Summer Session 2

SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)

 

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Apply for Scholarships
Workshops by Studio

Workshops are open to serious students of all levels unless specified in course description; beginners welcome.
Please read this note about our session schedules.

BOOKS – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Coleen Curry
Manipulating Leather

This workshop will cover a variety of surface applications used to turn leather and suede into beautiful pieces of art that can be used for a variety of applications. We will begin by exploring a range of surface manipulations and finishes with adhesives, foil, paper, and textures, and also discuss the uses and limitations of different leathers and tanning processes. Then we will use the materials we have created to make contemporary book structures. Students will take away samples to use as references, a collection of unique leather materials to use for their own projects, and one or more finished books. The workshop will be dedicated to fun and experimentation and will benefit book makers and other artists who want to explore this medium. All levels. 

Studio artist; teaching, American Academy of Bookbinding (CO), San Francisco Center for the Book, Center for Book Arts (NYC), Paper and Book Intensive (MI); Helen DeGoyler Award for American Bookbinding; collections: Bainbridge Museum of Art (WA), San Francisco Public Library, Boston Athenaeum, Bridwell Library at Southern Methodist University (TX); representation: Seager/Gray Gallery (CA), Lux Mentis Books (ME), Oak Knoll Books (DE).

coleencurry.com | @book.thug
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Coleen Curry, Ce qui aurait pu demeurer silence, leather, suede, gold, 9 x 7 x 3/4 inches
Coleen Curry, Ce qui aurait pu demeurer silence, leather, suede, gold, 9 x 7 x 3/4 inches
CLAY – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Linda Nguyen Lopez
Handbuilding with Colored Clay

In this workshop we will use handbuilding techniques and colored clay to create abstract ceramic sculptures. Through experiments and exercises, students will create an abstract visual vocabulary by investigating and translating the world around us. We will create a series of playful objects focusing on repetition, texture, and color. Demonstrations will focus on construction techniques and colored clay tests. The workshop will also include discussions of visual perception, color, and abstract ceramics. At the end of the workshop, each participant will have created a catalog of colored clay tests and a series of small abstract objects. Mid-range porcelain; electric firing. All levels. Upper clay studio. 

Associate professor at the University of Arkansas in Fayetteville; teaching: Haystack (ME), Ox-Bow (MI); exhibitions: Museum of Art and Design (NYC), Greenwich House Pottery (NYC), Craft Contemporary (Los Angeles); representation: Mindy Solomon Gallery (Miami), David B. Smith Gallery (Denver).

lindalopez.net | @linda__lopez

Jan 15– Regular enrollment opens

Linda Nguyen Lopez, Ombre Dust Furries with Detritus, porcelain, 3-1/2 x 3-1/2 x 3-1/2 each
Linda Nguyen Lopez, Ombre Dust Furries with Detritus, porcelain, 3-1/2 x 3-1/2 x 3-1/2 each
Portrait of Linda Nguyen Lopez working on sculptural piece
CLAY – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Mathew McConnell
The Uncanny Surface

This mold-based workshop will concentrate on producing a series of small tiles, tablets, or low-relief sculptures to be displayed on the wall. I will share my techniques for constructing prototype forms with complex and rich surfaces using simple and widely available materials. After we build our prototypes, we will construct high quality, fiber-reinforced one-part plaster molds. Finally, I will share my method for layering casting slip within a press mold to transfer the textures of our forms into clay with an uncanny level of detail. This workshop will be great for anyone new to plaster mold-making or those looking to expand their repertoire of surface techniques in clay. Low-fire, electric. All levels. Lower clay studio

Associate professor and head of ceramics at University of Arkansas; other teaching: Ox-bow (MI), Greenwich House Potter (NYC), Ohio University, University of Iowa, University of Missouri; residencies: Archie Bray Foundation (MT), Greenwich House Pottery (NYC), CRETA Rome, Anderson Ranch (CO); exhibitions: Mindy Solomon Gallery (FL), Jane Hartsook Gallery (NYC), 108 Contemporary (OK), Eutectic Gallery (Portland, OR), Gerald Peters Gallery (Santa Fe). 

mathewmcconnell.com | @mathew_mcconnell
Jan 15 – Regular enrollment opens

Mathew McConnell, February February (4), earthenware, bone charcoal, graphite, 12 x 9 x 1 inches
Mathew McConnell, February February (4), earthenware, bone charcoal, graphite, 12 x 9 x 1 inches
DRAWING/PAINTING – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Kristy Deetz
Encaustic Painting

Encaustic painting uses pigment and warm wax applied to a variety of surfaces. Encaustic does not yellow; it repels moisture; it enhances surface texturing; it responds to continual reworking; and it lends itself to embedding images within multiple layers of wax. Students will apply encaustic to a variety of surfaces and learn a full range of additive and subtractive techniques, including fusing, scraping, casting, dipping, layering, and burnishing. We will prepare painting supports with materials such as encaustic gesso, handmade gesso, fabric, and gold leaf. This workshop will cover all the basics of encaustic painting along with experimental approaches such as collage, image transfer, stencils, and block-outs. All levels. 

Studio artist, professor emerita at University of Wisconsin-Green Bay; other teaching: Arrowmont (TN), Haystack (ME), Anderson Ranch (CO), Ox-bow (MI); SECAC Excellence in Teaching award; recent exhibitions: Alexander Hogue Gallery at University of Tulsa (OK), James Watrous Gallery at Wisconsin Academy of Arts and Letters, Stewart Center Gallery at Purdue University (IN); work published in Encaustic Art in the Twenty-First Century and Encaustic Art: The Complete Guide to Creating Fine Art with Wax.

kristydeetz.com | @KristyDeetz
Jan 15 – Regular enrollment opens

Kristy Deetz, The Great Being and Misshapen Ellipse, encaustic and oil paint on wood panel, 40 x 66 x 2 inches
Kristy Deetz, The Great Being and Misshapen Ellipse, encaustic and oil paint on wood panel, 40 x 66 x 2 inches
GLASS – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Danielle Brensinger
To Infinity!

This workshop is for advanced beginners or more experienced students looking to refine their technique. Repetition is the key to refinement, and by focusing on the basics, we will re-examine our body movements to optimize our workflow and outcomes without overworking the material. Glassblowing is a team endeavor, and together we will break the process into parts and refine each step. Students will leave with a greater understanding of glass, heat management, and form refinement, setting them up for success. Advanced beginning level; at least one previous glassblowing workshop required. Hot glass studio.

Studio artist and fabricator at Second Best Studio (Los Angeles); teaching: Pilchuck (WA), California State University-San Bernardino, Salem Community College (NJ), UrbanGlass (NY); exhibitions: Robert and Frances Fullerton Museum of Art and Dutton Gallery both at California State University-San Bernardino, Pilchuck Exhibition Space (WA).

daniellebrensinger.com | @daniellebrensinger
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Danielle Brensinger, Sunset Nesting Bowls, blown glass, largest; 4-1/2 x 8-1/4 x 8-1/4 inches
Danielle Brensinger, Sunset Nesting Bowls, blown glass, largest; 4-1/2 x 8-1/4 x 8-1/4 inches
GLASS – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Andrew Certo
Carefully Crafting a Heater

This technique-heavy workshop is all about what makes an intricate, first-quality pipe. We will focus on design, pattern making, and placing detail in just the right spots. Topics will include marbles, cabs, murrine, layering, sleeving, lathe work, color prep and much more. We will also cover complex assembly and everything else needed to construct a proper heater (a really nice pipe). If you want to step up your pattern work, this workshop is for you. Intermediate/advanced level: students must be comfortable with the basics of working with hollow tubing on the torch. Flameworking studio. 

Studio artist, pipemaker, owner of Certo Glass; teacher of workshops in home studio; winner of Bern Gallery Pipe Classic 14; has worked in studios across the US and Japan collaborating with other flameworkers and pipemakers; exhibitions: Stoked (CT), Piece of Mind (CA); galleries: Legacy (Minneapolis), Elev8 Glass Gallery (CO), High Class Glass Gallery (FL). 

@certo.glass
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Andrew Certo, Ghost Torch, borosilicate glass
Andrew Certo, Ghost Torch, borosilicate glass
IRON – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Maegan E. Crowley
Inspiration + Material Exploration

This workshop is designed to help students expand their sculptural vocabulary in steel. We will begin with basic blacksmithing techniques, then move on to forging pipe/tubing, hot/cold sheet forming, and fabrication techniques. Along with group demonstrations, students will receive individual instruction to help them develop their own concepts. We will emphasize personal expression as students apply various techniques in creating their own sculpture. Inspiration, material exploration, scale, and metal finish will all be considered as each student works toward their finished piece. All levels.

Studio artist, owner of Iron Maegan Metalworks producing custom metalwork for residential, public, and commercial sites; teaching: Haystack (ME), Penland, Ox-Bow (MI), Peters Valley (NJ), New England School of Metalwork (ME).  

ironmaeganmetalworks.com | @ironmaegan
January 15 – Regular enrollment opens

Maegan E. Crowley, Divided, forged and fabricated steel, gold leaf, 60 x 24 x 5 inches
Maegan E. Crowley, Divided, forged and fabricated steel, gold leaf, 60 x 24 x 5 inches
METALS – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Melanie Eddy
Exploring Form: Design to Metal 

This workshop will use visual exploration and illustration to create concepts for sculptural jewelry forms. We will begin with observational drawing and sketching, learning to see and record in a way that supports abstraction. Through iterative design and illustration techniques, students will curate a small collection of jewelry forms and turn them into 3D explorations in wax before refining their ideas down to a select few to cast and hand finish. While the emphasis will be on working from concept to design and moving from 2D to 3D, students can expect to complete two or three pieces in metal. Some lost-wax casting experience will be helpful, but this workshop is open to all levels. Upper metals studio. Note: This workshop takes place in a studio that has stairs that compromise access. It is made partially accessible by a stair lift.

Studio artist; teaching: Central Saint Martins College of Art and Design (UK), University for the Creative Arts (UK), Morley College (UK); Crafts Council Maker Trustee (UK), director of Association for Contemporary Jewellery (UK); collections: Victoria and Albert Museum (London), Spencer Museum of Art (KS), Goldsmiths Company collection (UK); US representation: Sotheby’s (NYC), Marissa Collections (FL), Mahnaz Collection (NYC); publications: Vogue, British Vogue, Forbes, Vanity Fair, New York Times.

melanieeddy.co.uk | @mne_eddy
J
anuary 15 – Regular enrollment opens

Melanie Eddy, Faceted Rings, Goldsmiths’ Company Collection, sterling silver, platinum, 1-1/8 x 7/8 x 3/4 inches
Melanie Eddy, Faceted Rings, Goldsmiths’ Company Collection, sterling silver, platinum, 1-1/8 x 7/8 x 3/4 inches
Wax
METALS – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Mallory Weston
Vibrant Color and Titanium Anodizing

Titanium anodizing will introduce a bold new color palette into your jewelry and metalwork. This workshop will be an introduction to reactive metals and the electrochemical process of anodizing. Students will learn several methods for adding color, pattern, and imagery to titanium components and how to integrate them into larger pieces of jewelry. We will discuss how other artists have used anodizing in their work and how to plan and problem-solve projects from beginning to end. Demonstrations will cover an array of anodizing techniques as well as jewelry making skills such as piercing, riveting, soldering, and hydraulic press forming. Students will make two prompt-based projects and have the opportunity to exercise their new skills in an open-ended project of their choice. All levels. Lower metals studio. 

Associate professor at Tyler School of Art and Architecture (Philadelphia); 2022 Art Jewelry Forum Young Artist Award; collections: Rhode Island School of Design Museum, Museum of Arts and Design (NYC), Dallas Museum of Art, Museum of Fine Arts Houston, Museum of Fine Arts Boston, Design Museum den Bosch (Netherlands), CODA Museum (Netherlands); representation: Sienna Patti Contemporary (MA). 

malloryweston.com | @_mallory_weston_
January 15 – Regular enrollment opens

Mallory Weston, Variegated Wormhole Necklace #2, anodized titanium, leather, cotton, 24 x 9 x 2 inches
Mallory Weston, Variegated Wormhole Necklace #2, anodized titanium, leather, cotton, 24 x 9 x 2 inches
PHOTO – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Anthony Francis
The Considered Portrait

This workshop will center the importance of collaboration and care in digital portrait photography. Through discussions, lectures, and collaborative demonstrations we will address digital workflow, concept development, lighting technique and decisions, camera technique, editing in Lightroom, and printing. The needs and interests of students with different levels of experience will be accommodated through small group and individual instructional meetings. Students will finish the workshop with a printed portfolio of 8-15 images. All levels. 

Studio artist, full-time lecturer at Texas State University; presentations: Society for Photographic Education conference, Black Portraiture II (Johannesburg); solo exhibitions: Denton Black Film Festival (TX), Midland College (TX), Brick Gallery (TX); clients include Scientific American, Texas Monthly, New York Times; collections: McNay Art Museum (TX), Lone Star Colleges (TX), City of San Antonio (TX).

afrancisart.com | @AnthonycFrancis
January 15 – Regular enrollment opens

Anthony Francis, Amiah, At the edge and-or Before Flight, San Antonio, 2021, digital print, 52 x 42 inches
Anthony Francis, Amiah, At the edge and-or Before Flight, San Antonio, 2021, digital print, 52 x 42 inches
PRINT/LETTERPRESS – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Karen Kunc
Push and Pull: Illusions from the Woodblock

In this exciting workshop, we will work toward the ah-ha moment of discovery and response by building spatial illusions in the image. Playing with printed color layers and carving reductions to the woodblock will enable amazing details and richness of color to evolve during the printing process. The process will be directed through demonstrations and discussions of cutting techniques, various printing inks, and printing with the etching press and by hand. Beginning and advanced printmakers will enjoy using inventive and contemporary methods of woodcut printmaking to make a limited-edition series. All levels. Printmaking studio. 

Studio artist; professor emerita at University of Nebraska-Lincoln; owner of Constellation Studios; Fulbright Scholarship; recent exhibitions: Bainbridge Island Museum of Art (WA), Davidson Galleries (Seattle), Maui Arts & Culture Center (HI), Galerija Art 55 (Serbia); collections: Museum of Modern Art (NYC), Cleveland Museum of Art, Library of Congress (DC), Milwaukee Art Museum, American Art Museum (DC).

karen-kunc.com | constellation-studios.net  | @karenkunc | @constellationstudios
January 15 – Regular enrollment opens

Karen Kunc, Florets, color woodcut on Japanese paper, 14 x 14 inches
Karen Kunc, Florets, color woodcut on Japanese paper, 14 x 14 inches
PRINT/LETTERPRESS – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Ben Blount
The Printed Word

Do you love language, lyrics, poetry, a beautifully written headline, or a perfect turn of phrase? Letterpress is an excellent medium for putting ideas and words on paper. This workshop will cover the basics of letterpress printing and push into complexity using the printed word as our vehicle for exploration. We will cover various approaches to typesetting, printing, and creating our own letterforms in ways that come together in unity on the page. Our work will be informed by daily demonstrations and discussions and the work of designers and printers who use language and typography in engaging ways. Students will leave this workshop with small editions and monoprints of their explorations. All levels. Letterpress studio.

Artist, designer, letterpress printer; member of the Book/Print Artist/Scholar of Color Collective; teaching: Northwestern University (IL), Colorado College, Cleveland Institute of Art, Penland; residency: Hamilton Wood Type and Printing Museum (WI); collections: Metropolitan Museum of Art (NYC), Newberry Library (Chicago),  National Museum of African American History and Culture (Washington DC), The Field Museum (Chicago). 

benblount.com | @blountben
January 15 – Regular enrollment opens

Ben Blount, 100 Years, letterpress print from wood type, metal type, and polymer plate, 19 x 12-1/2 inches
Ben Blount, 100 Years, letterpress print from wood type, metal type, and polymer plate, 19 x 12-1/2 inches
TEXTILES – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Graham Keegan
Natural Dyes: Intricate Endeavors

With our eyes cast toward the 19th century zenith of natural dye printmaking (chintz!, calico!, William Morris!), we will move from creating simple dots and stripes toward executing complex, multi-colored prints on natural fabrics. Focusing on fabric preparation, mordant blending, and immersion dyeing, we will use precise measurements to create print mediums and demystify chemistry concepts in service of creating an explosion of color tones from each plant dye. We will cover repeat pattern planning and use brushes, pens, and blocks to apply mordants. Students will deepen their skills and understanding of how to conjure keystone colors and every tone in between. Come explore the prismatic potential of natural dyes. All levels. This workshop takes place in a third-floor walk-up studio that has partial access by a stair lift.

Textile designer working exclusively with natural dyes; teaching: Natural Dyes Workshop (Los Angeles), Marshfield School of Weaving (VT), Campbell Folk School (NC), Penland; prints used by boutique designers and international brands for garments, home goods, accessories, and wallpapers.

grahamkeegan.com | @yesgraham
January 15 – Regular enrollment opens

Graham Keegan, Two-Tone Block Print, madder and sumac on cotton/silk, 26 x 26 inches
Graham Keegan, Two-Tone Block Print, madder and sumac on cotton/silk, 26 x 26 inches
TEXTILES – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Gabe Duggan
Sculptural Fibers

Building from traditions in weaving and off-loom processes, this workshop will explore unexpected approaches to fiber work. We will seek broader definitions of traditional techniques by re-situating media, technology, and approach, and through fundamental dynamics such as unification through tension and balance. Unconventional media will be welcomed and troubleshot collaboratively; we will consider implications of labor, gender, race, and class; space will be approached intuitively and calculatingly, invasively and non-invasively. Specific techniques covered could include 2-8 harness weaving, handspinning, felting, net/lacemaking, knitting, crocheting, stiffeners, etc. All levels. This workshop takes place in a second-floor walk-up studio that has partial access by a stair lift.

Associate Professor at East Carolina University (NC); other teaching: University of North Texas, Georgia State University; residencies: Sculpture Space Inc. (NY), Fish Factory (Stöðvarfjörður, IS), Praxis Fiber Workshop (OH), Cooler Ranch (NY), Musk Ox Farm (AK), Rob Dunn Lab at North Carolina State University; Juror’s Prize at Art on the Trails (MA); exhibitions: SECCA (NC), Flanders, Lump, and Anchorlight (NC), Garis & Hahn (NY).

gabrielleduggan.com | @gabeduggan
January 15 – Regular enrollment opens

Gabe Duggan, EITHER WAY, DSM Dyneema® on Tuscarora Land, 3 x 40 x 300 feet
Gabe Duggan, EITHER WAY, DSM Dyneema® on Tuscarora Land, 3 x 40 x 300 feet
WOOD – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Chelsea Witt
Table or Not, Here We Come

Tables are usually built for the purpose of holding other objects. In this unconventional furniture-making workshop, we will explore what a table can become if we separate it from its functional expectations. We will cover the basics of woodworking, traditional joinery techniques, and foundational machine skills while expanding creative sculptural and conceptual ideas. Students will focus on smaller-scale tables such as pedestal, entryway, or night stand. Come play, learn, and explore how you can use this everyday object to tell a story that goes beyond function. This workshop will be a welcoming environment for beginning to advanced furniture makers. All levels.

Furniture maker, educator, community organizer; education chair with the Chair Maker’s Toolbox; teaching: Moorestown Friends School (NJ), Center for Furniture Craftsmanship (ME), Pocosin Arts (NC), Peters Valley (NJ), Port Townsend (WA), Haystack (ME), Center for Maine Contemporary Art (ME), Penland; exhibitions: Centre Gallery (FL), Messler Gallery (ME).

chelseacarinawitt.com | @littleforestswontdo
January 15 – Regular enrollment opens

Chelsea Witt, Pedestals, spalted maple, oxidized Douglas fir, milk paint, soap finish, 36 x 12 x 12 inches
Chelsea Witt, Pedestals, spalted maple, oxidized Douglas fir, milk paint, soap finish, 36 x 12 x 12 inches