Summer Session 4

Summer Session 4:
July 8 – 20, 2018



We have eliminated the early-registration lottery. We will begin accepting registration for 2018 summer workshops at 9:00 AM EST on Monday, January 8. Registration for full-pay students will be on a first-come, first-served basis and will continue until workshops are filled. Spaces are reserved in each workshop for scholarship students. Scholarship applications are due by February 17.

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

Books & Paper Summer Session Four
July 8–20
Frank Hamrick
Handmade Artists’ Books

This workshop will establish a strong technical foundation for binding soft and hardcover books, which we’ll build on as we discuss cover art, layout, editing, and the sequence of content. Students will learn to choose which structures, materials, and tools are best to support their books’ concepts. We’ll cover five basic bindings: hardcover pamphlet, accordion, Japanese, Coptic, and case bound, with the option of translating these into more advanced book forms such as z-fold and dos-a-dos. All levels. Code 04B

Associate professor at Louisiana Tech University; other teaching: University of Georgia Cortona Program (Italy), Art Institute of Boston Mentor Program; collections: Art Institute of Chicago, Amon Carter Museum (TX), Ogden Museum of Southern Art (New Orleans).

Frank Hamrick, "My Face Tastes Like Salt," hardbound pamphlet book, handmade paper, relief-printed cover, 7-1/2 x 7-3/8 x 3/8 inches
Frank Hamrick, "My Face Tastes Like Salt," hardbound pamphlet book, handmade paper, relief-printed cover, 7-1/2 x 7-3/8 x 3/8 inches
Clay Summer Session Four
July 8–20
Kenyon Hansen
A Slower Pace

This workshop will focus on slowing down, resulting in thoughtfully made utilitarian 
ceramics for the table and home. We’ll generate forms on the wheel and then take them to the table to be altered through the addition and subtraction of clay. We’ll create finely crafted objects with specific purposes, including mugs, teapots, covered pitchers, and lidded jars. We’ll practice various loading techniques as we load the soda kiln, which will be fired to cone 9–10. All levels; some throwing experience will be helpful. Code 04CA

Studio artist; teaching: Haystack (ME), Arrowmont (TN), Greenwich House Pottery (NYC); residencies: Archie Bray Foundation (MT), Watershed Center (ME); exhibitions: AKAR Gallery (IA), Schaller Gallery (IA), Red Lodge Clay Center (MT), Artstream Nomadic Gallery (CO).

Kenyon Hansen, "Lidded Jar," soda-fired porcelain, multiple glazes, 10 x 12 x 12 inches
Kenyon Hansen, "Lidded Jar," soda-fired porcelain, multiple glazes, 10 x 12 x 12 inches
Clay Summer Session Four
July 8–20
Keith Wallace Smith
Figuring Out the Figure

This workshop will focus on handbuilding processes for creating convincing figurative sculpture. We’ll cover ways to approach trouble spots such as hands, ears, and feet. Students will learn to create 2d and 3d references for figurative sculptures, methods of building, measurements, and which parts of the body are most important to understand. We’ll work with terra cotta clay and fire to cone 04. All levels. Code 04CB

Assistant professor at Kennesaw State University (GA); collections: Montgomery Museum of Art (AL), Watershed (ME), California College of the Arts Museum; work published in Confrontational Clay by Judith Schwartz and The Figure in Clay by Suzanne Tourtillott.

Keith Wallace Smith, "John Henry, The Rise," ceramic, 16 x 10 x 8 inches
Keith Wallace Smith, "John Henry, The Rise," ceramic, 16 x 10 x 8 inches
Drawing & Painting Summer Session Four
July 8–20
Pinkney Herbert
Freedom to Paint

With the idea that every painting is a self-portrait, this workshop will eliminate restraints by working intuitively, letting the spontaneity of paint enable students to explore and personify who they are as artists. Demonstrations covering many possibilities for applying acrylics and their glazes on a variety of surfaces will expand painting abilities. Experimentation and play coupled with new techniques will result in work filled with personal symbols, memories, and responses to the environment. All levels. Code 04D

Studio artist; teaching: Memphis College of Art, Arrowmont (TN), Telluride School of Painting (CO); NEA fellowship, Tennessee Arts Commission fellowship; collections: New Orleans Museum of Art, Arkansas Art Center, Memphis Brooks Museum, Ogden Museum (New Orleans), Tennessee State Museum, Texas State University.

Pinkney Herbert, "Slippery Slope," oil, digital print, wood, 48 x 36 inches
Pinkney Herbert, "Slippery Slope," oil, digital print, wood, 48 x 36 inches
Glass Summer Session Four
July 8–20
Robert Lewis
Discerning Assemblage

This hot glass workshop will explore the possibilities of joining sculptural and functional components to create unique objects. We’ll have the extraordinary opportunity to use Penland’s furnaces to make our own colors. There will be some crossover with the flameworking studio as we work together to combine flameworked elements with furnace glass. Demonstrations will range from fundamental to complex glassblowing and flameworking techniques with unusual, funky twists to develop one-of-a-kind thingamabobs, sculptures, and functional vessels. Students will work collaboratively, reflecting on creative ways to design work, establishing strong technical skills, and refining their personal aesthetics. All levels. Code 04GA

Instructor at Alberta College of Art & Design (Canada); other teaching: Toyama City Institute of Glass Art (Japan), UrbanGlass (NYC), Haystack (ME), Pilchuck (WA); Tacoma Museum of Glass (WA) residency (WA); collections: Tacoma Museum of Glass, Ohio State University.

Robert Lewis, "Centripetal," blown glass, 13 x 35-1/2 inches
Glass Summer Session Four
July 8-20
Cédric Ginart & Karina Guévin
Tempted by Fire

Students’ inherent creativity will be stimulated in this workshop focusing on building a solid foundation of technical skills. Working with soda-lime and borosilicate glass, students will learn a wide variety of flameworking techniques. Demonstrations will range from beadmaking to scientific glassblowing and include unusual twists for creating visual impact. Assignments and individual projects will help students develop a personal language of color and shape. There will be some crossover with the hot shop with the possibility of collaborative work. All levels. Code 04GB

Cédric: studio artist, scientific glassblower at Montreal University; teaching: Pittsburgh Glass Center, Pilchuck (WA), The Studio at Corning (NY). Karina: studio artist; teaching: The Studio at Corning (NY), Pilchuck (WA), Pratt Fine Art Center (Seattle); collections: Glassmuseum (Germany), Niijima Museum of Glass (Japan), Espace Verre (Montreal).

Cédric Ginart and Karina Guévin, "Happily Ever After" (detail), borosilicate glass
Iron Summer Session Four
July 8–20
Marjee-Anne Levine
Foundry: Craft & Concept

This workshop will be an introduction to foundry practices: exploring the technical, aesthetic, and conceptual aspects of cast metal sculpture. Together we’ll investigate the process of lost-wax ceramic shell investment using both cast bronze and cast iron. We’ll emphasize safety and the proper use of tools and equipment, and we’ll fuse these methods with the overall practice of sculpture to gain technical proficiency and grow as artists. Students should expect to complete at least one cast metal object depending on scale and complexity. All levels. Code 04I

Manager at Sincere Metal Works (MA), adjunct professor at Massachusetts College of Art and Design; twice co-chair of National Conference on Contemporary Cast Iron Art & Practices (AL); exhibitions: New Mexico Highlands University, Jacoby Arts Center (IL), Fosdick Nelson Gallery (NY).

Marjee-Anne Levine, "An Ironcaster’s Self-Portrait," 60 x 16 x 9 inches
Metals Summer Session Four
July 8–20
Lauren Kalman
Twenty-First Century Talismans

This workshop will explore magic objects for 
the contemporary world. We’ll look at historic 
objects like ex votos, talismans, relics, and lockets and then contemporary objects and jewelry that explore devotion, remembrance, power, and transformation. Using the hydraulic press as a central tool, students will experiment with silhouette dies, cast resin dies, carved acrylic dies, pancake cutting dies, and more in combination with basic metal fabrication techniques. Students will produce samples, experiments, and small-scale works. All levels. Code 04MA

Associate professor at Wayne State University (Detroit); solo exhibitions: Museum of Arts and Design (NYC), Cranbrook Museum (MI), National Ornamental Metal Museum (TN); collections: Renwick Gallery (DC), Museum of Fine Arts Boston, Detroit Institute of Arts.

Lauren Kalman, "But if the Crime is Beautiful…Strangers to the Garden" (detail), inkjet print from an installation of photographs, brass, and furniture
Metals Summer Session Four
July 8–20
Joost During
Raising the Bar!

Angle raising is a way of making vessels from flat sheet metal (copper, brass, and silver) by hammering it over steel forms (stakes) to push 
and compress the metal into shape. We’ll cover the basics of raising and forming as well as planishing—a technique for smoothing the metal and refining its shape. We’ll also manipulate surfaces to create interesting changes of light and plane in our vessels. We’ll think about design as it relates to raised vessels and develop a basic understanding of tool-making for forming and texturing. All levels. Code 04MB

Studio artist; teaching: Rhode Island School of Design, Rhode Island College, School of the Museum of Fine Arts (MA), Massachusetts College of Art and Design; exhibitions: “I.M.A.G.I.N.E. Peace Now” (traveling), “WE ARE SNAG: Contemporary Smiths” (online), Mobilia Gallery (MA), Cooper Hewitt Museum (NYC), Deventer City Museum (Netherlands).

Joost During, "Twist Teapot," sterling silver, ebony, 5 x 7-1/2 x 6-1/2 inches
Print & Letterpress Summer Session Four
July 8–20
Andy Rubin

This workshop will expose students to various approaches to the craft of making unique printed images. Demonstrations will show how to create and transfer images from plate to paper. We’ll cover relief, transfers, blends, stencils, multiplate registration, chiaroscuro, working the ghosts, found objects, chine collé, and some digital transfers. We’ll work from plastic, wood, and metal plates. Daily consults will guide students in improving their technique and printing skills. Be prepared to have fun and create lots of images. All levels. Code 04X

Master printer and teacher at Tandem Press at University of Wisconsin-Madison; other teaching: University of Tennessee-Knoxville, Indiana University, University of Southern California; collections: Bibliothèque Nationale (Paris), Milwaukee Art Museum, Smithsonian Institute (DC), University of Hawaii, Kennedy Museum of Art (OH), Pratt Graphics Center (NYC).

Andy Rubin, "Valley Rock," monoprint, 18 x 15 inches
Print & Letterpress Summer Session Four
July 8–20
Bridget Elmer
Impress, Empower, Engage

Drawing inspiration from abolitionist and suffragist broadsides, handmade protest posters, and socially engaged printmaking by artists and organizations including the Dead Feminists, Justseeds, and Amos Kennedy, this workshop will explore letterpress as a tool for impression, empowerment, and engagement. Through daily demonstrations, students will learn the basics of letterpress printing from handset type, printer’s cuts, hand-carved linoleum blocks, and photopolymer plates. Each student will complete a series of socially engaged prints, and we’ll compile a collective student portfolio. All levels. Code 04L

Faculty at Ringling College of Art and Design (FL); collections: Yale University (CT), Tate Britain, University of California Los Angeles, Brooklyn Museum (NYC); publications: Adventures in Letterpress (Laurence King Publishing), 500 Handmade Books (Lark Books).

Bridget Elmer, "ILSSA It’s About Time," paper, ink, printed from handset type, 
14 x 8-1/2 each
Textiles Summer Session Four
July 8-20
Christina Roberts
Plant to Print

We’ll explore the modern applications of ancient pattern making on cloth using mordants, natural dyes, and screen printing. We’ll start with studio safety, mixing mordants, preparing dye baths, basic screenprinting, and producing amazing color swatches for reference. We’ll explore many ways to create imagery with photo-emulsion screenprinting. Daily demonstrations, discussions of historic and contemporary works, and plenty of time for experimentation will allow students to engage in the exciting world of natural dyes. An organic indigo bath and clay resists will add more possibilities. All levels. Code 04TA

Studio artist and master printer; co-founder of Marafiki Arts, a nonprofit that uses textiles to promote sustainable economic development; teaching: Tyler School of Art (Pennsylvania), Nagoya University (Japan), Turku College of Art (Finland), Makerere University (Uganda); research fellowship from Winterthur Museum (DE).

Christina Roberts, "Ladok Cement Worker in Logwood," cotton, iron and copper mordants, logwood dye, 50 x 45 inches
Textiles Summer Session Four
July 8-20
Gabrielle Duggan
Sculptural Fibers

Building on weaving and off-loom traditions, we’ll explore unexpected approaches to sculptural fiber work. We’ll broaden definitions of traditional techniques by re-situating media, technology, and approach through fundamental dynamics such as unification, tension, and balance. We’ll work primarily off-loom— machine and hand knitting, spinning, crocheting, felting, etc.—and apply these experiences to basic weaving on a floor loom. Unconventional media will be welcomed; we’ll troubleshoot collaboratively. Throughout we’ll consider implications of labor, gender, race, and class and explore how work can occupy space in ways that are both intuitive and calculating, invasive and non-invasive. All levels. Code 04TB

Visiting assistant professor at University of North Texas; residencies: Ponyride (MI), Musk Ox Farm (AK), Governor’s Island (NYC); exhibitions: Garis and Hahn (NYC), Southeast Center for Contemporary Art (NC).

Gabrielle Duggan, "Fictitious Force," cotton, architectural remnants, stones, 12 x 14 x 9 feet
Wood Summer Session Four
July 8-20
Christine Lee

This fast-paced workshop will expand idea generation and creative exploration by removing the barriers of myopic thinking and perfectionism paralysis. Students will work with various themes and methodologies while learning to capture their thought processes and transfer them into the making of objects. We’ll start with one-day projects using a variety of materials, simple cold connections, and basic casting methods to encourage working intuitively, responsively, and quickly during the design process. We’ll then apply these ideas to the construction of sculptural and/or functional prototypes. Technical demonstrations will be on an “as needed” basis. All levels; most relevant for students with an ongoing studio practice in any medium. Code 04W

Assistant professor at Arizona State University; residencies: Recology (San Francisco), Djerassi (CA), Anderson Ranch (CO); exhibitions: Museum of Craft and Design (San Francisco), Museum of Arts and Design (NYC).

Christine Lee, "Adaptive Stacking Order" (detail), wood, paint