We have been asked for a long time now, when will we be holding art classes during the day?!
Well, we are excited to announce we will be running two new Drawing and Painting (Studio Art) classes during Tuesday and Friday mornings from 2017! Finally, we hear you say!
Artist Marco Corsini will be presenting these daytime art classes and they will run the same way as our popular evening Studio Art Class (don’t worry, he will still be taking our Tuesday night class)!
Marco’s Studio Art Classes are our longest-running and are the foundation of Melbourne Art Class. We welcome people from all creative backgrounds, skill levels – anyone who needs a space to be creative, become inspired, acquire specific skills, continue an artistic project – the list goes on. The unique element about this class is that we limit enrolments to only ten students, so Marco is able to provide critical feedback, drawing and painting tuition or just help you get your idea out of your head and onto the canvas.
To get to know Marco’s classes a little better, you can read about his Tuesday evening class here.
Our classes are held at Enderby Studio, 314 Church Street, Richmond.
Daytime Art Course Dates
Term 1 Tuesday mornings: Feb 7th, 14th, 21st, 28th, Mar 7th, 14th, 21st, 28th (8 sessions)
We are looking to bring our artistic community closer and create a communal art studio with individual storage, and an exclusive mentor program.
From 2017, our additional space will have both teaching studios and a communal studio. We are so excited about creating a space for artists to create, connect and even collaborate.
To make this happen we are seeking expressions of interest from individuals who would like to be a part of our communal studio. As we get an indication of the interest, then we can further clarify exact costs and location.
Why join our shared studio space?
Our communal studio offers a cheaper alternative for artists than a rented private studio.
You will be able to connect with different artists and be a part of a new, creative community.
You will have 24-hour access to the studio and your personal storage space.
You will receive a 10% discount on all MAC courses whilst you are part of our communal studio.
You can also receive one-on-one art tuition and mentoring from our teachers.
What is the communal student studio?
A communal studio which is available for individual use. Each artist would have access to personal storage space.
Proposed Timing: 24-hour access
Cost: Approximately $30-$50 per week
In addition to this, Melbourne Art Class will also be offering one-on-one art tuition and mentoring in this space.
What is one-on-one mentoring?
One-on-one meetings with your tutor (one of our experienced artists/instructors), in the communal studio.
Proposed Timing: Twice weekly, about half an hour each session.
Cost: Approximately $50-60 per week
If you are interested in being a part of our communal studio, or have any questions or feedback, please email Lauren at firstname.lastname@example.org and help our new project begin!
Ivana’s inspiring experience during our Summer School
Ivana was one of a few students who undertook the challenge of completing both our Painting and Drawing Masterclasses in-between Christmas and New Year (not to mention the challenge of the heat)!
She has had previous experience in painting, however it was the first time she had ever experienced life drawing. We gratefully received her feedback and detailed experience below, and hope you also find it helpful and an insight into the classes we hold here at MAC. Thank you Ivana for allowing us to share your wonderfully candid account! This is why we love what we do.
“My objective in these classes was twofold. To refine my eye and hand; to learn specific technique and refine accuracy in representation as these are areas where I am poor. Also to dive into the Flemish technique as I’m obsessed by light and form but am yet to represent them in a way I find satisfying. The class was a remarkable opportunity to do that.
I see an immense difference and again, must say I’m thrilled with the result. I think I’ve come a long way in a short time. At home, I paint something I am more often than not unhappy, sometimes to the point of wanting to go all ninja on it, beat it with nun chucks and chuck ninja stars… You’ll be pleased to know that these works remain safe from Japanese implements of combat. J
…I’m also practicing Flemish technique on some small canvasses at home (I’m intent on capturing that light, dammit!) and am happy to share those once done and if I’m happy with them.
My focus was on learning; the technical in these two specific areas (refine my eye and hand; to learn specific technique and refine accuracy in representation) and that goal was achieved. I am thrilled with the results.
I think it’s also important to point out that these are my first still life and portrait paintings. Ever.
Now, with my drawing skills they are significantly less progressed and in respect to the drawing class, I think I was probably on a par with the others. I spoke with Hilmi about this before signing up as it was a Masterclass, and he encouraged me to do so as refining skills in this area would only be of benefit to my painting… even if I was slow and didn’t totally rock the class.
He was right.
First time working with charcoal, first time life drawing – I Loved It!
I don’t think my drawings will be hanging anytime soon, however even I could see the progress as the days progressed. See what you think:
Day 1: Still Life Gestural
Day 1: Still Life, Charcoal. Structural. Dark Base w/ shellac and Day 4 painted highlights
Day 2: Still Life, Charcoal. Structural. Light Base.
Day 3: Life Drawing #1. Pencil + Black Charcoal:
Day 4: Life Drawing #2. Pencil + Black & White Charcoal:
Once again, I was thrilled by the results and have become slightly obsessed with life drawing. I need to do more. Soon!
I also learned to mix black. I think this may have changed my world.
I really enjoyed Himi’s teaching style. He’s quiet and confident, firm and precise but also gentle. I think one of the most important things in a learning environment is to have the freedom, comfort and latitude to feel free to make mistakes; countered with a confidence in your lecturer that they can pull you up on these without making you feel like an arse and have the skill to pull your work back from the brink so you can move forward. That’s a tricky balance.
Hilmi did this with me many times and I am hugely grateful and inspired to continue.”
We are very appreciative of any feedback we receive and also encourage students to share their work with us so we can share it with everyone at MAC!
We had the opportunity of having Jennifer Whiten, an American hyperrealist painter living and working in Melbourne, present for us at our Enderby Studio Art Program class.
Jennifer completed a Bachelor of Fine Arts: Washington University in St. Louis and is currently undertaking a Master of Contemporary Art: Victorian College of the Arts.
Much of her recent work has used images of young girls in otherwise ubiquitous everyday situations such as cooking in the kitchen or dressed up in fancy dresses, common day stuff apart from that their faces are dominated by these massive mouths that obliterate all facial features. Jennifer described how each of these mouths form the shape of the first letter of a word and therefore carry hidden meaning which perhaps someone will unlock. The girls are all communication, and chatter, perhaps as they discover their everyday world and the language that represents and negotiates it.
Large areas of the works are left in flat ‘pop’ colour, negating the overall illusion of space and representation. These areas sometimes go as far as to suggest absence or a hole. These areas not only break up the cohesion of representation but suggest a sense of something beyond, another dimension perhaps. This other plane contrasts with the everyday banter of materiality which otherwise pervades the images. As she expressed an interest in the theory of the 4th dimension during her talk, perhaps Jennifer is looking beyond the limitations of a commonplace material existence and the limitations of how that existence is described.
Jennifer discussed her work, her technique and her position as a hyperrealist painter undertaking her Masters degree at Victoria College of the Arts. She spoke about finding her way through the current dominant visual arts culture which in Australian institutions heavily emphasises new media, installation and conceptual art. Jennifer spoke of the legacy of Modernism which reacted against the history of representation in art and that this reaction persists against the style of work she practices. Despite these difficulties, following a successful recent exhibition Jennifer has noticed a more open attitude to her work.
Jennifer has spent much of this year painting on glass and perspex rather than the previous wood panels and when I visited her a few weeks ago, she had a large panel of thick perspex suspended from her studio roof, upon which she was painting a life-size self portrait as Ophelia. It is an impressive piece of work requiring a wet on wet technique whereby the highlights are pushed through the existing wet paint. Jennifer prefers to work on areas of the painting wet and will sometimes work for days without stopping, to achieve this. I will post about this work as soon as it is finished.
The following is an excerpt from an e-mail I sent earlier today which may be of help in understanding what I am trying to do in the Young Artist Program.
Until the age of thirteen or fourteen a child needs to be reassured that their own creative processes including experimentation and failure are all valid. I am trying to allow the children to emulate the creative processes that I see a mature artist go through. By doing that I am hoping that the child will be equipped with confidence and creative processes to deal with the challenges of anything they choose to take on. At some point the child’s vision widens and seeing skills they do not possess; they choose to acquire those skills. It is at that point that a systematic direction can be given. To some degree these two aspects are present in every child at every stage so I am trying to read the child to know when to let them go and when to give direction and I do that every class.
If the child were to produce mermaids and dogs every week I would not see that as being any different from Fred Williams producing landscapes. My role then is not to distract from the child’s vision but to support them in developing that vision and give technical advice when necessary (which at this age, may or may not be taken on). My other role is to expose the children to art and art processes which I try to do although the children are often so absorbed in their own work they barely seem to notice.
Why do we make art and does art really matter? Kevin Brennan, our guest speaker this Tuesday the 5th and Friday the 15th, will be exploring these questions.
Kevin has worked in the arts and cultural arena for over 25 years as artist, producer facilitator and entrepreneur covering a range of art forms and practice. Kevin is fascinated by creativity and its practice as well as in public debate and policy frameworks. He has extensive experience in teaching, facilitating community engagement, writing strategy and analysis and developing policy in this field.
Kevin was Artistic Coordinator of La Luna Youth Arts (1990-94), Company Manager of Melbourne Workers Theatre from 1995-1999 and Programming Co-ordinator for the Art of Dissent Conference for Adelaide Festival and Melbourne Festival in 2002. He has served on numerous local and state government committees and advisory bodies.
Through his business United Notions Creative Solutions Kevin has worked strategically through consultations & research with small arts organisations, diverse communities, government and arts industry bodies and the broader community and tertiary education sectors. Among many other projects, Kevin was Executive Officer of Arts Management Advisory Group (Victoria) from 2005-2011, Specialist Arts Advisor for Deloitte’s Research into Small Arts organisations for Arts Victoria (2007). He has worked on the development of Arts & Culture Strategies for Shire of Cardinia, City of Kingston and Shire of Golden Plains. Kevin is a sessional lecturer in the Masters of Community Cultural Development Course at the Centre for Cultural Partnerships (Victorian College of the Arts) and lectures in the Masters in Arts Management course at RMIT.
Due to Jesse having been invited to present at a symposium of the Royal College of Arts, the previously scheduled Melbourne Art Class short course in Life Drawing is now postponed to May. For more information please go to life drawing.
Often, working creatively is seen as a completely intuitive, whimsical and spontaneous process. Nobody that I know, who is producing consistently, works in this way. While intuition and spontaneity do play a part in the creative process often it is just dogged persistence that gives results. I have put together the following chart to help manage and encourage persistence in the creative process.