2017 SUMMER PROGRAMS
H AY S T A C K
M O U N T A I N
S C H O O L
O F
C R A F T S
OPEN STUDIO RESIDENCY WORKSHOPS & SUMMER CONFERENCE
haystack-mtn.org
welcome
Schedule at a Glance / 2 Open Studio Residency / 4 Haystack fab lab / 7 Session One / 8 Session Two / 12
For a long time now people have been coming to Haystack
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Mountain School of Crafts as a way of learning something
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about themselves and the larger world. At Haystack we
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believe in creating an environment that values reflective
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thinking and a close examination of materials and processes within a supportive and creative community. The experience of taking a workshop at the school is
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marked by long, uninterrupted days in the studio surround-
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ed by remarkable individuals who care deeply about what it
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means to explore ideas and work with their hands. Standing on the deck, overlooking Jericho Bay and the Atlantic Ocean, it’s a breathtakingly beautiful place that is hard to forget. People come to the school to develop and nurture their creativity, to ask questions, and to reassess their work —and regardless of your background or skill level there is a place for you here. When Mary Beasom Bishop founded Haystack in 1950
NOTE: Workshops are open to all skill levels, beginners to advanced professionals, unless otherwise noted in workshop descriptions.
it was a radical idea based on the belief that there existed something so important that it needed to be shared with others. This profoundly simple and generous gesture has driven us ever since, and the 2017 program is no exception.
DEADLINES
We hope that you will join us. Residency March 1
Paul Sacaridiz Director
Scholarship March 1 Regular (Non-Scholarship) April 1
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SUMMER
2017 RESIDENCY May 28–June 9
session 1 June 11–June 23
VISITING WRITER* Faythe Levine
BLACKSMITHING Andrew Hayes Steel as Voice
SESSION 2
CERAMICS Peter Pincus Prototyping in Plaster FIBER Marianne Fairbanks Fiber Foundations and Futures G ra p hics Lauren Fensterstock Boite en Valise M E TA L S Jaydan Moore Found
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WOOD Zeke Leonard Reverb: Make the Things That Make the Music
June 25–July 7
BLACKSMITHING Hoss Haley Skin and Bones CERAMICS Michael Hunt and Naomi Daglish Responding to Clay FIBER Aaron McIntosh Piecework as Paradigm GRAPHICS David Wolfe 26 Letters/ Type and Image
M E TA L S Matthieu Cheminee A Journey’s Recollections (learning by traveling) WOOD Annie Evelyn Altered Interactions: Experimental Furniture
SUMMER CONFERENCE
SESSION 4
July 30–August 11 CERAMICS Ann Agee Handbuilding with Clay FIBER Tanya Aguiñiga Tied, Twisted, and Knotted
T he T hing that Makes the T hing
GLASS Jack Wax Three Dimensional Drawing (with glass)
SESSION 3
M E TA L S Mi-Sook Hur Enameling: Colorful Exploration
July 9–13
July 16–28
CERAMICS Roberto Lugo Superficial Substance: The Ceramic Surface D R AW I N G Claire Sherman A Wind-Storm in the Forests — Visionary Landscapes FIBER / QUILTMAKING William Adjété Wilson A West-African Appliqued Experience GLASS Alicia Lomné Pâte de Verre: The Glass Skin M E TA L S Daniel DiCaprio Wood Jewelry WOOD Kimberly Winkle The Fabulist’s Caddy: Storytelling through Sculptural Boxes V I S I T I N G C U R AT O R * Rachael Arauz
PA P E R M A K I N G Jocelyn Châteauvert Raising Paper WOOD Barbara Cooper Building Form through Accretion
W E AV I N G Dee Clements Composition and Materiality; Weft Faced Rug Weaving and Design WOOD Matthias Pliessnig Bend the Rules
SESSION 6
August 27–September 2 CERAMICS Adam Field Nature/Tradition: Cultivating Inspirations in Clay FIBER Jovencio de la Paz Indigo and its Metaphors GLASS Pablo Soto Techniques Re-purposed
SESSION 5
GRAPHICS / MIXED MEDIA Bird Ross Wanz’apun’atime (the Art & Craft of Play)
BOOK ARTS Doug Beube Radical Bookwork: Re-purposing Found Books from Meaning To Structure
M E TA L S / B E A D M A K I N G Heather Trimlett Beadmaking Bonanza: Work Smarter, Not Harder
August 13–25
CERAMICS Pattie Chalmers Heros and Villians GLASS Stine Bidstrup Inspiration and Expiration M E TA L S Kat Cole Bonded: Enamel on Steel
WOOD Dan Webb Carving For Everyone WRITING Anna Moschovakis Horizontal ‘Translation’: Text, Language, Other *Visiting artists augment the session with informal afternoon conversations that are open to all workshop participants and faculty.
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May 28– June 9
open
STUDIO RESIDENCY In 2013 Haystack launched the Open Studio Residency, which is held the first two weeks of June, kicking off our summer season of programs. The residency is designed to foster artistic exploration at the highest level, and those selected attend for free. “Time, as we know, is one of our most precious resources. Clearing my calendar for two weeks took careful planning. So I was grateful to see the planning on Haystack’s end. The Open Studio Residency was programmed with a delicate touch; we had enough activities to get to know one another, but the days were clear from distractions and expectations. It has been years since I focused only on the studio for days on end. The staff welcomed us, delicious meals appeared, announcements kept us informed, and then we got back to work—just right.”
Sarah Turner
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skills, you may want to apply to one of our sessions. The Open Studio Residency fosters a dynamic exchange of ideas among peers. The school’s fab lab will also be open, providing an opportunity for experimentation with digital fabrication as a way for residents to augment and complement their creative practices. In addition to open studios, there will be time for participants to share work and discuss ideas across disciplines. Residents include established and emerging artists working in a range of visual art and craft media.
RESIDENCY SELECTION CRITERIA A N D A PP L I C A T I O N PROCEDURES Primary criteria include: • the quality of work
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he Open Studio Residency provides two weeks of studio time and an opportunity to work in a supportive community of makers. The program accommodates approximately 50 participants—from the craft field and other creative disciplines—who have uninterrupted time to work in six studios (ceramics, fiber, graphics, iron, jewelry, and wood) to develop ideas and experiment in various media. Participants can choose to work in one particular studio or move among them depending on the nature of their work. All of the studios are staffed by technicians who can assist with projects. Please note that technicians will not be leading workshops. If you are interested in learning specific
• the ability to work in an intensive community • if applicable, the nature and scope of work that will be done during the residency Applicants must be 18 or older. Application is for the entire two-week session.
Supporting materials include: • A brief resumé. • Up to five images of your work in digital format. SlideRoom provides a list of acceptable file formats and file sizes. When submitting an image, you will also enter the following information: image/work title, date, dimensions, and materials/technique. • All image filenames must include your name and the title of the work. • Two letters of reference. • A $50 application fee, which is nonrefundable.
rates Applicants pay the non-refundable application fee of $50 through a secure site on the online application. SlideRoom accepts all major credit cards and all major US debit cards. If you would like to use a different form of payment, please contact Haystack directly. The residency program is supported by Haystack’s Windgate Foundation Endowment for Programs. Other than the application fee, there is no charge to attend.
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O T H E R I N F O R M AT I O N Haystack does not discriminate against any individual or group of individuals on the basis of age, color, disability, gender identification, national origin, race, religion, sexual orientation, economic status, or veteran status. All are welcome. A prep sheet detailing personal items you will need to bring from home, will be sent upon acceptance into the residency.
SUBMITTING YOUR A PP L I C A T I O N Haystack has partnered with SlideRoom to provide Residency applicants with an online application process. To begin, visit: haystack.slideroom.com. Additionally, before starting the application process, we encourage applicants to scroll through our extensive list of Frequently Asked Questions on our website (haystackmtn.org). Questions? Contact Haystack at (207) 348-2306 or haystack@haystack-mtn.org. Haystack staff are available M-F, 8:30 am–4:30 pm EST to talk with you about your application and materials needed, and to assist you through the application process.
accom M odations Housing will be assigned at random from among the various accommodation options. If you have particular physical needs, please note these on your application.
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M AT E R I A L S A N D SHOP FEES Materials costs and shop fees, payable at the conclusion of the residency, are the responsibility of the residency participant.
All residency applications, complete with supporting materials, must be submitted online by March 1. Residency applications will be reviewed by an independent committee.
FA B LAB Haystack’s fab lab was established in 2011 and has quickly become an integral part of our mission to think broadly about the field of craft. Fab labs, an educational outreach component of MIT’s Center for Bits and Atoms, are an international network of over 400 small-scale digital fabrication facilities that spans 30 countries and 24 time zones. Fab labs provide connection to a global community of learners, educators, technologists, researchers, makers, and innovators. Haystack is the only craft school in the United States that is part of this network, and in 2016 our lab was recognized with the Distinguished Educators Award from the James Renwick Alliance, for pioneering
contributions to craft education. During the winter months Haystack provides fab lab access to our local community through projects in the schools and digital fabrication training at our winter office. At Haystack, the fab lab serves as a complement to our existing programs, and no prior experience is required to use the lab. We partner with trained professionals from MIT, Harvard Graduate School of Design, AS220, and fab labs around the world to staff the lab and provide access to artists in residence, conference presenters, faculty, and workshop participants. The culture found in the Haystack fab lab is one of experimentation, risk taking, and collaboration.
H ardware Universal VLS 350 50 Watt Laser Epilog Legend 24TT 35 Watt Laser Roland GX -24 Vinyl Cutter Roland Modela MDX -20 Desktop milling machine Shopbot Desktop CNC Router Shopbot PRS Alpha CNC Router MakerBot Replicator 2 Experimental 3D printer FormLabs Form 1 desktop SLA printer 3D Systems sense digitizer handheld scanner Heat Press One PC with high-speed graphics capability Two iMacs work stations Five PC’s for dedicated machine control Electronics bench that includes soldering stations, oscilloscope, power supply, and a generous stock of components
S O F T ware Adobe Creative Suite CorelDraw Rhino 123D Inkscape Gimp
Blender Meshmixer VCarve SketchUp Partworks
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SESSION
ONE JUNE 11–23 1 / BLACKSMITHING Steel as Voice
Working with steel as a medium, this workshop will explore both functional and sculptural objects while focusing on the details that make them personal. Combining demonstrations and discussions we will work towards developing a distinctive voice through your work with metal. Starting with ideas and skill building exercises we will cover: sheet steel forming, forging, welding, grinding, and finishing. Then we will shift into self directed projects that will allow for the exploration of individual concepts and designs. All levels welcome.
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A N D R E W H A Y E S is a sculptor,
originally from Arizona, and is currently a resident artist at Penland, where he is exploring the relationship between paper and steel. He is represented by Seager Gray Gallery, Blue Spiral 1, and JHB Gallery. His work has been exhibited at the Fuller Craft Museum, Cameron Art Museum, Mesa Contemporary Art Museum, and is in the collections of Yale Art Museum, Boston’s Museum of Fine Art, Houston Museum of Fine Arts, and the Black Mountain College. Andrew Hayes has taught at Anderson Ranch and Penland, as well as lectured at SUNY Purchase, Southern Illinois Metalsmith Society, and for the Society for North American Goldsmiths. andrew-hayes.squarespace.com
P E T E R P I N C U S lives and works in Penfield, New York and since 2014 has served as a Visiting Assistant Professor of Ceramics in the School for American Crafts at the Rochester Institute of Technology. He received a BFA and an MFA from the New York State College of Ceramics at Alfred University. Peter Pincus has been a resident artist at the Mendocino Art Center, worked as the Studio Manager and Resident Artist Coordinator of the Genesee Center for Arts and Education, and taught at the Roberts Wesleyan College. His work has been exhibited at the Lewis Wexler Gallery, Duane Reed Gallery, Sherry Leedy Contemporary, Independent Art Projects at Mass MoCA, Greenwich House Pottery, Salon Art + Design, SOFA Chicago, Collective Design, and New York Ceramics and Glass Fair. peterpincus.com
1/ FIBER Fiber Foundations and Futures 1 / CERAMICS Prototyping in Plaster
Plaster is an incredibly versatile material that can be used to create highly accurate prototypes and molds for use in a variety of ceramic applications. This workshop will provide an in depth experience into the working properties of plaster and is designed to expand your skill set through demonstrations that include casting plaster on and off of the potter’s wheel, hand-forming wet plaster, cutting and reassembling molds, approaches for simple and complex forms, and systems for efficient casting. Participants will experiment with numerous processes and produce slip-casting molds of their own. Familiarity with plaster casting and clay forming techniques required.
Beginning with investigations of textile based structures, we will work with a range of experimental materials and digital technologies to translate the logic and form of those structures into new two-dimensional and three-dimensional work. For inspiration we will look to many pre-industrial textile methods found in objects such as nets, armor, rafts, rope, bridges, fences, sails, shelters, filters, and kites. Techniques such as coiling, felting, weaving, netting, knitting, and crochet will be covered. This workshop will also explore the potential for interpreting these processes using the Haystack fab lab, and technology such as laser cutters, 3D printers, and CNC routers. Participants will expand beyond traditional materials and processes to re-invent projects, tools, and textiles for a new interdisciplinary and collaborative fiber future. Some familiarity with Photoshop and Illustrator will be helpful but not required. All levels welcome.
Basin by Andrew Hayes, 2016. Fabricated steel, book paper, and paint, 16 x 6 x 4.’’ Photo by Steve Mann
Urns by Peter Pincus, 2016. Colored porcelain, Gold luster, PC-11, 30” x 24” x 12.” Photo by Matt Wittmeyer
PWS Triad by Marianne Fairbanks, 2016. Hand woven on a digital loom (TC-1) wool yarn, polyester thread, reflective yarn, 24 ½” x 28 ½.” Photo by Gregory Vershbow
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the Institute of Contemporary Art, both at Maine College of Art. Lauren Fensterstock is represented by Claire Oliver Gallery. laurenfensterstock.com
1 / M E TA L S Colorless Field 3 by Lauren Fensterstock, 2015. Paper, installation at Leonard Pearlstein Gallery, Philadelphia, 23’ x 12’ x 6.” Photo by Constance Mensh
M A R I A N N E F A I R B A N K S is
a visual artist, designer, curator, and Assistant Professor of Design Studies at the University of Wisconsin-Madison. She received a BFA in Fibers from the University of Michigan and an MFA in Fibers and Material Studies from the School of the Art Institute of Chicago. Her work has been shown in venues including the Museum of Art and Design, Museum of Contemporary Art, the Smart Museum of Art, and Museum London, Ontario. Marianne Fairbanks is a founding member of Mess Hall, an experimental cultural space in Chicago, and co-founder of Noon Solar, a small business that made wearable solar technology to charge personal electronics. For ten years she was part of the collaborative art group, JAM. Additionally she is conducting collaborative research with a chemist to create solar textiles. mariannefairbanks.com
1 / GRAPHICS Boite en Valise
This workshop is designed for artists who want to focus on strengthening their personal voice, develop tools to express their ideas with nuance and clarity, and find methods to continually push their work into new territory. Inspired by Marcel Duchamp’s Boite en Valise—a suitcase filled with miniatures of his life’s work—participants will
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Found
make their own boite inside a box, suitcase, or container that they bring from home. Using simple tools, writing exercises, drawing, collage, photos of your existing work, favorite materials, and map-making exercises, we will mine your artwork for new questions and possibilities. Less focused on making finished objects, this workshop is geared toward developing, articulating, and imagining new ideas. Participants can expect to leave with sketches, models, plans, an artist statement, a manifesto, a list of questions, detailed writing about individual works, and the seeds for future projects. Open to participants with an established studio practice.
How is it different to work with materials that have a history? This workshop will focus on mining materials from the scrap heap, second-hand shops, and other sources. We will study and solve the technical challenges that come with each material and the concepts that are evoked when we work with found objects. Each student will explore the ideas conveyed by individual objects, images, and materials that they are drawn to, and consider how those ideas can be re-incorporated into jewelry, sculpture, or functional objects. Processes including sawing, soldering techniques, cold connections, sheet fabrication, and more, will be covered throughout the workshop. All levels welcome.
LAUREN FENSTERSTOCK
J A Y D A N M O O R E received a BFA
lives and works in Portland, Maine. She received a BFA from the Parsons School of Design and an MFA from SUNY New Paltz. Her work has been in solo exhibitions at Drexel University, the John Michael Kohler Art Center, and The Bowdoin College Museum of Art, and in 2017, will be featured in a solo exhibition at the Museum of Contemporary Art, Jacksonville. Her curatorial projects and published writings have been featured internationally and she has taught, lectured, and critiqued around the country—most recently at the Rhode Island School of Design and Virginia Commonwealth University. She previously served as Academic Program Director of the Interdisciplinary MFA in Studio Arts and as Director of
from California College of the Arts and an MFA from the University of Wisconsin-Madison. He has furthered his career through residencies at the Houston Center for Contemporary Craft, the Fountainhead Fellowship at Virginia Commonwealth University, and a grant from the Peter S. Reed Foundation. Last year Jaydan Moore was awarded the inaugural Emerging Voices Award from the American Craft Council. His work has been included in exhibitions at Cheongju Craft Biennale, South Korea; Museum of Fine Arts, Houston; Museum of Craft and Design; and the Racine Art Museum. He has also taught at the Rhode Island School of Design, Virginia Commonwealth University in the Craft/Material Studies
Program, California College of the Arts, and Penland, where he is currently in the middle of a three-year residency. jaydanmoore.com
1 / WOOD Reverb: Make the Things That Make the Music
What has value? What is trash? Who decides which is which, and why do they get to do that? These are the central questions we will explore as we dismantle cast-off pianos and build playable musical instruments out of them. Once ubiquitous and revered, pianos are now too-often viewed as cumbersome, overly large, and (in many cases) unwanted. We will look at cast-off pianos in a different light: as 500 pounds of raw material. This is not a workshop in master lutherie—it is an opportunity to investigate making experimental objects that make sound. We will focus on exploration, investigation, and invention. Toward the end of the workshop, we may even begin to record some of the instruments as we give deceased pianos a new voice. Woodworking skills, though helpful, are not required, but a willingness to sail uncharted waters is a must. All levels welcome. Z E K E L E O N A R D has been a maker
and musician since his early childhood. He received a BFA in Set Design from the University of North Carolina School of the Arts and an MFA in Furniture Design from the Rhode Island School of Design. A fifteen year stint as a theatrical set designer and fabricator with Pacific Opera Victoria, Miranda Playhouse, and Westbeth Theater, gave way as he began to investigate our resources and the ways we use them. This led to a re-visioning of his work into furniture design and making. In 2011 Zeke Leonard began a multi-year project titled Salt City Found-Object Instrument Works,
an ongoing examination of making and music through designing and fabricating instruments using cast-off materials and objects. His instruments are in the hands of many musicians and collectors, the Mystic Seaport Museum in Massachusetts, and the Worker’s Arts and Heritage Centre in Hamilton, Ontario, and he has played his instruments in a variety of venues— from local bars to the Kennedy Center in Washington, DC. zekeleonard.com
Ends by Jaydan Moore, 2012. Found Platters, 38” x 20” x 3.” Photo by Jim Escalante
1 / VISITING ARTIST* F A Y T H E L E V I N E is an independent
researcher, curator, multi-media artist, and author. Her creative practice is not tied down to one medium and is based on whatever she is passionate about. Her work has accumulated into a large portfolio centered around themes of community, creativity, awareness, process, empowerment, and documentation. Faythe Levine’s two most widely known projects, Sign Painters (2013) and Handmade Nation (2009), both feature-length documentaries with accompanying books, have toured extensively in venues such as the Museum of Arts and Design, Yerba Buena Center for the Arts, Victoria and Albert Museum, Renwick Gallery of the Smithsonian Institution, Brooklyn Museum, and Houston Center for Contemporary Craft. faythelevine.com
The Process of Remaining Our Authentic Selves
During informal workshops, we will extend beyond our studio practice to discuss how can we work together and build bonds through storytelling and shared experience. We will have a fluid conversation surrounding the ongoing process of remaining our authentic selves—as an alternative to
reverb by Zeke Leonard, 2014. Reclaimed piano, mixed media, each approximately 30” long. Photo by David Broda
the experience of being oversaturated in our daily lives. What is at the root of our inspiration and how do we continue to fuel that process? What are the individual tools we can use to stay focused, balanced, and creatively engaged? Faythe Levine will be producing the 2017 Haystack Monograph. Initiated in 1991, Haystacks Monograph series provides a forum for thinkers from varied backgrounds to reflect on the idea, meaning, and implications of craft. *Visiting artists augment the session with informal afternoon conversations that are open to all workshop participants and faculty.
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SESSION
TWO JUNE 25–JULY 7 2 / BLACKSMITHING Skin and Bones
In this workshop we will explore methods of creating three-dimensional forms in steel. Participants will be guided through the process of building armatures with steel rods and these structures will then become a road map for the development of metal volumes. Sheet forming techniques will be introduced to effectively “skin” the armatures in steel. We will also discuss how these particular methods and processes can be used to accurately achieve shifts of scale. All levels welcome.
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H O S S H A L E Y is a conceptually
focused American sculptor and painter creating and residing in Asheville, North Carolina. A Kansas native, he studied blacksmithing for many years in Texas and New Mexico before turning his focus to sculpture. Despite a long career and many travels, his creations clearly depict the power and influence, both conceptual and aesthetic, of the western landscape of his youth. Through decades of sculptural process, Hoss Haley’s work has evolved from literal to theoretical, while simultaneously shifting in scale from intimate to monumental. Master metalworking and expertise in creating large format sculpture have culminated in several collections and commissions in the public art sector. In tandem with a full-time art career, he has participated consistently in the intellectual/academic aspects of visual art through over thirty
can consider new ideas and the nature of collaboration with materials and one another. All levels welcome. M I C H A E L H U N T and N A O M I D A G L I S H live and work in the
positions as an artist in residence, keynote speaker, instructor, and presenter throughout the US. hosshaley.com
2 / CERAMICS Responding to Clay
In this workshop we will explore the ways that responding to materials, processes, and techniques bring life to our work in clay. Through a series of demonstrations, we will cover throwing, carving, onggi paddling, slab building, and molding. We will explore the interaction between dark clay, white slips, and glaze, and participants will experience the ways in which working with various processes can generate ideas and express different qualities of the material. This workshop will be a lively and playful environment where we
mountains of western North Carolina. Using many local materials, they collaborate in making wood-fired functional pottery. Michael Hunt was a core student at Penland, a resident at the North Carolina Pottery Center, and apprenticed with Oh Hyang Jong in Korea, where he learned the traditional technique for making onggi jars. Naomi Daglish studied Ceramics at Earlham College in Indiana, where she received a BA, and, while on a semester in Mexico, worked with a family of potters. Michael and Naomi have worked together in their studio in Bandana, North Carolina for thirteen years. Their work has been included in many exhibitions, most recently at The Northern Clay Center, AKAR Design Gallery, Schaller Gallery, the Steffen Thomas Museum, Signature Gallery, and Gallery 224. bandanapottery.com
Yunomi by Michael Hunt and Naomi Daglish, 2016. Wood-fired local clay with hakame slip and copper dots, 3 ½” x 3 ½.”
2 / FIBER Piecework as Paradigm
Can we look to piecework, a universal craft language, as a cognitive framework for understanding the complex ways that identities are created and shared? This workshop will investigate piecework and quiltmaking as means of expression and conceptual platform within a plethora of cross‐cultural, historical, and contemporary contexts. Participants will learn the basic structure of a traditional quilt, including patchwork, appliqué, layering, and quilt stitching techniques. To reflect the global reach of working with scraps, we will also study nonWestern traditions, such as Seminole patchwork, Korean pojagi, Japanese
Erratic Union No. 3 by Hoss Haley, 2012. Cor-ten steel, 117” x 46” x 36.”
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boro, and Bengalese kantha. These various piecework techniques will be used to push the quilt into expanded forms such as sculpture, architecture, installation, garment, performance, writing, and image-based media. Students will source personally-relevant techniques, explore non‐traditional materials, and work on self directed projects. All levels welcome. Bracelet, Stampclastic by Matthieu Cheminee, 2016. Sterling Silver, 18k Gold and diamonds, stamped, pave setting, 2” wide. Photo by Anthony McClean
The Bear by Aaron McIntosh, 2013. Plaster, wood, shredded gay porn, vintage crazy quilt, bedspread, felt, velvet, 59” x 32” x 27.” Photo by Terry Brown
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A A R O N M c I N T O S H is a fourthgeneration quilter whose work explores the intersections of material culture, family tradition, identity, and sexuality in a range of works including quilts, collage, drawing, and sculpture. He received a BFA from the Appalachian Center for Craft and an MFA from Virginia Commonwealth University. His work has been in exhibitions at Quilt National ’09, Queer Threads: Crafting Identity & Community at the Leslie Lohman Museum of Gay & Lesbian Art in New York, Man-Made: Contemporary Male Quilters at the Craft & Folk Art Museum in Los Angeles, and most recently Queering the Bibliobject at the Center for Book Arts in New York. His personal essays and critical reviews have appeared in the Brooklyn Rail and Hyperallergic. His awards include two Windgate Fellowships and a Maryland State Arts Council Individual Artist Grant. Aaron McIntosh currently lives and works in Richmond, Virginia, where he is an Assistant Professor of Fiber in the Department of Craft/Material Studies at Virginia Commonwealth University. aaronmcintosh.com
2 / GRAPHICS 26 Letters/ Type and Image
Letters can be more than information symbols—the original pictographic sources of our letters are an important and inspirational influence in art and design. We will examine the forms of letters and experiment with using them as image-making elements. Using the relief printing processes of letterpress and woodcut, students will combine and layer letters to create rich, complex images that can also function as readable text. Participants will create a woodcut alphabet as a group project, and also have plenty of time to explore their own directions. No previous experience with woodcutting is necessary. All levels welcome. D A V I D W O L F E is the proprietor
of Wolfe Editions, a letterpress and fine art print studio in Portland, Maine, that works with artists to print editions. He has taught book design and book arts at Maine College of Art, Bowdoin College, Wellesley College, and Dartmouth College, along with ongoing classes in his own studio. David Wolfe was the Master Printmaker for the 2009 winter residency program at Penland. He was awarded the 2010 Traditional Arts Fellow from the Maine Arts Commission, honoring his thirty years of letterpress printing in Maine and in 2014, he received a grant from the Maine Arts Commission to support his Master Printer Training Program. wolfeeditions.com
2 / M E TA L S
2 / WOOD
A Journey’s Recollections (learning by traveling)
Altered Interactions: Experimental Furniture
This workshop will focus on jewelry techniques from West Africa, as studied and documented by Matthieu Cheminee during his extensive travels. A variety of demonstrations will be accompanied by video documentation of forging and filigree by Touareg jewelers from Niger, Burkina Faso, Senegal, Guinea, and Mali. During the first week of this workshop, participants will forge a ring and a bracelet from a poured ingot and will be introduced to techniques such as filigree, making stamps, and stamping on metal. During the second week participants will expand on these techniques while focusing on self directed projects. All levels welcome. M A T T H I E U C H E M I N E E was born
in Paris, France, and lives and works in Montréal, Canada. As a jeweler his work encompasses teaching, writing, and extensive travel. He spent seven years studying Navajo, Hopi, and Zuni jewelry techniques, and lived in Mali, West Africa working with Touareg, Fulani, and Bambara jewelers. Matthieu Cheminee’s work has been featured in exhibitions nationally at venues such as Aaron Faber, Denovo, Mesa’s Edge, and Musee des beaux arts in Montreal, and his book, Legacy: Jewelry Techniques of West Africa was published by Brynmorgen Press in 2014. With Tim McCreight, he is the co-founder of the “Toolbox Initiative,” an organization that helps jewelers in West Africa through the donation of tools provided by jewelers from around the world. matthieucheminee.com
This workshop will focus on expanding our understanding of what furniture can be. Students will be encouraged to use traditional materials in new ways, to experiment with alternative materials, to manipulate the way users interact with furniture, and to alter prescribed norms. We will spend the first part of the workshop trying as many new things as possible and going in every direction we can. Through group conversations and one-on-one discussions participants will choose what concepts to move forward with and spend the latter part of the session honing in on one idea and creating a finished object. All levels welcome.
M8 by David Wolfe, 2015. Letterpress, relief, photo, 10” x 12.”
A N N I E E V E L Y N is a furniture
maker who makes alternatively upholstered chairs from hard materials like wood, metal, and cement. She received both a BFA and an MFA from the Rhode Island School of Design. Annie Evelyn has taught at RISD, Parsons The New School, Anderson Ranch, and Penland. In 2011 she received a Windgate Furniture Residency at the Indiana University of Pennsylvania Center for Turning and Furniture Design. Her work has been featured on the cover of American Craft and published in Laura Housely’s book, The Independent Design Guide (Thames & Hudson). Annie Evelyn is currently in her third year as an artist in residence at Penland and was recently awarded The John D. Mineck Furniture Fellowship. annieevelyn.com
The Scotty in Aluminum by Annie Evelyn, 2015. Aluminum, foam; welded aluminum frame constructed from sheet, CNC’d aluminum tiles “upholstered” to the frame, 18” x 32” x 18.”
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SESSION
THREE JULY 16–28 3 / CERAMICS Superficial Substance: The Ceramic Surface
This workshop will focus on processes specific to illustrating on the ceramic surface. Illustration has been used on pottery throughout human history— from the sgraffito used to draw on red and black Greek pottery to overglaze painting used to adorn Chinese wares— illustration and clay have been combined to celebrate and commemorate the history of the culture. Participants will use handbuilding and wheel throwing to create canvases to explore techniques such as sgraffito, mishima, and overglaze painting, and will consider the substance of their illustrations while exploring how to combine traditional forms of ornamentation. Concepts such as considering
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place, time, and the function of objects will be discussed. This workshop will help participants consider how to use imagery with vitality and fearlessness that is true to themselves and what they hope for in their own work. All levels welcome. R O B E R T O L U G O was born and raised in Philadelphia to Puerto Rican parents. He is a potter, educator, activist, and public speaker, who bridges his experiences as a minority from an impoverished neighborhood with his desire to represent his culture within the discourse of the visual and performing arts. He received a BFA in Ceramics from Kansas City Art Institute, and an MFA from Pennsylvania State University. Roberto Lugo is a Professor at Marlboro College in Vermont and Director at Large for the National
history of the sublime—as well as current environmental concerns and investigations. While drawing outside and in various locations, participants will scavenge imagery and are also encouraged to bring photographs, clippings, and collage materials to use in their work. With these sources combined, we will bring drawings and photographs back to the studio to use in mixed-media works on paper in a range of sizes. Support materials such as readings and films—ranging from Edgar Allan Poe to Elizabeth Kolbert—will also be included. All levels welcome. C L A I R E S H E R M A N received a BA
Council on Education for the Ceramic Arts (NCECA). His work has been exhibited at SOFA, Collective, and FOG design fairs, and can also be found at the Philadelphia Museum of Art. robertolugostudio.com
3 / D R AW I N G A Wind-Storm in the Forests— Visionary Landscapes
Basing its title on John Muir’s essay from 1894, “A Wind-Storm in the Forests”, this workshop will focus on imagined and constructed landscapes using mixed media in drawing. We will take field trips to walk through the local environment to gather source material from which to work. Landscape will be considered from many different perspectives— ranging from the allegorical to the
from The University of Pennsylvania and an MFA from the School of the Art Institute of Chicago. She has completed residencies at the Terra Foundation for American Art, the MacDowell Colony, the Marie Walsh Sharpe Art Foundation, Yaddo, and the Lower Manhattan Cultural Council’s Workspace program. Recent exhibitions include solo shows at DC Moore Gallery, Kavi Gupta Gallery, DCKT, Aurobora, Houldsworth Gallery in London, and Huyser Gallery in Amsterdam. Recent group exhibitions include the Contemporary Jewish Museum, Neuberger Museum of Art, Kentucky Museum of Art and Craft, Gallery Seomi in Seoul, Korea, and the New Gallery in Austria. Claire Sherman is an Associate Professor at Drew University and is represented by DC Moore Gallery and Kavi Gupta Gallery. clairesherman.com
Island by Claire Sherman, 2016. Oil on Canvas, 102” x 84.” Photo by Bill Orcutt
Century of War by Roberto Lugo, 2015. Porcelain, China paint, luster, underglaze 36” x 18” x 16.”
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3 / FIBER / QUILTMAKING A West-African Appliqued Experience
Tngere by Alicia Lomné, 2016. Pâte de Verre, 6 x 4 ½.
Using the traditional technique of applique from the ancient kingdom of Dahomey (Benin), we will focus on how quilts can be used as a vehicle for storytelling that merge image and text together. In Fongbé language from Benin, the name for appliqued means “to enlighten the cloth.” The process of appliqué begins with drawings on paper that are used to create templates for transferring images onto sheets of fabric. Through traditional needlework and embroidery techniques, students will construct these images and patterns on larger pieces of background cloth with the intention of communicating personal narratives or historical events. Creativity and invention are the subtext for this workshop. All levels welcome. W I L L I A M A D J É T É W I L S O N is
Arterial II (Brooch) by Daniel DiCaprio, 2015. Holly, milk paint, Gold leaf, 14K Gold, 4 ¼” x 1 ¾” x 1 ½.”
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based in Paris, France and also works in West Africa and Haïti. He studied philosophy and anthropology in Paris and is a self-taught artist. He has been an artist in residence at Yaddo and the La Napoule Art Foundation, among others. From 2007–2009 he had six sojourns in Abomey, Benin working with traditional artisans to create a series of eighteen large appliqued quilts named “The Black Ocean.” This piece has exhibited over thirty times—in the US at The University of Michigan, University of Nebraska, and the Textile Museum in Washington, DC; and also in Brazil, France, Italy, Switzerland, Israel, and West Africa. He is currently working in Haïti on large “flags” (in beads) in a traditional studio in Port-au-Prince. williamwilson.fr/en
The Ocean (from The Black Ocean Series) by William Adjété Wilson, 2008–2009. Appliqued polychrome cotton cloth, 39” X 70.”
3 / GLASS Pâte de Verre: The Glass Skin
This workshop will focus on the process of Pâte de Verre. Participants will learn several different methods of color placement, patterning, and inlay and there will be discussions and documentation of the technical aspects related to mold making and kiln firing. In this intensive and fast paced workshop we will cover all of the basics of creating a model, pouring a mould, packing glass within it, and firing it; creating thin-walled glass vessels or other forms that use exact color placement. The understanding of Pâte de Verre has changed over the past decade, and we will explore other ways of working with inclusions, double firings, moldless forming, and other experimental approaches to the process. We will also take time to investigate our natural surroundings drawing inspiration and incorporating it into our work. All levels welcome. A L I C I A L O M N É is an artist based
in Whidbey Island, Washington. She has spent the last eighteen years exploring and developing a unique style of working with the kiln casting technique of Pâte De Verre. Alicia Lomné has exhibited her work at the Bullseye Gallery, Ken Saunders, Habitat, William Traver, Museo, Deede Shatuck Gallery, and at the Kentucky Museum of Art and Design, Museum of American Glass, Figgie Art
Museum, Berstrom Mahler Museum, the Muskegon Museum of Art, and the National Liberty Museum. Alicia Lomné has taught at Pilchuck, Penland, Corning Museum of Glass, Bullseye, and at some privately owned studios in the US. She has also taught in Switzerland, Denmark, England, and Australia. alicialomne.com
3 / M E TA L S Wood Jewelry
Wood is an excellent material for making ornate and lightweight wearable objects. In this workshop we will explore small scale woodcarving techniques with an emphasis on jewelry applications. Both traditional and contemporary techniques will be demonstrated including rings, earrings, brooches, necklaces, and more. No previous experience with woodcarving or metalsmithing is required, although previous knowledge in either can be explored further throughout this workshop. All levels welcome. D A N I E L D I C A P R I O is a Professor
of Metalwork and Jewelry at the University of Louisiana at Lafayette. He received a BS in Art Education from Nazareth College and an MFA in Metal Design from East Carolina University. His work is represented by Charon Kransen Arts and can been seen at SOFA Chicago, NY Design + Art, and Art Miami. Images of Daniel DiCaprio’s work have been published in Metalsmith, American Craft, Ornament, and Essence. Most recently he has collaborated with “Shared Concerns,” a traveling exhibition through the US, Australia, and Germany. dandicaprio.com
3 / WOOD
3 / V I S I T I N G C U R AT O R
The Fabulist’s Caddy: Storytelling through Sculptural Boxes
R A C H A E L A R A U Z is an art
Explore the poetic potential of blending object making, mark making, and box making to weave a tale that is visually engaging, tactilely inviting, and narratively intriguing. Working with the symbolic, familiar, and iconic, the relationship between form and concept will be investigated while creating boxes or containers that tell a story. Using a combination of machines and hand tools, students will learn techniques for sculptural box making—creating a variety of surface treatments—and for shaping wood. Group discussion and individual attention will foster development of ideas, personal visual language, and the transformation of story into physical form. All levels welcome. K I M B E R L Y W I N K L E is a studio artist who works primarily in wood and an educator who lives in Tennessee. She received a BFA in Ceramics from the University of Oklahoma and an MFA in Furniture Design from San Diego State University. She is an Associate Professor and Director of the School of Art, Craft & Design at Tennessee Tech University. Kimberly Winkle’s work has been exhibited at SOFA Chicago, the Architectural Digest Home Show, and Wanted Design. She was awarded a John D. Mineck Furniture Fellowship in 2014 through the Society of Arts and Crafts, and has been an artist in residence at Purchase College, the Vermont Studio Center, Haystack, and the Center for Art in Wood. Kimberly Winkle has taught workshops at Anderson Ranch, Arrowmont, the Center for Furniture Craftsmanship, and the Appalachian Center for Craft. kimberlywinkle.com
historian and independent curator. She received a Ph.D. from the University of Pennsylvania and specializes in American modern art and the history of photography. She is currently co-curator, with Diana Greenwold, on a forthcoming exhibition about Haystack Mountain School of Crafts 1950–1969 (Portland Museum of Art, Maine, 2018). Prior curatorial projects include “Keith Haring: Journey of the Radiant Baby” for the Reading Public Museum, and “The Shape of Abstraction” for the Boston University Art Gallery, among others.
The Archive as Inspiration
Archival research can be a rich source of inspiration. We will discuss the ways in which archival research not only grounds scholarly work, but also inspires creative thinking about a project. Through examples of contemporary artists who use archives in their work participants will be encouraged to consider how these conversations and approaches have inspired or could inspire their own work. * Visiting artists augment the session with informal afternoon conversations that are open to all workshop participants and faculty.
House on Hillside Boxes by Kimberly Winkle, 2014. Polychrome Poplar, 10” x 20” x 8.”
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SESSION
FOUR JULY 30–AUG 11 4 / CERAMICS Handbuilding with Clay
This workshop will focus on developing and expanding the possibilities of handbuilding ceramic objects, from the simplest to the most complex forms. We will look at the rich history of ceramics from many parts of the world and explore the way these things are made, using any and all methods of handbuilding, including slab construction, coil building, and the potter’s wheel. Through a consideration of iconic functional pottery and complex stacked forms like Dutch tulip vases to the groundbreaking work of sculptors like Peter Voulkos who pushed the industrial and domestic uses for clay into the realm of contemporary art, we will examine the breath and possibilities of working in clay today. Students will
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be encouraged to stretch their abilities, build upon their innate tendencies, and to respond to their own work by taking risks and challenging themselves. All levels welcome. A N N A G E E received a BFA from the Cooper Union School of Art, and an MFA in Painting from the Yale School of Art. She began using clay at Greenwich House Pottery and has taught handbuilding there and at Hunter College and Princeton University. She currently teaches at Pratt Institute. Ann Agee has received the Anonymous Was A Woman Award, the Tiffany Foundation Award, and a Guggenheim Fellowship. Last year her voice was included in the Metropolitan Museum of Art’s online program, “Season 3 of The Artist Project.” Her work has been
4 / FIBER Tied, Twisted, and Knotted
Workshop participants will explore traditional methods and alternative materials for creating fiber based sculpture, functional art and design. The first part of the workshop will present diverse techniques that include knitting, crochet, macramé, felting, rope making, sewing, dyeing, and basic weaving on a frame loom. These processes are intended as starting points for discovering new ways of working and exploring different ways of creating structure. Participants will be encouraged to think about alternative approaches to working with form, material, and context as a way to help to develop your artistic voice, and expand your working methodologies. No previous experience with fiber/textiles needed. All levels welcome.
Cut flowers by Ann Agee. Porcelain, wood, epoxy, and paint; handbuilt with thrown parts, 23” x 13” x 3.” Photo by Gianni Pippoli
T A N Y A A G U I Ñ I G A is a Los
in exhibitions in Europe and the US and is in the collections of the Philadelphia Art Museum, Brooklyn Museum, RISD Museum, Los Angeles County Museum of Art, New York Historical Society, McNay Art Museum, Chazen Museum, and Pennsylvania Academy of Fine Art. annageestudio.com
Angeles based artist/designer/ craftsperson who was raised in Tijuana, Mexico. She received a BA from San Diego State University and an MFA in Furniture Design from the Rhode Island School of Design. She has created various collaborative installations with the Border Arts Workshop, an artists’ group that engages the languages of activism and community-based public art. Tanya Aguiñiga’s work uses craft as a performative medium to generate dialogues about identity, culture, and gender while actively creating community. She is a United States Artists Target Fellow in the field of Crafts and Traditional Arts, a NALAC and Creative Capital 2016 Grant Awardee, and she has been the subject of a cover article for American Craft and was featured in PBS’s Craft in America Series.
cogent (voice) by Jack Wax, 2015. Glass, wire, and pigment, 6’ x 13’ x 30.’ Photo by the artist
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4 / M E TA L S Enameling: Colorful Exploration
SHEvening by Tanya Aguiñiga, 2015. Installation view of exhibition concept developed by Tanya Aguiñiga and Nancy Baker Cahill to examine the art and issues of SHE. Each piece in the exhibition embodies the delicate tension between strength and vulnerability, energy, and stasis.
4 / GLASS Three-Dimensional Drawing (with glass)
In this workshop we will delineate, encapsulate, define, and activate space through a process of three-dimensional drawing using hot glass. Curvilinear and straight rods, round, flat and tapered tubes, and glass skins will be used to modify both the visual and the physical spaces that viewers encounter. Codifying components carefully we will build “drawings” that pay attention to—and closely regard—the light, atmosphere, and environs of coastal Deer Isle, Maine. Some experience with hot glass fabrication preferred, but all levels welcome. J A C K W A X lives and works in Richmond, Virginia and he is the head of the glass program at The Virginia Commonwealth University’s School of the Arts. He received a BFA from Temple University’s Tyler School of Art and an MFA from the Rhode Island School of Design. He has taught at Temple University’s Tyler School of Art, University of the Arts, Ohio State University, Cleveland Institute of Art, Illinois State University, Rhode Island School of Design, and the Toyama
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Institute in Japan. He is a two-time recipient of Individual Fellowships from the National Endowment for the Arts, a recipient of an Illinois State Council of the Arts Grant, and residencies at Cam Ocagi in Turkey, at Corning Museum of Glass, and on the Island of Bornholm in the Baltic Sea. Jack Wax exhibits worldwide and his work is in permanent collection of the Corning Museum of Glass, the Los Angeles County Museum of Art, Smithsonian Institution, the Museum of Glass in Ebeltoft, Denmark, and the Toyama Museum of Glass in Japan.
This workshop will provide an opportunity for both beginners and advanced enamelists to learn how to convey drawings and narrative images on enameled steel and copper using a technique known as limoges. The aesthetic effects will be accomplished using non-traditional materials such as graphite and underglaze pencils, underglaze crayons, overglaze china paints, and watercolor enamels. Basic enameling techniques and image transferring processes with decals will be used, along with the laser cutter in the Haystack fab lab. Each step of the metalsmithing and jewelry making processes will be demonstrated during this workshop. All levels welcome. M I - S O O K H U R is a metalsmith, enamellist, and educator teaching at the School of Art and Design at East Carolina University. She received a BFA in Metalwork and Jewelry from the College of Fine Arts, Seoul National University in Korea, and an MFA in Metals from the University of Wisconsin-Madison. Mi-Sook Hur
Blue Moon-5 by Mi-Sook Hur, 2014 (left) and Blue Moon-7 by Mi-Sook Hur, 2015 (right). Sterling silver, enamel on copper, stainless steel pin, 1 ¾” x 2 ½” x ³/8” (left); 1 ¾” x 2 5/8 ” x ³/8” (right).
Blue Chord, it took more than 5 bars by Jocelyn Châteauvert, 2015. Artist-made Abaca paper, pigment, worked wet and dry, 7” x 20” x 20.”
has exhibited her work at the Museum of Arts and Design, SOFA Chicago, Itami Museum of Arts and Crafts in Japan, and Vicenza Oro II in Italy. Her work has also been included in The Art of Enameling: Techniques, Projects, Inspiration (Lark Crafts), 500 Enameled Objects (Lark Books), and Metalsmith. Mi-Sook Hur has received prize awards from the Enamelist Society, Niche Awards, the Purchase Award from Arkansas Arts Center, and European Design—an Asian Renaissance Evoked in Gold Award from the World Gold Council. Her work is included in the collections of the Enamel Arts Foundation, Racine Art Museum, John Michael Kohler Arts Center, Sunny & Gloria Kamm, and the Arkansas Arts Center. misookhur.com
4 / PA P E R M A K I N G Raising Paper
This workshop will explore the structural potential of handmade paper. Using traditional papermaking techniques as the foundation, participants will learn how beating, sheet thickness, and drying times influences and informs the ability for paper to become dimensional. Using relatively simple tools and processes we will imaginatively transform sheets of handmade paper into three-dimensional forms that are strong and self-supporting. Previous experience with papermaking helpful but not required.
J O C E L Y N C H Â T E A U V E R T was raised and educated in Iowa City, and is a paper artist who creates jewelry, lighting, sculpture, and installations from the paper that she makes by hand. She received a BA in Design and an MA and MFA in Jewelry and Metalwork from the University of Iowa. She taught metalworking at Middlesex Polytechnic in London, and then established herself as an artist in San Francisco. Since 1999 she has lived in Charleston, South Carolina, devoting herself primarily to paper art that is widely displayed in private homes and public buildings. She received a Smithsonian Artist Research Fellowship and awards from the South Carolina Art Commission, and her work was featured in an exhibition at the Renwick Gallery of the Smithsonian Institution. jocelynchateauvert.com
4 / WOOD Building Form through Accretion
This workshop will be an opportunity to explore accretion both as a process of building a form, as well as a concept from which to develop an idea. Accretion is a means of building through incremental growth. It is a process that is ongoing in both the natural and manmade worlds: it occurs both within us and in what surrounds us. We see this process in such diverse phenomena as the layering of rock strata in a cliff, the growth rings of a tree, the nests of birds, or the buildup of stalactites and stalagmites —in these instances accrual becomes a physical embodiment and connection between different periods of time within the same form. While wood is the focus of this workshop—with appropriate tools and techniques—the use of repurposed materials and nontraditional methods of building are also encouraged. All levels are welcome.
B A R B A R A C O O P E R is a studio artist and educator who lives and works in Chicago, Illinois. Her work moves fluidly between two-dimensions and sculpture, and includes large public works, garden design, and stage sets for dance companies, through the use of a diverse variety of materials and approaches. Having worked extensively in wood veneer, she has explored the use of materials such as cast iron, bronze, and glass through several international artist residencies. Her work has been included in solo exhibitions at the Bellevue Arts Museum, Gerald Peters Gallery, Chicago Cultural Center, John Michael Kohler Arts Center, Perimeter Gallery, Hafnarborg Institute of Art in Iceland, and the Copenhagen Museum. Her work is in the collections of the Museum of Contemporary Art in Illinois, Cranbrook Museum of Art, Smithsonian American Art Museum, Contemporary Museum, and John Michael Kohler Arts Center. barbaracooperartist.com
Whorl by Barbara Cooper, 2014. Wood, 14” X 22” X 12.“ Photo by Eileen Ryan Photography
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Summer Conference July 9–13
The Thing That Makes The Thing Conversations on Craft and Community
Haystack’s 10th annual summer conference is intimate in scale, combining lectures, discussion groups, studio-based workshops, and informal talks to explore ideas on craft, community, and creative process.
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Ten Years of Conference Presenters and Workshop Leaders
Complete lineup of presenters and workshop leaders, schedule, and registration information available February 2017. For more information or to be added to our conference mailing list contact Haystack.
Tanya Aguiñiga Sandra Alfoldy Siemon Allen Nora Atkinson Dan Beachy-Quick Paulus Berensohn Christina Bertoni John Bielenberg Nancy Blum Laura Brown Rick Brown Judith Burton Akiko Busch Kendall Buster Robert Campbell Jamie Carpenter Alison Chase Sonya Clark Matthew Crawford Erik Demaine Martin Demaine Andrea Dezö Charles Garoian Neil Gershenfeld Saul Griffith Sabrina Gschwandtner Diana Guerrero-Maciá Meredith Hall Del Harrow Molly Hatch Laura Hosaluk Michael Hosaluk Peter Houk Tim Ingold Jeanne Jaffe Matthew Jeffs Ole Jensen Daniel Johnston
Jamie Johnston Tom Joyce Maira Kalman Janet Koplos Jack Lenor Larsen Liz Lerman Faythe Levine Ellen Lupton Lydia Matthews David McFadden John McQueen Nathalie Miebach Michael Moore Stephen Nachmanovitch Arturo O’Farrill Michael O’Malley Jeanne Quinn Ronald Rael Rowland Ricketts Brian Rotman Paul Sacaridiz Judith Schaechter Warren Seelig Ezra Shales Pradeep Sharma Jenni Sorkin Kim R. Stafford Michael Strand Susan S. Szenasy Jeanine Thompson Jacob Tonski Matthew Trimble Namita Gupta Wiggers Anne J. Wilson Frank Wilson Joe Wood Lily Yeh Amit Zoran
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LIFE AT H A Y S TA C K
The combination of an unmatched natural setting, a unique campus designed by award-winning architect Edward Larrabee Barnes, and the focused energy of the community provides an environment that supports a serious exploration of craft, materials, and ideas.
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Mary Beasom Bishop founded Haystack Mountain School of Crafts in 1950 near Haystack Mountain, in Montville, Maine. The original mission of the school was to teach fine craftsmanship, develop latent or inherent creative ability, and carry on research and development in connection with the crafts. Over the years, our vision has refined to include the investigation of craft in an aesthetic climate, honoring tradition while acknowledging the rich potential of contemporary visual art. Haystack is an intensive creative community that supports lifelong learning in the arts by offering outreach, experiential education, and professional development opportunities in a remarkable setting. People come to Haystack to develop and discover skills, to nurture their creativity, to ask questions, reassess and take new risks in their work. Haystack’s core programs
are its two-week residency and summer sessions held between May and September. Participants must be at least 18 years old to attend the school, and in the workshops, skill levels range from beginners to advanced professionals. In 2016, students attended from 43 states and 16 countries and another 1,000 or more visitors attended events, lectures, auctions, tours of our awardwinning campus, and exhibitions at our center for community programs in Deer Isle village. Haystack’s programs also include the Open Studio Residency and our tenth annual summer conference, attracting roughly 85 participants, including staff, students, and internationally recognized faculty artists. Scholarship support is available for workshops and the conference, and nearly 25% of attendees receive full financial aid to attend the school.
Schedule Plan to arrive between 2 pm and 6 pm on the first Sunday of the session, checking into the main office when you arrive. Dinner will be served at 6:30 pm and a general orientation will take place at 7:30 pm. The first workshop session will begin immediately following. Workshops meet from 9 am to 4 pm, Monday through Friday. Studios are open twenty-four hours a day, seven days a week. Throughout the session there are evening presentations by faculty, staff, and technical assistants and readings by visiting artists and writers. To help our staff, we ask that all participants leave Haystack by 11 am on the last Friday of the session (with the exception of session 6 that ends on a Saturday, and also by 11 am). Contact information You can always call our office in Deer Isle and talk with someone about workshop descriptions, life at the school, what to bring, travel questions, or anything else you need to know about Haystack. We can be reached between 8:30 am and 4:30 pm EST, Monday through Friday, at (207) 348-2306. You can also find an extensive list of Frequently Asked Questions on our
website (haystack-mtn.org). Packages and supplies can be easily shipped ahead of your workshop—please see the mailing section (page 41). Location Haystack is located in mid-coast Maine on Deer Isle, which is connected to the mainland by a bridge over Eggemoggin Reach. It is approximately 500 miles from New York City, 250 miles from Boston, 160 miles from Portland, and 60 miles from Bangor. There is transportation by both air and bus to Bangor, and taxi-van service from there to Deer Isle.
Meals The dining hall at Haystack is a central meeting place where participants enjoy delicious meals prepared in our kitchen by our head chef and talented staff. We work closely with many local farmers and food producers on the Blue Hill Peninsula and surrounding region and vegetarian options are available at each meal. The kitchen will try to accommodate dietary restriction when possible—please indicate this on your application and contact Haystack if you have any questions or concerns.
Accommodations The cabins at Haystack are an integral part of the campus design and we have several options that range from dorms (that house up to eleven people), triples, and doubles—all located near a central washroom; as well as a quad, doubles, and singles with private bathroom facilities. Many of our cabins are accessible to those with mobility issues and we will work with you on meeting your needs as closely as we can.
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SESSION
FIVE AUG 13–25 5 / BOOK ARTS Radical Bookwork: Re-purposing Found Books from Meaning To Structure
This workshop is designed to challenge common assumptions about the nature of the book and to offer participants an opportunity to make their own bookwork from found books, which incorporates collage, installation, mixed media, painting, photography, sculpture, and writing. Students will primarily work with hardbound and softcover books by altering their physical structure. Although a few basic bookbinding structures will be demonstrated, this workshop is not about traditional binding; it is a mixed-media workshop on using the found book as raw and re-purposed
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material. Previous bookbinding experience is useful but is not necessary. All levels welcome. In 2016 D O U G B E U B E was awarded a Pollock-Krasner Foundation Grant to pursue his artwork. He received a BFA in Film from York University in Toronto, Ontario and an MFA in Photography, from the Visual Studies Workshop, conferred by SUNY Buffalo. He is an independent curator and gives lectures—for example, at the Yale University Art Gallery he gave a talk on the Allan Chasanoff Bookwork Collection for their 2014-2015 exhibition “Odd Volumes.” Doug Beube teaches workshops in photography, sculpture, collage, and the altered book throughout the US, Canada, Europe, and the Middle
simple glazing techniques, approaches for building and firing in parts, and a variety of alternative surface treatments. All levels welcome. P A T T I E C H A L M E R S grew up in
Winnipeg, Manitoba, the geographic center of Canada. She received a BA in History and a BFA in Printmaking from the University of Manitoba, after which she completed an MFA in Ceramics at the University of Minnesota. Pattie Chalmers works steadily and exhibits widely having presented work on five continents, six countries, and in twenty-five US states. These shows include separate installations of her “Mudmaid Museum” in Minneapolis and Philadelphia, and the 67th Scripps Ceramic Annual, “Making Fun” in Claremont, California. Since 2006 she has lived and worked in Carbondale, Illinois, where she is an Associate Professor of Art at Southern Illinois University. pattiechalmers.com
East. His work has been in exhibitions at the Yale University Art Gallery, Currier Museum of Art, Cameron Art Museum, and Everhart Museum, and is also in national and international private and public collections. Doug Beube is represented by JHB Gallery and Central Booking, and the Seager Gray Gallery. dougbeube.com
5 / CERAMICS Heros and Villians
Handbuilding techniques for creating medium scale, terra cotta figurative work will be the focus of this workshop. Using coils, slabs, and pinch pots, participants will create heroes and villains, each with extravagantly imagined super powers and countless personality flaws. Demonstrations and discussions will cover
Kylix: The Stuff of Tho by Doug Beube, 2014. Altered book, wood, 4 ¼” x 8” x 5.”
5 / GLASS Inspiration and Expiration
The mind is a pattern-making machine, engaged in an endless attempt to construct order out of chaos and make links between disparate entities in order to understand either or both. In this hot glass workshop we will work experimentally around optical phenomena and pattern making to spot the potential in connecting things that do not ordinarily go together. Glass will be used for its abilities to reflect, distort, magnify, and clarify ideas into evocative conceptual pieces including artworks, sketches, improvisations, and manifestations. By travelling in different directions across various glass traditions—from Scandinavia to India—we will draw inspiration from a combination of ideas rather than one streamlined focus and cultivate a
The Breakup by Pattie Chalmers, 2016. Terra Cotta, glaze, plexiglass, faux fur, 3 ½’ x 3’ x 2 ½.’ Photo by Kyla Strid
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personal vocabulary of knowledge and experience. Demonstrations will include blowing, cold working, imagery techniques, and a variety of mold-making strategies. Previous experience working with glass required. S T I N E B I D S T R U P is a Danish
visual artist and educator. She received a bachelor from the Royal Danish Academy of Fine Art, School of Design on Bornholm in Denmark and a postbaccalaureate degree from the Rhode Island School of Design. Since 2007 she has maintained Luftkraft Glass Studio in Copenhagen, Denmark and exhibits her work internationally. Stine Bidstrup has taught at the Royal Danish Academy of Fine Art, University of WisconsinMadison, Urban Glass, and Pilchuck, as well as has been a visiting artist at a number of schools and museums worldwide. stinebidstrup.dk
Let Your Eyes Be the Invention by Stine Bidstrup, 2012. Large, sculptural installation of cut Fresnel lenses assembled into four different sizes of regular tetrahedra, suspended or chained, string, tape, and windows, 280cm x 350cm x 250 cm.
5 / M E TA L S Bonded: Enamel on Steel
Workshop participants will work with liquid and sifted enamels on copper and a variety of steel alloys, including stainless, on a small scale. We will use found objects, pre-enameled elements, sheet, and wire as surfaces for enamel. Beginning small-scale steel fabrication techniques will be covered. Students will work through many experimental enamel samples and have the opportunity to complete a collection of jewelry or sculpture using the skills learned. All levels welcome. K A T C O L E is a studio artist based
Pile Necklace by Kat Cole, 2016. Steel, enamel, rubber, magnets, 18” x 4” x 2.”
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in Dallas, Texas. She received a BFA from Virginia Commonwealth University and an MFA at East Carolina University, and was a Visiting Professor in Metals/Jewelry at Western Michigan University. Kat Cole teaches workshops nationally and has exhibited her work
internationally, including SOFA Chicago 2016 and Schmuck 2014 and 2015 in Munich, Germany. Her work has been published in 500 Enameled Objects (Lark Books), Art Jewelry Today 3 (Schiffer Publishing), Metalsmith, Ornament, and Art Jewelry. Kat Cole’s work is in private and public collections including The Museum of Arts and Design and Houston Museum of Fine Art. kat-cole.com
5 / W E AV I N G Composition and Materiality; Weft Faced Rug Weaving and Design
Composition, design ratio, and materiality are the foundation of rug weaving. Drawing from the patterns and colors in the natural world surrounding Haystack, we will explore the design process with an analog approach; beginning with colored pencil and graph paper and translating ideas to the loom. Weft faced weaving techniques and fibers will be explored first in a rug sampler and then
with a final project. Students will return home with a rug sampler weaving, a small hand woven rug, and pages of designs for future projects. Some weaving experience preferred, but all levels welcome. D E E C L E M E N T S is an artist and the
founder and creative director of Studio Herron, a weaving studio and textile brand in Chicago, Illinois specializing in woven blankets, rugs, and wall panels that focus on preserving and maintaining a commitment to ethical and environmental sustainability, traditional craft methodologies, and artistic process. Dee Clements received a BFA in Fiber and Materials Studies and Sculpture from The School of The Art Institute of Chicago, and has been weaving for over fifteen years. studioherron.com
5 / WOOD Bend the Rules
In this workshop participants will begin to understand the material properties of wood and explore techniques to alter the conventional idea that wood should be flat. We will begin with a series of explorations solving design problems with innovative built structural solutions dealing with dynamic loads (your body). Combining your personal aesthetic with the rules of a chosen system to make a piece that is structurally sound, a personal expression, beauty and function; such as the hull of a boat, the span of a bridge, or the cluster of a honeycomb. Slide lectures and reviews will be included throughout the session. Demonstrations will include steam bending, free-form bent lamination, and various joinery techniques. Participants should have intermediate to advanced woodworking knowledge.
Sinuo by Matthias Pliessnig, 2015. Steam bent White Oak, 16’ x 7.3’ x 3.2.’
M A T T H I A S P L I E S S N I G received
a BFA in Furniture Design from the Rhode Island School of Design and an MA and MFA in Art from the University of Wisconsin-Madison. He is drawn to the associations of permanence and integrity suggested by wood while embracing the natural laws of the material and aims to challenge the perceptions of his audiences. As a furniture maker working predominantly with steam-bent wood, he constructs sinuous and kinetic forms that are influenced by computer technology, craft skills, and design sensibilities more commonly associated with more fashionable materials such as carbon fiber or plastics. He currently works out of his studio in Brooklyn, New York collaborating with architects on large scale installations as well as privatebased commission. matthias-studio.com
Primary + Secondary by Dee Clements, 2016. Wool, weft faced weaving, 4’ x 6.’ Photo by Jennifer Marx
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SESSION
SIX AUG 27–SEPT 2 6 / CERAMICS Nature/Tradition: Cultivating Inspirations in Clay
In this workshop, methods for carving intricate pattern on a variety of wheelthrown porcelain forms and traditional Korean Onggi coil and paddle pottery techniques will be demonstrated. From ancient Korean techniques to innovative solutions for timeless problems, participants will develop a new perspective on creating and decorating functional pottery. Participants will also sharpen their throwing technique and will learn new skills for mapping out and carving geometric patterns in clay. Generous discussions about studio practice, aesthetics, materials, ceramic history, and promotion and marketing strategies for the studio potter are certain to encour-
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age individual discovery, growth, and development of fresh ideas. Students will gain the skills and confidence to create and decorate work in their own voice. All levels welcome. Born and raised in Colorado, A D A M F I E L D received a BA in Art from Fort Lewis College. For two years, he immersed himself in the culturally rich art scene of the San Francisco Bay Area, where he began his full time studio practice. From there, he relocated to Maui, Hawaii, where he established a thriving studio business. He spent most of 2008 in Icheon, South Korea, studying traditional Korean pottery making techniques under 6th generation Onggi master Kim Ill Maan. In 2013 Adam Field created and premiered HIDE-NSEEKAH at the NCECA conference
techniques in preparing both natural and synthetic indigo dye-vats, and we will use those vats to explore traditional Japanese tie-dye (Shibori) as well as traditional Indonesian resist dyeing (Batik). We will also use the metaphoric notion of “blueness” and “bluing,” in relationship to the natural landscape. While surface design and the production of textiles will be emphasized, students will be challenged to consider how the production of color and cloth can manifest itself in performance, installation, and other alternative forms. All levels welcome.
Covered Jar by Adam Field, 2014. Porcelain with carved pattern and celadon glazes, 14” x 9” x 9.” Photo by the artist
J O V E N C I O d e l a P A Z is an
in Houston, Texas. After maintaining his studio in Durango, Colorado for five years, Adam Field moved to Helena, Montana, where he was a long-term resident artist at the Archie Bray Foundation for Ceramic Arts, and where he is currently a full time studio potter. His work is included in private collections and kitchen cabinets internationally. adamfieldpottery.com
6 / FIBER Indigo and its Metaphors
Indigo is the most used dyestuff on the planet. Both in its natural and its synthetic form, Indigo blue has a mysterious and contentious history: from the mystery cults of Indigo in Southeast Asia to the slave trade in the New World. This workshop will cover fundamental
artist and educator living and working in Eugene, Oregon. His work explores the intersection of textile processes with broader concerns of codification, community, and identity. Interested in the ways transient or ephemeral experiences are embodied in material, Jovencio de la Paz looks to how knowledge, stories, and experiences are transmitted through societies in space and time, whether semiotically in language or haptically in made things. He received a BFA in Fiber and Material Studies from the School of the Art Institute of Chicago and an MFA in Fiber from the Cranbrook Academy of Art. He has had solo and group exhibitions at ThreeWalls and 4th Ward Projects, Museum of Contemporary Craft, and at the Sculpture Center. Jovencio de la Paz is an Assistant Professor and Head of Fibers at the University of Oregon. jovenciodelapaz.org
Endless Flight #4 by Jovencio de la Paz, 2015. Batik (natural Indigo) and appliqué on cotton, 119 “ x 88.”
High Fiber Flash Cards by Bird Ross, 2009. Toast and wax paper bag, life-size. Photo by Bill Limke
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Nest Lights by Pablo Soto, 2016. Glass, low voltage Halogen, random line application. Photo by Mercedes Jelenick
6 / GLASS Techniques Re-purposed
Glass, glassblowing, glass pushing, glass dripping, glassy glass, not so glassy, as deemed appropriate. As a teacher I tend to approach my classes from a technical standpoint, yet in this one week adventure we will attempt to bring new purpose to our “tool boxes”, and explore the material qualities/potential of glass. We will ask questions of ourselves. Can we make cane appear like what we see under a microscope? What can we make work that utilizes inherent qualities of glass, like magnification, refraction, transparency, airiness, weight, or distortion? What element can bring freshness to our practice? We will also look closely at the beauty of our surroundings and the dynamics of the community we are working in to find unexpected results for our work. All levels welcome. P A B L O S O T O lives and works in
Penland, North Carolina, where he has a studio with his wife, sculptor, Cristina Cordova. His attraction to glass started at age five when he watched Lino Tagliapietra work. Pablo Soto received a BFA in Glass from Alfred University, and apprenticed in Ben Moore’s studio in Seattle, Washington. Since then, he has been a glass resident
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at the Energy Exchange in Burnsville, North Carolina—a three year program designed to offer renewable energy sources to support glass and ceramic artists. In 2007 Pablo Soto was awarded “Excellence in Glass” at the Philadelphia Museum Craft Show, ACC Baltimore, and the Smithsonian Craft Show, and in 2008 he received a North Carolina Arts Council Fellowship Grant. He has taught at Penland, Haystack, Pittsburgh Glass Center, Ox-Bow, and The Studio, Corning Museum of Glass. Recently Pablo Soto has been gaffer/fabricator for artists and designers such as Jorge Pardo, Norwood Viviano, Calvin Klein, Carrie Santiago, and others. sotoglass.com
6 / GRAPHICS / MIXED MEDIA Wanz’apun’atime (the Art and Craft of Play)
Using narrative as our lead, we will explore performance, illustration, losing, finding, and making (things up) to see where it launches us. Working collaboratively, we will investigate methods of spontaneously visualizing and presenting stories using tabletop theatre, storytelling with props, puppet shows, solo performance, etc. We will activate it all by concocting, reading, telling, reconfiguring, and dis-remembering diminutive to epic tales while exploring the potential of drawing, painting, collaging, fabricating, sewing, adhering, piecing, and reclaiming as creative impulse. Bring your skills, tools, raw materials, concepts, and big yearnings. We will share skills to collectively increase the abilities of the group and the materials that surround us to spur us toward reinvention and invite others to play. Don’t forget your lab coats, I’ll bring the capes. All levels welcome.
B I R D R O S S is a studio artist working
and playing in Madison, Wisconsin. She received a BA in French from Tulane University and an MFA from the University of Wisconsin-Madison. She began as a textile artist and has incorporated mixed media, quotidian objects, and performance into her studio practice. Her recent work includes collaborations with woodworker, Tom Loeser; iron worker, Paige Davis; sculptor Brenda Baker and painter Derrick Buisch. Her work has been in exhibitions in Germany, Scotland, England, Japan, and the US, and is in the permanent collections of The White House, Racine Art Museum, Open Chain Publishing, and University of Wisconsin-Milwaukee. birdross.com
6 / M E TA L S / BEADMAKING Beadmaking Bonanza: Work Smarter, Not Harder
This workshop will give participants the opportunity to broaden and refine the scope of their work. Will it be clear casing? Buttons? Disks that don’t flop over? Hollow beads using a Puffy mandrel? Twists accurately applied? Stringer work? Big hole beads? Tumbling? Tips and tricks will be shared to help students advance their own work and increase their productivity through improved practices and techniques. Students are encouraged to bring a sample of their current work and explore ways to make the pieces more crisp and more precise. We will have time for group discussion about selling your work, design exercises, studio setup, and more. Previous beadmaking experience required. H E A T H E R T R I M L E T T has been creating lampwork beads since 1992. She works out of her studio in El Cajon, California. Heather Trimlett is
known for her tight, clean designs and she prides herself on facing technical challenges. When asked where she gets her ideas she quips that eleventh-hour creativity is the real secret, but that they also come to her when least expected, such as when she’s stuck in traffic or hiking. Heather Trimlett’s work has been included in Making Glass Bead (Lark Books), Formed of Fire (Salusa Glassworks), and the self-published The Brightly Colored Beads and Vessels of Heather Trimlett. She has taught at The Corning Museum of Glass, Penland, and Pittsburgh Glass Center, among others. heathertrimlett.com
6 / WOOD Carving For Everyone
Step into a contemporary art form that has a two million year history: Carving. This workshop is designed to help carvers of all abilities expand on their technical and contextual knowledge. Subjects covered will include how to rough out a form, how to add material as well as subtract it, how to use and maintain gouges, when and how to use power tools, and how to approach finishes. Along the way we will see and discuss examples of how other carvers approached many of these same issues. This will be a skill gathering class—there will not be enough time for most people to make finished pieces, so the emphasis here will be on coming away with an improved skill set. Come prepared to make the chips fly! All levels welcome. D A N W E B B is a full-time wood carver, tinkerer, writer, and sculptor. He received a BFA from Cornish College of the Arts. Currently represented by Greg Kucera Gallery, Dan Webb has shown his work in galleries and museums for over twenty years. His work is in the collections of numerous museums
including the Smithsonian Institution, New Museum, Seattle Art Museum, Portland Art Museum, and the Museum of Glass. Dan Webb is a recipient of the Pollock Krasner Foundation Award, Betty Bowen Award, Washington State Artist Fellowship award. He lives and works in Seattle Washington. danwebb.squarespace.com
6 / WRITING Horizontal ‘Translation’: Text, Language, Other
What happens when we set out to transport meaning from one language or medium to another and then try to transport it back again? Exploring the idea of translation, we will experiment with a variety of nontraditional approaches, some language-based, some cross-media and collaborative and think together through questions of process and result, theory and practice, accessibility, fluency, and the accidental genius of mistakes. We will look at wildly varied examples of expanded translation practices and work horizontally across our areas of expertise and inexperience, to see what kinds of generative and individualized modes of writing develop themselves. All levels welcome. A N N A M O S C H O VA K I S is the author of three books of poetry—They and We Will Get Into Trouble for This (Coffee House Press), You and Three Others Are Approaching a Lake (Coffee House Press) and I Have Not Been Able to Get Through to Everyone (Turtle Point Press)—and a forthcoming novel, The Rejection of the Progress of Love (Coffee House Press). She recently co-founded Bushel Collective, a mixed-use art and community space in the Catskills and has received grants and awards from the Academy of American Poets, Howard Foundation and New York Foundation
Orb necklace (detail) by Heather Trimlett, 2012. Lampworked, 20” length.
Shroud by Dan Webb, 2008. Carved Redwood, 22” x 12” x 9.”
for the Arts. She teaches poetry, translation, and cross-disciplinary arts in the MFA programs at Bard College and Pratt Institute. badutopian.com
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recognition 1987 Haystack is awarded the American Craft Council’s Gold Medal Institutional Award for “trailblazing leadership and longtime service in education.” 1994 The campus, both studios and cabins, designed in 1960 by noted American architect Edward Larrabee Barnes, is recognized with the American Institute of Architects Twenty Five Year Award, one of only forty-eight buildings in the United States to receive this distinction. 2006 Haystack is added to the National Register of Historic Places. 2009 Haystack is awarded a Maine Master Craft Artist Supporter Award from the Maine Crafts Association in recognition of the school’s distinguishing mark of excellence. 2016 The Haystack fab lab (established in 2011 in partnership with MIT) is awarded the Distinguished Educators Award from the James Renwick Alliance; this award—the first given to a program—acknowledges the influence of Haystack’s digital fabrication lab on the work that we do at the school and how that work has reached outwards from the campus to impact the broader field.
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craftschools.us
Craftschools.us is a consortium of five leading residential craft education programs in the United States: Penland, Arrowmont, Peters Valley, Haystack, and Pilchuck. All of the schools feature workshops that focus on materials and the creative process. We believe that working in a supportive community and having the time to focus without
DOWNLOAD, LISTEN, AND SHARE
interruption–what we call
The Make/Time Podcast provides conversations about craft, inspiration, and the creative process. Listen to leading makers and thinkers talk about where they came from, what they’re making, and where they’re going next. Make/Time is a project of craftschools.us and hosted by former Haystack director, and Maine Poet Laureate, Stuart Kestenbaum.
“the craft school experience” –can be a catalyst for significant creative and artistic growth.
You can listen to recent interviews with Ayumi Horie, Theresa Secord, Cynthia Schira, Roberto Lugo, Rowland Ricketts, Vivian Beer, Sonya Clark, Tim McCreight, and Tom Joyce – all for free and accessible anytime. Make/Time is available through craftschools.us, Sound Cloud, iTunes and other places you find your favorite podcast.
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SE S S I O NS 1 – 6 APPLI C A TI O N
G E N E R A L Procedures AND SELECTION CRITERIA Applicants must be 18 or older to apply for sessions as outlined on the application. Except where noted in the workshop descriptions, workshops are open to all levels of students, from beginners to advanced. Enrollment in each studio is limited. Applications are reviewed competitively and selections are based on the need to have: • a balance between first-time students and past participants, • a broad geographical distribution of participants, and
• a wide range of students from varied backgrounds and skill levels—from beginners to advanced professionals—who have a clear sense of purpose as to why they want to take the workshop/s they have selected. Application is for an entire one-week or two-week session. When filling out the application form, please indicate your first and second workshop choices. Every effort is made to place applicants in their first workshop choice. However, due to the high volume of applications to some workshops, applicants who cannot be placed in their first choice frequently are placed in their second choice. Enrollment in each studio is limited. Applications are reviewed competitively.
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applications tend to be more favorably received.
Scholarship Applications MARCH 1 DEADLINE
Technical Assistant and Work Study (including Minority Work Study) applicants will submit applications online through SlideRoom.
T E C H N I C A L A S S I S TA N T SCHOLARSHIPS
Workshop Applications Regular Enrollment (nonscholarship) APRIL 1 DEADLINE SCHOLARSHIP PROGRAM Application Procedure
Haystack’s scholarship program awards more than 100 scholarships annually, which are available through competitive application to those who are 18 years of age or older. Applicants may seek scholarship support in more than one category. Because competition for Haystack scholarships is intense, applicants are encouraged to be selective in their choice of workshops, indicating only first and second choices. Please keep in mind that answers to the questions on the application form are an important part of the review process. Focused
Technical Assistants receive a scholarship covering full tuition, room & board at the dormitory rate for a period of study for one or two weeks. Those who wish to stay in a more expensive accommodation must pay the difference between that and the dorm rate. Shop fees and materials costs, payable at the conclusion of the session, are the responsibility of the scholarship recipient. Scholarships are usually given for a single session. Applicants should have completed one year of graduate specialization, or the equivalent, in the area for which aid is requested. Because technical assistants are responsible for assisting the instructor, and for shop maintenance and organization, they are expected to be familiar with the general technical requirements of a particular studio and instructor. While responsibilities as a technical assistant are demanding, and have priority during the session, there is ample time for personal work and study. Technical Assistant applications will be reviewed by an independent committee. Criteria for Selection: • The level of competence and accomplishment in the area for which they have applied. • The ability to assist in a teaching/ learning environment. • The ability to work in a supportive, closely knit community.
Application Must Include: • A resumé, not to exceed one page. •U p to five images of your work in digital format. SlideRoom provides a list of acceptable file formats and file sizes. When submitting an image, you will also enter the following information: image/work title, date, dimensions, and materials/ technique. • I mage filenames must include your name and the title of the work. •T wo letters of reference. •A list of your specific technical abilities. •A $50 application fee, which is nonrefundable. Shop fees and materials costs, payable at the conclusion of the session, are the responsibility of the scholarship recipient. Scholarships are usually given for a single session. In some cases, instructors have selected their own studio assistants, below is a list of workshops in which technical assistants WILL be needed: Session 1: Clay (Peter Pincus); Graphics (Lauren Fensterstock); Session 2: Clay (Michael Hunt/ Naomi Daglish); Session 3: Clay (Roberto Lugo); Fiber/Quiltmaking (William Adjété Wilson), Metals (Daniel DiCaprio); Session 4: Clay (Ann Agee); Glass (Jack Wax); Graphics/Papermaking (Jocelyn Châteauvert); Wood (Barbara Cooper); Session 5: Clay (Pattie Chalmers); Glass (Stine Bidstrup); Session 6: Clay (Adam Field); Wood (Dan Webb).
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WORK STUDY SCHOLARSHIPS Haystack’s work study program is intended for those who show high promise in their field, and who need help in meeting the expense of a Haystack session. In return for a scholarship that covers their full tuition, room & board, work study students will be assigned tasks in the kitchen, or around the school that will not exceed three hours daily, ensuring that each student will have ample time for personal work and study in the studio. Work Study and Minority Work Study applications will be reviewed by an independent review committee. Applicants are judged on the following: Criteria for Selection: • Stated financial need. • A commitment to and growing knowledge of the craft area for which application is made. • The ability to work in a supportive, closely knit community.
Application Must Include: • A resumé, not to exceed one page. • Two letters of reference. • A statement of financial need, which should include a summary of your estimated income and expenses for the current year. List income from your: employment, parents, trust funds, spouse’s earnings, etc. Examples of expenses would include: household/food costs, rent/ mortgage, utilities, total college debt, medical expenses, health insurance, other insurance, etc. • A $50 application fee, which is nonrefundable.
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• Please do not submit images with work study application, unless requested for a specific class. Shop fees and materials costs are the responsibility of the scholarship recipient. Shop fees are payable at the conclusion of the session. Scholarships are usually given for a single session. Work study students receive a scholarship covering full tuition, room & board at the dormitory rate for a period of study for one or two weeks. Those who wish to stay in a more expensive accommodation must pay the difference between that and the dorm rate.
MINORITY SCHOLARHIPS To increase participation by individuals from racially and culturally diverse communities within the United States, Haystack awards up to six full scholarships annually to students of color. These scholarships provide full tuition, room & board. Shop fees and materials costs are the responsibility of the scholarship recipient. If you wish to apply for a minority scholarship, please follow the application procedures listed under the work study scholarships section. Assigned tasks and criteria for selection are the same as for work study students.
SUBMITTING YOUR A PP L I C A T I O N SCHOLARSHIP APPLICANTS
(including Technical Assistants, Work Study and Minority Work Study) submit applications online through SlideRoom. Before starting the application process, we encourage applicants to scroll through our extensive list of Frequently Asked Questions on our website (haystack-mtn.org). When you are ready to begin, visit haystack.slideroom.com and click on the Apply icon. Technical Assistant, Work Study, and Minority Work Study applicants are not required to mail hard copies of the application. Applicants who do not receive scholarships and wish to be considered for regular enrollment can indicate this on the application. Scholarship applicants pay the nonrefundable application fee of $50 through a secure site on the online application. Slideroom accepts all major credit cards and all major US debit cards. If you would like to use a different form of payment, please contact Haystack directly. Questions? Contact Haystack at (207) 348-2306 or haystack@haystackmtn.org. Haystack staff are available M-F, 8:30 am–4:30 pm EST to talk with you about your application and materials needed, and to assist you through the application process.
REGULAR (NONSCHOLARSHIP) APPLICANTS
Complete the application form (on pages 43-44) and mail (with a complete copy of application and additional materials, if required) to the address below, or you can complete an application in a word document, downloaded from our website (haystack-mtn.org), and email it to us at haystack@haystack-mtn.org. Before starting the application process, we encourage applicants to scroll through our extensive list of Frequently Asked Questions on our website (haystack-mtn.org). Regular (non-scholarship) applicants will pay a non-refundable application fee of $50 directly to Haystack*. Upon notification of acceptance into a workshop, a $250 deposit for each session, for regular enrollment, is required and will be applied to tuition. For glass workshops, a deposit for half of the tuition rate will be required. All tuition, room and board fees are due and payable in advance. *If paying by check, checks should be made payable to Haystack. Foreign payments must be in US dollars payable in US funds. Haystack Mountain School of Crafts P.O. Box 518 Deer Isle, ME 04627 USA Please choose only one method to submit materials—mail, email, or fax (when appropriate). When sending applications via UPS, FedEx, or other non-postal carrier, you must include Haystack’s street address as follows: Shipping address from October 15 to May 15: 22 Church Street
Shipping address from May 16 to October 14: 89 Haystack School Drive
TUITION, ROOM & BOARD,AND SHOP FEES
Questions? Contact Haystack at (207) 348-2306 or haystack@haystackmtn.org. Haystack staff are available M-F, 8:30 am–4:30 pm EST to talk with you about your application and materials needed, and to assist you through the application process.
Charges vary depending on the length of the session, the accommodations desired, and the shop fee (see below). Add together the cost of your tuition and room & board preference to determine the total for your workshop that is payable in advance.
A C C O M M O D AT I O N S For Regular (non-scholarship) applicants, when indicating your preference for accommodations, be sure to include your first and second choices on your application. While we make every effort to assign participants their first choice, depending on availability, we occasionally must assign their second choice.
SHOP FEES Shop fees cover the cost of materials for common use in a studio and are the responsibility of each participant, including scholarship students and regular (non-scholarship) students. In blacksmithing the shop fee will be approximately $100 per week, and in glassblowing approximately $500-$700 for two-week sessions and $250—$350 for the one-week session. In all other studios the fee may range from $5 to $75 per week. For clay workshops there will be a charge for clay in addition to the shop fee. Participants will be informed of the specific amount of their shop fee at the conclusion of their session. Supplies not provided for in the shop fee may be purchased at the school store.
Sessions 1–5 Session 6
Tuition $1,030 $550 (each session) Room & Board Single with bath limited availability
$2,240
$1,240
Double with bath
$1,475
$815
Quad with bath
$1,405
$760
Double $985 $545 (near central washroom) Triple $585 $320 (near central washroom) Dorm $445 $255 (near central washroom) Day Student $405 (rate includes all meals)
$230
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C ancellation Policy If a cancellation is received prior to 30 days before a session begins, deposits are refunded, less a $100 cancellation fee. There is no refund if a cancellation is made within 30 days of your session.
A cademic C redit Academic credit for workshops is available through arrangements Haystack has with the University of Southern Maine and Maine College of Art. Undergraduate or graduate credits are available through the University of Southern Maine, and undergraduate credits only are available through the Maine College of Art.
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• University of Southern Maine undergraduate credit costs $281 per credit hour, and graduate credit costs $408 per credit hour, with three credits earned in a two-week session. The University has an additional graduate (non-matriculating fee) of $25 and an administrative fee of $35 per student. • Maine College of Art undergraduate credit costs $200 per credit hour, with three credits earned in a twoweek session. Credit costs are set by the respective institutions and are subject to change. If interested in earning college credit through the University of Southern Maine or Maine College of Art, notify Haystack in the office on the first Monday of the session.
O T H E R I N F O R M AT I O N All materials and supplies are the responsibility of workshop participants. Some supplies and equipment are provided in the studios (see shop fees); most others may be purchased at the school store. A prep sheet detailing the workshop supplies, and other personal items you will need to bring from home, will be sent upon enrollment in a workshop. Haystack does not discriminate against any individual or group of individuals on the basis of age, color, disability, gender identification, national origin, race, religion, sexual orientation, economic status, or veteran status. All are welcome.
2 0 1 7 W orksho p A p p lication form
(Please type or print clearly on both sides of application form or download an application form from our website: haystack-mtn.org and email it to haystack@haystack-mtn.org.) Name Gender Identification
Haystack Mountain School of Crafts P.O. Box 518 Deer Isle, ME 04627-0518 USA
Current Mailing Address
F OR OF F IC E US E ON LY
Application Fee Rec’d [ ] City
State Zip
Country
Occupation
Daytime Phone
Cell Phone
Other
Studio/Session
Email Emergency Contact
Relationship
Phone
Have you attended Haystack before? If yes, in what year/s, studio/s :
[ ] Yes
[ ] No
Deposit - Date and Amount Rec’d
Have you been wait-listed in the past 3 years?
Accommodations
[ ] Yes
[ ] No
If new to Haystack, how did you learn about the school? (Friend, Teacher, Magazine, Internet? Other? Please include name):
S ession and W orksho p While we make every effort to assign applicants their first choice workshop, due to the high volume of applications for some sessions, applicants are frequently placed in their second or third choice. Visiting artists and the Haystack fab lab augment the sessions and are not dedicated workshops. Students do not apply for either.
Payments
Balance
Paid in Full
Date
Session # Studio Instructor ___________________________________________________________________________________________ First Choice ___________________________________________________________________________________________ Second Choice (if applicable) ___________________________________________________________________________________________
Confirmation
Wait List
Third Choice (if applicable)
A ccommodations Indicate your first and second choice in housing accommodations. Indicate if you are willing to stay in mixed gender housing. [ ] Yes
NOTES [ ] No
____________________________________________________________________________________________ 1st Choice
2nd Choice
Please indicate the nature of any food allergies, disabilities, or medical, or special needs (including sleeping disorders), or [ Smoker:
[ ] Yes
Age (for housing purposes)
] N/A.
[ ] No
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Please answer the following questions (You may also answer these on a separate sheet—include your name on top):
1. Describe why you want to take each of the workshops to which you have applied.
2. List your educational and/or work experience. You may also attach a resumĂŠ, not to exceed one page.
3. In the event that a workshop, to which you have applied, has specific requirements, please outline your qualifications.
Signed Date
A non-refundable $50 application fee must be enclosed with this application. [ ] Enclosed is my payment in the amount of $50 (please make checks payable to Haystack) [ ] Charge to my
Card #
[ ] VISA
[ ] MASTERCARD
[ ] DISCOVER
Exp. Date CVV code
Name on Card Signature
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In 2016 Haystack awarded approximately 25% of all summer workshop attendees with scholarships and fellowships.
Fellowships & S cholarships Providing support to students has tremendous impact, and we are very proud of the 78 named funds that have been created at Haystack. A number of donors have taken steps to endow individual scholarships and fellowships that we are able to allocate on an annual basis in keeping with the intentions and directives of each fund. A named scholarship can be created with a gift of $30,000 and provides tuition, room & board for a two-week workshop. A fellowship can be created with a gift of $40,000 and includes the addition of a travel stipend to offset the expense of travel to and from Deer Isle. Haystack is also able to work with donors to establish Current Year Scholarships for $1,500 each, providing a student with tuition, room & board to attend a twoweek workshop. Haystack is firmly committed to diversity, inclusion, and equity. This will remain one of our most critical goals, ensuring the school supports all students, with no bias in regard to age, color, disability, gender identification, national origin, race, religion, sexual orientation, economic status, or veteran status. As an artistic community we believe in celebrating divergent points of view. One of the most effective tools we have towards supporting this mission is our scholarship program, which in 2016 brought over 120 students (recent high school and college graduates, retirees, parents, emerging artists, and more) from as near as Deer Isle to as far away as Palestine, Sweden, and Brazil. The scholarship program is supported through annual fund contributions, end of session auctions, the summer gala, grants, and our scholarship endowment.
FELLOWSHIPS Cranbrook Academy of Arts
Established by Stewart W. Thompson
University of the Arts
Established by William F. Daley Massachusetts College of Art & Design Established in honor of Pat Doran Massachusetts College of Art & Design Established by William Wyman
Alfred University
Established in honor of Marcianne Mapel Miller
Quimby Family Fund Maine Art Educators Association Arizona State University
Established by Joanne and James Rapp
Rhode Island School of Design San Diego State University
Established by Alan Gordon Sanford University of Wisconsin-Madison Edward Larrabee Barnes Fellowship Mary Blakley Fellowship David Cheever Fellowship Howard Kestenbaum and Vijay Paramsothy International Fellowship Awarded to two students: one from Israel and one from Palestine
Richard Allen Merritt Fellowship
Awarded to two students from Japan
Marlin Miller International Fellowship Coordinated with the Luys Foundation, Armenia
S cholarships *
Naomi I. Becker Scholarship Andrew Bergman Scholarship Bingham Scholarship Fund for Maine Students Mary Beasom Bishop and Francis S. Sumner Scholarship Bill Brown Scholarship Judith Burton Scholarship Catto Family Scholarship Kate Cheney Chappell Scholarship Thomas Chappell Scholarship Elizabeth F. Cheney Scholarship Ethel Skeans Clifford Scholarship Mad Crow Scholarship David Ferranti Scholarship Golden Rule Scholarship Gary “Griff” Griffith Scholarship Candy Haskell Scholarship Harriet Hemenway Scholarship
Priscilla Henderson Scholarship Richard and Mary Howe Scholarship Stuart Kestenbaum Scholarship Jody Klein Scholarship Nanette Laitman Scholarship Jack Lenor Larsen Scholarship Michael Lax Scholarship Jean & David Lincoln Scholarship Ingrid Menken Scholarship Priscilla Merritt Scholarship William H. Muir Scholarship Mary Nyburg Scholarship Betty Oliver Scholarship Ronald Hayes Pearson Scholarship Awarded to two students
Peninsula Area Scholarship Parker Poe Scholarship Barbara Rockefeller Scholarship Samuel and Eleanor Rosenfeld Scholarship Fund in Wood Samuel and Eleanor Rosenfeld Scholarship Fund in Fiber Eleana Prentice Scholarship Awarded to six minority students
Francis William Rawle Scholarship Lois Rosenthal Scholarship Florence Samuels Scholarship Heikki Seppa Scholarship Margaret (Peggy) Swart Sewall Scholarship Irving B. Sherman Island Scholarship Mathias Lloyd Spiegel Scholarship Carolyn J. Springborn Scholarship Fund in Fiber Carolyn J. Springborn Scholarship Fund in Graphics Carolyn J. Springborn Scholarship Fund in Wood Lenore Thomas Straus Scholarship Lenore Tawney Scholarship Taylor-Zwickey Scholarship Awarded to a minority student Molly Upton Scholarship Beverly Warner Scholarship Frans Wildenhain Scholarship George VanOstrand Scholarship *When applying for a scholarship applicants should follow the procedures outlined on pages 38–41. Students do not 45 apply for individual named funds.
“Coming here is a freeing experience—free from the world, free from conventional ways of teaching and most importantly free from the distractions that keep us from interacting with new people.” Suranga De Silva
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Haystack’s publications bring a writer’s perspective to the work done at the school, providing a wide view of craft and its relationship with our world.
H AY S TA C K P UBLI C A TI O N S Haystack’s Gateway Newsletter is published twice a year to offer updates on our summer programs, Maine and community programs, communitybased artists residencies, exhibitions, fellowship and scholarship funds, grant news, updates regarding our trustees, staff, faculty, and alumni, as well as other news and events. The fall publication also serves as the school’s annual report and includes donor lists related to giving for that fiscal year. Initiated in 1991, Haystack’s Monograph Series provides a forum for writers of varied perspectives to reflect on the idea of craft. Now totaling thirtyone in the series, monographs cover a range of topics and are distributed to art schools and libraries throughout the US. The Haystack Reader is an anthology of the first twenty-three monographs, published by Haystack and the University of Maine Press in 2010. In 2000 Haystack celebrated the school’s 50th Anniversary with the publication of the book, Discovery: Fifty Years of Craft Experience at Haystack Mountain School of Crafts. Contributors to this collection of essays include former Haystack faculty and students, with each essay accompanied by a photo of the artist’s work. Vision & Legacy: Celebrating the Architecture of Haystack celebrates the 50th anniversary of Haystack’s awardwinning campus in Deer Isle, Maine. Haystack—with Brynmorgen Press, Falmouth, Maine—published the book, which includes essays, images, and historical content.
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G A T E WAY AY S T A C K
Dir ect or Fro m the a a few of us took arlier this fall to visit tville, Maine drive to Mon tack original Hays the site of the itt. This Nancy Merr and Al campus with 1950, and tack began in re was where Hays ten years befo for the next would exist ion on Deer current locat moving to our significant there have been gh Thou Isle. years, the site over the the to ges some chan as well as ing studios, clay and weav ing where central build . cabins and the held, still exist res were first evening lectu a special family has had . The Merritt for long time to Haystack his connection when teen years old e Al was just four igan to Main ated from Mich family reloc itt, became r, Frances Merr and his fathe Fran Merding director. next Haystack’s foun the for ol e the scho ritt would guid vision had a years and his twenty-eight Haystack ct on shaping profound impa le taking a is today. Whi n into what it ol’s first seaso scho the ng workshop duri y met and toNanc and Al on Deer Isle, ection to the who will embody a conn hias Pliessnig, gether they 3.2’, by Matt . des. 16’ x 7.3’ x deca s span st 13–25, 2017 White Oak, school that awards session 5, Augu 5), steam bent of a school that Sinuo (201 shop during The very idea a wood work t faculty processes be teaching no permanen and has rials and mate of nvenno degrees examination ortive comremains as unco shared with ive and supp or student body then. Walking it needs to be within a creat has always so important as it was back and thinkway, Haystack tional today at some of in Montville munity. In this rs. Standing erty, looking way of living, abee a othe prop Larr eling the ard nd mod arou campus Edw been about was struck by t teaching a it ing about the structures, I on Deer Isle, has been abou the original carpenter later design as much as it gh perhaps these conof it all. A local Barnes would thou and licity e set— , denc simp skill the the confi and built specific closely ll designed, struck me that ys been more p of people c named Ed Sewa h were rusti ideas have alwa ssary for a grou ine. viction nece structures, whic d become, we might imag most of the this place coul n and suffilinked than ghtful in desig to imagine what sents an yet also thou rkable. It repre s of that time had was quite rema d to the need leap, which al ible ciently suite iz radic a hens is Paul Sacarid ing a school almost incompre lishing a place and place. Start an act of do with estab itself, and also everything to ing and a close idea in and of hinges on reflective think rosity, which that valued profound gene thing some s there exist the belief that
E
M ON OGRAPH S ERI ES #31
2015
eight days by Maira Kalman
H AY S TA C K
HAYSTACK MOUNTAIN SCHOOL OF CRAFTS
All publications are available through the Haystack store or by contacting the school.
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WE ARE HAYSTACK FOUNDER
LIFE TRUSTEES
Mary B. Bishop (1885–1972)
William Daley Arline Fisch Wayne Higby Richard Howe Marlin Miller Eleanor Rosenfeld Claire Sanford Cynthia Schira Robert Springborn
FOUNDING DIRECTOR Francis S. Merritt (1913–2000)
BOARD OF TRUSTEES Jack Lenor Larsen Honorary Chair Kristin Mitsu Shiga Chair Matt Hutton President Matthew Hinçman Vice President Miguel Gómez-Ibáñez Treasurer Sue Haas Bralove Kate Cheney Chappell Deborah Cummins Fabio Fernández Katherine Gray Del Harrow Charles O. Holland Roberto Lugo Wyona Lynch-McWhite Alleghany Meadows Linda Sikora Rosanne Somerson Joan Sorensen Brigid Sullivan Theresa Secord Peter Walker Elizabeth Whelan Namita Gupta Wiggers Joe Wood Stephen Yusko
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S TA F F Paul Sacaridiz Director Ginger Aldrich Development Director Jonathan Doolan Studio Technician Michele Dür Head of Housekeeping Carole Ann Fer Assistant Registrar Candy Haskell Office Manager/Registrar Eugene Koch Facilities Manager Mamie LaFrance Business Manager Christopher (Kit) Loekle Maintenance Assistant Marilyn Smith Chief Financial Officer Tom Smith Head Cook
Twyla Weed Store Manager/Administrative Assistant Ellen Wieske Assistant Director
Funding for Visiting Artists/Writers has been received from: Haystack’s Charlie Gailis Fund, the Stuart Kestenbaum Fund for Writing, the Francis S. Merritt Fund for Innovative Programming, and the Windgate Charitable Foundation. Funding for Peter Pincus’ teaching position is provided by: Haystack’s Samuel J. Rosenfeld Faculty Fund for Sculpture in Ceramics or Wood. Funding for international faculty travel is provided by: Stuart Kestenbaum International Travel Fund. Editor: Ginger Aldrich Design: Mahan Design Cover photos and photography of students and site: Ginger Aldrich Chris Battaglia Nic Bruno Alexis Grabowski Norah Hoover Debbie Loughlin Jenny Rebecca Nelson Wylde Photography
Visit our website and read about Haystack's other programs, including intensive programs for Maine high school students and adults, community-based artists’ residencies, exhibitions, and symposia.
haystack-mtn.org
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PA ID haystack mountain school of crafts P.O. Box 518 Deer Isle, Me 04627
haystack-mtn.org
DEADLINES Residency and Scholarship applications due March 1 Regular applications due April 1 Full scholarships available!
Richmond, VA Permit No. 930
Address Service Requested
Non-profit Organization U.S. POSTAGE
PA ID haystack mountain school of crafts P.O. Box 518 Deer Isle, Me 04627
haystack-mtn.org
DEADLINES Residency and Scholarship applications due March 1 Regular applications due April 1 Full scholarships available!
Richmond, VA Permit No. 930
haystack mountain school of crafts P.O. Box 518 Deer Isle, Me 04627
haystack-mtn.org
DEADLINES Residency and Scholarship applications due March 1 Regular applications due April 1 Full scholarships available!