2018 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
haystack-mtn.org
Cover photo by Julia Zell, 2017
welcome
Schedule at a Glance / 2 Life at Haystack / 4 Open Studio Residency / 6 Session One / 8 Session Two / 12
People make the decision to come to the Haystack
Session Three / 16
Mountain School of Crafts for many different reasons and
Session Four / 20
at different times in their lives.
Summer Conference / 24
Yet regardless of the circumstances that bring you to the school, once you arrive you will be met with the time and space to develop new ideas, to work in a creative community, and to learn things you might not have thought possible. At Haystack we celebrate a diversity of experiences and viewpoints, and believe one of our most important roles is to foster an inclusive environment that supports exploration and discovery. Regardless of background or skill level, there is a place for you here. Time at Haystack is characterized by uninterrupted, long days in the studio, surrounded by remarkable
Session Five / 26 Session Six / 30 Fab Lab / 34 General Workshop Application Information / 36 General Workshop Application Form / 39 Fellowships and Scholarships / 41 Scholarship Application Procedures / 42
individuals and a breathtaking campus overlooking Jericho Bay and the Atlantic Ocean. From our founding in 1950 until now, the school has evolved in response to the people who come here, and that is always the most exciting part of opening our doors for a new season. We hope you will join us.
NOTE: Workshops are open to all skill levels, beginners to advanced professionals, unless otherwise noted.
APPLICATION DEADLINES March 1: Paul Sacaridiz Director
Open Studio Residency Scholarship sessions 1–6 April 1: General applications sessions 1–6
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SUMMER
2018 RESIDENCY May 27–June 8
session 1 June 10–22
BLACKSMITHING Patrick J. Quinn Thinking Big, Working Small
CERAMICS Lydia Johnson Flat to Round: Exploring Imagery and Form
FIBER Mark Newport Mending and its Metaphors
G raphics Melissa Hilliard Potter Botanical Alchemy—The Art of Turning Everyday Plants into Paper
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M E TA L S Sharon Massey Experimental Enameling
WOOD Raivo Vihman Descriptive Geometry and the Splayed Leg Sawhorse
VISITING ARTIST* Kate Russell
SESSION 2 June 24–July 6
BLACKSMITHING Marc Maiorana Heirloom Iron
CERAMICS Lauren Gallaspy Skin Deep: Constructing Poetic Ceramic Surfaces
FIBER
WOOD
GRAPHICS
Carole Frances Lung Sewing Rebellion Maneuvers: Basic Training for Future Faux Frau’s
Michael O’Malley Sculptural Furniture and Speculative Joinery
Emily Arthur Lasting a Day, Forever: Screen Print & Ephemera
GRAPHICS
Jin Lee
Jen Bervin Tactile Notation
M E TA L S Robert Ebendorf Lost and Found: Journey for Personal Adornment
WOOD Katie Hudnall Push Pull Play
V I S I T I N G C U R AT O R * Jenni Sorkin
SUMMER CONFERENCE
S U S TAI NA B I L I T Y: IMPULSES, M O DE L S, A ND PRAC TIC ES
July 8–12
SESSION 3 July 15–27
CERAMICS Hanako Nakazato Form and Rhythm, For the Table
FIBER Caroline Lathan-Stiefel Piece Play Propagate
GLASS Suzanne Peck Hot Mess
GRAPHICS Lenka Clayton & Phillip Andrew Lewis The Gifts
M E TA L S Myra Mimlitsch-Gray Pairings
VISITING ARTIST*
SESSION 4
July 29–August 10 CERAMICS Michael Kline Looking Back, Moving Forward: Growing From the Roots
M E TA L S Arthur Hash & Elliot Clapp Crafting Electronics
WOOD Brent Skidmore Furniture: Form, Texture and Surface in Sculpted Form
VISITING ARTIST* Sheila Pepe
FIBER Sarah K. Khan & Meeta Mastani South Asian Rajasthani Traditional Block Printing and Natural Dyeing
SESSION 6
GLASS
CERAMICS
August 26–September 1
Granite Calimpong The Cup and Knowledge Contained
Salvador Jiménez-Flores Resilience: Form, Narrative, and Installation
GRAPHICS
FIBER / BASKETS
William J. O’Brien Getting Weird and Hilarious
Lois Russell New Uses for an Ancient Technique
M E TA L S
GLASS
Ellen Wieske Material Practice / Jewelry Making
Devin Burgess Constructive Play
WOOD
GLASS BEADS
Donald Fortescue Starting from Scratch
Holly Cooper Pattern and Play
SESSION 5
GRAPHICS
August 12–24
Paula Wilson Beyond Observation: Contemporary Plein Air
CERAMICS
MIXED MEDIA / WOOD
Brooks Oliver Rethinking the Mold
FIBER Fraser Taylor Surface Design
Warren Seelig After Words: An Experiment in Making
WRITING melissa christine goodrum Poetry in Action: A Tactical Resistance
GLASS Helen Lee Hot Shop Chop-Busting
*Visiting artists’ role is to augment the session with informal activities and are not workshop leaders.
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LIFE AT H A Y S TA C K
The combination of an 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.
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Mary Beasom Bishop founded Haystack Mountain School of Crafts in 1950 near Haystack Mountain, in Montville, Maine. The original mission of the school was to teach fine craftsmanship, develop latent or inherent creative ability, and carry on research and development in connection with the crafts. Over the years, our vision has refined to include the investigation of craft in an aesthetic climate, honoring tradition while acknowledging the rich potential of contemporary visual art. Haystack is an intensive creative community that supports lifelong learning in the arts by offering outreach, experiential education, and professional development opportunities in a remarkable setting. People come to Haystack to develop and discover skills, to nurture their creativity, to ask questions, reassess and take new risks
in their work. Haystack’s core programs are its two-week residency and six summer workshop sessions held between May and September. Participants must be at least 18 years old to attend the school, and workshops range in skill level from beginners to advanced professionals. In 2017, students attended from 39 states and 15 countries and another 1,000 or more visitors attended events, lectures, auctions, tours of our award-winning campus, and exhibitions at our center for community programs in Deer Isle village. Haystack’s programs also include the Open Studio Residency and our twelfth annual summer conference. Scholarship support is available for workshops and the conference, and nearly 25% of attendees receive full financial aid to attend the school.
Schedule Plan to arrive between 2 pm and 6 pm on the first Sunday of the session, checking into the main office when you arrive. Dinner will be served at 6:30 pm and a general orientation will take place at 7:30 pm. The first workshop session will begin immediately following. Workshops meet from 9 am to 4 pm, Monday through Friday. Studios are open twenty-four hours a day, seven days a week. Throughout the session there are evening presentations by faculty, staff, and technical assistants and presentations by visiting artists and writers. We ask that all participants leave Haystack by 11 am on the last Friday of the session (with the exception of session 6 that ends on a Saturday, and also by 11 am).
Location 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 from Portland, and 60 miles from Bangor. There is transportation by both air and bus to Bangor, and taxi service from there to Deer Isle.
End of session auction At the conclusion of each session a celebratory auction of student and faculty work is held to benefit scholarships and studio improvements. While much of the work is made during the session, sometimes people bring their work with them to donate. Participation in the auction is entirely voluntary and open our local community.
WEATHER Weather on the coast of Maine is unpredictable and temperatures can range from a low of 40 on cool evenings to a high of 90 on extremely warm days throughout the summer. Layered clothing is suggested and to be best prepared bring clothing ranging from shorts and pants to sweaters, sweatshirts, and rain gear.
Contact information You can always call our office in Deer Isle and talk with someone about workshop descriptions, life at the school, what to bring, travel questions, or anything else you need to know about Haystack. We can be reached between 8:30 am and 4:30 pm EST, Monday through Friday, at (207) 348-2306. You can also find an extensive list of Frequently Asked Questions on our website. If mailing packages and supplies ahead of your workshop please see the mailing section of this catalog (p.38) for detailed instructions.
FACILITIES Studios at Haystack are open 24 hours a day, seven days a week. Additionally the school maintains a library with a collection of books on craft, art, design, and architecture as well and a store that sells materials and supplies. Haystack is located in a remote setting and both cell reception and internet access is limited. To maintain a retreat setting we ask that you refrain from cell phone use in the studios, cabins, dining hall, or the deck and limit usage to the upper portion of the campus and public spaces.
Accommodations The cabins at Haystack are an integral part of the campus design and we have several options that range from dorms (that house up to eleven people), triples, and doubles— all located near a central washroom; as well as a quad, doubles, and limited singles with private bathroom facilities. Some are accessible to those with mobility issues and we will work with you on meeting your needs as closely as we can. Cabins at Haystack do not have heat and participants should be prepared for cool evenings. All accommodations have twin beds and a lightweight blanket and pillow is provided. Please bring a sleeping bag or additional bedding. Meals The dining hall at Haystack is a central meeting place where participants enjoy delicious meals prepared in our kitchen by our head chef and talented staff. We work closely with many local farmers and food producers on the Blue Hill Peninsula and surrounding region and vegetarian options are available at each meal. The kitchen will try to accommodate dietary restriction when possible—please indicate this on your application and contact Haystack if you have any questions or concerns. Haystack is committed to a culture of diversity, equity, and inclusion. We do not discriminate against any individual or group of individuals on the basis of age, color, disability, gender identification, national origin, race, religion, sexual orientation, economic status, or veteran status. All are welcome.
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May 27– June 8
open
STUDIO RESIDENCY Haystack’s two-week 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 attend for free. “This was an extraordinary gift. A time to experiment and focus on my work in a supportive, energized, and absolutely beautiful place.” “Having the opportunity to exist and create work in this environment, where everything is set up to allow exploration and growth, is something I have never experienced before. I was able to gain clarity for my work and accomplish more, than I would have in six months outside of this amazing place.” Anonymous
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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.
RESIDENCY SELECTION CRITERIA A N D A P P L I C AT I O N PROCEDURES
Residency Selection Criteria
T
he Open Studio Residency fosters a dynamic exchange of ideas among peers and 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 have uninterrupted time to work in six 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 them depending on the nature of their work. All of the studios are 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 sessions.
An independent committee reviews applications to the Open Studio Residency and both national and international artists working in a variety of disciplines are eligible for consideration. Past participants may reapply to the residency but preference may be given to first time applicants. Selection is based on work samples, the nature and scope of the project that will be done during the residency (if applicable), and the ability to work in a creative community. All applications are for the entire two-week session. Participants must be 21 years of age or older and students enrolled in an academic program during the time of the residency are eligible to apply. Haystack does not discriminate against any individual or group of individuals on the basis of age, color, disability, gender identification, national origin, race, religion, sexual orientation, economic status, or veteran status. All are welcome. For special needs or questions about accessibility, please contact our office.
Application Procedures
Haystack has partnered with SlideRoom to provide Residency applicants with an online application process. Supporting materials must include a resumé, 5 images of recent work, and two letters of reference. Complete application guidelines, requirements, and frequently asked questions can be found on our website. Apply on-line at haystack.slideroom.com. Application deadline: 11:59pm EST, March 1, 2018 SlideRoom will confirm receipt of your submitted application and final notifications to all applicants will be made via email by April 1, 2018.
A ffiliated F ees
Applicants must pay a non-refundable application fee of $50 through a secure site on the online application. Material costs and shop fees, payable at the conclusion of the residency, are the responsibility of the residency participant. The Open Studio Residency program is supported by Haystack’s Windgate Foundation Endowment for Programs.
accom M odations
Housing will be assigned at random from among the various accommodation options available at the school. If you have particular physical needs, please note these on your application so that we can best accommodate you.
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SESSION
ONE JUNE 10–22 1 / BLACKSMITHING Thinking Big, Working Small
Workshop students will explore sculptural forms through forged, riveted, and mechanically fastened parts. Working with thin gauge plate and other small-scale industrial materials, focus and emphasis will be placed on creating small-scale sculptural pieces using joinery techniques, paired with inspiration from large-scale public works. Basic forging and joinery practice— from forming, tapering and shouldering to punching, slitting and drifting—will be covered. Students will gain experience riveting and bolting their sculptures with handmade hardware. Line and form in space—and how separate parts relate to one another—will be discussed and practiced, as well as finishing and patination, including material cleanup and prep. All levels welcome.
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P A T R I C K J . Q U I N N currently runs the forging program at the Center for Metal Arts where he teaches resident blacksmithing classes and coordinates the visiting artist workshops. He has taught blacksmithing, fabrication, and tool making at Southern Illinois University, Penland, Hereford College Of the Arts, Adirondack Folk School, David Norrie School of Blacksmithing, and Salem Art Works. Patrick is a 2015 Niche award winner, and has work in the permanent collection of the Museum of Arts, History and Science, Evansville, Indiana. His work has been in the exhibitions “Transitions” in Belgium, “Forge” contemporary forged metal design in the UK, “Craft Forms,” and “43rd Mid States Craft Exhibition,” and has been in Metalsmith Magazine’s juried exhibition in print—“Animal Instincts,” and Anvils Ring. patrickjquinn.com
L Y D I A J O H N S O N is a potter and designer who is currently an Artist-inResidence and adjunct faculty at Appalachian Center for Craft, Tennessee. She received a BA from Messiah College and an MFA from Alfred University. Her work has been exhibited at The Clay Studio, Northern Clay Center, and Arrowmont. Lydia was the 2017 recipient of the Individual Artist Fellowship from the Tennessee Arts Commission and will have work featured in upcoming exhibitions at Signature Shop & Gallery, Lillstreet Gallery, and the Artstream Nomadic Gallery. lydiajohnsonceramics.com
Master Salt by Patrick J. Quinn, 2016. Steel, fine silver, forged and fabricated, 18” x 12” x 12.” Photo courtesy of the Museum of the City of New York
1/ FIBER Mending and its Metaphors
1 / CERAMICS Flat to Round: Exploring Imagery and Form
In this workshop, we will use hand building techniques and surface design to create decorated clay objects. Through a series of exercises, students will begin by producing a portfolio of imagery, patterns, and visual material, which will be used as a jumping off point to create pots, vessels, and objects. We will spend time inventing and conceiving three-dimensional forms in flat materials such as paper and poster board before moving into clay. Methods of soft-slab and hard-slab construction, designing bisque molds, making colored clay, and using colored slips for stenciling, sgraffito, and mishima will be demonstrated. A spirit of fearless curiosity and experimentation will be encouraged. Basic clay experience is helpful— All levels welcome.
Mending and darning—once lost to contemporary life are now part of thinking about sustainability, consumerism, and other social issues. Mending is inherently intimate and personal—a form of connection, an assessment of support, and gesture of care. What are the implications of objects that we, as owners and users, cannot repair, that we discard when they are worn or broken? We will explore a variety of repair processes and the ways they question our relationships to what we value and why. Our point of departure will be European, British, and American colonial era mending samplers. As we make our own samplers, we will expand out and consider other mending techniques, such as binding, splinting, gluing, and stapling. A knowledge of the structures of weaving, knitting, and crochet will be beneficial—All levels welcome. M A R K N E W P O R T is the Artistin-Residence and Head of Fiber at the Cranbrook Academy of Art. He received a BFA from the Kansas City Art Institute and an MFA from the School of the Art Institute of Chicago. His work has been exhibited at the Textile Museum of Canada, The Mint Museum, The Textile Museum at George Washington University, Museum of Arts and Design, and John Michael Kohler Art Center. Recent awards include grants from the Louis Comfort Tiffany Foundation, Creative
Cups by Lydia Johnson, 2017. Cone 3, colored clay, slab built, 3” x 3” x 4” each. Photo by the artist
Mend #8 by Mark Newport, 2016. Mending on cotton, 17” x 13.” Photo by Tim Thayer
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Capital Foundation, Kresge Foundation, and Arizona Commission on the Arts. Mark’s work is in the collections of The Whitney Museum of American Art, Renwick Gallery of the Smithsonian Institution, Arizona State University Art Museum, Cranbrook Art Museum, and Detroit Institute of Arts. The Simone DeSousa Gallery, form and concept, Duane Reed Gallery, and the Greg Kucera Gallery represent his work. marknewportartist.com
Grants for Melissa’s socially-engaged work including hand papermaking include three Fulbright awards to Serbia and Bosnia and Hercegovina, ArtsLink, the Soros Fund for Arts and Culture, and the Trust for Mutual Understanding. Her exhibition, “Social Paper: Hand Papermaking in the Context of Socially Engaged Art,” co-curated with Jessica Cochran, was funded by the Crafts Research Fund and the Clinton Hill Foundation, among others. melpotter.com
1 / GRAPHICS
1 / M E TA L S
Botanical Alchemy—The Art of Experimental Enameling Turning Everyday Plants into Paper Workshop participants will explore the
Sex Work is Work: Hull House Wage Maps, Brothels by Melissa Hilliard Potter, 2016. Handmade paper from corn, men’s dress shirts, paint, paper samples, 9” x 12.” Photo by Stephen DeSantis
Workshop participants will learn how to create a hand-bound album journal to record plant and paper samples featuring materials available in the natural surroundings of the Haystack campus. Participants will learn observational techniques to source plants for hand papermaking and how to turn plants into pulp for handmade paper and artistic material. Materials will be sourced through nature walks and vegetable, herbal, and native plant gardens and use the rich local botanical history to explore these plants for food, medicine, and traditional craft. As we transform these materials into paper and dye samples, we will use our interdisciplinary research to create book narratives reflecting the intersection of artists’ books, papermaking, botany, gardening, drawing, writing, and record-keeping. All levels welcome. M E L I S S A H I L L I A R D P O T T E R is an
Brickwork Necklace by Sharon Massey, 2015. Copper and enamel, 14” x 5” x 2.” Photo by the artist
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Associate Professor in the Art & Art History Department of Columbia College Chicago teaching hand papermaking and artists’ books. Her work exploring feminist histories has been shown at venues internationally including the Bronx Museum of the Arts, the Museum of Contemporary Art in Chicago, and Gallery Zvono, Belgrade as well as film festivals from Bejing to Paris. In 2018, her project, Seeds InService with Maggie Puckett is featured at Compound Yellow Gallery and the Self-Reliance School in Oak Park.
medium of enamel, pushing the boundaries of traditional techniques and substrates. Champlevé on etched steel, sgraffito on found enamelware, and basse taille on salvaged metal are just a few of the alternative enameling techniques that will be covered. We will introduce color, texture, imagery, pattern, and text to your work with contemporary methods and materials, and will learn how to incorporate threedimensional enamel elements into jewelry and small objects. Discussion and critique will focus on finding a unique voice with your work through the use of form, surface, and materials. All levels welcome. S H A R O N M A S S E Y is an Assistant
Professor of Jewelry and Metals at Indiana University of Pennsylvania. She received a BFA from Winthrop University and an MFA from East Carolina University. In 2016 she was the only American chosen to exhibit in the 25th Legnica International Jewellery Competition in Legnica, Poland, and her jewelry was selected for Schmuck 2014 and Schmuck 2015 in Munich, Germany. Sharon served on the board of directors of the Society of North American Goldsmiths (SNAG). In 2009 she received the Art Jewelry Forum (AJF) Emerging Artist Award and was included in “Lucca Preziosa Young.” Her work has been published in eight books, including The Art of Enameling and Art Jewelry Today 2nd, 3rd, and 4th Editions,
and is in the collection of the Racine Art Museum, and the Victoria and Albert Museum, London. sharon-massey.com
1 / WOOD Descriptive Geometry and the Splayed Leg Sawhorse
Before CAD, before computers, there was descriptive geometry. Armed with nothing but ruler, triangle and compass, builders designed complex structures involving volumes and curved surfaces intersecting at compound angles with precision. Using a process also known as developed drawing, various perspectives of the same three-dimensional object can be developed as two-dimensional representations that become working drawings for building. Drawing by hand offers a direct, intuitive understanding of spatial relationships, while simultaneously granting us temporary refuge from our ubiquitous screens. We will explore these processes by drawing and then building models from our drawings to validate their accuracy. As we gain fluency we will draw and construct models of hipped and valleyed roofs. Harnessing the power of descriptive geometry, each student will then draw and construct an elegant, joined version of that much-maligned yet iconic workstation of the builder, the splayed leg sawhorse. All levels welcome. R A I V O V I H M A N is a woodworker and
builder based in Freedom, Maine. He spent four years as a journeyman carpenter working in timber frame shops in Maine, Oregon, and North Carolina. In 2008 he founded Haystack Joinery, a design-build studio that focuses on sculptural timber framed structures with an emphasis on incorporating natural forms into the timberwork. He has studied traditional building techniques in France and currently uses traditional developed drawings and lofting practices learned with the Compagnons du Devoir in his designbuild practice. Raivo has taught descriptive geometry at the Viljandi Cultural Academy in Estonia and timber framing at Waterfall Arts in Belfast, Maine and at Penland, where his students collaborated to build a structure
Stackable Sawhorses with Dovetail Housings by Raivo Vihman, 2017. Douglas Fir and Hard Pine, 20” x 30” x 36.” Photo by the artist
which is now a permanent part of the campus. haystackjoinery.com
1 / VISITING ARTIST Visiting artists augment the session with informal activities and are not workshop leaders. K A T E R U S S E L L is a Brooklyn-based theatremaker and poet. She is the Founding Artistic Director of Threadbare Theatre Workshop and an Emerging Leader of New York Arts fellow. She received a BFA from Rutgers University and spent a yearlong residency at Shakespeare’s Globe in London. In addition to adapting and directing original stage adaptations of Moby-Dick and The Waste Land, Kate has directed such plays as Sarah Kane’s Crave, Jordan Harrison’s Marjorie Prime, and the first bilingual Korean-American presentation of The Vagina Monologues. She has performed in film and television as well as off-Broadway and regionally for the past ten years. As a teaching artist she has brought poetry and devised theatre to students off the rural coast of Maine and Shakespeare into the innercity schools of London and New York. Her work as a theatremaker has been noted by Creative Capital’s ON OUR RADAR and named one of their 2016 “Artists To Watch.” kateroserussell.com
Occupy Poetry: Threadbare Theatre Workshop’s Kate Russell, with Joshua McCarey
Kate Russell and Joshua McCarey will lead informal workshops based on their approach with Threadbare Theatre Workshop, which illuminates epics in a simple way through the magic of resourceful storytelling; laying bare our humanity so that we may thread more empathy into existence. “We are committed to making theatre from scratch across the local landscape; engaging alternative spaces to foster creative partnerships within the community. We believe in a radically participatory theatre where every audience is a character in our play and every place a theater. We begin in silence, sculpt poetry through sound and movement, and a story is born.” Threadbare’s Kate Russell and Joshua McCarey are currently in residence to workshop their upcoming endeavor, The Royal Tar, to be performed on Deer Isle this summer.
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SESSION
TWO JUNE 24–JULY6 2 / BLACKSMITHING Heirloom Iron “In a kitchen drawer in New Jersey there
is an iron spatula made by my father that is older than I am, I’ve never seen eggs cooked in my parent’s house without it.” This workshop will teach students to create ironwares for the home that will stand the test of time. We will start with forging basics (heating and hammering) and learn more technical processes each day. Students will get things moving with small, quick exercises and transition to self initiated projects. Editing through design will be emphasized to refine shape, and function, and feel. This workshop will hone your curiosity into a prideful piece of hand-forged iron so that the joy of it’s making will pass with it for generations. Guest blacksmith: Tom Maiorana. All levels welcome.
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M A R C M A I O R A N A learned blacksmithing from his father and received a BFA in Metalsmithing from Southern Illinois University at Carbondale. He was a resident artist at Penland and has taught at Yestermorrow, Peters Valley, Penland, and Haystack. Marc’s work has been exhibited at the Museum of Design Atlanta, National Ornamental Metals Museum, and Renwick Gallery, and has been featured in Audi, American Craft, Gourmet, Dwell, Food and Wine, Metalsmith, Washington Post, and The New York Times. He was awarded a Professional Fellowship from the Virginia Museum of Fine Arts and has lectured for the Society of North American Goldsmiths and the James Renwick Alliance. His commissions span private residences to the Renwick Gallery of the Smithsonian Institution, and his production wares have been shipped to clients in twenty-two countries. marcmaiorana.com
will have the opportunity to construct some simple forms in the studio but can also bring previously built and fired forms to decorate. Some previous clay experience is required. L A U R E N G A L L A S P Y is currently a studio artist in Los Angeles. She received a BFA in Ceramics from the University of Georgia and an MFA from the New York State College of Ceramics at Alfred University. From 2009 to 2012 she served as co-director and owner of Trace Gallery in Athens, Georgia. Lauren was an Assistant Professor of Fine Arts at the University of Utah and a long term resident at the Archie Bray Foundation. In 2013 Lauren was recognized by the National Council on Education for the Ceramic Arts (NCECA) as an Emerging Artist in the field. She was also one of twenty-five artists awarded the Joan Mitchell Painters and Sculptors Grant for 2012. Her work has been in over eighty exhibitions, including State of the Art: Discovering American Art Now at the Crystal Bridges Museum in Arkansas and Beyond the Objects: The 72nd Scripps Ceramics Annual. laurengallaspy.com
proof of you by Lauren Gallaspy, 2017. Porcelain, glaze, china paint, and underglaze, 8” x 4” x 3.5.” Photo by the artist
2 / CERAMICS Skin Deep: Constructing Poetic Ceramic Surfaces
The focus of this workshop is for students to create personal and poetic surface imagery and pattern on ceramic forms using stains, underglaze painting, colored clay inlay, and a mix of water-based and oil-based china painting techniques. It is geared to those who want to improve or cultivate a relationship with pattern and imagery as it pertains to ceramic surface and a personal, visual vocabulary. Discussions and demonstrations will center on handbuilding construction, pattern development, composition, as well as underglaze and china paint techniques. Historical and contemporary examples of innovative ceramic surfaces will also be explored and discussed. Both functional and sculptural works are welcome, and students
Bend Coatrack by Marc Maiorana, 2015. Steel and Brass, 34” x 10” x 4.” Photo by the artist
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2 / FIBER The Desert (Granary Books) by Jen Bervin, 2008. Digitally printed, machine-sewn abaca, 148 pages, 8 ¼” × 11” × 2.”
Sewing Rebellion @ Long Beach Public Library by Carole Frances Lung, 2016.
Sewing Rebellion Maneuvers: Basic Training for Future Faux Frau’s
The time is now! Take up your sewing machines and hand sewing needles, honoring the labor behind the label. Under the direction of Frau Fiber, participants will undertake a series of basic sewing, mending, and fashion hacking maneuvers with the intention of training and initiating participants to become Faux Frau’s*. Learn to mend with contrasting colors, drawing attention to extend the life of the garments you wear. Modify your clothing, turn your jeans into shorts when the knee holes get too big; turn your T-shirts into shopping bags; and an old table cloth into a skirt. Keep a lookout for unwanted cloth and make yourself an apron, poncho, or frisbee. Be proud, share, and wear your mended and self-made clothing with pride! *fauxfrautraining.wordpress.com At the completion of this course you have the option of swearing into the order of the Faux Frau’s and consider how to instigate a Sewing Rebellion in your own community. All levels welcome.
FishAngel by Robert Ebendorf. Found objects.
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F R A U F I B E R is a soft guerilla super hero, crafting spirited durational performances, using pedagogical, material, and playful approaches to teach communities about the human cost of mass production and consumption. Many of these events take place at Frau Fiber’s storefront headquarters in downtown Long Beach, California, the Institute 4 Labor Generosity Workers & Uniforms (ILGWU). Her legacy project is the Sewing Rebellion, a national campaign to “STOP SHOPPING AND START SEWING!” The Rebellion empowers through skill sharing, facilitates community building, and advocates for social change. The Rebellion connects participants to the history of “thrift and reuse circles” and “quilting bees,” organizing people to come together to share resources, talk politics, and promote change in the fashion and textile
industry. Sewing Rebellions have been hosted in Chicago; New York City; New Orleans; Denver; Sheboygan, Wisconsin; Ames, Iowa; San Francisco, Los Angeles, and Long Beach, California; Asheville, North Carolina; Portland, Maine; Portland, Oregon; London, UK; and Weimar Germany. Frau Fiber is the performative ultimate ego of CAROLE FRANCES LUNG. carolefranceslung.wordpress.com
2 / GRAPHICS Tactile Notation
In this interdisciplinary writing workshop, we will explore what it means to be in situ, or “in position” in our artistic practice—to write from, in, and into elemental places, to foreground that which is perceived through touch and sound. Thinking in situations, we will experiment with intertextual, intratextual, and interdisciplinary approaches to process, and consider reading and writing both as site and site-specific. Outcomes and studies include, but are not limited to, various forms of sound, writing, sculpture, translation, drawing, prints, artist books, performance, short films, and collaboration. This could be a generative context to metabolize research for a larger project, explore an ongoing focus, or delve into new thinking. All levels welcome. Visual artist and poet J E N B E R V I N ’s research-driven, interdisciplinary works weave together art, writing, textiles, and science in complex yet elegant ways. Her work has been in solo exhibitions at the Des Moines Art Center; BRIC in Brooklyn; and featured in exhibitions at MASS MoCA, The Power Plant in Toronto, and the Walker Art Center. She has published ten books, including Silk Poems—presented as a long-form poem and as an implantable, silk biosensor developed in collaboration with Tufts University’s Silk Lab. Jen’s work is in more than thirty international collections. She is a 2018 Artist in Residence at Northwestern University and is currently participating in
the SETI Institute’s Artist-in-Residence program, which facilitates a cross-disciplinary exchange of ideas between artists and scientists. Numerous awards and honors include including The Rauschenberg Residency and a Creative Capital Grant. jenbervin.com
2 / M E TA L S Lost and Found: Journey for Personal Adornment
This workshop will explore a wide range of concepts applicable to personal adornment and the narrative object. Working with both traditional and alternative materials—silver, copper, wire, recycled materials, and found objects—participants will fashion objects of personal importance, expression, and adornment. We will also investigate the use of color and collage as a design tool. Through demonstrations, lectures, and hands-on projects, we will discover the many methods of selection, integration, and assembly inherent to this limitless range of materials. The workshop will be centered around lectures and demonstrations, with plenty of time for individual attention. All levels welcome. R O B E R T E B E N D O R F served as the
Belk Distinguished Professor in the Arts at East Carolina University for many years, and is now Professor Emeritus and enjoying “retirement” in Santa Fe, New Mexico. He has been the recipient of a Fulbright Fellowship to study at the State School of Applied Arts and Crafts in Norway and has taught at the University of Georgia and State University of New York at New Paltz. In 1995 he was awarded the American Craft Council Fellowship for his achievement and commitment to the craft movement. Bob is co-founder and past-president of the Society of North American Goldsmiths (SNAG) and is represented in collections worldwide including the Metropolitan Museum of Art; the Victoria and Albert Museum, London; and Yale University Art Gallery. The Smithsonian Institution invited him to participate in its Archives of American Art
Oral History Program and he was awarded the 2010 North Carolina Governor’s Award and the 2014 Lifetime Achievement Award from SNAG.
2 / WOOD Push Pull Play
In this workshop we will use pull and push toys as an introduction to creating surprising mechanical movements in wooden objects. Initially, students will explore the crossroads of movement, form, and narrative as they design and construct their own pull and push toys. In the latter part of the workshop we will develop strategies for translating what we have learned into other objects such as sculpture, furniture, or automata. All levels welcome. K A T I E H U D N A L L lives and works in Indianapolis, Indiana, where she teaches Furniture Design at the Herron School of Art & Design. She has been the recipient of the Windgate Wood Residency at the University of of Wisconsin-Madison, an Anderson Ranch Residency, and most recently an ITE International Windgate Fellow at the Center for Art in Wood in Philadelphia. Her work has been in publications and exhibitions including Studio Furniture: The Next Generation, Crafting A Continuum: Rethinking Contemporary Craft, and Why Wood at SOFA Chicago. katiehudnall.com
2 / V I S I T I N G C U R AT O R Haystack’s curator in residence program is designed to bring attention to curatorial work and scholarship in the field of craft, art, and design.Visiting curators augment the session with informal activities and are not workshop leaders. 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
A Half Month’s Worth by Katie Hudnall, 2013. Various salvaged woods, fasteners, string, and watercolor paper, 70” x 15” x 34.” Photo by Michelle Given
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’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, Ceramics and Community, about gender and post-war ceramics practice, was recently published. www.arthistory.ucsb.edu/people/ jenni-sorkin
Artistic Research
Artists are always driven by something: autobiography, a micro-history, a connection to nature, an exploration of ideas or materials. In a contemporary art world increasingly dependent upon conceptuallydriven and text-based works of art, how can artist-driven research clarify or sharpen a body of artwork? In this series of informal workshops, together we will work to find ways to derive meaning, create specificity, and offer more clarity and grounding in individual artistic practice, through writing exercises, readings, and wide-ranging discussions.
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SESSION
THREE JULY 15–27 3 / CERAMICS Form and Rhythm, For the Table
This workshop will focus on the life of tableware, from its conception and birth on the wheel to its regular use at the table. Through the lens of contemporary Japanese aesthetics, craft, and food culture, we will explore the living vessel, how it is made and how it is used. A throwing technique—rooted in the tradition of Karatsu, Japan that uses speed, rhythm, and free spirit to infuse simple vessels with energy—will be demonstrated. Looking at Japanese concepts of plating and the importance of variety and rhythm in setting the table, this workshop will expand your vision of functional pottery and its relationship with food. All levels welcome.
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H A N A K O N A K A Z A T O comes from
a family of potters in Japan stretching back fourteen generations and maintains studios in Karatsu, Japan and Union, Maine. Combining the traditions and techniques of Karatsu with contemporary western influences, from Scandinavian design to house music, she makes simple, lively vessels for the table that speak to audiences across cultures. monohanako.com
3 / FIBER Piece Play Propagate
Piecework is an assemblage of parts joined together through a variety of fiber processes and more broadly, a conceptually and culturally-rich methodology. Students will begin by focusing on creating textile surfaces through a number of techniques including piecing, cording, dyeing, beading, weaving, appliqué, and net-making, and will be
The West Collection. She is a 2015 Pew Foundation Fellow in the Arts and the recipient of an Independence Foundation Grant, Pollock-Krasner Foundation Grant, Creative Capital Foundation Grant in Visual Arts, and New Jersey State Council for the Arts Grant in Sculpture. carolinelathanstiefel.net
3 / GLASS Hot Mess
encouraged to gather and play with a variety of materials that could have personal or cultural significance while “growing” their surfaces through layering or repetition. Later, as the work propagates, we will begin to think about structure and how these collaged and pieced works could be displayed in space, on the wall, or within a structure. All levels welcome. C A R O L I N E L AT H A N - S T I E F E L
received a BA in Visual Arts from Brown University and an MFA from the Maine College of Art. Her work has been in exhibitions at the Museum of Contemporary Art Jacksonville, Maine’s Portland Museum of Art, The John Michael Kohler Arts Center, Suyama Space, The Delaware Contemporary, and Galerie Articule in Montreal. Caroline’s work has been shown at the Philadelphia International Airport, Leonard Pearlstein Gallery at Drexel University, Philadelphia Art Alliance, Tiger Strikes Asteroid, and
Detail. Surface. Mimicry. Pattern. Students will use the hot-blow-mold technique to transform objects—from the everyday to the unique—into richly textured blown glass. We will collect, modify, and invent objects. Inspiration for our forms and textures might come from the forests, beach, grocery store, the body, the imagination. This workshop will equally inhabit the mold room and the hotshop: we will learn the mysteries of mold making, including tackling rubber, alginate, and silicone molds, and lost wax processes; and will learn how to blow glass into our hotblow-molds and explore color applications to further support or pervert the glass’s relationship to its original object. Students can expect to create forms imbued with exceptional detail, enabling exploration of shape and surface both known and invented. All levels are welcome. S U Z A N N E P E C K is a visual artist, writer, curator and educator living and creating in Brooklyn, New York. She has taught—and her work has been exhibited— throughout the US, Europe, and Australia. Her work considers themes of touch, skin, and interconnectivity. She received an MFA in Glass from the Rhode Island School of Design and glass is a constant presence, physically and/or conceptually, in her practice. Suzanne uses photography, video, textiles, and haptic technologies to explore her ideas as well. suzannepeck.com
Coffee Dripper by Hanako Nakazato, 2016. White Stoneware, 5” (d) x 9” (h).
Untitled (Yellow) by Caroline Lathan-Stiefel, 2016; Fabric, netting, pipe cleaners, thread, and wire; 13” x 16.” Photo by Gerry Piotrowski
Submerge (digital video still) by Suzanne Peck, 2009. Dimensions variable.
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3 / GRAPHICS The Gifts
Typewriter Drawing, Big Flowery Pot by Lenka Clayton, 2017. Typewriter ink on typewriter paper, 8.5” x 11.”
This is a fast-paced, interdisciplinary workshop designed to expand the possibilities of students’ practices using a wide range of materials and processes—driven by conceptual thinking. Play, improvisation, communication, experimentation, and the creative possibilities of limitation will be emphasized. Students will explore the potential of objects as prompts for taking creative action. A series of wrapped, unusual items will be presented at intervals—to be carefully and deeply considered and as cues to use a variety of thinking and research tools to create work in response. Mediums might include writing, drawing, photography, sculpture, performance, installation, video, etc. The workshop’s bricoleur-based approach (creating using whatever materials are available) will deepen students understanding of their own creative process and they will leave with a new body of work as well as sketches and ideas that can be further developed. All levels welcome. L E N K A C L A Y T O N is an interdisciplinary
Copper Chiclet Tray by Myra Mimlitsch-Gray, 2012. Copper, Bronze, tin. 2.75” x 16” x 11.5.” Photo by the artist
Concrescence by Michael O’Malley, 2016. Walnut, Camphor, Cherry, Pine, paper, brick, iron, aluminum, graphite, and clay. Photo by the artist
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artist whose work engages with everyday situations, extending the familiar into the realms of the poetic and absurd. She is the founder of An Artist Residency in Motherhood, a self-directed, open-source artist residency program that takes place inside the homes and lives of artists who are also parents. She lives and works in Pittsburgh, Pennsylvania, where she was named Emerging Artist of the Year 2013 and in 2014 was awarded a Carol R. Brown Award for Creative Achievement. Other supporters include the Rothschild Foundation, Headlands Center for the Arts, The Andy Warhol Foundation, and National Endowment for the Arts. Lenka’s work has exhibited at the Metropolitan Museum of Art, Solomon R. Guggenheim Museum, The Fabric Workshop and Museum in Philadelphia, FRAC Le Plateau in Paris, Kunstmuseum Linz in Austria, and the Tehran International Documentary Festival in Iran. lenkaclayton.com
P H I L L I P A N D R E W L E W I S is an
artist working in a variety of media including photography, video, objects, and sound. His creative research, which examines duration, perceptual limits, and attentive observation, often responds to historical events, psychology, and phenomenology. He teaches in the Art Department at the University of Tennessee Chattanooga and is involved in collaborations with artists and various groups. In 2012 Phillip received a Creative Capital Grant in Visual Art for his ongoing long-term project SYNONYM and has also received support from the Headlands Center for the Arts, Culture and Animals Foundation, Center for Creative Photography, Foundation for Contemporary Art in New York, and Bemis Center for Contemporary Art. Phillip co-founded Medicine Factory, an independent arts organization in downtown Memphis committed to supporting installation-based works. phillipandrewlewis.com
3 / M E TA L S Pairings
This workshop is an exploration of forms that connect to each other, resulting in objects that belong together. Samples will be developed in the first week: sharing of parts is encouraged in order to expand aesthetic and conceptual vocabularies. The second week allows for individual projects. Techniques such as sinking, raising, ingot pouring, and hot-forging silver, and various construction methods, will be covered. Functionality will be considered within the creative discourse. Some experience with basic metal/jewelrymaking skills, such as sawing, filing, and hightemperature soldering is required. M Y R A M I M L I T S C H - G R A Y is a metalsmith and Head of the Metal Program at SUNY New Paltz. She has received awards including the United States Artists Fellowship in Crafts and Traditional Arts, and individual fellowships from the Tiffany Foundation, National Endowment for the Arts, and New York Foundation for the Arts. In 2016 she became a Fellow of the American
Crafts Council. Myra is the subject of an interview that is part of the Smithsonian Archives of American Art. Her work has been in exhibitions at the Samuel Dorsky Museum of Art and as part of the Master Metalsmith series at the Metal Museum. Her work is currently on view at the Museum of the City of New York, and is in the Collections Galleries at the Cooper-Hewitt Smithsonian Design Museum, Boston’s Museum of Fine Arts and the Yale University Art Gallery. mimlitschgray.com
3 / WOOD Sculptural Furniture and Speculative Joinery
While joinery serves to make an object possible mechanically, increasingly it is used conceptually to carry a narrative. This workshop will focus on how one element meets and connects with another, both physically and metaphorically. Do I employ a hand cut dovetail, a lap joint made with the CNC machine, laminate with glue, use a mechanical fastener or employ gravity, tension, etc... We will work with poplar—a soft hardwood that grows fast, is inexpensive, and readily lends itself to first iterations. Doing tests, practicing techniques, understanding wood, drawing, and access to the Haystack fab lab will be encouraged in making functional sculpture of the participant’s design. All levels welcome. M I C H A E L O ’ M A L L E Y is Professor
of Art at Pomona College, in Claremont, California. He received a BA in English from the University of Notre Dame. After volunteer work on the Pine Ridge Indian Reservation he returned to school to study art, receiving a BFA from the New York State College of Ceramics at Alfred University. Following extensive travels, he received an MFA from Stanford University. Michael’s work has spanned a number of areas— large-scale installations, video, sculpture, furniture, and social practice gestures. Along with gallery and museum shows his work is often sited to the domestic environments. michaelomalley.org
In the Valley of the Sun by Phillip Andrew Lewis, 2014. Live video, monitors, and roof mounted closed-circuit cameras, dimensions variable.
3 / VISITING ARTIST Visiting artists augment the session with informal activities and are not workshop leaders. J I N L E E is a Chicago-based photographer whose project centers on forming a deeper relationship to places through close examination of its landscapes, and is a Professor of Art at Illinois State University. She has received the John Simon Guggenheim Fellowship and the Illinois Arts Council grant, and has had solo shows at the Museum of Contemporary Photography, Chicago Cultural Center, and Sioux City Art Center. Jin’s works are included in the
permanent collection of the Art Institute of Chicago, Los Angeles County Museum of Art, Madison Art Center, and Museum of Contemporary Photography. She is represented by Devening Projects gallery in Chicago. jinslee.net
Seeing Landscape
Through informal workshops we will explore the relationship of landscape to time, memory, and perception. We will consider how a connection to a place structures our feelings, thoughts, and a sense of belonging, and look at various examples and traditions of landscape art, from Asian screen paintings to documentary photographs.
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SESSION
FOUR JULY 29–AUG 10 4 / CERAMICS Looking Back, Moving Forward: Growing From the Roots
Using folk pottery traditions as the springboard, we will be using brushwork, stamping, and incising to find our contemporary voices. Participants will be guided through a series of lively throwing and surface decoration demonstrations as well as fun brushwork exercises. There will be time to experiment with the relationships between form and surface, function and imagery, and pattern development. We will use high fire stoneware clay and explore slip and glaze strategies for the salt kiln including pigmented wax resist and latex resist. We will discuss the day-today practicalities of life as a studio potter and develop a sense of curiosity and playfulness that can help our work evolve. All levels welcome.
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M I C H A E L K L I N E received a BFA in
Ceramics from the University of Tennessee Knoxville. For most of his career, he has worked with wood-fired salt-glazed stoneware, usually with organic patterns painted on a thick white slip surface. In 2015 he visited the Freer-Sackler Wing of the Smithsonian Institution and was struck by 15th C. examples of the Korean sanggam technique. Since then, he has focused on applying this technique to his own work, creating floral stamps and inlaying the impressions with white slip on a dark stoneware base. His work is in the collection of the Islip Art Museum, New York and has recently exhibited at the Weisman Museum, California and at AKAR Design Gallery, Iowa. klinepottery.com
and cotton, silk, or wool fabrics; and how each step interacts with the materials. All levels welcome. M E E TA M A S TA N I A N D S A R A H K . K H A N will co-teach. Meeta,
4 / FIBER South Asian Rajasthani Traditional Block Printing and Natural Dyeing
Enter a workshop steeped in Indian traditional block-printing and natural dyeing. Using common South Asian and local Maine, organic and plant materials, participants will learn about the South Asian Rajasthani history, practices, and science of block printing and dyeing. Inspired by a super shero we created, we will guide participants to pull from their own narratives, draw block images and patterns, mix and match the natural dyes, plan and execute the sequential block-prints and dyeing steps on a series of scarves. Participants may finish the scarves with stitching, embroidery, and embellishments. Through each process, participants will develop a practical and sensory understanding of the natural materials used such as wood, an array of plant material and organic dyes,
an artist and designer is based in New Delhi. She has worked with Rajasthani traditional block printers and dyers for over twenty-five years and co-founded the company Bindass Unlimited (https://www.bindaasunlimited. com). Her textile creations are wildly playful and beloved across the country. Sarah K. Khan, trained in plant sciences, met Meeta while on a Fulbright in India in 2001. Sarah recently designed and completed her second round of Super Shero scarves and silkscreened books in collaboration with Meeta. Her super shero is the narrator and force behind her animated short films on Indian women farmers. In 1947 at the partition of the sub-continent, when India and Pakistan were formed, their mutual families parted for the other side—Sarah’s family went from Amritsar and Simla in India to Pakistan, and Meeta’s journeyed from Sindh in Pakistan to Delhi. In their on-going conversation and collaboration—for nearly twenty years— Meeta and Sarah are partitioned, no more. amritasimla.com | sarahkkhan.com
Yunomi by Michael Kline, 2017. Stamped inlaid stoneware with underglaze brushwork, 5” (h). Photo by Tim Barnwell
4 / GLASS The Cup and Knowledge Contained
The cup is arguably our most iconic implement. Used for thousands of years for everything from quenching thirst, celebratory drinking, cultural ritual to storing valuables, they come in endless variations and presentations. The intimate scale and relatively quick time to produce them makes it the perfect object for advancing skill sets. In this workshop we will start with the simplest, most humble examples and focus on refinement and slowly build from there. We will cover a wide range of techniques from posture, to proper bubble set-up, centering, trimming, optics, wraps, and color application. Previous experience with glass required.
Faiz poetry scarf by Meeta Mastani, 2017. Cotton, 22” x 71.” Photo by the artist
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4 / GRAPHICS Getting Weird and Hilarious
Pink Cups by Granite Calimpong, 2015. Glass, dimensions variable. Photo by David Clugston
G R A N I T E C A L I M P O N G grew up the son of a potter in Northern California, so his hands were covered in clay long before he discovered glass. Making and living with handmade objects has always been an integral part of everyday life. He graduated with a degree in Interdisciplinary Computing in the Arts from the University of California, San Diego, where he was first introduced to glass. Granite has spent the last ten years in the Seattle area working as a member of numerous local hotshop teams and as a fabricator for artists seeking glass components for their work. He has also maintained a studio in the Ballard neighborhood for the past seven years in the collaborative space 5416. granitecalimpong.com
This workshop will approach drawing as a conceptual and metaphorical material to explore both traditional and non-traditional techniques. The workshop will provide and establish a solid foundation in the techniques and language of drawing as a vehicle into experimentation. Studio time will be process driven using the natural landscape and the studio to explore abstract and figurative narratives. Open to all artists working in different materials wanting to establish a new language in drawing as well as experienced practitioners—All levels welcome. W I L L I A M J . O ’ B R I E N ’s multi-
disciplinary practice—painting, sculpture, drawing and installation—grows out of a personal, intuitive process. He received an MFA in Fiber and Material Studies from The School of the Art Institute of Chicago. His works address the tension between order and chaos, weaving repetition and mantra into a fresh minimalistic practice. Gesture is the central motivation of his artistic operation, material usage ranging from clean to messy
Amrita Simla Screen print, handmade paper books by Sarah K. Khan, 2015. Cotton, 5” x 7.” Photo by the artist
William J. O’Brien exhibition by William J. O’Brien, MCA Chicago, January 25–May 18, 2014. Photo: Nathan Keay, © MCA Chicago
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alluding to an inherent physicality. Such physicality yields a wide range of media, including stitched felt, loosely sculpted ceramic forms, steel totems, bronzes, and colorful pencil drawings. William’s work has been exhibited at The Renaissance Society at The University of Chicago; Nerman Museum of Contemporary Art, Kansas; and the Museum of Contemporary Art, Chicago. williamjobrien.com
4 / M E TA L S Material Practice/Jewelry Making
During this workshop, each morning will begin with an introduction and discussion regarding a different material. We will spend time examining such resources as wood, rubber, glass, tin, iron, cement, and found objects. Afternoons will involve a method of incorporating objects into jewelry of all types. Through silver and tin-smithing techniques, we will cover stone setting, object containment, mending, cold connections, linking, and other means of attachment. All levels are welcome to this experiment driven workshop as we consider and question jewelry and jewelry making. E L L E N W I E S K E is an artist who works in
many materials. Primarily a metalsmith, she received a BA from Wayne State University in Detroit and an MFA from Cranbrook Academy of Arts. She worked in the jewelry industry for eighteen years as a jeweler/ stone setter/designer. Ellen has taught many workshops and courses including; Arrowmont, Penland, Haystack, 92nd Street Y, and the Massachusetts, Oregon, and Maine Colleges of Art. Her work has been exhibited in galleries and museums nationally and in Germany, New Zealand, and France, and is in the permanent collection of the Farnsworth Art Museum. Ellen maintains Dowstudio, her studio/ gallery, with wife and potter Carole Ann Fer in Deer Isle Maine. She has also been the Assistant Director at Haystack since 2003. dowstudiodeerisle.com
4 / WOOD Starting from Scratch
Where does making begin? It is widely argued that the use of our hands to shape and use tools has made us who we are. Humans have been making things by hand since before we were Homo sapiens. Simple stone tools were fashioned and used by Australopithecines over 3 million years ago and they can be recognized by the distinctive marks or their making. Making and mark-making are fundamental to art and design. In this workshop we will begin with the basics—walking into the woods to collect materials to work with, then we will get to the core of making and thinking by creating small wooden forms whittled with a simple knife. These objects and the process of making them will then inspire further artistic explorations through making or performance. Woodworking will lie at the heart of this workshop but won’t limit our investigations. All levels welcome. D O N A L D F O R T E S C U E is a Professor of Art and Design at the California College of the Arts in San Francisco. His work uses traditional craft techniques and contemporary digital technologies in tandem. He is currently completing a Ph.D. at the Australian National University where his research explores congruencies between the methodologies, aspirations, and limits of ‘science’ and ‘art’. Last year Donald was a US National Science Foundation Antarctic Artist and Writers Fellow at the South Pole, where he worked in collaboration with the IceCube Neutrino Observatory. His work has been exhibited in Australia, US, Europe, Asia, and South America. Donald received the Experimental Design Award from San Francisco’s Museum of Modern Art in 2001 and his work is in the permanent collections of the National Gallery of Australia, Powerhouse Museum in Sydney, Museum of Arts and Design, Museum of Fine Art, Houston, and the San Francisco Museum of Modern Art. donaldfortescue.com
Ducktape earrings (View 1) by Ellen Wieske, 2017. Silver, ducktape. Photo by the artist
On the Level #2 2014. Recycled redwood. 85” x 85” x 100” (h). Photo by the artist
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Summer Conference July 8–12
Sustainability: Impulses, models and practices
Haystack’s 12th annual summer conference is intimate in scale, combining lectures, discussion groups, studio-based workshops, and informal talks to explore ideas on craft, community, and creative process.
Brochure with complete lineup of presenters, workshop leaders, schedule, and registration procedures available February 2018. For more information or to be added to our conference mailing list email haystack@haystack-mtn.org.
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Past conference presenters
2 0 1 8 C O N F E R E N C E R AT E S
Tuition $490 Room & Board Single with bath limited availability
$875
Double with bath
$600
Quad with bath
$530
Double $395 (near central washroom) Triple $245 (near central washroom) Dorm $195 (near central washroom) Day Student $165 (rate includes all meals)
Tanya Aguiñiga Sandra Alfoldy Siemon Allen Nora Atkinson Dan Beachy-Quick Paulus Berensohn Christina Bertoni John Bielenberg Nancy Blum Laura Brown Rick Brown Judith Burton Akiko Busch Kendall Buster Robert Campbell Jamie Carpenter Alison Chase Sonya Clark Matthew Crawford Erik Demaine Martin Demaine Andrea Dezö Charles Garoian Neil Gershenfeld Saul Griffith Sabrina Gschwandtner Diana Guerrero-Maciá Meredith Hall Del Harrow Molly Hatch Ayumi Horie Laura Hosaluk Michael Hosaluk Peter Houk Tim Ingold Jeanne Jaffe Matthew Jeffs Ole Jensen Daniel Johnston Jamie Johnston Tom Joyce Sarah K. Khan
Maira Kalman Janet Koplos Jack Lenor Larsen Liz Lerman Faythe Levine Carole Frances Lung Ellen Lupton Lydia Matthews David McFadden John McQueen Nathalie Miebach Amon Millner Michael Moore Stephen Nachmanovitch Arturo O’Farrill Michael O’Malley Shelia Pepe Jeanne Quinn Ronald Rael Rowland Ricketts Brian Rotman Paul Sacaridiz Judith Schaechter Warren Seelig Ezra Shales Pradeep Sharma Jenni Sorkin Kim R. Stafford Michael Strand Shannon Stratton Susan S. Szenasy Jeanine Thompson Jacob Tonski Matthew Trimble Allan Wexler Namita Gupta Wiggers Anne J. Wilson Frank Wilson Joe Wood Lily Yeh Amit Zoran
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SESSION
FIVE AUG 12–24 5 / CERAMICS Rethinking the Mold
Molds have been used for centuries as a way of creating multiples and one-of-akind ceramic objects. While mold-forming techniques can sometimes be viewed as rigid and somewhat tedious, this workshop is intended to celebrate experimentation and blur the lines between the handmade and the industrial. Students will explore both classic and innovative ways of creating prototypes and learn how to work with plaster to generate molds for slip casting and press molding. We will investigate how to use press molds, sprig molds, and CNC milled stamps to construct and decorate unique forms. Participants will be asked to playfully explore multiple techniques and rethink how molds can be incorporated into their own unique studio practices. Previous experience with ceramics preferred.
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B R O O K S O L I V E R is a ceramics
instructor and Program Coordinator at the University of North Texas and a studio artist based out of Dallas. He recently completed a long-term residency at the Archie Bray Foundation in Helena, Montana, and this past year, was named one of the 2017 Emerging Artist at the National Council on Education of the Ceramic Arts (NCECA). Brooks received a BFA from Southern Methodist University, completed post baccalaureate studies at Syracuse University, and received an MFA from Pennsylvania State University. He has taught in Jindezhen, China with West Virginia University and regularly teaches workshops in and out of university settings. His work has been in exhibitions at Northern Clay Center, Archie Bray Foundation, Dallas Pottery Invitational, Penland Gallery, Belger Crane Yard Gallery, and Western Carolina University Fine Art Museum. brooksoliver.com
F R A S E R T A Y L O R is an interdisciplinary visual artist and educator who lives in Glasgow, Scotland. He studied textile design at Glasgow School of Art and the Royal College of Art. Fraser co-founded The Cloth, a creative studio focused on contemporary textile design and production. Since 1983 he has developed an interdisciplinary art practice and exhibited internationally, and his curatorial projects have included innovative collaborations with visual artists, designers, and contemporary dance. As an educator Fraser has lectured at leading fine art and design institutions, and from 2001 until 2017 was a Visiting Artist and Adjunct Professor in the Department of Fiber and Material Studies at the School of the Art Institute of Chicago. In 2017 he was awarded an Honorary Professorship from Glasgow School of Art, University of Glasgow. frasertaylor.com
5 / GLASS
LOL by Brooks Oliver, 2016. Slip cast porcelain, 14” x 10” x 8.” Photo by the artist.
Scalloway (installation at Threewalls Chicago) by Fraser Taylor, 2015. Printed cloth, dimensions variable.
Hot Shop Chop-Busting
5 / FIBER Surface Design
The focus of this workshop will be on examining the physical relationship between drawing and printing. Printing onto fabric, paper, and other flexible substrates, a range of processes will be introduced employing textile pigments. Silkscreen and direct printing techniques, such as monoprinting, will be used to examine single image and repeat structures, multi-colored layered printing, scale, and composition. Emphasis will be placed on developing a personal visual language and examining the appropriateness of process, image, material, and installation strategies. All levels welcome.
This workshop will employ unconventional learning tools in the hotshop. From an understanding of glassblowing as a movement-based practice, we will use mark-making, sound, video, motion-analysis apps, and augmented hand tools to improve as glassblowers. This workshop will draw heavily from technical study, and its role as a gateway to open interpretations of glass practice. Blowpipes out-of-level will emit sounds. Turning at the bench will generate drawings. Video of ourselves blowing will be analyzed in cringe-worthy slow-motion. All levels welcome, including instructors of glass that are interested in reframing how we learn and teach glass.
West Coast Botanicals, by Emily Arthur, 2016. Screen print on dyed Canson paper. Unique Print. Collection of the Autry Museum of the American West, Los Angeles, California, 20” x 1”.
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painterly print techniques such dye, flock, gilt, and chine collée. Students will experience encouragement of their own individual art making as directed by the unique quality of printmaking. All levels welcome. E M I L Y A R T H U R , an Assistant Professor
Infinitive by Helen Lee, 2017. Neon, 64” x 64” x 4.” Photo by the artist
H E L E N L E E is an artist, designer,
Doomsday Device and Amplifier by Elliot Clapp, 2015. Birch plywood, circuit bent electronics, electronic components, and thumbtacks, 6.5” x 5” x 2”, 2.5” x 4” x 3.5.”
educator, and glassblower. She is currently an Assistant Professor and Head of Glass in the Art Department at the University of Wisconsin-Madison. Helen received a BSAD in Architecture from the Massachusetts Institute of Technology and an MFA in Glass from the Rhode Island School of Design. She has received awards including the inaugural Irwin Borowsky Prize in Glass Art, Edna Wiechers Arts in Wisconsin Award, and Gold Award in the Bullseye Emerge 2016 exhibition. Helen’s work is in the collections of the Minnesota Museum of American Art, Corning Museum of Glass, Chrysler Museum Glass Studio, and Toyama City Institute of Glass Art. She has taught at RISD, California College of Art, Toyama City Institute of Glass Art, Pilchuck, Haystack, Chrysler Museum Glass Studio, and MIT Glass Lab. pink-noise.org
5 / GRAPHICS Lasting a Day, Forever: Screen Print & Ephemera Pad Bracelet by Arthur Hash, 2016. Sterling Silver, 5” x 5”x 1.” Photo by the artist
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This print workshop will cover the major methods of serigraphy. Additive and subtractive methods of screen construction will be introduced along with traditional and alternative methods of printing with water based ink. Students will create editions with hand drawn, digital, stencil, and photo emulsion methods. Studio practice will include
of Printmaking at the University of Wisconsin-Madison, received an MFA from Pennsylvania Academy of Fine Arts and served as Fellow at the Barnes Foundation for Theoretical and Critical Research. Her work is in the collections of the Tweed Museum, Denver Art Museum, IAIA Museum of Contemporary Native Arts, the Autry Museum of the Americn West, and Crocker Art Museum. Emily works with zoologists and botanists to elucidate the craft and knowledge-based disciplines of art and science at this moment when both are being distorted and devalued. emilyarthur.org
5 / M E TA L S Crafting Electronics
This interdisciplinary and collaborative workshop will focus on creating wearable work that combines traditional craft with embedded electronics. Participants will learn riveting, soldering, etching, piercing, embroidery, and sewing as well as simple electronics, soft-circuitry, digital fabrication, and basic programing. This low-tech approach to technology will be situated in metals and will move between multiple studios using the digital fabrication tools in the Haystack fab lab. This workshop is designed to help make electronics more accessible to the artist. All levels are welcome. A R T H U R H A S H is an Assistant Professor at the Rhode Island School of Design. He received a BFA in Crafts/Material Studies from Virginia Commonwealth University and an MFA in Metalsmithing and Jewelry Design from Indiana University. In 2013, Arthur co-founded and managed the Makerbot Innovation Center for Fine and Performing Arts at the State University of New York at New Paltz. Recent exhibitions
of his work include Beyond Bling at the Los Angeles County Museum of Art, Body Language: Contemporary Art Jewelry at the Wayne Art Center, and Virtual Object, at the Form Concept Gallery. Arthur’s work is in the permanent collections at Museum of Fine Arts, Houston and Racine Art Museum. https://arthur-hash.squarespace.com E L L I O T C L A P P is a designer and
educator living in Providence, Rhode Island, where he received a BFA from Rhode Island School of Design and graduated from the Inaugural class of MIT’s Fab Academy. His career has taken a varied path among the disciplines of design, photography, web development, video game design, and digital fabrication. Weaving itself throughout his life is a growing passion for teaching and learning. Elliot is especially interested in helping people use new technology in creative ways. With this growing experience in emerging technology and a lifelong interest in electronics Elliot returned to RISD in 2012 and has been a strong advocate for the creative integration of technology— virtual reality, software, programming, and electronics—in Art and Design.
even glitter, with an approach to furniture through the lens of sculpture and surface. All levels welcome. B R E N T S K I D M O R E is an Associate Professor of Art & Art History and Public Arts and Humanities Chair at the University of North Carolina Asheville where he is also Director of Craft Studies, Advocate and Educator for the next generation of makers, and Co-Founder of STEAM Studio @ the RAMP. Brent received a BFA from Murray State University in Kentucky and an MFA from Indiana University. He is a current and past board member for Journeymen Asheville, the Center for Craft, Creativity & Design, and the Craft Emergency Relief Fund. Brent has taught for twenty-six years at universities and many of the craft programs across the US. brentskidmore.com
5 / VISITING ARTIST Visiting artists augment the session with informal activities and are not workshop leaders. S H E I L A P E P E is a cross-disciplinary art-
5 / WOOD Furniture: Form, Texture and Surface in Sculpted Form
In this workshop we will explore techniques for sculptural form development, studio furniture, and a vast array of texturing techniques. We will look for the true answers to all your wood painting and surface treatment questions, how to make multiples—“Do I spray or brush, should I use the CNC carver, do I use milk paint or acrylic; can I just order those legs online?” All of these questions and more will be answered as we present tried and true basic woodworking demonstrations and techniques for painting and texturing. We will use power carving approaches that introduce bandsaw techniques, grinders, and other sculpting processes applicable to furniture. Discover the joy of making fanciful forms with all the glitz, glamour, and maybe
ist employing conceptualism, surrealism, and craft to address feminist and class issues. Her work has been in solo exhibitions at Smith College Museum of Art and Weatherspoon Art Museum; and in group exhibitions at the first Greater New York at PS1/MoMA; “Hand + Made: The Performative Impulse in Art & Craft” at the Contemporary Arts Museum and Queer Threads at the Leslie Lohman Museum of Lesbian and Gay Art in New York City. She has done commissions for the 8th Shenzhen Sculpture Biennale in China, and Artisterium in Tbilisi, Republic of Georgia. “Hot Mess Formalism,” Sheila’s first mid-career exhibition, organized by the Phoenix Art Museum will be traveling to the Everson Museum and Bemis Center for Contemporary Arts in 2018. A book, with essays by curator Gilbert Vicario, Julia Bryan-Wilson and Lia Gangitano, accompanies the exhibition and is distributed by Prestel. sheilapepe.com
Congruency by Brent Skidmore, 2016. Coffee table: mahogany, basswood, stainless steel, acrylic paint, and glass, 31” x 31”x 18.”
Seeing Our Work in Context(s)
In these informal workshops we will consider the various contexts in which our work is seen—both literally and conceptually. Participants will gather visual resources that describe the precedents and influences of their work. We will engage in exercises of observation, description, and analysis of works at hand and we will look at works in progress to consider how and why decisions are made along the way. Together, we will follow the leads of precedent, influence, and decision-making to consider both the clarity of our expression and links to broad historical contexts. In all, we will practice those tools necessary for making meaning with our work. Sheila Pepe will be producing the 2018 Haystack Monograph. Initiated in 1991, Haystack’s Monograph Series provides a forum for thinkers from varied backgrounds to reflect on the idea, meaning, and implications of craft.
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SESSION
SIX AUG 26–SEPT 1 6 / CERAMICS Resilience: Form, Narrative, and Installation
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Inspired by personal stories, life experiences, and current political climate, this workshop will explore various methods for designing, engineering, and building a multi-piece sculpture that can be assembled as one. By pushing the boundaries of gravity and what can be done with clay, students will experiment with the flexibility to make endless combinations and learn easy and safe ways to ship ceramic works. Basic techniques of hand-building, press molds, and illustrating surfaces, will be covered, as well as discussions about content and context of your work. We will also go over basics on how to develop a proposal, installation instructions, and packing ceramics. Artists with an interest in ceramics, sculpture, installation, and narrative are strongly encouraged to apply. All levels welcome.
S A L VA D O R J I M É N E Z - F L O R E S is an interdisciplinary artist born and raised in Jalisco, México. Since coming to the US, Salvador has contributed to the art scene by producing a mixture of socially conscious installation, public, and studio-based art. His work has been exhibited at the National Museum of Mexican Art, Grand Rapids Art Museum, Urban Institute of Contemporary Art, Bemis Center for Contemporary Arts, and Casa de la Cultura in México. Salvador just finished a two-year artist residency at the Harvard Ceramics Program, Office of the Arts at Harvard University. From 2016–17 he also served as the Artist-In-Residence for the City of Boston. He is a recent recipient of grants from the New England Foundation for the Arts and the Joan Mitchell Foundation. salvadorjimenezflores.com
L O I S R U S S E L L is a fiber artist whose sculptural work reflects her background as a basket maker. She is a trustee with Society of Arts and Crafts in Boston, and the Craft Emergency Relief Fund, and serves on the Board of Overseers, Fuller Craft Museum in Brockton, Massachusetts. Lois has received numerous awards including an Award of Excellence at CraftBoston and Category Winner in Excellence in Fiber 2016. Her work is included in 500 Baskets, and has been featured in Fiber Art Now. Two of her pieces are included in “Rooted, Revived and Reinvented: Basketry in America,” a national traveling exhibition. loisrussell.com
Nadie descubrió las Américas/No One Discovered the Americas Installation by Salvador Jiménez-Flores, 2016. Porcelain and terra-cotta slip. Photo by the artist
6 / GLASS Constructive Play
6 / FIBER / BASKETS New Uses for an Ancient Technique
Basketmaking is an ancient craft rich in tradition and technique. Today’s artists are using age-old techniques to create sculptural pieces that challenge the definition of a “basket.” This workshop will focus on twining, a technique that uses two weavers at a time and allows for all sorts of exploration with colors, patterns, and textures. Using colorful, waxed linen thread, we will begin with a small pre-made base to make sure of the basics before plunging into the many possibilities of pattern and texture. We will also cover how to control the shape of a vessel, make a base, and finish with a simple rim. Although the workshop is skill-based, it is designed to put those skills to immediate creative use. Right from the start, everyone will be making design decisions, and when we finish, no two pieces will be the same. All levels welcome.
To expand your thought process, often you must expand your skill set; to expand your skill set, often you must expand your thought process. In this workshop students will build up technical skills in the hot shop. We will focus on both developing and honing a facility with hot glass while also incorporating more experimental ideas. We will study bubble anatomy—to decipher technically challenging shapes—and work through the processes of blowing while not forgetting how to push ourselves to play. All levels welcome.
Fate by Lois Russell, 2016. Twined Waxed Linen, 17” (h). Photo by Kay Lyon
D E V I N B U R G E S S lives in Greensboro,
Vermont where he runs Borealis Studios with his wife Jerilyn Virden. Aside from producing his own work, Devin also produces designs and executes projects for architectural firms and designers worldwide. He received a BFA in Sculpture and Printmaking from Alfred University, College of Art and Design, New York. Devin was a recipient of a three-year glass residency at Penland and has exhibited at SOFA, Philadelphia Museum of Art, and the Smithsonian Craft Show. borealisstudios.com
Alchemy by Devin Burgess, 2016. Blown glass.
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6 / GLASS BEADS
6 / GRAPHICS
Pattern and Play
Beyond Observation: Contemporary Plein Air
In this workshop we will explore the use of color, shape, texture, pattern, and themes to focus on ways to achieve our own personal style of bead making. Using glass stringers in the flame we will work with modular design principles to create geometric, floral, and animal forms on beads, We will delve into a variety of special materials and techniques that change the glass surface lending an interesting depth to the surface of the work. This will be a playful, fun session building on the methods we develop using stringer and design. We will explore the use of enamels, metal leaf, texture and patina, flame chemistry, special properties of certain colors, and other techniques. All levels welcome.
Rara Avis by Holly Cooper, 2014. Glass, 50mm x17mm. Photo by the artist
Mooning by Paula Wilson, 2015. Monotype, screen print, woodblock print, and spray paint on muslin, Variable edition of six made in collaboration with the University of Oregon.
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With a background in painting, art history, ceramics, textiles, jewelry, and glass, H O L L Y C O O P E R has been making lampwork beads in her Austin, Texas studio for fifteen years. Her glass techniques meld these disparate disciplines into her creative work. She draws inspiration from a variety of cultural and historical traditions and incorporates them into her glass beads using unique surface treatments to create depth and visual interest. Holly attended Columbus College of Art and Design and the University of Texas at Austin. She was a presenter at the 2009 and 2013 International Society of Glass Beadmakers’ annual Gathering. Her work is in private collections and at the Corning Museum of Glass and Kobe Lampwork Glass Museum in Japan. Holly has taught at studios around the world including The Glass Furnace in Istanbul, Association des Perliers D’Art de France in Paris, Japan, Russia, Australia, and throughout the US. Her work is included in 1000 Beads, Lammaga, and The Flow. hollycooper.com
Drawing from life generates a call and response between what is seen and what is created. Integrating unique and personal perspectives and, perhaps applying interfaces with technology and ecology, this workshop updates the tradition of working en plein air to give form to our present-day experiences with and in nature. Each day this hand/eye relationship is reinforced through one fundamental tenet of drawing and painting: light, form, color, perspective, or scale. These daily exercises will inform individual studio work. There will be demonstrations of layering and intermixing media, techniques and substrates—ink, pastels, acrylic, oil paint, collage, and monoprinting. All levels welcome. P A U L A W I L S O N is based in Carrizozo,
New Mexico. She received an MFA from Columbia University and presently coruns the artist-founded organization MoMAZoZo and the Carrizozo Colony. Her work is in the collections of The Studio Museum in Harlem, New York Public Library, Yale University Art Gallery, Kemper Art Museum, Tang Museum, and Saatchi Gallery, and in exhibitions at Bemis Center of Contemporary Arts, and Fabric Workshop and Museum. Paula is a recipient the Joan Mitchell Artist Grant, Art Production Fund’s P3Studio Artist-in-Residency at the Cosmopolitan in Las Vegas, and the Bob and Happy Doran Fellowship at Yale University. paulajwilson.com
6 / MIXED MEDIA / WOOD After Words: An Experiment in Making
After Words is an experiment in making without knowing in advance what is being made. This workshop will focus on the use of common, everyday materials as the starting point for an exploration of intuitive problem solving. Allowing the materials themselves to provide clues about constructing potential form, we will develop unique material sketches through mostly invented processes of accumulation and repetition, like wrapping, binding, connecting, attaching, twisting, knotting, piercing, layering, and more. Group conversations will allow us to look, think, talk, and ultimately use words in order to decipher what has occurred in the studio. All levels welcome. W A R R E N S E E L I G is a distinguished
visiting professor at the University of the Arts in Philadelphia where he teaches, curates, and writes on various subjects related to fiber, textiles, and material studies. He received a BS from the Philadelphia College of Textiles & Science and an MFA from Cranbrook Academy of Art. Warren has received multiple fellowships from both the National Endowment for the Arts and Pennsylvania Council on the Arts. His work has been included in more than thirty major museum exhibitions in the US, Europe, Japan, and Korea with many solo and group shows worldwide. He has lectured extensively including programs at the Gerrit Rietveld Academy Amsterdam, Royal College of Art in London, and at the Museum in Harlem, New York Public Library, and at the Korea National University of the Arts in Seoul. Warren’s work is in collections throughout the US and beyond, and was most recently acquired by the Hermitage Museum in St. Petersburg, Russia. warrenseelig.com
6 / WRITING Poetry in Action: A Tactical Resistance
Political philosopher Hannah Arendt wrote, “A life without speech and without action […] is literally dead to the world; it has ceased to be a human life because it is no longer lived among men.” The act of creating poetry is political. Yeats, Walt Whitman, Adrienne Rich and Allen Ginsberg each critically responded to the conflicts haunting their times. A writer’s impact today is more immediate and widespread due to social media. The question then arises: so what is valued? How can we write politically engaged poetry, without sounding dated, common, or cliché? Arendt’s suggestion is humane, modest, and straightforward. We must read, listen, and watch our world with intensity, because we live in it too. And we must write with intention. In the morning sessions, each workshop participant will study a diverse array of contemporary poets and then employ these unique structures, inspirations, and poetic devices to craft their own political poems. In the afternoon we will share, hone our poems, and raise our voices together in resistance. All levels welcome. m e l i s s a c h r i s t i n e g o o d r u m ’s experiences include Guest Editor of Other Rooms Press’ first print anthology: Ocellus Reseau, Co-Editor of The Brooklyn Review, Designer/Publisher/Editor of Cave Canem’s “Writing Down the Music” and “Letters to the Future,” Co-President of the Cambridge Poetry Awards, Administrative Director of Bowery Arts & Science, and recipient of a Zora Neale Hurston Award from the Jack Kerouac School of Disembodied Poetics at Naropa University. Thanks to a 2016 stipend from the National Endowment for the Humanities, she studied the works of the political philosopher Hannah Arendt.
Shadowfield/Colored Light/Square by Warren Seelig, 2017. Multicolored Lexan and silver brazed stainless steel, 24” x 24” x 5.” Photo by Jack Ramsdale
The result was a collaborative multi-media eruption at the John Natsoulas Gallery, A Political Lacunae: Verb-ing Violence into the Visual. Her poetry can be found in The New York Quarterly, The Torch, The Tiny, Rhapsoidia, canwehaveourballback?, Transmission, a harpy flies down, The Bowery Women Poems, an anthology, and a fivepoet anthology, Urgent Bards. definitions uprising, is available thanks to New York Quarterly Books. books.nyq.org/author/ melissachristinegoodrum
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FA B LAB Haystack’s fab lab was established in 2011 and has become an integral part of our mission to think broadly about the field of craft. Fab labs, an educational outreach component of MIT’s Center for Bits and Atoms, are an international network of over 1,000 small-scale digital fabrication facilities that spans 30 countries and 24 time zones. Fab labs provide connection to a global community of learners, educators, technologists, researchers, makers, and innovators. Haystack is the only craft school in the United States that is part of this network, and in 2016 our lab was recognized with the Distinguished Educators Award from the James Renwick Alliance, for pioneering
contributions to craft education. During the winter months Haystack provides fab lab access to our local community through projects in the schools and digital fabrication training. At Haystack, the fab lab serves as a complement to our existing programs, and no prior experience is required to use the lab. We partner with trained professionals from MIT, Harvard Graduate School of Design, AS220, and fab labs around the world to staff the lab and provide access to artists in residence, conference presenters, faculty, and workshop participants. The culture found in the Haystack fab lab is one of experimentation, risk taking, and collaboration.
H ardware Universal VLS 350 50 Watt Laser Epilog Legend 24TT 35 Watt Laser Roland GX -24 Vinyl Cutter Roland Modela MDX -20 Desktop milling machine Shopbot Desktop CNC Router Shopbot PRS Alpha CNC Router MakerBot Replicator 2 Experimental 3D printer FormLabs Form 1 desktop SLA printer 3D Systems sense digitizer handheld scanner Heat Press One PC with high-speed graphics capability Two iMacs work stations Five PC’s for dedicated machine control Sindoh 3D Wox 3D filament printer ShopBot HandiBot portable CNC router Brother SE 1800 digital sewing machine Electronics bench that includes soldering stations, oscilloscope, power supply, and a generous stock of components
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S O F T ware Adobe Creative Suite CorelDraw Rhino 123D Inkscape Gimp
Blender Meshmixer VCarve SketchUp Partworks
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SE S S I O NS 1 – 6 GEN ER A L AP P L I CA T I O N
TUITION, ROOM & BOARD,AND SHOP FEES
Charges vary depending on the length of the session, the accommodations desired, and the shop fee. Add together the cost of your tuition and room & board preference to determine the total for your workshop that is payable in advance.
Room & Board Single with bath limited availability
$2,355
$1,305
Double with bath
$1,550
$860
Quad with bath
$1,475
$800
Sessions 1–5 Session 6
Tuition $1,085 $580 (each session)
Double $1,035 $575 (near central washroom) Triple $615 $340 (near central washroom) Dorm $470 $270 (near central washroom) Day Student $425 (rate includes all meals)
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$250
Blacksmithing: Estimated at $100 per week for the cost of coal and steel
Credit costs are set by the respective institutions and are subject to change.
Glass: Estimated at $250–$350 per week week for the cost of hot glass
O T H E R I N F O R M AT I O N
A C C O M M O D AT I O N S For general applicants, when indicating your preference for accommodations, be sure to include your first and second choices on your application. While we make every effort to assign participants their first choice, depending on availability, we occasionally must assign their second choice.
C ancellation P olicy If a cancellation is received prior to 30 days before a session begins, deposits are refunded, less a $100 cancellation fee. There is no refund if a cancellation is made within 30 days of your session.
A cademic C redit SHOP FEES Shop fees cover the cost of materials for common use in a studio and are the responsibility of each participant, including scholarship students and technical assistants. Haystack calculates these costs at the end of each session to most accurately reflect the amount of materials used during each workshop for all participants. Supplies not provided for in the shop fee may be purchased at the school store. Common shop fees range from $25 to $75 per week with the exception of the following workshops: Ceramics: Estimated at $100 per week for the cost of clay, glaze, and firing
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 $291 per credit hour, and graduate credit costs $422 per credit hour, with three credits earned in a two-week session. The University has an additional graduate (non-matriculating fee) of $25 and an administrative fee of $35 per student. • Maine College of Art undergraduate credit costs $200 per credit hour, with three credits earned in a twoweek session.
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 student memo and prep sheet detailing the workshop supplies, and other personal items you will need to bring from home, will be sent upon enrollment in a workshop.
nondiscrimination policy Haystack does not discriminate against any individual or group of individuals on the basis of age, color, disability, gender identification, national origin, race, religion, sexual orientation, economic status, or veteran status. All are welcome.
G E N E R A L P rocedures AND SELECTION CRITERIA Applicants must be 18 or older to apply for sessions as outlined on the application. Except where noted in the workshop descriptions, workshops are open to all levels of students, from beginners to advanced. 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 past participants, • a broad geographical distribution of participants, and
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• 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 is for an entire one-week or two-week session. When filling out the application form, please indicate your first and second workshop choices. Every effort is made to place applicants in their first workshop choice. However, due to the high volume of applications to some workshops, applicants who cannot be placed in their first choice frequently are placed in their second choice. Enrollment in each studio is limited. Applications are reviewed competitively.
General Workshop Applications APRIL 1 DEADLINE Complete the application form (on pages 39-40) 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. Before starting the application process, we encourage applicants to scroll through our extensive list of Frequently Asked Questions on our website. General applicants will pay a nonrefundable application fee of $50 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, a deposit for half of the tuition rate will be required. All tuition, room and board fees are due and payable in advance.
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*If paying by check, checks should be made payable to Haystack. Foreign payments must be in US dollars payable in US funds.
When sending applications via UPS, FedEx, or other non-postal carrier, you must include Haystack’s street address as follows:
Haystack Mountain School of Crafts P.O. Box 518 Deer Isle, ME 04627 USA
22 Church Street Deer Isle, Maine 04627
Please choose only one method to submit materials—mail, email, or fax (when appropriate).
Shipping address from May 16 to October 14: 89 Haystack School Drive Deer Isle, Maine 04627 Questions? Contact Haystack at (207) 348-2306 or haystack@haystackmtn.org. Haystack staff are available M-F, 8:30 am–4:30 pm EST to talk with you about your application and materials needed, and to assist you through the application process.
G eneral W orkshop A pplication form 2 0 1 8
(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 Identification
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
Country
Occupation
Daytime Phone
Cell Phone
Other
Studio/Session
Email Emergency Contact
Relationship
Phone
Have you attended Haystack before? If yes, in what year/s, studio/s :
[ ] Yes
[ ] No
Deposit - Date and Amount Rec’d
Have you been wait-listed in the past 3 years?
Accommodations
[ ] Yes
[ ] No
If new to Haystack, how did you learn about the school?
Payments
S ession and W orkshop While we make every effort to assign applicants their first choice workshop, due to the high volume of applications for some sessions, applicants are frequently placed in their second or third choice. Visiting artists and the Haystack fab lab augment the sessions and are not dedicated workshops. Students do not apply for either.
Balance
Paid in Full
Date
Session # Studio Instructor ___________________________________________________________________________________________ First Choice ___________________________________________________________________________________________ Second Choice (if applicable)
A ccommodations Indicate your first and second choice in housing accommodations. Indicate if you are willing to stay in mixed gender housing. [ ] Yes
[ ] No
Confirmation
Wait List
NOTES
____________________________________________________________________________________________ 1st Choice
2nd Choice
Age (for housing purposes)
*To help us accommodate you, please indicate the nature of any food allergies, disabilities, or medical, or special needs (including sleeping disorders), or [ ] N/A. ____________________________________________________________________________________________
Smoker:
[ ] Yes
[ ] No
*Answers to these questions will have no bearing on the admissions process.
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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 to which you have applied.
2. List your educational and/or work experience. You may also attach a resumĂŠ, not to exceed one page.
3. In the event that a workshop, to which you have applied, has specific requirements, please outline your qualifications.
Signed Date
A non-refundable $50 application fee must be enclosed with this application. [ ] Enclosed is my payment in the amount of $50 (please make checks payable to Haystack) [ ] Charge to my
Card #
[ ] VISA
[ ] MASTERCARD
[ ] DISCOVER
Exp. Date CVV code
Name on Card Signature
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In 2017 Haystack awarded approximately 25% of all summer workshop attendees with scholarships and fellowships.
Fellowships & S cholarships Providing support to students has tremendous impact, and we are very proud of the 82 named funds that have been created at Haystack. A number of donors have taken steps to endow individual scholarships and fellowships that we are able to allocate on an annual basis in keeping with the intentions and directives of each fund. A named scholarship can be created with a gift of $30,000 and provides tuition, room & board for a two-week workshop. A fellowship can be created with a gift of $40,000 and includes the addition of a travel stipend to offset the expense of travel to and from Deer Isle. Haystack is also able to work with donors to establish Current Year Scholarships for $1,555 each, providing a student with tuition, room & board to attend a twoweek workshop. Haystack is firmly committed to diversity, inclusion, and equity. This will remain one of our most critical goals, ensuring the school supports all students, with no bias in regard to age, color, disability, gender identification, national origin, race, religion, sexual orientation, economic status, or veteran status. As an artistic community we believe in celebrating divergent points of view. One of the most effective tools we have towards supporting this mission is our scholarship program, which in 2017 brought over 120 students (recent high school and college graduates, retirees, parents, emerging artists, and more) from as near as Deer Isle to as far away as Palestine, Sweden, and Brazil. The scholarship program is supported through annual fund contributions, end of session auctions, the summer gala, grants, and our scholarship endowment.
FELLOWSHIPS Arizona State University Fellowship Established by Joanne and James Rapp (Awarded by Arizona State University)
Edward Larrabee Barnes Architectural Fellowship Mary Blakley Fellowship The Brown University Fellowship Established by Joan and Pablo Sorensen (Awarded by Brown University)
David Cheever Fellowship
(Awarded to an architecture student)
William F. Daley Fellowship
(Awarded by the University of the Arts)
Pat Doran Fellowship
(Awarded by Massachusetts College of Art & Design)
Grignol-Rapp Fellowship
Established by Joanne and James Rapp (Awarded by Edinboro University of Pennsylvania)
Howard Kestenbaum and Vijay Paramsothy International Fellowship (Awarded to two international students)
Roberto Lugo Minority Fellowship Richard Allen Merritt Fellowship (Awarded to a student from Japan)
Marcianne Mapel Miller Fellowship (Awarded by Alfred University)
Marlin Miller International Fellowship (Coordinated with the Luys Foundation, Armenia)
Quimby Family Fund Fellowship
(Awarded by Maine Art Education Association)
Rhode Island School of Design Fellowship
(Awarded by Rhode Island School of Design)
San Diego State University Fellowship
Established by Arline Fisch (Awarded by San Diego State University)
Alan Gordon Sanford Fellowship (Awarded by The Waring School)
Stewart W. Thomson Cranbrook Academy of Arts Fellowship (Awarded by Cranbrook)
University of Wisconsin-Madison Fellowship (Awarded by University of Wisconsin-Madison)
William Wyman Fellowship
(Awarded by Massachusetts College of Art & Design)
S cholarships * Naomi I. Becker Scholarship Andrew Bergman Scholarship Bingham Scholarship Fund for Maine Students Mary Beasom Bishop and Francis S. Sumner Scholarship Bill Brown Scholarship Judith Burton Scholarship Catto Family Scholarship Kate Cheney Chappell Scholarship Thomas Chappell Scholarship
Elizabeth F. Cheney Scholarship Ethel Skeans Clifford Scholarship Mad Crow Scholarship David Ferranti Scholarship Golden Rule Scholarship Gary “Griff” Griffith Scholarship Candy Haskell Scholarship Harriet Hemenway Scholarship Priscilla Henderson Scholarship Richard and Mary Howe Scholarship Stuart Kestenbaum Scholarship Jody Klein Scholarship Nanette Laitman Scholarship Jack Lenor Larsen Scholarship Michael Lax Scholarship Dave and Jean Lincoln Scholarship* Jean and Dave Lincoln Scholarship Ingrid Menken Scholarship Priscilla Merritt Scholarship William H. Muir Scholarship Mary Nyburg Scholarship Betty Oliver Scholarship Ronald Hayes Pearson Scholarship (Awarded to two students)
Peninsula Area Scholarship Parker Poe Scholarship Eleana Prentice Scholarship (Awarded to six minority students)
Francis William Rawle Scholarship Barbara Rockefeller Scholarship Samuel and Eleanor Rosenfeld Scholarship in Fiber Samuel and Eleanor Rosenfeld Scholarship in Wood Lois Rosenthal Scholarship Florence Samuels Scholarship Heikki Seppa Scholarship Margaret (Peggy) Swart Sewall Scholarship Irving B. Sherman Island Scholarship Mathias Lloyd Spiegel Scholarship Carolyn J. Springborn Scholarship in Fiber Carolyn J. Springborn Scholarship in Graphics Carolyn J. Springborn Scholarship in Wood Lenore Thomas Straus Scholarship Lenore Tawney Scholarship Taylor-Zwickey Scholarship Molly Upton Scholarship George VanOstrand Scholarship Beverly Warner Scholarship Frans Wildenhain Scholarship *Allocated for Haystack’s Student Craft Institute, a program for teens in Maine
When applying for a scholarship applicants should follow the procedures on pages 42–43. Students do not apply for individual named funds.
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SCHOLARSHIP PROGRAM Application Procedure
Haystack’s scholarship program awards more than 100 scholarships and fellowships 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 awards 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.
Scholarship Applications MARCH 1 DEADLINE
Technical Assistant and Work Study (including Minority Work Study) applicants will submit applications online through SlideRoom.
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T E C H N I C A L A S S I S TA N T SCHOLARSHIPS AND FELLOWSHIPS Technical Assistants receive a scholarship covering full tuition, room & 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. Shop fees and materials costs, payable at the conclusion of the session, are the responsibility of the scholarship recipient. Scholarships are usually given for a single session. 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 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 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.
Application Must Include: • A resumé, not to exceed one page. •U p 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. • I mage filenames must include your name and the title of the work. •T wo letters of reference. •A list of your specific technical abilities. •A $50 application fee, which is nonrefundable. Shop fees and materials costs, payable at the conclusion of the session, are the responsibility of the scholarship 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 (Lydia Johnson); Fiber (Mark Newport); Session 2: Ceramics (Lauren Gallaspy); Session 3: Ceramics (Hanako Nakazato); Glass (Suzanne Peck); Graphics (Lenka Clayton & Philip Andrew Lewis); Session 4: Ceramics (Michael Kline); Fiber (Sarah K. Khan & Meeta Mastani); Glass (Granite Calimpong); Session 5: Ceramics (Brooks Oliver); Fiber (Fraser Taylor); Glass (Helen Lee); Session 6: Ceramics (Salvador Jiménez-Flores); Fiber/Baskets (Lois Russell); Glass Beads (Holly Cooper); Graphics (Paula Wilson).
WORK STUDY SCHOLARSHIPS 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 exchange for a scholarship that covers their full tuition, room & board, work study students will be assigned tasks in the kitchen, or around the school that will not exceed three hours daily, ensuring that 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 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: • A resumé, not to exceed one page. • Two 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 $50 application fee, which is nonrefundable. • Do not submit images with work study applications. Shop fees and materials costs are the responsibility of the scholarship recipient. Shop fees are payable at the conclusion of the session. Scholarships are usually given for a single session. Work study students receive a scholarship covering full tuition, room & 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 S C H O L A R H I P S and diversity initiatives Haystack is committed to a culture of diversity, equity and inclusion. To increase participation by individuals from racially and culturally diverse communities within the United States, Haystack awards up to ten full scholarships annually to students of color. These scholarships provide full tuition, room & board in exchange for work study assistance. Shop fees and materials costs are the responsibility of the scholarship recipient. If you wish to apply for a minority scholarship, please follow the application procedures listed under the work study scholarships section.
SUBMITTING YOUR A P P L I C AT I O N Technical assistant and work study applicants submit applications online through SlideRoom. Before starting the application process, we encourage applicants to scroll through our extensive list of Frequently Asked Questions on our website. When you are ready to begin, visit haystack.slideroom.com and click on the Apply icon. Technical assistant and work study applicants do not mail hard copies of the application. Applicants who do not receive scholarships and wish to be considered for regular enrollment can indicate this on the online application. Scholarship applicants pay the nonrefundable application fee of $50 through a secure site on the online application. Questions? Contact Haystack at (207) 348-2306 or by email at haystack@ haystack-mtn.org. Haystack staff are available M-F, 8:30 am–4:30 pm EST to talk with you about your application and materials needed, and to assist you through the application process.
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“This was the most creative, formative, and inspiring time of my life. The session has been a treat—for the community I encountered through the studios, for the teaching I received in my own workshop, and for the uninterrupted time I was given to create.” Victoire Bourgois
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craftschools.us
The Make/Time Podcast series Make/Time shares conversations about craft, inspiration, and the creative process. Listen to leading makers and thinkers talk about where they came from, what they’re making, and where they’re going next. Make/Time is hosted by former Haystack director, and Maine Poet Laureate, Stuart Kestenbaum. Major funding is provided by the Windgate Charitable Foundation. The past two seasons of the Make/Time Podcast series includes conversations with: Meredith Brickell Nancy Callan James Carpenter Joyce Scott Jen Bervin Matthew Shlian Lily Yeh Rachel Faller Sanam Emami
Cynthia Schira David Keefe David Chatt Susie Ganch Namita Gupta Wiggers Michael Strand Rosanne Somerson Cristina Còrdova Ayumi Horie Theresa Seccord Roberto Lugo Rowland Ricketts Vivian Beer Sonya Clark Tim McCreight, and Tom Joyce. You can listen to recent interviews for free and available anytime though craftschools.us, Sound Cloud, iTunes and other places you find your favorite podcasts. Download, listen, and share.
The Make/Time Podcast series is a project of craftschools.us, a consortium of five leading residential craft education programs in the United States: Penland, Arrowmont, Peters Valley, Haystack, and Pilchuck. All of the schools feature workshops that focus on materials and the creative process. We believe that working in a supportive community and having the time to focus without interruption—what we call “the craft school experience”—can be a catalyst for significant creative and artistic growth.
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recognition Designed in 1960 by noted American architect Edward Larrabee Barnes, Haystack’s iconic campus on Deer Isle is considered an outstanding example of modernist architecture. The timeless design of the buildings and their relationship to the surrounding landscape has a profound impact on the experience of being at the school. We are proud to be the stewards of such an extraordinary architectural treasure. Robert Campbell, member of the American Institute of Architects and architecture critic for the Boston Globe, described the school as “so perfectly fitted to its site and its purpose that you never afterwards forget it.” AWARDS 1987 Haystack is awarded the American Craft Council’s Gold Medal Institutional Award for “trailblazing leadership and longtime service in education.” 1996 Haystack receives the American Institute of Architects’ Twenty Five Year Award in recognition of the school’s design excellence. 2006 Haystack is added to the National Register of Historic Places. 2009 Haystack is awarded a Maine Master Craft Artist Supporter Award from the Maine Crafts Association in recognition of the school’s distinguishing mark of excellence. 2016 The Haystack fab lab (established in 2011 in partnership with MIT) is awarded the Distinguished Educators Award from the James Renwick Alliance; this award—the first given to a program—acknowledges the influence of Haystack’s digital fabrication lab on the work that we do at the school and how that work has reached outwards from the campus to impact the broader field.
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The HAYSTACK MONOGRAPH Series Initiated in 1991, Haystack’s Monograph Series provides a forum for writers of varied perspectives to reflect on the idea of craft. The impulse to initiate conversations through writing is intended to foster scholarship in the field, and supports our belief that working with materials is always connected to an active engagement with ideas. Now totaling thirty-two in the series, monographs cover a range of topics and are distributed to art schools and libraries throughout the US. Past copies can be found in the Haystack store and purchased online through our website. If you represent a school or library and wish to be placed on our annual monograph mailing list, please contact Haystack. Poets, philosophers, visual artists, essayists, architects, and scientists have all contributed to the series and an anthology of the first twenty-three monographs can be found in The Haystack Reader, published by the University of Maine Press in 2010. We are pleased to announce that Faythe Levine will be producing the next title in Haystack’s Monograph Series, to be released in the spring of 2018.
Monograph Listing 2017 In the Presence of Makers, by Lia Purpura 2016 eight days, by Maira Kalman 2015 Seeking a Needle in the Haystack, by Juhani Pallasmaa 2014 Sixty by Sixty, by Bill Roorbach 2013 Hiophony: The Sound of Humans Making Things, by Elisabeth Tova Bailey 2012 Creativity & Ingenuity, essays by presenters in an invitational symposium held at Haystack from September 8-11, 2011. 2011 Approaching Haystack, by Bill Carpenter 2010 Stone Songs, or Disagreeing with Dolphy: Two Weeks in Another Town, by Bill Harris 2009 O Brave New World: Looking at Time, Making, and Creativity, essays and excerpts by presenters in an invitational symposium held at Haystack from September 24-27, 2009. 2009 The Ecology of Uncertainty, by Akiko Busch 2008 A Crack In Everything: How We Know What’s Done Is Done, by David Jauss 2007 Field Notes on Hands, by Alison Hawthorne Deming 2006 I Tinker Therefore I Am, by Mark Thomson 2006 Craft and Community: Sustaining Place, essays and excerpts by participants in an invitational symposium held at Haystack from September 28–October 1, 2006 2005 Making More than Sense, by Ralph Caplan 2004 Craft and Design: Hand, Mind and the Creative Process, essays by participants in Haystack’s invitational symposium retreat with CooperHewitt, National Design Museum, Smithsonian Institution 2004 Finding and Making: the Strange Attractor’s Contribution to Form, by Barbara Hurd
2003 The Child, the Painter, and the Forgotten Life of Things, by David Abram 2002 Digital Dialogues: Technology and the Hand, essays by artists and scientists who participated in Haystack’s Symposium 2002 An Intricacy of Simple Means, by Kim Stafford 2001 Whatever We Touch Is Touching Us: Craft Art and a Deeper Sense of Ecology, by Paulus Berensohn 2000 If ‘Great’ Art is Dead, Who Cares? and Two Orphans and a Dog: Art and Transformation, by Ellen Dissanayake 1999 Materials and the Embodiment of Meaning, by Judith Burton; Expanding Art Education’s Horizons: The Landscape of Design, by Paul Sproll; The Cultural Dimensions of Craft Education, by Jo-Anna Moore; and, Education as the Discovery of Self: The Role of the Artist as a Creative Person, by Gerry Williams 1998 Imagine an International Craft, by Kevin Murray 1997 Single and Plural, by Marianne Boruch 1996 Recycle and Reuse, by Margo Mensing 1995 Words and Worth: An Anthropologist Interprets Function and Craft, by Margaret Mackenzie; and Paper or Plastic: The Form and Contents, by Nance O-Banion 1994 The Craftsman as Yeoman: Myth and Cultural Identity in American Craft, by Mary Douglas 1993 Crafting Truth with Consequence, by Gerhardt Knodel, with responses by Sarah Bodine and Michael Dunas 1992 Considering Crafts Criticism, by Janet Koplos; and Craft and the Impulse to Abstract, by Warren Seelig 1991 Craft and Learning, by William Daley; Reflections on Twelve Days at Haystack, by Audrey Walker; and Reflections on Learning: Faculty Interviews, by Jo-Anna Moore 1991 Craft in the ’90s: A Return to Materials, by Nancy Corwin, Jonathan Fairbanks and Wayne Higby
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WE ARE HAYSTACK FOUNDER
LIFE TRUSTEES
Mary B. Bishop (1885–1972)
William Daley Arline Fisch Wayne Higby Richard Howe Lissa Ann Hunter 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 Kristin Mitsu Shiga Chair Matthew Hinçman President Susan Haas Bralove Vice President Miguel Gómez-Ibáñez Treasurer Katherine Cheney Chappell Deborah Cummins Fabio Fernández Katherine Gray Del Harrow Charles O. Holland Ayumi Horie Matt Hutton Rayanne Kleiner Roberto Lugo Sarah McNear Wyona Lynch-McWhite Alleghany Meadows Bruce Norelius Linda Sikora Rosanne Somerson Joan Sorensen Brigid Sullivan Peter Walker Elizabeth Whelan Namita Gupta Wiggers Joe Wood
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S TA F F Paul Sacaridiz Director Ginger Aldrich Development Director Jonathan Doolan Studio Technician Michele Dür Head of Housekeeping Carole Ann Fer Assistant Registrar Lily Felsenthal Development Assistant Candy Haskell Office Manager/Registrar Eugene Koch Facilities Manager Mamie LaFrance Administrative Assistant/Accounting Christopher (Kit) Loekle Maintenance Assistant Marilyn Smith Chief Financial Officer Tom Smith Head Cook
Twyla Weed Store Manager/Administrative Assistant Ellen Wieske Assistant Director Brad Willis Technical Assistant
Funding for Visiting Artists/Writers has been received from: Haystack’s Charlie Gailis Fund, the Stuart Kestenbaum Fund for Writing, the Francis S. Merritt Fund for Innovative Programming, and the Windgate Charitable Foundation. Funding for Katie Hudnall’s teaching position is provided by: Haystack’s Samuel J. Rosenfeld Faculty Fund for Sculpture in Ceramics or Wood. Funding for international faculty travel is provided by: Stuart Kestenbaum International Travel Fund. Editor: Ginger Aldrich Design: Mahan Design Photography: Ginger Aldrich Danny Bao Chris Battaglia Jocelyn Châteauvert Lily Felsenthal Kelly Garland Ayumi Horie Lara Kastner Daniel Kilbride Lou Krueger Hideo Mabuchi Ben Moxley Angela Richardson Paul Sacaridiz Julia Zell
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
Non-profit Organization U.S. POSTAGE
PA ID 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!
Richmond, VA Permit No. 930
Address Service Requested
Non-profit Organization U.S. POSTAGE
PA ID 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!
Richmond, VA Permit No. 930
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!