Haystack Mountain School of Crafts' 2022 Catalog of Summer Programs by Ginger Aldrich

SUMMER 2022 HAYSTACK MOUNTAIN SCHOOL OF CRAFTS

Workshops Open Studio Residency

SUMMER 2022 Welcome It’s hard to believe two years have passed since we gathered together on the Haystack campus. While this period of time has allowed us to imagine new ways of expanding our reach, there is nothing quite like the experience of being together, in person. We have missed you all so much. The past few years have provided a rare opportunity to make Haystack an even stronger organization. From growing our endowment and increasing scholarship support to completing major studio upgrades across campus, great care has gone into every decision we have made. This coming season features a remarkable and inspiring group of faculty exploring the intersections of craft, art, and design in broad and expansive ways. Nearly all of our workshops are designed for all levels of experience, and regardless of your background there is a place for you here. While we plan to resume programming at full capacity, we also recognize the pandemic continues to impact our lives. Much has been learned about how we can safely gather by relying on clear and consistent protocols, and this season Haystack will be requiring all staff, faculty, and participants to be fully vaccinated against COVID-19. We will continue to be transparent about our evolving approach to the coming season, and appreciate the support and trust you have placed in us. It will be such a pleasure to welcome you back.

Paul Sacaridiz Executive Director

News & Updates

Life at Haystack

The Fab Lab

Re/Union

Schedule at a Glance

Open Studio Residency

Session One

Session Two

Session Three

Session Four

Session Five

Session Six

Reopening

Summer Workshop General Information

Fellowships & Scholarships

Community Programs

Workshop Faculty at a Glance

Workshops are open to all skill levels, beginners to advanced professionals, unless otherwise noted.

RECOGNITION

Taking the time to make Haystack an even stronger organization Last April, Haystack launched a series of free online programs that had more than 4,000 views from participants from thirty-eight countries. Our Fab Lab completed production of nearly 6,000 items of personal protective equipment, all of which were donated to local organizations to help keep people safe during COVID. Exciting new studio improvements were completed across campus—from equipment and infrastructure upgrades, to beautifully designed benches and storage units, built on-site by our extraordinary staff. We also piloted a new program that explores emerging technologies and craft-based processes and continued to deepen our partnerships with area schools and young people in our community. All of these activities have been guided by our new Strategic Plan, which places equity at the core of our work. In 2022 we will be increasing scholarship support by eliminating work-study requirements, providing travel support to 100% of scholarship recipients, implementing a three-year increase in faculty compensation, and investing in new staff positions. We will also be undertaking a comprehensive campus planning process to envision the next chapter in the School’s history, with a focus on accessibility, sustainability, and historic preservation.

Designed 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 have 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.” 2021 The New York Times Style Magazine features Haystack Mountain School of Crafts as one of the 25 most significant works of postwar architecture. 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 larger influence of the Haystack Fab Lab. 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. 2006 Haystack is added to the National Register of Historic Places. 1996 Haystack receives The American Institute of Architects’ Twentyfive Year Award in recognition of the School’s design excellence. 1987 Haystack is awarded the American Craft Council’s Gold Medal Institutional Award for “trailblazing leadership and longtime service in education.”

Photo by OPAL Architecture / Research / Design

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LIFE AT HAYSTACK LIFE AT HAYSTACK The human scale of Haystack is integral to the way we teach and learn, and rather than developing plans for expansion, we are committed to maintaining the intimacy of the School and the delicate relationship it has to the surrounding landscape.

Standing on the deck

overlooking Jericho Bay, Haystack is a breathtakingly beautiful place that is hard to forget. The School began as an experimental community of artists and has come to be a highly influential research and studio program in the arts, attracting national and international audiences alike. From workshops for participants of all skill levels to a residency program, conferences, and dedicated offerings for Maine residents, we believe it is our responsibility to create pathways for people to come to this remarkable place and experience an educational model that is truly transformative. Time at Haystack is marked by long, uninterrupted days in the studio surrounded by a community that cares deeply about what it means to explore ideas and work with their hands. For some, this is an entirely new experience while for others a vital part of their daily lives. Regardless of your background, there is a place for you here. American architect Edward Larrabee Barnes designed the Haystack 6

campus on Deer Isle, which opened to the public in the summer of 1961. The architectural plan encourages community and interaction while seeming to float above the forest floor and in 1994 was awarded the coveted Twenty-five Year Award from The American Institute of Architects. As an organization, we are stewards of this architectural treasure and the delicate landscape on which it sits, and believe these to be defining characteristics of the School.

“Barnes’s finest accomplishment is not just an elegant set of buildings but an ideal space for collaboration: between artists and thinkers, humans and nature.” THE 25 MOST SIGNIFICANT WORKS OF POSTWAR ARCHITECTURE NEW YORK STYLE MAGAZINE AUGUST 2, 2021

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. Following the orientation workshops will begin. 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 10 am on the last day of the session. 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. Auctions are open to the public. CONTACTING US You can always connect with staff to discuss workshop descriptions, life at the School, what to bring, travel questions, or anything else you need to know about Haystack. We can be reached Monday through Friday, at haystack@ haystack-mtn.org. You can also find an extensive list of Frequently Asked Questions on our website. LOCATION Haystack is located in Downeast 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.

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. FACILITIES Studios at Haystack are open twenty-four 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 as a store that sells materials and supplies. Haystack is located in a remote setting and both cell reception and internet access are limited. To maintain a retreat setting we ask that you refrain from cell phone use in the studios, cabins, dining hall, and the deck, and limit usage to the upper portion of the campus and public spaces. HOUSING 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 limited mobility and we will work with you on meeting your needs as best we can. Cabins at Haystack do not have heat and participants should be prepared for cool evenings. All housing has twin beds and a lightweight blanket and pillow are provided. Please bring a sleeping bag or additional bedding.

Hill Peninsula and surrounding region, and vegetarian options are available at each meal. Haystack offers a variety of choices at each mealtime. Communicating your dietary needs in advance will allow us to be better prepared to accommodate specific needs. 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.

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

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2022 FAB LAB RESIDENTS Fab Lab Residents are experts in their respective fields and come to Haystack from partnering labs across the country and internationally. Invited to work for the school each session, Fab Lab Residents provide one-on-one consultations, small group tutorials, and demonstrations, while modeling advanced workflows and processes related to their own work.

THE FAB LAB

The Fab Lab complements our existing programs and is available to all residents and session participants to augment studio practices and interests; however, it is not offered as a dedicated program—people do not apply in order to participate. No prior experience is required of participants using the Haystack Fab Lab. Each session Haystack also invites two people to serve as Fab Lab Residents, by partnering with MIT, Harvard Graduate School of Design, University of Virginia, RISD, AS220, and other Fab Labs around the world. These residents provide unique perspectives in the areas of digital design, fabrication, and craft to workshop participants and faculty at the School. The culture found in the Haystack Fab Lab is one of experimentation, risk taking, and collaboration. For additional information about the Haystack Fab Lab, including machine specifications and capabilities, please visit our website or contact fablab@haystack-mtn.org.

THE FAB L AB

SESSION 3

SESSION 5

Olga Geletina is an NYC-based designer working as a Creative Technologist at The Hartford Innovation Lab and a part-time faculty member at The New School.

Simcha Davis is a sculptor, educator, and digital fabricator based in Providence, RI working as a Technician in the Experimental and Foundation Studies Division at RISD.

Humbi Song is an architect, designer, and fabricator. She is a faculty member and researcher at Harvard Graduate School of Design and an Associate at INVIVIA, a design, technology, and research studio in Boston.

Lara Henderson is a book artist, printmaker, and designer based in Providence, RI. She is a member of the faculty at UMass Dartmouth and Brown University and has also been design faculty at RISD.

Elliot Clapp is the Innovation Director for the Division of Experimental and Foundation Studies at RISD and a strong advocate for the creative integration of technology in Art and Design.

SESSION 2

The Haystack Fab Lab celebrated its 10th anniversary in 2021 and is 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 4,000 small-scale digital fabrication facilities that spans 100 countries and twenty-four time zones. Fab Labs provide connection to a global community of learners, educators, technologists, researchers, makers, and innovators. In 2016, the Haystack Fab Lab was recognized with the Distinguished Educators Award from the James Renwick Alliance, the first ever given to a program for pioneering contributions to craft education.

SESSION 1

A LIS T O F TH E FAB LAB TOOLS AN D E Q U IPME N T IS LO C ATE D O N TH E H AYS TAC K W E BS I TE

In partnership with The Center for Bits and Atoms, Massachusetts Institute of Technology

Sigríður Helga Hauksdóttir taught at Iceland University of the Arts and at the Reykjavík School of Visual Arts for 12 years and is the head of the Arts and Crafts department at the Adult Educational Center of Reykjavik City. Margrét Óskarsdóttir studied acting and directing in New York and has produced and directed several plays and shorts as well as working in video art. She teaches at the Adult Educational Center of Reykjavik City.

SESSION 4 Shaunta Butler is a designer, artist, craftsperson, and educator. An Adjunct Instructor at Boston Architectural College and partner at a community design firm, her projects include the mast design of the High Speed 2 (HS2) expansion from London to Birmingham, Luxtorr Observation tower (Burning Man), and the design and production of Ephemeral, a book on design interventions in public spaces. Ryan McDermott is an educator, interactive artist, and makerspace organizer from Phoenix, AZ. He is a Program Manager of The Walter Hive, an arts and education nonprofit that uses the healing and empowering nature of art and technology to enrich the lives of at-risk youth and adults.

Arthur Hash is a jewelry designer/ consultant/educator who has taught digital fabrication and jewelry courses at multiple universities across the country including RISD, Virginia Commonwealth University, and SUNY New Paltz. SESSION 6 Tom Lutz is a Technical Instructor at MIT's Center for Bits and Atoms and helps run its digital fabrication facility. He started working at MIT at age sixteen and has spent many years helping with their How to Make Almost Anything graduate course. Will Lutz is a Research and Development Machinist at Formlabs where he fabricates and assists in the design of precision component parts and assemblies for various prototype needs in the additive manufacture industry.

COMMUNITY ENGAGEMENT During the winter months, the Haystack Fab Lab serves as a vital resource for community-based education, outreach, and digital fabrication training. We have been building capacity to expand our work within the local school system on Deer Isle and around the broader Blue Hill Peninsula, by integrating digital technology and design proficiency into area classrooms. We are pleased to announce that our paid internship program for area high school students continues to grow. Fab Lab Interns are trained in digital design and fabrication tools, allowing them to provide technical support to workshop participants while also gaining invaluable experience from Fab Lab Residents, and to help train others in their community. Since late March 2020, and in response to the pandemic, Haystack’s Fab Lab Coordinator and student interns manufactured and distributed more than 6,000 pieces of personal protective equipment, which were donated to more than sixty organizations in our community.

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JULY 11–14, 2022

For the past 14 years, Haystack has been organizing summer conferences to explore ideas of craft, community, and the creative process. This year, Indigo Arts Alliance is reimagining an innovative gathering designed exclusively for artists from Black and Native American backgrounds. This private, invitational gathering will take place July 11–14 on the Haystack campus. Re/Union: Re-Editioning Black + Native Histories will include talks by thought leaders, special meals by guest chefs, and workshops by visual and performance artists, writers, and scholars. The extraordinary team at Indigo has identified multigenerational participation by individuals at varying stages of their lives; from emerging and young professionals, to mid-career, and elders in their respective fields. This gathering will be a moment to rethink, revise, rewrite, and embrace multiple ways of interpreting and reading that which has been historically and culturally left out, rendered invisible, or appropriated. Registration for Re/Union: Re-Editioning Black + Native Histories is not open to the public, but the proceedings will be made widely available as the subject of the next edition of Haystack’s long-running Monograph Series. Re/Union: Re-Editioning Black + Native Histories has been informed by the goals of Haystack’s recent Strategic Plan and our commitment to broadening the audiences we collaborate with and learn from. Generous support has been provided by Haystack’s Windgate Foundation Endowment for Programs, with additional support from foundations and current year donors. Indigo Arts Alliance is an artist residency and arts incubator in Portland, Maine, founded and created to amplify the creative voices, vision, and practice of artists of African descent. An integral aspect of the Indigo vision is to provide Mainebased artists of color access to a broader range of practicing Black artists and artists of color from around the world. Visit indigoartsalliance.me to learn more and support their work.

WORKSHOP SCHEDULE OPEN STUDIO RESIDENCY

May 29–June 10

SESSION

June 12–24

BLACKSMITHING Erica Moody Fabricating & Forging Utensils CERAMICS Hitomi +Takuro Shibata Practical & Traditional Japanese Pottery Making Techniques FIBER Joy O. Ude Over/Under GRAPHICS Meghan Brady + Anna Hepler Breaking Form METALS Kathleen Kennedy Radical Jewelry Takeover! WOOD Sylvie Rosenthal Hybrid Object Laboratory v2.0

Re/Union: Re-Editioning Black + Native Histories

July 11–14, 2022

This year, Indigo Arts Alliance is reimagining an innovative gathering, on the School's campus, designed exclusively for artists from Black and Native American backgrounds. See page 10 for details.

12 SCHEDUL E AT A GLA N C E

SESSION

June 26–July 8

BLACKSMITHING Philip Thomas Campbell Fabrication: Volume I CERAMICS Ebitenyefa Baralaye Big Impressions: Free-Form Press-Molds FIBER Kim Mirus Woven Hypothesis GRAPHICS Daniel Minter Solving for Intent METALS Funlola Coker Forged & Fabricated

SESSION

July 31–August 12

August 28–September 3

FIBER Liz Collins Micro/Macro

CERAMICS Isaac Scott Narrative Cups: Deeper Than the Surface

GLASS Deborah Czeresko #Reality

FIBER Arounna Khounnoraj Textile Collage

GRAPHICS Hope Rovelto Make a Change, One T-Shirt at a Time

GLASS Nickolaus Fruin On (purpose)

METALS Marissa Saneholtz Sentiment & Sediment: Narrative Enamel

GRAPHICS Lari R. Gibbons The Expanded Monoprint: Integrating the Laser Cutter

WOOD George Sawyer Please Be Seated—Building Chairs that Endure

METALS Nash Quinn Pattern-Formed Enameled Vessels

WOOD Beth Ireland + Keun Ho Peter Park Sculptural Stringed Instruments

VISITING ARTIST* Phuc Tran (Non)Fiction, Art(ifice), & (In)Authenticity

SESSION

July 17–29

BLACKSMITHING Sophie Glenn Fabricating Ideas in Steel

METALS Demitra Thomloudis Surface-Color-Solid

CERAMICS Erin Furimsky Fabricating Form and Shaping Surfaces

WOOD Norman Teague Objects in Narrative Play

FIBER Jovencio de la Paz "The Way to Blue"—Indigo Dye in Contemporary Art GRAPHICS Radha Pandey Indo-Islamic Papermaking: Fiber, Color, Aesthetics

VISITING ARTIST* Carolyn Finney Telling Stories

CERAMICS Chandra DeBuse Sketch & Stretch: A Playful Approach to Handbuilding & Surface Design

SESSION

WOOD/BASKETS Jeremy Frey Passamaquoddy Fancy Baskets WRITING Abdi Nor Iftin Courageous Writing: The Art of the Memoir

* Visiting artists augment the session with informal

activities and are not workshop leaders.

GRAPHICS Valpuri Remling + Matthew Shlian Rolling & Folding METALS Iris Eichenberg A Travel Altar WOOD Aspen Golann Hard & Soft: Sculptural Brushmaking VISITING CURATOR* Andres Payan Estrada Object Constellations

2022 WORKSHOP DEADLINES MARCH 1 Technical Assistant Applications Scholarship Applications Sessions 1–6

MARCH 15 General Application Sessions 1–6

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MAY 29–JUNE 10

OPEN STUDIO RESIDENCY

Haystack's two-week Open Studio Residency kicks off our summer season of programs. The residency is designed to foster artistic exploration at the highest level, and those selected attend for free. Haystack’s 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 community of makers. The program supports approximately fifty participants—from the craft field and other creative disciplines—who have uninterrupted time to work in six studios (blacksmithing/iron, ceramics, fiber, graphics, metals, 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 14 OPEN STUDIO R E S IDE NC Y: M AY 2 9 – J U N E 1 0

note that technicians will not be leading workshops. If you are interested in learning specific skills, you may want to apply to one of the workshop sessions. The Haystack 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. Individuals working in craft, art, design, writing, and other creative disciplines—and who are self-directed and focused—are encouraged to apply.

RESIDENCY APPLICATION DEADLINE: MARCH 1 SELECTION CRITERIA 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 twenty-one years of age or older and students enrolled in an academic program during the time of the residency are eligible to apply. 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. For special needs or questions about accessibility, please contact our office. APPLICATION FEE Open Studio Residency applicants will pay a nonrefundable application fee of $50 at the time of submitting their application through SlideRoom.

“One of the most memorable parts of the residency was the diversity in creative approaches and the broader sense of community. People worked freely across disciplines and as a result there was constant experimentation and growth.” MYRA MIMLITSCH-GRAY OPEN STUDIO RESIDENT

The Open Studio Residency program is supported by Haystack’s Windgate Foundation Endowment for Programs. LEARN MORE : HAY STA CK-MTN . ORG

BLACKSMITHING

CERAMICS

FIBER

Fabricating & Forging Utensils

Practical &Traditional Japanese Pottery Making Techniques

Over/Under

Combining jewelry and larger metalworking techniques, we will explore ways to create utensils of mostly brass, copper, and steel. Through demonstrations and experimentation, students will make their own eating and/or serving utensils— for practical use or for pure sculptural concepts. Techniques encouraged can include cold and hot forming (hand forging, stock removal, dapping, forming over shapes), cold connections (riveting, wrapping, exploring alternative joinery), finishing (angle grinding, filing, sanding), and combining materials (found or brought such as wood/bone/scrap metal). All levels welcome. Erica Moody is a metal craftsman working in Midcoast Maine, where she cultivates her line of forged and fabricated serving utensils, and continues her craft’s foundation of fabricating custom metal commissions for architects and designers, such as furniture and hardware. Moody has taught classes and workshops at Massachusetts College of Art and Design, Wentworth Institute of Technology, Harvard Graduate School of Design, Penland School of Craft, Center for Metal Arts, and the Center for Furniture Craftsmanship. ericamoody.com @ericaemoody

16 SESSION 1 : J U NE 1 2 –2 4

Creating utilitarian pottery with practical and traditional Japanese pottery techniques is the focus of this workshop. Hitomi and Takuro have been making their handmade pottery with local materials in Shigaraki, Japan and Seagrove, NC for many years. Learn how they approach such natural materials, and how they combine materialistic ideas and traditional Japanese techniques. It will inspire your creativity and help foster new ideas for your work. We plan to fire gas and salt kilns (cone 10 and up) during the workshop. All levels welcome. Takuro Shibata is a ceramic artist, material specialist, and director of STARworks Ceramics. He received a Bachelor of Engineering in Applied Chemistry and learned Ceramics in Shigaraki, Japan. Hitomi Shibata is a ceramic artist with Bachelor’s and Master’s degrees in Ceramic Art Education. She established a career in Shigaraki, received a Rotary Foundation scholarship, and studied at the University of Massachusetts Dartmouth. They set up studios and wood kilns in Seagrove, NC, became members of International Academy of Ceramics, and have participated in many exhibitions, workshops, and conferences, nationally and internationally. studiotouya.com @studiotouya @takuroshibataceramics

01 Night Walking by Meghan Brady, 2019. Acrylic, collage on paper, 90" x 86". Photo by Alexis Iammariano.

JUNE 12–24

02 Scribble Necklace by Kathleen Kennedy, 2018. Sterling Silver, Copper, Enamel, Graphite, 20" long. Photo by David Ramsey.

03 Untitled (whale) by Sylvie Rosenthal, 2021. Basswood, poplar, paint, hardware, 66" x 60" x 11". Photo by Jim Escalante.

SESSION 1

In this survey of surface design techniques, students will explore various methods to transform plain fabric into uniquely designed surfaces. We will build upon existing surface layers with image transfer, embroidery, appliqué, and Shibori dyeing techniques. Reverse appliqué will take us below the surface, where we will experiment with subtly revealing pattern and image through deliberate multi-layer stitching. This workshop is a great introduction for textile beginners and will provide advanced students with fresh approaches for surface manipulation. All levels welcome.

GRAPHICS Breaking Form

Using simple materials such as paper, cardboard, paint, and tape, we will enact a series of translations— small to large, flat to round, and solitary to collaborative. Primarily focused on drawing, painting, and collage, we will also explore printmaking and sculpture. Diving into the messiness of an open-ended process, we will fine-tune our awareness of the work’s unfolding, reveling in the surprise and intention evident there, and all the while, supporting each other to create a vibrant studio community. All levels welcome.

Meghan Brady, a painter, is based in Midcoast Maine. Through painting, printmaking, and drawing-installations, Brady explores the possibilities of a wide-ranging practice. Recent shows include “Said + Done” at Mrs Gallery in NYC, “Reversible Roles” at University of Maine Museum of Art, and “Second Hand” at Space Gallery in Portland, ME. She has been in residence at the Surf Point Foundation, MacDowell, and Tiger Strikes Asteroid NYC. Brady is a graduate of Smith College and Boston University. meghanbrady.com @meghanbrady

Anna Hepler is a New England-based sculptor. Her work—both hand-held and architectural in scale—overturns first impressions—wire forms flatten into drawings, clay impersonates metal, plywood coils like rope, plastic inhales and exhales. She values embarrassment and fragility as active agents in her studio process. Hepler has exhibited widely, and her work can be found in the collections of the National Gallery of Art in Washington D.C. and the Tate Modern, amongst others. annahepler.com @anna_hepler

Joy O. Ude is a mixed-media artist and designer. An Americanborn child of Nigerian immigrants, Ude explores the concept of duality in her artwork. She received an MFA in Fiber Arts from the University of North Texas in 2013. Her work has been included in several regional and national shows, including a 2021 solo show at Houston Center for Contemporary Craft. Ude is currently an elementary school art teacher in Texas and a member of FJORD Gallery in Philadelphia, PA. joyoftextiles.com @joy_of_photos

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WOOD

Radical Jewelry Takeover!

Hybrid Object Laboratory v2.0

Radical Jewelry Makeover (RJM) is an international traveling community jewelry mining and recycling project. In this mini RJM workshop, participants stage a "takeover" and will learn to create jewelry through an RJM lens, with a focus on reuse, wise practices, mindful participation, and exploring the narratives behind our jewelry collection. Utilizing some of the many leftover donations from previous RJM installments, we will create new "Madeover" pieces of jewelry. All levels welcome.

In this workshop students will learn traditional and alternative processes for making functional and sculptural hybrid objects: objects that present or perform unlikely combinations. The work will be assembled and carved, using both additive and subtractive techniques. We will cover joinery and construction of curved and not-square pieces, hand and power carving, and knife-work along with safe and appropriate machine and hand tool usage, and sharpening as we make objects the world has never imagined. All levels welcome.

Kathleen Kennedy is a sculptor, jeweler, and educator currently living in Richmond, VA. She is an Instructor and Metals Area Coordinator for the Department of Craft/Material Studies at Virginia Commonwealth University (VCU). She is a Board Member of Ethical Metalsmiths and currently serves as Co-Director of Radical Jewelry Makeover, an international jewelry mining and recycling project focused on education and collaboration that travels across the country and abroad. Kennedy’s practice explores value and meaning through objects centering around jewelry and jewelry imagery. kathleenwkennedy.com radicaljewelrymakeover.org @kdangerk @radicaljewelrymakeover

04 Triangle Jar by Shibata, 2021. Local clays, clear glazed, wood fired, Cone 11, 10" x 11" x 20".

05 LilyWhiteWash by Joy O. Ude, 2019. Lace tatting, mold castingcast urethane resin, hand-tatted lace 6" x 8" x 9" (full installation).

06 Cardboard Study (CSV#2), by Anna Hepler, 2021. Photograph, dimensions variable.

07 Cheese Knife Set by Erica Moody, 2020. Stainless steel, burnished body with blackened scales, brass rivets, approximately 6" long.

18 SESSION 1 : J U N E 1 2 –2 4

METALS

Sylvie Rosenthal started building at age six at an experimental design museum where she made circuses, catapults, rockets, and robots. She received a BFA from RIT’s School for American Crafts in Woodworking, built two houses from the ground up with her mentor, Doug Sigler, in western North Carolina, and received an MFA in Sculpture from the University of Wisconsin-Madison. She owns and operates Lower Astronomy Studios, a design, sculpture, and woodworking studio in Madison, WI. Rosenthal teaches woodworking and design thinking in many settings, such as university and college programs, craft school workshops, and to children in the studio and virtually. sylvierosenthal.com @lower.astronomy

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01 Cathedral by Philip Thomas Campbell, 2021. Painted and blackened steel, 48" x 80" x 4".

by Ebitenyefa Baralaye, 2017. Stoneware and glaze, 22" x 16" x 6".

Mandolin by Beth Ireland, 2017. Maple, rosewood, 12" x 26" x 2.5".

JUNE 26–JULY 8

02 Nest

03 Turned

SESSION 2 BLACKSMITHING

CERAMICS

FIBER

Fabrication: Volume I

Big Impressions: Free-Form Press-Molds

Woven Hypothesis

This workshop will focus on the basics of steel fabrication with an emphasis on creating volumetric forms, both functional and sculptural. Students will dive right in with a handful of quick assignments and exercises in order to familiarize themselves with the many processes involved in steel fabrication. We will then take these newly developed skills and apply them to our own self-initiated projects. Daily demonstrations will include, but not be limited to, technical drawing and layout, basic sheet forming techniques, welding and cutting, and finish work and patination. All levels welcome.

Free-form plaster press-molds combine the efficiency of producing multiples with the fluidity and tactility of handbuilding. These molds are well-suited with less bulk and weight for reproducing voluminous and big forms. This workshop will take students through the process of building durable and light(er) plaster press-molds entirely by hand. Participants will model a clay form, produce a press-mold, and press casts from it. Strength, manageability, and usability of the overall mold and its parts will be emphasized. All levels welcome.

Weave on floor looms using traditional and innovative techniques. With an emphasis on exploration, we will investigate everything from overshot to painted warps, and from yarn to unconventional materials, as we develop new ways to embed ideas, data, and imagery into woven pieces. Everyone will learn about weaving drafts and create a varied collection of experimental samples on shared warps. Participants will then be encouraged to draw on their research, interests, and discoveries to weave original work. All levels welcome.

Ebitenyefa Baralaye is a ceramicist and sculptor. His work explores translations of form, text, and symbols interpreted through a diaspora lens and abstracted around the aesthetics of craft and design. Baralaye studied at Rhode Island School of Design (BFA) and the Cranbrook Academy of Art (MFA). His work was featured in the “Objects: USA 2020” exhibition and catalog. Baralaye is currently an Assistant Professor and the Section Head of Ceramics at the College for Creative Studies in Detroit, MI. baralaye.com @baralaye

Kim Mirus is an artist and educator based in the Rocky Mountains, primarily working on floor looms to weave visualizations of environmental data. Mirus has attended Artist-in-Residence programs across the US and internationally, including MASS MoCA (MA); Penland winters (NC); SÍM (Iceland); and The Arctic Circle (Svalbard), which led to a solo exhibition, “Arctic Threads.” Mirus has enjoyed teaching at The Crucible, in public schools, and at Penland School of Craft. kimmirus.com @kimmirus

Philip Thomas Campbell is a studio artist and fifth-generation steelworker living and working in Asheville, NC. Following graduation from Hendrix College, he worked as an industrial steel fabricator for seven years at Bemberg Iron Works, his family’s 136 year old steel business. In 2016, Campbell was awarded a two year fellowship at Penland School of Craft, and was named an Early Career Artist in 2018 by The Society of North American Goldsmiths (SNAG). His work has been included in exhibitions at the Metals Museum, Memphis, TN; Blue Spiral 1, Asheville, NC; Signature Gallery, Atlanta, GA; and The MINT Museum, Charlotte, NC, and is in the collection of The University of Arkansas Little Rock. Campbell has taught at Penland School of Craft and was a resident at Haystack’s Open Studio Residency. thomascampbellcraft.com @thomas_campbell

20 SESSION 2 : J U NE 2 6 – J U LY 8

GRAPHICS

Solving for Intent

This workshop is a journey with Daniel Minter in the exploration of printmaking, collage, and painting. Beginning with sketching, drawing, and research, we will compile images that resonate with you personally. We will work toward creating patterns with narrative textures using images and materials such as paper, wood, thin metals, and natural and human-made objects to layer meaning and intent into our art. This will open the door for experimentation with new technologies such as digital laser cutting and digital graphics. Traditional linoleum and wood block carving will be used and covered throughout. Exploring all types of materials is encouraged in order to create a narrative statement or conceptual idea through layering, collage, and assembling. All levels welcome. Daniel Minter is a painter, sculptor, and assemblage artist exploring common echoes in the visual languages of the AfroAtlantic diaspora. Through his personal history and through his study of the cultural and religious creations of people of African descent, Minter has developed an iconography of Black futurity grounded in the narratives, traditions, and ethics of the US South but connected as well to Brazil, the Caribbean, and the African continent by means of his imaginative sensibilities. danielminter.net @d1minter

METALS

Forged & Fabricated

Participants will investigate metal as a medium for creating dimension through forging and fabrication. We will cover foundational techniques such as sawing and piercing, finishing, soldering, and patina. We will focus on household objects and utensils and add forged and fabricated embellishments to create one-of-a-kind pieces. Get ready to make the most wonderfully weird spoon of your dreams or the most extravagant candlestick holder. Whatever your heart desires, we can build it together. All levels welcome.

Funlola Coker was born and raised in Lagos, Nigeria. In 2007 she moved to Memphis, TN to pursue a BFA in Sculpture from Memphis College of Art. She is a metalsmith and occasionally makes limited production jewelry. Coker is fascinated by history, science fiction, and the evolution of culture. Her work has been exhibited at Brooklyn Metal Works, West Coast Craft, and Renegade Craft Fair. She is currently an MFA candidate in Metal at SUNY New Paltz. funlolacoker.com @funlolacoker

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04 StrumStick (Winter), collaboration work by Jungin Hwang and Keun Ho Peter Park, 2019. Cherry, Baltic birch plywood, 33" x 7" x 2".

05 Glacial Trend by Kim Mirus, 2019. Handwoven wool and cotton, 13" x 13".

06 Of Infinite Measure by Daniel Minter. Acrylic painted wood relief carving, 11" x 48" x 4.5".

07 Neat as a Pin by Funlola Crocker, 2021. Fine silver, artist’s hair, 5.5" x 1" x .75".

WOOD Sculptural Stringed Instruments Whether you are a musician who wants to learn woodworking techniques, or a woodworker who would like to learn the elements of stringed instrument construction, or just someone looking for a fun two weeks, this is the workshop for you! Two skilled professional woodworker/ artists will guide you through the safe use of tools including the bandsaw, router, drill press, and stationary sanders to create two unique stringed instruments, a dulcimer guitar, and a tenor or six string guitar. Participants will learn sculptural carving, shaping, and forming to create personalized instrument designs based on our special bandsaw box technique. The fundamentals of stringed instrument construction including scale length, acoustics, fretting, and stringing will also be covered in a safe, supportive atmosphere with lots of one-on-one instruction. All levels welcome.

VISITING ARTIST

PHUC TRAN (Non)Fiction, Art(ifice), & (In)Authenticity 05

These afternoon conversations are intended to explore the ways our own stories and art can (and should) defy easy categorizing, even pushing and expanding the ideas of what is true or authentic. How does making art or taking inspiration from our experiences move from editing and curating those experiences to the act of creation? And how does that creative process expand the idea of what is real or objective? And how do the ideas of artistic authenticity and identity collide with capitalism and the pressures of the market? Participants are encouraged to share their creative processes and consider what part of themselves and their experiences are integral to that process.

Beth Ireland received an undergraduate degree from the State University College at Buffalo, and an MFA in Sculpture from Massachusetts College of Art and Design. She has been running her company, Beth Ireland Woodworking, since 1983. Her business provides woodworking with a specialization in architectural and artistic woodturning. Ireland has been involved in a traveling art/craft project entitled Turning Around America since 2010 and an instrument making project called strumfactory.com since 2016, and has received three Windgate fellowships. She also teaches the Professional Woodturning Intensive at the Center for Furniture Craftsmanship (ME). Ireland lives and works in Saint Petersburg, FL. bethireland.net @thebethisyettocome Keun Ho Peter Park is an international artist, woodworker, and instrument maker who teaches at the University of the Arts in Philadelphia. He received a BFA in painting from South Korea’s Kookmin University and an MFA in Woodworking and Furniture Design from the Rochester Institute of Technology. Among other honors, Park won a 2015 Wharton Esherick award at the Philadelphia Museum of Art craft show, and served as a Windgate resident artist at Indiana University of Pennsylvania. studiospong.com @studiospong @spong33

Phuc Tran has been a high school Latin and Greek teacher for more than twenty years while also simultaneously establishing himself as a highly sought-after tattooer in the Northeast. His 2012 TEDx talk was featured on NPR’s Ted Radio Hour. His acclaimed memoir, Sigh, Gone, received the 2020 New England Book Award for Nonfiction, the 2021 Maine Literary Award for Memoir, and was named a best book of 2020 by Amazon, Audible, Kirkus Reviews, and many other publications. phucskywalker.com @phucskywalker

Visiting artists augment the session with informal activities and are not workshop leaders. LEARN MORE : HAY STA CK-MTN . ORG

01 Black Sheep by Sophie Glenn, 2020. Painted and rusted steel, and hand-spun steel wool, 30" x 24" x 24".

02 YPR by Demitra Thomloudis. Brass, powder coat, Sharpie marker, acrylic paint, pencil, sealer, 4" x 3.5" x 2".

03 Growing in Brief Light by Erin Furimsky, 2020. Hand-built porcelain and stoneware, 11"x 14" x 8".

SESSION 3

JULY 17–29

BLACKSMITHING

CERAMICS

Fabricating Ideas in Steel

Fabricating Form & Shaping Surfaces

This workshop will focus on the fundamentals of steel fabrication for creating functional and sculptural works. Daily demonstrations will include, but are not limited to making templates, exploring traditional and nontraditional methods for shaping steel, MIG and TIG welding, and different finishing processes. We will first practice these techniques through a series of quick exercises, and then each participant will design and fabricate a larger project that shows off their new metalworking skills and creativity. All levels welcome.

This workshop will bridge the gap between sculptural forms and compelling ceramic surfaces as participants develop their personal visual vocabulary. We will utilize various handbuilding techniques and develop ideas through creative exercises, and discussions. Participants will create complex layered surfaces with a low-tech approach, employing both familiar techniques and new processes. You will discover strategies for incorporating texture, pattern, image, and color with the use of underglazes, glazes, and decals at various temperatures in oxidation. This workshop is open to anyone interested in sculptural and utilitarian ceramics. All levels welcome.

Sophie Glenn is a furniture maker and metal fabricator currently living in Reading, PA. She received a BFA in Sculpture and Drawing from SUNY Purchase College, and an MFA in Furniture Design and Woodworking from San Diego State University. Her work has exhibited in venues across the country, including Blue Spiral 1 Gallery, Asheville, NC; the Center for Art in Wood, Philadelphia, PA; and the Metal Museum, Memphis, TN, and she has been fortunate to receive several grants, fellowships, and residencies to help advance her career. sophieglenn.com @arcburn_furniture

Erin Furimsky is a studio artist and Professor in Bloomington, IL. Her work has been in exhibitions at galleries and museums, including Santa Fe Clay, The Canton Art Museum, and the Yingge Ceramics Museum in Taiwan. She has been an Artist-in-Residence at the Archie Bray Foundation and the Red Lodge Clay Center. You can see Furimsky in a variety of streaming videos on ClayFlix, with the most recent one on handbuilding, out this year. erinfurimsky.com @erinfurimsky

FIBER "The Way to Blue"—Indigo Dye in Contemporary Art In this workshop, we will approach the use of Indigo dye as both process and metaphor. Students will be exposed to both traditional and contemporary dye vat preparation, but will also explore the socio-political, symbolic, and complex history of Indigo dye. Fabric manipulation techniques such as shibori and batik will be covered, but emphasis will be placed on experimental uses of the dye and dyed fabric in sculpture, installation, and mixed media forms. All levels welcome.

GRAPHICS

Indo-Islamic Papermaking: Fiber, Color, Aesthetics

Students will explore a style of traditional Indian papermaking from the 14th century. They will make the tools, learn to use them, and produce the lustrous, pliable, naturally dyed sheets from the Indo-Islamicate tradition. Surface finishing techniques and pigment making will also be investigated for use on your papers. Beginners will leave with a solid foundation, while experienced students will gain a deeper understanding of this unique tradition. (During the first week of the workshop, students will make the screens, which they will get to keep. The instructor will supply additional tools needed for the process—students are welcome to purchase these tools at the end of the workshop if they like. Roughly $275). All levels welcome. Radha Pandey is a papermaker and letterpress printer. She received an MFA in Book Arts from the University of Iowa Center for the Book where she studied Letterpress printing, Bookbinding, and Papermaking with a focus on Indo-Islamic Papermaking techniques. Her artist’s books are held in numerous collections including the Library of Congress and Yale University. Pandey has taught at Penland School of Craft (NC), Cleveland Institute of Art (OH), Women’s Studio Workshop (NY), Leksands Folkhögskola (Sweden), and Bomuldsfabriken Kunsthall (Norway). radhapandey.com @pandey.radha

Jovencio de la Paz is an artist and educator based in the Pacific Northwest. Their work is situated in a terrain between digital technologies and traditional forms of hand-weaving. They received a BFA from the School of the Art Institute of Chicago with emphasis in Fiber in 2008, and an MFA from the Cranbrook Academy of Art, Department of Fiber, in 2012. They are currently Assistant Professor and head of Fibers at the University of Oregon, in Eugene, OR. jovenciodelapaz.org @jovenciodelapaz

24 SESSION 3 : J U LY 1 7 – 2 9

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WOOD

Surface-Color-Solid

Objects in Narrative Play

This workshop will introduce the technical and theoretical use of color as it pertains to creating jewelry. Using materials such as casting plastics, powder coating, image transfer, and various colors on metal applications, emphasis will be placed on the understanding of color as it applies to surface and form and its relationship to historical and contemporary trends, practice, and material culture. All levels welcome.

How do we connect materials to a story that is then amplified by its form, configuration, or placement? In this workshop participants will use improv, intuitions, and narratives as modes for creating a body of designed objects using mediums such as wood, plaster, and found or valued objects. Through the study of artists and designers including Chakaia Booker, Theaster Gates, and Alison Wade, we will consider how sculptural objects function, and facilitate content and conversation as they relate to personal stories. By using personal objects as well as visiting local thrift stores, lumberyards, and sustainable outlets we will scavenge, find, and plunder materials. Discussion and material gathering will be offset by studio demonstrations and construction methods. Sketches and small-scaled prototypes will lead up to presentations and completed works. Students can have the basics of either art, carving, construction, design, and concept, or simple gardening skills. All levels welcome.

Demitra Thomloudis is a studio jeweler and an Associate Professor at the Lamar Dodd School of Art. Her investigation of the human body and its relationship to jewelry have manifested in works of art that challenge our assumptions about jewelry and its meaning, power, and value. Her research, which explores jewelry’s capacity to express the interrelationship of person and place, has earned her an international reputation in the field, as well as numerous accolades and invitations to participate in exhibitions and residencies, including at The Museum of Arts and Design in New York; The Benaki Museum in Athens, Greece; The Museum for Modern Art in Arnhem, Netherlands; The Hellenic Museum in Melbourne, Australia; and the Franz Mayer Museum in Mexico City, Mexico. Her work is in numerous private collections and permanently at the Museum Espace Solidor in Cagnes-sur-Mer, France and the Ilias Lalaounis Jewelry Museum in Athens, Greece. Her work is represented by Charon Kransen Arts-USA and the Penland Gallery located at the Penland School of Craft. demidemi.net @demidemidotnet

VISITING ARTIST CAROLYN FINNEY Telling Stories

How do we engage this moment? We will dive deep into our stories of identity, difference, belonging, and home. Let’s get our hands and hearts dirty by digging deeply into our past— the history of this land, of our family, and of ourselves—in order to make healthy soil and create fertile ground for a future possible. How might our individual stories of the past and present assist us in growing a new vision of the future? Carolyn invites everyone with a story to tell; she will bring a work-in-progress as a way to explore how we observe, relate to, and curate our own stories. What possibilities might emerge? Visiting artists augment the session with informal activities and are not workshop leaders.

Norman Teague is a Chicago based designer and educator focused on projects and pedagogy that address the systematic complexity of urbanism and the culture of communities. Specializing in custom furniture, Teague's past projects have included consumer products, public sculpture, performances, and specially designed retail spaces. Working with common, locally sourced building materials and local fabricators Teague creates objects and spaces that explore simplicity, honesty, cleverness, and relate to the culture of the client and/ or community. normanteaguedesignstudios.com @normanteaguedesignstudios

Carolyn Finney, PhD, is a storyteller, author, and a cultural geographer who works at the intersection of the arts, education, and lived experience. Each piece of her work is intentionally curated—be it an essay, a performance piece, a class, or an opportunity to engage in dialogue—as a way to practice relationship-building across differences that foster creativity and possibility. She is the author of Black Faces, White Spaces: Reimagining the Relationship of African Americans to the Great Outdoors, is working on a performance piece as part of a Mellon residency at the New York Botanical Garden and is an artist-inresidence in the Franklin Environmental Center at Middlebury College. carolynfinney.com

Photo by Lorem Ipsum

04 Bionumeric Organisms (An Ocean for Eloise) by Jovencio de la Paz, 2021. Handwoven Jacquard fabric, cotton, Indigo, 70" x 54".

05 Self Portrait by Norman Teague, 2016. Ash, cedar, bending plywood, 52" x 42" x 42".

06 Sampling of naturally-dyed papers, tools, and materials by Radha Pandey, 2018. Bone, grasses, and Indo-Islamic papers made using dyed fermented hemp, 5" x 8".

METALS

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01 Comb Back Windsor Rocking Chair by George Sawyer, 2013. Mixed woods and milk paint, 29" x 27" x 41".

02 Energy Field by Liz Collins, 2015-2017. Installation at the Tang Museum, Saratoga Springs, NY; carpet, acrylic on canvas, various yarns, mirror, hand woven knit cotton, steel, vintage chairs, rope, video, knit jacquard fabric, tape, books, leather, and wood.

SESSION 4

JULY 31–AUGUST 12 CERAMICS

FIBER

GLASS

Sketch & Stretch: A Playful Approach to Handbuilding & Surface Design

Micro/Macro

#Reality

In this workshop we will create temporary, site-specific interventions into the landscape of the stunning Haystack campus. Considering both micro and macro transformations, participants will select a site across the Haystack grounds to research and create work for. Beginning at the level of the stitch, we will look at a range of hand textile techniques for processes to scale up into three-dimensional space. All levels welcome.

This serious, playful, and fast paced workshop will focus on efficient ways to capture the spirit of hot glass as a transformative liquid for making solid and hollow sculptural forms. Working carefully from observation we will explore techniques of marver work, gathering, and shaping with minimal tools to manipulate molten glass into realistic forms. Our focus will be placed on mimicry to create objects ranging from both the macro and the micro in figural subject matter with careful attention to volume, proportion, and form. This is an ideal workshop for the aspiring glass sculptor. Previous hot glass experience required.

Starting with the sketchbook as a springboard for our ideas, we will translate drawn shapes into three-dimensional pottery forms. With the aid of paper, craft foam, and bisqued clay, we will exploit the immediacy and potential of building with soft clay slabs. We will use texture, underglaze, resists, and glaze to create layered surface effects. Participants will leave with new templates and molds, bisqueware, glaze-fired pieces, and tons of new ideas. In both practice and product, a spirit of playful discovery will be emphasized. All levels welcome. Chandra DeBuse is a studio potter living in Kansas City and is a founding member of Kansas City Urban Potters. She received an MFA from the University of Florida and was a resident artist at Arrowmont School of Arts and Crafts. DeBuse has presented her work as a National Council on Education for the Ceramic Arts (NCECA) emerging artist, the Utilitarian Clay Symposium, Functional Ceramics Workshop, SOFA Chicago, and to a worldwide audience through The Ceramics Congress. chandradebuse.com @chandradebuse

28 SESSION 4 : J U LY 3 1 – A U GU S T 1 2

Liz Collins works fluidly between art and design, with emphasis and expertise in fiber and textile media. Her work explores the boundaries between painting, fiber arts, and installation. Collins has had solo exhibitions at the Tang Museum, BGSQD, LMAK, and Heller Gallery in New York; AMP in Provincetown, MA; the Knoxville Museum of Art, TN; Gallery DLUL in Ljubljana, Slovenia; and has staged large-scale performance/installations in Los Angeles, Zagreb, Boston, and New York, among many other places. lizcollins.com @lizzycollins7

GRAPHICS

Make a Change, One T-Shirt at a Time.

Working with the prompt "What positive message do you want to tell your community?" we will examine the relationship between words and image to design and screen print one and two color posters and t-shirts using a direct method of image making through the process of exposing screens. With this process we can develop designs with fine detail and learn the basic tools in Photoshop to help in creating images. Each student will walk away with a collection of posters/t-shirts, etc. Plus, in the workshop, students will have a chance to work collaboratively in designing and printing a t-shirt. All levels welcome.

Hope Rovelto is the owner of Little Chair Printing, a custom screen printing shop that focuses on giving back to the community and balances printing free Black Lives Matter (BLM) t-shirts and printing for a variety of companies from throughout the US. Rovelto is passionate about screen printing for organizations such as the Maine Gun Safety Coalition, Sonos, Maine Inside Out, Equality Maine. She has also built a bicycle screen printing shop with which she has traveled throughout Maine and all over the East Coast. littlechairprinting.com @littlechairprinting

Deborah Czeresko uses a range of approaches and techniques in her work including hot glass sculpting, performance, and collaboration. She began working with glass at the New York Experimental Glass Workshop in 1987 after receiving a BA in Psychology from Rutgers University. In 1992, Czeresko received a graduate degree in Studio Art from Tulane University. Since then, she has been a glassblowing instructor and visiting artist at many universities and schools throughout the US and in Europe. She was selected as one of the 100 artists included in New Glass Now and in 2019 Czeresko won Netflix’s art glass competition show Blown Away. deborahczeresko.com @dczeey

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WOOD

Sentiment & Sediment: Narrative Enamel

Please Be Seated—Building Chairs that Endure

The inclusion of a strong narrative has a rich history in American art jewelry. This workshop will continue to carry on the tradition as we cultivate personal narratives through the creation of enameled, wearable objects. A variety of enamel application techniques will be used to layer imagery, color, shape, and iconography that will help to tell a story. Additional layers of information will be added by using a laser to engrave the enamel and custom, full-color ceramic decals will be applied. All levels welcome.

This workshop will explore the history of traditional chairmaking and green woodworking techniques with an eye toward using them in modern seating. The conical, wedged mortise and tenon is an ancient joinery technique—arguably the simplest and strongest method for constructing seating. We will use hand tools to split material from a log, shape parts on the shave horse, carve seats, and turn legs on a lathe. Participants will design and build seating that incorporates these methods into pieces that speak to the individuals’ personal design aesthetic. All levels welcome.

Marissa Saneholtz makes narrative based jewelry and objects using humor and sarcasm. She is co-founder of the Smitten Forum, an annual traveling residency program, and currently teaches at Bowling Green State University. Saneholtz’s work has been published in several books including Humor in Craft by Brigitte Martin and Narrative Jewelry: Tales from the Toolbox by Mark Fenn. Her work can be found in the collections of the Racine Art Museum, the Mint Museum in Charlotte, NC, and the Enamel Arts Foundation in Los Angeles, CA. marissasaneholtz.com @saneholtzm

by Hope Rovelto, 2020. Four-color screen print poster, 8.5" x 11".

03 Oh God—Martina 59/9 by Deborah Czeresko, 2019. Neon/mixed media, 80" x 24" x 22". Photo by Martyna Szczesna.

04 Disposable

05a She refused to accept the hand she was dealt by Marissa Saneholtz, 2017. Copper, vitreous enamel, sterling silver, pearls, silk. Enameling, fabrication, decals, 6" x 6" x ¼". Photo by Sara Brown.

05b The statement left a bitter taste in her mouth by Marissa Saneholtz, 2018. Copper, vitreous enamel, sterling silver, pearls, silk. Enameling, fabrication, decals, 5½" x 5½" x ½". Photo by Sara Brown.

Dish by Chandra DeBuse, 2019. Hand built porcelain, 5" x 10" x 4".

05c The traditions were hers to change (detail) by Marissa Saneholtz, 2017. Copper, vitreous enamel, sterling silver, pearls, silk, stainless steel wire. Enameling, fabrication, decals, 5½" x 5½" x ½". Photo by Lucy Clark.

06 Butter

METALS

George Sawyer is a second-generation Windsor chairmaker with a BFA in Industrial Design from the Rhode Island School of Design. He teaches traditional Windsor chairmaking out of his studio in Woodbury, VT, and uses many of the same tools and techniques used in chairmaking 200 years ago. He continues to produce the designs that were perfected by his father, David Sawyer, while re-envisioning a future for fine craftsmanship and hand joinery in modern seating for his company, Sawyer Made. His work has been exhibited at the Vermont State House and the Brattleboro Museum & Art Center, VT. sawyermade.com @sawyer_made

05B 05A

05C

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CERAMICS

FIBER

GLASS

Consider This

Finding Focus

Dinner Party

Consider every part of the functional pot. In this workshop we will carefully think about every part of making—from conception, skillful use of technique, individual ideas, and intended life for the pot. While working with the wheel as a starting point, we will develop a vocabulary of techniques for use to construct work that reflects our own ideas and intent. Some of these techniques include carving, working with slip, and altering wet and leather hard clay. Another essential component is punctuating an idea with our choice of glaze. We will high fire our pieces in a reduction atmosphere. Working together we will encourage each other to bring our ideas to a higher maturity and resolution. All levels welcome.

An important aspect of art practice is one’s ability to set self-defined limitations that expand creativity and deepen conceptual/material content—often a process of peeling away layers and trying new approaches. A series of guided “limitations” will help you probe your established practice with materials/process through reduction, focus, and innovation. The intention is to sharpen your work through selective experimentation, group critique, and discussion. During the second week, students will develop sculptural investigations focused around discoveries from the first week. Open to all those with a prior established artistic practice and background in textiles.

Food and drink just taste better when taken from handmade wares. In this workshop, we will play with a wide range of form and surface techniques as we work towards the goal of creating a collaborative tablescape that we will use to have a dinner party at the end of the session. Blown glass plates, cups, bowls, serving platters, candleholders, and salt cellars will adorn our family table by the workshop's end. Whether your interests lie in simple functional form or elaborate pattern work, this workshop will have something for you. Some experience with free hand glassblowing is recommended, but not required.

Tactile materials provoke entry into conceptual subjects that circulate and resurface throughout Jane Lackey’s artwork. Her installations draw out participatory responses while abstract works on paper overlap textile references and drawing. Her work has been included in exhibitions at the Galleries of Contemporary Art, University of Colorado Colorado Springs; The Tang Teaching Museum; New Mexico Museum of Art; and Wellcome Trust, London. She has been awarded the US/Japan Creative Artist Exchange Fellowship, Camargo Foundation Fellowship, and artist grants from the National Endowment for the Arts. Lackey was Artist-in-Residence at Cranbrook Academy of Art, 1997-2007. She currently lives/works in Santa Fe, NM. janelackey.com @lackeystudio

Corey Pemberton received a BFA from Virginia Commonwealth University in 2012. He has completed residencies at The Pittsburgh Glass Center (PA), Bruket (Bodø, Noway), as well as a Core Fellowship at the Penland School of Craft (NC). He currently resides in Los Angeles, CA where he splits his time between the non-profit, Crafting the Future, production glassblowing, and his painting practice. Pemberton strives to bring together people of all backgrounds and identities, breaking down stereotypes and building bridges; not only through his work with Crafting The Future, but with his personal artistic practice as well. coreypemberton.com @instantglassic

S.C. Rolf is a studio potter in River Falls, WI, focusing on functional pots. He received a BFA from Kansas City Art Institute and an MFA from Alfred University. Rolf teaches workshops at universities and craft schools throughout the US. His work has been exhibited in Japan, Korea, Denmark, and the US, and is included in museum collections at the Minneapolis Institute of Art; American Museum of Ceramic Art; Ulsan Museum, Korea; Museum of Contemporary Craft; and International of Museum of Dinnerware Design. His work has also been featured in Ceramics Monthly and Studio Potter. scrolfpotter.com @steven_rolf

3 2 SESSION 5 : A U GU S T 1 4 – 2 6

01 Ode to Dick (detail) by Corey Pemberton, 2021. Blown glass, Bullseye Murrine, steel, 4" x 13".

AUGUST 14–26

02 Wollen Harten by Iris Eichenberg, handheld object made from 1994–2002. Woll (wool), knitted. Photo by Tim Thayer.

03 Seat of Learning by Jane Lackey and Thomas Lehn, 2020. Multimedia walk-through installation and video, 50' x 50' x 14'. Photo by Allison Daniell Moix.

SESSION 5

GRAPHICS

Rolling & Folding

Participants will learn the elements of both paper mechanics and monotype printing techniques then apply them to books, collapsible structures, and foldable sculptures. The twodimensional portion will review how to choose the right paper, how to modify and roll ink, and how to create color areas and textures with monotype techniques. The threedimensional portion will include curve folding, pleating systems, and modular design in paper craft. Participants are encouraged to bring in their own imagery, photographs, etc. from which to work. All levels welcome.

Valpuri Remling hails from Rovaniemi, Finnish Lapland. She has studied printmaking since 2000, starting in Estonia. After receiving an MFA in Printmaking from the Finnish Academy of Fine Arts, Remling studied at Tamarind Institute in Albuquerque, NM and received a Tamarind Master Printer certificate in 2009. She returned to Helsinki and to Helsinki Litho, becoming co-owner of the workshop, while also teaching lithography at the University of the Arts, Helsinki, in the Academy of Fine Arts printmaking program, and working as an artist, showing in Finland as well as abroad. Remling has held the position of Workshop Manager/Master Printer at Tamarind Institute since 2015. tamarind.unm.edu @tamarindinstitute

Matthew Shlian is an artist/designer and founder of the Initiative Artist Studio in Ann Arbor, MI. His work extends from drawings to large-scale installations to collaborations with leading scientists at the University of Michigan. His work for the National Science Foundation explores paperfolding structures on the macro level translated to the nano-scale. Shlian’s client list includes Ghostly International, Apple, P&G, Facebook, Levi’s, Sesame Street, and the Queen of Jordan. mattshlian.com @matthewshlian

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04 Serpentine Brush by Aspen Golann, 2020. Desk brush in bleached maple, brass, blonde tampico fibers--traditional ebonizing techniques, hand tools and brush tying, 11" x 4.75" x .75". Photo by Brady Connelly, Loam Marketing.

05 Teapot by S.C. Rolf, 2016. Stoneware, wheel-thrown with slip cast handle, Cone 10 reduction, 9" x 7" x 8.5".

06 Shirt Bread and Bone by Valpuri Remling, 2010. Four-color lithograph on Revere Bisque Suede Paper, 25" x 35". Photo by Jussi Tiainen.

07 Omoplata 75 in royal blue by Matthew Shlian, 2019. Litho gradient on Somerset Paper, 42" x 24" x 2".

WOOD

A Travel Altar

Hard & Soft: Sculptural Brushmaking

Think of a site you are feeding, a collection of objects in an interdependent conversation, an altar you unfold like a toolkit which activates a process. In this workshop we are looking into the recording of process and what works do to us. Not aiming to illustrate a narrative, we will work with hidden narratives and processes. With a wide range of techniques and materials we may wander out of the metals studio or look into the most archetypal forms, objects, and techniques through the lens of timelessness and a non-hierarchical approach. I hope we all bring different techniques to this workshop as much as notions of belief. My wish is that you do not immediately understand what you make and that in the best scenario this can be a start for a longer engagement. We will alternate between fast and slow assignments, lots of talking, and lots of silence. All levels are welcome.

Hone your carving skills, flex your design muscles, and explore the intersection of form and function by transforming this humble household object into sculpture. Students will fabricate wood and fiber objects that engage, elevate, or subvert the brush, creating functional and conceptual manifestations of this simple tool. We will cover wood shaping, fibers, compound angle drilling, bent-lamination, and traditional and modern carving. Group discussions will investigate the history of cleaning objects as well as contemporary approaches to brushes and brooms. All levels welcome.

Since graduating from the Gerrit Rietveld Academie in Amsterdam in 1994, Iris Eichenberg works as an independent artist and educator. She began teaching at the Gerrit Rietveld Academie in 1996, where she was Head of the Jewelry Department from 2000 to 2007. In 2006 she accepted an appointment as Head of the Metalsmithing Department at Cranbrook Academy of Art in Bloomfield Hills, MI. She is regularly invited to act as visiting critic and give workshops. iriseichenberg.com @iriseichenberg

METALS

VISITING CURATOR ANDRES PAYAN ESTRADA Object Constellations What objects orbit our experiences? How do objects tell our stories? Through group discussion we will share and map out our relationships with formative objects, including their histories, meanings, poetics, and politics. We will explore our material realities and bring objects and stories together to orchestrate meanings while navigating the expansive network of relations and connections that shape our worlds and the objects in them. Visiting artists augment the session with informal activities and are not workshop leaders.

Aspen Golann is a furniture maker and artist blending iconic American furniture forms with contemporary design. Her work is published in Architectural Digest, Fine Woodworking, Luxe Magazine, Lost Art Press, and others. She writes for Fine Woodworking Magazine and is the recipient of the 2020 Mineck Furniture Fellowship from The Society of Arts + Crafts. Golann has received support from Winterthur Museum, The Maloof Foundation, Massachusetts Cultural Council, Anderson Ranch Art Center, and the Center for Furniture Craftsmanship. aspengolann.com @aspen_golann

Born in Ciudad Juarez, Chihuahua, Mexico, Andres Payan Estrada currently lives and works in Los Angeles, CA. He received a BFA in Ceramics from the University of Texas at El Paso and an MFA from the California Institute of the Arts (CalArts). Payan Estrada is an artist and curator whose practice focuses on issues revolving around contemporary craft and queer production with a focus on ceramics and material studies. He is currently the Curator of Public Engagement at Craft Contemporary and recently served as Visiting Faculty at CalArts and mentor in the Master of Arts in Critical Craft Studies at Warren Wilson College. andrespayan.com @andres_payan

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01 Shapes

by Arounna Khounnoraj, 2021. Fabric, sewn, 18" x 18".

AUGUST 28–SEPTEMBER 3

02 Shaker and Salt, Nick and Nora Cocktail Set, by Nickolaus Fruin, 2018. Blown glass, 9"(tallest dimension) 3" (widest dimension).

03 #PhilOurCup (detail) by Isaac Scott, 2020. Porcelain, 4.5" x 4" x 3".

SESSION 6

GRAPHICS

The Expanded Monoprint: Integrating the Laser Cutter

Explore a playful approach to making layered, handpulled prints through this fun, experimental workshop. We will learn various ways to bring technology into our art-making practice, using the laser cutter as a flexible tool throughout different stages of the process. We will learn how to turn analog drawings into digital files, incorporate laser-cut elements into the printing process, and use technology as a finishing step. Our goals are to increase our skills and exchange ideas for expanding our creative practices. Photoshop experience is helpful but not required. All levels welcome. Lari R. Gibbons is an artist who explores new and traditional approaches to printmaking through collaborative projects. She is a Professor at the University of North Texas, where she teaches all levels of printmaking. Gibbons has led workshops at the Amon Carter Museum, Anderson Ranch, and Fort Worth Modern Art Museum, among others. Recognitions for her teaching include an Adobe Innovation Achievement Award and an SGCI Educational Panel award. She received an MFA from the University of Nebraska-Lincoln. larigibbons.com @lrgibbons

CERAMICS

FIBER

GLASS

METALS

Narrative Cups: Deeper Than the Surface

Textile Collage

On (purpose)

Pattern-Formed Enameled Vessels

This workshop will be dedicated to exploring the form of the cup as a vehicle for developing complex surfaces and storytelling. Students will be introduced to various methods of making cups, applying images, color, and composition to make dynamic and richly layered surfaces. These methods will be useful to the beginner as well as more experienced students. All levels welcome.

This workshop is an exploration of collage using upcycled fabric to create a wall hanging. We will work with a number of different materials and techniques such as natural dyes, patchwork, and various types of stitching. Starting with smaller samples, we will create pieces that explore the relationship between patchwork and stitching as structure and as gestural mark making—applying, combining, and layering both surface and line. Our final piece will be a culmination of our discoveries. Must be comfortable with hand sewing—all levels welcome.

In this week-long workshop students will dive into creating and designing with purpose. From everyday objects to custom pieces that fill a void, we will create blown glass forms with intent using technique and skill building. We will turn mundane objects into thoughtful objects where form follows function. Students should bring designs to work through and expect to leave with finished pieces. Together we will try to make things better by making better things. Intermediate to advanced level—previous glassblowing experience is required.

Arounna Khounnoraj is a Canadian artist and maker working in Toronto where she immigrated with her family from Laos at the age of four. While her education includes an MFA in Sculpture and Ceramics, it was through subsequent residencies that she found her current focus in fiber arts. In 2002 she started bookhou, a multi-disciplinary studio with her husband, John Booth, where she explores screen printing and a variety of textile techniques such as embroidery and punch needle. Khounnoraj creates objects such as bags, home goods, and textile art. She is the author of Punch Needle, Visible Mending and she will be releasing her new book on embroidery in 2022. bookhou.com @bookhou

Nickolaus Fruin is currently the Glass Studio Coordinator at Penland School of Craft. He has taught at Penland, Tulsa Glassblowing School, STARworks Glass, and Toyama Institute of Glass Art, and has been a Visiting Artist at Hastings College, Southern Illinois University, University of Louisville, Rochester Institute of Technology, and Australian National University. His work has been shown internationally and is in the collection of the Corning Museum of Glass. nickolausfruin.com @niqfruin

Participants will explore how a flat sheet of metal can be transformed into a volumetric object using little more than a jeweler’s saw and some basic hand tools. Once formed, these metal vessels can be enameled, using low-tech methods for adhering enamel powder to the vessel’s dimensional surfaces. We will cover strategies for enhancing the finished enamel vessel, including basic silver fabrication, cold-connection methods, and small-scale wood carving. Intermediate level—participants should be able to saw, file, and solder unassisted.

Isaac Scott is a ceramic artist, curator, and photographer from Madison, WI who is currently living in Philadelphia, PA. Scott received an MFA from Tyler School of Art and Architecture in Fall 2021. His ceramic work has been exhibited around the country including at The Clay Studio in Philadelphia, PA and at the 2019 National Conference for Education in the Ceramic Arts (NCECA) in Minneapolis, MN. Scott’s photographs of the 2020 Uprising in Philadelphia were featured in the June 22, 2020 issue of The New Yorker. In August of 2020 he completed his first mural alongside collaborators Gerald A. Brown and Roberto Lugo. The Stay Golden mural is located at 33rd and W Diamond St. in Philadelphia, PA. isaacspottery.com @this_is_ceramics @thisisphotography2020

3 6 SESSION 6: A U GU S T 2 8 – S E P TE M BE R 3

Nash Quinn is a metalsmith who specializes in patternformed enamel vessels and small-scale mechanisms. He received a BFA from the University of Wyoming, and an MFA from Edinboro University of Pennsylvania. He teaches, lectures, and exhibits his work at craft schools, jewelry academies, and universities nationwide. Quinn’s work has been featured in exhibitions including “40 Under 40: The Next Generation” at the National Ornamental Metal Museum, and “Rings!,” curated by Helen Drutt. nashquinn.com @nash.quinn

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WRITING

Passamaquoddy Fancy Baskets

Courageous Writing: The Art of the Memoir

This workshop will focus on ash basket making, from the raw material of a tree to final finished baskets. We will cover a variety of approaches from advanced weaving techniques to many basic ones. There will be the opportunity to experience the traditional process of pounding and splitting ash but it is not a requirement. Intermediate level—participants must have some competence, or prior experience, with creating three-dimensional objects with their hands, and, along with some instruction, must be able to work independently.

How do we share our most intimate stories with the world? In this workshop participants will explore the art of memoir writing, from source material and idea development to the craft of constructing a final piece of writing. Group discussions, readings, writing prompts, and more will help participants explore their own stories and develop their voice as writers. All levels welcome.

Jeremy Frey is an award-winning, nationally recognized Passamaquoddy artist and basket weaver. Frey comes from a long line of basket weavers. He is known for his intricate and contemporary versions of this traditional art form. Frey has spent much of his career innovating and reimagining these designs. His works can be seen in many prominent collections and museums across the country. jeremyfreybaskets.com @jeremyfreybaskets

WOOD/BASKETS

Abdi Nor Iftin is an award-winning author and a gifted speaker. His memoir Call Me American includes stories about growing up in Mogadishu, Somalia, fleeing to Kenya, and eventually winning entrance to the US in the annual visa lottery. Iftin braved sending audio diaries while living in war-torn Somalia and as a refugee in Kenya. Iftin's story is an essential immigrant story, enlightening, and immediate. Currently the Maine Public News Connect's Somali reporter, Iftin also writes weekly columns for The Forecaster and The Portland Press Herald. callmeamerican.com @abdi_iftin

04 Blue Jay by Jeremy Frey, 2021. Black ash, cedar bark, Rit dye, cover art–Porcupine Quill on Birchbark, 13" x 9".

05 Gradient 6 by Lari R. Gibbons, 2015. Relief monoprint, 15" x 11". Completed with Red Ridge Editions at University of Arkansas.

06 Trigger Studies by Nash Quinn, 2019. Brass, steel, Paduak, feathers; fabricated, carved, gold plated; each ring approximately 7" x 6" x 6", foldable.

06 05

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“

I knew that I would be INSPIRED by artists, studio space, workshops, and surroundings, but escaping my usual roles, routines, and responsibilities while CONNECTING with others was an unexpected and SIGNIFICANT GIFT. I can’t say I’ve experienced this in my adult life, and it felt rare and wonderful.” SARAH KEENER, WORKSHOP PARTICIPANT

4 0 WORK SHOPS: GE NE R A L INFO R M ATIO N

PLANNING FOR A SAFE REOPENING Haystack plans to resume programming at full capacity in 2022. However we also recognize the pandemic continues to impact our lives. We will continue to be transparent about our evolving approach to the coming season, and any changes to our program or policies will be posted clearly on our website and announced through eNews and social media. While there is no single way to mitigate risk during the pandemic, we believe we can responsibly run this program so long as we all follow the same set of guidelines. In addition to clearly defined internal protocols, we will follow the recommendations of the CDC and public health agencies within the State of Maine and continue to make decisions based on key metrics of the pandemic in our region. Our responsibility as an organization is to establish and maintain clear policies that minimize risk of exposure and transmission of the virus and your responsibility is to fully comply with those policies to ensure the safety of everyone in our community. A detailed and updated reopening document and safety guidelines will be available in early April. VACCINATION, FACE COVERINGS, AND SOCIAL DISTANCING For the health and safety of our community, Haystack will require all staff, faculty, and program participants to be fully vaccinated against COVID-19. Full vaccination means at least fourteen days need to have passed between the final dose of any of the currently approved vaccines and your arrival to Haystack’s campus. We also anticipate that all program participants and staff will be required to wear face coverings, and comply with social distancing guidelines, if necessary.

COVID CANCELLATION POLICY In the event that Haystack must cancel a program, session, or workshop in response to the pandemic, we will notify people as soon as possible and provide a full refund on tuition, room and board, including deposits and application fees. We hope this provides comfort and assurance in applying to the School. In the event an individual must cancel due to COVID-19 related issues, a full refund (less application fee) will be provided. This policy is intended to assist in the instance of illness, exposure, or travel restrictions. In the case of cancellations for any reason, Haystack is not responsible for nonrefundable airline tickets or other indirect expenses. Our general program cancellation policy for all non-COVID related issues remains unchanged and can be viewed on the following pages. These policies are subject to change.

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Materials & Supplies All materials and supplies are the responsibility of workshop participants including all fellowship and scholarship students. Some supplies and equipment are provided in the studios (see shop fees); most others may be purchased at the School's store. A student memo and prep sheet detailing the workshop supplies, and other personal items you will need to bring from home, will be emailed upon enrollment in a workshop.

Non-discrimination Policy

GENERAL INFORMATION TUITION, ROOM & BOARD

Sessions 1–5

Tuition each session $1,115

Session 6 $595

Room & Board

SHOP FEES Shop fees cover the cost of materials for common use in a studio and are the responsibility of each participant, including fellowship and scholarship students. 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. Common shop fees range from $25 to $75 per week with the exception of the following workshops:

Single with bath limited availability

$2,425

$1,340

Double with bath

$1,595

$885

Ceramics Estimated at $100 per week for the cost of clay, glaze, and firing

$820

Blacksmithing Estimated at $100 per week for the cost of coal and steel

Quad with bath

$1,515

Double near central bath

$1,065 $590

Triple near central bath

$630 $350

Dorm near central bath

$480 $275

Day Student

$435

$260

Meal costs are included in all Room & Board rates, including Day Student rate—meals are never a separate or pro-rated cost. There are no exceptions.

Glass* Estimated at $250–$350 per week for the cost of hot glass *A glass deposit of $350 (two-week) or $175 (one-week) is required by May 1.

POLICIES

General Cancellation Policy If a cancellation is received prior to thirty days before a session begins, deposits are refunded, less a $100 cancellation fee. Every effort is made to issue refunds within twenty-one business days of a cancellation. There is no refund if a cancellation is made within thirty days of the start of your session.

COVID-19 Cancellation Policy See Page 41 for details.

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. GENERAL SELECTION CRITERIA Applicants must be eighteen years of age or older to apply for sessions. 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 · 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. ACADEMIC CREDIT Academic credit for workshops is available through arrangements Haystack has with the University of Southern Maine and Maine College of Art & Design. Undergraduate or graduate credits are available through University of Southern Maine, and undergraduate credits only are available through Maine College of Art & Design. • University of Southern Maine undergraduate credit costs $348 per credit hour, and graduate credit costs $492 per credit hour, with three credits earned in a two-week session. • Maine College of Art & Design undergraduate credit costs $312 per credit hour, with three credits earned in a two-week session.

SUBMITTING YOUR APPLICATION

Apply online at haystack.slideroom.com Beginning this year, Haystack has shifted to an online application process. The application and affiliated fee are now submitted through our SlideRoom. Before starting the application process, we encourage applicants to scroll through our extensive list of Frequently Asked Questions on our website. APPLICATION FEE General applicants will pay a nonrefundable application fee of $50 at the time of submitting their application through SlideRoom. DEPOSIT* Upon notification of acceptance into a workshop, a $250 deposit for each session is required by May 1 and will be applied to tuition, room and board. * For glass workshops, an additional material deposit of $350 (two-week session) or $175 (one-week session) is required by May 1. FINAL BALANCE The full balance of tuition, room and board must be paid no later than thirty days prior to the start of a given session. QUESTIONS? Contact Haystack at haystack@haystackmtn.org. Haystack staff are available Monday through Friday to talk with you about your application and materials needed, and to assist you through the application process.

General summer workshop applications are due March 15.

Credit costs are set by the respective institutions and are subject to change. If interested in earning college credit as listed above, notify Haystack in the office on the first Monday of the session. 4 2 WORK SHOPS: GE NE R A L INFO R M ATIO N

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Providing support to students has tremendous impact, and we are very proud of the endowed scholarship and fellowship funds, and partnerships with individuals and institutions, that have been created at Haystack: FELLOWSHIPS Allison Cooke Brown Maine College of Art & Design Fellowship Established by Allison Cooke Brown ’01 (Awarded by Maine College of Art & Design)

Haystack is fortunate to have loyal and generous supporters who make it possible for us to award full scholarships to over 30% of students attending the School. We are firmly committed to a culture of diversity, equity, and inclusion and as an artistic community believe in celebrating divergent points of view. One of the most powerful tools we have in supporting this mission is our scholarship program, which in 2019, our most recent year of programming, 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, Finland, and Thailand. Foundations and individual 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. An endowed fund can be created and includes tuition, room, and board, plus a travel stipend to offset the expense of travel to and from Deer Isle. Haystack is also able to work with donors to fund Current Year Scholarships for $2,245* each, providing a student with tuition, room and board, plus a travel stipend, to attend a two-week workshop in a given year. 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 will remain one of our most critical goals. The Haystack scholarship program is supported through annual fund contributions, end of session auctions, the summer gala, grants, and our scholarship endowment. 4 4 F EL L OWSH IPS & S C H O LA R S H IP S

In 2022 Haystack will award over thirty fellowships and scholarships supporting BIPOC (Black, Indigenous, and People of Color) students. We are grateful to the donors who helped us raise $50,000 in support of this new initiative that aims to expand our community and broaden access to the School. Each award will provide tuition, room, and board, plus a travel stipend to attend workshops at the School. An independent committee of BIPOC artists will select the recipients and Haystack will begin awarding the fellowships/scholarships during this coming season. A dedicated application process has been established for these fellowships/ scholarships, which can be found at haystack-mtn.org/scholarship-and-fellowship-funds. We are also thrilled to announce that in 2022 Haystack has removed the work-study requirement from our scholarship program while also including a travel stipend for all of our endowed funds. A special thanks to the Windgate Foundation for their support of these important equity initiatives. Read more at haystack-mtn.org/equity-initiatives.

Dave and Jean Lincoln Scholarship* Jean and Dave Lincoln Scholarship

Southwest School of Art Fellowship Established in honor of Paula Owen by Johnny Clay Johnson (Awarded by Southwest School of Art)

William H. Muir Scholarship Samuel Newbury Scholarship

Harris Barron Fellowship Established by Ros Barron (Awarded by Massachusetts College of Art and Design, MassArt Alumni Relations)

Stewart W. Thomson Cranbrook Academy of Arts Fellowship (Awarded by Cranbrook)

Betty Oliver Scholarship

Mary Blakley Fellowship

William Wyman Fellowship (Awarded by Massachusetts College of Art & Design)

The Brown University Fellowship Established by Joan and Pablo Sorensen (Awarded by Brown University) David Cheever Fellowship Elizabeth Crawford Fellowship Established by M. Rachael Arauz with additional lead support from the Gersen/ Hemphill Family (Awarded by Wellesley College) Mad Crow Fellowship 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) Cait Giunta Fellowship

University of Wisconsin-Madison Fellowship (Awarded by University of Wisconsin-Madison)

SCHOLARSHIPS Naomi I. Becker Scholarship Andrew and Martha Bergman Scholarship

Priscilla Merritt Scholarship

Mary Nyburg Scholarship Ronald Hayes Pearson Scholarship (Awarded to two students) Peninsula Area Scholarship Parker Poe Scholarship Elena Prentice Scholarship (Awarded to six students of color) Francis William Rawle Scholarship Barbara Rockefeller Scholarship

Bingham Scholarship Fund for Maine Students

Samuel and Eleanor Rosenfeld Scholarship in Fiber

Mary Beasom Bishop and Francis Sumner Merritt Scholarship

Samuel and Eleanor Rosenfeld Scholarship in Wood

Bill Brown Scholarship

Lois Rosenthal Scholarship

Judith Burton Scholarship

Florence Samuels Scholarship

Steven Byrne Scholarship

Kay Sekimachi Scholarship

Catto Family Scholarship

Heikki Seppa Scholarship

Kate Cheney Chappell Scholarship

Margaret (Peggy) Swart Sewall Scholarship

Thomas Chappell Scholarship

Irving B. Sherman Island Scholarship

Elizabeth F. Cheney Scholarship

Bunzy Sherman Scholarship

Ethel Skeans Clifford Scholarship

Mathias Lloyd Spiegel Scholarship

David Ferranti Scholarship

Carolyn J. Springborn Scholarship in Fiber

Jane Weiss Garrett Scholarship

Howard Kestenbaum and Vijay Paramsothy International Fellowship (Awarded to two international students)

Golden Rule Scholarship

Carolyn J. Springborn Scholarship in Graphics

Roberto Lugo Minority Fellowship

Gary “Griff” Griffith Scholarship

Carolyn J. Springborn Scholarship in Wood

Richard Allen Merritt Fellowship (Awarded to a student from Japan)

Candy Haskell Scholarship

Lenore Thomas Straus Scholarship

Marcianne Mapel Miller Fellowship (Awarded by Alfred University)

Harriet Hemenway Scholarship

Lenore Tawney Scholarship

Priscilla Henderson Scholarship

Taylor-Zwickey Scholarship

Richard and Mary Howe Scholarship

Molly Upton Scholarship

Mary Alice Huemoeller Scholarship

George VanOstrand Scholarship

Stuart Kestenbaum Scholarship

Beverly Warner Scholarship

Marlin Miller International Fellowship (Coordinated with the Luys Foundation, Armenia) Quimby Family Fund Fellowship (Awarded by Maine Art Education Association)

*based on 2022 rates

Michael Lax Scholarship

Ingrid Menken Scholarship

Edward Larrabee Barnes Architectural Fellowship

SCHOLARSHIPS

San Diego State University Fellowship Established by Arline Fisch (Awarded by San Diego State University)

Jack Lenor Larsen Scholarship

Alan Gordon Sanford Fellowship (Awarded by The Waring School)

Arizona State University Fellowship Established by Joanne and James Rapp (Awarded by Arizona State University)

FELLOWSHIPS &

Rhode Island School of Design Fellowship (Awarded by Rhode Island School of Design)

Jody Klein Scholarship

Frans Wildenhain Scholarship

Nanette Laitman Scholarship

J. Fred Woell Scholarship

*Allocated for Haystack’s Student Craft Institute, a program for teens in Maine LEARN MORE : HAY STA CK-MTN . ORG

HOW TO APPLY FOR A SCHOLARSHIP OR TECHNICAL ASSISTANTSHIP Application Deadline: March 1, 2022 The Haystack scholarship program supports more than 200 individuals to attend programs at the School. Students receiving a fellowship or scholarship award for summer workshops must be eighteen years of age or older. Recipients are provided with support for tuition, room and board, and thanks to generous gifts from our donors all award recipients will now receive up to $500 in travel support. Fellowship/scholarship students are responsible for related shop fees and studio materials. Haystack assembles independent committees to select awards through a competitive review process. In advance of applying we strongly encourage reviewing the extensive list of Frequently Asked Questions on our website. Please note that all applications must be submitted online. To help increase equity, in 2022 Haystack has reduced the application fee–from $50 to $25–for fellowship/scholarship applicants and the workstudy requirement has been eliminated. Additionally, we will provide more than thirty dedicated fellowships or scholarships for BIPOC (Black, Indigenous, and People of Color) students. See page 44 for more details.

SCHOLARSHIP APPLICATION FEE Scholarship applicants will pay a nonrefundable application fee of $25 at the time of submitting their application through SlideRoom. TECHNICAL ASSISTANT SCHOLARSHIPS Technical Assistantships are provided as an underwritten professional development opportunity. Technical Assistants provide support to workshop faculty, shop supervision, and must be well familiar with equipment and processes of particular studios. Technical Assistants receive tuition, room and board, plus up to $500 in travel support. Additionally, shop and material fees are waived, up to $500, for Technical Assistants. Visit our website for a list of workshops in which Technical Assistants are needed. There is no application fee for those applying to be a Technical Assistant.

Apply online at haystack.slideroom.com 4 6 F EL L OWSH IPS & S C H O LA R S H IP S

COMMUNITY PROGRAMS STUDENT CRAFT INSTITUTE Each year high school students from throughout the state of Maine are nominated by their teachers to attend this spring program, staying on the campus, and studying with nationally recognized faculty.

FAB LAB INTERNSHIPS A paid internship program for area high school students who are provided training in digital design and fabrication tools, and work experience in the Haystack Fab Lab during the summer months.

PUBLIC ACCESS FAB LAB A community resouce from November through May providing training, workshops and public access to digital design and fabrication tools at our Center for Community Programs in Deer Isle village.

STUDIO BASED LEARNING Supporting high school students from the greater Blue Hill Peninsula, this fall program brings cohorts of students from area schools to stay on the campus, working alongside one another in workshops taught by nationally recognized faculty.

K-12 EDUCATIONAL INITIATIVES: IN-SCHOOL RESIDENCIES Partnerships in the local school system, providing training, curriculum development and classroom resources in digital design and fabrication to area teachers and students.

ISLAND WORKSHOP DAY This one-day program, our opening campus event of the season, brings together community members from Deer Isle, Stonington, and the greater Blue Hill Peninsula to participate in workshops taught by area artists.

OUT MAINE Our first dedicated campus program for LGBTQ high school students in Maine designed to empower and inspire young people to see themselves in their fullest capacity and model an open and out life in the arts. MENTOR PROGRAM An extension of Studio Based Learning, providing opportunities for high school students from the Blue Hill Peninsula to work alongside professional artists in their studios.

COMMUNITY PARTNERSHIPS: OFFSITE WORKSHOPS Haystack is working to expand its impact around the region by partnering with organizations, such as Blue Hill Public Library, to offer workshops for our local community.

OPEN DOOR First offered in 1982, Open Door is an intensive three-day program for Maine residents. Our closing campus event of the season, the program is held in mid-October with workshops for people of diverse backgrounds and skill levels taught by nationally recognized faculty.

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WORKSHOP FACULTY AT A GLANCE

BLACKSMITHING Erica Moody

BLACKSMITHING Philip Thomas Campbell

BLACKSMITHING Sophie Glenn

CERAMICS Chandra DeBuse

P. 16

P. 20

P. 24

P. 28

GRAPHICS Meghan Brady + Anna Hepler P. 17

GRAPHICS Daniel Minter

GRAPHICS Radha Pandey

GRAPHICS Hope Rovelto

P. 21

P. 25

P. 29

CERAMICS Ebitenyefa Baralaye

CERAMICS Erin Furimsky

FIBER Liz Collins

P. 20

P. 24

P. 28

METALS Funlola Coker

METALS Demitra Thomloudis

METALS Marissa Saneholtz

P. 21

P. 27

P. 31

CERAMICS Hitomi + Takuro Shibata P. 16

METALS Kathleen Kennedy P. 19

FIBER Kim Mirus

FIBER Jovencio de la Paz

GLASS Deborah Czeresko

P. 21

P. 25

P. 29

WOOD Beth Ireland Keun Ho Peter Park

WOOD Norman Teague

WOOD George Sawyer

P. 27

P. 31

P. 23

FIBER Joy O. Ude P. 17

4 8 AT A GL ANC E

WOOD Sylvie Rosenthal P. 19

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WORKSHOP FACULTY AT A GLANCE

6 CERAMICS S.C. Rolf

CERAMICS Isaac Scott

P. 32

P. 36

GRAPHICS Lari R. Gibbons P. 37

FIBER Jane Lackey

GRAPHICS Valpuri Remling Matthew Shlian P. 33

FIBER Arounna Khounnoraj P. 36

P. 32

METALS Nash Quinn P. 37

METALS Iris Eichenberg P. 35

GLASS Corey Pemberton

GLASS Nickolaus Fruin P. 37

WOOD Jeremy Frey P. 39

P. 33

WOOD Aspen Golann P. 35

5 0 AT A GL ANCE

WRITING Abdi Nor Iftin P. 39

WE ARE HAYSTACK FOUNDERS Haystack was founded in 1950 by a group of Maine craftspeople— primarily Edgar and Marjorie Sewell, Elizabeth Crawford, and William and Estelle Shevis—and made possible through the extraordinary support and vision of Mary Beasom Bishop. FOUNDING DIRECTOR Francis S. Merritt (1913–2000) LIFE TRUSTEES William Daley Arline Fisch Wayne Higby Richard Howe Lissa Ann Hunter Marlin Miller Eleanor Rosenfeld Claire Sanford Cynthia Schira

BOARD OF TRUSTEES Jack Lenor Larsen Honorary Chair (1927-2020) Ayumi Horie President Fabio Fernández Vice President Laura Galaida Treasurer M. Rachael Arauz Abigail Barrows Susan Haas Bralove Sonya Clark Sara Clugage Annet Couwenberg Tanya Crane Andres Payan Estrada Mickie Flores Virginia McGehee Friend Sarah Khurshid Khan Helen Lee Roberto Lugo Sarah McNear Márçia Minter Alison Croney Moses John Ollman Peter Roth Rosanne Somerson Namita Gupta Wiggers Valerie Wicks Joe Wood

STAFF Paul Sacaridiz Executive Director Julie Adley Office Coordinator Ginger Aldrich Development Director Carole Ann Fer Registrar Molly Flanigan Donor Relations + Communications Isaac Goss Maintenance Assistant Marissa Hutchinson Programs + Studio Coordinator Annette Huval Student Accounts Walter Kumiega Facilities Director James Rutter Technology Director + Fab Lab Coordinator Marilyn Smith CFO Ellen Wieske Deputy Director Brad Willis Studio Technician

CATALOG Design Might & Main Editors Ginger Aldrich Annaliese Jakimides Photography Haystack Mountain School of Crafts Audi Culver Dan Rajter Greta Rybus FUNDING Funding for Visiting Artists/ Writers is provided by: Haystack’s Charlie Gailis Fund Stuart Kestenbaum Fund for Writing Francis S. Merritt Fund for Innovative Programming Windgate Foundation Funding for Norman Teague'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

LEARN MORE : HAY STA CK-MTN . ORG

HAYSTACK MOUNTAIN SCHOOL OF CRAFTS P.O. BOX 518 DEER ISLE, ME 04627-0518 USA haystack-mtn.org

APPLICATION DEADLINES MARCH 1 Residency Technical Assistant Scholarship

MARCH 15 General Workshops