Category: Summer 5

Posted on by

Wood Summer Session 5

Wood Summer Session 5
July 18 – August 2, 2021
Yuri Kobayashi and Chelsea Witt
Expedition to Curves

At the heart of this workshop is the transformation of a stick from straight to curved. We’ll focus on wood-bending techniques to stimulate creativity and expand design potential, experimenting directly with the material to drive ideas. We’ll steam- or cold-bend wood to achieve unique organic lines and forms—the possibilities are infinite. The primary goal of this workshop is to learn basic bending techniques and how to play with them. The result may not be finished objects. It’s more likely to be a collection of carefully crafted maquettes filled with the potential to inspire furniture, furniture components, or pure sculpture. All levels.

Yuri: Studio artist; teaching: Rhode Island School of Design, Center for Furniture Craftsmanship (ME); recent exhibitions: Arizona State University Art Museum, Center for Art in Wood (Philadelphia), Houston Center for Contemporary Craft, Gallery NAGA (MA). Chelsea: Facilities assistant and studio artist at the Center for Furniture Craftsmanship (ME); teaching: Center for Furniture Craftsmanship, Medomak Family Camp (ME); fellowships/residencies: Circle Square (FL): Center for Furniture Craftsmanship; exhibitions: Nancy Oliver Gallery (FL), 6th Street Studios (FL), Corner Gallery (ME). 

yurikobayashi.com  |  @ykcurio
chelseacarinawitt.com  |  @littleforestswontdo

bent ash rocking chair
Yuri Kobayashi, "Breathe -I hear you-," ash, 29 x 27 x 48 inches
dust pan and broom set
Chelsea Witt, "Dust Play," steam-bent ash, tampico fibers, largest piece: 16 x 10 inches
Posted on by

Print & Letterpress L Summer Session 5

Print & Letterpress Summer Session 5
July 18 – August 2, 2021
Brad Vetter
Lasers and Letterpress

Our duty as a new generation of letterpress printers is not just to communicate, but to see where we can take this medium as we move forward. This workshop will explore new techniques in letterpress with an emphasis on laser cutting and poster design. We’ll use Vandercooks, wood and lead type, computers, Penland’s new laser engraver, and the power of the printed word to discover new ways to collaborate with each other and communicate/interact with the community around us. We’ll have daily demonstrations and show-and-tell with plenty of time for exploration and printing. Letterpress and/or Photoshop/Illustrator experience is a plus, but this workshop is open to all levels. Letterpress studio.

Studio artist; teaching: Miami University (OH), Hamilton Wood Type and Printing Museum (WI); exhibitions: San Francisco Museum of Modern Art, Massachusetts Museum of Contemporary Art; publications: Low-Tech Print, Wood Type Evolved.

bradvetterdesign.com
@bradvetter

tour poster with graphic shapes in shades of orange, coral, and teal
Brad Vetter, "Margo Price Tour Poster," letterpress, 23 x 13 inches
Posted on by

Print & Letterpress X Summer Session 5

Print & Letterpress Summer Session 5
July 18 – August 2, 2021
Andrew Polk & Kathryn Polk
Stone Lithography

Stone lithography was first developed by Alois Senefelder in 1796 and continues to captivate artists today. Join two different types of lithographers as they demonstrate techniques and philosophies for working on and printing from the amazing Bavarian limestone. Students will learn the processes of drawing on the stone, chemically processing (etching) the image, proofing, and printing a final edition. Imaging approaches will include crayon drawing, tusche wash techniques, transfers, and experimental methods. We’ll have a special demonstration on making litho crayons. All levels. Print studio.

Andrew: professor emeritus at University of Arizona, co-owner of L VIS Press; exhibitions: Konstiltografiska Museet Tidaholm (Sweden), Mei Lun Gallery of the Hunan Art Institute (China), collections: Hunan Art Institute, Hunterdon Art Museum (NJ), Denver Art Museum, University of Arizona Museum of Art. Kathryn: studio artist, co-owner of L VIS Press; teaching: University of Arizona, Frogman’s Print Workshops (NE); collections: Museum of Fine Arts Boston, Sado Print Museum (Japan), Denver Art Museum, University of Wales (UK), University of Auckland (New Zealand), National Academy of Fine Arts (China), SGC Permanent Collection (GA).

andrewpolk.com
@onechair

black and white outdoor scene with ladders, statues, and various objects about
Andrew Polk, "Intersecting Histories," lithography, 10-1/2 x 9 inches
two female faces, one upright and one upside down
Kathryn Polk, "This End Up," stone and plate lithography, 20 x 8-1/2 inches
Posted on by

Metals B Summer Session 5

Metals Summer Session 5
July 18 – August 2, 2021
Adam Whitney
Raising & Shaping Metal Vessels

Prepare to hammer! We’ll start with raising: the process of hammering sheet metal into seamless vessels. We’ll make samples of different raising styles—angle, Dutch, and crimp—learning proper mechanics and the design benefits of each style. Using these samples, we’ll explore shaping with hammers and detailing through the use of pitch and chasing. Finally we’ll put all the skills together, along with your personal designs, and develop a hammering plan to create your unique project. All levels. Lower metals studio.

Studio artist; teaching: Escuela de Artes Santo Domingo (Columbia), Appalachian Center for Crafts (TN), Metalwerx (MA), Center for Metal Arts (PA), Raffles College (Malaysia); exhibitions: Mercer Museum (PA), Quirk Gallery (VA), Gallery 224 (MA), Baltimore Jewelry Center (MD).

aw-metalsmith.com
@awmetalsmith

raised bowl with curved details
Adam Whitney, "Copper Bowl #5," copper, 3-3/4 x 4-1/2 x 6-1/2 inches
Posted on by

Metals A Summer Session 5

Metals Summer Session 5
July 18 – August 2, 2021
Masako Onodera
Material Exploration: Bodies & Senses

This experimental workshop will focus on the exploration of materials to make objects that interact with the body. We’ll gather locally available materials—objects from nature, thrift store finds, etc.—and discover how sight, smell, taste, hearing, and touch work with the shapes and materials of objects in the context of the body. We’ll cover basic metalsmithing, including sawing, filing, annealing, drilling, chain-making, and patina, and work with cold-connections, including riveting, tab constructions, and jump rings. We’ll also explore other craft fabrication methods such as sewing, knotting, and weaving. All levels. Upper metals studio.

Associate professor at the University of Wisconsin-Stout; exhibitions: Fuller Craft Museum (MA), Museo del Gioiello (Italy); collections: Toledo Museum of Art (OH), Racine Art Museum (WI). 

masakoonodera.com
@masakonod

multi-media necklace
Masako Onodera, "Topology 2," repurposed fur collar, leather coat parts, sugar pot parts, brass, brass chain, thread, fiber fill, 21 x 9 x 2-1/2 inches
Posted on by

Glass B Summer Session 5

Glass Summer Session 5
July 18 – August 2, 2021
Kimberly Thomas-Zii
Mean What You Say

Art is communication, a language of thoughts and feelings. Every artist speaks a different dialect, and while the interpretation is subjective, the expression should be accurate. With a focus on honing sculptural skill, improving technical fluency, and developing creative intelligence, students will learn how to find their unique aesthetic speech and use this sculptural language to create short stories in glass. Through group and individual demos, we’ll cover sculpting borosilicate glass, assembly, timing, and texture. Mixed media and reckless abandon encouraged. All levels. Flame studio.

Studio artist, glass instructors at Salem Community College (NJ); other teaching: UrbanGlass (NYC), The Studio at Corning (NY); exhibitions: Glass Vegas Expo (Las Vegas).

@iroczii

bug-eyed glass bunny head with glass fingers for ears
Kimberly Thomas-Zii, "Finger Bunny," glass, 7-1/2 x 4 x 3-1/2 inches
Posted on by

Drawing & Painting Summer Session 5

Drawing & Painting Summer Session 5
July 18 – August 2, 2021
Timothy Maddox
Sign Painting

This workshop will explore the lettering, materials, and design that help define the art of sign painting. Students will learn to draw and paint many different letter styles, explore the use of different lettering brushes, choose the best brushes, tools, and materials for each project, and develop a stronger understanding of composition and color for all types of signs. We’ll mix traditional sign painting education with flexibility and fun through presentations, demonstrations, lots of practice, and individual projects. We’ll cover topics such as gold leaf signs, wall signs, and window signs depending on student interest. Whether you are an absolute beginner or an experienced sign painter, this workshop will be an exciting way to engage in the history and practice of this once-disappearing art form. All levels.

Sign painter, owner of Mighty Fine Signs (Portland, OR); teaching: Penland (NC), Arrowmont (TN); Windgate fellowship.

@mightyfinesigns

Timothy Maddox, "Random Lettering Sheets," alkyd poster paint, matte board, each sheet: 22 x 14 inches
Posted on by

Clay B Summer Session 5

Clay Summer Session 5
July 18 – August 2, 2021
Kenneth Baskin
Slab Construction: Strategies for Success

This workshop will explore the use of clay slabs to construct single- or multiple-component sculptural forms. We’ll use conceptual approaches to the development of designs to investigate the relationship between objects and the potential of implied motion. We’ll cover custom template production, darting, extruded-form alteration, and making bracing forms. Construction methods will include manipulating, measuring, and building with soft and stiff slabs. Surface applications will include clay texturing, slips, glazes, and crater glazes fired in mid-range atmospheric kilns. Stoneware clay; gas firings. All levels. Lower clay studio.

Professor at McNeese State University (LA); collections: Asheville Art Museum (NC), Arkansas Arts Center, Mimi and Ian Rolland Art Center (IN), Hilliard University Art Museum (LA), Yingge Ceramics Museum (Taiwan); representation: Blue Spiral 1 (NC), Belger Crane Yard Studios (MO).

kennethbaskinsculpture.com

Kenneth Baskin, "Mechanical Movements" series, white stoneware, glaze, engobe; slab construction, 12 x 12 x 8 inches
Posted on by

Clay A Summer Session 5

Clay Summer Session 5
July 18 – August 2, 2021
George Bowes and Judith Salomon
Cone 5 Confluence

Whether your experiences in clay are limited or you are a mid-career artist, our workshop will jump-start your excitement about clay forming techniques. Judith uses slabs to build functional and sculptural forms. George produces thrown and altered utilitarian works. We’ll explore cone 5 porcelain, casting slip, and a darker clay body, and present multiple surface options using commercial and studio-based slips and glazes. Forming techniques will include slab building, pinching, coiling, throwing, and altering. Electric oxidation firings and a salt firing will finish our pieces. All levels. Upper clay studio.

George: professor at College of the Mainland (TX); other teaching: Southern Methodist University (TX), Nova Scotia College of Art and Design, Cleveland Institute of Art, Penland, Haystack (ME), Arrowmont (TN); collections: Renwick Gallery (DC), Alfred Ceramic Art Museum (NY), Art Gallery of Nova Scotia, Newark Museum (NJ), Minneapolis Institute of Arts, Racine Art Museum (WI). Judith: professor emeritus at Cleveland Institute of Art; collections: Victoria and Albert Museum (London), Everson Museum (NY), Los Angeles County Museum of Art, Gardner Museum (Toronto); work published in American Ceramics 1876 to Present (Abbeville Press), Postmodern Ceramics (Thames & Hudson), The Artful Teapot (Thames & Hudson).

georgebowes.com  |  @geobowtx
judithsalomonceramics.com  |  @salomon_judith

George Bowes, "Prep Bowl," cone 5 porcelain, underglaze, glaze, 3 x 5 x 4-1/2 inches
Judith Salomon, "Urn," Cone 6 porcelain, 12 x 6 x 10-1/2 inches
Posted on by

Books & Paper P Summer Session 5

Books & Paper Summer Session 5
July 18 – August 2, 2021
Elizabeth Alexander
Cast Paper Sculpture

This workshop will be an in-depth exploration of sculpting with paper: a wonderfully versatile material. We’ll cover a variety of techniques for casting paper forms from objects to create seemingly weightless assemblages that can be painted, cut into, collaged onto, etc., and we’ll experiment with methods of arrangement and display to push cast objects beyond simple replication. Our focus will be laminate casting, but we’ll also explore working with pulp, cutting, forming, and assembling paper into sculpture and installation art. We’ll have critiques and group discussions throughout the session as the work develops. Open to anyone who enjoys exploring and experimenting with materials. All levels. 

Associate professor at University of North Carolina School of the Arts; solo exhibitions: William King Museum (VA), Southeastern Center for Contemporary Art (NC), Boston Sculptors Gallery; finalist for Museum of Arts and Design Burke Prize; collections: Crystal Bridges Museum (AR), Mint Museum (NC).

elizabethalexanderstudio.com
@keepingappearances

Elizabeth Alexander, "Let Him Speak First (Positives)," extracted wallpaper print, adhesive, wood, 96 x 120 x 70 inches
Posted on by

Books & Paper B Summer Session 5

Books & Paper Summer Session 5
July 18–August 2, 2021
John DeMerritt
Contained Within: Boxes & Enclosures

This workshop will explore a systematic and formula-based approach to creating boxes, housings, and enclosures for books and objects. Students will begin by making uniformly-sized clamshell boxes as they learn covering techniques, miters, cutting sequences, templates, formulas, and adhesive awareness. Then we’ll focus on the construction of one or more custom enclosures. We’ll explore wells, recessed areas, alternative structures, laminating, tongue and groove hinging, and, time permitting, foil stamping and surface decoration. All levels.

Owner of John DeMerritt Bookbinding (CA); teaching/lectures: San Francisco Center for the Book, Columbia College Center for Book and Paper Arts (Chicago), Visual Studies Workshop (NY), North Bennet Street School (Boston)..

johndemerrittbookbinding.com
@fivedemerits

Bright green slipcase with three artists' books inside
John DeMerritt, "Hockney," Brillianta bookcloth, imitation leather, Eska board, grey foil, 
10 x 13 x 4 inches