WELCOME TO ARROWMONT 3

“Te most regretful people on earth are those who the call to creative work… and gave to it neither the power nor time.” Mary Oliver IMPORTANT DATES AT A GLANCE Whether for you it is creative work or creative play, if you will make the time, Arrowmont will provide the place, the opportunity, and the encouragement.

ARTISTS-IN-RESIDENCE Arrowmont’s commitment to education and appreciation of crafts is built upon its APPLICATION DEADLINE heritage as a settlement school founded by Pi Beta Phi in 1912. Our 13 acre campus February 1, 2017 has six buildings on the National Register of Historic Places, well-equipped studios, and places for contemplation and conversation. We appreciate being described as a EARLY REGISTRATION DEADLINE “hidden jewel” and a “neighbor” of Great Smoky Mountains National Park. REGISTRATION FEE OF $50 IS WAIVED FOR EARLY REGISTRATION Here, you will spend time immersed in the studio, you will also eat well, have the February 1, 2017 opportunity to enjoy our library, and be inspired by our galleries. EDUCATIONAL Each week a new creative community forms. Students do more than participate in this ASSISTANTS PROGRAM community, they often develop lifelong relationships. Teir shared experiences of refecting, APPLICATION DEADLINE problem solving and making creates the community. Workshops are taught by some March 1, 2017 of the fnest artists from around the world — it is their commitment to sharing their SCHOLARSHIP APPLICATION knowledge and their experiences that makes them great teachers. Tey recognize that DEADLINE there is always more to learn, and that the environment of small groups of students, March 1, 2017 engaged in experimenting and discovering together, is both inspiring and energizing. Please check the website arrowmont.org for updated Arrowmont welcomes students of all ages, backgrounds and experience. We ofer deadlines as some scholarships some advanced workshops which are designed for students with prior experience have a rolling deadline and with materials, tools, or techniques, and these are described in the course description. others may re-open mid- However, most of our workshops are open to all skill levels. What we have learned summer for Fall applicants is that ofering workshops open to students of all ages and levels of experience, where people are guided by excellent instructors, who work alongside each other and encourage each other, fosters respect, communication, and appreciation — that is the heart of the “Arrowmont Experience.”

Live without regret. Tere is always more to learn — about craft, about others, and about ourselves. I hope you will join us and become part of our community in 2017.

BILL MAY, EXECUTIVE DIRECTOR FRONT ROW: Patsy Henry, Anne May, Heather Ashworth, Austin Riddle, Maia Leppo, Richard James, Nick DeFord, Kelly Hider, Vickie Bradshaw, Emily Schubert, Laura Tuttle BACK ROW: Bill Grifth, Julia Clinton, Fran Day, Cynthia Bellacome, Bob Biddlestone, Jennifer Blackburn, Rebecca Buglio, Jef Webb, Bill May, Teri Bilbrey, Kelly Sullivan, Jeda Barr, Janice Loveday, Vickie Ownby, Grant Benoit, Ernie Schultz, Brian Bruner 5

TABLE OF CONTENTS

WELCOME 03 ARROWMONT HISTORY 60

SCHEDULE AT A GLANCE 06 GALLERY AND EXHIBITIONS 61

TWO WEEK SESSIONS 08 COMMUNITY PROGRAMS 61

WEEKEND SESSIONS 08 EDUCATIONAL ASSISTANTS PROGRAM 62

SPECIAL TOPICS 09 SCHOLARSHIPS 63

CLAY 10 WORKSHOP BASICS 64

DRAWING · PAINTING · & BOOKS HOUSING AND MEALS 65 PRINTMAKING · PHOTOGRAPHY 20

REGISTRATION AND WORKSHOP FEES 66 FIBERS · · BASKETS 32

REGISTRATION FORM 67 METALS · GLASS · ENAMELS 42

WOOD 50 2017 SCHEDULE AT A GLANCE SPECIAL TOPICS CLAY DRAWING · PAINTING · PAPER & BOOKS · PRINTMAKING · PHOTOGRAPHY

MARCH 30 – APRIL 2 Rachel K. Garceau · Brian Nettles Lisa D. Line · Randi Parkhurst

APRIL 6 – 9 Colette Peters Jon Mcmillan Jay Fox · Lynda Ray

MAY 21 – 27 Sunshine Cobb · Misty Gamble Heidi Neilson · Claire Stigliani

MAY 28 – JUNE 3 Victoria Christen Charles Clary · Kelli Kelley Anne Mette HjortshØj

JUNE 4 – 10 Kate Maury · Kevin Rohde Travis Head · Cornel Rubino

JUNE 11 – 17 Israel Davis · Roberto Lugo K Rhynus Cesark · Aaron Cohick

JUNE 18 – 24 Tom Bartel · Kari Radasch Althea Murphy-Price · Jave Yoshimoto

JUNE 25 – JULY 8 Taddeus Erdahl & Meagan Chaney Michael Dixon · Shane Darwent & Andrew Saftel Gumpert · Ursula Hargens

JULY 9 – 15 Lindsay Rogers · Liz Zlot Summerfeld Stuart Kestenbaum & Susan Webster

JULY 16 – 22 Janice Jakielski & Joshua Persky Megan Abajian · Gary Chapman

JULY 23 – 29 Bob Lockhart Ben Carter · Courtney Martin Brandon Donahue · Tomas Lucas

SEPTEMBER 17 – 23 Adam Field & Doug Peltzman Sondra Dorn · Marcia Goldenstein & Tom Riesing Nan Jacobsohn Tanya Hartman

OCTOBER 1 – 7 David F. Heustess · Brooks Oliver Margot Ecke · Steve Johnson & Phil Sanders

OCTOBER 8 – 14 Forrest Lesch-Middleton · Sue Tirrell Holly Roberts · Bt Livermore

OCTOBER 15 – 21 Lauren Gallaspy Adam Fotos · William Kocher Deborah Schwartzkopf

OCTOBER 22 – 28 Mary Todd Beam

OCTOBER 22 – NOVEMBER 4 Sherri Warner Hunter Kenyon Hansen Margaret Scanlan · Don McGowan

NOVEMBER 5 – 11 Margaret Bohls · Suze Lindsay Carol Barton · Angela Piehl FIBERS · TEXTILES · BASKETS METALS · GLASS · ENAMELS WOOD 7

Emily J. Gómez · Skye Livingston Frankie Toan · Angela Bubash Charlie Ryland · Peggy Schmid

Katie Grove · Lisanne Miller Maureen Aderman · Victoria Altepeter John Phillips

Tanya Aguiñiga · Surabhi Ghosh Joseph Cavalieri · John Cogswell Alicia Dietz · Michael Lee

Joy O. Ude Andrew Kuebeck · Laura Wood David Ellsworth · Jacob Stanley

Jody Alexander · Nadine Spier Tom Muir · Kathy Wilcox J Paul Fennell

Jim Arendt · Luanne Rimel Jason Janow Michael Cullen · Sharon Doughtie

Erin Castellan · Ana Lisa Hedstrom Andy Cooperman · Mi-Sook Hur Heather Mccalla

Katherine Diuguid Anne Havel · Tedd Mcdonah Dixie Biggs & Steve Loar · Rudolph Lopez

Bryant Holsenbeck Michael Dale Bernard · Jefrey Stenbom Katie Hudnall · Emmet Kane Daniel St. John & Regina St. John

Erika Lynne Hanson · Kim Eichler-Messmer Lisa Johnson James Darr · Emmet Kane & Derek Weidman

Stephanie Metz · Karen Tunnell Hiroko Yamada Brian Simmons Curtis O. Seebeck & Don Ward

Amie Adelman Nick Cook · Sabiha Mujtaba

Clay Burnette · Lotta Helleberg Nicolette Absil · John Phillips James Duxbury · Curt Teobald

PJ Floyd · Elizabeth Odiorne Ricky Frank · Tom Mccarthy Joe Ruminski

Jackie Abrams · Maggy Rozycki Hiltner Sean Hennessey · Mary Hettmansperger Brian Fireman

Jo Stealey C James Meyer Stephen Hatcher · Jack Mauch

Andrea Vail · Mary Zicafoose Robert Dancik · Gail Nelson Jerry Kermode & Walker Kermode Kristin Levier SPECIAL SESSIONS

TWO WEEK SESSIONS WEEKEND SESSIONS

In addition to one-week and weekend workshops, Arrowmont ofers two-week sessions for those Arrowmont ofers two weekend sessions, March 30 – April 2 and April 6 – 9, 2017. Tese sessions media, techniques and projects that need more than one week to complete or to achieve profciency. are perfect for those who only have a few days but want to learn and create. Tey are designed to Te two-week session instructors are masters in their disciplines, exceptional teachers, and are ofer ample opportunity to catch up with old friends, explore diferent media, and interact with university professors and working professional artists. Tese Workshops ofer the opportunity to artists and community members. Tese weekend workshops ofer the opportunity to take advantage take advantage of Arrowmont’s location at the gateway to the Great Smoky Mountains National of early spring in the Great Smoky Mountains and learn a new craft or hone existing skills. Park and to immerse yourself in a unique experience.

JUNE 25 – JULY 8, 2017 OCTOBER 22 – NOVEMBER 4, 2017 MARCH 30 – APRIL 2, 2017 APRIL 6 – 9, 2017

RUDOLPH LOPEZ STEPHEN HATCHER PEGGY SCHMID JOHN PHILLIPS Turning Bowls: From the Simple to the Explore Unusual Materials and Methods Turning, Texturing and Coloring a Natural Handmade Music: Cigar-Box Ukuleles p.51 Sublime p. 54 in and Flatwork p. 58 Edge Platter p.50 KATIE GROVE DIXIE BIGGS & STEVE LOAR JACK MAUCH CHARLIE RYLAND Wild Basketry: Twining and Twill with Techniques for Developing Original Surfaces Superfcial Surfaces p. 58 Working with Axe and Knife p.50 Materials from Nature p.33 p. 53 JO STEALEY EMILY GOMEZ VICTORIA ALTEPETER KATHERINE DIUGUID Pushing the Boundaries with Handmade Beautiful Blue: Historic and Contemporary Found Objects + Alternative Settings p.43 Embroidered Landscapes p. 36 Paper and Mixed Media p. 40 Methods of Cyanotype Printing p.32 MAUREEN ADERMAN TEDD MCDONAH C JAMES MEYER ANGELA BUBASH Fused Glass Jewelry p.43 Introduction to Mokume-Gane p. 46 Subtracting and Adding: Carving and Kinetic Earrings p.42 Construction p. 49 JON MCMILLAN ANNE HAVEL SKYE LIVINGSTON Te Duality of Clay: Trowing and Altering All Fired Up: Who Knew a Torch DON MCGOWAN WITH VISITING Structures in p.32 for Functional and Sculptural Work p.11 Could Do Tis? p. 46 ARTIST JOHN DIGIACOMO An Autumn Fortnight: Photographing FRANKIE TOAN COLETTE PETERS URSULA HARGENS the Great Smoky Mountains p. 30 Movement in Steel p.42 Cake p.9 RE: Surface p. 14 KENYON HANSEN BRIAN NETTLES JAY FOX THADDEUS ERDAHL & Liquid Containment p. 19 Pots On and Of the Wheel p.10 Books as Memory/Books of Memory p.21 MEAGAN CHANEY GUMPERT Busting Out: Figurative Ceramics SHERRI WARNER HUNTER RACHEL GARCEAU LYNDA RAY and Kiln Formed Glass p. 14 Te of Concrete p. 9 Inside Out and Upside Down p.10 Introduction to Encaustic p.21

MICHAEL DIXON MARGARET SCANLAN RANDI PARKHURST LISANNE MILLER Identity as Performance, Performance Watercolor for All p. 30 A Home of Our Own: Paper Sculpture p.20 Letting the Speak: Painting with Wool as Identity p. 24 Tru Hooked Rugs p.33 LISA LINE SHANE DARWENT & ANDREW SAFTEL Being Here: Finding Your Place in Landscape Mining for Place p. 24 Painting p.20 SPECIAL TOPICS 9

APRIL 6 – 9 · WEEKEND JULY 23– 29 · ONE WEEK OCTOBER 22 – NOVEMBER 4 · TWO WEEKS YOU MIGHT BE INTERESTED IN THE FOLLOWING WORKSHOPS:

FRANKIE TOAN · WELDING p. 42

RACHEL GARCEAU · SLIPCASTING p. 10

JOHN PHILLIPS · COLETTE PETERS BOB LOCKHART SHERRI WARNER HUNTER MUSICAL INSTRUMENTS CAKE SCULPTURE STONE CARVING THE ART OF CONCRETE p. 51

In this class students create Styrofoam Tis is an all-encompassing workshop Because concrete is an amazing sculpture BRYANT HOLSENBECK · as if they were cakes, decorating covering the entire process of creating art material that can be used in a variety of FIBER SCULPTURE them with fondant, gum paste, royal icing, pieces in stone. Students begin with the techniques for personal expression, this p. 36 wafer paper and more. Beginners will acquisition of the stone and follow the workshop provides students an opportunity create their own masterpiece. You will creative process through the design, carving, to learn the basics of working with JAMES DARR · carve Styrofoam and make crooked cakes. polishing, fnishing and mounting of their armatures, modeling and carving. You will /SCULPTURE Practice includes piping, , fower piece. Emphasis is on the proper use of tools explore form development while building on p. 55 making and more. Open to all skill levels. as applied to direct carving. Open to all sculptural skills through hands-on projects. COURSE FEE · $340 skill levels. COURSE FEE · $525 Participants will also discover applied and BRANDON DONAHUE · inherent color and surface treatments, adding DRAWING/AIRBRUSH Colette Peters lives in City and has Bob Lockart is a stone and wood sculptor and a to the range of visual appearances possible p. 26 designed cakes for window displays for Tifany’s, retired professor of Art from Bellarmine College with this versatile material. You will refne Cartier’s and Barney’s New York store. She has in Louisville, Kentucky. He holds an MFA from the skills that best suit for your personal style JOHN PHILLIPS · METALS an MA in Painting and her cakes have been the Art Institute of and his work is held of form development. Open to all skill levels, p. 47 featured in a variety of media. Peters has written in numerous permanent collections including the however heavy lifting may be required. fve books on cakes and cake decorating, and was Whitney Museum of Art in New York. COURSE FEE · $995 MARY ZICAFOOSE · FIBER DESIGN awarded the prestigious Distinguished Visiting BUYBOBSART.COM p. 40 Chef Award from Johnson and Wales University. Sherri Warner Hunter lives and operates SWH COLETTESCAKES.COM Art Studio, Inc.in Bell Buckle, Tennessee. She earned an MA from Claremont Graduate University and her BFA from the Kansas City Art Institute with an emphasis in Sculpture and Drawing. In addition to teaching workshops throughout the U.S. and abroad, she has authored two books on concrete, most recently, “Creative Concrete Ornament for the Garden.” SWHARTSTUDIOINC.WORDPRESS.COM MARCH 30 – APRIL 2 · WEEKEND MARCH 30 – APRIL 2 · WEEKEND CLAY

RACHEL K. GARCEAU BRIAN NETTLES INSIDE OUT AND UPSIDE DOWN POTS ON AND OFF THE WHEEL

Te objective of this workshop is to explore During this class students learn how to throw how a shift in the way one holds their body in and manipulate wet pots on and of the wheel. space can also shift their perceptions of how to You will learn the basics of as well approach working in the studio. During class as how to center the clay, pull cylinders and students will apply this concept to the process shape the clay into the forms from functional of mold-making, specifcally for ceramics. to decorative. Students start by making pots Tere are discussions of ways to remain mindful and quick dry the ware, then bisque fre of the body during studio practice and how and achieve a glaze fre. Tis class is for the this consciousness can impact focus and the beginner who wants to try ceramics, and to ability to solve problems. Participants will the professional potter looking to learn new leave class with the skills to continue making techniques on the wheel. Open to all skill levels. molds, along with the information needed to COURSE FEE · $340 use their molds. Open to all skill levels. COURSE FEE · $340 Brian Nettles is a studio potter living in Pass Christian, Mississippi who operates Nettles Rachel K. Garceau is a studio artist living and Pottery. He received his BFA in Ceramics and working in Atlanta, Georgia, and was recognized Sculpture from the University of Southern as a 2015 Emerging Artist by the National Mississippi and has studied wood fring on Council on Education for the Ceramic . multiple trips to Japan. Nettles has taught and She has been a resident artist at Arrowmont, lectured at universities, art schools, clay centers the Hambidge Center for Creative Arts and and at NCECA, and has built over 45 kilns. Sciences, and at the Vendsyssel Kuntsmuseum in NETTLESPOTTERY.COM Denmark. RACHELKGARCEAU.COM 11

APRIL 6 – 9 · WEEKEND MAY 21 – 27 · ONE WEEK MAY 21 – 27 · ONE WEEK MAY 28 – JUNE 3 · ONE WEEK

JON MCMILLAN SUNSHINE COBB MISTY GAMBLE VICTORIA CHRISTEN THE DUALITY OF CLAY: THROWING HAND-BUILDING FUNDAMENTALS HOLLOW BUILD THE SELF- SLIPPED SURFACES AND AND ALTERING FOR FUNCTIONAL AND REFERENTIAL BUST CONSTRUCTED FORMS SCULPTURAL WORK Tis hands-on workshop is designed to motivate students to experiment with In this course using one’s self as the source, In this workshop students construct pots Tis class focuses on a multitude of new forms and methods of construction. students employ an interwoven combination from thrown and hand built parts using techniques for altering wheel thrown Geared toward creative expansion, of slab, coil and pinch to hollow-build a terra cotta clay and decorated with colored components to create functional pottery and students use hand building techniques bust. Students with an interest in fguration, slips and terra sigillata. Class demonstrations sculptural works. Students discover new ways such as coil and pinch, and hard and technique and surface mark-making will include the application techniques for surface to make unique forms while learning how soft slab construction to generate pottery enhance their use of proportion as it relates decoration that include fat areas of color; the diferent facets of can inform components. A collaborative, process- to the fgure. Come to class with source loose needle carved drawing and delicate each other. Demonstrations and hands-on over-product and progress-over-perfection material that refects you. Ask yourself how brushwork. Work will be done on leather time in the studio are supplemented with mentality is the class mantra. Daily exercises does the “self” reveal? Can it be as subtle as hard clay and bisque-fred. Students with an slides, individualized instruction and lively include instructor demonstrations, class an expressive pose or gesture, or does it take interest in exploring form construction and discussions about historical and discussion, presentations of student’s visual a symbol, icon or surrogate? A process is decoration techniques can enhance their contemporary ceramics. Students will resource material, critiques of work, and in place to pack and ship your work after sense of the relationship between form and leave with expanded skills and fresh ideas plenty of brainstorming/problem-solving a bisque fre. Open to all skill levels. surface in functional pottery. Open to all for their work. Open to all skill levels, sessions. Open to all skill levels. COURSE FEE · $525 skill levels. COURSE FEE · $525 but some experience with the potter’s wheel COURSE FEE · $525 is recommended. COURSE FEE · $340 Misty Gamble is an assistant professor at the Victoria Christen is a studio potter living in Sunshine Cobb is a potter who received a BA Kansas City Art Institute in Kansas City, Portland, Oregon. She earned an MFA from Jon McMillan is an assistant professor of in Studio Art from California State University Missouri. She is the co-founder of Studio the University of Minnesota and was a Resident Ceramics at the University of Mary Washington at Sacramento and an MFA in Ceramics from Nong International Sculpture Collective and Artist at the Archie Bray Foundation. Christen in Fredericksburg, Virginia. He holds an MFA Utah State University. In 2015, she launched Residency Program that travels the U.S., teaches workshops internationally and has from Southern Illinois University Edwardsville Sidecar Studios for ceramic artists and other Europe and to undertake residencies that received many awards, including a National and has taught workshops at the Glassell School creative community activities. In 2013, Cobb focus on clay fgurative sculpture. She has been Endowment for the Arts Regional Visual Arts of Art, the Rockland Center for the Arts and the was named as an emerging artist by both widely published and her work is exhibited Fellowship. VICTORIACHRISTEN.COM Clay Art Center. In 2013, he was awarded Ceramics Monthly and National Council on both nationally and internationally. Best in Show at the 2013 Strictly Functional Education for the Ceramic Arts. MISTYGAMBLE.COM Pottery National. JONMCMILLAN.COM SUNSHINECOBB.COM CLAY

MAY 28 – JUNE 3 · ONE WEEK JUNE 4 – 10 · ONE WEEK JUNE 4 – 10 · ONE WEEK JUNE 11 – 17 · ONE WEEK

ANNE METTE HJORTSHØJ KATE MAURY KEVIN ROHDE ISRAEL DAVIS TABLEWARE: THROWN AND EXPLORING THE TEXTURAL ELEMENT IF HANDS COULD TALK OBJECTS AND IMAGES ALTERED SHAPES WITH PRESS MOLDED SPRIGS If hands could talk they would speak volumes, Tis course explores the visual potential of In this hands-on workshop students are Both commercial and press molds ofer and if only one could accurately capture screen-printed images and patterns applied introduced to diferent ways of making limitless exploration in form and texture. the language of such a feature they might to clay objects. Both direct printing on slabs tableware using throwing and working In this class students interested in the ornate, communicate its deeper voice. Tis workshop is and newsprint transfer methods with slips with slabs. Te class begins with a brief embellished, or decorative learn to slip cast geared to students of the human fgure looking and underglazes are covered. Hand-building, introduction into the history of Danish from provided commercial molds, make to further their understanding of appendages wheel-throwing and mold-making techniques ceramics and ceramic design with a focus their own press molds from found objects such as hands, feet, legs and arms. By creating are used to produce sculptural and utilitarian on the Island of Bornholm. Students will or personally-designed textures, and explore a limb, hand, or foot using solid building works. Students will learn the steps for creating encounter a variety of learning methods enhancing forms through sprig application. techniques, students will enhance their ability imagery, exposing screens and printing. including demonstrations, and making Te principles and elements of design guide to create dynamic limbs. Students will learn Discussions include exploring narrative and and discussing functional design, aesthetics your creation used for centerpieces and other about the construction, use of unique armature design possibilities of objects and images with and materiality. Demonstrations include objects to elevate the dining experience. designs, anatomy of each feature and the regard to concept and aesthetics. You will ways of using the wheel for making elements Tis course uses basic hand building and hollowing/fnishing process. Open to all skill experiment with overglaze layering using laser to be turned into new shapes later in the throwing techniques as well as slip casting, levels. COURSE FEE · $525 toner decals. Open to all skill levels. process. Students should not expect to have press mold making and sprig application. COURSE FEE · $525 fred work at the completion of this one week Open to all skill levels. COURSE FEE · $525 Kevin Rohde is an award-winning artist/ course. Some experience with throwing is sculptor living in Baltimore, Maryland who Israel Davis lives in Grand Rapids, Michigan benefcial, however all experience levels Kate Maury is a resident at the Northern Clay received his BA from Keystone College and an and is an assistant professor at the Kendall are welcome. COURSE FEE · $525 Center and a professor in the School of Art and MFA from Edinboro University of Pennsylvania. College of Art and Design. He has also taught at Design at the University of Wisconsin-Stout. Rhode is an adjunct professor of Ceramics at the Ox-Bow School of Art and fulflled an Artist’s Anne Mette Hjortshøj works with woodfred She received a BFA from the Kansas City Art Towson University and at George Washington Residency in Saugatuck. In 2015, Davis was a and saltglazed ceramics and lives on the Danish Institute and an MFA from the NYSCC at University in Washington, D.C. He was featured Resident Artist at the European Ceramic Work island of Bornholm. She graduated from Te Alfred University. Her work is featured in as an Emerging Artist in the May 2014 issue Center, Oisterwijk, Netherlands. Royal Danish Academy of Fine Arts Schools of both juried and invitational shows at regional, of Ceramics Monthly Magazine. ISRAELDAVIS.COM Architecture, Design and Conservation before national and international venues. ROHDEWORKS.COM working as an apprentice in Wales for KATEMAURY.COM Phil Rogers. ANNEMETTEHJORTSHOJ.DK 13

JUNE 11 – 17 · ONE WEEK JUNE 18 – 24 · ONE WEEK JUNE 18 – 24 · ONE WEEK “Before taking a position as Artist-in-Residence I attended a figurative clay symposium at Arrowmont in 2014. I was impressed with the hospitality and thoughtfulness that went into the event. Arrowmont has always been a highly respected institution within the ceramic world and I consider myself very fortunate to be an AIR here. This craft ROBERTO LUGO TOM BARTEL KARI RADASCH school is an incredibly supportive WHAT DO YOU BRING TO THE TABLE?: ASSEMBLING THE FIGURE PASSION FOR POTS community, professionally and CREATING POTTERY THAT SPEAKS During this class students consider the Tis class allows students to indulge their personally. The high level of Te focus of this workshop is developing fragmented human form as subject via hand- passion for making pots while creating pottery expertise that each workshop narrative through illustrating pottery. Students building and press mold techniques. Te focus forms using clay, terra sigillata week brings to campus, coupled explore creating forms and using underglaze is to investigate strategies that may be used to and commercial underglaze. You will search techniques, followed by discovering glazing build and assemble separate parts to construct out forms, imagery and surfaces that resonate with amount of exposure I have work and overglaze techniques with discussion a fragmented fgure. Construction approaches in a meaningful way. Participants will employ to developed artists in different on various ways to decorate their wares. include coil-building and press molds. Source various making techniques including bisque media is something that is truly You are encouraged to bring resource imagery image presentations, discussions and technical molds, coiling, pinching, slab construction and writings to class to use as themes for your demonstrations provide context for points and light throwing (however this is not an unique to Arrowmont. work. Forms explored will focus on tableware, of departure and individual direction for introductory throwing class). Each student is My time here provided me with specifcally, bowls and cups. Open to all participants. Finished work may be bisque encouraged to uncover their unique, personal the support, motivation and skill levels. COURSE FEE · $525 fred for safe transport. Open to all skill levels, vision and to leave with new ways of making however some clay experience will be helpful. and approaching work and ideas. Open to space to further develop my work Roberto Lugo is a potter, public speaker and COURSE FEE · $525 all skill levels. COURSE FEE · $525 in a creative atmosphere.” professor at Marlboro College in Marlboro, Vermont. Lugo has been featured in American Tom Bartel is an associate professor and the Kari Radasch is a potter, artist and — RICHARD W. JAMES Craft, Ceramics and Perception, as well as Ceramics chairperson at Ohio University’s educator living in Portland, Maine who received Hyperallgergic. His work can be found in the School of Art + Design and maintains a studio her MFA from the University of - Philadelphia Museum of Art. in Athens, Ohio. He received his MFA from Lincoln. Her work celebrates life via pottery ROBERTOLUGOSTUDIO.COM Indiana University at Bloomington and a using earthenware clay, color as a metaphor 2017 ARTIST-IN-RESIDENCE BFA from Kent State University. Bartel has for joy, an occasional historical reference and Originally from West Tennessee, lectured, conducted workshops and exhibited an ironic nod to kitsch. Radasch has taught Richard most recently lived in throughout the U.S. and internationally. workshops across the country and loves to share Lawrence, KS where he completed His work is included in numerous public and her excitement for clay with her students. his MFA at the University of Kansas. private collections. TOMBARTEL.NET KARIRADASCH.COM Richard incorporates a range of media in his work with primary emphasis in ceramics. CLAY

JUNE 25 – JULY 8 · TWO WEEKS JUNE 25 – JULY 8 · TWO WEEKS JULY 9 – 15 · ONE WEEK

THADDEUS ERDHAL & MEAGAN CHANEY GUMPERT URSULA HARGENS LINDSAY ROGERS BUSTING OUT: FIGURATIVE CERAMICS AND KILN FORMED GLASS RE: SURFACE STARTING FROM SCRATCH

In this course students work with low fre clay and kiln-formed glass to create busts from lifecast During this intensive course students delve into Tis workshop is a comprehensive forms. Moldmaking techniques allow students to make and alter a series of ceramic and glass decorative techniques while experimenting with introduction to clay body development busts incorporating both the translucent qualities of cast glass and the dense opaqueness of slips, underglazes, stains and glazes during each and manipulation. During class students ceramics. You will lifecast faces to create reusable silicone rubber molds and press-mold clay to stage of the ceramic process. You will explore encounter a hands-on and intuitive approach create life scale heads and busts. Silicone rubber molds will also be utilized for a low-tech version the techniques of inlay, resist and trailing, and to basic ceramic material understanding. of the traditional lost-wax casting process to create clear, cast glass forms. Students will practice experiment with layering materials to create You will learn to identify, dig and process additional techniques for surface layering for low fre ceramics. Experimentation is highly deep, complex surfaces. In class participants local clay; how to develop and test clay bodies encouraged, and imagination is the only limitation. Participants will take away their silicone encounter methods for pattern generation, from raw materials; and how to make tools for rubber mold, and some great fnished pieces. Some experience with glass or clay is helpful, strategies for unifying functional pots with efcient clay body testing. Participants will but beginners are welcome. COURSE FEE · $995 surface, and learn ways to develop decorative leave with a multitude of test tiles, resource motifs that are personal. You will use low-fre, lists, cheat sheets and the tools and experience Taddeus Erdahl is a studio artist and Meagan Chaney Gumpert is a studio artist earthenware clay and glazes; however, the necessary to confdently pursue clay body head of the Lower School Art program at working with low fre clay and kiln cast glass techniques and concepts covered can be applied development in their own workspace. No prior Princeton Day School, Princeton, New Jersey. and maintains a private studio in Ocala, to any clay or temperature. Handbuilders and material testing experience is necessary. He has held residencies at Guldegergaard Florida. Primarily inspired by nature, throwers of all levels are welcome, although Open to all skill levels. COURSE FEE · $525 International Ceramic Research Center in her wall reliefs and sculptures are held in prior clay experience is helpful. COURSE FEE · $995 Denmark and at Arrowmont. Erdahl has had numerous corporate and private collections. Lindsay Rogers lives in Asheville, North Carolina a solo exhibition at Greenwich House Pottery She has served as a Resident Artist at Ursula Hargens is a studio artist in Minneapolis, and is an assistant professor of Ceramics at in New York City and was recently nominated Arrowmont, Te Clay Studio of Missoula Minnesota and is the program head of the East Tennessee State University. She received as an emerging voice in craft by the American and Watershed Center for Ceramic Arts. Minnesota New Institute for Ceramic Education her BA in Printmaking from Sarah Lawrence Craft Council. THADDEUSERDAHL.COM MEAGANCHANEYGUMPERT.COM which she co-founded with the Northern Clay College and an MFA in Ceramics from the Center in 2014. She received an MA from University of Florida. Rogers has used her Columbia University and her MFA from Alfred work as a ceramic artist to advocate for a University, New York. She also studied Ceramics more locally-based, sustainable food system. at Nova Scotia College of Art and Design. LINDSAYROGERSCERAMICS.COM Hargens is a three-time McKnight Artist Fellow and has received additional awards from the Jerome Foundation and the Minnesota State Arts Board. URSULAHARGENS.COM 15

JULY 9 – 15 · ONE WEEK JULY 16 – 22 · ONE WEEK JULY 23 – 29 · ONE WEEK

LIZ ZLOT SUMMERFIELD JANICE JAKIELSKI & JOSHUA PERSKY BEN CARTER PERSONAL POTS THROUGH SOFT SLABS CERAMIC MAGIC: RE-THINKING SCIENCE AND PLAY IN THE STUDIO DESIGN FOR THE SOFT SURFACE

Tis class demystifes working with soft Tis workshop focuses on the melding of science and creative play in the ceramic studio, Tis class concentrates on integrating surface slabs, and ofers the essential components to and on process development, not product development. Drawing from the feld of Ceramic design with altered wheel-thrown and creating unique slab built pots. Students are Engineering and using inspiration from molecular gastronomy, students will leave with a new hand-built earthenware pottery. Workshop introduced to the techniques of working with understanding of ceramic materials and processes. Te emphasis is on hands-on, unconventional participants will learn a variety of surface- earthenware clay slabs and paper patterns. experimentation with ceramic gels, goos, foams, tapes, etc. Experiments are dynamic and explore design methods including slip decorating, Class begins with simple functional forms uncharted territory. Students are encouraged to look beyond traditional defnitions of ceramic sgrafto, stamping and other mark making and expands to include components such as chemistry, embrace failure and discover new methods of working. Class discussions center on the techniques. During the workshop discussions lids, feet and spouts. Tere are discussions science of adapting industrial processes to the studio and how these new approaches are utilized include aesthetic issues, making strong and work time allotted to surface treatment to expand and enhance existing studio practices. Open to all skill levels.COURSE FEE · $525 functional pots at low fre temperatures using terra sigillata and underglazes, and the and creative problem solving in the studio. class focuses on bisque fring only. One-on- Janice Jakielski teaches at the Massachusetts Joshua Persky lives in Sutton, Massachusetts Additional discussions of marketing, social one interaction is encouraged in a supportive, College of Art and Design at Harvard and has managed multiple government-funded media and the changing landscape of positive environment with experimentation University and has a studio and laboratory in programs including at NASA. He graduated contemporary craft will leave you recharged, and individual development nurtured. All clay Sutton, Massachusetts. She received her MFA from NYSCC at Alfred University and has rejuvenated and ready to grow in your own enthusiasts from beginner to advanced are in Ceramics from the University of Colorado, worked in high tech ceramics for 15 years. studio practice. Open to all skill levels. welcome. COURSE FEE · $525 Boulder and a BFA from NYSCC at Alfred Persky holds multiple patents in his feld and is COURSE FEE · $525 University. Jakielski has presented exhibitions an expert clay wedger and recently teamed up Liz Zlot Summerfeld works as a studio artist both nationally and internationally, and with Janice Jakielski to start MELD Materials. Ben Carter is a studio potter and educator based and adjunct instructor in Bakersville, participated in numerous residency programs Together they are adapting advanced ceramic in Santa Cruz, California. He has lectured North Carolina. She received her MFA from the around the country. JANICEJAKIELSKI.COM materials and processes for studio the studio at universities and craft centers in the U.S., University of Minnesota. Summerfeld has been artist. MELDMATERIALS.COM Canada, China, Australia and New Zealand. featured in Ceramics Monthly and Clay Times, In 2016 Carter was named Ceramic Artist of the and in 2014 Ceramics Arts Daily released Year by Ceramics Monthly and wrote his frst an instructional DVD featuring her ceramic book, “Mastering the Potter’s Wheel.” process and work. LZSPOTTERY.COM WWW.CARTERPOTTERY.COM CLAY

JULY 23 – 29 · ONE WEEK SEPTEMBER 17 – 23 · ONE WEEK

COURTNEY MARTIN NAN JACOBSOHN SLAB STYLE: MAKING DINNERWARE ANIMAL SCULPTURE USING SLABS AND BISQUE MOLDS Animal images have captivated us since the Making dinnerware from slabs allows for early cave artists. Trough our renderings we endless possibilities and shapes, from soft seek to capture their beauty, grace and spirit. curves to geometric angles. In this course Tis session explores the techniques needed students develop their own slab built to achieve the characteristic gesture and dinnerware such as plates, bowls and serving features that defne the animal through the pieces, as well as bisque molds. Students will use of multiple hand building approaches and leave class with bisque ware to glaze on their supportive armatures. Developing a personal own. In addition, you will explore using resists aesthetic will also be stressed. Methods for to create patterns with glaze, and fre in the achieving convincing surface textures and salt or soda kiln. Some experience is helpful, fnal fnishes are demonstrated along with but this class is open to all skill levels. instructions for fool-proof fring schedules COURSE FEE · $525 specifc to larger scale sculpture. Open to all skill levels. COURSE FEE · $525 Courtney Martin is a studio potter who lives and works in Bakersville, North Carolina. Nan Jacobsohn is an artist-in-residence at the She has a BFA of Ceramics from the University Mid-South Ceramics in Nashville, Tennessee. of New Mexico. Martin has been working She has spent much of her career as an educator with clay for over 14 years and in 2010 she in public and private schools, museums and in mounted a solo show in Okinawa, Japan. workshops across the U.S. and Canada. COURTNEYMARTINPOTTERY.COM Her work is represented in the Tennessee State Museum as well as in numerous private collections. THECLAYHORSE.COM 17

SEPTEMBER 17 – 23 · ONE WEEK OCTOBER 1 – 7 · ONE WEEK OCTOBER 1 – 7 · ONE WEEK

ADAM FIELD & DOUG PELTZMAN DAVID F. HEUSTESS BROOKS OLIVER WORKING OUT THE DETAILS: FORM, SURFACE AND FUNCTION EXPLORING THE AMPHORA RETHINKING THE MODEL AND THE MOLD Te goal of this workshop is for students to gain the skills and confdence to explore form, In this class students explore the technique texture, line and color working with clay blending ideas and concepts with tactile discovery. of throwing coils on a potter’s wheel to create During this course students learn classic and Participants will learn approaches to wheel-throwing vessels and carve intricate larger-than-life vessels based on early Grecian innovative ways to create prototypes and patterns on a variety of forms. You will also throw and build with white and black porcelain, pottery. Te rules to making a Grecian- molds to slip cast porcelain vessels. Te goal and discover ideas about designing pots with surface treatments. Demonstrations include Korean style amphora are that they have a narrow is to blur the making practices of the hand Onggi coil and paddle methods and there are discussions and exercises to inspire both in and cylindrical neck and that there are two and those of industry. After starting with the outside of the studio. Students are encouraged to bring source material for surface treatment as handles. Vessels can take the form of amphora, basics, students explore and rethink techniques well as high fre bisqueware. Open to all skill levels. COURSE FEE · $525 lidded jars, ewers and bottles; the only limit of making original models by hand, followed is the size of your kiln. You will also explore by generating plaster molds from their models Adam Field is a studio potter in Helena, Doug Peltzman is a full-time studio potter diferent techniques for making handles and and learning how to slip cast both multiples Montana and was recently a long-term and teacher in Shokan, New York. creating surfaces. Be as colossal as the Greeks and one-of-a-kind objects. Participants should resident artist at Te Archie Bray Foundation. He earned his BFA in Ceramics at SUNY in your own pottery making. Open to all skill expect to actively use the left and right side of He has apprenticed under Onggi master New Paltz and an MFA in Ceramics from levels, but knowing how to center and make a their brains. Open to all skill levels, however Kim Ill Mahn in Icheon, South Korea, Penn State. Peltzman teaches workshops and short cylinder is helpful. COURSE FEE · $525 some familiarity with molds is benefcial. and he created the HIDE-N-SEEKAH exhibits his work nationwide. His pottery has COURSE FEE · $525 social media event that began in 2013. been featured in many national publications David Heustess is a studio artist in Nashville, Field’s YouTube videos, Instagram posts, and can be found in homes and kitchens Tennessee and is the director of Sarratt Art Brooks Oliver lives in Dallas, Texas and and Periscope broadcasts are well-known across the country. DOUGPELTZMAN.COM Studios and Gallery for Vanderbilt University. maintains a ceramic studio and design practice. resources throughout the clay community. He earned his BFA in Clay and Fiber Arts from He received his BFA in Studio Arts from ADAMFIELDPOTTERY.COM the Appalachian Center for Crafts. Heustess’ Southern Methodist University in Dallas and work has been exhibited in the Southeast and an MFA in Studio Art from Pennsylvania State most recently in Best of Tennessee Craft 2016. University. He recently completed a two-year DAVIDHEUSTESS.COM residency and fellowship at the Archie Bray Foundation in Helena, Montana. BROOKSOLIVER.COM CLAY

OCTOBER 8 – 14 · ONE WEEK OCTOBER 8 – 14 · ONE WEEK OCTOBER 15 – 21 · ONE WEEK OCTOBER 15 – 21 · ONE WEEK

FORREST LESCH-MIDDLETON SUE TIRRELL LAUREN GALLASPY DEBORAH SCHWARTZKOPF VOLUMETRIC IMAGE TRANSFER DRAWN TO FORM: THE ANIMATED POT SKIN DEEP: CONSTRUCTING POETIC TRICKS OF THE TRADE CERAMIC SURFACES In this class students combine form and During this course students explore the Te goal of this course is to set in motion the surface as they explore techniques that connection between form and surface, and Te focus of this class is for students to create student’s ability to build complex forms of integrate wheel throwing and image transfer color and design by making and decorating personal and poetic surface imagery and pattern clay with simple parts. You will make basic simultaneously, creating uniquely decorative a variety of hand-built and wheel-thrown on ceramic forms using underglaze painting, templates and simple hump molds to shape functional wares. You will discover how functional forms. Demonstrations, discussions, water-based china painting and mixed-media slabs and combine thrown and altered forms to to develop silk-screens, making computer- and preliminary drawing and designing techniques. It is geared to those who want develop ceramic skills. As students puzzle these generated embossments for molds and will set the stage for learning surface design to improve or develop their relationship pieces together, the focus will be on expressive stamps, and explore the reduction cooling techniques including handmade stencils, with pattern and imagery as it pertains to shapes. Slide shows and demonstrations will process that the instructor uses to fre his painting, wax resist and sgrafto carving. the ceramic surface. Class discussions and spark ideas and help you progress toward work. Participants will begin on tiles and Students should bring their favorite source demonstrations are centered on pattern fuency with material. Discussions about advance to wheel thrown forms while being materials including drawings, photographs, development, composition, underglaze and surface, making it as an artist, and studio encouraged to think creatively. You will leave illustrations and ephemera to create a personal china painting techniques. Mixed-media practice will round out the workshop. the workshop with a new approach to surface library of imagery. Participants must be surface experiments and historical and Participants will take home bisque ware and and decoration. Open to all skill levels. comfortable handbuilding and/or throwing contemporary examples of innovative ceramic lots of new techniques to enliven their studio COURSE FEE · $525 basic pottery forms such as plates, cups and non-ceramic surfaces are also covered. Both practice. Basic hand building and wheel and bowls. COURSE FEE · $525 functional and sculptural works are welcome, throwing skills are helpful. COURSE FEE · $525 Forrest Lesch-Middleton works in Petaluma, and students should construct and fre forms California and has an extensive background Sue Tirrell is a studio potter and sculptor in prior to class to work on. Minimal previous Deborah Schwartzkopf works from her studio, as an arts educator, administrator and studio Paradise Valley, Montana. She received a BFA clay experience is necessary. COURSE FEE · $525 Ceramistas Seattle, in Seattle, Washington. potter. He received his BFA from Alfred from the New York State College of Ceramics at She earned her BA at the University of Alaska University and an MFA from Utah State Alfred University. She has been a resident artist at Lauren Gallaspy lives in Salt Lake City, Utah and an MFA at Penn State, and taught at Ohio University. In 2013, Middleton was named the Archie Bray Foundation in Helena, Montana; and is a long term resident at the Archie Bray University, the Massachusetts College of Art the Ceramic Artist of the Year by Ceramics California State University, Chico; and the Custer Foundation in Helena, Montana. She received and Design and the University of Washington. Monthly, and is a current recipient of a Creative County Art & Heritage Center in Miles City, her BFA in Ceramics at the University of Georgia Schwartzkopf teaches workshops and exhibits Work Fund grant for his work with the Islamic Montana. Tirrell has nearly 20 years of teaching and an MFA from the New York State College of nationally and internationally. Cultural Center of Oakland. experience ranging from one-room schoolhouses Ceramics at Alfred University. From 2012 to RATCITYSTUDIOS.COM FLMCERAMICS.COM and nursing homes to art museums and university 2015, she was an assistant professor of Fine Arts classrooms. SUETIRRELLCERAMICS.COM at the University of Utah. LAURENGALLASPY.COM 19

OCTOBER 22 – NOVEMBER 4 · TWO WEEKS NOVEMBER 5 – 11 · ONE WEEK NOVEMBER 5 – 11 · ONE WEEK “I’ve been blown away by the incredibly supportive community here. I appreciate how much the other work studies shared with me, extending my learning well beyond the classroom. I’m leaving Arrowmont with more confidence as an artist, KENYON HANSEN MARGARET BOHLS SUZE LINDSAY LIQUID CONTAINMENT COLLABORATION: CULTIVATION COLLABORATION: CULTIVATION and many close relationships that I hope extend into Te focus of this workshop is to create During this class students will work in a Tis class meets in conjunction with the the future.” personalized wheel thrown functional vessels unique partnership with the throwing class hand building class to share demonstrations, for containing and pouring liquid. Students an as an independent group. Classes include exercises and projects in pottery forms and — LAUREL SEBASTIAN will create pitchers, teapots, mugs and cups. demonstrations, exercises and projects to design as well as to work independently. You will work with and porcelain achieve design-oriented results. Students should You should come prepared with a form or clays, creating thoughtfully crafted forms come with a form or idea to develop. Working idea to develop. Students will work on wheel that will be made more personal of the wheel on wheel and tabletop, you will explore the and tabletop exploring techniques for making SIX-WEEK WORK-STUDY STUDENT using darting, press molds, coil and slab various techniques for making pots, including pots that include forms thrown on wheel, 2016 WORKSHOPS: construction. Participants will learn a variety forms thrown on wheel, hand-built using soft and hand-built using soft and stif slabs taken Nature Notes · Robert Johnson of glazing and slipping techniques to enhance and stif slabs, and taken out of the round out of the round and assembled. Images of Exploration of Metal Clay Forms · their forms. All work will be soda fred to cone and assembled using slab/or thrown elements. historical and contemporary pots are presented Patrick Kusek 10. Some wheel throwing experience will be Images of historical and contemporary pots to kindle the student’s purpose and intention. Traditional Yoruba Batike, , helpful. COURSE FEE · $995 kindle purpose and intention. Class discussions Discussions and demonstrations of form, and Tie- · Gsali Adeyemo include how to marry form and surface, and surface, use of texture and slip application Kenyon Hansen is a full-time studio potter demonstrations on the use of texture and slip techniques will round out the class that Laurel grew up in Santa Rosa, from the Upper Peninsula of Michigan and application techniques. Participants will use includes stoneware and bisque fring only. California. She recently graduated is a visiting artist and ceramics instructor at stoneware and bisque fre only. Students must Students must have basic wheel throwing from Colorado College with an Finlandia University in Hancock, Michigan. have basic wheel throwing and hand building and hand building skills. COURSE FEE · $525 environmental science degree and He has been an artist–in-residence at the Archie skills. COURSE FEE · $525 plans a career in conservation. Bray Foundation, where he was awarded the Suze Lindsay is a full-time studio potter living She now lives in Colorado and Lincoln Fellowship and at the Watershed Center Margaret Bohls teaches ceramics and is associate and working in Bakersville, North Carolina. explores many art media including for the Ceramic Arts. In 2013, he was selected professor of Art at the University of Nebraska - She earned her MFA from Louisiana State ceramics and . as an Emerging Artist by Ceramics Monthly. Lincoln. She received her BFA from the Rhode University. Her ceramic studies include a Kenyon has taught at Haystack Mountain School Island School of Design and an MFA from two-year fellowship and an Artist-in-Residence of Crafts and Greenwich House Pottery in Louisiana State University. Bohls makes hand- Program at the Penland School of Crafts. New York City. built porcelain pottery and articles about her work In 1996, Lindsay and her husband set up their have been featured in Ceramics Monthly and potting studio in Bakersville. Studio Potter magazine. MARGARETBOHLS.COM FORKMOUNTAINPOTTERY.NET DRAWING PRINTMAKING · · PAINTING PHOTOGRAPHY MARCH 30 – APRIL 2 WEEKEND MARCH 30 – APRIL 2 WEEKEND PAPER BOOKS

LISA D. LINE RANDI PARKHURST BEING HERE: FINDING YOUR PLACE IN A HOME OF OUR OWN: PAPER LANDSCAPE PAINTING SCULPTURE

Te focus of this workshop is for students to Te goal of this workshop is for students to gain skills in harnessing and managing the create an enchanting small house using paper beauty, power and subtlety in the medium and unusual materials. Working from a of oil painting. Each of us belongs to a place, pre-cut kit, you will learn to make a foor, or experiences it with emotion, memory and four walls and two working windows and association. Whether you are a beginner or an doors. Participants will also construct a experienced oil painter, you will plan, craft removable, shingled roof that reveals the and complete paintings flled with a growing interior of the structure and elegant paper feet appreciation of time and place. Individually to protect the bottom. Open to all skill levels. and as a group, students will discover COURSE FEE · $340 perspective, composition, capturing the light, color and drawing. You will also explore Randi Parkhurst works from her home studio in techniques and procedures to get the results Olympia, Washington. She has taught book, box you want. Open to all skill levels. and paper arts at the Penland School of Crafts, COURSE FEE · $340 Arrowmont, the San Francisco Center for the Book and the Pacifc Northwest Art School. Lisa D. Line operates a studio for oil painting Her work is featured in 500 Handmade Books, in Sevierville, Tennessee and earned her BA 1000 Artists Books, Craft Magazine and in from Xavier University in Cincinnati, Ohio. two videos. PARKHURSTPAPERARTS.COM Her work focuses on the meeting of the timeless natural world with modern life. Her paintings and drawings are collected and exhibited regionally and nationally. LISADLINE.COM 21

APRIL 6 – 9 · WEEKEND APRIL 6 – 9 · WEEKEND MAY 21 – 27 · ONE WEEK MAY 21 – 27 · ONE WEEK

JAY FOX LYNDA RAY HEIDI NEILSON CLAIRE STIGLIANI BOOKS AS MEMORY/ INTRODUCTION TO ENCAUSTIC EXPERIMENTAL BOOK LAB PAINTING AND SMALL SCULPTURE: BOOKS OF MEMORY THEATRE AND STORY TELLING Encaustic painting produces impressive What makes a book a book? In this class Works presented as books are inherently results with luminous and jewel-like surfaces students dissect book structure and consider In this class students incorporate painting multifaceted; the form can be revealing and and textures, such as on wood panels and both traditional and non-traditional binding and sculpture to tell a story. In the frst at the same time, protective and preserving. is an excellent material for all kinds of methods during their exploration. You will phase, students learn how to build and sculpt In this course participants learn and practice work. Students will learn the step-by-step create your own miniature library of sample small environments and fgures, including book forms such as pamphlets, Japanese process including layering transparent structures to gain an understanding of what building furniture, animals, plants, stab and concertina bindings. Students are color, imprints, and working with stencils, binding strategy might best tie materials and fowers, monsters and people. You will also encouraged to pay particular attention to the stylus and texture. Understanding the concept. Participants will create variations learn to paint backgrounds and to create how these styles of binding and materials properties of encaustic is the frst step to in materials, stitches and book design with a space ranging from interior to exterior used can support and lend voice to the incorporating it into your work. At the end an eye toward concept and sculptural form, environments, either real or imagined. content of their works. You will work of the workshop, participants will be familiar and gain an in-depth overview of techniques Te second phase allows students to use the together to build content to create books with a range of skills and creative possibilities which can be applied to a variety of future set they created to paint, photograph, with interesting artifacts and infuential that will infuence their own work. projects. Open to all skill levels. or flm in it. Students will also learn a variety ephemera you bring from home, along with No encaustic experience is necessary. COURSE FEE · $525 of techniques to manipulate their 3-D work a trove of personal stories and infuences. Open to all skill levels. COURSE FEE · $340 into 2-D art pieces. Open to all skill levels. Open to all skill levels. COURSE FEE · $340 Heidi Neilson lives in Long Island City, COURSE FEE · $525 Lynda Ray is an artist who lives and works in Queens, New York and received a BA Jay Fox is from Morganton, North Carolina Richmond, Virginia and graduated from the in Biology from Reed College and an MFA Claire Stigliani is on the faculty at the and is the Print, Letterpress, Books and Paper Massachusetts College of Art. She has received in Painting from Pratt Institute, Brooklyn. University of Tennessee in Knoxville and coordinator at the Penland School of Crafts. numerous grants and fellowships, and a recent She has created over 20 artist books using received her MFA from the University of He received his BFA in Printmaking from scholarship to study with Agnes Martin at methods ranging from traditional printmaking Wisconsin, Madison in 2010. She is a recent the Savannah College of Art and Design and Skowhegan School of Painting and Sculpture. and hand binding to digital on-demand recipient of a Joan Mitchell Foundation an MFA from the University of Wisconsin- Ray has taught and lectured on encaustic and printing. HEIDINEILSON.COM Grant. Stigliana has participated in solo and Milwaukee. JAYTHEFOX.COM her paintings and sculpture have been widely group exhibitions at the Madison Museum of exhibited across the U.S. LYNDARAYART.COM Contemporary Art, the Chazen Museum of Art, Madison, Russell/Projects, Richmond, Virginia, and the Jenkins Johnson Gallery in New York. CLAIRESTIGLIANI.COM DRAWING, PAINTING, PAPER, BOOKS, PRINTMAKING, PHOTOGRAPHY

MAY 28 – JUNE 3 · ONE WEEK MAY 28 – JUNE 3 · ONE WEEK JUNE 4 – 10 · ONE WEEK JUNE 4 – 10 · ONE WEEK

CHARLES CLARY KELLI KELLEY TRAVIS HEAD CORNEL RUBINO METICULOUS EXCAVATIONS: MIXED-MEDIA NARRATIVE PAINTING EXPLORING TIME AND CHANGE THINK BIG: EXPLORATIONS IN PAPER CUTTING THROUGH DRAWING MONUMENTAL DRAWING Te goal of this class is for students to produce Paper cutting has seen a remarkable a series of fve mixed-media personal narrative We are accustomed to using drawing to describe Te focus of this class is for students to develop resurgence in the art world over the last 10 paintings based on their individual interests spatial experience. But how can you use an ease in working large by exploring how scale years and can be considered drawing, painting, and unique personal ideas. You will work on drawing to describe your experiences in time? alters the way in which they view our world. or even sculpture. Tis class delves into the panel, paper, or canvas. Students will develop In this workshop students explore a variety of You will draw directly from life to re-translate various techniques of how to create compelling images for their paintings through writing, methods to draw the durational efects of time. nature and re-think the human condition. and engaging work using only the blade and sketching, contemplation and discussions You will discover exploratory drawing exercises Instruction includes drawing vertically on a wide array of paper and paper-like material. about composition and other formal elements. across genres including landscape, still life and paper no smaller than seven feet, in studio, By exploring these paper cutting techniques, Various painting techniques are explored stop-motion animation resulting in a highly from live models, and from lyrical and moody students with an interest in what paper can that include glazing, impasto and scumbling. personalized project. Open to all skill levels. objects of one’s choice from nature. A variety become will gain a basic understanding of Participants will be guided through the COURSE FEE · $525 of wet and dry media are explored as well as how to use a knife and manipulate paper to process of collaging and building layers of developing the skills needed to tackle large- create intricate compositions. Open to all acrylic paint. Experimentation and exploration Travis Head lives in Blacksburg, Virginia and scale drawings translated from smaller sketches skill levels. COURSE FEE · $525 with painting techniques are encouraged. is assistant professor of Drawing at Virginia and ideas. Foundation drawing skills are Some drawing experience is required. Tech. He makes drawings primarily rooted in necessary for this class. COURSE FEE · $525 Charles Clary was born in Morristown, COURSE FEE · $525 the notion of souvenir. Head has been awarded Tennessee and lives and works in Conway, numerous national and international artist Cornel Rubino lives in Baltimore, Maryland South Carolina. He received his BFA in Kelli Kelley lives in Baton Rouge, Louisiana residencies, and his drawings and sketch-journals and teaches at the Maryland Institute College Painting with honors from Middle Tennessee and is a painting professor at Louisiana State have been exhibited widely throughout the U.S. of Art. He has lectured on Picasso at the High State University and his MFA in Painting from University. She received an MFA from the TRAVISHEAD.COM Museum of Art in Atlanta, the 20th Century the Savannah College of Art and Design. University of Massachusetts, Amherst and Art at the Nexus Contemporary Arts Center and Clary’s work has been featured in numerous she creates mixed-media narrative paintings, on his own work at Johns Hopkins University. publications including 500 Paper Objects, drawings and objects. In 2014 her book, Rubino is a winner of the Society of Publication Paper Works, Paper Art, Papercraft 2, “Accalia and the Swamp Monster,” was Designers and Communication Arts Award and PUSH: Paper and Paper Art Now. published and features her art work and is a longtime contributor to Te New Yorker CHARLESCLARY.COM writing. KELLISCOTTKELLEY.COM Magazine. CORNEL-RUBINO.COM 23

JUNE 11 – 17 · ONE WEEK JUNE 11 – 17 · ONE WEEK JUNE 18 – 24 · ONE WEEK YOU MIGHT BE INTERESTED IN THE FOLLOWING WORKSHOPS:

ANDREW KUEBECK · METALS p. 44

ERIN CASTELLAN · FIBERS p. 35

AMIE ADELMAN · FIBERS K RHYNUS CESARK AARON COHICK ALTHEA MURPHY-PRICE p. 38 ENCAUSTIC: LAYERING PAINT, YOU ARE YOUR OWN TECHNOLOGY: EXPLORATIONS IN INK: MONOTYPE/ AND CONTENT HAND-MECHANICAL APPROACHES TO COLLAGRAPH/COLLAGE SONDRA DORN · MIXED MEDIA ARTIST’S BOOKS p. 27 Tis course explores the versatility and Tis workshop takes a free-form approach to limitless possibilities of encaustic in Students don’t need specialized equipment creating unique impressions using monotype, MARY ZICAFOOSE · FIBER DESIGN combination with other materials. It invites to make artist’s books. All it takes is an idea collagraph and collage techniques. p. 40 painters, collage artists, printmakers, sculptors, and a willingness to experiment. In this Students are encouraged to experiment using ceramic artists, photographers and mixed class students explore a variety of “low-tech” a variety of mark-making methods, personal EMILY GOMEZ · CYANOTYPE media artists to investigate the luminous approaches to producing drawings, prints found objects and the natural surrounding p. 32 layers of encaustic. Whether your work is and edition artist’s books. You will combine environment of the Arrowmont campus. abstract, representational or conceptual this the technologies of printing (relief printing, Collage methods are introduced for additional course has something for everyone. Students collagraph, stencil and transfers) with the formal exploration. Printing, mixing ink, are encouraged to explore their own visual technologies of the hand (drawing, collage color registration and chine collage are also vocabulary through this diverse and seductive and painting). Using these techniques to make covered during class. Open to all skill levels. medium. You can choose to explore the images and text, students can create a personal COURSE FEE · $525 two-or three-dimensional qualities of encaustic alphabet/lexicon that blurs the line between wax or both. Lectures and demonstrations of the two. Simple and versatile Althea Murphy-Price lives in Knoxville, traditional and experimental techniques for techniques will also be covered. Open to all Tennessee and is an assistant professor in working both on and of the wall are integral skill levels. COURSE FEE · $525 Printmaking at the University of Tennessee. part of the class. Open to all skill levels. She received her MA from Purdue University COURSE FEE · $525 Aaron Cohick lives in Colorado Springs, and an MFA from the Tyler School of Art, Colorado and is the proprietor of the NewLights Temple University. Murphy-Price has exhibited K Rhynus Cesark is a studio artist who teaches Press, a small press focused on the intersection of in numerous national and international venues encaustic painting and ceramics at Colorado experimental writing and artist’s publishing. and has been featured in such publications as Mountain College in Aspen. She received her He is also the owner of the Printer of Te Press at Art Magazine, Contemporary Impressions MFA from the Massachusetts College of Art and Colorado College, a letterpress studio that creates Journal, Printmaking: A Complete Guide to Design in Boston. Cesark is a fellowship recipient an interdisciplinary space within the liberal arts Materials and Process, and Printmakers Today. for the Colorado Council on the Arts and exhibits curriculum. NEWLIGHTSPRESS.BLOGSPOT.COM ALTHEAMURPHYPRICE.COM her work nationally. KRHYNUSCESARK.COM DRAWING, PAINTING, PAPER, BOOKS, PRINTMAKING, PHOTOGRAPHY

JUNE 18 – 24 · ONE WEEK JUNE 25 – JULY 8 · TWO WEEKS JUNE 25 – JULY 8 · TWO WEEKS

JAVE YOSHIMOTO MICHAEL DIXON SHANE DARWENT & ANDREW SAFTEL GOUACHE PAINTING: FLAT COLORS, IDENTITY AS PERFORMANCE, MINING FOR PLACE FULL WORLD PERFORMANCE AS IDENTITY In this course students look to the dynamic environs of the Great Smoky Mountains that Tis class is an exploration of drawing, Te self-portrait has a long and rich history. surround Arrowmont as test labs for creativity. You will spend time looking and listening, painting and illustration techniques using In this session, students create a series of and drawing and photographing within these rich American spaces, using these studies to inform the opaque pigments of gouache paint. self-portraits using contemporary methods a self-directed studio project. Drawings may be the catalyst for monoprints or collographs, and Students explore ideas of how to represent in oil paint. Te class covers the process of photographs may become transfers, prints, books, or sculpture as participants look to create immediate surroundings in their own personal, drawing the fgure, oil painting techniques, a small, focused body of work in response to place. You are encouraged to leave old working perceptual vision. Participants are encouraged color theory, composition and mixing color. materials at home, and let the inspiring contradictions of cotton candy and Cade’s Cove fuel new to think about the ideas that they most like to Te focus is on drawing and painting from projects. Te goal of this workshop is to hone awareness of your cultural surroundings through engage in and to explore that idea to infuence observation. You will play with performance nuanced observation. Te result is carefully edited projects that fuse inspiration with discovery their compositional design. Formal elements as a method of creating images. Images are through a myriad of studio processes. Open to all skill levels, however a dedicated studio practice and principles of design will be discussed used to assist with conceptualizing ideas and is preferred. COURSE FEE · $995 in how to create an efective and engaging storytelling. Open to all skill levels. composition. Open to all skill levels, however COURSE FEE · $995 Shane Darwent lives outside of Detroit, Andrew Saftel works out of his studio in an understanding of color theory as well as Michigan where he is completing his MFA rural Tennessee and is best known for his two-dimensional design are helpful. Michael Dixon is an associate professor of from the University of Michigan. He works collage paintings on carved wood panels, COURSE FEE · $525 Art and Chair at Albion College in Albion, across a variety of disciplines including and also works in a variety of other media. Michigan. He received his MFA from the photography, painting, sculpture, audio and His work has been deeply infuenced by the Jave Yoshimoto is an artist and educator based University of Colorado at Boulder. Working video to explore the drama held within our surrounding landscape and culture. Saftel in the Midwest, and earned his BA in Studio primarily with oil paint, his work has been everyday landscapes. Darwent was a Core was invited twice to teach printmaking Art from the University of California, Santa shown both nationally and internationally. Fellow at the Penland School of Crafts, and in Bangladesh, experiences which led to a Barbara, an MA in Art Terapy from the School Dixon explores the personal, societal and has received numerous grants and awards large body of paintings, works on paper and of the Art Institute of Chicago, and an MFA in aesthetic struggles of belonging to both "white" including the Tennessee Arts Commission photographs. He has had 45 solo exhibitions Painting from Syracuse University. Yoshimoto’s and "black" racial and cultural identities, Individual Artist Fellowship in 2015. and his work is widely collected. art has been recognized by the United Nations, yet simultaneously belonging fully to neither. SHANEDARWENT.COM ANDREWSAFTEL.COM and he is a recipient of the 2015 Joan Mitchell MICHAELDIXONART.COM Foundation’s Painter’s and Sculptor’s grant. JAVEYOSHIMOTO.COM 25

JULY 9 – 15 · ONE WEEK JULY 16 – 22 · ONE WEEK JULY 16 – 22 · ONE WEEK

STUART KESTENBAUM & SUSAN WEBSTER MEGAN ABAJIAN GARY CHAPMAN WORDS AND IMAGES PAPERCUTTING: TIMELESS CRAFT EXPRESSIVE MARK MAKING, VIA A CONTEMPORARY LENS A PAINTERS APPROACH TO DRAWING In this class students make images that inspire writing, and writing that inspires images, and create work that can combine the two. Daily activities include writing and drawing to Tis mixed-media course focuses on the Te focus of this class is exploring charcoal prompt you to generate work and experimentation. Participants learn various low-tech timeless craft of paper cutting while exploring as the perfect drawing medium for expressive printmaking techniques including gelatin-plate process, and direct stencil and monotype its contemporary applications. Students mark making as it relates to abstraction. drawing. You will use a variety of tools and techniques including drawing, painting and collage examine the diferent methods and tools used Students will develop a personal approach in order to make image and text components. Formats may include simple book structures, in cutting paper, its challenges and its endless to loose, aggressive mark making with a one-of-a-kind pieces, and broadsides. Open to all skill levels. COURSE FEE · $525 opportunities. You will work with layering combination of additive and subtractive through collage and pieced/constructed techniques using charcoal and erasers and Stuart Kestenbaum is a poet and former Susan Webster lives in Deer Isle, Maine methods, as well as exploring color and developing grounds. While charcoal is the director of the Haystack Mountain School of and is a visual artist who works with a materials utilizing a variety of media (various primary medium, you will also combine conte Crafts in Deer Isle, Maine and is currently the variety of materials and process. She has substrates, adhesives and wet processes). crayon, spray paint, ink and gesso in your State of Maine’s Poet Laureate. He has been taught at Haystack, Penland, the Center for Students will explore the surrounding work. Later in class you may opt to explore a visiting writer at art programs including Contemporary Printmaking in Connecticut, landscape of the Smoky Mountains as the diferent ways these same techniques can Penland, Cranbrook Academy of Art, Rhode and the Studio Artworks Center in inspiration for their work. Te class also be applied to observational drawing for a Island School of Design, and Penn State. Jerusalem, and has developed a model art includes lots of practical information that you provocative and beautiful fusion of abstraction His most recent book is titled “Only Now,” program in the prison system in Maine. can integrate into your studio practice. and realism. Open to all skill levels. and published by Deerbrook Editions, 2014. Recent exhibits include Greenhut Galleries Open to all skill levels. COURSE FEE · $525 COURSE FEE · $525 STUARTKESTENBAUM.COM in Maine and the Concord Art Association in Massachusetts. Stuart and Susan frequently Megan Abajian lives in Dartmouth, Gary Chapman is a professor of Art at the create art together that combines works and Massachusetts and received her BFA from the University of Alabama at Birmingham and images. SUSANWEBSTER.NET University of Texas at Austin and an MFA from received his BA and BS from Berea College and Indiana University. She is the assistant dean and an MFA from Cranbrook Academy. Chapman Studio Art Foundations Director in the College has had over 60 solo exhibitions including of Visual and Performing Arts at the University shows at the Montgomery Museum of Fine Arts, of Massachusetts, Dartmouth (UMD). Before University of Cincinnati, University of Georgia, joining the UMD, Abajian taught Studio Art at and the Indianapolis Art Center. He has also Indiana University. MEGANABAJIAN.COM participated in numerous group and invitational exhibitions with regional, national and international venues. GARYCHAPMANART.COM CLAY

JULY 23 – 29 · ONE WEEK JULY 23 – 29 · ONE WEEK

BRANDON DONAHUE THOMAS LUCAS AIRBRUSHING TECHNIQUES FOR PRINTMAKING INSIDE AND OUT THE BOLD AND DARING Tis course introduces basic printmaking Tis hands-on course covers the diferent types processes and equipment with equal emphasis of airbrushes, air sources, safety, preparation on concept and technique. Students are and airbrush media. Students will learn the introduced to a variety of print media using basics such as freehand airbrush control using simple methods and techniques such as a double action airbrush, use of stencils, color monotype, relief, intaglio, lithography and blending, shading and highlighting, drills and various approaches within each technique. techniques, rat-tail strokes, tips and freehand You will incorporate cyanotype in the prints, techniques. Te course is excellent training which will open up the possibilities with for anyone who has either never airbrushed or photographic images. Students will develop for the professional wanting to fne tune their skills through independent work in the context skills. Open to all skill levels. of contemporary art and design, build on COURSE FEE · $525 process and experiment with print media. Creative and critical thinking will enhance Brandon Donahue lives in Nashville, Tennessee your participation. Open to all skill levels. where he is a painting and drawing instructor at COURSE FEE · $525 Tennessee State University. He received his MFA from the University of Tennessee at Knoxville. Tomas Lucas received his BFA in Printmaking Donahue has 17 years of experience as a custom at the Tyler School of Art, Temple University and airbrush artist and painter. an MFA with a Merit Scholarship at the School BRANDONJAQUEZDONAHUE.COM of the Art Institute of Chicago. He has taught at the Tyler School of Art, the School of the Art Institute and the Museum of Contemporary Art Chicago. THOMAS-LUCAS.COM 27

SEPTEMBER 17 - 23 · ONE WEEK SEPTEMBER 17 – 23 · ONE WEEK SEPTEMBER 17 – 23 · ONE WEEK

SONDRA DORN MARCIA GOLDENSTEIN & TOM RIESING TANYA HARTMAN VISUAL SCAVENGERS: COLLAGE AND LANDSCAPE: THE ART OF LOOKING VISUAL MEMOIR: USING YOUR STORY COMPOSITION TO MAKE YOUR ART Tis course explores traditional and non-traditional watercolor techniques including During this class students create abstract transparency, opacity, mixed media and collage. Students will investigate landscape both Te focus of this class is to combine creative and learn the foundations of great on-site and in the classroom. Studio time is augmented with demonstrations and presentations non-fction writing with text-based art compositions, including how to change scale, concerning historical and contemporary approaches to landscape. Landscape as a subject making. Students who have an interest in rearrange elements and combine images. You provides many opportunities for discussions about space, image construction and personal using autobiographic references in their will begin with exercises to jump-start your response. During class participants are encouraged to individually and critically challenge their work will discover a series of exercises in oral compositions that include copying, enlarging ideas and approaches to landscape painting. Open to all skill levels. COURSE FEE · $525 storytelling, creative non-fction writing, visual and reducing, cutting, reconfguring and memoir and text-based art to create their tracing. After utilizing patterned and painted Marcia Goldenstein is the professor emeritus Tomas Riesing was most recently director of story and discover how to express their unique papers, and employing basic techniques such of Painting and Drawing at the University of the School of Art at Ball State University and vision. Te class incorporates PowerPoint™ as cutting, pasting, tearing and layering, Tennessee School of Art and received her MFA formerly a professor of Art at the University presentations on storytelling in contemporary participants will then use acrylic mediums in Painting from the University of Nebraska. of Tennessee who received his MFA from the art, readings from contemporary fction and to create collages on cradled birch panel. You She has been a visiting artist at the National University of Nebraska. Riesing has been a non-fction works, and writing and drawing then have the option to work back into your Academy of Fine Arts, Bratislava, Slovakia; visiting professor at the University of Texas, exercises designed to bring forth original collages using basic drawing tools, such as Sichuan University, Chengdu; Beihang San Antonio; the National Academy of content. Te class culminates in a “story slam” pencils, pens and markers. Open to all skill University, Beijing; University of Texas, Fine Arts, Bratislava; Beihang University, performance at the end of the week. Open to levels. COURSE FEE · $525 San Antonio; Arizona State University; Beijing; the National Academy of Fine Arts, all skill levels. COURSE FEE · $525 University of Indianapolis; and other Wroclaw; and Sichuan University, Chengdu. Sondra Dorn is a studio artist living in Asheville, universities and museums. She exhibits her His work is displayed in numerous collections Tanya Hartman lives in Lawrence, Kansas and North Carolina. She received her BFA at the work in the U.S., Europe and China. in the U.S., Europe and China. teaches painting and drawing at the University University of the Arts in Philadelphia and her MARCIAGOLDENSTEIN.COM of Kansas. She received a BFA in Painting from MFA at the University of Washington. Dorn the Rhode Island School of Design and an MFA has attended residencies at Arrowmont and at in Painting from Yale University. Hartman was Penland School of Crafts, and has been a Core also a Fulbright Scholar in Stockholm, Sweden. Fellow at Penland. SONDRADORN.COM TANYAHARTMANART.COM DRAWING, PAINTING, PAPER, BOOKS, PRINTMAKING, PHOTOGRAPHY

OCTOBER 1 – 7 · ONE WEEK OCTOBER 1 – 7 · ONE WEEK OCTOBER 8 – 14 · ONE WEEK

MARGOT ECKE STEVE JOHNSON & PHIL SANDERS HOLLY ROBERTS VARIATIONS OF THE HISTORIC LONG TAG TEAM: WATERCOLOR MONOTYPE AND DRAWING PAINT AND COLLAGE: AND LINK STITCH THE PERFECT UNION Drawing informs the structure of watercolor and watercolor strengthens an economy of mark Historic long stitch book bindings date making; it is a tag team relationship. Tis class is a blend of drawing and watercolor monotype In this workshop students combine from as early as the 13th century and were where students learn to create their own watercolors, prep and print their plates and evolve their photography and photo-based processes with common throughout Europe. Tis binding observational drawing skills. Te process allows artists to work in a representational, gestural, diferent materials to build unique mixed style is perfect for sketchbooks, guest books or abstract approach with washes and line work as well as with tonal and intense color. During media works. Participants will work with and journals, as the book opens fat for easy class, drawing exercises are geared towards increasing skills and confdence, and are directly transfers, water-based paints and adhesives, writing. During this class, students learn applicable to working on monotype plates. Sketches can be used as inspiration for printed laser prints, and any found or made material proper binding techniques, wise tool choices, imagery. Be prepared to have your concepts of drawing and watercolor permanently changed. to incorporate into their collages. You will how to select appropriate materials and the Tis is a nontoxic printmaking process. Open to all skill levels. COURSE FEE · $525 prepare paintings as backgrounds to adhere history of this remarkable structure. photographs, drawings, paintings and other Students will bind fve books throughout the Phil Sanders is the founder and director of Steve Johnson is an associate professor of Art material you might choose. Students will learn week. No previous bookbinding experience is PS Marlowe, a creative services consultancy and head of the Drawing Department at the various techniques including polymer transfers, necessary. Open to all skill levels. frm. He has taught studio and business College of Charleston in South Carolina. the use of water based paints, correct gluing COURSE FEE · $525 courses at Stanford University and Penland Johnson received a Fulbright Fellowship techniques, substrates and composing and School of Crafts. Sanders held positions as to India where he taught drawing and has building an image. Open to all skill levels. Margot Ecke is the owner of Smokey Road Press, COO of Te Elizabeth Foundation for the taught at the Penland School of Crafts, COURSE FEE · $525 a design, letterpress and bookbinding studio in Arts, and director and master printer of the Robert Blackburn Printmaking Workshop, Athens, Georgia. She received her MFA from Robert Blackburn Printmaking Workshop. and Steneby Skolan, Sweden. Recent solo Holly Roberts is an artist who lives in Corrales, the Rhode Island School of Design and her BFA Sanders taught studio and business courses at exhibitions include Blackburn 20|20 NYC; New Mexico and earned her MFA from Arizona from Cornell University. Ecke was an assistant Stanford University and Penland. His artwork 111 Minna, San Francisco; and Halsey State University in Tempe. Her pieces are professor of Book Arts and Printmaking at the is contained in the public collections of Institute of Contemporary Art, Charleston. nationally and internationally exhibited and University of Georgia from 2006-2009. Te Metropolitan Museum of Art and at Johnson’s work is included in the collection have been published in two monographs. She has the Yale University Art Gallery. of Te Library of Congress. twice received National Endowment for the Arts Fellowships. HOLLYROBERTSSTUDIO.COM 29

OCTOBER 8 – 14 · ONE WEEK OCTOBER 15 – 21 · ONE WEEK OCTOBER 15 – 21 · ONE WEEK OCTOBER 22 – 28 · ONE WEEK

BT LIVERMORE ADAM FOTOS WILLIAM KOCHER MARY TODD BEAM HANDMADE LETTERING STORYTELLING WITH MIXED PAINTING IN THE OPEN AIR OF THE AQUAMEDIA FREE STYLE MEDIA DRAWING GREAT SMOKY MOUNTAINS Even though there are thousands of Jumpstart your creative juices and strengthen pre-designed fonts at one’s disposal every How do images and text weave together to For students with an interest and passion for your painting skills in this improvisational day, hand-created lettering has a punch and form something more than the picture or painting “en plein air,” this class utilizes the hands-on approach to subject matter in a character that cannot be beat for many the word can say on its own? In this course beautiful Great Smoky Mountains National order to express your ideas and feelings projects. Tis class examines the basics of students explore visual storytelling through a Park to create small landscape paintings. more strongly. Projects are designed to tap letter construction and layout and then series of mixed media drawings, discovering Students will be working in oils, pastels, into your innate talent and to develop a explores the more complex, decorative, new and unexpected ways to construct graphite and water-based media. In the painterly approach to watermedia. Students hand-painted lettering. Students should come narrative-driven images. You will work park, you will study, observe and challenge will experiment with printing, staining and to class prepared with favorite phrases or primarily on paper with a variety of materials yourselves by painting the landscape each day. dimension in a variety of techniques to loosen words to work with. You will gain experience from watercolor, ink, charcoal, graphite and Te group will then return to the studio to a perhaps rigid approach. Each day an aspect with a variety of tools including pens, markers, collage. Whether interested in reconstructing discuss the processes and challenges of their of design is presented through demonstrations traditional sign-painting brushes, as well as part of a personal history, illustrating images experiences. Since walking is involved, each and visual aids. Participants are encouraged handmade or found implements. Open to all for a children’s book, creating a journalistic student must be portable. Open to all skill to develop your personal style through projects skill levels. COURSE FEE · $525 zine, or documenting a dream, students will levels, however a basic understanding of your that elicit self-awareness. Open to all skill learn strategies for efectively and evocatively equipment and materials are required and levels. COURSE FEE · $595 BT Livermore is a lettering artist, sign painter, telling stories with text and pictures. Open to previous drawing and painting practice is printmaker, illustrator and instructor who lives all skill levels. COURSE FEE · $525 recommended. COURSE FEE · $525 Mary Todd Beam is a member of AWS, DF, in Butte, Montana. He has taught lettering NWS, and the Ohio Watercolor Society. She workshops at Portland State University, Pacifc Adam Fotos is a Chicago-based artist, originally William Kocher is a painter living in is a two-time winner of the AWS Gold Medal NW College of Art, Wildcraft Studio School, from East Tennessee, who works in painting, Mechanicsburg, Pennsylvania. He has used of Honor Award. Beam is the author of two and the Independent Publishing Resource Center. drawing and comics. He is a full-time instructor direct observation en plein air to make landscape books and a video. Her work is exhibited Livermore is a founding member and former at Chicago State University and a part-time paintings that express his respect and afection for internationally. MARYTBEAM.COM studio manager of Magnetic North Studios in instructor at the College of DuPage in Glen nature for over 20 years. Past exhibitions include Portland, Oregon, and currently heads up the Ellyn, Illinois where he teaches painting, drawing the Pennsylvania Governor’s residence, Loyola Phoenix Fabrication Studios in Butte. and digital art. ADAMFOTOS.COM University in Baltimore, Maryland, and Wilkes BTLIVERMORE.COM University in Wilkes-Barre, Pennsylvania. WILLIAMKOCHER.COM DRAWING, PAINTING, PAPER, BOOKS, PRINTMAKING, PHOTOGRAPHY

OCTOBER 22 – NOVEMBER 4 · TWO WEEKS OCTOBER 22 – NOVEMBER 4 · TWO WEEKS NOVEMBER 5 – 11 · ONE WEEK NOVEMBER 5 – 11 · ONE WEEK

DON MCGOWAN MARGARET SCANLAN CAROL BARTON ANGELA PIEHL AN AUTUMN FORTNIGHT: WATERCOLOR FOR ALL POP-UP STRUCTURES AND SCULPTURAL CREATURE COLLAGE PHOTOGRAPHING THE GREAT SMOKY BOOKBINDING MOUNTAINS Tis class focuses on solid work and a fun Tis workshop allows students to consider study of watercolor that overfows with In this class students discover the magic hybrid aesthetics and how meaning can be A two-week journey into creative digital sequential, no-failure exercises, interesting of the sculptural book through exploration of crafted from juxtaposing imagery from a photography is a chance for students to learn, experiences and experiments, and a good dose three-dimensional and pop-up forms. You will diverse range of sources while painting and practice and integrate a variety of skills. of color theory. Students will discover tools learn a variety of pop-ups structures beginning drawing. Te goal is to consider new ideas Tis journey unfolds in the Great Smoky and techniques that will last for a lifetime and with simple non-adhesive cut-and-fold pop-ups about the materials that you interact with on Mountains National Park, which participants will create an exquisite watercolor – or two, or and progress through a series of more complex a daily basis. Participants have the option to explore in depth from one magical location three. Te class is suitable for true beginners glued constructions. Te class also explores draw and paint collaged materials from those to another. Guest artist John DiGiacomo will to experienced watercolorists. Open to all skill sculptural bindings and the carousel and provided, such as still life and natural objects, be on hand to share his unique photographic levels. COURSE FEE · $995 tunnel book formats. Slide shows of historical or create collages using their own image talent and love of the natural world. A basic and artist-made books are also presented. sources like magazines and online imagery. knowledge of your camera’s operations Margaret Scanlan is a full-time studio painter in Tis is an ideal session for book artists, Tis workshop is for aspiring and practicing (aperture, shutter speed, ISO, exposure and Knoxville, Tennessee who also teaches watermedia, teachers, graphic designers and anyone who artists of all ages and all levels of comfort with compensation) is essential. A laptop computer color theory and drawing workshops across likes to play with paper. Open to all skill levels. drawing, painting and collage tools. Open to with image-processing software (PhotoShop, the U.S., and in Ireland and France. She is a COURSE FEE · $525 all skill levels. COURSE FEE · $525 OnOne, iPhoto, etc.) is also required with a signature member of the American Watercolor basic understanding of that software. Tis class Society, the National Watercolor Society and Carol Barton is a book artist, curator and Angela Piehl is an artist and associate is for the advanced beginner, intermediate and the Watercolor USA Honor Society. Her work educator. She is on the faculty at the University professor of Painting, Drawing and Digital aspiring professionals. COURSE FEE · $995 is exhibited and held in private, corporate, and of the Arts in Philadelphia and the Corcoran Art at Oklahoma State University. Piehl has public collections in the U.S. and in Europe. College of Art and Design at George Washington participated in several highly-competitive artist Don McGowan has been a professional nature Scanlan plays keyboards in a Celtic band called University in Washington, D.C. Her how-to residencies, such as Jentel, Kala Art Institute, photographer for twenty-one years. He has taught Red-Haired Mary. books, “Te Pocket Paper Engineer,” Volumes 1, Vermont Studio Center, and Chashama. classes at Arrowmont, the John C. Campbell Folk 2, and 3 are guides to making pop-up cards a Her work has been supported with grant funding School in North Carolina and CraftSummer nd pages. POPULARKINETICS.COM through the Oklahoma Visual Arts Council. at Miami University in Ohio. He has been ANGELAPIEHL.COM published in various media including National Geographic Trails Illustrated Maps, Preservation, and National Parks Conservation Association magazines. EARTHSONGPHOTOGRAPHY.COM 31 FIBERS · · TEXTILES MARCH 30 – APRIL 2 WEEKEND MARCH 30 – APRIL 2 WEEKEND BASKETS

EMILY J. GÓMEZ SKYE LIVINGSTON BEAUTIFUL BLUE: HISTORIC AND STRUCTURES IN SILK CONTEMPORARY METHODS OF CYANOTYPE PRINTING In this class students create three- dimensional forms to make sculptures, Te goal of this class is for students to breathe wearable pieces, or wall hangings by playing new life into their artwork by printing in with and experimenting with silk organza. beautiful shades of Prussian blue. Te workshop Tis incredible fabric is in a unique class begins with an introduction to this historic of that is translucent and takes color process, discovered by Sir John Herschel in beautifully. It is sturdier than most other silks 1842. Students start by printing the way and is somewhat self-supporting, allowing for Herschel did, creating photograms of the a wide range of possible outcomes. You will objects surrounding us. From there, you will learn easy patternmaking to create shapes leap forward to the 21st Century using digital with the fabric along with basic hand-and- fles, scans of your photographs, small drawings machine skills to bring those shapes to and/or flm negatives to convert to digital life. Open to all skill levels, but some sewing negatives for cyanotype printing on paper or experience will be helpful. COURSE FEE · $340 fabric. Experimentation is encouraged and no prior photographic knowledge is required. Skye Livingston lives and maintains her studio Open to all skill levels. COURSE FEE · $340 practice in Ashland, Wisconsin. She earned a BFA in Fiber from the Kansas City Art Emily J. Gómez is a professor of Art at Georgia Institute and has participated in numerous artist College in Milledgeville, Georgia, where she residencies, including the Artist-in-Residence teaches darkroom, digital and alternative Program at Arrowmont. Livingston works with process photography. She earned an MFA with textiles and paper to explore concepts of home and Distinction in Photography from the University identity. SKYELIVINGSTON.COM of Georgia. Her most recent artistic honors include a commission and purchase award from the Zuckerman Museum of Art in Kennesaw, Georgia. EMILYJGOMEZ.COM 33

APRIL 6 – 9 · WEEKEND APRIL 6 – 9 · WEEKEND MAY 21 – 27 · ONE WEEK MAY 21 – 27 · ONE WEEK

KATIE GROVE LISANNE MILLER TANYA AGUIÑIGA SURABHI GHOSH WILD BASKETRY: TWINING LETTING THE WOOL SPEAK: PAINTING FIBER SCULPTURE RENDERING REPEATS AND TWILL WITH MATERIALS WITH WOOL THRU HOOKED RUGS FROM NATURE Tis course explores the materials and tools During this workshop students explore has been around for hundreds needed for creating based sculptures, the making and meaning of pattern-based In this workshop students learn how to of years, but what was once a utilitarian functional art and design. Students examine imagery. Students learn to hand-render use wild-harvested cattails, iris leaves, craft is now an art form. Tis class focuses ways of working with textile methods and repeat patterns by drawing on translucent bark, kudzu and more to create unique on creating depth and dimension, alternative materials to capitalize on their papers, prepare simple blocks, block print baskets using a variety of techniques. and developing your own color sense. unique properties to create structure. on fabric using textile inks and use sewing You will cover twining and twill weaves, Using wool, yarns and a variety of patterns, Te techniques covered include , machine piecing to combine and reconfgure wrapping techniques and cordage to add students will create their own hooked piece felting, crocheting, and netting. their printed materials. Discussions include embellishments to your basket. Discussions of art. How to hook to fnish your rug and Students are encouraged to think of the mathematics behind geometric patterns, focus on harvesting, processing and storing a variety of other techniques are covered alternative approaches to working with form, the cultural histories of various elemental natural materials; and students will receive in class. Tose rug hookers who want to take material and context. Experimentation and motifs and ideas for taking two-dimensional hands-on experience splitting and preparing their skill to the next level are encouraged self-directed research are key to your success. patterns into three-dimensional spaces. As bark and vines. If you love to go out into to attend, though all skill levels are welcome. Open to all skill levels. COURSE FEE · $525 you generate a portfolio-style collection of nature and explore the possibilities for COURSE FEE · $340 original patterns, you will develop a deeper making art, then this is the class for you. Tanya Aguiñiga is a Los Angeles-based designer understanding of the interest in repeat Open to all skill levels. COURSE FEE · $340 Lisanne Miller teaches across the U.S. and is and artist who holds an MFA in Furniture pattern design and/or repetitive processes. fellow and master craftsmen of the Craftsmen’s Design from the Rhode Island School of Design. Open to all skill levels. COURSE FEE · $525 Katie Grove is a full-time studio artist and Guild of Mississippi. She was recently She is a 2016 Creative Capital Recipient, a nature arts educator based in New York named vice president of ATHA and her rugs United States Artists Target Fellow in the feld Surabhi Ghosh is an artist and educator based State. She is best known for using sustainably have appeared in Rug Hooking Magazine, of Crafts and Traditional Arts, and a GOOD in Montreal, Quebec, where she is assistant harvested wild materials to create unique Te Wool Street Journal, as well as numerous 100 2013 Recipient. Aguiñiga has been the professor in Fibers and Material Practices at baskets in a variety of techniques. ATHA publications. subject of a cover article for American Craft Concordia University. She received a BFA from She has a background in Fine Arts and is Magazine and included in PBS's Craft in the University of Georgia and a MFA from a 2016 recipient of the Ora Schneider Artist America Series. TANYAAGUINIGA.COM Cranbrook Academy of Art. Her mixed-media Residency at Women’s Studio Workshop, studio practice explores visual patterns and their KATIEGROVESTUDIOS.COM role in cultural narratives. Her recent work has been exhibited at the Wing Luke Museum in Seattle and the Museum of Contemporary Craft in Portland. SURABHIGHOSH.COM FIBERS, TEXTILES, BASKETS

MAY 28 - JUNE 3 · ONE WEEK JUNE 4 – 10 · ONE WEEK JUNE 4 – 10 · ONE WEEK JUNE 11 – 17 · ONE WEEK

JOY O. UDE JODY ALEXANDER NADINE SPIER JIM ARENDT A COMMON THREAD: , THE BORO AESTHETIC: CREATING THE ART OF COILING BASKETS AND RISE UP! 3-D FIBER TECHNIQUES AND FIBER ART PIECES INSPIRED BY SCULPTURAL FORMS JAPANESE TEXTILES Embellish with abandon! Tis course explores In this class students discover various Tis class ofers the basic and advanced traditional and experimental techniques and embroidery techniques to transform Boro is a word used to describe Japanese techniques of coiling to create baskets and designed to launch student’s work in new plain fabric into uniquely designed surfaces. textiles that have been pieced, patched, sculptural forms. Students start their basket directions. During class you will complete a Learning about basic tatting techniques repaired and passed down from generation around a polished stone and can then pursue sampler set of new techniques including resin (-making) also allows students to create to generation. In this workshop students their own desired direction. Tere is an forming, machine embroidery and dimensional their own intricate fabric pieces. Tis course learn the language of Boro and apply it to emphasis on individual instruction which patterning. Students with an interest in handle is a great starting point for textile beginners, their projects that may include art pieces follows the student’s interest. Possibilities making, patch embroidery, appliqué and and will give advanced students new made out of deconstructed clothing, artist’s include: sculptural work, mastering shaping, upholstery-sewing will gain new skills and approaches and skills for surface design. books, 3-D objects, or wearable art. Rooted fancy stitches, lids, weaving around anything knowledge. Make your work stand out, make it Students will leave with the ability to easily in sustainability, Boro textiles are utilitarian with holes (walnut slices), use of wire for more stand up! Open to all skill levels. continue developing their surface treatment objects that are rich and sumptuous and, design options, coiling around antlers, COURSE FEE · $525 and lace-making skills at home or in although old in age, possess a contemporary or inserting beads between coils. Pine needles their personal studio. Open to all skill levels. aesthetic. Students will combine reclaimed and Irish linen are provided, but other plant Jim Arendt is an artist whose work explores the COURSE FEE · $525 materials, surface design and repair materials can be used. Open to all skill levels. shifting paradigms of labor and place through techniques, and Boro-inspired stitching into COURSE FEE · $525 narrative fgure painting, drawing, prints, Joy O. Ude is a mixed-media artist and a project unique and personal art pieces. Open to all fabric and sculpture. He received a BFA from technician/printer at Te Fabric Workshop and skill levels. COURSE FEE · $525 Nadine Spier lives in Olivenhain in Southern Kendall College of Art and Design and his Museum in Philadelphia, Pennsylvania. California and is an award-winning fber MFA from the University of South Carolina. She earned an MFA from the University of Jody Alexander is a bookmaker and mixed artist. Her work is widely exhibited, published He has won numerous awards and was recently North Texas in Denton. In her artwork she media artist who lives and works in Santa in numerous magazines and in the book 500 included in Fiberarts International 2016 and the explores black culture as a subset of American Cruz, California. She creates books, wall pieces Baskets. Spier has been featured on Te Discovery 2013 Museum Rijswijk Textile Biennial in the culture. As an American-born child of Nigerian and installations out of discarded books and Channel and her basketry instructional DVD’s Netherlands. JIMARENDT.COM immigrants, she also refects on the concept reclaimed textiles. Her work appears in a number sell internationally. NADINESPIER.COM of duality. JOYOFTEXTILES.COM of publications including Masters: Book Arts: Major Works by Leading Artists, 500 Handmade Books, and 1000 Artists' Books: Exploring the Book as Art. JALEXBOOKS.COM 35

JUNE 11 – 17 · ONE WEEK JUNE 18 – 24 · ONE WEEK JUNE 18 – 24 · ONE WEEK “People I meet through my work lead me to new places to teach including Arrowmont. It is very welcoming and a great place to meet people and share the experience of life. In an indigo vat, everyone has a hand in to stir the pot. No one is concerned for LUANNE RIMEL ERIN CASTELLAN ANA LISA HEDSTROM IMAGERY AND THE MEDITATIVE STITCH FABRIC, THREAD, YARN AND PAINT: SHIBORI: BEYOND THE BASICS only their piece. Individuals PAINTERLY FIBER COLLAGE come to take my class During this workshop, technology meets In this class students explore the infnite tradition. Students explore methods of Tis mixed-media course focuses on the possibilities of shibori. You will learn the but a community forms printing images directly to cloth with wide process of mark-making, color and collage techniques of arashi, katano sewing machine and continues after format and desktop inkjet printers, learn using fber materials. Many traditional fber resist, itajime and kyokechi clamp resist. methods of layering and piecing by hand or processes (embroidery, knitting, ) Te focus is on the characteristics of using the workshop.” sewing machine, and develop compositions are slow and careful, but during class students diferent fabrics to achieve special efects — GASALI ADEYEMO that are rich with photographic memories explore these techniques in gestural, painterly such as: resist fulling wool gauze (including and layered with meaning. You will also learn ways. Te class covers technical aspects of the addition of acid dye to the resist paste); how to use needle and thread to activate creating mixed-media fber works including painting with thickened indigo on top of the surfaces of the compositions with hand collage methods, fabric painting and stitch shibori folds; and resist silk scouring of INSTRUCTOR · FIBER quilting and embroidery stitches. Students vocabulary. Each student is encouraged to organzas. Students will also compare the use “Traditional Yoruba , Adire and can bring images on a thumb drive and actual discover unique, individual ways of working of chemical and natural dyes on fabric. Tie-Dye with Indigo” photos, letters, or other ephemera to copy. through a series of demonstrations, short Designing with shibori fabrics for clothing, Some experience with a sewing machine and exercises and experiments. Various surfaces, art textiles and quilts will be part of classroom Gasali grew up in Ofatedo, Nigeria familiarity with Photoshop™ is helpful, but not scale investigations and nontraditional discussions. Open to all skill levels. and has lived in Santa Fe, New necessary. Open to all skill levels. material combinations are explored. COURSE FEE · $525 Mexico for the past twenty years. COURSE FEE · $525 No painting or fber experience required. He teaches kids who don’t have Open to all skill levels. COURSE FEE · $525 Ana Lisa Hedstrom operates her studio in access to good art programs and Luanne Rimel is the director of Education and Emeryville, California. She is known for works with the International head of Fibers at Craft Alliance Center of Art + Erin Castellan lives in Asheville, North Carolina her signature textiles based on contemporary Museum of Folk Art in Santa Fe. Design in St. Louis, Missouri and has an MFA and has a BFA in Textile Design from the Rhode adaptations of shibori. Her textiles are included He is an expert in using natural dyes. in Fibers from Southern Illinois University, Island School of Design and an MFA in Painting in the collections at the Cooper Hewitt, the Edwardsville. She has exhibited in several from Indiana University. She was a 2012-2013 Museum of Art and Design and the De Young Smithsonian Craft Shows in Washington, D.C., artist-in-resident at Arrowmont, and a 2016 Museum. Hedstrom has taught at numerous and her work is included in the book, Art Quilts Society for Contemporary Craft LEAP Award international Shibori conferences and schools. of the Midwest. LUANNERIMEL.COM fnalist. Erin’s embroidered paintings have been Her awards include two NEA grants and she is in numerous exhibits across the United States, a fellow of the American Craft Council. and were published in Vol. 118 of New American ANALISAHEDSTROM.COM Paintings. ERINECASTELLAN.COM FIBERS, TEXTILES, BASKETS

JUNE 25 – JULY 8 · TWO WEEKS JULY 9 – 15 · ONE WEEK JULY 9 – 15 · ONE WEEK

KATHERINE DIUGUID BRYANT HOLSENBECK DANIEL ST. JOHN & REGINA ST. JOHN EMBROIDERED LANDSCAPES WRAPPING WILD: MAKING ANIMALS FABRIC MARBLING TO DAZZLE OUT OF RECYCLED MATERIALS In this course students create a series of In this workshop students learn to use a range of precise marbling tools to create traditional and samples and a fnal embroidered landscape In this class students utilize coiling, wrapping, contemporary marbled patterns. After becoming comfortable with working on smaller fabrics, inspired by a photograph or sketch of their sewing and binding to make animals or other students will begin using larger tanks and combs as they marble scarves and larger pieces of own. Color theory, traditional and sculptural forms using found materials that fabric. Class discussions include the science of marbling, and preparation and use of paints non-traditional embroidery and direct they have observed in the world around them. and fabric selection. Tis will assist students in problem-solving and to better understand the application techniques are addressed to You are encouraged to bring pieces of fabric, interaction between the paints, alum, fabrics, chemicals and marbling bath used in class. provide a variety of skills for participants yarn and other great items that you’ve been Te workshop allows for exploring marbling techniques and time for those who wish to marble to explore. You will be challenged to saving for a rainy day. Te instructor will their own pair of sneakers. Te workshop includes new techniques for seasoned marblers and discover color in a new way by examining share her process and techniques that she has step-by-step approaches for beginners. Open to all skill levels. COURSE FEE · $525 the principles that the Impressionist and developed for using found materials to create Post-Impressionist painters utilized in their including skeletons, bodies, fur and skin. Daniel St. John works as a bookbinder/ Regina St. John has been a New England landscapes and then applying these principles Open to all skill levels. marbler in his studios in Amherst, paper and fabric marbler for over 30 years. to your embroidery. Open to all skill levels. COURSE FEE · $525 Massachusetts. As a former teacher of chemistry She has provided fne marbled papers to COURSE FEE · $995 and physics, he helps students understand hand bookbinders and beautiful marbled Bryant Holsenbeck is an independent studio the scientifc principles of marbling. St. John silk scarves and ties to galleries nationwide. Katherine Diuguid is an assistant professor of Art artist in Durham, North Carolina who makes especially enjoys designing and making precise St. John’s papers were recently exhibited and Design at North Carolina State University books, birds and sculptures out of recycled marbling equipment to allow for fne control in the International Marbler’s Congress in where she specializes in hand dressmaking materials. She began her arts career as a basket of a wide range of patterns. He makes his Istanbul, Turkey. She and her husband Dan and hand embroidery. Her current research maker and has evolved into an environmental own paints when the industrial colors are not are committed to teaching marbling at the addresses color theory within contemporary artist who makes large-scale installations that adequate for marbling. highest level to those with a passion to learn. and goldwork embroidery and the similarities document the waste-stream of our society. CHENARIVERMARBLER.COM between Impressionist and Post-Impressionist Holsenbeck has taught workshops throughout the color abstraction and color relationships seen in U.S. and Australia. BRYANTHOLSENBECK.COM embroidery. KATHERINEDIUGUID.COM 37

JULY 16 – 22 · ONE WEEK JULY 16 – 22 · ONE WEEK JULY 23 – 29 · ONE WEEK JULY 23 – 29 · ONE WEEK

ERIKA LYNNE HANSON KIM EICHLER-MESSMER STEPHANIE METZ KAREN TUNNELL WEAVING AS IDEA, PLANNED AND IMPROVISED: QUILTING SCULPTURAL EXPLORATIONS IN FELT LANDSCAPES IN FABRIC OBJECT AND ACTION INSPIRED BY ARCHITECTURE In this workshop students use simple tools In this course students will work from a To weave: the interlacing of linear elements During this course students look to their to manipulate humble and inexpensive favorite photo to create a small impressionistic (the warp and the weft) to form a fabric, favorite architectural forms as starting materials to shape wool into free standing, landscape with a basic machine-pieced “quilt- object, or plane. In this course students start points to create unusual and dynamic quilt three-dimensional sculptures that are soft as-you-go” foundation. Te goal is to develop with this defnition of weaving and use it as a compositions. A variety of piecing and yet frm. You will learn techniques loosely depth and vitality in your pieces with surface basis for material and conceptual investigation. applique techniques are covered and students borrowed from handbuilding clay, cold joining embellishments, hand and machine stitching, Working from traditional examples of woven will work through ideas rapidly, completing metal, and fber traditions. Students will drawing, painting and an array of techniques textiles and objects, participants explore how a large number of small studies and larger experience a thorough introduction to the and materials that you bring to class. the concept of interlacing can be applied to explorations over the course of the week. Basic tools, techniques, and possibilities of needle Tere will be an emphasis on design, non-traditionally textile related mediums such surface design techniques such as immersion felting, from form building to armatures and composition and color, and techniques for as drawing, sculpture and time based media. dyeing and discharging dye will also be fnishes. Te class includes hands-on practice, fnishing, hanging and framing are also Open to all skill levels. COURSE FEE · $525 explored as ways of enhancing a composition. demonstrations and slide presentations. covered. Experience with hand and machine No previous experience is necessary, but some Note: felting involves repetitive and vigorous sewing are helpful. Open to all skill levels. Erika Lynne Hanson is an assistant professor experience machine sewing will be helpful. hand and arm movement. Open to all COURSE FEE · $525 of Fibers/Socially Engaged Practices at Arizona COURSE FEE · $525 skill levels. COURSE FEE · $525 State University and has an MFA from the Karen Tunnell works in her studio in Atlanta, California College of the Arts. Her work is Kim Eichler-Messmer lives in Kansas City, Stephanie Metz is a studio artist in San Jose, Georgia. She has taught quilting, marbling on exhibited in New York, Seattle and Los Angeles; Kansas and is fber artist who specializes in California who earned her BFA in Sculpture fabric and collage workshops at Arrowmont and as well as participating in residency programs surface design and quilting. She is an associate from the University of Oregon. She has taught the John C. Campbell Folk School, and assisted that connect her to the landscape. professor of Fiber at the Kansas City Art classes at Arrowmont, Penland, Kala Art in studios at Penland School. Her work has been ELHANSON.COM Institute. She earned an MFA in Textiles from Institute, CCA, USF and Cabrillo College. exhibited in international shows in Asia and the University of Kansas and was an Arrowmont Her sophisticated sculpture using felted wool has Europe and in American venues such as Quilt artist-in-residence. KIMEMQUILTS.COM garnered national and international attention National, Schweinfurth Art Center and the in exhibitions and print. Metz’s work was National Quilt Museum, as well as in annual featured in the 2015 Rijswijk Textile Biennial. American Craft Council shows. STEPHANIEMETZ.COM KARENTUNNELL.COM CLAY

SEPTEMBER 17 – 23 · ONE WEEK OCTOBER 1 – 7 · ONE WEEK

AMIE ADELMAN CLAY BURNETTE A NEW APPROACH TO CYANOTYPE PINE NEEDLE BASKETRY: A WITH FIBER REACTIVE DYES CONTEMPORARY APPROACH

During this class students experience the In this class participants explore a non- magic of combining cyanotype with fber traditional approach to coiling. Using longleaf reactive dyes. You will investigate various pine needles, waxed linen thread and a large afects that cyanotype has on natural sewing needle, students learn how to use fbers by experimenting with photograms, the entire pine needle to create texture and transparencies and fabric manipulation contemporary shapes while exploring the use techniques. Participants will then take the of various stitches to create patterned objects. exciting cyanotype process to the next level by While students begin the course by coiling simultaneously removing and adding color by natural pine needles, dyeing, painting and painting, screen printing and stamping with preserving are incorporated into the process fber reactive dyes. Open to all skill levels. as the class advances. Emphasis is placed on COURSE FEE · $525 exploring free-form objects and opening the mind to the endless shapes that can be created Amie Adelman is a professor and fbers by using the coiling technique. Prior coiling coordinator at the University of North Texas experience is encouraged, but not required. (UNT) in Denton, Texas. She received an MFA COURSE FEE · $525 in Fibers from the University of Kansas and a BFA in Fibers from Arizona State University. Clay Burnette maintains a studio in Columbia, Adelman was awarded travel grants from UNT South Carolina and has coiled longleaf pine to conduct research across Europe and Africa. needles for over 40 years. He has developed She was an artist-in-residence at Arrowmont his own unique approach to incorporating from 1998-99. AMIEADELMAN.COM form, color and texture into each object that he creates. His work has been included in over 240 exhibitions and in numerous publications, and he was selected as Best in Show at the National Basketry Organization’s Conference at Arrowmont School in 2013.CLAYBURNETTE.COM 39

OCTOBER 1 – 7 · ONE WEEK OCTOBER 8 – 14 · ONE WEEK OCTOBER 8 – 14 · ONE WEEK OCTOBER 15 – 21 · ONE WEEK

LOTTA HELLEBERG PJ FLOYD ELIZABETH ODIORNE JACKIE ABRAMS BOTANICAL BOUNTY: THE FOUNDATION EXPLORING THE FABRIC OF OUR LIVES PRINTED TEXTILES COLLECT AND CONNECT OF ECO-PRINTING If you have ever wished that you could Tis class pushes the student’s creativity while In this class students investigate materials Plants make magical marks with the simple help create a three-dimensional object that is a learning how to produce beautiful and colorful and techniques exploring the ways in which of moisture, heat and pressure. Tis workshop representation of something close to your pattern on cloth made from natural fbers. baskets are assembled and combined. You will is an introduction to botanical contact heart, then this is the class for you. Students You will study how to design and print fabric construct using various methods including printing (eco-printing) on paper and fabric. are encouraged to bring to class images, songs, using custom mixed pigments with an infnite crochet, coiling, twining, netting (looping), By collecting leaves and other plant materials photos, etc. that are meaningful to them. color palette. Using processes of simple mono wrapping, stitching, random weave, cobbling around the Arrowmont campus, students will Using these resources and materials as printing and screen printing, participants and plaiting. Fabrics, sticks, shells, stones, focus on the local fora and environment. a starting point, your path to self-expression explore the development of a structured textile seedpods, wires, metal pieces, plastic bags You will explore various eco-printing techniques and creativity will be jump-started. repeat. With the use of color overlays, personal and grasses are materials that students can and learn about fabric preparation, plant Te class includes information and techniques images and visual textures you will design incorporate in your work. You can focus selection, water quality and other variables. to integrate wire armatures, strips of fabric, small compositions and begin to understand on completing one or more pieces for a wall Te workshop incorporates folding techniques needle felted wool and found objects to fesh how to create yardage. A variety of stencil or tabletop, or create daily samplers that and simple stitching methods that can further out your images and feelings. Participants will methods are introduced including contact can be put together into a larger piece. enhance the rich possibilities of eco-printing. explore the process of self-critique, listening to paper, wax crayon and photographic emulsion. Te possibilities are limited only by your Samples and notes will be combined into a their inner voices, and viewing their work at Participants will learn from scratch, expand interest and imagination. Open to all hand-bound book to be used as reference in the diferent stages in progress. Open to all skill their knowledge, or perfect their skills. Open skill levels. COURSE FEE · $525 student’s own studio practice. Open to all levels. COURSE FEE · $525 to all skill levels. COURSE FEE · $525 skill levels. COURSE FEE · $525 Jackie Abrams is from Brattleboro, Vermont and PJ Floyd is a textile artist who lives in Marietta, Elizabeth Odiorne lives in Scottsdale, Arizona has been a fber artist for over 40 years, using Lotta Helleberg is a Swedish-born artist based Georgia. After taking a workshop in making and received both her BFA and MFA in Fibers and adapting well-practiced basket-making in Charlottesville, Virginia. She focuses on wire armatures, she developed her own style from the Herberger Institute for Design and the skills. Since 1990, she has been exploring plaiting eco-printing and natural dyes to create work of contemporary doll making by integrating Arts at Arizona State University. She recently techniques, the use of heavy cotton paper as a that document and celebrate her immediate movement, gesture, vintage clothing and completed an Artist Residency at TechShop, material and the possibilities of contemporary surroundings. Her wall and book works have into the expressive dolls she creates. Inc. where she completed a body of work while basketry. Abrams exhibits her work at shows, been included in exhibitions throughout the Floyd has been featured in American Doll integrating new technologies. Odiorne has been galleries and museums, and has been included in U.S., and she has been featured in several Quarterly, and exhibits at national craft shows featured in various art publications including numerous books. JACKIEABRAMS.COM publications, including Natural Processes in and galleries across the southeastern U.S. Surface Design Journal and Expose Art Textile Art by Alice Fox, Art Quilting Studio PJUNCAGED.COM Magazine. ELIZABETHODIORNE.COM and American Craft. LOTTAHELLEBERG.COM FIBERS, TEXTILES, BASKETS

OCTOBER 15 - 21 · ONE WEEK OCTOBER 22 – NOVEMBER 4 · TWO WEEKS NOVEMBER 5 – 11 · ONE WEEK NOVEMBER 5 – 11 · ONE WEEK

MAGGY ROZYCKI HILTNER JO STEALEY ANDREA VAIL MARY ZICAFOOSE FOUND, HAND-STITCHED AND PUSHING THE BOUNDARIES WITH SCULPTURAL LOOPING AND COLOR, CONTENT AND CREATIVITY: ALTERED: EMBROIDERY COLLAGE HANDMADE PAPER AND MIXED MEDIA KNOTLESS NETTING NEW STRATEGIES FOR NEW WORK

Trough the medium of embroidery and In this class students learn about surface Tis workshop is an introduction to building collage, students with an interest in and form to create handmade paper and three-dimensional forms with single-strand In this class students explore color intuition storytelling, concepts and collecting will light-weight sculpture. You will delve into a construction methods. Students will learn by creating a color journal that employs enhance their ability to make dynamic stitched range of 2-D and 3-D processes including basic knotless netting and looping, have the selected exercises from colorist Josef Albers. imagery. In this class you will explore various sheet forming, unique textures and surfaces, opportunity to dye yarns and explore the 2-D and 3-D design exercises, discussion and textile materials and techniques, share slide and sculptural techniques using mixed media potential of traditional and experimental critique are designed to energize your creative presentations and enjoy experimentation and and handmade paper. Students will explore fber materials. Participants will beneft from thinking, expand your work into a series and discussion. Participants will examine the the characteristics and uses of fbers such as one-on-one instruction, a calm studio for stimulate novel approaches to creating new meaning and value of repurposed materials, kozo, abaca, fax and cotton, and discover individual work time, and engaging group work. Te week culminates in a unit discussing scout for found objects to include in their processes to create lightly beaten pulps or high discussion. Students are encouraged to bring tools for branding, marketing and professional art and have the opportunity to create new shrinkage, translucent, and skin-like paper. scrap yarn, thread, objects and fabrics to class. practices to provide a personal template to imagery. Open to all skill levels. Participants will also work with treatments Open to all skill levels. COURSE FEE · $525 reinvigorate your studio practice. Open to all COURSE FEE · $525 such as pulp painting, collage, transparent skill levels. COURSE FEE · $525 layering, stitching, embossing, and drawing Andrea Vail is a Fibers instructor at the University Maggy Rozycki Hiltner is a full-time studio artist to fnish their pieces. Open to all skill levels. of North Carolina at Charlotte, and has an MFA Mary Zicafoose lives in Omaha, Nebraska and is living in Red Lodge, Montana and has a BFA COURSE FEE · $995 from the Virginia Commonwealth University. the co-director emeritus of the American from Syracuse University. Her work has been She employs traditional textile techniques to Alliance and board chair of the Omaha Union for exhibited, collected and published widely in the Jo Stealey is a professor and chair of the Art facilitate symbiotic relationships between objects Contemporary Art. Her work is represented in the U.S. and abroad. In 2015, Hiltner was awarded Department at the University of Missouri- and people. Her work has been featured by Te collections of two dozen U.S. Embassies abroad, a National Endowment for the Arts/Montana Columbia. Her work encompasses sculptural Textile Blog, Surface Design Association and and she is a 2016 USA Artist Fellowship nominee. Arts Council Artist’s Innovation Award. objects, artist books, installations and mixed American Craft Council. Vail is a 2016-2017 MARYZICAFOOSE.COM MAGGYRHILTNER.COM media. She has been in over 300 exhibitions at North Carolina Arts Council Fellowship recipient. national and international venues including ANDREAVAIL.COM Cuba, Spain and Taiwan. Recently, Stealey curated the traveling exhibition Rooted, Revived, Reinvented: Basketry in America, 2017–2020. 41 METALS · · GLASS MARCH 30 – APRIL 2 WEEKEND MARCH 30 – APRIL 2 WEEKEND ENAMELS

ANGELA BUBASH FRANKIE TOAN KINETIC EARRINGS MOVEMENT IN STEEL

Earrings allow for endless design possibilities. During this class students explore the No other piece of jewelry can hang in mid-air fundamentals of designing a metal sculpture and be seen in all directions. During this class that moves and enhances their ability to students will think of earrings as suspended work with steel and movement. Participants sculptures and through experimentation and who are interested in making interactive collaboration they will create exciting one works, moving sculptures, or outdoor art of a kind pieces. Participants will discover will fnd the course appealing. Discussions techniques for sawing, fling, cold connections, and demonstrations cover welding basics, roller printing, forging, basic stone setting, grinding and cutting metal, as well as an and soldering techniques as well as learning new overview of simple mechanisms for movement tips and tricks. Weight and wearability will also (pendulums, wheels and pulleys). You will be addressed. Open to all levels, however basic work mostly with rod and tube stock, sawing, fling and soldering skills are helpful. and there may be an opportunity to work COURSE FEE · $340 with sheeting. Open to all skill levels. COURSE FEE · $340 Angela Bubash lives in Rice, Virginia and is an assistant professor at Longwood University. Frankie Toan lives in Denver, Colorado and is She has taught at the University of Georgia an artist-in-resident at the RedLine art space in Cortona Program in Italy, Arrowmont and the Denver. Trained as a metalsmith, he has had Appalachian State University in North Carolina. experience working with steel on large and small Her exhibitions include the Fauv, Mobilia scales. While in residence at Arrowmont, Toan Gallery, Emprientes, and at the Alliages Gallery taught multiple community welding classes and is (France), and her work has been published in Art excited to return to the area. Jewelry Today 4. ANGELABUBASH.COM FETOAN.COM 43

APRIL 6 – 9 · WEEKEND APRIL 6 – 9 · WEEKEND MAY 21 – 27 · ONE WEEK MAY 21 – 27 · ONE WEEK

MAUREEN ADERMAN VICTORIA ALTEPETER JOSEPH CAVALIERI JOHN COGSWELL FUSED GLASS JEWELRY FOUND OBJECTS + GLASS PAINTING FOR HINGED SILVER BOXES ALTERNATIVE SETTINGS THE NEXT CENTURY Tis workshop explores the fundamentals In this class students learn how to fabricate of the glass fusing process. Students will In this workshop students are encouraged to Tis course focuses on modern techniques a small, hinged silver box with a reticulated advance their skills of cutting glass, work think outside the box, or bezel, to produce for applying imagery on the glass surface. silver lid insert. Employing techniques with multiple cold-working tools and creative and thought-provoking metal pieces. Students will experience hand painting, presented in this intensive workshop, discover the excitement of fring a kiln. You will learn various fabrication techniques air-brushing, pen-and-ink drawing, and participants will undertake the construction Techniques you will utilize include , employing sheet, wire and tube stock to silk-screening on glass, along with cutting, of a small box of their own design. Tough use of molds, tack fusing and sandblasting construct housing for found objects such as copper foiling and soldering. Participants the primary focus is on the technical to create jewelry pieces using various kinds coins, shells, minerals, and more. Gather up will follow the process from start to fnish “how-to’s,” individual artistic design of glass such as dichroics and iridescents. your personal treasures and bring to class for and produce one or two fnished works. interpretation and style are encouraged. Participants will work at their own pace and crafting precious and permanent housing for Tere will be discussions on marketing, Te topics covered during class include receive personal attention while learning new them. Techniques covered include fnishing, art residencies and how to proft as an artist. box design and construction, reticulation, skills, gaining inspiration and expressing textures and patina to bring your pieces to Te instructor will supply a variety of hinge construction, soldering and assembly their creativity with glass. Open to all skill life and to create added dimension. Final silk-screen images to use during class. techniques. Tis class is for intermediate/ levels. COURSE FEE · $375 products can be wearable or sculptural. Open to all skill levels. COURSE FEE · $595 advanced level students who have competent Students should have a basic understanding and soldering skills. Maureen Aderman is from Clarence, New York of metalwork, but it’s not necessary. Joseph Cavalieri is an award-winning native COURSE FEE · $525 and is a full-time studio artist in East Amherst, Open to all skill levels. COURSE FEE · $525 New York artist and educator. His work is New York. She earned her BS in Studio Art displayed in the permanent collections of the John Cogswell is a jeweler, , educator from Nazareth College of Rochester, and a BA Victoria Altepeter is an artist-in-residence Museum of Arts and Design, Stax Museum and author/illustrator. Recently retired from and MFA in Art Education from the State at the Mesa Arts Center in Mesa, Arizona. and the Leslie-Lohman Museum. Cavalieri SUNY New Paltz, New York, he previously University College at Bufalo. She has taught She earned her BFA at Northern Arizona has produced private commissions including an taught at Parsons School of Design, the Pratt and assisted classes at various art conferences University and an MFA at Arizona State MTA Arts for Transit public art commission Institute and Hofstra University. Cogswell and schools including Glass Craft and Bead University. Altepeter has been an educator at at the Philipse Manor Train Station in is the former Director of the Jewelry and Expo, Hot Glass Horizons and Arrowmont. the university level for seven years, and is a Westchester. In 2015, he was the keynote Metalsmithing Department at the 92nd Street HANDMADEBYMOE.COM former artist-in-residence at Arrowmont. speaker for the Glass Society of Ireland and Y in New York City. VICTORIAALTEPETER.BLOGSPOT.COM NCAD Glass Conference. CAVAGLASS.COM METALS, GLASS, ENAMELS

MAY 28 - JUNE 3 · ONE WEEK MAY 28 – JUNE 3 · ONE WEEK JUNE 4 – 10 · ONE WEEK JUNE 4 – 10 · ONE WEEK

ANDREW KUEBECK LAURA WOOD TOM MUIR KATHY WILCOX DAYLIGHT AND DARKROOM: MATERIAL MAKEOVER! MECHANICAL CONCEPTS, CREATIVE ENAMEL SURFACE DESIGN PHOTOGRAPHIC TECHNIQUES MECHANISMS FOR THE CRAFTSMEN In this course students learn new processes Enameling ofers unlimited opportunities to in surface embellishment and fabrication to Tis hands-on workshop focuses on hinges, develop rich surfaces with images, patterns, Te focus of this class is to explore traditional give their jewelry a material makeover. catches and mechanisms that are integrated textures and color. Te focus of this workshop and experimental photographic techniques Te techniques presented include powder into the participant’s jewelry or objects. is on enamel techniques that are inspired by and their application in any studio situation. coating, stone setting and fnishing skills that During class, each student will produce at least drawing, painting and print making. Students Students will encounter digital contemporary present endless opportunities to improve or two hinges (standard and integral) and up to explore a variety of approaches including photography techniques as well as the enhance your jewelry voice. Topics of studio three mechanisms. Trough demonstrations, screen printing, sgrafto tricks, wet fow historical light-sensitive process. You will efciency are key in this fast-paced course to discussions, visual images and examinations efects, underglaze and overglaze drawings, explore various methods that include photo- challenge you in the use of materials. of various mechanisms students will discover adhesive methods and frescale. You will embossed leather, cyanotypes, enamel decals Basic metals skills are encouraged but are a variety of formats and approaches. Engineer- explore special surface efects of lusters, mica and photo etching. Participants will also learn not necessary. COURSE FEE · $525 ing principles of mechanisms are discussed, inks and pens, appliqué with glass beads and how these techniques that can be used without along with useful soldering and fabrication shards, and fnal textured surfaces. Students specialized equipment or facilities, and the Laura Wood is a full-time studio artist living in techniques. Students will also examine hinges, will receive personal attention, work at their many ways they can be adapted for any studio Asheville, North Carolina who received her BFA universal joints, cradles and ofset as well as own pace and learn lots of exciting techniques practice. Open to all skill levels. from the University of Georgia and an MFA types of catches including tube, key, bayonette, that can be applied to their jewelry or wall COURSE FEE · $525 from East Carolina University. She is a recent box, tension, threaded and ofset. Basic sawing, pieces. Basic enameling knowledge is helpful. SOFA Chicago SNAG Emerging Artist and fling and soldering skills are necessary for this Open to all skill levels. COURSE FEE · $595 Andrew Kuebeck is an assistant professor and Yuma Arts Symposium speaker. Wood has taught workshop. COURSE FEE · $525 area coordinator of Jewelry and Metalsmithing classes at the Southwest School of Art, Penland, Kathy Wilcox teaches enamel workshops at the Metropolitan State University of Denver. and Haywood Community College. Tom Muir is a research professor at Bowling Green at art centers and from her studio in He has lectured and taught workshops on the LAURAWOODSTUDIOS.COM State University, where he is head of the Jewelry Tallahassee, Florida. Recent exhibits include incorporation of photographic images into and Metalsmithing area in the School of Art. the International Enamelist Society Traveling jewelry pieces and vessels. Kuebeck’s work has Muir has lectured and taught widely, holding Exhibition, Generations Exhibition at Florida appeared in numerous publications including positions at universities and craft schools around State University Museum of Fine Arts and 500 Enameled Objects, and Metalsmith and the country. His award-winning work has been the Tallahassee Council on Cultural Afairs Niche magazines. ANDREWKUEBECK.COM published and exhibited extensively. He received Invitational Exhibition. Wilcox’s work is the Outstanding Achievement Award from the published and featured in Te Art of Enameling Ohio Designer Craftsmen for having made a major and 500 Objects. WILCOXENAMELS.COM contribution to craft in Ohio. TOMMUIR.ORG 45

JUNE 11 – 17 · ONE WEEK JUNE 18 – 24 · ONE WEEK JUNE 18 – 24 · ONE WEEK “To me, Arrowmont is a wonderful experience that you will always have fond memories of. Arrowmont has so many wonderful opportunities for both young and old students. Arrowmont will always hold a special place in my life.” — ERNIE S. SCHULTZ JASON JANOW ANDY COOPERMAN MI-SOOK HUR LOST WAX CASTING: A MODERNIZED THE ORIGINAL IMAGINATIVE CAPTURES PAINTED ENAMEL JEWELRY: APPROACH TO AN ANCIENT TECHNIQUE FROM START TO FINISH Imagine a more fuid way to incorporate a FACILITIES & MAINTENANCE Lost wax casting is an ancient technique gemstone, enamel, or found object into your Te goal of this workshop is to start and DEPARTMENT utilized heavily in today's jewelry world. work. Packed with information, this workshop complete pieces that students create at the By learning the modern approach to this is designed to liberate the problem-solver beginning of class. Te workshop covers Ernie grew up in East Tennessee process, students in this class with an interest within by discussing the whys and hows, techniques of painting with enamel, called and began working at Arrowmont in casting a carved wax, organic object, or and ofering a wide variety of tricks, shortcuts Limoges. Your fnal enamel pieces will be in 1970 when he was still a teenager. other combustible item learn to melt and pour and studio tips. Demonstrations and set as pendants, earrings, or rings. During He has taken workshops in pottery, metal, ultimately transforming your precious an extensive collection of samples are used to class basic jewelry making techniques are throwing on the wheel and in the object into bronze, silver, or gold. You will illustrate topics including cold connecting, demonstrated and include soldering, forming, 1980s, a blacksmithing class. learn techniques in wax carving, sculpting caging, back setting, fex shaft and advanced setting, chain making and fnishing. Open to and fabrication with wax, torch melting and soldering techniques. Participants must have all skill levels. COURSE FEE · $595 pouring molten metal, and jewelry and small basic jewelry skills and a familiarity with tools object design. Participants will work with and studio equipment and have intermediate Mi-Sook Hur is a professor in the School of found materials such as wood, branches, seeds, experience and familiarity with: the rolling Art and Design at East Carolina University in YOU MIGHT BE pods, as well as plastics, wax, and your choice mill, torches, hammers and bufers. Tose Greenville, North Carolina and has an MFA INTERESTED IN of bronze, silver, gold, or all three. Open to all who enroll must be able to silver solder (hard/ from University of Wisconsin-Madison. Hur THE FOLLOWING skill levels. COURSE FEE · $525 medium/easy) unattended. COURSE FEE · $525 has exhibited in the U.S. and abroad, including WORKSHOPS: shows at the Sculpture Objects Functional Art + Jason Janow is a metalsmith and professional Andy Cooperman is a metalsmith, educator and Design in Chicago, Illinois. THADDEUS J. ERDAHL & jewelry maker who works in his home studio writer and works from his studio in Seattle, MISOOKHUR.COM MEGAN CHANEY GUMPERT · in Asheville, North Carolina. He maintains a Washington where he builds jewelry and CERAMICS jewelry business that focuses on providing fne objects for exhibitions and clients. He teaches p. 14 craft galleries and custom clients with exceptional and lectures, and has presented at numerous handmade jewelry. conferences. His work and writing have appeared JANOWMETALSMITHING.COM in blogs, magazines and books, including Humor in Craft, Art Jewelry Today (I, II & III) and are held in private and public collections. ANDYCOOPERMAN.COM METALS, GLASS, ENAMELS

JUNE 25 – JULY 8 · TWO WEEKS JUNE 25 – JULY 8 · TWO WEEKS JULY 9 – 15 · ONE WEEK JULY 9 – 15 · ONE WEEK

ANNE HAVEL TEDD MCDONAH MICHAEL DALE BERNARD JEFFREY STENBOM ALL FIRED UP: WHO KNEW A TORCH INTRODUCTION TO MOKUME-GANE SMALL-SCALE BLACKSMITHING FOR CAPTURE THAT MOMENT COULD DO THIS? JEWELRY AND TOOL MAKING During this class students discover the In this course students explore reverse Tis course gives equal weight to setting mokume-gane making process from A to Z. Tis workshop is an introduction to hot forging, bas-relief kiln-casting to feel confdent in and enamel, and focuses on creating enamel Starting with raw materials that make for twisting and tapering steel into ornamental mold-making, kiln schedules, divesting, pieces with a torch or kiln. Enamel and suitable billets, you will take them through forms, jewelry components and custom tools. coldworking and fring. Trough daily lectures metalsmithing methods and techniques various stages including cleaning, fring of During class hands-on demonstrations and and demonstrations, basic through advanced include the use of liquid, transparent, opaque, the billet, post-difusion processing (lots facts are presented regarding tools, techniques kiln-casting strategies are covered. Students acrylic and watercolor enamels, graphite, of hammering), and patterning or pattern- and materials. You will learn build afordable are asked to bring important personal items under (sugar) and over-fring, screws, rivets, development. Students are encouraged to frebrick forges and propane burner equipment. to class to be utilized in creating glass artwork tabs and sewing. Trough discussion and make a fnished piece during the two-week Participants will increase their hammer skills that captures a memory, tells a story, or the presentation of images, students discover class. Discussions include the many fnishing by creating forged pendants, key chains, bottle expresses a signifcant time in their life. approaches to facilitate the creation of more options for completed work, the mokume openers, garden hooks, chasing tools and Open to all skill levels. COURSE FEE · $595 unusual or complex enamel pieces and settings. process and the construction of propane gas ornamental decorations. Basic oxy/acetylene Open to all levels, however basic abilities with forges like the one you will be using. Open to and MIG welding are introduced. No previous Jefrey Stenbom is a sculptor who lives in Apple metalsmithing and enameling are helpful. all skill levels. COURSE FEE · $995 metal skills are required, but blacksmithing is a Valley, Minnesota and has taught as an associate COURSE FEE · $1100 physically rigorous activity involving energetic lecturer at the University of Wisconsin, River Tedd McDonah lives in Millersville, hammering. Individuals with serious wrist or Falls. He received his MFA in Glass from Tulane Anne Havel lives in Wells, Vermont and is an Pennsylvania and serves as adjunct faculty at arm conditions should consult their physician University. Stenbom has been the recipient of independent studio artist who works as an Rowan University in Glassboro, New Jersey. before enrolling. COURSE FEE · $525 numerous awards and honors including as a enamelist, metalsmith and lampworker. She He has an MFA from Arizona State University fnalist for the Stanislav Libenský Awards 2015, teaches workshops and exhibits at juried art and has taught at Te Toledo Museum of Art Michael Dale Bernard is a jewelry and small Emerge 2016 Academic Silver Award and has shows. Havel is a member of the Society of North and the University of Toledo. McDonah has been sculpture artist who teaches at the University been a Niche Awards Finalist in 2013, 2015 American and the Enamelist Society. conducting mokume workshops since 2001. of Wisconsin-Milwaukee. He is an instructor and 2016. JEFFREYSTENBOM.COM CRAFTHAUS.NING.COM/PROFILE/ANNEHAVEL of various metalworking courses including blacksmithing, casting, vessel forming, industrial processes and craft marketing. Bernard’s artwork explores structure, fora and urban decay. His materials are often repurposed or recycled and include vintage stamped steel, fne hard woods and silver. MICHAELDALEBERNARD.COM 47

JULY 16 – 22 · ONE WEEK JULY 23 – 29 · ONE WEEK OCTOBER 1 – 7 · ONE WEEK OCTOBER 1 – 7 · ONE WEEK

LISA JOHNSON HIROKO YAMADA NICOLETTE ABSIL JOHN PHILLIPS SET IN MANY WAYS: STONE SETTING EAST MEETS WEST: JAPANESE METAL MARK MAKING ON ENAMEL MAKE THE CUT: HAND-MADE AND BEYOND TECHNIQUES KITCHEN KNIVES Tis class explores various methods of mark During this workshop students learn how to Tis workshop focuses on Western basic making on enamel. After covering basic Tis class is an intensive crash course in the infuse metal, plants and gemstones in glass forming and Eastern texturing techniques, enameling techniques, such as sifting and ancient art of bladesmithing, while students to create their own cabochons. You will make beginning with an introduction to chasing fusing enamel to copper or fne silver in a learn the complexities of a basic tool most what you set and create a setting for what you and repoussé. Students then progress to kiln, students will then learn various marking everyone uses on a daily basis: the kitchen make. Using their own design, students will other processes, introducing Japanese surface making techniques that include stenciling, knife. From start to fnish there are discussions develop diferent approaches to incorporate decoration techniques including zogan (inlay sgrafto, decals, using graphite and underglaze on steel selection, basic metallurgy, blade these stone-like elements into rings and with wire, sheet metal, or foil), and pencils, as well as painting with watercolors function and design, shop safety, building a pendants using traditional stone setting patina. You will also explore Japanese alloys and acrylics. You will make several samples or gas forge, how to shape steel, heat treatment techniques. Demonstrations include prong, such as shakudo, shibuichi and mokume-gane elements to incorporate into your work. Open and handle making. Students will leave basket, reverse, bezel, tab and tube settings. and make some of your own tools. Open to all to all levels.COURSE FEE · $595 class having completed a beautiful piece of Experience using a jeweler’s saw and some use skill levels.COURSE FEE · $525 functional art to last a lifetime. Open to all of the torch are required. COURSE FEE · $525 Nicolette Absil is an award-winning enamelist skill levels. Special Note: Te class is very Hiroko Yamada is a studio artist and owner of and studio jeweler located in Philadelphia, physically demanding, including hammering, Lisa Johnson is the director of Jewelry at Te HYART Gallery in Madison, Wisconsin who Pennsylvania. She received a BFA from Rowan exposure to heat, sparks and the use of other Armory Art Center in West Palm Beach, Florida earned his MFA and is an Honorary Fellow University and exhibits her work nationally potentially dangerous methods. and received her MFA from Indiana University at the University of Wisconsin at Madison. He at fne craft shows and galleries. Her work has COURSE FEE · $525 in Jewelry Design. She has been awarded has taught classes at Penland, Haystack and been featured in publications such as Art Jewelry scholarships at Watershed Center for the Ceramic Arrowmont. His exhibits have appeared across Magazine and the Philadelphia Inquirer, and John Phillips is an artist and musician who live Arts, Haystack Mountain School of Craft, the U.S. and at the Dan-Ginza Gallery in Absil is a former Resident Artist of Touchstone in Knoxville, Tennessee. He is a graduate of and was an artist-in-residence at Arrowmont. Japan. Yamada has had many published works Center for Crafts. NICOLETTEABSIL.COM the University of Tennessee and spends his time Recent publications featuring her work include including in 500 Brooches. HYARTGALLERY.COM exploring interests in making tools as functional Metalsmith Magazine Exhibition in Print 2014 art with infuences from the natural world and and 500 Silver Jewelry Designs. bygone eras. LISAJOHNSONSTUDIO.COM METALS, GLASS, ENAMELS

OCTOBER 8 – 14 · ONE WEEK OCTOBER 8 – 14 · ONE WEEK OCTOBER 15 – 21 · ONE WEEK OCTOBER 15 – 21 · ONE WEEK

RICKY FRANK TOM MCCARTHY SEAN HENNESSEY MARY HETTMANSPERGER CREATIVE ENAMEL COLOR: DANCING WITH HAMMERS DEEP RELIEF DRY PLASTER CASTING BRING IT TOGETHER: NEW DIRECTIONS CLOISONNÉ AND BEYOND FOR SURFACE EMBELLISHMENT Tis is an introductory class in metalwork that In this workshop students encounter an easy, In this course students experience a week focuses on forging; the directional stretching versatile and economical way to create bas relief During this course students explore basketry, examining transparent, opaque and opalescent of metal with hammers. Forging is an excellent and deep relief kiln formed window glass. Using vessels, sculpture, mixed media, jewelry and enamel colors. You will immerse yourselves way to include dimension and gesture in your found objects and fabricated forms, you will personal adornment using surface possibilities in blend, gradate, layer, band and bridge to designs. Using techniques from blacksmiths press the originals into plaster powder, creating that include natural materials, metals, found create and apply color to cloisonné projects, on a smaller scale, students will learn jewelry backgrounds and foregrounds, and slumping items, papers and wax. You will explore new champleve’ projects (including argentium applications that include rings, bracelets and sheet glass into the molds. Participants will techniques to incorporate into existing work and metal clay), or to experiment freely with brooches. You will investigate the rolling explore a number of options for adding color, that includes “in progress” pieces, budding building up layers to create personal imagery mill as an adjunct to the hammer and learn including both in the fring process and ideas and materials of choice. Participants and expressive design. Te class consists how the various parts of an anvil expand the post-fre. For beginners or experienced glass will weave, rivet, fold, forge, wrap, assemble of demonstrations on using commercial range of your expression. Students will work sculptors, this incredible, virtually waste-free and create their way to baskets, jewelry, and hand-made foils and well as lectures, in copper and sterling silver. Tis class is casting technique has endless fne art, public art books, vessels and sculpture. Once you have a videos, handouts, and lots of hands-on time. designed for the beginner, but those with prior and architectural applications. Open to all skill surface, then be ready to collage, wax, embed, Participants will leave class with having experience will have plenty to engage them. levels. COURSE FEE · $595 layer, patina, burn, enamel, rust, color, paint created numerous samples. Open to all skill COURSE FEE · $525 and embellish. Te class allows students to levels. COURSE FEE · $595 Sean Hennessey lives in Baltimore, Maryland challenge themselves, problem solve and Tom McCarthy operates his studio in St. Louis, and is a mixed media sculptor, primarily explore their work. Open to all skill levels. Ricky Frank is a master enamelist and has Missouri and earned his MFA from Southern working with glass. A graduate of Berea College, COURSE FEE · $525 made cloisonné jewelry for over 35 years. As a Illinois University-Carbondale and has been he spent 10 years working in professional theatre self-taught artist, he has exhibited his award- making jewelry for over 30 years. McCarthy as a painter, carpenter, welder and sculptor. Mary Hettmansperger is the owner of Gallery 64 winning jewelry at the Smithsonian Craft Show teaches workshops across the country and In 2015, he founded Otis Street Arts Project, in Wabash, Indiana. She teaches internationally and the Philadelphia Museum Craft Show. contributed a chapter to Te Penland Book of a studio center and gallery just outside of including Australia, New Zealand, Ireland, Frank is a frequent instructor at Arrowmont and Jewelry. In 2006, he was awarded a Fellowship Washington, D.C. SEAN-HENNESSEY.COM the U.K. and Singapore. She has also taught at has taught at the Florida Society of Goldsmiths, in the Arts from the State of Florida. Arrowmont, Penland School of Crafts and at Rio Grande Jewelry and at the Enamelist Society TOMMCCARTHYJEWELRY.COM national and regional Fiber Conferences, Art Conference. RICKYFRANK.COM and Craft Schools, and private Guilds. She has also produced three DVD's on surface design and jewelry for Interweave. MARYHETTS.COM 49

OCTOBER 22 – NOVEMBER 4 · TWO WEEKS NOVEMBER 5 – 11 · ONE WEEK NOVEMBER 5 – 11 · ONE WEEK

C JAMES MEYER ROBERT DANCIK GAIL NELSON SUBTRACTING AND ADDING: CARVING ADVENTURES IN THE ALTERNATE ENAMELING: KILN-FIRED AND CONSTRUCTION UNIVERSE GLASS ON METAL

Te act of carving naturally leads to a Working with a broad pallet of alternate Some art mediums fade with time, diferent visual vocabulary of form than that materials during this course allows students to but enamels retain its original brilliance of fabrication in sheet and wire. Tis class explore their expressive possibilities when used indefnitely. In this class students learn the explores the carving of non-metal materials. alone, together or combined with traditional fundamentals of enamels. But beyond the Tis could be wood, plastic or Richlite© and non-traditional metalworking techniques basics, you will explore numerous techniques (a material comprised of recycled paper in and connections. Using materials including including mark making, sgrafto, glass decals a natural resin). Students will utilize forms thermo plastics, concrete, epoxy putties and and screenprinting to add visual interest resulting in pieces of jewelry or small-scale resins, Faux Bone™, rock-like papier Mache, through color, texture and pattern. Students objects. Tis includes forming with die-press, polymer clays and more you will fashion can expect to complete several jewelry size the use of stakes and hammers and small-scale jewelry, objects of adornment, small sculpture pieces or small works suitable for framing. forging. Tis course is designed for students and artist’s books. Trough demonstrations For those with metals background, pieces with a basic knowledge of jewelry construction and discussions, students will delve into how fabricated can later be incorporated into techniques that include soldering, basic the materials used can forward the narrative your settings. Open to all skill levels. forming and fnishing of metal. aspect of their work. Open to all skill levels. COURSE FEE · $595 COURSE FEE · $995 COURSE FEE · $525 Gail Nelson is a studio artist and educator. C James Meyer lives in Midlothian, Virginia Robert Dancik lives in Beacon Falls, Connecticut She is the program director for the Great Lakes where he maintains a studio and is a professor and is an artist/educator, author and developer Enameling Guild and a Board Member of the emeritus at Virginia Commonwealth University of materials for artists including Faux Bone™ Enamelist Society. Nelson received an Enamelist where he was head of the Metal and Jewelry and Solid Expressions Concrete™. He teaches Society Award in the exhibition “Radiance” at program. He also teaches in the University of workshops nationally and internationally and Gallery 21 and her work is published in 500 Georgia Studies Abroad Program in Cortona, his work can be seen in numerous books and Enameled Objects. GAILNELSONENAMELS.COM Italy as well as conducting workshops at the publications as well as in museums and private Penland School of Crafts, Arrowmont, Peters collections. Dancik is the author of “Amulets and Valley School of Crafts and at the Touchstone Talismans: Techniques for Creating Meaningful Center for Crafts. Jewelry.” FAUXBONE.COM · · WOOD MARCH 30 – APRIL 2 WEEKEND MARCH 30 – APRIL 2 WEEKEND

CHARLIE RYLAND PEGGY SCHMID WORKING WITH AXE AND KNIFE TURNING, TEXTURING AND COLORING A NATURAL EDGE PLATTER During this course students learn to create beautiful, long-lasting items for everyday Te focus of this class is to turn a natural edge using a simple set of tools and wood that most platter and use a multitude of texturing tools woodworkers would readily pass by. and techniques to enhance the basic platter Starting with lumber in its most natural state, surface. Students will gain an understanding and processing it using only hand tools provides of techniques for mounting and turning the an in-depth, hands-on exploration of the basic various shapes of blanks used for platters. properties of the material, you will receive You will also create textural tools using rotary immediate feedback on the choices you make carvers for textures. Tere will be discussions with every cut. Te course covers basic knife about the principles of design and exploration and axe use through a simple chopstick making of the use of color and dry brush techniques to exercise, and continues on to more complex highlight the textural elements. Finishes will techniques and designs in spoons, spreaders and also be explored and techniques for protecting spatulas. Open to all skill levels. the painted surface enhancements. Open to all COURSE FEE · $375 skill levels. COURSE FEE · $375

Charlie Ryland is a full-time woodworker Peggy Schmid is a professional woodturning specializing in traditional hand tool techniques artist in Cumming, Georgia who received a and working with freshly felled green wood. BFA in Sculpture at the Atlanta College of Art. He studied Fine Furniture and Cabinet She is also trained as an art educator and was a Making at the North Bennet Street School demonstrator at the 2016 AAW Symposium in in Boston, Massachusetts before serving in a Atlanta. Schmid is the current president of the series of apprenticeships under established green Georgia Association of Woodturners and a former woodworkers around the country. board member of Apple Ridge Woodturners. RYLANDWOODWORKING.COM PEGGYSCHMID.COM 51

APRIL 6 – 9 · WEEKEND MAY 21 – 27 · ONE WEEK MAY 21 – 27 · ONE WEEK MAY 28 – JUNE 3 · ONE WEEK

JOHN PHILLIPS ALICIA DIETZ MICHAEL LEE DAVID ELLSWORTH HANDMADE MUSIC: STORYTELLING THROUGH TURNED, BURNED AND CARVED HOLLOWING CIGAR-BOX UKULELES WOOD AND IMAGE Explore the possibilities found in the turned Tis class emphasizes making open bowls In this class students learn about basic string We all have a story to tell. During class form. Tis class begins with students turning and hollow forms. Working with fresh-cut instrument construction and how to electrify students turn a personal experience into craft forms on the lathe using a variety of diferent green logs, students will learn the location of any noisemaker. You will build your own through visual expression while developing techniques. Discussions include bowl and their bowls/vessels and process them on the personalized electric/acoustic cigar box technical skills in woodworking and image hollow turning, sharpening and honing, and lathe using a versatile “Signature” gouge and ukulele from start to fnish. Participants are transfer. You will learn about wooden the use of power carving and various carbide various hollowing tools. Class topics include encouraged to bring their own supplies to box/structure construction and various burs, and milk paint to further object and tool design, attaching devices, personalize their instrument. Open to all woodworking techniques by demonstration enhance the turned form. Participants will sanding and fnishing, measuring wall skill levels. COURSE FEE · $375 and assignments. Wood movement, general go beyond the visual and discover how the thickness, and working with green wood joinery, miters and fnish techniques are tactile qualities can raise the level of their and other student suggestions during fve John Phillips is an artist and musician who live covered. To incorporate images, students will work. Te sharing of ideas, making shavings exciting days of making shavings. Open to in Knoxville, Tennessee. He is a graduate of work with digital images (photos, magazines and having fun are encouraged during the all skill levels. COURSE FEE · $595 the University of Tennessee and spends his time and vector graphics) and learn techniques to course. Open to all skill levels. exploring interests in making tools as functional transfer them to various media that include COURSE FEE · $595 Over the past thirty years, David Ellsworth art with infuences from the natural world and wood, metal and fabric. Tese images are has become known as one of the premier bygone eras. then incorporated into the wooden box. Mike Lee lives in Kopolei, Hawaii and is designers of hollow wooden vessel forms. He is Open to all skill levels. COURSE FEE · $595 a professional studio artist. He has been a a Fellow and former Trustee of the American featured demonstrator at several national Craft Council and recipient of the Lifetime Alicia Dietz lives in Richmond, Virgina and symposia and has previously taught at Membership Award from the American earned a BSJ in Advertising/Journalism from Arrowmont. His work is displayed in numerous Association of Woodturners. Ellsworth operates Ohio University and an MFA in Craft and public and private collections including his own private school of woodturning at his Material Studies from Virginia Commonwealth Te Renwick Gallery, Smithsonian Museum, studio in Bucks County, Pennsylvania. University. She served in the U.S. Army for 10 Te State Foundation of Culture and the Arts, ELLSWORTHSTUDIOS.COM years as an ofcer, Blackhawk maintenance test Hawaii State Art Museum, Mobile Museum pilot and commander. Dietz’s current practice is and Yale University. LEEWOODART.COM a mix of fne furniture and art. Her latest project, Collective Cadence, is a compilation of personal experiences told by active duty soldiers, veterans and their families. ALICIADIETZSTUDIOS.COM WOOD

MAY 28 – JUNE 3 · ONE WEEK JUNE 4 – 10 · ONE WEEK JUNE 11 – 17 · ONE WEEK JUNE 11 – 17 · ONE WEEK

JACOB STANLEY J PAUL FENNELL MICHAEL CULLEN SHARON DOUGHTIE WARM INDUSTRIAL: EMBELLISHING TURNED WOOD FORMS LINES AND PATTERNS AND INTRODUCTION TO EMBELLISHED THE INTERSECTION OF WOOD & METAL FOR VISUAL AND TACTILE APPEAL COLORS, OH MY OBJECTS, VESSELS AND BOXES

Tis course combines the best aspects of wood For embellishing turned wood forms during In this class students explore the use of pattern, During this class students explore how to and steel with a focus on how to elegantly this class, students learn to create exciting texture and color on both fat and three- personalize the surfaces of turned vessels, boxes joint these two materials into a piece of warm designs that enhance the vessel’s visual dimensional surfaces with a focus on carving and small sculptures by adding a variety of industrial furniture. By incorporating basic and tactile appeal. Decorative techniques pattern and applying color to the interior and surface embellishments. Working with green metal fabrication into woodworking, a whole are explored in detail including carving, exterior surfaces of boxes. You will investigate and dry wood to make simple forms, you will new possibility of forms opens up. Students texturing and piercing. You will learn the diferent approaches and forms that a box and carve and burn them using rotary fex-shaft, discover side, cofee and hall tables as the basic techniques of piercing and carving with vessel form can take on, using both hand tools micro-motor tools and woodburners as well platform to learn various techniques. During various rotary power tools. Tere is a focus and machines. Tere is an emphasis on shaping as experimenting with a variety of techniques class you will discover the unique qualities and on the process of laying out designs, creative and sculpting pieces to create pleasing curves for adding color using milk and acrylic paints. latent history of raw or reclaimed wood and indexing techniques, and various methods of and unusual shapes. During class participants Te goal is to gain confdence in turning, repurposed steel. So, fnd some steel or a hunk transferring designs onto three-dimensional will use carving tools, chisels, fles and rasps, sharpening, carving, burning and coloring. of split wood and join us. Open to all skill surfaces. Tactile elements include scalloped, and some machinery. Be prepared to veer of All skill levels are welcome, but basic turning levels, however this class is geared to beginners futed, faceted and incised designs in various the path into creative territory. Open to all skills are benefcial. COURSE FEE · $595 and intermediate woodworkers with an interest forms. Some experience required in using burs skill levels. COURSE FEE · $595 in metal fabrication. COURSE FEE · $595 in rotary power tools, micromotors and air- Sharon Doughtie creates from her studio in driven handpieces. COURSE FEE · $595 Michael Cullen operates his workshop in Kailua, Hawaii using mostly the beautiful and Jacob Stanley is a sculptor and professor at Northern California where he has been making abundant woods available in the islands. Lindenwood University in St. Charles, Missouri. J Paul Fennell works from his studio in furniture and sculpture for three decades. He Having worked with wood for over 20 years, He holds a BA from DePauw University and a Scottsdale, Arizona and has been turning and travels around the world sharing and learning she draws on nature, culture, connections and MFA from the University of Tennessee. Stanley embellishing wood vessels for over 45 years. his craft, including a recent trip to Nepal to work communication as her inspirations. Doughtie has has shown internationally and participated His work resides in private and museum with a group of internationally known carvers traveled the U.S. and internationally sharing in numerous artist residencies including Art collections, including the Smithsonian, the who created a permanent sculpture at a school. her techniques. SHARONDOUGHTIE.COM Channel in Beijing and most recently at the Museum of Art and Design, New York and the MICHAELCULLENDESIGN.COM Vermont Studio Center. JACOBSTANLEY.NET Museum of Fine Arts, Boston. Fennell is a 30-year member of the American Association of Woodturners. JPAULFENNELL.COM

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JUNE 18 – 24 · ONE WEEK JUNE 25 – JULY 8 · TWO WEEKS “Arrowmont is one of my most favorite places in the Universe! There is no place like it in California. Every workshop is truly a life-changing experience. I love being part of the community that is created each week by the top-notch, dedicated instructors, the super-friendly and welcoming Arrowmont staff and Artists- in-Residence, and the excited HEATHER MCCALLA DIXIE BIGGS & STEVE LOAR and talented students. I always LIGHTEN UP: FAST, FUN AND TECHNIQUES FOR DEVELOPING ORIGINAL SURFACES leave with my heart full of INTUITIVE LAMP MAKING In this class students learn that creativity, design and sketching are intertwined with a variety of many friendships and beautiful Lighting has the potential to be useful, surface enhancing techniques on wood. Innovative low-tech and low-threat design exercises will memories, plus a suitcase of lovely beautiful and expressive. Tis class focuses on enable you to develop original and personal work long after the workshop. By fusing design with artwork. I am already plotting creating functional lamps and other lit-objects relief carving, students build skills of both mind and hand. Critique methods are taught, and using wood, found materials and basic lamp then guided, within a supportive group environment. Te curriculum integrates basic design and my return in 2017.” wiring techniques. Students will discover a pattern-making with power carving. Tere are extensive demonstrations and individual guidance — SHARON JUE variety of woodworking skills including safe in all of the techniques. Students will leave with an abundance of possibilities and exciting new machine use and various hand-cut joinery work. Open to all skill levels. COURSE FEE · $1100 options. Using traditional woodworking techniques, and immediate solutions like Dixie Biggs lives in Gainesville, Florida and Steve Loar lives in Grand Rapids, hardware and fasteners, you will quickly has been a studio woodturner/artist since 1989 Michigan and has taught design and RETURNING STUDENT generate multiple fnished pieces. Bring along and received a BA in Agriculture from the creativity at the university level for 36 2016 WORKSHOPS: any found objects or odd materials that you University of Florida. As an avid gardener, years. He is one of the primary innovators Screenprint · Mark Hosford hope to incorporate such as appliance parts, much of her work incorporates a botanical in the feld of contemporary woodturning. Encaustic & Paper · Erin Anfnson perforated sheet metal, plastics, wire, utensils, theme and she is known for her meticulously- He has been a noted designer and educator Relief Printmaking · Bryan Baker or old household items for endless possibilities. carved leaf-wrapped vessels. Biggs has presented since the 1981 Turned Object Show and Open to all skill levels. COURSE FEE · $595 at regional and national symposiums, taught his frst Arrowmont class in 1991. Sharon lives and works in the San woodturning clubs and craft schools in the Loar’s work is featured in over 30 books, Francisco Bay Area where she is Heather McCalla lives in Richmond, Virginia U.S. and internationally. DIXIEBIGGS.COM 160 exhibitions, 49 published articles and Artist-in-Residence at the Kala Art and teaches in the Craft and Material Studies 15 signifcant collections. Institute, a non-proft printmaking Department at Virginia Commonwealth studio and gallery. “It is always University. She received her BA in Applied exciting to return home, equipped Design from San Diego State University and with new knowledge and skills an MFA from the University of Wisconsin, gained at Arrowmont and get back Madison. Her work has been exhibited across the to work in my studio.” U.S., including at the Neuberger Museum of Art in New York and the Haggerty Museum of Art in Wisconsin. HEATHERMCCALLASTUDIO.COM CLAY

JUNE 25 – JULY 8 · TWO WEEKS JULY 9 – 15 · ONE WEEK

RUDOLPH LOPEZ KATIE HUDNALL TURNING BOWLS: FROM THE SIMPLE MOVE IT! TO THE SUBLIME In this class students learn fun and versatile During this course students turn bowls of techniques to make their woodwork move. every shape and type that includes open Various fasteners and hardware, shop-made and closed form bowls, long natural-edge wooden hinges, wheels, cams and cranks are bowls, thin bowls, square bowls, wing bowls available to create interactive, playful objects and bowls limited only by imagination and and boxes. Basic woodworking and joinery are creativity. You will learn the fundamentals explored while simple mechanical engineering of woodturning such as sharp tools, bevel practices are used along with an introduction supported cuts and good tool control. to diferent fasteners and hardware give each Students begin by turning a simple perfect participant a chance to design and build their bowl, followed by turning thin on intermittent own moving piece. Open to all skill levels. cuts, while refning their skills and techniques. COURSE FEE · $595 Te class explores an endless variety of bowl and platter styles and shapes using both Katie Hudnall lives in Indianapolis, Indiana green and dry woods while keeping an eye on where she teaches Furniture Design at the Herron creating a pleasing aesthetic form. Tis two- School of Art and Design. She has been the week session will allow participants time to recipient of the Windgate Wood Residency at the explore new designs and to be truly immersed University of Wisconsin - Madison, an Anderson in the creative process. Basic bowl turning Ranch Residency and most recently an ITE experience is required. COURSE FEE · $1100 International Windgate Fellow at the Center for Art in Wood in Philadelphia. Rudolph Lopez teaches at his studio in Tampa, KATIEHUDNALL.COM Florida with over 35 years as a furniture and cabinet maker. He presents workshops and demonstrations at club chapters and symposiums across the country. Lopez was selected as one of the Emerging Artists of 2012 by the American Association of Woodturners. RUDOLPHLOPEZ.COM 55

JULY 9 – 15 · ONE WEEK JULY 16 – 22 · ONE WEEK JULY 16 – 22 · ONE WEEK

EMMET KANE JAMES DARR EMMET KANE & DEREK WEIDMAN CREATIVITY THROUGH PRACTICAL STRUCTURE IN ART CHAINSAWS, POWER TOOLS AND FLAMES: CONTEMPORARY WOOD SCULPTURE LEARNING: TURNING WOOD TO FREE THE MIND Structure is abundant all around us and Tis class focuses on using contemporary shaping and decorating processes from wood lathes to invades our visual senses on a daily basis, angle grinders as well as using blow torches and airbrushes to create a wide range of woodworks. Te goal of this class is to learn about wood from the mundane communication towers Students will learn about sculptural processes to expand the scope of what is possible to make in turning in a practical manner. Students will that riddle our landscape to the functional the woodshop. Experimentation is encouraged, and the road you take will be unique and tailor use green wood and burls to turn sculptural mount that caresses or holds an object. In this made for you. Objects created might include sculptural bowls and vessels, carved animal forms forms and hollow forms. You will discover workshop students explore the function of and wooden stage weaponry. Expect the unexpected; fun will be at the forefront of this class, how to ebonize wood using the natural tannin structure as it relates to the form. Te focus and maybe the black sheep in the woodshop. Open to all skill levels. COURSE FEE · $595 in oak. Texturing is explored utilizing many is on the application of silver soldering small methods and tools including the ArborTech to metals to inform an already existing object, Emmet Kane comes from fve generations Derek Weidman is a woodturner and fame. Participants will study the application or to create a new, structurally-based object. of master craftsmen. He is a self-taught wood sculptor who lives in Green Lane, of gold leaf and color to enhance their pieces. Besides metal and silver soldering, participants woodturner, working in his studio since 1988 Pennsylvania. He participates in exhibits Te class includes demonstrations and hands- are encouraged to explore other materials in County Castledermot, Kildare, Ireland. and publications across the country. on learning. Open to all skill levels. relative to the idea of structure. Open to all His work utilizes many methods, skills, tools He has received many awards including the COURSE FEE · $595 skill levels. COURSE FEE · $595 and materials including a combination of AAW Symposium Emerging Artist and the metal leaf to enhance the work. Kane accepted Professional Outreach Committee Collegiate Emmet Kane lives in Castledermot, County James Darr is a sculptor who lives in Asheville, invitations to teach, lecture and demonstrate Award from the American Association Kildare, Ireland and is a self-taught woodturner. North Carolina and teaches 3-D Design and his unique brand of woodturning around of Woodturners. Weidman’s work is in His work consists of a series of one-of turned Sculpture at Warren Wilson College. He earned the world. EMMETKANE.COM numerous permanent collections including wood pieces and follows similar themes of design, his BA in Sculpture from Herron School of Art in the Fuller Craft Museum and the Peabody form, or fnish; but all are unique pieces of Indianapolis, Indiana and an MFA in Sculpture Essex Museum. sculpture. Kane has taught his unique brand of from the University of Delaware in Newark, WEIDMANWOODSCULPTURE.COM woodturning around the world. Delaware. Darr also maintains an active work EMMETKANE.COM schedule as a metal fabricator. DA2RS.COM WOOD

JULY 23 – 29 · ONE WEEK JULY 23 – 29 · ONE WEEK SEPTEMBER 17 - 23 · ONE WEEK

BRIAN SIMMONS CURTIS O. SEEBECK & DON WARD NICK COOK WOODTURNING PERFECTED PENS AND BEYOND WOODTUNING: GIFTS GALORE

A sphere’s perfect, continual curve is By thinking outside the box, students with an interest in pen turning, kit alteration and personal Whether you are a beginner or just wish to intriguing but can be challenging to turn. style will gain or enhance their ability to create their own expressions by learning how to go improve your turning skills, this class starts During this class students learn the art of beyond a packaged pen kit. Unique materials, styles and techniques are covered. Elimination with simple spindle projects and explores creating the perfect spherical curve on projects of parts and augmentation of parts will create new insights into the artistic nuances of turning. plates, platters and bowls. Students learn of various sizes. You will gain confdence Students will develop new techniques and discover their creativity during this course. Basics tool selection and sharpening skills, safety using both square and fngernail ground will cover how to sharpen and use the tools. Advanced skills are fne-tuned as the course covers and chucking methods, and cutting and bowl gouges to quickly remove material fnishing techniques, casting and stabilizing. You will create your own unique objects including fnishing. You will demonstrate and practice while leaving polished smooth surfaces. bowls, boxes, shaving brushes, razor handles, bottle stoppers, etc. Open to all skill levels. both spindle and faceplate turning to make Ten, participants explore the bowl gouge’s COURSE FEE · $595 a wide variety of projects including garden versatility to turn bowls and plates with dibbles, honey dippers, Christmas ornaments, perfect curves and utilize additional turning Curtis O. Seebeck lives in San Marcos, Don Ward started his woodturning career candlesticks, tea lights, boxes and tools to place precise details on the rim and Texas and has demonstrated and taught in 1996 after retiring from teaching. Don’s tops. Open to all skill levels. COURSE FEE · $595 foot. Prior turning experience is helpful but at wood turning clubs in Texas and at the woodturning includes popular items, but not necessary. Open to all skill levels. Utah Woodturning Symposium, in addition pens are his passion. His publications include Nick Cook owns and operates a full-service COURSE FEE · $595 to teaching at Arrowmont and the Mark the book “Turning Modifed Slimline Pens: woodturning studio in Atlanta. He is a full-time Adams School of Woodworking. As the Beyond the Basics” and he writes a monthly production turner who produces a wide variety Brian Simmons operates his shop in Des inventor and producer of the Worthless Wood article for More Woodturning Magazine. of gift items, and one-of-a-kind bowls and vessels, Moines, Iowa and grew up woodworking with resin and wood hybrid concept, Curtis has REDRIVERPENS.COM as well as work for furniture makers and his father, and shortly after began an informal made signifcant innovations in the feld of millwork contractors. Cook is a founding member apprenticeship with internationally renowned stabilizing and casting. of the American Association of Woodturners and turner Nick Cook. Simmons primarily makes TURNTEX.COM has served as its vice president and conference reproduction and architectural turnings, but does coordinator. NICKCOOKWOODTURNER.COM produce gift items and one-of-a-kind pieces. He writes articles for the American Woodturner and is the Woodturning Consultant for WOOD Magazine. SIMMONSSHAVINGS.COM 57

SEPTEMBER 17 - 23 · ONE WEEK OCTOBER 1 – 7 · ONE WEEK OCTOBER 1 – 7 · ONE WEEK OCTOBER 8 – 14 · ONE WEEK

SABIHA MUJTABA JAMES DUXBURY CURT THEOBALD JOE RUMINSKI UNLIMITED KALEIDOSCOPES: SPECTACULAR SEGMENTED PATTERNS: UNLOCKING WOODEN JEWELRY AND DAZZLING THE PROCESS By using wood as the material and carving In this class students learn the basics of as the method this class explores components, In this class students construct a hand-held Tere is more to segmented work than just creating wearable art by making several interlocking shapes, and totems, a series of interior lighted three mirror kaleidoscope gluing pieces of wood together into a pattern. types of wooden jewelry. Various techniques related shapes and forms, and units expressing with rotating end cylinder and oil-flled object In actual practice, it’s a design adventure. include working with beads and pendants for a core theme. From the simple to complex, box. You will learn scope design, mirror Tis workshop is for students who want to necklaces, of-center turnings for earrings and and using methods of carving with hand confguration and optics, while fabricating better understand how to make segmented layering and segmenting bracelets and fnger and power tools, students will create pieces a fne wooden kaleidoscope using precision patterns. You will explore design concepts, rings. Students will also use inlace and soft in low to high relief and in-the-round (3-D) woodturning and woodworking techniques. learn construction tips and build patterns. metal inserts for accent colors. Te course is forms. Participants will view slides and Participants will fabricate unique cone jigs for During class, participants will also improve excellent for beginners because the pieces are demonstrations and undertake skill-building turning the centerless barrel; a technique also their knowledge of how a segmented pattern small and the basics are easy to learn. For the exercises to discover grain direction and usable in numerous other turnings. You will is created and have a better understanding of more advanced student, segmented work and wood movement, understand the functions of construct the object box, cut a glass eye piece the properties of wood, design and techniques design are a focus for learning. Safety and tool various carving tools, and how to create the and cut the frst surface mirror using a mirror necessary for precise joinery. Open to all skill control are stressed for good turning habits. illusion of depth by undercutting and use of cutting jig. A more basic traditional scope will levels. COURSE FEE · $595 Open to all skill levels. COURSE FEE · $595 directional light. You will also learn to safely also be an option. Students with an interest use, sharpen and maintain tools. Open to all in turning functional pieces and a fascination Curt Teobald is a full-time studio woodturner Joe Ruminski lives in Fairview, North Carolina skill levels. COURSE FEE · $595 for kaleidoscopes will complete a high quality who is based in Pine Blufs, . He has and has taught woodturning for past 14 years instrument that others will marvel at. Lathe lectured on segmented turning across Europe, and has served as an ofcer and board member Sabiha Mujtaba lives in Atlanta, Georgia safety and basic turning skills required. in New Zealand, and throughout the U.S. for the Carolina Mountain Woodturners. and is a designer and maker of furniture and COURSE FEE · $595 His work resides in public and private collections He has taught classes and given demonstrations carvings in wood. In 1986, she formed Chrysalis worldwide, including the Honolulu Museum across the U.S. and he is a member of the Woodworks. She designs and makes custom wood Jim Duxbury, woodturner and inventor, is from of Art, the Franklin G. Burroughs-Simeon B. Southern Highland Craft Guild and Honorary furniture and installations for clients across the Graham, North Carolina. Although known for Chapin Art Museum of Myrtle Beach and Te Lifetime Member of the American Association country. Mutjaba also teaches woodworking his kaleidoscopes, all of his turnings are unique Peabody Essex Museum. CURTTHEOBALD.COM of Wood Turning. classes at Highland Woodworking in Atlanta, and he seldom turns the same thing twice. and other crafts schools across the country. Te inventor of particulate dust respirators, CHRYSALISWOODWORKS.COM he holds two U.S. Patents and his company, Duxterity LLC, markets the Resp-O-Rator™, a fltered dust mask. DUXTERITY.COM/EC OCTOBER 15 - 21 · ONE WEEK OCTOBER 22 – NOVEMBER 4 · TWO WEEKS

BRIAN FIREMAN STEPHEN HATCHER DESIGNING AND BUILDING EXPLORE UNUSUAL MATERIALS AND SCULPTURAL FURNITURE METHODS IN WOODTURNING AND FLATWORK During this course participants learn the process for designing and building a piece Adding inlay to your woodworking project of sculptural furniture from start to fnish. can elevate your work from good to Topics covered include design, sketching, spectacular. Tis course explores inlay layout, joinery, carving, shaping and fnishing. techniques as applied to both woodturnings You will learn the methods of joinery using and fatwork wall-hangings. Students explore the Festool domino and carving using grinders many inlay materials including purfing, and rasps. Bring your own design ideas and/or shell, minerals, veneers and metals to create projects will be provided during class. Open to dazzling efects. Te use of dyes, airbrushing, all skill levels. COURSE FEE · $595 sealers and fnishes are discussed throughout the course. Tis class emphasizes hands-on Brian Fireman is a furniture designer and works experiences and allows students to be fexible from his studio in Tryon, North Carolina. in their project choices. Numerous handouts He earned his BS in Geology from Te Colorado on all the topics are provided. Open to all skill College and his MA in Architecture from levels. COURSE FEE · $1100 Virginia Tech. Fireman’s hands-on approach to designing and building led to the emergence Stephen Hatcher lives in Olympia, Washington of Brian Fireman Design in 2003. where he practices woodturning and stone carving. BRIANFIREMANDESIGN.COM He received degrees in Electrical Engineering and Mathematics at the University of Washington before turning to his lifetime interest in Art. Hatcher was an artist-in-residence at two national parks in Alaska as well as being invited to China to teach. STEPHENHATCHER.COM 59

OCTOBER 22 – NOVEMBER 4 · TWO WEEKS NOVEMBER 5 – 11 · ONE WEEK NOVEMBER 5 – 11 · ONE WEEK

JACK MAUCH JERRY KERMODE & WALKER KERMODE KRISTIN LEVIER SUPERFICIAL SURFACES THE ART OF NON-VIOLENT WOODTURNING SUPERFICIAL SURFACES

Let’s be shallow-minded for two weeks and In this class, father-and-son team Jerry and Walker Kermonde demonstrate non-violent Te focus of this workshop is to transform focus only on that infnitely thin visible layer: woodturning that means not making the cut, but allowing the cut to be made; the result being wood into sculpture and plain wood surfaces the surface. During the frst week, students that what you bring to the lathe is what you take away. Te goal is for students to learn new into textured and relief-carved areas that experience various techniques for bringing skills and perfect the ones they have, including grain direction and proper bevel supported cuts. create visual interest. Te class includes artifcial ingenuity to wood surfaces. You Te topics covered include tool selection, wood selection, lathe set-up, proper speeds, the cuts – hands-on demonstrations of wood shaping, will explore texturing, painting, parquetry beads and coves, basic safety, breath and posture. Your projects can include carving mallets, oil powercarving, woodburning and coloring and inlay as ways to amend, alter and adorn lamps, natural and traditional bowls, spindle duplication, stitching, multi-axis turning, balls, techniques. Students will utilize shop tools the inevitable natural beauty of wood. In the sharpening and more. Open to all skill levels. COURSE FEE · $595 such as bandsaws, angle grinders, sanders and second week, students will delve into a single fles for roughing out shapes and then spend technique more thoroughly, by either creating Jerry Kermode teaches at his studio in Walker Kermode learned to turn in his the majority of class time using micromotor a simple piece of furniture or sculpture, or Sebastopol, California. He started turning in father’s shop in the early 1980’s and his love powercarvers for shape refnement and continuing to produce samples and studies. the 1970’s and became a full-time turner in for the lathe has grown ever since. He is a embellishment. You will create a fnished Te emphasis is on exploration and discovery, 1991. Kermode is known for his passion to stay former music teacher and now works in real sculpture carved in the round and samplers of not the perfect technique or fnished product. true to the wood and his attention to form and estate and turns wood. Kermode teaches and textured, relief-carved, colored designs worthy Open to all skill levels. COURSE FEE · $1100 function, and helping people to understand the demonstrates woodturning with his son. of framing. Participants are encouraged to subtler nuances of cutting wood. bring sketches, project ideas and woodturned Jack Mauch is a Boston-based artist and designer JERRYKERMODE.COM objects to embellish in class. Open to all skill whose work ranges from intricately ornamented levels. COURSE FEE · $595 doors to sleek and shiny salt shakers. He received a BFA in Ceramics from the Maine College Kristin LeVier works as a studio artist in Moscow, of Art and completed a Core Fellowship at the Idaho. She has been working with wood for over Penland School of Crafts in 2013. Mauch has 25 years. Her sculptures have been featured in taught woodworking at Penland and Harvard magazines and books, and exhibited nationally. University’s Eliot House. His work has been LeVier was selected as the 2015 Spotlighted exhibited at SOFA Chicago and featured in Emerging Artist by the American Association American Craft Magazine. JACKMAUCH.COM of Woodturners. KRISTINLEVIER.COM ARROWMONT HISTORY

ARROWMONT SCHOOL OF ARTS AND CRAFTS

TRANSFORMING LIVES THROUGH ARTS AND CRAFTS Te 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. Tis experience is not easily put into words. It is diferent for each individual but all are inspired by the time spent here.

Arrowmont, for generations a leader in arts Founded as a settlement school in 1912, and crafts education is personifed by: Arrowmont has grown into a national contemporary arts and crafts education · Te student who bags your groceries and center supporting learning opportunities tells you with great enthusiasm and in for individuals of all skill levels and ages. detail about when he came to Arrowmont Arrowmont is located on 13 acres in the in fourth grade and used power tools heart of Gatlinburg, TN only minutes away from the Great Smoky Mountain National · Te bank vice president who proudly Park with access to tourist attractions, tells you that her husband is an the convenience of a large city nearby, Arrowmont instructor and a thriving arts and crafts community. Arrowmont ofers a valuable learning · Te potter who thirty years after his environment — an unexpected oasis amidst visit tells you that two-weeks at Arrowmont the bustle of a popular tourist destination. changed his life and career path Te heritage of the School is rooted in · Te volunteer who confdes that she is a an approach to the arts that builds upon strong Arrowmont supporter — only able traditional arts and crafts — 150 national to give modestly but contributing workshops are ofered annually, a full time and expertise complement of community classes, children’s classes and ArtReach providing a day of art Tese people and thousands more regionally to over 1,200 children annually, and gallery and across the nation have been changed exhibitions, symposia and conferences. People forever by their experiences at Arrowmont. travel from across the nation and the globe to take classes at Arrowmont and experience the magic. Many return year after year.

556 PARKWAY, GATLINBURG, TENNESSEE 37738 865-436-5860 · WWW.ARROWMONT.ORG 61

GALLERIES & EXHIBITIONS GEOFFREY A. WOLPERT GALLERY 2017 EXHIBITION SCHEDULE SANDRA J. BLAIN GALLERIES THE SANDRA J. BLAIN GALLERIES ofer a year-round schedule of changing national and regional ARTISTS-IN-RESIDENCE: MID-RESIDENCY EXHIBIT exhibitions that complement and support workshops, conferences and programs. Serving as an Dec. 16, 2016 – February 11, 2017 educational resource, the exhibitions enable students and visitors to learn about various media, techniques and ways artists express ideas through their work. Many works are for sale with TBA “PIECING TOGETHER A CHANGING proceeds supporting individual artists and the mission of the School. February 15 – April 8, 2017 PLANET” / PERMANENT COLLECTION EXHIBIT - QUILTS THE GEOFFREY A. WOLPERT GALLERY is focused on exhibiting solo and small group exhibitions SPRING WILDFLOWER PILGRIMAGE ARTIST OF November 14, 2016 – January 14 by emerging and established contemporary craft artists. Presenting seven shows a year, the space THE YEAR: MARY RUDEN provides Arrowmont resident artists with four months of exhibition time during their residency, April 11 – May 13 SEVIER COUNTY JURIED BIENNIAL an introductory exhibit and a mid-residency exhibit. Tis gallery also features a solo exhibition Reception: April 12, 5:30-7pm January 21 – March 4 for the annual winner of the Spring Wildfower Pilgrimage Artist of the Year competition that Reception: January 20 takes place in April in conjunction with the Spring Wildfower Pilgrimage at Great Smoky TBA Mountains National Park. May 17 – July 5, 2017 ARTIST-IN-RESIDENCE EXHIBITION March 11 – May 6 THE JERRY DROWN WOOD STUDIO GALLERY displays revolving wood exhibitions from the permanent ARTISTS-IN-RESIDENCE: INTRODUCTION EXHIBIT Reception: Friday, March 31 collection, much of which was donated as a bequest from Jerry Drown, a long-time supporter of the July 7 – August 19 School. Exhibitions include turned and constructed wood objects and wood sculpture, historically ARROWMONT INSTRUCTOR representative of the evolution of woodturning—from functional forms to artistic objects. TBA EXHIBITION August 23 – October May 13 – July 22

TBA ENAMELIST SOCIETY EXHIBITION October – November July 29 – August 26 COMMUNITY PROGRAMS ARTISTS-IN-RESIDENCE: PERMANENT COLLECTION Arrowmont complements its core national ARTREACH annually provides more than 1,200 MID-RESIDENCY EXHIBITION EXHIBITION workshop programs with a series of classes students (grades 4-12) from Sevier County Late November – early February September 1 – November 25 and special programs designed specifcally schools with an in-depth, full-day art workshop for local residents. at Arrowmont. Content encompasses a wide NATIONAL JURIED EXHIBITION range of diverse art experiences including use December 2, 2017 – March 2018 COMMUNITY CLASSES are ofered in the winter of specialized equipment. Students participate months in professionally-equipped studios in one of fve diferent workshops including ARTISTS-IN-RESIDENCE PROGRAMS ofer early with skilled teaching artists ofering a variety drawing, photography, pottery, painting, career, self-directed artists the time, space and of media and learning opportunities. Complete textiles, sculpture, metals and woodturning. support to develop a new body of work in a information about community classes for adults, creative community environment. Residents, young adults and children is available online. FACILITY RENTALS provide the perfect selected annually for the 11 month program, location for conferences, corporate retreats, live on campus and are provided with studios, THE ARTIST SUPPLY STORE sells artwork by business meetings and family gatherings. stipends, housing and meals during workshop former resident artists as well as Arrowmont Housing, meals, presentations and art-making sessions. Professional development, paid specifc merchandise. Te store carries supplies are easily accommodated on campus. teaching and exhibition opportunities are for work in most media and art-related books. arrowmont.org/facilityrental available. arrowmont.org/artists-in-residence For more information, call 865.436.5860 Application deadline: February 1, 2017 EDUCATIONAL ASSISTANT PROGRAM

SUMMER

Applications will be accepted between SHORT-TERM WORK-STUDY IS January 1 – March 1, 2017 AVAILABLE IN THE FOLLOWING POSITIONS: Kitchen, Maintenance, Registration, 6 WEEK WORK-STUDY, SESSION 1: Housekeeping, and Studio Assistant. May 19 – July 2, 2017 Work Study and Studio Assistants receive 6 WEEK WORK-STUDY, SESSION 2: one week of class for each 45–50 hour weeks June 23 – August 11th, 2017 of work assisting the full-time staf. Tese Student-employees are also expected FULL SUMMER ASSISTANTSHIP: to work up to 22 hours during the week May 19 – August 11, 2017 they are in class.

Te Studio Assistant position is the only one that requires an art background and image submission. Art experience is not required FALL for the other positions, however a letter of application must address the following Applications will be accepted between areas: seriousness of intent, related work April 1 – June 1, 2017 experiences, work ethic, and ability to live in a community setting. WORK STUDY & ASSISTANTSHIP OPPORTUNITIES 4 WEEK WORK-STUDY, SESSION 1: Arrowmont is looking for interested individuals to assist full-time staf in many September 15 – October 15, 2017 SEASONAL ASSISTANTSHIP IS AVAILABLE IN departments on campus. Tose who participate in the Educational Assistant THE FOLLOWING POSITIONS: Supply Store and 4 WEEK WORK-STUDY, SESSION 2: Gallery Interns — related experience in art, Programs are an integral part of Arrowmont's operations and are considered October 12 – November 12, 2017 retail sales & gallery necessary. Development student-employees. Tis program also provides an opportunity for people with Intern-experience in arts administration or limited fnancial resources to participate in classes. Meals and lodging are provided 8 WEEK WORK-STUDY: development preferred. and as a condition of their employment, assistants are expected to live on campus. September 15 – November 12, 2017 Arrowmont considers individuals who are mature, team oriented, self-motivated, Tese positions are designed to provide an FULL FALL ASSISTANTSHIP: and interested in the arts. High energy, commitment, communication skills and in-depth education in arts administration September 15 – November 12, 2017 and business of a non-proft art school. the ability to lift 50 pounds are required for these positions. Tese Student-employees will have 40 hour work weeks, and will work 10–15 hours Housing is dorm style with coin operated laundry available on site. Travel, material during class weeks. Requirements include fees, and other art supplies are the responsibility of the student-employee and are to good communication, leadership, and be paid weekly. Classes are assigned based on availability. It is important for those To apply, and for further application details, people skills. Application must address the please visit arrowmont.slideroom.com or following areas: seriousness of intent, related applying to commit to the entire session that is requested, although one is able to contact the Program and Studio Manager at work experiences, work ethic, and ability to apply for multiple sessions. 865.436.5860 ex.38. live in a community setting. Interview will be requested of applicant. 63

SCHOLARSHIPS

Arrowmont ofers 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 fnancial need and/or other criteria depending on the source of the funds. Available scholarships are described below. For detailed scholarship application information, go to www.arrowmont.org or call 865.436.5860.

FRIENDS OF ARROWMONT SCHOLARSHIPS K-12 TEACHERS SCHOLARSHIPS provide 50% cover full tuition for a specifc workshop. of workshop tuition for one workshop per Qualifcations for a scholarship include teacher per year and is open to any teacher fnancial need and commitment to personal regardless of discipline. Open to all skill levels. artistic goals. Skill in a particular medium APPLICATION DEADLINE · No deadline, is not required. All skill levels may apply for rolling with class availability. scholarships. Recipients are responsible for the costs of fees, lodging and meals. LOCAL RESIDENTS SCHOLARSHIPS provide Apply online at slideroom.arrowmont.com 50% of workshop tuition for one workshop APPLICATION DEADLINE · March 1, 2016 per person per year. Residents of Sevier, Blount, Cocke, Jeferson, or Knox counties THE DR. JUDITH TEMPLE SCHOLARSHIP FUND in Tennessee are eligible. Open to all skill provides full scholarships that cover the cost levels APPLICATION DEADLINE · No deadline, of attending one or two-week workshops. rolling with class availability. Tese scholarships are for promising, talented students who could not attend Arrowmont THE BILL GRIFFITH ART EDUCATORS FELLOWSHIP without fnancial assistance. Applicants must provides a four-week residency annually for provide images of their work and letters of one K-12 art teacher. Recipients receive a recommendation. studio, housing, meals and enrollment in a Apply online at slideroom.arrowmont.com one-week workshop. Images are required. APPLICATION DEADLINE · March 1, 2016 Apply online at slideroom.arrowmont.org. APPLICATION DEADLINE · March 1, 2016 THE STEVEN E. & CAROLYN J. GOTTLIEB WOODCRAFT SCHOLARSHIP covers 100% Please note, if applying for a Scholarship or of workshop tuition, meals and housing the Educational Assistance Program, students for a one-week workshop. Te scholarship will register after they are accepted and agree is for returning or disabled soldiers, or a to the award amount. For more information fnancially deserving student who is pursuing about applying for a scholarship, please call woodturning. Open to all skill levels. 865.436.5860. Apply online at slideroom.arrowmont.org. APPLICATION DEADLINE · March 1, 2016 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 ofers a secluded retreat experience and a busy tourist center.

WEEK AT A GLANCE

ONE WEEK CLASSES begin on Sunday with THE ARROWMONT CAMPUS 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 TWO-WEEK CLASSES follow the same general from Knoxville McGhee-Tyson Airport. schedule, but students may work in the Call Rocky Top Tours (877.315.8687 studios through the weekend in between and ask for Linda Hall) to make reservations weeks of instruction. for arrival and departure at least two weeks in advance. WEEKEND CLASSES begin on Tursday evening and continue through Sunday at 3:00 pm. HOUSING & MEALS 65

ON-CAMPUS HOUSING

TEACHERS COTTAGE & STUART COTTAGE rustic and charming houses with air conditioning and 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 without air conditioning. It ofers double, triple and dormitory style rooms which accommodate four people, all with shared baths. Prices are per person and include meals. 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 DOUBLE · 2 PEOPLE PER ROOM (SHARED BATH) $415 $865 $215 as possible focused on their work. Campus housing options include single, double, triple and dormitory rooms in three buildings. All linens and towels are provided. Rooms are assigned on TRIPLE · 3 PEOPLE PER ROOM (SHARED BATH) $375 $795 $195 a frst come, frst served basis. DORMITORY · 4 PEOPLE PER ROOM (SHARED BATH) $345 $735 $185 Campus housing prices include three meals daily in the Staf House Dining Hall. Meals are served Sunday dinner through Saturday breakfast for one-week classes and Tursday dinner through Sunday lunch for weekend classes. Although we cannot provide special options for everyone, vegetarian meal choices are available.

No camping, buses, trailers or RV’s are permitted on Arrowmont property. No pets are permitted LIVING OFF-CAMPUS on campus except service animals. Students may choose to stay of-campus. If you’re interested in extra comfort and privacy, Arrowmont ofers two fully-furnished apartments. Information on of-campus housing can be obtained Call for details. from the Gatlinburg Chamber of Commerce, call 800.588.1817 or visit gatlinburg.com. Students staying of-campus may purchase meal plans.

MEAL PLANS $199 $439 $105 If living of campus REGISTRATION & WORKSHOP FEES

Classes are flled on a FIRST COME, FIRST Workshop registration is NONTRANSFERABLE 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 fll 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 an adult workshop. Students should be aware that in many workshops they may be working with tools and equipment which, if improperly or PAYMENT may be made by check, money carelessly used, can cause injury. All classes order, or credit card (MasterCard, VISA, will include a SAFETY review to inform Discover, or American Express). students about proper use of tools and equipment in the studio. By registering for a workshop, students assume the risk All CANCELLATIONS must be made in of working with the tools, equipment, and writing by mail, fax or email (no phone calls materials provided by Arrowmont, and please). A cancellation fee of $100 will be neither the instructor, the School nor its charged on cancellations received more than employees will be responsible for injuries 45 days prior to the start of the workshop. received by students as a result of the Cancellations received less than 45 days improper or careless use of those tools before the beginning of the workshop and equipment. receive no refund. Registration fee of $50 is non-refundable. In addition to the course fee your enrollment Arrowmont reserves the right to cancel any in a workshop also includes the following. class due to insufcient enrollment and MATERIAL FEES are collected on the last day will notify students of any cancellation of every workshop. Tese fees include the at least two weeks prior to the start of the cost of materials that are requested by the workshop. In the event that Arrowmont instructor that corresponds with their course cancels a class, the student will receive a ofering and will be provided by Arrowmont full refund, including the registration fee. prior to the class arrival. Material fees Arrowmont cannot be responsible for airline may also include materials provided by tickets or other travel costs in the event of a instructors. Tese costs are shared among the cancellation. class members. Material fees do not include student purchases prior to a workshop, or individual purchases from the Supply Store. Arrowmont will provide students with an approximate range of materials fee — information provided by the instructor. 2017 REGISTRATION A COMPLETE CHECKLIST 67 Register before February 1st, 2017 and the Please complete this form for each workshop for which you are registering. Additional forms registration fee is waived! are available at arrowmont.org $50 NON-REFUNDABLE FEE REGISTRATIONS ACCEPTED BY NAME Tis one-time registration fee enables you to MAIL · PO BOX 567, GATLINBURG, TN 37738 register for as many workshops as you like PHONE · 865-436-5860 FAX · 865-430-4101 ADDRESS during 2017. It is not necessary to register for ARROWMONT.ORG/WORKSHOPS-AND-CLASSES multiple classes at the same time. CITY STATE ZIP $300 DEPOSIT FOR EACH CLASS PHONE EMAIL Tis deposit reserves a space in the workshop. Full payment of all charges is due 30 days REGISTRATION IS NOW OPEN prior to the beginning of the workshop.

WORKSHOP INFORMATION

DATES

INSTRUCTOR PAYMENT & POLICY INFORMATION HOUSING INFORMATION Please specify 1st and 2nd choice TITLE APPLICATION FEE $ 50 TEACHERS COTTAGE · SINGLE (SHARED BATH) CLASS FEE COURSE FEE $ TEACHERS COTTAGE · DOUBLE (SHARED BATH) HOUSING FEE (INCLUDES MEALS) $ TEACHERS COTTAGE · TRIPLE (SHARED BATH) METHOD OF PAYMENT MEAL PLAN FOR OFF-CAMPUS STUDENT $ RED BARN* · DOUBLE (SHARED BATH) CHECK OR MONEY ORDER ENCLOSED VISA MASTERCARD DISCOVER AMERICAN EXPRESS FRIENDS OF ARROWMONT CONTRIBUTION $ RED BARN* · TRIPLE (SHARED BATH) CARD NO. TOTAL $ RED BARN* · DORM 4 PEOPLE (SHARED BATH) 4 DIGIT EXP. SECURITY CODE SIGNATURE AMOUNT ENCLOSED / AUTHORIZED $300 MINIMUM PER APPLICATION $ ROOMMATE REQUEST

PLEASE READ AND CHECK

I am 18 years of age or older. New Student *Red Barn has no air conditioning. HOW DID YOU HEAR ABOUT ARROWMONT? Male Female (for housing purposes)

I have read and understand there will be a materials fee to be paid the last day of class. Tis is in addition to tuition and materials my instructor may suggest I bring. (See materials fee information on p. 66)

I have read and understand the refund, cancellation and transfer policies on p. 66. ARROWMONT SCHOOL OF ARTS AND CRAFTS

PO BOX 567 · 556 PARKWAY · GATLINBURG, TN 37738 865-436-5860 · www.arrowmont.org