Summer Session 2

Summer Session 2:
June 7-19, 2020


Registration is open 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 2
June 7-19, 2020
Maria Veronica San Martin
Creating Artists’ Books

Students in this workshop will create artists’ books by examining their history, concepts, aesthetics, and techniques. We’ll start by looking at examples and asking basic questions about artists’ books: What are they? How do they differ from traditional books? What is their place in visual art and cultural criticism? Then we’ll cover collage, painting, drawing, and hand-press printing methods along with a variety of adhesive and nonadhesive bookbinding techniques. Finally we’ll work together to find ways to interpret messages through different book formats as students conceptualize and create their own projects. Students will learn to build content, forms, and three-dimensional spaces by means of artists’ books. All levels. Code 02B

Studio artist; teaching: Center for Book Arts (NYC), Universidad de Chile; collections: Centre Pompidou (Paris), Metropolitan Museum (NYC), Walker Art Center (Minneapolis).

artist book by Maria Veronica San Martin
Maria Veronica San Martin, "Indignity and Resistance," monotypes, screenprints, glass beads; accordion book, 13-1/4 x 10 x 1-1/4 inches
Books & Paper Summer Session 2
June 7-19, 2020
Delaney Smith
Recording Surfaces

In this experimental workshop, students will 
create dynamic surfaces and forms with handmade paper. We’ll prepare cotton and abaca fibers in the beater and then use paper/pulp casting techniques to achieve a variety of forms from site-specific castings and moulds made in class using plaster, hydrostone, or alginate. Students are also encouraged to bring objects or materials to use in casting. In addition to experimenting with three-dimensional paper techniques, students will be guided through several creative activities designed to encourage ideation and growth. All levels. Code 02PM

Artist, designer, educator; teaching: Arrowmont (TN), Oil & Cotton (TX), Eastfield College (TX); exhibitions: 500X (TX), Vignette 2019 (TX); collections: Texas Women’s University.

Cast paper sculpture that reads "No this is not the first time but it will be the last"
Delaney Smith, "NO #6," cast handmade abaca paper, 41 x 37 inches
Clay Summer Session 2
June 7-19, 2020
Sanam Emami
Pottery: Vessels for Food

Serving dishes contain and serve; they hold our favorite foods and our cultural histories. In this workshop, we’ll explore a range of historic and contemporary ideas for serving and storing everything from small delicacies to main courses. These ideas—organized around the space of the table—will be the starting point for imagining the form, scale, surface, and structure of pots. We’ll use mid-range clays, glazes, and slips and explore a variety of solutions to transform drawings and sketches into three-dimensional clay forms. Bring family recipes and sketches of ideas for serving dishes. Basic wheelthrowing skills will be helpful, but this workshop is open to all levels. Code 02CA

Associate professor at Colorado State University; Archie Bray residency (MT), New York Foundation for the Arts grant; exhibitions: Schaller Gallery (MI), Flower City Invitational (NY), Harvey/Meadows Gallery (CO).

A selection of colorful, patterned plates and bowls by Sanam Emami
Sanam Emami, "Tableware," stoneware, chocolate stoneware, slips, stencils, oxidation, largest plate: 10 inches
Clay Summer Session 2
June 7-19, 2020
Del Harrow
Building Systems

This workshop will explore a range of systems and techniques for creating volumetric, handbuilt sculptures with a focus on problems of scale, gravity, and architecture. We’ll engage in demonstrations, reading, discussions, and critiques, and techniques will include building with coils and slabs, using one-part plaster molds, glazing and electric firing (cone 04 oxidation). We’ll draw inspiration from the sympathetic creative practices of music and poetry and their use of system, material, and formal thinking to generate creative expression. All levels. Code 02CB

Associate professor at Colorado State University; other teaching: Haystack (ME), Anderson Ranch (CO); exhibitions: Museum of Fine Arts Boston, Denver Art Museum, Milwaukee Museum of Art; representation: Haw Contemporary (Kansas City), Harvey/Meadows Gallery (CO).

Abstract ceramic and wood sculpture installation by Del Harrow
Del Harrow, "Table and Surface/Hole/Shadow," ceramic, glaze, plywood, sculpture on right: 60 x 20 x 20 inches
Drawing & Painting Summer Session 2
June 7-19, 2020
Harriet Hoover
Stretch It, Flip It, Reverse It

This workshop will give artists from all disciplines an opportunity to bust open their studio practice while stretching the endpoints of drawing. With an emphasis on play, process, and experimentation, we’ll use chance-based prompts to forage pattern, discover spatial relationships, make marks, and create works that extend past the flat surface. We’ll work the spectrum of scale and materials, starting with mark making and moving from the studio into the environment. Expect to use your whole body to generate large works while also making pocket-sized drawings of your day. All levels. Code 02D

Studio artist, teacher at Wake Technical Community College (NC); North Carolina Arts Council Fellowship; exhibitions: Weatherspoon Art Museum (NC), Museum of Contemporary Art Detroit, LIGHT Art + Design (NC).

graphic composition of black and white stripes with pops of color
Harriet Hoover, "Check this Aura," gouache, ink, sewn paper on vinyl and paper, 
51 x 38 inches
Glass Summer Session 2
June 7-19, 2020
Boyd Sugiki & Lisa Zerkowitz
Form, Color & Professional Practice

This workshop will start with a focus on refining skills by working on clear forms such as tumblers, bowls, bottles, and squeezed forms. Students will practice working efficiently, improving heat control, and surveying blowing theories. Then we’ll apply these skills to color techniques such as overlays, cane work, incalmo, and other processes. Instruction will be personalized to build on each individual’s skills with one-on-one time used to find solutions to common struggles. We’ll also have conversations about professional practice and field trips to local studios. Intermediate level: two years of hot glass experience required. Code 02GA

Studio artists working independently and collaborating on a line of studio glass as Two Tone Studios; teaching: The Studio at Corning (NY), Pittsburgh Glass Center, Pilchuck (WA), Penland; representation: Vetri (Seattle), Barneys (NYC), Hunter Gatherer (HI), RISD Works (RI).

collection of frosted green and blue glass vases
Boyd Sugiki and Lisa Zerkowitz, "Seaside," blown glass, 24 x 6 x 7-1/2 inches
Glass Summer Session 2
June 7-19, 2020
Caterina Zucchi
Blown Glass Beads: Skills & Shapes

This workshop will focus on blown glass beads. Working with soft glass, we’ll create wearable glass bead compositions that are voluminous yet light. We’ll start by making round beads, then use heat, gravity, and rotation to make different shapes. We’ll cover surface decoration and stringing beads to make jewelry. This dynamic and practical workshop will include group demonstrations and one-on-one instruction with the goal of giving you the information you need to be independent and skilled in blowing beads and composing balanced and wearable objects. All levels. Code 02GB

Designer, studio artist, owner of Studiozero-vetro (Italy); teaching: Vetroricerca Glas & Modern; exhibitions: International Glass Biennale Sofia (Bulgaria), Ireland Glass Biennale Dublin, International Art Jewelery Exhibition (Beijing).

Necklace of large aqua and black striped beads
Caterina Zucchi, "Roots Necklace," Murano glass, polyester string, 24-1/2 inches long
Iron Summer Session 2
June 7-19, 2020
Daniel Souto & Stephen Yusko
Material Studies

This workshop will explore inventive uses of material through creative problem solving. Students will work with forged, formed, and fabricated steel to create functional objects and/or sculpture. Techniques will include sheet and hollow forming, tube and pipe forging, hot and cold connections, and pattern and texture development on steel. Through demonstrations and discussions about design and function, we’ll work to create objects that balance the industrial history of steel with gracefulness of form. All levels. Code 02I

Daniel: studio artist, founder and director of La Caravana Escuela, a craft-based educational project empowering remote communities in Venezuela. Stephen: studio artist; teaching: Haystack (ME), Cleveland Institute of Art, Peters Valley (NJ); exhibitions: Metal Museum (TN), FORGE, international traveling exhibition (US, UK).  |  @stephenyuskostudios

grindstone held up by a sculptural forged stand
Daniel Souto, "Grindstone," 30 x 26 x 18 inches
textured metal house sculpture
Stephen Yusko, detail of "Sanctuary: Trinity," forged, machined, and fabricated steel
Metals Summer Session 2
June 7-19, 2020
Lauren Markley
Fabrication for Sculptural Jewelry

Taking a structural approach to jewelry, we’ll explore three-dimensional forms to create wearable sculpture. We’ll work through a number of fabrication techniques—including hollow construction, spliced construction, and scoring and folding—improving soldering skills along the way. There will be daily demonstrations, and class projects will present opportunities to hone sequencing and problem-solving skills. Time permitting, we’ll also touch on surface treatments and the use of alternative materials. Students should come away with many samples and a few finished pieces. All levels. Note: This studio has stairs that compromise access; it is made partially accessible by a stair lift. Code 02MA

Studio artist; teaching: Arrowmont (TN), Boulder Metalsmithing Association (CO), James Carter Studio (NC); exhibitions: Munich Jewelery Week (Germany), Green Hill Center (NC), East Carolina University (NC), Society of Arts and Crafts Boston (MA); publications: 500 Silver Jewelry Designs.

necklace pendant assembled from planes of metal
Lauren Markley, "Folded Silver and Enamel Necklace No. 2," sterling silver, enamel, pendant: 6 x 2-1/2 inches
Metals Summer Session 2
June 7-19, 2020
Masakatsu Chiba & Yurico Saka
Traditional Japanese Engraving

The traditional Japanese engraving technique called wabori is based on brush paintings and calligraphy. Students in this workshop will learn the basic techniques of engraving, tool making, and sharpening, along with surface preparation, use of the Japanese calligraphy brush, and design transfer. We’ll have demonstrations and plenty of time for one-on-one instruction. By the end of the session students will be able to engrave textures, patterns, and letters onto the metal’s surface. All levels. Code 02MB

Masakatsu: owner/operator of Atelier FER (Japan); exhibitions: The 50th Japan Crafts Exhibition, Fukuoka Prefectual Museum of Art (Japan), Fukuoka Asian Art Museum (Japan). Yurico: studio artist; teaching: Yamawaki Art College (Japan); exhibitions: Exhibition of Traditional Japanese Metalwork (Japan), Tokyo Traditional Crafts Fair (Japan).  |  @atelier.fer  |  @hotrose_yuricosaka

brass plaque engraved with Japanese characters
Masakatsu Chiba, "Baby Poster," brass, 4 x 6 inches
metal sheet with intricate flower design
Yurico Saka, "Botan," copper, plating, 4-3/4 x 7 inches
Photo Summer Session 2
June 7-19, 2020
Jim Stone
View Camera Workshop

The view camera may seem daunting, but it is easily mastered. Its contemplative, methodical approach rewards users with photographs of the highest quality. We’ll learn to use the large-format camera, control focus and perspective, develop sheet film using a simplified zone system, make darkroom enlargements, and scan negatives for digital printing. This workshop is best for those comfortable with the rudiments of traditional black-and-white photography—exposure, film development, and printing—but it is open to all levels. Students may use a Penland camera or bring their own. Code 02P

Distinguished professor of photography at University of New Mexico; named Honored Educator by Society for Photographic Education; collections: Museum of Modern Art (NYC), Museum of Fine Arts Boston; six of his textbooks are in wide use.

photograph of a young man sitting on his bed next to shelves of toys
Jim Stone, "Jason, Who Wants a Career in Law Enforcement, and Some of His 1400 Transformers," Rio Rancho, New Mexico, archival pigment print, 20 x 24 inches
Print & Letterpress Summer Session 2
June 7-19, 2020
Kasey Ramirez
The Woodcut: Beyond Black and White

Using everything from knives and gouges to hammers and torches, this woodcut workshop will focus on expanding students’ graphic vocabulary beyond linear and bold qualities toward textural and atmospheric effects. Guided drawing exercises will complement experimental and collaborative demonstrations covering image transfer methods, traditional and alternative carving methods, inking with oil-based inks, color-mixing, and both press and non-press printing methods. Students will experiment with the techniques and pursue their own original imagery. All levels. Code 02X

Clinical assistant professor at University of Arkansas; residencies: Guanlan Original Printmaking Base (China), Vermont Studio Center; Mid-America Art Alliance Artists 360 grant; exhibitions: International Print Center New York, Morgan Conservatory (Cleveland), University of Richmond (VA), Andy Warhol Museum (Pittsburgh).

night scene of a derelict or under-construction building
Kasey Ramirez, "Hull," woodcut, 22 x 34 inches
Print & Letterpress Summer Session 2
June 7-19, 2020
Ben Blount
The Collaborative Printer

Leveraging the power of the printed word, we’ll explore the community-building potential of letterpress printing. This workshop will focus on concept and content as we work on a variety of projects with varying levels of collaboration and sharing. We’ll cover traditional letterpress processes with a focus on using wood type. We’ll also learn some image making and basic bookbinding techniques in support of larger collaborative projects. Students will leave with a series of editioned prints, a copy of our collaborative book, and the experience of working within a community of printers and makers. All levels. Code 02L

Studio artist; teaching: Colorado College, Cleveland Institute of Art; Hamilton Wood Type and Printing Museum residency (WI); collections: Metropolitan Museum (NYC), Newberry Library (Chicago), School of the Art Institute of Chicago.

Print of the word "racism" coming apart in the air
Ben Blount, "Antiracism Fist," letterpress, 19 x 25 inches
Textiles Summer Session 2
June 7-19, 2020
Akemi Nakano Cohn
Katazome with Natural Dyes & Indigo

Katazome is a traditional Japanese resist technique that uses rice paste applied through a stencil. Working with natural dyes, students will learn basic katazome and explore images representing their own stories. We’ll cover mordants and earth pigments along with cutting stencils, cooking rice paste, making soy milk, brushing a variety of natural dyes, and steam-setting colors. We’ll also dip rice-pasted fabric into the indigo pot to create intense shades of blue. Sumi ink will create depth and variation with indigo blue. Tsutsugaki—freehand drawing with rice paste in a pastry tube—will add additional design elements. All levels. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code 02TA

Studio artist; teaching: School of the Art Institute of Chicago, Haystack (ME), Anderson Ranch (CO), Zijdelings (Netherlands); Ragdale residency (IL); exhibitions: Museum of Arts and Design (NYC), Bellevue Art Museum (WA), Gallery Uesto (Tokyo).

textile hanging with squares of red, yellow, and orange printed with white
Akemi Nakano Cohn, detail of "Sunrise, Sunset #2," natural dyes on silk organza; katazome
Wood Summer Session 2
June 7-19, 2020
Laura Mays
Right Angles, Wrong Angles

In this workshop we’ll look at various aspects of stepping away from 90 degrees—from slopes, bevels, and facets to compound angled joinery. We’ll see how this can expand the range of possibilities in making cabinets and boxes and have our brains tickled by spatial and geometric problem-solving. Along with daily demonstrations, we’ll look at historic and contemporary pieces and discuss their construction. Expect to practice with two or three sample joints and then make a box or small cabinet that incorporates non-right angles. You’ll also gain insight into 90 degrees—how sometimes it has unique properties and sometimes it’s just a number. Intermediate level: basic woodshop skills required. Code 02W

Professor and program director at The Krenov School at Mendocino College (CA); collections: National Museum of Ireland; co-author of the forthcoming book Making a Seat at the Table: Women Transform Woodworking.

wooden box with non-90 degree angles
Laura Mays, "Skew Box," Irish oak, 4-3/4 x 18 x 4 inches