Search results for 'henry art gallery'

Guest Post at Lisa Romeo Writes: “Whatever Works: Looking at Visual Art to Write Inspired Prose”

7 Feb
Self_Portrait_with_Seven_Fingers (1)

Marc Chagall, Self-Portrait with Seven Fingers

Paintings helped me grope through the dark of my first draft of Daughters of the Air. I wrote a guest blog post about that process on Lisa Romeo’s blog. Here’s how the piece begins:

When I was just starting to write seriously, I fetishized notebooks—and, like an eight-year-old—stickers.  I preferred black, hard-backed notebooks with graph paper that forced my writing into small, neat boxes.  My favorite treat was popping into a stationary store in Cobble Hill, Brooklyn, to buy a cheap book of Dover Art Stickers depicting famous paintings by Michelangelo, Kahlo, Goya, and the like. I was trying to write the first draft of my first novel, Daughters of the Air, using Hemingway’s supposed model of 300 words a day, no more, no less, stopping mid-sentence and all that jazz.

continue reading

Years later, still enraptured with the process, I ended up teaching several classes on writing from art for Hugo House at the Henry Art Gallery (you can see my students’ work alongside the art that inspired them in these e-booklets the Henry made here and here) as well as several blog posts for Ploughshares, including this one on writing from abstract art. And, my next novel features an artist. And, many of my essays engage with art in one way or another, like this one on Goya, in the Los Angeles Review of Books. All this writing about writing—it’s time for me to get back to a gallery and refill the well!

Hugo at the Henry: Senses in Reading and Writing

25 Nov

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On March 21, I’m teaching a special one-day Hugo House class at the Henry Art Gallery. As I mentioned in a recent Ploughshares blog post, I’ve been helping out with the literary component of Ann Hamilton: the common S E N S E, the exhibit that has taken over all of the Henry from October to April. The show explores the sense of touch and our relationship to nature as well as being touched–emotionally, intellectually–through the private act of reading.

The exhibit has filled the galleries with scanned images of taxidermy animals from the Burke Museum of Natural History, with children’s ABC primers and bestiaries from the University of Washington’s Libraries Special Collections, and with clothing made from animal products both from the Burke and from the Henry’s collections. Throughout the galleries, at different times, chorale singers sing to the objects. And, reader/scribes read aloud to objects of their choice, like a bedtime story, from a common text that will change over the course of the show–the first is J.A. Baker’s The Peregrine, a beautiful book. These reader/scribes, when particularly moved by a passage in the text, record that passage into a log book. These log books will accumulate over time, becoming a record of a collective reading experience.

There are a number of ways to participate in this rich exhibit:

  • Submit a fragment from your own reading that deals with the sense of touch (literally or intellectually) to this tumblr site; your submissions may be included in the exhibit!
  • Volunteer to be a reader/scribe. I’ve done it four times so far; it’s a powerful experience, and I’m writing about it now and hope to share it with you soon. Perks: free admission, a free pass to return to the exhibit, and an invitation to participate in a discussion of the experience with other reader/scribes and facilitated by a member of the literary community (including me!).
  • Take my Hugo House class Senses at the Henry on Saturday, March 21, 12-3 pm. We’ll do the reader/scribe activity, contributing to the exhibit itself (exciting!), discuss the experience, and then dive into creative writing in response to the show. Member registration begins on December 9 and general registration opens on December 16.

Hope to see you around the Henry in the coming months!

Visual Inspiration: Hugo at the Henry

25 Nov

I’m pleased to offer a third iteration of my writing with visual art class for Richard Hugo House at the Henry Art Gallery, now snappily-titled Visual Inspiration. Here’s the course description:

This class, which meets at the Henry Art Gallery at the University of Washington, will use visual art as a springboard for diving into prose writing. We’ll mine the inspiration of images to unearth new prose or add unexpected meaning and direction to works in progress. Students can search the Henry’s digital archive and request works from the permanent collection not currently on view. For even more creative percolation, we’ll read published works inspired by visual art. Exercises, readings, and discussions will cover the writing process, character, story, landscape (internal and external), and style. Students will have the option to workshop one short-short story or essay. Co-Presented with the Henry Art Gallery.

Class meets Thursday evenings 6-8 pm, January 30-March 13 (with no class on February 27 due to the AWP conference). General registration begins December 10, and the scholarship deadline is December 24. I’m excited to see what students do with “Sanctum,” the interactive installation now outside the Henry that draws on social media and surveillance technology, and I’m curious as always to see what gets pulled from the permanent collection and what new creative works spiral out from that.

Hugo at the Henry: Writing with Visual Art

18 Dec

I’m gearing up to teach Hugo at the Henry: Writing with Visual Art again this winter, bringing Hugo House students to the Henry Art Gallery to look at art and write. I taught a version of the class over the summer, and the Henry put together a beautiful e-booklet of writing produced by students then, now available right here. I’m so proud of the work they created in that short time, and so thankful to Rachael Faust and Jayme Yen at the Henry for making this e-booklet possible.

This winter, the Henry’s special exhibits include Now Here is Also Nowhere, which explores ephemeral and intangible concepts like love, death, memory, and imagination, Pipilotti Rist’s immersive projection A la belle étoile, and En plein air, which explores how landscape painting influenced early photography. We’ll also have a chance to request work from the permanent collection not currently on display. It’s going to be a fabulous quarter!

Here’s the run down on the class:

Hugo at the Henry: Writing with Visual Art

Meets Thursdays, 6-8 pm, at the Henry Art Gallery

January 31-March 7, 2013

To register: http://hugohouse.org/class/hugo-henry-writing-visual-art-0

Related posts:

  1. Hugo at the Henry: Writing with Visual Art
  2. Favorite Tips on the Writing Life

Hugo to the Henry: Writing with Visual Art

24 May

I’m delighted to be offering a six-week creative writing class through the Hugo House and the Henry Art Gallery this summer. Here’s the course description:

Meeting at the Henry Art Gallery at the University of Washington, this class will use visual art as a springboard for writing. We’ll mine a range of media (photographs, paintings, sculpture, textiles, etc.) to unearth new prose projects or add depth and breadth to works in progress. To help with the creative percolation, we’ll read short published works that have been inspired by visual art. Exercises, readings, and discussions will cover process, character, story, landscape (internal and external), and style. Students will be able to workshop one short-short story or essay. Optional text: Looking Together: Writers on Art, ed. Rebecca Brown and Mary Jane Knecht (Frye Art Museum & University of Washington Press). Co-Presented with the Henry Art Gallery.

The class will meet Thursday evenings, 5-7 pm, from July 12-August 16, and we’re going to have a fabulous time looking at art and writing!

You can register online, by phone (206-322-7030), or in person at Hugo House.

Related content:

  1. Writing from Art
  2. Filtering
  3. The Work of Writing

Spring Classes: Contemporary Fairy Tales & Powerful Objects

15 Mar
Moss+Blossoms

Mossy trees sprouting cherry blossoms at the University of Washington

This spring, I’m teaching a six-week class on contemporary fairy tales at Hugo House. We’ll read Angela Carter and Margaret Atwood and Sarah Shun-lien Bynum and Alissa Nutting, among other fantastic writers. We’ll talk about some of my favorite techniques, like everyday magic and intuitive magic. And we’ll try our hands at writing our own fairy tales. Class meets Wednesday nights 7-9 pm from May 25-June 29. Registration is currently open for Hugo House members; general registration opens March 22. Scholarships are available and applications are due on March 25.

white out blossoms

Cloud cover & blossoms

I’m also teaching a 75-minute webinar on Saturday, April 16 called Powerful Objects via Inked Voices. We’ll talk about one of my favorite topics: how objects create a special kind of magic in fiction and how useful they are in developing character, plot, and emotional resonance. It’s a lecture-based class that will include writing prompts and a Q&A. The class will meet at 12 pm EST / 9 am PST and is just $25. We’ll talk about Cynthia Ozick’s story “The Shawl,” so please read that in advance. You can register here.

Speaking of fairy tales, right now at the Henry Art Gallery, you can see Paul McCarthy’s White Snow, a wildly whimsical and subversive take on Snow White. A few years ago, I saw his gonzo installation WS at the Park Avenue Armory in New York, a similarly subversive spin on Snow White but somehow less rich than the wood sculptures on view at the Henry. White Snow seems more artful, crafted, and thoughtful, whereas WS was a big raunchy frat party. The Henry is now free on Sundays (huzzah!), so go check it out. Perhaps it will inspire you!

paging archimboldo

Where is Arcimboldo when you need him?

“Bedtime Stories for Ghosts” in Electric Literature

18 Sep

My essay “Bedtime Stories for Ghosts: Reading Aristotle to Coco Chanel and Other Encounters in a Massive Art Installation” is up on Electric Literature today! This piece has been in the works since the beginning of the common S E N S E, Ann Hamilton‘s show at the Henry Art Gallery in October 2014, evolving as the show evolved and growing stranger with each of my visits. It draws on Aristotle and J.A. Baker and Mercè Rodoreda and Rikki Ducornet and humming birds and egret capelets and more.  (Not incidentally, the Coco Chanel egret capelet makes an appearance in my story “Cauliflower Tells You,” over on Monkeybicycle.) I’m excited to have my work in Electric Literature and am thankful to Kelly Luce for taking it on.

Fall Classes at Hugo House

27 Jul

Hugo House’s fall course catalog is now available. I’m teaching three classes, listed below. Scholarships are available and applications are due August 24. Hope to see you around Hugo House soon!

I’m also happy to offer writing coaching. If you’re interested, email me at anca (dot) l (dot) szilagyi (at) gmail (dot) com, and tell me what you’re working on and what kind of coaching you are looking for, and we’ll go from there.

On Writing Difficult Material

2 Mar

Over on the Hugo House blog, I’ve got a mini-lesson previewing my upcoming one-day class at the Henry Art Gallery. The excerpt of class reading I chose comes from the opening of Mercè Rodoreda’s novel Death in Spring, which is the new book integrated into Ann Hamilton: the common S E N S E(The first book was J.A. Baker’s The Peregrine.)

Death in Spring is a stunning novel, for its poetic language, lush imagery, and its tackling cruelty among humans as well as violence in nature. Rodoreda was a Catalan writer living during Franco’s dictatorship, and the novel can be read as a metaphor for that regime or for any oppressed society.The violence is also of mythological proportions, and the beauty of the language helps make reading it bearable. This technique was something that was made explicit for me by Rikki Ducornet speaking at an AWP panel on “Magic and Intellect”: “For a difficult book to be readable, find a language that levitates somehow, that is scintillating.”

The class will go beyond this topic, delving into the many layers of Ann Hamilton’s monumental show, on our relationship to animals, the sense of touch, and being touched–emotionally and intellectually–through the private act of reading. Death in Spring will definitely bring home this last idea of being touched–being moved in profound ways by another’s experience and creation.

Intro to Fiction: Writing the Short Story

21 Nov

This winter, I’m teaching Intro to Fiction: Writing the Short Story, a six-week class at Hugo House laying out crucial elements of story. Here’s the course description:

This class will zero in on the three-part backbone of story: character, plot, and landscape. Who is your main character? What do they want? What keeps them from getting what they want? Readings and discussions will include canonical and contemporary stories from James Joyce, Anton Chekhov, Mavis Gallant, Jamaica Kincaid, Louise Erdrich, and others. Writing exercises will focus on crucial craft elements as well as generative exercises to get started.

I’m also teaching a special one-day class at the Henry Art Gallery in conjunction with Ann Hamilton’s show the common S E N S E, which I’ll write more about in a separate post. Registration for Hugo House members begins on December 9 and for the general public on December 16. Hope to see you there!

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