Spring 2011 Catalog

Spring 2011

Gage MissionGuided by the belief that artists are made,

not born, Gage strives to educate, enrich and engage artists and the community in the visual arts. Gage offers instruction in the principles

of drawing, painting and sculpting and is dedicated to helping students of all ages

and skill levels realize themselves as artists in contemporary society.

BenefactorsJoyce Allen, Kenneth S. Rosen,

Ida S. Cole, Anne Steele

Founders Pamela Belyea Executive Director Gary Faigin Artistic Director

Board of Trustees Lorri Falterman President Julie Tall Vice President Brent Reys Treasurer Llewellyn Matthews Secretary

Greg Eastman, Ellen Evans, Ted Kutscher, Erin Moyer, Susan Torrance, Richard V. West

Community AdvisorsDiane Butler, Lane Powell Spears Lubersky, WA

Robert K. Dent, Social Venture Partners, WA Ira Goldberg, Art Students League, NY

David Hill, Sonata Capital, WAChris Madison, Sierra Investments, CA

Alvin Martin, Bader Martin, WATrina Wherry, RBC Dain Rauscher, WA

Artistic AdvisorsDomenic Cretara, artist, CA

Samuel H. Davidson, Davidson Galleries, WAMartha Mayer Erlebacher, artist, PAAntonio Lopéz García, artist, Spain

Gregory Hedberg, Hirschl & Adler Gallery, NYNorman Lundin, artist, WA

John Pence, John Pence Gallery, CADon Porter, Pietra Serena, WA

GAGE® is the federally registered service mark of Gage Academy of Art. No part of this catalog may be reprinted

or reproduced without permission of Gage Academy of Art.

©2011 Gage Academy of Art. All Rights Reserved.

Catalog printed by ColorGraphics

GIVE

Gage Academy of Art is a 501(c)(3) non-profi t organization.

Your contribution is tax-deductible as permitted by law.

COVER ARTIST: MARK KANG-O’HIGGINSGage Teaching Artist

Kang-O’Higgins leads the Drawing and Painting Atelier at Gage, and this quarter he also teaches the class Expressive Figure Drawing (p. 15). He has taught his contemporary approach

to fi ne art at several schools and academies including the Leith School of Art in Edinburgh, Scotland, and the Riverdale Kingsbridge Academy in New York. Kang-O’Higgins has shown his work in many exhibitions in Seattle and New York such as the Seattle Art Museum Gallery, Linda Hodges Gallery and Fountainhead Gallery. Learn more about his work and teaching philosophy on the Gage website.Cover: T’Aimid Go Léir Nocht (We Are All Naked), 2009, 72" x 48", oil on canvas

SPRING 2011

Contents

GRATIS AT GAGE

4 Upcoming Exhibitions

5 Gage Lectures

6 Professional Development Events

ADULT PROGRAMS

8 Weekend Workshops

9-11 Weeklong Workshops

13 Open Studios

14 Evening Lecture Series

15-17 Drawing Classes

18-21 Painting Classes

22 Sculpting Classes

23 Gage Ateliers

1 Gage Ateliers: In the Artist’s Studio

2-3 Gage Update

12 Gage Foundation Programs

24-25 Program Schedule

26-27 Gage Teaching Artists

28-29 Student Information

30 Youth Update

30-31 Teen Art Studios

32-33 Youth Classes

ABOUT GAGE

YOUTH PROGRAMS

7 2011 Arte d’España: Madrid & Barcelona

7 2011 In the Steps of Georgia O’Keeffe

ACADEMY ART TOURS

BACK COVER ARTIST: THALIA BELLGage Teen Artist, age 13

Bell is in 8th grade at Washington Middle School and is a regular participant in Teen Art Studios. She says, “My favorite thing about Teen Art Studios (oth-er than the art itself, of course) would have

to be the community. Everyone there is really creative and supportive; everyone is willing to contribute ideas or opinions. For me it’s a chance to unwind and have fun after a long week, mak-ing art and hanging out with people — things I enjoy and don’t always get to do.”

For more information on Youth Programs at Gage, see pages 30-33.

Gage Ateliers: In the Artist’s Studio

Imagine yourself as an artist in the 19th century, getting the chance to study with Jacques-Louis David, whose students were as varied as Ingres and John James Audubon. Every day you would work in the studio practicing your drawing skills,

painting from life and learning from a master artist.

During this time in France, students were taught at the exclusive École des Beaux-Arts where they painstakingly learned a wide variety of skills. Additionally, burgeoning artists could study in private ateliers working daily alongside an established painter. Subjects included drawing, master copies, anatomy, perspective, working from life and painting. The term atelier (artist’s studio) was commonly used by the 17th century and fl ourished in the 19th century when artists had the opportunity to exhibit their work in the annual Salon.

In the early 20th century this rigorous method of training was replaced by modern art schools — or was it?

Before working at Gage Academy of Art, I, like many others, hadn’t realized that there was a renaissance of the atelier tradition in the late 20th century, much less that this type of instruction existed in Seattle. For over a decade, however, many dedicated students have studied in the Gage Ateliers. Students work daily under one instructor, drawing and painting from life and on individual projects in their shared studio space. In addition to me-ticulously building artistic skills, there is much

else that is taught. Students learn fi rsthand the focus and dedication needed to succeed as a professional artist. I also frequently hear the comment, “I had no idea how much I would also learn from my fellow students.”

When I asked several recent graduates what they enjoyed most about their atelier training, they responded enthusiastically. Aron Hart, a Drawing and Painting Atelier graduate, said his favorite thing was “being able to focus on my art to the exclusion of almost everything else and having a place to go where creativity is encouraged, fostered and celebrated.” His former classmate Pamela Robinson loved “the camaraderie of fellow students who were as excited about art as I was and who provided constant support.”

Upon completion some students themselves choose to teach and continue to pass on these time-honored traditions. Susan Bari Price who graduated from the Classical Atelier before becoming a Gage teaching artist herself believes that, “Learning is an active pro-cess. We learn by doing. The ateliers are a sanctuary of practice unequaled in its support of that process.”

Gage is proud to offer three different outstanding atelier programs: the Classical Atelier taught by Juliette Aristides focusing on the Beaux-arts tradition, the Drawing and Painting Atelier taught by Mark Kang-O’Higgins, offering a contemporary approach, and the Still-Life Painting Atelier taught by Gage cofounder and Artistic Director Gary Faigin.

As Classical Atelier instructor Juliette Aristides says, “Becoming an artist is a process that happens gradually. The students who excel are not always the youngest or the most talented; rather it is those who have the courage and self-discipline to see it through to completion.”

Carol Hendricks, School Manager

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INSIDE THE STUDIO

You too can benefi t from the immersive atelier training methods. Gage offers three ateliers: the Classical Atelier, the Drawing and Painting Atelier, and the Still Life Painting Atelier. Read about all three on page 23.

Susan Bari Price, Gage atelier alumna & Gage Teaching Artist

Aron Hart, Gage atelier alumnus

Pamela Robinson, Gage atelier alumna

Register online at www.GageAcademy.org beginning Monday, February 28, 2011. 1

Save the DateFriday, June 17

Join the Gage community to celebrate the Best of Gage: Student Art Exhibi-tion, Awards & Sale, showcasing new drawings, paintings and sculptures by Gage student artists.

Select works submitted to the exhibi-tion as well as pieces from the Gage Ateliers are for sale during the June 17 event only! This is your chance to collect beautiful pieces of art at affordable prices and support the talented artists who made them.

Submission Dates: Thurs–Sat, June 9–11

Eligibility: Any registered Gage student from July 1, 2010 to June 30, 2011.

Presenting Sponsors:

19th Annual

Student Art Exhibit, Awards & Sale

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Gage Update

Just a few of the 1,200 participants at the Drawing Jam in December. Guests enjoyed making self portraits, drawing on the mural wall, trying printmaking, and drawing and sculpting from the model for 12 full hours.

PRESENTING SPONSORS

EVENT SPONSORS

More than 1,200 artists of all ages took over the Gage studios on December 4, 2010, to create the biggest Drawing Jam yet! Dozens of models, musicians and performers created a rich atmosphere of creativity as guests picked up pencils, charcoal and clay to try their hand at art for the day. For 12 hours, artists worked from the model, viewed professional artist demos, drew on a mural wall, took on the Portrait Challenge, tried out printmaking and more! Check out artwork and scenes from the day at www.GageAcademy.org/drawingjam.

Best in Show, Brett Downey, 2010

SIMPLY DESSERTS

11th Annual

Many Thanks To:

2 Register online at www.GageAcademy.org beginning Monday, February 28, 2011.

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Elizabeth Zanzinger Wins Nationwide CompetitionMore than 2,200 artists entered upwards of 5,000 artworks into the 2nd Annual Utrecht Competition in partnership with American Artist magazine and the Grand Central Academy of Art, and just one came out the Grand Prize winner. Our very own Gage artist Elizabeth Zanzinger took home the honors — a six-week scholarship to the Grand Central Academy in New York, along with up to $3,500 for travel expenses and accommodations! Zanzinger is in her fourth year of the Classical Atelier at Gage, and in fact, the Utrecht award-winning piece, Permanence, took home Best in Show at the Best of Gage competition in 2009.

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Friday, March 4, 2011 St. Mark’s Cathedral Sanctuary

The artwork is staged, the tables are set, the auctioneer is poised — the Gage Collector’s Gala is just moments away! There are still two great opportunities to support Gage Academy of Art, however, and get a

little something for yourself as well.

Proxy Bidding is open — peruse the online catalog at www.GageAcademy.org/auction, then register for proxy bidding by calling Anne Norberg at 206.323.4243 x16. You may even come to the Artists’ Reception and Art Preview on Thursday, March 3 from 5:30pm-8:00pm to see the work in person and meet the artists.

Last Chance for Raffl e Tickets! Call Anne to purchase your raffl e tickets for a chance to win two places on the Arte d’España Academy Art Tour. The 10-night tour worth $10,400 is an exclusive opportunity to view the art treasures of Spain. Raffl e tickets are $50 each or 5 for $200; check out the itinerary on page 7, and see all the raffl e details online at www.GageAcademy.org/auction.

For last-minute Gala seating, contact [email protected].

Thank You to Our Corporate Sponsors

Permanence, Elizabeth Zanzinger

More Gage Successes· Zoey Frank, fourth-year Classical Atelier

student, won a 2010 Art Renewal Center Scholarship for $2,500 for her charcoal drawing Poet.

· Drawing and Painting Atelier graduate Aron Hart was awarded fi rst place in the 2010 Burien Arts’ Juried Exhibition for his painting Rock, Paper, Scissors.

· Gage Classical Atelier alumnus Eduardo Fernandez unveiled his commissioned portrait of outgoing Oregon governor Ted Kulongoski in January. The piece is displayed in the state capitol building as part of Oregon history.

Congratulations to Elizabeth, Zoey, Aron and Eduardo!


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Gratis at Gage

Upcoming ExhibitionsGage presents rotating FREE exhibitions of student, instructor and guest artist works in three galleries on the third fl oor of the school. All galleries are open daily until 6:00pm. Gage does not have an elevator; please call regarding ADA accommodations.

Gratis at Gage: FRIDAYS

ROSEN GALLERYSPITTING IMAGE: FIFTH ANNUAL SELF-PORTRAIT COMPETITIONMarch 15 – April 15Artists’ Reception: Friday, March 18, 6:00pm-8:00pm

Gage students and alumni are invited to put their best face forward and submit a self-portrait work in any genre, medium or style. Sam Davidson of Davidson Galleries juries the exhibition to award cash prizes for the three best portraits. Submit your work March 10-12 — see website for all the details.

FROM PENCIL TO PAINTApril 18 - May 13Artists’ Reception: Friday, April 22, 6:00pm-8:00pm

Students from Mark Kang-O’Higgins’s Drawing and Painting Atelier present artworks based on in-dependent projects that link observational stud-ies and creative expression. Working with line and tone, light and shadow, color mixing and anatomy, these students exhibit their latest drawings and paintings as they strive to place their artwork in the broader context of contemporary art.

FROM SHADOW TO COLORMay 17 - June 11Artists’ Reception: Friday, May 20, 6:00pm-8:00pm

Juliette Aristides’s students in the Classical Atelier present new drawings and paintings employing traditional academic techniques while highlighting the artists’ own observational skills. Beginning with a focus on drawing, students advance to full chromatic paintings as they develop a vocabulary to create well-executed and sensitive works of art.

ENTRY GALLERYTOWARD CLARITYMarch 11 – April 15Artists’ Reception: Friday, March 18, 6:00pm-8:00pm

Toward Clarity features paintings on paper from current students and alumni of Tom Hoffmann’s Advanced Watercolor class. These students dem-onstrate a commitment to watercolor by virtue of the time and focus they to devote to the medium. Each artist’s work has evolved, and continues to develop, as a means of clearly communicating a personal interpretation of a visual experience.

IN FOCUSApril 18 - May 13Artists’ Reception: Friday, April 22, 6:00pm-8:00pm

Gary Faigin’s Still Life Painting Atelier students present their most recent works exploring and expanding on the still-life tradition. Using the still life as a tool for the development of their own artistic voices, these student works range from the contemplative to the enigmatic.

NUANCE: THE CLASSICAL GRADUATES May 17 – June 11Artists’ Reception: Friday, May 20, 6:00pm-8:00pm

Fourth-year students Zoey Frank, D. Jordan Parietti and Elizabeth Zanzinger exhibit fresh contemporary still-life, fi gure and portrait paint-ings as they complete their fi nal thesis term of the Classical Atelier’s four-year intensive program. This is the culminating year when each graduate student must develop their own artistic direction in preparation for careers as emerging painters.

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Charles Smith, detail Stefan Cummings, detail Jeremy Mangan

STEELE GALLERY BREADTH: A CROSS-EXAMINATION OF SEATTLE PORTRAITSMarch 18 – April 16Artists’ Reception: Friday, March 18, 6:00pm-8:00pm

A panoramic display of portraits lines the Steele gallery for this large-scale group exhibition. More than 20 local artists create a collective portrait of Seattle by exhibiting works that characterize local people and places. Executed in any media or style, the only limitation is that the width of each piece cannot exceed 20 inches. Exhibiting artists include Gretchen Bennett, Curt Labitzke, Michael Lane, Christopher Martin Hoff, Joseph Park, Anne Petty, Francesca Sundsten, Mark Takamichi Miller, Joey Veltkamp and Dan Webb.

BETWEEN CORNICE AND CANTILEVER April 22 – May 15Artists’ Reception: Friday, April 22, 6:00pm-8:00pm

The Steele Gallery is nestled beneath sloping roofs and between storage closets and studios. Taking advantage of the absurd angles and ec-centricities of the gallery, artists Iole Alessandrini, Julie Alpert, Jeremy Mangan and Leo Saul Berk display paintings and site-specifi c installations alongside drawings by architect Richard Sund-berg. Together these works examine the ways we frame, design and confi gure structures and space.

CONTEMPORARY DRAWING IN THE NORTHWESTMay 20 – June 11Artists’ Reception: Friday, May 20, 6:00pm-8:00pm

More than 50 artists contributed drawings to Margaret Davidson’s new book Contemporary Drawing: Key Concepts and Techniques. This exhi-bition delves into the essential and far-reaching concepts of this medium and includes some of the local Pacifi c Northwest artists featured in Davidson’s book who represent the best of contemporary drawing.

CALL FOR SELF PORTRAITS!Gage artists, submit your work March 10-12 — see website for details.


Gage LecturesEach quarter, to contribute to Seattle’s arts discourse, Gage hosts lively lectures with working professional artists and art historians. The public is invited to attend these FREE events.

Leo Saul Berk, detail

Anne Petty, detail

Anne Petty: The Figure as StorytellerAnne PettyFriday, March 18 7:00pm Geo Studio, 3rd Floor FREE

Exhibiting artist Anne Petty discusses the narrative relationship between the figure and its surroundings: how it interacts with space, environment and the viewer. Petty describes how her work examines the moments between the moments we tend to remember and how these brief instances begin to tell a story that has yet to be formed. As a result, the viewer becomes more of an active participant in the narrative, and not solely an observer. Petty also explores various themes found in her work including searching, loss, voyeurism, aging and the complexities of relationships.

Anne Petty, a Gage teaching artist, completed her MFA at the University of Washington and her BFA at Missouri State University. She is a two-time recipient of the Elizabeth Greenshields Foundation international grant and exhibits both locally and nationally.

Leo Saul Berk: Down the Rabbit HoleLeo Saul BerkFriday, April 22 7:00pm Geo Studio, 3rd Floor FREE

Leo Saul Berk speaks about his approach to art making and materials that helped him win the inaugural Arts Innovator Award in 2010 for the ingenuity of his artistic achievements and processes. Berk discusses how he utilizes 3-D modeling software and a Computer Numerical Control machine to create artworks exploring real and imagined space and the relationship between presence and void.

Berk is a Seattle artist represented by Lawrimore Project and has been included in solo and group exhibitions locally and internationally. He received his MFA from the University of Washington has been awarded the Arts Innovator Award by Artist Trust and the Dale Chihuly Foundation, the Individual Artist Project Grant by 4Culture and the Grants for Artist Projects Award by Artist Trust. Berk has received numerous private and public commissions from institutions including Sound Transit, King County, the City of Shoreline, Vulcan Inc. and the University of Washington.

Margaret Davidson: Artist and AuthorMargaret Davidson Friday, May 20 7:00pm Geo Studio, 3rd Floor FREE

Drawing has changed. Contemporary drawing is an intense, sensitive, compelling, personal and utterly direct art form with its own concepts, characteristics and techniques. In this first public presentation of her book, Contemporary Drawing: Key Concepts and Techniques, Margaret Davidson talks about the nature of this change and what makes contemporary drawing so complex and fascinating. Davidson examines the concepts of contemporary drawing described in the book, including surface, mark-making and scale, and will particularly focus on the most important concept: the artist’s intent.

Davidson has been a teaching artist at Gage Academy of Art since 1993 and received her MFA from the University of Washington. Her drawings and paintings have been exhibited in the Bellevue Art Museum, the Smithsonian Institute, the Wing Luke Asian Museum and numerous galleries in the Northwest. She currently shows at Anchor Art Space in Anacortes, WA.

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Professional Development EventsGage invites emerging artists and art lovers to FREE seminars to enrich their understanding of the local art scene through engagement with successful art professionals.

Gratis at Gage: THURSDAYS

ARTTALKSecond Thursdays 12:30pm-1:30pm Geo Studio, 3rd floor FREEGage Artistic Director Gary Faigin interviews artists about their intentions, process and methods.

ARTIST’S TOOL KITFourth Thursdays 12:30pm-1:30pm Geo Studio, 3rd floor FREEProfessionals present lively lunchtime conversations about the ways of the “real world” of art.

May 12 Jim Phalen

Seattle painter Jim Phalen, the subject of the retrospective exhibition Undercurrents of the Commonplace at the Frye Museum in 2003, joins us for a conversation about his work and his long career. Phalen’s still life and portraiture is both intensely observed and highly enigmatic. His descriptions of humble objects in often ambigu-ous space play off the tension between the rep-resentational and the abstract, the real versus the imagined. His use of oil paint is charged with a feeling for the surface and texture of the paint itself, the product of extensive layering, scraping and repainting. We talk about both the creation and the meaning of his intriguing images in this month’s ArtTalk.

Phalen teaches two weeklong workshops this summer at Gage; read more on page 10.

June 9 Chris Engman

The first photographer to participate in ArtTalk, Chris Engman is no stranger to painterly issues of light, space and the illusion of form. His complex, staged photographs are typically the product of days of work, and the resulting images call into question the integrity of the camera image as a literal record. Images in his most recent exhibition at Greg Kucera Gallery include the panoramic Variations, 120 different arrangements of six brightly painted 55-gallon drums. Other images feature landscape pho-tographs printed large and set out in the very landscape they represent; in one case a photo within a photo within a photo. We talk to Engman about his process, his artistic goals, what he has learned from painters and what painters can learn from him.

Mar 24 The Role of Art Criticism

Joey Veltkamp, artist and blogger

Veltkamp guides you through his experiences as both an artist and a writer, helping you learn how artists can participate in the conversation of art criticism with the popularization of artist blogs and new media such as Facebook and Twitter.

Joey Veltkamp is an artist who works in many mediums such as painting, drawing and ceramics. In addition to making art, he loves to write about it and his blog, best of, has become daily reading for those who follow Seattle’s art scene. Veltkamp was artist in residence at Seattle University in 2009. He was nominated for the 2010 Neddy (painting), and he shows locally at SOIL.

Apr 28 Succeeding with Public Art Commissions

Katy Stone, artist

Stone tells of her experiences with public art commissions from the first step of writing a proposal through the completion and installation of the final piece.

Katy Stone is a local artist whose work combines painting, sculpture and installation. Represented locally by Greg Kucera, Stone has completed com-missions for King County Libraries, King County Correctional Facility, Swedish Medical Center, the Horizon House in Seattle and Twin Parks in Taic-hung, Taiwan. In 2011, she will complete her first commission for the U.S. government’s GSA Art in Architecture program at a Federal Courthouse in Jackson, MS.

Joey Veltkamp Katy Stone, detail Miguel Guillen

Chris Engman, detail

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May 26 Art as Business

Miguel Guillen, Artist Trust

Guillen discusses the bounty of professional resources that Artist Trust provides on their website such as workshops, applying for grants and presenting your portfolio.

Miguel Guillen manages Artist Trust’s grant pro-grams and provides assistance to artists through workshops and one-on-one appointments. He has completed the Arts Management Certificate Pro-gram, has an AA from Seattle Central Community College and a BFA from Cornish College of the Arts. He is a practicing visual artist.


Academy Art Tours

Academy Art Tours bring together small groups of artists and art enthusiasts for intensive art explorations guided by informed and passionate experts. Please book early; our tours are limited to 16 – 20 participants and tend to sell out quickly.

Learn more at www.GageAcademy.org/tours.

Joán Miró, Study for a Monument Offered to the City of Barcelona

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Arte d'España: Art Treasures of Madrid & BarcelonaTour Guides: Gary Faigin & Pamela Belyea

Thursday, June 16 to Sunday, June 26, 2011 (10 nights)

$5,200 double occupancy/person $6,900 single occupancy/person

Our 10-night tour begins in Madrid, home to three of the world’s most remarkable museums: the Prado, the Thyssen-Bornemisza and the Reina Sofi a. Within their majestic galleries we view masterpieces spanning Hieronymus Bosch’s The Garden of Earthly Delights to Pablo Picasso’s Guernica.

We devote one half day to touring the home and studio of Joaquín Sorolla, as well as one day in El Greco’s home town of Toledo — the spiritual heart of medieval Spain. We complete our tour with four full days dedicated to exploring the sophisticated and vibrant Mediterranean port of Barcelona, including the architecture of Antoni Gaudi and museums devoted to Pablo Picasso, Salvador Dali, Joan Miró, Romanesque frescos, Renaissance masterpieces, as well as the remarkable Gothic quarter in the center of town. We include a day trip to Bilbao to tour one of the world’s most spectacular new museums, the gleaming Museo Guggenheim Bilbao, designed by architect Frank Gehry.

Your Arte d’Espana Tour includes fi ve nights in Madrid and fi ve nights in Barcelona in centrally located, fi rst-class hotels; buffet breakfasts daily, two dinners and two lunches; day trips to To-ledo, Bilbao and Figueres; fully staffed educational program; and all intercity airfare, local travel and museum admissions. International travel not included.

TR1101 Book your place with a $500 per person non-refundable deposit online!

In the Steps of Georgia O’Keeffe: Northern New MexicoPainting Instructor & Tour Guide: Gary Faigin

Sunday, August 21 to Sunday, August 28, 2011 (7 nights)

$1,800 / double occupancy/painter $2,200 / single occupancy/painter$1,500 / double occupancy/non-painter $1,900 / single occupancy/non-painter

Join us for a spectacular one-week landscape painting workshop and art tour designed for plein-air artists! We also invite non-painters to join us. We spend seven nights based at Ghost Ranch in northern New Mexico, the 24,000-acre wilderness preserve where O’Keeffe painted with La Pedernal, her fl at-topped volcano silhouetted in the distance.

Our week begins with a day-trip to Santa Fe to tour masterworks in the acclaimed Georgia O’Keeffe and New Mexico Fine Arts museums, fi lled with light-infused, mystical paintings by O’Keeffe and her contemporaries. We also include a visit to Artisan to pick up any art supplies we may need for our next four days painting the gorgeous multi-colored sandstone cliffs at the ranch. Midweek we head to Abiquiu to visit O’Keeffe’s winter home/studio, onto Taos to visit the home of socialite Mabel Dodge Luhan, who invited O’Keeffe, DH Laurence and others to join her fascinating art colony, plus the home/studio of her contemporary, Ernest Blumenschein. Evening programs and hikes are also planned.

Your tour includes airport transfers to and from Albuquerque Airport, seven nights at Ghost Ranch with all meals included while at the ranch, day trips to Santa Fe and Abiquiu/Taos; fully staffed educational program and museum admissions. Art supplies, art equipment and travel to New Mexico not included.

TR1103 Book your place with a $250 per person non-refundable deposit online!

Georgia O’Keeffe, Cliffs beyond Abiquiu — Dry Waterfall

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Weekend workshops at Gage, taught by respected professional artists, offer you the opportunity to explore new media and subject matter, return to a personal art practice or upgrade your artistic skills.

Weekend Workshops

FORENSIC ART FOR FINE ARTISTSNatalie Murry & Greg BeanSat-Sun 9:30am-4:30pm 4/9-4/10 [2 days]

Explore how to portray each sex and different ancestry types more accurately according to a forensic artist’s knowledge of skeletal features of each skull. Examine the musculature of the skull in order to learn how the fl esh sits on the cranium and how it changes as the face ages. Cast examples of each ancestry type are pre-sented along with lectures and handouts. This workshop is appropriate whether you draw and paint portraits or sculpt the human form.WW1110 INTERMEDIATE $195

DRAWING THE FACE AND HEADTerry FurchgottSat-Sun 9:30am-4:30pm 5/21-5/22 [2 days]

Your degree of success in the drawing the head can make or break a fi gure drawing. In this intensive workshop you learn to draw the head, face and features accurately and in proportion from the front, side and 3/4 view, and to use relative values of light and dark to defi ne sim-plifi ed planes and create a three-dimensional image. Working with a variety of black and white media you complete bold sketches and one fi nished portrait as you improve your basic drawing skills, effi ciency and confi dence.WW1111 ALL LEVELS $225

PAINTING THE FEATURES OF THE FACESuzanne BrookerFri-Sun 9:30am-4:30pm 4/1-4/3 [3 days]

From color mixtures to brush techniques in oil, learn how to approach the fi ne details of rendering facial features. Foreshortening and anatomical accuracy are emphasized in order to evoke the expressive gesture of the model. Working partly from photographs and from a model, you begin by examining each feature, learning to translate what you see into a paint-erly interpretation. Each day short demonstra-tions are followed by quick study paintings, or you can choose to rework an existing painting. WW1108 ALL LEVELS $325

PAINTING FLOWERS IN PASTELTerry FurchgottFri-Sun 9:30am-4:30pm 4/8-4/10 [3 days]

Learn to create richly colored drawings of individual fl owers and complex fl oral still-life setups using the direct drawing medium of chalk pastel. Through alla prima color studies and several fi nished works you explore the basics of pastel technique, color, composition, tonal value and correct drawing, learning to reproduce the rare beauty of spring fl owers in glass and ceramic vases simply, rapidly and ac-curately. $10 materials fee payable to instructor. WW1109 ALL LEVELS $295

INTRODUCTION TO PLEIN-AIR PAINTINGSuzanne BrookerSat-Sun 9:30am-4:30pm 6/11-6/12 [2 days]

Get the most from painting outdoors this summer with this practical guide to creating fast oil paintings. Begin by learning how to choose and prepare your materials, including palette choices and color mixing strategies. A series of quick one-hour paintings teach you how to compose using a simplifi ed block-in and direct painting techniques. WW1112 ALL LEVELS $195

MIXED-MEDIA PAINTINGHamid ZavareeiSat-Sun 6/25-6/26 9:30am-4:30pm [2 days]

Learn how to incorporate unconventional materials into your art-making process. Experiment with application and inclusion of mastics, wire mesh, acrylic gels, wood, metal, adhesives and more as you explore new tools and techniques such as drip painting and gestural painting in your work. $25 partial materials fee payable to instructor.WW1113 ALL LEVELS $195

Suzanne Brooker, detail Greg Bean, detail Suzanne Brooker, detail

Terry Furchgott, detail Terry Furchgott, detail Hamid Zavareei

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Enroll in two weeklong spring /summerworkshops, and receive $100 off

your combined tuition.

Just enter WORKSHOP in the Offi ce Code fi eld and hit Apply Code

when registering online!

Weeklong Workshops

Gage weeklong workshops allow artists to devote fi ve or more days to intensive training. Gage invites serious students to study with a nationally respected artist-instructor while devoting a concentrated period of time to the practice of making

art. Art students from across the United States attend intensive workshops at Gage.

STILL-LIFE PAINTINGPaul DuSoldMon-Fri 9:30am-4:30pm 3/28-4/1 [5 days]

Begin your paintings considering a sensitive and conscious choice of subject matter includ-ing arrangement and composition in relation to your light source.WA1106 ALL LEVELS $600

FIGURE PAINTING Paul DuSoldMon-Fri 9:30am-4:30pm 4/4-4/8 [5 days]

Through detailed demonstrations and ex-ercises, learn to confi dently paint the forms of the fi gure as a sensitive series of color passages. During this weeklong workshop, you employ two distinctly different painting palettes in order to better understand color in terms of value and temperature.WA1108 ALL LEVELS $625

INTRODUCTION TO EGG TEMPERAFred WesselMon-Fri 9:30am-4:30pm 3/28-4/1 [5 days]

Egg tempera is a luminescent, jewel-like medium applied in overlapping, cross-hatched strokes in translucent layers, or as an opaque paint. Painting a simple form or object on a graded background, Wessel teaches you the techniques of egg tempera painting as it was practiced in 15th-century Italy. Many of these “methods of the masters” can also be adapted for use in oil, watercolor and acrylic paintings. WA1105 ALL LEVELS $600

THE PORTRAIT IN EGG TEMPERAFred WesselMon-Fri 9:30am-4:30pm 4/4-4/8 [5 days]

See the website for a full program description. WA1107 ALL LEVELS $625

Paul DuSold Fred Wessel Susan Bennerstrom

Paul DuSold

LIGHT IN SPACE: PAINTING INTERIORS IN OILSusan BennerstromMon-Fri 9:30am-4:30pm 6/20-6/24 [5 days]

Interior space has been a subject for painters for centuries, whether as the primary focus, as in the works of Anselm Kiefer and Norman Lundin, or as a background for human activity, as in Johannes Vermeer and Edward Hopper. Learn to animate paintings of interiors through the use of light (natural and artifi -cial), point of view and a careful placement (or removal) of objects and details. Each day begins with discussion of different artists’ approaches to interiors, then you make several alla prima paintings, as well as one longer-session painting on canvas or panel.WA1109 INT/ADV LEVELS $600

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FIGURE AND PORTRAIT DRAWINGMichael GrimaldiMon-Fri 9:30am-4:30pm 6/20-7/1 [10 days]

Through discussions, demonstrations and exploratory exercises, Grimaldi introduces you to his own technique for developing a fi gurative drawing with an emphasis on chiaroscuro to heighten the mystery of form. While working on a two-week pose, you learn fundamental concepts of visual perception, and explore elements of pro-portion, gesture, anatomy, perspective and design through constructing an exhaus-tively studied fi gure drawing from life.WA1110 INT/ADV LEVELS $1350 Michael Grimaldi


SPRING SUMMER

Enroll in two weeklong spring/summerworkshops, and receive $100 off

your combined tuition.

Just enter WORKSHOP in the Offi ce Code fi eld and hit Apply Code

when registering online!

ESSENTIAL CONCEPTS OF LANDSCAPE PAINTING IN SKAGIT VALLEYMitchell AlbalaMon-Fri 8:00am-11:00am & 3:30pm-6:30pm 8/1-8/5 [5 days]

Located on Fir Island in the heart of Skagit Valley, this summer plein-air retreat provides an agricultural panorama dotted with farm-houses, barns and fi elds in rural Washington, 60 miles north of Seattle. The nearby town of La Conner offers high-quality restaurants and a variety of accommodation choices.

Explore practical solutions to the special chal-lenges faced by landscape painting, including simplifi cation through massing, composing the landscape space, strategies for depicting light, color mixing and managing your outdoor studio. Learn best strategies for starting a painting, through site selection and using an abbreviated underpainting to establish an effective design and value structure.

Be a part of a close knit “art colony” as you benefi t from daily demonstrations and lectures, a combination of exercises and free painting (in both early morning and afternoon sessions), several personal critiques per ses-sion, lunch time chats and group critiques. WA1111 INT/ADV LEVELS $650

PAINTING THE PORTRAITJim PhalenMon-Fri 9:30am-4:30pm 8/1-8/5 [5 days]

You begin your weeklong exploration of the portrait by covering the basic proportions of the head — the structure being one of your most important considerations. You start with drawing in charcoal on canvas with special attention paid to composition and perceptual analysis. Once the structure is established, you fi x your drawings and begin under painting in earth tones, wiping away the highlights. Then you move into painting, where color issues are examined, including how to get the best fl esh tones and how to use warm and cool. WA1112 INT/ADV LEVELS $625

PAINTING THE STILL-LIFEJim PhalenMon-Fri 9:30am-4:30pm 8/15-8/19 [5 days]

The still life is one of the most enduring genres in painting. Start the week with a discussion of space: how to make it believ-able and the best methods to create it. Then move on to composition, such as how to use your positive and negative space relation-ships the most effectively, as well as an in-depth examination of linear and atmospheric perspective. You begin your paintings with drawing in charcoal and progress to under painting in warm tones, wiping away to establish the highlight. Warm and cool color relationships, light and shadow, and color transitions are all emphasized throughout the weeklong program.WA1114 INT/ADV LEVELS $600

ICON PAINTING IN EGG TEMPERAIrene Pérez-OmerMon-Sat 9:30am-4:30pm 8/22-8/27 [6 days]

In this intensive six-day workshop, you learn how to “write” a traditional Russian-Byzantine icon in egg tempera with 23.5 karat gold leaf halo and shell gold highlights through a rigor-ous step-by-step process. All of the students in the workshop write the same icon, St. Mary Magdalene.

Pérez-Omer includes an explanation of the spiritual symbolism of every step of the con-templative icon-writing process while teaching you the ancient traditional techniques required to successfully complete your icon. Price of workshop includes all art suppies needed for the week including gold leaf, gum arabic and a solid wood gessoed board.WA1115 INT/ADV LEVELS $810 (price includes all art supplies)

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FIGURE PAINTING IN OILJordan SokolMon-Fri 9:30am-4:30pm 8/8-8/12 [5 days]

Prepare yourself for a humble exploration of the human fi gure as you foster alternative ways of thinking, seeing and painting, enabling you to achieve a realistic representation of the fi gure in space. Delve into such areas as the sight-size method, fi gure construction, structure through visual anatomy, form and its relationship to light, the optical impression and paint handling. Learn basic and advanced concepts of understand-ing and deconstructing visual perception into separate organized elements, developing a structured thought process for translating those elements accurately in paint.WA1113 INT/ADV LEVELS $625


Mitchell Albala, detail Jim Phalen Irene Pérez-Omer, detail

SUMMER

SCULPTING THE SELF PORTRAITTip Toland

Mon-Fri 9:30am-4:30pm 8/29-9/2 [5 days]

Working with a master fi gure sculptor over fi ve intensive days, learn to articulate your own image in solid clay with anatomical and expressive accuracy as you create a life-size self-portrait bust.

Through demonstrations, discussions and hands-on practice, you learn to build a struc-turally sound armature, mass clay to create form and accurately render proportion in modeling your own skull, neck, shoulders and facial features. Using the mirror as your reference tool, you learn about anatomy, measurement and gesture of the head and upper torso. Toland also guides you in the particulars of describing your gesture, place-ment of features and refi ning details. Once you complete the solid-stage modeling, you hollow out your self portrait and reassemble it, making the last changes and fi nishing touches. On the fi nal day, learn about hair applications and possible surface techniques after your artwork is fi red.WA1118 INT/ADV LEVELS $650 (price includes clay)

LANDSCAPE PAINTING IN SEATTLEKurt SolmssenMon-Fri 9:30am-4:30pm 8/29-9/2 [5 days]

For all of their painterly realism, Solmssen’s works have a geometric layout and sparseness of detail that lends them an abstract quality. As an instructor, he demonstrates methods for developing the pictorial elements in your oil paintings with rich, saturated color, high contrasts, atmospheric depth and a variety of paint surfaces. His sensitivity to composition and light values represents the ideal model for intermediate to advanced landscape painters.

Solmssen gives painting demonstrations and works with each student individually. You spend time painting in Seattle’s Volun-teer Park, as well as focusing on the city’s beautiful old homes and buildings and the landscape that surrounds them.WA1116 INT/ADV LEVELS $600

AMERICAN LUMINISM: COLOR, DEPTH AND DRAMACharles EmersonMon-Fri 9:30am-4:30pm 8/29-9/2 [5 days]

Luminism may best be described as an American counterpoint to European Impres-sionism, but with no visible brushstrokes, evoking an effect of being transformed by a pervasive light that seems to turn the work into an intense and silent glow. Over time Luminism has developed into a kind of mystic, sublime spectacle of awesome serenity or quiet power through sensual paint handling, atmospheric color effects and frequently strong contrasts of light and dark. In our own time, Luminism continues in the works of Mark Rothko and Clyfford Still in their searches for the abstract absolute with an evocation of the forces of nature and landscape history.

In this workshop, you paint in oil or acrylic to emulate and study these works and devices, including an original work, in order to adopt their use in a logical, consistent and convincing manner relevant to the art of today. Explore the ideas, techniques, and color discoveries of Rothko and Still artists along with James McNeill Whistler, Frederic Church, Fitz Hugh Lane, John Singer Sargent, Albert Pinkham Ryder, Maxfi eld Parrish, Albert Bierstadt, George Inness and Richard Diebenkorn. $15 materials fee payable to instructor. WA1117 INT/ADV LEVELS $600

In the Steps of Georgia O’Keeffe

Sunday, August 21 – Sunday, August 28, 2011

Join us for a spectacular one-week landscape painting workshop and art

tour designed for plein-air artists!

See page 7 for all the details!

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Kurt Solmssen, detail Mark Rothko Tip Toland, detail

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Drawing, painting and sculpting from observation form the cornerstones of Gage classes, which are open to artists of all ages and skill levels. With a focus on the humanist tradition, Gage presents the broadest range of fi gurative studies in the Northwest for artists of all ages and skill levels.

For students seeking continuing education, Gage offers 10-week classes throughout the academic year (and two fi ve-week summer sessions), as well as weekend and weeklong workshops, lecture series and open and reserved studio sessions.

KEY TO SKILL LEVELSBeneath each class listing is a skill level. Use the below guide to determine your current level.

Beginning: You have limited or no experi-ence with the drawing, painting or sculpt-ing practice and media.

Intermediate: You understand the prin-ciples of rendering light, shade and value and can draw any object, including the fi gure, with reasonable profi ciency; paint with an understanding of media applica-tion and use of color to describe form and space; sculpt with an understanding of structure, form and rhythm as well as basic techniques and tools.

Advanced: You exhibit a technical mastery of drawing, painting or sculpting, and are beginning to focus on the “why” in addition to the “how.”

GAGE FOUNDATION PROGRAMSAll of the classes and workshops at Gage are open enrollment, meaning you can choose for yourself what to take based on your own interests and considerations. The Foundation Drawing and Painting Programs, however, were developed as a means to help students answer the question “what class should I take next?”

These programs are designed with the structure of academic training in mind: building skills through an accumulating series of classes that offer both a breadth and depth of study. We believe a “founda-tion” in art is critical to a student’s success in achieving a solid understanding of core concepts for their own studio practice.

FOUNDATION CERTIFICATESWhile everyone is free to take classes noted as Foundation, formal enrollment in the Foundation Drawing and Painting Certifi cate Programs allows you the opportunity to earn a Foundation Certifi cate and offers distinct advantages to taking Foundation courses a la carte. The certifi cate benefi ts include quarterly guidance with our curriculum advisor, a certifi cate of completion and a solo show in the Entry Gallery at Gage. The cost for enrollment is $250 per certifi cate and you have fi ve years to complete each Foundation program.

The Foundation Drawing Program does not require a portfolio, however, enrollment into the Foundation Painting Program requires the completion of the Foundation Drawing Program or a portfolio review with our cur-riculum advisor.

FOUNDATION DRAWING PROGRAM D see pages 14–17, 22

FALLFoundation Drawing I*Foundation Figure Drawing I*Perspective DrawingPrinciples of Perspective Drawing lectures

WINTERFoundation Drawing II*Foundation Figure Drawing II*Design Concepts for ArtistsAnatomy for the Artist lectures

SPRINGAesthetics of DrawingFoundation Figure Drawing III*Figure Drawing in InteriorsPortrait DrawingFigure SculptingDrawing the Features of the Head lectures

FOUNDATION PAINTING PROGRAM Psee pages 18–22

FALLFoundation Still-Life Painting I*Foundation Figure Painting: Color into Value*Color for Painters

WINTERFoundation Still-Life Painting II*Contemporary Portrait Painting *Design Concepts for Artists (or elective)

SPRINGFoundation Still-Life Painting III*Figure PaintingPortrait PaintingPortrait Sculpting*class meets twice a week

Gage Curriculum & Foundation Programs

WANT TO LEARN MORE ABOUT STUDYING AT GAGE?

Call 206.323.GAGE (4243) to arrange a 30-minute interview.

If you have artwork to show, please bring it!

Students in the sculpting studio work from the model.

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Stay Connected to GageBecome a fan of Gage on Facebook and follow us on Twitter for the latest news and updates.

For student information and registration terms,

see pages 28 & 29.


Spring Quarter Schedule | April 11 – June 19

Open Studios

Open, Reserved and Mentored Studios provide opportunities for Gage students and artists in the community to work independently from the model or on personal projects under the mentorship of a Gage instructor.

Morning

Afternoon

Evening

DROP-IN FIGURE STUDIOSNo instructor

In the tradition of all professional art schools, Gage offers drop-in fi gure studios every day of the week. Artists from Gage and the community work independently from the model on a drop-in basis, gaining hands-on practice in drawing, painting or sculpting the fi gure. In Artist’s Choice ses-sions, the pose is set by a Gage instructor or guest artist who works alongside studio artists for the duration of the pose. See calendar below for the spring schedule.

ST1107 FIRST VISIT FREE$12 (drop-in) / $45 (5-session pass)$140 (20-session pass)

RESERVED FIGURE STUDIOSNo instructor

In the Reserved Figure Studios, a group of dedicated artists works from one fi gure pose throughout the 10-week quarter, with the pose set on the fi rst night. Artists must regis-ter before the quarter begins to guarantee an easel space.See calendar below for the schedule.

ST1108 (Mon) $130 Dwg/Ptg [9 wks]

ST1109 (Fri) $130 Dwg/Ptg [9 wks]

ST1110 (Sun) $115 ($140 includes clay) Sculpting [8 wks, no class 4/24 or 5/29]

PRIVATE MENTORING PROGRAMInstructor Assigned Individually

Connect with a Gage mentor for guidance on your creative journey. Depending on your skill level, mentors give private art lessons or assess your work, make suggestions for further study and development and help develop a road map for your future study. To enroll, call Gage to help you determine the best match for your mentoring needs.

MS1103 Mentoring by a Gage Instructor: 3 hours $225

($175 if enrolled in a concurrent Gage program)

MS1104 Mentoring by a Gage Graduate: 8 hours $250

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY

9:30am - 12:30pm 9:30am - 12:30pm 9:30am - 12:30pm 10:00am - 1:00pmRESERVED STUDIORESERVED STUDIO SHORT POSES LONG POSE RESERVED STUDIORESERVED STUDIO

4/11 - 6/13 4/17 - 6/19 no class 5/30 9no class 4/24 or 5/29

1] [Studio w/ S1107 & S1111[

1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm ARTIST’S CHOICE LONG POSE SHORT POSES LONG POSE 4/11 - 6/13 4/15 - 6/17 4/16 - 6/18 4/17 - 6/19

no class 5/30 no class 5/28 no class 4/24 or 5/29 6:30pm - 9:30pm 6:30pm - 9:30pm

SHORT POSES RESERVED STUDIORESERVED STUDIO

4/15 - 6/10 [9 wks]

DROP-IN AND RESERVED STUDIOS

Gage students and mentors, as well as community artists, drop in to draw, paint and sculpt in the daily Gage Open Studios.

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Evening Lecture Series

Affordable and stimulating, the Gage Evening Lecture Series invites art students and the general public to become better acquainted with artistic techniques and art history. Register for an entire series or “drop in” for a particular lecture that interests you.

Kenneth Rosen Lectures

DRAWING THE FEATURES OF THE HEADGary FaiginTuesday 7:00pm-8:30pm 4/26-5/31

Nothing is more emotionally compelling to observe than the human face. Magazines flaunt idealized facial beauty; Hollywood packages expressive faces for big-screen cinema; TV capitalizes on talking heads to give the facts and features of the day. Over six evenings, Faigin, author of the acclaimed The Artist’s Complete Guide to Facial Expression, presents an animated dis-course on the foundations of drawing the head. Drawing from models and showing slides, he guides you to a broader under-standing of this fascinating subject.

Apr 26 It’s What’s Underneath that Counts: Fundamental Forms of the Skull

May 3 The Skull: How It Relates to the Proportions of the Head

May 10 Looking into the Eye: Under- standing & Drawing Its Forms

May 17 The Features: Depicting the Nose, the Mouth & the Ear

May 24 The Tonal Factor: Shading the Head as a Whole

May 31 What’s in a Smile? A Look at Facial Expressions

ALL LEVELS/PUBLIC WELCOMEL1103 $70 for series/$14 at door

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Contemporary Art Lectures

THE GAZE: A CONTEMPORARY VIEW OF THE FIGURESharon ArnoldWednesday 7:00pm-8:30pm 4/27-5/25

Arnold presents a contemporary view of the figure in art history and how it has changed over the centuries. You also ex-plore how “the Gaze,” manifested through French philosopher Jacques Lacan in mid-20th century post-structuralism, erupts into controversial feminist theory of the 1970s and 1980s. Learn not only how the stories and the subjects change, but also how the story of the maker changes, and how a new dynamic has emerged between the artist, the subject and the viewer.

April 27 The Gaze: What Are we Looking At?A brief historical review of who dictates what we see in art and how we see it.

May 4 The Subject: Who is She?The figure in art and how its depiction has changed over the centuries.

May 11 The Reason: What’s Her Story?How, why and what cultural influences have impacted artistic subject matter and presentation.

May 18 The Switch: Who is He?How the nude male figure was predominant, nearly disappeared and is now reemerging.

May 25 The Mirror: Who is Watching the Watchers?How post-modern ideas have flipped the traditional meaning of the gaze.

ALL LEVELS/PUBLIC WELCOMEL1104 $60 for series/$14 at door

Gary Faigin Medusa, Michelangelo Merisi da Caravaggio Norman Lundin, detail

Gage Studio Tours

INSIDE THE ARTIST’S STUDIOStudio Guide: Lauren KlenowSunday 3:00pm-5:00pm 4/17-6/5

Spend five Sunday afternoons throughout Seattle visiting the working studios of professional artists. Learn firsthand how they generate their ideas, develop finished works and approach different art making processes. Gage Exhibitions Coordinator Lauren Klenow leads the discussion in each studio inviting you to participate in lively conversation.

Carpools can be arranged from the Gage parking lot. Scheduled dates strategically do not land on any holidays. Limited to 14 participants.

April 17 Georgetown Group studio visit: Claire Cowie, Chris Engman, Chauney Peck, Mark Takamichi Miller, Leo Saul Berk, Dan Webb and Claude Zervas

May 15 Whidbey Island: Kent Lovelace, painter, Lisa Harris Gallery &

Claudia Pettis, painter, Art Spirit Gallery

May 1 North Seattle: Whiting Tennis, painter & sculptor, Greg Kucera Gallery

May 22 Madrona: Norman Lundin, painter, Francine Seders Gallery

June 5 SODO: Eric Elliott, painter, James Harris Gallery

ALL LEVELS/PUBLIC WELCOMEL1105 $125 for series

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Drawing Classes

W hen working from observation, drawing provides the structural foundation for your unique translation of the physical world into a two-dimensional image. At Gage, where enrollment is open to artists of all levels, we offer a wide variety of

drawing programs in order for artists to advance technically and aesthetically. Drawing classes run for 10-week sessions with most classes meeting once a week for three hours. In addition, Gage offers a Drawing Foundation Program which provides an academic progression of artistic training. Learn more about Gage Foundation Programs on page 12 and look for the D in our class listings. Please Note: Most Gage classes require out of studio homework.

BEGINNING

PORTRAIT DRAWING: THE HALF FIGURESuzanne BrookerMonday 9:30am-12:30pm 4/11-6/13 [9 wks, no class 5/30]

Extend your portrait drawing skills to include the expressive qualities of the arms and hands in a series of studies done from the model and photographs. Brooker presents a step-by-step approach, which combines anatomical under-standing and techniques in rendering form.D1125 ALL LEVELS $405

ABSTRACT DRAWINGJulia RickettsMonday 1:30pm-4:30pm 4/11-6/13 [9 wks, no class 5/30]

What is drawing? Drawing can be a means to create forms, develop schema, articulate ideas or express intangibles, all via marks on pa-per. Survey the ideas, techniques and materials behind a range of contemporary approaches to drawing, from the direct to the conceptual.D1126 ALL LEVELS $395

BEGINNING FIGURE DRAWINGMichael MagrathTuesday 6:30pm-9:30pm 4/12-6/14

Eric ElliottFriday 1:30pm-4:30pm 4/15-6/17

Gain technical mastery and intuitive under-standing of the human form. Working from quick gesture drawings then longer, more considered poses and drawings, you learn to incorporate proportion and anatomy, use light and shade in the depiction of volume, and line and tone to describe planar changes in the body.D1129 BEGINNING $450 (Magrath)D1135 BEGINNING $450 (Elliott)

EXPRESSIVE FIGURE DRAWINGMark Kang-O’HigginsWednesday 6:30pm-9:30pm 4/13-6/15

Learn to capture the essential form and gestural movement of the human fi gure with boldness, spontaneity and accuracy. Working with a variety of drawing media, you complete multiple gesture sketches and detailed gestural drawings as you develop your understanding of accurate fi gure draw-ing, human anatomy and the use of light and shadow to suggest three-dimensional form imbued with raw emotive power.D1130 ALL LEVELS $450

FOUNDATION FIGURE DRAWING I D

Matt BucknerMon/Wed 1:30pm-4:30pm 4/11-6/15 [9 wks, no class 5/30]

Working in a variety of drawing media, you build a foundation of skills and methods for creating accurate, emotive renderings of the human fi gure. You learn concrete techniques for conveying form, contour, structure and volume. Anatomy and proportion are stressed throughout, while class discussions and critiques add context and breadth to your new art-making skills.D1127 BEGINNING $670

DRAWING TECHNIQUES OF VAN GOGH & SEURATMargaret DavidsonTuesday 1:30pm-4:30pm 4/12-6/14

One of the best things about studying Modern-ism in drawing is looking at the vigorous and well-known works of van Gogh, and then discovering the lesser-known but amazing drawings of Georges Seurat. Van Gogh’s drawings are fearless and strong, consisting of complex layers of ink lines and dots that depict landscapes, people and his mood. Seurat’s drawings, done with black crayon on bumpy white paper, are edgeless and atmospheric, and show us an approach to drawing that was completely and utterly new. Study and copy these two great artists — learn how they drew, why they worked the way they did and how to apply that understanding to your own art today.D1128 ALL LEVELS $420

Julia Ricketts Michael Magrath Mark Kang-O’Higgins

Gage Programs

Foundation Painting

Foundation Drawing

Modernism Series

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Anne Petty, detail Matt Buckner, detail Geoff Flack, detail

DRAWING NATURE IN THE LANDSCAPESuzanne BrookerThursday 9:30am-12:30pm 4/14-6/16

From graphite studies to gestural sketches in chalk and charcoal media, learn how to interpret the landscape from photographic sources using a variety of drawing tech-niques. Gain an understanding of form, texture and perspective as you explore the nuances of landscape drawing.D1131 ALL LEVELS $420

PERSPECTIVE FOR ARTISTS D

Michael LaneThursday 9:30am-12:30pm 4/14-6/16

Explore methods for creating pictorial space using perspective. Drawing from the imagina-tion, memory and observation, learn to use aerial as well as one-, two- and three-point perspective to develop strong compositions. Drawing, discussions and critiques are part of each session. Some drawing experience is recommended, but not required. D1132 ALL LEVELS $420

BEGINNING PORTRAIT DRAWING D

Eric ElliottFriday 9:30am-12:30pm 4/15-6/17

Working from portrait models and self-portraits, study the essential techniques and concepts of proportion, line, value, volume, structure and composition. Focus on the basic concepts of drawing applied to the human form and learn to think visually, translating what you see into a compelling portrait.D1133 BEGINNING $450

DRAWING FOR BEGINNERSAnne PettyFriday 9:30am-12:30pm 4/15-6/17

In this introductory fundamentals class, exercises expose you to key concepts and artistic principles to accurately render line, shape, proportion and negative space while working from the still life and the human figure. You explore various drawing media, including charcoal and graphite, as you progress from simple lines toward a nuanced understanding of tonal description. D1134 BEGINNING $420

DRAWING INTO PAINTING: THE STILL LIFEMitchell AlbalaSunday 2:00pm-5:00pm 4/10-6/19 [9 wks, no class 4/24 or 5/29]

Working from still-life arrangements, you learn drawing fundamentals including proportion, negative space, line and value as descriptive tools for creating the illusion of space. Then you gently transition into paint-ing as you compose and begin a painting, learn to mix colors with a limited palette, use brushes and handle oil paint.D1136 ALL LEVELS $395

INTERMEDIATE

DRAWING THE FIGURE IN INTERIORSTerry FurchgottTuesday 9:30am-12:30pm 4/12-6/14

Improve your figure drawing skills then learn to create the illusion of space, light and volumetric mass with the use of clear relative values. Using pencil, charcoal, ink and white chalk you complete bold sketches and one finished drawing working from complex theatrical set-ups including figure, objects, furniture and drapery. Composition and perspective studies help you create images with successful visual relationships convey-ing mood, personality and meaning. Previous figure drawing experience recommended. $5 materials fee payable to instructor.D1137 INTERMEDIATE $450

FOUNDATION FIGURE DRAWING III Geoff FlackTues/Thurs 1:30pm-4:30pm 4/12-6/16

Learn how to set up, start and finish more sophisticated pictures of the figure while you work on lengthy drawings from the model. Continue to build on your skills of rendering the figure from observation while learning the figure’s construction and proportion systems to help solve problems of drawing the figure from memory. Explore a range of drawing ma-terials and surfaces, and leave the class with a collection of refined figure drawings. D1138 INTERMEDIATE $690

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Barbara Fugate Joseph Lesser, detail Margaret Davidson, detail

BEGINNING COLOR THEORYMargaret DavidsonTues/Thurs 6:30pm-9:30pm 4/12-6/16

Working in colored pencil, create a color wheel and color relationship samples as you develop color still-life drawings, depth studies and a detailed examination of color as value. Examples of color use as well as master copies further your understanding of color.D1139 INTERMEDIATE $650

FIGURES IN MOTION: DEGAS, RODIN & FUTURISMBarbara FugateWednesday 1:30pm-4:30pm 4/13-6/15

Degas and Rodin worked from dancers, cap-turing action and movement through space. The Futurists, inspired by the machine age, made paintings that nearly explode with the power, energy and speed of industrial pro-duction. Drawing in mixed media, you work in sketchbooks from animals at Woodland Park Zoo, dancers rehearsing at the Pacific Northwest Ballet and from gesture models at Gage. Then you make dynamic paintings in oil or acrylic from your sketches in the studio to produce images of restlessness, transi-tion and the natural dynamics of movement, investigating the ideas developed by the Futurists. Some painting and drawing experi-ence recommended. D1140 INTERMEDIATE $450

Registration begins on February 28 — programs do sell out, so enroll online early to ensure your place!

DRAWING INTO PAINTING: THE FIGUREBarbara FugateThursday 2:00pm-5:00pm 4/14-6/16

From session to session, you alternate draw-ing and painting large-scale figures in oil or acrylic. Any gaps between how you draw compared to how you paint are brought closer together by comparing and contrast-ing the art elements of line, shape, color, value and texture. In addition, you practice various ways to use brushes, rags, palette knife, charcoal and soft pastel. Some drawing experience recommended. D1141 INTERMEDIATE $450

INTERMEDIATE FIGURE DRAWINGMichael LaneThursday 6:30pm-9:30pm 4/14-6/16

Create credible figures from observation as you draw from the model, starting with short gesture poses and working your way up to longer poses. You study anatomy, propor-tion, volume and form, and solutions to common figure drawing challenges such as foreshortening, facial expression and placing the figure in an environment. Class time includes lectures, demonstrations and group critiques.D1142 INTERMEDIATE $450

5-WEEK ALL-DAYFIGURE & PORTRAIT DRAWINGJoseph LesserSaturday 9:30am-4:30pm 4/16-5/14

Using the drawing medium of your choice (charcoal or pencil), refine your shape and value skills while working from the model. Achieve more accurate shapes, increase your understanding of the surface anatomy of the figure and head, and study the way light falls on three-dimensional forms. Morning demonstrations and work focuses on the figure, while the afternoons are devoted to the portrait. D1143 INTERMEDIATE $450

ADVANCED

AESTHETICS OF DRAWING D

Margaret DavidsonThursday 1:30pm-4:30pm 4/14-6/16

Complete a series of projects to help you analyze your work, develop your sensitiv-ity and stretch your personal dialogue with drawing in various modes and media. Read-ings and examples from art history are used as part of class discussions.D1144 ADVANCED $420

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Painting describes both a process and a product and ultimately demonstrates the technical, expressive and conceptual abilities of the artist. At Gage, we train art-ists from the “ground” up — beginning with traditional programs like color theory

and grisaille painting — advancing to professional-level classes based on conceptual and abstract theories. During the academic year, our painting courses run for 10-week sessions with most classes meeting once a week for three hours. In addition, Gage offers a Painting Foundation Program, which provides an academic progression of artistic training. Learn more about Gage Foundation Programs on page 12 and look for the P in our class listings. Please Note: Most Gage classes require out of studio homework.

Painting Classes

Vincent Van Gogh Suzanne Brooker, detail Tom Hoffmann, detail

NEW! MODERNISM SERIES

Modernism is always contemporary, individual and relevant to the here and now. To be a modernist is to be aware of the great art of the past, conscious of the present and open to new ideas and aesthetics while exploring new ways of best expressing a personal vision.

Charles Emerson, Margaret Davidson and Barbara Fugate, three long-standing Gage instructors, have built a two-year Modernism Series curriculum cover-ing the development of Modernism from the old masters up to present day. Each instructor will teach one class per quarter through Spring 2012. Look for the in our class listings, and visit www.GageAcademy.org/adult for a full schedule.

This quarter features:

DRAWING TECHNIQUES OF VAN GOGH & SEURATMargaret Davidson

FIGURES IN MOTION: DEGAS, RODIN & FUTURISMBarbara Fugate

POST-IMPRESSIONISM: NEW COLOR, EXPRESSION & TECHNIQUES Charles Emerson

FIGURE PAINTING IN OIL P

Anne PettyWednesday 9:30am-12:30pm 4/13-6/15

Michael LaneSaturday 2:00pm-5:00pm 4/16-6/18 [9 wks, no class 5/28]

Learn to create a dynamic figure painting in oil from the live model. Starting with a limited palette, you learn how to block-in value and temperature shapes that comprise the figure and surrounding environment. Explore practi-cal color-mixing strategies and work up to a final painting with an extended palette with an emphasis on composition and sighting ac-curate figure proportions. P1130 ALL LEVELS $450 (Petty)P1141 ALL LEVELS $405 (Lane)

PORTRAITS IN CONTEXT: NEW! THE BACKGROUNDSuzanne BrookerWednesday 9:30am-12:30pm 4/13-6/15

Explore painterly ideas and strategies for cre-ating a more dynamic background, adding con-text and substance to your portraits. Whether imaginary scenes or atmospheric spaces, learn how to compose and execute more complex and interesting portraits in oil using study paintings and working from the model.P1131 ALL LEVELS $450

BEGINNING WATERCOLORTom HoffmannWednesday 9:30am-12:30pm 4/20-6/15 [9 weeks]

Develop an understanding of transparent watercolor that allows you to make conscious choices regarding color, value, wetness and composition before the brush touches the paper. Then your strokes can be made with the authority that watercolor rewards. P1132 BEGINNING $395

BEGINNING

BEGINNING STILL-LIFE PAINTINGAnne PettyMonday 9:30am-12:30pm 4/11-6/13 [9 wks, no class 5/30]

In a step-by-step process you learn the methods of oil painting while exploring the still-life genre. In order to promote artistic skills and confidence, you learn to consider value, warm and cool relationships, and color as well as methods for self-correction and problem solving. Throughout the course, you participate in discussion on tools, materials, methods and techniques.P1128 BEGINNING $395

LANDSCAPE OIL PAINTING: FLOWERING SPRING TREESSuzanne BrookerTuesday 9:30am-12:30pm 4/12-6/14

Wednesday 6:30pm-9:30pm 4/13-6/15

Explore the challenges of painting the dappled light and intense color of the spring landscape with a combination of direct/indi-rect painting approaches. Through a series of studies, examine how to mass strong areas of value contrast, compose positive/negative shapes and strategize color for modulating temperature in tints of comple-ments. Learn how to include architectural elements of the garden (gates, trellises and fences) while building your skills in brush techniques for rendering foliage.P1129 ALL LEVELS $420 (Tuesday)P1134 ALL LEVELS $420 (Wednesday)

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Kathleen McKeehen, detail Angielena Chamberlain, detail Susan Bari Price, detail

ENCAUSTIC TECHNIQUESHamid ZavareeiWednesday 1:30pm-4:30pm 4/13-6/15

Investigate the different characteristics and effects achieved by employing wax as a component of your painting. Learn the basics of this ancient, luminescent medium, including material, surface and painting techniques as you explore a range of encaustic applications: from simple addition of wax to your painting media to hot-wax painting and the heating of wax-painted surfaces to layering and transfer-ring methods. $25 partial materials fee payable to instructor.P1133 ALL LEVELS $420

BEGINNING OIL PAINTINGSuzanne BrookerThursday 6:30pm-9:30pm 4/14-6/16

Discover the vast possibilities of oil painting by learning the principles of mixing color, setting up a palette and paint application through brush strokes as well as creating compositions through basic concepts of value, space, volume and cool and warm colors from start to finish through specific exercises. With an individual focus on all aspects of paint-ing, you develop skills necessary to create expressive and powerful work augmented by lectures and demonstrations.P1135 BEGINNING $420

CAST PAINTING NEW!Susan Bari PriceFriday 9:30am-12:30pm 4/15-6/17

The principles of light and form, introduced in Cast Drawing, are your starting point for this beginning painting class. You work in gray scale, from geometric solids, then antique statuary and learn paint handling and value relationships to achieve a strong illusion of light and volume. Examine light and shadow relationships in detail and discover proper methods for completing paintings with mul-tiple layers. Solid drawing skills recommended.P1136 ALL LEVELS $420

PROCESS & MATERIALS FOR PAINTERSOlivia BrittFriday 9:30am-12:30pm 4/15-6/17

Experiment with a variety of papers and me-diums to produce a series of abstract drawing constructions focused on composition, color, scale, material combination and process as you generate new ideas and translate them to paint. Use work of your own that you wish to develop further and the work of other artists, photographs, objects and literature as sources of fresh inspiration. Active dialogue, writing and critiques are integral components of this course. P1137 ALL LEVELS $420

BOTANICAL WATERCOLOR: BLOOMING GARDENSKathleen McKeehen Friday 1:30pm-4:30pm 4/15-6/17

Practice botanical painting basics including measurement, drawing and preparing the painting surface; understanding how lighting reveals form; using flat and graded washes; and applying dry-brush technique to gain un-derstanding of color mixing processes. Learn flat and graduated wash techniques, followed by instruction in dry-brush method, which allows for a very detailed, tight and realistic portrayal of your botanical subjects.P1138 ALL LEVELS $420

EXPRESSIVE WOODBLOCK PRINTMAKINGAngielena ChamberlainSaturday 10:00am-1:00pm 4/16-6/18 [9 wks, no class 5/28]

Explore different techniques for creating an original woodblock print. This ancient form of graphic art stems back to eighth century Buddhist monks in China and Japan and proceeds forward into our modern era with the Brücke (the bridge) German expression-ist movement. You experiment with different approaches from these periods, and discover different styles and approaches to woodblock in order to create new woodblock prints that engage your viewers. P1139 ALL LEVELS $395

PORTRAIT PAINTING IN OIL P

Michael LaneSaturday 10:00am-1:00pm 4/16-6/18 [9 wks, no class 5/28]

In this course on the art and practice of por-traiture you learn from observation, acquire strategies of organizing visual information and study historic precedent while you work to render convincing and compelling like-nesses of the model in oil.P1140 ALL LEVELS $405

DRAWING INTO PAINTING: THE STILL LIFEMitchell AlbalaSunday 2:00pm-5:00pm 4/10-6/19 [9 wks, no class 4/24 or 5/29]

See description on page 16.D1136 ALL LEVELS $395

INTERMEDIATE

STILL-LIFE PAINTING III P Susan Bari PriceMon/Wed 1:30pm-4:30pm 4/11-6/15 [no class 5/30]

Focus on color-mixing and bringing your paintings to a higher degree of finish in this final class in the foundational still-life paint-ing series. Your finished, well-composed painting addresses concept, composition, fully turned form and convincing spatial relationships. Discuss and apply paint-ing techniques that lend a “finish” to your work including glazing, impasto and varying edgework.P1142 INTERMEDIATE $620

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Painting Classes (continued)

INTERMEDIATE ABSTRACT PAINTINGJulia RickettsMonday 6:30pm-9:30pm 4/11-6/13 [9 wks, no class 5/30]

Explore the language of abstraction as expressed in contemporary painting. With the work of 20th- and 21st-century artists as your guide, you examine some of the strate-gies and working methods used to create non-representational art. You address the language of marks, the creation and defini-tion of form and the use of color in class assignments, executed in drawing materials and oil or acrylic paint.P1143 INTERMEDIATE $395

FLEMISH PAINTING TECHNIQUES OF THE OLD MASTERSHamid ZavareeiMonday 6:30pm-9:30pm 4/11-6/13 [9 wks, no class 5/30]

The works of the Flemish old masters such as Jan Van Eyck and Rogier Van der Weyden contain some of the most meticulously detailed rendering in western art. Each stage of the painting process was undertaken with ultimate care and veneration. In this class you learn the Flemish technique, which involves rendering the image in two major stages: underpainting and overpainting. As you create master copies, discover how to prepare the surface, lay down or transfer the drawing, and execute the underpainting with egg tempera in the first stage of the painting and then learn the details of overpainting such as varnishes and oil glazes and how to interlace egg tempera laid wet into wet glazes or used as highlights in the final stages of the work.P1144 INTERMEDIATE $395

PORTRAIT PAINTING IN ACRYLICTerry FurchgottTuesday 6:30pm-9:30pm 4/12-6/14

Learn to successfully capture the underlying structure and luminous skin tones of your model with strong, spontaneous strokes using the expressive medium of acrylic paint. Starting with the basics of how to draw the head, neck and features, and the key rela-tionship between color and tonal value, you progress to more advanced studies including brushwork, color mixing, drapery and like-ness. You complete several brief studies and one finished portrait paying particular attention to the palettes and techniques of Vermeer and Mary Cassatt. $15 materials fee payable to instructor. P1145 INTERMEDIATE $450

INTERMEDIATE WATERCOLORTom HoffmannWednesday 1:30pm-4:30pm 4/20-6/15 [9 weeks]

Work with increasingly complex subjects as you expand your understanding of and dexterity with watercolor. Working from the still life, landscapes and photographs, you learn to individualize your painting process, better understand the variables of watercol-or painting, use the variables to your creative advantage and take informed risks. Students should have completed Beginning Watercolor or have basic watercolor experience.P1146 INTERMEDIATE $395

FIGURES IN MOTION: DEGAS, RODIN & FUTURISMBarbara FugateWednesday 1:30pm-4:30pm 4/13-6/15

See description page 17. D1140 INTERMEDIATE $450

VENETIAN PAINTING TECHNIQUES NEW! OF THE OLD MASTERSHamid ZavareeiWednesday 6:30pm-9:30pm 4/13-6/15

Italians adapted the Flemish painting technique that originated in the Northern European Renaissance by substituting the egg tempera underpainting with oil paint and using canvas as opposed to wood pan-els, which allowed for larger paintings and compositions. This significant advance in painting technique is responsible for the bur-geoning of oil painting on a scale that was unprecedented and has continued to be the foundation of academic learning throughout Europe. Follow this tradition as you create master copies and learn to lay the initial paint layer called Imprematura and develop the underpainting, working with the layers of scumbles and glazes to the final touches and highlights.P1147 INTERMEDIATE $420

BAY AREA ABSTRACT NEW! & FIGURAL PAINTING Charles EmersonThursday 9:30am-12:30pm 4/14-6/16

This mid-century San Francisco art of personal expression, spontaneity and com-munication of feelings within a Modernist aesthetic was based upon the teachings of both Mark Rothko and Clyfford Still and their search for a new American Art. Influenced by Asian art and calligraphy, Zen Buddhism, modern jazz, Beat poets and the paintings of Giorgio Morandi, it morphed into a sensual, emotionally charged art of inventive paint manipulation, a new color sense and radical visual compositions. Learn from a teaching artist who was there as an art student, and complete weekly painting exercises in oil or acrylic as you move from abstraction to a new form of inventive landscape, and finally to a series of personal figure paintings. $15 materials fee payable to instructor.P1148 INTERMEDIATE $420

Hamid Zavareei (after Hugo van der Goes) Terry Furchgott, detail Charles Emerson, detail

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POST-IMPRESSIONISM: NEW COLOR, EXPRESSION & TECHNIQUES Charles EmersonThursday 1:30pm-4:30pm 4/14-6/16

Cezanne, Van Gogh, Gaugin and Seurat; all academic based painters who, in their search for a more personal, spiritual and relevant ex-pression, changed the way we see art forever. All four are key to the understanding of Mod-ernism, most importantly in the area of color. These new ideas were critical in composition, expression, paint application, visual rhythm and overall painting. Explore the how and why of these art giants through a series of lectures and painting exercises in oil or acrylic devised to more fully understand the impact of their new realities and why they remain so relevant to today’s art in their appeal to both intellect and emotion. $15 materials fee pay-able to instructor.P1149 INTERMEDIATE $420

DRAWING INTO PAINTING: THE FIGUREBarbara FugateThursday 2:00pm-5:00pm 4/14-6/16

See description page 17.D1141 INTERMEDIATE $450

STUDIO LANDSCAPE PAINTINGMitchell AlbalaThursday 6:30pm-9:30pm 4/14-6/16

Create larger, more developed landscape mo-tifs from sketches and photos while covering essential theory: simplification/massing, color strategy and composition. Your individual project examines technique, issues of scale, working in series, referencing photos and us-ing the computer as an idea-generating tool. Landscape painting experience required.P1150 INTERMEDIATE $420

DIRECT FIGURE PAINTING: ALL AT ONCEBarbara FugateThursday 6:30pm-9:30pm 4/14-6/16

Ignite and challenge your figure painting experience by rapidly making a new painting each class session. Using both oil or acrylic paint and various colored grounds, and referencing the working methods of the Impressionists, among other gestural paint-ers. You explore limited color palettes, color harmony, use of line and shapes, gesture, depth of space, texture, composition and contrast. Some painting experience recom-mended.P1151 INTERMEDIATE $450

ADVANCED

ADVANCED ACRYLIC PAINTINGTerry FurchgottMonday 6:30pm-9:30pm 4/11-6/13 [9 wks, no class 5/30]

Clarify your own artistic vision and working methods while being supported and chal-lenged by the close mentorship and ongoing critiques of your instructor and fellow stu-dents. Working from inspiring figures in inte-rior and still-life setups, you complete three sessions of brief, painterly sketches followed by a six-session finished painting. Bring in work done at home for review as well. You choose and study several master painters in depth, gaining insight into complex problems of color, composition and brushwork. $15 materials fee payable to instructor. P1152 ADVANCED $395

ADVANCED WATERCOLORTom HoffmannTuesday 9:30am-12:30pm 4/19-6/14 [9 weeks]

As an experienced watercolor painter seeking to refine your practice and strengthen your personal style, you are invited to work under the close mentorship of Hoffmann to develop independent painting projects according to your artistic vision. Hoffmann assists you in your mastery of advanced techniques and in-novative approaches to increasingly complex compositions. Class time includes group discussions and critiques. Completion of In-termediate Watercolor or instructor permission required. New students welcome.P1153 ADVANCED $395

MODERN PAINTING CRITIQUE GROUPJulia RickettsSunday 10:00am-1:00pm 4/17, 5/1, 5/15, 6/5, 6/19

Ricketts leads a lively critique group for painters working in any media. Meet biweek-ly to discuss issues in contemporary painting and one another’s work. Concept, surface, imagery and composition are some of the many topics for discussion. The emphasis focuses on developing your individual voice. Class size is limited to eight students. P1154 ADVANCED $190

CREATIVE CONTINUITYJulia RickettsSunday 2:00pm-5:00pm 4/10-6/19 [9 wks, no class 4/24 or 5/29]

This independent study-style class is designed to develop a new painting project or ener-gize a series you wish to complete. Working from a set of parameters defined in the first class, you create several paintings that hang together as a related examination of a theme. You may work in oil, acrylic or mixed media on the surface of your choice. Instructor guidance enhances your in-class studio work.P1155 ADVANCED $395

Mitchell Albala Barbara Fugate Julia Ricketts, detail

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Sculpting Classes

S culpting classes for students of all skill levels are available at Gage. Whether you are just starting out in three dimensions or are a seasoned artist ready to take your work to the next level, Gage has a sculpting class to fi t your needs.

Sculpture Reserved StudioSpring Schedule 4/11-6/19*

* For full schedule and cost, see p 13.

FIGURE SCULPTURE D

Matt BucknerMonday 9:30am-12:30pm 4/11-6/13 [9 wks, no class 5/30]

Saturday 10:00am-1:00pm 4/16-6/18 [9 wks, no class 5/28]

Refi ne your ability to see and render the fi gure as you study the underlying forms and uniting rhythms of the human body. You learn to hone your artistic intention to convey meaning in your work as you model a scale fi gure alongside your instructor from a sustained pose. Learn the logistics by work-ing from measurements, and how to utilize photographs and life castings between ses-sions with the model. Buckner demonstrates the life-casting process. The pose is also available in the independent Sculpture Re-served Studio on Sunday mornings — allow-ing you many additional sessions to develop your work. (Register separately for ST1110.)S1107 ALL LEVELS $440 (price includes clay)S1111 ALL LEVELS $440 (price includes clay)

PORTRAIT SCULPTURE P Michael MagrathMonday 6:30pm-9:30pm 4/11-6/13 [9 wks, no class 5/30]

Working from a model, explore methods for modeling, creating texture and capturing a likeness as you create your own portrait sculpture. Study proportion, anatomy, mea-suring methods and techniques for building templates and armatures. See also Drawing the Features of the Head lecture series on page 14.S1108 ALL LEVELS $440 (price includes clay)

FIGURE SCULPTING STUDIO D

Michael MagrathTuesday 1:30pm-4:30pm 4/12-6/14

Experience a clear and intuitive method to master the fundamentals of three-dimen-sional modeling, as well as develop advanced skills that radically improve your ability to see and understand the fi gure. Work from the same pose for the entire quarter.S1109 ALL LEVELS $475 (price includes clay)

THE ESSENCE OF ANIMALSBill EvansFriday 9:30am-12:30pm 4/15-6/17

Learn clay-handling techniques as you work to create several fi nished and fi red sculp-tures of animals. Along the way, you create maquettes, or small scale models, of your sculptures, clay sketches and fi nished pieces. Throughout the process of building, hollow-ing, fi ring and coloring, you pay special atten-tion to form and surface texture, and gain an understanding of how bones, muscles and skin come together to best express the ani-mal’s personality and form. Demonstrations and hands-on critiques augment the class.S1110 ALL LEVELS $445 (price includes clay)

Gage Programs

Foundation Painting

Foundation Drawing

Modernism Series

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4/17 - 6/19 [8 wks, no class 4/24 or 5/29][Studio w/ S1107 & S1111]

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Matt Buckner Michael Magrath Bill Evans

Running from September through June each year, Gage Ateliers offer an intensive studio program for the serious artist-in-training. The ateliers (French for artist’s studio) are based on the traditional teaching model of the 19th-century European academies

where dedicated art students apprenticed with a master artist.

At Gage, all atelier students are given an individual studio space to complete projects inde-pendently under the guidance of their chosen instructor. Working together in group studios, atelier students enjoy the benefi t of creative infl uence and dialogue among their peers within a focused environment.

Enrollment in the atelier programs is yearly, with 35 weeks of dedicated instruction over nine months. The calendar for the 2010–11 year runs September 13 through June 24. For 2011-2012, the ateliers run September 12, 2011 through June 22, 2012. Aristides’ and Kang-O’Higgins’ students make a 30-hour-per-week studio commitment, including working half of every day from the fi gure model. Students of Faigin work independently for a minimum of 15 hours in the studio each week, in addition to attending two weekly teaching sessions.

Atelier students receive free access to all Drop-In Figure Studios and any Gage Evening Lecture Series on art techniques and art history, which run throughout the academic year. To learn more or to receive application materials, please visit www.GageAcademy.org or call 206.343.4243.

2011-2012 Gage Atelier applications are due on Tuesday, May 31, 2011.

Gage Ateliers

CLASSICAL ATELIERJuliette Aristides

Based on the 19th-century model for training painters, this four-year diploma program provides time-tested methods for solving pictorial problems. Aristides teaches in stages; serious beginning students focus on drawing; more advanced students move into mono-chromatic and then fully chromatic painting. Fourth-year students work on individual projects with guest mentors. You work from casts, the model and master copies in a series of progressively complex projects. Intended for long-term students, the Classical Atelier offers you the necessary vocabulary to create well-designed and well-executed drawings and paintings.ALL LEVELSAT1104 11-12 ANNUAL TUITION: $7,230

DRAWING AND PAINTING ATELIERMark Kang-O’Higgins

Spring opening is available — call 206.323.4243 x 15 to inquire.

Intended for long-term students, the Draw-ing & Painting Atelier offers the opportunity to work on increasingly complex indepen-dent projects under the close guidance of your instructor. You work with line and tone, light and shadow, color theory and mixing, proportion and anatomy, as well as differ-ent approaches to life drawing and paint-ing. Learn to convey the essential nature of your subjects through fi nding the balance between technical accuracy and expressive gesture. Short slide and technical demon-stration lectures help you add to your skills and place your work into a wider historical and contemporary dialogue.ALL LEVELSAT1105 11-12 ANNUAL TUITION: $7,230

STILL LIFE PAINTING ATELIERGary Faigin

The Still-Life Painting Atelier offers painting students interested in focusing their studio practice on the study of still-life arrange-ments over the course of a year. The intimate studio setting enables you to devote as much time as you wish to creating paintings, with-out the limitations of model time or weather conditions. Because everyone shares the same focus, optimal conditions for creative interchange and dialogue develop. You work toward success using the still life as a tool for the development of your own artistic voice, creating original, lively pictures that express your ideas and feelings, and focus on tech-nique, rendering and composition.ALL LEVELSAT1106 11-12 ANNUAL TUITION: $3,975

Juliette Aristides, detail Mark Kang-O’Higgins, detail Gary Faigin, detail

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Drawing and Painting Atelier student Stefan Cummings in his studio.

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Weekend WorkshopsWW1108 Painting the Features of the Face All Brooker Fri-Sun 4/1-4/3 9:30am-4:30pm p. 8WW1109 Painting Flowers in Pastel All Furchgott Fri-Sun 4/8-4/10 9:30am-4:30pm p. 8WW1110 Forensic Art for Fine Artists Int Murry & Bean Sat-Sun 4/9-4/10 9:30am-4:30pm p. 8WW1111 Drawing the Face and Head All Furchgott Sat-Sun 5/21-5/22 9:30am-4:30pm p. 8WW1112 Introduction to Plein-Air Painting All Brooker Sat-Sun 6/11-6/12 9:30am-4:30pm p. 8WW1113 Mixed-Media Painting All Zavareei Sat-Sun 6/25-6/26 9:30am-4:30pm p. 8

Spring Weeklong WorkshopsWA1105 Introduction to Egg Tempera All Wessel Mon-Fri 3/28-4/1 9:30am-4:30pm p. 9WA1106 Still-Life Painting All DuSold Mon-Fri 3/28-4/1 9:30am-4:30pm p. 9WA1107 The Portrait in Egg Tempera Int/Adv Wessel Mon-Fri 4/4-4/8 9:30am-4:30pm p. 9WA1108 Figure Painting All DuSold Mon-Fri 4/4-4/8 9:30am-4:30pm p. 9

Summer Weeklong WorkshopsWA1109 Light in Space: Ptg Interiors in Oils Int/Adv Bennerstrom Mon-Fri 6/20-6/24 9:30am-4:30pm p. 9WA1110 Figure and Portrait Drawing Int/Adv Grimaldi Mon-Fri 6/20-7/1 9:30am-4:30pm p. 9WA1111 Essential Concepts of Lscape Ptg . . . Int/Adv Albala Mon-Fri 8/1-8/5 see description p. 10WA1112 Painting the Portrait Int/Adv Phalen Mon-Fri 8/1-8/5 9:30am-4:30pm p. 10WA1113 Figure Painting in Oil Int/Adv Sokol Mon-Fri 8/8-8/12 9:30am-4:30pm p. 10WA1114 Painting the Still-Life Int/Adv Phalen Mon-Fri 8/15-8/19 9:30am-4:30pm p. 10WA1115 Icon Painting in Egg Tempera Int/Adv Pérez-Omer Mon-Sat 8/22-8/27 9:30am-4:30pm p. 10WA1116 Landscape Painting in Seattle Int/Adv Solmssen Mon-Fri 8/29-9/2 9:30am-4:30pm p. 11WA1117 American Luminism . . . Int/Adv Emerson Mon-Fri 8/29-9/2 9:30am-4:30pm p. 11WA1118 Sculpting the Self Portrait Int/Adv Toland Mon-Fri 8/29-9/2 9:30am-4:30pm p. 11

Open StudiosST1107 Drop-In Figure Studios: Spring Quarter All none varies 4/11-6/19 see p. 13 for times p. 13ST1108 Reserved Studio / Dwg & Ptg All none Monday 4/11-6/13 9:30am-12:30pm p. 13ST1109 Reserved Studio / Dwg & Ptg All none Friday 4/15-6/10 6:30pm-9:30pm p. 13ST1110 Reserved Studio / Sculpting All none Sunday 4/17-6/19 10:00am-1:00pm p. 13MS1103 Private Mentoring Program All Instructor varies 4/11-6/19 varies p. 13MS1104 Private Mentoring Program All Graduate varies 4/11-6/19 varies p. 13

Evening Lecture SeriesL1103 Drawing the Features of the Head All Faigin Tuesday 4/26-5/31 7:00pm-8:30pm p. 14L1104 The Gaze: A Contemporary View . . . All Arnold Wednesday 4/27-5/25 7:00pm-8:30pm p. 14L1105 Inside the Artist’s Studio All Klenow Sunday 4/17-6/5 3:00pm-5:00pm p. 14

Drawing Classes: BeginningD1125 Portrait Drawing: The Half Figure All Brooker Monday 4/11-6/13 9:30am-12:30pm p. 15D1126 Abstract Drawing All Ricketts Monday 4/11-6/13 1:30pm-4:30pm p. 15D1127 Foundation Figure Drawing I Beg Buckner Mon/Wed 4/11-6/15 1:30pm-4:30pm p. 15D1128 Dwg Techniques of Van Gogh & Seurat All Davidson Tuesday 4/12-6/14 1:30pm-4:30pm p. 15D1129 Beginning Figure Drawing Beg Magrath Tuesday 4/12-6/14 6:30pm-9:30pm p. 15D1130 Expressive Figure Drawing All Kang-O’Higgins Wednesday 4/13-6/15 6:30pm-9:30pm p. 15D1131 Drawing Nature in the Landscape All Brooker Thursday 4/14-6/16 9:30am-12:30pm p. 16D1132 Perspective for Artists All Lane Thursday 4/14-6/16 9:30am-12:30pm p. 16D1133 Beginning Portrait Drawing Beg Elliott Friday 4/15-6/17 9:30am-12:30pm p. 16D1134 Drawing for Beginners Beg Petty Friday 4/14-6/17 9:30am-12:30pm p. 16D1135 Beginning Figure Drawing Beg Elliott Friday 4/15-6/17 1:30pm-4:30pm p. 15D1136 Drawing Into Painting: The Still Life All Albala Sunday 4/10-6/19 2:00pm-5:00pm p. 16

Drawing Classes: Intermediate/AdvancedD1137 Drawing the Figure in Interiors Int Furchgott Tuesday 4/12-6/14 9:30am-12:30pm p. 16D1138 Foundation Figure Drawing III Int Flack Tues/Thurs 4/12-6/16 1:30pm-4:30pm p. 16D1139 Beginning Color Theory Int Davidson Tues/Thurs 4/12-6/16 6:30pm-9:30pm p. 17D1140 Figures in Motion . . . Int Fugate Wednesday 4/13-6/15 1:30pm-4:30pm p. 17D1141 Drawing into Painting: The Figure Int Fugate Thursday 4/14-6/16 2:00pm-5:00pm p. 17D1142 Intermediate Figure Drawing Int Lane Thursday 4/14-6/16 6:30pm-9:30pm p. 17D1143 Figure & Portrait Drawing Int Lesser Saturday 4/16-5/14 9:30am-4:30pm p. 17D1144 Aesthetics of Drawing Adv Davidson Thursday 4/14-6/16 1:30pm-4:30pm p. 17

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Painting Classes: BeginningP1128 Beginning Still-Life Painting All Petty Monday 4/11-6/13 9:30am-12:30pm p. 18P1129 Lscape Oil Ptg: Flowering Spring Trees All Brooker Tuesday 4/12-6/14 9:30am-12:30pm p. 18P1130 Figure Painting in Oil All Petty Wednesday 4/13-6/15 9:30am-12:30pm p. 18P1131 Portraits in Context: The Background All Brooker Wednesday 4/13-6/15 9:30am-12:30pm p. 18P1132 Beginning Watercolor All Hoffmann Wednesday 4/20-6/15 9:30am-12:30pm p. 18P1133 Encaustic Techniques All Zavareei Wednesday 4/13-6/15 1:30pm-4:30pm p. 19P1134 Lscape Oil Ptg: Flowering Spring Trees All Brooker Wednesday 4/13-6/15 6:30pm-9:30pm p. 18P1135 Beginning Oil Painting Beg Brooker Thursday 4/14-6/16 6:30pm-9:30pm p. 19P1136 Cast Painting All Price Friday 4/15-6/17 9:30am-12:30pm p. 19P1137 Process & Materials for Painters All Britt Friday 4/15-6/17 9:30am-12:30pm p. 19P1138 Botanical Wcolor: Blooming Gardens All McKeehen Friday 4/15-6/17 1:30pm-4:30pm p. 19P1139 Expressive Woodblock Printmaking All Chamberlain Saturday 4/16-6/18 10:00am-1:00pm p. 19P1140 Portrait Painting in Oil All Lane Saturday 4/16-6/18 10:00am-1:00pm p. 19P1141 Figure Painting in Oil All Lane Saturday 4/16-6/18 2:00pm-5:00pm p. 18

Painting Classes: IntermediateP1142 Still-Life Painting III Int Price Mon/Wed 4/11-6/15 1:30pm-4:30pm p. 19P1143 Intermediate Abstract Painting Int Ricketts Monday 4/11-6/13 6:30pm-9:30pm p. 20P1144 Flemish Ptg Techniques of the Old . . . Int Zavareei Monday 4/11-6/13 6:30pm-9:30pm p. 20P1145 Portrait Painting in Acrylic Int Furchgott Tuesday 4/12-6/14 6:30pm-9:30pm p. 20P1146 Intermediate Watercolor Int Hoffmann Wednesday 4/20-6/15 1:30pm-4:30pm p. 20P1147 Venetian Ptg. Techniques of the Old . . . Int Zavareei Wednesday 4/13-6/15 6:30pm-9:30pm p. 20P1148 Bay Area Abstract & Figural Painting Int Emerson Thursday 4/14-6/16 9:30am-12:30pm p. 20P1149 Post-Impressionism: New Color … Int Emerson Thursday 4/14-6/16 1:30pm-4:30pm p. 21P1150 Studio Landscape Painting Int Albala Thursday 4/14-6/16 6:30pm-9:30pm p. 21P1151 Direct Figure Painting: All at Once Int Fugate Thursday 4/14-6/16 6:30pm-9:30pm p. 21

Painting Classes: AdvancedP1152 Advanced Acrylic Painting Adv Furchgott Monday 4/11-6/13 6:30pm-9:30pm p. 21P1153 Advanced Watercolor Adv Hoffmann Tuesday 4/19-6/14 9:30am-12:30pm p. 21P1154 Modern Painting Critique Group Adv Ricketts Sunday 4/17-6/19 10:00am-1:00pm p. 21P1155 Creative Continuity Adv Ricketts Sunday 4/10-6/19 2:00pm-5:00pm p. 21

Sculpting ClassesS1107 Figure Sculpture Beg Buckner Monday 4/11-6/13 9:30am-12:30pm p. 22S1108 Portrait Sculpture All Magrath Monday 4/11-6/13 6:30pm-9:30pm p. 22S1109 Figure Sculpting Studio All Magrath Tuesday 4/12-6/14 1:30pm-4:30pm p. 22S1110 The Essence of Animals All Evans Friday 4/15-6/17 9:30am-12:30pm p. 22S1111 Figure Sculpture Beg Buckner Saturday 4/16-6/18 10:00am-1:00pm p. 22

AteliersAT1104 Classical Atelier All Aristides Mon-Fri 4/11-6/24 9:30am-4:30pm p. 23AT1105 Drawing & Painting Atelier All Kang-O’Higgins Mon-Fri 4/11-6/24 9:30am-4:30pm p. 23AT1106 Still-Life Painting Atelier All Faigin varies 4/11-6/24 varies p. 23

Youth ClassesK1104 Bringing Animal Drawings to Life All Dall’Osto Saturday 4/2-4/30 10:00am-noon p. 32K1105 Comics & Cartooning All Stump Saturday 5/7-5/28 10:00am-noon p. 32K1106 Painting with Paper All Johnson Saturday 6/4-6/25 10:00am-noon p. 32T1104 Reductive Printmaking All Graudins Monday 4/4-4/25 4:00pm-6:00pm p. 33T1105 Anatomy from the Inside Out All Finnerty Monday 5/2-5/23 4:00pm-6:00pm p. 33T1106 Fashion Illustration All Rynearson Thursday 6/2-6/23 4:00pm-6:00pm p. 33

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MITCHELL ALBALABA-Queens College, NY. Training: Gage Academy of Art. Taught Seattle Art Museum, WA; Seattle Central Community College, WA. Exhibitions: New York; Seattle; Washington, DC. Representation: Lisa Harris Gallery, WA. Author: Landscape Painting, Essential Concepts and Techniques for Plein Air and Studio Practice.

JULIETTE ARISTIDESTraining: Barnstone Studio, PA; Pennsylvania Academy of the Fine Arts, PA; The Atelier, MN; Water Street Atelier, NY. Representation: John Pence Gallery, CA; Skotia Gallery, NM. Author: Classical Painting Atelier: A Contemporary Guide to Traditional Studio Practice and Classical Drawing Atelier: A Contemporary Guide to Traditional Studio Practice.

SHARON ARNOLD, LecturerBFA, magna cum laude-Cornish College of the Arts, WA; Pratt Institute, NY. Exhibi-tions: Georgetown Art Center, WA; SOIL, WA; Kirkland Arts Center, WA; OHGE Ltd., WA; Vermillion, WA. Writer: Dimensions Variable blog, City Arts magazine.

GREG BEAN, Guest InstructorPolice officer for 25 years and a detective for the last 14 years, Bean is currently a detective for the Bellevue Police Department (Bellevue, WA). His expertise as a composite artist includes forensic facial imaging.

SUSAN BENNERSTROM, Guest InstructorEducation: Western Washington University, WA. Taught: Pratt Fine Arts Center, WA; Whatcom Museum, WA; LaConner Art Work-shops, WA. Exhibitions: Davidson Galleries, WA; Terrence Rogers Fine Art, CA; Jenkins Johnson Gallery, CA; Fletcher Gallery, NM. Recipient: Artist Trust GAP Grant; Mayor’s Arts Award, Bellingham, WA; Betty Bowen Special Recognition Award.

OLIVIA BRITTMFA-University of Washington, WA; BA-Dartmouth College, NH. Taught: Alliance for the Visual Arts, NH; Kirkland Arts Center, WA; University of Chicago; University of Wash-ington, WA. Representation: Francine Seders Gallery, WA.

SUZANNE BROOKERMFA-California State University at Long Beach, CA; BFA-California Institute of the Arts, CA; Whitney Museum Independent Study Program, NY. Author: Portrait Painting Atelier: Old Master Techniques and Contemporary Applications.

MATT BUCKNERMFA Sculpture-Boston University, MA. Taught: Creative Arts Community of Portland, OR; Howland Art Center, NY; International Baccalaureate Organization, Switzerland; Olympic College, WA; University of Oregon, OR; The University of Hong Kong, China. Solo exhibition: Frye Art Museum, WA. Exhibitions: Boston, New York, Seattle.

ANGIELENA CHAMBERLAINBFA-Cornish College of the Arts, WA. Direc-tor: Georgetown Arts & Cultural Center, WA. Exhibitions: Art on the Ridge Gallery, WA; Arts West Playhouse, WA; Georgetown Art Center, WA; Rosen Gallery, Gage Academy of Art, WA. Recipient: President’s Scholarship for High Achievement, Cornish, WA; 4Culture, WA.

MARGARET DAVIDSONMFA-University of Washington, WA. BFA-University of Michigan, MI. Taught: Pratt Fine Arts Center, WA; Cornish College of the Arts, WA; Indiana State University, IN; University of Washington, WA. Representation: SAM Gallery, WA; Edison Eye Gallery, WA.

PAUL DUSOLD, Guest InstructorEducation: Private studies with painter B.F. Long, France; The Pennsylvania Academy of the Fine Arts, PA. Taught: Fleischer Art Me-morial, PA; Delaware Art Museum, DE; Wayne Art Center, PA. Exhibitions: Gross McCleaf Gallery, PA; Vose Galleries, MA; Morpeth Gal-lery, NJ; Carspecken Scott Gallery, DE.

ERIC ELLIOTTMFA-University of Washington, WA; BA-Uni-versity of California, CA. Taught: University of Washington, WA; Highline Community Col-lege, WA. Recipient: 2009 Neddy Fellowship; Kayla Skinner Special Recognition Award; Artist Trust GAP Grant; James Phalen Art Scholarship; Maybelle Toombs Art Scholar-ship. Exhibitions: Tacoma Art Museum, WA; James Harris Gallery, WA; Soil Gallery, WA; Catherine Person Gallery, WA. Representa-tion: James Harris Gallery, WA.

CHARLES EMERSONMFA-Yale University, CT; Graduate Studies: Boston University, MA; BFA-University of Southern California, CA. Fulbright Scholar in Venice, Italy. Artist in Residence at La Jolla Museum of Contemporary Art. Publication: The Art of Drawing by Bernard Chaet. Exhibi-tions include Sisko Gallery, WA.

Find artist statements, teaching philosophies and extended biographies of Gage instructors online at www.GageAcademy.org/artists.

BILL EVANSBA Architecture-University of Washington, WA. Taught: Cornish College of the Arts, WA; Pottery Northwest, WA. Exhibitions: Art Stop, WA; Kebanu Gallery, OR; Allied Arts Invitational, WA; Fountainhead Gallery, WA; Frye Art Museum, WA. Awards: 2004 Best in Show at Washington Potters Association Show; WCA Juror’s Award at 2008 Art Stop. Representation: Sisko Gallery, WA.

GARY FAIGINTraining: Art Students League, NY; Ecole des Beaux-Arts, France. Taught: Art Students League, NY; New York Academy of Art, NY. Cofounder & Artistic Director, Gage Academy of Art. Art critic, KUOW public radio, WA. Exhibitions: Frye Art Museum, WA; Woodside/Braseth Gallery, WA; Tacoma Art Museum, WA; Coos Art Museum, OR. Representation: Linda Hodges Gallery, WA. Author: Artists’ Complete Guide to Facial Expression.

GEOFF FLACKMFA-New York Academy of Art, NY; BFA-Colorado State University, CO. Exhibitions: Minor Gallery, WA; Phillips De Pury & Com-pany, NY; New York Academy of Art, NY.

BARBARA FUGATEMFA Painting-Miami University of Ohio, OH. Taught: Seattle Art Museum, WA; Seattle Pacif-ic University, WA; Troy Art Center, NY; Western Kentucky University, KY. Exhibitions: ArtSpace, WA; Bellevue Art Museum, WA; Fountainhead Gallery, WA; Martin-Zambito Gallery, WA. Publi-cation: The Best of Sketching and Drawing.

TERRY FURCHGOTTBA-Radcliffe College, MA. Training: Camden Arts Center, England. Awards: Artist Trust Fellowship, King County Arts Commission, WA State Arts Commission. Numerous public art murals. Representation: Lisa Harris Gallery, WA.

MICHAEL GRIMALDI, Guest InstructorTraining: Art Students League, NY; National Academy, NY; New York Studio School, NY; Ecole Albert Defois, France. Taught: Janus Collaborative, NY, Art Students League, NY; National Academy, NY, Water Street Atelier, NY; Studio 126, Grand Central Academy, NY. Recipient: Alma Schapiro Prize; Elizabeth Greenshields Foundation Grant. Exhibitions: Arcadia Gallery, NY; Forum Gallery, NY; John Pence Gallery, CA; Hirschl & Adler Galleries, NY; National Academy Museum, NY.

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TOM HOFFMANNMA-Art Education, University of London Institute of Education, England; BFA-Amherst College, MA. Hoffmann has taught extensively nationally and locally. Exhibitions: Frye Art Museum, WA; Seattle Art Museum, WA; Tacoma Art Museum, WA. Representation: Fountain-head Gallery, WA.

MARK KANG-O’HIGGINSMFA-New York Academy of Art, NY; MA-University College Galway, Ireland. Training: Edinburgh College of Art, Scotland. Exhibitions: Columbia University, NY; New York Public Library, NY; SAM Gallery, WA; Linda Hodges Gallery, WA.

LAUREN KLENOW, Studio GuideBA-Art History, & BA-Interdisciplinary Visual Art, University of Washington, WA. Exhibition Experience: Howard House Contemporary, WA; Vermillion Art Gallery, WA; Henry Art Gallery, WA; Martin Lawrence Gallery, WA; Sonoma Valley Museum of Art, CA. Exhibi-tions: Vermillion Art Gallery, WA; NEPO, WA.

MICHAEL LANE Education: Samuel Fleisher Art Memorial, PA; The Pennsylvania Academy of the Fine Arts, PA; mentored by Nelson Shanks. Taught: Moore College of Art and Design, PA; Mural Arts Program, City of Philadelphia, PA. Exhibi-tions: Vain Gallery, WA; Form/Space Atelier, WA; Artists’ House Gallery, PA.

JOSEPH LESSERBA-California State University, CA; Exhibi-tions: Fountainhead Gallery, WA; Scott Milo Gallery, WA; Lawrence Gallery, OR; Jeffrey Moose Gallery, WA. Awards: The Pastel Jour-nal, Best 100 Paintings (2001); Southwest Art Magazine, Artist to Watch (2000).

MICHAEL MAGRATHMFA Sculpture-University of Washington, WA. Training: Florence Academy of Art, Italy. Taught: Reed College, OR; Sculpture Academy of London, England; Instructor in sculpture and public art at University of Washington, WA. Recipient: Artist Trust Gap grant and 4Culture award. Exhibits internationally.

KATHLEEN MCKEEHENTraining: Natural Science Illustration-Univer-sity of California, Santa Cruz, CA; Freelance: Organic Gardening, The Herb Companion, Gardener’s Companion. Member: American Society of Botanical Artists; Guild of Natural Science Illustrators; Society of Children’s Book Writers and Illustrators.

NATALIE MURRY, Guest InstructorMurry served as a police offi cer in Kent, WA, for 10 years and has been a freelance forensic artist since 2004. Her expertise includes composite sketching, forensic facial imag-ing, 2-D reconstruction and advanced 3-D reconstruction.

IRENE PÉREZ-OMER, Guest InstructorBFA-Fine Arts, The University of Texas at Austin, TX; Training: Icon Writing & Theory under Vladislav Andrejev. Taught: Prosopon School of Iconology, TX. Exhibitions & Col-lections around the United States, United Kingdom and Mexico.

ANNE PETTYMFA-Painting & Drawing, University of Washington, WA; BFA-Drawing & Paint-ing, Missouri State University, MO. Taught: University of Washington, WA. Exhibitions: Sandpoint Gallery, WA; SAM Gallery, WA; Henry Art Gallery, WA; Jacob Lawrence Gal-lery, WA. Awards: University of Washington de Cilia Teaching in Excellence Award, WA.

JIM PHALEN, Guest InstructorMA & MFA-Painting, University of New Mexico; BFA-Sculpture, San Francisco Art In-stitute, CA. Taught: University of Washington, WA; University of Puget Sound, WA; Cornish College of the Arts, WA; Bowdoin College, ME. Recipient: Jonson Prize; Artist Trust GAP Grant; Pollock/Krasner Foundation Grant. Exhibitions: Frye Art Museum, WA; Darby/Cardonsky Gallery, CT; Albright-Knox Art Gal-lery, NY; Humbolt State University, CA; Dolby Chadwick Gallery, CA.

SUSAN BARI PRICEBS Visual Design-University of Oregon, OR. Training: Gage Classical Atelier, WA; Exhibitions: Collective V. Sims Gallery, WA; Redmond City Hall, WA; Grenning Gallery, NY. Representation: Atlanta Art Gallery, GA.

JULIA RICKETTSBFA-New York State College of Ceramics at Al-fred University, NY. Taught: Kirkland Arts Center, WA; Pilchuck School of Glass, WA; Pratt Fine Arts Center, WA. Solo Exhibitions: Alysia Duckler Gal-lery, OR; Friesen Gallery, ID; Fulcrum Gallery, WA; Representation: Patricia Cameron Gallery, WA.

JORDAN SOKOL, Guest InstructorTraining: Kansas City Art Institute, MO; Flor-ence Academy of Art, Italy. Taught: Florence Academy of Art, Italy. Exhibitions: Brigham Galleries, MA; Florence Academy of Art, Italy; WH Patterson Gallery, UK; Grenning Gallery, NY. Awards: Art Renewal Center.

KURT SOLMSSEN, Guest InstructorBFA-University of Pennsylvania, PA; Certifi cate-Pennsylvania Academy of the Fine Arts, PA. Recipient: William Emlen Cres-son Scholarship. Exhibitions: Foster/White Gallery, WA; Bakersfi eld Museum of Art, CA; Tacoma Art Museum, WA; Terrence Rogers Fine Art, CA. Representation: George Billis Gallery, NY; Adler & Co. Gallery, CA.

Gage Staff*Pamela Belyea x13Executive Director

Gary Faigin x13 Artistic Director

Sharon Arnold x17Youth Programs Manager

Shane Foreman x20Facility Assistant

Sam Hamrick x20Facility Manager

Carol Hendricks x15School Manager

Lee Humason x19Financial Director

206.323.GAGE

Susan Jones x11Web Editor

Lauren Klenow x18Exhibitions & Community Events Coordinator

Margaretta Lantz x10Registrar

Anne Norberg x16Development Director

Kathleen Moore x12Development Assistant

Ani Rucki x14Graphic Designer

Erin M. Schadt x11Communications Director

*staff e-mail = first name + @GageAcademy.org Margaretta Lantz = [email protected]

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FRED WESSEL, Guest InstructorMFA-University of Massachusetts, MA; BFA-Syracuse University, NY; Pratt Graphics Center, NY. Taught: The Hartford Art School at the Uni-versity of Hartford. Exhibitions: Sherry French Gallery, NY; Evansville Museum of Art & Science, IN; Skotia Gallery, NM; Jenkins Johnson Gallery, CA. Collected around the world, including: Mu-seum of Modern Art, NY; Philadelphia Museum of Art, PA; Library of Congress, DC; University of Tainjin Fine Arts College, China. Representation: The Arden Gallery, MA; ACA Galleries, NY.

HAMID ZAVAREEIBS-West Virginia Institute of Technology, VA. Taught: Seattle Pacifi c University, WA; Kirkland Art Center, WA. Exhibitions: William Traver Gallery, WA; Gallery Bershad, MA; SAM Gallery, WA; Fountainhead Gallery, WA; Carnegie Art Museum, CA; Palos Verdes Art Center, CA. Residency: Lantern of the East Art Camp, South Korea. Representation: Linda Warren Gallery, IL.

Olivia Britt, detail


Student Information

FACILITYGage is located in the St. Nicholas school building, 1501 Tenth Avenue East beside St. Mark’s Cathe-dral on North Capitol Hill. The Gage main entrance is on the south end of the building. Please contact Gage staff regarding ADA accommodations.

BUILDING & OFFICE HOURSOffi ce Hours: Mon-Fri: 9:30am-4:30pmBuilding Hours: Weekday Hours: 8:30am-10:00pmSaturday Hours: 9:00am-6:00pmSunday Hours: 10:00am-6:00pmLibrary and galleries are open at all times the building is open.

PARKINGFree parking is available weekdays along the south wall of the St. Nicholas building and behind St. Mark’s Cathedral. For evening and weekend programs, students are invited to park behind the St. Nicholas building, as well.

TRANSPORTATIONGage is located east of I-5, south of 520 and four blocks north of Broadway on Capitol Hill. For public transportation, take Metro bus line 49. For driving directions, visit www.GageAcademy.org/aboutus.

TUITION DISCOUNTSArtists age 25 or younger receive a 25% discount off adult classes and workshops. Eligible profes-sional artists and K-12 educators are invited to enroll in classes and workshops with a 50% tuition discount on a stand-by basis. Call for more information about these discounts and to register.

CHILD CAREWhirlwinds Childcare is located at 1310 Mercer St., just over a mile from Gage. Whirlwinds provides four-hour, drop-in child care services, Monday through Friday. Visit their website at www.whirlwindskids.com.

ART SUPPLIESClass and workshop materials lists are posted on the web. Students may also request that a copy be faxed or mailed. Adult students provide all art supplies and should expect to pay $50 or more to purchase the required materials. Gage provides odorless solvents for all oil-painting programs. Gage does not allow the use of Liquin or any other highly toxic mediums in the studios. Gage Youth Programs include all art supplies.

NOTICE OF NONDISCRIMINATIONGage does not discriminate on the basis of race, color, nationality, gender identity, sexual orientation, ability, age, religion and ethnic origin in administration of its educational and admissions policies, scholarships and any school-administered programs.

FREE GAGE WiFiFree wireless internet is available on all three fl oors of the school.

Gage is a 501 (c)(3) arts organization that receives the support of the following organizations:

Boeing Matching Gift Foundation Kutscher Rhodes & Benner, Inc. Lucky Seven FoundationMicrosoft Matching Gift Foundation Puget Sound Group of Northwest Painters Jon and Mary Shirley Foundation

Th e Stanley R. & Robert E. Wright Foundation For Th e Arts Robert T. & Tina Ing Yahng Foundation

Gage Community Programs receive in-kind support from the following businesses:

M A R K & S U S A N T O R R A N C EF O U N D A T I O N

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Registration Information

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Register online atwww.GageAcademy.org

Phone 206.323.GAGE(4243) x10or 800.880.3898

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FAX completed form to 206.526.5153

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Gage accepts Visa, Mastercard and American Express as well as checks or cash. Note: There is a $12 nonrefundable registration fee for each registration, regardless of number of programs booked. Fee is waived for lecture series and open studio passes.

Spring 2011 registration begins Monday, February 28, 2011. Three ways to register:

CLASS AND WEEKEND WORKSHOP CANCELLATION TERMSProgram cancelled by the Academy: 100% refund of all fees

Cancel more than three business days before program start date: Partial refundt

Cancel three business days or fewer before program start date: Tuition creditt

Cancel on or after first session date, but before second session date: Prorated tuition creditt*

Cancel on or after date of second session: 0% refund

t$25 deposit will be withheld from your nontransferable tuition credit or refund.

Tuition credits are nontransferable. *Prorated credit not available for workshops.

WEEKLONG WORKSHOP CANCELLATION TERMSWorkshop cancelled by the Academy: 100% refund of all fees

Cancel more than four weeks before workshop start date: Partial refundtt

Cancel four weeks or fewer, but more than five business days before workshop start date: Tuition credittt

Cancel five business days or fewer before workshop start date: 0% refund tt$75 deposit will be withheld from your tuition refund or nontransferable tuition credit. Tuition credits are non-transferable.

Financial TermsREGISTRATION DEPOSITTo guarantee your place in a Gage class, please fill in the registration form and submit either full payment or a deposit of one half the tuition of the program. Students registering with a deposit must fill out the credit card information and will be automatically charged the balance 35 days later. Please note that this does not apply for Youth Programs; all Youth Programs must be paid in full at time of registration.

PAYMENT PLANAdditionally, a payment plan is available for any Gage classes or workshops with tuition fees of $500 or more. All payment plan registrations include an additional $25 bookkeeping fee per program. All pay-ment plan payments must be made on your credit card and begin with an initial $250 payment followed by payments of $200 per month until paid in full. Your signature on the student contract indicates your agreement with these terms. For information on payment- plan terms for Atelier registrations, please refer to your Student Contract.

REGISTRATION FEEStudents are required to pay a $12 non-refundable registration fee per registration, regardless of number of programs booked. Exemption: Lecture series, drop-in studio passes and continuing Atelier students.

CANCELLATION DETAILSStudents who wish to cancel their place in a program must notify the Gage office by telephone or email to qualify for tuition refund or tuition credit. Tuition credits must be applied toward Gage programs within one year and are available on a stand-by basis only. All tuition credits are nontransferable. See Atelier and Mentored Studio contract for cancellation terms.

Student ContractSubmission of your registration constitutes acceptance of all terms and conditions stated in this catalog and agreement that Gage Academy of Art (Gage) cannot be held responsible or liable for any act or for any injury, illness, death, damage, loss, accident, delay or irregular-ity which may occur during the course of any program. Gage assumes no responsibility for losses or additional expenses due to influences beyond its control. Personal effects, artwork and art supplies are students’ sole responsibility at all times. Gage reserves the right to cancel any program in which case it is liable only for any fees paid to Gage Academy of Art. Gage reserves the right to reschedule any program or replace any instructor without refund. Gage reserves the unconditional right to terminate enrollment in the event of unreasonable or disruptive conduct or failing to follow Gage’s student policies and rules; and Gage may do so without any refund. No refund will be made for my early departure or deviation from the Gage schedule and program registration shall be nontransferable. Publicity waiver: Unless informed otherwise, Gage considers photographs taken of students and their artwork to be permissible for publication in Gage informational materials, including the web.

Download a registration form at www.GageAcademy.org/adult and mail to: Gage Academy of Art 1501 Tenth Avenue EastSeattle, WA 98102

BELLEVUE STORE 15112 NE 24th St.

(425) 643-1781

SEATTLE STORE 4150 First Ave. S. (206) 223-9599

The Northwest’s selection of art supplies—over 18,000 items for the artist

Artists’ Materials

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S E AT T L E1600 BROADWAY(CORNER OF PINE & BROADWAY)206-324-0750

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4588

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Blick Art Materials, Retail Inc., coupon must be surrendered at time of purchase; no copies will be honored. Limit one coupon per visit. Valid only on non-sale, in-stock items. Not valid with any other discounts or promotion, phone/mail/internet orders and purchases of furniture or gift cards.

ENTIRE PURCHASE OF NON-SALE, IN-STOCK ITEMSVALID 2/21/11 TO 4/21/11

20% OFF

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Gage Youth Programs Receive Generous Support from:

Youth Update

New Classes, New FormatThis winter, we were very excited to offer the most youth classes we have ever organized in one quarter, dividing the curriculum into more frequent, shorter sessions. Classes are now offered on a monthly basis, giving you more inspiration to build your creative portfo-lio, and providing more fl exibility for your schedule. Whether you register for one class or all three, you’re sure to have fun and learn something new!

M A R K & S U S A N T O R R A N C EF O U N D A T I O N

Here Comes the Sun: Summer 2011Gage Summer Youth programs are on their way! As always, we are offering weeklong workshops for kids and teens, including the continuation of last year’s incredibly successful two-week Drawing Intensive and our annual fi ve-week Teen Intensive. You can catch all the details of what’s new at www.GageAcademy.org/youth. Sum-mer program registration begins March 14.

Summer Workshops InfoJULY 5 – AUGUST 26Kids 6 to 11 years old

Weeklong workshops, two classes per day consisting of one visual and one performance art$300 per week

Teens 12 to 17 years old

Weeklong workshops, two classes per day: one 2-D and one 3-D art$300 per week

TWO-WEEK DRAWING INTENSIVEJULY 5- JULY 15

The Drawing Intensive is intended for dedicated teen artists seeking to develop their portfolio. Great pre-cursor to the fi ve-week Teen Intensive!$650 / 9 days

TEEN INTENSIVEJuly 1- August 5 (fi ve weeks)

Pre-college portfolio development program, with certifi cate upon completion. Application required.

Our most prestigious program for teens, the Teen Intensive is a fi ve-week full-day program for teens who are serious about building concrete artistic skills to apply toward personal direction or art college. Two professional artists each lead two weeks of study working from life in graphite, charcoal and oil paint. The Teen Intensive includes cri-tiques, portfolio reviews, visiting artist lectures and off-site visits to galleries, museums and studios; and culminates in a public opening featuring artwork completed during the Teen Intensive Program.$1600 / 5 weeks

Teen artists ages 13-18 — drop in to study with professional artists who provide focused instruction in a fun, relaxed atmosphere. All art materials provided.

Ages 13-18

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RAINIER VALLEY FREE Saturdays 6:30pm-9:30pm2100 24th Avenue South

MARCHEXPLORATIONS IN PAINTJeanne DoddsDiscover various painting methods and materials, revealing the diversity of painting styles available. You learn basic concepts of composition, brushwork, color palette and color mixing, shape/form and shading. Then apply these concepts to weekly projects that draw from both traditional (landscape) and contemporary (graffi ti arts) painting themes.

APRILFULL SPECTRUM DRAWINGRyan FinnertyBring life to your drawings, capture the color around you and connect the bridge between drawing and painting. Learn to see, interpret and express the color your drawings crave and how to realistically draw the colors you see. Bring the expressive colors out of your imagination, and learn tips and techniques with colored pencils, pastels and crayons. (Yes. Real artists actually use crayons!)

MAYURBAN LANDSCAPESJulie AlpertDiscover how your local neighborhood provides exciting visual material to help you understand perspective, light, composition and scale. Columbia City resident Alpert teaches you to use your surroundings (houses, trees, build-ings, sidewalks, electrical boxes, telephone poles) as inspiration for paintings and collages. Working from photographs you sharpen your drawing and painting skills, leaving each class with a completed work on paper.

JUNERELIEF PRINTMAKINGRomson BustilloLearn the basics of relief printmaking and develop skills that allow you to push your creativity forward! Experiment with a variety of color layering and compositional tools and explore rubbing, hand rolling or using a small press to transfer images onto paper.

CAPITOL HILL FREE Fridays 6:30pm-9:30pm1501 Tenth Avenue East

MARCHPORTRAIT DRAWINGSarah BixlerHave you ever drawn someone only to acciden-tally age them 50 years in your drawing? Learn to structure your observations and place those details (and unwanted wrinkles!) in their proper context. Beginning with classical structure and anatomy, you learn to refi ne your observations, uncovering unique information about the face while gaining better understanding and use of graphite and charcoal.

APRILPRINTMAKING SURVEYRomson BustilloExperiment with a wide variety of printmaking techniques! Develop your printmaking skills so you can create your own original works of art on paper. Develop skills with basic “how to” foundations such as monotype, chine-collé and dry point on wood and Plexiglas so that you can create prints intuitively with a strong understanding of the creative potential of this media.

MAYPATTERN, SYMMETRY & TESSELATIONAllyce WoodLearn a fantastic new way to make unique pieces of art out of multiple patterns, prints and drawings. Use printmaking, stencils, stamps and traditional drawing techniques to create art out of repeating patterns in the style of M.C. Escher, while learning how to use them to create complex and beautiful compositions.

JUNESURREALISM!Alisha Dall’OstoSurrealism is an art movement that combines elements of the real world within a fantasy setting, or fantasy elements placed in a realistic setting. Think about the artist Dali and his melting clocks, and you know where it all began. Use the power of surrealism in your own artwork to create deeply layered images rich in metaphor and symbolism. Over the month, you draw, paint and collage fi gures, self-portraits and landscapes.

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Youth Classes

BRINGING ANIMAL DRAWINGS TO LIFEAlisha Dall’OstoAges 8-12 Saturday 10:00am-Noon4/2–4/30 [5 weeks]

Do you want to learn how to draw realistic animals? Study photographs and animal replicas! Build stronger drawing techniques, such as identifying basic shapes, control-ling your line, understanding perspective and capturing important details. Learn how illustrators make lifelike drawings just from looking at the bones of extinct animals!

Dall’Osto received her BA from Kenyon College. She has taught throughout Seattle Public Schools, at the Rotary Boys & Girls Club, the Milwaukee Art Museum, Artworks for Milwaukee, and as a guest artist at Northwest College in Powell, WY.K1104 $220

PAINTING WITH PAPERKate JohnsonAges 8-12 Saturday 10:00-Noon6/4–6/25 [4 weeks]

Get creative and have fun tearing, gluing and painting with paper while discovering the power of value. Using black and white shapes to make your painting, you find out how to “draw” using shapes of contrasting values. Learn all about the rich history of collage and the many uses of collage in art today. Just because it’s a painting doesn’t mean it has to be flat!

Johnson graduated from Boston University’s College of Fine Arts with honors and the Marianna Pineda sculpture award. She worked closely with Haarald Peterson at the Vancouver Aquarium on the Halibut Cycle of Growth sculpture project. Currently Johnson is renewing her passion for painting, completing commissioned projects and illustrating her book A Hugmonster Lives in My House.K1106 $175

COMICS & CARTOONINGGreg StumpAges 8-12 Saturday 10:00am-Noon5/7–5/28 [4 weeks]

Create your own characters, practice differ-ent styles of cartooning and drawing, and work on individual and collaborative stories as you explore the comics medium. Learn to draw faces, figures and expressions; explore materials and techniques; try out basic 3-D drawing and simple handmade animations; and learn about page layout and composition. Finish the class with an individual comic story, from rough layouts to a finished, inked page.

Stump has been teaching comics and cartooning for more than a decade at Gage, The Art Institute of Seattle, Kirkland Arts Center, Coyote Central, Frye Art Museum and Seattle University, where he is an adjunct professor of humanities. His comics and illustrations have appeared regularly in The Stranger since 2000, and he has been writing about the comics field for The Comics Journal since the mid-1990s. K1105 $175

Gage Youth Programs offer practical art instruction in drawing, painting and 3-D design for kids and teens throughout the year. Our curriculum encourages students to explore new materials and techniques, develop creative problem

solving skills and celebrate self-expression. Read more about all of the Youth Programs teaching artists at www.GageAcademy.org/artists.

The Summer 2011 Youth Catalog is available at Gage and online. Contact [email protected] to have a copy mailed to you. Register online starting Monday, March 14, 2011.

Gage Youth Classes include all art supplies and equipment.


APRIL

Alisha Dall’Osto, detail Greg Stump Kate Johnson, detail

KIDS SPRING CLASSES: Saturdays ages 8 – 12

MAY JUNE

YOU

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AMS: Teen Classes

ANATOMY FROM THE INSIDE OUTRyan FinnertyAges 13-17 Monday 4:00pm-6:00pm 5/2–5/23 [4 weeks]

Gain new insights into observing and draw-ing the human body! Working from live mod-els, discover how artists see and interpret the human form by learning key anatomical structures of the skeleton and musculature as well as head, hands and feet. You even learn about prominens and sternocleidomas-toid through draw-along anatomy lectures and one-on-one instruction.

Finnerty received a BFA in painting from Savannah College of Art and Design, GA, and an MFA in draw-ing and painting from the University of Washing-ton. His work, which has shown across the United States and Europe, makes use of a variety of media and techniques, drawing on his training in oil paint-ing, mural production and relief printmaking. T1105 $175

REDUCTIVE PRINTMAKINGKerstin GraudinsAges 13-17 Monday 4:00pm-6:00pm 4/4-4/25 [4 weeks]

Reduction printmaking is a technique for multicolor prints. Learn how to reduce your image area for each new color by planning a repetitive process for carving and printing, and learn how to register your images for a perfect application of your different colors. Discover the fun in creating this style of print using block and silkscreen printing for beautiful editions on paper and fabric.

Graudins earned a master’s degree in printmaking and painting from New York University and BFA in printmaking from the University of Washington. She has shown her work, which spans painting, printmaking and sculpting, frequently in Seattle and she is a member of Shift Gallery. Graudins has taught art classes for more than 10 years. T1104 $175

FASHION ILLUSTRATIONBritt Rynearson

Ages 13-17 Thursday 4:00pm-6:00pm 6/2–6/23 [5 weeks]

Design your look by creating a fashion col-lection on paper. Use all types of materials, learn realistic rendering techniques, and explore the world of professional designers. Explore your own originality as you learn the tricks of the trade from Rynearson, a profes-sional designer in the fi eld!

Rynearson has taught art since 2000, after gradu-ating with a fi ne art degree from Scripps College, CA. She works as a professional artist, designing and selling clothing and textiles at the top trade shows and galleries in the country. As well as Gage, Rynearson teaches at Coyote Central, Kirkland Arts Center and Cornish College of the Arts. T1106 $175

Enroll in two or more youth classes, and receive $50 off your

combined tuition.

Just enter YOUTH in the Offi ce Code fi eld and hit Apply Code when

registering online!

Stay Connected to GageLike “Gage Teen Artists” on Facebook and follow us on Twitter for the latest news and updates.

Youth Scholarships Available!

Download a need-based scholarship application at www.GageAcademy.org/youth.


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Kerstin Graudins, detail Ryan Finnerty, detail Britt Rynearson, clothes and photo

TEEN SPRING CLASSES: After School ages 13 – 17

MAY JUNE

St. Nicholas Building

1501 Tenth Avenue East

Seattle WA 98102

206.323.GAGE (4243)

www.GageAcademy.org

Thalia Bell, 13, created this paper sculpture last fall

in the free Teen Art Studios, 3D Installation, Light,

and Space taught by Etsuko Ichikawa. Students

were encouraged to use ordinary everyday materi-

als in unconventional ways to create pieces of art

using objects, light and even shadow as materials

with potential. Bell regularly attends Teen Art

Studios (TAS) and says it’s an inspiring and fun

way to end the week. Find out more about the

Friday night TAS on Capitol Hill and the Saturday

night TAS in Rainier Valley on pages 30 & 31.

GAGE YOUTH PROGRAMS

Friday, March 4, 2011 Last chance for tickets, see page 3.

NONPROFIT ORGU.S. POSTAGE

PAIDSEATTLE, WA

PERMIT NO. 711

Spring 2011 Catalog

Documents

Transcript of Spring 2011 Catalog