Studio School Multi-Week Classes Syllabi and Supply Lists Spring Session (April–June 2021) Updated 2/26/21

Table of Contents Click on links below OR use your computer’s find function (CTRL+F) to jump to your desired course listing. Sections are ordered in alphabetical order and/or by day of class.

GENERAL INFORMATION ...... 3 Class Cancellations and Makeup Days ...... 3 COVID-19 Safety Guidelines ...... 3 Online Courses ...... 4 Outdoor Classes ...... 4 Registration in Studio School ...... 4 Rentals and Onsite Purchases ...... 5 Studio Policies ...... 5 2-D MEDIA ...... 6 Beginning Acrylic Painting ...... 6 Beginning Drawing ...... 8 Bookmaking Basics ...... 10

Expressive Drawing ...... 12 Hand Lettering Basics ...... 14

Oil Pastel Basics ...... 16

Outdoor Oil Painting ...... 18

3-D MEDIA ...... 20 Intro to Jewelry Making ...... 20 ART AND IDEAS ...... 23 Black History in Black Horror Films ...... 23 Not Even Past: Making History Come Alive ...... 24 Oklahoma Native Art History ...... 26 Progressive Rock ...... 28 ARTIST PROFESSIONAL DEVELOPMENT ...... 29 Teaching Artist Bootcamp ...... 29 CERAMICS ...... 31 Altered Forms on the Wheel ...... 31 Beginning Ceramics ...... 33 Beginning Wheel Throwing ...... 35 DIGITAL MEDIA ...... 39 Pro Tools Basics ...... 39 FIBER ARTS ...... 41 Beginning Knitting ...... 41 Experimental Embroidery ...... 43 Intro to Frame Loom Weaving ...... 45 Natural Fiber Dyeing ...... 47 Sewing Fundamentals ...... 49 LITERARY ARTS ...... 51 Exploring Poetry ...... 51 Writing about Art ...... 52

Note: This document includes syllabi and supply lists for multi-week classes only. If you have registered for a short workshop, you will receive an email prior to the start of class with details on what you will need to bring to your course.

GENERAL INFORMATION

Class Cancellations and Makeup Days Oklahoma weather can be wild and unpredictable. In the case of severe weather, instructor illness or other unforeseen circumstances, we may need to cancel a class meeting. Notification of cancellation will be sent via email to the email account provided upon registration. Each class makeup date is posted on the course listing. If more than one makeup date is needed, lost instructional time may be made up by 1) adding 15-30 min. to the remaining class meetings and/or 2) making up lost time during the make-up day beyond the regularly scheduled hours of the class. Please note that students are not eligible for refunds in the case that a course meeting is cancelled and rescheduled during posted makeup times.

COVID-19 Safety Guidelines Oklahoma Contemporary has taken steps to limit the possibility of transmission of COVID-19 in our facilities and at our events, but we cannot eliminate all possibility of exposure. Any visit to a public space carries inherent risk, and all visitors in our spaces voluntarily accept and assume that risk. Learn more about Oklahoma Contemporary’s COVID-19 general protocols here: https://oklahomacontemporary.org/discover/covid-protocols

This spring, we will resume in-person instruction outdoors or in well-ventilated areas. Studio School has worked with public health experts to create guidelines for all staff, students and instructors. Precautions include, but are not limited to: • Masks worn over the mouth and nose are required at all times, including in the Leigh Ann and Paul Albers Outdoor Studio and other outdoor spaces. Students may remove their masks briefly while they are actively drinking. (Eating during courses is not permitted except in the case of Friday Night Series workshops.) • Your choice of mask should conform to current CDC guidelines: https://www.cdc.gov/coronavirus/2019-ncov/prevent-getting-sick/about- face-coverings.html • Temperature checks will take place upon arrival and anyone with a temperature over 100.4 degrees Fahrenheit will not be permitted to enter the Studios Building or Outdoor Studio. • If you think you have been exposed to COVID-19, follow CDC guidelines to prevent the spread to others: https://www.cdc.gov/coronavirus/2019-ncov/if- you-are-sick/quarantine.html • In-person courses will take place either outside in the Leigh Ann and Paul Albers Outdoor Studio or in the Flex Studio with the garage door open. Neither space will be climate controlled—please check the weather forecast before each meeting to ensure you’re dressed appropriately for the weather. • Students are not permitted in the Outdoor Studio or in the Studios Building except during class or a scheduled appointment (including Ceramics Open Studio times). Please do not arrive more than 15 minutes prior to class and be prepared to leave promptly after class. • With the exception of ceramics and metalsmithing courses, onsite student storage is not permitted due to COVID-19 safety concerns. We recommend sourcing a portable and durable container (i.e., a fishing tackle box or rolling suitcase) to transport your items between class meetings. • Ceramic students will need to schedule times for Open Studio Access and glazing in advance. Your instructor will provide more details at the beginning of your course.

• Students will receive designated seating and working areas to maintain social distance. Please respect each other’s space at all times. • Hand sanitizer will be provided for frequent use, as well as disinfectant to sanitize shared equipment. • Only one person is allowed in the restroom at a time.

Students must abide by the above guidelines as well as verbal instruction from Studio School staff or instructors. Students who do not follow these measures may be asked to leave the course without refund. Guidelines are subject to change at any time and we will do our best to promptly notify students of changes via email.

Online Courses Due to the COVID-19 pandemic, most Studio School classes and workshops will take place online via the Zoom platform, in real time with recordings available after the class. Students are responsible for having a reliable Internet connection and a Zoom- compatible device with microphone, speakers and camera. Students enrolled in select digital media classes must furnish a computer and will need to license and install software.

Please install and familiarize yourself with the Zoom platform before your first day of class. Oklahoma Contemporary will not provide course refunds due to students' technical issues relating to Zoom or Internet access. Many Instructors will teach in the livestream studios at the Oklahoma Contemporary campus. If the City of Oklahoma City issues a shelter-in-place order, Instructors will teach courses from home.

While Studio School makes every effort to ensure high-quality audio and video, the resolution of the image is also determined by each student’s own Internet connection. Here are some tips to ensure a good experience:

• If possible, use a computer or laptop with a wired connection (an Ethernet cable) to run Zoom. • Download the desktop Zoom application instead of using your browser. • When running Zoom, close all other applications that use the Internet to increase bandwidth. • If you are using a mobile device, you may want to test whether using LTE/5G or Wi-Fi gets you a better connection. • Lastly, if using the desktop Zoom application, click into Settings > Video and click the “Enable HD” box.

Outdoor Classes Some workshops are held outside in the Studio Building's Leigh Ann and Paul Albers Outdoor Studio. Masks are required and social distancing practices will be enforced. In the case of inclement weather, the event will be postponed or cancelled and all registrants will be notified via email.

Registration in Studio School This document is intended for the reference of students currently registered in Studio School classes. Members may register for classes one week early and receive a 10 percent discount. Visit the Studio School website to register and for further details.

Student Handbook

All students are required to review and abide by the Studio School Handbook, which includes behavioral guidelines and safety procedures. Violation of the policies in the handbook may result in dismissal from class without refund.

Rentals and Onsite Purchases Some courses require on-site purchases or have complimentary checkout of equipment for registered students. Rental equipment is limited and is available on a first-come, first-served basis. Students coming on site to purchase or check out equipment must schedule their visits in advance (details forthcoming).

Ceramics Courses Clay ($12-15), Ceramics tool kit ($18). May purchase on first day of class. Intro to Frame Loom Weaving Loom (free check out or purchase for $75); fibers kit (purchase for $25). You will receive an email to schedule a time to purchase materials before your class begins. Natural Fiber Dyeing Fiber dye test kit (purchase for $10). May purchase on first day of class. Pro Tools Basics MIDI Keyboard (check out). Will need to check out prior to beginning of class. Sewing Fundamentals Required dewing kit ($48) Can purchase on first day of class.

*Prices do not include tax. Members receive 10 percent off purchases.

Studio Policies Please refer to the Studio School Handbook for information regarding studio policies. All students must abide by the general health and safety regulations detailed in the Handbook, as well as any specific directives provided by the Instructor.

2-D MEDIA

Beginning Acrylic Painting Instructor: Calvin Pressley Eight-week class begins Saturday, April 17, 10-12 p.m. Makeup date in the case of instructor illness or weather is Jun. 12 Flex Studio in the Studio Building

Class Description Discover the basics of acrylic painting with artist Calvin Pressley. In this hands-on course, you'll learn to prepare your paints and mix colors, practice basic handling techniques and plan/execute your own original compositions on a variety of surfaces. Students will leave this class with the knowledge and confidence necessary to create their own works in acrylic. This course will take place in-person in a well- ventilated studio with masks required at all times and enforced social distancing.

Class Outline Week 1: • Introductions and class norms • Palette mixing, application and value study • Lessons for this week will include setting yourself up for painting • We cover mixing and controlling paint and pigment levels. We will broadly cover painting on canvases with various size paint brushes and get ourselves acquainted with painting mechanics. Students will create a nine-step value scale, mixing their own black and transitioning to white. Week 2: • Color space and saturation levels • In this week’s lesson we will find our color space. Students will create their own color wheel as well as explore color neutralization and chromatic grays. Week 3: • Structure and form and space • Students will gain skills centered around building a still life to work from, finding structure and form through process while building up our paintings. Students will use these skills for future projects. Week 4: • Content and narrative • This week we will look at each other’s work from last week. This week is about involving one’s artistic identity in their paintings through research and source material. In these indirect self portraits, students will explore what they like to paint about. Week 5: • Content and narrative • Discuss our building binders (think books) and share ideas as we continue content and narrative projects. This continuation from last week will allow us to put plans into action for paintings beyond our class. Week 6: • Expression and ambience • We will explore techniques that add expression to students' mark making with paint brushes and palette knives and other “non-traditional” materials. Week 7: • Mood and ambiguity

• Students will explore techniques that add mystery and ambiguity to their work through color, mark making, and composition. • Introduction of Eccentric explorations • Mixed media (Mixed Media/Collage) • This week we will begin to introduce alternative mediums into our paintings. We will explore conventional mixed media painting, while also discussing alternative approaches artists have taken in the past. Week 8: • Eccentric explorations • Mixed media (Mixed Media/Collage) • Viewing and discussion

Required Materials and Supplies This list is a basic starting point. As we move through lessons students will be able to add to their supply list to fit their specific needs: • Liquitex Basics Acrylic Set - Item #:00717-0089 - $17.00 • Blick Studio Disposable Palette Pads - Item #:03063-2006 - $8.81 • Blick Painting Knives - Starter, Set of 3 Knives - Item #:03117-0269 - $17.15 • Strathmore 300 Series Canvas Paper Pad - 16'' x 20'', 10 Sheets - Item #:09803-1008 - $17.43 • Blick Studio Stretched Cotton Canvas - 18'' x 24'', 3/4'' Traditional Profile - Item #:07135-2019 - $11.55 • Blick Golden Nylon Brush Set - Set of 6 - Item #:05173-0069 - $16.33 • Masking tape (painters' tape) • Rags or shop towels • Disposable cups or bowls • One set of Clorox wipes (or similar disinfectant wipes) for class use

Additional Notes • Studio School recommends that you acquire the above supplies before the first day of class. However, if you have questions or cannot locate an item, the instructor can provide additional guidance at your first meeting. • Due to the slight chance a course may be cancelled due to low enrollment, we recommend purchasing supplies from a local artist supply store or an online retailer that permits returns. • As a precautionary measure, onsite student storage is not available during the spring session—we recommend that students source a durable and portable container to carry supplies to and from class.

About the Instructor Calvin Pressley is a Studio School instructor who primarily focuses on subjective portraiture in painting and drawing. With a Master of Fine Arts degree from the Pennsylvania Academy of the Fine Arts (PAFA) in Philadelphia, Calvin maintains a studio in the Oklahoma City area and has exhibited nationally. Prior to graduate school, Calvin gained experience in oil painting and drawings of various mediums while studying art at the University of Texas in San Antonio and San Antonio College. As an arts educator, Calvin has assisted with classes at PAFA during the school year and in summer programming, as well as taught at the University of North Texas in Denton.

Beginning Drawing Instructor: Chris Brizzard 10-week class begins Wednesday, Apr. 14, 6-8 p.m. Makeup date in the case of instructor illness or weather is Jun. 22 Online via Zoom — link will be emailed before course starts

Class Description Get a primer in the fundamentals of drawing, including block-in, shape accuracy, proportion, separating light from shadow, establishing values and conveying light on form. Students will start by copying drawings that incorporate these principles and will eventually move into setting up their own still lifes and drawing from life.

Class Outline Week 1: Introduction to the block-in/the importance of boxes/life drawing Weeks 2–5: Block-in practice/structural drawing/life drawing Week 6: Introduction to value studies/structural drawing/life drawing Weeks 7–9: Value studies/structural drawing/life drawing Week 10: Review/long drawing

Recommended Readings and Resources • Charles Bargue Drawing Course; available online as free PDF • Norling, E.R. (2019). Perspective Made Easy. Blurb. • Robertson, S. and Bertling, T. (2013). How to Draw. Design Studio Press. • Speed, H. (2018). The Practice and Science of Drawing. Createspace.

Required Materials and Supplies Materials available via Blick: https://www.dickblick.com/lists/blicku/0B52CJLX42WB1/publicview/ • 18 x 24 Drawing Pad, 80lb. (Strathmore or Canson) • Graphite pencils, ranging from 6H to 6B (Koh-I-Noor or Staedtler are good brands) • Kneaded eraser • Nitram Charcoal, B and HB • Razor blade for sharpening pencils • Sandpaper, 400 grit • Several pieces of an old T-shirt cut up into 6” x 6” squares • Several sheets of Canson Mi-Tientes Moonstone paper (19” x 25”) or similar color (don't go any darker than this color please) • Vine charcoal, medium size • White charcoal pencil

About the Instructor Chris Brizzard started his formal training in drawing when began studying with Michael Mentler at The Society of Figurative Arts in Dallas. From 2014 to 2017, he studied drawing and painting at Studio Incamminati under instructors trained by Nelson Shanks. He now teaches drawing and painting at The Oklahoma Academy of Classical Art and Oklahoma Contemporary. Influences include Dan Thompson, Darren Kingsley, Alex Kanevsky and Carolyn Anderson, among others.

Bookmaking Basics Instructor: Emma Difani Four-week class begins Saturday, Apr. 17, 10-12 p.m. Makeup date in the case of instructor illness or weather is May 15 Online via Zoom — link will be emailed before course starts

Class Description Explore the art of bookmaking in this introductory course addressing the basic structures and forms for creating unique artists' books. This online class can be taken from anywhere in the world and will introduce students to the tools, materials and terminology of book arts and guide them through the creation of several handmade books. We will cover folded paper, stab bound and wrapped hardcover books exploring found and recycled materials.

Course Outline Week 1: Course will begin with a brief introduction to the tools, terms and materials. Students will make sketchbook from recycled materials and learn simple folded forms.

Week 2: Students will create simple sewn books and learn how to prepare adhesives and custom bookcloth.

Week 3: This class will focus on cover options and students will make a small book press and wrapped hardcover books.

Week 4: In our final class, students will share books created during the course and learn about different sculptural/experimental book forms.

Recommended Readings and Resources • Golden, Alisa J. Making Handmade Books: 100+ Bindings, Structures & Forms. New York: Lark, 2011. • E., Tourtillott Suzanne J. 500 Handmade Books: Inspiring Interpretations of a Timeless Form. New York: Lark Books, 2008.

Required Materials and Supplies Blick U Course Supply List: https://www.dickblick.com/lists/blicku/HDCT04GC5UW8A/publicview/

Talas: https://www.talasonline.com/talas/my_account.ssp?fragment=wishlist#/wishlist/101 59

• (2) pieces 1/2 inch plywood approx. 12" x 16" or larger, (2) min 6" carriage bolts with washer and wing nut • Embroidery floss or linen bookbinding thread like this: https://www.talasonline.com/French-Linen-Thread?quantity=1&number=39 • Embroidery or Bookbinding Needles: https://www.talasonline.com/Sewing- Needles?quantity=1&number=206&type=126 • Lightweight Cotton or linen fabric for bookcloth • Misc. Drawing, Painting and Collage materials for creating book content • Misc. Paper Pieces(graph paper, paper bags, recycled paper, envelopes, cards, calendar pages, etc.,)

• Recycled cardboard • Students choice of papers to fill books(can be any light or medium weight drawing, writing, mixed media or even copier paper) and use as covers(decorative cover weight papers)

About the Instructor Emma Difani is a visual artist originally from Albuquerque, NM, living and working in Oklahoma City. She received a BFA in Printmaking from the University of New Mexico. She is a member of the Factory Obscura art collective, co-founder of Connect:Collect, an annual international print exchange and teaches printmaking at Oklahoma City University. Her work uses the obsessive layering of printmaking to explore connection and the complex relationships between the natural and constructed environments.

Expressive Drawing Instructor: Andrea Duran-Cason Four-week class begins Saturday, May 22, 4-6 p.m. Makeup date in the case of instructor illness or weather is Jun. 19 Flex Studio in the Studio Building

Class Description In this four-week course, students will explore various mark-making techniques to broaden and push their drawing skills outside of the box. Working in Oklahoma Contemporary’s outdoor studio, you'll take inspiration from your surroundings and senses to create expressive drawings in a variety of drawing media. Focusing on expressive marks and foundations of composition, students will learn to trust their artistic voice and draw from intuition and feeling. This course will take place outside with social distancing enforced and masks required at all times.

Course Outline Week 1: Line, Movement, Rhythm - Students will do quick drawings along to different music with India ink and various methods of application. Students will be asked to bring non-traditional found objects next week.

Week 2: Mark-Making, Contour, Texture - We will begin with a slide show of various artists and examples of expressive mark-making and contour. Students will make drawing tools with their found objects and practice contour drawing from life and explore texture.

Week 3: Color, Composition, Grid - Students will begin to explore color with pastels to express feeling in drawing using marks and inspiration from their sketchbook visual library they will keep through the course. They will be introduced to the compositional grid while working on several pieces simultaneously.

Week 4: Decontruct, Reconstruct! Students will cut and collage from previous works to create a new composition, and then use it as inspiration for a new work in a final piece.

Recommended Readings and Resources • https://www.tate.org.uk/art/student-resource/exam-help/mark-making • https://www.khanacademy.org/humanities/art-1010/dada-and- surrealism/xdc974a79:surrealism/a/surrealist-techniques-automatism • Edwards, Betty. 1989. Drawing on the right side of the brain: a course in enhancing creativity and artistic confidence. • art21.org • artsy.net

Required Materials and Supplies Items found here: https://www.dickblick.com/lists/wishlist/TT82FB5TLM3AQ/items/ • Blick Black Cat Waterproof India Ink - Pint • Glass Jar with lid for Ink • Sargent Art Square Chalk Pastels - Assorted Colors, Set of 12 • Moleskine Classic Hardcover Notebook - Black, Blank, 8-1/4'' x 5" (just a small sketchbook) • Canson XL Mix Media Pad - 14'' x 11'', Portrait, 60 Sheets • Cretacolor Black Box Charcoal Drawing Set - Complete Set • Blick Essentials Value Brush Set - Utility Brushes, Brown Nylon, Set of 3

• Princeton Real Value Brush Set - 9120, White Taklon, Short Handle, Set of 4 (Round, Flat, Fan, Angular) • Scissors or X-Acto knife • Glue Stick or Rubber Cement • One set of Clorox wipes (or similar disinfectant wipes) for class use

About the Instructor Andrea is a passionate and motivated working visual artist who has spent most of her educational and professional career in the arts, winning numerous awards and achievements along the way. Currently she is the lead printer at Massive Graphics screenprinting where she handles the hands-on process of making designs come to life through the printmaking. During her undergraduate degree at The University of Oklahoma, she focused on painting and printmaking, with an emphasis on the human form. In 2018, she completed an MFA at Vermont College of Fine Arts where she explored installation, performance art, and relational aesthetics.

Hand Lettering Basics Instructor: Aditi Panchal Four-week class begins Saturday, May 22, 1-3 p.m. Makeup date in the case of instructor illness or weather is Jun. 19 Flex Studio in the Studio Building

Course Description Explore the basics of typography and the art of hand lettering! We will study different techniques, letterforms and applications, plus reference works found in the Ed Ruscha: OKLA exhibition. This four-week course will give you a better understanding of Ruscha’s work as well as a library of knowledge on type itself. No prior experience is required. This course will take place in person in a well-ventilated studio with enforced social distancing and masks required at all times.

Course Outline Week 1: We will be diving into basics of typography and letterforms, as well as explore the different types of hand lettering and their mediums.

Week 2: We will be visiting the Ed Ruscha: OKLA exhibition at Oklahoma Contemporary and talk about his use of color and style of lettering. We will also be talking about how Pop art influenced lettering, and Ruscha's contribution to the movement.

Week 3: Students will pick a medium and come up with a concept for their own lettering project. They are welcome to study the Ruscha exhibition as well as other pop artists for inspiration. The instructor will also be doing a few demos in different mediums to showcase the different styles.

Week 4: Students will use some of the studio time to finish their projects and then participate in a group critique. Each student is encouraged to share what influenced them and inspired their concept.

Recommended Readings and Resources • Karin Breuer, Ed Ruscha and the Great American West, (San Francisco: Fine Arts Museums of San Francisco, 2016) • "The History of Typography and its Journey Through Art" Widewalls Magazine, last modified April 29, 2017, https://www.widewalls.ch/magazine/typography-history-art. • Gary Van Wyk, Pop Art: 50 Works Of Art You Should Know, (Munich: Prestel Publishing, 2013)

Required Materials and Supplies All item numbers are from Blick.com: • A ream of blank copy paper for sketching • Blick Studio Acrylics - Set of 12 colors, 21 ml tubes (01637-0129) • Blick Studio Brush Markers, Set of 12 (24532-1129) • Blick Studio Mixed Media Pads (13649-1023) • Drawing Pencils, Set of 12 (22220-2009) • Magic Rub Eraser, Box of 12 (21510-1012) • Scholastic Wonder White Short Handle Brush, Set of 5 (05872-0059) • One set of Clorox wipes (or similar disinfectant wipes) for class use

Additional Notes

• Studio School recommends that you acquire the above supplies before the first day of class. However, if you have questions or cannot locate an item, the instructor can provide additional guidance at your first meeting. • Due to the slight chance a course may be cancelled due to low enrollment, we recommend purchasing supplies from a local artist supply store or an online retailer that permits returns. • As a precautionary measure, onsite student storage is not available during the spring session—we recommend that students source a durable and portable container to carry supplies to and from class.

About the Instructor Aditi Panchal is an Oklahoma City based hand lettering artist, designer and illustrator. She enjoys creating unique designs for brands, products and people, but what she's really passionate about is hand lettering and illustration. She loves working with small businesses, female entrepreneurs and non-profits to elevate their brand and help them get noticed. She has taught Cursive and Hand lettering workshops across several locations in Oklahoma as well as the Cooper Hewitt Smithsonian Museum in New York City. She truly believes that everyone can learn how to write beautifully and she wants to help them get there!

Oil Pastel Basics Instructor: Jenny Elton Four-week class begins Tuesday, Apr. 13, 6-8 p.m. Makeup date in the case of instructor illness or weather is May 11 Flex Studio in the Studio Building

Course Description Discover the fundamentals of oil pastel drawing and painting. You will learn color mixing, mark-making and layering techniques unique to the medium. By the end of class, students will have a completed landscape composition and a solid foundation of oil pastel technique. This course will take place in-person in a well-ventilated studio with masks required at all times and enforced social distancing.

Course Outline

Week 1: • Review materials and supplies • Work on a painting together, discuss steps to getting started (use tape), basic blending techniques, markmaking, and choosing colors

Week 2: • Continue on painting together/look at chosen paintings • Discuss developing color, layering, and texture

Week 3: • Continue with paintings • Discuss adding detail and creating sharp lines

Week 4: • Finish up paintings • Discuss finishing and framing • Share and discuss finished products

Recommended Readings and Resources • https://www.youtube.com/watch?v=_z4Re7TEhRE • https://www.youtube.com/watch?v=UQ-dlKfXCi0 • https://www.youtube.com/watch?v=AvIFE2atmFM

Required Materials and Supplies • Oil pastel, mixed media, or 140lb hot press watercolor paper, size at least 8x10 • Blue painters tape (can be found at hobby lobby) • Oil Pastel Set of 24 (Recommended brands: Gallery by Mungyo, Sennelier, Van Gogh, Holbein) • Rubber tipped color shapers (can be found in a set at Hobby Lobby by the paintbrushes) or blending stumps • One set of Clorox wipes (or similar disinfectant wipes) for class use

• Due to the slight chance a course may be cancelled due to low enrollment, we recommend purchasing supplies from a local artist supply store or an online retailer that permits returns. • As a precautionary measure, onsite student storage is not available during the spring session—we recommend that students source a durable and portable container to carry supplies to and from class.

About the Instructor Jenny Elton is a watercolor and acrylic artist living in Edmond. She is currently working as a live event painter and as an instructor at Oklahoma Contemporary’s Camp Contemporary and Studio School. She graduated from the University of Central Oklahoma with a B.A.Ed. in Art Education in 2016 and formerly taught art at Yukon Middle School and Edmond North High School. She is active in the visual arts community of Oklahoma City through memberships with the Plein Air Painters of Central Oklahoma and the Paseo Art Association.

Outdoor Oil Painting Instructor: Chris Brizzard Eight-week class begins Sunday, Apr. 18 from 12-2 p.m. Makeup days in case of instructor illness or weather: Jun. 13, 20 and 27 Leigh Ann and Paul Albers Outdoor Studio at the Studio Building

Course Description Join instructor and artist Chris Brizzard to explore the fundamentals of oil painting outside, or en plein air. Core concepts include the block-in, separating light from shadow, setting up proper value relationships, getting the light effect, color relationships and more. We will be working outside each class to produce a different study each week. This course will take place outside with masks required and social distancing enforced.

Course Outline Week 1: Outdoor setup and materials orientation Weeks 2-8: Outdoor studies

Recommended Readings & Resources • Alla Prima: Everything I Know About Painting by Richard Schmid • Composition of Outdoor Painting by Edgar Payne • Carlson’s Guide to Landscape Painting by John F. Carlson • Hawthorne on Painting collected by Mrs. Charles W. Hawthorne

Required Materials and Supplies Brushes: • #2 round bristle brush (Robert Simmons Signet series recommended) • #2, #4, #6 flat bristle brushes (Robert Simmons Signet series recommended) • #2, #4, #6 filbert bristle brushes (Robert Simmons Signet series recommended)

Gamsol (instead of turpentine) and glass jar with lid for storage Palette knife Paper towels (Viva recommended)

Canvas Board to attach oil paper or canvas Masking tape (1” or 2” width recommended) One set of Clorox wipes (or similar disinfectant wipes) for class use

Oil paint (no student-grade), Winsor and Newton recommended: • Titanium White • Ivory Black • Yellow Ochre • Cadmium Yellow • Cadmium Lemon • Alizarin Crimson • Vermillion Hue (Holbein) • Pthalo Turquoise • Ultramarine Blue • Burnt Umber

3-D MEDIA

Intro to Jewelry Making Instructor: Taylor Martin Ten-week class begins Wednesday, Apr. 14, 6-9 p.m. Makeup day in case of instructor illness or weather: Jun. 22 Flex Studio in the Studio Building

Course Description Learn the basics of metalsmithing to create your own unique jewelry objects. The course will include the demonstration of foundational techniques such as texturing metals, sawing, finishing work, ring sizing and stone setting. Students will learn skills in design, technique and craftsmanship with the completion of several one-of-a-kind jewelry pieces. Proper handling of tools and torches is high priority for safety. Students will learn in class how to select and where to purchase their own metals and stones. This course will take place in person in a well-ventilated studio with enforced social distancing and masks required at all times.

Course Outline Week 1: Demonstration: Intro to Course Tools/Materials + Basic Techniques

Project: Source inspiration, sketch ideas, and become familiar with metals by creating a name plate that will be used in a later project. Utilize techniques demonstrated like stamping, forming and sawing.

Homework: Browse sourcing info for metals/gemstones and learn vocabulary words from list provided.

Week 2: Demonstration: Rings + Intro to Soldering

Project: Select from various ring styles shown in demonstration and form wire into ring bands using 18 gauge silver wire. File butt of band, flux, and solder to join ends forming a complete ring.

Week 3: Demonstration: Rings + Intro to Soldering continued

Project: Place rings in pickle pot to remove fire scale. Polish with bar keeper's friend and steel wool. Use mandrel and hammer to shape rings.

Week 4: Demonstration: Ear Wire Styles

Project: Form two styles of ear wires using 20 gauge silver wire. Anneal with torch then hammer to harden metal.

Homework: Use elements of design to sketch earring ideas and collect personal items (beads, gemstones, coins, etc.) to use in projects.

Week 5: Demonstration: Earrings + Wire Forming/Intro to Flex Shaft

Project: Use learned techniques to create chandelier of earring using 20 gauge silver sheet. Patina to darken metal, scrub with steel wool to reveal details, attach to ear wires, then polish with flex shaft to complete project.

Homework: Use elements of design to sketch pendant ideas including name plate from Week One as well as a gemstone.

Week 6: Exhibition Tour

Demonstration: Bezel Making

Project: Begin working on pendant by executing skills learned in course so far. Saw shape of pendant using 20 gauge silver sheet and sand edges. Solder nameplate to back. Wrap bezel around gemstone, solder to close ends, put in pickle pot then remove when fire scale is gone.

Week 7: Demonstration: Gemstone Setting/Polishing Metals

Project: Solder bezel to plate, pickle to remove fire scale, polish with steel wool to liking, place gemstone into framing with bezel roller, then complete final polish with flex shaft.

Homework: Use elements of design to sketch ideas for final project of student's choice.

Week 8: Demonstration: Gemstone Setting/Polishing Metals continued

Project: Begin working on "Student's Choice" piece to complete set of jewelry assignments. Incorporate skills and techniques learned throughout course.

Week 9: Demonstration: Student's Choice

Project: Continue working on "Student's Choice" piece to complete set of jewelry assignments.

Week 10: Finish Pieces/Instructor Reviews/Peer Support

Recommended Readings and Resources • The Complete Metalsmith, revised edition by Tim McCreight, Davis Publications, Inc.

Required Materials and Supplies Available from local stores: • Container or toolbox for transporting supplies • A box of small Ziploc plastic bags to store metal/small findings • One set of Clorox wipes (or similar disinfectant wipes) for class use • Sketchbook and pencil for note taking and design ideas • Sandpaper (range of grits) from hardware store • Steel Wool (0000 grade) from hardware store • Small glass or ceramic bowl • Small mason jar with lid • Safety glasses and face mask

Items from riogrande.com (estimated cost of $80): • Original Laser Blades #2 Saw Blades ($4.10) Item #: 110209 • Original Laser Blades #2/0 Saw Blades ($4.10) Item #: 110206

• 3"x3" Silver Sheet 20 gauge (~$56) Item #: 100596 • Plain Silver Bezel 28 gauge - 4 inches ($1.39) Item #: 101001 • Silver Wire 20 gauge - 2 feet ($3.69) Item #: 100320 • Silver Wire 16 gauge - 1 foot ($4.65) Item #: 100316 • Easy Solder 1 Foot ($1.69) Item #: 101100 • Medium Solder 1 Foot ($1.79) Item #: 101703 • Hard Solder 1 Foot ($1.81) Item #: 101704

Additional Notes • Studio School recommends that you acquire the above supplies before the first day of class. However, if you have questions or cannot locate an item, the instructor can provide additional guidance at your first meeting. • Due to the slight chance a course may be cancelled due to low enrollment, we recommend purchasing supplies from a local artist supply store or an online retailer that permits returns. • Students will be tasked with purchasing their own stones for projects. The instructor will provide guidance on selecting and purchasing stones, as well as recommendations of local retailers. • As a precautionary measure, onsite student storage is very limited during the spring session—we recommend that students source a durable and portable container to carry supplies to and from class.

About the Instructor Taylor is an Indigenous artist with a focus on hand-forged jewelry pieces incorporating genuine metals and stones. Her knowledge and skillset is founded upon a university course that introduced key techniques that she went on to build upon through self-taught endeavors. For the last five years, she has maintained a business selling small batches of one-of-a-kind adornments as well as working on custom pieces.

ART AND IDEAS

Black History in Black Horror Films Instructor: Autumn Brown Four-week class begins Monday, May 17, 7-9 p.m. No class on Memorial Day (May 31); makeup day is Jun. 21 Online via Zoom—link will be emailed prior to first meeting

Course Description Black horror films and TV -- such as Us, Get Out and Lovecraft Country -- have a lot of powerful, distinct intersections with Black history. This course will unpack the Black experience in the United States using various mediums within the horror genre.

Course Outline Week 1: Through a consideration of an assumed post-racial America, students will grapple with narratives that call attention to racial identity, specifically Blackness, from the point of view of the Black protagonist in Jordan Peele's "Get Out."

Week 2: Students will unpack the historical terrain of segregation, including sundown towns and the red summer. Using Lovecraft Country episode 1, "Sundown," and episode 5, "Strange Case," students will engage with the pervasive impact of segregation on Black lives.

Week 3: Using Jordan Peele's "Us," the class will discuss cultures of power. We will ask questions like: Who do we render speechless? Who do we render invisible? Who bears the burden of our privilege?

Week 4: Though many, Lovecraft Country portrays two remarkably violent acts committed upon Black lives. Using episode 8, "Jig-a-bobo," and episode 9, "Rewind 1921," students will revisit the gruesome murder of Emmett Till and the 1921 Tulsa Race Massacre.

Required Resources • Students will need to rent "Get Out" https://www.amazon.com/gp/video/detail/amzn1.dv.gti.34ad9d89-2a6b-11a1- c5c3-27569d5ee969?autoplay=1&ref_=atv_cf_strg_wb

• Students will need access to HBO or HBO Max for episodes of LoveCraft Country. Email [email protected] if you need assistance with this.

• Students will need to rent "Us" https://www.amazon.com/gp/video/detail/amzn1.dv.gti.30b4af5b-3b8d- a23b-03aa-e8d9ba668fbf?autoplay=1&ref_=atv_cf_strg_wb

About the Instructor Autumn is a doctoral candidate at Oklahoma State University in the university's Social Foundations of Education Department. At Oklahoma State she is also a graduate research assistant for the Oklahoma Oral History Research Program. In addition to her work in the academy, Autumn is also Managing Editor for the Black Wall Street Times, a Black-owned digital news media company.

Not Even Past: Making History Come Alive Instructor: Russell Cobb Four-week class begins Wednesday, May 19, 7-9 p.m. Makeup day in case of instructor illness or weather: Jun. 16 Online via Zoom—link will be emailed prior to first meeting

Course Description Writing about the past can be daunting. The path to a good work of history is full of dead ends, road bumps and blockades. Russell Cobb, recent author of The Great Oklahoma Swindle, will teach you how to navigate archives, distinguish fact from fiction and organize all your breadcrumbs into a cohesive story. A scholar, author and podcaster, Cobb will lead a discussion on researching, framing and narrating history for the general public. He’ll survey the field of history podcasts and talk about print and online outlets looking for history stories. Whether you want to start a new podcast, write a documentary treatment or simply pen a family history, this class will get you on your way to creating your own history project.

Course Outline Week 1: What's Your Story? We cover the following topics: breadth vs. depth; getting the right research question; thinking in terms of story; going beyond Google. Students will hone research questions and find primary sources.

Week 2: Writing like a fabulist; thinking like a historian. How clincher details, narrative arcs, metaphors make a good story, but a strong word of warning: you can't make this stuff up. Students will learn tricks of the trade from fiction writers while understanding the importance of getting the story right.

Week 3: How the King Died: E.M. Forster's distinction between story and plot. New Journalism, postmodern history, and the Power of Narrative, but caution against any notion of "post-truth." Students move observation, data, and anecdote to narrative.

Week 4: Pitching for the public: We wrap up by discussing how to get your story out there: podcast, print, exhibit. Students understand the landscape of publishing and develop a plan for going public.

Recommended Readings and Resources • Debo, Angie. And Still the Waters Run: the Betrayal of the Five Civilized Tribes. Princeton, NJ: Princeton University Press, 1973. • Debo, Angie. Tulsa: From Creek Town to Oil Capital. Norman, OK: University of Oklahoma Press, 1943. • Grann, David. Killers of the Flower Moon: the Osage murders and the birth of the FBI. New York: Doubleday, 2017. • Anderson, Sam. Boomtown: The Fantastical Saga of Oklahoma City, Its Chaotic Founding... Its Purloined Basketball Team, and the Dream of Becoming a World-class Metropolis. New York: Penguin Random House, 2018. • Cobb, Russell. The Great Oklahoma Swindle: Race, Religion, and Lies in America's Weirdest State. Lincoln: Bison Books, 2020.

Required Resources Students should have access to a library and learn how to make the most of that library. This could be a public library (Oklahoma City Public) or a research library (OU or OSU). Many of the databases, archives, and books will be freely available through your library, but not free on the Internet. Back to Top | Questions? Email [email protected] 24

About the Instructor Russell Cobb is an associate professor at the University of Alberta, radio journalist, and nonfiction writer. Publisher’s Weekly called his book The Great Oklahoma Swindle: Race, Religion, and Lies in America’s Weirdest State an “unflinching look at Oklahoma’s singular past.” He’s also the editor of The Paradox of Authenticity in a Globalized World and the reporter of the This American Life story that served as the basis for the Netflix film Come Sunday. His journalism has appeared in the New York Times, the Guardian, Slate, the Nation, and on NPR.

Oklahoma Native Art History Instructor: America Meredith Four-week class begins Monday, May 17, 6-8 p.m. No class on Memorial Day (May 31); makeup day Jun. 21 Online via Zoom — link will be emailed before course starts

Class Description Beginning with the oldest-known painted object in North America, the Cooper Bison skull, this class will explore the rich and complex history of Oklahoma Native American art. Unique for now being home to Indigenous nations hailing from the Pacific to the Atlantic, Oklahoma has witnessed generations of creative expression and exploration through the visual arts. This short survey course will examine community-based utilitarian arts, easel arts and new genres of today, from the miniature to the monumental.

Course Outline Week 1: “Precontact, Pre-Removal, and Pre-Statehood Oklahoma” will provide an overview of precontact cultures of Oklahoma and an overview of 19-century regalia, beadwork, and basketry.

Week 2: “Painting: Flatstyle and Other Movements” discusses the evolution from parfleches, ledger art, Southern Plains and Bacone styles, as well divergent painting styles into the present.

Week 3: Two lectures will cover “Textile Arts: Regalia and Fashion Design” and “Metals: Jewelry and Sculpture” concluding with Harvey Pratt’s National Native American Veteran’s Memorial.

Week 4: “Recording” examines photography, animation, video, digital, and sound art, while “Contemporary Art and Revivals” will discuss how Indigenous materials, techniques, and symbolism are reimagined today.

Recommended Readings and Resources The following will be provided in a digital packet to students: • heather ahtone, “Designed to Last: Striving toward an Indigenous American Aesthetic,” The International Journal of the Arts in Society 4, no. 2 (2009): 373–86. • America Meredith, “The Artistic Legacy of Spiro Mounds,” First American Art Magazine no. 15 (Summer 2017): 18–27. • Cedar Marie, “Bacone School,” First American Art Magazine no. 30 (Spring 2021). • America Meredith, “Early Native American Women Painters of Oklahoma” in Hearts of our People: Native Women Artists, ed. Jill Ahlberg Yohe and Teri Greeves (Minneapolis: Minneapolis Institute of Art, 2019): 130–34. • Roy Boney Jr., “Lloyd Kiva New: His Cherokee Roots and Legacy in Oklahoma,” First American Art Magazine no. 12 (Fall 2016): 40–45. • Denise Neil-Binion, “German Silver Jewelry of the Southern Plains Indians,” First American Art Magazine no. 14 (Spring 2017): 32–37. • America Meredith, “Stitches in Time: The Rebirth of Southeastern Woodlands Beadwork,” First American Art Magazine 1 (Fall 2013), 46–51. • Michelle Stokey, “Picturing the People: Kiowa, Comanche and Plains Apache Postcards,” Plains Anthropologist 60, no. 234 (May 2015), 99–123.

About the Instructor America Meredith (Cherokee Nation) is the publishing editor of First American Art Magazine and an art writer, critic, visual artist, and independent curator, whose curatorial practice spans 28 years. She earned her MFA degree from the San Francisco Art Institute and taught Native art history at the Institute of American Indian Arts, Santa Fe Community College, and Cherokee Humanities Course. Northeastern State University named Meredith its 2018 Sequoyah Fellow. Based in Norman, Oklahoma, Meredith serves on the Cherokee Arts and Humanities Council board and the collections and acquisitions committee of the American Indian Cultural Center and Museum Foundation.

Progressive Rock Instructor: Jacob Frost Four-week class begins Sunday, May. 23, 6-8 p.m. Makeup day in case of instructor illness or weather: Jun. 20 Online via Zoom — link will be emailed before course starts

Course Description Prog rock: it’s more than capes, costumes and 20-minute guitar solos (as awesome as those things may be)! In this course, we'll go beneath the surface of progressive rock’s larger-than-life image to explore the ideas the music has to offer. Each week, we'll take a deep dive into an obscure corner of the progressive rock movement past and present, from the intersection of prog and electroacoustic music to the new wave of transgender voices in black metal. Along the way, we will discuss prog’s cultural influences and impact, its intertextual and interdisciplinary aspects and its underappreciated and underrepresented voices.

Course Outline Week 1: From Genesis to Revelation: Prog and the apocalypse

Week 2: Busy Making Steps: The electronic collision of prog and classical

Week 3: One Little Victory: Rush and the philosophy of grief

Week 4: Victory Over the Sun: Transgender voices in progressive metal

Recommended Readings and Resources • Eco, Umberto. The Name of the Rose. Boston: Mariner Books, 2014. • Wallace, David Foster. Infinite Jest. New York: Back Bay Books, 2006. • Progarchives: http://www.progarchives.com/

About the Instructor Jacob Frost is a musical storyteller who weaves together disparate styles and concepts to build a unique sound-world for every tale he spins. His works have been performed at events such as the International Computer Music Conference and Electronic Music Midwest and have been commissioned by Opera on Tap – Oklahoma City and the University of Oklahoma Helmerich School of Drama. Jacob earned his Bachelor of Arts in Music from Drury University and his Master’s Degree in Music Composition from the University of Oklahoma. He currently lives in Norman, where he works as a composer, guitarist and teacher.

ARTIST PROFESSIONAL DEVELOPMENT

Teaching Artist Bootcamp Instructor: Adrienne Lalli Hills Four-week class begins Tuesday, Apr. 13, 7-9 p.m. Makeup day in case of instructor illness or weather: May 11 Online via Zoom — link will be emailed before course starts

Course Description Are you a professional artist or student interested in becoming a teaching artist or honing your current practice? From curricula and evaluation to learning styles and stages, you'll explore the basics of instructional practice through class discussions, readings and guest speakers, including representatives from Oklahoma Arts Council and Oklahoma Arts Institute. You will also hear from independent teaching artists Lydia Moore, founder of Creative Culture Lab in Tulsa, and Rachel Denbow, fiber artist and producer of eCourses for her business Smile and Wave DIY. You will get an inside glimpse into how many museums, arts centers and nonprofit organizations recruit instructors, plan programs and evaluate the results. Students will leave this online class with foundational skills to prepare them for teaching independently or with an organization. This course is pay-as-you-can -- suggested tuition is $25.

Course Outline Week 1: • Welcome and intake survey • What does it mean to be a teaching artist? • Understanding “informal learning” • Defining the informal learning ecosystem of our communities and the vital role teaching artists play in this environment • An inside view into how many of these organizations work Homework: prepare a two-page teaching artist resume for a posted o listing and submit to portal for peer feedback; review assigned peer resume Week 2: • What is active learning? • Measuring learning and aligning with organizational goals • Working with different audiences and program contexts • Guest Speaker: Jennifer Allen-Barron, Arts Education Director at Oklahoma Arts Council

Week 3: • Preparing a lesson plan • Writing and meeting learning outcomes • Material selection • Guest Speaker: Emily Claudé, Vice President and Director of Programs, Oklahoma Arts Institute Homework: create a new lesson plan (or revise an existing one) plan, o then submit to portal for peer feedback; review assigned peer lesson plan

Week 4: • Equity, access, and anti-racism in teaching practice • Teaching in the community

• Guest Speakers: Lydia Moore, Artist and founder of Creative Culture Lab; Rachel Denbow, fiber artist and owner of Smile and Wave DIY • Final reflections

Recommended Readings and Resources • Reading list will be emailed to registered students prior to course start

Required Materials and Supplies • Pencil and notebook for taking notes

About the Instructor As Associate Director of Studio School, Adrienne Lalli Hills leads strategic planning, administration, management and supervision of classes, workshops, programs and other initiatives at Studio School.

Prior to joining Oklahoma Contemporary, she held roles in museum learning and interpretation at museums across the region, including the Nelson-Atkins Museum of Art in Kansas City and the Arts and Humanities Council of Tulsa. Committed to advancing the field of museum learning, Adrienne has served on the board of directors for the Museum Educator Roundtable, which publishes the peer-reviewed Journal of Museum Education, and has held leadership positions with Museum Computer Network (MCN) and the Association for Art Museum Interpretation.

Adrienne received a Master of Arts in Curriculum and Instruction from the University of Missouri-Kansas City and a Bachelor of Fine Arts in Studio Arts from the University of Tulsa. A native Oklahoman, she is a citizen of Wyandotte Nation.

CERAMICS

Altered Forms on the Wheel Instructor: Liv Egan Eight-week class begins Tuesday, Apr. 13 6-9 p.m. Open Studio times: Mondays 12-8 p.m.; Tuesdays 12-5 p.m.; Wednesdays 12-8 p.m. (Appointment required) Makeup days in case of instructor illness or weather: June 8, 15 and/or 22 Leigh Ann and Paul Albers Outdoor Studio at the Studio Building

Course Description Spice up your wheel throwing repertoire! This course will focus on wheel-thrown forms that are altered and assembled at the leather-hard stage of the clay using hand-built clay slabs. Students will explore faceting, darting, paddling and carving techniques while creating a series of unique clay vessels. The class will also investigate a variety of clay surface options including slip application, underglaze, wax resist and glaze application methods. This course will take place outside with masks required and social distancing enforced.

Course Outline Week 1: Introductions; Brief slideshow; Throwing demonstration; 1x1 Project; Student practice

Week 2: Trimming refresher; Demonstration on altering forms & surfaces; Video examples; Student practice; Project 1: Altered Cylinders

Week 3: Glazing demonstration; Student glaze; Demo requests

Week 4: Demonstration on bottomless forms; Slump molds; Slab demonstration; Creating Parts; Student practice; Project 2: Trays & Platters

Week 5: Piecing together; Stacking; Slideshow; Student Practice; Demo requests

Week 6: Demo Requests; Student practice; Project 3: "3, 2, 1 project"

Week 7: Final glazing

Week 8: Kiln unloading; Critique & Reflection

Required Supplies and Materials • Tea towel or dish towel • Apron • Ceramic tools available from Studio School, basic tool kit, toothed metal rib • Clay; must be purchased from Studio School ($12-15 per 25# bag plus sales tax) • Sketch book and pencil • Plastic bags • Plastic bucket for throwing water, one to two-gallon range • One set of Clorox wipes (or similar disinfectant wipes) for class use

Additional notes

• Studio School recommends that you acquire the above supplies before the first day of class. However, if you have questions or cannot locate an item, the instructor can provide additional guidance at your first meeting. • Due to the slight chance a course may be cancelled due to low enrollment, we recommend purchasing supplies from a local artist supply store or an online retailer that permits returns. • Limited onsite student storage is available for ceramics students. • Appointments are required for Open Studio times. We request that students who are able to attend Open Studio during the work day do so to keep to evening hours open for students who work during business hours. Those who fail to show up or provide advance notice of cancellation for a scheduled appointment may lose Open Studio privileges.

About the Instructor Liv Egan grew up in Tulsa and graduated from the University of Oklahoma with a Bachelor’s of Art degree in Art Therapy with an emphasis in ceramics. Liv worked at the University of Oklahoma as the Director of the Student Art Gallery and as the Studio Technician at the John Frank Ceramics Facility. She began teaching at the Firehouse Art Center in Norman three years ago. Liv started working at Oklahoma Contemporary as a summer camp studio assistant and went on to become an instructor. Liv works predominately on the potter’s wheel creating functional work that evokes the sense of touch.

Beginning Ceramics Instructor: Marissa Childers Eight-week class begins Saturday, Apr. 17, 9-11 a.m. Open Studio times: Mondays 12-8 p.m.; Tuesdays 12-5 p.m.; Wednesdays 12-8 p.m. (Appointment required) Makeup days in case of instructor illness or weather: June 12, 19 and 26 Leigh Ann and Paul Albers Outdoor Studio at the Studio Building

Course description Explore the art of ceramics with an experienced instructor. This course will focus on the three hand building techniques, including pinching, coiling and using slabs of clay. Toward the end of the course, you will also have the opportunity to explore the potter's wheel. Through a variety of hands-on projects, you'll leave this class with foundational knowledge of clay and completed ceramic works of art. This course will take place outside with masks required and social distancing enforced.

Course Outline Week 1: Students will be provided with an introduction to the course, as well as, several throwing demonstrations. Students will roughly sketch a few ideas before executing their forms on the wheel.

Week 2: Students will be introduced to the pinch method, while learning to create small sculptures and vessels in combination with joining coils to extend the size and shape of the form.

Week 3: Class will begin with a group critique of thrown and pinched forms. Students will learn more about the coiling method in order to begin the creation of a historical vessel form.

Week 4: Students will begin glazing fired work, in addition to finishing the assigned coiled project. Class will conclude with a critique of historical vessels.

Week 5: Students will be introduced to hard and soft slab construction. This method will be used to create a lidded box and small utilitarian forms. Students may continue glazing as needed.

Week 6: Students will continue with slab construction, while completing finishing touches on any unfinished projects. Class will conclude with a critique of slab built forms.

Week 7: Students will decorate and glaze all fired pieces.

Week 8: Students will participate in a final group critique of all projects completed throughout the class.

Recommended Readings and Resources • Cobb, Sunshine. Mastering Hand Building: Techniques, Tips, and Tricks for Slabs, Coils, and More. Minneapolis, MN: Voyageur Press, 2018. • Schwartzkopf, Deb, and Josh DeWeese. Creative Pottery: Innovative Techniques & Experimental Designs in Thrown & Handbuilt Ceramics. Beverly, MA, USA: Quarry Books, an Imprint of The Quarto Group, 2020.

Required Materials and Supplies • Basic pottery tool kit – available for purchase at Studio School Back to Top | Questions? Email [email protected] 33

• Small container to hold slip – Blick Item #: 03333-1006 • Serrated rib – Blick Item #: 30334-1003 • Ruler – • Small container to hold water • Small container to hold tools • Small to medium plastic trash bags • Small paintbrush • Old towel (optional) • Apron (optional) • Newspapers • Box cutter • Pair of scissors • Pair of ¼ and 3/8-inch square dowel rods • Clay – must be purchased from Studio School ($12-15 per 25# bag) • One set of Clorox wipes (or similar disinfectant wipes) for class use

Additional notes • Studio School recommends that you acquire the above supplies before the first day of class. However, if you have questions or cannot locate an item, the instructor can provide additional guidance at your first meeting. • Due to the slight chance a course may be cancelled due to low enrollment, we recommend purchasing supplies from a local artist supply store or an online retailer that permits returns. • Limited onsite student storage is available for ceramics students. • Appointments are required for Open Studio times. We request that students who are able to attend Open Studio during the work day do so to keep to evening hours open for students who work during business hours. Those who fail to show up or provide advance notice of cancellation for a scheduled appointment may lose Open Studio privileges.

About the Instructor Marissa Childers was born and raised in the small town of Florence, Alabama. She attended the University of North Alabama, where she earned her B.F.A. in 2019. Upon graduating she worked as a ceramic intern at Anderson Ranch Arts Center and is now pursuing her M.F.A. at the University of Oklahoma.

Her work explores how we share intimate moments with one another through functional handmade objects. Her work is often colorful and covered in a variety of textures. Whether it is influenced by the pattern on her grandparents' curtains or the woven threads of a blanket, each piece is a little reminder of home.

Beginning Wheel Throwing Instructor: Erica Hopper Eight-week class begins Saturday, Apr. 17, 4-6 p.m. Open Studio times: Mondays 12-8 p.m.; Tuesdays 12-5 p.m.; Wednesdays 12-8 p.m. (Appointment required) Makeup days in case of instructor illness or weather: June 12, 19 and 26 Leigh Ann and Paul Albers Outdoor Studio at the Studio Building

Course Outline Week 1: Instructor will demonstrate wedging and throwing on the potter’s wheel and students' will get first day, hands-on experience with a potter's wheel. Cylinder demonstration.

Week 2: Throwing & trimming demonstration. Instructor will teach students how to throw bowls, mugs, and how to pull handles. Students will discuss interests and inspirations.

Week 3: Instructor will demonstrate altering forms. One-to-one instruction day. Instructor will discuss the ceramic firing process.

Week 4: Students will learn how to glaze pottery. Instructor will discuss decoration and form. Soft critique for works in progress.

Week 5: Instructor will demonstrate underglaze techniques and throwing plates. Students will discuss decoration for their vessels.

Week 6: Demonstration requests and last wet work day. One-to-one instruction day.

Week 7: Students will finish decorating and glazing their vessels. Demonstration requests and Clay Olympics.

Week 8: Students will display their finished vessels for a class critique and enjoy a potluck served on their self-made pottery.

Recommended Readings and Resources • ceramicartsnetwork.org • Pottery Making Illustrated magazine • Risatti, H. (2009). A Theory of Craft. Read How You Want Press. • de Waal, E. (2003). 20th Century Ceramics. Thames and Hudson. • Rawson, P. (1984). Ceramics. University of Pennsylvania Press.

Required Materials and Supplies • Ceramic tool kit ($18, available for purchase from Studio School) • Clay ($12-15 per 25# bag, must be purchased at Studio School) • Fork • Paint brush (any size) • Plastic (examples: painters lightweight drop cloth, grocery bags, trash bags, etc.) • Ruler • Sketchbook and writing utensil • Spray bottle/mister • Throwing/water bucket (large enough to fit your hand in)

• One set of Clorox wipes (or similar disinfectant wipes) for class use

Additional Notes • Studio School recommends that you acquire the above supplies before the first day of class. However, if you have questions or cannot locate an item, the instructor can provide additional guidance at your first meeting. • Due to the slight chance a course may be cancelled due to low enrollment, we recommend purchasing supplies from a local artist supply store or an online retailer that permits returns. • Limited onsite student storage is available for ceramics students. • Appointments are required for Open Studio times. We request that students who are able to attend Open Studio during the work day do so to keep to evening hours open for students who work during business hours. Those who fail to show up or provide advance notice of cancellation for a scheduled appointment may lose Open Studio privileges.

About the Instructor Erica Hopper was born in Arkansas and lived in New Mexico most of her young adult life. She earned her Bachelor of Fine Arts with an emphasis in ceramics from Eastern New Mexico University in 2014. From 2015-2017, Erica was the teaching resident at Taos Clay residency in Taos, NM. She is currently a third-year ceramics graduate at the University of Oklahoma in Norman.

As a ceramic artist, Erica focuses on creating challenging forms out of clay that require other media and found objects to function. During her time at OU, Erica’s work has moved towards ephemeral sculptural forms that reference the individual as a vessel. Her current body of work examines grief and the coping mechanisms individuals create to recover from loss.

The Almighty Cup Instructor: David Stevens Eight-week class begins Saturday, Apr. 17, 12-3 p.m. Open Studio times: Mondays 12-8 p.m.; Tuesdays 12-5 p.m.; Wednesdays 12-8 p.m. (Appointment required) Makeup days in case of instructor illness or weather: June 12, 19 and 26 Leigh Ann and Paul Albers Outdoor Studio at the Studio Building

Course Description There's a reason Dr. Jones nearly died fighting for a cup in Indiana Jones and The Last Crusade. Perhaps no object the potter makes is more intimate than the cup. No other object can carry the weight a favorite cup can. It becomes an object of ritual and intent like no other. This hands-on class will explore the cup in its many forms and iterations, from historical vessels like the Japanese chawan or Greek Pythagorean cup to modern day hurricane glasses and everything in between. Students will apply their knowledge to create their own ceramic vessels on the wheel or at the table. This course will take place outside with masks required and social distancing enforced.

Course Outline Week 1: the intimate; students will be introduced to teabowls, chawan, yunomi, low baller, throwing off the hump and hand trimming and tool making

Week 2: first half work day, second half the daily, mugs, beer glasses, adding handles and throwing taller forms

Week 3: glaze demonstration

Week 4: work day

Week 5: the regal, martini glass/goblets, tulip glass/hot toddy glass, steins/tankards, tea cup, kylix; students will be introduced to assembling thrown pieces and ornamentation

Week 6: work day

Week 7: work day and demonstration requests

Week 8: daily driver test drive and final critique discussions

Recommended Readings and Resources • 500 cups, ceramic exploration of utility and grace

Required Materials and Supplies • Cheap hack saw blade, ace, lowes or homedepot • Formica sample chips from Lowes, these are free from the kitchen cabinet section • Tea towel or dish towel • Apron • Ceramic tools available from the art center, basic tool kit, toothed metal rib • Clay, must be purchased from Studio School ($12-15 per 25# bag plus sales tax) • Sketch book and pencil

• Plastic bucket for throwing water, one to two-gallon range • One set of Clorox wipes (or similar disinfectant wipes) for class use

About the Instructor David Stevens manages the Ceramics Program and Studio at Studio School. He provides overall onsite management of the Ceramics Studio and leads the development of class curriculum, visiting artists and the ceramics artist-in-residency program. He was formerly a professor of ceramics and 3-D foundations at the University of Oklahoma, where he worked to revitalize the ceramics program and raise its national visibility.

As an artist, his ceramic work is shown across the country and is represented in both public and private collections internationally. He has taught workshops and led demonstrations through the ArtMoves program, the Oklahoma Arts Council and at the National Council on Education for the Ceramic Arts' annual conference.

David earned a Master of Fine Arts with an emphasis in ceramics from the University of Oklahoma and graduated Cum Laude from Oklahoma City University. He is a member of ArtAxis, NCECA and the Honor Society of Phi Kappa Phi.

DIGITAL MEDIA

Pro Tools Basics Instructor: Jacob Frost 10-week online class begins Sunday, Apr. 18, 2-4 p.m. Makeup day in case of instructor illness or weather: Jun. 27 Online via Zoom—link will be emailed before course starts

Class Description This is a hands-on, online course in which students will learn the basics of sound design in the Pro Tools digital audio workstation. Beginning with a guided tour of the software, students will learn how to start projects, navigate the interface, and manage tracks and audio clips. For the rest of the course, students will use creative avenues to explore the various ways they can make music using only Pro Tools. Students will learn how to edit audio, create soundscapes, and use MIDI with virtual instruments. Through exploration of different kinds of electronic music, they will discover techniques that they will use to complete small creative projects outside of class. By the end of the course, students should have a strong grasp of the essential functions of the software and be ready to use Pro Tools to make music on their own.

Class Outline Week 1: Fundamentals of the Pro Tools interface

Week 2: Audio editing basics

Week 3: Radio Play Project sharing and introduction to MIDI

Week 4: MIDI editing and the science of sound

Week 5: Virtual Instruments and sound synthesis

Week 6: Mixing

Week 7: MIDI Project Sharing and introduction to digital audio

Week 8: Exploring the potential of sounds

Week 9: Plugins and effects

Week 10: Soundscape Project sharing

Recommended Readings and Resources • Avid Pro Audio community forums at http://duc.avid.com/ • Pro Tools Expert articles and tutorials at https://www.pro-tools-expert.com/ • BBC Sound Effects at http://bbcsfx.acropolis.org.uk/ • Free sounds at https://freesound.org/browse/

Required Materials and Supplies • Pro Tools software; the standard version, not Pro Tools First or Ultimate. The license can be purchased at the Avid website here:

https://shop.avid.com/ccrz__ProductDetails?viewState=DetailView&sku=DYN A20000&isCSRFlow=true&portalUser=&store=shop

• AIR and Xpand instruments and plugins (downloads included with Pro Tools software)

• iLok account and iLok License Manager software, which you need to access your Pro Tools license. You can choose to store your license in the cloud, in which case you do not need any additional hardware, or store it on a USB dongle. You can create your account, download the License Manager, and purchase the dongle at https://ilok.com/

• MIDI keyboard and USB connecting cable (also available for checkout at Oklahoma Contemporary)

• Windows users will need an audio interface for Pro Tools to communicate with their sound card properly. If you don't own an external audio interface, you can download ASIO4ALL, a digital interface, for free at https://www.asio4all.org/

FIBER ARTS

Beginning Knitting Instructor: Kendall Ross Four-week class begins Monday, Apr. 12, 6-8 p.m. Makeup day in case of instructor illness or weather: May 10 Flex Studio in the Studio Building

Class Description Learn the basics of knitting! This course will cover basic techniques, including casting on, knitting, purling, knitting in the round, decreasing and finishing projects. By the end of the course you will have completed a one-of-a-kind scarf, dishcloth and hat. This course will take place in-person in a well-ventilated studio with masks required at all times and enforced social distancing.

Course Outline Week 1: Students will learn how to cast on and knit into the stitch to begin a garter stitch scarf. The scarf will be worked on at home.

Week 2: Students will finish garter stitch scarf in class to learn how to cast off. Students will then begin a dishcloth project to learn how to purl into the stitch.

Week 3: Students will start hat project and learn how to knit and purl in round. The body of hat will be worked on at home.

Week 4: Students will work on hat project in class and learn how to decrease knit stitches.

Recommended Readings and Resources • https://rowcounterapp.com • https://www.ravelry.com • https://store.vogueknitting.com/p-126-vogue-knitting-stitchionary-vol-1-knit- purl.aspx • Holson, Laura M. “Knitters Chronicle Climate Change One Stitch at a Time.” The New York Times. The New York Times, February 22, 2020. https://www.nytimes.com/2020/02/22/climate/knitting-climate-change.html. • “How Knitting Became Cool.” BBC Culture. BBC. Accessed February 10, 2021. https://www.bbc.com/culture/article/20200630-how-knitting-became-cool. • Lurie, Alison. “The Sweater Curse.” The New Yorker. Accessed February 10, 2021. https://www.newyorker.com/books/page-turner/the-sweater-curse. • Napoleoni, Loretta. The Power of Knitting: Stitching Together Our Lives in a Fractured World. New York: Perigee Books, 2020.

Required Materials and Supplies • One set of Clorox wipes (or similar disinfectant wipes) for class use

Lovecrafts.com • Paintbox Yarns Simply Super Chunky (5 balls in any color/s except black or navy) • Lily Sugar 'n Cream Solids (1 ball in any color except black or navy)

• ChiaoGoo Red Lace Stainless Steel Fixed Circular Needles - 24" (One pair, Size 8)

Blick.com • Lion Brand Wool-Ease Yarn (2 balls of same color)- (Item #65247-5090) • Clover Takumi Bamboo Straight Knitting Needles Size 15 9'' (1)- (Item #62404- 1015) • Clover Takumi Bamboo Straight Knitting Needles Size 9 9' (1)- (Item #62404- 1009) • Lion Brand Double Point Knitting Needles Size 8 5 mm (1)- (Item #62455- 1008) • Clover Stitch Markers (1)- (Item #62406-1002) • Dritz Flip-It Tape Measure (1)- (Item #73509-1144) • Allary Embroidery Scissors (1) (Item #62439-1001 or #62439-1002) • Needle Crafters Finishing Needles (1) (Item #73579-1002)

About the Instructor Kendall Ross grew up in Oklahoma City before moving out to Malibu, California to pursue her social science teaching credential at Pepperdine University. She has been knitting her entire life, and she is passionate about creating handmade clothing and sharing knitting with others. Her Instagram account, @id.knit.that, features her unique knit creations and has more than 20 thousand followers.

Experimental Embroidery Instructor: Darci Lenker Four-week class begins Monday, Apr. 12, 6-8 p.m. Makeup day in case of instructor illness or weather: May 10 Online via Zoom — link will be emailed before course starts

Class Description Give your stitch work a contemporary twist with fiber artist Darci Lenker! In this four- week course, you’ll discover how to blend traditional approaches and unexpected materials, such as metal, wire and found objects, to create unique works of art. Because Studio School’s courses are small in size, you’ll receive personalized feedback from the instructor on techniques, material selection and composition. Students should have some basic embroidery knowledge prior to taking this course.

Course Outline Week 1: Introduction to experimental embroidery. Students will use their chosen materials to start their unique work of art. Students will learn basic embroidery techniques to assist them.

Week 2: Students will continue working on their piece, building the lower layers in preparation for three-dimensional additions.

Week 3: Students will complete lower layers and begin to add their chosen extras like beads, found objects, etc. We will share our work with the class and talk about how to solve problems that come up.

Week 4: Students will finish adding extra enhancements. We will share our work with the class and talk about finishing techniques.

Required Materials and Supplies • Something to embroider on. We will be using something other than fabric, so use your imagination and play with something new! Some examples to consider: kitchen tools like a metal pizza rack, a sieve, or a colander. Things with mesh, like screening (be careful it’s not sharp!), screen door grilles, or fruit bags. You can use wood if you have the ability to make holes, or delicate items like photographs, paintings, leaves, but be prepared to have extras to work out any issues that may arise with that item. You basically need something with holes, or something that holes can be made in. You do not have to choose a large size for this class. Since it’s a four-week class, there will not be time to complete a large piece during class time, so you’ll need to plan for time to work outside of class. • Something to embroider with. What you’ll be embroidering with depends on what you are embroidering on. If you’re using something like a metal pizza rack or screen door grille, you may want embroidery floss or something more substantial like yarn. If you’re using something more delicate like paper, you probably want something lighter like embroidery floss or sewing thread. • A pack of embroidery needles in various sizes. If you’re working with yarn, you’ll need larger needles, and smaller needles if you’re working with thread. • Various other items like beads, sequins, found objects, coins, hardware like washers or nuts, wires, springs. I’d love if you just found these things rather than buying them. See what you can come up with! • A 6”-8” plastic embroidery hoop with a gripping lip (Loops & Threads brand at Michaels, Yarnology brand at Hobby Lobby). The size isn’t important. We’re going to learn basic stitches on here first.

• Any color of embroidery floss. I use DMC 6-strand mouline. • Small amount of woven cotton scrap fabric that is at least an inch larger than your hoop size. • Scissors • Other useful items: needle threader, seam ripper, magnifying glasses, pliers and wire cutters (if you’re working with metal/wire), thimble, self-healing mat (if you’re working with thick paper/paintings), tape, craft glue or Mod Podge (if you’re working with paper)

About the Instructor Darci Lenker has long been captivated by textiles. She was attracted to the possibilities of what could be done with a single strand of thread and exploring how detailed the medium could be. Embroidery combines her love for drawing and fiber art. The process of creating art is just as important as the end result, shown by projects that grow little by little over time.

Lenker finds inspiration anywhere and everywhere there are interesting colors, textures and details. She works out of her home studio in Norman. Her embroidery artworks have recently been featured at The Vault in Pauls Valley, for Entwined, a small group show of fiber artists. Notably, Lenker’s work was also spotlighted at Oklahoma Contemporary's ArtNow in 2019, where 365 of her small embroideries were installed to represent an entire year of her process. Most recently, she has a collection of space embroideries on display at Science Museum Oklahoma as part of the Cosmic Culture exhibit and work on display in Fiberworks Oklahoma, at Jealous Gallery in London, and Ville de Clermont-Ferrand, France.

Intro to Frame Loom Weaving Instructor: Rachel Denbow 10-week class begins Tuesday, Apr. 13 6-8 p.m.

Makeup day in case of instructor illness or weather: May 11 Online via Zoom — link will be emailed before course starts

Class Description Planned with beginners in mind, this project-based course will teach students to create their own woven wall hangings. Students will design and complete three woven wall hangings while learning how to warp their looms, choose fibers, design from inspiration and use fundamental stitches and finishing techniques. Repetition of weaving basics will build confidence, and critiques and group discussions will offer constructive feedback and further inspiration.

Class Outline Week 1: Fiber overview, single warping your small frame loom, plain weave and rya knots.

Week 2: Learn soumak, soumak variations and looping.

Week 3: Learn hemstitching, crocheted ends and other finishing techniques to complete first wall hanging. Critique of work and group discussion. Design homework for second woven piece.

Week 4: Learn to double warp your medium loom, increasing and decreasing to create shapes and reverse rya.

Week 5: Continue work on second wall hanging.

Week 6: Continue work on second wall hanging. Critique of work and group discussion. Design homework for third woven piece.

Week 7: Single warp large looms, prep fabric for weaving, start third wall hanging.

Week 8: Continue work on third wall hanging.

Week 9: Continue work on third wall hanging.

Week 10: Finish third wall hanging. Critique of work and group discussion. Further weaving inspiration.

Recommended Readings & Resources • Denbow, R. (2016). DIY Woven Art. Interweave Press.

Required Materials and Supplies • Frame loom (requires in-person pickup of free checkout loom or purchase - $75 - at Oklahoma Contemporary) • Fibers kit for first project ($25; must be purchased in person at Oklahoma Contemporary) • Scissors • Yarn and warp threads for second and third projects (to be discussed in class)

Studio School recommends that you acquire the above supplies before the first day of class. However, if you have questions or cannot locate an item, the instructor can provide additional guidance at your first Zoom meeting.

About the Instructor Rachel Denbow is a fiber artist and author who has spent the last 13 years creating content for makers and creatives alike through blogs, magazines, one book and over 20 e-courses. Originally hailing from California, she now calls the Midwest home. She travels the country teaching fiber arts workshops and has partnered with local craftsmen to offer a wide range of weaving tools and kits through her e-commerce store. As a mom of three, she values making space for the creative process and self- discovery that comes along with learning and practicing a new medium.

Natural Fiber Dyeing Instructor: Rachel Denbow Four-week class begins Monday, May 17, 6-8 p.m. No class on Memorial Day (May 31); makeup day is Jun. 21

Located in the Flex Studio in the Studios Building

Course Description Whether you’re interested in dyeing your own yarn for knitting and weaving or just love the science involved in extracting color from wildflowers, this course is for you! In this online class, you will discover basic fiber dyeing techniques that you can perform in your own kitchen.

Course Outline Week 1: Students will explore warm yellows and caramels using yellow onion skins on natural fibers. Students will document each dye color and experiment in a dye journal that they will provide. Homework: Gather small rusted metal items and place them in Mason jar with vinegar and water to create modifier.

Week 2: Students will explore a range of pinks through avocado pits and aloe vera stalks. We will discuss lightfast and colorfast dyes as well as regional dyes.

Week 3: Students will learn how to overdye as well as to explore dye resist using shibori techniques.

Week 4: Students will explore cold water dyeing using dry black beans. We will also discuss solar dyeing, foraging for dye stuffs, and easy flowers to add to a dye garden.

Recommended Readings and Resources • Duerr, Sasha. Natural Color: Vibrant Plant Dye Projects for Your Home and Wardrobe. New York; Watson-Guptil. 2016.

Required Materials and Supplies • 50 wooden clothespins • A fiber test kit ($10, purchased at Oklahoma Contemporary) • Access to a stovetop and a sink for projects at home • At least one undyed item to dye per class that is made of 100% natural fibers (silk, linen, wool, cotton, bamboo) • Avocado pits from 8-10 avocados • Nitrile gloves • One 1" 3-ring binder with graph or blank paper for their dye journal • One 1lb. bag of dry black beans • One plastic tub the size of a shoebox for soaking fibers • One stainless steel or wooden utensil for pulling fibers out of the pots • Twine • Two medium sized stainless steel stock pots (not to be used to cook in) • Yellow onion skins from 8-10 onions • One set of Clorox wipes (or similar disinfectant wipes) for class use

Additional Notes

Sewing Fundamentals Instructor: Amber Layne Eight-week class begins Thursday, Apr. 15, 6-9 p.m. Makeup day in case of instructor illness or weather: Jun. 10 Located in the Flex Studio in the Studios Building

Course Description This course is designed for those new to sewing, those who haven’t sewn in a while, those afraid of their machines, those who want to build a stronger foundation in their sewing knowledge or those needing a refresh on the basics of machine sewing. Students will learn in-depth knowledge of their sewing machines while mastering the fundamentals of sewing through fun, useful, instructor-selected projects. Students must provide their own working, preferably recently serviced sewing machine to each meeting and an instructor-provided materials kit ($48) must be purchased on the first day of class. This course will take place in-person in a well-ventilated studio with masks required at all times and enforced social distancing.

Course Outline Week 1: The sewing machine: anatomy of a sewing machine, care and cleaning of a machine, understanding bobbins, threading a machine, installing a needle. Students will learn and perform a general cleaning of their machines.

Week 2: Machine needles, threads, and fabrics: the anatomy of needles, thread, fabrics, and how they work together. Students will learn to sew in straight lines.

Week 3: Machine stitches: understanding what stitches are, how they are used, what feet to use with different stitches, when to use each stitch, and proper pairing of stitches with fabrics/threads. Students will create a stitch map guide. Students will learn to turn corners.

Week 4: Sewing tools and skills: tools of the trade, proper pinning, pressing, and cutting techniques explained. Students will make a pin cushion using the above- mentioned skills. Students will learn to machine sew a button, and a hand sewing technique.

Week 5: Seams: understanding straight seams, seam allowances, finishing seam edge techniques, and curved seams. Students will create a seam finishing map guide.

Week 6: Zippers and Cording: the anatomy of a zipper, different kinds of zippers, how to use a zipper foot, how to install a zipper, understanding cording, how to make a wrapped cord, how to install cording. Students will make a zippered pouch. Students will learn to measure and install zippers correctly.

Week 7: Zippered pouch, review, and start of final project: finish zippered pouches, review of any techniques needed, begin discussion of final project.

Week 8: Final project: Constructions and design of a pillow cover using all skills acquired during the course. Students will create a pillow cover from scratch.

Recommended Readings and Resources • Gardiner, Wendy & Knight, Lorna. The Sewing Machine Accessory Bible: Get the most out of your machine-from using basic feet to mastering specialty feet. New York: St. Martin’s Press, 2011.

• Kettle, Liz. Know Your Needles. Pennsylvania: Fox Chapel Publishing Company, 2014. • Singer, Ruth. The Sewing Bible. New York: Crown Publishing Group, 2008. • Smith, Alison. The Sewing Book. New York: DK Publishing, 2009. • Tobisch, Bernie. You and Your Sewing Machine: A sewist’s guide to troubleshooting, maintenance, tips and techniques. California: C&T Publishing, 2018

Required Materials and Supplies • A working, preferably recently serviced sewing machine (see note in the section below—you will need to bring this to and from each class meeting) • An instructor-created kit of supplies ($48 plus tax—members receive a 10 percent discount) • One set of Clorox wipes (or similar disinfectant wipes) for class use

Additional Notes • Supplies required the first night of class include a serviced sewing machine, electric cord, foot pedal, machine manual, and all tools (feet, bobbins, and accessories that came with the machine) and Clorox wipes. • At the first class, students are required to purchase a kit of supplies ($48 plus tax—members receive a 10 percent discount). This kit includes all of the materials that you will need for the teacher-assigned projects, with the exception of the last project (part of the final project is learning to source your own materials). • Due to the slight chance a course may be cancelled due to low enrollment, we recommend purchasing supplies from a local artist supply store or an online retailer that permits returns. • As a precautionary measure, onsite student storage is not available during the spring session—we recommend that students source a durable and portable container to carry supplies to and from class.

About the Instructor Sewing from the young age of seven, Amber developed a love for artistry and craftsmanship. She is technically trained in 250+ hours of professional sewing, serging, and embroidery classes. A skilled seamstress for over two decades, Amber is experienced in all areas of sewing, quilting, serging, embroidery, tailoring, alterations, and more. Her mentor has passed years of knowledge on to her from working with almost every sewing machine company. Thus, Amber has an advantage helping students learn their machines. Amber offers online sewing courses through her website, private lessons, and serves as an instructor at Fransis Tuttle Technology Center.

Taking knowledge from experience and study, Amber creates courses she wishes would have been available to her. She provides comprehensive, fun learning experiences that instill a love of sewing. Most importantly, Amber encourages the desire to create beauty in the world, make people's lives better, and to love with abandon.

LITERARY ARTS

Exploring Poetry Instructor: Dr. Julie Ward Four-week class begins Monday, Apr. 12, 6-8 p.m. Makeup day in case of instructor illness or weather: May 10 Online via Zoom — link will be emailed before course starts

Course Description In this course, participants will invite their inner poet to come out and play. Class sessions will include appreciating and discussing contemporary poetry from around the world, generative in-class writing prompts, and peer workshops to share poetry and feedback.

Course Outline Week 1: DIDACTIC POETRY. Students will read and discuss three contemporary examples of "how-to" poetry and write their own didactic poems to share.

Week 2: EKPHRASTIC POETRY. Students will read and discuss two contemporary examples of ekphrastic poetry, and choose a piece of art or culture to write their own ekphrastic poem after. Students will workshop revised poems from last week in small groups.

Week 3: INVOCATION POETRY. Students will read and discuss a contemporary example of an invocation, and then write their own. Students will workshop revised poems from last week in small groups.

Week 4: POETRY OF GESTURE. Students will read and discuss a contemporary poem focused on gesture, and then write their own. Students will workshop revised poems from last week in small groups.

Recommended Readings and Resources • www.poets.org • www.poetryfoundation.com • www.pw.org

About the Instructor Julie Ann Ward is a writer, translator, and professor of Latin American literature and culture at the University of Oklahoma. She is the author of A Shared Truth: The Theater of Lagartijas Tiradas al Sol (U of Pittsburgh Press, 2019), a study of a contemporary Mexican theatre collective's innovative use of fiction, autobiography, family stories, and national history in their performances. At OU she regularly teaches courses on Spanish-American drama, Mexican literature and culture, and Hispanic cinema. Her translations have appeared in World Literature Today and Latin American Literature Today. She is a volunteer facilitator with Poetic Justice.

Writing about Art Instructor: Jezy Gray Four-week class begins Wednesday, Apr. 14, 6-8:30 p.m. Makeup day in case of instructor illness or weather: May 12 Online via Zoom — link will be emailed before course starts

Course Description From pitching the right publication to interviewing artists and drafting with an editor, this class will teach you how to write and publish human-level stories about culture. In addition to regular readings (and Zoom visit Q&As, when possible) from contemporary arts reporters like Hanif Abdurraqib, Jessica Hopper, Katie Moulton and more, students will workshop articles and essays about a work, artist or exhibition from any discipline, from painting to pop music. Each writer will leave with a final draft and a customized pitch email.

Course Outline Week 1: After a brief introduction, students will discuss a pre-assigned reading along with their personal goals for the course.

Week 2: Students will workshop their first 750-word essays about an individual work, artist or group of artists.

Week 3: Students will workshop their second 750-word essays about an individual work, artist or group of artists.

Week 4: Students will workshop their third 750-word essays about an individual work, artist or group of artists.

Recommended Readings and Resources • A reading list will be emailed to students prior to the start of the course.

About the Instructor Jezy J. Gray is a writer and editor living in Oklahoma City. His essays, interviews and reportage appear in PopMatters, This Land, D Magazine, Curbside Chronicle, Oklahoma Today, NonDoc, Territory, Bloom Magazine, The Dallas Observer, The Oklahoma Gazette and The Tulsa Voice, where he was the paper’s final editor in chief. His editing work includes chapters from Sandra C. Mendiola García’s Street Democracy: Vendors, Violence and Public Space in Late Twentieth-Century Mexico (2017), and his essays “Wild Life” and “In My Tribe” are collected in the anthologies A Voice Was Sounding, Vol. 5 (2015) and Race Reader (2017).