Spring Catalog 2012
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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
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 Lopz Garca, 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 Lots 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)
GratiS at GaGe
8 Weekend Workshops 9-11 Weeklong Workshops
12 Open Studios13 Evening Lecture Series
14-16 Drawing Classes16-20 Painting Classes
21 Sculpting Classes23 Gage Ateliers
1 Sculpture Abides 2-3 Gage Update 7 Gage Curriculum & Foundation Programs24-25 Program Schedule 26-27 Gage Teaching Artists28-29 Student Information
30 Youth Update 30-31 Teen Art Studios 32-33 Youth Classes
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, NTGs 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 Exhibitions5 Gage Lectures6 Gage Professional Development Events
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 dont want to turn your back on it. Maurizio Cattelans little Hitler, for example, or Gerhard Demetzs 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 Washingtons 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 Boccionis gleaming futurism or the mid-century high angst of Alberto Giacometti, to the plastic, super-model beauty of 1980s Imperial LAs Robert Graham. Now its genetic manipulation in Patricia Piccinini, or the sapient automata of Elizabeth King, Judy Foxs pre-pubescent gods, and the rich texture and psychology of Beth Cavener Stichters 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, 360, 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
I saw form for the
rst time and the
potential of making
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.
2 Register online at www.GageAcademy.org beginning Monday, February 20, 2012.
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 caf 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
Seattle Office of
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 masters 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 o