Summer Session 1: May 28 - June 9, 2017

Workshops are open to serious students of all levels unless specified in course description; beginners welcome.


Enrollment for summer 2017 workshops is currently open. All applications received by 5 PM on February 11 will be placed into an early application lottery. Remaining spaces will be filled on a first-come, first-served basis. Scholarship applications are due February 17.




books and paper


Tate Shaw, The Ground, book, 12 x 8 inches, 124 pages


Tate Shaw
Concepts in Book Art

In this workshop we’ll experiment with creating new work from concepts that are intrinsic to books. Students will explore a variety of techniques for generating ideas, closely reading texts and images, editing, sequencing, and designing, as well as the basics of digital book layout software. Students can expect to make at least seven different book dummies, all of which can be used as maps toward creating more complex work in the future. This workshop is for students of all experience levels and technical capabilities. Bringing digital images, texts, and other content to work with is a must. All levels. Code 01B


Director of the Visual Studies Workshop (NY); teaching: VSW MFA; collections: Tate Modern (London), Museum of Fine Arts, Houston, Yale Special Collections (CT); publisher of Preacher’s Biscuit books, author of Blurred Library: Essays on Artists’ Books (Cuniform Press).




Kathy King, Queen Bee, sgraffito-carved porcelain, glaze, copper

luster, 22 x 18 x 2-1/2 inches



Paul Andrew Wandless, Numo Escaping Anean, low-fire clay,

underglaze, underglaze pencil, glaze, 21 x 10-1/2 x 14 inches



Kathy King & Paul Andrew Wandless
Print, Clay & Surface Buffet

This workshop will explore a virtual smörgåsbord of printmaking techniques for clay surfaces. Both clay studios will be used to accommodate a broad range of hands-on experimentation. We’ll cover screen printing, relief printing, monoprinting, lithography, photopolymer plates, china painting, decals, sprigging, and embossing—plus a few surprises. Firing options will include electric, raku, foil saggar, and barrel. The processes covered will be useful for both vessel and sculptural work. Intermediate: basic clay skills are required. Code 01CA


Kathy: director of education and instructor at Harvard ceramics program (MA); NCECA emerging artist, demonstrating artist, panelist, and juror. Paul: studio artist; teaching: Arrowmont (TN), ClaySpace (IL), Odyssey Center (NC); author of Image Transfer on Clay, 500 Prints on Clay, and Alternative Kilns and Firing Techniques (all Lark Books).



























Drawing and painting

Jane Wells Harrison, P1933, collage, encaustic, oil, 5 x 5 inches



Jerry Jackson, Containment, sheetrock compound, paint, ink, tar,

and paper on panel, 24 x 24 inches


Jane Wells Harrison & Jerry Jackson

This workshop will focus on material exploration through collage and assemblage. We’ll explore the behavior of conventional and uncommon materials by reconsidering applications, design, and connection methods. We’ll work with materials such as wax, tar, sheetrock compound, metals, papers, and adhesives. Individual and group critiques will round out the class structure. All levels. Code 01D


Jane: Studio artist; teaching: Pocosin Arts (NC), Turchin Center (NC), Caldwell Community College (NC), Penland; Vermont Studio Center residency. Jerry: studio artist and deputy director at Penland; former curator/director of Imperial Center for Arts & Sciences (NC); exhibitions: Greenville Museum of Art (NC), Turchin Center (NC), Sammas Gallery (Estonia), Ruttilli Gallery (Estonia).




Ross Richmond, Outside Looking In, glass, 18 x 8 x 6 inches


Ross Richmond
Hot Glass Sculpting

The plasticity and behavior of glass lend themselves to sculpting, and this workshop will provide the freedom to explore the potential of this material. It will differ from a traditional glass sculpting class as we’ll use various torches to create more detailed work. We’ll discuss the advantages and disadvantages of using a solid or blown form and explore different methods of color application. Drawings will be an important step in visualizing final pieces; sketchbooks will be mandatory. Class discussions and demonstrations will help students get the most out of the material. Intermediate/advanced; two years hot glass experience required. Code 01GA


Studio artist; teaching: The Studio at Corning (NY), Pilchuck (WA), Pittsburgh Glass Center; has worked for William Morris, Jane Rosen, Dale Chihuly, and Preston Singletary; exhibitions: SOFA Chicago, Duane Reed Gallery (St. Louis), Thomas Riley Gallery (Cleveland), Habatat Galleries (FL, MI).










Rebekah Frank, Twinned, steel, 32 x 18 x 1/8 inches


Rebekah Frank
Geometries in Steel

In this structured but open-ended exploration of the geometries that surround us every day, we’ll use geometry as the basis for creating. Fabrication and metal forming instruction will include oxy-fuel cutting and welding, plasma cutting, and MIG and TIG welding, as well as basic forging techniques. Come prepared to think about basic geometric formulas and to work within the framework of geometric shapes. The material focus will be steel, and your final product can be any form: from small to large, from functional to sculptural. All levels. Code 01I


Studio artist; teaching: Cranbrook Academy of Art (MI), Evergreen State College (WA), University of Wisconsin-Milwaukee; Lappeenranta University residency (Finland); exhibitions: KORU5 (Finland), Design Miami, Tacoma Museum of Art (WA); collections: CODA Museum (Netherlands), Cranbrook Art Museum (MI).




Sondra Sherman, Rorschach Corsage Valeriana II, steel,

3-1/2 x 6 x 1-1/2 inches


Sondra Sherman
Jewelry Talks: Thought to Form

In this workshop, we’ll create expressive works informed by an expansive concept of the language of jewelry and the context of the body/wearer. Design exercises, model-making, material tests, and personal inspiration will guide students in developing a vocabulary of shapes. We’ll cover multiple methods of taking shape to form. Fearless students will be assisted as they work experimentally with any/all materials and methods, which may include hollow fabrication, pattern forming, wire construction, cold joining, die forming, chasing and repoussé, and carving. Intermediate; sawing, filing, cold joining, and soldering skills required. Code 01MA


Head of jewelry and metalwork at San Diego State University; fellowships: Tiffany Foundation (NYC), Pennsylvania Council on the Arts, Fulbright Study Abroad; collections: Museum of Arts and Design (NYC), Metropolitan Museum (NYC), Los Angeles County Museum of Art.





Myra Mimlitsch-Gray, Something for the Table, silver,

2-1/2 x 12 x 8 inches


Myra Mimlitsch-Gray
Sticks & Stones

We’ll explore the notion that tableware and hollowware forms can be described with sticks and stones—not literally, but in a structural sense: line and mass/volume. We’ll cover techniques such as forging, sinking, raising, tube-making, pattern-making, and various construction methods. During the first week, students will produce samples, studies, and collaborative design exercises. The second week will allow for individual projects. Function will be considered within the creative discourse. Abstraction will be encouraged. Intermediate; sawing, filing, and soldering skills required. Code 01MB


Head of metals program at SUNY–New Paltz (NY); fellow of the American Craft Council, United States Artists fellowship; solo exhibitions: Dorsky Museum (NY), National Ornamental Metal Museum (TN); collections: Metropolitan Museum (NYC), Renwick Gallery (DC), Victoria and Albert Museum (London).






Printmaking and Letterpress

Curtis Bartone, Strike, stone lithograph, 18 x 27 inches


Curtis Bartone
Pushing the Stone

This class focuses on getting the most out of stone lithography—a process unchanged since 1796! Numerous demos will introduce the basics: preparing a stone, using various drawing media, processing, proofing, printing, and curating. We’ll also explore reductive techniques and ways to rework images. For intermediate and advanced students, exploration of multiple color runs and other lithographic matrices (aluminum plates and polyester plates) will be possible. We’ll emphasize process and exploration, but students can expect to complete at least two small editions of lithographs during the workshop. All levels. Code 01X


Studio artist; teaching: Savannah College of Art and Design (GA), Harrington Institute of Design (Chicago); residencies: Emmanuel College (Boston), Gil Society (Iceland); solo exhibitions: Alberta Printmakers (Canada), Telfair Museum of Art (GA), Erie Art Museum (PA).





Lynda Sherman, Short Cut, ink on paper, 28-1/4 x 6-1/2 inches


Lynda Sherman
Letterpress: Text Is Image

This workshop will focus on press and print shop skills and the dissemination of hand-composed information. We’ll discuss and experiment with content and layout using Penland’s collection of type. Through individual and collaborative exploration we’ll experience creative decision making on press. Techniques discussed in daily demos will include typesetting on the stick and on the bed, type-high content from reductive and additive techniques, flip turn, overprints, and moiré. The workshop will culminate with a multiples exchange with a focus on adhesive and nonadhesive presentation. All levels. Code 01L


Studio artist and founder of Bremelo Press (Seattle); teaching: Lit Fuse (WA), Type on the Cob (IA); collections: Swedish Collection (Seattle); publications: Mid America Print Journal, Vandercook Book (Just Vandy Press), Ladies of Letterpress (Princeton Architectural Press).








Charllotte Kwon and Sophena Kwon, Dyed Yarn Samples


Charllotte Kwon & Sophena Kwon
The Natural Dye Studio

This workshop will introduce students to natural dyes and the cultures that use them. We’ll cover mordants and tannins in depth and work with some of the most important colorants in the world: from madder reds to cochineal and lac insect dyes to intense browns, yellows, and golds from petals, barks, leaves, and roots, and, of course, indigo—perhaps the most magical and singular dyestuff. We’ll explore shaped-resist techniques, and we’ll print with mordants and experiment with the interplay of dyes, mordants, and tannins in a way that is not possible with straight immersion dyeing. We’ll create samples on a variety of fibers and conclude with a period of personal study. This workshop requires lifting dyepots. All levels. Code 01TA


Charllotte: owner of Maiwa Handprints and founder of the Maiwa Foundation (Vancouver); teacher of dyeing workshops worldwide. Sophena: dyer, workshop teacher, and clothing designer for Maiwa.


Anna Sudo, Miréio Shawl, silk, wool


Anna Sudo
Designing Hand-Knits

During this workshop you’ll design an original knitted garment and dye yarn for it. We’ll begin by investigating various garment shapes and construction techniques. You’ll learn how to adapt stitch patterns to suit your design, how to design to your measurements, and finishing techniques. We’ll also explore various dyeing techniques to create the perfect yarn to suit your design. You’ll leave with several skeins of hand-dyed yarn and the beginnings of your custom-designed garment. Intermediate; this workshop requires basic knitting skills. Code 01TB


Knitwear designer; published on,, and in American Spun: 20 Classic Projects Exploring Homegrown Yarn.







Reuben Foat, Retreat, wood, paint, brass, lamp parts,

18 x 18 x 6 inches


Reuben Foat
Tantalizing Tambour Doors

Like a river flowing across the landscape or a train moving along a railroad track, tambour doors move unlike any other doors in furniture forms. This workshop will explore the design and building of a small wall-hung cabinet that incorporates a tambour door. We’ll cover solid wood joinery, efficient manufacture of door slats, and other tambour door considerations. Intermediate/advanced; students will need previous experience building solid wood furniture, especially using milling machines and other woodshop power tools. Code 01W


Instructor at Cerritos College (CA); other teaching: San Diego State University (CA), Anderson Ranch (CO), University of Massachusetts–Dartmouth, Haystack (ME); exhibitions: The Maloof (CA), Art Furniture LAX (CA).




Kaitlyn Becker, Soft Robotic Fingers for Gentle Grasping in Deep

Sea, silicone rubber, polyurethane foam, nylon fabric, 3d printed

plastic, Kevlar thread, each finger: 5 inches long



Daniel Clayman, North 41.47º West 71.70º Gold, glass, copper

leaf, 34 x 32 x 32 inches


Kaitlyn Becker & Daniel Clayman
Mold Making for Art & Science

Daniel’s studio practice includes more than thirty years of mold making. Kaitlyn is a mechanical engineer building soft robots using a plethora of molding materials and techniques. Daniel will teach a variety of “art” techniques, and Kaitlyn will teach ways to fabricate and animate objects using air bladders, tensioned cables, and simple hydraulics. We’ll use plaster, urethane and silicone rubber, plastics, etc. And we’ll cover a range of wax-working techniques suitable for many casting processes. The goal is for students to gain mold-making skills that will allow them to pursue three-dimensional projects on their own. For students of all levels who have a basic understanding of tools and materials. Code 01GB


Kaitlyn: mechanical engineering Ph.D. candidate at Harvard University (MA) designing and building robots for deep sea exploration. Daniel: studio artist; teaching: Pilchuck (WA), The Studio at Corning (NY); visiting critic at Rhode Island School of Design.