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Intensive Weeklong and Weekend Workshops
with Prominent Instructors and visiting artists

Each year, the League hosts several hundred weekend and weeklong workshops. League instructors and prominent visiting artists work with intimate groups of about a dozen students on a particular aspect of art-making (such as landscapes) or specific mediums or techniques (such as egg tempera or color spot painting). The workshops below are held at the 57th St. location in Studio 6, or at the Vytlacil Campus where noted. Although prices vary, workshops are generally priced as follows: weekend workshops are $265–$290; half-day weeklong workshops are $400–$425; and all-day weeklong workshops are $800-$850. 

To register for a Regular Workshop at the League's 57th Street or Vytlacil Campus, please visit the League's main office or call 212-247-4510, x. 0. If you are registering for the first time and wish to register by phone, first fill out the online Student Information Form. For more information, please e-mail info@artstudentsleague.org. Please note: you may not register for a workshop via email.


Special Travel Workshops


Workshop Policies

The Art Students League of New York admits students of any race, color, national, and ethnic origin. Please note that photography and filming/taping of workshops is prohibited. Please see below for refunds and withdrawal policies. Workshops are subject to change and may be cancelled on short notice.

 

Workshops

April
VYT Workshop Natalie Tyler: Glass Casting
Deborah Winiarski: Encaustic Monotype Printmaking
Peter Cox: The Sensual Approach
Michael Siegel: Light and Shadow – The 17th Century Dutch/Flemish Tradition
Garin Baker: New York At Night—-Plein Air on Location in NYC
Fred Bendheim: Principles of Composition
Arslan: Sculpting the Figure
John A. Parks: Unleashing the Powers of Acrylic
Lisa Dinhofer: Experiments in Color
Steven Katz: Create the Cityscape Oil Sketch
Elizabeth Allison: Direct Plaster Sculpture
Karen O’Neil: Still Life – Color & Energy
Sherry Camhy: Silverpoint
Lucy Fradkin: Mastering The Art of Collage
Hugo Bastidas: The Business of Galleries—How to Prepare & Understand Art for Representation
 
May
Frederick Brosen: Introduction to Transparent Watercolor
Rand Hardy: Aqua Resin: Casting & Building
Max Ginsburg: Realism—Painting from Life
Greg Follender: The Vital Line: Gestural Life Drawing for Beginners
Montserrat Daubón: Casting in Concrete—Demonstration
Maddine Insalaco and Joe Vinson: Introduction to Plein Air Painting in Oil
Maddine Insalaco and Joe Vinson: Elements of Landscape
Kathie Miranda: Botanical Patterns in Silverpoint & Pastel Dust
Gregory William Frux: Landscape Drawing for Expeditions
Michele Liebler: Absolute Beginners – Oil
Seongmin Ahn: Asian Ink Painting: Abstract, Still Life and Orchid & Bamboo 

*Free transportation to Vytlacil Campus Workshops is provided.
Please visit the Vytlacil Campus page for more information.



Natalie Tyler
Glass Casting


VYT Workshop
April 11,12, 18, 19 & 26

10:00 am–4:30pm
Fee: $660 (includes $60 material fee)
Instructor present each day
Enrollment limited to 12 students
Please request supply list for the additional materials that are required but not covered by the materials fee

Free shuttle leaves the Art Students League at 9:00 am and leaves Vytlacil at 4:30 pm to return back to the Art Students League before 5:00 pm. You must have registered for the workshop to use the shuttle and you must have noted upon registration that you will take advantage of it. Please notify security in the ASL lobby that you wish to be on the shuttle and they will notify you when it arrives. Bring your own lunch or bring $10/d cash for lunch ordering.

Discover the luminosity of cast crystal sculpture. This workshop will teach the process of kiln formed glass. Using the ancient art of lost wax sculpture, students will sculpt a wax form that will be used to make a mold for a “one of a kind” sculpture in cast crystal. Techniques for sculpting in wax, mold making, annealing the glass in the kiln will be learned. Basic cold working techniques will be covered. Students will be able to complete a finished glass sculpture during this workshop.

3 Weekends (5 days)

1st Weekend  (11,12): Introduction to glass casting process. Students begin sculptures in wax. Selecting of glass colors.
2nd Weekend (18, 19): Preparing sculptures for molds. Making of molds. Loading the kiln. Annealing process begins.
3rd Weekend (26): De-invest molds. Glass sculpture cleanup, cold-working techniques

Natalie Tyler received her Masters of Fine Art from the California College of the Arts, in San Francisco, California. Her sculptures exhibit in galleries nationally and internationally. Most recently, she was a sponsored artist by The US Embassy in Estonia, to exhibit the Estonian Museum of Applied Art And Design. In 2012, she received The Cornell Council on the Arts Grant to curate LUX Art and Science Exhibition at Cornell University. She has been awarded residencies at The Art Students League Vytacil, The Vermont Studio Center, Mendocino Art Center, and Cill Rialaig Art Center in Ireland.


Deborah Winiarski
Encaustic Monotype Printmaking


April 11–12
Saturday-Sunday
10:00 am – 4:30 pm
Fee: $330 (includes $30 materials fee)
Instructor present both days
Enrollment limited to 12 students

This workshop combines the directness and immediacy of the monotype with the richness and luminosity of encaustic painting.  This versatile process eliminates the multiple steps of encaustic painting, and the toxicity of inks and solvents of traditional printmaking on a press. Drawing with pigmented wax, students will create one-of-a-kind prints by ‘pulling’ their painted image directly from a heated plate—no printing press required!  Encaustic monotype lends itself to natural and spontaneous mark making, allowing for extensive creative exploration.  Additional techniques including stenciling, stamping and blocking will be explored the ‘encaustic’ way.  Demos and discussions will include paper possibilities, wax recipes, basic studio set-up, etc. Whether used as a primary body of work or combined with mixed-media, collage or book arts, encaustic monotype offers endless possibilities for today’s artist. Ample time for hands-on work will be provided.  No prior experience in encaustic painting or printmaking is necessary for this workshop.  Prior workshop registrants are welcome.

Deborah Winiarski teaches a mixed media class at the Art Students League of New York and has been teaching encaustic workshops there since 2009.  Her work has been exhibited at venues in New York City and across the United States.  In 2014, her work was included in WAXING at Denise Bibro Fine Art in NYC, ‘Far and Wide,’ The 6th Annual Woodstock Regional, Woodstock, NY, and BIG BAD WAX at Mount Dora Center for the Arts, Mount Dora, FL.  She was also a presenter and workshop instructor at the Eighth International Encaustic Conference in Provincetown, MA.  For more information about the instructor, please visit:  www.deborahwiniarski.com.


Peter Cox
The Sensual Approach


April 13–17
Monday – Friday, 9:00 am–12:30pm
Fee: $425
Instructor present each day
Enrollment limited to 12 students
Please request supply list

Exciting pictures have a sensual human touch that describes the “skin” of each surface, as well as the space between the artist and the subject. Each brushstroke builds the total picture-story giving our work a tactile, animated spontaneity. In this workshop we will use a variety of ‘direct’ and ‘indirect’ techniques to generate that feeling in our work:
-Working from dark to light to create an underpainting that establishes simple planes in color-values while quickly bringing the whole picture together.   
                                                                                                                  
–Building the figure out from a central point of contrast within the picture by using only the most essential description of shapes, value and color.                                                                                            
–Using large fully loaded brushes that allow color to flow while keeping these values and planes clear, sensuous, and simple.                                                                                           
–Varying brush marks by using broad long strokes as well as short dynamic ones.                                                                                  
–Scrubbing in multiple directions with brushes, palette-knives, and alternative tools.                                                                                         
–Scumbling with a near dry brush and glazing with a wet brush.
–Keeping our eyes on the picture as a whole at all times.

We will paint from the live model, and there will be demonstrations, handouts, and personal critiques.
 
In addition to ten solo shows in New York, and numerous shows in other parts of the country, Peter Cox has lectured and given workshops at Syracuse University, the Arnot Museum, and the Portrait Society of America. He has taught in New York City at the Art Students League, the National Academy, and the New York Academy. His work is represented in many private collections, as well as the Redding Museum, the Arkansas Art Center, the National Academy of Design, and the National Arts Club. Awards, reviews, and magazine articles on his work are available online. For more information please see www.petercox.us.



Michael Siegel
Light and Shadow – The 17th Century Dutch/Flemish Tradition


April 13–17
Monday–Friday, 1:30–5:00 pm
Fee: $425
Instructor present each day
Enrollment limited to 12 students
Please request supply list

For centuries, artists have produced and experimented with hundreds of oil painting mediums to get the most out of each brushstroke. In the Golden Age of the Dutch/Flemish Baroque, artists such as Rembrandt, Rubens and Van Dyck used Black Oil and thicker wax mediums to produce amazingly rich "Light and Shadow" paintings, known as "Chiaroscuro." This workshop will give the artist a working knowledge and understanding of these traditional handmade oil painting mediums. We will be using these techniques while painting a portrait from life. The instructor will conduct demonstrations, illustrating methods and materials and will cover subject like; light vs. shadow, painting as a sculptural language of brushstrokes, designing powerful compositions using lighting, value, color, edges, and paint quality and painting mediums and varnishes, and their use in painting. All levels are welcome, from beginner to professional.

Having studied drawing all his youth, Michael Siegel began painting under Gregg Kreutz, and later moved to Taos, NM where he studied privately under famed ASL alumnus David A Leffel.  In 2009 Michael moved his studio to Los Angeles, where he now works as an artist and is a highly sought-after instructor. In 2011 Michael became the youngest artist on the roster of Spanierman Gallery in NYC. His works have been shown at numerous international exhibitions, and have been collected throughout the world. For more information please visit: www.siegelfineart.com.


Garin Baker
New York At Night—-
Plein Air on Location in NYC


April 14, 21, 28 & May 5, 12
Tuesdays, 6:00-9:30pm
Fee: $400
Instructor present each day
Enrollment limited to 12 students
Please Request Supply List

Using pre-determined locations throughout NYC, students will create paintings in oil and studies on the spot in plein air during the early evening creating dynamic nocturnal urban compositions. Locations will be chosen to advance the skills related to color, atmosphere and movement as well as direct responses to the changing urban lights that is intrinsically New York. This challenging workshop will stretch any skilled artist and student towards increased confidence and the abandonment of preconceived notions, ultimately fast tracking growth. Demonstrations by Garin Baker at each site as well as individual instruction will be offered.

Born in 1961 in New York City, Garin Baker received his BFA in painting and art history at Pratt Institute with additional studies the Art Students league. As a traditional figurative artist and plein air painter he’s had a long career as a professional artist with an impressive list of commissions and sales. He’s also nationally recognized for his large -scale Public Art Murals for municipal, private and corporate collections in the US and abroad. To his credits are several features in American Artist and Plein Air Magazine. Garin Baker has won several First Place and Grand Prize awards including Plein Air Easton, Brandywine, PA and the prestigious Irvine Museum Award. For more informa- tion please visit: garinbaker.com or carriageartatelier.com.

 


 


Fred Bendheim
Principles of Composition


April 15–17
Wednesday - Friday, 6:00 – 9:30 pm
Fee: $250
Instructor present each day
Enrollment limited to 12 students
Please request supply list
 
This workshop is for art students of all levels who wish to learn the principles and history of composition in the visual arts, and to explore these ideas in their own work. We will work in a variety of media to explore the basics, the subtleties and the pure excitement of creative work in drawing, painting and other media. Students will learn about composing for figurative and for abstract work, about the “key points” of the picture plane, about rules to follow and rules to break. Students will learn that composition is crucial to visual design, but that it is not a static set of rules, and is a dynamic tool adaptable to the intentions of the artist. Students will be encouraged to find their own solutions in their art with practical help from the instructor.

Images from top: Bronzino, "Allegory With Venus and Cupid", National Gallery, London;
Fred Bendheim, "Composition With Frame"

 
Fred Bendheim has exhibited at the Museum of Arts and Design, the San Francisco Museum of Modern Art, the National Gallery of Costa Rica, Istituto Veneto di Scienze, Lettere ed Arti, Venice, Italy, the Plotkin Museum, Jason McCoy Gallery, Denise Bibro Fine Art, the Arsenal Gallery, Bradley International Airport, McGrath Galleries, The Brooklyn Public Library, Mayo Center for Humanities and Simon Liu Gallery. Commissions include sculptures for Frank Lloyd Wright buildings and paintings for the Waldorf-Astoria Hotel. In addition to his paintings and sculptures, Mr. Bendheim is known for his drawings, public art, collages, and illustrations. He has written many articles about art for the British journal, The Lancet. He teaches art in New York City.

 

 

 


Arslan
Sculpting the Figure


April 18–19
Saturday & Sunday, 10:00-4:30 PM
Fee: $300 (includes $10 material fee)
Instructor present each day
Enrollment limited to 12 students
Please Request Supply List
Workshop is held in the sculpture studios in the basement

This intensive workshop consists of a demonstration and a lecture with hands on sculpting. The course is designed to acquaint the beginner with the basics of figurative sculpture while helping more advanced students deepen their understanding of the figure. Anatomy, proportion, gesture and form will be addressed as well as capturing a likeness to the model.  Each student will sculpt a figure from the live model.  This course is open to all levels of experience.
 
Arslan received his M.F.A. from Moscow Stroganov College of Art and Design.  He has had numerous solo shows both nationally and internationally.  His works are in many public and private collections, and he has been honored to receive multiple awards, including the Alex J. Ettl Grant from the National Sculpture Society. He is represented by Galerie Claudine Legrand in Paris and Janus Avivson in London.  For more information please visit arslanart.com.



 


John A. Parks
Unleashing the Powers of Acrylic


April 18–19
Saturday–Sunday, 10:00  am– 4:30 pm
Fee: $290
Instructor present each day
Enrollment limited to 12 students
Please request supply list

An intense weekend course covering all the basic and some not-so-basic acrylic techniques.  The course begins with a demonstration of the Sta-Wet palette, a transformative device that allows the palette to remain wet indefinitely. Painting begins working from the figure as the class explores various techniques for applying underpainting and working glazes on top.  Day two introduces various painting mediums to increase the brilliance and depth of the painting.  Students will explore the possibilities of combining heavy impasto with transparent glazes.  There will be demonstration of other technical possibilities in paint handling, including flooding, dripping, scratching back, sanding and varnishing.

John Parks was educated at the Royal College of Art in London.  He has exhibited widely over the last thirty years represented by a number of major galleries including Allan Stone and Coe Kerr galleries.  He is on the faculty of the School of Visual Arts in New York. Parks has also published many articles on art in publications ranging from the New York Times, to American Artist Magazine. His work is in the collections of the Victoria and Albert Museum, the Museum of the Rhode Island School of Design and many private collections. His work is represented by 532 Gallery Thomas Jaeckel in New York. He is also currently working on a book, “Universal Principles of Art,” to be published by Rockport Press in October 2014.  For more information please visit johnaparks.com.


Lisa Dinhofer
Experiments in Color


April 20–24
Monday–Friday, 1:30 – 5:00 pm
Fee: $400
Instructor present each day
Enrollment limited to 12 students
Please request supply list
 
This workshop will focus on color—how it works and why it works—through practice rather than theory. Experience is the only route to a working vocabulary of color ideas. This one week workshop will begin with the classic study of the interaction of color using Josef Albers’ techniques, primarily with cut paper and collage. The students will then explore the density and transparency of light and color, through careful observation from life with color pencils. Color creates magic in any work of art, and this workshop will teach each student how. Students of all skill levels and disciplines are welcome.

Lisa Dinhofer—painter, draftswoman and printmaker—earned her BA with honors from Brandeis University. For two years, she participated in the summer program at Skowhegan School of Painting and Sculpture, later receiving her MFA from the University of Pennsylvania. Her work has been shown extensively both nationally and internationally. Her
most recent solo shows were at Denise Bibro Fine Art (New York, 2012) and at Purdue University (Indiana, 2010). Her paintings, drawings and prints are widely collected, and publicly represented at Brooklyn Museum of Art, City College (CUNY), IBM and other venues. In 2003, she completed a 90-foot glass mosaic mural, Losing My Marbles, which was
commissioned by the MTA Arts for Transit program. It is centrally located at the Times Square subway station. Currently, Ms. Dinhofer is represented by Denise Bibro Fine Art in New York. For more information please visit www.lisadinhofer.com.


Steven Katz
Create the Cityscape Oil Sketch


April 20–24
Monday – Friday 6:00 pm–9:30 pm
Fee: $400
Instructor present each day
Enrollment limited to 12 students
Please Request Supply List

This workshop is for all levels and for those with a passion for cityscapes. Masters from the 16th century to the present have used oil sketches to design, perfect details and experiment with color and composition. At the site we’ll sketch free-hand perspective to get a general feeling and compositional understanding. With drawings and a few photos (supplied by the instructor) as reference tools, we will begin the oil or acrylic sketch at the studio. We will discuss composition, style, perspective, lighting and principles for creating the cityscape oil sketch.

Steven Katz graduated in 1974 from the School of Design at UCLA. Represented by the Katharina Rich Perlow Gallery, NYC, for 27 years and currently represented by George Billis Gallery, NYC.  Studied art with Aaron Rappaport 1970-1975 and then with Joyce Treiman and Raphael Soyer. Reviews in Art in America, American Collector, Art & Antiques and The New York Times, Katz is passionate about painting, drawing and etching New York cityscapes. With multiple one-man shows, his work has been shown nationally and internationally. Nominated two times by American Academy of Arts and Letters. (Additional images/information: www.stevenkatzartist.blogspot.com)


Elizabeth Allison
Direct Plaster Sculpture


April 25–26
Saturday–Sunday, 10:00 am–4:30 pm
Fee: $290 (includes $15 materials fee)
Instructor present each day
Enrollment limited to 12 students
Please request supply list
Workshop held in Stone Studio in the basement

Sculpting directly in plaster is an exciting, immediate way to create a permanent artwork. Plaster allows the flexibility of softer modeling materials such as clay, and the capacity for detail and refinement found in harder material such as stone. Once mastered, plaster is liberating to work with, giving the artist the best quali- ties of several mediums. This course consists of two parts: an introductory demonstration and a workshop. Armature and tools will be discussed, and workshop students will receive intensive individual instruction. This workshop is open to all levels.

Elizabeth Allison studied at the Art Students League and received a B.F.A. from the University of Michigan. She is the recipient of the Raluca Popescu Memorial Scholarship, a Nessa Cohen Grant, and three Elizabeth Greenshields Grants. She was a Model to Monument Participant in 2010-2011, and had a monumental sculpture in Riverside Park South. She was a visiting artist at Buffalo State College and is a technical instructor at the Art Students League. She is represented by Bertrand Delacroix Gallery. For more information please visit www.elizabethallisonart.com.


Karen O’Neil
Still Life – Color & Energy


April 25 – 26
Saturday–Sunday, 10:00 am–4:30 pm
Fee: $280 (includes $5 materials fee)
Instructor present each day
Enrollment limited to 12 students

Working from provided still life set ups, students will record the essence of their subjects by studying the relationship of light to color. Building form with planes of color and brushstroke will be emphasized. Focus on mixing color, using neutral color and gray, and developing clean, productive working habits.    
 
Karen O’Neil has exhibited widely throughout the United States, and has led oil painting workshops throughout the Northeast for the past decade. Her work is included in many private and corporate collections.  After receiving a BFA from Massachusetts College of Art, Ms. O’Neil studied with the late Henry Hensche in Provincetown, Massachusetts. Her work has been featured recently in The Artist’s Magazine. She is an instructor of painting and drawing at the Art Students League’s Vytlacil Campus, and is on the faculty of several art schools in the New York area.   For more information and images, please visit www.karenoneilfineart.com.


Sherry Camhy
Silverpoint

April 27–May 1

Monday- Friday, 9:00 am- 12:30 pm
Fee: $440 (includes $15 materials fee)
Instructor present each day
Enrollment limited to 12 students
Please request supply list
 
Imagine drawing with pure silver, or copper, or gold. No, it is not expensive—just beautiful!
 
Silverpoint was the pencil that artists used before there was such a thing as a pencil. Learn the Old Master technique of Leonardo da Vinci, and join today’s contemporary artists who are exploring silverpoint to create portrait, still life, landscape images.
 
Sherry Camhy, author of The Material’s World Column, Drawing Magazine. Her work has been exhibited in the New Orleans Museum of Art, the Israel, Telfair, Katonah, Parrish and The Aldrich Museum of Contemporary Art, reviewed in ArtNews Magazine, International Artists, and FineArtConnoisseur magazines. She teaches at ASL, NYU, SVA and in her West Chelsea Studio. For more information, please visit www.sherrycamhy.com.

 

 


Lucy Fradkin
Mastering The Art of Collage


April 27– May 1
Monday – Friday
1:30 – 5:00 pm
Fee: $400
Instructor present every day
Enrollment limited to 12 students
Please request supply list

Collage is an art form that can be mastered by all from the novice to the accomplished artist.  Join award winning collage artist Lucy Fradkin in an in-depth exploration of the medium.  Students will create mixed media works on paper using collage, paint and a variety of materials to create unique works that express personal stories with symbolic meaning. Art techniques will focus on line, composition, color, pattern and the use of collage as a design element. Demonstrations will include mapping out a painting and archival collage techniques.  Although students will work independently on projects, daily discussions and critiques will be integral to this workshop.
 
Lucy Fradkin’s is the recipient of numerous prestigious awards including a Pollock-Krasner Grant, an Adolph and Esther Gottlieb Foundation Grant, a Sharpe Foundation Studio Grant, and two Fellowships in Drawing/Works on Paper from the New York Foundation for the Arts. She has taught at a myriad of institutions, including MoMA/PS1 Museum, the Queens Museum and Anderson Ranch Arts Center. She has exhibited at the Smithsonian National Portrait Gallery, the American Academy in Rome, and many other national and international venues, most recently at the Weatherspoon Art Museum.   Her work has been reviewed in many publications, including The New York Times and The Boston Globe.  In New York City she exhibits at the  Nancy Margolis Gallery in Chelsea. For more information, please visit lucyfradkin.com.


Hugo Bastidas
The Business of Galleries—How to Prepare
and Understand Art for Gallery Representation


April 28, 30 & May 1
(Tuesday, Thursday and Friday)
6:00–9:00pm
Fee: $230
Instructor present each day
Enrollment limited to 15 students

The critical potion of the workshop will cover the es- sential elements of art making as opposed to mastery of technique. Understanding the prescriptive of the art dealer, collector and critic as well as the artist’s position will be addressed.

Mr. Hugo Xavier Bastidas was born in Quito, Ecuador. He received his undergraduate degree from Rutgers University and his MFA from Hunter College. His awards include a Robert Smithson Scholarship, a Fulbright Fellowship, a Pollack-Krasner Grant and a NJEA Grant. He is represented by The Nohra Haime Gallery, where he has had 13 solo shows. Other solo exhibits include those at the Gyeongnam Museum of Art, Gallery KunstDoc, and Bonn Gallery—all in Korea. His digital artwork is represented by Gallery Boreas (Lenox, MA and Reykjavik, Iceland) and has been included in the DiVA shows (in Paris, Cologne and NY) and the AAF (NY). He is a member of the National Academy of Arts and Design and is represented in their collection. Mr. Bastidas is also a member of the Century Association (NY), and represented the US in the Cuenca Biennial (Ecuador, 1999) and the Sharjah Biennial (UAE, 2001). His work is in collections worldwide.


Frederick Brosen
Introduction to Transparent Watercolor


May 2 - 3
Saturday-Sunday, 10:00 am – 4:00 pm
Fee: $275
Instructor present each day
Enrollment limited to 15 students
Please request supply list
 
This workshop will introduce students to the classic transparent watercolor technique first perfected by the Early English Watercolorists; Turner, Girtin, Cotman and their contemporaries. Applied over an initial pencil drawing, wet-in-wet, wet on dry, scumbling (or drybrush) and point of brush techniques will be demonstrated as well as basic approaches to elements of landscape painting; skies, trees and architecture. The first day will be a demo and a lecture; the second day students will apply the demonstrated techniques under the teacher’s guidance. Although this course is oriented for the beginner, all levels are welcome, and can benefit from re-examining these foundation techniques. Material list available in the ASL office.

Frederick Brosen’s watercolors have been featured in over 30 solo museum and gallery exhibitions across the country, most recently at the South Street Seaport Museum and at Hirschl & Adler Modern in NYC, both in 2012. His work is in the permanent collection of over a dozen museums, including the Metropolitan Museum of Art and the New York Historical Society. He is the recipient of the City College of New York Career Achievement Award in 2011, and of two Pollack-Krasner Foundation grants. In 2006 a major exhibition of his watercolors was featured at the Museum of the City of New York in conjunction with the publication of a monograph of his NYC watercolors, with an introduction by Ric Burns, ‘Still New York’. He is represented by Hirschl & Adler Modern in New York, and in 2015 his work will be featured in ‘Coney Island: Visions of an American Dreamland’, premiering at the Wadsworth Atheneum and traveling to 3 additional museums, concluding at the Brooklyn Museum in 2016.


 


Rand Hardy
Aqua Resin: Casting & Building


May 2 - 3
Saturday-Sunday, 10:00am-4:30pm
Fee: $285 (includes $10 material fee)
Instructor present each day
Enrollment limited to 12 students
Please Request Supply List
Workshop held in basement stone studio

This workshop will address methods of casting and building using Aqua Resin. This environmentally green, lightweight but durable composite material can be used in sculpture, painting, and installation. All materials will be provided. The class will cover the basics of: pattern making, mold making, mixing ratios, foam-coating, joining of disparate parts, and the painting/patina of finished work.

Mr. Hardy received a BFA from the San Francisco Art Insti- tute in 1968. He exhibited in the 1970 Information Show at the Museum of Modern Art, the 1972 Whitney Annual, and has a permanent outdoor sculpture installation in Soho owned by the collector Charles Cowles. From 1992 to 2009 he was an adjunct faculty member teaching in the sculpture department at New York University. Mr. Hardy has been making sculptures using Aqua Resin for 13 years, and has had four one-person exhibitions of works made exclusively of this material.


 
 


Max Ginsburg
Realism—Painting from Life


May 4 – 8
Monday – Friday, 8:30 am – 4:00 pm
Fee: $850
Instructor present every day
Enrollment limited to 12 students
Please request supply list upon registration

Alla Prima oil painting, wet on wet—we will paint directly on canvas by carefully observing the form of the model.  In this workshop we will disregard details and concentrate on the basic design, proportion and the relationship of shapes, values and color in the tradition of many of the Old Masters.  Mr. Ginsburg will assist and critique each student daily. Attention will be given to the mixing of colors and other painting skills needed to achieve a feeling of naturalism yet painterly.

Day 1. Head Studies:  Observing and painting the facial expression of the model and the model's unique structure and character.  Two or three head study paintings.
Day 2. Figure Gestures: Capturing the action of the figure by observing the basic, structure and proportions of the model's poses.  Two or three figure study paintings.
Day 3, 4, 5. Figure Painting:  Each day we will paint one figure from life in a  realistic situation; i.e. a person shopping, a beggar, a subway rider, etc.that expresses the emotion of that person and the narrative of the situation.  One painting each day.
 
About Max Ginsburg: President's Gold Medal Award for Advancement of Traditional Fine Art 2013 California Art Club. Retrospective Exhibitions 2011 Butler Institute of American Art and Salmagundi Club.  "Best in Show" 2011 Art Renewal Center.  ACOPAL Group Show Six Museums in China - 2012-2013. Exhibition 2008 The Martin Luther King Labor Center. Philip Desind Award 2008 and Collectors Prize 2007 The Butler Institute. "Best In Show" 2007 Salmagundi Non Members. Purchase Prize 2005 Art Renewal Center. The Christopher's Award1991. Gold Medal 1984 Society of Illustrators.  Selected Group Shows - American Academy of Arts and Letters, Museum of The City of New York, New York Historical Society, National Academy of Design Biennials.  Museum Collections - Butler Institute, New Britain Museum, Society of Illustrators Museum.  Illustrator 1980 - 2004, Teacher - 1960 to Present (H.S. Art & Design, School Visual Arts, Art Students League). Book "Max Ginsburg-Retrospective" www.ginsburgretro.com.  DVD "Max Ginsburg-Legacy of an American Painter" www.ginsburgvideo.com. Websites: www.maxginsburg.com & www.ginsburgillustration.com.


Greg Follender
The Vital Line: Gestural Life Drawing for Beginners

May 4–8

Monday –Friday; 6:00 – 9:30 PM
Fee: $425
Instructor present each day
Enrollment limited to 12 students
Please Request Supply List
 
Learning to render the human figure from life in a gestural, vital way is an important skill to master for any aspiring artist.  Short, timed sketching sessions will allow participants to quickly turn the figure in deep space and represent the nude form in more dramatic and challenging poses, while longer drawings will encourage the expression of volume and weight in the subject. These exercises are designed to establish easy-to-follow anatomical formulas and increased recognition of important body landmarks. The sketch sessions will build confidence exponentially until students find that they can document the nude figure in dramatically less time than before, enabling them to concentrate more on the fluid expression of their marks on paper instead of the simple reportage of their subject.
 
Greg Follender is an artist/illustrator that has been teaching both drawing and sculpting classes at the American Museum of Natural History for almost 2 decades.  His passionate pursuit of rendering the human form has taken him from the illustrative world of comic books and graphic novels, to character design and costume fabrication in the industry of film and television. With this course, Greg returns to the roots of his work…the dynamic figure-drawing basics that inspire his personal narrative imagery.


Montserrat Daubón
Casting in Concrete—Demonstration


May 10
Sunday, 1:00–4:00 pm
Fee: $35 (includes $10 materials fee)
Instructor present each day
Enrollment limited to 12 students
Workshop held in Stone Room in Basement
 
Concrete is an exciting medium for casting sculpture, offering an organic aesthetic quality, greater strength than plaster and durability outdoors.  This demonstration will show how to mix, cast, add structural support to, cure and finish concrete when casting from molds.  Because concrete cures slowly, stages of the process will be demonstrated.  Strategies for achieving the best results, as well as tips for attaining different colors, textures and finishes, will be discussed.

Montserrat Daubón studied at the Art Students League of New York, the University of Michigan (B.A.) and the University of Texas at Austin (M.P.A.).  She was awarded two Elizabeth Greenshields Foundation Grants and most recently had a solo show of her landscape paintings at the San Luis Obispo Museum of Art in California.


Maddine Insalaco and Joe Vinson
Introduction to Plein Air Painting in Oil


May 9–10
Saturday–Sunday, 10:00 am – 4:30 pm
Fee: $275
Instructor present each day
Enrollment limited to 15 students
Please request supply lists
Students will be informed by email where to meet.

The qualities of fugitive light and shifting atmospheric conditions in the landscape make “plein air” the most challenging type of painting. The need to work quickly requires that the technique and approach adopted be distinct from studio painting. This short workshop will focus on the formal elements of spatial construction in a carefully observed landscape. Students will be shown how to analyze natural space in terms of light (value) and air (atmospheric perspective).  The technical method introduced will derive from the 18th century open air tradition in the sequence of paint application and use of paper as a surface, but will stress contemporary abstract principles of color contrasts to create form and space within a composition.

Maddine Insalaco (MFA New York Academy of Art) and Joe Vinson (BA Ringling School of Art, School of the Museum of Fine Arts, Boston), divide their life between New York City and Tuscany where they have taught landscape painting since 1995. They are established experts in the history of open air painting and its connection to modern art. The couple has published, lectured, curated, and exhibited on the subject in diverse forums such as the American Artist, Plein Air, Sotheby’s, the National Academy of Design, the Palm Springs Art Museum,  the  Museum of Arts and Sciences in Macon, GA, and the Jerusalem Studio School among others.  Their work has been shown extensively in solo and group exhibitions in the USA, Italy and France.  For more detailed information:  www.landscapepainting.com and their individual websites.


Maddine Insalaco and Joe Vinson
Elements of Landscape


May 11–15
Monday–Friday, 9:00 am – 12:30 pm
Fee: $400
Instructor present each day
Enrollment limited to 15 students
Please request supply lists

Adapting an 18th century approach by French artist PH Valenciennes to plein air painting designed to assist artists in studio composition, Elements of Landscape will be organized around studying the components, or “elements”, of the Central Park landscape separately.  Each day we will focus on a specific element: fields and open spaces, trees, water, clouds and skies, rocks. Sessions will begin each morning at the Art Students League with a slide lecture of paintings featuring the subject element.  A technical approach to painting each will be suggested. Lectures will be followed by a painting session at specified locations in the park.  Demonstrations will be part of the program but it is recommended that participants have prior painting experience.  Consistent with the Valenciennes method we will use paper as a support for oil studies.  In the event of rain we will visit the Met to view examples of work from this tradition.

Maddine Insalaco (MFA New York Academy of Art) and Joe Vinson (BA Ringling School of Art, School of the Museum of Fine Arts, Boston), divide their life between New York City and Tuscany where they have taught landscape painting since 1995. They are established experts in the history of open air painting and its connection to modern art. The couple has published, lectured, curated, and exhibited on the subject in diverse forums such as the American Artist, Plein Air, Sotheby’s, the National Academy of Design, the Palm Springs Art Museum,  the  Museum of Arts and Sciences in Macon, GA, and the Jerusalem Studio School among others.  Their work has been shown extensively in solo and group exhibitions in the USA, Italy and France.  For more detailed information:  www.landscapepainting.com and their individual websites.


Kathie Miranda
Botanical Patterns in Silverpoint & Pastel Dust

May 11–15

Monday-Friday, 1:30-5:00 pm
Fee: $405 (includes $5 material fee)   
Instructor present each day
Enrollment limited to 12 students
Please request supply list
 
Discover the special qualities and challenges of drawing with silver.  Before graphite pencils, artists used metal point, a small rod of metal sharpened to a point, to make marks on a prepared surface.  Silver is the most popular metal because it produces an extremely delicate pale gray line – perfect for drawing plant life.  Silver is easy to apply and will tarnish over time to mellow browns.  The class will include discussions of the historical context of silverpoint as well as a survey of the various studio-prepared surfaces used by the Old Masters.  Using plant material as our inspiration, we will treat this old art technique to a modern twist!  We will apply a special ground to watercolor paper that easily accepts silverpoint; and enhance our work with the colorful addition of pastel dust. Students are encouraged to bring a small (~6 – 8” potted plant) or any related (botanical) reference materials.  The workshop will provide a brief introduction to a new way of seeing the many patterns found in the plant kingdom: from circles, triangles, and spirals to fractals.
 
Kathie Miranda is an award-winning botanical artist and educator. She studied at Lyme Academy of Art and at Paier College of Art, and holds a Certificate of Botanical Art and Illustration from The New York Botanical Garden, where she is a highly sought-after instructor in their adult education art program. She serves on the Board of the American Society of Botanical Artists; is Past President of the Guild of Natural Science Illustrators, Greater New York Chapter; and maintains active memberships in the Connecticut Watercolor Society, Pencil Art Society, and the Colored Pencil Society of America. She exhibits her work nationally, and is currently researching and illustrating flora of Connecticut for future exhibition and publication.


Gregory William Frux
Landscape Drawing for Expeditions


May 18–22
Monday–Friday
9:00am–12:30pm
Fee: $400
Instructor present every day
Enrollment limited to 12 students
Please request supply list

Hone drawing skills for outdoor work, whether in New York City or remote wilderness. Class will run 3½ hours daily, with the first half-hour devoted to site selection and discussion, followed by drawing and sharing.  Daily outdoor sessions take place in Manhattan parks, with waterfront and industrial scenery.

Topics to be covered:
• Preparation, portable tools, location planning, comfort and safety
• Selection, composition, intention of the drawing
• Tools to create effective drawings—layout, measuring, perspective and drama
• Incorporating geology, botany, architecture, etc. into the creative process
• Using all the tools to create dynamic drawings to tell a story

Mr. Frux is inspired by both urban and wilderness landscapes. His cityscapes explore industrial sites, bridges, waterfront, nocturnes and ruins. His wilderness work derives from a lifetime of trekking: local crags, the Rockies, Sierra Nevada, Mohave Desert, Alaska, Yukon, the Andes and Patagonia. He has been artist-in-residence in four National Parks—Weir Farm N.H.S., Glacier, Joshua Tree and three times in Death Valley. He’s worked as shipboard artist in north and south Polar Regions, winter Norway and Antarctica. His work is in the collections of Library of Congress, American Alpine Club, Metropolitan Transportation Authority, NYC Department of Education and National Park Service. For more information, please visit  http://frux.net.


Michele Liebler
Absolute Beginners – Oil


May 18–22
Monday–Friday, 9:00 am – 12:30 pm
Fee: $425
Instructor present each day
Enrollment limited to 12 students
Please Request Supply List
 
Your choice of technique directly influences the choice of material, how the painting is made, and ultimately what it looks like. It is essential as a painter to experiment with your working methods and ideas. Emphasis will be placed on the importance of mark making and finding your own personal mark in oil painting. The workshop will explore step-by-step techniques: underdrawing, wet-in-wet/dry brush, knife painting and then the last day using all the techniques simultaneously. Each day will be dedicated to one of the techniques listed above. In this 5-day workshop students will learn the effective way to achieve their own personal vision through the introduction of these techniques. This workshop will help the beginners but will also be informative for an advanced student who never explored other ways of approaching oil painting.
 
Michele Liebler received her B.F.A. from Purchase College in painting and drawing and her M.F.A. from Brooklyn College. She studied with Mary Beth McKenzie and Burt Silverman. She has exhibited in such venues as Parrish Art Museum, Arnot Art Museum, National Academy Museum, Butler Institute of American Art and private collections internationally. She received numerous awards including Elizabeth Greenshields Foundation Grant, GIP Grant, Horlick Painting Award, and Arnot Art Museum Award for Painting. She is represented by First Street Gallery in NYC. She has years of experience teaching workshops and classes at the National Academy Museum & School. And at the Art Students League she has taught several workshops and regularly substitutes for Mary Beth McKenzie.


Seongmin Ahn
Asian Ink Painting: Abstract, Still Life and Orchid & Bamboo 

May 23–24

Saturday-Sunday, 10:00 am- 4:30 pm
Fee: $280 (includes $40 materials fee)
Instructor present each day
Enrollment limited to 12 students
Please request a supply list upon registration
This workshop will first teach basic techniques of sumi-e ink painting by focusing on how to utilize and expand concepts of lines, brush strokes and ink wash with new materials. Students will then apply these tools to create realistic and abstract painting based on still life and the Four Gentlemen drawing (orchid, bamboo, plum and chrysanthemum). Materials and techniques include working with a variety of rice papers, sumi-e ink and Asian brush.   Students will also investigate cultural metaphors of materials and subjects.

Seongmin Ahn is a Korean born artist who is living and working in New York. She received her BFA and MFA in Asian traditional painting from Seoul National University and then the second MFA from Maryland Institute College of Art. She is a two times recipient of a Pollock Krasner Foundation grant and the first prize from AHL foundation competition. Her works have been reviewed on Washington Post, the Philadelphia Inquirer, NY Arts magazine, Baltimore Sun, Plain Dealer and others. She had exhibited nationally and internationally. She has taught and lead workshops at the Metropolitan Museum of Art, Queens Museum of Art, Asia Society and Korean Cultural Service specializing in Asian art. For more information, please visit: www.seongminahn.com.

 


 
 
Workshop Refund Policy
In the event a student chooses to withdraw after registering for a workshop, a 75% tuition refund will be granted when a student submits a “Request for Refund Form” (available in the office or online), by fax: (212) 541-7024, email: info@artstudentsleague.org or in person at least five (5) business days before the start date of the workshop. No refunds will be given within four (4) business days of a workshop. Materials fees are not refundable. Refunds are by check or ASL credit, only. Workshop and materials fees are not transferable.

Workshop Cancellation Policy
Workshops are subject to cancellation. In the event of cancellation by the Art Students League, registered workshop students will receive a 100% tuition refund. Workshops may be cancelled on short notice. No refunds are given for travel expenses due to cancellations or schedule changes.

Admission to our workshop is on a first come, first serve basis. Admission will not be in excess of our studio capacity and therefore a waiting list will be generated. Tickets can not be reserved and are not guaranteed and are subject to change. 

 

  
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