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Summer Session 4: July 9 - 21, 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
Matthew Shlian, When you are killing what you are meant to kill
there can be no remorse, Tyvek, 80 feet long
Students will explore the medium of paper as they create sculpture using paper engineering, kirigami, and paper craft as starting points. Using a combination of Tyvek and 100-lb text and 10-pt cover-weight stocks, students will learn the elements of paper mechanics and then apply them to books, collapsible structures, interactive kinetic design, and foldable sculpture. Techniques will include curve folding, pleating systems, and modular design. Students are encouraged to bring in their own imagery, photographs, technology, and other materials to work from. All levels. Code 04B
Studio artist, founder of Initiative Artist Studio (MI); teaching: University of Michigan, Arrowmont (TN), North Bennett Street School (Boston), Haystack (ME); clients: National Science Foundation, Ghostly International, Apple, Proctor and Gamble, Facebook, Levi’s, Sesame Street, the Queen of Jordan.
Martina Lantin, Small Storage Jar, earthenware, slip, glaze,
6 x 4-1/2 x 4-1/2 inches
Pick Form, Pattern & Repeat
With an emphasis on the marriage of form and surface, this workshop will present structured demonstrations while encouraging open experimentation. Using low-tech methods like monoprint, simple stencils, and stamps, we’ll explore the push-pull relationship between the shape of our pots and the patterns we put on them. Demonstrations will include wheelthrowing techniques, altering forms, and incorporating handbuilt components. We’ll fire both electric and atmospheric kilns using earthenware, however, the techniques taught will translate to any temperature. All levels; basic throwing skills will be helpful. Code 04CA
Faculty at Alberta College of Art and Design (Canada); exhibitions: Society for Contemporary Craft (PA), Wayne Center for the Arts (OH), Blue Spiral (NC); collections: The Art Gallery of Nova Scotia (Canada), University of Arkansas, Colorado University–Boulder.
Kelly Phelps and Kyle E. Phelps, The Welder, ceramics, mixed
media, 32 x 24 x 10 inches
Kelly Phelps & Kyle E. Phelps
The Narrative Figure
In this workshop students will create narrative, figurative ceramic work while learning the formal aspects of armature/relief board construction, composition, scale and proportion, figure sculpting, hollowing techniques, and surface treatment. To inspire this work, the workshop will include idea generation, musical inspiration, pictorial documentation, personal interviews, site visits, discussions, and storytelling. Bisque fire only. All levels. Code 04CB
Collaborating artists; Kelly is professor, chair of the art department, and head of sculpture at Xavier University (Cincinnati), Kyle is professor and head of ceramics at University of Dayton (OH); workshop teaching: Arrowmont (TN), Baltimore Clayworks; work featured in Sculpture, Ceramics Monthly, and American Craft.
Drawing and painting
Kathy Steinsberger, Jails, paper, ink, linen thread, bookboard,
12 x 5-1/2 x 2-1/2 inches
Mary Ann Zotto, Sleeping Arrows, mixed media on butcher paper,
9 x 14 inches
Kathy Steinsberger & Mary Ann Zotto
The Storyteller’s Muse
Blending concept, structure, and visual narratives, we’ll meld book-building and drawing to create personal stories. Taking chances, pushing boundaries, improvising, and experimenting with newly found imagery will be major tools in this energetic workshop. Treasure hunts, exquisite corpse adventures, ideation cards, deconstructed fairy tales, and collaborative drawings will lead to unique results in each student’s voice. The guidance will focus on energizing the creative process, rather than formal instruction focusing on facility and technique. Students should have basic bookbinding/drawing skills or a willingness to wing it! Code 04D
Kathy: studio artist; teaching: Pullen Arts Center (NC), Carlow College (PA), Penland. Mary Ann: studio artist, teacher in the film school of the University of North Carolina School of the Arts.
Kathy Steinsberger's Blog
George Kennard and Sally Prasch, Golden Egg, flameworked and
furnace glass, 18 inches high
George Kennard & Sally Prasch
From Flame to Furnace
This team-taught workshop will blend the arts of furnace and flameworked glass as we use the torch to form shapes and objects that will be incorporated into hot-worked glass. We’ll cover fundamental flameworking and glassblowing techniques, pulling and using cane and murrine, drawing with cane, and placing flameworked shapes onto hot glass. This workshop is a special opportunity to make work using the resources of two fully-equipped studios. All levels; some knowledge of glass working will be helpful. Code 04GA
George: gaffer and narrator at Corning Museum of Glass (NY); teaching: The Studio at Corning (NY). Sally: studio artist, scientific glassblower; teaching: Pilchuck (WA), Niijima Glass Center (Japan), UrbanGlass (NYC); exhibitions: More Fire (NY), Mint Museum (NC), Brattleboro Museum (MA).
Greg Gehner, CONNECT Candlesticks, steel, 8 x 6 x 4
Design, Forge & Fabricate
Traditional and contemporary, blacksmith and welder, designer and craftsman, forge and fabricate, draw and build. This workshop will focus on an aesthetic merging and balancing of disparate ideas, skills, and methods. Demonstrations and discussions on drawing, forging and fabrication, connections, transitions, and jig-making will lead to some smaller practice pieces and then to the completion of larger finished projects from individual designs. Students are welcome to bring both sketches and alternative materials (wood, stone, glass, etc.) to integrate into a sculptural or functional project. All levels. Code 04I
Studio artist and owner of Transit Forge (PA); teaching: Touchstone Center for Crafts (PA), Erie Art Museum (PA); publications: 500 Tables, 500 Chairs (both Lark Books), From Fire to Form, Ironwork Today 3 (both Schiffer Publishing).
Attai Chen, Untitled (Compounding Fractions) Necklace, paper,
paint, glue, silver, 10-1/2 x 6 x 3-1/8 inches
This workshop will explore the fascinating and surprising field of paper jewelry. In recent years we have seen paper being used in architecture, art, fashion, design, and jewelry. We’ll explore the art of jewelry-making while putting paper at the technical and conceptual center of the work. We’ll start with an introduction to different types of paper and ways of working with it. Then we’ll investigate jewelry and its relationship to the human body, concentrating on helping each student develop unique ways to harness the potential of paper. Individual support in metalsmithing techniques will be provided as needed. All levels. Code 04MA
Studio artist; teaching: Bezalel Academy of Arts and Design (Israel), Shenkar College of Engineering and Design (Israel); collections: Museum of Arts and Design (NYC), Metropolitan Museum (NYC), International Design Museum (Germany), Israeli Museum of Art.
Lynn Batchelder, Split, steel, 18 x 4 x 1-1/2 inches
Jewelry + Drawing
This workshop will explore drawing as a method for thinking and making in the jewelry studio. Beginning with direct and experimental exercises and approaches to drawing, we’ll consider possibilities for translating line into metal through etching, embossing, roll printing, piercing, wire construction, and a variety of invented techniques. We’ll emphasize experimentation in the space between two and three dimensions, resulting in a range of samples, jewelry, and works on paper. All levels. Code 04MB
Assistant professor at SUNY–New Paltz (NY); teaching: University of Wisconsin–Stout, Peters Valley (NJ), Arrowmont (TN); 2016 Art Jewelry Forum Artist Award, Society of North American Goldsmiths Emerging Artist Speaker (SOFA Chicago); exhibitions: solo at Heidi Lowe Gallery (DE), Talente (Germany), “Shared Concerns” (NC, CA, Australia).
Dan Estabrook, The Source, tintype with zinc and copper,
8-1/2 x 6-1/2 inches
Monty McCutchen, Satchel Cochise, tintype, 24 x 20 inches
Dan Estabrook & Monty McCutchen
In the tradition of the itinerant photographers of the 1800s, we’ll make tintype and ambrotype photographs in the field using wet-plate chemicals. Using large-format cameras, students will learn everything they need, including how to mix the chemicals, and begin to understand the possibilities and problems with this exciting process. We have upgraded a bit from the mule-drawn cart, but we’ll still haul our equipment out into the areas near Penland and see what we can find. We’ll return for tintype portraits, outdoor discussions about art and photographic syntax, and picnics in the grass. Cameras provided. All levels. Code 04P
Dan: studio artist; teaching: Arrowmont (TN), Center for Alternative Photography (NYC); representation: Catherine Edelman Gallery (Chicago). Monty: studio artist, NBA referee; exhibitions: Soho Photo (NYC), Raid Our Gallery (CT).
Printmaking and Letterpress
Margot Ecke, Heart, letterpress print, airbrush, 12 x 12 inches
Lily Smith+Kirkley, Dallas Neighborhoods, letterpress print,
20 x 14 inches
Margot Ecke & Lily Smith+Kirkley
This workshop will push the boundaries of letterpress printing. We’ll play with printable materials, such as woodblock, linoleum, copper plates, scavenged materials, and more, to create prints that are unexpected, whimsical, and impressive. We’ll explore multiple-block printing, tight registration, flocking, and blend rolls, and we’ll use distressing techniques to produce varied and nontraditional printing surfaces. Students will produce work that is big, bold, and experimental, giving them newfound freedom in their approach to letterpress printing. Intermediate level; basic letterpress skills required. Code 04L
Margot: studio artist and owner of Smokey Road Press; teaching: University of Georgia, North Bennet Street School (Boston). Lily: studio artist and owner of Lilco Studio; 2013 Scion/Motivate winner; ICON10 board member.
The School of Making, Fabric Detail, reverse appliqué,
Explorations in Hand Sewing
This workshop will focus on fabric manipulation using various stitching, stenciling, and coloration techniques. Students will learn how to hand-sew using time-honored techniques like appliqué, couching, and a variety of thread and embroidery methods for contemporary embellishment. Using organic cotton jersey, we’ll explore inspiration, color, and layout for fabric design. This workshop will not focus on garment construction. Students will complete sample blocks that can be used for reference or pieced together to create scarves, shawls, pillows, and a range of other items. All levels. Code 04TA
Designer and founder of Alabama Chanin and The School of Making; winner of the Council of Fashion Designers of America/Lexus Eco-Fashion Challenge; publications: American Craft, Selvedge, Southern Living, New York Times, Vogue.
Sarita Westrup, Huevos Rancheros, woven waxed linen, hand
netting, eggs, cactus needles, unique dimensions
This workshop will cover expressive ways to use basketry to create sculptural works from organic, found, and recycled materials. We’ll work intuitively with chosen objects while incorporating off-the-loom textile structures such as twining and netting. Materials might include waxed linen, reed, wire, cast concrete, air-dried clay, and anything students bring with them. We’ll emphasize process, material relationships, and experimentation. All levels. Code 04TB
Studio artist; teaching: University of North Texas (TX), Southwest School of Art (TX), Modern Art Museum of Fort Worth (TX), Oil and Cotton (TX); exhibitions: Idaho State University (ID), Box 13 Artspace (TX), Kirk Hopper Fine Art (TX).
Wayne Henderson, D-28 Deluxe, spruce, Brazilian rosewood,
Wayne Henderson & Michael Peyton
Each student in this class will build a flat-top, mahogany guitar, similar to a Martin d-18. We will cover all aspects of the process. Intermediate: this is mostly handwork, but students should be comfortable working with a table saw, belt sander, and router. Note: enrollment in this workshop is limited to six students who have not previously taken a workshop with Wayne Henderson. Code 04W
Wayne: luthier and musician; National Heritage Fellowship; has built guitars for Eric Clapton, Doc Watson, Peter Rowan, Gillian Welch, and others. Michael: luthier, chief preparator at the Harn Museum of Art at University of Florida; songwriter; member of the Peyton Brothers bluegrass band.
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