Summer Session 3: June 21- July 3, 2015

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

Cathy Adelman, Names, Words, Witch's Symbols,

leather, walnut burl veneer, 8 x 7 x 1 inches


Jack Mauch, Marquetry (detail), wood veneer


Cathy Adelman & Jack Mauch

Marquetry by the Book

In this workshop we値l create a bradel binding, a case binding in which the spine covering and boards are completed off of the book. This is an ideal structure for combining a leather spine with wooden covers. We値l cover the basics of binding, including sewing, rounding and backing, edge decoration, end bands, and leather paring. Then we値l use marquetry to decorate our book covers with patterns, tessellations, and images made from inlaid wood veneer. Bookbinding experience will be helpful, but this class is open to all levels. Code 03B


Cathy: bookbinder; teaching: California chapter of Guild of Bookworkers; exhibitions: Gutenberg Museum (Switzerland), Society of Bookbinding (England). Jack: studio artist: Penland core fellowship; studio fellowship at Center for Furniture Craftsmanship (ME); exhibitions: SOFA Chicago, Green Hill Center (NC).
















Linda Christianson, Basket,wood-fired

stoneware, 11 x 7 x 6-3/4 inches

Linda Christianson
Pots & Woodfire

Our ideas for pottery come from what we pay attention to. This workshop in making and wood-firing pots will focus on our own personal curiosities and on becoming comfortable with ideas, shapes, and methods that have eluded or are new to us. We値l explore the making of functional pots through demonstrations, lively discussions, and plenty of individual attention. We値l work with high-fire stoneware and/or porcelain, flashing slips, and glazes, firing our work in the wood kiln. Students may bring high-temperature bisqueware to help fill the kiln. All levels. Code 03CA

Studio potter; teaching: Truro Center for the Arts (MA), Haystack (ME), Anderson Ranch (CO), Arrowmont (TN), Hartford School of Art (CT), Carleton College (MN); NEA and McKnight Foundation fellowships; recent exhibitions: Craft in America Center (Los Angeles), Cedar Creek Gallery (NC), Tolne (Denmark), AKAR Design Gallery (IA), Baltimore Clayworks, The Clay Studio (Philadelphia).









Jerilyn Virden, Square Nesting Bowls,handbuilt earthenware,

6 x 14 x 14 inches

Jerilyn Virden
Handbuilt Pots for Food

Working with earthenware clay, students will use handbuilding techniques to explore the vessel both as functional container and aesthetic object. Students will use pinching, coiling, carving, slab work, and simple bisque molds to create utilitarian pottery that showcases the food it contains. We値l make serving pieces as well as dinnerware. Our emphasis will be on form with functional glaze surfaces. We値l view the food presentation as the decoration. All levels. Code 03CB

Studio artist; teaching: Arrowmont (TN), Santa Fe Clay, Odyssey Center (NC), Riverarts (VT); North Carolina Arts Council fellowship; former Penland resident artist; exhibitions: Signature Gallery (GA), Society of Arts and Crafts Boston, SOFA New York, SOFA Chicago, 18 Hands (Houston), Architectural Digest Home Design Show (NYC)





Drawing and painting

Nicholas Raynolds, Yuki, pencil on paper, 10 x 8 inches

Nicholas Raynolds
Portrait Drawing in Pencil

This workshop will explore the craft of representational portrait drawing in the classic tradition of the 19th century French academy. Suitable for beginning, intermediate, or advanced students, it is an opportunity to develop and hone your skills in drawing from both long and short poses. We値l draw on paper and work with live models. Through demonstrations and individual critiques, we値l explore the elements used to clearly depict form and likeness. We値l gain understanding of light and shadow using the time-honored effects of chiaroscuro. All levels. Code 03D

Studio artist; teaching: Art Students League (NYC), National Academy (NYC), Gage Academy (Seattle); exhibitions: Forbes Gallery (NYC), Eleanor Ettinger Gallery (NYC), John Pence Gallery (San Francisco); collections: Forbes Collection (NYC), Arkansas Art Center; publications: Drawing and Art Collector magazines, Lessons in Classical Drawing and Classical Painting Atelier by Juliette Aristides.






Ch Rhodes, Untitled, glass, 29 x 4-1/2 x 10 inches

Ch Rhodes
Subtleties & Nuances

This workshop will pursue the development of an exceedingly thorough comprehension of the subtleties and nuances of working with hot glass. Students will expand their technical abilities and understanding of glass by combining an intensive, hands-on approach with sustained, continuous discussion and analysis of the materials and fundamentals of glassmaking. We will exploit the exclusive opportunity that a two-week intensive workshop environment provides to practice with the material, analyze the process, and share feedback and experience as a group. Students are advised that having fun will be a requirement for this workshop.All levels. Code 03GA


Associate professor and head of glass at the University of Louisville痴 Hite Art Institute; recent exhibitions include 鼎learing (with Stephen Cartwright) at the Cressman Center for Visual Art (Louisville) and 鉄outh by Southeast: Masters of Studio Glass at the Huntsville Museum (AL).




Sarah Blood, Luna Fossil IV, flameworked glass, argon,

cement, sand, pigment, 24-3/4 x 24-3/4 x 4-3/4 inches

Sarah Blood
Where the Magic Happens: Light & Mixed Media

Using traditional and nontraditional neon-making techniques as a starting point, this workshop will look at the aesthetic and conceptual possibilities of combining light and mixed media. Students will develop experimental artworks with an emphasis on the tension between contrasting materials such as clay, paper, and found objects. The workshop will include presentations, discussions, technical demonstrations, and critiques, as well as a focused, experiment-based studio experience. All levels. Code 03GB


Assistant professor of glass and light at Alfred University (NY); residencies: Vicarte (Portugal), Cowgate (UK); recent exhibitions: Ball State University (IN), Glazen Huis (Belgium), Lumiere (UK), Museu do Vidro (Portugal); collections: Institute of Neuroscience (UK), Quennington Sculpture Trust (UK), Stag & Hare (UK).







Vivian Beer, Anchored Candy #6, formed and fabricated steel,

bolts, gun blue patina, automotive finish, 42 x 60 x 21 inches

Vivian Beer
Metal Furniture

This workshop will be an intensive in designing and building metal furniture. Demonstrations will cover drafting, scale modeling, pattern making, welding, hollow construction, jig making, forging, hand hammer control, finishing, and surface development. We値l work with everything from the hand hammer to the TIG welder, hydraulic press, and slip roller. We値l touch on proportions, ergonomics, style, and history. We値l fill your toolbox with new ways to approach the planning stages of furniture making. Slide shows, demonstrations, and constant sketching will bring you toward your individual goals, whether they are sculptural, functional, technical, or conceptual. The iron shop will be our creative laboratory. All levels. Code 03I

Studio artist; teaching: Haystack (ME), Anderson Ranch (CO), Peters Valley (NJ); collections: Renwick Gallery (DC), Museum of Fine Arts Boston, Museum of Arts and Design (NYC), Brooklyn Museum (NYC).







David H. Clemons, Pebble Necklace, mixed media, 10 inches diameter


David H. Clemons
Body Embellished: Jewelry Suites

This workshop will investigate the relationship between personal aesthetics, the body, and adornment. Through the development of a cohesive suite of jewelry, students will treat the body as a landscape framed and accentuated by ornament. We値l explore alternative materials and the requirements of various jewelry formats. We値l consider design, material manipulation, mechanisms, and the purposeful integration of metals with other materials. Techniques will include cold connections, soldering, and material investigations including wood, paper, steel, plastic and others. All levels. Code 03MA

Artist in residence in metalsmithing at University of Arkansas; Arkansas Arts Council fellowship; exhibitions: Center for Craft, Creativity, and Design (NC), Craft Alliance (St. Louis), Ornamental Metal Museum (Memphis), Memphis College of Art, 鼎raft in America two-year traveling exhibition.


Jeffrey Clancy, Handsome Pitcher,

pewter, 12 x 7 x 4 inches


Jeffrey Clancy
Pewter: Tavern Mugs to Teaspoons

Often referred to as poor man痴 silver, historic and contemporary pewter is rich in form, function, and expression. Salt and pepper shakers, tankards, ewers, candlestick holders, spoons, and jewelry can be fabricated, formed, and cast in pewter. We値l cover a wide range of hollowware techniques and mold making as it relates to pewter casting. Students will be encouraged to work across different traditional, utilitarian, and sculptural formats. All levels. Code 03MB

Associate professor at University of Wisconsin-Madison; workshop teaching: Arrowmont (TN), Kutztown University (PA), San Diego State University (CA); exhibitions: 40 Under 40: Craft Futures at Renwick Gallery (DC), Art Brussels, Art Rotterdam, National Ornamental Metal Museum, University of Arkansas-Little Rock; collections: Renwick Gallery (DC).








Christina Z. Anderson, When It All Started,

casein bichromate, 8 x 8 inches

Christina Z. Anderson
Amazing Alternative Processes

This workshop will focus on the contemporary use of four 19th century processes揚um, casein, cyanotype, and platinum-傭y themselves and in combination: gum and casein over cyanotype, cyanotype over platinum, and gum and casein over platinum. We値l cover an easy method for creating digital negatives. Rudimentary knowledge of Photoshop or other photo editing software will be helpful as well as bringing a laptop with lots of digital color images (cell phone images are encouraged). All levels. Code 03P

Associate professor at Montana State University; work in more than 90 exhibitions and 30 publications; author of The Experimental Photography Workbook and Gum Printing and Other Amazing Contact Printing Processes, which are sold in 38 countries.





Printmaking and Letterpress

Andy Rubin, Kaddish, lithograph,

20 x 15 inches


Andy Rubin
Multicolor Printmaking

This workshop will make multicolor printmaking fun and easy. We値l start by making key images on etching plates and move quickly to making second, support plates to add color. We値l cover collographs, multi-plate registration, transfers, chine-coll, monotype, a la poup馥 intaglio, stencils, and whatever else it takes to create vibrant, exciting, two (or more) plate images. We won稚 be making editions, so be prepared to create many incredible, individual images. No experience necessary, just a curiosity about the inherent possibilities of printmaking. All levels. Code 03X


Master printer at Tandem Press at University of Wisconsin-Madison; has worked with more than 100 graduate assistants on projects with many artists, including Jim Dine, Judy Pfaff, and Sam Gilliam; Tandem痴 prints are in museum and corporate collections worldwide; Andy痴 work has been exhibited in more than 40 print competitions.





B饌trice Coron, Fashion Statement, cut Tyvek,

40 x 20 x 20 inches


B饌trice Coron
Contemporary Papercutting

During this intensive workshop of serious fun, students will discover the incredible variety of contemporary papercutting and the many possible applications of this art form, from fine art to public art commissions. We値l conceive and produce works as different as unique illustrations, stenciled editions, pop-ups, dimensional work, wearable sculptures, and stop-motion animation. Cutting different materials and experimenting with scale, we値l keep an open mind and explore new territories.All levels. Code 03L


Studio artist; exhibitions: Center for Book Arts (NYC), American Visionary Art Museum (Baltimore), Cit de l但rchitecture (Paris); TED talk; commissions: MTA Arts for Transit (NYC), Charlotte-Douglas International Airport (NC); collections: Metropolitan Museum (NYC), Getty Museum (Los Angeles), Museum of Fine Arts Boston, Museum of Modern Art (NYC), National Gallery (DC).





Justin LeBlanc, Love Without Boundaries,

mohair, printed cotton, black wool knit,

cotton jersey with latex treatment

(Photo: David Grant)


Justin LeBlanc
Experimental Patternmaking

This workshop will be a fast-paced exploration of patternmaking, starting with basic principles and leading up to a more experimental approach, including volume exploration, material choices, darts placement, and silhouetting the garment. By the end of the workshop, students will have a basic understanding of the different techniques of patternmaking and be able to apply them to garments of their own design.Basic sewing skills required. Code 03TA


Assistant professor at North Carolina State University; Charleston Fashion Week People痴 Choice Award, GlaxoSmithKline fellowship; publications: Marie Claire, Designlife, RedEye Chicago, Walter Magazine; finalist on Project Runway Season 12.





Andrea Donnelly, The Weaver痴 Bench, cotton,

painted with textile pigment and woven, 130 x 192 inches


Andrea Donnelly
Painting with Thread

Explore the unique mark-making capacity of the hand loom from the dual perspective of painter and weaver. The possibilities of the collaboration between loom and artist痴 hand will open your mind. You値l learn a variety of on- and off-loom warp-painting techniques using both dye and pigment on a small and manageable scale. And you値l gain insights that will help you go as big as you can imagine with these techniques. You値l leave class with a completed personal project and a series of technical reference samples.Students must be able to warp a floor-loom unassisted. Code 03TB



Studio artist, owner of Little Fool Textiles; teaching: Virginia Commonwealth University; 2014 Brandford Eliot Award for Excellence in Fiber Arts; exhibitions: Quirk Gallery (VA), Center for Craft, Creativity, and Design (NC), Houston Center for Contemporary Craft, Taubman Museum (VA).





Critz Campbell, Pip, cypress, maple,

20 x 20 x 28 inches

Critz Campbell
Common Curve: Chairs

This chair-making workshop will revolve around bent laminations. Students will learn bent-lamination technique as we use skateboard-decking veneer to create a batch of curved, laminated seats and backs. Then each student will design and build chairs using these common elements. We値l explore the dynamics of communal and individual problem-solving and celebrate the variety of answers found. Skills covered will include drafting, bent lamination, vacuum pressing, wood selection, milling, joinery, finishing, and whatever else is required as crazy, unexpected problems arise. All levels. Code 03W

Associate professor at Mississippi State University; residencies: Crab Tree Farm Foundation, Arco Centro de Communicao Visual (Portugal), Penland core fellowship; exhibitions: Cooper Hewitt National Design Museum (NYC), Science Gallery (Dublin), International Contemporary Furniture Fair (NYC).