Session 7 - August 26 to September 1
Glass Beadmaking—Moving Into Metal
|Floral Rings by Kristina Logan, 2009. Flameworked glass, sterling silver, largest ring 1 1/4" diameter.|
This workshop is designed for people who would like to improve their beadmaking skills and learn how to set their beads into jewelry. Workshop participants will flamework glass beads and cabochons. A broad spectrum of techniques will be explained and demonstrated including various surface decorations, dots galore, clear casing, working large beads, and troubleshooting common mistakes and difficulties. Students will also make a silver ring from start to finish using their own glass beads. Jewelry making techniques such as simple to complex soldering, filing, sawing, riveting, finishing, and surface treatment will also be covered. Some beadmaking experience is required.
KRISTINA LOGAN is recognized internationally for her precisely patterned glass beads, jewelry, and objects. She travels worldwide teaching workshops and lecturing on glass beads and jewelry, including The Studio at the Corning Museum of Glass and Urban Glass, New York; Haystack; and Penland. Kristina Logan’s work is in the collections of the Renwick Gallery, Smithsonian Institution, Washington, DC; The Corning Museum of Glass, New York; and the Musée du Verre de Sars-Poteries, France, and has also been in publications such as GLASS, ORNAMENT, Beadwork, Lapidary Journal, and La Revue de la Céramic et du Verre. In 2010, The Corning Museum of Glass produced a 30-minute Master Class DVD on her artwork and techniques. kristinalogan.com
The Anatomy of Sheet Metal
|Architectural Coil (Maquette) by Hoss Haley, 2011. Cor-ten steel, 9" x 9" x 16".|
This workshop is for students interested in exploring volume. Focusing on fabricated hollow forms in steel, we will cover a range of techniques including sinking, raising, joinery, and repoussé. In the process, students will experiment with direct, uncomplicated approaches to making the tools necessary to realize various forms. Our design process will include quick models, pattern making, and discussions about the influence of shapes around us, both manmade and natural. Ultimately, our goal is to incorporate this process into thoughtfully designed, well-crafted sculpture and objects. All levels welcome.
HOSS HALEY is a conceptually focused American sculptor and painter creating and living in Asheville, North Carolina. His sculptures are included in several collections and commissions in the public art sector, including Charlotte Area Transit System, Charlotte, North Carolina; Sam Houston State University, Huntsville, Texas; and Courthouse Plaza, Charlotte, North Carolina. Hoss Haley’s work has been featured in several museums, including New Mexico Museum of Art, Santa Fe; Mint Museum of Craft + Design, North Carolina; California Crafts Museum, San Francisco; and North Carolina Museum of Art, Raleigh. He has also taught workshops throughout the country including at Penland and Haystack. hosshaley.com
Pop-up Book Structures
|Dai Food Pop-up Book by Colette Fu, 2011. Archival pigment prints mounted onto cardstock, 17" x 25" x 7".|
Complex pop-up structures are created from basic mechanisms enhanced by your imagination. Students will learn the basic elements of pop-up paper engineering to more complex mechanisms including platforms, pull tabs, and spinning mechanisms. Workshop participants will learn how to effectively incorporate digitally printed photographs and other imagery into their structures to create unique pop-up books, cards, and works of art. All levels welcome.
COLETTE FU received an MFA in Fine Art Photography from the Rochester Institute of Technology, New York. She has created most of her work at residencies such as the Provincetown Fine Arts Work Center, Massachusetts; Instituto Sacatar, Brazil; Bemis Center for Contemporary Art, Nebraska; Visual Studies Workshop, New York; the Millay Colony for the Arts, New York; and the Alden B. Dow Center for Creativity, Michigan. Colette Fu received a Fulbright grant and awards from the Independence Foundation, Pennsylvania Council on the Arts, Virginia Museum of Fine Arts, Virginia Commission for the Arts, Constance Saltonstall Foundation, En Foco, Photographer’s Forum, and Nikon. She incorporates pop-ups with stop animation commercials, and freelances and teaches pop-up courses internationally. colettefu.com
Making It Work: The Pots, and Life as a Studio Potter
|Teapot by Sarah Jaeger, 2011. Porcelain, reed handle, 9" x 8" x 6 1/2".|
What makes a utilitarian pot work? The cup has to hold the coffee, but a good cup has to do more than its “job.” That something more will be the focus of this workshop. Similarly, to make a living, a studio potter not only needs to make good pots, but figure out the business aspect—pricing, marketing, managing expenses—while keeping inspiration alive and the work growing. The instructor will share techniques and thoughts that go into making her pots, along with the insights gained from her twenty-five years making a living as a studio potter. All levels welcome.
SARAH JAEGER has been a studio potter in Helena, Montana since completing her residency at the Archie Bray Foundation in 1987. She received a BA in English Literature from Harvard University and a BFA from the Kansas City Art Institute, Missouri. Sarah Jaeger received an Individual Artist Fellowship from the Montana Arts Council and a Target Fellowship from United States Artists, and in 2007 was one of the artists profiled in the PBS documentary Craft in America. She has taught at Pomona College, California; the New York State College of Ceramics at Alfred University; and the University of Nebraska-Lincoln, as well as workshops in the US and Canada. Sarah Jaeger’s work is in public collections, including the Los Angeles County Museum of Art and the University of Iowa and, in many kitchens throughout the country. sarahjaeger.com
|Look Mom-A Doctor by Joyce Scott, 2008.
Seedbeads, thread, wood, coins, and glass,
17" x 10" x 10".
Beadwork is considered a hallmark in the history of craft, having been used for adornment, sacred remedy, and to demonstrate social status. The deft hand can convey the artist endeavor— from the sublime, grotesque, even comedic. This workshop addresses the artist’s ability to use sly wit with an unexpected material, beadwork. The peyote stitch and its variations will be used to explore how the lowly bead can convey hilarity through skilled craftsmanship, allowing the viewer to realize the hidden meaning of an ordinary flower, clown’s face, or strung line. Students will take up the guise of jester thru jokes, sarcasm, and connivance as the main goals in their beadwork. This is a beadwork class. A working knowledge of the 1 count peyote stitch is required.
JOYCE J. SCOTT is a fiber artist, inspired by three generations of storytellers, quilters, basket makers, and wood, metal, and clay workers. Growing up she watched her mother, the renowned fiber artist Elizabeth Talford Scott, create quilts using unconventional embroidery and appliqué techniques. Joyce Scott received a BFA in Art Education from the Maryland Institute College of Art, an MFA in Crafts from the Instituto Allende, San Miguel Allende in Guanajuato, Mexico and studied the art of Native Americans, West Africans, and Central American Cuna Indians. In addition to exhibiting, teaching, and lecturing internationally, Joyce Scott is also a performance artist. Her work has been in exhibitions at The Baltimore Museum of Art; Corcoran Gallery of Art, Washington, DC; Orlando Museum of Art, Florida; and Renwick Gallery, Smithsonian Institution, Washington, DC.
Faceboards: Carving Human Expressions
|The King (detail) by Stefanie Rocknak, 2008. Basswood, life-size.|
The human face tells a perennial story; it can be a vehicle for dignity, or conversely, humility. Or joy, indifference, or reservation—the list of expressions, subtle or not, is almost endless. This workshop is for those who want to learn how to animate facial expressions in wood. Students will construct a number of high relief sketches of faces/heads on Basswood boards. Traditional and experimental carving and finishing techniques will be explored, and there will be demonstrations as well as group critiques. Students will draw from their own experiences and the expressions of those around them for inspiration. Some drawing will be encouraged. All levels welcome.
STEFANIE ROCKNAK is an Associate Professor of Philosophy and Director of the Cognitive Science Program at Hartwick College in Oneonta, New York. Her sculpture has been in over fifty national and international exhibitions including the Smithsonian Institution, Washington, DC; the windows of Saks 5th Avenue, New York; the Tampa Museum of Art, Florida; and the South Street Seaport Museum, New York, and has also been featured in Arts and Antiques, The Harvard Crimson, and Craft Arts International. Stefanie Rocknak’s sculpture is in the Mariner’s Museum, on the Hudson River Sloop, the Clearwater, and in private collections across the US. Awards include the Margo Harris Hammerschlag Biennial Sculpture Award and a George Sugarman Foundation grant. steffrocknak.net
A Novelist’s Guide to a Memoir
This workshop is for writers at any experience level working at any stage of a memoir. The approach will be from a fiction-writer’s perspective on making life stories more vibrant, engaging, and novelistic—without trampling on the truth. Good technique can transform personal narratives (even those intended for a small, specific audience) into emotionally expansive stories with universal appeal. The workshop follows a presentation-and-practice method, in which participants, using their own stories, will practice various writing techniques and read back to the group for feedback and further instruction. Several lengthy writing sessions will be built into the week, so come prepared to write, write, write! All levels welcome.
MONICA WOOD is the author of four works of fiction, most recently the American Booksellers Association bestseller Any Bitter Thing (Chronicle Books, 2005). Her newest book, When We Were the Kennedys: A Memoir from Mexico, Maine, is due out from Houghton Mifflin Harcourt in July 2012. Other fiction includes My Only Story (Random House, 2001), a finalist for the Kate Chopin Award; Ernie’s Ark (Ballantine Books, 2004), selected by ten towns for “One Book, One Community” programs; and Secret Language (Ballantine Books, 2002), her first novel. Her anthologized short stories have won a Pushcart Prize and been featured on public radio, including NPR’s Selected Shorts. Monica Wood also writes books for writers and teachers, and conducts a writing program for women at the Maine Correctional Center. monicawood.com