Spring Catalog 2012

Spring 2012

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

Your contribution is tax-deductible as permitted by law.To give online, please go to

www.GageAcademy.org/support.

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 Erin Moyer Secretary

Gary Bezowsky, Greg Eastman, Ted Kutscher, 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, WAZhi Lin, University of Washington, WAChris Madison, Sierra Investments, CA

Alvin Martin, Bader Martin, WATrina Wherry, RBC Wealth Management, 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 GIVE GIVE GIVE GIVE

covEr artiSt: michaEl maGrathGag Teaching Artist

Michael Magrath has not only been a cornerstone of the sculpture program at Gage since 2003, but he is also an innovative sculptor himself. He studied at the Florence Academy

of Art with Robert Bodem and Daniel Graves, and earned his MFA from the University of Washington. Magrath has shown his work in solo and group shows in the Pacifi c Northwest, as well as completed evocative and emotional public art installations. For example, his work Lot’s Tribe, a group of three life-size fi gures cast in salt, was installed in Pioneer Square in 2006.

See page 21 for more information on sculpting at Gage.

Cover: Potnia Theron, detail, 2009, 8" x 13" x 22", oil clay pattern for bronze (Photo by Anna Sparks)

SprinG 2012

contents

GratiS at GaGe

aDUlt proGraMS

8 Weekend Workshops

9-11 Weeklong Workshops

12 Open Studios

13 Evening Lecture Series

14-16 Drawing Classes

16-20 Painting Classes

21 Sculpting Classes

23 Gage Ateliers

1 Sculpture Abides

2-3 Gage Update

7 Gage Curriculum & 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

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22 2012 Vienna to Berlin Art Tour

aCaDeMy art toUrS

Back covEr artiStS: work by november 2011 teen art Studios artists

The teen artists who created this mural studied with No Touching Ground (NTG), a mural and installation artist/shaman who led the November Teen Art Studios program on

Capitol Hill. Conceptually, NTG’s graphic-based artwork deals with the underrepresented and is most often presented in marginalized spaces.

Read more about the free, drop-in Teen Art Studios programs at Gage on pages 30 and 31.

4 Upcoming Exhibitions

5 Gage Lectures

6 Gage Professional Development Events

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Sculpture abides

W ithout fail, in almost every class I teach, the question comes up: why sculpture? Why, when the time between inception and fi nal resolution can take months, if not occasionally years, to work out, when there are simply so many steps and so

much more stuff to cart around, why — when you can knock out a decent painting in a day or a week — do sculpture at all?

I have to go back to a time in my own life, when stuck in the groove of drawing the same way, over and over again, the same habits years in the making, I turned from drawing to 3-D and saw a rabbit hole open in front of me. I saw form for the fi rst time really and the potential of making a thing in the world. Not just an image of a thing, but a thing in itself. Good sculp-ture has an element of presence that even the most commanding painting lacks.

Sculpture abides. It is here in the world; it shares space with us; it demands we move aside. Honestly, it can freak us out a bit; like in a dark room, you don’t want to turn your back on it. Maurizio Cattelan’s little Hitler, for example, or Gerhard Demetz’s works for that matter, deeply unsettle in a way that any painting would have a hard time pulling off.

Out of a wasteland in the 20th century, where great fi gurative sculptors like the University of Washington’s Everett DuPen wandered under-loved much of his life, a revival is in full swing. Representational sculpture is back, and it is in Technicolor. It returns in the rich and ancient media of clay, of which our own beloved Tip Toland is in the vanguard.

It rears its kitschier head in commercial bronze from Loveland to Kirkland. It is in prosthet-ic silicon of Hollywood out of which the savant Ron Mueck has led an army of hyperrealists, and it blooms now amongst the gamers of Redmond where the media is digital polygons and the physical sculptor may be a 3-D plot printer or a six-axial robotic Dremel.

The depiction of the body is a refl ection of the aspirations and fears of the age, whether Umberto Boccioni’s gleaming futurism or the mid-century high angst of Alberto Giacometti, to the plastic, super-model beauty of 1980’s Imperial LA’s Robert Graham. Now it’s genetic manipulation in Patricia Piccinini, or the sapient automata of Elizabeth King, Judy Fox’s pre-pubescent gods, and the rich texture and psychology of Beth Cavener Stichter’s animals.

All depend on faithful study of form, and form is best understood in the round. There is no fudging, no tricks of shade or chroma or foreshortening that will make a 3-D piece come together; it is not one drawing, but a hundred, 360º, all wrapped together. And that is the transformative power of sculpture for the aspiring artist. It is work that comes alive. The study offers a whole new window on the world, and a door into other dimensions as well.

Michael Magrath, Gage Teaching Artist

Top to bottom: Maurizio Cattelan, Gerhard Demetz, Ron Mueck, Patricia Piccinini, Robert Graham

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I saw form for the

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a thing in the world.

TRAJeCTORY: ExhiBition & lEctUrE

This spring Magrath curates the exhibition Trajectory in the Steele Gallery at Gage and gives a talk on opening night, Friday, May 18. The show reveals the progression of fi gurative sculpture in Seattle over the past 60 years starting with the work of Everett DuPen. See pages 4 and 5 for more information.

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2 Register online at www.GageAcademy.org beginning Monday, February 20, 2012.

Gage Update

prESEntinG SponSorS

in kinD DonorS

Seattle Office of

The 12th Annual Drawing Jam®, held this past December 3, was an astounding success, bringing more than 1,400 adults, kids and teens together to make art. A record-setting event, this year expanded into a new space, the Skinner Auditorium, with a café area, vendor tables and a 12-foot scaffolding with catwalks on which models posed throughout the day.

The Drawing Jam was full to the brim with artists focused on live models, still-life setups, a mural wall, musicians and even their own self portrait. The evening featured an Artist Happy Hour with a cadre of local artists serving their own unique cocktails alongside original video works created to compliment the drinks.

From sketching to printmaking and clay to paint, check out scenes from the day and the list of musicians at www.GageAcademy.org/drawingjam. Special thanks to Klara Glosova, Sierra Stinson, George Ras and Superior Stucco.

B r e w e r y & P u bA L E S

Le PanierV e r y F r e n c h B a k e r y

SIMPLY DESSERTS

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Photos of the fun at the 12th Annual Drawing Jam®.

a Fond Farewell & a hearty helloGage bids adieu to Lauren Klenow, our exceptional curator for the past three years who is completing a Centrum Residency in Port Townsend and then heading to Berlin to focus on her studio practice.

We are excited to announce that Shelly Leavens is the next Gage Curator. Shelly earned her master’s in museology from the University of Washington and has been working in exhibition develop-ment at the Burke Museum as well as curating shows at the Center for Wooden Boats. She is also a course instructor in the Museum Studies Cer-tifi cate Pro-gram at the UW. Welcome to your new role at Gage, Shelly!

Save the DateFriDay, jUnE 15

Mark your calendars to celebrate the Best of Gage: Student Art Exhibition, Awards & Sale, a marquee event that showcases 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 15 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 7–9

eligibility: Any registered Gage student from July 1, 2011 to June 30, 2012.

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Register online at www.GageAcademy.org beginning Monday, February 20, 2012. 3

Willkommen! With the Gage Collector’s Gala just around the corner, there remain two opportunities

to both support Gage academy of art and get a little something in return.

Proxy Bidding If you can’t make it to the big night, you can still bid on artwork of your

choosing by proxy bidding, available for just $50. Peruse the online catalog at www.Gageacademy.org/auction, then register for proxy bidding

by calling kathleen Moore at 206.323.4243 x16.

Art Preview everyone is invited to the artists’ reception and art Preview on thursday, March 1

from 5:30pm-8:00pm to see the work in person and meet the artists.

Art Tour Raffle this is also your last chance to purchase raffl e tickets! For just $50 a ticket

(or 5 for $200), you have a chance to win two places on the upcoming Vienna to Berlin art tour: the Heart of Central europe — including airfare! the 11-night art-intensive trip worth $12,000 is coming up this october; check out the itinerary on page 22, and see all the raffl e details online at www.Gageacademy.org/auction.

Call kathleen Moore to purchase your raffl e tickets today!

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

Thank You to Our Corporate Sponsors

Participating Artists Juliette aristides Crystal Barbre Susan Bennerstrom Suzanne Brooker larine Chung Pat Clayton kathleen Coyle Sue Danielson Margaret Davidson eric elliott Bill evans Gary Faigin eduardo Fernandez ryan Finnerty Geoff Flack Zoey Frank Michael Friel

Jennifer Frohwerk terry Furchgott Ira Goldberg Michael Grimaldi Patty Haller andrew Hare Christopher Martin Hoff tom Hoffmann lee Holcomb Jameson Hubbard Victoria Johnson Mark kang-o’Higgins lauren klenow Craig kosak David kroll ted kutscher lin la Mer Michael lane

Michael leavitt anne lewis Norman lundin anna Mckee Janet Nechama Miller Daniel Monda kathleen Moore richard Morhous ann Morris Gary Nisbet Joe Park kelly Patterson Jim Phalen Steven reddy John rizzotto Pamela robinson Deborah Scott Jordan Sokol kurt Solmssen

Charlie Spitzack keri Stack kimberly trowbridge Peter Van Dyck elana Winsberg emily Wood Jim Woodring Suze Woolf

Friday, March 2, 2012

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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 floor 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

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Jennifer Baker Lance Dooley, detail


Call for Self portraitS! Gage Students & alumni!Submit one self portrait to Spitting Image, any size and medium. Must be ready to hang.

turn-in Dates: Thurs., March 22 – Sat., March 24, 2012

Visit www.GageAcademy.org/call for full details.

Cash prizes awarded! Juror: Gabrielle Bakker

GaGe art Book CluB3rd MonDayS 7:00pm-8:30pm #202, 2nd Fl

Join Ray Munger for this free book club as he leads a discussion on the featured work of lit-erature each month. Visit www.GageAcademy.org for book line-up and discussion questions.

free all levelS/pUbliC WelCoMe

entry GallerySkin DEEpMarch 27 – april 13Opening Reception: Friday, March 30, 6:00pm-8:00pm

aron Hart’s realist portraits and figurative paintings come to life by capturing the spirit of his subjects, as well as their likeness. Hart’s work exhibits a strong grasp of light and shadow and demonstrates his passion for contrast — on the canvas, in the artist and in the subject.

in FocUSapril 20 – May 10Opening Reception: Friday, april 20, 6:00-8:00pm

Painting students of the faigin atelier present their most recent paintings focusing on the detailed style of the still-life tradition. Using the still life as a tool for the development of their own artistic voice, these students create compel-ling paintings exhibiting strong attention to detail of the still-life subject.

SynthESiS: thE claSSical atEliEr GraDUatES May 17 – June 8Opening Reception: Friday, May 18, 6:00pm-8:00pm

Jennifer Baker, Ioulia Kouskova, Charles Prutting and Tenold Sundberg exhibit their thesis work created during their final year in the Aristides Atelier. This exhibition marks the successful completion of the culminating year when each graduating student must develop their own artistic direction in preparation for careers as emerging painters.

roSen GallerySpittinG imaGE: SElF-portrait compEtition March 27 – april 13Opening Reception: Friday, March 30, 6:00pm-8:00pm

Current Gage students and alumni show their artistic talent and creative spirit in the 6th an-nual self-portrait competition. Juried by artist Gabrielle Bakker, the top three portraits are awarded cash prizes; any Gage student, past or present, working in any media is invited to submit their own interpretation of a self-portrait for the exhibition.

captUrEapril 18 – May 13Opening Reception: Friday, april 20, 6:00pm-8:00pm

Drawings and paintings created by the students of the Kang-o’Higgins atelier express a focused connection between observational studies and creative expression. Working with line and tone, light and shadow, color mixing and anatomy, these students display their most re-cent artworks as they strive to capture their own style and place their work in the broader context of contemporary art.

proGrESSionS May 17 – June 7Opening Reception: Friday, May 18, 6:00pm-8:00pm

Students of the aristides atelier present classi-cal drawings and paintings founded in traditional academic techniques while highlighting the artists’ own observational skills. This exhibition displays the entire spectrum of the atelier pro-gram, demonstrating how students begin with a focus on drawing and advance to full chromatic paintings as they develop a vocabulary to create well-executed and sensitive works of art.

Steele Gallery thE rEalm oF thE FEmininE: intErior EDGEMarch 25 – april 14Opening Reception: Friday, March 30, 6:00pm-8:00pm

Ten figurative artists exhibit ceramic sculptures that dissect and expose fragments of the psyche, each creating her own distinct and emotive land-scape encapsulated within a human rendering. Tip Toland, Christyl Boger, Lisa Clague, Cristina Cordova, Adrian Arleo, Anne Drew Potter, Kathleen Skeels, Aisha Harrison and Christine Golden showcase the female figure as a vehicle to explore the personal nuances of the feminine.

*The Realm of the Feminine is guest curated by Christine Golden as part of the 2012 National Council on Education for the Ceramic Arts (NCECA) conference.

my BrokEn loomapril 20 – May 12Opening Reception: Friday, april 20, 6:00-8:00pm

The works of Brian Cypher, Robert Hardgrave, Jenny Heishman and Kimberly Trowbridge come together in an intimate, darkened viewing space where paintings, drawings, collages and objects resound. Patterns from nature, basket weaving, beach towels and imagined brooches worn by Cleopatra are used to create works that echo and alter the experience of being a body in space. By reusing, recombining, stitching- together and scraping-back, the exhibited works call forth the rhythmic structures of their making.

trajEctoryMay 18 – June 8Opening Reception: Friday, May 18, 6:00-8:00pm

Marking the 100-year anniversary of the birth of sculptor Everett DuPen, Trajectory exhibits the progression of figurative sculpture in Seattle over the past 60 years. Beginning with works of DuPen, Gage teaching artist Michael Magrath creates an arc of local sculptors showing his own recent work and that of promising young sculptors who he has mentored, including Lance Dooley, Brandis Svendsen and Katrina Wolfe.

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.

Robert Hardgrave, detail

the Making of the realm of the feminine: interior edgeChristine GoldenFriday, March 30 7:00pm Geo Studio, 3rd floor free

The female form, as represented in clay, has had a long and fascinating history. Guest curator Christine Golden describes how the artists were chosen for the Steele Gallery exhibition and elaborates on the concept of the Interior Edge, which presents a contemporary take on the portrayed feminine. This exhibition highlights artists at various stages in their careers, all creating their own unique imprint on contemporary figurative ceramics. Golden is guest curat-ing this Gage exhibition as part of the 2012 National Council on Education for the Ceramic Arts (NCECA) conference.

Golden has been creating art for more than 15 years, working predominantly with the human figure sculpted in clay, focusing on issues dealing with the human condition. Attaining her MFA from Indiana University in 2010, Golden has been represented in Ceramics Monthly and has exhibited at various institutions such as The Kinsey Institute for Research in Sex, Gender, and Reproduction. She has participated in workshops and residencies, including at the Vermont Studio Center, Watershed Center for the Ceramic Arts, Santa Fe Clay, Penland School of Crafts, and Red Lodge Clay Center.

patterns of thoughtkimberly trowbridgeFriday, April 20 7:00pm Geo Studio, 3rd floor free

What are the motives behind a particular work of art? How does the artist guide the viewer through a specific experience? Exhibiting artist and curator Kimberly Trowbridge discusses the thought process and influences behind the creation of selected works, and the similar and dissimilar motives that direct Brian Cypher’s, Robert Hardgrave’s, Jenny Heishman’s and her own studio practice.

Trowbridge is a Seattle-based painter and teaching artist at Gage Academy of Art. She received her MFA from the University of Washington in 2006, and has exhibited her work locally and nationally at venues including the Henry Art Gallery and Prographica, Seattle; Koplin Del Rio Gallery, Culver City, CA; The Painting Center, Prince Street Gallery and Jenkins Johnson Gallery, New York. In 2008 she received a smART ventures grant from the Seattle Office of Arts & Cultural Affairs.

it’s all 3-D nowMichael MagrathFriday, May 18 7:00pm Geo Studio, 3rd floor free

As the 21st century progresses, advances in technology continue to significantly impact the creation and execution of artworks. From the rebirth of ceramics to hyperrealism to 3-D pro-jection and digital modeling, 3-D technology has become increasingly present in the art world. Gage teaching artist Michael Magrath, guest curator of the concurring exhibition Trajectory, leads a discussion about where this influence is coming from and where it may be going.

Michael Magrath received his MFA in sculpture from the University of Washington and also trained at the Florence Academy of Art, Italy. Magrath has taught at Reed College, the Sculpture Acad-emy of London as well as the University of Washington. He is the recipient of the Artist Trust GAP award, the Arts Special Projects Award from 4Culture, and he exhibits his work internationally.

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Anne Drew Potter, detail

Everett DuPen

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.

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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 10 Craig Hanson/Duane Hanson

The sculptures of Duane Hanson make an unforgettable impression, partly due to the fact that one at first walks past them without real-izing they are art. His tourists, museum guards, cheerleaders and shoppers stand sentinel in the museums of the world, their hyper-realism masking a very complex process of creation and conception. Craig Hanson, son of the late sculp-tor, joins us for a review of his father’s work, and shares his insights as to his working process and artistic agenda. We look with special interest at images of the life-size sculpture of Craig Hanson himself, and find out what it was like to be turned into a sculpted effigy by his dad.

June 14 Mike leavitt

Every artist and every art career is different, but sometime Gage teaching artist Mike Leavitt follows a path that is particularly distinct. Join us as we talk to Leavitt about some of his myriad of activities as CEO of Intuition Kitchen Productions: “a one-man company of fine craft, sculpture, portraiture, performance, education, architecture and animation.” We find out why he experienced “extreme boredom with ‘normal art,’” and what his action figures, penny paint-ings, movies and trading cards all have in com-mon. According to one observer, “Leavitt alters the everyday objects among us with his blazing technical skill and wit. You will never look at your world the same way again.”

Mar 22 Gallery relations — the artist’s View

Christopher Martin Hoff

Seattle painter Hoff shares his experience of working with galleries both locally and nationally, obtaining successful representation and what to expect from a gallery to ensure a healthy creative relationship.

Christopher Martin Hoff earned his BFA at the Savannah College of Art and Design in Georgia. He is represented locally at Linda Hodges Gallery and has exhibited with the George Billis Gallery in Los Angeles and New York. Hoff has received numerous awards including an Elizabeth Greenshields Foun-dation Grant and an Artist Trust GAP award for his on-site project documenting the reconstruction of the World Trade Center in New York.

apr 26 Seattle Public art Projects

Deborah Paine

Paine discusses what Seattle’s one percent for the arts program is and what it means to emerg-ing artists. She also talks about how artists can get involved in public art exhibitions, how to ap-ply for public calls of art and other opportunities available to artists through this program.

Deborah Paine is the Curator & Collections Man-ager of Seattle Office of Arts & Cultural Affairs Public Art Program. She directs the care, manage-ment and placement of nearly 2,800 pieces of art, oversees and administers purchases of artwork, and develops and administrates purchase agree-ments with artists.

Christopher Martin Hoff Peter and Sue Richards, Blanche, Lake Union Interior, Bass Framing Studio

Mike Leavitt

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May 24 Framing 101: traditional techniques & DIY approaches

karrie Baas & Julia ricketts

Framing studio owner Baas and artist Ricketts offer a crash course in hanging, framing and pre-senting all types of two-dimensional work. They share appropriate framing choices for paint-ings on canvas and board, works on paper and mixed-media art. You learn about DIY solutions, essential hardware and tools, and what is best left to a professional framer!

Karrie Baas is the owner of Baas Framing Studio, an independent frame shop in the Madison Valley that recently celebrated 16 years in business. Julia Ricketts is a painter and Gage teaching artist with a focus on abstract art. She has 14 years of framing experience at Baas Framing Studio.



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 figurative studies in the Northwest.

For students seeking continuing education, Gage offers 10-week classes throughout the academic year (and two five-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 sculpting practice and media.

intermediate: You understand the prin-ciples of rendering light, shade and value and can draw any object, including the figure, with reasonable proficiency; paint with an understanding of media application 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 Certificate Programs allows you the opportunity to earn

a Foundation Certificate and offers distinct advantages to taking Foundation courses a la carte. The certificate benefits include quarterly guidance with our curriculum advisor, a certificate of completion and a solo show in the Entry Gallery at Gage. The cost for enrollment is $250 per certificate and you have five 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.

clock hoUrS at GaGEGage now offers teacher clock hour credits for select classes in drawing, painting and sculpting. Register for classes as normal, and for an additional administrative fee of $75 per 30 hours completed, you can earn clock hours toward your continu-ing education. Look for the , which indicates if a class qualifies for clock hours; this spring there are five classes available. For questions, please call the Registrar at 206.323.4243 x10.

FoUnDation DrawinG proGram see pages 13–16, 21

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 see pages 16–21

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

WinterFoundation Still-Life Painting II*Foundation Figure Painting: Head, Hands, Feet *Contemporary Portrait PaintingDesign Concepts for Artists (or elective)

SprinGFoundation Still-Life Painting III*Foundation Figure Painting: Figure in ContextFigure Painting Portrait PaintingPortrait Sculpting*class meets twice a week

Gage curriculum & Foundation programs

want to lEarn morE aBoUt StUDyinG at GaGE?

Contact Anne Petty at [email protected] to arrange a

convenient 30-minute interview.

If you have artwork to show, please bring it!

An artist at work in Kathleen McKeehen’s Botanical Watercolor class.

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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

Patrick LoCicero, detail Tom Hoffmann, detail Karen Hackenberg, detail

ExprESSivE FiGUrE DrawinGSuzanne BrookerSat-Sun 9:30am-4:30pm 3/3-3/4 [2 days]

Refresh your eyes and hand to the art of drawing as you learn how to reduce the com-plexity of the human form to the simplest line statement. Fast and slow exercises wake up your senses to the visual dynamics of balance, gravity, internal rhythms and sculptural mass.WW1205 beGinninG $225

tonal portrait DrawinGMichael laneFri-Sun 9:30am-4:30pm 3/30-4/1 [3 days]

Improve your portrait drawing accuracy and speed in a relaxed, supportive environment. Working tonally in charcoal and white chalk, learn to draw the portrait in a way that relates directly to painting. From block-in, massing of shadow shapes, wipe outs, blending with a stump and highlighting, you mimic the paint-ing process while executing fully rendered portrait drawings quickly and concisely. WW1206 all levelS $325

mixED-mEDia imaGE layErinGPatrick loCiceroSat-Sun 9:30am-4:30pm 4/14-4/15 [2 days]

Learn the processes and skills needed to energize and make the surfaces of your paint-ings complex, nuanced and rich with meaning. Through the process of mixed media, found object and collage, you explore various back-ground layering techniques. You learn how to integrate dissonant materials in a composi-tion to create a successful fi nished work of art. Historical and contemporary examples inspire you to fi nd your own voice and lead to a unique and personal iconography.WW1207 all levelS $195

BotanicalS in watErcolor: paintinG thE panSykathleen MckeehenSat-Sun 9:30am-4:30pm 4/21-4/22 [2 days]

Whether you are a beginner or a more expe-rienced artist, this workshop augments the basics of botanical drawing with the classic botanical watercolor skills of washes and dry-brush in portraying that perennial favor-ite, the pansy. Those who have already taken the longer Beginning Watercolor class can use this workshop to apply the techniques they learned to a complete botanical subject and a fi nished piece.WW1208 all levelS $195

thE SciEncE oF paintinG with watErcolortom HoffmannSat-Sun 9:30am-4:30pm 4/28-4/29 [2 days]

Have you always meant to get around to studying the properties of the various pig-ments in your palette? Well, now’s the time! Study properties such as transparency and opacity, staining and non-staining, perma-nent and fugitive, and what colors layer best with each other. Through exercises, experi-ments and comparative paintings, you take a quasi-scientifi c approach to exploring and recording the behavior of paint.WW1209 int/aDv levelS $195

paintinG with GoUachEkaren HackenbergSat-Sun 9:30am-4:30pm 5/19-5/20 [2 days]

Enjoy the luscious and expressive qualities of painting with gouache on paper as you learn the basic techniques of this precise yet forgiving medium. Mixing transparent and opaque colors from a condensed palette of colors, you explore the process of wet-into-wet color graduation, dry brush modeling of forms, overpainting and painting with resist. On the second day, you further acquaint yourself with the medium by completing a small still-life painting.WW1210 all levelS $195

introDUction to plEin-air paintinGSuzanne BrookerSat-Sun 9:30am-4:30pm 6/23-6/24 [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. WW1211 all levelS $195

mixED-mEDia paintinGHamid ZavareeiSat-Sun 9:30am-4:30pm 6/23-6/24 [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. WW1212 all levelS $195

Suzanne Brooker

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.


Amy Weiskopf Jane Jones Nicholas Raynolds, detail

SprinG

Still-liFE paintinG in oil: analytical & SEnSUalamy WeiskopfMon-Fri 9:30am-4:30pm 3/26-4/6 [10 days]

Still life offers a unique opportunity to ex-plore both the analytical and sensual aspects of painting. During the fi rst week, you focus on formal issues, particularly color and light, and how the two create space. In the second week, you begin to use the elements of light, color, three-dimensionality and space to compose. You explore weaving two-dimensional and three-dimensional aspects of painting together to create a compelling composition in oil.Wa1205 int/aDv levelS $1,200

lUminoUS FlowErS in oil Jane JonesMon-Fri 9:30am-4:30pm 3/26-3/30 [5 days]

Throughout this intensive week of study, you learn strategies to create convincing il-lusions of fl owers, as well as gain a thorough understanding of underpainting and glazing in oil. Working from both fresh and silk fl ow-ers, you focus on painting detailed studies of several different fl oral varieties to learn their specifi c characteristics and artistic challenges. Beginning with detailed draw-ings, you progress to neutral and colored underpaintings, which you glaze with layers of transparent color akin to painting with stained glass. Wa1204 int/aDv levelS $600

FiGUrE paintinG: thE GriSaillENicholas raynoldsMon-Fri 9:30am-4:30pm 4/2-4/6 [5 days]

You develop a deeper understanding of how to achieve luminosity through value and monochromatic oil painting. Working from the model, you create small, single-sitting value studies during morning sessions and a larger, fully rendered painting in the afternoon. These two complementary work-ing methods serve as the vehicle for you to explore issues concerning grisaille painting. Raynolds presents daily demonstrations and his individual critiques complement relevant studio topics such as composition, the anatomy of light and shadow, paint handling and your painting materials.Wa1207 int/aDv levelS $625

FaUviSt Form: BEyonD local colorMichael HowardMon-Fri 9:30am-4:30pm 4/2-4/6 [5 days]

You work on setting up a palette in oils and laying out color spectrums for dealing with form. Emphasis is placed on specifi cally mixing neutrals and values, mixing a spec-trum of temperature, and ultimately using pure color to render the value, tempera-ture and form which we see. Progressing quickly from value to temperature to full chroma, you complete the workshop with a signifi cantly colorful interpretation of form and vision inspired by the Fauves of the turn of the 20th century.Wa1206 int/aDv levelS $600

Michael Howard

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weeklong workshops (continued)

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Zack Zdrale Michael Grimaldi Nathan Oliveira, detail

SUMMer

DrawinG thE FiGUrEZack ZdraleMon-Fri 9:30am-4:30pm 6/18-6/22 [5 days]

Spend a week focused on drawing the fi gure from life, approaching the subject from an academic point of view without limits on mean-ing and expression. You complete at least three drawings from three different poses, taking time to compose, measure and construct each drawing. Combine sight measuring, review anatomy and proportion, and relate this struc-tural analysis to the light source in order to defi ne the value pattern. Explore topics such as light on form, constructing the fi gure, materi-als, technique and composition as you produce fi nished drawings of which you can be proud.Wa1208 all levelS $625

aDvancED FiGUrE paintinGMichael GrimaldiMon-Fri 9:30am-4:30pm 6/18-6/29 [10 days]

Explore fundamental and advanced concepts of visual perception and their application to composing paintings from direct obser-vation. A thorough understanding of the visual experience and of the human fi gure is essential for anyone wishing to express and translate these elements to the picture plane. Working on one pose for the dura-tion of the workshop you learn elements of proportion, gesture, perspective, construc-tive anatomy and morphology, light on form, color theory and application, and composi-tion through the sustained construction of a full-color, highly resolved painting in oil.Wa1209 int/aDv levelS $1,350

BonnarD & mUnch’S inFlUEncE on Bay arEa paintinGCharles emersonMon-Fri 9:30am-4:30pm 8/6-8/10 [5 days]

Two major fi gures emerged from the many sources informing the new art of the Bay Area in the 1950s; Edvard Munch, the emotional forerunner of Expressionist Art, and Pierre Bonnard, an early abstractionist and master of color and atmosphere. Munch painted fl uid long, sensual brushstrokes and arabesques of meaningful color. Bonnard used meaningful abstractions of space and scale in new color combinations, application and techniques. Ex-plore these artists’ impact on Modernism and techniques through lectures and exercises in oil or acrylic working from the fi gure and land-scape. $15 materials fee payable to instructor. Wa1210 int/aDv levelS $600

Jordan Sokol, detail Eran Webber, detail

DrawinG & ScUlptinG thE FiGUrE From liFEJordan Sokol & eran WebberMon-Fri 9:30am-4:30pm 8/6-8/17 [10 days]

Two Florence Academy instructors lead this two-week collaborative workshop, which offers a unique combination of both drawing and sculpting the fi gure from life, immersing you in a compre-hensive investigation of the human form and equipping you with the tools to intelligently compose an accurate and convincing fi gure in two and three dimensions. You alternate between developing a fully rendered charcoal drawing in the mornings and sculpting a half-life size (approx. 33 inches) fi gure in the afternoons. Both approaches are designed to complement one another, balancing both a visual and constructive approach to understanding the mechanism of the body. Regular demonstrations and individualized critiques guide you through basic and advanced concepts of fi gure construction, light and form modeling, anatomical and proportional canons to support a visual understanding, analyzing depth and understanding contour movement in space. Prior fi gure drawing experience is recommended, however no prior sculpting experience is needed.Wa1211 int/aDv levelS $1,350


ESSEntial concEptS oF lanD-ScapE paintinG in SkaGit vallEyMitchell albalaMon-Fri 8:00am-11:00am & 3:30pm-6:30pm 8/13-8/17 [5 days]

Located on Fir Island in the heart of Skagit Valley, this summer plein-air retreat pro-vides a vast agricultural panorama dotted with farmhouses, barns and fi elds in rural Washington. Explore practical solutions to the special challenges faced by landscape painters, including simplifi cation through massing, composition, strategies for depict-ing light, color mixing and managing your outdoor studio. Be part of a close knit “art colony” as you benefi t from daily demon-strations and lectures, personal and group critiques, and lunch time chats. Wa1213 int/aDv levelS $650

lanDScapE paintinG at port townSEnDGary FaiginMon-Fri 9:30am-4:30pm 8/20-8/24 [5 days]

Travel to scenic Fort Worden State Park for a week of Northwest landscape painting. Each day begins with a demonstration focusing on the key elements of plein-air painting: choosing a subject, getting started, the block-in, adjusting your values and ap-proaches to painting trees, skies and water. Emphasis is placed on strong compositions, simplifying complex forms and eliminating distracting and unnecessary details. Wa1215 all levelS $600

SUMMer on loCation

lanDScapE paintinG in SEattlEPeter Van DyckMon-Fri 9:30am-4:30pm 8/20-8/24 [5 days]

Hone your creative problem solving skills as you tackle the challenges of painting the city as a motif. You learn strategies for simplifying complex environments using an understanding of space, structure and light, developing personal compositions with a compelling sense of space. Focus on topics such as linear perspective, pictorial distortion, the color of light and design, as well as addressing the practical diffi culties of working on site. Wa1214 int/aDv levelS $600

Mitchell Albala Gary Faigin, detail

Gary Faigin Tenaya Sims, detail

Jordan Sokol, detail Eran Webber, detail

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DrawinG thE portrait on hanD-tonED papErtenaya SimsMon-Fri 9:30am-4:30pm 8/20-8/24 [5 days]

Depicting a compelling and realistic portrait is one of the most diffi cult tasks an artist faces. From your headquarters at Fort Wor-den, you fi rst focus on learning fundamental mechanics of blocking-in and rendering the head and face, then adapt these techniques to a variety of drawing tools and surfaces, as well as learn to prepare your drawing surfaces by toning the paper with gouache, graphite powder and charcoal dust. Demos, critiques and lectures augment your studio time. Wa1216 all levelS $625

portrait paintinG in oilCosta VavagiakisMon-Fri 9:30am-4:30pm 8/13-8/17 [5 days]

In this workshop, you examine the construc-tion of the portrait: from the drawing study, to the grisaille undercoat, to the fi nished painting. You develop a thorough under-standing of facial physiognomy by studying the underlying structure of the skull and fea-tures of the face. In order to ensure a good foundation for capturing likeness, emphasis is placed on the study of proportions, light, form and tonal relationships. In addition to your studio practice, you learn through demonstrations of drawing and painting techniques, as well as through lectures on the history of portrait painting. Wa1212 int/aDv levelS $625

Peter Van Dyck Tenaya Sims, detail

Costa Vavagiakis

Fort worDEn hoUSinG Sun, Aug 19 – Fri, Aug 25atr1205 $250 for 5 nights/dbl occupancy for painter or non-painter

Fort worDEn

Fort worDEn

Gage students and community artists work from the model during a Drop-In Studio session.

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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.

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 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 sessions, the pose is set by a Gage instructor who works alongside studio artists for the duration of the pose.

NEW! utrecht now hosts open studio sessions with fi gure models at their Capitol Hill store on thursday nights.

St1206 firSt viSit free$14 (drop-in) / $55 (5-session pass)$160 (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 reg-ister before the quarter begins to guarantee an easel space.

St1207 (Mon) $150 Dwg/Ptg [9 wks]

St1208 (thurs) $165 ($180 includes clay) Sculpting St1209 (fri) $150 Dwg/Ptg [9 wks]

St1210 (Sun) $150 ($165 includes clay) Sculpting [9 wks]

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 help develop a road map for your future study. To enroll, call Gage to help you determine the best match for your mentoring needs.

MS1203 Mentoring by a Gage instructor: 3 hours $225 ($175 if enrolled in a concurrent Gage program)

MS1204 Mentoring by a Gage Graduate: 8 hours $250

Sponsored by 1124 pike StreetSpring Quarter Schedule | april 9 – June 17

morning

afternoon

Evening

Drop-in anD reServeD StUDioS

• See Gage website for last minute updates. •

monDay tUESDay wEDnESDay thUrSDay FriDay SatUrDay SUnDay monDay tUESDay wEDnESDay thUrSDay FriDay SatUrDay SUnDay monDay tUESDay wEDnESDay thUrSDay FriDay SatUrDay SUnDay monDay tUESDay wEDnESDay thUrSDay FriDay SatUrDay SUnDay monDay tUESDay wEDnESDay thUrSDay FriDay SatUrDay SUnDay monDay tUESDay wEDnESDay thUrSDay FriDay SatUrDay SUnDay monDay tUESDay wEDnESDay thUrSDay FriDay SatUrDay SUnDay monDay tUESDay wEDnESDay thUrSDay FriDay SatUrDay SUnDay4/9 - 6/11 4/10 - 6/12 4/11 - 6/13 4/12 - 6/14 4/13 - 6/15 4/14 - 6/16 4/15 - 6/17

9:30am - 12:30pm 10:00am - 1:00pm9:30am - 12:30pm 10:00am - 1:00pm SHort poSeS SHort poSeS SHort poSeS SHort poSeS SHort poSeS SHort poSeS reServeD StUDioreServeD StUDio [9 wks, no class 5/26] 9-week pose Sculpting / St1210 Sculpting / St1210 Sculpting / St1210 Sculpting / St1210 Sculpting / St1210 Sculpting / St1210 Sculpting / St1210 [9 wks, no class 5/27]

1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 1:30pm - 4:30pm 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 lonG poSe artiSt’S CHoiCe lonG poSe SHort poSeS lonG poSe lonG poSe artiSt’S CHoiCe lonG poSe SHort poSeS lonG poSe lonG poSe artiSt’S CHoiCe lonG poSe SHort poSeS lonG poSe lonG poSe artiSt’S CHoiCe lonG poSe SHort poSeS lonG poSe lonG poSe artiSt’S CHoiCe lonG poSe SHort poSeS lonG poSe lonG poSe artiSt’S CHoiCe lonG poSe SHort poSeS lonG poSe lonG poSe[9 wks, no class 5/28] [9 wks, no class 5/27]

6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:00pm - 9:00pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:00pm - 9:00pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:00pm - 9:00pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:00pm - 9:00pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:00pm - 9:00pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:00pm - 9:00pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:00pm - 9:00pm reServeD StUDioreServeD StUDio SHort poSeS reServeD StUDioreServeD StUDio reServeD StUDioreServeD StUDio open StUDioopen StUDio

9-week pose 10-week pose 9-week pose Dwg • Ptg / ST1207 Sculpting / ST1208 Dwg • Ptg / ST1209 Dwg • Ptg / ST1207 Sculpting / ST1208 Dwg • Ptg / ST1209 Dwg • Ptg / ST1207 Sculpting / ST1208 Dwg • Ptg / ST1209 Dwg • Ptg / ST1207 Sculpting / ST1208 Dwg • Ptg / ST1209 Dwg • Ptg / ST1207 Sculpting / ST1208 Dwg • Ptg / ST1209[9 wks, no class 5/28] [9 wks, no class 5/28] [9 wks, no class 5/28] [9 wks, no class 5/28] 4/13 - 6/8 [9 wks]

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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.

DrawinG thE FEatUrES D oF thE hEaDGary FaiginTuesday 7:00pm-8:30pm 4/24-6/5

Nothing is more emotionally compelling to ob-serve than the human face. Magazines fl aunt 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 discourse on the foundations of drawing the head. Drawing from models and showing slides, he guides you to a broader understanding of this fascinating subject.

apr 24 It’s What’s underneath that Counts: Fundamental Forms of the Skull

May 1 the Skull: How It Relates to the Proportions of the Head

May 8 looking into the eye: Under- standing & Drawing Its Forms

May 15 the Features: Depicting the Nose, the Mouth & the Ear

May 22 the tonal Factor: Shading the Head as a Whole

June 5 What’s in a Smile? A Look at Facial Expressions

all levelS/pUbliC WelCoMel1203 $70 for series/$15 at door

workinG artiSt: Do-it-yourself tools for Building your art careerPamela BelyeaWednesday 7:00pm-8:30pm 5/9-5/30

There is nothing formulaic or absolute about your trajectory from art student to profes-sional artist. Every artist follows a unique career path based on career opportunities invented or proffered. Nonetheless, building and sustaining an art career includes basic practices with which every artist should be familiar. This four-part lecture series outlines time-honored principles for turning your art-making passion into your profes-sional career. Reference binders of all lecture materials are available for $10 each.

May 9 the Bifurcated artist: Your balancing act between art practice and business practice

May 16 Crafting Your Career tools: From inventory software to marketing & PR strategies

May 23 Your Gallery relationships: Where to begin, when to end and everything in-between.

May 30 Sustaining Your Career: Resources and recommendations to broaden your options

all levelS/pUbliC WelCoMel1204 $45 for series/$15 at door

Gary Faigin, detail Jan Vermeer, detail Paul Gauguin

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FrEElunchtime lecture SeriesGaUGUin: art & myth @ GaGE acaDEmy oF artCharles emersonThursday 12:30pm-1:30pm 3/1Geo Studio, 3rd fl oor

Against all odds Paul Gauguin stubbornly struggled to fi nd an art, place and life that did not exist and so tried to create one. In the process of newly inventing the world he sought, he became one of the greatest and most infl uential modern masters. He explored new emotive pos-sibilities of color, fl attening space and using both abstract and decorative forms in new and sometimes provocative ways. We analyze his art, not only the myth, as we study the products of a unique genius who believed all art was either plagiarism or revolution. No registration required.free all levelS/pUbliC WelCoMe

SaM Guided toursGaUGUin anD polynESia @ SEattlE art mUSEUmCharles emerson & Gary FaiginWednesdays 3:00pm 3/28 (Emerson)4/11 & 4/18 (Faigin)

Gage Artistic Director Gary Faigin and teaching artist Charles Emerson both lead tours of the exhibition Gauguin and Polynesia: An Elusive Paradise on view at the Seattle Art Museum. Each guide lends a unique artist’s perspective to this striking exhibition, which displays about 60 Gauguin works spanning painting, sculpture and drawings that fully reveal the extent of the infl uence of Polynesian art and culture on his work. Audio equip-ment is provided and tour participants are invited to continue the conversation at a no-host happy hour at the SAM TASTE Res-taurant afterward. Tour limited to 18. SAM admission not included.

all levelS/pUbliC WelCoMeatr1202 all Dates $15/person

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Michael Lane Barbara Fugate Suzanne Brooker, detail

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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 7 and look for the D in our class listings. Please Note: Most Gage classes require out of studio homework.

beGinninG

DrawinG By ScUlptorS: GiacomEtti, roDin, nEri Margaret DavidsonTuesday 1:30pm-4:30pm 4/10-6/12

Study the drawings of 20th century Modern-ist sculptors Alberto Giacometti, Auguste Rodin and Manuel Neri. Giacometti’s draw-ings show his vision of stress and time with layer upon layer of drawn lines and erased lines; Rodin actually cuts out some parts of his fi gure drawings and folds them into 3-D forms; and Neri draws with a living, breath-ing line, full of an energy that seems to carve form out of space right before your eyes. Modernist drawings are about both the sub-ject and the act of drawing itself. By copying the drawings of Giacometti, Rodin and Neri, you learn how signifi cant their contributions to art have been and continue to be.D1220 all levelS $420

BEGinninG FiGUrE DrawinGMichael laneTuesday 1:30pm-4:30pm 4/10-6/12

Gain technical mastery and intuitive un-derstanding of depicting the human form. Working from quick gesture drawings then longer, more considered poses and draw-ings, you learn to incorporate proportion and anatomy, use light and shade to depict volume, and line and tone to describe planar changes in the body. D1221 all levelS $450

DrawinG in thE StUDio & city Barbara FugateWednesday 1:30pm-4:30pm 4/11-6/13

Each week you alternate drawing at Gage from the live model to drawing at differ-ent places in the city with a sketchbook — bringing studio practices to the fi eld. In this way, you expand your understanding of basic art elements such as line, space and color by applying them to non-academic sub-jects in the city. Work in mixed media from animals at Woodland Park Zoo, plants in the Conservatory, ballet dancers at the Pacifi c Northwest Ballet and sculpture at SAAM, as well as from the live model at Gage. D1222 all levelS $435

DrawinG For BEGinnErSlarine ChungWednesday 6:30pm-9:30pm 4/11-6/13

In this introductory fundamentals class, you learn key concepts and artistic principles in order to accurately render line, shape, proportion and negative space while working from the still life and the human fi gure. You explore various drawing media, including charcoal and graphite, as you progress from simple lines toward a nuanced understand-ing of tonal description.

D1223 beGinninG $420

BEGinninG portrait DDrawinG & ScUlptinG Suzanne BrookerThursday 9:30am-12:30pm 4/12-6/14

Take your portrait drawing into the third di-mension by sculpting the features of the face with oil clay. Alternating weekly between drawing and sculpting, you focus on gaining a stronger understanding of each facial fea-ture in context while you develop a sharper eye to the detail and structure of the face. Easy step-by-step instruction; no sculpting experience required. See also the Drawng the Features of the Head lectures on p. 13.D1224 all levelS $450

New! lonG-poSE FiGUrE DrawinG eric elliott Friday 9:30am-12:30pm 4/13-6/15

Working from longer, more considered poses, you learn to achieve accurate proportion, create a sense of light and insert the fi gure into the environment. Use line and value to depict volume and depth and to describe planar changes in the body, as you work from the live model. D1225 all levelS $450

Foundation painting

Foundation Drawing

modernism Series

More info on p. 7 & p. 16

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Larine Chung, after Leonardo Da Vinci Terry Furchgott Margaret Davidson, detail

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Botanical DrawinGkathleen MckeehenFriday 9:30am-12:30pm 4/13-6/15 [9 weeks, no class 5/25]

Beginning with measurement techniques, observational skills and the unique require-ments of botanical art, learn to use line to accurately portray plant subjects, then move on to understanding light’s effect on form and how to use shading for three-dimension-ality. While focusing on plants, the skills you acquire apply to any realistic drawing effort and are an excellent preparation for learning botanical watercolor as well. Intermediate students are welcome and can take on more advanced plant subjects.D1226 all levelS $395

New! DrawinG principlES oF thE maStErSlarine ChungSunday 10:00am-1:00pm 4/15-6/17 [9 weeks, no class 5/27]

Learning how to draw by studying old mas-ters’ works is one of the most widely used learning methods in the art world. In this fundamentals class, you are exposed to ma-jor works of great artists and gain the insight of their key concepts and artistic principles in the classical drawing process. Focus on master copies and then move to still-life objects as you learn to accurately render line, shape and proportion.D1227 all levelS $395

interMeDiate

artiStic anatomy: anatomy appliED to liFE DrawinGMatt BucknerMon/Wed 1:30pm-4:30pm 4/9-6/13 [No class Mon, 5/28]

Focus on the recognition of structure pat-terns in the figure and their systematic use to create life drawings that convey action and articulate form. Problem solve foreshorten-ing and use cross contour to convey volume and place values. Recommended sequel to both intermediate-level figure drawing and intermediate-level sculpture courses.D1228 interMeDiate $670

FiGUrE DrawinG in intEriorS Dterry Furchgott Tuesday 9:30am-12:30pm 4/10-6/12

Take your figure drawing skills to the next level by exploring the relationship between the figure and its surrounding environment. Learn to successfully create the illusion of space, light and volumetric mass through efficient mark making and the use of clear relative values. Using pencil, charcoal, ink and white chalk, you complete bold sketches and one finished drawing working from com-plex theatrical setups including figure and objects, furniture and drapery. Composition and perspective studies help you create im-ages with successful visual relationships that also convey mood, personality and narra-tive intent. Previous figure drawing experience recommended. $10 materials fee payable to instructor.D1229 interMeDiate $450

FoUnDation FiGUrE DrawinG iii DMichael MagrathTues/Thurs 1:30pm-4:30pm 4/10-6/14

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.D1230 interMeDiate $690

BEGinninG color thEory Margaret DavidsonTues/Thurs 6:30pm-9:30pm 4/10-6/14

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.D1231 interMeDiate $650

lonG-poSE portrait DrawinGeric elliottFriday 1:30pm-4:30pm 4/13-6/15

Through portrait drawing, learn to handle the essential techniques of rendering the human head, hands and torso. Working from longer, more considered poses, you achieve more accurate shapes, increase your understand-ing of the surface anatomy of the figure and head, create a sense of volume and depth, and study the way light falls on three-dimensional forms. Classes are devoted to demonstrations, discussions, lectures and drawing from life and master copies.D1232 interMeDiate $450

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 7 and look for the p in our class listings. Please Note: Most Gage classes require out of studio homework.

painting classes

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 covering the development of Modernism from the old masters up to present day. This is the final quarter of the cycle; stay tuned for what’s next this fall! Look for the in our class listings, and visit www.GageAcademy.org/adult for a full schedule.

This quarter features:

DrawinG By ScUlptorS: GiacomEtti, roDin, nEri Margaret Davidson, page 14

moDErniSm & BEyonD in amEricaCharles emerson, page 19

thin to thick: hocknEy, DiEBEnkorn, rothEnBUrG Barbara Fugate, page 20

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Joseph Lesser Richard Diebenkorn Suzanne Brooker, detail

5-wEEk all-Day FiGUrE & portrait DrawinGJoseph lesserSaturday 9:30am-4:30pm 4/14-5/12

This six-hour Saturday class allows you to focus on your figurative skills under the guid-ance of a thoughtful teaching artist.

Using the drawing medium of your choice (charcoal, graphite or trois crayon), 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-dimension-al forms. Morning demonstrations and work focuses on the figure, while the afternoons are devoted to the portrait.D1233 interMeDiate $450

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aESthEticS oF DrawinG D Margaret DavidsonThursday 1:30pm-4:30pm 4/12-6/14

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.

D1234 aDvanCeD $420

Drawing (continued)

beGinninG

portraitS in watErcolorHamid ZavareeiMonday 1:30pm-4:30pm 4/9-6/11 [9 weeks, no class 5/28]

Experiment with both traditional watercolor techniques and looser approaches to capture the essentials of your portrait model. You fo-cus on head, facial structure and proportion, placing an emphasis on the economy of the line, and allowing for the watercolor to build up the volume and structure of the head and face through color and value. Explore light, shade, form and value with broad gestural strokes in warm and cool colors.p1231 all levelS $405

New! lanDScapE oil paintinG: Epic SkyScapES Suzanne BrookerTuesday 9:30am-12:30pm 4/10-6/12

Inspired by artists of the Romantic era, the sky becomes not only a deep observational study into nature, but also a metaphor of the unpredictable nature of heaven. From sunsets to stormy spring skies, you learn how to render the complex layers of the sky using transparent to opaque oil painting techniques in luminous color.p1232 all levelS $420

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Kimberly Trowbridge, detail Tom Hoffmann, detail Kathleen McKeehen, detail

colorS For paintErS pkimberly trowbridgeTuesday 9:30am-12:30pm 4/10-6/12

In this hands-on color theory course for oil painters, students learn rigorous color mixing and palette organization strategies, as well as how to apply that knowledge to observa-tional studies. Greatly improve your ability to perceive color relationships and to create equivalent analogies with oil paint. Work-ing from still-life constructions made from colored paper, you build a strong working relationship with color in terms of value, tem-perature and intensity. A fi nal study consid-ers the role of color contrast in composition and the development of space. p1233 all levelS $420

oil paintinG portrait BaSicS pSuzanne BrookerWednesday 9:30am-12:30pm 4/11-6/13

Learn to use the strength of an underpaint-ing to create a more expressive, vivid portrait in oil. Find out how a green underpainting can bring life to a red palette, how the fl uid quality of a wipe-out can enhance the ges-tural quality of expression and how a simple grisaille can be transformed with glazed color. p1234 beGinninG $450

BEGinninG watErcolortom HoffmannWednesday 9:30am-12:30pm 4/11-6/13

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. You focus on awareness skills as well as technical skills, since knowing what to do is at least as important as knowing how.p1235 beGinninG $420

New! caSt paintinGSusan Bari PriceWednesday 9:30am-12:30pm 4/11-6/13

Painting from the cast teaches the prin-ciples of form and light. Learn to see and paint relationships between planes of value while addressing the challenges of oil paint handling. Exercises progress from simple geometric forms to classical statuary. Class work includes demonstrations, individual and group critiques and lectures on light, form, value and painting processes.p1236 all levelS $420

FiGUrE paintinG in oil pMichael laneWednesday 6:30pm-9:30pm 4/11-6/13

Create a fi gure painting in oil from the live model. Starting with a limited palette, you learn how to block-in value and tempera-ture shapes that comprise the fi gure and surrounding environment. Explore practical color-mixing strategies and work up to your fi nal painting in an extended palette with an emphasis on composition and sighting ac-curate fi gure proportions.p1237 all levelS $450

BEGinninG acrylic paintinGterry Furchgott Thursday 9:00am-noon 4/12-6/14

From color mixing to brush techniques to the use of a wet palette, learn to handle the spontaneous and quick-drying medium of acrylic paint with confi dence and skill. Work-ing from inspiring set ups containing colorful fl owers, fruit and ceramics, you learn to draw accurately with paint and to create a sense of three-dimensional realism in your image through the use of relative tonal values, color temperature and saturation. You complete brief color sketches and one fi nished piece, learning to work with both fi ne detail and bold, painterly brushwork. $15 materials fee payable to instructor. p1238 all levelS $420

BEGinninG oil paintinG & color Suzanne BrookerThursday 6:30pm-9:30pm 4/12-6/14

Merge paint handling with color mixing in simple study paintings that allow you to practice and integrate the basic skills of oil painting. Using a step-by-step approach you learn how to move from the process of draw-ing into painting: begin a painting, design a color palette and build the paint surface using a variety of brush techniques.p1239 beGinninG $420

Botanical watErcolor: BloominG GarDEnSkathleen MckeehenFriday 1:30pm-4:30pm 4/13-6/15 [9 weeks, no class 5/25]

Practice botanical painting basics including measurement, drawing and preparing the painting surface; understand how lighting reveals form; use fl at and graded washes; and apply dry-brush technique to gain a bet-ter understanding of color mixing processes. Learn fl at and graduated wash techniques, as well as the dry-brush method, which allows for a very detailed, tight and realistic portrayal of your botanical subjects.p1240 all levelS $395

Stay Connected to Gagelike Gage on Facebook and follow us on twitter for the latest news and updates.


painting classes (continued)

Hamid Zavareei, detail Susan Bari Price Anne Petty, detail

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portrait paintinG in oil pMichael laneSaturday 10:00am-1:00pm 4/14-6/16 [9 weeks, no class 5/26]

In this course on the art and practice of por-traiture you learn to compose from observa-tion, acquire strategies for organizing visual information and study historic precedent while you work to render convincing and compelling likenesses of the model in oil.p1241 all levelS $405

BEGinninG lanDScapE paintinG: SprinG GrEEnSuzanne BrookerSaturday 2:00pm-5:00pm 4/14-6/16 [9 weeks, no class 5/26]

Every landscape painter needs 40,000 greens! Master color mixing strategies in oil for rendering foliage: variations of pigment greens verses mixing Y+B greens coupled with textural brush techniques. Excellent preparation for your summer plein-air paint-ing endeavors.p1242 all levelS $395

EncaUStic paintinGHamid ZavareeiSaturday 2:00pm-5:00pm 4/14-6/16 [9 weeks, no class 5/26]

Investigate the different characteristics and effects achieved by employing wax as a com-ponent of your painting. Learn the basics of this ancient, luminescent medium, including material, surface and painting techniques as you explore a range of encaustic applica-tions: from simple addition of wax to your painting media to hot-wax painting and the heating of wax-painted surfaces to layering and transferring methods. $25 materials fee payable to instructor.p1243 all levelS $395

aBStract paintinG iJulia rickettsSunday 2:00pm-5:00pm 4/15-6/17 [9 weeks, no class 5/27]

How do non-representational painters create their compositions? Investigate the lan-guage of abstraction through examples and methods of 20th- and 21st-century artists using oil or acrylic paint. Topics include pure mark-making, repetition and structure, and color as content. p1244 all levelS $395

interMeDiate

Still-liFE paintinG StUDioSusan Bari PriceMonday 9:30am-12:30pm 4/9-6/11 [9 weeks, no class 5/28]

Broaden and refine your still-life oil painting practice as you complete a series of projects designed to bring your unique point of view into focus. You work with the instructor to develop and accomplish specific goals; and in a supportive community of artists, participate in group critiques to explore ideas. Areas of study include historical styles, techniques and processes; mastering textures; working with limited and historical palettes; composition skills; still-life genres (trompe l’oeil, found still life, symbolic still life); color design; and developing meaning in your work.p1245 interMeDiate $395

New! ExprESSivE coloriStic FiGUrE paintinGCharles emersonMonday 9:30am-12:30pm 4/9-6/11 [9 weeks, no class 5/28]

Explore new ways to consider, experience, paint and use your personal reactions by way of a coloristic approach to the figure. To be a colorist is not necessarily to use many colors, but to skillfully orchestrate color as the logic, emotion and beginning of your work. Color, rather than tone or drawing, is the most important element in the structure, composi-tion, modeling and aesthetic intent. No color theories are proposed, but the psychological and emotional content and your reactions to various figural situations are open for your color input in oil or acrylic paint. $15 materials fee payable to instructor.p1246 interMeDiate $405

FoUnDation FiGUrE paintinG iii: FiGUrE in contExt anne PettyMon/Wed 9:30am-12:30pm 4/9-6/13 p [No class Mon, 5/28]

Building on your work with the figure as indi-vidual parts, you now focus on full figure stud-ies in a larger context. Explore layers of space within the figure and within the context of the picture plane by considering saturation vs. neutrality and spatial hierarchy, among other methods. Although this is the third class in the series, new intermediate students are welcome.p1247 interMeDiate $670


Mitchell Albala, detail Terry Furchgott, detail Mark Rothko

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FoUnDation Still-liFE paintinG iii Susan Bari Price Mon/Wed 1:30pm-4:30pm 4/9-6/13 p [No class Mon, 5/28]

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 oil painting addresses concept, composition, fully turned form and convincing spatial relationships. Discuss and apply painting techniques that lend a “finish” to your work including glazing, impasto and varying edge-work. New intermediate students welcome.p1248 interMeDiate $670

New! lanDScapE: ESSEntial thEory & procESSMitchell albalaTuesday 6:30pm-9:30pm 4/10-6/12

Explore the key lessons of landscape — simplification and massing, value, subject selection, composition and color — in this studio-based class. Through structured exercises in the slower, more controlled environment of the studio, you become better prepared to solve these problems when working outdoors. Special attention is given to the correct way to reference photos and how image editing software is used to generate ideas. Class time includes weekly critiques and personalized instruction.p1249 int/aDv levelS $420

intErmEDiatE paStElterry FurchgottTuesday 6:30pm-9:30pm 4/10-6/12

Take your pastel skills to the next level, as you learn to create dynamic and realistic drawings full of luminous color, accurate tonal values and a convincing sense of space. Working from inspiring set ups combining fruit, flowers, drapery and colorful ceramics, you complete expressive studies and several finished works. Furchgott’s rigorous teaching style and clear demonstrations encourage you to improve your drawing, master complex color layering techniques, and successfully render glass, metal and pattern. $12 materials fee payable to instructor. p1250 interMeDiate $420

intErmEDiatE watErcolortom HoffmannWednesday 1:30pm-4:30pm 4/11-6/13

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 watercolor painting, use the variables to your creative advantage and take informed risks. Students should have completed Beginning Watercolor or have basic watercolor experience.p1251 interMeDiate $420

New! rEnaiSSancE maStErcopiESHamid ZavareeiWednesday 6:30pm-9:30pm 4/11-6/13

Renaissance masters created their works using a limited number of pigments available to them at the time. You use the same range of pigments and materials to explore the techniques employed by these masters of the 15th and 16th centuries. Copy segments of masterpieces as you follow the artists’ processes step by step, developing the tonal underpainting and building subsequent layers to create the jewel-like effects of their work based on research done over the centuries.p1252 interMeDiate $420

moDErniSm & BEyonD in amErica Charles emersonThursday 9:30am-12:30pm 4/12-6/14

Rothko, de Kooning, Still, Pollock and Dieben-korn all chose the way of intention, intuition and improvisation as means of developing their unique art. These, and other Abstract Expressionist painters helped American art become the major influence of its time while changing the world of art forever. Through exploration, self-imposed problems of color, composition and technique they found a new, balanced solution to the aesthetics of paint-ing. Through a series of defined exercises, you explore the methods of these and additional modern masters in either oils or acrylics. Basic painting experience required. $15 materials fee payable to instructor.p1253 interMeDiate $435


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thin to thick: hocknEy, DiEBEnkorn, rothEnBUrGBarbara FugateThursday 6:30pm-9:30pm 4/12-6/14 The fi gure painters David Hockney, Richard Diebenkorn and Susan Rothenburg exem-plify three Modernist viewpoints of space, paint handling and expressive color. Hock-ney’s early fi gures sit in a room of crisp air, clean and bright. Diebenkorn’s are painted more roughly, with precision of color and design. Rothenburg’s forms converge with the air in a tornado of brushstrokes and thick paint. Working from the live model and photographs, you make paintings in oil or acrylic paint based on each artist’s concept and working method of form in space — from thin to thick. Some painting experience is recommended. p1254 interMeDiate $450

New! paintinG’S SUBjEctMichael HowardFriday 9:30am-12:30pm 4/13-6/15

Choosing a subject for a painting is never simple; it is already a decoy, a surfacing for something else. Begin your study of subject by discussing and choosing your objects, then explore the technical questions that the selected objects present: development of palette, relation to a historical evolution of genre, elements of composition and more. You also research contemporary painters, their methods and practice. Class time is augmented by readings, discussion and criti-cal feedback.p1255 int/aDv levelS $420

portrait paintinG StUDioMichael laneSaturday 2:00pm-5:00pm 4/14-6/16 [9 weeks, no class 5/26]

An extension of Portrait Painting in Oil, this course builds on fundamental concepts with special attention paid to essential issues such as lighting, composition, accessories and more advanced oil painting techniques. You focus on longer poses as you tackle portrait concepts to increase your aptitude in rendering costume elements, hands and the environment.p1256 interMeDiate $405

contEmporary paintinG SEminarJulia rickettsSunday 10:00am-1:00pm 4/15-6/17 [9 weeks, no class 5/27]

Study trends and ideas in contemporary painting while you develop your individual voice as a painter. In this seminar-style class you create a small body of work that hangs together as a group. Readings and discus-sion enhance in-class work time and regular critiques. All media and subjects welcome. p1257 interMeDiate $395

intErmEDiatE Still-liFE paintinGlarine ChungSunday 2:00pm-5:00pm 4/15-6/17 [9 weeks, no class 5/27]

Develop your oil painting techniques while further exploring the still-life genre. You learn to improve values, tonal relationships, turning forms and color mixing, as you create master copies and work from direct observa-tion from still-life setups. You participate in discussion on tools, materials, methods and techniques throughout the course.p1258 interMeDiate $395

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aDvancED acrylic paintinGterry FurchgottMonday 6:30pm-9:30pm 4/9-6/11 [9 weeks, no class 5/28]

As an experienced acrylic student, increase the technical refi nement and emotive impact of your work through intensive study, inter-action with fellow students and mentorship by teaching artist Furchgott. Working from both fi gure in interior and still-life set ups, you complete brief gestural sketches as well as several fi nished paintings, focusing on the alla prima or direct method of painting characterized by bold, expressive brushwork and a painterly surface. Balance spontaneity and freshness in your image with accuracy and fi nish. Instructor permission or portfolio review required. $15 materials fee payable to instructor.p1259 aDvanCeD $405

aDvancED watErcolortom HoffmannTuesday 9:30am-12:30pm 4/10-6/12

As an experienced watercolor painter seeking to refi ne 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.p1260 aDvanCeD $420

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Michael Howard, detail Julia Ricketts, detail Larine Chung, detail

Foundation painting

Foundation Drawing

modernism Series

More info on p. 7 & p. 16

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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. Clay is provided for all sculpt-

ing classes at Gage.

Sculpture reserved StudioSpring Schedule 4/12-6/17*

* For full schedule and cost, see p. 12.

thUrSDay SUnDay

6:30pm-9:30pm 10:00am-1:00pm reServeD StUDio reServeD StUDio reServeD StUDio reServeD StUDio Sculpting Sculpting 4/12-6/14 4/22 – 6/17 [Studio w/ S1209] [Studio w/ S1207, 1208 & 1 212] [Studio w/ S1209] [Studio w/ S1207, 1208 & 1 212]

Matt Buckner Michael Magrath Bill Evans, detail

St1208 St1210 thUrSDay SUnDay

6:30pm-9:30pm 10:00am-1:00pm reServeD StUDio reServeD StUDio Sculpting Sculpting 4/12-6/14 4/22 – 6/17 [Studio w/ S1209] [Studio w/ S1207, 1208 & 1 212]

St1208 St1210


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BEGinninG FiGUrE ScUlptUrE DMatt BucknerMonday 9:30am-12:30pm 4/9-6/11 [9 weeks, no class 5/28]

Learn to accurately represent human ges-ture, proportion, mass, structure and surface form in three dimensions. A building block of the Foundation Drawing Program at Gage, this course offers sculpting students a com-prehensive introduction to fi gure sculpture, working from the same pose for the entire quarter; while students of drawing and painting improve their dimensional depiction of the human form in space. You work from the same pose for the entire quarter, with the pose also available in the independent Sculpture Reserved Studio (ST1210) on Sunday mornings — allowing you up to 18 sessions to develop your work. (Register separately for ST1210.)S1207 beGinninG $440

halF-SizE FiGUrE ScUlptinGMatt BucknerMonday 9:30am-12:30pm 4/9-6/11 [9 weeks, no class 5/28]

Intended for the second- and third-year sculpture student, you comprehensively review modeling skills working from a sustained pose in water clay. You work from the same pose for the entire quarter, with the pose also available in the independent Sculpture Reserved Studio (ST1210) on Sunday mornings — allowing you up to 18 sessions to develop your work. (Register separately for ST1210.) Minimum prerequisites include one year life drawing and one course in anatomy.S1208 int/aDv levelS $440

FiGUrE ScUlptinG StUDio Michael MagrathTuesday 6:30pm-9:30pm 4/10-6/12

Experience a clear and intuitive method for mastering 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. You work from the same pose for the entire quarter, with the pose also available in the indepen-dent Sculpture Reserved Studio on Thursday nights — allowing you up to 20 sessions to develop your work. (Register separately for ST1208.)S1209 all levelS $475

portrait ScUlptinG pMichael MagrathThursday 9:30am-12:30pm 4/12-6/14

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 13.S1210 all levelS $475

New! animal Form & motionBill evansFriday 9:30am-12:30pm 4/13-6/15

Devote your study to understanding what causes form and motion as you sculpt many animals and work progressively. Start by sketching and learning the bones and major muscles and how they relate to the over-all form, then see your animals “emerge” through understanding how the bodies work with both expression and form. You also study action and the scale relationships of the vari-ous body parts for proper proportions.S1211 all levelS $445

FiGUrE ScUlptUrE D Matt BucknerSaturday 10:00am-1:00pm 4/14-6/16 [9 weeks, no class 5/26]

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 sus-tained pose. Learn the logistics by working from measurements, and how to utilize pho-tographs and life castings between sessions with the model. Buckner demonstrates the life-casting process. The pose is also avail-able in the independent Sculpture Reserved Studio on Sunday mornings — allowing you many additional sessions to develop your work. (Register separately for ST1210.)S1212 all levelS $440

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 – 18 participants and tend to sell out quickly.

Learn more at www.GageAcademy.org/tours.

vienna to berlin art tour: The HeART of Central EuropeArt Tour Guide: Gary FaiginFriday, October 19 to Tuesday, October 30, 2012 (11 nights)$5,200 double occupancy/person $7,200 single occupancy

Our 11-day journey from Vienna to Berlin provides both an opportunity to discover the spectacular trove of old master and 19th-century paintings assembled by the Imperial courts of Germany and Austria, as well as a look at how the cataclysmic political changes of the post-War period have transformed these historic towns — particularly Berlin — into vibrant renewed centers of culture and art.

We begin in Vienna, once the center of the glorious Hapsburg Empire,where we spend two days visiting its stellar museums, including the famed Kunsthistorisches, Leopold and Belvedere collections. As we leave Austria, we enjoy a special lunch in the “Old Town” of Salzburg before entering Germany to explore the museums of Munich and the recently re-annexed Dresden. We continue to Berlin where we begin with a panoramic tour of this architecturally eclectic capitol city, before spending time focused in and around the unique “Kulturforum,” just steps from many famous tourist sights and the Gemäldegalerie, the world-renowned repository of mas-terworks from the 13th century to the 18th century. With three full days in Berlin, our itinerary includes a short list of signifi cant landmarks, museums and galleries with outstanding collec-tions spanning ancient, Renaissance, Baroque, Romantic and modern.

Your 21012 Vienna-Berlin art tour includes three nights in Vienna, two nights in Munich, two nights in Dresden and four nights in Berlin in centrally located, four- and fi ve-star hotels with a daily breakfast buffet. Two group dinners and one lunch are included. Airfare, airport transfers, meals not noted and personal incidentals are not included. Overview of tour itinerary and accommodations are available at www.GageAcademy.org/tours.

atr1204 Book your place with a $500 per person non-refundable deposit online!


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this mini- “Grand tour” through austria and Germany invites you to meet some of northern europe’s greatest historic artists first-hand:

Käthe Kollwitz in Berlin Albrecht Dürer in Munich Pieter Breughel in Vienna

Egon Schiele in Vienna Paul Klee in Berlin Gerhard Richter in Berlin

Gustav Klimt, the kiss, detail

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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 nine months of dedicated instruction. For the upcoming 2012-2013 school year, the ateliers run September 10, 2012 through June 14, 2013. Aristides’s and Kang-O’Higgins’s students make a 30-hour-per-week studio commit-ment, 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 a 10% discount on all concurrent classes and workshops: as well as free access to all Drop-In Figure Studios and any Gage Evening Lecture Series on art techniques and art history.

To learn more or to receive application materials, please visit www.GageAcademy.org or call 206.343.4243. 2012-2013 Gage Atelier applications are due Thursday, May 31, 2012.

Gage ateliers

ariStiDES atEliErclassical Drawing & paintingJuliette 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 Aristides Atelier offers you the necessary vocabulary to create well-designed and well-executed drawings and paintings.all levelSat1204 11-12 annUal tUition: $7,230

kanG-o’hiGGinS atEliErDrawing & paintingMark kang-o’Higgins

Intended for long-term students, the Kang-O’Higgins Atelier offers the opportunity to work on increasingly complex independent 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 levelSat1205 11-12 annUal tUition: $7,230

FaiGin atEliErStill-life paintingGary Faigin

The Faigin Atelier offers painting students interested in focusing their studio practice on the study of still-life arrangements over the course of a year. The intimate studio setting enables you to devote as much time as you wish to creating paintings, without the limita-tions 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 de-velopment of your own artistic voice, creating original, lively pictures that express your ideas and feelings, and focus on technique, render-ing and composition.all levelSat1206 11-12 annUal tUition: $3,975

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Aristides Atelier students work from the model in the Alhadeff Studio.


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

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Weekend WorkshopsWW1205 Expressive Figure Drawing Beg Brooker Sat-Sun 3/3-3/4 9:30am-4:30pm p. 8WW1206 Tonal Portrait Drawing All Lane Fri-Sun 3/30-4/1 9:30am-4:30pm p. 8WW1207 Mixed-Media Image Layering All LoCicero Sat-Sun 4/14-4/15 9:30am-4:30pm p. 8WW1208 Botanicals in Wcolor: Ptg the Pansy All McKeehen Sat-Sun 4/21-4/22 9:30am-4:30pm p. 8WW1209 The Science of Ptg w/ Wcolor Int/Adv Hoffmann Sat-Sun 4/28-4/29 9:30am-4:30pm p. 8WW1210 Painting with Gouache All Hackenberg Sat-Sun 5/19-5/20 9:30am-4:30pm p. 8WW1211 Introduction to Plein-Air Painting All Brooker Sat-Sun 6/23-6/24 9:30am-4:30pm p. 8WW1212 Mixed-Media Painting All Zavareei Sat-Sun 6/23-6/24 9:30am-4:30pm p. 8

Spring Weeklong WorkshopsWA1204 Luminous Flowers in Oil Int/Adv Jones Mon-Fri 3/26-3/30 9:30am-4:30pm p. 9WA1205 Still-Life Ptg in Oil: Analytical & Sensual Int/Adv Weiskopf Mon-Fri 3/26-4/6 9:30am-4:30pm p. 9WA1206 Fauvist Form: Beyond Local Color Int/Adv Howard Mon-Fri 4/2-4/6 9:30am-4:30pm p. 9WA1207 Figure Painting: The Grisaille Int/Adv Raynolds Mon-Fri 4/2-4/6 9:30am-4:30pm p. 9

Summer Weeklong WorkshopsWA1208 Drawing the Figure All Zdrale Mon-Fri 6/18-6/22 9:30am-4:30pm p. 10WA1209 Advanced Figure Painting Int/Adv Grimaldi Mon-Fri 6/18-6/29 9:30am-4:30pm p. 10WA1210 Bonnard & Munch’s Influence on . . . Int/Adv Emerson Mon-Fri 8/6-8/10 9:30am-4:30pm p. 10WA1211 Dwg & Sculpting the Figure from Life Int/Adv Sokol/Webber Mon-Fri 8/6-8/17 9:30am-4:30pm p. 10WA1212 Portrait Painting in Oil Int/Adv Vavagiakis Mon-Fri 8/13-8/17 9:30am-4:30pm p. 11WA1213 Essential Concepts of Lscpe Ptg Int/Adv Albala Mon-Fri 8/13-8/17 see p. 11 p. 11WA1214 Landscape Painting in Seattle Int/Adv Van Dyck Mon-Fri 8/20-8/24 9:30am-4:30pm p. 11WA1215 Landscape Painting at Port Townsend All Faigin Mon-Fri 8/20-8/24 9:30am-4:30pm p. 11WA1216 Dwg the Portrait/Hand-Toned Paper All Sims Mon-Fri 8/20-8/24 9:30am-4:30pm p. 11

open StudiosST1206 Drop-In Figure Studios: Winter All none varies 4/9-6/17 see p. 12 for times p. 12ST1207 Reserved Studio / Dwg & Ptg All none Monday 4/9-6/11 6:30pm-9:30pm p. 12ST1208 Reserved Studio / Sculpting All none Thursday 4/12-6/14 6:30pm-9:30pm p. 12ST1209 Reserved Studio / Dwg & Ptg All none Friday 4/13-6/8 6:30pm-9:30pm p. 12ST1210 Reserved Studio / Sculpting All none Sunday 4/15-6/17 10:00am-1:00pm p. 12

evening lecture SeriesL1203 Drawing the Features of the Head All Faigin Tuesday 4/24-6/5 7:00pm-8:30pm p. 13L1204 Working Artist: Do-it-Yourself Tools All Belyea Wednesday 5/9-5/30 7:00pm-8:30pm p. 13

Drawing Classes: beginningD1220 Drawing by Sculptors … All Davidson Tuesday 4/10-6/12 1:30pm-4:30pm p. 14D1221 Beginning Figure Drawing All Lane Tuesday 4/10-6/12 1:30pm-4:30pm p. 14D1222 Drawing in the Studio & City All Fugate Wednesday 4/11-6/13 1:30pm-4:30pm p. 14D1223 Drawing for Beginners Beg Chung Wednesday 4/11-6/13 6:30pm-9:30pm p. 14D1224 Beg Portrait Drawing & Sculpting All Brooker Thursday 4/12-6/14 9:30am-12:30pm p. 14D1225 Long-Pose Figure Drawing All Elliott Friday 4/13-6/15 9:30am-12:30pm p. 14D1226 Botanical Drawing All McKeehen Friday 4/13-6/15 9:30am-12:30pm p. 15D1227 Drawing Principles of the Masters All Chung Sunday 4/15-6/17 10:00am-1:00pm p. 15

Drawing Classes: intermediateD1228 Artistic Anatomy . . . Int Buckner Mon/Wed 4/9-6/13 1:30pm-4:30pm p. 15D1229 Figure Drawing in Interiors Int Furchgott Tuesday 4/10-6/12 9:30am-12:30pm p. 15D1230 Foundation Figure Drawing III Int Magrath Tues/Thurs 4/10-6/14 1:30pm-4:30pm p. 15D1231 Beginning Color Theory Int Davidson Tues/Thurs 4/10-6/14 6:30pm-9:30pm p. 15D1232 Long-Pose Portrait Drawing Int Elliott Friday 4/13-6/15 1:30pm-4:30pm p. 15D1233 Figure & Portrait Drawing Int Lesser Saturday 4/14-5/12 9:30am-4:30pm p. 16

Drawing Classes: advancedD1234 Aesthetics of Drawing Adv Davidson Thursday 4/12-6/14 1:30pm-4:30pm p. 16

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painting Classes: beginningP1231 Portraits in Watercolor All Zavareei Monday 4/9-6/11 1:30pm-4:30pm p. 16P1232 Landscape Oil Ptg: Epic Skyscapes All Brooker Tuesday 4/10-6/12 9:30am-12:30pm p. 16P1233 Colors for Painters All Trowbridge Tuesday 4/10-6/12 9:30am-12:30pm p. 17P1234 Oil Painting Portrait Basics Beg Brooker Wednesday 4/11-6/13 9:30am-12:30pm p. 17P1235 Beginning Watercolor Beg Hoffmann Wednesday 4/11-6/13 9:30am-12:30pm p. 17P1236 Cast Painting All Price Wednesday 4/11-6/13 9:30am-12:30pm p. 17P1237 Figure Painting in Oil All Lane Wednesday 4/11-6/13 6:30pm-9:30pm p. 17P1238 Beginning Acrylic Painting All Furchgott Thursday 4/12-6/14 9:00am-noon p. 17P1239 Beginning Oil Painting & Color Beg Brooker Thursday 4/12-6/14 6:30pm-9:30pm p. 17P1240 Botanical Wcolor: Blooming Gardens All McKeehen Friday 4/13-6/15 1:30pm-4:30pm p. 17P1241 Portrait Painting in Oil All Lane Saturday 4/14-6/16 10:00am-1:00pm p. 18P1242 Beg Landscape Ptg: Spring Green All Brooker Saturday 4/14-6/16 2:00pm-5:00pm p. 18P1243 Encaustic Painting All Zavareei Saturday 4/14-6/16 2:00pm-5:00pm p. 18P1244 Abstract Painting I All Ricketts Sunday 4/15-6/17 2:00pm-5:00pm p. 18

painting Classes: intermediateP1245 Still-Life Painting Studio Int Price Monday 4/9-6/11 9:30am-12:30pm p. 18P1246 Expressive Coloristic Figure Painting Int Emerson Monday 4/9-6/11 9:30am-12:30pm p. 18P1247 Foundation Figure Ptg III . . . Int Petty Mon/Wed 4/9-6/13 9:30am-12:30pm p. 18P1248 Foundation Still-Life Painting III Int Price Mon/Wed 4/9-6/13 1:30pm-4:30pm p. 19P1249 Lscape: Essential Theory & Process Int/Adv Albala Tuesday 4/10-6/12 6:30pm-9:30pm p. 19P1250 Intermediate Pastel Int Furchgott Tuesday 4/10-6/12 6:30pm-9:30pm p. 19P1251 Intermediate Watercolor Int Hoffmann Wednesday 4/11-6/13 1:30pm-4:30pm p. 19P1252 Renaissance Mastercopies Int Zavareei Wednesday 4/11-6/13 6:30pm-9:30pm p. 19P1253 Modernism & Beyond in America Int Emerson Thursday 4/12-6/14 9:30am-12:30pm p. 19P1254 Thin to Thick: Hockney, Diebenkorn . . . Int Fugate Thursday 4/12-6/14 6:30pm-9:30pm p. 20P1255 Painting’s Subject Int/Adv Howard Friday 4/13-6/15 9:30am-12:30pm p. 20P1256 Portrait Painting Studio Int Lane Saturday 4/14-6/16 2:00pm-5:00pm p. 20P1257 Contemporary Painting Seminar Int Ricketts Sunday 4/15-6/17 10:00am-1:00pm p. 20P1258 Intermediate Still-Life Painting Int Chung Sunday 4/15-6/17 2:00pm-5:00pm p. 20

painting Classes: advancedP1259 Advanced Acrylic Painting Adv Furchgott Monday 4/9-6/11 6:30pm-9:30pm p. 20P1260 Advanced Watercolor Adv Hoffmann Tuesday 4/10-6/12 9:30am-12:30pm p. 20

Sculpting ClassesS1207 Beginning Figure Sculpture Beg Buckner Monday 4/9-6/11 9:30am-12:30pm p. 21S1208 Half-Size Figure Sculpting Int/Adv Buckner Monday 4/9-6/11 9:30am-12:30pm p. 21S1209 Figure Sculpting Studio All Magrath Tuesday 4/10-6/12 6:30pm-9:30pm p. 21S1210 Portrait Sculpting All Magrath Thursday 4/12-6/14 9:30am-12:30pm p. 21S1211 Animal Form & Motion All Evans Friday 4/13-6/15 9:30am-12:30pm p. 21S1212 Figure Sculpture All Buckner Saturday 4/14-6/16 10:00am-1:00pm p. 21

ateliersAT1204 Aristides Atelier All Aristides Mon-Fri 4/9-6/15 9:30am-4:30pm p. 23AT1205 Kang-O’Higgins Atelier All Kang-O’Higgins Mon-Fri 4/9-6/15 9:30am-4:30pm p. 23AT1206 Faigin Atelier All Faigin varies 4/9-6/15 varies p. 23

youth ClassesK1204 Green Architecture Design All Dodds Saturday 4/7-5/5 10:00am-noon p. 32K1205 Non-Traditional Printmaking All Gewax Saturday 5/12-6/16 10:00am-noon p. 32T1204 Basic Portrait Drawing All Bixler Tues/Sat 4/7-5/1 see p. 33 for times p. 33T1205 Altered Books All Alpert Tues/Sat 5/5-5/29 see p. 33 for times p. 33

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registration begins on February 20 — programs do sell out, so enroll online early to ensure your place!


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. Representa-tion: Lisa Harris Gallery, WA. Author: Landscape Painting, Essential Concepts and Techniques for Plein Air and Studio Practice.

jUliEttE ariStiDESTraining: Barnstone Studio, PA; Pennsylvania Acad-emy of the Fine Arts, PA; The Atelier, MN; Water Street Atelier, NY. Representation: John Pence Gallery, CA; Le Quire Gallery, TN; Wendt Gallery, NY. Author: Classical Painting Atelier, Classical Drawing Atelier, Lessons in Classical Drawing.

pamEla BElyEa, LecturerExecutive Director: Gage Academy of Art, WA. Education: The Cooper Union, NY; Art Students League, NY; Ecole des Beaux Arts, Paris. Recipi-ent: New York Society of Architects Award for Excellence in Total Design; Bruder Prize for Excellence in Structures; and the Kazan Prize for Excellence in Urban Design.

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 Baccalaure-ate Organization, Switzerland; Olympic College, WA; University of Oregon, OR; The University of Hong Kong, China. Solo exhibition: Frye Art Mu-seum, WA. Exhibitions: Boston, New York, Seattle.

larinE chUnGBFA-Chinese University of Hong Kong. Training: Gage Classical Atelier, WA. Taught: Whidbey Island Fine Art Studio, WA. Exhibitions: Grey Gallery, WA. Representation: The Fountainhead Gallery, WA. Awards: First Place in Still-Life, 2010 Best of Gage; First Prize, 2008 Gage Self-Portrait Competition.

marGarEt DaviDSonMFA-University of Washington, WA. BFA-Universi-ty of Michigan, MI. Taught: Pratt Fine Arts Center, WA; Cornish College of the Arts, WA; Indiana State University, IN; University of Washington, WA. Rep-resentation: SAM Gallery, WA; Edison Eye Gallery, WA. Author: Contemporary Drawing, Key Concepts and Techniques.

Eric ElliottMFA-University of Washington, WA; BA-Uni-versity of California, CA. Taught: University of Washington, WA; Highline Community College, WA. Recipient: 2009 Neddy Fellowship; Kayla Skinner Special Recognition Award; Artist Trust GAP Grant; James Phalen Art Scholarship; Maybelle Toombs Art Scholarship. Exhibitions: Tacoma Art Museum, WA; James Harris Gallery, WA; Soil Gallery, WA; Catherine Person Gallery, WA. Representation: James Harris Gallery, WA.

charlES EmErSonMFA-Yale University, CT; Graduate Studies: Boston University, MA; BFA-University of Southern Cali-fornia, CA. Fulbright Scholar in Venice, Italy. Artist in Residence at La Jolla Museum of Contemporary Art. Publication: The Art of Drawing by Bernard Chaet. Exhibitions include Sisko Gallery, WA.

Bill EvanSBA Architecture-University of Washington, WA. Taught: Cornish College of the Arts, WA; Pot-tery 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.

BarBara FUGatEMFA Painting-Miami University of Ohio, OH. Taught: Seattle Art Museum, WA; Seattle Pacific University, WA; Troy Art Center, NY; Western Ken-tucky University, KY. Exhibitions: ArtSpace, WA; Bellevue Art Museum, WA; Fountainhead Gallery, WA; Martin-Zambito Gallery, WA. Publication: 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 Com-mission. Numerous public art murals. Representa-tion: Lisa Harris Gallery, WA.

Gage instructors are working artists chosen for their depth of technical knowledge, artistic curiosity and generosity of spirit in the studio. Find artist statements, teaching philosophies and extended biographies of Gage teaching artists online

at www.GageAcademy.org/artists.

michaEl GrimalDi, Guest Teaching ArtistTraining: Art Students League, NY; National Academy, NY; New York Studio School, NY; Ecole Albert Defois, France. Taught: Janus Collab-orative, 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.

karEn hackEnBErG, Guest Teaching ArtistBFA Painting-Rhode Island School of Design, RI. Exhibitions: Vermillion Art Gallery, WA; OK Hotel, WA; Fountainhead Gallery, WA; Bainbridge Arts and Crafts, WA; ArtsWest Gallery, WA; Whatcom Art Museum, WA. Recipient: GAP Award, Artist Trust, WA; Centrum Creative Arts Residency, WA; Artist Trust EDGE Program at Centrum; Grand Prize, 18th Juried Northwest Biennial Schack Art Center, WA; Finalist, Best of Seattle Art Walk Award, City Arts Magazine, WA.

tom hoFFmannMA-Art Education, University of London Institute of Education, England; BFA-Amherst College, MA. Hoffmann has taught extensively nationally and lo-cally. Exhibitions: Frye Art Museum, WA; Seattle Art Museum, WA; Tacoma Art Museum, WA. Represen-tation: Fountainhead Gallery, WA.

michaEl howarDMFA-University of Cincinnati, OH; BFA-Univer-sity of Tennessee at Chattanooga, TN. Taught: Milwaukee Institute of Art & Design, WI. Exhibi-tions: Koplin Del Rio Gallery, CA; Frye Art Mu-seum, WA; University of Wisconsin at Milwaukee. Awards: Betty Bowen Memorial Award, Seattle Art Museum, WA; Mary Nohl Professional Artist Fellowship, WI. Representation: Francine Seders Gallery, WA.

janE jonES, Guest Teaching ArtistMA-Art History, Regis University, CO. Exhibitions: LeKAE Gallery, AZ; Colorado State Capitol, CO; C. M. Russell Museum, MT. Awards: Award of Excel-lence, Naples Art Museum, FL; Vera C. Rosenhaft Memorial Award, American Artists Professional League, NY; Representation: The Peterson-Cody Gallery, NM; Dean Day Gallery, TX; Desert Art Source, CA; Horizon Fine Art, WY; Bonner David Gallery, AZ. Author: Classic Still Life Painting.

mark kanG-o’hiGGinSMFA-New York Academy of Art, NY; MA- University College Galway, Ireland. Training: Edin-burgh College of Art, Scotland. Exhibitions: Columbia University, NY; New York Public Library, NY; SAM Gallery, WA; Linda Hodges Gallery, WA.

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

joSEph lESSErBA-California State University, CA; Exhibitions: Fountainhead Gallery, WA; Scott Milo Gallery, WA; Lawrence Gallery, OR; Jeffrey Moose Gallery, WA. Awards: The Pastel Journal, Best 100 Paintings (2001); Southwest Art Magazine, Artist to Watch (2000).

patrick lo cicEro, Guest Teaching ArtistMFA-The San Francisco Art Institute, CA; BFA-The Ohio State University, OH. Taught: University of Washington, WA; Cornish College of the Arts, WA. Exhibitions: Linda Hodges Gallery, WA; Seattle Art Museum, WA; Sue Greenwood Fine Art, CA; United States Embassy, country of Georgia. Commissions and Collections around the United States.

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-University of California, Santa Cruz, CA; Freelance: Organic Gardening, The Herb Companion, Gardener’s Com-panion. Member: American Society of Botanical Artists; Guild of Natural Science Illustrators; Soci-ety of Children’s Book Writers and Illustrators.

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

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.

nicholaS raynolDS, Guest Teaching ArtistBFA-Emily Carr Institute of Art and Design, Vancouver, Canada. Training: Water Street Atelier, NY; Studio 126, NY. Taught: The National Academy School of Fine Arts, NY; Long Island Academy of Fine Art, NY; Art Students League, NY. Exhibitions: Eleanor Ettingter Gallery, NY; Forbes Galleries, NY; APEX Gallery, DC; Grenning Gallery, NY. Represen-tation: John Pence Gallery, CA. Published: Drawing magazine, The Artist’s Magazine, American Art Collector Magazine, cover of John Updike’s novel Seek My Face.

jUlia rickEttSBFA-New York State College of Ceramics at Alfred University, NY. Taught: Kirkland Arts Center, WA; Pilchuck School of Glass, WA; Pratt Fine Arts Center, WA. Solo Exhibitions: Alysia Duckler Gallery, OR; Friesen Gallery, ID; Fulcrum Gallery, WA; Representa-tion: Patricia Cameron Gallery, WA.

tEnaya SimS, Guest Teaching ArtistBFA Painting & Drawing-Carnegie Mellon University, PA; Graduate: Aristides Atelier, Gage Academy of Art, WA. Taught: Georgetown Atelier, WA; Fall City Fine Art Studio, WA; Pratt Fine Arts Center, WA. Exhibitions: Elka Rouskov Gallery, WA; Howard/Mandville Gallery, WA.

jorDan Sokol, Guest Teaching ArtistTraining: Kansas City Art Institute, MO; Florence 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.

kimBErly trowBriDGEMFA-Painting, University of Washington, WA; BFA-Painting/BA English Literature, Indiana Uni-versity, IN. Exhibitions: Grey Gallery, WA; Ouch My Eye, WA; Crawl Space Gallery, WA; The Kinsey Institute, IN; University Alumni House, WA; MFA Thesis Exhibition, Henry Art Gallery, WA; Jacob Lawrence Gallery, WA.

pEtEr van Dyck, Guest Teaching ArtistEducation: Wesleyan University, CT; Florence Academy of Art, Italy; mentored by Daniel Graves & Ramiro Sanchez. Taught: Pennsylvania Academy of the Fine Arts, PA; Florence Academy of Art, Italy. Exhibitions in Philadelphia, PA; Long Island, NY.

coStaS vavaGiakiS, Guest Teaching ArtistTraining: Queens College, NY; Art Students League, NY. Teaches: Art Students League, NY; National Academy of Design, School of Fine Arts, NY; Maryland Institute College of Art, MD; New York Academy of Art, NY. Exhibitions: Lesley Heller Gallery, NY; The National Portrait Gallery, Smithsonian Institute, DC; Frye Art Museum, WA.

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

Tara Jaiyeola x10Receptionist

206.323.GAGE

Susan Jones x11Web Editor

Margaretta Lantz x10Registrar

Shelly Leavens x18Curator/Public Events

Kathleen Moore x16Development Manager

Ani Rucki x14Graphic Designer

Erin M. Schadt x11Communications Director

Charlie Spitzack Executive Assistant x12

*staff email = first name + @GageAcademy.org

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Eran wEBBEr, Guest Teaching ArtistTraining: Florence Academy of Art, Italy; Ac-cademia di Belle Arte, Italy. Principal Instructor: Florence Academy of Art Sculpting Program. Exhibitions: Galerie Michael, CA.

amy wEiSkopF, Guest Teaching ArtistMFA-Tyler School of Art, Temple University, PA; BFA-Washington University, MO. Exhibitions: Hirschl & Adler Galleries, NY; Hackett Freedman Gallery, CA; Sherry French Gallery, NY; Contem-porary Realist Gallery, CA; Prince Street Gallery, NY; van de Griff Gallery, NM. Collections: Met-ropolitan Museum of Art, NY; The Arkansas Art Center, AR; Artspace, NY. Representation: Hirschl & Adler Modern, NY.

hamiD zavarEEiBS-West Virginia Institute of Technology, VA. Taught: Seattle Pacifi c University, WA; Kirkland Art Center, WA. Exhibitions: William Traver Gal-lery, 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.

zack zDralE, Guest Teaching ArtistMFA-Academy of Art University, San Francisco, CA. Taught: Academy of Art University, CA; University of Wisconsin-Madison, WI; Exhibitions: John Pence Gallery, CA; Eleanor Ettinger Gallery, NY; Julie Nester Gallery, UT; Wendt Gallery, CA; Richeson Gallery, WI.

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 hoUrSoffice Hours: Mon-Fri: 9:30am-4:30pmBuilding Hours: Weekday Hours: 8:30am-10:00pmSaturday Hours: 9:00am-6:00pmSunday Hours: 10:00am-6:00pmThe Belyea Library 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 DiScoUntS/ ScholarShipSArtists 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% tu-ition discount on a stand-by basis. Call to register using a discount or to inquire about scholarship opportunities.

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 floors of the school.

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(425) 643-1781

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

800-426-6740 • danielsmith.com

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registration information

Boeing Matching Gift Foundation • Lucky Seven Foundation • Microsoft Matching Gift Foundation

Seattle Foundation — Donor Advised Funds • Jon and Mary Shirley Foundation

The Stanley R. & Robert E. Wright Foundation For The Arts • Robert T. & Tina Ing Yahng Foundation

Gage community programs receive in-kind support from the following businesses:

Sponsorship logo standards

The Wells Fargo logo appears in Wells Fargo red and Wells Fargo yellow. Use the black 1-color version only for one- or two-color (black plus one color) applications such as newspaper advertising or forms.

Preferred

CMYK logo

1-Color100% Black

Print logo colors

Our logo colors must appear exactly the same every time they are used. On printed materials, Wells Fargo logo colors — Wells Fargo Red and Wells Fargo Yellow — must always match their CMYK formula respectively, whether printing on coated or uncoated stock. Never substitute other colors. This is especially important since certain paper stocks and different types of media may alter the way a color looks when reproduced. For this reason, a color check while the job is on press or in final production is essential. Drawdowns are strongly recommended in all cases. For print jobs requiring spot color pages, special spot ink formulas are provided from the Brand Management Team at [email protected].

Wells Fargo red:C: 10 M: 100 Y: 80 K: 20

Wells Fargo yellow:C: 0 M: 20 Y: 100 K: 0

Online logo colors

Below are the online color values of Wells Fargo red and Wells Fargo yellow.

Wells Fargo Red:R: 187 G: 8 B: 38 HEX: BB0826

Wells Fargo Yellow:R: 252 G: 198 B: 10 HEX: FCC60A

Clearspace and size

Clearspace frames the logo, separating it from other elements such as headlines, text, imagery, and the outside edge of printed materials.

Always leave the minimum amount of clearspace around the logo to maximize impact. In print, the preferred clearspace is half the height or width of the logo on each side. The absolute minimum clearspace requirement is a quarter of the height or width of the logo on each side. Online, the logo clearspace requirement is at least 10 pixels.

on

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register online atwww.GageAcademy.org

Phone 206.323.GAGE(4243) x10or 800.880.3898

or

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. registration fee is waived for ateliers, lecture series and open studio passes.

Spring 2012 registration begins Monday, February 20, 2012. three ways to register:

claSS anD wEEkEnD workShop cancEllation tErmSProgram cancelled by Gage: 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 daysbefore 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 online registration 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 irregularity 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 early departure or deviation from the Gage schedule and program registration shall be non-transferable. 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

aboU

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e: Student registration

SIMPLY DESSERTS


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

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

teen artists ages 13-18 — whether you are a beginner or experienced artist, drop in to study with professional artists who provide focused instruction in a fun, relaxed atmosphere. All art materials provided. free

Ages 13-18

Julie Alpert

Jethaniel Peterka


Willow Heath

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youth Update

Gage @ Tacoma Art Museumteen Workshop: portraiture & identitySaturday, April 28 and Sunday, April 29, 12:30pm–4:30pm

How do you represent yourself through your artwork? This spring, Gage is partner-ing with the Tacoma Art Museum (TAM) to present a two-day workshop in portraiture for teens corresponding with the exhibit HIDE/SEEK: Difference and Desire in American Portraiture, which garnered national atten-tion after its debut at the National Portrait Gallery in Washington DC in 2010. HIDE/SEEK showcases an impressive collection of American artists such as John Singer Sargent, Georgia O’Keeffe, Andy Warhol and Jasper Johns.

Spend a weekend at TAM to learn skills focused on expressing your identity through portraiture. Led by talented Gage Academy of Art teaching artist Susanna Bluhm, you learn about portraiture and collage while building your ideas and compositional skills and gain inspiration from artwork in the HIDE/SEEK exhibition. Cost is $110 or $95 for TAM members.

For more information and to register, call 253.722.2455 or visit www.TacomaArtMuseum.org/workshops.

Kids and teens learn skills in a variety of mediums at Gage. Here are works in clay, printmaking and graphite from our 2011 Summer Workshops.

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youth Summer programs are on the Way!See page 33 for a sneak peek of the Youth Summer Programs for kids and teens this year at Gage Academy of Art.

Teens worked on self portraits in Michael Lorifi ce’s 2011 summer workshop.

Gage youth programs receive Generous Support from: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

Sponsorship logo standards

The Wells Fargo logo appears in Wells Fargo red and Wells Fargo yellow. Use the black 1-color version only for one- or two-color (black plus one color) applications such as newspaper advertising or forms.

Preferred

CMYK logo

1-Color100% Black

Print logo colors

Our logo colors must appear exactly the same every time they are used. On printed materials, Wells Fargo logo colors — Wells Fargo Red and Wells Fargo Yellow — must always match their CMYK formula respectively, whether printing on coated or uncoated stock. Never substitute other colors. This is especially important since certain paper stocks and different types of media may alter the way a color looks when reproduced. For this reason, a color check while the job is on press or in final production is essential. Drawdowns are strongly recommended in all cases. For print jobs requiring spot color pages, special spot ink formulas are provided from the Brand Management Team at [email protected].

Wells Fargo red:C: 10 M: 100 Y: 80 K: 20

Wells Fargo yellow:C: 0 M: 20 Y: 100 K: 0

Online logo colors

Below are the online color values of Wells Fargo red and Wells Fargo yellow.

Wells Fargo Red:R: 187 G: 8 B: 38 HEX: BB0826

Wells Fargo Yellow:R: 252 G: 198 B: 10 HEX: FCC60A

Clearspace and size

Clearspace frames the logo, separating it from other elements such as headlines, text, imagery, and the outside edge of printed materials.

Always leave the minimum amount of clearspace around the logo to maximize impact. In print, the preferred clearspace is half the height or width of the logo on each side. The absolute minimum clearspace requirement is a quarter of the height or width of the logo on each side. Online, the logo clearspace requirement is at least 10 pixels.

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aMS: teen art Studios

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

marchacrylic Still-liFE tEchniQUES alisha Dall’osto

Get introduced to painting and learn how to choose which brush for each technique, how to vary your brush strokes, and how to blend, glaze and mix color to create a variety of ef-fects. Draw and paint from different still-life setups focusing on refl ective metal surfaces, fabric, liquid, light and shadow.

aprilthE ESSEntial SElF portraitGeorge rodriguez

When you look at yourself in the mirror what do you see? This month, you explore the looming self-portrait to tell the story of who you are. Explain in sculpture your ambitions, doubts and triumphs, as you work in papier-mâché to make masks and busts that carry personality, wit and skill.

mayaSSEmBlaGEJethaniel Peterka

Transform discarded items, found objects and personal memorabilia into beautiful and compelling works of art! You work with various materials and techniques like sculpt-ing, papier-mâché and casting, as well as methods for hanging that help you express your creative vision. Bring your own box of found materials or personal memorabilia to begin your project!

jUnEnarrativE Still liFE allyce Wood

Learn methods for traditional still-life draw-ing: perspective, light and shadow, scale and mark making. The twist is creating a com-position that uses what you learned from observational drawing as well as the mind’s eye. These new storytelling elements range from humorous illustration to emotional images with text, and come straight from your creative, unique imagination and artistic purpose.

CAPITOL HILL FREE Fridays 6:30pm-9:30pm1501 tenth avenue east

marchStranGE & cUrioUS Still liFESJethaniel Peterka

Learn to draw like the old masters by using traditional drawing techniques with graphite and charcoal, and at the same time have fun drawing strange and curious objects. You draw inspiration from doll heads, specimens in jars, old machine parts and anything and every-thing you might fi nd in your closets, grandma’s attic, thrift stores and antique shops.

aprilthE incrEDiBlE linE: SElF portraitSJulie alpert

Lines can be thick or thin, long or short, heavy or light. They can be solitary and el-egant or repetitive and aggressive. They are the foundation of drawing and an expression of the human experience. This month ex-plore lines and mark making, with you as the subject. Through quick contour studies and longer drawings see just how broad a range you can get from the incredible line.

maywatErcolor portraitUrEWillow Heath

Zero in on facial features and paint vivid watercolors in this close-up exploration of the human face. Using every inch of the paper, you create eyes that stare and facial expressions that become the landscape of a human face. Train your eye for color, light and details, and practice techniques to add depth and dimension to your paintings and drawings with this fun approach.

jUnEa thoUSanD worDSkyle abernethy

Whoever said “a picture is worth a thousand words” was clearly looking at storytelling images. Learn the history of the visual story-telling from Caravaggio to Norman Rockwell. Learn to apply traditional techniques and principles to creating an intriguing image, as you work toward a fi nished drawing that tells a story and communicates your thoughts to the viewers.

Ages 13-18

Visit www.Gageacademy.org/tasLike Gage Teen Artists Allyce Wood

Kyle Abernethy


Alisha Dall’Osto

George Rodriquez

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

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youth classes

GrEEn architEctUrE DESiGnJeanne DoddsAges 9-12 Saturday 10:00am-Noon4/7-5/5 [5 sessions]

Green design means many things: building with recycled materials, making art supplies from natural ingredients or turning throw-away items into home decor. In this class, kids explore the use of recyclables to make model eco-homes. Your child also learns to apply the principles of line, shape, perspec-tive and form through model-building while designing structures and landscapes made from reusable products.

Dodds has a BFA with honors in photography and a certificate in scientific illustration. She has taught and lectured at institutions around the Pacific Northwest such as the Portland Art Museum, Antioch University, the Boise Art Museum and the Frye Art Museum.K1204 $125

non-traDitional printmakinGemily GewaxAges 7-11 Saturday 10:00am-Noon5/12-6/16 [5 sessions, no class 5/26]

Kids use printmaking to learn how to experi-ment with new ideas and alternative materi-als in this class. Your child makes prints using materials such as postcards, bubble wrap, cardboard and other recycled supplies to replace the traditional “block.” Once rolled with ink, the surfaces are then printed, stenciled and layered. Kids also use alterna-tive materials such as fabric, wallpaper and recycled paper on which to print.

Gewax earned her BFA from Cornish College of the Arts with an emphasis in printmaking and sculpture, and she has studied at Pilchuck Glass School and The School of the Art Institute of Chicago. Gewax has worked with youth around Seattle, including at Coyote Central and the Pacific Northwest Ballet School.K1205 $125

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.

april / May

Jeanne Dodds Emily Gewax, detail

KiDS ClaSSeS: Saturdays ages 7 – 12

May / JUne


Kids can study art throughout the year at Gage and take weeklong workshops in the summer. Here young artists have fun during the Kids Summer Workshops.

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aMS: teen Classes

altErED BookSJulie alpertAges 13-17 Tuesday 4:00pm-6:00pm & Saturday 1:00pm-3:00pm5/5-5/29 [7 sessions, no class 5/26]

Learn how to re-use books as foundations for art pieces by turning them into 3-D col-lage! Cut, sew, rip, glue, pull apart and put back together old books to create entirely new artifacts. You’ll begin to see books as something more than buried information, but inspiring art fi lled objects that have potential to become incredibly personal sculptures.

Alpert holds a BA in painting from the Univer-sity of Maryland, College Park, and an MFA in painting from the University of Washington. She is a 2009 Artist Trust GAP recipient and works in multiple mediums including watercol-or, collage, installation, video and performance.t1205 $170

BaSic portrait DrawinGSarah BixlerAges 13-17 Tuesday 4:00pm-6:00pm & Saturday 1:00pm-3:00pm4/7-5/1 [8 sessions]

Learn to see faces differently-forget about eyes and noses think about shadows and shapes! Using charcoal and graphite, you’ll explore the portrait inside and out, and learn to break down what you see into simple parts. You’ll practice with shading, propor-tion, angles, and shapes to construct por-traits that capture the essence of the sitter.

Bixler received a BFA in drawing and painting from the University of Washington, and has previously studied at Gage Academy of Art and Western Washington University. In 2010 her work was selected for a juror’s choice award at the Jacob Lawrence Gallery.t1204 $195

Stay Connected to Gagelike “Gage teen artists” on Facebook and follow @ gageteens on twitter for the latest news.

Gage Youth Classes include all art supplies and equipment.

april

Sarah Bixler Julie Alpert

teen ClaSSeS: tuesdays & Saturdays ages 13 – 17

May


youth Summer programs are on the Way!Each year, Gage offers a wide variety of weeklong workshops for kids and teens ages 6 to 18. This summer, we continue to improve and build these programs with some exciting changes! The 2012 workshops for kids consist of eight weeks of workshops, focused on building skills and having fun in subjects such as drawing and storytelling, pottery, hip hop dance, recycled sculpture, Brazilian rhythms and even a fun twist on art history.

The summer for teens is like no other! We heard the teens request for more options for serious art instruction, and Gage has responded. Teens can choose from the fi ve-week Portfo-lio Intensive, a two-week Drawing Intensive, the new two-week Painting Intensive and a month of weeklong workshops focused on art such as mixed-media sculpture, observational drawing, fi gure painting, printmaking and illustration.

The full Summer Youth Programs catalog will be available online and in print in early March, and make sure to mark your calendar for the fi rst day of registration, which is Monday, March 12. Starting at 9:30am that day, you can register online for the programs of your choice!

- Teen Summer Workshops

- Portfolio Intensive

- Kids Summer Workshops

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ingraham figure Studios The Figure Studio Series hosted at Ingraham High School continues this spring with the fi nal installment — Figure Studio: Sculpting. New students are welcome to join this afterschool program. To register and formore information, visit www.GageAcademy.org/ingraham.

St. Nicholas Building

1501 tenth avenue east

Seattle Wa 98102

206.323.GaGe (4243)

www.Gageacademy.org

NONPROFIT ORGU.S. POSTAGE

PAIDSEATTLE, WA

PERMIT NO. 711

This past November, Teen Art Studios

students participated in a collaborative

street art installation with Seattle street

artist No Touching Ground. Working with

collage, stencils, printmaking and drawing,

students expanded their skills by pushing

the limits of traditional media to make

an exciting, contemporary work of art.

Learn more about Teen Art Studios

on pages 30 and 31.

GaGE yoUth proGramS

Friday, March 2, 2012 Last chance for tickets, see page 3.

Spring Catalog 2012

Documents

Transcript of Spring Catalog 2012