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Wood Summer Session 6

Wood Summer Session 6
August 8-19, 2021
Daniel Michalik
Cork

This workshop will explore cork and the many possibilities for design and making that can emerge from this wonderful, ecological material. We’ll learn and apply traditional woodworking techniques including machining, hand shaping, lathe turning, and bending, as well as experimental techniques such as cork casting. Cork will be used to achieve structure and visual texture in combination with wood and on its own. We’ll study cork farming, harvesting, and production and make objects that reflect these systems. We’ll start with experiments and then create tabletop accessories and furniture forms in which cork plays a central role. All levels.

Studio artist, product designer, and assistant professor at Parsons School of Design (NYC); other teaching: Central Saint Martins (London), Haystack (ME), Rhode Island School of Design; exhibitions: Renwick Gallery (DC), Fisher Parrish Gallery (NYC), Sight Unseen OFFSITE (NYC).

danielmichalik.com
@danielmichalik

two textured cork stools, one light and one darker
Daniel Michalik, "Rook Stools," recycled cork, 20 x 15 x 15 inches each
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Textiles A Summers Session 6

Textiles Summer Session 6
August 8-19, 2021
Betty Maney
Cherokee White Oak Market Baskets

This workshop will begin with a thorough presentation and demonstration of Cherokee basketry. Students will then begin by scraping white-oak splints to a final finish before dyeing. The splints will be coiled and then dyed using walnut bark or hulls (dark brown) or bloodroot (burnt orange). Each student will then carve an interlocking, white oak handle for their market basket. The second week will cover the weaving process from start to finish, including the interlocking handle. The dyed splints will be used to create woven designs in the baskets. The availability of white-oak splints is limited; other materials will be available for students who want to make additional baskets. Please note that making Cherokee white-oak baskets is labor intensive. All levels. Third-floor textiles studio. This workshop has a studio fee of $350.

Second-generation basket weaver and owner of Betty Maney Gallery; teaching: Campbell Folk School (NC), Museum of the Cherokee Indian (NC), Swain High School (NC), Cherokee Youth Arts and Culture Camp (NC); exhibitions: Asheville Art Museum. Asheville Giduwah Festival (NC)  Museum of the Cherokee Indian, Cherokee Voices Festival (NC).

Facebook: bettymaneygallery

rectangular basket with weaving in multiple shades
Betty Maney, “Market Basket,” white oak, natural dyes, 13 x 8-1/2 x 11 inches
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Print & Letterpress X Summer Session 6

Print & Letterpress Summer Session 6
August 8-19, 2021
Asuka Ohsawa
Screenprint Essentials

This intensive workshop will cover the basics of water-based screenprinting while focusing on different ways an image can be manipulated, reproduced, and transformed in this medium. We’ll begin with non-digital techniques such as hand-cut/hand-This intensive workshop will cover the basics of water-based screenprinting while focusing on different ways an image can be manipulated, reproduced, and transformed in this medium. We’ll begin with analog techniques such as hand-cut/hand-drawn stencils, reduction prints, and crayon monoprints. Then we’ll focus on image manipulation in Photoshop for output to digital transparencies for use with photo emulsion on the screens. Students may create a series of edition prints on paper or one-of-a-kind prints on different substrates that can be incorporated into other media such as painting or sculpture. All levels. Print studio.

Studio artist; teaching: School of the Museum of Fine Arts Boston, Parsons School of Design (NYC), San Francisco Art Institute; collections: Center for Book Arts (NYC), Emily Carr University of Art and Design (Vancouver), San Francisco Public Library, State University of New York at New Paltz.

asukaohsawa.com
@gnomebunny

screenprint of a bright cartoon bunny face, japanese characters, and swirl patterns
Asuka Ohsawa, "Somewhere, Sometime #12," screenprint, 12 x 9 inches
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Photography Summer Session 6

Photo Summer Session 6
August 8-19, 2021
Christina Z. Anderson 
Alternative Processes: Cyanotype, Gum, Palladium

This workshop is for those who believe that image capture is just the starting point of the final photograph. We’ll focus on the contemporary use of three 19th century printing processes—cyanotype, palladium, and tricolor gum bichromate—printed singly and in combination with one another. We’ll print from digital negatives that we’ll make using a rudimentary method or, if desired, a more expert method called QuadTone RIP (QTR). Students should bring lots of color digital images to work with—it doesn’t matter what sort of camera they came from. We can also work from scanned prints or negatives. Intermediate Photoshop skills will be helpful but are not required. All levels.

Professor at Montana State University; series editor for the Focal Press/Routledge Contemporary Practices in Alternative Process Photography series; work shown nationally and internationally in more than 100 shows and 50 publications; author or co-author of 7 books on alternative photographic processes sold in more than 40 countries.

christinazanderson.com
@christinazanderson

photo print of two seagulls against a sky of small, puffy clouds
Christina Z. Anderson, "Popcorn Clouds," tricolor gum bichromate, 11-3/4 x 11-3/4 inches
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Metals A Summer Session 6

Metals Summer Session 6
August 8-19, 2021
Cat Bates
Glamour and Grit: Sand Casting for the Jeweler

This hands-on workshop will introduce students to jewelry-scale sand casting—from casting found objects in bronze, shibuichi, and silver to the design and creation of original two-part patterns. Demonstration of pertinent finishing and joining techniques will enable students to bring castings from raw metal to fully wearable jewelry. After core skills are covered, students will be encouraged to pick and choose demonstrations based on their individual goals and can expect to leave with at least a few (if not many) finished pieces and samples. All levels. Upper metals studio.

Studio artist; teaching: Penland, Maine College of Art Community Education; residencies: Haystack Open Studio (ME), Pace House (ME); representation: Mora Gallery (NC), Esqueleto (CA), The Portland Museum of Art Store (ME), Portland Dry Goods (ME), Rock Paper Scissors (ME).

cat-bates.com
@catbatesjewelry

thick brass cuff
Cat Bates, "Token Cuff 2," brass, 2-1/2 x 2 x 1/2 inches
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Iron Summer Session 6

Iron Summer Session 6
August 8-19, 2021
Haley Woodward 
Sculptural Forms in Steel

This workshop will explore the fundamentals of blacksmithing in the context of sculptural forms. Starting at the anvil, we’ll go over hand skills and basic operations and cover using a sledgehammer with a partner to increase stock size and improve accuracy. Then we’ll take what we have learned about moving material and translate it to the power hammer, demonstrating its safe and effective use, including top tools and swage dies for making repetitive parts. These techniques will be used to drive the creation of abstract forms and the exploration of material and process. From there, we’ll assemble our work using traditional connections and modern fabrication, letting the feel and narrative of the work determine the best processes. This workshop will be perfect for  beginning/intermediate students who want to build their skills or for experienced blacksmiths ready to push their understanding and expression. All levels. 

Professor at Austin Community College (TX); other teaching: Center of Metal Arts (PA), New England School of Metalwork (ME), Penland; demonstrations: ABANA, CBA, AABA, Metal Museum (TN); exhibitions: Dimension Gallery (TX), Appalachian Center for Craft (TN).

haleywoodward.com
@halingwdwang

Haley Woodward, "Slow Zone," steel, 36 x 36 inches
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Glass B Summer Session 6

Glass Summer Session 6
August 8-19, 2021
Mathieu Grodet
Say Something with Glass

This innovative workshop will be an introduction to the Venetian glass cane technique called murrine. Using the classic Franchini technique, students will work with soft glass to create simple and intricate murrine patterns, letters, and images. These elements will then be made into beads, pendants, rings, and other solid forms. Carefully considering design principles and elements, students will execute projects that combine multiple glass pieces at the torch. By the end of the workshop, students will have made several unique pieces using flameworking, fusing, and coldworking. Soft glass only. All levels. Flame studio.

Studio Artist; teaching: Haliburton School of Art and Design at Fleming College (Ontario), Aya Glass Studio (Japan), China Academy for the Arts; collections: Museum of Fine Arts (Montréal), Lommel Museum (Belgium), Art Institute of Chicago, Corning Museum (NY); representation: Sandra Ainsley Gallery (Toronto).

mathieugrodetglass.com
@Mathieu_Grodet_Glass

Matthieu Grodet, "Declaration of Human Rights," Moretti glass, wood, cement, 43 x 30-1/2 x 2 inches
Matthieu Grodet, "Murrine Letters and Numbers," Moretti glass, largest: 3/8 inches
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Glass A Summer Session 6

Glass Summer Session 6
August 8-19, 2021
Raven Skyriver
Animalistic

This workshop is for people who enjoy blowing glass but haven’t explored sculpting, or those who sculpt glass but want to hone their techniques and learn a new approach. We’ll cover all areas of hot-sculpted glass and study form and proportion, color application, assembly of components, and problem solving. We’ll push comfort levels and discuss technical issues in the studio with the intent of increasing students’ understanding of the material. Students will have the opportunity to assist with demonstrations. Intermediate/advanced level: a solid grounding in the fundamentals of hot glass required. Hot shop.

Studio artist; former member of William Morris team; teaching: Niijima Glass Center (Japan), Pilchuck (WA), The Glass Furnace (Turkey), The Studio at Corning (NY), Aya Glass Studio (Japan), Penland; multiple solo exhibitions at Stonington Gallery (Seattle).

ravenskyriver.com
@ravenskyriver

Raven Skyriver, "Awaken," freehand, solid sculpted glass, 13 x 28 x 11 inches
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Books & Paper P Summer Session 6

Books & Paper Summer Session Six
August 8-19, 2021
Susan Gosin and Cynthia Nourse Thompson
Contemporary Papermaking for Book Arts

Students in this workshop will learn to prepare pulp and make paper sheets from a wide range of fibers, including linen, cotton, kozo, and abaca. In-depth explorations of pulp painting, coloring, collaging, stenciling, and watermarking will lead to the design and production of books and dimensional artworks. We’ll cover numerous traditional and contemporary book structures and produce two artist book prototypes and an accordion-style portfolio for paper samples. The instructors will meet with students individually to help guide each person’s process from concept to production. Students are encouraged to bring imagery, poetry, text, and collage material for inspiration.This workshop is open to adventurous students of all levels of skill.

Susan: studio artist, co-founder of Dieu Donné (NYC), co-chair of Dieu Donné Papermill (NYC), president of Dieu Donné Press (NYC); developed curricula and designed programs for various schools, including The New School (NYC) and Bibliotheca Alexandria (Egypt); Printmaker Emeritus award from Southern Graphics Council; exhibitions/collections include Metropolitan Museum (NYC) and Museum of Modern Art (NYC). Cynthia: associate professor and director of curatorial affairs at Kennesaw State University (GA); other teaching: University of the Arts (Philadelphia), Memphis College of Art, University of Georgia Cortona Italy Program, Haystack (ME); residencies: Yaddo (NY), Women’s Studio Workshop (NY), Visual Studies Workshop (NY); 2021 Maker-Creator Fellowship at Winterthur Museum (MD)

cynthia-nourse-thompson.com

Susan Gosin, "Khela" (detail), artist book, 12-1/2 x 15-1/2 inches
Cynthia Nourse Thompson, "Conceal," letterpress and archival pigment print on handmade pigmented cotton paper, 5 x 9 inches closed
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Clay A Summer Session 6

Clay Summer Session 6
August 8-19, 2021
Michael Sherrill
The Unified Object: Color, Form, Surface

In the natural world, color is always in motion, transitioning from one color to the next. This workshop will explore techniques using porcelain and slips to create transitional color. I will demonstrate post-firing surface techniques using diamond abrasives to remove material and polish the surface. We’ll cover the use of extruders and some handbuilding techniques and make a variety of sample pieces. Artists who work at the wheel will also discover applicable techniques. Students will be encouraged to bring their favorite handbuilding tools—particularly for mark making, texturing, carving, and embossing. Electric firing. All levels. Upper clay studio.

Studio artist; teaching: Arrowmont (TN), Anderson Ranch (CO); United States Artists Fellowship, Renwick Alliance Master of the Medium, Mint Museum Artist of the Year (NC); collections: Renwick Gallery (DC), Museum of Arts and Design (NYC), Corning Museum (NY), Los Angeles County Museum.

michaelsherrill.net

sculpture of orange patterned leaves on a branch
Michael Sherrill, "Mashiko," porcelain, silica bronze, 16 x 16 x 11 inches
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Books & Paper B Summer Session 6

Books & Paper Summer Session 6
August 8-19, 2021
Julie Leonard and Matt Runkle
Wending Our Way: Artist Books, Zines, and Comics

The artist book is a way of thinking in which form, sequence, text, image, and tactility combine to create a unique narrative experience that allows a reader to dip in and out until they get their fill. In this workshop we’ll wend our way through sequential and tactile forms, from artist books to comics to zines. We’ll strengthen our bookbinding and image-making skills, brainstorm inexpensive editioning strategies, and experiment with ways of guiding the reading experience. Students will learn a variety of book structures, digital print processes, hand print processes (gelatin printing, pochoir, image transfer, suminagashi, rubber stamps, typewriter, etc.), and content-generation techniques. The result will be an array of finished books and models for future projects. All levels.

Julie: associate professor at University of Iowa Center for the Book; other teaching: University of Georgia Cortona Italy Program, Penland; collections: Sackner Archive of Concrete Poetry, Yale University Library (CT); currently writing a mesostic each day to record one person’s experience of the pandemic. Matt: studio artist; teaching: San Francisco Center for the Book, University of Iowa Center for the Book, University of Nevada-Reno, Penland; collections: Library of Congress (DC), Newberry Library (Chicago), Virginia Commonwealth University, University of Miami, University of Wisconsin-Milwaukee.

@pipingplover63
matt-runkle.com

Julie Leonard, "Driftless," Japanese paper, inkjet pigment printing, 5 x 6 x 1/4 inches
Matt Runkle, page spread from "Catholics," laser-printed reproduction of handwriting and collage in handbound artist book, 9 x 12 inches