Session 1--May 25–June 6
Harlan Butt--Enameling: Image & Word
This workshop will focus on using a variety of enameling techniques to create images and text. We will explore stencil, sgraffito, silkscreen, champlevé, cloisonné, ceramic pencil, and other processes. The class will experiment with haiku writing as a source of inspiration and subject matter for integrating word and image into enameled artwork. All levels. Code 01ma
Regents professor of art at University of North Texas; collections: Museum of Fine Arts, Boston, Renwick Gallery (DC), Museum of Arts and Design (NYC), Victoria and Albert Museum (London), National Gallery of Australia; fellow of the American Craft Council. harlanbutt.com
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Lilith E. Nielander--Creating Unique Jewelry Designs
This class for beginning metalsmiths will cover a wide range of fabrication techniques including sawing, soldering, forging, forming, surface embellishment, chainmaking, and basic stonesetting. In combination with each student’s unique ideas, these techniques will open the door to creating personalized jewelry designs. Beginning level, however intermediate students are welcome. Code 01mb
Studio artist and instructor at Appalachian State University; work in numerous collections including Wolfsonian Museum (FL).
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Session 2--June 8–20
Sondra Sherman--The Body as Site
Jewelry is always understood in the context of the body or the identity of the wearer. Site specific art refers to an artist’s intervention in a specific locale, creating work that is integrated with its surroundings and explores its relationship to that locale. The body is jewelry’s explicit and implicit site. We will explore jewelry that restructures the viewer’s perception of the body and/or the wearer. We will cover various construction and forming techniques such as die forming, wire construction, repoussé, and simple mechanisms as needed. Basic sawing, filing, and soldering skills required. Code 02ma
Associate professor at San Diego State University (CA); Fulbright scholarship; collections: Philadelphia Museum, Museum of Fine Arts, Boston, Smithsonian American Art Museum (DC).
This class is part of the special session titled The Body.
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Marcia Macdonald--Body Candy
Jewelry has adorned the figure for centuries. It can have an amazing narrative capacity and the potential to go beyond mere decoration. We will explore jewelry or small sculpture that is figure-related but not necessarily figurative. Students will make objects evocative of their personal visions using metal, wood, alternative materials, and found objects. We will emphasize fabrication techniques, design, drawing, and problem solving. The only prerequisites are energy, enthusiasm, and an interest in the eccentricity of the ordinary. All levels. Code 02mb
Studio artist; teaching: Arrowmont (TN), Haystack (ME), Penland; exhibitions: Smithsonian Craft Show, Philadelphia Museum Craft Show, American Craft Council shows.
This class is part of the special session titled The Body.
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Session 3--June 22–July 4
Charles Pinckney--Metalsmith Techniques with a Twist
We will explore design, metalworking, and surface embellishment techniques as a foundation for combining metal with natural materials such as wood, stone, and bone to fabricate jewelry or small-scale objects. Techniques will include cutting, forming, fitting, hot and cold connections, and finishing with an emphasis on alternative possibilities for traditional techniques. Students of all levels are welcome, but some soldering experience is recommended. Code 03ma
Studio artist; teaching: Lyndon House Arts Center (GA); exhibitions: Georgia Museum of Art, Tifton Museum of Art (GA), Sumter Gallery (SC), Nancy Sachs Gallery (St. Louis), Gainesville College (GA). charlespinckney.com
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Douglas Harling & Sarah Perkins--The Classics: Granulation & Enameling
This class is an immersion in classic metal technique and enamel work. We will start with granulation, an ancient method of attaching small pieces of metal to larger surfaces without solder. Then we will cover enameling methods including wet packing with opaques, dry sifting, stenciling, and cloisonné. The second week we will raise vessels for enameling and/or granulation. Students are encouraged to pursue their interest in jewelry, small objects, or the vessel. All levels. Code 03mb
Douglas: teacher at Kentucky School of Craft; North Carolina Artist Fellowship; recent exhibitions: Rochester Institute of Technology (NY), Mint Museum of Craft + Design (NC). Sarah: professor at Missouri State University; collections: Brooklyn Museum (NYC), National Ornamental Metals Museum (TN).
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Douglas Harling |
Session 4--July 6–18
Marisela Gutierrez Campos--Repoussé: Recovering a Lost Technique
Working with flat sheets of metal and simple hand tools, we will engage in our own creative work through the old techniques used by Byzantine monks to protect and embellish their icons. We will combine old with new and play with other materials such as stones, cabochons, gold leaf, and other materials to have a complete experience of repoussé. All levels. Code 04ma
Studio artist; exhibits at art fairs in San Miguel Allende, Mexico; teaching: Lousiana Art and Science Museum, Penland, private studios; work in private collections.
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Fred Fenster--Pewtersmithing: Objects for the Table
This class will cover the forming and construction of pewter objects used in the home and on the table, including vase forms, salt and pepper shakers, bowls, cups, candlesticks, and other decorative objects that are also functional. Basic jewelry experience will be useful but is not required. All levels. Code 04mb
Professor emeritus from University of Wisconsin at Madison; fellow of the American Craft Council; collections: Renwick Gallery (DC), Detroit Institute of Art, National Museum of Contemporary Art (Korea), Milwaukee Art Museum.
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Session 5--July 20–August 5
Jamie Bennett--Painted Enameling Process
We will work primarily on the painterly process of enamel. While much of this process centers on the use of overglaze enamels, this class will also include demonstrations of other methods of application. We will cover metalsmithing techniques appropriate to enameling. All levels. Code 05ma
Professor at State University of New York at New Paltz; subject of a three-year traveling exhibition, The Edge of the Sublime, Enamels of Jamie Bennett, beginning January 2008, with companion book published by Hudson Hills Press.
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Sayumi Yokouchi--Re-Engaging the Readymade
In this workshop, processed materials such as plastic containers, rubber bands, fiber, industrial parts, buttons, and paper will be treated as raw materials for jewelry. Throughout the class, students will be encouraged to seek new ways of working. They will be guided in transforming these materials and objects into new, fresh works of jewelry. Demonstrations will include connection techniques, making findings, and “refabrication.” All levels. Code 05mb
Studio artist, instructor at 92nd St. Y (NYC); other teaching: State University of New York at New Paltz, Kutztown State University (PA), Craft Students League (NYC); exhibitions: Velvet da Vinci (CA), Quirk Gallery (VA), Sienna Gallery (MA).
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Session 6--August 10–22
David Butler--Stonesetting & Casting
Stones have been a major design element in jewelry for thousands of years, yet how one uses a particular stone in a particular piece can remain a mystery. This class will dispel the mysteries, shedding light on the prong, bezel, channel, tube, and gypsy settings. We will also cover the use of gravers and bead settings. The lost wax casting component will focus on creating settings in wax, covering everything needed to make consistent, quality castings. Basic sawing, filing, and soldering skills required. Code 06ma
Professor at Pratt Institute (NYC) and instructor at 92nd St. Y (NYC); many years in jewelry industry as designer/goldsmith; work exhibited extensively and included in public and private collections.
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Itay Noy--Timepieces
Today, with cell phones and computers, nobody needs a watch to know what time it is. Nevertheless, people want to have them. The movement is the heart of the watch. It is surrounded by a spacer, which carries the dial, holds the hands, and is covered by the case/frame. We will learn to design and make a watch case/frame and to assemble the watch components. Basic sawing, filing, and soldering skills required. Code 06mb
Lecturer at Bezalel Academy of Art and Design (Jerusalem); designer of collectable timepieces; Andy Prize for Arts, Lockman Prize for Practical Design; exhibitions: SOFA Chicago, Museum of Arts and Design (NYC), Eretz Museum (Tel Aviv), Droog Design Gallery (Amsterdam). itay-noy.com
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Session 7--August 24–30
Kiwon Wang--Turn Your Journey into Jewelry
Life is a journey, and this jewelry class will translate our journeys into jewelry using metal—precious and non-precious—and materials that are not metal—paper, plastic, wood, etc. Guided creativity, group discussions, and individual instruction will help you turn abstract materials (experience) into concrete material (jewelry). Basic sawing, filing, and soldering skills required. Code 07ma
Studio artist; teaching: Penland, Rhode Island School of Design, and workshops in Korea; award of excellence at Smithsonian Craft Show (DC); collections: Museum of Arts and Design (NYC), Samuel Dorsky Art Museum (NY). kiwonwang.com
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Gary Noffke--Forging Silver
We will discuss alloys for forging silver and gold, with an emphasis on their forging properties and temperature ranges. Students will pour ingots from their choice of known workable alloys and forge them into a variety of objects. The spoon form will be emphasized, but is not required as a class project. All levels. Code 07mb
Professor emeritus from University of Georgia; fellow of the American Craft Council; exhibitions: Objects for Use at American Craft Museum (NYC), Art of Gold at Mint Museum of Craft + Design (NC), Handmade: Shifting Paradigms at Singapore Art Museum.
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Seventh session will also include sculptor Jim Gallucci's class, for artists working in any media, in proposing and developing public art projects.
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