 |
 |
|||||||||
 |
||||||||||
 |
||||||||||
 |
 |
 |
 |
 |
 |
 |
 |
|
 |
|
 |
 |
|||||||||
 |
||||||||||
|
Clay Summer 2010 Classes are open to serious students of all levels unless specified in course description; beginners welcome. Session 1 May 30 - June 11 Kathy King & Paul Andrew Wandless - Print & Clay Buffet Handbuilders and wheelthrowers are welcome in this unique class. We will use both Penland clay studios to explore a smorgasbord of printmaking techniques as we experiment with combining imagery and clay. We will demonstrate screen printing, relief printing, monoprinting, lithography, decals, sprigging, seals, and stamps (plus a few surprises) and their application to ceramics. Firing options include electric, soda, raku, and barrel. Basic clay skills required. Code 01ca Kathy: studio artist and workshop teacher; demonstrator at NCECA conferences; work in numerous publications including Confrontational Ceramics by Judith Schwartz and Sex Pots by Paul Mathieu. 
Kathy King, Love Me?, porcelain, 13 x 2 in. 
Paul Wandless, G vs E, clay monotype, low-temperature brown clay, underglaze, glaze, 17 x 17 x 1/2 in. Session 2 June 13 - June 25 
Kristen Kieffer, Pitchers, porcelain Kristen Kieffer - Altered, Ornamented, & Electric This workshop will focus on altering wheelthrown or handbuilt forms, embellishing them, and glaze-firing to cone 7. Demonstrations will include throwing, altering and building off the wheel, darting, slip-decorating, stamp-making, and stamping. We will discuss aesthetics, proportion, timing, idea generation, glazes, and electric firing. You will take home new skills, confidence, and a group of bisqued stamps and glaze-fired pieces. Mid-range porcelain or stoneware. Basic wheelthrowing and/or handbuilding skills required. Code 02ca Studio artist and workshop instructor; collections: Taipei County Yingge Ceramics Museum (Taiwan), Guldagergaard International Ceramic Research Center (Denmark), Fort Wayne Museum of Art (IN). Alice Ballard & Jenny Mendes - Cross Pollination In this class we will establish a more intimate relationship with the natural environment and allow that relationship to affect our work. We will begin by collecting natural forms and making a series of small clay sketches. Hand-building exercises will follow as students increase the size and complexity of their discovered forms. Surface treatments will include terra sigillata; firings will be electric with the possibility of saggar or sawdust firings. Bring an open heart ready to experiment in an atmosphere of play and collaboration. All levels. Code 02cb Alice: studio artist; Fulbright grant; collections: Renwick (DC), Mint Museums (NC). 
Alice Ballard, Long Wall Pod Trio, white earthenware, terra sigillata, copper oxide, 28 x 6 x 4 in. 
Jenny Mendes, Small as He Was, low-fire terra-cotta, underglazes, terra sigillata, 6 x 3 x 8 in. Session 3 June 27 - July 9 
Judith Duff, Oval Vessel, procelain, cracked shino glaze, 13 x 6 x 8 in. Judith Duff - Japanese Style: Forms & Shinos Explore Japanese-style shinos using high-temperature clays. We will have daily demonstrations of wheelthrown and slab-constructed vessels. Students will create their own pieces using demonstrated techniques. I will share my experience from trips to Japan and six years of research developing Japanese-style shino glazes and clays using local materials. Work will be fired in wood and gas kilns using different feldspars and experimenting with saggars. Basic wheelthrowing skills required. Code 03ca Studio artist; teaching: Cub Creek (VA), Odyssey Center (NC), Concord University (WV), and in Japan; fired kilns in 5 of the 6 ancient Japanese kiln sites; collections: Mint Museums (NC), Icheon World Ceramic Center (Korea), Tokoname Museum (Japan). 
George Kokis, Soliloquy Series # 15, ceramic, encaustic, 12 x 13 in. George Kokis & Rodney McCoubrey - Clay, Myth, & Fairy Tale Myths and fairy tales are bursting with imagery and supple content which invite a response in the body and especially with clay. Through claywork and mythological thinking we will address symbolic form and personal creativity.This workshop is intended to help each person locate and develop sources for their work that lie in their own personal history, psychology, and imagination. Each day there will be an opportunity to experience holistic body relaxation therapy. The emphasis will be on process and eventual incorporation into practice. All levels. Code 03cb George: professor emeritus from University of Oregon. Session 4 July 11 - July 23 
Bede Clark, Jar, wood-fired stoneware, 13 x 11-1/2 in. Bede Clarke - Wheel Pots: Geometry & Vitality Many good pots share a poignant balance of geometry/order/restraint and vitality/energy/wildness. Pots make me happy when they strike the balance and leave me feeling a bit troubled when they venture to either extreme. Using stoneware clay, we will make work for the wood and soda kilns that will attempt to find the balance between geometry and vitality. All levels. Code 04ca Professor and head of ceramics at University of Missouri; recent exhibitions: Linfield College (OR), Ohio Craft Museum; work represented by Red Star Studios (Kansas City), AKAR (Iowa City), Red Lodge Clay Center (MT). 
Carlos Alves, Pineapple, Delray Beach, mosaic tile Carlos Alves & Katrina Plato - Mosaic Tile in Community This fun, intensive class will lead students in the creation of a collaborative site-specific ceramic tile mural and then into their own mosaic musings. Master mosaic artist Carlos Alves will provide technical instruction in all aspects of the mosaic tile process: design, clay techniques, clay and glaze formulas, and installation. Teaching artist Katrina Plato will coordinate the logistics of a collaborative mural at Mitchell High School, including an online design process before the class begins. Students will also design and complete their own mosaic projects. All levels. Code 04cb Carlos: studio artist; many commissions including Palm Beach Court House (FL), Fire Station #21 (Los Angeles). Session 5 July 25 - August 10 
Sam Chung, Teapot, porcelain, 7 x 9 x 4 in. Sam Chung - Fusing Form, Surface, & Idea This workshop will address form and surface in pottery. Students will create various pottery forms using their existing skills and will also experiment with slab construction using custom-designed paper patterns. We will address both formal and conceptual strategies for finishing our pots. We will work with cone 10 porcelain and white stoneware in reduction and soda kilns. Glazing demonstrations will include resists, slip inlay, china paint, and glaze application techniques. Basic glazing, throwing, and/or handbuilding skills required. Code 05ca Assistant professor at Arizona State University; collections: Crocker Art Museum (CA), Incheon World Ceramic Center (Korea), Guldagergaard International Ceramic Research Center (Denmark). 
Kenneth Baskin, Opposites Attract (20th Century Artifact Series), soda-fired stoneware, 15 x 24 x 10 in. Kenneth Baskin - Secrets of Successful Slab Construction This class will introduce mechanical techniques for manipulating, measuring, and constructing ceramic sculptures using leather-hard slabs of clay. We will concentrate on developing designs and inventing construction strategies. Technical content will include template production, fabricating bracing forms using simple materials, and the development of specific treatments that will emphasize the surfaces of our sculptures. We will work with white stoneware in reduction and soda firings. All levels. Code 05cb Assistant professor at McNeese State University (LA); NCECA Emerging Artist Award; artist in residence at Tainan National University of the Arts (Taiwan); numerous group and solo exhibitions including a solo show at Yingge Ceramics Museum (Taiwan). Session 6 August 15 - August 27 
Elisa Helland-Hansen, Oval Dish, stoneware, 16 x 7 in. Elisa Helland-Hansen - Pots for Food This class will investigate the intimate relationship between pots and meals. How can functional pottery enhance food visually and sensually? What is the ultimate shape for serving celery mousse, German herring salad, stuffed peppers, apple pie, or rhubarb cream jelly? Bring your favorite recipe and we will play with process and material to develop fresh ideas for serving, presenting, and eating food. We will consider weight, volume, shape, handles, lips, surface, and color. We will fire stoneware and porcelain in salt and soda kilns. All levels. Code 06ca Studio potter; teaching: University of Gothenburg (Norway), University of Colorado, Utah State University, Guldagergaard International Ceramic Research Center (Denmark). 
Tip Toland, Milk for the Butter Thief, stoneware, paint, pastel, wood, 11 x 53 x 20 in. Tip Toland - Gesture, Psychology, & the Figure We will begin by working from a model in an evocative pose. Using solid clay on a basic armature, we will sculpt the entire figure in half scale, discussing how to suggest narrative and nuanced psychological effects. Then we will cut our figures apart, hollow them, put them back together, and fire. The second week, we will focus on facial expression: working from photographs, covering vital anatomy, and talking about layering expressions, bringing life into the face and aging the face. We will end by making expressive self-portraits. All levels. Code 06cb Studio artist; teaching: Pottery Northwest (Seattle), University of Washington; Washington State Arts Commission fellowship; solo shows: Bellevue Art Museum (Washington), William Traver Gallery (Seattle); collections: Metropolitan Museum (NYC), Kohler Arts Center (WI). Session 7 August 29 - September 4 
Michael Sherrill, Bloom at Night, bronze, Moretti glass, laminated porcelain Michael Sherrill - All Things Malleable I try to be a malleable thinker, in the same way that clay is malleable: it can be worked and formed and then, after consideration, reworked. Other materials have similar working qualities. This class will explore combining clay with metal, glass, and other materials within the confines of the clay studio. We will consider the aesthetic and practical concerns of bringing these materials together and concentrate on creative problem-solving. I will also cover other techniques used in my work: extrusion, laminated colored clay, and glazing porcelain. Minimal or no firing. We will interact with John Byrd’s class and have a day at my personal studio. All levels. Code 07ca Studio artist; collections: Renwick Gallery (DC), White House Craft Collection (DC), Museum of Arts and Design (NYC). John Byrd - Old Methods, New Approaches 
John Byrd, Untitled (Hunting Dog), porcelain, taxidermy (fox), cast plastic, mixed media, 17 x 33 x 9 in. This workshop will emphasize direct, traditional methods of creating figurative animal forms. Through demonstrations, lectures, and conversations we will explore ideas and methods of working with clay and other media within the contexts of historical and contemporary art. We will pay attention to developing appropriate levels of craft and to the details that will best convey your ideas.Mid-range porcelain; bisque-fire only. Basic handbuilding skills required. Code 07cb Assistant professor at University of South Florida; work exhibited in galleries and museums in U.S. and abroad.
These two Fifth-Session classes are for artists working in any media
Session 5 July 25 - August 10  Stephen Sidelinger, Cloths of Heaven, gouache and mixed media on paper, 18 x18 in. Stephen Sidelinger - Repeat Pattern Design for All Craftspeople
All crafts at some point are easier with an understanding of pattern structures and methods—being able to see and think in repeats. This class will provide hands-on methods for creating 15 kinds of patterns. We will start with basic patterns: from block, brick, diamond, and step to geometric structures and free-form repeats. Then we will draw from the past: primitive ornament, Egyptian, Greek, and Asian patterns, manuscript illumination, William Morris, and Art Deco. No previous knowledge of pattern design needed. All levels. Faculty at Ringling College of Art (FL); author of Visual Language: A Guide to Finding Personal Style, and A Color Manual. stephensidelinger.com The second-floor textiles studio will be used this session for an exploratory workshop for artists in any media, titled All About the Why.  Christina Shmigel, Bamboo Window, bamboo, plastic string, the city of Shangai, 24 x 28 in. Christina Shmigel - All About the Why
This is a workshop for makers in any medium who want to deepen their understanding of the wellsprings of their work. Through a series of riddles and explorations, using images, 3D sketching, book- and model-making, and materials different from, but parallel to, our customary ones, we will investigate what makes our work uniquely ours. With play and curiosity, we will explore ways of opening up our future work. All levels.
Code 05tb
Studio artist in sculptural installation; former professor of sculpture at Webster University (St. Louis); solo exhibitions: St. Louis Art Museum, Laumeier Sculpture Park (St. Louis), Duolun Museum of Art (Shanghai). |
||||||||||
|
||||||||||
 |
|
|
|
|
|
|
|
|
|
|