Summer Session 6

Summer Session 6:
August 12 – 24, 2018

 

NEW REGISTRATION PROCESS

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 Six
August 12–24
Mary Uthuppuru
The Artful Box

Boxes are commonly practical protection for artwork, but they can also be conceptual pieces. Together we’ll explore the aspects of sound box construction and delve into the creative opportunities of custom enclosures. Playing off the idea of “cabinets of curiosities,” our complex structures will include a multitude of techniques reinforcing the theme of their contents, which we will make or collect. Students can use their new skills to protect their existing and future work in intriguing ways. All levels. Code 06B

Studio artist and owner of Colophon Book Arts Supply (IN); teaching: Paper & Book Intensive (MI), Penland; collections: Massachusetts Institute of Technology, Harvard University (MA), University of Oregon; exhibitions: 23 Sandy Gallery (OR), Abecedarian Gallery (CO).

springleafpress.com

Mary Uthuppuru, "Forage," bookcloth, paper, metal, 3-1/2 x 8 x 6 inches
Mary Uthuppuru, "Forage," bookcloth, paper, metal, 3-1/2 x 8 x 6 inches
Clay Summer Session Six
August 12–24
William Baker & Joy Tanner
Form & Fire

This workshop will explore the details of making successful pots and firing in atmospheric kilns. We’ll show two approaches to the wheel and cover techniques for altering forms, adding handbuilt elements, and embellishing with texture and pattern. We’ll talk about designing strong forms and navigating clays, slips, and kilns. Working with stoneware, students will make work for the soda kilns and the small wood kiln and may bring bisqueware from home. All levels; wheelthrowing experience will be helpful. Code 06CA

William: studio artist, kiln builder; residencies: Odyssey Center (NC), EnergyXChange (NC); exhibitions: Blue Spiral 1 (NC), Greenville Center (SC). Joy: studio artist; teaching: Clayworks (NC), Mid-Atlantic Clay Conference (VA); residencies: Watershed Center (ME), Odyssey Center (NC), EnergyXChange (NC).

williambakerpottery.com
joytannerpottery.com

William Baker, "Rectangle Vase," wood- and soda-fired stoneware, 7 x 15 x 5 inches
William Baker, "Rectangle Vase," wood- and soda-fired stoneware, 7 x 15 x 5 inches
Joy Tanner, "Carved Ewer," soda-fired porcelain, 8 x 6 x 41/2 inches
Joy Tanner, "Carved Ewer," soda-fired porcelain, 8 x 6 x 41/2 inches
Books & Paper Summer Session Six
August 12-24
Akemi Martin & Paul Wong
Quintessential Stencil 2.0

This workshop will focus on papermaking methods that use creative stenciling. We’ll use translucent overbeaten linen and abaca with cotton pulps and pigmentation for pulp-paint formulas. We’ll cut mylar stencils and use them to create watermarks, pulp-painted pochoir, and blow-outs (pulp silhouette). We’ll expand possibilities using found stencils, lace, tape, cut vinyl, and found objects. The product will be an editioned or variable portfolio to share with each student. All levels. Code 06PM

Akemi: master papermaker and collaborator at Pace Prints (NYC); teaching: SUNY Purchase (NY), Dieu Donné (NYC), Gowanus Studio Space (NYC); publications: Hand Papermaking. Paul: master papermaker and artistic director at Dieu Donné (NYC); teaching: Haystack (ME), Paper & Book Intensive (MI); grants: New York Foundation for the Arts, Joan Mitchell Foundation (NYC).

Akemi Martin, "Sited," handmade and watermarked linen and cotton paper, 6 x 8 inches
Paul Wong, "Variable Lattice," pigmented cotton and linen pulp, 20 x 16 inches each
Clay Summer Session Six
August 12–24
Paul Briggs
Pinch-Forming: A Mindful Approach

We’ll move beyond the threshold of the five-inch pinch-formed bowl by focusing on the movement of clay upward and around the expanding clay form. Our process will involve growing and expanding a form from one piece of clay with no additions or subtractions while being mindful of transitions in the forming process. Students will gain fluency with cylindrical, bowl, and vase forms and refine these objects during the hardening stages. Then they will learn to strategically reserve clay within a form to create relief patterns and designs that emerge from the pinch-formed vessel. Mid-range electric firing. All levels. Code 06CB

Assistant professor at St. Olaf College (MN); exhibitions: Maine College of Art, University of North Florida, Bakalar-Paine Galleries (Boston), University of Tennessee, Vanderbilt University (TN).

psbriggs.com

Paul Briggs, "Calyx Cauldron," unglazed stoneware, 10-1/2 x 12-1/2 inches
Paul Briggs, "Calyx Cauldron," unglazed stoneware, 10-1/2 x 12-1/2 inches
Drawing & Painting Summer Session Six
August 12–24
Brandon J. Donahue
Airbrushing for the Bold & Daring

This hands-on workshop will cover different types of airbrushes, air sources, safety, preparation, and airbrush media. Students will learn basics such as freehand airbrush control using a double action airbrush, stencils, color blending, shading and highlighting, rat-tail strokes, tips, drills, and other techniques. This will be excellent training for students who have never used an airbrush or for professionals wanting to fine-tune their skills. Airbrushing on different materials will be highly encouraged. All levels. Code 06D

Assistant professor at Tennessee State University; other teaching: Arrowmont (TN); residencies: East Nashville Hope Exchange (TN), Scarritt Bennett Center (TN); exhibitions: solo at Vanderbilt University (TN), McKenna Museum (New Orleans), Washington State University, Corvette Museum (KY), Athens Institute for Contemporary Art (GA).

brandonjaquezdonahue.com

Brandon J. Donahue, "Satchmo," acrylic on canvas, 48 x 24 inches
Brandon J. Donahue, "Satchmo," acrylic on canvas, 48 x 24 inches
Glass Summer Session Six
August 12–24
Jason Minami
Strengthen Your Core

It can be hard to keep your balance in the fluctuating environment of the glass studio without a strong core of fundamental skills. This workshop will build your glassblowing core, creating a strong foundation for future explorations. You’ll learn and practice the fundamentals and develop an understanding of how glass works with heat and the forces of nature. You’ll acquire skills to efficiently blow primary shapes and forms, learning to problem-solve and adapt your process along the way. Beginning level. Code 06GA

Lead glass instructor and studio manager at Glassroots (NJ); other teaching: Alfred University (NY), Hudson Community College (NY), UrbanGlass (NYC); exhibitions: University of Hawaii, Kean University (NJ), Exhibit A (NY).

Jason Minami, "Night and Day" (detail), glass, bronze, steel
Glass Summer Session Six
August 12–24
Bandhu Dunham
Glass Fun with Bandhu

Whimsy, unconventional forms, goblets, and kinetic sculpture are on the menu. In this flameworking kitchen of fun, students will learn solid and hollow techniques to manifest their ideas, including expressive figures and goblets that are structurally strong, visually yummy, and suitable for daily use. We’ll cook up the perfect foot and the darn good goblet bowl. Functional glass mechanisms and Rube Goldberg contraptions will also be served. All levels. Code 06GB

Studio artist and author; teaching: Osaka University of Arts (Japan), Niijima Glass Center (Japan), Pilchuck (WA), Pratt Fine Art Center (Seattle), Glass Axis (OH); The Studio at Corning residency; collections: Kobe Lampwork Museum (Japan), Museum für Glaskunst (Germany), Museum of Arts and Design (NYC).

bandhu.info

Bandhu Dunham, "Kinetic Marble Toy," borosilicate glass, wood, 12 x 12 x 12 inches
Iron Summer Session Six
August 12–24
L. Japheth Howard & Alice James
Forge = Direct Positive Action

No matter where you are in your metalworking journey, this workshop will inspire progress. Demonstrations will offer examples, discussions will teach observation and problem solving, and practice will lead to continuous improvement. We’ll begin with assigned forging projects to warm up or explore new skills and then quickly move to individual projects. Challenge yourself in a supportive environment built on the instructors’ more than fifty years of combined forging experience. Come prepared to work hard, think critically, and laugh often. All levels. Code 06I

Japeth: blacksmith and curator at Canadian Museum of Making; teaching: Peters Valley (NJ), Touchstone (PA), Penland; National Ornamental Metal Museum residency (TN). Alice: studio artist; teaching: Peters Valley, Touchstone (PA); demonstrations: Northeast Blacksmith’s Association, ABANA.

flickerforge.com

L. Japheth Howard and Alice James, "Moon Residence Newell Post," steel, 36 x 5 x 5 inches
Metals Summer Session Six
August 12–24
Sandra Wilson
Waxing Lyrical

This workshop will explore how to be more playful and experimental with different kinds of wax used in lost-wax casting for jewelry and small vessels. Students will be introduced to the sculpting wax used in fine art, liquid wax used for dipping, the Japanese recipe for mitsuro (a wax with unique striations), and traditional jeweler’s carving waxes. We’ll play with shaping and molding, imprinting, constructing, and carving. We’ll also cover the vacuum casting process. You’ll be encouraged to express yourself through the imaginative use of wax, tools, and playful design processes. All levels. Code 06MA

Studio artist and reader at Duncan of Jordanstone College (Scotland); awards: British European Designers Group, Audi Foundation, Scottish Arts Council; contributor to Art Jewelry Forum.

sandrawilsonjewellery.com

Sandra Wilson, "Protein Strands," fine silver wire, cotton cord, magnets, 39 inches long
Metals Summer Session Six
August 12–24
David Clemons
The Art of Containment

Binding, wrapping, enclosing, squeezing, displaying, collecting: the concept of containment suggests a multitude of formal and conceptual interpretations. In this workshop we’ll take a mixed-media approach to exploring containment in sculptural objects and small vessels. We’ll pay attention to the purposeful integration of ferrous metals, nonferrous metals, and alternative materials. Techniques will include fabrication, soldering ferrous and nonferrous metals, micro-welding, basic forging, metal forming processes, die forming, nonconforming dies, and cold connections. All levels; some metalworking experience will be helpful. Code 06MB

Metalsmithing instructor at the University of Arkansas; other teaching: Memphis College of Art, Oregon College of Art and Craft, Maine College of Art; collections: Yale University (CT), National Ornamental Metal Museum (TN), Arkansas Art Center.

davidclemons.com

juliawoodman.com

David Clemons, "Fractured," sterling silver, bone, 3 x 5 x 1-3/4 inches
Photo Summer Session Six
August 12–24
Dan Estabrook
1859

Just twenty years after the invention of photography, the technology had advanced to an almost sublime degree, with the perfect marriage of the glass-plate negative and the albumen print. In this workshop, we’ll revisit the techniques of 1859, as well as the history of that era and what it might mean for photography in the future. Students will learn the complete wet-plate collodion process, starting with tintypes and ambrotypes, but moving quickly to glass-plate negatives. By week two, we’ll be printing these negatives using our own prepared albumen papers. As with any time travel, period costumes are not strictly necessary, but may be useful. All levels. Code 06P

Studio artist; teaching: Arrowmont (TN), Center for Alternative Photography (NYC), Penland; NEA fellowship, Peter S. Reed Foundation grant (NYC); collections: Art Institute of Chicago, Israel Museum, Maison Européenne de la Photographie (Paris); representation: Catherine Edelman Gallery (Chicago).

danestabrook.com

Dan Estabrook, "Interior (Nude)," embossed albumen print, 10 x 8 inches
Print & Letterpress Summer Session Six
August 12–24
Keiji Shinohara
Japanese Woodblock Printmaking

This workshop will present Japanese woodblock printmaking techniques as we draw inspiration from Western and Eastern artists including Kollwitz, Picasso, Munch, Hiroshige Utamaro, and Hokusai. Students will learn how to use various types of wood, carving techniques, and tools to create different effects. Printing techniques will include solid printing, gradation, and embossing. Students will begin with a black and white image, then use multiple inking on one block, and then create color woodcuts from multiple blocks. All levels. Code 06X

Studio artist; teaching: Wesleyan University (CT), San Francisco Art Institute, Rhode Island School of Design; grants: Japan Foundation, NEA; collections: British Library, Milwaukee Art Museum, Cleveland Museum of Art, Fogg Art Museum (MA), Library of Congress (DC); over 40 solo shows and 100 visiting artist events.

keijiart.com

Keiji Shinohara, "Blue," woodcut on paper, 13 x 19 inches
Print & Letterpress Summer Session Six
August 12–24
Sarah Shebaro
Handset Tradition & New Techniques

This workshop will focus on combining traditional woodcut and typesetting techniques with processes such as pressure printing, type-high modular forms, and hand-inking to create prints with a variety of graphic possibilities. Using the Vandercook as a tool to produce a wide range of visual outcomes, students will create editions, monoprints, and monotypes. Mixing, transparency, and unconventional application of color will be central elements for pushing the process (and the printed matter) into uncharted territory. All levels. Code 06L

Studio artist and master printer, co-owner of Striped Light Letterpress (TN); teaching: Pratt Institute (NYC), Manhattan Graphics Center, University of Tennessee; exhibitions: Carson Newman University (TN), The Front (New Orleans), Kunsthalle Galapagos (NYC), Planthouse (NYC).

sshebaro.com
stripedlight.com

Sarah Shebaro, "Contentious Claims," from a suite of unique letterpress prints; pressure printing, linoleum, 18 x 12 each
Textiles Summer Session Six
August 12-24
Jane Keith
Color onto Cloth: Printing on Silk & Wool

This experimental, practice-based workshop will explore a wide range of approaches to applying color and pattern onto silk or wool using acid-dye paste: screenprinting, monoprinting, hand painting, stenciling, etc. Students will learn to mix their own print paste, while understanding the different auxiliaries needed and what each one does. We’ll begin with a couple of days generating visual research information from which to develop ideas—including experimental mark-making techniques and different drawing approaches. The final outcomes will vary according to the individual and may include scarves, wallhangings, wearables, and more. All levels. Code 06TA

Co-director for textile design at Duncan of Jordanstone College (Scotland); founder at Jane Keith Designs (high end textile accessories); has worked with clients including Liberty of London, Victoria and Albert Museum (London), and Museum of Modern Art (NYC).

janekeith.com

Jane Keith, "Harlequin Hanging 1," hand painted wool, 60 x 60 inches
Textiles Summer Session Six
August 12-24
Susan Iverson
Pushing Tapestry

After basic instruction in tapestry weaving, this workshop will give students an opportunity to investigate pulled warp—a technique that may be used to create shaped tapestries and 3d forms. This little-used method has great potential for experimentation. We’ll also cover other ways of shaping tapestries. Students will be encouraged to play with these techniques so they become catalysts for idea formation and development. We’ll weave on floor looms and frame looms. All levels. Code 06TB

Professor emeritus at Virginia Commonwealth University; NEA fellowship, Virginia Commission for the Arts prize, Theresa Pollak Award (VA); exhibitions: solo at Greenville Fine Arts Center (SC), 15th International Triennial of Tapestry (Poland), “FABRICations” (traveling), Hunterdon Art Museum (NJ).

susaniversonart.com

Susan Iverson, "Beyond the Surface I," wool, silk, linen, 231/2 x 361/4 x 2 inches
Wood Summer Session Six
August 12-24
Malcolm Cheyne
Take a Seat

Regardless of ability, all students in this workshop will leave with something beautiful to sit on—be it a stool, a Windsor bow, a rocking chair, or something whacky! We’ll consider notions of “sit,” posture, relaxed/attentive, and sculptural/practical. In the first week we’ll sketch, prototype, make cardboard models, learn sharpening methods and process techniques, and discuss material considerations. In the second week we’ll make and finish our final pieces. We’ll work with a somewhat limited palette of materials to create an aesthetic connection between all of our designs. All levels. Code 06W

Studio artist and professor at Duncan of Jordanstone College (Scotland) specializing in bespoke furniture and product design; work includes a chair designed specifically for a lecture by the Dalai Lama.

Malcolm Cheyne, "Sella," sycamore, felted wool, 4 feet wide