Summer Session 3: June 22- July 4, 2014

Workshops are open to serious students of all levels unless specified in course description; beginners welcome.

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Summer lottery deadline is February 11. Scholarship application deadline is February 17.



books and paper

Sara Glee Queen, Playing Pool,

chip board and museum board, 12 x 16 x 8 inches


Kathy Steinsberger, Persephone's Soliloquy and

Defense, walnut-dyed paper, tea bags, handmade

paper, string, silk bookcloth, book board, comic

backer board with letterpress printing


Sara Glee Queen & Kathy Steinsberger

Living Inside the Book

This workshop will consider the qualities shared by books and architecture as we investigate the role that a book’s structure can play in defining the “rooms” or spatial moments of a narrative. Sculptural book structures will allow students to engage principals of scale, tectonics, sequencing, design, composition, and interiority/exteriority to enhance and transform the experience of the book. We’ll connect content and form through demonstrations, discussions, and generative creative processes. Students will build a foundation in basic bookmaking and engage in collaborative storytelling, writing, and image making. All levels. Code 03B


Sara: assistant professor of architecture at North Carolina State University; design studios: Harvard University (MA), Contemporary Art Museum (NC). Kathy: studio artist; teaching: Pullen Arts Center (NC), Cary Arts Center (NC); exhibitions: Green Hill Center (NC), Boxheart Gallery (Pittsburgh). Kathy Steinsberger:













Meredith Host, Dot Dot Floral Vases,

porcelain with decals,

9-3/4 x 5 x 5 inches


Meredith Host
Lots O’ Layers

This workshop will explore surface-decorating processes at all stages of making, using simple forms and building layers of visual information. Pre-bisque, we’ll experiment with surface design using underglaze, slip, paper stenciling, slip trailing, incising, and screen printing with Thermofax and EZ Screens. After glaze firing we’ll continue surface development with vinyl stencils and low-temperature glaze, iron-oxide transfer decals, china-paint decals, etc. You’ll expand your visual vocabulary and create dynamic, complex surfaces. We’ll work with cone 6 porcelain in oxidation, but these methods are applicable to all types of clays and temperatures. All levels, although some throwing experience will be helpful. Code 03CA

Studio artist; teaching: Red Star Studios (MO); residencies: Watershed (ME), Arrowmont (TN), Desdner Porzellan Manufactory (Germany); solo exhibitions: Hallmark (MO), Naked City Gallery (KS), AKAR (IA), Flotsam + Jetsam (Philadelphia), Dyer Arts Center (NY).





Heather Mae Erickson, IORG, porcelain

Heather Mae Erickson
Plaster Models & Mold Making

This workshop will be divided evenly between creating clay and plaster prototype forms and engineering molds. We’ll cover beginning to advanced moldmaking with an emphasis on working from your own forms rather than found objects. Students will learn systems for creating models and molds and also how to fabricate tools. We’ll cover a variety of processes for working with plaster and explore its many stages of workability. We’ll plan ideas using special drawing devices and stencils so you can develop your designs from beginning to end. If time permits, we’ll cast and bisque fire. All levels. Code 03CB

Studio artist; teaching: Alfred University (NY), University of Colorado-Boulder; residencies: Archie Bray (MT), The Clay Studio (Philadelphia), Aalto University (Finland); exhibitions: Lill Street Gallery (Chicago), The Clay Studio (Philadelphia), Denver Art Museum, American Museum of Ceramic Art (Los Angeles); work published in Ceramics Monthly and 500 Vases (Lark).





Drawing and painting

Mary Ann Zotto, Rub-a-dub-dub, acrylic,

25 x 30 inches

Mary Ann Zotto
Narrative Life on the Page

In this workshop we’ll pursue revelatory images. This pursuit will be enhanced by wordplay, mythology, associative fantasy, exquisite corpse games, and collaboration. The aim is to remove pressured expectations while seeking an expanded narrative aesthetic. The impact of your images—whether representational or non-representational—will be improved by embracing your present mark-making style and imagination rather than trying to anticipate how you might draw or feel in the future. We’ll combine intense studio work with humor and a relaxed approach to finding a deeper involvement with the page. We’ll embrace brush work, dry mark-making, and mixed media. All levels. Code 03D

Studio artist and teacher at the University of North Carolina School of the Arts; other teaching: Weatherspoon Art Museum (NC), Tougaloo Art Colony (MI), Wake Forest University (NC); collections: United States Department of State Art Bank Project (DC), State of North Carolina, High Museum (Atlanta), Mint Museum (NC).






Hyunsung Cho, Early in the Morning, glass, metal,

enamel, 7 x 24 x 7 inches







Hyunsung Cho
Small Objects with Big Stories

This workshop is an introduction to enameling on blown glass. Students will learn basic glassblowing and enameling techniques. The workshop will encourage personal expression as we strengthen hot glass skills and explore the endless possibilities of painting with enamel on blown glass. Students will develop and execute their original ideas for these materials. Intermediate: basic hot glass skills required. Code 03GA

Resident artist at Creative Glass Center of America (NJ); teaching: Hot Glass Studio (Seoul), Kyungnam University (Korea); exhibitions: Duncan McLellan Gallery (FL), Craft Alliance (St. Louis), Riverfront Renaissance Art Center (NJ), Third Degree Gallery (MO), Aldo Castillo Gallery (IL), Craft Hawk Gallery (OH); Best in Show at BIGG: Breakthrough Ideas in Global Glass (OH); representation: Pismo Contemporary Art Glass (Denver), Morgan Contemporary (PA).




Kelley Knickerbocker, Aurora, stone, glass,

paper, 14 x 12 inches


Kelley Knickerbocker
Strata Various: Modern Mosaics in Mixed Media

After building and rigging durable, lightweight two-dimensional substrates, students will create highly textured “two-and-a-half-dimensional” mosaics of disparate hard materials—both natural and manufactured—using cement mortar as adhesive. We’ll explore and test the unique textural properties of each material and learn to recognize and exploit combinations of angle, height, size, and shape for various visual effects. Using stratification as a compositional framework, we’ll take what we’ve learned and combine/juxtapose stone, glass, metal, ceramic, and other materials into cohesive, visually pleasing, and topographically compelling mosaics. All levels. Code 03GB

Studio artist; teaching: Institute of Mosaic Art (CA), Seattle Mosaic Arts (WA), Artisan Glass (TX), Maverick Mosaics (VA); exhibitions: Museum of Glass (WA), Inscape Arts (WA), Clauiano Art Exhibition Gallery (Italy), Society of American Mosaic Artists (FL, WA), Fremont Jewelry Design (WA), Caffe Appassionato (Seattle); commissions: Hazel Miller Plaza (WA), University of Washington Applied Physics Laboratory; residency: Institute of Mosaic Art (CA).







Peter Ross, Compass and Caliper,

forged-wrought iron, 12 inches

Peter Ross
A Cure for Stiff Joints

This workshop will explore several of the moving joints found in traditional tools: box-joint pliers, fireplace tongs, compasses, even blacksmith’s tongs. We’ll also make specialized tools. These pieces involve careful forging to shape as well as filing and surface embellishment. Students will work together in pairs, taking turns as smith and striker. Some forge welding may be involved, depending on the project at hand. Familiarity with making and using punches and drifts will be helpful. Intermediate/advanced: students should be comfortable forging to an accurate dimension and drastically hand-forging bars I-inch square and above. Code 03I

Studio artist; master of the blacksmith shop at Colonial Williamsburg for 25 years; specialist in reproduction 18th and 19th century hardware and tools; teaching: Haystack (ME), Campbell Folk School (NC), Touchstone (PA), Peters Valley (NJ), New England School of Metalwork (ME); frequent demonstrator at ABANA conferences.






Tim Lazure, Untitled, silver, nail, tourmaline



Jen Townsend, Calla Lily Ring, 14k palladium white

gold, 18k yellow gold, diamonds

Tim Lazure & Jen Townsend
Two-Ring Circus

This workshop will offer a unique opportunity to see two very different approaches to ring making. We’ll cover a range of techniques from basic fabricating to lost-wax casting and make everything from understated bands to sculptural and flamboyant cocktail rings. We’ll also address object capture—whether this means a stone or some alternative material featured in the ring. We’ll discuss the meaning of rings throughout history and what these little pieces have to offer conceptually. Symbolizing love, status, affiliation, or commemoration, rings are small but potent. Come join the two-ring circus! All levels. Code 03MA

Tim: associate professor at East Carolina University (NC); collections: Mint Museum (NC), Gregg Museum (NC); shows his jewelry, silversmithing and furniture nationally and internationally.

Jen: studio artist; teaching: Southwest School of Art (TX), Rochester Institute of Technology (NY); collection: Imperial War Museum (London); work published in 500 Art Necklaces (Lark) 500 Gemstone Jewels (Lark), and Art Jewelry 2 (Schiffer); member of the SNAG board.








Kat Cole, L Dub Brooch, brass, found objects,

tin, steel, 3 x 1H x H inches

Kat Cole
Found & Fabricated

This class will deconstruct, reconfigure, and seek new contexts for found and appropriated materials in jewelry. We’ll explore the familiar in new ways and use traditional techniques with unusual materials. The workshop will include demos on a variety of capturing and cold-connection methods. We’ll also cover simple fabrication, soldering, and jewelry findings. Design challenges and making samples will prepare students to complete a small collection of finished pieces. Beginning and advanced metalsmiths are encouraged to come explore new methods and materials. All levels. 03MB

Studio artist; teaching: Western Michigan University, East Carolina University (NC); exhibitions: Society for Arts and Crafts (Boston), Velvet da Vinci (San Francisco), Facere Art Jewelry (Seattle), Kathleen Sommers Gallery (TX), Equinox Gallery (TX), Imperial Center (NC); collection: Museum of Arts and Design (NYC); work featured in 500 Enameled Objects (Lark) and Art Jewelry Today 3 (Schiffer).






Lou Krueger, Hands of Gold, Heart of Stone,

chromogenic print (image made with handmade
4x5 pinhole camera), 24 x 20 inches

Lou Krueger
Experimental Camera Workshop

This workshop will focus on the construction and use of two film cameras: a 4x5-inch sheet-film camera and a medium-format rollfilm camera. Students will build one or two wooden cameras, expose and process black and white film, and make prints in the darkroom, leading to a small portfolio of prints. Students may choose to emphasize camera-building or image-making depending on their individual interests. This workshop will serve a broad range of students from beginners with no darkroom experience to photography instructors looking for alternative approaches. All levels. Code 03P

Professor at Bowling Green State University (OH); other teaching: Northern Illinois University, Syracuse University (NY); experimental camera workshops: Indiana University, Western Michigan University, Kalamazoo Institute for the Arts (MI); exhibitions: Sylvia White Gallery (CA), Columbia College Chicago, Nikon House (NYC), Los Angeles Center for Digital Art.





Printmaking and Letterpress

Karen Kunc, Systems, woodcut, 14 x 14 inches

Karen Kunc
Color Woodcut Printmaking

This intensive workshop will awaken the possibilities of the woodcut printing process for the beginning and advanced printmaker. The approach will not be tradition-bound; it will be inventive, with contemporary methods that can be spontaneous, simple, and direct. We’ll explore cutting techniques, oil-based ink and modifiers, and printing by hand as well as using the press. Students will design images, cut blocks, and print several projects using a variety of methods and individual discoveries. All levels. Code 03X

Professor at University of Nebraska-Lincoln; has taught in Egypt, Italy, Poland, japan, and Iceland; Fulbright scholarships for study in Finland and Bangladesh, National Endowment for the Arts fellowship; Venice Printmaking Studio residency (Italy); collections: Beach Museum (KS), Huntington Museum (WV), Brooklyn Museum (NYC), Philadelphia Museum, Milwaukee Art Museum, Museum of Modern Art (NYC), Smithsonian American Art Museum (DC), Zimmerlie Art Museum at Rutgers (NJ).




Steve Miller, There Are Things Too Marvelous To Be

Spoken Of, words and reduction linocuts,
3 x 2 inches

Steve Miller
A Treasured Object

What makes a text treasured or sacred? What kind of printed object would reflect this treasure? If you are intrigued by the power of words and their translation into letterpress-printed work, this class is for you. Let’s start with powerful words. Yours? Perhaps add linocuts and alternative mark-making to the mix. Then embark on the design, typesetting, and letterpress processes to create something more powerful than words or images alone. All levels. Code 03L

Professor at University of Alabama; owner of Red Hydra Press, producing handmade books and broadsides; Distinguished Career Award from the College Book Art Association; exhibitions: Tradition/Innovation: American Masterpieces of Southern Craft & Traditional Art (touring, 12 venues), Pierre Menard Gallery (MA), Pepper Place Gallery (AL); his current Red Hydra work revolves largely around ongoing collaborative book projects with Cuban printmakers and papermakers.




Jim Arendt, Ian (detail), cut denim

Jim Arendt

Every pair of jeans tells a story! This workshop will explore advanced appliqué techniques for creating representative imagery using reclaimed denim. Through a series of exercises, you’ll learn how materials communicate and can invigorate your artwork. We’ll explore how basic techniques can be leveraged to create fantastic results in two and three dimensions. We’ll transform everyday materials through “shear” force into dynamic objects of beauty. Old jeans and an adventurous spirit are the only prerequisites. All levels. Code 03T

Studio artist; teaching: Coastal Carolina University, South Carolina State University, University of South Carolina; top prize at ArtFields 2013, people’s choice at Fiberart International 2013; exhibitions: Sumter County Museum of Art (SC), 2013 Museum Rijswijk Textile Biennial (Netherlands); Best in Show at Hub-Bub Gallery’s Emerging Carolina (SC), Best in Show at Fantastic Fibers at Yeiser Art Center (KY); collections: University of South Carolina.




Amy Putansu, Wheat (detail), hand-dyed

handwoven silk double cloth

Amy Putansu
Doubleweave, Double Cloth, & Multilayer Fabrics

Doubleweave, double cloth, and multilayer fabrics are fascinating techniques that are possible on simple, eight-harness looms. Students will work with fine yarns, learning to handle an expanded repertoire of materials as warp and weft. We’ll create a series of small fabrics woven in a variety of structural combinations that include multiple layers and blocks. The focus will be technical: drafting double and multilayer weaves, learning efficiency in warping, and other tools and tips. We’ll treat the loom as a design tool as we highlight materials within given structures to create innovative fabrics. Intermediate: students should be able to warp and dress a loom, be comfortable with plain weave, and be familiar with weave drafting. Code 03TB

Professional crafts fiber instructor at Haywood Community College (NC); other teaching: Arrowmont (TN), Peters Valley (NJ); exhibitions: Arrowmont, Southern Highlands Craft Guild Center (NC), Handmade Design Expo (NC); collections: Jack Lenor Larsen, Martha Stewart.





Doug Sigler, Victoria’s Secrets,

pear, wenge, concrete, 16 x 16 x 60 inches


Terry Hunt, Chair

Terry Hunt & Doug Sigler
Chair or Bench: Just Sit On It!

This workshop will focus on chairs and benches. We’ll include many demonstrations and discussions—from wood selection to design and construction—often from two points of view, with each of us quite sure that our way is the best way. We’ll cover hand tools, machine techniques, upholstery, and finishes to assist you in bringing your seating project to completion. Bring enthusiasm, a love of woodworking, your sense of humor, and come along for the ride. All levels. Code 03W

Terry: studio artist designing and building fine furniture; teaching: Arrowmont (TN), Peters Valley (NJ), Penland; clients: Steinway and Sons, Hancock & Moore, Chase Manhattan, Coyote Café Red Sage Source International.

Doug: professor emeritus from Rochester Institute of Technology; workshop teaching: Peters Valley (NJ), Arrowmont (TN), Anderson Ranch (CO), Haystack (ME), Penland; work in many private collections and the collection of the Burchfield Center Museum (NY).