2013 Summer Adult Catalog by Idyllwild Arts

SUMMER PROGRAM 2013 Workshops for Adults

h a n d s - o n W o r k s h o p s • L e c t u r e s • D e m o n s t r at i o n s • P e r f o r m a n c e s • R e a d i n g s • E X HI B ITIONS

Page

The School Mission

CERAMICS

The mission of the Idyllwild Arts Foundation is to promote and advance artistic and cultural development through education in a beautiful, natural environment conducive to positive personal growth.

Ceramics: The Ways of Clay

Hot Clay

The Idyllwild Arts Summer Program provides arts instruction and experiences of the highest caliber to a diverse student population of all ages and abilities. The Idyllwild Arts Academy (Sept.– May) provides pre-professional training in the arts and a comprehensive college preparatory curriculum to a diverse student body of gifted young artists from all over the world. (See page 31 for information on the Idyllwild Arts Academy.)

Wknd

7/8–12

Wknd

7/1–5

Wknd

6/24–28

Wknd

Please see course descriptions for exact dates and durations.

T a b le o f C o n te n ts 6/17–21

S C H E D U L E o f A D U L T C lasses &

Figuratively Speaking: Exploring the Narrative in Sculpture

Pottery Component Mash-Up

Print & Repeat: Silkscreening on Clay

Pierced & Colored & Lovingly Handbuilt: Handbuilding in Clay

Sets and Soda

Parks Exhibition Center Opening Reception

JEWELRY/METALS 10

Handmade Findings: Hook It, Hang It, Poke It, Stab It

Captured Treasures in Silver Metal Clay

Metals Week

Chasing & Repoussé

Creating Cuffs

Nunome Zogan: The Gentle Art of Tapping

The Rolling Mill: Exploring a Creative Tool

A Fresh Look at Spiculums

Surface Design & Fabrication 5/5/10 MIXED-MEDIA/BOOK ARTS

USA CA

Assemblage I: Sanctum of the Forgotten Tune

Assemblage II: Baba Yaga Birdhouse

Manuscript Books: Writing as Image, Exposed Sewing

Hand Forged Metal Books & Full Throttle Journaling

The Santos Cage Doll Redefined

Special Events: Chamber Music Concerts

July 31–August 8 >

A NI IDYLLWILD San Diego

Location Idyllwild is located at an altitude of 5000’ in the Strawberry Valley of the San Jacinto Mountains approximately a 2 1/2 hour drive from Los Angeles and San Diego and a one hour drive from Palm Springs and Riverside. The Idyllwild Arts campus is situated two miles from the center of the village of Idyllwild. This tranquil site, remote from urban distractions, affords the student a unique learning environment. Please note: At the time this catalog was printed, every effort was made to assure its accuracy. In keeping with the commitment of the Idyllwild Arts Summer Program to individual and timely needs of students and faculty, however, we reserve the right to make changes in faculty, courses, schedules, tuition and policies. For specific dates see class descriptions. For updates or changes, see our website at www.idyllwildarts.org/summer.aspx 2012 Photographer: Paula Harding.

GENERAL INFORMATION Campus Facilities & Services........................3 Daily Schedule................................................2 Discounts/Credits.....................................3, 30 Events Schedule ....................................26, 27 Fee Payment/Refunds.................................29 Helpful Weblinks.............................................3 Housing and Meals........................................4 Location/Transportation............................2, 3 Maps (Location & Campus).......................28 On Campus Activities for Adults...................3 Registration Form...................................29, 30 Things to do in Idyllwild .................................3 Idyllwild Arts Academy Information..........31

SCHEDULE/CONTENTS

Hopi Basketry: Coiled Plaque & Sifter Baskets

The campus features large modern dormitories, modest residence halls, dining hall and a snack bar. Services include health center, bookstore and laundry facilities.

Weather

Performance halls include the IAF Theatre, Stephens Recital Hall, Holmes Amphitheatre, and Junior Players Theatre among others.

Lodging and Dining

NATIVE AMERICAN ARTS 16

Campus Facilities and Services

There is no public transportation to or within Idyllwild. Transportation is available for a fee via campus vans from Ontario International Airport or Palm Springs International Airport to Idyllwild. Arrangements must be made in advance. Please see transportation information section of the Registration Form on page 29.

Summer temperatures vary between the high 70’s to low 90’s during the day and drop to the 50’s–60’s in the evenings.

MUSIC

Los Angeles

Acrylic Ink Quilting Adventure

R FO LI

Transportation

For those who are not staying on campus, the village offers many lodging alternatives, from luxury to rustic and includes motels, bed and breakfast inns, cabins and lodges.

Hopi Jewelry: Overlay & Tufa Casting

Santa Clara Pottery

Native American Arts Festival

There are also public and private campgrounds in and around Idyllwild.

Craft & Survival Skills

Native Plants: Contemporary and Traditional Uses

Cahuilla Basketry

Soft Sculpture: Doll Making & Beadwork

Navajo Weaving I & II

Navajo Inlay Jewelry

Things to do in Idyllwild

Native American Flutemaking - Beginning & Intermediate

Hopi Tewa Pottery

Mata Ortiz Pottery

Idyllwild has earned the distinction of becoming one of the 100 Best Small Art Towns in America, (as designated in the book of the same name by John Villani), and features over 15 galleries representing the work of more than 200 artists.

Numerous restaurants and cafés are located in the village and feature a variety of cuisine from gourmet to classic fare.

PAINTING/DRAWING 19

Color Boot Camp

Contemporary Approaches to Painting

Drawing Intensive

Encaustic Painting & More

The Figure & Still Life: Direct Painting - Quick Studies & Beyond

Narrative Figure Painting

Painting the Figure Simply & Beautifully in Watercolor

Travel Drawing & Painting

Watercolor from Within: Painting the Essence of Nature

Watercolor Unleashed: Exploring Waterbased Media

The Village of Idyllwild

The Summer Program

PRINTMAKING 23

Beyond Monotype

Encaustic Monoprinting

Solarplate Etching SCULPTURE

Contemporary Sculpture in Plaster

Furniture Making & Design WRITING

The Art of Writing Fiction: Making It Up

Memoir/Creative Nonfiction

Young Adult Novel ( for adults)

Poetry Week

Sn M T W Th F S

June 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23/30 24 25 26 27 28 29

7 14 21 28

1 2 3 August 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

1 2 3 4 5 6 8 9 10 11 12 13 15 16 17 18 19 20 22 23 24 25 26 27 29 30 31 July

Questions? Contact our Registrar: (951) 659-2171 x 2365 fax (951) 659-4552 summer@idyllwildarts.org

The summer tradition that began in 1950 to bring the best artists in their fields to teach under the pines continues today. Intensive hands-on workshops in music, dance, theatre, visual arts, writing, filmmaking and Native arts are offered to students from age 5 to 105. Each year more than 1,700 adults and children attend the Idyllwild Arts Summer Program. There are four arts centers plus Family Camp that comprise the Summer Program. • The Children’s Center (ages 5–12) (See separate Youth Program Catalog) • Junior Artist’s Center (ages 11–13) (See separate Youth Program Catalog) • The Youth Arts Center (ages 13–18) (See separate Youth Program Catalog) • Adult Arts Center (This Catalog)

Idyllwild is filled with unique gift shops, galleries, a movie theater, and restaurants. There are hundreds of miles of hiking trails for all levels from gentle strolls to strenuous trails leading to the meadows and peaks that tower above the village. Idyllwild is also known for rock climbing. Horseback riding and fishing are available within 20 minutes from campus.

Helpful Weblinks www.idyllwildarts.org www.towncrier.com www.idyllwildchamber.com www.idyllwildjazz.com www.greencafe.com www.idyllwild.me www.idyllwildherald.com www.artinidyllwild.com

The art studios include numerous indoor and outdoor facilities. Exhibition areas include the Parks Exhibition Center and the Eymann Sculpture Garden.

The Krone Library houses resource areas with internet access and wireless connection, classrooms and a museum. There are dedicated dance studios, rehearsal halls, film studio and practice rooms located throughout the campus.

Discounts and Credits Idyllwild Arts offers students the following options: (See page 30 for details) • Early Payment Discount • Family Discount • Teacher/Student Discount • Bring a Friend Discount

Adult Arts Center Students work intensely in a focused, yet relaxed setting which provides detailed technical instruction and personal attention to individual artistic needs. Instructors are experienced and interested in working with students of all levels of background and ability.

Daily Schedule In general, workshops run from 9 a.m. to 4 p.m. each day, with a break for lunch in the campus dining hall (included in tuition). Writing workshops have shorter in-class hours in the afternoons, allowing time for writing, individual conferences, craft talks and other activities. There are evening events and activities for participants throughout the week, as well as several lunchtime lectures open to all students during the Native American Arts Festival Week (June 30–July 6).

Pierson Hall

Check In Students may check in from 3 to 5 p.m. on the day before their workshop begins, or between 8 and 8:30 a.m. the first day of class. See your Registration Packet for specific check-in times and location for your workshop. Please note: There are no provisions for those arriving before or after registration hours.

On-Campus Activities for Adults Each evening there are activities taking place throughout campus (see pages 26 & 27). In addition to the program “traditions” that are scheduled each week, there are other lectures, readings, recitals and performances that dot the calendar. The weekly schedule includes: Monday–Parks Exhibition Center reception: Faculty Art Show and Artist demonstration/ presentation Tuesday–Faculty artist slide lecture or Poetry Reading Wednesday–Potluck and Barbeque at Studio D for all adult students, faculty members and school community members. Friday–Adult student art show There will be several lunchtime and evening lectures and presentations that all adult students are invited to attend. The campus also offers endless trails for hiking and nature walks, as well as a 25-meter swimming pool open to all registered students. Parks Exhibition Center is open daily and features the work of artists in residence as well as a selection of fine Native American art and jewelry.

Family Camp: The whole family is welcome at Family Camp. Everyone will enjoy a week of arts activities and fun! (See separate Youth Program Catalog or website) We offer two catalogs, one for adults and one for children and teenagers. This catalog contains program information for adults. To request a Youth Catalog please call: 951-659-2171 ext. 2365 or visit www.idyllwildarts.org Nelson Dining Hall summer@idyllwilda rts.o r g

Adult Student Culmination

Faculty, Staff & Adult Student Potluck

THE PROGRAM

I d y llwild A rts F o u ndation

On-Campus Housing and Meals For adult students and adult students with children in a program, there are two oncampus housing options:

The IAF is a non-profit corporation, founded (in 1946 as a summer center in the arts) on the premise that the arts provide a common language and that participation in the arts can not only enrich lives but can change lives.

Residence Halls-Modest motel-like units with twin or bunk beds and private bath accommodate one or two adults. Rates are based on occupancy of one-room units plus meals from Sunday, 4 p.m. to Saturday, 10 a.m. The charge includes linens and towels which are changed weekly. a. Two persons per room, meals included $535 per person per week $325 per person for three days

The Foundation now operates two programs: the Summer Program – in its 64th year of providing classes in the arts for all ages and abilities, and the Arts Academy – an independent boarding high school established in 1986 for students talented in the arts.

b. Private room & meals (limited availability) $745 per week $465 per person for three days

Summer Program • Eight-week season

Residence Hall check-out time is 10 a.m. on Saturday. Residence Hall accomodations are not available for weekend workshop participants. Please see the Off-Campus Housing information on this page.

Idyllwild Arts Pool

Hot Clay Week I.............................................. 5

June 16–29, 2013

The Narrative in Sculpture........................ 5 James Tisdale Pottery Component Mash-Up................. 6 Christa Assad Silkscreening on Clay................................ 6 Jason Bige Burnett Hot Clay Week II............................................. 6 Handbuilding in Clay................................ 6 Sunshine Cobb Sets & Soda................................................. 7 Richard Burkett & Joe Molinaro

James Tisdale, Tarnished

SEE ALSO

• Family Camp

Mata Ortiz Pottery........................................ 18 Jorge Quintana

• Professional artist-teachers

No pets are allowed.

The Ways of Clay class photo

Hot Clay

• Over 100 hands-on workshops in creative writing, dance, music, theatre, visual arts, Native American arts

• Adult Theme Weeks: Hot Clay, Metals Week, Native American Arts Festival

Smoking is prohibited in all campus facilities.

The school also offers a snack bar which operates on a cash basis beginning June 17. Sandwiches, snacks and soft beverages are available from 11:30 a.m. to 7:30 p.m. daily.

Ceramics Workshop: Ways of Clay............... 7 Greg Kennedy & David Delgado

• 1700 students ages 5 to adult

Please observe the 10 p.m.–8 a.m. quiet hours.

Lunch is included for all registered adult students at no charge. Meals are served cafeteria-style. There are vegetarian options at every meal including a hot entree at every lunch and dinner. In addition, an extensive salad bar featuring fresh fruits and vegetables is available at all lunches and dinners. Students may purchase additional meals by the week. A one-week meal pass (20 meals) is $90.

CERAMICS

Week I

Hopi-Tewa Pottery......................................... 18 Mark Tahbo

Figuratively Speaking The Narrative in Sculpture James Tisdale

Santa Clara Pottery...................................... 18 Nathan Youngblood

HOT CLAY Events Open to the Public

• 28% of participants attending a Summer Program workshop received financial aid in 2012– totaling over $765,000 Nelson Dining Hall

Off-Campus Housing As a service to our adult students, we have provided a list of lodging facilities in Idyllwild. The list is for information purposes only and should not be construed as an endorsement. Motels and Inns Bluebird Cottage Inn............ 951-659-2696 Creekstone Inn..................... 800-409-2127 Fern Village Chalets.............. 951-659-2869 Fireside Inn........................... 877-797-3473 Idyllwild Inn.......................... 888-659-2552 Knotty Pine Cabins............... 951-659-2933 Manzanita Cabins................ 951-659-3151 Mile High Country Inn......... 951-659-2931 Quiet Creek Inn.................... 800-450-1516 Rainbow Inn......................... 951-659-0111 Silver Pines Lodge................ 951-659-4335 Strawberry Creek Inn........... 800-262-8969 Strawberry Creek Bunkhouse.. 888-400-0071 Tahquitz Inn.......................... 877-659-4554 Wilder Cabins....................... 951-659-2926 Woodland Park Manor......... 877-659-2657 Cabins and Homes Idyllwild Cabin Rentals........ 877-270-3285 Idyllwild Mtn. Rentals.......... 951-659-5349 Idyllwild Vacation Rentals.... 800-297-1410 Camping Idyllwild County Park........... 800-234-7275

Additional information Please see page 28 and 29 for additional information including campus location maps, and registration forms.

Academy

Posey Bacopoulos 2012

• Co-educational, 298 students (58% international), grades 9–12 and postgraduate

Idyllwild Arts has a long history of offering outstanding ceramics pro-

• Pre-professional training in creative writing, dance, filmmaking, interdisciplinary arts, music, theatre & visual arts (Majors: Music, Theatre, Dance, Moving Pictures, Creative Writing, Visual Art, InterArts)

Peterson, and Maria Martinez among others. In recent years, Hot Clay

• Students selected by audition or portfolio evaluation • Comprehensive college preparatory academic curriculum

grams, with such renowned faculty as Fred Olsen, Shiro Otani, Susan faculty has included Ingrid Lilligren, Posey Bacopoulos, Lesley Baker, Tom Bartel, Mary Kay Botkins, Lisa Clague, Cynthia Consentino, Patrick Crabb, Debra Fritts, Linda Ganstrom, Rosette Gault, Arthur Gonzalez, Silvie Granatelli, Glenn Grishkoff, Martha Grover, Stephen Horn, Jeff Irwin, Paul Lewing, Joe Molinaro, Lisa Orr, Jeff Oestreich, Terry Rothrock, Esther Shimazu, Neil Tetkowski, Geoff Wheeler, and Lana Wilson.

• Academy graduates are sought by the finest colleges, conservatories and universities in the country • Over 57% of students receive some amount of financial aid – totaling nearly $5.6 million

We welcome your support Our Summer and Academy programs (and financial aid awards for eligible students) are made possible with the help of gifts from friends like you. To make a gift, or for further information regarding gifts, contact: Idyllwild Arts Foundation Advancement Office P.O. Box 38, Idyllwild, CA 92549-0038 951-659-2171 ext. 2330 advancement@idyllwildarts.org www.idyllwildarts.org

Week 1 Monday, June 17 7 p.m. Lecture: James Tisdale 8 p.m. Artists Reception. Hot Clay & Visiting Faculty Show Parks Center Wednesday, June 19 7 p.m. Lecture: Christa Assad Thursday, JuNE 20 7 p.m. Lecture: Jason Bige Burnett Week 2 SUNday, June 23 7 p.m. Lecture: Joe Molinaro/ Richard Burkett MONday, July 1 8 p.m. Artists Reception. Parks Center

OVERVIEW Coordinator: Richard Burkett

Wednesday, July 3 7 p.m. Lecture: Sunshine Cobb

June 16–22

Course # AACR ØØA1

Six-day session Build your visual vocabulary and develop your voice of expression through the use of universal and personal icons. Unlock the meanings behind the use of images, color and composition to speak your mind. Learn hollow form techniques to construct the human and animal forms that will be the anchor of your work and to create narrative sculpture that expresses meanings of personal, political, and social thoughts and beliefs. You will use lowfire white clay, slips and glazes to expand your ideas into full-scale sculpture and explore the beneficial use the maquette. James work explores the beauty and ugliness of a rich southern environment and he encourages others to explore their own. His work can vary from subtle, reverent, poignant, humorous and at times confrontational. All experience levels are welcome and personalized instruction will enhance your learning experience. Come challenge yourself. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab fee: $65

Enrollment limited to 10 students.

• Hands-On Workshops and Open Studios • Demonstrations and lectures presented by all faculty • Critiques and feedback • Exhibits of faculty work Explore innovative techniques and concepts in the workshop of your choice. Lectures and demonstrations are scheduled to allow participants in all workshops to attend. We emphasize an open studio with a great deal of crossover during each week’s workshops. Artist receptions for

Richard Burkett 2012

James Tisdale received his BFA from the University of Mississippi and his MFA from the University of Georgia. While obtaining his Master’s, James received two UGA Fellowships to study in Italy. He was chosen for an NEA Individual Grant as well as a NCECA Emerging Artist. He was also a Demonstrator for the NCECA Convention and was given a Residency Fellowship by NCECA to Hungary. He has participated in various residencies and programs such as The Philadelphia Clay Studio, The Oregon School of Arts, The Archie Bray Foundation, as well as The Pottery Workshop in China. James’ work has been exhibited through the US and abroad. www.jamestisdale.com

the faculty exhibit are planned June 17 and 24. Class size is limited to allow for maximum interaction among participants and with the instructors. The ceramics studio Parks Exhibition Center

is equipped with gas and electric kilns, wheels, handbuilding equipment and a glaze lab. Please note: Each week begins on Sunday at 9 a.m. and ends Saturday morning after the kilns are unloaded.

Bowman Arts Center

THE PROGRAM/CERAMICS

James Tisdale, Overture summer@idyllwilda rts.o r g

CERAMICS

H O T C L AY

JEWELRY/METALS

The Ways of Clay Ceramics Workshop

Handmade Findings.................................... 10 Deborah Jemmott

Greg Kennedy & David Delgado July 1–12

Course # AACR Ø1-Ø2

Silver Metal Clay........................................... 10 Jonna Faulkner

Two-week session This intensive course is designed for beginning and advanced participants who would like to expand their experience in clay. The philosophy of the studio is to encourage interaction between fellow students of all skill levels. Activities such as clay mixing, kiln loading, firing, kiln unloading and glaze mixing are highly encouraged. Beginning instruction in the use of the pottery wheel is stressed and throwing on the potter’s wheel is emphasized. The studio also has the facilities for the hand builder, i.e. slabroller, extruder, and ample work space. Students will complete artworks in cone 6, high temperature reduction firings, and low temperature salt (saggar) and raku. Technical and aesthetic demonstrations take place each day.

Richard Burkett, Cups

Christa Assad, Transformer Teapot

Sunshine Cobb, untitled

Jason Bige Burnett

Pierced/Colored/Lovingly Handbuilt Handbuilding in Clay Sunshine Cobb

Course # AACR ØØB1

Six-day session

Christa Assad

Pottery Component Mash-Up Christa Assad

June 16–22

Course # AACR ØØA2

Jason Bige Burnett, Swirls and Stripes Container

Jason Bige Burnett, Cake Boy Platter

Print and Repeat Silkscreening on Clay

Materials: A complete materials list will be sent

Jason Bige Burnett

upon registration. Tuition: $715 Lab fee: $75

Six-day session

June 16–22

This hands-on workshop will motivate you to experiment with new forms and methods of construction. Geared toward creative expansion, beginners, intermediate and advanced students will use the wheel to generate pottery components (vessels, spouts, lids, handles) and sculptural objects which, when combined, offer a multitude of mind-bending compositions. Collaboration is also an option, and process-over-product mentality is our mantra.

Six-day session

Enrollment limited to 10 students.

Focusing primarily on screen-printing techniques, students will explore personal imagery with familiar materials such as slip, underglaze and newsprint paper. Screen-printing introduces many simple, yet complex, surfaces to our ceramic work, especially when transferring images in the leather-hard state. We’ll begin with learning print techniques using photosensitive processes and DIY methods for creating additional stencils. Discussions and exercises will encourage image development pulling from student’s’ patterns, photos, and drawings. These processes lend themselves to all firing methods and work with wheel thrown and hand built forms. We’ll use low fire clay and dry work will get bisqued, no glazing. This workshop is surface and technique- oriented and will not cover form or construction methods. Students will leave with small work and the technical knowledge to take back into their own studio. All levels welcome, but some experience with clay required. No prior experience necessary with screen-printing.

Jason Bige Burnett graduated from Western Kentucky University in Bowling Green, KY with a BFA in ceramics and BA’s in both printmaking and graphic design. Jason then continued his education at Penland School of Crafts in western North Carolina as a core fellowship student for two years. He has exhibited nationally, been featured in Ceramics Monthly and Pottery Making Illustrated and has taught numerous workshops. Currently he resides at Arrowmont School of Arts and Crafts as an Artist-In-Residence in Gatlinburg, TN. www.jasonbigeburnett.com

Daily exercises include: instructor demonstrations of wheel-throwing, altering, and cut-and-construct processes, class discussion of ideas, informal presentations of students‘ visual resource material, in-process critiques of prototypes, and plenty of brainstorming/ problem-solving sessions. Ideas and prototype models are the focus. This format removes the pressure of finishing and glaze-firing work, while inspiring spontaneity. We will have an optional glaze firing at the week’s end, but students are encouraged to pursue their dream forms and develop more complex compositions, whether functional or sculptural.

Course # AACR ØØA3

This hands-on workshop will motivate you to experiment with new forms and methods of construction. Geared toward creative expansion, beginners, intermediate and advanced students will use hand building techniques such as coil and pinch methods to hard and soft slab construction to generate a variety of vessel forms (vases, baskets, boxes, false bottom forms, etc.). What I love about hand building is the ease and the quickness you can achieve your vision. In class discussion of ideas, informal presentations of visual inspiration material, and plenty of brainstorming/ problem-solving will all be a key part of our activities. Development of the surface through texture and slip decoration will also be covered. Collaboration and fun are going to be our goal. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab fee: $40

Enrollment limited to 10 students. Sunshine Cobb. Ceramics has been the major influence in her life for 15 years now. She has done everything from eight-day anagama wood firings to slip casting ornaments. She is currently focusing on functional ware, embracing the richness of earthenware and is exploring the challenge of electric firing. She received her BA in Studio Art from CSU Sacramento, and her MFA in Ceramics from Utah State University. She is a long term resident at the Archie Bray Foundation and was chosen as one of NCECA’s 2013 Emerging Artists. www.sunshinecobb.com.

Creating Cuffs............................................ 9 Connie Fox Nunome Zogan: The Art of Tapping....... 9 Fred Zweig The Rolling Mill............................................ 9 Sandra Noble Goss Spiculums: A Fresh Look.......................... 10 Betty Helen Longhi Surface Design & Fabrication................ 10 Deb Karash

SEE ALSO Hopi Jewelry.................................................. 17 Roy Talahaftewa Navajo Inlay Jewelry....................................17 Richard Tsosie

Tuition: $715 per week Lab fee: $35 per week (Includes clay-150 lbs. Joe Molinaro, Dwellings

of clay per student-and firing costs.) Enrollment limited to 10 students per week.

Sets & Soda Richard Burkett & Joe Molinaro

June 23–29

Course # AACR ØØB2

Six-day session Explore new ideas in what makes a set, new ways of making pots, and how sets are presented. We’ll work with thrown, hand-built, and extruded cups, bowls, vases, plates, and more to create groupings of porcelain and stoneware pottery that relate. Trays and carriers for sets will be part of our week, too. We’ll use extruding and simple molds to create elements to connect the sets, including how to make your own extruder dies for custom shapes such as hollow vessel forms. The interaction of form, surface, and texture will be the focus.

Greg Kennedy: BS, Biology, University of Nevada, Las Vegas. National Science Foundation Award for botany and geology studies in the Spring Mountain Range of Clark County Nevada. After graduating with honors in 1972, Greg turned his attention

toward ceramics. Since that time, he has been a studio potter and ceramics teacher. His focus and inspiration is mountain topography and is continually charmed by nature. Respectful of traditional pottery, he enjoys meeting with indigenous potters and learning from them during his global travels. This will be Greg’s 28th year of teaching for Idyllwild Arts. His home and studio are located in the coast range of Oregon, where he practices quietness, authenticity, harmony and sustainability.

David Delgado is a mixed media sculptor and potter living and working in Oakland, California. Originally from Southern California, David moved to Oakland to study Sculpture at the California College of the Arts, where he received a BFA in Sculpture in 2011. This will be David’s eighth year working for the Idyllwild Arts Summer Program.

While the emphasis of the workshop will be on creating new work in clay, we will plan to have a final soda firing of the best work at the end of the week, along with cone 6 glaze firings, laser-printer decals, and other ways of finishing the work. Materials: A complete materials list will be sent upon registration.

Enrollment limited to 10 students. Richard Burkett has over 40 years of experience

Materials: A complete materials list will be sent

in ceramics, loves to make pottery and sculpture, and has studied ceramics around the world. He has made soda and salt-fired work during his entire career. Burkett is the author of HyperGlaze glaze software and the coauthor of the 6th edition of Ceramics: A Potter’s Handbook. He is currently Professor of Art-Ceramics at San Diego State University.

upon registration. Tuition: $715 Lab fee: $40

Enrollment limited to 10 students. Christa Assad, based in the San Francisco Bay Area, is best known for her Re-objectification series–teapots based on objects and buildings from American industry. A teacher, traveler and full time ceramicist with an MFA from Indiana University, Assad’s work is in the permanent collections of The Fine Arts Museums of San Francisco, The Ceramic Research Center at Arizona State University Museum, and The Penn State Fulbright Scholar Collection. She was named Ceramic Artist of the Year in 2012 by Ceramics Monthly. Assad is represented by Ferrin Gallery, Harvey Meadows Gallery, Friesen Abmeyer and Chloe Fine Arts. www.christaassad.com

Joe Molinaro is a Professor of Art at Eastern Kentucky University. He is the author of the book A Pottery Tour of Kentucky, and regularly contributes writings on aspects of the ceramic arts for various national and international publications and has produced videos on the indigenous potters of Ecuador. He is the founder of Clayart, a popular electronic ceramic Listserv, and has served as Program Director for NCECA (2005-09). Along with teaching and research, he maintains his own studio that allows him to continue producing sculptural vessels in porcelain as well as other wood-fired functional and sculptural work. Christa Assad, Wood Burner, Bonners Ferry, Idaho

CERAMICS

Greg Kennedy

Tuition: $715 Lab fee: $60

Sunshine Cobb, untitled

Basic centering and throwing skills suggested.

Chasing & Repoussé................................. 8 Nancy Megan Corwin

The spacious, well lit studio is equipped with potter’s wheels, both kick and electric, a Brent slab roller, clay extruders, Soldner clay mixer, gas kilns, electric kilns, as well as our Anagama and fast fire wood kiln. We have ample work space, including a glaze room and separate facilities for throwing and hand building; in addition we have several outdoor work areas. Students may bring their own tools, but studio tools are available. The studio is open weekdays, 9 a.m. to 4 p.m. Each student will complete an abundance of pieces.

Week II

June 23–29

Metals Week.................................................... 8

Sunshine Cobb

Jeff Oestreich 2012 9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

summer@idyllwilda rts.o r g

CERAMICS/JEWELRY

METALS WEEK June 16–20, 2013

Sandra Noble Goss, Necklace, rolled links

Nancy Megan Corwin, chasing surface of brooch

Connie Fox, Cuff Bracelet

Creating Cuffs Connie Fox June 16–20

Metals Week Culmination 2012 Nancy Megan Corwin, Dark

Chasing & Repoussé Nancy Megan Corwin June 16–20

Course # AAJW ØØA

One-week session This workshop will delve into the exciting, ancient and universal processes of chasing and repoussé on non-ferrous metals such as copper, brass and silver. The term repoussé refers to forming sheet metal from the backside with rounded steel, brass, plastic or wood punches to create raised areas on the front side in low to high relief. Chasing refers to detailing the front side of the piece using tools with specific shapes and sharper edges to texture, stamp, undercut and refine the surface of the metal. We will be working traditionally with pitch (a pine-resin based material) to support the metal while hammering. Non-traditional methods that make multiples easier to accomplish will be covered, including die forming, using plasticene to support the metal and filling the form with low temperature thermoplastic.

Deborah Jemmott

OVERVIEW Deborah Jemmott, Coordinator

Metals Week is designed to be a week of creative and social re-

Students will make at least one chasing tool, several technique samplers and one or more finished pieces.

newal where you can relearn how to be open to learning and seeYou will be working with master

Students of all levels are welcome. Some silver soldering experience and basic knowledge of sawing and filing would be helpful to accomplish more in this class.

instructors in an environment

Materials: A complete materials list will be

ing from a creative perspective.

Metals Week Faculty Lectures

sent upon registration.

that encourages opportunities

Tuition: $715 Lab fee: $55 (Includes Faux Bone, special

to test ideas, try new techniques and create work as well as network and exchange ideas with other jewelers & metalsmiths. Whether Betty Helen Longhi, Lily Arrangement Sculpture you come to learn new skills or enhance the skills and techniques you

Metals Week Potluck & Auction

already know, you will have the opportunity to grow as an artist in metal.

Other activities during the week include:

This week of intensive metals studies will begin on Sunday, June 16 and

• Exhibition of faculty work and opening reception

run through Thursday, June 20. You will have the opportunity to work with one of six outstanding jewelers/metalsmiths – but in addition,

• Faculty slide show & lectures

you will have the opportunity to sign up for two lecture/demos from

• Potluck dinner

other instructors teaching during the week. This is a time for you to

• Auction

attend a lecture/demo, examine samples, ask questions and visit with

• End-of-the-week student exhibition

instructors teaching other Metals Week workshops. This schedule offers the opportunity for a rich and well-rounded experience with intensive studies focusing in the area and with the instructor you have chosen.

Course # AAJW ØØB

One-week session

Nancy Megan Corwin, Regeneration

blades, and the materials for tool making. In addition, it includes the use of all tools, equipment, and consumables such as solder and compounds.) Students are encouraged to bring their own metal and tools – but they must be clearly marked. Enrollment limited to 12 students.

From the start I loved making cuffs. They are a perfect foundation upon which to express creativity. In this class you will learn a variety of ways to construct the cuff foundation taking into account functionality, fit, and aesthetic appeal. Methods of embellishment will be covered including prong setting stones, forming acrylic, piercing, heat texturing, roller printing, corrugation and cold connections.

JEWELRY

The Rolling Mill Nunome Zogan Tools

Nunome Zogan

Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab fee: $50 (Includes brass and copper tub-

ing, acrylic, polishing cloths, brass and silver bolts, copper wire, and consumables such as, honeycomb fire bricks, rolling mill textures, steel wool, wax, patinas, adhesive, drill bits, solvent, lubricant, flux, sandpaper, and use of instructor’s tools and equipment.) Students should bring their own metals (including silver solder and silver tubing if desired), hand tools, flex shaft accessories (basics available in class), a rivet block (2 available for use in class) any embellishments to incorporate into your cuff, and flat bottomed stone(s) for prong setting. Enrollment limited to 12 students. Connie Fox is a studio jeweler in San Diego, Cali-

Fred Zweig, Nunome Zogan Samples

June 16–20

Although the rolling mill was originally intended as a tool for reducing the thickness of metal and wire, in the hands of a studio jeweler it becomes a versatile, multi-purpose tool for texturing, laminating and shaping metal. In this course, students will explore some of the creative techniques possible with the mill. In addition to imprinting metal with designs using paper, found objects, and metal (including pierced and etched metal patterns), students will learn to produce the “married metal” Multi-Metal Lamination (metal overlay) and other useful techniques. This course will demonstrate how the rolling mill can expand the metalsmith’s technical vocabulary with a range of new finishes and textures, including highly graphic imagery, background pattern, texture and “painterly” effects.

Course # AAJW ØØC

This workshop will provide time for each student to complete several small samples of decorated iron. We will also explore options of how to incorporate these samples into your own designs and work. Students will learn to shape and sharpen the tool provided for the workshop, draw the wire and roll the silver and gold necessary to complete the projects. We will spend time examining historic examples to better understand the skills being practiced to create this unique decorative process. We will also learn some of the simple methods to darken the iron allowing the stark contrast so prominent in this technique. The results of this fascinating process can be mesmerizing and relatively easy to accomplish. All levels welcome.

fornia. She teaches workshops in her studio and in the past taught through San Diego Community College District and in venues across the US. She studied metalsmithing primarily from Deb Jemmott. Connie’s work has been published in books and magazines such as Metal Style, Jewelry Artist, and Art Jewelry. Her first love in jewelry making is design, a class she has been teaching for the last 5 years. She works with students to discover, refine and assert their own aesthetic.

Materials: A complete materials list will be sent

upon registration. Tuition: $715 Lab fee: $40 (Includes the use of all tools,

equipment, and consumables such as solder and compounds.) Students are encouraged to bring their own metal and tools–but they must be clearly marked. Enrollment limited to 12 students.

Nancy Megan Corwin is a jeweler/metalsmith, teacher and writer in the fields of contemporary and historic art metals. In 2009 Megan produced a process and gallery book on the techniques of chasing and repoussé, titled Chasing and Repoussé: Methods Ancient and Modern. She has an MFA in art metals from the University of Wisconsin-Madison and has taught in universities, colleges, and art centers for over 35 years. In 2009 Ornament Magazine did a feature story on her work, including her studio practices. Her work is in private collections and in the Victoria and Albert Museum, London, the State University of New Mexico Art Gallery at Las Cruces, and the Tacoma Art Museum, WA. She shows at Facèré Jewelry Art Gallery in Seattle, WA. www.nancymegancorwin.com

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June 16–20

This workshop will be an introduction to the fascinating and intricate world of Japanese damascene. Nunome Zogan was traditionally used to decorate parts of the Japanese swords. When the making of these swords was banned, the craftsmen directed their skill to the creation of decorative items for export. There has been much interest in this method of surface decoration for use in contemporary jewelry. Fred has collected examples and used them to study and understand the steps required to overlay gold, silver & copper onto iron.

Basic fabrication and soldering skills are required. Projects can be tailored to your skill level. Students with beginning skills are welcome.

Fred Zweig, self taught metalsmith practicing since the early 1970’s, has been involved with teaching others for nearly 30 years and has a sincere passion for the process of metalworking and all of its traditions and possibilities. His desire to give homage to those who preceded him and his desire for information have led him to moderate several historical metal forums including the Society of American Silversmiths and Society of Arts & Crafts website. A creative innovator of materials and tools to create unique designs, Fred has attended and assisted in many workshops in metal and other media. He is currently involved in forging neck collars for retailers and producing a line of unique pins and pendants using techniques he has developed.

summer@idyllwilda rts.o r g

Exploring a Creative Tool Sandra Noble Goss

The Gentle Art of Tapping Fred Zweig One-week session

Students will be encouraged to approach cuffs from their own creative point of view. Metals Week is the ideal time to stretch into new design and fabrication possibilities.

Connie Fox, Cuff Bracelet

Sandra Noble Goss, Blossoms Bracelet

Course # AAJW ØØD

One-week session

This course is appropriate for jewelry students of all levels–beginner as well as intermediate and advanced. Some experience with sawing, polishing and soldering is useful, but not essential. Students are encouraged to experiment with the forms and techniques. Students can expect to have one finished piece of jewelry or a collection of finished samples; the emphasis will be on experimentation. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab fee: $65 Each student will be provided

with a kit with enough metal (primarily copper, brass and bronze) to make a sample of each technique and form. Students are encouraged to bring their own metal and tools. The lab fee also includes use of the consumables used in the course. The instructor will have only a limited amount of material for purchase. For students who have their own metal supply, it is suggested they bring sheet metal and wire of copper, brass, bronze or sterling. Enrollment limited to 12 students. Sandra Noble Goss has been a jewelry and metal artist since graduating from George Brown College in Toronto in 1973. Her jewelry studies began at Hornsey College of Art in London, England; she has a BA from York University, Toronto. Sandra is a partner of Goss Design Studio with her husband in Owen Sound, Ontario. She has exhibited widely in jewelry and craft exhibitions, juried shows, and solo shows. Her jewelry is hand made using traditional techniques and her metals of choice are sterling silver, brass, copper and bronze. For 20 years, Sandra was a part-time jewelry instructor in Georgian College’s jewelry program. In addition she taught at summer programs at the Haliburton School of the Arts and Idyllwild Arts.

Connie Fox, Lotus, Cuff Bracelet

JEWELRY

M E TA L S W E E K

MIXED-MEDIA/ BOOK ARTS

Handmade Findings Hook It, Hang It, Poke It, Stab It Deborah Jemmott July 8–12

Acrylic Ink Quilting Adventure................... 11 Judy Coates Perez

Course # AAJF Ø2

Assemblage.................................................. 11 Michael deMeng

One-week session It’s all about the details…the bail, the pinstem, the clasp, the earwire–and all the other mechanisms that make jewelry function. The thought and care that go into making the piece should also go into how the piece works. These elements are an integral part of the design in well-made jewelry. Handmade findings should enhance the design, give it a personal touch and complement the aesthetic of the overall design. They are a reflection of the attention to detail necessary in quality art jewelry. In addition, they can make a statement in and of themselves.

Deb Karash, Brooch

Betty Helen Longhi, Vessel for Dreaming Pendant

A Fresh Look at Spiculums

Deb Karash, Half Moon Earrings

Surface Design & Fabrication

Betty Helen Longhi

5/5/10 Deb Karash

June 16–20

Course # AAJW ØØE

Course # AAJW ØØF

One-week session

A spiculum is a tapered tube made from a flat sheet of metal. They are usually made by a process of forming similar to that which is used for traditional tube making. The resulting product is an elegant tubular form that can be bent in various ways after the seam is soldered. But this is just the beginning; what would happen if the pattern was irregular so when the edges came together, the seam line became curved? What about synclasticly forming the metal pattern before closing it into a tube? What if you anticlasticly form the spiculum and leave the seam open? Or how about combining synclastic and anticlastic areas in the same spiculum and closing it into a vessel form? In this workshop, we will address the basic forming processes and move beyond them to experiment with these additional options. In this new arena there are endless possibilities for making bracelets, collars, earrings, beads, vessels and abstract sculptural forms.

Five Days, Five Projects, Ten Techniques. This workshop will spend five days exploring surface design and fabrication techniques which will be combined to create five pieces of jewelry: stylish pins, pendants, cuff bracelet and earrings.

The workshop is appropriate for all metals students but some experience in forming metal would be helpful. Materials: A complete materials list will be

sent upon registration. Tuition: $715 Lab fee: $65 (Includes Metal–one 6x12x22ga

and one 6x6x24ga nugold, maple spiculum block, consumable materials–solders, fluxes, sandpaper, etc., and wood blocks for forming.) Students should bring their own hand tools – but they must be clearly marked. The instructor will have a large selection of hammers and stakes available for purchase during class. Enrollment limited to 12 students. Betty Helen Longhi is a nationally recognized metalsmith who creates finely crafted jewelry and sculpture. A master craftsman, she incorporates various texturing techniques with forging, shell forming and die forming in her pieces. Betty’s work has been exhibited at the Virginia Museum, Delaware Art Museum, American Craft Museum, South East Center for Contemporary Art, the Renwick Gallery Museum Shop and The Greenhill Center for North Carolina Art as well as numerous retail galleries. She has received a number of awards including an Individual Artist Fellowship funded by the Delaware State Arts Council and the National Endowment for the Arts. She has been a guest artist at the Univ. of Wisconsin, the Maryland Institute of Art and RIT School for American Crafts, and has taught at Haystack, Penland, Parsons School of Design, Peters Valley Craft Center and more. She maintains a studio and retail sales space in her lakeside home near Lexington, NC.

We will cover the following:

JEWELRY

We will go over problem-solving techniques, technical considerations and mechanical devices and how to build them. The focus of the class will be on creating samples to inspire future work. You are, however, encouraged to bring any pieces you have had trouble creating suitable findings for. Instruction will be given for all levels of students, however this class is best suited for students who have some jewelry making experience. Solder experience would be helpful. Materials: A complete materials list will be

• texturing

sent upon registration.

• rivets

Tuition: $715 Lab fee: $45 (Includes some metals, use of

• using paste solder • proper placement of findings • fitting layers without measuring • forming • forging small parts • other techniques This class is appropriate for all levels. Emphasis will be placed on design and finishing. Materials: A complete materials list will be

sent upon registration. Tuition: $715 Lab fee: $40 (Includes the use of all tools,

equipment, and consumables such as solder and compounds.) Students are encouraged to bring their own metal and tools–but they must be clearly marked. Enrollment limited to 12 students. Deb Karash is originally from Illinois where she earned an MA in Jewelry and Metalsmithing from Northern Illinois University. She now lives in the mountains of North Carolina. A full time studio jeweler, Deb sells her work at galleries throughout the US and Canada and teaches workshops. She is a founding member of Flow, an artists co-op in Marshall, NC. Her free time is spent renovating their new home in Asheville and traveling.

specialized tools, consumable materials such as solders, fluxes, sandpaper, etc. and use of instructors tools.) Students should bring their own metals and hand tools–but they must be clearly marked. The instructor will have some materials and supplies available for purchase during class. Enrollment limited to 12 students. Deborah Jemmott has shared her love for metal by teaching jewelry making and metalsmithing to others since 1978. She teaches through the San Diego Community College District in addition to teaching many workshops and private lessons in a wide range of topics. Her students have won awards for their work and many sell work that they have produced in class. Deb’s work has been featured in American Style, American Craft, Metalsmith, San Diego Home Garden and Redbook magazines as well as the San Diego Union Tribune newspaper. It has also appeared in 30-Minute Bracelets, Art Clay Silver and Gold by Jackie Truty, The Goodfellow Catalog of Wonderful Things III, Jewelry Making: A Guide for Beginners by Thomas P. Foote, and 20 years in Metal. She has exhibited widely and has work in galleries across the country. She also operates her jewelry and metalsmithing company “Enhancements.” www.debjemmott.com

Hand Forged Metal Books.......................... 12 Tracy V. Moore The Santos Cage Doll Redefined............... 12 Linda Lenart McNulty

Judy Coates Perez, Painted Fabric

SEE ALSO Doll Making & Beadwork............................ 15 Juanita Growing Thunder Fogarty Beyond Monotype....................................... 23 Ron Pokrasso

Michael deMeng, Untitled, altered instrument

Assemblage Michael deMeng June 27–28 June 29–30 June 27–30

Captured Treasures in Silver Metal Clay

Judy Coates Perez, Painted Fabric

Course # AAAS ØØA Course # AAAS ØØB Course # AAAS ØØ

Course # AAJC Ø1

Three-day session Most of us have a stash of small treasures– unusual rocks, shells, coins, moon-face cabochons, watch parts, etc. – that we’d love to feature in our jewelry. This class will focus on ways to incorporate these items in eyecatching pendants or pins made of silver metal clay. A wonderful medium made up of tiny particles of silver, an organic binder and water, silver metal clay works easily with simple tools. Dried pieces are fired in a kiln. They shrink slightly as the organic binder burns off. They emerge from the kiln as pure silver objects. Usually, cherished treasures can’t survive firing in a kiln. That means we will focus on alternate ways of setting these precious items using prongs and/or rivets after firing and finishing. The design of each pendant or pin will start from a basic concept that will be altered as desired by the student’s aesthetic and the demands of the object(s) to be featured in the piece. Other construction and decorative techniques that will be covered in the class include creating tubing for bails in metal clay, soldering pin findings, pearl setting, carving, and final finishing techniques. Some experience with metal clay will be helpful, but is not required. Materials: A complete materials list will be sent upon registration. Tuition: $490 Lab Fee: $30 (Includes use of basic kits, kilns

and consumable materials.) Art Clay Silver, some tiny treasures, pearls, 24k gold foil and other materials will be available for purchase in class. Enrollment limited to 12 students. clay since 1999. She is certified to teach in both Art Clay Silver and Precious Metal Clay. She is a contributing artist to Art Clay Silver and Gold by Jackie Truty, Exceptional Works in Metal Clay and Glass by Mary Ann Devos, and The Art and Design of Metal Clay Jewelry calendars by Holly Gage for the years 2009–2013. Her Protector Pendant was chosen as the cover piece for Holly Gage’s The Art and Design of Metal clay Jewelry 2011. Jonna has taught workshops at venues in France, New Mexico, California and Arizona. She also teaches out of her home studio in Escondido, CA. Her work has been sold at a number of fine craft shows and galleries. www.jonnafaulkner.com

Deborah Jemmott, Earrings

Students may select to enroll in one or both workshops.

Session I

Jonna Faulkner  July 6–8

Michael deMeng, Untitled, altered instrument

Two two–day sessions

Jonna Faulkner, Totem #1

Jonna Faulkner has been working with metal

Deborah Jemmott, Forged Pendant

Sometimes it’s difficult to think about the details of mechanisms before the design is complete. But it is best if those details are carefully considered early in the design process and then created as part of the entire piece. We will work on ideas and ways to integrate findings into your jewelry early-on in the design process.

Manuscript Books......................................... 12 Laura Wait

Judy Coates Perez, Painted Fabric Quilt

Acrylic Ink Quilting Adventure Judy Coates Perez June 30–July 2 Course # AAMQ Ø1 Three-day session Spend three days immersed in fabric surface design exploration using acrylic inks. We’ll begin with creating colorful textured backgrounds, explore mark making with different kinds of stamps, draw with quill and ruling pens, paint imagery opaquely and with a transparent watercolor look. Explore layering washes of color with simple imagery by creating masks with freezer paper and create textured patterning with simple resists from common items found in the office supply store. Each portion of the class will add another level of complexity to the image making process, culminating in a painted whole cloth piece incorporating the techniques learned. On the last day we will incorporate free motion quilting to the painted fabric using a wool felt substrate. This class is packed with tips and ideas of different ways to work with these versatile inks on fabric. Participants should have some free motion quilting and sewing experience.

June 27–28: Sanctum of the Forgotten Tune Over the years I have acquired many interesting bits and pieces of discarded goodies, but I have to admit that some of the most interesting of them were musical instruments. Usually by the time I get them all the melodies of their past lives have long faded; old trumpets, violins, oboes, and guitars are just dusty shells destined for a corner in the attic.

Michael deMeng

Or, perhaps, not…one thing I have noticed about musical instruments is that the old life never really leaves them. The brass, the mahogany, and ivory, though marked, still have a voice, though perhaps it is not a voice that can be heard but rather seen. In this class, you will bring old discarded instruments, and we will retune them-not to play music but so that they speak as a visual art form. Using the process of assemblage you will alter and/or combine broken violins, piano keys, trumpets, etc. and give them a new beginning as a shrine or sculpture. Music to your eyes. Enrollment limited to 20 students. Materials: A complete materials list will be sent upon registration. Tuition: $350 for Session I

$650 for both Session I & II

Session II

June 29–30: Baba Yaga Birdhouse In Slavic legend there is a tale of an old witch… sometimes a wise sage…but mostly trouble maker. Her name is Baba Yaga, who rides in a flying mortar, using her pestle as the rudder. It is said that she lives in a strange cabin in the

middle of the forest…surrounded by a fence made of bones, capped by skulls…an interesting idea...unless you are one of the skulls. The house itself is also grimly unusual… said to be perched upon giant chicken legs…sometimes one…sometimes two. This folktale seemed like a great source for a class idea. We will create a fantastical birdhouse perched on legs–doll legs, rubber chicken legs, or a mere pedestal. Now for a bit of extra credit, as an option, for folks who want to play with a bit of puppetry– I’ll show the class how to add flapping wings to the haggish home. This might come in handy if your birdhouse doesn’t have a leg to stand on…har, har. Enrollment limited to 20 students. Materials: A complete materials list will be sent upon registration. Tuition: $350 for Session II

$650 for both Session I & II

Michael deMeng is an assemblage artist whose

Materials: A complete materials list will be

work is heavily influenced by Latin American art forms such as retablos, ex votos, and milagros. Born in Southern California, he now works and resides in Missoula, Montana. As an artist he has participated in numerous exhibits that promote awareness of such issues as AIDS, breast cancer, environmental and other social issues. Michael is co-founder of Missoula’s Festival of the Dead, an annual event based on the Latin Dia de los Muertos designed to celebrate life, death and the arts, through education, performance, and visual arts. He is the author of the bestselling craft book, Secrets of Rusty Things. As an educator, he offers a variety of mixed media workshops throughout the country and over the years has been actively involved with VSA Montana. Through these activities, as well as his artwork, Michael fosters community awareness, and offers creative methods to explore the human experience. www.michaeldemeng.com

sent upon registration. Tuition: $490 Lab Fee: $20 (Includes white colored pencil,

china marker, tape, adhesive labels, plastic drop cloths, black and white textile paint, handouts, quill pen, aloe vera gel.) Enrollment limited to 10 students. Judy Coates Perez is an International awardwinning mixed media textile artist, traveling globally to teach painting and mixed media techniques on fabric. She received her BFA in graphic design from The Otis Art Institute of Parsons School of Design, but found her true passion when she began working with textiles. You can find her work in Quilting Arts, Cloth Paper Scissors magazines, three instructional DVD’s with Interweave and on Quilting Arts TV. Michael deMeng, Baba Yaga Birdhouse

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MIXED MEDIA/BOOK ARTS

MUSIC EVENT

N ATIVE A MERICAN A R TS The Native American Arts Workshops are designed for adults at all levels of experience and knowledge. Working closely with master artists and cultural specialists, students have the rare opportunity to learn traditional and contemporary Native American art forms and to gain an understanding of the rich cultural foundation which inspires and motivates each artist.

Linda Lenart McNulty, Dichroic Santos

Craft & Survival Skills ................................ 14 Tony Soares & Gerald Clarke, Jr.

The Santos Cage Doll Redefined Figurative Art Using Mixed Media Linda Lenart McNulty July 11–13

Native Plants ............................................. 15 Barbara Drake, Craig Torres, Daniel McCarthy, & Abe Sanchez

Course # AAMS Ø2

Three-day session

Manuscript Books Writing as Image, Exposed Sewing Laura Wait July 8–12

Course # AAMB Ø2

One–week session Handwriting and medieval sewing methods are the basis of this workshop. We will use the handsewn non-adhesive codex structure with exposed cords and straps. Handwriting will be developed to use as content and image in our books, along with painting using gouache and watercolor. Intuitive work practices and the use of alternative tools will facilitate the enjoyment and development of your handwriting and painting. You may use nonsense text, or any text you prefer to bring. Words and your own handwriting will become less scary! Your own original artwork and collage elements may be included in your work. There will be discussions on the process of creating and collecting images and ideas for the beginning of an artist book. A balance will be made between text, image, and structure. Strong functional sewing will result in unique, hand-illustrated books that function and can be handled with joy. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab Fee: $30 (IncludesArches Text Wove & BFK

Rives paper, sewing and book covering materials, miscellaneous writing materials, and use of instructor’s tools and calligraphy pens.) Enrollment limited to 10 students. Laura Wait’s art works focus on words as image, including the creation of one-of-a-kind artist books, encaustic painting and monoprints. She holds a degree in Art History from Barnard College, Columbia University, NY, and certificates in Printmaking and Bookbinding from Croydon College of Art, England. She teaches book art workshops throughout the country. Her artist’s books are in private and public collections worldwide, including the Library of Congress. Her work has been featured in many publications including a Masters of Book Arts and the cover of 500 Handmade Books.

Tracy Moore, Forged Metal Books

Hand Forged Metal Books & Full Throttle Journaling Tracy V. Moore June 20–22

Course # AAMJ ØØ

Three-day session During this three day class you will learn metal working, bookbinding, found object integration, hand sewing leather, resin, journaling and alternative photography methods. Each journal is unique and filled with the spirit of its creator. The time provided will allow us to create a visually stunning metal journal, as well as delve into the exciting world of creating closures and other journal accoutrements. While the focus of this class will be exploring the techniques required for the completion of your journal, we will also explore two of my other passions: full throttle journaling, and lomography (toy camera photography.) I will open up my Journaling arsenal, and share with you all of the tips and tricks I have, and use daily to keep me on the journaling path.

• Emergency Journaling. •

Incorporating photography into your journal. (I’m an avid Lomographer, so there will be a segment devoted to tips and tricks of film and toy camera use.)

• How to use, alter, and include photographs in your journal. Materials: A complete materials list will be sent upon registration. Tuition: $490 Lab Fee: $25 (Includes metal, leather, and

paper for the creation of one journal, and use of teacher’s tools. Extra kits available for purchase.) Enrollment limited to 20 students. Tracy Vaughn Moore has been creating and filling up unique books for over twenty years. His journal work and his photography have been featured in numerous galleries, books, and magazines. He has taught workshops across the US, as well as in England, Portugal, Spain, and Tokyo. www.sustainedconfusion.blogspot.com

Techniques we will cover in this class: Hand Forged Metal Books: • Book binding and book construction. • Making unique book closures and latches. • Using cold joint construction (rivets).

• Working with leather and wood as well as the metal. • Stamping words and letters into metal. • Working with wire. • Metal texturing. • The Journal as Jewelry.

• Doodling as a tool to free your mind. • Inks, watercolors, pens, & pencils. • Community journaling. • Documenting your personal journey through life. • Using the journal to help focus your “intention.”

Laura Wait, Artis Litterarius, I

MIXED MEDIA/BOOK ARTS

The first day you will be guided through sculpting in polymer, incorporating found figurative elements, and the casting of figurative parts. Molding putty makes the casting process simple and fun. Then you will learn all about pouring resin into mold forms and all it entails. We will play with color, opacity vs. transparency, and the embedding of objects and text. We will also pour encaustic forms and experience the differences and similarities between these two mediums. The second day, we unleash the molds and work on our new forms, with painting and layering processes, surface treatments, and re-forming pieces to fit each other. We will use files, drills, glues and epoxies, and even magnets. This is the day we build and paint our French cage. Then, after incorporating any found objects, we attach the grand parts together and move toward embellishment. The embellishment process may entail ribbon, chain, rosaries, crowns, wings, wire, paper, charms, beads, collage, material, or photographs….really anything.

Chamber Music In Idyllwild July 31–August 8 Please join us for four extraordinary chamber music concerts this summer as part of Chamber Music in Idyllwild. Renown performers from the Chamberfest faculty will perform a wide range of chamber music selections from the Baroque to the present, including music for strings, winds, brass and piano. KUSC Classical DJ Rich Capparela will provide insightful commentary about the music during three pre-concert talks. The concerts will take place in Stephens Recital Hall. The schedule of concerts: WEDNESday, JULY 31 7:30 p.m. Pre-Concert Talk: Rich Capparela 8 p.m. Concert I FRIday, AUGUST 2 8 p.m. Faculty Concert

FIBERS Cahuilla Basketry ..................................... 15 Rose Ann Hamilton Doll Making & Beadwork ........................ 15 Juanita Growing Thunder Fogarty Hopi Basketry................................................ 16 Griselda Saufkie & Antoinette Abeita Navajo Weaving ...................................... 16 Barbara Ornelas & Lynda Pete JEWELRY Hopi Jewelry: Overlay & Tufa Casting...... 17 Roy Talahaftewa Navajo Inlay Jewelry Richard Tsosie

............................... 17

MUSIC/CARVING Native American Flutemaking ............... 17 Marvin & Jonette Yazzie, Ernest Siva POTTERY Hopi-Tewa Pottery Mark Tahbo Mata Ortiz Pottery Jorge Quintana

.................................... 18 .................................... 18

Santa Clara Pottery...................................... 18 Nathan Youngblood

Parks Exhibition Center

Overview Continuum in Native American Arts and Culture Each day, the visiting scholars and artists will explore a wide range of topics with slide lectures, demonstrations, & performances. Native food tastings daily.

Indicates workshop takes place during the Native American Arts Festival.

Navajo Inlay Jewelry Class

The week-long Native American Arts Festival, designed to enhance and add depth to the hands-on workshops, includes performances, the Michael Kabotie Lecture series, art exhibits, and informal discussions

SATURday, AUGUST 3 7:30 p.m. Pre-Concert Talk: Rich Capparela

with a distinguished group of artists, tribal elders and scholars. In addi-

8 p.m. Concert II

to participate and learn about the most current issues and theories

THURSday, AUGUST 8 7:30 p.m. Pre-Concert Talk: Rich Capparela

concerning Native American artists, art and culture.

8 p.m. Concert III

tion, the Festival Week offers a way for those not enrolled in a workshop

The spirit of this annual series is to bring the scientific, intuitive and trickster voices together for a balanced and provocative learning experience. This year’s program, “Continuum,” invites participants to consider current social or creative actions as the contemporary manifestation of an ancient expressive tradition. Instead of looking at arts and cultures through the static lens of “old vs. new”, “traditional vs. contem-

Materials: A complete materials list will be sent upon registration.

Full Throttle Journaling and Lomography: • Breaking into the blank page.

•

In this workshop you will be given the time and space to stretch your mind, your heart and your vision, and apply it to the making of a figurative piece in an extensive variety of mixed media. We will each be making a Santos Cage Doll, uniquely our own, an individual statement of ourselves. Conceptually, the figure in art is the epitome of reflection into ourselves. The French Santos Cage Doll is an exceptional form of expression for this reflection, as it is half “cage”/ half “saint” (our higher selves). Within the working of this form, we, as artists, are presented with an intriguing and personal opportunity to express inner conflict, struggle and resolution. Perhaps even Rapture.

The third day, we create a small Reliquary to go along with our figure. This can be resin or encaustic, and uses techniques in collage, casting, and embedding. The Reliquary can be held or worn by the figure or hung within the figure. Alternately, a student can choose to cast another figure to sit within the original figure. Overall height of finished Santos Cage Doll will be approximately 18”. Open to all levels of experience.

• Becoming comfortable with hand tools, dremels, and drills.

June 30–July 6, 2013

CULTURE Native Arts Festival....................................... 13

Tracy Moore, Atomic Disintegrator Journal Page

Laura Wait, Artis Litterarius, I

Native American Arts Festival

porary” or “lost vs. preserved”,

Tuition: $490 Lab fee: $65 (Includes wood cage sets, en-

the idea of “continuum” offers

caustic medium, ICE resin, molding putty, paints, inks, mica powders & stone, metal leaf, collaging papers, photo transfer paper, use of tools, shared consumables.) Enrollment limited to 15 students.

an alternative view of arts and culture as ever-evolving aspects of human expression.

Linda Lenart McNulty is a Figurative and Encaustic Artist, and has received degrees in Fine Art and Dance from Columbia College, Chicago. She lives in Oberlin, Ohio where she teaches Encaustic Painting, Encaustic Jewelry and Encaustic and Resin Casting. Her new body of work redefines the Santos Cage Doll, and highlights her love of sculpting, casting and conceptual art. www.luminousencaustics.com.

Creative writing techniques. (Writing, after all, is at the true heart of a journal. We will discuss many techniques to keep this process fun…whether you are simply chronicling the day’s events, jotting “to do” lists, or creating the next great novel.)

Please note:

Workshops that

occur during the festival are designated with the festival logo.

Linda Lenart McNulty, Feathered Santos

Jonathan Sharp & Ellen Rosa, “Dark Made Light” 2012 9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

summer@idyllwilda rts.o r g

MUSIC/NATIVE AMERICAN ARTS

CULTURE

FIBERS

Southern California Indigenous Craft & Survival Skills Tony Soares & Gerald Clarke, Jr. June 29–30

Course # NASS ØØ

Two-day session

Gerald Clarke, Jr., Netmaking

Day one will focus on the making of a Southern California Indian arrow and quiver. Each participant will construct arrows using bamboo cane and arrowweed, learn ancient techniques of knapping obsidian into arrow points, make hardwood foreshaft arrow points, and process deer tendon (Sinew) for attaching feathers and arrow points. Participants will have the rare opportunity to construct a traditional Southern California Indian quiver processed from the yucca plant stalk. This process entails hollowing the stalk, processing the yucca plant into fibers for the strap, and decorating the Quiver.

The Cahuilla Birdsingers

Michael Kabotie Lecture Series

Krieg Kalabasa, James Luna, Michael Kabotie

FESTIVAL WEEK Events Open to the Public Dustinn Craig 2011 Film Festival

Brent Michael Davids’ Last of the Mohicans concert 2011

Continuum in Native American Arts and Culture. Each day, the visiting scholars and artists will explore a wide range of topics on “Continuum” with slide lectures, demonstrations, & performances. Native food tastings daily. Sunday, June 30 6:30 p.m. Panel: Native American Arts at ISOMATA 1950–2013

Jock Soto and Laura Ortman 2012

Monday, July 1 7 p.m. Guest Artists’ Discussion *

Freddie Bitsoie

8 p.m. Invitational Exhibition Opening/Reception Tuesday, July 2 12–1 p.m. Kabotie Lecture Series: * Freddie Bitsoie, Native Cuisine in the Americas

FESTIVAL WEEK Guests

Mark Tahbo

Joe Baker Delaware Tribe, Consultant to this program, Executive Director, Longue Vue House and Gardens, New Orleans Gerald Clarke, Jr. Cahuilla, Artist, Tribal Council Vice Chairman, Cahuilla Band of Indians Freddie Bitsoie Navajo, Chef, Anthropologist

NATIVE AMERICAN ARTS

In this hands-on course, students will be using various tools and techniques to create traditional objects used by the indigenous people of Southern California for subsistence. Students will learn how to gather and process the materials needed to create these traditional items.

Wednesday, July 3 12–1 p.m. Kabotie Lecture Series: * Dr. Jessica Metcalfe, Native American Fashion Thursday, July 4 12–1 p.m. Kabotie Lecture Series: * TBA 7 p.m. Film Night: Documentary, “Akway Nyewaa: Coming Back Home” by Phillip Espinoza Friday, July 5

Phillip Espinoza Mesa Grande Band of Mission Indians

7 p.m. Performance: Cahuilla Birdsingers. Special Guest, TBA

Dr. Jessica Metcalfe Turtle Mt. Chippewa, Founder, Beyond Buckskin

SaturDay, July 6 8 a.m. Hopi-Tewa Pottery Firing. Mata Ortiz Pottery Firing

Additional guests to be announced.

* Includes Native Food Tastings

Day two will focus on hunting techniques including the rabbit stick (a boomerang-like weapon), deadfall traps and hunting net. Guest Brandon Duran will teach rabbit stick making. In the hands of a skillful hunter, it was an effective weapon for harvesting small game at a distance of up to fifty feet. The deadfall trap consists of a heavy rock or log that is tilted on an angle and held up with sections of branches, one of which serves as a trigger trapping small game. Finally, the hunting net is a long weaving of natural fibers used to entangle small game that would be driven into the net. In addition, participants will see demonstrations of Atlatl (spear) throwing, and fire-starting using two sticks. Students should expect moderate physical activity throughout the workshop. Materials: A complete materials list will be sent upon registration. Tuition: $220 Lab fee: $25 (Includes preparation and collec-

tion of many of the items to be used in class.) Enrollment limited to 8 students. Gerald Clarke, Jr. is a member of the Cahuilla Band of Indians located 40 miles southwest of Palm Springs, California. He currently lives on his family’s ranch on the reservation and serves on the Tribal Council as Vice-Chairman. Gerald has taught classes in Sculpture and New Media at Idyllwild Arts Academy for the past seven years. Previously, Gerald served as an Assistant Professor of Art at East Central University in Ada, Oklahoma. In addition to his teaching duties, he has exhibited his work at a variety of venues throughout the country and abroad. In 2007, Gerald was awarded an Eiteljorg Museum Fellowship for Native American Fine Art. Tony Soares learned the fundamentals of pottery from his grandmother at age seven, starting a 30+ year journey to revive the fading art of olla making. Though not of Cahuilla descent, he is credited with helping to revive the art of Cahuilla pottery making through his experimentation with local clays and indigenous handbuilding techniques. Today, his pottery is displayed in art galleries and museums including the Tahquitz Canyon Museum. Tony is dedicated to sharing his knowledge to ensure that Native American pottery making is never lost. He has taught his skills at many venues including the Agua Caliente Band of the Desert Cahuilla of Palm Springs and the Yuman tribes of the Colorado River, Arizona.

Elderberry

Elderberry Branch Medicine Pouch

Native Plants Contemporary & Traditional Uses Barbara Drake, Craig Torres, Daniel McCarthy & Abe Sanchez July 6–7

Juanita Fogarty, Untitled Soft Sculpture with Quillwork Historic Cahuilla Basket

Course # NANP Ø1

Cahuilla Basketry

Two-day session Learn ways to preserve and utilize native plants in this hands-on workshop. On day one, begin with an ethnobotany talk in the campus meadow next to ancient Cahuilla bedrock mortars to learn about local plants and their many uses. Next, learn how to make items from the Elderberry plant: instruments (clapper sticks decorated with abalone shell), a medicine pouch (small container out of hollowed branches); and learn about the many uses of elderberry for medicine, food, and dye (to blacken juncus for basketmaking). In the evening, visit local Cahuilla rock art sites to learn the meaning, historical significance and importance of the preservation of these sites. Day two will be devoted to traditional and modern gathering practices of native plants; preparing and cooking with a wide range of plants; and will include demonstrations on the processing of acorns, mesquite beans, prickly pear cactus and chia into various products. Finally, feast together on the foods we prepare together in class. Each student will receive a book of recipes. This workshop is dedicated to our teacher, Katherine Siva Saubel, with deep gratitude. Tuition: $220 Lab fee: $30 (Includes all materials, collected

and prepared; foods; field trip transportation and park fee.) Enrollment limited to 20 students. Barbara Drake (Tongva) is a tribal elder and culture keeper. Her program, Preserving Our Heritage, is a food bank of native foods collected, preserved and processed for tribal elders. She is a member of the Mother Earth Clan, a group of three Southern California Native American women educators who have taught extensively in museums, schools and tribal institutions. Craig Torres (Tongva) is a member of Traditional Council of Pimu and involved with Ti’at Society, an organization focused on the revival of the tra-

Barbara Drake Harvesting Elderberries

ditional maritime culture of the Southern California coastal region and Southern Channel Islands. He is an artist, as well as cultural educator, presenter and consultant to schools, culture and nature centers, museums, and city, state and government agencies acting as a consultant on the Tongva. He has also been involved with the organization Sharing Our Heritage and Chia Café, which provide cooking demos and classes with California native plants. These activities also provide education on the importance of preserving native plants, habitats and landscapes for future generations.

Daniel McCarthy received his BS and MS in anthropology from the University of California, Riverside. For the past 40 years, he has worked at Anza-Borrego Desert State Park, Joshua Tree National Park and throughout Southern California compiling photographic inventories of rock art sites in these areas and throughout the western region. He has worked with Elders and Traditional Practitioners for over 35 years and served as the Tribal Relations Program Manager for the San Bernardino National Forest for 17 years. He is currently Director, CRM Department, at San Manuel Band of Mission Indians. Abe Sanchez has been actively involved in the revival and preservation of Indigenous arts and foods. Two of his specialties are Southern California Native American Basketry and California and Southwest Native foods. He has had the opportunity to work closely with traditional Native American gatherers to learn the methods and practices of these cultural specialists. His interest in traditional foods is that many of these local ingredients are sustainable products that are readily available yet underutilized. He believes that by having the opportunity to teach about these ancient natural foods and helping people learn ways to prepare and eat them again can make a difference in both their health and our environment.

Soft Sculpture Doll Making & Beadwork

Rose Ann Hamilton

Juanita Growing Thunder Fogarty

July 1–5

Course # NACB Ø1

Course # NADS Ø1

One-week session

The Indian tribes of California produced baskets of great diversity and beauty. The exquisite baskets of the Cahuilla, in particular, are recognized among the highest form of the basket making art, and in recent years the Cahuilla have experienced a revival in the tradition.

In this course learn how to create a traditional Plains style doll using materials that were common in making dolls of the past. Plains dolls were originally learning and play items used to teach the youth of the Plains culture. Students will hand build a buckskin doll and adorn it with traditional clothing and accompaniments.

Each student will learn how to create a basket of his/her own during the workshop using yucca, sumac, juncus and deer grass. On a field trip to the nearby Cahuilla Reservation, students will be taught identification of plants used in basket making and will learn how to prepare the plants for use. Tuition: $715 Lab fee: $40 (Includes materials, field trip

transportation and use of tools in the class.) Enrollment limited to 10 students. Rose Ann Hamilton, Mountain Cahuilla, learned the art of Cahuilla Basketmaking from Donna Largo, longtime Idyllwild Arts summer faculty member and the weaver responsible for the current revival of the tradition. Rose Ann was one of Donna’s first Cahuilla students, and has been making baskets for 20 years . She is active in the Southern California Indian Basketweavers Association, and teaches basketmaking at numerous venues, including Agua Caliente Cultural Museum and UCLA.

Experience all techniques and steps used in the process, including constructing a doll body and making the clothing, preparing beadwork items to decorate the dolls, and more. Students will have the opportunity to experience the labor intensive ingenuity of creating a doll/ soft sculpture from scratch. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab fee: $195 (Includes brain tanned buckskin,

human or synthetic hair, cotton stuffing, cotton printed materials for clothing.) Enrollment limited to 6 students. Juanita Growing Thunder Fogarty is from the Fort Peck, Assiniboine and Sioux Tribes of Montana. She has been studying with her mother, Joyce Growing Thunder, her entire lifetime, learning the traditional arts of her tribes. She is accomplished in bead work as well as porcupine quill work, and has won many top awards during her 27 years of participating at the Santa Fe Indian Market. Her work has been featured in numerous museum shows, including the Smithsonian’s National Museum of the American Indian (NMAI) Identity by Design show, and the exhibit A Song for the Horse Nation, as well as the current NMAI exhibit Grand Procession: A Collection of Contemporary Native American Soft Sculpture (dolls) opening April of 2013. Juanita has shared her knowledge with others through teaching beadwork classes as well as mentoring many individuals throughout the years. In putting value in the tradition of her work she strives to honor her people’s past, in hopes that her work will help to preserve the future generation’s connection to their culture.

Rose Ann Hamilton

Juanita Fogarty, Horse and Rider Soft Sculpture 9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

summer@idyllwilda rts.o r g

NATIVE AMERICAN ARTS

JEWELRY

MUSIC/CARVING

Roy Talahaftewa, Tufa Cast Bracelet

Navajo Weaving Studio

Navajo Weaving Beginning & Intermediate Barbara Ornelas & Lynda Pete

Hopi Coiled Basket start

Hopi Basketry Coiled Plaques & Sifter Baskets Griselda Saufkie & Antoinette Abeita June 24–28

June 24–28 July 1–5

Richard Tsosie

Native American Flute Making

Course # NANW ØØ Course # NANW Ø1

Hopi Jewelry

One or Two-week session

Course # NAHB ØØ

Hopi Baskets play an integral role in the life and ceremonies of the Hopi people. From dances and weddings to giving thanks and appreciation, the uses of baskets at Hopi are many. The exquisite baskets that are woven by Hopi women come in three distinct styles and techniques. The coiled plaques made at Second Mesa are the subject of this workshop.

Students will have the opportunity to learn the art of weaving from Master Navajo Weaver, Barbara Teller Ornelas, originally from Two Grey Hills and Newcomb, New Mexico, and her sister Lynda Teller Pete. While instructing and demonstrating, Barbara and Lynda will share their family’s personal weaving stories and experiences, allowing participants a chance to view the world of Navajo weaving.

This is a rare opportunity to work with Hopi elder Griselda Saufkie from the village of Shungopovi, Second Mesa, and her daughter, basketmaker Antoinette Abeita. Students will learn the techniques of making and incorporating design into a coiled plaque basket. They will learn how the yucca and galleta grass are gathered and prepared for texture and color, and each student will then design and create a plaque basket. In addition, Griselda will bring fresh green yucca and rings to create Hopi sifter baskets. This is a two day process, so a student may choose to learn this technique in addition to the coil technique.

According to Navajo oral tradition two holy people, Spider Woman and Spider Man, introduced weaving to the Navajo. Spider Man constructed the first loom, which was composed of sunshine, lightning, and rain; and Spider Woman taught the people how to weave on it. Spider Woman was discovered by the Holy Twins, the culture heroes of the Navajo Creation Story, in a small opening in the earth surrounded by an array of beautiful weavings. Entering her dwelling, the Holy Twins descended a ladder made of yarn, whereupon Spider Woman offered them knowledge of the world of weaving.

One-week session

Materials: A complete materials list will be

sent upon registration. Tuition: $715 Lab Fee: $45 (Includes gathered and prepared

materials and the use of tools in class.) Enrollment limited to 8 students. Griselda Saufkie lives on the Hopi Reservation in Arizona. She began making baskets upon initiation, when she was about 12 years old. She has the distinction of being named an Arizona Indian Living Treasure. Griselda has received many awards for her basketry, and is included in books such as Art of the Hopi: Contemporary Journeys on Ancient Pathways, by Lois and Jerry Jacka. Antoinette Saufkie Abeita, daughter of Griselda and the late Lawrence Saufkie, resides on the Hopi Reservation in the village of Soongopavi, and belongs to the Water Clan. She started making baskets at the age of 18 after going through the Lakon (basket dance) initiation and has kept the tradition going. Her mother took Antoinette’s baskets to the Arts and Crafts Markets to sell for her, and she now shares a booth at the Santa Fe Indian Market with her mother.

Beginners: Students will learn the traditional method of Navajo weaving and will begin weaving on Day 1 with a pre-warped, upright Navajo loom. The majority of the week will be spent designing and learning how to weave a 12” x 16” rug. There will be a lesson on warping a loom later in the week. Beginning weavers may enroll for the full two weeks or in the first week only. Intermediate: Students will learn more advanced weaving techniques and more intricate patterns, and the rug may be any size. Students who have begun a rug in this workshop in previous summers may bring their rugs to complete, or may begin a new rug. Intermediate students must bring their own loom and it must be set up for weaving before class begins. Alternately, they may order a pre-warped loom (when they register) to work on if they prefer. Intermediate students (those who have taken this course before or have had previous basic training in Navajo weaving on an upright loom) may enroll for the full two weeks or in the second week only.

June 24–28

July 5–7

Course # NAJH ØØ

In this workshop, students will learn the classic Hopi Overlay technique of metalsmithing, as well as Tufa Casting. Tufa is a soft porous stone used for direct casting one-of-a-kind designs. Student may combine tufa cast pieces with their overlay designs (multiple layers of sheet silver with cut-out designs, textured and oxidized recessed surfaces), or students may create separate overlay and tufa works. In addition, the instructor will demonstrate techniques for making stamping tools. Lynda Pete

Materials: Students may wish to bring a seat

cushion and small clamp or desk lamp. Tuition: $715 per week Lab fee: $75 beginners (Includes the use of

a pre-warped loom and all tools in class, six skeins of wool. Looms, additional wool, battens and combs will be available for purchase.) Intermediate students: no lab fee (wool and warp will be available for purchase. If choosing to use a pre-warped loom, which must be ordered at the time of registration, the lab fee is $45.) Enrollment limited to 10 students per week. Barbara Teller Ornelas is best known for her Navajo “tapestry” weavings (95–120 weft threads per inch). She has set several records with her weavings: she has won Best of Show at the Santa Fe Indian Market twice; she established a new record in 1987 by selling a weaving for $60,000 that she and her sister Rosann Lee made; and she has woven the largest tapestry-style Navajo weaving on record. Barbara is a fifth generation weaver who was raised near Two Grey Hills on the Navajo Reservation where her father was a trader. She has been featured in National Geographic, Business Week, Americana and Native Peoples Magazines, as well as numerous books. She has won dozens of awards, and has demonstrated and lectured at museums and institutions across the country and recently did a cultural exchange with the Peruvian weavers in Peru at the request of the US State Department. Barbara and Lynda have taught their popular workshop at Idyllwild Arts for 15 summers.

Beginning students will be introduced to the fundamental materials, processes, and techniques of silversmithing, and those with experience will be able to fine-tune their skills while mastering new techniques. Intermediate and advanced students may choose to learn the shadow box technique. Because students will be working closely with the teacher, the workshop is well-suited for students of all levels of experience. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab fee: $65 (Includes pre-cut tufa, the use of

all tools, equipment and consumables such as solder and compounds.) Students are encouraged to bring their own silver and hand tools, if they have them, but these items must be clearly marked. Some silver sheet will be available for purchase in class. Enrollment limited to 12 students. Roy Talahaftewa is from Shungopovi Village on the Hopi Reservation in Arizona, and is a member of the Water Clan. He works in both silver and gold, and uses both Hopi overlay and tufa casting in his designs. Roy has been receiving major awards for his work since 1981, including Best of Show at the Heard Museum, among many others. Working with the non-profit Hopi Pu’tavi Project, Inc., Roy teaches Hopi youth the art of metalsmithing, and he is an active advocate and promoter of Hopi artists on the reservation.

9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

Navajo Inlay Jewelry Richard Tsosie July 1–5

Course # NAJN Ø1

One-week session The Navajo adopted the art of jewelry making from the Spanish after contact, taking the art to new heights and establishing a style that is now considered to be the “traditional” Navajo style. Today, there are many Navajo jewelers who are moving beyond that style, designing contemporary pieces of jewelry which reflect a new Native American reality. Artists are creating colorful collages and patterns with beautiful stones and shells set in gold and silver. In addition to turquoise and coral, it is not unusual to find lapis lazuli, purple lavulite, diamonds, pearls, malakite, jet stone, jade, melon shell and other stones, shells and gems in contemporary Native American jewelry. Working closely with one of the leading contemporary Navajo jewelers, students will learn the techniques used to create such pieces. They will design patterns, cut, grind and prepare stones, and set the stones into basic silver forms (rings, bracelets, earrings, bolos, etc.) which they have created. Participants without prior experience in silversmithing will also be introduced to the basic concepts of shaping silver.

In this workshop, each student will construct and decorate a six-hole flute under the guidance of an experienced Navajo flute maker. They will also learn some history of flutes as well as the care and handling of their newly created instrument. During the course, ethnomusicologist Ernest Siva will teach the basics of flute playing and each student will receive a small booklet of flute music.

Marvin Yazzie

Beginning students (3-day session begins July 5) will use western red cedar for the body of the flute. They will carve, shape, oil, tune and finally decorate their flute. The Pentatonic scale will be used to tune the flutes and students may choose the key (from F to A). Intermediate students–those who have taken class from the Yazzies in the past (4-day session begins July 4) will use poplar for the body of the flute in the key of B (low)–new this year. The flute will be side blown and have a 1 1/4 inch bore size. Materials: A complete materials list will be sent upon registration. Tuition: $490 (Beginning, 3-day session)

$590 (Intermediate, 4-day session)

Lab fee: $40 (Beginning, 3-day session)

$60 (Intermediate, 4-day session) (Includes wood, totems, materials and the use of tools and equipment in class.) Enrollment limited to 10 students.

Marvin and Jonette Yazzie are from Lukachukai, a small town on the Navajo reservation in the Four Corners region of Arizona. Jonette assists Marvin in flute making, an art they learned from their relative Willard Coyote. Their flutes are carried in the Heard Museum shop and others around the country, as well as Asia and Europe. Recording artist Scott August of Cedar Mesa Music has used Yazzie flutes on Sacred Dreams and New Fire, two of his CDs. Marvin is listed in Flute Magic and Voices of the Flute. Yazzie flutes are used in the music programs of Tuscon and Klamath-Trinity school districts. Marvin and Jonette played flutes in the play Anasazi at the Ramona Bowl in 2011and played preshow for the Ramona Pageant. www.yazzieflutes.com

Tuition: $715 Lab fee: $45 (Includes the use of all tools,

equipment, and consumables such as solder and compounds. An additional charge will be made for all silver and stones used. A small selection of turquoise and other stones will be available for purchase, but students are encouraged to bring their own stones if they have preferences on colors/stone types.) Students may bring their own silver, tools, stones, and a work lamp which must be clearly marked. Enrollment limited to 10 students.

Ernest H. Siva is a musician and teacher. He is the cultural advisor and tribal historian for the Morongo Band of Mission Indians. Siva formerly taught public school music in Palm Springs and Los Angeles before teaching courses in American Indian music at UCLA for 12 years. He and his wife June are Idyllwild Arts alumni and trustees. In 2004, Ushkana Press published his book, Voices of the Flute. He is president and founder of the Dorothy Ramon Learning Center.

from Flagstaff and the Wide Ruins area of the Navajo Reservation and is currently living in Scottsdale, Arizona. His work has been featured in American Indian Art Magazine, Arizona Highways Magazine, the video Beyond Tradition: Contemporary Indian Art and Its Evolution, as well as several books including, Southwestern Indian Jewelry by Dexter Cirillo and Enduring Traditions, Art of the Navajo by Jerry Jacka. Richard’s work has been exhibited in galleries and museums from New York to California.

summer@idyllwilda rts.o r g

Course # NANF Ø1B

Beginners: 3-day session (Fri.-Sun.)

Richard Tsosie is a Navajo jeweler and sculptor

Roy Talahaftewa

Course # NANF Ø1A

Intermediate: 4-day session (Thurs.-Sun.)

One-week session

Hopi Sifter Basket

NATIVE AMERICAN ARTS

July 4–7

Overlay & Tufa Casting Roy Talahaftewa

Lynda Teller Pete began weaving at age 6 and won her first major award at age 12 at the Gallup Ceremonial. She has gone on to win numerous awards for her weaving; recently winning the Best of Classification for Textiles at the prestigious 2011 Santa Fe Indian Market. Lynda collaborates with museums, schools and other art venues in Colorado and around the country to teach the public about Navajo weaving. She is also known as an accomplished beadwork artist and has won many awards for this work as well. www.navajorugweavers.com

Marvin & Jonette Yazzie, Ernest Siva

Roy Talahaftewa, Sun Buckle

Ernest Siva

NATIVE AMERICAN ARTS

PA I N T I N G & D R AW I N G

POTTERY

Color Boot Camp......................................... 19 Bill Perkins Contemporary Approaches to Painting.. 19 Iva Gueorguieva Drawing Intensive......................................... 20 Margaret Scanlan Encaustic Painting & More......................... 20 Cari Hernandez The Figure & Still Life: Direct Painting......... 20 Scott W. Prior

Boot Camp Student Color Study

Bill Perkins, Rose Estate

Narrative Figurative Painting...................... 21 Rebecca Campbell Painting the Figure....................................... 21 Robert Regis Dvorák Travel Drawing & Painting........................... 21 Robert Regis Dvorák

Jorge Quintana

Bill Perkins, Morning Coffee

Watercolor from Within................................ 22 Barbara Nechis Nathan Youngblood, Untitled Jar

Santa Clara Pottery

Hopi Pottery Firing

Watercolor Unleashed................................ 22 Nicholas Simmons

Nathan Youngblood June 24–29

Course # NAPS ØØ

One-week session-includes Saturday a.m. firing

Mata Ortiz Pottery Jorge Quintana July 1–6

Course # NAPM Ø1

One-week session-includes Saturday a.m. firing Inspired by the ancient Casas Grandes pottery of Chihuahua, Mexico, Juan Quezada began making pottery in 1975 in his village of Mata Ortiz. His success inspired others to begin making this style of pottery, and there are now hundreds of potters working in Mata Ortiz. Jorge Quintana was one of Juan’s students, and has emerged as one of the outstanding and innovative potters of this second generation of Mata Ortiz artists.

Mark Tahbo, Mixing Clay

Hopi-Tewa Pottery Mark Tahbo July 1–6

Course # NAPH Ø1

One-week session-includes Saturday a.m. firing Students in this workshop will learn the traditional Hopi method of creating polychrome pottery, including coil building, stone burnishing, painting with natural pigments, and firing. Learn how to process and prepare raw clay for pottery making and to prepare beeweed plant for black paint. Students will also have the opportunity to experiment with two types of clay, the Hopi-Tewa gray clay, as well as the yellow ochre clay that Nampeyo often used; see demonstrations of slipping techniques using white kaolin and yellow ochre; and learn two firing techniques (for both gray and yellow ochre pots). The natural clays and paints are provided by the artist, from the Hopi Reservation in Arizona. There is enough clay for each student to make 2 to 3 small pieces of pottery – all that can be successfully completed in the week-long workshop. This is not a production pottery course, but a careful examination of the delicate process of Hopi pottery making and the cultural foundation from which the art is inspired.

Mark Tahbo, Jar with Moths

In this course, students will learn to create both polychrome and black pots in the Mata Ortiz tradition. Participants will build, polish, sand, paint and fire their pots in an outdoor firing. Jorge will also teach how to make paint brushes with hair, mix clay and pigments. The clay and paints/pigments are provided by the instructor and are gathered from his home. Tuition: $715 Lab Fee: $50 (Includes clay, pigments, firing

materials, and the use of pukis and other tools in class.) Enrollment limited to 12 students. Jorge Quintana is an artist, innovator, entrepreMark Tahbo

Tuition: $715 Lab Fee: $55

Enrollment limited to 15 students. Mark Tahbo is known as one of the finest Hopi potters today. Born and raised on the Hopi Reservation, First Mesa, Mark learned the art from his great grandmother Grace Chapella, Nampeyo’s neighbor and a principle pottery “revival” artist decades ago. His distinctive pots have been exhibited worldwide in museums and galleries. Among the many top awards he has earned at the Santa Fe Indian Market is the prestigious Helen Naha Memorial Award for Excellence in Hopi Pottery which he earned for 3 consecutive years. Mark has been profiled in various publications including Native Peoples Magazine, and is included in numerous books and articles on Pueblo pottery.

neur and teacher. Jorge is known not only for his exquisitely symmetrical polychrome pots, but also for his experimentation with the use of different minerals to color his pots. He has demonstrated the art across the U.S. at venues including the Southwest Museum in Los Angeles, Idyllwild Arts, the Autry Museum, and the Sam Maloof Foundation for Arts and Crafts. His distinctive polychrome pots have been shown in the major exhibitions on Mata Ortiz pottery, including the Exhibits USA Potters of Mata Ortiz traveling exhibition and the American Museum of Ceramic Arts (AMOCA) exhibition in Pomona, California. He is included in books on the subject, including The Miracle of Mata Ortiz by Walter Parks.

Learn the traditional methods and techniques for making Santa Clara Pueblo pottery–the distinctive black polished work with carved designs. The instructor will guide students through all the steps from processing the native clay, hand–building using the coil technique, designing, carving, slipping and stone burnishing, to reduction firing for blackware. Because the instructor’s method requires extensive air-drying time, each student will have the privilege of using a dried vessel prepared by the instructor to learn the carving, polishing and firing techniques. In addition, each student will start pieces from the beginning of the process–mixing clay (with your feet!) and building pots–and will be able to complete those pieces at home after the 30-day drying period. The workshop will also include individual firings, and discussions about Santa Clara Pueblo, the pottery making tradition, and the cultural foundation from which the art is inspired. The raw clay and paints are provided by the artist, and are gathered from his home. Tuition: $715 Lab Fee: $125 (Includes clay, paints, stones

and all materials, as well as one 5” to 6”dried vessel prepared by the instructor to complete.) Enrollment limited to 12 students. Nathan Youngblood is a sixth generation potter from Santa Clara Pueblo, New Mexico, and is the grandson of renowned potter Margaret Tafoya, and son of Mela Youngblood. He has been making pottery since 1972, creating both black and red & tan traditional styles, and adhering to all the traditional aspects of making a bowl. Nathan has won numerous awards in Native American pottery competitions. His work has been exhibited widely at galleries and museums across the country, and he has been included in numerous magazines and books on Native American art and pottery. Nathan has served on the boards for the American Craft Council, Gallup Inter-Tribal Ceremonial, the Southwestern Association of Indian Arts (SWAIA), and the Wheelwright Museum.

SEE ALSO Acrylic Ink Quilting Adventure................... 11 Judy Coates Perez Encaustic Monoprinting.............................. 23 David A. Clark

Bill Perkins, 4th of July

Color Boot Camp Bill Perkins July 1–5

Course # AAPC Ø1

One-week session During this five day intensive class students will paint between fifteen and twenty-five paintings. We will be covering six basic contrasts of color theory. No swatches or charts, we will be painting directly from models set-up in specific color and lighting situations that present these aspects of color theory as they appear in the real world. This fast-paced method of specific set-ups and consistent change is unique to this workshop. I have designed it specifically to challenge artists as well as deliver more color theory and practical experience through painting the effects of light directly. Each artist will complete this workshop with a personal journal including documentation, examples of various color interactions, theories and their applications, and a glossary of color terms to serve as their own valued source and foundation for years to come. This workshop is best suited for intermediate to professional artists, or artists with oil painting experience. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab Fee: $75 (Includes daily model fees.)

Enrollment limited to 20 students. Bill Perkins began traveling and painting in pleinair while in college before he graduated in 1980 from the Art Center College of Design. Bill began exhibiting his work in galleries in Taos, Laguna Beach, and Tucson. His work was also exhibited at the Springfield Museum and the Monterey Peninsula Museum before he was thirty. In 1986, Bill began working for Walt Disney Animation. Today he remains an avid plein-air painter, an Art Director for Disneytoons Studio, and teaches at Cal Arts, LAAFA, and Concept Design Academy.

Iva Gueorguieva, Bathers

Contemporary Approaches to Painting Iva Gueorguieva June 24–28

Course # AAPC ØØ

One-week session What is contemporary? What is abstraction? How does one arrive at an image?What is painting and what is its relationship to drawing? These are some of the questions that will guide our discussion during the course of the week. Each day, we will focus on the work of one contemporary artist, analyzing both formal and conceptual strategies and relationship to history. The artists we will consider are Trenton Doyle Hancock, Mark Bradford, Robyn O’Neil, Tal R, and Per Kierkby. Our discussions will determine the materials and visual propositions framing each day’s approach to small works on paper and canvas. These experiments will in turn feed into the development of 2-3 larger works to be completed in the course of the week, which will reflect more precisely the personal vision and interest of each participant. The goal is to identify ways continually to engage history, while cultivating sensitivity and an understanding of the current cultural and political moment. Both contribute to clarity and forcefulness in art. We will focus in particular on the use of collage, where cutting and layering is used to construct surface and image. We will use acrylic and flash paint, as well as a number of non-fine art methods and materials. We will also look at how limitations serve as central to the technique of these artists.

Iva Gueorguieva, Voyages in a Stone

Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab Fee: $35 (Includes shared materials–matte

medium, transparent gesso, flash paint, tempera, mulberry paper.) Enrollment limited to 12 students. Iva GueorguievaI (b. 1974, Bulgaria) received an MFA from the Tyler School of Art in Philadelphia. Recent solo shows include Susanne Vielmetter Los Angeles Projects, LA, CA; Ameringer/ McEnery/ Yohe, New York, NY. Notable group shows among others include Galerie Lelong, New York, NY; the Contemporary Art Museum at USF, Tampa, FL; Pasadena Museum of Art, Pasadena, CA. She is the recipient of the Orange County Contemporary Art Collectors Fellowship for 2012, the California Community Foundation mid-career fellowship for 2010 and the Pollock-Krasner Grant for 2006. Iva has taught at UCLA, Claremont Graduate University, Tulane University, among others. www.ivaplungerboy.com

Experience in painting and drawing required. Completed Hopi Firing

NATIVE AMERICAN ARTS

Nathan Youngblood

Iva Gueorguieva, Scarlet Squall 9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

PAINTING & DRAWING

Robert Dvorák, Untitled

Cari Hernandez, Jubilation

Scott Prior, Big Papa’s Hat

Rebecca Campbell, Lady Godiva

Robert Dvorák, Untitled

Cari Hernandez

Travel Drawing & Painting

Encaustic Painting & More

Margaret Scanlan, Visitor

Drawing Intensive

Cari Hernandez

Margaret Scanlan

June 24–28

July 1–5

One-week session

Course # AAPD Ø1

One-week session Whether you draw regularly or haven’t drawn since kindergarten, this class will provide, in one solid week, a meaning-filled framework for tremendous growth in your drawing ability. The techniques, tricks, and sequential exercises in this structured class can dramatically improve and give confidence to your drawing skills if you are new to drawing. If you have some experience, you can expect to be drawing at a whole new level of sensitivity and competence at the end of the class. Expect to work hard, learn a lot, and have a very good time. If you’ve always wanted to draw, or to draw better, this class is for you. Returning students may choose to review or to embark on a week of more advanced drawing projects, based on your personal goals, to be worked out individually with the teacher. All levels are welcome. Tuition: $715 Lab Fee: $65 (Includes all materials and

model fees.) Enrollment limited to 12 students. Margaret Scanlan is a full-time studio artist in Knoxville, TN, working in acrylic and watercolor, large and small scale work. She is a signature member of the American Watercolor Society, the National Watercolor Society, and the Watercolor USA Honor Society. For many years she has taught painting, drawing, and color theory workshops at Arrowmont, the John C. Campbell Folk School, Penland School, le Petit Bois Gleu and Chateau du Pin in France. Her work is in numerous private, corporate, and public collections in the US and Europe, including the Huntsville Museum of Art (AL), the Springfield Art Museum (MO), Sloan-Kettering Hospital (NY), and L’Abbeye de la Roe (France). She also plays keyboards in a Celtic band, RedHaired Mary.

Robert Regis Dvorák June 21–22

Course # AAPE ØØ

In this workshop you will be supported and encouraged to delve into a wide range possibilities of painting with molten bees wax. Encaustic has a rich and ancient history dating back more then 4,000 years. This lush medium delights the senses with its gentle fragrance and enticing surfaces. Creating with wax can be a profound experience, providing the freedom to create unique expressions of our visions through sculpture, transparency, and layering. One of the most exciting characteristics of this medium is its range of possible expression, and we will focus on projects that aim to encourage your personal creative journey. We will build a strong foundation through hands-on painting, gaining a solid understanding of grounds and supports, color studies, employing multiple fusing methods, use of mulitple brush types, hot tools, incising tools, and more. After we have refined painting methods, we will explore the use of additional mediums that complement encaustic such as incorporating oil paint, creating a plaster cloth form, working with paper for both printmaking and booklets, working with unconventional supports such as plexiglass. Each day, students will have materials and instruction for a specific project. In addition to the structure of these hands-on projects,

Cari Hernandez, Oh My

there is freedom to focus on the methods and materials that each student is most drawn to, as ample time is provided to explore and have creative play. All levels are welcome, and returning students will find innovative methods and techniques to work with as well. Materials: A complete materials list will be

sent upon registration. Tuition: $715 Lab Fee: $95 (Includes use of equipment

and tools in class, shared compounds and materials, some papers, fibers, collage and sculptural materials.) Enrollment limited to 10 students. Cari Hernandez studied fine art photography at the Academy of Art University in San Francisco, CA. Prior to becoming a full-time studio artist, she operated her own commercial photography studio for 7 years in San Francisco. As a full-time artist she teaches, lectures, and shows her work in the US and abroad. She is a founding board member of International Encaustic Artists, having created and directed 3 Retreat & Conferences while serving on the Board. She is featured in two instructional DVDs, produced by WAX Twist. www.carihernandez.com www.waxtwist.com

Robert Dvorák, Untitled

Painting the Figure Simply & Beautifully in Watercolor Robert Regis Dvorák June 23

Scott Prior, Bob’s Bike

The Figure/Still Life: Direct Painting Quick Studies & Beyond Scott W.Prior June 16–18

Course # AAPF ØØ

Three-day session This is a high-energy workshop concentrating on the fundamentals, where students will be working with the basics: drawing, values, edge control, composition and paint handling. By working on the ‘basics’, the artists will start building confident brushwork and will make quicker decisions, forcing them to rely more on their instincts, all of which are important tools that are needed with “Direct Painting” or “Alla Prima” painting, whether painting in the studio or painting Plein Air. Focusing on Still Life and the Figure, students will be producing Quick Studies that are painted in 30 minute sessions and up. Students will learn the importance of color studies and the excitement of Direct Painting. Each day begins with a demo and discussion, then students will work on their Quick Studies, gradually working up to larger paintings and longer sessions. Beginners through advanced painters wanting to hone their skills are welcome. Materials: A complete materials list will be sent upon registration. Tuition: $490 Lab Fee: $30 (Includes model fees and group

Scott Prior

supplies.) Enrollment limited to 15 students. Scott W. Prior received his BFA at The Academy

Margaret Scanlan, Cow in Water

Margaret Scanlan, Lonely Bull

PAINTING & DRAWING

Course # AAPT ØØ

Two-day session

of Art University in San Francisco. He has exhibited in national shows, juried competitions and invitational events across the country including the California Art Club’s (CAC) Annual Gold Medal Juried Exhibitions, exhibitions at the Frederick Weisman Museum of Art, the Academy Art Museum in Easton MD, and in the Oil Painters of America National Show. Scott has been awarded and recognized by Oil Painters of America, Laguna Plein Air Painters Association, Carmel Art Festival and The Bower’s Museum Plein Air Show. He been featured in numerous publications including CAC’s Centennial book, American Artist Magazine and Southwest Art Magazine, and is a Signature Member of the CAC and Artist Member of the Portrait Society of America.

Margaret Scanlan, Cows in the Window

Course # AAPF ØØA

One-day session Rebecca Campbell, Stand and Deliver

Narrative Figurative Painting Exploring the Object & the Idea Rebecca Campbell July 8–12

Course # AAPF Ø2

One-week session This workshop is designed to explore how the practice of figure painting uniquely engages both the abstract field of ideas and the experiential field of the physical. Rebecca will help students identify and articulate their own conceptual and narrative interests as they relate to and incorporate the figure and further help them develop a painting process that realizes these interests in the language of paint. Rebecca will create a passionate and well–informed context for student explorations and discussions through daily lectures on the figure in painting history and contemporary art. Students will begin by using drawing, collage and photography to plan a series of paintings incorporating the figure based on ideas they feel are compelling. Student projects will be enriched with introduction to techniques that refine the student’s abilities to paint representationally as well as gestural experiments designed to strengthen student’s ability to paint expressively. Oil and Acrylic mediums will be addressed. Emphasis will be put on the individual student’s strengths and personal vision. Skill level: Intermediate to advanced professional.

This class will be directed to the spontaneous representation of the male and female figure in watercolor. There will be a strong emphasis on the use of color, white space and composition. Color mixing from a limited palette, light, shade, shadow, brush techniques, graded washes, foreshortening, facial details, lost and found edges, and proportion will be demonstrated and practiced. We will work from models. No matter how much previous instruction you have had, this class will have you seeing and painting the figure in a new way. This class is for you if you: • Have had some experience with watercolor • Have had some experience drawing the figure • Would like to learn easy techniques for painting the figure quickly–during a 20 minute pose • Want more confidence and skill painting the figure • Would like to be able to paint the figure in watercolor

Tuition: $175 Lab Fee: $45 (Includes model fees, 8-10 sheets

of 140# cold pressed watercolor paper 22” x 15”, handouts.) Wear comfortable drawing clothes. You will receive an email describing recommended colors and brushes. If you are taking Travel Drawing and Painting you can use these watercolor materials. Enrollment limited to 20 students. Robert Regis Dvorák, is an artist and popular speaker (over 1000 speeches) on subjects of creativity in education and business. Robert has travel sketched and painted in 68 countries including all of Western and Eastern Europe, Russia, Southeast Asia, China, Japan, North Africa, the Middle East and India. He has exhibited and sold work in the USA, Europe, Japan, China, and Indonesia. He has written and illustrated the books: The Practice of Drawing as Meditation, Drawing Without Fear, The Magic of Drawing, Experiential Drawing, Travel Drawing and Painting and Selling Art 101. Robert has been teaching drawing and watercolor painting for 30 years at colleges and universities in California and Hawaii. He is a former Professor of Architecture at the University of Oregon and the University of California, Berkeley. He has exhibited his drawings and paintings in 24 one-man shows and many other group exhibits in the USA and abroad. www.youcreate.com www.globesketcher.com

• Want to paint the figure loose and free Robert will demonstrate both the male and female figure in watercolor. He will work with the class and give individual instruction. Students should have some previous experience with watercolor and drawing the figure.

This class will show you how to: • Quickly draw people, architecture, water, trees, and landscape • Simplify your material–capture essence • Prepare, pack and what materials to bring • Be comfortable and relaxed sketching and painting in public • Draw and paint in restaurants, on the street, on a cruise, on airplanes, boats, trains • Draw and paint in public with or without discovery You will practice simple techniques for drawing and painting in class using projected color travel images and other methods. Make your future travel experiences satisfying and unforgettable! Tuition: $350 Lab Fee: $75 (Includes handouts, 2 travel

sketch pads 160 pages each, one 4” x 5” and one 6” x 9”, a 140# cold pressed watercolor paper block and all drawing and watercolor painting materials, and the 180 page book, Travel Drawing and Painting.) Enrollment limited to 20 students. Robert Regis Dvorák, see bio under Painting the Figure.

Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab Fee: $50 (Includes model fees.)

Enrollment limited to 15 students. Robert Dvorák, Venice

Rebecca Campbell received her MFA from UCLA. She has exhibited nationally and internationally at venues including Gagosion Gallery, LA Louver Gallery, Ameringer-Yohe Fine Art, the Hammer Museum, The Phoenix Art Museum, and the Cornell Fine Arts Museum. Her work is regularly presented at Art Fairs including Art Basel, Art Basel Miami Beach, ADAA The Art Show and has been featured in publications including Art News, Los Angeles Times, Art Papers, X-TRA, Artworks Magazine, and the Huffington Post. www.rebeccacampbell.net

Scott Prior, Lara

Rebecca Campbell, Diamond Valley 9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

Robert Dvorák, Untitled

Want to make your next trip the most rewarding of all? Take a sketchbook with you and rather than point and click your camera, take a few extra minutes to make some fine quick sketches and color them with watercolor. Drawing and painting while traveling is fun and will increase your perception and enjoyment. Traveling with a sketchbook can also open doors to interesting adventures and new friendships. You will return home with priceless memories.

summer@idyllwilda rts.o r g

Robert Dvorák, Untitled

Robert Dvorák, Agios Nikolaos, Santorini, Greece

PAINTING & DRAWING

PRINTMAKING

Encaustic Monoprinting David A. Clark

Beyond Monotype....................................... 23 Ron Pokrasso

June 20–22

Encaustic Monoprinting.............................. 23 David A. Clark

Encaustic Monoprinting functions both as a primer to the encaustic monotype and as an exploration of the more advanced techniques involved in producing repeatable images while printing with wax. The purpose of this class is ts to a wide variety of papers, tools, processes and ideas connected to producing encaustic prints and to engage participants in varied technical process with an emphasis on adapting that process to expanding their own unique visual language. Students will begin by learning the basics and variables of the encaustic monotype: heat, paint, paper and pressure. They will then progress to exploring techniques such as using additive and subtractive process, trace monotype, stenciling and varied advanced techniques that explore how to control line, placement, color and saturation. These techniques will allow participants to fine tune and nuance their printed images. Students can expect to create a wide variety of prints during this class encompassing a varied range of technical and intuitive process.

Solarplate Etching........................................ 23 Dan Welden

Nicholas Simmons, Barcelona

Watercolor Unleashed Experiencing Water–Based Media Nicholas Simmons July 8–10

Course # AAPW Ø2

Three-day session

Barbara Nechis, Majeska Falls

Barbara Nechis, The Well

Watercolor from Within Techniques for Painting the Essence of Nature Barbara Nechis June 16–18

Course # AAPW ØØ

Three-day session This workshop is for all who want to gain a deeper understanding of the creative process of painting, are willing to be flexible, take risks, have fun, be intuitive and inventive. We will not be using rules and formulas however the emphasis will still be on concept, color and design. My inspiration comes both from nature and the inevitable unpredictability of the watercolor medium. Both abstract and realistic forms will be addressed.

This workshop will concentrate on concepts and techniques for which Simmons is noted: diversity in subject matter; composition; poured watercolor; fluid acrylic used as transparent watercolor; unusual textures such as the instructor’s popular “batik” technique; computer-aided design (computer not required for enrollees). Focus will be on concepts, composition and design elements. Students will paint daily, watch demos, and receive individualized attention. Be prepared for Nicholas’ high energy, unorthodox, and varied approach to watercolor. All levels welcome in this workshop designed to bring lots of new ideas and techniques to experienced painters, and introduce new painters to waterbased media. Materials: A complete materials list will be

sent upon registration.

Barbara Nechis, Garden Tapestry

Tuition: $490 Enrollment limited to 20 students. Nicholas Simmons has quickly become a renowned name of the contemporary watercolor scene, winning major awards and gaining media exposure. He studied under many well-known watercolorists, most notably Valfred Thëlin and Barbara Nechis. His art is characterized by its diversity and power, and has been featured in a variety of publications, and on Maryland Public Television. In 2008 his DVD Innovative Watermedia was released by Creative Catalyst Productions. He is sponsored by Da Vinci Paint and Escoda Artist Brushes of Barcelona introduced a Nicholas Simmons signature series in 2012. Awards include top prize at the 2007 National Watercolor Society, consecutive gold medals at the Pennsylvania Watercolor Society, 2008–2009, and the gold medal at the Texas Watercolor Society in 2010. The artist exhibits internationally with major watermedia stars, and was the only judge representing the Americas at the Shanghai Zhujiajiao International Watercolour Biennial Exhibition in 2010 and 2012, the world‘s largest watercolor exhibition. Nicholas is one of six painters in the newly-formed North American Watercolor Artists group, which will represent the United States in various international exhibitions. He is sought after as a workshop instructor, lecturer, and judge, known for his fresh, unorthodox, and often irreverent approach. The artist lives in the Washington, D.C. area. www.nicholassimmons.com

I present and demonstrate a different method or idea each day using several techniques to show how to construct original paintings from both source material and the imagination. Topics include controlling paint on wet paper, under-painting, layering and adding gouache. Critiques will approach problem solving upon the premise that there is always a solution that can turn an unsuccessful painting into a successful one. Materials: A complete materials list will be

sent upon registration. Tuition: $490 Enrollment limited to 20 students. Barbara Nechis received her BA from the University of Rochester and MS from Alfred University. She was a faculty member of Parsons School of Design and has taught seminars at Pratt Institute, throughout North America and abroad. She is the author of Watercolor From the Heart. Her work appears in many publications and collections, among them the Butler Institute of American Art, IBM and Citicorp. She maintained a studio in New Rochelle, NY for many years before relocating to the Napa Valley. www.barbaranechis.com.

Course # AAEM ØØ

Three-day session

This class functions well for a wide variety of skill levels in printing, but some previous experience working with encaustic is helpful. Materials: A complete materials list will be

Ron Pokrasso

Beyond Monotype Ron Pokrasso June 17–21

Course # AABM ØØ

Ron Pokrasso, Two Heads Are Better

sent upon registration.

Dan Welden, Night Invitation

Tuition: $490 Lab Fee: $80 (Includes all paints, papers and

Dan Welden

tools. Students will be given an allotment of a variety of papers to work with, and more paper will be available for purchase if you find that you are a very fast printer.) Enrollment limited to 10 students. David A. Clark’s encaustic print work has drawn critical acclaim for its graphic style and soulful content. He exhibits nationally, showing his work in numerous solo and group shows including the 2012 Harnett Biennial of American Prints , the Gallery at R & F and Aqua Art Miami. David’s printwork has been published and featured in Authentic Visual Voices: Contemporary Paper and Encaustic by Catherine Nash and Encaustic Works 2011 published by R & F Handmade Paints. David teaches encaustic printmaking around the country and has presented and taught encaustic printmaking for the last three years at the International Encaustic Conference in Provincetown, Massachusetts. A solo show of David’s which began at the Process Museum in Tucson, Arizona is currently touring the country. That show is devoted to a single encaustic print of David’s and the more than 100 process pieces that went into its creation. www.davidaclark.com

One–week session Ron Pokrasso covers a wide range of techniques possible in the monotype process and continues through the use of collage, drawing, and multiple plate projects. Students will be encouraged to pursue their artistic vision using monotype as a mark making tool in combination with whatever other techniques are efficient and available. The notion of the “artist as an inventor” will be stressed as mixed media techniques open the door to limitless opportunities. The approach is energetic and open, as each student’s individual style will dictate the direction of the workshop. The program is non-toxic working with AKUA waterbased intaglio inks. Modifying, layering, mixing inks, finding color, use and abuse of mark-making tools, exploring the limits of paper, collage, chine colle and built up surface will all be discussed. Working with drawing materials, the optional integration of Solarplate, ImageOn, traditional intaglio plates, other matrices, and finishing prints as resolved and complete expressions, including solving issues after printing, are aspects of the workshop. Though some monotype and/or other printmaking experience is helpful, all levels of students are welcome. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab fee: $75

Enrollment limited to 12 students.

Nicholas Simmons, Olushka

PAINTING & DRAWING/PRINTMAKING

Solarplate Etching June 24–28

Course # AAEP ØØ

One-week session Developed by master printmaker Dan Welden, Solarplate Etching is an exciting, spontaneous and highly professional technique that utilizes UV light and water instead of traditional grounds and acids. The Solarplate is a light-sensitized polymer printing plate that accepts all kinds of images, including drawings and paintings on acetate, photocopies, digital photographs on transparent film. Artists can also paint freely and directly on the Solarplate surface and create a matrix capable of yielding many impressions. Participants will be able to produce several 8x10 inch images during this intensive workshop. Larger plates may be made available with prior request. Printmaking experience is preferred but not essential. Materials: A complete materials list will be

sent upon registration. Tuition: $715 Lab Fee: $45 (Includes shared materials and

supplies. Solar plates and paper available for purchase from the instructor.) Enrollment limited to 12 students.

David Clark David Clark

Ron Pokrasso received his MFA degree from Pratt Institute in 1975 and has had over 40 solo exhibitions and more than 150 group shows. His work is in public, private, and corporate collections throughout the US and abroad as well as being featured in several books. He is originator of the printmaking event “Monothon” and has been an ardent supporter of arts programs for youth. His teaching experience includes universities, museums, public schools and private workshops, as well as Artist Residencies in the US, Scotland, Ireland and Italy. www.ronpokrasso.com Barbara Nechis, Movement

Dan Welden, Round Square

Dan Welden is one of the original pioneers of safer alternative printmaking techniques. Since the early 1970’s when he first developed Solarplate Printmaking and Water Based Monotypes, he has been in the forefront of printmaking techniques, educating artists of all levels throughout the world. As co-author of Printmaking in the Sun, and Director of Hampton Editions, Ltd. in Sag Harbor, NY, he has collaborated with many artists including, Willem and Elaine de Kooning, Eric Fischl and Dan Flavin among many others. He has been the recipient of numerous international printmaking grants extending from Belgium to New Zealand and most recently a recipient of two grants to work and exhibit in China. He was a juror for the international Printmaking Biennal in Aqui Terme, Italy in 2008. He exhibits with BCB Gallery in Hudson, NY. www.danwelden.com

David Clark, Untitled Encaustic Monoprint

Nicholas Simmons summer@idyllwilda rts.o r g

PRINTMAKING

SCULPTURE

WRITING

Contemporary Sculpture in Plaster........... 24 Reneé Azenaro

The Art of Writing Fiction............................. 24 Samantha Dunn

Furniture Making & Design.......................... 24 Pete Holzman

Memoir/Creative Nonfiction...................... 25 Amy Friedman

Jane Shore is the author of That Said: New and Selected Poems (Houghton Mifflin, 2012) and five other books of poems, including Eye Level, winner of the 1977 Juniper Prize, The Minute Hand, winner of the 1986 Lamont Poetry Prize, awarded by The Academy of American Poets, Music Minus One, a finalist for the National Book Critics Circle Award, and The Yes-or-No Answer, winner of the 2010 Poet’s Prize. Shore is the recipient of fellowships from The Guggenheim Foundation, The Radcliffe Institute, Princeton University, and twice from The National Endowment for the Arts. She is a professor at The George Washington University and lives in Washington, DC and in Vermont.

Young Adult Novel....................................... 25 Francesca Lia Block

SEE ALSO

Poetry Week.................................................. 25 Jane Shore, Ed Skoog, David St. John

Assemblage...................................................11 Michael deMeng Doll Making & Beadwork..............................15 Juanita Growing Thunder Fogarty Hot Clay: Narrative in Sculpture....................5 James Tisdale The Santos Cage Doll Redefined................12 Linda Lehart McNulty

Ed Skoog (MFA, Creative

Native American Flutemaking ............... 17 Marvin & Jonette Yazzie, Ernest Siva Pete Holzman, Bookcase

Amy Friedman

Memoir & Creative Nonfiction

Young Adult Novel

Poetry Week

Amy Friedman

(For Adults) Francesca Lia Block

Jane Shore, Ed Skoog, David St. John Special Guests: Brendan Constantine, Matthew Dickman, Anna Journey

July 1–5

Plaster Sculpture, student work

Contemporary Sculpture in Plaster Reneé Azenaro July 8–12

Pete Holzman, Box with Inlay

Furniture Making & Design Pete Holzman July 8–12

Course # AASP Ø2

One-week session Participants will be engaged in experiencing contemporary methods of sculpture in plaster –a remarkably versatile material–working from the seed of an idea to final work. Plaster has been a traditional material used in the sculptural process as well as a contemporary material which allows for exploration of ideas in new ways. Students will learn to carve small to medium pieces, work with surface, texture and coloration of the plaster, with an eye towards finding an artistic voice in a new medium. Students will learn to mix plaster, adding various materials to the plaster to alter its color and texture (such as sand, ceramic oxides, small objects, paints, washes, etc.). Sculptures may be carved or assembled in sections allowing for a wide range of creative possibilities. Students will explore how to make sculpture that is personal, individual and expressive, and may explore abstraction or representational form in their pieces. The focus is to blend materials, concepts and skills in a supportive and experiential environment. The class is open to all levels of experience. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab Fee: $45 (Includes plaster, colorants,

plastic bags, dust masks, sandpaper, plastic buckets.) Enrollment limited to 10 students. Reneé Azenaro was born and raised in Brooklyn, New York, and presently teaches and lives in Redlands, California. Her work has been shown throughout the United States and internationally in Italy, Romania, Puerto Rico and Serbia. Recently, she exhibited at the den contemporary gallery in L.A. and a solo exhibit at the Blok Gallery in Serbia. Primarily an installation artist, she also works in sculpture, drawing, works on paper and mixed media. www.reneeazenaro.com

Making It Up The Art of Writing Fiction Samantha Dunn July 8–12

Course # AAWF Ø2

One-week session

Course # AASF Ø2

One-week session Learn traditional woodworking techniques and apply them in designing and crafting a project of your own. Taught by professional woodworker and furniture maker Pete Holzman, you will learn the proper application of both power tools and hand tools. Table saw, band saw, scroll saw, drill press, hand planes, chisels and sanding techniques will all be covered, as well as various joinery and finishing options for your project. Choose from three project options–jewelry box, wall shelving/ wine unit, or small table. Basic design of these options will be covered and individual help in creating your own variations will be given, based on your skill level. Resources for further study and exploration will also be reviewed. This class is meant to provide a foundation that will help advance you to the next level of woodworking mastery. (If you already have a working knowledge of machines, tools and safety procedures, more individual time can be spent on other skill sets.) Alex Watson, woodworker and builder of high-end boutique guitars and basses, will assist each afternoon. Students are encouraged to bring their own hand tools and will be shown how to properly sharpen and maintain those tools. Materials: A complete materials list will be sent upon registration. Tuition: $715 Lab Fee: $125 (Includes wood, glue, finishing

supplies, disposable & non-disposable brushes. If student chooses to make a jewelry box there would be an additional hardware fee.) Enrollment limited to 8 students. Pete Holzman holds a degree in Graphic Design from the University of Cincinnati College of Design, Architecture and Art and has been a professional woodworker and furniture maker for the past 18 years. His furniture runs the gamut from rustic to high-end gallery art and is held in many personal collections. He creates pieces by commission only out of his studio in Idyllwild, California. The name of his website gives you a hint as to his approach to designing and building furniture. www.noboringfurniture.com

Alex Watson is a woodworker and builder of high-end boutique guitars and basses. www.watsonguitars.net

“Never let the truth get in the way of a good story,” Mark Twain supposedly said. This workshop will explore the art and craft of fiction, using a multitude of exercises to tap and enhance your own deep sources of creativity. If you have a vivid imagination, or if you are a storyteller who likes to embellish, or you want to look at your tales with a new perspective, the class will provide you with the tools to paint with words. Whether you are a beginner or are a prolific writer, you will walk away from this workshop with a better understanding of the structural elements that underpin all great stories. You will also be armed with new techniques for creating characters who come to life on the page, for creating vivid worlds with your words, and how to keep generating story ideas. All levels of writer will be able to apply the lessons. While writing fiction is often about finding the truth of the story, come prepared to make stuff up. And to write! Class time will be about practicing what we learn—bring plenty of pens and blank notebooks. By the end of the week, everyone will have at least one wellhoned piece of fiction presentable for public consumption. This workshop will meet from 9–noon each morning and again from 1–2pm in the afternoon for writing sessions.

Course # AAWE Ø1

One-week session

July 8–12

This workshop is for those just beginning and those whose work is well underway (and/ or stalled), for those writing memoir, personal essay, or any work of creative nonfiction. The instructor will help you to develop and craft your work, and we’ll study the elements that help writing to sparkle, including characterization, setting, voice, dialog and theme.

One-week session

Excerpts from published works will help to serve as inspiration, and five, ten, and fifteen minute exercises will jump-start your writing and offer guidance for your work. A portion of our workshop hours will be devoted to reading your work aloud, with feedback from both the instructor and your fellow students. You will also receive information on marketing and proposal writing (for longer nonfiction works). Our goal will be to complete a full essay and/ or chapter by week’s end. We’ll meet for four hours each morning, with afternoons devoted to individual conferences, writing and reading time. Tuition: $715 Enrollment limited to 10 students.

Course # AAWN Ø2

Writing the Young Adult Novel is a course designed to give you the basic knowledge (and inspiration!) to start or complete your YA book. We will cover Character, Voice, Plot, Setting, Language, Theme and more, using discussion, workshopping of student pages, exercises and excerpts from published works. This course is for the beginning to advanced writer who wants a nurturing but challenging environment in which to explore this ever-expanding and popular genre. You will come away with a finished outline, a good portion of the beginning of your novel and the tools to complete the rest. Tuition: $715

Enrollment limited to 10 students. Francesca Lia Block, winner of the prestigious Margaret A. Edwards Lifetime Achievement Award, is the author of many acclaimed and bestselling books, including Dangerous Angels: The Weetzie Bat Books; Roses and Bones: Myths, Tales and Secrets; and the adult novel The Elementals. Her work has been translated and published around the world. She lives in Los Angeles with her two children. www.francescaliablock.com.

Amy Friedman is the author of several memoirs, Kick the Dog and Shoot the Cat and Nothing Sacred: A Conversation with Feminism. Her third memoir, Desperado’s Wife, will be released in 2013, as will her co-authored memoir with Anne Willan, The Right Ingredients. Amy is the author of the long-running, world-wide syndicated newspaper for children, Tell Me A Story. She often performs her personal essays at Spoken Word venues in LA and has published hundreds of stories, columns and articles. Amy teaches creative writing at UCLA Extension, through PEN/USA and at the Skirball Cultural Arts Center.

July 8–12

Course # AAWP Ø2

One-week session This special week of poetry is open to anyone with an interest in writing poetry, following the long-held Idyllwild Arts tradition of building a diverse community of voices to enrich the conversation, from enthusiastic beginners to emerging and established poets. Five days of workshops, craft talks, readings, and lively discussion under the pines will focus on helping participants write new poems and explore new ideas. Participants will work with two teachers. Close-critique of drafts and revisions will be balanced with larger propositions about the nature of poetry. Small class size will ensure that each participant receives individual attention and advice about his or her development as a writer. Our schedule includes workshops from 9– noon, and craft talks by faculty and special guests from 1–3 P.M. On Tuesday evening, the faculty and special guests will read from their work, followed by a book signing. Wednesday afternoon will be more loosely structured to allow for catching up on reading and writing, or sharing work in a less formal setting. Thursday evening, workshop participants are invited to read new poems from the workshops with the Idyllwild community, with a livestream for those unable to join us this year in person. Tuition: $715 Enrollment limited to 10 students per workshop group.

Tuition: $715 Enrollment limited to 12 students.

Writing, University of Montana) is author of Mister Skylight, a collection of poems (Copper Canyon, 2009) and Rough Day (Copper Canyon, 2013), as well as many stories and poems in literary magazines such as The Paris Review, Poetry, Ploughshares, The New Republic, American Poetry Review, and Narrative. He has been awarded fellowships from the Bread Loaf Writers Conference and The Lannan Foundation. He has been a writer-in-residence at the Richard Hugo House, George Washington University, and The University of Montana. He is a past chair of creative writing at Idyllwild Arts Academy. He lives in Missoula, Montana.

David St. John is the author of ten collections of poetry (including Study for the World’s Body, nominated for The National Book Award in Poetry), most recently The Auroras, as well as a volume of essays, interviews and reviews entitled Where the Angels Come Toward Us.

Brendan Constantine (Special Guest) holds an MFA from Vermont College of Fine Arts. He is the author of three collections of poetry and his work has appeared in numerous journals, most notably FIELD, Ploughshares, Poetry Daily, Zyzzyva, and L.A. Times best seller The Underground Guide To Los Angeles. He currently teaches poetry at The Windward School in West Los Angeles. Brendan also regularly offers workshops for hospitals, foster-care centers and with the Alzheimer’s Poetry Project. www.brendanconstantine.com

Matthew Dickman (Special Guest) is the author of Mayakovsky’s Revolver (W.W. Norton, 2012) and AllAmerican Poem (American Poetry Review/ Copper Canyon Press, 2008) and the recipient of the Honickman First Book Prize, the May Sarton Award from the American Academy of Arts and Sciences, the Kate Tufts Award from Claremont College, and the 2009 Oregon Book Award. He is co-author of the forthcoming 50 American Plays from Copper Canyon Press. He has also received residencies and fellowships from The Michener Center for Writers in Austin, Texas; The Vermont Studio Center; The Fine Arts Work Center in Provincetown; and The Lannan Foundation. His poems have appeared in Tin House, McSweeney’s, Ploughshares, and the New Yorker, among others. Anna Journey (Special Guest) is the author of two collections of poetry: Vulgar Remedies (Louisiana State University Press, 2013) and If Birds Gather Your Hair for Nesting (University of Georgia Press, 2009), selected by Thomas Lux for the National Poetry Series. Her poems have appeared in American Poetry Review, FIELD, The Kenyon Review, The Southern Review, and elsewhere. She received a fellowship in poetry from the National Endowment for the Arts and currently teaches creative writing at the University of Southern California.

Samantha Dunn is the author of Failing Paris, a finalist for the PEN West Fiction Award, and the bestselling memoir, Not By Accident: Reconstructing a Careless Life, as well as Faith in Carlos Gomez: A Memoir of Salsa, Sex and Salvation. Her work is anthologized in a number of places, including the short story anthology, Women on the Edge: Writing from Los Angeles, which Dunn co-edited. A winner of the Maggie Award for Best Personal Essay in a Consumer Publication, Dunn is a widely published journalist regularly featured in O the Oprah Magazine, the Los Angeles Times, and Ms., among others. A member of the Writers’ Guild, Dunn teaches in the UCLA Extension Writers Program and is program advisor for The Mark at PEN USA. Krone Library Poetry Reading, David St. John

SCULPTURE/WRITING

9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

summer@idyllwilda rts.o r g

WRITING

SUMMER EVENTS Early Payment Discount Deadlines 10% off the total cost of a program if payment in full is received by March 15, 2013. 5% off the total cost of a program if payment in full is received by April 15, 2013. See page 30 for details and information regarding additional discounts for families, friends and teachers. Parks Exhibition Center

Youth Chamberfest Performance

sunday monday tuesday wednesday thursday Metals Week. Lectures: Nancy Megan Corwin, Connie Fox, Deb Karash, Deborah Jemmott, Betty Helen Longhi, Sandra Noble Goss, Fred Zweig 7 p.m. Krone Library.

Hot Clay. Lecture: James Tisdale 7 p.m. Krone Library. Parks Exhibition Center Opening Reception. Hot Clay, Metals Week & Faculty. 8 p.m. Continues through June 23. Parks Center.

Artist Lectures: Scott Prior, Ron Pokrasso, Barbara Nechis 7 p.m. Krone Library.

Hot Clay Lecture: Christa Assad 7 p.m. Krone Library.

Parks Exhibition Center Opening Reception

Hopi-Tewa Pottery Firing

friday saturday

Native Artist Demonstration: Nathan Youngblood 7 p.m. Parks Center. Parks Exhibition Center Opening Reception. Hot Clay & Faculty 8 p.m.

Artist Lectures: Cari Hernandez, Dan Welden, Iva Gueorguieva 7 p.m. Krone Library.

Parks Exhibition Center Opening. 7 p.m.

Metals Week. Student Show. 4 p.m. Krone Library Patio. Hot Clay. Lecture: Jason Bige Burnett 7 p.m. Krone Library.

JUNE

Adult Arts Center Culminations. 4 p.m. Parks Center.

Hot Clay. Lecture: Sunshine Cobb 7 p.m. Krone Library.

Cahuilla Birdsingers

sunday monday tuesday wednesday thursday

Youth Jazz Performance

friday saturday Children’s Center Open House & Culminations. 2:45 p.m. Children’s Center

Faculty, Staff & Associates of IAF Potluck Dinner. 5:30 p.m. Studio D.

Theatre Production. 8 p.m. JPT.

16 17 18 19 20 21 Hot Clay. Lectures: Richard Burkett, Joe Molinaro 7 p.m. Krone Library.

Youth Dance Workshop

Music Faculty Recital. 8 p.m. Stephens.

Children’s Culmination. Drawing & Sculpture. 9:30 a.m. Children’s Center. Youth Film Making Screening. 10 a.m. Ryan Soundstage. HS Wind Ensemble. 1 p.m. IAF Theatre. HS Symphony Orchestra. 3:30 p.m. IAF Theatre. Theatre Production. 8 p.m. JPT.

22 14 15 16 17 18 19 Symphonic Band. 1 p.m. IAF Theatre.

Native Am. Pottery Firing. Nathan Youngblood, Santa Clara Pueblo 8 a.m. Kennedy Kiln Yard

Student Recital: Instrumental Music. 8 p.m. Stephens.

Faculty, Staff & Associates of IAF Potluck Dinner. 5:30 p.m. Studio D.

Student Recital: Instrumental Music. 8 p.m. Stephens.

Children’s Center Open House. Multi-Arts. 2:45 p.m. Children’s Center Young Harpists Recital. 7 p.m. Stephens. Student Chamber Music Recital. 8 p.m. Stephens.

Children’s/Junior Artist’s Culminations. Fashion Design & More. Modern Art. Clay & Sculpture. The Magic of Art. 9:30 a.m. Computer Animation. Page to Stage. 10 a.m. On Camera. 10:45 a.m. Musical Theatre. 11:30 a.m. Children’s Center. Youth Art Exhibit. 10 a.m. Parks Center. Youth Fashion Show. 10 a.m. Old Dining Hall. Youth Readings. 10 a.m. TBA. Dance Culmination. 10 a.m. Fisher Studio. Acting/Directing for Camera. 10 a.m. Ryan. Symphonic Band. 12 p.m. IAF Theatre. HS Wind Ensemble. 2 p.m. IAF Theatre. HS Symphony Orchestra. 4 p.m. IAF Theatre.

23 24 25 26 27 28 Native Arts Week. Trunk Show: Mata Ortiz Pottery, Oaxacan Carving & Weaving 1–4 p.m. Parks Center. Panel: Native American Arts at ISOMATA 6:30 p.m. Krone Library.

Native Arts Week. Lecture: Guest Artists, 7 p.m. Parks Center. Parks Exhibition Center Opening Reception. 8 p.m. Faculty Jazz Combo Concert. 8 p.m. IAF Theatre.

Native Arts Week. Lecture: Freddie Bitsoie, Native Cuisine in the Americas PlusNative Food Tastings 12 p.m. Krone Library.

Native Arts Week. Lecture: Dr. Jessica Metcalfe, Native American Fashion PlusNative Food Tastings 12 p.m. Krone Library.

Artist Lectures. Bill Perkins, Margaret Scanlan, Greg Kennedy, David Delgado 7 p.m. Krone Library.

Adult Arts Center, Faculty, Staff & Associates of IAF Potluck Dinner. 5:30 p.m. Studio D.

Native Arts Week. Lecture: TBA, PlusNative Food Tastings 12 p.m. Krone Library. Native Arts Week. Film Night: “Akway Nyewaa: Coming Back Home” by Phillip Espinoza, 7 p.m. Krone Library.

29 21 22 23 24 25 26

Children’s Open House. Multi-Arts. 2:45 p.m. Children’s Center

Native American Arts Pottery Firings. Mark Tahbo, Hopi Tewa, Jorge Quintana, Mata Ortiz 8 a.m. Kennedy Kiln Yard.

Adult Arts Center Culminations. 4 p.m. Parks Center.

Student Jazz Concert. 1 p.m. IAF Theatre.

Parks Exhibition Center Opening. 7 p.m.

Native Arts Week. Performance: Cahuilla Birdsingers, Special Guest 7 p.m. TBA.

J U LY 30 1 2 3 4 5 Artist Lectures: Rebecca Campbell, Laura Wait, Reneé Azenaro, Nicholas Simmons 7 p.m. Parks Center. Parks Exhibition Center Opening Reception. 8 p.m.

Poetry Reading. David St. John, Jane Shore, Ed Skoog, Brendan Constantine, Anna Journey, Matthew Dickman 7 p.m. Krone Library.

Adult Arts Center, Faculty, Staff & Associates of IAF Potluck Dinner. 5:30 p.m. Studio D.

Poetry Reading. Poetry Week Students 7 p.m. Krone Library.

Children’s Open House. Multi-Arts. 2:45 p.m. Children’s Center Adult Arts Center Culminations. 4 p.m. Kennedy Kiln Yard. Youth Song & Dance Performance. 8 p.m. IAF Theatre.

Vocal Music Recital. 8 p.m. Stephens. Faculty Jazz Combo Concert. 8:30 p.m. IAF Theatre.

Artist Lecture

Youth Fiction Reading. 10 a.m. Todd Quad.

Youth Jazz Concert. 1 p.m. IAF Theatre.

SUMMER EVENTS

Youth Computer Animation. 10 a.m. Krone Library.

Youth Jazz Concert. 10 a.m. IAF Theatre.

Youth Theatre Festival Performance

Student Recital: Vocal Music. 8 p.m. Stephens.

Youth Art Exhibit. 10 a.m. Parks Center.

Youth Piano Recital. 1 p.m. Stephens.

Children’s Center Multiarts Culmination

Adult Chamber Music Workshop Masterclass. 1:30 p.m. Stephens.

Student Chamber Music Recital . 10 a.m. Stephens.

DISTINGUISHED ARTIST CHAMBER MUSIC SERIES Pre-Concert Talk. 7:30 p.m. Stephens. Concert I 8 p.m. Stephens.

Children’s Center Open House. Multi-Arts. 2:45 p.m. Children’s Center

Chamberfest: Chamber Orchestra 4:30 p.m. IAF Theatre

DISTINGUISHED ARTIST CHAMBER MUSIC SERIES Faculty Concert 8 p.m. Stephens.

HS Festival Choir. 1 p.m. IAF Theatre.

DISTINGUISHED ARTIST CHAMBER MUSIC SERIES Pre-Concert Talk. 7:30 p.m. Stephens. Concert II 8 p.m. Stephens.

A U G U S T 1 2 6 28 29 30 31

Children’s/Junior Artist’s Culminations. Mini-Musical. Adventures in Art. Painting & Drawing. 9:30 a.m. Filmmaking. 10 a.m. Dance Workshop. 10:30 a.m. Theatre Adventures. 11:30 a.m. Children’s Center. Piano Workshop. 10 a.m. Stephens.

7 8 9 10 11 12

Faculty, Staff & Associates of IAF Potluck Dinner. 5:30 p.m. Studio D.

Student Percussion Recital. 7 p.m. IAF Theatre. Student Chamber Music Recital. 8 p.m. Stephens.

Faculty, Staff & Associates of IAF Potluck Dinner. 5:30 p.m. Studio D. Student Recital: Instrumental and Vocal Music. 8 p.m. Stephens.

DISTINGUISHED ARTIST CHAMBER MUSIC SERIES Pre-Concert Talk. 7:30 p.m. Stephens. Concert III 8 p.m. Stephens.

Children’s Center Open House. Multi-Arts. 2:45 p.m. Children’s Center Sketch Comedy Performance. 8 p.m. JPT. HS Festival Choir 8 p.m. IAF Theatre. Student Chamber Music Recital. 8 p.m. Stephens.

HS Chamberfest: Final Concert TBA Idyllwild or Los Angeles.

Youth/Jr. Artists Art Exhibit. 10 a.m. Parks Center. Youth Fashion Show. 10 a.m. Old Dining Hall. Acting/Directing for Camera. 10 a.m. Ryan. Fiction Readings. 10 a.m. Todd Quad. Dance Culmination. 10 a.m. Fisher Studio. Chamberfest Ch. Music 10 a.m. Stephens. Sketch Comedy Performance. 10 a.m. JPT. HS Festival Choir. 1 p.m. IAF Theatre.

HS Choir: Final Concert TBA Idyllwild or Los Angeles.

Junior Artist’s Theatre Adventures Performance 9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

summer@idyllwilda rts.o r g

Children’s/Junior Artist’s Culminations. Improv Workshop. Art from Many Cultures. 9:30 a.m. Young Writers Workshop. 10 a.m. Shakespeare’s World. 10:30 a.m. Theatre of Myth/Folklore. 11:30 a.m. Children’s Center

Chamberfest Chamber Orchestrra. 8 p.m. IAF Theatre.

13 11 5 6 7 8 9

The Pacific Trio

Adult Arts Center Culmination

Youth Song & Dance Performance

Youth Choir Performance

SUMMER EVENTS

2013 Summer ADULT Program Registration Form

REGISTRATION

MAPS

Page 1 of 2

Questions? Contact our Registrar: (951) 659-2171 x 2365 fax (951) 659-4552 summer@idyllwildarts.org

CAMPUS MAP

STUDENT INFORMATION

Site of the new Housekeeping Facility

Pierson Hall

Water Tanks

REGISTRATION (Bowman Arts Center)

Site of the new Maintenance Yard

67b

55 LA

63 58

Packet Sent ________________

Day

(

)_______________________________________________________

Evening

)__________________________________ Sch. App. Sent _____________

(

Date of Birth (Optional) _____________________ Sex ______________Ethnicity

(Optional) __________________________

Mat’ls List Sent ____________

Course Title__________________________________________Course Code___________________ Dates________________________ Cost_________________ A

Cost_________________

Course Title__________________________________________Course Code___________________ Dates________________________ Cost_________________

b aw

erry

C re

30. Hicks Studio 8. Holmes Amphitheatre 70. Housekeeping 5. Hummingbird Hollow 54. HUSCH Hall

63. Cedar Classroom

36. IAF Theatre

11. Chemistry Lab

Cost_________________

Course Title__________________________________________Course Code___________________ Dates________________________ Cost_________________ A

Housing & Meal Plans (see below for description)

17. Meadow 6

44. Sage Classroom

21. Meadow 7

Cost_________________

10. Schoustra Science Lab

22. Meadow 8 21b. Meadow 9

60. Sequoia (Advancement, Development)

32. Mellor Studio

2. Sherman Costume Shop

29. Millsap Studio

68. South Classroom

27. Native Arts Studio

33. Summer Offices

6b. Nelson Dining Hall

41. Spruce A & B

ADULT HOUSING AND MEAL Plans (See page 3 for information)

Double Room (includes meals)

(A) $535 per week

Private Room (includes meals)

Meals Only

D) $465 per three days

(E) $90 per week-Dinner Sunday thru Breakfast Saturday

47. Dance Offices

69. North Classroom

31. Steere Studio

23. Old Dining Hall

12. Krone Library

55. Oak Chalet

13. Stephens Recital Hall

TRANSPORTATION (See page 2 for information)

48. Dorm 1

40. Lewitzky Dance Studio

24. Parks Exhibition Center

37. Studio A

39. Dorm 3

43. Lupine

50. Photography Lab

19. Studio D

53. MacNeal Hall

38. Dorm 4

9. Physics/Mathematics Lab

34. Todd Center/Bookstore

67. Eagles Nest Classroom

64. Maintenance Building

52. Pierson Hall

45. El Centro Classroom

51. Manzanita Chalet

62. Pine Chalet

66. Troy Restrooms

6. Elf Shelf

18. Meadow 1

61b. Ponderosa Classroom

58. Wayne Hall

22b. Escherich Humanities Ctr.

15. Meadow 2

57. Pool

61. Wayne Music Rooms

25. Eymann Sculpture Garden

20. Meadow 4a & 4b

49. Rush Hall

67b. Wilson Classroom

1. Film Lot

16. Meadow 5

28. Ryan Sound Stage

42. Zimmerman Log Lodge

65. Troy Music Classrooms

(B) $325 per three days

Roommate Request Name (Adult Students Only)__________________________________________________________________________________

56. Krone House (Academy Admission, Alumni, Marketing)

4. Children’s Center

Housing & Meal Plans (see below for description)

Sub-Total:_______________

7. Health Center

59. Campus Security Office

A form will be sent to confirm your reservation. Transportation is available from Ontario International Airport and Palm Springs Airport ($150 each way). One way

Transportation Needed:

Both ways

Amount:_______________

Non-refundable Application Fee:

$25

Please do not apply any discounts to the total. Discounts will be reflected in your bill. TOTAL:_______________

I have enclosed the non-refundable $25 application fee & the non-refundable $225 deposit for each course ($25 penalty for returned checks/refused credit charges)

Eymann Sculpture Garden

Method Of Payment

L O C AT I O N M A P 5

From the Riverside Area through Hemet:

Burbank

405 Ontario

Left onto Route 243, 4 miles to Idyllwild. Left Long Beach

405

From the LA Area, through Banning: Newport Beach

Route 10 or 60 East to Banning. Take the

Va n Buren

mountain 25 miles to Idyllwild. Continue

Beaumont

79 Ramon a E xp ress way

215

Banning

215

111

Mtn. Center

74 371

Registration and Fee Payment

Anza

All applications must be accompanied by the completed registration form, the $25 application fee, and a non-refundable $225 deposit for each course chosen to ensure class placement. The $225 is applied toward tuition.

To Warner Springs

You may also register by phone using your VISA, MasterCard, American Express or Discover Card: 951-659-2171 x2365.

Palm Desert). Left at Hwy 74, 10 miles to Hwy 243. Right 4 miles to Idyllwild. Left at Tollgate

The balance of all tuition, room and board fees will be due in full at least 30 days before class begins. A late registration fee of $50 will be added to all accounts which are past due. All past due accounts will be turned over to a collection agency after September 30, 2013. Please make every effort to register as early as possible so you will receive your registra-

Escondido

Road 1 mi. to campus.

Discover

Card #___________________________________________ Expiration Date_____________

Name as it appears on card_________________________________________________Signature______________________________________________________

1) Hwy 15 north to Temecula. Exit Hwy 79 onto Hwy 371 (Continue towards Indio/

Am. Ex.

Palm Desert

Road one mile to campus.

MasterCard

Registrar, Summer Program • Idyllwild Arts • P.O. Box 38 • Idyllwild, CA 92549-0038

south toward Indio/Palm Desert. Turn left

VISA

Please charge my credit card. Amount to be charged $______________________

The Village of Idyllwild 111

Hemet

Temecula

From the San Diego Area:

Palm Springs

243

IDYLLWILD

i nc

1 mile through the Village. Right on Tollgate

I have enclosed a check. Check #_________________________

PLEASE Complete the back of this form and MAIL WITH YOUR DEPOSIT TO: 10

Laguna Hills

8th St. exit to Route 243 which leads up the

Riverside

Road

mountain to Hwy. 243 at Mountain Center.

215

LOS ANGELES

San Bernardino

ster

210

101

215

Route 60 Riverside, towards Beaumont.

on Tollgate Road., one mile to campus.

E-mail Address ______________________________________________________________________________________

Housing & Meal Plans (see below for description)

1b. Fugl Studio

35. Bowman Arts Center

light onto Route 74. Fifteen miles up the

Tennis Courts & P.E. Facilities to be sited

TOLLGATE RD. (to hwy 243)

3. Fitzgerald Jr. Players Theatre

14. Birchard

8 miles to Florida Ave. Left at traffic

Cust. # ________________

VE RI

D A

46. Fisher Dance Studio

26. Ataloa Visual Arts Studio

Left onto Ramona Express Way, travel

City _____________________________________________________ State _________________ Zip _________________

Krone Library

Right on Route 79, 8.3 miles to traffic light.

CLASSES DESIRED $225 Deposit required for each class. (Please note: Tuition includes lunch for all adult students.)

Site of the new Theatre & Classrooms

Rec’d _________________

12 11

6 8

65 5

1 4

61b

SUMMER OFFICE USE

Street and Number____________________________________________________________________________________

21b

Hicks Ceramics Studio

13 14

22b

12 10

DRIVE APELA

11 8

To register, please download the registration forms directly from our website. Thank you. Last _______________________________________________________ First ______________________________________

Mailing Address

Phone

67 LL

D LA

HU CA

Idyllwild Arts Bookstore

TEMECULA ROAD

Student Name

Please type or print in ink all information. One form per student. (Photocopy additional forms if needed)

SAN DIEGO

2) Route 15 north to Winchester Road. Right on Winchester Road to Route 74; right on Route 74 to Mountain Center. Left on Route

From all directions, please note:

243, 4 miles, left on Tollgate Road one mile

The campus is located at the end of Tollgate Road, just beyond a bridge. Once on campus, turn

to campus.

right at the crosswalk (Cahuilla Drive) & proceed uphill to Bowman Arts Center for registration.

MAPS

9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

summer@idyllwilda rts.o r g

tion packet in time to complete and return any necessary forms. For late registrants, class placement cannot be guaranteed until payment in full is received by Idyllwild Arts.

1) All fees, minus the $25 application fee are completely refundable up to 90 days before a class is scheduled to begin.

Enrollment is automatically confirmed upon full payment of fees. Your cancelled check or credit card bill is your receipt. Upon receipt of the registration form and fee, a packet of registration materials will be mailed to you.

2) If a student withdraws more than 30 days prior to a scheduled class, all minus the $25 application fee and $225 deposit will be refunded upon written request. No refunds of any kind will be made less than 30 days before a class is scheduled to begin.

Refunds

3) If Idyllwild Arts cancels a class, all fees are refundable in full.

The Summer Program’s planning, hiring, purchasing and related expenses are directly determined by the number of enrollments received in the early Spring. Therefore, no refunds are made for early withdrawals, student cancellations or no-shows (regardless of accident, illness, or change of plans) except as follows.

Idyllwild Arts is not able to apply non-refundable payments to a future summer program. There are no exceptions to this policy.

APPLICATION/REGISTRATION/REFUNDS

2013 Summer ADULT Program Registration Form

YOUTH PROGRAMS

Page 2 of 2

For information about the following programs, visit us online or contact us to request a Youth Catalog. Visit: www.idyllwildarts.org Phone: 951-659-2171 x2365

PLEASE COMPLETE THE REMAINDER OF THE FORM IN ORDER FOR YOUR REGISTRATION TO BE PROCESSED

Student Name

Last _______________________________________________________ First ______________________________________

FAMILY CAMP (all ages)

In signing this application, I acknowledge that I have read the policies of Idyllwild Arts as noted in the catalog including the sections relating to payment of fees and refunds, and agree to abide by them. I understand that I am solely responsible for all medical expenses incurred by me while enrolled in the Idyllwild Arts Summer Program. Consent is hereby given for the applicant, while a student at Idyllwild Arts, to participate in radio and television programs without compensation and for photographs taken at Idyllwild Arts to be used in campus-approved publicity. ____________________________________________________________ ____________________________________________________ ________________________________

Signature of Student

Signature of Parent/Guardian if student under 18 years of age

Date

Children’s Center Multiarts Day Program (ages 5–8) Specialized Programs (ages 9–12) DANCE Dance Explosion FILM Collaborative Filmmaking

Please list the names and addresses of friends you have who would like to receive a Summer Program Catalog.

_________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________

Please complete the following to be assured the correct discount is credited to you. (See this page for information.)

Early Payment of Fees: (Fees must be received in full in order for discount to apply)

Family Discount: Other Family Members Attending

March 15–10% discount

April 15–5% discount

____________________________________________________________ ____________________________________________________ ________________________________

Name

Program

Name

Dates

Program

Dates

Teacher Discount: Teacher Name____________________________________________________________________________________ List other Teachers attending:

____________________________________________________________ ____________________________________________________ ________________________________

Name

Program

Name

Dates

Program

Dates

____________________________________________________________ ____________________________________________________ ________________________________

Name

Program

Name

Dates

Program

Dates

b) Name of student who referred me to the Summer Program—one name only. Must be completed to insure credit to referring student. ____________________________________________________________ ____________________________________________________ ________________________________ Name

Program

Dates

5 2 5 0 0 T e m e c u l a R o a d • P. O . B o x 3 8 • I d y l l w i l d , CA 9 2 5 4 9 • ( 9 5 1 ) 6 5 9 - 2 1 7 1 • F a x ( 9 5 1 ) 6 5 9 - 4 5 5 2 • i d y l l w i l d a r t s . o r g

Discounts/Credits Idyllwild Arts offers students the following options to reduce the cost of attending the Summer Program. They are applied to the total cost of a program: tuition, housing, meals, lab fees, and transportation. They cannot be applied to room deposits or key deposits. Early Payment Discount 10% off the total cost of a program if payment in full is received by March 15, 2013. 5% off the total cost of a program if payment in full is received by April 15, 2013. 1) Any changes or additions to enrollment made after the Early Payment deadline are subject to the full price. 2) Students choosing the Early Payment option are not eligible for scholarships.

THEATRE Improv Workshop Mini-Musical Theatre Musical Theatre Shakespeare’s World Theatre Adventures VISUAL ARTS Ceramics Workshop Computer Animation Fashion Design, Art & More Magic of Art Painting & Drawing Photography Workshop WRITING Young Writer’s Workshop

Youth Arts (ages 13–18)

Bring a Friend:

a) Name(s) of student(s) I have referred to the Summer Program. Please be sure that any students you have referred to Idyllwild Arts list you in part (b) of their application. Credit cannot be applied to your account until Idyllwild Arts has received your friend’s application with you listed in part (b).

VISUAL ARTS Adventures in Art Art From Many Cultures Drawing & Sculpture Modern Art/Clay/Sculpture

Junior artist (ages 11–13)

DISCOUNT PROGRAMS

THEATRE Mini-Musical Theatre On Camera Theatre of Myth & Folklore

WRITING From Page to Stage

I would like to receive information about the Idyllwild Arts Academy. (See page 31 of this catalog for a brief description of the Academy.)

MUSIC Piano Workshop

APPLICATION/DISCOUNTS

Family Discount Two or more members of the same immediate family qualify for a reduction of $50 per person per week. 1) Family members are not required to attend at the same time. 2) Not available to students choosing the Teacher Discount. 3) Not available to weekend registrants. Bring a Friend Receive credit of $50 per new student—one who has not attended the Summer Program previously—you bring to the Summer Program, up to half the total cost of your stay at Idyllwild Arts. 1) Students who attended during the summers 1985–2012 are eligible.

2) A new student can be claimed by only one returning student. 3) Does not apply to immediate family members of returning students. (see Family Discount) 4) Not available to weekend registrants. Teacher and Student Discount If there is space available in a workshop 30 days before it begins, teachers (K–12, currently employed, full time) and current college/ university students (full time) may enroll at 50% off of tuition. 1) Available only to week-long workshop registrants. 2) Fees for the workshop must be paid at the time of registration. 3) Available on a limited basis.

COMPUTER ARTS Computer Animation DANCE Dance Workshop Song and Dance FILM Acting for the Camera Directing for the Camera Filmmaking MUSIC Symphonic Band HS Symphony Orchestra HS Wind Ensemble HS Chamberfest Festival Choir Harp Workshop Jazz Workshop Piano Workshop Song and Dance THEATRE Acting for the Camera Directing for the Camera Sketch Comedy Song and Dance Summer Theatre Festival VISUAL ARTS Art Exploration Ceramics: Clay Works Drawing & Painting Drawing & Painting MC Fashion Design I & II Jewelry Workshop Black & White Photography Photo Explorations WRITING A Fiction Workshop Poetry Workshop

ARTS ACADEMY

CERAMICS Ceramics: The Ways of Clay Hot Clay The Narrative in Sculpture Pottery Component Mash-Up Silkscreening on Clay Handbuilding in Clay Sets and Soda

Idyllwild Arts Foundation P.O. Box 38 Idyllwild, CA 92549

Non-Profit Organization U.S. Postage

PAID

Idyllwild Arts Foundation

Jewelry Handmade Findings Silver Metal Clay Metals Week Chasing & RepoussĂŠ Creating Cuffs Nunome Zogan The Rolling Mill A Fresh Look at Spiculums Surface Design/Fabrication Mixed-Media Acrylic Ink Quilting BOOK ARTS Assemblage Manuscript Books Metal Books & Journaling The Santos Cage Doll MUSIC Chamber Music Concerts Native arts Hopi Basketry Hopi Jewelry Santa Clara Pottery Native American Arts Festival Craft & Survival Skills Native Plants Cahuilla Basketry Doll Making & Beadwork Navajo Weaving Navajo Inlay Jewelry Native American Flutes Hopi Tewa Pottery Mata Ortiz Pottery Painting/ Color Boot Camp DRAWING Contemporary Painting Drawing Intensive Encaustic Painting The Figure & Still Life Narrative Figure Painting Figure Painting in Watercolor Travel Drawing & Painting Watercolor from Within Watercolor Unleashed Printmaking Beyond Monotype Encaustic Monoprinting Solarplate Etching Sculpture Sculpture in Plaster Furniture Making & Design Writing The Art of Writing Fiction Memoir/Creative Nonfiction Young Adult Novel ( for adults) Poetry Week

SUMMER PROGRAM 2013 Workshops for Adults

One to Six Day Intensive Workshops for Adults Including the Native American Arts Festival, Hot Clay. and Metals Week (Children & Youth Course Catalog published separately-see information on page two for details) MasterCard, VISA, Discover, & American Express accepted Visit our website: w w w . i d y l l w i l d a r t s . o r g