Thursday, October 22, 2015

Presenting ... Competition Day 1 Portraits!

Dear Reader,

Please enjoy the first twenty portraits completed in the first 8 hours of our 2015 Alla Prima Portrait Sketch Competition! The artists painted the morning pose from 9am-1pm, and the afternoon pose from 2pm-6pm. Each painting is attributed to a pseudonym chosen by the artist. The real names will be revealed after the Awards Party and Exhibition Opening this Friday! Join us 6-9pm when judges Jacob Collins, Travis Schlaht and Edward Minoff will award $1,000 and $500 to First and Second Place winners respectively. Open to the public! 10 x 6: Portrait Sketches will be on view for one month at our adjacent gallery Eleventh Street Arts.

Judging Criteria:
The portraits will be judged as a group and evaluated for form, light effect, variety of color, paint handling and solid facial structure.


Day One - Morning Pose:

By Double Rainbow

By Jean de Daumier Smith

By Lightning

By Mahlstick

By Mama Quilla

By Muffin Top

By Prudent Hans

By The Badgerhound

By The Outlier 
By The White Gibbon


Day One - Afternoon Pose:

By Muffin Top

By Double Rainbow

By Jean de Daumier Smith

By Lightning

By Mahlstick

By Mama Quilla

By Prudent Hans

By The Badgerhound

The Outlier

The White Gibbon

Monday, October 12, 2015

Michelle Ross: Sei Solo

We are so excited to host Michelle Ross, acclaimed violinist and composer, for her first concert this Friday October 16th! In this ongoing series, Ms. Ross will preform the complete Sonatas and Partitas of J.S. Bach for solo violin. In this interview, Ms. Ross tells us about her passion for these pieces and her interest in playing venues such as GCA.


Will you tell us a little bit about your Bach Project and what inspired you to preform these pieces? 

I have a deeply personal relationship with the solo works of Bach – I am sure any violinist would say the same.  His Six Solo Sonatas and Partitas are perhaps the most challenging works we have in the repertoire.  Bach’s music speaks to us with immediate simplicity – and yet it also seems to contain all the mysteries of the universe.  It is an endless world to get lost within.  
I spent two years preparing to record these Sonatas and Partitas.  Then the recording process entails days and hours of takes and edits - it’s an idealized process, where you can stretch your technical limits and imagination.  Listening back to takes and going back into the studio allows for moments of perspective and return which can yield a very different outcome from a live performance.  Both are incredibly honest snapshots of how I feel about Bach, but they are slightly different organisms.  My CD is sort of like a sculpture, that was first sketched out and then brought to life, polished, refined; right before I went into my last recording sessions I felt this urge to break open the molding, so to speak, get the music a bit dirty, and perform this music for as many people as possible.  To me, these six Sonatas and Partitas traverse so much of the human spectrum, and can speak to anyone.  So I am now in the process of curating a project around NYC where I perform the entire cycle multiple times in intimate spaces outside of the concert hall, for as many new kinds of audiences as I can.  This is my way of both sharing the music with a large audience, and also acknowledging my own lifelong journey with Bach - each day, each performance, I experiment with something new, the searching continues.

Classical music and classical drawing naturally seem to go hand in hand, and we are so excited to have you back for this concert series at GCA! Can you share why you feel these Bach sonatas particularly compliment the venue and audience of the GCA? 

Bach is a wonderful composer to compliment classical drawing because of what an incredible architect he was.  It would be easy to simply stand in awe of Bach’s works and say ‘well, he was a genius’ (this is probably true), but in fact, there is so much order and meaning to every note.  His genius comes to life even more once we understand how he was able to create such avant-garde music within the order of the composition rules and style of the time.  His ability to dance within the rules of structure, harmony, voicing, and create music whose existence now seems inevitable, is something that I think the artists at GCA can appreciate because of the incredible mastery of craft that is evident in the works on these gallery walls.  I am so inspired also to find fellow artists whose aesthetics match with classical music, this loyalty and belief in the past, in tradition, and finding something new and relevant to our world today within this classical language.  The paintings at GCA seem so alive to me, so effortless and natural, and yet I also know how much thought and planning must have gone into them.  These multiple layers are present also within Bach - his music speaks to our spirits, but underneath, we can also appreciate another layer of intellectual planning that went into its structure.  I think it will be a beautiful connection between music and artwork.
I also want to mention, that I have been dreaming about returning to perform for this audience at GCA!  I had an overwhelming experience when I performed at GCA back in 2010, filled with so much inspiration and learning moments for myself through the discussion I had with the artists.  I was truly in my ‘sketching’ phase, with initial ideas about Bach floating around, and this recital/lecture was also the very first time I performed my own improvisations live for an audience.  I had just begun a new composition technique which has since become my voice as a composer, and it was incredibly freeing to present my music for a room full of artists, and discuss with them parallels we found between drawing and both the creation and performance of classical music.  I can’t wait to continue this discussion through the concert series this year.

You have talked about your passion for reaching young audiences with classical music. How do you plan to reach a younger generation and get them excited about classical music? And further, to show them that this timeless music is just as, if not more, relevant than ever? 


I have performed Bach everywhere from Carnegie Hall to prisons.  And I have yet to find someone who did not find something in this music which moves them.  I feel so strongly about the power of classical music to enrich our lives, and particularly these works, which is why I am excited to be planning my Bach takeover of NYC.  It doesn’t matter how much someone knows about classical music - I almost prefer performing for audiences who ‘know’ less - it means they are a blank slate.  It’s a beautiful privilege to be able to introduce someone to something as special as Bach.  I strongly believe that our generation craves meaning in our lives - because of the internet and how immediately we ‘connect’ with each other, we are losing meaning, the tangible.  I think that deep down young people want to be moved, they crave substance.  It’s all about framing someone to be open to what you are offering.  And so my plan is to curate experiences, outside of the concert hall, where this intimate exchange can occur, to make someone feel so intensely from the music that they have no choice but to learn more about it.  I believe that art can and should speak for itself, but sometimes people need a gentle framing to be open to it.  
Friday, October 16th
Sonata No. 1 in G minor
Partita No. 2 in D minor
6-8pm
Eleventh Street Arts 
free and open to the public 

future concert dates: March 18th & May 13th

learn more about Michelle Ross and her Bach Project here

Wednesday, October 7, 2015

Kevin Müller Cisneros wins first GCA Structure Prix


This new prize is awarded at the end of each session of the weekly Wednesday Structure Figure Drawing class in our full-time program. The pose averages 20 hours and students are instructed on anatomy, proportion and form. Inspired by the cash awards given to the best student drawing every week to encourage healthy competition among peers at the Academy Julien in Paris during the 19th Century. The Structure Prix winner receives $200. 

"This drawing displays a very honest and sensitive handling. Kevin accurately represents the gesture and proportional system of the model and in doing so, the drawing feels natural and truthful. The varied lines of the contours and the subtle form rendering work together to create a feeling of solid tonal mass, clear anatomical moments and even a bit of atmosphere." Critique by instructor Colleen Barry. 

Monday, October 5, 2015

10 x 6: PORTRAIT SKETCHES - Opening Reception and Awards Party on October 23!


Join us on October 23, 6-9pm for to celebrate the 60 portraits painted during our Alla Prima Portrait Sketch Competition, October 21 - 23. All 60 portraits from the competition will be on view at Eleventh Street Arts through November 20th.


This live painting competition will take place over three days, October 21 - 23, with the artists painting two four-hour portraits per day in the same studio from the same model.

Judges Jacob Collins, Travis Schlaht and Ted Minoff will award first and second place prizes of $1,000 and $500 respectively. The portraits will be judged as a group and evaluated for form, light effect, variety of color, paint handling and variety of facial structure.

Additionally, the competition room will be open for viewing each day from 1-2pm while the artists break for lunch. Drop in and say hi!




Sunday, September 27, 2015

Trekell Art Supplies Lecture this Wednesday!


As we continue learning about great artist materials, please join us this Wednesday, September 30th, at 5:30 pm for a product presentation from Trekell Art Supplies. Trekell will discuss their professional-grade products and answer any questions you may have. Free and open to the public. In our upstairs lounge.


In a quick interview Trekell tells us about what makes their company unique and why it is a great option for artists seeking quality materials.

What sets Trekell apart from other art supply companies? 
First off, thanks for the opportunity. One of the real joys of working in this field is connecting with similar-minded artists and institutions. Grand Central Atelier's mission to deepen the understanding and appreciation of classical form, design, practice, and discipline hits home, mirroring the origin story of Brian Trekell, our founder.
As for what sets us apart, that depends on whom you ask. We've built a devoted customer base by offering professional-grade, USA-made supplies for a fair price, offering any skill or income level a chance to work with the finest tools. Our artists love the close relationships we foster; they know we'll work tirelessly to help the people we believe in to reach their creative heights. But, speaking as an employee, our defining characteristic is that we believe in what we are doing. This is more than a company, more than a bottom line. It comes down to this: Artists should work with the best tools and materials. Those tools and materials shouldn't sit frustratingly out of reach because they cost too much. You already have to make sacrifices, settling for substandard tools shouldn't be one of them. That's the difference and that's what drives Trekell. We want to get you closer to what you love doing.

What is the most exciting product you offer to an academic painting community?
It's hard to narrow our catalog down to one exciting product. That's our strength, really. Trekell offers something for any school and any course. We're also flexible. Wether you're a principal artist or an artist-in-training, you're always just one email away from custom packages. We're big on customer service. A flesh-and-blood human will help you out. In a way, that may be the most exciting thing we offer: an open ear. If you need something, talk to us and we'll see what we can do.
As for GCA in particular, not to keep banging this drum, but artists-in-training would appreciate the quality and archival abilities of our tools, applications, and surfaces. Just because you're fine-tuning your craft doesn't mean you have to suffer through using lower-grade materials.

How will Trekell art supplies benefit my daily studio habits? And what products do I have to have in my studio? 
Who better to answer these last two questions than our artists?
Derek Harrison: "Trekell Art Supplies are extremely high quality brushes, paints, etc. Using them everyday makes all aspects of being a painter that much easier. When you have fantastic tools to rely on it only increase your productivity as an artist and the quality of your own work. My daily studio habits consist of painting, taking breaks, and more painting... So having supplies that are always reliable helps keep a steady rhythm.
Currently I've been a huge fan of the Legion brushes and have a nice stock of those that I use for every piece I do. In addition to those I use all of their brushes, styles, sizes, etc, depending on the task at hand. I also use their linseed oil soap, brush restorer, and paints. These are helpful because being an avid plein air painter, sometimes you have to paint extremely quickly when your light is changing which can be very hard on even the most well-made brushes. Their brush case is also a staple of my supply kit."
Greg "Craola" Simkins: "Trekell has taken the guessing game out of what I need to use to make a successful work of art. They have made tools that allow me not to struggle as I take my idea to the canvas. I use the Golden Taklon brushes, the fluid acrylics, the wood panels, and the linen wrapped wood panels."



Wednesday, September 30th
5:30 pm 
Grand Central Atelier, Upstairs Lounge



Friday, September 25, 2015

Announcing the Portrait Sketch Competition Finalists!

By Jacob Collins, one of three judges on this year's panel

Dear Readers:

The following ten artists have been selected through an anonymous online application process to compete in our upcoming three-day, 24-hour, live alla prima portrait sketch competition!

October 21 - 23, 2015
GCA Studios and Eleventh Street Arts

Finalists:
Patrick Byrnes, Leeanna Chipana, Michael Davis, Danny Ferland, Jennifer Gennari, Brendan Johnston, Dominique Medici, Kristin Nikitin, Evert Ploeg, Elizabeth Zanzinger.

Judges: Jacob Collins, Travis Schlaht and Edward Minoff

Awards: First Place: $1000, Second Place: $500, Pure Participation is priceless!

Public Events:
Join us October 21 - 23 online or in person as the competition unfolds daily! Drop in for lunch-hour viewings from 1-2pm all three days and for the Awards Party on Friday, October 23, 6-9pm. The portraits will remain on view for a month at our adjacent gallery Eleventh Street Arts.


By Patrick Byrnes

By Leeanna Chipana

By Michael Davis

By Danny Ferland

By Jennifer Gennari

By Brendan Johnston

By Dominique Medici

By Kristin Nikitin

By Evert Ploeg

By Elizabeth Zanzinger

Thursday, September 24, 2015

Palette and Paint: A Presentation from Michael Harding and New Wave Fine Art

"The artist palette is where it all begins. When you are mixing paint this is where your senses begin to collect information that is instantaneously interpreted by your brain, then relayed to the conscious as a color." - New Wave Fine Art Products  



Please come by GCA tomorrow, Friday, September 25th, for an exciting event! Join Michael Harding, founder of Michael Harding Artist Oil Colours, and New Wave Fine Art Products for an engaging Palette & Paint presentation. Expand your historical perspective and technical knowledge by learning how to use a palette more effectively in combination with meaningful information on oil paints, mediums, and varnishes. Additional "hands on" time will be allocated for all participants. Attendees will be entered to win a PRIZE PACKAGE!! Drawing will be held during demonstration. In eager anticipation for tomorrow's coming lecture, I asked Michael Harding a few questions to whet our palettes. 

KW: What makes Michael Harding paints Michael Harding paints? What do you do that other paint companies aren't offering? 
MH: It is not so much what I put in, it is what I leave out! This recipe allows for the intensity of colour and concentrate. You don't need a lot on your brush! Also, you don't need a medium to make my oil paints work for you!

KW: Your "Genuine Naples Yellow Light" is one of my very favorite colors on my palette, and I believe there is nothing else like it in the world! What is your favorite color in your arsenal, or the "customer favorite?" 
MH: Firstly, thank you for your comments regarding my Genuine Naples Yellow Light. Indeed it is a very beautiful color and opaque, historically it is a very interesting colour. Where it comes to my own personal choice of which colours I prefer, it usually depends on why I am working on at the time or researching. Currently, I have been engaged on a very long project regarding Vermilion. And before that, my very unique Stack Lead White which, you might remember, is made form suspending lead over vinegar under horse poop -- a method that can be traced back to the time before Christ. I also have new colours coming, all very hush-hush at the moment, that are very beautiful and I suspect will become customer favourites. Generally speaking, the colours artists rave about as their favourites are: Lapis Lazuli, Genuine Chinese Vermilion, Stack Lead White, Rose Madder, Genuine Naples Light and Dark, and Italian Green Umber to name a few. The list is very long! 

KW: How will the Michael Harding/New Wave combo improve my daily working habits as a painter?
MH: Both product identities have been created totally with the artist in mind. New Wave have totally reinvented the "wheel" with their extraordinarily well designed palettes. They took and existing principle and revisited what is normally seen as a very dull item in the artist tool kit and turned it into something which really helps the artist deliver paint in an easier, more comfortable fashion. Needless to say, the Michael Harding Oil range when used in conjunction with the New Wave products can only enhance the artists working experience. These products will remove much of the artists struggles, and the comfort of the palette and the filler free oil paints will allow every brush stroke to stay exactly where the artist lays it and the colour remaining vibrant. 

"Using a palette with a surface that is correct for your goals can help you achieve the desired value and effects much quicker and easier" - New Wave Fine Art Products


Friday, September 25th 
6:30 pm 
Grand Central Atelier 
Email to RSVP: info@grandcentralatelier.org


Wednesday, September 23, 2015

Special pop-up gallery event next week!

25 GCA artists will exhibit 70+ paintings in an event next week to benefit NYC nonprofit Wellness In The Schools. Many of the works were created over the summer at a beautiful farm upstate called Sol Flower Farm and others, thematically linked through food and farming, were created in the artists' studios. Next Tuesday, September 29 there will be a special opportunity to visit the pop-up gallery and check out the works! 

See the invitation below. Tuesday until 6pm the space is open to the public all day, no reservation required.  If you'd like to see the works during the evening reception however, RSVP to the (free, but ticketed) event here: 


Paintings on view by Brendan Johnston, Dale Zinkowski, Devin Cecil-Wishing, Edmond Rochat, Edward Minoff, Emilie Lee, Jacob Collins, Jessica Artman, Joshua LaRock, Justin Wood, Katie Engberg, Katie Whipple, Kevin Müller Cisneros, Liz Beard, Lois Engberg, Matt Weigle, Michael Klein, Patrick Byrnes, Raina Dai, Rodrigo Mateo, Sam Hung, Sarah Bird, Todd Casey and Travis Schlaht. 

venue: The Old Bowery Station, 168 Bowery (at Kenmare), New York, NY 10012


Wednesday, September 9, 2015

New Portrait Sketch Competition Application Deadline - Tuesday 9/15

Good news! We have extended the application deadline to enter our fall Alla Prima Portrait Sketch Competition to next Tuesday, September 15. The competition is October 21 - 23 at GCA in LIC.

Apply for a chance to participate in a rewarding, totally decadent, totally exhausting three-day portrait painting festival among your excellent peers!

First place wins $1,000 and Second Place wins $500. Pure participation is priceless.

This year's judges are Jacob Collins, Travis Schlaht and Edward Minoff.

Read More...
Apply Online...

Enjoy these beautiful portraits....

Self Portrait by Travis Schlaht

By Colleen Barry

By Jacob Collins

By Katie Whipple
By Ted Minoff

By Patrick Byrnes

Questions?
Email justine@grandcentralatelier.org

Tuesday, September 1, 2015

Drawing Renaissance Inspired Portraits

by Katie Whipple 

It was towards the end of my first year at GCA when I flipped through a borrowed copy of Dover's "Holbein Portrait Drawings" for the first time. My knowledge of Renaissance works was severely limited, and I was amazed by how much I loved these simple line drawings. Four years of study at GCA and many art books later, I headed to Italy to drink up all the old masters had to offer. Almost accidentally, I dove head first into the Renaissance. 

Hans Holbein the Younger, "Sir Richard Southwell" 1537

Drawing is my first love, and portrait drawing perhaps my second. From the day I realized I could draw a face and make it actually look like someone, I was hooked. I had a similar experience when I arrived in Rome, unexpectedly becoming dazzled by Filippo Lippi and hooked on the Quattrocento. In copying Lippi's works, I realized I was rediscovering everything I loved about drawing. Painters of the Quattrocento and Renaissance have an exquisite understanding of line. These artists were able to use line to describe form, volume, light effect, and structure so elegantly and simply. And on top of that, the beauty of design in these finished pieces and studies took my breath away. 

 Copy of Filippo Lippi drawing by Katie Whipple, "Head of a Woman" 1452

In this upcoming workshop, I want to explore and share these elements of drawing that make my heart skip a beat. There is so much to be learned from old master drawings. However, painters often copy a drawing or painting giving little thought to how they will apply the ideas and techniques to their own work. Even the seemingly primitive drawings (to our contemporary eye) of the early 15th century have so much to contribute to current techniques and methods. 

"Self Portrait after Holbein" Katie Whipple, 2013

Filippo Lippi described his work as "a deliberate blend of the plausible with the beautiful." Constantly striving for this in my own work, I hope students in this workshop will be encouraged to blend the beautiful techniques and aesthetic of the Renaissance with the likeness and character of a live model. 

"Filip" Katie Whipple, 2014

Drawing the Portrait in Chalk: Renaissance Inspired Portrait Workshop with Katie Whipple, a three day portrait drawing workshop. September 19th-21st. Learn more and sign up!