“It is only with the heart that one can see rightly; what is essential is invisible to the eye.” IMPORTANT DATES AT A - Antoine de Saint-Exupery GLANCE

This may seem a strange quote to use as I ask you to consider coming to a workshop ARTISTS-IN-RESIDENCE at Arrowmont. We provide instruction which explores materials and celebrates the APPLICATION DEADLINE created object. But I also know that time spent at Arrowmont offers opportunities for February 1, 2015 exploration, discovery and growth that engage not only the head and hand, but the heart. The skills and techniques learned in a workshop represent personal accomplishment, but EARLY REGISTRATION DEADLINE there is satisfaction in immersing oneself in a shared experience in the company of others February 1, 2015 who understand both your interest and your passion. It is the sharing among students Registration fee of $50 is waived and instructors which makes the experience rich in unexpected ways. for early registration In 2014 Arrowmont completed a major accomplishment. In purchasing our campus we preserved a legacy of education extending over a hundred years into the past and made EDUCATIONAL ASSISTANCE PROGRAM it possible to set our sights on what can be accomplished in the next hundred years. APPLICATION DEADLINE We protected six buildings on the National Register of Historic Places and secured our March 1, 2015 beautiful historic campus. Our thanks go out to the tens of thousands of students and instructors ‐ and the more than one hundred Artists‐In‐Residence ‐ who have left their SCHOLARSHIP APPLICATION DEADLINE BILL MAY marks during their time here. This is an organization guided by a mission of enriching March 1, 2015 for most EXECUTIVE DIRECTOR lives through art, but our success is measured by the experience of each individual that Check the website as some scholarships spends time as part of our community. have a rolling deadline

If you have been to Arrowmont before, I know you understand exactly what I am attempting to describe. Everyone here looks forward to welcoming you back in 2015.

If you are contemplating coming to Arrowmont for the first time ‐ or even enrolling in your first workshop ‐ know that you will be welcomed and encouraged regardless of your previous experience, your age or your educational background. We are proud of the quality of our facilities and studios, and we value our instructors and the talent and experience they bring to the workshops, but our conviction is that people bring out the best in each other when they are seeing rightly with their hearts.

Whether you are finishing an MFA, or exploring and satisfying an interest you have long anticipated, Arrowmont welcomes you to join in shared exploration and discovery. Whether walking through gallery exhibitions on the way to your studio, sharing meals, conversation and laughter, struggling to refine an idea, discovering new materials and techniques, or collaborating with others, I believe you will be inspired by the time spent here.

Please join us in this special place.

2 TABLE OF CONTENTS

WELCOME...... 2 OTHER PROGRAMS...... 50

LEGACY WEEKEND...... 4 REGISTRATION AND WORKSHOP FEES...... 51

MASTER WEEKEND...... 5 SCHEDULE AT A GLANCE...... 52 2015 WORKSHOPS

HOUSING AND MEALS...... 54 STONE/MIXED MEDIA/

SPECIAL TOPICS...... 6 SCHOLARSHIPS...... 55

WOOD...... 8 EDUCATIONAL ASSISTANCE...... 56

METALS/ENAMELS/JEWELRY...... 16 ARROWMONT & YOU ...... 57

FIBERS/TEXTILES/BASKETS...... 21 WORKSHOP BASICS...... 58

PAPER/BOOKS...... 31 REGISTRATION FORM...... 59

GLASS...... 34

PAINTING/DRAWING/ PRINTMAKING/PHOTOGRAPHY...... 36

CLAY...... 42

ARROWMONT SCHOOL OF ARTS AND CRAFTS is a place for people who seek meaningful and energizing art experiences. It is a place for people of all ability levels, ages, and backgrounds. It is a place where ideas and skills, seeing and creating come together in myriad ways.

3 LEGACY WEEKEND MARK ST. LEGER • WOOD Rocking Weekend—Turned Boxes, LEGACY WEEKEND • APRIL 9 — 12, 2015 Now in its second year, Legacy pg. 9 Weekend will focus even more in depth on Arrowmont’s rich history, Appalachian culture and heritage and its setting in and ties to the beautiful JOHN PHILLIPS • WOOD natural setting of the Great Smoky Mountains. Re-discovering the Appalachian Banjo, pg. 9

Partnering again this year with Weekend offers ample opportunity FRANCES FOX • WEAVING the Friends of the Smokies, Legacy to catch up with old friends, interact Traditional Mountain Weaving/ Weekend encourages Friends of with the local community, the artists Heritage Weaving, pg. 21 Arrowmont and Friends of the and performers, and get to know the JEANNE BRADY • TEXTILES/SURFACE Smokies to participate in an campus community. DESIGN outstanding educational and cultural Personal Memories on Cloth, pg. 22 experience. Don’t miss the annual exhibition of Arrowmont’s Artists-in-Residence. MARY W. THOMPSON • BASKETS Legacy Weekend offers new and Meet the artists at the opening Cherokee White Oak and River Cane Baskets, expanded interdisciplinary reception. The local community, pg. 22 programming integrating workshops, students, instructors and guests are BOBBIE CREWS • PAINTING guest speakers and storytellers, music, invited to the opening reception on Reflections, Light and Magic, pg. 36 social gatherings, gallery openings Friday, April 10, 2015, 7:00 pm to and hikes in the Smokies. Legacy 9:00 pm. JOHN DIGIACOMO • PHOTOGRAPHY Moving Beyond Your Creative Comfort Zone, pg. 36

BRIAN NETTLES • CLAY Turning and Burning: Wheel Thrown Pottery, pg. 43

LENTON WILLIAMS • TRADITIONAL BROOMS Traditional Appalachian Style Broom- making, pg. 6

JOEL G. ZACHRY • NATURE STUDIES Spring’s Natural Wonders, pg. 6

4 MASTER WEEKEND

MASTER WORKSHOP WEEKEND · OCTOBER 15 — 18, 2015 Working with master artists is a centuries-old practice that provides advanced students an environment in which to hone skills both technically and conceptually. Master teachers contribute inspiration, insight, guidance and challenge, in addition to instruction. Arrowmont has designed a Master Workshop Weekend session in October of eight classes taught by carefully selected instructors with many years teaching, exhibition, and publication achievements. These classes are open to experienced students only and are for those seeking intense studio time, meaningful discussions, critiques, questions and risk taking. With a focus on developing one’s personal voice, the weekend workshop activities include: related readings, some drawing, modeling, discussion and investigation of individual imagery and design elements. The weekend will also feature a moderated panel discussion among the master instructors.

STONEY LAMAR & DAN ESSIG • WOOD GYÖNGY LAKY • FIBER Scratching the Surface, pg. 8 Architectural Textiles: Thinking and Building in 3-D, pg. 30 NORM SARTORIUS • WOOD Wooden Spoons—To Stir the Soul not the Soup, JO STEALEY • PAPER/BOOKS pg. 16 3D Calisthenics, pg. 33

CHARLES LEWTON-BRAIN • DON LAKE • PAINTING METALS/ENAMEL/JEWELRY New Perspectives on Painting: Wait! What Foldforming Introduction, pg. 20 Was That Again?, pg. 42

GRETCHEN GOSS • ENAMEL MICHAEL SHERRILL • CLAY The Vitreous Image, pg. 21 For the Love of Material: Finding the Human in Material, pg. 49

5 STONE APRIL 9 — 12 • WEEKEND APRIL 9 — 12 • WEEKEND MIXED MEDIA SPECIAL TOPICS

JOEL G. ZACHRY SPRING’S NATURAL WONDERS LEGACY WEEKEND CLASS

What better season than spring to enjoy LENTON WILLIAMS the wonders of landscape, plant life and TRADITIONAL APPALACHIAN STYLE animal activity in the Smokies? Your biology BROOMMAKING instructor will share many “show and tell” examples of nature’s treasures and participants LEGACY WEEKEND CLASS will take short informative hikes in the neighboring national park. You will take home During this class students will be making a new-found knowledge of emerging flowers several small hand tied brooms and brushes and leafing trees and useful skills for detecting in the Appalachian style including small cob animal inhabitants. Students will gain web brooms, hearth or RV brooms and several confidence in avoiding and handling wildlife types of practical whisk brooms, as time encounters, and perhaps most importantly, allows. You will use natural broom corn and leave with new friends. Open to all skill levels. natural handles provided by the instructor. COURSE FEES: $340 Students will also learn to make a beautiful shaker style dustpan; a necessary item for every Joel Zachry is a retired biology professor and kitchen and shop. Students can work at a pace completed the 2,175 miles of the Appalachian commensurate with the number of brooms Trail in 2005. He is the owner of Great Outdoors desired. Students will experience some fun Adventure! Travel and has guided small groups along the way and leave the course with the to Alaska since 1988. He is an instructor and equipment necessary to start making brooms at director of the UTK/NPS Smoky Mountain Field home. Open to all skill levels. School. COURSE FEE: $340 gowithgoat.com

Lenton Williams started making brooms after studying under master broom maker Annie Bell at the John C. Campbell Folk School in early 2000. Since then he has literally made hundreds brooms. He teaches the craft at JCCFS, the Alabama Folk School, and at Arrowmont.

6 STONE/MIXED MEDIA/SPECIAL TOPICS

MAY 31 — JUNE 6 • ONE WEEK MAY 31 — JUNE 6 • ONE WEEK AUGUST 2 — 8 • ONE WEEK SEPTEMBER 20 — 26 • ONE WEEK JAMES DARR STRUCTURE IN ART

Structure is abundant all around us. It invades our visual senses on a daily basis. From the mundane communication towers that riddle our landscape to the functional mount that caresses or holds an object. In this SHERRI WARNER HUNTER workshop students will THE ART OF CONCRETE explore the function of structure as it DAVID J. MARKS Concrete is not just for sidewalks anymore. relates to the form. GILDING AND CHEMICAL PATINATION In fact, it is an amazing sculpting material The focus will be on, that can be used in variety of techniques for but not limited to, The techniques that students in this course will personal expression. In this class students will the application of learn can be applied to any surface that will learn the basics of working with armatures, silver soldering small accept paint including wood, metal, paper, modeling and carving as you explore form metals to inform an ceramics, glass and even plastics. If you are development while building on sculptural skills already existing object a jeweler, ceramicist, sculptor, blacksmith, through hands-on projects. Explorations in or to create a new, woodworker or woodturner, you will take color and surface treatments will add to the structurally based BOB LOCKHART home some very creative and innovative range of artistic expression possible through object. Besides metal STONE CARVING techniques to enhance your work and increase this versatile material. No previous experience and silver soldering, your marketability. Participants will learn to with concrete is necessary. Open to all skill students will be encouraged to explore other This is an all-encompassing workshop covering gild with copper, silver, composition gold levels. materials relative to the idea of structure. Open the entire process of creating art pieces in leaf. You will also work with the traditional COURSE FEES: $525 to all skill levels. stone. The class will begin with the acquisition oil size method of gilding and learn creative COURSE FEE: $525 of the stone and follow the creative process gilding techniques, such as the Japanese Notan Sherri Warner Hunter earned her MA from through the design, carving, polishing, method of balancing positive and negative Claremont Graduate University and BFA from James Darr received his BFA in sculpture from finishing and mounting of the piece. Emphasis spaces. Students will learn the process of the Kansas City Art Institute with an emphasis Herron School of Art in Indianapolis, Indiana will be on the proper use of tools as applied to chemical patination working safely with mild in sculpture and drawing. She creates public and and his MFA in sculpture from the University of direct carving. Open to all skill levels. acids. Open to all skill levels. private commissions, community art projects, Delaware in Newark, Delaware. He is a metal COURSE FEE: $525 COURSE FEE: $525 and gallery work in her studio in Bell Buckle, fabricator and for 11 years James has spent has Tennessee. taught 3D Design and Sculpture courses at the Bob Lockhart is a stone and wood sculptor and David J. Marks is recognized internationally swhartstudioinc.wordpress.com college level. retired professor of art at Bellarmine College in as a master craftsman of fine furniture, turner, da2rs.com Louisville, Kentucky. He holds an MFA from sculptor, and host of 91 episodes of the television the Art Institute of Chicago. His work is held in show “WoodWorks” which aired on the DIY numerous permanent collections including the channel 2002 -2008. In 2004 David started his Whitney Museum of Art in New York. Woodworking School at his Workshop/Studio in buybobsart.com Santa Rosa, California. djmarks.com

7 STONE/MIXED MEDIA/SPECIAL TOPICS

OCTOBER 15 — 18 • WEEKEND OCTOBER 22 — 25 • WEEKEND WOOD

COLETTE PETERS CAKE SCULPTURE STONEY LAMAR AND DANIEL ESSIG SCRATCHING THE SURFACE In this course, students will create your own MASTER WEEKEND CLASS multi-tiered dream cake using fondant, gumpaste and royal icing on Styrofoam. You This class will explore a variety of surface treatments with texture and milk paint that the instructors will learn how to make and sculpt real cakes have independently explored over the years to very different ends. You will learn about the and how to build them as you work on your possibilities of using these ideas in other media. During the course, emphasis will be placed on faux cake. In addition, students will learn discovering how these ideas, techniques and materials might be applied to your work. Students the secrets of the crooked cake and such are asked to bring samples of your work to class. This class is open to experienced students seeking sugar techniques as quilling, piping, flowers, intense studio time, meaningful discussion, critiques, questions and risk taking. quilting, crimping, bows, drapes and painting. COURSE FEE: $395 All materials will be included, and there will be some items for purchase in class. Open to all Stoney Lamar has been a full time studio artist Daniel Essig is a studio artist living in Asheville, skill levels. working in wood and steel for over 30 years North Carolina. He is a recipient of the North COURSE FEE: $340 and lives in Saluda, North Carolina. He is Carolina Artist Fellowship Grant. Daniel was on the board of the American Craft Council a Penland Core Student and teaches workshops Colette Peters is the owner of Colette’s Cakes, and founding member of the Center for Craft, internationally. The Smithsonian Institution’s a specialty cake company she founded in New Creativity and Design. Renwick Gallery and the Mint Museum and York City in 1989. She has written five books, stoneylamar.net have collected his work. appeared on numerous television programs and danielessig.com has created many cake layouts for magazines. She has shared her expertise with students throughout the U.S. and at the French Culinary Institute and the French Pastry School. colettescakes.com

8 WOOD

APRIL 9 — 12 • WEEKEND APRIL 9 — 12 • WEEKEND MAY 31 — JUNE 6 • ONE WEEK JUNE 7 — 13 • ONE WEEK

MARK ST. LEGER AL STIRT ROCKING WEEKEND—TURNED BOXES TURNED BOWLS AND PLATTERS: LEGACY WEEKEND CLASS FORM, PATTERN, TEXTURE AND COLOR The class will focus on “extracting” bowl Spend a unique weekend turning and and platter forms from both green and dry exploring the possibilities of turning on the JOHN PHILLIPS wood. Students will play with creating pure bias, with small lidded boxes. During this REDISCOVERING THE turned forms as well as bowls, incorporating weekend-long class, you can expect to learn DAVID ELLSWORTH APPALACHIAN BANJO carving, texturing and color. When the class is not only basic box making techniques, but also BOWL AND VESSEL TURNING LEGACY WEEKEND CLASS completed you will leave with new techniques a range of shapes and new ideas to incorporate and design ideas to use in creating their own into your box making. An assortment of This workshop is a totally comprehensive In this class students will be recreating a style original work. Techniques learned will include dry woods will be used to create the turned course starting with the green logs and of banjos commonly built in the Appalachian the use of bowl gouges and sheer scrapers, boxes. Sharpening and customizing tools to progressing through each stage en route to Mountain region of East Tennessee, Western selection and cutting of wood, drying wood, fit our needs will also be covered. Bring your cut rim and natural edge open bowls plus North Carolina and Southern Virginia from carving on turnings, turned textures, cutting imagination and sense of humor for a fantastic hollow form vessels. Additional topics for the 1850’s and beyond. You will learn about through a painted surface to create patterns weekend. Basic turning skills will be very students will include tool design and methods traditions in banjo history and construction, and square platters. Students will move from helpful. of sharpening, drying green wood, ideas for stretching skins, inlay work and adornment. inspiration to design idea to finished piece. COURSE FEE: $375 sanding and finishing, reverse jam chucking, Everyone is encouraged to make their Some turning experience highly recommended. the ergonomics of machine and tool design instrument truly unique through the use of COURSE FEE: $595 Mark St. Leger is from Virginia and has been inlay, carving, staining and burning personal as well as correct body positions and safety. turning for over 25 years and is known for his Ideas for bowl and vessel design will also be significance into the piece. Open to all skill Al Stirt has been a professional woodturner creative teaching style and techniques. He has included. Open to all skill levels. levels. for more than 40 years. His work is included been an active demonstrator and workshop leader COURSE FEE: $595 COURSE FEE: $375 in numerous public and private collections, regionally and nationally for the past 18 years. including the Smithsonian, The White House, the markstleger.com Over the past 40 years, David Ellsworth has John Phillips has been based in Knoxville, Museum of Art and Design, and the Victoria and become known as one of the premier designers of Tennessee for over 15 years, working to help keep Albert Museum. turned wooden vessel forms. His work is included the vibrant culture and history of the area alive. alstirt.com His time split between making and restoring in the permanent collections of 37 museums and instruments, sculpture, furniture and making numerous private collections. He is a Fellow and music. His inspiration comes from a by-gone era former Trustee of the American Craft Council. ellsworthstudios.com and from the natural world. almanacbanjo.com

9 WOOD

JUNE 7 — 13 • ONE WEEK JUNE 14 — 20 • ONE WEEK JUNE 14 — 20 • ONE WEEK JUNE 21 — 27 • ONE WEEK

RAY KEY DUSTIN FARNSWORTH PETER DELLERT BOWLS, BOXES AND PLATTERS FOR CARVED! TABLE MANNERS – TABLE MATTERS VISUAL PLEASURE AND USE

Gatlinburg is a deliciously dichotomous This workshop will focus on how to make This class is designed for those who wish to landscape of one of the nation’s most a table using numerous easy techniques focus on pure woodturning. Good design beautiful natural parks and of tourist trap, including using quick jigs and safe tool set- and safe efficient turning techniques will be kitsch Americana. In this class, students ups. You will draw and make maquettes and taught and encouraged. The understanding of be guided through to the finished table. Stock material and design will be at the forefront of will be encouraged to spend time gathering EMMET KANE information from the town’s luscious offerings selection and preparation , glue-ups, multiple all that is undertaken. “Let the wood speak for in the form of sketching—both on site in CREATIVITY THROUGH PRACTICAL joinery techniques, shaping and profiling, itself,” “keep it simple stupid,” and “if in doubt the park and in town—in particular, at the LEARNING: TURNING WOOD TO FREE laminating for curves, preparing stock for leave it out” will be our guide to the technique. aquarium located adjacent to the school. Using THE MIND turnings and split turnings, and basic finishing Open to all skill levels. The ability to work these sketches as a point of departure, students will be covered. Intermediate woodworkers with accuracy will enhance the experience will learn to transfer abstract 2-D shapes This will be a practical class in wood turning, might build double tapered legs with mortise especially when box making. inspired by their surroundings into small, which will include demonstration and and tenon joinery, turned or carved legs with COURSE FEE: $595 three-dimensional carvings. Students will work hands-on learning. Primarily green wood bridle joints or curved aprons. More advanced with basswood using grinders, sanders, chisels, and burls will be used to turn sculptural and students are encouraged to bring their sketches Ray Key has been a professional turner for 42 rasps and sandpaper to carve and texture hollow forms. Students will explore how to and ideas to be used as class demos. Also years. He is an honorary lifetime member of the small abstract forms inspired by the local ebonize wood using the natural tannin in oak. included will be demos, jigs and helpful hints American Association of Woodturners and the surroundings. Although the teacher works with Texturing will be explored utilizing many which require a little skill, a little will, and a Association of Woodturners of Great Britain. the figure, figurative carving will not be taught methods and tools including the arbortech little more time. Open to all skill levels. In 2012, he received the first Master in Turning COURSE FEE: $595 in this class. This is a great class for beginning to flame. You will also look at the application Award by The London Livery Company. carvers to get an idea of the tools they will use of gold leaf and color to enhance the pieces. wgdc.org.uk to carve and how to use them safely. Open to all skill levels. Educated as a biologist, Peter Dellert is a COURSE FEE: $595 COURSE FEE: $595 furniture maker, sculptor and artist living in Holyoke, Massachusetts. He has operated a Dustin Farnsworth is a resident artist at Penland Emmet Kane comes from five generations woodworking business since 1983. His furniture School of Craft. He was recently awarded the of Master Craftsmen. He is a self-taught has been shown at ICFF in New York and in North Carolina Arts Council Artist Fellowship woodturner, working in his studio since 1988 in craft museums and galleries all over the U.S. dellertfurniture.com for 2014-15 in the area of sculpture. Since County Castledermot, Kildare, Ireland. His work graduation in 2010 from Kendall College of Art mainly consists of a series of one-off turned wood and Design, he has exhibited nationally in over pieces that follow themes of design, form or finish 40 exhibitions. but are unique. dustinfarnsworth.squarespace.com emmetkane.com

10 WOOD

JUNE 21 — 27 • ONE WEEK JUNE 28 — JULY 11 • TWO WEEKS JULY 12 — 18 • ONE WEEK

TRAVIS TOWNSEND VOLUMETRIC FORMS + EXPRESSIVE SURFACES FOR FURNITURE, VESSELS AND SCULPTURE

In this workshop students will learn multiple BETTY SCARPINO approaches to the creation and surfacing of TURNED FORMS INTO SCULPTURE constructed wooden volumes with the goal of using wood as an expressive medium. Students Discover how you can transform turned pods, will explore the ideation and making process, PAT KRAMER AND SHARON DOUGHTIE discs and bowls into candleholders, decorative so come ready to invent, discuss, sketch, build, VESSELS AND BOWLS: PURE, ORGANIC AND EMBELLISHED boxes and sculpture. This class will focus on paint and carve. Direct band saw techniques playful exploration to arrive at individual will be employed to create small or large This lively class that will expand students turning repertoire by starting with the fundamentals styles and approaches. Each day will offer evocative forms that can be altered, arranged including tool selection, grain orientation, and wood properties and end with pure forms, both end detailed demonstrations on techniques and and surfaced in limitless ways. Sculpture, and side grain. As the class progresses, you will learn to transform your pieces into more organic processes, PowerPoint presentations on form vessels, furniture, 3D drawings, etc. that will forms using power carving techniques. They include ways to layout and cut feet and sculpting and design, and plenty of time for exploring be created in this workshop will be as weird, methods to give your piece movement. Embellishing will cover branding, graphic designs such as turning, cutting, carving and embellishment. imaginative, or practical as the student desires. knot work, and texturing. Students will learn coloring techniques with both milk paint and acrylics From what you learn in this class, students will Tool use and safety will be thoroughly covered. and finishing methods. At the end of the class students will feel confident with cutting, sharpening, be able to visualize turned forms as starting Open to all skill levels. sanding, embellishing, color and finishing. You are encouraged bring an open mind, a desire to have points for further exploration and personal COURSE FEE: $595 fun and your own pieces to work on. Open to all skill levels. expression. Some knowledge of woodturning COURSE FEE: $1100 and/or working is necessary. Travis Townsend studied at Kutztown University COURSE FEE: $595 and Virginia Commonwealth University and is Pat Kramer is a woodturner and sculptor who Sharon Doughtie is a woodturner who lives in a senior lecturer at Eastern Kentucky University. lives in Kailua, Hawai’i. He began woodworking Kailua, Hawai`i. She started turning in 1993 Betty Scarpino is an internationally recognized He is a former resident artist at Penland School of 1958 and started turning in 1986. He has and has demonstrated and taught at schools, clubs woodturner and sculptor whose work is Crafts and has received grants from the American demonstrated both nationally and internationally and symposia in the U.S. and abroad. Her work represented in many museums’ permanent Craft Council, Kentucky Arts Council, and the and his work has been in several publications. has been exhibited nationally and featured in a collections. She is one of the world’s preeminent Virginia A. Groot Foundation. patkramer.net number of publications. wood artists whose extensive career lends itself to sculpture.org/travistownsend sharondoughtie.com teaching and demonstrating. bettyscarpino.com

11 WOOD

JULY 12 — 18 • ONE WEEK JULY 19 — 25 • ONE WEEK JULY 19 — 25 • ONE WEEK

MARK DEL GUIDICE PLEASE BE SEATED: STOOLS AND SMALL BENCHES

As versatile seating, stools and small benches JENNA GOLDBERG can easily integrate into most interior designs. THE ART OF THE BAND SAW BOX Once students choose which to build, you will explore design options and construction JERRY KERMODE AND WALKER KERMODE Band Saw boxes are a simple way to make techniques for a standard piece or your own THE ART OF NON-VIOLENT WOODTURNING wooden box structures without the burden of unique design, taking into account your skill complicated joinery. Students will learn the level and time available. You will also explore Jerry and Walker, a father and son team, will present the essentials, perfecting the cut as you work basics of how to cut, glue and manipulate the various joinery, as well as surface treatments on various projects. In their relaxed, informative and pragmatic styles, they will show how non- material. You will also explore simple surface and finishes to compliment your work. Basic violent woodturning means not making the cut, but allowing the cut to be made, the result being design treatments such as image transfers, woodworkers will advance their skill level and that what you bring to the lathe is what you take away. The topics covered include: tool selection, different color and painting techniques, texture those who have good woodworking skills will wood selection, lathe set-up, proper speeds, and the cuts—beads and coves, basic safety, breathing and surface carving. The workshop will include advance their design skills. Basic woodworking and posture. Projects can include carving mallets, oil lamps, bowls—natural and traditional, spindle demonstrations on the safe use of machinery skills are required for this class. duplication, stitching, multi-axis turning, balls, sharpening and more. Learn new skills and perfect the as well as how to sharpen chisels and carving COURSE FEE: $595 ones you already have. Learn grain direction and proper bevel supported cuts. Make lots of different tools. Personal exploration of form, surface and projects, while seeing that breath, posture and laughter add to the ease of turning. Open to all skill imagery is encouraged. Open to all skill levels. Mark Del Guidice has maintained a levels. COURSE FEE: $595 woodworking studio outside of Boston for the COURSE FEE: $595 last 27 years. He is a graduate of the Program in Jenna Goldberg has a BFA in illustration from Artisanry at Boston University. He is a recipient Jerry Kermode teaches regularly at his studio in Walker Kermode has taught music in the public the University of the Arts in Philadelphia and of the Gold Award at the Smithsonian Craft Sebastopol, California. He started turning in the schools in Ashland, Oregon for 16 years and an MFA in Furniture Design from Rhode Island Show. 1970s, becoming a full-time turner in 1991. He enjoys combining the art of teaching with the fine School of Design (RISD). She teaches part-time markdelguidice.com is known for his passion to stay true to the wood, art of woodturning. He spent many hours in his at RISD and her designs are in the permanent his attention to form and function. Dad’s shop, learning how to finish each piece of collections of the Renwick Gallery and the Mint jerrykermode.com wood to a unique point of artistry. Museum of Craft and Design. walkerswoodwork.blogspot.com jennagoldbergstudio.com

12 WOOD

JULY 26 — AUGUST 1 • ONE WEEK JULY 26 — AUGUST 1 • ONE WEEK AUGUST 2 — 8 • ONE WEEK AUGUST 9 — 15 • ONE WEEK

CORY ROBINSON NEW CLASSIC TABLES: EXPLORING DALE LARSON WARREN CARPENTER CLASSIC AND CONTEMPORARY DESIGN BOWLS: FROM TREE BE GENTLE, YOU DON’T HAVE TO TURN TO FINISHED BOWL THE PITH OUT OF IT GRAEME PRIDDLE Workshop participants will explore the WOODTURNING AND BEYOND construction of a table; utilizing hands-on The goal of this workshop is to learn the demonstrations that blend a variety of modern If you are ready to move beyond the basic necessary steps needed to turn beautiful natural edge bowls and turn interesting bowls starting at the tree. Students will start In this course students will have a wide range materials and design approaches with proven shapes from cross sections or crotches of trees out cutting the best bowl blanks out of the of turning projects to choose from covering woodworking techniques. Students will be or a nested set of bowls from a burl, this is tree. The rest of the necessary steps you will basic spindle and bowl turning to more encouraged to explore the classic languages your class. We will delve into the world of learn include: roughing turn bowls from the complex hollowing and multi-center turning. of furniture design in pursuit of work that is turning end grain, crotches and burls. Yes, we wet wood and how to successfully dry rough It will offer a multitude of carving and surface narrative, personal, designed and well-crafted. will NOT turn the pith out of every piece. turned bowl blanks, mounting and turning embellishment techniques that you can use to You will be encouraged and led through the Emphasis will be placed using the bowl gouge natural edge bowls, learning to turn spheres by enhance your work, recover from an “oops” design and fabrication processes. An early focus and coring tools as we figure out just what is eye with the goal of learning a light touch with (sometimes our best ideas come from the of the class will be the development of work hiding inside each piece of wood. We will talk a bowl gouge, and finally learning to finish dry things that go wrong), or tell a good story. that is appropriate to the one-week workshop about safety, drying, finishing, and line and bowls. Open to all skill levels. Students will also have the opportunity to timeline, but students will be pushed to design. For intermediate to advanced level COURSE FEE: $595 build a high power woodburner to use in class explore new territory. This course will use a range of tools including the lathe to build one- students. and take home. Open to all skill levels. COURSE FEE: $595 COURSE FEE: $595 of-a-kind tables. Open to all levels. Dale lives in Gresham, Oregon and has been COURSE FEE: $595 turning for 36 years. He has demonstrated his Warren Carpenter is a full-time wood turner craft in the U.S. and overseas. He has taught Graeme Priddle is an internationally recognized from Seneca, South Carolina. He is a member workshops and had articles published about woodturner, sculptor, demonstrator and workshop Cory Robinson is an artist, designer, and an of the Southern Highlands Craft Guild and has wood and woodturning. In 2014, Dale served facilitator whose work is found in many public associate professor of Furniture Design and the works in over 25 galleries across the U.S. Warren as president of the Board of Directors of the and private collections. He is best known for Fine Arts Chair at the Herron School of Art and teaches with tremendous energy, a unique sense of American Association of Woodturners. narrative sculptural turnings that reflect the Design in Indianapolis, Indiana. He has an MFA in Furniture Design from San Diego State humor and a passion for turning wood. environments and passions in his life in New woodbywarren.com Zealand. University. Robinson has taught at Herron since graemepriddle.com the spring of 2003. coryrobinsonstudio.com

13 WOOD

AUGUST 9 — 15 • ONE WEEK SEPTEMBER 13 — 19 • ONE WEEK SEPTEMBER 13 — 19 • ONE WEEK SEPTEMBER 20 — 26 • ONE WEEK

RUDOLPH LOPEZ SABIHA MUJTABA TURNING BOWLS…FROM THE SIMPLE IN DEPTH CARVING TO THE SUBLIME In this class, students will work on designing WALT TURPENING Are you tired of the same old bowls? Then, a carved project in low relief, high relief, or in- MAKING AND WEAVING A BENCH LIAM O’NEILL this course will allow students to create the-round (3-D) using their own idea or one WOODTURNING TECHNIQUES turned bowls of every shape and type: open chosen by the instructor. You will explore simple- This class is a 5+ day workshop. Students will and closed form bowls, long natural-edge to-complex methods of carving with hand and learn through hands-on techniques using This course will enhance the design and tooling bowls, thin bowls, square bowls, wing bowls power tools. Participants will do skill-building spokeshaves and handplanes to make two skill of students by making two projects that and bowls limited only by your imagination exercises to understand grain direction and splayed leg hardwood frames and weave one include a crooked grain container and a deep and creativity. Beginning with the basic wood movement and how to create the illusion in the workshop creating a curved woven seat. bowl with wide undercut and grooved rim. fundamentals of woodturning: good tool of depth by undercutting and use of directional The basics of cord selection and color cord In the first, you will learn what to do with control, bevel supported cuts and sharp tools; light. You will learn to safely use, sharpen and manufacture will also be covered. You will leave burl crotch, or spalted wood, to match the you will learn the technique of turning thin maintain tools. In addition, participants will with the knowledge and written instructions figure visually between the lid and body. The on intermittent cuts and refine your skills make a full size clay model or a proportional to make similar benches as well as how to deep bowl project has multiple curves and and techniques allowing you to move to your model in wood. Model-making helps clarify make ergonomic measurements and translate is designed to stretch your skill level with creative side. The course will explore an endless depths and relationships of forms and, most them into bench dimensions for people to use various shaped scrapers and gouges, especially variety of bowl styles and shapes using both importantly, allows the carver to make any comfortably. Students will complete one bench the “Irish grind gouge” which your instructor green and dry woods while keeping an eye on changes before carving the main piece. Beginners and make a second frame for completion at developed and introduced in the U.S in the creating a pleasing aesthetic form. Students will get essential woodcarving information and home. Some experience needed for this course. 1980s. There will also be a demonstration of should have basic bowl turning experience. guidance. Intermediate students will explore new COURSE FEE: $595 how to use an electric chainsaw attached to the COURSE FEE: $595 ways to express their creativity and design ideas. lathe as a means of turning large scale outdoor Open to all skill levels. Walt Turpening is from southeastern Michigan sculptural turnings. Open to all skill levels. Rudolph Lopez has over 35 years of experience COURSE FEE: $595 and received degrees in Physics/Mathematics and COURSE FEE: $595 as a furniture and cabinet maker but found his Geology/Geophysics. As a full time chair maker true passion when he discovered woodturning. Sabiha Mujtaba is a designer/maker of furniture for 16 years he learned commercial cord braiding Liam O’Neill has turned wood professionally He offers classes at his studio in Tampa, Florida since 1986, currently concentrating on private and added color braided cord to the designs. As since 1968 and owns his gallery and studio in and was selected as one of the Emerging commissions. Recently she has worked on a hobby woodworker he has made sculptures and Spiddal overlooking Galway Bay, Ireland. He has Artists of 2012 by the American Association of figurative sculptures in wood. Based in Atlanta, furniture. been a teacher and demonstrator of international Woodturners. Georgia, she teaches regular classes at Highland facebook.com/wtbsc repute since the 1980s and is the founder of the rudolphlopez.com Woodworking in carving, woodworking and Irish Woodturners Guild. furniture design. liamoneill.com chrysaliswoodworks.com

14 WOOD

SEPTEMBER 20 — 26 • ONE WEEK SEPTEMBER 27 — OCTOBER 3 • ONE WEEK SEPTEMBER 27 — OCTOBER 3 • ONE WEEK

DONALD WARD AND CURTIS SEEBECK YANN GIGUERE PENS AND BEYOND SHAPING WOOD WITH JAPANESE HAND TOOLS By thinking outside the box, students with an interest in pen turning, kit alteration and personal style will gain or enhance their ability to create their own expressions by learning how to go beyond If you are intrigued by Japanese woodworking a packaged pen kit. Unique materials, styles and techniques are covered. Elimination of parts and MARILYN CAMPBELL hand tools and their amazing potential, augmentation of parts will create new insights into the artistic nuances of turning. Students will GET CREATIVE WITH EPOXY RESIN this class is for you. Most Japanese tools are develop new techniques and discover their creativity during this course. Basics will cover how deceivingly simple looking, especially the to sharpen and use the tools. Advanced skills will be fine-tuned as the course covers finishing Explore your creative side as you make plane. Properly tuned, it sings and produces techniques, casting and stabilizing. This course will take the students from the basic pen and eye-catching, turned platters using simple translucent wood shavings rendering the work beyond. Join in this class to find an outlet for your inner creativity. Open to all skill levels. methods of epoxy inlay, overlay and molding piece glass smooth. The subtleties of these COURSE FEE: $595 techniques. You will learn pigmenting, tools are endless, yet a strong foundation painting, texturing and piercing of epoxy can be established in this class, starting with Don Ward started his woodturning career Curtis O. Seebeck is a professional full time components. Students will be assisted in sharpening and tool set up followed by joinery in 1996 after retiring from teaching. Don’s woodworker living in San Marcos, Texas and is working on two or more turned projects in layout and cutting with saw and chisel. To woodturning includes all popular items but known for his pen making skills and experience which epoxy resin is used as a complementary anchor the knowledge and techniques, each his passion is pens. He has one book, “Turning incorporating resin casting with otherwise medium to wood. Achieve outstanding work student will work on their own frame structure Modified Slimline Pens: Beyond the Basics” and worthless pieces of beautiful wood. and explore design possibilities with these with multiple joinery options; a tea tray is a writes a monthly article for More Woodturning www.turntex.com simple techniques. Come with an open mind starting point. Open to all skill levels. Magazine. and a general knowledge of woodturning. COURSE FEE: $595 redriverpens.com Projects can be geared to any skill level. COURSE FEE: $595 Yann Giguere lives and works in Brooklyn, New York. He has been working wood with Japanese Marilyn Campbell is a self-taught turner and hand tools since 1991. In 2009, he established works in her home in Kincardine, Ontario. She Mokuchi, a studio specializing in fine custom has demonstrated and taught her techniques woodworking in the Japanese tradition. throughout Canada, the U.S., France and mokuchiwoodworking.com Australia. Her work has been exhibited in many international exhibitions and appeared in numerous books and magazines. marilyncampbell.ca

15 WOOD

OCTOBER 15 — 18 • WEEKEND OCTOBER 22 — 25 • WEEKEND OCTOBER 22 — 25 • WEEKEND METALS ENAMELS JEWELRY

ALAN CARTER NORM SARTORIUS SPLITTING THE DIFFERENCE: OR HOW JAMES DUXBURY WOODEN SPOONS—TO STIR THE TO CUT YOUR WORK IN HALF AND KALEIDOSCOPES—TURNED SOUL NOT THE SOUP HAVE TWICE THE FUN FASCINATION MASTER WEEKEND CLASS Learn how to turn a shallow bowl that is then Turn a traditional three mirror wooden scope What would Gandhi’s spoon look like? How cut in half (or even quarters) and reassemble with rotating end cylinder and oil-filled object about Muhammad Ali’s or Stephen Colbert’s? it to make a new form. Students will learn box. Students will make all the pieces for the If you knew the wood you were using came the process to cut the bowl in half, make the object box, cut glass for the eye piece and cut from a “hanging tree” would it affect what you tops for the newly formed vessels and how the first surface mirror using a mirror cutting carved? Students in this course will explore the vessels can be further enhanced with jig. You will also construct cone jigs for turning where ideas come from and discuss how to various texturing techniques. You will also the centerless barrel, a technique used to turn improve that access. This is primarily a power learn different methods of making bases for numerous centerless objects. This kaleidoscope carving class using band saw, pneumatic the vessels and top finial options. All this will is not a kit. By fabricating this kaleidoscope, sander, die grinders and micro motor tools for open up whole new worlds for you and expand students with an interest in turning quality roughing, followed by handwork with knives, your creative abilities. Open to all skill levels functional pieces and a fascination for files and scrapers. You will carve spoons and but a basic understanding of woodturning kaleidoscopes will enhance their ability to likely finish one but the emphasis will be on techniques will be a big help. master precision turning. Lathe safety and the process of work and its contribution to the COURSE FEE: $375 basic turning skills required. realization of an idea. Open to all skill levels. COURSE FEE: $375 COURSE FEE: $395 Alan Carter resides in Asheville, North Carolina and has been a professional woodturner for Jim Duxbury, woodturner and inventor resides Norm Sartorius is a native of Maryland’s Eastern the past five years. Alan has been a featured in Graham, North Carolina. His turnings are Shore and has lived in Parkersburg, West Virginia demonstrator at the AAW Symposium. His work unique and he seldom turns the same thing twice. since 1982. He has spent the last 30 years is represented in galleries and he has had several The inventor of particulate dust respirators, exploring spoon carving as a context for sculpture. articles published in woodturning magazines. he holds two U.S. Patents and his company, His work is in the permanent collections of twenty alancarterstudio.com Duxterity LLC markets the Resp-O-Rator™. museums including Smithsonian’s American Art duxterity.com/ec Museum. normsartorius.com

16 METALS/ENAMELS/JEWELRY

MAY 31 — JUNE 6 • ONE WEEK JUNE 7 — 13 • ONE WEEK JUNE 14 — 20 • ONE WEEK JUNE 14 — 20 • ONE WEEK

MI-SOOK HUR JENNIFER WELLS ENAMELING REALISTIC IMAGERY ON JOHN COGSWELL PUT A LID ON IT METALS HOLLOW, HINGED BRACELETS ARTHUR HASH Everyone needs someplace to hide those BROOCHING THE SUBJECT OF JEWELRY Here’s your opportunity to test your prowess, tiny special objects. In this week-long course This workshop will cover a variety of paint hone your design skills and fine-tune your students will cover small container and vessel enameling techniques using china paints, In this workshop students will learn basic bench working expertise. In this workshop, fabrication. A variety of fabrication forms will watercolor and acrylic enamels, under- enameling, etching, stone setting, pin stems, students will undertake the design, forming be demonstrated with multiple lid options. glaze crayons, and under-glaze pencils on fabrication, cold connections, champleve, and construction of a hollow, shell-formed You will learn hinges, friction fit, box clasp and base-coated copper and steel. Students mark-making, laser-engraving, and bracelet. You will learn that shell forming is a solder set ups. You will experiment with surface will explore basic contour drawing and assemblages. Students will hone new hand- combination of hammering and construction treatments, textures and the incorporation painting techniques, as well as learn in-depth skills in order to troubleshoot design challenges techniques that exploit the plasticity of metal, of hidden compartments into the pieces. information about color theory to achieve and develop a new language through shape, transforming flat, two-dimensional sheet into The techniques demonstrated can also be detailed images (e.g., flowers, figures, birds, color and wearability. This workshop will lightweight, structural, three-dimensional form. transferred into jewelry pieces or larger scale animals, landscapes, etc.). Completed enamel focus on experimentation with enameling and After students form and assemble the basic work later on. Students are encouraged to pieces can be set for jewelry or mounted to stretching the definitions of what a brooch can bracelet “shell,” you will cut and fit it with bring with them at least one special object to make a small folding book. Metalsmiths, be. Open to all skill levels. a cradle hinge fabricated from heavy-walled hide. We all have at least one, now you’ll have jewelers, enamellists, painters and book-artists COURSE FEE: $525 tubing and a specially-designed integral box someplace to put it. The basic understanding will find valuable information from this clasp. Topics covered will include (hammered) of metalsmithing is required. Students should course. Open to all skill levels. Arthur Hash received his MFA in metalsmithing shell-forming, hollow construction and have previous experience with soldering, COURSE FEE: $595 and jewelry design from Indiana University in assembly techniques, cradle hinge construction, sawing and filing. 2005 and his BFA in Crafts/Material Studies box clasp fabrication, and more. Competent COURSE FEE: $525 Mi-Sook Hur is a professor of School of Art metalworking skills are required. For from Virginia Commonwealth University in and Design at East Carolina University in 2002. Currently, Arthur is an assistant professor intermediate to advanced skill level. Jennifer Wells completed her MFA in Greenville, North Carolina and has an MFA in Metalsmithing and Jewelry Design at COURSE FEE: $525 Metalsmithing and Jewelry Design from East from University of Wisconsin-Madison. Hur Appalachian State University. Carolina University in 2010. After graduation has exhibited in the U.S. and abroad including arthurhash.com John Cogswell is a jeweler, silversmith, educator Jennifer spent a year at Arrowmont as a resident shows at the Sculpture Objects Functional Art + and author/illustrator. Recently retired from artist. She now teaches in Italy with East Design in Chicago, Illinois. SUNY New Paltz, New York, he previously Carolina University’s Italy Intensives program. misookhur.com taught at Parsons School of Design, Pratt jennwells.com Institute, Brooklyn, and Hofstra University. He was also former Director of the Jewelry and Metalsmithing Department at the 92nd Street Y in New York City.

17 METALS/ENAMELS/JEWELRY

JUNE 21 — 27 • ONE WEEK JUNE 28 — JULY 11 • TWO WEEKS JULY 12 — 18 • ONE WEEK JULY 19 — 25 • ONE WEEK

BETTY HELEN LONGHI BY THE BOOK! CREATIVE METAL BECKY MCDONAH FORMING PRESSURE AND THE HYDRAULIC PRESS TIM LAZURE RINGS 360º CHRIS DARWAY Jewelry and sculpture can be created by shell MECHANISM AS BROOCH Do you like to work under pressure? How forming; a method for forming sheet metal Adorning the finger has been a tradition for about just with pressure… and we get rid into three-dimensional structures. Using the ages. Rings are loaded with historical meaning. Brooch is a noun; an ornament fastened to of the stress and anxiety aspect? The focus highly regarded new book by Betty Helen They can symbolize love and marriage, evoke clothing with a hinged pin and catch. We will of this workshop will be to experiment with and Cynthia Eid, students will explore the nostalgia, embody authority or status, and take this idea of ornament and turn it into a creating surface textures and volume using fundamentals of sheet metal behavior and portray accomplishments or affiliations. They personal statement using mechanisms from the hydraulic press. Creating and using dies gain an understanding of the relationship can be made for everyday use or for special a century-and-a-half ago. Inspiration will in conjunction with urethane will allow between technique, tools and resulting forms. events. They can be understated or fancifully come from the classic 1876 “507 Mechanical participants to achieve a variety of results Specific techniques will include synclastic flamboyant. This class will explore jewelry Movements.” The workshop will cover tap from embossing to deeper forming. Punches, sinking, anticlastic raising and methods to design, fabrication, basic stone setting and and die, screws, nuts and bolts. Students will matrix, embossing and conforming dies are make transitions from one form to another assembling techniques that are related to the also learn about soldering, sawing and filing. all possibilities. These forms may also be resulting in more complex structures. The ring concept. We will fashion rings of personal Fabrication techniques will also be covered and enhanced by using chasing and repoussé emphasis is on understanding how to translate importance, expression and adornment. The include rivets and springs. Basic metal skills techniques. Students with basic jewelry these techniques into fresh and interesting class will center on lecture and demonstration required. techniques will get the most out of this course, objects within the esthetics of the individual with plenty of time for individual COURSE FEE: $525 but beginners are welcome. student. The workshop provides an in- depth attention. Students will create rings that are COURSE FEE: $525 exploration of these techniques as well as time unpredictable, honest, visually complex, bold, Chris Darway has been working in metals for 40 to create individual work using this process. confident, simple and beautiful. Open to all years as a designer, teacher and artist. He received Becky McDonah has worked with metal for Students need to have basic metalworking skill levels. a BFA in craft design from the Philadelphia over 20 years and heads the Fine Art Metals skills such as sawing, filing, soldering and area at Millersville University in Pennsylvania. COURSE FEE: $525 College of Art. He has taught at the University of buffing. And it’s preferable if students have the Arts, Philadelphia, University of Delaware, Previously, she supervised the Metalworking area some experience with hammering such as Timothy Lazure is an associate professor in and Montclair State University, New Jersey. at Arizona State University and was visiting forging, basic forming or fold-forming. Open the Metals Design Program at East Carolina chrisdarway.artspan.com professor at Bowling Green State University in to intermediate skill level students. University, Greenville, North Carolina. He Ohio. COURSE FEE: $995 received his BFA at Rochester Institute of Technology and his MFA at the University of Betty Helen Longhi lives in Lexington, North Massachusetts, Dartmouth. Carolina and is a nationally-recognized timlazure.com metalsmith. She attended University of Wisconsin and Cranbrook Academy of Art and has written articles and reviews for Metalsmith Magazine. fluidformsinmetal.com

18 METALS/ENAMELS/JEWELRY

JULY 26 — AUGUST 1 • ONE WEEK JULY 26 — AUGUST 1 • ONE WEEK AUGUST 2 — 8 • ONE WEEK SEPTEMBER 13 — 19 • ONE WEEK

DEBORAH LOZIER KEEPING IT ALL TOGETHER: MARY HETTMANSPERGER ANDREW KUEBECK FABRICATION STRATEGIES FOR NEW DIRECTIONS FOR SURFACE LOST AND FOUND: LOST WAX AND MARY CHUDUK ENAMELING EMBELLISHMENT FOUND OBJECT CASTING ENAMELING ROAD SHOW – REVISITED! This class will introduce low-tech metal Students in this class will learn the smith techniques that can be used in many Participants in this workshop will learn about One more time! After teaching workshops fundamentals of creating jewelry scale copper disciplines of artwork. Students will use wires, the limitless possibilities when found objects across the U.S. and the globe, from Mexico forms that can hold up to the heat required for linens and fibers for making metal and fiber are used as the source materials for cast jewelry City to Hiroshima to Perth, Mary Chuduk firing vitreous enamel. At 1500 degrees it’s not jewelry and surface design using techniques pieces. This class will address mold making, is again bringing her whole bag of tricks and IF the solder will flow, but WHEN and being such as weaving, twining and looping. Copper sealing and assembling objects for casting, as techniques for intensive learning and doing. prepared is the key to success. You will begin sheeting, mesh, screen, and found, recycled well as providing a complete overview of the Students will delve into five days of solid by searching for inspiration and creating paper and natural items will also be used to create casting process. Many mold making techniques demos and experimenting including drawing models to problem solve and troubleshoot finished jewelry, surface design and an array will be demonstrated including plaster, silicon, and painting with pencils and overglazes, good fabrication foundations, then proceed of samples. Commercial connections, such liquid latex and alginate. Students will learn stencils and lusters, forming and enameling onto forming techniques, strategic soldering, as nuts and bolts, brads, eyelets, rivets, jump how any source material or object can be used copper mesh, enameling on copper beads and welding and some cold connections. Once rings and wire-working techniques will be for casting. Numerous jewelry techniques 3-D forms, sepia and commercial decals, and students have a few experimental forms covered for making cold connections in will be discussed and demonstrated, enabling “2-Day Cloisonné.” It’s a quick guaranteed to work with you will move onto enamel jewelry and alternative surfaces. Students participants to create a range of jewelry pieces success if you’ve been “challenged” in the past. applications and firings, and bringing the will also be introduced to beads, hardware from their castings. Open to all skill levels. The class will also include an introduction/ forms to life with the dynamics of color. An sundries, electronic salvage and recycled items COURSE FEE: $525 demonstration of enameling imagery on glass. understanding of beginning jewelry techniques for surface design. This class will be very Basic application techniques and enamel is requested. Enameling experience is not individualized and will allow you to take the Andrew Kuebeck received his MFA in Jewelry technology will be covered. Open to all skill required but will be beneficial. Design and Metalsmithing from Indiana levels. COURSE FEE: $525 techniques and materials offered and pursue University in 2011. He is an instructor of Jewelry COURSE FEE: $595 their desired direction. Open to all skill levels. COURSE FEE: $525 and Metalsmithing at Bowling Green State Deborah Lozier resides in Oakland, California University in Ohio. Kuebeck was honored as a Mary Chuduk, studio artist, has extensively and received her BFA in crafts in 1984 from Mary Hettmansperger is a fiber and jewelry artist 2012 SNAG Emerging Artist. exhibited her enamels and metal work Arizona State University and started torch firing who has been exhibiting and teaching across the andrewkuebeck.com nationally and internationally. Numerous books, enamel in her bedroom studio in 1986. She is an U.S. and abroad for 30 years. publications and magazines have shown her work adjunct professor at California College of the Arts maryhetts.com and she has also has written and published her and is an internationally known metalsmith and own book “Enamel: Technique and Experiments.” enamellist. marychuduk.com deborahlozier.com

19 METALS/ENAMELS/JEWELRY

SEPTEMBER 13 — 19 • ONE WEEK SEPTEMBER 20 — 26 • ONE WEEK SEPTEMBER 27 — OCTOBER 3 • ONE WEEK OCTOBER 15 — 18 • WEEKEND

CHARLES LEWTON-BRAIN FOLDFORMING INTRODUCTION RICKY FRANK MASTER WEEKEND CLASS KATHLEEN WILCOX “SEE THE LIGHT” WITH TRANSPARENT ENAMEL SPECIAL EFFECTS WITH ENAMEL This workshop is an introduction to this SCREEN PRINTING unique system of folds in two days. Students will learn how to make folds in each of the Students will explore the magic of light main categories. Forms are derived from the This workshop will focus on how to reflecting off silver, copper and gold through natural plasticity and ductility of the metal. incorporate various surface design techniques crystal clear colored enamel. You will learn how Shaping is extremely efficient and rapid— with the screen printed image. Students will to master this process as you explore cloisonne´ DEB KARASH many forms are complete in three to seven begin by experimenting with special effects and basse-taille enameling on a small scale, minutes. Tools are simple: fingers, hammer, such as controlled over-firing techniques, 5 DAYS - 5 PIECES – 5 TECHNIQUES suitable for jewelry sized objects. Students of anvil and mill. Complex relief forms are made adhesive drawings, short-cut sgraffito, wet all levels will be experiment with the many from sheets of metal often in one annealing. flow, etc. Next, the surface design techniques In this course, surface design and fabrication ways of layering transparent and opaque Forms made with this method resemble will be combined with screen printing by using techniques will be combined to create stylish enamel with commercial and hand-made foils. chased, constructed and soldered forms and thermo-fax screens and dry printing. You will pins, pendants and earrings. Students will learn Lectures, demonstrations, slide presentation can be made with most metals. Open to all develop a rich surface of texture, color, pattern about texture, rivets, using paste solder, proper and lots of hands-on art making will focus skill levels. and depth in your enamel. The techniques will placement of findings, fitting layers without on design, creativity and self-expression as COURSE FEE: $395 be taught step-by-step, leaving plenty time to measuring, and forming and forging small students are encouraged to develop their explore and expand upon the possibilities. The parts. There will be an emphasis on design and own personal vocabulary in enamel. You will Charles Lewton-Brain is a master goldsmith, novice will find many exciting new approaches finishing. Many techniques will be solder free. understand principles, learn techniques and author and artist and is program head of Jewelry and the experienced student will be challenged Open to all skill levels. break rules in a fast-paced fun week of enamel at the Alberta College of Art and Design. He to expand. Expect the unexpected. Open to all COURSE FEE: $525 play. Open to all skill levels. co-founded the Ganoksin Project (ganoksin.com) skill levels. COURSE FEE: $595 COURSE FEE: $595 Deb Karash has a studio in Bakersville, North with Dr. Hanuman Aspler, the world’s largest Internet resource for jewelers. Carolina. A full time studio jeweler, she sells her Master enamellist Ricky Frank has been making brainpress.com Kathy Wilcox has been an enamelist and work at fine craft shows and galleries across the and selling his cloisonné enamel jewelry for educator for over 30 years and she teaches at country and teaches workshops around the world over 35 years. A self-taught artist, his work is art centers and from her studio in Tallahassee, and in her studio. She plans to open a showroom known for incredible depth, clarity and blending Florida. Exhibits include Alchemy, International in the River Arts District of Ashville. of colors. He has taught at the Florida Society Enamelist Society Traveling Exhibition and debkarash.com of Goldsmiths and at The Enamelist Society Generations. Conference. wilcoxenamels.com rickyfrank.com

20 METALS/ENAMELS/JEWELRY

OCTOBER 15 — 18 • WEEKEND OCTOBER 22 — 25 • WEEKEND FIBERS APRIL 9 — 12 • WEEKEND TEXTILES BASKETS

GRETCHEN GOSS FRANCES FOX THE VITREOUS IMAGE STEVE ARTZ TRADITIONAL MOUNTAIN WEAVING/ MASTER WEEKEND CLASS ENAMETAL HERITAGE WEAVING COURSE

In this class students will focus on the unique Silky smooth or crispy fried, balancing LEGACY WEEKEND CLASS characteristics of drawn and painted marks recklessly over the flame of an ordinary mapp fired in vitreous enamel. Working from gas torch, this class is a different approach to Students will experience the 1930s overshot personal imagery, participants will explore manipulating copper. Play with texturing the weaving from the TBO Arrowcraft cottage various techniques of drawing and painting surface; hammering, rolling, pleating, folding, weaving industry. You will immerse yourself in as they apply to the enameling process. drilling and cold connecting. Using inventive the mountain weaving culture by experiencing Demonstrations on copper and porcelain- tools as well as common metalsmithing heritage weaving. Learn the basics of coated steel will include dry sifting, liquid techniques, several thicknesses of metal can be overshot weaving by weaving a set of guest enamels, painting enamels, ceramic under combined with the color enhancement of torch towels. You will enjoy visuals and stories of and over glazes, decals and more. Finished fired vitreous enamels added to the modified historical local weaving, visit a local heritage surfaces beyond the natural glossy surface will metal surfaces. Students of all abilities can museum, and view the Arrowmont archival be discussed. Students will produce a series of meld together color and texture to entice the weaving collection. Participants will gain an fired samples as well as a small series of pieces maker as well as the viewer. Come play with understanding of traditional overshot weaving, ready to be framed, mounted, set or otherwise fire! while developing the skills required for further finished for presentation. Basic enamel OURSE FEE: $340 projects, and will leave the mountains with a experience is recommended but not required. better understanding of the culture. Students COURSE FEE: $395 Steve Artz resides in Encinitas, California and should be able to warp a loom, or beginners has taught his inventive workshops around the please contact instructor for more information. Gretchen Goss is a professor at the Cleveland country for the last 17 years. He is known for his COURSE FEE: $340 Institute of Art teaching enameling, drawing innovative use of simple tools to impart texture and craft and design courses. Her work has on thin copper and then pushing the boundaries Frances Fox is a studio artist and storyteller in been supported by multiple Ohio Arts Council of enamel. Gatlinburg, Tennessee. She is a 5th generation Individual Artists Grants. In 2013 she was enamelartz.com weaver and historian. Fox spent three years as awarded the Creative Arts Awards from the assistant designer weaver under master weaver Enamellist Society. Nella Hill in the TBO Arrowcraft cottage gretchengoss.com weaving industry. foxhillgallery.com

21 METALSFIBERS/TEXTILES/BASKETS

APRIL 9 — 12 • WEEKEND APRIL 9 — 12 • WEEKEND MAY 31 — JUNE 6 • ONE WEEK MAY 31 — JUNE 6 • ONE WEEK

JEANNE BRADY MARY W. THOMPSON JANE LACKEY PERSONAL MEMORIES ON CLOTH CHEROKEE WHITE OAK AND RIVER DRAW LIKE A TEXTILE; CRAFT LIKE LEGACY WEEKEND CLASS CANE BASKETS A DRAWING LEGACY WEEKEND CLASS This workshop is all about exploring and This experimental mixed-media intensive creating a personal interpretation of printing Generations of Cherokee children were raised JIM ARENDT will shift back and forth between drawing repeat designs on cotton fabrics using vibrantly around basketry. This workshop will focus 123 GO! COMPUTER MODELING FOR with pens and pencils or with fiber and other colored thickened dyes. Students will learn the on the familiarity of selecting and harvesting THE STUDIO flexible, linear materials. Drawing processes process of carving and printing linoleum and materials: splitting, stripping, scraping and will adopt textile sensibilities; mark making will become more expansive as systems for traditional wood blocks to create repeating trimming splits. Gathering root dyes to prepare This course will introduce students to the mapping abstract subjects such as time, patterns unique to you. You will explore materials for weaving consumes most of the exciting world of computer-aided 3-D motion and memory are explored. Students techniques to write and print text with metal time and the majority of work involved in modeling for the studio. Students with an can discover how drawing is a direct conduit type set, allowing the designs and thus your basketry. Students will gain an appreciation interest in fibers, basketry, or digital modeling, of visceral expression and sharpen conceptual personal “story” to unfold on the fabric as you and value the traditional artwork of Cherokee will gain or enhance their ability to create understanding as they invent ways to work. Stitch embellishment will be introduced basketry and will weave your own piece of sculptural containers of any type. Through a reveal personal observations. Active critical as a finishing touch. You will return home with art and prepare some of the material that you series of exercises, students will learn to capture discussions and short slide presentations will be a keepsake memory on cloth. Open to all skill will use. Complete kits will be available. Prior and create digital 3-D models from their own levels. experience will be useful, but all skill levels are included. Open to all skill levels. camera and create wireframe sculptural baskets COURSE FEE: $525 COURSE FEE: $340 welcome. skinned in fabric. You will learn to create COURSE FEE: $340 representational containers and sculptures Jane Lackey is a visual artist and educator Jeanne Brady is professor of Fibers and head of from your own face using free software, your based in Santa Fe, New Mexico. Her current the fibers studio at Tennessee Tech’s Appalachian Mary W. Thompson is a Cherokee Tribal Member camera, and basic studio skills. Open to all work includes drawings and installations using Center for Craft. She exhibits and sells her and values her time available for basketry. skill levels. cloth materials, paper and pliable substance. fiber work of hand printed wall hangings and She has had her work juried and published in COURSE FEE: $525 wearables in local, national, and international National Basketry Organization Quarterly She was Artist-in-Residence and Head of Fiber at Cranbrook Academy of Art and professor at venues. Review and has prize-winning pieces from the Jim Arendt is an artist whose work explores the Festival of Native People and Cherokee Indian Kansas City Art Institute. shifting paradigms of labor and place through janelackery.com Fair. narrative figure painting, drawing, prints, fabric and sculpture. Jim received his BFA from Kendall College of Art & Design and his MFA with a concentration in painting from the University of South Carolina. jimardent.com

22 FIBERS/TEXTILES/BASKETSMETALS

JUNE 7 — 13 • ONE WEEK JUNE 7 — 13 • ONE WEEK JUNE 14 — 20 • ONE WEEK JUNE 14 — 20 • ONE WEEK

RACHEL MEGINNES ARTISTIC PRACTICE JENNIFER ANGUS Strengthen your work with a better SCREEN PRINTING 101 understanding of your own artistic practice. Through a series of daily writing exercises, CARMEN GRIER This course is an introduction to screen- LAUREN DICIOCCIO material explorations and slide presentations, GOING GREEN AND RED AND BLUE AND printing on paper and fabric. Students will PAINTING WITH THREAD: learn to use stencil and photo emulsion students will learn how to trust their intentions YELLOW WITH NATURAL DYES EMBROIDERED PORTRAITURE and intuitions as artists. The class will methods of applying an image to a screen in incorporate group discussions, one-on-one order to create yardage or works on paper. Students will be introduced to the practice of Students interested in pushing the bounds of consultations and hands-on projects as well Single images and repeat pattern will be using natural dyes on plant fibers. Transform traditional embroidery will enjoy the idea of as a short research exercise using Arrowmont’s demonstrated and discussed. Immersion fabric using pre-existing textiles, incorporating applying thread in a painterly way in a class extensive library. Expect to leave class with a dyeing and printing with dye and pigment will another level of “green” practice. Bring your focusing on portraiture. The class will explore mental toolkit prepared to keep you productive be covered. Students may choose to print on seam ripper. Explore stitch resist, dye extracts the technical aspects of image transfer, stitch in your studio. This class is open to all levels cloth, create print editions or decorative papers and indigo, and create a rich palette through vocabulary and color theory while disregarding and to students from all media who are that can be used for a variety of purposes the meditative steps of SLOW natural dyeing. the orderliness and “rules” typically learned in eager to question and explore their artistic including collage, origami and wrapping Using safe materials and processes, students paper. The emphasis of the course is upon the practice of embroidery. Students will be motivations. encouraged to find their own expressive hand COURSE FEE: $525 will find colors you never knew existed and be exploration. Open to all skill levels. inspired with a vision to transform your cloth COURSE FEE: $525 in applying thread to cloth and will explore the dynamic movement, vibrancy and tactility at Rachel Meginnes is currently a resident artist further: be it wearables, wall art, or sculpture. At the week’s end, participants’ will return Jennifer Angus is a professor in the Design Studies the heart of the material. You will work from at Penland School of Crafts in western North found photographs, which students may bring Carolina. Trained as a weaver, Rachel received home with exciting fabrics and the knowledge department at the University of Wisconsin (UW) and passion to dig deeper into the practice of Madison. She received her BFA at the Nova from home or take on site. Open to all skill her MFA from the University of Washington in levels. Seattle. Rachel’s current work uses traditional natural dyeing. Open to all skill levels. Scotia College of Art and Design and her MFA COURSE FEE: $525 COURSE FEE: $525 textile structures as a foundation for abstract at the School of the Art Institute of Chicago. She recently won the UW Arts Institute Creative Arts painting. Lauren DiCioccio lives in San Francisco, plainweavestudios.com Carmen Grier is a studio artist and educator Award. living in western North Carolina. She teaches jenniferangus.com California and works in soft sculpture. Her hand Fibers in the Art Department at Appalachian sewn works have been shown at the Bellevue Art State University, Boone, North Carolina and Museum, Seattle, Washington and the Center for recently received an artist residency at Cill Rialaig Contemporary Art, Santa Fe, New Mexico. She is on the west coast of Ireland. an affiliate artist at the Headlands Center for the carmengrier.com Arts in Marin, California. laurendicioccio.com

23 FIBERS/TEXTILES/BASKETS

JUNE 21 — 27 • ONE WEEK JUNE 21 — 27 • ONE WEEK JUNE 28 — JULY 11 • TWO WEEKS JUNE 28 — JULY 11 • TWO WEEKS

AMY PUTANSU DAN ST. JOHN AND REGINA ST. JOHN NATHALIE MIEBACH FIBER STUDY: DYES AND TECHNIQUES MARBLING…FAR MORE THAN JUST SCULPTURAL WEAVING SOME PRETTY PAPERS Addressing the natural inherent qualities of TOMMYE SCANLIN This workshop teaches various three- textile fibers is at the heart of this workshop. FOR THE LOVE OF COLOR—AND MORE Grab your apron and plunge with us into the dimensional weaving techniques to be Students will learn the fundamental properties depths of this ancient and mysterious art form. applied towards contemporary sculpture and of fibers like silk, wool, polyester and others Color, shape and texture all play important Both beginning and experienced students installation. Based on weaving traditions that in a way that equips the textile artist of any roles in tapestry design and weaving. In this will create the most colorful and beautiful go back thousands of years, students will learn level with a deeper material knowledge. These workshop students will explore ideas of color papers. Using full-sized professional tanks the fundamentals of basic basket weaving lessons will be punctuated by learning dyes contrasts and harmony, consider shape- and combs, you will learn how to marble techniques: Through the use of traditional and that are appropriate for each fiber type: natural building challenges in tapestry, and experiment both paper and book edges while gaining an non-traditional materials, you will learn to use and synthetic. You will also explore alternative with textural methods including soumak. in-depth understanding of the fascinating these techniques as a springboard to adapt, techniques to alter cloth that are specific to You will make design studies in paint and/or history of marbling as well as a functional integrate and explore your own sculptural each fiber type, and only possible because of collage to be interpreted into small tapestries understanding of the complex chemistry and interests and material choices. Every technique their inherent characteristics. Techniques will in the class. This is an intermediate level class physics underlying the process. After five is complemented by slide lectures to provide include silk sericin removal (degumming), in which students should be comfortable with intensive days, students will know how to further examples of how these weaves can permanent shaping of thermoplastic fibers, and basic tapestry techniques, including setting up make a progression of classic and innovative be built upon. You will be encouraged to selective fulling of wool. Students can expect a frame loom for tapestry. patterns, prepare paints, bath, paper and tools approach this workshop with the curiosity of to make a wide range of technical samples in COURSE FEE: $995 for marbling, and will return home with a a tinkerer, willing to take risks to forge new this two-week intensive course. Open to all colorful array of marbled papers, a unique applications; yet to be discovered in the world skill levels. Tommye McClure Scanlin has been weaving edge-marbled journal, and the confidence to of sculptural weaving. This workshop is open COURSE FEE: $995 and exhibiting tapestry for over 25 years. She is continue on their own. for all levels, though some experience with Professor Emerita, University of North Georgia, COURSE FEE: $525 sculpture is helpful. Amy Putansu is the instructor of Professional Dahlonega, Georgia. In 2009 she was presented COURSE FEE: $525 Crafts Fiber at Haywood Community College. with a Lifetime Achievement Award in Craft Regina and Dan St. John have been marblers and She is a coastal Maine native and graduate of Education by the Georgia Art Education bookbinders for 30 years. They live in Amherst, Nathalie Miebach is the recipient of numerous Rhode Island School of Design, and moved to the Association. Massachusetts and bring with them considerable awards and residencies, including a Pollock- mountains to teach full time in 2008. Currently tapestry13.blogspot.com experience in teaching adults and children. Dan’s Krasner Award, TED Global Fellowship and the Putansu’s work explores new weaving techniques. background as a teacher of Chemistry and Physics Massachusetts Cultural Council Fellowship. Her putansutextiles.com allows him to clarify the difficult marbling work has been reviewed by publications spanning questions. fine arts, design, and technology. She lives in chenarivermarblers.com Boston. nathaliemiebach.com

24 FIBERS/TEXTILES/BASKETS

JULY 12 — 18 • ONE WEEK JULY 12 — 18 • ONE WEEK JULY 19 — 25 • ONE WEEK JULY 26 — AUGUST 1 • ONE WEEK

WARREN SEELIG JOVENCIO DE LA PAZ LAURA MONGIOVI CONSTRUCTED DRAWING/ HAND SPINNING FOR THE MAPS, CHARTS AND DIAGRAMS LINE MADE PHYSICAL WOVEN PICTURE

This workshop is inspired by the compositions The idea that drawing may occur through Students will be introduced to the hand and concepts of maps, charts and diagrams. the materialization and fabrication of line is a spinning of their own yarns. Using tools like Students with an interest in textiles will phenomenon which is inherent in work seen drop spindles, supported spindles and spinning have the opportunity to experiment with throughout the history of contemporary fiber, wheels, students will focus on techniques that traditional and non-traditional methods. Low sculpture and all material-based media. This will allow them to make their own single yarns MEREDITH GRIMSLEY maintenance natural dye processes and the use highly experimental course will engage the and plied yarns in wool and in a variety of HIGH DEFINITION SURFACES of beeswax to seal and coat will be introduced. student in making drawing on the wall or in colors. Making one’s own yarn yields nuances Hand stitching and drawing on fabric will also space, utilizing every conceivable material and unattainable in mass-produced yarns. By High Definition Surfaces, also affectionately be encouraged as a way to enhance the surface working through both known and invented blending colors and textures directly into referred to by the instructor as finger painting quality. You will explore all possibilities for processes. Early “material sketches” will be handmade yarns, you will have the opportunity for adults, involves dye directly applied to a communicating your ideas in 2D and/or 3D. developed, examining the nature of physical to create unique patterns and surfaces through variety of natural fabrics with various tools. Open to all skill levels. line, along with ways of structuring and shaping forms of accretion, such as weaving. Students Everything from a gloved finger, texture COURSE FEE: $525 that line in space. Consideration will be given to will focus on tapestry weaving as a way to tools, masking, painting, extruding to mono- building up densities (surface) through material utilize hand spun yarns to create dynamic printing, painted/textured silk screen and Laura Mongiovi is an associate professor accumulation and repetition, and will involve textiles. Open to all skill levels. photo silk screen processes will be explored of Art and Design at Flagler College in St. wrapping, binding, connecting, attaching, COURSE FEE: $525 on silk, rayon and/or cotton fabrics. Students Augustine, Florida. She obtained her MFA from twisting, knotting, piercing, layering, etc. in will also explore simple immersion dying, CU Boulder and a BFA from Florida State the development of drawing in a physical way. Jovencio de la Paz is an artist and educator color removal and over-dying. Students will University. Mongiovi uses her art to communicate Open to all skill levels. living and working in Chicago, Illinois. As a walk away with a series of deeply textured COURSE FEE: $525 ideas about sensual desire. faculty member at the School of the Art Institute experimental fabrics. Open to all skill levels. lauramongiovi.com of Chicago’s Department of Fiber and Material COURSE FEE: $525 Warren Seelig lives and works in Rockland, Studies, de la Paz has worked with students Maine. He has a BS from the Philadelphia on the contemporary application of ancient Meredith Re’ Grimsley received her MFA in 2002 College of Textiles & Science, an MFA from technologies in fibrous materials. and her BFA in 1999 in Fabric Design from the Cranbrook Academy of Art, and is a distinguished jovenciodelapaz.org University of Georgia, Athens. She is professor visiting professor in the Fiber & Material of Fabric Design at Bloomsburg University of Studies program at the University of the Arts in Pennsylvania. Her work has been shown in Philadelphia. numerous national and international venues. warrenseelig.com

25 FIBERS/TEXTILES/BASKETS

JULY 26 — AUGUST 1 • ONE WEEK JULY 26 — AUGUST 1 • ONE WEEK AUGUST 2 — 8 • ONE WEEK AUGUST 2 — 8 • ONE WEEK

ERIKA LYNNE HANSON SITE SPECIFIC WEAVING ASHLEY BLALOCK IMAGES IN CROCHET Drawing from the back-strap loom, where one end of the warp would be anchored to a Would you like to learn how to “say” KATHY COOPER surrounding structure or object, this course something with your crochet, or learn how to STEPHANIE METZ will utilize Arrowmont’s campus in the transfer images to crochet? Both can be done PAINTING FLOORCLOTHS: ART ON creation of nomadic weaving systems. Looking CREATING FORM WITH FELT THE FLOOR with a technique known as filet crochet — a to traditional examples of back-strap, warp process using open and closed spaces to create weighted and frame looms for inspiration You may think of felt as a textile made of text and images. Filet crochet is traditionally Floorcloths are one of the earliest students will explore space and location wool, but have you considered its sculptural used for small, delicate items, but can also be floorcoverings and today have evolved into through the act of weaving. You will gain the possibilities? In this class students will learn upsized for garments and blankets using the floor art. Students will learn basic construction knowledge of woven structures along with how to use simple hand tools—but no water— same stitches and technique. In this class, you techniques that you can duplicate at home. an expanded definition of what a textile can to manipulate a humble and inexpensive will go over the basics of filet crochet including The class will explore decorative painting be. No previous weaving experience required. material into a free-standing sculpture. creating images, reading charts, design methods in order to personalize the floorcloths. Open to all skill levels. This week-long workshop is a thorough considerations, finishing and blocking and Whether you are an experienced painter or COURSE FEE: $525 introduction to the tools, techniques and basic-to-advanced stitches. Size and scale will a beginner, participants will learn how to possibilities of needle-felting, from form- be covered as well as potential applications for create beautiful, functional floorcloths. The Erika Lynne Hanson received a MFA from building to armatures and finishes. Enliven artistic expression. Open to all skill levels. course includes canvas preparation, hemming California College of the Arts in 2010. She is your art-making with this incredible crossover COURSE FEE: $525 techniques, color exploration, finishing and assistant professor of Art with an emphasis on material that shares qualities with clay, metal marketing tips. Open to all skill levels. Fiber /Socially Engaged Practices at Arizona State and fabric. Note: felting involves repetitive and Ashley V. Blalock was born and raised in COURSE FEE: $525 University. In 2012 Hanson co-founded 1522 vigorous hand and arm movement. Open to all Southern California. She earned an MFA in Saint Louis, an experimental project space in skill levels. Sculpture from the San Francisco Art Institute, Kathy Cooper is a studio artist from Winston- COURSE FEE: $525 Kansas City. holds an MA in Art History, and a BA in Salem, North Carolina and has been creating elhanson.com Painting. Her work was recently featured in custom floorcloths for thirty years. She authored Stephanie Metz is a fine artist and received her Vogue Knitting Crochet Magazine. two books on floorcloths and frequently appears BFA in Sculpture from the University of Oregon ashleyvblalock.com on television and is known for her whimsical, and lives in the San Francisco Bay Area. Besides colorful painting style. Arrowmont, she has taught at Penland School kathycooperfloorcloths.com of Crafts, Kala Art Institute, CCA, USF and Cabrillo College. stephaniemetz.com

26 FIBERS/TEXTILES/BASKETS

AUGUST 9 — 15 • ONE WEEK AUGUST 9 — 15 • ONE WEEK SEPTEMBER 13 — 19 • ONE WEEK SEPTEMBER 20 — 26 • ONE WEEK

JOY UDE THE EMBELLISHED IMAGE ON CLOTH KATHY WEAVER LINO-PRINTING AND AIRBRUSHING: A KATHRYN CLARK Students will learn various image transfer DYNAMIC DUO OUR OWN HISTORY IN THE MAKING: techniques and surface embellishments to transform plain fabric into richly designed QUILT BLOCK DESIGN FOR TODAY surfaces. Additional techniques, from fabric Students will experience the thrill of creating layering to reverse applique introduced signature quilts or collages with their own Traditional quilt block designs such as wagon JOHN GARRETT throughout the week will add color, texture unique fabrics or papers. You will airbrush wheel, churn dash and double wedding ring MAKING NEW CONNECTIONS and content to the stitched and complex through found objects and stencils to create were popular patterns that are deeply rooted in surface. This course is a great starting point for fascinating textures and illusions of depth. You will carve and print simple lino blocks of the stories of America. It’s time to reinvigorate Students will explore methods of connecting textile beginners, but will also give advanced striking and personal pattern designs. Students quilt design and develop new patterns that materials to make baskets that John has students new approaches and skills for surface will master strategies for arranging and reflect our own history in the making. Climate developed over his career. You will experiment design. Students will leave the workshop with assembling prints and airbrushed samples into change and the digital revolution are just with plying wire, stitching into hardware the ability to easily continue developing their dynamic work. The class will teach everything some examples. This workshop will help cloth, folding and riveting aluminum flashing, surface treatment skills at home or in their you need to be successful with printmaking students develop your own quilt patterns based and much more. Students will also see how personal studio. Open to all skill levels. and airbrushing. No experience needed; just on contemporary topics of their choosing. traditional methods of basket building can COURSE FEE: $525 come with the joy of making and a sense of The week will be spent brainstorming and be used to create new and expressive baskets. sketching new ideas and learning how to Joy O. Ude is a mixed-media artist and designer adventure in mind. Open to all skill levels. Participants are urged to bring recyclable and COURSE FEE: $525 translate a design efficiently into pattern found materials, as well as “collections of stuff” and she earned her MFA from the University of blocks. The goal is to become comfortable from their studios. Open to all skill levels. North Texas in 2013. In her artwork she explores Kathy Weaver explores areas of science and designing quilt patterns while creating several COURSE FEE: $525 Black culture as a subset of American culture. As quilt blocks that can be developed into full an American-born child of Nigerian immigrants, technology through robots and organic macro worlds. She has exhibited in over 100 shows sized quilts. Open to all skill levels. Basic John Garrett is a full time studio artist living in she also reflects on the concept of duality. around the country including in New York, sewing skills are a plus. Las Cruces, New Mexico. He was awarded NEA joyoftextiles.com COURSE FEE: $525 Washington DC, and San Diego and has been a Fellowships in 1983 and 1995, and received the repeat fellow at the Ragdale Foundation and the Lifetime Achievement Award from the National Kathryn Clark worked as an architectural and Hambidge Center for the Arts. Basketry Organization in 2013. kweaverarts.com urban designer for seven years before becoming a johngarrettarts.com full-time artist in 2005. Kathryn’s recent work explores global issues ranging from the U.S. foreclosure crisis to global water usage. kathrynclark.com

27 FIBERS/TEXTILES/BASKETS

SEPTEMBER 20 — 26 • ONE WEEK SEPTEMBER 27 — OCTOBER 3 • ONE WEEK SEPTEMBER 27 — OCTOBER 3 • ONE WEEK SEPTEMBER 27 — OCTOBER 3 •ONE WEEK

BRYANT HOLSENBECK CLAY BURNETTE BILL SMITH AND MARY ANN SMITH WILD: MAKING ANIMAL SCULPTURES PINE NEEDLE BASKETRY: A SPLIT OAK BASKETRY/PASSING DOWN OUT THE STUFF OF OUR LIVES CONTEMPORARY APPROACH THE TRADITION This class is your chance to gather together all Students will obtain a non-traditional In this intensive class students will experience the bits and pieces of fabric, all of that yarn perspective of coiling by using longleaf pine the entire process of basket making from tree EMILY BARLETTA on the top shelf—all of that “great stuff” you needles, waxed linen thread and other binding to basket. You will begin with a white oak EMBROIDERED DRAWINGS: EXPLORING have been saving for a rainy day. Using coiling, materials such as telephone wire and copper wrapping, sewing and binding students will tree, and using simple hand tools, rive and EMBROIDERY ON PAPER wire. Emphasis will be placed on developing smooth the splits to weave with. Students will learn to make animals or other sculptural a vocabulary of stitches, creating texture and forms using found materials. Participants patterns, and openness to fresh ideas. This is finish your heirloom basket by hand carving a In this class students will increase their will be exposed to the instructor’s process in not a “handles and lids” course. Rather, it is an handle and rims to fit. You will also learn the knowledge of hand embroidery techniques using found and recycled materials to make opportunity to discover the endless shapes that difference between spokes, weavers and lashing, on paper. Participants will begin with a skeletons, bodies, fur and skin. Students will can be creating using the coiling technique. and become comfortable using a drawknife general introduction to sewing on paper and be encouraged to develop your own techniques A complete supplies list will be sent to all and draw horse. Students will create a beautiful then spend time sketching to translate these as you build animals or other forms seen in the students upon enrollment. No prior skill level masterpiece that will be passed down for drawings into embroidery on paper. Students world around us. Open to all skill levels. is required, but knowledge of the open coiling generations. Open to all skill levels. will incorporate painting with sewing to push COURSE FEE: $525 technique is helpful. COURSE FEE: $525 the possibilities for color and layering even COURSE FEE: $525 further. You will be encouraged to experiment Bryant Holsenbeck is an independent studio artist Bill Smith and Mary Ann Smith have been and will leave with ideas for how to create who makes books, birds and sculptures out of Clay Burnette has spent almost 40 years making split oak baskets for 25 years. They more complex embroidered work. Open to all recycled materials and who began her arts career developing his own approach to basketry. His spent 15 years as the resident basket makers at skill levels. as a basket maker. She has been the recipient of longleaf pine needle baskets has been included in Tannehill Historical State Park in Alabama and COURSE FEE: $525 also teach at the Alabama Folk School and the 2 North Carolina Arts Council Fellowships, a over 230 exhibitions and was selected as Best in Project Grant and an NEA Arts and Learning Show at the National Basketry Organization’s John C. Campbell Folk School in their native Emily Barletta received her BFA from the Grant. exhibition at Arrowmont School in 2013. North Carolina. Maryland Institute College of Art in 2003. She bryantholsenbeck.com clayburnette.com oakweaver.weebly.com lives and works in Brooklyn, New York and received a New York Foundation for the Arts Fellowship in 2009 and a Pollock-Krasner Grant in 2011. Her work has been praised in The New York Times. emilybarletta.com

28 FIBERS/TEXTILES/BASKETS

OCTOBER 4 — 7 • SDA WORKSHOPS OCTOBER 4 — 7 • SDA WORKSHOPS OCTOBER 4 — 7 • SDA WORKSHOPS

MICHEL GARCIA LISA KLAKULAK PRINTING ON COTTON THE COLOR GRAB: EQUALIZING DISTRIBUTION AMONG DIFFERENT Keen on sustainable development and ecology, FIBERS students will learn special techniques for extracting dye from plants and insects, and Natural fibers react with mordants and dyes MARY ZICAFOOSE AND SARA GOODMAN using these to dye and print on cotton. In this differently when processed simultaneously workshop students will make different soluble INDIGO AND IKAT: NEW PATHS FOR ANCIENT PARTNERS in the same pot. In this course, students extracts that can be used to dye natural fibers. will explore techniques for combining fine There will also be demonstrations on a variety This intensive studio workshop will teach contemporary technique drawing from two honored wool fibers and pre-structured fabrics of silk of mordants on cotton cloth, using various to create new texture fields of strong felted, traditions, indigo and ikat. The instructors will merge their respective skills to offer this unique techniques to get a full range of shades in the experience. Students will learn the precise and sequential steps to plan, measure, stretch, wrap, yet draping fabrics. You will observe the same dye-bath. Open to all skill levels. submersion dyeing of these new fabrics with dye, unwrap and weave wool and silk for weft faced ikat weaving applications. You will also learn COURSE FEE: $375 how to establish and maintain a natural fermentation indigo vat. While technically challenging, locally grown natural dyes and learn methods to control which fiber grabs the color first and indigo dyeing coupled with the weft faced ikat process yields dramatic results in cloth. The hands- Michel Garcia is one of the world’s leading on dyeing and wrapping sessions and weaving (demonstrations, explorations and experiences) will therefore stronger. Differences in the fibers’ natural dye experts. He founded Couleur Garance biology, proportions of the fibers in the pot, encourage and inspire many creative possibilities. Open to all skill levels. conservatory, a garden set in the hillsides of a COURSE FEE: $375 pre-mordanting practices and colorants will be castle in Lauris, France which was created to addressed and manipulated. Prior experience study and re-energize the ancient art of natural handling wool fiber for felting and physical Mary Zicafoose of Omaha, Nebraska is co- Sara Goodman is a textile artist, designer and dye. stamina for the felting will be helpful. director of the American Tapestry Alliance. She teacher with a studio/school in Lyme, New michelgarcia.fr COURSE FEE: $375 is Chairman of the Board of the Omaha Union Hampshire. Her work has been featured in the for Contemporary Art, former board member of Surface Design Journal, Handwoven and Shuttle Lisa Klakulak received a BFA in Fiber Arts GoodWeave USA and was the 2010 exhibition Spindle, and Dyepot magazines and she is a in 1997 from Colorado State University. She chair for the Textile Society of America. former member of the board of the Goodweave makes function and non-functional work in Foundation. her Asheville, North Carolina studio, instructs saragoodmanfiberstudio.com workshops worldwide and exhibits at fine craft exhibitions and select galleries. strongfelt.com

29 FIBERS/TEXTILES/BASKETS

OCTOBER 4 — 7 • SDA WORKSHOPS OCTOBER 4 — 7 • SDA WORKSHOPS OCTOBER 4 — 7 • SDA WORKSHOPS OCTOBER 15 — 18 • WEEKEND

YOSHIKO WADA CAROLE FRANCES LUNG KNOWING THE MATERIAL: GETTING HACKING THE ASSEMBLY LINE THE MOST OUT OF THE LEAST

In this workshop students will learn about In this class students will explore the GYÖNGY LAKY the history of industrialized textile, sewing transformation of material from 2D to 3D ARCHITECTURAL TEXTILES: THINKING production and the politics of labor, and will ANN MORTON using inventive combinations of techniques AND BUILDING IN 3-D implement concepts and methodologies of GATLINBURG: RE-WOVEN and materials that take advantage of a cloth’s MASTER WEEKEND CLASS slow textile/sewing production as a form of physical and chemical structures. While revolution and resistance, collaboration as the examining both silk and wool, there will assembly line, and performing the labor of With the main strip in Gatlinburg as your be discussion on how to mix techniques: This workshop is for those with interest in garment and textile production. During this source, participants interested in local from stitching, binding, pole-wrapping, basketry, weaving, or woodworking who wish intensive collaborative workshop, participants engagement and collecting a wide range of de-gumming silk, fulling wool, and piecing to enhance their ideas and abilities in 3-D will learn to organize and instigate perspectives cast-off ephemera will work together to amass and patching to shrink fabric into three- construction. Using flexible and semi-flexible of “hacking,” to consider ways of recoding the materials needed to make small-sized dimensional soft sculptures with volume, linear elements (small diameter branches, existing systems of manufacturing and individual tapestries. In the spirit of Sheila texture and body. Students will learn a variety bits of wood, wire, strips of cloth, rope, distribution: the assembly line, piecework and Hicks’ traveling tapestry experiments, students of simple techniques illustrated by examples twine, etc.), participants will explore a variety mechanization. This is an interdisciplinary will work with a variety of weaving techniques of innovative work. Natural indigo vat with of simple and experimental construction course and all methods and levels of textile to incorporate these unconventional materials organic reduction method introduced by techniques in playful, imaginative and work are welcome. to create unique, textural, and surprisingly Michel Garcia will be set up. Students will unexpected ways. Taking risks and trying COURSE FEE: $375 beautiful tapestries. Emphasis will be on familiarize themselves with how to maintain improvisational approaches this will be an experimentation, relying on the serendipity the vat organically and to achieve a wide range adventure in engineering and hand-building Carole Frances Lung is an assistant professor in of what we find as a group, and turning of blue easily. Students with prior knowledge vessel forms. Participants are encouraged to the Department of Art, Fashion and Textiles at traditional techniques upside down. Open to of Shibori and fabric dyeing are welcome. bring materials/tools to use and share. Open to California State University Los Angeles and she all skill levels. COURSE FEE: $375 all skill levels. COURSE FEE: $375 maintains the Institute for Labor Generosity COURSE FEE: $395 Workers and Uniforms, a storefront studio in Yoshiko I Wada is an artist, curator and textile downtown Long Beach. Ann Morton maintained a 30-year graphic/ researcher with A BFA in Textile Art from Kyoto Gyöngy Laky’s work is in museum collections carolefranceslung.org environmental graphic design practice before and MFA in Painting from the USA. Her in Europe and U.S. She helped develop the returning to secure her MFA from Arizona State work has been exhibited widely including the Arts Master Plan for the new U.S. Federal University with an emphasis in fibers. She teaches Smithsonian Institution’s Renwick Gallery and FDA campus. Laky is a recipient of a National there and at and Paradise Valley Community the International Textile Fair in Kyoto. Endowment for the Arts Grant and a Professor College in Phoenix area. yoshikowada.com Emeritus, University of California, Davis. annmortonaz.com gyongylaky.com

30 OCTOBER 22 — 25 • WEEKEND OCTOBER 22 — 25 • WEEKEND PAPER/BOOKS JUNE 7 — 13 • ONE WEEK

BEN VENOM MATT TOMMEY DON’T BE SQUARE SCULPTURAL BASKETRY WITH BARK AND VINES In this workshop students will create an individually designed small quilting square In this course students will explore a variety of MATTHEW SHLIAN from their own worn out tees or found fabric, techniques and design ideas that will enable PAPER SCULPTURE and learn the possibilities of the quilting you to grow in your understanding of basketry medium. The workshop will cover applique, as a sculptural form. You will be using locally Workshop participants will explore the basting and quilt construction, and consist of harvested natural materials including kudzu medium of paper as they create moveable lectures and hands-on demonstrations. You will vine, poplar bark and others. Open to all skill works of art using popup books as a starting design your own detailed, handmade, finished levels. quilt block design. Open to all skill levels. COURSE FEE: $340 point. Using a combination of Tyvek and COURSE FEE: $340 100# text and 10pt cover weight stocks, Matt Tommey is a sculptural basketry artist participants will learn the elements of paper Ben Venom received his MFA from the San based in the River Arts District of Asheville, mechanics and then apply them to books, Francisco Art Institute in 2007. His work North Carolina. He is a member of the Southern collapsible structures, interactive kinetic design was included in the November 2011 issue of Highland Craft Guild, Piedmont Craftsmen and and foldable sculpture. Some techniques will ARTFORUM Magazine and he was selected for the National Basketry Organization. include curve folding, pleating systems, and Bay Area Now 6 at Yerba Buena Center for the matttommey.com modular design. Students are encouraged to Arts. bring in their own imagery, photographs, etc. benvenom.com to work from. Open to all skill levels. COURSE FEE: $525

Matthew Shlian is an artist/designer and founder of the Initiative Artist Studio in Ann Arbor, Michigan. His work extends from drawings to large-scale installations to collaborations with leading scientists at the University of Michigan and the National Science Foundation. mattshlian.com

31 PAPER/BOOKS

JUNE 14 — 20 • ONE WEEK JUNE 21 — 27 • ONE WEEK JULY 19 — 25 • ONE WEEK AUGUST 2 — 8 • ONE WEEK

TRAVIS HEAD MEGAN ABAJIAN ON LOCATION: EXPLORING PLACE IN PAPER CUTTING: “HOW I LEARNED TO THE SKETCH-JOURNAL LOVE THE BLADE”

This workshop will focus on the sketch-journal BIRUTA AUNA This class will teach you the timeless craft of as a vehicle for documentation and reflection BOOK ENCLOSURE AS A FORM OF ART paper cutting while exploring its contemporary upon personal experience. Students will begin applications. You will examine the different by learning basic bookbinding techniques For many of us the book is a treasure. We methods and tools used in cutting paper, to create individual sketch-journals. During want to protect it and give a special respect to its challenges and its endless opportunities. a series of excursions to locations in the its value. In this workshop, students will bind Students will work with layering through immediate area, you will explore the physical a book and will construct a most common collage, pieced/constructed, and large-scale and non-physical aspects of place through book enclosure—clamshell box for it and HERB RIETH installation, as well as explore color and the act of drawing and writing. Instruction proceed into a realm of more elaborate and materials utilizing a variety of media (various will be given in a variety of observational creative ways of box making, and create book- FANZINES, ‘ZINES AND UNDERGROUND substrates, adhesives and wet processes). This drawing techniques using pencil, pen, ink box relationship as a piece of art. Different COMIX mixed-media class will be packed with lots of wash and watercolor. Students will also be techniques and materials will be explored: practical information that you can integrate introduced to a wide sampling of historical cloth backing with Japanese paper, binders Do you have an idea for a comic book or into your studio practice. Open to all skill and contemporary approaches to the form to board and papier-mâché usage for sculpting, magazine that you have always wanted to do levels. provide context and inspiration. Open to all binders board bending and painting with but just lacked the UMPH to do it? If so, COURSE FEE: $525 skill levels. pigments. Some leather will be used as well. then this class is for you. Students will learn COURSE FEE: $525 Participants can also bring a book they would about collage, cartooning, drawing, design and Megan Abajian lives in Dartmouth, want to make a box for (optional). Open to all simple bookmaking that will all come together Massachusetts and is the assistant dean and Travis Head’s drawings are primarily rooted in skill levels. in your hands to create a ‘zine or comic book. Studio Art Foundations director in the College the notion of souvenir. His works commemorate COURSE FEE: $525 Open to all skill levels. of Visual and Performing Arts at University of actual lived experiences and those described as COURSE FEE: $525 Massachusetts Dartmouth. She received her MFA virtual, in equal measure. Head is assistant Biruta Auna is an artist-designer whose work from Indiana University and BFA from the professor of Drawing at Virginia Tech is in close relationship with the book. She was Herb Rieth is an artist and educator living in University of Texas at Austin. University and awarded numerous national and born in Latvia and is a graduate of the Estonian Oak Ridge, Tennessee. He made his first ‘zine meganabajian.com international artist residencies. Academy of Arts. Biruta lives and works in New “Comb, Comb, Comb Your Hair” at the age travishead.com York City where she is an instructor at The Center of 10 and has been putting together ‘zines and for Book Arts. comics ever since. birutadesign.com herbrieth.com

32 PAPER/BOOKS

AUGUST 9 — 15 • ONE WEEK SEPTEMBER 13 — 19 • ONE WEEK OCTOBER 15 — 18 • WEEKEND OCTOBER 22 — 25 • WEEKEND JO STEALEY 3D CALISTHENICS MASTER WEEKEND CLASS

Whether you are a textile artist, papermaker, sculptor, or work in any variety of materials, this workshop explores innovative ways to enhance the role materials, production methods and form play in your three- dimensional AIMEE LEE work. HEIDI NEILSON PAPER JEWELRY Together we COPTIC BIND EVERYTHING will discuss This class combines the strength and versatility a variety of Embrace the knowledge of our forebears! of handmade papers with Asian techniques of methods that Coptic binding was used in Egypt as early as paper thread and cordage to create lightweight inventively JIYOUNG CHUNG the second century AD, and is characterized and ecologically sound jewelry. Students focus JOOMCHI AND BEYOND by braid-like chain-stitches across an open will learn jiseung (Korean paper weaving) and simultaneously expand conceptual and spine. This sewn binding method requires no techniques to cord and weave paper into production issues. Students will begin with Joomchi is a unique Korean traditional way glue and excels at combining and showcasing adjustable single-strand bracelets, multi- problem finding techniques, move into a of making textured handmade paper by multiple materials together in one book. strand pieces and chain necklaces. Advanced more focused exploration of subjects that are using water and eager hands. This workshop Participants will explore variations in materials, techniques will result in woven paper beads personally relevant, and then onto production offers participants the opportunity to become stitches and book design with an eye toward and spiraling colored rope necklaces, while methods to pursue your ideas. Utilizing familiar acquainted with its history, practice and role concept and sculptural form. By learning the students experiment with simple colors from materials such as sticks, paper, foam core, cloth, in Korean society, as well as the hands-on Coptic method, students with an interest in natural dyes. A pot of kon’nyaku, a starch temporary and permanent armatures, you techniques and reinterpreted adaptations book binding will gain a versatile technique extracted from the devil’s tongue plant, will will develop maquettes that can be translated into contemporary art form. Joomchi creates which can be applied to a variety of future be cooked to coat final pieces for natural into your personal production methods. strong, textural and painterly surfaces by projects. Open to all skill levels. protection from the elements. Strong fingers, Additionally, there will be discussions related layering and agitating Hanji (Korean mulberry COURSE FEE: $340 hands, and wrists will be a boon, as well as to your current work including changing papers). Its usages are diverse and it can be patience and attention to detail. Open to all directions, design challenges, perplexing incorporated into surface design, collage, new Heidi Neilson received a BA in biology from skill levels. techniques and any topic important to your way of drawing, wearable, unconventional Reed College and an MFA in painting from Pratt COURSE FEE: $525 artistic development. This workshop is not body ornament or sculptural object—2-D and Institute, and lives and works in New York. She about the product, but the experience and 3D—either functional or fine art oriented. has created over 20-edition artist books using Aimee Lee works in paper, book and installation renewed energy you can incorporate into your Open to all skill levels. methods ranging from traditional printmaking arts. She researched hanji (Korean paper) as a daily studio practice. Open to all skill levels. COURSE FEE: $525 and hand binding to digital print-on-demand Fulbright Fellow and built the first hanji studio COURSE FEE: $395 printing. in North America in 2010 in Cleveland. Her Jiyoung Chung is a Joomchi artist, freelance heidineilson.com book, Hanji Unfurled: One Journey into Korean Jo Stealey is a professor of Art-Fibers at the writer and independent curator who shows her Papermaking was recognized by the Eric Hoffer University of Missouri-Columbia and her work works nationally and internationally. She has Book Award. is found in public and private collections. She is developed an innovative method for utilizing a aimeelee.net known for her multimedia sculptural work in traditional Korean method of papermaking called handmade paper with 30 years of experience in Joomchi into contemporary art form. the field. jiyoungchung.com jostealey.com

33 GLASS MAY 31 — JUNE 6 • ONE WEEK JUNE 21 — 27 • ONE WEEK JUNE 28 — JULY 11 • TWO WEEKS

ANNE NYE PALETTE KNIFE GLASS MEAGAN CHANEY GUMPERT Palette Knife Glass is a kilned glass technique CERAMICS + GLASS. developed by Anne Nye that requires no LET’S MIX IT UP previous glass experience and is especially HOLLY COOPER suited to artists using traditional painting FANTASY FLORA AND FAUNA Are you interested in learning to combine materials as well as glass artists familiar with ceramics and glass? If so, than this energetic other methods. Weather permitting; class will and immersive workshop is perfect for you. Here is a chance to be inspired to create your begin most days “En Plein Air” (“in the open Students will build simple, earthenware forms own stylized and patterned creatures and floral air”) where students will gather inspiration and incorporate three-dimensional, kiln forms using a special modular approach. In from nature using their favorite mediums cast glass to discover a world of possibilities. this class students will stretch your imagination such as watercolor, pastel or colored pencil Experimentation is highly encouraged and and explore new design territory. You will be and photography. These sketches will then be students are only limited by their imagination. guided to push the limits of stringers and dots used to create a series of small studies leading Some experience with glass or clay is helpful, to create your own magical animals and plants. to larger landscapes and compositions on but beginners are encouraged to come along In a step-by-step, easy to understand process, subsequent days. Glass powders are mixed with for the ride. students will learn to design and execute a medium and applied to sheet glass much like COURSE FEE: $1100 patterns in glass. You will also have time acrylic palette knife painting. Due to the wide to explore special surface and color effects. color palette in both transparent and opaque Meagan Chaney Gumpert is a studio artist Students must have some experience with lamp glass along with proper firing, amazing depth working in Ocala, Florida. She has served as a work. and texture is possible using this method. Resident Artist at Arrowmont, The Clay Studio COURSE FEE: $595 Some painting/drawing experience is helpful, of Missoula and Watershed Center for Ceramic but not necessary. Arts. Her work is held in numerous corporate and Holly Cooper has a background in illustration, COURSE FEE: $595 private collections and is shown nationwide. ceramics and textile design as well as 12 years’ meaganchaneygumpert.com experience with flameworked glass beads. She has Originally from the Pacific Northwest, Anne’s art taught bead making for six years in the United has been profoundly shaped by the beauty and States and internationally. She currently resides in color of the land. Anne is a painter in training Austin, Texas. and passion. She has perfected her own “painterly” hollycooper.com glass techniques of shading and contouring. She studied Fine Art at the University of Idaho and California College of Arts & Crafts in Oakland, California. Her work is held in numerous public and private collections. annenye.com

34 GLASS

JULY 12 — 18 • ONE WEEK AUGUST 2 — 8 • ONE WEEK AUGUST 9 — 15 • ONE WEEK SEPTEMBER 20 — 26 • ONE WEEK

BARBARA CASHMAN KARI MINNICK MAVERICK FUSING—FLOAT GLASS THE UPPER CRUST: MAGNIFICENT Float Glass, better known as window glass, SURFACES AND COMPELLING LAYERS was the original fusing medium for glass artists HELEN OTTERSON FOR KILNFORMED GLASS in the 1950s and 60s. Today, it is making a BEGINNING GLASS CASTING: JASON CHAKRAVARTY dramatic comeback due to economic and SCULPTURAL GLASS The surface is the entry to a work of art. It KULDEV KA DANDE AKA TOTEM POLES environmental concerns. Learn to utilize this can stop you in your tracks or lead a viewer unique alternative material to expand your This class provides the opportunity for into the layers below. It is the part you want The narrative for, and the final piece from this art palette without breaking the bank. Basic participants to learn and experience the ancient to touch. Using unusual applications of course will be a glass totem pole. Using the and advanced fusing/slumping techniques will art of lost-wax glass casting. Students will Bullseye sheet glass, powder, stringer and frit lost wax process and sand blasting, students be covered using frits, enamels, plants and begin by learning ways of manipulating wax in conjunction with multiple firings, students will create a kiln cast glass sculpture. Each metal inclusions, plus kiln-carving. This class to create a small sculptural form. You will will learn kilnforming strategies to enable person will begin with a preformed cylinder of will be a creative adventure into the world of make a one-time use mold for reproduction rich textural surfaces and depth. Detailed wax. Students will add/subtract imagery to the float glass. Yet, the techniques you learn can in glass and learn distinctive techniques for firing schedules, layering strategies and design cylinder in wax. Once the design is complete, be applied to other glasses as well. Open to all working with wax, plaster-silica mold making, will be explored. This course is of interest to students will learn to mix and pour plaster/ levels; just bring an open mind and a playful de-waxing molds, kiln processes and firing and experienced glass workers as well as artists of silica investment. The invested molds will be spirit. annealing schedules for casting glass. Students other media. Open to all skill levels. loaded into a kiln and glass fired into them. COURSE FEE: $595 should come with ideas for small sculptures COURSE FEE: $595 While the molds are casting, students will use and can expect to complete 2-3 small finished a sandblast resist film to design patterns that Barbara Cashman, a glass fuser for 35 years, is projects. For beginners and those with some Kari Minnick holds a degree in studio art from will later be applied and sandblasted to the cast recognized as an innovator and pioneer in the glass experience. the University of California at Davis and has glass form. This workshop is for all skill levels. glass tile industry. Her work has been featured COURSE FEE: $595 been an exhibiting artist and educator for COURSE FEE: $595 in many major home decorating and trade over 25 years. Kari is the artist/owner of Kari magazines and on HGTV, with residential and Helen Otterson received an MFA in Ceramics Minnick Art Glass Studio, LLC in Silver Spring, Jason Chakravarty lives in the valley of tacos and commercial installations throughout the U.S. and from the University of Miami and currently Maryland. baseball in Arizona. He is a full time artist and internationally. teaches at North Dakota State University. She has kariminnick.com creates cast and sculpted glass pieces. His semi- glastile.com participated in residencies at the International autobiographical narrative-rich work relies on Ceramics Studios in Hungary, Watershed Center the audience to relate to its use of photorealistic for the Ceramic Arts and the Contemporary Craft imagery. Museum. jasonchakravarty.com helenotterson.com

35 GLASS PAINTING DRAWING APRIL 9 — 12 • WEEKEND APRIL 9 — 12 • WEEKEND PRINTMAKING PHOTOGRAPHY

JOHN DIGIACOMO MOVING BEYOND YOUR CREATIVE COMFORT ZONE LEGACY WEEKEND CLASS BOBBIE CREWS Enhancing students’ technical and creative REFLECTIONS, LIGHT AND MAGIC skills will be our goal during this workshop. LEGACY WEEKEND CLASS With an emphasis on landscape and nature photography you will cover, both in the Explore the extraordinary in everyday life and classroom and the Great Smoky Mountains take your painting skills to a new level. Oil National Park, a wide range of topics including paint allows the artist to push the limits of the creative use of wide angle, the makings possibility. Students will find the magic in the of a strong composition, the steps necessary everyday and transfer those ideas onto canvas. to create successful panoramic and HDR It’s about focusing on the unexpected, then images and getting the most out of your post capturing it with light and energy. You will processing and digital workflow. Students will learn to bring to life the exceptional qualities have ample time for one-on-one instruction that make an exciting and engaging painting and to participate in an interactive critique jump off the canvas. Students will also learn session. Expect short walks over moderate the intricacies of layering and bring out the terrain while carrying your gear. A digital reflections and glow of light in faces and camera (and basic working knowledge of it), other objects. This class is for students with along with a laptop with image processing intermediate or higher painting skills; drawing software are required. skills very helpful. COURSE FEE: $340 COURSE FEE: $340 John is a professional free-lance photographer Bobbie Crews lives in Knoxville, Tennessee and based in Lake Placid New York. He is a member has had a studio downtown in the Emporium of the Professional Photographers of America, since 2004. A member of Oil Painters of Sports Shooter, the International Association America, she is known for her realistic paintings of Architectural Photographers, the Real Estate of antique automobiles, people, murals and Photographers of America and Nikon Professional courtroom sketching. Services. bobbiecrewsart.com placidtimesphotography.com

36 PAINTING/DRAWING/PRINTMAKING/PHOTOGRAPHY

MAY 31 — JUNE 6 • ONE WEEK JUNE 7 — 13 • ONE WEEK JUNE 14 — 20 • ONE WEEK JUNE 21 — 27 • ONE WEEK

KRISTEN MARTINCIC OPEN SOURCE MONOPRINT

This workshop will focus on creating one-of- KRISTY DEETZ K RHYNUS CESARK MARGARET SCANLAN a-kind printed images using collagraph plates ENCAUSTIC COLLAGE, PAINT, PRINT, CONTEMPORARY APPROACHES TO COLOR EXPLORATION FOR ALL MEDIA and monoprinting. Students will focus on PAINTING WITH ACRYLIC SCULPTURE AND MORE experimentation through plate-making and use This workshop is designed for artists and the Open Source principle for printing. You This workshop will uncover the evolving This course will explore the versatility artisans in any medium where color plays will cover a wide range of inking and printing approaches and ideas in contemporary painting. and limitless possibilities of encaustic in an integrative role. This includes, but is not possibilities (relief, intaglio, use of stencils, Lectures and one-on-one instruction will explore combination with other materials. This class limited to, basketry, book and paper arts, clay, color mixing, etc.), creating color interaction image appropriation and deconstruction, invites painters, collage artists, printmakers, enameling, glass, jewelry, all of the fiber arts, through multiple layers. Students will benefit working inductively and deductively, reacting to sculptors, ceramic artists, photographers and and painting. Through specific, sequential by sharing collagraph plates created at the ideas and analyzing current painting structures mixed media artists to investigate the luminous painting exercises and exciting experiments, start of the class. During the second half of and strategies. Students will also explore the layers of encaustic. Whether your work is students will sharpen their instincts and the week, you may choose to focus on creating possibilities of acrylic paint—perhaps the abstract, representational or conceptual this expand their knowledge of color theory, and specific imagery/plates or continue open source most adaptable, archival and non-toxic of course has something for everyone. During will also have a wonderful time. Participants monoprinting. Open to all skill levels. painting media. Acrylic continues to evolve the workshop, students will be encouraged will refine and define more clearly their color COURSE FEE: $525 and respond to the new demands of painting, and supported to explore their own visual preferences, applicable to each person’s own including creating a variety of textural effects vocabulary through this diverse and seductive medium. No previous painting experience is Kristen Martincic is a studio artist based in on any number of surfaces and incorporating medium. Students can choose to explore the required. Columbia, Missouri. She earned her MFA from collage materials, transferring images, or using two or three dimensional qualities of encaustic COURSE FEE: $525 the University of Nebraska-Lincoln and her BFA hard-edge techniques. Students will push their wax or both. Class time includes lectures and from Bowling Green State University. Kristen boundaries of working and develop concepts demonstrations of traditional and experimental Margaret Scanlan is a full-time studio painter has taught printmaking at Bowling Green State for future work in an atmosphere of play and techniques for working both on and off the from Knoxville, Tennessee. She is a signature University and Indiana University and has done experimentation. Participants need to be artists wall. The class is Open to all skill levels. member of the American Watercolor Society, the workshops across the U.S. with a fair amount of painting experience. This COURSE FEE: $525 National Watercolor Society, and the Watercolor kmartincic.com workshop is for intermediate to advanced levels. USA Honor Society. Her work is exhibited COURSE FEE: $525 K Rhynus Cesark is a studio artist who teaches and held in private, corporate, and museum encaustic painting and ceramics at Colorado collections in the U.S. and Europe. Kristy Deetz is a professor in the Art Discipline Mountain College in Aspen, Colorado. She at the University of Wisconsin, Green Bay. She received her MFA from Massachusetts College of received her MFA in painting and drawing from Art and Design in Boston, Massachusetts. She is a The Ohio State University. Kristy has taught fellowship recipient for the Colorado Council on painting and drawing at a number of universities the Arts and exhibits her work nationally. krhynuscesark.com and art schools over the past 25 years. kristydeetz.com

37 PAINTING/DRAWING/PRINTMAKING/PHOTOGRAPHY

JUNE 28 — JULY 11 • TWO WEEKS JUNE 28 — JULY 11 • TWO WEEKS

ANDREW SAFTEL AND SHANE DARWENT UNDER PRESSURE: COLLAGRAPH AND RELIEF PRINTMAKING WITH A DIGITAL TWIST

A collagraph print is made from a surface on which collage elements and texture have been applied. LOUIS KRUEGER AND Using oil-based paints and inks applied with brushes and rollers, students will create colorful, LAURA BETH KONOPINSKI textured, one-of-a-kind prints. This is a very direct, painterly and fun way to make a print on paper CAMERA BUILDING WORKSHOP: MIXED MEDIA, PHOTOGRAPHY, WOOD with an embossed surface. Both the making of the blocks and the inking process allow for endless possibilities for you. This low-tech approach to printmaking will produce stunning qualities and This one-of-a-kind, camera-building workshop focuses on the design, construction and use of rich color combinations. Students will find that using multiple blocks printed over each other with handmade wood cameras. The goal is to provide a unique artistic experience that will deliver transparent inks on one sheet of paper will yield exciting and surprising results. The use of digital working wooden camera(s) and a series of images from it that promises to strengthen the students’ photography and the possibility of combining inkjet printing with traditional printing techniques artistic voice and expand technical expertise. Each student will construct a 4x5, large-format camera will also be introduced. Open to all skill levels. taking them through the entire process of construction, assembly, photo optics and exposure, film COURSE FEE: $995 or paper processing, contact printing, scanning images and outputting digital prints. After that, depending on their own individual interests, students can choose to emphasize camera-building, Andrew Saftel was raised in Rhode Island and Shane Darwent is a studio artist in Chattanooga, image-making or focus on building cameras of their own design. (Cameras can accept pinhole received a BFA in Printmaking from the San Tennessee and has received many residencies and apertures, plastic or glass lenses.) The workshop will emphasize one-on-one instruction, will be Francisco Art Institute. He has exhibited his work grants. He is a former printer, plate maker, and high-energy and collegial, and will energize your own artistic practice. This workshop serves a broad in galleries in Knoxville, Nashville, Denver and shop technician at Harlan & Weaver in New population of 2D/3D artists at all skill levels. Atlanta, and has received a Tennessee Individual York City. COURSE FEE: $1100 Artist Grant. shanedarwent.com andrewsaftel.com Lou Krueger is a professor of Photography at Laura Beth Kopnopinski is an independent artist Bowling Green State University and has taught with a primary expertise in glass with a secondary camera-building workshops or classes at Indiana concentration in photography. Her artwork utilizes University, Kalamazoo Institute for the Arts, combinations of glass, metal, photo imagery/optics Western Michigan, Syracuse University, Society and repurposes used materials. She is an instructor for Photographic Education and Penland School of Glass, Missouri University Craft Studio. of Crafts. lbkonopinski.com loukrueger.com

38 PAINTING/DRAWING/PRINTMAKING/PHOTOGRAPHY

JULY 12 — 18 • ONE WEEK JULY 19 — 25 • ONE WEEK JULY 19 — 25 • ONE WEEK JULY 26 — AUGUST 1 • ONE WEEK

HOLLY ROBERTS GARY CHAPMAN COLLAGE AND PAINT KJELLGREN ALKIRE CHARCOAL: EXPRESSIVE MARK THE PRINTED BANNER MAKING, A PAINTERS APPROACH TO Working with collaged/layered images, DRAWING students will be able to directly and quickly get involved in the process of image-making. This Blending the printing traditions of letterpress, PINKNEY HERBERT will allow you to have immediate feedback as screen printing and woodcuts with fabric Students will explore charcoal as the perfect ABSTRACT LANDSCAPE PAINTING AS you go forward and at the same time recognize surface design histories, this workshop will drawing medium for expressive mark making. SELF-PORTRAIT and identify the issues that are causing trouble. produce large-scale canvas banners in a Students will develop a personal approach By painting expressively, students will be collaborative circus of fun, fiber and fantasy. to loose, aggressive mark making with a With the idea that every painting is a self- accessing the most immediate and direct Part revivalist public relations and part combination of additive and subtractive portrait, this workshop will take inspiration link to their creative selves. By learning how circus carnival advertisement; your works techniques using charcoal and erasers. from the landscape to enable participants to the different media work together, students will integrate free speech text with graphic While charcoal will be the primary medium, explore and personify who they are as artists. will be able to understand what processes illustration in the spirit of blatant advertising eventually students will be encouraged to Using an improvisational approach, students work best in combination. The workshop and shameless publicity. Calling all roustabouts combine other, primarily dry media such as will be encouraged to mine their memories, will cover transfers, gluing techniques, and rhetoricians, let’s make a clamorous and conte crayon, graphite and pastel. The class intuitions and emotional “inscapes” to make painting techniques, surfaces, supports, vigorous attempt to win customers or advance will focus upon mark making as it relates personal connections to a particular landscape media compatibility and layering of different any cause. Open to all skill levels. to abstraction and later students may opt at a particular moment. Students will materials. You will be using acrylic paints. COURSE FEE: $525 to explore the different ways these same experiment on several “unsacred” pieces in oils Open to all skill levels. techniques can be applied to observational and play with new techniques, materials and COURSE FEE: $525 Kjellgren Alkire teaches art and design at Winona drawing for a provocative and beautiful fusion State University and has a studio in Lake City, utensils. The dichotomies that develop between of abstraction and realism. Open to all skill inside/out, heart/mind, real/imagined, and Holly Roberts lives and works in Corrales, New Minnesota. He has received awards, including levels. chaos/control will be explored and discussed Mexico with her husband, Robert Wilson. She the 2014 Jerome Foundation Fellowship for COURSE FEE: $525 in group critiques and on a one-to-one basis. earned an MFA from Arizona State University, Emerging Artists, and a 2009 Contemporary Open to all skill levels. Tempe, in 1981. Her pieces are nationally Forum Award from the Phoenix Art Museum Chapman, professor of art at UAB, has had over COURSE FEE: $525 and internationally exhibited and have been kjellgrenalkire.com 60 solo exhibitions with institutions such as The published in three monographs. Arts Center of St. Petersburg, Florida and the Pinkney Herbert has art studios in Memphis, hollyrobertsstudio.com Indianapolis Art Center. He has participated Tennessee and New York. He has taught at the in national and international exhibitions, and University of Georgia Study Abroad Program in his paintings have been purchased for numerous Cortona, Italy, University of Tennessee, Penland museums, corporate and private collections. School of Crafts and the Memphis College of Art. garychapmanart.com pinkneyherbert.com

39 PAINTING/DRAWING/PRINTMAKING/PHOTOGRAPHY

AUGUST 2 — 8 • ONE WEEK AUGUST 9 — 15 • ONE WEEK SEPTEMBER 13 — 19 • ONE WEEK SEPTEMBER 13 — 19 • ONE WEEK

LISA LINE CLAIRE STIGLIANI PLAYING WITH PORTRAITURE NARRATIVE PAINTING RYAN O’MALLEY Capturing the image of a living person is one VIPER VARIATIONS: COLLABORATIVE This course encourages creative exploration of the oldest pursuits in the world of art. How RELIEF PRINTMAKING IN REPTILIAN of the human image and storytelling beyond do we play the game of trying to express the observational figure drawing. Students will FORM essence of a human being? Let’s explore! Oil be painting on paper in water-based materials painting is the medium for this class, favored ASHTON LUDDEN (acrylic, watercolor, or gouache paint) and for its durability and depth of richness, as well SCREENPRINTING EXPOSED Students will participate in this one-of- incorporating non-traditional materials like as its ability to convey subtleties. Students a-kind course investigating techniques (gold leaf, gel mediums, flocking, embroidery will study from Rembrandt and Vermeer of relief printmaking using the reductive The printed image is everywhere and it is thread, and wax) as part of the course. You through Alice Neel and beyond. You will method. Topics covered include drawing the only artistic medium that can truly will think of the figure in interior and exterior learn “tricks” for posing subjects, adding and transferring, carving, registration, press communicate to the masses. Screenprint is one spaces as symbols to explore narrative from settings and for achieving the all-important printing, hand burnishing, textile printing of the most common forms in both the fine anthropological, cultural, personal and dream- likeness. In this week-long class, whatever and tool care. Each student will create an arts and commercial world. This workshop life imaging. The class will include the study of your level of experience, expect to grow in the edition using a unique image to form segments will introduce students to the fun, quick and written narrative, linear and non-linear ways to ability to plan, craft and complete a dynamic of a giant, winding snake to be pasted in a accessible world of screenprinting and will tell a story, methods of character development oil painting that carries at least a little bit of specific public location. Students will learn teach methods of creating imagery through and ways to paint space. Students can work that precious content: a portrait. Open to all the vast applications of relief printmaking drawing, stencils and digital output. Students from a piece of literature or their own idea. skill levels. through personal exploration and collaborative will create multiple-color prints on paper and Emphasis will be on experimentation with COURSE FEE: $525 single-color prints on fabrics. Participants will practices. Additionally, students will view and both material and image and you will make discuss prints from the instructors’ extensive also learn how to set up for screenprinting at a series of paintings that convey a narrative. Lisa D. Line lives and operates a studio for home with minimal equipment. Open to all collection. Open to all skill levels. Open to all skill levels. COURSE FEE: $525 oil painting in Sevier County, Tennessee. skill levels. COURSE FEE: $525 She received her BA in painting from Xavier COURSE FEE: $525 University in Cincinnati, Ohio. She acquired Ryan O’Malley received his M.F.A. in Claire Stigliani is a drawer and painter known the knack of quick portraiture during college Printmaking from Louisiana State University. He Ashton Ludden is a printmaker and sign artist for her works inspired by paintings, photographs, summers at an Ohio amusement park, at the is currently the assistant professor of Printmaking living in Knoxville, Tennessee. She holds an MFA magazines, posters, literature, performance, plays rate of dozens a day. at Texas A&M University, Corpus Christi and in Printmaking from the University of Tennessee. and YouTube clips. Her recent shows include The lisadline.com a member of the Outlaw Printmakers. Ryan She is currently the sign artist for Trader Joe’s and Madison Museum of Contemporary Art, The is an active artist member of the Vacuum Shop exhibits and has prints included in several Chazen Museum of Art and the Jenkins Johnson museum collections. Studios Collaborative in Knoxville, Tennessee. Gallery. ashtonludden.com ryanomalleyart.com clairestigliani.com

40 PAINTING/DRAWING/PRINTMAKING/PHOTOGRAPHY

SEPTEMBER 20 — 26 • ONE WEEK SEPTEMBER 20 — 26 • ONE WEEK SEPTEMBER 27 — OCTOBER 3 • ONE WEEK SEPTEMBER 27 — OCTOBER 3 • ONE WEEK

DON MCGOWAN MARY TODD BEAM SEEING WITH HEART: PHOTOGRAPHING CONTEMPORARY PAINTING WITH AN EYE OF WONDER

Students will become a contemporary painter Minor White said, “…innocence of eye has a WILLIAM KOCHER quality of its own. It means to see as a child in Mary’s class by learning to use the tools PAINTING IN THE OPEN AIR OF THE of modern design. Since art is a means of sees, with freshness and acknowledgement of communicating, you will be using these new the wonder; it also means to see as an adult GREAT SMOKY MOUNTAINS forms of expression: strata, grid, circles and sees who has gone full circle and once again JEFFREY HIRST more. They will become your new vocabulary sees as a child – with freshness and an even For students with an interest and passion for WAX AND MESH: SCREENPRINTING in expressing yourself more fluently. Each deeper sense of wonder.” In this class students painting “en plein air,” you will be utilizing the ONTO ENCAUSTIC day will begin with a demonstration that will combine an understanding of the craft and beautiful Great Smoky Mountains National the mechanics of digital photography with the Park to create daily landscape paintings. At will explore color, line and texture. Students In this workshop, students will experiment art of creative “seeing” to explore what it means the park you will study, observe and challenge will become more knowledgeable about the with screenprinting images underneath to see “with freshness and an even deeper sense yourself by painting landscapes each day. After metaphors and meaning embedded in your and on top of encaustic surfaces to produce of wonder.” You will explore what it means a day of painting, students will return to the work. The goal is to allow yourself to be the translucent layers. Techniques covered will to see with heart. Open to all skill levels, studio to discuss the processes and challenges unique and special artist that you are. The include painting with encaustic paint—which but a basic understanding of your camera’s of this difficult and wonderful undertaking. use of visual aids and charts will help inspire is a mixture of beeswax, damar resin and functions and your image processing software Walking is involved and each student must be and direct you onto the path of becoming the pigment—screen creation, screenprinting both are required. portable. Students will be working with oils visual poet. Open to all skill levels. water and oil based pigment, printing from COURSE FEE: $595 COURSE FEE: $525 and water-based media. Open to all skill levels. COURSE FEE: $525 a fixed print station, and freehand printing onto panels. The workshop moves at a fast yet Don McGowan, a native Georgian, now resides Mary Todd Beam is the author of two books and fun pace where spontaneity and discovery are in Buncombe County, North Carolina. He is William Kocher is a painter living in a video. She is a member of AWS, DF, NWS encouraged. Open to all skill levels. an award-winning nature photographer and a Mechanicsburg, Pennsylvania. He uses direct and the Ohio Watercolor Society, and two-time COURSE FEE: $525 winner of the AWS Gold Medal of Honor Award. celebrated instructor in nature photography. Don observations en plein air, to create paintings that brings an artist’s eye and a craftsman’s touch to express his love for all things out-of-doors. Past Her work is exhibited internationally. Jeff Hirst is a San Francisco Bay Area-based artist marytoddbeam.com the fields of conservation and environmental exhibitions include The Pennsylvania Governor’s who has been exhibiting his work since 1987 and photojournalism. residence. is the owner of Hirst Printmaking, a printshop earthsongphotography.com williamkocher.com and teaching facility in Oakland, California. jeffreyhirst.com

41 PAINTING/DRAWING/PRINTMAKING/PHOTOGRAPHY

OCTOBER 15 — 18 • WEEKEND OCTOBER 22 — 25 • WEEKEND OCTOBER 22 — 25 • WEEKEND CLAY

JANE VOORHEES DON LAKE FEARLESS WATERCOLOR NEW PERSPECTIVES ON PAINTING: FOR BEGINNERS WAIT! WHAT WAS THAT AGAIN? THOMAS LUCAS MASTER WEEKEND CLASS Are you interested in painting in watercolor for the first time or want to get back into COLOR INTAGLIO: PATH OF LEAST With time for individual critique of your work watercolor painting but not sure how to RESISTANCE and some intensive studio work time, this begin? In this weekend class you will explore weekend will provide some perspective on the watercolor basics while discovering the joy of This course approaches inatglio from work you are currently making. Students will this medium. You will have fun working small a painterly perspective with a focus on learn about techniques and combinations of as you overcome the fear of the blank paper fabricating a variety of full color prints from materials that may offer new directions and and while sparking your creativity. Students one to two plates. Demonstrations of simple there will be assignments or ideas for projects. will learn about brushes, paper, and mixing intaglio techniques such as drypoint, line etch, Students should bring one to three pieces colors while you expand your watercolor soft ground, lift ground and photo-polymer of your current work as well as inspiration, vocabulary with a variety of watercolor (solarplate) will be provided to create unique sources and materials for painting for critique techniques. Open to all skill levels. plate-making options. The goal is to transform sessions. Work time and conversation with COURSE FEE: $340 traditional intaglio into a medium that can be other dedicated watercolor painters is sure fluid and to allow more freedom of expression. to send you away with new enthusiasm for Jane Voorhees is a full-time painter living in Students with a drawing and painting your work. This class is open to experienced Asheville, North Carolina. She studied painting background will discover new directions can students seeking intense studio time, at the Art Students League in New York City but be made with your work. Participants are meaningful discussion, critiques, questions and acquired a great many skills painting alongside of introduced to a myriad of techniques and risk taking. her painter parents. encouraged to select processes that best suit COURSE FEE: $395 janevoorheesart.com your ideas. Open to all skill levels. COURSE FEE: $340 Don Lake has been working with transparent watercolor and other water media and drawing Thomas Lucas received his BFA in Printmaking materials for over four decades. As a retired at Tyler School of Art, Temple University and an professor Emeritus at Parkland College in MFA with a Merit Scholarship at The School of Champaign Illinois, he has worked with students the Art Institute of Chicago. He has taught at the in studio drawing, color and watercolor courses. Tyler School of Art, The School of the Art Institute donlakeart.com and The Museum of Contemporary Art Chicago. thomas-lucas.com

42 CLAY

APRIL 9 — 12 • WEEKEND MAY 31 — JUNE 6 • ONE WEEK MAY 31 — JUNE 6 • ONE WEEK JUNE 7 — 13 • ONE WEEK

BLAIR CLEMO HEATHER MAE ERICKSON FORREST LESCH-MIDDELTON ANYTHING GOES: COMBINING SIMPLE HAND MADE MODELS AND BREAK FINDING YOUR VOICE THOUGH TECHNIQUES INTO COMPLEX POTS AWAY MOLDS THROUGH VOLUMETRIC IMAGE This week long workshop will focus on TRANSFER AND THE POURING VESSEL BRIAN NETTLES This course will demonstrate methods of combining wheel throwing, press molding and creating objects for mold making using various TURNING AND BURNING: WHEEL handbuilding techniques to make utilitarian materials and techniques to generate objects If it pours, you will make it in this class. THROWN POTTERY pots. Daily demonstrations will illustrate from scratch and found object appropriation. This informative workshop will explore LEGACY WEEKEND CLASS how to use ornamental press molds and basic For model making, students will learn to use the specifics of volumetric image transfer forming techniques like wheel throwing and the wheel as a tool for profiling forms for through an investigation of the pouring coil building to construct form and surface Come join us for this fast paced pottery sculpture, installation and function. You will vessel. Class discussions aimed at cultivating simultaneously. Topics covered will include: making class where students will learn the fabricate tools and templates for extruding, meaningful content will lead students to forming and carving prototypes out of clay, rich history of “turning” pottery on the sledging and profiling plaster and clay. Basic developing imagery and pattern silkscreens making simple one and two-part plaster wheel. Students will explore all aspects of to advanced mold making will be shown that will make the transfers to adorn your press molds, layering forming techniques and what it takes to make functional pottery: with an emphasis on quick mold making work with. Prepare for the long nights of utilitarian concerns. Along with an emphasis centering clay on the wheel, pulling cylinders, techniques such as the breakaway mold. hard work it takes to develop great pots in on technical exploration and skill building, and making bowls, cups and vases. You will Through demonstration and lecture, a variety the studio, and there is no better reward for this workshop will encourage a dialog about bisque, glaze and fire (burning) the pottery of processes with plaster and its many stages tireless studio commitment than the absolute how the materials and techniques we choose you will make in class. Students can expect to of workability will be presented. Students sense of community and ridiculousness that can equate meaning and content in our work. leave with several finished turned and burned will also learn to plan out ideas with drawing arises in the delirium of an intense week of Open to all skill levels. pots. Conversations about traditional and devices and stencils to develop designs from studio exploration. This class is intended for COURSE FEE: $525 historical pottery of the Appalachian region beginning to end. If time permits students will intermediate and advanced students with will complement the week’s activities. Open to cast and bisque fire. Open to all skill levels. a developed sense of wheel throwing and a Blair Clemo is a potter and assistant professor all skill levels. COURSE FEE: $525 willingness to explore new ideas. of Craft and Material Studies at Virginia COURSE FEE: $340 COURSE FEE: $525 Commonwealth University in Richmond. He Heather Mae Erickson is an artist, a craftsperson received his MFA in Ceramics at the New York Brian Nettles is a studio potter living in Pass and a designer. She earned her BFA at The Forrest Lesch-Middelton is a ceramic artist in State College of Ceramics, Alfred University Christian, Mississippi and has his BFA in University of the Arts in Crafts and her MFA Petaluma, California. His pots and architectural in 2010. He has worked at small production ceramics and sculpture from the University of at Cranbrook Academy of Art. Erickson was tile have been featured in Ceramics Monthly, potteries in Idaho and Montana. Southern Mississippi. He studied wood firing on awarded a Fulbright fellowship to conduct Sunset Magazine, The New York Times and ablairclemo.com multiple trips to Japan and has been making pots independent research at Aalto University in Architectural Digest. Recently, Ceramics Monthly and teaching for over 20 years. Helsinki, Finland from 2004-2005. chose Forrest as The Ceramic Artist of the Year. nettlespottery.com heathermaererickson.com flmceramics.com

43 CLAY

JUNE 7 — 13 • ONE WEEK JUNE 14 — 20 • ONE WEEK JUNE 14 — 20 • ONE WEEK JUNE 21 — 27 • ONE WEEK

JOSEPH PINTZ LINDSAY PICHASKE REBECCA HUTCHINSON HANDBUILDING VESSELS WITH BISQUE EVOCATIVE ANIMAL HEADS DEFINING PERSONAL DIRECTION MOLDS AND CONSTRUCTION: PAPER CLAY A In this week long workshop, students VERSATILE APPROACH In addition to utilizing additive and reductive will explore the narrative, emotional and handbuilding techniques, participants will conceptual potential of the animal head in clay. You will begin with small head studies, and In this workshop students will explore paper learn to use and make their own bisque URSULA HARGENS then translate these into life-sized or half-scale clay as a sculptural medium. Demonstrations molds to create an assortment of utilitarian ON THE SURFACE animal heads. Lindsay will share her building will include clay preparation, building and sculptural forms. There will be a strong methods, including solid construction with techniques for using paper clay, surface and emphasis on surface and form, not as an This workshop will focus on the use of pipe armature, slab building and sculpting color, firing and non-firing options; all to afterthought, but as an essential design decorative techniques to create dynamic, facial features. Image presentations of historic achieve qualities of translucency, weightlessness element. Finishes that highlight the rich layered surfaces. Using bisque and greenware, and contemporary examples will provide and sculptural building ease in pursuit of surface of earthenware such as terra sigillata you will experiment with slips, underglazes, context and inspiration. Individual guidance personal expression. Participants will be will also be covered. This workshop will focus stains and glazes at each stage of the ceramic will help students create unique sculptures that encouraged to develop individual ideas and on creative experimentation. Open to all skill process. Students will work with tiles and are personally relevant. You will bisque fire, conceptual directions. The workshop will be levels. simple pots to experiment with techniques, then experiment with “cold” surface treatments balanced between demonstration watching, COURSE FEE: $525 such as inlay, resist and trailing. This class like paint, dry pigments and wax. Open to all idea development and studio construction is meant to provide you with a repertoire skill levels. time. Open to all skill levels. Joseph Pintz is an assistant professor at the of decorative techniques and new ways of COURSE FEE: $525 COURSE FEE: $525 University of Missouri. He earned his BA in unifying form and surface. You will work anthropology and urban studies at Northwestern with low-fire, earthenware clay and glazes, but Lindsay Pichaske received her BFA from the Rebecca Hutchinson is a ceramic installation University and his MFA from the University the techniques and concepts covered can be University of North Carolina, Chapel Hill artist and professor of Ceramics at the University of Nebraska-Lincoln. Pintz has been a resident applied to any clay or firing temperature. Open in 2003 and her MFA in Ceramics from the of Massachusetts Dartmouth. She has been artist at the Archie Bray Foundation and the to all skill levels. University of Colorado, Boulder in December awarded a Pollock Krasner Grant, Puffin Roswell Artist-in-Residence program. COURSE FEE: $525 2010. She is a Ceramics faculty member at the Foundation Grant, Virginia Artist Fellowship, iconceramics.com College of Southern Maryland. and Society of Arts and Crafts Artist of the Year Ursula Hargens is a studio potter and program lindsaypichaske.com Award. head of the Minnesota New Institute for rebeccahutchinson.com Ceramic Education. She received an MFA from Alfred University, New York and an MA from Columbia University. She studied ceramics at Nova Scotia College of Art and Design. ursulahargens.com

44 CLAY

JUNE 21 — 27 • ONE WEEK JUNE 28 — JULY 11 • TWO WEEKS JUNE 28 — JULY 11 • TWO WEEKS JULY 12 — 18 • ONE WEEK

THADDEUS ERDAHL LIMITED EDITION: EXPLORING CERAMIC JASON WALKER SAM CHUNG SURFACES FOR FIGURATIVE SCULPTURE PERSONAL NARRATIVE POTTERY TIME MACHINE

In this course students will work with This course will begin with students sculpting a simple ½ life-size scale face (half head). This workshop will focus on making pots that porcelain and/or stoneware and acquire connect past with present through “cross- new skills in handbuilding and will have the Each student will make a simple plaster mold of the face they sculpt. These dropout breeding” design elements from various opportunity to embellish your forms with DOUG JEPPESEN sources. Students will reinterpret historical underglaze painting. Through this process, molds will allow you to make a series of CLAY—WOOD FIRING: PROCESS quick faces and heads which will serve as pottery forms by merging them with more you will gain a better understanding how to AND PURPOSE contemporary imagery, objects or ideas that develop individual narrative and concepts a great beginning for form and surface experimentation and development. Stencil relate to each individual’s interests. Our goal pertaining to combining two-dimensional will be to discover new, personal identities imagery with three-dimensional form. Students During this workshop you will explore firing processes and image alterations using the anagama and manabigama wood kilns. Photoshop will be demonstrated. Students within these great historical works. Technical will receive individual consultation about your instruction will include: altering wheel thrown own ideas and first hand demonstrations of the With bisque ware (cone 10) students have will also practice the process of slip and brought, we will load the anagama and discuss newsprint transfer application, along with forms, slab construction using paper templates instructor’s techniques both in handbuilding and the application of China paints. If you and underglaze painting. You will also learn the various zones available. As students are a variety of surface layering techniques. You firing, you will then begin to make work will leave with a plethora of new techniques have an interest in developing your own work about ideas and approaches to combining based on historical ceramic objects, this will be imagery with form to develop a unique for the second firing where you will fire the and processes, their face mold, and some great manabigama. Having the opportunity to fire finished pieces. Open to all skill levels. the class for you. Students should have basic personal narrative. Open to all skill levels. wheel-throwing and/or handbuilding skills. COURSE FEE: $525 both kilns will be an excellent opportunity COURSE FEE: $995 for students to better understand the firing COURSE FEE: $525 Jason received a BFA from Utah State University process and how kiln design can create a varied Thaddeus Erdahl is a studio artist and is the palette on the work. Basic wheel throwing or head of Lower School Art at the Princeton Day Sam Chung received his MFA from Arizona State and a MFA from Penn State University. After University and his BA from St. Olaf College. He teaching for two years in Napa California he handbuilding skills are necessary. School. He has held residencies at Guldegergaard COURSE FEE: $995 taught at Northern Michigan University from pursued life as a studio artist. He spent two years International Ceramic Research Center in Denmark and at Arrowmont and had a solo 1998-2007 and has been teaching at Arizona as a resident at The Archie Bray Foundation for State University since 2007 where he is an the Ceramic Arts and was the recipient of the Doug Jeppesen is the associate professor of Art/ exhibition at Greenwich House Pottery in New Ceramics at Waubonsee Community College. York City. Associate Professor of Ceramics Taunt Fellowship award. samchungceramics.com jasonwalkerceramics.com He earned his MFA from Northern Illinois [email protected] University, BA in Art History and BFA in Art/ Ceramics from the University of Tulsa. dougjeppesen.com

45 CLAY

JULY 19 — 25 • ONE WEEK JULY 19 — 25 • ONE WEEK JULY 26 — AUGUST 1 • ONE WEEK JULY 26 — AUGUST 1 • ONE WEEK

KRISTEN KIEFFER MARK SHAPIRO JERILYN VIRDEN ALTERED, ORNAMENTED AND DRAWN: POTS À LA CARTE: EXPRESSION HOLLOW FORM SCULPTURE JANIS MARS WUNDERLICH NO FEAR! AND EASE EXPRESSIVE FIGURES IN CLAY Working with earthenware clay, students This workshop will focus on conquering will use handbuilding techniques to create Potters are always working on certain pots, sculptural vessels and abstract forms. Beginning anxiety and embracing play in student This fast-paced, hands-on workshop will focus striving to make them more expressive and sketchbooks and pots. You will be altering on figurative sculpture. Participants will learn with small maquettes, students will experiment with greater ease. What pots do you return with shape and proportion, brainstorming wheel-thrown or hand-built forms, and then a multitude of techniques for hand building, to again and again? This workshop will focus embellishing them with an array of decoration adding texture and details, and glazing. You directly with clay. This collection of rapidly on pots students choose. You will generate a developed three-dimensional sketches will techniques, from stamping and slip-trailing to will develop intricately layered surfaces, while list of specific pots such as cups, mugs, bowls, sponging and resists. In between, students will discussing personal imagery and translating become a resource for the rest of the workshop. pitchers, teapots, or general topics such as With a focused study of proportion, structure investigate ways of drawing and collaging in the struggles and joys of everyday life into handles, lids or spouts. The goal is to go home your sketchbooks that are both fun and help figurative form. Workshop content will go and surface, you will learn to translate these with new techniques and practical ideas about solid objects into hollow forms. Participants fine tune influences and ideas. Demonstrations beyond the technicalities of making, as you how to improve and expand your menu of include throwing, altering and building off the learn an abundance of ideas about studio will build sculptural pieces through pinching, pots. Some wheel experience preferred. coiling, slab building and carving, using wheel, darting and a variety of deco techniques set-up, working with galleries, exhibiting COURSE FEE: $525 including stamp-making. Students will leave and selling work, and other practical advice. these techniques to explore issues of scale. Completed work will be bisque fired after the the workshop with a collection of new skills, Participants will learn to interpret the events Mark Shapiro makes wood-fired pots in Western a better understanding of timing in clay, and that surround them into richly detailed workshop. Open to all skill levels. Massachusetts. He is a frequent lecturer, curator, COURSE FEES: $525 confidence. This workshop and its techniques expressive figures in clay. Some ceramic panelist, and writer, and is mentor to apprentices are equally suitable for both throwers and experience is helpful, but all skill levels are who have trained at his Stonepool Pottery. His hand-builders. Basic wheel-throwing and/or welcome. Jerilyn Virden is a studio artist in of Greensboro, work was featured in the 4th World Ceramics Vermont. She graduated with a BFA from West hand-building skills are necessary. COURSE FEE: $525 Biennial in Icheon, Korea, and is in many public COURSE FEE: $525 Virginia University in 1997 and has also studied collections. abroad at the Jing-de-zhen Ceramic Art Institute Janis Mars Wunderlich received her BFA from stonepoolpottery.com Kristen Kieffer is a full-time studio potter, Brigham Young University and MFA from Ohio in China. She creates hollow ceramic sculptural workshop leader, and ceramics instructor in State University. As a full-time, at-home artist forms as well as utilitarian pottery. Massachusetts. She received her BFA from the she has created an extensive body of work featured borealisstudios.com N.Y.S.C.C. at Alfred University and MFA from in hundreds of national and international Ohio University. Kristen has exhibited her work exhibitions, public and private collections, and internationally. several publications. kiefferceramics.com janismarswunderlich.com

46 CLAY

AUGUST 2 — 8 • ONE WEEK AUGUST 9 — 15 • ONE WEEK AUGUST 9 — 15 • ONE WEEK

MCKENZIE SMITH ADAM FIELD AND DOUG PELTZMAN CLAY, FORM, SLIP, GLAZE, FIRE WORKING OUT THE DETAILS: SURFACE, FORM AND FUNCTION ALICE BALLARD The interaction between a clay, slip, glaze and FINDING YOUR FORM In this five-day workshop, students will learn through demonstration methods of wheel-throwing kiln atmosphere will be central as students THROUGH NATURE porcelain vessels and carving intricate pattern on a variety of forms. You will learn techniques consider how these converge with the process for throwing and building with porcelain along with designing pots with specific glazes in mind. of shaping clay to make good pots. This class Establish a more intimate relationship with There will also be discussion about Field’s time as a potter’s apprentice in Korea. You will gain will explore variety, proportion and expressive your natural environment and allow that personal aesthetics, and learning promotion and marketing strategies for the studio potter are relationships through wheelthrown functional relationship to impact your work in this certain to encourage individual discovery, growth, and development of fresh ideas. There will forms fired in soda and salt kilns. Students enlightening workshop. Students will begin also be informative discussions and exercises geared toward finding inspiration through personal should expect to share ideas and develop forms by collecting natural forms that attract them. exploration of one’s own practice both in and out of the studio. Students are encouraged to bring and processes together. Demonstrations, slides Various handbuilding exercises will follow source material for surface treatment as well as high fire bisque ware. Participants will gain the and discussions will help lead us to new ideas as students increase the size and complexity skills and confidence necessary to explore form, texture, line, and color as a way to blend ideas and and bodies of work. Open to all skill levels. of their discovered form. Low fire clays and concepts with tactile discovery. Open to all skill levels. COURSE FEE: $525 colored terra sigillata will be used. Work will be COURSE FEE: $525 fired in electric kilns and the last firing will be McKenzie Smith is a potter working in Florida. a sawdust firing. Intuition, spontaneity and fun Adam Field earned his BA in Art from Fort Doug Peltzman is a studio potter and teacher in He worked as a core student at the Penland will be part of this process oriented workshop. Lewis College. He recently moved to Helena, the Hudson Valley area of New York. He earned School of Crafts. He received his BFA from the Only a curiosity about clay is necessary to Montana where he is a long-term artist in his BFA in Ceramics at SUNY New Paltz in University of South Florida and his MFA from enjoy this class. Open to all skill levels. residence at The Archie Bray Foundation. He 2005 and in 2010 his MFA in Ceramics from the University of Florida. Smith has exhibited COURSE FEE: $525 studied Korean pottery making under 6th Penn State. He served an adjunct instructor at widely and taught numerous workshops. generation Onggi master Kim Il Mahn. the University of Hartford. mckenziespottery.com Alice Ballard received her BS in Design from adamfieldpottery.com dougpeltzman.com the University of Michigan and an MFA in Painting. She has worked in the permanent collections of the Smithsonian American Art Museum’s Renwick Gallery in Washington D.C. and the Mint Museum of Art in Charlotte, North Carolina. aliceballard.squarespace.com/blog

47 CLAY

SEPTEMBER 13 — 19 • ONE WEEK SEPTEMBER 13 — 19 • ONE WEEK SEPTEMBER 20 — 26 • ONE WEEK SEPTEMBER 27 — OCTOBER 3 • ONE WEEK

KEVIN CROWE CHANDRA DEBUSE JASON BIGE BURNETT OUT OF THE HEART – INTO THE KILN SKETCH, STRETCH AND SCRATCH: THE GETTING GRAPHIC: PRINTS AND POTS ILLUSTRATED VESSEL In this workshop students will surface This action-packed week provides a crash bisqueware, and load and fire Arrowmont’s In this class students will explore sketch- course introduction to screen-printing and Manabigama wood kiln. You will explore based creation of functional pottery through how to incorporate it in student’s clay work. stacking strategies, firing cycles and ash handbuilding and surface decorating Screen-printing methods: drawing fluid, screen distribution. While the kiln cools, there will techniques. You will examine methods of NAN JACOBSOHN filler and photo sensitive emulsion will be be throwing demonstrations. You will discuss translating two-dimensional shapes into three- covered in addition to generating stencils based various kiln designs, the effects of longer firing SCULPTING THE ANIMAL IMAGE dimensions using soft clay slabs with stamps/ on student’s interests. You will explore personal cycles, and the benefits of raw glazing and templates/molds made from wood, craft foam imagery and iconography through several types single firing. After unloading students will Animal images have been captivating since and bisqued clay. After forming, participants of surface techniques using slip, underglaze, analyze results and learn the lessons in front the time of the cave man. Through renderings will embellish your surfaces with imagery newsprint paper and paper cutting. This course of you, including the environmental costs, the artists seek to capture their beauty, grace and pattern through low-relief, underglaze is open to all skill levels. No print experience aesthetic challenges and the role of community and spirit. In this class students will explore inlay, sgraffito, and combined techniques. necessary. Hand-builders and wheel throwers in wood firing. Patience, curiosity and a sense techniques to achieve the characteristic Numerous examples ranging from historical are welcome. Experience in clay will be helpful. of humor are required. Open to all skill levels. gesture and features that defines the animal pottery to contemporary illustration will COURSE FEE: $525 COURSE FEE: $525 through the use of multiple hand building spark ideas about integrating form and surface approaches and supportive armatures. in your work. Students will focus primarily Jason Bige Burnett earned his BFA from Western Kevin wood fires Asian-English inspired pots in Developing a personal aesthetic will also be on handbuilding, but some wheel-throwing Kentucky University in 2009 and continued his his anagama-noborigama 450 cubic foot kiln. He stressed. Methods for achieving convincing techniques will be integrated. Bring your education as a core fellowship student at Penland has taught workshops throughout the U.S. and surface textures and final finishes will be sketchbook and be ready to experiment with School of Crafts in North Carolina in 2009- Great Britain focused on wood firing, throwing demonstrated, along with instructions for fool some new techniques. Open to all levels, 2010. Jason has been an Artist-In-Residence at large scale work and tea bowls. He lives and proof firing schedules specific to larger scale although some experience with clay will be Arrowmont and has been published in numerous works in central Virginia in the foothills of the sculpture. Open to all skill levels. helpful. publications. Blue Ridge Mountains. COURSE FEE: $525 COURSE FEE: $525 jasonbigeburnett.com kevincrowepottery.com Nan Jacobsohn has spent multiple decades Chandra DeBuse creates illustrated pottery out instructing sculpture and has had numerous of her studio in Kansas City, Missouri. She grants with the Tennessee Arts Commission to received her MFA from the University of Florida teach in Tennessee schools. Her work has been in 2010 and was an Arrowmont resident artist. featured in Ceramics Monthly and Clay Times. Her handbuilding methods have been featured in theclayhorse.com Pottery Making Illustrated magazine. chandradebuse.com

48 CLAY

SEPTEMBER 27 — OCTOBER 3 • ONE WEEK OCTOBER 15 — 18 • WEEKEND OCTOBER 22 — 25 • WEEKEND

MICHAEL SHERRILL LIZ ZLOT SUMMERFIELD FOR THE LOVE OF MATERIAL: FINDING SOFT SLAB CONSTRUCTION: JAMES TISDALE THE BASICS AND BEYOND GO FIGURE! THE HUMAN IN MATERIAL MASTER WEEKEND CLASS This workshop will demystify working In this class students will use the figure, with soft slabs, and will offer the essential In this class students will be learning about animal, or a combination of both for a components to creating unique slab built pots. color techniques with colored clay and slips. foundation to create a narrative sculpture Students will be introduced to the techniques You will explore the use of the extruder, the that may explore many subjects. These ideas of working with earthenware clay slabs and manipulation of forms and the use of bronze can be humorous, political, social, religious, paper patterns. You will begin with simple as a structural element. Each of these mediums or one of inner intimacy. There will be functional forms and expand to include has similarities and students will come to discussions on developing a visual language components such as lids, feet and spouts. understand the marriage between them. This through individual and group dialogues. Along There will be discussion and work time allotted class will consist of studio time, meaningful with a lecture of how the instructor’s images towards surface treatment using terra sigillata discussions, critiques, questions and risk developed, there will be demonstrations on and underglazes. Students will learn strategies taking. Open to all skill levels. the exploration of surface treatments by using on personalizing your work through discussion COURSE FEES: $395 glazes and under glazes in a variety of ways and a visual presentation. Open discussions on green ware and fired work. Students will on topics such as function, scale, and the Michael Sherrill has lived in western North achieve their goal by using coils, slabs or a importance of intention will be encouraged as Carolina since 1974 and is the creator of combination both. This is a class of learning well as one-on-one interaction in a supportive, Mudtools, president of the Center for Craft, through exploration, play and removal from positive environment where experimentation Creativity & Design, an organization advancing the rest of the world to have fun. Please bring is encouraged and individual development the understanding of craft and materials-based images or sketches so we can hit the ground nurtured. Firing is not included. Open to all arts and a full time maker running. Open to all skill levels. skill levels. michaelsherrill.net COURSE FEE: $525 COURSE FEE: $340

James Tisdale received his MFA from the Liz Zlot Summerfield completed her MFA University of Georgia and works at The in 2004 at the University of Minnesota in Contemporary Austin and serves as the ceramic Minneapolis. She lives in Bakersville, North program coordinator for The Art School. He Carolina and works as studio artist and adjunct received UGA grants to study in Italy and a instructor in the Professional Crafts Program at NEA Grant to lecture and show his art here and Western Piedmont Community College located in abroad. Morganton, North Carolina. jamestisdale.com lszpottery.com

49 OTHER ARROWMONT PROGRAMS EXHIBITION SCHEDULE

JANUARY 17 – MARCH 14, 2015 17TH SEVIER COUNTY JURIED BIENNIAL GALLERIES & EXHIBITIONS COMMUNITY PROGRAMS ARTISTS-IN-RESIDENCE PROGRAM Opening Reception: Friday, January 16, offer a Arrowmont complements its core national The Artists-in-Residence Program offers early 6:00 – 8:00pm • Blain Galleries THE SANDRA J. BLAIN GALLERIES year-round schedule of changing national workshop programs with a series of classes and career, self-directed artists the time, space and MARCH 13 – APRIL 19, 2015 and regional exhibitions that complement special programs designed specifically for local support to develop a new body of work in a SOUTH EAST FIBER FORUM and support workshops, conferences and residents. creative community environment with visiting INSTRUCTOR EXHIBITION programs. Serving as an educational resource, Community Classes are offered in the winter artists, instructors and students. Residents, the exhibitions enable students and visitors months in professionally-equipped studios selected annually for the eleven-month Loggia and Instant Gallery to learn about various media, techniques with skilled teaching artists covering a variety program, live on campus and are provided and ways artists express ideas through their of media and learning opportunities. Complete studios, monthly stipends, furnished housing MARCH 21 – MAY 9, 2015 work. Many works are for sale with proceeds information on community classes for adults, with private bedrooms and bathrooms, and A-I-R ANNUAL EXHIBITION supporting individual artists and the mission young adults and children is available online. meals during workshop sessions. Professional Reception: Saturday, April 10 during of the School. development, paid teaching and exhibition Legacy Weekend • Blain Galleries ArtReach annually provides more than opportunities are available. THE LOGGIA GALLERY features the Arrowmont 1,200 students (grades 4-12) from different APRIL 20 – MAY 15, 2015 Artists-in-Residence in a revolving exhibition. Sevier County schools with an in-depth, full www.arrowmont.org/artists-in-residence SPRING WILDFLOWER PILGRIMAGE ARTIST This foyer gallery is dedicated to the residency day art workshop at Arrowmont. Content OF THE YEAR RECEPTION: program in order to provide opportunities for encompasses a wide range of diverse art ARROWMONT’S ARTISTS SUPPLY STORE the resident artists to learn exhibition space experiences, including use of specialized Workshop supplies and books are available Wednesday, April 22nd, 5:30 – 7:00pm management. On occasion, this gallery features equipment. Students take one of six different in the supply store on campus, along with Pilgrimage dates: April 22 – 25, 2015 national conference and permanent collection workshops including drawing, photography, artwork by current and former resident • Loggia Gallery exhibitions as well. pottery, painting, textiles, sculpture, metals artists. The store carries materials requested by and woodturning. instructors for classes, as well as an extensive MAY 18 – AUGUST 22, 2015 THE JERRY DROWN WOOD STUDIO GALLERY range of supplies in all media. 2015 INSTRUCTOR EXHIBITION displays revolving wood exhibitions from the Smoky Mountain School of Appalachian Arts Blain Galleries permanent collection, much of which was and Culture is a collaborative project with donated as a bequest from Jerry Drown, a the Sevier County School System designed ARROWMONT FACILITY RENTAL AUGUST 29 – OCTOBER 31, 2015 long-time supporter of the School. Exhibitions to provide week-long learning opportunities Arrowmont facilities provide the perfect MATERIALITIES: CONTEMPORARY TEXTILE include turned and constructed wood objects for eighth grade students on Arrowmont’s location for conferences, corporate retreats, ARTS SURFACE DESIGN ASSOCIATION and wood sculpture, historically representative campus. The intensive study includes art, business meetings or family gatherings. INTERNATIONAL EXHIBITION of the evolution of woodturning — from traditional crafts, history, tradition and Housing, meals, presentations and art-making functional forms to artistic objects. culture of Appalachia, with an emphasis on Intensive dates: October 4 – 11 can be easily accommodated on campus. For the interrelationship between art and other more information, call 865.436.5860. Reception: Thursday, October 8 disciplines. Blain Galleries For additional information go to arrowmont.org. NOVEMBER 7, 2015 – JANUARY 9, 2016 SELECTIONS FROM ARROWMONT’S PERMANENT COLLECTION Blain Galleries

50 REGISTRATION AND WORKSHOP FEES

Classes are filled on a first come, first served All CANCELLATIONS must be made in writing basis and early registration is recommended as by mail, fax or email (no phone calls please). class sizes are limited and fill early. Arrowmont A cancellation fee of $100 will be charged on believes that diversity of students, including cancellations received more than 45 days prior varied skill levels and backgrounds, enriches to the start of the workshop. Cancellations the educational experience for all. Arrowmont received less than 45 days before the beginning accepts all persons regardless of race, color, of the workshop receive no refund. national origin, gender, sexual orientation or religion. Students must be 18 years or older to Arrowmont reserves the right to cancel any attend an adult workshop. class due to insufficient enrollment and will notify students of any cancellation at least two weeks prior to the start of the workshop. In SCHOLARSHIPSAND FINANCIALAID programs the event that Arrowmont cancels a class, the are available to support continuing education student will receive a full refund, including for K-12 teachers; participation by local the registration fee. Arrowmont cannot be residents who live or work in Blount, responsible for airline tickets or other travel Cocke, Jefferson, Knox or Sevier counties costs in the event of a cancellation. in Tennessee; and others with financial need, as well as some specific media-based opportunities. Please see page 58 & 59 for Arrowmont works with colleges and MATERIALS FEES will be charged to all students BASKETS ...... $20 - $90 universities to offer COLLEGE CREDIT and/ based on shared materials used in each scholarship and educational assistance program CLAY ...... $35 - $120 information. If fees are prohibitive, contact or CEU certification for interested students. class, and are in addition to course fees and the registrar to explore existing financial aid For those interested in earning credit, please materials or supplies that instructors may DRAWING/PAINTING ...... $20 - $70 opportunities. Those applying for a scholarship call Arrowmont before registering for a class ask students to bring, or individual supplies or the educational assistance program will be to understand the options available. Most purchased at the Art & Supply Store during ENCAUSTIC PAINTING ...... $75 - $160 Arrowmont workshops qualify for college the workshop. Materials fees are collected registered following selection and acceptance of FIBER/SURFACE DESIGN/MARBLING ...... $30 - $100 the award. credit when approached as independent study on the last day of class. See chart at right for projects in conjunction with a degree program. average materials fees. It is possible for fees GLASS ...... $90 - $180 Interested students should consult with their to be less or greater than the range indicated counselors prior to enrolling. depending on the class. GLASS/KILN CASTING ...... $150 - $300 PAYMENT may be made by check, money order, or credit card (MasterCard, VISA, Discover, or METALS/ENAMELS/POLYMER CLAY ...... $25 - $105 American Express). Students should be aware that in many PAPER/BOOK ARTS/PRINTMAKING ...... $30 - $90 workshops they may be working with tools and equipment which, if improperly or carelessly PHOTOGRAPHY ...... $10 - $75 Workshop registration is NON-TRANSFERABLE used, can cause injury. All classes will include a from person to person. A person may transfer SCULPTURE ...... $20 - $95 SAFETY review to inform students about proper their enrollment from one class to another use of tools and equipment in the studio. By WOODTURNING/WOODWORKING ...... $25 - $125 within the same year, presuming space is registering for a workshop, students assume the available. Transfer requests will not be accepted risk of working with the tools, equipment, and less than 30 days prior to workshop. A non- materials provided by Arrowmont, and neither refundable $25 transfer fee will be charged for the instructor, the School nor its employees each transfer. will be responsible for injuries received by students as a result of the improper or careless use of those tools and equipment.

51 SCHEDULE AT A GLANCE

APRIL 9 — 12 JUNE 7 — 13 JUNE 28 — JULY 11 JULY 19 — 25 LEGACY WEEKEND TWO WEEKS DAVID ELLSWORTH woodturning JERRY KERMODE & WALKER KERMODE DUSTIN FARNSWORTH woodworking SHARON DOUGHTIE & PAT KRAMER woodturning MARK ST. LEGER woodturning JENNIFER WELLS metal woodturning JENNA GOLDBERG bandsaw boxes JOHN PHILLIPS appalachian style banjos RACHEL MEGINNES mixed media BETTY HELEN LONHGI metals CHRIS DARWAY metals MARY ANN THOMPSON baskets CARMEN GRIER fibers TOMMYE SCANLIN weaving JOVENCIO DE LA PAZ spinning/tapestry FRANCES FOX weaving MATTHEW SHLIAN paper AMY PUTANSU textiles HERB RIETH drawing/zines JEANNE BRADY textiles/surface design MARGARET SCANLAN painting MEAGAN CHANEY GUMPERT glass/mixed HOLLY ROBERTS mixed media/ JOHN DIGIACOMO photography FORREST MIDDELTON clay media painting/collage* BOBBIE CREWS painting REBECCA HUTCHINSON clay sculpture ANDY SAFTEL & SHANE DARWENT KJELLGREN ALKIRE screenprinting BRIAN NETTLES clay printmaking KRISTEN KIEFFER clay LENTON WILLIAMS traditional brooms LOU KRUEGER & LAURA BETH KONOPINSKI JANIS WUNDERLICH clay figurative JOEL ZACHRY nature studies JUNE 14 — 20 pin-hole camera building/photography DOUG JEPPESEN anagama/wood firing EMMET KANE woodturning TJ ERDAHL clay figurative JULY 26 — AUG. 1 MAY 31 — JUNE 6 PETER DELLERT woodworking ARTHUR HASH metal GRAEME PRIDDLE woodturning AVELINO SAMUEL woodturning MI-SOOK HUR enamel on metal JULY 12 — 18 CORY ROBINSON woodworking AL STIRT woodturning JENNIFER ANGUS fibers ANDREW KUEBECK metals JOHN COGSWELL metal* LAUREN DICIOCCIO embroidery BETTY SCARPINO woodturning MARY CHUDUK enamels* JIM ARENDT fibers TRAVIS HEAD bookbinding/sketchbooks MARK DEL GUIDICE woodworking MEREDITH GRIMSLEY surface design JANE LACKEY fibers/drawing KRISTEN MARTINCIC printmaking TIM LAZURE metals STEPHANIE METZ felting HOLLY COOPER glass beads JOSEPH PINTZ handbuilding pots* LAURA MONGIOVI textiles KATHY COOPER floor cloths K RHYNUS CESARK encaustic painting LINDSAY PICHASKE clay sculpture WARREN SEELIG fibers PINKNEY HERBERT painting BLAIR CLEMO clay JASON CHAKAVARTY glass casting MARK SHAPIRO clay HEATHER MAE ERICKSON mold-making GARY CHAPMAN charcoal drawing JERILYN VIRDEN clay sculptural/ BOB LOCKHART stone carving* JUNE 21 — 27 SAM CHUNG clay handbuilding hollow forms DAVID MARKS special topics RAY KEY woodturning TRAVIS TOWNSEND woodworking BECKY MCDONAH metals NATHALIE MIEBACH baskets/sculpture REGINA & DAN ST. JOHN paper/marbling BIRUTA AUNA bookmaking ANNE NYE glass KRISTY DEETZ painting- acrylic URSULA HARGENS clay JASON WALKER clay handbuilding

52 SCHEDULE AT A GLANCE

AUGUST 2 — 8 SEPTEMBER 20 — 26

WARREN CARPENTER woodturning LIAM O’NEILL woodturning DEB LOZIER metals DON WARD & CURTIS SEEBECK pentuning/ ERICKA HANSON weaving mini-lathe ASHLEY BLALOCK crochet DEB KARASH metals MEGAN ABAJIAN paper arts KATHY WEAVER textiles BARBARA CASHMAN glass BILL & MARYANN SMITH baskets RYAN O’MALLEY printmaking KARI MINNICK glass ADAM FIELD & DOUG PELTZMAN clay DON MCGOWAN photography JAMES DARR sculpture MARY TODD BEAM painting JASON BURNETT clay SHERRI WARNER HUNTER concrete sculpture AUGUST 9 — 15

DALE LARSON woodturning SEPTEMBER 27 — OCTOBER 3 SABIHA MUJTABA woodworking/carving JOHN GARRETT baskets MARILYN CAMPBELL woodturning KATHRYN CLARK quilting YANN GIGUERE woodworking JIYOUNG CHUNG paper RICKY FRANK enamels HELEN OTTERSON glass casting CLAY BURNETTE baskets OCTOBER 15 — 18 OCTOBER 22 — 25 CLAIRE STIGLIANI painting EMILY BARLETTA embroidery and drawing MASTER WEEK-END WEEK-END MCKENZIE SMITH clay BRYANT HOLSENBECK fabric sculpture ALICE BALLARD clay handbuilding WILLIAM KOCHER plein air painting NORM SARTORIUS woodworking ALAN CARTER woodturning JEFF HIRST printmaking CHARLES LEWTON-BRAIN metals JAMES DUXBURY woodturning/mini-lathe CHANDRA DEBUSE clay GRETCHEN GOSS enamels STEVE ARTS metals & enamels SEPTEMBER 13 — 19 JAMES TISDALE figurative clay GYONGY LAKY baskets MATT TOMMEY baskets JO STEALEY paper BEN VENOM quilting RUDY LOPEZ woodturning DON LAKE watercolor painting HEIDI NEILSON bookmaking WALT TURPENING woodworking OCTOBER 4 —7 MICHAEL SHERRILL clay sculpture TOM LUCAS printmaking MARY HETTMANSPERGER metals SDA WORKSHOPS STONEY LAMAR & DAN ESSIG surface JANE VOORHEES painting KATHY WILCOX enamels texture LIZ ZLOT SUMMERFIELD clay JOY UDE textiles/surface design SARA GOODMAN & MARY ZICAFOOSE COLETTE PETERS cake sculpture AIMEE LEE paper jewelry natural dye & weaving ASHTON LUDDEN printmaking YOSHIKO WADA natural dye LISA LINE painting CAROLE LUNG textiles/sewing CALL KEVIN CROWE clay woodfire LISA KLAKULAK felting 865-436-5860 NAN JACOBSOHN clay sculpture/animal ANN MORTON tapestry TO REGISTER NOW *Qualifies for College Credit MICHEL GARCIA natural dye www.arrowmont.org 53 HOUSING & MEALS

Students generally live on campus during their ON-CAMPUS HOUSING ONE WEEK TWO WEEKS WEEKEND workshop in order to take full advantage of the (Prices are per person) immersion opportunity, to get to know their HUGHES HALL has single and double air- SINGLE · 1 PERSON PER ROOM (PRIVATE BATH) $755 $1,555 $345 fellow students, and to spend as much time as conditioned rooms, private or adjoining baths, SINGLE · 1 PERSON PER ROOM (SHARED BATH) $565 $1,195 $295 possible focused on their work. Campus housing and a large, comfortable porch. Hughes Hall options include single, double, triple and is a three story facility, and the first floor is DOUBLE · 2 PEOPLE PER ROOM (PRIVATE BATH) $585 $1,215 $285 dormitory rooms in three buildings. All linens handicap accessible but does not have an DOUBLE · 2 PEOPLE PER ROOM (SHARED BATH) $475 $995 $255 and towels are provided. Rooms are assigned on a elevator. Rooms with private baths have first come, first served basis. limited availability. Prices are per person and include meals. Campus housing prices include three meals daily in the Staff House Dining Hall. Meals are served Sunday dinner through Saturday (Prices are per person) breakfast for one-week classes and Thursday TEACHERS COTTAGE is a rustic and charming SINGLE · 1 PERSON PER ROOM (SHARED BATH) $565 $1,195 $295 dinner through Sunday lunch for weekend house with air conditioning and includes classes. Although we cannot provide special single, double and triple rooms sharing DOUBLE · 2 PEOPLE PER ROOM (SHARED BATH) $475 $995 $255 options for everyone, vegetarian meal choices common bathrooms. Prices are per person and TRIPLE · 3 PEOPLE PER ROOM (SHARED BATH) $415 $865 $235 are available. include meals.

No camping, buses, trailers or RV’s are permitted on Arrowmont property. No pets are (Prices are per person) permitted on campus except service animals. RED BARN is a renovated historic structure without air conditioning. It offers double, DOUBLE · 2 PEOPLE PER ROOM (SHARED BATH) $415 $865 $215 triple and dormitory style rooms which TRIPLE · 3 PEOPLE PER ROOM (SHARED BATH) $375 $795 $195 accommodate four people, all with shared baths. Prices are per person and include meals. DORMITORY · 4 PEOPLE PER ROOM (SHARED BATH) $345 $735 $185

APARTMENTS AVAILABLE Arrowmont has four apartments of varying sizes available for those who want more space and privacy. Call 865.436.5860 for availability and cost.

LIVING OFF CAMPUS (Prices are per person) Students may choose to stay off-campus. MEAL PLANS $199 $439 $105 Information on off-campus housing can be (Off campus students ONLY) obtained from the Gatlinburg Chamber of Commerce, call 800-588-1817 or visit www. gatlinburg.com. Students staying off-campus may purchase meal plans.

54 THE PI BETA PHI FOUNDATION provides SCHOLARSHIPS scholarships to both members and nonmembers of the national Pi Beta Phi Arrowmont offers a number of opportunities to enable students to attend workshops Fraternity. Application procedures and materials are available directly from the at reduced costs. Individual scholarships provide partial or full coverage of course Foundation at pibetaphifoundation.org. Go fees, housing and meals. They are awarded to a student to take a specific workshop to the “scholarship link” to download an based on financial need and/or various criteria depending on the source of the funds. application.

THEBILL GRIFFITH ART EDUCATORS FELLOWSHIP For all scholarships other than local resident and K-12 teachers scholarships, provides a four-week residency annually for apply online at slideroom.arrowmont.com one K-12 art teacher from the United States. Recipients will receive a studio, housing, meals FRIENDS OFARROWMONT SCHOLARSHIPS are THE STEVEN E. AND CAROLYN J. GOTTLIEB and enrollment in a one-week workshop. For partial scholarships that cover 50% of the WOODCRAFT SCHOLARSHIP is a scholarship that more information, visit www.arrowmont.org or workshop fee, meals and dormitory housing covers 100% of the workshop fee, meals and call the School. for a one- or two-week workshop. These dormitory housing for a one-week workshop. Application deadline — March 1, 2015 scholarships are intended to make Arrowmont’s The scholarship is intended for a United States programs available to the broadest population military personnel member or veteran who is of students. Qualifications include financial handicapped, or a financially deserving student need and a commitment to personal artistic who is 18 years of age or older and is pursuing SCHOLARSHIPS SUMMARY goals. Skill in a particular medium is not woodturning. Disabled military personnel of required. Applicants must describe why they all ages are encouraged to apply. This fund was FRIENDS OF ARROWMONT Open to all skill want to take a specific class, why the cost would established by Steven and Carolyn Gottlieb levels and no images are required. be a hardship for them, why they would make and is designed to utilize their donation to a good candidate for a scholarship, and how Arrowmont of a sit-down lathe. DR. JUDITH TEMPLE SCHOLARSHIP Open to they intend to use the experience to further Application deadline — March 1, 2015 advanced students and images are required. their artistic goals. Friends of Arrowmont Scholarships are funded by gifts to the Friends K-12 TEACHERS SCHOLARSHIPS provide 50% STEVENE. & CAROLYN J. GOTTLEIB SCHOLARSHIP of Arrowmont Annual Fund, Scholarship of the workshop fee for one workshop per Open to disabled military personnel or Auctions, the Margaret L. Gongaware teacher per year. Documentation of current veterans and other woodworkers. Scholarship Fund, the Suzanne Hill Memorial employment (or a paystub) is required with Scholarship Fund, the Helen M. Russell registration. Teachers are not required to be K-12 TEACHERS SCHOLARSHIP Open to all skill Bequest, the Robert H. Skinner Bequest, and working in an art discipline or have an art levels and no images are required. the Rude & Daphne Osolnik Scholarship Fund. background. Application deadline — March 1, 2015 Registration deadline — No deadline, rolling LOCAL RESIDENTS SCHOLARSHIP Open to all with class availability. skill levels and no images are required. THE DR. JUDITH TEMPLE SCHOLARSHIP fund provides full scholarships that cover 100% LOCAL RESIDENTS SCHOLARSHIPS provide 50% BILL GRIFFITHART EDUCATORS FELLOWSHIP of the costs of attending a one- or two-week of the workshop fee for one workshop per Open to K-12 art teachers. Images are workshop at Arrowmont. These scholarships person per year. Residents, 18 years or older, required. are for promising and talented students of Blount, Cocke, Jefferson, Knox or Sevier who could not otherwise afford to come to counties in Tennessee are eligible. Drivers Please note, if applying for a Scholarship or the Arrowmont. Applicants must provide images license or proof of residency required with Educational Assistance Program, students will of their work and letters of recommendation registration. register after they are accepted and agree to the along with their application. The Dr. Judith Registration deadline — No deadline, rolling award amount. For more information about Temple Scholarship Fund was established by with class availability. applying for a scholarship, please call an anonymous donor. 865-436-5860. Application deadline · March 1, 2015 55 EDUCATIONAL ASSISTANCE PROGRAM

Educational Assistants are an integral part of the School’s operation and the program provides an opportunity for people with limited financial resources to participate in classes.

Educational Assistants receive one week of WORK-STUDY students function as part of the class for each 45-50 hour week of work. kitchen team preparing food, washing dishes, Students are also expected to work up to 22 and setting and cleaning up the dining room. hours during the week they are in class. The Work-study students might also help with workshop fee for the week of class, as well as grounds maintenance, housekeeping, front dormitory housing and meals for the length office, the gallery, library and technology of the assistance commitment are provided. support, or in the Art & Supply Store. Since Materials fees and other art supplies are the previous art experience is not necessary for responsibility of the student and are to be work-study positions, this is a great way to paid weekly. Classes are awarded based on learn new skills, gain confidence artistically, availability. and make life-long friends working in a fun and creative environment. Students must arrive the Friday prior to their session and stay through the Sunday after STUDIO ASSISTANTS provide support to their last workshop. Educational assistant instructors, staff and students, and help to positions are physically demanding and require maintain the studios during workshop sessions. the ability to lift 50 pounds. Educational Although studio assistants may have expertise assistantships are scheduled into two 6-week in a specific area, they will work in all studios summer sessions and one 6-week fall session in some capacity. On occasion studio assistants (May 29 — July 11, July 5 — August 16, will also be scheduled to work in the kitchen. September 11 — October 25). It is important for those applying for assistantships to commit Applications will be accepted from January 1 to to the entire session, though they may wish to March 1, 2015. apply for multiple sessions. Apply online at arrowmont.slideroom.com.

As an educational assistant/employee of Arrowmont, meals and lodging are provided on Arrowmont premises and must be accepted by the student employee as a condition of their employment. If an Educational Assistant possesses skills that complement the School’s needs (photography, technology, landscaping, etc.), those skills may be utilized in completion of expected work hours. There are two categories for educational assistance: work- study students and studio assistants.

56 ARROWMONT AND YOU

Building the future on the strong foundation All gifts are tax-deductible to the extent of the past allowed by law.

Every enduring educational institution has a MAKING YOUR GIFT IS EASY. loyal, dedicated group of supporters who believe in its mission, participate in its programs, • Add a contribution to your registration champion its initiatives and invest in its future. • Send a check in the mail Arrowmont is an institution of this caliber. We must have the continued support of all segments • Use your credit card to make a gift of our community. Arrowmont needs and is • Ask the development department to charge a worthy of your support. monthly gift to your credit card Arrowmont School of Arts and Crafts is a • Make a gift online with our secure server by 501(c)3 non-profit corporation. All income, going to www.arrowmont.org and clicking the earned and contributed, is used to support Donate button the work of the School. Arrowmont earns • Ask the development department approximately 60% of its income, the balance 865.436.5860 to send monthly or quarterly of its annual operating budget comes from reminders in an amount comfortable for you the contributions of generous individuals such as you. • Gifts of stock and planned gifts such as bequests are welcome and both offer special tax We encourage you to become a Friend of advantages. Call the development department Arrowmont by contributing to the 2015 for more information. Annual Fund. Friends who give $50 or more receive a Friends of Arrowmont T-shirt. In Whatever you decide to give and however you addition, Friends who give $100 or more decide to make your gift, know that we are receive a 15% discount in the Artists Supply appreciative and will put it to the best use. Store. Individuals who give $1,000 or more Thank you. annually become members of the Signature Circle, Arrowmont’s major donor society. Arrowmont programming has been made possible in part through a joint agreement with the When you invest in Arrowmont you Tennessee Arts Commission and the National are ensuring the future of arts and crafts Endowment for the Arts, which believes that a education—you are enabling us to continue to great nation deserves great art. offer high quality arts and crafts instruction, create outreach programs for the schools, offer scholarships, and take advantage of future opportunities.

Arrowmont has existed and served the community of artists and artisans for more than 100 years. Your gift, in whatever amount you choose, will help us continue this service for another 100 years. We encourage you to invest in the future of all of us.

57 WORKSHOP BASICS

People enroll at Arrowmont to be immersed in art — away from the pressures and responsibilities of daily life. Partnered with exceptional instructors and quality instruction, the housing, meals, evening programs, and access to well- equipped studios provide an environment for stimulation and inspiration. Students may choose never to leave campus during the workshop session. However, if an outing is desired, Gatlinburg is just down the drive and the Great Smoky Mountain National Park is only a mile away. Located on a 14-acre wooded hillside in downtown Gatlinburg, Tennessee at the edge of Great Smoky Mountains National Park, Arrowmont offers both a secluded retreat experience and a busy tourist center.

A typical one-week workshop session begins The Marian G. Heard Resource Center houses on Sunday with check-in between 10:00 a.m. an extensive collection of books and periodicals and 6:00 p.m. Classes begin at 7:30 p.m. available for use in the library. Computers, following dinner at 5:30 p.m. and a Welcome printers and copiers are available in the & Orientation Program at 6:30 p.m. Classes Resource Center to enable instructors and continue Monday through Friday, 9:00 students to access the internet and print and a.m. — 5:00 p.m. and studios are generally copy as needed. Most of the campus is wireless open until 1:00 a.m. for students who wish for those who bring a laptop or tablet. to continue to work. Studio clean-up is Friday afternoon with departure on Saturday Shuttle service is available from Knoxville morning. Two-week classes follow the same McGhee-Tyson Airport. Call Rocky Top Tours general schedule, but students may work in (877-315-8687 and ask for Linda Hall) to the studios through the weekend in between make reservations for arrival and departure at weeks of instruction. Weekend classes begin least two weeks in advance. on Thursday evening and continue through Sunday at 3:00 p.m.

Arrowmont studios and housing facilities are accessible on a campus that is considered moderate mountain terrain. A gradual walk up a short hill to most facilities is necessary. If special housing or other requirements are needed, please discuss this with the registrar at the time of registration so we can best accommodate these needs.

58 A COMPLETE CHECKLIST REGISTRATION REGISTER BEFORE FEBRUARY 1ST, 2015 AND REGISTRATION FEE IS WAIVED! Please complete this form for each workshop for which you are registering. Additional forms are available at arrowmont.org REGISTRATIONS ARE ACCEPTED BY $50 NON-REFUNDABLE FEE MAIL PO Box 567, This one-time registration fee enables you to NAME Gatlinburg, TN 37738 register for as many workshops as you like during 2015. It is not necessary to register for PHONE 865-436-5860 ADDRESS multiple workshops at the same time. FAX 865-430-4101 $300 DEPOSIT FOR EACH CLASS CITY STATE This deposit reserves a space in the workshop. ONLINE arrowmont.org/workshops-and-classes Full payment of all charges is due 30 days PHONE EMAIL prior to the beginning of the workshop. REGISTRATION IS NOW OPEN

WORKSHOP INFORMATION PAYMENT & POLICY INFORMATION HOUSING INFORMATION

DATES REGISTRATION FEE...... $50 Please select a 1st and 2nd choice, and specify.

EARLY REGISTRATION DEADLINE FEBRUARY 1, 2015 HUGHES HALL — SINGLE (PRIVATE BATH) INSTRUCTOR REGISTER BY THIS DATE AND REGISTRATION FEE IS WAIVED. HUGHES HALL — SINGLE (SHARED BATH) COURSE FEE...... $ TITLE HOUSING FEE...... $ HUGHES HALL — DOUBLE (PRIVATE BATH) (see page 54) CLASS FEE HUGHES HALL — DOUBLE (SHARED BATH) MEAL PLAN FOR OFF-CAMPUS STUDENT...... $

FRIENDS OF ARROWMONT CONTRIBUTION...... $ TEACHERS COTTAGE — SINGLE (SHARED BATH) METHOD OF PAYMENT TOTAL...... $ TEACHERS COTTAGE — DOUBLE CHECK OR MONEY ORDER ENCLOSED VISA MASTERCARD DISCOVER AMERICAN EXPRESS AMOUNT ENCLOSED / AUTHORIZED (SHARED BATH) $300 MINIMUM PER APPLICATION...... $ CARD NO. TEACHERS COTTAGE — TRIPLE (SHARED BATH)

RED BARN* · DOUBLE (SHARED BATH) 4 DIGIT EXP. SEC.CODE SIGNATURE HOW DID YOU HEAR ABOUT ARROWMONT? RED BARN* · TRIPLE (SHARED BATH)

PLEASE READ AND CHECK RED BARN* · DORM 4 PEOPLE (SHARED BATH)

I am 18 years of age or older New Student ROOMMATE REQUEST I have read and unsterstand there will be a materials fee to be paid the last day of class. This is in addition to tuition and materials my instructor may suggest I bring. (See materials fee information on page 51.)

I have read and understand the refund, cancellation and transfer policies on page 51.

Male Female (for housing purposes) *Red Barn has no air conditioning.

59 ARROWMONT SCHOOL OF ARTS AND CRAFTS

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

COLLEGE CREDIT & CEUS, pg. 51 • SCHOLARSHIP INFO, pg. 55 • REGISTRATION FORM, pg. 59 • HOUSING, pg. 54 • EDUCATIONAL ASSISTANCE, pg. 56 • STUDIO ASSISTANTS, pg. 56 SPRING LEGACY WEEKEND, pg. 4 • FALL MASTERS WEEKEND, pg.5