Linoleum and Monotype: Merging Process and Imagery

Screen printing, also known as silkscreen or serigraphy, is one of the most adaptable print processes and the results are dynamic and multi-layered. This exploratory workshop delves into the medium of screen printing and encourages students to experiment by printing on a wide variety of materials, creating unexpected and tactile results. Paper, canvas, wood, metal, glass and most plastics can be printed utilizing screen printing. Students learn various methods to expedite their concepts to finished products. Special attention is placed on individual needs, whether a beginner or experienced printer.

This unique opportunity for advanced printmakers creates a forum for dialog about how to curate your practice to push your work into a strong direction. 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; Elliott Hundley will join daily from 1-5PM. To attend a Master Class workshop, a portfolio review is due by Friday, February 11th, 2022. 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 the Artistic Director of Painting, Drawing and Printmaking, Liz Ferrill at lferrill@andersonranch.org The single PDF must be less than 10 MB to be considered. Include 10 images of 10 works 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. To be considered, we must receive portfolios by 5 PM MST Friday, Feb. 11th, 2022. If we receive your materials after Feb. 11th, you will be considered on a space-available basis. We will email you regarding your status on or before Friday, Feb. 25, 2022. If you are accepted, a deposit of $500 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.

CLICK HERE TO REGISTER Photorealism involves painstaking emulation, by hand and primarily in paint, of the surface qualities of photographic images. When Photorealism emerged in the late 1960s in Europe and the United States, it was an heir to Pop, owing to its typically banal subjects and snapshot aesthetics, and a cousin of Minimalism, sharing a cool affectlessless and machinic finish. Its anomaly was its commitment to the medium of painting, at the moment of conceptual art’s rise, and further to the realist tradition, in the ceaseless wake of abstraction in the 20thcentury. More recently, artists working in a photorealist idiom have provoked the question of the status of the photograph in contemporary art and in broader cultural understandings of truth and fact. This Critical Dialog program seeks to reexamine Photorealism and to trace its lineages in art of the present day—lineages that have zigged and zagged as the status of the photograph has undergone radical shifts and re-imaginings in the realms of fine art, technology, and everyday life. Topics include trompe l'oeil; the pose; representation of people of historically marginalized identities; visual codes of taste and class; and the permeation of personal cameras in everyday life.