FINE ARTS WORK CENTER in Provincetown

Transcription

WORKBOOK 2016
A C ATA LO G O F C R E AT I V E W R I T I N G
AND VISUAL ARTS WORKSHOPS
INSIDE
THE WORK CENTER
1 About the Fine Arts Work Center
2 Summer Workshops General Information
5 Michael Mazur Print Studio
and the New Master Printer Series
6 Summer Workshops by Week
23 A Celebration of Poetic Voices
30 24PearlStreet Online Writing Workshops
43 Fellowship Program
44 Year-Round Calendar of Events
45 Membership
45 Acknowledgements
THE FINE ARTS WORK CENTER was founded in 1968 by a group of large-hearted
artists, writers, and patrons including Robert Motherwell, Stanley Kunitz, Hudson D.
Walker, among others who envisioned a place in Provincetown, the country’s most
enduring art colony, where artists and writers could live and work together in the early
phases of their careers. The founders believed the best catalyst for artistic growth is
space and time while surrounded by like-minded peers. So began the Fine Arts Work
Center’s esteemed Fellowship Program. Each year in early October, twenty emerging
writers and artists arrive on this great spit of sand with its stunning isolation and beauty
to pursue their creative work over a seven-month residency.
In 1995, the Work Center enlarged its vision with the Summer Workshop Program,
assembling renowned faculty to teach rigorous open-enrollment workshops in writing
and visual arts. Since its inception, the Summer Program has attracted thousands of
participants, many of whom return year after year to Provincetown’s historic art colony
to continue to develop their craft. Building on a tradition of creative excellence, in
2011 the Work Center launched 24PearlStreet, an innovative year-round online writing
program led by nationally recognized poets and writers. 24PearlStreet lets students
focus on their work wherever they are, whenever they want. Additionally, throughout
the year, the Work Center’s active public events programming brings nationally
recognized artists and writers to Provincetown for lectures, readings, and exhibitions
– all free and open to the public.
So come join us! Be a part of our creative community. Take a look inside and see
what’s happening at the Work Center. We are proud to present this year’s rich array
of programming.
FAWC.ORG
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SUMMER WORKSHOP PROGRAM
WORKSHOPS IN CREATIVE WRITING AND THE VISUAL ARTS
INSPIRATION. TIME. PLACE. COMMUNITY.
With over 80 week-long workshops offered by many of the most renowned writers
and artists working today, this year’s Summer Workshop Program presents classes
in poetry, fiction, memoir, nonfiction, painting, drawing, printmaking, sculpture,
photography, and mixed media, as well as a new master printer series. The program
has expanded to include classes in filmmaking, performance art, video, and
songwriting. A first-time Poetry Intensive Week enlivens the campus with a weeklong concentration in poetry. With a commitment to diversity of expression, courses
are offered at all levels. The writing lab and visual art studios are open around the
clock, creating an artistically dynamic environment with opportunities for complete
immersion in the creative process.
RENOWNED FACULTY
The caliber of our Summer Program faculty is unparalleled. Nightly readings and
artist talks offer students a rare opportunity to learn from and interact with faculty
at the highest levels of their disciplines. This aspect of the Work Center’s program is
distinctive, offering a community where students, staff, and faculty are devoted to
creative practice and conversation.
COME FOR THE COURSE. STAY FOR THE VACATION.
The Fine Arts Work Center is in the heart of Provincetown, surrounded by 40 miles of
pristine national seashore. Located at the extreme tip of Cape Cod, Provincetown’s
thriving artist community welcomes you with its art galleries, museums, shops,
theatre, music, whale watch trips, and more.
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THE WORK CENTER CAMPUS
The Work Center is centrally located on the site of the historic Days Lumberyard, home
to working artists since 1914. Our facilities include 25 apartments, 14 large working
studios/classrooms, state-of-the-art print shop, woodworking shop, digital media lab,
student lounge, computer lab, auditorium, art gallery, and administrative and program offices.
ACCOMMODATIONS
Campus apartments come with kitchens and private bathrooms and are available for
students on a first-come, first-serve basis. They generally book up quickly. Apartments rent
for $700 for 6 nights. Guests bring sheets (full), towels, and toiletries. Apartments do not
have telephones, televisions, Ethernet or air-conditioning. Check-in is Sunday, between
4-6PM, and checkout is Saturday by noon. Please note: We cannot accommodate early
arrivals or late departures. The Work Center has a No Pets/No Smoking policy. Residents
should plan on leaving their apartments clean; a nonrefundable cleaning fee will be charged
for apartments that require extra cleaning. Be sure to review the cancellation/refund policy.
HOUSING PARTNERS
We are pleased to announce a new Housing Partnership with Provincetown B&Bs and
hotels. These generous supporters offer reduced rates to Summer Program participants and
Work Center Supporting Members. The Work Center also has a list of private rentals. Please
refer to our webpage for details regarding reservations and discounts.
WORKSHOP GENRES
W WRIT ING
VA VI S UA L A RTS
MP MAS TE R P R I NTE R S E R I E S
JUNE 12 - AUGUST 26
OUR HOUSING PARTNERS
Admiral’s Landing
Roux
Heritage House Hotel
Sage Inn & Lounge
Ravenwood Inn
White Horse Inn
Rose Acre8 Dyer
Additional housing can be found in many hotels, motels, B&Bs, and campgrounds
on the lower Cape. A comprehensive list of accommodations is available on the
Provincetown Chamber of Commerce website P TOW NC H A M B E R .CO M .
Book early as housing fills up!
REGISTRATION
Registration operates on a first-come, first-serve basis. Workshop levels include
Open, Intermediate/Advanced, Advanced, and By Application. Classes are limited to
ten students. Payment in full is now requested at the time of registration. Payment
plans are offered on an as needed basis. Contact the Summer Program office for
payment plan options, as well as details on how to apply to “By Application” classes.
ONLINE – Go to FAWC.O RG/ S UMMER and complete the registration form
BY PHONE – Call 508.487.9960 to register by phone with Kelle Groom, Summer
Program Director, x103 or Dawn Walsh, Summer Program Associate, x104.
BY MAIL – Complete the attached registration form and submit to Summer
Workshops, 24 Pearl Street, Provincetown, MA 02657
FEES
Unless otherwise noted, classes run Monday-Friday. Below is a schedule of fees.
Please consult online course descriptions for materials and model fees.
WRITING 15-HOUR 9AM-Noon or 1-4PM $600
WRITING 20-HOUR 9AM-1PM $725
PRINTMAKING 15-HOUR 9AM-Noon $600
STUDIO ARTS 15-HOUR 9AM-Noon or 1-4PM $650
STUDIO ARTS 20-HOUR 9AM-1PM $725
CANCELLATION POLICY
There will be a processing fee of $25 for all transfers and cancellations. However, if you
cancel your registration or Work Center housing less than 30 days before the start of
your class, your entire payment will be forfeited. In the unlikely event that we cancel your
workshop, we will refund your payment in full.
SCHOLARSHIPS AND DISCOUNTS
The Summer Workshop Program offers a number of student scholarships, as well as a
range of program discounts for returning students, Work Center Supporting Members,
and students who enroll in multiple workshops. Please see our Summer Program website for
discount details and scholarship information. The deadline for scholarship submission
is April 15.
FAWC.ORG/SUM M ER
WORKSHOPS LISTED IN THIS CATALOG ARE CORRECT AS OF JANUARY 2016. VISIT OUR WEBSITE FOR THE MOST UP-TO-DATE SCHEDULE OF CLASSES, FULL FACULTY BIOS, AND MATERIALS LIST.
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YO U R W E E K
AT THE FINE ARTS WORK CENTER
Each week begins with a welcome reception and course orientation. Each morning begins with a continental breakfast.
Nightly readings and artist talks are presented by visiting faculty. Mid-week events include a festive
BBQ and Student Open Studios and Readings which offer students an opportunity to share their work.
SUNDAY
4-6PM Check-in any time after 4PM at the Summer Program office. If you are staying on campus
and plan on arriving later than 6PM, please let us know. No early arrivals.
6PM Orientation is held for students & faculty in the Stanley Kunitz Common Room and is required.
6:30PM Introductory class meetings with faculty in assigned rooms.
7PM Welcome reception
MONDAY
8:30-9AM Continental breakfast in lounge
9AM-4PM Daily 3 or 4 hour workshops (check course descriptions for times)
6:30PM Faculty reading & artist talk
8:30-9AM
9AM-4PM
5-6:30PM
6:30PM
TUESDAY
Continental breakfast in lounge
Daily 3 or 4 hour workshops (check course descriptions for times)
BBQ for students and faculty
Faculty reading & artist talk
WEDNESDAY
6:30PM Faculty reading & artist talk
THURSDAY
4:30PM Student Open Studios, Readings, and courtyard reception for students, faculty, and friends
FRIDAY
6-8PM Provincetown Gallery Stroll
BY NOON Check-out for all students
SATURDAY
P R O V I N C E TO W N
PROVINCETOWN EVENTS
Provincetown is a vibrant cultural community with much to offer. Contact the Chamber
of Commerce at 508.487.3424 or visit P TOW N CH A M B ER .CO M for a calendar of
happenings.
EVENT HIGHLIGHTS
Provincetown International Film Festival June 15-19
Portuguese Festival and Blessing of the Fleet June 23-26
Bear Week July 9-17
Fine Arts Work Center Summer Awards Celebration July 9
Family Week July 23-30
Fine Arts Work Center Poetry Intensive Week August 7-13
Carnival Week August 13-19
Fine Arts Work Center Auction August 20
GETTING TO PROVINCETOWN
BY AIR
Cape Air flies direct from Boston’s Logan Airport to Provincetown Airport at Race Point.
Call 800.352.0714 or 508.771.6944 or go online at FLYCAPEAIR.COM.
BY BOAT
Bay State Cruise Company BAYSTATECRUISECOMPANY.COM – 877.783.3779. Three
90-minute trips daily from Boston during the summer months. Boston Harbor Cruises
BOSTONHARBORCRUISES.COM – 877.733.9425. Schedule varies weekly in summer
months. Departs from Boston. There is a shuttle to the ferry from Logan Airport.
BY BUS
Plymouth & Brockton Bus Co. P-B.COM – 508.746.0378 or 508.746.4795.
Regular bus service from NYC, Boston, and Providence.
BY CAR
Provincetown is at the extreme tip of Cape Cod. The Fine Arts Work Center is located at
24 Pearl Street. From the Sagamore Bridge, follow Route 6 to Provincetown. Turn left at
stoplight onto Conwell Street. Turn left at stop sign onto Bradford. Take the first left onto
Pearl and the first left into our parking lot. Driving time from Boston is about 2 1/2 hours,
from New York about 6 hours.
GETTING AROUND PROVINCETOWN
Provincetown is a walking or biking town – driving and parking can be very challenging.
There are taxi services, shuttle buses, pedi-cabs, and bicycle rentals available.
PARKING
Parking at the Work Center is for residents and faculty only. There is the MacMillian Pier
Parking Lot open 24/7, as well as four Pay Station lots with kiosks that accept currency, coins,
MasterCard, Visa, and Discover Cards. Hotels and B&Bs may offer additional daily parking.
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THE MICHAEL MAZUR PRINT STUDIO
NEW MASTER PRINTER SERIES
This year, the Work Center is pleased to present a new series of printmaking
workshops featuring Master Printers ANTHONY KIRK, ANDREW MOCKLER,
CATHERINE MOSLEY, JAMES STROUD, and ROB SWAINSTON. With an
emphasis on mentorship and critique, these workshops will be held in the Work
Center’s Michael Mazur Print studio, a state-of-the-art facility that remains
one of the best in the region. Here, artists continue to explore the print medium in a
facility developed by one of Provincetown’s most revered painters and printmakers.
Printmaking workshops will also be taught by acclaimed printmakers
DANIEL HEYMAN, FRED LIANG, VICKY TOMAYKO, and BERT YARBOROUGH.
The print shop is equipped with two etching presses, a lithography press, facilities for
etching and silkscreen, and a state-of-the-art ventilation system. The American French
Tool etching press has a bed that measures 70” x 40”. The Brand Press from Robert
Motherwell’s studio in Provincetown has a bed size of 46” x 24”. The shop is fully
equipped with tools and materials, oil-based inks, a large selection of brayers,
and four, ten-inch rollers each with a diameter of five inches.
The lithography press is a Fuchs and Lang with a bed size of 24” x 45” and can
be used for both stone and plate lithography. The shop is equipped with supplies
necessary for producing high quality lithographs. There are seven gray lithographic
stones. The shop has silkscreen materials for work up to 22” x 30”
and is water-based only.
FAWC.O RG/S U M M E R
OPEN PRINT
WEEK 4 - JULY 3-8
$400 + $75 materials fee
During this week, space will be opened in the print shop for experienced
printers who have previously attended printmaking classes at the
Fine Arts Work Center. Students will work on their own independent projects
and will have 24-hour access to the studio.
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SUMMER WORKSHOPS
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BENJAMIN PERCY
KI R UN KA P UR
DAVID P. EBERSOLE & TODD HUGHES
9AM-Noon | $600 | Open
1-4PM | $600 | Open
1-4PM | $650 | Open
Crack your knuckles and get ready to write. We’re going
to have fun, but we’re going to work hard. By the end
of the week, you’ll have editorial suggestions on your
manuscript and new material that will explode into new
stories. Every day includes craft lessons and generative
exercises. We’ll discuss everything from momentum
to artful sentences with samples from Stephen King to
Alice Munro. You’ll emerge as if through a refiner’s fire, a
better, stronger, cleaner writer.
The most basic elements of a poem are voice and
breath. The first poems were intended to be heard,
repeated. Modern technology takes us back to this
earliest understanding of a poem, with podcasts,
streaming, and digital recording. We will focus on
writing which honors the voice, creating work that lives
in the ear, as well as on the page. We will reconnect to
poetry’s oral/aural roots, creating a series of recordings
from our written work.
FICTION WORKSHOP:
THE REFINER’S FIRE
PROVINCETOWN INTERNATIONAL FILM FESTIVAL
SUMMER WORKSHOP PROGRAM PARTNERSHIP
The Work Center is pleased to announce a partnership with the
PROVINCETOWN INTERNATIONAL FILM FESTIVAL.
Coinciding with the 2016 Festival (June 15-19) and Week One of our Summer Program,
a select group of Work Center workshops will be presented in documentary,
screenwriting, and music video.
Students attending these and other Week One courses will receive a
special 20% discount on any Film Festival pass or ticket.
As a part of this partnership, Provincetown Film Society members can receive a
$50 discount on any 2016 Summer Program workshop.
Since its inception, the PROVINCETOWN INTERNATIONAL FILM FESTIVAL (PIFF)
has become one of the country’s preeminent film festivals presenting a diverse array of
American and international narrative features, documentaries, and short films, while
highlighting the unique attributes of Provincetown’s rich and diverse history as an arts colony.
WEEK 1
BENJAMIN PERCY is the author of three novels, The
Dead Lands, Red Moon, and The Wilding; two books of
stories, Refresh, Refresh and The Language of Elk; and
a craft book, Thrill Me. His work appears in Esquire, GQ,
Paris Review, and Tin House. He writes the Green Arrow
series for DC Comics. His honors include a Whiting
Award, NEA Fellowship, two Pushcart Prizes, and
inclusion in Best American Short Stories.
VOX VOX:
AUDIO POEMS
KIRUN KAPUR is the winner of the Arts & Letters Rumi
Prize in Poetry and the Antivenom Poetry Award for her
first book, Visiting Indira Gandhi’s Palmist (Elixir Press,
2015). Named an “Asian-American poet to watch” by
NBC news, her work has appeared in AGNI, Poetry
International, and FIELD, among others. She is Poetry
Editor at The Drum Literary Magazine, which publishes
exclusively in audio form, and has taught creative
writing at Boston University.
DOCUMENTARY FILM
PORTRAITS
This course will show you how to find a good
subject, ask questions to pull out details about your
uniquely engaging tale, and then to conceive, film,
and edit a two-minute mini-documentary portrait of a
Provincetown person of interest. We will also view and
discuss feature-length documentaries that focus on the
art of the documentary portrait.
The Ebersole Hughes Company is DAVID P. EBERSOLE
and TODD HUGHES, each an accomplished writer,
director, and producer. Producing and directing credits
include HBO, Showtime, Lifetime, 20th Century Fox
Television, Sundance Channel, and VH1; live events
including the Silver Lake Film Festival; and numerous
independent projects. Recent documentary projects are
Hit So Hard (2011), Room 237 (2013), and Dear Mom
Love Cher (2013). Their newest film, Mansfield 66/67,
will be shared as a work-in-progress.
JUNE 12 - 17
VA
VA
VA
PAT O L E S Z KO
JUA N PA B LO EC H E V E R R I
M A R JO R I E P O RT NOW
1-4PM | $650 | Open
BREATH/TAKING/VISIONS: LOW-TECH HI!
IMPACT PERFORMANCE WORKSHOP
Take on the world in the go-forth dimension. Performance
will be explored through the confluence of visuals,
movement, sound, and situation. Ideas personal, political,
or pervasive will be translated into walking, squawking
mediums of message. We will construct, even possibly
address issues looming and blooming. You will no doubt
make a spectacle of yourself. This workshop goes straight
for the jocular. We will bend minds with spoons.
PAT OLESZKO creates performances, films,
installations, inflatables, and spatial events. She works
from the popular art forms of the street, party, parade,
and burlesque house, to fields, oceans, and trailer parks,
from the Museum of Modern Art to Sesame Street
Magazine. Honors include the Rome Prize, the Guggenheim
Fellowship, National Endowment and New York Foundation
for the Arts Fellowships, several Tony nominations, a
Jim Henson Grant, a Bessie, and the New York Dance &
Theater Award for Sustained Excellence.
MAKE YOUR OWN
MUSIC VIDEO
Photographer and video artist Juan Pablo Echeverri
invites you to use your body as canvas to create a
parallel universe where character takes form in your
own music video. Create a fantasy music video where
anything can happen in this performance-based class. If
you are interested in collaboration, there is opportunity
to create a group video as well. Whether you prefer
to create an individual video or be part of a group
video, you will explore tasks of direction, art direction,
production, and styling.
JUAN PABLO ECHEVERRI, born in 1978 in Bogotá,
Colombia, has exhibited in group and solo shows
around the world, including The Photographers´ Gallery
in London, The Havannah Biennal in Cuba, Itau Cultural
in Sao Paulo, and Museum of Modern Art in Bogotá. His
work is part of the permanent collection of Banco de la
República in Colombia and CA2M in Madrid, Spain.
PLEIN AIR
LANDSCAPE PAINTING
In this on-site outdoor landscape painting class, we will
go outside every morning and paint directly from nature.
At several different sites, we will respond to the various
individual locations. Emphasis is on both the intense
observation of nature and your personal visual response.
Oil paints are preferred, but acrylics are accepted materials.
There will be individual attention and group critiques.
Previous experience helpful, but not necessary.
MARJORIE PORTNOW’s paintings have been exhibited
at the Metropolitan Museum, Boston Museum of Fine Arts,
National Academy of Art (NYC), and Corcoran Gallery of
Art. Her paintings are in the permanent collections of the
Metropolitan Museum of Art and Boston Museum of Art,
among others. Recipient of two NEA Grants, two Ingram
Merrill grants, two Radcliffe Institute grants, and two Tiffany
Grants. She teaches at Western Connecticut State University
and has been elected to permanent membership in the
National Academy of Art.
P TOW N F I LM F ES T.O RG
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SUMMER WORKSHOPS
WEEK 2
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L ACY M . J OHNS ON
S OP H IE CABOT BLACK
MEMORY TO
MEMOIR
PAYING ATTENTION (AND REMEMBERING TO
OPEN THE TOOL BOX): A POETRY WORKSHOP
PETER JAY SHI P PY
DEA N A LBA R ELLI
CAT HER I N E KEHO E
1-4PM | $600 | Open
1-4PM | $600 | Open
The best memoirs use a writer’s experience as a lens
through which to bring some aspect of human experience
into focus. But memory is a shifting and unreliable
thing. You’ll tackle this ethical and creative challenge,
as well as the challenges of navigating other people’s
memories, and the fear many encounter when we
commit to telling our own stories. The focus is our own
work-in-progress. We’ll look to master memoirists for
techniques for transforming life into literature, silence
into sentences.
In this class we will deepen our individual voices by
listening to poems written during our time together and
from other sources. By using exercises, deconstruction,
and other strategies, you will come away better
understanding what you do best, while at the same time
having pushed your work into a broader reach.
In this workshop we will discuss masters of the prose
poem, write new poems, and discuss your work with an
eye (and an ear) toward generating poetry over the next
year. “Which one of us, in his moments of ambition,
has not dreamed of a miracle of poetic prose, musical
without rhythm and without rhyme, supple enough and
rugged enough to adapt itself to the lyrical impulses
of the soul, the undulations of reverie, the jibes of
conscience?” (Charles Baudelaire).
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LACY M. JOHNSON is a Houston-based artist, curator,
professor, activist, and author of Trespasses (U of Iowa,
2012) and The Other Side (Tin House, 2014), named a
National Book Critics Circle Award finalist, a Barnes and
Noble Discover Great New Writers selection, and a Best
Book of 2014 by Kirkus and Library Journal. She teaches
creative nonfiction in Sierra Nevada College’s MFA
program, and interdisciplinary art at the University of Houston.
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SOPHIE CABOT BLACK has three poetry collections
from Graywolf Press including The Misunderstanding
of Nature (Norma Farber First Book Award) and The
Descent (2005 Connecticut Book Award). Her third
book, The Exchange, received critical acclaim including
a starred review in Publisher’s Weekly. All Things
Considered named The Exchange “the book for you,”
and in his New York Times review, Billy Collins said,
“...She’s concocted a way of speaking in poetry that’s
very fresh and daring.”
THE PROSE
POEM
PETER JAY SHIPPY is the author of four books, most
recently, A Spell of Songs (Saturnalia Books, 2013).
Recipient of a Gertrude Stein Award, Iowa Poetry
Prize, and Diagram Prize for the Essay, he has received
fellowships in drama and poetry from the Massachusetts
Cultural Council and an NEA Fellowship in poetry. In
2012 and 2013, his poetry was included in The Best
American Poetry. He teaches at Emerson College.
FICTION WRITERS’
WORKSHOP
1-4PM | $600 | Open
Maybe you’ve been writing fiction and could use some
guidance – tips on plot, advice about dialogue, thoughts
on how best to begin a narrative. Maybe you’ve simply
wanted to write fiction and haven’t quite dared. In this
workshop, you will get started on promising new material
in an inspirational atmosphere of supportive camaraderie.
In one-on-one conferences, Albarelli will discuss your
individual strengths and areas in need of strengthening,
relevant issues of craft, and recommend useful readings.
DEAN ALBARELLI is the author of Cheaters and
Other Stories, a Barnes & Noble Discover Great New
Writers selection. A chapter from his forthcoming
novel became a prize-winning short film with Donal
Logue and Amanda Peet. An advisory editor with The
Hudson Review, he has been writer-in-residence at
Smith College, and visiting writer at Amherst and Trinity
colleges. Currently he is writer-in-residence at Boston
University’s Kilachand Honors College.
JUNE 19 - 24
MP
RO B SWA I NS TO N
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JUA N PA B LO EC H E V E R R I
VA
K E V I N K I NG
THE HEAD
EXAMINED
MASTER PRINTER SERIES:
FROM PHOTOSHOP TO MULTIBLOCK
SELFIES BEHAVIOR IN THE 21ST
CENTURY: PHOTOGRAPHY WORKSHOP
NATURE IN WATERCOLOR: OUTDOOR
LANDSCAPE PAINTING
This workshop takes a reductive approach to painting
the head, experimenting with how little information is
necessary. Light and the way it affects perception of
structure will be emphasized, as well as finding specific
and surprising color. We will work from the model. Selfportraits and a study of historical and contemporary
portraiture will be included. Some painting experience
required; oil paint is the preferred medium.
Photoshop is a powerful tool for printmakers working with
multi-plate images. Students will learn how to manipulate
their own imagery (photo/drawing/painting) or appropriated
imagery in Photoshop for output into ‘traditional print’
processes. This class will focus on breaking a single image
into a 3-4 layer woodblock print, printing them digitally,
and then transferring them to woodblocks for carving and
printing. You will emerge from the class with a solid edition
of a 3-4 color woodblock print. Along the way you will learn
about choosing colors for multi-plate processes as well as
registration systems suitable for hand or press printing.
You will create images using yourself as subject. In this
workshop, you’ll use photography to alter the way you
look, allowing a ‘new individual’ to emerge, coming
to life using your body as a source, changing it into
another body that is more defined by the outside,
rather than the inside. In focusing on the history of
self-portraiture, you will look for references that will lead
you to create a series of images.
This workshop will focus on outdoor landscape painting.
The environs of Provincetown will be your laboratory to
experiment with watercolor techniques, composition, and
color. If students are interested in more detailed aspects of
local animals and plants, this can also be explored. During
this week, you should be able to take a jump forward in
your abilities in this medium.
9AM-Noon | $650 + $40 model fee | Advanced
CATHERINE KEHOE’s work is represented by MillerYezerski Gallery in Boston. She studied in the Yale
Norfolk program and holds a BFA in painting from
Massachusetts College of Art and Design and an MFA
in painting from the School of Visual Arts, Boston
University. She is the recipient of an Orlowsky-Freed
grant, a Pollock-Krasner grant, and three Blanche
Colman Awards. She teaches painting and drawing at
Massachusetts College of Art and Design.
9AM-Noon | $600 + $75 materials fee | Open
Assistant Professor of Art and Design in Printmaking at
SUNY Purchase College, ROB SWAINSTON has a BA
from Hampshire College and MFA from Columbia
University. In addition to having numerous solo and
group shows, residencies, and fellowships, he is
Master/Disaster Printer and co-founder of NYC fine
art collaborative printshop Prints of Darkness.
1-4PM | $650 + $25 materials fee | Open
JUAN PABLO ECHEVERRI, born in 1978 in Bogotá,
Colombia, has exhibited in group and solo shows
around the world, including The Photographers´ Gallery
in London, The Havannah Biennal in Cuba, Itau Cultural
in Sao Paulo, and Museum of Modern Art in Bogotá.
His work is part of the permanent collection of Banco
de la República in Colombia and CA2M in Madrid,
Spain. Since 1998, his main body of work has been
self-portraits.
KEVIN KING has shown internationally including in the first
Bienal Internacional de Cartagena, Columbia, and has had
many solo shows. He is currently represented by the Jason
McCoy gallery in NYC.
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SUMMER WORKSHOPS
WEEK 3
J U N E 2 6 - J U LY 1
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A N DR E D U BUS III
SARAH MESSER
JOAN WICKER S HA M
A MY A R B US
A N GELA DUF R ES N E
L AU R E N E W I NG
V I C K Y TO M AY KO
UNLOCKING THE STORY:
MEMOIR AND FICTION
9AM-1PM | $725 | Open
THE PERSONAL
NARRATIVE
NARRATIVE IN CONTEMPORARY VISUAL
ART: A MULTI-DISCIPLINE WORKSHOP
3D MINIATURE
PORTRAIT MODELING
SILKSCREEN
PRINTING
You will explore the photo essay as a way to reveal the
nature of a person (or people) in context, over time. You
are encouraged to think about story ideas that relate to
your own personal experience before class. Through slide
presentations and critiques we will discuss techniques
for lifestyle, photojournalism, fashion, and traditional
portraiture. Most importantly, we will cover techniques for
editing, sequencing, and presentation.
A studio environment where you will use the media
of your choice: writing, drawing, photography,
video, sculpture, or site-specific mediation to explore
narratives that can/will embody personal as well as
political experiences. You will write a narrative that is
transformed into a tangible piece of art or performance
art by week’s end. Support and dialogue provided
around each student’s “Narrative Project,” and extensive
examples provided to highlight how and why artists
are using narrative tableaux. A fun, high energy,
adventurous workshop that a recent student said, “Left
me breathless, forever changed, and infinitely inspired.”
Modeling live 3D portraits is an exercise in seeing. You
will start with a quick interpretive portrait. Then you will
pair off and use each other as models, or you can bring
a model. You will use polychrome clays and bake the
pieces. We will focus on total visage, details, and
coloration. After doing the quick study to become
familiar with tools and materials, you will spend the
remainder of the class learning to do close observation
to model a representational portrait.
You will investigate a variety of approaches for printing
original silkscreen images. Techniques include hand-cut
stencils, direct drawing and painting, and photo-silkscreen
methods. Print on paper, fabric, wood, vinyl, etc. Learn
a variety of ways to create an image on a screen and
learn methods for multiple color registration. Simple
enough for beginners, and lots of applications for the
artist. Come with a project in mind or experiment with
all the techniques.
LAUREN EWING is a sculptor, installation artist, and
imagist. Her work addresses the vast construct of material
culture in relation to memory, seeing, and nature. She
has shown at Kunstverein Ludwigsburg, Germany;
Kunsthallen Brandts Klaedefabrik, Denmark; InterimArt,
London; The Sydney Biennale; Weber Galleries in NYC;
and The Schoolhouse Gallery. She is in the collections of
the Museum of Modern Art (New York), the Metropolitan Museum of Art (New York), and many others.
VICKY TOMAYKO is an artist and printmaker who works
with a variety of techniques to create one-of-a-kind prints
and editions of silkscreened books. She manages the
print studio for the Work Center during its seven-month
residency program. She teaches silkscreen printing at
Cape Cod Community College and PAAM School. Artistin-residence at the Cape Cod Lighthouse Charter School
for ten years, and recipient of two Ford Foundation grants,
she is represented by Schoolhouse Gallery.
FICTION/MEMOIR
WORKSHOP
EXPERIMENTAL & EVERYDAY FORMS: PROCESS,
PROCEDURE, AND NEW POETRY PRODUCTION
Master novelist and short story writer Richard Bausch
says: “Do not think, dream.” I could not agree more. But
how – technically speaking – does one dream fully and
honestly with mere words? Come to this workshop, and
I’ll try to lay this out with a bit of lecture, in-class creative
writing exercises, and a constructive critique of what
comes out of you, one honest word at a time.
A voluntary lock-up in your own poetry factory. We’ll
meet each day to discuss your new writing – you’ll leave
the week with at least seven new poems, and a whole
manual of ideas to refurbish and reinvent others. Daily
writing prompts, Ouilipo and Dada experiments, found
texts, collage, erasures, imitations, and experiments.
Produce something exciting and new. Series poems,
long-poems, or a different style every day – all
encouraged and accepted here.
What is my story and how do I tell it? This intensive
workshop for fiction and memoir writers will focus on
finding the story and telling it in the most frank, compelling
way possible. The class will include both generative
writing exercises and workshop discussion. You will look
at different techniques, as well as work from prompts
suggested by our own lives and experiences, all with
the goal of unlocking the stories that most urgently
need to be told.
SARAH MESSER has received fellowships and grants
from FAWC, the NEA, and the Radcliffe Institute at
Harvard. She is the author of four books including a
hybrid history/memoir, Red House (Viking), and most
recently, a second book of poems, Dress Made of Mice
(Black Lawrence Press, 2015). Previously an Associate
Professor at the UNC Wilmington, she currently lives and
works as a cheese-maker at White Lotus Farms in Ann
Arbor, Michigan where she runs One Pause Poetry.
JOAN WICKERSHAM’s most recent book, The News
from Spain (Knopf), was named one of the year’s best
fiction picks by National Public Radio, Kirkus Reviews,
and The San Francisco Chronicle. Her memoir, The
Suicide Index (Houghton Mifflin Harcourt), was a
National Book Award finalist. The recipient of fellowships
from the NEA and the Massachusetts Cultural Council,
she has taught writing at Emerson and Harvard, and
currently teaches in Bennington’s MFA program.
ANDRE DUBUS III is the author of six books including
House of Sand and Fog, a #1 New York Times bestseller,
National Book Award finalist, and Oprah Book Club
Selection, which was adapted into an Academy Awardnominated motion picture. The Garden of Last Days is
soon to be a major motion picture. His memoir, Townie,
was a #4 New York Times bestseller. Dirty Love is as a
New York Times Notable Book. A Guggenheim Fellow,
Dubus has written books that are published in over
twenty-five languages.
AMY ARBUS has published five books, including
the award-winning On the Street 1980-1990 and The
Inconvenience of Being Born. The New Yorker called
The Fourth Wall her masterpiece. Her most recent is
After Images. Arbus’ photographs have appeared in
New York Magazine, The New Yorker, and The New
York Times Magazine. She teaches portraiture at ICP
and is represented by The Schoolhouse Gallery. Her
photographs are in the collections of The New York
Public Library and The Museum of Modern Art.
ANGELA DUFRESNE studied painting and video at the
Kansas City Art Institute and painting at the Tyler School
of Art. She held Fellowships at the Fine Arts Work Center
from 2002-2004 and at Yaddo in 2015. She taught
painting, and culture at large, in various places: Sarah
Lawrence College, Princeton University, and RISD.
WONDROUS STRANGE:
DRAWING AND WRITING THE
SHORE’S UNCONVENTIONAL
BEAUTIES JUNE 27 - WORKSHOP
JUNE 30 - TOWN HALL EXHIBITION
The Work Center is pleased to host
CAMP LIGHTBULB – a summer camp for
LGBTQ youth – for a special day of drawing,
listening, writing, and creating art inspired by
the natural landscapes of Provincetown.
Together with painting and writing faculty
MARK ADAMS and ELIZABETH BRADFIELD,
campers will explore the salt marsh, seashore,
and dunes through the lenses of natural and
human history, art, and literature. The workshop
will intertwine information about the landscape
with writing and drawing prompts. Utilizing the
art form of haibun, a classic Japanese form of
travelogue that uses poetry, art, and prose, the
workshop will culminate in drawings and writings
displayed at a special exhibition as part of
Camp Lightbulb’s 5th Annual Show N Tell
fundraising event at Town Hall on June 30.
CA MP L I GHT B U L B .O RG
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SUMMER WORKSHOPS
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JOH N MURI LLO
N AO MI JACKS O N
MA RT HA CO LLI N S
L I Z ROS E NB E RG
MICHAEL KLEIN
JI M P E T E R S
FA N N Y H OW E
BRIAN TURNER
THE FRANKENSTEIN WITHIN:
MEMOIR AS COLLAGE
SOMETHING IN THE AIR:
THE POEM AS A SAID THING
THIS SUMMER,
YOU WRITE YOUR NOVEL
In this workshop, we’ll aim to generate new materials
that are seemingly disparate, and then discover ways
to braid these fragments into a larger, cohesive whole.
We will also workshop previously written creative work.
We’ll roll up our sleeves, open our notebooks to the
day’s work, and wander into the wide landscape of the
imagination.
In this workshop, you will focus on the poem as
something intended to be read aloud and listened to.
While we will consider such topics as voice, audience,
and performance styles, this is not a course on performing.
Instead, consider this an invitation to learn to write poems
that can live as well in the air as they do on the page.
You will make significant progress on your goal of
finishing a draft of your novel by the end of the summer.
Participants will cheer each other on as they break
through obstacles to their projects’ completion. Each
student will submit and receive feedback on a new
excerpt of their novel. Appropriate for beginning as
well as advanced writers, this week-long course will
be of particular interest to writers who want to work
on developing characters, generating plot ideas, and
structuring their novels.
This advanced workshop is both generative and
discussion-based. We will talk about the world – from
ancient to present – with short texts for focus, and we
will write freely and read aloud.
Professor Emerita, UCSD, FANNY HOWE has taught
in many universities. Her awards include a Ruth Lilly
Award and a Lenore Marshall Award. She has been a
finalist for the National Book Award and the Man Booker
International Award. She writes fiction, poetry, and
essays and lives in Boston. Her new work of nonfiction,
The Needle’s Eye: Passing through Youth, is forthcoming
from Graywolf in November 2016.
BRIAN TURNER is the author of the memoir, My
Life as a Foreign Country (W.W. Norton, 2014), and
two collections of poetry – Here, Bullet and Phantom
Noise. He received a USA Hillcrest Fellowship, NEA
Fellowship, Amy Lowell Traveling Fellowship, and
Lannan Foundation Fellowship. His work has appeared
on National Public Radio, the BBC, Newshour, and
Weekend America. He teaches and is the Director of the
low-residency MFA at Sierra Nevada College.
J U LY 3 - 8
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WHAT’S IT ALL ABOUT: NONFICTION
AND FICTION WORKSHOP
9AM-Noon | $600 | By Application
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WEEK 4
JOHN MURILLO is the author of the poetry collection,
Up Jump the Boogie, finalist for both the Kate Tufts
Discovery Award and the PEN Open Book Award.
His honors include a Pushcart Prize and fellowships
from the National Endowment for the Arts, the Bread
Loaf Writers’ Conference, the Fine Arts Work Center in
Provincetown, the Cave Canem Foundation, and the
Wisconsin Institute for Creative Writing. He teaches at
Hampshire College and New York University.
NAOMI JACKSON is the author of The Star Side of
Bird Hill (Penguin Press, 2015). She studied fiction at
the Iowa Writers’ Workshop. Jackson traveled to South
Africa on a Fulbright scholarship, where she received
an M.A. in Creative Writing from the University of Cape
Town. A graduate of Williams College, she has taught at
the University of Iowa, University of Pennsylvania, the
Iowa Summer Writing Festival, and Oberlin College.
WRITING FOR
YOUNG ADULTS
HOW TRUE IS TRUE:
APPROACHES TO MEMOIR
9AM-Noon | $650 + $40 model fee | Open
Through the reading of published poems and the
writing of daily exercises, you will discover ways in
which syntax and prosody – sentence and line – work
together to create complex poetic textures. In this
generative workshop, you will explore a variety of
syntactic strategies for writing poems. Participants will
leave the workshop with the beginnings of at least four
new poems, some of which we’ll discuss in class, as well
as a number of starting points for other poems.
We will be writing for young adults, through in-class
assignments and by going over work generated this week,
or brought with you. We’ll talk about voice, plotting, genre,
courage, setting, truth-telling, audience, sex, drugs, and
rock n’ roll. We’ll look at examples of great writing for
young adults, trying to figure out how to write our own
stories. The workshop is run casually, but at a galloping
pace, and all are warmly welcomed.
In this class you will read masters in the form of Memoir
(Edouard Leve, Hilton Als, and Kathryn Harrison among
them) and use your own life stories to cross over into
the making of art. You will find ways to access your own
autobiographical material, both essential and surprising.
You’ll also explore how your material is nuanced in ways
that both support and resist the slippery nature of truth.
In our paintings, do we see/identify the figure as an
individual, maybe even an intimate, or do we desire
the figure to be an icon or symbol representing a facet
of humanity – the personal versus the universal? In our
paintings we will experiment with the properties of space,
scale, placement on the canvas, text/image, abstraction/
realism, color, etc., to delve into the desired context of our
own figure compositions. The week will be a workshop
environment with individual one-on-one critiquing and
models available each day. All mediums are acceptable,
and all levels of experience are encouraged to participate.
POETRY WORKSHOP:
SENTENCE AND LINE
MARTHA COLLINS is the author, most recently, of
Admit One: An American Scrapbook (Pittsburgh, 2016).
She has published seven earlier books of poetry, as well
as four collections of co-translated Vietnamese poetry.
Her awards include fellowships from the NEA and
the Bunting Institute. Founder of the Creative Writing
Program at UMass-Boston, she served as Pauline
Delaney Professor of Creative Writing at Oberlin College
until 2007.
LIZ ROSENBERG has published more than twenty-five
books for young readers, including two YA novels and
five poetry anthologies. Her work is featured on PBS, in
The New York Times, and The New Yorker. She is also
a best-selling novelist and has published four books
of poems. For the past twenty years she has been a
children’s book review columnist for the Boston Globe,
and she chaired the National Book Award for Young
People’s Literature.
MICHAEL KLEIN’s fourth book of poems (and
some prose) is When I Was a Twin. He has been a
Lambda Literary Award finalist five times, winning the
award twice. He is also the author of two works of
autobiography: Track Conditions and The End of Being
Known (University of Wisconsin Press). He teaches
in the MFA program at Goddard College and in the
undergraduate program at Hunter College in New York,
where he lives when he isn’t living in Provincetown.
THE FIGURE:
AN INTIMATE OR AN ICON
JIM PETERS graduated from Maryland Institute
College of Art with an MFA in Painting. A painter and
constructionist, he exhibits at ACA Gallery, NYC, and
at Provincetown’s artSTRAND gallery of which he is a
founding member and co-owner.
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SUMMER WORKSHOPS
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PA M H OU STON
JAMES LECESNE
ADVANCED PROSE
WORKSHOP
9AM-1PM | $725 | By Application
THE POWER
OF STORY
THE SACRED, THE PROFANE, & THE
PROPHETIC: A POETRY WORKSHOP
AFTER GREAT PAIN A FORMAL FEELING COMES:
EXPLORING EXPERIENCE THROUGH POETIC FORM
An advanced class open to prose writers working in
short stories, novels, personal essays, memoirs, and
experimental prose. We will work toward demystifying
essential components of great prose (image, metaphor,
structure, dialogue, character, scene) and turning them
into comprehensible tools. At the same time we will
honor (and hope for) the inexplicable flights of creativity
(and madness?) that take a good story and make it great.
Whether you are working on a screenplay, TV pilot,
one-person show, or novel, storytelling is hard work
requiring honesty, courage, craft, and determination.
This highly interactive workshop uses instruction and
exercises to identify aspects of any good story, and to
show you how to map out your own stories. By the end
of the week, you will possess the skills to navigate any
story you wish to tell.
You will explore the way these three modes of thought
and feeling serve as inspiration for new work. We will
read contemporary poets who have found inspiration in
these modes of expression and look at the rhetorical and
formal strategies, with an eye to seeing how they might
help you in writing your own poems. You will be on a
path of discovery with a supportive community of fellow
practitioners who will read and respond to your work.
This workshop focuses primarily on poetic form. You will
study, in brief, the history of these forms – their strict
and loose interpretations, and how your formal poems
can thrive in the present instead of seeming beholden
to, and sounding like they were written, in the past. You
will be expected to write a new poem in a new form
for every workshop meeting. Designed for all levels of
poets, regardless of past experience with formal poetry.
PAM HOUSTON’s most recent book is Contents May
Have Shifted (W.W. Norton, 2012). She is the author of
two collections of linked short stories, Cowboys Are My
Weakness and Waltzing the Cat; the novel, Sight Hound;
and a collection of essays, A Little More About Me. Her
work appears in Best American Short Stories of the
Century. She directs the literary nonprofit Writing
By Writers, is a professor of English at UC Davis, and
teaches in The Institute of American Indian Art’s
Low-Rez MFA program.
The New York Times ranked JAMES LECESNE “among
the most talented solo performers of his (or any)
generation” in a review of his recent Off Broadway
solo show, The Absolute Brightness of Leonard Pelkey.
Lecesne is the Work Center’s 2016 Summer Award
Honoree. His Academy Award-winning short film,
Trevor, inspired the founding of The Trevor Project, the
only nationwide 24-hour suicide prevention Lifeline
for LGBTQ youth. He teaches story and structure to
documentary film students at New York Film Academy.
FRED MARCHANT’s newest book of poetry is The Day
Later (Graywolf, 2017). His first book, Tipping Point, won
the 1993 Washington Prize and was re-issued in 2013
in a 20th Anniversary Edition. He is also the author of
Full Moon Boat and The Looking House. Marchant is a
Professor Emeritus of English at Suffolk University and
founding director of the Creative Writing Program, the
Poetry Center, and the Day One Poetry Project.
ROWAN RICARDO PHILLIPS is a 2015 Guggenheim
fellow. He is the author of Heaven (FSG, 2015), named
one of the five best poetry collections of 2015 by The
Washington Post and longlisted for the 2015 National
Book Award. His first collection, The Ground (FSG, 2012)
won a Whiting Writers’ Award, PEN/Osterweil Award,
and GLCA New Writers Award. He is a contributing
writer for Artforum and writes regularly on basketball for
The Paris Review.
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F RED MARCH A N T
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ROWA N R I CA R DO P HI LLI P S
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LI N DA B O N D
RO B E RT H E NRY
IF YOU CAN SEE,
YOU CAN DRAW
Everyone can learn to draw and, with practice, draw
well. Drawing is mostly about looking at the world
around us and noticing our visual experiences. Open
your eyes in Provincetown and engage in the drawing
process as you learn to see in fresh, new ways. Work
and play with a variety of approaches, inside and
outdoors. Open to students with little or no drawing
experience, as well as those who would like to refresh
their drawing skills.
LINDA BOND is a former Fellow of the Fine Arts
Work Center and 2013 Massachusetts Cultural Council
Fellow. In 2015, she exhibited her work in a solo show
at Brandeis University. She is the recipient of grants
from the Foundation for Contemporary Art and Artists
Resource Trust. Represented by the Schoolhouse
Gallery, she teaches at the Massachusetts College of Art
and is Resident Scholar at The Women’s Research Study
Center at Brandeis University.
J U LY 1 0 - 1 5
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VA
A NT H O NY K I R K
CO NS TA NT I NE M A NOS
EXPRESSIVE
PAINTING IN OIL
MASTER PRINTER SERIES: MAKING
MONOTYPES WITH WATER-BASED MEDIA
PERSONAL
DOCUMENTARY PHOTOGRAPHY
In this workshop, you will work in a relaxed, congenial
and cooperative environment where there are no predetermined rules. You will generate your opportunities and
limitations from a will to be expressive, and an exposure
to methods, techniques, and strategies that help to turn
visions of the world into your expression on canvas.
There will be a clothed model in an environment that
encourages composition. The class should be thought
of as a painting class, not purely a figure painting class.
You should come out of the class with a heightened
ability to freely interpret reality in paint.
You will be shown how to prepare and use mat
board printing plates that have the texture of mild
sandpaper and are therefore conducive to drawing with
water-soluble crayons and painting with water-based
printing ink. Being lightweight, these plates are easily
transportable and are particularly useful for plein air
artists who may wish to draw and paint in situ.
You will learn precise techniques for photographing
in the public domain unobtrusively at close range –
combining people, place, and moment in unique images,
each of which is a surprise. The elements of chance,
time, place, and personal point of view play important
roles. Basic skills in camera technique required. You will
work with a digital camera and wide-angle lens in the
28-35mm range. Bring an edit of 10-20 previous images
for the initial review and critique.
9AM-Noon | $650 + $40 model fee | Open
ROBERT HENRY has had numerous one-person
exhibitions including shows at the Cortland Jessup
Gallery and Barbara Inger Gallery in New York. He is
Professor Emeritus at Brooklyn College.
ANTHONY KIRK, a master printer, teacher, and artist,
has for several years collaborated with Wolf Kahn in the
printing of his monotypes using textured plates, waterbased Akua inks and caran d’ache water-soluble crayons.
CONSTANTINE MANOS is a partner in Magnum
Photos. His photographs are in the permanent
collections of the Museum of Modern Art, New York;
the Art Institute of Chicago; the Museum of Fine Arts,
Boston; the Bibliotheque National, Paris; and George
Eastman House, Rochester, among others. Manos is the
author of five books, including Portrait of A Symphony.
In 2003 Manos was awarded the Leica Medal of
Excellence for work from his American Color series.
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SUMMER WORKSHOPS
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DAV ID BA K ER
GA BRIELLE CALVOCORESSI
LYRIC NATURE:
A POETRY WORKSHOP
IN THE POEM LAB: A WEEK OF EXPERIMENTATION,
CONTEMPLATION, COLLABORATION & NEW POEMS
SALVATORE SC I B O N A
WEEK 6
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GA I L MA ZUR
HOW TO TELL
A LOVE STORY
1-4PM | $600 | Open
WRITING NEW POEMS,
REVISION OF UNFINISHED POEMS
We’ll talk about the lyric and explore the many ways a
poem is “about” nature. To help, we’ll read classic and
contemporary poems, and try out options from “pure”
descriptive lyrics to more political or socially-engaged
narratives. We’ll look at old forms (like the georgic and
pastoral) but also new possibilities such as hybrid texts,
erasures, documentary poems, and the eco-poem.
There’s more than one way to write a nature poem.
You will work to write at least seven new poems and to
devise “experiments” that will take you through a whole
year of writing once you leave the class. In addition, we
will have the remarkable good fortune to collaborate
with master printmaker Fred Liang in a visual-poemical
project that uses poems and visual practice to make
something entirely new. Last year all students went
home with a gorgeous broadside.
There is nothing that doesn’t belong in a poem, what
may seem “off” only has to find the right place inside the
poem. This will be a week for writing new poems and
re-charging poems you’ve been struggling to finish.
In the workshop, with generous focused discussion,
we’ll work to energize poems you may have been
floundering with and to write new ones daily, suggested
by exercises that can use anything and everything. Bring
your tools!
DAVID BAKER is author of eleven books of poetry, most
recently Scavenger Loop (Norton, 2015) and Never-Ending
Birds (Norton). His five books of prose include Show Me
Your Environment: Essays on Poetry, Poets, and Poems
and Radiant Lyre: Essays on Lyric Poetry. The recipient
of fellowships from the Guggenheim Foundation and
NEA, he holds the Thomas B. Fordham Chair at Denison
University, teaches in the Warren Wilson MFA Program,
and serves as Poetry Editor of The Kenyon Review.
GABRIELLE CALVOCORESSI is the author of The Last
Time I Saw Amelia Earhart and Apocalyptic Swing,
finalist for the Los Angeles Times Book Prize. She is
the recipient of a Stegner Fellowship and a Rona Jaffe
Woman Writers Award. Calvocoressi is Senior Poetry
Editor at Los Angeles Review of Books. She teaches in
the Warren Wilson Program for Writers and at University
of North Carolina at Chapel Hill. Her third book of
poems, Rocket Fantastic, is forthcoming.
According to W.B. Yeats, “Only that which does not
teach, which does not cry out, which does not
persuade, which does not condescend, which does
not explain, is irresistible.” Yet when experience or
imagination compel us to write fiction about love, the
first things we want to do are cry out and explain!
We will workshop your stories with an eye toward
transforming the intensity of the lived experience of love
into a work of fiction that the reader not only witnesses,
but experiences herself.
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SALVATORE SCIBONA’s first novel, The End, was
a finalist for the National Book Award and winner of
the Young Lions Fiction Award from New York Public
Library. In 2010, he was named one of The New Yorker’s
“20 Under 40” writers to watch. For many years the
writing coordinator for the Work Center’s Fellowship
Program, he is an assistant professor of English at
Wesleyan University.
1-4PM | $600 | Open
GAIL MAZUR’s seventh collection is Forbidden City (2016).
Previous collections include Figures in a Landscape;
Zeppo’s First Wife: New & Selected Poems, winner of
the 2006 Massachusetts Book Award, and finalist for the
Los Angeles Times Book Prize; and They Can’t Take That
Away from Me, finalist for the National Book Award. She
is Distinguished Writer-in-Residence at Emerson College
and Founding Director of the Blacksmith House Poetry
Series in Cambridge.
J U LY 1 7 - 2 2
WEEK 7
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F R ED LI A N G
M A R I A N ROT H
PAU L S TO P FO RT H
MONOPRINTING: MAGICAL TRANSFORMATION,
CREATING UNDER PRESSURE
Bridge the immediacy of drawing with the processes of
printmaking. Ideal for both artists with limited printmaking
experience, and advanced printmakers eager to learn
traditional and alternative printmaking techniques. Through
classroom demonstrations and one-on-one instruction,
learn an array of monoprinting/monotypes, and alternative
techniques – including reductive printing, color printing,
image and text transfer, and chine-collé – and employ
these methods to magically transform your own images
into a cohesive suite of portfolio prints. Opportunities for
collaboration with writing students.
FRED LIANG is a professor of Fine Arts 2D at Massachusetts
College of Art and Design. He received a BFA from University
of Manitoba and MFA from Yale University. He has exhibited
at North Dakota Museum of Art, Inside Out Museum and
Kupper Gallery in Beijing, Edition Book Fair, New York ‘11, and
Institute of Contemporary Art Boston, among others. He is
represented by Carroll and Sons Gallery in Boston.
THE WORLD OF
CAMERA OBSCURA
DISCOVERING
DRAWING
Pinhole photography (camera obscura) creates photographic
images without a sharpening lens, linear focal plane, or
factory set apertures and shutter speeds. Results are often
dreamy and mysterious, both softer and more personal than
images created in mechanical or digital cameras. Learn all
aspects of pinhole photography from camera construction
to production of pinhole images. Together we will convert a
room into a walk-in camera. Beginners welcome.
Discover what it means to place marks on paper that
begin to transform what we see into what we think
and feel about ourselves and the objects we find in
the world around us. Explorative drawing processes
with a wide range of graphic mediums will enrich
your personal drawing practice. For those who wish to
explore drawing for the first time as well as artists with
ongoing studio practices.
MARIAN ROTH has been constructing pinhole cameras
and creating pinhole imagery for over twenty years. She
received a Guggenheim Fellowship in Photography in 2000,
and a Pollock-Krasner in Photography this year. She recently
converted the concession stand at Herring Cove Beach into
a camera obscura during the Ten Days Of Art Festival at the
National Seashore. Recent projects include conversion of an
ice fishing tent, a traveling Jeep Wrangler, and a geodesic
dome. She is represented by AMP Gallery in Provincetown.
Early in his career in South Africa, PAUL STOPFORTH
produced several bodies of work that were startling
in their courageous engagement with the repressive
society in which he lived. Invited to be Artist-InResidence at Tufts University, Stopforth left South Africa
in the late 1980s. Recently retired from the faculty of the
School of the Museum of Fine Arts, Boston, he is now
a full-time artist. His work is held in public and private
collections in South Africa and the USA.
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A NDR E W M O C K L E R
MONOTYPE
How did Degas or Helen Frankenthaler make monotypes?
Why do contemporary artists like Dana Schutz, Elizabeth
Peyton, and Peter Doig all use monotype today to liberate
their work? With landscape, the figure, abstraction,
or photographic sources, the monotype allows you to
express your own voice with immediacy. During the week,
we will explore traditional techniques, and ways to apply
them to contemporary needs. We will also experiment
with materials - fabric, paper, found objects, plants,
etc.– and ways of printing with and without a press that
can be used to make unique images.
ANDREW MOCKLER has shown work in numerous
exhibitions, including Metaphor Gallery, Brooklyn,
Johnson Museum of Art; George Billis Gallery (New York
and Los Angeles); Addison Gallery of American Art; and
Hunter College. He is the director and master printer of
Jungle Press Editions, a print workshop in Brooklyn, NY,
and teaches in the MFA program at Hunter College.
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SUMMER WORKSHOPS
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PAT R I ZI A CHEN
PAU L B OW E N
A L A N SH A PIRO
MARTH A RH ODES
WRITING UNDER THE INFLUENCE:
CREATIVE IMITATION
ADVANCED POETRY WORKSHOP:
STRUCTURE, DICTION, SYNTAX & TONE
CREEDS, CONFLICTS & CONFESSIONS:
SHORT STORIES & PERSONAL ESSAYS
I AM NOT ME: MANIFESTING
NARRATIVE VOICE IN FICTION
STEALING FROM LIFE:
MEMOIRS IN CONTEXT
This workshop welcomes writers who seek the challenge
that an advanced workshop can bring in discussing their
poems through the focus of craft. We will look at the
decisions each poet has made in terms of managing the
content of their poems: structure, diction, syntax, tone, and
overall strategy. Both a revision workshop and generative,
exercises will be given on a daily basis. You will look at
both “traditional” ways of revising poems, as well as
exhilarating “radical” approaches.
The world seems awash in conflict. We will write about
it. Through op-eds, short stories, and personal essays,
students will explore the creeds that define their
understanding of the world, the conflict they have seen,
and the role of confession in narrative.
We all know the feeling of encountering a strong
narrative voice on the page. In this workshop you will
examine a number of different narrators, delivered in
both first and third person – ranging from the deranged
to the conniving to the heartbroken – from such
authors as Deborah Eisenberg, Alice Munro, Kelly Link,
and Adam Johnson. We will also work on mining and
polishing the narrative voices in our own stories through
in-class writing and revision.
9AM-1PM | $725 | Intermediate/Advanced
This will be a generative class. We’ll read four poets on
Monday (yet to be determined) and then each day
thereafter students will bring to class a poem, in
imitation. By the end of the week, I promise you you’ll
have four of the best poems you’ve ever written and a
set of skills you otherwise wouldn’t have.
ALAN SHAPIRO has published twelve books of poetry,
most recently Reel to Reel, a finalist for the Pulitzer
Prize, and Night of the Republic, a finalist for both
the International Griffith Prize and the National Book
Award. His new book, Life Pig, will appear in 2016 from
University of Chicago Press.
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9AM-Noon | $600 | Intermediate/Advanced
MARTHA RHODES is the author of four poetry
collections: At the Gate, Perfect Disappearance, Mother
Quiet, and The Beds. She teaches at Sarah Lawrence
College and at the MFA Program for Writers at Warren
Wilson College. Rhodes is the director of Four Way Books,
where she edits and publishes award-winning writers
including Gregory Pardlo (Pulitzer Prize), Rigoberto
Gonzales (Lenore Marshall Award and Lambda Award),
and Yona Harvey (Kate Tufts Discovery Award).
ERIC FAI R
1-4PM | $600 | Open
ERIC FAIR’s memoir, Consequence, was published by
Henry Holt in 2016. He is an Army veteran who worked
in Iraq as a contract interrogator in 2004 and 2005. He
won a Pushcart prize for his 2012 essay “Consequence,”
which was published first in Ploughshares and then in
Harper’s Magazine. His op-eds on interrogation have
been published in The Washington Post and The New
York Times. He lives in Bethlehem, Pennsylvania.
R EI F LA R S EN
REIF LARSEN is the author of the novels I Am Radar
and The Selected Works Of T.S. Spivet, which was a
New York Times Bestseller and adapted for the screen
by Jean-Pierre Jeunet (Amélie). Larsen’s essays and
fiction have appeared in The New York Times, The
Guardian, Tin House, Travel & Leisure, one story,
The Millions, and The Believer. He is currently the writerin-residence at the University of St Andrews in Scotland.
J U LY 2 4 - 2 9
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S I O B H A N L I DD E L L
DRAWING ON
THE WATERFRONT
THE IMAGE & THE WORD: A COLLABORATIVE
WORKSHOP FOR PHOTOGRAPHERS & WRITERS
In this workshop, participants will find their unique
writing voice via personal experience. We will build
writing that integrates and shares all ingredients of
life – love, food, travels – creating successful essays and
memoirs. Chen will be delighted to meet one-on-one
with students to discuss their work.
You will draw along Provincetown’s harbor, with its
wharves and blackened pilings, schools of fish breaking
the surface of the sea, brightly colored boats pulled up
onto the beach, sailboats, dories, fishing boats, and
ferries. With charcoal, pen, ink, and graphite, you will
search out inspiration, interpreting what you see in a
thoroughly contemporary way. We may even spend
an evening catching squid, whose ink is a wonderful
medium with which to draw.
In this class, you will combine written text with
photographic sequences to yield surprising results, and
tell a visual story in a new way. Includes assignments and
lively group discussions, designed to inspire you to tell
your own visual stories in a personal way. You will also
experiment with numerous writing forms and discuss
ways to present the text/image projects you create. No
previous writing or photographic experience is necessary.
Explore your own history and the history of painting,
focusing on the “mystery of the everyday.” Taking in the
beauty of Provincetown and the light that has drawn
artists to this unique cape, we will use watercolor
techniques to express our responses. The starting place
is play and getting lost in both the medium/material and
the subject. All levels are welcome, some experience is
helpful, but basic instruction will be provided.
JOANNE DUGAN’s limited-edition photographs have
been exhibited in galleries in the US, Europe and
Japan and are widely collected. Her images have been
published nationally in seven books combining image
and text, including the award-winning Taxi Driver Wisdom
(Chronicle Books), ABC NYC: A Book About Seeing New
York City (Abrams Books) and two fine-art monographs.
She is on the faculty of ICP in New York City and is
represented by The Schoolhouse Gallery in Provincetown.
SIOBHAN LIDDELL is a painter and sculptor whose
work deals with the space between knowing and
unknowing, history and the continuum of desire to
record and create our unique worlds. Her work is in the
collections of the Hammer Museum, Los Angeles, and
the Whitney Museum, New York. She has taught at Yale,
Ohio State University, and CCA Japan. Recipient of the
Rome Prize, she shows at CRG Gallery in New York, and
Eric Dupont Gallery in Paris.
PATRIZIA CHEN’s first book, Rosemary and Bitter
Oranges, was a New York Times Notable Book of 2003.
Chen’s first novel, It Takes Two (Scribner, 2009), is now
being adapted into a musical.
PAUL BOWEN came to Provincetown from Wales as
a Work Center Fellow in 1977 and stayed for almost
thirty years. A resident of Vermont, he constructs
sculpture from found wood and draws in a variety of
media, including ink made from his own walnut trees.
His work is in many museum collections including the
Guggenheim Museum, New York, Museum of Fine
Arts, Boston, and Walker Art Center, Minneapolis. In
Provincetown, he is represented by Albert Merola
PAINTING
THE PERSONAL
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SUMMER WORKSHOPS
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A L A N SH A PIRO
SARAH SCH ULMAN
REVISION
THE CRAFT AND NUANCE
OF FICTION FOR ALL LEVELS
PAUL LISIC KY
A workshop devoted to revision. My hope is that you’ll
each bring four or five poems to class, poems you’ve
been working on for a while but just can’t get into a
satisfying shape. I hope too that over the week
you’ll also bring into class revisions of poems we
have critiqued.
ALAN SHAPIRO has published twelve books of poetry,
most recently Reel to Reel, a finalist for the Pulitzer
Prize, and Night of the Republic, a finalist for both
the International Griffith Prize and the National Book
Award. His new book, Life Pig, will appear in 2016 from
University of Chicago Press.
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DEVELOPING
YOUR MEMOIR
This workshop is a craft-based approach to the writing
of fiction designed to accommodate everyone from stark
beginners to writers who have published multiple volumes.
As the author of novels, nonfiction books, plays, and
movies, Sarah Schulman will lead an exploration into the
many ways into storytelling and unfolding character. You
will focus on grappling with and writing about things that
matter to you: formal, social, and emotional.
This is a class for those who are looking to begin (or
revive) a memoir project. We’ll spend the first part of
the week reading and thinking about the work of other
writers, generating material inspired by those selections.
We’ll spend the final two days talking about your new
work. Along the way we’ll work hard, have fun, and
make sure delight isn’t an enemy to seriousness.
SARAH SCHULMAN’s most recent novel is The
Cosmopolitans (The Feminist Press, 2016). She is the
author of 18 books, including the novels The Mere
Future (2012), The Child (2009), Shimmer (1998), and
Rat Bohemia (1995). Recent nonfiction includes Israel/
Palestine and the Queer International (2012) and The
Gentrification of the Mind: Witness To A Lost Imagination
(2012). Her honors include a Guggenheim Fellowship in
Playwriting. She is Distinguished Professor of English at
the City University of New York, College of Staten Island.
PAUL LISICKY’s most recent book is The Narrow Door:
A Memoir of Friendship (Graywolf, 2016). His earlier
books include Unbuilt Projects, The Burning House,
Famous Builder, and Lawnboy. His work has appeared
in The Iowa Review, Ploughshares, and Tin House.
He is the recipient of fellowships from the NEA, James
Michener/Copernicus Society, and the Fine Arts Work
Center. He teaches in the MFA Program at Rutgers
University-Camden, where he is the editor of the journal
StoryQuarterly.
WEEK 8
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JOS H NE U FE L D & SA R I W I L S O N
JA M E S E V E R E T T S TA NL E Y
9AM-1PM | $725 + $25 materials fee | Open
9AM-Noon | $650 + $40 model fee | Intermediate/Advanced
Julia Glass’s workshop is for anyone writing stories,
whether “true” or invented (or both), about family, especially your own. Whether you are crafting a personal
essay or short story, a memoir or multigenerational
saga, to write about family is to write about essential
loyalties, rivalries, pathologies, and mythologies. This
is also the perfect workshop for anyone struggling with
the decision whether to use personal material as the
foundation for memoir or fiction.
Explore photography as universal storytelling language.
You may be a photographer who is compelled to
build a narrative or a writer who longs to explore how
plot can translate into imagery. Your stories may be
fact or fiction, staged or found, poems or novels. Look
at multiple genres of photography such as portraiture,
landscape, and still life as a visual language with
which to tell a story. Portfolio review offered for each
participant.
Using the original Motherwell press in the Mazur
Print Studio, Catherine Mosley will teach an open
enrollment print workshop. The reconstructed print
includes a number of monotype techniques that can be
combined in a finished collage. This intensive course will
cover stencil, direct painting on plates, and gum arabic
transfers, as well as multiple layers of found and original
college materials.
Comics use words and pictures together to form
powerful narratives. Using material from your own life,
you’ll create an original minicomic. It can be about last
night’s dinner, or a moment that changed you forever
– as long as it fits into a booklet of 8-12 pages. Examine
basic principles of visual storytelling, find narrative
“beats,” and help each other discover our “true” stories.
We’ll reproduce and swap our minis, and set up an open
studio to share our work.
Artists through the centuries have painted the figure to
more fully understand the human form and to use it to
communicate broader issues. Even today, when digital
media is everywhere, more and more contemporary
artists are drawn to the pursuit of figurative painting in
traditional and innovative ways. In this workshop, we’ll
examine contemporary issues in figure painting. Class
sessions will include painting the model from observation, exploration utilizing different painting exercises
and techniques, slide lectures, and critique.
JULIA GLASS is the author of the novels And the Dark
Sacred Night, The Widower’s Tale, The Whole World Over,
and the National Book Award–winning Three Junes, as
well as the Kindle Single “Chairs in the Rafters.” Her third
book, I See You Everywhere, a collection of linked stories,
won the 2009 SUNY John Gardner Fiction Award. She is
a cofounder and literary director of the arts festival Twenty
Summers in Provincetown.
DAVID HILLIARD creates large-scale multi-paneled
color photographs, often based on his life or the lives
of people around him. He exhibits nationally and
internationally and has won numerous awards including
the Fulbright and Guggenheim. His photographs can
be found in the Whitney Museum of American Art in
New York and the Museum of Fine Arts Boston, among
others. He is regular visiting faculty at Harvard University
and the School of the Museum of Fine Arts Boston.
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SWIMMING IN THE GENE POOL:
FAMILY, FACT AND FICTION
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J U LY 3 1 - A U G U S T 5
DAV I D HI LLI A R D
THE PHOTOGRAPH AS LANGUAGE:
THE ART OF VISUAL STORYTELLING
THE RECONSTRUCTED PRINT
CATHERINE MOSLEY is a printmaker who worked
with Robert Motherwell Editions from 1978-1991 and
editioned many of his graphic works. She assisted the
artist in his studio on plate preparation and proofing for
his livre d’artiste edition of Joyce’s Ulysses, printed by
Robert Townsend for Arion Press.
MEMOIR COMICS
WORKSHOP
JOSH NEUFELD, author of A.D.: New Orleans After the
Deluge (Pantheon), and illustrator of The Influencing
Machine (W.W. Norton), has been an Atlantic Center
for the Arts Master Artist and a Knight-Wallace Fellow.
Former Work Center Fellow SARI WILSON, author
of Girl Through Glass (Harper, 2016), has published
stories in Slice, AGNI, and The Oxford American. She is
co-editor, along with Josh Neufeld, of Flashed: Sudden
Stories in Prose and Comics.
FROM HEAD TO TOE:
A FIGURE PAINTING WORKSHOP
JAMES EVERETT STANLEY received his MFA in
painting from Columbia University. A former Fellow at the
Fine Arts Work Center and current visual arts coordinator,
he is an alumnus of the Skowhegan School of Painting
and Sculpture and was awarded a Marie Walsh Sharpe
Foundation Studio Program fellowship. His paintings and
drawings have been shown throughout the US. He is
represented locally at the Schoolhouse Gallery.
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A CELEBRATION OF POETIC VOICES
Poetry has always drawn students to the Summer Workshop Program. Each year,
hundreds of poets arrive at the Work Center to refine their technique with some
of the most talented poets as faculty and mentors.
RICHARD BLANCO
2016 Poetry faculty include DAVID BAKER, JILL BIALOSKY,
SOPHIE CABOT BLACK, ELIZABETH BRADFIELD,GABRIELLE CALVOCORESSI,
MARTHA COLLINS, NICK FLYNN, MARIE HOWE, KIRUN KAPUR,
FRED MARCHANT, GAIL MAZUR, SARAH MESSER, EILEEN MYLES,
JOHN MURILLO, ROWAN RICARDO PHILLIPS, MARTHA RHODES,
ALAN SHAPIRO, and PETER SHIPPY.
ONE-DAY SATURDAY WORKSHOP
SATURDAY, AUGUST 13
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RO B E RT P I NS K Y
IMAGINATION
AND MUSIC
POETRY INTENSIVE WEEK – AUGUST 7 - 12
This year we are pleased to announce a POETRY INTENSIVE WEEK
with a series of workshops dedicated to poetry. The week includes an opening
keynote by inaugural poet RICHARD BLANCO; workshops by Blanco, as well as
by the 2015 Pulitzer Prize winner for poetry, GREGORY PARDLO; National Book
Award finalist, ADA LIMÓN; Lannan Literary Fellow NATALIE DIAZ; and poet/
photographer RACHEL ELIZA GRIFFITHS, widely known for her literary portraits,
and her video project P.O.P. (Poets on Poetry).
Other cross-genre workshops include painting, printmaking, and songwriting by
eminent artists RICHARD BAKER and DANIEL HEYMAN, and renowned singer
songwriter PATTY LARKIN. The week also offers concerts by PATTY LARKIN,
as well as PoemJazz featuring U.S. Poet Laureate ROBERT PINSKY, LAURENCE
HOBGOOD and STAN STRICKLAND. The week closes on Saturday with an
open-level workshop finale on poetry and music taught by
ROBERT PINSKY.
PATTY LARKIN
Tickets to the special performance events are free to participating students, and
available for purchase by the public, including the option to purchase a “Poet Pass”
for all three events. Proceeds from these special events will benefit the Work Center’s
Summer Workshop Program. As with all workshop weeks, the Work Center campus
will be alive nightly with free writer and artist talks, as well as the Thursday evening
Student Open Studios and Readings.
In this one-session, generative workshop, we’ll use the
music of syllables, words, sentences and lines to guide
our imaginations, helping us to compose poems in class.
You’ll then have the option of sharing your compositions
aloud with this adventuresome, supportive group, in the
spirit of improvisation.
ROBERT PINSKY’s Selected Poems was published by
FSG in 2011. His new book, At the Foundling Hospital,
will appear in the Fall. His recent anthology is Singing
School: Learning to Write (and Read) Poetry by Studying
with the Masters. He teaches in the MFA program at
Boston University and founded the Favorite Poem
Project. You can watch the videos at favoritepoem.org.
This series is generously supported by Mass Poetry. Mass Poetry supports poets and poetry
in Massachusetts to help broaden the audience of poetry readers, bring poetry to readers
of all ages and transform people’s lives through verse.
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POEMJAZZ
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SUMMER WORKSHOPS
AUGUST 7 - 12
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R IC H A R D BL A NCO
NATALIE DIAZ
CRAFT AND
CONSCIOUSNESS
MINING THE DEEP:
DISCOVERING OUR EMOTIONAL IMAGES
RACH EL ELIZA GR I F F I T HS
GR EGO RY PA R DLO
A DA LI MÓ N
PAT T Y L A R K I N
R I C H A R D BA K E R
DA NI E L H E YM A N
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1-4PM | $600 | Open
Through class discussions, readings, and exercises you
will dive deep into some of the key craft components
of poetry, namely: line breaks, line lengths, imagery,
rhythm, and closure, to challenge our understanding
and use of these. In addition, we will hold workshop
sessions to critique new work generated from assignments
that explore the intersection between our personal
consciousness and the larger public consciousness of
culture, gender, faith, race, sexuality, etc., in which our
lives are embedded.
RICHARD BLANCO is the fifth inaugural poet in US
history – the youngest, first Latino, immigrant, and gay
person to serve in such a role. He is the author of three
poetry collections: Looking for the Gulf Motel, Directions
to the Beach of the Dead, and City of a Hundred Fires;
and two memoirs: The Prince of Los Cocuyos: A Miami
Childhood, and For All of Us, One Day: An Inaugural
Poet’s Journey.
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WEEK 9
1-4PM | $600 | Open
This generative workshop explores image – image is more
than a thing you can see. Images are vessels of story,
history, mythology, action, and emotion. Using previous
knowledge of our images of obsession, we will do a series
of exercises to help discover and mine our new, emotional
images. To paraphrase painter Francis Bacon, we will
return the image to our nervous systems more violently
– meaning, we will build images that make us and our
readers feel.
NATALIE DIAZ is Mojave and an enrolled member of
the Gila River Indian Tribe. Her first poetry collection
is When My Brother Was an Aztec (Copper Canyon
Press). A Lannan Literary Fellow, Native Arts Council
Foundation Artist Fellow, US Artists Ford Fellow, and
Hodder Fellow at Princeton, Diaz teaches at the Institute
of American Indian Arts Low Rez MFA program. She
lives in Mohave Valley, Arizona where she works to
revitalize the Mojave language.
FACE TO FACE: FINDING YOUR
POEM’S TRUEST IMAGERY
THE FAN LABOR
OF POETRY
POETRY
AS SURRENDER
LYRIC:
A MUSIC WORKSHOP
TEXT AND IMAGE:
A PAINTING WORKSHOP
A workshop for songwriters and musical poets. Explore
creative approaches to lyric and melody through daily
writing exercises, analysis of song forms, literary tools of
the trade, and conversations on the American Songbook.
Develop your own unique voice. For those proficient on an
instrument, accompaniment is welcome, but not required.
Discuss your work in one-on-one feedback sessions, and
present a live performance on Student Open Studios night.
From Egyptian tombs to illuminated manuscripts,
throughout the Modernist art of the 20th century, and into
our contemporary city streets, words and images have
combined in abundant ways. Through exercises, continuous
discussion, and individual consultation, this workshop
explores ways words and images coexist, supplement,
or challenge one another in the context of making
paintings. Emphasis is on improvisation, experimentation,
and exploration. A high-minded spirit of playfulness and
adventure is this workshop’s guiding principle.
Other than handprints, woodblock prints are the oldest
and most natural form of printmaking. This class focuses
on color printing techniques using both multiple blocks
and one block reduction methods. Bold, colorful and
graphic, the woodblock print is as powerful today as it
was 500 years ago. Come discover a bit of history by
making your own!
This poetry and photography workshop uses generative
prompts to create new work based upon past poems.
How does light work in your poetry? How are your
poems ‘framed’? Where do the ‘eye’ and ‘I’ merge and
depart? We will engage visual works by celebrated
artists while we create our own personal, intimate
photographs, in an effort to write toward, within, and
against the voids and psychological landscapes in our
poems. See and revisit the art of seeing, through both
craft and intuition.
Collage, allusion, invocation, quotation, ekphrasis,
epigraph, persona, dialect, found text, received forms.
We poets often find ourselves – even when we want to
be like the innovative jazz musicians who reinvent old
standards – doing work similar to tribute bands and fan
fiction. Why invoke prior texts and media, and how do
we do so without subordinating our own aesthetic
agenda and the needs of the poem? How do we
participate in the genre without being utterly generic?
Oftentimes, poems come more freely after we dislodge
something inside of us. In this workshop, we’ll work
on unblocking those stubborn parts of us that tamp
down our natural voice. Using rigorous in-class writing
exercises, we’ll work together to produce new work and
take brave poetic risks. With a deep appreciation for
the mystery of poetry and a sense of freedom and play,
we’ll study the intricacies of line, syntax, and voice in our
own work.
RACHEL ELIZA GRIFFITHS is a poet and visual artist.
She is the author of four books of poetry including, most
recently, Lighting the Shadow (Four Way Books). Griffiths’
visual and literary work has appeared widely including
The New York Times, American Poetry Review, Poets &
Writers, Transition, Lit Hub, Guernica, and many others.
Currently, Griffiths teaches creative writing at the Institute
of American Indian Arts and Sarah Lawrence College.
GREGORY PARDLO’s collection Digest (Four Way Books)
won the 2015 Pulitzer Prize for Poetry. Digest was also
shortlisted for the 2015 NAACP Image Award and was
a finalist for the Hurston-Wright Legacy Award. His honors
include fellowships from the NEA and the New York
Foundation for the Arts; his first collection, Totem, won the
APR/Honickman Prize. Pardlo’s poems appear in The Nation,
Ploughshares, The Norton Anthology of Contemporary
African American Poetry, and Best American Poetry.
ADA LIMÓN is the author of four books of poetry,
Lucky Wreck, This Big Fake World, Sharks in the Rivers,
and Bright Dead Things, finalist for the 2015 National
Book Award in Poetry. Limón has received fellowships
from the New York Foundation for the Arts and the
Provincetown Fine Arts Work Center. She serves on the
faculty of Queens University of Charlotte Low-Residency
MFA program.
PATTY LARKIN redefines the boundaries of folkurban pop music with her inventive guitar wizardry
and uncompromising vocals and lyrics. A performing
singer songwriter with thirteen albums and thirty
years of touring experience, her songs are featured in
television and major motion pictures including Sliding
Doors (Miramax), Random Hearts (Columbia Pictures),
Evolution (Dreamworks), and have been covered by
Cher. She is an Artist-in-Residence in the Songwriting
Department at Berklee College of Music.
RICHARD BAKER is the recipient of a Pollock-Krasner
Foundation Grant and a New England Foundation for
the Arts Grant. His solo exhibitions include works at
Albert Merola Gallery in Provincetown, MA, and Tibor
de Nagy Gallery in New York. His work is included in
the public collections of The Contemporary Museum in
Honolulu, HI, and Museum of Fine Arts in Boston, MA.
He currently teaches painting at Rutgers University.
THE WOODBLOCK
PRINT
DANIEL HEYMAN, a printmaker and painter, is a
recipient of Guggenheim and Pew Fellowships. His
work is in over 25 public collections including Getty
Research Institute, Hood Museum of Art, Library of
Congress, New York Public Library, and the Philadelphia
Museum of Art. His nationally touring show of portraits
of Iraqi torture victims from Abu Ghraib Prison has been
exhibited in nine states. He teaches at RISD, Princeton
University, and the Pennsylvania Academy of Art, and is
represented by Cade Tompkins Projects.
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WEEK 10
SUMMER WORKSHOPS
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JUSTIN TORRES
HOW TO WRITE
A POEM
ADVANCED
FICTION WORKSHOP
1-4PM | $600 | By Application
TRANSFORMING CHAOS INTO ART:
A WORKSHOP IN FICTION AND MEMOIR
This is a no level workshop. You can enter or re-enter
the practice of writing poetry from any point, and often
inexperienced poets are more adept in picking up new
things and employing them than more experienced
practitioners. I’ve been thinking about John Milton,
Emily Dickinson, R. Erica Doyle, CA Conrad, and Karen
Weiser. I will bring in their work and talk about why I
think it shakes and see if we can tear off a piece of it, or
be altered by its process and make something new.
For writers at work on a longer project – a short story
collection, novel, or some poetic hybrid of genres – and
looking for critical feedback. The advanced workshop
is intensive; we will look at two student pieces per class
(short stories or excerpts from the longer work), plus
outside reading from masters. Please be prepared to
read and annotate the manuscripts of your peers, and
be eager to share your insights. In return, I promise a
thoughtful, lively class.
The most helpful writing workshops are ones in which
the group acts as a single organism, its sole purpose
being to help the piece of work at hand become its
best possible self. Memoir, fiction – it’s all storytelling.
Whether you’re bringing in pages of a memoir-inprogress or a work of fiction, we approach the page
with an eye towards structure, character, voice, place,
detail. Find the tenacity and take-no-prisoners courage
to do your finest work.
EILEEN MYLES is the author of nineteen books
including I Must Be Living Twice: New & Selected
Poems, and a reissue of Chelsea Girls, both out in
2015 (Ecco/Harper Collins). Recipient of a Guggenheim
Fellowship, an Andy Warhol/Creative Capital grant,
Lambda Book Award, and the Shelley Prize from The
Poetry Society of America, she teaches at NYU and
Naropa University.
JUSTIN TORRES’ novel, We the Animals, a national
bestseller, was translated into fifteen languages and
is being adapted into a feature film. He has published
short fiction in The New Yorker, Harper’s, and Granta.
His honors include a Stegner Fellowship, a Radcliffe
Institute Fellowship, and a Cullman Center Fellowship.
The recipient of a grant from the NEA and a Rolón
Fellowship from United States Artists, he is Assistant
Professor of English at UCLA.
DANI SHAPIRO is the bestselling author of the memoirs
Devotion and Slow Motion, and five novels including
Black & White and Family History. Her work has
appeared in The New Yorker, Granta, and Tin House.
She has taught in the writing programs at Columbia,
NYU, The New School, and Wesleyan University; she is
co-founder of Sirenland Writers Conference in Positano,
Italy. Her latest book is Still Writing: The Perils and
Pleasures of a Creative Life.
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MI CHA EL MA R EN
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HO LLY HUGHES
AUGUST 14 - 19
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A DA M DAV I E S
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B E RT YA R B O RO U GH
THE LEGACY PROJECT: MINING
MODERN MASTERS IN YOUR STUDIO
PHOTOGRAPHING THE LANDSCAPE:
EXPLORATIONS IN OUTER CAPE COD
CHASING THE GHOST AND DEVELOPING
IMAGERY THROUGH MONOTYPE
Have you ever wanted to write a screenplay but not
known where to begin? This workshop starts with
the basics: understanding structure, story/plot, and
character. Through a series of in-class exercises, you will
begin to master the tools of combining these elements
into a screenplay. Students may come to class with
screenplays they are already working on, an idea they
want to turn into a screenplay, or simply a desire to
begin writing. Fiction writers looking to gain greater
understanding of story structure will also benefit.
We all receive extraordinary legacies from other artists –
both past and current. How do we use this gift in the studio?
In group and one-on-one critique, we will revitalize and
reorient participants in a manner extending beyond the
Work Center week. Within a menu-based approach, create a
selection of projects from a list of launching points including
fauvism, cubism, surrealism, plastic automatism, abstract
expressionism, color field painting, pop, post painterly pop,
conceptual and selected postmodern strategies. A fun,
intense and fully immersive studio week.
Explore and photograph the landscape of some of the
wilder areas of Outer Cape Cod. Through various activities –
pinhole photography, experimenting with depth of field and
long exposures, composition and assemblage – we will
create innovative images. Emphasis is on experimentation
and process in a supportive environment to try new
techniques. Open to all levels. A basic understanding of
your camera is needed, including how to set the camera to
manual controls for aperture and shutter speed.
Monotype printing’s directness and immediacy is an
excellent vehicle to expand the possibilities of image making.
Using the “ghost” on the plate after initial printing provides
the architecture for further development. Basic techniques of
monotype printing are demonstrated and processes include
trace monotype, chine colle, collage and use of stencils. A
portion of the workshop allows you to work from the figure.
Emphasis on process and development of your unique
visual language.
MICHAEL MAREN is a screenwriter and director.
He’s written scripts for HBO, Sony Pictures, and many
independent producers. His film, A Short History of
Decay was described as “beautiful and moving” by New
York Magazine. His newest project is an adaptation of
the novel Shriver, which he is preparing to direct. He
has taught screenwriting at Wesleyan University and the
Taos Summer Writers’ Workshop.
HOLLY HUGHES, Professor at RISD for over twenty
years teaching graduate and undergrad painting and
drawing, maintains studios in NYC and in upstate NY.
Her multifaceted studio practice includes painting in
oil and acrylic, works on paper in gouache, prints and
ceramics works done in Mexico, Italy and France – often
installed together in salon-style hangings. Recent shows
include the Dorsky Museum’s World of Wonders.
ADAM DAVIES’s photographs explore points of
intersection between architecture and the natural
world. From 2010 to 2013, he was Lecturer & Media
Specialist at the National Gallery of Art, Washington, and
previously taught at Carnegie Mellon, Robert Morris,
Catholic, and Harvard universities. Davies is a recipient
of fellowships and residencies from the Vira I. Heinz
Endowment, Pennsylvania Council on the Arts, The Fine
Arts Work Center, and Yaddo.
BERT YARBOROUGH holds the Sonia C. Davidow
’56 Endowed Chair in the Fine and Performing Arts at
Colby-Sawyer College, New London, NH, where he also
serves as the Director of the Marian Graves Mugar Art
Gallery and teaches Drawing and Painting. A former Fine
Arts Work Center Fellow, he is Chairman of the Visual
Committee. Recipient of two NH State Arts Grants, an NEA
Fellowship, and a Fulbright Fellowship, he is represented
by McGowan Fine Arts in Concord, NH.
SCREENWRITING 101
1-4PM | $650 | Intermediate/Advanced
1-4PM | $650 + $25 materials fee | Open
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SUMMER WORKSHOPS
W
W
W
N IC K F LY NN
MARIE H OWE
POETRY
AS BEWILDERMENT
INTENTION AND DISCOVERY:
FORM AS PORTAL; FORM AS PATH
RICH ARD MCCA N N
In this workshop, you will look for those moments when
you begin to stutter and stumble when talking about
your poems, or in the poems themselves, for these
are the thresholds beyond which is unknown, beyond
which is the white space on the map. Over the course
of our week together we will attempt to push a little
deeper into this shadow world.
This workshop is primarily generative – although we
will also discuss work as it is brought to the table. We
will read a great many published poems and, inspired
by them, use the perceived forms to create portals and
pathways to new work. Each writer need only bring a
desire to experiment, old work that she is willing to alter,
and some published poems she loves.
NICK FLYNN is the author of four books of poetry –
Some Ether, Blind Huber, The Captain Asks for a Show
of Hands, and My Feelings. He is also the author of
three memoirs – The Reenactments, The Ticking is the
Bomb, and Another Bullshit Night in Suck City, which
was translated into fifteen languages. He has been
awarded fellowships from Library of Congress, PEN/
American Center, Amy Lowell Trust, Fine Arts Work
Center, and the Guggenheim Foundation. He teaches at
the University of Houston.
MARIE HOWE’s newest book of poems is The
Kingdom of Ordinary Time. She is also the author of the
collections What the Living Do and The Good Thief. She
currently teaches at Sarah Lawrence College and NYU.
In 2012, she was named State Poet of New York.
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WEEK 11
W
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V I CTO R I A R EDEL
S T EP HEN ELLI OT T
LIFE STORIES,
REAL AND IMAGINED
POSSIBILITIES AND NECESSITIES:
A FICTION WORKSHOP
“The secret to writing, “ writes Dorothy Allison, “is that
fiction never exceeds the reach of the writer’s courage...
until I start telling the stories that were hardest for me,
writing about exactly the things I was most afraid of and
unsure about, I wasn’t writing worth a damn.” In this
intensive, one-week workshop for prose writers writing
from autobiographical experience, you’ll work toward
the writing of those life stories - whether in fiction,
memoir, or personal essay - that seem the hardest and
most necessary to tell.
This workshop focuses on possibilities within a work
of fiction – what are the possibilities and limitations
found in choices of narrative point of view, syntax, time,
memory, story structure, sentences, omission, openings,
closure, objects, dialogue, and a narrative’s leaps and
speed. What are your essential and necessary stories?
How do you witness and render the physical world on
the page? Be ready to write all week and come away
with new drafts and beginnings.
Your experiences, and how you process them, are what
make you unique as an individual. In Stephen Elliott’s
class, you’ll focus on in-class writing exercises and
critiquing each other’s work. You’ll talk about writing
from experience in creative nonfiction and how to use
your life as a jumping off point and framing device for
the stories you tell about yourself and others. We’ll also
talk about the dangers of writing from experience and
overcoming the blocks set in place (often unnecessarily)
by our fears of exposure.
9AM-1PM | $725 | Open
RICHARD MCCANN is the author of Mother of Sorrows,
a work of fiction, and Ghost Letters, a collection of
poems. His fiction, creative nonfiction, and poetry have
appeared in The Atlantic, Ms., Esquire, Ploughshares, Tin
House, and in numerous anthologies. His honors include
fellowships from the Guggenheim Foundation and the
National Endowment for the Arts. He is currently working
on a memoir, The Resurrectionist.
VICTORIA REDEL is the author of three books of
poetry, most recently Woman Without Umbrella (2012).
Her four books of fiction include a collection of stories,
Make Me Do Things (2013), and the novels The Border
of Truth (2007), and Loverboy (2001), adapted for a
feature film directed by Kevin Bacon. The recipient of
fellowships from the Guggenheim Foundation, the NEA
and the Fine Arts Work Center, she is on the faculty of
Sarah Lawrence College.
WRITING FROM
EXPERIENCE
STEPHEN ELLIOTT is the author of seven books
including The Adderall Diaries and the novel Happy
Baby. His writing has been featured in Esquire, The
New York Times, The Believer, GQ, Best American
Non-Required Reading 2005 and 2007, Best American
Erotica, and Best Sex Writing 2006. He is also the
founding editor of the popular online literary magazine
The Rumpus.
AUGUST 21 - 26
W
JI L L B I A LOS K Y
TELLING IT SLANT:
POETRY AND MEMOIR WORKSHOP
Emily Dickinson wrote, “Tell all the truth/but tell it slant.”
This workshop offers narrative and lyric strategies for
digging deeper in poetry and memoir. How does a piece
of writing, whether personal essay or poem transform itself
from personal experience into artfulness? How can a fictive
voice be called upon in a poem and in a memoir piece? Jill
Bialosky offers writing prompts and exercises to generate
new material and to reshape existing material.
JILL BIALOSKY is the author of the New York Times
best-selling memoir, History of a Suicide: My Sister’s
Unfinished Life, as well as four collections of poetry: The
Players, Intruder, Subterranean, and The End of Desire.
She is also the author of the novels The Prize, House
Under Snow, and The Life Room. Her poems and essays
appear in The New Yorker, O Magazine, Paris Review, The
Nation, Kenyon Review, and American Poetry Review.
VA
M A R K A DA M S
MP
JA M E S S T RO U D
THE FLUENT HAND: A CAPE COD
LANDSCAPE SKETCHBOOK
MASTER PRINTER SERIES: JUMP START
ETCHING: PHOTOETCHING ON COPPER
A week of outdoor forays with portable drawing media to
practice observation – and record your experiences with
word, brush, and pen. The same hand that writes can also
draw. For beginners or experienced artists interested in
exploring the wilder side of outer Cape Cod, using simply
pencil, pen, ink, wash, and watercolor. We will walk and
perhaps boat to some favorite places and record
observations with word and image. We may experiment
with natural materials such as squid and walnut inks.
Artists in this course will ‘jump start’ the etching process
by transferring drawings or photos from clear film onto
photo-sensitive copper etching plates and then develop
them further through more traditional means. Master
Printer James Stroud will then help students find and
employ creative printing techniques to further resolve
their images.
MARK ADAMS is a painter, nature writer, and a
cartographer/coastal geologist with the National
Park Service working on the Cape and Islands since
1989. He has shown work at the Schoolhouse Gallery,
Provincetown Art Association Museum, the Fireplace
Project (Easthampton, NY), On the Vineyard Gallery
(Vineyard Haven, MA), and the Oakland Museum
(Oakland, CA), among others. He studied at the University
of California, Berkeley, California College of the Arts.
JAMES STROUD received his MFA in painting and
printmaking from the Yale School of Art in 1984.
Upon graduating, he founded Center Street Studio,
a professional printmaking studio that publishes
contemporary prints with emerging and established
artists. He continues to pursue his own work and is
represented in numerous public collections including the
National Gallery of Art in Washington DC, the Boston
Museum of Fine Arts, the Yale Art Gallery, and the Fogg
Museum at Harvard University.
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ONLINE WRITING WORKSHOPS 2016
24PEARLSTREET ONLINE WRITING PROGRAM
LEARN FROM ACCLAIMED WRITERS AND POETS, WHEREVER YOU ARE, WHENEVER YOU WANT.
MI C H A E L K L E I N
OUR EXCEPTIONAL PROGRAM
Building on the Work Center’s tradition of creative excellence and community,
24PEARLSTREET offers an engaging online learning experience led by nationally
recognized poets and writers. At 24PEARLSTREET, you can focus on doing your best
work under the guidance of exceptional faculty, no matter where you are or what your
schedule. The program runs in three seasons, in three genres. Fall, Winter, and Spring.
Poetry, Fiction, and Nonfiction.
RENOWNED FACULTY
Our teachers, all nationally-recognized writers, will help you achieve the goals set forth
in their syllabi with discussions, writing assignments, and critiques. You’ll finish the term
with renewed inspiration for your writing, and fresh ideas for ways to move forward in
your work.
HOW THE WORKSHOPS WORK
Workshops are capped at 12 or 15 students. Each workshop has its own online
classroom – a blog where you can view assignments, post and read work, comment on
your classmates’ work, and receive comments about your work from your classmates
and teacher. Students receive individual messages from teachers via email, and group
messages from teachers via the blog and email.
TAKING AN ONLINE WRITING WORKSHOP WITH US IS EASY
WI N T ER 2016 NF
TO REGISTER
Visit 2 4PEARLSTREET.O RG .
Browse our CATALOG or INSTRUCTORS list to select your class.
Click on the CLICK HERE TO REGISTER FOR THIS CLASS button for your selected class.
Complete your registration and submit payment.
IT’S AS EASY AS THAT!
Several discounts are available, including a 10% discount for students of the Fine Arts Work
Center’s Summer Program. Check our webite for the complete list.
At any point during the registration process you may contact the 24PearlStreet program
staff with your questions: JILL MCDONOUGH, Online Writing Coordinator at
[email protected] or GEMMA LEGHORN, 24PearlStreet Program Manager,
at [email protected].
NF NONFI C TI O N
TIM EARLEY
W I NT E R 2016 P
WI N T ER 2016 NF
January 4 - February 26 | 8-Week Studio
In this workshop, you will focus on the unique balance between “words-assounds” and “words-as-thought” without feeling limited by more traditional
writing styles. This class is designed to help you create rhythmic poems that
powerfully engage the reader’s ear while adding aural interest to the spoken word.
MICHAEL KLEIN’s fourth book of poems (and some prose) is When I Was a
Twin. He has been a Lambda Literary Award finalist five times, winning the award
twice. He is also the author of two works of autobiography: Track Conditions
and The End of Being Known (University of Wisconsin Press). He teaches in the
MFA program at Goddard College and in the undergraduate program at Hunter
College, in New York – where he lives when he isn’t living in Provincetown.
TIM EARLEY is the author of three collections of poetry, Boondoggle, The
Spooking of Mavens, and Poems Descriptive of Rural Life and Scenery (Horse Less
Press, 2014). A limited edition chapbook, Catfish Poems, was recently published
by Delete Press. A recipient of two Writing Fellowships from the Fine Arts Work
Center in Provincetown, he lives in Oxford, Mississippi and teaches literature and
creative writing for Ole Miss Online.
ESSAY IS A VERB:
THE PRACTICE OF PERSONAL NARRATIVE
A DA L I M Ó N
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Informed and animated by the singular life experience and voice of its author,
the personal essay represents an attempt to deeply speak about an idea, a
problem, or a preoccupation in the most powerful language possible. In this new
workshop, you will develop dialogue, characters, scenes, and structure to create
thought-provoking essays that will engage and excite your readers.
2 4 P E A R L S T R E E T.O RG
ADA LIMÓN is the author of four books of poetry, Lucky Wreck, This Big
Fake World, Sharks in the Rivers, and Bright Dead Things, finalist for the 2015
National Book Award in Poetry. Limón has received fellowships from the New
York Foundation for the Arts and the Fine Arts Work Center in Provincetown.
She serves on the faculty of Queens University of Charlotte Low Residency MFA
S UZ A NNE R I V ECC A
WORKSHOPS LISTED IN THIS CATALOG ARE CORRECT AS OF JANUARY 2016. VISIT OUR WEBSITE FOR AN UP-TO-DATE SCHEDULE OF CLASSES.
WI N T ER 2016 F
G O O D T H IN GS I N SMA LL PACKAGES:
T H E ART O F T HE SHO RT STO RY
A great short story is all the proof we need that bigger isn’t necessarily better—or
more beautiful, or more profound. In this new class, you will learn how to apply
new ideas of structure, character, plot and language to your short stories to help
make them have a larger payoff and a sense of emotional resolution.
SUZANNE RIVECCA is a former Wallace Stegner Fellow in Creative Writing at
Stanford University. She published a short story collection, Death is Not an Option
(W.W. Norton, 2010). Death is Not an Option received the Rome Prize in Literature
from the American Academy of Arts and Letters and a Creative Arts Fellowship
from the Radcliffe Institute for Advanced Study. Her short fiction has received two
Pushcart Prizes and has been anthologized in Best American Short Stories.
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STAYING TRUE:
AUTHENTICITY AND VOICE: WINTER
In this workshop, you will focus on your own personal style and write poems in your
own unique voice in a world filled with constantly challenging external influences.
This class will offer new techniques to help you develop a more powerful personal
identity in your poetry that will deepen the connection between you and your readers.
ROSIE SCHAAP is the author of the memoir Drinking With Men, named one of the
best books of 2013 by NPR, Library Journal, and BookPage. The drink columnist for
The New York Times Magazine since 2011, and a contributor to This American Life, she
has also written for Al Jazeera America, Bon Appétit, Marie Claire, The New York Times,
poetryfoundation.org, Saveur, Slate, Travel + Leisure, and many essay anthologies. A
native New Yorker, she lives in Brooklyn and is writing a book about whiskey.
F FI C TI O N
IF THE POETRY OF X
WAS MUSIC
January 4-29 | 4-Week Workshop
Memoir can be as various, wild, and eclectic as the individual putting their life
down on paper. In this class, you will be guided through a series of exercises to
learn how to extend both the anecdote and the essay forms into something more
substantiated: a memoir that reads both as revelation and as literature.
ROS I E S C H A A P
WORKSHOP GENRES
P POE T RY
“IF IT’S TRUE...”:
A MEMOIR WORKSHOP
GA B R I E L L E C A LVO CO R E S S I
W I NT E R 2016 P
ON KNOWING NOTHING & EVERYTHING: A WEEK
OF POEM, PIGMENT, & PAINT IN THE LAB: WINTER
January 18-22 | 1-Week Intensive
In this generative one-week workshop, you will use multiple mediums and the art
of surprise to make your practice of poetry more expansive, muscular, and joyfully
challenging. In this class, painting and poetry will intersect to allow for you to
experiment with process and make exciting discoveries. Topics of interest will also
include the writing practice and aspects of craft.
GABRIELLE CALVOCORESSI is the author of The Last Time I Saw Amelia Earhart
and Apocalyptic Swing, finalist for the Los Angeles Times Book Prize. She is
the recipient of a Stegner Fellowship and a Rona Jaffe Woman Writers Award.
Calvocoressi is Senior Poetry Editor at Los Angeles Review of Books. She teaches
in the Warren Wilson Program for Writers and at University of North Carolina at
Chapel Hill. Her third book of poems, Rocket Fantastic is forthcoming.
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24PEARLSTREET
OCEA N VUONG
W I N T E R 2016 P
W I N T E R 2016 P
THE FIRST STEP BACKWARD:
MEMORY AS CREATIVE FORCE
A N N HO O D
WINTER 2016 NF
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JUMPSTART
YOUR MEMOIR
A NNE SA NOW
WI N T ER 2016 F
LIFTOFF:
FINISHING THAT STORY DRAFT
February 1-5 | 1-Week Intensive
This new intensive course will examine the myriad ways in which memory works
on the artistic practice. You will investigate the ways in which the body, memories,
and scars are living relics of the past, seeking to honor past moments while learning
from them new ways of composition. Ultimately, you will look at memory as a
potent creative force of the now.
Often, that moment when you first begin to write is the scariest. This one-week
intensive workshop will help you get started by asking the right questions.
Whether you’re stuck in a draft that isn’t working, having trouble organizing your
story, or are just unable to get started, this class is designed to help you write with
momentum, fresh ideas, and new strategies.
February 8 - March 4 | 4-Week Workshop
This workshop is focused on helping you make something happen in your story
by helping you grow your draft in ways you hadn’t anticipated. Discussions will
revolve around clarifying story ideas, sustaining scenes, deepening characters,
expanding the story’s world, and making connections. This class is designed for
advanced beginners and up.
OCEAN VUONG is the author of Night Sky with Exit Wounds. A 2014 Ruth Lilly fellow,
he has received honors from Poets House, the Civitella Ranieri Foundation, the Elizabeth
George Foundation, the Academy of American Poets, and a 2014 Pushcart Prize. His
poems appear in Best New Poets, Boston Review, Kenyon Review, The Nation, New
Republic, The New Yorker, Poetry, Tri-Quarterly, and American Poetry Review, which
awarded him the 2012 Stanley Kunitz Prize for Younger Poets.
ANN HOOD is the author of eight novels, including Somewhere Off the Coast
of Maine, The Knitting Circle, and The Red Thread; two memoirs, including Comfort: A Journey Through Grief, which was a New York Times’ Editors’ Choice
and named one of the top ten non fiction books of 2008. She has won two
Pushcart Prizes, a Best American Spiritual Writing award, and a Best Food Writing award.
ANNE SANOW is the author of the story collection Triple Time, winner of the
Drue Heinz Literature Prize and the L. L. Winship/PEN New England Award for
Fiction, and chosen as a 2010 “Must Read” fiction title by the Massachusetts
Center for the Book. Her awards include the Nelson Algren Award for Short Fiction
from Chicago Tribune and fellowships from the MacDowell Colony and
the National Endowment for the Arts.
KI R S T EN A N DER S EN
SA R A E L I Z A JO H NS O N
NA NCY K. PEARSON
15 WORKS
WINTER 2016 NF
STEALING TIME: THE TRICKY DANCE
OF BEING A WRITING PARENT
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MA D
SCI ENCE
E L I Z A B E T H B R A DFI E L D
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BEASTLY: ANIMALS AS POETIC SOURCE
AND SUBJECT FOR POEMS
In this intensive workshop, you will learn to incorporate your experiences with animals
into your poems in ways that are full, accurate and surprising. You will study how
others have written animals, focusing on making facts sing and describing your
moving experiences with animals by nudging up to sentimentality without entering it.
ELIZABETH BRADFIELD is the author of the poetry collections Once Removed,
Approaching Ice, and Interpretive Work. Founder and editor-in-chief of
Broadsided Press, she lives on Cape Cod, works as a naturalist locally as well
as on expedition ships, and is the current Poet-in-Residence at Brandeis University
and on the faculty of the low-residency MFA program at University of Alaska Anchorage.
W I NT E R 2016 P
MICHAEL WHITE
GAZING IN
GAZING OUT
February 1-26 | 4-Week Workshop
This poetry workshop is based on a class taught at the former Corcoran School
of Art. In “15 Works,” you’ll write 3 to 4 poems a week in response to assignments
and prompts, with weekly themes. The workshop promises to stretch the boundaries
of your imagination, silence your internal editor and help you establish a writing
routine. This workshop will change your writing habits.
Writing about the parent-child experience is rich territory, but it is often difficult to
balance parenting time with your writing. In this new workshop, you will discover
how to embrace your new experiences and begin writing again. This course will
also help you establish and sustain a viable writing practice while navigating the
identities of writer and parent.
In this class, you will look to scientific endeavors and discoveries for inspiration, considering
the potential yields of the creative relationship between science and poetry. Through a
series of exercises, you will write poems that respond to the findings of contemporary
science. The subject matter, form, and figurative language in your poems will all be
shaped and energized by this course’s focus.
In this new one-week intensive workshop designed for intermediate to advanced
poets, you will explore fundamentally new approaches to subject manner while
writing new poems and revising old ones. The class will also explore the intersection
of the public and the private in poetry, and students will be encouraged to
engage in an animated dialogue about the topic.
NANCY K. PEARSON’s first book of poems, Two Minutes of Light, won the L.L.
Winship/PEN New England Award and was Massachusetts Book Awards “Must
Read Book” of 2009. She received two seven-month fellowships from the Fine
Arts Work Center as well as awards and fellowships from the Massachusetts
Cultural Council, the Key West Literary Seminar and various literary journals.
KIRSTEN ANDERSEN is the author of Family Court, a chapbook collection of
poems forthcoming from Q. Ave. Press. Named the 2014 Anthony Hecht Scholar
at the Sewanee Writer’s Conference, Kirsten has received fellowships from
Stanford University and the Fine Arts Work Center in Provincetown. She is a
National Poetry Series finalist.
SARA ELIZA JOHNSON’s first book, Bone Map (Milkweed Editions, 2014), was
selected for the 2013 National Poetry Series. She is the recipient of a National
Endowment for the Arts Fellowship, a Rona Jaffe Foundation Writers’ Award, two
fellowships from the Fine Arts Work Center in Provincetown, a scholarship to the
Bread Loaf Writers’ Conference, and an Academy of American Poets Prize from
the University of Utah. She is currently the managing editor of Quarterly West.
MICHAEL WHITE’s poetry books are The Island, Palma Cathedral (winner of the
Colorado Prize), Re-entry (winner of the Vassar Miller Prize), and Vermeer in Hell
(winner of the Lexi Rudnitsky Editors’ Prize). His memoir, Travels in Vermeer, was
longlisted for the 2015 National Book Award. He has published poetry and prose in The
Paris Review, The New Republic, The Kenyon Review, The Best American Poetry, and
elsewhere. White is currently chair of the Department of Creative Writing at UNCW.
ED SKOOG
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HAVE YOU TRIED THE SIDE DOOR?
FINDING A WAY IN TO YOUR NEXT POEMS
F R A N CES CA LI A B LO CK
WINTER 2016 F
NOT ALWAYS HAPPILY: WRITING THE
CONTEMPORARY FAIR TALE
February 1 - March 21 | 8-Week Studio
Starting a poem is difficult because of the barriers we often build for ourselves. In
this new course, you will learn how to recognize your individual barriers and bypass
them. You will write and revise new poems through a series of guided encouragements,
deadlines, and feedback from the group and one-on-one discussion.
Francesca Lia Block’s one-week intensive course will show you how to utilize the
various elements of fairy tale writing as inspiration for writing short stories, novels and
even poetry. During the course you will delve into character, plot, setting, language
and theme as you compose contemporary fairy tales for both adults and young adults.
ED SKOOG’s collections of poetry include the chapbooks Toolkit (1995) and
Field Recordings (2003) and the full-length volumes Mister Skylight (2009) and
Rough Day (2013). His poems have appeared in Paris Review, American Poetry
Review, Poetry, and many other magazines, and he was included in the 2015 Best
American Poetry. He has taught at the Idyllwild Arts Foundation, the New Orleans
Center for Creative Arts, and Tulane University. He has been the Jenny McKean
Moore Writer in Washington at George Washington University.
FRANCESCA LIA BLOCK, winner of the prestigious Margaret A. Edwards Lifetime
Achievement Award, is the author of many acclaimed and best selling books,
including Dangerous Angels: The Weetzie Bat Books, Roses and Bones: Myths,
Tales and Secrets, and the adult novels The Elementals and Beyond the Pale
Motel. Her work is published around the world.
CO R E Y VA N L A ND I NG H A M
R EB ECC A GAY L E H OW E L L
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THE NO PO-BIZ PO-BIZ: HOW TO FINISH YOUR
POEMS FOR PUBLICATION
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DOCUMENTARY
POETRY
The submission process is a communication, a conversation between you and
your future editors. In this workshop you will explore how to cultivate that conversation meaningfully. Through intensive and diverse studies of syntax, lineation,
punctuation, diction, and style, you will learn how to drive your poems into a
shareable space without losing their originality.
February 29 - March 4 | 1-Week Intensive
In this new poetry workshop, you will consider what liberties writers take when
recreating, representing, and exposing experience, especially the experiences of
others. Topics of interest will include reportage, historical narratives, interviews,
poetic license, subjectivity, genre, and form. You will learn how to look at your
work in new ways and write poems engaged in the social realm.
REBECCA GAYLE HOWELL is the Poetry Editor at Oxford American. She is also
the author of Render /An Apocalypse, which was selected by Nick Flynn for the
Cleveland State University First Book Prize and was a 2014 finalist for ForeWord
Review’s Book of the Year, and the translator of Amal al-Jubouri’s Hagar Before
the Occupation/Hagar After the Occupation (Alice James Books 2011). Among her
honors are two fellowships from the Fine Arts Work Center and a Pushcart Prize.
COREY VAN LANDINGHAM is the author of Antidote, winner of the 2012
The Ohio State University Press/The Journal Award in Poetry. A former Wallace
Stegner Poetry Fellow at Stanford University, her poems have appeared or are
forthcoming in The Best American Poetry 2014, The Boston Review, The Kenyon
Review, The Southern Review, and elsewhere. She is currently the 2015-2016
Emerging Writer Lecturer at Gettysburg College.
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24PEARLSTREET
N A N CY P EA R S O N
M A RCUS WICKER
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LOCKING DOWN YOUR FREE VERSE:
CONTAINERS THAT FIT
SPRING 2016 P
S P RI NG 2016 P
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TO BE M OVE D
AN D TO M OVE
February 29 - March 25 | 4-Week Workshop
In this four-week workshop focused on free verse, you will be guided through
a series of exercises designed to facilitate experimentation and surprise in your
work. Studying various techniques, you will investigate many of the intriguing
inner-workings of free verse and learn how to work them into your own poems.
March 7 - April 29 | 8-Week Studio
How can we write personal poems without sounding sentimental or self-serving?
Experimenting with a dynamic mixture of time, images and phrases, this eightweek studio will help you create new poems that express a deeper personal story
and “move” your readers emotionally in unexpected, unconventional ways.
MARCUS WICKER is the author of Maybe the Saddest Thing, selected by DA Powell
for the National Poetry Series. Wicker’s awards include a 2011 Ruth Lilly Fellowship and a
Pushcart Prize, as well as fellowships from Cave Canem and the Fine Arts Work Center.
His work has appeared in Poetry, American Poetry Review, Third Coast, Ninth Letter,
and many other magazines. Marcus is assistant professor of English at University of
Southern Indiana and poetry editor of Southern Indiana Review. He serves as director of
the New Harmony Writers Workshop.
LANGUAGE AND THE
LUCID DREAM
JACQ UEL I NE JO NE S L A M O N
S P R I N G 2016 P
DA I SY F R I ED
SA RA ELIZA JOH NSON
S P RI NG 2016 P
SPRING 2016 P
WRITING POEMS
THAT DON’T FIT: SPRING
EXPLORING THE ABECEDARIAN POETIC
SEQUENCE: MORE THAN JUST ABC’S
March 14-18 | 1-Week Intensive
JACQUELINE JONES LAMON is the author of two award-winning collections
of poetry, most recently, Last Seen, and a novel, In the Arms of One Who Loves
Me. An Associate Professor at Adelphi University, where she teaches in the MFA
program, she has received fellowships from Yaddo Foundation, the Fine Arts
Work Center in Provincetown and the Virginia Center for the Creative Arts, among
others. She serves as the President of Cave Canem Foundation, Inc.
FOOD IN MEMOIR:
WHAT SUSTAINS US
March 7 - April 29 | 8-Week Studio
Writing a poem – that is, inventing and manipulating our language to compose
it – can be likened to lucid dreaming. In this course, you will learn to write poems
as if dreaming lucidly, which means that you will learn to write with intention and
precision without sacrificing intuition, and without allowing your desire to control
the poem (and the poem’s meaning) to hinder the imagination’s potential.
March 7 - April 1 | 4-Week Workshop
In this four-week workshop, you will learn strategies and techniques for formulating
what your poems want to be and how you fit into your work. With a goal of
helping you clarify your themes and focusing on your own voice, this workshop
is designed to teach you new ways to generate poems that truly reflect your
individual style.
Food sustains us – or in some cases, fails to sustain us. Because of food’s
omnipresent role in our lives, using food in our writing can help us narrow in on,
or expound upon, the weightiest of topics. In this workshop, you will learn how to
give food the appropriate weight, emotion, and time, and use food in writing to
reveal great truth and meaning.
SARA ELIZA JOHNSON’s first book, Bone Map, was selected for the 2013 National
Poetry Series. She is the recipient of a National Endowment for the Arts Fellowship, a
Rona Jaffe Foundation Writers’ Award, two fellowships from the Fine Arts Work Center in
Provincetown, a scholarship to the Bread Loaf Writers’ Conference, and an Academy of
American Poets Prize from the University of Utah. She is currently the managing editor
of Quarterly West.
DAISY FRIED is the author of three books of poems, Women’s Poetry: Poems and
Advice, named one of the five best poetry books of 2013 by Library Journal, My
Brother is Getting Arrested Again, a finalist for the National Book Critics Circle
Award, and She Didn’t Mean to Do It, which won the Agnes Lynch Starrett Prize.
She’s received Guggenheim, Hodder and Pew Fellowships for her poetry, as well
as a Pushcart Prize and the Cohen Award from Ploughshares. SARA ROAHEN wrote the memoir Gumbo Tales: Finding My Place at the New
Orleans Table, co-edited The Southern Foodways Alliance Community Cookbook,
and contributed a chapter to New Orleans Cuisine: Fourteen Signature Dishes and
Their Histories. She has written for Saveur, Oxford American, Wine & Spirits, Bon
Appétit, among others. She is also an oral historian and has completed a number of
Louisiana-based oral history projects for the Southern Foodways Alliance.
NICOLE T EREZ DUTTON
A N N HO O D
P ET E R C A M P I O N
THREADING AND BUILDING:
WORKING TOWARD A MANUSCRIPT
SPRING 2016 NF
WRITING THE
PERSONAL ESSAY: SPRING
S P R I NG 2016 P
In this intensive course, students will explore several nuanced approaches to this
ancient alphabetical form of poetry. By combining current events and difficult
subject matter with a rigid adherence to the alphabet as an organizing principle,
you’ll discover new ways of accessing subtext in your drafts and develop a plan
for further development once the course is over.
SAR A ROA H E N
S P R I N G 2016 NF
GA B R I E L L E C A LVO CO R E S S I
A DA L I M Ó N
S P R I NG 2016 P
NEXT
STEPS
STAYING TRUE:
AUTHENTICITY AND VOICE: WINTER
March 14 - May 6 | 8-Week Studio
S P R I N G 2016 P
OF POEM, PIGMENT, & PAINT IN THE LAB: SPRING
ADA LIMÓN is the author of four books of poetry, Lucky Wreck, This Big Fake
World, Sharks in the Rivers, and Bright Dead Things, finalist for the 2015 National
Book Award in Poetry. Limón has received fellowships from the New York
Foundation for the Arts and the Fine Arts Work Center in Provincetown. She serves
on the faculty of Queens University of Charlotte Low Residency MFA program.
MICHELLE TEA
S P R I NG 2016 NF
MEMOIR THAT READS
LIKE FICTION
Whether you’re beginning with one poem or a small group of poems, this
week-long intensive workshop will offer strategies to meaningfully expand your
work toward a manuscript. By mapping the resonances and symmetries within
and between poems, you will gain a sense of where expansion is possible.
You will leave this class with many new ideas for moving your work forward.
March 7 - April 1 | 4-Week Workshop
During this memoir course you will work toward completing a final, personal
essay through a series of short, guided assignments. Using these weekly writing
exercises – focused on specific topics as stepping-stones – you will learn to hone
your ideas, settings, characters and dialogue to build emotional impact into your
personal stories.
This five-day course has been designed to take your poems to the next level.
Discussion will provide tools to help you connect more fully with the sources
of your poems, bring new life to old drafts, and write more vivacious lines and
sentences. With the help of time-proven prompts, each student will write five
new poems.
In this intensive memoir workshop, you will learn techniques to create a memoir
with a cinematic feel and the singular voice of an immersive novel. In addition
to discussing style and craft, you will also touch on the personal concerns that
inevitably arise when a writer takes on the telling of their own story. You will leave
this class with the ideas and understanding to make your memoir come alive.
NICOLE TEREZ DUTTON’s work has appeared in Callaloo, Ploughshares, 32
Poems, Indiana Review, and Salt Hill Journal. Nicole has received fellowships from
the Frost Place, the Fine Arts Work Center, Bread Loaf Writers’ Conference, and
the Virginia Center for the Creative Arts. Her collection of poems, If One Of Us
Should Fall, was selected as the winner of the 2011 Cave Canem Poetry Prize.
PETER CAMPION is the author of three collections of poems: Other
People (2005,) The Lions (2009,) and El Dorado (2013,) all published by the
University of Chicago Press. He is the recipient of a Pushcart Prize, the Larry Levis
Reading Prize, and the Guggenheim Fellowship, and the Joseph Brodsky Rome
Prize (Prix de Rome) from the American Academy of Arts and Letters. He directs
the Creative Writing Program at the University of Minnesota.
MICHELLE TEA is the author of five memoirs, including the award-winning Valencia,
and How to Grow Up, published January 2015. She is also the author of the poetry
collection The Beautiful, and three novels. Tea blogs regularly about her experiences
trying to get pregnant in the column Getting Pregnant with Michelle Tea on xojane.com.
She is the editor of Sister Spit Books, an imprint of City Lights, and founder and Artistic
Director of the queer-feminist literary organization, RADAR Productions.
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24PEARLSTREET
REBECCA GAYLE H OWELL
S PRI NG 2016 P
WE ALL WRITE
SENTENCES
MI CHA EL KLEI N
SPRING 2016 NF
Poets, fiction writers, and nonfiction writers alike are all invited to consider the
power of the English sentence – specifically, in pushing its boundaries – in this
one-week intensive workshop. You will read across genres to discover masters of
linguistic craft and learn to perform grammatical analysis for the sake of better
serving the imagination.
PET ER CAMPION
S PRIN G 2016 P
FORM FROM FEELING
AND FEELING FROM FORM
SPRING 2016 P
LY DIA MILLET
S P RI NG 2016 F
In this one-week intensive class, you will learn to write a story so thought
provoking that your readers will be unable to turn away before reading it through
to the end. Through examination and refinement of language, you’ll learn to hone
your story’s voice and make it as seductive and unique as it can be.
LYDIA MILLET is the author of thirteen works of fiction. An early novel, My
Happy Life, won the PEN-USA award for fiction; her story collection, Love in
Infant Monkeys, was a finalist for the Pulitzer Prize, and her most recent novel,
Mermaids in Paradise (2014), was called a “comic masterpiece” by Laura Miller
in Salon. She lives in the desert outside Tucson, Arizona, and has taught at both
Columbia University and the University of Arizona.
36
A MEMOIR WORKSHOP
H I L A RY P R I C E
S P R I N G 2016 NF
April 18-22 | 1-Week Intensive
In this new one-week workshop, you’ll learn how to generate ideas for cartoons,
execute drawings and use language effectively, and most importantly, make
your cartoons funny. This class will utilize exercises to strengthen your cartooning
muscle, focusing on elements like plot, setting, characters, and surprise.
HILARY PRICE has been writing and drawing Rhymes With Orange, her daily
newspaper comic strip, since 1995. At the age of 25, she was the youngest
woman ever to have a syndicated strip. It has won “Best Newspaper Panel” by the
National Cartoonists Society in 2006, 2009, 2012 and 2014, and appears in 375
papers internationally. She has taught cartooning workshops at the Cartoon Art
Museum in San Francisco and the Charles M. Schulz Museum.
SOME PEOPLE
HAVE BEEN UNKIND
S P R I N G 2016 NF
THE REPORTED LIFE: USING JOURNALISM
TO TELL A TRUER STORY
April 4-29 | 4-Week Workshop
In this workshop, you will look at literary book reviewing from aesthetic, ethical,
and practical angles, exploring possible approaches for reviewing and discovering
what elements are useful in reviews. By examining and discussing samples of
different kinds of reviews as well as writing your own, you will discover how
writing reviews can help us in our creative practice.
This workshop will focus primarily on the craft of interviewing and/or conducting
research to support building a nonfiction essay into a personal journalism experiment.
Class participants will focus on reading great pieces of literary reporting, read
interviews and discuss interview technique, and do daily writing exercises that
incorporate interviews and relevant research.
as a Pushcart Prize and the Cohen Award from Ploughshares. THOMAS PAGE MCBEE is the author of the memoir Man Alive: A True Story
of Violence, Forgiveness, and Becoming a Man, which was the recipient of a
LAMBDA literary award and named a best book of 2014 by NPR Books and
BuzzFeed. His writing and reportage on gender appear in The New York Times,
Playboy, Glamour, VICE, The Rumpus, and the Pacific Standard, where he writes
the column, “The American Man.” He is editor and director of growth at Quartz.
THE SENTENCE
AS A GIFT
FR E D M A RC H A NT
S P R I NG 2016 P
FRED MARCHANT’s newest book of poetry is The Day Later. His first book,
Tipping Point, won the 1993 Washington Prize and was re-issued in 2013 in a 20th
Anniversary Edition. He is also the author of Full Moon Boat and The Looking House.
Marchant is a Professor Emeritus of English at Suffolk University and founding director
of the Creative Writing Program, the Poetry Center, and the Day One Poetry Project.
PETER CAMPION
FA L L 2016 P
S P R I N G 2016 NF
Do you see your sentences simply as a way to get from here to there or as an
opportunity to try something never done before? In this one-week intensive
workshop, you will revise a short piece of fiction (short story or standalone novel
excerpt), focusing on the finer, micro elements of your writing – word choice,
syntax, comma, verb, noun – that are too often ignored.
May 2-6 | 1-Week Intensive
One of the hardest practical challenges writers face when beginning a memoir is where
to start. With that in mind, this workshop will explore various methods to help you get
your personal stories onto the page. We’ll read brief openings from published works as
examples, and do daily writing exercises experimenting with different approaches. You
may focus on generating new material or revising the beginning of an existing work.
REIF LARSEN is the author of the novels I Am Radar and The Selected Works
Of T.S. Spivet, which was a New York Times Bestseller and adapted for the
screen by Jean-Pierre Jeunet (Amélie). Larsen’s essays and fiction have appeared
in The New York Times, The Guardian, Tin House, Travel & Leisure, one
story, The Millions, and The Believer. He is currently the writer-in-residence at the
University of St Andrews in Scotland.
JUSTIN ST. GERMAIN’s first book, the memoir Son of a Gun, won the 2013 Barnes
& Noble Discover Award in Nonfiction and was named a best book of 2013 by Amazon.
His writing has appeared in The New York Times, The New York Times Book Review, the
Guardian, and other publications. He is the recipient of scholarships from the Bread Loaf
Writers’ Conference & Sewanee Writers’ Conference, and was a Wallace Stegner Fellow
He teaches creative nonfiction at Oregon State University.
FORM FROM FEELING
AND FEELING FROM FORM
October 3-28 | 4-Week Workshop
This four-week workshop will help you better understand poetry from the inside
out by exploring seven formal elements – action, voice, sentence, phrase, line,
sound and metaphor. You will learn how these elements work together in
effective ways to help you generate your own new poems.
J US TI N S T. G E R M A I N
MEMOIR:
GETTING STARTED
DEEP REVISION:
THE POEM AS DISCOVERY
May 2-6 | 1-Week Intensive
Everybody revises, but what does revision really mean? An important type of revision
is the revising that happens first within the writer’s mind, and then later becomes
manifest in the poem itself. The sign of this kind of revision is that the poet has in the
process discovered what she or he did not think was there waiting within the draft.
The goal of this workshop will be to practice this kind of deep revision and discovery.
T HO M AS PAG E M C B E E
R EI F LA R S EN
SPRING 2016 F
MAKE IT FUNNY: THE BASICS OF DRAWING AND
WRITING SINGLE PANEL CARTOONS
DA I SY F R I ED
This four-week workshop will help you better understand poetry from the inside
out by exploring seven formal elements – action, voice, sentence, phrase, line,
sound and metaphor. You will learn how these elements work together in
effective ways to help you generate your own new poems.
THE CHARISMATIC
NARRATOR
E D S KO O G
FA L L 2016 P
HAVE YOU TRIED THE SIDE DOOR?
FINDING A WAY IN TO YOUR NEXT POEMS
October 3 - November 25 | 8-Week Studio
Starting a poem is difficult because of the barriers we often build for ourselves. In
this new course, you will learn how to recognize your individual barriers and bypass
them. You will write and revise new poems through a series of guided encouragements,
deadlines, and feedback from the group and one-on-one discussion.
ED SKOOG’s collections of poetry include the chapbooks Toolkit (1995) and
Field Recordings (2003) and the full-length volumes Mister Skylight (2009) and
Rough Day (2013). His poems have appeared in Paris Review, American Poetry
Review, Poetry, and many other magazines, and he was included in the 2015 Best
American Poetry. He has taught at the Idyllwild Arts Foundation, the New Orleans
Center for Creative Arts, and Tulane University. He has been the Jenny McKean
Moore Writer in Washington at George Washington University.
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24PEARLSTREET
HEID I JO N SCH MIDT
FA L L 2016 F
TEL LI NG
TH E S TO RY
A N N HO O D
FALL 2016 NF
HEIDI JON SCHMIDT has published stories and essays in The Atlantic, The
New York Times, Grand Street, Epoch, and many others. Her stories have been
anthologized in The O’Henry Prize Stories, Best American Nonrequired Reading,
and won the James Michener and the Ingram Merrill awards for fiction. The
Harbormaster’s Daughter (2012) and The House on Oyster Creek (2010), her most
recent books, were published by Penguin/NAL.
FALL 2016 P
DA ISY F RIED
In this four-week workshop, you will learn strategies and techniques for formulating
what your poems want to be and how you fit into your work. With a goal of helping
you clarify your themes and focusing on your own voice, this workshop is designed
to teach you new ways to generate poems that truly reflect your individual style.
as a Pushcart Prize and the Cohen Award from Ploughshares. 38
EXPLORING THE ABECEDARIAN POETIC
SEQUENCE: MORE THAN JUST ABC’S
FALL 2016 NF
STAYING TRUE:
AUTHENTICITY AND VOICE: FALL
FA L L 2016 P
FA LL 2016 P
October 17-21 | 1-Week Intensive
This course will examine the myriad ways in which memory works on the artistic
practice. You will investigate the ways in which the body, memories, and scars are living
relics of the past, seeking to honor past moments while learning from them new ways of
composition. Ultimately, you will look at memory as a potent creative force of the now.
ADA LIMÓN is the author of four books of poetry, Lucky Wreck, This Big
Fake World, Sharks in the Rivers, and Bright Dead Things, finalist for the 2015
National Book Award in Poetry. Limón has received fellowships from the New
York Foundation for the Arts and the Provincetown Fine Arts Work Center in
Provincetown. She serves on the faculty of Queens University of Charlotte Low
Residency MFA program.
OCEAN VUONG is the author of Night Sky with Exit Wounds (Copper Canyon
Press, 2016). A 2014 Ruth Lilly fellow, he has received honors from Poets House,
the Civitella Ranieri Foundation, the Elizabeth George Foundation, the Academy
of American Poets, and a 2014 Pushcart Prize. His poems appear in Best New
Poets, The Boston Review, The Kenyon Review, The Nation, New Republic, The
New Yorker, Poetry, Tri-Quarterly, and American Poetry Review, which awarded
him the 2012 Stanley Kunitz Prize for Younger Poets.
THE SOURCES
OF POETRY
NA NCY K . P E A R S O N
FA L L 2016 P
October 10 - December 2 | 8-Week Studio
In this poetry workshop you’ll explore the inner obsessions and sources that fuel
your urge to write. Through guided prompts that will encourage you to experiment,
you will learn to write poems that really matter and that are charged with energy,
clarity, and power.
SARAH ROSE NORDGREN is the author of Best Bones (University of Pittsburgh
Press, 2014), winner of the Agnes Lynch Starrett Prize for Poetry. Her poems have
appeared or are forthcoming in Agni, Ploughshares, The Iowa Review, American
Poetry Review, and the Best New Poets anthology. Among her awards are two
fellowships from the Fine Arts Work Center, an Individual Excellence Award from
the Ohio Arts Council, and a Walter E. Dakin Fellowship from the Sewanee Writers
Conference.
SA R A H MES S ER
R EB ECC A GAY L E H OW E L L
FA LL 2016 P
THE FIRST STEP BACKWARD:
MEMORY AS CREATIVE FORCE
JACQUELINE JONES LAMON is the author of two award-winning collections
of poetry, most recently, Last Seen, and a novel, In the Arms of One Who Loves
Me. An Associate Professor at Adelphi University, where she teaches in the MFA
program, she has received fellowships from Yaddo Foundation, the Fine Arts
Work Center in Provincetown and the Virginia Center for the Creative Arts, among
others. She serves as the President of Cave Canem Foundation, Inc.
FACTS, RESEARCH,
AND MEMOIR
O C E A N V U O NG
SA R A H ROS E NO R DG R E N
In this intensive course, students will explore several nuanced approaches to this
ancient alphabetical form of poetry. By combining current events and difficult
subject matter with a rigid adherence to the alphabet as an organizing principle,
you’ll discover new ways of accessing subtext in your drafts and develop a plan
for further development once the course is over.
CAROLYN FORCHÉ is a poet, translator, editor, and human rights activist. She
has published four award-winning books of poetry and three books of poetry
in translation. She has received fellowships from the John Simon Guggenheim
Foundation, the Lannan Foundation and the National Endowment for the Arts. She holds the Lannan Chair of Poetry at Georgetown University, where she also
directs the Lannan Center for Poetics and Social Practice.
FA L L 2016 P
FA LL 2016 P
JACQ UELI N E J O N ES LA MO N
This one-week intensive class will help experienced poets push their writing in exciting new directions. In this generative, guided workshop, you will work intensively as
you explore different approaches to process and revision.
WRITING POEMS
THAT DON’T FIT: FALL
A DA L I M Ó N
CA ROLYN FORCH É
FA L L 2016 P
WRITING THE
PERSONAL ESSAY: FALL
During this memoir course you will work toward completing a final, personal
essay through a series of short, guided assignments. Using these weekly writing
exercises – focused on specific topics as stepping-stones – you will learn to hone
your ideas, settings, characters and dialogue to build emotional impact into your
personal stories.
Almost all stories begin somewhere in an author’s experience. In this workshop,
you will learn to unlock your own experience and reimagine it as a compelling
and fulfilling story that makes characters feel alive. The goal is to create a rich
story that drives a reader to urgently want to turn each page.
WRITING NEW POEMS:FALL
TRANSLATION
AS CREATIVE PRACTICE
15 WORKS
October 17 - November 11 | 4-Week Workshop
This poetry workshop is based on a class taught at the former Corcoran School
of Art. In “15 Works,” you’ll write 3 to 4 poems a week in response to assignments
and prompts, with weekly themes. The workshop promises to stretch the boundaries
of your imagination, silence your internal editor and help you establish a writing
routine. This workshop will change your writing habits.
ROS I E S C H A A P
FA L L 2016 NF
ESSAY IS A VERB:
THE PRACTICE OF PERSONAL NARRATIVE
This course will help you mine memory through research techniques like archival
work, interviewing, travel, music, and information-gathering in order to create vivid,
compelling scenes. The course will help you find the facts to get at larger truths and also
remember small concrete details. At the end of this course, you’ll be able to construct a
compelling, moving memoir that makes your reader feel like they are right there with you.
We write in the age of globalization and in the language most universal for our
time. Contemporary international writers are now being brought into English at a
high frequency, and major writers of English are revisiting classics for the first time
in a generation. Where do you fit in? In this class, you will study the pioneering
craft of international works and tour through poetry translation strategies.
Informed and animated by the singular life experience and voice of its author,
the personal essay represents an attempt to deeply speak about an idea, a
problem, or a preoccupation in the most powerful language possible. In this new
workshop, you will develop dialogue, characters, scenes, and structure to create
thought-provoking essays that will engage and excite your readers.
SARAH MESSER’s hybrid history/memoir Red House: Being a Mostly Accurate
Account of New England’s Oldest Continuously Lived-In House was a Barnes and Noble
“Discover Great New Writers” pick for Fall 2004. A poetry book, Bandit Letters was
published in 2001. She has received fellowships and grants from the NEA, the Radcliffe
Institute for Advanced Studies at Harvard, the Wisconsin Institute for Creative Writing,
Andrew Mellon Foundation, and others.
ROSIE SCHAAP is the author of the memoir Drinking With Men, named one of the
best books of 2013 by NPR, Library Journal, and BookPage. The drink columnist for
The New York Times Magazine since 2011, and a contributor to This American Life, she
has also written for Al Jazeera America, Bon Appétit, Marie Claire, The New York Times,
poetryfoundation.org, Saveur, Slate, Travel + Leisure, and many essay anthologies. A
native New Yorker, she lives in Brooklyn and is writing a book about whiskey.
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24PEARLSTREET
EL IZ A BET H BRADF IELD
FA L L 2016 P
BEASTLY: ANIMALS AS POETIC SOURCE
AND SUBJECT FOR POEMS
FALL 2016 P
FALL 2016 NF
LYDIA MILLET is the author of thirteen works of fiction. An early novel, My
Happy Life, won the PEN-USA award for fiction; her story collection, Love in
Infant Monkeys, was a finalist for the Pulitzer Prize, and her most recent novel,
Mermaids in Paradise (2014), was called a “comic masterpiece” by Laura Miller
in Salon. She lives in the desert outside Tucson, Arizona, and has taught at both
Columbia University and the University of Arizona.
SA RA EL IZA JOH NSON
October 31 - November 4 | 1-Week Intensive
In this class, you will look to scientific endeavors and discoveries for inspiration, considering
the potential yields of the creative relationship between science and poetry. Through a
series of exercises, you will write poems that respond to the findings of contemporary
science. The subject matter, form, and figurative language in your poems will all be
shaped and energized by this course’s focus.
SARA ELIZA JOHNSON’s first book, Bone Map (Milkweed Editions, 2014), was
selected for the 2013 National Poetry Series. She is the recipient of a National
Endowment for the Arts Fellowship, a Rona Jaffe Foundation Writers’ Award, two
fellowships from the Fine Arts Work Center in Provincetown, a scholarship to the
Bread Loaf Writers’ Conference, and an Academy of American Poets Prize from
the University of Utah. She is currently the managing editor of Quarterly West.
40
JUMPSTART
YOUR MEMOIR
FA LL 2016 P
November 7-11 | 1-Week Intensive
November 7 - December 2 | 4-Week Workshop
In this four-week workshop focused on free verse, you will be guided through
a series of exercises designed to facilitate experimentation and surprise in your
work. Studying various techniques, you will investigate many of the intriguing
inner-workings of free verse and learn how to work them into your own poems.
MARCUS WICKER is the author of Maybe the Saddest Thing, selected by DA Powell
for the National Poetry Series. Wicker’s awards include a 2011 Ruth Lilly Fellowship and a
Pushcart Prize, as well as fellowships from Cave Canem and the Fine Arts Work Center.
His work has appeared in Poetry, American Poetry Review, Third Coast, Ninth Letter,
and many other magazines. Marcus is assistant professor of English at University of
Southern Indiana and poetry editor of Southern Indiana Review. He serves as director of
the New Harmony Writers Workshop.
FA L L 2016 P
MICHAEL WHITE’s poetry books are The Island, Palma Cathedral (winner of the
Colorado Prize), Re-entry (winner of the Vassar Miller Prize), and Vermeer in Hell
(winner of the Lexi Rudnitsky Editors’ Prize). His memoir, Travels in Vermeer, was
longlisted for the 2015 National Book Award. He has published poetry and prose in The
Paris Review, The New Republic, The Kenyon Review, The Best American Poetry, and
elsewhere. White is currently chair of the Department of Creative Writing at UNCW.
MICHAEL KLEIN
FA L L 2016 NF
FA LL 2016 NF
A MEMOIR WORKSHOP
KI R ST E N A NDE R S E N
STEALING TIME: THE TRICKY DANCE
OF BEING A WRITING PARENT
GAZING IN
GAZING OUT
In this new one-week intensive workshop designed for intermediate to advanced
poets, you will explore fundamentally new approaches to subject manner while
writing new poems and revising old ones. The class will also explore the intersection
of the public and the private in poetry, and students will be encouraged to
engage in an animated dialogue about the topic.
GA B R I EL L E C A LVO CO R E S S I
OF POEM, PIGMENT, & PAINT IN THE LAB: SPRING
Often, that moment when you first begin to write is the scariest. This one-week
intensive workshop will help you get started by asking the right questions.
Whether you’re stuck in a draft that isn’t working, having trouble organizing your
story, or are just unable to get started, this class is designed to help you write with
momentum, fresh ideas, and new strategies.
LOCKING DOWN YOUR FREE VERSE:
CONTAINERS THAT FIT
MICHAEL WHITE
FRANCESCA LIA BLOCK, winner of the prestigious Margaret A. Edwards Lifetime
Achievement Award, is the author of many acclaimed and best selling books,
including Dangerous Angels: The Weetzie Bat Books, Roses and Bones: Myths,
Tales and Secrets, and the adult novels The Elementals and Beyond the Pale
Motel. Her work is published around the world.
MA RCUS WI CKER
FALL 2016 P
NOT ALWAYS HAPPILY: WRITING THE
CONTEMPORARY FAIR TALE
November 7-11 | 4-Week Workshop
Francesca Lia Block’s one-week intensive course will show you how to utilize the
various elements of fairy tale writing as inspiration for writing short stories, novels and
even poetry. During the course you will delve into character, plot, setting, language
and theme as you compose contemporary fairy tales for both adults and young adults.
A N N HO O D
In this one-week intensive class, you will learn to write a story so thought
provoking that your readers will be unable to turn away before reading it through
to the end. Through examination and refinement of language, you’ll learn to hone
your story’s voice and make it as seductive and unique as it can be.
FA L L 2016 P
FA LL 2016 F
FRED MARCHANT’s newest book of poetry is The Day Later (Graywolf 2017).
His first book, Tipping Point, won the 1993 Washington Prize and was re-issued
in 2013 in a 20th Anniversary Edition. He is also the author of Full Moon Boat
and The Looking House. Marchant is a Professor Emeritus of English at Suffolk
University and founding director of the Creative Writing Program, the Poetry
Center, and the Day One Poetry Project.
LY DIA MILLET
MAD
SCI ENC E
DEEP REVISION:
THE POEM AS DISCOVERY
Everybody revises, but what does revision really mean? An important type of revision
is the revising that happens first within the writer’s mind, and then later becomes
manifest in the poem itself. The sign of this kind of revision is that the poet has in the
process discovered what she or he did not think was there waiting within the draft.
The goal of this workshop will be to practice this kind of deep revision and discovery.
ELIZABETH BRADFIELD is the author of the poetry collections Once Removed,
Approaching Ice, and Interpretive Work. Founder and editor-in-chief of
Broadsided Press, she lives on Cape Cod, works as a naturalist locally as well
as on expedition ships, and is the current Poet-in-Residence at Brandeis University
and on the faculty of the low-residency MFA program at University of Alaska Anchorage.
FA L L 2016 F
F R A N C E S C A L I A B LO C K
F R ED MA RCHA N T
In this intensive workshop, you will learn to incorporate your experiences with animals
into your poems in ways that are full, accurate and surprising. You will study how
others have written animals, focusing on making facts sing and describing your
moving experiences with animals by nudging up to sentimentality without entering it.
THE CHARISMATIC
NARRATOR
A NNE SA NOW
FA L L 2016 F
LIFTOFF:
FINISHING THAT STORY DRAFT
Writing about the parent-child experience is rich territory, but it is often difficult to
balance parenting time with your writing. In this new workshop, you will discover
how to embrace your new experiences and begin writing again. This course will
also help you establish and sustain a viable writing practice while navigating the
identities of writer and parent.
This workshop is focused on helping you make something happen in your story
by helping you grow your draft in ways you hadn’t anticipated. Discussions will
revolve around clarifying story ideas, sustaining scenes, deepening characters,
expanding the story’s world, and making connections. This class is designed for
advanced beginners and up.
KIRSTEN ANDERSEN is the author of Family Court, a chapbook collection of
poems forthcoming from Q. Ave. Press. Named the 2014 Anthony Hecht Scholar
at the Sewanee Writer’s Conference, Kirsten has received fellowships from
Stanford University and the Fine Arts Work Center in Provincetown. She is a
National Poetry Series finalist.
ANNE SANOW is the author of the story collection Triple Time, winner of the
Drue Heinz Literature Prize and the L. L. Winship/PEN New England Award for
Fiction, and chosen as a 2010 “Must Read” fiction title by the Massachusetts
Center for the Book. Her awards include the Nelson Algren Award for Short Fiction
from Chicago Tribune and fellowships from the MacDowell Colony and
the National Endowment for the Arts.
41
24PEARLSTREET
JUS T IN S T. G ERMAIN
FA L L 2016 NF
FA L L 2016 NF
MEMOIR:
GETTING STARTED
F E L LO W S H I P P R O G R A M
SEVEN-MONTH RESIDENCIES FOR EMERGING WRITERS AND ARTISTS
N I CO LE T ER EZ DUT TO N
FALL 2016 P
One of the hardest practical challenges writers face when beginning a memoir is where
to start. With that in mind, this workshop will explore various methods to help you get
your personal stories onto the page. We’ll read brief openings from published works as
examples, and do daily writing exercises experimenting with different approaches. You
may focus on generating new material or revising the beginning of an existing work.
December 5-9 | 1-Week Intensive
Whether you’re beginning with one poem or a small group of poems, this
week-long intensive workshop will offer strategies to meaningfully expand your
work toward a manuscript. By mapping the resonances and symmetries within
and between poems, you will gain a sense of where expansion is possible.
You will leave this class with many new ideas for moving your work forward.
JUSTIN ST. GERMAIN’s first book, the memoir Son of a Gun, won the 2013 Barnes
& Noble Discover Award in Nonfiction and was named a best book of 2013 by Amazon.
His writing has appeared in The New York Times, The New York Times Book Review, the
Guardian, and other publications. He is the recipient of scholarships from the Bread Loaf
Writers’ Conference & Sewanee Writers’ Conference, and was a Wallace Stegner Fellow
He teaches creative nonfiction at Oregon State University.
NICOLE TEREZ DUTTON’s work has appeared in Callaloo, Ploughshares, 32
Poems, Indiana Review, and Salt Hill Journal. Nicole has received fellowships
from the Frost Place, the Fine Arts Work Center, Bread Loaf Writers’ Conference,
and the Virginia Center for the Creative Arts. Her collection of poems, If One Of Us
Should Fall, was selected as the winner of the 2011 Cave Canem Poetry Prize.
T HOM AS PAG E MCBEE
R EB ECCA GAY LE HOWELL
THE REPORTED LIFE: USING JOURNALISM
TO TELL A TRUER STORY
FALL 2016 P
The Fine Arts Work Center is one of the country’s leading long-term residency
programs, offering a unique FELLOWSHIP PROGRAM for writers and visual artists
in the crucial early stages of their careers. The Work Center provides seven-month
Fellowships to twenty Fellows each year in the form of living/work space and a monthly
stipend. Residencies run from October 1 through April 30. Fellows pursue their work
independently in a diverse and supportive community of peers while living in an area of
spectacular natural beauty.
THREADING AND BUILDING:
WORKING TOWARD A MANUSCRIPT
Past Fellows have won every major national award and prize, including the Pulitzer,
MacArthur, Whiting, Pollock-Krasner, Tiffany, Prix de Rome, Guggenheim, National
Endowment for the Arts, and National Book Award, publishing hundreds of books and
exhibiting in countless museums and galleries worldwide.
WE ALL WRITE
SENTENCES
This workshop will focus primarily on the craft of interviewing and/or conducting
research to support building a nonfiction essay into a personal journalism experiment.
Class participants will focus on reading great pieces of literary reporting, read
interviews and discuss interview technique, and do daily writing exercises that
incorporate interviews and relevant research.
Poets, fiction writers, and nonfiction writers alike are all invited to consider the
power of the English sentence – specifically, in pushing its boundaries – in this
one-week intensive workshop. You will read across genres to discover masters of
linguistic craft and learn to perform grammatical analysis for the sake of better
serving the imagination.
THOMAS PAGE MCBEE is the author of the memoir Man Alive: A True Story
of Violence, Forgiveness, and Becoming a Man, which was the recipient of a
LAMBDA literary award and named a best book of 2014 by NPR Books and
BuzzFeed. His writing and reportage on gender appear in The New York Times,
Playboy, Glamour, VICE, The Rumpus, and the Pacific Standard, where he writes
the column, “The American Man.” He is editor and director of growth at Quartz.
Fine Arts Work Center Fellows are expected to live and work in Provincetown during
the Fellowship term. Optional group activities provide opportunities to meet program
committee members, as well as visiting artists and writers. The Stanley Kunitz Common
Room is the site of frequent presentations by distinguished guests, as well as readings by
Writing Fellows. Visual Arts Fellows present shows in the Work Center’s Hudson D. Walker
Gallery. The Fine Arts Work Center seeks to identify local and national venues for Fellows
and former Fellows to share their work.
For more information and how to apply for a Fellowship, please visit our website.
FAWC .O RG/ FE L LOWS H I P
SA RA ROAH EN
FA L L 2016 NF
FOOD IN MEMOIR:
WHAT SUSTAINS US
Food sustains us – or in some cases, fails to sustain us. Because of food’s
omnipresent role in our lives, using food in our writing can help us narrow in on,
or expound upon, the weightiest of topics. In this workshop, you will learn how to
give food the appropriate weight, emotion, and time, and use food in writing to
reveal great truth and meaning.
SARA ROAHEN wrote the memoir Gumbo Tales: Finding My Place at the New
Orleans Table, co-edited The Southern Foodways Alliance Community Cookbook,
and contributed a chapter to New Orleans Cuisine: Fourteen Signature Dishes and
Their Histories. She has written for Saveur, Oxford American, Wine & Spirits, Bon
Appétit, among others. She is also an oral historian and has completed a number of
Louisiana-based oral history projects for the Southern Foodways Alliance.
42
ISAAC MCCASLIN, Spectacularly Dying (detail), 2014, oil on canvas, 60” x 50”
Visual Arts Fellow 2015-2016
43
2016 EVENTS CALENDAR
EACH YEAR THE FINE ARTS WORK CENTER HOSTS A NUMBER OF BENEFIT CELEBRATIONS REUNITING FELLOW ALUMNI
AND A COMMUNITY OF ART PATRONS INVESTED IN CREATIVE ENGAGEMENT AND SUPPORT.
ANNUAL NEW YORK CITY BENEFIT – MARCH 24
DISTINGUISHED GUEST YUSEF KOMUNYAKAA
This elegant exhibition reception commemorates art and celebrates the visual and writing
achievements of it’s distinguished guests. This year’s event honoree is the 2016 New York
State Poet Laureate and a former Work Center Fellow. The event will be hosted at the Jack
Shainman Gallery on West 20th Street. Past hosts have included DC Moore Gallery, Gallery
LeLong, Cheim & Read, and Lori Bookstein Gallery. Premier donors attend an exclusive
post-event dinner with such celebrated guests as Michael Cunningham, Marie Howe,
Jack Pierson, Nick Flynn, and André Gregory. Tickets $175 - $2,500
NYC AUTHORS & ARTISTS: AN INTIMATE DINNER – APRIL
This series features intimate dining experiences and conversations with a guest artist
or author hosted in a private home in New York City. Guests have included visual
artists Jack Pierson and Jacolby Satterwhite, and writers Michael Cunningham,
J. Michael Lennon, Boris Fishman, and Jayne Anne Phillips. Tickets $250
ANNUAL SPRING BOSTON BENEFIT – MAY 19
Sip and savor cocktails and hors d’oeuvres at this preview exhibition held at
ACME Fine Art in the heart of Boston’s chic SoWA District. Partial proceeds from
the sale of art are shared with the Work Center. Distinguished guests have included
poets Nick Flynn, Robert Pinsky, and John Murillo, as well as Pulitzer Prize-Winning
author Paul Harding and esteemed artist Pat de Groot. Tickets $75 - $1,000
PROVINCETOWN SUMMER AWARDS CELEBRATION – JULY 9
HONOREES JAMES LECESNE AND ANOTHER SPECIAL GUEST TBA
Hosted under a canopy of tents on the Work Center’s campus, this sell-out event celebrates
writers, artists and philanthropists for their distinguished service to arts and letters.
Previous Honorees include Daniel Mullin, Elizabeth McCracken, Robert DeNiro, Sr.,
Robert DeNiro, Jr., Ann Patchett, Governor Deval Patrick, Tony Kushner, Berta Walker,
Louise Walker Davy, Hatty Walker Fitts, Michael Cunningham, John Dowd, Mary Oliver,
and Anne Packard. Tickets $350 - $10,000
40TH ANNUAL ART AUCTION, PROVINCETOWN – AUGUST 20
FEATURED ARTIST VARUJAN BOGHOSIAN
Bid, buy, and collect! This standing-room-only live auction features 100 lots of fine art,
one-of-a-kind monoprints and artist projects, and experiential and destination packages.
A companion silent auction offers gifts cards to restaurants, shops, hotels, spas, galleries,
museums, and more. Auction Preview - August 12. Midsummer Exhibition July 29 through
August 21 in the Hudson D. Walker Gallery to celebrate the work of Varujan Boghosian,
curated by Berta Walker of the Berta Walker Gallery. Tickets $35 - $150
FAWC.ORG/EVENTS
THERE ARE MANY EVENTS AND ACTIVITIES HAPPENING THROUGHOUT THE YEAR AT THE WORK CENTER. VISIT OUR WEBSITE TO SEE THE MOST UP-TO-DATE LISTINGS FOR ALL OUR ACTIVITIES.
BECOME A MEMBER
The Fine Arts Work Center invites you to become a member of our creative community.
Members receive a variety of benefits, including our Member Card offering discounts at
businesses and cultural institutions. At elevated giving levels, members receive tuition
discounts for Summer Workshops, 24PearlStreet online classes, and many special events.
YOUR MEMBERSHIP MAKES POSSIBLE
- The Fellowship Program for emerging writers and visual artists
- Summer Workshops in creative writing and visual arts
- 24PearlStreet online writing workshops
- Free readings and artists talks throughout the year
- Year-round exhibitions
- Student scholarships, Fellow stipends, Fellows in the Schools program
OUR BUSINESS PARTNERS
8 Dyer
ACME Fine Art
A Gallery
Adam Peck Gallery
Admiral’s Landing
Angel Foods
Berta Walker Gallery
Chequessett Chocolate
Fine Arts Work Center Book Shop
Kohi Coffee Company
Provincetown Film Society
Ravenwood Inn
Rice/Polak Gallery
Rose Acre
Roux
Sage Inn & Lounge
The Schoolhouse Gallery
List at time of printing. For an updated list and description of benefits, visit
FAWC.ORG/BUSINESSPARTNERS
LEVELS AND PREMIUMS
$50 INDIVIDUAL (Student $25 - ages 12-18)
- Work Center Member Card - providing money saving discounts at local
and regional businesses and cultural institutions
- 10% off at the Work Center’s retail store
- Recognition in the Annual Report
$85 DUAL
- All the benefits of the Individual Membership, times two!
$150 SUPPORTING
- All the benefits of an Individual Membership, plus:
- $50 tuition discount for Summer Workshops in writing and visual arts
- $50 tuition discount for 24PearlStreet online writing workshops
- Invitation to Fellowship Open Studios
$250 SUSTAINING
- All the benefits of above, plus:
- 10% discount on these ticketed events: Boston Spring Benefit,
Summer Awards Celebration, and the New York City Annual Benefit
$500 ADVOCATE
- All the benefits of above, plus:
- Autographed First Edition book by Fine Arts Work Center Writing Fellows
- Signed Limited Edition Print by a Fine Arts Work Center Visual Arts Fellow
$650 FRIEND OF THE SUMMER PROGRAM
- Underwrites one Summer Workshop student scholarship
Naming opportunity included.
FAWC.ORG/MEMBER
44
T H A N K YO U
WE GRATEFULLY ACKNOWLEDGE THE GENEROUS
AND ONGOING SUPPORT FROM OUR SPONSORS
MARISA MANSO, Show It To Me All The Time (side view), 2014, oil on canvas, sand bags, batting, fluorescent light
Visual Arts Fellow 2015-2016
Special thanks
to our terrific printer.
FINE ARTS WORK CENTER STAFF
VOLUNTEER
MICHAEL ROBERTS Executive Director
BETTE WARNER Associate Director/COO
There are numerous opportunities to volunteer
CARY RAYMOND Communications & Marketing
at the Fine Arts Work Center. Visit our website
BAILEY BOB BAILEY Building & Grounds Manager
to learn more about our volunteer program.
NAYA BRICHER Administrative, Development, Technology Coordinator
FAWC .ORG/ VOLU N TE E R
KELLE GROOM Summer Program Director
DAWN WALSH Community Outreach Coordinator & Summer Program Associate
MATTHEW NEILL NULL Writing Coordinator
JAMES EVERETT STANLEY Visual Arts Coordinator
WORKBOOK 2016
JILL MCDONOUGH 24PearlStreet Program Coordinator
DESIGN AND PRODUCTION CREDITS
GEMMA LEGHORN 24PearlStreet Program Manager
DESIGN Cary Raymond
DAWN ZIMILES Webmaster
PRODUCTION Cary Raymond, Bette Warner
MELENIE FLYNN Grantwriter
Kelle Groom, Dawn Walsh,
JEROME GREENE Building & Grounds Associate
Gemma Leghorn, Jill McDonough
SCOTT SHIELDS Bookkeeper
45
24 Pearl Street | Provincetown, MA 02657 | 508.487.9960 | fawc.org
COVER IMAGE
VICKY TOMAYKO, July Aquarium (detail), 2015, monoprint with lithography, 11” x 13.5”
Visual Arts Fellow 1985-1986 and 2016 Summer Workshop faculty member
Funding for the Fine Arts Work Center is provided by the Massachusetts Cultural Facilities Fund, a program of the Commonwealth of
Massachusetts, administered through a collaborative arrangement between MassDevelopment and the Massachusetts Cultural Council.
The Fine Arts Work Center is an equal opportunity provider and employer.
In accordance with Federal law and U.S. Department of Agriculture policy, this institution is prohibited from discriminating on the basis
of race, color, national origin, age, disability, religion, sex, and familial status. (Not all prohibited bases apply to all programs). To file a
complaint of discrimination, write USDA, Director, Office of Civil Rights, 1400 Independence Avenue, S.W., Washington, D.C. 20250-9410
or call 800.795.3272 (voice) or 202.720.6382 (TDD).

FINE ARTS WORK CENTER in Provincetown

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