WORKSHOPS
walter gropius masters workshops
The Walter Gropius Master Artist Series is funded through the generosity of the Estate of Roxanna Y. Booth, who wished to assist in the development of an art education program in accordance with the proposals of Walter Gropius, who designed the Museum's Gropius Addition, as well as the Gropius Studios. The Museum is indebted to Roxanna Booth's son, Alex, for his participation in the concept development of the Gropius Master Artist Workshops.
Workshop fees -- Workshop fee, which includes materials, is $225 for non-members; $195 for Museum Members; $165 for teachers; and $120 for students. Meet-and-greet, first-day breakfast and daily lunch included in the workshop fee.
How to enroll -- Registration must be received at least 3 days in advance of the class starting date. All checks should be made to the Huntington Museum of Art. Most major credit cards are accepted by fax, phone, mail or in person. For more information, call (304) 529-2701.
Walter Gropius Masters Workshop Series Presents:
Art Werger
Bridge Gallery
Exhibition: April 19-June 15, 2008Public Lecture: 7 p.m. Thursday, April 24, 2008, HMA's Grace Rardin Doherty Auditorium
Three-day Workshop: 9 a.m.-4 p.m. April 25-27, 2008"Scratching the Surface"
This workshop will be an introduction to intaglio printing through various methods of drypoint. Intaglio printing, which includes etching and engraving, is done on metal plates with the image held in the lower recesses, beneath the surface of the plate. We will explore non-acidic approaches to intaglio printing. Intended for beginners and advanced students, various methods will be covered, including mezzotint, roulette work, and working with found objects. Emphasis will be on linear and tonal approaches. We will cover plate preparation, printing press procedures, use of inks and development of content through the medium. Come prepared with sketches or photographs for inspiration but be prepared to push beyond them.
Art Werger, "Short Stories," 2006, Mezzotint and aquatint, eighty-one 2.5-inch plates arranged in short narratives. Image courtesy of the artist.
Art Werger background
Growing up in New Jersey, Art Werger's intaglio prints focus on scenes from his childhood. Providing an almost voyeuristic view of the hussle and bussle of urban scenes, his etchings and mezzotints focus on the tension between the individual and his or her environment. In a manner reminiscent of film noir or the cinematic techniques of Alfred Hitchcock, Werger captures the strangely incongruous sense of an individual's isolation and loneliness as he goes about his daily life amidst urban crowds.
In describing his work, Werger says, "The people are seen in casual activities which dominate their daily routines, often preoccupied or oblivious to their situations. They are often observed from an elevated point so that the environment lays out in front of the viewer. The viewer becomes an omniscient voyeur, privy to the world below, yet curiously removed from it. As a cinematic device, this abstract angle allowed for an overview of the scene as well as an introduction to the characters within the environment. The characters' actions are intended to suggest a narrative which requires the viewer's participation to be resolved."
Born in 1955, Werger received a Bachelor of Fine Arts degree from the Rhode Island School of Design in 1978 and a Master of Fine Arts degree from the University of Wisconsin-Madison in 1982. Chairman of Fine Arts at Wesleyan College in Macon, GA for 18 years, Werger is currently a Professor of Printmaking and Director of Foundations at the University of Ohio in Athens. Represented by such galleries as S. E. Feinman Fine Arts In New York and Davidson Gallery in Seattle, Werger has exhibited internationally and has works in several collections including the Boston Public Library, the Brooklyn Museum, the Philadelphia Museum of Art, and the Museum of Fine Arts in Boston.
Walter Gropius Masters Workshop Series Presents:
Ed Eberle
Virginia Van Zandt Great Hall
March 15-May 11, 2008Public Lecture: 7 p.m. Thursday, May 1, 2008, HMA's Grace Rardin Doherty Auditorium
Three-day Workshop: 9 a.m.-4 p.m. May 2-4, 2008
Ed Eberle, "The Jester," 2004, ceramic. Image courtesy of the artist.
"The Process is Everything: Working with Ed Eberle"
"In this instructive and participatory workshop, I envision your helping me, under my direction, to make some pieces. I want to give you a sense, a taste, of how I work. This means that you can help me throw, or handbuild, pieces for assemblage. Of course, you can make some pieces for yourself. But everyone doesn't have to make things - we'll find something for you to do. If you just want to observe only, that's ok too - you are still part of the whole.
A self-portrait of Ed Eberle.
The dynamics of the group is important - enter with a clean slate. We'll be working with porcelain and black terra sigillata. If you've never worked with porcelain, that's even better! I'd like to throw, paint, and construct some vessels and sculptures. We will explore brief impromptu vignettes of various topics throughout; i.e., phi rectangle, pattern, and mythology … Bring a leather hard piece for painting, if you wish. Don't forget your cameras - let's document this experience."
Ed Eberle background
After receiving his MFA from Alfred University in 1972, Eberle taught at the Philadelphia College of Art and at Carnegie-Mellon University for a total of 14 years.
In 1985 the studio in the Millvale section of Pittsburgh was established where Eberle continues working as a studio artist in ceramics and drawing.
In addition to numerous one-man exhibitions in New York, Chicago and Pittsburgh, his work is represented in museum collections in Pittsburgh, Los Angeles, San Francisco, Boston, Philadelphia, Kansas City and Canberra, Australia.
Ed has lived with his wife, Evalyn, in the Squirrel Hill part of Pittsburgh since 1975. Sons Jonathan and Joseph were raised there and now reside in St. Louis and Brooklyn.
Walter Gropius Masters Workshop Series Presents:
Thorney Lieberman
Exhibition: May 17-August 3, 2008Public Lecture: 7 p.m. Friday, May 30, 2008
Workshop: 9 a.m.-4 p.m. May 30-June 1, 2008“Several Arguments with Photography:
Thorney Lieberman, Photographs 1968-2008”
Thorney Lieberman, Paint Can, 1976. Photograph with paint, 16" x 20". Image courtesy of the artist.
“Throughout its history, photography has been inexorably and unselfconsciously tied to subject matter. Without a second thought, a photograph of a beautiful sunset is widely considered a beautiful photograph. My primary argument, which we will explore in the workshop, is that if photography is to further develop (pun intended) contemporary photographers need to look beyond subject matter.
It’s my contention that subject matter as the main event - or more often, the only event - has been exhausted. After all, Edward Weston elevated the mundane object to a monumental photograph in the 1930s, marking photography’s last great breakthrough.
And if indeed photography has reached its saturation point with the world in front of the lens, where do we go with this medium? What beckons to be explored? Perhaps we need to focus inward, on photography itself.
If you look at the history of painting, you see that painters were forced long ago to move beyond subject matter, beyond addressing the world around them. In order to move their medium forward, they took up issues of perception, perspective, picture plane, psychology, illusion and paint itself. Photography is comparatively young and so has barely begun to make this transition.
To that end, this workshop will examine aspects that are unique to photography, exploring for example the photograph as a slice of time, the translation of three-dimensional space to a two-dimensional representation, and the interpolation of scale (from the “big” world to the “small” print).
Even as we argue with photography, we will address the traditional issues of composition, framing, quality, the use of light, and as much Photoshop® as you can handle! I will be available throughout - to both critique and coach.”Thorney Lieberman Background
Photographer Thorney Lieberman has consistently engaged the inherent possibilities and contradictions of his medium over the course of his impressive career. Since earning a B.A. from Bard College in 1968, Lieberman’s focus has expanded from mere subject matter to include the complexities of photography and its relation to issues of time, space, and scale. His work has ranged from representational and conceptual pieces in the 1970s, to scenes from New York City in the 1980s and Colorado landscapes in the 1990s, to his recent focus on Native Americans in the new millennium, and his current project to capture the gritty reality of the lives of West Virginia coal miners. His exhibition at the Huntington Museum of Art will serve as a retrospective of Lieberman’s career.
Lieberman’s work has been shown several times at the Museum of Modern Art in New York City, The Brooklyn Museum, the Dallas Museum of Art, as well as the Bibilothèque Nationale in Paris. During the 1970s and 80s, Lieberman photographed architecture professionally, working for many notable firms including I.M. Pei and Partners. In 1990, Abbeville Press published a compilation of some of his New York scenes in the book, Manhattan Lightscape. His work is held in collections internationally.
