Overturning Abstraction, with Jodi Hays
Join the waitlist! Email us at studio.lineofsight@gmail.com
OCT 23 — NOV 16 2023
Asynchronous Workshop: Live Sessions + Recorded Content
Live sessions on Zoom: Thursdays, Oct 26, Nov 2, 9, 16, 9 - 11 am (EST) All live sessions will be recorded.
Recorded Material by EMAIL, Oct 23, 30, Nov 6 and 13
Working across mediums and adopting a wide scope, this course will help you develop a deeper understanding of and appreciation for abstraction and the elements of archive in your studio. A “living” archive in your studio can be a sustaining input and material in your practice. Drawing on what is readily available in your studio, or in the home and around you, we will look into modes of abstraction with a material underpinning. The course material will include reading and project-based assignments. You will get a final bibliography, meeting will be hybrid.
DIGITAL TOOLS
Digital camera or device (to record and post work), access to internet (wifi)
MATERIALS
Each person’s archive is different, but you can expect to use materials you might have at home, pens, pencils, paper, cardboard, old drawings, news print. you may choose to also add drawing elements for your sketchbook. consider having some tools at the ready should they be needed: Sharpies, pens, pencils, markers, pastels, oil sticks, paint, etc. etc. etc. Feel free to reach out (to me, to other artists) and stretch out (what is around you that you have never noticed, never considered “art” or influence). You will guide most of this, and I will be your dutiful and enthusiastic side-kick.
About Jodi Hays
Jodi Hays is a painter whose most recent solo show was at Night Gallery (Los Angeles) and recent two-person shows at Susan Inglett Gallery (New York City) and Devening Projects (Chicago). She is a 2019 Finalist for the Hopper Prize and the recipient of grants from the Rauschenberg Foundation, Foundation for Contemporary Art, Sustainable Arts Foundation, Tennessee Arts Commision, and the Elizabeth Firestone Graham Foundation. Residencies include Oxbow School of Art, Stoveworks, The Cooper Union School of Art and Vermont Studio Center. Her work has been published in Art Forum, New American Painting, Hyperallergic, New Art Examiner and Two Coats of Paint. Her paintings can be found in many public and corporate collections including the J Crew Group, Morgan Stanley, Fidelity, and the Birmingham Museum of Art. She has extensive teaching experience and considers it an exchange.
