Summer Workshops

4/CLAY

Cream and Sugar Set by Julia Galloway, 2009. Porcelain, sodafire, 2” x 3” x 4”.

Looking Forward, Looking Backward

In this workshop we will be studying and making contemporary and historical pottery. For the first week we will be making selected historical pottery: Chinese, Iranian, Italian, English, etc., making these pots as exactly as possible and examining what kind of materials and building methods that were used. For the second week we will make our own work with some historical influences using new techniques and aesthetics, to further our own studio work. Images of historical pottery will be viewed and discussed daily and a variety of materials and building techniques will be used and presented. Intermediate level required.

JULIA GALLOWAY is Professor of Ceramics and Director of the School of Art at the University of Montana. She also taught at the School for American Crafts at Rochester Institute of Technology and the Nova Scotia College of Art and Design. Julia Galloway earned a BFA from New York State School of Ceramics at Alfred University and an MFA from the University of Colorado in Boulder. Her work has been exhibited in the US and Canada and is in the collections of The Long Beach Museum of Art, California; Renwick Gallery, Smithsonian Institution, Washington, DC; and The Huntington Museum of Art, West Virginia. www.juliagalloway.com

4/FIBER

Embrace by Gerhardt Knodel, 2009. Mixed media, 6' x 8' x 2".

Mining Historic Textiles as a Route to the Future

Textiles embody the creative vision of cultures that produced them. They can also be extraordinary sources of inspiration for artists who envision the past differently than historians. This workshop will use diverse strategies for exploring provocative textiles in Gerhardt Knodel’s personal collection. Exploration will occur in a variety of media and methods, intimate to environmental. The ultimate goal: to produce responses and insights that extend our collective textile inheritance in powerful ways. An appetite for dreaming is essential. Experience with diverse textile techniques (structured and/or printed and dyed) is essential, as well as ability to visualize ideas with drawing, collage, and/or model building.

GERHARDT KNODEL led the renowned program in Fibers at Cranbrook Academy of Art for twenty-five years and subsequently became Director of the Academy, 1995–2007. Now returned to full time studio practice, he continues to pursue the expressive potential of textiles as they affect ones sense of place and being. Worldwide travels are the source for his extensive collection of historic textiles that are exhibited occasionally with his own work. Gerhardt Knodel is a graduate of the University of California, Los Angeles and California State University, Long Beach. He has received many honors including grants from the National Endowment for the Arts, the Michigan Council for the Arts, the United States/Japan Friendship Fellowship, received the Michigan Governor’s Visual Artist Award in 2008, and is an Honorary Fellow of the American Crafts Council.

4/GLASS

Green in blue ‘Leaf’ by Benjamin Edols and Kathy Elliott, 2008. Blown and cut glass, 18” x 13” x 5”.

Exploring Asymmetry

In this workshop, we will explore some of the possibilities of blown glass in an asymmetrical way. By no means does asymmetry mean “out of control” or lack of craftsmanship—in fact the very opposite is true. As a group and in demonstrations we will be looking to make interesting and unusual shapes and forms in a controlled manner. Our tools for this exploration will be the demonstrations, drawing, and discussion. One year of glassblowing experience required.

BENJAMIN EDOLS has been blowing glass since 1987. He received a BA from Sydney College of the Arts and a post graduate diploma from Canberra School of Art, both in Australia. He has taught workshops at Pilchuck; The Studio of the Corning Museum of Glass; Pittsburgh Glass Centre; and Niijima Glass Works, Japan. Benjamin Edols’s work is in the collections of the Victoria and Albert Museum, London; Powerhouse Museum, Australia; Toyama Art Museum, Japan; Corning Museum of Glass, New York; and the National Gallery of Australia. He operates his own glassblowing and cold working studio in the Northern Beaches area of Sydney, Australia. www.edolselliott.com

4/METALS

Chanterelle by Rob Jackson, 2008. Found steel, wrought iron nail, 18K gold, and ruby, 1 1/4” x 1” x 1”.

The Eloquent Nail: Fabrication with Steel and Bi-metal Casting

This workshop will introduce fabrication with steel and iron in a jewelry format. Basic soldering of steel in conjunction with silver and gold will be the focus as we explore the use of 100 year old hand forged nails and other found steel fragments for their own intrinsic aesthetics of surface and form. Forming, surface embellishment processes, and the incorporation of mechanisms and settings for stones will be used to further enhance the work. A bi-metal casting with steel will also be covered. Basic soldering skills required.

ROB JACKSON is an Associate Professor and Area Chair for the Jewelry/ Metals program at the University of Georgia and has taught frequently with the University’s Study Abroad program in Cortona, Italy. His work has been in exhibitions at the Velvet da Vinci Gallery, California; Quirk Gallery, Virginia; National Ornamental Metal Museum, Tennessee; and the Georgia Museum of Art. He wrote the chapter “Rust Incorporated” in The Penland Book of Jewelry (Lark Books), and other publications include: The Compendium Finale of Contemporary Jewellers 2008 (Andy Lim), 500 Pendants & Lockets and 1000 Rings (Lark Books), and “Breaking the Code” Exhibition in Print, Metalsmith.

4/PAPER

Les fenêtres (edition of 3) by Béatrice Coron, 2007. Cut paper, 39” x 10”.

Short Cuts

Using historical traditions, we will take a modern approach to paper cutting. We will create paper images and objects, as well as stencils, for printing small editions. We will explore different materials for cutting and experiment with scale—from miniature to installation. The workshop will also include techniques and methods for dimensional and large paper works. Participants will discover the incredible variety of contemporary papercutting and the many possible applications of this art form. All levels welcome.

BÉATRICE CORON is a studio artist who creates in papercutting for book arts and public art. She has made tiny pin books in series and books out of cut paper scrolls that are fifty feet long; hundreds of surprising shapes and environments for words and thoughts. Béatrice Coron’s work is in collections such as the Metropolitan Museum of Art, New York and the Walker Art Center, Minnesota. Her public art is in subways in New York City and Chicago and in the airport in Charlotte, North Carolina. www.beatricecoron.com

4/WOOD

Table and Chair by John Dunnigan, 2007. Wood and fabric, chair: 34” x 21” x 21”, table: 30” x 42” x 16”.

Making: A Place at the Table

Making gives form to ideas and the experience of making informs the process of design. Tables have served as functional objects and cultural signifiers for millennia. Each participant in this workshop will make a table and explore the design process from concept to finished object. There will be daily discussions and demonstrations as well as plenty of shop time. This workshop is intended to encourage the development of a personal way of working and therefore instruction is individualized. Experience with woodworking tools and machinery helpful. All levels welcome.

JOHN DUNNIGAN is a furniture designer and maker whose studio is located in Rhode Island. He is currently a Professor at RISD, where he also has previously served as Head of the Department of Furniture Design and Interim Dean of Architecture and Design. John Dunnigan’s work has been exhibited nationally and internationally and is included in several private collections and public collections, such as the Museum of Fine Arts, Boston; the Museum of Art, RISD; and the National Museum of American Art, Washington, DC. His work is in several books and publications, including The New York Times, New American Furniture, Art for Everyday and The Maker’s Hand.

4/VISITING MUSICIAN

DR. MICHAEL WHITE, a preeminent clarinetist and historian, was born in New Orleans and is a descendant of first generation jazz musicians. His style is influenced by the rich emotional playing of early jazz clarinetist legends. Dr. Michael White holds the Keller Endowed Chair in the Humanities at Xavier University in New Orleans, where he is also a professor of Spanish and African American Music. He has recorded on over forty CDs, including his acclaimed work of original compositions, Blue Crescent (2008; Basin Street Records). Dr. White tours worldwide with his own group and has also performed extensively with Wynton Marsalis. He has published in several books and journals and is frequently featured on television and radio programs, and in documentaries. Among his numerous awards are Chevalier of Arts and Letters (France; 1997), a National Heritage Fellowship Award (2008) from the National Endowment of the Arts, and he has been named Louisiana's 2010 Humanist of the Year by the Louisiana Endowment for the Humanities.

Visiting artists augment the session with informal activities and are not workshop leaders.

Support for musical performances comes from Haystack’s Hy Frumkin Fund.

Dr. White’s residency at Haystack is in conjunction with the 10th Annual Deer Isle Jazz Festival at the Stonington Opera House, produced by Opera House Arts, July 23–24, 2010. www.operahousearts.org