summer 2011 catalog

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Gage missionGuided by the belief that artists are made,

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

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

and skill levels realize themselves as artists in contemporary society.

BenefactorsJoyce Allen, Kenneth S. Rosen,

Ida S. Cole, Anne Steele

founders Pamela Belyea Executive Director Gary Faigin Artistic Director

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

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

Community advisorsDiane Butler, Lane Powell Spears Lubersky, WA

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

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

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

artistic advisorsDomenic Cretara, artist, CA

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

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

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

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

or reproduced without permission of Gage Academy of Art.

©2011 Gage Academy of Art. All Rights Reserved.

Catalog printed by ColorGraphics

GIVE GIVE GIVE GIVE GIVE

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

Your contribution is tax-deductible as permitted by law.

Cover artiSt: kUrt SolmSSeNGuest Teaching Artist

Solmssen is a return guest instructor at Gage. His bold, yet sensitive, paintings record his daily life in Puget Sound, and have been described as creating “appealing traditionalist weddings

of painterly materialism and radiant illusionism” by The New York Times. Solmssen says, “I’m inter-ested in having a narrative in the paintings, but not in storytelling . . . it’s more about something I see, a certain moment.” This summer, take advantage of a rare opportunity to learn directly from Solmssen in the Landscape Painting in Seattle weeklong workshop. See page 9 for full details.

Cover: Yellow Boat in Blue Bay, detail, 1999, 50" x 70", oil on canvas

sUmmeR 2011

Contents

GRaTis aT GaGe

4 Upcoming Exhibitions

5 Best of Gage

adUlT PRoGRams

6-7 Weekend Workshops

8-10 Weeklong Workshops

12 Open Studios

13-14 Drawing Classes

15-19 Painting Classes

19 Sculpting Classes

21 Gage Ateliers

1 Inside Out: The Pleasure of Painting en Plein Air

2-3 Gage Update

20 Gage Foundation Programs

22-23 Program Schedule

24-25 Gage Teaching Artists

26-27 Student Information

28 Youth Update

28-29 Teen Art Studios

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11 2011 In the Steps of Georgia O’Keeffe

11 2012 New York, New York!

11 2012 The He(art) of Europe

aCademy aRT ToURs

BaCk Cover artiSt: emma NeStvoldGage Teen Artist, age 16

Last year, Nestvold explored portrait drawing through the Gage Teen Summer Workshops and says, “My artwork is an expression of emotion, usually human senti-ment. Often faces

become the focus of my work, both the faces of the people around me and the captivating faces from photos of strangers. At Gage I have been given the opportunity to work with professional artists and to refi ne my skills. I have become a better painter through my work at Gage, and look forward to continuing to develop my skills.”

Read more about the Youth Programs at Gage on pages 28-29.

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inside out: the pleasure of painting en plein air

some of my happiest hours as an artist have been spent outdoors painting the landscape. The discomfort of working in the open air, including wind and weather, bugs and sun, are more than balanced out by the pleasure of the chase. Occasion-

ally, passers-by peek over my shoulder or stop to chat, but no one ever expresses surprise at seeing an artist painting outdoors. But not so long ago, it was rare indeed for painters to work outside of their studios.

Until the 19th century, landscape painting was strictly an indoor activity. Artists might do quick studies from nature — we have a great many beautiful examples from Baroque artists like Rembrandt and Claude Lorrain — but fi nished artworks were always studio productions. A landscape painting by Rembrandt’s contemporary Ruysdael, for example, was worked up with a level of detail and polish that was unattainable outside of the work-shop. Creating a picture indoors also freed up artists like Ruysdael to invent scenes only loosely based on existing locations, adding features like mountains or waterfalls that were non-existent in Holland.

It took 19th century poets, inventors, and anti-academics to push painters outdoors. The Romantic poets saw unspoiled nature as a source of artistic inspiration far more deserving of attention than the gray and industrial city. Enterprising manufacturers made the art stu-dio truly portable with French easels and tubes for paints, while the newly invented trains made the countryside accessible for day trips. Last but not least, anti-academic painters championed the artistic value of the plein-air sketch, which began competing in the annual Salons with the far more highly polished productions of studio painters.

Soon the freshness and energy of on-location works caught the fancy of the art-buying public, and the demand for studio landscapes all but disappeared. In the United States, many regions developed large groups of outdoor painters, most notably the Southwest, Southern California, and New England.

The Pacifi c Northwest, with its less sanguine weather and smaller artistic population, never developed as large a plein-air movement as these other regions, but a strong show could be mounted with the works of artists including Michael Stasinos, Jim Lamb, Kurt Solmssen and Mitchell Albala.

For Gage, including landscape painting as part of its curriculum was a “natural,” with the school’s strong emphasis on working from observation. Some of the fi rst workshops at Gage were outdoor classes in New Mexico. Students from all parts of the country con-verged at Ghost Ranch, where we traipsed out on dirt roads in search of the colored mesas made famous by Georgia O’Keeffe. Later we moved our summer programs to Puget Sound, using both the parks of the city and the nearby countryside as painting locales.

I’m happy to report that Gage summer programming this year includes both a return to the New Mexico of O’Keeffe — including visits to her home and museum (see p. 11) — as well as more landscape workshops in our own region than ever before (see pp. 8 & 9). Although it may be cloudy now, I can assure you that the skies will be clear by this summer. Grab your sun hat and sun screen and join us for the most enjoyable of all outdoor activities, celebrat-ing the natural world in paint.

Gary Faigin, Artistic Director From top: Mitchell Albala teaches the workshop Essential Concepts of Landscape Painting in Skagit Valley; White Face, detail by Albala; Gary Faigin painting on site in New Mexico; a pastel painting completed en plein air at Ghost Ranch by Faigin.

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2 Register online at www.GageAcademy.org beginning Monday, May 16, 2011.

¡Qué noche maravillosa!Friday night, March 4, Gage hosted its annual Gage Collector’s Gala — this year with a Spanish theme — in the stunning sanctuary of Saint Mark’s Cathedral. Our sold-out crowd of art collectors and Gage supporters will remember this remarkable evening for a long time — the collection of donated artworks, the sangría and Spanish cuisine, the entertain-ing classical guitarist, tenor and Flamenco dancers, and the beautiful gala venue. As one guest aptly expressed, “It feels like I’m on an opera set!”

The gala was not only beautiful, but we are also happy to announce that we raised $200,000 for the Gage Annual Fund and Youth Programs. During the evening, we celebrated the cultural contributions of Jim Kelly and his remarkable funding agency 4Culture; we watched a video about our long-running free Teen Art Studios and raised $44,000 to support youth programming at Gage; we drew the winning raffl e ticket for two on the Arte d’España tour purchased by Gage artists Meg Murch and Roger Burk; we raised a deliciously sweet $13,000 with our over-the-top Art of Dessert table; and we let everyone eat cake!

We cannot thank all of you enough! From the incredible generosity of our table captains and gala guests, to our corporate sponsors, to our volunteers, and last but certainly not least, a special thank you to our generous and talented donating artists. Apreciamos profundamente su generosidad!

Rebecca AllanJuliette AristidesJennifer Beedon Snow*Susan BennerstromSuzanne BrookerChihuly StudioLarine ChungPat ClaytonKathleen CoyleDominic CretaraMargaret DavidsonMarita DingusTenley DuboisDavid DwyerCharles EmersonMartha Mayer ErlebacherJanet FaganGary FaiginEduardo FernandezClaudia FitchGeoff FlackMichael FrielJennifer FrohwerkTerry FurchgottChristine GedyeLeonid GervitsIra GoldbergMichael GrimaldiPatty HallerMelinda HanniganAndrew HareAron HartTom HoffmannMeg HolgateMark Kang-O’HigginsKurt KiefferLauren KlenowCraig KosakTed KutscherLin La MerGeoffrey LaurenceJoseph LesserEli Levin/Jo Batiste

Anne LewisNorman LundinMichael MagrathEstate of Susan ManzoRoella McCoyAnna McKeeKathleen McKeehenKathleen E. MooreJohn MorraAnn MorrisJanet Nechama MillerMaria OlanoKelly H. PaikKelly PattersonJim PhalenSusan Bari PriceJames ProutyJohn RizzottoPamela RobinsonK RobinsonAnnie RosenDeborah ScottRobin SieglLois SilverLyle SilverTenaya SimsKurt SolmssenJulie SpeidelKeri StackMichael StasinosTamara StephasJulie StonebrakerDenise TakahashiKellie TalbotRonald TaylorKimberly TrowbridgePeter Van DyckPatti WarashinaMargaret WatsonJim WoodringSuze WoolfHamid Zavareei*Best in Show winner!

OUR GENEROUS DONATING ARTISTS & COLLECTORS

OUR GENEROUS CORPORATE & BUSINESS SPONSORS

Clockwise from top left: Guitarist Andre Feriante sets the mood; Artwork ready for bidding; The Flamenco Gitana Company provides entertainment; St. Mark’s Cathedral as it’s never looked before; Gage supporters Kat Randolph and Kyle Wong enjoy the evening; guests mingle and bid on silent auction pieces; 4Culture’s Jim Kelly (left) receives the 2011 Gage Art Award.

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Register online at www.GageAcademy.org beginning Monday, May 16, 2011. 3

GAGE CONFIDENTIALYes, you’re a Gage supporter — that’s why you are reading this catalog! You’ve taken classes at Gage, gone to our lectures and exhibitions, participated in the Gage Drawing Jam, and joined along on our art tours. But do you really qualify as a Gage Expert?

1. Last summer’s Teen Intensive students studied classical drawing and contemporary painting for fi ve straight weeks. At the end of their rigorous pre-college program, the teens: a) Gave up visual art for circus careers. b) Saw the best of their work mounted in the Corridor Gallery at SAM for a one-month show. c) Painted the walls and stairwells of Gage with a full-size replica of Michelangelo’s Sistine Chapel ceiling, done in the style of Frida Kahlo.

2. After more than a decade of enthusiastic public participation, the annual Drawing Jam at Gage gathered more than 1,200 artists of all ages to: a) Build a full-scale horse out of recycled Playdough in the Gage sculpting studio. b) Create edible art from the delectable food prepared in the Café des Artistes. c) Draw a pair of swashbuckling Seafair Pirates in the Stars of Seattle studio.3. When cartoonist Jim Woodring debuted his Nibbus Maximus at Gage, the 400 curious visitors who attended the world premiere saw:

a) A 6’ fountain pen with a 16” nib making a BIG drawing of Jim’s famous Frank character. b) A corps of attentive masseuses on hand to tend to Jim’s aching back. c) A failed science project, as predicted by pundits across the internet. 4. Gage is proud that so many of our talented teaching artists have published authoritative art instruction books. In this past year alone, Gage is thrilled to crow about: a) Gary Faigin’s new coffee-table book, Plastic Fruit is the Stillest Life of All. b) Beautiful new books on contemporary drawing by Margaret Davidson and still life painting by Michael Friel. c) Juliette Aristides’s third atelier primer for artists, How to Pronounce Diffi cult French Words. 5. With our free Teen Art Studios running every Friday night on Capitol Hill and every Saturday night in Rainier Valley, Seattle-area teens have the opportunity to explore monthly art themes from portrait sculpting to animé cartoons. The talented teens tell us they love TAS because:

a) They can’t wait to join the circus. b) They get to make fun art with friends, build a strong portfolio and eat free pizza. c) They enjoy making a human pyramid each class.

6. Gage tuition represents 75% of the operating funds of the school. The remaining 25% in contributed income comes from: a) Generous students and parents who believe Gage adds value to their lives and our community. b) Generous artists who donate their talents to the annual Gage Collector’s Gala (see opposite). c) Generous art patrons who are committed to investing in the cultural richness of the Northwest. d) All of the above, and more!

But Seriously Folks . . .Okay, you’re a Gage Expert! Since you’re such a fan of what we do, and because you want us not only to survive but to thrive, we have a modest request. As our fi scal and academic year comes to a close on June 30, we wish to present our whole community with a challenge. Please GIVE FIVE TO GAGE. Your gift can be any size that includes the number 5. Think: $5, $25, $50, $75, $150, $500, $5,000 or any gift that suits your desire to be one of our generous supporters. We’ll see that 5 and know that you care about sustaining the visual arts in our region. Thank you! Oh, and about those questions: 1b, 2c, 3a, 4b, 5b, 6d.

Last summer’s Teen Intensive students studied classical drawing and contemporary painting for fi ve straight weeks.

Take our whimsical quiz below, and see how you rate!

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Rosen GalleRyFrom Shadow to ColorMay 17 - June 11Artists’ Reception: Friday, May 20, 6:00pm-8:00pm

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

In the Entry Gallery, fourth-year students Zoey Frank, D. Jordan Parietti and Elizabeth Zanzinger exhibit contemporary still-life, figure and portrait paintings as they complete their final thesis term of the Classical Atelier’s intensive program.

the Next Big thiNg — gage teeN iNteNSive exhiBitioNAugust 5 – September 2Artists’ Reception: Friday, August 5, 6:00pm-8:00pm

During the five-week summer Teen Intensive Program led by artists Tenaya Sims and Kimberly Trowbridge, teen artists focus on mastering ma-terials and techniques while working from models and still-lifes. The drawings and paintings in this exhibition demonstrate both the foundational skills and unique artistic expression discovered by each of these young artists.

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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.

sTeele GalleRy CoNtemporary drawiNg iN the NorthweStMay 20 – June 11Artists’ Reception: Friday, May 20, 6:00pm-8:00pm

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

thiNk iNkAugust 5 – September 5Artists’ Reception: Friday, August 5, 6:00pm-8:00pm

Local artists, cartoonists and graphic illustrators exhibit pen and ink artworks that display excep-tional technical skill and creative, narrative story lines. Working with the constraints and possibili-ties of the fluid nib and inkwell, artists David Chelsea, David Lasky, Bob Rini, Jim Woodring and more dazzle the viewer with complex composi-tions and unexpected shifts in perspective.


gage lecturesTo contribute to Seattle’s arts discourse, Gage hosts lively lectures with working profes-sional artists and art historians. The public is invited to attend these fRee events.

margaret davidSoN: artiSt aNd aUthorMargaret Davidson Friday, May 20 7:00pm Geo Studio, 3rd Floor

Drawing has changed. Contemporary drawing is an intense, sensitive, compelling, personal and utterly direct art form with its own concepts, characteris-tics and techniques. In this first public presentation of her book, Contemporary Drawing: Key Concepts and Techniques, Gage teaching artist Margaret Davidson talks about the nature of this change and what makes contemporary drawing so complex and fascinating.

keepiNg it iN perSpeCtiveDavid Chelsea Friday, August 5 7:00pm Geo Studio, 3rd Floor

Author, illustrator and comic book artist, David Chelsea, employs all of his talents in his newest book, Extreme Perspective for Artists, an illustrated text that makes the more technical aspects of perspective drawing accessible to artists, car-toonists, illustrators and animators. A sequel to his previous book Perspective! For Comic Book Artists, this entertaining and informative book will aid any artist in understanding how to render complicated multi-sided objects in perfect perspective and create accurate shadows and reflections from your own imagination.

David Chelsea has contributed to hundreds of publications including The Wall Street Journal, Chicago Tribune and Reader’s Digest, and he illustrated the Modern Love column for The New York Times. He studied at the School of Visual Arts, Parsons Institute and The New York Academy of Art, and has been a commercial artist for over 30 years.

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.

aRTisT’s Tool KiTMay 26 12:30pm-1:30pm Geo Studio, 3rd floor

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

aRTTalKJune 9 12:30pm-1:30pm Geo Studio, 3rd floor

Chris EngmanGage Artistic Director Gary Faigin interviews Chris Engman whose complex, staged photographs call into question the integrity of the camera image as a literal record.

Read more about these events at www.GageAcademy.org/events.

see lecture

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Chris Engman, Three Moments, detail

D. Jordan Parietti David Chelsea, Alzheimer’s, detail

19th Annual

friday, June 17 6:00pm – 9:00pm fRee

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Best of Gagesubmission detailsWho Any student who has been enrolled in a Gage class or workshop between June 1, 2010 and June 30, 2011

WhaT One entry per artist; artwork must be ready to hang and not previously exhibited at Gage.

hoWChoose your best piece of work created in the past year, and decide in which of the seven categories to enter:ABSTRACT BEGINNERFIGURE LANDSCAPEPORTRAIT SCULPTURESTILL LIFE

WheRe & When Drop off your submission from 10:00am-4:00pm on Wednesday, June 8 through Saturday, June 11 at Gage Academy of Art.

QUesTions? Contact Lauren Klenow, Curator/Public Events, at [email protected] or 206.323.4243 x18 for more information.

www.Gageacademy.org/bestofgage

exhibition & awardsGage students of all levels and disciplines celebrate a year fi lled with artistic creativity and intensive study at the 19th annual Best of Gage. Join the celebration as students, artists and art lovers alike peruse three fl oors of art-work exhibiting diverse media, subjects and individual style.

Guest juror Stefano Catalani, Director of Curatorial Affairs/Artistic Director, Bel-levue Arts Museum, selects top entries in seven categories and the prestigious Best in Show prize. Participate in the awards by voting for your favorite piece to receive the People’s Choice Award and don’t miss out on the big awards ceremony at 7:00pm when we announce the winning artists!

art saleGage offers the opportunity to purchase select works from the Best of Gage exhibition and the studios of our dedicated atelier students starting at $25. Take home an original piece of art while supporting your favorite artist and your favorite art school!

vernissage: 5:00pm – 6:00pmBe the fi rst to view and purchase artworks by reserving your place at the Best of Gage Vernissage. Enjoy fi ne wine and fi ne art during the exclusive private showing — before the general public arrives. Tickets for this unique opportunity are only $50, but space is limited, so reserve your place online soon at www.GageAcademy.org/bestofgage.

STUDENTS: opt in to sell your submission as part of the exhibition!

Let Gage be your gallery for one night only! There’s no obligation, but if you choose to participate in the sale, you will be supporting the educational programs at Gage while receiving 50% of the sale price. We are available to help with pricing and the details.

Find more info at www.GageAcademy.org/bestofgage.

BeSt oF gage exhiBitioNJune 17-July 30

The Best of Gage exhibition is on dis-play through July. Even if you miss the big night, you can still see the artwork throughout the entire Gage building in various mediums spanning seven categories: abstract, beginner, fi gure, landscape, portrait, sculpture and still life. Don’t miss the winning pieces installed in the Steele Gallery!

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

Kimberly Trowbridge, detail Margaret Davidson, detail

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CaSeiN UNderpaiNtiNg & glaZiNgSuzanne Brooker NEW!Sat-Sun 9:30am-4:30pm 5/21-5/22 [2 days]

Casein can be used like watercolor to create thin washy layers of color, or it can be applied in a thick opaque manner like acrylic paints. This quick-drying medium provides a per-fect surface to over glaze with oil paint for sparkling color. From fl uid, gestural lines to gently blended surfaces, you explore brush handling techniques that create a dynamic paint surface.WW1114 all levels $195

SCUlptiNg FeatUreS oF the FaCeSuzanne Brooker NEW!Sat-Sun 9:30am-4:30pm 6/4-6/5 [2 days]

Take your portrait drawing into the third dimension by sculpting facial features with oil clay. As you focus on gaining a stronger understanding of each feature in context, you develop a sharper eye to the detail and structure of the face. No sculpting experi-ence required.WW1115 all levels $225

iNtro to pleiN-air paiNtiNgSuzanne BrookerSat-Sun 9:30am-4:30pm 6/11-6/12 [2 days]

See website for a full program description. WW1112 all levels $195

mixed-media paiNtiNgHamid ZavareeiSat-Sun 6/25-6/26 9:30am-4:30pm [2 days]

Learn to apply and incorporate unconven-tional materials into your art-making process, including wood, metal and adhesives. See website for a full program description. WW1113 all levels $195

paperFeStMargaret DavidsonSat-Sun 9:30am-4:30pm 6/25-6/26 [2 days]

Explore all sorts of papers — rag papers, rice papers, even plastic and petroleum papers — discovering what they are made of, what their various properties are, how to handle them and how they stand up to different media. After two days of experimenting with pencil, charcoal, ink and watercolor on different pa-pers, you leave with two pieces of every kind of paper we work with: one clean and unused for your paper collections, and the other fi lled with your experimental drawings.WW1116 all levels $195

portrait paiNtiNg: valUe iNto temperatUreKimberly TrowbridgeSat-Sun 9:30am-4:30pm 7/9-7/10 [2 days]

Develop an expressive portrait using the direct method of oil painting. On the fi rst day learn to recognize value shapes that correspond to the planar structure of the head, as well as indi-vidual features of the face. On the second day you work wet-into-wet, expressing the quality of light with a limited temperature palette and introducing “satellite” colors to create a dynamic interplay of color across the form.WW1117 all levels $225

drawiNg For BegiNNerSTerry Furchgott Sat-Sun 9:30am-4:30pm 7/16-7/17 [2 days]

Learn the basics of creating strong, accurate drawings working from an inspiring variety of still-life objects. Progressing from the preci-sion of pencil to the bolder marks of charcoal, you explore the interplay of line, light and shadow, positive and negative shapes, and three-dimensional rendering. You gain skill and confi dence as you complete a series of lively drawings learning to simplify complex subjects and to create the illusion of volume and light.WW1118 BeGinninG $195

drawiNg draperyMargaret DavidsonSat-Sun 9:30am-4:30pm 7/23-7/24 [2 days]

Working in black and white, you learn to draw the lights and shadows of hanging drapery, how cloth reveals the structural forms under-neath and how patterns undulate to follow the fl ow of drapery.WW1119 all levels $195

FigUre drawiNg oN toNed paperJuliette AristidesSat-Sun 9:30am-4:30pm 7/30-7/31 [2 days]

With the fi gure model as your subject, explore the atmospheric use of tone as you create two kinds of work in this immersive workshop: a re-ductive drawing in charcoal where you remove the tone to reveal a strong value pattern and a built up drawing on toned paper using white and darks to create form.WW1120 all levels $225

iNtro to FayUm portraitSHamid ZavareeiSat-Sun 9:30am-4:30pm 8/6-8/7 [2 days]

In the style of Egyptian Fayum portraits, explore the ancient encaustic technique of painting with wax using the materials, tools and methods of manipulating surface based on historical evi-dence. Refi ne your portrait skills as well, as you work from the model using these techniques.WW1121 inTeRmediaTe $225

Suzanne Brooker, detail Hamid Zavareei, detail

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drawiNg FlowerS, glaSS & metalTerry FurchgottSat-Sun 9:30am-4:30pm 8/6-8/7 [2 days]

Learn to draw dramatic and realistic images of luminous fl owers, transparent glass vases and the shiny surfaces of brass, silver and gold using a variety of black and white me-dia. Progressing from the precision of pencil to the spontaneous forms of ink wash used with charcoal and white chalk, you complete brief sketches and one fi nished fl oral still-life piece.WW1122 all levels $195

laNdSCape drawiNg at the kaBota gardeNSSuzanne Brooker

Fri-Sun 9:30am-4:30pm 8/12-8/14 [3 days]

Take time to explore the artistic potential of this fascinating fi ve-acre garden, from its carefully designed evergreen display to its quiet refl ecting pools, as you gain confi dence and skill in your drawing ability. You study the botanical details of various tree forms while practicing expressive to realist drawing techniques.WW1123 all levels $295

aNimal CoNStrUCtioN Bill EvansSat-Sun 9:30am-4:30pm 8/13-8/14 [2 days]

Augmented with demonstrations and hands-on teaching, you learn how bones, muscles and skin come together as you work in clay to create an accurate likeness of an animal. Construct the individual pieces, then build the form and hollow the piece. Post work-shop, the works are fi red in the Gage kiln for later pickup.WW1124 all levels $225 (price includes clay)

FigUre Collage: valUe iNto ColorKimberly TrowbridgeSat-Sun 9:30am-4:30pm 8/13-8/14 [2 days]

Create two collages from the life model as you explore pictorial concepts. Use paper prepared with sumi ink to tear, cut and paste corresponding value shapes that comprise the planes of the fi gure. On the second day, you gather color “data” from the model, and develop color swatches with provided tem-pera paint. Using these colored sheets, you describe color shifts across the fi gure and surrounding space with torn or cut paper. WW1125 all levels $225

pleiN-air BaSiCS at the arBoretUm Suzanne BrookerFri-Sun 9:30am-4:30pm 8/19-8/21 [3 days]

New painters are invited to try their hand at painting quick oil sketches that capture the dynamic interplay between sky, foliage and ground at the arboretum. You place an emphasis on establishing large shapes of value, brush handling and color mixing, all en plein air.WW1126 BeGinninG $295

paStel over waterColor teChNiqUeTerry FurchgottSat-Mon 9:30am-4:30pm 8/27-8/29 [3 days]

Learn techniques to enhance the depth or color of your artwork using a rich multi-col-ored under painting of watercolor with subtle overlays of pastel. You focus on diverse textures and palette choices, creative mark making, and the interplay of color and tonal value as you complete lively sketches and one fi nished pastel painting. Inspiring set ups include colorful fl owers, glazed ceramics and the textures of melon, fi sh and glass, as well as one fi nal day of fi gure work.WW1127 all levels $305

eSSeNtial BrUSh teChNiqUeSSuzanne BrookerFri-Sun 9:30am-4:30pm 9/9-9/11 [3 days]

Brushwork is the signature of an artist. Learn how to develop the skills needed for interpreting volume, space, movement and texture through brush handling. A close examination of mediums and an exploration of techniques helps you understand how the viscosity of paint achieves different painterly effects on a variety of surfaces.WW1128 BeGinninG $295

Terry Furchgott, detail Bill Evans, detail Terry Furchgott, detail

Juliette Aristides, detail Kimberly Trowbridge

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.

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light iN SpaCe: paiNtiNg iNteriorS iN oilSusan BennerstromMon-Fri 9:30am-4:30pm 6/20-6/24 [5 days]

Interior space has been a subject for painters for centuries, whether as the primary focus, or as a background for human activity. Learn to animate paintings of interiors through the use of light (natural and artifi cial), point of view and a careful placement (or removal) of objects and details. Each day begins with discussion of dif-ferent artists’ approaches to interiors, then you make several alla prima paintings, as well as one longer-session painting on canvas or panel.Wa1109 inT/adv levels $600

FigUre aNd portrait drawiNgMichael GrimaldiMon-Fri 9:30am-4:30pm 6/20-7/1 [10 days]

Through discussions, demonstrations and exploratory exercises, Grimaldi introduces you to his own technique for developing a fi gura-tive drawing with an emphasis on chiaroscuro to heighten the mystery of form. While working on a two-week pose, you learn fundamental concepts of visual perception, and explore elements of proportion, gesture, anatomy, per-spective and design through constructing an exhaustively studied fi gure drawing from life.Wa1110 inT/adv levels $1350

eSSeNtial CoNCeptS oF laNdSCape paiNtiNg iN Skagit valleyMitchell AlbalaMon-Fri 8:00am-11:00am & 3:30pm-6:30pm 8/1-8/5 [5 days]

Located on Fir Island in the heart of Skagit Valley, this summer plein-air retreat provides an agricultural panorama dotted with farm-houses, barns and fi elds in rural Washington. Explore practical solutions to the special chal-lenges faced by landscape painting, including simplifi cation through massing, composing the landscape space, strategies for depicting light, color mixing and managing your outdoor studio. Be a part of a close knit “art colony” as you benefi t from daily demonstrations and lectures, personal and group critiques and lunch time chats. Learn best strategies for starting a painting, through site selection and using an abbreviated underpainting to estab-lish an effective design and value structure. Lunches included.Wa1111 inT/adv levels $650

FigUre paiNtiNg iN oilJordan SokolMon-Fri 9:30am-4:30pm 8/8-8/12 [5 days]

Prepare yourself for a humble exploration of the human fi gure as you foster alternative ways of thinking, seeing and painting, enabling you to achieve a realistic representation of the fi gure in space. Delve into such areas as the sight-size method, fi gure construction, structure through visual anatomy, form and its relationship to light, the optical impression and paint handling. Learn basic and advanced concepts of understand-ing and deconstructing visual perception into separate organized elements, developing a structured thought process for translating those elements accurately in paint.Wa1113 inT/adv levels $625

paiNtiNg the portrait iN oilJim PhalenMon-Fri 9:30am-4:30pm 8/1-8/5 [5 days]

Begin your weeklong exploration of the portrait by covering the basic proportions of the head — the structure being one of your most important considerations. You start with drawing in charcoal on canvas with special attention paid to composition and perceptual analysis. Once the structure is established, you fi x your drawings and begin under painting in earth tones, wiping away the highlights. Then you move into painting, where color issues are examined, including how to get the best fl esh tones and how to use warm and cool. Wa1112 inT/adv levels $625

paiNtiNg the Still-liFe iN oilJim PhalenMon-Fri 9:30am-4:30pm 8/15-8/19 [5 days]

The still life is one of the most enduring genres in painting. Start the week with a discussion of space: how to make it believ-able and the best methods to create it. Then move on to composition, such as how to use your positive and negative space relation-ships the most effectively, as well as an in-depth examination of linear and atmospheric perspective.

You begin your paintings by drawing in charcoal on your canvas and progress to under painting in warm tones, wiping away to establish the highlight. Warm and cool color relationships, light and shadow, and color transitions are all emphasized throughout the weeklong program.Wa1114 inT/adv levels $600

Susan Bennerstrom, detail Mitchell Albala, detail Jim Phalen, detail

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iCoN paiNtiNg iN egg temperaIrene Pérez-OmerMon-Sat 9:30am-4:30pm 8/22-8/27 [6 days]

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

Pérez-Omer includes an explanation of the spiritual symbolism of every step of the con-templative icon-writing process while teaching you the ancient traditional techniques required to successfully complete your icon. Price of workshop includes all art supplies needed for the week including gold leaf, gum arabic and a solid wood gessoed board and brushes.Wa1115 inT/adv levels $810 (price includes all art supplies)

SCUlptiNg the SelF portraitTip Toland

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

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

Through demonstrations, discussions and hands-on practice, you learn to build a struc-turally sound armature, mass clay to create form and accurately render proportion in modeling your own skull, neck, shoulders and facial features. Once you complete the solid-stage modeling, you hollow out your self portrait and reassemble it, making the last changes and fi nishing touches. On the fi nal day, learn about hair applications and possible surface techniques after your artwork is fi red.Wa1118 inT/adv levels $650 (price includes clay)

Irene Pérez-Omer, detail Tip Toland, detail Maxfi eld Parrish, detail

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laNdSCape paiNtiNg iN SeattleKurt SolmssenMon-Fri 9:30am-4:30pm 8/29-9/2 [5 days]

Solmssen demonstrates methods for develop-ing the pictorial elements in your oil paintings with rich, saturated color, high contrasts, atmospheric depth and a variety of paint surfaces. His sensitivity to composition and light values represents the ideal model for intermediate to advanced landscape painters.

Solmssen gives painting demonstrations and works with each student individually. You spend time painting in Seattle’s Volunteer Park, as well as focusing on beautiful old homes and buildings on Capitol Hill and the landscape that surrounds them.Wa1116 inT/adv levels $600

in the steps of Georgia o’Keeffe

sunday, august 21 – sunday, august 28, 2011

Join us for a spectacular one-week land-scape painting workshop and art tour

designed for plein-air artists!

see page 11 for all the details!

ameriCaN lUmiNiSm: Color, depth & dramaCharles EmersonMon-Fri 9:30am-4:30pm 8/29-9/2 [5 days]

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

In this workshop, you paint in oil or acrylic to emulate and study these works and devices, including an original work, in order to adopt their use in a logical, consistent and convincing manner relevant to the art of today. Explore the ideas, techniques, and color discoveries of artists Rothko and Still along with Whistler, Church, Lane, Sargent, Parrish, Bierstadt, Inness and Diebenkorn. $15 materials fee pay-able to instructor. Wa1117 inT/adv levels $600

weeklong workshops (continued)

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drawiNgFigUre CompoSitioN For paiNterSGeoffrey LaurenceMon-Fri 9:30am-4:30pm 11/28-12/2 [5 days]

How do you inject compositional excite-ment and complex subject matter into your paintings? Historically, classical paint-ers used drawing as a preliminary means to work out their compositions and motifs. At Gage, students with strong drawing skills are invited to study under a master fi gurative realist to learn how to develop complex pictorial compositions utilizing different modes of drawing.

Each day, Laurence introduces you to a different method to make in-depth draw-ings from the model and the background around the model. Laurence also demon-strates various ways to make extended drawings from the fi gure, regardless of the length of the pose. You work in conté crayon, charcoal, ink, water media and acrylic, treating each blank page like a canvas that you enliven with your tonal compositions, fi lling the paper from edge to edge.

Your fi nal preparatory studies feature active fi gures in interiors which you cre-ate from sketching the live model, your preliminary drawings and reference pho-tographs. Your fi nal multi-fi gure composi-tion is intended to give you fertile visual material for future painting projects.Wa1119 inT/adv levels $625 (or by permission of instructor)

paiNtiNggroUp FigUre CompoSitioN iN oilPerin MahlerMon-Fri 9:30am-4:30pm 12/5-12/9 [5 days]

Painting a multi-fi gure composition in an interior space represents a challenging pictorial project, even for an advanced artist. In this workshop, you learn how to work from multiple-model poses, as well as photographic references, beginning with monochromatic drawings that develop your compositional focus. You then create color studies based on your drawings, exploring the color harmonies created through the compositional effects of hue and satura-tion. Finally, you produce an easel-sized alla prima painting of the entire scene.

You are also invited to explore the textures and color structures that furniture, drapery and props can add to your composition. Most important, you work to create a be-lievable spatial environment for your fi gure tableaux that suggests narrative content.

Demonstrations presented in this work-shop include how digital photography and Photoshop can become an integral part of your painting process, how to develop nar-rative structure through composition and color, and the progressive steps — from general to specifi c — of how to develop a complex, multi-fi gure composition.Wa1120 inT/adv levels $650

portrait paiNtiNg iN the reNaiSSaNCe traditioNGeoffrey LaurenceMon-Sat 9:30am-4:30pm 12/5-12/10 [6 days]

As a foundation for your own contemporary works, Laurence instructs you in the indirect painting techniques of the Venice and Flor-ence schools of the 15th and 16th centuries. Working from the model, each day you progress through set stages of this rigorous painting technique in order to complete one fi nished portrait by workshop’s end.

Progressing from compositional studies, you develop a careful underdrawing of your portrait on the canvas and fi ll in your portrait with a monochromatic grisaille painting to establish your tonal gradations. You then overpaint your portrait with a classic dead palette of red oxide, yellow ochre and cold black plus white before applying a warm/cool palette that pushes the value con-trasts and gives your portrait a beautiful tonal depth. The fi nal stage of your painting process includes working with a full color palette while applying glazes and scumbles, as required.

This is an advanced course suitable for anyone with an interest in classical painting techniques and intermediate painting skills.Wa1122 inT/adv levels $675

Geoffrey Laurence, detail Perin Mahler, detail Geoffrey Laurence, detail

fall

enroll in both fi gure composition workshops (Wa1121) for $1,150.

stay Connected to GageLike Gage on Facebook and follow us on Twitter for the latest news and updates.

academy art tours

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

Learn more at www.GageAcademy.org/tours.

Georgia O’Keeffe, Cow’s Skull, Red, White and Blue

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in the steps of Georgia o’Keeffe: Painting in Northern New MexicoPainting Instructor & Tour Guide: Gary Faigin

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

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

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

Our week includes a day-trip to Santa Fe to tour masterworks in the acclaimed O’Keeffe and NM Fine Arts museums as well as another day dedicated to visiting O’Keeffe’s home in Abiquiu, plus the historic Taos homes of O’Keeffe’s contemporaries: socialite Mabel Dodge Luhan and painter Ernest Blumenschein. Our landscape painting workshop is headquartered at Ghost Ranch and spans four days. Evening programs and hikes for all are also planned.

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

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

new york, new york! Art Making & Art TouringWorkshop Instructor: Burt Silverman Art Tour Guide: Gary Faigin

Sunday, March 25 to Saturday, March 31, 2012

$1,250 / painter $850 / non-painter (tour program only)

For one inspiring week, spend your mornings at the venerable Art Students League and your afternoons discovering the city’s excellent galleries and museums. Burt Silverman, one of America’s foremost realist painters , leads a morning portrait painting workshop during the weekdays.

Our afternoons are spent with art critic and historian, Gary Faigin, touring New York’s most important museums and galleries. On Saturday, we convene at MoMA in the morning, and head to the remarkable new contemporary museum DIA-Beacon, up the Hudson, for the afternoon.

Your tour includes Sunday cocktail party and Friday farewell dinner; ASL painting workshop (painters only); all museum admissions, local and intercity travel. Not included: meals not noted; airfare and accommoda-tions. Gage has prepared a list of hotels, from inexpensive to luxury, to meet the needs of our students. Please contact the offi ce for more information.

TR1201 Book your place with a $250 per person non-refundable deposit online!

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The he(art) of europe: Berlin to Vienna Art Touroctober 2012 Art Tour Guide: Gary Faigin

Gage is currently designing a two-week tour that spans two great cultural capitols in the heart of Europe — Berlin to Vienna. Focusing on the art and architectural highlights of each city, we also tour major museums and monuments in Potsdam, Dresden, Munich and Salzberg. Learn more about our 2012 tour at a preview evening in October. Please contact [email protected] should you wish to receive more information.

Burt Silverman, Fur Collar

Rogier van der Weyden, Portrait of a Young Woman

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• See Gage website for last minute updates. •

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drop-in and Reserved figure studios | summer schedulessession a monday, JUne 27 – sUnday, JUly 31 [no programs 7/4]

open Studios

open and Reserved Studios, provide opportunities for Gage students and artists in the community to work independently from the model.

morning

afternoon

evening

drop-iN FigUre StUdioSNo instructor

Artists from Gage and the community work independently from the model, gaining hands-on practice in drawing, painting or sculpting the fi gure.

Long Pose: Pose may vary from 35 minutes to three hours.

Short Pose: Pose may very from two to 25 minutes. See calendar below for the schedule.

sT1111 fiRsT visiT fRee$12 (drop-in) / $45 (5-session pass)$140 (20-session pass)

reServed FigUre StUdioSNo instructor

In the Reserved Figure Studios, a group of dedicated artists works from one fi gure pose throughout the fi rst 5-week quarter, with the pose set on the fi rst night.

Students must register before the quarter begins to guarantee an easel space.See calendar below for the schedule.

session a: JUne 27 – JUly 31sT1112 (mon) $55 Dwg/Ptg [4 weeks, no session 7/4]

sT1113 (fri) $70 Dwg/Ptg

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 SUNday

9:30am - 12:30pm 9:30am - 12:30pm 9:30am - 12:30pm 9:30am - 12:30pm 9:30am - 12:30pm 9:30am - 12:30pmReseRved sTUdioReseRved sTUdio shoRT Pose lonG Pose shoRT Pose shoRT Pose shoRT Pose lonG Pose shoRT Pose shoRT Pose shoRT Pose lonG Pose shoRT Pose shoRT Pose shoRT Pose lonG Pose shoRT Pose shoRT Pose shoRT Pose lonG Pose shoRT Pose shoRT Pose shoRT Pose lonG Pose shoRT Pose shoRT Pose

Drawing • Painting 6/28 - 7/26 6/29 - 7/27 6/30 - 7/28 7/2 - 7/30 Drawing • Painting 6/28 - 7/26 6/29 - 7/27 6/30 - 7/28 7/2 - 7/30 Drawing • Painting 6/28 - 7/26 6/29 - 7/27 6/30 - 7/28 7/2 - 7/30 Drawing • Painting 6/28 - 7/26 6/29 - 7/27 6/30 - 7/28 7/2 - 7/30 Drawing • Painting 6/28 - 7/26 6/29 - 7/27 6/30 - 7/28 7/2 - 7/30 Drawing • Painting 6/28 - 7/26 6/29 - 7/27 6/30 - 7/28 7/2 - 7/30 Drawing • Painting 6/28 - 7/26 6/29 - 7/27 6/30 - 7/28 7/2 - 7/30 6/27 - 7/25 6/27 - 7/25 6/27 - 7/25 6/27 - 7/25 6/27 - 7/25 6/27 - 7/25 6/27 - 7/25

[no class 7/4] sT11

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 lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose 6/27 - 7/25 7/1 - 7/29 7/3 - 7/31 6/27 - 7/25 7/1 - 7/29 7/3 - 7/31 6/27 - 7/25 7/1 - 7/29 7/3 - 7/31 6/27 - 7/25 7/1 - 7/29 7/3 - 7/31 6/27 - 7/25 7/1 - 7/29 7/3 - 7/31 6/27 - 7/25 7/1 - 7/29 7/3 - 7/31 6/27 - 7/25 7/1 - 7/29 7/3 - 7/31 6/27 - 7/25 7/1 - 7/29 7/3 - 7/31 6/27 - 7/25 7/1 - 7/29 7/3 - 7/31

[no session 7/4] 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm

shoRT Pose ReseRved sTUdioReseRved sTUdio 6/27 - 7/25 Drawing • Painting 6/27 - 7/25 Drawing • Painting 6/27 - 7/25 Drawing • Painting 6/27 - 7/25 Drawing • Painting 6/27 - 7/25 Drawing • Painting

[no session 7/4] 7/1 - 7/29 7/1 - 7/29 7/1 - 7/29 7/1 - 7/29 7/1 - 7/29 sT11 sT11 sT11 sT11 sT11 sT11

session B monday, aUGUsT 1 – fRiday, sePTemBeR 2

morning

afternoon

evening

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 SUNday

9:30am - 12:30pm 9:30am - 12:30pm 9:30am - 12:30pm 9:30am - 12:30pm shoRT Pose lonG Pose shoRT Pose shoRT Pose lonG Pose shoRT Pose shoRT Pose lonG Pose shoRT Pose shoRT Pose lonG Pose shoRT Pose shoRT Pose lonG Pose shoRT Pose shoRT Pose lonG Pose shoRT Pose 8/2 - 8/30 8/3 - 8/31 8/6 - 8/27 8/2 - 8/30 8/3 - 8/31 8/6 - 8/27 8/2 - 8/30 8/3 - 8/31 8/6 - 8/27 8/2 - 8/30 8/3 - 8/31 8/6 - 8/27 8/2 - 8/30 8/3 - 8/31 8/6 - 8/27 8/2 - 8/30 8/3 - 8/31 8/6 - 8/27 8/2 - 8/30 8/3 - 8/31 8/6 - 8/27 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 lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose lonG Pose 8/1 - 8/29 8/5 - 9/2 8/7 - 8/28 8/1 - 8/29 8/5 - 9/2 8/7 - 8/28 8/1 - 8/29 8/5 - 9/2 8/7 - 8/28 8/1 - 8/29 8/5 - 9/2 8/7 - 8/28 8/1 - 8/29 8/5 - 9/2 8/7 - 8/28 8/1 - 8/29 8/5 - 9/2 8/7 - 8/28 8/1 - 8/29 8/5 - 9/2 8/7 - 8/28 8/1 - 8/29 8/5 - 9/2 8/7 - 8/28 8/1 - 8/29 8/5 - 9/2 8/7 - 8/28 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm 6:30pm - 9:30pm shoRT Pose shoRT Pose shoRT Pose shoRT Pose 8/4 - 9/1 8/4 - 9/1 8/4 - 9/1 8/4 - 9/1 8/4 - 9/1

Two summer sessions!

Gage artists work from the model.

SeSSion a monday, June 27 – Sunday, July 31

drawing Classes gage offers two, five-week summer sessions

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drawiNg For BegiNNerSLarine ChungTuesday 1:30pm-4:30pm 6/28-7/26

Michael LaneSaturday 10:00am-1:00pm 7/2-7/30

In this introductory fundamentals class, exercises expose you to key concepts and artistic principles to accurately render line, shape, proportion and negative space while working from the still life. You explore vari-ous drawing media, including charcoal and graphite, as you progress from simple lines toward a nuanced understanding of tonal description. d1145 BeGinninG $205 (Chung) d1153 BeGinninG $205 (lane)

drawiNg portraitS oF treeSSuzanne BrookerWednesday 1:30pm-4:30pm 6/29-7/27

Learn to accurately render a variety of tree forms and translate the delight of the arbor into drawings through a step-by-step ap-proach for working en plein air. While outside in the scenic Washington Park Arboretum, you learn the basic skills of rendering volumes in space and interpreting light and shadow through various drawing media. Gain an understanding of the dynamic structure of trees, accurately depict a variety of tree forms, draw foliage through texture and see the landscape in perspective.d1146 all levels $205

portrait drawiNg BaSiCSGeoff FlackWednesday 6:30pm-9:30pm 6/29-7/27

Suzanne BrookerThursday 1:30pm-4:30pm 6/30-7/28

Focus on the fundamentals of portrait draw-ing, as you study the essential techniques and concepts of proportion, line, value, volume, structure and composition. Working from the portrait model, train your eye to ob-serve spatial relationships utilizing perspec-tive and foreshortening while using charcoal and white pastel pencils on toned paper.d1147 all levels $225 (flack)d1148 all levels $225 (Brooker)

CompUter taBlet drawiNgJason Wei-Che JuanThursday 6:30pm-9:30pm 6/30-7/28

Life drawing with a computer tablet offers you a new medium to explore different ways to express the human figure. The tablet is especially advantageous for shorter poses since there is little prep time and no clean-up. After becoming familiar with the tablet and painting software, you are free to focus your concentration on drawing and paint-ing. Learn to use this unique tool to refresh the way you approach your studio practice. A limited number of WACOM tablets are available for rental from the instructor for $50. d1149 inTeRmediaTe $225

drawiNg iN iNkEric ElliottFriday 9:30am-12:30pm 7/1-7/29Explore the various techniques of drawing with ink on paper. You learn line variation, hatching, stippling, washes and more with a variety of quills and brushes. Emphasis is placed on the exploration of the medium through drawing still-life setups and master copies.d1150 all levels $205

iNtro to FigUre drawiNgEric ElliottFriday 1:30pm-4:30pm 7/1-7/29

Michael MagrathSaturday 2:00pm-5:00pm 7/2-7/30

Gain technical mastery and intuitive under-standing of the human form. Working from quick gesture drawings up to longer, more considered poses and drawings, you learn to incorporate proportion and anatomy, the use of light and shade in the depiction of volume and the use of line and tone to describe planar changes of the body.d1151 BeGinninG $225 (elliott)d1154 BeGinninG $225 (magrath)

BaSiCS oF BotaNiCal drawiNgKathleen McKeehenFriday 1:30pm-4:30pm 7/1-7/29

Learn the basics of measurement and observa-tion, and apply these basics to line drawings of botanical subjects. You move on to learn the ef-fects of light on form and the use of shading to give three-dimensionality to your subjects. The skills you acquire apply to drawing any subject realistically, not just the botanical, and this class is good preparation for proceeding on to botani-cal watercolor. Beginners are welcome, and return students can pursue more complex subjects with the advantage of mentored supervision.d1152 all levels $205


Suzanne Brooker Geoff Flack Kathleen McKeehen

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drawing Classes, continued

SeSSion B monday, august 1 – Friday, September 2

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iNtro to portrait drawiNgMichael LaneMonday 6:30pm-9:30pm 8/1-8/29

Working from portrait models, you study the essential techniques and concepts of proportion, line, value, volume, structure and composition. You focus on the basic concepts of drawing applied to the human form and learn to think visually, translating what you see into a compelling portrait using simple techniques.d1155 all levels $225

iNtro to FigUre drawiNgEric ElliottTuesday 9:30am-12:30pm 8/2-8/30

Geoff FlackWednesday 6:30pm-9:30pm 8/3-8/31

Gain technical mastery and intuitive under-standing of the human form. Working from quick gesture drawings up to longer, more considered poses and drawings, you learn to incorporate proportion and anatomy, the use of light and shade in the depiction of volume and the use of line and tone to describe planar changes of the body.d1156 BeGinninG $225 (elliott)d1160 BeGinninG $225 (flack)

drawiNg iN iNkEric ElliottTuesday 1:30pm-4:30pm 8/2-8/30

Explore the various techniques of drawing with ink on paper. You learn line variation, hatching, stippling, washes and more with a variety of quills and brushes. Emphasis is placed on the exploration of the medium through drawing still-life setups and master copies.d1157 all levels $205

expreSSive FigUre drawiNgBarbara FugateTuesday 6:30pm-9:30pm 8/2-8/30

Work big and bold each week as Fugate leads you through exercises exploring a specific art element while creating dynamic and expressive drawings from the figure. You begin each class making gesture drawings, progressing to longer poses and investigat-ing the formal issues of drawing, including line, contour, volume, mass and space, as you work life-size with charcoal on 24" x 36" paper.d1158 inTeRmediaTe $225

SketChBook iN the CityBarbara FugateWednesday 1:30pm-4:30pm 8/3-8/31

Bring your studio outside into Seattle city parks as you study form and mark-making with materials such as conté crayon and drawing ink. Meet in a different park each class — with every location offering a research library of different subjects and environments. Explore variety of line, form in space, texture, value and composition while drawing animals at Woodland Park Zoo, plants in the Volunteer Park Conservatory, trees in the Arboretum and more.d1159 all levels $205

drawiNg For BegiNNerSMichael LaneThursday 9:30am-12:30pm 8/4-9/1

In this introductory fundamentals class, exercises expose you to key concepts and artistic principles to accurately render line, shape, proportion and negative space while working from the still life and the figure. You explore various drawing media, including charcoal and graphite, as you progress from simple lines toward a nuanced understand-ing of tonal description. d1161 BeGinninG $205


Michael Lane Eric Elliott Barbara Fugate

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roSeS aNd glaSS iN paStelTerry FurchgottTuesday 9:30am-12:30pm 6/28-7/26

Using richly colored soft pastel, you learn to create luminous floral still lifes in the style of Manet working from inspiring setups including roses, glass, and blue and white ceramic vases. As you complete multiple color studies and one finished painting, you explore the basics of pastel technique, learn to draw accurately, and work with both bold strokes and subtle layers of color to achieve texture, volume and a strong sense of light and shadow in your work. $10 materials fee payable to instructor.P1156 all levels $205

paiNtiNg Sky aNd waterSuzanne BrookerTuesday 1:30pm-4:30pm 6/28-7/26

Explore how to render the ephemeral qual-ity of cloudscapes and to depict the fluid nature of water in a direct, plein-air manner. Learn a step-by-step approach combining brush techniques to gain the most impact in animating the paint surface as you seek to describe atmosphere and depth of space in your landscape paintings.P1157 all levels $205

FigUreS iN paStelTerry FurchgottTuesday 6:30pm-9:30pm 6/28-7/26

Master the basics of figure representation while learning to use the direct drawing medi-um of soft pastel with bold strokes and subtle layers of glowing color. Working from the model, you develop an accurate and propor-tional method of drawing the body and head as you move in logical stages from simplified external shapes and skeletal structure, to full three-dimensional rendering of the figure using color, light and shadow. Working from a variety of poses you develop confidence and skill with key color and drawing techniques. $10 materials fee payable to instructor.P1158 all levels $225

Still-liFe paiNtiNg iN oilLarine ChungTuesday 6:30pm-9:30pm 6/28-7/26

Hamid ZavareeiWednesday 1:30pm-4:30pm 6/29-7/27

In a step-by-step process, learn oil painting methods while exploring the still-life genre. In order to remove fear and promote your artistic confidence, you work on building your skills progressively considering value, warm and cool relationships, and color as well as meth-ods for self-correction and problem solving.P1159 all levels $205 (Chung)P1162 all levels $205 (Zavareei)

the halF-FigUre: UNderpaiNtiNg to glaZiNgSuzanne BrookerTuesday 6:30pm-9:30pm 6/28-7/26

Learn the essentials of brush handling and color mixing as you work from the model to build a portrait painting in oil from a linear block-in drawing to an underlying value painting. Then explore glazing techniques as you finish your portrait painting.P1160 all levels $225

Still-liFe paiNtiNg with aCryliCSTerry FurchgottWednesday 9:30am-12:30pm 6/29-7/27

From color mixing to brushwork to the use of a wet palette, learn to handle the spontane-ous and quick-drying medium of acrylic paint with confidence and skill. Working from inspiring setups containing colorful flow-ers, fruit and ceramics, you learn to draw accurately with paint and to create a sense of three-dimensionality in your paintings through the use of relative tonal values, color temperature and saturation. You complete brief color sketches and one finished work as you learn to handle fine detail while maintaining a bold, painterly approach. $15 materials fee payable to instructor.P1161 all levels $205

painting Classes gage offers two, five-week summer sessions


Suzanne Brooker, detail Larine Chung, detail Terry Furchgott

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portrait paiNtiNg iN aCryliC: FaUviSt paletteTerry FurchgottWednesday 6:30pm-9:30pm 6/29-7/27

Discover a new world of color inspired by the bold and expressive portrait works of the Post Impressionists and Fauves such as Gauguin, Derain and Matisse, as you develop a solid base of accurate drawing and painting techniques. Working from the portrait model with a saturated palette of pure colors, you learn to manipulate color value, temperature and intensity to suggest the light and shadow planes of the face. $10 materials fee payable to instructor. P1163 inTeRmediaTe $225

portraitS iN waterColorHamid ZavareeiWednesday 6:30pm-9:30pm 6/29-7/27

Experiment with both traditional water-color techniques and looser approaches to capture the essentials of your portrait model with simple contours. You focus on head, facial structures 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 to render the values. Explore light, shade, form and value with gestural broad strokes in warm and cool colors.P1164 all levels $225

aBStraCt CompoSitioN: valUe StUdieSJulia RickettsWednesday 6:30pm-9:30pm 6/29-7/27

Shake up your visual vocabulary and put new ideas into play, as you learn to compose with intention and a sense of adventure using ab-stract shapes in a dynamic two-dimensional space. You create a vocabulary of original shapes and place them in collage composi-tions designed to evoke a wide range of associations, then you use drawing materials, collage and mixed media to reinterpret these studies as drawings with a full value range. P1165 all levels $205

iNtro to FigUre paiNtiNgAnne PettyThursday 9:30am-12:30pm 6/30-7/28

Learn to create accurate, dynamic figure paintings in oil. You paint from the model, and work from short to long poses as you study color-mixing strategies and application techniques. With each figure painting you develop your understanding of oil painting and how to treat the figure as a pictorial subject.P1166 all levels $225

expreSSive woodBloCk priNtmakiNgAngielena ChamberlainThursday 1:30pm-4:30pm 6/30-7/28

Explore different techniques for creating original woodblock prints. This ancient form of graphic art stems back to eighth century Buddhist monks in China and Japan and proceeds forward into our modern era with the Brücke (the bridge) German expres-sionist movement. You experiment with varied approaches from these periods, and discover different styles and approaches to woodblock in order to create bold prints that engage viewers. P1167 all levels $205

maSter palette i: BaroqUe to roCoCo Michael LaneThursday 1:30pm-4:30pm 6/30-7/28

Gradually build up a painting using direct and indirect painting techniques as you learn the post-Renaissance recipes and principles of working from life on toned grounds with historic set palettes. You focus your work on the dark grounds and indirect techniques of the Caravaggisti and the cool grey grounds and pre-mixed palette settings of the Rococo.P1168 all levels $225


Hamid Zavareei Anne Petty Angielena Chamberlain

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CompoNeNtS oF the laNdSCapeSuzanne BrookerThursday 6:30pm-9:30pm 6/30-7/28

Working from photographic sources, increase your knowledge of methods for rendering texture, atmosphere and color temperature. Examine the basic components of landscape painting in a step-by-step ap-proach — from tree portraits, rendering the effects of the sky and interpreting foliage to understanding the contours of the ground plane. P1169 all levels $205

portrait paiNtiNg iN oil Michael LaneThursday 6:30pm-9:30pm 6/30-7/28

Focus on the art and practice of portraiture as you paint from observation, acquire strat-egies for organizing visual information and study historic precedents. You work from the model to render convincing and compelling likenesses of the portrait model in oil.P1170 all levels $225

proCeSS aNd materialS: experimeNtal CoNStrUCtioNSOlivia BrittFriday 9:30am-12:30pm 7/1-7/29

Experiment with a variety of conventional and unconventional papers and mediums to produce a series of abstract constructions focused on composition, color, scale, material combination and process as you generate new ideas and source material. Investigate work of your own that you want to develop further, and also use the work of other art-ists, photographs, objects and literature as sources of fresh inspiration. P1171 all levels $205

iNtro to oil paiNtiNgMichael LaneSaturday 2:00pm-5:00pm 7/2-7/30

Discover the essentials of oil painting, from stretching your own canvas to color mixing and paint handling. You learn how to crop and frame your subject to make a strong composition, use value to structure your imagery and paint with both limited and full palettes. Study the works of historical and contemporary artists to illustrate concepts and create your own context within the long tradition of still-life painting.P1172 BeGinninG $205

moderN paiNtiNg CritiqUe groUpJulia RickettsSunday 10:00am-1:00pm 7/10, 7/24, 8/7, 8/21

Ricketts leads a lively critique group for painters working in any media. Meet biweek-ly to discuss issues in contemporary painting and one another’s work. Concept, surface, imagery and composition are some of the many topics up for discussion. The emphasis focuses on developing your individual voice. Class size is limited to eight students. P1173 advanCed $165

eNCaUStiC teChNiqUeSHamid ZavareeiSunday 2:00pm-5:00pm 7/10-7/31 [4 wks]

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 the simple addition of wax to your painting media to hot-wax painting and the heating of wax-painted surfaces. Group and individual instruction includes techniques for heating, mixing and application as well as layering and transferring methods. $25 partial materials fee payable to instructor.P1174 all levels $165

iNtro to aBStraCt paiNtiNgJulia RickettsSunday 2:00pm-5:00pm 7/10-7/31 [4 wks]

How do abstract painters create their compositions? Investigate the language of abstraction through strategies and methods used by 20th- and 21st-century artists to create nonrepresentational art. Working in drawing materials as well as oil or acrylic paint, you complete a series of exercises addressing the creation and definition of new forms and structures of creative visual expression.P1175 all levels $165


Olivia Britt Michael Lane, detail Julia Ricketts, detail

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SummerSeSSion B monday, august 1 – Friday, September 2

Still-liFe paiNtiNg iN oilHamid ZavareeiMonday 1:30pm-4:30pm 8/1-8/29

Larine ChungThursday 6:30pm-9:30pm 8/4-9/1

In a step-by-step process, learn the methods of oil painting while exploring the still-life genre. In order to remove fear and promote your artistic confi dence, you consider value, warm and cool relationships and color as well as methods for self-correction and problem solving.P1176 all levels $205 (Zavareei)P1186 all levels $205 (Chung)

eNCaUStiC teChNiqUeSHamid ZavareeiMonday 6:30pm-9:30pm 8/1-8/22 [4 wks]

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 the simple addition of wax to your painting media to hot-wax painting and the heating of wax-painted surfaces. Group and individual instruction includes techniques for heating, mixing and application as well as layering and transferring methods. $25 partial materials fee payable to instructor.P1177 all levels $165

expreSSive woodBloCk priNtmakiNgAngielena ChamberlainMonday 6:30pm-9:30pm 8/1-8/29

Explore different techniques for creating original woodblock prints. This ancient form of graphic art stems back to eighth century Buddhist monks in China and Japan and proceeds forward into our modern era with the Brücke (the bridge) German expres-sionist movement. You experiment with varied approaches from these periods, and discover different styles and approaches to woodblock in order to create bold prints that engage viewers. P1178 all levels $205

eSSeNtialS oF pleiN air paiNtiNg iN SeattleMitchell AlbalaTuesday 3:30pm-6:30pm 8/9-9/6

Painting on location at several Seattle parks, you focus on foundation skills for working en plein air. Through weekly demonstrations, exercises, and personalized instruction, you learn key principles of simplifi cation and massing, site selection, composition, value, color strategies and how to work effectively outdoors. This class is geared for those with previous painting experience who now want to break into outdoor painting, and is also an ideal follow-up to Albala’s spring class Studio Landscape Painting.P1179 inTeRmediaTe $205

iNtro to FigUre paiNtiNgMichael LaneTuesday 6:30pm-9:30pm 8/2-8/30

Anne PettyWednesday 9:30am-12:30pm 8/3-8/31

Learn to create accurate, dynamic fi gure paintings in oil. You paint from the model, and work from short to long poses as you study color-mixing strategies and application techniques. With each fi gure painting you develop your understanding of oil painting and how to treat the fi gure as a pictorial subject.P1180 all levels $225 (lane)P1181 all levels $225 (Petty)

iNtro to aBStraCt paiNtiNgJulia RickettsWednesday 1:30pm-4:30pm 8/3-8/31

How do abstract painters create their compositions? Investigate the language of abstraction through strategies and methods used by 20th- and 21st-century artists to create nonrepresentational art. Working in drawing materials as well as oil or acrylic paint, you complete a series of exercises addressing the creation and defi nition of new forms and structures of creative visual expression.P1182 all levels $205


Hamid Zavareei, detail Mitchell Albala Anne Petty


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aBStraCt CompoSitioN: Color StUdieSJulia RickettsWednesday 6:30pm-9:30pm 8/3-8/31

Explore how color choices can dramatically affect a given composition. You begin by developing a vocabulary of original shapes and placing them in collages to solve compo-sitional challenges. Then use these collage studies created with color drawing materi-als and mixed media as references for color interpretations in chalk pastel. P1183 all levels $205

maSter palette ii: goya to degaSMichael LaneThursday 1:30pm-4:30pm 8/4-9/1

In this second Master Palette class, you continue to explore the rich and varied ad-vantages of working on toned grounds with historically based premixed palette settings. Explore the Chamois colored ground of Goya and the set palettes of the proto-Romantic era as well as the techniques of Degas and the French Realists. New students welcome.P1184 all levels $225

iNtro to pleiN-air paiNtiNgLarine ChungThursday 1:30pm-4:30pm 8/4-9/1

Get the most from painting outdoors this summer with this practical guide to creating oil paintings in nature. Begin with discus-sion on how to choose and prepare your materials, including palette choices and color mixing strategies for plein air paint-ing. Through a series of paintings, you learn how to compose using simplified block-in to direct painting techniques.P1185 all levels $205

proCeSS aNd materialS: proCeSS iN paiNtOlivia BrittFriday 9:30am-12:30pm 8/5-9/2

Delve deeper into your understanding of individual process and material use by expanding your production of abstract draw-ing constructions. Source your own work by translating these drawing constructions in oil paint. Learn how to work back and forth between source production and painting as you develop your artistic practice. No painting experience necessary. P1187 all levels $205

BaSiCS oF BotaNiCal waterColorKathleen McKeehenFriday 1:30pm-4:30pm 8/5-9/2

Study the important basics of classical botanical watercolor painting, which include measurement, drawing, preparing the paint-ing surface and understanding how lighting reveals form. Learn flat and graduated wash techniques, followed by instruction in the dry-brush method, which allows for a very detailed, tight and realistic portrayal of your plant specimens. P1188 all levels $205

portrait SCUlptiNg Michael MagrathTuesday 1:30pm-4:30pm 6/28-7/26

Working from a model, explore methods for creating form, texture and capturing a like-ness as you create a portrait sculpture. Study proportion, anatomy, measuring methods and techniques for building templates and armatures. s1112 all levels $250 (price includes clay)

the geStUral FigUreMichael MagrathTuesday 6:30pm-9:30pm 6/28-7/26

Explore the expressive possibilities of clay, wire and other media. You start with short poses and work up to longer poses in order to increase your speed, fluidity and depth of observation. This class is a must for serious students and a great overview for beginners.s1113 all levels $250 (price includes clay)

iNtro to FigUre SCUlptUreMichael MagrathSaturday 10:00am-1:00pm 7/2-7/30

Learn to accurately represent human ges-ture, proportion, mass, structure and surface form in three dimensions. Through this com-prehensive introduction to figure sculpture, you improve your dimensional depiction of the human form in space. s1114 BeGinninG $250 (price includes clay)


Julia Ricketts Kathleen McKeehen Michael Magrath

Drawing, painting and sculpting from observation form the cornerstones of Gage classes, which are open to artists of all ages and skill levels. Summer is the perfect time to try out new techniques or mediums in our shorter fi ve-week sessions. With two sessions to choose from, you have many options to explore art making.

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

key to Skill levelSBeneath each class listing is a skill level. Use the below guide to determine your current level.

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

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

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

gage FoUNdatioN programSAll of the classes and workshops at Gage are open enrollment, meaning you can choose for yourself what to take based on your own interests and considerations. By the end of summer, you may fi nd yourself asking, “what class should I take next?” The Foundation Drawing and Painting programs were devel-oped to answer this quandary.

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

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

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

FoUNdatioN drawiNg program

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

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

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

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

gage Curriculum & Foundation programs

waNt to learN more aBoUt StUdyiNg at gage?

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

If you have artwork to show, please bring it!

Students work in oil from the portrait model.

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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 2011-2012 school year, the ateliers run September 12, 2011 through June 22, 2012. Aristides’ and Kang-O’Higgins’ students make a 30-hour-per-week studio commitment, including working half of every day from the fi gure model. Students of Faigin work independently for a minimum of 15 hours in the studio each week, in addition to attending two weekly teaching sessions.

Atelier students receive 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.

2011-2012 Gage atelier applications are due on Tuesday, may 31, 2011.atelier scholarship applications are due friday, July 15, 2011.

gage ateliers

ClaSSiCal atelierJuliette Aristides

Based on the 19th-century model for training painters, this four-year diploma program provides time-tested methods for solving pictorial problems. Aristides teaches in stages; serious beginning students focus on drawing; more advanced students move into mono-chromatic and then fully chromatic painting. Fourth-year students work on individual projects with guest mentors. You work from casts, the model and master copies in a series of progressively complex projects. Intended for long-term students, the Classical Atelier offers you the necessary vocabulary to create well-designed and well-executed drawings and paintings.all levelsaT1107 11-12 annUal TUiTion: $7,230

drawiNg aNd paiNtiNg atelierMark Kang-O’Higgins

Intended for long-term students, the Draw-ing & Painting Atelier offers the opportunity to work on increasingly complex indepen-dent projects under the close guidance of your instructor. You work with line and tone, light and shadow, color theory and mixing, proportion and anatomy, as well as differ-ent approaches to life drawing and paint-ing. Learn to convey the essential nature of your subjects through fi nding the balance between technical accuracy and expressive gesture. Short slide and technical demon-stration lectures help you add to your skills and place your work into a wider historical and contemporary dialogue.all levelsaT1108 11-12 annUal TUiTion: $7,230

Still liFe paiNtiNg atelierGary Faigin

The Still-Life Painting Atelier offers painting students interested in focusing their studio practice on the study of still-life arrange-ments over the course of a year. The intimate studio setting enables you to devote as much time as you wish to creating paintings, with-out the limitations of model time or weather conditions. Because everyone shares the same focus, optimal conditions for creative interchange and dialogue develop. You work toward success using the still life as a tool for the development of your own artistic voice, creating original, lively pictures that express your ideas and feelings, and focus on tech-nique, rendering and composition.all levelsaT1109 11-12 annUal TUiTion: $3,975

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

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Bobby DiTrani at his easel in the Classical Atelier.

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Weekend WorkshopsWW1114 Casein Underpainting & Glazing All Brooker Sat-Sun 5/21-5/22 9:30am-4:30pm p. 6WW1115 Sculpting Features of the Face All Brooker Sat-Sun 6/4-6/5 9:30am-4:30pm p. 6WW1112 Introduction to Plein-Air Painting All Brooker Sat-Sun 6/11-6/12 9:30am-4:30pm p. 6WW1113 Mixed-Media Painting All Zavareei Sat-Sun 6/25-6/26 9:30am-4:30pm p. 6WW1116 Paperfest All Davidson Sat-Sun 6/25-6/26 9:30am-4:30pm p. 6WW1117 Portrait Ptg: Value into Temperature All Trowbridge Sat-Sun 7/9-7/10 9:30am-4:30pm p. 6WW1118 Drawing for Beginners Beg Furchgott Sat-Sun 7/16-7/17 9:30am-4:30pm p. 6WW1119 Drawing Drapery All Davidson Sat-Sun 7/23-7/24 9:30am-4:30pm p. 6WW1120 Figure Drawing on Toned Paper All Aristides Sat-Sun 7/30-7/31 9:30am-4:30pm p. 6WW1121 Intro to Fayum Portraits Int Zavareei Sat-Sun 8/6-8/7 9:30am-4:30pm p. 6WW1122 Drawing Flowers, Glass & Metal All Furchgott Sat-Sun 8/6-8/7 9:30am-4:30pm p. 7WW1123 Landscape Dwg at the Kabota Gardens All Brooker Fri-Sun 8/12-8/14 9:30am-4:30pm p. 7WW1124 Animal Construction All Evans Sat-Sun 8/13-8/14 9:30am-4:30pm p. 7WW1125 Figure Collage: Value into Color All Trowbridge Sat-Sun 8/13-8/14 9:30am-4:30pm p. 7WW1126 Plein-Air Basics at the Arboretum Beg Brooker Fri-Sun 8/19-8/21 9:30am-4:30pm p. 7WW1127 Pastel Over Watercolor Technique All Furchgott Sat-Mon 8/27-8/29 9:30am-4:30pm p. 7WW1128 Essential Brush Techniques Beg Brooker Fri-Sun 9/9-9/11 9:30am-4:30pm p. 7

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

fall Weeklong WorkshopsWA1119 Figure Composition for Painters Int/Adv Laurence Mon-Fri 11/28-12/2 9:30am-4:30pm p. 10WA1120 Group Figure Composition in Oil Int/Adv Mahler Mon-Fri 12/5-12-9 9:30am-4:30pm p. 10WA1122 Portrait Ptg/Renaissance Tradition Int/Adv Laurence Mon-Sat 12/5-12/10 9:30am-4:30pm p. 10

open studiossession a: June 27 – July 31ST1111 Drop-In Figure Studios All none varies 6/27-7/31 see p. 12 for times p. 12ST1112 Reserved Studio / Dwg & Ptg All none Monday 6/27-7/25 9:30am-12:30pm p. 12ST1113 Reserved Studio / Dwg & Ptg All none Friday 7/1-7/29 6:30pm-9:30pm p. 12session B: august 1 – september 2ST1111 Drop-In Figure Studios All none varies 8/1-9/2 see p. 12 for times p. 12

drawing Classessession a: June 27 – July 31D1145 Drawing for Beginners Beg Chung Tuesday 6/28-7/26 1:30pm-4:30pm p. 13D1146 Drawing Portraits of Trees All Brooker Wednesday 6/29-7/27 1:30pm-4:30pm p. 13D1147 Portrait Drawing Basics All Flack Wednesday 6/29-7/27 6:30pm-9:30pm p. 13D1148 Portrait Drawing Basics All Brooker Thursday 6/30-7/28 1:30pm-4:30pm p. 13D1149 Computer Tablet Drawing Int Juan Thursday 6/30-7/28 6:30pm-9:30pm p. 13D1150 Drawing in Ink All Elliott Friday 7/1-7/29 9:30am-12:30pm p. 13D1151 Intro to Figure Drawing Beg Elliott Friday 7/1-7/29 1:30pm-4:30pm p. 13D1152 Basics of Botanical Drawing All McKeehen Friday 7/1-7/29 1:30pm-4:30pm p. 13D1153 Drawing for Beginners Beg Lane Saturday 7/2-7/30 10:00am-1:00pm p. 13D1154 Intro to Figure Drawing Beg Magrath Saturday 7/2-7/30 2:00pm-5:00pm p. 13

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drawing Classes, cont.session B: august 1 – september 2D1155 Intro to Portrait Drawing All Lane Monday 8/1-8/29 6:30pm-9:30pm p. 14D1156 Intro to Figure Drawing Beg Elliott Tuesday 8/2-8/30 9:30am-12:30pm p. 14D1157 Drawing in Ink All Elliott Tuesday 8/2-8/30 1:30pm-4:30pm p. 14D1158 Expressive Figure Drawing Int Fugate Tuesday 8/2-8/30 6:30pm-9:30pm p. 14D1159 Sketchbook in the City All Fugate Wednesday 8/3-8/31 1:30pm-4:30pm p. 14D1160 Intro to Figure Drawing Beg Flack Wednesday 8/3-8/31 6:30pm-9:30pm p. 14D1161 Drawing for Beginners Beg Lane Thursday 8/4-9/1 9:30am-12:30pm p. 14

Painting Classessession a: June 27 – July 31P1156 Roses and Glass in Pastel All Furchgott Tuesday 6/28-7/26 9:30am-12:30pm p. 15P1157 Painting Sky and Water All Brooker Tuesday 6/28-7/26 1:30pm-4:30pm p. 15P1158 Figures in Pastel All Furchgott Tuesday 6/28-7/26 6:30pm-9:30pm p. 15P1159 Still-Life Painting in Oil All Chung Tuesday 6/28-7/26 6:30pm-9:30pm p. 15P1160 The Half Figure . . . All Brooker Tuesday 6/28-7/26 6:30pm-9:30pm p. 15P1161 Still-Life Painting with Acrylics All Furchgott Wednesday 6/29-7/27 9:30am-12:30pm p. 15P1162 Still-Life Painting in Oil All Zavareei Wednesday 6/29-7/27 1:30pm-4:30pm p. 15P1163 Portrait Ptg in Acrylic: Fauvist Palette Int Furchgott Wednesday 6/29-7/27 6:30pm-9:30pm p. 16P1164 Portraits in Watercolor All Zavareei Wednesday 6/29-7/27 6:30pm-9:30pm p. 16P1165 Abstract Composition: Value Studies All Ricketts Wednesday 6/29-7/27 6:30pm-9:30pm p. 16P1166 Intro to Figure Painting All Petty Thursday 6/30-7/28 9:30am-12:30pm p. 16P1167 Expressive Woodblock Printmaking All Chamberlain Thursday 6/30-7/28 1:30pm-4:30pm p. 16P1168 Master Palette I: Baroque to Rococo All Lane Thursday 6/30-7/28 1:30pm-4:30pm p. 16P1169 Components of the Landscape All Brooker Thursday 6/30-7/28 6:30pm-9:30pm p. 17P1170 Portrait Painting in Oil All Lane Thursday 6/30-7/28 6:30pm-9:30pm p. 17P1171 Process and Materials: . . . All Britt Friday 7/1-7/29 9:30am-12:30pm p. 17P1172 Intro to Oil Painting Beg Lane Saturday 7/2-7/30 2:00pm-5:00pm p. 17P1173 Modern Painting Critique Group Adv Ricketts Sunday 7/10-8/21 10:00am-1:00pm p. 17P1174 Encaustic Techniques All Zavareei Sunday 7/10-7/31 2:00pm-5:00pm p. 17P1175 Intro to Abstract Painting All Ricketts Sunday 7/10-7/31 2:00pm-5:00pm p. 17session B: august 1 – september 2P1176 Still-Life Painting in Oil All Zavareei Monday 8/1-8/29 1:30pm-4:30pm p. 18P1177 Encaustic Techniques All Zavareei Monday 8/1-8/22 6:30pm-9:30pm p. 18P1178 Expressive Woodblock Printmaking All Chamberlain Monday 8/1-8/29 6:30pm-9:30pm p. 18P1179 Essentials of Plein Air Ptg in Seattle Int Albala Tuesday 8/9-9/6 3:30pm-6:30pm p. 18P1180 Intro to Figure Painting All Lane Tuesday 8/2-8/30 6:30pm-9:30pm p. 18P1181 Intro to Figure Painting All Petty Wednesday 8/3-8/31 9:30am-12:30pm p. 18P1182 Intro to Abstract Painting All Ricketts Wednesday 8/3-8/31 1:30pm-4:30pm p. 18P1183 Abstract Composition: Color Studies All Ricketts Wednesday 8/3-8/31 6:30pm-9:30pm p. 19P1184 Master Palette II: Goya to Degas All Lane Thursday 8/4-9/1 1:30pm-4:30pm p. 19P1185 Intro to Plein-Air Painting All Chung Thursday 8/4-9/1 1:30pm-4:30pm p. 19P1186 Still-Life Painting in Oil All Chung Thursday 8/4-9/1 6:30pm-9:30pm p. 18P1187 Process and Materials: Process in Paint All Britt Friday 8/5-9/2 9:30am-12:30pm p. 19P1188 Basics of Botanical Watercolor All McKeehen Friday 8/5-9/2 1:30pm-4:30pm p. 19

sculpting Classessession a only: June 27 – July 31S1112 Portrait Sculpting All Magrath Tuesday 6/28-7/26 1:30pm-4:30pm p. 19S1113 The Gestural Figure All Magrath Tuesday 6/28-7/26 6:30pm-9:30pm p. 19S1114 Intro to Figure Sculpture Beg Magrath Saturday 7/2-7/30 10:00am-1:00pm p. 19

ateliersAT1107 Classical Atelier All Aristides Mon-Fri 9/12-12/9 9:30am-4:30pm p. 21AT1108 Drawing & Painting Atelier All Kang-O’Higgins Mon-Fri 9/12-12/9 9:30am-4:30pm p. 21AT1109 Still-Life Painting Atelier All Faigin varies 9/12-12/9 varies p. 21

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registration begins on may 16 — 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. Representation: Lisa Harris Gallery, WA. Author: Landscape Painting, Essential Concepts and Techniques for Plein Air and Studio Practice.

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

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

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

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

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

lariNe ChUNgBFA-Chinese University of Hong Kong. Training: Gage Classical Atelier, WA. Taught: Whidbey Island Fine Art Studio, WA. Exhibi-tions: 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-University of Michigan, MI. Taught: Pratt Fine Arts Center, WA; Cornish College of the Arts, WA; Indiana State University, IN; University of Washington, WA. Representation: SAM Gallery, WA; Edison Eye Gallery, WA. Author: Contempo-rary Drawing, Key Concepts and Techniques.

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

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

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

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.

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

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

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

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

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

JaSoN wei-Che JUaNTraining: Art Institute of Seattle, WA. Exhibi-tions: Waterhouse Gallery, CA; Howard/Mandville Gallery, WA; Whistlepik Galleries, TX. Awards: Best of Portfolio in Animation & Design, Art Institute of Seattle, WA; South-west Magazine’s “21 under 30.”

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

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

geoFFrey laUreNCe, Guest Teaching ArtistMFA-New York Academy of Art, NY. Training: Byam Shaw School of Art, England; London College of Printing, UK. Taught: Los Angeles Academy of Figurative Art, CA; Andreeva Portrait Academy, NM. Exhibitions: Skotia Gallery, NM; LewAllen Contemporary, NM; Forbes Galleries, NY. Representation: 101/Exhibit, FL; John Pence Gallery, CA.

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.

periN mahler, Guest Teaching ArtistMFA-Painting, Queens College, NY. Teaches: Laguna College of Art and Design, CA; Taught: Grand Valley State University, MI; Kendall College of Art and Design, MI; Art Academy of Cincinnati, OH. Collections: San Francisco Art Institute, CA; Trinity College, CT; Cincinnati Art Museum, OH. Exhibitions: Aquinas Gallery, MI; The Carnegie, OH; Elon University, NC; Devos Art Museum, MI; Mus-kegon Museum of Art, MI.

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

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

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

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

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

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

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

Gage staff*

Pamela Belyea x13Executive Director

Gary Faigin x13 Artistic Director

Sharon Arnold x17Youth Programs Manager

Shane Foreman x20Facility Assistant

Sam Hamrick x20Facility Manager

Carol Hendricks x15School Manager

Lee Humason x19Financial Director

206.323.GaGe

Susan Jones x11Web Editor

Lauren Klenow x18Curator/Public Events

Margaretta Lantz x10Registrar

Kathleen Moore x16Development Associate

Ani Rucki x14Graphic Designer

Erin M. Schadt x11Communications Director

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

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tip tolaNdMFA & BFA Ceramics-Montana State Uni-versity, MT. Taught: Seward Park Art Studio, WA; Pottery Northwest, WA; University of Washington, WA. Exhibitions: Bellevue Art Mu-seum, WA; Pacini Lubel Gallery, WA; Tacoma Art Museum, WA; Nancy Margolis Gallery, NY. Awards: First Place, Virginia A. Groot Founda-tion, 2004; Artist Trust Award, 2007; Jean Griffi th Fellowship Artist Award, 2009.

kimBerly trowBridgeMFA-Painting, University of Washington, WA; BFA-Painting/BA English Literature, Indiana University, 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.

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

Jason Wei-Che Juan, detail (created on a WACOM tablet)


Student information

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

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

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

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

tUitioN 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 scholarships.

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

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

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

Free gage wiFiFree wireless internet is available on all three fl oors of the school.

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

Seattle Office of

Boeing Matching Gift Foundation • Lucky Seven Foundation

Microsoft Matching Gift Foundation • Puget Sound Group

of Northwest Painters • 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.

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

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Register online atwww.Gageacademy.org

Phone 206.323.GaGe(4243) x10or 800.880.3898

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FAx completed form to 206.526.5153

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

summer 2011 registration begins monday, may 16, 2011. 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 days before workshop start date: Tuition credittt

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

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

paymeNt plaNAdditionally, a payment plan is available for any Gage classes or workshops with tuition fees of $500 or more. All payment plan registrations include an additional $25 bookkeeping fee per program. All pay-ment plan payments must be made on your credit card and begin with an initial $250 payment followed by payments of $200 per month until paid in full. Your 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 irregular-ity which may occur during the course of any program. Gage assumes no responsibility for losses or additional expenses due to influences beyond its control. Personal effects, artwork and art supplies are students’ sole responsibility at all times. Gage reserves the right to cancel any program in which case it is liable only for any fees paid to Gage Academy of Art. Gage reserves the right to reschedule any program or replace any instructor without refund. Gage reserves the unconditional right to terminate enrollment in the event of unreasonable or disruptive conduct or failing to follow Gage’s student policies and rules; and Gage may do so without any refund. No refund will be made for early departure or deviation from the Gage schedule and program registration shall be nontransferable. Publicity waiver: Unless informed otherwise, Gage considers photographs taken of students and their artwork to be permissible for publication in Gage informational materials, including the web.

Download a registration form at www.GageAcademy.org/adult and mail to: Gage academy of art 1501 Tenth avenue eastseattle, Wa 98102

BELLEVUE STORE 15112 NE 24th St.

(425) 643-1781

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

800-426-6740 • danielsmith.com

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

Artists’ Materials

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e: student Registration

SEATTLE1600 BROADWAY(CORNER OF PINE & BROADWAY)206-324-0750

Blick Art Materials, Retail Inc., coupon must be surrendered at time of purchase; no copies will be honored. Limit one coupon per visit. Valid only on non-sale, in-stock items. Not valid with any other discounts or promotion, phone/mail/internet orders, Custom Framing/Printing orders, and purchases of gift cards. *ao04828*

20% off your entire purchase of non-sale, in-stock items!

Bring in this coupon and get

5/10/11 - 5/29/11


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gage youth programs receive generous Support from:Seattle Office of

youth Update

youth summer Workshops are nearly sold out!JUly 5 – aUGUsT 26 Time is running out and space is very limited for the Gage Youth Summer Workshops, which begin July 5. There are a mere handful of spaces avail-able in the Kids Workshops for ages 6 through 11, Teen Workshops for ages 12 through 17, and in both the two-week Teen Drawing Intensive and the Summer Teen Intensive.

Take a look at up-to-the-minute availability and register online at www.GageAcademy.org/youth.

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

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

Ages 13-18

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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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Gage thanks Utrecht Art Supply Store on Capitol Hill for a $500 art supply scholarship, which will be awarded to a deserving student in the 2011 Summer Teen Intensive.

Thank you Utrecht!

Emily

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Artwork and artists from the 2010 Summer Youth Programs at Gage.

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ams: Teen art studios

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

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

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

JUly CardBoard CitieSLauren HollowayLet’s build a futuristic city! It’s the year 2031: what do you want your city to look like and how do you want it to function? You design and construct a sustainable utopian city made out of 99% recycled materials. After the buildings and infrastructure are constructed and painted, you work with your classmates to build a fi nal collaborative installation.

aUgUStthe aNatomiCal FigUreKyle AbernethyLearn the basics of anatomy as you develop your skills in drawing and observation! You get in-depth instruction on basic forms, the relationships between muscle and bone, and how the underlying structure develops a fi nished drawing of the human fi gure. Over four weeks, you draw from both life and your imagination to develop a working under-standing of the human body.

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

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

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

JUlypaper drawiNgS & Collage Emily PothastDiscover new relationships and connec-tions between your experiences and visual art! Explore how to use collage and drawing techniques to generate a series of works on paper. You combine hand-drawn elements with found images and textures to create interesting and unexpected self-portraits and other compositions.

aUgUStFigUreS paiNtiNg the FigUreDoug ParryDiscover the fun of not only being the painter, but also being the subject and stars of the work. You learn to see, interpret and paint the human form while exploring the skills used to pose as costumed models and to develop unique stories in paintings. While incorporat-ing costumes, props and a dynamic stage, you also collaborate with each other on a mural-sized painting on paper.

Ages 13-18

Visit www.GageAcademy.org/tas Like Gage Teen Artists

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St. Nicholas Building

1501 Tenth Avenue East

Seattle WA 98102

206.323.GAGE (4243)

www.GageAcademy.org

Classical Training for Contemporary Artists

NONPROFIT ORGU.S. POSTAGE

PAIDSEATTLE, WA

PERMIT NO. 711

Emma Nestvold, 16, drew this self-portrait in

charcoal during the 2010 teen summer workshop

Black & White Portrait Drawing taught by Terry

Furchgott. This summer, teens can look forward

to engaging workshops on observational drawing,

fi gurative clay sculpture, painting and assemblage,

and abstract drawing. Visit www.GageAcademy.

org/youth for more details.

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summer 2011 catalog

Documents