summer program 2014 - Idyllwild Arts Academy

Transcription

SUMMER PROGRAM 2014
Workshops for Adults
HANDS-ON
W O R K S H O P S • L E C T U R E S • D E M O N S T R AT I O N S • P E R F O R M A N C E S • R E A D I N G S • E X H I B I T I O N S
Page
WKND
7/7–11
WKND
6/30–7/4
WKND
6/23–27
WKND
WKND
Please see course descriptions for exact
dates and durations.
TA B L E O F CO N T E N TS
6/16–20
S C H E D U L E O F A D U LT C L A S S E S &
CERAMICS
7
Ceramics: The Ways of Clay
5
Hot Clay 5
Exploring the Altered Vessel
6
The Figure
6
The Painted Pot: Surface Tension
6
Cone 6: Exciting Glazes & Surfaces
7
Lively Pots: Form, Surface & Soda Firing
JEWELRY/METALS
10
Forming, Forging & Finishing
10
Three Ring Circus
8
IDYLLWILD ARTS
The School Mission
The mission of the Idyllwild Arts Foundation
is to promote and advance artistic and cultural
development through education in a beautiful,
natural environment conducive to positive
personal growth.
The Idyllwild Arts Summer Program provides
arts instruction and experiences of the highest
caliber to a diverse student population of all ages
and abilities.
The Idyllwild Arts Academy (Sept.–May)
provides pre-professional training in the arts and
a comprehensive college preparatory curriculum
to a diverse student body of gifted young artists
from all over the world. (See page 31 for information
on the Idyllwild Arts Academy.)
The Summer Program
The summer tradition that began in 1950 to
bring the best artists in their fields to teach under
the pines continues today. Intensive hands-on
workshops in music, dance, theatre, visual arts,
writing, filmmaking and Native Arts are offered to
students from age 5 to 105. Each year more than
1,800 adults and children attend the Idyllwild Arts
Summer Program.
The Summer Program is comprised of:
•Adult Arts Center (This Catalog)
•The Children’s Center (ages 5–12)
(See separate Youth Program Catalog)
Metals Week 8
Architecturally Inspired Jewelry
9
Articulated Panel Bracelet
9
Bespoke Enamel Decals
9
Steel for Jewelers: From Ferrous to Fine
10
Textures
10
Working Jewelry
MIXED-MEDIA/BOOK ARTS
11
Assemblage I: Wand of Protection
11
Assemblage II: Myth-ing in Action
12
Exploring Book Arts Through Cartography
12
Collaging the Translucent
12
Mythological Icons: Atypical Aphrodites
NATIVE AMERICAN ARTS
17
Chumash Stone Carving
17
Navajo Inlay Jewelry
18
Cahuilla Style Pottery
17
Native American Flutemaking - Beginning & Intermediate
13
Native American Arts Festival
15
Northwest Coast Cooking & Food Culture
14
Native Plants: Contemporary and Traditional Uses
15
Cahuilla Basketry
15
Haida Basketry
16
Navajo Weaving I & II
16
Hopi Jewelry: Overlay & Tufa Casting 18
Hopi Tewa Pottery
18
Santa Clara Pottery
PAINTING/DRAWING
19
Advanced Drawing Intensive
19
Drawing Without Fear
20
Encaustic Painting
20
Experiential Drawing & Watercolor
20
Painting the Figure
•Junior Artist’s Center (ages 11–13)
21
Plein Air Painting
21
From Representation to Abstraction
•The Youth Arts Center (ages 13–18)
21
Unleashing Color
22
Watercolor Untamed
•Family Camp (All ages)
We offer two catalogs, one for adults and
one for children, teenagers and families.
This catalog contains program
information for adults.
To request a Youth Catalog please call:
951-659-2171 ext. 2365
or visit www.idyllwildarts.org
PHOTOGRAPHY
22
Digital Photography & Beyond PRINTMAKING
22
Chiaroscuro Woodcut
23
Monotype
SCULPTURE
23
Glass Blowing
23
Introduction to Sand Casting: In Bronze & Aluminum
WRITING
GENERAL INFORMATION
Campus Facilities & Services...........................................3
Daily Schedule.....................................................................3
Discounts/Credits............................................................ 30
Events Schedule ....................................................... 26, 27
Fee Payment/Refunds.................................................... 29
Helpful Weblinks.................................................................4
Housing and Meals............................................................3
Location/Transportation..................................................3
Maps (Location & Campus).......................................... 28
On Campus Activities for Adults...................................3
Registration Form..................................................... 29, 30
Things to do in Idyllwild ..................................................4
Idyllwild Arts Academy Information....................... 31
2
SCHEDULE/CONTENTS
24
The Art of Writing Fiction: Making It Up
24
Writing Memoir
24
Screenwriting
25
Poetry Week
25
New Poems
25
Towards A Book
Sn M
T W Th F
S
JUNE
12 34 567
8 9 1011 121314
1516 1718 192021
22/29 23/302425 262728
Sn M
T W Th F
S
12 345
6 7 8 9 101112
1314 1516 171819
2021 2223 242526
2728293031 JULY
Sn M
T W Th F
S
AUGUST
1
2
34 56 789
1011 1213 141516
1718 1920 212223
24/3125 2627 282930
QUESTIONS?
Contact our Registrar:
(951) 659-2171 x 2365
fax (951) 659-4552
summer@idyllwildarts.org
USA
CA
A
NI
OR
LIF
N
Los Angeles
IDYLLWILD
San Diego
LOCATION & TRANSPORTATION
Location
Strawberry Valley view to Tahquitz Peak
HOUSING & MEALS
On-Campus Housing
Residence Halls:
Modest dormitory rooms with twin or bunk beds
accommodate one or two adults. Each dorm room
has its own bathroom. Rates include meals from
Sunday, 4 p.m. to Saturday, 10 a.m. The charge
includes linens and towels which are changed
weekly.
a. Two persons per room, meals included
$535 per person per week
$325 per person for three days
Parks Exhibition Center Opening Reception
Adult Student Culmination
STUDENT LIFE
On-Campus Activities for Adults
Workshops
Students work intensely in a focused, yet relaxed
setting which provides detailed technical instruction and personal attention to individual artistic
needs. Instructors are experienced and interested
in working with students of all levels of background
and ability.
Daily Schedule
Workshops run from 9 a.m. to 4 p.m. each day,
with a break for lunch in the campus dining hall
(included in tuition). Writing workshops have
shorter in-class hours in the afternoons, allowing
time for writing, individual conferences, craft talks
and other activities. Evening events and activities
take place throughout the week.
Each evening there are activities taking place
throughout campus (see the Summer Events
Calendar on pages 26 & 27). In addition to the
program traditions that are scheduled each week,
there are other lectures, readings, recitals and
performances that dot the calendar. The weekly
schedule includes:
Tuesday–Faculty artist slide lecture or Poetry
Reading
Off-Campus Housing
There will be other events scheduled each week
that all students are invited to attend, including
lunchtime lectures during the Native American
Arts Festival Week (June 29–July 5).
The campus also offers endless trails for hiking
and nature walks, as well as a 25-meter swimming pool open to all registered students. Parks
Exhibition Center is open daily and features the
work of artists in residence as well as a selection
of fine Native American art and jewelry.
Campus Facilities and Services
The campus features large modern dormitories,
modest residence halls, dining hall and a snack
bar. Services include health center, bookstore and
laundry facilities.
Parks Exhibion Center
The art studios include numerous indoor and
outdoor facilities. Exhibition areas include the
Parks Exhibition Center and the Eymann Sculpture Garden.
Transportation
There is no public transportation to or within
Idyllwild. Transportation is available for a fee via
campus vans from Ontario International Airport
or Palm Springs International Airport to Idyllwild.
Arrangements must be made in advance. Please
see transportation information section of the
Registration Form on page 29.
Residence Hall accomodations are not available
for weekend workshop participants. Please see the
Off-Campus Housing information below.
Please note: Quiet hours are 10 p.m.–8 a.m. Smoking is prohibited in all campus facilities. No pets
are allowed.
Wednesday–Potluck and Barbeque at Studio D
for all adult students, faculty members and
school community members.
Our campus is situated two miles from the center
of the village of Idyllwild. This tranquil site, remote
from urban distractions, affords the student a
unique learning environment.
Residence Hall check-out time is 10 a.m. on
Saturday.
Monday–Parks Exhibition Center reception:
Faculty Art Show and Artist demonstration/
presentation
Friday–Adult student art show
Nelson Dining Hall
b.Private room & meals (limited availability)
$745 per week
$465 per person for three days
Idyllwild is located at an altitude of 5000’ in the
Strawberry Valley of the San Jacinto Mountains
approximately a 2 1/2 hour drive from Los Angeles
and San Diego and a one hour drive from Palm
Springs and Riverside.
For those who are not staying on campus, the village offers many lodging alternatives, from luxury
to rustic and includes motels, bed and breakfast
inns, cabins and lodges. There are also public and
private campgrounds in and around Idyllwild.
Parks Exhibiton Center
See page 4 for additional information.
Meals
Lunch is included for all registered adult students
at no charge.
Meals are served cafeteria-style. There are vegetarian options at every meal including a hot entree at
every lunch and dinner. In addition, an extensive
salad bar featuring fresh fruits and vegetables
is available at all lunches and dinners. Students
may purchase additional meals by the week. A
one-week meal pass (20 meals) is $90.
Kiln Firing Celebration
(Due to the large volume of students on campus,
special diets cannot be accomodated.)
The school also offers a snack bar which operates
on a cash basis beginning June 30. Sandwiches,
snacks and soft beverages are available from
11:30 a.m. to 7:30 p.m. daily.
Performance halls include the IAF Theatre, Stephens Recital Hall, Holmes Amphitheatre, and
Junior Players Theatre among others.
Please note: At the time this catalog was
printed, every effort was made to assure its
accuracy. In keeping with our commitment
to individual and timely needs of students
and faculty, however, we reserve the right to
make changes in faculty, courses, schedules,
tuition and policies.
The Krone Library houses resource areas with internet access and wireless connection, classrooms
and a museum.
There are dedicated dance studios, rehearsal halls,
film studio and practice rooms located throughout
the campus.
For the most current information, see our
website www.idyllwildarts.org/summer.
2013 Photographer: Paula Harding.
Kennedy Kiln Yard
su mme r@ i d y l l w i l d a r t s. org
Faculty, Staff & Adult Student Potluck
THE PROGRAM
3
YOUTH
PROGRAMS
CERAMICS
Ceramics Workshop: Ways of Clay........................... 7
Greg Kennedy & David Delgado
For information about the following programs,
visit us online or contact us to request a Youth
Catalog.
Visit: www.idyllwildarts.org
Phone: 951-659-2171 x2365
Hot Clay Week I.............................................................. 5
Exploring the Altered Vessel............................... 5
John Oles
FAMILY CAMP (all ages)
The Figure.................................................................. 6
Patti Warashina
CHILDREN’S CENTER
Multiarts Day Program (ages 5–8)
The Painted Pot........................................................ 6
Michael Corney
Specialized Programs (ages 9–12)
DANCE
Dance Explosion
Hot Clay Week II............................................................. 6
FILM
Collaborative Filmmaking
Cone 6: Exciting Glazes & Surfaces................... 6
Margaret Bohls & Richard Burkett
MUSIC
Piano Workshop
THEATRE
Acting for the Camera
Mini-Musical Theatre
Theatre of Myth & Folklore
VISUAL ARTS
Adventures in Art
Art From Many Cultures
Drawing & Sculpture
Modern Art/Clay/Sculpture
WRITING
From Page to Stage
JUNIOR ARTIST (ages 11–13)
THEATRE
Mini-Musical Theatre
Musical Theatre
Shakespeare’s World
Theatre Adventures
VISUAL ARTS
Ceramics Workshop
Computer Animation
Fashion Design, Art & More
Magic of Art
Painting & Drawing
Photography Workshop
WRITING
Young Writer’s Workshop
YOUTH ARTS (ages 13–18)
COMPUTER ARTS
Computer Animation
DANCE
Dance Workshop
Song and Dance
FILM
Directing for the Camera
Filmmaking
MUSIC
Symphonic Band
HS Symphony Orchestra
HS Wind Ensemble
HS Chamberfest
Festival Choir
Harp Workshop
Jazz Workshop
Piano Workshop
Song and Dance
Songwriting
THEATRE
Directing for the Camera
Song and Dance
Summer Theatre Festival
Theatre Arts Summer Intensive
VISUAL ARTS
Art Exploration
Ceramics: Clay Works
Drawing & Painting
Drawing & Painting MC
Fashion Design
Jewelry Workshop
Black & White Photography
Photo Exploration
RE: Mix
WRITING
A Fiction Workshop
Poetry Workshop
4
THE PROGRAM/CERAMICS
Lively Pots: Form, Surface & Soda..................... 7
Gay Smith
The Village of Idyllwild
ABOUT IDYLLWILD
SEE ALSO
Idyllwild has earned the distinction of becoming
one of the 100 Best Small Art Towns in America,
(as designated in the book of the same name
by John Villani), and features over 15 galleries
representing the work of more than 200 artists.
Cahuilla Style Pottery.................................................18
Tony Soares
Hopi-Tewa Pottery.......................................................18
Mark Tahbo
Santa Clara Pottery.....................................................18
Nathan Youngblood
Weather
Summer temperatures vary between the high
70’s to low 90’s during the day and drop to the
50’s–60’s in the evenings.
Trail Junction
Lodging
As a service to our adult students, we have provided
a list of lodging facilities in Idyllwild. The list is for
information purposes only and should not be
construed as an endorsement.
Motels and Inns
Apple Blossom Inn......................... 951-659-4861
Bluebird Cottage Inn.................... 951-659-2696
Creekstone Inn................................ 800-409-2127
Fern Village Chalets....................... 951-659-2869
Fireside Inn....................................... 877-797-3473
Grand Lodge.................................... 951-659-2383
Idyllwild Inn..................................... 888-659-2552
Knotty Pine Cabins........................ 951-659-2933
Manzanita Cabins.......................... 951-659-3151
Mile High Country Inn.................. 951-659-2931
Quiet Creek Inn............................... 800-450-1516
Rainbow Inn..................................... 951-659-0111
Silver Pines Lodge.......................... 951-659-4335
Strawberry Creek Inn.................... 800-262-8969
Strawberry Creek Bunkhouse......... 888-400-0071
Wilder Cabins.................................. 951-659-2926
Woodland Park Manor................. 877-659-2657
Cabins and Homes
Idyllwild Mtn. Rentals................... 951-659-5349
Idyllwild Vacation Cabins............ 951-659-5444
Idyllwild Vacation Rentals........... 800-297-1410
Camping
Idyllwild County Park.................... 800-234-7275
Dining
Numerous restaurants and cafés are located in
the village and feature a variety of cuisine from
gourmet to classic fare.
Things to do in Idyllwild
Idyllwild is filled with unique gift shops, galleries,
a movie theater, and restaurants.
There are hundreds of miles of hiking trails for
all levels from gentle strolls to strenuous trails
leading to the meadows and peaks that tower
above the village.
Idyllwild is also known for rock climbing and bicycling. Horseback riding and fishing are available
within 20 minutes from campus.
Bring the whole family!
Helpful Weblinks
www.idyllwildarts.org
www.towncrier.com
www.idyllwildherald.com
www.idyllwildjazz.com
www.greencafe.com
www.idyllwild.me
www.artinidyllwild.com
HOT CLAY
June 15–28, 2014
Posey Bacopoulos, 2012
John Oles, Altered Bowl
WEEK I
John Oles
June 15–21
Course # AACR ØØA1
Six-day session
Richard Burkett, 2012
HOT CLAY EVENTS
OPEN TO THE PUBLIC
Jeff Oestreich, 2012
Idyllwild Arts has a long history of offering outstanding ceramics programs,
with such renowned faculty as Fred Olsen, Shiro Otani, Susan Peterson, and
Maria Martinez among others. In recent years, Hot Clay faculty has included
Ingrid Lilligren, Christa Assad, Posey Bacopoulos, Lesley Baker, Tom Bartel, Mary
Week 1
MONDAY, JUNE 16
7 p.m. Lecture: Patti Warashina
8 p.m. Artists Reception. Hot Clay &
Visiting Faculty Show
Parks Center
TUESDAY, JUNE 17
7 p.m. Lecture: Michael Corney
Kay Botkins, Jason Burnett, Lisa Clague, Sunshine Cobb, Cynthia Consentino,
Patrick Crabb, Debra Fritts, Linda Ganstrom, Rosette Gault, Arthur Gonzalez,
Silvie Granatelli, Glenn Grishkoff, Martha Grover, Stephen Horn, Jeff Irwin, Paul
Lewing, Joe Molinaro, Lisa Orr, Jeff Oestreich, Terry Rothrock, Esther Shimazu,
Neil Tetkowski, James Tisdale, Geoff Wheeler, and Lana Wilson.
OVERVIEW
Coordinator: Richard Burkett
•Hands-On Workshops and Open Studios
•Demonstrations and lectures presented by all faculty
THURSDAY, JUNE 19
7 p.m. Lecture: John Oles
Week 2
SUNDAY, JUNE 22
7 p.m. Lecture: Margaret Bohls
MONDAY, JUNE 23
8 p.m. Artists Reception. Parks Center
WEDNESDAY, JUNE 25
7 p.m. Lecture: Gay Smith
THURSDAY, JUNE 26
7 p.m. Lecture: Richard Burkett
•Critiques and feedback
•Exhibits of faculty work
Explore innovative techniques and concepts in the workshop of your choice.
Lectures and demonstrations are scheduled to allow participants in all workshops to attend. We emphasize an open studio with a great deal of crossover
during each week’s workshops. Artist receptions for the faculty exhibit are
planned June 16 and 23.
Hot Clay Exhibition
This workshop is designed for those who seek
to expand their vocabulary of ceramic forms and
techniques, break out of a rut, or inject some new
energy into an uninspired studio practice. We will
explore such techniques as stretching, altering
and darting to create unique pieces based on
traditional pottery forms, and the use of carved
stamps to apply texture.
Inspiration for form and surface can be drawn,
literally, from both natural objects and the human figure, alike. We will investigate drawing as
a continuous component in the ongoing creative
process. Whether you’re a Picasso or a Pollock,
we will use drawing to inspire ideas for form and
surface, from quick-and-dirty sketches to a life
drawing session from a live model.
Daily exercises include demonstrations of throwing and altering techniques, discussion and presentation on sources of inspiration, and informal
critique of work in-progress.
Work from the beginning of the week will have the
opportunity to be glazed and fired to cone 10 in
a gas kiln, while pieces finished later in the week
may be bisque-fired only to encourage further
exploration of form, surface, and inspiration in
the sculptural and/or functional vessel.
Skill Level: Beginners capable of pulling a 7”
cylinder and Intermediate students.
Materials: A complete materials list will be sent
upon registration.
Tuition: $725
Lab fee: $60
Enrollment limited to 10 students.
JOHN OLES is a studio artist in New Orleans. His
work can be found in several group and solo shows
around the country, including the Ogden Museum
of Southern Art, the 21st Annual Strictly Functional
Pottery National, and the Carol Robinson Gallery. From 2008-2013, John taught ceramics at
Loyola University and currently teaches at Tulane
University. He has been a Visiting Artist at many
prominent ceramics programs around the country,
including Hartwick College, Louisiana Tech, UNC
Asheville, and Harvard University.
www.jolesart.com
Class size is limited to allow for
maximum interaction among participants and with the instructors.
The ceramics studio is equipped with
gas and electric kilns, wheels, handbuilding equipment and a glaze lab.
Please note: Each week begins on
Sunday at 9 a.m. and ends Saturday
morning after the kilns are unloaded.
John Oles, Jars
CERAMICS
5
Richard Burkett, Cups
WEEK II
Cone 6
Exciting Glazes & Surfaces
Margaret Bohls & Richard Burkett
June 22–28
Course # AACR ØØB1
Six-day session
Patti Warashina, Feathered Harrassment
Patti Warashina, A Red Figure
Richard Burkett, untitled
Students will bring bisque pots to decorate
and glaze and will also have the opportunity to
make pots during the workshop. A free copy of
HyperGlaze glaze software will be provided for all
students in this class.
Patti Warashina, Lunar Affair
Approaching a Clay Narrative
Skill Level: Intermediate
The Figure
upon registration.
Patti Warashina
June 15–21
Tuition: $725
Lab fee: $65
Six-day session
Social, political, and personal humorous narrative have been the focus and subject of Patti
Warashina’s figurative clay sculpture for the past
50 years. This is a rare opportunity to work with
a pioneering artist, known for her unparalleled
contribution to the world of ceramics.
In this workshop, participants will be encouraged
to explore their own personal experiences and narratives in clay, working with Patti to build figurative
sculpture. She will share her powerful techniques
for clay sculpture, including slab building, pinching, and molds. She will construct a figure, as well
as other abstract forms, demonstrating a variety
of techniques and methods for efficiently building hollow forms. Patti will also demonstrate how
she uses underglazes and glazes to complete her
work. Slideshows and various videos will augment the demonstrations and reveal her artistic
evolution in clay.
Skill Level: Basic clay handbuilding skills, intermediate level recommended.
Michael Corney, Face Cup
Michael Corney, Small Vase
Surface Tension
The Painted Pot
Michael Corney
June 15–21
Tuition: $725
Lab fee: $65
This fast-paced class is designed for those who
would like to expand their range of surface treatments beyond the use of glaze alone. We will focus
on brush painted ceramic stains and underglazes
in combinations with glazes to create controlled
pictures and pattern. Once the palate is established
we will turn to the important and often-neglected
aspect of painted ceramics–what do I want/have
to say? Learn to develop your visual language to
express your political, personal or social beliefs.
from the University of Washington, where she
later went on to teach for 25 years; she retired
in 1995. She is an American Craft Council “Fellow”, has received the Twining Humber Lifetime
Achievement Award, the University of Washington
Distinguished Alumnus Award, the Governor’s
Award of Special Commendation for the Arts,
and two NEA Awards. Her work is included in
national and international collections, including
The Smithsonian, Museum of Art and Design, NYC,
and LA County Art Museum.
MARGARET BOHLS teaches ceramics at the
University of Nebraska in Lincoln. She has been
teaching glaze chemistry at art centers and universities for the last 10 years. Her work has been
shown in over 100 group and solo exhibitions since
1995 and is included in the permanent collections
of the Minnesota Museum of American Art, the
American Museum of Ceramic Art. She has written articles for Pottery Making Illustrated, and her
ceramic work has been featured in both Ceramics
Monthly and Studio Potter Magazine.
www.margaretbohls.com
RICHARD BURKETT has over 40 years of experience in ceramics, loves to make pottery and
sculpture, and has studied ceramics around the
world. He has made soda and salt-fired work
during his entire career. Burkett is the author of
HyperGlaze glaze software and the coauthor of
the 6th edition of Ceramics: A Potter’s Handbook.
He is currently Professor of Art-Ceramics at San
Diego State University.
www.richardburkett.com
Michael Corney, Small Vase
upon registration.
PATTI WARASHINA earned her BFA and MFA
A happy medium between high-fire and low-fire,
cone 6 offers a wide range of decorating possibilities. In this class students will be given an overview
of glaze chemistry as it applies to mid-range firing,
and some simple strategies for developing a personal glaze palette. We will also work with texture,
underglaze, in-glaze, and over-glaze decoration,
and explore the use of resist and glaze layering
to create more complex surfaces.
Six-day session
Daily activities will include: demonstrations of
the use of stains, underglaze application and
glaze color development, testing of colors and
exercises designed to generate your ideas into
visual terms. Michael is well-known for painting
on slipcast forms, so he will also demonstrate his
process for creating simple slip cast molds.
Students will complete several sample pieces
using the various techniques they’ve learned in
the workshop, and will have the technical skills
and confidence to continue developing these in
their own studios.
Michael Corney, Story Jar
Skill Level: Advanced-beginner to Advanced.
upon registration.
Tuition: $725
Lab fee: $65
MICHAEL CORNEY is a teacher and studio potter
currently living in northern San Diego County. He
received his BA degree from CSU, Fullerton, and
went on to complete a MFA degree at Cranbrook
Academy of Art in Michigan. Michael has taught
workshops at Anderson Ranch, Penland School of
Crafts and Santa Fe Clay, and participated in shows
at Santa Fe Clay, NM, Northern Clay Center, MN,
The Schaller Gallery, MI, and Akar Design Gallery
IA. His work is in the permanent collections of The
Fine Arts Museums of San Francisco, The Ceramic
Research Center at Arizona State University Museum, the Racine Museum of Art and the Boise
Museum of Art.
www.michaelcorney.com
Margaret Bohls, Leaf Cup & Saucers
Margaret Bohls, Cruet Set
6
CERAMICS
951-659-2171x2365
J E W E L RY / M E TA L S
H OT C L AY
Forming, Forging & Finishing.................................10
Deborah Jemmott
Three-Ring Circus.......................................................10
Richard Salley & Jessica Jordan
Metals Week.................................................................... 8
Architecturally Inspired Jewelry........................ 8
Harold O’Connor
Articulated Panel Bracelet................................... 9
Pauline Warg
Gay Smith, Stacking Bowls
Bespoke Enamel Decals........................................ 9
Elise Preiss
Steel for Jewelers: Ferrous to Fine.................... 9
April Wood
The Ways of Clay
Ceramics Workshop
Textures.....................................................................10
Charity Hall
Greg Kennedy & David Delgado
June 30–July 11
Course # AACR Ø1-Ø2
Greg Kennedy
Two-week session
This intensive course is designed for beginning and
advanced participants who would like to expand
their experience in clay. The philosophy of the studio
is to encourage interaction between fellow students
of all skill levels. Activities such as clay mixing, kiln
loading, firing, kiln unloading and glaze mixing are
highly encouraged. Beginning instruction in the use
of the pottery wheel is stressed and throwing on
the potter’s wheel is emphasized. The studio also
has the facilities for the hand builder, i.e. slabroller,
extruder, and ample work space. Students will
complete artworks in cone 6, high temperature
reduction firings, and low temperature salt (saggar)
and raku. Technical and aesthetic demonstrations
take place each day.
Gay Smith, Dinnerware
Gay Smith, Cache Pot
Lively Pots
Form, Surface & Soda Firing
Gay Smith
June 22–28
Course # AACR ØØB2
Six-day session
In this workshop we will explore ways to make
lively, exciting pots. We’ll start with glazing bisqued
pieces you bring to fire in the soda kiln. Then we’ll
work with freshly thrown pots, altering form and
surface with emphasis on making lively looking
pots and improving practical skills. Everything
from squaring, ovaling, fluting, faceting, altering
lidded forms, feet and handles to basic throwing
techniques will be on offer. Form and surface
treatments, including slips and glazes that are
particularly responsive to the effects of soda firing,
will be covered. We’ll engage in lively conversations ranging over our interests and artistic passions, technical questions, developing a personal
aesthetic, raw glazing, single firing, and soda firing.
Skill Level: Basic wheel throwing skills, and ability to make/bring bisqued pots made of cone
10 clay.
upon registration.
Tuition: $725
Lab fee: $70
The spacious, well lit studio is equipped with potter’s wheels, both kick and electric, a Brent slab
roller, clay extruders, Soldner clay mixer, gas kilns,
electric kilns, as well as our Anagama and fast fire
wood kiln. We have ample work space, including a
glaze room and separate facilities for throwing and
hand building; in addition we have several outdoor
work areas. Students may bring their own tools,
but studio tools are available. The studio is open
weekdays, 9 a.m. to 4 p.m. Each student will complete
an abundance of pieces.
Skill Level: All levels welcome.
Tuition: $725 per week
Lab fee: $35 per week (Includes clay-150 lbs. of
clay per student-and firing costs.)
Enrollment limited to 10 students per week.
Working Jewelry....................................................10
Sarah Doremus
SEE ALSO
Hopi Jewelry.................................................................16
Roy Talahaftewa
Navajo Inlay Jewelry..................................................17
Richard Tsosie
David Delgado
GREG KENNEDY: BS, Biology, University of Nevada,
Las Vegas. National Science Foundation Award
for botany and geology studies in the Spring
Mountain Range of Clark County Nevada. After
graduating with honors in 1972, Greg turned his
attention toward ceramics. Since that time, he
has been a studio potter and ceramics teacher.
His focus and inspiration is mountain topography
and is continually charmed by nature. Respectful
of traditional pottery, he enjoys meeting with
indigenous potters and learning from them during
his global travels. This will be Greg’s 29th year of
teaching for Idyllwild Arts. His home and studio
are located in the coast range of Oregon, where
he practices quietness, authenticity, harmony
and sustainability.
DAVID DELGADO is a mixed media sculptor and
potter living and working in Oakland, California.
Originally from Southern California, David moved
to Oakland to study Sculpture at the California
College of the Arts, where he received a BFA in
Sculpture in 2011. This will be David’s ninth year
working with the Idyllwild Arts Summer Program.
GAY SMITH (Gertrude Graham Smith), is a studio
potter and teaching artist single firing porcelain
ware in a soda kiln near Penland, NC. Artist-inresidencies include Archie Bray Foundation and
Penland School. She’s taught at Haystack, Penland,
Harvard, and the Findhorn Foundation. Her work
is represented internationally, is in collections
including the Mint Museum in Charlotte, NC,
and Yingge Ceramics Museum in Taiwan, and she
has been featured in Ceramics Monthly. Her work
can be viewed in publications including Making
Marks and Functional Pottery by Robin Hopper, and
Working with Clay by Susan Peterson. Grant awards
include a North Carolina Visual Artist Fellowship,
and two Regional Artist Project Grants.
www.gertrudegrahamsmith.com
Greg Kennedy, Artist Lecture
CERAMICS/JEWELRY
7
METALS
WEEK
June 15–19, 2014
Harold O’Connor, Pin
Harold O’Connor, Pin
Fred Zweig, 2013
Harold O’Connor, Japanese House Ring
Metals Week Culmination, 2013
Harold O’Connor
June 15–19
Course # AAJW ØØA
One-week session
This class will use a wide range of techniques to
create work inspired by architecture. Starting with
photos or sketches of your favorite architecture
(Ancient or Modern) you will use elements of architectural works by such icons as Antonio Gaudi
or Frank Gehry as inspiration to design and create
rings and brooches.
Instruction will be given in the following topics:
•Creasing/Folding
• Efficient Layout/Soldering Methods
• Making Soldering Jigs
Pauline Warg
• Setting up Hollow Forms for Soldering
OVERVIEW
• Creating Corrugated metal sheet
Coordinator: Deborah Jemmott
• Beginning Silver granulation
• Laminating copper/silver bi-metal sheet
Metals Week is designed to be a
• Making and reticulating shibuichi
week of creative and social renewal
where you can relearn how to be
In addition, we will cover tools that make jewelry
work more efficient and learn methods of finishing
to obtain the final look of a professional piece.
Richard Salley, Rings
open to learning and seeing from
Metals Week Potluck & Auction
a creative perspective. You will be
Materials: A complete materials list will be
sent upon registration.
working with master instructors in
an environment that encourages
opportunities to test ideas, try new
techniques and create work as well
as network and exchange ideas
with other jewelers & metalsmiths.
Skill Level: Basic fabrication and soldering skills
required.
Deb Jemmott, Serenity
Whether you come to learn new skills or enhance the skills and techniques
you already know, you will have the opportunity to grow as an artist in metal.
This week of intensive metals studies will begin on Sunday, June 15 and run
through Thursday, June 19. You will have the opportunity to work with one
Betty Helen Longhi, 2013
Other activities during the week
include:
•Exhibition of faculty work and
opening reception
of six outstanding jewelers/metalsmiths – but in addition, you will have the
•Faculty slide show & lectures
opportunity to sign up for two lecture/demos from other instructors teach-
•Potluck dinner
ing during the week. This is a time for you to attend a lecture/demo, examine
•Auction
samples, ask questions and visit with instructors teaching other Metals Week
workshops. This schedule offers the opportunity for a rich and well-rounded
experience with intensive studies focusing in the area and with the instructor
•End-of-the-week student
exhibition
Tuition: $725
Lab fee: $45 (Includes the use of all tools,
equipment, and consumables such as solder
and compounds.) Students are encouraged to
bring their own metal and tools–but they must
be clearly marked.
HAROLD O’CONNOR has studied goldsmithing arts in the US, Denmark, Finland, Germany,
Austria and Mexico. His work has been exhibited
in over 200 exhibitions throughout the world.
He is featured in many publications, including
American Craft, Metalsmith, MASTERS–Gold, and the
Handbook of Jewelry Techniques and 500 Brooches.
In addition, he has authored several books including The Jewelers Bench Reference and The Flexible
Shaft Machine: Jewelry Techniques. His work is
included in the public collections of 16 museums
including: Smithsonian Institution, Metropolitoan
Museum of Art, Boston Museum of Fine Arts;
National Ornamental Metal Museum, Memphis,
Koch Collection, Switzerland; and the Victoria &
Albert Museum, London, England.
you have chosen.
8
JEWELRY
951-659-2171x2365
Elise Preiss, First Step
April Wood, Garden
Elise Preiss
June 15–19
Course # AAJW ØØC
One-week session
In this course, students will explore the various types
of decals suitable for use with vitreous enamel.
Enamel is the fusing of a layer of glass to metal.
Commercial and custom decals allow the permanent transfer of imagery to an enameled piece in
a short time. Using lead free enamel, students will
learn the application and firing of vitreous enamel
on both steel and copper. In addition to using
commercially available decals, students will learn
how to produce their own custom decals from
photographs, illustrations, or text. Decal application
and firing will be thoroughly covered using both
torch and kiln firing techniques.
Pauline Warg, Bracelet
Pauline Warg
June 15–19
Course # AAJW ØØB
One-week session
Using an articulated bracelet as the pallet, students will create a fluid narrative of creativity. The
bracelet will be made of two to seven panels of
metal with hinged connections and a catch. This
class is an excellent option for students who have a
crisp, tight uniform design style or those who tend
towards a more sculptural or free form loose style.
The project can be adapted to a wide variety of
creative metalworking techniques. The panels can
be symmetrical, asymmetrical, wide, narrow, any
variety of shapes with form and dimension or flat.
Mixed metals may be used as well as gemstones,
texture, piercing and any combination of those
techniques. When made properly the articulated
bracelet will flow on the wrist.
Students will be shown many examples of hinged
articulated bracelets. Variations and themes for
this type of bracelet will be discussed at length.
The class will cover a wide variety of hinged connections using tubing, sheet metal, wire and jump
rings. Clasp and closures will also be demonstrated
and discussed.
In addition to completing a hinged panel bracelet
with a catch, students may be able to make samples
of hinge variations and/or clasp options.
Skill Level: Basic fabrication and soldering skills
are helpful. Projects can be tailored to your
skill level. Students with beginning skills are
welcome.
upon registration.
Tuition: $725
Lab fee: $60 (Includes non precious metal and
some wire. In addition, it includes the use of all
tools, equipment, and consumables such as solder and compounds.) Students are encouraged
to bring their own metal and tools–but they
must be clearly marked.
Pauline Warg, Bracelet
This workshop is perfect for students interested in
adding imagery, patterns, or text to their work. The
emphasis will be on experimentation. Students will
create a range of samples for future reference and
will take home at least one finished piece.
Skill Level: Appropriate for all levels–beginner as
well as intermediate and advanced.
upon registration.
Pauline Warg, Rhythm Bracelet
PAULINE WARG earned a Journeyman Metalsmith
Certificate after completing a 3 year apprenticeship
with Master Goldsmith Philip Morton and holds
a BFA from the University of Southern Maine. Her
work encompasses fabricated jewelry, silversmithing and enameling. Pauline owns and operates
WARG Enamel & Tool Center in Scarborough,
Maine. She is the author of Making Metal Beads
and contributor to The Jewelry Design Challenge.
Most recently Pauline filmed the Interweave DVD,
Basic Enameling: A Torch Fired Tutorial.
www.wargetc.com
Tuition: $725
Lab fee: $75 (Includes paper, coated paper,
enameling supplies, small tubing, wire, findings, 4 steel tiles and 4 copper stampings. In
addition, it includes the use of all tools, equipment, and consumables such as solder and
compounds.) Students are encouraged to bring
their own metal and tools–but they must be
clearly marked.
ELISE PREISS, from France, is an avid sailor, and
a maker at heart. She approaches her work just
like she would the ocean, with a great deal of
preparation, as well as humility, and confesses
that sometimes “you just have to let the material
speak.” After graduating with a BFA in Product Design from Otis College of Arts & Design, a summer
apprenticeship in France with master blacksmith
Guy Pendanx awoke her love for metal. She has
an MFA with an emphasis in metal from CSU Long
Beach. She has received awards including the
Distinguished Achievement in Creative Activity
Award from CSULB, and first place in the Jewelry
category during Alchemy2, the enamelist society
conference in Covington, KY in 2013. She now lives
and works in Los Angeles.
www.elisepreiss.com
April Wood, Nectar
From Ferrous to Fine
Steel for Jewelers
April Wood
June 15–19
Course # AAJW ØØD
One-week session
This class will explore steel from a jeweler’s perspective. Learn to weld steel wire and sheet on a fine
scale. Delve into silver and gold soldering on steel,
both as a surface embellishment and a fabrication
method. Surface techniques will include chasing
and repoussé, coloring, and patinas. Students will
also work with found steel, printed steel (tinplate),
and a variety of cold connections.
Skill Level: This course is designed for intermediate level students. Silver soldering experience
and basic knowledge of sawing and filing would
be helpful to accomplish more in this class.
Tuition: $725
and compounds. Also includes steel sheet and
wire.) Students are encouraged to bring their
own metal and tools–but they must be clearly
marked.
APRIL WOOD is a metalsmith from Baltimore.
She teaches at the Maryland Institute College of
Art , the Corcoran College of Art and Design and
recently at the Penland School of Crafts. She is
the recipient of three Maryland State Arts Council
Individual Artist Awards (2009, 2010, 2012). The
Austin Museum of Art hosted a solo exhibition
of her work in 2012 and she recently exhibited at
the SIERAAD International Art Jewelry Fair in Amsterdam. Her work has appeared in Surface Design
Journal, Metalsmith, and Sculpture magazines.
www.aprilwoodmetalsmith.com
Elise Preiss, Blue Cells
Metals Week Culmination
Elise Preiss, Flower of Geometry
April Wood, Eve
JEWELRY
9
M E TA L S W E E K
Jordan & Salley, Spinner Rings
Deborah Jemmott, Stability
Charity Hall, Grasshopper Brooch (back)
Sarah Doremus, Self-Fanning Ring
Jordan & Salley, Enamel Rings
Three-Ring Circus
Richard Salley & Jessica Jordan 
Deborah Jemmott, Ripples Spoon
Deborah Jemmott
July 7–11
Course # AAJF Ø2
Finishing skills are often so obscure–and yet so
important to making professional metalwork.
Through the techniques of forming and forging, you
will learn how to refine your design as you build it.
Textures
Charity Hall
June 15–19
Course # AAJW ØØE
One-week session
Create rich textures and distinctive patterns to
give your jewelry new vibrancy and life. We will
start by making a texture sample palette on a silver
ring so that you have a wearable reference at your
fingertips. Experiment with many direct methods
of texturizing; upsetting and distorting metal with
hammers and tools, precision cutting and carving,
and freeform play. Apply those techniques to
many different forms to open endless avenues of
exploration in surface depth and pattern.
Spend several more days creating textured settings for stones and other objects. We will cover
the nitty-gritty of faceted stone setting. We will also
explore avenues for setting cabochons, enamels,
and other objects. You may choose to focus on one
of these types or continue to develop and hone
your surface texturing skills.
Skill Level: This class is appropriate for all levels.
Tuition: $725
and compounds. Also includes practice stones,
sterling wire/tubing.) Students should bring
their own hand tools–but they must be clearly
marked. A limited supply of optional materials
may be available for sale.
CHARITY HALL is a metalsmith and enamelist in
southwestern Virginia. Drawing from her background in botany, she highlights insect diversity
throughout her work. Charity teaches workshops
at the Penland School of Crafts and many other
art schools around the country. Her work has
been exhibited nationally, and the Mesa Arts
Center will host a solo exhibition of her work in
2014-2015. She has an MFA in Metal Design from
East Carolina University and a BA in Biology from
Colorado College.
www.charityhall.com.
Sarah Doremus, 360 Degree View Ring
Working Jewelry
Sarah Doremus
June 15–19
Course # AAJW ØØF
One-week session
Learn how to make your jewelry do something!
Pieces can move, turn, twist, flip open, pop or
even squeeze. Your imagination is the limit. In
this workshop you will learn ways to make your
brooches spin, rings expand and necklaces reveal
hidden chambers.
Kinetic jewelry moves! Using springs, hinges and
other mechanisms, you will learn ways to make
your jewelry come to life. In this class we will incorporate springs to make things jump, bearings to
make things move, and gears to make things spin.
You will make a simple crank-shaft, a telescoping
tube assembly, and have a day of problem solving.
Skill Level: This class is appropriate for all metals students but some basic fabrication skills in
metal would be helpful.
Tuition: $725
Lab fee: $70 (Includes spring wire, drill bits,
bearings, rivets, gears, assorted tubing, plexiglass tubing, 1/4” plexiglass, miniature brass
screws and bolts, cone burr, diamond drill bit,
2” silver bezel, ball bearing, 3” of 4ga sterling
wire. In addition, it includes the use of all tools,
and compounds.) Students are encouraged to
bring their own metal and tools–but they must
be clearly marked.
SARAH DOREMUS lives and works in Deer Isle,
Maine. She has been developing and teaching
workshops for both children and adults throughout the country, including Haystack Mountain
School of Craft, Peters Valley, and Metalwerx. She
earned her BS in Art History from Northeastern
University, a BFA from Mass College of Art. An
active sculptor and metalsmith, her work has
been shown in numerous publications and galleries, both invitational and solo, throughout the
United States.
www.sarahdoremus.com
Course # AAJC ØØ
Three-day session
One-week session
Charity Hall, Andalusite Ring
June 20–22
Finishing well often starts at the beginning–from
the first stages of planning, before the metal is even
cut. Knowing how to approach layout, taking into
account the techniques that will be used to execute
the piece and planning for soldering are all skills that
will be presented in this class. You will learn how
to determine the order of operations appropriate
for building your creation and how to take control
of finishing techniques throughout construction.
Through a series of planned exercises, you will
experience a detailed examination of several basic
jewelry making techniques: sawing, filing, soldering
and finishing the metal–with a focus on craftsmanship. Then you will apply those skills to the more
advanced techniques of forming and forging to
create your own designs. Hand finishing techniques
as well as use of the flex shaft and many of its bits,
burs, buffs and tools will be taught.
You are encouraged to bring work you have
struggled with, have questions about or have
issues finishing.
Skill Level: All levels are welcome.
Tuition: $725
Lab fee: $45 (Includes some metals, use of
specialized tools, consumable materials such
as solders, fluxes, sandpaper, etc. and use of
instructors tools.) Students should bring their
own metals and hand tools–but they must be
clearly marked. The instructor will have some
materials and supplies available for purchase
during class.
DEBORAH JEMMOTT has shared her love for metal
by teaching jewelry making and metalsmithing to
others since 1978. She teaches through the San
Diego Community College District in addition to
teaching many workshops and private lessons
in a wide range of topics. Her students have
won awards for their work and many sell work
that they have produced in class. Deb’s work has
been featured in American Style, American Craft,
Metalsmith, San Diego Home Garden and Redbook
magazines as well as the San Diego Union Tribune
newspaper. It has also appeared in 30-Minute
Bracelets, Art Clay Silver and Gold by Jackie Truty,
The Goodfellow Catalog of Wonderful Things III,
Jewelry Making: A Guide for Beginners by Thomas
P. Foote, and 20 years in Metal. She has exhibited widely and has work in galleries across the
country. She also operates her jewelry and metalsmithing company “Enhancements.”
www.debjemmott.com
This intensive 3-day workshop focuses entirely on
the process of ring making. In this series of workshops we will be presenting how to make 3 rings,
3 different ways in 3 days.
The Spinner Ring
Begin your Circus experience with a basic design
that is determined to get you geared up and primed
for the other types of rings you will learn to make.
Although simple in concept, the Spinner Ring has
unlimited design possibilities. You will learn how to
properly size a ring for any given gauge of metal,
how to resize a ring and how to finish your piece.
The Bezel–Set Cabochon Ring
On day two you will be creating a sterling silver
bezel–set ring with a turquoise cabochon. You will
be free to explore either a Southwest style ring or
a more modern version using an open ring shank.
Learning both how to create a soldered bezel and
securely set a stone are two skills that can easily
be applied to an infinite number of ring design
possibilities. A valuable addition to your jewelrymaking arsenal!
The Torch–Fired Enamel Ring with Tube–set CZ
The grand finale! End your circus stint with a ring
of fire! Learn the basics of torch-fired enameling
and create a mini piece of artwork out of copper
and molten glass. Next, combine your enameled
element with a sparkling tube-set cubic zirconia to
create a completely custom and one of a kind ring.
Skill Level: Basic soldering and sawing experience recommended.
Tuition: $490
Lab Fee: $75 (Includes all materials and consumables for 3 rings, one in each style.)
RICHARD SALLEY began working with metal in
1969 as an assistant to metal sculptor Malcom Moran. His metal working experience turned to found
object jewelry’after taking a workshop with Keith
LoBue. Richard has recently retired from teaching
in public schools to devote more time to his art
and teaching workshops around the country. His
interests include digital art, mixed media collage/
assemblage, sculpture and jewelry. Richard and his
wife, Jane, live in Santa Fe, New Mexico.
www.rsalley.com
JESSICA JORDAN graduated from North Carolina
State University’s College of Design with a BA in
Art & Design. Largely self-taught in the realm of
metal, she rounded out her college curriculum
after graduation by attending independent metalsmithing classes at Penland School of Crafts and
the John C. Campbell Folk School. She is currently
the sole proprietress behind “Rosy Revolver”, an
unflinching line of jewelry handbuilt for women
who appreciate silver, stone, and the strength of
the female spirit. Jessica resides in Fuquay-Varina,
North Carolina.
www.rosyrevolver.com
Charity Hall, Ammonite pin
10
JEWELRY
951-659-2171x2365
MIXED-MEDIA/
BOOK ARTS
Assemblage: Wand of Protection......................... 11
Michael deMeng
Assemblage: Myth-ing in Action.......................... 11
Michael deMeng
Exploring Book Arts thru Cartography...............12
Sibyl Rubottom
Collaging the Translucent........................................12
Andrea Matus
Assemblage:
Wand of Protection
and Myth-ing in Action
Michael deMeng
July 5-6 & 7-8
Course # AAAS Ø1
Four–day session-Includes both workshops.
Students enrolling in both sessions may take
advantage of special pricing.
Please use the course code above.
Tuition:$650 for both Sessions.
Mythological Icons: Atypical Aphrodites..........12
Andrea Matus
SEE ALSO
Encaustic Painting......................................................20
Charlie Ciali
Digital Photography & Beyond..............................22
David Hoptman
Michael deMeng, Caduceus of the Thriae (detail)
Michael deMeng, Caduceus of the Thriae Assemblage
Wand of Protection
Michael deMeng
July 5–6
Course # AAAS Ø1A
Two–day session
Students may select to enroll in one or both assemblage sessions.
Recently I was commissioned to create a wand of
protection for a friend. This person had a physical
ailment that traditional medical methods proved
futile in curing. She ended up using a byproduct
of honey, which almost magically cured her condition. As a gesture of thanks to the bees (whom
she saw as her saving force), she decided to take
up beekeeping to honor her insect friends. The
problem was, however, that she was deathly
allergic to these little pollinating pals. So the
wand of protection she asked me to create was
to protect her from bee stings when she went on
her apiarian expeditions. Of course, this creation
is strictly metaphoric and was not intended to
be a giant EpiPen. Rather, it is a psychological
symbol that helped her to overcome her fears–a
symbolic shield that would help her nurture the
bees that nurtured her.
We all have mental monsters to defeat, so it seemed
to me that everyone might need a magical wand
of protection now and again; something to give
us a little psychological boost when we need it
the most. So in this workshop, using objects and
symbols of personal importance, participants
are going to create magical wands to help them
make those troubles disappear. This will be done
incorporating a combination of painting, sculpture
and assemblage.
BUT THAT’S NOT ALL–We will also create a case,
stand or shrine for Wand of Protection.
Michael deMeng, Golem of Prague
Assemblage
Myth-ing in Action
Michael deMeng
July 7–8
Course # AAAS Ø2
Two–day session
Michael DeMeng, Medusa
Students may select to enroll in one or both assemblage sessions.
Of all the things in this wide, wild world, what I
have found to be the most inspirational source
material are myths and legends. My first introduction came in movies like Sinbad and Jason and the
Argonauts, and stop animation films filled with
wondrously strange worlds abounding with odd
entities such as multi-armed deities, cyclopean
beasts, and snake-headed gorgons. After that
I was hooked. I read everything I could on the
topic…no matter the culture.
Tuition:$350
Many years later, I am still drawn to these concepts.
Artistically, I have found these tales wonderful
springboards for creativity. After all, artistic expression, like many heroic tales, is a journey into
the unknown; the artist’s job is to go to secret
lands and retrieve something magical to share
with the world.
Tuition:$350
Your task for this class is to pick a myth or legend…
any myth from any culture (preferably one that
inspires or fascinates you). Next, using found
objects and discarded toys you will create a piece
of art that embodies the tale of your choosing. You
could focus on a character (like Zeus or Shiva) or
tell a story (like Pandora’s box). As for presentation,
I will leave it up to you…could be a free standing
sculpture or could be something that hangs on the
wall. You definitely want to come to this class…
otherwise you’ll be myth-ing out.
MICHAEL DEMENG, see bio under Assemblage:
And with a wave of your wand your troubles will
vanish…fingers crossed. Abracadabra!
Myth-ing in Action.
MICHAEL DEMENG is an assemblage artist whose
work is heavily influenced by Latin American art
forms such as retablos, ex votos, and milagros.
Born in Southern California, he now works and
resides in Canada. As an artist he has participated
in numerous exhibits that promote awareness of
such issues as AIDS, breast cancer, environmental
and other social issues. Michael is co-founder of
Missoula’s Festival of the Dead, an annual event
based on the Latin Dia de los Muertos designed to
celebrate life, death and the arts, through education, performance, and visual arts. He is the author
of the bestselling craft books, Secrets of Rusty
Things and Dusty Diablos: Folklore, Iconography,
Assemblage, Ole!, as well as the new Art Abandonment, co-authored with wife Andrea Matus. As
an educator, he offers a variety of mixed media
workshops throughout the country and over
the years has been actively involved with VSA
Montana. Through these activities, as well as his
artwork, Michael fosters community awareness,
and offers creative methods to explore the human experience.
www.michaeldemeng.com
MIXED MEDIA/BOOK ARTS
11
and Mythological Icons
Andrea Matus
July 10 & 11-12
Course # AAMC Ø2A
Three–day session-Includes both workshops.
Students enrolling in both sessions may take
advantage of special pricing.
Please use the course code above.
Tuition:$485 for both Sessions.
Andrea Matus
Sibyl Rubottom, Tutti E Due
Exploring Book Arts
July 10
Sibyl Rubottom
See special pricing for students enrolling in both of
Andrea Matus’ workshops.
Through Cartography
July 7–11
Course # AAMB Ø2
One–week session
Artists’ books are not books about art; they are
art expressed in book form. When the content
and form of a book are considered together and
given equal significance, the book becomes more
than a simple container for information. The goal
of many book artists is to involve the reader actively in the viewing process, not only to see the
words on the page but also to think about how
the words, pictures and physical form of the object
all contribute to their meaning.
From ancient times to the present, people have
created maps to depict real and imagined territories reflecting personal and cultural worldviews.
In this course, we will create books exploring the
universal and the personal. Writing and collage
exercises will help flex your bookmaking muscles
and bring your artistic vision into focus. The course
will examine ancient and modern maps, charts,
and other graphical representations, in addition
to various book structures and forms. This will be
a journey of mapping ideas and the stories, real or
imagined, that you’d like to tell in the book form.
We will investigate the three aspects of a book:
text, structure and image. Students will learn
several Eastern and Western book structures, using
adhesive and non-adhesive bindings, including
stab binding, one-page signature“painted books,”
accordion folds with covers, and an elegant wire
edge binding. We will learn how to make paste
paper and transfer techniques (for creating images
from photos or text). Come to camp and have a
journey within a journey!
Course # AAMC Ø2
One-day session
Typically collage is about the clever ways we combine items to cover over and transform surfaces;
this time we are going to explore this medium in
a slightly different way. In this class we will collage incorporating items that are transparent in
nature. Combining transparencies, mica, photos,
textured papers, ephemera, and found objects we
will create rich, layered collages, with jewel-like
depth and vibrancy. Using a small wood substrate
as our base, we are going to design multi-tiered
compositions. By learning the secrets of how to
combine the visible with the semi-visible, and
focusing on both the play of light and effects of
depth, you will be able to create mesmerizing
almost holographic effects. You choose whether
the subject is a portrait, landscape or something
else entirely.
Andrea Matus, Seadusa
Andrea Matus, The Knight of Wands
Mythological Icons
Atypical Aphrodites
Andrea Matus
July 11–12
See special pricing for students enrolling in both of
Andrea Matus’ workshops.
Tuition:$175
Lab Fee: $5 (Includes substrates, hardware and
matte board.)
ANDREA MATUS DEMENG, see bio under Mytho-
logical Icons.
Andrea Matus, The Siren
Skill Level: Beginner to Experienced book artist.
Tuition: $725
Lab Fee: $25 (Includes the materials & supplies
for all scheduled projects.)
SIBYL RUBOTTOM holds her MFA from Yale University in Painting and her BFA from the Rhode Island
School of Design. She is co-proprietor of Bay Park
Press, a small fine arts press specializing in limited
edition Artists Books and fine intaglio prints. Sibyl’s
books are in the special collections of universities
and libraries throughout the country (Library of
Congress, John Hay Library at Brown University;
and many others). She is an Artist-in-Residence
at the Athenaeum Music and Arts Library in La
Jolla, California and she teaches Book Arts at its
School of the Arts.
Sibyl Rubottom, First Quarter
12
MIXED MEDIA/BOOK ARTS
Course # AAMM Ø2
Two-day session
The artist’s ability through the use of powerful
imagery and cultural symbols to take an“ordinary”
image and elevate it to something otherwordly
is rather divine. You may choose an existing
mythological god or goddess as your inspiration,
or perhaps create one of your own to serve as
your muse for our large-scale (4’x2’) mixed-media
project based workshop. Prepare to do some
transformative magic as we take everyday images and change them into iconic mixed media
masterpieces. Bring your assortment of personal
symbols, imagery and that box of ephemera that
you’ve been collecting and we will incorporate
them into your canvas elevating them from the
ordinary to the extraordinary as we explore many
sophisticated techniques for creating our deeply
symbolic multilayered collage. We will use several
methods, mediums and techniques for seamlessly merging otherwise unrelated imagery into
a unified composition that will allow us to create
modern day icons of our own.
Tuition:$350
ANDREA MATUS DEMENG is a Vancouver, British
Columbia artist who travels the world teaching
and creating visual art. She shows and exhibits
her unique combinations of painting, collage
and sculpture throughout North America. Not
one to be afraid of color, Andrea’s work, projects
and workshops all revolve around the fusion of
pattern and design with vivid colors. Her most
recent project involves co-authoring a book with
her talented artist-husband Michael deMeng. The
book, entitled Art Abandonment, is due for release
in the spring of 2014.
www.andreamatus.com
Andrea Matus, The Queen
Andrea Matus, Measure of a Man
Andrea Matus, Temperance
951-659-2171x2365
N AT IVE AMERIC AN AR TS
The Native American Arts Workshops are designed
for adults at all levels of experience and knowledge.
Working closely with master artists and cultural
specialists, students have the rare opportunity to
learn traditional and contemporary Native American art forms and to gain an understanding of
the rich cultural foundation which inspires and
motivates each artist.
NATIVE AMERICAN
ARTS FESTIVAL
June 29–July 6, 2014
CULTURE
Native Arts Festival.....................................................13
Native Plants ............................................................14
Craig Torres, Barbara Drake,
Daniel McCarthy, Abe Sanchez
Northwest Coast Cooking/Food Culture
Freddie Bitsoie
.....15
FIBERS
Cahuilla Basketry ...................................................15
Rose Ann Hamilton
Matika Wilbur, photo of Sage Romero, Paiute
Haida Basketry .........................................................15
Lisa Telford
Navajo Weaving ......................................................16
Barbara Ornelas & Lynda Pete
JEWELRY
Hopi Jewelry: Overlay & Tufa Casting .............16
Roy Talahaftewa
Navajo Inlay Jewelry .................................................17
Richard Tsosie
MUSIC/CARVING
Chumash Stone Carving .........................................17
Tony Ayala
Native American Flutemaking .............................17
Marvin & Jonette Yazzie, Ernest Siva
POTTERY
Cahuilla Style Pottery ...............................................18
Tony Soares
Hopi-Tewa Pottery
Mark Tahbo
.................................................18
Dr. Jessica Metcalfe, Native American Fashion Lecture 2013
OVERVIEW
Reimagining Our Stories:
Storytelling in the
21st Century
Before the first Facebook post,
YouTube video, tweet, Tumblr, or
Chef Freddie Bitsoie
Instagram we’ve been telling stories.
Santa Clara Pottery ................................................18
Nathan Youngblood
What is the impact of a changing
SEE ALSO
Glass Blowing...............................................................23
Ramson Lomatewama
do we continue to use the power of stories to honor our traditions as well as
Introduction to Sand Casting.................................23
Gerald Clarke, Jr.
Indicates workshop takes place during
the Native American Arts Festival.
Git Hayetsk Dancers
world on the way we tell stories? How
Brent Michael Davids & Ensemble 2011
to ignite change + collaboration + collective action? This year’s Festival will
explore these questions and the many modes of storytelling today.
The spirit of this annual Festival Week is to bring the scientific, intuitive and
Gerald Clarke, Jr., Gallery Talk
trickster voices together for a balanced and provocative learning experience. It
FESTIVAL WEEK GUESTS
is designed to enhance and add depth to the hands-on workshop experience
(see the following pages for workshop listings), and includes performances,
the Michael Kabotie Lecture Series, art exhibits, and informal discussions with
the visiting scholars, tribal elders and artists throughout the week.
The Festival Week events are also
those not enrolled in a workshop to
Mike & Mique’l Dangeli
(Nisga’a, Tsimshian), Artists,
Dance Group Directors
learn about the most current issues
and theories concerning Native
Deana Dartt
(Chumash/Californio) Curator of Native
American Art, Portland Art Museum
American culture and art.
Please note:
Workshops that occur during
Gerald Clarke, Jr.
(Cahuilla), Artist, Vice Chairman,
Cahuilla Band of Indians
FESTIVAL GUESTS
Freddie Bitsoie
(Navajo) Chef, Anthropologist
open the public, offering a way for
FESTIVAL CONSULTANTS
Joe Baker
(Delaware), Director, Palos Verdes Art Center
Git Hayetsk
Northwest Coast Intertribal Dance Group
Mountain Cahuilla Bird Singers
Ellen Taubman
Curator, Changing Hands:
Art Without Reservation
the festival are designated with the
festival logo.
Matika Wilbur
(Swinomish/Tulalip) Photographer,
Founder, Project 562
Additional guests to be announced.
Git Hayetsk Dancers
13
C U LT U R E
Native Plant Food Preparation
Native Plants
The Mt. Cahuilla Birdsingers
Contemporary & Traditional Uses
Craig Torres, Barbara Drake,
Daniel McCarthy & Abe Sanchez
July 5–6
Course # NANP Ø1
Two-day session
Krieg Kalabasa, James Luna, Michael Kabotie
Dorothy Grant, 2013 Native Fashion Show
Michael Kabotie Lecture Series
FESTIVAL WEEK EVENTS
OPEN TO THE PUBLIC
Reimagining Our Stories:
Storytelling in the 21st Century.
Each day, the visiting guests will explore
a wide range of topics on this theme.
Native food tastings daily.
Parks Exhibition Center
SUNDAY, JUNE 29
6:30 p.m. Native American Radio Show:
Live Taping
MONDAY, JUNE 30
7 p.m. Ellen Taubman & Guest Artists
Art as Story
8 p.m. Invitational Exhibition,
New Stories: 6 Native Artists
Opening/Reception
Barbara Ornelas, Lynda Pete
TUESDAY, JULY 1
12–1 p.m. Kabotie Lecture Series,
Matika Wilbur,
Stories Through Photographs
WEDNESDAY, JULY 2
12–1 p.m. Kabotie Lecture Series, TBA
THURSDAY, JULY 3
12–1 p.m. Kabotie Lecture Series,
Deana Dartt,
The Stories Museums Tell
7 p.m. Film Night
FRIDAY, JULY 4
7 p.m.Performance:
Mt. Cahuilla Bird Singers
Git Hayetsk Northwest Coast
Intertribal Dance Group
Learn ways to preserve and utilize native
plants in this hands-on workshop. On day
one, begin with an ethnobotany talk in
the campus meadow next to ancient Cahuilla
bedrock mortars to learn about local plants and
their many uses. Next, learn how to make items
from the tule & cattail plants: toys, doll, baby
cradle, boat and mat. Learn about the many uses
of tule/cattail for house thatching, boats, toys,
mats, duck decoys, and food. In the evening,
visit local Cahuilla rock art sites to learn the meaning, historical significance and importance of the
preservation of these sites.
Day two will be devoted to traditional and modern
gathering practices of native plants; preparing
and processing with a wide range of plants; and
will include demonstrations on the processing of
native plants into various products such as foot
scrubs/soaks, salves, tinctures, etc. Learn how
native plants are used for medicine and prepare
natural remedies. Each student will take home
herbal teas they make themselves as well as other
native plant herbal products. This workshop is
dedicated to our teacher, Katherine Siva Saubel,
with deep gratitude.
Tuition: $220
Lab fee: $30 (Includes all materials, collected
and prepared; foods; field trip transportation
and park fee.)
CRAIG TORRES (Tongva) is a member of Traditional Council of Pimu and involved with Ti’at
Society, an organization focused on the revival of
the traditional maritime culture of the Southern
California coastal region and Southern Channel
Islands. He is an artist, as well as cultural educator, presenter and consultant to schools, culture
and nature centers, museums, and city, state and
government agencies acting as a consultant on
the Tongva. He has also been involved with the
organization Preserving Our Heritage and Chia
Café, which provide cooking demos and classes
with California native plants. These activities also
provide education on the importance of preserving native plants, habitats and landscapes for
future generations.
California Native Plants
DANIEL MCCARTHY received his BS and MS in
anthropology from the University of California,
Riverside. For the past 40 years, he has worked
at Anza-Borrego Desert State Park, Joshua Tree
National Park and throughout Southern California
compiling photographic inventories of rock art
sites in these areas and throughout the western
region. He has worked with Elders and Traditional
Practitioners for over 35 years and served as the
Tribal Relations Program Manager for the San
Bernardino National Forest for 17 years. He is currently Director, CRM Department, at San Manuel
Band of Mission Indians.
ABE SANCHEZ has been actively involved in
the revival and preservation of Indigenous arts
and foods. Two of his specialties are Southern
California Native American Basketry and California
and Southwest Native foods. He has had the opportunity to work closely with traditional Native
American gatherers to learn the methods and
practices of these cultural specialists. His interest
in traditional foods is that many of these local
ingredients are sustainable products that are
readily available yet underutilized. He believes
that by having the opportunity to teach about
these ancient natural foods and helping people
learn ways to prepare and eat them again can
make a difference in both their health and our
environment.
Grinding Rose Petals
BARBARA DRAKE (Tongva) is a tribal elder and
culture keeper. Her program, Preserving Our
Heritage, is a food bank of native foods collected,
preserved and processed for tribal elders. She is
a member of the Mother Earth Clan, a group of
three Southern California Native American women
educators who have taught extensively in museums, schools and tribal institutions.
SATURDAY, JULY 5
8 a.m. Hopi-Tewa Pottery Firing
Santa Clara Pottery Firing
Ernest Siva
14
Barbara Drake
951-659-2171x2365
FIBERS
Northwest Coast Salmon Drying
Historic Cahuilla Basket
Cahuilla Basketry
Rose Ann Hamilton
June 30–July 4
Course # NACB Ø1
One-week session
Chef Freddie Bitsoie
Northwest Coast
Cooking & Food Culture
Freddie Bitsoie
June 29
Course # NANC Ø1
One-day session
In this class we will explore food culture
of the Pacific Northwest, from northwest
Washington to the northern tip of Vancouver Island, looking at food practices of the
Kwakiutl, Makah, and Samish tribes, to name a
few. Students will explore salmon preparation
along with clams, seaweed, and other bounties
of the sea, and will also discover ways to prepare
berries, milled products, and learn about usage
of cedar and different types of lettuce. The Northwest is rich and diverse with many ingredients
that contributed to modern American food culture.
We will explore the uses of these ingredients from
the past and look at ways they have changed over
time. This class includes hands-on cooking with
short presentations, and the content is designed
to enable students to prepare these dishes at
home.
The Indian tribes of California produced
baskets of great diversity and beauty. The
exquisite baskets of the Cahuilla, in particular, are recognized among the highest form
of the basket making art, and in recent years the
Cahuilla have experienced a revival in the tradition.
Each student will learn how to create a basket of
his/her own during the workshop using yucca,
sumac, juncus and deer grass. On a field trip to
the nearby Cahuilla Reservation, students will be
taught identification of plants used in basket making and will learn how to prepare the plants for use.
Tuition: $725
Lab fee: $40 (Includes materials, field trip transportation and use of tools in class.)
ROSE ANN HAMILTON, Mountain Cahuilla, learned
the art of Cahuilla Basketmaking from Donna
Largo, longtime Idyllwild Arts summer faculty
member and the weaver responsible for the current revival of the tradition. Rose Ann was one
of Donna’s first Cahuilla students, and has been
making baskets for 20 years. She is active in the
Southern California Indian Basketweavers Association, and teaches basketmaking at numerous
venues, including Agua Caliente Cultural Museum
and UCLA.
Tuition: $175
Lab fee: $75 (Includes all foods, recipe booklet,
and use of tools in class.)
Lisa Telford, Haida Baskets
Lisa Telford
Haida Basketry
Lisa Telford
June 30–July 4
Course # NAHB Ø1
One-week session
For the Haida of the Pacific Northwest,
basketry was essential for survival years
ago–baskets were used to gather, store
and cook food. The instructor continues creating
basketry to celebrate the beauty of nature. Even
though basketry was functional, the Haida always
included a bit of beauty in each work basket.
In this class, each student will create a women’s
work basket using western red cedar and Alaska
yellow cedar bark. The techniques you will learn
are two and three stand twining, the in-between
stitch and you will use color to incorporate your
bit of beauty. The size of the basket will depend
on experience with basket making and textiles.
Lisa harvests and prepares her own material, using red and yellow cedar bark. Harvesting cedar
bark takes her hundreds of miles from home and
takes many hours of preparation time. Materials
are prepared differently depending on the final
product. The bark is traditionally stored for one
year and then further processing is required before
weaving may start.
Skill Level: Some weaving experience helpful.
FREDDIE BITSOIE, Diné (Navajo), is the owner of
FJBits Concepts, a firm that specializes in Native
American food ways. He has traveled the country, making presentations for organizations and
companies such as Kraft Foods, The College of
Holy Cross, Yale University, the Heard Museum,
Phoenix, AZ. He has been featured in and also
contributes to Indian Country Today. He has been
featured in Native Peoples Magazine and Arizona
Highways. His most recent works have been on
his own show Rezervations Not Required as well
as a guest appearance on famous Italian Chef
Lidia Bastianich’s show Lidia Celebrates America.
He also has won the Native Chef Competition
at the Smithsonian’s National Museum of the
American Indian for 2013. Freddie attended the
University of New Mexico, majoring in cultural
anthropology with a minor in art history before
attending culinary school. Today, he is one of the
most sought after and renowned Native American
chefs and Native foods educators in the country.
Tuition: $725
Lab Fee: $95 (Includes all materials, gathered
and prepared by the artist.)
LISA TELFORD is a Gawa Git’ans Git’anee Haida
weaver from British Columbia. She comes from a
long line of weavers including her grandmother,
mother, aunt, cousins and daughter. Her baskets
can be seen in the collections of The Oregon
Historical Society, Hallie Ford Museum of Art,
and The Smithsonian National Museum of the
American Indian, The Heard Museum, The Portland Art Museum, and The Burke Museum. She
is renowned for making baskets, traditional hats,
and cedar bark clothing.
Students Gathering Basket Materials
15
JEWELRY
Hopi Jewelry
Overlay & Tufa Casting
Roy Talahaftewa
June 30–July 4
Course # NAJH Ø1
One-week session
In this workshop, students will learn the
classic Hopi Overlay technique of metalsmithing, as well as Tufa Casting. Tufa is
a soft porous stone used for direct casting oneof-a-kind designs. Students may combine tufa
cast pieces with their overlay designs (multiple
layers of sheet silver with cut-out designs, textured
and oxidized recessed surfaces), or students may
create separate overlay and tufa works. In addition,
the instructor will demonstrate techniques for
making stamping tools.
Beginning students will be introduced to the fundamental materials, processes, and techniques of
silversmithing, and those with experience will be
able to fine-tune their skills while mastering new
techniques. Intermediate and advanced students
may choose to learn the shadow box technique.
Because students will be working closely with the
teacher, the workshop is well-suited for students
of all levels of experience.
Barbara Ornelas
Navajo Weaving
Beginning & Intermediate
Barbara Ornelas & Lynda Pete
June 23–27
June 30–July 4
Course # NANW ØØ
Course # NANW Ø1
One or Two-week session
Students will have the opportunity to
learn the art of weaving from Master
Navajo Weaver, Barbara Teller Ornelas,
originally from Two Grey Hills and Newcomb, New
Mexico, and her sister Lynda Teller Pete. While
instructing and demonstrating, Barbara and
Lynda will share their family’s personal weaving
stories and experiences, allowing participants a
chance to view the world of Navajo weaving.
According to Navajo oral tradition two holy people,
Spider Woman and Spider Man, introduced
weaving to the Navajo. Spider Man constructed
the first loom, which was composed of sunshine,
lightning, and rain; and Spider Woman taught the
people how to weave on it. Spider Woman was
discovered by the Holy Twins, the culture heroes
of the Navajo Creation Story, in a small opening
in the earth surrounded by an array of beautiful
weavings. Entering her dwelling, the Holy Twins
descended a ladder made of yarn, whereupon
Spider Woman offered them knowledge of the
world of weaving.
Beginners: Students will learn the traditional
method of Navajo weaving and will begin weaving
on Day 1 with a pre-warped, upright Navajo loom.
The majority of the week will be spent designing
and learning how to weave a 12” x 16” rug. There
will be a lesson on warping a loom later in the
week. Beginning weavers may enroll for the full
two weeks or in the first week only.
Intermediate: Students will learn more advanced
weaving techniques and more intricate patterns,
and the rug may be any size. Students who have
begun a rug in this workshop in previous summers
may bring their rugs to complete, or may begin a
new rug. Intermediate students must bring their
own loom and it must be set up for weaving
before class begins. Alternately, they may order
a pre-warped loom (when they register) to work
on if they prefer. Intermediate students (those
who have taken this course before or have had
previous basic training in Navajo weaving on an
upright loom) may enroll for the full two weeks
or in the second week only.
Materials: Students may wish to bring a seat
cushion and small clamp or desk lamp.
Tuition: $725 per week
Tuition: $725
Lab fee: $65 (Includes pre-cut tufa, the use of
all tools, equipment and consumables such as
solder and compounds.) Students are encouraged to bring their own silver and hand tools, if
they have them, but these items must be clearly
marked. Some silver sheet will be available for
purchase in class.
Lab fee: $75 beginners (Includes the use of a
pre-warped loom and all tools in class, six skeins
of wool. Looms, additional wool, battens and
combs will be available for purchase.)
Intermediate students: no lab fee (wool and
warp will be available for purchase. If choosing to use a pre-warped loom, which must be
ordered at the time of registration, the lab fee
is $45.)
Enrollment limited to 10 students per week.
Richard Tsosie
ROY TALAHAFTEWA is from Shungopovi Village
on the Hopi Reservation in Arizona, and is a member of the Water Clan. He works in both silver and
gold, and uses both Hopi overlay and tufa casting
in his designs. Roy has been receiving major awards
for his work since 1981, including Best of Show at
the Heard Museum, among many others. Working
with the non-profit Hopi Pu’tavi Project, Inc., Roy
teaches Hopi youth the art of metalsmithing, and
he is an active advocate and promoter of Hopi
artists on the reservation.
BARBARA TELLER ORNELAS is best known for her
Navajo “tapestry” weavings (95–120 weft threads
per inch). She has set several records with her
weavings: she has won Best of Show at the Santa
Fe Indian Market twice; she established a new
record in 1987 by selling a weaving for $60,000
that she and her sister Rosann Lee made; and
she has woven the largest tapestry-style Navajo
weaving on record. Barbara is a fifth generation
weaver who was raised near Two Grey Hills on the
Navajo Reservation where her father was a trader.
She has been featured in National Geographic,
Business Week, Americana and Native Peoples
Magazines, as well as numerous books. She has
won dozens of awards, and has demonstrated
and lectured at museums and institutions across
the country and recently did a cultural exchange
with the Peruvian weavers in Peru at the request
of the US State Department. Barbara and Lynda
have taught their popular workshop at Idyllwild
Arts for 16 summers.
LYNDA TELLER PETE began weaving at age 6 and
won her first major award at age 12 at the Gallup
Ceremonial. She has gone on to win numerous
awards for her weaving; recently winning the
Best of Classification for Textiles at the prestigious
2011 Santa Fe Indian Market. Lynda collaborates
with museums, schools and other art venues in
Colorado and around the country to teach the
public about Navajo weaving. She is also known
as an accomplished beadwork artist and has won
many awards for this work as well.
www.navajorugweavers.com
Roy Talahaftewa
16
951-659-2171x2365
MUSIC/CARVING
Tony Ayala, Fish Effigies
Richard Tsosie
Marvin Yazzie
Native American Flute Making
June 26–29
Tony Ayala, Flat Pelican Effigy
Chumash Stone Carving
Tony Ayala
June 28–29
Course # NASC ØØ
Two-day session
Richard Tsosie
June 23–27
Course # NAJN ØØ
One-week session
The Navajo adopted the art of jewelry making
from the Spanish after contact, taking the art to
new heights and establishing a style that is now
considered to be the “traditional” Navajo style.
Today, there are many Navajo jewelers who are
moving beyond that style, designing contemporary pieces of jewelry which reflect a new Native
American reality. Artists are creating colorful collages and patterns with beautiful stones and shells
set in gold and silver. In addition to turquoise and
coral, it is not unusual to find lapis lazuli, purple
lavulite, diamonds, pearls, malakite, jet stone, jade,
melon shell and other stones, shells and gems in
contemporary Native American jewelry.
Working closely with one of the leading contemporary Navajo jewelers, students will learn the
techniques used to create such pieces. They will
design patterns, cut, grind and prepare stones,
and set the stones into basic silver forms (rings,
bracelets, earrings, bolos, etc.) which they have
created. Participants without prior experience in
silversmithing will also be introduced to the basic
concepts of shaping silver.
Tuition: $725
Lab fee: $45 (Includes the use of all tools, equipment, and consumables such as solder and
compounds. An additional charge will be made
for all silver and stones used. A small selection
of turquoise and other stones will be available
for purchase, but students are encouraged to
bring their own stones if they have preferences
on colors/stone types.) Students may bring their
own silver, tools, stones, and a work lamp which
must be clearly marked.
Course # NANF ØØA
Intermediate: 4-day session (Thurs.-Sun.)
The Chumash indigenous people of California
produced many handcrafted items carved from
steatite (soapstone), serpentine and other natural
materials. Steatite artifacts recovered in Chumash
village excavations include comals (food prep
devices), bead ornaments, large and small bowls,
animal effigies, land and maritime tools as well
as many other items. Many Chumash stone carvers continue to practice this highly regarded and
recognized cultural skill today.
Each student will learn how to create two soapstone carvings: one pendant and one small
animal effigy of their choice. Various items such
as ceremonial pipes, animal effigies, bowls and
pendants will be displayed and discussed. A brief
overview of stone gathering techniques, among
other aspects of traditional Chumash culture,
will be taught.
Skill Level: Beginner
Tuition: $220
Lab fee: $65 (Includes 2 soapstone pieces, one
file, plus use of instructor’s files in class, dust
mask, various grit sand paper, braided cord for
pendant.)
ANTONIO A. AYALA, SR. (Tony) is a self taught
stone carver who has been practicing this traditional Chumash culture craft for over 30 years.
Studying books on Chumash culture and artifact
excavation memoirs has been an inspiration and
the source for verifying the techniques and cultural
significance shown in his work. His works have
been displayed in the Thousand Oaks Chumash
Interpretive Center, Burke Museum in Washington
State and the Channel Islands Maritime Museum.
Tony has mentored and taught well known highly
skilled stone carvers such as Ted R. Garcia, Ben
Martinez, Madeline Zubiate, Ruth Valenzuela and
many others.
June 27–29
Course # NANF ØØB
Beginners: 3-day session (Fri.-Sun.)
In this workshop, each student will construct and
decorate a six-hole flute under the guidance of
an experienced Navajo flute maker. They will also
learn some history of flutes as well as the care and
handling of their newly created instrument. During the course, ethnomusicologist Ernest Siva will
teach the basics of flute playing and each student
will receive a small booklet of flute music.
Beginning students (3-day session begins
June 27) will use spruce for the body of the flute.
They will carve, shape, oil, tune and finally decorate their flute. The Pentatonic scale will be used
to tune the flutes and students may choose the
key (from F to A).
Intermediate students–those who have taken
class from the Yazzies in the past (4-day session
begins June 26) will use redwood for the body
of the drone (double) flute and may choose the
key (from F to A).
Tuition: $490 (Beginning, 3-day session)
$590 (Intermediate, 4-day session)
Lab fee: $40 (Beginning, 3-day session)
$60 (Intermediate, 4-day session)
(Includes wood, totems, materials and the use
of tools and equipment in class.)
MARVIN and JONETTE YAZZIE are from Lukachukai, a small town on the Navajo reservation
in the Four Corners region of Arizona. Jonette
assists Marvin in flute making, an art they learned
from their relative Willard Coyote. Their flutes are
carried in the Heard Museum shop and others
around the country, as well as Asia and Europe.
Recording artist Scott August of Cedar Mesa Music
has used Yazzie flutes on Sacred Dreams and New
Fire, two of his CDs. Marvin is listed in Flute Magic
and Voices of the Flute. Yazzie flutes are used in the
music programs of Tuscon and Klamath-Trinity
school districts. Marvin and Jonette played flutes
in the play Anasazi at the Ramona Bowl in 2011and
played preshow for the Ramona Pageant.
www.yazzieflutes.com
ERNEST H. SIVA is a musician and teacher. He is
the cultural advisor and tribal historian for the
Morongo Band of Mission Indians. Siva formerly
taught public school music in Palm Springs and
Los Angeles before teaching courses in American
Indian music at UCLA for 12 years. He and his
wife June are Idyllwild Arts alumni and former
trustees. In 2004, Ushkana Press published his
book, Voices of the Flute. He is president and
founder of the Dorothy Ramon Learning Center.
Jonette Yazzie
RICHARD TSOSIE is a Navajo jeweler and sculptor from Flagstaff and the Wide Ruins area of
the Navajo Reservation and is currently living in
Scottsdale, Arizona. His work has been featured in
American Indian Art Magazine, Arizona Highways
Magazine, the video Beyond Tradition: Contemporary Indian Art and Its Evolution, as well as several
books including, Southwestern Indian Jewelry by
Dexter Cirillo and Enduring Traditions, Art of the
Navajo by Jerry Jacka. Richard’s work has been
exhibited in galleries and museums from New
York to California.
Tony Ayala, Stone Pendants
17
POTTERY
Nathan Youngblood, Untitled Jar
Hopi-Tewa Pottery
Mark Tahbo
Tony Soares, Class Demo
Cahuilla Style Pottery Firing
Paddle & Anvil Technique
Course # NAPC ØØ
One week session
Learn how to create the beautiful ollas used by
the Cahuilla people of Southern California to
store food and water. Using two different clay
types during the week, including Salton Sea clay
(for buff ware) and brown clay, students will hand
build two to three 6” to 12” pots using the paddle
and anvil method.
One-week session-includes Saturday a.m. firing
Learn the traditional methods and techniques for making Santa Clara Pueblo
pottery–the distinctive black polished
work with carved designs. The instructor will guide
students through all the steps from processing
the native clay, hand–building using the coil
technique, designing, carving, slipping and stone
burnishing, to reduction firing for blackware.
Tuition: $725
Lab Fee: $55
Tuition: $725
Lab Fee: $55 (Includes gathered and prepared
Salton Sea clay and brown clay; paints, firing
materials, net making materials, and the use of
all tools in class.)
Mark Tahbo, Jar with Bird Tails
TONY SOARES learned the fundamentals of pottery from his grandmother at age seven, starting
a 30+ year journey to revive the fading art of olla
making. Though not of Cahuilla descent, he is
credited with helping to revive the art of Cahuilla
pottery making through his experimentation
with local clays and indigenous handbuilding
techniques. Today, his pottery is displayed in art
galleries and museums including the Tahquitz
Canyon Museum. Tony is dedicated to sharing
his knowledge to ensure that Native American
pottery making is never lost. He has taught his
skills at many venues including the Agua Caliente
Band of the Desert Cahuilla of Palm Springs and
the Yuman tribes of the Colorado River, Arizona.
Hopi-Tewa Pottery Firing
18
Students in this workshop will learn the
traditional Hopi method of creating
polychrome pottery, including coil building, stone burnishing, painting with natural pigments, and firing. Learn how to process and
prepare raw clay for pottery making and to prepare
beeweed plant for black paint. Students will also
have the opportunity to experiment with two
types of clay, the Hopi-Tewa gray clay, as well as
the yellow ochre clay that Nampeyo often used;
see demonstrations of slipping techniques using
white kaolin and yellow ochre; and learn two firing
techniques (for both gray and yellow ochre pots).
Experience all techniques and steps used in the
process including paintbrush making, grinding
and preparing paint stones to decorate the pots,
making nets (used for holding and hanging the
round-based ollas), and more. See a demonstration
of fire-starting by friction, and learn how to make
palm frond rings (pottery stands). Students will
have the opportunity to experience two types of
firings during the session and will learn to make
an “urban kiln” for use at home.
Course # NAPS Ø1
One-week session-includes Saturday a.m. firing
The natural clays and paints are provided by the
artist, from the Hopi Reservation in Arizona. There
is enough clay for each student to make 2 to 3
small pieces of pottery – all that can be successfully completed in the week-long workshop. This
is not a production pottery course, but a careful
examination of the delicate process of Hopi pottery
making and the cultural foundation from which
the art is inspired.
Tony Soares
June 23–27
June 30–July 5
Course # NAPH Ø1
June 30–July 5
Cahuilla Style Pots
Santa Clara Pottery
Nathan Youngblood
MARK TAHBO is known as one of the finest Hopi
potters today. Born and raised on the Hopi Reservation, First Mesa, Mark learned the art from his
great grandmother Grace Chapella, Nampeyo’s
neighbor and a principle pottery “revival” artist
decades ago. His distinctive pots have been exhibited worldwide in museums and galleries. Among
the many top awards he has earned at the Santa
Fe Indian Market is the prestigious Helen Naha
Memorial Award for Excellence in Hopi Pottery
which he earned for 3 consecutive years. Mark
has been profiled in various publications including Native Peoples Magazine, and is included in
numerous books and articles on Pueblo pottery.
Because the instructor’s method requires extensive air-drying time, each student will have the
privilege of using a dried vessel prepared by the
instructor to learn the carving, polishing and firing
techniques. In addition, each student will start
pieces from the beginning of the process–mixing
clay (with your feet!) and building pots–and will
be able to complete those pieces at home after
the 30-day drying period. The workshop will also
include individual firings, and discussions about
Santa Clara Pueblo, the pottery making tradition,
and the cultural foundation from which the art is
inspired. The raw clay and paints are provided by
the artist, and are gathered from his home.
Tuition: $725
Lab Fee: Beginners: $95 (includes clay, paints,
stones and all materials, as well as one 5.5” wide
x 5 “ tall dried vessel prepared by the instructor
to complete.)
Returning students: $125 (Includes all of the
above, but a larger dried vessel, 5.5” x 7 “ tall.)
NATHAN YOUNGBLOOD is a sixth generation potter from Santa Clara Pueblo, New Mexico, and is
the grandson of renowned potter Margaret Tafoya,
and son of Mela Youngblood. He has been making
pottery since 1972, creating both black and red
& tan traditional styles, and adhering to all the
traditional aspects of making a bowl. Nathan has
won numerous awards in Native American pottery
competitions. His work has been exhibited widely
at galleries and museums across the country, and
he has been included in numerous magazines
and books on Native American art and pottery.
Nathan has served on the boards for the American
Craft Council, Gallup Inter-Tribal Ceremonial, the
Southwestern Association of Indian Arts (SWAIA),
and the Wheelwright Museum.
Nathan Youngblood
951-659-2171x2365
PA I N T I N G & D R AW I N G
Advanced Drawing Intensive.................................19
Margaret Scanlan
Drawing Without Fear...............................................19
Robert Regis Dvorák
Encaustic Painting......................................................20
Charlie Ciali
Experiential Drawing & Watercolor.....................20
Painting the Figure.....................................................20
Juliette Aristides
Plein Air Painting.........................................................21
Mike Hernandez
Margaret Scanlan, Five Cows in Field
From Representation to Abstraction..................21
Lisa Adams
Unleashing Color........................................................21
Marie Thibeault
Watercolor Untamed.................................................22
Nicholas Simmons
Margaret Scanlan, Cow in Water # 6
Margaret Scanlan
June 23–27
Course # AAPD ØØ
One-week session
This class is designed for students who have
already taken an Intensive Drawing class with
Margaret at Idyllwild, but it is also appropriate for
those who are comfortable with their drawing skills
and who wish to tackle advanced topics, such as
foreshortening, translucence, reflections and other
depictions of water, narration, and other topics to
be decided by the class.
General Daily Plan: Our mornings will include
formal instruction, intensively studying the topic
of the day, with visual examples, specific exercises,
discussions, trial drawings, etc. Our afternoons–
working, with periods of uninterrupted time, on a
series of drawings focused on and appropriate for
the topic of the day. Our goals–positive growth in
drawing skills, a series of significant and beautiful drawings, more confidence in the failure-free
process of working in a series, and the experience
of a glorious week at Idyllwild.
Robert Dvorák, Cat
Robert Dvorák, String Face
Skill Level: Intermediate to advanced drawing
skills
One-day session
Tuition: $725
Lab Fee: $10 (Includes model fees.) The instructor will have some materials on hand that will
be available for purchase during class.
MARGARET SCANLAN is a full-time studio artist
in Knoxville, TN, working in acrylic and watercolor,
large and small scale work. She is a signature
member of the American Watercolor Society, the
National Watercolor Society, and the Watercolor
USA Honor Society. For many years she has taught
painting, drawing, and color theory workshops at
Arrowmont, the John C. Campbell Folk School,
Penland School, le Petit Bois Gleu and Chateau
du Pin in France. Her work is in numerous private,
corporate, and public collections in the US and
Europe, including the Huntsville Museum of Art
(AL), the Springfield Art Museum (MO), SloanKettering Hospital (NY), and L’Abbeye de la Roe
(France). She also plays keyboards in a Celtic band,
Red-Haired Mary.
June 22 Course # AAPF ØØA
Now you can draw without having to hide underneath the bed. You can draw without cold sweats,
panic attacks, or feelings of embarrassment that
may have limited you before! The art of drawing
is fun and easy to learn when you get beyond the
fear of failure. When you join this easy unique
drawing class you will be in for some surprises.
This enjoyable day should remove any drawing
phobias you have for good, and open your creative
expression for a lifetime of drawing pleasure.
You will learn:
• How to draw with feeling and fun
• How to loosen up and be free
• How to talk about a drawing without
being critical
• Ways to create the illusion of depth in
a drawing
• Some great ways to teach drawing to other
adults and children
Robert Dvorák, Funny Animal
Tuition: $175
Lab Fee: $40 (Includes the book, Drawing Without Fear, an Artist’s Drawing Pad 9x12, an acid
free sketch pad with textured paper and all your
drawing materials.)
ROBERT REGIS DVORÁK is an artist and popular
speaker on the subject of creativity in education
and business. A former professor of architecture at
the Universities of Oregon and California, Berkeley,
he is the author of Drawing Without Fear, The Magic
of Drawing, Selling Art 101, Experiential Drawing,
The Practice of Drawing as Meditation, The Pocket
Drawing Book, and Travel Drawing and Painting.
Robert has been teaching drawing and watercolor
painting for 30 years at art centers, colleges and
universities mainly in California and Hawaii. He
has exhibited his drawings and paintings in 24
one-man shows and many other group exhibits
in the USA and abroad.
www.youcreate.com
www.globesketcher.com
• How to free yourself to discover your world
with a pen or pencil—at home, in boring
meetings, anytime, anyplace
Class will use Mr. Dvorák’s book, Drawing Without
Fear, as a guide to the exercises presented. The
carefully planned sequence of information and
hands-on drawing exercises with a wide variety
of media will free your creative hand and eye.
Skill Level: Beginning-Intermediate
Robert Dvorák
PAINTING & DRAWING
19
Charlie Ciali, Butch
Juliette Aristides, Oracle
Painting The Figure
Juliette Aristides
June 19–21
Robert Dvorák, Female Standing
Robert Dvorák
Experiential Drawing
and Watercolor
Build your artistic vocabulary as you work sequentially to complete one finished figure painting.
In a methodical, step-by-step process, learn the
methods of oil painting from the initial value study
to a full color figure painting. Over the course of
the workshop, you will dive into painting-related
issues while exploring the artist’s most fascinating
subject matter: the human figure. Progressing
from value studies, to limited palette, and finally
full color, you will develop a completed painting
by the workshop’s end. Lectures and individual
instruction aid your artistic progress. Much of the
personal growth of the artist comes from having
the right tools for self-correction and problem solving. With that in mind throughout the class, you
participate in discussions on materials, methods
and techniques to equip you with invaluable tools
for your future artistic growth.
June 20–21 Charlie Ciali, Edge of Night
Encaustic Painting
Charlie Ciali
June 23–27
Course # AAPE ØØ
One-week session
Dating back more the 5000 years, encaustic
painting has a rich and varied history. The Ancient
Greeks were believed to have used wax to seal their
boats. Eventually pigments where added to the
wax creating a decorative element. Some of the
best-known early encaustic works are the Fayum
portraits created by Roman–Egyptians during the
first three centuries AD. Over 1000 portraits have
been discovered. These portraits where placed
over the mummy of the deceased. In more modern
times Jasper Johns could be credited for reviving encaustic painting and transforming it into
a unique painting style that has rapidly gained
popularity in the last few decades.
Whether you are an experienced encaustic painter
or beginner, this workshop is designed to help you
reach new levels of creativity with this versatile
medium. The workshop will cover safe studio
practices, creation of encaustic medium, how to
apply encaustic to different grounds, how to create
textured or smooth surfaces, hot tools and their
use, mixed media, photo transfer, incorporation
of three dimensional elements and more.
An emphasis will be placed on working with each
artist individually and collectively to find ways to
explore your vision and how you want to make this
unique painting style your own. The possibilities
of encaustic painting as a creative expression are
endless and exciting.
Course # AAPW ØØ
Two-day session
The Art of Experiential Drawing and Watercolor is
a revolutionary drawing method that transcends
technical rules and teaches you to draw and paint
using your creative experience. This workshop is for
beginners, artists, and teachers who want to learn
an approach to drawing and watercolor that will
bring you to new levels of creativity and awareness through the experience of creating drawings and watercolors in a safe, non-competitive
environment.
You will learn to:
· Express yourself drawing and painting with
imagination and skill
· See without judgment
· Draw and paint quickly and effortlessly from
your experience
· Have fun drawing and painting anywhere,
anytime
· Techniques for drawing and painting people,
skies, landscape, and still life subjects
· Draw and paint the human figure
· Master the Zen-like ability to concentrate in
present time as you draw and paint
· Practice drawing and painting for a lifetime of
enjoyment
This non-judgmental drawing and watercolor
workshop will use Mr. Dvorák’s books, Experiential
Drawing and The Pocket Drawing Book for examples
and inspiration. Many of the exercises are innovative; others employ new applications to methods
familiar to some artists. Those with no drawing
or painting skills as well as those who draw and
Robert Dvorák, untitled
paint and would like to move more deeply into
their artistic processes are welcome. This is not an
ordinary art course. This workshop will provide a
sequence of easy exercises designed to save you
months of trial and error frustration. Experiential
drawing and watercolor will delight and challenge
you for years to come.
Tuition: $350
Lab Fee: $70 (Includes handout materials, the
books, Experiential Drawing and The Pocket
Drawing Book, a 9” x 12” acid free sketch pad,
a 9” x 12”, 140# cold pressed watercolor block,
the Artist’s Drawing Pad 4x5, all your drawing
materials, and model fees. You may bring your
own watercolor palette and paints or purchase
an inexpensive travel watercolor set and brush
for $16 at the class.)
ROBERT REGIS DVORÁK, see bio under Drawing
Without Fear
Tuition: $725
Lab Fee: $85 (Includes 3 pounds of encaustic
wax medium, assortment of substrates, assortment of encaustic paints, papers, tools, oil
paints, photo transfer materials, and toner.)
CHARLIE CIALI received his BFA Degree in Ceramic
Arts from Daemen College, Amherst, New York in
1978 followed by graduate studies at Edinboro
University, Pennsylvania. Today he is a full time
studio artist and encaustic and monotype instructor in Palm Springs. He is a Certified Instructor for
Enkaustikos, one of the leading encaustic suppliers
in the United States. He is actively involved in the
local arts community having served as a Public Arts
Commissioner and is currently on the Executive
Board of the Artist Council at the Palm Springs
Museum. Prior to moving to Palm Springs 12 years
ago he owned Perspectives Gallery in Minneapolis.
www.charlieciali.com .
Charlie Ciali, Greenwich
20
PAINTING & DRAWING
Course # AAPF ØØ
Three-day session
Juliette Aristides, Remembrance
In addition to daily demonstrations and lectures,
you will work directly on shorter poses each morning, and an extended 3-day pose in the afternoon
based upon the day’s lecture and demonstration.
You will progress from value to limited palette to
full color in the mornings. In the afternoons, you
will begin with a wipe-out style of under-painting,
followed by a limited palette color painting, and
finish with a full color over-painting.
Tuition: $490
Lab Fee: $55 (Includes model fees and group
supplies.)
JULIETTE ARISTIDES is founder and instructor of
Aristides Atelier at the Gage Academy of Fine Art in
Seattle. She is the author of The Classical Drawing
Atelier, The Classical Painting Atelier, and Lessons in
Classical Drawing. Her education began in Design
Systems under Myron Barnstone; she continued
at the Pennsylvania Academy of Fine Art and The
Atelier in Minneapolis; then attended National
Academy in New York and became a founding
member of Jacob Collin’s Water Street Atelier in
Brooklyn. Juliette is the recipient of numerous
awards and is recognized as a living master by
The Art Renewal Center. She exhibits widely and
her work has been featured in Artist’s Magazine,
American Arts Quarterly, Fine Art Connoisseur,
American Art Collector, American Artist and more.
www.aristidesatelier.com
Juliette Aristides
951-659-2171x2365
Mike Hernandez, untitled
Lisa Adams, The Land of Forgotten Dreams
Marie Thibeault, Typhoon
Unleashing Color
Lisa Adams, At the Maelstrom’s Edge
Marie Thibeault
June 30–July 4 Course # AAPC Ø1
One-week session
Lisa Adams, Drowning Out All Birdsong
From Representation
to Abstraction
Lisa Adams
June 30–July 4
Course # AAPA Ø1
One-week session
Plein Air Painting
Mike Hernandez
July 10–12
Course # AAPP Ø2
Three-day session
A strong understanding of natural color and lighting is an important asset to any environment artist
or fine art painter. In this workshop, learn all about
the important fundamentals of composition, color
relationships, lighting, atmospheric perspective,
and shape design through the use of gouache
(water based medium paint like acrylic and watercolor). This is a great workshop for those who
would like to learn how to capture a rich sense
of natural lighting in their artwork. Pastel, acrylic
and oil painters also welcome.
Skill Level: Intermediate to advanced painters.
Tuition: $490
Lab Fee: $50 (Includes model fees.)
MIKE HERNANDEZ is a fine art landscape painter
and a Visual Development Artist/Production Designer at Dreamworks Animation. Some of his past
projects include Sinbad, Spirit, Shrek 4, Bee Movie,
Monsters vs Aliens, and Turbo. He graduated from
Art Center College of Design with distinction in
illustration, and taught landscape painting there
after graduating. He has continued to teach landscape painting workshops for the past 12 years at
colleges and a variety of other venues.
This one-week course, taught by renowned Los Angeles painter Lisa Adams, is designed to facilitate
non-professional and professional painters alike
in discovering or honing their personal vision and
in stimulating imaginary thinking.
With an equal emphasis on formal skills and
experimentation, exercises focus on trusting the
intuition, learning to see inward and the practice
of seeing oneself reflected in the world at large.
The task becomes how do we see our authentic
selves in the external environment and how do
we make this vision manifest in painting? At core
we will be asking more questions than delivering
concrete answers, all the while working on creating
paintings that are well-crafted and clearly rooted
in individual expression.
Using both representational and abstract elements is crucial in bringing to life a balanced view
of the visual world and of one’s expression. Embracing and combining dichotomies, as a conceptual
foundation, will be stressed as well as risk-taking,
that is, working for the exploratory experience.
Lisa Adams, The Mire of Epiphany
Skill Level: Intermediate and advanced, not
suitable for beginning level students.
Tuition: $725
LISA ADAMS has a BA from Scripps College in
Claremont, California and an MFA from the Claremont Graduate University, She is the recipient
of numerous awards including a Fulbright. She
has taught at many renowned art departments
throughout the Los Angeles area and abroad
and has been an artist-in-residence in Slovenia,
Finland, Japan, Holland and Costa Rica. Her work is
in the public collections of Eli Broad, the San Jose
Museum of Art, and the Edward Albee Foundation.
Lisa’s is represented by CB1 Gallery and blogs on
Los Angeles art for the Huffington Post.
In this exciting course, the student will explore color
concepts and expression in a guided process of
collage and painted studies. Course structure will
be contextualized within the history of painting,
and each student will gain an understanding of
how color use can enhance and strengthen their
own creative work.
The group will begin with painted studies and collages that address essential color contrasts, with an
emphasis on light, saturation, and proportion of color
relationships. These initial composition studies will
become the springboard for larger paintings tailored
to individual needs. Each student will become more
sensitive to how color creates light, space, focal point
and meaning within their own work, gaining more
power with color expression. Gouache and collage
materials will be used in combination on paper.
Skill Level: Some painting experience through
professional painters.
Informal talks will include such topics as the discipline of being an artist, the rigor of professional
practices with regard to career and how to remain
true to a unique vision despite market trends.
Tuition: $725
Lab Fee: $20 (Includes shared supplies such as
bulk paint and large paper.)
Participants must have basic painting skills, which
include mixing paint and basic color theory, as well
as basic drawing skills. Oil paint is recommended
but acrylic paint is also acceptable.
Marie Thibeault, Orange Sky
Mike Hernandez, Mt. Rainier
Accelerate your ability to discern and mix color, as
well as experience new creative painting processes in
this intensive one-week color workshop. Designed to
combine the best of her popular color and painting
courses at CSULB, Marie will guide students through
a workshop that will insure a deeper understanding
of the workings of color as it pertains to painters. This
workshop is certain to expand your understanding
of color and its use and meaning in painting. Here
the most important aspects of color are defined
and explored in inventive approaches to pictorial
composition.
Marie Thibeault, Mantle
MARIE THIBEAULT is a Professor of Art at California
State University, Long Beach. She received her BFA
in painting from Rhode Island School of Design,
and an MFA in painting from the UC Berkeley.
Her large abstract paintings are arenas of action,
informed by the contemporary landscape in transition and utilize symbolic color as an expressive
force. She has an extensive exhibition record, and
is the recipient of numerous awards. Her most
recent exhibitions include Broken Symmetries at
the Torrance Museum of Art, and When Worlds
Collide at George Lawson Gallery, in San Francisco
and Funtown, George Lawson Gallery, Los Angeles.
Marie Thibeault, Cast
PAINTING & DRAWING
21
DIGITAL PHOTOGRAPHY
PRINTMAKING
David Hoptman, Tuscany: one tree
Nicholas Simmons, Tsarina
Watercolor Untamed
Linda Santana, Limpiabotas
Experiencing Water–Based Media
Nicholas Simmons
July 7–9
David Hoptman, untitled photograph
Digital Photography & Beyond
Course # AAPW Ø2
Three-day session
The workshop will concentrate on concepts
and techniques for which Simmons is noted:
diversity in subject matter; composition; poured
watercolor; fluid acrylic used as transparent
watercolor; unusual textures; computer-aided
design (computer not required for enrollees).
Focus will be on concepts, composition and design
elements. Students will paint daily, watch demos,
and receive individualized attention. Be prepared
for Nicholas’ high energy, unorthodox and varied
approach to watercolor. All levels welcome in this
workshop designed to bring lots of new ideas and
techniques to experienced painters, and introduce
new painters to water-based media.
Stepping Out of Your Comfort Zone
David Hoptman
David Hoptman, untitled altered photograph
Course # AAOD Ø2
One-week session
Discover how a digital camera, a smart phone
and mixed media techniques can enable you to
become a stronger image-maker, expand your
vision, and help you embrace new possibilities.
Stepping out of your Comfort Zone is not just a
challenge but a fun and liberating journey. The
daily schedule will be divided between making
photos in the field and studio sessions with demos,
slide shows and mixed media work periods.
In this workshop you will:
Skill Level: Some experience preferred, but all
levels welcome.
• Strengthen foundational photographic skills
with emphasis on composition, lens choices,
lighting, camera functions and more.
• Learn how to affect image content using
pastels, charcoal, paint & various other mixed
media techniques on photographic prints.
Tuition: $490
NICHOLAS SIMMONS is a renowned name of the
July 7–11
David Hoptman, untitled altered photograph
contemporary watercolor scene. His art is characterized by its originality, diversity and power, and
has been featured in a wide variety of media. The
artist exhibits internationally with major watermedia stars, and was the only judge representing the
Americas at the Shanghai Zhujiajiao International
Watercolour Biennial Exhibition in 2010 and 2012,
the world‘s largest watercolor exhibition. He is
sought after as a workshop instructor, lecturer,
and judge, known for his fresh, unorthodox, and
often irreverent approach. The artist lives in the
Washington, D.C. area. and is represented by TillerWilliam Fine Arts.
www.nicholassimmons.com
• Transfer and incorporate mixed media
photographs onto panels and canvas.
• Learn creative ways to fine tune and alter
imagery using Photoshop.
• Discover the dynamically imaginative world of
“Phonagraphy”, with introductions to basic
and advanced iPhone apps, as well as lenses,
tripod, mounts, etc.
The photographs made during our daily shooting
schedule will not only augment your artistic sensibilities but also give you a better understanding
of the subtleties associated with creativity as we
affect prints and images with alternative media
techniques.
Skill Level: Beginner/hobbyist to professional.
Tuition: $725
Lab Fee: $25 (Includes Epson printing paper,
shared materials such as pastels, matt medium,
fixative sealant, foam brushes, yes paste, demo
materials.)
Nicholas Simmons, Meditation
Nicholas Simmons, Class Demo
22
PHOTOGRAPHY/PRINTMAKING
DAVID HOPTMAN has been a Professional and Fine
Art Photographer for over 30 years. His work has
been published in magazines from Architectural
Digest, Travel and Leisure, and Elle to the Hollywood
Reporter. David taught photography and printmaking while living in Tuscany from 2004-2010,
where he founded Tuscan Light Photo Workshops.
His photographic and printmaking work has been
shown around the world from Australia, Estonia,
and Italy, to cities throughout the US from New York
to Los Angeles. He attended Oakland University,
Rochester, MI, and College for Creative Studies. He
has taught at universities, community colleges,
and private workshops. David works as a commercial photographer and teacher in Santa Fe, NM.
www.davidhoptman.com
Linda Santana, Amor Eterno
Chiaroscuro Woodcut
Linda Santana
July 7–11
Course # AAOW Ø2
One–week session
This workshop is an introduction to multi-color
relief printmaking. The chiaroscuro woodcut
technique was invented in Germany in the early
16th century and involves the use of several tonal
layers and one “key” image layer. Participants will
focus on carving and printing reductively from
wood (MDF), and creating multiples of a two to
four color image. This workshop will include a
historical overview of relief printmaking as well
as contemporary examples. Students will learn
carving techniques with Japanese woodcut tools,
tool sharpening methods, various approaches to
transferring an image or drawing onto a block, ink
mixing and modification, registration methods,
printing and editioning. In this intensive workshop,
participants will create an edition of multi-layered
tonal prints.
Tuition: $725
Lab fee: $75 (Includes communal inks, MDF plywood, Japanese paper–4 sheets of mulberry & 4
sheets of Masa.)
LINDA SANTANA earned her degree in printmaking at UC Santa Cruz and her MFA at the University
of North Texas where she taught courses in drawing and printmaking. She is a founder of a female
printmaking network and is active in conferences
and workshops across the country. She was recently recognized as the Artist of the Year by the
Hispanic Women’s Network of Texas. She exhibits
nationally and internationally including venues
in Estonia, France, Nicaragua, and the Venice
Biennale. Recently she has had solo exhibitions at
the WoCA Gallery, Karpeles Manuscript Museum,
and Galeria de la Rosa. Linda is currently a faculty
member and Printmaking Coordinator in the Visual
Art Department at Idyllwild Arts Academy.
SCULPTURE/
GLASS BLOWING
SEE ALSO
Assemblage.................................................................. 11
Michael deMeng
Hot Clay: The Figure ................................................... 6
Patti Warashina
Native American Flutemaking .............................17
Introduction to Sand Casting
In Bronze & Aluminum
Gerald Clarke, Jr.
Ramson Lomatewama, Sandblasted glass pot
Vinita Voogd
Vinita Voogd, untitled monotype
Ramson Lomatewama, Hand-blown glass pot
Monotype
Multi–Plate Transparent Layering
Vinita Voogd
June 15–19
Course # AAOM ØØ
One-week session
This class will cover a wide range of image making using the “reductive transparent stacked”
monotype technique. Mark making, inking, image
preparation, and various methods in wiping of the
surface plate will be discussed.
Monotype is a unique print made by means that
permits only one impression. An image is made
using inks on a non-absorbent surface such as
Plexiglas. The image is then transferred to paper
with the use of an etching press. The monotype
is a unique one-of-a-kind image and cannot be
duplicated.
There are many ways to make monotypes. In this
workshop, students will learn the multi-plate
transparent layering technique. Three or more inks
will be made transparent, printing will be done
as each color is applied to the entire plate and
wiped off by the artist. The final result is achieved
by “stacking” or “layering” transparent inks, as the
plate passes through the press each time.
Skill Level: Some monotype and/or printmaking experience helpful, but all levels are welcome.
Tuition: $725
Lab Fee: $45 (Includes inks, paper for 8 prints,
use of all tools and shared supplies in class.)
VINITA VOOGD was born and raised in New Delhi,
India, and studied fine art at the College of Art,
University of Delhi. After moving to California in
1982, she studied with John Paul Jones at UCI.
She has been creating and exhibiting original
fine prints for over 30 years. Vinita has lectured
and demonstrated her techniques at colleges
and universities and served as President of the
Los Angeles Printmaking Society. She is currently
teaching all levels of printmaking at Saddleback
College and Golden West College.
Glass Blowing
Ramson Lomatewama
June 30–July 4
Course # AASG Ø1
June 23–27
Course # AASC ØØ
One-week session
In this course, students will be instructed in the
process of sand casting in metal. Sand casting is
a 10,000 year old process and art that involves
creating a cavity in damp sand and then filling that
cavity with molten metal. After cooling, the sand
is broken away to reveal the casting. Students will
be casting pieces daily, and will learn all steps in
the process, including creating the molds, casting
hot metal, metal finishing techniques, the building
of a small-scale foundry furnace, as well as safety
measures and an introduction to a range of molding materials. Each student will produce several
small works out of aluminum or bronze, up to 5lbs
each. There will also be a demonstration of cold
casting techniques. The program is designed for
anyone who aspires to work with molten metal,
either in a home studio or a foundry.
One-week session
This workshop is an introduction to the fundamentals of working with hot glass. This includes
becoming familiar with the equipment and tools
used to create glass art. Students will have the
opportunity to create their own work, beginning
with solid pieces (flowers, mushrooms, and paperweights) and eventually blowing simple vessels.
Using colored glass, students will become familiar
with the process of gathering and shaping hot
glass into a variety of forms. Although the goal is
to blow glass, advancement will depend on how
quickly a student becomes adept at “working”
the glass. The small class size allows for maximum
time working with glass and lots of hands-on/
close instruction. At times, the temperature in a
hot shop environment can easily exceed 120° F.
Drink plenty of water!
Skill Level: No prior glass blowing experience is
necessary.
Tuition: $725
Lab Fee: $45 (Includes metal–5 lbs each of
bronze and aluminum, sand, clay, plaster and
the use of equipment, kilns in class. Additional
metal will be available for purchase by the
pound.)
GERALD CLARKE, JR. is a Cahuilla Indian who
spent his early childhood on the Cahuilla Reservation near Idyllwild, California. He went to college
in Arkansas before moving to Texas where he
earned both an MA and MFA. He has lectured
on contemporary Native American Art and has
exhibited his work widely. He currently serves
as the Visual Arts Department Chair at Idyllwild
Arts Academy.
Tuition: $965
Lab fee: $75 (Includes frit/colored glass, clear
glass, use of all tools and supplies in class, and
propane.)
RAMSON LOMATEWAMA is an award-winning
glass artist, kachina doll carver, and poet. His
way of experiencing the world through the arts
is a clear reflection of his rich heritage and the
timeless culture of the Hopi people. He earned his
BA from Goddard College in Plainfield, Vermont.
Ramson has taught a wide range of workshops
and courses, including a position at North Central College in Naperville, Illinois as an adjunct
professor of sociology. Although ceremonies
and cultural activities play a major role in his life,
Ramson continues to dedicate time to schools,
universities, and museums as a visiting scholar
and artist. He currently lives in Hotevilla, AZ on
the Hopi reservation, writing poetry and creating
his hand-blown glass art.
Ramson Lomatewama
PRINTMAKING/SCULPTURE/GLASS
23
WRITING
The Art of Writing Fiction........................................24
Samantha Dunn
Writing Memoir...........................................................24
Amy Friedman
Screenwriting...............................................................24
Barri Rosenblum Evins
Poetry Week..................................................................25
New Poems..............................................................25
Natalie Diaz, Troy Jollimore, Ed Skoog
Towards A Book......................................................25
Ellen Bass
Screenwriting Revolution
Creating Successful Screenplays
Amy Friedman
Making It Up
The Art of Writing Fiction
Samantha Dunn
July 7–11
One-week session
“Never let the truth get in
the way of a good story,
”Mark Twain supposedly
said. This workshop will
explore the art and craft
of fiction, using a multitude of exercises to tap
and enhance your own
deep sources of creativity. If you have a vivid
imagination, or if you are a storyteller who likes to
embellish, or you want to look at your tales with a
new perspective, the class will provide you with
the tools to paint with words. Whether you are a
beginner or are a prolific writer, you will walk away
from this workshop with a better understanding
of the structural elements that underpin all great
stories. You will also be armed with new techniques
for creating characters who come to life on the
page, for creating vivid worlds with your words,
and how to keep generating story ideas. All levels
of writer will be able to apply the lessons. While
writing fiction is often about finding the truth of
the story, come prepared to make stuff up. And to
write! Class time will be about practicing what we
learn—bring plenty of pens and blank notebooks.
By the end of the week, everyone will have at least
one well-honed piece of fiction presentable for
public consumption.
This workshop will meet from 9–noon each morning and again from 1–2pm in the afternoon for
writing sessions.
Tuition: $725
SAMANTHA DUNN is the author of Failing Paris,
a finalist for the PEN West Fiction Award, and the
bestselling memoir, Not By Accident: Reconstructing a Careless Life, as well as Faith in Carlos Gomez:
A Memoir of Salsa, Sex and Salvation. Her work is
anthologized in a number of places, including
the short story anthology, Women on the Edge:
Writing from Los Angeles, which Dunn co-edited.
A winner of the Maggie Award for Best Personal
Essay in a Consumer Publication, she is a widely
published journalist regularly featured in O the
Oprah Magazine, the Los Angeles Times, and Ms.,
among others. A member of the Writers’ Guild,
Samantha teaches in the UCLA Extension Writers
Program and is program advisor for The Mark at
PEN USA.
June 16–20
Amy Friedman
July 7–11
Course # AAWF Ø2
Writing Memoir
Course # AAWE Ø2
One-week session
This workshop is for
those just beginning
and those whose work
is well underway (and/or
stalled), for those writing
memoir, personal essay,
or any work of creative
nonfiction. The instructor will help you to develop and craft your work,
and we’ll study the elements that help writing to
sparkle, including characterization, setting, voice,
dialog and theme.
Excerpts from published works will help to serve
as inspiration, and five, ten, and fifteen minute
exercises will jump-start your writing and offer
guidance for your work. A portion of our workshop
hours will be devoted to reading your work aloud,
with feedback from both the instructor and your
fellow students. You will also receive information
on marketing and proposal writing (for longer
nonfiction works).
Our goal will be to complete a full essay and/or
chapter by week’s end. We’ll meet for four hours
each morning, with afternoons devoted to individual conferences, writing and reading time.
Tuition: $725
AMY FRIEDMAN is the author of several memoirs,
Kick the Dog and Shoot the Cat, Nothing Sacred:
A Conversation with Feminism, Desperado’s Wife,
and most recently her co-authored memoir with
Anne Willan, One Souffle at a Time: A Memoir of
Food and France. Amy also writes the long-running, world-wide syndicated newspaper column
for children, Tell Me A Story. She often performs
her personal essays at Spoken Word venues in LA
and has published hundreds of stories, columns
and articles. Amy also teaches creative writing
at UCLA Extension, and at the Skirball Cultural
Arts Center.
Course # AASW ØØ
One-week session
Build the skills, knowledge, concepts, and
relationships needed
to make breaking into
the industry a reality for
screenwriters at all levels
of experience and proficiency. Develop ideas
with expert guidance,
hone essential professional skills, and gain invaluable personal and
industry insight.
Advance Assignments provide the foundation
for one-on-one work and include creating Ten
New Ideas. At the end of the course, you will have
developed a solid, marketable, and exciting idea,
empowering you to advance to the next level in
your career.
The week culminates in a talk with three working
industry professionals, an agent, development executive and studio executive or manager, followed
by lunch with the pros and the opportunity to build
personal relationships. The afternoon is devoted
to pitching your idea, with a generous amount of
time available for feedback on the concept, market
potential, pitching technique and how to move
your work forward in the marketplace.
Over the course of the week you will:
• Understand the Industry from The Inside
• Create Concepts that Ignite Industry Interest
• Harness Your Passions and Showcase
Your Strengths
• Craft and Shape Ideas then Pitch with Skill
and Confidence
• Transform Structure from Biggest Fear to
Best Friend
• Shape and Refine Stories on a Single Page
to End Endlessly Rewriting
• Acquire Powerful Tools, Techniques and
Templates Making Your Writing Process Faster
and More Successful
Skill Level: Open to all levels: aspiring, novice
and experienced screenwriters will all benefit.
Tuition: $725
Lab Fee: $50 (Includes numerous handouts and
industry guests.)
BARI EVINS is a working film producer who has
sold pitches and specs to all the majors. Barri
created Big Ideas Seminar to give aspiring screenwriters what it takes to break into the business,
providing professional techniques and powerful
tools to achieve their dreams. Barri has taught at
studios including Pixar, DreamWorks Animation
and Blizzard, the UCLA Producers Program and
AFI. A sought after Script Consultant and Pitch
Doctor, she’s spoken at conferences including
Great American PitchFest, Screenwriters Expo
and Screenwriters World. She is a columnist for
ScriptMag.com.
www.bigBIGideas.com
Samantha Dunn
24
WRITING
951-659-2171x2365
POETRY
WEEK
July 7–11, 2014
Coordinator: Ed Skoog
Ed Skoog
TRACK I
New Poems
Natalie Diaz, Troy Jollimore
Special Guests:
Brendan Constantine, Matthew Dickman
July 7–11
Course # AAWP Ø2A
One-week session
This special week of poetry is open to anyone with
an interest in writing poetry, following the longheld Idyllwild Arts tradition of building a diverse
community of voices to enrich the conversation,
from enthusiastic beginners to emerging and
established poets. Five days of workshops, craft
talks, readings, and lively discussion under the
pines will focus on helping participants write new
poems and explore new ideas.
Poetry Week offers two tracks, New Poems and
Towards A Book. Participants in New Poems will
work with two workshop leaders on writing, revising and critiquing new poems. Small class size will
ensure that each participant receives individual
attention and advice about his or her development as a writer. Participants in the Towards A
Book track will work with Ellen Bass on a small,
representative set of poems submitted prior to
Poetry Week to develop ideas about manuscripts
such as a chapbook or a full collection. See separate
course description.
The tracks run concurrently from 9–noon, and all
participants join together for craft talks by faculty and special guests from 2-4 p.m. and evening
readings by students and faculty. Faculty readings followed by book signing. Ed Skoog will be
available for individual critiques by appointment
throughout the week.
Tuition: $725
Enrollment limited to 10 students per track.
NATALIE DIAZ was raised in the Fort Mojave Indian
Village in Needles, California. She is Mojave and an
enrolled member of the
Gila River Indian Tribe.
Her first poetry collection, When My Brother
Was an Aztec, was published by Copper Canyon
Press in 2012. She won a
2012 Lannan Literary Fellowship, the 2012 Narrative Prize from Narrative
Magazine, and a 2012
Native Arts & Culture Foundation Artist Fellowship.
She is on the IAIA Low Residency MFA faculty. Diaz
currently lives in Mohave Valley, Arizona, and works
with the last remaining speakers at Fort Mojave to
teach and revitalize the Mojave language.
TROY JOLLIMORE is the author of At Lake Scugog:
Poems, and Tom Thomson in Purgatory, which won
the National Book Critics
Circle Award for poetry.
As a philosopher he has
authored On Loyalty
and Love’s Vision. He has
published poems in the
New Yorker, McSweeney’s,
Poetry, The Believer, Tin
House, and elsewhere,
has received fellowships from the Stanford
Humanities Center and the Bread Loaf Writers’
Conference, and is a 2013 Guggenheim Fellow.
ED SKOOG (MFA, Creative Writing, University of
Montana) is author of Mister Skylight, a collection
of poems (Copper Canyon, 2009) and Rough
Day (Copper Canyon,
2013), as well as many
stories and poems in
literary magazines such
as The Paris Review, Poetry, Ploughshares, The
New Republic, American Poetry Review, and
Narrative. He has been
awarded fellowships from the Bread Loaf Writers
Conference and The Lannan Foundation. He has
been a writer-in-residence at the Richard Hugo
House, George Washington University, and The
University of Montana. He is a past chair of creative
writing at Idyllwild Arts Academy.
BRENDAN CONSTANTINE (Special Guest) holds
an MFA from Vermont College of Fine Arts. He
is the author of three
collections of poetry
and his work has appeared in numerous
journals, most notably
FIELD, Ploughshares, Poetry Daily, Zyzzyva, and
L.A. Times best seller The
Underground Guide To
Los Angeles. He currently
teaches poetry at The
Windward School in West Los Angeles. Brendan
also regularly offers workshops for hospitals,
foster-care centers and with the Alzheimer’s
Poetry Project.
www.brendanconstantine.com
MATTHEW DICKMAN (Special Guest) is the
author of Mayakovsky’s Revolver (W.W. Norton,
2012) and All-American
Poem (American Poetry
Review/ Copper Canyon
Press, 2008) and the
recipient of the Honickman First Book Prize, the
May Sarton Award from
the American Academy
of Arts and Sciences, the
Kate Tufts Award from
Claremont College, and
the 2009 Oregon Book Award. He is co-author of
the forthcoming 50 American Plays from Copper
Canyon Press. He has also received residencies and
fellowships from The Michener Center for Writers
in Austin, Texas; The Vermont Studio Center; The
Fine Arts Work Center in Provincetown; and The
Lannan Foundation. His poems have appeared
in Tin House, McSweeney’s, Ploughshares, and the
New Yorker, among others.
Poetry Reading, David St. John
TRACK II
Towards A Book
Ellen Bass
July 7–11
Course # AAWP Ø2B
One-week session
This workshop is for poets who are on their way
to compiling a book or chapbook and want to
make each poem as absolutely strong as it can be.
Each day we will look at one aspect of the craft to
support the revision process. Possible topics will
be: discovery, description, image and metaphor,
sentiment and sentimentality, and de-cluttering.
We’ll read stellar poems from contemporary poets
to illustrate these concepts and inspire us. We’ll
also look at examples of revision in model poems
so you can get an inside view of how some poets
have worked and re-worked their poems to bring
them from “there” to “here.” How different Yeats’
poem, Among School Children, would be if, instead
of the famous line, “How can we know the dancer
from the dance?” he’d left it as it was in the first
draft, “It seems the dancer and the dance are one!”
We’ll discuss and critique one poem a day from
each poet, so by the end of the workshop, you’ll
have detailed feedback on five poems that you
then can apply to the rest of your manuscript.
The feedback will be presented in a way that will
help you not only make these poems better, but
become a stronger poet for the new poems you
have yet to write.
This Poetry Week track will run concurrently with
New Poems from 9 a.m. to noon, and all participants
join together for craft talks by faculty and special
guests from 2-4 p.m. and evening readings by
students and faculty.
Skill Level: Poets who are ready to revise courageously in service to the poem.
Tuition: $725
ELLEN BASS poetry books include Like A Beggar
(Copper Canyon, 2014), The Human Line, Mules of
Love, and the groundbreaking anthology of
women’s poetry, No More
Masks! She is co-author
of The Courage to Heal
and Free Your Mind. Her
poems have appeared in
The New Yorker, American
Poetry Review, The New
Republic, and The Kenyon Review. Among her
awards is a Pushcart Prize, Pablo Neruda Prize,
Larry Levis Prize from Missouri Review, and New
Letters Prize. She teaches in the MFA program at
Pacific University.
Richard Kenney, 2013
Matthew Dickman
WRITING
25
SUMMER EVENTS
EARLY PAYMENT DISCOUNT DEADLINES
10% off the total cost of a program if payment in full is received by March 15, 2014.
5% off the total cost of a program if payment
in full is received by April 15, 2014.
See page 30 for details and information regarding additional discounts for families, friends and
teachers.
Youth Dance Workshop
Hopi-Tewa Pottery Firing
SUNDAY
METALS WEEK.
Lectures:
Sarah Doremus,
Charity Hall,
Deb Jemmott,
Harold O’Connor,
Elise Preiss,
Pauline Warg,
April Wood,
7 p.m. Krone Library.
MONDAY
TUESDAY
HOT CLAY. Lecture:
Patti Warashina
HOT CLAY Lecture:
Michael Corney
WEDNESDAY
THURSDAY
Native American Arts Festival Lecture
FRIDAY
SATURDAY
FAMILY CAMP BEGINS
See our Youth Catalog or the summer website
for a description of this unique fun filled oneweek program for the whole family.
METALS WEEK.
Student Show.
4 p.m.
Krone Library Patio.
Parks Exhibition
Center Opening
Reception.
Hot Clay, Metals
Week & Faculty.
8 p.m.
Parks Center.
HOT CLAY. Lecture:
John Oles
151617181920
HOT CLAY. Lecture:
Margaret Bohls
Native Artist
Demonstration:
7 p.m. Parks Center.
Parks Exhibition
Center Opening
Reception.
Hot Clay & Faculty
8 p.m.
Artist Lectures:
Charlie Ciali
Gerald Clarke, Jr.,
Margaret Scanlan
HOT CLAY. Lecture:
Gay Smith
HOT CLAY. Lecture:
Richard Burkett
21
Native Am. Pottery
Firing.
Tony Soares,
Cahuilla Style
8 a.m. Kennedy Kiln
Yard.
Adult Arts Center
Culminations.
4 p.m. Parks Center
Patio.
222324252627
NATIVE ARTS WEEK.
Panel:
Native American Radio
Show: Live Taping
6:30 p.m. Krone Library.
NATIVE ARTS WEEK.
Lecture:
Ellen Taubman &
Guest Artists,
Art as Story
Parks Exhibition
Center Opening
Reception.
8 p.m.
Faculty Jazz
Combo Concert.
8 p.m. IAF Theatre.
NATIVE ARTS WEEK.
Lecture:
Matika Wilbur,
Stories Through Photos
PlusNative Food Tastings
Artist Lectures.
Lisa Adams,
David Delgado,
Greg Kennedy,
Marie Thibeault
NATIVE ARTS WEEK.
Lecture:
TBA
Adult Arts Center,
Faculty, Staff &
Associates of IAF
Potluck Dinner.
5:30 p.m. Studio D.
28
NATIVE ARTS WEEK.
Lecture:
Deana Dartt,
The Stories
Museums Tell,
Children’s Open
House.
Multi-Arts. 2:45 p.m.
Children’s Center
Native American Arts Pottery Firings.
Mark Tahbo, Hopi Tewa,
Nathan Youngblood, Santa Clara Pueblo
8 a.m. Kennedy Kiln Yard.
Student Jazz Concert.
1 p.m. IAF Theatre.
NATIVE ARTS WEEK.
Film Night:
Adult Arts Center
Culminations.
4 p.m.
Parks Center Patio.
NATIVE ARTS WEEK.
Performance:
Mt. Cahuilla
Birdsingers,
Git Hayetsk Northwest
Coast Intertribal Dance
Group
7 p.m. IAF Theatre
J U LY
29301234
Poetry Reading.
Poetry Week Faculty.
Ellen Bass,
Troy Jollimore,
Ed Skoog
Parks Exhibition
Center Opening
Reception. 8 p.m.
Vocal Music Recital.
8 p.m. Stephens.
Artist Lectures:
David Hoptman,
Deb Jemmott,
Sibyl Rubottom,
Adult Arts Center,
Faculty, Staff &
Associates of IAF
Potluck Dinner.
5:30 p.m. Studio D.
Poetry Reading.
Poetry Week Students
6:30 p.m. Krone Library.
Children’s Open
House.
Children’s Center
Adult Writing Reading.
Faculty & Students
3 p.m.TBA
Poetry Reading.
Poetry Week Faculty.
Natalie Diaz,
Matthew Dickman,
Brendan Constantine
Adult Arts Center
Culminations.
4 p.m. TBA.
Youth Song &
Dance Performance.
8 p.m. IAF Theatre.
Faculty Jazz
Combo Concert.
8:30 p.m. IAF Theatre.
Children’s/Junior Artist’s Culminations.
Mini-Musical. Adventures in Art. Painting &
Drawing. 9:30 a.m. Filmmaking. 10 a.m. Dance.
10:30 a.m. Theatre Adventures. 11:30 a.m. Children’s Center. Piano. 10 a.m. Stephens.
Youth Art Exhibit. 10 a.m. Parks Center.
Youth Computer Animation.
10 a.m. Krone Library.
Youth Fiction Reading.
10 a.m. Todd Quad.
Youth Piano Recital. 1 p.m. Stephens.
Youth Jazz Concert. 10 a.m. IAF Theatre.
Youth Jazz Concert. 1 p.m. IAF Theatre.
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11
26
Children’s Center Multiarts Culmination
SUMMER EVENTS
Adult Arts Center Culmination
5
12
Youth Song & Dance Performance
951-659-2171x2365
Jr. Artist’s Musical Theatre Performance
SUNDAY
MONDAY
Youth Chamberfest Performance, Royce Hall, UCLA, Los Angeles
TUESDAY
WEDNESDAY
Parks Exhibition
Center Opening. 7 p.m.
Faculty, Staff &
Associates of IAF
Potluck Dinner.
5:30 p.m. Studio D.
THURSDAY
Adult Student and Faculty Potluck
FRIDAY
SATURDAY
Children’s Center
Open House &
Culminations.
2:45 p.m.
Children’s Center
Children’s Culmination.
Drawing & Sculpture.
9:30 a.m. Children’s Center.
Theatre Production.
8 p.m. JPT.
HS Wind Ensemble. 1 p.m. IAF Theatre.
Music Faculty
Recital.
8 p.m. Stephens.
Youth Film Making Screening.
10 a.m. Ryan Soundstage.
HS Symphony Orchestra.
3:30 p.m. IAF Theatre.
Theatre Production. 8 p.m. JPT.
131415161718
Symphonic Band.
1 p.m. IAF Theatre.
Student Recital:
Instrumental Music.
8 p.m. Stephens.
Student Recital:
Instrumental Music.
8 p.m. Stephens.
Faculty, Staff &
Associates of IAF
Potluck Dinner.
5:30 p.m. Studio D.
Student Recital:
Instrumental Music.
8 p.m. Stephens.
Children’s Center
Open House.
Children’s Center
Young Harpists
Recital.
7 p.m. Stephens.
Student Chamber
Music Recital.
8 p.m. Stephens.
19
Fashion Design. Modern Art. Clay/Sculpture.
Magic of Art. 9:30 a.m. Comp. Animation. Page
to Stage. 10 a.m. Acting for Camera. 10:45 a.m.
Musical Theatre. 11:30 a.m. Children’s Center.
Youth Art Exhibit. 10 a.m. Parks Center.
Youth Fashion Show. 10 a.m. Old Dining Hall.
Youth Readings. 10 a.m. TBA.
Dance Culmination. 10 a.m. Fisher Studio.
Acting/Directing for Camera. 10 a.m. Ryan.
Symphonic Band. 12 p.m. IAF Theatre.
HS Wind Ensemble. 2 p.m. IAF Theatre.
HS Symphony Orchestra.
4 . . IAF Theatre.
202122232425
26
pm
Parks Exhibition
Center Opening. 7 p.m.
Faculty, Staff &
Associates of IAF
Potluck Dinner.
5:30 p.m. Studio D.
Children’s Center
Open House.
Children’s Center
Student Chamber Music Recital .
10 a.m. Stephens.
CHAMBER MUSIC IN
IDYLLWILD SERIES
Pre-Concert Talk.
7:30 p.m. Stephens.
Concert I
8 p.m. Stephens.
CHAMBER MUSIC IN
IDYLLWILD SERIES
Faculty Concert
8 p.m. Stephens.
HS Festival Choir.
1 p.m. IAF Theatre.
Songwriting Performance.
1 p.m. TBA.
Chamberfest: Chamber Orchestra
4:30 p.m. IAF Theatre
CHAMBER MUSIC IN
IDYLLWILD SERIES
Pre-Concert Talk.
7:30 p.m. Stephens.
Concert II
8 p.m. Stephens.
A U G U S T 1
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Student Recital:
Vocal Music.
8 p.m. Stephens.
3
Student Percussion
Recital.
7 p.m. IAF Theatre.
Student Chamber
Music Recital.
8 p.m. Stephens.
HS Chamberfest:
Final Concert
4 p.m. Royce Hall, UCLA
Faculty, Staff &
Associates of IAF
Potluck Dinner.
5:30 p.m. Studio D.
Student Recital:
Instrumental and
Vocal Music.
8 p.m. Stephens.
CHAMBER MUSIC IN
IDYLLWILD SERIES
Pre-Concert Talk.
7:30 p.m. Stephens.
Concert III
8 p.m. Stephens.
Children’s Center
Open House.
Children’s Center
Art from Many Cultures. 9:30 a.m. Young Writers. 10 a.m. Theatre of Myth. 10:45 a.m. Shakespeare’s World. 11:30 a.m. Children’s Center
Theatre Performance.
2 & 8 p.m. JPT.
Youth/Jr. Artists Art Exhibit. 10 a.m. Parks Center.
HS Festival Choir
8 p.m. IAF Theatre.
Acting/Directing for Camera. 10 a.m. Ryan.
Student Chamber
Music Recital.
8 p.m. Stephens.
HS Choir:
Final Concert
4 p.m. Royce Hall, UCLA
2
Youth Fashion Show. 10 a.m. Old Dining Hall.
Fiction Readings. 10 a.m. Todd Quad.
Dance Culmination. 10 a.m. Fisher Studio.
RE: Mix Culmination. 10 a.m. Studio A.
Chamberfest Ch. Music 10 a.m. Stephens.
Songwriting Performance. 1 p.m. TBA.
HS Festival Choir. 1 . . IAF Theatre.
1045678
9
Theatre Performance. 2 & 8 . . JPT.
pm
pm
Chamberfest Orchestra. 7 p.m. IAF Theatre.
Native American Arts Festival Lecture
Youth Jazz Performance
Parks Exhibition Center Opening Reception
Jr. Artist’s Shakespeare Performance
SUMMER EVENTS
27
MAPS
CAMPUS MAP
Water Tanks
REGISTRATION
(Bowman Arts Center)
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11
10
13
22
22b
21
17
18
20
19
21b
26. Ataloa Visual Arts Studio
14.Birchard
35. Bowman Arts Center
59. Campus Security Office
63. Cedar Classroom
11. Chemistry Lab
4. Children’s Center
47. Dance Offices
23. Old Dining Hall
48. Dorm 1
39. Dorm 3
38. Dorm 4
67.
45.
6.
22b.
25.
1.
8
9
68
70
7
IV
46. Fisher Dance Studio
3. Fitzgerald Jr. Players Theatre
1b. Fugl Studio
54b. Health Center
7. Old Health Center
30. Hicks Studio
8. Holmes Amphitheatre
70.Housekeeping
5. Hummingbird Hollow
54. HUSCH Hall
36. IAF Theatre
56. Krone House
(Academy Admission, Alumni,
Marketing)
12. Krone Library
40. Lewitzky Dance Studio
43.Lupine
53. MacNeal Hall
64. Maintenance Building
51. Manzanita Chalet
18. Meadow 1
15. Meadow 2
20. Meadow 4a & 4b
16. Meadow 5
Krone Library
Campus Pool
59
DR
AN
16
10
60
A
15
11
6
69
E
14
IS
9
5
12
64
62
12
LU
8
58
APELA DRIVE
65
67b
66
2
4
31
HU
67
54b
OW
CA
Bowman Arts Center
50
33
IV
29
52
45
34
26
27
47
51
49
48
44
43
TEMECUL A ROAD
28
40
46
7
23
39
Eagles Nest Classroom
El Centro Classroom
Elf Shelf
Escherich Humanities Ctr.
Eymann Sculpture Garden
Film Lot
Str
aw
ber
ry
Cre e
k
TOLLGATE RD.
(to hwy 243)
17.
21.
22.
21b.
32.
29.
27.
6b.
69.
55.
24.
50.
9.
Meadow 6
Meadow 7
Meadow 8
Meadow 9
Mellor Studio
Millsap Studio
Native Arts Studio
Nelson Dining Hall
North Classroom
Oak Chalet
Photography Lab
Physics/Mathematics Lab
52. Pierson Hall
62. Pine Chalet
61b. Ponderosa Classroom
57.Pool
49. Rush Hall
28. Ryan Sound Stage
44. Sage Classroom
10. Schoustra Science Lab
60.Sequoia
(Advancement, Development)
2. Sherman Costume Shop
68. South Classroom
33. SUMMER OFFICES
41. Spruce A & B
31. Steere Studio
13. Stephens Recital Hall
37. Studio A
19. Studio D
34. Todd Center/Bookstore
65. Troy Music Classrooms
66. Troy Restrooms
58. Wayne Hall
61. Wayne Music Rooms
67b. Wilson Classroom
42. Zimmerman Log Lodge
Husch Hall
LO C AT I O N M A P
5
From the San Diego Area:
1) Hwy 15 north to Temecula. Exit Hwy 79 south
toward Indio/Palm Desert. Turn left onto Hwy
371 (Continue towards Indio/Palm Desert). Left
at Hwy 74, 10 miles to Hwy 243. Right 4 miles to
Idyllwild. Left at Tollgate Road 1 mi. to campus.
2) Route 15 north to Winchester Road. Right on
Winchester Road to Route 74; right on Route 74
to Mountain Center. Left on Route 243, 4 miles,
left on Tollgate Road one mile to campus.
28
10
San Bernardino
215
60
10
Riverside
91
5
55
Va
Beaumont
Banning
60
n B u r en
Ramon
215
15
79
a Exp
ress
way
10
Palm
Springs
243
IDYLLWILD
111
74
Laguna Hills
215
74
Hemet
74
in c
371
Temecula
Palm
Desert
111
Mtn. Center
s ter
Newport
Beach
215
15
W
From the LA Area, through Banning:
Route 10 or 60 East to Banning. Take the 8th St.
exit to Route 243 which leads up the mountain
25 miles to Idyllwild. Continue 1 mile through
the Village. Right on Tollgate Road one mile to
campus.
Ontario
Road
Burbank
405
From the Riverside Area through Hemet:
210
Route 60 Riverside, towards Beaumont. Right 101
on Route 79, 8.3 miles to traffic light. Left onto
10
LOS ANGELES
Ramona Express Way, travel 8 miles to Florida
Ave. Left at traffic light onto Route 74. Fifteen
91
miles up the mountain to Hwy. 243 at Mountain
Center. Left onto Route 243, 4 miles to Idyllwild.
Long Beach
405
Left on Tollgate Road., one mile to campus.
he
Idyllwild Arts
52500 Temecula Dr, Idyllwild, CA 92549
74
Anza
79
To Warner Springs
N
5
15
Escondido
SAN DIEGO
From all directions, please note:
The campus is located at the end of Tollgate Road, just beyond a bridge. Once on campus, turn right at the
crosswalk (Cahuilla Drive) & proceed uphill, turn right at the “T,” to Bowman Arts Center for registration.
951-659-2171x2365
2014 SUMMER ADULT PROGRAM REGISTRATION FORM
R E G I S T R AT I O N
Page 1 of 2
QUESTIONS?
Contact our Registrar:
(951) 659-2171 x 2365
fax (951) 659-4552
summer@idyllwildarts.org
STUDENT INFORMATION
Student Name
Please type or print in ink all information. One form per student. (Photocopy additional forms if needed)
Last ________________________________________________________ First ______________________________________
SUMMER OFFICE USE
Mailing Address
Street and Number_____________________________________________________________________________________
Rec’d __________________
City ______________________________________________________ State __________________ Zip _________________ Cust. # _________________
E-mail Address _______________________________________________________________________________________
Packet Sent ________________
Phone
Day
(
)_________________________________________________________
Date of Birth
(Optional)
Evening
)___________________________________ Sch. App. Sent ______________
(
_______________________ Sex ______________Ethnicity
(Optional) ___________________________ Mat’ls List Sent ______________
CLASSES DESIRED $225 Deposit required for each class. (Please note: Tuition includes lunch for all adult students.)
Course Title___________________________________________Course Code____________________ Dates_________________________Cost__________________
Housing & Meal Plans (see below for description)
A
C
D
E
Cost__________________
B
A
B
C
D
E
Cost__________________
A
B
C
D
E
Cost__________________
Sub-Total:_______________
ADULT HOUSING AND MEAL PLANS (See page 3 for information)
Double Room (includes meals)
(A) $535 per week
(B) $325 per three days
Roommate Request Name (Adult Students Only)_____________________________________________________________________________________
Private Room (includes meals)
(C) $745 per week
D) $465 per three days
Meals Only
(E) $90 per week-Dinner Sunday thru Breakfast Saturday
TRANSPORTATION (See page 2 for information)
A form will be sent to confirm your reservation. Transportation is available from Ontario International Airport and Palm Springs Airport ($150 each way).
Transportation Needed:
One way
Both ways
Amount:_______________
Non-refundable Application Fee: $25
Please do not apply any discounts to the total. Discounts will be reflected in your bill.TOTAL:_______________
I have enclosed the non-refundable $25 application fee & the non-refundable $225 deposit for each course ($25 penalty for returned checks/refused credit charges)
METHOD OF PAYMENT
I have enclosed a check. Check #___________________________ VISA
MasterCard
Am. Ex.
Discover
Please charge my credit card. Amount to be charged $_________________________
Card #____________________________________________ Expiration Date______________
Name as it appears on card___________________________________________________Signature______________________________________________________
PLEASE COMPLETE THE BACK OF THIS FORM AND MAIL WITH YOUR DEPOSIT TO:
Registrar, Summer Program • Idyllwild Arts • P.O. Box 38 • Idyllwild, CA 92549-0038
REGISTRATION
Enrollment Procedures
All applications must be accompanied by the
completed registration form, the $25 application
fee, and a non-refundable $225 deposit for each
course chosen to ensure class placement. The
$225 is applied toward tuition.
You may also register by phone using your VISA,
MasterCard, American Express or Discover Card:
951-659-2171 x2365.
The balance of all tuition, room and board fees will
be due in full at least 30 days before class begins.
A late registration fee of $50 will be added to all
accounts which are past due. All past due accounts
will be turned over to a collection agency after
September 30, 2014. Please make every effort to
register as early as possible so you will receive your
registration packet in time to complete and return
any necessary forms. For late registrants, class
placement cannot be guaranteed until payment
in full is received by Idyllwild Arts.
1) All fees, minus the $25 application fee are completely refundable up to 90 days before a class is
scheduled to begin.
Enrollment is automatically confirmed upon full
payment of fees. Your cancelled check or credit
card bill is your receipt. Upon receipt of the registration form and fee, a packet of registration
materials will be mailed to you.
2) If a student withdraws more than 30 days
prior to a scheduled class, all minus the $25 application fee and $225 deposit will be refunded
upon written request. No refunds of any kind
will be made less than 30 days before a class is
scheduled to begin.
Refunds
3) If Idyllwild Arts cancels a class, all fees are
refundable in full.
The Summer Program’s planning, hiring, purchasing
and related expenses are directly determined by
the number of enrollments received in the early
Spring. Therefore, no refunds are made for early
withdrawals, student cancellations or no-shows
(regardless of accident, illness, or change of plans)
except as follows.
Idyllwild Arts is not able to apply non-refundable
payments to a future summer program.
There are no exceptions to this policy.
Arrival and Check In
Students may check in from 3 to 5 p.m. on the
day before their workshop begins, or between 8
and 8:30 a.m. the first day of class. A Registration
Packet will be sent to you with check-in dates and
assigned classroom for your workshop.
Please note: There are no provisions for those
arriving before or after registration hours.
See Discounts/Credit information on next page.
APPLICATION/REGISTRATION/REFUNDS
29
2014 SUMMER ADULT PROGRAM REGISTRATION FORM
IDYLLWILD ARTS
F O U N DAT I O N
Page 2 of 2
The IAF is a non-profit corporation, founded
(in 1946 as a summer center in the arts) on
the premise that the arts provide a common
language and that participation in the arts
can not only enrich lives but can change lives.
PLEASE COMPLETE THE REMAINDER OF THE FORM IN ORDER FOR YOUR REGISTRATION TO BE PROCESSED
Student Name
Last ________________________________________________________ First ______________________________________
In signing this application, I acknowledge that I have read the policies of Idyllwild Arts as noted in the catalog including the sections relating to payment of fees and refunds, and agree to abide by them. I
understand that I am solely responsible for all medical expenses incurred by me while enrolled in the Idyllwild Arts Summer Program. Consent is hereby given for the applicant, while a student at Idyllwild
Arts, to participate in radio and television programs without compensation and for photographs taken at Idyllwild Arts to be used in campus-approved publicity.
____________________________________________________________ ____________________________________________________ ________________________________
Signature of Student
Signature of Parent/Guardian if student under 18 years of age
Date
The Foundation now operates two programs:
the Summer Program – in its 65th year of
providing classes in the arts for all ages
and abilities, and the Arts Academy – an
independent boarding high school established
in 1986 for students talented in the arts.
Summer Program
• Eight-week season
• 1800 students ages 5 to adult
Please list the names and addresses of friends you have who would like to receive a Summer Program Catalog.
_________________________________________________________________________________________________________________________________________________________________
_________________________________________________________________________________________________________________________________________________________________
_________________________________________________________________________________________________________________________________________________________________
• Over 100 hands-on workshops in creative
writing, dance, music, theatre, visual arts,
Native American arts
• Family Camp
_________________________________________________________________________________________________________________________________________________________________
• Adult Theme Weeks: Hot Clay, Metals Week,
_________________________________________________________________________________________________________________________________________________________________
• Professional artist-teachers
_________________________________________________________________________________________________________________________________________________________________
• We strive to provide more than $450,000
in financial aid during the Summer Program,
to ensure that children and youth from lowincome families had access to arts education.
We awarded over $480,000 in scholarships
during the 2013 Summer Program.
I would like to receive information about the Idyllwild Arts Academy. (See page 31 of this catalog for a brief description of the Academy.)
DISCOUNT PROGRAMS
Please complete the following to be assured the correct discount is credited to you. (See this page for information.)
Early Payment of Fees: (Fees must be received in full in order for discount to apply)
Family Discount: Other Family Members Attending
March 15–10% discount
April 15–5% discount
____________________________________________________________ ____________________________________________________ ________________________________
Name
Program Dates
____________________________________________________________ ____________________________________________________ ________________________________
Name
Program Dates
Teacher Discount: Teacher Name_______________________________________________________________________________________
List other Teachers attending:
Academy
• Co-educational, 300 students (49%
international), grades 9–12 & postgraduate
• Pre-professional training in creative
writing, dance, filmmaking, interdisciplinary
arts, music, theatre & visual arts (Majors:
Music, Theatre, Dance, Moving Pictures,
Creative Writing, Visual Art, InterArts)
____________________________________________________________ ____________________________________________________ ________________________________
Name
Program Dates
• Students selected by audition or portfolio
evaluation
____________________________________________________________ ____________________________________________________ ________________________________
Name
Program Dates
• Comprehensive college preparatory
academic curriculum
Bring a Friend:
a) Name(s) of student(s) I have referred to the Summer Program. Please be sure that any students you have referred to Idyllwild Arts list you in part (b) of their application.
Credit cannot be applied to your account until Idyllwild Arts has received your friend’s application with you listed in part (b).
____________________________________________________________ ____________________________________________________ ________________________________
Name
Program Dates
____________________________________________________________ ____________________________________________________ ________________________________
Name
Program Dates
b) Name of student who referred me to the Summer Program—one name only. Must be completed to insure credit to referring student.
____________________________________________________________ ____________________________________________________ ________________________________
Name
Program Dates
52500
Te m e c u l a
Road
•
P. O .
Box
38
•
Idyllwild,
CA
92549
•
(951)
659-2171
•
Fa x
(951)
659-4552
•
idyllwildarts.org
• Academy graduates are sought by
the finest colleges, conservatories and
universities in the country
• On average, more than half of our IAA
students have access to an exceptional arts
and academic education because of financial
aid. For the 2013-2014 Academy school year
of 300 students, we awarded nearly $6.13
million in scholarships to 61% of our student
body!
We welcome your support
Our Summer and Academy programs (and
financial aid awards for eligible students) are
made possible with the help of gifts from
friends like you.
To make a gift, or for further
information regarding gifts, contact:
Discounts/Credits
Idyllwild Arts offers students the following options to reduce the cost of attending the Summer
Program. They are applied to the total cost of a
program: tuition, housing, meals, lab fees, and
transportation. They cannot be applied to room
deposits or key deposits.
Early Payment Discount
10% off the total cost of a program if payment in full is received by March 15, 2014.
5% off the total cost of a program if payment
in full is received by April 15, 2014.
1) Any changes or additions to enrollment made
after the Early Payment deadline are subject to the
full price.
2)Students choosing the Early Payment option
are not eligible for scholarships.
30
APPLICATION/DISCOUNTS
Family Discount
Two or more members of the same immediate
family qualify for a reduction of $50 per person
per week.
1) Family members are not required to attend at
the same time.
2) Not available to students choosing the Teacher
Discount.
3) Not available to weekend registrants.
Bring a Friend
Receive credit of $50 per new student—one
who has not attended the Summer Program
previously—you bring to the Summer Program, up to half the total cost of your stay at
Idyllwild Arts.
1)A new student can be claimed by only one
returning student.
2) Does not apply to immediate family members of
returning students. (see Family Discount)
3) Not available to weekend registrants.
Teacher and Student Discount
If there is space available in a workshop 30 days
before it begins, teachers (K–12, currently employed, full time) and current college/university
students (full time) may enroll at 50% off of tuition.
1)Available only to week-long workshop registrants.
2) Fees for the workshop must be paid at the time
of registration.
3) Available on a limited basis.
Idyllwild Arts Foundation
Advancement Office
P.O. Box 38, Idyllwild, CA 92549-0038
951-659-2171 ext. 2330
advancement@idyllwildarts.org
www.idyllwildarts.org
ARTS ACADEMY
31
CERAMICS
Ceramics: The Ways of Clay
Hot Clay
The Figure
The Painted Pot: Surface Tension
Cone 6: Exciting Glazes & Surfaces
Form, Surface & Soda Firing
IDYLLWILD ARTS FOUNDATION
P.O. Box 38
Idyllwild, CA 92549
Non-Profit
Organization
U.S. Postage
PAID
Idyllwild Arts
Foundation
JEWELRY
Three Ring Circus
Metals Week
Steel for Jewelers: Ferrous to Fine
Textures
Working Jewelry
MIXED-MEDIA Assemblage
BOOK ARTS
Book Arts through Cartography
Mythological Icons
NATIVE ARTS Chumash Stone Carving
Native American Flutes
Northwest Coast Cooking/Culture
Native Plants
Cahuilla Basketry
Haida Basketry
Navajo Weaving
Hopi Jewelry
Hopi Tewa Pottery
Santa Clara Pottery
PAINTING/
DRAWING
Encaustic Painting
Experiential Drawing & Watercolor
Painting the Figure
Plein Air Painting
Representation to Abstraction
Unleashing Color
Watercolor Untamed
PHOTOGRAPHY Digital Photography & Beyond
PRINTMAKING Chiaroscuro Woodcut
Monotype
SCULPTURE
Glass Blowing
Introduction to Sand Casting
WRITING
The Art of Writing Fiction
Writing Memoir
Screenwriting
Poetry Week
New Poems
Towards A Book
SUMMER PROGRAM 2014
Workshops for Adults
One to Six Day Intensive Workshops for Adults Including the Native American Arts Festival, Hot Clay. and Metals Week (Children & Youth Course Catalog published
separately-see information on page two for details)
MasterCard, VISA, Discover, & American Express accepted
Visit our website: w w w . i d y l l w i l d a r t s . o r g

summer program 2014 - Idyllwild Arts Academy

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