FOLLOW THE MUSE: GENERATIVE PRINTMAKING WITH AKUA INKS
CATHERINE KERNAN
An intensive pursuit of the Printmaking Muse, this workshop will emphasize identifying and enhancing the synergy between each participant’s own way of making art and the processes of printmaking. Demonstrations, one-on-one consultation, critiques, and print viewing encourage the pursuit of projects in depth.We will use safer soy-based Akua inks and ink modifiers to create richly layered monotypes and monoprints in series and variations. With particular attention to mixing and modifying inks for viscosity monotype rolling, we will exploit monoprint techniques. Overprinting, off-set transfers, stamps, stencils, ghost images, chine colle, and the use of a variety of matrices expand opportunities for “controlled accidents” and “calculated spontaneity”. Drypoint, carborundum and silk collagraphs, previously etched plates, and woodcuts are all presented as options for exploring the generative possibilities of printmaking
Biography
Catherine Kernan is a painter and printmaker. She is co-founder, and partner of Mixit Print Studio. Kernan is currently Director of Maud Morgan Arts in Cambridge. She was also a partner in the Cambridge, Massachusetts studio Artists Proof where Kim Berman trained as a Master Printer and Studio Assistant.Kernan is represented by Soprafina Gallery in Boston, Jason McCoy Gallery in New York, and Dolan Maxwell in Philadelphia. She teaches printmaking with soy-based materials and a wide range of techniques. Her teaching credits include: Anderson Ranch, MassArt / Art New England, MakingArtSafely, and the Center for Contemporary Printmaking, the School of the Museum of Fine Arts Boston, Wellesley College, the Rhode Island School of Design, Mass College of Art, and Pine Manor College. Her residencies include the Ballinglen Arts Foundation, Ireland; Anderson Ranch; MacDowell Colony; and the Virginia Center for the Creative Arts.
Catherine Kernan’s work is in the collections of, among others, the Boston Museum of Fine Arts, Cleveland Museum of Art, Achenbach Foundation for Graphic Arts, Boston Public Library, Grunewald Collection, New York Public Library, Library of Congress, Detroit Institute of Art, and the Fogg Art Museum.
Students in this class (click on a name to see an example of their work):
Lenore Tenenblatt
Gerry Tuten
Joan Potkay
Barbara Straussberg
Deirdre Windsor
Susan Danko
Irwin Berman
Bill Wood
Bill Fitts
GRAPHIC MEMOIR
ALISON BECHDEL
We’ll go over some of the basics of telling stories using words and pictures together. Participants will each create a short autobiographical minicomic--from blank page to sketches to pencils and final inking. On Friday everyone will reproduce their minis and swap them with each other. Using words and pictures together to tell a story can result in a fusion that’s much more powerful than the sum of the parts. Participants will create a short minicomic about an event from their lives. It can be about yesterday’s breakfast, or a moment that changed you forever, as long as it fits into a booklet of twelve or fewer pages. We’ll examine some of the basic principles of visual storytelling. We’ll talk about some of the problems and challenges of autobiography, and will look at examples of how other autobiographical cartoonists have grappled with them. There will be drawing, design, and writing exercises in class. You’ll also have time to work on your project in class each day, but you will probably need to spend more time drawing on your own. One of the defining qualities of comics is that they are reproduced, so you’ll not only be drawing, you’ll also design and produce a small edition of your minicomic to share with the other members of the class. Students should have a story in mind before the class begins, as well as a brief written description and at least one character sketch.Biography
For twenty-five years, Alison Bechdel wrote, drew, and self-syndicated the comic strip Dykes to Watch Out For. She gained wider recognition for her work with the publication in 2006 of her graphic memoir, Fun Home: A Family Tragicomic. Fun Home was named Best Book of 2006 by Time Magazine. In 2008, Bechdel set aside her comic strip. Her second memoir, Are You My Mother: A Comic Drama, was published in 2012. Bechdel edited Best American Comics 2011. She has drawn for Slate, McSweeney’s, Entertainment Weekly, the New York Times Book Review, and Granta. She is the recipient of a 2012-13 Guggenheim Fellowship. Bechdel lives in Vermont.Students in this class (click on a name to see a sample of their work):
Tracey Anderson
Carmine Leighton
Nancy Werlin
Jan Donley
Ethan Pirk
Kate Okeson
Sophia Janowitz
Jesse Harrod
Rose Curley
Karen Miller
INTRODUCTORY DRAWING
DONALD BEAL
This course will introduce students to drawing, art-making, and two dimensional design concerns. Students will work by observing still lives and interior spaces and learn how to build drawings that have convincing volumes and spaces. Perspective, line weight, rhythm, composition, the use of light and dark tone are some of the aspects of drawing that this class will address over the course of a week. Weather and time permitting, the class will go out into the field and produce drawings on the piers or in the landscape.Biography
Donald Beal was born in 1959 in Syracuse, New York, and grew up in Westford, Massachusetts. He studied painting at the Swain School of Design in New Bedford, Massachusetts, and received an MFA from Parsons School of Design in 1983. He moved to Provincetown, Massachusetts in 1985 and continues to live there with his wife Khristine. Beal is a Professor of Fine Arts at the University of Massachusetts in North Dartmouth where he as taught since 1999. He is one of two recipients of the 2013 Lillian Orlowsky William Freed Fellowship Grant (LOWF).Students in this class (click on a name to see a sample of their work):
Shelley Brauer
Ellen Meyers
Rebecca VanDyke
IRRESISTIBLE BEGINNINGS: CAPTURING THE READER ON PAGE ONE
JULIA GLASS
In the age of tweets, memes, and fun-size candy bars, how do you get a reader to embark on the sustained narrative of a so-called “short” story—or commit to the time-consuming journey a novel entails? You must do more than suspend disbelief; you must overrule the digital enthusiast’s addiction to brevity. The proverbial hook is more important than ever. Though we will spend most of the workshop discussing your stories and novel openings in their entirety, we will also do exercises focused on creating strong beginnings and dissect the opening pages from published works. You will receive one another’s workshop submissions in advance of our first meeting, allowing time to read them all beforehand. Expect homework and rigorous revision. Biography
Julia Glass is the author of the novels Three Junes (winner of the 2002 National Book Award for Fiction), The Whole World Over, and The Widower’s Tale, as well as I See You Everywhere, a collection of linked stories. She has also published feature articles and essays in numerous national magazines and anthologies, including Bound to Last: 30 Writers on Their Most Cherished Book (edited by Sean Manning) and Muses, Mentors, and Monsters: 30 Writers on the People Who Changed Their Lives (edited by Elizabeth Benedict). She has received fellowships from the NEA, the New York Foundation for the Arts, and the Radcliffe Institute for Advanced Study. Her next novel will be published later this year.Students in this class (click on a name to see a sample of their work):
Brenda Horrigan
Helen Martin Block
Sally Luce
Laurie Stone
Julie Williams
Teresa Peck
Brendan Rastetter
Lane Stewart
THINKING AGAIN ABOUT FICTION
ALICE MATTISON
We’ll talk respectfully but honestly about one another’s short stories and novel excerpts—projects we’ve struggled with for years or intriguing new starts—as we try to make each piece of fiction not just convincing and well written, but ambitious: as emotionally far-reaching as it can be. We’ll ask questions that may help us see what we’re doing in a new way—questions like: “What is happening in these characters’ lives that I haven’t yet mentioned (or thought of)—and could it suggest that elusive next scene?” or, “Will this story be clear to a reader, and if not, am I somehow avoiding telling it?” We'll read a few masterful short stories to give us courage, and we'll also write a little, taking advantage of Provincetown's vibrant street life to study dialogue where there are many voices to hear, and to think about how plot may be constructed in a town where stories are being played out all around us. Past classes have quickly turned into friendly, helpful groups.Biography
Alice Mattison’s new novel, When We Argued All Night, was published in 2012. Alice’s previous novel, Nothing Is Quite Forgotten In Brooklyn, was a finalist for the Connecticut Book Award and a New York Times Book Review Editors’ Choice. Her earlier novels and collections of short stories include The Book Borrower and In Case We're Separated. Her work has appeared in the New Yorker, the New York Times, the Threepenny Review, Ploughshares, Ecotone, and elsewhere, and has been reprinted in PEN/O.Henry Prize Stories, Best American Short Stories, and The Pushcart Prize. She teaches fiction in the low-residency MFA program at Bennington College.Students in this class (click on a name to see a sample of their work):
Diane Lederman
Sandra Rouse
Nina Miller
Dawn Dorland Perry
Thomas Atkinson
Robyn Gerstberger Colwell
Francesca Tomlinson
TO KNOW WHAT IT WAS I WAS: FINDING THE POEM IN THE LIKELIEST UNLIKELY PLACE
GABRIELLE CALVOCORESSI
How do we learn to have confidence in our own eye and our own specific and often shocking version of beauty? And once we realize our eye is drawn to the compost heap before the mourning dove, how do we get it into a poem? This workshop will begin as generative archeological dig into our own eye. It will end as a rigorous discussion of how we can use craft to bring disparate images and ideas into our poems. We'll go on a few walks as a means of seeing what we see. We'll write. And we'll workshop. We'll look at poems of poets whose surprising way of seeing the world has created some of the most luminous and challenging poems of our time. We'll consider how we might do the same. Students are welcome to bring in older work but it's my hope that by the end of the week we'll be looking at poems generated during the week.Biography
Gabrielle Calvocoressi is the author of The Last Time I Saw Amelia Earhart and Apocalyptic Swing, which was a finalist for the Los Angeles Times Book Award. She has received awards and fellowships from, among others, The Stegner Program at Stanford University, The Rona Jaffe Foundation and The Paris Review. She has held residencies at Civitella di Ranieri and in Marfa, Texas through the Lannan Foundation. She is the Sports Desk Editor for The Best American Poetry blog and the Poetry Editor for the Los Angeles Review of Books. She divides her time between Texas and Los Angeles.Students in this class (click on a name to see a sample of their work):
Jane Bachner
Carol Masshardt
Lauren K. Alleyne
Elizabeth Akin Stelling
Susannah Lawrence
Betsy Holleman
Marsha Recknagel
Donna O'Connell-Gilmore
Peter Weis
Michael Walczak
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