, New Hampshire.
Students in this class (click a name to see their work):
Jonathan Smith
Elaine Sidney
Valerie Vitali
Freda Moore
David Genest
Robert Shreefter
James Weigle
Eric Twachtman
Bill Fitts
HOW TO TELL A LOVE STORY: FICTION WORKSHOP
SALVATORE SCIBONA
According to W.B. Yeats, “Only that which does not teach, which does not cry out, which does not persuade, which does not condescend, which does not explain, is irresistible.” Yet when experience or imagination compel us to write fiction about love, the first things we want to do are cry out and explain! Why is it that a writer’s sincerest outpouring, even the confession of a real-life experience, might affect the reader not at all; but the distilled work of a restrained stylist telling a story about people who never lived can leave the reader in tears? In this class, we will workshop your stories with an eye toward transforming the intensity of the lived experience of love into a work of fiction that the reader not only witnesses but experiences herself.Biography
Former FAWC Fellow Salvatore Scibona’s first book, The End, was a finalist for the National Book Award, and winner of the Young Lions Fiction Award from the New York Public Library and the Norman Mailer Cape Cod Award for Exceptional Writing. He was awarded a 2009 Whiting Writers’ Award. In 2010, he was awarded a Guggenheim Fellowship and was included in the New Yorker's “20 Under 40” list of writers “whose work will define the future of American letters.” The End is published or forthcoming in seven languages. Scibona's short fiction has won a Pushcart Prize and an O. Henry Award.
His work has appeared or is forthcoming in The Pushcart Book of Short Stories: The Best Stories from a Quarter-Century of the Pushcart Prize, Best New American Voices, The Threepenny Review, A Public Space, D di la Repubblica, Satisfiction, the New York Times, the New Yorker, and Harper’s. A graduate of the Great Books Program at St. John’s College in Santa Fe and of the Iowa Writers’ Workshop, he has administered the Work Center’s writing Fellowship since 2004.
Students in this class (click a name to see their work):
Cindy Cross
Lesley Heiser
Norah Walsh
Mary Pernal
Thomas Atkinson
Jecca Hutcheson
Michael Smith
SHIFTS AND OVERHAULS: A POETRY REVISION WORKSHOP
DAISY FRIED
Participants will present poems-in-progress for supportive, frank, detailed mutual critique. We will consider big changes and little ones. This workshop assumes that participants are excited by and committed to revision, and that there are no best schools of poetry, but only individual poems finding their own best form according to each poem's internal logic. Also, that the following qualities are often worthwhile in a poem: story-telling techniques, rich ambiguity, humor and irony as a way of getting to serious matter, the yoking of disparate dictions, the coincidence of the messy and the elegant. Poets who like to put as much real world as possible, in all its texture and surprise, into their poems, may especially value this workshop. Each participant will have at least four poems workshopped during the week.Biography
Daisy Fried is the author of three books of poems, Women's Poetry: Poems and Advice (2013), My Brother is Getting Arrested Again (2006), a finalist for the National Book Critics Circle Award, and one of Library Journal's 10 Best Poetry Books of 2006, and She Didn't Mean to Do It (2000) which won the Agnes Lynch Starrett Award. Her poems have appeared in The London Review of Books, The Nation, The New Republic, Poetry, Threepenny Review and many others. She has received Guggenheim, Hodder and Pew Fellowships, a Pushcart Prize and the Cohen Award from Ploughshares. She reviews books of poetry for The New York Times and was awarded Poetry magazine's Editor's Prize for a Feature Essay for "Sing, God-Awful Muse," on reading Paradise Lost and the Nipple Nazi of Northampton. She was for two years the Grace Hazard Conkling Writer-in-Residence at Smith College, and currently teaches creative writing at Bryn Mawr College and in the low-residency MFA program at Warren Wilson College.
Students in this class (click a name to see their work):
Mary Ellen Letarte
Molly McCormack
Sharon Israel Cucinotta
Tomasa Lane
THE HEAD EXAMINED: A PORTRAIT WORKSHOP
CATHERINE KEHOE
This workshop takes a reductive approach to painting the head, experimenting with how little information is necessary. By eschewing formulas in favor of fierce looking, we investigate whether translating the head into simple, accurate shapes of color and value can create a truer likeness than detailed description can. Light and the way it affects perception of structure will be emphasized, as well as finding specific and surprising color. We will work from the model. Self-portraits and a study of historical and contemporary portraiture will be included. Some painting experience required; oil paint is the preferred medium.Biography
Catherine Kehoe was born in Hartford, Connecticut. She received her BFA from Massachusetts College of Art and Design in 1989 and her MFA from the School of Visual Arts, Boston University, in 1992. Kehoe has received the following awards, among others: Lillian Orlowsky and William Freed Foundation Grant; Pollock-Krasner Foundation Grant; Massachusetts Cultural Council Finalist Grant; and the Sam and Adele Golden Foundation for the Arts Award. Kehoe is represented by Howard Yezerski Gallery, Boston, and has exhibited in several solo and group exhibitions. She teaches painting at Massachusetts College of Art and Design, and has taught drawing at Boston University School of Visual Arts. Kehoe has also taught painting workshops at Art New England at Bennington College, The Fine Arts Work Center in Provincetown, the Washington Art Association, and at a program of the Jerusalem Studio School in Siena, Italy.
Students in this class (click a name to see their work):
Janette Maxey
Elizabeth Reagh
THE POEM AND ITS PLOT
VIJAY SESHADRI
Poems often are narratives. They also often, while not being narratives strictly, have narratives within them, whether resolved or unresolved. But whether a poem is a story or a pure lyric it always has a plot—one determined either by action or emotion or both. We will look at the plots of narrative poems, dramatic poems driven by personae, and pure lyrics, to determine the ways in which plot, richly and broadly conceived as the proper arrangement of action both real and symbolic, both external and internal, creates meaning intended and unintended in a poem while simultaneously creating the vessel in which such meaning abides. We will workshop previously written student poems and student poems generated from daily exercises, and will intersperse workshopping with a close reading of canonical poems. Students should come prepared to talk.Biography
Vijay Seshadri is the author of the poetry books Wild Kingdom, The Long Meadow, The Disappearances (New and Selected Poems; HarperCollins-India), and 3 Sections (September, 2013), and of many essays, reviews, and memoir fragments. His work has been recognized with a number of honors. He lives in Brooklyn and teaches at Sarah Lawrence College.
Students in this class (click a name to see their work):
Danielle Lemmon
Kenneth Lee
Margaret Zaleski
Merry Benezra
Charan Morris
Laurie Duncan
Sarah Treadwell
No comments:
Post a Comment