Master Classes

Take Your Practice Further

Master Classes at Anderson Ranch Arts Center are highly selective, limited-enrollment workshops which provide advanced students with even greater access to world-renowned artists and educators. These rigorous classes are geared toward professional and committed artists who want to take their work to the next level with mentoring from master teachers, but who may not have the time for a years-long committed mentorship or residency. In the interest of continuity, some Master Classes also offer additional virtual sessions following the in-person summer workshop. Master classes require a portfolio review for admission.

Concentrating on aesthetic, technical and conceptual development, classes specifically address how to improve one’s work through group discussions, individual sessions with the instructor and studio time. Students dive deeply into the dynamics of their art-making and medium. The goal is to unleash a student’s potential with rigor and exploration, direction and critique. Our Master Classes are a dynamic new offering as well as an essential addition to our artistic programs.

2024 Master Class Workshops

  • IV

    Level IV

    Students have advanced skill and knowledge of painting and drawing. Students are highly motivated and self­-directed, have a minimum of five years experience in their field and have multiple portfolios of their artwork. Portfolio review is required for admittance to some Level IV classes.

Jun 17 - 21, 2024
9AM - 5PM

Master Class: Talking it Out: Critique and Discussion

Roy Dowell

Tuition $1,300
Code D0306-24

Engage in critical group dialogues and individual critiques to hone the fundamental aspects of your work and deepen your understanding of contemporary art practice. In this workshop for advanced painters, students produce work at their own pace, pausing for daily discussion with the instructor and peers. Topics are in-depth and cover a wide-ranging scope, including technique, concept, and approach. Students are expected to work independently and to set their own studio goals for the week. We strongly encourage a broad interpretation of painting for this workshop, and welcome artists working in installation and incorporating 3D elements into their paintings. Portfolios will be accepted on a rolling basis. Instructions on how to submit your portfolio are as follows: Submit digital images of your work in one single PDF (as opposed to individual JPG attachments) via email directly to Lindsey Yeager, Studio Coordinator of Painting, Drawing & Printmaking, at lyeager@andersonranch.org The single PDF must be less than 10 MB to be considered. Include 5-10 images of your work with image identification that lists the title, media, dimensions and year of each image. While not required, it is helpful to see an artist statement addressing the images you send. Include “Advanced Portfolio Review” in the subject line of your email, as well as the title of the workshop for which you are applying. Please provide a phone number where you can be reached and a link to your website. Submissions that do not follow the requested directions will not be reviewed. If you are accepted, a deposit of $650 will be required within one week of notification of acceptance to hold your place. Housing will be assigned on a space-available basis upon enrollment.

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  • IV

    Level IV

    Students have advanced skill and knowledge of the printmaking fields. Students are highly motivated and self­-directed, have a minimum of five years experience in their field, and have multiple portfolios of their artwork. Portfolio review is required for admittance to some Level IV classes.

Jun 17 - 21, 2024
9AM - 5PM

Master Class: Advanced Printmaking: Topics and Techniques

Meleko Mokgosi, Brian Shure

Tuition $1,300
Code R0303-24

This unique opportunity for advanced printmakers creates a forum for dialog on curating practice to give strong direction to artistic work. Artists are invited to work on self-directed projects in the printmaking area of their choosing while receiving technical support in tandem with critical feedback. Opportunities for technical demonstrations, group critique, and one-on-one mentorship make up the structure of this master class. *Brian Shure will be present for the entire duration of the workshop; Meleko Mokgosi will join daily from 9am - 3pm.   Portfolios will be accepted on a rolling basis. Instructions on how to submit your portfolio are as follows: Submit digital images of your work in one single PDF (as opposed to individual JPG attachments) via email directly to Lindsey Yeager, Studio Coordinator of Painting, Drawing & Printmaking, at lyeager@andersonranch.org The single PDF must be less than 10 MB to be considered. Include 5-10 images of your work with image identification that lists the title, media, dimensions and year of each image. While not required, it is helpful to see an artist statement addressing the images you send. Include “Advanced Portfolio Review” in the subject line of your email, as well as the title of the workshop for which you are applying. Please provide a phone number where you can be reached and a link to your website. Submissions that do not follow the requested directions will not be reviewed. If you are accepted, a deposit of $650 will be required within one week of notification of acceptance to hold your place. Housing will be assigned on a space-available basis upon enrollment.

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  • IV

    Level IV

    Students have advanced skill and knowledge of painting and drawing. Students are highly motivated and self­-directed, have a minimum of five years experience in their field and have multiple portfolios of their artwork. Portfolio review is required for admittance to some Level IV classes.

Jun 24 - 28, 2024
9AM - 5PM

Master Class: The Business of Art Making

Mickalene Thomas, Jasmine Wahi

Tuition $1,500
Code D0408-24

Although many programs exist to refine the technical skills of emerging artists, few aim to enrich their practice with the professional guidance essential to the success of their careers. From navigating relationships with potential gallerists to fostering the acumen to dissect legal jargon, this workshop aims to provide a fundamental basis for an artist’s longevity. Although the course takes place in the painting building, artists of all disciplines are invited to apply. Portfolios will be accepted on a rolling basis. Instructions on how to submit your portfolio are as follows: Submit digital images of your work in one single PDF (as opposed to individual JPG attachments) via email directly to Lindsey Yeager, Studio Coordinator of Painting, Drawing & Printmaking, at lyeager@andersonranch.org The single PDF must be less than 10 MB to be considered. Include 5-10 images of your work with image identification that lists the title, media, dimensions and year of each image. While not required, it is helpful to see an artist statement addressing the images you send. Include “Advanced Portfolio Review” in the subject line of your email, as well as the title of the workshop for which you are applying. Please provide a phone number where you can be reached and a link to your website. Submissions that do not follow the requested directions will not be reviewed. If you are accepted, a deposit of $650 will be required within one week of notification of acceptance to hold your place. Housing will be assigned on a space-available basis upon enrollment.

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  • IV

    Level IV

    Photography students have advanced skills and knowledge of photography and digital image processing. New Media students have advanced skills and knowledge of video, multimedia, coding or animation. Students are self­-motivated and have multiple portfolios of their artwork.

Jul 15 - 19, 2024
9AM - 5PM

Master Class: Where are we going?: The Photograph in Contemporary Art

John Edmonds

Tuition $1,300
Code P0713-24

Through presentations, course readings and critiques, this studio workshop in photography will examine strategies photographers and artists working in photography use to accept, negate, refuse, reject, interrogate, subvert, rewrite and complicate the "documentary" nature of the medium and its role in contemporary art and society. Students are expected to work independently and to set their own studio goals for the week. Photography is an intersectional medium. The course strongly encourages a broad interpretation of photography and welcomes artists working with installation. This course will stress the importance of an open ended approach in working with the photographic medium across genres and styles. Portfolios will be accepted on a rolling basis. Instructions on how to submit your portfolio are as follows: Submit digital images of your work in one single PDF (as opposed to individual JPG attachments) via email directly to Anderson Ranch Workshop Manager, Esther Nooner at enooner@andersonranch.org The single PDF must be less than 10 MB to be considered. Include 5-10 images of your work with image identification that lists the title, media, dimensions and year of each image. While not required, it is helpful to see an artist statement addressing the images you send. Include “Advanced Portfolio Review” in the subject line of your email, as well as the title of the workshop for which you are applying. Please provide a phone number where you can be reached and a link to your website. Submissions that do not follow the requested directions will not be reviewed. If you are accepted, a deposit of $650 will be required within one week of notification of acceptance to hold your place. Housing will be assigned on a space-available basis upon enrollment.

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  • IV

    Level IV

    Students have advanced skill and knowledge of the printmaking fields. Students are highly motivated and self­-directed, have a minimum of five years experience in their field, and have multiple portfolios of their artwork. Portfolio review is required for admittance to some Level IV classes.

Jul 22 - 26, 2024
9AM - 5PM

Master Class: Creative Approaches to Printmaking

Nikolai Haas, Brian Shure

Tuition $1,300
Code R0807-24

This unique opportunity for advanced printmakers creates a forum for dialog on curating practice to give strong direction to artistic work. Artists are invited to work on self-directed projects in the printmaking area of their choosing while receiving technical support in tandem with critical feedback. Opportunities for technical demonstrations, group critique, and one-on-one mentorship make up the structure of this master class. *Brian Shure will be present for the entire duration of the workshop; Niki Haas will join daily from 9am – 3pm. Portfolios will be accepted on a rolling basis. Instructions on how to submit your portfolio are as follows: Submit digital images of your work in one single PDF (as opposed to individual JPG attachments) via email directly to Lindsey Yeager, Studio Coordinator of Painting, Drawing & Printmaking, at lyeager@andersonranch.org The single PDF must be less than 10 MB to be considered. Include 5-10 images of your work with image identification that lists the title, media, dimensions and year of each image. While not required, it is helpful to see an artist statement addressing the images you send. Include “Advanced Portfolio Review” in the subject line of your email, as well as the title of the workshop for which you are applying. Please provide a phone number where you can be reached and a link to your website. Submissions that do not follow the requested directions will not be reviewed. If you are accepted, a deposit of $650 will be required within one week of notification of acceptance to hold your place. Housing will be assigned on a space-available basis upon enrollment.  

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  • IV

    Level IV

    Students have advanced skills and knowledge of sculpture. Students are highly motivated, have a minimum of five years experience in the field and have multiple portfolios of their artwork. Typical students are academics and professional artists.

Jul 22 - 26, 2024
9AM - 5PM

Master Class: The Engineer and Madam Bricolage are Lovers

Sheila Pepe

Tuition $1,270
Code S0806-24

In the early 1990s "Bricolage" was heavily referenced as a method of discourse, based on ideas found in the works of French theorists Claude Levi-Straus and Jacque Derrida. Thirty years later the term has become ubiquitous, naming entrepreneurial theory, restaurants, and architecture firms. Lifting small quotes from original texts, Sheila leads a master class in her favorite studio methods of accumulation, construction, and "taking apart and putting- back together," all the while subjecting outcomes to tests of complexity, legibility, and aesthetic resolve. Open to all media from metal to found materials to fabric, this class encourages participants to come with their own set of studio practices and concerns, but to be looking for an opportunity to grow and expand their work.

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  • IV

    Level IV

    Photography students have advanced skills and knowledge of photography and digital image processing. New Media students have advanced skills and knowledge of video, multimedia, coding or animation. Students are self­-motivated and have multiple portfolios of their artwork.

Jul 29 - Aug 2, 2024
9AM - 5PM

Master Class: Portraiture and Figuration

Catherine Opie

Tuition $1,300
Code P0921-24

In this master workshop, artists engage in critical group dialogue and critiques to hone the fundamental aspects of their work and deepen their understanding of contemporary art practice. Advanced lens-based artists produce work at their own pace, pausing in the mornings for discussion with the instructors and peers. Topics are wide-ranging in both depth and breadth, including technique, concept, approach, and context. Students are expected to work independently and to set their own studio goals for the week. The course strongly encourages a broad interpretation of photography and welcomes artists working in installation as well. Instructor teaches mornings from 9am – noon, while afternoons are dedicated to independent studio time. Portfolios will be accepted on a rolling basis. Instructions on how to submit your portfolio are as follows: Submit digital images of your work in one single PDF (as opposed to individual JPG attachments) via email directly to Anderson Ranch Workshop Manager Esther Nooner at enooner@andersonranch.org. The single PDF must be less than 10 MB to be considered. Include 5-10 images of your work with image identification that lists the title, media, dimensions and year of each image. While not required, it is helpful to see an artist statement addressing the images you send. Include “Advanced Portfolio Review” in the subject line of your email, as well as the title of the workshop for which you are applying. Please provide a phone number where you can be reached and a link to your website. Submissions that do not follow the requested directions will not be reviewed. If you are accepted, a deposit of $650 will be required within one week of notification of acceptance to hold your place. Housing will be assigned on a space-available basis upon enrollment.

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  • IV

    Level IV

    Students have advanced skill and knowledge of painting and drawing. Students are highly motivated and self­-directed, have a minimum of five years experience in their field and have multiple portfolios of their artwork. Portfolio review is required for admittance to some Level IV classes.

Aug 5 - 9, 2024
9AM - 5PM

Master Class: Advanced Painting: Making and Dialogue

Linda Geary

Tuition $1,300
Code D1019-24

This advanced painting workshop is for students working in any medium and is designed to be a catalyst for making art within a broadly-defined painting language. Students work on individual projects while digging into experimental processes that boost the forward momentum of their work. Presentations, prompts, and critiques support purposeful discussions addressing how the work is communicating. Questions and topics covered include: How can time be captured through color? What is tactile knowledge? Who are your art ancestors and what is their role in the building of your visual language? What and how does your work communicate within the context of contemporary art? Students should bring a digital portfolio of current studio work. Portfolios will be accepted on a rolling basis. Instructions on how to submit your portfolio are as follows: Submit digital images of your work in one single PDF (as opposed to individual JPG attachments) via email directly to Lindsey Yeager, Studio Coordinator of Painting, Drawing & Printmaking, at lyeager@andersonranch.org The single PDF must be less than 10 MB to be considered. Include 5-10 images of your work with image identification that lists the title, media, dimensions and year of each image. While not required, it is helpful to see an artist statement addressing the images you send. Include “Advanced Portfolio Review” in the subject line of your email, as well as the title of the workshop for which you are applying. Please provide a phone number where you can be reached and a link to your website. Submissions that do not follow the requested directions will not be reviewed. If you are accepted, a deposit of $650 will be required within one week of notification of acceptance to hold your place. Housing will be assigned on a space-available basis upon enrollment.

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2024 Master Class Faculty

John Edmonds

John Edmonds is an American artist and photographer who lives and works in Brooklyn, NY. Edmonds earned his MFA from Yale University and a BFA from the Corcoran School of Arts. His work is in collections worldwide including the Guggenheim, MoMa, The Getty Museum and Yale University Art Gallery. Edmonds has taught at Yale University, Harvard University and School of Visual Arts. In 2019, he was included in the Whitney Biennial.

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Linda Geary

Linda Geary is professor/chair of painting at California College of the Arts in San Francisco. Her permanent mosaic, River, was installed at the San Francisco International Airport in 2021. Linda is a painter who lives and works in Oakland.

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Nikolai Haas

Niki Haas of the Haas Brothers explores aesthetic and formal themes related to nature, science fiction, sexuality, psychedelia, and color theory in prolific materials. Since its founding in 2010, the Haas Brothers have evolved from fabricators and collaborators to nimble cross-pollinators in creative disciplines including fashion, film, music, art, and design. They apply their unique approach to a multitude of materials, ranging from brass, bronze, beads, porcelain, and fur to highly technical resins and polyurethane. Often functional in form, their work continues to challenge the slippery divide between art and design.

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David MacDonald

In 1971, David MacDonald joined the faculty of the School of Art at Syracuse University; he retired in 2008 at the rank of professor emeritus. His creative work has been featured in several ceramic textbooks and magazines, and he has been featured in nationally televised programs. Since retiring, David has been actively lecturing and working in his studio.

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Meleko Mokgosi

Meleko Mokgosi—born in Francistown, Botswana and living and working in Wellesley, MA—is an artist, Associate Professor and director of graduate studies at the Yale School of Art, and director of the Interdisciplinary Art and Theory Program. He received his MFA from the Interdisciplinary Studio Program at the University of California Los Angeles in 2011. He participated in the Rauschenberg Residency at the Robert Rauschenberg Foundation, Captiva, FL in 2015, and the Artist in Residence Program at the Studio Museum in Harlem, New York, NY in 2012.

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Catherine Opie

Catherine Opie is an artist working with photography, film, collage, and ceramics. Her work has been exhibited extensively throughout the United States, Europe, and Japan, including a mid-career survey at the Solomon R. Guggenheim Museum in New York. Catherine was a recipient of the Guggenheim Fellowship in 2019, The Smithsonian’s Archives of American Art Medal in 2016, and a United States Artists Fellowship in 2006. She received a BFA from the San Francisco Art Institute and an MFA from the California Institute of the Arts, and was professor of photography at the University of California, Los Angeles.

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Sheila Pepe

As an artist and educator, Sheila Pepe likes to trespass disciplinary boundaries, and has been working in various sculptural media since 1995. Her work has been shown nationally and internationally, including venues such as the DeCordova Sculpture Park and Museum, Lincoln, MA; the Minnesota Museum of American Art, St. Paul, MN; The Bemis Center for the Arts in Omaha, NE; and Art International with PASAJ, Istanbul, Turkey. Her most recent installation, “My Neighbor’s Garden,” was on public view in New York’s Madison Square Park. She has taught at Bard, Columbia, Pratt, RISD, Stanford, VCU, Williams College, and Yale, and was resident faculty at Skowhegan School of Painting and Sculpture in 2013 and at Dartmouth University in 2024.

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Brian Shure

Master Printer and Director, Anderson Ranch Editions

Brian Shure is represented by Planthouse Gallery in New York, where he curated the 2018 show Bathing. He has taught at RISD, Brown and Cornell and conducted classes in China, Japan, Mexico & Germany. He is Master Printer, Director of Anderson Ranch Editions at Anderson Ranch.

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Mickalene Thomas

Mickalene Thomas was born and raised in New Jersey and lives and works in New York. One of the most influential artists today, her innovative practice has yielded instantly recognizable and widely celebrated aesthetic languages within contemporary visual culture. She is known for her elaborate paintings composed of rhinestones, acrylic, and enamel. Not only do her masterful mixed-media paintings, photographs, films and installations command space, they occupy eloquently while dissecting the intersecting complexities of black and female identity within the Western canon. Outside of her core practice, Thomas is a Tony Awards nominated co-producer, curator, educator and mentor to many emerging artists. While embarking on her own monumental solo shows, she simultaneously curates exhibitions at galleries and museums. Thomas’s work has become an undeniable force within the contemporary art world and an indispensable inspiration to younger generations of artists. She has been awarded multiple prizes and grants, including the Pratt Institute Legends Award (2022); Rema Hort Mann Foundation 25th Anniversary Honoree (2022); Artistic Impact Award, Newark Museum (2022); Glass House 15th Anniversary Artist of the Year (2022); Yale School of Art Presidential Visiting Fellow in Fine Arts (2020); Legend in Residence Award, Bronx Museum (2020); Pauli Murray College Associate Fellow at Yale University (2020); Meyerhoff-Becker Biennial Commission at Baltimore Museum of Art (2019); Visionary Award, Pioneer Works (2019); She is the cofounder of the Pratt>FORWARD ‘Artist in the Market’ incubator for post-graduate students, and serves on the Board of the Trustees for the Brooklyn Museum and MoMA PS1. Image: Mickalene Thomas Photographed by Malike Sidibe At Yale Gallery for The New York Times Magazine.

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Jasmine Wahi

Jasmine Wahi is the Founder and Co-Director of Project for Empty Space, a nonprofit organization in New York City and Newark, New Jersey. Her multi-faceted curatorial practice predominantly focuses on issues of femme empowerment, complicating binary structures within social discourses, and exploring multi-positional cultural identities through the lens of intersectional feminism. In 2023, Ms. Wahi was honored by The Metropolitan Museum of Art for exemplary social impact work. In 2020, PES, Ms. Wahi became the inaugural Holly Block Social Justice Curator at the Bronx Museum of the Arts, while simultaneously Co-Directing Project for Empty Space. While at the museum she curated several renowned exhibitions, including Born In Flames: Feminist Futures and Wardell Milan: AMERIKA. God Bless You If It’s Good To You, which was oriented around the thesis that visibility is the primary tenet of Social Justice. In 2019, Ms. Wahi gave her first TED Talk on intersectionality and visibility, entitled All The Women In Me Are Tired. A lover of learning and sharing, Ms. Wahi has taught at a number of art institutions, including Yale University, and the School of Visual Arts: MFA Fine Arts department. She is currently in the Faculty of Brooklyn College in New York City. Ms. Wahi received her own Art History education from New York University, where she has a BA in Art History from the College of Arts and Sciences, and an MA from the Institute of Fine Arts. Jasmine Wahi lives in Brooklyn, NY, with her chihuahua, Momo. You can follow her shenanigans and micro-essays on Instagram at @browngirlcurator. Photo by Dario Calmese

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