2017 Pilchuck Glass School Summer Program

PILCHUCK GLASS SCHOOL SUMMER PROGRAM

2017

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 2017

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

Pilchuck Glass School was founded in 1971 by Dale Chihuly with patrons Anne Gould Hauberg and John H. Hauberg. Although much has changed since the 1970s, the original core values of the school endure and are voiced in its mission: Pilchuck Glass School inspires creativity, transforms individuals and builds community.

SUMMER PROGRAM

The Summer Program provides an immersive experience and intense learning environment. Artistic Director, Tina Aufiero, compares the experience of being a student in the summer program to an algorithm, a computation, programmed for what she lately has coined exponential growth. If looked at as a set of procedural and durational schedules, the Summer Program structures an educational opportunity that is outside of the traditional school structure: artists surrounded by artists, sharing knowledge and creative practice in an open source environment with hands on, do-it-yourself making.

Artists have time to delve into their work and enhance their artistic practice. Courses challenge students and offer the most comprehensive exposure to the material. Summer sessions are thematically structured and consist of concentrated periods of time, turning over every two and three weeks. Students of all levels, ages and nationalities meet, share knowledge, skills and conceptual inquiries with glass.

Our studios offer a unique combination of ancient techniques and cutting edge technologies. Cross-pollination of glass and other disciplines is increasingly possible. State-of-the-art equipment updates continue to modernize our facilities and enhance energy efficiency and sustainability.

2017 SUMMER PROGRAM

2

2 0 1 7 H I G H L I G H TS This summer, key words structure the dialogue and focus for session courses. Identity, Taxonomy, Visualization, Materiality, Activation and Exploration provide a framework for inquiry.

Instructors and Artists in Residence have been selected for their distinctive relationship to their session’s keyword. The themes act as a campus wide parameter, outlining the focus of each course and providing a collective springboard for thoughtful interpretation and the creation of pieces infused with content.

Identity will delve into ideas around the body, adornment, performance and skin. Taxonomy considers categorizations, classical divisions, organization of formal elements and procedural applications in practice. Visualization looks into relationships between hand and eye, aesthetic decisions and finding the connections and the gaps between idea, image and form. Materiality creates opportunity to examine the qualities and the connotations of glass, how its physicality affects the concepts formed about it, and vice versa. Activation pushes to break through boundaries and explore the effects art has on society, and that society has on art. Exploration encourages taking risks and pushing through the barriers towards previously unknown realizations.

The concepts that rise from the exploration of course themes will be realized with hot and cold glass in areas such as glassblowing, hot-glass sculpting, sand- and kiln-casting, fusing, neon, painting, flame working, printmaking, mixedmedia sculpture, engraving, 3D modeling, printing and electronics.

Pilchuck’s Hotshop, Annex, Studio Building, Printshop, Flatshop, Woods and Metal Studio and Botlab are staffed by experienced coordinators to facilitate an almost limitless exploration of the material.

The courses offered this summer offer a wide range of learning, skill levels and methods—the only question is, which keyword speaks to you?

3

2017 ARTISTS AND CRAFTSPERSONS IN RESIDENCE

4

2 0 1 7 A R T I STS I N R E S I D E N C E Every session, Pilchuck invites noted artists 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 work. 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, some of the most innovative artists working in the areas of interactivity, narrative, design, political commentary, digital fabrication, sculpture, painting, printmaking and performance will bring new perspectives to each summer session.

Session 1 Identity

Ann Toebbe Dan Webb

Session 2 Taxonomy

Allan Packer Tobias Klein

Session 3 Visualization

Keiko Hara Beth Lipman

Session 4 Materiality

Rande Cook Tam Van Tran

Session 5 Activation

Ranjit Bhatnagar Rose English

Session 6 Exploration

Brian GIllespie Turi McKinley

2 0 1 7 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

Sarah Gilbert Liesl Schubel

Session 2

Sasha Tepper-Stewart Lisa Piaskowy

Session 3

Sally McCubbin Josie Gluck

Session 4

Deborah Adler Kelly O’Dell

Session 5

Megan Stelljes Madeline Prowd

Session 6

Jennifer Elek Annette Blair

Read about Artist Assistantship opportunities on page 22.

5

2017 ARTISTS IN RESIDENCE S E S S I O N 1: I D E N T I T Y

S E S S I O N 2 : TA XO N O M Y

S E S S I O N 3 : V I S U A L I Z AT I O N

A N N TO E B B E

A LL A N PA C K E R

BETH LIPMAN

Ann Toebbe’s work delves into the intimate, domestic spaces that we inhabit in day-to-day life and challenges perceptions of space and dimensionality in minute detail. She received her BFA from the Cleveland Institute of Art, an MFA in painting from Yale University, and a DAAD Scholarship to the Universität der Kunst, Berlin. Toebbe has exhibited her work in solo and group shows in Europe and the United States. She lives in Chicago.

Allan Packer is known for his motorized, painted, shaped canvases in kinetic motion. As master printer for Dorset Fine Arts, he produced prints for Kananginak, Pitseolak and Pudlo Pudlat. He studied with Stanley William Hayter at Atelier 17 in Paris.

Awards include Canada Council and Artist Trust grants. Residencies include Kohler Arts, Banff Centre for the Arts and the International Studio Curatorial Program. Packer exhibits internationally.

Beth Lipman explores aspects of material culture through still lifes, sitespecific installations, and photographs.

She lives and works in Sheboygan Falls, Wisconsin. Lipman has exhibited in the United States and abroad, and her work is in the collections of numerous museums, including the Brooklyn Museum, the Corning Museum of Glass, the Jewish Museum, the North Carolina Museum of Art, the Norton Museum of Art, and the Smithsonian American Art Museum.

DAN WEBB

TO B I A S K L E I N

K E I KO H A R A

Dan Webb is a full-time wood-carver, tinkerer, and sculptor. He is represented

by Greg Kucera Gallery and has shown in galleries and museums for more than twenty years. His work is held in the collections of numerous museums, including the Museum of Glass, Tacoma, the Portland Art Museum, Seattle Art Museum, and the Smithsonian American Art Museum. Webb is a recipient of a Pollock-Krasner Foundation grant, the Betty Bowen Award, and the Washington State Artist Fellowship award.

Tobias Klein works in the fields of architecture, art, design, and interactive media installation. His work generates a syncretism of contemporary CAD/CAM technologies with site and culturally specific design narratives, intuitive nonlinear design processes, and historical cultural references. Works of his studio are exhibited internationally. Klein has joined City University Hong Kong in the role as interdisciplinary Assistant Professor in the School of Creative Media and the architectural department.

Keiko Hara, a native of Japan, has had more than fifty solo exhibitions as well as numerous group shows throughout Europe, Japan, and the United States.

Her works are in the permanent collection of the Smithsonian American Art Museum, Washington, DC, and museums and private collections worldwide. Hara earned an MFA from Cranbrook Academy of Art and is a Professor of Art Emeritus at Whitman College in Walla Walla, WA, where she lives.

6

S E S S I O N 4 : M AT E R I A L I T Y

S E S S I O N 5 : A CT I VAT I O N

S E S S I O N 6 : E X P LO R AT I O N

TA M VA N T R A N

ROSE ENGLISH

TURI MCKINLEY

Tam Van Tran’s use of mixed media and dense layers of texture in collage and sculpture create complex, organic works that draw on a rich history of experiences. Born in Vietnam, he studied painting and received his BFA from Pratt Institute, Brooklyn. Tran’s work was featured in the 2004 Whitney Biennial at the Whitney Museum of American Art, New York, and is held in museum collections nationwide. He has participated in numerous national and international exhibitions.

Rose English’s uniquely interdisciplinary work combines elements of theater, circus, opera, and poetry to explore themes of gender politics, the identity of the performer, and the metaphysics of presence. English has mounted performances in ice rinks, at the Royal Court Theatre and Tate Britain, London, and at Franklin Furnace, New York. Recent projects include solo exhibitions at Charlottenborg, Copenhagen, in 2015, and Camden Arts Centre, London, in 2016.

Turi McKinley is a designer of interactions, experiences, and services. She sees design as a connective practice that links makers, participants, humans, and the wider world. McKinley’s personal work explores the inner boundaries formed by past experiences and builds new experiences that take participants on a journey through changing perspectives. Her personal and design work invites participants to collaborate on shaping the narrative.

RANDE COOK

R A N J I T B H AT N A G A R

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

Rande Cook (Kwakwaka’wakw) was born in Alert Bay, BC. He carries two chieftainships, the Hamatam/Seagull and Gigalgam from the ancient ancestor Kwanusila/Thunderbird.

Traveling and exhibiting throughout the world bolstered his desire to push the boundaries of traditional works, such as ceremonial masks and art of the potlatch, with performance, carving, photography, and painting. His knowledge, hertitage, and experience create provocative works that challenge viewers.

Ranjit Bhatnagar is a sound artist who creates performances and installations using technology, language, and found materials.

His projects encompass interactive and sound installations, scanner photography, and Internet-based collaborative art. His Instrument-aDay project, for which he creates a homemade musical instrument each day during the month of February, is approaching its tenth year.

Brian Gillespie is a computer programmer and product manager for Rhino, 3-D modeling software for designers. Using Grasshopper, a visual programming language, Rhino enables generative design and digital fabrication of everything from jewelry and shoes to yachts and skyscrapers.

Gillespie loves understanding complex problems and designing processes to solve them. He creates art with metal, wood, ceramics, and plastic.

7

SESSION

1 IDENTITY

M AY 1 5 –2 6

C H A R A CT E R D R I V E N

CoLAB

Glassblowing, Hot-Glass Sculpting

Glassblowing, Coldworking, Cane, Color Application

What does it take to create work that speaks for itself and exemplifies individuality; to break down the steps necessary for developing and maintaining character and narrative from sketchbook to blowpipe?

Students will work in teams in the garage and with the hot torch, experimenting with different tools and processes to bring life and personality to their work. Visiting artists will inspire, and color theory as well as application will be heavily discussed.

Bring enthusiasm and ideas, and remember, characters are welcome.

B / ALL LEVELS

B / INTERMEDIATE

DANNY WHITE

Danny White has been entertaining with art since childhood. Using humor and satire as a platform, he draws from everyday life and culture as a theme for his work. “My goal is to make art that welcomes reaction.

Creating characters and narrative through glass is my way of relating the outside world to my own. Through social exploration, I create what I experience and enjoy telling the story.”

White lives in Seattle and maintains a private studio and gallery.

HOW TO APPLY

Collaboration is the name of the game. Design, form, prep work, hot and cold—we will cover it all. Work together to achieve truly unique results. The focus will be on teamwork as we create and explore line and pattern in the Hot or Cold Shop.

Cane, stuff cups, carving, and surface working to finishing—together, we can accomplish anything. Experience is recommended; collaboration is mandatory.

ALIX CANNON MORGAN PETERSON

Alix Cannon and Morgan Peterson live and work in Seattle. Cannon’s use of cane, murrine, and form is inspired by the symmetry of nature and the hard lines found in architecture. Peterson’s use of carved patterns is influenced by fashion, religion, politics, and pop surrealism. Cannon and Peterson began collaborating in 2014, and their work has been nominated for and received awards. They recently completed independent residencies at the Museum of Glass, Tacoma.

Page 23

Session 1 Gaffers: Sarah Gilbert and Liesl Schubel 8

( P E LL E E O S S A ) S K I N A N D B O N E S

HEART ON SLEEVE

D I G I TA L C L AYG R O U N D

Glassblowing, Experimentation, Coldworking, Engraving

Flameworking, Coldworking, Jewelry, Fusing, Performance

Kilncasting, Software, Scanning, 3-D Modeling, Pâte de Verre

Students will contemplate glass through notions of skin, surface, and what lies beneath. Participants will concentrate on engraving objects made in the Hot Shop and experiment with kiln forming and moldmaking.

Through technical demonstrations, conceptual prompts, readings, conversation, sensory meditation, and other forms of controlled madness, the class will scratch their creative itches together. Students should come ready to dive under the skin and into the world of ideas and making.

Mixing jewelry with a touch of performance art, students will explore the overlap between actions and objects. Techniques such as flameworking with borosilicate glass, fusing and carving glass billets, and coldworking to add pattern and finish will be applied to both functional and nonfunctional jewelry. Presentations will address principles of design, aesthetics of surface and form, jewelry as art, and performance.

Student projects will move through conceptualization, refinement, creation, and assembly, enlivened by exercises in performance art.

Explore the 3D PotterBot clay printer and the BotLab to print forms for kilncasting in clay and PLA. An introduction to basic 3-D modeling in Rhino and other software will give students the ability to experiment with designs before printing. Clay models will be manipulated by hand and transformed directly into glass.

Students will receive a trial version of Rhino and a special discount if they decide to purchase the software. A laptop is required.

B / ALL LEVELS

B / INTERMEDIATE

B / ALL LEVELS

SUZANNE PECK

JASON PFOHL

R E B E C C A A R D AY

M AT T E O S E G U S O

LU I S A R E ST R E P O

PHIRAK SUON

Suzanne Peck is a visual artist, writer, educator, and curator living in Brooklyn. Her work considers themes of skin, touch, intimacy, and material, with a healthy scoop of irreverence.

Peck travels around the globe, and she has taught and exhibited internationally. Matteo Seguso was born, lives, and works on Murano.

Continuing the engraving tradition passed down by his father, Bruno Seguso, he often collaborates with Lino Tagliapietra. Seguso is an Associate Fellow of the Guild of Glass Engravers, London, and teaches worldwide.

Jason Pfohl founded Gorilla Glass, where he is both designer and technician. He originally created pieces for New York fashion designers but has been designing and making jewelry for piercing for the past fifteen years. Pfohl lives in Oaxaca, Mexico, and has taught internationally. Luisa Restrepo is a glass artist and jewelry designer from Colombia and founder of “el taller” in Mexico City. Her works examine rhythm, pattern, proportion, and excess. She has completed residencies and exhibited both nationally and internationally.

Rebecca Arday is an artist-educator based in Rochester, New York. Her work is influenced by the relationships between objects and the emotions they evoke. She is currently an adjunct professor and studio resident at Rochester Institute of Technology.

Phirak Suon recently earned a Master of Architecture degree from the University of California, Berkeley. As a technician and production specialist at Emerging Objects, Oakland, CA, he delves into the relationship between traditional handcraft materials and new 3-D printing technology for building construction.

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

9

SESSION

2 TAXONOMY

M AY 3 0 – J U N E 1 6

E L E M E N TA L

AND SO IT BEGINS . . .

Glassblowing, Color Application, Cane

Glassblowing

What are the individual elements that make up a finished piece? This class will explore a variety of techniques connected with the composition and construction of vessels and sculptural pieces. In composition, students will work with cane using reticello, filigree, and incalmo techniques. Construction will be traced through the necessary steps in both hot-shop and cold-shop assembly applications, with a focus on individual elements and their influence on the scale, proportion, and weight of the final piece.

In this class, students will discover glass as a source for life and become familiar with the fundamentals they need to continue moving forward on their journeys. The focus will be on understanding glass as a material and learning how to bring ideas to life. Demonstrations will start simple and build in complexity as confidence grows.

B / INTRODUCTORY

A / INTERMEDIATE/ADVANCED

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

Jason Christian’s work explores the exquisite art of reticello by pairing classical Venetian techniques with a modern simplicity. Christian has worked for various Pacific Northwest studios for twenty years and traveled the world teaching and gaffing. He is currently one of the lead gaffers at Chihuly Studios and runs his own studio out of his home in Seattle.

D A RY L S M I T H

Daryl Smith is a Seattle native with more than twenty years’ experience making glass. In addition to creating his own pop art, lowbrow-inspired artwork, he has worked with the best glassmakers in the world as a gaffer at Chihuly Studios. Smith has also been a gaffer at Pilchuck many times and has developed an intimate knowledge of the material.

HOW TO APPLY Page 23

Session 2 Gaffers: Sasha Tepper-Stewart and Lisa Piaskowy 10

THE ASSEMBLAGE, PUT TING I T A LL TO G E T H E R

Glassblowing, Mixed Media, Sculpture, Hot Casting, Coldworking There is no such thing as a bad idea. Students will be encouraged to realize an idea and find personal expression as they work through, around, and with perceived limitations.

The class will delve into creating multiples, use varied elements and materials and develop understanding of the subtleties of assemblage work by comparing the resulting permutations. Students will be guided through initial idea, sketch, planning, implementation, composition, installation, de-installation, and discussion of material processes that will ultimately transcend medium.

NEON AND LANDSCAPE

G L A S S V E ST I G E S

Neon, Installation

Kilncasting, Moldmaking, Pâte de Verre

Investigate the relationship between light and landscape by experimenting with neon fabrication techniques.

Students will develop personalized projects from their conscientious consideration of the broader implications of landscape—social, political, ideological, technological, and so on. The class will cover traditional and experimental tube bending with a variety of torches, processing with noble gases, and a wide range of installation strategies that will help students bring their concepts to life.

A / ALL LEVELS

How are informed fabrications and budgetary decisions facilitated in the studio? Gain a comprehensive skill set in moldmaking, glass casting, and pâte de verre with both highbrow and lowbrow casting materials.

Surface quality, opacity, longevity, and strength will be compared and contrasted in materials chosen for mold and sculpture. The class will explore multipart rubber molds, hot-wax construction, and refractory moldmaking. Pâte de verre color application to open-face and press molds will allow for varying thicknesses with precise coloration.

A / ALL LEVELS

A / ALL LEVELS

ELIAS HANSEN JOSEPH ROSSANO

Elias Hansen is invested in traditional processes utilized for experimental means. He works primarily with glass, steel, and wood, contrasting finely crafted, handmade objects with found materials and questioning the value we put on the difference. Hansen has exhibited internationally. Joseph Rossano is committed to conveying the impact of humanity’s interactions with the natural world through glass and mixed-media installations. He had a solo show at the Museum of Glass, Tacoma, in 2015 and has exhibited internationally.

ZAC WEINBERG

Zac Weinberg’s projects address the systems through which we allocate status to objects. Utilizing a diverse range of methodologies, Weinberg’s work incorporates craft traditions, quantitative analysis, sign making techniques, and stone-age technology to devise solutions to problems we did not know we had. He holds a BFA from Alfred University and an MFA from Ohio State University, exhibits internationally and was awarded the inaugural Kanik Chung Legacy Fellowship.

JOANNA MANOUSIS

Joanna Manousis evokes meaning and metaphor by reappropriating identifiable forms using materials that have particular characteristics and cultural associations. Often utilizing cast crystal and mirrors, her objects and installations have been exhibited internationally and have won numerous awards. Manousis has taught in Australia, England, Japan, and the United States. She holds a BFA from Wolverhampton University, England, and an MFA from Alfred University, New York.

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

11

SESSION

3 VISUALIZATION

J U N E 2 0 – J U LY 1

HOW TO APPLY

A N A LO G R E N D E R I N G A N D 3-D MAKING

Glassblowing, Design From visualization through realization, this class will emphasize the relationships between hand, eye, and mind. Relying heavily on analog tools—pencils and paper—the class will develop forms through thought, sight, and touch. Students will be encouraged to utilize a variety of tools and materials as they create models and templates for use while blowing.

Demonstrations will focus on realizing forms by referencing drawings and templates. Focused practice and dogged persistence will help students refine their visions.

DEFINING LINE

Glassblowing, Design, Color Application, Cane, Engraving There is a point where lines intersect, the junction where hot and cold meet.

Working in both the Hot and Cold Shops, students will take a sculptural approach to integrating form, pattern, and surface. This class will develop each participant’s individual voice by encouraging experimentation, spontaneity, and thoughtfulness.

Students will combine a blend of techniques with their imaginations as they work together to interweave the creative possibilities of a hybrid space.

B / ADVANCED

A / INTERMEDIATE / ADVANCED

MICHAEL SCHUNKE

Michael Schunke’s work is dedicated to the pursuit of form and the practice of making. With a strong sense of design focused on the relationship between line and volume, he creates expressive silhouettes and containers of personal meaning. Formerly a professor at the Toyama City Institute of Glass Art, Japan, Schunke continues to teach glassmaking around the world. He operates Vetro Vero, a glassblowing and design studio, with partner Josie Gluck.

N A N CY C A LL A N MEL DOUGLAS

Nancy Callan’s artistic voice as a glass sculptor reflects her high-level training and talents. She attended Massachusetts College of Art and Design and lives in Seattle, where she is part of the vibrant Pacific Northwest glass community. Mel Douglas’ delicate, subtle work comes from the slow and considered process of engraved mark making.

She has worked as an independent studio artist since graduating from the Australian National University, Canberra.

Page 23

Session 3 Gaffers: Sally McCubbin and Josie Gluck 12

V I S I O N Q U E ST

PAT T E R N

H I G H -T E ST : PA I N T A N D L E A D

Glassblowing, Hot Sculpting, Flameworking, Mixed Media

Flameworking, Coldworking, Sandblasting

Glass Painting, Imagery, Leaded Glass

Anything is possible when we use a variety of sculpting techniques and mixed media to bring visions to life. Exercises in sketching will help students “see” and “know” forms while working with the molten material and building a vocabulary of off-hand and flameworking sculpting techniques. The class will cover solid and blown (interior) sculpting, garage assembly, flameworking, teamwork, and mixed-media assemblage. Mixed media, such as wood, metal, and borosilicate, may play a vital role in the finished narrative.

Explore an endless world of form and pattern that is more than just the sum of its parts. The class will begin by making striped tubing, flat cane, and murrine with color rods, tubing, and powders and go on to create complex, original patterns and imagery with sandblasting and coldworking. Visiting artists will inspire, leaving students wondering if there is anything that is not possible. Let the stacked chips fall where they may.

Combining the instructors’ shared love of glass painting and stained glass, this class will focus on fired enamels painted onto a variety of sheet glass—clear and colored, transparent and opaque. Explore both black and colored enamels as well as silver stain in reflected and transmitted light using traditional and experimental painting techniques.

Students will have a variety of finished work for the wall and the window by the end of the class.

B / ALL LEVELS

C / ALL LEVELS

B / ALL LEVELS

JULIA ROGERS ROBIN ROGERS

Julia and Robin Rogers share a passion for sculpture and molten glass. After assisting each other for ten years, they decided to collaborate, melding ideas, techniques, and an array of materials in order to manifest their combined surreal vision in anthropomorphic explorations. Both hold advanced degrees in art and love teaching. Robin is the assistant manager of the Chrysler Museum Glass Studio, and Julia teaches at Virginia Wesleyan College and Tidewater Community College in coastal Virginia.

C H R I S C A R LS O N

Chris Carlson has been making pipes since 2001 and stacking chips steadily since 2008. He began working with Chong Glass and now makes one-ofa-kind pieces at his studio outside Eugene, Oregon. Carlson is color-blind, left-handed, and asthmatic, and his unorthodox use of jet black and star white informs the characteristic complexity of his work. Constant photographic documentation of glass events and travel has led to international exhibitions of both photos and glass.

C A P PY T H O M P S O N DICK WEISS

Cappy Thompson is a Seattle artist known for her painted mythopoetic narratives on glass using vitreous enamels. An innovator in her field, she has taught and lectured extensively.

The abstract compositions of Dick Weiss’s screens are at once masculine and delicate: wide fields of colors barely touch; a heavy red heart rests gingerly atop a field of green, both suspended in empty space; and white circles float like a constellation of moons, graphically linked by the thin, black lines that connect them.

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 MATERIALITY

J U LY 6 –2 3

HOW TO APPLY

DEAD or ALIVE!

MATERIALITY AND SPIRITUALITY

Glassblowing, Mixed Media, Painting, Sculpture, Coldworking

Glassblowing, Hot-Glass Sculpting

Students will combine and approach glass as if they’ve never worked with it before, smashing hot-glass elements together with a plethora of mixed media, blurring the line between fine art and craft. The class will explore the process (liquid to solid, mobility to rigor mortis) and discover similar properties in rubbers, silicones, plastics, and epoxies. Hot-glass inclusions, mold blowing, enameling, and coldworking processes will also be covered. Students will work on individual and group projects in stages of process: Life—Hot Shop, Death— Annealing, Embalming—Material Application, Funeral—Exhibition.

It is important to know your materials and to approach the challenge of creation with a sensitivity all one’s own. The class will seek to create sculptural expressions through a number of methods: glass blowing, pouring molten glass into sand molds, working directly with hot lumps of glass, blown and solid cold core techniques, bit work, fire polishing, the garage, and teamwork. Observation, drawing, deconstruction, logic, physics, intuition and practice are the basis for mastering bare bones methods for sculpting glass.

A / ADVANCED

C / ALL LEVELS

DOREEN GARNER

Doreen Garner is a Brooklyn-based artist originally from Philadelphia. Her work identifies, extracts, and exploits the tissues that bind the sexual and the grotesque, specifically in medical exploitation of the black body. She received her BFA in glass from Tyler School of Art, Temple University, and her MFA from Rhode Island School of Design. Garner is a practicing tattoo artist and master of mixed materials.

S C OT T D A R L I N GTO N SHUNJI OMURA

Shunji Omura is Professor of Glass at Musashino Art University. He studied glass making at Tokyo Glass Art Institute then became a staff member at Niijima Glass Art Center. In 1994, Omura established Omura Glass Studio outside of Tokyo.

Scott Darlington is the Glass Studio Manager at Pratt Fine Arts Center in Seattle. He earned his BFA at the Appalachian Center for Crafts and his MFA from The Ohio State University and spent 4 years in Japan at the Toyama City Institute of Glass Art.

Page 23

Session 4 Gaffers: Deborah Adler and Kelly O’Dell 14

SESSION

5 G L I TC H C R A F T

P L A ST I C I T Y

⌘ PRINT

Glassblowing, Mold Blowing, 3-D Printing, Hot Casting, Computer Modeling, Design

Flameworking

Printmaking, Coldworking, Laser Engraving, Imagery, 3-D Printing, CNC

C / INTERMEDIATE

Explore reproduction on and off the press bed using glass plates and digital fabrication processes. Starting with digital files, students will explore the possibilities of etching imagery into glass plates in the BotLab and Cold Shop; they will then run the plates through the printing press and create inked impressions on paper.

Demonstrations will cover ideation, file preparation, plate manipulation, and printing methods while building digital literacy in a contemporary craft context.

C / ALL LEVELS

C / INTERMEDIATE

T I M B E LL I V E A U

Tim Belliveau, a co-founder of Bee Kingdom Glass Collective, lives and works in Montreal, Quebec. His work, which focuses on blending fine craft techniques with 3-D print technology, challenges the idea of handmade objects. Belliveau is completing an MFA at Concordia University and has been accepted as a 2017 resident at the European Ceramic Work Centre.

He has exhibited his work across Canada and in Germany, Greece, Korea, and Turkey.

M AT T E S K U C H E

Matt Eskuche began flameworking in 1998 after metalsmithing for several years, and has been paying close attention to what is going on in the pipe-art movement. Eskuche’s work has allowed him to practice traditional flameworking techniques while exploring concepts related to consumption and the life-cycles of products of mass-consumption.

He has taught classes at national and international schools including Corning, Penland, and the Pittsburgh Glass Center. His work is exhibited in galleries and museums throughout the country.

HANNAH SMITH

Hannah Smith is an artist and printmaker. Her practice, which combines photographic imagery with digital and traditional processes, addresses notions of replication and understanding. Introduced to glass through vitreography and coldworking, Smith has worked with Pilchuck artists in residence in the production of prints for the permanent collection. She also has been awarded several residencies, including one at Pyramid Atlantic Art Center, Hyattsville, Maryland.

ACTIVATION

Students will discover what happens in an environment that encourages experimentation and values accidents and glitches as sources of inspiration.

Combine mold blowing, sandcasting, and 3-D printing while discovering how glass and 3-D print technologies can work together. This course will build skills that students can take with them by sharing methods that are inexpensive or free and available through online communities. 3-D print and software are filled with the potential to open up new possibilities in glass art.

Explore the physical properties of borosilicate glass that encompass expansion, contraction, viscosity, clarity, devitrification, cleavage, annealing, tempering, and other facets inherent in this low-expansion glass. We will look to material issues of life-cycle, futility, failure, and death as subjects to explore and riff off of for demonstrations. Students will be encouraged to merge an understanding of the material with their concepts and ideas to drive the direction of their projects.

J U LY 2 7– A U G 1 3

H OW TO APPLY Page 23

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

15

16

SESSION

5 ACTIVATION

J U LY 2 7– A U G 1 3

SUPERVISION

C O M M U N I C AT E A N D T R A N S L AT E

TRANSCODING GLASS

Glassblowing, Coldworking, Light, Performance, Installation

Glassblowing, Design

Glassblowing, Hot Casting, Kiln Forming, Graphic Programming, Interactive Video & Sound

Light has always been a mechanism that brings people together for a common experience. From the fireside to the cinema, light is a universal medium for wonderment and spectacle. Through lectures, presentations, discussions, and material explorations, we will investigate the relationship between light and glass. Utilizing the Hot Shop and Cold Shop, we will experiment with manipulating glass to form optical devices. Our collective efforts will culminate in installations, happenings, performances, and a final evening of optical delight.

B / ADVANCED

N I E LS C O S M A N S E A N S A LST R O M

Explore the nature of digital transcoding techniques as students create cinematic installations and performance pieces utilizing glass as an integral aesthetic element.

Activities include basic programming tutorials in MAX/MSP/Jitter, video and sound editing, projection experiments, hot-glass blowing, painting with enamels, and casting textural surfaces. Instruction covers elements of performance design and staging and collaborative strategies for advancing new art forms that fuse emergent and traditional technologies.

B / ALL LEVELS

B / INTERMEDIATE

Niels Cosman is a designer whose work runs the gamut from sculpture, to product design, to engineering. He is a faculty member at the Rhode Island School of Design Glass Department.

Sean Salstrom is an American artist and educator living and working in Akita City, Japan. His works, which span the genres of action, object, installation, and performance, bring about a shift in viewers’ expectations.

HOW TO APPLY

Ideation, material potential, and pushing boundaries are the core principles of this class, framed by the relationship between gaffer/fabricator and designers/artists. We will embark on making a series of “product designs” provided by designers from around the globe (a dream team of thinkers). We will interject time as a device to work on techniques, hurdles and troubleshooting. Bring your ideas, sketch books, laptops, energy, and personal knowledge to the table!

PA B LO S OTO

Pablo Soto lives and works in his studio in Penland, NC, with his wife Cristina Cordova. After receiving his BFA from Alfred University in 2001 and apprenticing in Ben Moore’s studio in Seattle, he was a glass resident at the Energy Exchange in Burnsville, NC. In addition to his award-winning work, Soto has been a gaffer/fabricator for various artists, designers, and companies such as Jorge Pardo, Calvin Klein, Norwood Viviano and Carrie Santiago.

NOISEFOLD

Pilchuck Artists in Residence NoiseFold return to teach. Their installations and performances have appeared in diverse venues worldwide, from Casablanca, Morocco, to Marfa, TX. Cory Metcalf teaches in the Emergent Digital Practices program at the University of Denver and works for the renowned software company Cycling ’74. 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, Denton, where he is a faculty member in music composition and studio art.

Page 23

Session 5 Gaffers: Megan Stelljes and Madeline Prowd 16

LIGHT, WEIGHT, AND THE SUBLIME

G L A S S A S S O C I A L P R A CT I C E

GLASS TO PAPER, PAPER TO GLASS

Neon, Sculpture

Glassblowing, Hot Casting, Mixed Media, Experimentation

Paper, Engraving, Sandblasting, Digital, Tunnel Books

Learn how to develop a socially engaged practice, informed by the materiality of glass, its historical and contemporary craftsmanship, and its physical phenomena. Through a deep implementation of collaborative methodologies, students will create action-oriented objects and processes that investigate distributed authorship, the dismantling of hierarchical power dynamics, and the transformation of material into action. Studio prompts will encourage experiments in combining hot and cold glass with sensor-based digital technologies that will inspire ideas in social space.

Create glass sculptures by etching layers of plate glass in the cold shop and assembling; then take the etched glass plates into the printmaking studio to make embossed and inked vitreography prints on paper. Learn to prototype by creating hand-cut paper tunnel books, then translate these multi-layered compositions into glass. Working with Pilchuck’s fabrication shops, students will design wood, metal, or 3D-printed mounts to assemble etched glass plates into multi-layered glass sculptures.

Discover the aesthetic and conceptual possibilities of light and mixed media. By exploring traditional and experimental neon techniques, students will develop the skills they need for planning, creating, and installing their own neon and mixedmedia works. The class will emphasize play, material experimentation, and personal expression. Group discussion and slide shows will cover historical precedents and contemporary issues relevant to the practice and process of neon and its use as a medium for sculpture.

A / ALL LEVELS

B / ALL LEVELS

B / ALL LEVELS

S A R A H B LO O D

Sarah Blood is a mixed-media artist whose work combines the density of materials such as concrete and clay with the perceived fragility of light. The work evokes personal and human qualities, while her forms are inspired by natural phenomena, material poetics, and post-minimalist sensibilities. Blood’s exhibition Between Further and Farther explored themes of home, community, and the distance, both perceived and actual, between the two. She is an assistant professor in sculpture at Alfred University.

C A R M E N M O N TOYA

ANDREA DEZSÖ

A N J A L I S R I N I VA S A N

C S I LL A S Z I L Á GY I

Carmen Montoya is an artist working in participatory art, performance, and new media. In 2013, her collective, Ghana ThinkTank, was awarded a Creative Capital grant in the Emerging Fields category. Anjali Srinivasan’s background in creative practice is built on collaboration with traditional craft artisans in India on design initiatives aimed at socioeconomic empowerment. Montoya and Srinivasan met as graduate students at Rhode Island School of Design and have been working together ever since.

Andrea Dezsö works across a broad range of media: drawing, 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. Csilla Szilágyi graduated at MOME Budapest in 2006.

Her work is characterized by narrative design and spirituality, and she mainly creates installations, sculptures, and everyday objects. Currently she is teaching concrete design at the Budapest Metropolitan University.

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 EXPLORATION

A U G 1 7–2 8

HOW TO APPLY

M AT E R I A L I T Y | P R O C E S S , P E R S P E CT I V E , I N T E R A CT I O N

Glassblowing, Experimentation When artists specify their chosen medium, what is the meaning of it? What is it that draws their curiosity? This class will brainstorm, investigate, and develop traditional and experimental approaches in the Hot Shop. Students will learn the fundamentals of glassblowing and expand their creative possibilities with kilns, molds, and torches. Knowing and understanding the materiality of glass will enable each student to develop a process for creating personal expressions in glass.

B / ALL LEVELS

H OT ST U F F

Glassblowing, Experimentation, Mixed Media, Science Glassmaking is both enabled and limited by how glass is put together, from the atoms up. The same principles apply to the way glass plays with other hot stuff, including metals and ceramics. This class will combine lectures on, and experiments in, materials science, individualized projects driven by conceptual explorations, and discussions on critical theory. By failing creatively in rigorous play informed by science, students will seek an expanded vocabulary of form, color, and texture in glass and mixed media.

B / ALL LEVELS

AYA O K I

Aya Oki is a Japanese artist based in San Bernardino, California. She focuses on the materiality of glass through its lifelike and unique properties. Oki has studied at the Aichi University of Education; California State University, San Bernardino; and Rochester Institute of Technology. Her study and research abroad was supported through a Grant for Overseas Study by Young Artists from the Pola Art Foundation and the Program of Overseas Study for Upcoming Artists sponsored by the Agency for Cultural Affairs in Japan.

DR. COOK J U ST I N G I N S B E R G

Dr. Cook earned a PhD in metallurgical engineering from the University of Wisconsin–Madison and worked as a researcher at Corning Inc. for sixteen years, inventing ways of manufacturing glass and other “hot stuff.” Cook is now chief scientist at the Corning Museum of Glass. Justin Ginsberg is head of the glass area and Assistant Professor at the University of Texas at Arlington. His work challenges the perceived boundaries of material, relying on metaphor and gesture to express systems and structures for understanding the world.

Page 23

Session 6 Gaffers: Jennifer Elek and Annette Blair 18

V I T R E C O U ST I C S A N D B E YO N D

U N C H A R T E D T E R R I TO RY

A P P LY I N G G R AV I T Y

Glassblowing, Flameworking, Sound, Tinkering

Flameworking

Kiln Forming, Coldworking

Embark on an exploration of the treacherous and unknown regions of flameworking. Together, students will push the limits of borosilicate glass, combining traditional glassmaking methods with unconventional logic and techniques. Navigate new ways of making form and learn to create data collection instruments for recording our experiences on the journey. Join this high-energy, information-packed expedition.

The pull of gravity can send objects tumbling to earth or keep them orbiting in space. Explore these trajectories in the Kiln and Cold Shops via a series of experiments designed to maximize the transformative power of gravity on glass. Multistage firings will generate increasingly complex patterns that are impossible to replicate by any other means. Newcomers to glass will enjoy an accelerated introduction to the medium, while experienced glassworkers may find their worldviews permanently inverted.

From noise to music, this sonic adventure will use multiple glass processes to appreciate, investigate, and elaborate on the phenomenon of sound. Artists will conduct a series of experiments in capturing, modifying, inserting, and extracting sound from glass. Sound games, field recording, audio editing tutorials, group listening and discussion, performance, and collaborative installations will provide a basis for experiencing vitrecoustics.

B / INTERMEDIATE

B / INTERMEDIATE

B / ALL LEVELS

MARK ZIRPEL

AMY LEMAIRE

ABRAM DESLAURIERS

B E C CY F E AT H E R

Mark Zirpel’s mixed-media work and eclectic approach to glass examine the physical world and the forces that determine its behavior. Air, water, magnetism, weather, light, the oceanic, and the celestial are subjects he seeks to understand through the material of glass. Abram Deslauriers explores the human psyche and its influences through glass, sound, and video. He is part of Flock the Optic, a performative art collective that mashes glass and absurdity for public interventions.

Beccy Feather is a British-born glassmaker who lives and works in Philadelphia. She travels daily between the roles of production flameworker, artist, educator, and tea drinker. Her artwork is a mixture of fine craft, humor, and home science. Amy Lemaire’s interdisciplinary artworks explore currency, meaning, and value.

She recently completed a residency at the Museum of Art and Design, New York, and teaches at UrbanGlass in Brooklyn.

MIGUEL UNSON

Miguel Unson dreams of the day archaeologists uncover his pieces and find themselves utterly baffled.

His studio practice seeks order in disorder through a mashup of glass disciplines. Unson attended Carleton College, Parsons The New School for Design, and Pratt Manhattan. He has taught at Bullseye Glass Company, the Pittsburgh Glass Center, UrbanGlass and was an artist in residence at Pilchuck and North Lands Creative Glass. He lives and works near Pilchuck.

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

19

2017 PILCHUCK GLASS SCHOOL SUMMER PROGRAM

1

M AY 1 5 –2 6 IDENTITY

TA XO N O M Y

3

J U N E 2 0 – J U LY 1 V I S U A L I Z AT I O N

DANNY WHITE

JASON CHRISTIAN

MICHAEL SCHUNKE

Character Driven Glassblowing, Hot-Glass Sculpting B / INTERMEDIATE

Elemental Glassblowing, Color Application, Cane A / INTERMEDIATE/ADVANCED

Analog Rendering and 3-D Making Glassblowing, Design A / INTERMEDIATE / ADVANCED

ALIX CANNON & MORGAN PETERSON

DARYL SMITH

NANCY CALLAN & MEL DOUGLAS

And So it Begins . . .

Glassblowing B /INTRODUCTORY

Defining Line Glassblowing, Design, Color Application, Cane, Engraving B / ADVANCED

SUZANNE PECK & MAT TEO SEGUSO

ELIAS HANSEN & JOSEPH ROSSANO

JULIA ROGERS & ROBIN ROGERS

(Pelle e Ossa) Skin and Bones Glassblowing, Experimentation, Coldworking, Engraving B / ALL LEVELS

The Assemblage, Putting it All Together Glassblowing, Mixed Media, Sculpture, Hot Casting, Coldworking A / ALL LEVELS

JASON PFOHL & LUISA RESTREPO

ZAC WEINBERG

CHRIS CARLSON

Heart on Sleeve Flameworking, Coldworking, Jewelry, Fusing, Performance B / ALL LEVELS

Neon and Landscape Neon, Installation A / ALL LEVELS

Pattern Flameworking, Coldworking, Sandblasting B / ALL LEVELS

REBECCA ARDAY & PHIRAK SUON

JOANNA MANOUSIS

CAPPY THOMPSON & DICK WEISS

CoLab Glassblowing, Coldworking, Cane, Color Application B / ALL LEVELS

Digital Clayground Kilncasting, Software, Scanning, 3-D Modeling, Pâte de Verre B / INTERMEDIATE

20

2

M AY 3 0 – J U N E 1 6

Glass Vestiges Kilncasting, Moldmaking, Pâte de Verre A / ALL LEVELS

Vision Quest Glassblowing, Hot Sculpting, Flameworking, Mixed Media B / ALL LEVELS

High-Test: Paint and Lead Glass Painting, Imagery, Leaded Glass C / ALL LEVELS

ARTISTS IN RESIDENCE

ARTISTS IN RESIDENCE

ARTISTS IN RESIDENCE

Ann Toebbe Dan Webb

Allan Packer Tobias Klein

Keiko Hara Beth Lipman

GAFFERS

GAFFERS

GAFFERS

Sarah Gilbert Liesl Schubel

Sasha Tepper-Stewart Lisa Piaskowy

Sally McCubbin Josie Gluck

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 1 Scholarship, Teaching Assistants, & Artist Assistants

4

J U LY 6 –2 3 M AT E R I A L I T Y

FEB 1

Seasonal Staff & Campus Assistants

OCT 26

John H. Hauberg Fellowship

5

J U LY 2 7– A U G U ST 1 3 A C T I VAT I O N

6

A U G U ST 1 7–2 8 E X P LO R AT I O N

DOREEN GARNER

NIELS COSMAN & SEAN SALSTROM

AYA OKI

DEAD or ALIVE! Glassblowing, Mixed Media, Painting, Sculpture, Coldworking C / ALL LEVELS

Supervision Glassblowing, Coldworking, Light, Performance, Installation B / INTERMEDIATE

Materiality | Process, Perspective, Interaction Glassblowing, Experimentation B / ALL LEVELS

PABLO SOTO SCOT T DARLINGTON & SHUNJI OMURA

Materiality and Spirituality Glassblowing, Hot-Glass Sculpting A / ADVANCED

TIM BELLIVEAU

Glitchcraft Glassblowing, Mold Blowing, 3-D Printing, Hot Casting, Computer Modeling, Design C / INTERMEDIATE MAT T ESKUCHE

Plasticity Flameworking C / INTERMEDIATE

Communicate and Translate Glassblowing, Design B / ADVANCED NOISEFOLD

Transcoding Glass Glassblowing, Hot Casting, Kiln Forming, Graphic Programming, Interactive Video & Sound B / ALL LEVELS

SARAH BLOOD

Light, Weight, and the Sublime Neon, Sculpture A / ALL LEVELS CARMEN MONTOYA & ANJALI SRINIVASAN

Glass as Social Practice Glassblowing, Hot Casting, Mixed Media, Experimentation B / ALL LEVELS

HANNAH SMITH

DR. COOK & JUSTIN GINSBERG

Hot Stuff Glassblowing, Experimentation, Mixed Media, Science B / ALL LEVELS

MARK ZIRPEL & ABRAM DESLAURIERS

Vitrecoustics and Beyond Glassblowing, Flameworking, Sound, Tinkering B / INTERMEDIATE AMY LEMAIRE & BECCY FEATHER

Uncharted Territory Flameworking B / INTERMEDIATE

MIGUEL UNSON

⌘ Print

ANDREA DEZSÖ & CSILLA SZILÁGYI

Printmaking, Coldworking, Laser Engraving, Imagery, 3-D Printing, CNC C / ALL LEVELS

Glass to Paper, Paper to Glass Paper, Engraving, Sandblasting, Digital, Tunnel Books B / ALL LEVELS

Applying Gravity Kiln Forming, Coldworking B / ALL LEVELS

ARTISTS IN RESIDENCE

ARTISTS IN RESIDENCE

ARTISTS IN RESIDENCE

Rande Cook Tam Van Tran

Ranjit Bhatnagar Rose English

Brian Gillespie Turi McKinley

GAFFERS

GAFFERS

GAFFERS

Deborah Adler Kelly O’Dell

Megan Stelljes Madeline Prowd

Jennifer Elek Annette Blair 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 1, 2017 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.

Campus Assistantships are ideal for emerging and experienced artists who wish to further develop their professional and technical expertise. International artists are encouraged to apply.

Visit pilchuck.com for information and application instructions.

Applications Due: February 1, 2017

THAN K YOU TO OUR GEN EROUS S PON S ORS

22

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$50 application fee are needed to apply each year.

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

• Scholarships and assistantship applications are 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.

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

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

Special this year! The two top ranking scholarship recipients with advanced glassblowing skills will be eligible for an apprenticeship in Murano in May 2017, supported by LagunaB s.r.l. (www.lagunab.com) Continuing this year! The top scoring scholarship recipient will 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 or resident of the Pacific Northwest, including Alaska, British Columbia, Idaho, Oregon and Washington

• All Levels: Encompasses all of the above; all are welcome

• of African American, Hispanic American, Native American or other minority heritage

FEES

• an applicant for a flameworking course

Program fees cover instruction, shared dormitory housing, meals and basic supplies. Utility fees offset the cost of energy used in studios; fees 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.

• a glass industry worker (i.e. apprentice, assistant or gaffer)

Total Fees:

Program Fee + Utility Fee

Program Fee:

US $3,687 per course sessions 2, 4, or 5 US $2,601 per course sessions 1, 3, or 6

• a resident of New England, including New Hampshire, Massachusetts, Maine, Rhode Island, Connecticut or Vermont.

Utility Fee:

A = $410 B = $310 C = $210

• a 2016 seasonal staff member or campus assistant • a 2016 nominee for a Corning Incorporated Foundation or Saxe Award

• a member of a Partner Institution (see list online) • a resident of Hawaii or New Mexico.

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

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

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.

Select Pilchuck courses are eligible for three undergraduate college credits through Cornish College of the Arts in Seattle. An additional fee (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 should consult their institution in advance to make sure credits are transferrable.

• 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.

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 ?

PH OTO C R EDI TS: Alec Miller, Adam Gurvitch, Jay Macdonell D ESI G N : Studio Matthews, Carlos Esparza C OV E R I M AG E: Michael Hernandez, 2016 Session 5 Class Project

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.

23

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 18–November 10, 2017 Applications Due: January 6, 2017

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 26–May 12, 2017 Applications Due: October 26, 2017

Q U E ST I O N S ?

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

24

“It is fundamentally going to change the way we make art.�

SuttonBeresCuller, Artists in Residence, Summer 2016

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

SPEECH-TO-SPEECH

TTY / ASCII / VOICE / VCO /

800.676.3777

FAX : 20 6. 6 21.0 713

PH ONE: 20 6.62 1.842 2

SEAT TLE OFFICE

FAX: 360.445.5515

PHONE: 360.445.3111

STANWOOD, WA 98292

1201 316TH ST. NW

STANWOOD CAMPUS

P E R M I T N O. 12 9 81

S E AT T L E , WA

PA I D

2 40 2ND AV E S, SU IT E 1 00 SE AT T L E , WA 98 10 4

A P P LY O N L I N E BY F E B R U A RY 1, 2 0 1 7 F O R P R I O R I T Y P L A C E M E N T, S C H O L A R S H I P, TA , A A , & S U M M E R STA F F P O S I T I O N S ST U D E N T A P P L I C AT I O N S A C C E P T E D U N T I L C O U R S E S A R E F I LL E D.