summer program 2013 - Idyllwild Arts Academy

Transcription

SUMMER PROGRAM 2013
Workshops for Adults
h a n d s - o n 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 HI B ITIONS
Page
The School Mission
CERAMICS
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.
7
Ceramics: The Ways of Clay 5
Hot Clay 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.)
Wknd
7/8–12
Wknd
7/1–5
Wknd
6/24–28
Wknd
Wknd
Please see course descriptions for
exact dates and durations.
T a b le o f C o n te n ts
6/17–21
S C H E D U L E o f A D U L T C lasses &
5
Figuratively Speaking: Exploring the Narrative in Sculpture
6
Pottery Component Mash-Up
6
Print & Repeat: Silkscreening on Clay
6
Pierced & Colored & Lovingly Handbuilt: Handbuilding in Clay
7
Sets and Soda
JEWELRY/METALS
10
Handmade Findings: Hook It, Hang It, Poke It, Stab It
10
Captured Treasures in Silver Metal Clay
8
Metals Week 8
Chasing & Repoussé
9
Creating Cuffs
9
Nunome Zogan: The Gentle Art of Tapping
9
The Rolling Mill: Exploring a Creative Tool
10
A Fresh Look at Spiculums
10
Surface Design & Fabrication 5/5/10
MIXED-MEDIA/BOOK ARTS
USA
CA
11
Assemblage I: Sanctum of the Forgotten Tune
11
Assemblage II: Baba Yaga Birdhouse
12
Manuscript Books: Writing as Image, Exposed Sewing
12
Hand Forged Metal Books & Full Throttle Journaling
12
The Santos Cage Doll Redefined
MUSIC
Special Events: Chamber Music Concerts
July 31–August 8 >
NATIVE AMERICAN ARTS
A
NI
Los Angeles
IDYLLWILD
San Diego
Location
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.
The Idyllwild Arts 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.
Please note: At the time this catalog
was printed, every effort was made to
assure its accuracy. In keeping with the
commitment of the Idyllwild Arts Summer Program to individual and timely
needs of students and faculty, however,
we reserve the right to make changes in
faculty, courses, schedules, tuition and
policies. For specific dates see class descriptions.
For updates or changes, see our website
at www.idyllwildarts.org/summer.aspx
2012 Photographer: Paula Harding.
GENERAL INFORMATION
Campus Facilities & Services........................3
Daily Schedule................................................2
Discounts/Credits.....................................3, 30
Events Schedule ....................................26, 27
Fee Payment/Refunds.................................29
Helpful Weblinks.............................................3
Housing and Meals........................................4
Location/Transportation............................2, 3
Maps (Location & Campus).......................28
On Campus Activities for Adults...................3
Registration Form...................................29, 30
Things to do in Idyllwild .................................3
Idyllwild Arts Academy Information..........31
2
Acrylic Ink Quilting Adventure
13
R
FO
LI
N
11
SCHEDULE/CONTENTS
16
Hopi Basketry: Coiled Plaque & Sifter Baskets
17
Hopi Jewelry: Overlay & Tufa Casting
18
Santa Clara Pottery
13
Native American Arts Festival
14
Craft & Survival Skills 15
Native Plants: Contemporary and Traditional Uses
15
Cahuilla Basketry
15
Soft Sculpture: Doll Making & Beadwork
16
Navajo Weaving I & II 17
Navajo Inlay Jewelry
17
Native American Flutemaking - Beginning & Intermediate
18
Hopi Tewa Pottery
18
Mata Ortiz Pottery PAINTING/DRAWING
19
Color Boot Camp
19
Contemporary Approaches to Painting
20
Drawing Intensive
20
Encaustic Painting & More
20
The Figure & Still Life: Direct Painting - Quick Studies & Beyond
21
Narrative Figure Painting
21
Painting the Figure Simply & Beautifully in Watercolor
21
Travel Drawing & Painting
22
Watercolor from Within: Painting the Essence of Nature
22
Watercolor Unleashed: Exploring Waterbased Media
PRINTMAKING
23
Beyond Monotype
23
Encaustic Monoprinting
23
Solarplate Etching
SCULPTURE
24
Contemporary Sculpture in Plaster
24
Furniture Making & Design
WRITING
24
The Art of Writing Fiction: Making It Up
25
Memoir/Creative Nonfiction
25
Young Adult Novel ( for adults)
25
Poetry Week
Sn MT WThFS
Sn MT WThFS
Sn MT WThFS
June
1
23 45 678
9 10 1112 131415
1617 1819 202122
23/3024 2526 272829
1 23 456
7 8 9 10 111213
1415 1617 181920
2122 2324 252627
28 29 30 31
July
123
August
45 67 8910
1112 1314 151617
1819 2021 222324
2526 2728 293031
Questions?
Contact our Registrar:
(951) 659-2171 x 2365
fax (951) 659-4552
summer@idyllwildarts.org
Parks Exhibition Center Opening Reception
Transportation
Campus Facilities and Services
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.
The campus features large modern dormitories, modest residence halls, dining hall and
a snack bar. Services include health center,
bookstore and laundry facilities.
Weather
Performance halls include the IAF Theatre,
Stephens Recital Hall, Holmes Amphitheatre,
and Junior Players Theatre among others.
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.
Lodging and Dining
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.
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 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.
The Village of Idyllwild
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 1,700 adults and children
attend the Idyllwild Arts Summer Program.
There are four arts centers plus Family Camp
that comprise the Summer Program.
• The Children’s Center (ages 5–12)
(See separate Youth Program Catalog)
• Junior Artist’s Center (ages 11–13)
• The Youth Arts Center (ages 13–18)
• Adult Arts Center (This Catalog)
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.
Horseback riding and fishing are available
within 20 minutes from campus.
Helpful Weblinks
www.idyllwildarts.org
www.towncrier.com
www.idyllwildchamber.com
www.idyllwildjazz.com
www.greencafe.com
www.idyllwild.me
www.idyllwildherald.com
www.artinidyllwild.com
The art studios include numerous indoor
and outdoor facilities. Exhibition areas include the Parks Exhibition Center and the
Eymann Sculpture Garden.
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.
Discounts and Credits
Idyllwild Arts offers students the following
options: (See page 30 for details)
• Early Payment Discount
• Family Discount
• Teacher/Student Discount
• Bring a Friend Discount
Adult Arts Center
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
In general, 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. There are evening events and activities for participants throughout the week,
as well as several lunchtime lectures open to
all students during the Native American Arts
Festival Week (June 30–July 6).
Pierson Hall
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. See your
Registration Packet for specific check-in times
and location for your workshop.
Please note: There are no provisions for those
arriving before or after registration hours.
On-Campus Activities for Adults
Each evening there are activities taking place
throughout campus (see 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:
Monday–Parks Exhibition Center reception:
Faculty Art Show and Artist demonstration/
presentation
Tuesday–Faculty artist slide lecture or Poetry
Reading
Wednesday–Potluck and Barbeque at
Studio D for all adult students, faculty members and school community members.
Friday–Adult student art show
There will be several lunchtime and evening
lectures and presentations that all adult students are invited to attend.
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.
Family Camp: The whole family is welcome
at Family Camp. Everyone will enjoy a week
of arts activities and fun! (See separate Youth
Program Catalog or website)
We offer two catalogs, one for adults and
one for children and teenagers.
This catalog contains program
information for adults.
To request a Youth Catalog please call:
951-659-2171 ext. 2365
or visit www.idyllwildarts.org
Nelson Dining Hall
sum m er @ id y llwi l dart s . o r g
Adult Student Culmination
Faculty, Staff & Adult Student Potluck
THE PROGRAM
3
I d y llwild A rts
F o u ndation
On-Campus Housing and Meals
For adult students and adult students with
children in a program, there are two oncampus housing options:
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.
Residence Halls-Modest motel-like units with
twin or bunk beds and private bath accommodate one or two adults. Rates are based
on occupancy of one-room units plus 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
The Foundation now operates two
programs: the Summer Program – in its
64th 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.
b. Private room & meals (limited availability)
$745 per week
$465 per person for three days
Summer Program
• Eight-week season
Residence Hall check-out time is 10 a.m. on
Saturday.
Residence Hall accomodations are not available for weekend workshop participants.
Please see the Off-Campus Housing information on this page.
Idyllwild Arts Pool
Nelson Dining Hall
Off-Campus Housing
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
Bluebird Cottage Inn............ 951-659-2696
Creekstone Inn..................... 800-409-2127
Fern Village Chalets.............. 951-659-2869
Fireside Inn........................... 877-797-3473
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
Tahquitz Inn.......................... 877-659-4554
Wilder Cabins....................... 951-659-2926
Woodland Park Manor......... 877-659-2657
Camping
Idyllwild County Park........... 800-234-7275
Additional information
Please see page 28 and 29 for additional information including campus location maps,
and registration forms.
Bowman Arts Center
4
THE PROGRAM/CERAMICS
Pottery Component Mash-Up................. 6
Christa Assad
Silkscreening on Clay................................ 6
Jason Bige Burnett
Hot Clay Week II............................................. 6
Handbuilding in Clay................................ 6
Sunshine Cobb
Sets & Soda................................................. 7
Richard Burkett & Joe Molinaro
• Family Camp
Mata Ortiz Pottery........................................ 18
Jorge Quintana
• 28% of participants attending a Summer Program workshop received financial aid in 2012– totaling over $765,000
Cabins and Homes
Idyllwild Cabin Rentals........ 877-270-3285
Idyllwild Mtn. Rentals.......... 951-659-5349
Idyllwild Vacation Rentals.... 800-297-1410
Parks Exhibition Center
The Narrative in Sculpture........................ 5
James Tisdale
SEE ALSO
• Professional artist-teachers
No pets are allowed.
The Ways of Clay class photo
Hot Clay Week I.............................................. 5
• Over 100 hands-on workshops in
creative writing, dance, music, theatre,
visual arts, Native American arts
• Adult Theme Weeks: Hot Clay, Metals
Week, Native American Arts Festival
Smoking is prohibited in all campus facilities.
The school also offers a snack bar which
operates on a cash basis beginning June 17.
Sandwiches, snacks and soft beverages are
available from 11:30 a.m. to 7:30 p.m. daily.
Ceramics Workshop: Ways of Clay............... 7
Greg Kennedy & David Delgado
• 1700 students ages 5 to adult
Please observe the 10 p.m.–8 a.m. quiet hours.
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.
CERAMICS
Academy
• Co-educational, 298 students (58%
international), grades 9–12 and 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)
• Students selected by audition or
portfolio evaluation
• Comprehensive college preparatory
academic curriculum
• Academy graduates are sought by
the finest colleges, conservatories and
universities in the country
• Over 57% of students receive some
amount of financial aid – totaling nearly $5.6 million
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:
Idyllwild Arts Foundation
Advancement Office
P.O. Box 38, Idyllwild, CA 92549-0038
951-659-2171 ext. 2330
advancement@idyllwildarts.org
www.idyllwildarts.org
Hopi-Tewa Pottery......................................... 18
Mark Tahbo
Santa Clara Pottery...................................... 18
Nathan Youngblood
Hot Clay
June 16–29, 2013
James Tisdale, Tarnished
Week I
Figuratively Speaking
The Narrative in Sculpture
James Tisdale
HOT CLAY Events
Open to the Public
Posey Bacopoulos 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, Posey Bacopoulos, Lesley Baker,
Tom Bartel, Mary Kay Botkins, Lisa Clague, 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, Geoff Wheeler, and Lana Wilson.
Week 1
Monday, June 17
7 p.m. Lecture: James Tisdale
8 p.m. Artists Reception. Hot Clay &
Visiting Faculty Show
Parks Center
Wednesday, June 19
7 p.m. Lecture: Christa Assad
Thursday, JuNE 20
7 p.m. Lecture: Jason Bige Burnett
Week 2
SUNday, June 23
7 p.m. Lecture: Joe Molinaro/
Richard Burkett
MONday, July 1
8 p.m. Artists Reception. Parks Center
OVERVIEW
Coordinator: Richard Burkett
Wednesday, July 3
7 p.m. Lecture: Sunshine Cobb
June 16–22
Course # AACR ØØA1
Six-day session
Build your visual vocabulary and develop
your voice of expression through the use of
universal and personal icons. Unlock the
meanings behind the use of images, color and
composition to speak your mind. Learn hollow
form techniques to construct the human and
animal forms that will be the anchor of your
work and to create narrative sculpture that
expresses meanings of personal, political,
and social thoughts and beliefs. You will use
lowfire white clay, slips and glazes to expand
your ideas into full-scale sculpture and explore
the beneficial use the maquette. James work
explores the beauty and ugliness of a rich
southern environment and he encourages
others to explore their own. His work can vary
from subtle, reverent, poignant, humorous
and at times confrontational. All experience
levels are welcome and personalized instruction will enhance your learning experience.
Come challenge yourself.
Materials: A complete materials list will be sent
upon registration.
Tuition: $715
Lab fee: $65
Enrollment limited to 10 students.
• Hands-On Workshops and Open Studios
• Demonstrations and lectures presented by all faculty
• 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
Richard Burkett 2012
James Tisdale received his BFA from the University of Mississippi and his MFA from the University
of Georgia. While obtaining his Master’s, James
received two UGA Fellowships to study in Italy. He
was chosen for an NEA Individual Grant as well as a
NCECA Emerging Artist. He was also a Demonstrator for the NCECA Convention and was given a
Residency Fellowship by NCECA to Hungary. He has
participated in various residencies and programs
such as The Philadelphia Clay Studio, The Oregon
School of Arts, The Archie Bray Foundation, as well
as The Pottery Workshop in China. James’ work
has been exhibited through the US and abroad.
www.jamestisdale.com
the faculty exhibit are planned June 17 and 24.
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.
James Tisdale, Overture
CERAMICS
5
Christa Assad, Transformer Teapot
Sunshine Cobb, untitled
Jason Bige Burnett
Week II
Pierced/Colored/Lovingly Handbuilt
Handbuilding in Clay
Sunshine Cobb
June 23–29
Course # AACR ØØB1
Six-day session
Christa Assad
Christa Assad
June 16–22
Jason Bige Burnett, Swirls and Stripes Container
Jason Bige Burnett, Cake Boy Platter
Print and Repeat
Silkscreening on Clay
upon registration.
Jason Bige Burnett
Tuition: $715
Lab fee: $75
Six-day session
June 16–22
This hands-on workshop will motivate you to
experiment with new forms and methods of
construction. Geared toward creative expansion, beginners, intermediate and advanced
students will use the wheel to generate pottery
components (vessels, spouts, lids, handles)
and sculptural objects which, when combined,
offer a multitude of mind-bending compositions. Collaboration is also an option, and
process-over-product mentality is our mantra.
Six-day session
Focusing primarily on screen-printing techniques, students will explore personal imagery
with familiar materials such as slip, underglaze
and newsprint paper. Screen-printing introduces many simple, yet complex, surfaces to
our ceramic work, especially when transferring images in the leather-hard state. We’ll
begin with learning print techniques using
photosensitive processes and DIY methods for
creating additional stencils. Discussions and
exercises will encourage image development
pulling from student’s’ patterns, photos, and
drawings. These processes lend themselves to
all firing methods and work with wheel thrown
and hand built forms. We’ll use low fire clay
and dry work will get bisqued, no glazing.
This workshop is surface and technique- oriented and will not cover form or construction
methods. Students will leave with small work
and the technical knowledge to take back
into their own studio. All levels welcome, but
some experience with clay required. No prior
experience necessary with screen-printing.
Jason Bige Burnett graduated from Western
Kentucky University in Bowling Green, KY with a
BFA in ceramics and BA’s in both printmaking
and graphic design. Jason then continued his
education at Penland School of Crafts in western
North Carolina as a core fellowship student for two
years. He has exhibited nationally, been featured
in Ceramics Monthly and Pottery Making Illustrated
and has taught numerous workshops. Currently he
resides at Arrowmont School of Arts and Crafts as
an Artist-In-Residence in Gatlinburg, TN.
www.jasonbigeburnett.com
Christa Assad, Wood Burner, Bonners Ferry, Idaho
Sunshine Cobb
Daily exercises include: instructor demonstrations of wheel-throwing, altering, and
cut-and-construct processes, class discussion
of ideas, informal presentations of students‘
visual resource material, in-process critiques
of prototypes, and plenty of brainstorming/
problem-solving sessions.
Ideas and prototype models are the focus. This
format removes the pressure of finishing and
glaze-firing work, while inspiring spontaneity.
We will have an optional glaze firing at the
week’s end, but students are encouraged to
pursue their dream forms and develop more
complex compositions, whether functional
or sculptural.
This hands-on workshop will motivate you to
experiment with new forms and methods of
construction. Geared toward creative expansion, beginners, intermediate and advanced
students will use hand building techniques
such as coil and pinch methods to hard and
soft slab construction to generate a variety
of vessel forms (vases, baskets, boxes, false
bottom forms, etc.). What I love about hand
building is the ease and the quickness you
can achieve your vision. In class discussion of
ideas, informal presentations of visual inspiration material, and plenty of brainstorming/
problem-solving will all be a key part of our
activities. Development of the surface through
texture and slip decoration will also be covered.
Collaboration and fun are going to be our goal.
upon registration.
Tuition: $715
Lab fee: $40
Sunshine Cobb. Ceramics has been the major
influence in her life for 15 years now. She has done
everything from eight-day anagama wood firings
to slip casting ornaments. She is currently focusing
on functional ware, embracing the richness of
earthenware and is exploring the challenge of
electric firing. She received her BA in Studio Art from
CSU Sacramento, and her MFA in Ceramics from
Utah State University. She is a long term resident
at the Archie Bray Foundation and was chosen as
one of NCECA’s 2013 Emerging Artists.
www.sunshinecobb.com.
Sunshine Cobb, untitled
Basic centering and throwing skills suggested.
upon registration.
Tuition: $715
Lab fee: $40
Christa Assad, based in the San Francisco Bay
Area, is best known for her Re-objectification
series–teapots based on objects and buildings
from American industry. A teacher, traveler and
full time ceramicist with an MFA from Indiana
University, Assad’s work is in the permanent collections of The Fine Arts Museums of San Francisco,
The Ceramic Research Center at Arizona State
University Museum, and The Penn State Fulbright
Scholar Collection. She was named Ceramic Artist
of the Year in 2012 by Ceramics Monthly. Assad is
represented by Ferrin Gallery, Harvey Meadows
Gallery, Friesen Abmeyer and Chloe Fine Arts.
www.christaassad.com
6
CERAMICS
9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5
H O T C L AY
JEWELRY/METALS
The Ways of Clay
Ceramics Workshop
Handmade Findings.................................... 10
Deborah Jemmott
Greg Kennedy & David Delgado
July 1–12
Course # AACR Ø1-Ø2
Silver Metal Clay........................................... 10
Jonna Faulkner
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.
Richard Burkett, Cups
Metals Week.................................................... 8
Chasing & Repoussé................................. 8
Nancy Megan Corwin
Greg Kennedy
Creating Cuffs............................................ 9
Connie Fox
Nunome Zogan: The Art of Tapping....... 9
Fred Zweig
The Rolling Mill............................................ 9
Sandra Noble Goss
Spiculums: A Fresh Look.......................... 10
Betty Helen Longhi
Surface Design & Fabrication................ 10
Deb Karash
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.
SEE ALSO
Hopi Jewelry.................................................. 17
Roy Talahaftewa
Navajo Inlay Jewelry....................................17
Richard Tsosie
Tuition: $715 per week
Lab fee: $35 per week (Includes clay-150 lbs.
Joe Molinaro, Dwellings
of clay per student-and firing costs.)
Enrollment limited to 10 students per week.
Sets & Soda
Richard Burkett & Joe Molinaro
June 23–29
Course # AACR ØØB2
Six-day session
Explore new ideas in what makes a set, new
ways of making pots, and how sets are presented. We’ll work with thrown, hand-built,
and extruded cups, bowls, vases, plates,
and more to create groupings of porcelain
and stoneware pottery that relate. Trays and
carriers for sets will be part of our week, too.
We’ll use extruding and simple molds to
create elements to connect the sets, including how to make your own extruder dies for
custom shapes such as hollow vessel forms.
The interaction of form, surface, and texture
will be the focus.
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 28th 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 eighth year
working for the Idyllwild Arts Summer Program.
While the emphasis of the workshop will be
on creating new work in clay, we will plan to
have a final soda firing of the best work at
the end of the week, along with cone 6 glaze
firings, laser-printer decals, and other ways
of finishing the work.
upon registration.
Tuition: $715
Lab fee: $60
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.
Joe Molinaro is a Professor of Art at Eastern Kentucky University. He is the author of the book A
Pottery Tour of Kentucky, and regularly contributes
writings on aspects of the ceramic arts for various
national and international publications and has
produced videos on the indigenous potters of
Ecuador. He is the founder of Clayart, a popular
electronic ceramic Listserv, and has served as
Program Director for NCECA (2005-09). Along with
teaching and research, he maintains his own studio
that allows him to continue producing sculptural
vessels in porcelain as well as other wood-fired
functional and sculptural work.
Jeff Oestreich 2012
CERAMICS/JEWELRY
7
METALS
WEEK
June 16–20, 2013
Nancy Megan Corwin, chasing surface of brooch
Nancy Megan Corwin, Regeneration
Metals Week Culmination 2012
Nancy Megan Corwin, Dark
Chasing & Repoussé
Nancy Megan Corwin
June 16–20
Course # AAJW ØØA
One-week session
This workshop will delve into the exciting,
ancient and universal processes of chasing and
repoussé on non-ferrous metals such as copper, brass and silver. The term repoussé refers
to forming sheet metal from the backside with
rounded steel, brass, plastic or wood punches
to create raised areas on the front side in low
to high relief. Chasing refers to detailing the
front side of the piece using tools with specific
shapes and sharper edges to texture, stamp,
undercut and refine the surface of the metal.
We will be working traditionally with pitch (a
pine-resin based material) to support the metal while hammering. Non-traditional methods
that make multiples easier to accomplish
will be covered, including die forming, using
plasticene to support the metal and filling the
form with low temperature thermoplastic.
Deborah Jemmott
OVERVIEW
Deborah Jemmott, Coordinator
Metals Week is designed to be a
week of creative and social re-
Students will make at least one chasing tool,
several technique samplers and one or more
finished pieces.
newal where you can relearn how
to be open to learning and seeing from a creative perspective.
Metals Week Faculty Lectures
You will be working with master
instructors in an environment
Materials: A complete materials list will be
sent upon registration.
that encourages opportunities
Tuition: $715
Lab fee: $55 (Includes Faux Bone, special
to test ideas, try new techniques
and create work as well as network
and exchange ideas with other
jewelers & metalsmiths. Whether
Betty Helen Longhi, Lily Arrangement Sculpture
you come to learn new skills or enhance the skills and techniques you
Metals Week Potluck & Auction
already know, you will have the opportunity to grow as an artist in metal.
Other activities during the week
include:
This week of intensive metals studies will begin on Sunday, June 16 and
• Exhibition of faculty work and
opening reception
run through Thursday, June 20. You will have the opportunity to work
with one of six outstanding jewelers/metalsmiths – but in addition,
• Faculty slide show & lectures
you will have the opportunity to sign up for two lecture/demos from
• Potluck dinner
other instructors teaching during the week. This is a time for you to
• Auction
attend a lecture/demo, examine samples, ask questions and visit with
• End-of-the-week student
exhibition
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 you have chosen.
8
JEWELRY
Students of all levels are welcome. Some silver
soldering experience and basic knowledge of
sawing and filing would be helpful to accomplish more in this class.
blades, and the materials for tool making.
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.
Nancy Megan Corwin is a jeweler/metalsmith,
teacher and writer in the fields of contemporary
and historic art metals. In 2009 Megan produced
a process and gallery book on the techniques
of chasing and repoussé, titled Chasing and
Repoussé: Methods Ancient and Modern. She
has an MFA in art metals from the University of
Wisconsin-Madison and has taught in universities,
colleges, and art centers for over 35 years. In 2009
Ornament Magazine did a feature story on her
work, including her studio practices. Her work is in
private collections and in the Victoria and Albert
Museum, London, the State University of New
Mexico Art Gallery at Las Cruces, and the Tacoma
Art Museum, WA. She shows at Facèré Jewelry Art
Gallery in Seattle, WA.
www.nancymegancorwin.com
9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5
Sandra Noble Goss, Necklace, rolled links
Connie Fox, Cuff Bracelet
Creating Cuffs
Connie Fox
June 16–20
Course # AAJW ØØB
One-week session
From the start I loved making cuffs. They are
a perfect foundation upon which to express
creativity. In this class you will learn a variety
of ways to construct the cuff foundation taking
into account functionality, fit, and aesthetic
appeal. Methods of embellishment will be covered including prong setting stones, forming
acrylic, piercing, heat texturing, roller printing,
corrugation and cold connections.
Sandra Noble Goss, Blossoms Bracelet
The Rolling Mill
Nunome Zogan Tools
Nunome Zogan
June 16–20
June 16–20
Although the rolling mill was originally intended as a tool for reducing the thickness of
metal and wire, in the hands of a studio jeweler
it becomes a versatile, multi-purpose tool for
texturing, laminating and shaping metal. In
this course, students will explore some of the
creative techniques possible with the mill. In
addition to imprinting metal with designs using paper, found objects, and metal (including
pierced and etched metal patterns), students
will learn to produce the “married metal”
Multi-Metal Lamination (metal overlay) and
other useful techniques. This course will
demonstrate how the rolling mill can expand
the metalsmith’s technical vocabulary with a
range of new finishes and textures, including
highly graphic imagery, background pattern,
texture and “painterly” effects.
Course # AAJW ØØC
This workshop will be an introduction to the
fascinating and intricate world of Japanese
damascene. Nunome Zogan was traditionally
used to decorate parts of the Japanese swords.
When the making of these swords was banned,
the craftsmen directed their skill to the creation of decorative items for export. There has
been much interest in this method of surface
decoration for use in contemporary jewelry.
Fred has collected examples and used them
to study and understand the steps required to
overlay gold, silver & copper onto iron.
Basic fabrication and soldering skills are
required. Projects can be tailored to your
skill level. Students with beginning skills are
welcome.
upon registration.
Tuition: $715
Lab fee: $50 (Includes brass and copper tub-
ing, acrylic, polishing cloths, brass and silver
bolts, copper wire, and consumables such as,
honeycomb fire bricks, rolling mill textures,
steel wool, wax, patinas, adhesive, drill bits,
solvent, lubricant, flux, sandpaper, and use of
instructor’s tools and equipment.) Students
should bring their own metals (including silver
solder and silver tubing if desired), hand tools,
flex shaft accessories (basics available in class),
a rivet block (2 available for use in class) any
embellishments to incorporate into your cuff,
and flat bottomed stone(s) for prong setting.
Connie Fox is a studio jeweler in San Diego, Cali-
The Gentle Art of Tapping
Fred Zweig
One-week session
Students will be encouraged to approach cuffs
from their own creative point of view. Metals
Week is the ideal time to stretch into new
design and fabrication possibilities.
Fred Zweig, Nunome Zogan Samples
This workshop will provide time for each
student to complete several small samples of
decorated iron. We will also explore options of
how to incorporate these samples into your
own designs and work. Students will learn to
shape and sharpen the tool provided for the
workshop, draw the wire and roll the silver and
gold necessary to complete the projects. We
will spend time examining historic examples
to better understand the skills being practiced
to create this unique decorative process. We
will also learn some of the simple methods to
darken the iron allowing the stark contrast so
prominent in this technique.
The results of this fascinating process can be
mesmerizing and relatively easy to accomplish. All levels welcome.
fornia. She teaches workshops in her studio and
in the past taught through San Diego Community
College District and in venues across the US. She
studied metalsmithing primarily from Deb Jemmott. Connie’s work has been published in books
and magazines such as Metal Style, Jewelry Artist,
and Art Jewelry. Her first love in jewelry making is
design, a class she has been teaching for the last
5 years. She works with students to discover, refine
and assert their own aesthetic.
upon registration.
Tuition: $715
Lab fee: $40 (Includes the use of all tools,
to bring their own metal and tools–but they
Fred Zweig, self taught metalsmith practicing
since the early 1970’s, has been involved with
teaching others for nearly 30 years and has a
sincere passion for the process of metalworking
and all of its traditions and possibilities. His desire
to give homage to those who preceded him and
his desire for information have led him to moderate several historical metal forums including the
Society of American Silversmiths and Society of
Arts & Crafts website. A creative innovator of
materials and tools to create unique designs, Fred
has attended and assisted in many workshops in
metal and other media. He is currently involved in
forging neck collars for retailers and producing a
line of unique pins and pendants using techniques
he has developed.
Connie Fox, Cuff Bracelet
Exploring a Creative Tool
Sandra Noble Goss
Course # AAJW ØØD
One-week session
This course is appropriate for jewelry students
of all levels–beginner as well as intermediate
and advanced. Some experience with sawing, polishing and soldering is useful, but
not essential. Students are encouraged to
experiment with the forms and techniques.
Students can expect to have one finished piece
of jewelry or a collection of finished samples;
the emphasis will be on experimentation.
Tuition: $715
Lab fee: $65 Each student will be provided
with a kit with enough metal (primarily copper,
brass and bronze) to make a sample of each
technique and form. Students are encouraged
to bring their own metal and tools. The lab fee
also includes use of the consumables used
in the course. The instructor will have only a
limited amount of material for purchase. For
students who have their own metal supply, it
is suggested they bring sheet metal and wire
of copper, brass, bronze or sterling.
Sandra Noble Goss has been a jewelry and metal
artist since graduating from George Brown College
in Toronto in 1973. Her jewelry studies began at
Hornsey College of Art in London, England; she
has a BA from York University, Toronto. Sandra is a
partner of Goss Design Studio with her husband in
Owen Sound, Ontario. She has exhibited widely in
jewelry and craft exhibitions, juried shows, and solo
shows. Her jewelry is hand made using traditional
techniques and her metals of choice are sterling
silver, brass, copper and bronze. For 20 years, Sandra was a part-time jewelry instructor in Georgian
College’s jewelry program. In addition she taught
at summer programs at the Haliburton School of
the Arts and Idyllwild Arts.
Connie Fox, Lotus, Cuff Bracelet
JEWELRY
9
M E TA L S W E E K
Handmade Findings
Hook It, Hang It, Poke It, Stab It
Deborah Jemmott
July 8–12
Course # AAJF Ø2
One-week session
It’s all about the details…the bail, the pinstem, the clasp, the earwire–and all the other
mechanisms that make jewelry function. The
thought and care that go into making the piece
should also go into how the piece works. These
elements are an integral part of the design in
well-made jewelry. Handmade findings should
enhance the design, give it a personal touch
and complement the aesthetic of the overall
design. They are a reflection of the attention
to detail necessary in quality art jewelry. In
addition, they can make a statement in and
of themselves.
Deb Karash, Brooch
Betty Helen Longhi, Vessel for Dreaming Pendant
A Fresh Look at
Spiculums
Deb Karash, Half Moon Earrings
Surface Design & Fabrication
Betty Helen Longhi
5/5/10
Deb Karash
June 16–20
June 16–20
Course # AAJW ØØE
Course # AAJW ØØF
One-week session
One-week session
A spiculum is a tapered tube made from a
flat sheet of metal. They are usually made by
a process of forming similar to that which is
used for traditional tube making. The resulting
product is an elegant tubular form that can be
bent in various ways after the seam is soldered.
But this is just the beginning; what would happen if the pattern was irregular so when the
edges came together, the seam line became
curved? What about synclasticly forming the
metal pattern before closing it into a tube?
What if you anticlasticly form the spiculum and
leave the seam open? Or how about combining
synclastic and anticlastic areas in the same
spiculum and closing it into a vessel form?
In this workshop, we will address the basic
forming processes and move beyond them to
experiment with these additional options. In
this new arena there are endless possibilities
for making bracelets, collars, earrings, beads,
vessels and abstract sculptural forms.
Five Days, Five Projects, Ten Techniques.
This workshop will spend five days exploring
surface design and fabrication techniques
which will be combined to create five pieces
of jewelry: stylish pins, pendants, cuff bracelet
and earrings.
The workshop is appropriate for all metals
students but some experience in forming
metal would be helpful.
Tuition: $715
Lab fee: $65 (Includes Metal–one 6x12x22ga
and one 6x6x24ga nugold, maple spiculum
block, consumable materials–solders, fluxes,
sandpaper, etc., and wood blocks for forming.)
Students should bring their own hand tools –
but they must be clearly marked. The instructor will have a large selection of hammers and
stakes available for purchase during class.
Betty Helen Longhi is a nationally recognized
metalsmith who creates finely crafted jewelry and
sculpture. A master craftsman, she incorporates
various texturing techniques with forging, shell
forming and die forming in her pieces. Betty’s work
has been exhibited at the Virginia Museum, Delaware Art Museum, American Craft Museum, South
East Center for Contemporary Art, the Renwick
Gallery Museum Shop and The Greenhill Center
for North Carolina Art as well as numerous retail
galleries. She has received a number of awards
including an Individual Artist Fellowship funded by
the Delaware State Arts Council and the National
Endowment for the Arts. She has been a guest artist
at the Univ. of Wisconsin, the Maryland Institute of
Art and RIT School for American Crafts, and has
taught at Haystack, Penland, Parsons School of
Design, Peters Valley Craft Center and more. She
maintains a studio and retail sales space in her
lakeside home near Lexington, NC.
We will cover the following:
• texturing
• rivets
• using paste solder
• proper placement of findings
• fitting layers without measuring
• forming
• forging small parts
• other techniques This class is appropriate for all levels. Emphasis
will be placed on design and finishing.
Tuition: $715
to bring their own metal and tools–but they
Deb Karash is originally from Illinois where she
earned an MA in Jewelry and Metalsmithing
from Northern Illinois University. She now lives in
the mountains of North Carolina. A full time studio
jeweler, Deb sells her work at galleries throughout
the US and Canada and teaches workshops. She
is a founding member of Flow, an artists co-op in
Marshall, NC. Her free time is spent renovating their
new home in Asheville and traveling.
JEWELRY
We will go over problem-solving techniques,
technical considerations and mechanical
devices and how to build them. The focus of
the class will be on creating samples to inspire
future work. You are, however, encouraged to
bring any pieces you have had trouble creating
suitable findings for.
Instruction will be given for all levels of students, however this class is best suited for
students who have some jewelry making experience. Solder experience would be helpful.
Tuition: $715
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
Jonna Faulkner, Totem #1
Captured Treasures in
Silver Metal Clay
Jonna Faulkner 
July 6–8
Course # AAJC Ø1
Three-day session
Most of us have a stash of small treasures–
unusual rocks, shells, coins, moon-face
cabochons, watch parts, etc. – that we’d love
to feature in our jewelry. This class will focus
on ways to incorporate these items in eyecatching pendants or pins made of silver
metal clay.
A wonderful medium made up of tiny particles
of silver, an organic binder and water, silver
metal clay works easily with simple tools.
Dried pieces are fired in a kiln. They shrink
slightly as the organic binder burns off. They
emerge from the kiln as pure silver objects.
Usually, cherished treasures can’t survive firing
in a kiln. That means we will focus on alternate
ways of setting these precious items using
prongs and/or rivets after firing and finishing.
The design of each pendant or pin will start
from a basic concept that will be altered as
desired by the student’s aesthetic and the
demands of the object(s) to be featured in
the piece.
Other construction and decorative techniques
that will be covered in the class include creating tubing for bails in metal clay, soldering
pin findings, pearl setting, carving, and final
finishing techniques. Some experience with
metal clay will be helpful, but is not required.
Tuition: $490
Lab Fee: $30 (Includes use of basic kits, kilns
and consumable materials.) Art Clay Silver,
some tiny treasures, pearls, 24k gold foil and
other materials will be available for purchase
in class.
Jonna Faulkner has been working with metal
clay since 1999. She is certified to teach in both
Art Clay Silver and Precious Metal Clay. She is a
contributing artist to Art Clay Silver and Gold by
Jackie Truty, Exceptional Works in Metal Clay and
Glass by Mary Ann Devos, and The Art and Design
of Metal Clay Jewelry calendars by Holly Gage for
the years 2009–2013. Her Protector Pendant was
chosen as the cover piece for Holly Gage’s The Art
and Design of Metal clay Jewelry 2011. Jonna has
taught workshops at venues in France, New Mexico,
California and Arizona. She also teaches out of her
home studio in Escondido, CA. Her work has been
sold at a number of fine craft shows and galleries.
www.jonnafaulkner.com
Deborah Jemmott, Forged Pendant
10
Sometimes it’s difficult to think about the
details of mechanisms before the design is
complete. But it is best if those details are
carefully considered early in the design process
and then created as part of the entire piece.
We will work on ideas and ways to integrate
findings into your jewelry early-on in the
design process.
Deborah Jemmott, Earrings
9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5
MIXED-MEDIA/
BOOK ARTS
Acrylic Ink Quilting Adventure................... 11
Judy Coates Perez
Assemblage.................................................. 11
Michael deMeng
Manuscript Books......................................... 12
Laura Wait
Hand Forged Metal Books.......................... 12
Tracy V. Moore
The Santos Cage Doll Redefined............... 12
Linda Lenart McNulty
Judy Coates Perez, Painted Fabric
SEE ALSO
Doll Making & Beadwork............................ 15
Juanita Growing Thunder Fogarty
Beyond Monotype....................................... 23
Ron Pokrasso
Michael deMeng, Untitled, altered instrument
Assemblage
Michael deMeng
June 27–28 June 29–30 June 27–30 Michael deMeng, Untitled, altered instrument
Course # AAAS ØØA
Course # AAAS ØØB
Course # AAAS ØØ
Two two–day sessions
Judy Coates Perez, Painted Fabric
Students may select to enroll in one or both
workshops.
Session I
Judy Coates Perez, Painted Fabric Quilt
Acrylic Ink Quilting Adventure
Judy Coates Perez
June 30–July 2 Course # AAMQ Ø1
Three-day session
Spend three days immersed in fabric surface
design exploration using acrylic inks. We’ll
begin with creating colorful textured backgrounds, explore mark making with different
kinds of stamps, draw with quill and ruling
pens, paint imagery opaquely and with a
transparent watercolor look.
Explore layering washes of color with simple
imagery by creating masks with freezer paper
and create textured patterning with simple
resists from common items found in the office supply store.
Each portion of the class will add another level
of complexity to the image making process,
culminating in a painted whole cloth piece
incorporating the techniques learned.
On the last day we will incorporate free motion quilting to the painted fabric using a wool
felt substrate.
This class is packed with tips and ideas of
different ways to work with these versatile
inks on fabric. Participants should have some
free motion quilting and sewing experience.
June 27–28: Sanctum of the Forgotten Tune
Over the years I have acquired many interesting bits and pieces of discarded goodies, but I
have to admit that some of the most interesting
of them were musical instruments. Usually by
the time I get them all the melodies of their
past lives have long faded; old trumpets, violins, oboes, and guitars are just dusty shells
destined for a corner in the attic.
Michael deMeng
Or, perhaps, not…one thing I have noticed
about musical instruments is that the old life
never really leaves them. The brass, the mahogany, and ivory, though marked, still have
a voice, though perhaps it is not a voice that
can be heard but rather seen.
In this class, you will bring old discarded
instruments, and we will retune them-not to
play music but so that they speak as a visual
art form. Using the process of assemblage
you will alter and/or combine broken violins,
piano keys, trumpets, etc. and give them a new
beginning as a shrine or sculpture. Music to
your eyes.
Tuition:$350 for Session I
$650 for both Session I & II
Session II
June 29–30: Baba Yaga Birdhouse
In Slavic legend there is a tale of an old witch…
sometimes a wise sage…but mostly trouble
maker. Her name is Baba Yaga, who rides in a
flying mortar, using her pestle as the rudder. It
is said that she lives in a strange cabin in the
middle of the forest…surrounded by a fence
made of bones, capped by skulls…an interesting idea...unless you are one of the skulls. The
house itself is also grimly unusual… said to be
perched upon giant chicken legs…sometimes
one…sometimes two.
This folktale seemed like a great source
for a class idea. We will create a fantastical
birdhouse perched on legs–doll legs, rubber
chicken legs, or a mere pedestal.
Now for a bit of extra credit, as an option, for
folks who want to play with a bit of puppetry–
I’ll show the class how to add flapping wings to
the haggish home. This might come in handy
if your birdhouse doesn’t have a leg to stand
on…har, har.
Tuition:$350 for Session II
$650 for both Session I & II
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
Missoula, Montana. 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 book, Secrets of
Rusty Things. 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
Tuition: $490
Lab Fee: $20 (Includes white colored pencil,
china marker, tape, adhesive labels, plastic
drop cloths, black and white textile paint,
handouts, quill pen, aloe vera gel.)
Judy Coates Perez is an International awardwinning mixed media textile artist, traveling globally
to teach painting and mixed media techniques on
fabric. She received her BFA in graphic design from
The Otis Art Institute of Parsons School of Design, but
found her true passion when she began working
with textiles. You can find her work in Quilting Arts,
Cloth Paper Scissors magazines, three instructional
DVD’s with Interweave and on Quilting Arts TV.
Michael deMeng, Baba Yaga Birdhouse
MIXED MEDIA/BOOK ARTS
11
Tracy Moore, Atomic Disintegrator Journal Page
Linda Lenart McNulty, Dichroic Santos
The Santos Cage Doll Redefined
Figurative Art Using Mixed Media
Linda Lenart McNulty
July 11–13
Course # AAMS Ø2
Three-day session
Laura Wait, Artis Litterarius, I
Manuscript Books
Writing as Image, Exposed Sewing
Laura Wait
July 8–12
Course # AAMB Ø2
One–week session
Handwriting and medieval sewing methods
are the basis of this workshop. We will use the
handsewn non-adhesive codex structure with
exposed cords and straps. Handwriting will
be developed to use as content and image in
our books, along with painting using gouache
and watercolor. Intuitive work practices and
the use of alternative tools will facilitate the
enjoyment and development of your handwriting and painting. You may use nonsense
text, or any text you prefer to bring. Words and
your own handwriting will become less scary!
Your own original artwork and collage elements may be included in your work. There
will be discussions on the process of creating
and collecting images and ideas for the beginning of an artist book.
A balance will be made between text, image,
and structure. Strong functional sewing will
result in unique, hand-illustrated books that
function and can be handled with joy.
Tuition: $715
Lab Fee: $30 (IncludesArches Text Wove & BFK
Rives paper, sewing and book covering materials, miscellaneous writing materials, and use
of instructor’s tools and calligraphy pens.)
Laura Wait’s art works focus on words as image,
including the creation of one-of-a-kind artist books,
encaustic painting and monoprints. She holds a degree in Art History from Barnard College, Columbia
University, NY, and certificates in Printmaking and
Bookbinding from Croydon College of Art, England.
She teaches book art workshops throughout the
country. Her artist’s books are in private and public
collections worldwide, including the Library of
Congress. Her work has been featured in many
publications including a Masters of Book Arts and
the cover of 500 Handmade Books.
Tracy Moore, Forged Metal Books
Hand Forged Metal Books
& Full Throttle Journaling
Tracy V. Moore
June 20–22
Course # AAMJ ØØ
Three-day session
During this three day class you will learn metal
working, bookbinding, found object integration, hand sewing leather, resin, journaling
and alternative photography methods. Each
journal is unique and filled with the spirit of
its creator. The time provided will allow us to
create a visually stunning metal journal, as
well as delve into the exciting world of creating closures and other journal accoutrements.
While the focus of this class will be exploring
the techniques required for the completion of
your journal, we will also explore two of my
other passions: full throttle journaling, and
lomography (toy camera photography.) I will
open up my Journaling arsenal, and share
with you all of the tips and tricks I have, and
use daily to keep me on the journaling path.
• Emergency Journaling.
•
Incorporating photography into your
journal. (I’m an avid Lomographer, so there
will be a segment devoted to tips and tricks
of film and toy camera use.)
• How to use, alter, and include photographs
in your journal.
Tuition: $490
Lab Fee: $25 (Includes metal, leather, and
paper for the creation of one journal, and
use of teacher’s tools. Extra kits available for
purchase.)
Tracy Vaughn Moore has been creating and filling
up unique books for over twenty years. His journal
work and his photography have been featured
in numerous galleries, books, and magazines. He
has taught workshops across the US, as well as in
England, Portugal, Spain, and Tokyo.
www.sustainedconfusion.blogspot.com
Techniques we will cover in this class:
Hand Forged Metal Books:
• Book binding and book construction. • Making unique book closures and latches.
• Using cold joint construction (rivets).
• Working with leather and wood as well as
the metal.
• Stamping words and letters into metal.
• Working with wire.
• Metal texturing.
• The Journal as Jewelry.
Tuition: $490
Lab fee: $65 (Includes wood cage sets, en-
• Doodling as a tool to free your mind.
• Inks, watercolors, pens, & pencils.
caustic medium, ICE resin, molding putty,
paints, inks, mica powders & stone, metal leaf,
collaging papers, photo transfer paper, use of
tools, shared consumables.)
• Community journaling.
• Documenting your personal journey
through life.
• Using the journal to help focus your
“intention.”
12
MIXED MEDIA/BOOK ARTS
The second day, we unleash the molds and
work on our new forms, with painting and
layering processes, surface treatments, and
re-forming pieces to fit each other. We will
use files, drills, glues and epoxies, and even
magnets. This is the day we build and paint
our French cage. Then, after incorporating
any found objects, we attach the grand parts
together and move toward embellishment.
The embellishment process may entail ribbon, chain, rosaries, crowns, wings, wire,
paper, charms, beads, collage, material, or
photographs….really anything.
Full Throttle Journaling and Lomography:
• Breaking into the blank page.
Laura Wait, Artis Litterarius, I
The first day you will be guided through
sculpting in polymer, incorporating found
figurative elements, and the casting of figurative parts. Molding putty makes the casting
process simple and fun. Then you will learn
all about pouring resin into mold forms and
all it entails. We will play with color, opacity vs.
transparency, and the embedding of objects
and text. We will also pour encaustic forms
and experience the differences and similarities
between these two mediums.
The third day, we create a small Reliquary to
go along with our figure. This can be resin or
encaustic, and uses techniques in collage,
casting, and embedding. The Reliquary can
be held or worn by the figure or hung within
the figure. Alternately, a student can choose
to cast another figure to sit within the original
figure. Overall height of finished Santos Cage
Doll will be approximately 18”. Open to all
levels of experience.
• Becoming comfortable with hand tools,
dremels, and drills.
•
In this workshop you will be given the time
and space to stretch your mind, your heart
and your vision, and apply it to the making of a
figurative piece in an extensive variety of mixed
media. We will each be making a Santos Cage
Doll, uniquely our own, an individual statement of ourselves. Conceptually, the figure in
art is the epitome of reflection into ourselves.
The French Santos Cage Doll is an exceptional
form of expression for this reflection, as it is
half “cage”/ half “saint” (our higher selves).
Within the working of this form, we, as artists,
are presented with an intriguing and personal
opportunity to express inner conflict, struggle
and resolution. Perhaps even Rapture.
Linda Lenart McNulty is a Figurative and Encaustic
Artist, and has received degrees in Fine Art and
Dance from Columbia College, Chicago. She
lives in Oberlin, Ohio where she teaches Encaustic
Painting, Encaustic Jewelry and Encaustic and
Resin Casting. Her new body of work redefines
the Santos Cage Doll, and highlights her love of
sculpting, casting and conceptual art.
www.luminousencaustics.com.
Creative writing techniques. (Writing, after
all, is at the true heart of a journal. We will
discuss many techniques to keep this
process fun…whether you are simply
chronicling the day’s events, jotting “to do”
lists, or creating the next great novel.)
Linda Lenart McNulty, Feathered Santos
9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5
MUSIC EVENT
N AT I V E A M ER I CA N A R T S
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 30–July 6, 2013
CULTURE
Native Arts Festival....................................... 13
Craft & Survival Skills ................................ 14
Tony Soares & Gerald Clarke, Jr.
Native Plants ............................................. 15
Barbara Drake, Craig Torres,
Daniel McCarthy, & Abe Sanchez
Chamber
Music
In Idyllwild
July 31–August 8
Please join us for four extraordinary
chamber music concerts this summer as part of Chamber Music in
Idyllwild. Renown performers from
the Chamberfest faculty will perform
a wide range of chamber music selections from the Baroque to the present,
including music for strings, winds,
brass and piano.
KUSC Classical DJ Rich Capparela will
provide insightful commentary about
the music during three pre-concert
talks. The concerts will take place in
Stephens Recital Hall. The schedule
of concerts:
WEDNESday, JULY 31
7:30 p.m. Pre-Concert Talk:
Rich Capparela
8 p.m. Concert I
FRIday, AUGUST 2
8 p.m. Faculty Concert
FIBERS
Cahuilla Basketry ..................................... 15
Rose Ann Hamilton
Doll Making & Beadwork ........................ 15
Hopi Basketry................................................ 16
Griselda Saufkie & Antoinette Abeita
Navajo Weaving ...................................... 16
Barbara Ornelas & Lynda Pete
JEWELRY
Hopi Jewelry: Overlay & Tufa Casting...... 17
Roy Talahaftewa
Richard Tsosie
............................... 17
MUSIC/CARVING
Native American Flutemaking ............... 17
Marvin & Jonette Yazzie, Ernest Siva
POTTERY
Hopi-Tewa Pottery
Mark Tahbo
Mata Ortiz Pottery
Jorge Quintana
.................................... 18
.................................... 18
Santa Clara Pottery...................................... 18
Nathan Youngblood
Overview
Continuum in
Native American Arts
and Culture
Each day, the visiting scholars and
artists will explore a wide range of
topics with slide lectures, demonstrations, & performances. Native
food tastings daily.
Indicates workshop takes place during
the Native American Arts Festival.
Navajo Inlay Jewelry Class
The week-long Native American Arts Festival, designed to enhance and
add depth to the hands-on workshops, includes performances, the
Michael Kabotie Lecture series, art exhibits, and informal discussions
SATURday, AUGUST 3
Rich Capparela
with a distinguished group of artists, tribal elders and scholars. In addi-
8 p.m. Concert II
to participate and learn about the most current issues and theories
THURSday, AUGUST 8
Rich Capparela
concerning Native American artists, art and culture.
8 p.m. Concert III
tion, the Festival Week offers a way for those not enrolled in a workshop
The spirit of this annual series is to bring the scientific, intuitive and
trickster voices together for a balanced and provocative learning experience. This year’s program, “Continuum,” invites participants to consider
current social or creative actions as the contemporary manifestation of
an ancient expressive tradition. Instead of looking at arts and cultures
through the static lens of “old vs.
new”, “traditional vs. contemporary” or “lost vs. preserved”,
the idea of “continuum” offers
an alternative view of arts and
culture as ever-evolving aspects
of human expression.
Please note:
Workshops that
occur during the festival are
designated with the festival logo.
Jonathan Sharp & Ellen Rosa, “Dark Made Light” 2012
MUSIC/NATIVE AMERICAN ARTS
13
CULTURE
Southern California Indigenous
Craft & Survival Skills
Tony Soares & Gerald Clarke, Jr.
June 29–30
Course # NASS ØØ
Two-day session
Gerald Clarke, Jr., Netmaking
Day one will focus on the making of a Southern
California Indian arrow and quiver. Each participant will construct arrows using bamboo
cane and arrowweed, learn ancient techniques
of knapping obsidian into arrow points, make
hardwood foreshaft arrow points, and process
deer tendon (Sinew) for attaching feathers and
arrow points. Participants will have the rare opportunity to construct a traditional Southern
California Indian quiver processed from the
yucca plant stalk. This process entails hollowing the stalk, processing the yucca plant into
fibers for the strap, and decorating the Quiver.
The Cahuilla Birdsingers
Michael Kabotie Lecture Series
Krieg Kalabasa, James Luna, Michael Kabotie
FESTIVAL WEEK Events
Open to the Public
Dustinn Craig 2011 Film Festival
Brent Michael Davids’ Last of the Mohicans concert 2011
Continuum in Native American Arts and
Culture. Each day, the visiting scholars and
artists will explore a wide range of topics
on “Continuum” with slide lectures, demonstrations, & performances. Native food
tastings daily.
Sunday, June 30
6:30 p.m.Panel:
Native American Arts at
ISOMATA 1950–2013
Jock Soto and Laura Ortman 2012
Monday, July 1
7 p.m. Guest Artists’ Discussion *
Freddie Bitsoie
8 p.m. Invitational Exhibition
Opening/Reception
Tuesday, July 2
12–1 p.m. Kabotie Lecture Series: *
Freddie Bitsoie,
Native Cuisine in the
Americas
FESTIVAL WEEK Guests
Mark Tahbo
Joe Baker
Delaware Tribe, Consultant to this program,
Executive Director, Longue Vue House
and Gardens, New Orleans
Gerald Clarke, Jr.
Cahuilla, Artist, Tribal Council Vice Chairman,
Cahuilla Band of Indians
Freddie Bitsoie
Navajo, Chef, Anthropologist
14
In this hands-on course, students will
be using various tools and techniques
to create traditional objects used by
the indigenous people of Southern California
for subsistence. Students will learn how to
gather and process the materials needed to
create these traditional items.
Wednesday, July 3
Dr. Jessica Metcalfe,
Native American Fashion
Thursday, July 4
TBA
7 p.m. Film Night: Documentary,
“Akway Nyewaa: Coming Back Home” by Phillip Espinoza
Friday, July 5
Phillip Espinoza
Mesa Grande Band of Mission Indians
7 p.m.Performance:
Cahuilla Birdsingers.
Special Guest, TBA
Dr. Jessica Metcalfe
Turtle Mt. Chippewa, Founder,
Beyond Buckskin
SaturDay, July 6
8 a.m. Hopi-Tewa Pottery Firing.
Mata Ortiz Pottery Firing
Additional guests to be announced.
* Includes Native Food Tastings
Day two will focus on hunting techniques
including the rabbit stick (a boomerang-like
weapon), deadfall traps and hunting net.
Guest Brandon Duran will teach rabbit stick
making. In the hands of a skillful hunter, it was
an effective weapon for harvesting small game
at a distance of up to fifty feet. The deadfall
trap consists of a heavy rock or log that is
tilted on an angle and held up with sections
of branches, one of which serves as a trigger
trapping small game. Finally, the hunting
net is a long weaving of natural fibers used
to entangle small game that would be driven
into the net. In addition, participants will see
demonstrations of Atlatl (spear) throwing, and
fire-starting using two sticks.
Students should expect moderate physical
activity throughout the workshop.
Tuition: $220
Lab fee: $25 (Includes preparation and collec-
tion of many of the items to be used in class.)
Gerald Clarke, Jr. is a member of the Cahuilla
Band of Indians located 40 miles southwest of Palm
Springs, California. He currently lives on his family’s
ranch on the reservation and serves on the Tribal
Council as Vice-Chairman. Gerald has taught
classes in Sculpture and New Media at Idyllwild
Arts Academy for the past seven years. Previously,
Gerald served as an Assistant Professor of Art at
East Central University in Ada, Oklahoma. In addition to his teaching duties, he has exhibited his
work at a variety of venues throughout the country
and abroad. In 2007, Gerald was awarded an
Eiteljorg Museum Fellowship for Native American
Fine Art.
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.
9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5
FIBERS
Elderberry
Elderberry Branch Medicine Pouch
Native Plants
Contemporary & Traditional Uses
Barbara Drake, Craig Torres,
Daniel McCarthy & Abe Sanchez
July 6–7
Juanita Fogarty, Untitled Soft Sculpture with Quillwork
Historic Cahuilla Basket
Course # NANP Ø1
Cahuilla Basketry
Two-day session
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 Elderberry
plant: instruments (clapper sticks decorated
with abalone shell), a medicine pouch (small
container out of hollowed branches); and learn
about the many uses of elderberry for medicine, food, and dye (to blacken juncus for
basketmaking). 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 cooking with a wide range of
plants; and will include demonstrations on the
processing of acorns, mesquite beans, prickly
pear cactus and chia into various products.
Finally, feast together on the foods we prepare
together in class. Each student will receive a
book of recipes. 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.)
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.
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 tra-
Barbara Drake Harvesting Elderberries
ditional 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
Sharing 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.
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.
Soft Sculpture
Doll Making & Beadwork
Rose Ann Hamilton
July 1–5
July 1–5
Course # NACB Ø1
Course # NADS Ø1
One-week session
One-week session
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.
In this course learn how to create a
traditional Plains style doll using
materials that were common in making dolls of the past. Plains dolls were originally learning and play items used to teach
the youth of the Plains culture. Students will
hand build a buckskin doll and adorn it with
traditional clothing and accompaniments.
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: $715
Lab fee: $40 (Includes materials, field trip
transportation and use of tools in the 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.
Experience all techniques and steps used in
the process, including constructing a doll body
and making the clothing, preparing beadwork
items to decorate the dolls, and more. Students
will have the opportunity to experience the
labor intensive ingenuity of creating a doll/
soft sculpture from scratch.
Tuition: $715
Lab fee: $195 (Includes brain tanned buckskin,
human or synthetic hair, cotton stuffing, cotton printed materials for clothing.)
Juanita Growing Thunder Fogarty is from the Fort
Peck, Assiniboine and Sioux Tribes of Montana. She
has been studying with her mother, Joyce Growing
Thunder, her entire lifetime, learning the traditional
arts of her tribes. She is accomplished in bead work
as well as porcupine quill work, and has won many
top awards during her 27 years of participating at
the Santa Fe Indian Market. Her work has been
featured in numerous museum shows, including
the Smithsonian’s National Museum of the American Indian (NMAI) Identity by Design show, and
the exhibit A Song for the Horse Nation, as well
as the current NMAI exhibit Grand Procession: A
Collection of Contemporary Native American Soft
Sculpture (dolls) opening April of 2013. Juanita has
shared her knowledge with others through teaching beadwork classes as well as mentoring many
individuals throughout the years. In putting value
in the tradition of her work she strives to honor her
people’s past, in hopes that her work will help to
preserve the future generation’s connection to
their culture.
Rose Ann Hamilton
Juanita Fogarty, Horse and Rider Soft Sculpture
15
Navajo Weaving Studio
Navajo Weaving
Beginning & Intermediate
Barbara Ornelas & Lynda Pete
Hopi Coiled Basket start
Hopi Basketry
Coiled Plaques & Sifter Baskets
Griselda Saufkie & Antoinette Abeita
June 24–28
June 24–28
July 1–5
Course # NANW ØØ
Course # NANW Ø1
One or Two-week session
Course # NAHB ØØ
Hopi Baskets play an integral role in the life
and ceremonies of the Hopi people. From
dances and weddings to giving thanks and
appreciation, the uses of baskets at Hopi are
many. The exquisite baskets that are woven
by Hopi women come in three distinct styles
and techniques. The coiled plaques made at
Second Mesa are the subject of this workshop.
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.
This is a rare opportunity to work with Hopi
elder Griselda Saufkie from the village of
Shungopovi, Second Mesa, and her daughter,
basketmaker Antoinette Abeita. Students will
learn the techniques of making and incorporating design into a coiled plaque basket. They
will learn how the yucca and galleta grass are
gathered and prepared for texture and color,
and each student will then design and create a
plaque basket. In addition, Griselda will bring
fresh green yucca and rings to create Hopi
sifter baskets. This is a two day process, so a
student may choose to learn this technique
in addition to the coil technique.
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.
One-week session
Tuition: $715
Lab Fee: $45 (Includes gathered and prepared
materials and the use of tools in class.)
Griselda Saufkie lives on the Hopi Reservation in
Arizona. She began making baskets upon initiation,
when she was about 12 years old. She has the distinction of being named an Arizona Indian Living
Treasure. Griselda has received many awards for
her basketry, and is included in books such as Art
of the Hopi: Contemporary Journeys on Ancient
Pathways, by Lois and Jerry Jacka.
Antoinette Saufkie Abeita, daughter of Griselda
and the late Lawrence Saufkie, resides on the
Hopi Reservation in the village of Soongopavi,
and belongs to the Water Clan. She started making baskets at the age of 18 after going through
the Lakon (basket dance) initiation and has kept
the tradition going. Her mother took Antoinette’s
baskets to the Arts and Crafts Markets to sell for
her, and she now shares a booth at the Santa Fe
Indian Market with her mother.
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.
Lynda Pete
Materials: Students may wish to bring a seat
cushion and small clamp or desk lamp.
Tuition: $715 per week
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.
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 15 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
Hopi Sifter Basket
16
9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5
JEWELRY
MUSIC/CARVING
Roy Talahaftewa, Tufa Cast Bracelet
Richard Tsosie
Native American Flute Making
Roy Talahaftewa, Sun Buckle
Hopi Jewelry
July 4–7
Overlay & Tufa Casting
Roy Talahaftewa
June 24–28
July 5–7
Course # NAJH ØØ
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.
Tuition: $715
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.
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.
Richard Tsosie
July 1–5
Course # NAJN Ø1
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.
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.
Intermediate students–those who have taken
class from the Yazzies in the past (4-day session
begins July 4) will use poplar for the body of
the flute in the key of B (low)–new this year.
The flute will be side blown and have a 1 1/4
inch bore size.
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
Tuition: $715
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.
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 trustees. In 2004,
Ushkana Press published his book, Voices of the
Flute. He is president and founder of the Dorothy
Ramon Learning Center.
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.
Marvin Yazzie
Beginning students (3-day session begins
July 5) will use western red cedar 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).
Richard Tsosie is a Navajo jeweler and sculptor
Roy Talahaftewa
Course # NANF Ø1B
Beginners: 3-day session (Fri.-Sun.)
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 one-of-a-kind
designs. Student 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.
Course # NANF Ø1A
Intermediate: 4-day session (Thurs.-Sun.)
Ernest Siva
17
POTTERY
Jorge Quintana
Nathan Youngblood, Untitled Jar
Santa Clara Pottery
Hopi Pottery Firing
Nathan Youngblood
June 24–29
Course # NAPS ØØ
One-week session-includes Saturday a.m. firing
Mata Ortiz Pottery
Jorge Quintana
July 1–6
Course # NAPM Ø1
Inspired by the ancient Casas Grandes
pottery of Chihuahua, Mexico, Juan
Quezada began making pottery in 1975
in his village of Mata Ortiz. His success inspired
others to begin making this style of pottery,
and there are now hundreds of potters working in Mata Ortiz. Jorge Quintana was one of
Juan’s students, and has emerged as one of
the outstanding and innovative potters of this
second generation of Mata Ortiz artists.
Mark Tahbo, Mixing Clay
Hopi-Tewa Pottery
Mark Tahbo
July 1–6
Course # NAPH Ø1
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).
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.
Mark Tahbo, Jar with Moths
Tuition: $715
Lab Fee: $50 (Includes clay, pigments, firing
materials, and the use of pukis and other
tools in class.)
Mark Tahbo
Tuition: $715
Lab Fee: $55
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.
Completed Hopi Firing
18
In this course, students will learn to create
both polychrome and black pots in the Mata
Ortiz tradition. Participants will build, polish,
sand, paint and fire their pots in an outdoor
firing. Jorge will also teach how to make paint
brushes with hair, mix clay and pigments. The
clay and paints/pigments are provided by the
instructor and are gathered from his home.
Jorge Quintana is an artist, innovator, entrepreneur and teacher. Jorge is known not only for his
exquisitely symmetrical polychrome pots, but also
for his experimentation with the use of different
minerals to color his pots. He has demonstrated
the art across the U.S. at venues including the
Southwest Museum in Los Angeles, Idyllwild Arts, the
Autry Museum, and the Sam Maloof Foundation
for Arts and Crafts. His distinctive polychrome pots
have been shown in the major exhibitions on Mata
Ortiz pottery, including the Exhibits USA Potters of
Mata Ortiz traveling exhibition and the American
Museum of Ceramic Arts (AMOCA) exhibition in
Pomona, California. He is included in books on
the subject, including The Miracle of Mata Ortiz
by Walter Parks.
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.
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: $715
Lab Fee: $125 (Includes clay, paints, stones
and all materials, as well as one 5” to 6”dried
vessel prepared by the instructor to complete.)
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
9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5
PA I N T I N G & D R AW I N G
Color Boot Camp......................................... 19
Bill Perkins
Contemporary Approaches to Painting.. 19
Iva Gueorguieva
Drawing Intensive......................................... 20
Margaret Scanlan
Encaustic Painting & More......................... 20
Cari Hernandez
The Figure & Still Life: Direct Painting......... 20
Scott W. Prior
Boot Camp Student Color Study
Bill Perkins, Rose Estate
Narrative Figurative Painting...................... 21
Rebecca Campbell
Painting the Figure....................................... 21
Robert Regis Dvorák
Travel Drawing & Painting........................... 21
Bill Perkins, Morning Coffee
Watercolor from Within................................ 22
Barbara Nechis
Watercolor Unleashed................................ 22
Nicholas Simmons
SEE ALSO
Acrylic Ink Quilting Adventure................... 11
Judy Coates Perez
Encaustic Monoprinting.............................. 23
David A. Clark
Bill Perkins, 4th of July
Color Boot Camp
Bill Perkins
July 1–5
Course # AAPC Ø1
One-week session
During this five day intensive class students will
paint between fifteen and twenty-five paintings. We will be covering six basic contrasts of
color theory. No swatches or charts, we will be
painting directly from models set-up in specific
color and lighting situations that present these
aspects of color theory as they appear in the
real world. This fast-paced method of specific
set-ups and consistent change is unique to
this workshop. I have designed it specifically
to challenge artists as well as deliver more
color theory and practical experience through
painting the effects of light directly. Each artist
will complete this workshop with a personal
journal including documentation, examples of
various color interactions, theories and their
applications, and a glossary of color terms to
serve as their own valued source and foundation for years to come.
This workshop is best suited for intermediate to professional artists, or artists with oil
painting experience.
Tuition: $715
Lab Fee: $75 (Includes daily model fees.)
Bill Perkins began traveling and painting in pleinair while in college before he graduated in 1980
from the Art Center College of Design. Bill began
exhibiting his work in galleries in Taos, Laguna
Beach, and Tucson. His work was also exhibited
at the Springfield Museum and the Monterey
Peninsula Museum before he was thirty. In 1986, Bill
began working for Walt Disney Animation. Today
he remains an avid plein-air painter, an Art Director
for Disneytoons Studio, and teaches at Cal Arts,
LAAFA, and Concept Design Academy.
Iva Gueorguieva, Bathers
Contemporary
Approaches to Painting
Iva Gueorguieva
June 24–28
Course # AAPC ØØ
One-week session
What is contemporary? What is abstraction?
How does one arrive at an image?What is painting and what is its relationship to drawing?
These are some of the questions that will guide
our discussion during the course of the week.
Each day, we will focus on the work of one
contemporary artist, analyzing both formal
and conceptual strategies and relationship to
history. The artists we will consider are Trenton
Doyle Hancock, Mark Bradford, Robyn O’Neil,
Tal R, and Per Kierkby.
Our discussions will determine the materials and visual propositions framing each
day’s approach to small works on paper and
canvas. These experiments will in turn feed
into the development of 2-3 larger works
to be completed in the course of the week,
which will reflect more precisely the personal
vision and interest of each participant. The
goal is to identify ways continually to engage
history, while cultivating sensitivity and an
understanding of the current cultural and
political moment. Both contribute to clarity
and forcefulness in art.
We will focus in particular on the use of
collage, where cutting and layering is used
to construct surface and image. We will use
acrylic and flash paint, as well as a number of
non-fine art methods and materials. We will
also look at how limitations serve as central
to the technique of these artists.
Iva Gueorguieva, Voyages in a Stone
Tuition: $715
Lab Fee: $35 (Includes shared materials–matte
medium, transparent gesso, flash paint, tempera, mulberry paper.)
Iva GueorguievaI (b. 1974, Bulgaria) received an
MFA from the Tyler School of Art in Philadelphia.
Recent solo shows include Susanne Vielmetter Los
Angeles Projects, LA, CA; Ameringer/ McEnery/
Yohe, New York, NY. Notable group shows among
others include Galerie Lelong, New York, NY; the
Contemporary Art Museum at USF, Tampa, FL;
Pasadena Museum of Art, Pasadena, CA. She is
the recipient of the Orange County Contemporary
Art Collectors Fellowship for 2012, the California
Community Foundation mid-career fellowship for
2010 and the Pollock-Krasner Grant for 2006. Iva has
taught at UCLA, Claremont Graduate University,
Tulane University, among others.
www.ivaplungerboy.com
Experience in painting and drawing required.
Iva Gueorguieva, Scarlet Squall
PAINTING & DRAWING
19
Cari Hernandez, Jubilation
Scott Prior, Big Papa’s Hat
Cari Hernandez
Encaustic Painting & More
Margaret Scanlan, Visitor
Drawing Intensive
Cari Hernandez
Margaret Scanlan
June 24–28
July 1–5
One-week session
Course # AAPD Ø1
One-week session
Whether you draw regularly or haven’t drawn
since kindergarten, this class will provide, in
one solid week, a meaning-filled framework
for tremendous growth in your drawing ability.
The techniques, tricks, and sequential exercises in this structured class can dramatically
improve and give confidence to your drawing
skills if you are new to drawing. If you have
some experience, you can expect to be drawing at a whole new level of sensitivity and
competence at the end of the class. Expect to
work hard, learn a lot, and have a very good
time. If you’ve always wanted to draw, or to
draw better, this class is for you.
Returning students may choose to review or
to embark on a week of more advanced drawing projects, based on your personal goals, to
be worked out individually with the teacher.
All levels are welcome.
Tuition: $715
Lab Fee: $65 (Includes all materials and
model fees.)
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), Sloan-Kettering
Hospital (NY), and L’Abbeye de la Roe (France).
She also plays keyboards in a Celtic band, RedHaired Mary.
Course # AAPE ØØ
In this workshop you will be supported and
encouraged to delve into a wide range possibilities of painting with molten bees wax.
Encaustic has a rich and ancient history dating
back more then 4,000 years. This lush medium
delights the senses with its gentle fragrance
and enticing surfaces. Creating with wax can be
a profound experience, providing the freedom
to create unique expressions of our visions
through sculpture, transparency, and layering.
One of the most exciting characteristics of this
medium is its range of possible expression, and
we will focus on projects that aim to encourage
your personal creative journey.
We will build a strong foundation through
hands-on painting, gaining a solid understanding of grounds and supports, color
studies, employing multiple fusing methods,
use of mulitple brush types, hot tools, incising
tools, and more. After we have refined painting
methods, we will explore the use of additional
mediums that complement encaustic such as
incorporating oil paint, creating a plaster cloth
form, working with paper for both printmaking
and booklets, working with unconventional
supports such as plexiglass.
Each day, students will have materials and
instruction for a specific project. In addition
to the structure of these hands-on projects,
Cari Hernandez, Oh My
there is freedom to focus on the methods and
materials that each student is most drawn to,
as ample time is provided to explore and have
creative play. All levels are welcome, and returning students will find innovative methods
and techniques to work with as well.
Tuition: $715
Lab Fee: $95 (Includes use of equipment
and tools in class, shared compounds and
materials, some papers, fibers, collage and
sculptural materials.)
Cari Hernandez studied fine art photography at
the Academy of Art University in San Francisco,
CA. Prior to becoming a full-time studio artist, she
operated her own commercial photography studio
for 7 years in San Francisco. As a full-time artist she
teaches, lectures, and shows her work in the US
and abroad. She is a founding board member of
International Encaustic Artists, having created and
directed 3 Retreat & Conferences while serving
on the Board. She is featured in two instructional
DVDs, produced by WAX Twist.
www.carihernandez.com
www.waxtwist.com
Scott Prior, Bob’s Bike
The Figure/Still Life: Direct Painting
Quick Studies & Beyond
Scott W.Prior
June 16–18
Course # AAPF ØØ
Three-day session
This is a high-energy workshop concentrating
on the fundamentals, where students will be
working with the basics: drawing, values, edge
control, composition and paint handling. By
working on the ‘basics’, the artists will start
building confident brushwork and will make
quicker decisions, forcing them to rely more
on their instincts, all of which are important
tools that are needed with “Direct Painting”
or “Alla Prima” painting, whether painting in
the studio or painting Plein Air.
Focusing on Still Life and the Figure, students
will be producing Quick Studies that are painted in 30 minute sessions and up. Students will
learn the importance of color studies and the
excitement of Direct Painting. Each day begins
with a demo and discussion, then students will
work on their Quick Studies, gradually working up to larger paintings and longer sessions.
Beginners through advanced painters wanting
to hone their skills are welcome.
Tuition: $490
Lab Fee: $30 (Includes model fees and group
Scott Prior
supplies.)
Scott W. Prior received his BFA at The Academy
Margaret Scanlan, Cow in Water
Margaret Scanlan, Lonely Bull
20
PAINTING & DRAWING
of Art University in San Francisco. He has exhibited in national shows, juried competitions and
invitational events across the country including
the California Art Club’s (CAC) Annual Gold
Medal Juried Exhibitions, exhibitions at the Frederick Weisman Museum of Art, the Academy Art
Museum in Easton MD, and in the Oil Painters of
America National Show. Scott has been awarded and recognized by Oil Painters of America,
Laguna Plein Air Painters Association, Carmel Art
Festival and The Bower’s Museum Plein Air Show.
He been featured in numerous publications including CAC’s Centennial book, American Artist
Magazine and Southwest Art Magazine, and is a
Signature Member of the CAC and Artist Member of the Portrait Society of America.
Margaret Scanlan, Cows in the Window
Scott Prior, Lara
9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5
Robert Dvorák, Untitled
Rebecca Campbell, Lady Godiva
June 21–22 Course # AAPT ØØ
Two-day session
Painting the Figure
Simply & Beautifully in Watercolor
June 23 Course # AAPF ØØA
One-day session
Rebecca Campbell, Stand and Deliver
Narrative Figurative Painting
Exploring the Object & the Idea
Rebecca Campbell
July 8–12
Course # AAPF Ø2
One-week session
This workshop is designed to explore how
the practice of figure painting uniquely engages both the abstract field of ideas and the
experiential field of the physical. Rebecca
will help students identify and articulate
their own conceptual and narrative interests
as they relate to and incorporate the figure
and further help them develop a painting
process that realizes these interests in the
language of paint. Rebecca will create a passionate and well–informed context for student
explorations and discussions through daily
lectures on the figure in painting history and
contemporary art.
Students will begin by using drawing, collage
and photography to plan a series of paintings
incorporating the figure based on ideas they
feel are compelling. Student projects will be
enriched with introduction to techniques that
refine the student’s abilities to paint representationally as well as gestural experiments
designed to strengthen student’s ability to
paint expressively. Oil and Acrylic mediums
will be addressed. Emphasis will be put on the
individual student’s strengths and personal
vision. Skill level: Intermediate to advanced
professional.
This class will be directed to the spontaneous representation of the male and female
figure in watercolor. There will be a strong
emphasis on the use of color, white space and
composition. Color mixing from a limited palette, light, shade, shadow, brush techniques,
graded washes, foreshortening, facial details,
lost and found edges, and proportion will be
demonstrated and practiced. We will work
from models. No matter how much previous
instruction you have had, this class will have
you seeing and painting the figure in a new way.
This class is for you if you:
• Have had some experience with watercolor
• Have had some experience drawing the
figure
• Would like to learn easy techniques for
painting the figure quickly–during a 20
minute pose
• Want more confidence and skill painting
the figure
• Would like to be able to paint the figure in
watercolor
Tuition: $175
Lab Fee: $45 (Includes model fees, 8-10 sheets
of 140# cold pressed watercolor paper 22” x
15”, handouts.) Wear comfortable drawing
clothes. You will receive an email describing
recommended colors and brushes. If you are
taking Travel Drawing and Painting you can
use these watercolor materials.
Robert Regis Dvorák, is an artist and popular
speaker (over 1000 speeches) on subjects of
creativity in education and business. Robert
has travel sketched and painted in 68 countries
including all of Western and Eastern Europe, Russia, Southeast Asia, China, Japan, North Africa,
the Middle East and India. He has exhibited and
sold work in the USA, Europe, Japan, China, and
Indonesia. He has written and illustrated the books:
The Practice of Drawing as Meditation, Drawing
Without Fear, The Magic of Drawing, Experiential
Drawing, Travel Drawing and Painting and Selling Art 101. Robert has been teaching drawing
and watercolor painting for 30 years at colleges
and universities in California and Hawaii. He is a
former Professor of Architecture at the University of
Oregon and the University of California, Berkeley.
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
• Want to paint the figure loose and free
Robert will demonstrate both the male and
female figure in watercolor. He will work with
the class and give individual instruction. Students should have some previous experience
with watercolor and drawing the figure.
Want to make your next trip the most rewarding of all? Take a sketchbook with you and
rather than point and click your camera, take
a few extra minutes to make some fine quick
sketches and color them with watercolor.
Drawing and painting while traveling is fun
and will increase your perception and enjoyment. Traveling with a sketchbook can also
open doors to interesting adventures and
new friendships. You will return home with
priceless memories.
This class will show you how to:
• Quickly draw people, architecture, water,
trees, and landscape
• Simplify your material–capture essence
• Prepare, pack and what materials to bring
• Be comfortable and relaxed sketching and
painting in public
• Draw and paint in restaurants, on the street,
on a cruise, on airplanes, boats, trains
• Draw and paint in public with or without
discovery
You will practice simple techniques for drawing and painting in class using projected
color travel images and other methods. Make
your future travel experiences satisfying and
unforgettable!
Tuition: $350
Lab Fee: $75 (Includes handouts, 2 travel
sketch pads 160 pages each, one 4” x 5” and
one 6” x 9”, a 140# cold pressed watercolor
paper block and all drawing and watercolor
painting materials, and the 180 page book,
Travel Drawing and Painting.)
Robert Regis Dvorák, see bio under Painting
the Figure.
Tuition: $715
Lab Fee: $50 (Includes model fees.)
Robert Dvorák, Venice
Rebecca Campbell received her MFA from UCLA.
She has exhibited nationally and internationally
at venues including Gagosion Gallery, LA Louver
Gallery, Ameringer-Yohe Fine Art, the Hammer
Museum, The Phoenix Art Museum, and the Cornell
Fine Arts Museum. Her work is regularly presented
at Art Fairs including Art Basel, Art Basel Miami
Beach, ADAA The Art Show and has been featured
in publications including Art News, Los Angeles
Times, Art Papers, X-TRA, Artworks Magazine, and
the Huffington Post.
www.rebeccacampbell.net
Rebecca Campbell, Diamond Valley
Robert Dvorák, Agios Nikolaos, Santorini, Greece
PAINTING & DRAWING
21
PRINTMAKING
Beyond Monotype....................................... 23
Ron Pokrasso
Encaustic Monoprinting.............................. 23
David A. Clark
Solarplate Etching........................................ 23
Dan Welden
Nicholas Simmons, Barcelona
Watercolor Unleashed
Experiencing Water–Based Media
Nicholas Simmons
July 8–10
Course # AAPW Ø2
Three-day session
Barbara Nechis, Majeska Falls
Barbara Nechis, The Well
Watercolor from Within
Techniques for Painting
the Essence of Nature
Barbara Nechis
June 16–18
Course # AAPW ØØ
Three-day session
This workshop is for all who want to gain a
deeper understanding of the creative process
of painting, are willing to be flexible, take
risks, have fun, be intuitive and inventive. We
will not be using rules and formulas however
the emphasis will still be on concept, color
and design. My inspiration comes both from
nature and the inevitable unpredictability of
the watercolor medium. Both abstract and
realistic forms will be addressed.
Barbara Nechis, Garden Tapestry
Topics include controlling paint on wet paper,
under-painting, layering and adding gouache.
Critiques will approach problem solving upon
the premise that there is always a solution
that can turn an unsuccessful painting into
a successful one.
Tuition: $490
Barbara Nechis received her BA from the University of Rochester and MS from Alfred University.
She was a faculty member of Parsons School of
Design and has taught seminars at Pratt Institute,
throughout North America and abroad. She is the
author of Watercolor From the Heart. Her work
appears in many publications and collections,
among them the Butler Institute of American Art,
IBM and Citicorp. She maintained a studio in New
Rochelle, NY for many years before relocating to
the Napa Valley.
www.barbaranechis.com.
22
Tuition: $490
Nicholas Simmons has quickly become a renowned name of the contemporary watercolor
scene, winning major awards and gaining media
exposure. He studied under many well-known
watercolorists, most notably Valfred Thëlin and
Barbara Nechis. His art is characterized by its
diversity and power, and has been featured in a
variety of publications, and on Maryland Public
Television. In 2008 his DVD Innovative Watermedia
was released by Creative Catalyst Productions.
He is sponsored by Da Vinci Paint and Escoda
Artist Brushes of Barcelona introduced a Nicholas
Simmons signature series in 2012. Awards include
top prize at the 2007 National Watercolor Society,
consecutive gold medals at the Pennsylvania Watercolor Society, 2008–2009, and the gold medal
at the Texas Watercolor Society in 2010. 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. Nicholas is one of
six painters in the newly-formed North American
Watercolor Artists group, which will represent the
United States in various international exhibitions.
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.
www.nicholassimmons.com
I present and demonstrate a different method
or idea each day using several techniques to
show how to construct original paintings from
both source material and the imagination.
Barbara Nechis, Movement
This 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
such as the instructor’s popular “batik” technique; 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 waterbased media.
Nicholas Simmons, Olushka
PAINTING & DRAWING/PRINTMAKING
Nicholas Simmons
David A. Clark
June 20–22
Course # AAEM ØØ
Three-day session
Encaustic Monoprinting functions both as a
primer to the encaustic monotype and as an
exploration of the more advanced techniques
involved in producing repeatable images
while printing with wax. The purpose of this
class is ts to a wide variety of papers, tools,
processes and ideas connected to producing
encaustic prints and to engage participants in
varied technical process with an emphasis on
adapting that process to expanding their own
unique visual language. Students will begin
by learning the basics and variables of the
encaustic monotype: heat, paint, paper and
pressure. They will then progress to exploring
techniques such as using additive and subtractive process, trace monotype, stenciling and
varied advanced techniques that explore how
to control line, placement, color and saturation. These techniques will allow participants
to fine tune and nuance their printed images.
Students can expect to create a wide variety
of prints during this class encompassing a
varied range of technical and intuitive process.
Dan Welden, Round Square
This class functions well for a wide variety
of skill levels in printing, but some previous
experience working with encaustic is helpful.
Ron Pokrasso
Beyond Monotype
Ron Pokrasso
June 17–21
Course # AABM ØØ
Ron Pokrasso, Two Heads Are Better
Dan Welden, Night Invitation
Tuition: $490
Lab Fee: $80 (Includes all paints, papers and
Dan Welden
tools. Students will be given an allotment of a
variety of papers to work with, and more paper
will be available for purchase if you find that
you are a very fast printer.)
David A. Clark’s encaustic print work has drawn
One–week session
critical acclaim for its graphic style and soulful
content. He exhibits nationally, showing his work in
numerous solo and group shows including the 2012
Harnett Biennial of American Prints , the Gallery at
R & F and Aqua Art Miami. David’s printwork has
been published and featured in Authentic Visual
Voices: Contemporary Paper and Encaustic by
Catherine Nash and Encaustic Works 2011 published by R & F Handmade Paints. David teaches
encaustic printmaking around the country and has
presented and taught encaustic printmaking for
the last three years at the International Encaustic
Conference in Provincetown, Massachusetts. A
solo show of David’s which began at the Process
Museum in Tucson, Arizona is currently touring the
country. That show is devoted to a single encaustic
print of David’s and the more than 100 process
pieces that went into its creation.
www.davidaclark.com
Ron Pokrasso covers a wide range of techniques possible in the monotype process and
continues through the use of collage, drawing,
and multiple plate projects. Students will be
encouraged to pursue their artistic vision
using monotype as a mark making tool in
combination with whatever other techniques
are efficient and available. The notion of the
“artist as an inventor” will be stressed as mixed
media techniques open the door to limitless
opportunities. The approach is energetic and
open, as each student’s individual style will
dictate the direction of the workshop.
The program is non-toxic working with
AKUA waterbased intaglio inks. Modifying,
layering, mixing inks, finding color, use and
abuse of mark-making tools, exploring the
limits of paper, collage, chine colle and built
up surface will all be discussed. Working with
drawing materials, the optional integration
of Solarplate, ImageOn, traditional intaglio
plates, other matrices, and finishing prints as
resolved and complete expressions, including
solving issues after printing, are aspects of the
workshop. Though some monotype and/or
other printmaking experience is helpful, all
levels of students are welcome.
June 24–28
Course # AAEP ØØ
One-week session
Developed by master printmaker Dan Welden,
Solarplate Etching is an exciting, spontaneous and highly professional technique that
utilizes UV light and water instead of traditional grounds and acids. The Solarplate is a
light-sensitized polymer printing plate that
accepts all kinds of images, including drawings
and paintings on acetate, photocopies, digital
photographs on transparent film. Artists can
also paint freely and directly on the Solarplate
surface and create a matrix capable of yielding
many impressions. Participants will be able
to produce several 8x10 inch images during
this intensive workshop. Larger plates may be
made available with prior request. Printmaking experience is preferred but not essential.
Tuition: $715
Lab Fee: $45 (Includes shared materials and
supplies. Solar plates and paper available for
purchase from the instructor.)
Tuition: $715
Lab fee: $75
Solarplate Etching
David Clark
David Clark
Ron Pokrasso received his MFA degree from Pratt
Institute in 1975 and has had over 40 solo exhibitions and more than 150 group shows. His work is in
public, private, and corporate collections throughout the US and abroad as well as being featured
in several books. He is originator of the printmaking event “Monothon” and has been an ardent
supporter of arts programs for youth. His teaching
experience includes universities, museums, public
schools and private workshops, as well as Artist
Residencies in the US, Scotland, Ireland and Italy.
www.ronpokrasso.com
Dan Welden is one of the original pioneers of
safer alternative printmaking techniques. Since
the early 1970’s when he first developed Solarplate
Printmaking and Water Based Monotypes, he has
been in the forefront of printmaking techniques,
educating artists of all levels throughout the world.
As co-author of Printmaking in the Sun, and Director
of Hampton Editions, Ltd. in Sag Harbor, NY, he has
collaborated with many artists including, Willem
and Elaine de Kooning, Eric Fischl and Dan Flavin
among many others. He has been the recipient
of numerous international printmaking grants extending from Belgium to New Zealand and most
recently a recipient of two grants to work and
exhibit in China. He was a juror for the international
Printmaking Biennal in Aqui Terme, Italy in 2008. He
exhibits with BCB Gallery in Hudson, NY.
www.danwelden.com
David Clark, Untitled Encaustic Monoprint
PRINTMAKING
23
SCULPTURE
WRITING
Contemporary Sculpture in Plaster........... 24
Reneé Azenaro
The Art of Writing Fiction............................. 24
Samantha Dunn
Furniture Making & Design.......................... 24
Pete Holzman
Memoir/Creative Nonfiction...................... 25
Amy Friedman
Young Adult Novel....................................... 25
Francesca Lia Block
SEE ALSO
Poetry Week.................................................. 25
Jane Shore, Ed Skoog, David St. John
Assemblage...................................................11
Michael deMeng
Doll Making & Beadwork..............................15
Hot Clay: Narrative in Sculpture....................5
James Tisdale
The Santos Cage Doll Redefined................12
Linda Lehart McNulty
Native American Flutemaking ............... 17
Pete Holzman, Bookcase
Plaster Sculpture, student work
Contemporary
Sculpture in Plaster
Reneé Azenaro
July 8–12
Pete Holzman, Box with Inlay
Pete Holzman
July 8–12
Course # AASP Ø2
One-week session
Participants will be engaged in experiencing
contemporary methods of sculpture in plaster
–a remarkably versatile material–working
from the seed of an idea to final work. Plaster
has been a traditional material used in the
sculptural process as well as a contemporary
material which allows for exploration of ideas
in new ways. Students will learn to carve
small to medium pieces, work with surface,
texture and coloration of the plaster, with
an eye towards finding an artistic voice in a
new medium.
Students will learn to mix plaster, adding various materials to the plaster to alter its color and
texture (such as sand, ceramic oxides, small
objects, paints, washes, etc.). Sculptures may
be carved or assembled in sections allowing for
a wide range of creative possibilities. Students
will explore how to make sculpture that is
personal, individual and expressive, and may
explore abstraction or representational form
in their pieces. The focus is to blend materials, concepts and skills in a supportive and
experiential environment. The class is open
to all levels of experience.
Tuition: $715
Lab Fee: $45 (Includes plaster, colorants,
plastic bags, dust masks, sandpaper, plastic
buckets.)
Reneé Azenaro was born and raised in Brooklyn,
New York, and presently teaches and lives in
Redlands, California. Her work has been shown
throughout the United States and internationally in
Italy, Romania, Puerto Rico and Serbia. Recently,
she exhibited at the den contemporary gallery in
L.A. and a solo exhibit at the Blok Gallery in Serbia.
Primarily an installation artist, she also works in sculpture, drawing, works on paper and mixed media.
www.reneeazenaro.com
Samantha Dunn
July 8–12
Course # AAWF Ø2
One-week session
Course # AASF Ø2
One-week session
Learn traditional woodworking techniques
and apply them in designing and crafting a
project of your own. Taught by professional
woodworker and furniture maker Pete Holzman, you will learn the proper application of
both power tools and hand tools. Table saw,
band saw, scroll saw, drill press, hand planes,
chisels and sanding techniques will all be covered, as well as various joinery and finishing
options for your project. Choose from three
project options–jewelry box, wall shelving/
wine unit, or small table. Basic design of these
options will be covered and individual help
in creating your own variations will be given,
based on your skill level. Resources for further
study and exploration will also be reviewed.
This class is meant to provide a foundation
that will help advance you to the next level of
woodworking mastery. (If you already have a
working knowledge of machines, tools and
safety procedures, more individual time can
be spent on other skill sets.) Alex Watson,
woodworker and builder of high-end boutique
guitars and basses, will assist each afternoon.
Students are encouraged to bring their own
hand tools and will be shown how to properly
sharpen and maintain those tools.
Tuition: $715
Lab Fee: $125 (Includes wood, glue, finishing
supplies, disposable & non-disposable brushes. If student chooses to make a jewelry box
there would be an additional hardware fee.)
Pete Holzman holds a degree in Graphic Design
from the University of Cincinnati College of Design,
Architecture and Art and has been a professional
woodworker and furniture maker for the past 18
years. His furniture runs the gamut from rustic to
high-end gallery art and is held in many personal
collections. He creates pieces by commission only
out of his studio in Idyllwild, California. The name
of his website gives you a hint as to his approach
to designing and building furniture.
www.noboringfurniture.com
Alex Watson is a woodworker and builder of
high-end boutique guitars and basses.
www.watsonguitars.net
24
Making It Up
The Art of Writing Fiction
SCULPTURE/WRITING
“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 wellhoned 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: $715
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, Dunn 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, Dunn teaches in
the UCLA Extension Writers Program and is program
advisor for The Mark at PEN USA.
9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5
Jane Shore is the author of
That Said: New and Selected
Poems (Houghton Mifflin,
2012) and five other books
of poems, including Eye
Level, winner of the 1977
Juniper Prize, The Minute
Hand, winner of the 1986
Lamont Poetry Prize, awarded by The Academy
of American Poets, Music Minus One, a finalist
for the National Book Critics Circle Award, and
The Yes-or-No Answer, winner of the 2010 Poet’s
Prize. Shore is the recipient of fellowships from The
Guggenheim Foundation, The Radcliffe Institute,
Princeton University, and twice from The National
Endowment for the Arts. She is a professor at The
George Washington University and lives in Washington, DC and in Vermont.
Ed Skoog (MFA, Creative
Amy Friedman
Memoir & Creative Nonfiction
Young Adult Novel
Poetry Week
Amy Friedman
(For Adults)
Francesca Lia Block
Jane Shore, Ed Skoog, David St. John
Special Guests: Brendan Constantine, Matthew Dickman, Anna Journey
July 1–5
Course # AAWE Ø1
One-week session
July 8–12
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.
One-week session
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: $715
Course # AAWN Ø2
Writing the Young
Adult Novel is a course
designed to give you
the basic knowledge
(and inspiration!) to
start or complete your
YA book. We will cover
Character, Voice, Plot,
Setting, Language,
Theme and more, using discussion, workshopping of student
pages, exercises and excerpts from published
works. This course is for the beginning to
advanced writer who wants a nurturing but
challenging environment in which to explore
this ever-expanding and popular genre. You
will come away with a finished outline, a good
portion of the beginning of your novel and the
tools to complete the rest.
Tuition: $715
Francesca Lia Block, winner of the prestigious
Margaret A. Edwards Lifetime Achievement Award,
is the author of many acclaimed and bestselling
books, including Dangerous Angels: The Weetzie
Bat Books; Roses and Bones: Myths, Tales and
Secrets; and the adult novel The Elementals. Her
work has been translated and published around the
world. She lives in Los Angeles with her two children.
www.francescaliablock.com.
Amy Friedman is the author of several memoirs,
Kick the Dog and Shoot the Cat and Nothing
Sacred: A Conversation with Feminism. Her third
memoir, Desperado’s Wife, will be released in 2013,
as will her co-authored memoir with Anne Willan,
The Right Ingredients. Amy is the author of the
long-running, world-wide syndicated newspaper
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 teaches creative writing at UCLA
Extension, through PEN/USA and at the Skirball
Cultural Arts Center.
July 8–12
Course # AAWP Ø2
One-week session
This special week of poetry is open to anyone
with an interest in writing poetry, following the
long-held 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.
Participants will work with two teachers.
Close-critique of drafts and revisions will be
balanced with larger propositions about the
nature of poetry. Small class size will ensure
that each participant receives individual attention and advice about his or her development as a writer.
Our schedule includes workshops from 9–
noon, and craft talks by faculty and special
guests from 1–3 P.M. On Tuesday evening, the
faculty and special guests will read from their
work, followed by a book signing. Wednesday
afternoon will be more loosely structured to
allow for catching up on reading and writing, or
sharing work in a less formal setting. Thursday
evening, workshop participants are invited
to read new poems from the workshops with
the Idyllwild community, with a livestream
for those unable to join us this year in person.
Tuition: $715
Enrollment limited to 10 students per workshop group.
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. He lives in
Missoula, Montana.
David St. John is the author of ten collections of
poetry (including Study for
the World’s Body, nominated
for The National Book Award
in Poetry), most recently The
Auroras, as well as a volume
of essays, interviews and reviews entitled Where the Angels Come Toward Us.
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 AllAmerican 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.
Anna Journey (Special
Guest) is the author of two
collections of poetry: Vulgar
Remedies (Louisiana State
University Press, 2013) and
If Birds Gather Your Hair for
Nesting (University of Georgia Press, 2009), selected
by Thomas Lux for the National Poetry Series. Her
poems have appeared in American Poetry Review,
FIELD, The Kenyon Review, The Southern Review,
and elsewhere. She received a fellowship in poetry
from the National Endowment for the Arts and
currently teaches creative writing at the University
of Southern California.
Krone Library Poetry Reading, David St. John
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, 2013.
5% off the total cost of a program if payment
in full is received by April 15, 2013.
See page 30 for details and information regarding additional discounts for families, friends
and teachers.
Youth Chamberfest Performance
sundaymondaytuesdaywednesdaythursday
Metals Week.
Lectures:
Nancy Megan
Corwin, Connie Fox,
Deb Karash,
Deborah Jemmott,
Betty Helen Longhi,
Sandra Noble Goss,
Fred Zweig
7 p.m. Krone Library.
Hot Clay. Lecture:
James Tisdale
Parks Exhibition
Center Opening
Reception.
Hot Clay, Metals
Week & Faculty.
8 p.m. Continues
through June 23.
Parks Center.
Artist Lectures:
Scott Prior,
Ron Pokrasso,
Barbara Nechis
Hot Clay Lecture:
Christa Assad
Parks Exhibition Center Opening Reception
fridaysaturday
Metals Week.
Student Show.
4 p.m.
Krone Library Patio.
Hot Clay. Lecture:
Jason Bige Burnett
JUNE
15
161718192021
Hot Clay. Lectures:
Richard Burkett,
Joe Molinaro
Native Artist
Demonstration:
Nathan Youngblood
7 p.m. Parks Center.
Parks Exhibition
Center Opening
Reception.
Hot Clay & Faculty
8 p.m.
Artist Lectures:
Cari Hernandez,
Dan Welden,
Iva Gueorguieva
Adult Arts Center
Culminations.
Hot Clay. Lecture:
Sunshine Cobb
22
Native Am. Pottery Firing.
Nathan Youngblood,
Santa Clara Pueblo
8 a.m. Kennedy Kiln Yard
232425262728
Native Arts Week.
Trunk Show:
Mata Ortiz Pottery,
Oaxacan Carving &
Weaving
1–4 p.m. Parks Center.
Panel:
Native American Arts
at ISOMATA
6:30 p.m. Krone Library.
Native Arts Week.
Lecture:
Guest Artists,
Parks Exhibition
Center Opening
Reception.
8 p.m.
Faculty Jazz
Combo Concert.
8 p.m. IAF Theatre.
Native Arts Week.
Lecture:
Freddie Bitsoie,
Native Cuisine in the
Americas
PlusNative Food Tastings
Native Arts Week.
Lecture:
Dr. Jessica Metcalfe,
Native American
Fashion
Artist Lectures.
Bill Perkins,
Margaret Scanlan,
Greg Kennedy,
David Delgado
Adult Arts Center,
Faculty, Staff &
Associates of IAF
Potluck Dinner.
5:30 p.m. Studio D.
Native Arts Week.
Lecture:
TBA,
Native Arts Week.
Film Night:
“Akway Nyewaa:
Coming Back Home”
by Phillip Espinoza,
29
Children’s Open
House.
Multi-Arts. 2:45 p.m.
Children’s Center
Native American Arts Pottery Firings.
Mark Tahbo, Hopi Tewa,
Jorge Quintana, Mata Ortiz
8 a.m. Kennedy Kiln Yard.
Adult Arts Center
Culminations.
Student Jazz Concert.
1 p.m. IAF Theatre.
Native Arts Week.
Performance:
Cahuilla Birdsingers,
Special Guest
7 p.m. TBA.
J U LY
3012345
Artist Lectures:
Rebecca Campbell,
Laura Wait,
Reneé Azenaro,
Nicholas Simmons
Parks Exhibition
Center Opening
Reception. 8 p.m.
Poetry Reading.
David St. John,
Jane Shore,
Ed Skoog,
Brendan Constantine,
Anna Journey,
Matthew Dickman
Adult Arts Center,
Faculty, Staff &
Associates of IAF
Potluck Dinner.
5:30 p.m. Studio D.
Poetry Reading.
Poetry Week Students
Children’s Open
House.
Children’s Center
Adult Arts Center
Culminations.
4 p.m.
Kennedy Kiln Yard.
Youth Song &
Dance Performance.
8 p.m. IAF Theatre.
Vocal Music Recital.
8 p.m. Stephens.
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 Workshop. 10:30 a.m. Theatre
Adventures. 11:30 a.m. Children’s Center.
Piano Workshop. 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.
7 8 9101112
Artist Lecture
26
6
Children’s Center Multiarts Culmination
SUMMER EVENTS
Youth Theatre Festival Performance
13
The Pacific Trio
9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5
Hopi-Tewa Pottery Firing
Youth Dance Workshop
Cahuilla Birdsingers
sundaymondaytuesdaywednesdaythursday
Parks Exhibition
Center Opening. 7 p.m.
Youth Jazz Performance
fridaysaturday
Children’s Center
Open House &
Culminations.
2:45 p.m.
Children’s Center
Faculty, Staff &
Associates of IAF
Potluck Dinner.
5:30 p.m. Studio D.
Theatre Production.
8 p.m. JPT.
Music Faculty
Recital.
8 p.m. Stephens.
Children’s Culmination.
Drawing & Sculpture. 9:30 a.m. Children’s
Center.
Youth Film Making Screening.
10 a.m. Ryan Soundstage.
HS Wind Ensemble. 1 p.m. IAF Theatre.
HS Symphony Orchestra.
3:30 p.m. IAF Theatre.
Theatre Production. 8 p.m. JPT.
141516171819
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.
20
Fashion Design & More. Modern Art. Clay &
Sculpture. The Magic of Art. 9:30 a.m. Computer Animation. Page to Stage. 10 a.m. On
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 p.m. IAF Theatre.
212223242526
Parks Exhibition
Center Opening. 7 p.m.
Faculty, Staff &
Associates of IAF
Potluck Dinner.
5:30 p.m. Studio D.
Adult Chamber
Music Workshop
Masterclass.
1:30 p.m. Stephens.
Student Chamber Music Recital .
10 a.m. Stephens.
DISTINGUISHED
ARTIST CHAMBER
MUSIC SERIES
Pre-Concert Talk.
7:30 p.m. Stephens.
Concert I
8 p.m. Stephens.
Children’s Center
Open House.
Children’s Center
Chamberfest: Chamber Orchestra
4:30 p.m. IAF Theatre
DISTINGUISHED
ARTIST CHAMBER
MUSIC SERIES
Faculty Concert
8 p.m. Stephens.
HS Festival Choir.
1 p.m. IAF Theatre.
DISTINGUISHED
ARTIST CHAMBER
MUSIC SERIES
Pre-Concert Talk.
7:30 p.m. Stephens.
Concert II
8 p.m. Stephens.
A U G U S T 1 2
28293031
Student Recital:
Vocal Music.
8 p.m. Stephens.
4
Student Percussion
Recital.
7 p.m. IAF Theatre.
Student Chamber
Music Recital.
8 p.m. Stephens.
Faculty, Staff &
Associates of IAF
Potluck Dinner.
5:30 p.m. Studio D.
Student Recital:
Instrumental and
Vocal Music.
8 p.m. Stephens.
DISTINGUISHED
ARTIST CHAMBER
MUSIC SERIES
Pre-Concert Talk.
7:30 p.m. Stephens.
Concert III
8 p.m. Stephens.
Children’s Center
Open House.
Children’s Center
Sketch Comedy
Performance.
8 p.m. JPT.
HS Festival Choir
8 p.m. IAF Theatre.
Student Chamber
Music Recital.
8 p.m. Stephens.
HS Chamberfest:
Final Concert
TBA Idyllwild or
Los Angeles.
Improv Workshop. Art from Many Cultures.
9:30 a.m. Young Writers Workshop. 10 a.m.
Shakespeare’s World. 10:30 a.m. Theatre of
Myth/Folklore. 11:30 a.m. Children’s Center
Youth/Jr. Artists Art Exhibit. 10 a.m. Parks Center.
Youth Fashion Show. 10 a.m. Old Dining Hall.
Acting/Directing for Camera. 10 a.m. Ryan.
Fiction Readings. 10 a.m. Todd Quad.
Dance Culmination. 10 a.m. Fisher Studio.
Chamberfest Ch. Music 10 a.m. Stephens.
HS Festival Choir. 1 p.m. IAF Theatre.
Chamberfest Chamber Orchestrra.
8 p.m. IAF Theatre.
1156789
3
Sketch Comedy Performance. 10 a.m. JPT.
HS Choir:
Final Concert
TBA Idyllwild or
Los Angeles.
Junior Artist’s Theatre Adventures Performance
27
Adult Arts Center Culmination
Youth Song & Dance Performance
10
Youth Choir Performance
SUMMER EVENTS
27
MAPS
CAMPUS MAP
3
1
5
1b
2
38
Site of the new
Housekeeping
Facility
Pierson Hall
Water Tanks
REGISTRATION
(Bowman Arts Center)
4
Site of the new
Maintenance Yard
6
40
42
23
24
25
IV
R
IP
67b
55
LA
N
56
61b
37
3
61
57
63
58
65
5
11
6
10
70
9
Site of the
new Theatre
& Classrooms
64
62
68
12
8
7
30
Tennis Courts &
P.E. Facilities
to be sited
RI
VE
60
D
59
IS
A
N
17
ra
St
46.Fisher Dance Studio
18
20
2
1
4
LU
21
69
66
E
A
16
wb
erry
C re
ek
TOLLGATE RD.
(to hwy 243)
3. Fitzgerald Jr. Players Theatre
19
21b
1b.Fugl Studio
Krone Library
7.Health Center
30.Hicks Studio
26.Ataloa Visual Arts Studio
8.Holmes Amphitheatre
14. Birchard
70.Housekeeping
35. Bowman Arts Center
5.Hummingbird Hollow
59.Campus Security Office
54.HUSCH Hall
63.Cedar Classroom
36.IAF Theatre
11.Chemistry Lab
17.Meadow 6
44.Sage Classroom
21.Meadow 7
10.Schoustra Science Lab
22.Meadow 8
21b.Meadow 9
60.Sequoia
(Advancement, Development)
32.Mellor Studio
2.Sherman Costume Shop
29.Millsap Studio
68.South Classroom
27.Native Arts Studio
33. Summer Offices
6b.Nelson Dining Hall
41.Spruce A & B
69.North Classroom
31.Steere Studio
47.Dance Offices
56.Krone House
(Academy Admission, Alumni,
Marketing)
23.Old Dining Hall
12.Krone Library
55.Oak Chalet
13.Stephens Recital Hall
48.Dorm 1
40. Lewitzky Dance Studio
24.Parks Exhibition Center
37.Studio A
39.Dorm 3
43. Lupine
50.Photography Lab
19.Studio D
38.Dorm 4
53.MacNeal Hall
9.Physics/Mathematics Lab
34.Todd Center/Bookstore
67.Eagles Nest Classroom
64.Maintenance Building
52.Pierson Hall
45.El Centro Classroom
51.Manzanita Chalet
62.Pine Chalet
66.Troy Restrooms
6.Elf Shelf
18.Meadow 1
61b.Ponderosa Classroom
58. Wayne Hall
22b.Escherich Humanities Ctr.
15.Meadow 2
57.Pool
61. Wayne Music Rooms
25.Eymann Sculpture Garden
20.Meadow 4a & 4b
49.Rush Hall
67b. Wilson Classroom
1.Film Lot
16.Meadow 5
28.Ryan Sound Stage
42. Zimmerman Log Lodge
4.Children’s Center
Hicks Ceramics Studio
H
D
LA
HU
CA
22b
32
S
13
14
15
22
W
12
10
9
O
DRIVE
APELA
11
8
36
67
LL
31
IL
29
FE
54
33
E
28
53
35
34
26
27
45
44
43
TEMECULA ROAD
52
50
46
7
51
49
48
47
41
6b
Idyllwild Arts Bookstore
39
65.Troy Music Classrooms
Eymann Sculpture Garden
L O C AT I O N M A P
5
From the Riverside Area through Hemet:
Burbank
8 miles to Florida Ave. Left at traffic
light onto Route 74. Fifteen miles up the
101
215
15
10
10
Long Beach
91
405
5
From the LA Area, through Banning:
Newport
Beach
Route 10 or 60 East to Banning. Take the
55
mountain 25 miles to Idyllwild. Continue
Beaumont
Banning
60
Va
n Buren
79
Ramon
a E xp
ress
way
215
15
10
Palm
Springs
243
IDYLLWILD
111
74
Laguna Hills
215
74
W
8th St. exit to Route 243 which leads up the
10
Riverside
91
Left onto Route 243, 4 miles to Idyllwild. Left
San Bernardino
215
60
LOS ANGELES
mountain to Hwy. 243 at Mountain Center.
on Tollgate Road., one mile to campus.
Ontario
Road
Left onto Ramona Express Way, travel
210
Palm
Desert
The
Village of Idyllwild
111
Hemet
Mtn. Center
74
ster
Right on Route 79, 8.3 miles to traffic light.
405
74
he
Route 60 Riverside, towards Beaumont.
i nc
371
Temecula
Anza
79
1 mile through the Village. Right on Tollgate
Road one mile to campus.
To Warner Springs
N
From the San Diego Area:
1) Hwy 15 north to Temecula. Exit Hwy 79
south toward Indio/Palm Desert. Turn left
5
onto Hwy 371 (Continue towards Indio/
15
Palm Desert). Left at Hwy 74, 10 miles to Hwy
243. Right 4 miles to Idyllwild. Left at Tollgate
Escondido
Road 1 mi. to campus.
SAN DIEGO
2) Route 15 north to Winchester Road. Right
on Winchester Road to Route 74; right on
Route 74 to Mountain Center. Left on Route
From all directions, please note:
243, 4 miles, left on Tollgate Road one mile
The campus is located at the end of Tollgate Road, just beyond a bridge. Once on campus, turn
to campus.
right at the crosswalk (Cahuilla Drive) & proceed uphill to Bowman Arts Center for registration.
28
MAPS
9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5
2013 Summer ADULT Program Registration Form
REGISTRATION
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)
To register, please download the registration forms directly
from our website. Thank you.
Last _______________________________________________________
First ______________________________________
SUMMER OFFICE USE
Mailing Address
Street and Number____________________________________________________________________________________
Rec’d _________________
City _____________________________________________________ State _________________ Zip _________________ Cust. # ________________
E-mail Address ______________________________________________________________________________________
Packet Sent ________________
Phone
Day
(
)_______________________________________________________
Evening
)__________________________________ Sch. App. Sent _____________
(
Date of Birth (Optional) _____________________ 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_________________
A
Housing & Meal Plans (see below for description)
C
D
E
Cost_________________
A
B
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)
Meals Only
(C) $745 per week
D) $465 per three days
(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).
One way
Transportation Needed:
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
and Fee Payment
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, 2013.
Please make every effort to register as early
as possible so you will receive your registra-
tion 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.
APPLICATION/REGISTRATION/REFUNDS
29
2013 Summer ADULT Program Registration Form
YOUTH
PROGRAMS
Page 2 of 2
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
PLEASE COMPLETE THE REMAINDER OF THE FORM IN ORDER FOR YOUR REGISTRATION TO BE PROCESSED
Student Name
Last _______________________________________________________ First ______________________________________
FAMILY CAMP (all ages)
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
Children’s Center
Multiarts Day Program (ages 5–8)
Specialized Programs (ages 9–12)
DANCE
Dance Explosion
FILM
Collaborative Filmmaking
Please list the names and addresses of friends you have who would like to receive a Summer Program Catalog.
_________________________________________________________________________________________________________________________________________________________________
_________________________________________________________________________________________________________________________________________________________________
_________________________________________________________________________________________________________________________________________________________________
_________________________________________________________________________________________________________________________________________________________________
_________________________________________________________________________________________________________________________________________________________________
_________________________________________________________________________________________________________________________________________________________________
I would like to receive information about the Idyllwild Arts Academy. (See page 31 of this catalog for a brief description of the Academy.)
MUSIC
Piano Workshop
THEATRE
Mini-Musical Theatre
On Camera
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)
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
THEATRE
Improv Workshop
Mini-Musical Theatre
Musical Theatre
Shakespeare’s World
Theatre Adventures
____________________________________________________________ ____________________________________________________ ________________________________
Name
Program Dates
VISUAL ARTS
Ceramics Workshop
Computer Animation
Fashion Design, Art & More
Magic of Art
Painting & Drawing
Photography Workshop
____________________________________________________________ ____________________________________________________ ________________________________
Name
Program Dates
WRITING
Young Writer’s Workshop
____________________________________________________________ ____________________________________________________ ________________________________
Name
Program Dates
Teacher Discount: Teacher Name____________________________________________________________________________________
List other Teachers attending:
Youth Arts (ages 13–18)
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
5 2 5 0 0 T e m e c u l a R o a d • P. O . B o x 3 8 • I d y l l w i l d , CA 9 2 5 4 9 • ( 9 5 1 ) 6 5 9 - 2 1 7 1 • F a x ( 9 5 1 ) 6 5 9 - 4 5 5 2 • i d y l l w i l d a r t s . o r g
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, 2013.
5% off the total cost of a program if payment
in full is received by April 15, 2013.
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.
2)A new student can be claimed by only one
returning student.
3) Does not apply to immediate family members
of returning students. (see Family Discount)
4)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.
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)Available only to week-long workshop
registrants.
1) Students who attended during the summers
1985–2012 are eligible.
3)Available on a limited basis.
2)Fees for the workshop must be paid at the
time of registration.
COMPUTER ARTS
Computer Animation
DANCE
Dance Workshop
Song and Dance
FILM
Acting for the Camera
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
THEATRE
Acting for the Camera
Directing for the Camera
Sketch Comedy
Song and Dance
Summer Theatre Festival
VISUAL ARTS
Art Exploration
Ceramics: Clay Works
Drawing & Painting
Drawing & Painting MC
Fashion Design I & II
Jewelry Workshop
Black & White Photography
Photo Explorations
WRITING
A Fiction Workshop
Poetry Workshop
ARTS ACADEMY
31
CERAMICS Ceramics: The Ways of Clay
Hot Clay
The Narrative in Sculpture
Silkscreening on Clay
Handbuilding in Clay
Sets and Soda
Idyllwild Arts Foundation
P.O. Box 38
Idyllwild, CA 92549
Non-Profit
Organization
U.S. Postage
PAID
Idyllwild Arts
Foundation
Jewelry
Handmade Findings
Silver Metal Clay
Metals Week
Chasing & Repoussé
Creating Cuffs
Nunome Zogan
The Rolling Mill
A Fresh Look at Spiculums
Surface Design/Fabrication
Mixed-MediaAcrylic Ink Quilting
BOOK ARTSAssemblage
Manuscript Books
Metal Books & Journaling
The Santos Cage Doll
MUSICChamber Music Concerts
Native artsHopi Basketry
Hopi Jewelry
Santa Clara Pottery
Native American Arts Festival
Craft & Survival Skills
Native Plants
Cahuilla Basketry
Doll Making & Beadwork
Navajo Weaving
Native American Flutes
Hopi Tewa Pottery
Mata Ortiz Pottery
Painting/Color Boot Camp
DRAWINGContemporary Painting
Drawing Intensive
Encaustic Painting
The Figure & Still Life
Narrative Figure Painting
Figure Painting in Watercolor
Watercolor from Within
Watercolor Unleashed
Printmaking Beyond Monotype
Solarplate Etching
SculptureSculpture in Plaster
Writing
The Art of Writing Fiction
Memoir/Creative Nonfiction
Young Adult Novel ( for adults)
Poetry Week
SUMMER PROGRAM 2013
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 2013 - Idyllwild Arts Academy

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