5/BOOK ARTS

Kylix: The Stuff of Tho by Doug Beube, 2014. Altered book, wood, 4 ¼” x 8” x 5."

Kylix: The Stuff of Tho by Doug Beube, 2014. Altered book, wood, 4 ¼” x 8” x 5.”

Radical Bookwork: Re-purposing Found Books from Meaning To Structure
This workshop is designed to challenge common assumptions about the nature of the book and to offer participants an opportunity to make their own bookwork from found books, which incorporates collage, installation, mixed media, painting, photography, sculpture, and writing. Students will primarily work with hardbound and softcover books by altering their physical structure. Although a few basic bookbinding structures will be demonstrated, this workshop is not about traditional binding; it is a mixed-media workshop on using the found book as raw and re-purposed material. Previous bookbinding experience is useful but is not necessary. All levels welcome.

In 2016 DOUG BEUBE was awarded a Pollock-Krasner Foundation Grant to pursue his artwork. He received a BFA in Film from York University in Toronto, Ontario and an MFA in Photography, from the Visual Studies Workshop, conferred by SUNY Buffalo. He is an independent curator and gives lectures—for example, at the Yale University Art Gallery he gave a talk on the Allan Chasanoff Bookwork Collection for their 2014-2015 exhibition “Odd Volumes.” Doug Beube teaches workshops in photography, sculpture, collage, and the altered book throughout the US, Canada, Europe, and the Middle East. His work has been in exhibitions at the Yale University Art Gallery, Currier Museum of Art, Cameron Art Museum, and Everhart Museum, and is also in national and international private and public collections. Doug Beube is represented by JHB Gallery and Central Booking, and the Seager Gray Gallery. dougbeube.com

 

5/CERAMICS

The Breakup by Pattie Chalmers, 2016. Terra Cotta, glaze, plexiglass, faux fur, 3 ½’ x 3’ x 2 ½.’ Photo by Kyla Strid

Heroes and Villains
Handbuilding techniques for creating medium scale, terra cotta figurative work will be the focus of this workshop. Using coils, slabs, and pinch pots, participants will create heroes and villains, each with extravagantly imagined super powers and countless personality flaws. Demonstrations and discussions will cover simple glazing techniques, approaches for building and firing in parts, and a variety of alternative surface treatments. All levels welcome.

PATTIE CHALMERS grew up in Winnipeg, Manitoba, the geographic center of Canada. She received a BA in History and a BFA in Printmaking from the University of Manitoba, after which she completed an MFA in Ceramics at the University of Minnesota. Pattie Chalmers works steadily and exhibits widely having presented work on five continents, six countries, and in twenty-five US states. These shows include separate installations of her “Mudmaid Museum” in Minneapolis and Philadelphia, and the 67th Scripps Ceramic Annual, “Making Fun” in Claremont, California. Since 2006 she has lived and worked in Carbondale, Illinois, where she is an Associate Professor of Art at Southern Illinois University. pattiechalmers.com


 

5/GLASS

Let Your Eyes Be the Invention by Stine Bidstrup, 2012. Large, sculptural installation of cut Fresnel lenses assembled into four different sizes of regular tetrahedra, suspended or chained, string, tape, and windows, 280cm x 350cm x 250 cm

Inspiration and Expiration
The mind is a pattern-making machine, engaged in an endless attempt to construct order out of chaos and make links between disparate entities in order to understand either or both. In this hot glass workshop we will work experimentally around optical phenomena and pattern making to spot the potential in connecting things that do not ordinarily go together. Glass will be used for its abilities to reflect, distort, magnify, and clarify ideas into evocative conceptual pieces including artworks, sketches, improvisations, and manifestations. By traveling in different directions across various glass traditions—from Scandinavia to India—we will draw inspiration from a combination of ideas rather than one streamlined focus and cultivate a personal vocabulary of knowledge and experience. Demonstrations will include blowing, cold working, imagery techniques, and a variety of mold-making strategies. Previous experience working with glass required.

STINE  BIDSTRUP is a Danish visual artist and educator. She received a bachelor from the Royal Danish Academy of Fine Art, School of Design on Bornholm in Denmark and a postbaccalaureate degree from the Rhode Island School of Design. Since 2007 she has maintained Luftkraft Glass Studio in Copenhagen, Denmark and exhibits her work internationally. Stine Bidstrup has taught at the Royal Danish Academy of Fine Art, University of Wisconsin-Madison, Urban Glass, and Pilchuck, as well as has been a visiting artist at a number of schools and museums worldwide. stinebidstrup.dk


 

5/METALS

Bonded: Enamel on Steel

Workshop participants will work with liquid and sifted enamels on copper and a variety of steel alloys, including stainless, on a small scale. We will use found objects, pre-enameled elements, sheet, and wire as surfaces for enamel. Beginning small-scale steel fabrication techniques will be covered. Students will work through many experimental enamel samples and have the opportunity to complete a collection of jewelry or sculpture using the skills learned. All levels welcome.

KAT COLE is a studio artist based in Dallas, Texas. She received a BFA from Virginia Commonwealth University and an MFA at East Carolina University, and was a Visiting Professor in Metals/Jewelry at Western Michigan University. Kat Cole teaches workshops nationally and has exhibited her work internationally, including SOFA Chicago 2016 and Schmuck 2014 and 2015 in Munich, Germany. Her work has been published in 500 Enameled Objects (Lark Books), Art Jewelry Today 3 (Schiffer Publishing), Metalsmith, Ornament, and Art Jewelry. Kat Cole’s work is in private and public collections including The Museum of Arts and Design and Houston Museum of Fine Art. kat-cole.com


 

5/WEAVING

Primary + Secondary by Dee Clements, 2016. Wool, weft faced weaving, 4’ x 6.’ Photo by Jennifer Marx

Composition and Materiality; Weft Faced Rug Weaving and Design
Composition, design ratio, and materiality are the foundation of rug weaving. Drawing from the patterns and colors in the natural world surrounding Haystack, we will explore the design process with an analog approach; beginning with colored pencil and graph paper and translating ideas to the loom. Weft faced weaving techniques and fibers will be explored first in a rug sampler and then with a final project. Students will return home with a rug sampler weaving, a small hand woven rug, and pages of designs for future projects. Some weaving experience preferred, but all levels welcome.

DEE  CLEMENTS is an artist and the founder and creative director of Studio Herron, a weaving studio and textile brand in Chicago, Illinois specializing in woven blankets, rugs, and wall panels that focus on preserving and maintaining a commitment to ethical and environmental sustainability, traditional craft methodologies, and artistic process. Dee Clements received a BFA in Fiber and Materials Studies and Sculpture from The School of The Art Institute of Chicago, and has been weaving for over fifteen years. studioherron.com

 

5/WOOD

Sinuo by Matthias Pliessnig, 2015. Steam bent White Oak, 16’ x 7.3’ x 3.2.’

Bend the Rules
In this workshop participants will begin to understand the material properties of wood and explore techniques to alter the conventional idea that wood should be flat. We will begin with a series of explorations solving design problems with innovative built structural solutions dealing with dynamic loads (your body). Combining your personal aesthetic with the rules of a chosen system to make a piece that is structurally sound, a personal expression, beauty and function; such as the hull of a boat, the span of a bridge, or the cluster of a honeycomb. Slide lectures and reviews will be included throughout the session. Demonstrations will include steam bending, free-form bent lamination, and various joinery techniques. Participants should have intermediate to advanced woodworking knowledge.

MATTHIAS  PLIESSNIG received a BFA in Furniture Design from the Rhode Island School of Design and an MA and MFA in Art from the University of Wisconsin-Madison. He is drawn to the associations of permanence and integrity suggested by wood while embracing the natural laws of the material and aims to challenge the perceptions of his audiences. As a furniture maker working predominantly with steam-bent wood, he constructs sinuous and kinetic forms that are influenced by computer technology, craft skills, and design sensibilities more commonly associated with more fashionable materials such as carbon fiber or plastics. He currently works out of his studio in Brooklyn, New York collaborating with architects on large scale installations as well as private based commission. matthias-studio.com

 

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