2020 Pilchuck Catalog

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P I LC H U C K G L A S S S C H O O L F O ST E R S A N D E D U C AT E S A W O R L D W I D E C O M M U N I T Y T H AT E X P LO R E S

PROGRAMS 2020

T H E C R E AT I V E U S E O F G L A S S I N A R T A N D D E S I G N .

Greetings fellow artists, thinkers, makers, and material enthusiasts, The extensive program laid out in this catalog represents the forty-ninth year of existence for Pilchuck Glass School. Although the offerings have changed radically in format and content over the years, we retain the pioneer spirit and commitment to discovery that was integral to our founder’s grand experiment. As the glass field continues to expand and diversify, we remain committed to both honoring our roots and embracing the innovation and evolution that has made Pilchuck an international center for the study of glass.

You will notice over the coming years a series of program sessions that focus intensely on individual countries or regions. As we approach our 50 th Anniversary, we will take the opportunity to celebrate the guiding influences that have shaped Pilchuck from every corner of the glass globe. It has truly been an international endeavor and we will honor this by presenting a peek into the future of glass for these regions as we look ahead to the next 50 years.

Building on the momentum of the upcoming GAS Conference in Sweden, we will begin this new Cross-Currents series with a session focused on the Scandinavian region.

This Nordic invasion will be followed by The Jam Session, an opportunity for a cacophonous campus-wide exploration of the glorious potential of community generated noise, sound, and music.

Families Valued will continue the important work of my predecessor, Tina Aufiero, to make the Pilchuck campus and programs accessible and meaningful to artists with families. For the first time ever, we will run a concurrent Youth Camp, creating a rare supported opportunity for parents and their children to participate in the Pilchuck experience for a truly intergenerational learning environment.

Loquacious will present classes from a wild group of glass artists who embrace storytelling and narrative in their practice. At the other end of the spectrum, Intelligent Design will be a session dedicated to advances in the design and fabrication of utilitarian and decorative objects.

We will conclude the summer with Builders, which will pay tribute to the original necessity of Pilchuck’s pioneers to provide for their own shelter through a wide-ranging look at approaches to both traditional and unorthodox glass fabrication and construction.

Throw in an action-packed Pre-Session, our largest Fall Program ever, youth outreach programs, and an expanding slate of residencies, and you have a myriad of ways to enjoy the Pilchuck experience.

So, come learn with us, come make with us, come jam with us, and come join the Pilchuck Family. See you all on the hill!

Cheers, Ben Wright Artistic Director

2020 PROGRAMS: SCHOLARSHIPS + FINANCIAL AID

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P I LC H U C K S C H O L A R S H I P A N D F I N A N C I A L A S S I STA N C E Pilchuck offers a variety of general and specialized scholarships and financial assistance, giving a wide range of opportunities for students to attend courses.

Nearly forty-percent of students receive some type of scholarship, award, or financial assistance to attend Pilchuck Glass School. Scholarship applications are due February 1, 2020.

A P P LY F O R F R E E New this year! With thanks to generous donors, Pilchuck Glass School is waiving all application fees for 2020 Programs and Residencies in our work to make Pilchuck accessible to all interested artists.

Apply online before midnight (PST) February 1 for scholarship and priority financial assistance consideration. Begin your application at pilchuck.org.

M E R I T- B A S E D S C H O L A R S H I P S Scholarship applicants are scored and ranked based on artistic merit by an outside jury of arts professionals. This year, the jurors will be considering originality and inventiveness, aesthetic excellence, skillful and imaginative use of glass or other media, and visual clarity!

The images you submit with your application will make up the majority of your score. Every year a different panel of jurors is invited, so if you have applied before and not received a scholarship, we encourage you to apply again!

SPECIAL SCHOLARSHIPS While all scholarship applicants qualify for merit-based scholarships, you may also be eligible for a special scholarship if you are: • an international applicant, a citizen of Australia, New Zealand, Eastern Europe, Czech Republic, or China.

• a resident of New England (NH, MA, ME, RI, CT, VT), Arizona, or Los Angeles.

• a US citizen of African American, Hispanic American, Native American, or other minority heritage.

• an applicant for a flameworking course.

• a 2019 Summer Staff or Campus Assistant.

• a 2019 Corning Inc. Foundation or Saxe Award nominee.

• a nominee from a 2020 Partner Institution (see list online).

• an applicant working in digital technology.

N E E D - B A S E D F I N A N C I A L A S S I STA N C E This year, Pilchuck is offering need-based financial assistance to help students not awarded in the merit scholarship process and to help bridge the gap for some partial-scholarship recipients.

Apply for need-based financial assistance through the online application form.

We highly recommend that students in need of financial assistance apply for both a scholarship and for financial assistance so that we can do our best to meet your needs!

Q U E ST I O N S ?

Contact the registrar at 360.445.3111, ext. 29 or at registrar@pilchuck.org.

HOW TO A PPLY Page 29

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PA RT N E R R ES I D E N C I ES Pilchuck is excited to now offer scholarship applicants the unique opportunity to be considered for a range of exciting new Partner Residencies with organizations around the world. Once enrolled in their Pilchuck classes, the topscoring applicants who express interest in each opportunity will be passed on to our partner organizations for final selection.

Details for each residency experience varies, but thanks to the generosity of our partners, each residency represents a free opportunity to expand your work in a world-class studio in the most inspiring settings around the globe.

D U N C A N M C C L E LL A N ST U D I O H OT G L A S S R E S I D E N CY Two top-ranking scholarship applicants will receive a hot-glass residency at Duncan McClellan Glass, St. Petersburg, Florida.

K I L N F O R M I N G R E S I D E N CY One top-ranking scholarship applicant will receive a kilnforming and coldworking residency at Duncan McClellan Glass, St. Petersburg, Florida.

Supported by Duncan McClellan Gallery. dmglass.com P I E R I N I V E R R E C O N T E M P O R A I N R E S I D E N CY One top-ranking scholarship applicant will receive a glassblowing residency at Biot, France. pierini-glassstudio.com S 1 2 O P E N A C C E S S ST U D I O A N D G A LL E RY Located in Bergen, Norway, S12 supports artist experimenting with glass in all its diversity and encourages interdisciplinary collaboration between glass and other art forms. s12.no Y U C C A VA LL E Y M AT E R I A L L A B K I L N F O R M I N G R E S I D E N CY The top-ranking scholarship applicant will receive a two week kilnforming residency in Yucca Valley, California. yvml.org Read more about each Partner Residency before indicating interest in the scholarship portion of the 2020 student application, details at pilchuck.org/partnerresidencies.

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SPRING TOURS + ARTISTS@WORK Pilchuck Glass School was founded in 1971 by Dale Chihuly with patrons Anne Gould Hauberg and John H. Hauberg. Dale Chihuly envisioned Pilchuck as an immersive educational experience, based on the premise that living, eating, and working together is all part of how we express ourselves through our art. Although much has changed since the 1970s, the original core values of the school endure and are voiced in the mission. Pilchuck Glass School inspires creativity, transforms individuals, and builds community.

Spring is magical at Pilchuck when the campus is in full bloom. Experience the grounds and facilities that inspire hundreds of artists each year, enjoy tea or brunch in our iconic Lodge, and watch glassmaking in action during our Spring Tours and Artists@Work program.

Artists@Work are glass artists who push the boundaries of the medium and who are recognized for their expertise and artistry. We welcome this year’s artists from Gray Barn Studios: Jimmy Anderegg, Conor McClellan, and Megan Stelljes, who will display their latest creations and create new work live in our studios.

Spring Tours run from May 20-24, 2020. Visit our website to view tour times, purchase tickets, and join us this spring for our only open-campus event.

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2020 ARTISTS AND CRAFTSPERSONS IN RESIDENCE

2020 SUMMER C R A F TS P E R S O N S I N R E S I D E N C E Craftspersons in residence, also known as gaffers, are accomplished artists with experience in hot glassworking who execute the creative visions of artists in residence and summer instructors. They have a strong interest in collaboration and a desire to stretch their abilities and ways of thinking. Craftspersons in residence hold the technical challenge and responsibility of creating work for other artists. Pilchuck invites two craftspersons in residence to participate in each summer session.

Session 1

Karin Forslund Rasmus Nossbring

Session 2

Jeff Ballard Brent Rogers

Session 3

Jessica Jane Julius Sally McCubbin

Session 4

Jason Christian Romina Gonzales

Session 5

Jen Elek Eric Meek

Session 6

Courtney Branam Jasen Johnsen

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2 0 2 0 S U M M E R A R T I STS I N R E S I D E N C E Every summer session, Pilchuck invites a noted artist to experiment with glass on campus. Paired with gaffers and artist assistants, they have the opportunity to address glass within their practice or add it to their vocabulary of materials. For the Pilchuck student, artists in residence bring much to the campus learning experience, including different approaches and unique interrogations of the material. This year, innovative artists working in the area of sculpture, craft, political commentary, mixed media, printmaking, and performance will bring new perspectives to each summer session.

Read more about Artist Assistantship opportunities on page 28.

Session 1 Shoplifter

Mercedes MĂźhleisen Session 2

Chris Kallmyer Brian Pike

Session 3

Susie Silbert Marela ZacarĂ­as

Session 4

Monica Cook Kambui Olujimi

Session 5

Doug Johnston & Tomoe Matsuoka Sabine Marcelis

Session 6

Judy Pfaff Buster Simpson

2 0 2 0 V I S I T I N G A R T I STS Short-term visits by visual artists, designers, technical experts, curators, and critics enrich both the Summer and Fall Programs. Instructors are encouraged to invite local and visiting artists to give slide shows, lead discussions, give technical demonstrations, and critique students in their courses.

Special visiting artist, James Carpenter returns to Pilchuck in Session 6!

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2020 SUMMER ARTISTS IN RESIDENCE SESSION 1

SESSION 2

SESSION 3

H R A F N H I L D U R A R N A R D ÓT T I R / SHOPLIFTER

C H R I S K A LL M Y E R

SUSIE SILBERT ( C U R ATO R I N R E S I D E N C E )

Shoplifter is one of Iceland’s leading contemporary artists, based in New York. Working with both synthetic and natural hair, her sculptures, wall murals, and site-specific installations explore themes of vanity, self-image, fashion, beauty, and popular myth.

Representing Iceland at La Biennale di Venezia in 2019, her installation Chromo Sapiens opened at the Icelandic Pavilion in May 2019 in Venice, Italy.

Chris Kallmyer is a Los Angeles-based artist whose work focuses on sound and space. His unconventional musical works use everyday objects and other senses, such as taste and touch, to engage the observer in questions about the physical environment and our presence within it. Kallmyer’s work has garnered commissions from the San Fransisco Museum of Modern Art; San Fransisco Symphony, and the Los Angeles Philharmonic among other spaces in America and Europe.

MERCEDES MÜHLEISEN

BRIAN PIKE

MARELA ZACARÍAS

Mercedes Mühleisen is an Austrian born, Oslo-based artist working primarily with video installation. Her works revolve around self-written or found texts, often dramatized through the characters in her videos.

A pivotal point of her interest is in the non-human, whether it be natural phenomena, objects, or single-celled organisms. Mühleisen’s work has recently been exhibited in the Astrup Fearnley Museum of Modern Art, Oslo; Kunsthall Oslo; and Contemporary Art Centre, Lithuania.

Brian Pike is a studio-artist educator based on Whidbey Island, Washington.

His love of nature informs much of his art-making practice. Pike works as a gardener and musician playing at multiple local venues. He received his graduate degree from the School of Art and Design at Alfred University, New York. Juxtaposing traditional glassmaking with a humble use of lowbrow materials, Pike creates objects and installations that emphasize the materials’ strengths in harmony with our natural world.

Working with a labor- and researchintensive process merging sculpture with painting, Marela Zacarías molds window screen and plaster to fabricate undulating forms with the quality of fabric. Zacarías has held solo exhibitions at Brooklyn Museum; Sapar Contemporary, New York; Praxis Gallery, New York; Minneapolis; and more. She has received large-scale permanent site-specific commissions from the Seattle-Tacoma International Airport; Facebook HQ, California; and the U.S. Consulate in Monterrey, Mexico.

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Susie Silbert is the curator of modern and contemporary glass at Corning Museum of Glass, New York. Trained in glassworking and design history, she is motivated by the complex and intertwined histories of material, making, and makers in all media. Silbert serves as the editor of New Glass Review, selects the recipient of the Museum’s annual Rakow Commission, and serves on the committee for the Specialty Glass Residency.

SESSION 4

SESSION 5

SESSION 6

MONICA COOK

D O U G J O H N STO N & TO M O E M ATS U O K A

J U DY P FA F F

Monica Cook received her BFA from Savannah College of Art and Design, Georgia. Her work has appeared in exhibitions throughout the U.S. and abroad, including YouTube Play Biennial, and Guggenheim Museums in New York, Bilbao, Venice, and Berlin.

Cook’s work is included in numerous collections, and was recently acquired by the 21c Museum Hotel collection, Louisville, and the Mercedes Benz Stadium, Atlanta. Cook currently lives and works in Brooklyn, New York.

Doug Johnston focuses on a process of coiling and stitching rope, producing a wide range of functional and sculptural objects. His work takes the position that no made object is exclusively aesthetic or utilitarian. Tomoe Matsuoka’s work explores two different modes of living: fixed and nomadic.

Through creating an alternative form of objects, furniture, and architecture, she envisions a situation where both modes can coexist.

Often cited as a pioneer of installation art and contributor to the Pattern and Decoration Movement (P&D), Judy Pfaff has created work that spans disciplines from painting to printmaking and sculpture to installation. Born in London in 1946, Pfaff received a BFA from Washington University in Saint Louis in 1971 and an MFA from Yale University, New Haven, in 1973, where she studied with Al Held. She lives and works in Tivoli, New York.

K A M B U I O LU J I M I

SABINE MARCELIS

B U ST E R S I M P S O N

Kambui Olujimi earned his MFA from Columbia University, New York, and attended Skowhegan School of Painting and Sculpture, Maine. His work challenges modes of thinking that commonly function as “inevitabilities”, taking shape through interdisciplinary bodies of work spanning multiple medias and mediums. His works have premiered internationally at The Sundance Film Festival; Museum of Modern Art, New York; and Para Site, Hong Kong; among others.

Based in Rotterdam, The Netherlands, Sabine Marcelis runs a studio for material, installation, and object design with a strong focus on materiality. Marcelis’ method of working allows her to intervene in the manufacturing process, using material research and experimentation to achieve new and surprising visual effects in projects for musems, commercial commissions, and fashion houses. She has earned representation from Etage Projects Gallery, Denmark, among others.

Buster Simpson collaborates with infrastructure and site design. Many of his deceptively simple sculptures offer social and ecological engagements and solutions to real problems. His recent work includes an ongoing collaboration on a major seawall effort addressing rising waters, Seattle; and Carbon Veil for Seattle-Tacoma International Airport. Presently, Simpson is working on a San Jose waste-water facility that produces gas from refuse to power the plant.

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PRE-SESSION

M AY 8 –1 3

HOW TO APPLY Page 29

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Come help us fire up campus for the season with this eclectic collection of talented artists and designers. The 2020 Pre-Session is modeled off of Pilchuck’s successful fall intensives. These one-week classes are the perfect immersive educational experience to lift your practice and art to the next level.

Each course is designed to ignite your imagination, build techniques, and boost creativity in your work. Learn more about how to apply on page 29 or at pilchuck.org.

INNER VOICE

M I N D - M O R P H I N G M AT T E R

OFF THE GRID

Hot Glass, Imagery, Printmaking, Coldworking, Design

Glassblowing, Kiln Forming, Neon, Unorthodox Techniques

Glassblowing, Mixed Media, Kinetics, Installation

This course will focus on developing rule-based systems for experimentation and design in the Hot Shop, Cold Shop, and Print Studio.

By limiting variables such as time, materials, and processes, students will learn new ways to work intuitively and practice techniques for focusing creative independence. Throughout the course, students will be asked to push themselves and consider new ways of seeing their approach to artmaking.

This course will cover glassblowing, finishing techniques in the Cold Shop, as well as light, imagery, and printmaking.

Utilizing an arsenal of glass-forming techniques, this course will have the unique ability to explore opportunities to crossover between traditional processes and unorthodox approaches to the material. From hot glass to kiln firing and torch work, learn how to challenge limitations of form by taking glass through multiple processes.

Students will be encouraged to take risks and trust their intuition as they develop skill, discover nuances, and consider the potential of objects, elements, and process residue as tools for creative expression.

Merging traditional and experimental glass techniques, this course takes inspiration from groups of misfits that decided to abandon modern conveniences and set out for the woods seeking autonomy and creative freedom. Excursions will focus on the environment and history of Pilchuck in considering natural, remote settings as fertile spaces for unconventional ideas.

Combining glass and mixed media, students will create interactive devices and kinetic contraptions that explore the potential of striking out into the unknown. Curiosity and collective effort will be essential.

A / ALL LEVELS

A / ALL LEVELS

A / ALL LEVELS

LY D I A B O S S JOHN HOGAN

Lydia Boss is a Seattle-based artist whose work investigates themes of identity, time, and nature through a feminist, millennial lens. She graduated with a BFA from Bowling Green State University, Ohio, and has studied at the International Glass School, NovĂ˝ Bor, among other craft institutions. John Hogan is a Seattle-based glass artist.

His work spans functional objects and fine-art sculpture, and is distinctive in its exploration of refracted light.

Recently, Hogan has been working with architects and developers on largerscale projects.

MICHAEL HERNANDEZ

Michael Hernandez’s work explores the funky, freaky, formal amalgamations in glass through objects, sculpture, and installation. A graduate of Emporia State University, Kansas, and NYSCC at Alfred University, New York, Hernandez is an associate professor and head of glass at Palomar College, California, and has taught workshops at institutions around the U.S. He is on the board of directors of the Glass Art Society, and is the editor for GASnews.

Hernandez shows in galleries, museums, and non-traditional venues throughout the U.S. and abroad.

N AT E R I C C I U TO

Nate Ricciuto envisions design, architecture, and craft as existing in the odd space between technology and fantasy. His work was recently featured in New Glass Now at Corning Museum of Glass, New York, and he has participated in artist residencies at Creative Glass Center of America, Millville, and Pilchuck Glass School.

Ricciuto holds an MFA from Tyler School of Art and Architecture, Philadelphia, and currently teaches at both Columbus College of Art & Design and Ohio State University in Columbus, Ohio.

A P P LY O N L I N E AT P I L C H U C K . O R G

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SESSION

1 SCANDINAVIA

CROSS-CURRENTS:

M AY 2 8 – J U N E 8

HOW TO APPLY

M A G I C A I R & H O LY G R A A L

F LU I D T R A D I T I O N S

Glassblowing, Graal, Ariel, Engraving, Imagery, Coldworking

Glassblowing, Mold Blowing, Graal, Cold Working, Imagery, Multiples, Installation, Optical Explorations

In this course, students will explore and challenge two of the most famous techniques in Swedish glassblowing: graal and ariel, both used to encase imagery in hot glass. Working in the Hot Shop, we will make multilayered graal and ariel blanks—and will play a bit with Swedish overlay—and even try to combine these two techniques to push them to higher levels. After creating our blanks in the Pilchuck Hot Shop, we’ll move to the Cold Shop for pattern making by drawing, cutting, sandblasting, and engraving. Come and discover how light passing through glass and encased air transforms the mundane into the magical!

Work hands-on and experimentally to examine optical phenomena in glass! Students will explore elements of historical and contemporary Scandinavian glassmaking and design, such as the graal technique.

We will combine basic digital image and pattern-making techniques to suspend ideas within the transparent and mutable nature of glass. Through a combination of exercises in and outside of the Hot Shop and Cold Shop, and sculptural responses to the material, students will work through the creative phases of observation, synthesis, and manifestation.

D / INTERMEDIATE/ADVANCED

D / ALL LEVELS

MICKE JOHANSSON

Micke Johansson is a master glassblower and designer from Sweden. At sixteen-years old, Johansson started working at Orrefors Glassworks, becoming a master glassblower there at the age of twenty four. In 2004, Johansson started to work at Pukeberg Glassworks, where he could develop and produce his own art glass. Since 2007, he has run his own glass studio on his farm outside of Örsjö. There he produces all his glass freehand and with great craftsmanship. Johansson’s specializes in old Swedish techniques like ariel, graal, and Swedish overlay.

ST I N E B I D ST R U P

Stine Bidstrup is a Danish artist whose work explores optical phenomena and interprets and brings ideas about utopian architectural visions to life through glass sculptures, installation, and video. She attended Rhode Island School of Design, Providence, and has taught nationally and internationally for the past decade at universities and at several summer programs. She maintains a studio in Copenhagen, travels to Småland, Sweden, to blow glass, and is represented by Heller Gallery, New York.

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Session 1 AiRs: Shoplifter, Mercedes Mühleisen 12

S W E E T & S AV O RY G L A S S

B I OACTI V E & S PECIA LTY GL ASSES

Kiln Forming, Food, Presentation, Coldworking

Glassblowing, Experimentation, Bioactive Glass, Specialty Glass Materials

This course focuses on the union between art, functionality, and food. We will use Bullseye sheet glass and kilnforming techniques to make artworks in glass that are designed to present food. Let your chosen food guide you, or choose your food to fit your design, as long as both are delicious!

Work in technicolor or monochrome, sleek or tongue-in-cheek, eclectic or understated. Go beyond the typical tableware and think outside the box on how to elevate and present food as part of your art. The course will culminate in a delicious final exhibition of food on glass art!

Explore the possibilities of combining specialty glass materials with furnace glassblowing in Pilchuck’s Annex Studio. Experiment with a variety of specialty glass, including surface-reactive bioactive glasses, glass-ceramics, glass fibers, and even glow-in-the-dark materials! Students will be able to realize their own ideas while learning about the materials and their possibilities in glass art. Get inspired and broaden the materials toolset in your work!

D / ALL LEVELS

D / ALL LEVELS

SÁMI SCREEN PRINTING ON GLASS

Screen Printing, Imagery, Enamels In this course, students will learn step by step how to screen print photobased images on glass using enamels.

Incorporating discussions regarding social action and indigenous rights, this course will expand students’ understanding of art as social voice as well as deepen their knowledge of screen printing as they undertake advanced techniques and work.

Culminating with discussions on different kiln strategies and methods for firing enamels onto the surface to create a beautiful and durable finish, students will leave with a comprehensive overview of screen printing onto glass.

D / ALL LEVELS

ANU PENTTINEN

Anu Penttinen lives and works in a Finnish glass village, where glass has been made continuously for over two-hundred-twenty years. Penttinen designs and makes kiln-formed and blown vessel-oriented and sculptural glass objects at her studio, and has also collaborated extensively with Finnish design houses. She is an enthusiastic foodie and has created the concept for the glass village restaurant along with a small village hotel she co-owns and runs.

L A U R A A A LTO - S E TÄ L Ä

Laura Aalto-Setälä is a Finnish glass scientist, artist, and designer who works at the intersection of art, design, and science. She has done research on bioactive glasses in both an academic as well as a reseach and development context. In art, Aalto-Setälä specializes in combining unconventional glass materials with traditional glassblowing techniques.

She lives and works in Helsinki, Finland.

TO M A S C O L B E N GTS O N

Tomas Colbengtson is Sámi, a member of the indigenous nomadic reindeer people who live in the northern parts of Scandinavia. He was born in a small Sámi village close to the polar circle of Björkvattnet Tärna in northern Sweden. In his work, Colbengtson often refers to Sámi culture, investigating cultural identity, history, and indigenous peoples’ contemporary situations.

His experiments with combinations of media and material have led to his own unique method to screen print in overlay glass.

A P P LY O N L I N E AT P I L C H U C K . O R G

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SESSION

2 THE JAM SESSION

J U N E 1 2 –2 9

HOW TO APPLY

MOVING SAND/MOVING SOUND

FILMING GLASS

Glassblowing, Sound, Performance, Musical Instruments

Video, Glassblowing, Sound, Performance, Mixed Media, Kinetic Explorations

Glass is a great material for making musical instruments: it’s fast to work with and is capable of producing a wide range of unusual sounds.

Based upon a general framework of sound-making types, we will explore the theory and the creative whimsy of making and learning to play musical instruments made of glass. Students will be encouraged to invent their own instruments, discover how to play them, and then integrate their sounds with the rest of the class. The class will thus become a band, compose its own music, then perform.

E / ALL LEVELS

S H A U N C O N R OY PETER HOUK M A R K ST E W A R T

Mark Stewart, Shaun Conroy, and Peter Houk co-founded the MIT Glass Band in 2012. Conroy is a professional scientific glassblower who has invented a number of glass instruments made of quartz, borosilicate, and leaded glass. Houk is director of the MIT Glass Lab, a program that introduces scientists and engineers to the ancient art of glassblowing, and is an incubator for cross-disciplinary ideas and projects. Stewart is a multiinstrumentalist, singer, song leader, composer, and instrument designer based in New York City.

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Session 2 AiRs: Chris Kallmyer, Brian Pike 14

Time-based work is an important element of contemporary fine art. This course will investigate a variety of non-traditional techniques with glass in the Hot Shop, and explore moving images and sound. Students will use video and microphone recordings as primary tools to address the larger issues of ephemerality, duration, and the possibilities of moving images.

Various demonstrations for dealing with optics and sound will broaden understanding of the material’s possibilities. Our studio processes will alternate between the Hot Shop and the Library. Laptop required.

E / ALL LEVELS

B O H Y U N YO O N

Bohyun Yoon is an artist and educator at Virginia Commonwealth University, Richmond. Influenced by the fields of science, his practice exposes what is often invisible.

Yoon exposes socially constructed notions of race, class, and gender by combining images of the human body with materials that possess invisible properties. He has exhibited his works in Corning Museum of Glass, New York; Museum of Arts and Design, New York; Renwick Gallery of the Smithsonian American Art Museum, Washington D.C.; and Contemporary Arts Museum Houston, Texas.

ST U F F I S N O I SY

RABBLE-ROUSERS

LIVE (LĪV) GLASS

Sound, Mixed Media, Performance, Installation

Flameworking, Experimentation, Sound, Musical Instruments

Performance, Hot & Cold Glass, Sound, Unorthodox Techniques

An investigation of the sonic potential of the material world, this course will be a deep exploration into the acoustic properties of glass, wood, metal, water, and more. Students will dive into techniques to listen to and record “stuff” and manipulate sound through amplification, effects, feedback, and other sonic tricks. Students will also create and experiment with basic tools for their work, including a contact microphone and a personalized speaker. The result of the course will be a combination of sound installation, recorded works, and performance.

Laptop required.

Channeling the ethos of the post-punk movement, we will make avantgarde musical objects, rhythms, and sounds; drawing influence from this group of pioneering musical contrarians who used foundational skills to rip apart conventional practice and create something new.

Through traditional flameworking techniques, we will apply innovation, willful oddness, and experimental unorthodox practices to create weird and alternative musical devices. Break away from flameworking clichés and approach the studio as an instrument for possibility, skill-building, experimentation, and anarchy!

Collaborative, experimental, and hands-on, this course explores the correlations between glass (hot and cold), sound, and movement. The Hot Shop, Cold Shop, and Pilchuck’s landscape are prime performative opportunities where unconventional and improvised activities with glass and sound are set to unfold.

The history of early film and the development of Foley sounds will inform our investigations. Performative in nature, this course will generate photos, videos, sound recordings, some glass objects, and most certainly, a lived experience.

E / ALL LEVELS

E / ALL LEVELS

E / ALL LEVELS

JOHN ROACH

John Roach is an interdisciplinary artist from New York City who likes to explore tensions between materials and sounds. Some of his investigations can seem contradictory and often comical, for example, bulbous flasks of oil magically bubble and produce an uncanny, crackling racket. He has been working with glass since 2015, when he was an artist in residence at Pilchuck Glass School, and he’s been making noise with glass artists, percussionists, scientists, and other collaborators ever since.

B E C CY F E AT H E R

Beccy Feather received her degrees from Wolverhampton University, United Kingdom, and Rochester Institute of Technology, New York. She is a Britishborn glassmaker who lives and works in Bremerton, Washington, with her partner in life and crime, Brent Rogers.

Feather navigates daily between the roles of production flameworker, artist, educator, and tea drinker. Her artwork is a mixture of fine craft, humor, and home science.

J O C E LY N E P R I N C E

Jocelyne Prince is an artist working with the material and conceptual properties of glass. Transparency, optical phenomena, and projection are key tools that translate her process into performative objects or events.

Recent projects include Sol Obscura at S12 in Norway, DMZ, then and now at K-Arts in Korea, and Intercalary Event, a multi-site exhibition. Prince lives in Providence, Rhode Island, and teaches at Rhode Island School of Design, Providence, where she is a full-time faculty in the Glass Department.

A P P LY O N L I N E AT P I L C H U C K . O R G

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SESSION

3 FAMILIES VALUED

J U LY 6 -1 3

HOW TO APPLY

A M O N T E S S O R I A P P R O A C H TO E X P LO R I N G G L A S S

Hot-Glass Sculpting, Coldworking, 3D Printing, Exploration, Creative Reuse Form a holistic approach to making by freely exploring practical, sensorial, and cultural concepts in a Montessorian approach to glass as a sculptural material. While specific exercises will be assigned when new techniques and tools are introduced, students will be free to explore the ideas and themes meaningful to themselves. Students will tour campus recycling areas to repurpose found materials, and explore hot-glass sculpting, 3D printing, and finishing techniques in the Cold Shop, with exposure to Pilchuck’s other available studios while on campus.

ALPHA-MURRINE

Glassblowing, Murrine, Cane, Design, Color Pattern Let’s take a page from Richard Marquis’ book! This character-building course will explore various methods of making handbuilt and kiln-fused typographic murrine. Students will move between the Kiln Shop, Hot Shop, and Cold Shop as we design glyphs, letters, and symbols to render in glass. Our glass type may be rolled up, bundled into words, or exalted in the humble murrine form. Each student will make a small edition of letters to be shared amongst the class.

B / ALL LEVELS

B / ALL LEVELS

J E N N I F E R B UE N O

Jennifer Bueno’s work combines the material of glass with satellite imagery to form groundless landscapes that shift sensorial experience and use beauty and wonderment as devices to draw attention to the rapid changes occurring on our planet. Her work has been shown nationally and internationally. Bueno is also a designer for Bueno Glass, a company she and her husband Thor formed in 2004.

They have two children and live in the mountains in Penland, North Carolina.

HELEN LEE

Helen Lee is an artist, designer, educator, and glassblower. She holds an MFA in glass from Rhode Island School of Design, Providence, and a BSAD in architecture from Massachusetts Institute of Technology, Cambridge. Lee uses glass to think about language. Her work is in the Corning Museum of Glass’ New Glass Now exhibition, Corning, and Museum of Arts and Design’s Burke Prize 2019 exhibition, New York. She is currently an associate professor and head of glass in the art department at University of Wisconsin-Madison.

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Session 3 AiRs: Marela Zacarías, Curator: Susie Silbert 16

THINK IT MAKE IT

GOOD BONES

J O I N T H E FA M I LY !

Flameworking, Sculpture, Idea Development, Process

Kiln Forming, Coldworking, Form

Youth Camp (Ages 8-15)

Focusing on kiln-forming and coldworking processes, this course will start with a hands-on experience designed to expand students’ ideas and their concepts of what’s possible in kiln-formed glass. Using 3D paper and tracing-paper models, students will experiment with form and structure before cutting various forms from sheet glass and fusing or slumping them in the kilns to create three-dimensional objects. Using gravity slumping, students will have the ability to observe the moments of deformation as they happen in the kiln.

Youth are invited to explore materials alongside students, teachers, and staff. With their families, youth participants will play in the woods, cook, visit classes and workshops, and play with art. Youth will be accompanied by Pilchuck staff in exploring materials and techniques such as printmaking, 3D designing and printing, clay, and glass. More than finished products, the focus of these experiences will be to discover materials and their properties and have fun!

Delve into making meaningful sculpture through flameworking. Using borosilicate glass rods and tubing, start with basic technical exercises, building the skills needed to forge your own visual voice. Idea development will be supported by our environment, personal reflection, or wider world happenings. Each student will create an artwork that engages with the moment we are in and the place we currently exist. Technical lessons will focus on how to flamework in a detailed manner. There will be a focus on the figure, but all aspects of sculpting will be addressed.

B / ALL LEVELS

B / ALL LEVELS

Youth Camp participants must be accompanied by a parent or legal guardian enrolled in a Session 3 course.

C / YOUTH CAMP (AGES 8-15)

C A R M E N LO Z A R

Carmen Lozar is a glass artist and a faculty member of the Ames School of Art at Illinois Wesleyan University, Bloomington. A graduate of the University of Illinois at UrbanaChampaign, she completed her postgraduate degree at Alfred University, New York, and is represented by Ken Saunders Gallery, Chicago. She has held two residencies at Corning Museum of Glass, New York, and Penland School of Craft, North Carolina. She is included in the permanent collections of the Museum of Arts and Design, New York, and Bergstrom-Mahler Museum of Glass, Wisconsin.

A P P LY O N L I N E AT P I L C H U C K . O R G

MARZENA KRZEMIŃSKA BALUCH

M A R TA C A B R A L

Polish-artist Marzena Krzemińska Baluch received her Master of Arts degree at the Eugeniusz Geppert Academy of Art and Design, Wrocław.

She has been employed at the diplomagranting Art Glass Workshop, run

by Professor Małgorzata Dajewska, as well taking on the role of the Internationalization Commissioner at the Eugeniusz Geppert Academy of Art and Design. In 2018, she received a Doctor of Arts degree from her alma mater. Krzemińska Baluch has traveled and exhibited her art throughout Europe and the rest of the world.

DORIE GUTHRIE

Marta Cabral works with people of all ages exploring art materials, processes, and ideas and has taught children for over twenty years. She is an assistant professor at the City University of New York, College of Staten Island and develops classes for children and families at UrbanGlass, Brooklyn.

Dorie Guthrie is a graduate of Illinois State University, Normal, and has continued her studies at numerous art organizations to further her technique. She teaches kilncasting, glassblowing, flameworking, fusing, and imagery techniques at UrbanGlass and other venues.

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SESSION

4 LOQUACIOUS

J U LY 1 7– A U G U ST 3

HOW TO APPLY

TEXTURE IS IMAGE I S P R O C E S S IS MEANING

Glassblowing, Coldworking, Texture, Imagery, Pattern Research how texture informs the experience of our environment by straddling both the Hot and Cold Shop!

Integrating hot-shop techniques to create raw pieces and blanks, students will move to the Cold Shop to focus on imagery, texture, and pattern. Using techniques ranging from hot-color application, planning a proper coldworking blank, and hot manipulation of cold-worked parts, to cold sculptural carving, sand blasting, lathe cutting, and cameo engraving, students will learn how to plan complex patterns on flat and three-dimensional glass, and develop problem-solving strategies.

COLLOQUY

Hot-Glass Sculpting, Form, Texture, Color Application We all have a story to tell, however, sometimes we struggle to find the words, or lack the confidence to raise our voices. This course will help you to deepen your technical “vocabulary” in hot-glass sculpting so that you are able to express yourself in the medium of glass sculpture. Exploring how to achieve various textures, studying form and proportion, and experimenting with color application will unlock new tools to help refine your ability to create your own narrative. Join us in the Hot Shop and tell us your story in sculpture.

E / INTERMEDIATE/ADVANCED

E / ALL LEVELS

J E N N I F E R C R E S C U I LLO MORGAN PETERSON

Jennifer Crescuillo is an internationally exhibited artist. She received her MFA in glass at Southern Illinois University, Carbondale. Together with her partner, Andrew Najarian, she operates High Polish Studio, Tennessee, specializing in custom glass fabrication and coldworking services. Morgan Peterson graduated from Massachusetts College of Art and Design, Boston, with a dual degree. She has worked for many notable artists, including Buster Simpson, Dale Chihuly, Cathy McClure, Leo Berk, and Bruce Mau.

R AV E N S K Y R I V E R

Raven Skyriver started blowing glass in high school at the age of sixteen. In 2003, Skyriver was invited to join the William Morris team, where he worked until Morris’ retirement. That experience galvanized his decision to follow glass sculpting as a profession. Skyriver shows his work nationally and has been featured in group shows internationally.

His depictions of marine life are inspired by his island upbringing and informed by the creatures that inhabit this fragile ecosystem.

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Session 4 AiRs: Monica Cook, Kambui Olujimi 18

COMMISSION THIS

W I L D T H I N G , YO U M O V E M E !

G L A S S STO R I E S

Glassblowing, Mixed Media Fabrication, Public Commissions

Neon, Kinetics, Electronics, Animated Image

Stained Glass, Glass Painting, Enamels, Decals, Imagery, Illustration

This course will focus on blown glass for mixed-media applications, along with an exploration on the public commission application process. Work days will be divided into two parts, the Hot Shop and the mixed-media studio, with daily demonstrations in both. In addition, students will be run through a hypothetical commission.

While working towards our goals, as well as exploring the mixed-media process, we will have access to the Wood and Metals Shop. Exercises and assignments will be given to foster group discussion and class cohesion.

Learn how to design and fabricate two- and three-dimensional neontube artworks and animate them!

Bring movement to your work by mechanically manipulating the tubes, or by lighting them sequentially using electronic animators. Demonstrations will include design and construction techniques for support structures using wood, Plexiglas, glass tubing, along with neon tubes. We will cover instruction on how to create and read electrical schematics, as well as how to work with high-voltage power supplies, mounting hardware, wiring, and insulators.

Tell a story using contemporary applications of classical stainedglass techniques! Students will learn the fundamentals—glass cutting, assembly methods, and glass-painting techniques—to develop and create their own stained glass panels. Using old newspaper illustrations, graphic elements of pop culture, and their own drawings, students will make projects to be used as the starting point for stained glass artworks.

Combine centuries-old glass painting techniques with modern concepts of illustration—including comics and collage—to realize projects, bringing the past and present together.

E / ALL LEVELS

E / ALL LEVELS

E / ALL LEVELS

D E L A TO R R E B R OT H E R S

Mexican born, the de la Torre brothers have been collaborating for over twenty years. Their work encompasses installation art, public art, and their signature-style mixed media with blown glass. They have accomplished sixteen solo museum exhibitions, nine major public art projects, and have won three prestigious awards. The brothers have taught workshops and exhibited their work across the world. Next year they will be the featured inaugural exhibition at the Smithsonian Latino Center, Washington D.C.

MICHAEL FLECHTNER

Michael Flechtner works and lives in Van Nuys, California. He has always worked with electricity and colored light. Flechtner earned a BFA and an MFA in sculpture before learning to fabricate neon tubes. He often makes 3D neon forms, and many of his artworks are animated, either through electrical switching of the neon tubes or actually moving them.

Humor and wordplay are often components of his artwork, and Flechtner designed the Celebrate!

Forever Stamp, the first USPS stamp to feature neon as the design.

KALINA BAŃKA

Polish-artist Kalina Bańka studied at the Faculty of Ceramics and Glass at the Eugeniusz Geppert Academy of Art and Design, Wrocław. Since 2013, she has been a research and teaching assistant in the Glass in Architecture Studio, Wrocław, as well as the Stained Glass Studio at the Eugeniusz Geppert Academy of Art and Design.

Her design and artistic practices meet at the crossroads of glass design, printmaking, and painting. Her work strives to adopt a novel approach to glass, frequently revealing a new contemporary context for traditional techniques

A P P LY O N L I N E AT P I L C H U C K . O R G

19

SESSION

5 INTELLIGENT DESIGN

A U G U ST 7–1 8

HOW TO APPLY

đ&#x;’Ą

OOPS, I DID IT AGAIN . . .

Glassblowing, Lighting, Design, Professional Development

Glassblowing, Experimentation, Mixed Media, Sculpture

Lighting design and iteration! A session jammed to the brim with an assault on the lighting industry from two professionals in the trade. Students will explore the business of the lighting world and the deconstruction of process and form. We will have lectures on industrial processes, the design world, 3D printing components, and the balance of professional and personal practices. Students will work through mold blowing and repetitive form building. Wiring and UL, CSA, and European codes and certifications will also be covered. Got ideas? Let’s have at ‘em!

This course will be focused around breaking boundaries. Learn to push material limitation and work with the unexpected by approaching glass from a non-traditional angle. Explore experimental sculpting techniques, mold making, color theory, and mixedmedia design. An array of materials will be introduced as aids for construction, surface treatments, and finishing agents. Working through creative outcomes with a freedom that doesn’t jeopardize intent and embracing the unknown, this course will push what you know about making. Collaboration will be vital. Embrace the weird, get wild, and let go of inhibitions!

D / INTERMEDIATE/ADVANCED

D / ALL LEVELS

J AY M A C D O N E LL M I C H I KO S A K A N O

Jay Macdonell balances personal explorations with working for various artists, designers, and architects as a project manager, design consultant, and gaffer. He is the material explorations manager for Bocci, a process-based design and architecture firm based in Vancouver and Berlin.

Japanese-born glass artist Michiko Sakano started a fabrication studio in Brooklyn where she and her team create artist editions, original art works, and limited edition design pieces. Her clients include Lindsey Adelman Studio, Rolland Hill, Jorge Pardo, and others.

BRI CHESLER

Bri Chesler is a multidisciplinary artist working primarily in glass and mixed media. Her work draws from the wild and erotic character of the natural environment and its relationship to our own internal structures. By fusing similar elements found in biology and botany she creates forms that ‘flirt’ with the audience, exploring ideas of intimacy and desire. She was recently featured in the Bellevue Arts Museum, Washington, exhibition BAM Biennial 2018: BAM! Glasstastic, and was a 2019 Pilchuck emerging artist in residence.

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Session 5 AiRs: Doug Johnston & Tomoe Matsuoka, Sabine Marcelis 20

ROUNDHOUSE

Glassblowing, Hot Glass Fabricated Blow Molds, Experimentation, Multiples

MAKING THE MOLD BREAKING THE MOLD

Moldmaking, Hot Glass Plaster Blow Molds, Kiln Casting, Pâte de Verre

Explore notions of positive and negative and how they inform the creative process! Students will explore how blow molds can expand their practice, how the back and forth between positive and negative informs intent, and the advantages and pitfalls of molds versus freehand techniques.

With a focus on making and utilizing blow molds, we will experiment across a range of material interactions and processes. The integral concepts of multiplicity, repeatability, and divergence will be addressed while considering larger notions of formality and flexibility.

Cover the fundamentals of moldmaking and blowing for plastersilica hot-glass molds. Students will make molds from forms they design, then blow glass into these molds to produce hollow, colored-glass casts of their objects. The course will also offer moldmaking for kiln casting and pâte de verre. Students will learn kilnfiring, annealing, and coldworking techniques for finishing in glass.

Various trips into the surrounding landscape to observe the local flora and fungi will provide students inspiration for the forms and colors of their works.

D / ALL LEVELS

D / ALL LEVELS

J O H N H A LL E T T A N D E R S RY D ST E DT

John Hallett lives and works in New York City, having recently gained an MFA from University of WisconsinMadison. Born and raised in Adelaide, Australia, Hallett holds a Bachelor of Industrial Design from University of South Australia, Adelaide. Anders Rydstedt’s relationship with glass began with his great-grandfather and grandfather, both glassblowers in Sweden. Currently living in New York City, he produces his own line of design wares and takes commissions from various designers, architects, and artists.

THADDEUS WOLFE

Thaddeus Wolfe studied glass at the Cleveland Institute of Art, Ohio, graduating with a BFA. He has held residencies at Creative Glass Center of America, New Jersey; and Museum of Glass, Tacoma. His work is represented

by Friedman Benda, New York; Pierre Marie Giraud, Brussels; and Volume Gallery, Chicago. Wolfe’s work is held in the permanent collections of Musée des Arts Décoratifs de Montréal, Canada; Yale University Art Gallery, Connecticut; and Corning Museum of Glass, New York; where he was awarded the 2016 Rakow Commission.

BEAUTIFUL MACHINES

Flameworking, Sculpture, Fluid Dynamics, Design, Functional Art The function of a piece can take on a beauty of its own; it’s not only about the ergonomics, it’s also about the way smoke moves through the water, how water moves through the piece, and how all these aesthetics work together.

In this course, students will explore the possibilities of fluid dynamics in glass. Advanced flameworking techniques will be utilized to create pathways to designs that push the idea of functional art. From sketching to technical drawing to hands-on practice, ideas will be expressed in the functionality of borosilicate glass recyclers.

D / INTERMEDIATE/ADVANCED

C OY L E

Daniel Coyle, known as COYLE, is an independent artist, and his stylistic and distinctive monkeys, bears, and bananas are easily recognizable.

He started blowing glass in 2003.

After spending five years working as a professional glassblower for a chemical company, he quit his job in order to pursue his artistic vision in glass pipes. COYLE currently resides in western Massachusetts.

A P P LY O N L I N E AT P I L C H U C K . O R G

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A U G U ST 2 2 – S E P T E M B E R 2

SESSION

6

BUILDERS

BIOEVOLUTION

ASSEMBLY IN THE HOT SHOP

CASTING A JUBILEE

Hot-Glass Sculpting, Cane, Murrine, Pattern, Biomimicy

Glassblowing, Hot Glass Components and Assembly, Teamwork

Sand Casting, Structure Building, Modularity

“When one tugs at a single thing in nature, he finds it attached to the rest of the world.” —Attributed to John Muir With biomimicry as a central focus, this course will contemplate humanity’s transition from industrial to biocompatible technology. Using the Hot Shop, Cold Shop, and the Wood & Metals Shop, students will express themselves through drawing and making, culminating in works that will straddle installation, sculptural, and utilitarian realms. The class will take inspiration from systems biology and mechanics of growth to create modular components for collaborative and individual work.

In this course, students will focus on strategies in glassblowing, teamwork, and assembly. Students will begin by fine-tuning their control of heat, gravity, and centrifugal force; combining these elements to make objects with hot glass. As the class approaches more complicated forms, the mastery of these core skills will be essential to communication as we transition between the roles of gaffer and team member or assistant.

Culminating in assembly, students and their team will assemble their glass components in the hotshop using a variety of approaches and strategies.

Twenty-five years ago, the Trojan Horse was the centerpiece of a Pilchuck summer session focused on glass and architecture. This reprisal will once again use glass casting as a tool to understand how casting can be a creative catalyst. Students will be taught elemental systems of sand casting and be directly engaged in a new structure on campus. Modularity, systems strategies, pattern, and aesthetics will be discussed in relation to the community and the ultimate disciplinarian; the clock. The only prerequisites are inquisitiveness and an ability to engage by learning through a direct and experimental project.

D / ALL LEVELS

D / INTERMEDIATE/ADVANCED

D / ALL LEVELS

KAIT RHOADS

Kait Rhoads is best known for her innovative use of Venetian blown-glass techniques, such as murrine and filigrana, which she has applied to public art, sculptural forms, vessels, and jewelry. Rhoads received her BFA from Rhode Island School of Design, Providence; her MFA from Alfred University, New York; as well as a Fulbright grant to study sculpture in Murano, Italy. She maintains a studio in Seattle, Washington, and volunteers at the Seattle Aquarium. Rhoads recently completed the installation of Salish Nettles, a major commission for the new Pacific Seas Aquarium, Tacoma.

MASAHIRO SASAKI

Masahiro Sasaki was born in Nagoya, Japan. He studied glass art at Aichi University of Education, and Toyama City Institute of Glass Art. Sasaki’s glass sculptures are pure molded expression derived through material, technique, and the making process.

Currently, Sasaki is a professor at Aichi University of Education. He has also taught at The Studio of The Corning Museum of Glass, New York, as well as exhibiting his works all over the world.

H A N K M U R TA A D A M S

Hank Murta Adams earned an undergraduate degree in painting before making glass his focus in graduate school, after being introduced to the glass community by Dale Chihuly.

Adams’ work as an educator, both officially at institutions and informally in communities, at non-profits, and creative-work tanks, is a central facet of his life and work. He garnered awards and exhibited his own sculpture extensively until the events of 9/11, when he began to focus more deeply on creative community development.

Session 6 AiRs: Judy Pfaff, Buster Simpson 22

FROZEN IN TIME

Kilncasting, Moldmaking, Wax Working, Coldworking Glass—fragile but timeless. This dichotomy can be a poignant vessel for depicting nostalgia for the past held in the semi-permanence of memory. In this course, we’ll explore a variety of techniques and materials for moldmaking with small objects either brought from home or made on campus before casting in the kiln.

From planning molds and setting up models, to silicones and wax working, to finishing our work in the Cold Shop, students will learn kiln-casting techniques and processes. Come capture form and memories in glass!

D / ALL LEVELS

A U ST I N N O R V E LL

Wm. Austin Norvell is a studio artist whose focus is lost-wax glass casting.

He divides his time between his studio in Charleston, South Carolina, and the Berengo Studio 1989 in Murano, Italy.

In Charleston, Norvell is developing several series of glass sculptures that speak to nostalgia and collecting.

In Murano, his work at Berengo Studio helps bring the cast-glass process to internationally renowned contemporary artists who typically work in other media.

DIMENSIONAL GLASS C O N ST R U C T I O N

MATERIAL INVESTIGATIONS: WOOD, METAL, CHOCOLATE, & BEYOND

Flameworking, Networking, Construction

Wood and Metal Fabrication, CNC Milling, 3D Scanning, Modeling, and Printing, Laser Engraving, Casting

Focus on building a solid foundation for networking construction techniques in flameworking.

Students will cover structural and design analysis to make sculptural pieces. Working with mainly solid borosilicate rods and some hollow tubes in sculptural contexts, students will focus their time on projects and developing designs. This networking technique can be used in any type of construction—from body ornaments to life-size sculptures. Focusing on concept and technical skills, push your ideas from the sketchbook onto the torch.

Explore the fundamentals of sculptural fabrication by focusing on executing multi-media artworks! Learn woodworking, metal working, and digital production processes and gain an understanding of 3D modeling to create designs for 3D printing or subtractive manufacturing processes.

Using the X-Carve CNC machine, carve designs in plaster and wood to cast with a variety of materials (resin, metal, or chocolate!). Limited access to glass casting will be available, however the priority will be on exploring other materials. Let’s get messy!

D / ALL LEVELS

D / ALL LEVELS

EUNSUH CHOI

Korean-born glass artist Eunsuh Choi arrived in the U.S. having already completed a Master’s degree in glass from Kookmin University, Seoul, but she chose Rochester Institute of Technology, New York, as a place where she could both study English and earn a second MFA in glass. Choi’s work is on permanent collection at Corning Museum of Glass, New York; European Museum of Modern Glass, Germany; Cafesjian Center for the Arts, Armenia; Rochester Institute of Technology; Lotte Hotel Yangon, Myanmar; Kim Young English Institute, South Korea; and more.

REBEKAH BIRKAN C H R I ST I A N O I T I C I C A

Rebekah Birkan is a New York Citybased sculptor. Birkan works as a professional fabricator while pursuing her own practice combining glass, ceramic, wood, and metal in order to investigate feminism, the body, and mysteries. Christian Oiticica is an artist who works and lives in Chicago, Illinois. His current work has explored the intersection of glass, plastic, and ceramic through object making. The objects are created from components inspired by shapes seen in nature, architecture, and scientific representations.

A P P LY O N L I N E AT P I L C H U C K . O R G

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FALL SESSION 1

SEPTEMBER 6 –1 1

GATHER ROUND

COWBOY CAD

Glassblowing, Tableware, Collaboration

Glassblowing, Mold Blowing, Hot Casting, Mold Making, CNC Machining, 3D Printing, 3D CAD

There’s nothing more satisfying than eating and drinking from handmade wares with friends. This course will focus on establishing a strong foundation in form and function. Our objective will be to create a tablescape to use for a social mixer at the end of the class, bringing everyone together to celebrate one another’s hard work and individuality. We will divide and conquer to make drinkware, pitchers, serving bowls, plates, candlesticks, you name it! Students need only bring a good attitude and an open mind.

A / ALL LEVELS

This course will merge old and new processes as we explore product design and hot-shop production methods, pairing digital technology with traditional hot-casting and moldblowing techniques. Students will design their molds using introductory 3D CAD programs and will prototype them in the BotLab using 3D printers.

The production molds will then be machined on the CNC routers.

Students will be provided with an introduction to glassblowing in the Hot Shop, and will cast and blow into the molds they’ve created to see their vision come to fruition!

A / ALL LEVELS

C O R E Y P E M B E R TO N

Corey Pemberton received his BFA from Virginia Commonwealth University, Richmond, in 2012. He has completed residencies at Pittsburgh Glass Center, Pennsylvania; Bruket, Bodø, Norway; as well as a Core Fellowship at Penland School of Crafts, North Carolina. He currently resides in Los Angeles, where he splits his time between a production glassblowing job and his mixed-media painting practice.

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B E N N Y H I LL

Benny Hill is an art educator who prides himself on creating fun learning environments where artists can use their skills, materials, and processes in combination with technology. Hill lives in Portland, Oregon, where he designs and makes products for Jimbo Cups, a company he co-founded. Hill believes firmly in creating an inclusive, safe, and creative community. He has taught art and technology to all age and skill levels, and most recently worked at the Oregon College of Art and Craft, Portland.

L E T ’ S G E T I N T I M AT E

P U T T I N G T H E ‘ F U N ’ I N F U N CT I O N A L !

Kiln Casting, Kiln Forming, Moldmaking, Lost-Wax Casting, Pâte de Verre

Flameworking, Color, Functional Art, Pipe Making

Sketch books and word mapping will provide students with sources of imagery to create intimate cast-glass objects meant to convey or evoke emotions through both their subject matter and small scale. We will explore a variety of mold-making and casting techniques, including open-faced molds, lost-wax castings, and hollowvessel pâte de verre molds. Each student will have individual projects based on their selected imagery and create small cast objects to arrange in a vignette that conveys the overall ideas behind the imagery.

In this course, students will learn how to use borosilicate glass to create functioning glass pipes at the torch.

Through demonstrations and handson-experience, students will gain the solid foundation of skills needed to make their own functional pipes.

Covering everything from a basic one-hitter to complex multi-sectional pieces, students will learn shaping, color techniques, proper seals, and fuming. So bring your ideas and willingness to learn and let’s have some fun!

A / ALL LEVELS

A / ALL LEVELS

B OTA N I C A LS O F T H E N O R T H W E ST PRINTMAKING WITH VITREOGRAPHY

Printmaking, Vitreography, Imagery, Coldworking Turn sketches and drawings from local flora and fauna into fine-art prints for your own Pacific Northwest Print Series. Together we will collect botanicals and sketches from campus (no need to be “good” at drawing), and will learn to reference the collected samples and manipulate the surface of glass plates using a variety of markmaking tools and techniques to create interesting textures, line weights, and shapes. Leave with a portfolio of botanical fine-art prints, inked by hand and hand pulled, and a new way of thinking about glass as a matrix.

A / ALL LEVELS

S H A N N O N B R U N S K I LL

Shannon Brunskill currently owns and operates Brunskill Studios, Inc., Dallas, where she maintains a rigorous studio practice. She has studied various glass techniques with world-renowned artists at Corning Museum of Glass, New York; Pilchuck Glass School, and Haystack Mountain School of Craft, Maine. She has been the recipient of a Pollack Krasner Fellowship, and has exhibited her work nationally and internationally, being honored as a finalist in the Stanislav Libensky Exhibition, Prague.

J A S O N E LL I OT T

Jason Elliott has been working with glass since 2000. His career began in large production studios including J.A.H. Creation and Sky Glass, Oregon, before he was given the opportunity to work with David Willis as an artist assistant for many years. Since then, Elliott has worked as a studio coordinator at Pilchuck Glass School and a flameworking instructor at the University of Oregon, Eugene. Currently Elliott works out of BigSpin Glass in Eugene, Oregon.

NIKKI BARBER

Nikki Barber is a Seattle-based printmaker, focusing on the natural wonders of the Pacific Northwest.

She graduated from University of Washington, Seattle, with an interdisciplinary visual arts degree with a focus in printmaking, earned simultaneously with her degree in biological sciences. She primarily teaches printmaking at Pratt Fine Art Center, Seattle; Seattle Artist League, and other art schools in the Seattle area. She is represented by MESH Fine Art, Chicago.

A P P LY O N L I N E AT P I L C H U C K . O R G

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FALL SESSION 2

SEPTEMBER 1 4 –1 9

NAVIGATING THE NIT TY-GRIT TY

CUPS | A MEASURED APPROACH

Glassblowing, Coldworking, Assemblage

Glassblowing, Goblet Making, Process, Technique

Using fundamental techniques as a foundation, students will focus on improving essentials in the hot shop through better blowing practices and open communication. Over six days we will develop an informed conversation in the basics of hot glass while strengthening good habits, skill, and efficiency. Students will be encouraged to rethink the manipulation of hot glass using traditional and nontraditional methods. We will also explore the cold shop as ways of finishing and thinking sculpturally to promote hot and cold assemblages.

Making goblets can be a difficult and potentially frustrating process. Small mistakes that are not addressed are compounded through each step of the process. This course will focus on breaking down the process into simple and easily digestible steps, highlighting the fact that blowing nice cups is not about employing “a bunch of tricks”, but instead about doing simple things well. Straying from the ornate, we will focus on understanding through repetition. Raise your cup— and your cup-making skillset—with us this fall!

A / ALL LEVELS

A / INTERMEDIATE/ADVANCED

D A N I E LL E B R E N S I N G E R

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After receiving her BFA in glass from Tyler School of Art and Architecture at Temple University, Philadelphia, Danielle Brensinger immediately became immersed in the work of glass lighting and production. She previously lived in Brooklyn, New York, where she worked as a freelance glassblower, artist assistant, and educator out of UrbanGlass, while also teaching as an adjunct professor at Salem Community College, New Jersey.

Currently living in Los Angeles, she continues to fabricate work for various lighting and interior designers.

GRANITE CALIMPONG

Granite Calimpong recently completed his MFA in sculpture at University of Washington, Seattle, where he explored perception and visual phenomena associated with illusions through the use of wood, clay, glass, and metal. He has been heavily involved in the Seattle-area glass community working as an assistant, fabricator, and educator, while maintaining his own studio practice. As a long-term resident at Pottery Northwest, Seattle, Calimpong is expanding the scope of his work through experiments in clay and glass.

P R I S M AT I C S O U L

C U R S I V E C A ST I N G

LO O K I N G F O R A S I G N

Pâte de Verre , Kiln Forming, Moldmaking, Color Exploration

Casting, Mark Making, Texture, Molten Glass Line Drawing

Neon, Sign Making

Explore the art-nouveau style of pâte de verre, a glass-casting and moldmaking process using glass powders and frit. From color samples to designing forms for open-faced castings, students will create works that are unique to their interests and curiosities. Through creating relief designs in clay, we will learn about the movement of glass, glass-painting applications, and the creation of tint gradation. You will explore the potential of mixing and making your own color palette so you will no longer have to limit your expression to the commercially available spectrum.

Using ladles of hot glass directly from the furnace, students will explore mark making on a variety of surfaces in this course. The class will focus on cursive script as a starting point to build confidence and skills, and will also experiment with continuous (molten!) line drawing. Color, texture, and lighting will be explored together and independently, and the course will culminate in individual and group installations on Pilchuck’s campus. No previous casting experience necessary, just come ready to sketch, doodle, dabble, and cast!

Looking for a sign? Why not make your own! This fundamentals of neon course will lay the groundwork for students looking to work under (and on!) the glowing neon lights. We will cover the basics of standard neon tube-bending techniques in Pilchuck’s Flat Shop.

With a comprehensive introduction to torches, glass, processing with noble gases, and tube bending, students will find themselves ready to leave their mark on the world. We will cover the process of neon sign fabrication and how to approach it in an artistic way, so join us this fall and light up the night!

A / ALL LEVELS

A / ALL LEVELS

A / ALL LEVELS

S AYA K A S U Z U K I

Sayaka Suzuki received her BFA from Tulane University, New Orleans, and her MFA from Virginia Commonwealth University, Richmond. She’s taught widely, including at Corning Museum of Glass, New York; UrbanGlass, Brooklyn; and Penland School of Craft, North Carolina. Solo exhibitions of her works have included Virginia Museum of Contemporary Art, Virginia Beach, and Pensacola Museum of Art, Florida.

Group Shows include New Mexico Museum of Art, Santa Fe; Czong Institute for Contemporary Art, South Korea; and Museo Crocetti, Rome, among others.

A LT H E A H O L D E N

Althea Holden attended Alfred University, New York, for ceramics, but soon strayed off that path and into hot glass and neon. Holden relocated to New Orleans and worked at Studio Inferno as a production hotcaster, before earning her MFA from Tulane University, New Orleans. She spent many summers at Pilchuck Glass School to escape the Louisiana heat, eventually moving to Washington State. Her work is inspired by the playfulness of the casting process and a fondness for found objects.

GALEN TURNER

Galen Turner is a native of Tacoma, Washington, he was born and raised on Salmon Beach. He received his BFA from The Evergreen College, Olympia, where he was first introduced to neon. Turner went on to teach there for eight years. Turner has also taught workshops in neon at Museum of Glass, Tacoma. He has been bending neon for twenty years and is the creator and star of the neon Bike Jump, a collaborative neon performance art project with 2nd Cycle, Tacoma.

A P P LY O N L I N E AT P I L C H U C K . O R G

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O P P O R T U N I T I E S : TA & A A / S U M M E R S TA F F T E A C H I N G & A R T I ST A S S I STA N TS H I P S

Pilchuck Teaching Assistants (TAs) and Artist Assistants (AAs) play essential roles in the educational programs by supporting the vision and goals of instructors and artists in residence.

TAs ensure a smooth and successful educational experience for instructors and students. Each instructor will be aided by one or two TAs, depending on the studios used and class size. TAs should be well versed in the techniques related to the course for which they are applying. It is helpful, although not necessary, for TAs to have had previous experience at Pilchuck.

AAs support the creative efforts of the artists in residence, who often have little or no experience working with glass.

An AA helps the artist understand the fundamentals of glassworking and acts as a technical resource for the translation of ideas. All AAs must have extensive studio experience in various processes, an interest in collaboration, project management skills, and previous experience at Pilchuck.

In addition to gaining valuable studio experience, TAs and AAs receive housing, meals, a credit in the store, and travel reimbursement (60% for TAs; 100% for AAs; restrictions apply).

Visit pilchuck.org for application instructions.

Applications Due: February 1, 2020 S U M M E R & FA LL STA F F

Our Summer and Fall Staff is comprised of artists or artinterested individuals who dedicate time, skill, and energy to make the campus experience welcoming and productive for all participants. This is not work-study or a tuition assistance program, Summer and Fall Staff are fully active during the session in a unique way. Arriving a few days before the start of classes, Staff prepares campus and studios to support Pilchuck’s mission—Artists helping Artists further glass education. During the session, Summer Staff participate in their roles, attend meetings, host a gallery opening, run events and activities, have studio access, sit in on artist talks, observe demos, explore the campus surroundings, and network with peers and professionals. Through this experience Summer Staff gain valuable skills, expand professional connections, meet new peers from around the world, learn new techniques, have the opportunity to produce work, and feel inspired by the dynamic community of artists in action.

Summer and Fall Staff opportunities are competitive and fall into two categories: Coordinators and Campus Assistants—which roles you apply for depend on your skillset, experience, and interest in growth. Each role is important and challenging in its own way and staff works as a team to succeed. All applicants must be considerate communicators, willing to follow through with the expectations of the roles applied for and the readiness to help based on the needs of the session.

Visit pilchuck.org for detailed information regarding Summer and Fall Staff opportunities and application instructions.

Applications Due: February 1, 2020

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A P P L I C AT I O N I N F O R M AT I O N H O W TO A P P LY

• Apply for all courses, scholarships, and financial assistance with a free online application form at pilchuck.org.

• New in 2020, apply for free! With thanks to generous donors, Pilchuck is waiving the application fee for all programs and residencies in 2020.

• Student applications received prior to midnight (PST) February 1 are entered into a lottery for priority placement. Applications received afterward will be considered on a first-come, firstserved basis for remaining openings.

• To be considered for scholarships and priority for financial aid, your student application is due before midnight (PST) February 1.

• You must be at least eighteen years of age by the first day of the session for which you are registered.

• Summer Staff, Teaching Assistant, and Artist Assistant applicants use separate online application forms.

N E E D H E L P A P P LY I N G ?

Contact the registrar at 360.445.3111, ext. 29 or registrar@pilchuck.org.

E X P E R I E N C E L E V E LS

Course levels are listed with each course description: • All Levels: Encompasses all skill levels in appropriate studios; all are welcome.

• Intermediate/Advanced: 2–4+ years of frequent practice in the appropriate studios.

FEES

Program fees cover instruction, shared dormitory housing, meals, and basic supplies. Program fees are indicated by A, B, C, D, or E at the end of the course description. A housing upgrade is optional with an additional fee. A payment plan request may be arranged, subject to approval.

S U M M E R + FA LL P R O G R A M F E E :

A = US $1,790 | Pre-Session, Fall 1, and Fall 2 (6 days) B = US $2,270 | Session 3 (8 days) C = US $800 | Youth Camp add-on in Session 3 (8 days) D = US $3,230 | Sessions 1, 5, and 6 (12 days) E = US $4,670 | Sessions 2 and 4 (18 days) YO U T H C A M P :

During Session 3, Pilchuck is excited to welcome youth ages 8-15. Youth participants must be accompanied by a parent or legal guardian who is enrolled in a Session 3 course. Youth participants will attend the Youth Camp during the daytime while parents study with their own course, rejoining their parents each evening. The campus will enjoy intergenerational programming each night.

H O U S I N G & M E A LS

A sense of community is integral to the spirit of campus life. All program participants live on campus for the duration of the session. No single, private rooms or private baths are available. All-gender restrooms are indicated on campus.

• Dormitory Housing consists of a doubleoccupancy room with access to central restrooms for males and females.

• Cottage Housing is an upgrade available for an additional fee, consisting of two doubleoccupancy rooms and a bathroom shared by the four residents. Cottages offer more space, greater privacy, and closer proximity to studios. Requests may exceed availability and placement is not guaranteed.

All session participants dine together. Course fees include three meals per day during the week and two meals per day on weekends. Dietary restrictions can be accommodated with prior notice.

SCHOLARSHIPS

Refer to page three (3) for Special Scholarship information.

More information online at pilchuck.org.

C O LL E G E C R E D I T

Some Pilchuck summer courses are eligible for up to three undergraduate college credits through Cornish College of the Arts in Seattle. An additional fee (up to US $330; subject to change) is paid to Cornish in advance of the session to receive credit. A passing grade is transcripted with a grade notation of “CR” for “Credit”. Students need to consult their institution in advance to make sure credits are transferrable.

I N T E R N AT I O N A L PA R T I C I PA N TS

International participants may travel to the United States as a visitor in order to participate in the Summer and Fall Programs. Upon acceptance, we can provide you with a letter that may help facilitate visa requirements at an embassy and with entry into the United States. Citizens of countries that participate in the Visa Waiver Program may not require a tourist visa for travel to Pilchuck.

Visit travel.state.gov for more information.

D I V E R S I T Y A N D I N C LU S I O N

Pilchuck is committed to its sense of community by welcoming everyone with respect and understanding. towards gender, gender expression, age, race, national origin, disability, marital status, sexual orientation, or military status in employment or in artistic or educational programs. As an organization that has welcomed artists, instructors, staff, and students from over 70 countries with many different backgrounds, Pilchuck is passionate about creating an inclusive, open, and supportive community that is accessible to all. We are proud of our history as a haven for creativity, transformation, and individual expression.

Pilchuck is deeply committed to continuing to build a supportive and diverse community around glass art.

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PILCHUCK RESIDENCIES E M E R G I N G - A R T I ST- I N - R E S I D E N C E P R O G R A M

The Emerging- Artist-in-Residence (EAiR) program supports six artists who are making a transition in their professional lives. Whether moving from academia to a professional studio practice, taking up a new medium, or beginning a new body of work, this immersive residency is ideal for contemplation, research, and experimentation.

The program provides artists with the place and time to develop an idea or project in glass, with the potential for realizing a new body of work.

The residency requires a project proposal and supports kilnworking, coldworking, printmaking, flameworking, woodworking, metalworking, and use of mixed media, but not hot glassworking. No instruction is available, and some glassmaking experience is required.

The program provides each artist with a stipend of US $1,000, open studio space, shared cooking facilities, and a private room in a cottage with shared bath. Materials, food, and travel reimbursement are not provided.

Visit pilchuck.org for application instructions and the online application form.

Residency Dates: October 6–November 22, 2020 Applications Due: January 9, 2020 J O H N H . H A U B E R G F E LLO W S H I P

Named for Pilchuck co-founder John H. Hauberg (1916–2002), the fellowship was established to encourage collaboration among a group of outstanding, professional artists. Groups of up to six members are invited to submit proposals for utilizing the studios and campus environment for research and development of artwork based on a common theme or a collaborative project.

Group members support one another, explore new working methods, and engage in critical dialogue. Artists in all media as well as writers, engineers, art critics, and curators are encouraged to apply; however, if the proposal includes use of glassmaking equipment, some members must have previous experience with Pilchuck’s facilities.

Limited technical assistance is available.

Open studio space and access to the Cold Shop, Mold & Kiln Shop, Print Shop, and Wood & Metals Shop are provided. Hot glassworking is not available during this time. Hauberg Fellows are provided living accommodations, meals, and limited supplies.

Reimbursement for travel costs and honoraria are not provided.

Visit pilchuck.org for application instructions and the online application form.

Residency Dates: Late May-early June 2021 Applications Due: October 25, 2020 Q U E ST I O N S ?

Contact the registrar at 360.445.3111, ext. 29 or at registrar@pilchuck.org.

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YOUTH PROGRAMS Now in its third year, Pilchuck Glass School is proud to build upon its successful Youth Programs. In early spring and late fall, Pilchuck partners with area youth organizations and services to provide overnight and weekend retreats.

Pilchuck currently partners with Hilltop Artists, Tacoma, to offer two immersive weekend retreats for high school-aged glass artists each year; complete with an array of skillbuilding workshops taught by professional artists.

Additionally, Pilchuck is expanding its relationship with organizations and schools for indigenous youth. Through an annual overnight retreat, youth learn various glass artmaking techniques taught by professional artists who are affiliated with local Pacific Northwest Coastal Tribes.

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“ P ilchuck is a unique place. The campus environment provides endless inspiration, the community makes it feel like home.”

Payton Cahill, Student, Summer 2019

THA NK YO U TO O U R G E NE ROUS SUPP ORT E RS BULLSEYE GLASS DUNCAN MCCLELLAN STUDIO EGL-LIGHTING GAFFER GLASS USA GLASS ALCHEMY PIERINI VERRE CONTEMPORAIN S12 OPEN ACCESS AND STUDIO YUCCA VALLEY MATERIALS LAB

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TH ANK YOU ! We are grateful to the members of the community whose gifts of time and talent are an invaluable support for Pilchuck. Volunteers play a key role in many of Pilchuck’s events and in our educational programs.

PH OTO C R EDI TS: Pollyanna Manning, Bullseye Glass Co., Corning Museum of Glass, Paul Cournet, Blaine Davis, James Carpenter Design Associates, Inc., Rozarii Lynch, Mercedes Mühleisen, Judy Pfaff Studio, Steven Probert, Sabine Marcelis Studio, Buster Simpson, Bruce Tom, Tony Walsh, and Ugo Carmeni D ESI G N : Carlos Esparza C OV E R I M AG E: Chromo Sapiens by Shoplifter / Hrafnhildur Arnardóttir for the Icelandic Pavilion at the Venice Biennale. Image by Ugo Carmeni “Pilchuck” and “Pilchuck Glass School” are federally registered trademarks of Pilchuck Glass School.

2020 P SR UO MGMREARM+S F A L L P R O G R A M S

PRE-SESSION

C R O S S - C U R R E N TS :

P

LY D I A B O S S & JOHN HOGAN

M AY 8 –1 3

MICHAEL HERNANDEZ N AT E R I C C I U TO

M AY 2 8 – J U N E 8

L A U R A A A LTO - S E TÄ L Ä ST I N E B I D ST R U P

S C A N D I N AV I A

TO M A S C O L B E N GTS O N MICKE JOHANSSON ANU PENTTINEN A R T I STS I N R E S I D E N C E

SHOPLIFTER / HRAFNHILDUR A R N A R D ÓT T I R , MERCEDES MÜHLEISEN

GAFFERS

K A R I N F O R S LU N D RASMUS NOSSBRING

THE JAM SESSION

J U N E 1 2 –2 9

S H A U N C O N R OY & P E T E R H O U K & M A R K ST E W A R T B E C CY F E AT H E R J O C E LY N E P R I N C E JOHN ROACH B O H Y U N YO O N A R T I STS I N R E S I D E N C E

C H R I S K A LL M Y E R BRIAN PIKE

GAFFERS

J E F F B A LL A R D BRENT ROGERS

FA M I L I E S VA LU E D

J U LY 6 –1 3

JENNIFER BUENO MARZENA K R Z E M I Ń S K A B A LU C H HELEN LEE C A R M E N LO Z A R YO U T H C A M P

M A R TA C A B R A L & DORIE GUTHRIE

A R T I STS I N R E S I D E N C E

GAFFERS

LO Q U A C I O U S

J U LY 1 7– A U G U ST 3

SUSIE SILBERT MARELA ZACARÍA JESSICA JANE JULIUS S A LLY M C C U B B I N

KALINA BAŃKA J E N N I F E R C R E S C U I LLO & MORGAN PETERSON D E L A TO R R E B R OT H E R S MICHAEL FLECHTNER R AV E N S K Y R I V E R

A R T I STS I N R E S I D E N C E

MONICA COOK K A M B U I O LU J I M I

GAFFERS

J A S O N C H R I ST I A N ROMINA GONZALES

PILCHUCK.ORG

I N T E LL I G E N T DESIGN

A U G U ST 7–1 8

BRI CHESLER C OY L E J O H N H A LL E T T & A N D E R S RY D ST E DT J AY M A C D O N E LL & M I C H I KO S A K A N O THADDEUS WOLFE

A R T I STS I N R E S I D E N C E

D O U G J O H N STO N & TO M O E M ATS U O K A SABINE MARCELIS

GAFFERS

JEN ELEK ERIC MEEK

BUILDERS

A U G U ST 2 2 – S E P T E M B E R 2

H A N K M U R TA A D A M S REBEKAH BIRKAN & C H R I ST I A N O I T I C I C A EUNSUH CHOI A U ST I N N O R V E LL KAIT RHOADS MASAHIRO SASAKI

A R T I STS I N R E S I D E N C E

J U DY P FA F F B U ST E R S I M P S O N

GAFFERS

COURTNEY BRANAM JASEN JOHNSEN

FA LL S E S S I O N 1

F1

S E P T E M B E R 6 –1 1

NIKKI BARBER S H A N N O N B R U N S K I LL J A S O N E LL I OT T B E N N Y H I LL C O R E Y P E M B E R TO N

FA LL S E S S I O N 2

F2

S E P T E M B E R 1 4 –1 9

D A N I E LL E B R E N S I N G E R GRANITE CALIMPONG A LT H E A H O L D E N S AYA K A S U Z U K I GALEN TURNER

A P P L I C AT I O N D E A D L I N E S JAN 9

Emerging Artist in Residence (EAiR)

FEB 1

Scholarship, Financial Aid, & Priority Placement, Teaching Assistants & Artist Assistants, Summer Staff

OCT 25

John H. Hauberg Fellowship

NEW THIS YEAR - APPLY FOR FREE! With special thank to generous donors, Pilchuck is excited to offer free applications for all 2020 Programs and Residencies.

Student applications accepted until courses are filled. For course descriptions and information on how to apply, please visit pilchuck.org.

Questions? Contact the Pilchuck Registrar at registrar@pilchuck.org or 360.445.3111 ext. 29.

P I LC H U C K G L A S S S C H O O L

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