2016 Haystack Catalog

2016 SUMMER PROGRAMS

H AY S T A C K

M O U N T A I N

S C H O O L

O F

C R A F T S

OPEN STUDIO RESIDENCY WORKSHOPS & SUMMER CONFERENCE

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Schedule at a Glance.........p. 4–5

2016

H AY S TA C K S U M M E R

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aystack is an intensive creative community where people come to

investigate craft in an aesthetic climate that honors tradition while acknowledging the rich potential of contemporary visual art. People

Fab Lab at Haystack.............p. 5 Open Studio Residency......p. 6–8 Deadlines.............................p. 9 Session 1......................p. 10–13 Session 2......................p. 14–17 Session 3......................p. 18–21 Session 4......................p. 22–25

come to Haystack to develop skills and nurture the creative spirit; they come to

Session 5..................... p. 26–29

ask questions, reassess their work, and push into the unknown.

Session 6..................... p. 30–33

The combination of unmatched natural setting, a unique campus designed by award-winning architect Edward Larrabee Barnes, and the focused energy of the community provides an environment that supports a serious exploration of craft, materials, and ideas.

Workshop Application Information.................. p. 34–38 Workshop Application Form.............................p. 39-40

a day, seven days a week. In our workshop sessions there are evening presenta-

Summer Conference Craft Thinking: Ideas on Making, Materials, and Creative Process........... p. 41–44

tions by faculty, staff, and technical assistants and performances by visiting artists

Conference Application.......p. 45

Haystack’s programs—whether it’s the summer workshops, conference, or residency—are dedicated to the creative process. Studios are open twenty-four hours

and writers. For both the summer conference and workshops, there are approximately 85 participants, including staff, students, and internationally recognized faculty artists. The conference is filled on a first come-first served basis and the workshops are filled through a competitive review. Selection is based on the need for balance between studios and for geographic distribution and a wide range of ages and experience levels, from beginners to advanced professionals. Scholarship support is available for workshops, and nearly 25% of attendees receive full financial aid to attend.

The Open Studio Residency is limited to approximately 50 makers from the crafts field and other creative disciplines. It is supported by Haystack’s Windgate Foundation Endowment for Programs and free to those who are accepted through competitive review.

Haystack is located in mid-coast Maine on Deer Isle, which is connected to the mainland by a bridge over Eggemoggin Reach. It is approximately 500 miles from New York City, 250 miles from Boston, 160 miles and Portland, and 60 miles from Bangor. There is public transportation by both air and bus to Bangor, and taxi-van service from there to Deer Isle.

Residency applications are due March 1 Scholarship applications are due March 1 Regular applications are due April 1 Work study scholarships cover room, board, and tuition.

NOTE: Workshops are open to all skill levels, beginners to advanced professionals, unless otherwise noted in the course descriptions.

Residency, Technical Assistant, and Work Study (including Minority Work Study) applicants will submit applications online through SlideRoom. Details are provided in the Submitting Your Application sections of the Residency and Scholarship pages of this catalog.

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Open Studio Residency Haystack’s Open Studio Residency is held the first two weeks of June, kicking off our summer season of programs.

The residency is designed to foster artistic exploration at the highest level, and those selected will attend for free.

See pages 6-9 for details, application procedure, and deadline.

RESIDENCY May 29–June 10

sessi o n 1 June 12–June 24

BLACKSMITHING Stephen Yusko and Daniel Souto Combining Forces CERAMICS Gerit Grimm Sculpting with Wheel-Thrown Parts drawing MaJo Keleshian Expressive Drawing / Media / Methods FIBER Susie Brandt Fill Up / Stack Up / Twist and Shout M E TA L S Greg Wilbur Moving Metal: The Art of Raising Metal

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W OO D Adam John Manley Re-Interpreting the Familiar Object VISITING WRITER* Lia Purpura

SESSION 2 June 26–July 8 B OO K A R T S Rebecca Goodale Artist’s Books: The Balancing Act of Concept and Form CERAMICS Daniel Johnston Making Large Jars from Local Materials FIBER / DYEING Elin Noble Natural Dyes, New Methods GLASS Hiromi Takizawa Craft Navigation 360° / Craftsmanship Ahoy!

M E TA L S Kristin Mitsu Shiga The Language of Jewelry MIXED MEDIA Arthur Ganson Mixed Media / Machines

SUMMER CONFERENCE C raft Thinking: I deas o n Making , Materials , and C reative P r o cess

July 10–14

Presenters and Workshop Leaders Tanya Aguiñiga Nora Atkinson Dan Beachy-Quick Daniel Johnston Faythe Levine Michael O’Malley Ron Rael Paul Sacaridiz Jenni Sorkin

SESSION 3 July 17–29

BASKETS Lissa Hunter Connect / Contain CERAMICS Bai Ming Chinese Contemporary Ceramics FIBER / MIXED MEDIA Mo Kelman Skins and Skeletons: 3D Textile Constructions GLASS Cassandra Straubing Material Samples; An Exploration of Mold Making for Glass Casting M E TA L S Damon Thompson Found PA P E R M A K I N G Aimee Lee Paper Contains the Universe VISITING WRITER * Elizabeth Spires

SESSION 4

July 31–August 12 CERAMICS Julia Galloway Making New Ideas from Historical Pottery FIBER Annet Couwenberg More than Skin Deep: Structure, Fashion, and the Body GLASS Sean Salstrom Vessel as Vehicle for Glassblowers

GRAPHICS Erin Sweeney A Letterpress, an Artist’s Book, and Some Text Walk into a Bar . . .

M E TA L S Julia Harrison Wearable Wood + Metal W OO D Tommy Simpson The Poetic Heart VISITING CRITIC* Larry Blumenfeld

SESSION 5 August 14–26

CERAMICS Jason Green Form and Surface: Strategies, Tools, and New Technologies

SESSION 6 August 28– September 3

BLACKSMITHING Seth Gould A Cut Above CERAMICS Aysha Peltz Making Expressive Pots FIBER Amelia Poole Foraged Color – The Art and Science of Eco-Printing GLASS BEADS Kristina Logan Glass Beadmaking PA P E R M A K I N G Jiyoung Chung Joomchi & Beyond

GLASS Dan Friday Furnace Formed

W OO D Adam Rogers The Role of Craft in the Design Process

M E TA L S Joanna Gollberg Setting the Trap

WRITING Peter Harris Awake and Leaping

PRINTMAKING / MIXED MEDIA Susan Webster Modified Monotypes W E AV I N G Ismini Samanidou Layers, Surface, Space W OO D / CONCRETE Mia Hall Concrete VISITING ARTIST* Andrea Dezsö

* Visiting artists augment the session with informal activities and are not workshop leaders.

FAB LAB

The dedicated digital fabrication studio allows summer program participants to experiment with new technologies and materials as a way to augment studio practices. Like our Visiting Artist program, the fab lab— in a collaboration between Haystack and the MIT Center for Bits and Atoms—provides participants with another way of looking at craft in a broader context.

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–JUNE 10

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he Open Studio Residency provides two weeks of studio time and an opportunity to work in a supportive community of makers. The program accommodates approximately 50 participants—from the craft field and other creative disciplines— who will have uninterrupted time to work in six studios studios (ceramics, fiber, graphics, iron, jewelry, and wood) to develop ideas and experiment in various media. Participants can choose to work in one particular studio or move among studios depending on the nature of their work. All of the studios will be staffed by technicians who can assist with projects.

Please note that technicians will not be leading workshops. If you are interested in learning specific skills, you may want to apply to one of our workshops (see page 10–33).

Haystack’s open studios and small scale foster a dynamic exchange of ideas among peers. The school’s fab lab will also be open, providing an opportunity for experimentation with digital fabrication as a way for residents to augment and complement their creative practices. In addition to open studios, there will be time for participants to share work and discuss ideas across disciplines.

Residents include established and emerging artists working in a range of visual art and craft media. In addition, Haystack invites a smaller group of scientists, designers, and writers. Criteria include quality of work, the appropriateness of planned projects for Haystack’s studios, and ability to work in an intensive community.

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O T H E R I N F O R M AT I O N Participants are admitted to Haystack without regard to race, sex, color, religion, national, or ethnic origin. A memo detailing personal items you will need to bring from home, will be sent after your application has been approved.

RESIDENCY SELECTION CRITERIA A N D A P P L I C AT I O N PROCEDURES Primary criteria include: • the quality of work • the ability to work in an intensive community • if applicable, the nature and scope of work that will be done during the residency Applicants must be 18 or older.

Application is for the entire two-week session.

S ubmitting an applicati o n : Residency applicants will submit applications online through SlideRoom.

Supporting materials include: • Your current résumé.

• Up to five images of your work in digital format. SlideRoom provides a list of acceptable file formats and file sizes. When submitting an image, you will also enter the following information: image/work title, date, dimensions, and materials/technique.

• All image filenames must include your name and the title of the work.

• Two letters of reference.

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• A $35 application fee, which is nonrefundable.

Only complete applications will be considered.

rates , fees and acc o m M o dati o ns Applicants pay the non-refundable application fee of $35 through a secure site on the online application. SlideRoom accepts all major credit cards and all major US debit cards. If you would like to use a different form of payment, please contact Haystack directly.

The residency program is supported

by Haystack’s Windgate Foundation Endowment for Programs. Other than the application fee, there is no charge to attend.

acc o m M o dati o ns Housing will be assigned at random from among the various accommodation options. If you have particular physical needs, please note these on your application.

M AT E R I A L S A N D SHOP FEES Materials costs, payable at the conclusion of the residency, are the responsibility of the residency participant.

SUBMITTING YOUR A P P L I C AT I O N Haystack has partnered with SlideRoom to provide Residency applicants with an online application process. To begin, visit haystack.slideroom.com.

Additionally, before starting the application process, we encourage applicants to scroll through our extensive list of Frequently Asked Questions (haystack-mtn.org/ frequently-asked-questions-faq). All residency applicants apply through the online application process. To apply, click on the Apply icon. Applicants are not required to mail in hard copies of the application forms.

Questions? Please feel free to contact Haystack at (207) 348-2306 or haystack@haystack-mtn.org.

Haystack staff are available M-F, 8:30am – 4:30pm EST to talk with you about your application and materials needed, and to assist you through the application process.

All residency applications, complete with supporting materials, must be submitted online by March 1.

Residency applications will be reviewed by an independent review committee.

DEADLINES Enrollment in each studio is limited. Applications are reviewed competitively.

RESIDENCY A P P L I C AT I O N S MARCH 1 Residency applicants will submit applications online through SlideRoom.

Please see Residency Program Application Procedures (page 8) for details on the specific criteria for selection and the application materials that are required.

SCHOLARSHIP A P P L I C AT I O N S MARCH 1 Technical Assistant and Work Study (including Minority Work Study) applicants will submit applications online through SlideRoom. Please see Scholarship Program Application Procedures (pages 35-37) for details on the specific criteria for selection, and the application materials that are required of technical assistant, work study, and minority scholarship applicants.

REGULAR A P P L I C AT I O N S APRIL 1 Completed applications must be received at Haystack by April 1 to ensure priority consideration. To apply, complete an application form (pages 39-40) and mail to Haystack, or download an application form from our website: haystack-mtn.org and email it to haystack@haystack-mtn. org. All regular applications (i.e. nonscholarship) are held until April 1, after which they are reviewed and students are placed in workshops. Subsequently, new applications are reviewed as they are received, and students may be accepted up until the day workshops begin.

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at the National Ornamental Metal Museum, Tennessee and the Society for Contemporary Craft, Pennsylvania, and has been in several books of contemporary metalwork, including 500 Metal Vessels (Lark Books). stephenyusko.com

Long Way Home by Stephen Yusko, 2014. Forged, machined, and fabricated steel, 39 ¾” x 61 ¼” x 9 ¼”.

1 / BLACKSMITHING Combining Forces

In this co-taught workshop, participants will explore inventive uses of material through creative problem-solving.

Emphasis will be on the exploration of form, line, and surface while working with forged and fabricated steel to create furniture (mostly) that incorporates vessel forms and sculptural elements.

Through discussions about design and function—and demonstrations of techniques—we will work to create objects that balance the industrial history of steel with a gracefulness of form. Along with forging solid bar and tubing/pipe, participants will learn how to create pattern and texture on sheet/ plate steel. Also covered will be joinery techniques and finishing processes. All levels welcome.

S T E P H E N Y U S K O lives and works in Cleveland, Ohio, where he creates forged, machined, and fabricated steel vessels, furniture, and sculpture.

He has taught at several schools and universities, including Haystack, Penland, and the State University of New York at Purchase. Stephen Yusko’s work has been exhibited widely, including

D A N I E L S O U T O lives and works in Merida, Venezuela. In 1999, after studying for two years in the US, he returned to Venezuela to build Souto Studio, which specializes in functional objects and industrial forging. Working in an environment where resources are scarce, Daniel Souto often invents new, or modifies existing tooling required for each project. When not in his studio, he is part of an international team that works with children, taking them on expeditions to remote corners of the world.

1 / CERAMICS Sculpting with Wheel-Thrown Parts

This workshop will focus on the potters’ wheel as a tool for generating sculptural forms. Through creating individual shapes that are then altered off the wheel, multiple parts can be transformed into figurative scenes, body parts and everyday objects. This workshop will also cover techniques for building complex forms through the use of structural supports and shrink slabs to aid in firing. Demonstrations, lectures and discussions will provide examples that broaden the possibilities for making nearly anything imaginable with wheel thrown parts. Wheel-throwing experience required.

Tandem Swing Bench by Daniel Souto, 2013.

Forged square bar and spring steel with fabricated 3” x 1/2” flat stock and waxed Mahogany, approximately 30” x 21 1/2” x 47”.

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MaJo KELESHIAN

has taught taught drawing in the Department of Art at the University of Maine at Orono since 2000 and she has taught at Kings by Gerit Grimm, 2013. Stoneware, each approximately 21” Haystack a number of x 27” x 12”. times. Her work has G E R I T G R I M M grew up in Halle, been shown in one-person and group German Democratic Republic. She exhibitions throughout New England, received an MFA from the New York including several Maine Biennials, State College of Ceramics at Alfred and is in the permanent collections of University. Currently an Assistant the University of Maine Museum of Professor at the University of Wisconsin, Art, Eastern Maine Medical Center in Madison, she has also taught at Bangor, the US Department of State, California State University at Long and numerous private collections. MaJo Beach; Pitzer College, California; Doane Keleshian is currently on leave and College, Nebraska; and Montana State working on a “windows” project.

University in Bozeman. Gerit Grimm has worked at major residencies such 1 / FIBER as McColl Center for Art + Innovation, Bemis Center for Contemporary Arts, Fill Up / Stack Up / Twist and Shout Kohler Arts & Industry Program, and Methods of metaphoric material Archie Bray Foundation. manufacture will include stitching, geritgrimm.com stowing, wringing, whorling, twisting, tying, plying, and piling. These and 1 / D R AW I N G other growth systems will be used to produce an astonishing array of Expressive Drawing / Media / sculptural entities. Various methods of Methods material procurement will be explored.

Drawing in formats both large and small, This workshop is open to those from set-ups and blindfolded, quickly interested in the poetic exploration of and slowly—and using a wide variety of drawing materials, these are some of the daily exercises that will be presented throughout this workshop. Participants’ individual drawing projects may develop from these exercises or from ideas brought to the workshop. For those interested, there will be a group project.

Through readings and images we will look at artists’ work and discuss their creative processes. Some familiarity with drawing is helpful, but all levels welcome.

Sifter by Susie Brandt, 2015. Aloha shirt bits netted in Safety Orange, 96” x 96”. Photo by Dan Meyers.

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Autumn by MaJo Keleshian, 2014. Watercolor/ wax on paper, 11 1/2” x 5 1/2”.

animal, vegetable, and mineral textile forms. All levels welcome.

Baltimore artist, S U S I E B R A N D T ’ s textile-based work rummages through matters of utility, consumption, abundance, time, and devotion. She received a BFA from Philadelphia College of Art and an MFA from the School of the Art Institute of Chicago.

Recent work has been shown at Grizzly Grizzly Gallery in Philadelphia.

Commissions can be seen at Johns Hopkins Hospital in Baltimore and the University Medical Center in Ann Arbor, Michigan. Susie Brandt has also curated solo exhibitions of the work of Warren Seelig, Lenore Tawney, Sandra Brownlee, and Rowland Ricketts at Maryland Institute College of Art, where she is on the faculty of the Fiber and Foundation Departments.

1 / W OO D Re-Interpreting the Familiar Object

A is for Apple by Greg Wilbur, 2014. Raised copper with heat patina; hammered brass with chemical patina, 6” high.

1 / M E TA L S Moving Metal: The Art of Raising Metal

Transform a flat, 2D sheet of copper into a closed, 3D form in this ancient and dynamic process of raising metal. Using metal hammers and stakes, participants will learn the process of Western and Eastern concentric raising. Design possibilities, surface treatments, and patinas will be explored. This workshop will take a personal approach to closely monitor your technique development and efficiency. Hand strength is necessary, but all levels welcome.

G R E G W I L B U R is known for

hammering/raising metal into sculptural and vessel forms, which he has done for forty years. He received a BS in Geography at the Oregon College of Education and a BFA in Jewelry and Metalsmithing from the University of Oregon, and has taught throughout the US, Canada, New Zealand, and France.

Greg Wilbur has participated in over 100 Art and Craft shows including the Smithsonian Craft Fair and Philadelphia Crafts Show. In 2013 he curated East/ West the Hammered Metal Object, a show that brought together twenty-two metal heads, from America and Japan—Velvet da Vinci Gallery in San Francisco and the Museum of Contemporary Craft in Portland, Oregon were two of the stops. gregwilbur.com

As artists, designers, and makers we are constantly looking to the objects around us for inspiration and influence. We will examine the familiar objects and forms that intrigue us and explore their visual qualities, structural elements, and symbolic characteristics through the creation of new objects that reference and draw from these elements. Through collection, examination, and discussion we will interpret and reinterpret these forms and their contexts. From incorporation of everyday objects into functional forms, to exploration of the sculptural potential of chairs, students will examine the power that familiar objects have over us and use that power to their advantage. All levels welcome.

A D A M J O H N M A N L E Y is a

studio artist, who lives and works in Portland, Maine. He received a BA in International Relations from the State University of New York at New Paltz and an MFA in Furniture and Woodworking from San Diego State University. He has taught the University of Massachusetts at Dartmouth, Maine College of Art, and University of New Hampshire. His work has been in solo exhibitions at Art Produce Gallery in San Diego, California and SPACE Gallery in Portland, Maine, and in group exhibitions at the Cole Art Center in Nacodoches, Texas and Center for Maine Contemporary Art, Rockport, Maine; and at the International Symposium on Electronic Arts in Alburquerque, New Mexico. Adam John Manley was a Windgate Fellow Artist in Residence at the University of Wisconsin at Madison during Fall 2014. adamjohnmanley.com

Adrift by Adam John Manley, 2010. Wood, steel, concrete, 7’ x 40”.

VISITING WRITER* L I A P U R P U R A is the author of

eight collections of essays, poems, and translations, most recently, It Shouldn’t Have Been Beautiful, (Viking/Penguin).

She is Writer in Residence at The University of Maryland, Baltimore County. Lia Purpura has received Guggenheim, National Endowment for the Arts, and Fulbright Fellowships, and On Looking (essays) was a finalist for the National Book Critics Circle Award. Her work appears in The New Yorker, New Republic, Orion, and The Paris Review.

Living and Breathing Lyric Poems

What are the qualities of totally alive lyric writing? “Lyric” resists pinning, but how about “it’s musical,” “it surprises,” or even “it’s ecstatic.” We’ll read powerful poems, closely examine poetic moves and gestures (for the purpose of deepening perception and stealing fire), work with guided exercises, explore how to create and make daily use of a writer’s journal, and find ways to move “lyrical” experiences and ineffable states of being into language. Come with a blank notebook and pen.

Lia Pupura will be writing a monograph reflecting on contemporary craft as part of Haystack’s monograph series. * Visiting artists augment the session with informal activities and are not workshop leaders.

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2 / B OO K A R T S Artist’s Books: The Balancing Act of Concept and Form

At every turn you will discover a myriad of choices all leading the way to success.

The rich complexity of the artist’s book involves rhythm, pace, and form and is driven by a desire to express an idea and/or narrative over and across the pages. In this workshop participants will develop a vocabulary of book structures and then consider appropriate concepts to use with those forms.

Demonstrations, design exercises, and various book arts techniques (including binding) will engage participants at all levels. All levels welcome.

Since 2000, Maine artist R E B E C C A G OO D A L E has been creating artist’s books about plants and animals currently listed as threatened or endangered by the state of Maine. With this body of work, now over eighty titles and counting, Rebecca Goodale aims to raise awareness and appreciation of Maine’s endangered flora and fauna, not as a botanist would, but as a visual artist fascinated by her subject’s complex beauty. Her work is in numerous collections including Bowdoin College Library; The Maine Women Writers Collection; Herron Art Library, Indiana; New York Public Library; Smithsonian African Museum of Art; and the Library of Congress. Rebecca Goodale is the Faculty Director of the University of Southern Maine’s Book Arts at Stone House program.

Ilex laevigata, male and female by Rebecca Goodale, 2014. Silkscreen prints, interlocking book, 16” x 22” x 48”.

2 / CERAMICS Making Large Jars from Local Materials

Workshop participants will learn to make large pots with a coiling technique derived from Northeast Thailand.

Using resources from the Deer Isle area, you will learn how locally sourced materials can be used to improve slips and glazes. Rather than bisque

firing, you will learn how to decorate and glaze raw pots, needing only one firing. We will culminate in firing the pots in a salt kiln. This workshop will help you to understand the skills and studio practices needed in large vessel production. All levels welcome.

After four years as an apprentice with Mark Hewitt, D A N I E L J O H N S T O N traveled to England to work with earthenware potter Clive Bowen. His training then took him to Northeast Thailand to work with Mr. Sawein Silakhom in a jar factory where he learned traditional large jar making techniques. Daniel Johnston Pottery was established in 2003 in Seagrove, North Carolina, where he makes large wood-fired jars, as well as functional tableware, from local materials. Over the past twelve years, Daniel Johnston has embarked on several large projects such as the 100 Large Jar Project. danieljohnstonpottery.com

Jar #736 by Daniel Johnston, 2015. Local woodfired, salt glaze stoneware, 36” x 24”.

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Elin Noble making a color reference library. Photo from a 2014 workshop.

2 / FIBER / DYEING

2 / GLASS

Natural Dyes, New Methods

Craft Navigation 360° / Craftsmanship Ahoy!

Discover the magic of dyeing natural fibers (cotton, linen, and silk) with a wide range of colorfast natural dyes (including cochineal, pomegranate, Himalayan rhubarb, weld, and madder).

Each participant will use mordants and dye extracts to construct a color library, which will then be used as a reference for individual projects. The techniques explored in this workshop include shibori, painting, printing, discharge, and overprinting. We will also explore how to make, use, and maintain, an eco-friendly indigo vat. All levels welcome.

In this introductory glass blowing workshop, students will explore both functional and sculptural glass working.

We will investigate the inherent qualities of glass, nurturing creativity, while simultaneously developing the foundational skills of glassblowing.

Group discussion and individual attention will focus on the development of sketches, problem solving methods,

and transformation of ideas into forms that are unique and personal. For beginning glassblowers.

H I R O M I T A K I Z A W A was born and raised in Nagano, Japan and lives in southern California. She received an MFA from Virginia Commonwealth University and is currently an Associate Professor in Glass at California State University, Fullerton. Curiosity, experimentation, narrative, and materiality are the core concepts in her work, which has been exhibited

E L I N N O B L E is an artist based in

New Bedford, Massachusetts, where she pursues her ongoing interests in dyeing and teaching. She is the author of Dyes & Paints: A Hands-On Guide to Coloring Fabric and has lectured and conducted workshops across North America and internationally, most recently in Tokyo and Osaka, Japan. Elin Noble has had one-person exhibitions at the Schweinfurth Art Center, New York; The Textile Center in Minneapolis, Minnesota; Visions Art Museum, California; and the La Conner Quilt and Textile Museum, Washington. elinnoble.com

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The little things by Hiromi Takizawa, 2015. Kiln formed and hand blown glass, each glass rock is approximately 5” x 3” x 2”.

acrylic, and found objects can infuse our work with meaning. Our aim will be to challenge ourselves on both a technical and personal level, and come away transformed. All levels welcome.

Retrospective by Kristin Mitsu Shiga, 2002. Sterling, brass, copper, acrylic, found objects, 4 1/2” x 3 1/4” x 1/2”.

nationally and internationally including solo exhibitions at Heller Gallery and Urban Glass in New York, and group exhibitions in Ohio, Michigan, Virginia, and Bergen, Norway. hiromitakizawa.com

2 / M E TA L S The Language of Jewelry

Develop your conceptual, technical, and design vocabularies in this intensive workshop. Beginning and advanced students will discover (or refine) their creative voice as it relates to narrative jewelry and personal storytelling.

Playfully probing morning exercises will inform and inspire independent work. In addition to instruction on metal fabrication, we will explore how alternative materials such as wood,

K R I S T I N M I T S U S H I G A lives and works in the arts in Portland, Oregon, where she splits her time between the studio and the classroom.

She is influenced creatively by participation in collaboration events, including the EMMA International Collaboration in Canada and CollaboratioNZ in New Zealand. Kristin Mitsu Shiga’s work is featured in Art Jewelry Today, The Art of Enameling and several of Lark’s 500 series. Her work has been shown internationally, and is included in several notable collections, including the Permanent Collection of the White House. kristinmitsushiga.com

A R T H U R G A N S O N has been

making kinetic sculpture since 1977. For the past twenty years he has maintained an ongoing exhibition at the MIT Museum in Cambridge, Massachusetts.

Solo exhibitions include the DeCordova Museum in Lincoln, Massachusetts and the Kohler Museum in Sheboygan, Wisconsin. Arthur Ganson’s sculpture was profiled in Smithsonian Magazine in 1996 and he spoke at the TED conference in 2004. arthurganson.com

2 / MIXED MEDIA Mixed Media / Machines

Forget everything you assume about the machine and come ready to play, explore, and invent. This experimental workshop will focus on hand-made machines constructed of found materials - the more unexpected and unusual the better!

Can you build a machine out of nothing but string and super glue? How about just dried seaweed? Participants will learn basic mechanics and will become “micro-experts” with their chosen materials—discovering their unique capacities as they invent processes, techniques, and ultimately, machines never before conceived. Together and as a group we will scratch our heads, build, and hopefully laugh a lot. All levels welcome.

Machine with Cat Whiskers by Arthur Ganson, 1992. Steel wire, cat whiskers, 16 1/2” x 10” x 5”.

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3 / CERAMICS Chinese Contemporary Ceramics

Class by Lissa Hunter, 2015. Basketry and painting, 38” x 48” x 3”.

3 / BASKETS Connect / Contain

Baskets are traditionally made with natural materials, using mechanical connections, creating vessel forms. We will extend the tradition by using unusual materials and non-traditional connections to make expressive vessel forms.

After exploring the possibilities of many materials and ways of connecting them we will spend some time generating ideas and creating strategies for putting it all together to come up with individual work, which may be connected to your current work or completely new. Be ready to rip, stitch, twine, staple, rivet, fold, notch, paint, draw, laugh, think, succeed, fail, and tune your own voice.

All levels welcome.

L I S S A H U N T E R is a studio artist

living and working in Portland, Maine.

For over thirty years her work has been at the forefront of the contemporary basketry movement and is in the collections of the Renwick Gallery, Smithsonian Institution, Washington, DC; Boston Museum of Fine Arts; Museum of Arts & Design; and the Racine Art Museum, Wisconsin, among others. Recently she has included clay as a major focus of her work. Lissa Hunter teaches and writes as a part of her practice and is pleased to be on the Haystack Board of Trustees. lissahunter.com

The tradition of scholars’ rocks in China traces back to the early Song dynasty.

Pitted, hollowed out, and perforated, such rocks were carefully displayed and prized for their ability to encapsulate the dynamic transformational processes of nature. Through hand building, carving and modeling, participants in this workshop will work alongside celebrated Chinese artist, Bai Ming, to produce a series of works inspired by this rich tradition. All levels welcome.

B A I M I N G is a renowned Chinese

ceramic artist, painter, writer, and teacher. He lectures at the College of Fine Art of Tsinghua University. Mr. Bai is a member of the China Artists Association (CAA), China Oil Painting Society (COPS), the International Academy of Ceramics (IAC) of UNESCO. He is the art majordomo of China Ceramic Art Net and also an editor for Chinese Ceramic Artists.

Currently, Bai Ming is running his own artist residency program in Shangyu, a southern city of China.

Between ceramics and stone by Bai Ming, 2014. Petunse, yellow cast, 6 1/3” x 29”.

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3 / FIBER / MIXED MEDIA Skins and Skeletons: 3D Textile Constructions

In this experimental workshop you will learn methods for building skeletal structures with rigid and semi-rigid materials like reed, rattan, bamboo, wood, wire, and found materials. Methods will include lashing techniques, formal and chaotic plaiting, and wire construction.

To build skins onto these structures, techniques for working with gut, rice papers, elastic fabrics, nets, wax, and stiffeners will be presented. Exercises, brainstorming sessions, and problemsolving challenges during week one will lead to focused personal projects during week two. Works may evolve as sculptures, vessels, or illuminated forms.

All levels welcome.

M O K E L M A N is a sculptor, fiber

artist, and Professor of Art at the Community College of Rhode Island. Her artwork combines membrane-like materials with lashed skeletal structures—her tensile sculptures seek a point of balance that is tentative and temporary. A recipient of a National Endowment for the Arts Fellowship, Mo Kelman has exhibited her work at the Cleveland Museum of Art’s May Show; the British Crafts Centre; Korea’s Cheongju International Craft Biennale; the International Shibori Symposia in Nagoya, Japan and Hong Kong; Brown University’s Bell Gallery in Rhode Island; and the Worcester Center for Crafts in Massachusetts. She is a recipient of a 2012 Artist’s Fellowship from the Rhode Island State Council on the Arts. mokelman.com

Pile of folded jeans: The scent of detergent hinted at her days labor as he headed towards the drought infested fields in the break the day (detail) by Cassandra Straubing, 2015. Cast glass, found artifact, 37” x 12” x 8 1/2”.

Photo by Elizabeth Torrance.

3 / GLASS Material Samples; An Exploration of Mold Making for Glass Casting

This class will be a rapid-fire exploration of non-traditional, cast glass techniques, exploring the process of taking an investment mold directly off of different materials such as fabrics and paper, circumnavigating the need for a rubber mold. We will also explore different mold making materials for your objects, including alginates for body parts and brush-on, two part rubber molds. With our work in the kiln, we will discuss essential firing and annealing theories for cast glass. All levels welcome.

Bestia by Mo Kelman, 2012. Shibori resist-dyed and shaped silk, sewn construction, and wire construction, 36” x 11” x 14”. Photo by Chee-Heng Yeong.

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Currently the Glass Faculty Head at San Jose State University in California, CASSANDRA STRAUBING serves as the President of the Board of Directors for the international Glass Art Society. She received a BFA from Cal Poly San Luis Obispo and an MFA in Glass from Rochester Institute of Technology, New York. Cassandra Straubing’s sculptural work addresses issues of

domestic, agricultural, and industrial labor using multiple mediums and processes including cast and blown glass fabrication. Her work can be seen at the Bullseye Glass Co., Oregon and Habatat Galleries, Michigan. cassandrastraubing.com

Museum, Massachusetts; Islip Art Museum, New York; and Museum of Nebraska Art; and was featured in Surface Design, Hand Papermaking, and Textile Fibre Forum. aimeelee.net Treasure map by Aimee Lee, 2012. Acrylic, paper thread, and handmade mulberry paper, 8 3/4” x 11”.

3 / M E TA L S Found

The focus of this workshop is incorporating found objects into jewelry or sculptural objects with narrative content or as unique design explorations.

Techniques covered will include: basic to advanced fabrication, cold-connections, and traditional and nontraditional stone setting. Participants will bring items to be used as inspiration for and/or inclusion into their designs.

All levels welcome.

D A M O N T H O M P S O N is an artist, educator, and metalsmith living and working in Baltimore, Maryland. He is currently a faculty member at Towson University teaching Introductory through Advanced Metals + Jewelry.

He has also taught at Maryland Insti-

Untitled by Damon Thompson, 2013. Found materials, copper, and steel, 1” x 1” x 1/2”.

tute of Art Jewelry Center and the 92nd St Y Jewelry Center in New York City.

Damon Thompson received a BFA in Metals from the Oregon College of Art and Craft and an MA in Interdisciplinary Design Studies from Central Saint Martins College of Art and Design in London, England.

3 / PA P E R M A K I N G Paper Contains the Universe

This workshop combines reflective time with intensive studio work as we create and transform paper in Eastern and Western styles with a variety of fibers, to understand how paper emerges from the earth and becomes anything we wish it to be. We will begin with paper mulberry, processing virgin fiber into tissue thin sheets, move to ever versatile abaca, and use natural dyes and finishes. Then we will explore the endless possibilities of paper as thread, yarn, rope, textile, book, and basket. All levels welcome.

A I M E E L E E is an artist, papermaker, and writer. She received a BA from Oberlin College, Ohio and an MFA from Columbia College Chicago, Illinois. Her Fulbright research on Korean paper led to her award-winning book, Hanji Unfurled, and the first US hanji studio at Morgan Conservatory, Ohio. She has taught at North Bennet Street School, Peters Valley, Penland, and Women’s Studio Workshop. Aimee Lee’s work has been in exhibitions at the Fuller Craft

3 / VISITING WRITER* Nine or Ten Ways of Writing a Poem

In the spirit of Wallace Stevens’s famous blackbird, we will circle the writing of a poem by considering various, diverse approaches. We will look at what is near at hand, the water, wind, and light of Deer Isle and the daily and seasonal cycles of Maine. We will move on to consider how to shape and organize a poem using familiar and unfamiliar structures and constraints. Writing prompts, accompanied by example poems, will be introduced each day in an informal, interactive setting.

E L I Z A B E T H S P I R E S is the author

of six collections of poetry, most recently Worldling, Now the Green Blade Rises, and The Wave-Maker (all W. W. Norton & Company), and six books for children. Her poems have appeared in The New Yorker, Atlantic, Poetry, American Poetry Review, New Republic, and the Paris Review. Elizabeth Spires has received fellowships from the National Endowment for the Arts, the Guggenheim Foundation, and the Cullman Center at the New York Public Library. She lives in Baltimore and codirects the creative writing program at Goucher College. * Visiting artists augment the session with informal activities and are not workshop leaders.

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4 / CERAMICS Making New Ideas from Historical Pottery

In this workshop we will be developing new ideas for our studio work through studying historical pottery. We will be remaking historical forms, and using it as a jumping off point for new ideas in our own work. This workshop will include daily presentations of historical pottery from many countries and times.

We will work with a variety of making techniques and firing temperatures.

Some previous experience with ceramics preferred.

J U L I A G A L L O W A Y is a utilitarian potter, Professor at the School of Art at the University of Montana. She exhibits, lectures, and teaches workshops across the US and Canada. She received a BFA from the New York State College of Ceramics at Alfred University and an

Covered Pitcher with Kitchen by Julia Galloway.

Porcelain with inlay slip, fired in soda kiln at mid range, 7” x 8” x 10”.

Heirloom by Annet Couwenberg, 2014. Laser cutter, CNC router, origami, screws, buckram, and wood, 17” x 30” x 30”. Photo by Dan Meyers.

MFA from the University of Colorado at Boulder. Julia Galloway’s pottery is in the collections of the College of William and Mary, the Archie Bray Foundation, the Long Beach Museum of Art, the Huntington Art Museum, The Crocker Art Museum, and the Renwick Gallery, Smithsonian Institution, Washington, DC. She is passionate about historical pottery, which deeply influences much of her studio work. juliagalloway.com

4 / FIBER More than Skin Deep: Structure, Fashion, and the Body

This fibers-based, mixed-media workshop will be an intensive exploration of sculptural objects created with a combination of traditional hand and innovative digital techniques. Expanding from the reference point of skeleton and skin we will establish a broad visual vocabulary of historical and contemporary sources through readings, discussions, and websites. Questions regarding the historical significance of cloth, clothing, fashion, and culture, and the role of digital crafts will be considered and used as a foundation as we work with laser cutting and engraving, origami, the bustle, crinoline, and corset. Other topics will include: armatures and surface coverings; millinery; sewing techniques (i.e. tucking and piping). Skills in sewing and Adobe Photoshop/Illustrator are a plus but not required. All levels welcome.

A N N E T C O U W E N B E R G is a

Dutch artist and educator. She received an MFA from Cranbrook Academy of Art and an MFA in Textile Arts from Syracuse University. After nineteen years of chairing the Fiber Department at Maryland Institute College of Art, she stepped down to spearhead the development of Smart Textiles and Digital Crafts. Annet Couwenberg recently worked with a scientist as a Smithsonian Artist Research Fellow and has received individual artist awards from the Maryland State and Ohio State Art. Annet Couwenberg’s work has been exhibited at the Gyeonggi MoMa and HOMA in Seoul, Korea; the Museum of Arts & Design, New York; the American Textile History Museum, Lowell, Massachusetts; and Decorative Arts Museum, in Arkansas, and is in collections such as the Textiel Museum in Tilburg, the Netherlands. annetcouwenberg.com

4 / GLASS Vessel as Vehicle for Glassblowers

A vessel is often a container designed around receiving, holding, and dispensing its particular contents. Sometimes it is used for keeping its contents protected and organized while traveling from one place to another, and sometimes it is itself a mode of transportation. Using hot glass we will explore the possibilities of vessel as vehicle, whether that may be a form of physical or metaphorical transport. We will cover basic and experimental methods for achieving forms using hot glass and will compliment this with constant discussions and visual presentations. Some hot glass experience preferred but not required. All levels welcome.

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cluding at the Center on Contemporary Art in Seattle, Washington; The Wassaic Project, New York; The Nizayama Forest Art Museum in Japan; and The Nagoya University of Art. seansalstrom.com

4 / GRAPHICS A Letterpress, an Artist’ Book, and some text walk into a bar…

One Rock Transport Adrift [In a Box] by Sean Salstrom, 2012. Blown glass, plate glass, water rope, flowers, rock, 56” x 8” x 10”.

S E A N S A L S T R O M , an American artist and educator who lives and works in Akita, Japan, has trained with many artists including Peter Ivy, Michael Scheiner, Jocelyne Prince, Dan Dailey, and Dale Chihuly. He received a BFA in Glass from the Massachusetts College of Art and Design and an MFA in Glass from the Rhode Island School of Design (RISD). Sean Salstrom has taught Glass at RISD and the Toyama City Institute of Glass Art, Japan. He is a Louis Comfort Tiffany Foundation Award Nominee and three-time nominee for the Irvin Borowsky Prize in Glass and his work has exhibited in the US and Japan, in-

This intensive workshop will focus on the depth and breadth of the artists’ book. Participants will learn a variety of printmaking techniques using a Kelsey platen press and a Showcard proof press, experimenting with alternative materials, as well as type, to create imagery.

Using materials we have created, we will construct several artists’ books—these structures will combine traditional techniques (folding, binding) and materials with innovative structures. We will also work with text—generated through several simple prompts—and look to house image, text, and objects in new and surprising ways. Students will also have the opportunity to collaborate, and the emphasis will be on fun and experimentation. All levels welcome.

E R I N S W E E N E Y lives and works

in southern New Hampshire, where she runs Lovely In The Home Press. She received a BFA in Sculpture from the Maine College of Art in Portland and an MFA in Book Arts and Printmaking from the University of the Arts in Philadelphia, where she was awarded the Elizabeth C. Roberts Prize for Graduate Book Arts. Erin Sweeney has exhibited her work nationally and internationally, most reChatelaines by Erin Sweeney, 2012. Screenprinted muslin, cently at Abecedarian Gallery machine stitched; Hedi Kyle’s Chinese Sewing Box Book, in Denver, Colorado, and the mixed media, 4 1/2” x 2 1/2” x 2” (closed).

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Cluster by Julia Harrison, 2013. Balsa, cherry, glue, sterling, epoxy, and wax, 3” x 1 1/5”.

University of the Arts in Philadelphia, Pennsylvania. She teaches Book Arts and Letterpress printing at the New Hampshire Institute of Art and travels widely to teach workshops. erinsweeney.net

4 / M E TA L S Wearable Wood + Metal

Like peanut butter and chocolate, wood and metal are great materials that work well together, but combining them successfully is not always so simple.

This workshop will equip participants with the techniques necessary to create beautiful, wearable objects from wood and metal. Students will learn versatile approaches, including piquestyle inlay, making mixed material chains, attaching findings (e.g. earposts and ring shanks), and stone setting in wood, and will get familiar with appropriate adhesives and durable finishes. Previous jewelry or wood experience is helpful but not required. All levels welcome.

J U L I A H A R R I S O N is a Seattle

based artist and anthropologist. Her work has appeared at the Bellevue Arts Museum, Washington; the Racine Art Museum, Wisconsin; and Electrum, London, UK, and is in the collections of

the University of Arkansas and the Museum of Contemporary Craft, Portland, Oregon. Julia Harrison has taught at the 92nd St Y, Snow Farm, and Penland, and was a 2015 Windgate ITE Fellow at the Center for Art in Wood, Pennsylvania.

She balances artmaking with research on sweet foods, and can happily talk for hours about mochi. juliaharrison.net

4 / W OO D The Poetic Heart

The activity of this workshop is to enjoy and embrace the making of a joyful object—one may build a chair, ladder, table, stool or carved box. So, let obligation and the world disappear, grab your inner child and free play with your poetic heart. It has been certified that play is the medium/source for the presence of creativity. Consequently we will chip, gauge, pound, paint, stain, sand, saw, twist, laminate. We may even jog, doodle, and smile. Experience with power tools is required.

T O M M Y S I M P S O N is an interna-

tionally recognized artist, woodworker, sculptor, furniture maker, painter, and poet—he works in nearly every medium.

After he received an MFA in Painting from Cranbrook Academy of Art, he turned to furniture as both a subject matter and a three-dimensional canvas.

Tommy Simpson’s work has been in gallery and museum exhibitions, including at the Renwick Gallery, Smithsonian Institution, Washington, DC; Museum of Arts & Design, New York; and Gallery NAGA and Fuller Craft Museum in Massachusetts. He and his work have been profiled in Art in Review and Tommy Simpson – Homemade, written

by Ken Johnson for The New York Times.

Intimate Beats by Tommy Simpson, 2004. Cherry, butternut, walnut, and mahogany, 80” x 25” x 3”. Photo by Brad Stanton.

4 / VISITING CRITIC* Jazz and the Abstract Truth

How does the sound of improvised music stimulate creativity? Awaken emotions? Reflect and reshape communities?

Express human truths? Through deep and shared listening to a wide range of recorded music, active discussion, writing, and personal expressions in any media, we will explore the spiritual, aesthetic, and social function of jazz, free of pedagogy and categories, and its power to arouse and refine artistry of all types.

focused on social justice, spirituality, and improvisation as a reflection of contemporary life. Larry Blumenfeld has been a regular contributor to The Wall Street Journal for the past decade; his culture reporting and criticism have appeared in The Village Voice, The New York Times and Entertainment Weekly, among other publications, and at websites including Salon and Truthdig. His jazz blog, “Blu Notes,” (blogs.artinfo.com/blunotes) is hosted by Blouin Media, publishers of Art & Auction magazine and his essays have appeared in many collections, including Best Music Writing, 2008 (Da Capo Press). Larry Blumenfeld was a National Arts Journalism Program Fellow at Columbia University’s Graduate School of Journalism and a Katrina Media Fellow with the Open Society Institute, researching cultural recovery in New Orleans.

He has lectured and presented at a wide range of festivals, schools, and cultural institutions, including Lincoln Center, Carnegie Hall, the New Orleans Jazz & Heritage Festival, and the National Jazz Museum in Harlem.

Larry Blumenfeld’s residency at Haystack is in conjunction with the 17th Annual Deer Isle Jazz Festival at the Stonington Opera House, produced by Opera House Arts, August 12-13, 2016. operahousearts.org * Visiting artists augment the session with informal activities and are not workshop leaders.

L A R R Y B L U M E N F E L D has curated

the Deer Isle Jazz Festival for Opera House Arts since its inception in 2000, in collaboration with Haystack. His writing spans jazz criticism, narrative journalism, essays, profiles, and opinion pieces, addressing a wide range of music, often

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5 / GLASS Recovered Geomerty No. 16 by Jason Green, 2014. Terra cotta slip and glaze, 36 1/4” x 48 1/2” x 2”.

5 / CERAMICS Form and Surface: Strategies, Tools, and New Technologies

This workshop will focus on the relationship between traditional approaches of working in ceramics combined with digital process for designing a broad range of objects including the vessel, sculpture, and tile. Demonstrations in the Haystack fab lab will explore how the laser cutter, 3D printer, and CNC router can be used to create templates, prototypes, and models for use in both hand building and mold making. This workshop will offer new possibilities for approaching your work while emphasizing the fluidity between new and traditional approaches to making that have broad applications in other disciplines. All levels welcome.

Furnace Formed

In this workshop we will break down the essentials of sculpting glass. You will develop muscle memory and an understanding of the necessary skills of a glass sculptor/blower. We will cover shop and tool function, fundamental bubble set up, molds, bit work, color application, and the importance of teamwork. Bring your sketchbook and learn to navigate ideas from paper to blowpipe. Be ready for a fun art glass adventure. A minimum of one year consistent glassblowing experience required.

D A N F R I D A Y is a glass artist based

out of Seattle, Washington. He has spent the last twenty years working for artists such a Dale Chihuly, Paul Marioni, Preston Singletary, and many others. He has taught at Pilchuck, and has had residencies at the Museum of Glass in Tacoma,

J A S O N G R E E N teaches Ceramics

and Freshman Foundations at Alfred University where he received an MFA. He has also taught for the University of Georgia’s Studies Abroad Program in Cortona, Italy. This year his work has been included in Electric Kiln Ceramics, Glaze: The Ultimate Ceramic Artists Guide to Glaze and Color and Tile Envy.

Recently Jason Green received Best in Show in New York State’s Southern Tier Biennial and he was awarded third place in the 2014 Zanesville Prize for Contemporary Ceramics. jasongreenceramics.com

Mike’s Brooch by Joanna Gollberg, 2014.

Sterling silver, blue chalcedony, found objects, lapis, citrine, 2” x 2”.

Washington, and the Dream Community in Tai Pei, Taiwan. Dan Friday is a recipient of the Discovery Fellowship through the Southwestern Association for Indian Arts, and his work can be seen in galleries across the US, including Blue Rain in Santa Fe, New Mexico. fridayglass.com

5 / M E TA L S Setting the Trap

Through fabrication methods and proper soldering techniques, workshop participants will learn how create secure settings that trap objects in their jewelry.

We will discuss prong setting, tab setting, bezel setting, and cold connections as ways to secure any kind of object.

We will also learn a variety of soldering techniques, such as sheet and wire applique and open filigree wire work, which will help students add surprising and delightful details to their work. All levels welcome.

J O A N N A G O L L B E R G received an

Feathered Owl Totem by Dan Friday, 2012.

Solid sculpted furnace glass, stone cut engraving, 18” x 6”. Photo by Alec Miller.

AAS in Jewelry Design from the Fashion Institute of Technology, New York. As a self-employed jeweler, she sells her work at galleries, including Velvet da Vinci & Taboo Studio, both in California. Joanna Gollberg has authored four books on making jewelry, and her work has been included in numerous publications, such as Metalsmith Magazine, Ornament Magazine, 20th Century Jewelers, and 500 Wedding Rings. She teaches jewelry making nationally for metalsmithing groups, craft schools, and on craftsy.com. joannagollberg.com

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5 / W E AV I N G Layers, Surface, Space

Bring along an object that has meaning for you and holds a memory. We will start by discussing this object and exploring ways of generating images and visual information through drawing, photography, and mark making.

We will then discover how Tidal Landscape by Susan Webster, 2014. Monotype, drawing, these textures and surfaces painting 35” x 40”. can be interpreted into a range of woven elements through the choice of material, color, and 5 / PRINTMAKING / structure. We will experiment with a MIXED MEDIA variety of techniques on the loom after which each participant will set up indiModified Monotypes vidual warps to create their own finished We will begin by making monotypes pieces. Throughout the workshop there using low-tech, nontoxic techniques inwill be ongoing discussion on weaving cluding gelatin plate, simple relief, direct as an autonomous language, a medium stencil, and monotype drawing. Folfor embodying ideas across cultural and lowing that we will augment the prints through collage, drawing, painting, and combining the printmaking processes.

We will work in a variety of ways—both large and small scale as well as improvised and planned. The focus will be on experimentation. All levels welcome.

political boundaries, and reflection on how textiles can exist as objects within a space. All levels welcome.

I S M I N I S A M A N I D O U trained

in the UK at Central Saint Martins and the Royal College of Art. Her practice touches on the boundaries of craft, art, and design with work developed for site specific commissions, industry collaborations, and unique pieces for exhibition. Recent work includes commissioned textile panels for the National Theatre in London, an invited residency at the Josef & Anni Albers Foundation in Connecticut, and weavings exhibited at Espace De L’Art Concret in France. Ismini Samanidou’s work is in private and public collections including the Victoria and Albert Museum, London. isminisamanidou.com

S usan W ebster is a studio

artist who lives in Deer Isle, Maine. She has taught at Penland; Center for Contemporary Printmaking in Connecticut; Studio Artworks, Jerusalem, Israel; and Haystack and has been a visiting artist at the University of the Arts Borowsky Center, Pennsylvania. Her work is in the collection of the US Department of State’s Art in Embassies program. Susan Webster’s work has been included in exhibitions at the Manhattan Graphics Center, New York; Elizabeth A. Beland Gallery and Concord Arts Gallery, both in Massachusetts; Southern Graphics Exhibit, Louisiana; and Greenhut Gallery, Maine. susanwebster.net

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Cloud 10 by Ismini Samanidou, 2013. Handwoven silk paper and metallic threads, 34 cm x 45.5 cm.

5 / W OO D / C O N C R E T E Concrete

Discover concrete - one of the most common, versatile, and exciting materials out there. In this workshop you will investigate a wide range of moldmaterials and techniques ranging from rigid sheet goods to flexible alginate and silicone molds. We will stiffen fabric with resin for organic fabric formed molds as well as sew flexible molds using different fabrics for highly textured and unique castings. This workshop will also introduce different concrete casting, spraying, and hand-building techniques with applications ranging from furniture to sculpture. All levels welcome.

M I A H A L L received an MFA in Furniture Design from San Diego State University and since 2007 has been the head of the Furniture Design and Woodworking program at the University of Arkansas at Little Rock. Her work has been exhibited at institutions such as the Fuller Craft Museum and Logan Airport, both in Massachusetts; The Arkansas Art Center; and Wayne Art Center, Pennsylvania. Mia Hall’s work is in several private and public collections such as the Arkansas Library System, the John and Robyn Horn Collection, San Diego State University, and the George W. Bush Presidential Library. She has taught at San Diego State University, Arrowmont, and the Marc Adams School for Woodworking. miahall.com

Stools by Mia Hall, 2014. Cast concrete, 17” x 14” x 14”.

5 / VISITING ARTIST* Slow Art

“Searcher, there is no road. We make the road by walking.”

— Antonio Machado,

Proverbios y cantares XXIX How can the values associated with ‘slow’ movements—tranquil, material, enjoyable, sustainable, local, good, clean, fair—be translated to the practice of visual art?

During her residency Andrea Dezsö will lead informal gatherings that will focus on discovery, inspiration, and wonder.

One activity will lead to the next and next and next in an organic way, including: being present in nature, making art outdoors, sharing poetry, impromptu collaborations, walking, listening, and talking, with ample space for deep reflection and experimentation. In addition to these informal workshops, Andrea Dezsö plans to create a series of large woodcuts, using the laser cutter in the Haystack fab lab, from which she will make woodblock prints.

A N D R E A D E Z S Ö is a visual art-

ist who works across a broad range of media: drawing, painting, artist’s books, cut paper, embroidery, animation, sculpture, and large-scale public art. Her permanent public art has been installed in two New York City subway stations, at City University of New York’s Fiterman Hall in Lower Manhattan, and at the US Embassy in Bucharest, Romania.

Community Garden, Andrea Dezsö’s colorful glass mosaic that winds through the Bedford Park Boulevard subway station in New York City, was recognized as Best American Public Art in 2007 by Americans for the Arts. Her work has been exhibited in museums and galleries around the world, and she teaches widely. andreadezso.com * Visiting artists augment the session with informal activities and are not workshop leaders.

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6 / BLACKSMITHING A Cut Above

Workshop participants will make a jeweler saw; they will learn to hone their skills working at the anvil by forging parts to precise dimensions. Moving to the bench these will then be refined and embellished using a variety of filing techniques. Lastly, students will learn to properly make and fit a handle to their finished saw. In the end, participants should expect to work as much at the bench as they do at the anvil. Some experience forging is helpful but not required.

S E T H G O U L D is a metalsmith and

toolmaker originally from Cape Cod, Massachusetts. He received a BFA in Metalsmithing and Jewelry from Maine College of Art. Seth Gould’s work has been exhibited at the National Ornamental Metal Museum in Memphis, Tennessee; Houston Center of Contemporary Craft, Texas; and the Si Gallery in Japan. He has taught, demonstrated, and lectured at Peters Valley, Southern Illinois Metalsmith Society, and for the Society for North American Goldsmiths.

Seth Gould is currently a resident artist at Penland. sethgould.com

Amber Bud Vase by Aysha Peltz, 2014. Porcelain, 8” x 4”.

received a BFA and an MFA from Alfred University. She was awarded an Emerging Artist Award at the National Council for the Education of the Ceramic Arts and her work is in the collections of the American Museum of Ceramic Art, California; Schein-Joseph International Museum of Ceramic Art at Alfred University; Jingdezhen Ceramic Institute, China; and the Huntington Museum of Art, West Virginia, where she received the Walter Gropius Master Award. ayshapeltz.com

6 / CERAMICS

6 / FIBER

Making Expressive Pots

Foraged Color - The Art and Science of Eco-Printing

Working with clay is like a conversation, and a newly thrown pot is like a statement that cannot go unanswered.

The answer might be to push, cut, rip, texture, or facet. In this workshop we will engage in a conversation beginning with a newly thrown pot, addressing it while still wet on the wheel, seeking to capture expressive moments. There will be daily demonstrations and discussions.

Pots will be made with high fire porcelain or white stoneware and there will be a bisque firing. Some throwing experience preferred, but all levels welcome.

Cloth and plants pigments do not often get together in a good way: think grass stains. Eco-printing changes that! This process involves heating local plant material in contact with prepared cloth and paper to create extraordinary color and imagery. Workshop participants will learn a variety of eco-printing techniques and fabric preparation methods. Through sampling, group discussions, and individual practice participants will develop their creative response to—and interaction with—

AY S H A P E L T Z ’s

Inlaid Jeweler’s Saw by Seth Gould, 2014. Steel, fine silver,and mahogany, 10 1/2” x 4 1/2” x 3/4”.

pottery work explores imagined space, scale, and the poetic properties of the ceramic medium.

She is a studio potter and faculty at Bennington College in Vermont and has also taught at schools and art centers including Arrowmont, Peters Valley, Alfred University, and the Kansas City Art Institute. Aysha Peltz

Unexpected (detail) by Amelia Poole, 2014. Silk habotai eco-printed with red sand cherry and black walnut leaves, 8mm.

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Bead shot by Kristina Logan, 2013. Flameworked glass beads, largest diameter 2 1/2”.

plants, natural objects, and the local environment through textile and paper creations. All levels welcome.

A M E L I A P OO L E is an artist raised

by scientists who brings her love of fibers and textiles, botany, chemistry, and history to her teaching and textile art.

She received an MFA in Woven Textile Design and Construction from the Surrey Institute of Art and Design, Farnham, Surrey, UK. Her work can be seen in galleries on the Blue Hill Peninsula in Maine. She shows her work at Fine Craft Shows and teaches throughout New England. Amelia Poole works from her shop and studio, Ecouture Textiles, in Brooksville, Maine, which is thirty minutes from Haystack. ecouturetextilestudio.com

rivets into their finished beads. Beginning to advanced flameworking techniques will be explained and demonstrated, such as: clear casing, surface decoration, shaping large beads, and trouble shooting common mistakes and difficulties.

Previous experience with flameworking required.

K R I S T I N A L O G A N ’ s lampworked glass beads and objects are exhibited internationally and have been shown at the Renwick Gallery, Smithsonian Institution, Washington, DC; Boston’s Museum of Fine Arts; Rockwell Museum in Corning, New York; the Glasmuseum in Denmark; and Toyota Ceramic and Folk Craft Museum in Japan. She served as president of the International Society of Glassbeadmakers from 1996 to 1998. Kristina Logan has taught at Urban Glass in Brooklyn, New York; The Corning Museum of Glass in New York; Penland; Haystack; MuséeAtelier du Verre de Sars-Poteries in France; and Abate Zanetti in Venice, Italy.

She continues to lecture internationally on contemporary American glass beads and jewelry. kristinalogan.com

6 / GLASS BEADS Glass Beadmaking

This workshop will focus on perfecting flameworking skills and making glass beads at a torch. Students will spend time designing, drawing, and considering the shape, color, and transparency of glass in preparation to working in the flame.

Students will also work with placing silver Blessing-Haystack 07 by Jiyoung Chung, 2007. One-of-a-kind Joomchi and paper yarn, 30” x 30” x 2 1/2”.

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6 / PA P E R M A K I N G Joomchi & Beyond

Joomchi is a unique Korean traditional way of making textured handmade paper by using water and eager hands. Joomchi creates strong, textural, and painterly surfaces by layering and agitating Hanji (Korean mulberry papers). This workshop offers participants the opportunity to become acquainted with its history, use, and role in Korean society, as well as the hands-on techniques and reinterpreted adaptations into contemporary art form. Joomchi’s uses are diverse and it can be incorporated into surface design, collage, one-of-a-kind book art, wearable, unconventional body ornament, or sculptural object: 2D and 3D. All levels welcome.

J I Y O U N G C H U N G is a Joomchi

artist, painter, and freelance writer who lectures and exhibits her work in the US, UK, France, Australia, Holland, Finland, Romania, China, and Korea. She received a BFA in Painting from the Rhode Island School of Design and an MFA in Print/Media from Cranbrook Academy of Art. She authored a how-to book, Joomchi & Beyond, and curated several International Joomchi Shows in France, in Korea, and the US. Jiyoung Chung’s work is in the permanent collections of Fidelity Corporate Art Collection, Boston, Museum of Arts & Design, New York, and more. beyondabove.com

6 / W OO D The Role of Craft in the Design Process

This workshop will focus on the role of making in the process of design development. We will employ craft as a partner in the development and realization of

Cumberland Chair by Adam Rogers, 2014. Walnut with fiber rush seat, 29” x 23” x 21”.

design ideas with a concentration on the translation of concepts to objects through the application of learned methods. Techniques covered will range from steam bending, stack laminating, vacuum pressing, and traditional wood joinery - to Rapid Prototyping with CAD using CNC and 3D printing tools.

All levels welcome.

A D A M R O G E R S is currently Director of Design at Thos. Moser where he is responsible for the oversight of new product strategy, design, and manufacturing implementation. Prior to moving to Maine, he received an MFA in Furniture Design and Woodworking from Rochester Institute of Technology, New York. Adam Rogers’ designs have been recognized with several design awards such as Interior Design Magazine’s Best of Year, Best of NeoCon, and MetropolisLikes, and have been featured in publications including Dwell, Metropolis, Architectural Digest, Interior Design, Architect, and Contract. thosmoser.com

6 / WRITING Awake and Leaping

Poetry is language awake and dancing.

Alertness and grace often start outside the poem, through paying attention to the physical world, but poetry ultimately embodies our own felt experience. Our guidebook will be a reader—generated specifically for this workshop—to provide inspiring examples. We will work with exercises and prompts to generate what Tony Hoagland calls “thingitude.” Once we raise “poetry mind,” we will explore what it takes to make poems leap. All levels welcome.

P E T E R H A R R I S retired in 2015 as the Zacamy Professor of English at Colby College in Maine, where he taught poetry workshops and courses in American poetry. Individual poems of his have appeared in places such as the Atlantic Monthly, Crab Orchard Review, Epoch, Prairie Schooner, Ploughshares, Seattle Review, and Sewanee Review.

He has published two books, Blue Hallelujahs and, recently, Freeing the Hook.

sessionsix 33

AP

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SESSIONS 1–

6

A P P L I C AT I O N SESSIONS 1–6 G E N E R A L P r o cedures AND SELECTION CRITERIA

Procedures (page #) for details on the specific criteria for selection, and the application materials that are required of technical assistant, work study, and minority scholarship applicants.

Applicants must be 18 or older and may enroll for one or more sessions, signing up for a single studio offering in each session. Except where noted in the course descriptions, workshops are open to all levels of students, from beginners to advanced.

Workshop Applications: Regular Enrollment—APRIL 1

Enrollment in each studio is limited. Applications are reviewed competitively and selections are based on the need to have: • a balance between first-time students and alumni,

Completed applications must be received at Haystack by April 1 to ensure priority consideration.

All regular applications (i.e. nonscholarship) are held until April 1, after which they are reviewed and then students are placed in workshops following that review. Subsequently, new applications are reviewed as they are received, and students may be accepted up until the day courses begin.

• a broad geographical distribution of participants, and

SCHOLARSHIP PROGRAM

• a wide range of students from varied backgrounds and skill levels—from beginners to advanced professionals—who have a clear sense of purpose as to why they want to take the workshop/s they have selected.

Application Procedure

Application is for an entire one-week or two-week session. When filling out the application form, please indicate your first and second workshop choices.

Applicants who cannot be placed in their first choice frequently are placed in their second choice.

DEADLINES Enrollment in each studio is limited.

Applications are reviewed competitively.

Workshop Applications: Scholarship—MARCH 1

Technical Assistant and Work Study (including Minority Work Study) applicants will submit applications online through SlideRoom. Please see Scholarship Program Application

Haystack’s scholarship program awards up to 100 scholarships annually, which are available through competitive application to those who are 18 years of age or older.

Applicants may seek scholarship support in more than one category. Because competition for Haystack scholarships is intense, applicants are encouraged to be selective in their choice of workshops, indicating only first and second choices.

Please keep in mind that answers to the questions on the application form are an important part of the review process.

Focused applications tend to be more favorably received.

SUBMITTING YOUR A P P L I C AT I O N Scholarship applicants (including Technical Assistants, Work Study and Minority Work Study) will submit applications online through SlideRoom.

To begin, visit haystack.slideroom. com.

Additionally, before starting the application process, we encourage applicants to scroll through our extensive list of Frequently Asked Questions (haystack-mtn.org/ frequently-asked-questions-faq). All scholarship applicants apply through the online application process. To apply, click on the Apply icon. Technical Assistant, Work Study, and Minority Work Study applicants are not required to mail in hard copies of the application forms. Applicants who do not receive scholarships and wish to be considered for regular enrollment can indicate this on the application.

Questions? Please feel free to contact Haystack at (207) 348-2306 or haystack@haystack-mtn.org.

Haystack staff are available M-F, 8:30am – 4:30pm EST to talk with you about your application and materials needed, and to assist you through the application process.

All scholarship applications, complete with supporting materials, must be submitted online by March 1.

T E C H N I C A L A S S I S TA N T SCHOLARSHIPS Applicants should have completed one year of graduate specialization, or the equivalent, in the area for which aid is requested. Because technical assistants are responsible for assisting the instructor, and for shop maintenance and organization, they are expected to be familiar with the general technical requirements of a particular studio and

35

instructor. While responsibilities as a technical assistant are demanding, and have priority during the session, there is ample time for personal work and study.

Technical Assistant applications will be reviewed by an independent scholarship review committee.

Criteria for Selection: • The level of competence and accomplishment in the area for which they have applied.

• The ability to assist in a teaching/ learning environment.

• The ability to work in a supportive, closely knit community.

Technical assistants receive a grant covering full tuition, shop fees, room and board at the dormitory rate for a period of study for one or two weeks.

Those who wish to stay in a more expensive accommodation must pay the difference between that and the dorm rate.

Application Must Include: • Your current resumé.

• Up to five images of your work in digital format. SlideRoom provides a list of acceptable file formats and file sizes. When submitting an image, you will also enter the following information: image/work title, date, dimensions, and materials/ technique.

Materials costs, payable at the conclusion of the session, are the responsibility of the grant recipient. Scholarships are usually given for a single session.

In some cases, instructors have selected their own studio assistants, below is a list of workshops in which technical assistants WILL be needed: Session 1: Ceramics (Gerit Grimm); Drawing (MaJo Keleshian); Metals (Greg Wilbur); Session 2: Ceramics (Daniel Johnston); Session 3: Baskets (Lissa Hunter); Ceramics (Bai Ming); Fiber/ Mixed Media (Mo Kelman); Glass (Cassandra Straubing); Metals (Damon Thompson) Session 4: Ceramics (Julia Galloway); Session 5: Ceramics (Jason Green); Weaving (Ismini Samanidou); Session 6: Ceramics (Aysha Pelz); Fiber (Amelia Poole).

Writers and Visiting Artists do not require technical assistants.

• All image filenames must include your name and the title of the work.

WORK STUDY SCHOLARSHIPS

• Two letters of reference.

Haystack’s work study program is intended for those who show high promise in their field, and who need help in meeting the expense of a Haystack session. In return for a grant that covers their full tuition, room, and board, work study students will be

• A list of your specific technical abilities.

• A $35 application fee, which is nonrefundable.

36

assigned periodic tasks in the kitchen, or around the school campus. Assigned tasks will not exceed three hours daily, and each student will have ample time for personal work and study in the studio.

Work Study and Minority Work Study applications will be reviewed by an independent scholarship review committee.

Applicants are judged on the following: Criteria for Selection: • Stated financial need.

• A commitment to and growing knowledge of the craft area for which application is made.

• The ability to work in a supportive, closely knit community.

Application Must Include: • Your current résumé.

•T wo letters of reference.

•A statement of financial need, which should include a summary of your estimated income and expenses for the current year. List income from your: employment, parents, trust funds, spouse’s earnings, etc. Examples of expenses would include: household/food costs, rent/ mortgage, utilities, total college debt, medical expenses, health insurance, other insurance, etc.

• A $35 application fee, which is nonrefundable.

Please do not submit images with work study application.

Shop fees and materials costs are the responsibility of the grant recipient.

Shop fees are payable at the conclusion of the session. Scholarships are usually given for a single session.

Work study students receive a grant covering full tuition, room and board at the dormitory rate for a period of study for one or two weeks.

Those who wish to stay in a more expensive accommodation must pay the difference between that and the dorm rate.

MINORITY SCHOLARHIPS To increase participation in its program by individuals from racially and culturally diverse communities within the United States, Haystack awards six full scholarships annually to students of color. These scholarships provide full tuition, room and board. Shop fees and materials costs are the responsibility of the grant recipient. If you wish to apply for a minority scholarship, please follow the application procedures listed under the work study scholarships section (page 36). Assigned tasks and criteria for selection are the same as for work study students.

R AT E S Technical Assistant and Work Study (including Minority Work Study) applicants will submit applications online through SlideRoom. Applicants pay the non-refundable application fee of $35 through a secure site on the online application. Slideroom accepts all major credit cards and all major US debit cards. If you would like to use a different form of payment, please contact Haystack directly.

Regular (non-scholarship) applicants will pay a non-refundable application fee of $35 directly to Haystack*.

Upon notification of acceptance into a workshop, a $250 deposit for each session, for regular enrollment, is required and will be applied to tuition.

For glass workshops, an additional deposit of $350 is required. All tuition, room and board fees are due and payable in advance.

Due to the increasing cost of credit card processing fees, Haystack is offering a 2% discount on cash payments (cash/ check/money order) for room & board and tuition. *If paying by check, checks should be made payable to Haystack. Foreign payments must be in US dollars payable in US funds.

A C C O M M O D AT I O N S For Regular (non-scholarship) applicants, when indicating your preference for accommodations, be sure to include your first and second choices when submitting your application.

While we make every effort to assign participants their first choice, depending on availability, we occasionally must assign their second choice.

SHOP FEES For Work Study, Minority Work Study, and Regular (non-scholarship) applicants, shop fees cover the cost of materials for common use in a studio.

In blacksmithing the shop fee will be approximately $100 per week, and in glassblowing approximately $500–$700 for the two-week sessions. In all other studios the fee may range from $5 to $75 per week. For clay workshops there will be a charge for clay in addition to the shop fee. Participants will be informed of the specific amount of their shop fee at the conclusion of their

session. Supplies not provided for in the shop fee may be purchased at the school store.

T U I T I O N , R OO M & BOARD,AND SHOP FEES Charges vary depending on the length of the session, the accommodations desired, and the shop fee (see below).

Add together the cost of your tuition and room & board preference to determine the total for your workshop that is payable in advance. Tuition, room & board fees are as follows:

Sessions 1–5 Session 6

Tuition $980 $520 (each session) Room & Board Single with bath limited availability

$2,130

$1,180

Double with bath

$1,400

$775

Quad with bath

$1,335

$715

Double $935 $515 (near central washroom) Triple $555 $305 (near central washroom) Dorm $420 $240 (near central washroom) Day Student $385 (rate includes all meals)

$215

C ancellati o n P o licy If a cancellation is received at least 30 days before a session begins, deposits are refunded, less a $50 cancellation fee. For cancellations received between 29 and 15 days before a session begins, there is a $250 cancellation fee. No refunds will be issued for cancellations made within 14 days of the start of a session.

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O T H E R I N F O R M AT I O N All materials and supplies are the responsibility of workshop participants.

Some supplies and equipment are provided in the studios (see shop fees); most others may be purchased at the school store.

A memo detailing the workshop supplies, and other personal items you will need to bring from home, will be sent after your application has been approved. Students are admitted to Haystack without regard to race, sex, color, religion, national or ethnic origin.

A cademic C redit Academic credit for workshops is available through arrangements Haystack has with the University of Southern Maine and Maine College of Art. Undergraduate or graduate credits are available through the University of Southern Maine, and undergraduate credits only are available through the Maine College of Art. • University of Southern Maine undergraduate credit costs $281 per credit hour, and graduate credit costs $408 per credit hour, with three credits earned in a two-week session.

The University has an additional

R eceive a 2 0 % D I S C O U N T on the Summer Conference Registration Fee when you attend any session. To indicate your interest, complete both applications (pages 39 and 45) and be sure to mark the Summer Conference Special box.

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graduate (non-matriculating fee) of $25 and an administrative fee of $35 per student.

Haystack Mountain School of Crafts P.O. Box 518 Deer Isle, ME 04627 USA

• Maine College of Art undergraduate credit costs $200 per credit hour, with three credits earned in a twoweek session.

Please choose only one method to submit materials—mail, email, or fax (when appropriate).

When sending applications via UPS, FedEx, or other non-postal carrier, you must include Haystack’s street address as follows:

Schools will provide a transcript record. Credit costs are set by the respective institutions and are subject to change. If interested in applying for college credit, you must let Haystack know after your application has been approved.

SUBMITTING YOUR A P P L I C AT I O N Please note: Work Study applicants will submit applications online through SlideRoom.

For REGULAR (NON-SCHOLARSHIP) APPLICANTS, please complete the application form (on the next two pages) and mail (with a complete copy of application and additional materials, if required) to the address below, or you can complete an application in a word document, downloaded from our website (haystack-mtn.org), and email it to us at haystack@haystack-mtn.org.

Shipping address from October 15 to May 15: 22 Church Street Shipping address from May 16 to October 14: 89 Haystack School Drive Before starting the application process, we encourage applicants to scroll through our extensive list of Frequently Asked Questions (haystack-mtn.org/ frequently-asked-questions-faq).

Still have Questions? Please feel free to contact Haystack at (207) 348-2306 or haystack@haystack-mtn.org.

Haystack staff are available M-F, 8:30am–4:30pm EST to talk with you about your application and materials needed, and to assist you through the application process.

2 0 1 6 W o rksh o p A pplicati o n f o rm (Please type or print clearly on both sides of application form or download an application form from our website: haystack-mtn.org and email it to haystack@haystack-mtn.org.)

Name Gender

Haystack Mountain School of Crafts P.O. Box 518 Deer Isle, ME 04627-0518 USA

Current Mailing Address

F OR OF F IC E US E ON LY

[ ]

Application Fee Rec’d [ ] City

State Zip

Other Country

Occupation

Daytime Phone

Cell Phone

Studio/Session Accommodations

Email

Deposit - Date and Amount Rec’d

Emergency Contact

Relationship

Phone

Have you attended Haystack before?

If yes, in what year/s, studio/s :

[ ] Yes

[ ] No

[ ] Yes

[ ] No

Have you been wait-listed in the past 3 years?

If new to Haystack, how did you learn about the school? (Friend, Teacher, Magazine, Internet? Other? Please include name):

S essi o n and W o rksh o p Please note that applicants who cannot be placed in their first choice workshop are frequently placed in their second or third choice.

Visiting artists augment the session with informal activities and are not workshop leaders.

Session #

Studio Instructor

___________________________________________________________________________________________ First Choice ___________________________________________________________________________________________ Second Choice ___________________________________________________________________________________________ Third Choice (if applicable)

summer c o nference special [ ] Also applied for Conference

Glass Deposit - Date and Amount Rec’d

Balance Paid in Full

Date

Confirmation Wait List NOTES

R eceive a 2 0 % D I S C O U N T on the Summer Conference Registration Fee when you attend any session. To indicate your interest, complete both applications (pages 39 and 45) and be sure to mark the Summer Conference Special box.

A cc o mm o dati o ns Please indicate your first and second choice in housing accommodations and indicate if you are willing to stay in mixed gender housing. [ ] Yes [ ] No ______________________________________________________________________________________________________________________________________ 1st Choice

2nd Choice

Age (for housing purposes)

Please indicate the nature of any food allergies, disabilities, or medical, or special needs, or [ ] N/A. Smoker:

[ ] Yes

[ ] No

Please answer the following questions (You may also answer these on a separate sheet—include your name on top):

1. Describe why you want to take each of the workshops that you have indicated.

2. List your educational and/or work experience. You may also attach a one page résumé (optional).

3. In the event that a workshop you have indicated has specific requirements, please outline your qualifications.

Signed Date

A non-refundable $35 application fee must be enclosed with this application.

Due to the increasing cost of credit card processing fees, Haystack is offering a 2% discount on cash payments (cash/check/money order) for room & board and tuition. [ ] Enclosed is my payment in the amount of $35 (please make checks payable to Haystack) [ ] Charge to my

Card #

[ ] VISA

[ ] MASTERCARD

[ ] DISCOVER

Exp. Date CVV code

Name on Card Signature

summer conference C raft T hinking : I deas o n M aking , M aterials , and C reative P r o cess

JULY10–14

T

he 2016 Haystack conference features presenters, who come from a variety of creative disciplines in art, design, architecture, and writing. Our focus is on how we think through craft and how creative processes, audiences, and materials inform the work that we make. Craft is a place where innovation and tradition, skill and intuition, exist together. Whether making a mobile oven for baking bread, rethinking a museum collection, programming machines that can print objects, or choosing to work in vernacular tradition, the very definition and scope of craft is constantly shifting The conference is intimate in scale and allows ample time for informal conversations with presenters and attendees. Conference presenters give talks and either lead discussion groups or studio based workshops that provide a way of exploring ideas through materials.

The workshops and discussions are repeated so that attendees can take part in multiple activities. Registration for these is done each day of the conference and no previous experience is required.

S ummer C o nference P resenters and W o rksh o p L eaders T A N Y A A G U I Ñ I G A is a Los An-

geles based designer and artist who was raised in Tijuana, Mexico. She received an MFA in Furniture Design from Rhode Island School of Design. She created various collaborative installations with the Border Arts Workshop, an artists’ group that engages the languages of activism and community-based public art. Tanya Aguiñiga founded the group, Artists Helping Artisans, through which she helps spread knowledge of craft by collaborating with traditional artisans.

Her work has been exhibited from Mexico City to Milan. She is a United States Artists Target Fellow in the field of Crafts and Traditional Arts, a GOOD 100 2013 Recipient and has been the subject of a cover article for American Craft and included in PBS’s Craft in America Series.

Performance Crafting: Hand in Hand Hand in Hand will create a chain of strangers within the community each felting the others’ arms simultaneously.

The process of wet felting calls on the maker to hand rub wool continuously in a massaging manner until a good sheet is created. Each participant will felt the left arm of the person in front of them, creating a chain of perpetual care through craft. The process will be documented and the resulting work will be exhibited as a series of hollow arms, marking the collective action of making through care for one another. The work aims to connect community members, teach new skills, engage the public in the making of exhibited art, and satisfy our needs for human contact while exposing individuals to craft.

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N O R A A T K I N S O N is the Lloyd

Herman Curator of Craft at the Renwick Gallery of the Smithsonian American Art Museum, Washington, DC. Since joining the museum in 2014, she has been primarily responsible for acquiring artworks for the museum’s permanent collection, furthering scholarship in the field of craft, and organizing exhibitions at the Renwick Gallery following a major renovation of its historic building. Nora Atkinson is the curatorial lead for the reinstallation of the Renwick’s contemporary craft permanent collection galleries in 2016, as well as the 2016 Renwick Invitational, and is producing catalogues to coincide with both of these projects. Her research interests focus on contemporary craft and design, with particular emphasis on the link between objects and identity, the role of the handmade in contemporary culture, and craft as counterculture.

Interpreting Objects in the Digital Age Since the 1990s, the internet has gradually taken over our lives. We have seen dramatic shifts not only in how we conceive of objects—what we make and how we make them—but just as importantly, how we think about them. In this, the craft museum finds itself in an interesting position. Though conversations about craft and the digital frequently surround new directions in the work itself, fewer seem to have focused on another significant part of the equation—the opportunities and challenges facing the craft museum. Nora Atkinson’s talk will focus on the opportunities and challenges of engaging audiences in the richness of three-dimensional, real world objects in an era when our interface with the world has become increasingly virtual, and looks to explore how artists and museums can exploit new modes of thinking to present objects in fresh ways for a twenty-first century audience.

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D A N B E A C H Y - Q U I C K is a poet, essayist, critic, and novelist, author most recently of gentlessness (Tupelo Press) and Shields & Shards & Stitches & Songs (Omnidawn). He has published poems and essays widely, in venues ranging from The Boston Review, Poetry, Gulf Coast, Kenyon Review to The New York Times.

His work has been supported by the Lannan Foundation, and he is a Guggenheim Fellow for 2015-2016. Dan Beachy-Quick teaches in, and directs, the MFA Program in Creative Writing at Colorado State University.

Sensing / Thinking / Making For artists and writers, a realization gradually builds, that the mind begins in the senses. Yet, it is easy to drift away from the power of the discovery, making art out of habits of mind that exclude the sensual intelligence they should depend upon. This workshop will seek ways— through readings, exercises, conversations, and experiment—to return each of us to that initial, initiating space, in which word and world seek mutual correspondence, and the artist is the medium of that fundamental exchange.

D A N I E L J O H N S T O N spent four years as an apprentice with Mark Hewitt, after which time he traveled to England to work with earthenware potter Clive Bowen. His training then took him to Northeast Thailand to work with Mr. Sawein Silakhom in a jar factory where he learned traditional large jar making techniques. Daniel Johnston Pottery was established in 2003 in Seagrove, North Carolina, where he makes large wood-fired jars, as well as functional tableware, from local materials. Over the past twelve years, Daniel Johnston has embarked on several large projects such as the 100 Large Jar Project.

Creating a Volume and Marking a Line The model of studio apprenticeships has a rich tradition in the field of craft.

In this workshop Daniel Johnston will discuss his own training, working alongside master potter Mark Hewitt, and the larger legacy of potters Bernard Leah and Michael Cardew on the landscape of American ceramics. Drawing on his own experience making pots in Thailand, Daniel Johnston will demonstrate the technique for making large jars and his method of surface treatment that stems largely from the English slipware tradi-

tion. The large objects that Daniel Johnston will produce in this workshop will serve as the backdrop for participants to directly experience mark making and surface treatment that is deeply rooted in vernacular traditions.

F A Y T H E L E V I N E works as an independent researcher, multi-media artist, curator, author, and collector currently based in rural middle Tennessee. Her creative practice is not tied down to one medium and is based on whatever she is passionate about. Over time her work has accumulated into a large portfolio centered around ongoing themes of community, creativity, awareness, process, empowerment, and documentation.

Faythe Levine’s two most widely known projects, Sign Painters (2013) and Handmade Nation (2009), both feature length documentaries with accompanying books, have toured extensively in formal and renegade outlets. All of her work aims to communicate honesty, authenticity, and quality of life. She has made it a priority that her projects stay approachable and accessible to a large audience, interacting with people in a way that establishes creativity as a vehicle towards personal independence.

Celebrating Generational Differences and Divergent Practices in the DIY Movement Over the past ten years there has been a rise in the DIY craft movement that has at times intersected with and at other times veered away from the more established field of contemporary craft itself. The democratic nature of the (DIY) movement has led to a widespread embrace of making that has actively engaged a new generation of creatives.

Influencing makers to more forward together, Faythe Levine reminds us of the importance of change and the active infiltration of tradition as we chart new directions within a hybridized field of

craft. Learning to play creative matchmaker, finding inspiration all around us, and connecting the dots are part of a strategy that can empower us to redefine the future of craft, no matter how uncomfortable it may initially seem, with the ultimate goal being to celebrate generational differences and divergent practices.

M I C H A E L O ’ M A L L E Y is Professor of Sculpture at Pomona College in Claremont, California. After receiving an undergraduate degree in English from the University of Notre Dame he volunteered on the Pine Ridge Indian Reservation in South Dakota teaching composition and ceramics. The experience encouraged him to return to school to study art at the New York State College of Ceramics at Alfred University, after which he spent several years working in the building trades learning carpentry, furniture making, and traditional plastering. Michael O’Malley received an MFA from Stanford University and has been the recipient of residences at Art Pace and the John Michael Kohler Arts Industry program, among others.

As a sculptor his work has been shown nationally and internationally and responds to the conventions and attitudes that shape the aesthetics of the built environment. Also an avid baker, Michael O’Malley has developed a portable bread oven (M.O.M.O) that serves as a tool for community engagement and an object of social sculpture.

Mended, Cut, and Notched The practice of joinery has a long history that involves connecting two or more pieces of material. While the activity itself has a basis in solving a structural need, it also signals a value

system through how something is made.

Focusing on the mortise and tenon, the lap joint, the scarf joint, the dovetail, and the decorative patch, this workshop will explore the relationship of the hand and craft to reproducibility, precision, and expediency, all the while considering the potential for a technique to be the starting point for a collective conversation.

R O N A L D R A E L is an Associate

Professor at the University of California, Berkeley with a joint appointment in the departments of Architecture and Art Practice. His creative practice, Rael San Fratello, established in 2002 with Virginia San Fratello, is an internationally recognized awardwinning studio whose work lies at the intersection of architecture, art, culture, and the environment. He is the CEO of Emerging Objects—a pioneering design and research company that focuses on innovative 3D printed materials and objects for the built environment.

Digital Manufacturing and the Making of Craft Digital manufacturing and manual craft are often seen as opposing ends of a technological spectrum, however, participants in this workshop will explore how to bridge the gaps that exist between non-industrial, industrial, and digital modes of making. Considering questions such as how materials, machines and 3D printing can allow for the reconsideration of contemporary craft alongside the desire maintain the hand as a vital role in the design process will inform the conversations among participants.

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P A U L S A C A R I D I Z is an artist

and the Executive Director of Haystack Mountain School of Crafts. From 2007-2015 he served as Professor and Chair of the Department of Art at the University of Wisconsin-Madison.

He has been named a fellow with the National Council of Arts Administrators and has served on numerous boards with not for profit arts organizations.

Paul Sacaridiz has been the recipient of numerous artist residencies and his work has been included in exhibitions at the Philadelphia Museum of Art, the Denver Art Museum, and the Houston Center for Contemporary Craft, among others.

Thinking About One Thing While Looking at Another How does our understanding of a field change as the very definitions and scope of a practice continue to evolve? This opening presentation will provide an introduction to the conference while

CRAFT THINKING IDEAS ON MAKING, M AT E R I A L S , A N D C R E AT I V E P R O C E S S

asking what it means to think through craft and exploring the possibilities in looking at something seemingly familiar in a new way.

J E N N I S O R K I N is Assistant

Professor of Contemporary Art History at University of California, Santa Barbara. She received a BFA from The School of the Art Institute of Chicago, an MA in Curatorial Studies from The Center for Curatorial Studies at Bard College, and a PhD in the History of Art from Yale University. She has received fellowships from the ACLS (American Council of Learned Societies), Luce Foundation, and Getty Research Institute. Jenni Sorkin’s writing has appeared in Art Journal, Art Monthly, NU: The Nordic Art Review, Frieze, The Journal of Modern Craft, Modern Painters, Third Text, and Texte zur Kunst. Her book, Live Form: Women,

Pond Farm and the Summer Craft Experience, 1950-1980 Drawing on her recently published book, Live Form: Women, Ceramics and Community, Jenni Sorkin’s talk reframes the legacy of Bauhaus-trained potter Marguerite Wildenhain (American, b. France, 1896–1985) within the history of summer craft programs, functional pottery, gender bias, and craft pedagogies. Far from being an isolated field, ceramics as practiced by Marguerite Wildenhain, offered a sense of community and social engagement, which, Jenni Sorkin argues, crucially set the stage for later participatory forms of art and feminist collectivism.

CONFERENCE SCHEDULE* Sunday July 10

Wednesday July 13

2:00–6:00 6:30 7:30 8:00

8:00 Breakfast 9:00-12:00 Conference programming 12:00 Lunch 1:30-4:30 Conference programming 6:00 Dinner 7:30 Closing Events

Arrival Dinner Welcome and Orientation Opening Presentation

Monday July 11 8:00 Breakfast 9:00–12:00 Conference programming 12:00 Lunch 1:30–4:30 Conference programming 6:00 Dinner 7:30 Evening conversations

Tuesday July 12 8:00 Breakfast 9:00-12:00 Conference programming 12:00 Lunch 1:30-4:30 Conference programming 6:00 Dinner 7:30 Evening conversations

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Ceramics and Community, about gender and post-war ceramics practice, was recently published from The University of Chicago Press.

Thursday, July 14 8:00 Breakfast Departure *Subject to change

“

The greatest pleasure in writing about architecture is the occasional discovery of a building so wonderful, so perfectly fitted to its site and purpose, that you never afterward forget it….Haystack Mountain School of Crafts is that kind of building.

— Ro b e rt Ca m pb e ll

Pu lit zer Prize-wi n n i n g A rch itect u re Criti c

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”

WE ARE HAYSTACK FOUNDER

LIFE TRUSTEES

Mary B. Bishop (1885–1972)

William Daley Arline Fisch Jane Weiss Garrett Wayne Higby Richard Howe Marlin Miller Eleanor Rosenfeld Claire Sanford Cynthia Schira Robert Springborn

FOUNDING DIRECTOR Francis S. Merritt (1913–2000)

BOARD OF TRUSTEES Jack Lenor Larsen Honorary Chair Lissa Hunter Chair Matt Hutton President Matthew Hinçman Vice President Miguel Gómez-Ibáñez Treasurer Sue Haas Bralove Kate Cheney Chappell Deborah Cummins Fabio Fernández Marian Godfrey Katherine Gray Del Harrow Charles O. Holland Wyona Lynch-McWhite Roberto Lugo Alleghany Meadows Betsy Rowland Kristin Mitsu Shiga Linda Sikora Rosanne Somerson Joan Sorensen Brigid Sullivan Peter Walker Elizabeth Whelan Joe Wood Stephen Yusko

S TA F F Paul Sacaridiz Director Ginger Aldrich Development Director Morgan Cousins Business Manager Jonathan Doolan Studio Technician Michaele Dür Head of Housekeeping Carole Ann Fer Assistant Registrar

Christopher (Kit) Loekle Maintenance Assistant Tom Smith Head Cook Twyla Weed Store Manager/Administrative Assistant Ellen Wieske Assistant Director Funding for Visiting Artists/Writers has been received from: Haystack’s Charlie Gailis Fund, the Stuart Kestenbaum Fund for Writing, and the Francis S. Merritt Fund for Innovative Programming.

Funding for Adam John Manley’s teaching position is provided by: Haystack’s Samuel J. Rosenfeld Faculty Fund for Sculpture in Ceramics or Wood.

Funding for international travel by faculty is provided by the Stuart Kestenbaum International Travel Fund.

Editor: Ginger Aldrich

Beth Gray Bookkeeper

Design: Mahan Graphics

Candy Haskell Office Manager/Registrar

Photographs of program participants and site: Ginger Adrich Sara Clugage Dennis Griggs Norah Hoover Takaki Miyamoto

Eugene Koch Facilities Manager Mamie LaFrance Interim Community Programs Coordinator/Administrative Assistant

Cover photo: Chris Maddox

Visit our website and read about Haystack's other programs, including intensive programs for Maine high school students and adults, community-based artists’ residencies, exhibitions, and symposia.

haystack-mtn.org

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haystack mountain school of crafts P.O. Box 518 Deer Isle, Me 04627

haystack-mtn.org

DEADLINES

Residency and Scholarship applications due March 1 Regular applications due April 1

Full scholarships available