Summer Session 6: August 13 - 25, 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

Andrea Dezsö, Intergalactic Gardens, paper, linen thread, glue,

9 x 13 x 6 inches


Andrea Dezsö
Pop-Up Artists’ Books

Learn to make artists’ books that pop up, unfold, expand, and reveal; books that become theaters, platforms, movable structures, or interactive experiences. You’ll learn paper engineering to create movable books—first with simple structures and then with more complex ones. Then you’ll experiment with combining them in innovative ways and enhancing them with collage, drawing, or coloring. You’ll be encouraged to treat form and content as an interdependent whole as you create one-of-a-kind pop-up books. All levels. Code 06B


Associate professor at Hampshire College (MA); creator of three permanent public art works in New York City; illustrations commissioned by New York Times, Harper’s, Virginia Quarterly, McSweeney’s; representation: Nancy Margolis Gallery (NYC).




Courtney Martin, Star Platter, wood-fired stoneware,

16 x 16 x 2 inches



Melissa Weiss, Oval Chevron Tray, clay, iron, ash,

13 x 8 x 3/4 inches


Courtney Martin & Melissa Weiss
Viva Handbuilding!

Students will start by making custom bisque molds and using them to make dishes. Then we’ll carve pots out of solid chunks of iron-rich stoneware clay in the kurinuki tradition, and we’ll handbuild platters and trays. We’ll add and subtract to enhance our forms: handles, feet, and cut outs. With a variety of resists, glazes, and oxides, we’ll explore pattern and surface on the vessels. We’ll fire to cone 10 in a reduction gas kiln and a salt kiln. All levels. Code 06CA


Courtney: studio artist; representation: Freehand (CA), Taos Clay (NM), Lark and Key (NC); exhibitions: Smithsonian Craft Show (DC), solo show at Ryubo Gallery (Japan). Melissa: studio potter; workshop assistant for Phil Rogers and Michael Kline; representation: Lillstreet Gallery (Chicago), The Clay Studio (Philadelphia).


Jason Bige Burnett, Sheriff Stars Dessert Plate, ceramic, slip

underglaze, glaze, decals, luster, 7-1/4 x 7-1/4 x 1-1/4 inches


Jason Bige Burnett
Ceramic Surface Extravaganza

This intensive workshop will focus on various graphic ceramic surfaces with an emphasis on screen-printed image transfers. Idea development and drawing (or doodling) exercises will help students create personal narratives through patterns, prints, and photos that will adorn ceramic surfaces. Pushing and pulling through layers of material will introduce a combination of techniques, including resists, decals, sgraffito and much more. We’ll use cone 5 stoneware clay and fire in electric kilns. Students can make tiles and/or thrown or handbuilt pots. The techniques can also be applied to sculpture. Come prepared to experiment and play! All levels. Code 06CB


Studio artist; teaching: Watershed (ME), Santa Fe Clay (NM), Northern Clay Center (MN); Penland Core Fellowship, Arrowmont artist-in-residence; author of Graphic Clay: Ceramic Surfaces and Printed Image Transfers (Lark Books).






Drawing and painting

Beatriz Carmen Mendoza, What do you have to offer?, pen

drawing, sewing thread, onion skin, black walnut, paper,

5 x 10 inches


Beatriz Carmen Mendoza
The Botanical Journal

The plant world offers endless instruction and intricacy to artists at every skill level. In this workshop we’ll explore local garden and forest plants through intimate and playful observation and record the process in handbound journals. There will be rigorous technical drawing instruction along with a loose mixed-media approach and experimental mark making. Using plant dyes and stains, we’ll manipulate our pages by layering collage, papercut, and monoprint. Some botany, ethnobotany, and Appalachian ecology will be woven in. All levels. Code 06D

Studio artist, farmer; teaching: Asheville School of Holistic Herbalism (NC), visiting artist at MassArt, visiting lecturer at various universities; residencies: Vermont Studio Center, Chautauqua School of Art (NY); graduate degree in scientific illustration from University of California–Santa Cruz.






Jeff Ballard, Ripple Effect, blown glass, 3-1/2 x 20 inches


Jeff Ballard
Commanding the Bench

The responsibility of the gaffer can be overwhelming, so this is a workshop that will help students get comfortable leading a team and deciding how to execute specific projects and ideas. We’ll cover technique while emphasizing efficiency, preparation, and communication. Demonstrations and discussions of techniques—including cane work, encalmo, color fades, stuffing cups, garage, bit work, and advanced punties—will give students a wealth of knowledge to take with them. The why behind the how will help you understand the material. This fast-paced class will take your hot shop game to the next level. Intermediate/advanced; solid hot shop skills required. Code 06GA


Studio artist and gaffer; teaching: Royal Danish Academy of Fine Arts, The Studio at Corning (NY), Glass Furnace (Istanbul); residencies: Northlands (U.K.), Pilchuck (WA); collections: Museum of Glass (WA), Pilchuck (WA).


Joseph Cavalieri, Power of Pop, painted and screen-printed

kiln-fired enamel on stained glass, 27-5/8 x 23 x 2 inches


Joseph Cavalieri
Rethinking Tradition

Kiln firing enamels onto glass dates back to medieval times. This workshop will cover modern techniques for creating imagery on glass, including hand painting, air brushing, pen and ink, and screen-printing, along with stained glass skills such as cutting, copper foiling, and soldering. Screen-print images will be provided for the class, plus students will be taught to make one screen of their own to use. Students can work from their own designs or trace existing images; painting expertise is not required. We’ll start with sketches and end up with finished glass panels. We’ll also cover 3D work for creating functional pieces such as boxes and lampshades. The workshop will include samples of how to frame and light your work and lectures on related topics such as artist residencies and marketing for artists. All levels. Code 06GB


Studio artist; teaching: Arrowmont (TN), UrbanGlass (NYC), Bild-Werk Frauenau (Germany); 12 solo exhibitions; Metropolitan Transit Authority Arts in Transit station installation (NY).









William J. Bastas, Tiger Sconce, forged steel, mica,

24 x 16 x 8 inches


William J. Bastas
Heat, Hold, Hit, Huzzah!

This workshop will present comprehensive forging methodology using hand, sledge, and power hammers. We’ll learn the properties of metals, efficient forging, ergonomic hammering, and practical metallurgy. Each student will make a pair of double pick-up tongs, a Bastas-style cross pein forging hammer, and a Van Erp-inspired mica table lamp. These projects are platforms for surveying the skills expected of a journeyman smith: drawing, bending, twisting, splitting, punching, upsetting, fire welding, and heat treating. All skill levels will benefit from this systematic approach; intermediate/advanced students will get an extra benefit from comparing this system with their own. All levels. Code 06I

Founder and professor of Blacksmithing program at Austin Community College (TX) 1993-present; teacher at the Ozark School of Blacksmithing (AR) 1998-2002; artist in residence at the National Ornamental Metal Museum (TN) 1997; certified AWS D1.1 6G sch 120, AWS Certified Welding Inspector, AWS Certified Welding Educator.












Marissa Saneholtz, The funny thing was that she wasn’t even mad,

copper, enamel, 14k gold, diamond, found objects, 3-3/8 x 2-1/8 x

3/8 inches


Marissa Saneholtz
Wet Hot American Narrative: Champlevé Enameling

Champlevé is the French term for a process in which enamels are inlaid into recessed compartments in metal surfaces. During this workshop, students will create these surfaces through etching and fabrication. They will then apply wet, powdered enamel and fire the pieces in a kiln. While fully immersed in these processes, students will be encouraged to create imagery by exploring personal narratives derived from a variety of brainstorming exercises. This merging of technique, narrative, imagery, and color will allow students to create a series of one-of-a-kind pieces of wearable art. All levels. Code 06MA


Instructor at Bowling Green State University (OH); other teaching: Appalachian State University (NC), East Carolina University Italy Program; collections: Bowling Green State University, Racine Art Museum (WI).



Michael Good, Curl, bronze, 16 inches tall



Julia Woodman, A Lady’s Pearls, sterling silver, glass,

12 x 4 x 1 inches

Michael Good & Julia Woodman
Anticlastic Raising & the Hydraulic Press

We’ll start with the principles of anticlastic raising using the simple tools of the trade. Then we’ll expand into the boundless potential of the hydraulic press! We’ll use anticlastic/synclastic methods and the press to create forms for sculpture, jewelry, three-dimensional tessellation, or whatever you can imagine. We’ll cover impression dies for multiples, deep-drawmaster dies, bracelet dies, and more. Individual instruction will help students explore and problem-solve at their own skill level. Techniques will be introduced daily and as needed. All levels. Code 06MB


Michael: studio artist; teaching: Royal College of Art (London); exhibitions: National Ornamental Metal Museum (TN), Gallery Aurus (Paris). Julia: studio artist; teaching: Campbell Folk School (NC); collections: Victoria and Albert Museum (London), Museum of Fine Arts, Boston.


















Printmaking and Letterpress

Amanda Lee, Safely, screen-print, dye, 7-1/2 x 17 feet


Amanda Lee
To Sober & Quiet the Mind

John Cage said that the purpose of art is “to sober and quiet the mind, so that it is in accord with what happens.” In this spirit we will approach the process of creating prints from etched copper plates. We’ll use etching for its rich mark- and image-making abilities, while looking for ways to incorporate meditative and chance actions into our process. Techniques will include, but not be limited to, soft ground, hard ground, aquatint, drypoint, and multi-plate printing. All levels. Code 06X


Studio artist; teaching: University of Arkansas, University of Iowa, University of Georgia Cortona Italy Program; residencies: McColl Center (NC), Scuola Internazionale di Grafica (Italy); exhibitions: SG Gallery (Italy), Southern Graphics Council (OR), Bellevue Art Museum (WA), University of North Carolina, Public Space 1 (IA).



Steve Miller, There Are Things Too Marvelous to Be Spoken Of,

bound letterpress-printed reduction linoleum cut, 2-1/4 x 3-1/8


Steve Miller
Just Imagine a Book

Everything comes together in the book. Let’s be struck by an idea, let’s attach words and images to that idea, let’s create a structure to support it. Then let’s set some type, create images, breathe in the mountain air, and put our shoulders to it to make a book. We’ll think about where words come from, how type is set, how images are created, how letterpress works, and how books come together. There is some magic involved. Open to motivated students of all levels. Code 06L


Professor at University of Alabama; College Book Art Association Distinguished Career Award; his Red Hydra Press work includes collaborations with Cuban artists and poets and has been widely exhibited and collected.







Akemi Nakano Cohn, Katazome Samples, paper stencil, resist-

dyed ramie, stencil: 12 x 14 inches, samples: 15 x 28 inches each


Akemi Nakano Cohn
Katazome with Natural Dyes & Indigo

Katazome is a traditional Japanese rice paste resist technique that is applied through a stencil and colored with natural dyes. In this workshop, students will learn basic katazome and explore images representing their own story. We’ll cover cooking rice paste, making soy milk, brushing a variety of natural dyes, mordants, earth pigments, and steaming to set colors. We’ll also dip rice-pasted fabric into the indigo pot to create intense shades of blue. Tsutsugaki—freehand drawing with rice paste in a pastry tube—will add to the work. Students will take home a variety of experimental fabric pieces to use as a guide for future projects. All levels. Code 06TA


Studio artist; studied dyeing in Japan for 10 years; teaching: School of the Art Institute of Chicago, Haystack (ME); exhibitions: Museum of Arts and Design (NYC), Bellevue Art Museum (WA), Gallery Uesuto (Japan).


Saberah Malik, What Will I Be, polyester fabrics, Plexiglas,

mirrors, toy calves, 14 x 40 x 18 inches


Saberah Malik
Transforming Textiles

The first week of this workshop will cover up to ten different shibori techniques of stitching, binding, restricting, and immersion dyeing to create sample yardage, wearable art, or fine art. During the more experimental second week, we’ll build on our understanding of fabric manipulation to mold flat fabric into freestanding sculptural forms by ‘encrypting’ the shape of any mold being used onto the memory of the cloth. Students will make dimensional work using fabric, especially silk, dyed during the first week. All levels. Code 06TB


Studio artist; teaching: Stonehill College (MA), Panjab University College of Art and Design (Pakistan); exhibitions: Danforth Art Museum (MA), Green Space (RI), Contextile (Portugal); work published in Dimensional Cloth Art: Sculpture by Contemporary Textile Artists by Andra Stanton.







Sabiha Mujtaba, Dan’s Chair, cherry, paint, gold leaf,

needlepoint by Nancy Keating, 39 x 25-1/2 x 23-1/2 inches


Sabiha Mujtaba
The Serendipity of Design

Scripts, alphabets, and languages that are not familiar can present shapes and forms that are a stimulating springboard for design. Looking at a single character or a phrase, students will discover the serendipitous nature of designing from this unusual resource. Students may make a container, a small furniture piece, or a nonfunctional piece that will receive/reflect/represent the elements inspired by this design challenge. Design development will be through drawings, scale models, paper, clay, or wood. We’ll cover simple joinery, freeform shaping, relief carving, appliqué, image transfer, and the safe and efficient use of hand and power tools. All levels. Code 06W

Studio artist; teaching: Highland Woodworking (Atlanta); exhibitions: Master Woodworkers Show (TN); Habatat Galleries (VA); work published in Fine Woodworking Design Book 7, 500 Tables (Lark), 500 Chairs (Lark).