2018 WORKSHOPS
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WELCOME TO ARROWMONT IMPORTANT DATES AT A GLANCE
“The joy of my work is providing others opportunities to live creative lives. The joy of my life is interacting with creative people. This makes for a wonderful symmetry.” ARTISTS-IN-RESIDENCE APPLICATION DEADLINE The past year at Arrowmont saw events which brought about change, and at the same time February 1, 2018 strengthened our resolve to maintain the values and qualities that make this place extraordinary. In response to the wildfires of the fall of 2016 which destroyed three buildings on campus, we EARLY REGISTRATION DEADLINE began to implement both a strategic plan for our programming and a master plan for our campus. REGISTRATION FEE OF $50 IS WAIVED FOR EARLY REGISTRATION When you come to Arrowmont in 2018 you will enter through a new entrance and enjoy a new February 1, 2018 dormitory with 42 rooms with private baths and a screened porch with an outdoor fireplace perfect for the camaraderie and conversations that are important parts of being here. We have EDUCATIONAL ASSISTANTS continued to make upgrades to studios and have constructed a new three-kiln courtyard. All the PROGRAM APPLICATION DEADLINE buildings on campus — studios and residences — are now air conditioned. We always work to March 1, 2018 improve our facilities and to offer inspiring workshops with outstanding instructors. SCHOLARSHIP Though our campus is transforming, our values remain constant and at the heart of the APPLICATION DEADLINE “Arrowmont Experience.” We offer workshops that provide opportunities for those just being March 1, 2018 introduced to craft, as well as workshops that focus on advanced skills, conceptual exploration and design. Regardless of your prior experience, skill level, age or background, you will FIGURATIVE ASSOCIATION find Arrowmont to be a welcoming place where all are treated with respect and provided SYMPOSIUM encouragement. We are all explorers. November 7 – 10, 2018
We live in a world where it is tempting to turn inward, to get our information from a screen and Please check the website both learn and work in isolation. At Arrowmont, you will discover what it is like to be part of a arrowmont.org for updated creative community that provides an intensely personal learning experience that is also a shared deadlines as some scholarships experience. Everyone here contributes to the creation of this shared experience — from our staff have a rolling deadline and who work in the kitchen, maintenance, grounds keeping or administration to our educational others may re-open mid- assistants and instructors. We are all engaged in learning and making, but we also celebrate summer for Fall applicants the joy of creating meaningful lives, expecting to learn something new every day and to make contributions to something larger than ourselves.
Join us and not only be a part of a creative community, but help us create that community. Learn skills that you carry back to your work or studio; have experiences you carry back into your life.
BILL MAY, EXECUTIVE DIRECTOR
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TABLE OF CONTENTS
WELCOME 1 ARROWMONT HISTORY 66
SCHEDULE AT A GLANCE 4 GALLERY & EXHIBITIONS 67
SPECIAL TOPICS 7 COMMUNITY PROGRAMS 67
TWO WEEK SESSIONS 10 EDUCATIONAL ASSISTANTS PROGRAM 68
WEEKEND SESSIONS 10 SCHOLARSHIPS 69
CLAY 13 WORKSHOP BASICS 70
2-D ARTS: DRAWING · PAINTING · PAPER & HOUSING & MEALS 71 BOOKS · PRINTMAKING · PHOTOGRAPHY 23
REGISTRATION & WORKSHOP FEES 72 FIBERS · TEXTILES · BASKETS 35
METALS · GLASS · ENAMELS 45
WOOD 55 2018 SCHEDULE AT A GLANCE SPECIAL TOPICS CLAY DRAWING · PAINTING · PAPER & BOOKS · PRINTMAKING · PHOTOGRAPHY
APRIL 5 – 8 Joel Zachry Austin Riddle Holly Fouts · Kathy Goodson · Lisa Line
JUNE 3 – 9 Robbie Lobell · Emily Shroeder Willis Carolyn Benedict Fraser & Jenn Houle
JUNE 10 – 16 Jason Burnett · Kristen Kieffer John David Wissler
JUNE 17 – 23 Rebecca Chappell · Meredith Host Jie Qi · Nick Ruth
JUNE 24 – JULY 7 Julia Harrison Pattie Chalmers & Matt Mitros Lauren Kussro Ted Neal
JULY 8 – 14 Alice Ballard Ian Brownlee · Beauvais Lyons H.P. Bloomer & Matt Repsher
JULY 15 – 21 Jana Evans Erin Anfinson · Jiyoung Chung · Brooke Rothshank
JULY 22 – 28 Darien Arikoski-Johnson Macy Chadwick · Gary Chapman Justin Rothshank
JULY 29 – AUGUST 4 Sandy Blain Ashton Ludden · Radha Pandey · Greta Songe
AUGUST 5 – 11 Eva Kwong · Paul Wandless Elizabeth Alexander · Jered Sprecher
AUGUST 12 – 18 Jennifer Allen · Eliza Au Nancy Dillen · Ryan O’Malley
AUGUST 30 – SEPTEMBER 2 Bill Griffith Carrie Iverson · Emily Leonard · Don McGowan
SEPTEMBER 9 – 15 Jessica Brandl · Matthew Schiemann Erin Keane
SEPTEMBER 16 – 22 Mark Melonas Chandra DeBuse · Lindsay Oesterritter Bryan Baker · Jane Lackey
OCTOBER 14 – 20 Nigel Rudolph & Cheyenne Rudolph Beatrice Coron · Rachael McCampbell Nan Smith
OCTOBER 21 – 27 Molly Grant · John Phillips Sean O’Connell Marge Luttrell · Delaney Smith FIBERS · TEXTILES · BASKETS METALS · GLASS · ENAMELS WOOD 5
Emily Schubert Maureen Aderman · Sarah Rachel Brown Randy Ogle · Bill Wallace
Akemi Nakano Cohn · Shana Kohnstamm John Cogswell · Holly Cooper Trent Bosch · Barry Gross
Rena Wood · Jan Wutkowski Lynn Batchelder · Ashley Gilreath Ben Blackmar
Luke Haynes · Brooks Harris Stevens Jean Fernandes · Jessica Tolbert Janice Levi · Sarah Martin
Susan Brandeis · Christine Zoller Barbara Minor · Julia Harrison David Ellsworth (One Week) Bill Thomas
Melissa Cody · Lisa Klakulak Lauren Seldon Jackson Martin · Harvey Meyer
Joetta Maue Jessica Calderwood · Katja Toporski Michael Cullen · Michael Gibson
Julia Gartrell · Jess Jones Erica Bello · Gail Stouffer Josh Almond & Marco Rosichelli Robert Lyon & Doug Finkel
Tommye Scanlin · Clare Verstegen Libby Leuchtman · C. James Meyer Alicia Dietz · Aaron Hammer
Jerry Bleem · Sonya Philip Leslie Boyd · Jennifer Wells Beth Ireland · Kimberly Winkle
Lauren DiCioccio · Flo Hoppe Hannah Marie Smith · Demitra Thomloudis Doug Hall · Jason Swanson
Pat K. Thomas Alicia Jane Boswell · Anna Johnson Ellie Richards · Jim Scarsella
Gasali Adeyemo · Lesli Robertson David Jones · Shirley Webster Sally Ault · Peter Dellert
Lanny Bergner · Janet Taylor Ricky Frank · Rachel Shimpock Nathaniel Chambers
Jeanne Brady Mary Hettmansperger & Robert Dancik Dennis Fuge · Brian Persico
Paula Kovarik · Peeta Tinay Maureen Aderman Clay Foster & John Jordan “I count my blessings of 28 years going to Arrowmont — full of enrichment and mind stretching interaction with interesting, giving instructors and students.” — JOIDA EVANS, STUDENT 7 7
SPECIAL TOPICS
Each year, it becomes increasingly difficult to divide our catalog by media and materials. More workshops are crossing over the boundaries of those classifications, bringing together materials and techniques in ways that transcend genres, labels, and the-way-we’ve-always-done-things. This is in no way a bad thing — quite the opposite, it is exciting and creatively rewarding. However, we do need to list our workshops in some order, and media is still the easiest and most efficient means. This first section, Special Topics, represents those classes whose media transcendence has reached a point that choosing any one label seems grossly unsuccessful. However, here is a hint about our catalog: every section contains special topics. Within each category you will find many classes that offer techniques and skills that would apply to persons working in any media. So, my recommendation to you is this: do not skip straight to your tried-and-true art media of choice. Spend an afternoon and browse, peruse through the entire catalog. Hidden throughout all the offerings, you may be surprised to find a topic that is special to you. SPECIAL TOPICS
APRIL 5 – 8 · WEEKEND JUNE 24 – JULY 7 · TWO WEEKS
JOEL ZACHRY JULIA HARRISON SPRING: THE ART OF NATURE CARVE YOUR NICHE
What better time than spring to ramble and The goal of this workshop is to make carving enjoy the artistic wonders of landscape, plant a versatile staple of the participant’s creative life and animal diversity in the Smokies? practice. Students will develop safe metal and Students should bring to class a camera, wood carving skills and efficient approaches for cell phone and sketch pad to record some of every stage from layout to roughing to surface nature’s finest art forms for further study that detail. You will become familiar with hand and include wildflowers, trees, and maybe a bear or power tools, and carveable materials, working two. Learn about critters and the forest while at a small scale that’s perfect for jewelry but making like-minded friends. Open to all skill applicable to furniture or sculpture. Students levels and prepare to hike a few trails to see it examine how and why carving has been all. COURSE FEE: $340 pursued at different times and in different cultures. You will leave with samples, at least Joel Zachry is a retired Tennessee Community one finished work, and a carving approach College administrator and biology professor. customized to your personal aesthetic, budget He has been with the University of Tennessee- and goals. Why just find your niche, when you National Park Service Smoky Mountain can carve one? Open to all skill levels. Field School as an instructor since 1980 and COURSE FEE: $1100 co-director with his wife, Kathy, since 2013. Together, they own and guide for Great Outdoors Julia Harrison is a Seattle-based artist, educator Adventure!, enjoy travel, and are authors and Jewelry/Metals Manager for the Pratt Fine of “Bears We’ve Met, Short Stories of Close Arts Center. She began carving almost twenty Encounters.” He has hiked the 2,175 miles of the years ago in austere living conditions and she Appalachian Trail. GOWITHGOAT.COM still depends on the same low-tech approaches. Harrison has presented workshops at Haystack, Penland, and the 92nd Street Y. Her recent carving projects range in scale from a quarter- inch to six feet and feature coal, bamboo, wax and obsidian. JULIAHARRISON.NET 9
SEPTEMBER 16 – 22 · ONE WEEK OCTOBER 21 – 27 · ONE WEEK OCTOBER 21 – 27 · ONE WEEK
YOU MIGHT ALSO BE INTERESTED IN THE FOLLOWING WORKSHOPS
PATTIE CHALMERS / MATT MITROS P.16
ELIZA AU P.19
JIE QI P.26 MARK MELONAS MOLLY GRANT JOHN PHILLIPS RENEGADE SEATING: LEARN THE ART OF SHOEMAKING MAKE THE CUT: HAND-MADE EMILY SCHUBERT P.36 CREATING A BENCH IN CONCRETE KITCHEN KNIVES During this workshop students learn the art JAN WUTKOWSKI P.37 Through detailed study and the application of shoemaking using the original Cordwainer This intensive workshop is an examination of a variety of moldmaking techniques, Shop antique tin patterns. You will make of the ancient art of bladesmithing, while JULIA GARTRELL P.39 students in this workshop design, plan a pair of shoes and discover how to place students are learning the complexities of and construct a bench made of Glass Fiber patterns, construct uppers and soles, and a basic tool most everyone uses daily: the PAT K. THOMAS P.41 Reinforced Concrete (GFRC Concrete). learn a unique way to put shoes together by kitchen knife. From start to finish, there are Students will learn about specific design hand-lacing. Participants will choose up to discussions on steel selection, basic metallurgy, MARY HETTMANSBERGER / considerations when planning and building three colors of leather to make a Candace blade function and design, shop safety, ROBERT DANCIK P.53 molds for concrete, and be introduced to the Style oxford, designed in the 1920s by Edward building a gas forge, how to shape steel, heat exciting world of high-performance concrete. Mathews, Cordwainer Shop founder. Custom treatment and handle making. Students will JOSH ALMOND / Discussions include the history and recent leather soles are made for each shoe to exact leave class having completed a beautiful piece MARCO ROSICHELLI P.59 use of concrete as a surface material and in measurement. Finishing tasks include lasting, of functional art to last a lifetime. Open to furniture, important examples of artists and burnishing, buffing, insole making, and other all skill levels. Special Note: The class is very DOUG HALL P.61 craftspeople using it today, and practical details that make a Cordwainer Shoe. Open physically demanding, including hammering, concerns for using it in your work and studio. to all skill levels. Please note that the cost for exposure to heat, sparks and the use of other BRIAN PERSICO / Students should be familiar with using hand materials will be $300‒$350. potentially dangerous methods. KYLE R. GARNETT P.64 tools and power tools like the tablesaw, COURSE FEE: $525 COURSE FEE: $525 bandsaw and jigsaw. COURSE FEE: $595 LANNY BERGNER P.42 Molly Grant operates Cordwainer Shop, a John Phillips is an artist and musician who lives Mark Melonas is a designer, craftsman and third-generation custom made footwear shop in Knoxville, Tennessee. He is a graduate of teacher with over 20 years experience designing in Deerfield, New Hampshire and teaches at the University of Tennessee and spends his time and building furniture in concrete, wood and craft schools. She exhibits at the American Craft exploring interests in making tools as functional steel. Melonas studied Sculpture and Architecture Council and national juried shows across the art with influences from the natural world and at the University of Maryland and earned his country. She started learning the Cordwainer bygone eras. MFA in Artisanry from UMass Dartmouth. Craft in 1991 from her husband, a master MARKMELONAS.NET Cordwainer. CORDWAINERSHOP.COM SPECIAL SESSIONS
WEEKEND SESSIONS
Arrowmont’s weekend sessions are perfect for those who only have a few days but want to learn and create. They are designed to offer ample opportunity to catch up with old friends, explore different media, and interact with artists and community members. These weekend workshops offer the opportunity to take advantage of the beauty of the Great Smoky Mountains and learn a new craft or hone existing skills.
APRIL 5 – 8, 2018 AUGUST 30 – SEPTEMBER 2, 2018
AUSTIN RIDDLE ALICIA JANE BOSWELL TEXTURE AND COLOR: EXPERIMENTAL CONE 10 ETCH IT, FOLD IT, STITCH IT, SODA FIRING This class starts April 4. P.14 ENAMEL IT. REPEAT! P.51
MAUREEN ADERMAN BILL GRIFFITH PMC & FUSED GLASS JEWELRY P.46 SLAB-BUILT POTTERY: FROM FLAT TO FORM P.19
SARAH RACHEL BROWN CARRIE IVERSON TWO WEEK SESSIONS CAPTURED! P.46 COLLAGRAPH: CHANCE INVESTIGATIONS P.30
In addition to one-week and weekend workshops, Arrowmont offers two-week sessions for those HOLLY FOUTS EMILY LEONARD media, techniques and projects that need more than one week to complete or to achieve proficiency. BOOKS OF THE EARTH P.24 PAINTING: BOTANICALS AS JOURNAL P.30 The two-week session instructors are masters in their disciplines, exceptional teachers, and are university professors and working professional artists. These workshops offer the opportunity to KATHY GOODSON BONNIE COOPER & DON MCGOWAN take advantage of Arrowmont’s location at the gateway to the Great Smoky Mountains National SILK PAINTING: MINDFULNESS & PHOTOGRAPHIC SEEING P.3 0 Park and to immerse yourself in a unique experience. TO RESIST OR NOT TO RESIST P.36 ANNA JOHNSON LISA LINE SET & WEAR P.51 JUNE 24 – JULY 7, 2018 POWER & PLAY: VIBRANT COLOR IN OIL PAINTING P.24 ELEANOR RICHARDS SUSAN BRANDEIS LAUREN KUSSRO BENCH TIME P.62 STITCHING AS DRAWING P.38 PRINT/MAKE P.26 RANDY OGLE WOODWORKING 101 P.56 PAT THOMAS PATTIE CHALMERS & MATT MITROS BARBARA MINOR MARBLING ALTERNATIVE SURFACES P.41 ACTION, TIME & VISION: FULL TILT ENAMELING: EMILY SCHUBERT UNPACKING BIFORMITY P.16 LEARN, EXPLORE, EXPAND P.48 MILLENNIAL MILLINERY P.36 JIM SCARSELLA THINKING (& TURNING) OUTSIDE THE BOX P.62 JULIA HARRISON TED NEAL BILL WALLACE CARVE YOUR NICHE P.8 WOOD FIRING INTENSIVE P.16 HAVE A SEAT! STOOL WORKSHOP P.56
BILL THOMAS CHRISTINE ZOLLER JOEL ZACHRY BUILD YOUR OWN FOX CANOE P.58 EXPLORING SHIBORI: SPRING: THE ART OF NATURE P.8 PROCESS & APPLICATION P.38 1111 “Arrowmont is important to the history and to the future of Craft. The experiences, information, and people I have met at Arrowmont have been instrumental in crafting my career in the arts. I want to help ensure that its history is preserved and those opportunities are available to the next generations of artists.” — CR AIG NUT T, WOOD ARTIST & ARROWMONT BOARD MEMBER 13
CLAY
Ceramics continues to be one of Arrowmont’s most prominent disciplines, and 2018 is particularly exciting as it will be the first full year with our three brand new atmospheric kilns. Austin Riddle, former Arrowmont Artist-in-Residence, will kick off the season in the spring with a soda fire class, and the year will be busy for our new soda, wood fire, and salt kiln with firing workshops by Ted Neal (who built the wood fire train kiln and the salt kiln), HP Bloomer, Matt Repsher, Justin Rothshank, Eva Kwong, Matthew Schiemann, and Lindsay Oesteritter. CLAY
APRIL 4 – 8, 2018 · WEEKEND JUNE 3 – 9 · ONE WEEK JUNE 3 – 9 · ONE WEEK JUNE 10 – 16 · ONE WEEK
AUSTIN RIDDLE ROBBIE LOBELL EMILY SCHROEDER WILLIS JASON BURNETT TEXTURE & COLOR: EXPERIMENTAL CLAY COOKING POTS: PINCHING & PLAYING HARD CANDY: SWEET CONE 10 SODA FIRING AN INTRODUCTION TO FLAMEWARE CERAMIC SURFACES Pinching is one of the most basic techniques The focus of this workshop is to encourage The utilitarian necessities of a cooking pot used in creating pots. In this workshop This intensive workshop introduces surface students to reconsider what colors and textures used in high-heat environments, and the students will use this simple technique to techniques for students to discover and take are available within the soda kiln. Participants aesthetic considerations for a beautiful pot explore more complex forms. Participants can home! With an emphasis on screen printing, should bring bisqued pieces to be fired in the presented from the kitchen to the dining table use porcelain to develop new ways of making students will create image transfers and cross-draft soda kiln. During this workshop, is the theme for this workshop. Casseroles, coils and methods to pinch the clay surface. produce personal narratives using doodles you will learn about carefully loading a soda stockpots, grilling platters, bakers, roasters, Demonstrations include using bisque molds and patterns. You will discover how to work kiln, glaze and slip application, and proper skillets, saucepots and pizza stones are all and tips on how to create large forms. The through layers of material using various soda firing schedules. Students will leave possible forms that students may create. goals are to explore ways to mark the surface, methods including the use of slips, resists, class with a better understanding of utilizing Discussions include how to glaze and firing create unique forms not constrained by the glaze applications and decals. Using multiple a sodium atmosphere to create subtle and requirements for high-fire flameware. wheel and discover utilitarian vessels in a new techniques, participants will work small and intense surfaces on their work. Some wheel Demonstrations, hands-on practice and way. On the final day, a few glazing techniques fire in electric kilns. The class will use a cone throwing experience is helpful. In order to in-depth discussion provide students with will be presented. Open to all skill levels. 6 stoneware, but the materials and techniques complete the firing, this workshop will begin a foundation for working with flameware. COURSE FEE: $525 will lend themselves to various firing temps Wednesday April 4, ONE DAY BEFORE Participants will take or send home their and techniques. Experience in clay preferred, OTHER CLASSES THIS SESSION. Open bisqued pots. This workshop is designed for Emily Schroeder Willis is an instructor at the but no printing experience is necessary. to all skill levels. COURSE FEE: $375 students with a solid foundation in wheel- School of the Art Institute of Chicago. She has COURSE FEE: $525 forming. COURSE FEE: $525 a BFA from theUniversity of Minnesota and Austin Riddle is a studio potter currently living an MFA from the University of Colorado, Jason Bige Burnett is a studio artist living in in Roswell, Georgia. He received his BFA in Robbie Lobell is the co-founder and co-owner Boulder. She has held residencies at the Archie Kentucky and is a former Arrowmont Artist- Ceramics from the University of Utah and has of Cook on Clay. She is a full-time studio Bray Foundation in Montana, the Zentrum für in-Residence. He has taught at Penland School been an Artist-in-Residence at Arrowmont. potter and educator. Her work is focused on Keramik in Germany, and at the Watershed of Crafts, Santa Fe Clay in New Mexico, the Riddle is currently a resident at the Art Center designing and producing flameproof cookware. Center for the Ceramic Arts in Maine. She Truro Center for Craft in Massachusetts, and West in Roswell. AUSTINRIDDLEPOTTERY.COM Her work has been exhibited extensively and was also a visiting artist/instructor at the at the Watershed Center for Ceramic Arts in featured in ceramics books and food publications. Alberta College of Art and Design in Canada. Maine. Burnett is the author of Graphic Clay COOKONCLAY.COM EMILYSCHROEDER.COM and has been featured in Ceramics Monthly and American Craft magazine. MRBENNYSPOTSHOP.COM 15
JUNE 10 – 16 · ONE WEEK JUNE 17 – 23 · ONE WEEK JUNE 17 – 23 · ONE WEEK
KRISTEN KIEFFER REBECCA CHAPPELL MEREDITH HOST ALTERED & ORNAMENTED: NO FEAR! TAKE TIME TO PLAY LOTS O’ LAYERS
This workshop focuses on altering wheel- The focus of this workshop is for students This workshop explores surface decorating thrown or hand-built forms, and then to utilize the element of play to discover using screen printing techniques, stencils, embellishing them with an array of new forms and ideas within the context of transfers and decals. Students will work with decoration techniques, from stamping utilitarian ceramics. Much like beginning simple forms (tiles, cups, bowls, plates) to and slip-trailing to sponging and resists. with a set of building blocks, participants practice building layers of information. The Demonstrations include throwing, altering will make numerous simple forms to cut, goal is to gain an understanding of new ways and building off the wheel, darting, deco alter, reassemble and construct new and to approach surface and decoration. You will techniques that include stamp-making, inventive shapes. From these shapes, you will produce dynamic surfaces by expanding your and studio ergonomics. Students will imagine and assign utility to your forms to visual vocabulary and creating custom color leave class with a collection of new skills, create more refined, finished pots. Students palettes. Cone 6 porcelain will be used, but a better understanding of timing in clay, will use both wheel throwing and hand these methods are applicable to all types of and confidence! The workshop is suitable building techniques in earthenware and clays. Participants are encouraged to bring for throwers and hand-builders. Basic bisque fire only. Students should have basic source material for surface treatment. Hand wheel-throwing and/or hand-building skills wheel throwing and hand building skills. builders and wheel throwers are welcome. necessary. COURSE FEE: $525 COURSE FEE: $525 Open to all skill levels. COURSE FEE: $525
Kristen Kieffer is a full-time studio potter, Rebecca Chappell is a studio artist living in Meredith Host is a studio potter in Kansas City, workshop presenter and ceramics instructor Philadelphia, Pennsylvania, and teaches at Missouri. She received her BFA in Ceramics living in Massachusetts. She received her BFA the Maryland Institute of Art as well as Tyler from the Kansas City Art Institute and an from the N.Y.S.C.C. at Alfred University School of Art. She received her MFA from MFA in Ceramics from Ohio State University. and an MFA from Ohio University. Kieffer the New York State College of Ceramics at Host was named one of the 2011 Emerging has work displayed in numerous public and Alfred University in 2008 and a BFA from the Artists for NCECA and Ceramics Monthly private collections, has exhibited her work Cleveland Institute of Art in 2003. Chappell magazine, and was a presenter at the 2016 internationally in juried and invitational has participated in solo and group exhibitions Utilitarian Clay Symposium. She is a founding exhibitions, and taught workshops around the across the U.S. member of Kansas City Urban Potters. country at craft centers and universities. REBECCACHAPPELLCERAMICS.COM MEREDITHHOST.COM KIEFFERCERAMICS.COM CLAY
JUNE 24 – JULY 7 · TWO WEEKS JUNE 24 – JULY 7 · TWO WEEKS JULY 8 – 14 · ONE WEEK
PATTIE CHALMERS & MATT MITROS TED NEAL ALICE BALLARD ACTION, TIME & VISION: UNPACKING BIFORMITY WOOD FIRING INTENSIVE: FINDING YOUR FORM EXPLORING REGULAR & THROUGH NATURE In this workshop students are challenged to collaborate with others to enhance their individual REDUCTION COOL PROCESSES creativity. During class, students will produce a variety of objects inspired by daily team building This workshop focuses on hand-building. exercises and playful prompts. Using sourced images, memories, storytelling and artifacts from During this workshop students learn to fire Using the beautiful environment of life, you will create sculptural objects inspired by your experience and imagination. With the Arrowmont’s newly-built train wood kiln. Arrowmont as inspiration, students will create addition of found objects and the multitude of techniques explored, participants discover new Participants should bring bisqued work (cone work in clay that captures the essence of the meaning in their artistic approach. Hand building, throwing, ceramic 3-D printing, and low- 10+ clay) to load in the first firing. While natural stuff they collect. The work created tech image transfer techniques are covered by first-time collaborators Matt and Pattie in this firing, and while the kiln is cooling, you will serves as containers for your collection. inclusive ceramic workshop. Open to all skill levels. COURSE FEE: $995 work together for a cone 9 reduction cool Participants will learn pinching, slab work, firing. Students will explore slip and glaze the dowel method, along with a simple plaster Pattie Chalmers grew up in Winnipeg where Matt Mitros was born in Philadelphia, techniques that work with both types of firing, press mold. Earthenware will be the clay and she received a BFA in Printmaking from the Pennsylvania. Upon completing his BFA in as well as loading and firing strategies to work created early in the week will be fired. University of Manitoba, and earned her MFA Ceramics at Penn State University, he was an maximize desirable surfaces. Open to all skill Students will also learn how to make in Ceramics from the University of Minnesota. Artist-in-Residence at Arrowmont, and at the levels of hand building or wheel throwing. and use terra sigillata in a variety of ways to Chalmers exhibits widely, having presented work Archie Bray Foundation. Mitros completed Wood fire experience is helpful but not enhance the surface of their work in clay. on four continents, six countries and 26 states. his post-baccalaureate from the University of necessary. COURSE FEE: $995 Open to all skill levels. COURSE FEE: $525 Since 2006, Chalmers has lived and worked in Illinois and holds an MFA from the University Carbondale, Illinois where she is an associate of Washington. He has taught ceramics and Ted Neal taught at Southern Illinois University Alice Ballard received her MA from the professor at Southern Illinois University. She may sculpture at the University of Washington, Edwardsville, Utah State University, and has University of Michigan and a Fulbright be slightly compulsive, and she likes to laugh at South Seattle Community College, Lakeside been professor of Art/Ceramics at Ball State Scholarship to study in India. She taught her own jokes. PATTIECHALMERS.COM Upper School, Kennesaw State University, and University since 2006. He earned his MFA from ceramics at the South Carolina Governor’s School is currently an assistant professor of Art at the Southern Illinois University Edwardsville and for the Arts and Humanities for 10 years. Ballard University of Alabama. MATTMITROS.COM his BFA from Utah State University. He builds received a MAC grant to study for a summer kilns across the country and built the Arrowmont in China and was invited to the International train and salt kilns in the summer of 2016. Ceramic Colony in Macedonia. Her work is in TEDNEALCERAMICS.COM the collections of the Renwick, Mint Museums and Greenville County Museum of Art. ALICEBALLARD.COM 17
JULY 8 – 14 · ONE WEEK JULY 15 – 21 · ONE WEEK JULY 22 – 28 · ONE WEEK
H.P. BLOOMER & MATT REPSHER JANA EVANS DARIEN ARIKOSKI-JOHNSON CONSTRUCTIVE SURFACES: ARCHITECTURAL APPROACHES TO SURFACE DESIGN WHEEL BOOTCAMP A LAYERED SURFACE
This workshop explores the relationship between form and surface on wheel thrown and In this workshop students learn how to work The focus of this workshop is for students to altered utilitarian forms, and the methods needed to finish those pieces for a variety of firing efficiently and precisely with the wheel using utilize a variety of mark making and transfer styles. Participants will learn techniques in altering thrown forms, slip application and glazing. pro-tips to create taller, thinner, faster and techniques to explore imagery and alternative Demonstrations include various methods for finishing work, including masking and resists for bigger forms. If you are looking to improve approaches to surface development. You will glaze and slips, and firing for both soda and electric. Discussions cover propagating inspiration, your technique, work with larger amounts of use under glazes, wet erosion and underglaze testing glazes and surface, evaluating outcomes, and honing content in a body of work. Basic clay, or if you are just getting started on the pencils to create information below the ceramic skills are necessary. COURSE FEE: $525 wheel then this is the class for you! It includes glaze, followed by work with decals and techniques and strategies for centering large china paint to layer above the glaze. Through HP Bloomer IV is from Central Texas and Matt Repsher earned his BFA in Ceramics amounts of clay and improving your throwing this workshop students will gain a deeper received his MFA from the University of from Penn State University and an MFA from skills. Various options for surface decoration understanding of mark making on clay. North Texas in 2011. He has been an Artist- Indiana University in 2003. Soon after, he are introduced. Students will have bisque work Participants are welcome (but not required) to in-Residence at The Carbondale Clay Center, moved to Santa Fe, New Mexico as studio at the end of the session. Open to all skill bring glazed work to apply decals and china the Cobb Mountain Art & Ecology Project director at Santa Fe Clay. Repsher has taught levels. COURSE FEE: $525 paint, keeping in mind gloss glaze and lighter and at Arrowmont. He has held positions at at Indiana University and the University of colors, or clear with porcelain, yield more Colorado Mountain College, Santa Fe Clay and New Mexico. He has conducted workshops at Jana Evans lives in Kansas City, Missouri vibrant results. Open to all skill levels. Mendocino College. His work has been published Pocosin Arts and Penland School of Crafts. He is and is a founding member of the Kansas City COURSE FEE: $525 in Ceramics Monthly and Studio Potter. a past Artist-in-Residence at Pocosin Arts and is Urban Potters. She earned her MFA in 2010 HPBLOOMER.COM currently a resident artist at Penland School from Arizona State University and has been Darien Arikoski-Johnson is an assistant professor of Crafts. MATTREPSHER.COM awarded fellowships, grants and residencies at Georgia State University and maintains a while continuing her arts practice. They include studio at Atlanta Contemporary and attended the Pottery Workshop in Jingdezhen, China, graduate school at Arizona State University. It Pottery Northwest in Seattle, Washington, and was there, he began to explore the relationship the Archie Bray Foundation. Evans is a career of illusion and form, thought and physicality resident at Red Star Studios in Kansas City. in ceramics. Arikoski-Johnson’s work addresses JANAEVANS.COM memory, technological integration, mark making, and perceptual consciousness. DARIENJOHNSON.COM CLAY
JULY 22 – 28 · ONE WEEK JULY 29 – AUGUST 4 · ONE WEEK AUGUST 5 – 11 · ONE WEEK AUGUST 5 – 11 · ONE WEEK
JUSTIN ROTHSHANK SANDY BLAIN EVA KWONG PAUL WANDLESS DECALS IN ATMOSPHERE CERAMICS HANDBUILDING: COLORFUL SLIPS FROM PEN TO CLAY IDEAS & TECHNIQUES FOR In this workshop students learn how to DEVELOPING FORMS & SURFACES In this workshop students learn ways to Do you like to write and work in clay? This transfer their own imagery onto ceramic add color and pizzazz while mixing their unique workshop explores the process of work using a variety of decal, stamping and This workshop explores ideas and techniques own colored slips. You will discover mixing writing short stories, myths or poems, and layering techniques. The course covers image for making ceramic pieces that are personal slips, making color choices, and exploring how to create clay work that brings your words preparation, printing and transferring onto and expressive. Students will use hand built application techniques, while learning to life. Clay monotypes, sculpture or thrown/ greenware and glazed ware, using commercial (pinch, coil, slab, press-mold) and wheel about sgraffito, slip trail, stencil, layering hand built vessels are the vehicles to work decals, and firing temperatures for various components singly or in combination to and blending colors without an airbrush. in clay. Participants may bring completed types of decals. You will learn how to use and construct composite functional or sculptural Demonstrations and studio time provide stories or learn how to turn current ideas fire decals in all kinds of kilns, and experiment forms. Surface markings and textures may opportunities for participants to practice all into a written piece during class. You will with electric kilns and the soda kiln. There be developed, altered or enriched by utilizing the possibilities. If time permits, glazing in learn different strategies to further develop or will also be discussion about production and additive and/or subtractive processes. The an electric kiln and a salt-glaze kiln will be your writing style. Story building, character marketing techniques for the studio potter pieces will be bisque-fired only, with class covered. Open to all skill levels. creation, writing formats, editing and self- including daily production, social media and discussion of slips, oxides and glazes related COURSE FEE: $525 publishing will be covered. All levels of small business efficiency. Open to all skill to firing temperatures. Open to all skill levels, experience with writing or clay are welcome. levels. COURSE FEE: $525 although some clay experience will be helpful. Eva Kwong has worked with colored slips for four COURSE FEE: $525 COURSE FEE: $525 decades, with low-temp and high-temp glazes, Justin Rothshank is a full-time studio potter in raku, salt, soda and wood kilns. Kwong is Paul Andrew Wandless is an artist, author, in Goshen, Indiana. He co-founded the Union Sandy Blain is Professor Emerita of Ceramics known for her colorful and compelling forms educator and curator who lives and works in Project, a nonprofit arts organization located in at the University of Tennessee, Knoxville and that are functional and sculptural. She studied Chicago. Wandless authored “Image Transfer Pittsburgh, Pennsylvania. His published articles Director Emerita, at Arrowmont. She is active at the Rhode Island School of Design and Tyler on Clay,” “500 Prints on Clay, Image & include Pottery Making Illustrated, Ceramics with The Arizona State University Ceramic School of Art and has taught workshops across the Design Transfer Techniques,” and co-authored Monthly, American Craft and Studio Potter Research Center and is an adjunct faculty country. EVAKWONG.COM “Alternative Kilns & Firing Techniques.” He and a recently-released DVD titled “Ceramic member at the Mesa Art Center. frequently writes for several arts magazines and is Decals: New Ideas and Techniques.” Blaine serves as a consultant to various arts featured in the DVD, “Fundamentals of Screen ROTHSHANK.COM organizations and teaches workshops. Printing on Clay with Paul Andrew Wandless.” SANDYBLAIN.COM STUDIO3ARTCOMPANY.COM 19
AUGUST 12 – 18 · ONE WEEK AUGUST 12 – 18 · ONE WEEK AUGUST 30 – SEPTEMBER 2 · WEEKEND SEPTEMBER 9 – 15 · ONE WEEK
JENNIFER ALLEN ELIZA AU BILL GRIFFITH JESSICA BRANDL FINDING BALANCE BETWEEN STRUCTURE & FORM: SLAB-BUILT POTTERY: VESSEL: NARRATIVE CONTAINER INNOVATION & UTILITY ORNAMENTAL LATTICES FROM FLAT TO FORM In this workshop students create sculptural This workshop focuses on inventive ways to How does pattern, ceramics and architecture In this workshop students work with soft vessels with attention to storytelling, approach the form and surface of utilitarian intersect within contemporary craft? In this clay slabs, hand building construction narration, mythology, symbolic language, pottery. Play and experimentation are primary workshop students create ceramic lattice techniques, templates and simple molds history, drawing, painting and sculpture. The goals as participants slice, dice, bend, fold, screens which investigate repeating and to create a variety of functional mid-range exploration of various methods and concepts stamp and decorate their way towards a new tessellating patterns. You will work with press stoneware pottery forms. You might create allows students to compose a dynamic vocabulary of useful forms. Demonstrations molding clay into plaster air-release molds to mugs, tumblers, pouring pots, platters or one- sculptural vessel. Specific techniques explored include throwing, darting, stamp making, create thin, decorative structures. By making of-a-kind presentation pots. The focus is on include the translation of drawing via transfer, slip trailing and more. Discussions center these screens, participants use an industrial creating good forms using texture and various stencil and direct mark making in clay, and on ergonomics, tactility, design and creative process to express their own personal voice. surface design techniques. Discussions will design methods. Participants should come to problem solving. Students can take home Digital methods may be discussed, but the include glazes, but because of limited time, class with preliminary drawings and a story to bisqued pots that they create and an arsenal of class emphasizes hands-on work. Experience in participants will bisque fire their pots and/or work from. Open to all skill levels. new texture tools. Participants are encouraged clay is suggested, but the course is open to all take home unfired work. Using minimal tools COURSE FEE: $525 to bring sketches/source material of form and skill levels. COURSE FEE: $525 and equipment, this workshop is especially surface ideas. Basic wheel-throwing and/or suitable for art educators and students new to Jessica Brandl lives in Calgary, Alberta, Canada hand-building skills are necessary. Eliza Au teaches in the Alfred-CAFA program hand building. For beginning to intermediate where she is the Artist-in-Resident for the Alberta COURSE FEE: $525 at the Central Academy of Fine Arts in Beijing, clay enthusiasts. Collage of Art and Design. She holds an MFA China. She holds an MFA from the New York COURSE FEE: $340 in Ceramics from The Ohio State University Jennifer Allen is a studio potter and educator College of Ceramics at Alfred University. She and a BFA from the Kansas City Art Institute. based in Morgantown, West Virginia. She has previously been an Artist-in-Residence at the Bill Griffith is a studio artist, administrator Brandl was recognized as one of six Emerging earned her BFA from the University of Alaska, Archie Bray Foundation, the Corning Museum and educator at Arrowmont School of Arts and Artists at the National Council on Education for Anchorage in 2002 and an MFA from Indiana of Glass and the Museum of Contemporary Crafts. He has lectured and taught throughout the Ceramic Arts in 2017 and is the recipient of University in 2006. She teaches and exhibits her Craft. Her work is featured in both juried and the U.S. at craft schools, universities and the Zanesville Prize for best vessel. Her work has work nationwide. invitational shows at regional, national and craft guilds. A recipient of a Tennessee Arts been shown nationally and internationally in JENNIFERALLENCERAMICS.COM international venues. Commission Individual Artists Fellowship, numerous solo and group exhibitions. ELIZA-AU.SQUARESPACE.COM Griffith continues to exhibit his work, jury and JESSICABRANDL.COM curate exhibitions nationally. BILLGRIFFITHCLAY.COM CLAY
SEPTEMBER 9 – 15 · ONE WEEK SEPTEMBER 16 – 22 · ONE WEEK SEPTEMBER 16 – 22 · ONE WEEK
MATTHEW SCHIEMANN CHANDRA DEBUSE LINDSAY OESTERRITTER CARBON TRAP SODA FIRING SKETCH & STRETCH: WOOD FIRING & COOLING BUILDING ILLUSTRATED POTTERY This workshop begins with discussions on slips In this workshop students fire and reduction and glazes for the soda kiln and the approach During this workshop students learn new cool using the newly-built train kiln. for loading the kiln. During class students ways of designing, building and illustrating Participants should come to class with bisque focus on wheel thrown pottery with an pottery by working with soft clay slabs. You pots to prepare your wares for the wood kiln. emphasis on making handles, lids and spouts. will translate sketches into forms through You will slip, glaze, wad, load, fire, and unload Demonstrations include how to make work hand building with simple templates and the kiln. Discussions include clay bodies, types for an atmospheric kiln. Other discussions molds made from paper, craft foam, wood of wood, the challenges, cleaning pots, and include marketing, working with galleries, and and bisqued clay. After forming, participants the how’s, what’s and why’s of wood firing. No how to publish your work. Students bring to will create layered, colorful surfaces through prior wood firing experience necessary. Open the workshop cone 10 porcelain or stoneware underglaze inlay, brushwork, sgraffito and to all skill levels. COURSE FEE: $525 bisque pottery. Open to all skill levels. texture. Students will encounter numerous COURSE FEE: $525 examples ranging from historical ceramics Lindsay Oesterritter is the director of Objective to contemporary illustration to spark ideas Clay, co-founder and organizer of National Clay Matt Schiemann is the artist programming toward incorporating their personal voice Week, and a full-time studio potter. Oesterritter manager at the Morean Center for Clay in St. into clay. Bring your sketchbook and be ready had the good fortune to be an Artist-in-Residence Petersburg, Florida. He received his BA from to embark on playful discovery of form and at Arrowmont in 2008‒2009. She lectures and Ashland University in Ashland, Ohio and surface techniques. Open to all skill levels, exhibits nationally and internationally and is an MFA from Southern Illinois University however some experience with clay will be continually inspired by the craft community. in Carbondale. Schiemann is a functional helpful. COURSE FEE: $525 LOCERAMICS.COM atmospheric potter who primarily fires his work in a wood or soda kiln. Chandra DeBuse creates illustrated pottery out of MATTHEWSCHIEMANNPOTTERY.COM her studio in Kansas City, Missouri. She received her MFA from the University of Florida in 2010, was an Arrowmont Artist-in-Residence and a presenter at Utilitarian Clay VII. DeBuse has led over 50 workshops across the country. CHANDRADEBUSE.COM 21
OCTOBER 14 – 20 · ONE WEEK OCTOBER 14 – 20 · ONE WEEK OCTOBER 21 – 27 · ONE WEEK
CHEYENNE CHAPMAN RUDOLPH & NIGEL RUDOLPH NAN SMITH SEAN O’CONNELL MATERIAL & CULTURE: INTERACTIVE & INFLUENTIAL DESIGN IN POTTERY THE REFLEXIVE SELF THE EXQUISITE SURFACE
This team-taught workshop focuses on making special-use objects for historical and odd functions In this workshop students learn about the In this workshop, students will explore the and how those objects identify and personify culture. Students learn methods for making and expressive nature of the human form and ceramic surface. Through demonstrations and exploring techniques for idea development, and discussing issues of presentation with functional create a personal portrait bust that reveals who hands-on participation, you will learn a variety pottery. You will experience a balance of personal research exploration, demonstrations and they are and how they see themselves. Using of techniques. The class covers how to develop experimentation with building and decorating at the greenware stage. Discussions include the life castings, drawings and photos, participants a composition using pattern and color through cultural significance of personal influences, with brainstorming exercises focusing on sourcing experience perceptual skill-building and learn brushwork, wax and paper resist, Mishima content for creative expression. This course is great for investigating ideas, and is helpful to that the sculpted bust can express who one (inlay), trailing and carving. Students should students hoping to enhance their work with cleverly engineered details. You will leave class with is and interpret personality through facial bring greenware and/or bisque-ware for a wealth of information to take to your home studios, where you can complete the work using expression, gesture and the position of the decoration and glazing during the workshop. your own glazes. Open to all skill levels, although some clay experience is helpful and encouraged. head and shoulders. Class presentations on Glaze firings will be cone 6/7, and a grog-free COURSE FEE: $525 historical and contemporary figure sculpture cone 6 clay body is recommended. Open to all and demonstrations on life casting and skill levels, however some experience preferred. Nigel Rudolph combines his interest in Cheyenne Chapman Rudolph illustrates mold-making are part of the class. Students COURSE FEE: $525 archaeology and pre-Columbian design with unique functions in clay, incorporating video, will depart with a solid modelled sculpture, large-scale special occasion pots and traditional performance, and mixed media installation. She an understanding of armatures, life casts and Sean O’Connell is a studio potter and educator wares. He works for the Florida Public received her MFA from the University of Florida plaster and rubber molds. Open to all skill living in Red Lodge, Montana. He has taught Archaeology Network, and received his BA in and has been a resident artist at The Clay Studio levels. COURSE FEE: $525 at the college level in the U.S. and Canada. He Cultural Anthropology from the University of Missoula, 4Most Gallery, and Emmanuel has been an Artist-in-Residence at the Archie of West Florida. He also studied Ceramics College. She co-founded the Socially Engaged Nan Smith is a figure sculptor/professor in the Bray Foundation and Watershed Center for at the University of Florida and has been an Craft Collective in 2014, and she is currently University of Florida Ceramics Program. She Ceramic Arts. In 2016, he was named one of Artist-in-Residence at Arrowmont and the St. an adjunct lecturer at the University of Florida has been the recipient of four State of Florida six Emerging Artist at the annual NCECA Petersburg Clay Company. and the College of Central Florida. Individual Artist Fellowship Grants, an NEA- conference in Kansas City. He earned his MFA funded Southern Arts Federation Fellowship in from the School for American Crafts/RIT Cheyenne and Nigel Rudolph make up Rudolph Clay Studios, located in Gainesville, Florida. Their Sculpture, and a University of Florida Research and his BFA at the Kansas City Art Institute. joint workshops combine a balance between wheel throwing, hand building, and personal content Foundation Professorship. Smith has been SEANOCONNELLPOTTERY.COM development. RUDOLPHCLAYSTUDIOS.COM awarded funded residencies by the Watershed Center for Ceramic Arts and The Association of Israel’s Decorative Arts. NANSMITH.COM “I always stay in Teachers Cottage and love the old house on the hill with the porch overlooking the campus and its beautiful rustic furniture. I found the people to be the friendliest. Your location enables people to come from the most diverse directions. We all share a passion for the arts and a thirst to learn more. Today is the first day of retirement after teaching art for 34 years in a rural school. Your school allowed me to grow as an artist and teacher and enrich my art program beyond anyone’s expectation. It is a place where I experience inspiring teachers so I knew what kind of teacher I wanted to be for my students.” — WENDY WEYANT 2323
2-D ARTS: DRAWING, PAINTING, PAPER, BOOKS, PRINTMAKING & PHOTOGRAPHY
We call this section 2-D Arts, though, that in itself is also a misnomer. While our instructors often blur the line between drawing, painting, printmaking, photography, paper and book arts (both literally and figuratively), even the label of 2-D becomes a little blurry. Lauren Kussro and Liz Alexander’s paper arts workshops are taking the paper off the table and into installation, while Ji Qie adds another dimension of electronics and lights to her paper creations. Our printmaking offerings for this year are also expanded, with classes in monoprinting, screenprinting, collagraphy, and etching (and be sure not to miss those print classes that snuck into other sections of this catalog, like Jason Burnett in clay, Hannah Marie Smith in glass, or Clare Verstegen and Jeanne Brady in textiles). 2-D ARTS
APRIL 5 – 8 · WEEKEND APRIL 5 – 8 · WEEKEND
HOLLY FOUTS LISA LINE BOOKS OF THE EARTH POWER & PLAY: VIBRANT COLOR IN OIL PAINTING During this workshop students will create a beautiful, contemporary book while Even a small oil painting can vibrate with discovering the wonder of working with great power of expression. In this workshop natural materials. Participants with an students push the power of their paintings by interest in bookbinding and technique-driven having new experiences with color and all it content using unusual materials will expand can do. Individually and as a group, you will their range of skills and techniques. You will improve practices in paint handling and learn oxidize copper to create a beautiful patina how to capitalize on good results. Exploration for your book covers, then learn techniques of transparencies and gaining understanding using mica, rust printing, object printing of pigments and mediums will boost each and more to create materials for artful books. student’s ability. Beginners or experienced Bookbinding essentials are learned as students painters will plan, craft and complete one create mica books and bind their copper books or more small paintings that demonstrate with the historic long stitch on a leather spine. increased mastery of oil painting’s most Open to all skill levels. COURSE FEE: $340 important skills. Open to all skill levels. COURSE FEE: $340 Holly Fouts is a full-time studio artist and teacher living in Asheville, North Carolina. She Lisa D. Line lives and operates a studio for oil has taught workshops in book, print and other painting in Tennessee’s Great Smoky Mountains. paper arts around the country. While honoring She earned her BA from Xavier University traditional skills and craftsmanship, Fouts in Cincinnati, Ohio. Her work was recently seeks an element of contemporary expression by published in Ruminate Magazine, and included pushing the boundaries of her media. Her work in the three-year national travelling exhibit has been exhibited and collected internationally, “Work: Curse or Calling.” published in several periodicals and is LISADLINE.COM represented by multiple galleries. HOLLISFOUTS.COM 25
JUNE 3 – 9 · ONE WEEK JUNE 10 – 16 · ONE WEEK JUNE 17 – 23 · ONE WEEK
CAROLYN BENEDICT FRASER & JENN HOULE JOHN DAVID WISSLER NICHOLAS H. RUTH THINKING IN 2D: PHOTOGRAPHY & PAINTING, NATURE & ABSTRACTION PAINTING IN THE GREAT MONOPRINT MANIA SMOKY MOUNTAINS In this workshop students interpret the June landscape through the camera lens and paintbrush, During this workshop students explore a and explore the spectrum between representation and abstraction in nature. Lectures include The goal of this workshop is to enjoy the range of monoprint and monotype techniques functions of the camera, historic processes, and contemporary photographic methods that beauty of the Great Smoky Mountains to develop a highly personal approach to push the boundaries of composition and representation in the medium. Using methods such as through observation and painting. Joining making unique prints. Monoprints encourage alternative processes, camera obscuras, pinhole cameras, and DSLR/camera phones, participants the great tradition of Constable and Corot, vibrant and luminous color, rich textures will interact with and create images in the surrounding landscape. Demonstrations include students will encounter their surroundings and spontaneous mark making. You will using mark-making, color relationships and glazing, and the painted multiple. Students will use and paint daily, so be prepared for all types discover basic and intermediate techniques, their photographs as reference to investigate the language of paint. Participants will form new of weather. After working “en plein aire,” including layering transparent color, hand conceptual approaches to building a body of work in both painting and photography. Open to all participants will return to the studio for cutting stencils, offsetting textures, trace skill levels. COURSE FEE: $525 critique, conversation and to prepare for monotype drawing and more. Through the the next day. Walking will be involved, so ongoing development of a visual vocabulary Carolyn Benedict Fraser is a large format Jenn Houle lives in Massachusetts and teaches at please remember to be as portable as possible. and set of visual effects, participants will push photographer from Nashville, Tennessee and Fitchburg State University. She received a BFA Students should look forward to sharing the their compositional ideas to make a powerful currently lives in Ithaca, New York. She holds from Massachusetts College of Art and an MFA language of art. Previous outdoor experience expression. Open to all skill levels. an MFA in Studio Art from Cornell University from Cornell University. Houle has held artist is preferred, and the class is open to all skill COURSE FEE: $525 and a BA in Psychology and Photography from residencies in Great Smoky Mountain National levels. COURSE FEE: $525 Mills College in Oakland, California. She was Park, Vermont Studio Center and Plumbing Nicholas Ruth lives in Rochester, New York the recipient of the Charles Baskerville Award in Museum, and exhibits her work widely. She John David Wissler lives in Lititz, Pennsylvania and is a professor of Art at Hobart and William 2016 and has recently exhibited in New York, is a grant recipient from Puffin Foundation, and received his MFA from the Parsons School Smith Colleges. He received his MFA from San Francisco, and Concord, Massachusetts. Massachusetts Cultural Council, Cornell of Design in New York. His studies included Southern Methodist University. Ruth maintains CAROLYNBENEDICT.COM Council for the Arts, Einaudi Foundation, travel to France, Italy, Russia, Switzerland and an active studio practice and has shown his and John Hartell Graduate Award for Art and Germany. He was awarded artist residencies at work nationally and internationally in over 100 Architecture. JENNHOULE.COM the Heliker-LaHotan Foundation on Cranberry exhibitions. NICHOLASHRUTH.COM Island in Maine in 2009 and the Borgo Finochietto, Tuscany, Italy in 2012. LANCASTERGALLERIES.COM/ARTISTS/JOHN- DAVID-WISSLER 2-D ARTS
JUNE 17 – 23 · ONE WEEK JUNE 24 – JULY 7 · TWO WEEKS JULY 8 – 14 · ONE WEEK JULY 8 – 14 · ONE WEEK
JIE QI LAUREN KUSSRO IAN BROWNLEE BEAUVAIS LYONS PAPER CIRCUITRY: ADDING LIGHT PRINT/MAKE NARRATIVE DRAWING COLOR & THE VARIABLE AND INTERACTIVITY TO PAPER CRAFT PRINT MATRIX During this two week workshop students use In this workshop students use the figure as This course combines art with electronics by printmaking techniques to create decorative a starting point for telling stories. Working During this workshop students learn about using conductive tapes and LED stickers to papers or fabrics and then use those materials with narrative, it’s easy to remember that the combined use of intaglio, relief and build beautiful, functioning circuits. You will to make sculptural objects. Techniques art is a type of play. You will begin drawing lithographic matrixes to produce monoprints. learn to add LED light, craft paper switches covered include silkscreen and linocut. sketches to push your technical abilities, then Various methods of creating printing matrixes and simple sensors that add interactivity Demonstrations include different ways to use those sketches as the basis for larger works. are covered, including dry-point and engraving to the paper medium. You will explore the fold, cut, sew and shape paper and fabric into Participants will discover different drawing from clear polycarbonate plates, relief possibilities of using technology to make various forms. Students will experiment with techniques and materials, including painting transfers in monoprinting, and polyester plate artwork come to life through projects like various techniques to create small sculptural and collage. Working from live models, photos lithography. They are all suitable for printing glowing posters and interactive cards. For forms of their own. Prior printmaking and and natural objects, students will build on in various combinations on an intaglio press. those who have little-to-no experience sculptural/sewing experience is helpful, but all their strengths to find an artistic voice. Open Registration systems and approaches to color building electronics, but want to learn more, skill levels are welcome. COURSE FEE: $995 to all skill levels. COURSE FEE: $525 printing are also explored. During class, this workshop is for you! Open to all skill students are encouraged to explore their levels. COURSE FEE: $525 Lauren Kussro attended Herron School of Art Ian Brownlee is a painter and muralist based in personal forms of expression. Open to all skill and Design in Indianapolis and earned a BFA Asheville, North Carolina. He received his BFA levels. COURSE FEE: $525 Jie Qi is a designer, researcher and artist based in Painting and Printmaking. She completed from the Atlanta College of Art, and studied in Cambridge, Massachusetts and is co-founder her MFA in Printmaking at the University of at California College of Arts and Crafts in Beauvais Lyons is a chancellor’s professor at and creative director of Chibitronics, which Tennessee in Knoxville. She currently teaches Oakland, California. His work has been featured the University of Tennessee in Knoxville where produces hardware toolkits for educators, artists Printmaking at the University of Houston – in many publications, including New American he has taught printmaking since 1985. Lyons and designers. She is a fellow at the Berkman Clear Lake. Kussro’s work has been shown in the Paintings. IANBROWNLEE.COM received his MFA from Arizona State University Klein Center at the Harvard Law School and Indianapolis Museum of Contemporary Art, Kai and a BFA from the University of Wisconsin- holds a MS and PhD from the MIT Media Lab. Lin Art in Atlanta and the Manhattan Graphics Madison. His prints are in numerous public Recently, her inventions in paper circuitry have Center in New York. LAURENKUSSRO.COM collections including the Smithsonian American been acquired by the Museum of Modern Art’s Art Museum, Washington, D.C., The Whitney permanent design collection. TECHNOLOJIE.COM Museum of American Art, New York, and the Philadelphia Museum of Art. WEB.UTK.EDU/~BLYONS 27
JULY 15 – 21 · ONE WEEK JULY 15 – 21 · ONE WEEK JULY 15 – 21 · ONE WEEK JULY 22 – 28 · ONE WEEK
ERIN ANFINSON JIYOUNG CHUNG BROOKE ROTHSHANK MACY CHADWICK WAX, PAPER, SCISSORS: WHY NOT? JOOMCHI & BEYOND PAINTING SMALL & OFTEN OVERLAPTION: VISUAL NARRATIVE EXPLORING ENCAUSTIC & PAPER IN THE BOOK FORMAT In this workshop students explore joomchi, This workshop is an introduction to miniature This workshop focuses on learning to create a unique Korean traditional way of making painting. Students in this detail-oriented class With an emphasis on creative play, this imagery with encaustic-infused paper textured handmade paper using water and learn about small composition design, the use workshop provides instruction in building a and other collage materials. Following an eager hands. You will explore its history, of watercolor compared to other mediums, visual narrative, printing in multiple colors, introduction to basic painting and surface practice and role in Korean society, as well as and the value of artistic accountability and designing book pages. Students will carve preparation techniques, students learn how to learn the hands-on techniques and adaptations and production. There is an emphasis on several linoleum block shapes and print them prepare and infuse a variety of papers, printed into a contemporary art form. Joomchi creates completing daily work and the possibility in overlapping layers on the etching press, imagery and other permeable materials with strong and painterly textured surfaces by of preparing both miniature and full-sized harnessing chance and discovery. Then, each this versatile wax-based paint. Through a series layering and agitating Hanji (Korean mulberry frames. Demonstrations and one-on-one artist will bind their printed pages into a of classroom demonstrations, participants papers). Its usage is diverse and can be instruction are designed to address the Leporello accordion book with a hard cover. discover how these encaustic-infused elements incorporated into surface design, collage, new individual needs of participants. You should Course content is enhanced by discussions can be cut, layered and manipulated in an ways of drawing, or for wearables. Joomchi come prepared to push the boundaries of your of how to develop ideas and sequence exciting number of possibilities. Whether can also be used as 2-D and 3-D sculptural productivity and to create intimate paintings information. Demonstrations include carving your work is abstract, representational or objects that are functional or fine art-oriented. that capture moments from your time at linoleum blocks, registration of multiple colors, somewhere in between this workshop will have Open to all skill levels. COURSE FEE: $525 Arrowmont. Open to all skill levels. mixing ink and book binding techniques. something for you! Open to all skill levels. COURSE FEE: $525 Open to all skill levels. COURSE FEE: $525 COURSE FEE: $525 Jiyoung Chung is an artist, freelance writer and independent curator who has developed Brooke Rothshank has been working as a studio Macy Chadwick publishes artist’s books and Erin Anfinson lives in Murfreesboro, Tennessee the innovative method of Joomchi into a artist since 2002. She is a painter/illustrator limited-edition prints under the imprint In where she is an associate professor of Art at contemporary art form. She received a BFA in working primarily in watercolor and egg tempera Cahoots Press, in Oakland, California. She Middle Tennessee State University. She regularly Painting from RISD and her MFA in Print/ paint. Her work has been exhibited at the received an MFA in Book Arts and Printmaking exhibits her encaustic and animated work Media from the Cranbrook Academy of Art. In Penland Gallery, the Andy Warhol Museum from the University of the Arts in Philadelphia and was recently awarded a National Park 2010, she curated the International Korean/ and the Chicago International Miniature and currently teaches at the Academy of Art Service Artist Residency at Herbert Hoover American Joomchi show for European Patchwork Show. Rothshank is a member of the Society of University, San Francisco Art Institute, and National Historic Site in West Branch, Iowa. Meeting in France. Chung has authored a how- Children’s Book Writers and Illustrators, and San Francisco Center for the Book. Chadwick’s ERINANFINSON.COM to book titled “Joomchi & Beyond.” an artisan with the International Guild of work is in prominent collections in the U.S. and JIYOUNGCHUNG.COM Miniature Artists. ROTHSHANK.COM abroad. MACYCHADWICK.COM 2-D ARTS
JULY 22 – 28 · ONE WEEK JULY 29 – AUGUST 4 · ONE WEEK JULY 29 – AUGUST 4 · ONE WEEK JULY 29 – AUGUST 4 · ONE WEEK
GARY CHAPMAN ASHTON LUDDEN RADHA PANDEY GRETA SONGE CHARCOAL: EXPRESSIVE MARK TRADITIONAL HAND-ENGRAVING ISLAMIC-WORLD PAPERMAKING LOOK, SEE, MAKE: MAKING, A PAINTER’S APPROACH AND NATURAL DYING LEARN BASIC DRAWING SKILLS TO DRAWING This printmaking workshop demonstrates the traditional method of metal engraving using a During this workshop students discover In this workshop students discover how to In this workshop students explore charcoal burin to cut directly into the plate — no acid the history and techniques of Islamic-world translate real world objects and forms into as the perfect medium for expressive mark or grounds needed. Students learn image and papermaking that has remained largely successful drawings. Tips and tricks on “how making. Your technique may be loose and plate preparation, tool sharpening, proper unchanged since the 8th century CE. This to see” help students tap into right brain aggressive in combination with additive and handling of the burin and printing single color method links papermaking traditions of the functioning; which is an essential skill to subtractive, using charcoal and erasers, and and multiple colors in one run. Participants East with those of the West. Students will drawing well. Working from still life set ups, developing grounds. Students are encouraged will have the opportunity to try focus on sheet formation and will combine the landscape, photographs, and the figure to combine charcoal with other media such different kinds of burins and sharpening traditional papermaking with natural dyeing to model, you will explore a range of materials as conte crayon, spray paint, ink and gesso. fixtures, cut on both copper and zinc, view create beautiful results. Those finished papers and methods to draw using charcoal, graphite, You may also explore the different ways prints displaying a variety of approaches to will be further dyed, sized and burnished by ink and collage. Students who do not have mark making techniques can be applied the engraved line, and learn many useful hand to a high shine. You will leave class with drawing experience will learn the essentials to observational drawing for a fusion of troubleshooting tips. Open to all skill levels. a sampling of papers displaying the wide range for learning how to draw. Students with abstraction and realism. Participants will also COURSE FEE: $525 of possibilities of this technique. No prior experience can learn methods and approaches explore graphite, water-soluble graphite and papermaking experience is necessary. to improve upon existing skills. Open to all a few alternatives to paper. Open to all skill Ashton Ludden is a printmaker, educator and COURSE FEE: $525 skill levels. COURSE FEE: $525 levels. COURSE FEE: $525 sign artist. She received her BFA in Engraving Arts and Printmaking from Emporia State Radha Pandey is a papermaker and letterpress Greta Songe is a native of South Louisiana and a Gary Chapman is a professor of Art at the University and an MFA in Printmaking from printer. She earned her MFA in Book Arts from resident of Coralville, Iowa. She graduated from University of Alabama at Birmingham. He the University of Tennessee. Her engravings have the University of Iowa Center for the Book where The University of Iowa in 2004 with an MFA received his MFA from Cranbrook Academy been exhibited nationally and internationally. she studied Letterpress Printing, Bookbinding, in Painting and Drawing. She is an assistant of Art, and earned a BA and BS from Berea She lives in Knoxville where she teaches at and Papermaking with a focus on Western, professor of Art at Kirkwood Community College. Chapman has had over 60 solo the Community School of the Arts, is an Eastern and Islamic Papermaking techniques. College where she teaches Design Fundamentals, exhibitions at the Montgomery Museum of Fine active artist at the Vacuum Shop Studios Art Pandey has taught across the US and in Sweden. Drawing, Printmaking and Digital Art. Songe’s Arts, The Morean Arts Center of St. Petersburg, Collaborative, and works full-time as a sign Her artist’s books are held in numerous public work has been licensed for quilting fabrics, Florida, and the Indianapolis Art Center. artist. ASHTONLUDDEN.COM collections internationally. RADHAPANDEY.COM featured in children’s magazine publications and GARYCHAPMANART.COM exhibited in galleries. GRETASONGE.COM 29
AUGUST 5 – 11 · ONE WEEK AUGUST 5 – 11 · ONE WEEK AUGUST 12 – 18 · ONE WEEK AUGUST 12 – 18 · ONE WEEK
ELIZABETH ALEXANDER JERED SPRECHER NANCY DILLEN RYAN O’MALLEY HOLLOW PAPER SCULPTURE LANDSCAPE PAINTING & LET’S GO DRAW! I SECOND THAT EMULSION: BEYOND IN THE 21ST CENTURY SCREENPRINTING WITH FEELING This workshop is an in-depth exploration During this workshop students learn to of sculpting with paper. Students will study The landscape continues to influence the shape see and draw the real and the imagined. In this workshop students learn numerous the contemporary and historical uses of this and form of artist’s work. This acrylic painting Participants will experience total immersion methods for creating screenprinted imagery medium while they conduct technical exercises workshop uses studies from observation and in drawing everything from fruit and nuts, utilizing hand-made stencils, photo-emulsion and develop their own language with paper. photographs to explore new ways to paint the to furniture and tools, and the Tennessee techniques and innovative processes for use in The course focuses on casting paper forms landscape. Students will work with acrylic landscape. The goal is for you to dramatically individual and collaborative projects. During from objects to create seemingly weightless and collage to create multi-layered paintings improve your drawing skills, gain confidence class, participants will focus on setting up and assemblages that can be painted, cut into, that explore how they think of the landscape in your ability to render what you see, learn operating a low-budget home screenprinting collaged onto, etc. Other sculpting techniques and their immediate environment. Students tricks for quickly getting ideas on paper, and studio — including building an inexpensive may also be discussed. There will be critiques interested in landscape, abstraction, color, work with a variety of drawing media and exposure unit for use during the workshop. and group discussions as the work evolves. acrylic paint and collage will be able to chart techniques through a series of structured The instructor will provide prints from all This course is open to all levels. new territory by working on paintings that are drawing exercises. If you have always wanted mediums from his extensive collection for COURSE FEE: $525 exciting images and compelling objects. Come to learn to draw, this is the course for you! viewing and discussion. Open to all skill levels. ready to experiment and try new things. Open Open to all skill levels. COURSE FEE: $525 COURSE FEE: $525 Elizabeth Alexander is an interdisciplinary artist to all skill levels. COURSE FEE: $525 specializing in sculptures and installations made Nancy Dillen is a studio artist, art educator Ryan O’Malley is an associate professor of Art from paper and found objects with degrees from Jered Sprecher lives in Knoxville, Tennessee. He and art professor emeritus at Eastern Florida and the graduate coordinator at Texas A&M Cranbrook Academy and the Massachusetts is an artist and professor of Art at the University State College in Melbourne where she taught University Corpus Christi. As an artist, educator College of Art. Her work has been shown across of Tennessee, where he teaches painting and for 35 years. Dillen has taught at Arrowmont and member of the Outlaw Printmakers, his the country, and she has received residencies and drawing. Sprecher has had solo exhibitions of his for 11 years, and taken numerous classes. She work has been included in numerous national fellowships from the Massachusetts Cultural paintings in New York, Chicago, Los Angeles, is involved in promoting the Eau Gallie Arts and international exhibitions, publications, Council, the St. Botolph foundation, the San Francisco, Dublin and Boston. He has District located in Melbourne. Her work is portfolios and collections. O’Malley has exhibited Vermont Studio Center, and I-Park. She is received grants and awards from the Chinati displayed in public and private collections in the internationally including in Russia, Japan, currently on faculty the University of North Foundation, John Simon Guggenheim Memorial U.S. and Canada. DILLENART.COM France China, Mexico, Italy, Latvia and Iran. Carolina School of the Arts. Foundation, Marie Walsh Sharpe Space Program His expertise is included in “Printmaking: A ELIZABETHALEXANDERSTUDIO.COM and the Irish Museum of Modern Art. Complete Guide to Materials and Process,” JEREDSPRECHER.COM Second Edition, by Fick and Grabowski. RYANOMALLEYART.COM 2-D ARTS
AUGUST 30 – SEPTEMBER 2 · WEEKEND AUGUST 30 – SEPTEMBER 2 · WEEKEND AUGUST 30 – SEPTEMBER 2 · WEEKEND
CARRIE IVERSON EMILY LEONARD BONNIE COOPER & DON MCGOWAN COLLAGRAPH: CHANCE PAINTING: BOTANICALS AS JOURNAL MINDFULNESS & PHOTOGRAPHIC SEEING INVESTIGATIONS The goal of this workshop is to use the subject We live in a technologized society that conditions our minds for overactivity. It has become During this workshop students explore matter of florals and botanicals as a vehicle to harder than ever to find a space to calm our minds, to simply be. In this course students discover collagraphs, a unique hybrid of collage explore student’s inner movements, gestures that mindfulness photography involves learning how to create the spaces to quiet their minds and and printmaking especially susceptible to and dialogues. Each morning you will spend to be in the natural world so that connections between themselves and that world can be forged. unexpected marks and textures in the print time outdoors foraging for plant life, and bring More important than what you carry in your camera bag is what you carry in your heart. As matrix. You will cut up and recombine your findings back into the studio for study. mindful photographers, during class you will begin to approach the world through the practice materials such as wax, carborundum, Through painting and mixed media, you will of the Four B’s: Be still, Be present, Be patient, and Be persistent. By seeing beauty everywhere, acrylic mediums, fabric, leaves, stencils, practice letting your natural instincts work for even in the commonplace, participants will find the subtle language of pattern, seek out the string, netting, and grass to create a series the painting rather than against it — literally metaphoric identities in the land, and look beneath the surface qualities of elements to reveal of interrelated work. Additional methods using who you are to further the process of their hidden layers of meaning. As you approach photography in these ways, listen for the land to participants will undertake include incising art-making. There will be a spirit of openness, speak back to you, revealing your own feelings about this place, or that, and the natural world in plexiglass plates with a variety of power tools so that students can listen carefully to their general, and your own place within it. This course is for intermediate and advanced photography and discovering experimental weathering surroundings and stories. The goal is to better students. COURSE FEE: $340 in Arrowmont’s natural environment. In understand the many techniques of painting, addition to pursuing individual experiments, but mostly to better understand yourself. Bonnie Cooper has spent over 30 years as a Don McGowan has been a professional you will explore examples of contemporary Open to all skill levels. COURSE FEE: $340 practicing psychotherapist and it took her nature photographer for 24 years. He has artist’s use of chance as a tool for reference and awhile to discover that photography was taught at the John C. Campbell Folk School, inspiration. Open to all skill levels. Emily Leonard’s paintings are included in the preferred expression of her artist’s soul. the Craft Summer Program at the Miami COURSE FEE: $340 numerous private and public collections around She has exhibited in galleries in Florida University of Ohio, and at Arrowmont. the world. She has participated in residency and North Carolina. Her signature project, McGowan has been published in the Carrie Iverson received her BA from Yale programs at the the Alfred and Tratford The Interbeing Project, the Interface of National Geographic’s Trails Illustrated University and an MFA from the School of the Klots Foundation in Brittany, France and Woman & Nature has received high acclaim. Maps, in Preservation and Smokies Life Art Institute of Chicago. Her work is on display the Jentel Foundation in Banner, Wyoming. Cooper assists Don McGowan in Earthsong Magazines, and in the National Parks at the Art Institute of Chicago, the Museum of EMILYLEONARD.COM Photography workshops. Conservation Association magazines, and Modern Art in New York, and the Museum of BONNIECOOPERPHOTOGRAPHY.COM featured in print publications for non-profit Contemporary Art in Chicago. cultural and environmental organizations. CARRIEIVERSONSTUDIO.COM EARTHSONGPHOTOGRAPHY.COM 31
SEPTEMBER 9 – 15 · ONE WEEK SEPTEMBER 16 – 22 · ONE WEEK SEPTEMBER 16 – 22 · ONE WEEK
YOU MIGHT ALSO BE INTERESTED IN THE FOLLOWING WORKSHOPS
JASON BURNETT P.14
MEREDITH HOST P.15
PAUL WANDLESS P.18
ERIN KEANE BRYAN BAKER JANE LACKEY BROOKS HARRIS ENCAUSTIC BOOKS: THE BIG BUILD-UP: PRINTING IN BETWEEN, DRAWING & TEXTILE STEVENS P.37 WAX, PAPER, THREAD LAYERS & FINDING DESIGN THROUGH ACCUMULATION During this workshop students will discover SUSAN BRANDEIS P.38 Wax nostalgic, wax poetic, wax philosophical drawing as a resource for textiles and vice and wax creative. In this workshop students In this workshop students learn to blend versa. Participants will shift between drawing JOETTA MAUE P.39 explore methods of encaustic painting through cautious block carving techniques with with pens and pencils, and using fiber and the creation of books and journals. You cavalier applications of ink while printing other flexible, linear materials. You will draw JEANNE BRADY P.43 will transform thin wood panels into richly compositions that are developed in stages. using lines, layers or piecing as strategies for layered, textured book covers. Participants Participants will generate a large body of work approaching abstract subjects such as time, HANNAH MARIE will infuse papers with beeswax, imagery while discovering how to properly edition motion, or mapping. Critical discussion, slide SMITH P.51 and words to become journal pages. Your relief prints. Simultaneously, you will create presentations and one-on-one guidance are collection will be bound into tactile books. multiples that become one-of-a-kind pieces. included. Open to all skill levels. Experience They can be thematic, conceptual, or simply Working with linoleum, wood and plastic beyond beginning level in textiles or drawing full of creative meanderings. The class students will cut and carve all the elements in is helpful. COURSE FEE: $525 will include demonstrations in encaustic, their designs. All printing will be done with journaling and bookbinding (coptic and oil-based inks, and students will learn how to Jane Lackey is an artist and educator based longstitch) to guide student’s experimentation. mix colors, adjust transparency and modify in Santa Fe, New Mexico. Her work includes Open to all skill levels. COURSE FEE: $525 the ink’s performance. Open to all skill levels. drawings and installations using cloth materials COURSE FEE: $525 and paper. She was an Artist-in-Residence and Erin Keane is an encaustic artist and bookbinder head of Fiber at the Cranbrook Academy of Art, in Asheville, North Carolina with an MA in Art Bryan Baker is a letterpress printmaker and and professor at the Kansas City Art Institute. Education from Miami University in Oxford, designer living in Knoxville, Tennessee. He is Her artwork has been exhibited nationally and Ohio. She is an exhibiting member of Southern the co-founder of Striped Light, a community internationally and supported by numerous Highland Craft Guild and is represented by 310 letterpress printshop that also does custom grants, fellowships and residencies. ART Gallery in Asheville’s River Arts District. printing and fine art editions. In 2003, he JANELACKEY.COM Keane teaches at Patricia Baldwin Seggebruch’s received his MFA in printmaking from the EncaustiCamp and OpenStudio, Penland School University of Tennessee, and has been consistently of Crafts and John C. Campbell Folk School. running workshops and teaching classes that She is published in the Encaustic Arts magazine. focus on relief printing. STRIPEDLIGHT.COM ERINKEANE.COM 2-D ARTS
OCTOBER 14 – 20 · ONE WEEK OCTOBER 14 – 20 · ONE WEEK OCTOBER 21 – 27 · ONE WEEK OCTOBER 21 – 27 · ONE WEEK
BEATRICE CORON RACHAEL MCCAMPBELL MARGE LUTTRELL DELANEY SMITH MAKING & REVEALING: EXPLORING THE WORKING LARGE IN ENCAUSTIC RECORDING SURFACES WITH PULP THE WILD SIDE OF PAPER CUTTING ATMOSPHERIC LANDSCAPE The goal of this workshop is for students to In this experimental workshop, students In this intense workshop of serious fun, In this workshop students will learn to discover that working large in encaustics learn to create dynamic surfaces and forms students explore unique ways to use paper interpret the landscape through a process of can be a freeing experience. By working in a with handmade paper. Working with cotton, cutting to tell stories. Participants will learn introspection, observation and application. looser and more abstract method, it can push you will begin by preparing the fibers in paper cutting techniques, stenciling and how By painting with acrylics and oil, students the student’s creativity in a way that smaller, the paper beater and using paper/pulp- to make paper dimensional by cutting their will create mood-driven paintings by layering, tighter space never will. Anyone who loves the casting techniques to achieve a variety of designs out of Tyvek and paper. The goal is to subtracting and adding gel mediums, molding rewards of working in encaustic knows that forms from site-specific castings and molds engage the viewer by offering new content and pastes, cold wax medium and glazes. You will the larger the size the more intimidating the made in class. Students are encouraged to shape. Discussions include adaptation to other explore composition, structural elements of medium becomes. During class, participants bring objects or materials to use in casting. materials such as glass or metal, and digital landscapes, color mixing, capturing light, learn techniques and skills that will help them In addition to experimenting with 3-D possibilities of 3-D programs and animations. principles of art and design, along with a tackle the intricacies of the large format. So, papermaking techniques, participants will be Open to all skill levels. COURSE FEE: $525 daily mixture of demonstrations, studio time take it up a notch and spend a week learning guided through several processes designed to and individual consultations. This is not a how to make your encaustic work bigger and encourage creativity and growth. Open to all Béatrice Coron explores visual storytelling in plein-air course, but you might paint outdoors better. Substrates are provided. This class is skill levels. COURSE FEE: $525 artist books, paper cutting and public art from as well. Open to all skill levels, however an for students who are familiar with encaustics. her New York studio. Her artwork is made of understanding of color theory and basic COURSE FEE: $525 Delaney Smith received her BFA in Graphic paper, glass or metal. Her work can be seen painting skills is helpful. COURSE FEE: $525 Communications from the University of in major collections such as the Metropolitan Marge Luttrell is an award-winning encaustic Southern Mississippi and an MFA in Fibers Museum of Art, the Walker and her public art in Rachael McCampbell is a painter, teacher, artist who has exhibited at festivals and shows from the University of North Texas. She was an subway stations in Chicago, Los Angeles and New sculptor and writer in Nashville, Tennessee. She around the country. She has an MA from the Artist-in-Residence at the Houston Center for York. BEATRICECORON.COM writes a column for Nashville Arts Magazine, University of Tennessee, Knoxville and a BS Contemporary Craft in 2013‒14. Smith is now is a certified Golden Acrylics teacher and a from the University of Tennessee, Chattanooga. an artist at Marshall High Studios in Marshall, recognized Gamblin Workshop Instructor. Lutrell has taught encaustic workshops across the North Carolina. DELANEYSMITHSTUDIO.COM McCampbell’s work is in the permanent country. She is the recipient of the Fulbright, collection of the Tennessee State Museum. National Endowment for the Arts, and National RACHAELMCCAMPBELL.COM Endowment for the Humanities grants. MARGELUTTRELL.COM 33 “I just got back from attending Arrowmont. The experience, for me, was honestly life-changing. It felt as if I needed to be there, and it is an experience that I will never forget. The classes were informative and exciting, but above all else, it was the people I met who impacted me. I made unforgettable memories and friends. It truly did open a new world to me, and I am feeling very optimistic moving forward with my education and artistic career.” — MADISON POOTON, UNIVERSITY OF WEST FLORIDA, SCHOLARSHIP RECIPIENT 3535
FIBERS, TEXTILES & BASKETS
Fibers and Textiles spans a broad range of techniques, from basketry and sculpture to surface design and quilting. But textiles also presents an equally diverse field in terms of concept and form. We have workshops, such as Flo Hoppe’s baskets and Melissa Cody’s weavings, that are richly steeped in historical and cultural traditions. Alongside them we have workshops such as Brooks Harris Stevens, Jane Lackey, and Lauren DiCioccio that push the boundaries of fibers and textiles into new threads of discovery. FIBERS ∙ TEXTILES ∙ BASKETS
APRIL 5 – 8 · WEEKEND APRIL 5 – 8 · WEEKEND JUNE 3 – 9 · ONE WEEK JUNE 3 – 9 · ONE WEEK
KATHY GOODSON EMILY SCHUBERT SHANA KOHNSTAMM AKEMI NAKANO COHN SILK PAINTING: TO RESIST MILLENNIAL MILLINERY UNLOCKING THE WOOL: SCULPTURAL KATAZOME: NATURAL DYE & INDIGO OR NOT TO RESIST WET & NEEDLE FELTING From the headdresses of Mardi Gras, to In this workshop students learn basic This workshop answers the question every headpieces of the Victorian era, to Derby hats While wet felting wool fibers has been around Katazome and explore images that represent painter on silk eventually asks, “Do I use and beyond, during this workshop students for thousands of years, needle-felting as an art their own design and story. Katazome is a resist or not?” Painters, fiber artists, designers are introduced to old-school millinery form is mere decades old. In this workshop traditional Japanese rice paste resist technique and quilters are invited to explore the current techniques as well as new techniques for students learn both techniques to create solid that is applied through a stencil and colored resists and the dynamic effects that result from innovative hat and headdress construction. three-dimensional objects with an emphasis on with natural dyes. The techniques covered their use. The workshop encompasses the steps Participants learn how to make customized form and color. Using wire, found objects and include cooking rice paste, making soy milk, of painting on silk. Students will discover DIY head-blocks and use a mix of easily- wool itself as armature, participants interested brushing a variety of natural dyes, mordants which resists are better for the environment accessible and traditional materials to make in creating dynamic sculpture explore their and steaming to set colors. Participants will and personal health, and which require special a headpiece for an occasion of their choice. own designs. Wool varieties, tools, surface dip rice-pasted fabric into the natural indigo use. Participants are encouraged to express Students are asked to bring any materials they design and finishing techniques are covered. dye pot to create intense shades of blue. their own unique style. No painting or fiber may want to incorporate into their creation — Needle-felters wanting to try wet-felting or You will also discover Tsutsugaki, which is experience is required. Open to all skill levels. the more imagination the better! Open to all vice versa are encouraged to attend though all freehand drawing with rice paste in a special COURSE FEE: $340 skill levels. Hand sewing skills are a plus. skill levels are welcome. Note: Both techniques pastry tube. Students will take home a variety COURSE FEE: $340 require repetitive arm and hand motion. of experimental fabric pieces to use as a guide Kathy Goodson lives within sight of the COURSE FEE: $525 for future projects. Open to all skill levels. Appalachian Trail near Hot Springs, North Emily Schubert is an interdisciplinary artist COURSE FEE: $525 Carolina, which inspires her botanical designs. working in the worlds of puppetry, performance, Shana Kohnstamm is an independent studio She has been a silk painter for over 20 years sculpture and collage. She earned her BFA in artist from Nashville, Tennessee. Trained as a Akemi Nakano Cohn was born in Japan and honing her painterly style by studying with Fiber Arts at the Maryland Institute College painter, she attended a wet-felting workshop in lives in Chicago, Illinois. She studied dyeing in master silk painters. Goodson is a board of Art. She has since worked on costumes for 2010 that ignited a passion for making beautiful, Japan for 10 years under the master Haru Izumi. member of the Silk Painters International and traveling Broadway shows, participated in strange and technically complex wool sculptures. Cohn has taught at the School of the Art Institute has exhibited in galleries, shows and exhibits puppet theater festivals, and workshops in Europe, Since then, her work has been featured in of Chicago, Haystack and Penland. She has throughout the U.S. Her fine art is in collections Indonesia and the U.S. She has also discovered a fiber arts publications, juried and invitational been an Artist-in-Residence at Anderson Ranch throughout the world. KATHYGOODSON.COM passion for organic farming. She was a 2016‒17 exhibitions and has garnered several awards in Art Center in Colorado and at SEED Arts and Arrowmont Artist-in-Residence. regional fine craft and sculptural art shows. Education in California. AKEMISTUDIO.COM EMILY-SCHUBERT.COM SHANAKOHNSTAMM.COM 37
JUNE 10 – 16 · ONE WEEK JUNE 10 – 16 · ONE WEEK JUNE 17 – 23 · ONE WEEK JUNE 17 – 23 · ONE WEEK
RENA WOOD JAN WUTKOWSKI LUKE HAYNES BROOKS HARRIS STEVENS ABSTRACT EMBROIDERY TORTURED TO TERRIFIC: TECHNIQUES QUILT: THE AESTHETICS OF EMBELLISHED CONTEXT IN MODERN MILLINERY FUNCTION For students that have never touched a In this workshop students explore what needle and thread, or for more experienced In this workshop students explore millinery During this workshop students learn how to surface means, and how to creatively embroiderers looking for ways to expand mediums and how they can be “tortured” by make a quilt. The goals of the class are for embellish a variety of traditional and non- their work, this workshop offers the time and the process to create something “terrific” as students to learn the aesthetics of working traditional surfaces including those found space to get started. Using hand-stitched lines an outcome. Participants will create surface with textiles, improve their studio practices on the Arrowmont campus. While learning to draw on fabric, you will explore how the design elements to fabrics, eco-dye several and learn by example. Participants can the applicable skills in embellishment, process of stitching and the materials chosen types of millinery straw, felt and fabric, and experiment and innovate within a group participants discover the meaning of gives meaning to your work. Participants are use free-form shaping techniques on felt, or individually. You will leave knowing materials within different contexts that introduced to basic embroidery stitches and leather and straw. Creating four hats, you how to bring your ideas to fruition and are relative to their artistic pursuits. Using discover different styles of embroidery and will lock over millinery hatblocks, cover gain knowledge to help you in your future fabric, found items, the landscape and the their histories. You will also experiment with a buckram hat frames with eco-dyed fabrics, practice. Open to all skill levels. built environment, you will learn a range variety of materials to create your own style of and hand-sculpt straw, leather and felt. Also, COURSE FEE: $525 of techniques including stitching, appliqué, stitched drawings. Open to all skill levels students learn proper millinery stitching beading and other means of adornment. This COURSE FEE: $525 and finishing techniques. Some millinery Luke Haynes began his textile work through class offers sound skills for the beginner, to and hand-sewing experience helpful but not architecture and finds the overlap of function advanced skills focusing on developing an Rena Wood is a fiber artist and educator, required. COURSE FEE: $525 and aesthetic to be paramount to contemporary expanded material language and technique currently finishing the year as a visiting art. Haynes grew up in the American South applications. Open to all skill levels. faculty member at Bloomsburg University. She Jan Wutkowski studied millinery at the and was influenced by his classes in an art COURSE FEE: $525 received her MFA in Craft/Material Studies Melbourne (Australia) School of Millinery and conservatory and studies in design. His works from Virginia Commonwealth University and has been creating bespoke hats and headpieces have been featured in The New York Times and Brooks Harris Stevens is an artist and associate is a former Arrowmont Artist-in-Residence. since 1995. Wutkowski teaches throughout the the Oxford Herald and been displayed in the professor at Eastern Michigan University where Her work, exploring memory through textile U.S. and has also taught in England, France, Brooklyn Museum. LUKEHAYNES.COM she is the Fibers Program Coordinator in the materials, has been exhibited nationally in group Ireland and Australia. She is a co-founder School of Art & Design. She has lectured in and solo exhibitions. RENAWOOD.COM of Millinery Meet-Up, a biennial millinery Europe and the U.S., while exhibiting work in education event. Jan is the owner of aMuse: solo, group and juried exhibitions nationally Artisanal Finery, a millinery studio located in and internationally. BROOKSFIBERART.COM Wilmington, North Carolina. HATSHATSHATS.COM FIBERS ∙ TEXTILES ∙ BASKETS
JUNE 24 – JULY 7 · TWO WEEKS JUNE 24 – JULY 7 · TWO WEEKS JULY 8 – 14 · ONE WEEK JULY 8 – 14 · ONE WEEK
SUSAN BRANDEIS CHRISTINE ZOLLER MELISSA CODY LISA KLAKULAK STITCHING AS DRAWING EXPLORING SHIBORI: NAVAJO WEAVING TECHNIQUES EXPLORING FELTED FORM & SURFACE PROCESS & APPLICATION TEXTURE This workshop explores ways to capture IIn this workshop students will learn the spontaneity and gestures of drawing Shibori refers to a group of wrapping, tying, traditional Navajo weaving techniques During this workshop participants develop through hand and machine stitching in folding and stitching techniques used to create by setting up and weaving on a Navajo- an expansive understanding of hollow form the creation of drawings on cloth. Students pattern on fabric. This workshop provides a style loom. You will warp the loom using sculpting as well as techniques for introducing will experiment with optical mixing, color comprehensive study of the shibori process continuous warping styles and prepare surface texture by way of fabric fusion and effects, cross-hatching, stippling, contouring, using natural fabrics with fiber reactive dyes, selvedge cording and twining with a free-motion stitching. In a series of studies, detailing, shading, gradations, gestural acid dyes and inks along with discharge traditional Navajo drop spindle. By creating you will explore wrapping 2-D resists in marks and scribbling. You will work at large techniques, burnout and some selected by a Navajo style weaving, students will broaden wool fiber and fabrics, and designing 2-D felt and small scale, layering marks, and building the instructor. Students will also explore their repertoire while learning indigenous shapes that will allow for machine stitching texture. The emphasis of the class is on a variety of ways in which shibori fabrics techniques of Native North America. To prior to being hand stitched into 3-D forms. individual experimentation and development can be used to create individual works of complete their final textile participants will In addition to the shape of layout, students of a personal stitched mark vocabulary. The arts. This is accomplished through exploring weave using traditional tools. Open to all skill explore how juxtaposing different weights and ability to execute basic hand stitches and surface design, art quilts, collage, embroidery/ levels. COURSE FEE: $525 densities of wool in a single layout and the operate a sewing machine is helpful. Open to beadwork and garment construction. direction of agitation can be used to further all skill levels. COURSE FEE: $995 Demonstrations and individual attention Melissa Cody is a fourth-generation textile sculpt the felt. Experience laying out wool fiber allows students to explore their own personal artist from the Navajo Nation of Northern for felting is recommended as well as physical Susan Brandeis is a distinguished professor expression. Open to all skill levels. Arizona. She received her AFA in Fine Arts stamina. Open to all skill levels. emerita following a 35-year teaching career COURSE FEE: $995 and a BA in Museum Studies from the College COURSE FEE: $525 at North Carolina State University’s College of Contemporary Native Arts in Santa Fe, of Design, where she was a member of the Christine Zoller obtained her MFA from New Mexico. Cody’s career spans over two Lisa Klakulak is an artist living in Asheville, University’s Academy of Outstanding Teachers. The University of Georgia and is an associate decades. She has interned with the Museum North Carolina. She teaches workshops Her artwork has been pictured in leading professor and textiles coordinator at East of International Folk Art in Santa Fe and the worldwide and exhibits at national fine craft publications, exhibited throughout the world, Carolina University in Greenville, North National Museum of the American Indian, exhibitions and select galleries. Her work has and represented in numerous collections, Carolina. She has conducted workshops at Washington, D.C. with an emphasis in textile been featured in Fiberarts, Fiber Art Now and including the Renwick Gallery of the Arrowmont, Penland School of Crafts and the conservation. CODYTEXTILES.BIGCARTEL.COM American Craft magazines, and the “Surface Smithsonian. Quilt Surface Design Symposium. Her work has Design Journal.” She was a 2015 recipient of the SUSANBRANDEIS.WORDPRESS.NCSU.EDU been featured in the “Surface Design Journal.” James Renwick Alliance’s Award of Excellence for Innovation in Craft. STRONGFELT.COM 39
JULY 15 – 21 · ONE WEEK JULY 22 – 28 · ONE WEEK JULY 22 – 28 · ONE WEEK
YOU MIGHT ALSO BE INTERESTED IN THE FOLLOWING WORKSHOPS
MEREDITH HOST P.15
LAUREN KUSSRO P.26
JIYOUNG CHUNG P.27
JOETTA MAUE JULIA GARTRELL JESS JONES RADHA PANDEY P.26 DRAWING THE THREAD TRASH TO TREASURE: EXPLORATIONS INTERACTION OF TEXTURE: IN THRIFTY MATERIALS LAYERED & STITCHED JANE LACKEY P.31 This workshop explores embroidery as drawing with a specific focus on the techniques of figure Using everyday materials such as string, In this workshop students examine how DELANEY SMITH P.32 drawing and turning them into a stitched wire, paper, scrap fabric, natural items and textures can create effects like those found work. Through direct drawing, transfer and beyond, students in this workshop transform in color theory: contrast, blending and LANNY BERGNER P.42 projection students will build technical skills the ordinary into the extraordinary. You transparency. Through exercises with and conceptual idea development. Traditional will learn techniques including crocheting, found material, you will draw from the drawing techniques such as contour, gesture sewing, quilting and sculptural basketry texture studies of Josef Albers. By exploring and hatching are addressed and considered in to create expressive sculptural objects. traditional quilt-related techniques such terms of application with embroidery. Students Participants will interrogate the idea of as piecing, embroidery and appliqué, will learn basic-to-advanced embroidery collection, site and the history of materials. participants will broaden their textural techniques, including various stitches, appliqué During the workshop, you will play, develop palette and add them to layering and stitched techniques, staining and three-dimensional your own voice and challenge yourself to work. To further explore texture, students building of textiles. Participants will begin a experiment wildly. Open to all skill levels. can discover more dimensional forms, personal project and discuss the best way to COURSE FEE: $525 including mixed media. The result will be make stitch, technique, color and materials many samples and a series of small works, or choices. Open to all skill levels. Julia Gartrell is a sculptor and educator who the beginning of larger projects. Open to all COURSE FEE: $525 earned an MFA in Sculpture from the Rhode skill levels. COURSE FEE: $525 Island School of Design. She has taught at Joetta Maue is an artist, curator and arts Virginia Commonwealth University, RISD, Jess Jones is a textile artist and assistant writer. Her most recent body of work is a series and at workshops throughout the country. professor of Textiles at Georgia State University of embroideries, drawings and photographs that Gartrell has participated in residencies at in Atlanta. She is also an affiliate faculty explore the psychological landscape of the domestic Arrowmont, The Fine Arts Work Center member with the Institute of Women, Gender space. Maue’s work has been shown in galleries and Ox-Bow. Her sculpture has been shown and Sexuality Studies. Her work was recently and museums across the country, and her writing nationally and internationally. exhibited in a solo show at the Swan Coach has been published in numerous publications. JULIAGARTRELL.COM House in Atlanta, and at the internationally She is a professor and practicing artist in New juried exhibition Quilt National 2017. England where she lives with her family. JESSJONES.NET JOETTAMAUE.COM FIBERS ∙ TEXTILES ∙ BASKETS
JULY 29 – AUGUST 4 · ONE WEEK JULY 29 – AUGUST 4 · ONE WEEK AUGUST 5 – 11 · ONE WEEK AUGUST 5 – 11 · ONE WEEK
TOMMYE SCANLIN CLARE VERSTEGEN JERRY BLEEM SONYA PHILIP WEAVING THE NATURE OF THINGS: PRINTED TEXTILES LET’S TWIST & LOOP CRAFTING YOUR LOOKING AT THE WORLD WITH AN (LIKE WE DID LAST SUMMER) HANDMADE WARDROBE EYE FOR TAPESTRY MAKING The purpose of this workshop is for students to discover their creative potential while learning In this workshop students learn the basics of During this workshop students craft their own In this workshop students seek inspiration how to design and print original patterns and ropemaking, spinning and plying, followed garments and gain a deeper understanding for tapestry design by exploring the images on cloth. Participants explore processes by learning the familiar looping techniques about textiles, surface design and their own surroundings of Arrowmont. You will collect of simple mono printing and screen printing (crochet and knit) to organize their strings. creativity. It covers basic construction and visual information and translate it into using transparent, custom mixed pigments Examining the possibility of material allows techniques for cutting and modifying patterns. designs from which tapestry cartoons can be with infinite color options. You will acquire participants to rediscover what their fiber Participants will learn about fabric choices developed. Participants may bring photos, skills in using shapes, color overlays, visual ancestors did last summer, and during the and discover new ways of mixing prints and sketches, or paintings from their home textures and photographs in producing both last several millennia. You will also learn textures to fashion truly individual pieces. environment to discuss and plan for future yardage and smaller compositions. Screen that twisting, the most elemental textile After planning which handmade elements tapestries based upon your own “nature of stencils include wax crayon, contact paper gesture, lengthens fibers into longer lines. to add to your wardrobe, you may choose things.” Students should be at intermediate and photo emulsion. The class is packed with Being acquainted with spinning, knitting basic pattern choices from simple tunics, shift level in tapestry skills, able to warp a tapestry valuable information and tips, and the pace and/or crochet is helpful but not necessary dresses, skirts, or pants. The patterns, in eight loom and weave basic tapestry methods. will be swift — but fun. Learn from scratch, to participate in this course. Open to all skill sizes, are provided for students to trace and COURSE FEE: $525 refresh your knowledge or perfect your skills! levels. COURSE FEE: $525 take home. The class is open to all skill levels, Open to all skill levels. COURSE FEE: $525 however previous experience using a sewing Tommye Scanlin is a professor emerita at the Jerry Bleem is an artist, teacher, writer, machine is required. COURSE FEE: $525 University of North Georgia, and a fellow of Clare Verstegen is a visual artist and educator Franciscan friar and Catholic priest. He earned the Hambidge Center for the Creative Arts and living in Tempe, Arizona. Her screen-printed his MFA at the School of the Art Institute of Sonya Philip is an artist, designer and teacher. the Lillian E. Smith Center for Creative Arts. and collaged felt works have been exhibited Chicago and his M.Div. from the Catholic In 2012, she started a project called 100 Acts As a founding member of Tapestry Weavers nationally and internationally and published Theological Union in Chicago. He teaches at the of Sewing, which encompasses making dresses South, she has been active for many years there, in Surface Design Journal, Fiberarts, Fiber Art School of the Art Institute of Chicago and writes while documenting the process. Since then, she and in the American Tapestry Alliance. Scanlin Now and American Craft. Verstegen is professor a monthly column for the US Catholic magazine. has made it her mission to convince people to sew is a juried member of the Southern Highland emerita of Art in the Herberger Institute of JERRYBLEEM.COM their own clothes. When not covered in bits of Craft Guild and of Piedmont Craftsmen, and Design and the Arts, School of Art at Arizona thread, she can be found knitting another shawl her tapestries have been exhibited nationally State University, where she headed the fibers or cardigan. Philip lives in San Francisco with and internationally. SCANLINTAPESTRY.COM program for many years. CLAREVERSTEGEN.COM her family. 100ACTSOFSEWING.COM 41
AUGUST 12 – 18 · ONE WEEK AUGUST 12 – 18 · ONE WEEK AUGUST 30 – SEPTEMBER 2 · WEEKEND SEPTEMBER 9 – 15 · ONE WEEK
LAUREN DICIOCCIO FLO HOPPE PAT K. THOMAS GASALI ADEYEMO SOFT SCULPTURE STILL LIFE JAPANESE BASKETRY TECHNIQUES MARBLING ALTERNATIVE SURFACES TRADITIONAL YORUBA BATIK, ADIRE, & TIE-DYE WITH INDIGO In this workshop students create objects in soft In this workshop students will make five During this workshop students fascinated sculpture, celebrating their familiarity with distinctive baskets while exploring various with color and pattern discover the art In this workshop students explore traditional hand work. Students should feel a relationship types of Japanese basket styles using both of marbling where they can float paints batik, adire and tie-dyeing techniques while to their object such as a tool or a sentimental round and flat weaving elements. Techniques on thickened water and create traditional learning about the arts and culture of the heirloom. You will compose a still life at week’s demonstrated include randing, twining and and contemporary patterns with simple Yoruba people from a native Nigerian artist. end using your soft sculpture. Beginners twill weave, along with how to add interesting handmade tools. Participants will print You will experiment with patterns and vibrant should choose a simple object and will learn embellishments. This is a good survey class their original designs on a variety of surfaces color using wax, paste resist, indigo, and fiber basic construction skills. Advanced students for students interested in learning about the including specialty papers, leather, 3-D dyes to produce beautiful cloth. Open to all looking to push their skills may pick a more wide variety of Japanese techniques. Perfect wood and bisque, and rigid papier mache’ skill levels. COURSE FEE: $525 challenging object with surface detail. All for beginners to advanced weavers. Open to all forms. This fast-paced workshop will yield sewing will be done by hand, with the goal of skill levels. COURSE FEE: $525 original marbling for mixed media artists, Gasali Adeyemo grew up in Ofatedo, Nigeria. creating sculpture prioritizing personality over bookbinders and woodturners. Students He studied for six years at the Nike Center for perfection. Open to all skill levels. Flo Hoppe is a full-time studio artist, teacher will be given all recipes and instructions to Arts & Culture and then remained for four years COURSE FEE: $525 and author who lived in Japan from 1968‒1971 continue marbling at home. Open to all skill as a teacher. In 1995, his artwork was exhibited and later returned to the U.S. to study with levels. COURSE FEE: $340 in Bayruth, Germany and as a result his artistic Lauren DiCioccio lives in San Francisco, two master basket makers. She is the author of career bloomed. A participant in the World Craft California. She studied painting and is self- “Wicker Basketry” and “Contemporary Wicker Pat K. Thomas is a full-time studio artist and Summit, the Maiwa Symposium and the World taught in the media of embroidery and soft Basketry.” FLOHOPPE.COM has been marbling since 1990. She is an artist/ Batik Conference, Gasali has made it his life’s sculpture. Her work has been shown at the partner of the historic 1930s Cliff Dwellers work to give workshops, presentations and lectures Laguna Art Museum, the Yerba Buena Center Gallery in Gatlinburg, Tennessee. Thomas to communicate the beauty of indigo textiles and for the Arts, and the Bellevue Arts Museum, and teaches classes at Arrowmont, the John C. share the Yoruba culture. Gasali currently resides at galleries internationally. DiCioccio has been Campbell Folk School as well as at regional art, in Santa Fe, New Mexico. AFRICANCRAFT.COM/ awarded several Artist Residencies across the history and event centers. PATKTHOMAS.COM ARTIST/GASALI country. LAURENDICIOCCIO.COM CLAY
SEPTEMBER 9 – 15 · ONE WEEK SEPTEMBER 16 – 22 · ONE WEEK
LESLI ROBERTSON LANNY BERGNER EXPERIMENTAL LOOMS THE ART OF METAL MESH SCULPTURE & BASKETRY In this workshop students take a basic loom and explore new ways to configure warp and Students create biomorphic and geometric weft to create functional, sculptural looms. sculptural constructions out of metal mesh Discussions of global weaving traditions in this fun workshop. You will explore the will form a foundation for discovering the myriad of form-making possibilities as you fundamentals of a loom. Students will create manipulate, cut and connect stainless steel, their own variations of frame, backstrap and aluminum and bronze mesh. Demonstrations horizontal looms using mixed media. Those include unique techniques that students new to weaving will have an introduction can use in their work, while exploring the to basic techniques, including plain weave, fascinating world of “flame painting” by using discontinued weft, pile and knotting. a propane torch to draw/paint on stainless Advanced students will be challenged on new steel mesh. Participants will also learn wire materials and techniques to broaden their wrapping and edging techniques and how to practice. During the course, students will incorporate silicone caulk and glass frit into develop new loom designs, creating sculptures their meshwork designs. Open to all skill that pull, stretch and join fiber in a new way. levels. COURSE FEE: $525 Open to all skill levels. COURSE FEE: $525 Lanny Bergner is a metal mesh sculptor. He was Lesli Robertson is an interdisciplinary artist. born in Anacortes, Washington and received his Her work includes collaborative projects on MFA in sculpture from the Tyler School of Art. Ugandan cultural arts, Sadu weavings of His work is in numerous museum collections Kuwait, and other textile-based initiatives. including the Seattle Art Museum and the Robertson was a recent Fulbright Specialist Museum of Art and Design. In 2005, he received where she co-created an interactive exhibition a Gold Prize at the Cheongju International on Bedouin weaving. She is co-founder of Craft Biennale and in 2010, he was one of five The Mother Load and is currently serving on American artists to exhibit in the prestigious 13th the board of the Textile Society of America. International Triennial of Tapestry in Łódź, LESLIROBERTSON.COM Poland. LANNYBERGNER.COM 43
SEPTEMBER 16 – 22 · ONE WEEK OCTOBER 14 – 20 · ONE WEEK OCTOBER 21 – 27 · ONE WEEK OCTOBER 21 – 27 · ONE WEEK
JANET TAYLOR JEANNE BRADY PAULA KOVARIK PEETA TINAY THE MAGIC OF VAT DYE DISCHARGE THE VISUAL VOICE FOLLOW THE THREAD FOUR INSET-HANDLE BASKET: AN IMMERSION IN ROUND REED in this workshop students learn the magic of This is a call to action! The workshop Loosen up and explore new territory with dyeing silk fabric with acid dyes. This includes encourages each student to explore how their line and stitch in this free-motion quilting During this workshop students rediscover learning about the results of the interaction voice can be expressed using fabric as canvas workshop. During class students will focus the fundamental skills of twining, using of chemicals, color theory, design, carving and non-toxic, and versatile, textile pigments on the character of line and personal symbols round reed as they create their own basket. images on Styrofoam, printing and processing as “pens.” Words, colors, textures, bold brush through simple drawing and observation Participants learn techniques including of the fabrics. Demonstrations and discussions strokes and small intimate marks all speak exercises. You will translate line to thread hand placement, tension and shaping cover hand painting on Styrofoam, stamping the participant’s truth and satisfy the need and develop techniques to accept the while weaving. As your basket comes to and hand painting on carved images, altering to express. Demonstrations and exercises imperfect, accelerate ideas and stitch from completion, you will learn the multiple step colors with Silk Dye (Peboe), and stitching introduce the versatility of textile pigments the imagination. Exercises provide new tools finishing process that brings depth and and embroidery techniques. Students will and a variety of tools are present to create for seeing, interpreting and completing luster. This is a challenging, but rewarding leave class with designs and color choices on text, texture and words on fabric. Students concept-driven work. Participants will build intermediate-level class. Prior twining silk fabric that are discovered from their own should bring journal writings, favorite quotes their stitching vocabulary by focusing within experience and hand strength are required. imaginations. Open to all skill levels. and images to find their voice during the and playing with possibilities. You will trust COURSE FEE: $525 COURSE FEE: $525 workshop. Open to all skill levels. the thread to tell your story. Open to all COURSE FEE: $525 skill levels, however free-motion quilting Peeta Tinay is a contemporary basket maker Janet Taylor lives in Spruce Pine, North experience a plus. COURSE FEE: $525 from Tacoma, Washington. She started Carolina, in the Blue Ridge Mountains where Jeanne Brady is an artist and university her career in 1990 restoring antique and she operates her studio. She recently retired educator of fibers living near Nashville, Paula Kovarik lives in Memphis, Tennessee. contemporary wicker furniture. Her baskets from university teaching after 40 years. Taylor Tennessee. Drawing, printing, text and imagery A degree in Graphic Design and 30 years represent many years of experimentation with is part-owner of a Co-Op Gallery in Asheville, have always been central to her art making, of experience with her own firm inform traditional forms and techniques to create called Ariel. She is a former board member of the and stretching the methods of screen printing, her approach to art. She has been profiled the unique and bold work she makes today. Southern Highlands Craft Guild. painting and mark-making to achieve the in American Craft, Fiber Art Now and Tinay exhibits nationally and leads workshops JANETTAYLORSTUDIO.COM effects she desires. Brady’s textile work ranges Art Quilting Studio magazines. Kovarik internationally. TINAYSTUDIO.COM from pieced and stitched wall art to sculptural is a featured artist in the book, “Art Quilts garments. She has won numerous awards and International: Abstract & Geometric.” Her exhibited both nationally and internationally. art has been selected and recognized in the JEANNEBRADYDESIGNS.COM exhibitions at Quilt National and ArtQuilt Elements. PAULAKOVARIK.COM “This weekend at the UC-VII Symposium was absolutely amazing. I came with the expectations of watching and listening to some of the leaders of the ceramic arts but I was surprised at the amount of open interaction between the artists and the audience. I was able to make connections with people I never dreamed of meeting, let alone having a private conversation with.” — DUSTIN THOMPSON, IDAHO STATE UNIVERSITY 4545
METALS, GLASS & ENAMELS
The Glass Studio at Arrowmont is named in honor of David Willard, Arrowmont’s Executive Director from 2001–2010. The staff and family at Arrowmont were saddened to hear of David’s passing in late 2017. It seems fitting, however, that the glass studio in 2018 is able to offer so many incredible workshops in memory of David. We have enameling, flameworking, fusing, cloissone, and even vitreography. The diverse offerings present the same warm energy that David himself brought to Arrowmont. METALS ∙ GLASS ∙ ENAMELS
APRIL 5 – 8 · WEEKEND APRIL 5 – 8 · WEEKEND JUNE 3 – 9 · ONE WEEK JUNE 3 – 9 · ONE WEEK
MAUREEN ADERMAN SARAH RACHEL BROWN JOHN COGSWELL HOLLY COOPER PMC & FUSED GLASS JEWELRY CAPTURED! HEART, HAND, & HAMMER: PATINA & PATTERN: FLAMEWORKING FORGING FOR JEWELRY APPLICATION ON THE CREATIVE EDGE Precious Metal Clay (PMC) is a unique form During this workshop students explore stone of clay, which when fired yields pure metal. In and alternative setting methods. Participants Forging is arguably the oldest metalworking Going beyond the boundaries of traditional this workshop students find that metal clay should bring small, coveted objects and technique. It is the classic method by which flameworking methods, students in this can be shaped just like any soft clay by hand prepare to put them in their place. Students metalsmiths hammer-form, or forge wire, rod workshop discover new bead ideas from or using molds. You will begin by making begin with a bezel and cabochon, and followed or ingots into elegant, lightweight, flexible traditional and exotic materials and use them multiple glass cabochons and using them by tab and prong settings to learn basic forms. During this workshop students will as a jumping off point to create their own to create stunning jewelry. Participants will metalsmithing skills and proper soldering focus on light forging to produce small unique works. Part of your investigation is complete multiple pieces of finished jewelry techniques. Students will explore outside to scale jewelry such as earrings, bracelets and how pattern, as stringer design, enhances these while receiving personal attention and having find discarded objects to incorporate into their neckpieces. Forging is a two-stage process. surface effects. Participants will investigate the time and space to work at their own pace. pieces, while also focusing on design elements. In the initial stage, the metal is shaped by a creative techniques for turning their beads into This class is a great way to learn about PMC, If you can hold it, you can capture it! Open to series of sequential hammering operations, jewelry using metals and other materials. The gain inspiration and express your creativity. all skill levels. COURSE FEE: $340 transforming it into an object which possesses focus is revelation and experimentation. Some The possibilities are endless. Open to all skill varied structural cross-sections and fluid flamework experience is required. levels. COURSE FEE: $375 Sarah Rachel Brown is a contemporary jeweler graceful contours. In the final stage, the COURSE FEE: $595 living in Philadelphia, Pennsylvania. She creates surface of the rough-forged form is refined Maureen Aderman is from Clarence, New York her limited-production jewelry alongside other by planishing: producing the characteristic Holly Cooper has been flameworking for 15 and is a full-time studio artist in East Amherst, jewelers as part of the JV Collective, located reflective, subtly hammer-textured surface. years. With a background in painting, art New York. She earned her BS in Studio Art from in the historic BOK building. Brown has been Open to all skill levels. COURSE FEE: $525 history, ceramics, textiles, jewelry and glass, Nazareth College of Rochester, and a BA and a core fellow at the Penland School of Crafts, she melds these disparate disciplines into her MFA in Art Education from the State University an Artist-in-Residence at Arrowmont, and has John Cogswell is a jeweler, silversmith, educator creative work. Cooper draws inspiration from a College at Buffalo. She has taught and assisted taught and exhibited her work nationally. and author/illustrator. Recently retired from variety of cultural and historical traditions and classes at various art conferences and schools SARAHRACHELBROWN.COM SUNY New Paltz, New York, he previously incorporates them into her glass beads. including Glass Craft and Bead Expo, Hot taught at Parsons School of Design, the Pratt HOLLYCOOPER.COM Glass Horizons, Pittsburg Glass Center and at Institute and Hofstra University. Cogswell is Arrowmont. HANDMADEBYMOE.COM also the former Director of the Jewelry and metalsmithing Department at the 92nd Street Y in New York City. 47
JUNE 10 – 16 · ONE WEEK JUNE 10 – 16 · ONE WEEK JUNE 17 – 23 · ONE WEEK JUNE 17 – 23 · ONE WEEK
LYNN BATCHELDER ASHLEY GILREATH JEAN FERNANDES JESSICA TOLBERT METAL | PAPER | PRINT FIELDS OF COLOR: CASTING GLASS: FROM POSITIVE THE SUM OF ITS PARTS SAW & SODER CHAMPLEVÉ TO NEGATIVE & BACK This workshop emphasizes the student’s Students in this workshop explore repetition, experimentation in the space between two Saw and solder champlevé is a specialized In this workshop students explore methods pattern, and rhythm as a technical and and three dimensions. Beginning with direct process in which enamels are inlaid and fired for translating ideas into cast glass objects conceptual method for creating jewelry. and experimental exercises and approaches into recessed areas in a metal surface. Using this through the kiln casting processes. Lectures Design exercises and material experiments to drawing on paper, participants explore the technique, these spaces are created by piercing and demonstrations cover strategies for mold lead participants to discover the possibilities of possibilities for translating line into metal a design with a jeweler’s saw, then soldering making, mold recipes, kiln set-up, annealing taking one action or element and multiplying through piercing, etching, roll printing and this design onto a flat background. Students schedules and finishing work in the cold shop. it into a whole. You will utilize a variety of wire-construction. In addition to creating a will learn many processes, including depletion Students will leave class with valuable ideas techniques to translate and incorporate into range of samples and wearable pieces, you gilding, how to apply and fire metallic foils and information, finished cast objects, and a ferrous and non-ferrous metal, including will have access to an etching press to print into enamel, and how to wash and wet pack thorough understanding of the positive and surface treatments, piercing, cold connections, your metal elements and create accompanying the glass. By learning basic color theory and negative relationship between the model and fabrication with silver soldering, and small- works on paper. Open to all skill levels. some sly tricks, you will gain more confidence the mold. Participants should bring several scale welding in steel using the Smith Little COURSE FEE: $525 in your enameling abilities. Students should sketches and found objects for inspiration and Torch. Students can expect to finish several have a basic skill set in both metalsmithing and idea development. Be prepared to have fun and samples and elements to incorporate into their Lynn Batchelder is an assistant professor of Metal enameling. COURSE FEE: $595 work hard. Open to all skill levels. work. Open to all skill levels. at SUNY New Paltz, New York. She has taught COURSE FEE: $595 COURSE FEE: $525 at University of Wisconsin-Stout, Peters Valley in Ashley Gilreath graduated with a degree from New Jersey and at Penland School of Crafts. She the Metal Design Program at East Carolina Jean Fernandes is an international artist who Jess Tolbert lives and works in El Paso, Texas is the recipient of the 2016 Art Jewelry Forum University and has since been an Artist-in- lives and works in Texas. She earned her BA in where she is visiting assistant professor and head Artist Award and was a SNAG Emerging Artist Residence at Lillstreet Art Center in Chicago Graphic Design at San Jose State University and of the Jewelry + Metals program at the University at SOFA Chicago. Batchelder has exhibited her and at Arrowmont. While she has lived in many an MFA in Glass at the University of Texas at of Texas, El Paso. She received her MFA in work nationally and internationally, with recent places, she currently works out of her home studio Arlington. She has exhibited internationally and Metal from the University of Illinois, Urbana- solo exhibitions at the Heidi Lowe Gallery in in South Carolina. ASHLEYGILREATH.COM has received numerous honors including a 2014 Champaign. Tolbert exhibits her work nationally Delaware and the Gallery at Reinstein|Ross in Bullseye Glass Emerge finalist, a 2014 Stanislav and internationally, including exhibitions at New York. LYNNBATCHELDER.COM Libensky Award finalist, and winner of a 2015 Munich Jewelry Week in Munich, Germany and NICHE Award. JEANFERNANDES.COM the Cheongju International Craft Biennale in South Korea. JESSTOLBERT.COM METALS ∙ GLASS ∙ ENAMELS
JUNE 24 – JULY 7 · TWO WEEKS JUNE 24 – JULY 7 · TWO WEEKS JULY 8 – 14 · ONE WEEK JULY 15 – 21 · ONE WEEK
JULIA HARRISON BARBARA MINOR LAUREN SELDON JESSICA CALDERWOOD CARVE YOUR NICHE FULL TILT ENAMELING: CUT, BEND, MELT & JOIN: CREATIVE MARK-MAKING IN ENAMEL LEARN, EXPLORE, & EXPAND WELDING FOR ALL The goal of this workshop is to make carving This intensive workshop focuses on different a versatile staple of the participant’s creative In this workshop, the focus is on learning, If you want to check off welding from your ways to make marks and render in vitreous practice. Students will develop safe metal and exploring and experimenting with traditional bucket list, then let’s do it together! This enamel. Starting with copper sheet metal, wood carving skills and efficient approaches for and experimental enameling techniques. hands-on introductory workshop provides demonstrations include sgraffito, etching every stage from layout to roughing to surface Students will create exciting surfaces and students the basics of cutting metal, tacking cream, underglaze pencils, ceramic oxides, detail. You will become familiar with hand and learn a variety of techniques. These include pieces of metal together, gas welding and MIG overglazes/china paint, glass beads and power tools, and carveable materials, working producing opaque and transparent enamels welding. Students are challenged to design ceramic decals. Students will create a series at a small scale that’s perfect for jewelry but on flat and formed surfaces, combining liquid and fabricate a sculptural work with select of experimental process samples to open their applicable to furniture or sculpture. Students and sifted powdered enamels, and exploring materials. Class discussions focus on safety, approach and to expand their visual language. examine how and why carving has been dry screen printing. Participants will also types of equipment, and how to properly Basic enameling experience preferred. pursued at different times and in different use silver and gold foil for color and texture operate the tools. Safety glasses, helmets and COURSE FEE: $595 cultures. You will leave with samples, at least variations, discover enamel shards, glass beads, gloves are provided; however, participants are one finished work, and a carving approach and copper screen inlay, and metal forming for encouraged to bring their own shields and Jessica Calderwood’s enamel work has customized to your personal aesthetic, budget enamels. Open to all skill levels. leather welding apparel if available. Let’s make been exhibited throughout the U.S. and and goals. Why just find your niche, when you COURSE FEE: $1100 art. Open to all skill levels. COURSE FEE: $525 internationally in curated and juried exhibitions. can carve one? Open to all skill levels. She has participated in artist residencies with the COURSE FEE: $1100 Barbara Minor concentrates on experimental Lauren McAdams Selden is an associate professor John Michael Kohler Arts/Industry Program and work and research in enameling. She is well of Jewelry and Metalworking at Stephen F. the Mesa Arts Center. Her work has also been Julia Harrison is a Seattle-based artist, educator known for her innovative enameled beads, her Austin State University in Nacogdoches, Texas. published in the Metalsmith, American Craft and Jewelry/Metals Manager for the Pratt Fine distinctive enameled jewelry and her unique Her work has been exhibited in solo, invitational and Niche magazines, the Ornament Magazine, Arts Center. She began carving almost twenty enameled vessels. Minor has exhibited widely and juried exhibitions at national and the Lark 500 series, and the “Art of Enameling.” years ago in austere living conditions and she and teaches frequently across the U.S. and international venues. Selden’s outdoor sculptures She is currently an associate professor of Art at still depends on the same low-tech approaches. abroad. Her work has been pictured in numerous have been on public display in various cities Ball State University. Harrison has presented workshops at Haystack, magazine articles and books, including “500 across the country, and two recent sculptures were JESSICACALDERWOOD.COM Penland, and the 92nd Street Y. Her recent Enameled Objects,” “The Art of Enameling,” and acquired by the San Marcos Arts Commission for carving projects range in scale from a quarter- “Art Jewelry Today.” their permanent sculpture collection. inch to six feet and feature coal, bamboo, wax BARBARAMINORENAMELS.COM SELDENART.COM and obsidian. JULIAHARRISON.NET 49
JULY 15 – 21 · ONE WEEK JULY 22 – 28 · ONE WEEK JULY 22 – 28 · ONE WEEK
YOU MIGHT ALSO BE INTERESTED IN THE FOLLOWING WORKSHOPS
JIE QI P.26
LISA KLAKULAK P.38
SARAH MARTIN P.57
KATJA TOPORSKI ERICA BELLO GAIL STOUFFER BARRY GROSS P.56 CHASING & REPOUSSE: FROM 2D TO 3D: HOLLOW FORMS GLASS IS YOUR CANVAS EXPLORING THE CONTEMPORARY AND FABRICATED VESSELS JULIA HARRISON P.48 THROUGH ANCIENT TECHNIQUE The purpose of this workshop is for students to This workshop takes students through learn the seven most important image-making During this workshop students explore various fabrication and soldering scenarios. techniques to utilize on the glass canvas. They contemporary ways of creating detailed Starting with simple hollow forms, students include screen printing, airbrushing, photo three-dimensional designs in sheet metal learn to perfect their torch skills and create resist, powder printing, custom decals, direct using chasing and repousse. You will learn 3-Dimensional objects from flat sheet. Metal painting, and masks and stenciling. During about the required tools needed including forming, scoring and bending are introduced class, participants will work with glass chasing hammers, pitch, and various stamping to explore more complex forms. You will work enamels, paints and powders, micas, stencil and chasing tools. The process involves to combine these construction techniques to cutters, frisket, and specialty films, and design transfer, working with pitch, lining, craft a lidded/hinged vessel as a final project. Photoshop software. You will create numerous repousse, chasing, texturing and planishing This course is designed for students with basic samples as well as complete works highlighting with punches. Participants will undertake metalsmithing skills. COURSE FEE: $525 your own personal history. Students must design exercises that explore forms found in bring a laptop to class with Photoshop contemporary design and architecture. Basic Erica Bello studied metalsmithing and jewelry software installed. Some glass fusing jewelry making skills are not a prerequisite and design at the Rochester Institute of Technology’s experience is necessary, but advanced skills are will be covered as required. Open to all skill School for American Crafts. She has received not necessary to succeed. COURSE FEE: $595 levels. COURSE FEE: $525 national recognition for her work in the form of awards, publications and lectures Gail Stouffer is an artist and educator based in Born in Frankfurt, Germany, Katja Toporski focused on her process. Bello lives in Baltimore, San Antonio, Texas. Her BFA and MA degrees is a jewelry maker, professor and writer living Maryland where she works as a studio artist fuel her joy for creating, and a passion to help just outside of Washington D.C. Her work is and instructor at the Baltimore Jewelry Center. others find their artistic voice. For the last 15 informed by philosophical thinking, and has been ERICABELLOJEWELRY.COM years, Gail has taught at fine art centers and shown in numerous exhibitions across the U.S. as commercial studios around the world. well as internationally. Her work is highlighted STOUFFERSTUDIOS.COM in many print and online publications, most recently in the 2016 edition of Exhibition in Print by Metalsmith magazine. KATJATOPORSKI.COM METALS ∙ GLASS ∙ ENAMELS
JULY 29 – AUGUST 4 · ONE WEEK JULY 29 – AUGUST 4 · ONE WEEK AUGUST 5 – 11 · ONE WEEK AUGUST 5 – 11 · ONE WEEK
LIBBY LEUCHTMAN C. JAMES MEYER LESLIE BOYD JENNIFER WELLS EXPLORATION OF GLASS SUBTRACTING & ADDING: WUNDERKAMMER BROSCHE! PLAYFUL ENAMELING BEADS & METAL CARVING & CONSTRUCTION A “wonder chamber” is a collection of relics, During this workshop students investigate In this workshop students learn how to The act of carving naturally leads to a different specimens, antiquities and artifacts. In this the world of possibilities for surface color and make glass beads appear like stones, quartz, visual vocabulary of form than that of workshop students are tasked with adapting design, when enameling techniques are mixed and semi-precious stones and how to wrap fabrication in sheet and wire. This workshop their own collections of nostalgia, ephemera and layered. Participants will work with liquid, the beads with wire in unique and different explores the carving of non-metal materials. and curiosities into a brooch. Through the powder, transparent, and opaque enamels ways. Participants will take their beads to This could be wood, plastic or Richlite® (a careful curation and treatment of small items, as well as watercolor and china paints. After the next level using wire and scrap metal and material comprised of re-cycled paper in a and the delicate and meaningful physical learning the proper application techniques incorporate them into unique and beautiful natural resin). Students will utilize forms and mechanical connections they create, the used for each, you will then be asked to break works of art. Techniques explored include resulting in pieces of jewelry or small-scale finished brooch will tell a story, commemorate the rules in as many ways as possible. Bring shaping, blowing glass shards and exploring objects. This includes forming with die-press, an event, or act as a portrait. Participants your sketchbooks, favorite photos, or work silver foil and silver glass. Students must have the use of stakes and hammers and forging. will discuss ideas of perceived, physical, from your imagination to develop your visual knowledge of making glass beads and working This course is designed for students with a and intrinsic value as they compose hoards. library. No previous experience with enamels with a torch. COURSE FEE: $595 basic knowledge of jewelry construction You will also learn a variety of traditional is required; all fundamentals will be covered in techniques that include soldering, basic and alternative setting techniques, and how demonstrations. Open to all skill levels. Libby Leuchtman has made glass beads for over forming and finishing of metal. to create pin stem mechanisms. A basic COURSE FEE: $525 21 years. She owns a glass studio and is the COURSE FEE: $525 knowledge of metal working and soldering is director of flameworking at the Third Degree required. COURSE FEE: $525 Jennifer Wells received her MFA in Glass Factory in St. Louis, Missouri where she C. James Meyer lives in Midlothian, Virginia Metalsmithing and Jewelry Design from East developed the teaching curriculum. Her beads and is a professor emeritus at Virginia Leslie Boyd is an artist and teacher born and Carolina University. She has taught in various have been collected by the Kobe Glass Museum Commonwealth University where he was the raised in Philadelphia, Pennsylvania. She capacities there and at Indiana University. Wells and the ISGB President’s Collection at Corning. former head of the Metal and Jewelry Program. earned a BFA in Metalsmithing + Jewelry at has also completed residencies at Arrowmont, Leuchtmann has taught at Arrowmont, Snow He currently maintains a studio and teaches Pratt Institute and her MFA at the Rhode Island Pocosin Arts and the Jentel Foundation. She was Farm, Pilchuck, Pittsburgh Glass and several in the University of Georgia Studies Abroad School of Design. Boyd teaches and coordinates also summer assistant for Haystack Mountain glass studios throughout the U.S., and has been Program in Cortona, Italy as well as conducting the Jewelry Program at Towson University in School of Crafts. JENNWELLS.COM published in several books. workshops at the Penland School of Crafts, Maryland. She makes sculpture, jewelry and Arrowmont, the Peters Valley School of Crafts wearables about gender, stereotypes and cultural and at the Touchstone Center for Crafts. appropriation in her South Philly studio. LESLIEDBOYD.COM 51
AUGUST 12 – 18 · ONE WEEK AUGUST 12 – 18 · ONE WEEK AUGUST 30 – SEPTEMBER 2 · WEEKEND AUGUST 30 – SEPTEMBER 2 · WEEKEND
HANNAH MARIE SMITH DEMITRA THOMLOUDIS ALICIA JANE BOSWELL ANNA JOHNSON UNDER PRESSURE: GLASS & PRINT CULLING THE SAND: ETCH IT, FOLD IT, STITCH IT, SET & WEAR SITE, PLACE, IDENTITY ENAMEL IT. REPEAT! During this workshop, that combines glass and The world of setting objects in jewelry is paper, students are introduced to vitreography, Is there something to be gained today from Students will begin by learning the process full of endless possibilities. During this a printmaking process that capitalizes on looking at the way contemporary jewelry of salt-water etching ferrous and non-ferrous workshop students will learn technical skills the unique physical properties of glass, and responds to place? In this workshop students sheet metal to create exciting imagery and and imaginative problem solving to create offers artists and printmakers a new way of investigate their shared and individual patterns for small-scale objects or jewelry. finished pieces of unique jewelry that revolve working with color, pattern and texture. You relationships to site, place and personal Participants will explore three-dimensional around the setting. You will also practice will discover how imagery is etched onto the identity with the intention of creating works possibilities with their etched metal using the techniques of hand and soldering skills. surface of thick glass plates through a variety made to be worn on the body. Students will “score and fold,” “tab and fold,” or simple Participants should bring objects that they of cold working techniques that include conduct site-specific investigations and create “stitching” techniques before applying subtle would like to incorporate into a wearable sandblasting, diamond tip engraving, and material samples to later introduce them into layers of vitreous enamel. This class focuses on piece — anything from gemstones to toys to acid etching. Then, participants will use the the format of jewelry. Techniques introduced methods of achieving simple forms and color, natural material — which will serve as the plates to create inked impressions on paper. include color on metal, fold forming, silicone although participants will leave with a clear foundation for designs. Open to all skill levels. Through small scale-investigations, students mold making and plastic casting. Open to understanding of the traditional enameling COURSE FEE: $340 will complete multiple prints. Open to all skill all skill levels, however introductory metals technique of Champlevé’. Open to all skill levels. COURSE FEE: $595 techniques preferred. COURSE FEE: $525 levels. COURSE FEE: $375 Anna Johnson is a full-time studio artist living in Asheville, North Carolina. She received her BFA Hannah Marie Smith received her BFA in Demitra Thomloudis is a studio jeweler and an Alicia Jane Boswell is a studio jeweler, enamelist from Appalachian State University and now Printmaking from Plymouth State University assistant professor in Jewelry and Metalwork and artist/educator. She was the 2016/17 Artist- exhibits nationally. Her work has appeared in in New Hampshire. She lives in Boston, at the Lamar Dodd School of Art at the in-Residence in Jewelry and Metalsmithing numerous publications, including the American Massachusetts and is exhibiting and teaching University of Georgia. She received her MFA at the Armory Art Center. She received her Craft magazine. Johnson has taught at Penland workshops nationally. She has been an Artist-in- from San Diego State University and a BFA MFA in Metalsmithing and Jewelry from School of Crafts and Haywood Community Residence at The Holderness School, Grin City from the Cleveland Institute of Art. Her work UMASS Dartmouth and has been a visiting College. ANNAJOHNSONJEWELRY.COM Collective, and Pyramid Atlantic Art Center. Her is recognized nationally and internationally instructor at arts/crafts centers around the U.S. work has been shown throughout New England, and has been invited to exhibit, lecture and and internationally. Her work is in private/ including shows at 808 Gallery in Boston. teach at The Museum of Modern Art in Arnhem, public collections including the Enamel Arts HMARIESMITH.COM Netherlands; the Benaki Museum in Athens, Foundation and the Lace Museum. She is also Greece; and the National Hellenic Museum in a former Artist-in-Residence at Arrowmont. Melbourne, Australia. DEMIDEMI.NET ALICIAJANEBOSWELL.COM SEPTEMBER 9 – 15 · ONE WEEK SEPTEMBER 9 – 15 · ONE WEEK SEPTEMBER 16 – 22 · ONE WEEK
DAVID JONES SHIRLEY WEBSTER RICKY FRANK FASCINATING WORLD OF FABRICATION CUTTING EDGE: PUSHING DICHRONIC CREATIVE ENAMEL COLOR: GLASS TO NEW DIMENSIONS CLOISONNÉ & BEYOND Looking at the history of the studio movement in the U.S. and abroad, students During this workshop students discover the In this workshop students will apply creative will dive into the beautiful limitless world wonders of dichroic glass fusing through enamel color to cloisonné and champlevé of metal fabrication. The workshop focuses newly-developed techniques. This class is projects (including argentium and metal clay) on traditional and inventive metalsmithing full of discovery through manipulation of using transparent, opaque and opalescent techniques and approaches, while participants this fascinating medium. Exploring the enamel colors. Using this enamel color create jewelry and smaller scale sculptural unique skills to grow your creativity and glass vocabulary, you will blend, gradate, layer, items. Techniques presented include sawing, artistry, you will delve into the elements of band and bridge to create a never-ending forging, soldering, forming, wire and sheet light and space to reveal the stunning effects. array of color possibilities. Participants can metal, cold connecting and stamping. There is Participants are encouraged to experiment also experiment freely building up layers to a strong emphasis on using recycled metals and with their own ideas. Intermediate to create personal imagery and expressive design. materials, and advice on where to source these advanced glass fusing skills are necessary, There will be demonstrations on using both metals. Demonstrations will help build your however no experience with dichroic glass is commercial and hand-made foils. Class will knowledge and personal narrative. Open to all required. COURSE FEE: $595 also include lectures, video, handouts and lots skill levels, however metalsmithing skills are a of hands-on “making” time. Many students plus. COURSE FEE: $525 Shirley Webster has been a pioneer in the use of will leave with 10‒20 samples. Open to all dichroic glass fusing for more than 30 years. As a skill levels. COURSE FEE: $595 David Jones received his BFA from the University unique and highly rated instructor, she genuinely of Pennsylvania and an MFA in Jewelry and enjoys sharing her knowledge, expertise and Ricky Frank is a master enamelist and has Metalsmithing at the Tyler School of Art in techniques with glass. Originally, from Chicago made cloisonné jewelry for over 35 years. As a Philadelphia. Since 1988, he has been studying and Pasadena she now teaches out of Sarasota, self-taught artist, he has exhibited his award- and teaching at Penland. In 2012, he was a Florida. winning jewelry at the Smithsonian Craft Show professor of Jewelry and Metals in Cortona, Italy and the Philadelphia Museum Craft Show. He through the University of Georgia studies abroad is a frequent instructor at Arrowmont and has program. Jones works on private commissions and taught at the Florida Society of Goldsmiths, Rio creates architectural lighting with BAMO, Inc. Grande Jewelry and at the Enamelist Society ETSY.COM/SHOP/THERINGFORGE Conference. RICKYFRANK.COM 53
SEPTEMBER 16 – 22 · ONE WEEK OCTOBER 14 – 20 · ONE WEEK OCTOBER 21 – 27 · ONE WEEK
RACHEL SHIMPOCK MARY HETTMANSPERGER & ROBERT DANCIK MAUREEN ADERMAN SHAKE & SHOOT: ADVENTURES IN THE MATERIAL WORLD THE FUNDAMENTALS OF FUSED GLASS POWDERCOATING TWO WAYS! How do you attach various items to each other in a permanent manner while maintaining the This workshop explores the fundamentals During this workshop students learn methods integrity of the most delicate materials and designs? During this workshop students will answer of the glass fusing process and methods of to apply powdercoat. Powdercoat is durable this question while exploring soldering, cold connections, weaving, tying and wrapping, and using kilnforming glass. Students will become and versatile and can be applied to metal, adhesives, epoxies, concrete, polymer clays, and Plexiglass®. You will discover various materials and familiar with the basic chemistry of various glass, wood, cork, shells, stone and concrete… learn techniques to combine them with copper, brass and sterling silver using traditional and non- glasses and gain an understanding of the firing anything that can fit in a common toaster traditional metalsmithing techniques. Participants will learn to use alternative surfaces including process as well as developing firing schedules oven and withstand 400° F. After the base embossing, torch fire enamels, rusting, patinas and paints to enhance their work and to become for kilns. You will explore incorporating coat is laid, many manipulations can occur part of the aesthetic of the piece. Class discussions include how to incorporate various elements different forms of glass such as frits, rods, to take it to the next level. Students will learn to enhance the design of a piece. Techniques presented range from how to incorporate a butterfly stringers and sheet glass into your artwork. techniques, tips, tricks, and stories of victory wing or a photo of your mom, to including a Cracker Jacks prize, gemstone, or a rusty nail. Open Techniques covered include full fusing, tack sure to comfort and push them forward to to all skill levels. COURSE FEE: $525 fusing, using molds to kilnform, sandblasting, success! Open to all skill levels. and finishing skills using multiple cold- COURSE FEE: $525 Mary Hettmansperger is the owner of Gallery Robert Dancik lives in Beacon Falls, Connecticut working tools. Designed for beginners in 64 in Wabash, Indiana. She has been teaching and is an artist/educator, author and developer search of a sound base to build on and Rachel Shimpock is a professor of Metals and internationally for over 30 years in Australia, of materials for artists including Faux Bone™ seasoned glass artists in need of review, this Jewelry at California State University Long New Zealand, Ireland, the U.K. and Singapore. and Solid Expressions Concrete™. He teaches class is a great way to learn new skills, gain Beach where she received a BFA in Metals and She has conducted workshops at Arrowmont, workshops nationally and internationally and inspiration and express your creativity with Jewelry. She is a California native and received Penland School of Crafts and at national and his work can be seen in numerous books and glass. Open to all skill levels. her MFA in the Jewelry/Metals program at regional Fiber Conferences, Art and Craft publications as well as in museums and private COURSE FEE: $595 San Diego State University. Her work has been Schools, and private Guilds. Hettmansperger has collections. Dancik is the author of “Amulets and shown across the country and is part of the also produced three DVDs on surface design and Talismans: Techniques for Creating Meaningful Maureen Aderman is a full-time studio artist. collection in Oregon Museum of Contemporary jewelry for Interweave. MARYHETTS.COM Jewelry.” FAUXBONE.COM She earned her BS in Studio Art from Nazareth Craft and The Enamel Arts Society in Los College of Rochester, and a BA and MFA in Art Angeles. RACHELSHIMPOCK.COM Education from the State University College at Buffalo. She has taught classes across the country. HANDMADEBYMOE.COM “I love Arrowmont School of Arts and Crafts. I started taking classes about 20 years ago, and it has changed my life. Not only have I learned a craft, I have made lifelong friends. I have laughed and let go of my “real world” stresses; I have relaxed among like-minded peers. I always breathe a sigh of relief when I drive onto Campus!” — JANET HARPER, CERAMIC ARTIST AND ARROWMONT BOARD MEMBER 5555
WOOD
We were happy to have Jim Scarsella join Arrowmont as Deputy Director in the fall of 2017. He joins our studio technician Heather Ashworth as another great staff member who is also a wood artist. And he will prove it as well — as he teaches the weekend woodturning workshop in the fall! Jim joins a hearty schedule of national wood instructors teaching woodturning and woodworking techniques every week of national workshops. We also continue to deepen the possibilities of our woodworking studio — from automata to boat building, from steam bending to detailed carving — you will find it happening in our wood complex. WOOD
APRIL 5 – 8 · WEEKEND APRIL 5 – 8 · WEEKEND JUNE 3 – 9 · ONE WEEK JUNE 3 – 9 · ONE WEEK
RANDY OGLE BILL WALLACE TRENT BOSCH BARRY GROSS WOODWORKING 101 HAVE A SEAT! STOOL WORKSHOP PERSONAL EXPLORATION OF PEN MAKING: THE NEXT LEVEL VESSELS & SURFACES During this workshop students will make a During this workshop students will have In this workshop students learn the art of pen basic 12 x12 cutting board and then explore several design options available to make their The goal of this workshop is for students to making. Students will work with a variety of their creative side on creating a second one. own stools. They include a tapered wedged master the turning process of the hollow form materials including exotic wood, stabilized You will use a planer, bandsaw, drillpress and mortise and tenon joint to attach the legs to using good technique and technology to make wood, biologicals, acrylics and laser cut pen a variety of sanders to create one-of-a-kind the seat, and a tapered tenon will be turned it easier, better and faster than ever before. The kits. Demonstrations throughout the week pieces. Over-sized salad forks might also be on the lathe. Participants can build their stool hollow form, or vessel, is a wonderful object to include stabilization and casting. Mastering made using the same equipment. Students legs by turning on a shave horse using a draw use as a canvas for multiple types of decorative a CA glue pen finish will be emphasized. will gain a better understanding of basic knife, spoke shave or hand planes. You can possibilities, from coloring to carving, to Mark Gisi, a master at segmenting, and Dan woodworking learning by exploring what construct the seat by turning or in free form. sandblasting, the possibilities are endless. After Symonds, an expert of fountain pens, are works and what doesn’t. Open to all skill Prior turning experience is helpful but not you create that object, you will decide how assistant instructors. Discussions include levels. COURSE FEE: $375 necessary. Open to all skill levels. to take it to the next level and be encouraged marketing tips and tricks, and how to COURSE FEE: $375 to design objects that are meaningful to you. best display and sell your one-of-a-kind Randy Ogle is a fourth-generation woodworker Recent experience is recommended, as this masterpieces! Open to all skill levels, however and owner of The Chair Shop in Gatlinburg, Bill Wallace is a full-time woodworker and is a fast-paced class and students will explore basic skills of pen making is a plus. Tennessee. He has been making furniture for over teacher. His shop is located outside of Wake advanced concepts. COURSE FEE: $595 COURSE FEE: $595 45 years, using some of the same tools as his father Forest, North Carolina. He and his brother and grandfather. A member of the Southern started turning classes at Alamance Community Trent Bosch has been woodturning professionally Barry Gross started creating his fine writing Highland Craft Guild, Ogle is a frequent College in 1981 and at North Carolina State for 25 years and earned his BFA from Colorado instruments 20 years ago working with exotic Arrowmont woodworking and woodturning University in 1986 and he continues to teach at State University. His work is displayed in woods. In 2012, he was a double NICHE instructor. OGLESCHAIRSHOP.COM both locations. Wallace has assisted Bob Lockhart numerous fine art galleries, the permanent Award finalist and was commissioned by The in the stone carving class at Arrowmont for the collections of museums and craft centers and White House to make pens for foreign dignitaries last several years. Recently, he was recognized in many private collections worldwide. Bosch by former Vice President Dick Cheney. In at the Raleigh Environmental Awards for a has taught and demonstrated his techniques for 2014‒2015, Gross was accepted as a member of decade of craftsmanship and for demonstrating turning and sculpting wood throughout the U.S. Who’s Who for Outstanding Achievements in the environmental stewardship. and abroad. TRENTBOSCH.COM field of woodturning.BGARTFORMS.COM NEWLIGHTWOODWORKS.COM 57
JUNE 10 – 16 · ONE WEEK JUNE 17 – 23 · ONE WEEK JUNE 17 – 23 · ONE WEEK JUNE 24 – JUNE 30 · ONE WEEK
BEN BLACKMAR JANICE LEVI SARAH MARTIN DAVID ELLSWORTH TRIPOD CANDLESTAND TABLE TURNIN’ & BURNIN’: WEARABLE ART BIRDS, BUGS & BEASTS: WOODTURNING: OPEN BOWLS CARVING THE NATURAL TO HOLLOW FORMS In this workshop students build a traditional In this workshop students will create wearable candle stand table with turned base and art while learning basic and advanced In this basic carving workshop students will This workshop emphasizes making open bowls dovetailed leg joinery. Traditional joinery pyrography techniques used to decorate it. observe their environment and learn how to and hollow forms. Working with fresh-cut methods and the use of hand tools, such as The art will include a barrel-shaped purse and represent its forms, textures and details in all green logs, students will learn the location of chisels and hand planes, are covered so that jewelry such as a bangle, pendant or earring their richness. You will explore both bas relief their bowls and vessels within the logs, and participants can build a beautiful heirloom set. Because a purse is initially a large lidded and carving in the round on a small scale, process them on the lathe using a versatile table. Discussions include project planning box with some modifications, participants will with tools ranging from the traditional to the “Signature” gouge and various hollowing tools. and design, wood selection, preparation and learn to turn by using hollowing equipment mechanical. Mixed materials are welcome as Class topics include object and tool design, glue-ups. Students will learn new skills on the and spindle turning tools. The jewelry additions to your creations. This is a perfect attaching devices, sanding and finishing, lathe, bandsaw and router table. This gateway pieces require cross grain work, so you can class for bringing the natural world inside measuring wall thickness, and working with class will take your ability to the next level improve your bowl gouge techniques. Since and learning how to integrate detail into your green wood…and other student suggestions by expanding your furniture making skills. pyrography is an excellent enhancement large work, to create a narrative, and to learn during five exciting days of making shavings. Intermediate woodworking experience and technique, students will learn how to apply the fundamentals of carving. Open to all skill Open to all skill levels. COURSE FEE: $595 basic experience using a lathe is recommended. patterns to their pieces and how to burn them levels. COURSE FEE: $595 COURSE FEE: $595 successfully. Open to all skill levels. David Ellsworth operates his own private COURSE FEE: $595 Sarah Martin is an assistant professor at Murray school of woodturning at his studio in Buck’s Ben Blackmar lives in Asheville, North Carolina State University in Murray, Kentucky. She has County, Pennsylvania. He has become known and is the manager of the Molding Department Janice Levi has been a drama teacher and previously taught at the University of the Arts as one of the premier designers of hollow in a custom woodworking shop. He has served as school counselor for at-risk students. She in Philadelphia and the Western Piedmont wooden vessel forms. Ellsworth is a fellow and staff editor for Fine Woodworking® Magazine. began turning 16 years ago and has a special Community College in North Carolina. She is former trustee of the American Craft Council Blackmar was formally trained in traditional interest in wearable art and pyrography. Levi a former Artist-in-Residence at Penland and and received the prestigious Master of the old-world furniture making at North Bennet is a member of AAW, Gulf Coast Woodturners teaches workshops nationally. Medium award in wood. He is the recipient Street School in Boston, Massachusetts. In located in Houston, Texas and the Brazos SARAHMARTINSTUDIO.COM of the Lifetime Membership Award from 2015, he was the recipient of a year-long craft Valley Woodturners located in Waco, Texas. the American Association of Woodturners. fellowship at Warren Wilson College. She demonstrates in clubs and symposiums and ELLSWORTHSTUDIOS.COM BLACKMARSTUDIO.COM teaches classes in woodturning. JANICELEVI.COM WOOD
JUNE 24 – JULY 7 · TWO WEEKS JULY 8 – 14 · ONE WEEK JULY 8 – 14 · ONE WEEK JULY 15 – 21 · ONE WEEK
BILL THOMAS JACKSON MARTIN HARVEY MEYER MICHAEL CULLEN BUILD YOUR OWN FOX CANOE WARPED WOOD THE BASKET ILLUSION CARVING, COLOR & BOXES, OH MY!
During this workshop students build their own In this class students are introduced to If you like basketry, then in this workshop In this workshop students investigate fox canoe. It is a decked double paddle canoe, controlled warps in wood using steam-bending you can discover the secrets of the “basket different approaches and forms that a box much like a kayak with a more open cockpit. It techniques and equipment. Using hardwoods illusion.” Students will turn a 9‒10" platter, can take using hand tools and machines. You measures 14' 7" long, with a 30" beam and an such as oak, ash, walnut and cherry, students then learn to cut beads on the lathe. Skills will also explore ideas in box making that 80" cockpit weighing just over 40 pounds. The will experience and participate in unbelievable learned include grid patterns, burn lines for fall outside the typical six-sided container. canoe is intended for protected waters along permanent bends using compression straps definition, dyed patterns with appropriate The focus is on carving pattern and applying the coast, for lakes and appealing backwaters and plywood jigs. Students will then utilize colors, and if desired, filling the background color to the surface in a myriad of ways. and creeks that you have been meaning to these techniques along with the various with more burn lines. Design inspiration and Participants will sculpt pieces to create explore. Participants will construct their boat woodshop tools and equipment to craft finishing techniques are also covered. Students pleasing curves and unusual shapes that using stitch-and-glue with planks glued to fully beautiful, hand-made sculpture. Open to all will complete at least one “basket illusion” are fun. Tools used include carving tools, assemble during class. Each student leaves with skill levels. COURSE FEE: $595 platter during class. This project includes a fair chisels, spoke shaves, files and rasps, and their own boat and a deeper understanding of amount of time spent off the lathe. Some bowl some machinery. This class is perfect for the boat construction. You will complete paint and Jackson Martin received his BFA from Middle or platter turning, and sharpening experience beginner who is curious and the expert who varnish at home. No boat building experience Tennessee State University and his MFA from is highly recommended. COURSE FEE: $595 is looking to create something new and fresh. needed. Open to all skill levels. Please note the Maryland Institute College of Art. He Open to all skill levels. that the cost for the boat kit and materials are has exhibited at Sculpture by the Sea, Urban Harvey Meyer was a woodworker for many COURSE FEE: $595 $1375–$1500. COURSE FEE: $1100 Institute for Contemporary Arts and Pratt years before he started woodturning in 2000. Institute Sculpture Park. He has taught at East He turns many types of forms and objects, but Michael Cullen makes furniture and sculpture Bill Thomas is a designer, maker and teacher Tennessee State University, College of Charleston hollow vessels are a favorite. For the last several in his workshop in Petaluma, California. He who lives and works in rural Maine. He has been and Penland School of Crafts. Martin now years, Meyer has focused on the basket illusion, received his BS in Mechanical Engineering a self-employed and largely self-taught custom lives in Asheville, North Carolina where he is in which a turned piece attempts to resemble a from the University of California Santa woodworker, cabinetmaker and boatbuilder an assistant professor of Art at the University of woven basket. He works in his home studio in Barbara and worked in machine design before for nearly 40 years. Being an avid sea kayaker North Carolina. JACKSONMARTIN.COM Dunwoody, Georgia. Meyer is an active member pursuing a career in studio furniture. Cullen and boater, he designs kayaks, canoes and other of the Georgia Association of Woodturners, the divides his time by creating furniture, teaching small boats. Bill teaches woodworking and Atlanta Woodturners Guild, and the American and writing articles on design and technique. boatbuilding in his own shop, at the WoodenBoat Association of Woodturners. HARVEYMEYER.COM MICHAELCULLENDESIGN.COM School and in other venues across the U.S. BILLTHOMASMAKER.COM 59
JULY 15 – 21 · ONE WEEK JULY 22 – 28 · ONE WEEK
MICHAEL GIBSON JOSH ALMOND & MARCO ROSICHELLI THE MAKING OF A TEAPOT WOOD ‘N PUPPETS
The purpose of this workshop is for students In this workshop students use wood to create playful, interactive sculptures and mechanical toys. to learn how to make a realistic teapot from You will learn about a variety of simple mechanisms including gears, cams, pistons and pulleys the log to the finish. A strong emphasis is that can be used to automate your sculptures. Participants begin with simple mechanical motion placed on form and quality. Participants will and then (time permitting) will be introduced to motorized and perhaps fully-automated motion. learn hollowing techniques, rotary power This class combines carving techniques, basic joinery, artistic expression, and just enough carving and put them into practice, with ample mechanical engineering to create fun and poignant works of art. Open to all skill levels. opportunity to express their own style. Tips COURSE FEE: $595 and techniques are explored in making a teapot that could be applied in many other forms Josh Almond works primarily in wood to create Marco Rosichelli lives in Kansas City, Missouri of woodturning. Lathe safety and basic skills furniture, boats and large-scale sculptural forms. and is an assistant professor and foundations required. COURSE FEE: $595 His work has been featured in solo exhibitions at coordinator at The University of Central the Appalachian Center for Craft in Smithville, Missouri. Rosichelli’s art is conceptually Michael Gibson is an Englishman who lives Tennessee and the Coconino Center for the Arts driven, responding to site with playful results in Hoschton, Georgia and is a professional in Flagstaff, Arizona, among others. He is an employing a myriad of handmade, fabricated woodturner. He has been an instructor at associate professor of Art at Rollins College in and repurposed components. His work spans Arrowmont and a featured demonstrator at Winter Park, Florida where he teaches sculpture a range of modalities from social sculpture to several state and international symposiums in the and three-dimensional design classes. institutional critique and the production of U.S. and abroad including Canada, Norway, JOSHALMOND.COM fine art objects. He has exhibited his work both England, Turkey and New Zealand. nationally and internationally with exhibitions MICHAELGIBSONWOODTURNER.COM in China, Seattle, Chicago and New York. ROSICHELLI.COM WOOD
JULY 22 – 28 · ONE WEEK JULY 29 – AUGUST 4 · ONE WEEK JULY 29 – AUGUST 4 · ONE WEEK
ROBERT LYON & DOUG FINKEL ALICIA DIETZ AARON HAMMER WOODSHAPING: EXPLORING TECHNIQUES FOR HAND & MACHINE HAND & POWER CARVING INTRODUCTION TO CREATIVE FOR THE KITCHEN EXPLORATION IN WOODTURNING
When hand and tool work together in harmony, the results can be extraordinarily rewarding. Carving is a wonderful introduction to In this workshop students learn the basic The purpose of this workshop is to provide a foundation upon which all wood shaping skills woodworking, combining both hand and skills of turning wood on a lathe. The focus is can be built. Participants will explore a variety of methods and techniques, from traditional machine work. In this workshop students on gaining familiarity with the lathe, safety, to contemporary, by which to shape wood into an object that is useful and beautiful. Students learn to use hand tools such as chisels, gouges, sharpening tools, basic cuts, wood selection, learn to safely saw, split, mill, turn on a lathe, band saw, grind, sand, rasp, file and carve wood rasps and files as well as power carving bowl blank preparation and mounting into bowls, spoons, spatulas, spreaders, ladles, and other functional, ornamental and sculptural grinders to hollow, shape and develop a form. techniques. During class you will practice objects. Surface embellishments such as scorching, coloring, bleaching, pyrography and various You will explore the joy of carving wood as and refine your techniques and complete finishes will be demonstrated and discussed. Open to all skill levels.COURSE FEE: $595 well as incorporating mixed media into your multiple projects that include bottle stoppers, projects using milk paint, image transfers corkscrews, doorstops, oil lamps, natural- Robert F. Lyon received an MFA from the Douglas Finkel has been a woodworking and concrete. Your next meal might include edge and traditional bowls. Students will be Tyler School of Art, and is a distinguished artist and teacher for over 20 years. His a hand-carved spoon, bowl, serving platter, encouraged to build confidence and explore professor emeritus from the University of South work can be found in numerous collections or other kitchen wares that you create! No their potential with the medium through Carolina. His work has been featured at the including the Renwick Gallery of the previous woodworking experience required. spindle and faceplate turning. Open to all skill Center for Art in Wood, Blue Spiral 1 Gallery, Smithsonian American Art Museum. He Open to all skill levels. COURSE FEE: $595 levels. COURSE FEE: $595 Vero Beach Museum of Art, New Orleans has taught pre-first, middle school, high Museum of Art and the Columbia Museum school, and as adjunct faculty at Virginia Alicia Dietz lives in Richmond, Virginia and Aaron Hammer lives in Hilo on the Big Island of Art. He was awarded the 2014 Individual Commonwealth University. He currently earned a BSJ in Advertising and Journalism of Hawaii. He has operated his professional wood Fellowship in Craft from the South Carolina teaches woodworking full-time at St. Paul’s from Ohio University and an MFA in Craft and turning studio since 2000 and makes artistic Arts Commission. ROBERTFLYON.COM School near Baltimore, Maryland. Material Studies from Virginia Commonwealth and functional bowls, gift items and jewelry. University. She served in the U.S. Army for 10 Hammer has a passion for working on the lathe years as an officer, Blackhawk maintenance test and loves to share his experience and to guide pilot and commander. Dietz’s current practice is others to the joys of woodturning. a mix of fine furniture and art. Her latest project, YOUTUBE: AARON HAMMER/HAMMERCRAFT Collective Cadence, is a compilation of personal experiences told by active duty soldiers, veterans and their families. ALICIADIETZSTUDIOS.COM 61
AUGUST 5 – 11 · ONE WEEK AUGUST 5 – 11 · ONE WEEK AUGUST 12 – 18 · ONE WEEK AUGUST 12 – 18 · ONE WEEK
BETH IRELAND KIMBERLY WINKLE DOUG HALL JASON SWANSON SCULPTURAL WOODTURNING WOODWORKING NITTY GRITTY: TABLES HANDCRAFT A BAMBOO FLY ROD STAVED SEGMENTATION TURNING FOR THE KITCHEN This workshop explores the sculptural forms This workshop provides a fun and A handcrafted bamboo fly rod is considered made available using the lathe as a tool of supportive atmosphere for students to learn the ultimate example of tradition in the world During this workshop students spend the sculpture and carving, and not just the source the fundamentals of woodworking while of fly-fishing. In this workshop students will week immersed in segmented turning projects of round objects. Students will learn simple constructing a small table. This course covers build an instant heirloom using high quality for kitchen use. Most, if not all the projects, tool making, spindle turning and progress wood preparation, joinery, finishing and tools including Starrett Measurers and antique are perfect for beginners or seasoned turners to offset turning, graphing and carving stresses the safe and proper use of power hand planes. Beginning with raw materials, that want to try their hand at segmentation. techniques. Through exercises, you will tools and hand tools. While learning these you will refine them into a split can rod and Projects that students might undertake include develop the skill and understanding necessary techniques, you will design and build your leave class with a two-piece, one tip rod ready peppermills, honey dippers, pizza cutters, ice to tackle directed projects. The fundamentals own table utilizing traditional mortise and for final finishing. Open to all skill levels. cream scoops, toothpick holders, pens and of art, as they relate to sculpture, is introduced tenon joinery. The goal is for participants Please note that the cost for materials will be wine bottle stoppers. Participants should come and each participant is encouraged to develop to gain confidence and competence in the $400‒$450. COURSE FEE: $595 to learn the secrets of segmented woodturning a personal visual language to create functional woodworking shop while transforming raw and how fun and easy it can be. Open to all or non-functional objects in a safe supportive materials into a beautiful table. Open to all Doug Hall has been handcrafting split cane fly skill levels. COURSE FEE: $595 atmosphere. Open to all skill levels. skill levels. COURSE FEE: $595 rods for over 20 years and they are appreciated by COURSE FEE: $595 collectors and traditionalists around the world. Jason Swanson lives in Racine, Wisconsin and Kimberly Winkle is an associate professor of Teaching rod making is his way of ensuring that has been working with wood since the age of 12. Beth Ireland lives in Roslindale, Massachusetts Art at Tennessee Tech University and earned the craft and its heritage survive. He has been He is a member of the American Association and earned her undergraduate degree from the an MFA in Furniture Design from San Diego selected three times as an international maker to of Woodturners, regional woodturning clubs State University College at Buffalo and an MFA State University. She has been a resident artist create the “Makers Rod.” and is the past-president of the Milwaukee in Sculpture from the Massachusetts College of at the Appalachian Center for Craft, Purchase BAMBOORODMAKER.COM Area Woodturners. A specialty of Swanson’s Art. Since starting her company in 1983, Beth College New York, Vermont Studio Center, and is segmented turning and is recognized as the Ireland Woodworking specializes in architectural an International Turning Exchange fellow at the “segmented-peppermill guy.” He works at a and artistic woodturning. She teaches a three- Center for Art in Wood. She was the recipient hardwoods dealership and enjoys interacting with month Professional Woodturning Intensive at of the John D. Mineck Furniture Fellowship the public and teaching woodworking techniques. The Center for Furniture Craftsmanship. through the Society of Arts and Crafts, a WIWOODGUY.COM BETHIRELAND.NET Tennessee Individual Artist Fellowship, and has several NICHE awards. KIMBERLYWINKLE.COM AUGUST 30 – SEPTEMBER 2 · WEEKEND AUGUST 30 – SEPTEMBER 2 · WEEKEND
ELEANOR RICHARDS JIM SCARSELLA BENCH TIME THINKING (& TURNING) OUTSIDE THE BOX Students in this workshop will design and make a small bench. A four-legged seat opens The goal of this workshop is for students to up the possibility for adventurous surface complete a deep study of the woodturned box. explorations of animated forms made in wood. Course topics include design, wood selection The class covers wood milling processes, and grain orientation, turning methods, fit wedged mortise and tenon joinery, and carving and finish, and ornamenting with knobs and techniques. Surface treatment demonstrations finials. Students will complete several boxes allow participants to add flair and finish to during the class, and most importantly leave the bench of their design. Discussion of the with a comprehensive understanding of this physical properties of wood will lead students woodturned form. Some prior experience at to create work that matches its exciting and the lathe is beneficial, however the class is open varied characteristics. Open to all skill levels. to all skill levels. COURSE FEE: $375 COURSE FEE: $375 Jim Scarsella has been a lifelong woodworker, Eleanor Richards is a Penland-based artist and has been turning for 10 years. He is the and her furniture and sculptures are exhibited deputy director of Arrowmont and has taught widely, including recent exhibitions at the Mint workshops throughout the country. Concentrating Museum, the Center for Craft, Creativity, and mainly on hollow forms and boxes, his work has Design, and SOFA Chicago. She received an been featured in national and international MFA from Arizona State University and has publications and has won several juried awards. been a resident artist at various institutions JIMSCARSELLA.COM across the U.S. Richards has taught at the Appalachian Center for Craft, Peters Valley School of Craft, and at Snow Farm: New England Craft Program. ELLIERICHARDS.COM 63
SEPTEMBER 9 – 15 · ONE WEEK SEPTEMBER 9 – 15 · ONE WEEK SEPTEMBER 16 – 22 · ONE WEEK OCTOBER 14 – 20 · ONE WEEK
SALLY AULT PETER DELLERT NATHANIEL CHAMBERS DENNIS FUGE PUT A LID ON IT PERSONAL RELIQUARIES: FORM, FORM, FORM! UNDERSTANDING FROM TREE TO LATHE WITH A FOCUS SCULPTURAL STORY BOXES SHAPE & STRUCTURE IN GREED ON DECORATIVE PLATTERS In this workshop students turn lidded WOODTURNING containers in many shapes and sizes from a During this workshop students will make a In this workshop students turn a decorative very a small pill box to a large lidded bowl. wall cabinet using basic table saw joinery and During this workshop students will explore platter by learning to identify the most Creating a good form that is also functional is incorporate their personal or iconic imagery a variety of forms turned out of green common trees in the U.S. and the best ways the focus. You will explore different types of lid to tell a story. You will learn to shape and wood. Beginning with the fundamentals of to use them. Beginning with rough logs, the styles and work on creating the proper lid fit texture wood for sculptural effects and use woodturning, participants will create their topics covered include green wood turning, for the function of the container. Participants surface treatments such as dyes, stains, paint, own projects and personal visions including grain orientation, design, proper use of tools will explore a variety of knobs, handles and drawing, collage and patinas. The doors can bowls, spindles, off set turnings, end grain and finishing, and decorative techniques. finials as well as experimenting with textures be slabs of live edge wood, bookmatched vessels, and others. Demonstrations will focus Emphasis will be given on how to bring and embellishments to take the containers or not, attached with mortised hinges, and on techniques and tools. Students may bring out the beauty in any piece of wood. The from ordinary to awesome. Some turning perhaps with found objects or by altering their own gouges and turnings to class to platter can be decorated with resins, metals, experience is helpful, but anyone is welcome to surfaces. Demonstrations, idea swapping, learn different sharpening and bevel angles, ebonizing, carving, egg shell, pyrography, come and play. COURSE FEE: $595 and individual attention will accompany the texturing with gouges, and making simple masking and painting. Come and learn to making. Familiarity with hand and power embellishments. The goal is for students make your own uniquely designed platter that Sally Ault lives in San Diego, California. She has tools a plus but not essential. Open to all skill to leave class with a new set of skills, a people will marvel at! Open to all skill levels. been turning for 15 years since receiving her BFA. levels. COURSE FEE: $595 variety of turned objects and vessels, and an COURSE FEE: $595 She loves turning boxes and containers, since understanding of what makes a good form. they have a mystery about them. Ault has taught Peter Dellert was educated as a biologist and Open to all skill levels. COURSE FEE: $595 Dennis Fuge is a woodturner from Erwinna, at many turning clubs and symposiums. She is trained as a potter. He is a furniture maker Pennsylvania who has been turning for 50 the vice president of Programs for the San Diego and sculptor living in Holyoke, Massachusetts. Nathaniel Chambers has been a green wood years and regularly teaches at the Peters Valley Woodturners and a member of AAW and Women Dellert shows regularly in museums and galleries worker for seven years. He teaches wood turning Craft School. His focus is on deep hollow vessels, in Turning. Her work is shown in several galleries throughout the country. He has won a NICHE from his home in Asheville, North Carolina. platters and artistic pieces using color, mixed and has won many awards. SALLYAULT.COM Award and is featured in many publications. He Most recently he was awarded a residency media and carving. Fuge has demonstrated his has previously taught classes at Arrowmont. at Haystack School of Crafts, and was a style at many events. TIMEFORYOU.NET PETERDELLERT.COM demonstrator at the AAW in Kansas City where he created a collaborative piece with Mark Sfirri and Michael Hosaluk. CHAMBERSWOODCRAFT.COM WOOD
OCTOBER 14 – 20 · ONE WEEK OCTOBER 21 – 27 · ONE WEEK
BRIAN PERSICO & KYLE R. GARNETT CLAY FOSTER & JOHN JORDAN BOW MAKING THE ART OF CONTAINMENT
During this workshop students learn to make a bow by beginning with a log. After learning the Whether it is a bowl, bottle, vase, urn, or box, containers are essential to human life. In this history of the bow and archery, you will work the staves of osage orange with a chalkline and workshop students will create a turned container that is functional, decorative, practical or hatchet followed by a drawknife and rasp. Once shaped, participants will tiller the bow to adjust expressive. Instruction and demonstrations include technical and design advice, with an the bend by eye so that it flexes evenly and perfectly across its entire length. Students will also emphasis on embellishing. This is a class for skilled turners only, and by approval from the learn to make bowstrings, antler or horn details and protect their bows with the appropriate instructors. COURSE FEE: $595 finish. As time permits, the class will cover more advanced, composite bows which combine horn and sinew with wood to make exquisite shooting characteristics. The course ends with an archery Clay Foster is a Texan living in Indianapolis, John Jordan is a woodturner from Cane tournament on Friday afternoon. Open to all skill levels. COURSE FEE: $595 Indiana where he shares Harmony Studio with Ridge, Tennessee. Known primarily for his wife Jennifer Shirley. He began woodworking his textured and carved hollow vessels, he Brian Persico creates one-of-a-kind traditionally Kyle R Garnett, a resident of Red Hook, at the age of five when his father gave him has been featured in numerous turning crafted furniture and objects, carefully made by Brooklyn, was formally trained as a printmaker his own handsaw. Foster is a former Board exhibitions over the past 20 years. His work hand in his studio. Inspired by natural materials at Pratt Institute. Throughout the years, he has of Governor member at Arrowmont, and is a has received numerous awards, and is in and informed by craft throughout history, he is found himself in wood shops, theaters, and site founding member and former vice-president of the permanent collections of many museums known for creating simple and functional pieces build-outs. While working in a wood shop in Red the American Association of Woodturners. and corporations, ranging from The White that will last. Persico graduated from Pratt Hook, Brooklyn with Brian Persico, he learned CLAYFOSTER.COM House to the prestigious Victoria and Albert Institute with Highest Honors with a Bachelors how to craft bows from single staves of wood. The Museum in London, England. Foster is a Degree in Industrial Design. He was featured two have worked side by side through the years frequent writer of woodturning articles, has in Complex magazine’s “25 Young Designers to and Kyle has assistant taught a bow making class produced several instructional DVDs, and has Watch” in 2012, and in the American Design at Arrowmont in 2016. taught in eight countries and across the U.S., Club Show, Threat, in 2011. including more than 20 classes at Arrowmont. BRIANPERSICO.COM JOHNJORDANWOODTURNING.COM 65 ARROWMONT HISTORY
ARROWMONT SCHOOL OF ARTS AND CRAFTS
TRANSFORMING LIVES THROUGH ARTS AND CRAFTS The heart of the Arrowmont experience is the individual’s journey. Arrowmont is a creative community made up of artists, makers, creators, appreciators, collectors, students, teachers — all working in a unique environment. Arrowmont has been described as magical, life-changing, inspiring, invigorating and more. This experience is not easily put into words. It is different for each individual but all inspired by the time spent here.
ARROWMONT, FOR GENERATIONS A LEADER IN Founded as a settlement school in 1912, ARTS AND CRAFTS EDUCATION IS PERSONIFIED BY: Arrowmont has grown into a national contemporary arts and crafts education The student who bags your groceries and tells center supporting learning opportunities you with great enthusiasm and in detail about for individuals of all skills levels and ages. when he came to Arrowmont in fourth grade Arrowmont is located on 13 acres in the and used power tools. heart of Gatlinburg, TN only minutes away from the Great Smoky Mountain National The bank vice president who proudly tells you Park with access to tourist attractions, that her husband is an Arrowmont instructor. the convenience of a large city nearby, and a thriving arts and crafts community. The potter who thirty years after his visit tells you Arrowmont offers a valuable learning that two-weeks at Arrowmont changed his life environment — an unexpected oasis amidst and career path. the bustle of a popular tourist destination.
The volunteer who confides that she is a strong The heritage of the School is rooted in Arrowmont supporter — only able to give an approach to the arts that builds upon modestly but contributing time and expertise. traditional arts and crafts — 150 national workshops are offered annually, a full complement of community classes, children’s These people and thousands more regionally classes and ArtReach providing a day of art and across the nation have been changed forever to over 1,200 children annually, and gallery by their experiences at Arrowmont. exhibitions, symposia and conferences. People travel from across the nation and the globe to take classes at Arrowmont and experience the magic. Many return year after year. GALLERIES & PROGRAMS 67
GALLERIES GEOFFREY A. WOLPERT GALLERY 2018 EXHIBITION SCHEDULE SANDRA J. THE SANDRA J. BLAIN GALLERIES offer a year-round schedule of changing national and regional ARTIST-IN-RESIDENCE: BLAIN GALLERIES exhibitions that complement and support workshops, conferences and programs. Serving as an MID-RESIDENCY EXHIBITION educational resource, the exhibitions enable students and visitors to learn about various media, December 9, 2017 – February 3 techniques and ways artists express ideas through their work. Many works are for sale with proceeds supporting individual artists and the mission of the School. TBD “NATURE AND NEON” / February 7 – March 17 NATIONAL JURIED EXHIBITION THE GEOFFREY A. WOLPERT GALLERY is focused on exhibiting solo and small group exhibitions December 16, 2017 – March 3, 2018 by emerging and established contemporary craft artists. Presenting seven shows a year, the space SPRING WILDFLOWER PILGRIMAGE Reception: January 12 provides Arrowmont resident artists with four months of exhibition time during their residency, ARTIST-OF-THE-YEAR EXHIBITION an introductory exhibit and a mid-residency exhibit. This gallery also features a solo exhibition March 21 – April 29 ARTIST-IN-RESIDENCE EXHIBIT for the annual winner of the Spring Wildflower Pilgrimage Artist of the Year competition that Closing Reception: April 25 March 10 – May 5, 2018 takes place in April in conjunction with the Spring Wildflower Pilgrimage at Great Smoky Reception: TBD Mountains National Park. KATHLEEN HANCOCK SOLO EXHIBITION May 1 – June 28 2018 INSTRUCTOR EXHIBITION THE JERRY DROWN WOOD STUDIO GALLERY displays revolving wood exhibitions from the permanent Closing Reception: June 28 May 12 – August 25, 2018 collection, much of which was donated as a bequest from Jerry Drown, a long-time supporter of the School. Exhibitions include turned and constructed wood objects and wood sculpture, historically ARTIST-IN-RESIDENCE EXHIBITION SPIN (SILK PAINTERS representative of the evolution of woodturning — from functional forms to artistic objects. June 30 – The rest of the year is TBD INTERNATIONAL) EXHIBIT September 1 – October 27, 2018
FIGURATIVE ASSOCIATION EXHIBITION COMMUNITY PROGRAMS November 6, 2018 – January 12, 2019 Arrowmont complements its core national ARTREACH annually provides more than 700 ARTISTS-IN-RESIDENCE PROGRAMS offer early workshop programs with a series of classes students (grades 4–12) from Sevier County career, self-directed artists the time, space and and special programs designed specifically schools with an in-depth, full-day art support to develop a new body of work in a for local residents. workshop at Arrowmont. Content encompasses creative community environment. Residents, a wide range of diverse art experiences selected annually for the one year program, COMMUNITY CLASSES are offered in the winter including use of specialized equipment. live on campus and are provided with studios, months in professionally-equipped studios Students participate in one of five different stipends, housing and meals during workshop with skilled teaching artists offering a variety workshops including drawing, photography, sessions. Professional development, paid of media and learning opportunities. Complete pottery, painting, textiles, sculpture, metals teaching and exhibition opportunities are information about community classes for adults, and woodturning. available. arrowmont.org/artists-in-residence young adults and children is available online. Application deadline: February 1, 2018 FACILITY RENTALS provide the perfect location THE SUPPLY STORE sells Arrowmont specific for conferences, corporate retreats, business merchandise. The store carries supplies for work meetings and family gatherings. Housing, in most media and art-related books, and houses meals, presentations and art-making are easily the Showcase Gallery, a retail gallery that accommodated on campus. represents over 50 artists. arrowmont.org/facilityrental For more information, call 865-436-5860 EDUCATIONAL ASSISTANCE PROGRAM
SUMMER FALL
Applications will be accepted between Applications will be accepted between January 1 – March 1, 2018 April 1 – June 1, 2018
SIX AND TWELVE WEEK WORK-STUDY FOUR AND EIGHT-WEEK WORK-STUDY SESSIONS WILL BE AVAILABLE SESSIONS WILL BE AVAILABLE May 30 – August 20, 2018 August 26 – November 13, 2018 Please see arrowmont.org for more details.
WORK-STUDY IS AVAILABLE TO APPLY, and for further application details, IN THE FOLLOWING POSITIONS: please visit arrowmont.slideroom.com or Kitchen, Maintenance, Registration, Supply contact the Program and Studio Manager Store, Housekeeping, Development, Gallery, at 865-436-5860 ex.38. and Studio Assistant.
Educational assistance is awarded based on one week of class for each 45–50 hour weeks of work assisting the full-time staff. Student- employees are also expected to work up to 22 WORK STUDY OPPORTUNITIES hours during the week they are in class.
Arrowmont is looking for interested individuals to assist full-time staff in the many departments The Studio Assistant position is the only one on campus. Those who participate in the work-study program are an integral part of that requires an art background and image Arrowmont’s operations, and are considered student-employees. This program also provides submission. Art experience is not required an opportunity for people with limited financial resources to participate in classes. Meals and for the other positions, however a letter lodging are provided and as a condition of their employment, work-studies are expected to live of application must address the following on campus. Arrowmont considers individuals who are mature, team oriented, self-motivated, and areas: seriousness of intent, relative work interested in the arts. High energy, commitment, communication skills, and the ability to lift 50 experiences, work ethic, and ability to live in pounds are required for these positions. a community setting.
Housing is dorm style with coin operated laundry available on site. Travel, material fees, and other art supplies are the responsibility of the student-employee and are to be paid weekly. Classes are assigned based on availability. It is important for those applying to commit to the entire session that is requested, though one is able to apply for multiple sessions. 69
SCHOLARSHIPS
Arrowmont offers many scholarship opportunities to enable students to attend workshops at reduced cost. Scholarships are intended to make Arrowmont’s programs available to the broadest population of students. Scholarships provide partial or full coverage for tuition, housing and meals. Scholarships are awarded based on financial need and/or other criteria depending on the source of the funds. Available scholarships are described below. For detailed scholarship application information, go to arrowmont.org or call 865-436-5860.
FRIENDS OF ARROWMONT SCHOLARSHIPS K-12 TEACHERS SCHOLARSHIPS provide 50% cover full tuition for a specific workshop. of workshop tuition for one workshop per Qualifications for a scholarship include teacher per year and is open to any teacher financial need and commitment to personal regardless of discipline. Open to all skill levels. artistic goals. Skill in a particular medium No deadline, rolling with class availability. is not required. All skill levels may apply APPLICATION DEADLINE · No deadline, for scholarships. Recipients are responsible rolling with class availability. for the costs of fees, lodging and meals. Apply online at slideroom.arrowmont.com LOCAL RESIDENTS SCHOLARSHIPS provide APPLICATION DEADLINE · March 1, 2018 50% of workshop tuition for one workshop per person per year. Residents of Sevier, THE DR. JUDITH TEMPLE SCHOLARSHIP FUND Blount, Cocke, Jefferson, or Knox counties provides full scholarships that cover the cost in Tennessee are eligible. Open to all skill of attending one or two-week workshops. levels. APPLICATION DEADLINE · No deadline, These scholarships are for promising, talented rolling with class availability. students who could not attend Arrowmont without financial assistance. Applicants must THE BILL GRIFFITH ART EDUCATORS FELLOWSHIP provide images of their work and letters of provides a four-week residency annually for recommendation. one K-12 art teacher. Recipients receive a Apply online at slideroom.arrowmont.com studio, housing, meals and enrollment in a APPLICATION DEADLINE · March 1, 2018 one-week workshop. Images are required. Apply online at slideroom.arrowmont.org THE STEVEN E. & CAROLYN J. GOTTLIEB APPLICATION DEADLINE · March 1, 2018 WOODCRAFT SCHOLARSHIP covers 100% of workshop tuition, meals and housing Please note, if applying for a Scholarship or the for a one-week workshop. The scholarship Educational Assistance Program, students will is for returning or disabled soldiers, or a register after they are accepted and agree to the financially deserving student who is pursuing award amount. For more information about woodturning. Open to all skill levels. applying for a scholarship, please call Apply online at slideroom.arrowmont.org 865-436-5860. APPLICATION DEADLINE · March 1, 2018 WORKSHOP BASICS
People enroll at Arrowmont to be immersed in art — away from the pressures and responsibilities of daily life. Partnered with exceptional instructors and quality instruction, the housing, meals, evening programs, and access to well-equipped studios provide an environment for stimulation and inspiration. Students may choose to never leave campus during the workshop session. However, if an outing is desired, Gatlinburg is just down the driveway. Located on a 13-acre wooded hillside in downtown Gatlinburg, Tennessee at the edge of Great Smoky Mountains National Park, Arrowmont offers a secluded retreat experience and a busy tourist center.
WEEK AT A GLANCE
ONE WEEK CLASSES begin on Sunday with THE ARROWMONT CAMPUS IS ACCESSIBLE. check-in between 11:00 am and 6:00 pm. Arrowmont studios and housing facilities Classes begin at 7:30 pm following dinner are accessible on a campus that is considered at 5:30 pm and a Welcome & Orientation moderate mountain terrain. A gradual walk Program at 6:30 pm. Classes continue up a short hill to most facilities is necessary. Monday through Friday, 9:00 am – 5:00 pm If special housing or other requirements are and studios are generally open until 1:00 am needed, please discuss this with the registrar for students who wish to continue to work. at the time of registration so we can best Studio clean-up is Friday afternoon with accommodate these needs. departure on Saturday morning. DEPARTURE Shuttle service is available from TWO-WEEK CLASSES follow the same general Knoxville McGhee-Tyson Airport. Call schedule, but students may work in the Rocky Top Tours (877-315-8687 and ask for studios through the weekend in between Linda Hall) to make reservations for arrival weeks of instruction. and departure at least two weeks in advance.
WEEKEND CLASSES begin on Thursday evening Arrowmont provides bed linens and towels. and continue through Sunday at 3:00 pm. Coin laundry facilities are located on campus for personal laundry. HOUSING & MEALS 71
ON-CAMPUS HOUSING
TEACHERS COTTAGE & STUART COTTAGE rustic and charming houses with air conditioning. They include single, double and triple rooms sharing common bathrooms. Prices are per person and include meals. ONE WEEK TWO WEEKS WEEKEND
SINGLE · 1 PERSON PER ROOM (SHARED BATH) $565 $1,195 $295
DOUBLE · 2 PEOPLE PER ROOM (SHARED BATH) $475 $995 $255
TRIPLE · 3 PEOPLE PER ROOM (SHARED BATH) $415 $865 $235
RED BARN is a renovated historic structure, now fully air-conditioned. It offers double, triple and dormitory style rooms which accommodate four people, all with shared baths. Prices are per person and include meals.
DOUBLE · 2 PEOPLE PER ROOM (SHARED BATH) $415 $865 $215
TRIPLE · 3 PEOPLE PER ROOM (SHARED BATH) $375 $795 $195
DORMITORY · 4–13 PEOPLE PER ROOM (SHARED BATH) $345 $735 $185
NEW DORMITORY is currently under construction and is anticipated to be ready for occupancy next spring/summer 2018. It is four stories, has an elevator and will offer private rooms and baths, a central gathering place, and small kitchen. Students generally live on campus during their workshop in order to take full advantage of the immersion opportunity, to get to know their fellow students, and to spend as much time SINGLE · 1 PERSON PER ROOM (PRIVATE BATH) $755 $1555 $345 as possible focused on their work. Campus housing options include single, double, triple and dormitory rooms in three buildings. Rooms are assigned on a first-come, first-served basis. DOUBLE · 2 PEOPLE PER ROOM (PRIVATE BATH) $585 $1215 $285
Campus housing prices include three meals daily in the Staff House Dining Hall. Meals are served Sunday dinner through Saturday breakfast for one-week classes and Thursday dinner through Sunday lunch for weekend classes. Although we cannot provide special options for everyone, vegetarian meal choices are available. LIVING OFF-CAMPUS
No camping buses, trailers or RV’s are permitted on Arrowmont property. No pets, except service Students may choose to stay off-campus. Information on off-campus housing can be obtained animals, are permitted. from the Gatlinburg Chamber of Commerce, call 800.588.1817 or visit gatlinburg.com. Students staying off-campus may purchase meal plans. If you are interested in extra comfort and privacy, Arrowmont offers two fully furnished apartments. Call 865-436-5860 for details. MEAL PLANS · If living off campus $199 $439 $105 REGISTRATION & WORKSHOP FEES
Classes are filled on aFIRST COME, FIRST Workshop registration is NON-TRANSFERABLE SERVED BASIS and early registration is from person to person. A person may transfer recommended as class sizes are limited and their enrollment from one class to another fill early. Arrowmont believes that diversity within the same year, presuming space of students, including varied skill levels is available. Transfer requests will not be and backgrounds, enriches the educational accepted less than 30 days prior to workshop. experience for all. Arrowmont accepts all A non-refundable $25 transfer fee will be persons regardless of race, color, national charged for each transfer. origin, gender, sexual orientation or religion. Students must be 18 years or older to attend In addition to the course fee your enrollment an adult workshop. in a workshop also includes the following. MATERIAL FEES are collected on the last day of every workshop. These fees include the cost of materials that are requested by the instructor that corresponds with their course REGISTRATION CHECKLIST offering and will be provided by Arrowmont Register before February 1, 2018 and the prior to the class arrival. Material fees registration fee is waived. may also include materials provided by instructors. These costs are shared among the REGISTRATIONS ARE ACCEPTED ONLINE AT class members. Material fees do not include arrowmont.org or by phone, 865-436-5860. student purchases prior to a workshop, or individual purchases from the Supply PAYMENT may be made by check, money Store. Arrowmont will provide students order, or credit card (MasterCard, VISA, with an approximate range of materials Discover, or American Express). All fee — information provided by cancellations must be made in writing by the instructor. mail, fax or email (no phone calls please). A cancellation fee of $100 will be charged on cancellations received more than 45 days prior to the start of the workshop. Cancellations received less than 45 days before the beginning of the workshop receive no refund.
$50 NON-REFUNDABLE FEE This one-time registration fee enables you to register for as many workshops as you like during 2018. It is not necessary to register for multiple classes at the same time.
$300 DEPOSIT FOR EACH CLASS This deposit reserves a space in the workshop. Full payment of all charges is due 30 days prior to the beginning of the workshop. 73 ARROWMONT SCHOOL OF ARTS AND CRAFTS
PO BOX 567 · 556 PARKWAY · GATLINBURG, TN 37738 865-436-5860 · www.arrowmont.org