summer program 2013 - Idyllwild Arts Academy
Transcription
summer program 2013 - Idyllwild Arts Academy
SUMMER PROGRAM 2013 Workshops for Adults h a n d s - o n W o r k s h o p s • L e c t u r e s • D e m o n s t r at i o n s • P e r f o r m a n c e s • R e a d i n g s • E X HI B ITIONS Page The School Mission CERAMICS The mission of the Idyllwild Arts Foundation is to promote and advance artistic and cultural development through education in a beautiful, natural environment conducive to positive personal growth. 7 Ceramics: The Ways of Clay 5 Hot Clay The Idyllwild Arts Summer Program provides arts instruction and experiences of the highest caliber to a diverse student population of all ages and abilities. The Idyllwild Arts Academy (Sept.– May) provides pre-professional training in the arts and a comprehensive college preparatory curriculum to a diverse student body of gifted young artists from all over the world. (See page 31 for information on the Idyllwild Arts Academy.) Wknd 7/8–12 Wknd 7/1–5 Wknd 6/24–28 Wknd Wknd Please see course descriptions for exact dates and durations. T a b le o f C o n te n ts 6/17–21 S C H E D U L E o f A D U L T C lasses & 5 Figuratively Speaking: Exploring the Narrative in Sculpture 6 Pottery Component Mash-Up 6 Print & Repeat: Silkscreening on Clay 6 Pierced & Colored & Lovingly Handbuilt: Handbuilding in Clay 7 Sets and Soda JEWELRY/METALS 10 Handmade Findings: Hook It, Hang It, Poke It, Stab It 10 Captured Treasures in Silver Metal Clay 8 Metals Week 8 Chasing & Repoussé 9 Creating Cuffs 9 Nunome Zogan: The Gentle Art of Tapping 9 The Rolling Mill: Exploring a Creative Tool 10 A Fresh Look at Spiculums 10 Surface Design & Fabrication 5/5/10 MIXED-MEDIA/BOOK ARTS USA CA 11 Assemblage I: Sanctum of the Forgotten Tune 11 Assemblage II: Baba Yaga Birdhouse 12 Manuscript Books: Writing as Image, Exposed Sewing 12 Hand Forged Metal Books & Full Throttle Journaling 12 The Santos Cage Doll Redefined MUSIC Special Events: Chamber Music Concerts July 31–August 8 > NATIVE AMERICAN ARTS A NI Los Angeles IDYLLWILD San Diego Location Idyllwild is located at an altitude of 5000’ in the Strawberry Valley of the San Jacinto Mountains approximately a 2 1/2 hour drive from Los Angeles and San Diego and a one hour drive from Palm Springs and Riverside. The Idyllwild Arts campus is situated two miles from the center of the village of Idyllwild. This tranquil site, remote from urban distractions, affords the student a unique learning environment. Please note: At the time this catalog was printed, every effort was made to assure its accuracy. In keeping with the commitment of the Idyllwild Arts Summer Program to individual and timely needs of students and faculty, however, we reserve the right to make changes in faculty, courses, schedules, tuition and policies. For specific dates see class descriptions. For updates or changes, see our website at www.idyllwildarts.org/summer.aspx 2012 Photographer: Paula Harding. GENERAL INFORMATION Campus Facilities & Services........................3 Daily Schedule................................................2 Discounts/Credits.....................................3, 30 Events Schedule ....................................26, 27 Fee Payment/Refunds.................................29 Helpful Weblinks.............................................3 Housing and Meals........................................4 Location/Transportation............................2, 3 Maps (Location & Campus).......................28 On Campus Activities for Adults...................3 Registration Form...................................29, 30 Things to do in Idyllwild .................................3 Idyllwild Arts Academy Information..........31 2 Acrylic Ink Quilting Adventure 13 R FO LI N 11 SCHEDULE/CONTENTS 16 Hopi Basketry: Coiled Plaque & Sifter Baskets 17 Hopi Jewelry: Overlay & Tufa Casting 18 Santa Clara Pottery 13 Native American Arts Festival 14 Craft & Survival Skills 15 Native Plants: Contemporary and Traditional Uses 15 Cahuilla Basketry 15 Soft Sculpture: Doll Making & Beadwork 16 Navajo Weaving I & II 17 Navajo Inlay Jewelry 17 Native American Flutemaking - Beginning & Intermediate 18 Hopi Tewa Pottery 18 Mata Ortiz Pottery PAINTING/DRAWING 19 Color Boot Camp 19 Contemporary Approaches to Painting 20 Drawing Intensive 20 Encaustic Painting & More 20 The Figure & Still Life: Direct Painting - Quick Studies & Beyond 21 Narrative Figure Painting 21 Painting the Figure Simply & Beautifully in Watercolor 21 Travel Drawing & Painting 22 Watercolor from Within: Painting the Essence of Nature 22 Watercolor Unleashed: Exploring Waterbased Media PRINTMAKING 23 Beyond Monotype 23 Encaustic Monoprinting 23 Solarplate Etching SCULPTURE 24 Contemporary Sculpture in Plaster 24 Furniture Making & Design WRITING 24 The Art of Writing Fiction: Making It Up 25 Memoir/Creative Nonfiction 25 Young Adult Novel ( for adults) 25 Poetry Week Sn MT WThFS Sn MT WThFS Sn MT WThFS June 1 23 45 678 9 10 1112 131415 1617 1819 202122 23/3024 2526 272829 1 23 456 7 8 9 10 111213 1415 1617 181920 2122 2324 252627 28 29 30 31 July 123 August 45 67 8910 1112 1314 151617 1819 2021 222324 2526 2728 293031 Questions? Contact our Registrar: (951) 659-2171 x 2365 fax (951) 659-4552 [email protected] Parks Exhibition Center Opening Reception Transportation Campus Facilities and Services There is no public transportation to or within Idyllwild. Transportation is available for a fee via campus vans from Ontario International Airport or Palm Springs International Airport to Idyllwild. Arrangements must be made in advance. Please see transportation information section of the Registration Form on page 29. The campus features large modern dormitories, modest residence halls, dining hall and a snack bar. Services include health center, bookstore and laundry facilities. Weather Performance halls include the IAF Theatre, Stephens Recital Hall, Holmes Amphitheatre, and Junior Players Theatre among others. Summer temperatures vary between the high 70’s to low 90’s during the day and drop to the 50’s–60’s in the evenings. Lodging and Dining For those who are not staying on campus, the village offers many lodging alternatives, from luxury to rustic and includes motels, bed and breakfast inns, cabins and lodges. There are also public and private campgrounds in and around Idyllwild. Numerous restaurants and cafés are located in the village and feature a variety of cuisine from gourmet to classic fare. Things to do in Idyllwild Idyllwild has earned the distinction of becoming one of the 100 Best Small Art Towns in America, (as designated in the book of the same name by John Villani), and features over 15 galleries representing the work of more than 200 artists. The Village of Idyllwild The Summer Program The summer tradition that began in 1950 to bring the best artists in their fields to teach under the pines continues today. Intensive hands-on workshops in music, dance, theatre, visual arts, writing, filmmaking and Native arts are offered to students from age 5 to 105. Each year more than 1,700 adults and children attend the Idyllwild Arts Summer Program. There are four arts centers plus Family Camp that comprise the Summer Program. • The Children’s Center (ages 5–12) (See separate Youth Program Catalog) • Junior Artist’s Center (ages 11–13) (See separate Youth Program Catalog) • The Youth Arts Center (ages 13–18) (See separate Youth Program Catalog) • Adult Arts Center (This Catalog) Idyllwild is filled with unique gift shops, galleries, a movie theater, and restaurants. There are hundreds of miles of hiking trails for all levels from gentle strolls to strenuous trails leading to the meadows and peaks that tower above the village. Idyllwild is also known for rock climbing. Horseback riding and fishing are available within 20 minutes from campus. Helpful Weblinks www.idyllwildarts.org www.towncrier.com www.idyllwildchamber.com www.idyllwildjazz.com www.greencafe.com www.idyllwild.me www.idyllwildherald.com www.artinidyllwild.com The art studios include numerous indoor and outdoor facilities. Exhibition areas include the Parks Exhibition Center and the Eymann Sculpture Garden. The Krone Library houses resource areas with internet access and wireless connection, classrooms and a museum. There are dedicated dance studios, rehearsal halls, film studio and practice rooms located throughout the campus. Discounts and Credits Idyllwild Arts offers students the following options: (See page 30 for details) • Early Payment Discount • Family Discount • Teacher/Student Discount • Bring a Friend Discount Adult Arts Center Students work intensely in a focused, yet relaxed setting which provides detailed technical instruction and personal attention to individual artistic needs. Instructors are experienced and interested in working with students of all levels of background and ability. Daily Schedule In general, workshops run from 9 a.m. to 4 p.m. each day, with a break for lunch in the campus dining hall (included in tuition). Writing workshops have shorter in-class hours in the afternoons, allowing time for writing, individual conferences, craft talks and other activities. There are evening events and activities for participants throughout the week, as well as several lunchtime lectures open to all students during the Native American Arts Festival Week (June 30–July 6). Pierson Hall Check In Students may check in from 3 to 5 p.m. on the day before their workshop begins, or between 8 and 8:30 a.m. the first day of class. See your Registration Packet for specific check-in times and location for your workshop. Please note: There are no provisions for those arriving before or after registration hours. On-Campus Activities for Adults Each evening there are activities taking place throughout campus (see pages 26 & 27). In addition to the program “traditions” that are scheduled each week, there are other lectures, readings, recitals and performances that dot the calendar. The weekly schedule includes: Monday–Parks Exhibition Center reception: Faculty Art Show and Artist demonstration/ presentation Tuesday–Faculty artist slide lecture or Poetry Reading Wednesday–Potluck and Barbeque at Studio D for all adult students, faculty members and school community members. Friday–Adult student art show There will be several lunchtime and evening lectures and presentations that all adult students are invited to attend. The campus also offers endless trails for hiking and nature walks, as well as a 25-meter swimming pool open to all registered students. Parks Exhibition Center is open daily and features the work of artists in residence as well as a selection of fine Native American art and jewelry. Family Camp: The whole family is welcome at Family Camp. Everyone will enjoy a week of arts activities and fun! (See separate Youth Program Catalog or website) We offer two catalogs, one for adults and one for children and teenagers. This catalog contains program information for adults. To request a Youth Catalog please call: 951-659-2171 ext. 2365 or visit www.idyllwildarts.org Nelson Dining Hall sum m er @ id y llwi l dart s . o r g Adult Student Culmination Faculty, Staff & Adult Student Potluck THE PROGRAM 3 I d y llwild A rts F o u ndation On-Campus Housing and Meals For adult students and adult students with children in a program, there are two oncampus housing options: The IAF is a non-profit corporation, founded (in 1946 as a summer center in the arts) on the premise that the arts provide a common language and that participation in the arts can not only enrich lives but can change lives. Residence Halls-Modest motel-like units with twin or bunk beds and private bath accommodate one or two adults. Rates are based on occupancy of one-room units plus meals from Sunday, 4 p.m. to Saturday, 10 a.m. The charge includes linens and towels which are changed weekly. a. Two persons per room, meals included $535 per person per week $325 per person for three days The Foundation now operates two programs: the Summer Program – in its 64th year of providing classes in the arts for all ages and abilities, and the Arts Academy – an independent boarding high school established in 1986 for students talented in the arts. b. Private room & meals (limited availability) $745 per week $465 per person for three days Summer Program • Eight-week season Residence Hall check-out time is 10 a.m. on Saturday. Residence Hall accomodations are not available for weekend workshop participants. Please see the Off-Campus Housing information on this page. Idyllwild Arts Pool Nelson Dining Hall Off-Campus Housing As a service to our adult students, we have provided a list of lodging facilities in Idyllwild. The list is for information purposes only and should not be construed as an endorsement. Motels and Inns Bluebird Cottage Inn............ 951-659-2696 Creekstone Inn..................... 800-409-2127 Fern Village Chalets.............. 951-659-2869 Fireside Inn........................... 877-797-3473 Idyllwild Inn.......................... 888-659-2552 Knotty Pine Cabins............... 951-659-2933 Manzanita Cabins................ 951-659-3151 Mile High Country Inn......... 951-659-2931 Quiet Creek Inn.................... 800-450-1516 Rainbow Inn......................... 951-659-0111 Silver Pines Lodge................ 951-659-4335 Strawberry Creek Inn........... 800-262-8969 Strawberry Creek Bunkhouse.. 888-400-0071 Tahquitz Inn.......................... 877-659-4554 Wilder Cabins....................... 951-659-2926 Woodland Park Manor......... 877-659-2657 Camping Idyllwild County Park........... 800-234-7275 Additional information Please see page 28 and 29 for additional information including campus location maps, and registration forms. Bowman Arts Center 4 THE PROGRAM/CERAMICS Pottery Component Mash-Up................. 6 Christa Assad Silkscreening on Clay................................ 6 Jason Bige Burnett Hot Clay Week II............................................. 6 Handbuilding in Clay................................ 6 Sunshine Cobb Sets & Soda................................................. 7 Richard Burkett & Joe Molinaro • Family Camp Mata Ortiz Pottery........................................ 18 Jorge Quintana • 28% of participants attending a Summer Program workshop received financial aid in 2012– totaling over $765,000 Cabins and Homes Idyllwild Cabin Rentals........ 877-270-3285 Idyllwild Mtn. Rentals.......... 951-659-5349 Idyllwild Vacation Rentals.... 800-297-1410 Parks Exhibition Center The Narrative in Sculpture........................ 5 James Tisdale SEE ALSO • Professional artist-teachers No pets are allowed. The Ways of Clay class photo Hot Clay Week I.............................................. 5 • Over 100 hands-on workshops in creative writing, dance, music, theatre, visual arts, Native American arts • Adult Theme Weeks: Hot Clay, Metals Week, Native American Arts Festival Smoking is prohibited in all campus facilities. The school also offers a snack bar which operates on a cash basis beginning June 17. Sandwiches, snacks and soft beverages are available from 11:30 a.m. to 7:30 p.m. daily. Ceramics Workshop: Ways of Clay............... 7 Greg Kennedy & David Delgado • 1700 students ages 5 to adult Please observe the 10 p.m.–8 a.m. quiet hours. Lunch is included for all registered adult students at no charge. Meals are served cafeteria-style. There are vegetarian options at every meal including a hot entree at every lunch and dinner. In addition, an extensive salad bar featuring fresh fruits and vegetables is available at all lunches and dinners. Students may purchase additional meals by the week. A one-week meal pass (20 meals) is $90. CERAMICS Academy • Co-educational, 298 students (58% international), grades 9–12 and postgraduate • Pre-professional training in creative writing, dance, filmmaking, interdisciplinary arts, music, theatre & visual arts (Majors: Music, Theatre, Dance, Moving Pictures, Creative Writing, Visual Art, InterArts) • Students selected by audition or portfolio evaluation • Comprehensive college preparatory academic curriculum • Academy graduates are sought by the finest colleges, conservatories and universities in the country • Over 57% of students receive some amount of financial aid – totaling nearly $5.6 million We welcome your support Our Summer and Academy programs (and financial aid awards for eligible students) are made possible with the help of gifts from friends like you. To make a gift, or for further information regarding gifts, contact: Idyllwild Arts Foundation Advancement Office P.O. Box 38, Idyllwild, CA 92549-0038 951-659-2171 ext. 2330 [email protected] www.idyllwildarts.org Hopi-Tewa Pottery......................................... 18 Mark Tahbo Santa Clara Pottery...................................... 18 Nathan Youngblood Hot Clay June 16–29, 2013 James Tisdale, Tarnished Week I Figuratively Speaking The Narrative in Sculpture James Tisdale HOT CLAY Events Open to the Public Posey Bacopoulos 2012 Idyllwild Arts has a long history of offering outstanding ceramics programs, with such renowned faculty as Fred Olsen, Shiro Otani, Susan Peterson, and Maria Martinez among others. In recent years, Hot Clay faculty has included Ingrid Lilligren, Posey Bacopoulos, Lesley Baker, Tom Bartel, Mary Kay Botkins, Lisa Clague, Cynthia Consentino, Patrick Crabb, Debra Fritts, Linda Ganstrom, Rosette Gault, Arthur Gonzalez, Silvie Granatelli, Glenn Grishkoff, Martha Grover, Stephen Horn, Jeff Irwin, Paul Lewing, Joe Molinaro, Lisa Orr, Jeff Oestreich, Terry Rothrock, Esther Shimazu, Neil Tetkowski, Geoff Wheeler, and Lana Wilson. Week 1 Monday, June 17 7 p.m. Lecture: James Tisdale 8 p.m. Artists Reception. Hot Clay & Visiting Faculty Show Parks Center Wednesday, June 19 7 p.m. Lecture: Christa Assad Thursday, JuNE 20 7 p.m. Lecture: Jason Bige Burnett Week 2 SUNday, June 23 7 p.m. Lecture: Joe Molinaro/ Richard Burkett MONday, July 1 8 p.m. Artists Reception. Parks Center OVERVIEW Coordinator: Richard Burkett Wednesday, July 3 7 p.m. Lecture: Sunshine Cobb June 16–22 Course # AACR ØØA1 Six-day session Build your visual vocabulary and develop your voice of expression through the use of universal and personal icons. Unlock the meanings behind the use of images, color and composition to speak your mind. Learn hollow form techniques to construct the human and animal forms that will be the anchor of your work and to create narrative sculpture that expresses meanings of personal, political, and social thoughts and beliefs. You will use lowfire white clay, slips and glazes to expand your ideas into full-scale sculpture and explore the beneficial use the maquette. James work explores the beauty and ugliness of a rich southern environment and he encourages others to explore their own. His work can vary from subtle, reverent, poignant, humorous and at times confrontational. All experience levels are welcome and personalized instruction will enhance your learning experience. Come challenge yourself. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab fee: $65 Enrollment limited to 10 students. • Hands-On Workshops and Open Studios • Demonstrations and lectures presented by all faculty • Critiques and feedback • Exhibits of faculty work Explore innovative techniques and concepts in the workshop of your choice. Lectures and demonstrations are scheduled to allow participants in all workshops to attend. We emphasize an open studio with a great deal of crossover during each week’s workshops. Artist receptions for Richard Burkett 2012 James Tisdale received his BFA from the University of Mississippi and his MFA from the University of Georgia. While obtaining his Master’s, James received two UGA Fellowships to study in Italy. He was chosen for an NEA Individual Grant as well as a NCECA Emerging Artist. He was also a Demonstrator for the NCECA Convention and was given a Residency Fellowship by NCECA to Hungary. He has participated in various residencies and programs such as The Philadelphia Clay Studio, The Oregon School of Arts, The Archie Bray Foundation, as well as The Pottery Workshop in China. James’ work has been exhibited through the US and abroad. www.jamestisdale.com the faculty exhibit are planned June 17 and 24. Class size is limited to allow for maximum interaction among participants and with the instructors. The ceramics studio is equipped with gas and electric kilns, wheels, handbuilding equipment and a glaze lab. Please note: Each week begins on Sunday at 9 a.m. and ends Saturday morning after the kilns are unloaded. James Tisdale, Overture sum m er @ id y llwi l dart s . o r g CERAMICS 5 Christa Assad, Transformer Teapot Sunshine Cobb, untitled Jason Bige Burnett Week II Pierced/Colored/Lovingly Handbuilt Handbuilding in Clay Sunshine Cobb June 23–29 Course # AACR ØØB1 Six-day session Christa Assad Pottery Component Mash-Up Christa Assad June 16–22 Course # AACR ØØA2 Jason Bige Burnett, Swirls and Stripes Container Jason Bige Burnett, Cake Boy Platter Print and Repeat Silkscreening on Clay Materials: A complete materials list will be sent upon registration. Jason Bige Burnett Tuition: $715 Lab fee: $75 Six-day session June 16–22 This hands-on workshop will motivate you to experiment with new forms and methods of construction. Geared toward creative expansion, beginners, intermediate and advanced students will use the wheel to generate pottery components (vessels, spouts, lids, handles) and sculptural objects which, when combined, offer a multitude of mind-bending compositions. Collaboration is also an option, and process-over-product mentality is our mantra. Six-day session Enrollment limited to 10 students. Focusing primarily on screen-printing techniques, students will explore personal imagery with familiar materials such as slip, underglaze and newsprint paper. Screen-printing introduces many simple, yet complex, surfaces to our ceramic work, especially when transferring images in the leather-hard state. We’ll begin with learning print techniques using photosensitive processes and DIY methods for creating additional stencils. Discussions and exercises will encourage image development pulling from student’s’ patterns, photos, and drawings. These processes lend themselves to all firing methods and work with wheel thrown and hand built forms. We’ll use low fire clay and dry work will get bisqued, no glazing. This workshop is surface and technique- oriented and will not cover form or construction methods. Students will leave with small work and the technical knowledge to take back into their own studio. All levels welcome, but some experience with clay required. No prior experience necessary with screen-printing. Jason Bige Burnett graduated from Western Kentucky University in Bowling Green, KY with a BFA in ceramics and BA’s in both printmaking and graphic design. Jason then continued his education at Penland School of Crafts in western North Carolina as a core fellowship student for two years. He has exhibited nationally, been featured in Ceramics Monthly and Pottery Making Illustrated and has taught numerous workshops. Currently he resides at Arrowmont School of Arts and Crafts as an Artist-In-Residence in Gatlinburg, TN. www.jasonbigeburnett.com Christa Assad, Wood Burner, Bonners Ferry, Idaho Sunshine Cobb Daily exercises include: instructor demonstrations of wheel-throwing, altering, and cut-and-construct processes, class discussion of ideas, informal presentations of students‘ visual resource material, in-process critiques of prototypes, and plenty of brainstorming/ problem-solving sessions. Ideas and prototype models are the focus. This format removes the pressure of finishing and glaze-firing work, while inspiring spontaneity. We will have an optional glaze firing at the week’s end, but students are encouraged to pursue their dream forms and develop more complex compositions, whether functional or sculptural. Course # AACR ØØA3 This hands-on workshop will motivate you to experiment with new forms and methods of construction. Geared toward creative expansion, beginners, intermediate and advanced students will use hand building techniques such as coil and pinch methods to hard and soft slab construction to generate a variety of vessel forms (vases, baskets, boxes, false bottom forms, etc.). What I love about hand building is the ease and the quickness you can achieve your vision. In class discussion of ideas, informal presentations of visual inspiration material, and plenty of brainstorming/ problem-solving will all be a key part of our activities. Development of the surface through texture and slip decoration will also be covered. Collaboration and fun are going to be our goal. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab fee: $40 Enrollment limited to 10 students. Sunshine Cobb. Ceramics has been the major influence in her life for 15 years now. She has done everything from eight-day anagama wood firings to slip casting ornaments. She is currently focusing on functional ware, embracing the richness of earthenware and is exploring the challenge of electric firing. She received her BA in Studio Art from CSU Sacramento, and her MFA in Ceramics from Utah State University. She is a long term resident at the Archie Bray Foundation and was chosen as one of NCECA’s 2013 Emerging Artists. www.sunshinecobb.com. Sunshine Cobb, untitled Basic centering and throwing skills suggested. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab fee: $40 Enrollment limited to 10 students. Christa Assad, based in the San Francisco Bay Area, is best known for her Re-objectification series–teapots based on objects and buildings from American industry. A teacher, traveler and full time ceramicist with an MFA from Indiana University, Assad’s work is in the permanent collections of The Fine Arts Museums of San Francisco, The Ceramic Research Center at Arizona State University Museum, and The Penn State Fulbright Scholar Collection. She was named Ceramic Artist of the Year in 2012 by Ceramics Monthly. Assad is represented by Ferrin Gallery, Harvey Meadows Gallery, Friesen Abmeyer and Chloe Fine Arts. www.christaassad.com 6 CERAMICS 9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5 H O T C L AY JEWELRY/METALS The Ways of Clay Ceramics Workshop Handmade Findings.................................... 10 Deborah Jemmott Greg Kennedy & David Delgado July 1–12 Course # AACR Ø1-Ø2 Silver Metal Clay........................................... 10 Jonna Faulkner Two-week session This intensive course is designed for beginning and advanced participants who would like to expand their experience in clay. The philosophy of the studio is to encourage interaction between fellow students of all skill levels. Activities such as clay mixing, kiln loading, firing, kiln unloading and glaze mixing are highly encouraged. Beginning instruction in the use of the pottery wheel is stressed and throwing on the potter’s wheel is emphasized. The studio also has the facilities for the hand builder, i.e. slabroller, extruder, and ample work space. Students will complete artworks in cone 6, high temperature reduction firings, and low temperature salt (saggar) and raku. Technical and aesthetic demonstrations take place each day. Richard Burkett, Cups Metals Week.................................................... 8 Chasing & Repoussé................................. 8 Nancy Megan Corwin Greg Kennedy Creating Cuffs............................................ 9 Connie Fox Nunome Zogan: The Art of Tapping....... 9 Fred Zweig The Rolling Mill............................................ 9 Sandra Noble Goss Spiculums: A Fresh Look.......................... 10 Betty Helen Longhi Surface Design & Fabrication................ 10 Deb Karash The spacious, well lit studio is equipped with potter’s wheels, both kick and electric, a Brent slab roller, clay extruders, Soldner clay mixer, gas kilns, electric kilns, as well as our Anagama and fast fire wood kiln. We have ample work space, including a glaze room and separate facilities for throwing and hand building; in addition we have several outdoor work areas. Students may bring their own tools, but studio tools are available. The studio is open weekdays, 9 a.m. to 4 p.m. Each student will complete an abundance of pieces. SEE ALSO Hopi Jewelry.................................................. 17 Roy Talahaftewa Navajo Inlay Jewelry....................................17 Richard Tsosie Tuition: $715 per week Lab fee: $35 per week (Includes clay-150 lbs. Joe Molinaro, Dwellings of clay per student-and firing costs.) Enrollment limited to 10 students per week. Sets & Soda Richard Burkett & Joe Molinaro June 23–29 Course # AACR ØØB2 Six-day session Explore new ideas in what makes a set, new ways of making pots, and how sets are presented. We’ll work with thrown, hand-built, and extruded cups, bowls, vases, plates, and more to create groupings of porcelain and stoneware pottery that relate. Trays and carriers for sets will be part of our week, too. We’ll use extruding and simple molds to create elements to connect the sets, including how to make your own extruder dies for custom shapes such as hollow vessel forms. The interaction of form, surface, and texture will be the focus. Greg Kennedy: BS, Biology, University of Nevada, Las Vegas. National Science Foundation Award for botany and geology studies in the Spring Mountain Range of Clark County Nevada. After graduating with honors in 1972, Greg turned his attention toward ceramics. Since that time, he has been a studio potter and ceramics teacher. His focus and inspiration is mountain topography and is continually charmed by nature. Respectful of traditional pottery, he enjoys meeting with indigenous potters and learning from them during his global travels. This will be Greg’s 28th year of teaching for Idyllwild Arts. His home and studio are located in the coast range of Oregon, where he practices quietness, authenticity, harmony and sustainability. David Delgado is a mixed media sculptor and potter living and working in Oakland, California. Originally from Southern California, David moved to Oakland to study Sculpture at the California College of the Arts, where he received a BFA in Sculpture in 2011. This will be David’s eighth year working for the Idyllwild Arts Summer Program. While the emphasis of the workshop will be on creating new work in clay, we will plan to have a final soda firing of the best work at the end of the week, along with cone 6 glaze firings, laser-printer decals, and other ways of finishing the work. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab fee: $60 Enrollment limited to 10 students. Richard Burkett has over 40 years of experience in ceramics, loves to make pottery and sculpture, and has studied ceramics around the world. He has made soda and salt-fired work during his entire career. Burkett is the author of HyperGlaze glaze software and the coauthor of the 6th edition of Ceramics: A Potter’s Handbook. He is currently Professor of Art-Ceramics at San Diego State University. Joe Molinaro is a Professor of Art at Eastern Kentucky University. He is the author of the book A Pottery Tour of Kentucky, and regularly contributes writings on aspects of the ceramic arts for various national and international publications and has produced videos on the indigenous potters of Ecuador. He is the founder of Clayart, a popular electronic ceramic Listserv, and has served as Program Director for NCECA (2005-09). Along with teaching and research, he maintains his own studio that allows him to continue producing sculptural vessels in porcelain as well as other wood-fired functional and sculptural work. Jeff Oestreich 2012 sum m er @ id y llwi l dart s . o r g CERAMICS/JEWELRY 7 METALS WEEK June 16–20, 2013 Nancy Megan Corwin, chasing surface of brooch Nancy Megan Corwin, Regeneration Metals Week Culmination 2012 Nancy Megan Corwin, Dark Chasing & Repoussé Nancy Megan Corwin June 16–20 Course # AAJW ØØA One-week session This workshop will delve into the exciting, ancient and universal processes of chasing and repoussé on non-ferrous metals such as copper, brass and silver. The term repoussé refers to forming sheet metal from the backside with rounded steel, brass, plastic or wood punches to create raised areas on the front side in low to high relief. Chasing refers to detailing the front side of the piece using tools with specific shapes and sharper edges to texture, stamp, undercut and refine the surface of the metal. We will be working traditionally with pitch (a pine-resin based material) to support the metal while hammering. Non-traditional methods that make multiples easier to accomplish will be covered, including die forming, using plasticene to support the metal and filling the form with low temperature thermoplastic. Deborah Jemmott OVERVIEW Deborah Jemmott, Coordinator Metals Week is designed to be a week of creative and social re- Students will make at least one chasing tool, several technique samplers and one or more finished pieces. newal where you can relearn how to be open to learning and seeing from a creative perspective. Metals Week Faculty Lectures You will be working with master instructors in an environment Materials: A complete materials list will be sent upon registration. that encourages opportunities Tuition: $715 Lab fee: $55 (Includes Faux Bone, special to test ideas, try new techniques and create work as well as network and exchange ideas with other jewelers & metalsmiths. Whether Betty Helen Longhi, Lily Arrangement Sculpture you come to learn new skills or enhance the skills and techniques you Metals Week Potluck & Auction already know, you will have the opportunity to grow as an artist in metal. Other activities during the week include: This week of intensive metals studies will begin on Sunday, June 16 and • Exhibition of faculty work and opening reception run through Thursday, June 20. You will have the opportunity to work with one of six outstanding jewelers/metalsmiths – but in addition, • Faculty slide show & lectures you will have the opportunity to sign up for two lecture/demos from • Potluck dinner other instructors teaching during the week. This is a time for you to • Auction attend a lecture/demo, examine samples, ask questions and visit with • End-of-the-week student exhibition instructors teaching other Metals Week workshops. This schedule offers the opportunity for a rich and well-rounded experience with intensive studies focusing in the area and with the instructor you have chosen. 8 JEWELRY Students of all levels are welcome. Some silver soldering experience and basic knowledge of sawing and filing would be helpful to accomplish more in this class. blades, and the materials for tool making. In addition, it includes the use of all tools, equipment, and consumables such as solder and compounds.) Students are encouraged to bring their own metal and tools – but they must be clearly marked. Enrollment limited to 12 students. Nancy Megan Corwin is a jeweler/metalsmith, teacher and writer in the fields of contemporary and historic art metals. In 2009 Megan produced a process and gallery book on the techniques of chasing and repoussé, titled Chasing and Repoussé: Methods Ancient and Modern. She has an MFA in art metals from the University of Wisconsin-Madison and has taught in universities, colleges, and art centers for over 35 years. In 2009 Ornament Magazine did a feature story on her work, including her studio practices. Her work is in private collections and in the Victoria and Albert Museum, London, the State University of New Mexico Art Gallery at Las Cruces, and the Tacoma Art Museum, WA. She shows at Facèré Jewelry Art Gallery in Seattle, WA. www.nancymegancorwin.com 9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5 Sandra Noble Goss, Necklace, rolled links Connie Fox, Cuff Bracelet Creating Cuffs Connie Fox June 16–20 Course # AAJW ØØB One-week session From the start I loved making cuffs. They are a perfect foundation upon which to express creativity. In this class you will learn a variety of ways to construct the cuff foundation taking into account functionality, fit, and aesthetic appeal. Methods of embellishment will be covered including prong setting stones, forming acrylic, piercing, heat texturing, roller printing, corrugation and cold connections. Sandra Noble Goss, Blossoms Bracelet The Rolling Mill Nunome Zogan Tools Nunome Zogan June 16–20 June 16–20 Although the rolling mill was originally intended as a tool for reducing the thickness of metal and wire, in the hands of a studio jeweler it becomes a versatile, multi-purpose tool for texturing, laminating and shaping metal. In this course, students will explore some of the creative techniques possible with the mill. In addition to imprinting metal with designs using paper, found objects, and metal (including pierced and etched metal patterns), students will learn to produce the “married metal” Multi-Metal Lamination (metal overlay) and other useful techniques. This course will demonstrate how the rolling mill can expand the metalsmith’s technical vocabulary with a range of new finishes and textures, including highly graphic imagery, background pattern, texture and “painterly” effects. Course # AAJW ØØC This workshop will be an introduction to the fascinating and intricate world of Japanese damascene. Nunome Zogan was traditionally used to decorate parts of the Japanese swords. When the making of these swords was banned, the craftsmen directed their skill to the creation of decorative items for export. There has been much interest in this method of surface decoration for use in contemporary jewelry. Fred has collected examples and used them to study and understand the steps required to overlay gold, silver & copper onto iron. Basic fabrication and soldering skills are required. Projects can be tailored to your skill level. Students with beginning skills are welcome. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab fee: $50 (Includes brass and copper tub- ing, acrylic, polishing cloths, brass and silver bolts, copper wire, and consumables such as, honeycomb fire bricks, rolling mill textures, steel wool, wax, patinas, adhesive, drill bits, solvent, lubricant, flux, sandpaper, and use of instructor’s tools and equipment.) Students should bring their own metals (including silver solder and silver tubing if desired), hand tools, flex shaft accessories (basics available in class), a rivet block (2 available for use in class) any embellishments to incorporate into your cuff, and flat bottomed stone(s) for prong setting. Enrollment limited to 12 students. Connie Fox is a studio jeweler in San Diego, Cali- The Gentle Art of Tapping Fred Zweig One-week session Students will be encouraged to approach cuffs from their own creative point of view. Metals Week is the ideal time to stretch into new design and fabrication possibilities. Fred Zweig, Nunome Zogan Samples This workshop will provide time for each student to complete several small samples of decorated iron. We will also explore options of how to incorporate these samples into your own designs and work. Students will learn to shape and sharpen the tool provided for the workshop, draw the wire and roll the silver and gold necessary to complete the projects. We will spend time examining historic examples to better understand the skills being practiced to create this unique decorative process. We will also learn some of the simple methods to darken the iron allowing the stark contrast so prominent in this technique. The results of this fascinating process can be mesmerizing and relatively easy to accomplish. All levels welcome. fornia. She teaches workshops in her studio and in the past taught through San Diego Community College District and in venues across the US. She studied metalsmithing primarily from Deb Jemmott. Connie’s work has been published in books and magazines such as Metal Style, Jewelry Artist, and Art Jewelry. Her first love in jewelry making is design, a class she has been teaching for the last 5 years. She works with students to discover, refine and assert their own aesthetic. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab fee: $40 (Includes the use of all tools, equipment, and consumables such as solder and compounds.) Students are encouraged to bring their own metal and tools–but they must be clearly marked. Enrollment limited to 12 students. Fred Zweig, self taught metalsmith practicing since the early 1970’s, has been involved with teaching others for nearly 30 years and has a sincere passion for the process of metalworking and all of its traditions and possibilities. His desire to give homage to those who preceded him and his desire for information have led him to moderate several historical metal forums including the Society of American Silversmiths and Society of Arts & Crafts website. A creative innovator of materials and tools to create unique designs, Fred has attended and assisted in many workshops in metal and other media. He is currently involved in forging neck collars for retailers and producing a line of unique pins and pendants using techniques he has developed. Connie Fox, Cuff Bracelet sum m er @ id y llwi l dart s . o r g Exploring a Creative Tool Sandra Noble Goss Course # AAJW ØØD One-week session This course is appropriate for jewelry students of all levels–beginner as well as intermediate and advanced. Some experience with sawing, polishing and soldering is useful, but not essential. Students are encouraged to experiment with the forms and techniques. Students can expect to have one finished piece of jewelry or a collection of finished samples; the emphasis will be on experimentation. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab fee: $65 Each student will be provided with a kit with enough metal (primarily copper, brass and bronze) to make a sample of each technique and form. Students are encouraged to bring their own metal and tools. The lab fee also includes use of the consumables used in the course. The instructor will have only a limited amount of material for purchase. For students who have their own metal supply, it is suggested they bring sheet metal and wire of copper, brass, bronze or sterling. Enrollment limited to 12 students. Sandra Noble Goss has been a jewelry and metal artist since graduating from George Brown College in Toronto in 1973. Her jewelry studies began at Hornsey College of Art in London, England; she has a BA from York University, Toronto. Sandra is a partner of Goss Design Studio with her husband in Owen Sound, Ontario. She has exhibited widely in jewelry and craft exhibitions, juried shows, and solo shows. Her jewelry is hand made using traditional techniques and her metals of choice are sterling silver, brass, copper and bronze. For 20 years, Sandra was a part-time jewelry instructor in Georgian College’s jewelry program. In addition she taught at summer programs at the Haliburton School of the Arts and Idyllwild Arts. Connie Fox, Lotus, Cuff Bracelet JEWELRY 9 M E TA L S W E E K Handmade Findings Hook It, Hang It, Poke It, Stab It Deborah Jemmott July 8–12 Course # AAJF Ø2 One-week session It’s all about the details…the bail, the pinstem, the clasp, the earwire–and all the other mechanisms that make jewelry function. The thought and care that go into making the piece should also go into how the piece works. These elements are an integral part of the design in well-made jewelry. Handmade findings should enhance the design, give it a personal touch and complement the aesthetic of the overall design. They are a reflection of the attention to detail necessary in quality art jewelry. In addition, they can make a statement in and of themselves. Deb Karash, Brooch Betty Helen Longhi, Vessel for Dreaming Pendant A Fresh Look at Spiculums Deb Karash, Half Moon Earrings Surface Design & Fabrication Betty Helen Longhi 5/5/10 Deb Karash June 16–20 June 16–20 Course # AAJW ØØE Course # AAJW ØØF One-week session One-week session A spiculum is a tapered tube made from a flat sheet of metal. They are usually made by a process of forming similar to that which is used for traditional tube making. The resulting product is an elegant tubular form that can be bent in various ways after the seam is soldered. But this is just the beginning; what would happen if the pattern was irregular so when the edges came together, the seam line became curved? What about synclasticly forming the metal pattern before closing it into a tube? What if you anticlasticly form the spiculum and leave the seam open? Or how about combining synclastic and anticlastic areas in the same spiculum and closing it into a vessel form? In this workshop, we will address the basic forming processes and move beyond them to experiment with these additional options. In this new arena there are endless possibilities for making bracelets, collars, earrings, beads, vessels and abstract sculptural forms. Five Days, Five Projects, Ten Techniques. This workshop will spend five days exploring surface design and fabrication techniques which will be combined to create five pieces of jewelry: stylish pins, pendants, cuff bracelet and earrings. The workshop is appropriate for all metals students but some experience in forming metal would be helpful. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab fee: $65 (Includes Metal–one 6x12x22ga and one 6x6x24ga nugold, maple spiculum block, consumable materials–solders, fluxes, sandpaper, etc., and wood blocks for forming.) Students should bring their own hand tools – but they must be clearly marked. The instructor will have a large selection of hammers and stakes available for purchase during class. Enrollment limited to 12 students. Betty Helen Longhi is a nationally recognized metalsmith who creates finely crafted jewelry and sculpture. A master craftsman, she incorporates various texturing techniques with forging, shell forming and die forming in her pieces. Betty’s work has been exhibited at the Virginia Museum, Delaware Art Museum, American Craft Museum, South East Center for Contemporary Art, the Renwick Gallery Museum Shop and The Greenhill Center for North Carolina Art as well as numerous retail galleries. She has received a number of awards including an Individual Artist Fellowship funded by the Delaware State Arts Council and the National Endowment for the Arts. She has been a guest artist at the Univ. of Wisconsin, the Maryland Institute of Art and RIT School for American Crafts, and has taught at Haystack, Penland, Parsons School of Design, Peters Valley Craft Center and more. She maintains a studio and retail sales space in her lakeside home near Lexington, NC. We will cover the following: • texturing • rivets • using paste solder • proper placement of findings • fitting layers without measuring • forming • forging small parts • other techniques This class is appropriate for all levels. Emphasis will be placed on design and finishing. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab fee: $40 (Includes the use of all tools, equipment, and consumables such as solder and compounds.) Students are encouraged to bring their own metal and tools–but they must be clearly marked. Enrollment limited to 12 students. Deb Karash is originally from Illinois where she earned an MA in Jewelry and Metalsmithing from Northern Illinois University. She now lives in the mountains of North Carolina. A full time studio jeweler, Deb sells her work at galleries throughout the US and Canada and teaches workshops. She is a founding member of Flow, an artists co-op in Marshall, NC. Her free time is spent renovating their new home in Asheville and traveling. JEWELRY We will go over problem-solving techniques, technical considerations and mechanical devices and how to build them. The focus of the class will be on creating samples to inspire future work. You are, however, encouraged to bring any pieces you have had trouble creating suitable findings for. Instruction will be given for all levels of students, however this class is best suited for students who have some jewelry making experience. Solder experience would be helpful. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab fee: $45 (Includes some metals, use of specialized tools, consumable materials such as solders, fluxes, sandpaper, etc. and use of instructors tools.) Students should bring their own metals and hand tools–but they must be clearly marked. The instructor will have some materials and supplies available for purchase during class. Enrollment limited to 12 students. Deborah Jemmott has shared her love for metal by teaching jewelry making and metalsmithing to others since 1978. She teaches through the San Diego Community College District in addition to teaching many workshops and private lessons in a wide range of topics. Her students have won awards for their work and many sell work that they have produced in class. Deb’s work has been featured in American Style, American Craft, Metalsmith, San Diego Home Garden and Redbook magazines as well as the San Diego Union Tribune newspaper. It has also appeared in 30-Minute Bracelets, Art Clay Silver and Gold by Jackie Truty, The Goodfellow Catalog of Wonderful Things III, Jewelry Making: A Guide for Beginners by Thomas P. Foote, and 20 years in Metal. She has exhibited widely and has work in galleries across the country. She also operates her jewelry and metalsmithing company “Enhancements.” www.debjemmott.com Jonna Faulkner, Totem #1 Captured Treasures in Silver Metal Clay Jonna Faulkner July 6–8 Course # AAJC Ø1 Three-day session Most of us have a stash of small treasures– unusual rocks, shells, coins, moon-face cabochons, watch parts, etc. – that we’d love to feature in our jewelry. This class will focus on ways to incorporate these items in eyecatching pendants or pins made of silver metal clay. A wonderful medium made up of tiny particles of silver, an organic binder and water, silver metal clay works easily with simple tools. Dried pieces are fired in a kiln. They shrink slightly as the organic binder burns off. They emerge from the kiln as pure silver objects. Usually, cherished treasures can’t survive firing in a kiln. That means we will focus on alternate ways of setting these precious items using prongs and/or rivets after firing and finishing. The design of each pendant or pin will start from a basic concept that will be altered as desired by the student’s aesthetic and the demands of the object(s) to be featured in the piece. Other construction and decorative techniques that will be covered in the class include creating tubing for bails in metal clay, soldering pin findings, pearl setting, carving, and final finishing techniques. Some experience with metal clay will be helpful, but is not required. Materials: A complete materials list will be sent upon registration. Tuition: $490 Lab Fee: $30 (Includes use of basic kits, kilns and consumable materials.) Art Clay Silver, some tiny treasures, pearls, 24k gold foil and other materials will be available for purchase in class. Enrollment limited to 12 students. Jonna Faulkner has been working with metal clay since 1999. She is certified to teach in both Art Clay Silver and Precious Metal Clay. She is a contributing artist to Art Clay Silver and Gold by Jackie Truty, Exceptional Works in Metal Clay and Glass by Mary Ann Devos, and The Art and Design of Metal Clay Jewelry calendars by Holly Gage for the years 2009–2013. Her Protector Pendant was chosen as the cover piece for Holly Gage’s The Art and Design of Metal clay Jewelry 2011. Jonna has taught workshops at venues in France, New Mexico, California and Arizona. She also teaches out of her home studio in Escondido, CA. Her work has been sold at a number of fine craft shows and galleries. www.jonnafaulkner.com Deborah Jemmott, Forged Pendant 10 Sometimes it’s difficult to think about the details of mechanisms before the design is complete. But it is best if those details are carefully considered early in the design process and then created as part of the entire piece. We will work on ideas and ways to integrate findings into your jewelry early-on in the design process. Deborah Jemmott, Earrings 9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5 MIXED-MEDIA/ BOOK ARTS Acrylic Ink Quilting Adventure................... 11 Judy Coates Perez Assemblage.................................................. 11 Michael deMeng Manuscript Books......................................... 12 Laura Wait Hand Forged Metal Books.......................... 12 Tracy V. Moore The Santos Cage Doll Redefined............... 12 Linda Lenart McNulty Judy Coates Perez, Painted Fabric SEE ALSO Doll Making & Beadwork............................ 15 Juanita Growing Thunder Fogarty Beyond Monotype....................................... 23 Ron Pokrasso Michael deMeng, Untitled, altered instrument Assemblage Michael deMeng June 27–28 June 29–30 June 27–30 Michael deMeng, Untitled, altered instrument Course # AAAS ØØA Course # AAAS ØØB Course # AAAS ØØ Two two–day sessions Judy Coates Perez, Painted Fabric Students may select to enroll in one or both workshops. Session I Judy Coates Perez, Painted Fabric Quilt Acrylic Ink Quilting Adventure Judy Coates Perez June 30–July 2 Course # AAMQ Ø1 Three-day session Spend three days immersed in fabric surface design exploration using acrylic inks. We’ll begin with creating colorful textured backgrounds, explore mark making with different kinds of stamps, draw with quill and ruling pens, paint imagery opaquely and with a transparent watercolor look. Explore layering washes of color with simple imagery by creating masks with freezer paper and create textured patterning with simple resists from common items found in the office supply store. Each portion of the class will add another level of complexity to the image making process, culminating in a painted whole cloth piece incorporating the techniques learned. On the last day we will incorporate free motion quilting to the painted fabric using a wool felt substrate. This class is packed with tips and ideas of different ways to work with these versatile inks on fabric. Participants should have some free motion quilting and sewing experience. June 27–28: Sanctum of the Forgotten Tune Over the years I have acquired many interesting bits and pieces of discarded goodies, but I have to admit that some of the most interesting of them were musical instruments. Usually by the time I get them all the melodies of their past lives have long faded; old trumpets, violins, oboes, and guitars are just dusty shells destined for a corner in the attic. Michael deMeng Or, perhaps, not…one thing I have noticed about musical instruments is that the old life never really leaves them. The brass, the mahogany, and ivory, though marked, still have a voice, though perhaps it is not a voice that can be heard but rather seen. In this class, you will bring old discarded instruments, and we will retune them-not to play music but so that they speak as a visual art form. Using the process of assemblage you will alter and/or combine broken violins, piano keys, trumpets, etc. and give them a new beginning as a shrine or sculpture. Music to your eyes. Enrollment limited to 20 students. Materials: A complete materials list will be sent upon registration. Tuition:$350 for Session I $650 for both Session I & II Session II June 29–30: Baba Yaga Birdhouse In Slavic legend there is a tale of an old witch… sometimes a wise sage…but mostly trouble maker. Her name is Baba Yaga, who rides in a flying mortar, using her pestle as the rudder. It is said that she lives in a strange cabin in the middle of the forest…surrounded by a fence made of bones, capped by skulls…an interesting idea...unless you are one of the skulls. The house itself is also grimly unusual… said to be perched upon giant chicken legs…sometimes one…sometimes two. This folktale seemed like a great source for a class idea. We will create a fantastical birdhouse perched on legs–doll legs, rubber chicken legs, or a mere pedestal. Now for a bit of extra credit, as an option, for folks who want to play with a bit of puppetry– I’ll show the class how to add flapping wings to the haggish home. This might come in handy if your birdhouse doesn’t have a leg to stand on…har, har. Enrollment limited to 20 students. Materials: A complete materials list will be sent upon registration. Tuition:$350 for Session II $650 for both Session I & II Michael deMeng is an assemblage artist whose Materials: A complete materials list will be work is heavily influenced by Latin American art forms such as retablos, ex votos, and milagros. Born in Southern California, he now works and resides in Missoula, Montana. As an artist he has participated in numerous exhibits that promote awareness of such issues as AIDS, breast cancer, environmental and other social issues. Michael is co-founder of Missoula’s Festival of the Dead, an annual event based on the Latin Dia de los Muertos designed to celebrate life, death and the arts, through education, performance, and visual arts. He is the author of the bestselling craft book, Secrets of Rusty Things. As an educator, he offers a variety of mixed media workshops throughout the country and over the years has been actively involved with VSA Montana. Through these activities, as well as his artwork, Michael fosters community awareness, and offers creative methods to explore the human experience. www.michaeldemeng.com sent upon registration. Tuition: $490 Lab Fee: $20 (Includes white colored pencil, china marker, tape, adhesive labels, plastic drop cloths, black and white textile paint, handouts, quill pen, aloe vera gel.) Enrollment limited to 10 students. Judy Coates Perez is an International awardwinning mixed media textile artist, traveling globally to teach painting and mixed media techniques on fabric. She received her BFA in graphic design from The Otis Art Institute of Parsons School of Design, but found her true passion when she began working with textiles. You can find her work in Quilting Arts, Cloth Paper Scissors magazines, three instructional DVD’s with Interweave and on Quilting Arts TV. Michael deMeng, Baba Yaga Birdhouse MIXED MEDIA/BOOK ARTS 11 Tracy Moore, Atomic Disintegrator Journal Page Linda Lenart McNulty, Dichroic Santos The Santos Cage Doll Redefined Figurative Art Using Mixed Media Linda Lenart McNulty July 11–13 Course # AAMS Ø2 Three-day session Laura Wait, Artis Litterarius, I Manuscript Books Writing as Image, Exposed Sewing Laura Wait July 8–12 Course # AAMB Ø2 One–week session Handwriting and medieval sewing methods are the basis of this workshop. We will use the handsewn non-adhesive codex structure with exposed cords and straps. Handwriting will be developed to use as content and image in our books, along with painting using gouache and watercolor. Intuitive work practices and the use of alternative tools will facilitate the enjoyment and development of your handwriting and painting. You may use nonsense text, or any text you prefer to bring. Words and your own handwriting will become less scary! Your own original artwork and collage elements may be included in your work. There will be discussions on the process of creating and collecting images and ideas for the beginning of an artist book. A balance will be made between text, image, and structure. Strong functional sewing will result in unique, hand-illustrated books that function and can be handled with joy. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab Fee: $30 (IncludesArches Text Wove & BFK Rives paper, sewing and book covering materials, miscellaneous writing materials, and use of instructor’s tools and calligraphy pens.) Enrollment limited to 10 students. Laura Wait’s art works focus on words as image, including the creation of one-of-a-kind artist books, encaustic painting and monoprints. She holds a degree in Art History from Barnard College, Columbia University, NY, and certificates in Printmaking and Bookbinding from Croydon College of Art, England. She teaches book art workshops throughout the country. Her artist’s books are in private and public collections worldwide, including the Library of Congress. Her work has been featured in many publications including a Masters of Book Arts and the cover of 500 Handmade Books. Tracy Moore, Forged Metal Books Hand Forged Metal Books & Full Throttle Journaling Tracy V. Moore June 20–22 Course # AAMJ ØØ Three-day session During this three day class you will learn metal working, bookbinding, found object integration, hand sewing leather, resin, journaling and alternative photography methods. Each journal is unique and filled with the spirit of its creator. The time provided will allow us to create a visually stunning metal journal, as well as delve into the exciting world of creating closures and other journal accoutrements. While the focus of this class will be exploring the techniques required for the completion of your journal, we will also explore two of my other passions: full throttle journaling, and lomography (toy camera photography.) I will open up my Journaling arsenal, and share with you all of the tips and tricks I have, and use daily to keep me on the journaling path. • Emergency Journaling. • Incorporating photography into your journal. (I’m an avid Lomographer, so there will be a segment devoted to tips and tricks of film and toy camera use.) • How to use, alter, and include photographs in your journal. Materials: A complete materials list will be sent upon registration. Tuition: $490 Lab Fee: $25 (Includes metal, leather, and paper for the creation of one journal, and use of teacher’s tools. Extra kits available for purchase.) Enrollment limited to 20 students. Tracy Vaughn Moore has been creating and filling up unique books for over twenty years. His journal work and his photography have been featured in numerous galleries, books, and magazines. He has taught workshops across the US, as well as in England, Portugal, Spain, and Tokyo. www.sustainedconfusion.blogspot.com Techniques we will cover in this class: Hand Forged Metal Books: • Book binding and book construction. • Making unique book closures and latches. • Using cold joint construction (rivets). • Working with leather and wood as well as the metal. • Stamping words and letters into metal. • Working with wire. • Metal texturing. • The Journal as Jewelry. Tuition: $490 Lab fee: $65 (Includes wood cage sets, en- • Doodling as a tool to free your mind. • Inks, watercolors, pens, & pencils. caustic medium, ICE resin, molding putty, paints, inks, mica powders & stone, metal leaf, collaging papers, photo transfer paper, use of tools, shared consumables.) Enrollment limited to 15 students. • Community journaling. • Documenting your personal journey through life. • Using the journal to help focus your “intention.” 12 MIXED MEDIA/BOOK ARTS The second day, we unleash the molds and work on our new forms, with painting and layering processes, surface treatments, and re-forming pieces to fit each other. We will use files, drills, glues and epoxies, and even magnets. This is the day we build and paint our French cage. Then, after incorporating any found objects, we attach the grand parts together and move toward embellishment. The embellishment process may entail ribbon, chain, rosaries, crowns, wings, wire, paper, charms, beads, collage, material, or photographs….really anything. Materials: A complete materials list will be sent upon registration. Full Throttle Journaling and Lomography: • Breaking into the blank page. Laura Wait, Artis Litterarius, I The first day you will be guided through sculpting in polymer, incorporating found figurative elements, and the casting of figurative parts. Molding putty makes the casting process simple and fun. Then you will learn all about pouring resin into mold forms and all it entails. We will play with color, opacity vs. transparency, and the embedding of objects and text. We will also pour encaustic forms and experience the differences and similarities between these two mediums. The third day, we create a small Reliquary to go along with our figure. This can be resin or encaustic, and uses techniques in collage, casting, and embedding. The Reliquary can be held or worn by the figure or hung within the figure. Alternately, a student can choose to cast another figure to sit within the original figure. Overall height of finished Santos Cage Doll will be approximately 18”. Open to all levels of experience. • Becoming comfortable with hand tools, dremels, and drills. • In this workshop you will be given the time and space to stretch your mind, your heart and your vision, and apply it to the making of a figurative piece in an extensive variety of mixed media. We will each be making a Santos Cage Doll, uniquely our own, an individual statement of ourselves. Conceptually, the figure in art is the epitome of reflection into ourselves. The French Santos Cage Doll is an exceptional form of expression for this reflection, as it is half “cage”/ half “saint” (our higher selves). Within the working of this form, we, as artists, are presented with an intriguing and personal opportunity to express inner conflict, struggle and resolution. Perhaps even Rapture. Linda Lenart McNulty is a Figurative and Encaustic Artist, and has received degrees in Fine Art and Dance from Columbia College, Chicago. She lives in Oberlin, Ohio where she teaches Encaustic Painting, Encaustic Jewelry and Encaustic and Resin Casting. Her new body of work redefines the Santos Cage Doll, and highlights her love of sculpting, casting and conceptual art. www.luminousencaustics.com. Creative writing techniques. (Writing, after all, is at the true heart of a journal. We will discuss many techniques to keep this process fun…whether you are simply chronicling the day’s events, jotting “to do” lists, or creating the next great novel.) Linda Lenart McNulty, Feathered Santos 9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5 MUSIC EVENT N AT I V E A M ER I CA N A R T S The Native American Arts Workshops are designed for adults at all levels of experience and knowledge. Working closely with master artists and cultural specialists, students have the rare opportunity to learn traditional and contemporary Native American art forms and to gain an understanding of the rich cultural foundation which inspires and motivates each artist. Native American Arts Festival June 30–July 6, 2013 CULTURE Native Arts Festival....................................... 13 Craft & Survival Skills ................................ 14 Tony Soares & Gerald Clarke, Jr. Native Plants ............................................. 15 Barbara Drake, Craig Torres, Daniel McCarthy, & Abe Sanchez Chamber Music In Idyllwild July 31–August 8 Please join us for four extraordinary chamber music concerts this summer as part of Chamber Music in Idyllwild. Renown performers from the Chamberfest faculty will perform a wide range of chamber music selections from the Baroque to the present, including music for strings, winds, brass and piano. KUSC Classical DJ Rich Capparela will provide insightful commentary about the music during three pre-concert talks. The concerts will take place in Stephens Recital Hall. The schedule of concerts: WEDNESday, JULY 31 7:30 p.m. Pre-Concert Talk: Rich Capparela 8 p.m. Concert I FRIday, AUGUST 2 8 p.m. Faculty Concert FIBERS Cahuilla Basketry ..................................... 15 Rose Ann Hamilton Doll Making & Beadwork ........................ 15 Juanita Growing Thunder Fogarty Hopi Basketry................................................ 16 Griselda Saufkie & Antoinette Abeita Navajo Weaving ...................................... 16 Barbara Ornelas & Lynda Pete JEWELRY Hopi Jewelry: Overlay & Tufa Casting...... 17 Roy Talahaftewa Navajo Inlay Jewelry Richard Tsosie ............................... 17 MUSIC/CARVING Native American Flutemaking ............... 17 Marvin & Jonette Yazzie, Ernest Siva POTTERY Hopi-Tewa Pottery Mark Tahbo Mata Ortiz Pottery Jorge Quintana .................................... 18 .................................... 18 Santa Clara Pottery...................................... 18 Nathan Youngblood Parks Exhibition Center Overview Continuum in Native American Arts and Culture Each day, the visiting scholars and artists will explore a wide range of topics with slide lectures, demonstrations, & performances. Native food tastings daily. Indicates workshop takes place during the Native American Arts Festival. Navajo Inlay Jewelry Class The week-long Native American Arts Festival, designed to enhance and add depth to the hands-on workshops, includes performances, the Michael Kabotie Lecture series, art exhibits, and informal discussions SATURday, AUGUST 3 7:30 p.m. Pre-Concert Talk: Rich Capparela with a distinguished group of artists, tribal elders and scholars. In addi- 8 p.m. Concert II to participate and learn about the most current issues and theories THURSday, AUGUST 8 7:30 p.m. Pre-Concert Talk: Rich Capparela concerning Native American artists, art and culture. 8 p.m. Concert III tion, the Festival Week offers a way for those not enrolled in a workshop The spirit of this annual series is to bring the scientific, intuitive and trickster voices together for a balanced and provocative learning experience. This year’s program, “Continuum,” invites participants to consider current social or creative actions as the contemporary manifestation of an ancient expressive tradition. Instead of looking at arts and cultures through the static lens of “old vs. new”, “traditional vs. contemporary” or “lost vs. preserved”, the idea of “continuum” offers an alternative view of arts and culture as ever-evolving aspects of human expression. Please note: Workshops that occur during the festival are designated with the festival logo. Jonathan Sharp & Ellen Rosa, “Dark Made Light” 2012 sum m er @ id y llwi l dart s . o r g MUSIC/NATIVE AMERICAN ARTS 13 CULTURE Southern California Indigenous Craft & Survival Skills Tony Soares & Gerald Clarke, Jr. June 29–30 Course # NASS ØØ Two-day session Gerald Clarke, Jr., Netmaking Day one will focus on the making of a Southern California Indian arrow and quiver. Each participant will construct arrows using bamboo cane and arrowweed, learn ancient techniques of knapping obsidian into arrow points, make hardwood foreshaft arrow points, and process deer tendon (Sinew) for attaching feathers and arrow points. Participants will have the rare opportunity to construct a traditional Southern California Indian quiver processed from the yucca plant stalk. This process entails hollowing the stalk, processing the yucca plant into fibers for the strap, and decorating the Quiver. The Cahuilla Birdsingers Michael Kabotie Lecture Series Krieg Kalabasa, James Luna, Michael Kabotie FESTIVAL WEEK Events Open to the Public Dustinn Craig 2011 Film Festival Brent Michael Davids’ Last of the Mohicans concert 2011 Continuum in Native American Arts and Culture. Each day, the visiting scholars and artists will explore a wide range of topics on “Continuum” with slide lectures, demonstrations, & performances. Native food tastings daily. Sunday, June 30 6:30 p.m.Panel: Native American Arts at ISOMATA 1950–2013 Jock Soto and Laura Ortman 2012 Monday, July 1 7 p.m. Guest Artists’ Discussion * Freddie Bitsoie 8 p.m. Invitational Exhibition Opening/Reception Tuesday, July 2 12–1 p.m. Kabotie Lecture Series: * Freddie Bitsoie, Native Cuisine in the Americas FESTIVAL WEEK Guests Mark Tahbo Joe Baker Delaware Tribe, Consultant to this program, Executive Director, Longue Vue House and Gardens, New Orleans Gerald Clarke, Jr. Cahuilla, Artist, Tribal Council Vice Chairman, Cahuilla Band of Indians Freddie Bitsoie Navajo, Chef, Anthropologist 14 NATIVE AMERICAN ARTS In this hands-on course, students will be using various tools and techniques to create traditional objects used by the indigenous people of Southern California for subsistence. Students will learn how to gather and process the materials needed to create these traditional items. Wednesday, July 3 12–1 p.m. Kabotie Lecture Series: * Dr. Jessica Metcalfe, Native American Fashion Thursday, July 4 12–1 p.m. Kabotie Lecture Series: * TBA 7 p.m. Film Night: Documentary, “Akway Nyewaa: Coming Back Home” by Phillip Espinoza Friday, July 5 Phillip Espinoza Mesa Grande Band of Mission Indians 7 p.m.Performance: Cahuilla Birdsingers. Special Guest, TBA Dr. Jessica Metcalfe Turtle Mt. Chippewa, Founder, Beyond Buckskin SaturDay, July 6 8 a.m. Hopi-Tewa Pottery Firing. Mata Ortiz Pottery Firing Additional guests to be announced. * Includes Native Food Tastings Day two will focus on hunting techniques including the rabbit stick (a boomerang-like weapon), deadfall traps and hunting net. Guest Brandon Duran will teach rabbit stick making. In the hands of a skillful hunter, it was an effective weapon for harvesting small game at a distance of up to fifty feet. The deadfall trap consists of a heavy rock or log that is tilted on an angle and held up with sections of branches, one of which serves as a trigger trapping small game. Finally, the hunting net is a long weaving of natural fibers used to entangle small game that would be driven into the net. In addition, participants will see demonstrations of Atlatl (spear) throwing, and fire-starting using two sticks. Students should expect moderate physical activity throughout the workshop. Materials: A complete materials list will be sent upon registration. Tuition: $220 Lab fee: $25 (Includes preparation and collec- tion of many of the items to be used in class.) Enrollment limited to 8 students. Gerald Clarke, Jr. is a member of the Cahuilla Band of Indians located 40 miles southwest of Palm Springs, California. He currently lives on his family’s ranch on the reservation and serves on the Tribal Council as Vice-Chairman. Gerald has taught classes in Sculpture and New Media at Idyllwild Arts Academy for the past seven years. Previously, Gerald served as an Assistant Professor of Art at East Central University in Ada, Oklahoma. In addition to his teaching duties, he has exhibited his work at a variety of venues throughout the country and abroad. In 2007, Gerald was awarded an Eiteljorg Museum Fellowship for Native American Fine Art. Tony Soares learned the fundamentals of pottery from his grandmother at age seven, starting a 30+ year journey to revive the fading art of olla making. Though not of Cahuilla descent, he is credited with helping to revive the art of Cahuilla pottery making through his experimentation with local clays and indigenous handbuilding techniques. Today, his pottery is displayed in art galleries and museums including the Tahquitz Canyon Museum. Tony is dedicated to sharing his knowledge to ensure that Native American pottery making is never lost. He has taught his skills at many venues including the Agua Caliente Band of the Desert Cahuilla of Palm Springs and the Yuman tribes of the Colorado River, Arizona. 9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5 FIBERS Elderberry Elderberry Branch Medicine Pouch Native Plants Contemporary & Traditional Uses Barbara Drake, Craig Torres, Daniel McCarthy & Abe Sanchez July 6–7 Juanita Fogarty, Untitled Soft Sculpture with Quillwork Historic Cahuilla Basket Course # NANP Ø1 Cahuilla Basketry Two-day session Learn ways to preserve and utilize native plants in this hands-on workshop. On day one, begin with an ethnobotany talk in the campus meadow next to ancient Cahuilla bedrock mortars to learn about local plants and their many uses. Next, learn how to make items from the Elderberry plant: instruments (clapper sticks decorated with abalone shell), a medicine pouch (small container out of hollowed branches); and learn about the many uses of elderberry for medicine, food, and dye (to blacken juncus for basketmaking). In the evening, visit local Cahuilla rock art sites to learn the meaning, historical significance and importance of the preservation of these sites. Day two will be devoted to traditional and modern gathering practices of native plants; preparing and cooking with a wide range of plants; and will include demonstrations on the processing of acorns, mesquite beans, prickly pear cactus and chia into various products. Finally, feast together on the foods we prepare together in class. Each student will receive a book of recipes. This workshop is dedicated to our teacher, Katherine Siva Saubel, with deep gratitude. Tuition: $220 Lab fee: $30 (Includes all materials, collected and prepared; foods; field trip transportation and park fee.) Enrollment limited to 20 students. Barbara Drake (Tongva) is a tribal elder and culture keeper. Her program, Preserving Our Heritage, is a food bank of native foods collected, preserved and processed for tribal elders. She is a member of the Mother Earth Clan, a group of three Southern California Native American women educators who have taught extensively in museums, schools and tribal institutions. Craig Torres (Tongva) is a member of Traditional Council of Pimu and involved with Ti’at Society, an organization focused on the revival of the tra- Barbara Drake Harvesting Elderberries ditional maritime culture of the Southern California coastal region and Southern Channel Islands. He is an artist, as well as cultural educator, presenter and consultant to schools, culture and nature centers, museums, and city, state and government agencies acting as a consultant on the Tongva. He has also been involved with the organization Sharing Our Heritage and Chia Café, which provide cooking demos and classes with California native plants. These activities also provide education on the importance of preserving native plants, habitats and landscapes for future generations. Daniel McCarthy received his BS and MS in anthropology from the University of California, Riverside. For the past 40 years, he has worked at Anza-Borrego Desert State Park, Joshua Tree National Park and throughout Southern California compiling photographic inventories of rock art sites in these areas and throughout the western region. He has worked with Elders and Traditional Practitioners for over 35 years and served as the Tribal Relations Program Manager for the San Bernardino National Forest for 17 years. He is currently Director, CRM Department, at San Manuel Band of Mission Indians. Abe Sanchez has been actively involved in the revival and preservation of Indigenous arts and foods. Two of his specialties are Southern California Native American Basketry and California and Southwest Native foods. He has had the opportunity to work closely with traditional Native American gatherers to learn the methods and practices of these cultural specialists. His interest in traditional foods is that many of these local ingredients are sustainable products that are readily available yet underutilized. He believes that by having the opportunity to teach about these ancient natural foods and helping people learn ways to prepare and eat them again can make a difference in both their health and our environment. Soft Sculpture Doll Making & Beadwork Rose Ann Hamilton Juanita Growing Thunder Fogarty July 1–5 July 1–5 Course # NACB Ø1 Course # NADS Ø1 One-week session One-week session The Indian tribes of California produced baskets of great diversity and beauty. The exquisite baskets of the Cahuilla, in particular, are recognized among the highest form of the basket making art, and in recent years the Cahuilla have experienced a revival in the tradition. In this course learn how to create a traditional Plains style doll using materials that were common in making dolls of the past. Plains dolls were originally learning and play items used to teach the youth of the Plains culture. Students will hand build a buckskin doll and adorn it with traditional clothing and accompaniments. Each student will learn how to create a basket of his/her own during the workshop using yucca, sumac, juncus and deer grass. On a field trip to the nearby Cahuilla Reservation, students will be taught identification of plants used in basket making and will learn how to prepare the plants for use. Tuition: $715 Lab fee: $40 (Includes materials, field trip transportation and use of tools in the class.) Enrollment limited to 10 students. Rose Ann Hamilton, Mountain Cahuilla, learned the art of Cahuilla Basketmaking from Donna Largo, longtime Idyllwild Arts summer faculty member and the weaver responsible for the current revival of the tradition. Rose Ann was one of Donna’s first Cahuilla students, and has been making baskets for 20 years . She is active in the Southern California Indian Basketweavers Association, and teaches basketmaking at numerous venues, including Agua Caliente Cultural Museum and UCLA. Experience all techniques and steps used in the process, including constructing a doll body and making the clothing, preparing beadwork items to decorate the dolls, and more. Students will have the opportunity to experience the labor intensive ingenuity of creating a doll/ soft sculpture from scratch. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab fee: $195 (Includes brain tanned buckskin, human or synthetic hair, cotton stuffing, cotton printed materials for clothing.) Enrollment limited to 6 students. Juanita Growing Thunder Fogarty is from the Fort Peck, Assiniboine and Sioux Tribes of Montana. She has been studying with her mother, Joyce Growing Thunder, her entire lifetime, learning the traditional arts of her tribes. She is accomplished in bead work as well as porcupine quill work, and has won many top awards during her 27 years of participating at the Santa Fe Indian Market. Her work has been featured in numerous museum shows, including the Smithsonian’s National Museum of the American Indian (NMAI) Identity by Design show, and the exhibit A Song for the Horse Nation, as well as the current NMAI exhibit Grand Procession: A Collection of Contemporary Native American Soft Sculpture (dolls) opening April of 2013. Juanita has shared her knowledge with others through teaching beadwork classes as well as mentoring many individuals throughout the years. In putting value in the tradition of her work she strives to honor her people’s past, in hopes that her work will help to preserve the future generation’s connection to their culture. Rose Ann Hamilton Juanita Fogarty, Horse and Rider Soft Sculpture sum m er @ id y llwi l dart s . o r g NATIVE AMERICAN ARTS 15 Navajo Weaving Studio Navajo Weaving Beginning & Intermediate Barbara Ornelas & Lynda Pete Hopi Coiled Basket start Hopi Basketry Coiled Plaques & Sifter Baskets Griselda Saufkie & Antoinette Abeita June 24–28 June 24–28 July 1–5 Course # NANW ØØ Course # NANW Ø1 One or Two-week session Course # NAHB ØØ Hopi Baskets play an integral role in the life and ceremonies of the Hopi people. From dances and weddings to giving thanks and appreciation, the uses of baskets at Hopi are many. The exquisite baskets that are woven by Hopi women come in three distinct styles and techniques. The coiled plaques made at Second Mesa are the subject of this workshop. Students will have the opportunity to learn the art of weaving from Master Navajo Weaver, Barbara Teller Ornelas, originally from Two Grey Hills and Newcomb, New Mexico, and her sister Lynda Teller Pete. While instructing and demonstrating, Barbara and Lynda will share their family’s personal weaving stories and experiences, allowing participants a chance to view the world of Navajo weaving. This is a rare opportunity to work with Hopi elder Griselda Saufkie from the village of Shungopovi, Second Mesa, and her daughter, basketmaker Antoinette Abeita. Students will learn the techniques of making and incorporating design into a coiled plaque basket. They will learn how the yucca and galleta grass are gathered and prepared for texture and color, and each student will then design and create a plaque basket. In addition, Griselda will bring fresh green yucca and rings to create Hopi sifter baskets. This is a two day process, so a student may choose to learn this technique in addition to the coil technique. According to Navajo oral tradition two holy people, Spider Woman and Spider Man, introduced weaving to the Navajo. Spider Man constructed the first loom, which was composed of sunshine, lightning, and rain; and Spider Woman taught the people how to weave on it. Spider Woman was discovered by the Holy Twins, the culture heroes of the Navajo Creation Story, in a small opening in the earth surrounded by an array of beautiful weavings. Entering her dwelling, the Holy Twins descended a ladder made of yarn, whereupon Spider Woman offered them knowledge of the world of weaving. One-week session Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab Fee: $45 (Includes gathered and prepared materials and the use of tools in class.) Enrollment limited to 8 students. Griselda Saufkie lives on the Hopi Reservation in Arizona. She began making baskets upon initiation, when she was about 12 years old. She has the distinction of being named an Arizona Indian Living Treasure. Griselda has received many awards for her basketry, and is included in books such as Art of the Hopi: Contemporary Journeys on Ancient Pathways, by Lois and Jerry Jacka. Antoinette Saufkie Abeita, daughter of Griselda and the late Lawrence Saufkie, resides on the Hopi Reservation in the village of Soongopavi, and belongs to the Water Clan. She started making baskets at the age of 18 after going through the Lakon (basket dance) initiation and has kept the tradition going. Her mother took Antoinette’s baskets to the Arts and Crafts Markets to sell for her, and she now shares a booth at the Santa Fe Indian Market with her mother. Beginners: Students will learn the traditional method of Navajo weaving and will begin weaving on Day 1 with a pre-warped, upright Navajo loom. The majority of the week will be spent designing and learning how to weave a 12” x 16” rug. There will be a lesson on warping a loom later in the week. Beginning weavers may enroll for the full two weeks or in the first week only. Intermediate: Students will learn more advanced weaving techniques and more intricate patterns, and the rug may be any size. Students who have begun a rug in this workshop in previous summers may bring their rugs to complete, or may begin a new rug. Intermediate students must bring their own loom and it must be set up for weaving before class begins. Alternately, they may order a pre-warped loom (when they register) to work on if they prefer. Intermediate students (those who have taken this course before or have had previous basic training in Navajo weaving on an upright loom) may enroll for the full two weeks or in the second week only. Lynda Pete Materials: Students may wish to bring a seat cushion and small clamp or desk lamp. Tuition: $715 per week Lab fee: $75 beginners (Includes the use of a pre-warped loom and all tools in class, six skeins of wool. Looms, additional wool, battens and combs will be available for purchase.) Intermediate students: no lab fee (wool and warp will be available for purchase. If choosing to use a pre-warped loom, which must be ordered at the time of registration, the lab fee is $45.) Enrollment limited to 10 students per week. Barbara Teller Ornelas is best known for her Navajo “tapestry” weavings (95–120 weft threads per inch). She has set several records with her weavings: she has won Best of Show at the Santa Fe Indian Market twice; she established a new record in 1987 by selling a weaving for $60,000 that she and her sister Rosann Lee made; and she has woven the largest tapestry-style Navajo weaving on record. Barbara is a fifth generation weaver who was raised near Two Grey Hills on the Navajo Reservation where her father was a trader. She has been featured in National Geographic, Business Week, Americana and Native Peoples Magazines, as well as numerous books. She has won dozens of awards, and has demonstrated and lectured at museums and institutions across the country and recently did a cultural exchange with the Peruvian weavers in Peru at the request of the US State Department. Barbara and Lynda have taught their popular workshop at Idyllwild Arts for 15 summers. Lynda Teller Pete began weaving at age 6 and won her first major award at age 12 at the Gallup Ceremonial. She has gone on to win numerous awards for her weaving; recently winning the Best of Classification for Textiles at the prestigious 2011 Santa Fe Indian Market. Lynda collaborates with museums, schools and other art venues in Colorado and around the country to teach the public about Navajo weaving. She is also known as an accomplished beadwork artist and has won many awards for this work as well. www.navajorugweavers.com Hopi Sifter Basket 16 NATIVE AMERICAN ARTS 9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5 JEWELRY MUSIC/CARVING Roy Talahaftewa, Tufa Cast Bracelet Richard Tsosie Native American Flute Making Marvin & Jonette Yazzie, Ernest Siva Roy Talahaftewa, Sun Buckle Hopi Jewelry July 4–7 Overlay & Tufa Casting Roy Talahaftewa June 24–28 July 5–7 Course # NAJH ØØ Beginning students will be introduced to the fundamental materials, processes, and techniques of silversmithing, and those with experience will be able to fine-tune their skills while mastering new techniques. Intermediate and advanced students may choose to learn the shadow box technique. Because students will be working closely with the teacher, the workshop is well-suited for students of all levels of experience. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab fee: $65 (Includes pre-cut tufa, the use of all tools, equipment and consumables such as solder and compounds.) Students are encouraged to bring their own silver and hand tools, if they have them, but these items must be clearly marked. Some silver sheet will be available for purchase in class. Enrollment limited to 12 students. Roy Talahaftewa is from Shungopovi Village on the Hopi Reservation in Arizona, and is a member of the Water Clan. He works in both silver and gold, and uses both Hopi overlay and tufa casting in his designs. Roy has been receiving major awards for his work since 1981, including Best of Show at the Heard Museum, among many others. Working with the non-profit Hopi Pu’tavi Project, Inc., Roy teaches Hopi youth the art of metalsmithing, and he is an active advocate and promoter of Hopi artists on the reservation. Navajo Inlay Jewelry Richard Tsosie July 1–5 Course # NAJN Ø1 One-week session The Navajo adopted the art of jewelry making from the Spanish after contact, taking the art to new heights and establishing a style that is now considered to be the “traditional” Navajo style. Today, there are many Navajo jewelers who are moving beyond that style, designing contemporary pieces of jewelry which reflect a new Native American reality. Artists are creating colorful collages and patterns with beautiful stones and shells set in gold and silver. In addition to turquoise and coral, it is not unusual to find lapis lazuli, purple lavulite, diamonds, pearls, malakite, jet stone, jade, melon shell and other stones, shells and gems in contemporary Native American jewelry. Working closely with one of the leading contemporary Navajo jewelers, students will learn the techniques used to create such pieces. They will design patterns, cut, grind and prepare stones, and set the stones into basic silver forms (rings, bracelets, earrings, bolos, etc.) which they have created. Participants without prior experience in silversmithing will also be introduced to the basic concepts of shaping silver. In this workshop, each student will construct and decorate a six-hole flute under the guidance of an experienced Navajo flute maker. They will also learn some history of flutes as well as the care and handling of their newly created instrument. During the course, ethnomusicologist Ernest Siva will teach the basics of flute playing and each student will receive a small booklet of flute music. Intermediate students–those who have taken class from the Yazzies in the past (4-day session begins July 4) will use poplar for the body of the flute in the key of B (low)–new this year. The flute will be side blown and have a 1 1/4 inch bore size. Materials: A complete materials list will be sent upon registration. Tuition: $490 (Beginning, 3-day session) $590 (Intermediate, 4-day session) Lab fee:$40 (Beginning, 3-day session) $60 (Intermediate, 4-day session) (Includes wood, totems, materials and the use of tools and equipment in class.) Enrollment limited to 10 students. Marvin and Jonette Yazzie are from Lukachukai, a small town on the Navajo reservation in the Four Corners region of Arizona. Jonette assists Marvin in flute making, an art they learned from their relative Willard Coyote. Their flutes are carried in the Heard Museum shop and others around the country, as well as Asia and Europe. Recording artist Scott August of Cedar Mesa Music has used Yazzie flutes on Sacred Dreams and New Fire, two of his CDs. Marvin is listed in Flute Magic and Voices of the Flute. Yazzie flutes are used in the music programs of Tuscon and Klamath-Trinity school districts. Marvin and Jonette played flutes in the play Anasazi at the Ramona Bowl in 2011and played preshow for the Ramona Pageant. www.yazzieflutes.com Tuition: $715 Lab fee: $45 (Includes the use of all tools, equipment, and consumables such as solder and compounds. An additional charge will be made for all silver and stones used. A small selection of turquoise and other stones will be available for purchase, but students are encouraged to bring their own stones if they have preferences on colors/stone types.) Students may bring their own silver, tools, stones, and a work lamp which must be clearly marked. Enrollment limited to 10 students. Ernest H. Siva is a musician and teacher. He is the cultural advisor and tribal historian for the Morongo Band of Mission Indians. Siva formerly taught public school music in Palm Springs and Los Angeles before teaching courses in American Indian music at UCLA for 12 years. He and his wife June are Idyllwild Arts alumni and trustees. In 2004, Ushkana Press published his book, Voices of the Flute. He is president and founder of the Dorothy Ramon Learning Center. from Flagstaff and the Wide Ruins area of the Navajo Reservation and is currently living in Scottsdale, Arizona. His work has been featured in American Indian Art Magazine, Arizona Highways Magazine, the video Beyond Tradition: Contemporary Indian Art and Its Evolution, as well as several books including, Southwestern Indian Jewelry by Dexter Cirillo and Enduring Traditions, Art of the Navajo by Jerry Jacka. Richard’s work has been exhibited in galleries and museums from New York to California. sum m er @ id y llwi l dart s . o r g Marvin Yazzie Beginning students (3-day session begins July 5) will use western red cedar for the body of the flute. They will carve, shape, oil, tune and finally decorate their flute. The Pentatonic scale will be used to tune the flutes and students may choose the key (from F to A). Richard Tsosie is a Navajo jeweler and sculptor Roy Talahaftewa Course # NANF Ø1B Beginners: 3-day session (Fri.-Sun.) One-week session In this workshop, students will learn the classic Hopi Overlay technique of metalsmithing, as well as Tufa Casting. Tufa is a soft porous stone used for direct casting one-of-a-kind designs. Student may combine tufa cast pieces with their overlay designs (multiple layers of sheet silver with cut-out designs, textured and oxidized recessed surfaces), or students may create separate overlay and tufa works. In addition, the instructor will demonstrate techniques for making stamping tools. Course # NANF Ø1A Intermediate: 4-day session (Thurs.-Sun.) Ernest Siva NATIVE AMERICAN ARTS 17 POTTERY Jorge Quintana Nathan Youngblood, Untitled Jar Santa Clara Pottery Hopi Pottery Firing Nathan Youngblood June 24–29 Course # NAPS ØØ One-week session-includes Saturday a.m. firing Mata Ortiz Pottery Jorge Quintana July 1–6 Course # NAPM Ø1 One-week session-includes Saturday a.m. firing Inspired by the ancient Casas Grandes pottery of Chihuahua, Mexico, Juan Quezada began making pottery in 1975 in his village of Mata Ortiz. His success inspired others to begin making this style of pottery, and there are now hundreds of potters working in Mata Ortiz. Jorge Quintana was one of Juan’s students, and has emerged as one of the outstanding and innovative potters of this second generation of Mata Ortiz artists. Mark Tahbo, Mixing Clay Hopi-Tewa Pottery Mark Tahbo July 1–6 Course # NAPH Ø1 One-week session-includes Saturday a.m. firing Students in this workshop will learn the traditional Hopi method of creating polychrome pottery, including coil building, stone burnishing, painting with natural pigments, and firing. Learn how to process and prepare raw clay for pottery making and to prepare beeweed plant for black paint. Students will also have the opportunity to experiment with two types of clay, the Hopi-Tewa gray clay, as well as the yellow ochre clay that Nampeyo often used; see demonstrations of slipping techniques using white kaolin and yellow ochre; and learn two firing techniques (for both gray and yellow ochre pots). The natural clays and paints are provided by the artist, from the Hopi Reservation in Arizona. There is enough clay for each student to make 2 to 3 small pieces of pottery – all that can be successfully completed in the week-long workshop. This is not a production pottery course, but a careful examination of the delicate process of Hopi pottery making and the cultural foundation from which the art is inspired. Mark Tahbo, Jar with Moths Tuition: $715 Lab Fee: $50 (Includes clay, pigments, firing materials, and the use of pukis and other tools in class.) Enrollment limited to 12 students. Mark Tahbo Tuition: $715 Lab Fee: $55 Enrollment limited to 15 students. Mark Tahbo is known as one of the finest Hopi potters today. Born and raised on the Hopi Reservation, First Mesa, Mark learned the art from his great grandmother Grace Chapella, Nampeyo’s neighbor and a principle pottery “revival” artist decades ago. His distinctive pots have been exhibited worldwide in museums and galleries. Among the many top awards he has earned at the Santa Fe Indian Market is the prestigious Helen Naha Memorial Award for Excellence in Hopi Pottery which he earned for 3 consecutive years. Mark has been profiled in various publications including Native Peoples Magazine, and is included in numerous books and articles on Pueblo pottery. Completed Hopi Firing 18 NATIVE AMERICAN ARTS In this course, students will learn to create both polychrome and black pots in the Mata Ortiz tradition. Participants will build, polish, sand, paint and fire their pots in an outdoor firing. Jorge will also teach how to make paint brushes with hair, mix clay and pigments. The clay and paints/pigments are provided by the instructor and are gathered from his home. Jorge Quintana is an artist, innovator, entrepreneur and teacher. Jorge is known not only for his exquisitely symmetrical polychrome pots, but also for his experimentation with the use of different minerals to color his pots. He has demonstrated the art across the U.S. at venues including the Southwest Museum in Los Angeles, Idyllwild Arts, the Autry Museum, and the Sam Maloof Foundation for Arts and Crafts. His distinctive polychrome pots have been shown in the major exhibitions on Mata Ortiz pottery, including the Exhibits USA Potters of Mata Ortiz traveling exhibition and the American Museum of Ceramic Arts (AMOCA) exhibition in Pomona, California. He is included in books on the subject, including The Miracle of Mata Ortiz by Walter Parks. Learn the traditional methods and techniques for making Santa Clara Pueblo pottery–the distinctive black polished work with carved designs. The instructor will guide students through all the steps from processing the native clay, hand–building using the coil technique, designing, carving, slipping and stone burnishing, to reduction firing for blackware. Because the instructor’s method requires extensive air-drying time, each student will have the privilege of using a dried vessel prepared by the instructor to learn the carving, polishing and firing techniques. In addition, each student will start pieces from the beginning of the process–mixing clay (with your feet!) and building pots–and will be able to complete those pieces at home after the 30-day drying period. The workshop will also include individual firings, and discussions about Santa Clara Pueblo, the pottery making tradition, and the cultural foundation from which the art is inspired. The raw clay and paints are provided by the artist, and are gathered from his home. Tuition: $715 Lab Fee: $125 (Includes clay, paints, stones and all materials, as well as one 5” to 6”dried vessel prepared by the instructor to complete.) Enrollment limited to 12 students. Nathan Youngblood is a sixth generation potter from Santa Clara Pueblo, New Mexico, and is the grandson of renowned potter Margaret Tafoya, and son of Mela Youngblood. He has been making pottery since 1972, creating both black and red & tan traditional styles, and adhering to all the traditional aspects of making a bowl. Nathan has won numerous awards in Native American pottery competitions. His work has been exhibited widely at galleries and museums across the country, and he has been included in numerous magazines and books on Native American art and pottery. Nathan has served on the boards for the American Craft Council, Gallup Inter-Tribal Ceremonial, the Southwestern Association of Indian Arts (SWAIA), and the Wheelwright Museum. Nathan Youngblood 9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5 PA I N T I N G & D R AW I N G Color Boot Camp......................................... 19 Bill Perkins Contemporary Approaches to Painting.. 19 Iva Gueorguieva Drawing Intensive......................................... 20 Margaret Scanlan Encaustic Painting & More......................... 20 Cari Hernandez The Figure & Still Life: Direct Painting......... 20 Scott W. Prior Boot Camp Student Color Study Bill Perkins, Rose Estate Narrative Figurative Painting...................... 21 Rebecca Campbell Painting the Figure....................................... 21 Robert Regis Dvorák Travel Drawing & Painting........................... 21 Robert Regis Dvorák Bill Perkins, Morning Coffee Watercolor from Within................................ 22 Barbara Nechis Watercolor Unleashed................................ 22 Nicholas Simmons SEE ALSO Acrylic Ink Quilting Adventure................... 11 Judy Coates Perez Encaustic Monoprinting.............................. 23 David A. Clark Bill Perkins, 4th of July Color Boot Camp Bill Perkins July 1–5 Course # AAPC Ø1 One-week session During this five day intensive class students will paint between fifteen and twenty-five paintings. We will be covering six basic contrasts of color theory. No swatches or charts, we will be painting directly from models set-up in specific color and lighting situations that present these aspects of color theory as they appear in the real world. This fast-paced method of specific set-ups and consistent change is unique to this workshop. I have designed it specifically to challenge artists as well as deliver more color theory and practical experience through painting the effects of light directly. Each artist will complete this workshop with a personal journal including documentation, examples of various color interactions, theories and their applications, and a glossary of color terms to serve as their own valued source and foundation for years to come. This workshop is best suited for intermediate to professional artists, or artists with oil painting experience. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab Fee: $75 (Includes daily model fees.) Enrollment limited to 20 students. Bill Perkins began traveling and painting in pleinair while in college before he graduated in 1980 from the Art Center College of Design. Bill began exhibiting his work in galleries in Taos, Laguna Beach, and Tucson. His work was also exhibited at the Springfield Museum and the Monterey Peninsula Museum before he was thirty. In 1986, Bill began working for Walt Disney Animation. Today he remains an avid plein-air painter, an Art Director for Disneytoons Studio, and teaches at Cal Arts, LAAFA, and Concept Design Academy. Iva Gueorguieva, Bathers Contemporary Approaches to Painting Iva Gueorguieva June 24–28 Course # AAPC ØØ One-week session What is contemporary? What is abstraction? How does one arrive at an image?What is painting and what is its relationship to drawing? These are some of the questions that will guide our discussion during the course of the week. Each day, we will focus on the work of one contemporary artist, analyzing both formal and conceptual strategies and relationship to history. The artists we will consider are Trenton Doyle Hancock, Mark Bradford, Robyn O’Neil, Tal R, and Per Kierkby. Our discussions will determine the materials and visual propositions framing each day’s approach to small works on paper and canvas. These experiments will in turn feed into the development of 2-3 larger works to be completed in the course of the week, which will reflect more precisely the personal vision and interest of each participant. The goal is to identify ways continually to engage history, while cultivating sensitivity and an understanding of the current cultural and political moment. Both contribute to clarity and forcefulness in art. We will focus in particular on the use of collage, where cutting and layering is used to construct surface and image. We will use acrylic and flash paint, as well as a number of non-fine art methods and materials. We will also look at how limitations serve as central to the technique of these artists. Iva Gueorguieva, Voyages in a Stone Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab Fee: $35 (Includes shared materials–matte medium, transparent gesso, flash paint, tempera, mulberry paper.) Enrollment limited to 12 students. Iva GueorguievaI (b. 1974, Bulgaria) received an MFA from the Tyler School of Art in Philadelphia. Recent solo shows include Susanne Vielmetter Los Angeles Projects, LA, CA; Ameringer/ McEnery/ Yohe, New York, NY. Notable group shows among others include Galerie Lelong, New York, NY; the Contemporary Art Museum at USF, Tampa, FL; Pasadena Museum of Art, Pasadena, CA. She is the recipient of the Orange County Contemporary Art Collectors Fellowship for 2012, the California Community Foundation mid-career fellowship for 2010 and the Pollock-Krasner Grant for 2006. Iva has taught at UCLA, Claremont Graduate University, Tulane University, among others. www.ivaplungerboy.com Experience in painting and drawing required. Iva Gueorguieva, Scarlet Squall PAINTING & DRAWING 19 Cari Hernandez, Jubilation Scott Prior, Big Papa’s Hat Cari Hernandez Encaustic Painting & More Margaret Scanlan, Visitor Drawing Intensive Cari Hernandez Margaret Scanlan June 24–28 July 1–5 One-week session Course # AAPD Ø1 One-week session Whether you draw regularly or haven’t drawn since kindergarten, this class will provide, in one solid week, a meaning-filled framework for tremendous growth in your drawing ability. The techniques, tricks, and sequential exercises in this structured class can dramatically improve and give confidence to your drawing skills if you are new to drawing. If you have some experience, you can expect to be drawing at a whole new level of sensitivity and competence at the end of the class. Expect to work hard, learn a lot, and have a very good time. If you’ve always wanted to draw, or to draw better, this class is for you. Returning students may choose to review or to embark on a week of more advanced drawing projects, based on your personal goals, to be worked out individually with the teacher. All levels are welcome. Tuition: $715 Lab Fee: $65 (Includes all materials and model fees.) Enrollment limited to 12 students. Margaret Scanlan is a full-time studio artist in Knoxville, TN, working in acrylic and watercolor, large and small scale work. She is a signature member of the American Watercolor Society, the National Watercolor Society, and the Watercolor USA Honor Society. For many years she has taught painting, drawing, and color theory workshops at Arrowmont, the John C. Campbell Folk School, Penland School, le Petit Bois Gleu and Chateau du Pin in France. Her work is in numerous private, corporate, and public collections in the US and Europe, including the Huntsville Museum of Art (AL), the Springfield Art Museum (MO), Sloan-Kettering Hospital (NY), and L’Abbeye de la Roe (France). She also plays keyboards in a Celtic band, RedHaired Mary. Course # AAPE ØØ In this workshop you will be supported and encouraged to delve into a wide range possibilities of painting with molten bees wax. Encaustic has a rich and ancient history dating back more then 4,000 years. This lush medium delights the senses with its gentle fragrance and enticing surfaces. Creating with wax can be a profound experience, providing the freedom to create unique expressions of our visions through sculpture, transparency, and layering. One of the most exciting characteristics of this medium is its range of possible expression, and we will focus on projects that aim to encourage your personal creative journey. We will build a strong foundation through hands-on painting, gaining a solid understanding of grounds and supports, color studies, employing multiple fusing methods, use of mulitple brush types, hot tools, incising tools, and more. After we have refined painting methods, we will explore the use of additional mediums that complement encaustic such as incorporating oil paint, creating a plaster cloth form, working with paper for both printmaking and booklets, working with unconventional supports such as plexiglass. Each day, students will have materials and instruction for a specific project. In addition to the structure of these hands-on projects, Cari Hernandez, Oh My there is freedom to focus on the methods and materials that each student is most drawn to, as ample time is provided to explore and have creative play. All levels are welcome, and returning students will find innovative methods and techniques to work with as well. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab Fee: $95 (Includes use of equipment and tools in class, shared compounds and materials, some papers, fibers, collage and sculptural materials.) Enrollment limited to 10 students. Cari Hernandez studied fine art photography at the Academy of Art University in San Francisco, CA. Prior to becoming a full-time studio artist, she operated her own commercial photography studio for 7 years in San Francisco. As a full-time artist she teaches, lectures, and shows her work in the US and abroad. She is a founding board member of International Encaustic Artists, having created and directed 3 Retreat & Conferences while serving on the Board. She is featured in two instructional DVDs, produced by WAX Twist. www.carihernandez.com www.waxtwist.com Scott Prior, Bob’s Bike The Figure/Still Life: Direct Painting Quick Studies & Beyond Scott W.Prior June 16–18 Course # AAPF ØØ Three-day session This is a high-energy workshop concentrating on the fundamentals, where students will be working with the basics: drawing, values, edge control, composition and paint handling. By working on the ‘basics’, the artists will start building confident brushwork and will make quicker decisions, forcing them to rely more on their instincts, all of which are important tools that are needed with “Direct Painting” or “Alla Prima” painting, whether painting in the studio or painting Plein Air. Focusing on Still Life and the Figure, students will be producing Quick Studies that are painted in 30 minute sessions and up. Students will learn the importance of color studies and the excitement of Direct Painting. Each day begins with a demo and discussion, then students will work on their Quick Studies, gradually working up to larger paintings and longer sessions. Beginners through advanced painters wanting to hone their skills are welcome. Materials: A complete materials list will be sent upon registration. Tuition: $490 Lab Fee: $30 (Includes model fees and group Scott Prior supplies.) Enrollment limited to 15 students. Scott W. Prior received his BFA at The Academy Margaret Scanlan, Cow in Water Margaret Scanlan, Lonely Bull 20 PAINTING & DRAWING of Art University in San Francisco. He has exhibited in national shows, juried competitions and invitational events across the country including the California Art Club’s (CAC) Annual Gold Medal Juried Exhibitions, exhibitions at the Frederick Weisman Museum of Art, the Academy Art Museum in Easton MD, and in the Oil Painters of America National Show. Scott has been awarded and recognized by Oil Painters of America, Laguna Plein Air Painters Association, Carmel Art Festival and The Bower’s Museum Plein Air Show. He been featured in numerous publications including CAC’s Centennial book, American Artist Magazine and Southwest Art Magazine, and is a Signature Member of the CAC and Artist Member of the Portrait Society of America. Margaret Scanlan, Cows in the Window Scott Prior, Lara 9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5 Robert Dvorák, Untitled Rebecca Campbell, Lady Godiva Robert Dvorák, Untitled Travel Drawing & Painting Robert Regis Dvorák June 21–22 Course # AAPT ØØ Two-day session Robert Dvorák, Untitled Painting the Figure Simply & Beautifully in Watercolor Robert Regis Dvorák June 23 Course # AAPF ØØA One-day session Rebecca Campbell, Stand and Deliver Narrative Figurative Painting Exploring the Object & the Idea Rebecca Campbell July 8–12 Course # AAPF Ø2 One-week session This workshop is designed to explore how the practice of figure painting uniquely engages both the abstract field of ideas and the experiential field of the physical. Rebecca will help students identify and articulate their own conceptual and narrative interests as they relate to and incorporate the figure and further help them develop a painting process that realizes these interests in the language of paint. Rebecca will create a passionate and well–informed context for student explorations and discussions through daily lectures on the figure in painting history and contemporary art. Students will begin by using drawing, collage and photography to plan a series of paintings incorporating the figure based on ideas they feel are compelling. Student projects will be enriched with introduction to techniques that refine the student’s abilities to paint representationally as well as gestural experiments designed to strengthen student’s ability to paint expressively. Oil and Acrylic mediums will be addressed. Emphasis will be put on the individual student’s strengths and personal vision. Skill level: Intermediate to advanced professional. This class will be directed to the spontaneous representation of the male and female figure in watercolor. There will be a strong emphasis on the use of color, white space and composition. Color mixing from a limited palette, light, shade, shadow, brush techniques, graded washes, foreshortening, facial details, lost and found edges, and proportion will be demonstrated and practiced. We will work from models. No matter how much previous instruction you have had, this class will have you seeing and painting the figure in a new way. This class is for you if you: • Have had some experience with watercolor • Have had some experience drawing the figure • Would like to learn easy techniques for painting the figure quickly–during a 20 minute pose • Want more confidence and skill painting the figure • Would like to be able to paint the figure in watercolor Robert Dvorák, Untitled Tuition: $175 Lab Fee: $45 (Includes model fees, 8-10 sheets of 140# cold pressed watercolor paper 22” x 15”, handouts.) Wear comfortable drawing clothes. You will receive an email describing recommended colors and brushes. If you are taking Travel Drawing and Painting you can use these watercolor materials. Enrollment limited to 20 students. Robert Regis Dvorák, is an artist and popular speaker (over 1000 speeches) on subjects of creativity in education and business. Robert has travel sketched and painted in 68 countries including all of Western and Eastern Europe, Russia, Southeast Asia, China, Japan, North Africa, the Middle East and India. He has exhibited and sold work in the USA, Europe, Japan, China, and Indonesia. He has written and illustrated the books: The Practice of Drawing as Meditation, Drawing Without Fear, The Magic of Drawing, Experiential Drawing, Travel Drawing and Painting and Selling Art 101. Robert has been teaching drawing and watercolor painting for 30 years at colleges and universities in California and Hawaii. He is a former Professor of Architecture at the University of Oregon and the University of California, Berkeley. He has exhibited his drawings and paintings in 24 one-man shows and many other group exhibits in the USA and abroad. www.youcreate.com www.globesketcher.com • Want to paint the figure loose and free Robert will demonstrate both the male and female figure in watercolor. He will work with the class and give individual instruction. Students should have some previous experience with watercolor and drawing the figure. Want to make your next trip the most rewarding of all? Take a sketchbook with you and rather than point and click your camera, take a few extra minutes to make some fine quick sketches and color them with watercolor. Drawing and painting while traveling is fun and will increase your perception and enjoyment. Traveling with a sketchbook can also open doors to interesting adventures and new friendships. You will return home with priceless memories. This class will show you how to: • Quickly draw people, architecture, water, trees, and landscape • Simplify your material–capture essence • Prepare, pack and what materials to bring • Be comfortable and relaxed sketching and painting in public • Draw and paint in restaurants, on the street, on a cruise, on airplanes, boats, trains • Draw and paint in public with or without discovery You will practice simple techniques for drawing and painting in class using projected color travel images and other methods. Make your future travel experiences satisfying and unforgettable! Tuition: $350 Lab Fee: $75 (Includes handouts, 2 travel sketch pads 160 pages each, one 4” x 5” and one 6” x 9”, a 140# cold pressed watercolor paper block and all drawing and watercolor painting materials, and the 180 page book, Travel Drawing and Painting.) Enrollment limited to 20 students. Robert Regis Dvorák, see bio under Painting the Figure. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab Fee: $50 (Includes model fees.) Enrollment limited to 15 students. Robert Dvorák, Venice Rebecca Campbell received her MFA from UCLA. She has exhibited nationally and internationally at venues including Gagosion Gallery, LA Louver Gallery, Ameringer-Yohe Fine Art, the Hammer Museum, The Phoenix Art Museum, and the Cornell Fine Arts Museum. Her work is regularly presented at Art Fairs including Art Basel, Art Basel Miami Beach, ADAA The Art Show and has been featured in publications including Art News, Los Angeles Times, Art Papers, X-TRA, Artworks Magazine, and the Huffington Post. www.rebeccacampbell.net Rebecca Campbell, Diamond Valley sum m er @ id y llwi l dart s . o r g Robert Dvorák, Untitled Robert Dvorák, Agios Nikolaos, Santorini, Greece PAINTING & DRAWING 21 PRINTMAKING Beyond Monotype....................................... 23 Ron Pokrasso Encaustic Monoprinting.............................. 23 David A. Clark Solarplate Etching........................................ 23 Dan Welden Nicholas Simmons, Barcelona Watercolor Unleashed Experiencing Water–Based Media Nicholas Simmons July 8–10 Course # AAPW Ø2 Three-day session Barbara Nechis, Majeska Falls Barbara Nechis, The Well Watercolor from Within Techniques for Painting the Essence of Nature Barbara Nechis June 16–18 Course # AAPW ØØ Three-day session This workshop is for all who want to gain a deeper understanding of the creative process of painting, are willing to be flexible, take risks, have fun, be intuitive and inventive. We will not be using rules and formulas however the emphasis will still be on concept, color and design. My inspiration comes both from nature and the inevitable unpredictability of the watercolor medium. Both abstract and realistic forms will be addressed. Materials: A complete materials list will be sent upon registration. Barbara Nechis, Garden Tapestry Topics include controlling paint on wet paper, under-painting, layering and adding gouache. Critiques will approach problem solving upon the premise that there is always a solution that can turn an unsuccessful painting into a successful one. Materials: A complete materials list will be sent upon registration. Tuition: $490 Enrollment limited to 20 students. Barbara Nechis received her BA from the University of Rochester and MS from Alfred University. She was a faculty member of Parsons School of Design and has taught seminars at Pratt Institute, throughout North America and abroad. She is the author of Watercolor From the Heart. Her work appears in many publications and collections, among them the Butler Institute of American Art, IBM and Citicorp. She maintained a studio in New Rochelle, NY for many years before relocating to the Napa Valley. www.barbaranechis.com. 22 Tuition: $490 Enrollment limited to 20 students. Nicholas Simmons has quickly become a renowned name of the contemporary watercolor scene, winning major awards and gaining media exposure. He studied under many well-known watercolorists, most notably Valfred Thëlin and Barbara Nechis. His art is characterized by its diversity and power, and has been featured in a variety of publications, and on Maryland Public Television. In 2008 his DVD Innovative Watermedia was released by Creative Catalyst Productions. He is sponsored by Da Vinci Paint and Escoda Artist Brushes of Barcelona introduced a Nicholas Simmons signature series in 2012. Awards include top prize at the 2007 National Watercolor Society, consecutive gold medals at the Pennsylvania Watercolor Society, 2008–2009, and the gold medal at the Texas Watercolor Society in 2010. The artist exhibits internationally with major watermedia stars, and was the only judge representing the Americas at the Shanghai Zhujiajiao International Watercolour Biennial Exhibition in 2010 and 2012, the world‘s largest watercolor exhibition. Nicholas is one of six painters in the newly-formed North American Watercolor Artists group, which will represent the United States in various international exhibitions. He is sought after as a workshop instructor, lecturer, and judge, known for his fresh, unorthodox, and often irreverent approach. The artist lives in the Washington, D.C. area. www.nicholassimmons.com I present and demonstrate a different method or idea each day using several techniques to show how to construct original paintings from both source material and the imagination. Barbara Nechis, Movement This workshop will concentrate on concepts and techniques for which Simmons is noted: diversity in subject matter; composition; poured watercolor; fluid acrylic used as transparent watercolor; unusual textures such as the instructor’s popular “batik” technique; computer-aided design (computer not required for enrollees). Focus will be on concepts, composition and design elements. Students will paint daily, watch demos, and receive individualized attention. Be prepared for Nicholas’ high energy, unorthodox, and varied approach to watercolor. All levels welcome in this workshop designed to bring lots of new ideas and techniques to experienced painters, and introduce new painters to waterbased media. Nicholas Simmons, Olushka PAINTING & DRAWING/PRINTMAKING Nicholas Simmons Encaustic Monoprinting David A. Clark June 20–22 Course # AAEM ØØ Three-day session Encaustic Monoprinting functions both as a primer to the encaustic monotype and as an exploration of the more advanced techniques involved in producing repeatable images while printing with wax. The purpose of this class is ts to a wide variety of papers, tools, processes and ideas connected to producing encaustic prints and to engage participants in varied technical process with an emphasis on adapting that process to expanding their own unique visual language. Students will begin by learning the basics and variables of the encaustic monotype: heat, paint, paper and pressure. They will then progress to exploring techniques such as using additive and subtractive process, trace monotype, stenciling and varied advanced techniques that explore how to control line, placement, color and saturation. These techniques will allow participants to fine tune and nuance their printed images. Students can expect to create a wide variety of prints during this class encompassing a varied range of technical and intuitive process. Dan Welden, Round Square This class functions well for a wide variety of skill levels in printing, but some previous experience working with encaustic is helpful. Materials: A complete materials list will be Ron Pokrasso Beyond Monotype Ron Pokrasso June 17–21 Course # AABM ØØ Ron Pokrasso, Two Heads Are Better sent upon registration. Dan Welden, Night Invitation Tuition: $490 Lab Fee: $80 (Includes all paints, papers and Dan Welden tools. Students will be given an allotment of a variety of papers to work with, and more paper will be available for purchase if you find that you are a very fast printer.) Enrollment limited to 10 students. David A. Clark’s encaustic print work has drawn One–week session critical acclaim for its graphic style and soulful content. He exhibits nationally, showing his work in numerous solo and group shows including the 2012 Harnett Biennial of American Prints , the Gallery at R & F and Aqua Art Miami. David’s printwork has been published and featured in Authentic Visual Voices: Contemporary Paper and Encaustic by Catherine Nash and Encaustic Works 2011 published by R & F Handmade Paints. David teaches encaustic printmaking around the country and has presented and taught encaustic printmaking for the last three years at the International Encaustic Conference in Provincetown, Massachusetts. A solo show of David’s which began at the Process Museum in Tucson, Arizona is currently touring the country. That show is devoted to a single encaustic print of David’s and the more than 100 process pieces that went into its creation. www.davidaclark.com Ron Pokrasso covers a wide range of techniques possible in the monotype process and continues through the use of collage, drawing, and multiple plate projects. Students will be encouraged to pursue their artistic vision using monotype as a mark making tool in combination with whatever other techniques are efficient and available. The notion of the “artist as an inventor” will be stressed as mixed media techniques open the door to limitless opportunities. The approach is energetic and open, as each student’s individual style will dictate the direction of the workshop. The program is non-toxic working with AKUA waterbased intaglio inks. Modifying, layering, mixing inks, finding color, use and abuse of mark-making tools, exploring the limits of paper, collage, chine colle and built up surface will all be discussed. Working with drawing materials, the optional integration of Solarplate, ImageOn, traditional intaglio plates, other matrices, and finishing prints as resolved and complete expressions, including solving issues after printing, are aspects of the workshop. Though some monotype and/or other printmaking experience is helpful, all levels of students are welcome. Enrollment limited to 12 students. June 24–28 Course # AAEP ØØ One-week session Developed by master printmaker Dan Welden, Solarplate Etching is an exciting, spontaneous and highly professional technique that utilizes UV light and water instead of traditional grounds and acids. The Solarplate is a light-sensitized polymer printing plate that accepts all kinds of images, including drawings and paintings on acetate, photocopies, digital photographs on transparent film. Artists can also paint freely and directly on the Solarplate surface and create a matrix capable of yielding many impressions. Participants will be able to produce several 8x10 inch images during this intensive workshop. Larger plates may be made available with prior request. Printmaking experience is preferred but not essential. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab Fee: $45 (Includes shared materials and supplies. Solar plates and paper available for purchase from the instructor.) Enrollment limited to 12 students. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab fee: $75 Solarplate Etching David Clark David Clark Ron Pokrasso received his MFA degree from Pratt Institute in 1975 and has had over 40 solo exhibitions and more than 150 group shows. His work is in public, private, and corporate collections throughout the US and abroad as well as being featured in several books. He is originator of the printmaking event “Monothon” and has been an ardent supporter of arts programs for youth. His teaching experience includes universities, museums, public schools and private workshops, as well as Artist Residencies in the US, Scotland, Ireland and Italy. www.ronpokrasso.com Dan Welden is one of the original pioneers of safer alternative printmaking techniques. Since the early 1970’s when he first developed Solarplate Printmaking and Water Based Monotypes, he has been in the forefront of printmaking techniques, educating artists of all levels throughout the world. As co-author of Printmaking in the Sun, and Director of Hampton Editions, Ltd. in Sag Harbor, NY, he has collaborated with many artists including, Willem and Elaine de Kooning, Eric Fischl and Dan Flavin among many others. He has been the recipient of numerous international printmaking grants extending from Belgium to New Zealand and most recently a recipient of two grants to work and exhibit in China. He was a juror for the international Printmaking Biennal in Aqui Terme, Italy in 2008. He exhibits with BCB Gallery in Hudson, NY. www.danwelden.com David Clark, Untitled Encaustic Monoprint sum m er @ id y llwi l dart s . o r g PRINTMAKING 23 SCULPTURE WRITING Contemporary Sculpture in Plaster........... 24 Reneé Azenaro The Art of Writing Fiction............................. 24 Samantha Dunn Furniture Making & Design.......................... 24 Pete Holzman Memoir/Creative Nonfiction...................... 25 Amy Friedman Young Adult Novel....................................... 25 Francesca Lia Block SEE ALSO Poetry Week.................................................. 25 Jane Shore, Ed Skoog, David St. John Assemblage...................................................11 Michael deMeng Doll Making & Beadwork..............................15 Juanita Growing Thunder Fogarty Hot Clay: Narrative in Sculpture....................5 James Tisdale The Santos Cage Doll Redefined................12 Linda Lehart McNulty Native American Flutemaking ............... 17 Marvin & Jonette Yazzie, Ernest Siva Pete Holzman, Bookcase Plaster Sculpture, student work Contemporary Sculpture in Plaster Reneé Azenaro July 8–12 Pete Holzman, Box with Inlay Furniture Making & Design Pete Holzman July 8–12 Course # AASP Ø2 One-week session Participants will be engaged in experiencing contemporary methods of sculpture in plaster –a remarkably versatile material–working from the seed of an idea to final work. Plaster has been a traditional material used in the sculptural process as well as a contemporary material which allows for exploration of ideas in new ways. Students will learn to carve small to medium pieces, work with surface, texture and coloration of the plaster, with an eye towards finding an artistic voice in a new medium. Students will learn to mix plaster, adding various materials to the plaster to alter its color and texture (such as sand, ceramic oxides, small objects, paints, washes, etc.). Sculptures may be carved or assembled in sections allowing for a wide range of creative possibilities. Students will explore how to make sculpture that is personal, individual and expressive, and may explore abstraction or representational form in their pieces. The focus is to blend materials, concepts and skills in a supportive and experiential environment. The class is open to all levels of experience. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab Fee: $45 (Includes plaster, colorants, plastic bags, dust masks, sandpaper, plastic buckets.) Enrollment limited to 10 students. Reneé Azenaro was born and raised in Brooklyn, New York, and presently teaches and lives in Redlands, California. Her work has been shown throughout the United States and internationally in Italy, Romania, Puerto Rico and Serbia. Recently, she exhibited at the den contemporary gallery in L.A. and a solo exhibit at the Blok Gallery in Serbia. Primarily an installation artist, she also works in sculpture, drawing, works on paper and mixed media. www.reneeazenaro.com Samantha Dunn July 8–12 Course # AAWF Ø2 One-week session Course # AASF Ø2 One-week session Learn traditional woodworking techniques and apply them in designing and crafting a project of your own. Taught by professional woodworker and furniture maker Pete Holzman, you will learn the proper application of both power tools and hand tools. Table saw, band saw, scroll saw, drill press, hand planes, chisels and sanding techniques will all be covered, as well as various joinery and finishing options for your project. Choose from three project options–jewelry box, wall shelving/ wine unit, or small table. Basic design of these options will be covered and individual help in creating your own variations will be given, based on your skill level. Resources for further study and exploration will also be reviewed. This class is meant to provide a foundation that will help advance you to the next level of woodworking mastery. (If you already have a working knowledge of machines, tools and safety procedures, more individual time can be spent on other skill sets.) Alex Watson, woodworker and builder of high-end boutique guitars and basses, will assist each afternoon. Students are encouraged to bring their own hand tools and will be shown how to properly sharpen and maintain those tools. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab Fee: $125 (Includes wood, glue, finishing supplies, disposable & non-disposable brushes. If student chooses to make a jewelry box there would be an additional hardware fee.) Enrollment limited to 8 students. Pete Holzman holds a degree in Graphic Design from the University of Cincinnati College of Design, Architecture and Art and has been a professional woodworker and furniture maker for the past 18 years. His furniture runs the gamut from rustic to high-end gallery art and is held in many personal collections. He creates pieces by commission only out of his studio in Idyllwild, California. The name of his website gives you a hint as to his approach to designing and building furniture. www.noboringfurniture.com Alex Watson is a woodworker and builder of high-end boutique guitars and basses. www.watsonguitars.net 24 Making It Up The Art of Writing Fiction SCULPTURE/WRITING “Never let the truth get in the way of a good story,” Mark Twain supposedly said. This workshop will explore the art and craft of fiction, using a multitude of exercises to tap and enhance your own deep sources of creativity. If you have a vivid imagination, or if you are a storyteller who likes to embellish, or you want to look at your tales with a new perspective, the class will provide you with the tools to paint with words. Whether you are a beginner or are a prolific writer, you will walk away from this workshop with a better understanding of the structural elements that underpin all great stories. You will also be armed with new techniques for creating characters who come to life on the page, for creating vivid worlds with your words, and how to keep generating story ideas. All levels of writer will be able to apply the lessons. While writing fiction is often about finding the truth of the story, come prepared to make stuff up. And to write! Class time will be about practicing what we learn—bring plenty of pens and blank notebooks. By the end of the week, everyone will have at least one wellhoned piece of fiction presentable for public consumption. This workshop will meet from 9–noon each morning and again from 1–2pm in the afternoon for writing sessions. Tuition: $715 Enrollment limited to 12 students. Samantha Dunn is the author of Failing Paris, a finalist for the PEN West Fiction Award, and the bestselling memoir, Not By Accident: Reconstructing a Careless Life, as well as Faith in Carlos Gomez: A Memoir of Salsa, Sex and Salvation. Her work is anthologized in a number of places, including the short story anthology, Women on the Edge: Writing from Los Angeles, which Dunn co-edited. A winner of the Maggie Award for Best Personal Essay in a Consumer Publication, Dunn is a widely published journalist regularly featured in O the Oprah Magazine, the Los Angeles Times, and Ms., among others. A member of the Writers’ Guild, Dunn teaches in the UCLA Extension Writers Program and is program advisor for The Mark at PEN USA. 9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5 Jane Shore is the author of That Said: New and Selected Poems (Houghton Mifflin, 2012) and five other books of poems, including Eye Level, winner of the 1977 Juniper Prize, The Minute Hand, winner of the 1986 Lamont Poetry Prize, awarded by The Academy of American Poets, Music Minus One, a finalist for the National Book Critics Circle Award, and The Yes-or-No Answer, winner of the 2010 Poet’s Prize. Shore is the recipient of fellowships from The Guggenheim Foundation, The Radcliffe Institute, Princeton University, and twice from The National Endowment for the Arts. She is a professor at The George Washington University and lives in Washington, DC and in Vermont. Ed Skoog (MFA, Creative Amy Friedman Memoir & Creative Nonfiction Young Adult Novel Poetry Week Amy Friedman (For Adults) Francesca Lia Block Jane Shore, Ed Skoog, David St. John Special Guests: Brendan Constantine, Matthew Dickman, Anna Journey July 1–5 Course # AAWE Ø1 One-week session July 8–12 This workshop is for those just beginning and those whose work is well underway (and/ or stalled), for those writing memoir, personal essay, or any work of creative nonfiction. The instructor will help you to develop and craft your work, and we’ll study the elements that help writing to sparkle, including characterization, setting, voice, dialog and theme. One-week session Excerpts from published works will help to serve as inspiration, and five, ten, and fifteen minute exercises will jump-start your writing and offer guidance for your work. A portion of our workshop hours will be devoted to reading your work aloud, with feedback from both the instructor and your fellow students. You will also receive information on marketing and proposal writing (for longer nonfiction works). Our goal will be to complete a full essay and/ or chapter by week’s end. We’ll meet for four hours each morning, with afternoons devoted to individual conferences, writing and reading time. Tuition: $715 Enrollment limited to 10 students. Course # AAWN Ø2 Writing the Young Adult Novel is a course designed to give you the basic knowledge (and inspiration!) to start or complete your YA book. We will cover Character, Voice, Plot, Setting, Language, Theme and more, using discussion, workshopping of student pages, exercises and excerpts from published works. This course is for the beginning to advanced writer who wants a nurturing but challenging environment in which to explore this ever-expanding and popular genre. You will come away with a finished outline, a good portion of the beginning of your novel and the tools to complete the rest. Tuition: $715 Enrollment limited to 10 students. Francesca Lia Block, winner of the prestigious Margaret A. Edwards Lifetime Achievement Award, is the author of many acclaimed and bestselling books, including Dangerous Angels: The Weetzie Bat Books; Roses and Bones: Myths, Tales and Secrets; and the adult novel The Elementals. Her work has been translated and published around the world. She lives in Los Angeles with her two children. www.francescaliablock.com. Amy Friedman is the author of several memoirs, Kick the Dog and Shoot the Cat and Nothing Sacred: A Conversation with Feminism. Her third memoir, Desperado’s Wife, will be released in 2013, as will her co-authored memoir with Anne Willan, The Right Ingredients. Amy is the author of the long-running, world-wide syndicated newspaper for children, Tell Me A Story. She often performs her personal essays at Spoken Word venues in LA and has published hundreds of stories, columns and articles. Amy teaches creative writing at UCLA Extension, through PEN/USA and at the Skirball Cultural Arts Center. July 8–12 Course # AAWP Ø2 One-week session This special week of poetry is open to anyone with an interest in writing poetry, following the long-held Idyllwild Arts tradition of building a diverse community of voices to enrich the conversation, from enthusiastic beginners to emerging and established poets. Five days of workshops, craft talks, readings, and lively discussion under the pines will focus on helping participants write new poems and explore new ideas. Participants will work with two teachers. Close-critique of drafts and revisions will be balanced with larger propositions about the nature of poetry. Small class size will ensure that each participant receives individual attention and advice about his or her development as a writer. Our schedule includes workshops from 9– noon, and craft talks by faculty and special guests from 1–3 P.M. On Tuesday evening, the faculty and special guests will read from their work, followed by a book signing. Wednesday afternoon will be more loosely structured to allow for catching up on reading and writing, or sharing work in a less formal setting. Thursday evening, workshop participants are invited to read new poems from the workshops with the Idyllwild community, with a livestream for those unable to join us this year in person. Tuition: $715 Enrollment limited to 10 students per workshop group. Writing, University of Montana) is author of Mister Skylight, a collection of poems (Copper Canyon, 2009) and Rough Day (Copper Canyon, 2013), as well as many stories and poems in literary magazines such as The Paris Review, Poetry, Ploughshares, The New Republic, American Poetry Review, and Narrative. He has been awarded fellowships from the Bread Loaf Writers Conference and The Lannan Foundation. He has been a writer-in-residence at the Richard Hugo House, George Washington University, and The University of Montana. He is a past chair of creative writing at Idyllwild Arts Academy. He lives in Missoula, Montana. David St. John is the author of ten collections of poetry (including Study for the World’s Body, nominated for The National Book Award in Poetry), most recently The Auroras, as well as a volume of essays, interviews and reviews entitled Where the Angels Come Toward Us. Brendan Constantine (Special Guest) holds an MFA from Vermont College of Fine Arts. He is the author of three collections of poetry and his work has appeared in numerous journals, most notably FIELD, Ploughshares, Poetry Daily, Zyzzyva, and L.A. Times best seller The Underground Guide To Los Angeles. He currently teaches poetry at The Windward School in West Los Angeles. Brendan also regularly offers workshops for hospitals, foster-care centers and with the Alzheimer’s Poetry Project. www.brendanconstantine.com Matthew Dickman (Special Guest) is the author of Mayakovsky’s Revolver (W.W. Norton, 2012) and AllAmerican Poem (American Poetry Review/ Copper Canyon Press, 2008) and the recipient of the Honickman First Book Prize, the May Sarton Award from the American Academy of Arts and Sciences, the Kate Tufts Award from Claremont College, and the 2009 Oregon Book Award. He is co-author of the forthcoming 50 American Plays from Copper Canyon Press. He has also received residencies and fellowships from The Michener Center for Writers in Austin, Texas; The Vermont Studio Center; The Fine Arts Work Center in Provincetown; and The Lannan Foundation. His poems have appeared in Tin House, McSweeney’s, Ploughshares, and the New Yorker, among others. Anna Journey (Special Guest) is the author of two collections of poetry: Vulgar Remedies (Louisiana State University Press, 2013) and If Birds Gather Your Hair for Nesting (University of Georgia Press, 2009), selected by Thomas Lux for the National Poetry Series. Her poems have appeared in American Poetry Review, FIELD, The Kenyon Review, The Southern Review, and elsewhere. She received a fellowship in poetry from the National Endowment for the Arts and currently teaches creative writing at the University of Southern California. Krone Library Poetry Reading, David St. John sum m er @ id y llwi l dart s . o r g WRITING 25 SUMMER EVENTS Early Payment Discount Deadlines 10% off the total cost of a program if payment in full is received by March 15, 2013. 5% off the total cost of a program if payment in full is received by April 15, 2013. See page 30 for details and information regarding additional discounts for families, friends and teachers. Parks Exhibition Center Youth Chamberfest Performance sundaymondaytuesdaywednesdaythursday Metals Week. Lectures: Nancy Megan Corwin, Connie Fox, Deb Karash, Deborah Jemmott, Betty Helen Longhi, Sandra Noble Goss, Fred Zweig 7 p.m. Krone Library. Hot Clay. Lecture: James Tisdale 7 p.m. Krone Library. Parks Exhibition Center Opening Reception. Hot Clay, Metals Week & Faculty. 8 p.m. Continues through June 23. Parks Center. Artist Lectures: Scott Prior, Ron Pokrasso, Barbara Nechis 7 p.m. Krone Library. Hot Clay Lecture: Christa Assad 7 p.m. Krone Library. Parks Exhibition Center Opening Reception fridaysaturday Metals Week. Student Show. 4 p.m. Krone Library Patio. Hot Clay. Lecture: Jason Bige Burnett 7 p.m. Krone Library. JUNE 15 161718192021 Hot Clay. Lectures: Richard Burkett, Joe Molinaro 7 p.m. Krone Library. Native Artist Demonstration: Nathan Youngblood 7 p.m. Parks Center. Parks Exhibition Center Opening Reception. Hot Clay & Faculty 8 p.m. Artist Lectures: Cari Hernandez, Dan Welden, Iva Gueorguieva 7 p.m. Krone Library. Adult Arts Center Culminations. 4 p.m. Parks Center. Hot Clay. Lecture: Sunshine Cobb 7 p.m. Krone Library. 22 Native Am. Pottery Firing. Nathan Youngblood, Santa Clara Pueblo 8 a.m. Kennedy Kiln Yard 232425262728 Native Arts Week. Trunk Show: Mata Ortiz Pottery, Oaxacan Carving & Weaving 1–4 p.m. Parks Center. Panel: Native American Arts at ISOMATA 6:30 p.m. Krone Library. Native Arts Week. Lecture: Guest Artists, 7 p.m. Parks Center. Parks Exhibition Center Opening Reception. 8 p.m. Faculty Jazz Combo Concert. 8 p.m. IAF Theatre. Native Arts Week. Lecture: Freddie Bitsoie, Native Cuisine in the Americas PlusNative Food Tastings 12 p.m. Krone Library. Native Arts Week. Lecture: Dr. Jessica Metcalfe, Native American Fashion PlusNative Food Tastings 12 p.m. Krone Library. Artist Lectures. Bill Perkins, Margaret Scanlan, Greg Kennedy, David Delgado 7 p.m. Krone Library. Adult Arts Center, Faculty, Staff & Associates of IAF Potluck Dinner. 5:30 p.m. Studio D. Native Arts Week. Lecture: TBA, PlusNative Food Tastings 12 p.m. Krone Library. Native Arts Week. Film Night: “Akway Nyewaa: Coming Back Home” by Phillip Espinoza, 7 p.m. Krone Library. 29 Children’s Open House. Multi-Arts. 2:45 p.m. Children’s Center Native American Arts Pottery Firings. Mark Tahbo, Hopi Tewa, Jorge Quintana, Mata Ortiz 8 a.m. Kennedy Kiln Yard. Adult Arts Center Culminations. 4 p.m. Parks Center. Student Jazz Concert. 1 p.m. IAF Theatre. Native Arts Week. Performance: Cahuilla Birdsingers, Special Guest 7 p.m. TBA. J U LY 3012345 Artist Lectures: Rebecca Campbell, Laura Wait, Reneé Azenaro, Nicholas Simmons 7 p.m. Parks Center. Parks Exhibition Center Opening Reception. 8 p.m. Poetry Reading. David St. John, Jane Shore, Ed Skoog, Brendan Constantine, Anna Journey, Matthew Dickman 7 p.m. Krone Library. Adult Arts Center, Faculty, Staff & Associates of IAF Potluck Dinner. 5:30 p.m. Studio D. Poetry Reading. Poetry Week Students 7 p.m. Krone Library. Children’s Open House. Multi-Arts. 2:45 p.m. Children’s Center Adult Arts Center Culminations. 4 p.m. Kennedy Kiln Yard. Youth Song & Dance Performance. 8 p.m. IAF Theatre. Vocal Music Recital. 8 p.m. Stephens. Faculty Jazz Combo Concert. 8:30 p.m. IAF Theatre. Children’s/Junior Artist’s Culminations. Mini-Musical. Adventures in Art. Painting & Drawing. 9:30 a.m. Filmmaking. 10 a.m. Dance Workshop. 10:30 a.m. Theatre Adventures. 11:30 a.m. Children’s Center. Piano Workshop. 10 a.m. Stephens. Youth Art Exhibit. 10 a.m. Parks Center. Youth Computer Animation. 10 a.m. Krone Library. Youth Fiction Reading. 10 a.m. Todd Quad. Youth Piano Recital. 1 p.m. Stephens. Youth Jazz Concert. 10 a.m. IAF Theatre. Youth Jazz Concert. 1 p.m. IAF Theatre. 7 8 9101112 Artist Lecture 26 6 Children’s Center Multiarts Culmination SUMMER EVENTS Youth Theatre Festival Performance 13 The Pacific Trio 9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5 Hopi-Tewa Pottery Firing Youth Dance Workshop Cahuilla Birdsingers sundaymondaytuesdaywednesdaythursday Parks Exhibition Center Opening. 7 p.m. Youth Jazz Performance fridaysaturday Children’s Center Open House & Culminations. 2:45 p.m. Children’s Center Faculty, Staff & Associates of IAF Potluck Dinner. 5:30 p.m. Studio D. Theatre Production. 8 p.m. JPT. Music Faculty Recital. 8 p.m. Stephens. Children’s Culmination. Drawing & Sculpture. 9:30 a.m. Children’s Center. Youth Film Making Screening. 10 a.m. Ryan Soundstage. HS Wind Ensemble. 1 p.m. IAF Theatre. HS Symphony Orchestra. 3:30 p.m. IAF Theatre. Theatre Production. 8 p.m. JPT. 141516171819 Symphonic Band. 1 p.m. IAF Theatre. Student Recital: Instrumental Music. 8 p.m. Stephens. Student Recital: Instrumental Music. 8 p.m. Stephens. Faculty, Staff & Associates of IAF Potluck Dinner. 5:30 p.m. Studio D. Student Recital: Instrumental Music. 8 p.m. Stephens. Children’s Center Open House. Multi-Arts. 2:45 p.m. Children’s Center Young Harpists Recital. 7 p.m. Stephens. Student Chamber Music Recital. 8 p.m. Stephens. 20 Children’s/Junior Artist’s Culminations. Fashion Design & More. Modern Art. Clay & Sculpture. The Magic of Art. 9:30 a.m. Computer Animation. Page to Stage. 10 a.m. On Camera. 10:45 a.m. Musical Theatre. 11:30 a.m. Children’s Center. Youth Art Exhibit. 10 a.m. Parks Center. Youth Fashion Show. 10 a.m. Old Dining Hall. Youth Readings. 10 a.m. TBA. Dance Culmination. 10 a.m. Fisher Studio. Acting/Directing for Camera. 10 a.m. Ryan. Symphonic Band. 12 p.m. IAF Theatre. HS Wind Ensemble. 2 p.m. IAF Theatre. HS Symphony Orchestra. 4 p.m. IAF Theatre. 212223242526 Parks Exhibition Center Opening. 7 p.m. Faculty, Staff & Associates of IAF Potluck Dinner. 5:30 p.m. Studio D. Adult Chamber Music Workshop Masterclass. 1:30 p.m. Stephens. Student Chamber Music Recital . 10 a.m. Stephens. DISTINGUISHED ARTIST CHAMBER MUSIC SERIES Pre-Concert Talk. 7:30 p.m. Stephens. Concert I 8 p.m. Stephens. Children’s Center Open House. Multi-Arts. 2:45 p.m. Children’s Center Chamberfest: Chamber Orchestra 4:30 p.m. IAF Theatre DISTINGUISHED ARTIST CHAMBER MUSIC SERIES Faculty Concert 8 p.m. Stephens. HS Festival Choir. 1 p.m. IAF Theatre. DISTINGUISHED ARTIST CHAMBER MUSIC SERIES Pre-Concert Talk. 7:30 p.m. Stephens. Concert II 8 p.m. Stephens. A U G U S T 1 2 28293031 Student Recital: Vocal Music. 8 p.m. Stephens. 4 Student Percussion Recital. 7 p.m. IAF Theatre. Student Chamber Music Recital. 8 p.m. Stephens. Faculty, Staff & Associates of IAF Potluck Dinner. 5:30 p.m. Studio D. Student Recital: Instrumental and Vocal Music. 8 p.m. Stephens. DISTINGUISHED ARTIST CHAMBER MUSIC SERIES Pre-Concert Talk. 7:30 p.m. Stephens. Concert III 8 p.m. Stephens. Children’s Center Open House. Multi-Arts. 2:45 p.m. Children’s Center Sketch Comedy Performance. 8 p.m. JPT. HS Festival Choir 8 p.m. IAF Theatre. Student Chamber Music Recital. 8 p.m. Stephens. HS Chamberfest: Final Concert TBA Idyllwild or Los Angeles. Children’s/Junior Artist’s Culminations. Improv Workshop. Art from Many Cultures. 9:30 a.m. Young Writers Workshop. 10 a.m. Shakespeare’s World. 10:30 a.m. Theatre of Myth/Folklore. 11:30 a.m. Children’s Center Youth/Jr. Artists Art Exhibit. 10 a.m. Parks Center. Youth Fashion Show. 10 a.m. Old Dining Hall. Acting/Directing for Camera. 10 a.m. Ryan. Fiction Readings. 10 a.m. Todd Quad. Dance Culmination. 10 a.m. Fisher Studio. Chamberfest Ch. Music 10 a.m. Stephens. HS Festival Choir. 1 p.m. IAF Theatre. Chamberfest Chamber Orchestrra. 8 p.m. IAF Theatre. 1156789 sum m er @ id y llwi l dart s . o r g 3 Sketch Comedy Performance. 10 a.m. JPT. HS Choir: Final Concert TBA Idyllwild or Los Angeles. Junior Artist’s Theatre Adventures Performance 27 Adult Arts Center Culmination Youth Song & Dance Performance 10 Youth Choir Performance SUMMER EVENTS 27 MAPS CAMPUS MAP 3 1 5 1b 2 38 Site of the new Housekeeping Facility Pierson Hall Water Tanks REGISTRATION (Bowman Arts Center) 4 Site of the new Maintenance Yard 6 40 42 23 24 25 IV R IP 67b 55 LA N 56 61b 37 3 61 57 63 58 65 5 11 6 10 70 9 Site of the new Theatre & Classrooms 64 62 68 12 8 7 30 Tennis Courts & P.E. Facilities to be sited RI VE 60 D 59 IS A N 17 ra St 46.Fisher Dance Studio 18 20 2 1 4 LU 21 69 66 E A 16 wb erry C re ek TOLLGATE RD. (to hwy 243) 3. Fitzgerald Jr. Players Theatre 19 21b 1b.Fugl Studio Krone Library 7.Health Center 30.Hicks Studio 26.Ataloa Visual Arts Studio 8.Holmes Amphitheatre 14. Birchard 70.Housekeeping 35. Bowman Arts Center 5.Hummingbird Hollow 59.Campus Security Office 54.HUSCH Hall 63.Cedar Classroom 36.IAF Theatre 11.Chemistry Lab 17.Meadow 6 44.Sage Classroom 21.Meadow 7 10.Schoustra Science Lab 22.Meadow 8 21b.Meadow 9 60.Sequoia (Advancement, Development) 32.Mellor Studio 2.Sherman Costume Shop 29.Millsap Studio 68.South Classroom 27.Native Arts Studio 33. Summer Offices 6b.Nelson Dining Hall 41.Spruce A & B 69.North Classroom 31.Steere Studio 47.Dance Offices 56.Krone House (Academy Admission, Alumni, Marketing) 23.Old Dining Hall 12.Krone Library 55.Oak Chalet 13.Stephens Recital Hall 48.Dorm 1 40. Lewitzky Dance Studio 24.Parks Exhibition Center 37.Studio A 39.Dorm 3 43. Lupine 50.Photography Lab 19.Studio D 38.Dorm 4 53.MacNeal Hall 9.Physics/Mathematics Lab 34.Todd Center/Bookstore 67.Eagles Nest Classroom 64.Maintenance Building 52.Pierson Hall 45.El Centro Classroom 51.Manzanita Chalet 62.Pine Chalet 66.Troy Restrooms 6.Elf Shelf 18.Meadow 1 61b.Ponderosa Classroom 58. Wayne Hall 22b.Escherich Humanities Ctr. 15.Meadow 2 57.Pool 61. Wayne Music Rooms 25.Eymann Sculpture Garden 20.Meadow 4a & 4b 49.Rush Hall 67b. Wilson Classroom 1.Film Lot 16.Meadow 5 28.Ryan Sound Stage 42. Zimmerman Log Lodge 4.Children’s Center Hicks Ceramics Studio H D LA HU CA 22b 32 S 13 14 15 22 W 12 10 9 O DRIVE APELA 11 8 36 67 LL 31 IL 29 FE 54 33 E 28 53 35 34 26 27 45 44 43 TEMECULA ROAD 52 50 46 7 51 49 48 47 41 6b Idyllwild Arts Bookstore 39 65.Troy Music Classrooms Eymann Sculpture Garden L O C AT I O N M A P 5 From the Riverside Area through Hemet: Burbank 8 miles to Florida Ave. Left at traffic light onto Route 74. Fifteen miles up the 101 215 15 10 10 Long Beach 91 405 5 From the LA Area, through Banning: Newport Beach Route 10 or 60 East to Banning. Take the 55 mountain 25 miles to Idyllwild. Continue Beaumont Banning 60 Va n Buren 79 Ramon a E xp ress way 215 15 10 Palm Springs 243 IDYLLWILD 111 74 Laguna Hills 215 74 W 8th St. exit to Route 243 which leads up the 10 Riverside 91 Left onto Route 243, 4 miles to Idyllwild. Left San Bernardino 215 60 LOS ANGELES mountain to Hwy. 243 at Mountain Center. on Tollgate Road., one mile to campus. Ontario Road Left onto Ramona Express Way, travel 210 Palm Desert The Village of Idyllwild 111 Hemet Mtn. Center 74 ster Right on Route 79, 8.3 miles to traffic light. 405 74 he Route 60 Riverside, towards Beaumont. i nc 371 Temecula Anza 79 1 mile through the Village. Right on Tollgate Road one mile to campus. To Warner Springs N From the San Diego Area: 1) Hwy 15 north to Temecula. Exit Hwy 79 south toward Indio/Palm Desert. Turn left 5 onto Hwy 371 (Continue towards Indio/ 15 Palm Desert). Left at Hwy 74, 10 miles to Hwy 243. Right 4 miles to Idyllwild. Left at Tollgate Escondido Road 1 mi. to campus. SAN DIEGO 2) Route 15 north to Winchester Road. Right on Winchester Road to Route 74; right on Route 74 to Mountain Center. Left on Route From all directions, please note: 243, 4 miles, left on Tollgate Road one mile The campus is located at the end of Tollgate Road, just beyond a bridge. Once on campus, turn to campus. right at the crosswalk (Cahuilla Drive) & proceed uphill to Bowman Arts Center for registration. 28 MAPS 9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5 2013 Summer ADULT Program Registration Form REGISTRATION Page 1 of 2 Questions? Contact our Registrar: (951) 659-2171 x 2365 fax (951) 659-4552 [email protected] STUDENT INFORMATION Student Name Please type or print in ink all information. One form per student. (Photocopy additional forms if needed) To register, please download the registration forms directly from our website. Thank you. Last _______________________________________________________ First ______________________________________ SUMMER OFFICE USE Mailing Address Street and Number____________________________________________________________________________________ Rec’d _________________ City _____________________________________________________ State _________________ Zip _________________ Cust. # ________________ E-mail Address ______________________________________________________________________________________ Packet Sent ________________ Phone Day ( )_______________________________________________________ Evening )__________________________________ Sch. App. Sent _____________ ( Date of Birth (Optional) _____________________ Sex ______________Ethnicity (Optional) __________________________ Mat’ls List Sent ____________ CLASSES DESIRED $225 Deposit required for each class. (Please note: Tuition includes lunch for all adult students.) Course Title__________________________________________Course Code___________________ Dates________________________Cost_________________ A Housing & Meal Plans (see below for description) C D E Cost_________________ Course Title__________________________________________Course Code___________________ Dates________________________Cost_________________ A Housing & Meal Plans (see below for description) B B C D E Cost_________________ Course Title__________________________________________Course Code___________________ Dates________________________Cost_________________ A Housing & Meal Plans (see below for description) B C D E Cost_________________ Sub-Total:_______________ ADULT HOUSING AND MEAL Plans (See page 3 for information) Double Room (includes meals) (A) $535 per week (B) $325 per three days Roommate Request Name (Adult Students Only)__________________________________________________________________________________ Private Room (includes meals) Meals Only (C) $745 per week D) $465 per three days (E) $90 per week-Dinner Sunday thru Breakfast Saturday TRANSPORTATION (See page 2 for information) A form will be sent to confirm your reservation. Transportation is available from Ontario International Airport and Palm Springs Airport ($150 each way). One way Transportation Needed: Both ways Amount:_______________ Non-refundable Application Fee: $25 Please do not apply any discounts to the total. Discounts will be reflected in your bill.TOTAL:_______________ I have enclosed the non-refundable $25 application fee & the non-refundable $225 deposit for each course ($25 penalty for returned checks/refused credit charges) Method Of Payment I have enclosed a check. Check #_________________________ VISA MasterCard Am. Ex. Discover Please charge my credit card. Amount to be charged $______________________ Card #___________________________________________ Expiration Date_____________ Name as it appears on card_________________________________________________Signature______________________________________________________ PLEASE Complete the back of this form and MAIL WITH YOUR DEPOSIT TO: Registrar, Summer Program • Idyllwild Arts • P.O. Box 38 • Idyllwild, CA 92549-0038 Registration and Fee Payment All applications must be accompanied by the completed registration form, the $25 application fee, and a non-refundable $225 deposit for each course chosen to ensure class placement. The $225 is applied toward tuition. You may also register by phone using your VISA, MasterCard, American Express or Discover Card: 951-659-2171 x2365. The balance of all tuition, room and board fees will be due in full at least 30 days before class begins. A late registration fee of $50 will be added to all accounts which are past due. All past due accounts will be turned over to a collection agency after September 30, 2013. Please make every effort to register as early as possible so you will receive your registra- sum m er @ id y llwi l dart s . o r g tion packet in time to complete and return any necessary forms. For late registrants, class placement cannot be guaranteed until payment in full is received by Idyllwild Arts. 1) All fees, minus the $25 application fee are completely refundable up to 90 days before a class is scheduled to begin. Enrollment is automatically confirmed upon full payment of fees. Your cancelled check or credit card bill is your receipt. Upon receipt of the registration form and fee, a packet of registration materials will be mailed to you. 2) If a student withdraws more than 30 days prior to a scheduled class, all minus the $25 application fee and $225 deposit will be refunded upon written request. No refunds of any kind will be made less than 30 days before a class is scheduled to begin. Refunds 3) If Idyllwild Arts cancels a class, all fees are refundable in full. The Summer Program’s planning, hiring, purchasing and related expenses are directly determined by the number of enrollments received in the early Spring. Therefore, no refunds are made for early withdrawals, student cancellations or no-shows (regardless of accident, illness, or change of plans) except as follows. Idyllwild Arts is not able to apply non-refundable payments to a future summer program. There are no exceptions to this policy. APPLICATION/REGISTRATION/REFUNDS 29 2013 Summer ADULT Program Registration Form YOUTH PROGRAMS Page 2 of 2 For information about the following programs, visit us online or contact us to request a Youth Catalog. Visit: www.idyllwildarts.org Phone: 951-659-2171 x2365 PLEASE COMPLETE THE REMAINDER OF THE FORM IN ORDER FOR YOUR REGISTRATION TO BE PROCESSED Student Name Last _______________________________________________________ First ______________________________________ FAMILY CAMP (all ages) In signing this application, I acknowledge that I have read the policies of Idyllwild Arts as noted in the catalog including the sections relating to payment of fees and refunds, and agree to abide by them. I understand that I am solely responsible for all medical expenses incurred by me while enrolled in the Idyllwild Arts Summer Program. Consent is hereby given for the applicant, while a student at Idyllwild Arts, to participate in radio and television programs without compensation and for photographs taken at Idyllwild Arts to be used in campus-approved publicity. ____________________________________________________________ ____________________________________________________ ________________________________ Signature of Student Signature of Parent/Guardian if student under 18 years of age Date Children’s Center Multiarts Day Program (ages 5–8) Specialized Programs (ages 9–12) DANCE Dance Explosion FILM Collaborative Filmmaking Please list the names and addresses of friends you have who would like to receive a Summer Program Catalog. _________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________ I would like to receive information about the Idyllwild Arts Academy. (See page 31 of this catalog for a brief description of the Academy.) MUSIC Piano Workshop THEATRE Mini-Musical Theatre On Camera Theatre of Myth & Folklore VISUAL ARTS Adventures in Art Art From Many Cultures Drawing & Sculpture Modern Art/Clay/Sculpture WRITING From Page to Stage Junior artist (ages 11–13) DISCOUNT PROGRAMS Please complete the following to be assured the correct discount is credited to you. (See this page for information.) Early Payment of Fees: (Fees must be received in full in order for discount to apply) Family Discount: Other Family Members Attending March 15–10% discount April 15–5% discount ____________________________________________________________ ____________________________________________________ ________________________________ Name Program Dates THEATRE Improv Workshop Mini-Musical Theatre Musical Theatre Shakespeare’s World Theatre Adventures ____________________________________________________________ ____________________________________________________ ________________________________ Name Program Dates VISUAL ARTS Ceramics Workshop Computer Animation Fashion Design, Art & More Magic of Art Painting & Drawing Photography Workshop ____________________________________________________________ ____________________________________________________ ________________________________ Name Program Dates WRITING Young Writer’s Workshop ____________________________________________________________ ____________________________________________________ ________________________________ Name Program Dates Teacher Discount: Teacher Name____________________________________________________________________________________ List other Teachers attending: Youth Arts (ages 13–18) Bring a Friend: a) Name(s) of student(s) I have referred to the Summer Program. Please be sure that any students you have referred to Idyllwild Arts list you in part (b) of their application. Credit cannot be applied to your account until Idyllwild Arts has received your friend’s application with you listed in part (b). ____________________________________________________________ ____________________________________________________ ________________________________ Name Program Dates ____________________________________________________________ ____________________________________________________ ________________________________ Name Program Dates b) Name of student who referred me to the Summer Program—one name only. Must be completed to insure credit to referring student. ____________________________________________________________ ____________________________________________________ ________________________________ Name Program Dates 5 2 5 0 0 T e m e c u l a R o a d • P. O . B o x 3 8 • I d y l l w i l d , CA 9 2 5 4 9 • ( 9 5 1 ) 6 5 9 - 2 1 7 1 • F a x ( 9 5 1 ) 6 5 9 - 4 5 5 2 • i d y l l w i l d a r t s . o r g Discounts/Credits Idyllwild Arts offers students the following options to reduce the cost of attending the Summer Program. They are applied to the total cost of a program: tuition, housing, meals, lab fees, and transportation. They cannot be applied to room deposits or key deposits. Early Payment Discount 10% off the total cost of a program if payment in full is received by March 15, 2013. 5% off the total cost of a program if payment in full is received by April 15, 2013. 1)Any changes or additions to enrollment made after the Early Payment deadline are subject to the full price. 2) Students choosing the Early Payment option are not eligible for scholarships. 30 APPLICATION/DISCOUNTS Family Discount Two or more members of the same immediate family qualify for a reduction of $50 per person per week. 1) Family members are not required to attend at the same time. 2)Not available to students choosing the Teacher Discount. 3)Not available to weekend registrants. 2)A new student can be claimed by only one returning student. 3) Does not apply to immediate family members of returning students. (see Family Discount) 4)Not available to weekend registrants. Teacher and Student Discount If there is space available in a workshop 30 days before it begins, teachers (K–12, currently employed, full time) and current college/ university students (full time) may enroll at 50% off of tuition. Bring a Friend Receive credit of $50 per new student—one who has not attended the Summer Program previously—you bring to the Summer Program, up to half the total cost of your stay at Idyllwild Arts. 1)Available only to week-long workshop registrants. 1) Students who attended during the summers 1985–2012 are eligible. 3)Available on a limited basis. 2)Fees for the workshop must be paid at the time of registration. COMPUTER ARTS Computer Animation DANCE Dance Workshop Song and Dance FILM Acting for the Camera Directing for the Camera Filmmaking MUSIC Symphonic Band HS Symphony Orchestra HS Wind Ensemble HS Chamberfest Festival Choir Harp Workshop Jazz Workshop Piano Workshop Song and Dance THEATRE Acting for the Camera Directing for the Camera Sketch Comedy Song and Dance Summer Theatre Festival VISUAL ARTS Art Exploration Ceramics: Clay Works Drawing & Painting Drawing & Painting MC Fashion Design I & II Jewelry Workshop Black & White Photography Photo Explorations WRITING A Fiction Workshop Poetry Workshop ARTS ACADEMY 31 CERAMICS Ceramics: The Ways of Clay Hot Clay The Narrative in Sculpture Pottery Component Mash-Up Silkscreening on Clay Handbuilding in Clay Sets and Soda Idyllwild Arts Foundation P.O. Box 38 Idyllwild, CA 92549 Non-Profit Organization U.S. Postage PAID Idyllwild Arts Foundation Jewelry Handmade Findings Silver Metal Clay Metals Week Chasing & Repoussé Creating Cuffs Nunome Zogan The Rolling Mill A Fresh Look at Spiculums Surface Design/Fabrication Mixed-MediaAcrylic Ink Quilting BOOK ARTSAssemblage Manuscript Books Metal Books & Journaling The Santos Cage Doll MUSICChamber Music Concerts Native artsHopi Basketry Hopi Jewelry Santa Clara Pottery Native American Arts Festival Craft & Survival Skills Native Plants Cahuilla Basketry Doll Making & Beadwork Navajo Weaving Navajo Inlay Jewelry Native American Flutes Hopi Tewa Pottery Mata Ortiz Pottery Painting/Color Boot Camp DRAWINGContemporary Painting Drawing Intensive Encaustic Painting The Figure & Still Life Narrative Figure Painting Figure Painting in Watercolor Travel Drawing & Painting Watercolor from Within Watercolor Unleashed Printmaking Beyond Monotype Encaustic Monoprinting Solarplate Etching SculptureSculpture in Plaster Furniture Making & Design Writing The Art of Writing Fiction Memoir/Creative Nonfiction Young Adult Novel ( for adults) Poetry Week SUMMER PROGRAM 2013 Workshops for Adults One to Six Day Intensive Workshops for Adults Including the Native American Arts Festival, Hot Clay. and Metals Week (Children & Youth Course Catalog published separately-see information on page two for details) MasterCard, VISA, Discover, & American Express accepted Visit our website: w w w . i d y l l w i l d a r t s . o r g
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summer program 2014 - Idyllwild Arts Academy
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