writers week - Idyllwild Arts Academy
Transcription
writers week - Idyllwild Arts Academy
. Page 8 8 4 4 5 5 5 6 6 11 11 9 9 9 10 10 10 11 14 14 14 15 15 15 18 19 20 20 21 17 17 18 19 20 21 21 22 23 23 24 24 24 25 25 25 26 26 27 28 28 29 29 29 31 33 32 32 32 33 33 2 35 36 38 1 Idyllwild Arts Summer Program 7/11-7/15 WKND 7/4-7/8 WKND 6/27-7/1 WKND 2016 COURSE SCHEDULE 6/19–6/24 TABLE OF CONTENTS CERAMICS Ceramics: Form, Surface, Fire! Ceramic Sculpture: Anything is Possible! Hot Clay Form, Function and Fresh Alternative Construction Techniques for Handbuilt Pots From the Wheel to the Table: Working with Porcelain Considering the Abstract Portrait, Moving Away from Realism The Well Rounded Pot: Handbuilt Foms and Color Investigations Mold Making and Slip Casting: Natural Transformations Mining Ceramics History for New Ideas: Throwing, Altering, and China Painting JEWLERY/METALS Metal Clay Intensive: Earrings Roughing It: Creative Textures for Metals Metals Week From the Smithy to the Jewelers Bench: Blacksmithing Techniques for Jewelers Melt It...Cast It...Wear It! Powder Coating for Jewelry - Kitchen Style High Relief Eastern Repoussé and Chasing Soldering Big and Little The Stories We Tell: The Jewelry We Make MIXED MEDIA/BOOK ARTS Assemblage I: Apocalypto Shrines Assemblage II: Punk Fiction: Embossa Nova Books Assemblage III: Punk Fiction: Dream Journal Mixed Media I: Transparental Guidance Mixed Media II: Art de Refusés The Creative Edge NATIVE AMERICAN ARTS Chiles to Chocolate: Modern Interpretations of Ancient Central American Foods Tohono O'odham Basketry and Beyond Native American Flute Making Hopi Jewelry: Overlay & Tufa Casting Micaceous Pottery Native American Arts Festival Native Plants: Gathering, Processing & Feasting Cahuilla Basketry Navajo Weaving I & II Navajo Inlay Jewelry Hopi-Tewa Pottery Traditional Northwest Coast Paddle Making Dig and Make Clay for Pottery PAINTING/DRAWING Painting Luminosity Composition for Artists Encaustic Painting: Transparent Layering and Mixed Media Techniques One-Minute Drawing Spontaneous Watercolor Travel Drawing & Painting Gouache Painting: Color, Light, and Landscape Expressive Painting: Intention Over Direction Watermedia for All: Watercolor & Acrylic Oil Painting PHOTOGRAPHY iPhoneography: It's Not Just Luck PRINTMAKING Monotype: Layers and Plates Adventures in Woodcut Printmaking SCULPTURE Glass Blowing Small Scale Bronze Casting 3-D Encaustic Exploration & Mold Making TEXTILES/FASHION Beginning Shoemaking: Open-Back Slip on Shoes WRITING Visual Storytelling: Lessons from the Simpsons Writers Week Personal Essay & Memoir Fiction: Finding the Heart of the Story Poetry Year-Long Manuscript Critique Adult Student Life Schedule of Events Regsitration Form General Information Changing lives through the transformative power of art. Adult Arts Center Student Show ADULT STUDENT LIFE THE SUMMER PROGRAM The summer tradition that began in 1950 to bring the best artists to teach under the pines continues today. Intensive handson workshops in music, dance, theater, visual arts, writing, filmmaking and Native American arts are offered to students from age 5 to 105. Each year more than 1,700 adults and children attend the Idyllwild Arts Summer Program. In addition to the Adult Arts Center programs featured in this catalog, workshops are offered in: • Children’s Center (ages 5–12) • Junior Artist’s Center (ages 11–13) • Youth Arts Center (ages 13–18) • Family Week: Arts for the whole family For information about workshops not included in this catalog, visit idyllwildarts.org/summer or contact the office to request a print catalog. STUDENT LIFE Workshops Students work intensely in a focused, yet relaxed setting, which provides detailed technical instruction and personal attention to individual artistic needs. Instructors are experienced and interested in working with students of all levels and abilities. Daily Schedule Workshops run from 9 a.m. to 4 p.m. each day, with a break for lunch in the campus dining hall (included in tuition). Writing workshops have shorter in-class hours allowing time each afternoon for writing, craft talks, individual conferences, readings and other activities. Evening events take place throughout the week. On-Campus Activities for Adults See the Summer Events Calendar on page 35 for evening activities, including lectures, readings, recitals and performances. The weekly schedule includes: Monday Parks Exhibition Center reception Faculty Art Show Artist demonstrations/presentations Tuesday Faculty artist demonstrations, lectures, readings or concerts Wednesday Look for a new iteration of the traditional Potluck and Barbecue for all students, faculty and Idyllwild Arts community members. Friday Workshop culmination art show Additional events take place each week, including lunchtime lectures during the Native American Arts Festival. The campus offers trails for hiking and nature walks, as well as a 25-meter swimming pool open to all registered students. Parks Exhibition Center is open daily and features the work of artists-inresidence as well as a selection of fine Native American art and jewelry. Campus Facilities and Services The campus features large dormitories, residence halls, dining hall and a snack bar. Services include the health center, bookstore and laundry facilities. The new Margaret Cargill Commons, located at the heart of campus between Lowman Concert Hall and the IAF Theatre, offers areas to relax, converse, and mingle. Indoor and outdoor art studios and exhibition areas include the Parks Exhibition Center and the Eymann Sculpture Garden. Performance venues include the new Lowman Concert Hall, IAF Theatre, Stephens Recital Hall, Holmes Amphitheatre, and the Junior Players Theatre. The Krone Library houses resource areas, classrooms and a museum. Dance studios, rehearsal halls, film studio and practice rooms are located across the campus. HOUSING & MEALS On-Campus Housing Residence Halls Modest dormitory rooms with twin or bunk beds accommodate one or two adults. Each dorm room has its own bathroom. Rates include meals from Sunday, 4 p.m. to Saturday, 10 a.m. Linens and towels, which are changed weekly, are included. Two persons per room, meals included $535 per person per week $325 per person for three days Idyllwild Arts Summer Program 2 Adult Student Life Private room, meals included (limited availability) $745 per week $465 for three days Check-out time is 10 a.m. on Saturday. On-campus accommodations are not available for weekend workshop participants. Off-Campus Housing information is included below. Quiet hours are 10 p.m.–8 a.m. Smoking is prohibited in all campus facilities. Pets are not allowed, with the exception of service animals, such as Seeing Eye dogs. Official documentation of service status must be submitted to the registrar at least 30 days prior to arriving on campus. Off-Campus Housing Idyllwild offers many lodging options, from luxury to rustic, including motels, bed and breakfast inns, cabins and lodges. There are also public and private campgrounds. For information about Idyllwild lodging visit idyllwildarts.org/IdyllwildInfo Meals Lunch is included for all registered students. Meals are served cafeteria-style. There are vegetarian options at every meal including a hot entree at lunch and dinner. Our extensive salad bar features fresh fruits and vegetables at lunch and dinner. We are unable to accommodate special diets. You may purchase additional meals by the week for yourself or family members. A one-week meal pass (20 meals) is $90. 3 Idyllwild Arts Summer Program LOCATION & TRANSPORTATION Location The campus is located at 5,377-feet elevation in the Strawberry Valley on the western slope of the San Jacinto Mountains. The 205-acre campus is a naturally beautiful setting with clean air, alpine forests, mountains and meadows. This tranquil site, remote from urban distractions, affords students a unique learning environment. The Idyllwild Arts campus is situated two miles from the center of the village of Idyllwild and 2.5 hours from Los Angeles and San Diego by car. Transportation There is no public transportation to or within Idyllwild. Transportation is available from the Palm Springs and Ontario airports at $150 each way. To take advantage of the airport shuttle service, you must make arrangements with the Summer Program registrar at least two weeks before you plan to arrive on campus. ABOUT IDYLLWILD Things to do in Idyllwild Idyllwild is listed as one of the “100 Best Small Art Towns in America” and features more than 15 galleries representing the work of more than 200 artists. Idyllwild is filled with unique gift shops, galleries, a movie theater, and restaurants. There are hundreds of miles of hiking trails from gentle to strenuous leading to the meadows and peaks that tower above the town. Idyllwild is also known for rock climbing and bicycling. Horseback riding and fishing are available within 20 minutes from campus. Bring the whole family! Weather Summer temperatures range from the high 70s to low 90s during the day and drop to the 50s and 60s in the evenings. Dining Area restaurants feature a variety of cuisine from gourmet to classic fare, and most offer vegetarian and gluten-free options. For information about Idyllwild lodging, restaurants, weather, and more visit idyllwildarts.org/IdyllwildInfo SUMMER REGISTRAR-IDYLLWILD ARTS CAMPUS phone: (951) 468-7265 fax: (951) 659-4552 email: [email protected] website: www.idyllwildarts.org Idyllwild Arts Summer Program P.O. Box 38, 52500 Temecula Rd. Idyllwild, California 92549-0038 FOLLOW US ON: Twitter/FaceBook/Tumblr/Instagram * At the time this catalog was printed, every effort was made to assure its accuracy. In keeping with our commitment to individual and timely needs of students and faculty, however, we reserve the right to make changes in faculty, courses, schedules, tuition and policies. For the most current information, visit idyllwildarts.org/summer Hot Clay lecture HOT CLAY JUNE 19–JULY 2 Idyllwild Arts has a long history of offering outstanding ceramics programs, with such renowned faculty as Fred Olsen, Shiro Otani, Susan Peterson, and Maria Martinez among others. In recent years, Hot Clay faculty has included Christa Assad, Tom Bartel, Margaret Bohls, Lisa Clague, Sunshine Cobb, Cynthia Consentino, Michael Corney, Patrick Crabb, Debra Fritts, Arthur Gonzalez, Silvie Granatelli, Martha Grover, Ingrid Lilligren, Joe Molinaro, Jeff Oestreich, Esther Shimazu, Neil Tetkowski, James Tisdale, Patti Warashina, Lana Wilson, Kensuke Yamada and more. HOT CLAY EVENTS Open to the Public WEEK I Week I Form, Function and Fresh Alternative Construction Techniques for Handbuilt Pots Chris Pickett Monday, June 20 7 p.m. Lecture: Chris Pickett 8 p.m. Artists Reception Hot Clay & Visiting Faculty Show Parks Center Tuesday, June 21 7 p.m. Lecture: Tip Toland Thursday, June 23 7 p.m. Lecture: Doug Peltzman OVERVIEW Week II Coordinator: Richard Burkett Studio Manager: Terry Rothrock Sunday, June 26 7 p.m. Lecture: Sam Chung Each Week Features: • Hands-on Workshops (select one per week) • Open Studios • Demonstrations and lectures presented by all faculty • Critiques and feedback • Exhibit of faculty work – Artists Receptions each Monday • Small class size for maximum interaction with instructors and fellow participants • Participant exhibit and culmination reception each Friday Monday, June 27 8 p.m. Artists Reception Parks Center Each week begins on Sunday at 9 a.m. and ends Saturday morning after the kilns are unloaded. Wednesday, June 29 7 p.m. Lecture: Birdie Boone Thursday, June 30 7 p.m. Lecture: Mikyoung Kim June 19–25 Course # AACR ØØA1 Six-day session Challenge yourself with this class, designed for beginner and advanced students alike. Expand your vocabulary of form and surface through alternative hand building methods. You will design, construct and use molds and low relief stencils to create pots with generous playful volumes with crisp low relief surface design. Chris will share his building techniques that use the different stages of clay from soft to leather hard, as well as discuss his philosophies of making and studio practice. Learn about the relationship of form and surface, considering function versus utility and generating interest through contrast. Discover new information and techniques you can take back to your own studio. Skill Level: Open to all levels Materials: List will be sent upon registration Tuition: $725 Lab fee: $45, includes clay, glazes, shared supplies, firing costs Enrollment limited to 10 students Chris Pickett earned his BFA from the University of Tennessee and his MFA from the University of Florida. He has exhibited nationally and internationally, been published Idyllwild Arts Summer Program 4 Hot Clay Sam Chung, Cloudscape Doug Peltzman, Stacked Bowls Mikyoung Kim, Hawaiian Bowls in numerous books and periodicals and has taught at universities and art centers across the nation. Chris is currently the Rittenberg Fellow at the Clay Art Center and ceramics faculty at Marymount Manhattan College in New York. www.chrispickettceramics.com From the Wheel to the Table Working with Porcelain Doug Peltzman June 19–25 Course # AACR ØØA2 Six-day session Focus on designing, making, and finishing high-fire porcelain tableware in an electric kiln. Bring source material for surface treatment as well as high-fire bisqueware so you can begin to think about glazing and compositional strategies from day one. You will explore the relationship between form and surface through practice, demonstration and discussion. Doug will share his techniques on incising and inlaying into leather hard clay along with his ideas about engineering pots specifically for runny translucent glazes. Learn tools and techniques to explore texture, line, and color as a way to blend your ideas and concepts with tactile discovery. Skill Level: Intermediate to advanced level throwing Materials: List will be sent upon registration Tuition: $725 Lab fee: $60, includes porcelain, glazes, shared supplies, firing costs Enrollment limited to 10 students 5 Idyllwild Arts Summer Program Doug Peltzman is a full-time studio potter in Dover Plains, NY. He earned his BFA in ceramics at SUNY New Paltz, and his MFA from Penn State. He has taught workshops across the country, including at Arrowmont, Peters Valley, Goggleworks, Augusta Heritage Center, The Clay Art Center, UNT, SUNY New Paltz, Edinboro University, The Clay Studio and The Art School at Old Church. Doug is a founding member of Objective Clay. His pottery has been featured in many publications and can be found in homes and kitchens across the country. www.dougpeltzman.com Considering the Abstract Portrait Moving Away from Realism Tip Toland June 19–25 Course # AACR ØØA3 Six-day session Abstraction often can tell a deeper truth than realism can. Using a subjective point of view as a departure point, you will learn to approach creating a life-size portrait based on your relationship to what the model is expressing rather than trying to capture a realistic likeness. Tip will use a variety of visual examples to discuss and will demonstrate all the ways of developing a life-size portrait in solid clay on an armature. On the final day, at the leather-hard state, you may choose to cut off the face of the sculpture and take it home as a mask, or hollow out the bust and fire after class. You will explore possibilities for finishing your sculpture, and Tip will demonstrate various techniques. Skill Level: Some familiarity with building a head in clay (see Building the Head in Clay free on YouTube) Materials: List will be sent upon registration Tuition: $725 Lab fee: $85, includes clay, armature materials, model fees, shared supplies, firing costs Enrollment limited to 10 students Tip Toland lives in Vaughn, WA, where she is a full-time studio artist and a parttime instructor in Seattle. She conducts workshops across the US, Europe and the Middle East. She earned her MFA from Montana State University. Her work is in public and private collections, including the Yellowstone Art Museum, Renwick Gallery of the Smithsonian, Nelson Atkins Museum, Museum of Art and Design, Crocker Museum, St. Petersburg Museum of Art, and Metropolitan Museum of Art. She is currently represented by the Traver Gallery in Seattle. www.tiptoland.com WEEK II The Well-Rounded Pot Handbuilt Forms and Color Investigations Birdie Boone June 26–July 2 Course # AACR ØØB2 Six-day session Go beyond addressing utility, discover how to include subtle metaphoric or allegoric cues that are paramount to making ‘wellrounded’ pots that beg to be used. You will investigate the ways ceramic materials and processes can be used to initiate sensory experiences. Work with soft to leather-hard slab construction techniques and investigate surface possibilities via glaze color testing as a means to create minimal yet expressive forms using handbuilding processes. Concentrate on simplicity of form, the care of your touch, and formal (technical and aesthetic) decisions that serve your intentions. Demonstrations and discussions will include paper pattern development, making simple greenware and bisqueware drape and press molds with mica clay, glaze color development, and problemsolving toward creating and revealing meaning through ceramic materials and processes. You can expect to leave with new templates, clay drape and press molds, fired glaze tests, bisque-fired pots that inform your current work or lead to new directions, and a few glaze-fired pieces. Skill Level: Handbuilding experience recommended, basic knowledge of raw ceramic materials helpful, but not required Materials: List will be sent upon registration Tuition: $725 Lab fee: $65, includes clay, mica, glazes, shared supplies, firing costs Enrollment limited to 10 students Birdie Boone holds an MFA in artisanry/ ceramics from UMass-Dartmouth and is a full-time studio potter in rural southwestern Virginia. She has taught ceramics at the college level and at ceramics facilities across the country and her work is shown and sold by Northern Clay Center, Schaller Gallery, and Studio Kotokoto. Influenced by the Hot Clay Birdie Boone, Mama Bears Japanese mingei idea of ‘beauty in use,’ her ceramic tableware celebrates the importance of domestic care in everyday life through the beauty of minimal forms and surfaces. www.birdiebooneceramics.com Mold Making and Slip Casting Natural Transformations Mikyoung Kim June 26–July 2 Course # AACR ØØB1 Six-day session Find and use natural objects in the Idyllwild environment to make plaster molds for slip casting. You will learn amazing professional techniques to make unique high-quality molds that will transform your ceramic experience. Mold-making is a skill useful to all ceramists, and even if you don’t usually use slip-casting, molds can be used to press-mold parts for your handbuilt or wheel-thrown pots. The workshop will focus on moldmaking, with a goal of transforming objects from nature into functional porcelain pottery. Expect to complete two or more multiple-part molds and use them to slip-cast functional objects. Mikyoung Kim is a renowned South Korean ceramist and expert mold-maker who has worked in industry and taught ceramics for many years. Her mold-making skills are exquisitely simple but powerful. Skill Level: Advanced beginner/intermediate level or higher. Some experience with handbuilding required Materials: List will be sent upon registration Tuition: $725 Lab fee: $45, includes clay, plaster, slips, glazes, shared supplies, firing costs Enrollment limited to 10 students Mikyoung Kim is a professor at Ewha Womans University, School of Fine Arts, in Seoul, South Korea, and is the director of Sokang Ceramic Research Institute in Ichon. She is an award-winning artist and has had 16 solo exhibits around the world including Tokyo, Japan; Seoul and Ichon, South Korea; and in New York and Hawaii, among many others. She earned a BFA and MA in ceramics at Ewha Womans University, and an MA in studio art at New York University. Mining Ceramics History for New Ideas Throwing, Altering, and China Painting Sam Chung June 26–July 2 Course # AACR ØØB3 Six-day session Draw inspiration from historical ceramics as a starting point for generating new forms and ideas. Investigate historical works and discuss functional, aesthetic and formal concerns to extract those elements that resonate most with you. Using images as your starting point, you will develop your own chosen form over the course of the week. Demonstrations will include throwing techniques including stacking forms, cutting and assembling thrown forms using slabs, and building thrown forms off axis. You will also examine the design elements of various functional pouring forms and there will be demonstrations on adding components (both slab-constructed and wheel-thrown) such as handles, spouts and lids. Learn about finishing possibilities including slip Tip Toland, Teenager with Albanism inlay and China painting. If China painting interests you, you should bring one or two fully finished pieces glazed in white or clear glaze. Skill Level: Basic wheel-throwing skills required Materials: List will be sent upon registration Tuition: $725 Lab fee: $70, includes clay, China paints, glazes, shared supplies, firing costs Enrollment limited to 10 students Sam Chung earned his MFA from Arizona State University and his BA from St. Olaf College. He taught at Northern Michigan University and since 2007 has taught at Arizona State University, where he is an associate professor of ceramics. He has exhibited at galleries both nationally and internationally and is included in the collections of the Crocker Art Museum (CA), Incheon World Ceramic Center (Korea), Guldagergaard (Denmark) and San Angelo Museum (TX). www.samchungceramics.com Idyllwild Arts Summer Program 6 Hot Clay David Delgado, Saucer and Cup 7 Idyllwild Arts Summer Program Chris Pickett, Teapot Lee Puffer, Kali Sam Lopez, Whiskey 1 CERAMICS Ceramics: Form, Surface, Fire! David Delgado and Sam Lopez July 4-15 Course # AACR Ø1-Ø2 Two-week session If you are a beginner, build your working and personal vocabulary, or if you’re more experienced, push your structural and aesthetic boundaries in this workshop designed for all levels. Use the pottery wheel to explore traditional forms and what makes them structurally sound. Experiment with altering methods and hand-building techniques to discover where you can push beyond tradition. Play with various pre- and post-bisque fire decorating techniques, including mishima and newsprint transfers, to create a personal surface that can then be applied to thrown or hand-built pieces. Bring your own meaningful materials such as magazines, books, music, and photographs to incorporate into your work. You will leave with finished works in high temperature reduction firings, mid-temperature oxidation, high temperature soda, and possibly a rakufired piece. Working in a spacious, well-lighted studio, you will have access to electric wheels, slab rollers, extruders, spray booth, glaze room, a variety of kilns (gas, electric, raku, soda), and outdoor workspace. You’ll also have the chance to observe demos and mingle with participants in the new figurative sculpture workshop in the adjacent Hicks Studio. Skill Level: All levels are welcome Tuition: $725 per week Lab fee: $55 per week, includes 150 lbs. clay, glazes, firings, use of shared tools and supplies. All basic studio tools are available to use, but you are encouraged to bring your own favorite tools. Enrollment limited to 10 students David Delgado earned his BFA at California College of the Arts and studied at Chaffey College. Interested in creating a more personal language around utilitarian pottery, he plays with integrating internal experience with an interest in discovery through walking, cities, meteors, music, and abstraction. His work is shown throughout the San Francisco area, at the American Museum of Ceramic Arts, Pomona, and is in private collections around the world. He worked with Greg Kennedy and Eric Kao at Idyllwild Arts. David lives and works in Berkeley, CA. Sam Lopez, currently pursuing an MFA in ceramics at San Diego State University, is a potter who works primarily in porcelain and focuses on throwing and altering forms that reflect his experiences with the natural world. He shares these experiences through his pottery, one kitchen cupboard at a time. This will be Sam’s fourth summer working with the Idyllwild Arts Summer Program. Ceramic Sculpture: Anything is Possible! Lee Puffer July 4-15 Course # AACR Ø1-Ø2A Two-week session Beginner or expert, you will enjoy this intensive exploration of myriad possibilities for self-expression available through ceramic sculpture, from the figurative sculpture to abstract. Start with basic hand-forming techniques to create a variety of original sculpture. Experiment with figurative sculpture while working from a live model, creating observational gesture and anatomical studies of heads and hands before moving on to a full figure sculpture. Develop your hand-building skills to create pieces that reflect your interests and ideas. Play with color and surface design techniques to bring your sculptures to life. You will learn carving, slip-trailing, mono-printing, sgrafitto, underglazes, layering color, and the use of a variety of glazes. Expect to complete many colorful sculptures in mid-temperature oxidation firing. Working in a well-lighted studio, you will have access to slab rollers, extruders, spray booth, glaze room, a variety of kilns, and outdoor workspace. You’ll also have the chance to observe demos and mingle with students in the wheel-throwing workshop in the adjacent Steere Studio. Skill Level: Open to all levels. No prior experience required Materials: List will be sent upon registration Tuition: $725 per week Lab fee: $55 per week, includes 150 lbs. clay, slips and underglazes, firings, kit provided by instructor, model fees. All basic studio tools are available to use, but you are encouraged to bring any of your own favorite tools. Enrollment limited to 10 students per week Lee Puffer earned her MFA at San Diego State University, and her BFA at Massachusetts College of Art, Studio for Interrelated Media, working with Tony Oursler and others. She creates life-sized figurative and kinetic sculpture in ceramic and mixed media as well as installation works. Lee has exhibited at the Institute of Contemporary Art Boston, American Museum of Ceramic Art, and Women’s Museum of California, among others. She teaches at Palomar College in San Marcos, CA. www.leepuffer.com * HOT CLAY and CERAMICS STUDENTS you may also be interested in: Hopi-Tewa Pottery see page 21, Micaceous Pottery see page 21, Dig and Make Clay for Pottery see page 22. Idyllwild Arts Summer Program 8 METALS WEEK OVERVIEW Coordinator: Deborah Jemmott Spend a week in intensive metals studies with a master metalsmith instructor. Maximize your creative artistic experience through workshops, lectures and demonstrations delivered by a team of six experts. JUNE 19–23 You will work with one master instructor in an environment that encourages learning new techniques and creating work as well as networking with fellow jewelers and metalsmiths. Learn new skills, improve your techniques, and challenge yourself to grow as an artist working in metal. Lectures and demonstrations give you access to a variety of experts with different perspectives on metal and jewelry work. Small class size allows maximum interaction with your instructor. Your week will also include: • Opening night faculty slide show • Faculty exhibit and reception • Two afternoon cross-over demo sessions with other Metals Week instructors • Potluck dinner • Art Auction • Culmination exhibit of participant work From the Smithy to the Jeweler’s Bench Blacksmithing Techniques for Jewelers Tom McCarthy June 19–23 Course # AAJW ØØA One-week session For centuries, blacksmiths have used 9 Idyllwild Arts Summer Program specialized techniques to stretch, twist, split and manipulate metal. In this class, you will learn how to apply these techniques on a smaller scale to non-ferrous metals. Experiment with forging skills including directional stretching with hammers, splitting, drifting, twisting and using mortiseand-tenon joints as you manipulate silver and copper. Try your hand at the rolling mill as an adjunct to the hammer and learn how the various parts of an anvil can expand the range of your creative expression. Use your newfound or developing skills to add detail and distinction to your work. Learn to think like a blacksmith to open up new problemsolving opportunities, and make your work more dimensional, gestural and interesting. Explore, have fun, work out your aggressions with hammers. Skill level: All metals students welcomed, but basic metal fabrication skills are helpful Materials: List will be sent upon registration Tuition: $725 Lab fee: $70, includes silver, copper and bronze rods; use of tools, equipment, and consumables such as solder and compounds. You are encouraged to bring your own clearly marked metal and tools. Enrollment limited to 12 students Tom McCarthy has been making jewelry for more than 30 years. He earned an MFA from Southern Illinois University-Carbondale. His work may be found in private and public collections including the Mint Museum of Craft and Design in Charlotte, NC. Tom teaches workshops throughout the country and has contributed a chapter to The Penland Book of Jewelry (Lark Books). In 2006, he received a Fellowship in the Arts from the State of Florida. www.tommccarthyjewelry.com Melt it…Cast it…Wear it! Elise Preiss June 19–23 Course # AAJW ØØB One-week session Do you have leftover pieces of silver or abandoned projects? Bring them back to life using exciting and straightforward casting techniques. Learn how direct casting – pouring molten metal directly into or onto a material to create decorative forms – can transform your materials. Delve into a variety of processes to safely cast dimensional forms in metal to create pieces that stand alone or become components for larger projects. Best of all, techniques are simple and require minimal equipment, so it’s a perfect way to integrate casting into your jewelry studio. You will learn torch-handling and safety procedures for a variety of casting techniques, including direct casting into water, allowing for unexpected and organic shapes; carving charcoal or cuttlebone and casting, revealing unique form and texture; and Delft Clay Casting, which produces intricate three-dimensional forms from found objects. Additionally, you will review basic mold-making as well as finishing and fabrication methods. Expect to take home at least two finished pieces and the confidence Metals Week Rachel Shimpock, Long Burger Elise Preiss, Cloud pendant Victoria Lansford, Embody, necklace to bring casting into your work at home. Let the melting begin! Skill level: All metals students welcomed, but basic metal fabrication skills are helpful Materials: List will be sent upon registration Tuition: $725 Lab fee: $70, includes charcoal block, cuttlebones, petrobond, use of basic and specialized tools, equipment, and consumables such as solder and compounds. You are encouraged to bring your own clearly marked metal and tools. Enrollment limited to 12 students Elise Preiss earned her MFA with an emphasis in metal from CSU Long Beach, and a BFA in product design from Otis College of Arts and Design. She has received many awards, and her work has been exhibited at the Metal Museum in Memphis, Arrowmont School of Arts and Crafts, and The Carnegie in Covington, KY. In addition to making jewelry, she teaches at Otis and is a freelance design consultant for corporate clients. www.elisepreiss.com Powder Coating for Jewelry Kitchen Style Rachel Shimpock June 19–23 Course # AAJW ØØC One-week session Color can be so seductive. Want a quick and inexpensive way to add color to your work? Have you considered powder coating? Learn how you can use powdered plastic that fuses in a home toaster oven to create the durable finishes you see on industrial items. The color range is extensive and the possibilities for manipulation are endless. Explore how to apply powder coat to your metal, wood, glass, ceramic and other objects (provided they can tolerate 400 degrees in your home toaster oven). Rachel will demystify the process and show you masking and sgraffito techniques that can be applied to flat as well as dimensional forms. You will also learn how to shoot color with the powder-coating gun. Bring your heat tolerant objects (no larger than 4” in any direction) to be transformed with color. Use this exciting new tool in the jewelry world to enhance your toolbox of skills. Skill Level: All metals students welcomed, but basic metal fabrication skills are helpful Materials: List will be sent upon registration Tuition: $725 Lab fee: $55, includes Basic Powder Coating Kit, use of vast selection of colors, instructional booklet, use of general and specialized tools, equipment, and consumables such as solder and compounds. You are encouraged to bring your own clearly marked metal and tools. Enrollment limited to 12 students Rachel Kassia Shimpock is an adjunct instructor of metals and jewelry at CSU Long Beach and an instructor and lab technician at Long Beach City College. She earned her MFA in jewelry and metals at San Diego State University and her BFA from CSU Long Beach. Her work has been shown extensively, is part of the collection in Oregon Museum of Contemporary Craft and published in Humor in Craft by Brigitte Martin. www.rachelshimpock.com High-Relief Eastern Repoussé and Chasing Victoria Lansford June 19–23 Course # AAJW ØØD One-week session Learn the secret of texturally sculpting metal into any shape or design of high or low relief with the technique of Eastern repoussé and chasing, used by the ancient Egyptian, Greek, and Scythian metalsmiths. You will make up to three pendants and one finger ring while learning how to achieve exquisite detail, unsurpassed depth, and multiple levels of relief that are exclusive to this type of repoussé. The techniques you learn will be applicable to any type of design, regardless of scale or whether pieces are wearable, functional, or sculptural. Through the ring project you will learn Victoria’s method of creating cuff bracelets in a fraction of the time. Explore how to use repoussé with alternative materials, such as mokume gane and bi-metal. You will leave with written instructions and information on tool-making. Skill level: Basic jewelry making experience and familiarity with metalsmithing and silver soldering terminology Materials: List will be sent upon registration Tuition: $725 Lab fee: $10, includes use of equipment, and consumables such as solder and compounds. You are encouraged to bring your own clearly marked metal and tools. Use of Swissmachine replicated sets of the instructor’s tools, with option to buy for $195 at end of class. Enrollment limited to 12 students Victoria Lansford has generated an international revival of nearly lost, old world metalsmithing techniques through her artwork, publications, workshops, and passion for creating. Her award-winning artwork has been featured in many exhibits and publications, including Metalsmith, Jewelry Artist, Lark 500 series, and Chasing & Repoussé, and in her internationally acclaimed video and book series, Metal Techniques of Bronze Age Masters. www.victorialansford.com Soldering Big and Little Joanna Gollberg June 19–23 Course # AAJW ØØE One-week session Learn all about soldering with a torch using two gasses (either oxy/acetylene or oxy/ propane) and essential information on safe torch set-up and operation. Explore specialized techniques you can apply with confidence to big and little metal objects. Expect to complete at least two projects: one large (over 3”) sheet metal project and one tiny wire (under 1”) project. Start thinking now so you will come prepared with ideas. Dream up something big and something little to solder. You will discuss hollow forms, appliqués, simple wire filigree, Idyllwild Arts Summer Program 10 Metals Week Joanna Gollberg, Charm necklace and building the prong setting—all within the context of successful soldering techniques. Skill level: All metals students welcomed, but basic metal fabrication skills are helpful Materials: List will be sent upon registration Tuition: $725 Lab fee: $10, includes the use of tools, equipment, and consumables such as solder and compounds. You are encouraged to bring your own clearly marked metal and tools. Special soldering block will be available for an additional $5. Enrollment limited to 12 students Joanna Gollberg is a studio jeweler in Asheville, NC. She exhibits and sells her jewelry nationally, and she teaches jewelry making at craft schools and for metalsmithing groups. Joanna is the author of The Jeweler’s Guide, Making Metal Jewelry, Creative Metal Crafts, and The Art and Craft of Making Jewelry. www.joannagollberg.com The Stories We Tell The Jewelry We Make Sarah Doremus June 19–23 Course # AAJW ØØF One-week session Art is about storytelling. And everyone has a story. Explore myriad techniques that encourage the expression of your story. You will begin with a few keepsakes that you want to make into a wearable piece. Consider such things as your grandfather’s army buttons, a cherished family watch, your child’s tooth, or a rock from a favorite vacation. Transform 11 Idyllwild Arts Summer Program that special treasure into something wonderful by integrating it into a piece of jewelry to tell a story. Using non-traditional techniques and the flotsam and jetsam of your life, you will turn everyday objects into narrative or concept-based art. Plan to bring a collection of “stuff ” meaningful to your life, along with some extra bits to trade or share. You will work with copper, brass and silver, as well as employ cold connections including rivets, tabs, prongs, screws and resin. Experiment with galvanic etching to transfer words and images to metal and diamond drills to integrate stone and glass. Use your peers to develop ideas and get advice. Finished pieces may not be confined to jewelry, but you will strive to create a formal composition that tells a story in wearable form. Skill level: All metals students welcomed, but basic metal fabrication skills are helpful Materials: List will be sent upon registration Tuition: $725 Lab fee: $40, includes PnP paper, chemicals for etching, rivets , spring wire, screws, nuts, washers, mini-wrench, basic and diamond drill bits, tap and die, spiral saw blades, plexiglass, epoxy resin, pigment, use of tools, equipment, and consumables such as solder and compounds. You are encouraged to bring your own clearly marked metal and tools. Enrollment limited to 12 students Sarah Doremus lives and works in Deer Isle, ME. She has taught workshops for children and adults throughout the country, including Haystack Mountain School of Craft, Peters Valley, and Metalwerx. She earned her BS in art history from Northeastern University and a BFA from the Massachussets College of Art. Sarah is an active sculptor and metalsmith, and her work has been shown in many publications and galleries throughout the United States. www.sarahdoremus.com JEWELRY Metal Clay Intensive: Earrings Jonna Faulkner July 9-11 Course # AAJM Ø1 Three-day session Create dramatic, dimensional earrings using a variety of techniques, including conemaking, using cork clay armatures to create hollow forms, employing frames to create emphasis, riveting mixed metals together, and layering appliqué pieces. You will learn to apply 24k gold foil using the keum-boo process, pearl- and stone-setting, and soldering earring posts. These techniques also may apply to constructing pendants, bracelets, and rings. Discover how to use silver metal clay, a malleable material that works like clay but, after firing in a kiln, is composed solely of pure silver. Expect to make at least seven pairs of earrings. Skill level: All levels are welcome Materials: List will be sent upon registration Tuition: $495 Lab Fee: $35, includes the use of tools, Jonna Faulkner, Earrings equipment, and kiln, some supplies and handouts Enrollment limited to 10 students Jonna Faulkner is a contributing artist to Art Clay Silver and Gold by Jackie Truty, Exceptional Works in Metal Clay and Glass by Mary Ann Devos, The Art and Design of Metal Clay Jewelry calendars by Holly Gage for the years 2009 to 2013, and 1000 Beads. Jonna has taught workshops in France, New Mexico, California and Arizona, and at her home studio in Escondido, CA. www.jonnafaulkner.com Roughing It: Creative Textures for Metal Deborah Jemmott July 11–15 Course # AAJT Ø2 One-week session Texture can add visual interest and express individuality in jewelry. It enriches surface and complements forms. Distinctive textures create contrast, pattern sheet and wire, enhance dimension, and embellish forms with stunning results. Explore myriad options including hammer texture, stamping, roller printing, file texture, burr and grinding textures, heat texture and transfer textures. Learn to make your own texture plates for roller printing, create a texture hammer, and modify simple punches and chisels to create custom texturing tools. These plates, hammers and other tools are unique and give your work an individual voice. After experiencing the “how-to,” you will investigate aesthetics: When is it Jewelry Deb Jemmott, Pendant Tom McCarthy, Dance of Life Sarah Doremus, Pin too much? How do you combine textures? How can texture be used to make a more powerful statement? Your workshop will include necessary technical information to use textures to their fullest advantage, including soldering, finishing, patinas, and keum-boo. Expect to finish several pieces of jewelry in addition to making many samples for future use. Skill level: All metals students welcomed, but basic metal fabrication skills are helpful Materials: List will be sent upon registration Tuition: $725 Lab fee: $60, includes texture tool blanks, use of basic and specialized tools, equipment, and consumables such as solder and compounds. You are encouraged to bring your own clearly marked metal and tools. Enrollment limited to 12 students Deb Jemmott has shared her love for metal by teaching classes since 1978, teaching through the San Diego Community College District in addition to many workshops. Deb’s belief that everyone has artistic creativity combined with her mastery of jewelry making techniques is key. She nurtures creativity in each student and helps with technical issues so students achieve their ideas in metal. Deb’s work has been featured in many periodicals and books, and she exhibits and creates custom work. www.debjemmott.com * METALS WEEK & JEWELRY STUDENTS you may also be interested in: Hopi Jewelry see page 20, Navajo Inlay Jewelry see page 20. Rachel Shimpock, Disc bracelet Idyllwild Arts Summer Program 12 Jewelry Sarah Doremus, Pin 2 13 Idyllwild Arts Summer Program Deb Jemmott, Exchange Piece 2 Tom McCarthy, Resting Pair Michael deMeng, Apocalypto Shrine MIXED MEDIA/BOOK ARTS Assemblage I Apocalypto Shrines a.k.a. Beyond Thunder Duomo Michael deMeng June 19-20 Course # AAAS ØØ Two–day session “Perhaps I have too much time on my hands,” says instructor Michael deMeng, “but one of the things I like to ponder is strange alternative realities. Recently I was considering the universal desire/need that humans have to create shrines, and because I recently watched the new Mad Max film I wondered what shrines might look like in a post-apocalyptic society. Most certainly they would exist, but I surmised they would exist using the debris, dust and rust that might accompany such a world. And voilà, Apocalypto Shrines.” Join Michael and create your own shrine from the discarded. “You will create shrines that are crusty, dusty and, most important, rusty,” he promises. “Using a variety of techniques, you will thoroughly oxidize and verdigris your creations until they look like they’ve been to the end of the world and back again. It’s the end of the world, as we know it and I feel shrine.” Skill Level: All levels are welcome Materials: List will be sent upon registration Tuition: $350 Lab Fee: $35, includes VerDay Paint & Patina, Golden Acrylic Paint, Aves Apoxie Clay, E6000 Craft Adhesive, textures Enrollment limited to 15 students Michael deMeng, see bio under Punk Fiction. to share, metal sheets, use of Dremel and attachments, paint, adhesives. Also covers Assemblage III lab fee. Enrollment limited to 15 students Assemblage II Punk Fiction: Embossa Nova Books Michael deMeng Michael deMeng, see bio under Punk Fiction: Dream Journal June 21 Course # AAAS ØØA One-day session Assemblage III Punk Fiction: Dream Journal Michael deMeng “One of my favorite things when I visit Mexico is the little embossed-metal shriney things,” says workshop leader Michael deMeng. “Usually they’re filled with little saints and surrounding them are decorative metal homes.” In this class, Michael will guide your exploration of metal embossing combined with the art of assemblage. You will reshape, reform and refine malleable metal from its underside. Known as repoussé and chasing, the process creates “very nice raised decorative effects.” In this workshop, you will modify one or more existing books. “Could be a sketchbook or a novel by your favorite author,” he suggests, “and you will customize it using embossing and paints. I will show you a variety of techniques with this process and most importantly how you can combine it with other mediums, such as sculpture and paint to create a little antiqued book. Don’t be afraid…no one is the emboss of you.” Skill Level: All levels are welcome Materials: List will be sent upon registration Tuition: $175 Lab Fee: $40, includes metal-embossing tools June 22 Course # AAAS ØØB One–day session Wouldn’t it be nice if the cover of the book was as fascinating and enchanting as the interior? Time to take bookmaking to a whole new bizarre level. Transform books or journals into “strange and unusual bookssemblages.” Taking an existing hardback book, you will modify it using clay and a variety of assemblage and painting techniques. Perhaps you’d like to transform the cover of your Edgar Allen Poe anthology into something goth-ish, or maybe you want a steampunk journal, then again it might be a living breathing beasty that your cover requires. Set your imagination free, explore well beyond the traditional, and create books that are as fascinating to look at as they are to read. Skill Level: All levels are welcome Materials: List will be sent upon registration Tuition: $175 Lab Fee: $40, includes Golden Acrylic Paint, molding paste, E6000 Craft Adhesive, Kroma Idyllwild Arts Summer Program 14 Mixed Media/Book Arts Michael deMeng, Punk Fiction Embossa Nova book (detail) Michael deMeng, Punk Fiction Dream journal Crackle, Aves Apoxie Clay. No lab fee if you are also enrolled in Assemblage II. Enrollment limited to 15 students Michael deMeng is an assemblage artist whose work is heavily influenced by Latin American art forms such as retablos, ex votos, and milagros. Born in Southern California, he now works and resides in Canada. As an artist, he has participated in many exhibits that promote awareness of AIDS, breast cancer, the environment and other social issues. Michael is co-founder of Missoula’s Festival of the Dead, an annual event based on the Latin Dia de los Muertos, designed to celebrate life, death and the arts through education, performance, and visual arts. He is the author of the bestselling craft books, Secrets of Rusty Things and Dusty Diablos: Folklore, Iconography, Assemblage, Ole!, as well as Art Abandonment, co-authored with wife Andrea Matus, and his new book, Grimmericks. As an educator, he leads mixedmedia workshops throughout the country and over the years has been involved with VSA Montana. Through his work, Michael fosters community awareness and offers creative methods to explore the human experience. www.michaeldemeng.com Mixed Media I Transparental Guidance Andrea Matus deMeng June 23-24 Course # AAMM ØØA Two-day session “I love working with multiple layers,” says instructor Andrea Matus deMeng, “the end 15 Idyllwild Arts Summer Program result is so rich and mysterious, almost as if you can see glimpses of what has passed before permeating through the surface. “ Created as an extension of her Collaging the Translucent class, this workshop will challenge you to incorporate new techniques using transfers, resins, and acrylic sheets. You will develop these innovative techniques to create effects that mimic the look of printed glass, stained glass, glass etchings and encaustics. You will learn to combine transparencies, acrylic sheets, photos, textured papers, ephemera, textiles and found objects to create multi-tiered compositions of richly layered collages, with jewel-like depth and vibrancy. Explore and push the boundaries of these techniques with lots of experimentation and then assimilate the best into your project. Using a cradled board substrate as your base, you will combine layer after layer of transparent and semi-visible design, focusing on light, reflection and depth to create mesmerizing art. Skill Level: All levels are welcome, including returning students Materials: List will be sent upon registration Tuition: $350 Lab Fee: $25, includes cradled board substrate, acrylic sheet, matte board, hardware, acetate, Aves Epoxy Clay, adhesives, resin, pouring medium, and shared tools, collage materials, pastels and other marking tools Enrollment limited to 20 students Andrea Matus deMeng, see bio under Art de Refusés. Mixed Media II Art de Refusés Andrea Matus deMeng June 25 Course # AAMM ØØB One-day session “I always found it fascinating that the Salon des Refusés had tremendously successful shows from the artworks of renowned artists that had been rejected by the established art world,” says Andrea Matus deMeng. Playing with this concept, Andrea will challenge you to take your own abandoned or unfinished artworks and give them a second chance to shine. No old art you’d like to alter? No problem, you can also create your expressive mixed-media artworks from the ground up. You just might find an old photograph or doodle you’d like to incorporate. Prepare to do transformative magic as you take everyday images and change them into mixed-media masterpieces, whether they be landscapes, abstracts or something in between. Bring your assortment of imagery and that box of ephemera that you’ve been collecting forever, then incorporate it all into your canvas. Elevate them from the ordinary to the extraordinary as you explore sophisticated techniques for creating multilayered collage. Focus on the interplay between paint, collage, and mark-making to bring fun and spontaneity back into your process. Working intuitively, you’ll play with color and composition without obsessing about a specific outcome, allowing the freedom to leave your inner critic behind. Andrea Matus deMeng, Transparental Guidance Skill Level: All levels are welcome Materials: List will be sent upon registration Tuition: $175 Enrollment limited to 20 students Andrea Matus deMeng is a Vancouver-based artist who travels the world teaching and creating visual art. She shows and exhibits her unique combinations of painting, collage and sculpture throughout North America. Not one to be afraid of color, Andrea’s work, projects and workshops all revolve around the fusion of pattern and design with vivid colors. Recently, she co-authored Art Abandonment with her talented artisthusband Michael deMeng. www.andreamatus.com The Creative Edge Sas Colby July 11-15 Course # AAMC Ø2 One-week session “Creativity is a matter of getting lost and dealing with the consequences.” Enjoy a series of creative encounters with ideas and materials, based on the premise that working with the unknown can lead to breakthroughs in art-making. Experiment with new materials and ways of working, try many approaches, and open the door to your authentic voice and artistic sources. You will use gesso, newsprint, stones, found objects, string, shellac, paint and more to express yourself in energizing perception exercises, designed to stimulate an artful response. Although this is a process- Mixed Media/Book Arts Andrea Matus deMeng, Art de Refusés (detail) Sas Colby, Blue Garden (detail) oriented class, you will create many new works each day, including drawings, books and small sculptures. Slides, mixed-media demonstrations and group projects will emphasize art as an integrative experience, and introduce free association and experimentation with off-beat art forms. Art experience is helpful but not necessary. Come with a willingness to experiment and be unattached to a specific outcome. The instructor’s manual is a book made expressly for the class. The workshop is designed to stretch the boundaries of your thinking and creating, and will be beneficial for artists, teachers, writers and creative souls from any discipline. Skill level: All levels, all disciplines are welcome Materials: List will be sent upon registration Tuition: $725 Lab Fee: $15, includes shared materials such as matte medium, brushes, heavy gel, gesso, 22” x 30” paper, resource material Sas Colby, Bunnies on Ice Enrollment limited to 15 students Sas Colby has more than 40 years of experience making, exhibiting and teaching art. Her interdisciplinary art combines textiles, photography, drawing and painting, and she is a pioneer in the genre of artists books. Her artwork has been collected and exhibited nationally and internationally, most recently in “Sisters of Invention” at the San Francisco Center for the Book. Sas has been a visiting artist in Australian universities and at schools throughout this country. www.sascolby.com * MIXED MEDIA & BOOK ARTS STUDENTS you may also be interested in: 3D Encaustic Exploration and MoldMaking, see page 29, Adventures in Woodcut Printmaking, see page 29, Glass Blowing, see page 28, iPhoneography, see page 27, Monotype, see page 28, Small Scale Bronze Casting, see page 29. Idyllwild Arts Summer Program 16 Git Hayetsk Dancers, 2014 NATIVE AMERICAN ARTS OVERVIEW Featuring two dynamic components: WORKSHOPS, June 27 - July 10: Engaging, hands-on learning opportunities are designed for adults of all levels of experience and knowledge. Working closely with master artists and cultural specialists, you will have the rare opportunity to learn traditional and contemporary Native American art forms and gain insight into the rich cultural foundation that inspires and motivates each artist. FESTIVAL, July 3-8: Distinguished artists, scholars and cultural specialists will present exhibits, performances, demonstrations, films and the Michael Kabotie Lecture Series. Daily Native American food tastings mean there will be something to stimulate all your senses. The spirit of this annual event is to bring the scientific, intuitive and trickster voices together for a balanced and provocative learning experience. It is designed to enhance and add depth to the hands-on workshop experience. All Festival events are open to the public. 2016 Festival Theme: ARTifical Borders Consultants: Joe Baker (Delaware), director, Palos Verdes Art Center; and Gerald Clarke, Jr. (Cahuilla), artist, chair, Idyllwild Arts Academy Visual Art Department. Schedule and Guests: See www.idyllwildarts.org/nativearts 17 Idyllwild Arts Summer Program Previous Festival Guests Include: Dr. Lowell Bean Bert Benally Dr. Janet Berlo Dr. Tara Browner Dustinn Craig Dr. Patricia Crown Dancing Earth/ Rulan Tangen Brent Michael Davids Chris Eyre Gary Farmer Yatika Fields Git Hayetsk Dancers Teri Greeves Dr. Jonathan Haas Sterlin Harjo Dr. Ann Lane Hedlund Michael Kabotie James Luna Patricia Michaels Mt. Cahuilla Birdsingers Loretta Oden Alex Seotewa Sean Sherman Jock Soto Spiderwoman Theater Arigon Starr Dr. Rina Swentzell David Treuer W. Richard West Manuelito Wheeler Nathan Youngblood …and many more! FESTIVAL WEEK EVENTS Open to the Public JULY 3-9 Each day, visiting guests will explore a wide range of topics. Sunday, July 3 6:30 p.m. Opening Presentation Monday, July 4 7 p.m. Gallery Talk 8 p.m. Invitational Exhibition, Opening/Reception Tuesday, July 5 12–1 p.m. Kabotie Lecture Series Wednesday, July 6 12–1 p.m. Kabotie Lecture Series Thursday, July 7 12–1 p.m. Kabotie Lecture Series 7 p.m. Film Night Friday, July 8 7 p.m. Native American Performance Saturday, July 9 8 a.m. Hopi-Tewa Pottery Firing WORKSHOPS Native Plants Gathering, Processing and Feasting Barbara Drake, Craig Torres, Daniel McCarthy, Abe Sanchez July 9-10 Course # NANP Ø1 Two-day session Learn to preserve and use native plants from seasoned experts. Stroll through the campus meadow, next to ancient Cahuilla bedrock mortars, and learn about the plants surrounding you in an ethnobotany talk. Discover the secret lives of plants and seeds you usually look right past, including mesquite beans, prickly pear cactus, yucca, elderberry, stinging nettle, chia and acorns. Learn to use what you find to do everything from treat ailments to help the environment. Discover traditional and modern gathering practices, as well as how to prepare and cook these culturally valuable plants. You will get to make your own elderberry tube to store teas, medicine or offerings. Visit Cahuilla rock art sites in Idyllwild to learn Native American Arts Native Plants Freddie Bitsoie their meaning and the importance of their preservation. Your workshop will conclude with a feast prepared together in class, and you will get a book of recipes to take home. This workshop is dedicated to the instructors’ teacher, Katherine Siva Saubel, with deep gratitude. Skill Level: All levels are welcome Tuition: $250 Lab Fee: $30, includes materials, food, and field trip Enrollment limited to 20 students Craig Torres (Tongva) is a member of the Traditional Council of Pimu and involved with the Ti’at Society, an organization focused on the revival of the traditional maritime culture of the Southern California coastal region and Southern Channel Islands. He is an artist, educator and consultant who works with schools, cultural and nature centers, museums, and government agencies. He has helped create cooking demonstrations and classes using native California plants for Preserving Our Heritage and Chia Café. Barbara Drake (Tongva) is a tribal elder and culture keeper. Her program, Preserving Our Heritage, is a bank of native foods collected, preserved and processed for tribal elders. She is a member of the Mother Earth Clan, a group of Southern California Native American women educators who have taught extensively in museums, schools and tribal institutions. Daniel McCarthy earned his BS and MS in anthropology from UC Riverside. For the past 40 years, he has worked at Anza-Borrego Desert State Park, Joshua Tree National Park and throughout Southern California compiling photographic inventories of rock art sites. He has worked with elders and traditional practitioners for more than 35 years and served as the Tribal Relations Program manager for the San Bernardino National Forest for 17 years. He is currently director, CRM Department, San Manuel Band of Mission Indians. Abe Sanchez is active in the revival and preservation of indigenous arts and foods, with specialties in Southern California Native American basketry and California and Southwest native foods. He has worked with traditional Native American gatherers to learn methods and practices. Abe believes that teaching people about ancient natural foods and preparations, he can help them make a difference in their health and the environment. Chiles to Chocolate: Modern Interpretations of Ancient Central American Foods Freddie Bitsoie July 2-3 Course # NANC ØØ Two-day session Discover a new world of culinary wonders as you learn to prepare native foods from Central America’s Corn Belt. Explore the many unique flavors and learn how they have evolved over the years, from Pre-Iberian and historic to colonization and current times. Learn how the ingredients and their uses have evolved over time and how contemporary chefs are incorporating them today to create exciting new fusion cuisines. As you learn new recipes, you will see how you can incorporate ancient techniques and readily available ingredients such as chocolate, chilies and corn. Drawing on inspiration from ancient and living tribes including the Mayans, Zapotecs, Mixtecs, Aztecs and Pipil, create your own delicious dishes, from tamales to spicy hot chocolate. Come eager and hungry for two days filled with hands-on cooking lessons and food tastings. Skill level: Beginner, aspiring, and seasoned chefs are welcome Materials: List will be sent upon registration Tuition: $250 Lab Fee: $75, includes ingredients and recipe booklet. Native American producers and cooperatives will supply many of the ingredients. Enrollment limited to 10 students Freddie Bitsoie (Diné), Native American chef, owns of FJBits Concepts, a firm that specializes in Native American foodways. He travels widely, presenting for organizations including Kraft Foods, College of Holy Cross, Yale University, and Heard Museum. Freddie hosts the public TV show Rezervations Not Required, and has appeared in and contributes to many publications. He won the Native Chef Competition at the Smithsonian’s National Museum of the American Indian. Freddie studied cultural anthropology and art history at ASU before attending culinary school. www.freddiebitsoie.com Tamales, photo by Lois Ellen Frank Cahuilla Basketry Rose Ann Hamilton July 4-8 Course # NACB Ø1 One-week session The Indian tribes of California produced baskets of great diversity and beauty, and the exquisite work of the Cahuilla is highly regarded. In recent years, the Cahuilla have experienced a revival in the art of basketmaking. Learn how to create your own Cahuilla-style coiled basket using yucca, sumac, juncus and deer grass. On a field trip to the nearby Cahuilla Reservation, you will learn how to identify and prepare plants used in basketmaking. Skill Level: All levels are welcome Tuition: $725 Lab fee: $45, includes materials, field trip and use of tools Enrollment limited to 10 students Rose Ann Hamilton (Cahuilla, Apapatkiktem clan) learned from renowned Cahuilla basket weaver Donna Largo at Idyllwild Arts 22 years ago. She has taught Cahuilla basket classes and presented at Cahuilla, Santa Rosa, Ramona and Agua Caliente reservations, as well as the Riverside Metropolitan Museum, Autry Museum, Agua Caliente Museum, and San Manuel conferences at CSUSB and Crafton Hills College. She has participated in gatherings at Los Coyotes, Santa Ysabel, and Soboba reservations. She is the granddaughter of Rosanda Apapas Hopkins Tortez Lugo and the great-granddaughter of Antonia Casero, Cahuilla master weavers. Idyllwild Arts Summer Program 18 Native American Arts Tohono O’odham closed-stitch basket Navajo Weaving workshop Tohono O’odham Basketry and Beyond Form Over Function Terrol Dew Johnson June 27–July 1 Course # NAOB ØØ One-week session Join master basket-weaver Terrol Dew Johnson to learn the techniques used to create both traditional and contemporary Tohono O’odham (Papago) baskets. Learn the two primary traditional coil techniques: closed-stitch, in which the sturdy inner coil is covered by hundreds of tight stitches that are woven directly next to one another; and split-stitch, in which the inner coil is exposed by spacing stitches farther apart, alternating stitches and blank space to create mesmerizing designs and patterns. You will use native plants of the Sonoran Desert in southern Arizona, and the traditional technique of relying solely on the natural colors of desert plants including white yucca, green bear grass, and black devil’s claw. Learn about sustainable growing, collecting and preparing of the natural fibers. If you wish to explore the techniques Terrol uses to create non-traditional baskets, he will hold extra sessions and you will collect local materials to use. Skill Level: All levels are welcome Materials: List will be sent upon registration Tuition: $725 Lab Fee: $60, includes all gathered and processed fibers and materials to complete one small traditional basket, and the use of awls and other tools. Awls will be available for purchase at the end of class. 19 Idyllwild Arts Summer Program Enrollment limited to 15 students Terrol Dew Johnson (Tohono O’odham), community leader and artist, co-founded Tohono O’odham Community Action, dedicated to creating positive programs based in the Desert People’s Way. He has won top honors at Santa Fe Indian Market, O’odham Tash, Heard Museum Fair, and more. His work is in the permanent collections of the Smithsonian’s National Museum of the American Indian and the Heard Museum. He was honored for his community work with the Ford Foundation’s Leadership for a Changing World Award. Navajo Weaving Beginning & Intermediate Barbara Ornelas and Lynda Pete June 27–July 1 Course # NANW ØØ July 4-8 Course # NANW Ø1 One or Two-week session Learn the art of weaving from master Navajo weavers Barbara Teller Ornelas and Lynda Teller Pete, originally from Two Grey Hills and Newcomb, New Mexico. While instructing and demonstrating, sisters Barbara and Lynda will share their family’s personal weaving stories and experiences, giving you a view into the world of Navajo weaving. According to Navajo oral tradition two holy people, Spider Woman and Spider Man, introduced weaving to the Navajo. Spider Man constructed the first loom, which was composed of sunshine, lightning, and rain; and Spider Woman taught the people how to weave on it. Spider Woman was discovered by the Holy Twins, the culture heroes of the Navajo Creation Story, in a small opening in the earth surrounded by an array of beautiful weavings. Entering her dwelling, the Holy Twins descended a ladder made of yarn, whereupon Spider Woman offered them knowledge of the world of weaving. Beginners: Learn the traditional method of Navajo weaving and begin weaving with a pre-warped, upright Navajo loom. The majority of the week will be spent designing and learning how to weave a 12” x 16” rug. There will be a lesson on warping a loom later in the week. Beginning weavers may enroll for the full two weeks or only the first week. Intermediate: If you have previously taken the course or have had basic Navajo weaving training on an upright loom, you will explore more advanced weaving techniques and patterns, and your rug may be any size. You may bring rugs from previous summers to complete, or may begin a new rug. Intermediate students must bring their own looms, and they must be set up for weaving before class begins. Alternately, they may order a pre-warped loom at registration. Intermediate students may enroll for the full two weeks or only the second week. Materials: You may wish to bring a seat cushion and small clamp or desk lamp Tuition: $725 per week Lab fee: $80 beginners, includes the use of a pre-warped loom and all tools in class, four skeins of wool. Looms, additional wool, battens and combs will be available for Cahuilla Basket ‘start’ purchase. Intermediate students: no lab fee; wool and warp will be available for purchase. If you wish to order a pre-warped loom for $45, you must do so when you register. Enrollment limited to 10 students per week Barbara Teller Ornelas is best known for her Navajo tapestry weavings (95–120 weft threads per inch). She has set several records with her weavings: she has won Best of Show at the Santa Fe Indian Market twice; she set a new record in 1987 by selling a weaving for $60,000 that she and her sister Rosann Lee made; and she wove the largest tapestry-style Navajo weaving on record. Barbara is a fifthgeneration weaver who was raised near Two Grey Hills on the Navajo Reservation, where her father was a trader. She has been featured in National Geographic, Business Week, Americana and Native Peoples magazines, as well as many books. She has won dozens of awards, and has demonstrated and lectured at many museums and institutions around the world. She recently participated in a cultural exchange with Peruvian weavers at the request of the US State Department. Barbara and Lynda have taught their popular workshop at Idyllwild Arts for 18 summers. Lynda Teller Pete began weaving at age 6 and won her first major award at age 12 at the Gallup Ceremonial. She has gone on to win many awards for her weaving, including Best of Classification for Textiles at the prestigious Santa Fe Indian Market. Lynda collaborates with museums, schools and art venues in Colorado and around the country to teach about Navajo weaving. She is also known as Native American Arts Hopi Jewelry workshop, Tufa Casting process an accomplished beadwork artist and has won many awards for this work. www.navajorugweavers.com Hopi Jewelry Overlay and Tufa Casting Roy Talahaftewa June 27-July 1 Course # NAJH ØØ One-week session Explore the classic Hopi overlay technique of metalsmithing, as well as tufa casting. Tufa is a soft porous stone used for direct casting oneof-a-kind designs. Learn to combine tufa cast pieces with overlay designs (multiple layers of sheet silver with cut-out designs, textured and oxidized recessed surfaces), or create separate overlay and tufa works. Roy also will demonstrate techniques for making stamping tools. Close instruction means this workshop is well-suited for all levels of students. Beginners: Learn the fundamental materials, processes, and techniques of silversmithing. Intermediate/Advanced: If you have some experience, you will be able to fine-tune your skills while mastering new techniques. You also may choose to learn the shadow box technique. Skill Level: All levels are welcome Materials: List will be sent upon registration Tuition: $725 Lab fee: $65, includes use of all tools, equipment and consumables such as solder and compounds. Bring your own silver and hand tools, if you have them, but be sure they are clearly marked. Tufa stone and some silver sheet will be available for purchase. Enrollment limited to 12 students Roy Talahaftewa (Hopi, Water Clan) is from Shungopovi Village in Arizona. He works in silver and gold, and uses Hopi overlay and tufa casting in his designs. Roy received the first major award for his work in 1981, and has earned Best of Show at the Heard Museum, among many others. Working with the nonprofit Hopi Pu’tavi Project, Roy teaches Hopi youth the art of metalsmithing, and he is an advocate and promoter of Hopi artists on the reservation. Navajo Inlay Jewelry Richard Tsosie July 4–8 Course # NAJN Ø1 One-week session The Navajo adopted the art of jewelry making from the Spanish, taking the art to new heights and establishing a style that is now considered to be the traditional Navajo style. Today, there are many Navajo jewelers who are moving beyond that style, designing contemporary pieces of jewelry that reflect a new Native American reality. Artists are creating colorful collages and patterns with beautiful stones and shells set in gold and silver. In addition to turquoise and coral, you might find lapis lazuli, purple lavulite, diamonds, pearls, malachite, jet stone, jade, melon shell and other stones, shells and gems. In this workshop, you will work closely with Richard, a leading contemporary Navajo jeweler. You will design patterns and cut, grind and prepare stones to set into basic silver forms such as rings, bracelets, earrings Joel McHorse, Oxygen Reduction Micaceous Pot and belt buckles which you will create. If you have no prior experience in silversmithing, you will learn the basic techniques and concepts for shaping silver. Skill Level: All levels are welcome, but some basic experience working with silver is helpful Tuition: $725 Lab fee: $45, includes the use of all tools, equipment, and consumables such as solder and compounds. Additional charges will accrue for all silver and stones used. A small selection of turquoise and other stones will be available for purchase, but you are encouraged to bring your own stones that match your preferences. You may bring your own silver, tools, stones, and work lamp, but they must be clearly marked. Enrollment limited to 10 students Richard Tsosie is a Navajo jeweler and sculptor from Flagstaff and the Wide Ruins area of the Navajo Reservation and is currently living in Scottsdale, AZ. His work has been featured in American Indian Art Magazine, Arizona Highways, the video Beyond Tradition: Contemporary Indian Art and Its Evolution, as well as several books including Southwestern Indian Jewelry by Dexter Cirillo and Enduring Traditions, Art of the Navajo by Jerry Jacka. Richard’s work has been exhibited in galleries and museums from New York to California. Native American Flute Making Marvin and Jonette Yazzie, Ernest Siva June 30–July 3 Course # NANF ØØA Intermediate: 4-day session (Thurs.-Sun.) July 1–3 Course # NANF ØØB Beginners: 3-day session (Fri.-Sun.) Construct and decorate your own six-hole flute under the guidance of an experienced Navajo flute maker. Learn the history of flutes as well as how to handle and care for your newly created instrument. During the course, ethnomusicologist Ernest Siva will teach the basics of flute playing and you will receive a music booklet. Beginners: Learn to use Utah blue spruce for the flute body, then carve, shape, oil, tune and decorate your flute. Flutes will be tuned using the Pentatonic scale, and you will choose the key, from F to A. Intermediate: If you previously have taken class from the Yazzies, you will hand carve a flute from bass wood. You will make a “grandfather” flute using body measurements like Native flutes of old times. Materials: List will be sent upon registration Tuition: $490, Beginner, 3-day session $590, Intermediate, 4-day session Lab fee: $40, Beginner $60, Intermediate Includes wood, totems, materials and the use of tools and equipment Enrollment limited to 10 students Idyllwild Arts Summer Program 20 Native American Arts Richard Tsosie, Navajo Inlay Mark Tahbo, 3 Generations Jar Marvin and Jonette Yazzie are from Lukachukai, a small town on the Navajo reservation in the Four Corners region of Arizona. Jonette assists Marvin in flutemaking, an art they learned from their relative Willard Coyote. Their flutes are carried in the Heard Museum shop and others around the country, as well as Asia and Europe. Recording artist Scott August of Cedar Mesa Music used Yazzie flutes on his CDs Sacred Dreams and New Fire. Marvin is listed in Flute Magic and Voices of the Flute. Yazzie flutes are used in the music programs of Tuscon and Klamath-Trinity school districts. Marvin and Jonette played flutes in the play Anasazi at the Ramona Bowl in 2011 and played preshow for the Ramona Pageant. www.yazzieflutes.com Ernest Siva, musician and teacher, is the cultural advisor and tribal historian for the Morongo Band of Mission Indians. Ernest taught public school music in Palm Springs and Los Angeles before teaching courses in American Indian music at UCLA for 12 years. He and his wife, June, are Idyllwild Arts alumni and former trustees. In 2004, Ushkana Press published his book, Voices of the Flute. He is president and founder of the Dorothy Ramon Learning Center. Traditional Northwest Coast Paddle Making Mike Dangeli July 4–8 Course # NANC Ø1 One week session In Sm’algyax, the language spoken by the Nisga’a, Tsimshian and Gitxsan, the word for paddle is “hawaay.” This word is found in many songs, both old and new, to articulate travel both physical and metaphorical. Paddles play a central role in many Northwest Coast tribes – they are used for the practical purpose of rowing a dugout canoe, but also in ceremonial dance and symbolic acts such as entering another peoples’ territory. In this workshop, you will learn to carve, sand, paint and oil a paddle using yellow cedar. Paddles will range from 3-6 feet. Mike will include a session on basic Northwest Coast First Nations design and painting techniques, and you will embellish your paddles, mining your own interests and culture to develop your designs. Skill Level: All levels welcomed, but ability to safely use a knife for carving wood is required Materials: List will be sent upon registration Tuition: $725 Lab Fee: $85, includes wood, paints, brushes, shared drawing supplies and tools Enrollment limited to 10 students Mike Dangeli (Nisga’a, Tlingit, Tsetsaut, and Tsimshian) grew up in his people’s traditional territory in Southeast Alaska and Northern British Columbia. Mike is a renowned 21 Idyllwild Arts Summer Program Northwest Coast Paddle Making artist and carver. His work is collected and exhibited throughout North America and Europe. He is a singer, songwriter, and dancer. Mike and wife Mique’l lead the Git Hayetsk Dancers, an internationally renowned First Nations dance group based in Vancouver, BC. He has carved more than 50 masks used in performances by their group. Hopi-Tewa Pottery Mark Tahbo July 4-9 Course # NAPH Ø1 One-week session-includes Saturday a.m. firing Learn the traditional Hopi method of creating polychrome pottery, including coil building, stone burnishing, painting with natural pigments, and firing. Process and prepare raw clay for pottery making and prepare beeweed plant for black paint. Experiment with the Hopi-Tewa gray clay, as well as the yellow ochre clay that Nampeyo often used. See demonstrations of slipping techniques using white kaolin and yellow ochre, and learn separate firing techniques for gray and yellow ochre pots. Mark will provide natural clays and paints from the Hopi Reservation in Arizona. You will make up to three small pieces of pottery in this careful examination of the delicate process of Hopi pottery making and the cultural foundation from which the art is inspired. Skill Level: All levels are welcome Materials: List will be sent upon registration Tuition: $725 Lab Fee: $55, includes clays, natural paint pigments, and firing materials Enrollment limited to 15 students Mark Tahbo (Hopi-Tewa) is known as one of the finest Hopi potters today. Born and raised on the Hopi Reservation, First Mesa, Mark learned the art from his great-grandmother Grace Chapella, Nampeyo’s neighbor and a principle pottery revival artist decades ago. His distinctive pots have been exhibited worldwide in museums and galleries. Among the many top awards he has earned at the Santa Fe Indian Market is the prestigious Helen Naha Memorial Award for Excellence in Hopi Pottery, which he earned for three consecutive years. Mark has been profiled in various publications including Native Peoples Magazine, and is included in many books and articles on Pueblo pottery. Micaceous Pottery Joel McHorse June 27-July 1 Course # NAPMØØ One-week session Learn how to build micaceous pottery vessels. Create bowls using a puki and freeform sculptural pieces using commercial micaceous clay, which is similar to the micaceous clay used by the Pueblo and Apache Indians, Hispanic people, and Anglo potters. The thermal conductivity properties of micaceous vessels allow for their use as cooking pots. You will learn to produce vessels using the coil method, including each step of the Native American Arts Tony Soares, Cahuilla style student pots process from drying and sanding to using a slurry to slip, burnishing to smooth and create a hardened surface. You will kiln-fire your ceramic pieces for the natural tan finish, with some pieces blackened using an outdoor oxygen reduction process in a separate firing. Joel will explain traditional firing techniques as well. (Because the process requires extensive air-drying time, you will use a pre-dried vessel prepared by Joel to learn the finishing and firing techniques. The pots shaped in class may be taken home and fired.) Joel will also lead you through the clay-making process so you can process your own clays using natural sources. You also will explore finishing techniques such as waterproofing with pine pitch, using sgraffito to decorate, and attaching sterling silver work to a clay vessel. Skill level: All levels are welcome Materials: List will be sent upon registration Tuition: $725 Lab Fee: $65, includes clay, shared supplies, tools, materials, one dried vessel to complete Enrollment limited to 12 students Joel McHorse learned to make pottery from his mother, renowned potter, Christine McHorse, and silversmithing skills from his father. He has synthesized the two disciplines to create a homogenous art using both mediums. Joel is ½ Navajo, ¼ Taos Pueblo, and ¼ Scottish. His family collects micaceous clay from the mountains above Taos, and cleans and processes it by hand. He is also a New Mexico-accredited architect. His pottery has been featured in books and publications, and is widely collected. His work is shown at King Galleries of Scottsdale, AZ. Dig and Make Clay for Pottery Tony Soares July 2-3 Course #NAPNØØ Two-day session Pottery has been made for more than a 1,000 years in Southern California, primarily for cooking and seed storage. Dig in to this ancient art form in this workshop, which includes a field trip to two clay sites, where you will learn how to carefully extract the clay before processing it for pottery making. Make small pinch pots and coil pots using this clay, and experiment with other natural clay samples provided by Tony. He also will discuss different methods of building pots, making natural paints, and various firing techniques. In addition, learn how to make and use a simple urban brick and charcoal briquette kiln to fire your pots at home. Skill level: All levels are welcome Tuition: $250 Lab Fee: $30, includes materials, field trip, and shared items such as screens and metates Enrollment limited to 12 students Tony Soares learned the fundamentals of pottery from his grandmother at age 7, starting a more than 30-year journey to revive the fading art of olla making. Though not of Cahuilla descent, he has helped revive the art of Cahuilla pottery making through his experimentation with local clays and indigenous handbuilding techniques. His Yazzie flutes pottery is displayed in art galleries and museums including the Tahquitz Canyon Museum. Tony shares his knowledge to ensure that Native American pottery-making is never lost. He has taught at many venues including the Agua Caliente Band of the Desert Cahuilla of Palm Springs and the Yuman tribes of the Colorado River, AZ. Special thanks to our generous sponsors: Anonymous Foundation, San Manuel Band of Serrano Mission Indians, National Endowment for the Arts, Agua Caliente Band of Cahuilla Indians, Tribal Alliance of Sovereign Indian Nations, Twenty-Nine Palms Band of Mission Indians, San Pasqual Band of Mission Indians, Chickasaw Nation, Morongo Band of Mission Indians. Idyllwild Arts Summer Program 22 John Brosio, Fatigue (detail) PAINTING/DRAWING Painting Luminosity Marie Thibeault June 20–24 Course # AAPL ØØ One-week session Increase your understanding and use of color as it applies to painting in oil in this intensive workshop. Combining the best of her popular color and painting courses at CSULB, Marie will focus on mixing a widely expansive vocabulary of color to create light and luminosity. Enhance your understanding of color expression and expand your ability to mix, control and use color and paint application with greater clarity and success. You will explore key color concepts while in the process of painting, and gain an understanding of how color and paint application create light, meaning, focus, mood and much more. Marie will discuss the most essential aspects of color and help you explore personal approaches to pictorial composition. You will be guided through a process of building small collages that illuminate essential color contrasts, with an emphasis on light, saturation, and proportion of color relationships. Your collages will serve as sources for painting three canvasses. Marie also will discuss painting techniques and approaches such as direct and indirect painting, under painting and glazing. This study of color will be contextualized within the history of painting, and you will learn how to employ color to strengthen your work. Skill Level: Some painting experience necessary 23 Idyllwild Arts Summer Program Materials: List will be sent upon registration Tuition: $725 Lab fee: $15, includes shared class materials such as various oil painting mediums to explore Enrollment limited to 10 students Marie Thibeault, professor of art at California State University, Long Beach, received her BFA at Rhode Island School of Design, and her MFA at UC Berkeley. Her large abstract paintings are arenas of action, informed by the contemporary landscape in transition and use symbolic color as an expressive force. She has an extensive exhibition record, and has received numerous awards. Recent exhibitions include Engineering at George Gallery Lawson Gallery, San Francisco, and Reference to Geometry at Jose Druis-Biada Art Gallery, Mount St. Mary’s University, Los Angeles. Composition for Artists Crash Course Marshall Vandruff Marshall will use hundreds of great masters’ compositions to help you learn their techniques for instilling feeling into their work. Explore the shared principles behind all artistic forms that great masters use to create in varying styles. In addition, he will touch on: • Abstracting Elements • Consonance • Balance • Dominance • Massing • Contrast • Continuity • Rhythm and Pattern • Transition and Counterchange • Metaphor and Emotion Each lecture includes time for analytical drawings from masterpieces to open your eyes to their structure. The sessions are creatively invigorating, so be ready — you will learn! June 21-23 Course # AAPC ØØ Three-day session Skill Level: All levels are welcome Materials: List will be sent upon registration Tuition: $490 Pictures are little worlds that reflect your tastes and sensibilities. They require many decisions — whether to make something lighter or darker, bigger or smaller, brighter or duller. These are the problems of composition, problems that did not bother you when you were a child — a child composes instinctively. Great artists also compose instinctively, but with grown-up wisdom and classic skills that you will study in this course. Marshall Vandruff has worked as an artist and educator in Southern California for more than 30 years. His clients include MAD Magazine, Hanna-Barbera, Dark Horse Comics, Blizzard Entertainment, Disney Studios, Gnomon Workshop, and more than 40 advertising agencies. He has taught more than 200 courses and workshops in art schools and colleges, including CSUF, Laguna College of Art and Design, LAAFA, Concept Enrollment limited to 20 students Painting/Drawing Robert Regis Dvorak, Badger Pass (detail) Marie Thibeault, Engineering (detail) Lisa Kairos, Soundings #3 (detail) Design Academy, and Fullerton College. www.marshallart.com Encaustic Painting Transparent Layering and Mixed Media Techniques Lisa Kairos June 27–July 1 Course # AAPE ØØ One-week session Encaustic is an ancient painting medium currently used in exciting, contemporary ways. Explore how you can combine encaustic with other mediums such as graphite, thread, paper, ink, fabric, oil paint, water media and crayons, copier transfers, and metallic materials. Discuss the possibilities and technical limitations of combining encaustic with other materials so that you can safely create rich mixed media works. Learn precision techniques such as intarsia (wax inlay), how to use templates and stencils, and the trick to developing atmospheric layers of crisp imagery in clear encaustic medium. Lisa will present new techniques and ideas, and will encourage you to experiment and refine your own pieces. You will begin by making practice sample boards, then start on larger pieces. Learn surface treatments and trouble-shoot your work. Discuss contemporary encaustic mixed media work, and develop and refine your own work. You will leave with technique sample boards to use in your own studio, several finished pieces, and a deeper understanding of the medium and its possibilities. Skill Level: Some basic encaustic experience preferred Materials: List will be sent upon registration Tuition: $725 Lab Fee: $85, includes encaustic medium, encaustic paints, six prepared hardboard panels for technique practice and four prepared cradled panels, use of oil paint sticks, various handmade and found papers, inks, water crayons, metal leaf and metallic heat transfer film, stencil making materials to draw and enjoy it. Learn to express your creativity by drawing using fun and enjoyable drawing exercises. Explore techniques to: • draw from your imagination • lead drawing games for parties • drawing fun for you, your friends and your children Enrollment limited to 10 students Skill Level: All levels are welcome Tuition: $175 Lab Fee: $30, includes 9” x 12” drawing pad, the book Experiential Drawing, water soluble ink pen Lisa Kairos lives and works in the San Francisco area and has been painting and drawing for 25 years. She has used encaustic materials since 2001, and teaches encaustic technique workshops with an emphasis on transparency, precision, and layering. She exhibits her work nationally and is represented by Hang Art in San Francisco and Mixx Projects in Telluride. www.lisakairos.com, @lkairos This day of hands-on exercises is designed for your success. No matter what your skill or background, this class will have you drawing and loving it. Enrollment limited to 20 students Robert Regis Dvorák, see bio in Travel Drawing and Painting Spontaneous Watercolor Robert Regis Dvorák One-Minute Drawing Robert Regis Dvorák June 25-26 Course # AAPW ØØ Two-day session June 24 Course # AAPD ØØ One-day session Yes, you can learn watercolor painting, even if you: • Have no previous watercolor painting instruction • Have tried watercolor painting and got discouraged • Think that you don’t have any talent • Haven’t painted for years and would like to get started again Would you like to be able to draw? Do you think you don’t have drawing talent? Has it been years since you tried to draw, but you’d like to start again? Then this workshop is for you. Drawing is easy when you discover one amazing secret. Learn a sequence of oneminute exercises that will teach you how Robert Regis Dvorák, Student Drawings: Before and After will delight and challenge you for years to come. Capitalizing on the spontaneous characteristic of watercolor you will learn skills needed to confidently continue on your own. • Learn the secrets of spontaneous watercolor painting • Have fun painting creative and spontaneous watercolors • Paint abstract watercolors for gifts or greeting cards • Learn brush techniques for painting people, skies, and landscape subjects • Lay a foundation of skills so that you can continue to paint with pleasure. These hands-on exercises are designed for fun. No matter what your skill or background, you will quickly learn to love painting watercolors. Skill Level: All levels are welcome Materials: List will be sent upon registration Tuition: $350 Lab Fee: $35, includes watercolor paper block, Chinese watercolor brush, Hake Brush, portable travel palette of watercolors, and additional materials Enrollment limited to 20 students Robert Regis Dvorák, see bio in Travel Drawing and Painting Learn easy exercises designed to help you advance quickly. Spontaneous watercolor Idyllwild Arts Summer Program 24 Painting/Drawing Jesse Reno, Icarus Returns (detail) Marshall Vandruff, Composition class exercise using Death of Moses by Cabanel, 1851 Travel Drawing and Painting Robert Regis Dvorák June 27 Course # AAPT ØØ One-day session Want to make your next trip the most rewarding of all? Take a sketchbook with you and rather than point and click your camera, take a few minutes to make some fine, quick sketches and color them with watercolor. Drawing and painting is fun and will increase your perception and enjoyment. Traveling with a sketch book can also open doors to interesting adventures and new friendships, and you will return home with priceless memories. This class will show you how to: • quickly draw people, architecture, water, trees, and landscape • simplify your material—capture essence • choose, prepare, and pack the right materials • be comfortable and relaxed sketching and painting in public • draw and paint in cafés, restaurants, on the street, on a cruise, on airplanes and boats • draw and paint in public with or without discovery Practice simple techniques for drawing and painting in class using projected color travel images and other methods. Make your future travel experiences satisfying and unforgettable! Skill Level: All levels are welcome Materials: List will be sent upon registration Tuition: $175 25 Idyllwild Arts Summer Program Lab Fee: $25, includes drawing materials, handouts, a travel sketch pad, and The Pocket Drawing Book. A travel watercolor set will be available for $16. Enrollment limited to 20 students Robert Regis Dvorák has been making drawing and painting easy to learn for the young and old for 35 years. A popular speaker on all subjects of creativity for educators and business people, his books include Drawing Without Fear, Experiential Drawing, The Magic of Drawing, The Practice of Drawing as Meditation, Travel Drawing and Painting, and The Pocket Drawing Book. He has been an architectural designer, and a professor of architecture at the University of Oregon and UC Berkeley. Gouache Painting Color, Light, Landscape D.J. Hall June 27-July 1 Course #AAPG ØØ One-week session Learn to create a visual memoir using gouache. Known for her oil painting technique, use of color, and capturing light, D.J. has found gouache to be a magnificent medium, an artist’s workhorse that can be used like oil paint, watercolor, or quick color notation. With gouache, water, and some brushes, you can have a painting studio anywhere and anytime. Capture the moment wherever you are. For several years, D.J. has maintained visual diaries, painting small, jewel-like windows into her hiking, traveling, and home-life. She will explain how she creates engaging little paintings and books, with an emphasis on: • building an efficient gouache kit • best ways to capture a scene • building strong composition • simple lay-in like underpainting • use of color • capturing light • exquisite details • narrative sequence Although these stunning paintings stand on their own, they can become an excellent foundation for developing larger paintings. Finish the workshop by working larger, using black illustration board for dusk or night landscapes or botanicals, adding to your artist’s toolbox. Skill Level: Drawing and painting experience preferred Materials: List will be sent upon registration Tuition: $725 Lab Fee: $75, includes Moleskin storyboard notebook, Utrecht brushes, palette, Winsor Newton basic gouache colors, black illustration boards, and shared supplies Enrollment limited to 12 students D.J. Hall earned her BFA at USC. She has had solo exhibitions in New York (O.K. Harris) and Los Angeles (Tortue, Koplin del Rio, Craig Krull), and her work has been included in more than 80 museum and gallery exhibitions throughout the US, Europe, and Japan and featured in many publications. She has worked on extramural projects for film (Spanglish), theater Jesse Reno in studio (Ahmanson) and the Los Angeles Airport. D.J. has taught at many colleges, including Otis and Loyola Marymount. Her papers are archived in Charles E. Young Research Library, UCLA. www.djhallartist.com Expressive Painting Intention Over Direction Jesse Reno July 4–8 Course # AAPE Ø1 One-week session In this mixed media painting class you will learn how paintings can emerge from a base of color, composition, size elements, and variation. Discover how you can let your paintings emerge on their own without you dictating what they will be. Through a series of painting exercises, you will explore and express your ideas rather than confine them to predetermined outcomes. Discover how you can observe interactions on the canvas and how these interactions might shift composition, form, and meaning. Build layers of paint, creating variation in color, size elements and varied markings, then experiment with subtracting and rebuilding to create details and complexity - essentially painting in reverse. Discover how to follow your instincts, take risks and have fun. Jesse will demonstrate how to use simple and unexpected techniques and materials that free you from tools and plans. Engage and experience your work fully by learning new ideas, techniques and ways of approaching art-making. Painting/Drawing Robert Regis Dvorák, Mont San Michel (detail) D.J. Hall, The Conjurer Skill Level: All levels are welcome Materials: List will be sent upon registration Tuition: $725 Lab Fee: $25, includes a kit with non-toxic acrylic paints, assorted oil pastels, colored pencil, five sheets 18” x 24” Bristol paper focus on your favorite water medium. You will explore color theory and new perspectives as key elements of art creation. Margaret’s passion for making art is palpable. Learn to tap into your own energy and employ new tools to take your work to new places. Enrollment limited to 15 students Skill Level: All levels are welcome Tuition: $725 Lab Fee: $75, includes watercolor, acrylics, and paper Jesse Reno is a self-taught mixed media painter. He has been drawing since he could hold a pencil, and exhibiting his works since 2000. Jesse has amassed more than 3,000 paintings in the last 12 years, and has exhibited his work extensively across the US, France and Mexico. Jesse’s work has been covered in various art publications including Juxtapoz, Artnews, Artension, and Somerset Studio. One of his largest works can be seen in Winnipeg, Canada where he was commissioned by the Province of Manitoba to create a 25’ x 40’ mural as a reminder of the cultural importance of the Native American people in the region. www.jessereno.com Watermedia for All: Watercolor and Acrylic Margaret Scanlan July 4–8 Course # AAPW Ø1 One-week session Experience a week of delicious, intense watermedia painting. Explore acrylic and watercolor separately and combined. Practice with no-failure exercises and experiments, play with regular and iridescent paints, and experiment with combining watercolor and acrylic on the same paper. You will be free to Enrollment limited to 12 students Margaret Scanlan is a full-time studio artist in Knoxville, TN, working in acrylic and watercolor, large- and small-scale work. She is a signature member of the American Watercolor Society, the National Watercolor Society, and the Watercolor USA Honor Society. For many years she has taught painting, drawing, and color theory workshops at Arrowmont, the John C. Campbell Folk School, Penland School, le Petit Bois Gleu and Chateau du Pin in France. Her work is in many private, corporate, and public collections in the US and Europe, including the Huntsville Museum of Art, Springfield Art Museum (MO), SloanKettering Hospital (NY), and L’Abbeye de la Roe (France). She also plays keyboards in a Celtic band, Red-Haired Mary. Oil Painting John Brosio July 11-15 Course # AAPO Ø2 One-week session Your course will begin with a start-to-finish oil painting demonstration that will inspire you to pursue and engage your own personal inquiry. Discover new ways to sneak up on the process through demonstrations of thumbnail drawing, composition, small color studies, and limited palette paintings. Learn techniques of glazing and scumbling and how to apply them to longer track oil painting. You will receive personal instruction and be encouraged to work on your own sketchbook. Paint abstractly or representationally with the use of still life, live models and the abundant landscape! As you develop your own paintings, you will be encouraged to explore and employ ideas and techniques from masters including Wayne Thiebaud, John Singer Sargent, Velazquez, Richard Diebenkorn, Frank Auerbach, Edward Hopper, Luc Tuymans, and more. Slide presentations on pictorial space, discussions of John’s work, and afterclass interactions will inspire you to think about your own work. Students desiring to bring work that is already in progress are encouraged to do so. Skill Level: Drawing and painting experience preferred Materials: List will be sent upon registration Tuition: $725 Margaret Scanlan, Ascending Cow Lab Fee: $50, includes a model for two days and other group supplies Enrollment limited to 10 students John Brosio earned a BFA 1991, UC Davis, with further studies at the Art Center College of Design in Pasadena as well as the George Lucas Industrial Light and Magic facility in California. John has exhibited his paintings nationally in both solo and group shows. He teaches at the Laguna College of Art and Design and exhibits with Arcadia Contemporary in Los Angeles. www.johnbrosio.com * PAINTING & DRAWING STUDENTS you may also be interested in: 3D Encaustic Exploration and Moldmaking, see page 29, Visual Storytelling: Lessons from the Simpsons, see page 33, The Creative Edge, see page 15. Idyllwild Arts Summer Program 26 Meri Walker, The Newborn PHOTOGRAPHY iPhoneography It’s Not Just Luck Meri Walker July 4-8 Course # AAOI Ø1 One-week session That expensive phone isn’t just for texting, did you know you can use it to create art? Explore the possibilities as you delve into the skilled thinking and technical processing required to make serious photographs and mobile art with an iPhone and iPad. Meri, aka iPhoneArtGirl, will guide you through the ins and outs of camera replacement apps, app-stacking processes that won’t degrade image quality, and using social media to build fruitful professional and learning relationships and a strong reputation. Through this class, you will have access to a private group blog that you can continue using after the class ends to share inspiration, answer questions, and build your learning community with fellow students. The hands-on approach will push you to use the techniques you learn. You will find inspiration for making powerful smartphone images and practice using apps to make intricately crafted images that you’re proud to display, publish or sell. Skill Level: Basic phone camera photography skills and knowledge of how to use the app store, basic familiarity with photography terms and processes, and comfort accessing and using iTunes. The class will not cover fundamentals of iTunes use or basic photography principles. 27 Idyllwild Arts Summer Program Materials: List will be sent upon registration. Students must bring a late model iPhone or iPad device. Tuition: $725 Lab Fee: $25, includes 5-7 sheets Epson printing paper, printer inks Enrollment limited to 15 students Meri Aaron Walker, aka iPhoneArtGirl, taught art photography and photojournalism while exhibiting and publishing for more than four decades. For the last six years, she has worked solely with mobile image-making technologies while teaching and coaching other artists seeking quality results using mobile tools. Her work is featured weekly on the top mobile photography websites. In 2015, Meri juried two international mobile photography exhibitions, taught Idyllwild Art’s first mobile art workshop and presented at the Palo Alto MDAC Summit and the Creative Photo Academy in LA. www.iphoneartgirl.com www.flickr.com/photos/iphoneartgirl www.instagram.com/iphoneartgirl * PHOTOGRAPHY STUDENTS you may also be interested in: Punk Fiction: Dream Journal, see page 14. Ron Pokrasso, Said the Word PRINTMAKING Monotype Layers and Plates Ron Pokrasso June 20-24 Course # AAOM ØØ One-week session Using monotype as the primary technique, you will learn how to use many plates and collage elements to create your own richly layered compositions. Learn how to think in layers, where many options become available in one or more impressions. While you have a monotype plate in progress, you may decide to incorporate a background plate and perhaps a collage element or even an intaglio plate. With so many surfaces, your options will become endless and the mixing and matching of imagery has the potential to move you into exciting new directions. Ron will use Akua water-based non-toxic inks and modifiers to demonstrate various techniques, which he will intersperse with art-making philosophies. This workshop is intensive, enriching and eco-friendly. Register and pay in full by May 1 to receive a Ron Pokrasso 6” x 6” monotype! Skill Level: All levels are welcome Materials: List will be sent upon registration Tuition: $755 Lab Fee: $75, includes inks, solvents, use of tools and equipment Enrollment limited to 12 students Ron Pokrasso earned his MFA from Pratt Institute in 1975 and has had more than 40 solo exhibitions and 150 group Sean Star Wars, Robot (detail) shows. His work is in public, private, and corporate collections throughout the US and abroad and is featured in several books. He originated the printmaking event “Monothon” and has been an ardent supporter of arts programs for youth. His teaching experience includes universities, museums, public schools and private workshops, as well as artist residencies in the US, Scotland, Ireland and Italy. www.ronpokrasso.com Adventures in Woodcut Printmaking Sean Star Wars June 27-July 1 Course# AAOP ØØ One-week session Sean Star Wars lives in Laurel, MS. He earned an MFA in printmaking from Louisiana State University, and has been making bright, colorful woodcuts for more than 20 years. Sean is a member of the legendary Outlaw Printmakers, a handful of printmakers who have reshaped the visual landscape of printmaking across academia. His work is in many public and private collections, and may be seen on book covers, album covers, magazines, television programs, commercials and film. He makes about a dozen visiting artist appearances a year at many of the nation's leading art programs. www.seanstarwars.com Execute and create a limited edition of your own 15” x 20” multi-block color woodcut. As you conceptualize an image, develop a color sketch, cut the woodblocks and print them, you will explore ways to incorporate color into the printmaking process. Sean will also discuss tool and equipment safety, and give an overview of printmaking history and contemporary printmakers. You may also choose to print your woodblocks directly onto T-shirts and other fabric. Skill Level: Beginner through advanced printmakers welcomed Materials: List will be sent upon registration Tuition: $725 Lab Fee: $50, includes inks, Baltic birch plywood, five sheets 15” x 12” Rives BFK, use of tools and equipment Enrollment limited to 12 students Idyllwild Arts Summer Program 28 Glass Blowing SCULPTURE Glass Blowing Ramson Lomatewama June 27–July 1 Course # AASG ØØ One-week session Learn the fundamentals of working with hot glass by working with the equipment and tools used to create glass art. You will create your own work, beginning with solid pieces such as flowers, mushrooms, and paperweights, and then blowing simple vessels. Using colored glass, you will explore the process of gathering and shaping hot glass into various forms. Although the goal is to blow glass, advancement will depend on how quickly you develop your own proficiency at working the glass. If you are a returning student, you can explore more advanced techniques. The small class size allows for maximum time working with glass and hands-on, close instruction. At times, the temperature in a hot shop environment can easily exceed 120⁰F. Drink plenty of water! Skill Level: No prior glass blowing experience is necessary Materials: List will be sent upon registration Tuition: $965 Lab fee: $75, includes frit/colored glass, clear glass, use of all tools and supplies in class, propane Enrollment limited to 4 students Ramson Lomatewama is a glass artist, kachina doll carver, poet and jeweler from Hotevilla, AZ, on the Hopi Reservation. He earned his BA from Goddard College in Plainfield, VT. Ramson has taught a wide 29 Idyllwild Arts Summer Program range of workshops and courses in the US and Japan, and served as adjunct professor of sociology at North Central College in Naperville, IL. Although Hopi ceremonies and cultural activities play a major role in his life, Ramson continues to dedicate time to schools, universities, and museums as a visiting scholar and artist. Small Scale Bronze Casting Holly Wilson July 4–8 Course # AASC Ø1 One-week session If you aspire to work with bronze, then this workshop is for you, particularly if you are an artist without foundry access. You will learn the “lost wax” casting process, and bronze finishing techniques through the final patina process. You will also discover how to build a small-scale foundry furnace in your own studio, as well as an introduction to the materials and safety measures of casting. New this year, you also can learn electric tabletop scale-casting and a silicone mold-making process. If you previously have taken the class, Holly will work with you on more advanced projects. You will leave the course with one small 4-lb. bronze work of your own creation. Skill Level: All levels are welcome, but you must attend all required instructional sessions in order to understand and follow all safety guidelines Materials: List will be sent upon registration Tuition: $725 Lab Fee: $130, includes 6 lbs. bronze, microcrystalline wax, investment R&R Ultravest, 3’ x 20” sheet metal flashing, duct tape, sprue wax, use of patinas and sealing wax, silicon mold material, use of the equipment and kilns in the class. Additional metal will be available for purchase. Enrollment limited to 8 students Holly Wilson see bio in 3D Encaustic Exploration and Mold-making. 3D Encaustic Exploration and Mold Making Holly Wilson July 11–15 Course # AASM Ø2 One-week session Dip, paint and wire wood, cardboard, metals, clay, plaster, fiber, paper and many objects from nature in this 3D exploration employing encaustic techniques. You will begin with making your own encaustic medium and pigment application. Then try your hand at fusing, transparency, glazes, layering, building up texture, line techniques, carving, image transfer, encaustic safety, and Holly's favorite, mold application. Create molds using brushable silicon and learn to cast materials ranging from wax to a fast-setting bright white low viscosity liquid plastic. Create structures that leave the two-dimensional plane. You will finish up to two pieces during the week. Encaustic is a wax-based paint composed of beeswax, resin and pigment, which is kept molten on a heated palette and applied to absorbent surfaces and then reheated in order to fuse the paint. Sculpture Ramson Lomatewama, Paperweight Holly Wilson, metal pour Skill Level: All levels are welcome Materials: List will be sent upon registration Tuition: $725 Lab Fee: $120, includes encaustic wax, pigments, two 12” x 16” wood panels, propane, Rebound 25 Brushable, liquid plastic, use of wood-burning tools, griddles, shared materials, alcohol lamp, two metal tools Enrollment limited to 8 students Holly Wilson is an Oklahoma-based sculptor. She earned her BFA in ceramics from the Kansas City Art Institute and her MA in ceramics and MFA in sculpture from Stephen F. Austin State University in Nacogdoches, TX. Holly is a 2015 Eiteljorg Fellowship Artist. She has exhibited her intimate bronze sculptures and her mixedmedia encaustic relief sculptures nationally. Holly’s figures draw from real life and legends of her Delaware and Cherokee background. www.hollywilson.com Holly Wilson, The Rider (detail) * SCULPTURE STUDENTS you may also be interested in: Ceramics: Form, Surface, Fire!, see page 8, Ceramics Sculpture: Anything is Possible!, see page 8, Considering the Abstract Portrait: Moving Away from Realism, see page 5, Mold Making and Slip Casting: Natural Transformations, see page 6, Native American Flute Making, see page 20, Tohono O’odham Basketry and Beyond, see page 19, Traditional Northwest Coast Paddle Making, see page 21, Apocalypto Shrines, see page 14, Punk Fiction: Embossa Nova Books, see page 14, Punk Fiction: Dream Journal, see page 14, Transparental Guidance, see page 15, Art de Refusés, see page 15, The Creative Edge, see page 15. Holly Wilson, Only That Which You Can Bear (detail) Idyllwild Arts Summer Program 30 Debra Hovel, Shoemaking FASHION & TEXTILES Beginning Shoemaking Open Back Slip-on Shoes Debra Hovel July 13-15 Course # AATS Ø2 Three-day session Learn how to measure feet, tape a last (the form on which a shoe is made), develop a pattern, cut and sew an upper and sole, and finish a simple slip-on shoe. No prior shoemaking experience needed for this introductory course, but sewing skills are a big help. As you complete each step, you will learn a bit of shoemaking history. You will make the same basic slip-on shoe style as your fellow participants, but you will have the freedom to trim, dye, paint or stamp the leather to make your shoes unique. Debra will share the many embellishing techniques for which she is so well-known. Walk out of class in style, wearing your own hand-made creation. Skill Level: Basic manual skills for tracing and cutting of parts and machine sewing skills are helpful Materials: List will be sent upon registration Tuition: $490 Lab Fee: $95, includes shoemaking tacks, tape, top line reinforcements, thread, doublesided shoemaking tape, bonding lining, spray adhesive, contact cement, rubber cement, gluing station, leather for soles, lasts and hand tools for use in the class Enrollment limited to 8 students 31 Idyllwild Arts Summer Program Debra Hovel is a designer and shoemaker living and working in Palm Springs, with a fabrication studio in Pinyon Flats, CA, called Makerville. The Architecture and Design Museum in Palm Springs is currently featuring her shoes in the exhibition Illuminated Objects. She recently presented a lecture on shoemaking at the Palm Springs Art Museum that featured a design studio tour. Debra is an active member of the Honorable Cordwainer Company and the Footwear Symposium and an enthusiastic believer in the philosophy of making. debrahovelfootwear.com instagram.com/debrahovelfootwear twitter.com/trendchick * FASHION AND TEXTILE STUDENTS you may also be interested in Navajo Weaving, see page 19, Cahuilla Basketry, see page 18, Tohono O’odham Basketry, see page 19, Adventures in Woodcut Printmaking, see page 28. Ed Skoog WRITERS WEEK JULY 11-15 receiving feedback from Amy and your fellow students. OVERVIEW FACULTY Coordinators: Samantha Dunn, Amy Friedman, Ed Skoog Victoria Chang Poetry Natalie Diaz Poetry Samantha Dunn Fiction Amy Friedman Personal Essay & Memoir Ed Skoog Poetry Your group will meet four hours on Monday, Wednesday and Friday; Tuesday and Thursday mornings will be set aside for personal coaching and small group workshops. Afternoons and evenings will be devoted to Writers Week craft talks, readings and other events. SPECIAL GUESTS Skill Level: All levels are welcome Tuition: $755 For decades Idyllwild Arts has been a gathering place for some of the world’s finest poets and writers—among them Ray Bradbury, Norman Corwin, Lucille Clifton, Sharon Olds, Maxine Kumin, Billy Collins, Ted Kooser, Philip Levine, Luis J. Rodriguez, David St. John and Natasha Trethewey. That fine tradition continues with our second annual Writers Week, a gathering of talented writers from Idyllwild Arts and beyond. Learn from, listen to and hang out with some of the country’s premier literary artists. In addition to poetry, fiction and nonfiction workshops, the week will feature special guests and events including: • Daily craft talks • Public readings • Opportunities to meet and schmooze • Six Merit Fellowships opportunities (sponsored by current and previous writing program participants, including four Bentley-Buckman Writer Fellowships) idyllwildarts.submittable.com/submit • Option to continue working throughout the year with a faculty member • Farewell dinner with musical guest stars and readings Bruce Bauman Tonaya Craft Meri Nana-Ama Danquah Ben Loory Shana Mahin David L. Ulin Personal Essay and Memoir Amy Friedman July 11-15 Course # AAWE Ø2 One-week session This is designed for beginners as well as those whose work is well under way (or stalled), for those who are writing memoir, personal essay or any work that falls under the category creative nonfiction. Amy will guide you in developing and crafting your stories. Study elements that help to create a powerful narrative as well as when, where and how to employ reflection in your work. Excerpts from published work will help serve as inspiration, and you will use prompts and other exercises for in-class writing. Portions of the workshop will be devoted to reading your work aloud and Enrollment limited to 10 students Fiction Finding the Heart of the Story Samantha Dunn July 11–15 Course # AAWF Ø2 One-week session “Never let the truth get in the way of a good story,” Mark Twain supposedly said. This workshop will explore the art and craft of fiction, using a multitude of exercises to tap and enhance your own deep sources of creativity. Whether you are a beginner or are a prolific writer, you will gain a better understanding of the structural elements that underpin all great stories. You will also be armed with new techniques for creating characters that come to life on the page, creating vivid worlds with your words, and generating story ideas. All levels of writer will be able to apply the lessons. While writing fiction is often about finding the truth of the story, come prepared to ask the question “What if?” and deeply imagine Idyllwild Arts Summer Program 32 Writers Week Marshall Vandruff, Visual Storytelling Natalie Diaz new possibilities. Be prepared to write-a lot! Class time will be about practicing what you learn—bring plenty of pens and blank notebooks. By the end of the week, you will have at least one well-honed piece of fiction ready for public consumption. Your group will meet four hours on Monday, Wednesday and Friday; Tuesday and Thursday mornings will be set aside for personal coaching and small group workshops. Afternoons and evenings will be devoted to Writers Week craft talks, readings and other events. Each poetry workshop is limited to 10 participants. In advance of the session, you will submit five poems you wish to discuss. Your group will meet each morning on Monday, Wednesday and Friday; Tuesday and Thursday mornings will be set aside for one-on-one meetings and small group workshops. Afternoons and evenings will be devoted to Writers Week craft talks, readings and other events. Skill Level: All levels are welcome Tuition: $755 Amy Friedman Poets will read up to eight pages for each bimonthly virtual meeting; prose writers will read up to 15 pages for each. Skill Level: All levels are welcome Tuition: $825 Enrollment limited STORYTELLING Enrollment limited to 30 students (10 students per workshop/teacher) Visual Storytelling Lessons from The Simpsons Marshall Vandruff Enrollment limited to 12 students SPECIAL “ADD ON” COURSE June 25 Course #AAOV ØØ One-day session Poetry Victoria Chang, Natalie Diaz, Ed Skoog Year-long Manuscript Critique Victoria Chang, Eduardo Santiago, Ed Skoog Skill Level: All levels are welcome Tuition: $755 July 11–15 Course # AAWP Ø2 One-week session These workshops are open to anyone with an interest in writing poetry, following the long-held Idyllwild Arts tradition of building a diverse community of voices to enrich the conversation, from enthusiastic beginners to emerging and established poets. Workshops, craft talks, readings, and lively discussion under the pines will focus on helping you refine your work, explore new ideas and write new poems. Faculty and guests will share their perspectives and offer feedback during the daily morning sessions. 33 Idyllwild Arts Summer Program Would you like to take the coaching and inspiration with you when Writers Week ends? You may continue to work throughout the year with an instructor who will help you develop your manuscript. This yearlong mentorship will help you set clear goals, write and revise with intention. You and your mentor will set up your plan, goals, and a schedule to suit your needs that will include: • One-hour Skype meeting • Six bimonthly email meetings • Final in-person meeting during Writers Week 2017 (or 30-minute private Skype if unable to attend) In this storytelling crash course, Marshall will present a series of concentrated story lessons from The Simpsons episodes “Bart the Daredevil,” “The Telltale Head,” “Krusty Gets Busted,” and “Bart Gets an F.” These episodes from the first two seasons offer some of the most tightly crafted stories in television writing. Their setups and payoffs, reversals, character development, and justified climactic endings still hold strong decades after their debut. From these 23-minute masterpieces, you will learn about the elements of story, how professional writers work, and practical lessons for storycrafters of all media. If you are working on a children’s book, graphic novel, screenplay, or adapting an existing story and wondering how to boil it down to what is worth telling, this course will help you by introducing you to the technical language and skills of storytelling. Skill Level: All artists and writers welcome, no experience required Materials: List will be sent upon registration Tuition: $175 Enrollment limited to 20 students Marshall Vandruff has worked as an artist and educator in Southern California for more than 30 years. His clients include MAD Magazine, Hanna-Barbera, Dark Horse Comics, Blizzard Entertainment, Disney Studios, Gnomon Workshop, and more than 40 advertising agencies. He has taught more than 200 courses and workshops in art schools and colleges, including CSUF, Laguna College of Art and Design, LAAFA, Concept Design Academy, and Fullerton College. www.marshallart.com Writers Week FACULTY SPECIAL GUESTS Victoria Chang’s third book of poems, The Boss, published by McSweeney’s in 2013, won the PEN Center Literary Award and a California Book Award. Her other books are Salvinia Molesta and Circle. Her poems have been published in Poetry, American Poetry Review, Best American Poetry, Kenyon Review, New Republic, and other places. She also published a picture book with Marla Frazee, the bestseller Is Mommy? by Beach Lane/Simon & Schuster in 2015. www.victoriachangpoet.com or @VChangPoet Bruce Bauman is an instructor in the CalArts MFA Writing Program and the senior editor of Black Clock literary magazine. Library Journal called Bauman’s new novel, Broken Sleep, “[A] plangent tour de force of epic proportions…” and KPCC’s David Kipen said “[it] is a funny novel, but it’s also an incredibly serious emotional novel in a way we don’t get nowadays so much.” Booklist called Bauman’s first novel, And The Word Was, “a magnificent debut, smart and intense, but accessible and riveting.” Natalie Diaz is Mojave and an enrolled member of the Gila River Indian Tribe. Her first collection, When My Brother Was an Aztec, was published by Copper Canyon Press in 2012. Among her many awards are a Lannan Literary Fellowship, Narrative Prize from Narrative Magazine, Native Arts and Cultures Foundation Artist Fellowship, Holmes National Poetry Prize, and United Artists Ford Fellowship. She is on the Institute of American Indian Arts Low Residency MFA faculty. Natalie works with the last remaining speakers at Fort Mojave to teach and revitalize the Mojave language. Samantha Dunn is the author of Failing Paris, PEN West Fiction finalist; the bestselling memoir, Not By Accident: Reconstructing a Careless Life; and Faith in Carlos Gomez: A Memoir of Salsa, Sex and Salvation. Her work has been anthologized in Women on the Edge: Writing from Los Angeles and other outlets. Her work as a journalist is regularly featured in O, the Oprah Magazine, Los Angeles Times, and Ms. among others. Samantha teaches in the UCLA Extension Writers Program and is program advisor for The Mark at PEN USA. www.samanthadunn.net Amy Friedman is a writer, editor and writing teacher. Her most recent books include Desperado’s Wife: A Memoir and, as co-author with Anne Willan, One Soufflé at a Time: A Memoir of Food and France. Amy has written for many publications and has taught memoir and personal essay in Los Angeles in private workshops, at UCLA Extension and at the Skirball Cultural Arts Center. www.amyfriedman.net Ed Skoog is author of Mister Skylight, a collection of poems, and Rough Day (Copper Canyon) winner of the 2014 Washington State Book Award for Poetry, as well as many stories and poems in literary magazines including The Paris Review, Poetry, Ploughshares, The New Republic, American Poetry Review, and Narrative. He has received fellowships from the Bread Loaf Writers Conference and The Lannan Foundation, has been writer-in-residence at the Richard Hugo House, George Washington University, and University of Montana, and is a past chair of creative writing at Idyllwild Arts Academy. Tonaya Craft is the managing editor of Copper Canyon Press. She received an MFA in poetry from the Writing Seminars at Bennington College in 2006. Previously a senior editor at Tin House magazine, Craft has worked with Olena Kalytiak Davis, David Gates, Denis Johnson, Ted Kooser, Dorianne Laux, W.S. Merwin, Lucia Perillo, Antonya Nelson, and Kevin Young, among others. She has enjoyed helping many new voices find print, and lives in Portland, OR, with her 6-year-old daughter and a unicorn balloon hat. Meri Nana-Ama Danquah, a native of Ghana, is an author, editor, journalist, ghostwriter, speechwriter, public speaker and lecturer. She has written two memoirs, Willow Weep for Me: A Black Woman’s Journey Through Depression (W.W. Norton & Co.), and Truer Than the Red, White and Blue: An African Childhood, American Style (2016). She is editor of three anthologies, and her work is published widely in print and broadcast media. She has written Inaugural and State of the Nation addresses, and her essays and poems have been heavily anthologized and are used in high school and university textbooks. Ben Loory is the author of the collection Stories for Nighttime and Some for the Day (Penguin, 2011), and a picture book for children, The Baseball Player and the Walrus (Dial Books for Young Readers, 2015). His fables and tales have appeared in The New Yorker, Tin House, The Rattling Wall, and The Antioch Review, and been heard on NPR’s This American Life and Selected Shorts. He lives in Los Angeles, where he is an instructor for the UCLA Extension Writers’ Program. Shanna Mahin is a high school dropout with a fierce desire to disprove her 9th grade English teacher’s prediction of “a lifetime of wasted potential.” She mourns his passing for a variety of reasons, including the missed opportunity to point out her PEN Center Emerging Voices Fellowship, her MacDowell Colony and Norman Mailer Colony Fellowships, among others, and the publication of her first novel, Oh! You Pretty Things (Dutton, 2015), which received a great review in the New York Times. RIP, Mr. Shriver. David L. Ulin is the author of the novel Ear to the Ground. His other books include Sidewalking: Coming to Terms with Los Angeles, The Lost Art of Reading: Why Books Matter in a Distracted Time and the Library of America’s Writing Los Angeles: A Literary Anthology, which won a California Book Award. A 2015 Guggenheim Fellow, he spent 10 years as book editor, and then book critic, of the Los Angeles Times. Idyllwild Arts Summer Program 34 2016 SCHEDULE OF EVENTS SUNDAY Metals Week Faculty Slide Show: Sarah Doremus, Joanna Gollberg, Deborah Jemmott, Victoria Lansford, Tom McCarthy, Elise Preiss, Rachel Shimpock 7 p.m. Krone Library JUNE MONDAY Hot Clay Lecture: Chris Pickett 7 p.m. Krone Library TUESDAY WEDNESDAYTHURSDAY Hot Clay Lecture: Tip Toland 7 p.m. Krone Library Metals Week Student Show 4 p.m. Krone Library Patio Parks Exhibition Center Opening Reception: Hot Clay, Metals Week & Faculty 8 p.m. Parks Center FRIDAY Adult Arts Center Student Show & Reception 4 p.m. Parks Center Patio SATURDAY Family Camp Begins Visit idyllwildarts.org/familycamp for more details Hot Clay Lecture: Doug Peltzman, 7 p.m. Krone Library 192021222324 Hot Clay Lecture: Sam Chung 7 p.m. Krone Library Native American Artist Demonstration 7 p.m. Parks Center Studio Walk-Faculty Artist Demos 7 p.m. Art Studios Hot Clay Lecture: Birdie Boone 7 p.m. Krone Library Hot Clay Lecture: Mikyoung Kim 7 p.m. Krone Library Parks Exhibition Center Opening Reception: Hot Clay & Faculty 8 p.m. Parks Center Adult Arts Center Student Show & Reception 4 p.m. Parks Center Patio 26272729301 JULY Native American Arts Festival Week Opening Presentation 7 p.m. Krone Library Native American Arts Festival Week Gallery Talk 7 p.m. Parks Center Parks Exhibition Center Opening Reception 8:00 p.m. Native American Arts Festival Week Kabotie Lecture Series & Native food tastings 12 p.m. Krone Library Studio Walk-Faculty Artist Demos 7 p.m. Art Studios Native American Arts Festival Week Kabotie Lecture Series & Native food tastings 12 p.m. Krone Library Native American Arts Festival Week Kabotie Lecture Series & Native food tastings 12 p.m. Krone Library Film Night 7 p.m. Krone Library 25 Adult Arts Center Student Show & Reception 4 p.m. Parks Center Patio Native American Arts Festival Week Performance 7 p.m. 2 Native American Arts Pottery Firing Mark Tahbo, Hopi-Tewa 8 a.m. Kennedy Kiln Yard Youth Jazz Concert 10 a.m. & 2 p.m. IAF Theater Youth Jazz Vocal Performance TBA Faculty Jazz Combo Concert 8:30 p.m. IAF Theater 345678 Writers Week Reading: Faculty and Guest Writers 7 p.m. Krone Library Parks Exhibition Center Opening Reception 8 p.m. Studio Walk-Faculty Artist Demos 6:30 p.m. Art Studios Writers Week Reading 7 p.m. Krone Library Writers Week Reading 7 p.m. Krone Library 9 Adult Arts Center Student Show & Reception 4 p.m. Parks Center Patio Youth Song & Dance Performance 8 p.m. IAF Theater Vocal Music Recital 8 p.m. Stephens Faculty Jazz Combo Concert 8:30 p.m. IAF Theater 101112131415 * See full events calendar at www.idyllwildarts.org/events Gallery exhibits, Performances, Chamber Music Concerts, and more continue through August 14. 35 Idyllwild Arts Summer Program 16 2016 SUMMER ADULT PROGRAM REGISTRATION FORM Page 1 of 2 QUESTIONS? Contact our Registrar: (951) 468-7265 fax (951) 659-4552 [email protected] STUDENT INFORMATION Student Name Last Mailing Address Please type or print in ink all information. One form per student. (Photocopy additional forms if needed) _______________________________________________________ First _____________________________________ Street and Number ____________________________________________________________________________________ City _____________________________________________________ State _________________ Zip ________________ E-mail Address _______________________________________________________________________________________ Phone Day ( ) ________________________________________________________ Date of Birth (Optional) Evening ( ) __________________________________ SUMMER OFFICE USE Rec’d _________________ Cust. # ________________ Packet Sent _______________ Sch. App. Sent _____________ Mat’ls List Sent _____________ ______________________ Sex _____________ CLASSES DESIRED $225 Deposit required for each class. (Please note: Tuition includes lunch for all adult students.) Course Title __________________________________________Course Code ___________________ Dates________________________ A E Cost_________________ Course Title __________________________________________Course Code ___________________ Dates________________________ Cost_________________ Housing & Meal Plans (see below for description) B A Cost_________________ Course Title __________________________________________Course Code ___________________ Dates________________________ Cost_________________ A Housing & Meal Plans (see below for description) B C D E Housing & Meal Plans (see below for description) B C Cost_________________ C D D E Cost_________________ Sub-Total: ______________ ADULT HOUSING AND MEAL PLANS Double Room (includes meals) (A) $535 per week (B) $325 per three days Roommate Request Name (Adult Students Only) ____________________________________________________________________________________ Private Room (includes meals) (C) $745 per week D) $465 per three days Meals Only (E) $90 per week-Dinner Sunday thru Breakfast Saturday TRANSPORTATION A form will be sent to confirm your reservation. Transportation is available from Ontario International Airport and Palm Springs Airport ($150 each way). One way Transportation Needed: Both ways Amount: ______________ Non-refundable Application Fee: Please do not apply any discounts to the total. Discounts will be reflected in your bill. $50 TOTAL: ______________ I have enclosed the non-refundable $50 application fee & the non-refundable $225 deposit for each course ($25 penalty for returned checks/refused credit charges) METHOD OF PAYMENT I have enclosed a check. Check # __________________________ VISA MasterCard Am. Ex. Discover Please charge my credit card. Amount to be charged $ ________________________ Card # ___________________________________________ Expiration Date _____________ Name as it appears on card __________________________________________________Signature _____________________________________________________ PLEASE COMPLETE THE SECOND PAGE OF THIS FORM AND MAIL WITH YOUR DEPOSIT TO: Registrar, Summer Program • Idyllwild Arts • P.O. Box 38 • Idyllwild, CA 92549-0038 SUM15_adregforms Idyllwild Arts Summer Program 36 2016 SUMMER ADULT PROGRAM REGISTRATION FORM Page 2 of 2 PLEASE COMPLETE THE REMAINDER OF THE FORM IN ORDER FOR YOUR REGISTRATION TO BE PROCESSED Student Name Last _______________________________________________________ First _____________________________________ In signing this application, I acknowledge that I have read the policies of Idyllwild Arts including the sections relating to payment of fees and refunds, and agree to abide by them. I understand that I am solely responsible for all medical expenses incurred by me while enrolled in the Idyllwild Arts Summer Program. Consent is hereby given for the applicant, while a student at Idyllwild Arts, to participate in radio and television programs without compensation and for photographs taken at Idyllwild Arts to be used in campus-approved publicity. ____________________________________________________________ Signature of Student ___________________________________________________ Signature of Parent/Guardian if student under 18 years of age _______________________________ Date TO THE STUDENT Idyllwild Arts reserves the right to decline to accept any person as a member of a class, or to require any participant to withdraw from a class at any time when such action is determined by the appropriate Idyllwild Arts staff representative to be in the best interests of the health, safety and general welfare of the campus population or of the individual participant. Please list the names and addresses of friends you have who would like to receive a Summer Program Catalog. _________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________ I would like to receive information about the Idyllwild Arts Academy. DISCOUNT PROGRAMS Please complete the following to be assured the correct discount is credited to you. Early Payment of Fees: (Fees must be received in full in order for discount to apply) March 15–10% discount April 15–5% discount Family Discount: Other Family Members Attending ____________________________________________________________ ___________________________________________________ _______________________________ ____________________________________________________________ ___________________________________________________ _______________________________ Name Name Program Program Dates Dates Teacher Discount: Teacher Name ______________________________________________________________________________________ List other Teachers attending: ____________________________________________________________ ___________________________________________________ _______________________________ ____________________________________________________________ ___________________________________________________ _______________________________ Name Name Program Program Dates Dates Bring a Friend: a) Name(s) of student(s) I have referred to the Summer Program. Please be sure that any students you have referred to Idyllwild Arts list you in part (b) of their application. Credit cannot be applied to your account until Idyllwild Arts has received your friend’s application with you listed in part (b). ____________________________________________________________ ___________________________________________________ _______________________________ ____________________________________________________________ ___________________________________________________ _______________________________ Name Name Program Program Dates Dates b) Name of student who referred me to the Summer Program—one name only. Must be completed to insure credit to referring student. ____________________________________________________________ Name 52500 37 Idyllwild Arts Summer Program Te m e c u l a Road • P. O . Box 38 • Idyllwild, CA ___________________________________________________ Program 92549 • (951) 659-2171 • Fa x (951) _______________________________ 659-4552 Dates • idyllwildarts.org GENERAL INFORMATION NOTICE OF NON-DISCRIMINATORY POLICY The Idyllwild Arts Summer Program, a nonprofit educational program of the Idyllwild Arts Foundation, does not discriminate on the basis of race, color, sex, gender identification, religion, or national and ethnic origin in the administration of its educational programs, admissions policies, employment practices or financial aid procedures. REGISTRATION Enrollment Procedures Applications must be accompanied by the completed registration form, the $50 application fee, and a non-refundable $225 deposit for each selected course to ensure class placement. The $225 deposit is applied toward tuition. Register online at idyllwildarts.org/summer, or by phone at 951-468-7265. We accept VISA, American Express, Discover or MasterCard. The balance of all tuition, room, and board fees is due in full at least 30 days before class begins. A late registration fee of $50 will be added to all accounts that are past due. Register as early as possible so that you will receive your registration packet in time to complete and return required forms. For late registrants, class placement cannot be guaranteed until payment in full is received. Enrollment is automatically confirmed upon full payment of fees. Your cancelled check is your receipt. Upon receipt of the registration form and fee, a packet of registration materials will be mailed to you. There are no provisions for those arriving before or after registration hours. Refunds Idyllwild Arts offers students options to reduce the total cost of programs: tuition, housing, meals, lab fees, and transportation. They cannot be applied to room deposits or key deposits. The Summer Program’s planning, hiring, purchasing and related expenses are directly determined by the number of enrollments received in the early spring. Therefore, no refunds are made for early withdrawals, student cancellations or no-shows (regardless of accident, illness, or change of plans) except as follows. 1) All fees, minus the $50 application fee are completely refundable up to 90 days before a class is scheduled to begin. 2) If a student withdraws more than 30 days prior to a scheduled class, all minus the $50 application fee and $225 deposit will be refunded upon written request. No refunds of any kind will be made less than 30 days before a class is scheduled to begin. 3) If Idyllwild Arts cancels a class, all fees are refundable in full. 4) If your attendance at Idyllwild Arts is dependent upon receiving financial aid, and we are unable to grant your request, all fees minus the $50 application fee will be refunded. DISCOUNTS/CREDITS Early Payment Discount: 10% off the total cost of a program if payment in full is received by March 20, 2016. 5% off the total cost of a program if payment in full is received by April 20, 2016. 1) Any changes or additions to enrollment made after the Early Payment deadline are subject to the full price. 2) Students choosing the Early Payment option are not eligible for scholarships. Family Discount: Two or more members of the same immediate family qualify for a reduction of $50 per person per week. 1) Family members are not required to attend at the same time. 2) Not available to students choosing the Teacher Discount. 3) Not available to weekend registrants. 4) Not applied to Family Week. There are no exceptions to this policy. Bring a Friend: Receive credit of $50 per new student—one who has not attended the Summer Program previously—you bring to the Summer Program, up to half the total cost of your stay at Idyllwild Arts. ARRIVAL AND CHECK IN 1) A new student can be claimed by only one student. Idyllwild Arts is not able to apply nonrefundable payments to a future summer program. Students may check in from 3 to 5 p.m. on the day before their workshop begins, or between 8 and 8:30 a.m. the first day of class. A Registration Packet will be sent to you with check-in dates. 2) Does not apply to immediate family members of returning students. (see Family Discount) Teacher and Student Discount: If there is space available in a workshop 30 days before it begins, teachers (K–12, currently employed, full time) and current college/university students (full time) may enroll at 50% off of tuition. 1) Available only to week-long workshop registrants. 2) Fees for the workshop must be paid at the time of registration. 3) Available on a limited basis. IDYLLWILD ARTS FOUNDATION IAF is a nonprofit corporation, founded in 1946 as a summer center in the arts. Idyllwild Arts founders believed that the arts provide a common language and that participation in the arts can not only enrich lives but can change lives – a belief we still firmly uphold today. IAF operates the Summer Program – in its 67th year of providing classes in the arts for all ages and abilities, and the Arts Academy – an independent boarding high school established in 1986 for students talented in the arts. We welcome your support! Idyllwild Arts Summer and Academy programs (and financial aid) are made possible with the help of gifts from friends like you. To make a gift, or for further information regarding gifts, contact: Idyllwild Arts Foundation Advancement Office P.O. Box 38, Idyllwild, CA 92549-0038 951-659-2171 ext. 2330 [email protected] www.idyllwildarts.org 3) Not available to weekend registrants. Idyllwild Arts Summer Program 38
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