Box by Kenyon Hansen. Soda fired Porcelain with multiple glazes, 7″ × 6″ × 6″


Soda Salt Surface
Developing surfaces on utilitarian forms for the soda/salt firing process is the focus of this workshop. Wheel thrown altered forms will be shaped slowly with an emphasis on tight fitting lids and fine craftsmanship. We will build layers on the surface of our pots and create a range of textures and patterns for the slips and glazes to highlight. In this workshop we will use porcelain and stoneware clays and fire to cone 9/10. All levels welcome.

KENYON HANSEN is a full-time studio potter in Dollar Bay, Michigan. He has been a resident artist at the Archie Bray Foundation and Watershed Center for the Ceramic Arts. In 2013 Kenyon was selected as an Emerging Artist by Ceramics Monthly. He has taught at Haystack, Arrowmont, Penland, and Greenwich House Pottery in New York City. He has led workshops at numerous universities and art centers throughout the US. His work has been exhibited nationally and internationally and can be found in homes around the country. Kenyon is currently a visiting artist at Finlandia University. ·


The Racer by Courtney Puckett, 2016. Fabric, metal, wood, wire, string, and found objects, 73″ × 35″ × 8″. The Listener, 2016. Fabric, metal, wood, wire, string, and found objects, 61″ × 33″ × 8½”. The Kneeler, 2016. 55″ × 17″ × 17″, fabric, metal, wood, wire, string, and found objects. Photos by Adam Reich

Embodied Line

Line is defined as a long, narrow, extended point; a method of connecting, directing, and demarcating space. This workshop will explore line as armature, gesture, sound and energy. We will begin with research through direct observation, photographs, mark-making, notations, maps and performance. Found objects will be incorporated into studio work and underline an ecological approach to art-making. Soft sculpture, machine and handsewing, binding, weaving, knotting, collaging, and altered materials are a few of the traditional and non-traditional approaches we will explore in an effort to expand the notion of line as a generative idea. All levels welcome.

COURTNEY PUCKETT is an Adjunct Instructor at the Parsons School of Design. She received a BFA from the Maryland Institute College of Art and MFA from Hunter College. She has been an Artist-in-Residence on Governor’s Island, Byrdcliffe Arts Colony, and the Vermont Studio Center and her work has been in exhibitions at White Columns, Indianapolis Museum of Art among others. Courtney has collaborated on choreography for the Brooklyn Ballet’s CounterPointe Performance Series and curated “Drawing for Sculpture” at TSA, New York. She has been the recipient of a National Endowment for the Arts project grant and featured in Hyperallergic and NYTimes art blog. ·


(col)Lapse by David Schnuckel, 2016. Blown glass, time, temperature, 9″ × 5″ × 5″. Photo by the artist

This workshop will introduce advanced cup making processes and use it as a means to both identify and challenge the role of skill. Through unlikely intersections between blown glass, kilnforming, material paradox, and performative activity, the language of technique and the rules of “doing things well” will be confronted by a provocative and equally thoughtful exploration of what “(un)doing things well” could reveal. Motivated by language the goal of this workshop is to become fluent in advanced processes of cup making and to develop ideas that put those skills in the context of risk, intentional failure, and sculptural ambiguity. Advanced workshop – minimum one year glassblowing experience required.

DAVID SCHNUCKEL is an artist, writer, and Assistant Professor at the Rochester Institute of Technology. His work has been exhibited internationally and is in the permanent collections of the GlazenHuis in Lommel, Belgium; Glasmuseet Ebeltoft of Ebeltoft, Denmark; and the Museum of American Glass in Millville, New Jersey. He has taught at Alfred University; Toyama City Institute of Glass Art, Japan; China Central Academy of Fine Arts; Pilchuck; Penland; and The Studio of The Corning Museum of Glass ·


Black is the Color of My True Love’s Hair by Krista Franklin, 2011. Collage, bobby pins, synthetic hair in handmade paper, 17½” × 28″. Photo by Stephen Flemister

Pulp Fictions: Developing Narratives Through Papermaking
Using found and personal narratives, this workshopwill consider the art of storytelling through the device of handmade paper. How can written narratives be transformed into art? What are the materials of the stories we tell? How can the archive (personal and historical) be a source for artmaking as well as the material of handmade paper? Learning how to make handmade paper using stories as their driving force, students will be encouraged to incorporate photographs, letters, ephemera, poems, deconstructed books and original writings into the work they will develop over the session. All levels welcome.

KRISTA FRANKLIN is an interdisciplinary artist whose work appears in POETRY magazine, Black Camera, Callaloo, BOMB Magazine, and several anthologies including The BreakBeat Poets: New American Poetry in the Age of Hip- Hop, among others. She received an MFA in Interdisciplinary Arts – Book & Paper from Columbia College Chicago, and teaches Writing at the School of the Art Institute of Chicago. Krista is the author of Under the Knife and Study of Love & Black Body. Her art has exhibited at Poetry Foundation, Konsthall C, Museum of Contemporary Photography, The Studio Museum in Harlem, Chicago Cultural Center, National Museum of Mexican Art, and on the set of 20th Century Fox’s Empire. Krista is also a main character in Les Impatients by Aliocha Imhoff & Kantura Quiros.


Folded by Tanya Crane, 2018. Copper, enamel, shibuishi alloy, steel, folded, and enameled; fabricated, 4″ × 3″ × ½”

Crunchy Tips: Adventures in Dimensional Enameling
The intrinsic malleability of copper allows it to bemanipulated into complex, dimensional forms. Working from flat sheets of ultra-thin copper, this workshop will explore the limitless potential of this material and the possibilities of color, form and surface found through enameling. Students will manipulate copper into dimensional forms that can be turned into pendants, beads, and components for jewelry and sculpture. This workshop will incorporate a broad variety of techniques ranging from paper models, metal, liquid and dry sifted enamels, sgraffito, and Limoges techniques for drawing and mark-making. All levels welcome.

TANYA CRANE is a Professor of the Practice in Metal at the School Museum of Fine Arts at Tufts University in Boston. She received a BFA in Metal from the State University of New York at New Paltz and an MFA in Metalsmithing + Jewelry from the University of Wisconsin-Madison. Tanya is the 2017 winner of the Society of Arts and Crafts Artist Award and will have her first solo exhibition at the National Ornamental Metal Museum in Memphis, Tennessee in January of 2019.


Feint by Sarah Marriage, 2016. Ash veneer, Baltic birch ply, canvas, and milk paint, slanted tambour door, 44″ × 22″ × 19″. Photo by Mark Juliana

The Furniture Between Us
Furniture sets the stage for our daily lives. In this workshop we will explore furniture design from the perspective of how it affects the relationships between people. Beginning with a fast-paced design session of sketching and model-making followed by design and construction, we will generate concepts intended to influence the ways people interact and engage with one another. As we make furniture and learn new skills, we will continue to consider the relationship among the intended users, invite others to interact with our ideas, and allow all of this to influence every step of the process from plank to finished piece. All levels welcome.

SARAH MARRIAGE is the founder and director of A Workshop of Our Own, a non-profit, educational woodshop created by and for women and gender non-conforming individuals. Having studied Architecture at Princeton University and fine Woodworking at The College of the Redwoods, she was a past recipient of the John D. Mineck furniture fellowship and now serves on the board of The Furniture Society. She has taught at Penland and Anderson Ranch and her work has been shown widely including Dwell on Design, ICFF, the American Craft Council Show, Eames Gallery, and others.


Visiting artists augment the session with informal activities and are not workshop leaders.

Photo by Rob Miller

Musical Improvisations Company

Sonic manifestations are informed by complex energy matrixes. By giving overcultural appropriations, emotional strata, physical movement, considerations related to the surrounding environment(s), and an openness of automatic participation through improvisations, we will explore the magickal connections of the Now. The informal afternoon workshops will include listening sessions and an exploration of instruments from the percussion family. Visiting artists augment the session with informal activities and are not workshop leaders.

Born and raised in Los Angeles, MATT CRANE has been playing percussions since before he was in school. From playing in a fourth grade band on a drum set fabricated out of ice cream bins, to playing punk rock in the early eighties, to discovering jazz and playing with Ornette Coleman, to performing and attending a voodoo ceremony in Haiti, his musical development has been continual and exponential. Focusing on pure improvisation since the early nineties, he currently lives and works in Rhode Island and continues to collaborate, perform, and record widely.



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