Summer Session 3

Summer Session 3:
June 21 – July 3, 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 3
June 21 – July 3, 2020
Frank Hamrick
Handmade Paper & Artists’ Books

In this workshop, we’ll make rag paper from your old cotton and linen clothes and incorporate it into various book structures including hardcover pamphlet, accordion, longstitch, case bound, Japanese, and Coptic bindings. More experienced students can experiment with advanced forms such as z-fold and dos-a-dos. We’ll talk about editing and sequencing content and how size, material, and structure choices can support subject matter. We’ll have options for placing imagery or text into our books digitally or manually. We’ll divide our time between the book and papermaking studios. All levels. Code 03PM

Professor at Louisiana Tech University; teaching: University of Georgia’s Cortona Italy Program, Art Institute of Boston Mentor Program; collections: Art Institute of Chicago, Amon Carter Museum (TX), Ogden Museum (New Orleans).

artist book by Frank Hamrick
Frank Hamrick, "It Was There All Along," handbound artist’s book with relief printed cover, 8-7/8 x 9 x 5 inches
Clay Summer Session 3
June 21 – July 3, 2020
Courtney Martin
Slab, Coil, Decorate, Fire

In this workshop we’ll create platters and serving dishes using building techniques including slab and coil construction. We’ll add handles and feet, carve textures and patterns, and consider the specific functional/visual balance of these pots. Using wax and latex resists with glaze, we’ll explore pattern ideas on our pots. The work will be finished in salt and soda kilns. All levels. Code 03CA

Studio artist; teaching: Arrowmont (TN), Penland; exhibitions: Smithsonian Craft Show (DC), Cousins in Clay (NC), solo at Signature Shop (Atlanta).

Striped ceramic tray in brown/cream by Courtney Martin
Courtney Martin, "Handled Tray," wood-fired stoneware, 5 x 10 x 20 inches
Clay Summer Session 3
June 21 – July 3, 2020
Shiyuan Xu
Building Structures with Paperclay

From organic life forms to mechanical parts to mathematical theories, structures exist everywhere. This workshop will explore various structural units and investigate different handbuilding techniques to create structural forms with porcelain paperclay. We’ll prepare our own paperclay and learn the properties of this more forgiving material. We’ll develop our work by experimenting with methods such as pinch pot, slab, coil, slip-trailing, and dipping found objects. The workshop will include daily demonstrations, discussions of contemporary artwork, and individual meetings. All levels. Code 03CB

Studio artist; teaching: Lillstreet Art Center (Chicago), Lawrence Art Center (KS), Arizona State University (AZ); residencies: Archie Bray (MT), Houston Center for Contemporary Craft; collections: Korea Ceramic Foundation, San Angelo Museum of Fine Arts (TX), National Museum of Slovenia.

Web-like porcelain sculpture by Shiyuan Xu
Shiyuan Xu, "Fission #6," porcelain paperclay, glaze, 11-1/4 x 14 x 6-1/2 inches
Drawing & Painting Summer Session 3
June 21 – July 3, 2020
Rosy Lamb
Painting What You See

Painting from life requires a rigorous cultivation of a self-questioning, open mind. A true-to-life painting is an exercise in active not-knowing. In this workshop, we’ll work in oils from a combined subject matter of still life and life models. We’ll learn to look at the visual plane more truthfully, more simply, more wholly. In the first week of the workshop, we’ll cover pre-mixing colors and values on our palettes and multiple approaches to starting a painting. In the second week, we’ll work from one point of view, freely evolving, starting over, repainting our work. All levels. Code 03D

Studio artist; Prix de portrait Paul-Louis Weiller (France), J Henry Sheidt Memorial Travel Scholarship from Pennsylvania Academy of the Fine Arts; exhibitions: BP Portrait Award Exhibition at the National Portrait Gallery (London), four solo shows at Galerie Guido Romero Pierni (Paris); author of the children’s book Paul Meets Bernadette.

painting of a female nude against a background of red
Rosy Lamb, "Red Willa," oil on canvas, 28 x 36 inches
Glass Summer Session 3
June 21 – July 3, 2020
Kazuki Takizawa
Exploring Creativity with Cane & Murrini

Students in this workshop will be challenged to subvert the fundamentals of glassblowing and explore their individual interests. We’ll help each other experiment with whatever wild ideas we may have about glass, venturing out from traditional glass vessels. Demonstrations will include using bundles of rods, preheated shards, fused glass chunks, and more as we work to find our own unique methods of shaping molten glass. More technical demonstrations will be given in the latter half of the workshop, including the use of cane and murrini as a way to introduce line and pattern. All levels. Code 03GA

Studio artist, owner of KT Glassworks (Los Angeles); teaching: Pilchuck (WA), Pittsburgh Glass Center, Urban Glass (NYC); residencies: STARworks (NC), The Works (OH); exhibitions: River House Arts Gallery (OH), Craft in America Center (CA); representation: Duncan McClellan Gallery (FL).

Clear glass orb sculpture webbed with white lines
Kazuki Takizawa, "Minimalist," glass, 15 x 8 x 8 inches
Glass Summer Session 3
June 21 – July 3, 2020
John Littleton & Kate Vogel
Captured in Glass

We’ll explore adaptive mold making as a means of encapsulating ideas in glass, examining the properties of glass and considering how it can enhance our creative vision. These ideas will inform the models we create from clay, found objects, and wax to make molds for kiln casting. We’ll cover working with wax, mold recipes, glass sources, firing schedules, calculating volumes, many types of mold making, and casting with various materials including sheet glass, frit, and billets. Be prepared to experiment and problem-solve. Glass experience will be helpful, but this workshop is open to all all levels. Code 03GB

Collaborating studio artists; teaching/demonstrations: University of North Carolina Wilmington, Penland, Corning Hot Glass Road Show (IL); exhibitions: Habatat Gallery (MI), SOFA Chicago, Bergstrom-Mahler Museum of Glass (WI); collections: Corning Museum of Glass (NY), High Museum (Atlanta), Mint Museum (NC).

clear glass hands holding up a red glass heart
John Littleton and Kate Vogel, "Heart’s Path," cast glass, 21-1/2 x 10-1/2 x 5-3/4 inches
Iron Summer Session 3
June 21 – July 3, 2020
Ellen Durkan
Fitting & Forging: Wearable Bustiers & Chest Pieces

This workshop is about designing and forging wearable elements that fit on your chest, neck, and torso: bustiers, necklaces, or chest pieces. Techniques will include designing and forging symmetrical pieces that fit the body and forming and shaping sheet metal for that extra lift! We’ll cover leather and riveting techniques that can be used as a form of attachment so your pieces will be beautiful and functional. Some experience will be a plus, but this workshop is open to all levels. Code 03I

Professor at Delaware College of Art and Design; five Delaware Division of the Arts grants; solo exhibitions: Delaware Center for Contemporary Arts, Chris White Gallery (DE), Dickinson College (PA), Apex Gallery (SD).

model wearing a a forged metal skirt, chestpiece, and collar
Ellen Durkan, "Forged Fashion Collection," steel, leather, dimensions vary
Metals Summer Session 3
June 21 – July 3, 2020
Sharon Massey
Contemporary Enamel

Vitreous enamel offers endless possibilities for adding color, texture, pattern, imagery, and text to metal objects and jewelry. This workshop will cover techniques ranging from sifting to champlevé, including liquid enamels, decals, stencils, cloisonné, enameling on three-dimensional forms, and application to both copper and steel. We’ll explore how to incorporate enamel into your work—including setting and fastening techniques—as well as design and concept development. With an emphasis on contemporary and experimental approaches, this workshop will allow students to begin a studio practice in enamel or to expand their existing practice. All levels. Note: This studio has stairs that compromise access; it is made partially accessible by a stair lift. Code 03MA

Associate professor at Indiana University of Pennsylvania; other teaching: Haystack (ME), Center for Enamel Art (CA); collections: Enamel Arts Foundation (CA), Racine Arts Museum (WI); publications: Metalsmith, American Craft, New Brooches & New Bracelets, The Art of Enameling.

three charms: a cross, a heart, and an anchor
Sharon Massey, "Hope, Faith, and Charity," steel, champlevé enamel, 4 x 4 x 1 inches each
Metals Summer Session 3
June 21 – July 3, 2020
Jaydan Moore

In this workshop we’ll make fabricated vessels, defining what is meant by “vessel” pretty broadly. We’ll cover sheet patterning techniques to create all types of shapes and learn how to cut metal efficiently. Efficient layout for simple and complex forms will make fabrication go smoothly. We’ll build compound curves through sinking and raising, create sharp edges through scoring and bending, and bring pieces together using larger-scale soldering techniques. All levels. Code 03MB

Studio artist; teaching: Virginia Commonwealth University, Rhode Island School of Design, California College of the Arts, Haystack (ME), Penland; residencies: Penland Resident Artist, Kohler Arts Industry (WI), Houston Center for Contemporary Craft, Virginia Commonwealth University Fountainhead Fellowship; collections: Museum of Fine Arts Houston, Carnegie Museum of Art (PA), Kohler Company (WI).

a series of silver platter wall installations that look as if one plate is splitting into two
Jaydan Moore, "Mitosis," found silver-plated platters, varying sizes
Photo Summer Session 3
June 21 – July 3, 2020
Richard Tuschman
The Poetic Photograph

As fine art photographers, how do we develop and strengthen our ability to craft personal, poetic photographs with compelling emotional resonance? This digital photography workshop will address that question as we explore the genres of still life, landscape, and figure/portrait photography. We’ll learn and practice the principles of composition, color, and both natural and studio lighting as we develop a “best practices” workflow from capture to print. Join us as we pursue our quest to become more effective emotional messengers through our photography. All levels. Code 03P

Studio artist; teaching: Ringling College of Art and Design (FL), Maine Media Workshops (ME), Los Angeles Center of Photography; New York Foundation for the Arts Fellowship; exhibitions: Center for Photographic Art (CA), Museum of Contemporary Art Krakow (Poland); Photovisa (Russia); representation: Klompching Gallery (NYC), photo-eye Gallery (Santa Fe), Kopeikin Gallery (CA).

photograph of a woman in a red dress sitting on a bed with a man visible in the bathroom behind her
Richard Tuschman, "Pink Bedroom (Daydream)," archival pigment print, 21 x 31 inches
Print & Letterpress Summer Session 3
June 21–July 3, 2020
Kristina Paabus
Intaglio & the Hybrid Print

This workshop will introduce students to intaglio printmaking through drypoint and copper etching, using additive and subtractive techniques. Employing hand-drawn approaches, students will be encouraged to experiment as they investigate personal directions for their work. We’ll focus on learning to create and manipulate the malleable intaglio matrix while also combining strategies to form hybrid prints. Along with hard ground, soft ground, aquatint, and multiple color-plate intaglio printing, we’ll explore introductory elements of monotype, relief, screenprint, and lithography. All levels. Code 03X

Associate professor at Oberlin College (OH); other teaching: University of Iowa, School of the Art Institute of Chicago, Ox-Bow (WI); exhibitions: Akron Art Museum (OH), Hobusepea Galerii (Estonia); collections: Harvard Art Museum (MA), Cleveland Clinic, China Printmaking Museum, Novosibirsk State Art Museum (Russia).

geometric print in shades of grey and teal
Kristina Paabus, "The Guards," intaglio, relief, screenprint, 24 x 20 inches
Print & Letterpress Summer Session 3
June 21–July 3, 2020
Jim Sherraden
Opening & Pushing the Envelope in Letterpress

This workshop will cover intro-to-advanced letterpress and intro-to-advanced image carving on multiple surfaces. If it will go through the press, we’ll try it: wood type, metal type, hand-carved blocks, the leaves in the fields. We’ll look past the use of type as letters and investigate its value as forms. Once our imagery is created, words can be integrated. We’ll aim for excellence not perfection, and students will go home with a carload of work. No presses or type will be injured. Each day will include the three Cs of this workshop: courtesy, community, and comedy. All levels. Code 03L

Studio artist; manager, master printer, and archivist at Hatch Show Print for 30 years (Nashville); Tennessee Distinguished Artist Award; work toured nationally with the Smithsonian; author of Hatch Show Print: The History of a Great American Poster Shop.

letterpress poster with layered color and three mule prints
Jim Sherraden, "Mule Skinner Blues," oil-based ink; letterpress from woodblock and wood type, 26 x 40 inches
Textiles Summer Session 3
June 21 – July 3, 2020
Graham Keegan
Natural Dye Block Print

We’ll begin by exploring the basic concepts of natural dyes: mordants and plant pigments. We’ll use color from foraged plants and those specifically grown for their dye potential. Then we’ll step into making basic printing blocks from a number of materials and experiment with printing on a range of fabrics. The class will emphasize techniques for hand block-printing repeat patterns and layering multiple colors onto the same piece of fabric. Students can expect to make their own printing blocks and produce a series of 18 x 22 inch pieces showcasing different print techniques and colors along with larger works. All levels. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code 03TA

Studio artist, textile designer, and natural dye advocate; teaching: Marshfield School of Weaving (VT), Snow Farm (MA), workshops across the country as part of his annual Indigo Tour; designs used by boutique designers and international brands on garments, home goods, wallpaper, and accessories.

diamond stamped pattern in black, white, and gold
Graham Keegan, detail of "Diamonds in Tessellation," madder, iron/tannin, cotton; woodblock print
Textiles Summer Session 3
June 21 – July 3, 2020
Mo Kelman
Skins, Skeletons, Nets & Knots

In this experimental workshop, students will learn methods for building skeletal structures with rigid and semi-rigid materials such as rattan, bamboo, wood, wire, found materials, and recycled frameworks. Techniques will include lashing, chaotic plaiting, and wire construction. To put skins on these structures, we’ll work with knotted and knotless netting, gut, and rice papers. Paintable graphite, wax, and kakishibu tannin will further modify surfaces. Exercises, brainstorming, and problem-solving challenges will guide your production of a series of prototypes that will ignite your studio practice. All levels. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code 03TB

Studio artist, professor emeritus at Community College of Rhode Island; other teaching: Haystack (ME), Peters Valley (NJ), Maiwa (Vancouver); exhibitions: Wayne Art Center (NJ), Cheongju International Craft Biennale (Korea), International Shibori Symposium.

sculptural fiber installation
Mo Kelman, "Cloud and the Space Between," shibori-dyed and shaped silk, wood, steel wire, cordage, nails, 81 x 44 x 15-1/2 inches
Wood Summer Session 3
June 21 – July 3, 2020
Adrien Segal
Carve, Bend, Shape

Both rigid and flexible, wood is an ideal material for creating curvaceous shapes, yet it is often made to be flat, straight, and square. We’ll cover many ways to transform wood into sculptural forms and furniture through additive and subtractive carving, bent and stack laminations, and dynamic joinery. Demonstrations will emphasize the safe use of power tools for rough shaping and hand-held tools for achieving detailed shapes, patterns, textures, and refining smooth forms into finished pieces of furniture or sculpture. A process of quick iteration will facilitate design and experimentation with various methods for creating organic shapes in wood. Students of all levels of woodworking will gain new skills. Code 03W

Studio artist; teaching: California College of the Arts, University of San Francisco; residencies: Benchspace Cork (Ireland), Center for Art in Wood (Philadelphia); publications: American Craft, 500 Tables, Data Flow 2.

bench carved into smooth, organic curves
Adrien Segal, "Strata Bench," carved plywood, 29 x 96 x 31 inches