2019 Haystack Catalog

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SUMMER 2019 HAYSTAC K MOUNTAIN SC HOOL OF CRAFTS

Workshops Open Studio Residency Summer Conference


SUMMER 2019

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Each new season at Haystack offers a snapshot of a particular moment in time; telling a story of how we think about craft and the ways it can help us make connections in broad and expansive ways. The experience of being here is marked by long, uninterrupted days in the studio surrounded by a community that cares deeply about what it means to explore ideas and work with their hands. We believe it is our responsibility to create pathways for people to come to this remarkable place, and experience an educational model that is truly transformative. Standing on the deck overlooking Jericho Bay, Haystack is a breathtakingly beautiful place that is hard to forget. People come to the school to develop and sustain creative lives, explore new ideas, and to reassess their work. For some this is an entirely new experience, while for others a vital part of their artistic practice. Yet regardless of your background or skill level there is a place for you here.

Schedule at a Glance

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Life at Haystack

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Open Studio Residency

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Session One

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Session Two

14

Session Three

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Session Four

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Summer Conference

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Session Five

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Session Six

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Summer Workshop Information

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Summer Workshop Application

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Fellowships and Scholarships

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Programs Spotlight

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Fab Lab

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Haystack Publications

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We hope you will join us.

Paul Sacaridiz Director

Workshops are open to all skill levels, beginners to advanced professionals, unless otherwise noted.


WORKSHOP SCHEDULE RESIDENCY

SESSION

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May 26–June 7

June 23–July 5

SESSION

BLACKSMITHING John Rais Line Meets Plane; Forging in Three Dimensions

June 9-21

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BLACKSMITHING Meghan Martin Expressive Forging: Topography in Steel

CERAMICS Emily Schroeder Willis Pinching & Playing FIBER Christy Matson Hand-Weaving 101 GRAPHICS Mary Tasillo + Michelle Wilson Social Paper: Using Text, Image, Paper, and Print for Social Practice METALS Barbara Seidenath Some Like it Hot WOOD Ted Lott Outcasts, Strays, and Foundlings: Giving Old Objects New Life VISITING ARTIST* Sonya Clark

SUMMER CONFERENCE Craft and Legacy: Writing a History, Preserving a Field July 7–11

CERAMICS Shannon Goff Drawing Out Loud FIBER Jim Drain Obtanium/Embellish’um GRAPHICS Jenny Brillhart Painting the Unrealized METALS Kerianne Quick What’s Your Issue? WOOD Heath Matysek-Snyder Stacks, Slats & Bundles

SESSION

July 14–26

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CERAMICS Linda Nguyen Lopez Everyday Abstraction with Colored Porcelain FIBER Doug Johnston Home is Everywhere GLASS Megan Biddle Slump, Fold, Mix, Mold GRAPHICS Emmy Bright Silkscreen: The Printed Word METALS Tara Locklear Material Mechanics: Intentional Connections WOOD Audi Culver + Ivy Siosi All About the Details

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SCHEDUL E AT A GLA NC E


SESSION

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SESSION

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July 28–August 9

August 25–August 31

CERAMICS Kenyon Hansen Soda Salt Surface

CERAMICS Suze Lindsay Altering Form/Designing Surface

FIBER Courtney Puckett Embodied Line

FIBER Christine Mauersberger Discovering a Mindful Stitching Practice

GLASS David Schnuckel Glassolalia

GLASS Courtney Dodd Material Observation

GRAPHICS Krista Franklin Pulp Fictions: Developing Narratives through Papermaking

GRAPHICS Jodi Reeb Alternative Surfaces for Encaustic Painting

METALS Tanya Crane Crunchy Tips: Adventures in Dimensional Enameling WOOD Sarah Marriage The Furniture Between Us VISITING ARTIST* Matt Crane

SESSION

August 11–23

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METALS Amelia Toelke Flat Objects WOOD Marshall Scheetz Re-Maker’s Work: Coopering a Wine Barrel into Smaller Functional Vessels WRITING Matthew Shenoda Poetic Ecologies, Human Inhabitants: Intersecting People and Place

* Visiting artists augment the session with informal

activities and are not workshop leaders.

CERAMICS Andile Dyalvane South African Vessels

FIBER Kathy Hattori Around the World with Natural Color GLASS Peter Ivy + Robert Lewis Advanced Basics GRAPHICS Michael Velliquette Sculptural Paper Craft: Form and Freedom METALS Hamza El Fasiki Traditional Moroccan Brass Etching: Islamic and Moorish Tea Tray Ornamentations WOOD Julian Watts Carving Handheld Sculptures

APPLICATION DEADLINES MARCH 1 Open Studio Residency Scholarship Sessions 1–6

APRIL 1 General Application Sessions 1–6

VISITING CURATOR* Denise Markonish

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LIFE AT HAYSTACK The combination of an unmatched natural setting, a unique campus designed by award-winning architect Edward Larrabee Barnes, and the focused energy of the community provides an environment that supports a serious exploration of craft, materials, and ideas.

LIFE AT HAYSTACK The combination of an unmatched natural setting, a unique campus designed by award-winning architect Edward Larrabee Barnes, and the focused energy of the community provide an environment that supports a serious exploration of craft, materials, and ideas.

Mary Beasom Bishop

founded Haystack Mountain School of Crafts in 1950 near Haystack Mountain, in Montville, Maine. The original mission of the school was to teach fine craftsmanship, develop latent or inherent creative ability, and carry on research and development in connection with the crafts. Over the years, our vision has refined to include the investigation of craft in an aesthetic climate, honoring tradition while acknowledging the rich potential of contemporary visual art. Haystack is an intensive creative community that supports lifelong learning in the arts by offering outreach, experiential education, and professional development opportunities in a remarkable setting. People come to Haystack to develop and discover skills, to nurture their creativity, to ask questions, reassess and take new risks in their work. Haystack’s core programs are its two-week residency and six summer workshop sessions held between May

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and September. Workshops range in skill level from beginners to advanced professionals and participants must be at least 18 years old to attend. In 2018, 457 students attended from 40 states and 10 countries and another 1,000 or more participated in pre- and post-season programs and rentals as well as visitors who attended events, lectures, auctions, tours of our award-winning campus, and exhibitions at our Center for Community Programs in Deer Isle village. We saw an increase of 132 program participants over 2017. Haystack’s summer programming also includes our annual Summer Conference. Scholarship support is available for workshops and the conference, and nearly 25% of attendees receive full financial aid to attend the school.


SCHEDULE Plan to arrive between 2 pm and 6 pm on the first Sunday of the session, checking into the main office when you arrive. Dinner will be served at 6:30 pm and a general orientation will take place at 7:30 pm. The first workshop session will begin immediately following. Workshops meet from 9 am to 4 pm, Monday through Friday. Studios are open twenty-four hours a day, seven days a week. Throughout the session there are evening presentations by faculty, staff, and technical assistants, and presentations by visiting artists and writers. We ask that all participants leave Haystack by 11 am on the last day of the session. END OF SESSION AUCTION At the conclusion of each session a celebratory auction of student and faculty work is held to benefit scholarships and studio improvements. While much of the work is made during the session, sometimes people bring their work with them to donate—participation in the auction is entirely voluntary. Auctions are open to the public. CONTACT INFORMATION You can always call our office in Deer Isle and talk with someone about workshop descriptions, life at the school, what to bring, travel questions, or anything else you need to know about Haystack. We can be reached between 8:30 am and 4:30 pm EST, Monday through Friday, at (207) 348-2306. You can also find an extensive list of Frequently Asked Questions on our website.

LOCATION Haystack is located in Downeast Maine on Deer Isle, which is connected to the mainland by a bridge over Eggemoggin Reach. It is approximately 500 miles from New York City, 250 miles from Boston, 160 miles from Portland, and 60 miles from Bangor. There is transportation by both air and bus to Bangor, and taxi service from there to Deer Isle. WEATHER Weather on the coast of Maine is unpredictable and temperatures can range from a low of 40 on cool evenings to a high of 90 on extremely warm days throughout the summer. Layered clothing is suggested and to be best prepared bring clothing ranging from shorts and pants to sweaters, sweatshirts, and rain gear. FACILITIES Studios at Haystack are open twenty-four hours a day, seven days a week. Additionally the school maintains a library with a collection of books on craft, art, design, and architecture as well and a store that sells materials and supplies. Haystack is located in a remote setting and both cell reception and internet access are limited. To maintain a retreat setting we ask that you refrain from cell phone use in the studios, cabins, dining hall, and the deck, and limit usage to the upper portion of the campus and public spaces. ACCOMMODATIONS The cabins at Haystack are an integral part of the campus design and we have several options that range from dorms (that house up to eleven people), triples, and doubles—all located near a central washroom; as well as a quad, doubles, and limited singles with private bathroom facilities. Some are accessible to those with mobility issues and we will work with you on meeting your needs as closely as we can. Cabins at Haystack do not have heat and participants should be prepared for cool evenings.

All accommodations have twin beds and a lightweight blanket and pillow are provided. Please bring a sleeping bag or additional bedding. MEALS The dining hall at Haystack is a central meeting place where participants enjoy delicious meals prepared in our kitchen by our head chef and talented staff. We work closely with many local farmers and food producers on the Blue Hill Peninsula and surrounding region and vegetarian options are available at each meal. The kitchen will try to accommodate dietary restriction when possible—please indicate this on your application and contact Haystack if you have any questions or concerns Haystack is committed to a culture of diversity, equity, and inclusion. We do not discriminate against any individual or group of individuals on the basis of age, color, disability, gender identification, national origin, race, religion, sexual orientation, economic status, or veteran status. All are welcome.

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MAY 26–JUNE 7

OPEN STUDIO RESIDENCY Haystack's two-week Open Studio Residency kicks off our summer season of programs. The residency is designed to foster artistic exploration at the highest level, and those selected attend for free. Haystack’s Open Studio Residency fosters a dynamic exchange of ideas among peers and provides two weeks of studio time and an opportunity to work in a community of makers. The program supports approximately 50 participants—from the craft field and other creative disciplines—who have uninterrupted time to work in six studios (ceramics, fiber, graphics, iron, jewelry, and wood) to develop ideas and experiment in various media. Participants can choose to work in one particular studio or move among them depending on the nature of their work. All of the studios are staffed by technicians who can assist with

8 OPEN STUDIO R E S IDE N C Y: M AY 2 6 – J U N E 7

projects. Please note that technicians will not be leading workshops. If you are interested in learning specific skills, you may want to apply to one of the workshop sessions. The Haystack Fab Lab will also be open, providing an opportunity for experimentation with digital fabrication as a way for residents to augment and complement their creative practices. In addition to open studios, there will be time for participants to share work and discuss ideas across disciplines. Residents include established and emerging artists working in a range of visual art and craft media.


Photo by Jenny Rebecca Nelson | Wylde Photography

SELECTION CRITERIA An independent committee reviews applications to the Open Studio Residency and both national and international artists working in a variety of disciplines are eligible for consideration. Past participants may reapply to the residency but preference may be given to first time applicants. Selection is based on work samples, the nature and scope of the project that will be done during the residency (if applicable), and the ability to work in a creative community. All applications are for the entire two-week session. Participants must be 21 years of age or older and students enrolled in an academic program during the time of the residency are eligible to apply. Haystack is committed to a culture of diversity, equity, and inclusion. We do not discriminate against any individual or group of individuals on the basis of age, color, disability, gender identification, national origin, race, religion, sexual orientation, economic status, or veteran status. All are welcome. For special needs or questions about accessibility, please contact our office. APPLICATION PROCEDURES Haystack has partnered with SlideRoom to provide residency applicants with an online application process. Supporting materials must include a resumé and 5 images of recent work. Complete application guidelines, requirements, and frequently asked questions can be found on our website. March 1, 2019 Application deadline. Apply online at haystack.slideroom.com.

“You have made my time here truly magical—from great people to great food. I could not have had a better experience. It has been a boost to be around such a driven and talented community of makers. Thank you to the people that make this experience possible.” LAUREL FULTON, 2018 RESIDENT

April 1, 2019 Results of the juried process will be sent to residency applicants via email. AFFILIATED FEES Applicants must pay a non-refundable application fee of $50 through a secure site on the online application. Material costs and shop fees, payable at the conclusion of the program, are the responsibility of the residency participant. The Open Studio Residency program is supported by Haystack’s Windgate Foundation Endowment for Programs. ACCOMMODATIONS Housing will be assigned at random from among the various accommodation options available at the school. If you have particular physical needs, please note these on your application so that we can best accommodate you.

Formlabs is a partner for the 2019 Open Studio Residency, providing technical support, experimentation and innovation in our Fab Lab.

Apply online at haystack.slideroom.com L E AR N M OR E : H AYSTA C K - M T N . O RG

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SESSION 1

JUNE 9–21

BLACKSMITHING

CERAMICS

Expressive Forging: Topography in Steel

Pinching & Playing

This workshop will explore a range of experimental and traditional approaches to blacksmithing and metalworking to better understand metal as an expressive medium. Through unconventional forging exercises students will consider surface and texture in steel, pulling design influence from personally sourced images, drawing exercises, and the natural and human-made environment around us. Projects will focus on combining forged textures, forming techniques, and fabricated elements to create functional and sculptural forms. Discussions and demonstrations will cover topics such as tooling, sheet metal forming, welding, and basic fabrication—leading to an emphasis on various finishing processes appropriate to each project. All levels welcome.

Pinching is one of the most basic techniques used in creating ceramic objects. In this workshop we will use simple processes to explore more complex forms within the realm of functional objects. Traditional methods of pinching, coiling, and press molding will be the springboard for participants to develop their own unique mark making process and to look at pots in a new way. Additionally, we will recognize that vessels hold a language and can either move within or relinquish. Not only will we investigate the composition of vessels, but also push ourselves to discover new ways of forming them through methods unconstrained by the wheel. All levels welcome.

Meghan Martin is an artist and blacksmith living and working in western North Carolina. Originally from Vermont, she began her metalworking career through the apprenticeship model— she is a two time recipient of The Vermont Folklife Center’s Traditional Arts Apprenticeship Grant and was a two year Core Fellow at Penland. Among her evolving series of sculptural wall pieces, Meghan completes a wide breadth of commissioned work regularly, including functional objects for the home. Selected group exhibitions: Metal IV, Metal V, LIGHT Art+Design, Personal Effects, Penland, At Work, Earlham College, and Nu Iron Age Contemporary Forged Art Show. · meghan-martin.com

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Emily Schroeder Willis is a Lecturer at the School of the Art Institute of Chicago. She received an MFA from the University of Colorado, Boulder. Emily was awarded the Jerome Fellowship from the Northern Clay Center and has been an Artist-in-Residence at the Archie Bray Foundation, the Zentrum für Keramik in Berlin, and Watershed Center for the Ceramics Arts. In 2012, Emily was a presenter at Arrowmont’s Utilitarian Clay Conference where Objective Clay, a collective she is part of, was formed. · emilyschroeder.com


Slats by Meghan Martin, 2017. Steel, forged, fabricated, patina

01 Nest (brooch) by Barbara Seidenath, 2008. Enamel on fine silver, oxidized white gold, diamonds; setting/frame: sterling silver oxidized, stainless steel pin, 2½" × 2½" × ¼". Photo by Roger Birn

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03 Hair Craft Project (Jamilah) with Sonya Clark, 2014. Photo by Naoko Wowsugi

FIBER

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GRAPHICS

Social Paper: Using Text, Image, Paper, and Print for Social Practice

Explore the use of printing and handmade paper techniques to engage the community through public and participatory art practices. Work with hand papermaking, a variety of stencils for paper pulp, and relief printmaking techniques while discussing how to use these as effective tools in social practice. We will brainstorm and experiment with combining text and image to engage a range of participants and convey meaning, as well as considering the ways material—the use of meaningful fibers to create paper pulp, whether repurposed cloth or specific plant fibers—can reinforce concepts and further the experience of participants within a participatory environment. All levels welcome.

Mary Tasillo and Michelle Wilson are papermakers, bookbinders, and printmakers who form the collective BOOK BOMBS. Originally conceived as a series of public installations of printed matter, Book Bombs explores forms of political encounters, creating temporary creative communities amongst strangers through interactive projects. Mary is Manager of Common Press at the University of Pennsylvania and is also a co-founder of The Soapbox: Community Print Shop & Zine Library. Michelle lives and works in the San Francisco Bay Area and has served as a hand papermaking advisor to Signa-Haiti, a non-governmental organization developing a sustainable and bio-dynamic economy in Haiti. · bookbombs.net

Hand-Weaving 101

METALS

Students will be led through the process of warping, dressing a loom, and weaving from start to finish. We will experiment with a wide range of traditional and experimental techniques including basic 4-harness structures, double weaves, use of supplemental weft, pattern, and composition. After producing experimental samples, students will weave one or more finished pieces using the techniques of their choice. The primary focus is on the use of multi-harness floor looms, but students will also be able to build and work on portable frame looms. Designed for beginning weavers but also suitable to continuing hand-weavers who want focused work time.

Some Like it Hot

Christy Matson has been weaving by hand for over nineteen years. Her practice engages a full range of weaving technology from portable frame looms, to hand operated jacquards, to industrial looms. Christy was an Associate Professor of Fiber and Material Studies at the School of the Art Institute of Chicago and received a BFA from the University of Washington and an MFA from the California College of the Arts. Recent exhibitions of her work include the Long Beach Museum of Art, Craft and Folk Art Museum Los Angeles, and Museum of Contemporary Arts Houston, and her work is in the collections of the Art Institute of Chicago and the Renwick Gallery of the Smithsonian Institution. · cmatson.com

This workshop explores the aesthetic qualities that different enameling techniques and metal substrates offer—working with color, surface textures, image, and form—and introduces a variety of processes to create multilayered collages and three-dimensional objects. Techniques include painting and drawing, stencils, stamps and foils, etching, basse-taille, laser engraving, image transfer, and working with liquid enamels. Presentations of historic and contemporary examples will give context to the rich and diverse history of enameling in non–western and western cultures. Experimentation is encouraged and an ongoing creative discourse is intended to expand your artistic and conceptual vocabulary. Basic metalworking skills ideal but not essential. All levels welcome.

Barbara Seidenath is a jeweler and educator, teaching at Rhode Island School of Design and Massachusetts College of Art and Design in Boston. Educated in Germany, she studied at the Academy of Fine Arts in Munich with Professor Hermann Jünger before relocating to the US in 1990. Her work has been published in Metalsmith Magazine and you can find her pieces in the collection of Boston’s Museum of Fine Arts, the Los Angeles County Museum, and the Enamel Arts Foundation in Los Angeles. · risd.edu/people/barbara-seidenath L E AR N M OR E : H AYSTA C K - M T N . O RG

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04 Carpenter Gothic #1 by Ted Lott, 2018. Found object, Eastern White Pine, electrical, paint, 85" × 58" × 24"

05 Paragon by Christy Matson, 2017. Paper, cotton, linen, wool, Lopi, alpaca, 43" × 41"

06 Womb Bowl by Emily Schroeder Willis, 2017. Porcelain, pinched, 5" × 10". Photo by the artist

07 Rooted Within: A City in Three Parts (BOOK BOMBS) (detail) by Mary Tasillo and Michelle Wilson, 2010. Hand stitched zine with gate folds installed around the city of Philadelphia; Zine dimensions: 5" × 5" × ¼"

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WOOD Outcasts, Strays, and Foundlings: Giving Old Objects New Life Our world holds an abundance of objects whose useful life seems to have passed. Thrift stores, junk shops, garage sales, and roadsides hold items no longer needed for their original purpose. Using the found object as both design cue and conceptual seed, we will use the tools and techniques of the woodshop to build upon, in and around our objects, bringing back the old while creating fresh meaning and visual impact. All levels welcome.

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and an MFA from the University of Wisconsin-Madison. Solo exhibitions of his work were mounted at Swarthmore College and the University of North Carolina-Charlotte College of Art & Architecture. Ted has been an Artist-InResidence at Anderson Ranch, Kohler Arts/Industry Program, Arrowmont, Center for Turning & Furniture Design, and Vermont Studio Center. He was recently selected as one of sixteen finalists for the Burke Prize—at the Museum of Arts and Design in New York City—celebrating the next generation of Craft Artists working in the US. · tedlott.com

Ted Lott maintains a studio practice, engaging the history of wood in Material Culture and Architecture, in Cooperstown, New York. He received a BFA from the Maine College of Art

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SONYA CLARK

“Want to go fast? Go alone. Want to go far? Go together.” At the core of this African proverb is the notion that sustainability requires an integration of individuality with collaboration. In these workshops we will join forces through our experiences, empathy, and passions. We will explore ways to connect, share our methodologies, investigate our influences, dig into our distinctions, and unearth our commonalities. We will deeply root our work and measure the histories we have established while simultaneously branching into new expansive directions. The strategies we share will be carried into our everyday lives and studio practice. Together, we will merge and expand ideas in the hopes that new ones will emerge. Let’s go far together.

Sonya Clark has rooted her twenty-year art practice in the intersections of textiles, hair, and history. She has exhibited in 350 venues and received a Pollock-Krasner Grant, a Smithsonian Artist Research Fellowship, a Rockefeller Foundation Fellowship, an Anonymous Was a Woman Award, and a United States Artist Fellowship. Sonya is a Professor of Art at Amherst College and formerly served as the chair of the Craft/Material Studies at Virginia Commonwealth University. · sonyaclark.com

Photo by Diego Valdez

VISITING ARTIST

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

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SESSION 2

JUNE 23–JULY 5 BLACKSMITHING

CERAMICS

Line Meets Plane; Forging in Three Dimensions

Drawing Out Loud

Important to metal design is the place where line meets plane, where metal intersects metal. We will forge from the “skin and bones” of steel. Sheet and bars, plate forms, and rods will be joined by inventive and time-tested techniques. We will hammer, form, and fabricate various shapes to create something volumetric, dynamic, and dramatic. Joinery (riveting, tenons, and collars), and more modern and experimental methods will be covered. Emphasis is on designing for the material and gaining proficiency with hammering. Projects may include sculpture, small furniture objects, or architectural elements. All levels welcome. John Rais designs and creates one of a kind furniture, sculpture, and architectural metal art. He received a BFA in Sculpture from Massachusetts College of Art and an MFA from Cranbrook Academy of Art. His work has been included in exhibitions at Purchase College, the National Ornamental Metal Museum, and Massimo Bizzocchi, and published in Metalsmith Magazine. John created a series of decorative panels for the Yale University Art Gallery, and his work is in the permanent collections of the John Michael Kohler Art Center, Fuller Craft Museum, and the National Ornamental Metal Museum. · johnraisstudios.com

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This workshop will explore ideas of abstraction inspired by landscape, networks, and systems. Engaging with ceramic material in unconventional ways as we investigate mark making and explore the concept of “drawing out loud” to investigate, think, and visually translate an idea into space. This will be a generative process that allows new questions and possibilities to arise. We will spend our time translating between two and three dimensions as we map our ideas in and out of clay. We will navigate in, around, and through themes of structure and risk, containment and collapse, beauty and decay, real and imaginary. We await the inevitable confrontation of gravity and the traces the encounter may leave. All levels welcome. Shannon Goff is an Associate Professor of Sculpture and Ceramics at Penn State University. She received a BFA from the University of Michigan and an MFA from Cranbrook Academy of Art and has been the recipient of a Japanese Monbusho grant and twice awarded residencies to the John Michael Kohler Arts/Industry program. Her work has been included in exhibitions at the Knockdown Center, Printed Matter, and the San Jose Museum of Art, among others, with recent reviews featured in Hyperallergic, DesignBoom, Colossal, Cfile, and the Detroit Art Review. · shannongoff.info


01 Jaguar by Jim Drain, 2017. Thrift store clothing, artist’s clothing, chicken wire, and wood, 8' × 7' × 5'. Photo courtesy of Nathalie Karg Gallery, New York City

02 Kabuki Disco Rock by Shannon Goff, 2017 Ceramic, 12½" × 2" × 12". Photo by Cody Goddard

FIBER Obtanium/Embellish’um ‘Obtanium,’ as defined by artist Guy Green is “whatever you can procure for free without having to pay out corporations like Home Depot.” In this workshop we will approach the worn-out with quixotic eyes and hands and use salvaged objects as the leap-off point for assemblage sculpture and objects of applied design. Our method will be of re-mixing and embellishment with a focus on building upon a preexisting visual language using fabric, beads, dyeing, felting, and/or painting. Rudimentary crochet, hand knitting, and off-loom weaving techniques will be demonstrated and encouraged. But, will we make giants of windmills like Cervantes’ Don Quixote? All levels welcome. Jim Drain received a BFA in Sculpture from the Rhode Island School of Design and is currently a critic in the department of Textiles. He was a member of Forcefield, a collective that explored the merging of music, performance film, and installation. Forcefield was active from 1996 to 2002 and was part of the Whitney Biennial in 2002. Jim’s work is in the permanent collection of the Whitney Museum of Art, Peres Art Museum, Museum of Modern Art, Museum of Contemporary Art, Los Angeles, and the Philadelphia Museum of Art. He is represented by Nathalie Karg Gallery, New York. · nathaliekarg.com/?artists=jim-drain

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GRAPHICS

Painting the Unrealized

What is the potential of things often overlooked? How can these objects create a personal narrative? Creating experimental installations with found objects will be the starting point for this workshop. Using paint, students will uncover the elemental beauty in everyday material through a manipulation of light, shadow, composition, and a relationship to place. Function, architecture, and narrative, as well as formal painting techniques—form, color, value, and design—will be discussed, demonstrated, and practiced. Studio work will be based in painting language, exploring individual ideas through quick sketches, collage, and longer sessions, also embracing drawing, photography, and digital printing/photocopies. All levels welcome.

Using common elements from her environments, Jenny Brillhart creates work concerned with the construction, process, and design of medium, light, color, value, and form. She received a BA from Smith College and an MFA from the New York Academy of Art. Recent exhibitions include Kuckei + Kuckei in Berlin, Germany and the Center for Maine Contemporary Art, and past projects include ‘Flat Prospects,’ at The Miami History Museum, and Room Service, organized by Staatliche Kunsthalle Baden-Baden Museum, Germany. Her work has been in The McKinsey Quarterly, New American Paintings, and Miami Contemporary Artists and is represented by Kuckei + Kuckei and Emerson Dorsch. · jbrillhart.com

METALS

What’s Your Issue?

For millennia humans have exposed the invisible self by wearing jewelry; our inner thoughts, emotions, affiliations, and status put on display through a complex system of social symbols. This workshop will explore surface and communication through the making and use of body adornments. Incorporating text, imagery, and symbols on metal and other materials, we will create a series of wearables that reveal, broadcast, signal, protest, or promote our otherwise hidden agendas. A wide range of demonstrations covering metalsmithing processes, design software, laser cutting, roll-printing, etching, and die making will lead to finished finished work will be worn and performed. All levels welcome.

Kerianne Quick is Assistant Professor of Jewelry and Metalwork at San Diego State University Her research is explores craft and materiality as cultural phenomena with a focus on jewelry and personal objects. Exhibition highlights include the Museum of Arts and Design, New York; National Museum for Women in the Arts, Washington, D.C.; Museo Franz Mayer, Mexico City; the Salon del Mobile, Milan; and Design Week Amsterdam. Her work is in collections of the Los Angeles County Museum of Art, Houston Museum of Fine Arts, and the Stedelijk Museum‘s-Hertogenbosch. · kerianne-quick.com

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04

01

03 Morning

Storm by John Rais. Steel, scorched paint, glass, 20" × 45" × 13"

04 All the Places You Never Lived by Kerianne Quick, 2017. Fine silver, sterling silver, Victorian bog oak, keys from every house lived in since age 11; Fabricated hollow constructions, 11" x 11" × 2". Photo by the artist

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05 Sports page1975 and Mirror by Jenny Brillhart, 2018. Oil on panel, 19" × 28"

06 Komíny – NBS Explore by Heath Matysek-Snyder, 2015. Stacked firewood, steel pipe, borrowed school picnic table, desk, and tricycle, 9' × 12' × 4'. Photo by Mike Cortez

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WOOD Stacks, Slats & Bundles Einstein says “There are two ways of looking at the world. One is as though nothing is a miracle. The second is as though everything is a miracle.” Operating within the second category, we will investigate repetitious pattern by cladding, bundling, stacking, and clustering materials into, onto, and around forms. This can take shape as furniture, sculptural objects, or even architecture. Nesting inside of structures to create functional surfaces, filling architectural niches, or surrounding found objects we will play with visual patterns and textures of material groupings. Covering techniques to generate volumetric forms, we will collect materials to stack inside, slat over, and bundle around these respective shapes. All levels welcome. Heath Matysek-Snyder is an Assistant Professor and Head of the Wood Area at Virginia Commonwealth University. He received an MFA from the University of Wisconsin-Madison and has participated in the Emma International Collaboration in Saskatchewan, Canada and Designed Objects Tasmania, Australia, and as an Artist-In-Residence at Tongji University, Shanghai, China. His work has been exhibited in Australia, Canada, China, Qatar, and the US, and is in permanent collections at the Madison Central Public Library; Madison Children’s Museum; Royal Hobart Hospital, Tasmania; Forestry Tasmania; James Branch Cabell Library at VCU, and more. · heathms.com

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SESSION 3

JULY 14–26

CERAMICS

FIBER

Everyday Abstraction with Colored Porcelain

Home Is Everywhere

Handbuilding techniques and colored porcelain will be used to create abstract ceramic sculptures. We will investigate and explore the peculiar aspects of the world around us through sketching, resulting in a personal visual glossary from which we will create a series of playful ceramic objects focusing on repetition, texture, color, and movement. Demonstrations on object construction, line, and triaxial porcelain color blends, and some surface techniques, will be given and discussions on visual perception, color, and historical and contemporary ceramics will be included. Participants will create a catalog of colored porcelain tests, a visual glossary, and a series of abstracted objects. An interest in ceramics and sculpture strongly encouraged, with all levels welcome. Linda Nguyen Lopez received an MFA from the University of Colorado at Boulder. She has exhibited her work widely including in New Zealand, England, and the US, including Craft and Folk Art Museum, Long Beach Museum of Art; Crystal Bridges Museum of American Art; and the Fisher Parrish Gallery, among others. Linda has been an Artist-in-Residence at The Clay Studio, Archie Bray Foundation, Greenwich House Pottery, and C.R.E.T.A. Rome. She is represented by Mindy Solomon Gallery in Miami. · lindalopez.net

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Bags and wearable containers are unsung heroes of human history. We have created innumerable bags and containers for transporting all manner of objects. This workshop will explore the making of bags and wearable containers through sewing, coiling, weaving, knotting, knitting, fastening, or really any method of making that compels you. We will look at the history of this technology and the wide variety of forms it has taken, and explore our own lives and environments through the making of carriers for objects, events, bodies, and functions. The workshop will primarily be exploratory and playful, focusing on the development of form, detail, and culture. All levels welcome. Since 2010 Doug Johnston has focused on a process of coiling and stitching rope using industrial sewing machines, producing a wide range of functional and sculptural objects. He has built a formal vocabulary and studio practice that sits at the intersection of art, design, and craft, taking the position that no made object is exclusively aesthetic or utilitarian. Doug has shown his work at Patrick Parrish Gallery, Cranbrook Art Museum, Collective Design Fair, and Design/Miami. He received a BA in Studio Art and B.Arch. from Drury University and a M.Arch. from Cranbrook Academy of Art. · dougjohnston.net


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Siosi Design. Photo by Audi Culver

02 Rubble of Gems Pile Brooch by Tara Locklear, 2016. Recycled broken skateboards, Paperstone (recycled paper countertops) laser-cut maple hardwood, pigment, sterling silver; hand carved and hand fabricated sterling silver from tube and wire, oxidized, 4" × 2½" × 1½". Photo by the artist

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GLASS Slump, Fold, Mix, Mold This non-traditional slumping and fusing workshop will embrace an experimental and process-driven approach to achieve unexpected outcomes. Combining the power of heat, gravity, and unconventional materials such as organic matter and paper, we will create off-kilter and impromptu molds to push the boundaries of what can be accomplished in the kiln. Problem solving and discussing firing and annealing schedules will give students confidence working on their own. We will use multiple scenarios to generate image, texture, and form that will range from focused and specific to wild and improvisational. Expect to explore! All levels welcome.

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GRAPHICS

Silkscreen: The Printed Word

Using text as a starting place, this workshop will explore combinations of word and image and words as material for sculpture and installation. We will play with the meaning by breaking sentences and words apart, repeating things, and rearranging them to generate new directions for our work. The basics of silkscreen printing (paper stencils, hand drawn stencils, rubylith stencils, and digital image making processes) will be covered and we will use print processes to explore posters, banners, and the broadsides while we also explore the possibilities of text in the landscape. All levels and interests (including writing) welcome.

Emmy Bright works in drawing, print, and performance and is currently an Artist-in-Residence and co-head of Print Media at Cranbrook Academy of Art. She received a BA in Art History from the University of Chicago, an MFA in Print Media from Cranbrook Academy of Art, and an M.Ed degree from Harvard. She has been a n Artist-in-Residence at New Urban Arts, Penland, OxBow and the Vermont Studio Center and her work is represented by David Klein Gallery. · emmybright.com

Megan Biddle produces experimental and process driven work, reflecting on variations of time, cycles of growth, and erosion. She is a Co-Director of Tiger Strikes Asteroid Gallery in Philadelphia and has taught at Pilchuck, Urban Glass, and Oxbow School of Art. Currently teaching in the Glass Program at the Tyler School of Art, she has also attended residencies at The MacDowell Colony, The Jentel Foundation, Sculpture Space, Northlands Creative Glass in Scotland, and Mass MOCA. Her work has been in exhibitions at The Islip Art Museum and the Everson Art Museum, the 700IS Experimental Film Festival in Iceland, and is in the American Embassy’s collection in Riga, Latvia. · meganbiddle.com

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07 Untitled, Bullshit & DIY Venn Diagram by Emmy Bright, 2015. Silkscreen on Paper, 22" × 64"

06 The Weight of Waiting by Megan Biddle, 2015. Slumped window glass, 24" × 48" × 8". Photo by Jason Wierzbicki

05 Blue/Green Ombre Dust Furry with Lint by Linda Nguyen Lopez, 2018. Porcelain, 7½" × 9" × 4"

04 Market Sideboard by Siosi Design (Audi Culver + Ivy Siosi), 2017. Black walnut, sculpted joinery, continuous waterfall edge, and drawer fronts, 60" × 18½" × 29½". Photo by Audi Culver

03 Big Backpack by Doug Johnston, 2014. Coiled and sewn rope, approximately 48" × 15" × 15". Photo by Michael Popp

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METALS

WOOD

Material Mechanics: Intentional Connections

All About the Details

Cohesion. Purpose. Function. These ideas play a vital role in designing jewelry for the body. If you are making production or one-of-a-kind objects, findings can be a critical consideration in making something wearable. During the first week these questions and discussion points will be covered through group and individual conversations along with design concepts, demonstrations, and professional development. The second week will involve producing final designs through a variety of metalsmithing techniques including sawing, soldering, capturing, and forming. Students will decide on a final selection of findings to apply to a small cohesive jewelry collection to display and discuss. All levels welcome. Inspired by urban landscapes, Tara Locklear’s designs are comprised of industrial and re-purposed materials, which she uses to create a playful visual language in the form of jewelry. She received a BFA from East Carolina University and has taught workshops and given lectures around the US. Her work has been shown at the Philadelphia Museum of Art and the American Craft Council where she received the Award of Excellence in 2017. Her work has been published in American Craft and New Necklaces:400+ Contemporary. Tara is a member of Society of North American Goldsmiths. · taralocklear.com

Mistakes happen, wood has inherent flaws, and in this workshop we will show you how to embrace imperfections; fix, reinforce, and enhance them with detail work. Using simple joinery techniques like miters and butt joints, students will design and make a furniture piece from start to finish—from a hand drawn design to applying oil. The majority of time will be spent on the details; honing chisel skills with inlay work and/or carving tactile elements with scoops or v-parting hand tools. Students will be encouraged to spend time with their piece, think about the grain flow, and meditate on the details. All levels welcome. Audi Culver + Ivy Siosi are co-owners of Siosi Design, created in 2012, a studio that designs and builds fine furniture in Bloomington, Indiana. Inspired by Danish design, they are committed to combining work and life, creating heirloom quality pieces, working closely with clients, and documenting everything. Audi’s background is in art and photography, with an MFA in Photography from Indiana University. Ivy’s background is in printmaking, sculpture, home building, and classic car restoration, with a BA in Printmaking from Warren Wilson College. They recently co-authored an article for Fine Woodworking Magazine on their inlay technique. · siosidesign.com

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SESSION 4

JULY 28–AUGUST 9 CERAMICS

FIBER

Soda Salt Surface

Embodied Line

Developing surfaces on utilitarian forms for the soda/salt firing process is the focus of this workshop. Wheel thrown altered forms will be shaped slowly with an emphasis on tight fitting lids and fine craftsmanship. We will build layers on the surface of our pots and create a range of textures and patterns for the slips and glazes to highlight. In this workshop we will use porcelain and stoneware clays and fire to cone 9/10. All levels welcome.

Line is defined as a long, narrow, extended point; a method of connecting, directing, and demarcating space. This workshop will explore line as armature, gesture, sound and energy. We will begin with research through direct observation, photographs, mark-making, notations, maps and performance. Found objects will be incorporated into studio work and underline an ecological approach to art-making. Soft sculpture, machine and handsewing, binding, weaving, knotting, collaging, and altered materials are a few of the traditional and non-traditional approaches we will explore in an effort to expand the notion of line as a generative idea. All levels welcome.

Kenyon Hansen is a full-time studio potter in Dollar Bay, Michigan. He has been a resident artist at the Archie Bray Foundation and Watershed Center for the Ceramic Arts. In 2013 Kenyon was selected as an Emerging Artist by Ceramics Monthly. He has taught at Haystack, Arrowmont, Penland, and Greenwich House Pottery in New York City. He has led workshops at numerous universities and art centers throughout the US. His work has been exhibited nationally and internationally and can be found in homes around the country. Kenyon is currently a visiting artist at Finlandia University. · kenyonhansenclay.com

22 SESSION 4 : J U LY 2 8 – A U GU S T 9

Courtney Puckett is an Adjunct Instructor at the Parsons School of Design. She received a BFA from the Maryland Institute College of Art and MFA from Hunter College. She has been an Artist-in-Residence on Governor’s Island, Byrdcliffe Arts Colony, and the Vermont Studio Center and her work has been in exhibitions at White Columns, Indianapolis Museum of Art among others. Courtney has collaborated on choreography for the Brooklyn Ballet’s CounterPointe Performance Series and curated “Drawing for Sculpture” at TSA, New York. She has been the recipient of a National Endowment for the Arts project grant and featured in Hyperallergic and NYTimes art blog. · courtneypuckett.com


GLASSOLALIA This workshop will introduce advanced cup making processes and use it as a means to both identify and challenge the role of skill. Through unlikely intersections between blown glass, kilnforming, material paradox, and performative activity, the language of technique and the rules of “doing things well” will be confronted by a provocative and equally thoughtful exploration of what “(un)doing things well” could reveal. Motivated by language the goal of this workshop is to become fluent in advanced processes of cup making and to develop ideas that put those skills in the context of risk, intentional failure, and sculptural ambiguity. Advanced workshop minimum one year glassblowing experience required. David Schnuckel is an artist, writer, and Assistant Professor at the Rochester Institute of Technology. His work has been exhibited internationally and is in the permanent collections of the GlazenHuis in Lommel, Belgium; Glasmuseet Ebeltoft of Ebeltoft, Denmark; and the Museum of American Glass in Millville, New Jersey. He has taught at Alfred University; Toyama City Institute of Glass Art, Japan; China Central Academy of Fine Arts; Pilchuck; Penland; and The Studio of The Corning Museum of Glass · davidschnuckel.com

01 Black is the Color of My True Love’s Hair by Krista Franklin, 2011. Collage, bobby pins, synthetic hair in handmade paper, 17½" × 28". Photo by Stephen Flemister

02 Folded by Tanya Crane, 2018. Copper, enamel, shibuishi alloy, steel, folded, and enameled; fabricated, 4" × 3" × ½"

03 (col)Lapse by David Schnuckel, 2016. Blown glass, time, temperature, (Before) 9" × 5" × 5". Photo by the artist

GLASS

4

GRAPHICS

Pulp Fictions: Developing Narratives through Papermaking

Using found and personal narratives, this workshop will consider the art of storytelling through the device of handmade paper. How can written narratives be transformed into art? What are the materials of the stories we tell? How can the archive (personal and historical) be a source for artmaking as well as the material of handmade paper? Learning how to make handmade paper using stories as their driving force, students will be encouraged to incorporate photographs, letters, ephemera, poems, deconstructed books and original writings into the work they will develop over the session. All levels welcome.

Krista Franklin is an interdisciplinary artist whose work appears in POETRY magazine, Black Camera, Callaloo, BOMB Magazine, and several anthologies including The BreakBeat Poets: New American Poetry in the Age of HipHop, among others. She received an MFA in Interdisciplinary Arts – Book & Paper from Columbia College Chicago, and teaches Writing at the School of the Art Institute of Chicago. Krista is the author of Under the Knife and Study of Love & Black Body. Her art has exhibited at Poetry Foundation, Konsthall C, Museum of Contemporary Photography, The Studio Museum in Harlem, Chicago Cultural Center, National Museum of Mexican Art, and on the set of 20th Century Fox’s Empire. Krista is also a main character in Les Impatients by Aliocha Imhoff & Kantuta Quiros. · kristafranklin.com

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by Kenyon Hansen. Soda fired Porcelain with multiple glazes, 7" × 6" × 6"

05 The Racer by Courtney Puckett, 2016. Fabric, metal, wood, wire, string, and found objects, 73" × 35" × 8". The Listener, 2016. Fabric, metal, wood, wire, string, and found objects, 61" × 33" × 8½". The Kneeler, 2016. 55" × 17" × 17", fabric, metal, wood, wire, string, and found objects. Photos by Adam Reich

04 Box

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06 Feint by Sarah Marriage, 2016. Ash veneer, Baltic birch ply, canvas, and milk paint, slanted tambour door, 44" × 22" × 19". Photo by Mark Juliana

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METALS

WOOD

Crunchy Tips: Adventures in Dimensional Enameling

The Furniture Between Us

The intrinsic malleability of copper allows it to be manipulated into complex, dimensional forms. Working from flat sheets of ultra-thin copper, this workshop will explore the limitless potential of this material and the possibilities of color, form and surface found through enameling. Students will manipulate copper into dimensional forms that can be turned into pendants, beads, and components for jewelry and sculpture. This workshop will incorporate a broad variety of techniques ranging from paper models, metal, liquid and dry sifted enamels, sgraffito, and limoges techniques for drawing and mark-making. All levels welcome. Tanya Crane is a Professor of the Practice in Metal at the School Museum of Fine Arts at Tufts University in Boston. She received a BFA in Metal from the State University of New York at New Paltz and an MFA in Metalsmithing + Jewelry from the University of Wisconsin-Madison. Tanya is the 2017 winner of the Society of Arts and Crafts Artist Award and will have her first solo exhibition at the National Ornamental Metal Museum in Memphis, Tennessee in January of 2019. · tanyamoniquejewelry.com

Furniture sets the stage for our daily lives. In this workshop we will explore furniture design from the perspective of how it affects the relationships between people. Beginning with a fast-paced design session of sketching and model-making followed by design and construction, we will generate concepts intended to influence the ways people interact and engage with one another. As we make furniture and learn new skills, we will continue to consider the relationship among the intended users, invite others to interact with our ideas, and allow all of this to influence every step of the process from plank to finished piece. All levels welcome.

Sarah Marriage is the founder and director of A Workshop of Our Own, a non-profit, educational woodshop created by and for women and gender non-conforming individuals. Having studied Architecture at Princeton University and fine Woodworking at The College of the Redwoods, she was a past recipient of the John D. Mineck furniture fellowship and now serves on the board of The Furniture Society. She has taught at Penland and Anderson Ranch and her work has been shown widely including Dwell on Design, ICFF, the American Craft Council Show, Eames Gallery, and others. · sarahmarriage.com

VISITING A R T I S T Musical Improvisations Company Sonic manifestations are informed by complex energy matrixes. By giving over cultural appropriations, emotional strata, physical movement, considerations related to the surrounding environment(s), and an openness of automatic participation through improvisations, we will explore the magickal connections of the Now. The informal afternoon workshops will include listening sessions and an exploration of instruments from the percussion family. Visiting artists augment the session with informal activities and are not workshop leaders.

Born and raised in Los Angeles, Matt Crane has been playing percussions since before he was in school. From playing in a fourth grade band on a drum set fabricated out of ice cream bins, to playing punk rock in the early eighties, to discovering jazz and playing with Ornette Coleman, to performing and attending a voodoo ceremony in Haiti, his musical development has been continual and exponential. Focusing on pure improvisation since the early nineties, he currently lives and works in Rhode Island and continues to collaborate, perform, and record widely. · ninetyninecentdreams.com

Photo by Rob Miller

MATT CRANE

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JULY 7–11

SUMMER CONFERENCE

Craft and Legacy:

Writing a history, preserving a field For the past thirteen years, Haystack has organized a summer conference to look at craft in a broader context. This event is an important part of the work we do at the school, and supports our belief in creating an environment that values reflective thinking within an inclusive and creative community.

26 SUMMER C ON FE R E N C E : J U LY 7 – 1 1


2019 CONFERENCE RATES

Tuition $490 Room & Board Single with bath limited availability

$875

Double with bath

$600

Quad with bath

$530

Double $395 near central washroom

Triple $245 near central washroom

Dorm $195 near central washroom Day Student rate includes all meals

The 2019 conference is presented in collaboration with the Center for Craft, and designed to address some of the most vital questions facing the preservation and legacy of the field of American Craft, through a series of dynamic lectures, panel discussions, and group conversations. Building on the Center for Craft’s 2014 Craft Think Tank findings on the legacy of the American Studio Craft movement, this conference is organized from three related perspectives of artists, collectors, and museums/cultural institutions, and will bring together eighteen speakers to serve as models for developing best practices in addressing larger questions of legacy and fostering an expanded resource network for colleagues from across the country. As a central outreach component of this conference, Haystack will offer twenty-one full scholarships to attract the next generation of leadership and to encourage participation by people of color and others who have been historically underrepresented in the field. Major support for the 2019 conference is provided by the Windgate Foundation.

$165

Complete lineup of presenters, schedule, and registration information will be available in February. For more information or to be added to our conference mailing list contact Haystack.

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SESSION 5

AUGUST 11–23 CERAMICS

FIBER

South African Vessels

Around the World with Natural Color

Creating vessels inspired by the Ancient African tradition of body scarification and traditional vessel making, this workshop will focus on clay as a vehicle for storytelling and symbolism. Drawing upon resources such as cultural heritage and traditions, participants will develop work that is rooted in the practice of South African ceramics with demonstrations focusing on carving, texture, piercing, and surface decoration using slips and oxides. Group discussions and prompts about memory, experience, and place will help us to tell stories in clay that express bold symbolisms and meaning. All levels welcome.

Sample your way through the world of natural dyes. Working with natural materials we will create a comprehensive color notebook filled with the recipes and examples of ancient and historical color that have been used in textiles for millennia. Students will use natural dyes in their raw, concentrated extract, or pigment form from Asia, Europe, and the Americas. Mordant options, dye color combinations, and color changes will expand the dye palette to offer ways to shift and modify color with simple, non-toxic ingredients. We will focus on silk, wool, linen, hemp, and cotton fabrics and also incorporate the use of indigo for experimentation. All levels welcome.

Andile Dyalvane is the Co-Founder of Imiso Ceramics Gallery and Design Studios in Cape Town, South Africa. A Jola clansman of the amaXhosa tribe, Andile’s collections are inspired by heritage, traditions, and culture, and he highlights cultural preservation, narratives, and resources through his work. He received a National Diploma in Art and Design from Sivuyile Technical College and a National Diploma in Ceramic Design from Nelson Mandela Metropolitan University. He has taught workshops, participated in residencies, and exhibited extensively in South Africa and internationally. In 2018 he was recognized as 100% Design South Africa’s Featured Designer of the Year. · imisoceramics.co.za

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Kathy Hattori is the founder and President of Botanical Colors. She is a recognized authority on natural dyes and pigments as well as commercial applications using natural dyes—a pioneer in the field. Her international experience includes creating a natural dye program for the largest organically certified tannery in Europe and implementing large-scale natural dye programs. In 2016, Botanical Colors was named a Sustainability Leadership Award finalist by Sustainable Seattle and continues to grow, working with major fashion brands worldwide. · botanicalcolors.com


01 Untitled 8 (Metta) by Michael Velliquette, 2018. Paper sculpture, 12" × 12" × 6". Photo by Jim Escalante

02 Walnut Utensil Collection by Julian Watts, 2016. Hand carved black walnut, variable dimensions.

GRAPHICS Sculptural Paper Craft: Form and Freedom For millennia, paper has been a surface upon which we record our textual and pictorial experiences. Using the component qualities of surface and edge as the starting point, students will design and construct elaborate sculpture made entirely from paper. Participants will investigate paper-crafting traditions from around the world and integrate them with unique techniques they discover. Construction techniques will include: layering, folding, crumpling, bending, weaving, scoring, punching, cutting, wrapping, and rolling. In addition to individual works, students will collaborate on the construction of a piece that we will ritually burn at the end of the workshop session. All levels welcome. Michael Velliquette has been a working artist for twenty years. He has participated in over 150 exhibitions in museums and galleries in the US, Europe, and Asia including the Museum of Arts and Design; Mori Art Center, Tokyo; Palazzo Braschi, Rome; Fuller Craft Museum; and Racine Art Museum. Michael has been a member of the Guild of American Papercutters and is currently in the Paper Artist Collective—a global community of artists and designers dedicated to the medium of paper. He is represented by the David Shelton Gallery, Houston and the Tory Folliard Gallery, Milwaukee. · velliquette.com

5

GLASS

Advanced Basics

Freehand glassblowing is unlike many other material processes in that we do not directly shape the material, but instead focus on the “set-up” to allow a piece to naturally develop through a set of intended actions. As every maker has a unique sense in terms of interaction with the blowing process, we will start by working collectively in small teams on a common basic shape “round robin” style. As such we will be able to recognize how individual ways of thinking about these steps differ and pinpoint areas that require a more graceful hand, as well as areas in which we are already proficient. We will look past simple, visual appeal and focus on design born of utility; designs that are “completed” in use. Our target is the intersection of three areas: functional form, detail oriented blowing process, and the experience of use. This workshop is not so much about learning new techniques but geared more so to honing your current methods. Minimum one year glassblowing experience required. Peter Ivy received a BFA from the Rhode Island School of Design, after which he taught glassblowing courses at the school and at Massachusetts College of Art before moving to Japan to run the glass program at Aichi University of Education. Twelve years ago he left academia and his current work uses a model of the apprenticeship system, focusing on a business model that provides opportunity for individual development in terms of technical, creative, and administrative abilities of craftspeople. · peterivy.com

Robert Lewis received a BFA in Glass from the School for American Crafts and an MFA from Ohio State University. A frequent workshop instructor and educator, he has taught in the US at Haystack, Penland, and Pilchuck and in Japan as an Associate Professor at the Toyama City Institute of Glass. He was recently the Lecturer in Glass at the Ohio State University in Columbus, and since January 2012 he has been the Visiting Instructor in Glass and Sculpture at the Alberta College of Art and Design. · urbanglass.org/person/rob-lewis

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Dye Materials - Silk Flats by Kathy Hattori. Photo by Chris Bowden | LIGHTART

Nest Served on an Erbium Roman Footed Low Bowl by Robert Lewis, 2018

on Brass by Hamza El Fasiki, 2017. Chiseled and etched brass, 30 cm

04 Neodymium

03 Botanical

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3 0 SESSION 5 : A U GU S T 1 1 – 2 3

05 Tessellation

06 CAMAGU by Andile Dyalvane, 2016. Black stoneware clay coiled, 100 × 50 × 50 cm. Photo by Justin Patric

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5

METALS

WOOD

Traditional Moroccan Brass Etching: Islamic and Moorish Tea Tray Ornamentations

Carving Handheld Sculptures

This workshop will explore the history of Moorish and Islamic ornamentation and brass-smithing traditions. Through the use of simple tools and traditional processes for manipulating sheets of metal, workshop participants will gain experience decorating and shaping brass through processes handed down through generations. Focusing on historical objects such as tea trays, techniques of drafting and developing intricately detailed, geometric patterns with a compass and ruler, hammering and stamping will be demonstrated. Form and content will be discussed and practiced, as well as preparing materials, finishing options, and polishing. No experience necessary. All levels are welcome. Hamza El Fasiki is a multidisciplinary craftsman: a Geometer, Brass-Smith, Bookbinder, Paper-Maker and a performing Andalusian Oud Musician. He apprenticed with his master/father and has professional experience as a student, trainer, facilitator, and consultant in both arts and crafts and social entrepreneurship in Morocco, Algeria, Turkey, Japan, Greece, UAE, Germany, the UK, Malaysia, the Philippines, Egypt, Cyprus, Tunisia, Australia, and the US. Hamza is the founder and instructor at CraftDraft.Org, a multidisciplinary art studio offering Moroccan traditional visual arts and crafts workshops to all age groups around the globe · craftdraft.org

In this workshop we will explore the intersection of craft, design, and art by challenging our preconceptions about the role that form and function play in the everyday objects that surround us. We will begin by covering the basics of spoon carving and then take the process, technique, and theory behind these functional objects and apply them to new sculptural carving. We will also discuss different species of wood, traditional and modern carving techniques, drawing, performance, and finishing methods. The result will be a collection of non-functional, interactive hand held sculptures that both challenge and illuminate our understanding of objects. All levels welcome.

Julian Watts received a BFA from the University of Oregon and studied traditional woodworking techniques with a number of prominent makers in San Francisco. His work has been shown at the Jack Fischer Gallery, the Fog Fair, Design Miami, the San Jose Institute of Contemporary Art, Salone del Mobile Milan, and London’s Design Museum, where he was a recent finalist for the Loewe Craft Prize. His work has been featured in Architectural Digest, American Craft, and The New Yorker and he is represented by Patrick Parrish and BDDW in New York. · julianwattsstudio.com

VISITING C U R AT O R The Seven Dirty Words of the Art World This series of informal afternoon workshops is based on the idea that the art world has more trouble accepting certain ideas than others, and will focus on beauty, attention, sincerity, craft, regionalism, narrative, and the figure. Through conversations, images, and select readings, participants will be encouraged to discuss their own ‘dirty words’—ideas they struggle with and/or embrace in their practice. In the end, these sessions will be about willfulness in the face of art world trends. Visiting artists augment the session with informal activities and are not workshop leaders.

Denise Markonish is the curator at MASS MoCA, North Adams where she has curated exhibitions focusing on the work of Trenton Doyle Hancock, Teresita Fernández, Nari Ward, Iñigo ManglanoOvalle, and Nick Cave, among others. Her books have been published by DelMonico/Prestel, MIT Press, D.A.P., and Yale University Press, she has taught at Williams College and the Rhode Island School of Design, and has served as a curator for Artpace’s International Artist-in-Residence Program in San Antonio, Texas. · massmoca.org

Photo by Michael Oatman

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SESSION 6

AUGUST 25–31 CERAMICS

FIBER

Altering Form/Designing Surface

Discovering a Mindful Stitching Practice

Let’s take the pot out of the round, onto the table, and explore altered forms with hand-built elements. Analyze, practice, and resolve ideas about alterations to wheel-thrown pots. Working towards continuity between form and surface, techniques for slip application will be demonstrated, pushing and expanding decorative design to stretch and develop our own personal imagery. This workshop will include drawing and writing exercises as well as shared images of historical and contemporary sources to expand our ideas about functional pottery. We will once fire our work in the salt kiln. Previous clay experience is required.

Hand-stitching allows a person to carve out time and space for introspective reflection. Workshop participants will create small hand-stitched studies by taking inspiration from their own thoughts and observations. We will use techniques to bring forth meaningful stitches and marks onto fabric. Prepare to enjoy free-form doodling, walking, listening to music, and using basic sewing techniques to delve into your hand stitching practice. Students are encouraged to bring a small sampling (2-4) of their own stitched items to share with the group. All levels welcome.

Suze Lindsay is a studio potter based in the mountains of North Carolina. She was a former core fellow and Resident Artist at Penland, and received an MFA from Louisiana State University. Suze has taught at Haystack, Penland, Arrowmont, Anderson Ranch, Nova Scotia School of Art and Design, and the Jingdezhen Ceramic Institute. She has presented at the Utilitarian Clay Conference, North Country Studio Conference, and others, and her work can be found in the permanent collections of George E. Ohr Museum, San Angelo Museum of Fine Arts, and the Taipei County Yingge Ceramics Museum, Taipei, Taiwan, among many others. · forkmountainpottery.com

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Christine Mauersberger is an American artist who produces complex mark-making narratives: intricately stitched maps of the mind. Her most recent art installation, The Plastic Holds No Water, was designed to provoke discussion about the harmful effects of mankind’s use of plastic on Earth’s water. Her multilayered, indigo-dyed linen artwork was shown in the Biennale du Lin de Portneuf in Quebec, and in the Linen Biennale in Northern Ireland. Christine has taught intuitive hand stitching workshops around the world—from throughout the US to Switzerland. She has received several fellowships and awards; most recently, an award for excellence in art from the Ohio Arts Council, for the second time. · christinemauersberger.com


01 Photo

by Jin Lee

02 Guide by Christine Mauersberger, 2011. Wool, cotton thread, silk, hand-stitched, 21" × 20"

03 Elemental Triptych by Jodi Reeb, 2017. Encaustic, rust, patina, shellac, collage, and graphite on acrylic panels, 40" × 36" × 1½"

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6

GRAPHICS

Alternative Surfaces for Encaustic Painting

This workshop will explore alternative surfaces that can be combined with encaustic painting and oil pigment sticks. We will focus on creating absorbent surfaces that are both flat and textured to which we will apply paint. A variety of surface treatments will be demonstrated and incorporated, including copper patinas, rust, metal leafing, and graphite. The focus is on image making and development of your aesthetic and artistic growth. There will be plenty of time to create, have group discussions, and one-to-one instruction. All levels welcome.

Jodi Reeb has been a full-time artist and teacher for over twenty years. She creates mixed-media paintings and sculptures and is a co-op member at the Traffic Zone Center for Visual Art in Minneapolis. She received a BFA in Printmaking from the Minneapolis College of Art and Design, where she also instructed Printmaking in the Continuing Studies program. Her work has been shown nationally, received numerous awards, and is in numerous private and corporate collections. She received the Minnesota State Arts Board Grant in 2018, is a Core Instructor for R&F Paints, and teaches workshops in her studio and across the country. · jodireeb.com

METALS GLASS Material Observation Material observation is essential in learning to control a persistently difficult medium. We will discuss heat, gravity, and form while building upon basic skills to gain a better understanding of glass. Students will develop the ability to translate their designs by learning to read the material through observation and curiosity. Reinforcing positive habits and building hand skills; we will discuss gathering, set-ups, and proportion in order to create well-designed vessels. This will also be an atmosphere for experimentation and play—looking for an element of the unexpected, unusual, and unique. What can this material do that you haven’t seen before? Whether a simple shift or an about-face, let’s think sideways. All levels welcome. Courtney Dodd was a Core Fellow at Penland from 2006-2008 and received an MFA in Glass from Virginia Commonwealth University. She completed a residency in Photography at Oregon College of Art and Craft, was a glass resident at STARworks, and an Emerging Artist-in-Residence at Pilchuck. She has taught at Penland, Corning Museum of Glass, Urban Glass, and Pilchuck. Courtney was twice nominated for the Irvin Borowsky Prize in Glass Arts, has demonstrated at STARworks, Chrysler Museum of Glass, and the University of Louisville. · courtneydodd.com

Flat Objects

Focusing on silhouettes and profiles, this workshop will serve as a starting point for making sculpture using the language of metalsmithing. Working primarily with flat sheets of non-ferrous metal we will use processes like sawing, piercing, and filing as well as surface techniques like etching and patina to explore positive and negative space and concepts surrounding signs and symbols. The Haystack Fab Lab will also be used to incorporate digital tools such as laser cutting and CNC milling. We will discuss installation strategies, including display and hanging systems, fabricating custom hardware, and how to incorporate such elements into your work. All levels welcome. Amelia Toelke’s diverse art practice draws on her training in jewelry and metalsmithing yet transcends traditional disciplinary boundaries. A combination of sculpture, collage, and installation, Amelia’s work lies at the intersection of the two-dimensional and the three-dimensional, and challenges given conceptions of object, image, reality, and representation. She was selected as an Artist-in-Residence at Lanzhou City University in Lanzhou, China in 2015 and in 2016 was an Artist-in-Residence at the Brush Creek Center for the Arts in Saratoga, Wyoming. Most recently, Amelia participated in an international exhibition and art symposium in Tbilisi, Georgia. · ameliatoelke.com

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02

03

05

by Amelia Toelke, 2015. Steel, auto paint, 4' × 2½'

04

07 Little Dipper Production Line by Courtney Dodd, 2017. Blown glass pitchers, square spouts: 10½" × 3¼"; Mixing bowls, square spouts - variable: 5" × 4¼", 5½" × 5", 6½" × 5"; Stemless wine glasses: 3½" × 3". Photo by Mercedes Jelinek

06 Coffeepot with Pour over by Suze Lindsay, 2018. Salt fired stoneware, 10½" × 8" × 4"

05 Adorned

04 Budge Barrel by Marshall Scheetz, 2017. White oak and iron, 18" × 14"

06

3 4 SESSION 6 : A U GU S T 2 5 – 3 1


6

WOOD

WRITING

Re-maker’s Work: Coopering a Wine Barrel into Smaller Functional Vessels

Poetic Ecologies, Human Inhabitants: Intersecting People and Place

This workshop will be a primer on the art and mystery of the cooper’s trade. We will explore the mechanics and boundaries of constructing barrels and buckets by deconstructing a previously used wine barrel. “Remaking” damaged barrels was a common practice for coopers aboard maritime vessels, where the damaged barrel components were cut down to a make smaller, functional object. Students will use a combination of traditional and modern coopering skills and tools to “re-make” a wine cask into a coopered container, bound by hoops. We will explore the history of repurposing casks and traditional practices of making “new-work.” Previous woodworking experience is required.

In this workshop we will look at poems that root themselves in a specific geographic place and how that place gets activated, defined, and shaped by the people who move through it. In examining and discussing a variety of such poems and the various aesthetics and craft that the writers employ, each participant will write their own poems anchored in a specific place of their choosing and reflecting the lived experiences of the people who inhabit that place. All levels welcome. Photo by Michael Salerno

Marshall Scheetz is a practicing cooper based in Williamsburg, Virginia. He served a six-year apprenticeship under a traditional master cooper. Inspired by historical research, he practices tight, dry, and white coopering and creates accurate reproductions of period cooperage including hogsheads, barrels, firkins, canteens, butter churns, tubs, and buckets, along with art work inspired by the trade. Marshall is an historian and researches the cooper’s trade with an emphasis on the 18th and 19th centuries. Collaboration with researchers, archaeologists, curators, and other tradesmen further his understanding about the art and science of coopering and coopered containers. He is owner of Jamestown Cooperage. · jamestowncooperage.com

Matthew Shenoda is a writer and the Vice President of Social Equity & Inclusion and Professor of Literary Arts and Studies at Rhode Island School of Design. His poems and essays have appeared in a variety of newspapers, journals, radio programs, and anthologies. He has been twice nominated for a Pushcart Prize and his work has been supported by the California Arts Council and the Lannan Foundation, among others. Additionally, Matthew was the winner of the 2015 Arab American Book Award, is a founding editor of the African Poetry Book Fund, and with Kwame Dawes is editor of Bearden’s Odyssey: Poets Respond to the Art of Romare Bearden (TriQuarterlyBooks/ Northwestern University Press, 2017). · matthewshenoda.com 07

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I knew that I would be INSPIRED by artists, studio space, workshops, and surroundings, but escaping my usual roles, routines, and responsibilities while CONNECTING with others was an unexpected and SIGNIFICANT GIFT. I can’t say I’ve experienced this in my adult life, and it felt rare and wonderful.” SARAH KEENER, 2018 WORKSHOP PARTICIPANT

3 6 WORK SHOPS: GE N E R A L INFO R M ATIO N


GENERAL INFORMATION SUMMER WORKSHOPS

TUITION, ROOM & BOARD Charges vary depending on the length of the session, the accommodations desired, and the shop fee. Add together the cost of your tuition, room and board preference to determine the total for your workshop that is payable in advance. For general applicants, when indicating your preference for accommodations, be sure to include your first and second choices on your application. While we make every effort to assign participants their first choice, depending on availability, we occasionally must assign their second choice.

Sessions 1–5

Tuition each session $1,085

SHOP FEES Shop fees cover the cost of materials for common use in a studio and are the responsibility of each participant, including scholarship students and technical assistants. Haystack calculates these costs at the end of each session to most accurately reflect the amount of materials used during each workshop for all participants. Supplies not provided for in the shop fee may be purchased at the school store. Common shop fees range from $25 to $75 per week with the exception of the following workshops:

Session 6

Ceramics Estimated at $100 per week for the cost of clay, glaze, and firing

$580

Blacksmithing Estimated at $100 per week for the cost of coal and steel

Room & Board Single with bath limited availability

$2,355

$1,305

Glass Estimated at $250–$350 per week for the cost of hot glass

Double with bath

$1,550

$860

POLICIES

Quad with bath

$1,475

$800

Materials & Supplies

Double near central washroom

$1,035 $575

Triple near central washroom

$615 $340

Dorm near central washroom

$470 $270

Day Student rate includes all meals

$425

$250

ACADEMIC CREDIT Academic credit for workshops is available through arrangements Haystack has with the University of Southern Maine and Maine College of Art. Undergraduate or graduate credits are available through the University of Southern Maine, and undergraduate credits only are available through the Maine College of Art. • University of Southern Maine undergraduate credit costs $301 per credit hour, and graduate credit costs $437 per credit hour, with three credits earned in a two-week session. The University has an additional graduate (non-matriculating fee) of $25 and an administrative fee of $35 per student.

All materials and supplies are the responsibility of workshop participants. Some supplies and equipment are provided in the studios (see shop fees); most others may be purchased at the school store. A student memo and prep sheet detailing the workshop supplies, and other personal items you will need to bring from home, will be emailed upon enrollment in a workshop.

Cancellation Policy If a cancellation is received prior to 30 days before a session begins, deposits are refunded, less a $100 cancellation fee. There is no refund if a cancellation is made within 30 days of your session.

Nondiscrimination Policy Haystack is committed to a culture of diversity, equity, and inclusion. We do not discriminate against any individual or group of individuals on the basis of age, color, disability, gender identification, national origin, race, religion, sexual orientation, economic status, or veteran status. All are welcome.

• Maine College of Art undergraduate credit costs $200 per credit hour, with three credits earned in a two-week session. Credit costs are set by the respective institutions and are subject to change.

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GENERAL SELECTION CRITERIA Applicants must be 18 or older to apply for sessions. Except where noted in the workshop descriptions, workshops are open to all levels of students, from beginners to advanced. Enrollment in each studio is limited. Applications are reviewed competitively and selections are based on the need to have: · a balance between first-time students and past participants · a broad geographical distribution of participants · a wide range of students from varied backgrounds and skill levels—from beginners to advanced professionals—who have a clear sense of purpose as to why they want to take the workshop/s they have selected. Application is for an entire one-week or two-week session. When filling out the application form, please indicate your first and second workshop choices. Every effort is made to place applicants in their first workshop choice. However, due to the high volume of applications to some workshops, applicants who cannot be placed in their first choice frequently are placed in their second choice.

SUBMITTING YOUR APPLICATION Complete the application form and mail to the address below, or you can complete an application in a Word document, downloaded from our website (haystack-mtn.org), and email it to us at haystack@haystack-mtn.org. Before starting the application process, we encourage applicants to scroll through our extensive list of Frequently Asked Questions on our website. APPLICATION FEE General applicants will pay a nonrefundable application fee of $50 directly to Haystack. The full balance of tuition, room and board must be paid 30 days prior to the start of each session. If paying by check, checks should be made payable to Haystack. Foreign payments must be in US dollars payable in US funds. DEPOSIT Upon notification of acceptance into a workshop, a $250 deposit for each session, for regular enrollment, is required and will be applied to tuition, room and board. How to Submit Your Application: MAIL Mail completed application and your nonrefundable application fee to: Haystack Mountain School of Crafts P.O. Box 518 Deer Isle, ME 04627-0518 USA EMAIL Email completed application to: haystack@haystack-mtn.org QUESTIONS? Contact Haystack at (207) 348-2306. Haystack staff are available M–F, 8:30 am–4:30 pm EST to talk with you about your application and materials needed, and to assist you through the application process.

Summer workshop (non-scholarship) applications are due April 1st 3 8 WORK SHOPS: H O W TO A P P LY


SUMMER WORKSHOP APPLICATION FORM 2019 Please type or print clearly on both sides of application form or download an application form from our website: haystack-mtn.org and email it to haystack@haystack-mtn.org.

FOR OFFICE USE ONLY Application Fee Rec’d [

Name

Gender Identification Other

Current Mailing Address City

State Zip Studio/Session

Country Occupation Daytime Phone

Cell Phone

Accommodations

Email Emergency Contact

Relationship

Phone

Have you attended Haystack before? If yes, in what year/s, studio/s :

 Yes

 No

Have you been wait-listed in the past 3 years?

 Yes

 No

Deposit: Date and Amount Rec’d

Payments

If new to Haystack, how did you learn about the school?

SESSION AND WORKSHOP While we make every effort to assign applicants their first choice workshop, due to the high volume of applications for some sessions, applicants are frequently placed in their second choice. Visiting artists and the Haystack Fab Lab augment the sessions and are not dedicated workshops. Students do not apply for either. Session #

Studio

Instructor

Balance

Paid in Full? Date:

First Choice Confirmation Second Choice (if applicable)

ACCOMMODATIONS Indicate your first and second choice in housing accommodations. First Choice

Second Choice

Are willing to stay in mixed gender housing?

Wait List Age (for housing purposes)

 Yes

 No

*To help us accommodate you, please indicate the nature of any food allergies, disabilities, or medical, or special needs (including sleeping disorders), or reply N/A. Are you a Smoker? *Answers to these questions will have no bearing on the admissions process.

 Yes

 No

Notes

]


SUMMER WORKSHOP APPLICATION FORM 2019 Please answer the following questions (You may also answer these on a separate sheet—include your name on top): 1. Describe why you want to take each of the workshops to which you have applied.

2. List your educational and/or work experience. You may also attach a resumé, not to exceed one page.

3. In the event that a workshop, to which you have applied, has specific requirements, please outline your qualifications.

Signed

Date

APPLICATION FEE A non-refundable $50 application fee must be enclosed with this application.  Enclosed is my payment in the amount of $50 (please make checks payable to Haystack) Charge to my:

 VISA

 Mastercard

Card #

 Discover

Exp. Date

CVV code

Name on Card Signature Submit Your Application: MAIL

EMAIL

QUESTIONS?

Completed applications and your nonrefundable application fee to: Haystack Mountain School of Crafts P.O. Box 518 Deer Isle, ME 04627-0518 USA

Completed applications to haystack@haystack-mtn.org

Contact Haystack at (207) 348-2306 or haystack@haystack-mtn.org


FELLOWSHIPS &

SCHOLARSHIPS

Haystack is fortunate to have loyal and generous supporters who make it possible for us to award full scholarships to 25% of students attending the school. We are firmly committed to a culture of diversity, equity, and inclusion and as an artistic community believe in celebrating divergent points of view. One of the most powerful tools we have in supporting this mission is our scholarship program, which in 2018 brought over 120 students (recent high school and college graduates, retirees, parents, emerging artists, and more) from as near as Deer Isle to as far away as Palestine, Sweden, and Brazil. Donors have taken steps to endow individual fellowships and scholarships that we are able to allocate, on an annual basis, in keeping with the intentions and directives of each fund. A named scholarship can be created with a gift of $30,000 and provides tuition, room and board for a two-week workshop. A fellowship can be created with a gift of $40,000 and includes the addition of a travel stipend to offset the expense of travel to and from Deer Isle. Haystack is also able to work with individual donors to establish Current Year Scholarships for $1,555 each, providing a student with tuition, room and board to attend a two-week workshop.

Scholarship Highlight Thanks to the support of an anonymous donor, for the past three years Haystack has been partnering with Artaxis, an evolving independent network of contemporary artists working in ceramics and sculpture, to provide fellowship opportunities for artists to attend workshops at Haystack. Above are the 2018 Artaxis Fellows, Raven Halfmoon (l) and Kathy Garcia (r), on the kiln deck—both participated in the Session 6 Ceramics workshop, “Resilience: Form, Narrative, and Installation,” led by Courtney Leonard. The Artaxis Fellowship is intended to increase diversity, equity, and access across the field of the ceramic arts—with a goal to increase the visibility of unique perspectives across the field. Fellowships are awarded by Artaxis, after a competitive juried review, with each award covering tuition, room and board for a two-week workshop in ceramics, and up to $500 for travel to and from Haystack in Deer Isle, Maine.

Ensuring the school supports all students with no bias in regard to age, color, disability, gender identification, national origin, race, religion, sexual orientation, economic status, or veteran status will remain one of our most critical goals. The Haystack scholarship program is supported through annual fund contributions, end of session auctions, the summer gala, grants, and our scholarship endowment. L E AR N M OR E : H AYSTA C K - M T N . O RG

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Providing support to students has tremendous impact, and we are very proud of the ninety-two endowed scholarship funds that have been created at Haystack: FELLOWSHIPS Arizona State University Fellowship Established by Joanne and James Rapp (Awarded by Arizona State University) Edward Larrabee Barnes Architectural Fellowship Mary Blakley Fellowship The Brown University Fellowship Established by Joan and Pablo Sorensen (Awarded by Brown University) David Cheever Fellowship William F. Daley Fellowship (Awarded by the University of the Arts) Pat Doran Fellowship (Awarded by Massachusetts College of Art & Design)

SCHOLARSHIPS Naomi I. Becker Scholarship

Barbara Rockefeller Scholarship

Andrew Bergman Scholarship

Samuel and Eleanor Rosenfeld Scholarship in Fiber

Bingham Scholarship Fund for Maine Students Mary Beasom Bishop and Francis Sumner Merritt Scholarship

Samuel and Eleanor Rosenfeld Scholarship in Wood Lois Rosenthal Scholarship

Bill Brown Scholarship

Florence Samuels Scholarship

Judith Burton Scholarship

Kay Sekimachi Scholarship

Catto Family Scholarship

Heikki Seppa Scholarship

Kate Cheney Chappell Scholarship

Margaret (Peggy) Swart Sewall Scholarship

Thomas Chappell Scholarship

Irving B. Sherman Island Scholarship

Elizabeth F. Cheney Scholarship

Mathias Lloyd Spiegel Scholarship

Ethel Skeans Clifford Scholarship

Carolyn J. Springborn Scholarship in Fiber

Grignol-Rapp Fellowship Established by Joanne and James Rapp (Awarded by Edinboro University of Pennsylvania)

Mad Crow Scholarship

Carolyn J. Springborn Scholarship in Graphics

David Ferranti Scholarship

Carolyn J. Springborn Scholarship in Wood

Jane Weiss Garrett Scholarship

Lenore Thomas Straus Scholarship

Howard Kestenbaum and Vijay Paramsothy International Fellowship (Awarded to two international students)

Golden Rule Scholarship

Lenore Tawney Scholarship

Gary “Griff” Griffith Scholarship

Taylor-Zwickey Scholarship

Roberto Lugo Minority Fellowship Richard Allen Merritt Fellowship (Awarded to a student from Japan) Marcianne Mapel Miller Fellowship (Awarded by Alfred University) Marlin Miller International Fellowship (Coordinated with the Luys Foundation, Armenia) Quimby Family Fund Fellowship (Awarded by Maine Art Education Association) Rhode Island School of Design Fellowship (Awarded by Rhode Island School of Design) San Diego State University Fellowship Established by Arline Fisch (Awarded by San Diego State University) Alan Gordon Sanford Fellowship (Awarded by The Waring School) Stewart W. Thomson Cranbrook Academy of Arts Fellowship (Awarded by Cranbrook) University of Wisconsin-Madison Fellowship (Awarded by University of Wisconsin-Madison) William Wyman Fellowship (Awarded by Massachusetts College of Art & Design)

Candy Haskell Scholarship

Molly Upton Scholarship

Harriet Hemenway Scholarship

George VanOstrand Scholarship

Priscilla Henderson Scholarship

Beverly Warner Scholarship

Richard and Mary Howe Scholarship

Frans Wildenhain Scholarship

Mary Alice Huemoeller Scholarship

J. Fred Woell Scholarship

Stuart Kestenbaum Scholarship Jody Klein Scholarship Nanette Laitman Scholarship Jack Lenor Larsen Scholarship Michael Lax Scholarship Jean and Dave Lincoln Scholarship Ingrid Menken Scholarship Priscilla Merritt Scholarship William H. Muir Scholarship Samuel Newbury Scholarship Mary Nyburg Scholarship Betty Oliver Scholarship Ronald Hayes Pearson Scholarship (Awarded to two students) Peninsula Area Scholarship Parker Poe Scholarship Elena Prentice Scholarship (Awarded to six minority students) Francis William Rawle Scholarship

4 2 FEL L OWSHIPS & S C H O LA R S H IP S

FELLOWSHIP $40,000

· Tuition · Room & Board for a one- or two-week workshop · Travel Stipend SCHOLARSHIP $30,000

· Tuition · Room & Board for a one- or two-week workshop CURRENT YEAR SCHOLARSHIP $1,555

· Tuition · Room & Board for a two-week workshop


WORKSHOP SCHOLARSHIP PROGRAM Application deadline: March 1, 2019 Haystack supports approximately 25% of all summer workshop attendees with scholarships that provide room, board and tuition to over 120 students annually. Scholarship recipients are responsible for their travel expenses, shop fees, and materials. Our general application fee of $50 must accompany scholarship applications. Haystack assembles independent committees to select scholarship recipients through a competitive review process, open to those who are 18 years of age or older. The most successful applications are focused, well written, and carefully prepared. In advance of preparing your application we strongly encourage reviewing the extensive list of Frequently Asked Questions on our website. Applicants who do not receive funding and wish to be considered in the regular application pool can indicate this on their application. Scholarship applications must be submitted online and only completed applications will be considered. Scholarship support is available in three distinct categories, and applicants may apply in as many of these areas for which they qualify.

Please visit our website for full details on each of the following scholarship categories and application requirements. WORK STUDY SCHOLARSHIPS The largest portion of our scholarship program, work study students, assist with a variety of different jobs ranging from working in the kitchen, housekeeping, grounds maintenance, and other special projects. MINORITY SCHOLARSHIPS AND DIVERSITY INITIATIVES Haystack is committed to a culture of diversity, equity, and inclusion. In 2019 we will increase our support of individuals from racially and culturally diverse communities within the United States by awarding at least twenty work study scholarships to students of color. TECHNICAL ASSISTANT SCHOLARSHIPS AND FELLOWSHIPS Providing technical support to workshop faculty, shop supervision, and facility maintenance, technical assistants must be well familiar with equipment and processes of particular studios. A full listing of available technical assistantships may be found on our website: haystack-mtn.org.

Apply online at haystack.slideroom.com L E AR N M OR E : H AYSTA C K - M T N . O RG

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RESIDENTIAL HIGH SCHOOL PROGRAMS

Haystack has a long history of intensive programs designed for Maine high school students that includes Student Craft Institute (1984), Studio Based Learning (1995), and in 2019 we are proud to partner with OUT Maine on a new pilot program for LGBTQ teens.

Additional programs include communitybased artist residencies, partnerships in the local schools, and a mentorship program for area teens. Providing opportunities for young people in our community, similar in content and quality to those being offered to individuals from around the world during our core summer season, is central to the school’s mission. In order to ensure accessibility, Haystack underwrites local programs almost entirely, through the generosity of individual and foundation support and our annual fund.

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RECOGNITION Designed in 1960 by noted American architect Edward Larrabee Barnes, Haystack’s iconic campus on Deer Isle is considered an outstanding example of modernist architecture. The timeless design of the buildings and their relationship to the surrounding landscape has a profound impact on the experience of being at the school. We are proud to be the stewards of such an extraordinary architectural treasure. Robert Campbell, member of the American Institute of Architects and architecture critic for the Boston Globe, described the school as “so perfectly fitted to its site and its purpose that you never afterwards forget it.” AWARDS

FEATURED

EXHIBITION

In the Vanguard

1987 Haystack is awarded the American Craft Council’s Gold Medal Institutional Award for “trailblazing leadership and longtime service in education.” 1996 Haystack receives the American Institute of Architects’ Twenty Five Year Award in recognition of the school’s design excellence.

Haystack Mountain School of Crafts, 1950-1969

2006 Haystack is added to the National Register of Historic Places.

THE PORTLAND MUSEUM OF ART MAY 24-SEPTEMBER 8, 2019

2009 Haystack is awarded a Maine Master Craft Artist Supporter Award from the Maine Crafts Association in recognition of the school’s distinguishing mark of excellence.

This summer, the Portland Museum of Art will present the exhibition, In the Vanguard: Haystack Mountain School of Crafts, 1950-69. Organized by co-curators Rachael Arauz and Diana Greenwold, this exhibition is the first of its kind to provide an overview of the founding years of the school and its monumental impact on the world of mid-century art and design. Representing four years of research, this exhibition reveals an untold story about the origins of this craft school and its national significance. Archival material such as original correspondence, photographs, brochures, posters, and magazine articles enrich the narrative of Haystack’s growth and transformation. Much of this material has never been published and will be included in a scholarly catalogue representing the most comprehensive resource ever created about the school. For more information please visit portlandmuseum.org/haystack

2016 The Haystack Fab Lab (established in 2011 in partnership with MIT) is awarded the Distinguished Educators Award from the James Renwick Alliance; this award—the first given to a program—acknowledges the influence of Haystack’s digital fabrication lab on the work that we do at the school and how that work has reached outwards from the campus to impact the broader field.

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THE FAB LAB “Haystack has opened a twenty-first century door for our Island community…The possibilities for inspiration, learning, and design are infinite. Growth of the Haystack Fab Lab program and training expands the opportunities for our children exponentially.” MICKIE FLORES The Haystack Fab Lab was established in 2011 and has become an integral part of our mission to think broadly about the field of craft. Fab Labs, an educational outreach component of MIT’s Center for Bits and Atoms, are an international network of small-scale digital fabrication facilities that spans 30 countries and 24 time zones. Fab Labs provide connection to a global community of learners, educators, technologists, researchers, makers, and innovators. Haystack is the only craft school in the United States that is part of this network, and in 2016 our lab was recognized with the Distinguished Educators Award from the James Renwick Alliance, for pioneering contributions to craft education. The Fab Lab complements our existing programs, and is available to everyone attending the school, with no

4 6 THE FAB L AB

prior experience is required to use the lab. We partner with trained professionals from MIT, Harvard Graduate School of Design, The University of Virginia Curry School of Education, AS220, and Fab Labs around the world to staff the lab and provide access to artists in residence, conference presenters, faculty, and workshop participants. The culture found in the Haystack Fab Lab is one of experimentation, risk taking, and collaboration. During the winter months, the Haystack Fab Lab serves as a vital resource for community-based education, outreach, and digital fabrication training. This season marks the second year of a paid internship program for area high school students and we will also be expanding our work with the local school system to integrate digital technology and design proficiency into 7th and 8th grade classrooms on Deer Isle.


HARDWARE Bantam Precision CNC Milling Machine Brother SE 1800 Digital Sewing Machine Epilog Legend 24TT 35 Watt Laser Cutter Epson ET-2550 Printer/Scanner Formlabs Form 2 SLA Resin Printer Heat Press HP Design Jet 111 Large Format Printer - 24” iMac Workstations (4) Prusa i3 MK 3 Filament Printer Roland GX - 24 Vinyl Cutter Sindoh 3D Wox Filament Printer Shaper Origin Handheld CNC Router Shopbot Desktop 18” x 24” CNC Router Shopbot Handibot Portable CNC Router Shopbot PRS Alpha 4’ x 8’ CNC Router Universal VLS 350 50 Watt Laser Cutter Xbox 360 Kinect Handheld Scanner 3D Systems Sense Digitizer Handheld Scanner Electronics Bench with Soldering Equipment, Oscilloscope, Power Supply, and a Full Range of Components Smooth-On Molding and Casting Materials Super Sap Resins SOFTWARE Adobe Creative Suite Blender

Inkscape

Eagle

Meshmixer

Fusion 360

Rhino (on one iMac)

Gimp

Partworks

In partnership with The Center for Bits and Atoms, Massachusetts Institute of Technology

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THE HAYSTACK

MONOGRAPH SERIES Initiated in 1991, Haystack’s Monograph Series provides a forum for writers of varied perspectives to reflect on the idea of craft. The impulse to initiate conversations through writing is intended to foster scholarship in the field, and supports our belief that working with materials is always connected to an active engagement with ideas. Now totaling thirty-three in the series, monographs cover a range of topics and are distributed to art schools and

4 8 THE HAYSTACK M O NO GR A P H S E R IE S

libraries throughout the US. Past copies can be found in the Haystack store and purchased online through our website. If you represent a school or library and wish to be placed on our annual monograph mailing list, please contact Haystack. Poets, philosophers, visual artists, essayists, architects, scientists, curators, and more have all contributed to the Haystack Monograph Series.


PUBLICATIONS

“ Moving Forward by 2017 Visiting Artist Faythe Levine, is the most recently published monograph in the Haystack Monograph Series.

My experience at Haystack inspired me to be bold in my experimentation with different mediums. Even though I’m no longer in Deer Isle sitting on the rocks that look out onto the beautiful waters, it still feels like it was yesterday I was there. I am so grateful that I had the opportunity to experience Haystack; it really is like no other.” AIMEE VUE, INAUGURAL BROWN UNIVERSITY FELLOWSHIP RECIPIENT, 2017

The thirty-fourth publication in the series, by 2018 Visiting Artist Sheila Pepe (above), will be available Spring 2019.

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WE ARE HAYSTACK FOUNDER Mary B. Bishop (1885–1972) FOUNDING DIRECTOR Francis S. Merritt (1913–2000) BOARD OF TRUSTEES Jack Lenor Larsen Honorary Chair Matthew Hinçman President Susan Haas Bralove Vice President Miguel Gómez-Ibáñez Treasurer Katherine Cheney Chappell Deborah Cummins Fabio Fernández Virginia McGehee Friend Laura Galaida Katherine Gray Hoss Haley Del Harrow Charles O. Holland Ayumi Horie Rayanne Kleiner Roberto Lugo Sarah McNear Bruce Norelius John Ollman Linda Sikora Rosanne Somerson Joan Sorensen Brigid Sullivan Elizabeth Whelan Namita Gupta Wiggers Joe Wood

5 0 WE ARE H AYS TA C K

LIFE TRUSTEES William Daley Arline Fisch Wayne Higby Richard Howe Lissa Ann Hunter Marlin Miller Eleanor Rosenfeld Claire Sanford Cynthia Schira

FUNDING Funding for Visiting Artists/Writers is provided by:

STAFF Paul Sacaridiz Director Ginger Aldrich Development Director Jonathan Doolan Studio Technician Michele Dür Head of Housekeeping Lily Felsenthal Development Assistant Carole Ann Fer Assistant Registrar Candy Haskell Office Manager/Registrar Annette Huval Student Accounts/ Administrative Assistant Eugene Koch Facilities Manager Walter Kumiega Maintenance Assistant James Rutter Fab Lab Coordinator Marilyn Smith Chief Financial Officer Tom Smith Head Cook Twyla Weed Store Manager/ Administrative Assistant Ellen Wieske Assistant Director Brad Willis Assistant Studio Technician

Haystack’s Samuel J. Rosenfeld Faculty Fund for Sculpture in Ceramics or Wood

Haystack’s Charlie Gailis Fund Stuart Kestenbaum Fund for Writing Francis S. Merritt Fund for Innovative Programming Windgate Foundation Funding for Andile Dyalvane’s teaching position is provided by:

Funding for international faculty travel is provided by: Stuart Kestenbaum International Travel Fund CATALOG Design Might & Main Editor Ginger Aldrich Photography Henry James Crissman Lily Felsenthal Dennis Griggs Alexis Grillo Amanda Kowalski Jin Lee Jenny Rebecca Nelson Wylde Photography Paul Sacaridiz Julia Zell



HAYSTACK MOUNTAIN SCHOOL OF CRAFTS P.O. BOX 518 DEER ISLE, ME 04627-0518 USA haystack-mtn.org

Residency and Scholarship Applications Due March 1 Regular Applications Due April 1 Full Scholarships Available

Backpack Kiln. Photo by Henry James Crissman