2018 WORKSHOPS - Arrowmont School of Arts and Crafts
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2 018 W O R K S H O P S
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W ELC OME TO A RROW MONT IMP O RTA NT DATES
AT A G L A N C E
“The joy of my work is providing others opportunities to live creative lives. The joy of
my life is interacting with creative people. This makes for a wonderful symmetry.”
A R T I S T S - I N - R ES I D EN C E
A P P L I C AT I O N D E A D L I N E
The past year at Arrowmont saw events which brought about change, and at the same time February 1, 2018
strengthened our resolve to maintain the values and qualities that make this place extraordinary.
In response to the wildfires of the fall of 2016 which destroyed three buildings on campus, we E A R LY R E G I S T R AT I O N D E A D L I N E
began to implement both a strategic plan for our programming and a master plan for our campus. R E G I S T R AT I O N F EE O F $ 5 0 I S
WA I V ED F O R E A R LY R E G I S T R AT I O N
When you come to Arrowmont in 2018 you will enter through a new entrance and enjoy a new February 1, 2018
dormitory with 42 rooms with private baths and a screened porch with an outdoor fireplace
perfect for the camaraderie and conversations that are important parts of being here. We have ED U C AT I O N A L A S S I S TA N T S
continued to make upgrades to studios and have constructed a new three-kiln courtyard. All the P R O G R A M A P P L I C AT I O N D E A D L I N E
buildings on campus — studios and residences — are now air conditioned. We always work to March 1, 2018
improve our facilities and to offer inspiring workshops with outstanding instructors.
SCHOLARSHIP
Though our campus is transforming, our values remain constant and at the heart of the A P P L I C AT I O N D E A D L I N E
“Arrowmont Experience.” We offer workshops that provide opportunities for those just being March 1, 2018
introduced to craft, as well as workshops that focus on advanced skills, conceptual exploration
and design. Regardless of your prior experience, skill level, age or background, you will F I G U R AT I V E A S S O C I AT I O N
find Arrowmont to be a welcoming place where all are treated with respect and provided SYMPOSIUM
encouragement. We are all explorers. November 7 – 10, 2018
We live in a world where it is tempting to turn inward, to get our information from a screen and Please check the website
both learn and work in isolation. At Arrowmont, you will discover what it is like to be part of a arrowmont.org for updated
creative community that provides an intensely personal learning experience that is also a shared deadlines as some scholarships
experience. Everyone here contributes to the creation of this shared experience — from our staff have a rolling deadline and
who work in the kitchen, maintenance, grounds keeping or administration to our educational others may re-open mid-
assistants and instructors. We are all engaged in learning and making, but we also celebrate summer for Fall applicants
the joy of creating meaningful lives, expecting to learn something new every day and to make
contributions to something larger than ourselves.
Join us and not only be a part of a creative community, but help us create that community. Learn
skills that you carry back to your work or studio; have experiences you carry back into your life.
B I L L M AY, E X E C U T I V E D I R E C TO R
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TA B L E O F C O N T EN T S
W ELC O M E 1 A R R O W M O N T H I S TO R Y 66
S C H ED U L E AT A G L A N C E 4 G A L L ER Y & E X H I B I T I O N S 67
S P E C I A L TO P I C S 7 COMMUNIT Y PROGRAMS 67
T W O W EEK S ES S I O N S 10 ED U C AT I O N A L A S S I S TA N T S P R O G R A M 68
W EEK EN D S ES S I O N S 10 SCHOLARSHIPS 69
C L AY 13 WORKSHOP BASICS 70
2- D A R T S: D R AW I N G · PA I N T I N G · PA P ER & HOUSING & MEALS 71
B O O K S · P R I N T M A K I N G · P H OTO G R A P H Y 23
R E G I S T R AT I O N & W O R K S H O P F EES 72
F I B ER S · T E X T I L ES · B A S K E T S 35
M E TA L S · G L A S S · EN A M EL S 45
WOOD 55
2018 S C H ED U L E AT A G L A N C E S P E C I A L TO P I C S C L AY DRAWING · PAINTING · PAPER & BOOKS · PRINTMAKING · PHOTOGRAPHY
APRIL 5 – 8 Joel Zachry Austin Riddle Holly Fouts · Kathy Goodson · Lisa Line
JUNE 3 – 9 Robbie Lobell · Emily Shroeder Willis Carolyn Benedict Fraser & Jenn Houle
J U N E 10 – 16 Jason Burnett · Kristen Kieffer John David Wissler
J U N E 17 – 23 Rebecca Chappell · Meredith Host Jie Qi · Nick Ruth
J U N E 24 – J U LY 7 Julia Harrison Pattie Chalmers & Matt Mitros Lauren Kussro
Ted Neal
J U LY 8 – 14 Alice Ballard Ian Brownlee · Beauvais Lyons
H.P. Bloomer & Matt Repsher
J U LY 15 – 21 Jana Evans Erin Anfinson · Jiyoung Chung · Brooke Rothshank
J U LY 2 2 – 28 Darien Arikoski-Johnson Macy Chadwick · Gary Chapman
Justin Rothshank
J U LY 2 9 – A U G U S T 4 Sandy Blain Ashton Ludden · Radha Pandey · Greta Songe
A U G U S T 5 – 11 Eva Kwong · Paul Wandless Elizabeth Alexander · Jered Sprecher
A U G U S T 12 – 18 Jennifer Allen · Eliza Au Nancy Dillen · Ryan O’Malley
A U G U S T 3 0 – S EP T EM B ER 2 Bill Griffith Carrie Iverson · Emily Leonard · Don McGowan
S EP T EM B ER 9 – 15 Jessica Brandl · Matthew Schiemann Erin Keane
S EP T EM B ER 16 – 2 2 Mark Melonas Chandra DeBuse · Lindsay Oesterritter Bryan Baker · Jane Lackey
O C TO B ER 14 – 2 0 Nigel Rudolph & Cheyenne Rudolph Beatrice Coron · Rachael McCampbell
Nan Smith
O C TO B ER 21 – 27 Molly Grant · John Phillips Sean O’Connell Marge Luttrell · Delaney Smith
F I B E R S · T E X T I L ES · B A S K E T S M E TA L S · G L A S S · E N A M E L S WOOD 5
Emily Schubert Maureen Aderman · Sarah Rachel Brown Randy Ogle · Bill Wallace
Akemi Nakano Cohn · Shana Kohnstamm John Cogswell · Holly Cooper Trent Bosch · Barry Gross
Rena Wood · Jan Wutkowski Lynn Batchelder · Ashley Gilreath Ben Blackmar
Luke Haynes · Brooks Harris Stevens Jean Fernandes · Jessica Tolbert Janice Levi · Sarah Martin
Susan Brandeis · Christine Zoller Barbara Minor · Julia Harrison David Ellsworth (One Week)
Bill Thomas
Melissa Cody · Lisa Klakulak Lauren Seldon Jackson Martin · Harvey Meyer
Joetta Maue Jessica Calderwood · Katja Toporski Michael Cullen · Michael Gibson
Julia Gartrell · Jess Jones Erica Bello · Gail Stouffer Josh Almond & Marco Rosichelli
Robert Lyon & Doug Finkel
Tommye Scanlin · Clare Verstegen Libby Leuchtman · C. James Meyer Alicia Dietz · Aaron Hammer
Jerry Bleem · Sonya Philip Leslie Boyd · Jennifer Wells Beth Ireland · Kimberly Winkle
Lauren DiCioccio · Flo Hoppe Hannah Marie Smith · Demitra Thomloudis Doug Hall · Jason Swanson
Pat K. Thomas Alicia Jane Boswell · Anna Johnson Ellie Richards · Jim Scarsella
Gasali Adeyemo · Lesli Robertson David Jones · Shirley Webster Sally Ault · Peter Dellert
Lanny Bergner · Janet Taylor Ricky Frank · Rachel Shimpock Nathaniel Chambers
Jeanne Brady Mary Hettmansperger & Robert Dancik Dennis Fuge · Brian Persico
Paula Kovarik · Peeta Tinay Maureen Aderman Clay Foster & John Jordan
“I count my blessings of 28 years going to Arrowmont — full of enrichment and mind stretching interaction with interesting, giving instructors and students.” — J O I D A E VA N S, S T U D EN T
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SPECIAL TOPICS
Each year, it becomes increasingly difficult to divide our catalog by media and materials. More
workshops are crossing over the boundaries of those classifications, bringing together materials and
techniques in ways that transcend genres, labels, and the-way-we’ve-always-done-things. This is in no way
a bad thing — quite the opposite, it is exciting and creatively rewarding. However, we do need to list our
workshops in some order, and media is still the easiest and most efficient means. This first section, Special
Topics, represents those classes whose media transcendence has reached a point that choosing any one
label seems grossly unsuccessful. However, here is a hint about our catalog: every section contains special
topics. Within each category you will find many classes that offer techniques and skills that would apply
to persons working in any media. So, my recommendation to you is this: do not skip straight to your
tried-and-true art media of choice. Spend an afternoon and browse, peruse through the entire catalog.
Hidden throughout all the offerings, you may be surprised to find a topic that is special to you.
SPECI A L TOPIC S
APRIL 5 – 8 · WEEKEND J U N E 2 4 – J U LY 7 · T W O W E E K S
J O EL Z AC H R Y JULIA HARRISON
S P R I N G: T H E A R T O F N AT U R E C A R V E YO U R N I C H E
What better time than spring to ramble and The goal of this workshop is to make carving
enjoy the artistic wonders of landscape, plant a versatile staple of the participant’s creative
life and animal diversity in the Smokies? practice. Students will develop safe metal and
Students should bring to class a camera, wood carving skills and efficient approaches for
cell phone and sketch pad to record some of every stage from layout to roughing to surface
nature’s finest art forms for further study that detail. You will become familiar with hand and
include wildflowers, trees, and maybe a bear or power tools, and carveable materials, working
two. Learn about critters and the forest while at a small scale that’s perfect for jewelry but
making like-minded friends. Open to all skill applicable to furniture or sculpture. Students
levels and prepare to hike a few trails to see it examine how and why carving has been
all. C O U R S E F EE: $ 3 4 0 pursued at different times and in different
cultures. You will leave with samples, at least
Joel Zachry is a retired Tennessee Community one finished work, and a carving approach
College administrator and biology professor. customized to your personal aesthetic, budget
He has been with the University of Tennessee- and goals. Why just find your niche, when you
National Park Service Smoky Mountain can carve one? Open to all skill levels.
Field School as an instructor since 1980 and C O U R S E F EE: $110 0
co-director with his wife, Kathy, since 2013.
Together, they own and guide for Great Outdoors Julia Harrison is a Seattle-based artist, educator
Adventure!, enjoy travel, and are authors and Jewelry/Metals Manager for the Pratt Fine
of “Bears We’ve Met, Short Stories of Close Arts Center. She began carving almost twenty
Encounters.” He has hiked the 2,175 miles of the years ago in austere living conditions and she
Appalachian Trail. G O W I T H G O AT.C O M still depends on the same low-tech approaches.
Harrison has presented workshops at Haystack,
Penland, and the 92nd Street Y. Her recent
carving projects range in scale from a quarter-
inch to six feet and feature coal, bamboo, wax
and obsidian. J U L I A H A R R I S O N . N E T9
S E P T E M B E R 16 – 2 2 · O N E W E E K O C T O B E R 21 – 27 · O N E W E E K O C T O B E R 21 – 27 · O N E W E E K
YO U MI G HT A L S O
BE INTERESTED IN
THE F O LLOW IN G
WO RKSH O P S
PAT T I E C H A L M ER S /
M AT T M I T R O S P.16
EL I Z A A U P.19
JIE QI P. 26
M A R K M ELO N A S M O L LY G R A N T JOHN PHILLIPS
R EN EGA D E S E AT I N G: L E A R N T H E A R T O F S H O EM A K I N G M A K E T H E C U T: H A N D - M A D E EM I LY S C H U B ER T P.3 6
C R E AT I N G A B EN C H I N C O N C R E T E K I TC H EN K N I V ES
During this workshop students learn the art J A N W U T KO W S K I P.37
Through detailed study and the application of shoemaking using the original Cordwainer This intensive workshop is an examination
of a variety of moldmaking techniques, Shop antique tin patterns. You will make of the ancient art of bladesmithing, while J U L I A G A R T R EL L P.39
students in this workshop design, plan a pair of shoes and discover how to place students are learning the complexities of
and construct a bench made of Glass Fiber patterns, construct uppers and soles, and a basic tool most everyone uses daily: the PAT K . T H O M A S P.41
Reinforced Concrete (GFRC Concrete). learn a unique way to put shoes together by kitchen knife. From start to finish, there are
Students will learn about specific design hand-lacing. Participants will choose up to discussions on steel selection, basic metallurgy, M A R Y H E T T M A N S B ER G ER /
considerations when planning and building three colors of leather to make a Candace blade function and design, shop safety, R O B ER T D A N C I K P.5 3
molds for concrete, and be introduced to the Style oxford, designed in the 1920s by Edward building a gas forge, how to shape steel, heat
exciting world of high-performance concrete. Mathews, Cordwainer Shop founder. Custom treatment and handle making. Students will JOSH ALMOND /
Discussions include the history and recent leather soles are made for each shoe to exact leave class having completed a beautiful piece M A R C O R O S I C H EL L I P.59
use of concrete as a surface material and in measurement. Finishing tasks include lasting, of functional art to last a lifetime. Open to
furniture, important examples of artists and burnishing, buffing, insole making, and other all skill levels. Special Note: The class is very DOUG HALL P.61
craftspeople using it today, and practical details that make a Cordwainer Shoe. Open physically demanding, including hammering,
concerns for using it in your work and studio. to all skill levels. Please note that the cost for exposure to heat, sparks and the use of other B R I A N P ER S I C O /
Students should be familiar with using hand materials will be $300‒$350. potentially dangerous methods. K Y L E R. G A R N E T T P.6 4
tools and power tools like the tablesaw, C O U R S E F EE: $ 525 C O U R S E F EE: $ 525
bandsaw and jigsaw. C O U R S E F EE: $ 595 L A N N Y B ER G N ER P.42
Molly Grant operates Cordwainer Shop, a John Phillips is an artist and musician who lives
Mark Melonas is a designer, craftsman and third-generation custom made footwear shop in Knoxville, Tennessee. He is a graduate of
teacher with over 20 years experience designing in Deerfield, New Hampshire and teaches at the University of Tennessee and spends his time
and building furniture in concrete, wood and craft schools. She exhibits at the American Craft exploring interests in making tools as functional
steel. Melonas studied Sculpture and Architecture Council and national juried shows across the art with influences from the natural world and
at the University of Maryland and earned his country. She started learning the Cordwainer bygone eras.
MFA in Artisanry from UMass Dartmouth. Craft in 1991 from her husband, a master
M A R K M ELO N A S . N E T Cordwainer. C O R D WA I N ER S H O P.C O MSPECI A L SES SIONS
W EEK EN D S ES S I O N S
Arrowmont’s weekend sessions are perfect for those who only have a few days but want to learn
and create. They are designed to offer ample opportunity to catch up with old friends, explore
different media, and interact with artists and community members. These weekend workshops
offer the opportunity to take advantage of the beauty of the Great Smoky Mountains and learn a
new craft or hone existing skills.
A P R I L 5 – 8 , 2 018 A U G U S T 3 0 – S E P T E M B E R 2 , 2 018
AUSTIN RIDDLE A L I C I A J A N E B O S W EL L
T E X T U R E A N D C O LO R: E X P ER I M EN TA L C O N E 10 E TC H I T, F O L D I T, S T I TC H I T,
SODA FIRING This class starts April 4. P.14 EN A M EL I T. R EP E AT ! P.51
M A U R EEN A D ER M A N BILL GRIFFITH
P M C & F U S ED G L A S S J E W EL R Y P.4 6 S L A B - B U I LT P OT T ER Y: F R O M F L AT TO F O R M P.19
S A R A H R A C H EL B R O W N C A R R I E I V ER S O N
T WO W EEK S ES S I O N S C A P T U R ED ! P.4 6 C O L L A G R A P H: C H A N C E I N V ES T I G AT I O N S P.3 0
In addition to one-week and weekend workshops, Arrowmont offers two-week sessions for those H O L LY F O U T S EM I LY L E O N A R D
media, techniques and projects that need more than one week to complete or to achieve proficiency. BOOKS OF THE EARTH P. 24 PA I N T I N G: B OTA N I C A L S A S J O U R N A L P.3 0
The two-week session instructors are masters in their disciplines, exceptional teachers, and are
university professors and working professional artists. These workshops offer the opportunity to K AT H Y G O O D S O N B O N N I E C O O P ER & D O N M C G O WA N
take advantage of Arrowmont’s location at the gateway to the Great Smoky Mountains National S I L K PA I N T I N G: M I N D F U L N ES S & P H OTO G R A P H I C S EEI N G P.3 0
Park and to immerse yourself in a unique experience. TO R ES I S T O R N OT TO R ES I S T P.3 6
ANNA JOHNSON
LISA LINE SET & WEAR P.51
J U N E 2 4 – J U LY 7, 2 018 P O W ER & P L AY:
V I B R A N T C O LO R I N O I L PA I N T I N G P. 24 EL E A N O R R I C H A R D S
S U S A N B R A N D EI S L A U R EN K U S S R O B EN C H T I M E P.62
S T I TC H I N G A S D R AW I N G P.3 8 P R I N T/ M A K E P. 26 R A N DY O G L E
W O O D W O R K I N G 101 P.5 6 PAT T H O M A S
PAT T I E C H A L M ER S & M AT T M I T R O S BARBARA MINOR M A R B L I N G A LT ER N AT I V E S U R FA C ES P.41
A C T I O N , T I M E & V I S I O N: F U L L T I LT EN A M EL I N G: EM I LY S C H U B ER T
U N PA C K I N G B I F O R M I T Y P.16 L E A R N , E X P LO R E, E X PA N D P.4 8 M I L L EN N I A L M I L L I N ER Y P.3 6 J I M S C A R S EL L A
T H I N K I N G (& T U R N I N G) O U T S I D E T H E B O X P.62
JULIA HARRISON T ED N E A L B I L L WA L L A C E
C A R V E YO U R N I C H E P.8 W O O D F I R I N G I N T EN S I V E P.16 H AV E A S E AT ! S TO O L W O R K S H O P P.5 6
BILL THOMAS C H R I S T I N E ZO L L ER J O EL Z A C H R Y
B U I L D YO U R O W N F O X C A N O E P.5 8 E X P LO R I N G S H I B O R I: S P R I N G: T H E A R T O F N AT U R E P.8
P R O C ES S & A P P L I C AT I O N P.3 81111
“Arrowmont is important to the history and to the future of Craft. The experiences, information, and people I have met at Arrowmont have been instrumental in crafting my career in the arts. I want to help ensure that its history is preserved and those opportunities are available to the next generations of artists.” — C R A I G N U T T, W O O D A R T I S T & A R R O W M O N T B O A R D M EM B ER
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CL AY
Ceramics continues to be one of Arrowmont’s most prominent disciplines, and 2018 is particularly
exciting as it will be the first full year with our three brand new atmospheric kilns. Austin Riddle,
former Arrowmont Artist-in-Residence, will kick off the season in the spring with a soda fire class,
and the year will be busy for our new soda, wood fire, and salt kiln with firing workshops by Ted
Neal (who built the wood fire train kiln and the salt kiln), HP Bloomer, Matt Repsher, Justin
Rothshank, Eva Kwong, Matthew Schiemann, and Lindsay Oesteritter.CL AY
A P R I L 4 – 8 , 2 018 · W E E K E N D JUNE 3 – 9 · ONE WEEK JUNE 3 – 9 · ONE WEEK J U N E 10 – 16 · O N E W E E K
AU S T I N R I D D L E R O B B I E LO B EL L EM I LY S C H R O ED ER W I L L I S JA S O N B U R N E T T
T E X T U R E & C O LO R: E X P ER I M EN TA L C L AY C O O K I N G P OT S: P I N C H I N G & P L AY I N G H A R D C A N DY: S W EE T
C O N E 10 S O DA FI R I N G A N I N T R O D U C T I O N TO FL A M E WA R E C ER A M I C S U R FAC ES
Pinching is one of the most basic techniques
The focus of this workshop is to encourage The utilitarian necessities of a cooking pot used in creating pots. In this workshop This intensive workshop introduces surface
students to reconsider what colors and textures used in high-heat environments, and the students will use this simple technique to techniques for students to discover and take
are available within the soda kiln. Participants aesthetic considerations for a beautiful pot explore more complex forms. Participants can home! With an emphasis on screen printing,
should bring bisqued pieces to be fired in the presented from the kitchen to the dining table use porcelain to develop new ways of making students will create image transfers and
cross-draft soda kiln. During this workshop, is the theme for this workshop. Casseroles, coils and methods to pinch the clay surface. produce personal narratives using doodles
you will learn about carefully loading a soda stockpots, grilling platters, bakers, roasters, Demonstrations include using bisque molds and patterns. You will discover how to work
kiln, glaze and slip application, and proper skillets, saucepots and pizza stones are all and tips on how to create large forms. The through layers of material using various
soda firing schedules. Students will leave possible forms that students may create. goals are to explore ways to mark the surface, methods including the use of slips, resists,
class with a better understanding of utilizing Discussions include how to glaze and firing create unique forms not constrained by the glaze applications and decals. Using multiple
a sodium atmosphere to create subtle and requirements for high-fire flameware. wheel and discover utilitarian vessels in a new techniques, participants will work small and
intense surfaces on their work. Some wheel Demonstrations, hands-on practice and way. On the final day, a few glazing techniques fire in electric kilns. The class will use a cone
throwing experience is helpful. In order to in-depth discussion provide students with will be presented. Open to all skill levels. 6 stoneware, but the materials and techniques
complete the firing, this workshop will begin a foundation for working with flameware. C O U R S E F EE: $ 525 will lend themselves to various firing temps
Wednesday April 4, ONE DAY BEFORE Participants will take or send home their and techniques. Experience in clay preferred,
OTHER CLASSES THIS SESSION. Open bisqued pots. This workshop is designed for Emily Schroeder Willis is an instructor at the but no printing experience is necessary.
to all skill levels. C O U R S E F EE: $ 375 students with a solid foundation in wheel- School of the Art Institute of Chicago. She has C O U R S E F EE: $ 525
forming. C O U R S E F EE: $ 525 a BFA from theUniversity of Minnesota and
Austin Riddle is a studio potter currently living an MFA from the University of Colorado, Jason Bige Burnett is a studio artist living in
in Roswell, Georgia. He received his BFA in Robbie Lobell is the co-founder and co-owner Boulder. She has held residencies at the Archie Kentucky and is a former Arrowmont Artist-
Ceramics from the University of Utah and has of Cook on Clay. She is a full-time studio Bray Foundation in Montana, the Zentrum für in-Residence. He has taught at Penland School
been an Artist-in-Residence at Arrowmont. potter and educator. Her work is focused on Keramik in Germany, and at the Watershed of Crafts, Santa Fe Clay in New Mexico, the
Riddle is currently a resident at the Art Center designing and producing flameproof cookware. Center for the Ceramic Arts in Maine. She Truro Center for Craft in Massachusetts, and
West in Roswell. A U S T I N R I D D L EP OT T ER Y.C O M Her work has been exhibited extensively and was also a visiting artist/instructor at the at the Watershed Center for Ceramic Arts in
featured in ceramics books and food publications. Alberta College of Art and Design in Canada. Maine. Burnett is the author of Graphic Clay
C O O KO N C L AY.C O M EM I LY S C H R O ED ER.C O M and has been featured in Ceramics Monthly and
American Craft magazine.
M R B EN N Y S P OT S H O P.C O M15 J U N E 10 – 16 · O N E W E E K J U N E 17 – 2 3 · O N E W E E K J U N E 17 – 2 3 · O N E W E E K K R I S T EN K I EFFER R EB EC C A C H A P P EL L M ER ED I T H H O S T A LT ER ED & O R N A M EN T ED: N O FE A R! TA K E T I M E TO P L AY LOT S O ’ L AY ER S This workshop focuses on altering wheel- The focus of this workshop is for students This workshop explores surface decorating thrown or hand-built forms, and then to utilize the element of play to discover using screen printing techniques, stencils, embellishing them with an array of new forms and ideas within the context of transfers and decals. Students will work with decoration techniques, from stamping utilitarian ceramics. Much like beginning simple forms (tiles, cups, bowls, plates) to and slip-trailing to sponging and resists. with a set of building blocks, participants practice building layers of information. The Demonstrations include throwing, altering will make numerous simple forms to cut, goal is to gain an understanding of new ways and building off the wheel, darting, deco alter, reassemble and construct new and to approach surface and decoration. You will techniques that include stamp-making, inventive shapes. From these shapes, you will produce dynamic surfaces by expanding your and studio ergonomics. Students will imagine and assign utility to your forms to visual vocabulary and creating custom color leave class with a collection of new skills, create more refined, finished pots. Students palettes. Cone 6 porcelain will be used, but a better understanding of timing in clay, will use both wheel throwing and hand these methods are applicable to all types of and confidence! The workshop is suitable building techniques in earthenware and clays. Participants are encouraged to bring for throwers and hand-builders. Basic bisque fire only. Students should have basic source material for surface treatment. Hand wheel-throwing and/or hand-building skills wheel throwing and hand building skills. builders and wheel throwers are welcome. necessary. C O U R S E F EE: $ 525 C O U R S E F EE: $ 525 Open to all skill levels. C O U R S E F EE: $ 525 Kristen Kieffer is a full-time studio potter, Rebecca Chappell is a studio artist living in Meredith Host is a studio potter in Kansas City, workshop presenter and ceramics instructor Philadelphia, Pennsylvania, and teaches at Missouri. She received her BFA in Ceramics living in Massachusetts. She received her BFA the Maryland Institute of Art as well as Tyler from the Kansas City Art Institute and an from the N.Y.S.C.C. at Alfred University School of Art. She received her MFA from MFA in Ceramics from Ohio State University. and an MFA from Ohio University. Kieffer the New York State College of Ceramics at Host was named one of the 2011 Emerging has work displayed in numerous public and Alfred University in 2008 and a BFA from the Artists for NCECA and Ceramics Monthly private collections, has exhibited her work Cleveland Institute of Art in 2003. Chappell magazine, and was a presenter at the 2016 internationally in juried and invitational has participated in solo and group exhibitions Utilitarian Clay Symposium. She is a founding exhibitions, and taught workshops around the across the U.S. member of Kansas City Urban Potters. country at craft centers and universities. R EB E C C A C H A P P EL LC ER A M I C S .C O M M ER ED I T H H O S T.C O M K I EF F ER C ER A M I C S .C O M
CL AY
J U N E 2 4 – J U LY 7 · T W O W E E K S J U N E 2 4 – J U LY 7 · T W O W E E K S J U LY 8 – 14 · O N E W E E K
PAT T I E C H A L M ER S & M AT T M I T R O S T ED N E A L ALICE BALL ARD
AC T I O N, T I M E & V I S I O N: U N PAC K I N G B I F O R M I T Y WO O D FI R I N G I N T EN S I V E: FI N D I N G YO U R F O R M
E X P LO R I N G R EG U L A R & T H R O U G H N AT U R E
In this workshop students are challenged to collaborate with others to enhance their individual R ED U C T I O N C O O L P R O C ES S ES
creativity. During class, students will produce a variety of objects inspired by daily team building This workshop focuses on hand-building.
exercises and playful prompts. Using sourced images, memories, storytelling and artifacts from During this workshop students learn to fire Using the beautiful environment of
life, you will create sculptural objects inspired by your experience and imagination. With the Arrowmont’s newly-built train wood kiln. Arrowmont as inspiration, students will create
addition of found objects and the multitude of techniques explored, participants discover new Participants should bring bisqued work (cone work in clay that captures the essence of the
meaning in their artistic approach. Hand building, throwing, ceramic 3-D printing, and low- 10+ clay) to load in the first firing. While natural stuff they collect. The work created
tech image transfer techniques are covered by first-time collaborators Matt and Pattie in this firing, and while the kiln is cooling, you will serves as containers for your collection.
inclusive ceramic workshop. Open to all skill levels. C O U R S E F EE: $9 95 work together for a cone 9 reduction cool Participants will learn pinching, slab work,
firing. Students will explore slip and glaze the dowel method, along with a simple plaster
Pattie Chalmers grew up in Winnipeg where Matt Mitros was born in Philadelphia, techniques that work with both types of firing, press mold. Earthenware will be the clay and
she received a BFA in Printmaking from the Pennsylvania. Upon completing his BFA in as well as loading and firing strategies to work created early in the week will be fired.
University of Manitoba, and earned her MFA Ceramics at Penn State University, he was an maximize desirable surfaces. Open to all skill Students will also learn how to make
in Ceramics from the University of Minnesota. Artist-in-Residence at Arrowmont, and at the levels of hand building or wheel throwing. and use terra sigillata in a variety of ways to
Chalmers exhibits widely, having presented work Archie Bray Foundation. Mitros completed Wood fire experience is helpful but not enhance the surface of their work in clay.
on four continents, six countries and 26 states. his post-baccalaureate from the University of necessary. C O U R S E F EE: $9 95 Open to all skill levels. C O U R S E F EE: $ 525
Since 2006, Chalmers has lived and worked in Illinois and holds an MFA from the University
Carbondale, Illinois where she is an associate of Washington. He has taught ceramics and Ted Neal taught at Southern Illinois University Alice Ballard received her MA from the
professor at Southern Illinois University. She may sculpture at the University of Washington, Edwardsville, Utah State University, and has University of Michigan and a Fulbright
be slightly compulsive, and she likes to laugh at South Seattle Community College, Lakeside been professor of Art/Ceramics at Ball State Scholarship to study in India. She taught
her own jokes. PAT T I E C H A L M ER S .C O M Upper School, Kennesaw State University, and University since 2006. He earned his MFA from ceramics at the South Carolina Governor’s School
is currently an assistant professor of Art at the Southern Illinois University Edwardsville and for the Arts and Humanities for 10 years. Ballard
University of Alabama. M AT T M I T R O S .C O M his BFA from Utah State University. He builds received a MAC grant to study for a summer
kilns across the country and built the Arrowmont in China and was invited to the International
train and salt kilns in the summer of 2016. Ceramic Colony in Macedonia. Her work is in
T ED N E A LC ER A M I C S .C O M the collections of the Renwick, Mint Museums
and Greenville County Museum of Art.
A L I C EB A L L A R D.C O M17
J U LY 8 – 14 · O N E W E E K J U LY 15 – 21 · O N E W E E K J U LY 2 2 – 2 8 · O N E W E E K
H.P. B LO O M ER & M AT T R EP S H ER JA N A E VA N S DA R I EN A R I KO S K I - J O H N S O N
C O N S T R U C T I V E S U R FAC ES: A R C H I T EC T U R A L A P P R OAC H ES TO S U R FAC E D ES I G N W H EEL B O OTC A M P A L AY ER ED S U R FAC E
This workshop explores the relationship between form and surface on wheel thrown and In this workshop students learn how to work The focus of this workshop is for students to
altered utilitarian forms, and the methods needed to finish those pieces for a variety of firing efficiently and precisely with the wheel using utilize a variety of mark making and transfer
styles. Participants will learn techniques in altering thrown forms, slip application and glazing. pro-tips to create taller, thinner, faster and techniques to explore imagery and alternative
Demonstrations include various methods for finishing work, including masking and resists for bigger forms. If you are looking to improve approaches to surface development. You will
glaze and slips, and firing for both soda and electric. Discussions cover propagating inspiration, your technique, work with larger amounts of use under glazes, wet erosion and underglaze
testing glazes and surface, evaluating outcomes, and honing content in a body of work. Basic clay, or if you are just getting started on the pencils to create information below the
ceramic skills are necessary. C O U R S E F EE: $ 525 wheel then this is the class for you! It includes glaze, followed by work with decals and
techniques and strategies for centering large china paint to layer above the glaze. Through
HP Bloomer IV is from Central Texas and Matt Repsher earned his BFA in Ceramics amounts of clay and improving your throwing this workshop students will gain a deeper
received his MFA from the University of from Penn State University and an MFA from skills. Various options for surface decoration understanding of mark making on clay.
North Texas in 2011. He has been an Artist- Indiana University in 2003. Soon after, he are introduced. Students will have bisque work Participants are welcome (but not required) to
in-Residence at The Carbondale Clay Center, moved to Santa Fe, New Mexico as studio at the end of the session. Open to all skill bring glazed work to apply decals and china
the Cobb Mountain Art & Ecology Project director at Santa Fe Clay. Repsher has taught levels. C O U R S E F EE: $ 525 paint, keeping in mind gloss glaze and lighter
and at Arrowmont. He has held positions at at Indiana University and the University of colors, or clear with porcelain, yield more
Colorado Mountain College, Santa Fe Clay and New Mexico. He has conducted workshops at Jana Evans lives in Kansas City, Missouri vibrant results. Open to all skill levels.
Mendocino College. His work has been published Pocosin Arts and Penland School of Crafts. He is and is a founding member of the Kansas City C O U R S E F EE: $ 525
in Ceramics Monthly and Studio Potter. a past Artist-in-Residence at Pocosin Arts and is Urban Potters. She earned her MFA in 2010
H P B LO O M ER.C O M currently a resident artist at Penland School from Arizona State University and has been Darien Arikoski-Johnson is an assistant professor
of Crafts. M AT T R EP S H ER.C O M awarded fellowships, grants and residencies at Georgia State University and maintains a
while continuing her arts practice. They include studio at Atlanta Contemporary and attended
the Pottery Workshop in Jingdezhen, China, graduate school at Arizona State University. It
Pottery Northwest in Seattle, Washington, and was there, he began to explore the relationship
the Archie Bray Foundation. Evans is a career of illusion and form, thought and physicality
resident at Red Star Studios in Kansas City. in ceramics. Arikoski-Johnson’s work addresses
J A N A E VA N S .C O M memory, technological integration, mark
making, and perceptual consciousness.
D A R I EN J O H N S O N .C O MCL AY
J U LY 2 2 – 2 8 · O N E W E E K J U LY 2 9 – A U G U S T 4 · O N E W E E K A U G U S T 5 – 11 · O N E W E E K A U G U S T 5 – 11 · O N E W E E K
J U S T I N R OT H S H A N K S A N DY B L A I N E VA K WO N G PAU L WA N D L ES S
D EC A L S I N AT M O S P H ER E C ER A M I C S H A N D B U I L D I N G: C O LO R FU L S L I P S FR O M PEN TO C L AY
I D E A S & T EC H N I Q U ES F O R
In this workshop students learn how to D E V ELO P I N G F O R M S & S U R FAC ES I n this workshop students learn ways to Do you like to write and work in clay? This
transfer their own imagery onto ceramic add color and pizzazz while mixing their unique workshop explores the process of
work using a variety of decal, stamping and This workshop explores ideas and techniques own colored slips. You will discover mixing writing short stories, myths or poems, and
layering techniques. The course covers image for making ceramic pieces that are personal slips, making color choices, and exploring how to create clay work that brings your words
preparation, printing and transferring onto and expressive. Students will use hand built application techniques, while learning to life. Clay monotypes, sculpture or thrown/
greenware and glazed ware, using commercial (pinch, coil, slab, press-mold) and wheel about sgraffito, slip trail, stencil, layering hand built vessels are the vehicles to work
decals, and firing temperatures for various components singly or in combination to and blending colors without an airbrush. in clay. Participants may bring completed
types of decals. You will learn how to use and construct composite functional or sculptural Demonstrations and studio time provide stories or learn how to turn current ideas
fire decals in all kinds of kilns, and experiment forms. Surface markings and textures may opportunities for participants to practice all into a written piece during class. You will
with electric kilns and the soda kiln. There be developed, altered or enriched by utilizing the possibilities. If time permits, glazing in learn different strategies to further develop or
will also be discussion about production and additive and/or subtractive processes. The an electric kiln and a salt-glaze kiln will be your writing style. Story building, character
marketing techniques for the studio potter pieces will be bisque-fired only, with class covered. Open to all skill levels. creation, writing formats, editing and self-
including daily production, social media and discussion of slips, oxides and glazes related C O U R S E F EE: $ 525 publishing will be covered. All levels of
small business efficiency. Open to all skill to firing temperatures. Open to all skill levels, experience with writing or clay are welcome.
levels. C O U R S E F EE: $ 525 although some clay experience will be helpful. Eva Kwong has worked with colored slips for four C O U R S E F EE: $ 525
C O U R S E F EE: $ 525 decades, with low-temp and high-temp glazes,
Justin Rothshank is a full-time studio potter in raku, salt, soda and wood kilns. Kwong is Paul Andrew Wandless is an artist, author,
in Goshen, Indiana. He co-founded the Union S andy Blain is Professor Emerita of Ceramics known for her colorful and compelling forms educator and curator who lives and works in
Project, a nonprofit arts organization located in at the University of Tennessee, Knoxville and that are functional and sculptural. She studied Chicago. Wandless authored “Image Transfer
Pittsburgh, Pennsylvania. His published articles Director Emerita, at Arrowmont. She is active at the Rhode Island School of Design and Tyler on Clay,” “500 Prints on Clay, Image &
include Pottery Making Illustrated, Ceramics with The Arizona State University Ceramic School of Art and has taught workshops across the Design Transfer Techniques,” and co-authored
Monthly, American Craft and Studio Potter Research Center and is an adjunct faculty country. E VA K W O N G.C O M “Alternative Kilns & Firing Techniques.” He
and a recently-released DVD titled “Ceramic member at the Mesa Art Center. frequently writes for several arts magazines and is
Decals: New Ideas and Techniques.” Blaine serves as a consultant to various arts featured in the DVD, “Fundamentals of Screen
R OT H S H A N K .C O M organizations and teaches workshops. Printing on Clay with Paul Andrew Wandless.”
S A N DY B L A I N .C O M S T U D I O 3 A R TC O M PA N Y.C O M19
A U G U S T 12 – 18 · O N E W E E K A U G U S T 12 – 18 · O N E W E E K AUGUST 30 – SEPTEMBER 2 · WEEKEND S E P T E M B E R 9 – 15 · O N E W E E K
J EN N I FER A L L EN EL IZ A AU B I L L G R I FFI T H J ES S I C A B R A N D L
FI N D I N G B A L A N C E B E T W EEN S T R U C T U R E & F O R M: S L A B - B U I LT P OT T ER Y: V ES S EL: N A R R AT I V E C O N TA I N ER
I N N OVAT I O N & U T I L I T Y O R N A M EN TA L L AT T I C ES FR O M FL AT TO F O R M
In this workshop students create sculptural
This workshop focuses on inventive ways to How does pattern, ceramics and architecture In this workshop students work with soft vessels with attention to storytelling,
approach the form and surface of utilitarian intersect within contemporary craft? In this clay slabs, hand building construction narration, mythology, symbolic language,
pottery. Play and experimentation are primary workshop students create ceramic lattice techniques, templates and simple molds history, drawing, painting and sculpture. The
goals as participants slice, dice, bend, fold, screens which investigate repeating and to create a variety of functional mid-range exploration of various methods and concepts
stamp and decorate their way towards a new tessellating patterns. You will work with press stoneware pottery forms. You might create allows students to compose a dynamic
vocabulary of useful forms. Demonstrations molding clay into plaster air-release molds to mugs, tumblers, pouring pots, platters or one- sculptural vessel. Specific techniques explored
include throwing, darting, stamp making, create thin, decorative structures. By making of-a-kind presentation pots. The focus is on include the translation of drawing via transfer,
slip trailing and more. Discussions center these screens, participants use an industrial creating good forms using texture and various stencil and direct mark making in clay, and
on ergonomics, tactility, design and creative process to express their own personal voice. surface design techniques. Discussions will design methods. Participants should come to
problem solving. Students can take home Digital methods may be discussed, but the include glazes, but because of limited time, class with preliminary drawings and a story to
bisqued pots that they create and an arsenal of class emphasizes hands-on work. Experience in participants will bisque fire their pots and/or work from. Open to all skill levels.
new texture tools. Participants are encouraged clay is suggested, but the course is open to all take home unfired work. Using minimal tools C O U R S E F EE: $ 525
to bring sketches/source material of form and skill levels. C O U R S E F EE: $ 525 and equipment, this workshop is especially
surface ideas. Basic wheel-throwing and/or suitable for art educators and students new to Jessica Brandl lives in Calgary, Alberta, Canada
hand-building skills are necessary. Eliza Au teaches in the Alfred-CAFA program hand building. For beginning to intermediate where she is the Artist-in-Resident for the Alberta
C O U R S E F EE: $ 525 at the Central Academy of Fine Arts in Beijing, clay enthusiasts. Collage of Art and Design. She holds an MFA
China. She holds an MFA from the New York C O U R S E F EE: $ 3 4 0 in Ceramics from The Ohio State University
Jennifer Allen is a studio potter and educator College of Ceramics at Alfred University. She and a BFA from the Kansas City Art Institute.
based in Morgantown, West Virginia. She has previously been an Artist-in-Residence at the Bill Griffith is a studio artist, administrator Brandl was recognized as one of six Emerging
earned her BFA from the University of Alaska, Archie Bray Foundation, the Corning Museum and educator at Arrowmont School of Arts and Artists at the National Council on Education for
Anchorage in 2002 and an MFA from Indiana of Glass and the Museum of Contemporary Crafts. He has lectured and taught throughout the Ceramic Arts in 2017 and is the recipient of
University in 2006. She teaches and exhibits her Craft. Her work is featured in both juried and the U.S. at craft schools, universities and the Zanesville Prize for best vessel. Her work has
work nationwide. invitational shows at regional, national and craft guilds. A recipient of a Tennessee Arts been shown nationally and internationally in
J EN N I F ER A L L EN C ER A M I C S .C O M international venues. Commission Individual Artists Fellowship, numerous solo and group exhibitions.
EL I Z A - A U. S Q U A R ES PA C E.C O M Griffith continues to exhibit his work, jury and J ES S I C A B R A N D L .C O M
curate exhibitions nationally.
B I L LG R I F F I T H C L AY.C O MCL AY
S E P T E M B E R 9 – 15 · O N E W E E K S E P T E M B E R 16 – 2 2 · O N E W E E K S E P T E M B E R 16 – 2 2 · O N E W E E K
M AT T H E W S C H I EM A N N C H A N D R A D EB U S E L I N D S AY O ES T ER R I T T ER
C A R B O N T R A P S O DA FI R I N G S K E TC H & S T R E TC H: WO O D FI R I N G & C O O L I N G
B U I L D I N G I L LU S T R AT ED P OT T ER Y
This workshop begins with discussions on slips In this workshop students fire and reduction
and glazes for the soda kiln and the approach During this workshop students learn new cool using the newly-built train kiln.
for loading the kiln. During class students ways of designing, building and illustrating Participants should come to class with bisque
focus on wheel thrown pottery with an pottery by working with soft clay slabs. You pots to prepare your wares for the wood kiln.
emphasis on making handles, lids and spouts. will translate sketches into forms through You will slip, glaze, wad, load, fire, and unload
Demonstrations include how to make work hand building with simple templates and the kiln. Discussions include clay bodies, types
for an atmospheric kiln. Other discussions molds made from paper, craft foam, wood of wood, the challenges, cleaning pots, and
include marketing, working with galleries, and and bisqued clay. After forming, participants the how’s, what’s and why’s of wood firing. No
how to publish your work. Students bring to will create layered, colorful surfaces through prior wood firing experience necessary. Open
the workshop cone 10 porcelain or stoneware underglaze inlay, brushwork, sgraffito and to all skill levels. C O U R S E F EE: $ 525
bisque pottery. Open to all skill levels. texture. Students will encounter numerous
C O U R S E F EE: $ 525 examples ranging from historical ceramics Lindsay Oesterritter is the director of Objective
to contemporary illustration to spark ideas Clay, co-founder and organizer of National Clay
Matt Schiemann is the artist programming toward incorporating their personal voice Week, and a full-time studio potter. Oesterritter
manager at the Morean Center for Clay in St. into clay. Bring your sketchbook and be ready had the good fortune to be an Artist-in-Residence
Petersburg, Florida. He received his BA from to embark on playful discovery of form and at Arrowmont in 2008‒2009. She lectures and
Ashland University in Ashland, Ohio and surface techniques. Open to all skill levels, exhibits nationally and internationally and is
an MFA from Southern Illinois University however some experience with clay will be continually inspired by the craft community.
in Carbondale. Schiemann is a functional helpful. C O U R S E F EE: $ 525 LO C ER A M I C S .C O M
atmospheric potter who primarily fires his work
in a wood or soda kiln. Chandra DeBuse creates illustrated pottery out of
M AT T H E W S C H I EM A N N P OT T ER Y.C O M her studio in Kansas City, Missouri. She received
her MFA from the University of Florida in 2010,
was an Arrowmont Artist-in-Residence and a
presenter at Utilitarian Clay VII. DeBuse has
led over 50 workshops across the country.
C H A N D R A D EB U S E.C O M21
O C T O B E R 14 – 2 0 · O N E W E E K O C T O B E R 14 – 2 0 · O N E W E E K O C T O B E R 21 – 27 · O N E W E E K
C H E Y EN N E C H A P M A N R U D O L P H & N I G EL R U D O L P H NAN SMITH S E A N O ’C O N N EL L
M AT ER I A L & C U LT U R E: I N T ER AC T I V E & I N FL U EN T I A L D ES I G N I N P OT T ER Y T H E R EFL E X I V E S EL F T H E E XQ U I S I T E S U R FAC E
This team-taught workshop focuses on making special-use objects for historical and odd functions In this workshop students learn about the In this workshop, students will explore the
and how those objects identify and personify culture. Students learn methods for making and expressive nature of the human form and ceramic surface. Through demonstrations and
exploring techniques for idea development, and discussing issues of presentation with functional create a personal portrait bust that reveals who hands-on participation, you will learn a variety
pottery. You will experience a balance of personal research exploration, demonstrations and they are and how they see themselves. Using of techniques. The class covers how to develop
experimentation with building and decorating at the greenware stage. Discussions include the life castings, drawings and photos, participants a composition using pattern and color through
cultural significance of personal influences, with brainstorming exercises focusing on sourcing experience perceptual skill-building and learn brushwork, wax and paper resist, Mishima
content for creative expression. This course is great for investigating ideas, and is helpful to that the sculpted bust can express who one (inlay), trailing and carving. Students should
students hoping to enhance their work with cleverly engineered details. You will leave class with is and interpret personality through facial bring greenware and/or bisque-ware for
a wealth of information to take to your home studios, where you can complete the work using expression, gesture and the position of the decoration and glazing during the workshop.
your own glazes. Open to all skill levels, although some clay experience is helpful and encouraged. head and shoulders. Class presentations on Glaze firings will be cone 6/7, and a grog-free
C O U R S E F EE: $ 525 historical and contemporary figure sculpture cone 6 clay body is recommended. Open to all
and demonstrations on life casting and skill levels, however some experience preferred.
Nigel Rudolph combines his interest in Cheyenne Chapman Rudolph illustrates mold-making are part of the class. Students C O U R S E F EE: $ 525
archaeology and pre-Columbian design with unique functions in clay, incorporating video, will depart with a solid modelled sculpture,
large-scale special occasion pots and traditional performance, and mixed media installation. She an understanding of armatures, life casts and Sean O’Connell is a studio potter and educator
wares. He works for the Florida Public received her MFA from the University of Florida plaster and rubber molds. Open to all skill living in Red Lodge, Montana. He has taught
Archaeology Network, and received his BA in and has been a resident artist at The Clay Studio levels. C O U R S E F EE: $ 525 at the college level in the U.S. and Canada. He
Cultural Anthropology from the University of Missoula, 4Most Gallery, and Emmanuel has been an Artist-in-Residence at the Archie
of West Florida. He also studied Ceramics College. She co-founded the Socially Engaged Nan Smith is a figure sculptor/professor in the Bray Foundation and Watershed Center for
at the University of Florida and has been an Craft Collective in 2014, and she is currently University of Florida Ceramics Program. She Ceramic Arts. In 2016, he was named one of
Artist-in-Residence at Arrowmont and the St. an adjunct lecturer at the University of Florida has been the recipient of four State of Florida six Emerging Artist at the annual NCECA
Petersburg Clay Company. and the College of Central Florida. Individual Artist Fellowship Grants, an NEA- conference in Kansas City. He earned his MFA
funded Southern Arts Federation Fellowship in from the School for American Crafts/RIT
Cheyenne and Nigel Rudolph make up Rudolph Clay Studios, located in Gainesville, Florida. Their Sculpture, and a University of Florida Research and his BFA at the Kansas City Art Institute.
joint workshops combine a balance between wheel throwing, hand building, and personal content Foundation Professorship. Smith has been S E A N O C O N N EL L P OT T ER Y.C O M
development. R U D O L P H C L AY S T U D I O S .C O M awarded funded residencies by the Watershed
Center for Ceramic Arts and The Association of
Israel’s Decorative Arts. N A N S M I T H .C O M“I always stay in Teachers Cottage and love the old house on the hill with the porch overlooking the campus and its beautiful rustic furniture. I found the people to be the friendliest. Your location enables people to come from the most diverse directions. We all share a passion for the arts and a thirst to learn more. Today is the first day of retirement after teaching art for 34 years in a rural school. Your school allowed me to grow as an artist and teacher and enrich my art program beyond anyone’s expectation. It is a place where I experience inspiring teachers so I knew what kind of teacher I wanted to be for my students.” — W EN DY W E YA N T
2323
2- D ARTS: DR AWING, PA INTING, PAPER,
BOOKS, PRINTM A K ING & PHOTOGR APH Y
We call this section 2-D Arts, though, that in itself is also a misnomer. While our instructors
often blur the line between drawing, painting, printmaking, photography, paper and book arts
(both literally and figuratively), even the label of 2-D becomes a little blurry. Lauren Kussro and
Liz Alexander’s paper arts workshops are taking the paper off the table and into installation,
while Ji Qie adds another dimension of electronics and lights to her paper creations.
Our printmaking offerings for this year are also expanded, with classes in monoprinting,
screenprinting, collagraphy, and etching (and be sure not to miss those print classes that snuck
into other sections of this catalog, like Jason Burnett in clay, Hannah Marie Smith in glass,
or Clare Verstegen and Jeanne Brady in textiles).2- D ARTS
APRIL 5 – 8 · WEEKEND APRIL 5 – 8 · WEEKEND
H O L LY F O U T S LISA LINE
B O O KS O F T H E E A R T H P OW ER & PL AY: V I B R A N T
C O LO R I N O I L PA I N T I N G
During this workshop students will create
a beautiful, contemporary book while Even a small oil painting can vibrate with
discovering the wonder of working with great power of expression. In this workshop
natural materials. Participants with an students push the power of their paintings by
interest in bookbinding and technique-driven having new experiences with color and all it
content using unusual materials will expand can do. Individually and as a group, you will
their range of skills and techniques. You will improve practices in paint handling and learn
oxidize copper to create a beautiful patina how to capitalize on good results. Exploration
for your book covers, then learn techniques of transparencies and gaining understanding
using mica, rust printing, object printing of pigments and mediums will boost each
and more to create materials for artful books. student’s ability. Beginners or experienced
Bookbinding essentials are learned as students painters will plan, craft and complete one
create mica books and bind their copper books or more small paintings that demonstrate
with the historic long stitch on a leather spine. increased mastery of oil painting’s most
Open to all skill levels. C O U R S E F EE: $ 3 4 0 important skills. Open to all skill levels.
C O U R S E F EE: $ 3 4 0
Holly Fouts is a full-time studio artist and
teacher living in Asheville, North Carolina. She Lisa D. Line lives and operates a studio for oil
has taught workshops in book, print and other painting in Tennessee’s Great Smoky Mountains.
paper arts around the country. While honoring She earned her BA from Xavier University
traditional skills and craftsmanship, Fouts in Cincinnati, Ohio. Her work was recently
seeks an element of contemporary expression by published in Ruminate Magazine, and included
pushing the boundaries of her media. Her work in the three-year national travelling exhibit
has been exhibited and collected internationally, “Work: Curse or Calling.”
published in several periodicals and is L I S A D L I N E.C O M
represented by multiple galleries.
H O L L I S F O U T S .C O M25
JUNE 3 – 9 · ONE WEEK J U N E 10 – 16 · O N E W E E K J U N E 17 – 2 3 · O N E W E E K
C A R O LY N B EN ED I C T FR A S ER & J EN N H O U L E J O H N DAV I D W I S S L ER N I C H O L A S H. R U T H
T H I N K I N G I N 2D: P H OTO G R A P H Y & PA I N T I N G, N AT U R E & A B S T R AC T I O N PA I N T I N G I N T H E G R E AT MONOPRINT MANIA
S M O K Y M O U N TA I N S
In this workshop students interpret the June landscape through the camera lens and paintbrush, During this workshop students explore a
and explore the spectrum between representation and abstraction in nature. Lectures include The goal of this workshop is to enjoy the range of monoprint and monotype techniques
functions of the camera, historic processes, and contemporary photographic methods that beauty of the Great Smoky Mountains to develop a highly personal approach to
push the boundaries of composition and representation in the medium. Using methods such as through observation and painting. Joining making unique prints. Monoprints encourage
alternative processes, camera obscuras, pinhole cameras, and DSLR/camera phones, participants the great tradition of Constable and Corot, vibrant and luminous color, rich textures
will interact with and create images in the surrounding landscape. Demonstrations include students will encounter their surroundings and spontaneous mark making. You will
using mark-making, color relationships and glazing, and the painted multiple. Students will use and paint daily, so be prepared for all types discover basic and intermediate techniques,
their photographs as reference to investigate the language of paint. Participants will form new of weather. After working “en plein aire,” including layering transparent color, hand
conceptual approaches to building a body of work in both painting and photography. Open to all participants will return to the studio for cutting stencils, offsetting textures, trace
skill levels. C O U R S E F EE: $ 525 critique, conversation and to prepare for monotype drawing and more. Through the
the next day. Walking will be involved, so ongoing development of a visual vocabulary
Carolyn Benedict Fraser is a large format Jenn Houle lives in Massachusetts and teaches at please remember to be as portable as possible. and set of visual effects, participants will push
photographer from Nashville, Tennessee and Fitchburg State University. She received a BFA Students should look forward to sharing the their compositional ideas to make a powerful
currently lives in Ithaca, New York. She holds from Massachusetts College of Art and an MFA language of art. Previous outdoor experience expression. Open to all skill levels.
an MFA in Studio Art from Cornell University from Cornell University. Houle has held artist is preferred, and the class is open to all skill C O U R S E F EE: $ 525
and a BA in Psychology and Photography from residencies in Great Smoky Mountain National levels. C O U R S E F EE: $ 525
Mills College in Oakland, California. She was Park, Vermont Studio Center and Plumbing Nicholas Ruth lives in Rochester, New York
the recipient of the Charles Baskerville Award in Museum, and exhibits her work widely. She John David Wissler lives in Lititz, Pennsylvania and is a professor of Art at Hobart and William
2016 and has recently exhibited in New York, is a grant recipient from Puffin Foundation, and received his MFA from the Parsons School Smith Colleges. He received his MFA from
San Francisco, and Concord, Massachusetts. Massachusetts Cultural Council, Cornell of Design in New York. His studies included Southern Methodist University. Ruth maintains
C A R O LY N B EN ED I C T.C O M Council for the Arts, Einaudi Foundation, travel to France, Italy, Russia, Switzerland and an active studio practice and has shown his
and John Hartell Graduate Award for Art and Germany. He was awarded artist residencies at work nationally and internationally in over 100
Architecture. J EN N H O U L E.C O M the Heliker-LaHotan Foundation on Cranberry exhibitions. N I C H O L A S H R U T H .C O M
Island in Maine in 2009 and the Borgo
Finochietto, Tuscany, Italy in 2012.
L A N C A S T ER G A L L ER I ES .C O M /A R T I S T S /J O H N -
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