Summer Session 7

Summer Session 7:
August 23-29, 2020


We will begin accepting registration for 2020 summer workshops at noon Eastern time on Monday, January 13. Registration for full-pay students will be 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 open January 1 and 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 7
August 23-29, 2020
Jeffrey Altepeter
Traditional Calf Bindings

In this workshop, students will create replica 18-century trade-style bindings. Daily demonstrations will provide a foundation of traditional binding methods as we produce structurally accurate historic models. The books will be sewn on cords laced into boards then covered in leather. Equal attention will be given to the period aesthetic through the use of historical staining recipes to create sprinkled, splattered, mottled, and marbled calf. We’ll add decorative tooling with period-accurate finishing tools. All levels. Code 07B

Head of bookbinding at North Bennet Street School (Boston), other teaching: Paper and Book Intensive (MI), Guild of Book Workers, Penland.

traditional bookbinding work by Jeffrey Altepeter
Jeffrey Altepeter, "18th-Century-Style Panel Binding and Marbled Sample Plaquette," calfskin over boards, 5 x 7 inches each
Clay Summer Session 7
August 23-29, 2020
Heesoo Lee
Dimensional Expression on Ceramic Surfaces

Students in this workshop will explore handbuilding, sgraffito, texture, and watercolor-style underglaze to create images of nature and memory on functional and sculptural porcelain vessels and tiles. First we’ll create a clay canvas through an additive process on handbuilt or wheelthrown porcelain forms. Then we’ll use commercial watercolor-style underglazes to create perspective and depth and imitate traditional China paint effects on greenware and bisque-fired surfaces. Projects will be tailored to your interests with special emphasis on landscapes and perspective. Electric firing. Basic wheelthrowing skills are a plus, but this workshop is open to all levels. Code 07CA

Studio artist; Archie Bray summer residency and long-term residency (MT) ; exhibitions: Akar (IA), Archie Bray, International Ceramic Biennale (Korea), TRAX Gallery (CA).


Vase decorated with a colorful raised tree design
Heesoo Lee, "In Dreams," porcelain, 18 inches tall
Clay Summer Session 7
August 23-29, 2020
Elena Renker

Kurinuki is an old Japanese technique of handbuilding. It involves carving and marking the exterior form from a solid block of clay and then hollowing it out. This sculptural approach allows complete freedom in shaping vessels. We’ll use the technique to explore various forms, from tea bowls to sake bottles, vases, boxes, and large bowls. Some of the work will be glazed and fired in a gas kiln. All levels. Code 07CB

Studio artist; teaching: Auckland Studio Potters (New Zealand), workshops in New Zealand and overseas; Shigaraki Ceramic Culture Park residency (Japan); exhibitions: Front Room Gallery (New Zealand), Mungyeong Ceramic Museum (Korea), Sogo Department Store (Tokyo); representation: Schaller Gallery (MI), Form Gallery (New Zealand), Te Uru Gallery (New Zealand).

Angled tea bowl in black and white
Elena Renker, "Kurinuki Tea Bowl," woodfired stoneware, 4 x 5 inches
Drawing & Painting Summer Session 7
August 23-29, 2020
Leigh Suggs
Changing Perspective: Experimenting with Paper

This workshop is about changing your approach to paper. We’ll explore ways to transform paper—both technically and conceptually—into more than just a flat surface. Students will use simple tools to turn basic sheets into sculptural forms by cutting, folding, collaging, weaving, and using a variety of 3-d paper constructions. We’ll use natural and synthetic papers and create samples that will introduce you to the nuances of the material. There will be daily demonstrations, discussions of contemporary work, and time for experimentation. All levels. Code 07D

Studio artist; teaching: Virginia Commonwealth University, Arrowmont (TN), Penland; exhibitions: Penland Gallery, Racine Art Museum (WI), Weatherspoon Museum (NC), Taubman Museum (VA), collections: Virginia Museum of Fine Arts, Roanoke College (VA); representation: Reynolds Gallery (VA).

Intricately cut vanishing pattern on blue paper
Leigh Suggs, "On Our Way," handcut acrylic on Yupo, 36 x 36 inches
Glass Summer Session 7
August 23-29, 2020
Michael C. Krupiarz
Observe & Execute

This workshop is for beginning glass students looking to further develop their skill sets. We’ll take a close look at what is happening with the glass when it is heated, stretched, and blown. Students will practice making geometric forms—cones, cylinders, and spheres—that will inform more complicated shapes. We’ll emphasize technique, control, problem-solving methods, and clean lines. Instruction time will be divided between daily demonstrations and plenty of individual attention. Advanced beginning level: a perfect next step for students who have taken at least one introductory glass workshop. Code 07GA

Studio artist, coordinator at More Fire Glass Studio (NY); teaching: North Carolina Glass Center, Penland; exhibitions/representation: Asheville Area Arts Council (NC), Asheville Art Museum (NC), Center for Craft (NC), North Carolina Glass Center, Green Hill Center (NC).


glass cups in green, yellow, black, magenta, and blue
Michael C. Krupiarz, "Thumbprint Cups," blown glass, 3-1/2 x 4 inches each
Glass Summer Session 7
August 23-29, 2020
Michael Endo
Constructed Images

My work combines glass powder and frit painting, drawing processes adapted for kiln glass, and centuries-old glass painting techniques in the construction of multilayered atmospheric spaces and narratives. This workshop will focus on the techniques used in my practice and will encompass painting with glass powders, enamel painting adapted for high temperatures, and layered kilnforming along with printing and drawing techniques for kiln glass. All levels. Code 07GB

Studio artist, curator at Bullseye Projects (OR, CA, NY, UK), co-director of High Desert Observatory (CA), partner in Yucca Valley Material Lab (CA); teaching: Bild-Werk Frauenau (Germany), Pilchuck (WA), UrbanGlass (NYC), Northlands Creative Glass (UK), Pittsburgh Glass Center; exhibitions: National Glass Centre (UK), Disjecta (Portland, OR), Yuan Yuan Art Center (China).

greyscale glass panel with a pine forest scene
Michael Endo, "Crux," kilnformed glass, 24 x 39 inches
Iron Summer Session 7
August 23-29, 2020
Andrew Kyte
Distilling Design

In this workshop we’ll work to condense design ideas into focused sample/study pieces. Students will explore, draw, model, and experiment to produce iron sketches. These sketches will then be edited to establish a clear idea for each student’s final study piece. As we work through this process, we’ll cover a broad range of forging, fabricating, and finishing techniques. And we’ll spend some time each day discussing the work of other artists to inspire ideas. All levels. Code 07I

Owner of Kyte Metalwerks (MI) focusing on architectural commissions and public art; demonstrator at many blacksmith conferences; collections: Inglis Estate (MI), Washington National Cathedral (DC).

forged arch sculpture
Andrew Kyte, "Portal #11," mild steel, 38 x 16 x 2 inches
Metals Summer Session 7
August 23-29, 2020
Edna Madera
Gold Fusing

This workshop will introduce students to surface embellishment through fusing high-karat gold over silver. We’ll cover the basics and then explore additional surface considerations, such as finish, texture, and patina, that will complement students’ own designs. We’ll also cover roll-milling 24k gold, depletion gilding, tool and workspace setup, gold cutting, and torch fusing. Discussions will include prefabricated versus studio-made gold foils, workflow, and design experimentation. Some comfort working with torches will be helpful, but this workshop is open to all levels. Note: This studio has stairs that compromise access; it is made partially accessible by a stair lift. Code 07MA

Studio artist; teaching: Pratt Fine Arts Center (Seattle); Award of Excellence at American Craft Council Baltimore show; publications: New Brooches: 400+ Designs in Contemporary Jewelry, SNAG Jewelry and Metals Survey 2017; representation: Ayesha Studio and Gallery (NJ).

Earrings with gold feather detail
Edna Madera, "Flora and Feather Earring," 24k, 18k, 14k, 11k bimetal, fine silver, 1-3/4 x 1-1/8 x 1/2 inch
Metals Summer Session 7
August 23-29, 2020
Kim Cridler
Drawn: The Sensitive Line

Philosopher Alexander Baumgarten described aesthetics as “the science of sensitive knowing.” In that spirit we’ll use simple techniques and direct observation to make structural wire forms. Demonstrations will include soldering steel wire, building symmetrical forms, forging and drawing wire, and finishing steel. Supplemented with short readings, visual presentations, and quick assignments, we’ll make models and samples before creating individual projects. This class is about starting where you are, working without hesitation, and seeing anew. Soldering experience will be helpful, but the workshop is open to all levels. Code 07MB

Studio artist; teaching: University of Wisconsin-Madison (WI), San Diego State University, Arizona State University; upcoming retrospective at The Metal Museum (TN); collections: MTA Arts & Design (NYC), Museum of Fine Arts Houston (TX); representation: Lisa Sette Gallery (AZ).

wire metal basket with handles and stand
Kim Cridler, "Again (basin with butterflies)," steel, butterfly wings (Dichorragia nesmachus), 15 x 28 x 18 inches
Photo Summer Session 7
August 23-29, 2020
May Babcock & Lindsey Beal
Foraged Photographs: Cyanotypes & Handmade Paper

This workshop will integrate hand papermaking and cyanotype printing. We’ll make paper from sustainably harvested plants and traditional fibers and create sheets using deckle boxes and multiple pulps. Using cyanotype and anthotype, we’ll create photograms from foraged plants and photographs from digital negatives. Cyanotype creates blue images that can be toned to other colors. Anthotypes are made with photosensitive plant emulsions. Working in both studios, students will build a supply of handmade papers, print unique images, and learn to create environmentally conscious artwork at home. All levels. Code 07P

May: studio artist; teaching: Rhode Island School of Design, Women’s Studio Workshop (NY). Lindsey: studio artist; teaching: Rhode Island School of Design, Massachusetts College of Art and Design.  |  @maybabcock

four abstract compositions of blue and white on gray paper
May Babcock and Lindsey Beal, "Lamina: Eddy 1–4," artist-made pulp paintings on pigmented cotton, flax, and corn husk, cyanotype, gouache, 8-1/2 x 11 inches
Textiles Summer Session 7
August 23-29, 2020
Stephanie Metz
Felt: Fiber in the Round

This workshop will be a thorough introduction to the tools, processes, and possibilities of needle felting. Students will learn to manipulate wool into free-standing, solid felt sculptures using barbed felting needles to coax loose fibers into sophisticated shapes. We’ll explore solid and hollow form-building, armatures, and adding mixed-media. Felting particularly lends itself to representing organic forms, and students are welcome to bring source material. This innovative use of a humble, inexpensive material is bound to energize your art-making. Note: feltmaking involves repetitive and vigorous hand and arm movement. All levels. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code 07TA

Studio artist; teaching: Arrowmont (TN), Yuma Symposium (AZ), California College of the Arts; recent exhibitions: Jack Fischer (San Francisco), de Saisset Museum (CA); collections: Triton Museum (CA), National Centre for Craft & Design (UK).

installation of large, textured pod sculptures
Stephanie Metz, "In Touch: Hanging Pods," wool, industrial felt, filler, cable, approximately 50 x 30 x 30 each
Textiles Summer Session 7
August 23-29, 2020
Hillary Waters Fayle
Plants: Muse, Medium & Material

This workshop will be a blend of art, science, and natural history focused on botanical collaboration. We’ll spend time looking at and learning about plants: taking guided walks, drawing, stitching, spinning, sketching, pressing, printing, painting, and studying botanical material. We’ll also experiment with leaves and other plant materials as substrates that can be woven, cut, knotted, stitched, collaged, etc. We’ll source plants, nuts, seeds, and other materials to brew inks and dyes for textiles and paper. Plants and other botanical materials will be our means to explore the connections between nature and humanity. All levels. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code 07TB

Assistant professor and head of fibers at Virginia Commonwealth University; exhibitions: Blue Spiral 1 (NC), Sager Braudis Gallery (MO), Pensacola Museum of Art (FL), Ellen Noel Art Museum (TX).

circle of embroidered leaves
Hillary Waters Fayle, "Circular Meditations I & II," stitched and embroidered holly leaves, 
14 x 14 inches
Wood Summer Session 7
August 23-29, 2020
Aspen Golann & Julian Watts
Sculptural Carving: Spoons

Explore the potential of woodcarving by transforming the wooden spoon into an abstract, sculptural object. We’ll discuss the intersection of craft, design, and art, and challenge our preconceptions about the role that form and function play in the everyday objects around us. Each student will design and carve a sculptural wooden spoon that subverts, exaggerates, or illuminates something new about this familiar utensil. We’ll survey historic and contemporary designs and cover traditional and modern carving techniques, essential power tools, wood species selection, wood grain, sanding, and finishing. All levels. Code 07W

Aspen: studio artist, Penland wood studio coordinator; teaching: Lie Nielsen Toolworks (ME), Haystack (ME). Julian: studio artist; teaching: California College of the Arts, Anderson Ranch (CO), Haystack (ME); representation: Patrick Parrish Gallery (NYC).

view of the carved arm of an elaborate pink velvet chair
Aspen Golann, detail of "Pink Throne," mahogany carving, ash structure, silk, velvet
grouping of carved, non-functional spoon objects
Julian Watts, "Maple Utensil Collection," bleached maple, dimensions variable