PILCHUCK GLASS SCHOOL SUMMER PROGRAM
2016
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 T H E C R E AT I V E U S E O F GLASS IN ART AND DESIGN.
SUMMER 2016
P I LC H U C K G L A S S S C H O O L
Founded in 1971, Pilchuck is an internationally recognized school that offers an in-depth education in glass and attracts artists from all over the world. The school is located fifty miles north of Seattle in the forested foothills of the Cascade Range, overlooking Puget Sound. Pilchuck’s mission is to inspire creativity and build a thriving artistic community in which all program participants are transformed by their experiences.
SUMMER PROGRAM
Artists actively seek out inspiration and pull from the world around them. From mid-May through late August, Pilchuck provides an immersive experience in a rich and intensive learning environment where artists can delve into their work, enhance their artistic practice, and learn from one another. Artists teaching artists was the idea behind the school and remains the core of the program today. During each of the six summer sessions, an ever-changing roster of expert artist-instructors tackles content, technique, and context in the courses. Students of all levels, from all over the world, are taught individually and collectively and enter new creative territories led by their instructors and supported by a passionate, focused community. Artists in residence, gaffers, teaching assistants, artist assistants, and enthusiastic support staff all contribute to the buzzing, frenetic energy of creative output on campus. Session activities include presentations, discussions, demonstrations, exhibitions, and collaborations. As artists simultaneously draw from traditional glass methods and explore new technologies, Pilchuck remains a place that actively fosters experimentation, innovation, and the sharing of information.
2016 SUMMER PROGRAM
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2 0 1 6 H I G H L I G H TS
This summer, we activate a broader dialogue on campus with the introduction of thematic sessions. The campus will embody, examine, and expand on the themes of Pattern, Play, Story, Phenomena, Systems, and Collaboration/Fabrication. Instructors and artists in residence have been selected for their distinctive relationship to their session’s keyword. The themes will act as a campuswide perimeter, outlining the focus of each course and providing a collective springboard for thoughtful interpretation and creation of pieces infused with content. State-of-the-art equipment updates continue to modernize our facilities and enhance energy efficiency and sustainability. Our studios offer a unique combination of ancient techniques and brand-new technologies. Cross-pollination of glass and other disciplines is ever more possible with the BotLab, the home of equipment for computer-aided design and fabrication. Former artists in residence Ian Burns, Andrea Dezsö, and Erik and Martin Demaine return to co-teach courses, sharing their expertise in kinetic sculpture, illustration, and mathematics with students in courses related to hot and kiln cast glass, vitreography, and cane pattern generation. We look forward to a summer that epitomizes Pilchuck’s innovative spirit, supportive community, and devotion to thoughtful making.
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2016 ARTISTS AND CRAFTSPERSONS IN RESIDENCE
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2 0 1 6 A R T I STS I N R E S I D E N C E The legacy of the artist-in-residence program dates back to the beginning of the school. Over the years, hundreds of notable artists from a wide range of artistic disciplines have come to Pilchuck to explore how glass can factor into their practice and visual vocabulary. Artists and collaborative groups are invited for each session and provided with their own artist assistant, who acts as a translator, giving technical guidance and assistance in the studio. Two gaffers, skilled glassblowers, help realize projects in hot glass. This year, artists working in furniture design, painting, sculpture, digital media, installation, sound, and interactive media will bring their perspectives to the campus. Invitations are based on exemplary artistic practice and relationship to the session’s theme. Session 1 Pattern
Vivian Beer Shinique Smith
Session 2 Play
Claire Cowie Patrick Nickell
Session 3 Story
Mark Dion Dana Sherwood
Session 4 Phenomena
Finnbogi PĂŠtursson Jana Winderen
Session 5 Systems NoiseFold Session 6 Collaboration/ SuttonBeresCuller Fabrication
2 0 1 6 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 expertise in hot glassworking who execute the creative visions of artists in residence and instructors. They have a strong interest in collaboration and a desire to stretch their abilities and ways of thinking. Craftspersons in residence bear the technical challenge and responsibility of creating work for other artists. Pilchuck invites two craftspersons in residence to participate in each session. Session 1
Josie Gluck Michael Schunke
Session 2
Rob Stern Aaron Baigelman
Session 3
Mikey Cozza Dante Marioni
Session 4
Brian Corr Nickolaus Fruin
Session 5
Jason Christian Daryl Smith
Session 6
Raven Skyriver Liesl Schubel
Read about artist assistantship opportunities on page 22.
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2016 ARTISTS IN RESIDENCE S E S S I O N 1: PAT T E R N
S E S S I O N 2 : P L AY
S E S S I O N 3 : STO RY
VIVIAN BEER
CLAIRE COWIE
MARK DION
Vivian Beer is a furniture designermaker in New England. She tiptoes through contemporary design, craft, and sculptural aesthetics and is known for her fearless combination of industrial materials within domestic landscapes. Her recent research into the history of American industry, architecture, and transportation was supported with a fellowship at the Smithsonian National Air and Space Museum. Beer’s pieces are included in the Renwick Gallery, Smithsonian American Art Museum, and the Museum of Fine Arts, Boston.
Claire Cowie’s paintings and sculptures, characterized by vibrant color, attention to negative space, and shifting landscapes, address ambiguities in perception and the fragmentation of memory and time. She has received a Pollock-Krasner Foundation grant and fellowships from the Washington State Arts Commission and the Behnke Foundation. Her work is included in the collections of Microsoft, the Swedish Cancer Institute, Vulcan Inc., and Twitter and has been reviewed in Art in America, Artforum, and the Los Angeles Times.
Mark Dion’s work examines the ways in which dominant ideologies and public institutions shape our understanding of history, knowledge, and the natural world. His projects range from print in newspapers, to cabinets modeled after sixteenth-century Wunderkammer, to architectural-scale Captain Nemo–like constructions. His artwork has received numerous awards, such as a Smithsonian American Art Museum Lucelia Artist Award. Dion has held major exhibitions in museums worldwide.
SHINIQUE SMITH
PAT R I C K N I C K E LL
DANA SHERWOOD
Shinique Smith’s work bridges painting and sculpture, combining colorful, calligraphic, graffiti-inspired brushstrokes with found materials. Her pieces reference Eastern spirituality, art movements like Abstract Expressionism, fashion, and childhood wonder, while addressing issues of cultural identity, consumerism, and social concerns. Smith’s work is in the collections of the Los Angeles County Museum of Art, and the Whitney Museum of American Art.
Patrick Nickell’s playful subconscious comes through in his work, which is made of simple materials that are easily found in a hardware store. His scribblelike forms are often scrawny, whimsical oddballs that bring to mind human and animal-like bodies in pop art colors. In 2014, Nickell received a John Simon Guggenheim Memorial Foundation Fellowship. He is currently represented by the Rosamund Felsen Gallery.
Dana Sherwood is a New York–based artist whose work lies at the boundaries of the domestic and the wild and interrogates the semiotics of desire and melancholia at the intersection of the two realms. Her work often involves organic materials, elaborate confectionary, and interventions by animals. In 2015, Sherwood had her inaugural European solo show at Galerie Nagel Draxler, Berlin. She will have her first New York City solo show at Denny Gallery in 2016.
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SESSION 4: PHENOMENA
S E S S I O N 5 : SYST E M S
S E S S I O N 6 : C O LL A B / FA B
FINNBOGI PÉTURSSON
NOISEFOLD
S U T TO N B E R E S C U LL E R
Finnbogi Pétursson is one of Iceland’s most prominent artists. His pieces, which fuse sound, light, sculpture, architecture, and drawings into spare sculptural installations, are held in Thyssen-Bornemisza Art Contemporary (TB21), Vienna; Malmö Kunstmuseum, Sweden; Nordiska Akvarellmuseet, Sweden; and the National Gallery of Iceland. Permanent installations are at Landsvirkjun, Vatnsfellsvirkjun (a power plant), Reykjavík University, and the Reykjavík Energy Headquarters.
Melding real-time animation and generative electronic sound with the legacy of cybernetics and mathematic visualization, Cory Metcalf and David Stout (aka NoiseFold) celebrate the evolution of visual music as a form of instrumental play with semiautonomous systems. The artists reimagine a painterly abstraction to suggest elemental narratives that evoke highly charged emotional states. Their audiovisual events are simultaneously familiar, mysterious, and strange.
SuttonBeresCuller is a group of three Seattle-based artists—John Sutton, Ben Beres, and Zac Culler—who have been collaborating since 2000. The trio’s work ranges in presentation from gallery works to installation, performance, and public projects. Whether in or outside of traditional gallery settings, they aim to engage and provoke unsuspecting audiences with their works, which often are not what they seem.
JANA WINDEREN
NoiseFold’s installations and performances have appeared in diverse venues worldwide, from Casablanca, Morocco to Marfa, Texas. Cory Metcalf teaches in the Emergent Digital Practices Program at the University of Denver and works for the renowned software company Cycling74. David Stout directs the Hybrid Arts Laboratory and the Initiative for Advanced Research in Technology and the Arts (iARTA) at the University of North Texas at Dallas, where he is faculty in music composition and studio art.
SuttonBeresCuller’s work toys with identity, perception, and instinct. They create playful scenarios by reinterpreting and transforming archetypal objects through changes in material, space, and place. They have completed several public projects and commissions around the Seattle area and along the west coast. SuttonBeresCuller is represented by Greg Kucera Gallery, Seattle, and Gusford Gallery, Los Angeles.
Jana Winderen’s artistic practice resembles research. Using the latest technology, she captures strange and complex sounds inaudible to humans from creatures and places that are difficult to access. In 2015, her work Pasvikdalen was featured at the Sonic Act Festival in Amsterdam. She has received commissions from the New York Department of Transportation and the Museum of Modern Art, New York, for her sound installations Dive and Ultrafield.
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SESSION
1 PATTERN
M AY 1 6 –2 7
T H E A R TC H I T E X T U R E O F N AT U R E
Hot-Glass Sculpting, Glassblowing Students will channel their inner botanists as they examine, isolate, and translate naturally occurring patterns onto glass surfaces in the Hot Shop. The class will find inspiration on excursions into the Pilchuck Tree Farm, where they will examine, draw, and collect textured and patterned specimens to be transformed into glass using frit, powder, and cane techniques. Visiting artists will demonstrate various approaches for surface manipulation. Individualized and group exercises will help everyone to see nature in new ways. B / INTERMEDIATE
P U S H I N G C O LO R , P U LL I N G PAT T E R N
Glassblowing, Color Application, Cane This course will use a dual approach to focus on the use of the almighty color bar. Starting with simple, skill-building exercises, students will concentrate on achieving controlled color application and then move into the addition of decorative pattern with cane. Twisty cups, bubble set-ups, overlays, color cups, cane pulling, and collar and bubble pick-ups will be covered extensively. As students gain knowledge and confidence, demonstrations and projects will increase in complexity. Some glassblowing experience is recommended. B / ALL LEVELS
DEBORA MOORE
Debora Moore is a Seattle-based artist and member of the African American Design Archive at the Cooper Hewitt, Smithsonian Design Museum. Her work, primarily botanical studies, has been shown at prestigious venues including the Smithsonian Institution in Washington, DC, and was awarded the Rakow Commission by the Corning Museum of Glass in 2007. In 2015, the Northwest African American Museum in Seattle held a solo exhibition of her work titled Glass Orchidarium.
COURTNEY BRANAM
Courtney Branam’s vessels are influenced and inspired as much by the history of glassblowing as by his experiences working with contemporary artists. Rooted in a tradition that is meticulously on center, he adds a modern twist that allows the work to become gestural and expressive. Branam works as a freelance glassblower in the Seattle area and has taught at UrbanGlass and the Appalachian Center for Craft. His work can be seen at Vetri International Glass, Seattle.
HOW TO APPLY Page 23
Session 1 Gaffers: Josie Gluck and Michael Schunke 8
O U T O F T H E ( R O U N D ) B OX
W H AT A W O N D E R F U L W O R L D
P E R S O N A L TO P O G R A P H Y
Glassblowing, Carving, Coldworking
Flameworking
Kiln Forming, Coldworking
Working between Hot and Cold Shops, this course will take a sculptural approach to integrating form, pattern, and surface. The challenge will be to break out of the round and rethink the bubble in new ways while focusing on closed forms. Demonstrations will include hot-glass shaping with graphite and cork paddles and carving at the lathe with diamond and stone wheels. Students will be encouraged to research, draw, and approach the class as an experiment in strengthening designs, concepts, and teamwork.
Explore the patterns in nature as you conceive of and create a habitat in flameworked glass. Whether inspired by native fauna or imaginary lands, students will develop unique representations of place by working from images and sketchbooks. Demonstrations of basic borosilicate sculpting techniques will show how to realize the elements that make up these environments and create future work. Group discussions will reinforce conceptual development of these miniature worlds, and technical assignments will build the skills needed to create them.
Interconnected patterns can be found in the built and natural elements that make up the world, from veins in leaves to the arteries of cities. In this course, students will explore pattern as it relates to place by learning kilnforming techniques—shallow relief casting, powder printing, and fusing— and coldworking. Technical instruction will supply a foundation for advancing concepts for more refined work. Sketchbooks, photographs, and found materials will aid in the development of ideas with personal resonance.
B / INTERMEDIATE
B / ALL LEVELS
C / ALL LEVELS
E T H A N ST E R N
Ethan Stern’s work pushes beyond the vessel in an ongoing exploration of abstraction, color, texture, and light. His recent work gives a nod to cut glass produced in American factories and design houses in the late nineteenth century. He has taught sculpture at Penland School of Crafts, Pilchuck Glass School, the Pittsburgh Glass Center, Pratt Fine Arts Center, and the University of Washington. His work is widely exhibited and held in museum collections internationally.
JENNIFER UMPHRESS
Jennifer Umphress began her career in glass in 2000 as an apprentice in a small studio in Hawaii. She later apprenticed with Cesare Toffolo in Murano and studied with Robert Mickelsen and Janis Miltenberger. Recognition for her work includes a Niche Award in 2009 and a Glasscraft Emerging Artist Award from the Corning Museum of Glass in 2010. Umphress lives in Kingston, Washington, where she continues to draw inspiration from the islands and the sea.
MORGAN MADISON
Morgan Madison has been a full-time artist since 2007. His work, which uses glass and a variety of other media, is informed by his love of drawing and inspired by place and the colors, textures, design, and landscape that define an experience. Madison has been awarded several artist residencies, including one at the Museum of Arts and Design, New York, and has taught at UrbanGlass in New York.
A P P LY O N L I N E AT P I L C H U C K . C O M
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SESSION
2 PLAY
M AY 3 1– J U N E 1 7
LO W B R O W
(un)LIMITED EDITION(s)
Glassblowing, Hot-Glass Sculpting
Glassblowing, Design, Sculpture
Working under the principle that rules are made to be broken, students will learn to adapt, mix, and match glassblowing and hot-sculpting techniques to suit the needs of their artistic visions. The class will focus on the creative process and shake up preconceptions and existing routines by combining a playful approach with intention and allowing for serendipitous outcomes. Through virtuoso techniques, students will create pieces relevant to their individual contemporary cultures.
This course will focus on the interplay of a three-prong approach to hot glassworking: utilitarian wares, sculptural/designed objects, and conceptual undertakings. Instructor and visiting artist demonstrations will introduce students to a variety of approaches that connect these avenues of thought. Group discussions will encourage students to investigate their own practice and habits and push their ideas into new realms. The technical focus will be on teamwork, different ways of making the same object, folding/seaming, and expanding preconceived notions of glass.
A / INTERMEDIATE
A / INTERMEDIATE
N E D C A N T R E LL
HOW TO APPLY
Ned Cantrell co-founded the studio Nyholm|Cantrell Glas with Karen Nyholm in Denmark in 2004. His work, kitschy spirited objects, finds contradictions between content and craftsmanship by using symbols of pop culture and consumerism— trash, tattoos, and science fiction. Cantrell executes his pieces through an eclectic assortment of styles and techniques founded in blowing and hot-sculpting traditions, which he combines in contemporary ways. His work has been widely exhibited in Asia, Europe, and the United States.
DH McNABB
DH McNabb is a maker whose work teeters between art and design. He has worked with the material in Nový Bor, Lybster, Murano, Nuutajärvi, Istanbul, and Toyama. Along the way, he has assisted David Walters, Dante Marioni, James Mongrain, Janusz Poźniak, and Lino Tagliapietra with their work. McNabb holds a BA in glass from Center College, Kentucky, and an MFA from Rhode Island School of Design.
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Session 2 Gaffers: Rob Stern and Aaron Baigelman 10
S E R I O U S P L AY
“ STO P, C O LL A B O R AT E , & L I ST E N ”
Ta D D D a a !
Glassblowing, Hot Casting, Mixed Media, Assembly
Mixed Media, Flameworking, Hot Glass, Coldworking
3-D Modeling & Printing, Lost PLA, CNC, Kilncasting, Hot Casting
Play will be introduced as a creative catalyst for the development of meaningful objects inspired by toys. Students will combine hot-glass casting and blowing techniques, 2-D and 3-D cold sheet-glass construction with adhesives, and various methods of applying imagery to create mixedmedia pieces that speak to greater issues of personal significance— social, political, and beyond. Group and individual projects will be supported by class discussions. This course is suited for makers of all backgrounds.
Students will investigate the artist collective as support for both individual and collaborative works. The class will discover how to create work using shared resources while merging processes and materials. Play will be the unifying ingredient, so be prepared to embrace impulse, reaction, and interaction. Students will use the Hot, Cold, Flame, and Wood and Metal Shops and visit thrift stores. The class will culminate in an all-campus extravaganza using glass and found materials.
A / ALL LEVELS
A / ALL LEVELS
Digital sculpting and 3-D printing tools allow artists to visualize prototypes, manipulate scale, and replicate with precision. This course will introduce an assortment of tools including Zbrush (an organic sculpting software), 3-D printers, and 3-D scanning methods of photogrammetry and structured light. Students will learn to scan, manipulate, and print objects and ultimately kilncast and hot cast them in glass. This class is for glass artists who wish to explore digital fabrication and 3-D artists who wish to explore glass.
T H E R M A N STATO M
Therman Statom is a pioneer of the contemporary glass movement, known for constructed plate-glass pieces that he treats as both canvases and containers for blown and found objects. Over the years, he has created many public works, including those at the Los Angeles Public Library, Corning Incorporated Corporate Headquarters, and the Mayo Clinic. Most recently, Statom has focused on educational programming, offering workshops that promote social change and positive impacts for communities.
JESSICA JANE JULIUS ERICA ROSENFELD
Jessica Jane Julius and Erica Rosenfeld, co-founders of the Burnt Asphalt Family artist collective, reinvent objects and redefine relationships between audience and performer. Julius teaches at Tyler School of Art and was recently featured in Craft Spoken Here at the Philadelphia Museum of Art. Rosenfeld has taught at The Studio of the Corning Museum of Glass and UrbanGlass. Her most recent solo show, Like remembering a dream the day after, was presented at Heller Gallery, New York.
A / ALL LEVELS
FRED KAHL
Fred Kahl (aka the Great Fredini) is an artist, magician, sword swallower, visionary, and innovator of 3-D scanning and printing techniques. He is a graduate of New York University’s Interactive Telecommunications Program and former executive creative director of the design studio Funny Garbage. Kahl teaches in the School of Visual Arts MFA Design Program, and his work has been noted in the Atlantic, Time magazine, and the New York Times, among others.
A P P LY O N L I N E AT P I L C H U C K . C O M
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SESSION
3 STORY
J U N E 2 0 – J U LY 1
C O M P O S I Z I O N E C O M P L E TO
Glassblowing, Sculpting, Cutting While considering the narrative nature of symphonies and musical composition, students will be challenged to create works that speak of harmony through form, color, and texture. This double class will make full use of the Hot Shop and Cold Shop. A mix of Italian and American working styles will cover a wide range of techniques. Students will learn complex murrine, graal, torchwork, inside sculpting, and garage assembly methods. Cold Shop demonstrations will include inciso, battuto, cutting, and polishing for further defining forms and refining texture and coloration. This course will also supplement technical instruction by focusing on the stages of an artist’s creative process. Use of a sketchbook will be emphasized as a means of initiating and communicating ideas. Class discussions will strengthen teamwork and encourage dialogue. B / ADVANCED
PIETRO FERRO
RICCARDO FERRO
S H E LL E Y M UZ YLOW SKI A LL EN
D AV I D E S A LVA D O R E
Pietro and Riccardo Ferro followed in the footsteps of their father and learned the art of grinding glass under his tutelage. They have worked with many renowned artists, including Davide Salvadore, Pino Signoretto, and Lino Tagliapietra, and with celebrated glass houses Venini, Barovier & Toso, and Carlo Moretti. Shelley Muzylowski Allen creates painterly, fluid hot-sculpted pieces that capture dynamic movement. She was a member of the William Morris team for six years before building her own studio with her husband, Rik Allen, at their home in Skagit Valley, Washington. Davide Salvadore was born into a family of glassworkers in Murano and founded his own studio in 1987. His work, a combination of tradition, ingenuity, and invention, has gained considerable recognition over the years. In 2012, Allen and Salvadore completed and exhibited their first body of work together after collaborating while teaching at Pilchuck.
HOW TO APPLY Page 23
Session 3 Gaffers: Mikey Cozza and Dante Marioni 12
POETICS OF PHENOMENA
H A P P I LY E V E R A F T E R
THROUGH THE PRINTING GLASS
Kiln Forming, Imagery, Mixed Media, Coldworking
Flameworking
Printmaking, Coldworking, Imagery
Technique and imagination will walk hand in hand in this course as students create works inspired by fairy tales. With demonstrations, tutorials, and practice, the class will learn the ins and outs of working with soda lime and borosilicate glass at the torch. Students will be encouraged to develop an individual style while building skills through exercises in bead making, sculpting, blowing, and assembly. Working individually and in groups, the class will bring funtastical, magical worlds to life.
Explore the creative possibilities of visual storytelling at the intersection of printmaking and coldworked glass. Students will develop narrative compositions based on sketches, prompts, and live drawings created on-site. Designs will be sandblasted into glass plates using Buttercut, a low-tech hand-cut self-adhesive resist film, and Rayzist, a high-tech photographic exposure process. In the Print Shop, the sandblasted plates, sculptural objects in their own right, will be used to create a range of sculpturally embossed and inked impressions on paper.
Working with a variety of experimental processes, students will explore the practical and conceptual possibilities of altering, reusing, and layering imagery. Through structured research, the class will observe the phenomenology of materials as a means of developing new work. Processes include fusing, slumping, lithographic transfers on glass and paper, screen-printing with glass, and manipulating glass powder in assorted media for painterly effects. Field research will provide inspiration, while daily assignments and discussions will build on and refine existing skills.
C / ALL LEVELS
C / ALL LEVELS
C / ALL LEVELS
CARRIE IVERSON
CÉDRIC GINART
CHARLES COHAN
JEREMY SCIDMORE
KARINA GUÉVIN
ANDREA DEZSÖ
Interdisciplinary artists Carrie Iverson and Jeremy Scidmore currently focus on creating site-responsive installations. Previous projects have incorporated glass, print, neon, sound, and found objects. Iverson received her BA from Yale University and her MFA from the School of the Art Institute of Chicago. Scidmore received his BA from the Art Institute of Chicago and returned there to study arts administration and policy. They maintain a studio in Oakland, California, and teach and exhibit internationally.
Cédric Ginart started out as a scientific glassblower working on projects for artists, industrialists, designers, and architects before turning to his own artistic pursuits. Karina Guévin’s playful jewelry has been recognized with a François-Houdé Award and grants from the Canada Council for the Arts, Quebec Arts Council, La SODEC, and Gilles Verville. Ginart and Guévin have taught together at the Studio of the Corning Museum of Glass and Niijima Glass Art Center.
Charles Cohan is a print artist, master printer, and professor of printmaking at the University of Hawai‘i at Mānoa. He prints for other artists under the moniker Arm and Roller Press and has earned international recognition for his own work. Andrea Dezsö works across a broad range of media: drawing, painting, artist’s books, cut paper, embroidery, animation, sculpture, and large-scale public art. She has three permanent public artworks in New York City and exhibits internationally.
A P P LY O N L I N E AT P I L C H U C K . C O M
13
SESSION
4 PHENOMENA
J U LY 5 –2 2
WO N D E R B UB B L ES
M A ST E R I N G M I N I M A L
Glassblowing
Glassblowing
Exploring the infinite possibilities that glass presents, students will find their own paths of expression. This class will demonstrate basic glassblowing techniques, mold blowing, color application, and patterning, as well as interactive approaches outside the shop. Students will delve into sound, installation, and performance, drawing inspiration from the process as much as the product. Finding beauty in the challenge, students will create individual pieces that speak to the freshness of their experience with the material.
Students will discover ways of accentuating and complementing relationships between form and surface through exercises in restraint. Working with only black, white, and clear glass, this course will reinforce direct glassblowing techniques and encourage design that focuses on the inherent properties of glass. Collectively, the class will create a library of experimental surface samples for blown forms using both hotworking and coldworking methods. Visiting artists will present inspiring approaches to minimal ornamentation that have maximum impact on their work.
A / INTRODUCTORY
A / INTERMEDIATE
RUI SASAKI
Rui Sasaki is a Japanese artist and educator working mainly in transparent materials. Her practice involves the exploration and discovery of subtle intimacy through the interplay of body and surroundings. Sasaki earned a BA from Musashino Art University, Japan, and an MFA from Rhode Island School of Design. She was selected for the Jutta Cuny-Franz Memorial Award and the International Glass Prize. She currently works at Toyama City Institute of Glass Art, Japan.
S E A N O ’ N E I LL
Sean O’Neill is a Seattle-based artist who shares a studio with his wife and fellow artist Armelle Bouchet O’Neill. After receiving his BFA from the Appalachian Center for Craft, O’Neill worked on the team at Benjamin Moore Inc. for eight years and is currently with the University of Washington School of Art’s 3D4M consortium. His work is exhibited nationally and is held in the collections of North Lands Creative Glass and Glasmuseet Ebeltoft.
HOW TO APPLY Page 23
Session 4 Gaffers: Brian Corr and Nickolaus Fruin 14
THE HUNT IS SWEETER THAN T H E K I LL
Glassblowing, Hot Casting, Kiln Forming, Coldworking, Sculpture This project-based sculpture course will spark innovation through a series of fast-paced exercises. Experiments will involve hybridization of several processes—hot, kiln, and cold—and will fuel conceptual development of new approaches to the use of glass as an artistic material. Students will expand into unfamiliar territory and use a cumulative process of testing and refining that will lead to unexpected destinations. A / ALL LEVELS
C O LL A B O R AT I V E C U R R E N TS
T RY A G A I N … FA I L B E T T E R
Flameworking, Electroforming
Kilncasting, Fusing, Slumping
Exercises in hollow and solid lampworking will help students build technical hand skills and develop an eye for breaking down complex forms into manageable parts. Demonstrations will cover working with borosilicate, soft, and recycled glass, with a special introduction to electroforming. Conversation and critique will help each student develop a singular artistic voice and aesthetic. In this rare collaborative course, inspiration will be drawn from traditional lampworking history, as well as the recent counterculture glass movement.
Taking into account the inherent properties of both glass and moldmaking materials, this course will demonstrate various methods of kilncasting ranging from basic fusing and slumping to lost-wax and advanced multipart molds. Topics will include manipulation of temperature ranges and firing schedules in pursuit of fresh and creative results. The emphasis will be on experimentation, development of concepts, and innovative processes such as 3-D printing. Students will receive individual guidance and participate in group discussions.
A / INTERMEDIATE – ADVANCED
B / ALL LEVELS
ANNA MLASOWSKY
SNIC BARNES
M AT T H E W S Z Ö S Z
AMBER COWAN
Anna Mlasowsky and Matthew Szösz work independently alongside each other and create pieces known for their experimental and surprising nature. Both have received numerous awards, been selected for many residencies, and have taught in more than a dozen countries. Mlasowsky holds a BA from Konstfack, University College of Arts, Crafts, and Design, and an MFA from the University of Washington. Szösz holds a BFA, BID, and MFA in glass from Rhode Island School of Design.
Snic Barnes draws inspiration from technological advances, urban decay, and natural environments. His work has been featured in Contemporary Lampworking (vol. 2) and Smoked (vols. 1 and 2). He currently lives in Austin, Texas. Amber Cowan is an artisteducator and a glass department faculty member at Tyler School of Art, Temple University. Her work is in the permanent collections of the Corning Museum of Glass, the RISD Museum, and the Shanghai Museum of Glass.
ÆSA BJÖRK
Æsa Björk approaches her work by investigating and experimenting with material boundaries while considering questions related to human existence and phenomena connected to the body and personal borders. Her work combines research and techniques from diverse fields and is often influenced by her interest in philosophy, science, and music. She is currently an artistic advisor for S12 Gallery and Workshop in Bergen, has exhibited internationally, and is represented in museum collections in Oslo and Bergen.
A P P LY O N L I N E AT P I L C H U C K . C O M
15
SESSION
5 SYSTEMS
J U LY 2 6 – A U G 1 2
G L AS S B LOWI N G 2.0
C O M B I N AT I O N S + C O N N E C T I O N S
Glassblowing, Mold Blowing, Computer Modeling & Design, Coldworking, 3-D Printing, Imagery
Glassblowing, Lighting, Design, Cold working, Fabrication glassblowing
Technology can be the bridge that connects novice glassmakers with sophisticated results. Students will create prototypes using digital software, 3-D printing, a variety of mold materials, and their own ingenuity and then refine and realize designs in the Hot Shop. Demonstrations will cover freeblown and mold-blown glass, with an emphasis on problem solving individual design needs. The application of color, imagery, and patterning with vinyl stencils will take forms to the next level. This isn’t Glassblowing 101. It’s Glassblowing 2.0!
How can parts be combined to make a great whole? Working together to transform the campus, students will explore synergistic systems of production and creation. Bocci designer Omer Arbel will join us midsession and lead a three-day design master class with students becoming ateliers producing work with an international designer. The class will delve deep into problem solving and solution building. Student ideas will become instructors’ demos and class projects. Come as an individual, leave as a collective.
A / ALL LEVELS
A / INTERMEDIATE
S A LLY M c C U B B I N
Sally McCubbin, a Canadian glassblower, designer, and educator, is active within a global community. Her creative approach is grounded in her passion for problem solving and fueled by optimism and positivity. McCubbin has received national recognition through grants and awards including the Royal Bank of Canada Award for Glass. Among other creative-industry jobs, she teaches hot glass and business practice at Sheridan College. McCubbin lives and loves with her husband and daughter in Port Hope.
HOW TO APPLY
J AY M A C D O N N E LL OMER ARBEL
Jay Macdonell’s practice is split between personal explorations and working globally for artists, designers and architects as a project manager, design consultant and gaffer. At Pilchuck he has taught with Ann Wahlstrom and served as craftsperson in residence. Omer Arbel’s interdisciplinary practice spans scales and cultural-economical contexts including architecture, industrial design, sculpture, and highcraft manufacturing. In addition to his company, Bocci, Arbel’s work has been exhibited internationally.
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Session 5 Gaffers: Jason Christian and Daryl Smith 16
GROWING WEIRD
TRANSFORMING LIGHT
U N - O B J E CTS
Glassblowing, Hot Casting, Kiln Forming, Electronics, Kinetics, Mixed Media
Neon
Kilncasting; 3-D Modeling, Scanning, & Printing; Data Capture; CNC Milling
This experiential, studio-based course will investigate techniques for fusing multimedia, technological, and performance strategies with the properties and craft of glass. Students will learn about and experiment with optics, kinetics, electronics, living systems, programming, performance, and more in exploring a range of ephemeral and time-based creative outcomes. Technical demonstrations will be project-based and responsive to student ideas and will explore traditional and invented techniques in glass in the versatile Annex Studio.
Neon provides artists with the unique ability to transform light into text, imagery, and sculptural forms. This class will develop skills in traditional and experimental neon tube manipulation through bending, splicing, blowing, and bombarding techniques. Students will engage neon’s visual possibilities and investigate light’s potential for transforming environments. Artists of all technical backgrounds will share a common goal, to explore the potential and embrace the impact of luminous gas tubes as essential elements of signage, sculptures, and installations. B / INTRODUCTORY
B / ALL LEVELS
A / INTERMEDIATE
IAN BUR NS BEN WRIGHT
Ian Burns’ artworks revolve around the development of processes that subjugate the seductions of technological media to supporting roles in sculptures that explore the unique experience of physicality in poetic and ridiculous ways. His work has been widely exhibited internationally. Ben Wright’s background in evolutionary biology figures strongly in his conceptual mixed-media sculptures. He occupies many roles, as designer, maker, and instructor, and is currently the director of education at UrbanGlass, New York.
“We are now in transition from an object-orientated to a systemsorientated culture. Here change emanates, not from things, but from the way things are done” (Jack Burnham, 1968). Contemplating Burnham’s statement, students will engage in practice-based research and collect and analyze data from Pilchuck’s dynamic ecosystem. Findings will be brought back to the studio to be translated into kilncast glass with the assistance of 3-D technologies. Students will leave with a library of samples as inspiration for finished works.
MICHAEL HERNANDEZ
Michael Hernandez creates work that comments on nature and the human condition through a combination of materiality and symbology. Hernandez has had an intimate relationship with neon for the past seven years, exploring technical and artistic approaches and building neon studios in Indiana and California. In 2010, he earned his master’s degree from Alfred University. Hernandez resides in San Marcos, California, where he runs his neon studio and teaches glass at Palomar College.
ERIN DICKSON ANGELA THWAITES
FabLab technician Erin Dickson and PhD researcher Angela Thwaites met at the University of Sunderland. Dickson’s PhD study combines the sensory experience of architecture, digital technology, and glass. She exhibited in Glasstress Gotika at the 2015 Venice Biennale. Thwaites’s research, Towards Making the Unmakeable, develops form and content utilizing 3-D printing and traditional kiln techniques. She studied under Stanislav Libenský and Jaroslava Brychtová in the 1980s and is the author of Mould Making for Glass.
A P P LY O N L I N E AT P I L C H U C K . C O M
17
SESSION
6 COLLABORATION / FABRICATION
A U G 1 5 –2 6
HOW TO APPLY
REINVENTING CANE
C R A F TS , C L I E N TS , & C A L I P E R S
Glassblowing, Cane, Computer-Aided Design
Glassblowing, Coldworking, Business Practice
Previsualize cane pattern and its application with MIT’s Virtual Glass software. Using this specialized technology, the class will map set-ups, preview the results, and then head to the Hot Shop to put designs into practice. After considering historical approaches to cane, students will be encouraged to create neverbefore-seen patterns and seek out non-standard ways of using cane as a creative building block for innovative work. Visiting artists will demonstrate alternative ways of working with cane.
Developing an artist-client relationship is an art unto itself. Students will act as freelance craftspersons and learn to carry out projects, from working up a cohesive budget and prototyping, to producing a finished product and shipping it out the door. Design projects will be presented, prototyped, and brought into production in the Hot Shop and then finished efficiently in the Cold Shop. Lectures will cover legal issues, accounting basics, team management, insurance, building a clientele, and more!
B / INTERMEDIATE
B / INTERMEDIATE
ERIK & MARTIN DEMAINE PETER HOUK
Erik and Martin Demaine are a father-son team specializing in mathematics and art at MIT. Their origami works are in the collections of the Museum of Modern Art, New York, and the Renwick Gallery, Smithsonian American Art Museum. Peter Houk is director of the MIT Glass Lab, a front-runner in the development of new glass technology. He maintains an artistic practice and is known for his blown, sandblasted, and painted vessels and architectural works.
M I C H I KO S A K A N O
Michiko Sakano creates works for artists and designers in her own glass fabrication studio in New York City. She has assisted with projects for Isadore Design and Lindsay Adelman Studio and fabricated glasswork for Jorge Pardo, among others. Sakano’s family in Japan carries on the generationsold tradition and business of kimono making. Her upbringing and the influence of Japanese design and rigor shaped her perspective as a maker and continue to guide her approach today.
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Session 6 Gaffers: Raven Skyriver and Liesl Schubel 18
B R A I N STO R M I N G F O R M I N G
C ’ E ST U N E P I P E
SCALING UP WITH SUCCESS
Glassblowing, Hot & Cold Construction, Mixed Media
Flameworking, Mixed Media
Slab Casting, Architectural Glass
In this course, students will think outside the box and take a sculptural approach to pipe-making. While continuing to consider harmonious form and function, the class will give special attention to the pursuit of original ideas and innovative techniques. Demonstrations, handson practice at the torch, sketching exercises, and collaborative projects will promote new ways of thinking. Visiting artists will demonstrate a variety of styles in today’s pipe art scene.
Minimize the roadblocks that commonly arise during architecturalscale projects. Students will learn how to interpret models and diagrams from a range of potential client types, create maquettes, shape communications and contracts, and design with functionality in mind. Discussions will address firing schedules, tolerances, expansion and contraction of material, head pressure, damming systems, and more. The class will make sample pieces putting new fabrication knowledge into practice. Bring that “special something” to your client’s table.
Consider form, construction, and function simultaneously in pursuit of elegant, thoughtful objects. In this design-based class, innovative forming methods will jump-start the progression from concept to object. Hot-glass techniques for constructing form—mold blowing, hot casting, slab rolling, hand pressing, and vacuum forming—will be presented. Making models and molds with plaster and other materials will also be covered. Students will be encouraged to use the Wood and Metal Shop and the BotLab to help realize their designs.
C / INTERMEDIATE–ADVANCED
B / INTERMEDIATE
B / INTERMEDIATE
PETER DROBNY DAN MIRER
Peter Drobny is an innovator–problem solver. A graduate of Rhode Island School of Design, over the past thirtyfive years he has worked on special projects for the Architect of the Capitol, James Carpenter, the Corning Museum of Glass, and Steuben Glass Works. Dan Mirer studied at Alfred University, Pukeberg School of Design, Sweden, and Rochester Institute of Technology. An independent designer and maker focusing on tableware and home decor, he lives in Corning, New York.
ELBO
Elbo associates himself with the modern American glass pipe movement, which has led him to travel throughout North America, collaborating with other artists and learning techniques. He lives seasonally in Colorado, where he co-owns Everdream Studios, and in Pennsylvania, where he is co-founder and owner of Front St Gallery. Elbo has exhibited in both solo and group shows all over North America and has juried two shows with Habatat Gallery in Florida.
B RYA N J A B LO N S K I
Bryan Jablonski is a glass fabrication specialist for Lusted Glass in Portland, Oregon. He apprenticed with Tony Jojola, was on the Chihuly Studios team, and worked as an architectural fabricator at Bullseye Glass Company for more than eight years, building large-scale works for artists and designers across the world. Jablonski has taught at Elements Glass, Oregon College of Art and Craft, and Public Glass and has been creating masterworks in glass for nearly twenty years.
A P P LY O N L I N E AT P I L C H U C K . C O M
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2016 PILCHUCK GLASS SCHOOL SUMMER PROGRAM
1
M AY 1 6 –2 7 PAT T E R N
2
M AY 3 1– J U N E 1 7 P L AY
DEBORA MOORE
NED CANTRELL
The Architexture of Nature Hot-Glass Sculpting, Glassblowing
Lowbrow Glassblowing, Hot-Glass Sculpting
B / INTERMEDIATE
A / INTERMEDIATE
3
J U N E 2 0 – J U LY 1 STO RY
PIETRO & RICARDO FERRO, SHELLEY MUZYLOWSKI ALLEN, & DAVIDE SALVADORE
Composizione Completo Glassblowing, Sculpting, Cutting B / ADVANCED
COURTNEY BRANAM
DH McNABB
Pushing Color, Pulling Pattern Glassblowing, Color Application, Cane
(un)Limited Edition(s) Glassblowing, Design, Sculpture A / INTERMEDIATE
B / ALL LEVELS
ETHAN STERN
THERMAN STATOM
Out of the (Round) Box Glassblowing, Carving, Coldworking
Serious Play Glassblowing, Hot-Casting, Mixed Media, Assembly A / ALL LEVELS
B / INTERMEDIATE
CARRIE IVERSON & JEREMY SCIDMORE
Poetics of Phenomena Kiln Forming, Imagery, Mixed Media, Coldworking C / ALL LEVELS
JENNIFER UMPHRESS
What a Wonderful World Flameworking C / ALL LEVELS
JESSICA JANE JULIUS & ERICA ROSENFELD
CÉDRIC GINART & KARINA GUÉVIN
“Stop, Collaborate, & Listen” V.I. Mixed Media,Flameworking, HotGlass, Coldworking,
C / ALL LEVELS
Happily Ever After Flameworking
A / ALL LEVELS
MORGAN MADISON
Personal Topography Kiln Forming, Coldworking
FRED KAHL
TaDDDaa! 3-D Modeling & Printing, Lost PLA, CNC, Kilncasting, Hot Casting
CHARLES COHAN & ANDREA DEZSÖ
A / ALL LEVELS
Through the Printing Glass Printmaking, Coldworking, Imagery
ARTISTS IN RESIDENCE
ARTISTS IN RESIDENCE
ARTISTS IN RESIDENCE
Vivian Beer Shinique Smith
Claire Cowie Patrick Nickell
Mark Dion Dana Sherwood
GAFFERS
GAFFERS
GAFFERS
Josie Gluck Michael Schunke
Rob Stern Aaron Baigelman
Mikey Cozza Dante Marioni
B / ALL LEVELS
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C / ALL LEVELS
PILCHUCK.COM
A P P L I C AT I O N D E A D L I N E S JAN 6
Emerging Artist in Residence (EAiR)
FEB 3 Scholarship, Teaching Assistants, & Artist Assistants
4
J U LY 5 –2 2 PHENOMENA
FEB 3
Seasonal Staff & Campus Assistants
OCT 26
John H. Hauberg Fellowship
5
J U LY 2 6 – A U G U ST 1 2 SYST E M S
RUI SASAKI
SALLY McCUBBIN
Wonder Bubbles Glassblowing
Glassblowing 2.0 Glassblowing, Mold Blowing, Computer Modeling & Design, Coldworking, 3-D Printing, Imagery
A / INTRODUCTORY
6
A U G U ST 1 5 –2 6 C O LL A B O R AT I O N / FA B R I C AT I O N
ERIK & MARTIN DEMAINE & PETER HOUK
Reinventing Cane Glassblowing, Cane, ComputerAided Design
A / ALL LEVELS
B / INTERMEDIATE
SEAN O’NEILL
JAY MACDONELL + OMER ARBEL
MICHIKO SAKANO
Mastering Minimal Glassblowing, Coldworking
Combinations + Connections Glassblowing, Lighting, Design, Cold working, Fabrication
Crafts, Clients, & Calipers Glassblowing, Coldworking, Business Practice
A / INTERMEDIATE
B / INTERMEDIATE
IAN BURNS & BEN WRIGHT
PETER DROBNY & DAN MIRER
The Hunt Is Sweeter Than the Kill Glassblowing, Hot Casting, Kiln Forming, Coldworking, Sculpture
Growing Weird Glassblowing, Hot Casting, Kiln Forming, Electronics, Kinetics, Mixed Media
Brainstorming Forming Glassblowing, Hot & Cold Construction, Mixed Media
A / ALL LEVELS
A / INTERMEDIATE
SNIC BARNES & AMBER COWAN
MICHAEL HERNANDEZ
ELBO
Collaborative Currents Flameworking, Electroforming
Transforming Light Neon
C’est Une Pipe Flameworking, Mixed Media
A / INTERMEDIATE–ADVANCED
B / INTRODUCTORY
C / INTERMEDIATE–ADVANCED
ÆSA BJÖRK
ERIN DICKSON & ANGELA THWAITES
BRYAN JABLONSKI
A / INTERMEDIATE
ANNA MLASOWSKY & MAT THEW SZÖSZ
Try Again…Fail Better Kilncasting, Fusing, Slumping B / ALL LEVELS
Un-Objects Kilncasting, 3-D Modeling Scanning & Printing, Data Capture, CNC Milling
B / INTERMEDIATE
Scaling Up with Success Slab Casting, Architectural Glass B / INTERMEDIATE
B / ALL LEVELS
ARTISTS IN RESIDENCE
ARTISTS IN RESIDENCE
ARTISTS IN RESIDENCE
Finnbogi Pétursson Jana Winderen
NoiseFold
SuttonBeresCuller
GAFFERS
GAFFERS
GAFFERS
Brian Corr Nickolaus Fruin
Jason Christian Daryl Smith
Raven Skyriver Liesl Schubel 21
OPPORTUNITIES 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 summer program 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 two or three 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 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 $50 store credit, and travel reimbursement (60% for TAs; 100% for AAs; restrictions apply). Visit Pilchuck.com for application instructions. Applications Due: February 3, 2016 S E A S O N A L STA F F & C A M P U S A S S I STA N TS H I P S
Seasonal staff and campus assistants provide integral support to Pilchuck’s educational program and ensure that the campus runs smoothly. Seasonal staff positions require specialized skill sets and the ability to perform in a leadership capacity. Staff members play key roles in campus operations, including coordinating studios and overseeing campus assistants. Candidates should have extensive technical knowledge related to the position for which they are applying, excellent communication skills, and a readiness to be flexible based on program needs. In addition to a salary, Pilchuck provides housing, meals, some studio access, and the opportunity to occasionally sit in on lectures and demonstrations. Campus Assistantships are ideal for emerging and experienced artists who wish to further develop their professional and technical expertise. Pilchuck provides a small stipend, housing, meals, some studio access, and the opportunity to occasionally sit in on lectures and demonstrations. International artists are encouraged to apply. Seasonal staff and campus assistants are usually selected for two or more consecutive sessions and will work fully scheduled weeks during their terms. Individual learning and participation happen during the performance of duties as well as during off-duty time when staff members are encouraged to experience the campus, studios, and educational events. Visit Pilchuck.com for a list of open positions and application instructions. Applications Due: February 3, 2016
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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
SCHOLARSHIPS
• Apply for all courses, scholarships, and assistantships with our online application form.
Pilchuck provides financial assistance to more than one-third of its students through the generosity of donors, foundations, and student auctions and continues to expand the number of full and partial scholarships it offers to support diverse and talented individuals. Artists of all ages working in any media are encouraged to apply. Scholarship application instructions are available online.
• Only one application form and one non-refundable US$45 application fee are needed to apply each year. • Student applications received prior to midnight (PST) February 3 are entered into a lottery. Applications received afterward will be considered first come, first served for remaining openings. • Scholarships and assistantship applications are due before midnight (PST) February 3. • You must be at least eighteen years of age by the first day of the session for which you are registered. E X P E R I E N C E L E V E LS
Our levels have changed! Course levels are listed with each course description: • Introductory: 0–1 years of frequent practice in the technique(s) listed • Intermediate: 2–4 years of frequent practice in the technique(s) listed • Advanced: 5+ years frequent practice in the technique(s) listed • All Levels: Encompasses all of the above; all are welcome FEES
Special this year! The top ranking scholarship recipient will also be offered a residency at open access studio and gallery S12 in Bergen, Norway. www.S12.no Scholarship applicants are scored and ranked based on artistic merit by a jury of arts professionals. Consideration may also be given for financial need. All scholarship applicants qualify for general scholarships; applicants may also qualify for a special scholarship if they are: • an international applicant (see list online) or resident of the Pacific Northwest, including Alaska, British Columbia, Idaho, Oregon, Montana, and Washington • of African American, Hispanic American, Native American, or other minority heritage • an applicant for a flameworking course • a glass industry worker (i.e. apprentice, assistant, or gaffer) • a 2015 seasonal staff member or campus assistant • a 2015 nominee for a Corning Incorporated Foundation or Saxe Award
Program fees cover instruction, shared dormitory housing, meals, and basic supplies. Utility fees offset the cost of energy used in studios; are indicated by A, B, or C at the end of the course description. A housing upgrade is optional with an additional fee. A payment schedule may be arranged.
• currently enrolled as an art student at a New England-area school (see list online)
Total Fees:
Program Fee + Utility Fee
Program Fee:
US $3,615 per course sessions 2, 4, or 5 US $2,550 per course sessions 1, 3, or 6
Utility Fee:
A = $410 B = $285 C = $185
Each Pilchuck course is eligible for three undergraduate college credits through Cornish College of the Arts in Seattle. An additional fee (US$300; 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 should consult their institution in advance to make sure credits are transferrable.
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. • Dormitory Housing consists of a double-occupancy room with access to central restrooms for men and women. • Cottage Housing is an upgrade available for an additional fee, consisting of two double-occupancy 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 a day during the week, and two meals a day on weekends. Dietary restrictions can be accommodated with prior notice.
• a member of a Partner Institution (see list online) C O LL E G E C R E D I T
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 Program. Upon acceptance, we can provide you with a letter that may help facilitate visa requests 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. 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.com.
Pilchuck does not discriminate on the basis of gender, sexual orientation, race, religion, nationality, or ethnic origin in employment or in artistic or educational programs. “Pilchuck” and “Pilchuck Glass School” are federally registered trademarks of Pilchuck Glass School. Peter Kuhnlein, Alec Miller, Abram Deslauriers, staff, summer participants DESIGN: Studio Matthews COVER IMAGE: Serpente, collaborative piece by Shelley Muzylowski Allen and Davide Salvadore PHOTO CREDITS:
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RESIDENCY PROGRAMS 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 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. Residents should expect to participate in communal clean-ups and be available to visitors, among other activities. Materials, food, and travel reimbursement are not provided. Visit Pilchuck.com for application instructions and the online application form. Residency Dates: September 19–November 11, 2016 Applications Due: January 6, 2016
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 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 and Metal 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.com for application instructions and the online application form. Residency Dates: April 27–May 13, 2016 Applications Due: October 26, 2016
Q U E ST I O N S ?
Contact the registrar at registrar@pilchuck.com or 360.445.3111, ext. 29.
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Pilchuck was an experience I will never forget Andrew Wardlaw, scholarship recipient, Summer 2015
U. S. P O STAG E
N O N P R O F I T.O R G
BE IMMERSED. BE INSPIRED. BE TRANSFORMED. PILCHUCK GLASS SCHOOL
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