2016 Summer Workshop Course Catalog

SUMMER WORKSHOPS

2016

C O U R S E C ATA L O G

TABLE OF CONTENTS

CALENDAR

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CERAMICS

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GLASSBLOWING

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Open Daily: 9am-9pm FREE Admission & Parking 201 WASHINGTON STREET READING, PA 19601 610.374.4600 INFO@GOGGLEWORKS.ORG VISIT US ONLINE AT GOGGLEWORKS.ORG

LAMPWORKING

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FUSED GLASS

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PHOTOGRAPHY

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WOODWORKING

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CONNECT! @GOGGLEWORKS FOLLOW ALL THE ACTION & POST SOME OF YOUR OWN #gwsummer2016

HOW TO REGISTER

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WORKSHOP SCHEDULE

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HOUSING/MEALS

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POLICIES/STUDIO INFO

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SCHOLARSHIPS

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NEW INTERACTIVE CATALOG Click class code links to register!

2016 Summer Workshop Series at GoggleWorks Center for the Arts Visiting artist-instructors, students, and faculty converge at GoggleWorks each summer to explore and break through their creative boundaries, sharpen new skills, and learn in a communal atmosphere while honoring the traditions of contemporary art and craft.

GoggleWorks' unique, urban campus, located northwest of Philadelphia in downtown Reading, consists of five large teaching studios, several gallery spaces, a movie theatre, and a cafe—offering an unprecedented immersive experience for all.

GETTING HERE:

By Car: Philadelphia - 1.5 hours Baltimore - 2 hours New York City - 2.5 hours Washington D.C. - 3 hours

By Bus: Reading's Intercity Bus Terminal, located two blocks from GoggleWorks, offers multiple daily departures and arrivals from New York City's Port Authority and Philadelphia's 30th Street Station.

By Train: The closest Amtrak Station is Lancaster Station.

By Air: Options include Philadelphia, Harrisburg, and Lehigh Valley International Airports.

S C H EDU L E AT A GLANCE

GLASSBLOWING LAMPWORKING

JUNE 20-24

Match-Made: Pattern & Form Martina Lantin page 5

Glass, Big, Blue...& Neon!

Jason Chakravarty page 8

Into the Garden Jennifer Umphress page 11

From Flat to Form: Hand-built Vessels Jeremy Randall page 6

Exploring Pattern through Murrine Jim Anderegg page 9

Flameworking: a Great World to Discover Simone Crestani page 12

Keeping in Touch: Ceramics, Food, & Relationships Gwendolyn Yoppolo page 7

The How & The Why David King page 10

The Roger Parramore Experience Roger Parramore page 13

AUGUST 15-19

CERAMICS

JULY 18-22

5-DAY WORKSHOPS | MONDAY - FRIDAY

3-DAY WORKSHOPS | FRIDAY - SUNDAY

JULY 22-24

JUNE 24-26

FUSED GLASS

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PHOTOGRAPHY

Lost Wax Casting Mark Abildgaard page 14

Elegant Images: The Art of the Platinotype Thomas Shillea page 17

GOGG LEWORKS CEN TER FOR THE A R TS

SCH ED ULE AT A G L AN CE

FUSED GLASS

PHOTOGRAPHY

WOODWORKING

Wet Plate Collodion Photography: Tintypes Craig J. Barber page 16

Hang Ups: The Small, Wall-hanging Cabinet Reuben Foat page 19

Summer Side Table Craig Vandall Stevens page 20

Particularity: Basic Kiln Casting & Traditional Pate de Verre Techniques Anna Boothe page 15

The Next Step: Composing & Creating the Personal Photograph Norman & Jett Sarachek page 18

SCHEDULE / ARRIVAL & DEPARTURE 5-DAY WORKSHOPS

3-DAY WORKSHOPS

SUNDAY: Arrival / Check-in Meet & Greet reception (6-8pm)

THURSDAY: Arrival / Check-in Meet & Greet reception (6-8pm)

MONDAY - THURSDAY: Workshop (9am-5pm) Lunch Break (12-1pm)

FRIDAY - SATURDAY: Workshop (9am-5pm) Lunch Break (12-1pm)

THURSDAY: Wood-Fired Pizza Party (TBA)

SUNDAY: Workshop (9am-5pm) Lunch Break (12-1pm) Departure (upon conclusion)

FRIDAY: Workshop (9am-5pm) Lunch Break (12-1pm) Departure (upon conclusion)

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CERAM I CS

MATCH-MADE: PATTERN & FORM MARTINA LANTIN Dates: June 20 thru June 24, 2016 5 DAYS

Level: Intermediate Code: 16U-CERW-0007 $525 Tuition / $105 Supply Fee Beginning with the introduction of a variety of low-tech surface techniques, this workshop will explore the relationship between pattern and form. Surface techniques using slips, under-glazes, and pigments will be introduced alongside throwing demonstrations that build on basic skills to develop scale and volume.

Instruction and conversation will discuss the challenges of marrying surface and form and offer some strategies to move forward.

Some ceramic experience helpful; all surface 5

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techniques translate to any temperature range; hand-builders also welcome.

Instructor Bio: Born in Montreal, Canada, Martina Lantin received her Bachelor of Art from Earlham College (1996) and her Master of Fine Art from NSCAD University (2009). She has completed residencies at Baltimore Clayworks and Arrowmont School of Art and Craft, and the Watershed Center for Ceramic Arts and taught workshops throughout the United States. Currently, Martina teaches at the Alberta College of Art and Design. Committed to the joys of working in earthenware, Martina creates functional ceramics through thrown and altered forms. The thin layer of white slip serves to accentuate the construction methods and to invite an exploration of the making process.

GOGG LEWORKS CEN TER FOR THE A R TS

CER A M I CS FROM FLAT TO FORM: HAND-BUILT VESSELS JEREMY RANDALL Dates: July 18 thru July 22, 2016 5 DAYS

Level: All Levels Code: 16U-CERW-0008 $525 Tuition / $105 Supply Fee Students will work in slab construction to produce forms that are out of the round and learn new ways to incorporate volume, texture, color, surface development, electric firing, and post firing construction to make vessels which are impregnated with reference, and rich with visual interest. Using a template method of generating ideas and drawing forms, the class will take flat shapes and transform them into volumetric objects.

Students will use terra sigilatta to create enlivened surfaces that are luscious and loaded with color. Students will develop an approach to decoration, which looks at line,

texture, and form to make decisions that respond to and build upon their own visual vocabulary. Some hand-building experience is a benefit, though all experience levels in clay are welcome.

Instructor Bio: Jeremy Randall received his B.F.A. from Syracuse University and his M.F.A. in ceramics from the University of Florida. He currently lives in Tully, New York, where he owns and operates his studio business Rusty Wheel Pottery. Jeremy is a visiting professor of art at Cazenovia College, and has taught at the higher education level for the past 10 years. Jeremy has shown in numerous national shows and has work in a number of public and private collections, venues, and galleries throughout the US, and has been published in national and international periodicals, texts, and publications. jeremyrandallceramics.com

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CERAM I CS KEEPING IN TOUCH: CERAMICS, FOOD & RELATIONSHIPS GWENDOLYN YOPPOLO Dates: August 15 thru August 19, 2016 5 DAYS

Level: All Levels Code: 16U-CERW-0009 $525 Tuition / $125 Supply Fee The pots we choose to make anchor our cultural stories around food, self, and each other. Students will consider the larger purposes served by their work as makers of objects that respond to physical gestures and fit into the relationships of their lives.

Students articulate their intentions through dialogue and writing, clarify their visions through two- and three-dimensional sketching, and refine the meanings conveyed in our work through purposeful studio engagement. While exploring forming methods such as pinching, coiling, throwing and altering, solid prototype building, press

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molding, and erosive shaping, students will strive to align their conceptual content with the materials, processes, forms, and presentation of their work. Students will emerge with a new sense of purpose as makers within contemporary culture, building prototypes for a new world.

Instructor Bio: Gwendolyn Yoppolo uses words, ceramic objects, and food to stretch boundaries and transform perception. She received an M.F.A. in ceramics from Penn State University, an M.A. in education from Columbia University, and a B.A. in sociology from Haverford College. She has taught at Ohio University, Ohio State University, Juniata College, and has worked as an artist in residence at Penland School of Crafts and at the Archie Bray Foundation.

Her writing can be found in Studio Potter, Pottery Making Illustrated, and Passion and Pedagogy. gwendolynyoppolo.com

GOGG LEWORKS CEN TER FOR THE A R TS

GLA SSB LOWI N G GLASS, BIG, BLUE...AND NEON! JASON CHAKRAVARTY Dates: June 20 thru June 24, 2016 5 DAYS

Level: Intermediate; prior glassblowing experience required Code: 16U-HGW-0016 $660 Tuition / $330 Supply Fee This course will focus on neon and illuminating nontraditional glass including vessels and sculpted forms created in the hot shop. The course will provide a basic understanding of the use of noble gases such as neon and argon. Demonstrations will include different effects created by forms, gas pressure, and gas usage. Students will leave with glass forms that are filled with gas and can be illuminated. Students should have basic hot shop skills and a desire to expand their vocabulary of the material as a sculptural expression. It is recommended that they have taken at least one introductory glass course, as the course will not be covering gathering and beginning process techniques.

Arizona State University, Corning Museum of Glass, Goggleworks Center for the Arts, Arrowmont School of Crafts, Urban Glass, Cleveland Institute of Art, Pittsburgh Glass Center, Appalachian Center for Crafts, and Penland School of Crafts. His work has been shown in over 100 exhibitions. Currently he is represented commercially at Corning, Duncan McClellan Gallery, Habatat Galleries, Hive Contemporary, Marshall LeKae Gallery, Kuivato Gallery, Penland Gallery, Thomas Riley Galleries, and Vetri Gallery. His studio is located in Arizona.

Instructor Bio: Jason Chakravarty began incorporating glass through the use of neon into his sculpture in 1998 while attending Arizona State University. He was employed for four years at a commercial neon sign shop where he learned technical fundamentals of the neon process. In 2002 he began illuminating hot shop forms and kiln casting glass while attending graduate school at California State University Fullerton. He has taken workshops nationwide including at Pilchuck, Pittsburgh Glass Center, Penland School of Crafts, and University of California San Diego. He has taught neon and kiln casting workshops nationwide including G OG G L E WOR K S CE N T E R F O R T H E A R T S

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GL A S S B L O W I N G EXPLORING PATTERN THROUGH MURRINE JIM ANDEREGG Dates: July 18 thru July 22, 2016 5 DAYS

Level: Intermediate; prior glassblowing experience required Code: 16U-HGW-0019 $660 Tuition / $285 Supply Fee Students with an affinity for color and pattern will make use of traditional Venetian techniques in contemporary ways.

Glassblowing demonstrations will include pulling and using cane and murrine and encalmo. Exploring various color applications and techniques, students will be encouraged to reinvent the relationship between form, patterning, and finish, adding complexity and depth to the objects that result.

Instructor Bio: Drawing inspiration from the organic nature of spontaneity, James Anderegg’s work merges the splendor of Venetian glass techniques with a design sensibility for the wild and exotic. His sculpture integrates a laborious layering of colored elements that undergo an equally laborious carving process: finished compositions that reveal lively interior and exterior relationships. Anderegg was first introduced to glass in 2001, living and conducting his work in a suburb east of Seattle, Washington.

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GLA SSB LOWI N G THE HOW AND THE WHY DAVID KING WITH NATE RICCIUTO Dates: August 15 thru August 19, 2016 5 DAYS

Level: Intermediate; prior glassblowing experience required Code: 16U-HGW-0022 $660 Tuition / $285 Supply Fee In this class, students will develop their glassblowing skills through repetition and thoughtful analysis of the process. Starting out the week with King, students will establish a strong foundation by learning how to "set up" their bubbles in a traditional Venetian style. Confidence gained through traditional vessel making will lead to exploration of the sculptural possibilities of the blown form.

Ricciuto will conclude with simple and effective cold-working tricks along with a glass glue primer and leave students with an expanded conception of what is possible.

and discovery, and creates situations that question our understanding of the relationship between craft, technology, and intuition. Nate earned his M.F.A. from Tyler School of Art in 2015, where he was awarded a University Fellowship and was an instructor in the glass program. He has a B.F.A. from Ohio State University, where he also spent several years working as studio supervisors for glass and sculptures and visiting lecturer in the Department of Art. Nate is currently adjunct faculty at Tyler School of Art in Philadelphia.

Instructor Bio: David King learned to work with glass at Ohio State University where he earned a bachelor’s degree. Since receiving an M.F.A. from Tyler School of Art, Temple University in 2011, he has participated in several artist residencies including the fellowship at the Creative Glass Center of America at Wheaton Arts and the Emerging Artist in Residence at Pilchuck Glass School.

He recently taught a summer workshop at Pilchuck Glass School and is currently adjunct faculty at the University of the Arts and Tyler School of Art in Philadelphia.

Instructor Bio: Nate Ricciuto is an artist living and working in Philadelphia, PA. He utilizes instances of creative problem solving in ways to diagram exploration G OG G L E WOR K S CE N T E R F O R T H E A R T S

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L A MP W O R KIN G

INTO THE GARDEN JENNIFER UMPHRESS Dates: June 20 thru June 24, 2016 5 DAYS

Level: All Levels; some experience preferred Code: 16U-FLGW-0031 $525 Tuition / $265 Supply Fee Students will be guided through the fundamentals of lampworking with borosilicate glass; they will look into the garden for inspiration. Basic solid-sculpting techniques will be taught, providing students with a strong foundation for making sculptural and wearable works. Students will be encouraged to move beyond technique and find their personal voice and aesthetic.

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Instructor Bio: Jennifer Umphress’ work often draws inspiration from her environment. Born and raised in California, she began working with glass in 2000 while living in Hawaii. Umphress now lives and works in Kingston, Washington, where the Pacific Ocean continues to influence her work. “Although my inspiration comes from the ocean, I aspire to capture the fluidity of nature in a simple contemporary form,” says Umphress in her personal statement.

Umphress studied with Cesare Toffolo during a month long apprenticeship in Murano, Italy, and has taken workshops with Robert Mickelsen and Janis Miltenberger.

Her work has been shown nationally and internationally. Umphress was awarded the Glasscraft Emerging Artist Award in 2009.

GOGGLEWORKS CEN TE R FOR THE A R TS

LA M PWOR K I N G LAMPWORKING: A GREAT WORLD TO DISCOVER SIMONE CRESTANI Dates: July 18 thru July 22 5 DAYS

Level: All Levels; some experience preferred Code: 16U-FLGW-0038 $525 Tuition / $315 Supply Fee This class will explore the wide scenario of lampworking using borosilicate glass. Flame worked glass allows artists to work very small, detailed pieces as well as create large objects and sculptures. During the class students will have an introduction on working borosilicate glass from the foundations to more complex applications in hollow sculpting. They will also work some of the many possible applications in design and object making. The class is open to all levels, no experience is required but also advanced students are welcome.

Instructor Bio: Born in 1984 in Marostica, Simone started working glass in 2000 first as a student and co-worker in Massimo Lunardon’s glassblowing studio. After a ten year apprenticeship, Simone opened his own studio where he continues to work. Simone is dedicated to research and innovation.

An introspective and self-taught artist, over the years he put together all the lessons learned and the experience gained, and finally broke away from the traditional glass of Murano. Inspired by the never-ending variety of the natural world, the shapes of animals and plants magically come to life.

Simone Crestani’s technique, together with his personal style and sophisticated poetics, allow him to create an interaction, where glass overcomes its purely material dimension and becomes a fine and studied artistic language, a pure, silent and crystalline conceptual element.

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L A MP W O R KIN G

THE ROGER PARRAMORE EXPERIENCE ROGER PARRAMORE Dates: August 15 thru August 19, 2016 5 DAYS

Level: All Levels; some experience preferred Code: 16U-FLGW-0034 $525 Tuition / $315 Supply Fee So often it is the case that experienced and beginning artists encounter the same difficulties as they progress through their development as artists. Beginners want to step out on the right foot. Experienced artists hit roadblocks. It is never too early or too late to brush up on the fundamentals. In this class they will go back to school, back to the fundamentals of technique and basic knowledge of the material. From gaining a strong base in heat theory and flame chemistry, to blowing goblets, beginners will 13

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gain the confidence to move forward, and those with more experience will have the opportunity to step back and fill in gaps in their own body of knowledge and technique.

Come ready to hit the ground running for an intense submersion into the fundamentals of lampworking.

Instructor Bio: Roger says, “Glass took me under its spell early, when at the age of nine I sat glued in place watching the traveling lampworkers spin ships and unicorns.

Through the years my relationship with glass has come to define a good bit of who I am. I pursued my interest through an apprenticeship in scientific glassblowing and then on into the art glass world teaching and showing my work. Some 44 years later my fascination with this most universal of materials is ongoing. From art to manufacturing color and teaching, glass has been a near life-long companion�.

GOGGLEWORKS CEN TE R FOR THE A R TS

F U SED GLA SS LOST WAX CASTING MARK ABILDGAARD Dates: June 24 thru June 26, 2016 3 DAYS

Levels: All Levels Code: 16U-WGW-0010 $370 Tuition / $195 Supply Fee Mark has spent several years developing a technique to create forms in wax using wet clay as a mold. Images are made by pressing objects into the clay and then pouring the melted wax into the void. Mark believes this technique has a lot of potential to produce interesting forms and textures for pieces that can be cast in glass. In this class students will learn each step in the process through a “hands on approach." The class will make small objects in wax that will be used to follow through each step in the process: from mold making, through kiln firing and annealing.

The concept for this class is to cover all aspects of glass casting so that the participants will be able to continue working on their own. No previous glass casting experience is required.

Instructor Bio: Mark received a B.A. in art from San Francisco State University in 1979 and an M.F.A. degree in art from the University of Hawaii in 1984. After graduating he worked as an artist in residence at the Tokyo Glass Art Institute in Japan and at Sculpture Space in Utica, NY. Mark also was awarded a five month fellowship at the Creative Glass Center of America in Millville, New Jersey in 1985. Since 1986, Mark has worked in his Northern California studio creating kiln cast sculptures. His work has been included in the collections of the Corning Museum of Glass in Corning, New York, the Oakland Museum of Art in Oakland, California, the Richmond Museum of Art in Richmond, Virginia, the Crocker Museum in Sacramento, California, and the Triton Museum in Santa Clara, California. You can see examples of his use of this technique on his website: markabildgaard.com/images/vessels/ process

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F U SED G L A S S PARTICULARITY: BASIC KILN CASTING & TRADITIONAL PATE DE VERRE TECHNIQUES ANNA BOOTHE Dates: August 15 thru August 19, 2016 5 DAYS

Levels: All Levels Code: 16U-WGW-0013 $525 Tuition / $225 Supply Fee Kiln casting with glass, like casting with metal and other materials, is a sculptural process used to create one-of-a-kind or limited edition objects. In Particularity, with a focus on the careful selection and combination of glass

particles, students will learn how to achieve a variety of results unique to kiln casting with frit, such as modulating degrees of translucency and color density. While learning kiln casting basics (making positive forms from clay and wax; rubber and refractory mold-making; glass choices, preparation and mold-packing; kiln loading procedures; firing schedules and glass finishing techniques), students will be guided in the making of tests that will be used to practice several techniques to inform the making of more complex cast forms (during and post-workshop).

Instructor Bio: With degrees in sculpture and glass from Rhode Island School of Design and Tyler School of Art, Anna Boothe has worked with glass since 1980. Her primarily kiln cast sculptural and decorative works have been exhibited at the Tittot Glass Art and Bergstrom-Mahler Museums, Museum of American Glass, and Kentucky Museum of Art and Design, and are included in the permanent collections of the Corning Museum of Glass and the Tacoma Museum of Art. After 16 years as a Tyler glass faculty member, Anna helped develop Salem Community College’s (NJ) glass art program and chaired its International Flameworking Conference.

She has been a visiting artist at numerous universities and taught at glass schools, including the Corning Museum of Glass, Pittsburgh Glass Center, Urban Glass and Pilchuck Glass School as well as venues in Belgium, Switzerland, Turkey, and Japan.

Anna served as President of the Glass Art Society, and until recently, was Director of Glass at Philadelphia’s National Liberty Museum where she curated glass exhibits and organized the Glass Now auction.

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GOGGLEWORKS CEN TE R FOR THE A R TS

P HOTOGR A PHY

WET PLATE COLLODION PHOTOGRAPHY: TINTYPES CRAIG J. BARBER Dates: June 20 thru June 24, 2016 5 DAYS

Level: Intermediate; some darkroom experience preferred Code: 16U-APHW-0042 $525 Tuition / $225 Supply Fee The Wet Plate Collodion photographic process is a beautiful way to create handmade photographs unlike any other. The workshop is designed for students to leave with a solid understanding of the Wet Plate Collodion process, thereby enabling one to continue upon returning home. Students will learn to make both tintypes, photographic plates (direct positives on metal) and ambrotypes (direct positives on glass plates).

In addition to learning how to pour, expose,

and develop one’s plates, students will also learn how to mix the necessary chemical formulas, where to purchase supplies, and how to set up a studio for wet plate Collodion photography. Each student will also receive a “How-to” Handbook.

Instructor Bio: Craig J. Barber is a photographer who uses antiquarian processes and focuses on the cultural landscape. For over 20 years he has traveled with his camera to Vietnam, Havana, and the Catskill region of New York State, documenting cultures that are in transition and fading from memory. His work has been exhibited throughout the United States, Europe and Latin America and is represented in several prominent museum and private collections.

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PH OTO G R A P HY

the Platinotype as well as exhibit examples of his platinum prints. Participants will learn how to make b&w digital negatives suitable for printing in the Platinotype process using Photoshop software and an inkjet printer.

Copies of Shillea’s Instruction Manual for the Platinum Printing Process will be used as a reference throughout out the 3-day workshop. Upon completion of this workshop participants will have gained a fundamental knowledge of the history of the Platinotype and the various processes, materials, and chemistry, as well as some of the magic involved in creating a beautiful platinum print.

ELEGANT IMAGES: THE ART OF THE PLATINOTYPE THOMAS SHILLEA Dates: July 22 thru July 24 3 DAYS

Level: All Levels Code: 16U-APHW-0052 $375 Tuition / $185 Supply Fee Thomas Shillea, a recognized master of the Platinotype printing process will offer a 3- day, hands-on workshop in this beautiful 19th century photographic printing process.

Shillea will present a lecture on the history of 17

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Instructor Bio: Thomas Shillea earned a Master of Fine Arts degree in photography from the Rochester Institute of Technology.

During his graduate work he had an opportunity to study museum practices in the Exhibition Department at the George Eastman House. It was this experience that introduced him to the platinum photographs of Alfred Stieglitz and the Photo-Session photographers. Shillea’s professors, Charles Arnold and Owen Butler, were protégées of Minor White and followed in the tradition of Paul Caponigro, Paul Strand, and Alfred Stieglitz in their photographic aesthetic.

Shillea carries on that classic tradition in his work today. As part of his graduate thesis Shillea co-authored, with John Hafey, the History of the Platinotype, published by the Graphics Arts Research Center at R.I.T. Examples of his photographs are available at: thomasshilleaphotography.com.

GOGGLEWORKS CEN TE R FOR THE A R TS

P HOTOGR A PHY THE NEXT STEP: COMPOSING & CREATING THE PERSONAL PHOTOGRAPH NORMAN & JETT SARACHEK Dates: August 15 thru August 19, 2016 5 DAYS

Level: All Levels Code: 16U-APHW-0050 $525 Tuition / $75 Supply Fee This course will teach students to make the leap from taking photographs to creating well-composed, engaging and personal photographic works of art. Students will begin the week learning how to explore their subject to find the photograph in it. This will include finding a viewpoint, composing a photograph, reading a photograph, and keeping the viewer’s eyes engaged within the image. Using these tools students will then be guided in ways to make their photographs personally meaningful. Whether students choose to photograph a tree, a street fair or a snowy mountain, students will begin to reflect themselves in the final image. The class will end the week exploring the concept of creating a portfolio of personal images. The workshop will be digital camera based.

holds a B.F.A. from Moore College of Art and Design and is a board certified art therapist with an M.A. in creative arts therapy from Hahnemann University. Publications include: Jett Ulaner Sarachek Pinhole Photographs; My Horse, Myself, Life Lessons from Taos Horsewome;, and Working with Images: The Art of Art Therapists. jettulanersarachek.com Norman Sarachek’s camera based and camera-less photographs have been exhibited in Galleries in the United States and the UK, including the New Mexico Museum of Art, Santa Fe, NM; Visual Studies Workshop, Rochester, NY; New England School of Photography, Boston, MA; Southern Vermont Art Center, Manchester, VT; Lehigh University, Bethlehem, PA; Muhlenberg College, Allentown, PA; and Swarthmore College, Swarthmore, PA. His work has been published in The Third Edition of Robert Hirsch’s textbook Photographic Possibilities, and in Christina Z. Anderson’s The Experimental Photography Handbook. nsarachek.com

Instructor Bios: Jett Ulaner Sarachek’s photographs have been exhibited throughout the United states including galleries in New York City, Philadelphia, PA, and Taos, NM. Her images can be seen in the permanent collections of the Center for Photography at Woodstock, N.Y., Lehigh University Art Galleries, and Philadelphia’s Moore College of Art and Design. She has taught workshops in Finding your Personal Vision at the Banana Factory in Bethlehem, PA and at Cedar Crest College in Allentown, PA. Sarachek G OG G L E WOR K S CE N T E R F O R T H E A R T S

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WOOD W O R KIN G

HANG UPS: THE SMALL, WALL-HANGING CABINET REUBEN FOAT Dates: June 20 thru June 24, 2016

free door options will be discussed as well as important design considerations. All levels are welcome except absolute beginners.

5 DAYS

Level: Intermediate; some woodworking experience required Code: 16U-FWW-0025 $525 Tuition / $190 Supply Fee Everyone has one. You know, that little nook or cranny in your home where something beautiful could fit, but you’re not quite sure what to put there. Enter the small, wall-hanging cabinet! It brings new life and functionality to any little empty space. This week-long course will focus on solid wood construction of a cabinet meant to hang on the wall. Relative joinery and hardware19

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Instructor Bio: Reuben is from the Milwaukee area and discovered a passion for furniture making while attending the University of Wisconsin-Madison. He earned a Master of Fine Arts degree from San Diego State University with an emphasis in furniture design and digital fabrication. He currently teaches a 21st century shop class called Makers at High Tech Middle Media Arts, a well regarded charter school organization. He maintains a studio practice and enjoys the sunshine in San Diego, California. reubenfoat.com

GOGGLEWORKS CEN TE R FOR THE A R TS

WOODWOR K I N G SUMMER SIDE TABLE CRAIG VANDALL STEVENS Dates: July 18 thru July 22, 2016 5 DAYS

Level: Intermediate; some woodworking experience required Code: 16U-FWW-0028 $525 Tuition / $190 Supply Fee Making a handmade table represents a unique project for the craftsman. It offers the satisfaction of creating a beautiful, functional and very achievable piece of hand-made furniture. Through discussions and hands on work, students will make a small side table using joinery methods and traditional techniques such as mortise and tenon joinery, working with solid wood, making and using hand-sawn veneers, as well as creating hand-planed surfaces and applying an oil finish. Craig will demonstrate scaling a simple sketch into a full size mockup to better visualize proportions and consider the careful

selection of wood for creating a harmonious design. There will be ongoing discussions on sharpening and using bench tools as well as machine setup and use. Hands-on assistance focused on improving participant’s design and woodworking skills will be combined with daily demonstrations and lectures.

Instructor Bio: Craig Vandall Stevens studied furniture making at the College of the Redwoods Fine Woodworking Program in northern California. He has received numerous awards including an individual artist fellowship from the Ohio Arts Council and is the author of five books on the subjects of chip carving, marquetry, and furniture making. He teaches furniture making workshops throughout North America and has given presentations at conferences and furniture programs in Takayama, Japan.

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HO W T O RE GISTER

EARLY BIRD SPECIAL!

REGISTER BY MARCH 1, 2016 10% off tuition

ONLINE: goggleworks.org/2016-summerworkshops Interactive Digital Catalog: Click the Class Code link of the workshop that you are interested in registering for.

NOTE: You will be prompted to sign-in or create a login prior to registering.

PHONE: Call our Programs Department at 610.374.4600 x112.

IN PERSON: Monday-Friday, 9am-9pm at the Information Desk (First Floor, Main Building) CANCELLATIONS: Cancellations 30 days prior to the workshop start date will be refunded in full less a $30 administrative fee. Cancellations within 30 days 21

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of the workshop start date will not be refunded. GoggleWorks is not responsible for lost or nonrefundable travel tickets and fees. Housing option cancellations received fewer than 30 days in advance will be refunded less an administrative fee of $100.

SUPPLY FEES: Each workshop has an upfront supply fee that will be added into the cost when purchasing the workshop. The fee covers the initial materials needed for the workshop. Students may purchase additional materials while they are at GoggleWorks for a supplemental fee collected at the time of purchase or check-out. Please look through the course offerings to see the varied supply fee rates.

WELCOME PACKET: Registered participants will receive confirmation and a Welcome Packet with information specific to the workshop they chose to attend. Please review Welcome Packet contents prior to arrival and bring with you to the Meet & Greet reception (see schedule on page 4).

REQUIRED TO PARTICIPATE: Emergency Contact Information must be received by GoggleWorks prior to participation in any workshop. Each student will also be required to sign a Safety Clearance Form after Studio Operating Policies are reviewed at the start of each workshop.

GOGGLEWORKS CEN TE R FOR THE A R TS

R O O M & BOA R D / MEAL S ACCOMMODATIONS: We suggest you book your housing as soon as possible. Rooms are available on a first come, first served basis. If registering online, please select the appropriate housing option at the time of registration.

LOCAL HOTEL PACKAGE: GoggleWorks, working with local providers, is able to offer safe and comfortable housing to Summer Workshop students at an affordable rate. Several options are within walking distance/short drive to our campus.

Hotel rooms are double occupancy.

Rooms are booked on a first come, first served basis. Payment in full is required to reserve a room.

LOCAL SHARED HOUSING: GoggleWorks also offers lodging in a private room in a shared house, usually with a shared bathroom. These rooms are in private houses whose owners rent only to our workshop participants. All are clean, attractive, friendly situations within ten miles of GoggleWorks' location in downtown Reading, PA. ONSITE PARKING/SECURITY: GoggleWorks has over 200 free parking spaces available to students, faculty, tenants, and guests. A security station is located in the center of the parking lot and is staffed until 9:30pm on weeknights and 10:00pm or later on weekends. Overnight parking is not allowed without permission. Camping is not permitted.

ROOM & BOARD FEES: (per person) LOCAL HOTEL PACKAGE: $285/week 5-day workshops (Sun-Sat) $185/week 3-day workshops (Thurs-Mon) LOCAL SHARED HOUSING: $285/week 5-day workshops $185/week 3-day workshops MEAL OPTIONS: Lunches will be served in GoggleWorks' cafe located on the first floor in the main building daily from 12-1pm.

Menus will be posted at the beginning of each week and will always include a vegetarian option. Breakfast and dinner are not included. The cafe can cater to special diets with advanced notice.

LUNCH FEES: $50/week 5-day workshops (Mon-Fri) $35/week 3-day workshops (Fri-Sun) $13/day a la carte

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P O LIC IE S / S TUD IO INFO R MATIO N ANTI-DISCRIMINATION: Students are admitted to GoggleWorks' Summer Workshop program without regard to race, color, national or ethnic origin, age, religion, disability, sex, sexual orientation, gender identity and expression, veteran status or any other characteristic protected under applicable federal or state law.

BEHAVIOR: GoggleWorks' studios house many different pieces of equipment and machinery. Should a student at anytime act in a manner that is dangerous or destructive to themselves or others, the individual would be asked to leave the program without refund. Within each instructional studio, students will be afforded the safety and studio expectations within their respective workshop offering.

PERSONAL PROPERTY: GoggleWorks is not responsible for the security of property belonging to students, instructors, or staff. Lockers are available in the woodworking, hot glass, and warm glass studios.

DRUGS & ALCOHOL: Alcohol is not permitted in the studios and use of illegal drugs while at GoggleWorks is strictly prohibited.

PETS: Kindly leave your pets at home.

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SMOKING: Smoking is permitted in designated outdoor areas only.

STUDIO INFORMATION Detailed information about GoggleWorks' studios, including a list of equipment and virtual tours can be found at: goggleworks.org/our-studios STUDIO SAFETY All workshop participants should be aware that many of the workshops require use of tools and equipment which, if handled improperly, can cause injury. A safety tour and information about proper handling of tools and materials will be covered in your welcome packet and during the first session of each workshop; however students assume the risk of working with these tools and materials provided

by GoggleWorks Center for the Arts.

GoggleWorks reserves the right to dismiss any student without refund for behavior that jeopardizes your safety and/or the safety of others, or is disruptive to the community learning and living environment.

STUDIO ACCESS AFTER HOURS With certain restrictions on machine use, the large teaching studios are open to attendees from 8am to midnight daily.

See your Welcome Packet for Studio Operating Policies.

GOGGLEWORKS CEN TE R FOR THE A R TS

PR O GRAMS / SPEC I AL EV EN TS WAYS OF MAKING EXHIBITION ON VIEW: JUNE 3 - JULY 28 SCHMIDT GALLERY Embracing new ideas and ways of making is the foundation of GoggleWorks' Summer Workshop series. Our annual invitational features recent work by our visiting artist-instructors; instructors who are practicing artists of relevance and many who are faculty of prestigious art workshops, colleges, and universities.

The educational exhibition seeks to inspire, invigorate, and challenge the viewer by showcasing a wide range of possibilities in clay, glass, wood, and photographic processes.

FREE. Open to the public.

WOOD-FIRED PIZZA PARTY: (5-DAY ONLY) 5-day workshop attendees are invited to join us for a communal gathering and farewell celebration on their last evening (Thursday). Meet and mingle with workshop attendees from all mediums offered during the week on the Ceramics patio. Enjoy handmade pies from our wood-fired pizza oven.

FREE. Open to workshop attendees, family, friends and staff of the GoggleWorks.

VISITING ARTIST LECTURE SERIES: 5:00-6:00PM (MON/TUES/WED/SAT) DURING WORKSHOPS Visiting artist-instructors from each workshop will have the opportunity to illuminate their work, experience, and practice during our Visiting Artist Lecture Series. Held from 5-6pm on Mondays, Tuesdays, and Wednesdays during our 5-day workshops—and 5-6pm on Saturdays during our 3-day workshops—these lectures are accompanied by slides and conclude with a question and answer session.

FREE. Open to the public.

Learn more about GoggleWorks' upcoming events by visiting: goggleworks.org/upcoming-events

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S C H O L A RS HIPS NEW FOR 2016!

In order to help as many students as possible take advantage of the GoggleWorks experience, we are pleased to offer the following financial need-based and work study scholarships for the 2016 Summer Workshop series.

DEADLINES & IMPORTANT DATES: All applications must be submitted by: Thursday, March 31, 2016 Recipients will be notified on or before: Friday, April 15, 2016 Recipients must confirm registration on or before: Saturday, April 30, 2016 CRITERIA / ELIGIBILITY: - Applicants must be 18 years or older.

Workshops are open to students of all levels, except where noted in the workshop description. Applicants must possess the skills necessary for their workshop selection(s).

- Applicants can apply for a scholarship for either a 5-day or 3-day experience.

- Incomplete applications will not be considered.

- Enrollment in each workshop is limited.

When filling out the application form, please indicate your first and second workshop choices.

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SCHO L AR SH I PS FINANCIAL NEED-BASED: Recipients of financial need-based scholarships will be awarded a reduction in costs associated with the tuition and/or supply fees for the applicant's desired workshop. Recipients will be responsible for their transportation to and from GoggleWorks, lodging, and all meals during the length of the workshop. See page 22 for housing options and meal plans.

Application must be accompanied by: - current resume or C.V. - 5 images of your work (each image should be numbered, 300 dpi and not exceed 1020x1220 pixels) - all images must be accompanied by a caption document, which includes image number, size, materials used, and date of creation - statement of financial hardship - two (2) personal/professional references - $25.00 application fee WORK STUDY: Applicants awarded a work study scholarship will be responsible for assisting in the preparation of the workshop (one day prior to start date) and the closure and clean-up of the workshop (one day after workshop ends). Since technical assistants are responsible for assisting the instructor, and for shop maintanence and organization, they are expected to be familiar with the general technical requirements of the particular studio they are applying for.

Recipients of each work study scholarship will be awarded free/ full tuition for their desired 5-day or 3-day workshop. Work study scholarships do not cover the costs of supplies/materials, food, lodging, or transportation to/from GoggleWorks Center for the Arts which are the responsibility of each student. See page 22 for housing options and meal plans.

Application must be accompanied by: - current resume or C.V. - 5 images of your work (each image should be numbered, 300 dpi and not exceed 1020x1220 pixels) - all images must be accompanied by a caption document, which includes image number, size, materials used, and date of creation.

- statement of technical abilities relating to the studio you are applying for - two (2) personal/professional references - $25.00 application fee TO APPLY: Apply online at: goggleworks.org/scholarships Applicants may choose to apply for one or both forms of scholarships, but must do so by completing and submitting both applications.

QUESTIONS: Contact Brian Foreman, Programs Director at bforeman@goggleworks.org or 610.374.4600 x112.

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Visit goggleworks. org Call 610-374-4600 ext. 112.

Stop by GoggleWorks’ Information Desk Mon.-Fri. 11am-7pm.

3 WAYS TO REGISTER

201 Washington Street, Reading, PA 19601 610.374.4600 | goggleworks.org

NON PROFIT ORG U.S. POSTAGE PAID PERMIT NO. 357 GOGGLEWORKS