Session 1--May 25-June 6
Mindell Dubansky--Exploring Bookness
Artists have been making objects in book form for over five hundred years. Learn about the historic use of the form in art, craft, and design, and create new book-shaped objects that examine the book as metaphor and container. We will use basic bookbinding and box making skills and materials, together with other techniques and unusual materials to design and make book-objects that reflect our love and understanding of books and ourselves. All levels. Code 01b
Head of book conservation at the Metropolitan Museum of Art (NYC); teaching: College for Creative Studies (Detroit), Center for Book Arts (NYC), Minnesota Center for Book Arts.
|
 |
Session 2--June 8-20
Susan Joy Share--Wearable Books, Dolls, & Movement
We will view the book as an extension of the body, and the body as inspiration for our visual work. Using bookbinding techniques (gluing, sewing, folding, cutting, hinging), invented techniques, and common and unusual materials, we will create wearable books, bodyscapes, shaped books, environments, and dolls. In addition, we will explore movement, improvisation, body language, and the possibilities of performance to animate our work. All levels. Code 02b
Artist, performer, book conservator; teaching: Center for Book Arts (NYC), Anderson Ranch (CO), Haystack (ME); fellowships: Rasmuson Foundation (AK), Center for Book Arts (NYC), Alaska State Council on the Arts, New York State Council on the Arts; solo exhibition: Anchorage Museum (AK).
This class is part of the special session titled The Body.
|
|
Session 3--June 22-July 4
Julie Chen--The Box as Container & Content
This class will take box making to a new level of complexity, both technically and conceptually. We will explore the potential of the box form as housing and as an integral conceptual element in artist’s book projects. Students will learn to create complex hybrid box structures with drawers, multiple levels, and compartments. We will also look at strategies for incorporating text, image, and objects into the box. All levels. Code 03b
Studio artist and teacher of book arts at Mills College (CA); produces limited-edition artist’s books as Flying Fish Press; collections: Museum of Modern Art Library (NYC), Victoria and Albert Museum (London).
|
 |
Session 4--July 6-18
Ann Marie Kennedy--Paper & Light
This class will investigate the material nature of paper and the myriad ways in which light and paper interact. Students will learn about overbeaten pulps and how to create translucency in their paper. We will work with several sheetforming techniques, including pouring large sheets and Asian-style papermaking, to produce sheets of paper that have sculptural possibilities and image-based applications. All levels. Code 04b
Studio artist working in installation and papermaking; teacher at Wake Technical Community College (NC); North Carolina Arts Council fellowship; recent exhibitions: Gregg Museum (NC), Artspace (NC), Asheville Art Museum (NC); work in private and public collections. amkennedy.com
|
|
Session 5--July 20-August 5
Julie Leonard--Boxes: Practical & Fantastical
Boxes, like books, serve many purposes, one being to house and protect information or objects. We will learn a range of box structures: both traditional book boxes and variations on these, including boxes with drawers, shelves, and hidden compartments. Exploring ideas of containment, secrecy, exposure, and collection, we will consider the expressive qualities of boxes and how they can be an integral component of art work. Several binding structures will be taught so we can use both books and boxes in conceptual pieces. All levels. Code 05b
Studio artist and teacher at University of Iowa Center for the Book; workshop teaching: Paper and Book Intensive, University of Alabama; collections: Sackner Archive of Visual and Concrete Poetry (FL), University of Iowa, University of Delaware.
|
 |
Session 6--August 10-22
Steve Pittelkow--A Survey of Decorative Paper Techniques
The study of decorative paper has the potential to inspire complete individual creativity. We will learn to make several kinds of decorative paper including Japanese methods, paste paper, and an extended study of traditional marbled paper leading to mastery of this magical technique. Along the way we’ll construct a few objects d’art while building a portfolio of beautiful and useful papers. All levels. Code 06b
Decorative paper artist and bookbinder; teaching: Minneapolis College of Art and Design, guest artist at Penland and University of Georgia Cortona, Italy program; papers in collections and artists’ books in U.S. and Europe. viadiscampo.com
|
|
Jiyoung Chung--Color Joomchi
Joomchi is a traditional Korean handmade paper. Textured paper paintings and forms are created by layering thin rice papers together and agitating with hand and water. In this workshop, using low-tech hands-on processes, students can enjoy this ancient technique and adapt it for contemporary two- and three-dimensional functional and fine art. All levels. This class takes place in the second-floor textiles class. Code 06tb
Studio artist; twelve solo shows in Korea, Finland, and U.S.; Vermont Studio Center and Minnesota Center for Book Arts residencies; collection: Museum of Arts and Design (NYC).
|
 |
Session 7--August 24-30
Cathy Adelman--Three-Piece Case Binding
This case binding is distinct in that the spine, front, and back boards are separate pieces which allow infinite variations of color and material. Beginners will be introduced to leather working through a leather spine with book cloth or paper on the boards. More experienced students may attempt a full leather binding. Leather working and decorative techniques will be covered. All levels. Code 07b
Studio artist; studies with Edwin Heirn at the Centro del Bel Libro (Switzerland); teaching: California Chapter of the Guild of Bookworkers and at her own studio; 2007 Society of Bookbinders International Competition Ratchford Cup Award for Cased Binding.
|
|
Seventh session will also include sculptor Jim Gallucci's class, for artists working in any media, in proposing and developing public art projects.
|
|
