Nadie descubrió las Américas/No One Discovered the Americas Installation by Salvador Jiménez-Flores, 2016. Porcelain and terra-cotta slip. Photo by the artist

Resilience: Form, Narrative,
and Installation
Inspired by personal stories, life experiences, and current political climate, this workshop will explore various methods for designing, engineering, and building a multi-piece sculpture that can be assembled as one. By pushing the boundaries of gravity and what can be done with clay, students will experiment with the flexibility to make endless combinations and learn easy and safe ways to ship ceramic works. Basic techniques of hand-building, press molds, and illustrating surfaces, will be covered, as well as discussions about content and context of your work. We will also go over basics on how to develop a proposal, installation instructions, and packing ceramics. Artists with an interest in ceramics, sculpture, installation, and narrative are strongly encouraged to apply. All levels welcome.

SALVADOR JIMÉNEZ-FLORES is an interdisciplinary artist born and raised in Jalisco, México. Since coming to the US, Salvador has contributed to the art scene by producing a mixture of socially conscious installation, public, and studio-based art. His work has been exhibited at the National Museum of Mexican Art, Grand Rapids Art Museum, Urban Institute of Contemporary Art, Bemis Center for Contemporary Arts, and Casa de la Cultura in México. Salvador just finished a two-year artist residency at the Harvard Ceramics Program, Office of the Arts at Harvard University. From 2016-17 he also served as the Artist-In-Residence for the City of Boston. He is a recent recipient of grants from the New England Foundation for the Arts and the Joan Mitchell Foundation. salvadorjimenezflores.com


Fate by Lois Russell, 2016. Twined Waxed Linen, 17” (h). Photo by Kay Lyon

New Uses for an Ancient Technique
Basketmaking is an ancient craft rich in tradition and technique. Today’s artists are using age-old techniques to create sculptural pieces that challenge the definition of “basket.” This workshop will focus on twining, a technique that uses two weavers at a time and allows for all sorts of exploration with colors, patterns and textures. Using colorful, waxed linen thread, we will begin with a small pre-made base to make sure of the basics before plunging into the many possibilities of pattern and texture. We will also cover how to control the shape of a vessel, make a base, and finish with a simple rim. Although the workshop is skill-based, it is designed to put those skills to immediate creative use. Right from the start, everyone will be making design decisions, and when we finish, no two pieces will be the same. All levels welcome.

LOIS RUSSELL is a fiber artist whose sculptural work reflects her background as a basket maker. She is a trustee with Society of Arts and Crafts in Boston, and the Craft Emergency Relief Fund, and serves on the Board of Overseers, Fuller Craft Museum in Brockton, Massachusetts. Lois has received numerous awards including an Award of Excellence at CraftBoston and Category Winner in Excellence in Fiber 2016. Her work is included in 500 Baskets, and has been featured in Fiber Art Now. Two of her pieces are in “Rooted, Revived and Reinvented: Basketry in America,” a national traveling exhibition. loisrussell.com


Alchemy by Devin Burgess, 2016. Blown glass.

Constructive Play
To expand your thought process, often you must expand your skill set; to expand your skill set, often you must expand your thought process. In this workshop students will build up technical skills in the hot shop. We will focus on both developing and honing a facility with hot glass while also incorporating more experimental ideas. We will study bubble anatomy—to decipher technically challenging shapes—and work through the processes of blowing while not forgetting how to push ourselves to play. All levels welcome.

DEVIN BURGESS lives in Greensboro, Vermont where he runs Borealis Studios with his wife Jerilyn Virden. Aside from producing his own work, Devin also produces designs and executes projects for architectural firms and designers worldwide. He received a BFA in Sculpture and Printmaking from Alfred University, College of Art and Design, New York. Devin was a recipient of a three-year glass residency at Penland and has exhibited at SOFA, Philadelphia Museum of Art, and the Smithsonian Craft Show. borealisstudios.com


Rara Avis by Holly Cooper, 2014. Glass, 50mm x17mm. Photo by the artist

Pattern and Play
In this workshop we will explore the use of color, shape, texture, pattern, and themes in our work to focus on ways to achieve our own personal style of bead making. Using glass stringers in the flame we will work with modular design principles to create geometric, floral, and animal forms on beads, We will delve into a variety of special materials and techniques that change the glass surface lending an interesting depth to the surface of the work.This will be a playful, fun session building on the methods we developed using stringer and design. We will explore the use of enamels, metal leaf, texture and patina, flame chemistry, special properties of certain colors, and other techniques. All levels welcome.

With a background in painting, art history, ceramics, textiles, jewelry, and glass, HOLLY COOPER has been making lampwork beads in her Austin, Texas studio for fifteen years. Her glass techniques meld these disparate disciplines into her creative work. She draws inspiration from a variety of cultural and historical traditions and incorporates them into her glass beads using unique surface treatments to create depth and visual interest. Holly attended Columbus College of Art and Design and the University of Texas at Austin. She was a presenter at the 2009 and 2013 International Society of Glass Beadmakers’ annual Gathering. Her work is in private collections and at the Corning Museum of Glass and Kobe Lampwork Glass Museum in Japan. Holly has taught at studios around the world including The Glass Furnace in Istanbul, Association des Perliers D’Art de France in Paris, Japan, Russia, Australia and throughout the US. Work is included in 1000 Beads, Lammaga, and The Flow. hollycooper.com


Mooning by Paula Wilson, 2015. Monotype, screen print, woodblock print, and spray paint on muslin. Variable edition of six made in collaboration with the University of Oregon.

Beyond Observation:
Contemporary Plein Air
Drawing from life generates a call and response between what is seen and what is created. Integrating unique and personal perspectives and, perhaps applying interfaces with technology and ecology, this class updates the tradition of working en plein air to give form to our present-day experiences with and in nature. Each day this hand/eye relationship is reinforced through one fundamental tenet of drawing and painting: light, form, color, perspective, or scale. These daily exercises will inform individual studio work. There will be demonstrations of layering and intermixing media, techniques and substrates– ink, pastels, acrylic, oil paint, collage, and monoprinting. All levels welcome.

PAULA WILSON Based in Carrizozo, New Mexico. She received a Masters of Fine Art from Columbia University and presently co-runs the artist-founded organization MoMAZoZo and the Carrizozo Colony. Her work is in the collections of The Studio Museum Harlem, Saratoga Springs, Yale University Art Gallery, Kemper Art Museum, Tang Museum and Saatchi Gallery, and in exhibitions at Bemis Center of Contemporary Arts, and Fabric Workshop and Museum. Paula is a recipient the Joan Mitchell Artist Grant, Art Production Fund’s P3Studio Artist-in-Residency at the Cosmopolitan in Las Vegas, and the Bob and Happy Doran Fellowship at Yale University. paulajwilson.com


Shadowfield/Colored Light/Square by Warren Seelig, 2017. Multicolored Lexan and silver brazed stainless steel, 24” x 24” x 5.” Photo by Jack Ramsdale

After Words: An Experiment in Making
After Words is an experiment in making without knowing in advance what is being made. This workshop will focus on the use of common, everyday materials as the starting point for an exploration of intuitive problem solving. Allowing the materials themselves to provide clues about constructing potential form, we will develop unique material sketches through mostly invented processes of accumulation and repetition, like wrapping, binding, connecting, attaching, twisting, knotting, piercing, layering, and more. Group conversations will allow us to look, think, talk, and ultimately use words in order to decipher what has occurred in the studio. All levels welcome.

WARREN SEELIG is a distinguished visiting professor at the University of the Arts in Philadelphia where he teaches, curates, and writes on various subjects related to fiber, textiles, and material studies. He received a BS from the Philadelphia College of Textiles & Science and an MFA from Cranbrook Academy of Art. Warren has received multiple fellowships from both the National Endowment for the Arts and Pennsylvania Council on the Arts. His work has been included in more than thirty major museum exhibitions in the US, Europe, Japan, and Korea with many solo and group shows worldwide. He has lectured extensively including programs at the Gerrit Rietveld Academy Amsterdam, Royal College of Art in London, and at the National University of the Arts in Seoul. Warren’s work is in collections throughout the US and beyond, and was most recently acquired by the Hermitage Museum in St. Petersburg, Russia. Announced this January, Warren Seelig was awarded a 2018 USA Artist Fellowship. warrenseelig.com


Poetry in Action: A Tactical Resistance
Political philosopher Hannah Arendt wrote, “A life without speech and without action […] is literally dead to the world; it has ceased to be a human life because it is no longer lived among men.” The act of creating poetry is political. Yeats, Walt Whitman, Adrienne Rich and Allen Ginsberg each critically responded to the conflicts haunting their times. A writer’s impact today is more immediate and widespread due to social media. The question then arises: so what is valued? How can we write politically engaged poetry, without sounding dated, common or cliché? Arendt’s suggestion is humane, modest and straightforward. We must read, listen and watch our world with intensity, because we live in it too. And we must write with intention. In the morning sessions, each workshop participant will study a diverse array of contemporary poets and then employ these unique structures, inspirations and poetic devices to craft their own political poems. In the afternoon sessions, we will share,
hone our poems and raise our voices together
in resistance.
All levels welcome.

melissa christine goodrum’s experiences include Guest Editor of Other Rooms Press’ first print anthology: Ocellus Reseau, Co-Editor of The Brooklyn Review, Designer/Publisher/Editor of Cave Canem’s “Writing Down the Music” and “Letters to the Future,” Co-President of the Cambridge Poetry Awards, Administrative Director of Bowery Arts & Science and recipient of a Zora Neale Hurston Award from the Jack Kerouac School of Disembodied Poetics at Naropa University. Thanks to an NEH stipend in 2016, she studied the works of the political philosopher Hannah Arendt. The result was a collaborative multi-media eruption at the John Natsoulas Gallery, A Political Lacunae: Verb-ing Violence into the Visual. Her poetry can be found in The New York Quarterly, The Torch, The Tiny, Rhapsoidia, canwehaveourballback?, Transmission, a harpy flies down, The Bowery Women Poems, an anthology and a five-poet anthology, Urgent Bards. definitions uprising, is available thanks to NY Quarterly Books. books.nyq.org/author/melissachristinegoodrum


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