p henomena - Pilchuck Glass School

PILCHUCK GLASS SCHOOL
SUMMER PROGRAM
2016
U. S. P O STAG E
N O N P R O F I T.O R G
BE IMMERSED. BE INSPIRED. BE TRANSFORMED.
PILCHUCK GLASS SCHOOL
SPEECH-TO-SPEECH
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A P P LY O N L I N E BY F E B R U A RY 3 , 2 0 1 6 F O R P R I O R I T Y P L A C E M E N T, S C H O L A R S H I P, TA , A A , & S U M M E R STA F F P O S I T I O N S
ST U D E N T A P P L I C AT I O N S A C C E P T E D U N T I L C O U R S E S A R E F I LL E D.
P I LC H U C K G L A S S S C H O O L F O ST E R S
A N D E D U C AT E S A W O R L D W I D E C O M M U N I T Y
T H AT E X P LO R E S T H E C R E AT I V E U S E O F
GLASS IN ART AND DESIGN.
SUMMER 2016
P I LC H U C K G L A S S S C H O O L
Founded in 1971, Pilchuck is an internationally recognized
school that offers an in-depth education in glass and attracts
artists from all over the world. The school is located fifty miles
north of Seattle in the forested foothills of the Cascade Range,
overlooking Puget Sound. Pilchuck’s mission is to inspire
creativity and build a thriving artistic community in which all
program participants are transformed by their experiences.
SUMMER PROGRAM
Artists actively seek out inspiration and pull from the world
around them. From mid-May through late August, Pilchuck
provides an immersive experience in a rich and intensive
learning environment where artists can delve into their work,
enhance their artistic practice, and learn from one another.
Artists teaching artists was the idea behind the school and
remains the core of the program today.
During each of the six summer sessions, an ever-changing
roster of expert artist-instructors tackles content, technique,
and context in the courses. Students of all levels, from all over
the world, are taught individually and collectively and enter new
creative territories led by their instructors and supported by a
passionate, focused community.
Artists in residence, gaffers, teaching assistants, artist
assistants, and enthusiastic support staff all contribute to the
buzzing, frenetic energy of creative output on campus. Session
activities include presentations, discussions, demonstrations,
exhibitions, and collaborations. As artists simultaneously draw
from traditional glass methods and explore new technologies,
Pilchuck remains a place that actively fosters experimentation,
innovation, and the sharing of information.
2016 SUMMER PROGRAM
2 0 1 6 H I G H L I G H TS
This summer, we activate a broader dialogue
on campus with the introduction of thematic
sessions. The campus will embody, examine,
and expand on the themes of Pattern,
Play, Story, Phenomena, Systems, and
Collaboration/Fabrication. Instructors and
artists in residence have been selected for
their distinctive relationship to their session’s
keyword. The themes will act as a campuswide
perimeter, outlining the focus of each course
and providing a collective springboard for
thoughtful interpretation and creation of
pieces infused with content.
State-of-the-art equipment updates
continue to modernize our facilities and
enhance energy efficiency and sustainability.
Our studios offer a unique combination
of ancient techniques and brand-new
technologies. Cross-pollination of glass and
other disciplines is ever more possible with
the BotLab, the home of equipment for
computer-aided design and fabrication.
Former artists in residence Ian Burns,
Andrea Dezsö, and Erik and Martin Demaine
return to co-teach courses, sharing their
expertise in kinetic sculpture, illustration, and
mathematics with students in courses related
to hot and kiln cast glass, vitreography, and
cane pattern generation.
We look forward to a summer that epitomizes
Pilchuck’s innovative spirit, supportive
community, and devotion to thoughtful making.
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2016 ARTISTS AND CRAFTSPERSONS IN RESIDENCE
2 0 1 6 A R T I STS I N R E S I D E N C E
The legacy of the artist-in-residence program dates back
to the beginning of the school. Over the years, hundreds of
notable artists from a wide range of artistic disciplines have
come to Pilchuck to explore how glass can factor into their
practice and visual vocabulary. Artists and collaborative
groups are invited for each session and provided with their
own artist assistant, who acts as a translator, giving technical
guidance and assistance in the studio. Two gaffers, skilled
glassblowers, help realize projects in hot glass. This year,
artists working in furniture design, painting, sculpture,
digital media, installation, sound, and interactive media
will bring their perspectives to the campus. Invitations are
based on exemplary artistic practice and relationship to
the session’s theme.
Session 1
Pattern
Vivian Beer
Shinique Smith
Session 2
Play
Claire Cowie
Patrick Nickell
Story
Session 3
Mark Dion
Dana Sherwood
Phenomena
Session 4
Finnbogi Pétursson
Jana Winderen
Session 5 SystemsNoiseFold
Collaboration/SuttonBeresCuller
Session 6
Fabrication
2 0 1 6 C R A F TS P E R S O N S I N R E S I D E N C E
Craftspersons in residence, also known as gaffers, are
accomplished artists with expertise in hot glassworking
who execute the creative visions of artists in residence
and instructors. They have a strong interest in collaboration
and a desire to stretch their abilities and ways of thinking.
Craftspersons in residence bear the technical challenge
and responsibility of creating work for other artists.
Pilchuck invites two craftspersons in residence to
participate in each session.
Session 1
Josie Gluck
Michael Schunke
Session 2
Rob Stern
Aaron Baigelman
Session 3
Mikey Cozza
Dante Marioni
Session 4
Brian Corr
Nickolaus Fruin
Session 5
Jason Christian
Daryl Smith
Session 6
Raven Skyriver
Liesl Schubel
Read about artist assistantship opportunities on page 22.
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2016 ARTISTS IN RESIDENCE
S E S S I O N 1: PAT T E R N
S E S S I O N 2 : P L AY
S E S S I O N 3 : STO RY
SESSION 4: PHENOMENA
S E S S I O N 5 : SYST E M S
S E S S I O N 6 : C O LL A B / FA B
VIVIAN BEER
CLAIRE COWIE
MARK DION
FINNBOGI PÉTURSSON
NOISEFOLD
S U T TO N B E R E S C U LL E R
Vivian Beer is a furniture designermaker in New England. She tiptoes
through contemporary design, craft, and
sculptural aesthetics and is known for
her fearless combination of industrial
materials within domestic landscapes.
Her recent research into the history of
American industry, architecture, and
transportation was supported with a
fellowship at the Smithsonian National
Air and Space Museum. Beer’s pieces
are included in the Renwick Gallery,
Smithsonian American Art Museum,
and the Museum of Fine Arts, Boston.
Claire Cowie’s paintings and sculptures,
characterized by vibrant color, attention
to negative space, and shifting
landscapes, address ambiguities in
perception and the fragmentation of
memory and time. She has received
a Pollock-Krasner Foundation grant
and fellowships from the Washington
State Arts Commission and the Behnke
Foundation. Her work is included in the
collections of Microsoft, the Swedish
Cancer Institute, Vulcan Inc., and Twitter
and has been reviewed in Art in America,
Artforum, and the Los Angeles Times.
Mark Dion’s work examines the ways in
which dominant ideologies and public
institutions shape our understanding
of history, knowledge, and the natural
world. His projects range from print in
newspapers, to cabinets modeled after
sixteenth-century Wunderkammer, to
architectural-scale Captain Nemo–like
constructions. His artwork has received
numerous awards, such as a Smithsonian
American Art Museum Lucelia Artist
Award. Dion has held major exhibitions
in museums worldwide.
Finnbogi Pétursson is one of Iceland’s
most prominent artists. His pieces,
which fuse sound, light, sculpture,
architecture, and drawings into spare
sculptural installations, are held in
Thyssen-Bornemisza Art Contemporary
(TB21), Vienna; Malmö Kunstmuseum,
Sweden; Nordiska Akvarellmuseet,
Sweden; and the National Gallery of
Iceland. Permanent installations are
at Landsvirkjun, Vatnsfellsvirkjun (a
power plant), Reykjavík University, and
the Reykjavík Energy Headquarters.
Melding real-time animation and
generative electronic sound with the
legacy of cybernetics and mathematic
visualization, Cory Metcalf and David
Stout (aka NoiseFold) celebrate the
evolution of visual music as a form of
instrumental play with semiautonomous systems. The artists reimagine
a painterly abstraction to suggest
elemental narratives that evoke highly
charged emotional states. Their audiovisual events are simultaneously
familiar, mysterious, and strange.
SuttonBeresCuller is a group of three
Seattle-based artists—John Sutton,
Ben Beres, and Zac Culler—who have
been collaborating since 2000. The
trio’s work ranges in presentation
from gallery works to installation,
performance, and public projects.
Whether in or outside of traditional
gallery settings, they aim to engage
and provoke unsuspecting audiences
with their works, which often are not
what they seem.
SHINIQUE SMITH
PAT R I C K N I C K E LL
DANA SHERWOOD
JANA WINDEREN
Shinique Smith’s work bridges
painting and sculpture, combining
colorful, calligraphic, graffiti-inspired
brushstrokes with found materials.
Her pieces reference Eastern spirituality,
art movements like Abstract Expressionism, fashion, and childhood
wonder, while addressing issues of
cultural identity, consumerism, and
social concerns. Smith’s work is in the
collections of the Los Angeles County
Museum of Art, and the Whitney
Museum of American Art.
Patrick Nickell’s playful subconscious
comes through in his work, which is
made of simple materials that are easily
found in a hardware store. His scribblelike forms are often scrawny, whimsical
oddballs that bring to mind human and
animal-like bodies in pop art colors. In
2014, Nickell received a John Simon
Guggenheim Memorial Foundation
Fellowship. He is currently represented
by the Rosamund Felsen Gallery.
Dana Sherwood is a New York–based
artist whose work lies at the boundaries
of the domestic and the wild and
interrogates the semiotics of desire
and melancholia at the intersection
of the two realms. Her work often
involves organic materials, elaborate
confectionary, and interventions by
animals. In 2015, Sherwood had her
inaugural European solo show at Galerie
Nagel Draxler, Berlin. She will have her
first New York City solo show at Denny
Gallery in 2016.
Jana Winderen’s artistic practice
resembles research. Using the latest
technology, she captures strange and
complex sounds inaudible to humans
from creatures and places that are
difficult to access. In 2015, her work
Pasvikdalen was featured at the
Sonic Act Festival in Amsterdam.
She has received commissions
from the New York Department of
Transportation and the Museum of
Modern Art, New York, for her sound
installations Dive and Ultrafield.
NoiseFold’s installations and
performances have appeared in
diverse venues worldwide, from
Casablanca, Morocco to Marfa,
Texas. Cory Metcalf teaches in the
Emergent Digital Practices Program
at the University of Denver and works
for the renowned software company
Cycling74. David Stout directs the
Hybrid Arts Laboratory and the
Initiative for Advanced Research
in Technology and the Arts (iARTA)
at the University of North Texas at
Dallas, where he is faculty in music
composition and studio art.
SuttonBeresCuller’s work toys with
identity, perception, and instinct.
They create playful scenarios by
reinterpreting and transforming
archetypal objects through changes in
material, space, and place. They have
completed several public projects
and commissions around the Seattle
area and along the west coast.
SuttonBeresCuller is represented
by Greg Kucera Gallery, Seattle, and
Gusford Gallery, Los Angeles.
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SESSION
1
PATTERN
M AY 1 6 –2 7
T H E A R TC H I T E X T U R E O F N AT U R E
Hot-Glass Sculpting, Glassblowing
Students will channel their inner
botanists as they examine, isolate,
and translate naturally occurring
patterns onto glass surfaces in the Hot
Shop. The class will find inspiration
on excursions into the Pilchuck Tree
Farm, where they will examine, draw,
and collect textured and patterned
specimens to be transformed into
glass using frit, powder, and cane
techniques. Visiting artists will
demonstrate various approaches for
surface manipulation. Individualized
and group exercises will help everyone
to see nature in new ways.
B / INTERMEDIATE
P U S H I N G C O LO R ,
P U LL I N G PAT T E R N
Glassblowing, Color Application, Cane
This course will use a dual approach
to focus on the use of the almighty
color bar. Starting with simple,
skill-building exercises, students
will concentrate on achieving
controlled color application and then
move into the addition of decorative
pattern with cane. Twisty cups,
bubble set-ups, overlays, color cups,
cane pulling, and collar and bubble
pick-ups will be covered extensively.
As students gain knowledge and
confidence, demonstrations and
projects will increase in complexity.
Some glassblowing experience is
recommended.
O U T O F T H E ( R O U N D ) B OX
W H AT A W O N D E R F U L W O R L D
P E R S O N A L TO P O G R A P H Y
Glassblowing, Carving, Coldworking
Flameworking
Kiln Forming, Coldworking
Working between Hot and Cold Shops,
this course will take a sculptural
approach to integrating form, pattern,
and surface. The challenge will be to
break out of the round and rethink the
bubble in new ways while focusing
on closed forms. Demonstrations
will include hot-glass shaping with
graphite and cork paddles and carving
at the lathe with diamond and stone
wheels. Students will be encouraged to
research, draw, and approach the class
as an experiment in strengthening
designs, concepts, and teamwork.
Explore the patterns in nature as
you conceive of and create a habitat
in flameworked glass. Whether
inspired by native fauna or imaginary
lands, students will develop unique
representations of place by working
from images and sketchbooks.
Demonstrations of basic borosilicate
sculpting techniques will show how
to realize the elements that make
up these environments and create
future work. Group discussions will
reinforce conceptual development of
these miniature worlds, and technical
assignments will build the skills
needed to create them.
Interconnected patterns can be found
in the built and natural elements
that make up the world, from veins in
leaves to the arteries of cities. In this
course, students will explore pattern
as it relates to place by learning kilnforming techniques—shallow relief
casting, powder printing, and fusing—
and coldworking. Technical instruction
will supply a foundation for advancing
concepts for more refined work.
Sketchbooks, photographs, and found
materials will aid in the development
of ideas with personal resonance.
B / INTERMEDIATE
B / ALL LEVELS
C / ALL LEVELS
B / ALL LEVELS
DEBORA MOORE
Debora Moore is a Seattle-based artist
and member of the African American
Design Archive at the Cooper Hewitt,
Smithsonian Design Museum. Her
work, primarily botanical studies, has
been shown at prestigious venues
including the Smithsonian Institution
in Washington, DC, and was awarded
the Rakow Commission by the Corning
Museum of Glass in 2007. In 2015, the
Northwest African American Museum
in Seattle held a solo exhibition of her
work titled Glass Orchidarium.
COURTNEY BRANAM
Courtney Branam’s vessels are
influenced and inspired as much
by the history of glassblowing as
by his experiences working with
contemporary artists. Rooted in a
tradition that is meticulously on
center, he adds a modern twist that
allows the work to become gestural
and expressive. Branam works as a
freelance glassblower in the Seattle
area and has taught at UrbanGlass
and the Appalachian Center for
Craft. His work can be seen at Vetri
International Glass, Seattle.
E T H A N ST E R N
Ethan Stern’s work pushes beyond
the vessel in an ongoing exploration
of abstraction, color, texture, and
light. His recent work gives a nod
to cut glass produced in American
factories and design houses in the
late nineteenth century. He has taught
sculpture at Penland School of Crafts,
Pilchuck Glass School, the Pittsburgh
Glass Center, Pratt Fine Arts Center,
and the University of Washington. His
work is widely exhibited and held in
museum collections internationally.
JENNIFER UMPHRESS
Jennifer Umphress began her career
in glass in 2000 as an apprentice in
a small studio in Hawaii. She later
apprenticed with Cesare Toffolo in
Murano and studied with Robert
Mickelsen and Janis Miltenberger.
Recognition for her work includes
a Niche Award in 2009 and a
Glasscraft Emerging Artist Award
from the Corning Museum of Glass
in 2010. Umphress lives in Kingston,
Washington, where she continues to
draw inspiration from the islands and
the sea.
MORGAN MADISON
Morgan Madison has been a full-time
artist since 2007. His work, which uses
glass and a variety of other media,
is informed by his love of drawing
and inspired by place and the colors,
textures, design, and landscape
that define an experience. Madison
has been awarded several artist
residencies, including one at the
Museum of Arts and Design, New York,
and has taught at UrbanGlass in New
York.
HOW TO
APPLY
Page 23
Session 1 Gaffers: Josie Gluck and Michael Schunke
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A P P LY O N L I N E AT P I L C H U C K . C O M
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SESSION
2
PLAY
M AY 3 1– J U N E 1 7
LO W B R O W
(un)LIMITED EDITION(s)
S E R I O U S P L AY
“ STO P, C O LL A B O R AT E , & L I ST E N ”
Ta D D D a a !
Glassblowing, Hot-Glass Sculpting
Glassblowing, Design, Sculpture
Glassblowing, Hot Casting, Mixed
Media, Assembly
Mixed Media, Flameworking, Hot
Glass, Coldworking
3-D Modeling & Printing, Lost PLA,
CNC, Kilncasting, Hot Casting
Working under the principle that
rules are made to be broken, students
will learn to adapt, mix, and match
glassblowing and hot-sculpting
techniques to suit the needs of their
artistic visions. The class will focus
on the creative process and shake
up preconceptions and existing
routines by combining a playful
approach with intention and allowing
for serendipitous outcomes. Through
virtuoso techniques, students will
create pieces relevant to their
individual contemporary cultures.
This course will focus on the interplay
of a three-prong approach to hot
glassworking: utilitarian wares,
sculptural/designed objects, and
conceptual undertakings. Instructor
and visiting artist demonstrations
will introduce students to a variety
of approaches that connect these
avenues of thought. Group discussions
will encourage students to investigate
their own practice and habits and
push their ideas into new realms. The
technical focus will be on teamwork,
different ways of making the same
object, folding/seaming, and expanding
preconceived notions of glass.
Play will be introduced as a creative
catalyst for the development of
meaningful objects inspired by toys.
Students will combine hot-glass
casting and blowing techniques, 2-D
and 3-D cold sheet-glass construction
with adhesives, and various methods
of applying imagery to create mixedmedia pieces that speak to greater
issues of personal significance—
social, political, and beyond. Group and
individual projects will be supported
by class discussions. This course is
suited for makers of all backgrounds.
Students will investigate the artist
collective as support for both
individual and collaborative works.
The class will discover how to create
work using shared resources while
merging processes and materials.
Play will be the unifying ingredient,
so be prepared to embrace impulse,
reaction, and interaction. Students
will use the Hot, Cold, Flame, and
Wood and Metal Shops and visit thrift
stores. The class will culminate in an
all-campus extravaganza using glass
and found materials.
A / ALL LEVELS
A / ALL LEVELS
Digital sculpting and 3-D printing
tools allow artists to visualize
prototypes, manipulate scale, and
replicate with precision. This course
will introduce an assortment of tools
including Zbrush (an organic sculpting
software), 3-D printers, and 3-D
scanning methods of photogrammetry
and structured light. Students will
learn to scan, manipulate, and print
objects and ultimately kilncast and
hot cast them in glass. This class is
for glass artists who wish to explore
digital fabrication and 3-D artists who
wish to explore glass.
A / INTERMEDIATE
A / INTERMEDIATE
N E D C A N T R E LL
HOW TO
APPLY
Ned Cantrell co-founded the studio
Nyholm|Cantrell Glas with Karen
Nyholm in Denmark in 2004. His
work, kitschy spirited objects, finds
contradictions between content and
craftsmanship by using symbols of
pop culture and consumerism—
trash, tattoos, and science fiction.
Cantrell executes his pieces through
an eclectic assortment of styles and
techniques founded in blowing and
hot-sculpting traditions, which he
combines in contemporary ways. His
work has been widely exhibited in Asia,
Europe, and the United States.
DH McNABB
DH McNabb is a maker whose work
teeters between art and design. He has
worked with the material in Nový Bor,
Lybster, Murano, Nuutajärvi, Istanbul,
and Toyama. Along the way, he has
assisted David Walters, Dante Marioni,
James Mongrain, Janusz Poźniak,
and Lino Tagliapietra with their work.
McNabb holds a BA in glass from
Center College, Kentucky, and an MFA
from Rhode Island School of Design.
T H E R M A N STATO M
Therman Statom is a pioneer of the
contemporary glass movement,
known for constructed plate-glass
pieces that he treats as both canvases
and containers for blown and found
objects. Over the years, he has created
many public works, including those at
the Los Angeles Public Library, Corning
Incorporated Corporate Headquarters,
and the Mayo Clinic. Most recently,
Statom has focused on educational
programming, offering workshops that
promote social change and positive
impacts for communities.
JESSICA JANE JULIUS
ERICA ROSENFELD
Jessica Jane Julius and Erica
Rosenfeld, co-founders of the Burnt
Asphalt Family artist collective,
reinvent objects and redefine relationships between audience and performer.
Julius teaches at Tyler School of Art
and was recently featured in Craft
Spoken Here at the Philadelphia
Museum of Art. Rosenfeld has taught
at The Studio of the Corning Museum
of Glass and UrbanGlass. Her most
recent solo show, Like remembering a
dream the day after, was presented at
Heller Gallery, New York.
A / ALL LEVELS
FRED KAHL
Fred Kahl (aka the Great Fredini) is
an artist, magician, sword swallower,
visionary, and innovator of 3-D
scanning and printing techniques. He
is a graduate of New York University’s
Interactive Telecommunications
Program and former executive creative
director of the design studio Funny
Garbage. Kahl teaches in the School
of Visual Arts MFA Design Program,
and his work has been noted in the
Atlantic, Time magazine, and the New
York Times, among others.
Page 23
Session 2 Gaffers: Rob Stern and Aaron Baigelman
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A P P LY O N L I N E AT P I L C H U C K . C O M
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SESSION
3
STORY
J U N E 2 0 – J U LY 1
C O M P O S I Z I O N E C O M P L E TO
POETICS OF PHENOMENA
H A P P I LY E V E R A F T E R
THROUGH THE PRINTING GLASS
Glassblowing, Sculpting, Cutting
Kiln Forming, Imagery, Mixed Media,
Coldworking
Flameworking
Printmaking, Coldworking, Imagery
Technique and imagination will
walk hand in hand in this course as
students create works inspired by fairy
tales. With demonstrations, tutorials,
and practice, the class will learn the
ins and outs of working with soda
lime and borosilicate glass at the
torch. Students will be encouraged
to develop an individual style while
building skills through exercises in
bead making, sculpting, blowing, and
assembly. Working individually and
in groups, the class will bring funtastical, magical worlds to life.
Explore the creative possibilities of
visual storytelling at the intersection
of printmaking and coldworked
glass. Students will develop narrative
compositions based on sketches,
prompts, and live drawings created
on-site. Designs will be sandblasted
into glass plates using Buttercut,
a low-tech hand-cut self-adhesive
resist film, and Rayzist, a high-tech
photographic exposure process.
In the Print Shop, the sandblasted
plates, sculptural objects in their own
right, will be used to create a range
of sculpturally embossed and inked
impressions on paper.
While considering the narrative nature of symphonies and musical composition,
students will be challenged to create works that speak of harmony through
form, color, and texture. This double class will make full use of the Hot Shop and
Cold Shop. A mix of Italian and American working styles will cover a wide range
of techniques. Students will learn complex murrine, graal, torchwork, inside
sculpting, and garage assembly methods. Cold Shop demonstrations will include
inciso, battuto, cutting, and polishing for further defining forms and refining
texture and coloration.
This course will also supplement technical instruction by focusing on the stages
of an artist’s creative process. Use of a sketchbook will be emphasized as a
means of initiating and communicating ideas. Class discussions will strengthen
teamwork and encourage dialogue.
B / ADVANCED
Working with a variety of experimental
processes, students will explore
the practical and conceptual
possibilities of altering, reusing, and
layering imagery. Through structured
research, the class will observe the
phenomenology of materials as
a means of developing new work.
Processes include fusing, slumping,
lithographic transfers on glass and
paper, screen-printing with glass, and
manipulating glass powder in assorted
media for painterly effects. Field
research will provide inspiration, while
daily assignments and discussions will
build on and refine existing skills.
C / ALL LEVELS
C / ALL LEVELS
C / ALL LEVELS
PIETRO FERRO
RICCARDO FERRO
CARRIE IVERSON
CÉDRIC GINART
CHARLES COHAN
S H E LL E Y MUZYLOW SKI A LL EN
D AV I D E S A LVA D O R E
JEREMY SCIDMORE
KARINA GUÉVIN
ANDREA DEZSÖ
Pietro and Riccardo Ferro followed in the footsteps of their father and learned the
art of grinding glass under his tutelage. They have worked with many renowned
artists, including Davide Salvadore, Pino Signoretto, and Lino Tagliapietra,
and with celebrated glass houses Venini, Barovier & Toso, and Carlo Moretti.
Shelley Muzylowski Allen creates painterly, fluid hot-sculpted pieces that
capture dynamic movement. She was a member of the William Morris team for
six years before building her own studio with her husband, Rik Allen, at their
home in Skagit Valley, Washington. Davide Salvadore was born into a family
of glassworkers in Murano and founded his own studio in 1987. His work, a
combination of tradition, ingenuity, and invention, has gained considerable
recognition over the years. In 2012, Allen and Salvadore completed and exhibited
their first body of work together after collaborating while teaching at Pilchuck.
Interdisciplinary artists Carrie Iverson
and Jeremy Scidmore currently
focus on creating site-responsive
installations. Previous projects have
incorporated glass, print, neon,
sound, and found objects. Iverson
received her BA from Yale University
and her MFA from the School of the
Art Institute of Chicago. Scidmore
received his BA from the Art Institute
of Chicago and returned there to
study arts administration and policy.
They maintain a studio in Oakland,
California, and teach and exhibit
internationally.
Session 3 Gaffers: Mikey Cozza and Dante Marioni
A P P LY O N L I N E AT P I L C H U C K . C O M
HOW TO
APPLY
Cédric Ginart started out as a scientific
glassblower working on projects for
artists, industrialists, designers, and
architects before turning to his own
artistic pursuits. Karina Guévin’s
playful jewelry has been recognized
with a François-Houdé Award and
grants from the Canada Council for the
Arts, Quebec Arts Council, La SODEC,
and Gilles Verville. Ginart and Guévin
have taught together at the Studio
of the Corning Museum of Glass and
Niijima Glass Art Center.
Charles Cohan is a print artist, master
printer, and professor of printmaking
at the University of Hawai‘i at Mānoa.
He prints for other artists under the
moniker Arm and Roller Press and has
earned international recognition for his
own work. Andrea Dezsö works across
a broad range of media: drawing,
painting, artist’s books, cut paper,
embroidery, animation, sculpture, and
large-scale public art. She has three
permanent public artworks in New
York City and exhibits internationally.
Page 23
12
13
SESSION
4
PHENOMENA
J U LY 5 –2 2
WO N D E R B UBBL ES
M A ST E R I N G M I N I M A L
Glassblowing
Glassblowing
Exploring the infinite possibilities that
glass presents, students will find their
own paths of expression. This class
will demonstrate basic glassblowing
techniques, mold blowing, color
application, and patterning, as well
as interactive approaches outside the
shop. Students will delve into sound,
installation, and performance, drawing
inspiration from the process as much
as the product. Finding beauty in the
challenge, students will create individual
pieces that speak to the freshness of
their experience with the material.
Students will discover ways of
accentuating and complementing
relationships between form and surface
through exercises in restraint. Working
with only black, white, and clear glass,
this course will reinforce direct glassblowing techniques and encourage
design that focuses on the inherent
properties of glass. Collectively, the class
will create a library of experimental
surface samples for blown forms using
both hotworking and coldworking
methods. Visiting artists will present
inspiring approaches to minimal
ornamentation that have maximum
impact on their work.
A / INTRODUCTORY
THE HUNT IS SWEETER THAN
T H E K I LL
Glassblowing, Hot Casting, Kiln
Forming, Coldworking, Sculpture
This project-based sculpture course
will spark innovation through a series
of fast-paced exercises. Experiments
will involve hybridization of several
processes—hot, kiln, and cold—and
will fuel conceptual development of
new approaches to the use of glass
as an artistic material. Students
will expand into unfamiliar territory
and use a cumulative process of
testing and refining that will lead to
unexpected destinations.
A / ALL LEVELS
A / INTERMEDIATE
RUI SASAKI
Rui Sasaki is a Japanese artist
and educator working mainly in
transparent materials. Her practice
involves the exploration and discovery
of subtle intimacy through the interplay
of body and surroundings. Sasaki
earned a BA from Musashino Art
University, Japan, and an MFA from
Rhode Island School of Design. She
was selected for the Jutta Cuny-Franz
Memorial Award and the International
Glass Prize. She currently works at
Toyama City Institute of Glass Art, Japan.
S E A N O ’ N E I LL
Sean O’Neill is a Seattle-based
artist who shares a studio with
his wife and fellow artist Armelle
Bouchet O’Neill. After receiving his
BFA from the Appalachian Center for
Craft, O’Neill worked on the team at
Benjamin Moore Inc. for eight years
and is currently with the University
of Washington School of Art’s 3D4M
consortium. His work is exhibited
nationally and is held in the collections
of North Lands Creative Glass and
Glasmuseet Ebeltoft.
HOW TO
APPLY
C O LL A B O R AT I V E C U R R E N TS
T RY A G A I N … FA I L B E T T E R
Flameworking, Electroforming
Kilncasting, Fusing, Slumping
Exercises in hollow and solid
lampworking will help students build
technical hand skills and develop
an eye for breaking down complex
forms into manageable parts.
Demonstrations will cover working
with borosilicate, soft, and recycled
glass, with a special introduction
to electroforming. Conversation
and critique will help each student
develop a singular artistic voice and
aesthetic. In this rare collaborative
course, inspiration will be drawn from
traditional lampworking history, as
well as the recent counterculture
glass movement.
Taking into account the inherent
properties of both glass and
moldmaking materials, this course
will demonstrate various methods
of kilncasting ranging from basic
fusing and slumping to lost-wax and
advanced multipart molds. Topics will
include manipulation of temperature
ranges and firing schedules in pursuit
of fresh and creative results. The
emphasis will be on experimentation,
development of concepts, and
innovative processes such as 3-D
printing. Students will receive
individual guidance and participate in
group discussions.
A / INTERMEDIATE – ADVANCED
B / ALL LEVELS
ANNA MLASOWSKY
SNIC BARNES
M AT T H E W S Z Ö S Z
AMBER COWAN
Anna Mlasowsky and Matthew Szösz
work independently alongside each
other and create pieces known for
their experimental and surprising
nature. Both have received numerous
awards, been selected for many
residencies, and have taught in more
than a dozen countries. Mlasowsky
holds a BA from Konstfack, University
College of Arts, Crafts, and Design,
and an MFA from the University of
Washington. Szösz holds a BFA, BID,
and MFA in glass from Rhode Island
School of Design.
Snic Barnes draws inspiration from
technological advances, urban decay,
and natural environments. His work
has been featured in Contemporary
Lampworking (vol. 2) and Smoked (vols.
1 and 2). He currently lives in Austin,
Texas. Amber Cowan is an artisteducator and a glass department
faculty member at Tyler School of Art,
Temple University. Her work is in the
permanent collections of the Corning
Museum of Glass, the RISD Museum,
and the Shanghai Museum of Glass.
ÆSA BJÖRK
Æsa Björk approaches her work by
investigating and experimenting
with material boundaries while
considering questions related to
human existence and phenomena
connected to the body and personal
borders. Her work combines research
and techniques from diverse fields
and is often influenced by her interest
in philosophy, science, and music.
She is currently an artistic advisor for
S12 Gallery and Workshop in Bergen,
has exhibited internationally, and is
represented in museum collections in
Oslo and Bergen.
Page 23
Session 4 Gaffers: Brian Corr and Nickolaus Fruin
14
A P P LY O N L I N E AT P I L C H U C K . C O M
15
SESSION
5
SYSTEMS
J U LY 2 6 – A U G 1 2
G L AS S B LOW IN G 2.0
SUM OF THE MINUTIAE
GROWING WEIRD
TRANSFORMING LIGHT
U N - O B J E CTS
Glassblowing, Mold Blowing,
Computer Modeling & Design,
Coldworking, 3-D Printing, Imagery
Glassblowing
Glassblowing, Hot Casting,
Kiln Forming, Electronics,
Kinetics, Mixed Media
Neon
Kilncasting; 3-D Modeling, Scanning,
& Printing; Data Capture; CNC Milling
Technology can be the bridge that
connects novice glassmakers with
sophisticated results. Students will
create prototypes using digital software,
3-D printing, a variety of mold materials,
and their own ingenuity and then refine
and realize designs in the Hot Shop.
Demonstrations will cover freeblown
and mold-blown glass, with an emphasis
on problem solving individual design
needs. The application of color, imagery,
and patterning with vinyl stencils will
take forms to the next level. This isn’t
Glassblowing 101. It’s Glassblowing 2.0!
Many decisions are made in the
production of a piece. What if every
action in the making of an object
served a purpose and was geared
toward communicating a thought?
This course will bring together the
production process and ideas, which
are often kept in separate silos. Wideranging demonstrations will include
examples of how the finest of details
can provide opportunities for visual
and tactile discovery and seduction.
Students will receive one-on-one
guidance related to personal projects.
A / ADVANCED
A / ALL LEVELS
This experiential, studio-based
course will investigate techniques
for fusing multimedia, technological,
and performance strategies with the
properties and craft of glass. Students
will learn about and experiment with
optics, kinetics, electronics, living
systems, programming, performance,
and more in exploring a range of
ephemeral and time-based creative
outcomes. Technical demonstrations
will be project-based and responsive
to student ideas and will explore
traditional and invented techniques in
glass in the versatile Annex Studio.
Neon provides artists with the
unique ability to transform light
into text, imagery, and sculptural
forms. This class will develop skills
in traditional and experimental
neon tube manipulation through
bending, splicing, blowing, and
bombarding techniques. Students
will engage neon’s visual possibilities
and investigate light’s potential for
transforming environments. Artists of
all technical backgrounds will share a
common goal, to explore the potential
and embrace the impact of luminous
gas tubes as essential elements of
signage, sculptures, and installations.
B / INTRODUCTORY
B / ALL LEVELS
A / INTERMEDIATE
S A LLY M c C U B B I N
Sally McCubbin, a Canadian
glassblower, designer, and educator, is
active within a global community. Her
creative approach is grounded in her
passion for problem solving and fueled
by optimism and positivity. McCubbin
has received national recognition
through grants and awards including
the Royal Bank of Canada Award for
Glass. Among other creative-industry
jobs, she teaches hot glass and
business practice at Sheridan College.
McCubbin lives and loves with her
husband and daughter in Port Hope.
PETER IVY
Peter Ivy wears many hats, from
father to artist to instructor to studio
owner-operator. He has taught at
Rhode Island School of Design and
Massachusetts College of Art and
Design and served as head of the
glass program at Aichi University of
Education. After leaving academia to
focus on his family, he began building
his own studio, Ryudou Kenkyusho
(Flow Laboratory), offering functional
wares, architectural works, and the
occasional sculptural object. He lives
in Toyama, Japan.
HOW TO
APPLY
IAN B U RNS
BEN WRIGHT
Ian Burns’ artworks revolve around
the development of processes
that subjugate the seductions of
technological media to supporting
roles in sculptures that explore the
unique experience of physicality
in poetic and ridiculous ways. His
work has been widely exhibited
internationally. Ben Wright’s
background in evolutionary biology
figures strongly in his conceptual
mixed-media sculptures. He occupies
many roles, as designer, maker, and
instructor, and is currently the director
of education at UrbanGlass, New York.
Page 23
Session 5 Gaffers: Jason Christian and Daryl Smith
16
“We are now in transition from
an object-orientated to a systemsorientated culture. Here change
emanates, not from things, but
from the way things are done” (Jack
Burnham, 1968). Contemplating
Burnham’s statement, students will
engage in practice-based research
and collect and analyze data from
Pilchuck’s dynamic ecosystem.
Findings will be brought back to the
studio to be translated into kilncast
glass with the assistance of 3-D
technologies. Students will leave with
a library of samples as inspiration for
finished works.
MICHAEL HERNANDEZ
Michael Hernandez creates work that
comments on nature and the human
condition through a combination of
materiality and symbology. Hernandez
has had an intimate relationship
with neon for the past seven years,
exploring technical and artistic
approaches and building neon studios
in Indiana and California. In 2010, he
earned his master’s degree from Alfred
University. Hernandez resides in San
Marcos, California, where he runs
his neon studio and teaches glass at
Palomar College.
E RIN DIC KSON
ANGELA THWAITES
FabLab technician Erin Dickson
and PhD researcher Angela Thwaites
met at the University of Sunderland.
Dickson’s PhD study combines the
sensory experience of architecture,
digital technology, and glass. She
exhibited in Glasstress Gotika at
the 2015 Venice Biennale. Thwaites’s
research, Towards Making the
Unmakeable, develops form and
content utilizing 3-D printing and
traditional kiln techniques. She
studied under Stanislav Libenský
and Jaroslava Brychtová in the
1980s and is the author of Mould
Making for Glass.
A P P LY O N L I N E AT P I L C H U C K . C O M
17
SESSION
6
COLLABORATION
/ FABRICATION
A U G 1 5 –2 6
HOW TO
APPLY
REINVENTING CANE
C R A F TS , C L I E N TS , & C A L I P E R S
B R A I N STO R M I N G F O R M I N G
C ’ E ST U N E P I P E
SCALING UP WITH SUCCESS
Glassblowing, Cane,
Computer-Aided Design
Glassblowing, Coldworking,
Business Practice
Glassblowing, Hot & Cold
Construction, Mixed Media
Flameworking, Mixed Media
Slab Casting, Architectural Glass
Previsualize cane pattern and its
application with MIT’s Virtual Glass
software. Using this specialized
technology, the class will map set-ups,
preview the results, and then head
to the Hot Shop to put designs into
practice. After considering historical
approaches to cane, students will
be encouraged to create neverbefore-seen patterns and seek out
non-standard ways of using cane as a
creative building block for innovative
work. Visiting artists will demonstrate
alternative ways of working with cane.
Developing an artist-client relationship
is an art unto itself. Students will act
as freelance craftspersons and learn
to carry out projects, from working up
a cohesive budget and prototyping,
to producing a finished product
and shipping it out the door. Design
projects will be presented, prototyped,
and brought into production in the
Hot Shop and then finished efficiently
in the Cold Shop. Lectures will cover
legal issues, accounting basics, team
management, insurance, building a
clientele, and more!
In this course, students will think
outside the box and take a sculptural
approach to pipe-making. While
continuing to consider harmonious
form and function, the class will
give special attention to the pursuit
of original ideas and innovative
techniques. Demonstrations, handson practice at the torch, sketching
exercises, and collaborative projects
will promote new ways of thinking.
Visiting artists will demonstrate a
variety of styles in today’s pipe art scene.
Minimize the roadblocks that
commonly arise during architecturalscale projects. Students will learn how
to interpret models and diagrams from
a range of potential client types, create
maquettes, shape communications
and contracts, and design with
functionality in mind. Discussions will
address firing schedules, tolerances,
expansion and contraction of material,
head pressure, damming systems, and
more. The class will make sample pieces
putting new fabrication knowledge
into practice. Bring that “special
something” to your client’s table.
B / INTERMEDIATE
B / INTERMEDIATE
Consider form, construction, and
function simultaneously in pursuit
of elegant, thoughtful objects. In
this design-based class, innovative
forming methods will jump-start the
progression from concept to object.
Hot-glass techniques for constructing
form—mold blowing, hot casting, slab
rolling, hand pressing, and vacuum
forming—will be presented. Making
models and molds with plaster and
other materials will also be covered.
Students will be encouraged to use the
Wood and Metal Shop and the BotLab
to help realize their designs.
C / INTERMEDIATE–ADVANCED
B / INTERMEDIATE
B / INTERMEDIATE
ERIK & MARTIN DEMAINE
PETER HOUK
Erik and Martin Demaine are a
father-son team specializing in
mathematics and art at MIT. Their
origami works are in the collections of
the Museum of Modern Art, New York,
and the Renwick Gallery, Smithsonian
American Art Museum. Peter Houk
is director of the MIT Glass Lab, a
front-runner in the development of
new glass technology. He maintains
an artistic practice and is known for
his blown, sandblasted, and painted
vessels and architectural works.
M I C H I KO S A K A N O
Michiko Sakano creates works for
artists and designers in her own glass
fabrication studio in New York City. She
has assisted with projects for Isadore
Design and Lindsay Adelman Studio
and fabricated glasswork for Jorge
Pardo, among others. Sakano’s family
in Japan carries on the generationsold tradition and business of kimono
making. Her upbringing and the
influence of Japanese design and rigor
shaped her perspective as a maker and
continue to guide her approach today.
PETER DROBNY
DAN MIRER
Peter Drobny is an innovator–problem
solver. A graduate of Rhode Island
School of Design, over the past thirtyfive years he has worked on special
projects for the Architect of the Capitol,
James Carpenter, the Corning Museum
of Glass, and Steuben Glass Works.
Dan Mirer studied at Alfred University,
Pukeberg School of Design, Sweden,
and Rochester Institute of Technology.
An independent designer and maker
focusing on tableware and home decor,
he lives in Corning, New York.
ELBO
Elbo associates himself with the modern
American glass pipe movement, which
has led him to travel throughout North
America, collaborating with other artists
and learning techniques. He lives
seasonally in Colorado, where he
co-owns Everdream Studios, and in
Pennsylvania, where he is co-founder
and owner of Front St Gallery. Elbo has
exhibited in both solo and group shows
all over North America and has juried two
shows with Habatat Gallery in Florida.
B RYA N J A B LO N S K I
Bryan Jablonski is a glass fabrication
specialist for Lusted Glass in Portland,
Oregon. He apprenticed with Tony
Jojola, was on the Chihuly Studios
team, and worked as an architectural
fabricator at Bullseye Glass Company
for more than eight years, building
large-scale works for artists and
designers across the world. Jablonski
has taught at Elements Glass, Oregon
College of Art and Craft, and Public
Glass and has been creating masterworks in glass for nearly twenty years.
Page 23
Session 6 Gaffers: Raven Skyriver and Liesl Schubel
18
A P P LY O N L I N E AT P I L C H U C K . C O M
19
2016 PILCHUCK GLASS SCHOOL SUMMER PROGRAM
PILCHUCK.COM
A P P L I C AT I O N D E A D L I N E S
JAN 6
Emerging Artist in Residence (EAiR)
FEB 3Scholarship, Teaching Assistants, & Artist Assistants
1
M AY 1 6 –2 7
PAT T E R N
2
M AY 3 1– J U N E 1 7
P L AY
DEBORA MOORE
NED CANTRELL
The Architexture of Nature
Hot-Glass Sculpting, Glassblowing
Lowbrow
Glassblowing, Hot-Glass Sculpting
B / INTERMEDIATE
A / INTERMEDIATE
3
J U N E 2 0 – J U LY 1
STO RY
PIETRO & RICARDO FERRO,
SHELLEY MUZYLOWSKI ALLEN,
& DAVIDE SALVADORE
Composizione Completo
Glassblowing, Sculpting, Cutting
4
J U LY 5 –2 2
PHENOMENA
FEB 3
Seasonal Staff & Campus Assistants
OCT 26
John H. Hauberg Fellowship
5
J U LY 2 6 – A U G U ST 1 2
SYST E M S
RUI SASAKI
SALLY McCUBBIN
Wonder Bubbles
Glassblowing
Glassblowing 2.0
Glassblowing, Mold Blowing,
Computer Modeling & Design,
Coldworking, 3-D Printing, Imagery
A / INTRODUCTORY
B / ADVANCED
6
A U G U ST 1 5 –2 6
C O LL A B O R AT I O N /
FA B R I C AT I O N
ERIK & MARTIN DEMAINE &
PETER HOUK
Reinventing Cane
Glassblowing, Cane, ComputerAided Design
A / ALL LEVELS
B / INTERMEDIATE
COURTNEY BRANAM
DH McNABB
SEAN O’NEILL
PETER IV Y
MICHIKO SAKANO
Pushing Color, Pulling Pattern
Glassblowing, Color Application,
Cane
(un)Limited Edition(s)
Glassblowing, Design, Sculpture
Mastering Minimal
Glassblowing, Coldworking
Sum of the Minutiae
Glassblowing
A / INTERMEDIATE
A / INTERMEDIATE
A / ADVANCED
Crafts, Clients, & Calipers
Glassblowing, Coldworking,
Business Practice
B / INTERMEDIATE
B / ALL LEVELS
ETHAN STERN
THERMAN STATOM
Out of the (Round) Box
Glassblowing, Carving,
Coldworking
Serious Play
Glassblowing, Hot-Casting, Mixed
Media, Assembly
A / ALL LEVELS
B / INTERMEDIATE
JENNIFER UMPHRESS
What a Wonderful World
Flameworking
C / ALL LEVELS
CARRIE IVERSON &
JEREMY SCIDMORE
ANNA MLASOWSKY &
MAT THEW SZÖSZ
IAN BURNS & BEN WRIGHT
PETER DROBNY & DAN MIRER
Brainstorming Forming
Glassblowing, Hot & Cold
Construction, Mixed Media
Poetics of Phenomena
Kiln Forming, Imagery, Mixed
Media, Coldworking
The Hunt Is Sweeter Than the Kill
Glassblowing, Hot Casting, Kiln
Forming, Coldworking, Sculpture
Growing Weird
Glassblowing, Hot Casting, Kiln
Forming, Electronics, Kinetics,
Mixed Media
C / ALL LEVELS
A / ALL LEVELS
A / INTERMEDIATE
JESSICA JANE JULIUS &
ERICA ROSENFELD
CÉDRIC GINART &
KARINA GUÉVIN
SNIC BARNES & AMBER COWAN
MICHAEL HERNANDEZ
ELBO
“Stop, Collaborate, & Listen” V.I.
Mixed Media,Flameworking, HotGlass, Coldworking,
Collaborative Currents
Flameworking, Electroforming
Transforming Light
Neon
C’est Une Pipe
Flameworking, Mixed Media
C / ALL LEVELS
A / INTERMEDIATE–ADVANCED
B / INTRODUCTORY
C / INTERMEDIATE–ADVANCED
ÆSA BJÖRK
ERIN DICKSON &
ANGELA THWAITES
BRYAN JABLONSKI
Happily Ever After
Flameworking
B / INTERMEDIATE
A / ALL LEVELS
MORGAN MADISON
Personal Topography
Kiln Forming, Coldworking
B / ALL LEVELS
20
FRED KAHL
TaDDDaa!
3-D Modeling & Printing, Lost PLA,
CNC, Kilncasting, Hot Casting
A / ALL LEVELS
CHARLES COHAN &
ANDREA DEZSÖ
Through the Printing Glass
Printmaking, Coldworking,
Imagery
Try Again…Fail Better
Kilncasting, Fusing, Slumping
B / ALL LEVELS
C / ALL LEVELS
Un-Objects
Kilncasting, 3-D Modeling Scanning
& Printing, Data Capture, CNC Milling
Scaling Up with Success
Slab Casting, Architectural Glass
B / INTERMEDIATE
B / ALL LEVELS
ARTISTS IN RESIDENCE
ARTISTS IN RESIDENCE
ARTISTS IN RESIDENCE
ARTISTS IN RESIDENCE
ARTISTS IN RESIDENCE
ARTISTS IN RESIDENCE
Vivian Beer
Shinique Smith
Claire Cowie
Patrick Nickell
Mark Dion
Dana Sherwood
Finnbogi Pétursson
Jana Winderen
NoiseFold
SuttonBeresCuller
GAFFERS
GAFFERS
GAFFERS
GAFFERS
GAFFERS
GAFFERS
Josie Gluck
Michael Schunke
Rob Stern
Aaron Baigelman
Mikey Cozza
Dante Marioni
Brian Corr
Nickolaus Fruin
Jason Christian
Daryl Smith
Raven Skyriver
Liesl Schubel
21
OPPORTUNITIES
A P P L I C AT I O N I N F O R M AT I O N
T E A C H I N G & A R T I ST A S S I STA N TS H I P S
H O W TO A P P LY
SCHOLARSHIPS
Pilchuck teaching assistants (TAs) and artist assistants (AAs)
play essential roles in the summer program by supporting
the vision and goals of instructors and artists in residence.
• Apply for all courses, scholarships, and assistantships
with our online application form.
Pilchuck provides financial assistance to more than one-third
of its students through the generosity of donors, foundations,
and student auctions and continues to expand the number
of full and partial scholarships it offers to support diverse
and talented individuals. Artists of all ages working in any
media are encouraged to apply. Scholarship application
instructions are available online.
TAs ensure a smooth and successful educational experience
for instructors and students. Each instructor will be aided by
two or three TAs, depending on the studios used and class
size. TAs should be well versed in the techniques related to
the course for which they are applying. It is helpful, although
not necessary, for TAs to have previous experience at Pilchuck.
AAs support the creative efforts of the artists in residence,
who often have little or no experience working with glass.
An AA helps the artist understand the fundamentals of
glassworking and acts as a technical resource for the
translation of ideas. All AAs must have extensive studio
experience in various processes, an interest in collaboration,
project management skills, and previous experience at Pilchuck.
In addition to gaining valuable studio experience, TAs and
AAs receive housing, meals, a $50 store credit, and travel
reimbursement (60% for TAs; 100% for AAs; restrictions apply).
Visit Pilchuck.com for application instructions.
Applications Due: February 3, 2016
•O
nly one application form and one non-refundable US$45
application fee are needed to apply each year.
•S
tudent applications received prior to midnight (PST)
February 3 are entered into a lottery. Applications received
afterward will be considered first come, first served for
remaining openings.
•S
cholarships and assistantship applications are due
before midnight (PST) February 3.
• You must be at least eighteen years of age by the first day
of the session for which you are registered.
E X P E R I E N C E L E V E LS
Our levels have changed! Course levels are listed with
each course description:
• Introductory: 0–1 years of frequent practice in the
technique(s) listed
• Intermediate: 2–4 years of frequent practice in the
technique(s) listed
• Advanced: 5+ years frequent practice in the
technique(s) listed
• All Levels: Encompasses all of the above; all are welcome
S E A S O N A L STA F F & C A M P U S A S S I STA N TS H I P S
Seasonal staff and campus assistants provide integral
support to Pilchuck’s educational program and ensure that
the campus runs smoothly.
Seasonal staff positions require specialized skill sets
and the ability to perform in a leadership capacity. Staff
members play key roles in campus operations, including
coordinating studios and overseeing campus assistants.
Candidates should have extensive technical knowledge
related to the position for which they are applying, excellent
communication skills, and a readiness to be flexible based
on program needs. In addition to a salary, Pilchuck provides
housing, meals, some studio access, and the opportunity to
occasionally sit in on lectures and demonstrations.
Campus Assistantships are ideal for emerging and
experienced artists who wish to further develop their
professional and technical expertise. Pilchuck provides
a small stipend, housing, meals, some studio access,
and the opportunity to occasionally sit in on lectures and
demonstrations. International artists are encouraged to apply.
Seasonal staff and campus assistants are usually selected
for two or more consecutive sessions and will work fully
scheduled weeks during their terms. Individual learning
and participation happen during the performance of
duties as well as during off-duty time when staff members
are encouraged to experience the campus, studios, and
educational events.
Visit Pilchuck.com for a list of open positions and
application instructions.
Applications Due: February 3, 2016
FEES
Special this year! The top ranking scholarship recipient
will also be offered a residency at open access studio and
gallery S12 in Bergen, Norway. www.S12.no
Scholarship applicants are scored and ranked based on
artistic merit by a jury of arts professionals. Consideration
may also be given for financial need. All scholarship
applicants qualify for general scholarships; applicants may
also qualify for a special scholarship if they are:
•a
n international applicant (see list online) or resident of
the Pacific Northwest, including Alaska, British Columbia,
Idaho, Oregon, Montana, and Washington
•o
f African American, Hispanic American, Native American,
or other minority heritage
•a
n applicant for a flameworking course
• a glass industry worker (i.e. apprentice, assistant, or gaffer)
• a 2015 seasonal staff member or campus assistant
•a
2015 nominee for a Corning Incorporated Foundation or
Saxe Award
Program fees cover instruction, shared dormitory housing,
meals, and basic supplies. Utility fees offset the cost of
energy used in studios; are indicated by A, B, or C at the end
of the course description. A housing upgrade is optional with
an additional fee. A payment schedule may be arranged.
• currently enrolled as an art student at a New England-area
school (see list online)
Total Fees: Program Fee + Utility Fee
Program Fee:
US $3,615 per course sessions 2, 4, or 5
US $2,550 per course sessions 1, 3, or 6
Utility Fee: A = $410 B = $285 C = $185
Each Pilchuck course is eligible for three undergraduate
college credits through Cornish College of the Arts in
Seattle. An additional fee (US$300; subject to change) is
paid to Cornish in advance of the session to receive credit.
A passing grade is transcripted with a grade notation of
“CR” for “Credit.” Students should consult their institution
in advance to make sure credits are transferrable.
H O U S I N G & M E A LS
A sense of community is integral to the spirit of campus
life. All program participants live on campus for the
duration of the session. No single, private rooms or private
baths are available.
•D
ormitory Housing consists of a double-occupancy room
with access to central restrooms for men and women.
•C
ottage Housing is an upgrade available for an additional
fee, consisting of two double-occupancy rooms and a
bathroom shared by the four residents. Cottages offer
more space, greater privacy, and closer proximity to
studios. Requests may exceed availability, and placement
is not guaranteed.
All session participants dine together. Course fees include
three meals a day during the week, and two meals a day
on weekends. Dietary restrictions can be accommodated
with prior notice.
member of a Partner Institution (see list online)
•a
C O LL E G E C R E D I T
I N T E R N AT I O N A L PA R T I C I PA N TS
International participants may travel to the United States
as a visitor in order to participate in the Summer Program.
Upon acceptance, we can provide you with a letter that may
help facilitate visa requests at an embassy and with entry
into the United States. Citizens of countries that participate
in the Visa Waiver Program may not require a tourist visa for
travel to Pilchuck. Visit travel.state.gov for more information.
N E E D H E L P A P P LY I N G ?
Contact the registrar at 360.445.3111, ext. 29, or
[email protected].
Pilchuck does not discriminate on the basis of gender, sexual orientation, race,
religion, nationality, or ethnic origin in employment or in artistic or educational
programs. “Pilchuck” and “Pilchuck Glass School” are federally registered
trademarks of Pilchuck Glass School.
Peter Kuhnlein, Alec Miller, Abram Deslauriers, staff, summer
participants DESIGN: Studio Matthews COVER IMAGE: Serpente, collaborative
piece by Shelley Muzylowski Allen and Davide Salvadore
PHOTO CREDITS:
22
23
RESIDENCY PROGRAMS
E M E R G I N G - A R T I ST- I N - R E S I D E N C E P R O G R A M
The EAiR program supports six artists who are making a
transition in their professional lives. Whether moving
from academia to a professional studio practice, taking
up a new medium, or beginning a new body of work, this
immersive residency is ideal for contemplation, research,
and experimentation. The program provides artists with the
place and time to develop an idea or project in glass, with
the potential for realizing a new body of work.
The residency requires a project proposal and supports
kilnworking, coldworking, printmaking, flameworking,
woodworking, metalworking, and use of mixed media, but
not hot glassworking. No instruction is available, and some
glassmaking experience is required.
The program provides each artist with a stipend of
US$1,000, open studio space, shared cooking facilities, and
a private room in a cottage with shared bath. Residents
should expect to participate in communal clean-ups and be
available to visitors, among other activities. Materials, food,
and travel reimbursement are not provided.
Visit Pilchuck.com for application instructions and the
online application form.
Residency Dates: September 19–November 11, 2016
Applications Due: January 6, 2016
J O H N H . H A U B E R G F E LLO W S H I P
Named for Pilchuck co-founder John H. Hauberg
(1916–2002), the fellowship was established to encourage
collaboration among a group of outstanding artists. Groups
of up to six members are invited to submit proposals for
utilizing the studios and campus environment for research
and development of artwork based on a common theme or a
collaborative project.
Group members support one another, explore new working
methods, and engage in critical dialogue. Artists in all media
as well as writers, engineers, art critics, and curators are
encouraged to apply; however, if the proposal includes use
of glassmaking equipment, some members must have
previous experience with Pilchuck’s facilities. Limited
technical assistance is available.
Open studio space and access to the Cold Shop, Mold & Kiln
Shop, Print Shop, and Wood and Metal Shop are provided.
Hot glassworking is not available during this time. Hauberg
Fellows are provided living accommodations, meals, and
limited supplies. Reimbursement for travel costs and
honoraria are not provided.
Visit Pilchuck.com for application instructions and the
online application form.
Residency Dates: April 27–May 13, 2016
Applications Due: October 26, 2016
Q U E ST I O N S ?
Contact the registrar at [email protected] or
360.445.3111, ext. 29.
24
Pilchuck was an experience
I will never forget
Andrew Wardlaw, scholarship recipient, Summer 2015