Untitled - Arrowmont School of Arts and Crafts

Transcription

“It is only with the heart that one can see rightly; what is
essential is invisible to the eye.”
- Antoine de Saint-Exupery
This may seem a strange quote to use as I ask you to consider coming to a workshop
at Arrowmont. We provide instruction which explores materials and celebrates the
created object. But I also know that time spent at Arrowmont offers opportunities for
exploration, discovery and growth that engage not only the head and hand, but the heart.
The skills and techniques learned in a workshop represent personal accomplishment, but
there is satisfaction in immersing oneself in a shared experience in the company of others
who understand both your interest and your passion. It is the sharing among students
and instructors which makes the experience rich in unexpected ways.
BILL MAY
EXECUTIVE DIRECTOR
In 2014 Arrowmont completed a major accomplishment. In purchasing our campus we
preserved a legacy of education extending over a hundred years into the past and made
it possible to set our sights on what can be accomplished in the next hundred years.
We protected six buildings on the National Register of Historic Places and secured our
beautiful historic campus. Our thanks go out to the tens of thousands of students and
instructors ‐ and the more than one hundred Artists‐In‐Residence ‐ who have left their
marks during their time here. This is an organization guided by a mission of enriching
lives through art, but our success is measured by the experience of each individual that
spends time as part of our community.
If you have been to Arrowmont before, I know you understand exactly what I am
attempting to describe. Everyone here looks forward to welcoming you back in 2015.
If you are contemplating coming to Arrowmont for the first time ‐ or even enrolling
in your first workshop ‐ know that you will be welcomed and encouraged regardless of
your previous experience, your age or your educational background. We are proud of
the quality of our facilities and studios, and we value our instructors and the talent and
experience they bring to the workshops, but our conviction is that people bring out the
best in each other when they are seeing rightly with their hearts.
Whether you are finishing an MFA, or exploring and satisfying an interest you have long
anticipated, Arrowmont welcomes you to join in shared exploration and discovery. Whether
walking through gallery exhibitions on the way to your studio, sharing meals, conversation
and laughter, struggling to refine an idea, discovering new materials and techniques, or
collaborating with others, I believe you will be inspired by the time spent here.
Please join us in this special place.
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IMPORTANT DATES AT A
GLANCE
ARTISTS-IN-RESIDENCE
APPLICATION DEADLINE
February 1, 2015
EARLY REGISTRATION DEADLINE
February 1, 2015
Registration fee of $50 is waived
for early registration
EDUCATIONAL ASSISTANCE PROGRAM
APPLICATION DEADLINE
March 1, 2015
SCHOLARSHIP APPLICATION DEADLINE
March 1, 2015 for most
Check the website as some scholarships
have a rolling deadline
TABLE OF CONTENTS
WELCOME..................................................... 2
LEGACY WEEKEND........................................ 4
OTHER PROGRAMS...................................... 50
REGISTRATION AND WORKSHOP FEES........ 51
MASTER WEEKEND....................................... 5
SCHEDULE AT A GLANCE. ............................ 52
2015 WORKSHOPS
HOUSING AND MEALS................................ 54
STONE/MIXED MEDIA/
SPECIAL TOPICS............................................ 6
SCHOLARSHIPS........................................... 55
WOOD........................................................... 8
EDUCATIONAL ASSISTANCE........................ 56
METALS/ENAMELS/JEWELRY..................... 16
ARROWMONT & YOU ................................. 57
FIBERS/TEXTILES/BASKETS......................... 21
WORKSHOP BASICS.................................... 58
PAPER/BOOKS............................................. 31
REGISTRATION FORM.................................. 59
GLASS......................................................... 34
PAINTING/DRAWING/
PRINTMAKING/PHOTOGRAPHY................... 36
CLAY............................................................ 42
ARROWMONT SCHOOL OF ARTS AND CRAFTS is a place for people who seek
meaningful and energizing art experiences. It is a place for people of all ability
levels, ages, and backgrounds. It is a place where ideas and skills, seeing and
creating come together in myriad ways.
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LEGACY WEEKEND
LEGACY WEEKEND • APRIL 9 — 12, 2015 Now in its second year, Legacy
Weekend will focus even more in depth on Arrowmont’s rich history,
Appalachian culture and heritage and its setting in and ties to the beautiful
natural setting of the Great Smoky Mountains.
Partnering again this year with
the Friends of the Smokies, Legacy
Weekend encourages Friends of
Arrowmont and Friends of the
Smokies to participate in an
outstanding educational and cultural
experience.
Legacy Weekend offers new and
expanded interdisciplinary
programming integrating workshops,
guest speakers and storytellers, music,
social gatherings, gallery openings
and hikes in the Smokies. Legacy
Weekend offers ample opportunity
to catch up with old friends, interact
with the local community, the artists
and performers, and get to know the
campus community.
Don’t miss the annual exhibition of
Arrowmont’s Artists-in-Residence.
Meet the artists at the opening
reception. The local community,
students, instructors and guests are
invited to the opening reception on
Friday, April 10, 2015, 7:00 pm to
9:00 pm.
MARK ST. LEGER • WOOD
Rocking Weekend—Turned Boxes,
pg. 9
JOHN PHILLIPS • WOOD
Re-discovering the Appalachian Banjo,
pg. 9
FRANCES FOX • WEAVING
Traditional Mountain Weaving/
Heritage Weaving, pg. 21
JEANNE BRADY • TEXTILES/SURFACE
DESIGN
Personal Memories on Cloth, pg. 22
MARY W. THOMPSON • BASKETS
Cherokee White Oak and River Cane Baskets,
pg. 22
BOBBIE CREWS • PAINTING
Reflections, Light and Magic, pg. 36
JOHN DIGIACOMO • PHOTOGRAPHY
Moving Beyond Your Creative Comfort
Zone, pg. 36
BRIAN NETTLES • CLAY
Turning and Burning: Wheel Thrown
Pottery, pg. 43
LENTON WILLIAMS • TRADITIONAL
BROOMS
Traditional Appalachian Style Broommaking, pg. 6
JOEL G. ZACHRY • NATURE STUDIES
Spring’s Natural Wonders, pg. 6
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MASTER WEEKEND
MASTER WORKSHOPWEEKEND · OCTOBER 15 — 18, 2015 Working with
master artists is a centuries-old practice that provides advanced students an
environment in which to hone skills both technically and conceptually. Master
teachers contribute inspiration, insight, guidance and challenge, in addition
to instruction. Arrowmont has designed a Master Workshop Weekend session
in October of eight classes taught by carefully selected instructors with many
years teaching, exhibition, and publication achievements. These classes are open
to experienced students only and are for those seeking intense studio time,
meaningful discussions, critiques, questions and risk taking. With a focus on
developing one’s personal voice, the weekend workshop activities include: related
readings, some drawing, modeling, discussion and investigation of individual
imagery and design elements. The weekend will also feature a moderated panel
discussion among the master instructors.
STONEY LAMAR & DAN ESSIG • WOOD
GYÖNGY LAKY • FIBER
Scratching the Surface, pg. 8
Architectural Textiles: Thinking and Building in
3-D, pg. 30
NORM SARTORIUS • WOOD
Wooden Spoons—To Stir the Soul not the Soup,
pg. 16
JO STEALEY • PAPER/BOOKS
CHARLES LEWTON-BRAIN •
METALS/ENAMEL/JEWELRY
DON LAKE • PAINTING
3D Calisthenics, pg. 33
Foldforming Introduction, pg. 20
New Perspectives on Painting: Wait! What
Was That Again?, pg. 42
GRETCHEN GOSS • ENAMEL
MICHAEL SHERRILL • CLAY
The Vitreous Image, pg. 21
For the Love of Material: Finding the Human in
Material, pg. 49
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STONE
MIXED MEDIA
SPECIAL TOPICS
APRIL 9 — 12 • WEEKEND
JOEL G. ZACHRY
SPRING’S NATURAL WONDERS
LEGACY WEEKEND CLASS
LENTON WILLIAMS
TRADITIONAL APPALACHIAN STYLE
BROOMMAKING
During this class students will be making
several small hand tied brooms and brushes
in the Appalachian style including small cob
web brooms, hearth or RV brooms and several
types of practical whisk brooms, as time
allows. You will use natural broom corn and
natural handles provided by the instructor.
Students will also learn to make a beautiful
shaker style dustpan; a necessary item for every
kitchen and shop. Students can work at a pace
commensurate with the number of brooms
desired. Students will experience some fun
along the way and leave the course with the
equipment necessary to start making brooms at
home. Open to all skill levels.
COURSE FEE: $340
Lenton Williams started making brooms after
studying under master broom maker Annie Bell
at the John C. Campbell Folk School in early
2000. Since then he has literally made hundreds
brooms. He teaches the craft at JCCFS, the
Alabama Folk School, and at Arrowmont.
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What better season than spring to enjoy
the wonders of landscape, plant life and
animal activity in the Smokies? Your biology
instructor will share many “show and tell”
examples of nature’s treasures and participants
will take short informative hikes in the
neighboring national park. You will take home
a new-found knowledge of emerging flowers
and leafing trees and useful skills for detecting
animal inhabitants. Students will gain
confidence in avoiding and handling wildlife
encounters, and perhaps most importantly,
leave with new friends. Open to all skill levels.
COURSE FEES: $340
Joel Zachry is a retired biology professor and
completed the 2,175 miles of the Appalachian
Trail in 2005. He is the owner of Great Outdoors
Adventure! Travel and has guided small groups
to Alaska since 1988. He is an instructor and
director of the UTK/NPS Smoky Mountain Field
School.
gowithgoat.com
STONE/MIXED MEDIA/SPECIAL TOPICS
MAY 31 — JUNE 6 • ONE WEEK
AUGUST 2 — 8 • ONE WEEK
SEPTEMBER 20 — 26 • ONE WEEK
JAMES DARR
STRUCTURE IN ART
DAVID J. MARKS
GILDING AND CHEMICAL PATINATION
BOB LOCKHART
STONE CARVING
This is an all-encompassing workshop covering
the entire process of creating art pieces in
stone. The class will begin with the acquisition
of the stone and follow the creative process
through the design, carving, polishing,
finishing and mounting of the piece. Emphasis
will be on the proper use of tools as applied to
direct carving. Open to all skill levels.
COURSE FEE: $525
Bob Lockhart is a stone and wood sculptor and
retired professor of art at Bellarmine College in
Louisville, Kentucky. He holds an MFA from
the Art Institute of Chicago. His work is held in
numerous permanent collections including the
Whitney Museum of Art in New York.
buybobsart.com
The techniques that students in this course will
learn can be applied to any surface that will
accept paint including wood, metal, paper,
ceramics, glass and even plastics. If you are
a jeweler, ceramicist, sculptor, blacksmith,
woodworker or woodturner, you will take
home some very creative and innovative
techniques to enhance your work and increase
your marketability. Participants will learn to
gild with copper, silver, composition gold
leaf. You will also work with the traditional
oil size method of gilding and learn creative
gilding techniques, such as the Japanese Notan
method of balancing positive and negative
spaces. Students will learn the process of
chemical patination working safely with mild
acids. Open to all skill levels.
COURSE FEE: $525
David J. Marks is recognized internationally
as a master craftsman of fine furniture, turner,
sculptor, and host of 91 episodes of the television
show “WoodWorks” which aired on the DIY
channel 2002 -2008. In 2004 David started his
Woodworking School at his Workshop/Studio in
Santa Rosa, California.
Structure is abundant all around us. It
invades our visual senses on a daily basis.
From the mundane
communication
towers that riddle
our landscape to the
functional mount
that caresses or holds
an object. In this
workshop students will
explore the function
of structure as it
relates to the form.
The focus will be on,
but not limited to,
the application of
silver soldering small
metals to inform an
already existing object
or to create a new,
structurally based
object. Besides metal
and silver soldering,
students will be encouraged to explore other
materials relative to the idea of structure. Open
to all skill levels.
COURSE FEE: $525
James Darr received his BFA in sculpture from
Herron School of Art in Indianapolis, Indiana
and his MFA in sculpture from the University of
Delaware in Newark, Delaware. He is a metal
fabricator and for 11 years James has spent has
taught 3D Design and Sculpture courses at the
college level.
SHERRI WARNER HUNTER
THE ART OF CONCRETE
Concrete is not just for sidewalks anymore.
In fact, it is an amazing sculpting material
that can be used in variety of techniques for
personal expression. In this class students will
learn the basics of working with armatures,
modeling and carving as you explore form
development while building on sculptural skills
through hands-on projects. Explorations in
color and surface treatments will add to the
range of artistic expression possible through
this versatile material. No previous experience
with concrete is necessary. Open to all skill
levels.
COURSE FEES: $525
Sherri Warner Hunter earned her MA from
Claremont Graduate University and BFA from
the Kansas City Art Institute with an emphasis
in sculpture and drawing. She creates public and
private commissions, community art projects,
and gallery work in her studio in Bell Buckle,
Tennessee.
swhartstudioinc.wordpress.com
da2rs.com
djmarks.com
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STONE/MIXED MEDIA/SPECIAL TOPICS
OCTOBER 22 — 25 • WEEKEND
COLETTE PETERS
CAKE SCULPTURE
STONEY LAMAR AND DANIEL ESSIG
SCRATCHING THE SURFACE
MASTER WEEKEND CLASS
This class will explore a variety of surface treatments with texture and milk paint that the instructors
have independently explored over the years to very different ends. You will learn about the
possibilities of using these ideas in other media. During the course, emphasis will be placed on
discovering how these ideas, techniques and materials might be applied to your work. Students
are asked to bring samples of your work to class. This class is open to experienced students seeking
intense studio time, meaningful discussion, critiques, questions and risk taking.
COURSE FEE: $395
Stoney Lamar has been a full time studio artist
working in wood and steel for over 30 years
and lives in Saluda, North Carolina. He is
on the board of the American Craft Council
and founding member of the Center for Craft,
Creativity and Design.
stoneylamar.net
Daniel Essig is a studio artist living in Asheville,
North Carolina. He is a recipient of the North
Carolina Artist Fellowship Grant. Daniel was
a Penland Core Student and teaches workshops
internationally. The Smithsonian Institution’s
Renwick Gallery and the Mint Museum and
have collected his work.
danielessig.com
In this course, students will create your own
multi-tiered dream cake using fondant,
gumpaste and royal icing on Styrofoam. You
will learn how to make and sculpt real cakes
and how to build them as you work on your
faux cake. In addition, students will learn
the secrets of the crooked cake and such
sugar techniques as quilling, piping, flowers,
quilting, crimping, bows, drapes and painting.
All materials will be included, and there will be
some items for purchase in class. Open to all
skill levels.
COURSE FEE: $340
Colette Peters is the owner of Colette’s Cakes,
a specialty cake company she founded in New
York City in 1989. She has written five books,
appeared on numerous television programs and
has created many cake layouts for magazines. She
has shared her expertise with students throughout
the U.S. and at the French Culinary Institute
and the French Pastry School.
colettescakes.com
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WOOD
WOOD
COURSE FEE: $375
Mark St. Leger is from Virginia and has been
turning for over 25 years and is known for his
creative teaching style and techniques. He has
been an active demonstrator and workshop leader
regionally and nationally for the past 18 years.
markstleger.com
JUNE 7 — 13 • ONE WEEK
AL STIRT
TURNED BOWLS AND PLATTERS:
FORM, PATTERN, TEXTURE AND COLOR
MARK ST. LEGER
ROCKING WEEKEND—TURNED BOXES
Spend a unique weekend turning and
exploring the possibilities of turning on the
bias, with small lidded boxes. During this
weekend-long class, you can expect to learn
not only basic box making techniques, but also
a range of shapes and new ideas to incorporate
into your box making. An assortment of
dry woods will be used to create the turned
boxes. Sharpening and customizing tools to
fit our needs will also be covered. Bring your
imagination and sense of humor for a fantastic
weekend. Basic turning skills will be very
helpful.
JOHN PHILLIPS
REDISCOVERING THE
APPALACHIAN BANJO
In this class students will be recreating a style
of banjos commonly built in the Appalachian
Mountain region of East Tennessee, Western
North Carolina and Southern Virginia from
the 1850’s and beyond. You will learn about
traditions in banjo history and construction,
stretching skins, inlay work and adornment.
Everyone is encouraged to make their
instrument truly unique through the use of
inlay, carving, staining and burning personal
significance into the piece. Open to all skill
levels.
COURSE FEE: $375
John Phillips has been based in Knoxville,
Tennessee for over 15 years, working to help keep
the vibrant culture and history of the area alive.
His time split between making and restoring
instruments, sculpture, furniture and making
music. His inspiration comes from a by-gone era
and from the natural world.
The class will focus on “extracting” bowl
and platter forms from both green and dry
wood. Students will play with creating pure
turned forms as well as bowls, incorporating
carving, texturing and color. When the class is
completed you will leave with new techniques
and design ideas to use in creating their own
original work. Techniques learned will include
the use of bowl gouges and sheer scrapers,
selection and cutting of wood, drying wood,
carving on turnings, turned textures, cutting
through a painted surface to create patterns
and square platters. Students will move from
inspiration to design idea to finished piece.
Some turning experience highly recommended.
COURSE FEE: $595
Al Stirt has been a professional woodturner
for more than 40 years. His work is included
in numerous public and private collections,
including the Smithsonian, The White House, the
Museum of Art and Design, and the Victoria and
Albert Museum.
alstirt.com
DAVID ELLSWORTH
BOWL AND VESSEL TURNING
This workshop is a totally comprehensive
course starting with the green logs and
progressing through each stage en route to
cut rim and natural edge open bowls plus
hollow form vessels. Additional topics for
students will include tool design and methods
of sharpening, drying green wood, ideas for
sanding and finishing, reverse jam chucking,
the ergonomics of machine and tool design
as well as correct body positions and safety.
Ideas for bowl and vessel design will also be
included. Open to all skill levels.
COURSE FEE: $595
Over the past 40 years, David Ellsworth has
become known as one of the premier designers of
turned wooden vessel forms. His work is included
in the permanent collections of 37 museums and
numerous private collections. He is a Fellow and
former Trustee of the American Craft Council.
ellsworthstudios.com
almanacbanjo.com
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WOOD
DUSTIN FARNSWORTH
CARVED!
PETER DELLERT
TABLE MANNERS – TABLE MATTERS
RAY KEY
BOWLS, BOXES AND PLATTERS FOR
VISUAL PLEASURE AND USE
Gatlinburg is a deliciously dichotomous
landscape of one of the nation’s most
beautiful natural parks and of tourist trap,
kitsch Americana. In this class, students
will be encouraged to spend time gathering
information from the town’s luscious offerings
in the form of sketching—both on site in
the park and in town—in particular, at the
aquarium located adjacent to the school. Using
these sketches as a point of departure, students
will learn to transfer abstract 2-D shapes
inspired by their surroundings into small,
three-dimensional carvings. Students will work
with basswood using grinders, sanders, chisels,
rasps and sandpaper to carve and texture
small abstract forms inspired by the local
surroundings. Although the teacher works with
the figure, figurative carving will not be taught
in this class. This is a great class for beginning
carvers to get an idea of the tools they will use
to carve and how to use them safely.
This workshop will focus on how to make
a table using numerous easy techniques
including using quick jigs and safe tool setups. You will draw and make maquettes and
be guided through to the finished table. Stock
selection and preparation , glue-ups, multiple
joinery techniques, shaping and profiling,
laminating for curves, preparing stock for
turnings and split turnings, and basic finishing
will be covered. Intermediate woodworkers
might build double tapered legs with mortise
and tenon joinery, turned or carved legs with
bridle joints or curved aprons. More advanced
students are encouraged to bring their sketches
and ideas to be used as class demos. Also
included will be demos, jigs and helpful hints
which require a little skill, a little will, and a
little more time. Open to all skill levels.
COURSE FEE: $595
Dustin Farnsworth is a resident artist at Penland
School of Craft. He was recently awarded the
North Carolina Arts Council Artist Fellowship
for 2014-15 in the area of sculpture. Since
graduation in 2010 from Kendall College of Art
and Design, he has exhibited nationally in over
40 exhibitions.
dustinfarnsworth.squarespace.com
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EMMET KANE
CREATIVITY THROUGH PRACTICAL
LEARNING: TURNING WOOD TO FREE
THE MIND
This will be a practical class in wood turning,
which will include demonstration and
hands-on learning. Primarily green wood
and burls will be used to turn sculptural and
hollow forms. Students will explore how to
ebonize wood using the natural tannin in oak.
Texturing will be explored utilizing many
methods and tools including the arbortech
to flame. You will also look at the application
of gold leaf and color to enhance the pieces.
Open to all skill levels.
COURSE FEE: $595
Emmet Kane comes from five generations
of Master Craftsmen. He is a self-taught
woodturner, working in his studio since 1988 in
County Castledermot, Kildare, Ireland. His work
mainly consists of a series of one-off turned wood
pieces that follow themes of design, form or finish
but are unique.
emmetkane.com
COURSE FEE: $595
This class is designed for those who wish to
focus on pure woodturning. Good design
and safe efficient turning techniques will be
taught and encouraged. The understanding of
material and design will be at the forefront of
all that is undertaken. “Let the wood speak for
itself,” “keep it simple stupid,” and “if in doubt
leave it out” will be our guide to the technique.
Open to all skill levels. The ability to work
with accuracy will enhance the experience
especially when box making.
COURSE FEE: $595
Ray Key has been a professional turner for 42
years. He is an honorary lifetime member of the
American Association of Woodturners and the
Association of Woodturners of Great Britain.
In 2012, he received the first Master in Turning
Award by The London Livery Company.
wgdc.org.uk
Educated as a biologist, Peter Dellert is a
furniture maker, sculptor and artist living in
Holyoke, Massachusetts. He has operated a
woodworking business since 1983. His furniture
has been shown at ICFF in New York and in
craft museums and galleries all over the U.S.
dellertfurniture.com
WOOD
JUNE 28 — JULY 11 • TWO WEEKS
JULY 12 — 18 • ONE WEEK
TRAVIS TOWNSEND
VOLUMETRIC FORMS + EXPRESSIVE
SURFACES FOR FURNITURE, VESSELS
AND SCULPTURE
In this workshop students will learn multiple
approaches to the creation and surfacing of
constructed wooden volumes with the goal of
using wood as an expressive medium. Students
will explore the ideation and making process,
so come ready to invent, discuss, sketch, build,
paint and carve. Direct band saw techniques
will be employed to create small or large
evocative forms that can be altered, arranged
and surfaced in limitless ways. Sculpture,
vessels, furniture, 3D drawings, etc. that will
be created in this workshop will be as weird,
imaginative, or practical as the student desires.
Tool use and safety will be thoroughly covered.
COURSE FEE: $595
Travis Townsend studied at Kutztown University
and Virginia Commonwealth University and is
a senior lecturer at Eastern Kentucky University.
He is a former resident artist at Penland School of
Crafts and has received grants from the American
Craft Council, Kentucky Arts Council, and the
Virginia A. Groot Foundation.
sculpture.org/travistownsend
BETTY SCARPINO
TURNED FORMS INTO SCULPTURE
PAT KRAMER AND SHARON DOUGHTIE
VESSELS AND BOWLS: PURE, ORGANIC AND EMBELLISHED
This lively class that will expand students turning repertoire by starting with the fundamentals
including tool selection, grain orientation, and wood properties and end with pure forms, both end
and side grain. As the class progresses, you will learn to transform your pieces into more organic
forms using power carving techniques. They include ways to layout and cut feet and sculpting
methods to give your piece movement. Embellishing will cover branding, graphic designs such as
knot work, and texturing. Students will learn coloring techniques with both milk paint and acrylics
and finishing methods. At the end of the class students will feel confident with cutting, sharpening,
sanding, embellishing, color and finishing. You are encouraged bring an open mind, a desire to have
fun and your own pieces to work on. Open to all skill levels.
COURSE FEE: $1100
Pat Kramer is a woodturner and sculptor who
lives in Kailua, Hawai’i. He began woodworking
1958 and started turning in 1986. He has
demonstrated both nationally and internationally
and his work has been in several publications.
patkramer.net
Discover how you can transform turned pods,
discs and bowls into candleholders, decorative
boxes and sculpture. This class will focus on
playful exploration to arrive at individual
styles and approaches. Each day will offer
detailed demonstrations on techniques and
processes, PowerPoint presentations on form
and design, and plenty of time for exploring
turning, cutting, carving and embellishment.
From what you learn in this class, students will
be able to visualize turned forms as starting
points for further exploration and personal
expression. Some knowledge of woodturning
and/or working is necessary.
COURSE FEE: $595
Sharon Doughtie is a woodturner who lives in
Kailua, Hawai`i. She started turning in 1993
and has demonstrated and taught at schools, clubs
and symposia in the U.S. and abroad. Her work
has been exhibited nationally and featured in a
number of publications.
sharondoughtie.com
Betty Scarpino is an internationally recognized
woodturner and sculptor whose work is
represented in many museums’ permanent
collections. She is one of the world’s preeminent
wood artists whose extensive career lends itself to
teaching and demonstrating.
bettyscarpino.com
11
WOOD
MARK DEL GUIDICE
PLEASE BE SEATED:
STOOLS AND SMALL BENCHES
As versatile seating, stools and small benches
can easily integrate into most interior designs.
Once students choose which to build, you
will explore design options and construction
techniques for a standard piece or your own
unique design, taking into account your skill
level and time available. You will also explore
various joinery, as well as surface treatments
and finishes to compliment your work. Basic
woodworkers will advance their skill level and
those who have good woodworking skills will
advance their design skills. Basic woodworking
skills are required for this class.
COURSE FEE: $595
Mark Del Guidice has maintained a
woodworking studio outside of Boston for the
last 27 years. He is a graduate of the Program in
Artisanry at Boston University. He is a recipient
of the Gold Award at the Smithsonian Craft
Show.
markdelguidice.com
JENNA GOLDBERG
THE ART OF THE BAND SAW BOX
JERRY KERMODE AND WALKER KERMODE
THE ART OF NON-VIOLENT WOODTURNING
Jerry and Walker, a father and son team, will present the essentials, perfecting the cut as you work
on various projects. In their relaxed, informative and pragmatic styles, they will show how nonviolent woodturning means not making the cut, but allowing the cut to be made, the result being
that what you bring to the lathe is what you take away. The topics covered include: tool selection,
wood selection, lathe set-up, proper speeds, and the cuts—beads and coves, basic safety, breathing
and posture. Projects can include carving mallets, oil lamps, bowls—natural and traditional, spindle
duplication, stitching, multi-axis turning, balls, sharpening and more. Learn new skills and perfect the
ones you already have. Learn grain direction and proper bevel supported cuts. Make lots of different
projects, while seeing that breath, posture and laughter add to the ease of turning. Open to all skill
levels.
COURSE FEE: $595
COURSE FEE: $595
Jerry Kermode teaches regularly at his studio in
Sebastopol, California. He started turning in the
1970s, becoming a full-time turner in 1991. He
is known for his passion to stay true to the wood,
his attention to form and function.
jerrykermode.com
Walker Kermode has taught music in the public
schools in Ashland, Oregon for 16 years and
enjoys combining the art of teaching with the fine
art of woodturning. He spent many hours in his
Dad’s shop, learning how to finish each piece of
wood to a unique point of artistry.
walkerswoodwork.blogspot.com
12
Band Saw boxes are a simple way to make
wooden box structures without the burden of
complicated joinery. Students will learn the
basics of how to cut, glue and manipulate the
material. You will also explore simple surface
design treatments such as image transfers,
different color and painting techniques, texture
and surface carving. The workshop will include
demonstrations on the safe use of machinery
as well as how to sharpen chisels and carving
tools. Personal exploration of form, surface and
imagery is encouraged. Open to all skill levels.
Jenna Goldberg has a BFA in illustration from
the University of the Arts in Philadelphia and
an MFA in Furniture Design from Rhode Island
School of Design (RISD). She teaches part-time
at RISD and her designs are in the permanent
collections of the Renwick Gallery and the Mint
Museum of Craft and Design.
jennagoldbergstudio.com
WOOD
JULY 26 — AUGUST 1 • ONE WEEK
CORY ROBINSON
NEW CLASSIC TABLES: EXPLORING
CLASSIC AND CONTEMPORARY DESIGN
GRAEME PRIDDLE
WOODTURNING AND BEYOND
In this course students will have a wide range
of turning projects to choose from covering
basic spindle and bowl turning to more
complex hollowing and multi-center turning.
It will offer a multitude of carving and surface
embellishment techniques that you can use to
enhance your work, recover from an “oops”
(sometimes our best ideas come from the
things that go wrong), or tell a good story.
Students will also have the opportunity to
build a high power woodburner to use in class
and take home. Open to all skill levels.
COURSE FEE: $595
Graeme Priddle is an internationally recognized
woodturner, sculptor, demonstrator and workshop
facilitator whose work is found in many public
and private collections. He is best known for
narrative sculptural turnings that reflect the
environments and passions in his life in New
Zealand.
graemepriddle.com
Workshop participants will explore the
construction of a table; utilizing hands-on
demonstrations that blend a variety of modern
materials and design approaches with proven
woodworking techniques. Students will be
encouraged to explore the classic languages
of furniture design in pursuit of work that is
narrative, personal, designed and well-crafted.
You will be encouraged and led through the
design and fabrication processes. An early focus
of the class will be the development of work
that is appropriate to the one-week workshop
timeline, but students will be pushed to
explore new territory. This course will use a
range of tools including the lathe to build oneof-a-kind tables. Open to all levels.
COURSE FEE: $595
Cory Robinson is an artist, designer, and an
associate professor of Furniture Design and the
Fine Arts Chair at the Herron School of Art and
Design in Indianapolis, Indiana. He has an
MFA in Furniture Design from San Diego State
University. Robinson has taught at Herron since
the spring of 2003.
WARREN CARPENTER
BE GENTLE, YOU DON’T HAVE TO TURN
THE PITH OUT OF IT
If you are ready to move beyond the basic
natural edge bowls and turn interesting
shapes from cross sections or crotches of trees
or a nested set of bowls from a burl, this is
your class. We will delve into the world of
turning end grain, crotches and burls. Yes, we
will NOT turn the pith out of every piece.
Emphasis will be placed using the bowl gouge
and coring tools as we figure out just what is
hiding inside each piece of wood. We will talk
about safety, drying, finishing, and line and
design. For intermediate to advanced level
students.
COURSE FEE: $595
Warren Carpenter is a full-time wood turner
from Seneca, South Carolina. He is a member
of the Southern Highlands Craft Guild and has
works in over 25 galleries across the U.S. Warren
teaches with tremendous energy, a unique sense of
humor and a passion for turning wood.
DALE LARSON
BOWLS: FROM TREE
TO FINISHED BOWL
The goal of this workshop is to learn the
necessary steps needed to turn beautiful
bowls starting at the tree. Students will start
out cutting the best bowl blanks out of the
tree. The rest of the necessary steps you will
learn include: roughing turn bowls from the
wet wood and how to successfully dry rough
turned bowl blanks, mounting and turning
natural edge bowls, learning to turn spheres by
eye with the goal of learning a light touch with
a bowl gouge, and finally learning to finish dry
bowls. Open to all skill levels.
COURSE FEE: $595
Dale lives in Gresham, Oregon and has been
turning for 36 years. He has demonstrated his
craft in the U.S. and overseas. He has taught
workshops and had articles published about
wood and woodturning. In 2014, Dale served
as president of the Board of Directors of the
American Association of Woodturners.
woodbywarren.com
coryrobinsonstudio.com
13
WOOD
SABIHA MUJTABA
IN DEPTH CARVING
RUDOLPH LOPEZ
TURNING BOWLS…FROM THE SIMPLE
TO THE SUBLIME
In this class, students will work on designing
a carved project in low relief, high relief, or inthe-round (3-D) using their own idea or one
chosen by the instructor. You will explore simpleto-complex methods of carving with hand and
power tools. Participants will do skill-building
exercises to understand grain direction and
wood movement and how to create the illusion
of depth by undercutting and use of directional
light. You will learn to safely use, sharpen and
maintain tools. In addition, participants will
make a full size clay model or a proportional
model in wood. Model-making helps clarify
depths and relationships of forms and, most
importantly, allows the carver to make any
changes before carving the main piece. Beginners
will get essential woodcarving information and
guidance. Intermediate students will explore new
ways to express their creativity and design ideas.
COURSE FEE: $595
Sabiha Mujtaba is a designer/maker of furniture
since 1986, currently concentrating on private
commissions. Recently she has worked on
figurative sculptures in wood. Based in Atlanta,
Georgia, she teaches regular classes at Highland
Woodworking in carving, woodworking and
furniture design.
chrysaliswoodworks.com
14
Are you tired of the same old bowls? Then,
this course will allow students to create
turned bowls of every shape and type: open
and closed form bowls, long natural-edge
bowls, thin bowls, square bowls, wing bowls
and bowls limited only by your imagination
and creativity. Beginning with the basic
fundamentals of woodturning: good tool
control, bevel supported cuts and sharp tools;
you will learn the technique of turning thin
on intermittent cuts and refine your skills
and techniques allowing you to move to your
creative side. The course will explore an endless
variety of bowl styles and shapes using both
green and dry woods while keeping an eye on
creating a pleasing aesthetic form. Students
should have basic bowl turning experience.
COURSE FEE: $595
Rudolph Lopez has over 35 years of experience
as a furniture and cabinet maker but found his
true passion when he discovered woodturning.
He offers classes at his studio in Tampa, Florida
and was selected as one of the Emerging
Artists of 2012 by the American Association of
Woodturners.
rudolphlopez.com
WALT TURPENING
MAKING AND WEAVING A BENCH
This class is a 5+ day workshop. Students will
learn through hands-on techniques using
spokeshaves and handplanes to make two
splayed leg hardwood frames and weave one
in the workshop creating a curved woven seat.
The basics of cord selection and color cord
manufacture will also be covered. You will leave
with the knowledge and written instructions
to make similar benches as well as how to
make ergonomic measurements and translate
them into bench dimensions for people to use
comfortably. Students will complete one bench
and make a second frame for completion at
home. Some experience needed for this course.
COURSE FEE: $595
Walt Turpening is from southeastern Michigan
and received degrees in Physics/Mathematics and
Geology/Geophysics. As a full time chair maker
for 16 years he learned commercial cord braiding
and added color braided cord to the designs. As
a hobby woodworker he has made sculptures and
furniture.
facebook.com/wtbsc
LIAM O’NEILL
WOODTURNING TECHNIQUES
This course will enhance the design and tooling
skill of students by making two projects that
include a crooked grain container and a deep
bowl with wide undercut and grooved rim.
In the first, you will learn what to do with
burl crotch, or spalted wood, to match the
figure visually between the lid and body. The
deep bowl project has multiple curves and
is designed to stretch your skill level with
various shaped scrapers and gouges, especially
the “Irish grind gouge” which your instructor
developed and introduced in the U.S in the
1980s. There will also be a demonstration of
how to use an electric chainsaw attached to the
lathe as a means of turning large scale outdoor
sculptural turnings. Open to all skill levels.
COURSE FEE: $595
Liam O’Neill has turned wood professionally
since 1968 and owns his gallery and studio in
Spiddal overlooking Galway Bay, Ireland. He has
been a teacher and demonstrator of international
repute since the 1980s and is the founder of the
Irish Woodturners Guild.
liamoneill.com
WOOD
SEPTEMBER 27 — OCTOBER 3 • ONE WEEK
YANN GIGUERE
SHAPING WOOD WITH JAPANESE
HAND TOOLS
DONALD WARD AND CURTIS SEEBECK
PENS AND BEYOND
By thinking outside the box, students with an interest in pen turning, kit alteration and personal
style will gain or enhance their ability to create their own expressions by learning how to go beyond
a packaged pen kit. Unique materials, styles and techniques are covered. Elimination of parts and
augmentation of parts will create new insights into the artistic nuances of turning. Students will
develop new techniques and discover their creativity during this course. Basics will cover how
to sharpen and use the tools. Advanced skills will be fine-tuned as the course covers finishing
techniques, casting and stabilizing. This course will take the students from the basic pen and
beyond. Join in this class to find an outlet for your inner creativity. Open to all skill levels.
COURSE FEE: $595
Don Ward started his woodturning career
in 1996 after retiring from teaching. Don’s
woodturning includes all popular items but
his passion is pens. He has one book, “Turning
Modified Slimline Pens: Beyond the Basics” and
writes a monthly article for More Woodturning
Magazine.
redriverpens.com
Curtis O. Seebeck is a professional full time
woodworker living in San Marcos, Texas and is
known for his pen making skills and experience
incorporating resin casting with otherwise
worthless pieces of beautiful wood.
www.turntex.com
MARILYN CAMPBELL
GET CREATIVE WITH EPOXY RESIN
Explore your creative side as you make
eye-catching, turned platters using simple
methods of epoxy inlay, overlay and molding
techniques. You will learn pigmenting,
painting, texturing and piercing of epoxy
components. Students will be assisted in
working on two or more turned projects in
which epoxy resin is used as a complementary
medium to wood. Achieve outstanding work
and explore design possibilities with these
simple techniques. Come with an open mind
and a general knowledge of woodturning.
Projects can be geared to any skill level.
COURSE FEE: $595
Marilyn Campbell is a self-taught turner and
works in her home in Kincardine, Ontario. She
has demonstrated and taught her techniques
throughout Canada, the U.S., France and
Australia. Her work has been exhibited in
many international exhibitions and appeared in
numerous books and magazines.
If you are intrigued by Japanese woodworking
hand tools and their amazing potential,
this class is for you. Most Japanese tools are
deceivingly simple looking, especially the
plane. Properly tuned, it sings and produces
translucent wood shavings rendering the work
piece glass smooth. The subtleties of these
tools are endless, yet a strong foundation
can be established in this class, starting with
sharpening and tool set up followed by joinery
layout and cutting with saw and chisel. To
anchor the knowledge and techniques, each
student will work on their own frame structure
with multiple joinery options; a tea tray is a
starting point. Open to all skill levels.
COURSE FEE: $595
Yann Giguere lives and works in Brooklyn, New
York. He has been working wood with Japanese
hand tools since 1991. In 2009, he established
Mokuchi, a studio specializing in fine custom
woodworking in the Japanese tradition.
mokuchiwoodworking.com
marilyncampbell.ca
15
WOOD
NORM SARTORIUS
WOODEN SPOONS—TO STIR THE
SOUL NOT THE SOUP
What would Gandhi’s spoon look like? How
about Muhammad Ali’s or Stephen Colbert’s?
If you knew the wood you were using came
from a “hanging tree” would it affect what you
carved? Students in this course will explore
where ideas come from and discuss how to
improve that access. This is primarily a power
carving class using band saw, pneumatic
sander, die grinders and micro motor tools for
roughing, followed by handwork with knives,
files and scrapers. You will carve spoons and
likely finish one but the emphasis will be on
the process of work and its contribution to the
realization of an idea. Open to all skill levels.
COURSE FEE: $395
Norm Sartorius is a native of Maryland’s Eastern
Shore and has lived in Parkersburg, West Virginia
since 1982. He has spent the last 30 years
exploring spoon carving as a context for sculpture.
His work is in the permanent collections of twenty
museums including Smithsonian’s American Art
Museum.
normsartorius.com
16
ALAN CARTER
SPLITTING THE DIFFERENCE: OR HOW
TO CUT YOUR WORK IN HALF AND
HAVE TWICE THE FUN
JAMES DUXBURY
KALEIDOSCOPES—TURNED
FASCINATION
Learn how to turn a shallow bowl that is then
cut in half (or even quarters) and reassemble
it to make a new form. Students will learn
the process to cut the bowl in half, make the
tops for the newly formed vessels and how
the vessels can be further enhanced with
various texturing techniques. You will also
learn different methods of making bases for
the vessels and top finial options. All this will
open up whole new worlds for you and expand
your creative abilities. Open to all skill levels
but a basic understanding of woodturning
techniques will be a big help.
COURSE FEE: $375
Turn a traditional three mirror wooden scope
with rotating end cylinder and oil-filled object
box. Students will make all the pieces for the
object box, cut glass for the eye piece and cut
the first surface mirror using a mirror cutting
jig. You will also construct cone jigs for turning
the centerless barrel, a technique used to turn
numerous centerless objects. This kaleidoscope
is not a kit. By fabricating this kaleidoscope,
students with an interest in turning quality
functional pieces and a fascination for
kaleidoscopes will enhance their ability to
master precision turning. Lathe safety and
basic turning skills required.
COURSE FEE: $375
Alan Carter resides in Asheville, North Carolina
and has been a professional woodturner for
the past five years. Alan has been a featured
demonstrator at the AAW Symposium. His work
is represented in galleries and he has had several
articles published in woodturning magazines.
alancarterstudio.com
Jim Duxbury, woodturner and inventor resides
in Graham, North Carolina. His turnings are
unique and he seldom turns the same thing twice.
The inventor of particulate dust respirators,
he holds two U.S. Patents and his company,
Duxterity LLC markets the Resp-O-Rator™.
duxterity.com/ec
METALS
ENAMELS
JEWELRY
METALS/ENAMELS/JEWELRY
JOHN COGSWELL
HOLLOW, HINGED BRACELETS
Here’s your opportunity to test your prowess,
hone your design skills and fine-tune your
bench working expertise. In this workshop,
students will undertake the design, forming
and construction of a hollow, shell-formed
bracelet. You will learn that shell forming is a
combination of hammering and construction
techniques that exploit the plasticity of metal,
transforming flat, two-dimensional sheet into
lightweight, structural, three-dimensional form.
After students form and assemble the basic
bracelet “shell,” you will cut and fit it with
a cradle hinge fabricated from heavy-walled
tubing and a specially-designed integral box
clasp. Topics covered will include (hammered)
shell-forming, hollow construction and
assembly techniques, cradle hinge construction,
box clasp fabrication, and more. Competent
metalworking skills are required. For
intermediate to advanced skill level.
COURSE FEE: $525
John Cogswell is a jeweler, silversmith, educator
and author/illustrator. Recently retired from
SUNY New Paltz, New York, he previously
taught at Parsons School of Design, Pratt
Institute, Brooklyn, and Hofstra University.
He was also former Director of the Jewelry and
Metalsmithing Department at the 92nd Street Y
in New York City.
JENNIFER WELLS
PUT A LID ON IT
Everyone needs someplace to hide those
tiny special objects. In this week-long course
students will cover small container and vessel
fabrication. A variety of fabrication forms will
be demonstrated with multiple lid options.
You will learn hinges, friction fit, box clasp and
solder set ups. You will experiment with surface
treatments, textures and the incorporation
of hidden compartments into the pieces.
The techniques demonstrated can also be
transferred into jewelry pieces or larger scale
work later on. Students are encouraged to
bring with them at least one special object to
hide. We all have at least one, now you’ll have
someplace to put it. The basic understanding
of metalsmithing is required. Students should
have previous experience with soldering,
sawing and filing.
COURSE FEE: $525
Jennifer Wells completed her MFA in
Metalsmithing and Jewelry Design from East
Carolina University in 2010. After graduation
Jennifer spent a year at Arrowmont as a resident
artist. She now teaches in Italy with East
Carolina University’s Italy Intensives program.
ARTHUR HASH
BROOCHING THE SUBJECT OF JEWELRY
In this workshop students will learn basic
enameling, etching, stone setting, pin stems,
fabrication, cold connections, champleve,
mark-making, laser-engraving, and
assemblages. Students will hone new handskills in order to troubleshoot design challenges
and develop a new language through shape,
color and wearability. This workshop will
focus on experimentation with enameling and
stretching the definitions of what a brooch can
be. Open to all skill levels.
COURSE FEE: $525
Arthur Hash received his MFA in metalsmithing
and jewelry design from Indiana University in
2005 and his BFA in Crafts/Material Studies
from Virginia Commonwealth University in
2002. Currently, Arthur is an assistant professor
in Metalsmithing and Jewelry Design at
Appalachian State University.
arthurhash.com
MI-SOOK HUR
ENAMELING REALISTIC IMAGERY ON
METALS
This workshop will cover a variety of paint
enameling techniques using china paints,
watercolor and acrylic enamels, underglaze crayons, and under-glaze pencils on
base-coated copper and steel. Students
will explore basic contour drawing and
painting techniques, as well as learn in-depth
information about color theory to achieve
detailed images (e.g., flowers, figures, birds,
animals, landscapes, etc.). Completed enamel
pieces can be set for jewelry or mounted to
make a small folding book. Metalsmiths,
jewelers, enamellists, painters and book-artists
will find valuable information from this
course. Open to all skill levels.
COURSE FEE: $595
Mi-Sook Hur is a professor of School of Art
and Design at East Carolina University in
Greenville, North Carolina and has an MFA
from University of Wisconsin-Madison. Hur
has exhibited in the U.S. and abroad including
shows at the Sculpture Objects Functional Art +
Design in Chicago, Illinois.
misookhur.com
jennwells.com
17
BECKY MCDONAH
PRESSURE AND THE HYDRAULIC PRESS
Do you like to work under pressure? How
about just with pressure… and we get rid
of the stress and anxiety aspect? The focus
of this workshop will be to experiment with
creating surface textures and volume using
the hydraulic press. Creating and using dies
in conjunction with urethane will allow
participants to achieve a variety of results
from embossing to deeper forming. Punches,
matrix, embossing and conforming dies are
all possibilities. These forms may also be
enhanced by using chasing and repoussé
techniques. Students with basic jewelry
techniques will get the most out of this course,
but beginners are welcome.
COURSE FEE: $525
Becky McDonah has worked with metal for
over 20 years and heads the Fine Art Metals
area at Millersville University in Pennsylvania.
Previously, she supervised the Metalworking area
at Arizona State University and was visiting
professor at Bowling Green State University in
Ohio.
BETTY HELEN LONGHI
BY THE BOOK! CREATIVE METAL
FORMING
Jewelry and sculpture can be created by shell
forming; a method for forming sheet metal
into three-dimensional structures. Using the
highly regarded new book by Betty Helen
and Cynthia Eid, students will explore the
fundamentals of sheet metal behavior and
gain an understanding of the relationship
between technique, tools and resulting forms.
Specific techniques will include synclastic
sinking, anticlastic raising and methods to
make transitions from one form to another
resulting in more complex structures. The
emphasis is on understanding how to translate
these techniques into fresh and interesting
objects within the esthetics of the individual
student. The workshop provides an in- depth
exploration of these techniques as well as time
to create individual work using this process.
Students need to have basic metalworking
skills such as sawing, filing, soldering and
buffing. And it’s preferable if students have
some experience with hammering such as
forging, basic forming or fold-forming. Open
to intermediate skill level students.
COURSE FEE: $995
Betty Helen Longhi lives in Lexington, North
Carolina and is a nationally-recognized
metalsmith. She attended University of Wisconsin
and Cranbrook Academy of Art and has written
articles and reviews for Metalsmith Magazine.
fluidformsinmetal.com
18
TIM LAZURE
RINGS 360º
Adorning the finger has been a tradition for
ages. Rings are loaded with historical meaning.
They can symbolize love and marriage, evoke
nostalgia, embody authority or status, and
portray accomplishments or affiliations. They
can be made for everyday use or for special
events. They can be understated or fancifully
flamboyant. This class will explore jewelry
design, fabrication, basic stone setting and
assembling techniques that are related to the
ring concept. We will fashion rings of personal
importance, expression and adornment. The
class will center on lecture and demonstration
with plenty of time for individual
attention. Students will create rings that are
unpredictable, honest, visually complex, bold,
confident, simple and beautiful. Open to all
skill levels.
COURSE FEE: $525
Timothy Lazure is an associate professor in
the Metals Design Program at East Carolina
University, Greenville, North Carolina. He
received his BFA at Rochester Institute of
Technology and his MFA at the University of
Massachusetts, Dartmouth.
timlazure.com
CHRIS DARWAY
MECHANISM AS BROOCH
Brooch is a noun; an ornament fastened to
clothing with a hinged pin and catch. We will
take this idea of ornament and turn it into a
personal statement using mechanisms from
a century-and-a-half ago. Inspiration will
come from the classic 1876 “507 Mechanical
Movements.” The workshop will cover tap
and die, screws, nuts and bolts. Students will
also learn about soldering, sawing and filing.
Fabrication techniques will also be covered and
include rivets and springs. Basic metal skills
required.
COURSE FEE: $525
Chris Darway has been working in metals for 40
years as a designer, teacher and artist. He received
a BFA in craft design from the Philadelphia
College of Art. He has taught at the University of
the Arts, Philadelphia, University of Delaware,
and Montclair State University, New Jersey.
chrisdarway.artspan.com
ANDREW KUEBECK
LOST AND FOUND: LOST WAX AND
FOUND OBJECT CASTING
Participants in this workshop will learn about
the limitless possibilities when found objects
are used as the source materials for cast jewelry
pieces. This class will address mold making,
sealing and assembling objects for casting, as
well as providing a complete overview of the
casting process. Many mold making techniques
will be demonstrated including plaster, silicon,
liquid latex and alginate. Students will learn
how any source material or object can be used
for casting. Numerous jewelry techniques
will be discussed and demonstrated, enabling
participants to create a range of jewelry pieces
from their castings. Open to all skill levels.
COURSE FEE: $525
Andrew Kuebeck received his MFA in Jewelry
Design and Metalsmithing from Indiana
University in 2011. He is an instructor of Jewelry
and Metalsmithing at Bowling Green State
University in Ohio. Kuebeck was honored as a
2012 SNAG Emerging Artist.
andrewkuebeck.com
MARY CHUDUK
ENAMELING ROAD SHOW – REVISITED!
One more time! After teaching workshops
across the U.S. and the globe, from Mexico
City to Hiroshima to Perth, Mary Chuduk
is again bringing her whole bag of tricks and
techniques for intensive learning and doing.
Students will delve into five days of solid
demos and experimenting including drawing
and painting with pencils and overglazes,
stencils and lusters, forming and enameling
copper mesh, enameling on copper beads and
3-D forms, sepia and commercial decals, and
“2-Day Cloisonné.” It’s a quick guaranteed
success if you’ve been “challenged” in the past.
The class will also include an introduction/
demonstration of enameling imagery on glass.
Basic application techniques and enamel
technology will be covered. Open to all skill
levels.
DEBORAH LOZIER
KEEPING IT ALL TOGETHER:
FABRICATION STRATEGIES FOR
ENAMELING
MARY HETTMANSPERGER
NEW DIRECTIONS FOR SURFACE
EMBELLISHMENT
Students in this class will learn the
fundamentals of creating jewelry scale copper
forms that can hold up to the heat required for
firing vitreous enamel. At 1500 degrees it’s not
IF the solder will flow, but WHEN and being
prepared is the key to success. You will begin
by searching for inspiration and creating paper
models to problem solve and troubleshoot
good fabrication foundations, then proceed
onto forming techniques, strategic soldering,
welding and some cold connections. Once
students have a few experimental forms
to work with you will move onto enamel
applications and firings, and bringing the
forms to life with the dynamics of color. An
understanding of beginning jewelry techniques
is requested. Enameling experience is not
required but will be beneficial.
COURSE FEE: $525
COURSE FEE: $595
Mary Chuduk, studio artist, has extensively
exhibited her enamels and metal work
nationally and internationally. Numerous books,
publications and magazines have shown her work
and she has also has written and published her
own book “Enamel: Technique and Experiments.”
marychuduk.com
Deborah Lozier resides in Oakland, California
and received her BFA in crafts in 1984 from
Arizona State University and started torch firing
enamel in her bedroom studio in 1986. She is an
adjunct professor at California College of the Arts
and is an internationally known metalsmith and
enamellist.
This class will introduce low-tech metal
smith techniques that can be used in many
disciplines of artwork. Students will use wires,
linens and fibers for making metal and fiber
jewelry and surface design using techniques
such as weaving, twining and looping. Copper
sheeting, mesh, screen, and found, recycled
and natural items will also be used to create
finished jewelry, surface design and an array
of samples. Commercial connections, such
as nuts and bolts, brads, eyelets, rivets, jump
rings and wire-working techniques will be
covered for making cold connections in
jewelry and alternative surfaces. Students
will also be introduced to beads, hardware
sundries, electronic salvage and recycled items
for surface design. This class will be very
individualized and will allow you to take the
techniques and materials offered and pursue
their desired direction. Open to all skill levels.
COURSE FEE: $525
Mary Hettmansperger is a fiber and jewelry artist
who has been exhibiting and teaching across the
U.S. and abroad for 30 years.
maryhetts.com
deborahlozier.com
19
RICKY FRANK
“SEE THE LIGHT” WITH TRANSPARENT
ENAMEL
KATHLEEN WILCOX
ENAMEL SPECIAL EFFECTS WITH
SCREEN PRINTING
This workshop will focus on how to
incorporate various surface design techniques
with the screen printed image. Students will
begin by experimenting with special effects
such as controlled over-firing techniques,
adhesive drawings, short-cut sgraffito, wet
flow, etc. Next, the surface design techniques
will be combined with screen printing by using
thermo-fax screens and dry printing. You will
develop a rich surface of texture, color, pattern
and depth in your enamel. The techniques will
be taught step-by-step, leaving plenty time to
explore and expand upon the possibilities. The
novice will find many exciting new approaches
and the experienced student will be challenged
to expand. Expect the unexpected. Open to all
skill levels.
COURSE FEE: $595
Kathy Wilcox has been an enamelist and
educator for over 30 years and she teaches at
art centers and from her studio in Tallahassee,
Florida. Exhibits include Alchemy, International
Enamelist Society Traveling Exhibition and
Generations.
wilcoxenamels.com
20
DEB KARASH
5 DAYS - 5 PIECES – 5 TECHNIQUES
In this course, surface design and fabrication
techniques will be combined to create stylish
pins, pendants and earrings. Students will learn
about texture, rivets, using paste solder, proper
placement of findings, fitting layers without
measuring, and forming and forging small
parts. There will be an emphasis on design and
finishing. Many techniques will be solder free.
COURSE FEE: $525
Deb Karash has a studio in Bakersville, North
Carolina. A full time studio jeweler, she sells her
work at fine craft shows and galleries across the
country and teaches workshops around the world
and in her studio. She plans to open a showroom
in the River Arts District of Ashville.
debkarash.com
Students will explore the magic of light
reflecting off silver, copper and gold through
crystal clear colored enamel. You will learn how
to master this process as you explore cloisonne´
and basse-taille enameling on a small scale,
suitable for jewelry sized objects. Students of
all levels will be experiment with the many
ways of layering transparent and opaque
enamel with commercial and hand-made foils.
Lectures, demonstrations, slide presentation
and lots of hands-on art making will focus
on design, creativity and self-expression as
students are encouraged to develop their
own personal vocabulary in enamel. You will
understand principles, learn techniques and
break rules in a fast-paced fun week of enamel
play. Open to all skill levels.
COURSE FEE: $595
Master enamellist Ricky Frank has been making
and selling his cloisonné enamel jewelry for
over 35 years. A self-taught artist, his work is
known for incredible depth, clarity and blending
of colors. He has taught at the Florida Society
of Goldsmiths and at The Enamelist Society
Conference.
rickyfrank.com
CHARLES LEWTON-BRAIN
FOLDFORMING INTRODUCTION
This workshop is an introduction to this
unique system of folds in two days. Students
will learn how to make folds in each of the
main categories. Forms are derived from the
natural plasticity and ductility of the metal.
Shaping is extremely efficient and rapid—
many forms are complete in three to seven
minutes. Tools are simple: fingers, hammer,
anvil and mill. Complex relief forms are made
from sheets of metal often in one annealing.
Forms made with this method resemble
chased, constructed and soldered forms and
can be made with most metals. Open to all
skill levels.
COURSE FEE: $395
Charles Lewton-Brain is a master goldsmith,
author and artist and is program head of Jewelry
at the Alberta College of Art and Design. He
co-founded the Ganoksin Project (ganoksin.com)
with Dr. Hanuman Aspler, the world’s largest
Internet resource for jewelers.
brainpress.com
GRETCHEN GOSS
THE VITREOUS IMAGE
STEVE ARTZ
ENAMETAL
In this class students will focus on the unique
characteristics of drawn and painted marks
fired in vitreous enamel. Working from
personal imagery, participants will explore
various techniques of drawing and painting
as they apply to the enameling process.
Demonstrations on copper and porcelaincoated steel will include dry sifting, liquid
enamels, painting enamels, ceramic under
and over glazes, decals and more. Finished
surfaces beyond the natural glossy surface will
be discussed. Students will produce a series of
fired samples as well as a small series of pieces
ready to be framed, mounted, set or otherwise
finished for presentation. Basic enamel
experience is recommended but not required.
Silky smooth or crispy fried, balancing
recklessly over the flame of an ordinary mapp
gas torch, this class is a different approach to
manipulating copper. Play with texturing the
surface; hammering, rolling, pleating, folding,
drilling and cold connecting. Using inventive
tools as well as common metalsmithing
techniques, several thicknesses of metal can be
combined with the color enhancement of torch
fired vitreous enamels added to the modified
metal surfaces. Students of all abilities can
meld together color and texture to entice the
maker as well as the viewer. Come play with
fire!
COURSE FEE: $395
Steve Artz resides in Encinitas, California and
has taught his inventive workshops around the
country for the last 17 years. He is known for his
innovative use of simple tools to impart texture
on thin copper and then pushing the boundaries
of enamel.
Gretchen Goss is a professor at the Cleveland
Institute of Art teaching enameling, drawing
and craft and design courses. Her work has
been supported by multiple Ohio Arts Council
Individual Artists Grants. In 2013 she was
awarded the Creative Arts Awards from the
Enamellist Society.
gretchengoss.com
OURSE FEE: $340
enamelartz.com
FIBERS
TEXTILES
BASKETS
FRANCES FOX
TRADITIONAL MOUNTAIN WEAVING/
HERITAGE WEAVING COURSE
Students will experience the 1930s overshot
weaving from the TBO Arrowcraft cottage
weaving industry. You will immerse yourself in
the mountain weaving culture by experiencing
heritage weaving. Learn the basics of
overshot weaving by weaving a set of guest
towels. You will enjoy visuals and stories of
historical local weaving, visit a local heritage
museum, and view the Arrowmont archival
weaving collection. Participants will gain an
understanding of traditional overshot weaving,
while developing the skills required for further
projects, and will leave the mountains with a
better understanding of the culture. Students
should be able to warp a loom, or beginners
please contact instructor for more information.
COURSE FEE: $340
Frances Fox is a studio artist and storyteller in
Gatlinburg, Tennessee. She is a 5th generation
weaver and historian.Fox spent three years as
assistant designer weaver under master weaver
Nella Hill in the TBO Arrowcraft cottage
weaving industry.
foxhillgallery.com
21
METALS
FIBERS/TEXTILES/BASKETS
JEANNE BRADY
PERSONAL MEMORIES ON CLOTH
MARY W. THOMPSON
CHEROKEE WHITE OAK AND RIVER
CANE BASKETS
This workshop is all about exploring and
creating a personal interpretation of printing
repeat designs on cotton fabrics using vibrantly
colored thickened dyes. Students will learn the
process of carving and printing linoleum and
traditional wood blocks to create repeating
patterns unique to you. You will explore
techniques to write and print text with metal
type set, allowing the designs and thus your
personal “story” to unfold on the fabric as you
work. Stitch embellishment will be introduced
as a finishing touch. You will return home with
a keepsake memory on cloth. Open to all skill
levels.
COURSE FEE: $340
Jeanne Brady is professor of Fibers and head of
the fibers studio at Tennessee Tech’s Appalachian
Center for Craft. She exhibits and sells her
fiber work of hand printed wall hangings and
wearables in local, national, and international
venues.
Generations of Cherokee children were raised
around basketry. This workshop will focus
on the familiarity of selecting and harvesting
materials: splitting, stripping, scraping and
trimming splits. Gathering root dyes to prepare
materials for weaving consumes most of the
time and the majority of work involved in
basketry. Students will gain an appreciation
and value the traditional artwork of Cherokee
basketry and will weave your own piece of
art and prepare some of the material that you
will use. Complete kits will be available. Prior
experience will be useful, but all skill levels are
welcome.
COURSE FEE: $340
Mary W. Thompson is a Cherokee Tribal Member
and values her time available for basketry.
She has had her work juried and published in
National Basketry Organization Quarterly
Review and has prize-winning pieces from the
Festival of Native People and Cherokee Indian
Fair.
JANE LACKEY
DRAW LIKE A TEXTILE; CRAFT LIKE
A DRAWING
JIM ARENDT
123 GO! COMPUTER MODELING FOR
THE STUDIO
This course will introduce students to the
exciting world of computer-aided 3-D
modeling for the studio. Students with an
interest in fibers, basketry, or digital modeling,
will gain or enhance their ability to create
sculptural containers of any type. Through a
series of exercises, students will learn to capture
and create digital 3-D models from their own
camera and create wireframe sculptural baskets
skinned in fabric. You will learn to create
representational containers and sculptures
from your own face using free software, your
camera, and basic studio skills. Open to all
skill levels.
COURSE FEE: $525
Jim Arendt is an artist whose work explores the
shifting paradigms of labor and place through
narrative figure painting, drawing, prints, fabric
and sculpture. Jim received his BFA from Kendall
College of Art & Design and his MFA with a
concentration in painting from the University of
South Carolina.
jimardent.com
22
This experimental mixed-media intensive
will shift back and forth between drawing
with pens and pencils or with fiber and other
flexible, linear materials. Drawing processes
will adopt textile sensibilities; mark making
will become more expansive as systems for
mapping abstract subjects such as time,
motion and memory are explored. Students
can discover how drawing is a direct conduit
of visceral expression and sharpen conceptual
understanding as they invent ways to
reveal personal observations. Active critical
discussions and short slide presentations will be
included. Open to all skill levels.
COURSE FEE: $525
Jane Lackey is a visual artist and educator
based in Santa Fe, New Mexico. Her current
work includes drawings and installations using
cloth materials, paper and pliable substance.
She was Artist-in-Residence and Head of Fiber
at Cranbrook Academy of Art and professor at
Kansas City Art Institute.
janelackery.com
METALS
RACHEL MEGINNES
ARTISTIC PRACTICE
Strengthen your work with a better
understanding of your own artistic practice.
Through a series of daily writing exercises,
material explorations and slide presentations,
students will learn how to trust their intentions
and intuitions as artists. The class will
incorporate group discussions, one-on-one
consultations and hands-on projects as well
as a short research exercise using Arrowmont’s
extensive library. Expect to leave class with a
mental toolkit prepared to keep you productive
in your studio. This class is open to all levels
and to students from all media who are
eager to question and explore their artistic
motivations.
COURSE FEE: $525
Rachel Meginnes is currently a resident artist
at Penland School of Crafts in western North
Carolina. Trained as a weaver, Rachel received
her MFA from the University of Washington in
Seattle. Rachel’s current work uses traditional
textile structures as a foundation for abstract
painting.
plainweavestudios.com
JENNIFER ANGUS
SCREEN PRINTING 101
CARMEN GRIER
GOING GREEN AND RED AND BLUE AND
YELLOW WITH NATURAL DYES
Students will be introduced to the practice of
using natural dyes on plant fibers. Transform
fabric using pre-existing textiles, incorporating
another level of “green” practice. Bring your
seam ripper. Explore stitch resist, dye extracts
and indigo, and create a rich palette through
the meditative steps of SLOW natural dyeing.
Using safe materials and processes, students
will find colors you never knew existed and be
inspired with a vision to transform your cloth
further: be it wearables, wall art, or sculpture.
At the week’s end, participants’ will return
home with exciting fabrics and the knowledge
and passion to dig deeper into the practice of
natural dyeing. Open to all skill levels.
COURSE FEE: $525
Carmen Grier is a studio artist and educator
living in western North Carolina. She teaches
Fibers in the Art Department at Appalachian
State University, Boone, North Carolina and
recently received an artist residency at Cill Rialaig
on the west coast of Ireland.
carmengrier.com
This course is an introduction to screenprinting on paper and fabric. Students will
learn to use stencil and photo emulsion
methods of applying an image to a screen in
order to create yardage or works on paper.
Single images and repeat pattern will be
demonstrated and discussed. Immersion
dyeing and printing with dye and pigment will
be covered. Students may choose to print on
cloth, create print editions or decorative papers
that can be used for a variety of purposes
including collage, origami and wrapping
paper. The emphasis of the course is upon
exploration. Open to all skill levels.
COURSE FEE: $525
Jennifer Angus is a professor in the Design Studies
department at the University of Wisconsin (UW)
Madison. She received her BFA at the Nova
Scotia College of Art and Design and her MFA
at the School of the Art Institute of Chicago. She
recently won the UW Arts Institute Creative Arts
Award.
jenniferangus.com
LAUREN DICIOCCIO
PAINTING WITH THREAD:
EMBROIDERED PORTRAITURE
Students interested in pushing the bounds of
traditional embroidery will enjoy the idea of
applying thread in a painterly way in a class
focusing on portraiture. The class will explore
the technical aspects of image transfer, stitch
vocabulary and color theory while disregarding
the orderliness and “rules” typically learned in
the practice of embroidery. Students will be
encouraged to find their own expressive hand
in applying thread to cloth and will explore the
dynamic movement, vibrancy and tactility at
the heart of the material. You will work from
found photographs, which students may bring
from home or take on site. Open to all skill
levels.
COURSE FEE: $525
Lauren DiCioccio lives in San Francisco,
California and works in soft sculpture. Her hand
sewn works have been shown at the Bellevue Art
Museum, Seattle, Washington and the Center for
Contemporary Art, Santa Fe, New Mexico. She is
an affiliate artist at the Headlands Center for the
Arts in Marin, California.
laurendicioccio.com
23
DAN ST. JOHN AND REGINA ST. JOHN
MARBLING…FAR MORE THAN JUST
SOME PRETTY PAPERS
NATHALIE MIEBACH
SCULPTURAL WEAVING
Grab your apron and plunge with us into the
depths of this ancient and mysterious art form.
Both beginning and experienced students
will create the most colorful and beautiful
papers. Using full-sized professional tanks
and combs, you will learn how to marble
both paper and book edges while gaining an
in-depth understanding of the fascinating
history of marbling as well as a functional
understanding of the complex chemistry and
physics underlying the process. After five
intensive days, students will know how to
make a progression of classic and innovative
patterns, prepare paints, bath, paper and tools
for marbling, and will return home with a
colorful array of marbled papers, a unique
edge-marbled journal, and the confidence to
continue on their own.
COURSE FEE: $525
Regina and Dan St. John have been marblers and
bookbinders for 30 years. They live in Amherst,
Massachusetts and bring with them considerable
experience in teaching adults and children. Dan’s
background as a teacher of Chemistry and Physics
allows him to clarify the difficult marbling
questions.
chenarivermarblers.com
24
This workshop teaches various threedimensional weaving techniques to be
applied towards contemporary sculpture and
installation. Based on weaving traditions that
go back thousands of years, students will learn
the fundamentals of basic basket weaving
techniques: Through the use of traditional and
non-traditional materials, you will learn to use
these techniques as a springboard to adapt,
integrate and explore your own sculptural
interests and material choices. Every technique
is complemented by slide lectures to provide
further examples of how these weaves can
be built upon. You will be encouraged to
approach this workshop with the curiosity of
a tinkerer, willing to take risks to forge new
applications; yet to be discovered in the world
of sculptural weaving. This workshop is open
for all levels, though some experience with
sculpture is helpful.
COURSE FEE: $525
Nathalie Miebach is the recipient of numerous
awards and residencies, including a PollockKrasner Award, TED Global Fellowship and the
Massachusetts Cultural Council Fellowship. Her
work has been reviewed by publications spanning
fine arts, design, and technology. She lives in
Boston.
nathaliemiebach.com
AMY PUTANSU
FIBER STUDY: DYES AND TECHNIQUES
Addressing the natural inherent qualities of
textile fibers is at the heart of this workshop.
Students will learn the fundamental properties
of fibers like silk, wool, polyester and others
in a way that equips the textile artist of any
level with a deeper material knowledge. These
lessons will be punctuated by learning dyes
that are appropriate for each fiber type: natural
and synthetic. You will also explore alternative
techniques to alter cloth that are specific to
each fiber type, and only possible because of
their inherent characteristics. Techniques will
include silk sericin removal (degumming),
permanent shaping of thermoplastic fibers, and
selective fulling of wool. Students can expect
to make a wide range of technical samples in
this two-week intensive course. Open to all
skill levels.
COURSE FEE: $995
Amy Putansu is the instructor of Professional
Crafts Fiber at Haywood Community College.
She is a coastal Maine native and graduate of
Rhode Island School of Design, and moved to the
mountains to teach full time in 2008. Currently
Putansu’s work explores new weaving techniques.
putansutextiles.com
TOMMYE SCANLIN
FOR THE LOVE OF COLOR—AND MORE
Color, shape and texture all play important
roles in tapestry design and weaving. In this
workshop students will explore ideas of color
contrasts and harmony, consider shapebuilding challenges in tapestry, and experiment
with textural methods including soumak.
You will make design studies in paint and/or
collage to be interpreted into small tapestries
in the class. This is an intermediate level class
in which students should be comfortable with
basic tapestry techniques, including setting up
a frame loom for tapestry.
COURSE FEE: $995
Tommye McClure Scanlin has been weaving
and exhibiting tapestry for over 25 years. She is
Professor Emerita, University of North Georgia,
Dahlonega, Georgia. In 2009 she was presented
with a Lifetime Achievement Award in Craft
Education by the Georgia Art Education
Association.
tapestry13.blogspot.com
LAURA MONGIOVI
MAPS, CHARTS AND DIAGRAMS
WARREN SEELIG
CONSTRUCTED DRAWING/
LINE MADE PHYSICAL
JOVENCIO DE LA PAZ
HAND SPINNING FOR THE
WOVEN PICTURE
The idea that drawing may occur through
the materialization and fabrication of line is a
phenomenon which is inherent in work seen
throughout the history of contemporary fiber,
sculpture and all material-based media. This
highly experimental course will engage the
student in making drawing on the wall or in
space, utilizing every conceivable material and
working through both known and invented
processes. Early “material sketches” will be
developed, examining the nature of physical
line, along with ways of structuring and shaping
that line in space. Consideration will be given to
building up densities (surface) through material
accumulation and repetition, and will involve
wrapping, binding, connecting, attaching,
twisting, knotting, piercing, layering, etc. in
the development of drawing in a physical way.
Students will be introduced to the hand
spinning of their own yarns. Using tools like
drop spindles, supported spindles and spinning
wheels, students will focus on techniques that
will allow them to make their own single yarns
and plied yarns in wool and in a variety of
colors. Making one’s own yarn yields nuances
unattainable in mass-produced yarns. By
blending colors and textures directly into
handmade yarns, you will have the opportunity
to create unique patterns and surfaces through
forms of accretion, such as weaving. Students
will focus on tapestry weaving as a way to
utilize hand spun yarns to create dynamic
textiles. Open to all skill levels.
This workshop is inspired by the compositions
and concepts of maps, charts and diagrams.
Students with an interest in textiles will
have the opportunity to experiment with
traditional and non-traditional methods. Low
maintenance natural dye processes and the use
of beeswax to seal and coat will be introduced.
Hand stitching and drawing on fabric will also
be encouraged as a way to enhance the surface
quality. You will explore all possibilities for
communicating your ideas in 2D and/or 3D.
COURSE FEE: $525
Laura Mongiovi is an associate professor
of Art and Design at Flagler College in St.
Augustine, Florida. She obtained her MFA from
CU Boulder and a BFA from Florida State
University. Mongiovi uses her art to communicate
ideas about sensual desire.
COURSE FEE: $525
lauramongiovi.com
Warren Seelig lives and works in Rockland,
Maine. He has a BS from the Philadelphia
College of Textiles & Science, an MFA from
Cranbrook Academy of Art, and is a distinguished
visiting professor in the Fiber & Material
Studies program at the University of the Arts in
Philadelphia.
warrenseelig.com
COURSE FEE: $525
Jovencio de la Paz is an artist and educator
living and working in Chicago, Illinois. As a
faculty member at the School of the Art Institute
of Chicago’s Department of Fiber and Material
Studies, de la Paz has worked with students
on the contemporary application of ancient
technologies in fibrous materials.
jovenciodelapaz.org
MEREDITH GRIMSLEY
HIGH DEFINITION SURFACES
High Definition Surfaces, also affectionately
referred to by the instructor as finger painting
for adults, involves dye directly applied to a
variety of natural fabrics with various tools.
Everything from a gloved finger, texture
tools, masking, painting, extruding to monoprinting, painted/textured silk screen and
photo silk screen processes will be explored
on silk, rayon and/or cotton fabrics. Students
will also explore simple immersion dying,
color removal and over-dying. Students will
walk away with a series of deeply textured
experimental fabrics. Open to all skill levels.
COURSE FEE: $525
Meredith Re’ Grimsley received her MFA in 2002
and her BFA in 1999 in Fabric Design from the
University of Georgia, Athens. She is professor
of Fabric Design at Bloomsburg University of
Pennsylvania. Her work has been shown in
numerous national and international venues.
25
ERIKA LYNNE HANSON
SITE SPECIFIC WEAVING
STEPHANIE METZ
CREATING FORM WITH FELT
You may think of felt as a textile made of
wool, but have you considered its sculptural
possibilities? In this class students will learn
how to use simple hand tools—but no water—
to manipulate a humble and inexpensive
material into a free-standing sculpture.
This week-long workshop is a thorough
introduction to the tools, techniques and
possibilities of needle-felting, from formbuilding to armatures and finishes. Enliven
your art-making with this incredible crossover
material that shares qualities with clay, metal
and fabric. Note: felting involves repetitive and
vigorous hand and arm movement. Open to all
skill levels.
COURSE FEE: $525
Stephanie Metz is a fine artist and received her
BFA in Sculpture from the University of Oregon
and lives in the San Francisco Bay Area. Besides
Arrowmont, she has taught at Penland School
of Crafts, Kala Art Institute, CCA, USF and
Cabrillo College.
stephaniemetz.com
26
KATHY COOPER
PAINTING FLOORCLOTHS: ART ON
THE FLOOR
Floorcloths are one of the earliest
floorcoverings and today have evolved into
floor art. Students will learn basic construction
techniques that you can duplicate at home.
The class will explore decorative painting
methods in order to personalize the floorcloths.
Whether you are an experienced painter or
a beginner, participants will learn how to
create beautiful, functional floorcloths. The
course includes canvas preparation, hemming
techniques, color exploration, finishing and
marketing tips. Open to all skill levels.
COURSE FEE: $525
Kathy Cooper is a studio artist from WinstonSalem, North Carolina and has been creating
custom floorcloths for thirty years. She authored
two books on floorcloths and frequently appears
on television and is known for her whimsical,
colorful painting style.
kathycooperfloorcloths.com
Drawing from the back-strap loom, where
one end of the warp would be anchored to a
surrounding structure or object, this course
will utilize Arrowmont’s campus in the
creation of nomadic weaving systems. Looking
to traditional examples of back-strap, warp
weighted and frame looms for inspiration
students will explore space and location
through the act of weaving. You will gain the
knowledge of woven structures along with
an expanded definition of what a textile can
be. No previous weaving experience required.
COURSE FEE: $525
Erika Lynne Hanson received a MFA from
California College of the Arts in 2010. She is
assistant professor of Art with an emphasis on
Fiber /Socially Engaged Practices at Arizona State
University. In 2012 Hanson co-founded 1522
Saint Louis, an experimental project space in
Kansas City.
elhanson.com
ASHLEY BLALOCK
IMAGES IN CROCHET
Would you like to learn how to “say”
something with your crochet, or learn how to
transfer images to crochet? Both can be done
with a technique known as filet crochet — a
process using open and closed spaces to create
text and images. Filet crochet is traditionally
used for small, delicate items, but can also be
upsized for garments and blankets using the
same stitches and technique. In this class, you
will go over the basics of filet crochet including
creating images, reading charts, design
considerations, finishing and blocking and
basic-to-advanced stitches. Size and scale will
be covered as well as potential applications for
artistic expression. Open to all skill levels.
COURSE FEE: $525
Ashley V. Blalock was born and raised in
Southern California. She earned an MFA in
Sculpture from the San Francisco Art Institute,
holds an MA in Art History, and a BA in
Painting. Her work was recently featured in
Vogue Knitting Crochet Magazine.
ashleyvblalock.com
JOY UDE
THE EMBELLISHED IMAGE ON CLOTH
KATHRYN CLARK
OUR OWN HISTORY IN THE MAKING:
QUILT BLOCK DESIGN FOR TODAY
Traditional quilt block designs such as wagon
wheel, churn dash and double wedding ring
were popular patterns that are deeply rooted in
the stories of America. It’s time to reinvigorate
quilt design and develop new patterns that
reflect our own history in the making. Climate
change and the digital revolution are just
some examples. This workshop will help
students develop your own quilt patterns based
on contemporary topics of their choosing.
The week will be spent brainstorming and
sketching new ideas and learning how to
translate a design efficiently into pattern
blocks. The goal is to become comfortable
designing quilt patterns while creating several
quilt blocks that can be developed into full
sized quilts. Open to all skill levels. Basic
sewing skills are a plus.
COURSE FEE: $525
Kathryn Clark worked as an architectural and
urban designer for seven years before becoming a
full-time artist in 2005. Kathryn’s recent work
explores global issues ranging from the U.S.
foreclosure crisis to global water usage.
JOHN GARRETT
MAKING NEW CONNECTIONS
Students will explore methods of connecting
materials to make baskets that John has
developed over his career. You will experiment
with plying wire, stitching into hardware
cloth, folding and riveting aluminum flashing,
and much more. Students will also see how
traditional methods of basket building can
be used to create new and expressive baskets.
Participants are urged to bring recyclable and
found materials, as well as “collections of stuff”
from their studios. Open to all skill levels.
COURSE FEE: $525
John Garrett is a full time studio artist living in
Las Cruces, New Mexico. He was awarded NEA
Fellowships in 1983 and 1995, and received the
Lifetime Achievement Award from the National
Basketry Organization in 2013.
johngarrettarts.com
Students will learn various image transfer
techniques and surface embellishments to
transform plain fabric into richly designed
surfaces. Additional techniques, from fabric
layering to reverse applique introduced
throughout the week will add color, texture
and content to the stitched and complex
surface. This course is a great starting point for
textile beginners, but will also give advanced
students new approaches and skills for surface
design. Students will leave the workshop with
the ability to easily continue developing their
surface treatment skills at home or in their
personal studio. Open to all skill levels.
COURSE FEE: $525
Joy O. Ude is a mixed-media artist and designer
and she earned her MFA from the University of
North Texas in 2013. In her artwork she explores
Black culture as a subset of American culture. As
an American-born child of Nigerian immigrants,
she also reflects on the concept of duality.
joyoftextiles.com
KATHY WEAVER
LINO-PRINTING AND AIRBRUSHING: A
DYNAMIC DUO
Students will experience the thrill of creating
signature quilts or collages with their own
unique fabrics or papers. You will airbrush
through found objects and stencils to create
fascinating textures and illusions of depth.
You will carve and print simple lino blocks of
striking and personal pattern designs. Students
will master strategies for arranging and
assembling prints and airbrushed samples into
dynamic work. The class will teach everything
you need to be successful with printmaking
and airbrushing. No experience needed; just
come with the joy of making and a sense of
adventure in mind. Open to all skill levels.
COURSE FEE: $525
Kathy Weaver explores areas of science and
technology through robots and organic macro
worlds. She has exhibited in over 100 shows
around the country including in New York,
Washington DC, and San Diego and has been a
repeat fellow at the Ragdale Foundation and the
Hambidge Center for the Arts.
kweaverarts.com
kathrynclark.com
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BILL SMITH AND MARY ANN SMITH
SPLIT OAK BASKETRY/PASSING DOWN
THE TRADITION
In this intensive class students will experience
the entire process of basket making from tree
to basket. You will begin with a white oak
tree, and using simple hand tools, rive and
smooth the splits to weave with. Students will
finish your heirloom basket by hand carving a
handle and rims to fit. You will also learn the
difference between spokes, weavers and lashing,
and become comfortable using a drawknife
and draw horse. Students will create a beautiful
masterpiece that will be passed down for
generations. Open to all skill levels.
COURSE FEE: $525
Bill Smith and Mary Ann Smith have been
making split oak baskets for 25 years. They
spent 15 years as the resident basket makers at
Tannehill Historical State Park in Alabama and
also teach at the Alabama Folk School and the
John C. Campbell Folk School in their native
North Carolina.
oakweaver.weebly.com
EMILY BARLETTA
EMBROIDERED DRAWINGS: EXPLORING
EMBROIDERY ON PAPER
In this class students will increase their
knowledge of hand embroidery techniques
on paper. Participants will begin with a
general introduction to sewing on paper and
then spend time sketching to translate these
drawings into embroidery on paper. Students
will incorporate painting with sewing to push
the possibilities for color and layering even
further. You will be encouraged to experiment
and will leave with ideas for how to create
more complex embroidered work. Open to all
skill levels.
COURSE FEE: $525
Emily Barletta received her BFA from the
Maryland Institute College of Art in 2003. She
lives and works in Brooklyn, New York and
received a New York Foundation for the Arts
Fellowship in 2009 and a Pollock-Krasner Grant
in 2011. Her work has been praised in The New
York Times.
emilybarletta.com
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SEPTEMBER 27 — OCTOBER 3 •ONE WEEK
BRYANT HOLSENBECK
WILD: MAKING ANIMAL SCULPTURES
OUT THE STUFF OF OUR LIVES
CLAY BURNETTE
PINE NEEDLE BASKETRY: A
CONTEMPORARY APPROACH
This class is your chance to gather together all
the bits and pieces of fabric, all of that yarn
on the top shelf—all of that “great stuff” you
have been saving for a rainy day. Using coiling,
wrapping, sewing and binding students will
learn to make animals or other sculptural
forms using found materials. Participants
will be exposed to the instructor’s process in
using found and recycled materials to make
skeletons, bodies, fur and skin. Students will
be encouraged to develop your own techniques
as you build animals or other forms seen in the
world around us. Open to all skill levels.
Students will obtain a non-traditional
perspective of coiling by using longleaf pine
needles, waxed linen thread and other binding
materials such as telephone wire and copper
wire. Emphasis will be placed on developing
a vocabulary of stitches, creating texture and
patterns, and openness to fresh ideas. This is
not a “handles and lids” course. Rather, it is an
opportunity to discover the endless shapes that
can be creating using the coiling technique.
A complete supplies list will be sent to all
students upon enrollment. No prior skill level
is required, but knowledge of the open coiling
technique is helpful.
COURSE FEE: $525
Bryant Holsenbeck is an independent studio artist
who makes books, birds and sculptures out of
recycled materials and who began her arts career
as a basket maker. She has been the recipient of
2 North Carolina Arts Council Fellowships, a
Project Grant and an NEA Arts and Learning
Grant.
bryantholsenbeck.com
COURSE FEE: $525
Clay Burnette has spent almost 40 years
developing his own approach to basketry. His
longleaf pine needle baskets has been included in
over 230 exhibitions and was selected as Best in
Show at the National Basketry Organization’s
exhibition at Arrowmont School in 2013.
clayburnette.com
OCTOBER 4 — 7 • SDA WORKSHOPS
MARY ZICAFOOSE AND SARA GOODMAN
INDIGO AND IKAT: NEW PATHS FOR ANCIENT PARTNERS
This intensive studio workshop will teach contemporary technique drawing from two honored
traditions, indigo and ikat. The instructors will merge their respective skills to offer this unique
experience. Students will learn the precise and sequential steps to plan, measure, stretch, wrap,
dye, unwrap and weave wool and silk for weft faced ikat weaving applications. You will also learn
how to establish and maintain a natural fermentation indigo vat. While technically challenging,
indigo dyeing coupled with the weft faced ikat process yields dramatic results in cloth. The handson dyeing and wrapping sessions and weaving (demonstrations, explorations and experiences) will
encourage and inspire many creative possibilities. Open to all skill levels.
COURSE FEE: $375
Mary Zicafoose of Omaha, Nebraska is codirector of the American Tapestry Alliance. She
is Chairman of the Board of the Omaha Union
for Contemporary Art, former board member of
GoodWeave USA and was the 2010 exhibition
chair for the Textile Society of America.
Sara Goodman is a textile artist, designer and
teacher with a studio/school in Lyme, New
Hampshire. Her work has been featured in the
Surface Design Journal, Handwoven and Shuttle
Spindle, and Dyepot magazines and she is a
former member of the board of the Goodweave
Foundation.
saragoodmanfiberstudio.com
MICHEL GARCIA
PRINTING ON COTTON
LISA KLAKULAK
THE COLOR GRAB: EQUALIZING
DISTRIBUTION AMONG DIFFERENT
FIBERS
Keen on sustainable development and ecology,
students will learn special techniques for
extracting dye from plants and insects, and
using these to dye and print on cotton. In this
workshop students will make different soluble
extracts that can be used to dye natural fibers.
There will also be demonstrations on a variety
of mordants on cotton cloth, using various
techniques to get a full range of shades in the
same dye-bath. Open to all skill levels.
COURSE FEE: $375
Michel Garcia is one of the world’s leading
natural dye experts. He founded Couleur Garance
conservatory, a garden set in the hillsides of a
castle in Lauris, France which was created to
study and re-energize the ancient art of natural
dye.
michelgarcia.fr
Natural fibers react with mordants and dyes
differently when processed simultaneously
in the same pot. In this course, students
will explore techniques for combining fine
wool fibers and pre-structured fabrics of silk
to create new texture fields of strong felted,
yet draping fabrics. You will observe the
submersion dyeing of these new fabrics with
locally grown natural dyes and learn methods
to control which fiber grabs the color first and
therefore stronger. Differences in the fibers’
biology, proportions of the fibers in the pot,
pre-mordanting practices and colorants will be
addressed and manipulated. Prior experience
handling wool fiber for felting and physical
stamina for the felting will be helpful.
COURSE FEE: $375
Lisa Klakulak received a BFA in Fiber Arts
in 1997 from Colorado State University. She
makes function and non-functional work in
her Asheville, North Carolina studio, instructs
workshops worldwide and exhibits at fine craft
exhibitions and select galleries.
strongfelt.com
29
COURSE FEE: $375
Carole Frances Lung is an assistant professor in
the Department of Art, Fashion and Textiles at
California State University Los Angeles and she
maintains the Institute for Labor Generosity
Workers and Uniforms, a storefront studio in
downtown Long Beach.
carolefranceslung.org
ANN MORTON
GATLINBURG: RE-WOVEN
With the main strip in Gatlinburg as your
source, participants interested in local
engagement and collecting a wide range of
cast-off ephemera will work together to amass
the materials needed to make small-sized
individual tapestries. In the spirit of Sheila
Hicks’ traveling tapestry experiments, students
will work with a variety of weaving techniques
to incorporate these unconventional materials
to create unique, textural, and surprisingly
beautiful tapestries. Emphasis will be on
experimentation, relying on the serendipity
of what we find as a group, and turning
traditional techniques upside down. Open to
all skill levels.
COURSE FEE: $375
Ann Morton maintained a 30-year graphic/
environmental graphic design practice before
returning to secure her MFA from Arizona State
University with an emphasis in fibers. She teaches
there and at and Paradise Valley Community
College in Phoenix area.
annmortonaz.com
30
YOSHIKO WADA
KNOWING THE MATERIAL: GETTING
THE MOST OUT OF THE LEAST
CAROLE FRANCES LUNG
HACKING THE ASSEMBLY LINE
In this workshop students will learn about
the history of industrialized textile, sewing
production and the politics of labor, and will
implement concepts and methodologies of
slow textile/sewing production as a form of
revolution and resistance, collaboration as the
assembly line, and performing the labor of
garment and textile production. During this
intensive collaborative workshop, participants
will learn to organize and instigate perspectives
of “hacking,” to consider ways of recoding
existing systems of manufacturing and
distribution: the assembly line, piecework and
mechanization. This is an interdisciplinary
course and all methods and levels of textile
work are welcome.
In this class students will explore the
transformation of material from 2D to 3D
using inventive combinations of techniques
and materials that take advantage of a cloth’s
physical and chemical structures. While
examining both silk and wool, there will
be discussion on how to mix techniques:
from stitching, binding, pole-wrapping,
de-gumming silk, fulling wool, and piecing
and patching to shrink fabric into threedimensional soft sculptures with volume,
texture and body. Students will learn a variety
of simple techniques illustrated by examples
of innovative work. Natural indigo vat with
organic reduction method introduced by
Michel Garcia will be set up. Students will
familiarize themselves with how to maintain
the vat organically and to achieve a wide range
of blue easily. Students with prior knowledge
of Shibori and fabric dyeing are welcome.
COURSE FEE: $375
Yoshiko I Wada is an artist, curator and textile
researcher with A BFA in Textile Art from Kyoto
and MFA in Painting from the USA. Her
work has been exhibited widely including the
Smithsonian Institution’s Renwick Gallery and
the International Textile Fair in Kyoto.
yoshikowada.com
GYÖNGY LAKY
ARCHITECTURAL TEXTILES: THINKING
AND BUILDING IN 3-D
This workshop is for those with interest in
basketry, weaving, or woodworking who wish
to enhance their ideas and abilities in 3-D
construction. Using flexible and semi-flexible
linear elements (small diameter branches,
bits of wood, wire, strips of cloth, rope,
twine, etc.), participants will explore a variety
of simple and experimental construction
techniques in playful, imaginative and
unexpected ways. Taking risks and trying
improvisational approaches this will be an
adventure in engineering and hand-building
vessel forms. Participants are encouraged to
bring materials/tools to use and share. Open to
all skill levels.
COURSE FEE: $395
Gyöngy Laky’s work is in museum collections
in Europe and U.S. She helped develop the
Arts Master Plan for the new U.S. Federal
FDA campus. Laky is a recipient of a National
Endowment for the Arts Grant and a Professor
Emeritus, University of California, Davis.
gyongylaky.com
BEN VENOM
DON’T BE SQUARE
MATT TOMMEY
SCULPTURAL BASKETRY WITH BARK
AND VINES
In this workshop students will create an
individually designed small quilting square
from their own worn out tees or found fabric,
and learn the possibilities of the quilting
medium. The workshop will cover applique,
basting and quilt construction, and consist of
lectures and hands-on demonstrations. You will
design your own detailed, handmade, finished
quilt block design. Open to all skill levels.
COURSE FEE: $340
Ben Venom received his MFA from the San
Francisco Art Institute in 2007. His work
was included in the November 2011 issue of
ARTFORUM Magazine and he was selected for
Bay Area Now 6 at Yerba Buena Center for the
Arts.
benvenom.com
In this course students will explore a variety of
techniques and design ideas that will enable
you to grow in your understanding of basketry
as a sculptural form. You will be using locally
harvested natural materials including kudzu
vine, poplar bark and others. Open to all skill
levels.
COURSE FEE: $340
Matt Tommey is a sculptural basketry artist
based in the River Arts District of Asheville,
North Carolina. He is a member of the Southern
Highland Craft Guild, Piedmont Craftsmen and
the National Basketry Organization.
matttommey.com
PAPER/BOOKS
MATTHEW SHLIAN
PAPER SCULPTURE
Workshop participants will explore the
medium of paper as they create moveable
works of art using popup books as a starting
point. Using a combination of Tyvek and
100# text and 10pt cover weight stocks,
participants will learn the elements of paper
mechanics and then apply them to books,
collapsible structures, interactive kinetic design
and foldable sculpture. Some techniques will
include curve folding, pleating systems, and
modular design. Students are encouraged to
bring in their own imagery, photographs, etc.
to work from. Open to all skill levels.
COURSE FEE: $525
Matthew Shlian is an artist/designer and founder
of the Initiative Artist Studio in Ann Arbor,
Michigan. His work extends from drawings to
large-scale installations to collaborations with
leading scientists at the University of Michigan
and the National Science Foundation.
mattshlian.com
31
PAPER/BOOKS
TRAVIS HEAD
ON LOCATION: EXPLORING PLACE IN
THE SKETCH-JOURNAL
This workshop will focus on the sketch-journal
as a vehicle for documentation and reflection
upon personal experience. Students will begin
by learning basic bookbinding techniques
to create individual sketch-journals. During
a series of excursions to locations in the
immediate area, you will explore the physical
and non-physical aspects of place through
the act of drawing and writing. Instruction
will be given in a variety of observational
drawing techniques using pencil, pen, ink
wash and watercolor. Students will also be
introduced to a wide sampling of historical
and contemporary approaches to the form to
provide context and inspiration. Open to all
skill levels.
COURSE FEE: $525
Travis Head’s drawings are primarily rooted in
the notion of souvenir. His works commemorate
actual lived experiences and those described as
virtual, in equal measure. Head is assistant
professor of Drawing at Virginia Tech
University and awarded numerous national and
international artist residencies.
travishead.com
32
MEGAN ABAJIAN
PAPER CUTTING: “HOW I LEARNED TO
LOVE THE BLADE”
BIRUTA AUNA
BOOK ENCLOSURE AS A FORM OF ART
For many of us the book is a treasure. We
want to protect it and give a special respect to
its value. In this workshop, students will bind
a book and will construct a most common
book enclosure—clamshell box for it and
proceed into a realm of more elaborate and
creative ways of box making, and create bookbox relationship as a piece of art. Different
techniques and materials will be explored:
cloth backing with Japanese paper, binders
board and papier-mâché usage for sculpting,
binders board bending and painting with
pigments. Some leather will be used as well.
Participants can also bring a book they would
want to make a box for (optional). Open to all
skill levels.
COURSE FEE: $525
HERB RIETH
FANZINES, ‘ZINES AND UNDERGROUND
COMIX
Do you have an idea for a comic book or
magazine that you have always wanted to do
but just lacked the UMPH to do it? If so,
then this class is for you. Students will learn
about collage, cartooning, drawing, design and
simple bookmaking that will all come together
in your hands to create a ‘zine or comic book.
COURSE FEE: $525
Biruta Auna is an artist-designer whose work
is in close relationship with the book. She was
born in Latvia and is a graduate of the Estonian
Academy of Arts. Biruta lives and works in New
York City where she is an instructor at The Center
for Book Arts.
Herb Rieth is an artist and educator living in
Oak Ridge, Tennessee. He made his first ‘zine
“Comb, Comb, Comb Your Hair” at the age
of 10 and has been putting together ‘zines and
comics ever since.
birutadesign.com
herbrieth.com
This class will teach you the timeless craft of
paper cutting while exploring its contemporary
applications. You will examine the different
methods and tools used in cutting paper,
its challenges and its endless opportunities.
Students will work with layering through
collage, pieced/constructed, and large-scale
installation, as well as explore color and
materials utilizing a variety of media (various
substrates, adhesives and wet processes). This
mixed-media class will be packed with lots of
practical information that you can integrate
into your studio practice. Open to all skill
levels.
COURSE FEE: $525
Megan Abajian lives in Dartmouth,
Massachusetts and is the assistant dean and
Studio Art Foundations director in the College
of Visual and Performing Arts at University of
Massachusetts Dartmouth. She received her MFA
from Indiana University and BFA from the
University of Texas at Austin.
meganabajian.com
PAPER/BOOKS
JO STEALEY
3D CALISTHENICS
AIMEE LEE
PAPER JEWELRY
JIYOUNG CHUNG
JOOMCHI AND BEYOND
Joomchi is a unique Korean traditional way
of making textured handmade paper by
using water and eager hands. This workshop
offers participants the opportunity to become
acquainted with its history, practice and role
in Korean society, as well as the hands-on
techniques and reinterpreted adaptations
into contemporary art form. Joomchi creates
strong, textural and painterly surfaces by
layering and agitating Hanji (Korean mulberry
papers). Its usages are diverse and it can be
incorporated into surface design, collage, new
way of drawing, wearable, unconventional
body ornament or sculptural object—2-D and
3D—either functional or fine art oriented.
COURSE FEE: $525
Jiyoung Chung is a Joomchi artist, freelance
writer and independent curator who shows her
works nationally and internationally. She has
developed an innovative method for utilizing a
traditional Korean method of papermaking called
Joomchi into contemporary art form.
jiyoungchung.com
This class combines the strength and versatility
of handmade papers with Asian techniques of
paper thread and cordage to create lightweight
and ecologically sound jewelry. Students
will learn jiseung (Korean paper weaving)
techniques to cord and weave paper into
adjustable single-strand bracelets, multistrand pieces and chain necklaces. Advanced
techniques will result in woven paper beads
and spiraling colored rope necklaces, while
students experiment with simple colors from
natural dyes. A pot of kon’nyaku, a starch
extracted from the devil’s tongue plant, will
be cooked to coat final pieces for natural
protection from the elements. Strong fingers,
hands, and wrists will be a boon, as well as
patience and attention to detail. Open to all
skill levels.
COURSE FEE: $525
Aimee Lee works in paper, book and installation
arts. She researched hanji (Korean paper) as a
Fulbright Fellow and built the first hanji studio
in North America in 2010 in Cleveland. Her
book, Hanji Unfurled: One Journey into Korean
Papermaking was recognized by the Eric Hoffer
Book Award.
aimeelee.net
Whether you are a textile artist, papermaker,
sculptor, or work in any variety of materials, this
workshop explores innovative ways to enhance
the role materials, production methods and
form play in
your threedimensional
work.
Together we
will discuss
a variety of
methods that
inventively
focus
and simultaneously expand conceptual and
production issues. Students will begin with
problem finding techniques, move into a
more focused exploration of subjects that are
personally relevant, and then onto production
methods to pursue your ideas. Utilizing familiar
materials such as sticks, paper, foam core, cloth,
temporary and permanent armatures, you
will develop maquettes that can be translated
into your personal production methods.
Additionally, there will be discussions related
to your current work including changing
directions, design challenges, perplexing
techniques and any topic important to your
artistic development. This workshop is not
about the product, but the experience and
renewed energy you can incorporate into your
daily studio practice. Open to all skill levels.
COURSE FEE: $395
Jo Stealey is a professor of Art-Fibers at the
University of Missouri-Columbia and her work
is found in public and private collections. She is
known for her multimedia sculptural work in
handmade paper with 30 years of experience in
the field.
HEIDI NEILSON
COPTIC BIND EVERYTHING
Embrace the knowledge of our forebears!
Coptic binding was used in Egypt as early as
the second century AD, and is characterized
by braid-like chain-stitches across an open
spine. This sewn binding method requires no
glue and excels at combining and showcasing
multiple materials together in one book.
Participants will explore variations in materials,
stitches and book design with an eye toward
concept and sculptural form. By learning the
Coptic method, students with an interest in
book binding will gain a versatile technique
which can be applied to a variety of future
projects. Open to all skill levels.
COURSE FEE: $340
Heidi Neilson received a BA in biology from
Reed College and an MFA in painting from Pratt
Institute, and lives and works in New York. She
has created over 20-edition artist books using
methods ranging from traditional printmaking
and hand binding to digital print-on-demand
printing.
heidineilson.com
jostealey.com
33
GLASS
ANNE NYE
PALETTE KNIFE GLASS
HOLLY COOPER
FANTASY FLORA AND FAUNA
Here is a chance to be inspired to create your
own stylized and patterned creatures and floral
forms using a special modular approach. In
this class students will stretch your imagination
and explore new design territory. You will be
guided to push the limits of stringers and dots
to create your own magical animals and plants.
In a step-by-step, easy to understand process,
students will learn to design and execute
patterns in glass. You will also have time
to explore special surface and color effects.
Students must have some experience with lamp
work.
COURSE FEE: $595
Holly Cooper has a background in illustration,
ceramics and textile design as well as 12 years’
experience with flameworked glass beads. She has
taught bead making for six years in the United
States and internationally. She currently resides in
Austin, Texas.
hollycooper.com
Palette Knife Glass is a kilned glass technique
developed by Anne Nye that requires no
previous glass experience and is especially
suited to artists using traditional painting
materials as well as glass artists familiar with
other methods. Weather permitting; class will
begin most days “En Plein Air” (“in the open
air”) where students will gather inspiration
from nature using their favorite mediums
such as watercolor, pastel or colored pencil
and photography. These sketches will then be
used to create a series of small studies leading
to larger landscapes and compositions on
subsequent days. Glass powders are mixed with
a medium and applied to sheet glass much like
acrylic palette knife painting. Due to the wide
color palette in both transparent and opaque
glass along with proper firing, amazing depth
and texture is possible using this method.
Some painting/drawing experience is helpful,
but not necessary.
COURSE FEE: $595
Originally from the Pacific Northwest, Anne’s art
has been profoundly shaped by the beauty and
color of the land. Anne is a painter in training
and passion. She has perfected her own “painterly”
glass techniques of shading and contouring. She
studied Fine Art at the University of Idaho and
California College of Arts & Crafts in Oakland,
California. Her work is held in numerous public
and private collections.
annenye.com
34
MEAGAN CHANEY GUMPERT
CERAMICS + GLASS.
LET’S MIX IT UP
Are you interested in learning to combine
ceramics and glass? If so, than this energetic
and immersive workshop is perfect for you.
Students will build simple, earthenware forms
and incorporate three-dimensional, kiln
cast glass to discover a world of possibilities.
Experimentation is highly encouraged and
students are only limited by their imagination.
Some experience with glass or clay is helpful,
but beginners are encouraged to come along
for the ride.
COURSE FEE: $1100
Meagan Chaney Gumpert is a studio artist
working in Ocala, Florida. She has served as a
Resident Artist at Arrowmont, The Clay Studio
of Missoula and Watershed Center for Ceramic
Arts. Her work is held in numerous corporate and
private collections and is shown nationwide.
meaganchaneygumpert.com
GLASS
BARBARA CASHMAN
MAVERICK FUSING—FLOAT GLASS
JASON CHAKRAVARTY
KULDEV KA DANDE AKA TOTEM POLES
The narrative for, and the final piece from this
course will be a glass totem pole. Using the
lost wax process and sand blasting, students
will create a kiln cast glass sculpture. Each
person will begin with a preformed cylinder of
wax. Students will add/subtract imagery to the
cylinder in wax. Once the design is complete,
students will learn to mix and pour plaster/
silica investment. The invested molds will be
loaded into a kiln and glass fired into them.
While the molds are casting, students will use
a sandblast resist film to design patterns that
will later be applied and sandblasted to the cast
glass form. This workshop is for all skill levels.
COURSE FEE: $595
Jason Chakravarty lives in the valley of tacos and
baseball in Arizona. He is a full time artist and
creates cast and sculpted glass pieces. His semiautobiographical narrative-rich work relies on
the audience to relate to its use of photorealistic
imagery.
jasonchakravarty.com
Float Glass, better known as window glass,
was the original fusing medium for glass artists
in the 1950s and 60s. Today, it is making a
dramatic comeback due to economic and
environmental concerns. Learn to utilize this
unique alternative material to expand your
art palette without breaking the bank. Basic
and advanced fusing/slumping techniques will
be covered using frits, enamels, plants and
metal inclusions, plus kiln-carving. This class
will be a creative adventure into the world of
float glass. Yet, the techniques you learn can
be applied to other glasses as well. Open to all
levels; just bring an open mind and a playful
spirit.
COURSE FEE: $595
Barbara Cashman, a glass fuser for 35 years, is
recognized as an innovator and pioneer in the
glass tile industry. Her work has been featured
in many major home decorating and trade
magazines and on HGTV, with residential and
commercial installations throughout the U.S. and
internationally.
glastile.com
HELEN OTTERSON
BEGINNING GLASS CASTING:
SCULPTURAL GLASS
This class provides the opportunity for
participants to learn and experience the ancient
art of lost-wax glass casting. Students will
begin by learning ways of manipulating wax
to create a small sculptural form. You will
make a one-time use mold for reproduction
in glass and learn distinctive techniques for
working with wax, plaster-silica mold making,
de-waxing molds, kiln processes and firing and
annealing schedules for casting glass. Students
should come with ideas for small sculptures
and can expect to complete 2-3 small finished
projects. For beginners and those with some
glass experience.
COURSE FEE: $595
Helen Otterson received an MFA in Ceramics
from the University of Miami and currently
teaches at North Dakota State University. She has
participated in residencies at the International
Ceramics Studios in Hungary, Watershed Center
for the Ceramic Arts and the Contemporary Craft
Museum.
KARI MINNICK
THE UPPER CRUST: MAGNIFICENT
SURFACES AND COMPELLING LAYERS
FOR KILNFORMED GLASS
The surface is the entry to a work of art. It
can stop you in your tracks or lead a viewer
into the layers below. It is the part you want
to touch. Using unusual applications of
Bullseye sheet glass, powder, stringer and frit
in conjunction with multiple firings, students
will learn kilnforming strategies to enable
rich textural surfaces and depth. Detailed
firing schedules, layering strategies and design
will be explored. This course is of interest to
experienced glass workers as well as artists of
other media. Open to all skill levels.
COURSE FEE: $595
Kari Minnick holds a degree in studio art from
the University of California at Davis and has
been an exhibiting artist and educator for
over 25 years. Kari is the artist/owner of Kari
Minnick Art Glass Studio, LLC in Silver Spring,
Maryland.
kariminnick.com
helenotterson.com
35
GLASS
PAINTING
DRAWING
PRINTMAKING
PHOTOGRAPHY
JOHN DIGIACOMO
MOVING BEYOND YOUR CREATIVE
COMFORT ZONE
BOBBIE CREWS
REFLECTIONS, LIGHT AND MAGIC
Explore the extraordinary in everyday life and
take your painting skills to a new level. Oil
paint allows the artist to push the limits of
possibility. Students will find the magic in the
everyday and transfer those ideas onto canvas.
It’s about focusing on the unexpected, then
capturing it with light and energy. You will
learn to bring to life the exceptional qualities
that make an exciting and engaging painting
jump off the canvas. Students will also learn
the intricacies of layering and bring out the
reflections and glow of light in faces and
other objects. This class is for students with
intermediate or higher painting skills; drawing
skills very helpful.
Enhancing students’ technical and creative
skills will be our goal during this workshop.
With an emphasis on landscape and nature
photography you will cover, both in the
classroom and the Great Smoky Mountains
National Park, a wide range of topics including
the creative use of wide angle, the makings
of a strong composition, the steps necessary
to create successful panoramic and HDR
images and getting the most out of your post
processing and digital workflow. Students will
have ample time for one-on-one instruction
and to participate in an interactive critique
session. Expect short walks over moderate
terrain while carrying your gear. A digital
camera (and basic working knowledge of it),
along with a laptop with image processing
software are required.
COURSE FEE: $340
COURSE FEE: $340
Bobbie Crews lives in Knoxville, Tennessee and
has had a studio downtown in the Emporium
since 2004. A member of Oil Painters of
America, she is known for her realistic paintings
of antique automobiles, people, murals and
courtroom sketching.
bobbiecrewsart.com
36
John is a professional free-lance photographer
based in Lake Placid New York. He is a member
of the Professional Photographers of America,
Sports Shooter, the International Association
of Architectural Photographers, the Real Estate
Photographers of America and Nikon Professional
Services.
placidtimesphotography.com
PAINTING/DRAWING/PRINTMAKING/PHOTOGRAPHY
KRISTEN MARTINCIC
OPEN SOURCE MONOPRINT
K RHYNUS CESARK
ENCAUSTIC COLLAGE, PAINT, PRINT,
SCULPTURE AND MORE
This course will explore the versatility
and limitless possibilities of encaustic in
combination with other materials. This class
invites painters, collage artists, printmakers,
sculptors, ceramic artists, photographers and
mixed media artists to investigate the luminous
layers of encaustic. Whether your work is
abstract, representational or conceptual this
course has something for everyone. During
the workshop, students will be encouraged
and supported to explore their own visual
vocabulary through this diverse and seductive
medium. Students can choose to explore the
two or three dimensional qualities of encaustic
wax or both. Class time includes lectures and
demonstrations of traditional and experimental
techniques for working both on and off the
wall. The class is Open to all skill levels.
COURSE FEE: $525
K Rhynus Cesark is a studio artist who teaches
encaustic painting and ceramics at Colorado
Mountain College in Aspen, Colorado. She
received her MFA from Massachusetts College of
Art and Design in Boston, Massachusetts. She is a
fellowship recipient for the Colorado Council on
the Arts and exhibits her work nationally.
krhynuscesark.com
MARGARET SCANLAN
COLOR EXPLORATION FOR ALL MEDIA
This workshop is designed for artists and
artisans in any medium where color plays
an integrative role. This includes, but is not
limited to, basketry, book and paper arts, clay,
enameling, glass, jewelry, all of the fiber arts,
and painting. Through specific, sequential
painting exercises and exciting experiments,
students will sharpen their instincts and
expand their knowledge of color theory, and
will also have a wonderful time. Participants
will refine and define more clearly their color
preferences, applicable to each person’s own
medium. No previous painting experience is
required.
COURSE FEE: $525
Margaret Scanlan is a full-time studio painter
from Knoxville, Tennessee. She is a signature
member of the American Watercolor Society, the
National Watercolor Society, and the Watercolor
USA Honor Society. Her work is exhibited
and held in private, corporate, and museum
collections in the U.S. and Europe.
This workshop will focus on creating one-ofa-kind printed images using collagraph plates
and monoprinting. Students will focus on
experimentation through plate-making and use
the Open Source principle for printing. You
will cover a wide range of inking and printing
possibilities (relief, intaglio, use of stencils,
color mixing, etc.), creating color interaction
through multiple layers. Students will benefit
by sharing collagraph plates created at the
start of the class. During the second half of
the week, you may choose to focus on creating
specific imagery/plates or continue open source
monoprinting. Open to all skill levels.
COURSE FEE: $525
Kristen Martincic is a studio artist based in
Columbia, Missouri. She earned her MFA from
the University of Nebraska-Lincoln and her BFA
from Bowling Green State University. Kristen
has taught printmaking at Bowling Green State
University and Indiana University and has done
workshops across the U.S.
kmartincic.com
KRISTY DEETZ
CONTEMPORARY APPROACHES TO
PAINTING WITH ACRYLIC
This workshop will uncover the evolving
approaches and ideas in contemporary painting.
Lectures and one-on-one instruction will explore
image appropriation and deconstruction,
working inductively and deductively, reacting to
ideas and analyzing current painting structures
and strategies. Students will also explore the
possibilities of acrylic paint—perhaps the
most adaptable, archival and non-toxic of
painting media. Acrylic continues to evolve
and respond to the new demands of painting,
including creating a variety of textural effects
on any number of surfaces and incorporating
collage materials, transferring images, or using
hard-edge techniques. Students will push their
boundaries of working and develop concepts
for future work in an atmosphere of play and
experimentation. Participants need to be artists
with a fair amount of painting experience. This
workshop is for intermediate to advanced levels.
COURSE FEE: $525
Kristy Deetz is a professor in the Art Discipline
at the University of Wisconsin, Green Bay. She
received her MFA in painting and drawing from
The Ohio State University. Kristy has taught
painting and drawing at a number of universities
and art schools over the past 25 years.
kristydeetz.com
37
ANDREW SAFTEL AND SHANE DARWENT
UNDER PRESSURE: COLLAGRAPH AND RELIEF PRINTMAKING WITH A DIGITAL TWIST
A collagraph print is made from a surface on which collage elements and texture have been applied.
Using oil-based paints and inks applied with brushes and rollers, students will create colorful,
textured, one-of-a-kind prints. This is a very direct, painterly and fun way to make a print on paper
with an embossed surface. Both the making of the blocks and the inking process allow for endless
possibilities for you. This low-tech approach to printmaking will produce stunning qualities and
rich color combinations. Students will find that using multiple blocks printed over each other with
transparent inks on one sheet of paper will yield exciting and surprising results. The use of digital
photography and the possibility of combining inkjet printing with traditional printing techniques
will also be introduced. Open to all skill levels.
COURSE FEE: $995
Andrew Saftel was raised in Rhode Island and
received a BFA in Printmaking from the San
Francisco Art Institute. He has exhibited his work
in galleries in Knoxville, Nashville, Denver and
Atlanta, and has received a Tennessee Individual
Artist Grant.
andrewsaftel.com
Shane Darwent is a studio artist in Chattanooga,
Tennessee and has received many residencies and
grants. He is a former printer, plate maker, and
shop technician at Harlan & Weaver in New
York City.
shanedarwent.com
LOUIS KRUEGER AND
LAURA BETH KONOPINSKI
CAMERA BUILDING WORKSHOP: MIXED MEDIA, PHOTOGRAPHY, WOOD
This one-of-a-kind, camera-building workshop focuses on the design, construction and use of
handmade wood cameras. The goal is to provide a unique artistic experience that will deliver
working wooden camera(s) and a series of images from it that promises to strengthen the students’
artistic voice and expand technical expertise. Each student will construct a 4x5, large-format camera
taking them through the entire process of construction, assembly, photo optics and exposure, film
or paper processing, contact printing, scanning images and outputting digital prints. After that,
depending on their own individual interests, students can choose to emphasize camera-building,
image-making or focus on building cameras of their own design. (Cameras can accept pinhole
apertures, plastic or glass lenses.) The workshop will emphasize one-on-one instruction, will be
high-energy and collegial, and will energize your own artistic practice. This workshop serves a broad
population of 2D/3D artists at all skill levels.
COURSE FEE: $1100
Lou Krueger is a professor of Photography at
Bowling Green State University and has taught
camera-building workshops or classes at Indiana
University, Kalamazoo Institute for the Arts,
Western Michigan, Syracuse University, Society
for Photographic Education and Penland School
of Crafts.
loukrueger.com
38
Laura Beth Kopnopinski is an independent artist
with a primary expertise in glass with a secondary
concentration in photography. Her artwork utilizes
combinations of glass, metal, photo imagery/optics
and repurposes used materials. She is an instructor
of Glass, Missouri University Craft Studio.
lbkonopinski.com
GARY CHAPMAN
CHARCOAL: EXPRESSIVE MARK
MAKING, A PAINTERS APPROACH TO
DRAWING
Students will explore charcoal as the perfect
drawing medium for expressive mark making.
Students will develop a personal approach
to loose, aggressive mark making with a
combination of additive and subtractive
techniques using charcoal and erasers.
While charcoal will be the primary medium,
eventually students will be encouraged to
combine other, primarily dry media such as
conte crayon, graphite and pastel. The class
will focus upon mark making as it relates
to abstraction and later students may opt
to explore the different ways these same
techniques can be applied to observational
drawing for a provocative and beautiful fusion
of abstraction and realism. Open to all skill
levels.
COURSE FEE: $525
Chapman, professor of art at UAB, has had over
60 solo exhibitions with institutions such as The
Arts Center of St. Petersburg, Florida and the
Indianapolis Art Center. He has participated
in national and international exhibitions, and
his paintings have been purchased for numerous
museums, corporate and private collections.
garychapmanart.com
HOLLY ROBERTS
COLLAGE AND PAINT
Working with collaged/layered images,
students will be able to directly and quickly get
involved in the process of image-making. This
will allow you to have immediate feedback as
you go forward and at the same time recognize
and identify the issues that are causing trouble.
By painting expressively, students will be
accessing the most immediate and direct
link to their creative selves. By learning how
the different media work together, students
will be able to understand what processes
work best in combination. The workshop
will cover transfers, gluing techniques,
painting techniques, surfaces, supports,
media compatibility and layering of different
materials. You will be using acrylic paints.
COURSE FEE: $525
Holly Roberts lives and works in Corrales, New
Mexico with her husband, Robert Wilson. She
earned an MFA from Arizona State University,
Tempe, in 1981. Her pieces are nationally
and internationally exhibited and have been
published in three monographs.
hollyrobertsstudio.com
KJELLGREN ALKIRE
THE PRINTED BANNER
Blending the printing traditions of letterpress,
screen printing and woodcuts with fabric
surface design histories, this workshop will
produce large-scale canvas banners in a
collaborative circus of fun, fiber and fantasy.
Part revivalist public relations and part
circus carnival advertisement; your works
will integrate free speech text with graphic
illustration in the spirit of blatant advertising
and shameless publicity. Calling all roustabouts
and rhetoricians, let’s make a clamorous and
vigorous attempt to win customers or advance
any cause. Open to all skill levels.
COURSE FEE: $525
Kjellgren Alkire teaches art and design at Winona
State University and has a studio in Lake City,
Minnesota. He has received awards, including
the 2014 Jerome Foundation Fellowship for
Emerging Artists, and a 2009 Contemporary
Forum Award from the Phoenix Art Museum
kjellgrenalkire.com
PINKNEY HERBERT
ABSTRACT LANDSCAPE PAINTING AS
SELF-PORTRAIT
With the idea that every painting is a selfportrait, this workshop will take inspiration
from the landscape to enable participants to
explore and personify who they are as artists.
Using an improvisational approach, students
will be encouraged to mine their memories,
intuitions and emotional “inscapes” to make
personal connections to a particular landscape
at a particular moment. Students will
experiment on several “unsacred” pieces in oils
and play with new techniques, materials and
utensils. The dichotomies that develop between
inside/out, heart/mind, real/imagined, and
chaos/control will be explored and discussed
in group critiques and on a one-to-one basis.
COURSE FEE: $525
Pinkney Herbert has art studios in Memphis,
Tennessee and New York. He has taught at the
University of Georgia Study Abroad Program in
Cortona, Italy, University of Tennessee, Penland
School of Crafts and the Memphis College of Art.
pinkneyherbert.com
39
RYAN O’MALLEY
VIPER VARIATIONS: COLLABORATIVE
RELIEF PRINTMAKING IN REPTILIAN
FORM
Students will participate in this one-ofa-kind course investigating techniques
of relief printmaking using the reductive
method. Topics covered include drawing
and transferring, carving, registration, press
printing, hand burnishing, textile printing
and tool care. Each student will create an
edition using a unique image to form segments
of a giant, winding snake to be pasted in a
specific public location. Students will learn
the vast applications of relief printmaking
through personal exploration and collaborative
practices. Additionally, students will view and
discuss prints from the instructors’ extensive
collection. Open to all skill levels.
COURSE FEE: $525
Ryan O’Malley received his M.F.A. in
Printmaking from Louisiana State University. He
is currently the assistant professor of Printmaking
at Texas A&M University, Corpus Christi and
a member of the Outlaw Printmakers. Ryan
exhibits and has prints included in several
museum collections.
ryanomalleyart.com
40
CLAIRE STIGLIANI
NARRATIVE PAINTING
This course encourages creative exploration
of the human image and storytelling beyond
observational figure drawing. Students will
be painting on paper in water-based materials
(acrylic, watercolor, or gouache paint) and
incorporating non-traditional materials like
(gold leaf, gel mediums, flocking, embroidery
thread, and wax) as part of the course. You
will think of the figure in interior and exterior
spaces as symbols to explore narrative from
anthropological, cultural, personal and dreamlife imaging. The class will include the study of
written narrative, linear and non-linear ways to
tell a story, methods of character development
and ways to paint space. Students can work
from a piece of literature or their own idea.
Emphasis will be on experimentation with
both material and image and you will make
a series of paintings that convey a narrative.
COURSE FEE: $525
Claire Stigliani is a drawer and painter known
for her works inspired by paintings, photographs,
magazines, posters, literature, performance, plays
and YouTube clips. Her recent shows include The
Madison Museum of Contemporary Art, The
Chazen Museum of Art and the Jenkins Johnson
Gallery.
clairestigliani.com
LISA LINE
PLAYING WITH PORTRAITURE
Capturing the image of a living person is one
of the oldest pursuits in the world of art. How
do we play the game of trying to express the
essence of a human being? Let’s explore! Oil
painting is the medium for this class, favored
for its durability and depth of richness, as well
as its ability to convey subtleties. Students
will study from Rembrandt and Vermeer
through Alice Neel and beyond. You will
learn “tricks” for posing subjects, adding
settings and for achieving the all-important
likeness. In this week-long class, whatever
your level of experience, expect to grow in the
ability to plan, craft and complete a dynamic
oil painting that carries at least a little bit of
that precious content: a portrait. Open to all
skill levels.
COURSE FEE: $525
Lisa D. Line lives and operates a studio for
oil painting in Sevier County, Tennessee.
She received her BA in painting from Xavier
University in Cincinnati, Ohio. She acquired
the knack of quick portraiture during college
summers at an Ohio amusement park, at the
rate of dozens a day.
lisadline.com
ASHTON LUDDEN
SCREENPRINTING EXPOSED
The printed image is everywhere and it is
the only artistic medium that can truly
communicate to the masses. Screenprint is one
of the most common forms in both the fine
arts and commercial world. This workshop
will introduce students to the fun, quick and
accessible world of screenprinting and will
teach methods of creating imagery through
drawing, stencils and digital output. Students
will create multiple-color prints on paper and
single-color prints on fabrics. Participants will
also learn how to set up for screenprinting at
home with minimal equipment. Open to all
skill levels.
COURSE FEE: $525
Ashton Ludden is a printmaker and sign artist
living in Knoxville, Tennessee. She holds an MFA
in Printmaking from the University of Tennessee.
She is currently the sign artist for Trader Joe’s and
is an active artist member of the Vacuum Shop
Studios Collaborative in Knoxville, Tennessee.
ashtonludden.com
MARY TODD BEAM
CONTEMPORARY PAINTING
DON MCGOWAN
SEEING WITH HEART: PHOTOGRAPHING
WITH AN EYE OF WONDER
Students will become a contemporary painter
in Mary’s class by learning to use the tools
of modern design. Since art is a means of
communicating, you will be using these new
forms of expression: strata, grid, circles and
more. They will become your new vocabulary
in expressing yourself more fluently. Each
day will begin with a demonstration that
will explore color, line and texture. Students
will become more knowledgeable about the
metaphors and meaning embedded in your
work. The goal is to allow yourself to be the
unique and special artist that you are. The
use of visual aids and charts will help inspire
and direct you onto the path of becoming the
visual poet. Open to all skill levels.
Minor White said, “…innocence of eye has a
quality of its own. It means to see as a child
sees, with freshness and acknowledgement of
the wonder; it also means to see as an adult
sees who has gone full circle and once again
sees as a child – with freshness and an even
deeper sense of wonder.” In this class students
will combine an understanding of the craft and
the mechanics of digital photography with the
art of creative “seeing” to explore what it means
to see “with freshness and an even deeper sense
of wonder.” You will explore what it means
to see with heart. Open to all skill levels,
but a basic understanding of your camera’s
functions and your image processing software
are required.
COURSE FEE: $595
COURSE FEE: $525
Mary Todd Beam is the author of two books and
a video. She is a member of AWS, DF, NWS
and the Ohio Watercolor Society, and two-time
winner of the AWS Gold Medal of Honor Award.
Her work is exhibited internationally.
Don McGowan, a native Georgian, now resides
in Buncombe County, North Carolina. He is
an award-winning nature photographer and a
celebrated instructor in nature photography. Don
brings an artist’s eye and a craftsman’s touch to
the fields of conservation and environmental
photojournalism.
marytoddbeam.com
WILLIAM KOCHER
PAINTING IN THE OPEN AIR OF THE
GREAT SMOKY MOUNTAINS
For students with an interest and passion for
painting “en plein air,” you will be utilizing the
beautiful Great Smoky Mountains National
Park to create daily landscape paintings. At
the park you will study, observe and challenge
yourself by painting landscapes each day. After
a day of painting, students will return to the
studio to discuss the processes and challenges
of this difficult and wonderful undertaking.
Walking is involved and each student must be
portable. Students will be working with oils
and water-based media. Open to all skill levels.
COURSE FEE: $525
earthsongphotography.com
William Kocher is a painter living in
Mechanicsburg, Pennsylvania. He uses direct
observations en plein air, to create paintings that
express his love for all things out-of-doors. Past
exhibitions include The Pennsylvania Governor’s
residence.
williamkocher.com
JEFFREY HIRST
WAX AND MESH: SCREENPRINTING
ONTO ENCAUSTIC
In this workshop, students will experiment
with screenprinting images underneath
and on top of encaustic surfaces to produce
translucent layers. Techniques covered will
include painting with encaustic paint—which
is a mixture of beeswax, damar resin and
pigment—screen creation, screenprinting both
water and oil based pigment, printing from
a fixed print station, and freehand printing
onto panels. The workshop moves at a fast yet
fun pace where spontaneity and discovery are
encouraged. Open to all skill levels.
COURSE FEE: $525
Jeff Hirst is a San Francisco Bay Area-based artist
who has been exhibiting his work since 1987 and
is the owner of Hirst Printmaking, a printshop
and teaching facility in Oakland, California.
jeffreyhirst.com
41
DON LAKE
NEW PERSPECTIVES ON PAINTING:
WAIT! WHAT WAS THAT AGAIN?
With time for individual critique of your work
and some intensive studio work time, this
weekend will provide some perspective on the
work you are currently making. Students will
learn about techniques and combinations of
materials that may offer new directions and
there will be assignments or ideas for projects.
Students should bring one to three pieces
of your current work as well as inspiration,
sources and materials for painting for critique
sessions. Work time and conversation with
other dedicated watercolor painters is sure
to send you away with new enthusiasm for
your work. This class is open to experienced
students seeking intense studio time,
meaningful discussion, critiques, questions and
risk taking.
COURSE FEE: $395
JANE VOORHEES
FEARLESS WATERCOLOR
FOR BEGINNERS
Are you interested in painting in watercolor
for the first time or want to get back into
watercolor painting but not sure how to
begin? In this weekend class you will explore
watercolor basics while discovering the joy of
this medium. You will have fun working small
as you overcome the fear of the blank paper
and while sparking your creativity. Students
will learn about brushes, paper, and mixing
colors while you expand your watercolor
vocabulary with a variety of watercolor
techniques. Open to all skill levels.
COURSE FEE: $340
Jane Voorhees is a full-time painter living in
Asheville, North Carolina. She studied painting
at the Art Students League in New York City but
acquired a great many skills painting alongside of
her painter parents.
janevoorheesart.com
THOMAS LUCAS
COLOR INTAGLIO: PATH OF LEAST
RESISTANCE
This course approaches inatglio from
a painterly perspective with a focus on
fabricating a variety of full color prints from
one to two plates. Demonstrations of simple
intaglio techniques such as drypoint, line etch,
soft ground, lift ground and photo-polymer
(solarplate) will be provided to create unique
plate-making options. The goal is to transform
traditional intaglio into a medium that can be
fluid and to allow more freedom of expression.
Students with a drawing and painting
background will discover new directions can
be made with your work. Participants are
introduced to a myriad of techniques and
encouraged to select processes that best suit
your ideas. Open to all skill levels.
COURSE FEE: $340
Don Lake has been working with transparent
watercolor and other water media and drawing
materials for over four decades. As a retired
professor Emeritus at Parkland College in
Champaign Illinois, he has worked with students
in studio drawing, color and watercolor courses.
donlakeart.com
Thomas Lucas received his BFA in Printmaking
at Tyler School of Art, Temple University and an
MFA with a Merit Scholarship at The School of
the Art Institute of Chicago. He has taught at the
Tyler School of Art, The School of the Art Institute
and The Museum of Contemporary Art Chicago.
thomas-lucas.com
42
CLAY
CLAY
BRIAN NETTLES
TURNING AND BURNING: WHEEL
THROWN POTTERY
Come join us for this fast paced pottery
making class where students will learn the
rich history of “turning” pottery on the
wheel. Students will explore all aspects of
what it takes to make functional pottery:
centering clay on the wheel, pulling cylinders,
and making bowls, cups and vases. You will
bisque, glaze and fire (burning) the pottery
you will make in class. Students can expect to
leave with several finished turned and burned
pots. Conversations about traditional and
historical pottery of the Appalachian region
will complement the week’s activities. Open to
all skill levels.
COURSE FEE: $340
Brian Nettles is a studio potter living in Pass
Christian, Mississippi and has his BFA in
ceramics and sculpture from the University of
Southern Mississippi. He studied wood firing on
multiple trips to Japan and has been making pots
and teaching for over 20 years.
nettlespottery.com
BLAIR CLEMO
ANYTHING GOES: COMBINING SIMPLE
TECHNIQUES INTO COMPLEX POTS
HEATHER MAE ERICKSON
HAND MADE MODELS AND BREAK
AWAY MOLDS
This week long workshop will focus on
combining wheel throwing, press molding and
handbuilding techniques to make utilitarian
pots. Daily demonstrations will illustrate
how to use ornamental press molds and basic
forming techniques like wheel throwing and
coil building to construct form and surface
simultaneously. Topics covered will include:
forming and carving prototypes out of clay,
making simple one and two-part plaster
press molds, layering forming techniques and
utilitarian concerns. Along with an emphasis
on technical exploration and skill building,
this workshop will encourage a dialog about
how the materials and techniques we choose
can equate meaning and content in our work.
This course will demonstrate methods of
creating objects for mold making using various
materials and techniques to generate objects
from scratch and found object appropriation.
For model making, students will learn to use
the wheel as a tool for profiling forms for
sculpture, installation and function. You will
fabricate tools and templates for extruding,
sledging and profiling plaster and clay. Basic
to advanced mold making will be shown
with an emphasis on quick mold making
techniques such as the breakaway mold.
Through demonstration and lecture, a variety
of processes with plaster and its many stages
of workability will be presented. Students
will also learn to plan out ideas with drawing
devices and stencils to develop designs from
beginning to end. If time permits students will
cast and bisque fire. Open to all skill levels.
COURSE FEE: $525
Blair Clemo is a potter and assistant professor
of Craft and Material Studies at Virginia
Commonwealth University in Richmond. He
received his MFA in Ceramics at the New York
State College of Ceramics, Alfred University
in 2010. He has worked at small production
potteries in Idaho and Montana.
ablairclemo.com
FORREST LESCH-MIDDELTON
FINDING YOUR VOICE THOUGH
THROUGH VOLUMETRIC IMAGE
TRANSFER AND THE POURING VESSEL
COURSE FEE: $525
If it pours, you will make it in this class.
This informative workshop will explore
the specifics of volumetric image transfer
through an investigation of the pouring
vessel. Class discussions aimed at cultivating
meaningful content will lead students to
developing imagery and pattern silkscreens
that will make the transfers to adorn your
work with. Prepare for the long nights of
hard work it takes to develop great pots in
the studio, and there is no better reward for
tireless studio commitment than the absolute
sense of community and ridiculousness that
arises in the delirium of an intense week of
studio exploration. This class is intended for
intermediate and advanced students with
a developed sense of wheel throwing and a
willingness to explore new ideas.
Heather Mae Erickson is an artist, a craftsperson
and a designer. She earned her BFA at The
University of the Arts in Crafts and her MFA
at Cranbrook Academy of Art. Erickson was
awarded a Fulbright fellowship to conduct
independent research at Aalto University in
Helsinki, Finland from 2004-2005.
Forrest Lesch-Middelton is a ceramic artist in
Petaluma, California. His pots and architectural
tile have been featured in Ceramics Monthly,
Sunset Magazine, The New York Times and
Architectural Digest. Recently, Ceramics Monthly
chose Forrest as The Ceramic Artist of the Year.
heathermaererickson.com
COURSE FEE: $525
flmceramics.com
43
CLAY
REBECCA HUTCHINSON
DEFINING PERSONAL DIRECTION
AND CONSTRUCTION: PAPER CLAY A
VERSATILE APPROACH
In this workshop students will explore paper
clay as a sculptural medium. Demonstrations
will include clay preparation, building
techniques for using paper clay, surface and
color, firing and non-firing options; all to
achieve qualities of translucency, weightlessness
and sculptural building ease in pursuit of
personal expression. Participants will be
encouraged to develop individual ideas and
conceptual directions. The workshop will be
balanced between demonstration watching,
idea development and studio construction
time. Open to all skill levels.
COURSE FEE: $525
Rebecca Hutchinson is a ceramic installation
artist and professor of Ceramics at the University
of Massachusetts Dartmouth. She has been
awarded a Pollock Krasner Grant, Puffin
Foundation Grant, Virginia Artist Fellowship,
and Society of Arts and Crafts Artist of the Year
Award.
rebeccahutchinson.com
JOSEPH PINTZ
HANDBUILDING VESSELS WITH BISQUE
MOLDS
LINDSAY PICHASKE
EVOCATIVE ANIMAL HEADS
In addition to utilizing additive and reductive
handbuilding techniques, participants will
learn to use and make their own bisque
molds to create an assortment of utilitarian
and sculptural forms. There will be a strong
emphasis on surface and form, not as an
afterthought, but as an essential design
element. Finishes that highlight the rich
surface of earthenware such as terra sigillata
will also be covered. This workshop will focus
on creative experimentation. Open to all skill
levels.
COURSE FEE: $525
Joseph Pintz is an assistant professor at the
University of Missouri. He earned his BA in
anthropology and urban studies at Northwestern
University and his MFA from the University
of Nebraska-Lincoln. Pintz has been a resident
artist at the Archie Bray Foundation and the
Roswell Artist-in-Residence program.
iconceramics.com
In this week long workshop, students
will explore the narrative, emotional and
conceptual potential of the animal head in clay.
You will begin with small head studies, and
then translate these into life-sized or half-scale
animal heads. Lindsay will share her building
methods, including solid construction with
pipe armature, slab building and sculpting
facial features. Image presentations of historic
and contemporary examples will provide
context and inspiration. Individual guidance
will help students create unique sculptures that
are personally relevant. You will bisque fire,
then experiment with “cold” surface treatments
like paint, dry pigments and wax. Open to all
skill levels.
COURSE FEE: $525
Lindsay Pichaske received her BFA from the
University of North Carolina, Chapel Hill
in 2003 and her MFA in Ceramics from the
University of Colorado, Boulder in December
2010. She is a Ceramics faculty member at the
College of Southern Maryland.
lindsaypichaske.com
URSULA HARGENS
ON THE SURFACE
This workshop will focus on the use of
decorative techniques to create dynamic,
layered surfaces. Using bisque and greenware,
you will experiment with slips, underglazes,
stains and glazes at each stage of the ceramic
process. Students will work with tiles and
simple pots to experiment with techniques,
such as inlay, resist and trailing. This class
is meant to provide you with a repertoire
of decorative techniques and new ways of
unifying form and surface. You will work
with low-fire, earthenware clay and glazes, but
the techniques and concepts covered can be
applied to any clay or firing temperature. Open
to all skill levels.
COURSE FEE: $525
Ursula Hargens is a studio potter and program
head of the Minnesota New Institute for
Ceramic Education. She received an MFA from
Alfred University, New York and an MA from
Columbia University. She studied ceramics at
Nova Scotia College of Art and Design.
ursulahargens.com
44
CLAY
JASON WALKER
PERSONAL NARRATIVE
THADDEUS ERDAHL
LIMITED EDITION: EXPLORING CERAMIC
SURFACES FOR FIGURATIVE SCULPTURE
In this course students will work with
porcelain and/or stoneware and acquire
new skills in handbuilding and will have the
opportunity to embellish your forms with
underglaze painting. Through this process,
you will gain a better understanding how to
develop individual narrative and concepts
pertaining to combining two-dimensional
imagery with three-dimensional form. Students
will receive individual consultation about your
own ideas and first hand demonstrations of the
instructor’s techniques both in handbuilding
and underglaze painting. You will also learn
about ideas and approaches to combining
imagery with form to develop a unique
personal narrative. Open to all skill levels.
This course will begin with students sculpting
a simple ½ life-size scale face (half head).
Each student will make a simple plaster
mold of the face they sculpt. These dropout
molds will allow you to make a series of
quick faces and heads which will serve as
a great beginning for form and surface
experimentation and development. Stencil
processes and image alterations using
Photoshop will be demonstrated. Students
will also practice the process of slip and
newsprint transfer application, along with
a variety of surface layering techniques. You
will leave with a plethora of new techniques
and processes, their face mold, and some great
finished pieces. Open to all skill levels.
COURSE FEE: $525
Jason received a BFA from Utah State University
and a MFA from Penn State University. After
teaching for two years in Napa California he
pursued life as a studio artist. He spent two years
as a resident at The Archie Bray Foundation for
the Ceramic Arts and was the recipient of the
Taunt Fellowship award.
jasonwalkerceramics.com
DOUG JEPPESEN
CLAY—WOOD FIRING: PROCESS
AND PURPOSE
During this workshop you will explore firing
the anagama and manabigama wood kilns.
With bisque ware (cone 10) students have
brought, we will load the anagama and discuss
the various zones available. As students are
firing, you will then begin to make work
for the second firing where you will fire the
manabigama. Having the opportunity to fire
both kilns will be an excellent opportunity
for students to better understand the firing
process and how kiln design can create a varied
palette on the work. Basic wheel throwing or
handbuilding skills are necessary.
COURSE FEE: $995
Doug Jeppesen is the associate professor of Art/
Ceramics at Waubonsee Community College.
He earned his MFA from Northern Illinois
University, BA in Art History and BFA in Art/
Ceramics from the University of Tulsa.
SAM CHUNG
POTTERY TIME MACHINE
COURSE FEE: $995
This workshop will focus on making pots that
connect past with present through “crossbreeding” design elements from various
sources. Students will reinterpret historical
pottery forms by merging them with more
contemporary imagery, objects or ideas that
relate to each individual’s interests. Our goal
will be to discover new, personal identities
within these great historical works. Technical
instruction will include: altering wheel thrown
forms, slab construction using paper templates
and the application of China paints. If you
have an interest in developing your own work
based on historical ceramic objects, this will be
the class for you. Students should have basic
wheel-throwing and/or handbuilding skills.
Thaddeus Erdahl is a studio artist and is the
head of Lower School Art at the Princeton Day
School. He has held residencies at Guldegergaard
International Ceramic Research Center in
Denmark and at Arrowmont and had a solo
exhibition at Greenwich House Pottery in New
York City.
Sam Chung received his MFA from Arizona State
University and his BA from St. Olaf College. He
taught at Northern Michigan University from
1998-2007 and has been teaching at Arizona
State University since 2007 where he is an
Associate Professor of Ceramics
[email protected]
COURSE FEE: $525
samchungceramics.com
dougjeppesen.com
45
CLAY
KRISTEN KIEFFER
ALTERED, ORNAMENTED AND DRAWN:
NO FEAR!
This workshop will focus on conquering
anxiety and embracing play in student
sketchbooks and pots. You will be altering
wheel-thrown or hand-built forms, and then
embellishing them with an array of decoration
techniques, from stamping and slip-trailing to
sponging and resists. In between, students will
investigate ways of drawing and collaging in
your sketchbooks that are both fun and help
fine tune influences and ideas. Demonstrations
include throwing, altering and building off the
wheel, darting and a variety of deco techniques
including stamp-making. Students will leave
the workshop with a collection of new skills,
a better understanding of timing in clay, and
confidence. This workshop and its techniques
are equally suitable for both throwers and
hand-builders. Basic wheel-throwing and/or
hand-building skills are necessary.
JANIS MARS WUNDERLICH
EXPRESSIVE FIGURES IN CLAY
This fast-paced, hands-on workshop will focus
on figurative sculpture. Participants will learn
a multitude of techniques for hand building,
adding texture and details, and glazing. You
will develop intricately layered surfaces, while
discussing personal imagery and translating
the struggles and joys of everyday life into
figurative form. Workshop content will go
beyond the technicalities of making, as you
learn an abundance of ideas about studio
set-up, working with galleries, exhibiting
and selling work, and other practical advice.
Participants will learn to interpret the events
that surround them into richly detailed
expressive figures in clay. Some ceramic
experience is helpful, but all skill levels are
welcome.
COURSE FEE: $525
COURSE FEE: $525
Kristen Kieffer is a full-time studio potter,
workshop leader, and ceramics instructor in
Massachusetts. She received her BFA from the
N.Y.S.C.C. at Alfred University and MFA from
Ohio University. Kristen has exhibited her work
internationally.
kiefferceramics.com
46
Janis Mars Wunderlich received her BFA from
Brigham Young University and MFA from Ohio
State University. As a full-time, at-home artist
she has created an extensive body of work featured
in hundreds of national and international
exhibitions, public and private collections, and
several publications.
janismarswunderlich.com
MARK SHAPIRO
POTS À LA CARTE: EXPRESSION
AND EASE
Potters are always working on certain pots,
striving to make them more expressive and
with greater ease. What pots do you return
to again and again? This workshop will focus
on pots students choose. You will generate a
list of specific pots such as cups, mugs, bowls,
pitchers, teapots, or general topics such as
handles, lids or spouts. The goal is to go home
with new techniques and practical ideas about
how to improve and expand your menu of
pots. Some wheel experience preferred.
COURSE FEE: $525
Mark Shapiro makes wood-fired pots in Western
Massachusetts. He is a frequent lecturer, curator,
panelist, and writer, and is mentor to apprentices
who have trained at his Stonepool Pottery. His
work was featured in the 4th World Ceramics
Biennial in Icheon, Korea, and is in many public
collections.
stonepoolpottery.com
JERILYN VIRDEN
HOLLOW FORM SCULPTURE
Working with earthenware clay, students
will use handbuilding techniques to create
sculptural vessels and abstract forms. Beginning
with small maquettes, students will experiment
with shape and proportion, brainstorming
directly with clay. This collection of rapidly
developed three-dimensional sketches will
become a resource for the rest of the workshop.
With a focused study of proportion, structure
and surface, you will learn to translate these
solid objects into hollow forms. Participants
will build sculptural pieces through pinching,
coiling, slab building and carving, using
these techniques to explore issues of scale.
Completed work will be bisque fired after the
workshop. Open to all skill levels.
COURSE FEES: $525
Jerilyn Virden is a studio artist in of Greensboro,
Vermont. She graduated with a BFA from West
Virginia University in 1997 and has also studied
abroad at the Jing-de-zhen Ceramic Art Institute
in China. She creates hollow ceramic sculptural
forms as well as utilitarian pottery.
borealisstudios.com
CLAY
ADAM FIELD AND DOUG PELTZMAN
WORKING OUT THE DETAILS: SURFACE, FORM AND FUNCTION
In this five-day workshop, students will learn through demonstration methods of wheel-throwing
porcelain vessels and carving intricate pattern on a variety of forms. You will learn techniques
for throwing and building with porcelain along with designing pots with specific glazes in mind.
There will also be discussion about Field’s time as a potter’s apprentice in Korea. You will gain
personal aesthetics, and learning promotion and marketing strategies for the studio potter are
certain to encourage individual discovery, growth, and development of fresh ideas. There will
also be informative discussions and exercises geared toward finding inspiration through personal
exploration of one’s own practice both in and out of the studio. Students are encouraged to bring
source material for surface treatment as well as high fire bisque ware. Participants will gain the
skills and confidence necessary to explore form, texture, line, and color as a way to blend ideas and
concepts with tactile discovery. Open to all skill levels.
COURSE FEE: $525
Adam Field earned his BA in Art from Fort
Lewis College. He recently moved to Helena,
Montana where he is a long-term artist in
residence at The Archie Bray Foundation. He
studied Korean pottery making under 6th
generation Onggi master Kim Il Mahn.
Doug Peltzman is a studio potter and teacher in
the Hudson Valley area of New York. He earned
his BFA in Ceramics at SUNY New Paltz in
2005 and in 2010 his MFA in Ceramics from
Penn State. He served an adjunct instructor at
the University of Hartford.
adamfieldpottery.com
dougpeltzman.com
MCKENZIE SMITH
CLAY, FORM, SLIP, GLAZE, FIRE
The interaction between a clay, slip, glaze and
kiln atmosphere will be central as students
consider how these converge with the process
of shaping clay to make good pots. This class
will explore variety, proportion and expressive
relationships through wheelthrown functional
forms fired in soda and salt kilns. Students
should expect to share ideas and develop forms
and processes together. Demonstrations, slides
and discussions will help lead us to new ideas
and bodies of work. Open to all skill levels.
COURSE FEE: $525
McKenzie Smith is a potter working in Florida.
He worked as a core student at the Penland
School of Crafts. He received his BFA from the
University of South Florida and his MFA from
the University of Florida. Smith has exhibited
widely and taught numerous workshops.
mckenziespottery.com
ALICE BALLARD
FINDING YOUR FORM
THROUGH NATURE
Establish a more intimate relationship with
your natural environment and allow that
relationship to impact your work in this
enlightening workshop. Students will begin
by collecting natural forms that attract them.
Various handbuilding exercises will follow
as students increase the size and complexity
of their discovered form. Low fire clays and
colored terra sigillata will be used. Work will be
fired in electric kilns and the last firing will be
a sawdust firing. Intuition, spontaneity and fun
will be part of this process oriented workshop.
Only a curiosity about clay is necessary to
enjoy this class. Open to all skill levels.
COURSE FEE: $525
Alice Ballard received her BS in Design from
the University of Michigan and an MFA in
Painting. She has worked in the permanent
collections of the Smithsonian American Art
Museum’s Renwick Gallery in Washington D.C.
and the Mint Museum of Art in Charlotte, North
Carolina.
aliceballard.squarespace.com/blog
47
CLAY
KEVIN CROWE
OUT OF THE HEART – INTO THE KILN
In this workshop students will surface
bisqueware, and load and fire Arrowmont’s
Manabigama wood kiln. You will explore
stacking strategies, firing cycles and ash
distribution. While the kiln cools, there will
be throwing demonstrations. You will discuss
various kiln designs, the effects of longer firing
cycles, and the benefits of raw glazing and
single firing. After unloading students will
analyze results and learn the lessons in front
of you, including the environmental costs, the
aesthetic challenges and the role of community
in wood firing. Patience, curiosity and a sense
of humor are required. Open to all skill levels.
COURSE FEE: $525
Kevin wood fires Asian-English inspired pots in
his anagama-noborigama 450 cubic foot kiln. He
has taught workshops throughout the U.S. and
Great Britain focused on wood firing, throwing
large scale work and tea bowls. He lives and
works in central Virginia in the foothills of the
Blue Ridge Mountains.
kevincrowepottery.com
NAN JACOBSOHN
SCULPTING THE ANIMAL IMAGE
Animal images have been captivating since
the time of the cave man. Through renderings
artists seek to capture their beauty, grace
and spirit. In this class students will explore
techniques to achieve the characteristic
gesture and features that defines the animal
through the use of multiple hand building
approaches and supportive armatures.
Developing a personal aesthetic will also be
stressed. Methods for achieving convincing
surface textures and final finishes will be
demonstrated, along with instructions for fool
proof firing schedules specific to larger scale
sculpture. Open to all skill levels.
COURSE FEE: $525
Nan Jacobsohn has spent multiple decades
instructing sculpture and has had numerous
grants with the Tennessee Arts Commission to
teach in Tennessee schools. Her work has been
featured in Ceramics Monthly and Clay Times.
theclayhorse.com
JASON BIGE BURNETT
GETTING GRAPHIC: PRINTS AND POTS
CHANDRA DEBUSE
SKETCH, STRETCH AND SCRATCH: THE
ILLUSTRATED VESSEL
This action-packed week provides a crash
course introduction to screen-printing and
how to incorporate it in student’s clay work.
Screen-printing methods: drawing fluid, screen
filler and photo sensitive emulsion will be
covered in addition to generating stencils based
on student’s interests. You will explore personal
imagery and iconography through several types
of surface techniques using slip, underglaze,
newsprint paper and paper cutting. This course
is open to all skill levels. No print experience
necessary. Hand-builders and wheel throwers
are welcome. Experience in clay will be helpful.
COURSE FEE: $525
Jason Bige Burnett earned his BFA from Western
Kentucky University in 2009 and continued his
education as a core fellowship student at Penland
School of Crafts in North Carolina in 20092010. Jason has been an Artist-In-Residence at
Arrowmont and has been published in numerous
publications.
jasonbigeburnett.com
In this class students will explore sketchbased creation of functional pottery through
handbuilding and surface decorating
techniques. You will examine methods of
translating two-dimensional shapes into threedimensions using soft clay slabs with stamps/
templates/molds made from wood, craft foam
and bisqued clay. After forming, participants
will embellish your surfaces with imagery
and pattern through low-relief, underglaze
inlay, sgraffito, and combined techniques.
Numerous examples ranging from historical
pottery to contemporary illustration will
spark ideas about integrating form and surface
in your work. Students will focus primarily
on handbuilding, but some wheel-throwing
techniques will be integrated. Bring your
sketchbook and be ready to experiment with
some new techniques. Open to all levels,
although some experience with clay will be
helpful.
COURSE FEE: $525
Chandra DeBuse creates illustrated pottery out
of her studio in Kansas City, Missouri. She
received her MFA from the University of Florida
in 2010 and was an Arrowmont resident artist.
Her handbuilding methods have been featured in
Pottery Making Illustrated magazine.
chandradebuse.com
48
CLAY
JAMES TISDALE
GO FIGURE!
In this class students will use the figure,
animal, or a combination of both for a
foundation to create a narrative sculpture
that may explore many subjects. These ideas
can be humorous, political, social, religious,
or one of inner intimacy. There will be
discussions on developing a visual language
through individual and group dialogues. Along
with a lecture of how the instructor’s images
developed, there will be demonstrations on
the exploration of surface treatments by using
glazes and under glazes in a variety of ways
on green ware and fired work. Students will
achieve their goal by using coils, slabs or a
combination both. This is a class of learning
through exploration, play and removal from
the rest of the world to have fun. Please bring
images or sketches so we can hit the ground
running. Open to all skill levels.
COURSE FEE: $525
James Tisdale received his MFA from the
University of Georgia and works at The
Contemporary Austin and serves as the ceramic
program coordinator for The Art School. He
received UGA grants to study in Italy and a
NEA Grant to lecture and show his art here and
abroad.
jamestisdale.com
MICHAEL SHERRILL
FOR THE LOVE OF MATERIAL: FINDING
THE HUMAN IN MATERIAL
LIZ ZLOT SUMMERFIELD
SOFT SLAB CONSTRUCTION:
THE BASICS AND BEYOND
In this class students will be learning about
color techniques with colored clay and slips.
You will explore the use of the extruder, the
manipulation of forms and the use of bronze
as a structural element. Each of these mediums
has similarities and students will come to
understand the marriage between them. This
class will consist of studio time, meaningful
discussions, critiques, questions and risk
taking. Open to all skill levels.
COURSE FEES: $395
Michael Sherrill has lived in western North
Carolina since 1974 and is the creator of
Mudtools, president of the Center for Craft,
Creativity & Design, an organization advancing
the understanding of craft and materials-based
arts and a full time maker
michaelsherrill.net
This workshop will demystify working
with soft slabs, and will offer the essential
components to creating unique slab built pots.
Students will be introduced to the techniques
of working with earthenware clay slabs and
paper patterns. You will begin with simple
functional forms and expand to include
components such as lids, feet and spouts.
There will be discussion and work time allotted
towards surface treatment using terra sigillata
and underglazes. Students will learn strategies
on personalizing your work through discussion
and a visual presentation. Open discussions
on topics such as function, scale, and the
importance of intention will be encouraged as
well as one-on-one interaction in a supportive,
positive environment where experimentation
is encouraged and individual development
nurtured. Firing is not included. Open to all
skill levels.
COURSE FEE: $340
Liz Zlot Summerfield completed her MFA
in 2004 at the University of Minnesota in
Minneapolis. She lives in Bakersville, North
Carolina and works as studio artist and adjunct
instructor in the Professional Crafts Program at
Western Piedmont Community College located in
Morganton, North Carolina.
lszpottery.com
49
EXHIBITION SCHEDULE
JANUARY 17 – MARCH 14, 2015
17TH SEVIER COUNTY JURIED BIENNIAL
Opening Reception: Friday, January 16,
6:00 – 8:00pm • Blain Galleries
MARCH 13 – APRIL 19, 2015
SOUTH EAST FIBER FORUM
INSTRUCTOR EXHIBITION
Loggia and Instant Gallery
MARCH 21 – MAY 9, 2015
A-I-R ANNUAL EXHIBITION
Reception: Saturday, April 10 during
Legacy Weekend • Blain Galleries
OTHER ARROWMONT PROGRAMS
GALLERIES & EXHIBITIONS
COMMUNITY PROGRAMS
ARTISTS-IN-RESIDENCE PROGRAM
THE SANDRA J. BLAIN GALLERIES offer a
Arrowmont complements its core national
workshop programs with a series of classes and
special programs designed specifically for local
residents.
Community Classes are offered in the winter
months in professionally-equipped studios
with skilled teaching artists covering a variety
of media and learning opportunities. Complete
information on community classes for adults,
young adults and children is available online.
The Artists-in-Residence Program offers early
career, self-directed artists the time, space and
support to develop a new body of work in a
creative community environment with visiting
artists, instructors and students. Residents,
selected annually for the eleven-month
program, live on campus and are provided
studios, monthly stipends, furnished housing
with private bedrooms and bathrooms, and
meals during workshop sessions. Professional
development, paid teaching and exhibition
opportunities are available.
year-round schedule of changing national
and regional exhibitions that complement
and support workshops, conferences and
programs. Serving as an educational resource,
the exhibitions enable students and visitors
to learn about various media, techniques
and ways artists express ideas through their
work. Many works are for sale with proceeds
supporting individual artists and the mission
of the School.
THE LOGGIAGALLERY features the Arrowmont
Wednesday, April 22nd, 5:30 – 7:00pm
Pilgrimage dates: April 22 – 25, 2015
• Loggia Gallery
Artists-in-Residence in a revolving exhibition.
This foyer gallery is dedicated to the residency
program in order to provide opportunities for
the resident artists to learn exhibition space
management. On occasion, this gallery features
national conference and permanent collection
exhibitions as well. MAY 18 – AUGUST 22, 2015
THEJERRYDROWNWOODSTUDIOGALLERY
APRIL 20 – MAY 15, 2015
SPRING WILDFLOWER PILGRIMAGE ARTIST
OF THE YEAR RECEPTION:
2015 INSTRUCTOR EXHIBITION
Blain Galleries
AUGUST 29 – OCTOBER 31, 2015
MATERIALITIES: CONTEMPORARY TEXTILE
ARTS SURFACE DESIGN ASSOCIATION
INTERNATIONAL EXHIBITION
Intensive dates: October 4 – 11
Reception: Thursday, October 8
Blain Galleries
NOVEMBER 7, 2015 – JANUARY 9, 2016
SELECTIONS FROM ARROWMONT’S
PERMANENT COLLECTION
Blain Galleries
50
displays revolving wood exhibitions from the
permanent collection, much of which was
donated as a bequest from Jerry Drown, a
long-time supporter of the School. Exhibitions
include turned and constructed wood objects
and wood sculpture, historically representative
of the evolution of woodturning — from
functional forms to artistic objects.
ArtReach annually provides more than
1,200 students (grades 4-12) from different
Sevier County schools with an in-depth, full
day art workshop at Arrowmont. Content
encompasses a wide range of diverse art
experiences, including use of specialized
equipment. Students take one of six different
workshops including drawing, photography,
pottery, painting, textiles, sculpture, metals
and woodturning.
Smoky Mountain School of Appalachian Arts
and Culture is a collaborative project with
the Sevier County School System designed
to provide week-long learning opportunities
for eighth grade students on Arrowmont’s
campus. The intensive study includes art,
traditional crafts, history, tradition and
culture of Appalachia, with an emphasis on
the interrelationship between art and other
disciplines.
For additional information go to arrowmont.org.
www.arrowmont.org/artists-in-residence
ARROWMONT’S ARTISTS SUPPLY STORE
Workshop supplies and books are available
in the supply store on campus, along with
artwork by current and former resident
artists. The store carries materials requested by
instructors for classes, as well as an extensive
range of supplies in all media.
ARROWMONT FACILITY RENTAL
Arrowmont facilities provide the perfect
location for conferences, corporate retreats,
business meetings or family gatherings.
Housing, meals, presentations and art-making
can be easily accommodated on campus. For
more information, call 865.436.5860.
REGISTRATION AND WORKSHOP FEES
Classes are filled on a first come, first served
basis and early registration is recommended as
class sizes are limited and fill early. Arrowmont
believes that diversity of students, including
varied skill levels and backgrounds, enriches
the educational experience for all. Arrowmont
accepts all persons regardless of race, color,
national origin, gender, sexual orientation or
religion. Students must be 18 years or older to
attend an adult workshop.
SCHOLARSHIPSAND FINANCIALAID programs
are available to support continuing education
for K-12 teachers; participation by local
residents who live or work in Blount,
Cocke, Jefferson, Knox or Sevier counties
in Tennessee; and others with financial
need, as well as some specific media-based
opportunities. Please see page 58 & 59 for
scholarship and educational assistance program
information. If fees are prohibitive, contact
the registrar to explore existing financial aid
opportunities. Those applying for a scholarship
or the educational assistance program will be
registered following selection and acceptance of
the award.
PAYMENT may be made by check, money order,
or credit card (MasterCard, VISA, Discover, or
American Express).
Workshop registration is NON-TRANSFERABLE
from person to person. A person may transfer
their enrollment from one class to another
within the same year, presuming space is
available. Transfer requests will not be accepted
less than 30 days prior to workshop. A nonrefundable $25 transfer fee will be charged for
each transfer.
All CANCELLATIONS must be made in writing
by mail, fax or email (no phone calls please).
A cancellation fee of $100 will be charged on
cancellations received more than 45 days prior
to the start of the workshop. Cancellations
received less than 45 days before the beginning
of the workshop receive no refund.
Arrowmont reserves the right to cancel any
class due to insufficient enrollment and will
notify students of any cancellation at least two
weeks prior to the start of the workshop. In
the event that Arrowmont cancels a class, the
student will receive a full refund, including
the registration fee. Arrowmont cannot be
responsible for airline tickets or other travel
costs in the event of a cancellation.
Arrowmont works with colleges and
universities to offer COLLEGE CREDIT and/
or CEU certification for interested students.
For those interested in earning credit, please
call Arrowmont before registering for a class
to understand the options available. Most
Arrowmont workshops qualify for college
credit when approached as independent study
projects in conjunction with a degree program.
Interested students should consult with their
counselors prior to enrolling.
MATERIALS FEES will be charged to all students
based on shared materials used in each
class, and are in addition to course fees and
materials or supplies that instructors may
ask students to bring, or individual supplies
purchased at the Art & Supply Store during
the workshop. Materials fees are collected
on the last day of class. See chart at right for
average materials fees. It is possible for fees
to be less or greater than the range indicated
depending on the class.
BASKETS .................................................... $20 - $90
CLAY ........................................................... $35 - $120
DRAWING/PAINTING ................................ $20 - $70
ENCAUSTIC PAINTING .............................. $75 - $160
FIBER/SURFACE DESIGN/MARBLING ....... $30 - $100
GLASS ........................................................ $90 - $180
GLASS/KILN CASTING ............................... $150 - $300
METALS/ENAMELS/POLYMER CLAY ........ $25 - $105
Students should be aware that in many
workshops they may be working with tools and
equipment which, if improperly or carelessly
used, can cause injury. All classes will include a
SAFETY review to inform students about proper
use of tools and equipment in the studio. By
registering for a workshop, students assume the
risk of working with the tools, equipment, and
materials provided by Arrowmont, and neither
the instructor, the School nor its employees
will be responsible for injuries received by
students as a result of the improper or careless
use of those tools and equipment.
PAPER/BOOK ARTS/PRINTMAKING ......... $30 - $90
PHOTOGRAPHY .......................................... $10 - $75
SCULPTURE ................................................ $20 - $95
WOODTURNING/WOODWORKING ........... $25 - $125
51
SCHEDULE AT A GLANCE
APRIL 9 — 12
LEGACY WEEKEND
MARK ST. LEGER woodturning
JOHN PHILLIPS appalachian style banjos
MARY ANN THOMPSON baskets
FRANCES FOX weaving
JEANNE BRADY textiles/surface design
JOHN DIGIACOMO photography
BOBBIE CREWS painting
BRIAN NETTLES clay
LENTON WILLIAMS traditional brooms
JOEL ZACHRY nature studies
MAY 31 — JUNE 6
AVELINO SAMUEL woodturning
AL STIRT woodturning
JOHN COGSWELL metal*
JIM ARENDT fibers
JANE LACKEY fibers/drawing
HOLLY COOPER glass beads
K RHYNUS CESARK encaustic painting
BLAIR CLEMO clay
HEATHER MAE ERICKSON mold-making
BOB LOCKHART stone carving*
DAVID MARKS special topics
JUNE 7 — 13
DAVID ELLSWORTH woodturning
DUSTIN FARNSWORTH woodworking
JENNIFER WELLS metal
RACHEL MEGINNES mixed media
CARMEN GRIER fibers
MATTHEW SHLIAN paper
MARGARET SCANLAN painting
FORREST MIDDELTON clay
REBECCA HUTCHINSON clay sculpture
JUNE 14 — 20
EMMET KANE woodturning
PETER DELLERT woodworking
ARTHUR HASH metal
MI-SOOK HUR enamel on metal
JENNIFER ANGUS fibers
LAUREN DICIOCCIO embroidery
TRAVIS HEAD bookbinding/sketchbooks
KRISTEN MARTINCIC printmaking
JOSEPH PINTZ handbuilding pots*
LINDSAY PICHASKE clay sculpture
JUNE 21 — 27
RAY KEY woodturning
TRAVIS TOWNSEND woodworking
BECKY MCDONAH metals
NATHALIE MIEBACH baskets/sculpture
REGINA & DAN ST. JOHN paper/marbling
BIRUTA AUNA bookmaking
ANNE NYE glass
KRISTY DEETZ painting- acrylic
URSULA HARGENS clay
JASON WALKER clay handbuilding
52
JUNE 28 — JULY 11
TWO WEEKS
SHARON DOUGHTIE & PAT KRAMER
woodturning
BETTY HELEN LONHGI metals
TOMMYE SCANLIN weaving
AMY PUTANSU textiles
MEAGAN CHANEY GUMPERT glass/mixed
media
ANDY SAFTEL & SHANE DARWENT
printmaking
LOU KRUEGER & LAURA BETH KONOPINSKI
pin-hole camera building/photography
DOUG JEPPESEN anagama/wood firing
TJ ERDAHL clay figurative
JULY 12 — 18
BETTY SCARPINO woodturning
MARK DEL GUIDICE woodworking
TIM LAZURE metals
LAURA MONGIOVI textiles
WARREN SEELIG fibers
JASON CHAKAVARTY glass casting
GARY CHAPMAN charcoal drawing
SAM CHUNG clay handbuilding
JULY 19 — 25
JERRY KERMODE & WALKER KERMODE
woodturning
JENNA GOLDBERG bandsaw boxes
CHRIS DARWAY metals
JOVENCIO DE LA PAZ spinning/tapestry
HERB RIETH drawing/zines
HOLLY ROBERTS mixed media/
painting/collage*
KJELLGREN ALKIRE screenprinting
KRISTEN KIEFFER clay
JANIS WUNDERLICH clay figurative
JULY 26 — AUG. 1
GRAEME PRIDDLE woodturning
CORY ROBINSON woodworking
ANDREW KUEBECK metals
MARY CHUDUK enamels*
MEREDITH GRIMSLEY surface design
STEPHANIE METZ felting
KATHY COOPER floor cloths
PINKNEY HERBERT painting
MARK SHAPIRO clay
JERILYN VIRDEN clay sculptural/
hollow forms
SCHEDULE AT A GLANCE
AUGUST 2 — 8
WARREN CARPENTER woodturning
DEB LOZIER metals
ERICKA HANSON weaving
ASHLEY BLALOCK crochet
MEGAN ABAJIAN paper arts
BARBARA CASHMAN glass
RYAN O’MALLEY printmaking
ADAM FIELD & DOUG PELTZMAN clay
JAMES DARR sculpture
AUGUST 9 — 15
DALE LARSON woodturning
SABIHA MUJTABA woodworking/carving
JOHN GARRETT baskets
KATHRYN CLARK quilting
JIYOUNG CHUNG paper
HELEN OTTERSON glass casting
CLAIRE STIGLIANI painting
MCKENZIE SMITH clay
ALICE BALLARD clay handbuilding
SEPTEMBER 13 — 19
RUDY LOPEZ woodturning
WALT TURPENING woodworking
MARY HETTMANSPERGER metals
KATHY WILCOX enamels
JOY UDE textiles/surface design
AIMEE LEE paper jewelry
ASHTON LUDDEN printmaking
LISA LINE painting
KEVIN CROWE clay woodfire
NAN JACOBSOHN clay sculpture/animal
SEPTEMBER 20 — 26
LIAM O’NEILL woodturning
DON WARD & CURTIS SEEBECK pentuning/
mini-lathe
DEB KARASH metals
KATHY WEAVER textiles
BILL & MARYANN SMITH baskets
KARI MINNICK glass
DON MCGOWAN photography
MARY TODD BEAM painting
JASON BURNETT clay
SHERRI WARNER HUNTER concrete sculpture
SEPTEMBER 27 — OCTOBER 3
MARILYN CAMPBELL woodturning
YANN GIGUERE woodworking
RICKY FRANK enamels
CLAY BURNETTE baskets
EMILY BARLETTA embroidery and drawing
BRYANT HOLSENBECK fabric sculpture
WILLIAM KOCHER plein air painting
JEFF HIRST printmaking
CHANDRA DEBUSE clay
JAMES TISDALE figurative clay
OCTOBER 4 —7
SDA WORKSHOPS
SARA GOODMAN & MARY ZICAFOOSE
natural dye & weaving
YOSHIKO WADA natural dye
CAROLE LUNG textiles/sewing
LISA KLAKULAK felting
ANN MORTON tapestry
MICHEL GARCIA natural dye
OCTOBER 15 — 18
MASTER WEEK-END
NORM SARTORIUS woodworking
CHARLES LEWTON-BRAIN metals
GRETCHEN GOSS enamels
GYONGY LAKY baskets
JO STEALEY paper
DON LAKE watercolor painting
MICHAEL SHERRILL clay sculpture
STONEY LAMAR & DAN ESSIG surface
texture
CALL 865-436-5860
TO REGISTER NOW
OCTOBER 22 — 25
WEEK-END
ALAN CARTER woodturning
JAMES DUXBURY woodturning/mini-lathe
STEVE ARTS metals & enamels
MATT TOMMEY baskets
BEN VENOM quilting
HEIDI NEILSON bookmaking
TOM LUCAS printmaking
JANE VOORHEES painting
LIZ ZLOT SUMMERFIELD clay
COLETTE PETERS cake sculpture
*Qualifies for College Credit
www.arrowmont.org
53
HOUSING & MEALS
Students generally live on campus during their
workshop in order to take full advantage of the
immersion opportunity, to get to know their
fellow students, and to spend as much time as
possible focused on their work. Campus housing
options include single, double, triple and
dormitory rooms in three buildings. All linens
and towels are provided. Rooms are assigned on a
first come, first served basis.
Campus housing prices include three meals
daily in the Staff House Dining Hall. Meals
are served Sunday dinner through Saturday
breakfast for one-week classes and Thursday
dinner through Sunday lunch for weekend
classes. Although we cannot provide special
options for everyone, vegetarian meal choices
are available.
No camping, buses, trailers or RV’s are
permitted on Arrowmont property. No pets are
permitted on campus except service animals.
ON-CAMPUS HOUSING
(Prices are per person)
HUGHES HALL has single and double air-
conditioned rooms, private or adjoining baths,
and a large, comfortable porch. Hughes Hall
is a three story facility, and the first floor is
handicap accessible but does not have an
elevator. Rooms with private baths have
limited availability. Prices are per person and
include meals.
TEACHERS COTTAGE is a rustic and charming
house with air conditioning and includes
single, double and triple rooms sharing
common bathrooms. Prices are per person and
include meals.
RED BARN is a renovated historic structure
without air conditioning. It offers double,
triple and dormitory style rooms which
accommodate four people, all with shared
baths. Prices are per person and include meals.
ONE WEEK
TWO WEEKS
WEEKEND
SINGLE · 1 PERSON PER ROOM (PRIVATE BATH)
$755
$1,555
$345
SINGLE · 1 PERSON PER ROOM (SHARED BATH) $565 $1,195 $295
DOUBLE · 2 PEOPLE PER ROOM (PRIVATE BATH) $585 $1,215 $285
DOUBLE · 2 PEOPLE PER ROOM (SHARED BATH) $475 $995 $255
SINGLE · 1 PERSON PER ROOM (SHARED BATH) $565 $1,195 $295
TRIPLE · 3 PEOPLE PER ROOM (SHARED BATH) $415 $865 $235
TRIPLE · 3 PEOPLE PER ROOM (SHARED BATH) $375 $795 $195
DORMITORY · 4 PEOPLE PER ROOM (SHARED BATH) $345 $735 $185
$199 $439 $105
APARTMENTS AVAILABLE
Arrowmont has four apartments of varying
sizes available for those who want more space
and privacy. Call 865.436.5860 for availability
and cost.
LIVING OFF CAMPUS
Students may choose to stay off-campus.
Information on off-campus housing can be
obtained from the Gatlinburg Chamber of
Commerce, call 800-588-1817 or visit www.
gatlinburg.com. Students staying off-campus
may purchase meal plans.
MEAL PLANS 54
(Off campus students ONLY)
SCHOLARSHIPS
THE PI BETA PHI FOUNDATION provides
Arrowmont offers a number of opportunities to enable students to attend workshops
at reduced costs. Individual scholarships provide partial or full coverage of course
fees, housing and meals. They are awarded to a student to take a specific workshop
based on financial need and/or various criteria depending on the source of the funds.
For all scholarships other than local resident and K-12 teachers scholarships,
apply online at slideroom.arrowmont.com
FRIENDSOFARROWMONTSCHOLARSHIPSare
partial scholarships that cover 50% of the
workshop fee, meals and dormitory housing
for a one- or two-week workshop. These
scholarships are intended to make Arrowmont’s
programs available to the broadest population
of students. Qualifications include financial
need and a commitment to personal artistic
goals. Skill in a particular medium is not
required. Applicants must describe why they
want to take a specific class, why the cost would
be a hardship for them, why they would make
a good candidate for a scholarship, and how
they intend to use the experience to further
their artistic goals. Friends of Arrowmont
Scholarships are funded by gifts to the Friends
of Arrowmont Annual Fund, Scholarship
Auctions, the Margaret L. Gongaware
Scholarship Fund, the Suzanne Hill Memorial
Scholarship Fund, the Helen M. Russell
Bequest, the Robert H. Skinner Bequest, and
the Rude & Daphne Osolnik Scholarship Fund.
Application deadline — March 1, 2015
THE DR. JUDITHTEMPLE SCHOLARSHIPfund
provides full scholarships that cover 100%
of the costs of attending a one- or two-week
workshop at Arrowmont. These scholarships
are for promising and talented students
who could not otherwise afford to come to
Arrowmont. Applicants must provide images
of their work and letters of recommendation
along with their application. The Dr. Judith
Temple Scholarship Fund was established by
an anonymous donor.
Application deadline · March 1, 2015
THE STEVEN E. AND CAROLYN J. GOTTLIEB
WOODCRAFTSCHOLARSHIPisascholarshipthat
covers 100% of the workshop fee, meals and
dormitory housing for a one-week workshop.
The scholarship is intended for a United States
military personnel member or veteran who is
handicapped, or a financially deserving student
who is 18 years of age or older and is pursuing
woodturning. Disabled military personnel of
all ages are encouraged to apply. This fund was
established by Steven and Carolyn Gottlieb
and is designed to utilize their donation to
Arrowmont of a sit-down lathe.
scholarships to both members and
nonmembers of the national Pi Beta Phi
Fraternity. Application procedures and
materials are available directly from the
Foundation at pibetaphifoundation.org. Go
to the “scholarship link” to download an
application.
THEBILLGRIFFITHARTEDUCATORSFELLOWSHIP
provides a four-week residency annually for
one K-12 art teacher from the United States.
Recipients will receive a studio, housing, meals
and enrollment in a one-week workshop. For
more information, visit www.arrowmont.org or
call the School.
SCHOLARSHIPS SUMMARY
FRIENDS OF ARROWMONT Open to all skill
levels and no images are required.
DR. JUDITH TEMPLE SCHOLARSHIP Open to
advanced students and images are required.
K-12TEACHERSSCHOLARSHIPS provide 50%
of the workshop fee for one workshop per
teacher per year. Documentation of current
employment (or a paystub) is required with
registration. Teachers are not required to be
working in an art discipline or have an art
background. Registration deadline — No deadline, rolling
with class availability.
STEVENE.&CAROLYNJ.GOTTLEIBSCHOLARSHIP
LOCALRESIDENTSSCHOLARSHIPSprovide50%
BILLGRIFFITHARTEDUCATORSFELLOWSHIP
of the workshop fee for one workshop per
person per year. Residents, 18 years or older,
of Blount, Cocke, Jefferson, Knox or Sevier
counties in Tennessee are eligible. Drivers
license or proof of residency required with
registration.
Registration deadline — No deadline, rolling
with class availability.
Open to disabled military personnel or
veterans and other woodworkers.
K-12TEACHERSSCHOLARSHIPOpentoallskill
levels and no images are required.
LOCALRESIDENTS SCHOLARSHIPOpen to all
skill levels and no images are required.
Open to K-12 art teachers. Images are
required.
Please note, if applying for a Scholarship or the
Educational Assistance Program, students will
register after they are accepted and agree to the
award amount. For more information about
applying for a scholarship, please call
865-436-5860.
55
EDUCATIONAL ASSISTANCE PROGRAM
Educational Assistants are an integral part of the School’s operation and the
program provides an opportunity for people with limited financial resources to
participate in classes.
Educational Assistants receive one week of
class for each 45-50 hour week of work.
Students are also expected to work up to 22
hours during the week they are in class. The
workshop fee for the week of class, as well as
dormitory housing and meals for the length
of the assistance commitment are provided.
Materials fees and other art supplies are the
responsibility of the student and are to be
paid weekly. Classes are awarded based on
availability.
Students must arrive the Friday prior to their
session and stay through the Sunday after
their last workshop. Educational assistant
positions are physically demanding and require
the ability to lift 50 pounds. Educational
assistantships are scheduled into two 6-week
summer sessions and one 6-week fall session
(May 29 — July 11, July 5 — August 16,
September 11 — October 25). It is important
for those applying for assistantships to commit
to the entire session, though they may wish to
apply for multiple sessions.
As an educational assistant/employee of
Arrowmont, meals and lodging are provided
on Arrowmont premises and must be accepted
by the student employee as a condition of
their employment. If an Educational Assistant
possesses skills that complement the School’s
needs (photography, technology, landscaping,
etc.), those skills may be utilized in completion
of expected work hours. There are two
categories for educational assistance: workstudy students and studio assistants.
56
WORK-STUDY students function as part of the
kitchen team preparing food, washing dishes,
and setting and cleaning up the dining room.
Work-study students might also help with
grounds maintenance, housekeeping, front
office, the gallery, library and technology
support, or in the Art & Supply Store. Since
previous art experience is not necessary for
work-study positions, this is a great way to
learn new skills, gain confidence artistically,
and make life-long friends working in a fun
and creative environment.
STUDIO ASSISTANTS provide support to
instructors, staff and students, and help to
maintain the studios during workshop sessions.
Although studio assistants may have expertise
in a specific area, they will work in all studios
in some capacity. On occasion studio assistants
will also be scheduled to work in the kitchen.
Applications will be accepted from January 1 to
March 1, 2015.
Apply online at arrowmont.slideroom.com.
ARROWMONT AND YOU
Building the future on the strong foundation
of the past
All gifts are tax-deductible to the extent
allowed by law.
Every enduring educational institution has a
loyal, dedicated group of supporters who believe
in its mission, participate in its programs,
champion its initiatives and invest in its future.
Arrowmont is an institution of this caliber. We
must have the continued support of all segments
of our community. Arrowmont needs and is
worthy of your support.
MAKING YOUR GIFT IS EASY.
Arrowmont School of Arts and Crafts is a
501(c)3 non-profit corporation. All income,
earned and contributed, is used to support
the work of the School. Arrowmont earns
approximately 60% of its income, the balance
of its annual operating budget comes from
the contributions of generous individuals
such as you.
• Make a gift online with our secure server by
going to www.arrowmont.org and clicking the
Donate button
We encourage you to become a Friend of
Arrowmont by contributing to the 2015
Annual Fund. Friends who give $50 or more
receive a Friends of Arrowmont T-shirt. In
addition, Friends who give $100 or more
receive a 15% discount in the Artists Supply
Store. Individuals who give $1,000 or more
annually become members of the Signature
Circle, Arrowmont’s major donor society.
When you invest in Arrowmont you
are ensuring the future of arts and crafts
education—you are enabling us to continue to
offer high quality arts and crafts instruction,
create outreach programs for the schools, offer
scholarships, and take advantage of future
opportunities.
• Add a contribution to your registration
• Send a check in the mail
• Use your credit card to make a gift
• Ask the development department to charge a
monthly gift to your credit card
• Ask the development department
865.436.5860 to send monthly or quarterly
reminders in an amount comfortable for you
• Gifts of stock and planned gifts such as
bequests are welcome and both offer special tax
advantages. Call the development department
for more information.
Whatever you decide to give and however you
decide to make your gift, know that we are
appreciative and will put it to the best use.
Thank you.
Arrowmont programming has been made possible
in part through a joint agreement with the
Tennessee Arts Commission and the National
Endowment for the Arts, which believes that a
great nation deserves great art.
Arrowmont has existed and served the
community of artists and artisans for more
than 100 years. Your gift, in whatever amount
you choose, will help us continue this service
for another 100 years. We encourage you to
invest in the future of all of us.
57
WORKSHOP BASICS
People enroll at Arrowmont to be immersed in art — away from the pressures
and responsibilities of daily life. Partnered with exceptional instructors and
quality instruction, the housing, meals, evening programs, and access to wellequipped studios provide an environment for stimulation and inspiration.
Students may choose never to leave campus during the workshop session.
However, if an outing is desired, Gatlinburg is just down the drive and the
Great Smoky Mountain National Park is only a mile away. Located on a 14-acre
wooded hillside in downtown Gatlinburg, Tennessee at the edge of Great Smoky
Mountains National Park, Arrowmont offers both a secluded retreat experience
and a busy tourist center.
A typical one-week workshop session begins
on Sunday with check-in between 10:00 a.m.
and 6:00 p.m. Classes begin at 7:30 p.m.
following dinner at 5:30 p.m. and a Welcome
& Orientation Program at 6:30 p.m. Classes
continue Monday through Friday, 9:00
a.m. — 5:00 p.m. and studios are generally
open until 1:00 a.m. for students who wish
to continue to work. Studio clean-up is
Friday afternoon with departure on Saturday
morning. Two-week classes follow the same
general schedule, but students may work in
the studios through the weekend in between
weeks of instruction. Weekend classes begin
on Thursday evening and continue through
Sunday at 3:00 p.m.
Arrowmont studios and housing facilities
are accessible on a campus that is considered
moderate mountain terrain. A gradual walk
up a short hill to most facilities is necessary.
If special housing or other requirements are
needed, please discuss this with the registrar
at the time of registration so we can best
accommodate these needs.
58
The Marian G. Heard Resource Center houses
an extensive collection of books and periodicals
available for use in the library. Computers,
printers and copiers are available in the
Resource Center to enable instructors and
students to access the internet and print and
copy as needed. Most of the campus is wireless
for those who bring a laptop or tablet.
Shuttle service is available from Knoxville
McGhee-Tyson Airport. Call Rocky Top Tours
(877-315-8687 and ask for Linda Hall) to
make reservations for arrival and departure at
least two weeks in advance.
A COMPLETE CHECKLIST
REGISTRATION
REGISTER BEFORE FEBRUARY 1ST, 2015
AND REGISTRATION FEE IS WAIVED!
Please complete this form for each workshop for which you are registering.
Additional forms are available at arrowmont.org
$50 NON-REFUNDABLE FEE
This one-time registration fee enables you to
register for as many workshops as you like
during 2015. It is not necessary to register for
multiple workshops at the same time.
NAME
ADDRESS
$300 DEPOSIT FOR EACH CLASS
CITY STATE
PHONE This deposit reserves a space in the workshop.
Full payment of all charges is due 30 days
prior to the beginning of the workshop.
EMAIL
WORKSHOP INFORMATION
PAYMENT & POLICY INFORMATION
DATES
REGISTRATION FEE............................................... $50
INSTRUCTOR
EARLY REGISTRATION DEADLINE FEBRUARY 1, 2015
REGISTER BY THIS DATE AND REGISTRATION FEE IS WAIVED.
COURSE FEE.......................................................... $
TITLE
HOUSING FEE........................................................ $
(see page 54)
CLASS FEE
MEAL PLAN FOR OFF-CAMPUS STUDENT........... $
METHOD OF PAYMENT
CHECK OR MONEY ORDER ENCLOSED VISA
MASTERCARD
DISCOVER
AMERICAN EXPRESS
SEC.CODE SIGNATURE
MAIL
PO Box 567,
Gatlinburg, TN 37738
PHONE 865-436-5860
FAX 865-430-4101
ONLINE arrowmont.org/workshops-and-classes
REGISTRATION IS NOW OPEN
HOUSING INFORMATION
Please select a 1st and 2nd choice, and specify.
HUGHES HALL — SINGLE (PRIVATE BATH)
HUGHES HALL — SINGLE (SHARED BATH)
HUGHES HALL — DOUBLE (PRIVATE BATH)
HUGHES HALL — DOUBLE (SHARED BATH)
FRIENDS OF ARROWMONT CONTRIBUTION....... $
TEACHERS COTTAGE — SINGLE (SHARED BATH)
TOTAL.................................................................... $
TEACHERS COTTAGE — DOUBLE (SHARED BATH)
AMOUNT ENCLOSED / AUTHORIZED
$300 MINIMUM PER APPLICATION...................... $
CARD NO.
4 DIGIT EXP. REGISTRATIONS ARE ACCEPTED BY
HOW DID YOU HEAR ABOUT ARROWMONT?
TEACHERS COTTAGE — TRIPLE (SHARED BATH)
RED BARN* · DOUBLE (SHARED BATH)
RED BARN* · TRIPLE (SHARED BATH)
PLEASE READ AND CHECK
I am 18 years of age or older
RED BARN* · DORM 4 PEOPLE (SHARED BATH)
New Student
ROOMMATE REQUEST
I have read and unsterstand there will be a materials fee to be paid the last day of class. This is in addition to tuition
and materials my instructor may suggest I bring. (See materials fee information on page 51.)
I have read and understand the refund, cancellation and transfer policies on page 51.
Male
Female (for housing purposes)
*Red Barn has no air conditioning.
59
ARROWMONT SCHOOL OF ARTS AND CRAFTS
PO BOX 567
865-436-5860
•
556 PARKWAY
•
•
GATLINBURG, TN 37738
www.arrowmont.org
COLLEGE CREDIT & CEUS, pg. 51 • SCHOLARSHIP INFO, pg. 55 • REGISTRATION FORM, pg. 59 • HOUSING, pg. 54 • EDUCATIONAL ASSISTANCE, pg. 56 • STUDIO ASSISTANTS, pg. 56
SPRING LEGACY WEEKEND, pg. 4 • FALL MASTERS WEEKEND, pg.5

Untitled - Arrowmont School of Arts and Crafts

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