Summer Session 2: June 11 - 23, 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.

 


 

 

Clay


Josh Copus, Moon Jar, wood-fired wild clay, 32 x 24 x 24 inches

 

 


Ben Richardson, Foliage Vase: Headlands Series, wood-fired wild

clay, 7-1/2 x 7-1/4 x 7-1/4 inches

 

 

Josh Copus & Ben Richardson
Out of Place

This workshop will promote an understanding of place-based making that goes beyond technique. Materials have stories, and we値l discover them by visiting their sources. We値l dig wild clay, take other field trips, and incorporate local materials into slips and glazes. In the studio, we値l focus on inspiration and experimentation as we make pots on and off the wheel and explore sculptural forms. We値l ask more than how to make; we値l ask why. Firings will be electric, gas, and wood. Students who like collaboration, storytelling, and adventures will enjoy this workshop. All levels; prior experience will be helpful. Code 02CA

 

Josh: studio artist; teaching: Arrowmont (TN); Windgate fellowship; representation: Blue Spiral (NC), Signature (Atlanta). Ben: studio artist; teaching: University of Tasmania (Australia); work published in Woodfired Ceramics (Schiffer).

joshcopus.com

ridgelinepottery.com.au

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


 


Kevin Lips, Permanent Provisoire, wood-fired ceramic,

48 x 24 x 10 inches

 

 


Herv Rousseau studio image

 

Kevin Lips & Herv Rousseau
From the Ground to the Kiln

This experimental workshop will move between traditional techniques and contemporary abstraction. Students will learn to process wild clay by hand and foot, in the tradition of the potters of La Borne. We値l then take these age-old gestures and apply their efficiency and insouciance to making large sculptural forms. Risk and the act of making will be paramount as students gain a new set of techniques for their studio practice. We値l include presentations on the history of La Borne and other historic French clay centers. We値l use wild clay; there will be various options for firing. All levels. Code 02CB

 

Kevin: studio artist; Jerome Foundation emerging artist grant; exhibitions: Turn Gallery (NYC), P.P.O.W. (NYC), Centre Ceramique Contemporain (France). Herv: studio artist; collections: Mus馥 National de la C駻amique de S钁res (Paris), Mus馥 des Arts D馗oratifs (Paris), Pinakothek der Moderne (Munich).

kevinlips.com

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


 

 

Drawing and painting

Catherine Gregory, Sunflower, acrylic and pierre noir on paper,

16 x 16 inches

 

Catherine Gregory
Chasing the Line: Mixed-Media Painting

Wide, narrow, scribbled, and buried: lines meander in and out of the painter痴 toolbox offering texture and narrative. This workshop explores various approaches to working line into painting. We値l experiment with compressed charcoal, line transfer, pierre noir, monoprinting, incorporating vintage materials, and handling raw pigments. Students will develop their own vocabulary of personal marks, confronting the different dynamics of line as they work in large and small scale and on various surfaces: wood, canvas, paper. All levels. Code 02D


Studio artist; teaching: Atelier du Chateau (France), Cluny public schools (France); ENE Saumur residency (France), Grand Prix Salon International Saumur (France); collections in France, Switzerland, U.K., and U.S.; representation: Frank Gallery (NC).

 

 

 

 


 

 

glass


Joe BenVenuto, Black Sand Bottle, blown glass, 6 x 7-1/2 inches

 

 


David Walters, Radio Activi-tea, blown glass, enamel,

14 x 12 x 6-1/4 inches

 

Joe BenVenuto & David Walters
The B to Y of A to Z

One of the hardest parts of being an artist is reconciling the ambition of our imagination with the limits of our skill. However, artistic voice lies in our response to the dynamic between desire for control and the ability to turn limitations into creative opportunities. This rich terrain between A and Z is where we grow as artists. This workshop will begin with challenging assignments to assess your skills and identify areas for improvement. Daily demonstrations will concentrate on glassblowing and coldworking with an emphasis on form and design. Hand skills and the team approach will be central features. All levels. Code 02GA

 

Joe: studio artist, owner of a coldworking and sculpture assembly studio, shop manager and assistant to Preston Singletary. David: studio artist; teaching: Pilchuck (WA), Toyama (Japan); galleries: Traver Gallery (WA), Shantz Galleries (MA).

davidwaltersglass.com

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


 


Lisa Beth Robinson and Kristin Thielking, Bones, glass,

9 x 12 x 1-1/2 inches

 

Lisa Beth Robinson & Kristin Thielking
Relief Kiln-Casting from Print Blocks

This class will focus on the intersection of text, image, and form by combining techniques from printmaking and low-relief pate de verre glass casting. After learning to carve and print from linoleum, we値l make molds from our print blocks and use these molds to create pate de verre castings. We値l explore how to strategically layer color, frits, powder, text, and imagery within the textured reliefs. We値l also cover screen-printing enamels and firing techniques for open-face molds. Students will produce a series of interdisciplinary works. All levels. Code 02GB

 

Lisa Beth: assistant professor at East Carolina University (NC); collections: San Francisco Museum of Modern Art, Yale University (CT). Kristin: professor at University of Wisconsin亡tevens Point; exhibitions: Bergstrom-Mahler Museum of Glass (WI), Gail Art Museum (Korea).

lisabethpress.com

thielkingbrunett.wordpress.com

 

 

 


 

 

iron

Carmen Gambino, Cream Track Bike, double-butted chromoly tubing

 

Carmen Gambino
Bicycle Design & Frame Building

Learn the art of bicycle frame building from start to finish. In this structured workshop, students of all levels will gain insight into design, drafting, material selection, and construction techniques. We値l dive into various methods and schools of thought for every process. Each participant will have the opportunity to construct a road frameset from steel tubing using a torch to create fillet-brazed and lugged joints. This class will focus on traditional custom-construction techniques, effectively enabling the builder to create a bicycle frame with minimal access to industrial tools. All levels. Code 02I


Custom bicycle frame builder and teacher of welding and brazing.

 

 

 

 


 

 

metals


Angela Bubash, Fin #39, sterling silver, glass, dyed feathers,

vintage coral, 3-1/2 x 2-1/4 x 3/4 inches

 

Angela Bubash
Elegant Connections

Details, whether bold or subtle, make ordinary work memorable. We値l push beyond mere ornamentation and develop innovative links and captures to expand and enhance your work. Students will bring a collection of personal artifacts to influence their designs. Using glass windows and metal frames to integrate found and natural objects, we値l create our own 都tones or focal points for jewelry and small sculpture. We値l cover basic and improvised settings, etching, roller printing and etched embossing plates, die forming, soldering techniques, and various tips and tricks. All levels. Code 02MA

 

Assistant professor at Longwood University (VA); other teaching: University of Georgia Cortona Italy Program, Arrowmont (TN), Appalachian State University (NC); exhibitions: Mobilia Gallery (MA), Alliages Gallery (France); publications: Art Jewelry Today 4 (Schiffer); former Penland resident artist.

angelabubash.com

 

 

 

 


 


Thomas Mann, Float Heart Brooch, silver, carved acrylic, brass,

bronze, 3-1/4 x 2-3/4 inches

 

Thomas Mann
Design for Survival: One-Off to Production

This master class, designed specifically for those participating, will provide the understanding and skills needed to launch a career as a jewelry or metal artist. Instruction will focus on deciphering a personal design vocabulary and inventing a production line based on what you discover. Explorations of professional practices, such as public relations, pricing, marketing, staffing, and materials management, will supplement the design and fabrication focus. This workshop will mix jewelry making, writing, and presentations. Students will be surveyed ahead of time so class material can be tailored to fit their needs. Intermediate/advanced level. Code 02MB

 

Studio artist, founder of Thomas Mann Gallery I/O (New Orleans); teaching: Arrowmont (TN), Peters Valley (NJ); publications: Metalsmith, Thomas Mann Metal Arts (Guild Publishing), author of Demystifying the Jeweler痴 Saw (North Light Books).

thomasmann.com

 

 

 

 

 


 

 

Photography


Jim Stone, Biker Mainstreet Showdown II: Espaola, New Mexico,

inkjet print, 20 x 24 inches

 

Jim Stone
Photographing Strangers

People are more interesting than things, and photographs are more compelling when populated. Photographs of people outnumber those of any other subject. But how do you make photographs that include people who are not your relatives, friends, or paid models? This class will help you gain skills in managing spontaneous portrait situations, as well as increasing your confidence in approaching people to be photographed and gaining their cooperation. We値l work with digital capture, editing, and printing. Editing stations will be provided along with inkjet printers for paper up to 17 x 22 inches. Bring your camera. All levels. Code 02P

 

Professor at University of New Mexico; 2016 Honored Educator at Society for Photographic Education conference; six textbooks in wide and continued use; collections: Museum of Modern Art (NYC), Museum of Fine Arts, Boston, Smithsonian American Art Museum (DC).

 

 


 

 

Printmaking and Letterpress


Paul Roden and Valerie Lueth, The Moon, color woodcut print,

35-1/2 x 30-1/2 inches

 

Paul Roden
Multi-Block Color Woodcut

Working from prepared drawings or creating images directly on blocks of wood, students in this workshop will explore the contemporary application of the craft of multi-block woodcut printmaking. The atmosphere will be relaxed, informative, and personalized. General instruction will be given to the group, followed by individual attention during work periods. The workshop will be broken into several stages: drawing, carving, proofing, transferring, color separation, history, etc. We will not use computers. All levels. Code 02X

 

Studio artist; exhibitions: Society for Contemporary Craft (PA), Pyramid Atlantic (MD), Monserrat College of Art (CT), The Arm (NYC); collections: Library of Congress (DC), West Virginia University; publications: People of Print (Thames & Hudson), Contemporary American Printmakers (Schiffer Publishing).

 

 

 

 

 


 


Jessica Spring, Burnham Unfolds, letterpress printed with handset

type, 6 x 6 inches unfolded

 

Jessica Spring
Daredevil Ephemera

For printers and book artists, ephemera offers a sweet spot between mass-produced greeting cards and limited-edition books where form and content work together to elevate both. Inspired by vintage ephemera, we値l master several folded bindings while also looking at structures designed in response to content. Folded structures offer an ideal surface for daredevil letterpress typesetting: exploring the use of traditional circular and angle quads, adapting existing tools, and experimenting with Daredevil Furniture (lasercut typesetting furniture designed at Springtide Press). Each student will complete a small edition of an artist痴 book. All levels. Code 02L

 

Studio artist, owner of Springtide Press; teaching: Columbia College (Chicago); residencies: Pacific Lutheran University (WA); collections: Boston Athenaeum, Yale University (CT), San Francisco Museum of Modern Art, School of the Art Institute of Chicago.

springtidepress.com

 

 

 


 

 

Textiles


Wayne Wichern, Fallen Leaves Collection, printed and solid

millinery felt, rayon ribbons, silk flowers

 

Wayne Wichern
Felt & Straw Hats: Blocked & Freeform

Create felt and straw hats using traditional hat blocks and freeform blocking methods. Form, sculpt, and mold onto wooden hat blocks to create classic hat shapes or onto found objects to form sculptural and eccentric hats. Learn traditional finishing and embellishment techniques: rolled brim edges, hand-sewn and machine-sewn welts, bias binding, or petersham ribbon bindings. Millinery ribbons, flowers, silk fabrics, horsehair, straw braids, and other trimmings will complete your fanciful hats. Expect to create six or more hats. All levels; machine- or hand-sewing skills will be helpful. Code 02TA

 

Millinery designer; teaching: Peters Valley (NJ), Oregon Shakespeare Festival, Millinery Meet-Up (TN); collections: de Young Museum (San Francisco), Museum of History and Industry (Seattle); galleries: Gallery of the Mountains (NC), Fino Fino (CA).

waynewichernmillinery.com

 

 

 

 

 

 

 


 


Jessica Green, Handspun Coverlet, homegrown handspun wool,

organic American cotton, 60 x 60 inches

 

Jessica Green
Color/Texture, Structure/Pattern

There is a weaving myth that one is either a color/texture weaver or a structure/pattern weaver. Using these hilariously limiting either/or categories as a starting place, we値l set up looms along this continuum and explore a cornucopia of weave structures, materials, and techniques. While working traditionally and building necessary skills, we値l also learn to push ourselves and our craft toward some far-out possibilities. You can expect to create a diverse and exciting set of samples as a reimagining of your weaver痴 identity and to put that new knowledge to work in a personal project. All levels. Code 02TB

 

Studio artist; weaver and designer behind A Little Weather handwoven home goods; teaching: Warren Wilson College (NC); residencies: Hambidge Center (GA) distinguished fellow; exhibitions: Bradbury Art Museum (AR), Center for Craft, Creativity & Design (NC).

alittleweather.com

 

 

 


 

 

Wood

Michael Puryear, Curved Screen, dyed and filled ash,

69 x 59 x 5/8 inches

 

Michael Puryear
Working in a Vacuum

In this workshop, we値l explore the possibilities for using a vacuum press in the construction of furniture and other forms. Techniques will include flat-panel veneering, curved-panel forming, and bent lamination. Students will design and build a piece using one of these processes and benefit from the efforts of other students using other processes. Intermediate/advanced: familiarity with hand and machine woodworking tools required. Code 02W


Studio artist; teaching: Parsons (NYC), State University of New York鳳urchase; collections: Newark Museum (NJ), Smithsonian Museum of African-American History and Culture (DC); work published in Makers: An Anthology of American Studio Craft by Janet Koplos and Bruce Metcalf and Furniture with Soul by David Savage.