2012 Summer Adult Workshops by Idyllwild Arts

IdyllwildARTS

S U M M E R

P R O G R A M 2 0 1 2 Workshops for Adults

H A N D S - O N W O R K S H O P S • L E C T U R E S • D E M O N S T R AT I O N S • P E R F O R M A N C E S • R E A D I N G S • E X H I B I T I O N S

Ceramics: The Ways of Clay

Hot Clay

The Figure

Focus on Form/Soda

Glazes Demystified

Majolica Painted Pots

Porcelain Tableware

WKND

7/16–20

WKND

7/9–13

WKND

CERAMICS

7/2–6

Page

WKND

Please see course descriptions for exact dates and durations.

WKND

TABLE OF CONTENTS 6/25–29

SCHEDULE &

JEWELRY/METALS 10

Dimensional Forming

Exploring Art Clay Copper

Foundology

Metals Week

Champlevé Enamel

Etching

Examining the Brooch

Found Objects

Soldering Bootcamp

Stone Setting

Things to do in Idyllwild

The mission of the Idyllwild Arts Foundation is to promote and advance artistic and cultural development through education in a beautiful, natural environment conducive to positive personal growth.

Idyllwild has earned the distinction of becoming one of the 100 Best Small Art Towns in America, (as designated in the book of the same name by John Villani), and features over 15 galleries representing the work of more than 200 artists.

The Idyllwild Arts Summer Program provides arts instruction and experiences of the highest caliber to a diverse student population of all ages and abilities. The Idyllwild Arts Academy (Sept.–May) provides pre-professional training in the arts and a comprehensive college preparatory curriculum to a diverse student body of gifted young artists from all over the world. (See page 31 for information on the Idyllwild Arts Academy.)

MIXED-MEDIA/BOOK ARTS 11

Artist ASAP

Artist Book Strategies

Assemblage

Fiber Collage

Marbling on Paper & Fabric

Location

Pastel Art Journaling

Chamber Music Workshop AUGUST 6–10 >

Idyllwild is located at an altitude of 5000' in the Strawberry Valley of the San Jacinto Mountains approximately a 2 1/2 hour drive from Los Angeles and San Diego and a one hour drive from Palm Springs and Riverside.

MUSIC

NATIVE AMERICAN ARTS 18

Cahuilla Style Pottery

Hopi Basketry

The Idyllwild Arts campus is situated two miles from the center of the village of Idyllwild. This tranquil site, remote from urban distractions, affords the student a unique learning environment.

Hopi Jewelry

Native Arts Festival

Cahuilla Basketry

Hopi-Tewa Pottery

Mata Ortiz Pottery

Native American Cuisine

Native American Flutes

Native Plants

Navajo Inlay Jewelry

Navajo Weaving

Transportation There is no public transportation to or within Idyllwild. Transportation is available for a fee via campus vans from Ontario International Airport or Palm Springs Regional Airport to Idyllwild. Arrangements must be made in advance. Please see transportation information section of the Registration Form on page 29.

PAINTING/DRAWING 19

Drawing Intensive

Drawing/Painting As Meditation

Encaustic Painting

The Figure & Still Life

Painting Now: Color/Meaning

Plein Air Pastels

Portraits

Representation to Abstraction

WaterCOLOR

Watercolor Unleashed

Weather Summer temperatures vary between the high 70’s to low 90’s during the day and drop to the 50’s–60’s in the evenings.

Lodging and Dining For those who are not staying on campus, the village offers many lodging alternatives, from luxury to rustic and includes motels, bed and breakfast inns, cabins and lodges. There are also public and private campgrounds in and around Idyllwild.

PRINTMAKING/BOOK ARTS 22

Drypoint Etching

Encaustic Monoprinting

Beyond Monotype

Woodcut Printmaking

Numerous restaurants and cafés are located in the village and feature a variety of cuisine from gourmet to classic fare.

SCULPTURE 24

Felted Wool Sculpture

Welded Steel Sculpture

GENERAL INFORMATION

WRITING 24

Graphic Novel

Liars Way: A Fiction Primer

Memoir/Creative Nonfiction

Poetry Camp

Sn M

T W Th F

JUNE 3 4 5 6 7 10 11 12 13 14 17 18 19 20 21 24 25 26 27 28 2

The School Mission

1 8 15 22 29

S 2 9 16 23 30

Sn M 1 8 15 22 29

2 9 16 23 30

T W Th F 3 10 17 24 31

4 11 18 25

5 12 19 26

6 13 20 27

S 7 14 21 28

JULY

Sn M

T W Th F

AUGUST 5 6 7 12 13 14 19 20 21 26 27 28

1 8 15 22 29

2 9 16 23 30

3 10 17 24 31

S 4 11 18 25

Campus Facilities & Services........................2 Daily Schedule................................................3 Discounts/Credits.....................................3, 30 Events Schedule ....................................26, 27 Fee Payment/Refunds.................................29 Helpful Weblinks.............................................2 Housing and Meals........................................3 Arts Academy Information.........................31 Location/Transportation................................2 Maps (Location & Campus).......................28 On Campus Activities for Adults...................3 Registration Form...................................29, 30 Things to do in Idyllwild .................................2 Idyllwild Arts Academy Information..........31

SCHEDULE/CONTENTS/SCHOOL

Idyllwild is filled with unique gift shops, galleries, a movie theater, and restaurants. There are hundreds of miles of hiking trails for all levels from gentle strolls to strenuous trails leading to the meadows and peaks that tower above the village. Idyllwild is also known for rock climbing. Horseback riding and fishing are available within 20 minutes from campus.

Helpful Weblinks Additional information regarding Idyllwild may be found on the following websites: www.idyllwildarts.org www.towncrier.com www.idyllwildchamber.com www.idyllwildjazz.com www.greencafe.com www.idyllwild.me/ www.idyllwildherald.com www.artinidyllwild.com

The Summer Program The summer tradition that began in 1950 to bring the best artists in their fields to teach under the pines continues today. Intensive hands-on workshops in music, dance, theatre, visual arts, writing, filmmaking and Native arts are offered to students from age 5 to 105. Each year more than 1,700 adults and children attend the Idyllwild Arts Summer Program. There are four arts centers plus Family Camp that comprise the Summer Program. • The Children’s Center (ages 5–12) (See separate Youth Program Catalog) • Junior Artist’s Center (ages 11–13) (See separate Youth Program Catalog) • The Youth Arts Center (ages 13–18) (See separate Youth Program Catalog) • Adult Arts Center (This Catalog) Family Camp: The whole family is welcome at Family Camp. Everyone will enjoy a week of arts activities and fun! (See separate Youth Program Catalog or website)

Campus Facilities and Services The campus features large modern dormitories, modest residence halls, dining hall and a snack bar. Services include health center, bookstore and laundry facilities. The art studios include numerous indoor and outdoor facilities. Exhibition areas include the Parks Exhibition Center and the Eymann Sculpture Garden. Performance halls include the IAF Theatre, Stephens Recital Hall, Holmes Amphitheatre, and Junior Players Theatre among others. The Krone Library houses resource areas with internet access and wireless connection, classrooms and a museum. There are dedicated dance studios, rehearsal halls, film studio and practice rooms located throughout the campus.

9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

Please note: At the time this catalog was printed, every effort was made to assure its accuracy. In keeping with the commitment of the Idyllwild Arts Summer Program to individual and timely needs of students and faculty, however, we reserve the right to make changes in faculty, courses, schedules, tuition and policies. For specific dates see class descriptions. For updates or changes, see our website at www.idyllwildarts.org/summer.aspx

We offer two catalogs, one for adults and one for children and teenagers. This catalog contains program information for adults. To request a Youth Catalog please call: 951-659-2171 ext. 2365 or visit www.idyllwildarts.org Friday–Adult student art show Faculty, Staff & Adult Student Potluck

There will be several lunchtime and evening lectures and presentations that all adult students are invited to attend.

Summer ‘11 Photographer: Paula Harding.

The campus also offers endless trails for hiking and nature walks, as well as a 25-meter swimming pool open to all registered students. Parks Exhibition Center is open daily and features the work of artists in residence as well as a selection of fine Native American art and jewelry.

On-Campus Housing and Meals

Artist Demonstration

For adult students and adult students with children in a program, there are two oncampus housing options:

Parks Exhibition Center Reception

Discounts and Credits Idyllwild Arts offers students the following options: (See page 30 for details) • Early Payment Discount • Family Discount • Teacher/Student Discount • Bring a Friend Discount

Adult Arts Center Students work intensely in a focused, yet relaxed setting which provides detailed technical instruction and personal attention to individual artistic needs. Instructors are experienced and interested in working with students of all levels of background and ability.

Daily Schedule In general, workshops run from 9 a.m. to 4 p.m. each day, with a break for lunch in the campus dining hall (included in tuition). Writing workshops have shorter in-class hours in the afternoons, allowing time for writing, individual conferences, craft talks and other activities. There are evening events and activities for participants throughout the week, as well as several lunchtime lectures open to all students during the Native American Arts Festival Week (July 8–14).

Check In

Residence Halls-Modest motel-like units with twin or bunk beds and private bath accommodate one or two adults. Rates are based on occupancy of one-room units plus meals from Sunday, 4 p.m. to Saturday, 10 a.m. The charge includes linens and towels which are changed weekly. a. Two persons per room, meals included $520 per person per week $310 per person for three days b. Private room & meals (limited availability) $725 per week $450 per person for three days Residence Hall check-out time is 10 a.m. on Saturday. Residence Hall accomodations are not available for weekend workshop participants. Please see the Off-Campus Housing information on this page. Please observe the 10 p.m.–8 a.m. quiet hours. Smoking is prohibited in all campus facilities. No pets are allowed. Lunch is included for all registered adult students at no charge. Meals are served cafeteria-style. There are vegetarian options at every meal including a hot entree at every lunch and dinner. In addition, an extensive salad bar featuring fresh fruits and vegetables is available at all lunches and dinners. Students may purchase additional meals by the week. A one-week meal pass (20 meals) is $90. The school also offers a snack bar which operates on a cash basis beginning July 8. Sandwiches, snacks and soft beverages are available from 11:30 a.m. to 7:30 p.m. daily.

Students may check in from 3 to 5 p.m. on the day before their workshop begins, or between 8 and 8:30 a.m. the first day of class. See your Registration Packet for specific check-in times and location for your workshop.

Idyllwild Arts Pool

Off-Campus Housing As a service to our adult students, we have provided a list of lodging facilities in Idyllwild. The list is for information purposes only and should not be construed as an endorsement.

Faculty, Staff & Adult Student Potluck

Motels and Inns Bluebird Cottage Inn............ 951-659-2696 Creekstone Inn..................... 800-409-2127 Fern Village Chalets.............. 951-659-2869 Fireside Inn........................... 877-797-3473 Idyllwild Inn.......................... 888-659-2552 Knotty Pine Cabins............... 951-659-2933 Manzanita Cabins................ 951-659-3151 Mile High Country Inn......... 951-659-2931 Quiet Creek Inn.................... 800-450-6110 Rainbow Inn......................... 951-659-0111 Silver Pines Lodge................ 951-659-4335 Strawberry Creek Inn........... 800-262-8969 Strawberry Creek Bunkhouse.. 888-400-0071 Tahquitz Inn.......................... 877-659-4554 Wilder Cabins....................... 951-659-2926 Woodland Park Manor......... 877-659-2657 Cabins and Homes Idyllwild Cabin Rentals........ 877-270-3285 Idyllwild Mtn. Rentals.......... 951-659-5349 Idyllwild Vacation Rentals.... 800-297-1410

Parks Exhibition Center Reception

Camping Idyllwild County Park........... 800-234-7275

Additional information Please see page 28 and 29 for additional information including campus location maps, and registration forms.

Please note: There are no provisions for those arriving before or after registration hours.

On-Campus Activities for Adults Each evening there are activities taking place throughout campus (see pages 26 & 27). In addition to the program “traditions” that are scheduled each week, there are other lectures, readings, recitals and performances that dot the calendar. The weekly schedule includes:

Nelson Dining Hall

Monday–Parks Exhibition Center reception: Faculty Art Show and Artist demonstration/ presentation Tuesday–Faculty artist slide lecture or Poetry Reading Wednesday–Potluck and Barbeque at Studio D for all adult students, faculty members and school community members. The Village of Idyllwild summe r @ id y llwild art s . o r g

THE PROGRAM

CERAMICS Ceramics Workshop: Ways of Clay............... 6 Greg Kennedy, David Delgado Hot Clay Week................................................ 4 The Figure.................................................... 4 Linda Ganstrom

HOT CLAY June 24–July 7, 2012

Focus on Form/Soda................................. 5 Jeff Oestreich Glazes Demystified.................................... 5 Richard Burkett Majolica Painted Pots............................... 5 Posey Bacopoulos Porcelain Tableware.................................. 6 Silvie Granatelli

SEE ALSO Cahuilla Style Pottery.................................... 18 Tony Soares Hopi-Tewa Pottery......................................... 18 Mark Tahbo Mata Ortiz Pottery........................................ 18 Jorge Quintana

Linda Ganstrom, Chaos

WEEK I

The Figure

Hot Clay/Cool Characters Linda Ganstrom

June 24–30

Course # AACR ØØA1

Six-day session Martha Grover 2011

Idyllwild Arts has a long history of offering outstanding ceramics programs, with such renowned faculty as Fred Olsen, Shiro Otani, Susan Peterson, and Maria Martinez among others. In recent years, Hot Clay faculty has included Ingrid Lilligren, Lesley Baker, Tom Bartel, Mary Kay Botkins, Lisa Clague, Cynthia Consentino, Patrick Crabb, Debra Fritts, Rosette Gault, Arthur Gonzalez, Glenn Grishkoff, Martha Grover, Stephen Horn, Jeff Irwin, Paul Lewing, Joe Molinaro, Lisa Orr, Terry Rothrock, Esther Shimazu, Neil Tetkowski, Geoff Wheeler, and Lana Wilson.

OVERVIEW • Hands-On Workshops and Open Studios

Exploring the figure using bodycast molds as the foundation for expressive handbuilding,as well as demonstrations and hands-on practice in creating and utilizing a multiple-part mold in developing a realistically proportioned, yet highly personal character in clay, will encourage artists to bring their stories and experiences to the figure. Seeking and gathering inspirational objects to mold or model, artists will develop meaningful, symbolic elements for embellishing the figure. Surface treatments such as terra sigillata, stains, slip dip fabrics, sprig molds, and stamps, along with techniques to alter facial features, create hairstyles, and costumes will be explored. A variety of cold surface paint and encaustic treatments will enhance stained and fired sculptures. This workshop is designed for advanced beginners and up.

• Demonstrations and lectures presented by all faculty

Materials: A complete materials list will be sent upon registration.

• Critiques and feedback

Tuition: $680 Lab fee: $95

• Exhibits of faculty work

Enrollment limited to 12 students.

Explore innovative techniques and concepts in the workshop of your choice. Lectures and demonstrations are scheduled to allow participants in all workshops to attend. We emphasize an open studio with a great deal of crossover during each week’s workshops. Artist receptions for the faculty exhibit are planned June 25 and July 2.

Linda Ganstrom has been working in figurative ceramics for over three decades, creating a ceramic version of magic realism from her vocabulary of bodycasting techniques combined with hollow forming and modeling embellished with a collage style costuming created from sprig molds. She earned three degrees from Fort Hays State University in Western Kansas, where she is currently a Professor of Art and Design. Linda volunteers as NCECA’s Exhibitions Director, and exhibits around the country. Her sculptures were included in “Form and Imagination” at the American Museum of Ceramic Art, Pomona, California.

Class size is limited to allow for maximum interaction among participants and with the instructors. The ceramics studio is equipped with gas and elec-

Richard Burkett 2011

tric kilns, wheels, handbuilding equipment and a glaze lab. Please note: Each week begins on Sunday at 9 a.m. and ends Saturday morning after the kilns are unloaded.) Linda Ganstrom, Butterfly Effect

CERAMICS

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Richard Burkett, Glaze Test Bowls

Posey Bacopoulos, Tall Box

Jeff Oestreich, Cups

Focus on Form & a Hint of Soda

Painted Pots

Jeff Oestreich

The Art of Majolica

June 24–30

Posey Bacopoulos

Course # AACR ØØA2

Six-day session

June 24–30

We’ll kickoff the workshop by exploring a variety of glaze resist techniques, other ways of enhancing surface, and loading the kiln for a soda firing. The remaining days will revolve around taking wheel thrown forms and altering them by a number of methods: paddling, faceting, darting, cut and join, etc. Our mantra will be “paying attention to detail”. Bring bisqueware suitable for a cone 10 firing for the first day’s soda experience – and fall in love with the subtleties and variation this firing method adds to clay. Discussions to include topics such as how one researches ideas to maintaining a healthy relationship with clay over the long haul. This workshop is designed for intermediate to advanced ceramists.

Six-day session

Jeff Oestreich, Teapot

This workshop will focus on decorating pots using the majolica process. Majolica is a glaze tradition that began in the Middle East in the 9th Century and flourished in Italy during the Renaissance. We will spend the first part of the session making simple forms that will provide surfaces for decorating. Then a variety of techniques using stains on the majolica glaze will be explored through demonstrations, discussions and slides. Finally work will be glazed, decorated and fired. Participants are encouraged to bring bisqued earthenware pots that will also be decorated and fired during the session. Some experience with clay is required. Materials: A complete materials list will be sent upon registration.

Materials: A complete materials list will be sent

upon registration. Tuition: $680 Lab fee: $40

Course # AACR ØØA3

Jeff Oestreich, Bowl

Enrollment limited to 10 students.

Tuition: $680 Lab fee: $75

Enrollment limited to 12 students. Posey Bacopoulos is a studio potter working in New York City. She studied ceramics at several craft schools including Penland and Anderson Ranch. She also studied at the University of Florida in Gainesville. Her work has been shown in many national juried and invitational exhibitions. She has won awards in the Strictly Functional Pottery National, International Orton Cone Box Show and Feats of Clay. Her work has recently been published in Maiolica: Ceramic Handbook and several Lark 500 books. She has taught numerous workshops on majolica decoration.

Jeff Oestreich is a full-time studio potter, receiving his BA from Bemidji State University and the University of Minnesota. He followed his formal education with an apprenticeship at the Leach Pottery in St. Ives, England from 1969–1971. Throughout the 1980’s, he taught at various universities and has since returned to full-time work in his studio near Taylors Falls, Minnesota, where he has lived for the past 35 years. He continues to exhibit and teach short-term classes here and abroad. His latest adventure was teaching a series of workshops throughout South Africa, culminating with the selection of awards for the 2010 National Ceramics Exhibition in Cape Town.

Richard Burkett, Gear Scatter Platter

WEEK II

Glazes Demystified

+ Textures + Tools Richard Burkett

July 1–7

Course # AACR ØØB1

Six-day session Have you always wanted to know what goes into a glaze? How to make glazes less runny, more fluid, stop crazing, more matte, more glossy, or the color you REALLY wanted? Want more interesting textures and surfaces that enhance them? How to use layering of texture/slip/washes/glaze to make richer surfaces? How to make laser-printer decals? This workshop will give you a solid start on the methodology and science (both kitchen chemistry and the other kind…) that you’ll need to make your own unique glazes. We’ll work primarily at cone 6 in oxidation, and at some higher temperatures, too. All participants will get a free copy of HyperGlaze software to keep, so please bring a laptop (Macintosh or Windows) to use while learning about glaze calculation. At the end of the week, if there’s time while the kilns are cooling, we’ll have a tool day: learn to make your own tools for clay and textures. Materials: A complete materials list will be sent upon registration. Tuition: $680 Lab fee: $75

Enrollment limited to 9 students. Richard Burkett has over 40 years of experience

Artist Lecture

in ceramics. He is the author of HyperGlaze glaze software. He loves to make pottery and has studied ceramics around the world. He is also the coauthor of the 6th edition of Ceramics: A Potter’s Handbook. As the son of a chemist, he has an understanding of the intersection of science and art, and the ability to explain technical subjects to non-scientists. He is currently Professor of Art-Ceramics at San Diego State University where he teaches beginning to graduate ceramics, including clay and glaze technology.

HOT CLAY EVENTS OPEN TO THE PUBLIC Week 1 MONDAY, JUNE 25 7 p.m. Lecture: Jeff Oestreich 8 p.m. Artists Reception. Hot Clay & Visiting Faculty Show Parks Center WEDNESDAY, JUNE 27 7 p.m. Lecture: Posey Bacopoulos Posey Bacopoulos, Square Bowls

THURSDAY, JUNE 28 7 p.m. Lecture: Linda Ganstrom Week 2 SUNDAY, JULY 1 7 p.m. Lecture: Richard Burkett MONDAY, JULY 2 8 p.m. Artists Reception. Parks Center WEDNESDAY, JULY 4 7 p.m. Lecture: Silvie Granatelli Posey Bacopoulos, Beaked Pitcher

summe r @ id y llwild art s . o r g

Richard Burkett, Glaze Test Bottles

CERAMICS

JEWELRY/METALS

H O T C L AY Dimensional Forming................................... 10 Deborah Jemmott Exploring Art Clay Copper.......................... 10 Jonna Faulkner Foundology................................................... 10 Stephanie Lee Metals Week.................................................... 7 Champlevé Enamel.................................. 7 Pauline Warg Etching......................................................... 8 Carol Webb Examining the Brooch............................... 8 Charity Hall

Silvie Granatelli, Pitchers

Found Objects............................................ 8 Tom McCarthy Soldering Bootcamp................................. 9 Karen Christians Stone Setting.............................................. 9 Harold O’Connor Greg Kennedy

Ceramics Workshop

SEE ALSO

The Ways of Clay Greg Kennedy

Hopi Jewelry.................................................. 17 Roy Talahaftewa

July 9–20

Course # AACR Ø1-Ø2

Navajo Inlay Jewelry....................................17 Richard Tsosie

Two-week session Students may take one week of this workshop only by permission of the instructor.

Silvie Granatelli, Tableware

Porcelain Tableware & More Silvie Granatelli

July 1–7

Course # AACR ØØB2

Six-day session This workshop will focus on pots designed for the table, exploring surface techniques and color, and learning throwing techniques particular to porcelain clay. A wide range of forms will be demonstrated and projects will be completed to the bisque stage. Students will explore various lip treatments for plates and bowls such as squaring, fluting and rolling rims, and learn about the nuances of the cup, saucer and mug. We will form pots out of various thrown parts, assembled at the leatherhard stage, including all non-round pots. This technique will allow you to make trays, square boxes and tall forms such as oval bottles/ewers, pitchers and teapots. Surface treatments will include carving, slip trailing and stain decoration (applied to bone dry pots). Silvie’s stain formula is possible to use from cone 04 to cone 10 under compatible clear glaze recipes. Silvie will also demonstrate glaze techniques. All skill levels welcome. Materials: A complete materials list will be sent upon registration. Tuition: $680 Lab fee: $75

Enrollment limited to 10 students. Silvie Granatelli has been a full time studio potter working in Floyd Co. Virginia since 1982. She received a BFA from the Kansas City Art Institute and an MFA from Montana State. She has taught ceramics at Virginia Tech and Berea College in Kentucky. Her work is in the collections of the Mint Museum in Charlotte, NC, The Museum of Ceramic Art in Alfred, New York, and the Taubman Museum of Art in Roanoke, Virginia. Silvie’s work has been featured in many publications, including Ceramics Monthly, Clay Times, and Studio Potter. Her work can also be found in numerous books, including Pots in the Kitchen, by Josie Walter, The Ceramic Glaze Handbook, by Mark Burleson, Handbuilt Tableware, by Kathy Triplett, and Porcelain Masters: Major works by leading ceramists, curated by Richard Burkett. She was the recipient of the Virginia Museum Fellowship Grant in 1995.

CERAMICS/JEWELRY

This intensive course is designed for beginning and advanced participants who would like to expand their experience in clay. The philosophy of the studio is to encourage interaction between fellow students of all skill levels. Activities such as clay mixing, kiln loading, firing, kiln unloading and glaze mixing are highly encouraged. Beginning instruction in the use of the pottery wheel is stressed and throwing on the potter’s wheel is emphasized. The studio also has the facilities for the hand builder, i.e. slabroller, extruder, and ample work space. Students will complete artworks in cone 6, high temperature reduction firings, and low temperature salt (saggar) and raku. Technical and aesthetic demonstrations take place each day. The spacious, well lit studio is equipped with potter’s wheels, both kick and electric, a Brent slab roller, clay extruders, Soldner clay mixer, gas kilns, electric kilns, as well as our Anagama and fast fire wood kiln. We have ample work space, including a glaze room and separate facilities for throwing and hand building; in addition we have several outdoor work areas. Students may bring their own tools, but studio tools are available. The studio is open weekdays, 9 a.m. to 4 p.m. Each student will complete an abundance of pieces.

David Delgado

Tuition: $680 per week Lab fee: $25 per week (Includes clay-150 lbs.

of clay per student-and firing costs.) Enrollment limited to 10 students per week.

Greg Kennedy: BS, Biology, University of Nevada, Las Vegas. National Science Foundation Award for botany and geology studies in the Spring Mountain Range of Clark County Nevada. After graduating with honors in 1972, Greg turned his attention toward ceramics. Since that time, he has been a studio potter and ceramics teacher. His focus and inspiration is mountain topography and is continually charmed by nature. Respectful of traditional pottery, he enjoys meeting with indigenous potters and learning from them during his global travels. This will be Greg’s 27th year of teaching for Idyllwild Arts. His home and studio are located in the coast range of Oregon, where he practices quietness, authenticity, harmony and sustainability.

David Delgado is a mixed media Sculptor/Potter who has been working in ceramics for seven years, where his focus in clay has been on both the hand-built and wheel-thrown object. Having recently received his BFA in Sculpture from the California College of the Arts, David lives and works in Oakland California where he has a sculpture/ pottery studio for his mixed media practice. This will be David’s seventh year working for the Idyllwild Arts Summer Program.

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METALS WEEK June 24–28, 2012

Pauline Warg, Champlevé Ring

Metals Week Culmination 2011

Fred Zweig 2011

Pauline Warg, Champlevé Pendant

Pauline Warg, Champlevé Ring

Champlevé Enamel Pauline Warg June 24–28

Course # AAJW ØØA

One-week session The saw and solder style of Champlevé enameling introduces the use of color for design with more of a visible framework of metal for striking visual effect. Students will design pendants or earrings according to the directives given them by the instructor. Piercing the designs and soldering the pierced sheet to a solid sheet creates cavities or cells, into which powdered glass enamel will be applied and fused to the metal.

Pauline Warg

OVERVIEW

Other activities during the week include:

Students will learn how to design successfully for this process as well as how to complete each step of the champlevé enamel technique. This includes the technique of depletion gilding, the principles of enameling, washing enamels, wet packing, color shading and use of color, firing and finishing the enameled pieces. Comprehensive information on health, safety and problem solving will be provided.

• Exhibition of faculty work and opening reception

Students must be able to use a jeweler’s saw with some accuracy. Some silver soldering experience will be helpful. No enameling experience necessary.

al where you can relearn how to be

• Faculty slide show & lectures

Materials: A complete materials list will be sent upon registration.

open to learning and seeing from

• Potluck dinner

Deborah Jemmott, Coordinator

Metals Week is designed to be a week of creative and social renew-

a creative perspective. You will be working with master instructors in an environment that encourages opportunities to test ideas,

• Auction • End-of-the-week student exhibition

Tuition: $680 Lab fee: $65 (Includes a kit with all enameling materials-enamels, binder, brushes, jars, use of kiln tools, copper metal, solders, fluxes, drill bits, and use of instructors tools.) Instructor will have additional supplies on hand to purchase, including copper metal, sterling silver sheet, enameling tools and more.

try new techniques and create work as well as network and exchange

Enrollment limited to 12 students.

ideas with others jewelers and metalsmiths. Whether you come to learn

Pauline Warg is a metalsmith with 36 years experience. She earned a Journeyman Metalsmithing Certificate after completing a 3 year apprenticeship to Master Goldsmith Philip Morton and holds a BFA from the University of Southern Maine. Her work encompasses fabricated jewelry, silversmithing and enameling both jewelry and holloware. Pauline owns and operates WARG Enamel and Tool Center, in Scarborough, Maine. The center features a gallery of her own work, a full service tool and supply store for jewelers and enamelists, and teaching studio for metalsmithing and enameling. She is the author of Making Metal Beads. She teaches at a variety of art centers and colleges across the country. Most recently Pauline created a bracelet for and wrote a segment of the book: Jewelry Design Challenge, a collaborative of 30 selected artists. www.wargetc.com

new skills or enhance the skills and techniques you already know, you will have the opportunity to grow as an artist in metal. This week of intensive metals studies will begin on Sunday, June 24 and run through Thursday, June 28. You will have the opportunity to work with one of six outstanding jewelers/metalsmiths – but in addition, you will have the opportunity to sign up for two lecture/demos from other instructors teaching during the week. This is a time for you to attend a lecture/demo, examine samples, ask questions and visit with instructors teaching other Metals Week workshops. This schedule offers the opportunity for a rich and well-rounded experience with intensive studies focusing in the area and with the instructor you have chosen. summe r @ id y llwild art s . o r g

JEWELRY

Carol Webb, Leaf Pin

Etching Imagery in Metal/Other Possibilities Carol Webb June 24–28

Tom McCarthy, Concrete Brooch

Course # AAJW ØØB

One-week session In this class, students will learn how to etch various metals to create custom imagery in metal. Through the exploration of a variety of resists and alternatives of the toner resist process, students will create etched metal that can be used as the basis for fabricated designs.

Charity Hall, work in progress

Examining the Brooch Charity Hall June 24–28

The instructor will discuss the appropriate kinds of artwork for etching and create small, simple designs using patterned paper and other images from various sources. That artwork will be developed into various resists for the etching process. Instruction will be given for both table etching and spray etching.

The brooch is a unique element of personal expression that can encompass an endless array of form and style; it can be narrative or ornamental, simple or complex. In this fabrication-intensive class, we will create multiple brooches, exploring a variety of setting methods that can be used to set found objects, stones, enamels, other pieces of metal, etc.

Students will etch samples using copper, brass and nickel alloys at various depths: shallow, deep and through. Deeply etched dies will be used to roll print onto metal and other materials. The instructor will demonstrate making copper/silver bi-metal that can be etched and then used to create fabricated pieces. The instructor will also demonstrate several patinas: black, brown and red patina on copper and copper clad bi-metal.

Course # AAJW ØØC

One-week session

Charity Hall, Brooch

Learn the process for fabricating at least 3 styles of pin back mechanisms as well as many creative variations. Addressing both soldered and cold-connected elements, we will also focus on enhancing the back of the brooch using surface embellishments to make the back just as interesting and personalized as the front. Students of all levels are welcome.

This course is designed for intermediate level students. Silver soldering experience and basic knowledge of sawing and filing would be helpful to accomplish more in this class.

Materials: A complete materials list will be sent upon registration.

Materials: A complete materials list will be sent

wire, variety of brass and copper wire, stainless steel pin back wire, and brass tubing, and the use of consumable materials-solders, fluxes, sandpaper, etc.) Students should bring their own metals and hand tools – but they must be clearly marked. The instructor may have some materials and supplies available for purchase during class. Enrollment limited to 12 students.

Tuition: $680 Lab fee: $45 (Includes: heavy gauge copper

upon registration. Tuition: $680 Lab fee: $60 (Includes use of instructor’s

tools and supplies, handouts and some metals and materials.) Enrollment limited to 12 students.

Charity Hall, Brooch

Carol Webb is a studio jeweler based in Santa Cruz, California. She has been exhibiting jewelry and presenting etching workshops across the country for the past 20 years. Her jewelry is known for the use of silver and black patterned imagery, accomplished through the process of etching copper clad fine silver and through copper-based alloys to achieve a layered and transparent quality.

Charity Hall is a studio jeweler in Tucson, AZ. She teaches classes and workshops through Pima Community College and the City of Tucson Parks and Recreation. Charity earned a bachelor’s degree in biology from Colorado College and worked for the San Bernardino National Forest as a botanist before becoming a full-time artist. Her love of botany and entomology forms the premise of her designs. She received her MFA from East Carolina University. She exhibits work at the Penland Gallery, NC. Her work is featured in 500 Enameled Objects and New Rings: 500+ Designs from Around the World and will also be in Brigitte Martin’s Humor in Craft (2012).

Tom McCarthy, Bracelet

Found Objects/Unusual Materials Tom McCarthy June 24–28

Course # AAJW ØØD

One-week session Anything can and should be made into jewelry. Sometimes all it takes is a sideways movement from a traditional technique to incorporate unusual materials. Rather than focus on why certain materials/objects won’t work as jewelry let’s make them work. We will discuss formal fabrication techniques, cold connections and adhesives as a springboard to using non-traditional materials as ornament. A focal point will be using concrete in jewelry applications but don’t stop there. Bring anything and everything you would be interested in making wearable. Is jewelry for celebrating and flaunting the precious? What is precious and why? Can the mundane be precious if treated as such? This is a class in thinking, experimentation and saying “yes” – if you conceive it, you can make it. This is an advanced beginner/intermediate class. A basic knowledge of soldering and hand tool use is required. Materials: A complete materials list will be sent upon registration. Tuition: $680 Lab fee: $55 (Includes the use of specialized

tools and some consumable materials – solders, fluxes, sandpaper, etc.) Students should bring their own metals and hand tools – but they must be clearly marked. The instructor may have some materials and supplies available for purchase during class. Enrollment limited to 12 students. Tom McCarthy has been making jewelry for over twenty five years. He has an MFA from Southern Illinois University-Carbondale. His work is in numerous private and public collections including the Mint Museum of Craft and Design in Charlotte, NC. Tom often teaches popular workshops throughout the country and has contributed a chapter to The Penland Book of Jewelry. In 2006 he was awarded a Fellowship in the Arts from the State of Florida. tommccarthyjewelry.com

Carol Webb, Vessel

JEWELRY

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M E TA L S W E E K Innovative Stone Setting Harold O’Connor June 24–28

Course # AAJW ØØF

One-week session

Soldering Bootcamp Karen Christians June 24–28

Karen Christians, Earrings

Course # AAJW ØØE

• How to create and use handmade cables for securing stones

One–week session

• How to make and use special stone setting punches

Learning confidence in soldering is the secret to fabrication.

• How to set stones in thick sterling silver bezels

This class is designed to help you learn all the basic solder techniques and some of the tricky ones as well! Build proficiency in the soldering process through an understanding of soldering equipment, different gasses, studio set-up and torches. Learn all about the different solders, the variety in temperatures from various manufacturers and how to maximize the full range of solders beyond the basic hard, medium and easy.

• How to create and set stones in hollow tube ferrule setting

Explore pick soldering, chip soldering, and stick soldering. Karen will also cover how to solder tricky findings on pieces, how to solder on metal clay and how to fuse metal. There will be ample time for you to practice pieces for different styles and learn the proper layout for work with multiple soldering operations. Repetition will reinforce your skill set and you will walk away with a greater understanding of how metal heats and why. There will be a final project employing all of the soldering types. This includes a hollow form, textured brooch, pendant or earrings which contains a stone and gold appliqué.

Karen Christians, Brooch

This class will explore the innovative possibilities of setting stones. The instructor will cover how to integrate and securely set odd-shaped stones into your jewelry designs. Unusual techniques, not usually associated with stone setting, will be covered. You will learn:

You should be able to walk away from this class not only with a piece of jewelry, but with the confidence to tackle any soldering problem you encounter. Students of all levels are welcome. Some silver soldering experience and basic knowledge of sawing and filing would be helpful to accomplish more in class. Materials: A complete materials list will be sent upon registration. Tuition: $680 Lab Fee: $95 (Includes a kit containing silver,

copper, brass, solder and other materials needed for the solder lessons, and the use of instructor’s tools and supplies. )The instructor will have a variety of stones, metals and other tools for purchase during class. Enrollment limited to 12 students.

• How to use diamond burrs for drilling holes and adjusting stone sets • How to use stonesetter’s helpers • How to use a tap and die to create threaded tubing and wire • How to use dental material to create organic bezels for holding odd shaped stones This course is designed for intermediate level students. Silver soldering experience and basic knowledge of sawing and filing would be helpful to accomplish more in this class. Materials: A complete materials list will be sent upon registration. Tuition: $680 Lab fee: $45 (Includes the use of specialized

tools and some consumable materials – solders, fluxes, sandpaper, etc.) Students should bring their own metals and hand tools – but they must be clearly marked. The instructor may have some materials and supplies available for purchase during class. Enrollment limited to 12 students. Harold O’ Connor has studied goldsmithing arts in the US, Denmark, Finland, Germany, Austria and Mexico. His work has been exhibited in over 200 exhibitions throughout the world. He is featured in many publications, including American Craft, Ornament, Metalsmith, MASTERS-Gold, and the Handbook of Jewelry Techniques; and 500 Brooches. In addition, he has authored several books including The Jewelers Bench Reference and The Flexible Shaft Machine: Jewelry Technique. His work is included in the public collections of 16 museums including: Smithsonian Institution, D.C.; Metropolitan Museum of Art, NYC; Boston Museum of Fine Arts; National Ornamental Metal Museum, Memphis, TN; Koch Collection, Switzerland; and the Victoria & Albert Museum, London, England.

Harold O’Connor, Rings

Karen Christians is the Founder of Cleverwerx, an e-commerce website for metalsmiths and designs quality jewelry tools to honor her trade. She is also the Founder of the non-profit jewelry school Metalwerx in Waltham, MA in 1998. Karen is the author of the book Making the Most of Your Flex-Shaft, published by the MJSA Press. Karen writes articles in major trade magazines, lectures, teaches workshops and fabricates jewelry and sculpture. She holds a BFA with High Honors from the Massachusetts College of Art. She is a regular participant at Burning Man where she teaches resin inlay. Currently she is a member of Artisan’s Asylum in Somerville. Karen is a passionate teacher, photographer, writer, cook and traveler.

Harold O’Connor summe r @ id y llwild art s . o r g

JEWELRY

Jonna Faulkner, Leaf & Vine Necklace

Dramatic Focal Elements

Exploration in Art Clay Copper Jonna Faulkner  July 14–16

Stephanie Lee, Metal Boxes

Course # AAJC Ø1

Three-day session Deborah Jemmott, Ripples Spoon

Creating dramatic focal elements for necklaces is both challenging and lots of fun. In this workshop, we will explore a variety of approaches to making “statement” focal pieces, including framing devices, the use of multiples and the development of themes.

Dimensional Forming Sinking, Stretching & Forming Metal Deborah Jemmott July 16–20

Course # AAJF Ø2

One-week session There is very little as satisfying as hammering on metal. The trick is knowing where and how to hammer to achieve the results you want! We will spend the week exploring how to control and create dimensional forms in metal. Sinking, stretching and forming (synclastic and anticlastic), dapping, and fold forming will be some of the techniques we will use to create interesting dimensional forms. We will also explore a variety of ways to put pieces together, including soldering as well as a variety of cold connections.

Art Clay Copper will be the primary material used in building our focal elements. It’s a wonderful medium for creating gorgeous jewelry at a fraction of the cost of silver metal clay. It consists of tiny molecules of copper, an organic binder and water. It works easily with simple hand tools and fires quickly in a kiln.

Deborah Jemmott, Power with Grace

Students will have the opportunity to create finished work or to focus on technique alone and create samples to inspire future work.

A variety of construction and decorative techniques will be covered in this workshop including texturing, carving and appliquework with copper metal clay, drilling, riveting, preserving paper elements, and pearl setting.

Instruction will be given for students at all levels of experience, however this class is best suited for students who have some metalworking experience. Solder experience would be helpful. Materials: A complete recommended supply

Materials: A complete materials list will be sent upon registration. Deborah Jemmott, Pumpkin Spoon

and tool list will be sent upon registration.

for making forming blocks to take home, use of specialized tools, consumable materials such as solders, fluxes, sandpaper, etc., and use of instructors tools.) Students should bring their own metals and hand tools – but they must be clearly marked. Some materials and supplies will be available for purchase in class. Enrollment limited to 12 students.

Jonna Faulkner has been working with metal

Deborah Jemmott has shared her love for metal

Jonna Faulkner, O Pioneer Necklace

Jonna Faulkner

JEWELRY

Tuition: $490 Lab Fee: $30 (Includes use of basic kits, kilns

and consumable materials such as mica, copper, paper images, etc.) Art Clay Copper, pearls, and other materials, will be available for purchase in class. Enrollment limited to 12 students.

Tuition: $680 Lab fee: $55 (Includes some metals, materials

by teaching jewelry making and metalsmithing to others since 1978. She teaches through the San Diego Community College District and Saddleback Community College in addition to teaching many workshops and private lessons in a wide range of topics. Her students have won awards for their work and many sell work that they have produced in class. Deb’s belief that we all have artistic creativity combined with her mastery of jewelry making techniques is key to her teaching. She works at nurturing the artistic creativity in each student as well as helping them achieve their ideas in metal. Deb’s work has been featured in American Style, American Craft, Metalsmith, San Diego Home Garden and Redbook magazines as well as the San Diego Union Tribune newspaper. It has also appeared in Art Clay Silver and Gold by Jackie Truty, The Goodfellow Catalog of Wonderful Things III, Jewelry Making: A Guide for Beginners by Thomas P. Foote, and 20 Years in Metal. She has exhibited widely and currently has work in galleries across the country. She continues to exhibit and create custom artwork in addition to keeping up with her jewelry and metalsmithing company, Enhancements. www.debjemmott.com

We will combine the fired and finished copper pieces with other materials including (but not limited to) wire, mica, photographs, paper and pearls. Students should be able to complete a set of focal elements for one or more eyecatching necklaces during this class.

clay since 1999. She is certified to teach in both Art Clay Silver and Precious Metal Clay. She is a contributing artist to Art Clay Silver and Gold by Jackie Truty, Exceptional Works in Metal Clay and Glass by Mary Ann Devos, and The Art and Design of Metal Clay Jewelry calendars by Holly Gage for the years 2009–2012. Her Protector Pendant was chosen as the cover piece for Holly Gage’s The Art and Design of Metal clay Jewelry 2011. Jonna has taught workshops at venues in France, New Mexico, California and Arizona. She also teaches out of her home studio in Escondido, CA. Her work has been sold at a number of fine craft shows and galleries. www.jonnafaulkner.com

Foundology Stephanie Lee June 28–30

Course # AAJM ØØ

Three-day session Join me for three days as we set out on a metalsmithing expedition of epic proportions! With just a few basic tools strapped to our belts, we’ll don our expedition gear as we set out to bend, hammer, form, solder and explore various techniques in working with metal to unearth a soldered metal box and jewelry to go in it. Not your typical metalsmithing class, this expedition is designed to show you how to take readily accessible materials and tools to create totally original pieces As we set out on our journey together, freshfaced and eager, we will employ various wire wrapping and wire soldering techniques to create a three-part piece of jewelry that can be worn as a necklace with interchangeable pendants, as a triple-wrapped bracelet, or separated as a necklace and a bracelet. I will share with you my favorite tricks in my archeologist’s bag to create box pendants, found objects bezels and housings pendants, not-your-momma’s-wire wrapped pendants, link making techniques, and more. We will incorporate the found treasures from your digs to showcase their inherent beauty or transform them from plain to museum-worthy. On the final leg of our metalsmithing expedition, we will construct a metal box to place the pieces of jewelry in. We will explore all metal boxes as well as mica-windowed boxes that allow a filtered peek of the contents within. Whether you like bright and shiny or aged and patina’d, you will unearth treasures aplenty in our metal-smithing expedition together. Materials: A complete materials list will be sent

upon registration. Tuition: $490 Lab Fee: $20 (Includes sheet brass and

nickel-silver, consumable compounds, butane torches, tools and supplies for use in class.) Enrollment limited to 20 students. Stephanie Lee is a plaster artist and metalsmith who teaches to sold out classes both in the U.S. and internationally. Her book Semiprecious Salvage: Creating Found Art Jewelry can be found in a bookstore near you. She is co-author with Judy Wise of a book titled Plaster Studio which arrived in book stores in spring, 2011. She has created numerous ebooks packed with video and written instruction that are available through her blog where you can also learn more about what makes her tick. stephanielee.typepad.com.

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MIXED-MEDIA/ BOOK ARTS

Artist Book Strategies Exploring Music & the Natural World Barbara Tetenbaum

Artist: ASAP.................................................... 11 Lesley Riley

July 8–10

Artist Book Strategies................................... 11 Barbara Tetenbaum Assemblage.................................................. 11 Michael deMeng Fiber Collage................................................ 12 Tracie & Marylin Huskamp Marbling on Paper/Fabric.......................... 12 Steve Pittelkow

Lesley Riley

Pastel Art Journaling.................................... 13 Tracie & Marylin Huskamp

Artist Success Action Plan Lesley Riley

SEE ALSO Encaustic Monoprinting.............................. 23 David Clark Foundology................................................... 10 Stephanie Lee

Course # AABA Ø1

Three-day session

Artist ASAP

July 20–22

Course # AAMS Ø2

Three-day session Like many artists and crafters, it’s been an uphill battle to get going on that dream you envision. You’ve attended classes and workshops, read books and magazines. You’ve accumulated a lot of techniques and ideas and perhaps a lot of artwork but you’re still not where you want to be. Chances are you’ve never had the opportunity or taken the time to learn how to become a success at your passion. Lesley will take you by the hand, step-by-step, to help you get going, providing the tools and the guidance you need to create your future as a successful artist. In ASAP (Artist Success Action Plan) you will discover Lesley’s proven practices and techniques for: finding time, creating focus, creating mental and physical space, getting rid of your big “but”, creating courage, giving yourself permission, creating balance, finding your voice/style, overcoming perfectionism, curing ‘bright shiny object’ syndrome, setting goals, self-motivation, putting yourself out there, finding your audience, building your following, and making money with your art. ASAP consists of eight modules, plenty of worksheets and lots of handouts and resources, assembled and ready for you to use in class and serve as your handbook (over 100 pages!) at home. We won’t be making any art, just making art and success possible. There’s a lot to cover in this fast-paced class. You will make a great start on each module in class and leave with complete understanding of how to fully complete the program on your own.

Music, nature and the visual arts have long found inspiration in each other, not only in the experience of these worlds, but in the systems of pattern and rhythm that each embrace. In this three-day workshop we will draw our inspiration from both the visual language found in the Idyllwild landscape and in small pieces of music as we create artist books. We will learn some low-tech printing techniques (pochoir and rubbing), make models of fourto-five book structures (single and double section bindings, accordion-folded structures, a stacked folio binding, and a layered “carousel” structure), and look at a variety of artist books for strategy and inspiration. You will take away at least one completed book project combining a system of marks derived from the natural world and inspired by music. Some experience in the visual arts or bookmaking is helpful. Materials: A complete materials list will be sent upon registration. Tuition: $490 Lab fee: $25 (Includes pre-cut parts to 4–5 book

structures, extra paper for individual projects, adhesives and inks.) Enrollment limited to 15 students. Barbara Tetenbaum is a visual artist whose work – directly or indirectly – explores the act of reading. She founded her artist book imprint, Triangular Press, in 1979 and produces one-to-two books per year. Recent awards include the Sally Bishop Fellowship (New Your Center for the Book) and the Koopman Distinguished Chair (Hartford School of Art). Currently, Barbara serves as Professor and Department Head of Book Arts at the Oregon College of Art and Craft in Portland, Oregon. Education: BS (Fine Art) University of Wisconsin-Madison. MFA (printmaking) School of the Art institute of Chicago.

Michael deMeng, Light Box

Assemblage Michael deMeng June 28–29 Course # AAAS ØØA June 30–July 1 Course # AAAS ØØB June 28–July 1 Course # AAAS ØØ Two two–day sessions Students may select to enroll in one or both workshops.

Session I

June 28–29: Through the Looking Glass Lightboxes You remember Pandora and how she released all the rotten things in the universe, all because she got a little curious. Well, if only Pandora had a little peephole or keyhole to check out the innards of that nasty ol’ box…think of the grief she could have saved us all. She would have looked and said, “Gee! I really don’t want to open that!”, and thus we would all be spending our time in Tahiti drinking whatever they drink in Tahiti. In this class, we are going to put things right and create secret boxes or chests that can be previewed using keyholes and/or lenses. Not only that but we will illuminate the interior with lighting to make that mysterious space all the more revealing. On the exterior the chests will be adorned using found objects and the process of assemblage. On the interior students will create interesting realms to view, combining assemblage with collage. They can be places filled with secrets, dreams, or fears… locked away for safekeeping. Enrollment limited to 20 students.

Materials: A complete materials list will be

sent upon registration.

Tuition: $490 Lab Fee: $40 (Includes all materials, work-

Tuition: $335 for Session I

books.) Enrollment limited to 20 students.

Session II

June 30–July 1: Patron Saint of Discarded Things As far I as know, there is no such thing as a Saint or Deity of Discarded Things, which is a pity because there are many like me who wander the highways and byways looking for bits of

Lesley Riley is the owner and CIO (Chief Inspiration Officer) of Artist Success, a company and coaching practice with the mission to guide and support artists on their quest to achieve the kind of success they dream about. Lesley’s insight and expertise is based on her own 12 year career, going from an unknown, late-blooming, artist wanna-be to an internationally known artist, author, print and online media writer and editor, developer of TAP Transfer Artist Paper and host of the Art & Soul show on BlogTalkRadio. After years of teaching art techniques internationally, she realized that her strength and passion was in helping artists create not just art, but artist success. ArtistSuccess.com

$620 for both Session I & II

Barbara Tetenbaum, Glimpse Inside

CONTINUES

Barbara Tetenbaum, Cumbia Cumbia summe r @ id y llwild art s . o r g

MIXED MEDIA/BOOK ARTS

Tracie & Marylin Huskamp, Fiber Collage

Steve Pittelkow, Marbled Paper

Marbling on Paper & Fabric

Michael deMeng, License Plate Miracles

detritus to incorporate into artwork. Seems like an activity worthy of guidance or protection. In fact I recall one instance where I was traveling in Oaxaca, Mexico, in a large van with ten or so students. On the side of the road we passed a large dumpsite filled with oxidized goodies…and all of a sudden everyone in the van started oohing and ahhhing. The driver looked a bit bewildered, and wondered what in the world a bunch of gringos would find so interesting about an orange-ish/red heap of metal. Little did he know that to us, it was as if we came across the Holy Grail. The possibilities of creation were endless. In this class, we are going to create a found object patron, saint or deity that will aid in our artistic endeavors of finding and re-creating from discarded things. Using some sort of structure to build on (such as an iron, a shoe, a phone, a shadow box…just about anything), we will create a place for our effigy to watch over our undertakings. This shrine will be filled with all sorts of unusual elements as adornment but will also serve as a place to add future bits of randomness. Enrollment limited to 20 students. Materials: A complete materials list will be sent upon registration. Tuition: $335 for Session II

$620 for both Session I & II

Michael deMeng is an assemblage artist whose work is heavily influenced by Latin American art forms such as retablos, ex votos, and milagros. Born in Southern California, he now works and resides in Missoula, Montana. As an artist he has participated in numerous exhibits that promote awareness of such issues as AIDS, breast cancer, environmental and other social issues. DeMeng is co-founder of Missoula’s Festival of the Dead, an annual event based on the Latin Dia de los Muertos designed to celebrate life, death and the arts, through education, performance, and visual arts. He is the author of the bestselling craft book, Secrets of Rusty Things. As an educator, he offers a variety of mixed media workshops throughout the country and over the years has been actively involved with VSA Montana. Through these activities, as well as his artwork, deMeng fosters community awareness, and offers creative methods to explore the human experience. www.michaeldemeng.com

Steve Pittelkow July18–21

Course # AAMM Ø2

Four-day session

Tracie & Marylin Huskamp, Fiber Collage fragments

Fiber Collage-Nature Inspired Tracie & Marylin Huskamp June 28–29

Course # AAMC ØØ

Two-day session Create a stunning! fiber collage by discovering the magic in adopting orphan quilt blocks and using these cast-offs as the foundation for painted fabric appliqué designs. This workshop, suitable for all levels, explores painting appliqués by sketching a subject on muslin canvas using a fast and easy technique that requires no previous drawing skills, and working with acrylic paints to give the sketch color and depth. The instructors will share tips and product information for making paints washer friendly. You will learn techniques for extracting these painted elements from their canvas surround, adhering each extracted subject onto a separate fiber surface, and how to create 3D effects with particular appliqués. We’ll also investigate and discuss design principles of composition.

Learn the fascinating decorative paper process known as marbling. Students will learn to marble on paper and cloth in this intensive 4-day workshop. Designed to introduce the process and practice of this historic medium using contemporary tools and materials, students will learn every aspect of marbling, allowing them to continue at home. Students will learn about tools and tanks, how to mix the bath and colors, how to prepare paper, and will practice many traditional patterns resulting in a portfolio of beautiful papers. All levels welcome. Materials: A complete materials list will be sent upon registration. Tuition: $590 Lab Fee: $60 (Includes all marbling materials.)

Additional materials may be purchased in class. Enrollment limited to 12 students. Steve Pittelkopw’s interest in marbled paper stems from a longtime desire to personalize his own bookbinding with distinctive papers. He teaches extensively and enjoys revealing the secrets for successful marbling. Over the years, he has experimented with a wide variety of paints and papers in a quest for materials that allows students a rich and satisfying marbling experience. Steve’s papers appear in museum and library collections and are used by binders and book artists nationally and internationally.

Materials: A complete materials list will be sent upon registration. Tuition: $335 Lab Fee: $35

Enrollment limited to 20 students. Tracie Huskamp earned her BFA in Graphic Design from Wichita State University. She shares her love of art and nature by teaching workshops, along with her book, Nature Inspired. She has appeared on ABCNews.com in an Associated Press Interview, on the cover of Somerset Studio Magazine, along with features in various magazines and books. Tracie is also actively licensing artworks. Her first cotton quilting fabric line by Windham Fabrics debuted fall 2010. She launched a second fabric line fall 2011. Her 2012 Nature Inspired calendar line by TF Publishing was selected as an early buy in retail stores, and is expanding her 2013 calendar products.

Steve Pittelkow, Marbled Paper

Marylin Huskamp is a self-taught artist who has a love of mixed-media and fibers. She has worked with these mediums in various ways for over fifty years. Marylin’s art has appeared in Somerset’s Belle Armoire, Altered Couture, Haute Handbags, Cloth, Paper, Scissors, and various other publications. She is a proud contributor to the books, Collaborative Art Journals and 1000 Artisan Textiles. Marylin’s work has been displayed at 6th Street Gallery, Vancouver, Washington and The Muchnic Gallery, Atchison, Kansas. She teaches at numerous art retreats and quilting events both nationally and internationally.

MIXED MEDIA/BOOK ARTS

9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

MUSIC Prague. To promote new music, she has helped to launch several series featuring works by contemporary composers. A recent CD recorded with her husband, clarinetist David Peck, highlights modern works for clarinet and piano. She is a regular guest with Festival Mozaic, having appeared with festivals in La Jolla, Ventura, Grand Tetons, and Andé, France. A Master’s Degree graduate of CalArts, she has taught privately and given masterclasses for over thirty years.

David Peck, clarinet: principal clarinetist of the

MONDAY, AUGUST 6 7:30 p.m. Pre-Concert Talk: Rich Capparela

Houston Symphony Orchestra and formerly principal clarinetist of the San Diego Symphony. Along with thirty-five years as an orchestra principal, Mr. Peck’s other musical endeavors include a variety of chamber music and solo activities. A number of recordings with the Houston Symphony Chamber Players as well as an album of contemporary works with his wife, pianist Edith Orloff, make up a varied discography. Mr. Peck has had a long association with the San Luis Obispo Festival Mozaic (formerly Mozart Festival) as well as summer appearances with the Ravinia Festival, La Jolla Summerfest and Idyllwild Arts Chamber Music Festival. Mr. Peck has taught clarinet at the University of Houston and at Rice University Shepherd School. In May 2005, he was featured as soloist with the Houston Symphony in the premier of the Clarinet Concerto by Richard Lavenda, a piece specially commissioned for Mr. Peck and Maestro Hans Graf by the Symphony.

8 p.m. Concert I

David Speltz, cello: MA in Mathematics, University

Tracie & Marylin Huskamp, Art Journal

Chamber Music Workshop

Connie Kupka, Jane Levy, Edith Orloff, David Peck, David Speltz, John Walz, Roger Wilkie

August 6–10

Course # AACM Ø5

One-week session Master Class Performances Tracie & Marylin Huskamp, Art Journal

Pastel Art Journaling Tracie & Marylin Huskamp June 30–July 1 Course # AAMJ ØØ Two–day session Experience an art journaling color explosion by rendering subjects using intense, high chroma, deeply saturated pastel art sticks. This workshop, suitable for all skill levels, explores the art pastel medium along with methods for sketching from a photograph using a fast and easy technique that requires no previous drawing skills, interpreting color, selecting dramatic color combinations, using drawing strokes to make purposeful yet random looking marks, working with glue alternatives for attaching miscellaneous ephemera. We’ll explore idea discovery for recording the everyday, techniques for developing your own masks and stencils, along with exploring the benefits of art journaling, overcoming the fear of a blank page, adding greater perspective by including your words/writings, and tips/tricks for taking photographs to use as page inspiration. Materials: A complete materials list will be sent upon registration. Tuition: $335 Lab Fee: $20

Friday, August 10, 1:30 p.m. Designed for adult amateur chamber musicians, this one-week workshop allows six pre-formed chamber music ensembles the opportunity to work intensively with our Distinguished Artists-in-Residence, the Pacific Trio and additional professional faculty artists. The members of the Pacific Trio, Edith Orloff, piano; John Walz, cello; and Roger Wilkie, violin, along with Distinguished Artist Performers David Peck, clarinet; Connie Kupka, violin and viola; and David Speltz, cello, will offer coaching to each ensemble. Chamber music coordinator Jane Levy will assist the ensembles with scheduling, music and coaching, as well. Participants can expect one and one-half hours of professional coaching each day. In addition, each ensemble will have it’s own dedicated practice facility from 8 a.m. until noon each day. Rehearsal facilities will also be available in the evenings for freelancing, sight-reading and practicing. Music from the school’s large chamber music library will be available for registered groups. The week culminates on Friday afternoon with a Master Class Performance during which each ensemble will have the opportunity to perform one entire movement from its selected repertoire, with public coaching and comments by the members of the Pacific Trio. The timing of the workshop coincides with the Distinguished Artists Chamber Music Series, hosted by KUSC’s Rich Capparela, and the High School Chamberfest, an intensive two-week program during which the finest high school players from all over the world participate in chamber music and chamber orchestra activities each day. Participants in the Adult Chamber Music Workshop are welcome to attend all concerts during the week and may sit in on the chamber orchestra rehearsals as their schedules permit.

The Distinguished Artists Chamber Music Series schedule is as follows:

FRIDAY, AUGUST 10 7:30 p.m. Pre-Concert Talk: Rich Capparela 8 p.m. Concert II THURSDAY, AUGUST 16 7:30 p.m. Pre-Concert Talk: Rich Capparela 8 p.m. Concert III Ensembles should come prepared with preselected repertoire in mind. Idyllwild Arts may be able to assist with parts and scores, if necessary. Participants should bring a folding music stand, all instruments and cases with personal identification, pencils, and humidifiers for strings and woodwind cases. Tuition: $295 per person or $995 per ensemble (for groups of four or more players) Enrollment limited to 6 pre-formed ensembles. Connie Kupka, violin: after graduation from UCLA she won a scholarship to study chamber music with the Guarneri Quartet at the Yale Summer Festival in Norfolk, CT. The experience created a life long passion for chamber music (and orchestras), and inspired her, with future husband cellist David Speltz, to form their own ensemble, the Arriaga String Quartet, which won the grand prize in the prestigious Coleman competition, and was able to explore and tour with a broad range of offerings that is the magnificent quartet repertoire. Besides the Idyllwild Arts summer program, she has performed at the Oregon Bach and Colorado Music festivals, the Santa Fe and Grand Canyon chamber music festivals, the Ojai, Mostly Mozart and Sedona festivals, and in Los Angeles she regularly performs on the South Bay and Pacific Serenades Chamber Music series.

Jane Levy, viola: Jane is a member of the Pasadena Symphony and has performed frequently with the Los Angeles Opera, Los Angeles Master Chorale, and Long Beach Symphony. She has played in the Oregon Bach Festival and the San Luis Obispo Mozart Festival for many years. Jane especially enjoys performing early music on period instruments and is a member of the Bach Collegium San Diego and the Corona del Mar Bach Festival Orchestra. Edith Orloff, piano: acclaimed performances throughout the U.S. and in Europe as recitalist, chamber musician, and soloist with orchestra; concert coordinator of the Summer Chamber Music Program at Idyllwild Arts; faculty member since 1976. She is a founding member of the Pacific Trio, the resident ensemble for Idyllwild Arts, which tours and records in the U.S. and Europe. She has played with such notable ensembles as the Houston Symphony Chamber Players, Ensemble Con Brio of Bruchsal, Germany, and the Czech String Trio of

of California. Founding member of the Arriaga Quartet, winners of the Coleman Competition, and former member of the Gregor Piatigorsky Master Class at USC. As a member of the ensemble, Musical Offering, he performed at the Casals Festival in Puerto Rico, Library of Congress, Lincoln Center and throughout the USA and Canada. He participates regularly in several Los Angeles chamber music series including Pacific Serenades, the Los Angeles County Museum of Art Bing Concerts, the South Bay Chamber Music Society and the IMA concerts. He has been active in the motion picture industry for many years, playing on the scores of John Williams, Jerry Goldsmith, Lalo Shifrin, and many others.

John Walz, cello: A celebrated soloist and chamber music artist, known for his dazzling virtuosity and elegant musicianship. A student of famed French cellist, Pierre Fournier, he has appeared as soloist with more than150 symphony orchestras on four continents. His performances of twenty-five different concertos include both standard showcases and rarities like Martinu’s Concerto #1 and William Schuman’s Song of Orfeus. In 1979, he, along with pianist Edith Orloff, founded the Pacific Trio. Now performing with violinist Roger Wilkie, this renowned ensemble has played more than 900 concerts throughout North America and Europe. In addition to his solo and chamber music duties, he is currently the principal cellist with the Los Angeles Opera, a position he previously held for 20 years with the Long Beach Symphony. His ever expanding discography includes recordings of the concertos by Dvorak, Haydn, Shostakovich, Bloch, Martinu, Vivaldi, and trios by Brahms, Dvorak, Smetana, and the newly released Pacific Trio CD featuring Beethoven’s Triple Concerto and Archduke Trio.

Roger Wilkie, violin: Concertmaster of the Long Beach Symphony, he has also held that position with the Los Angeles Music Center Opera, and the Round Top Festival Orchestra of Texas. He has appeared as soloist with many Orchestras, including the Santa Barbara Chamber Orchestra, Long Beach Symphony, Carmel Bach Festival Orchestra and the Los Angeles Chamber Orchestra. He has given solo recitals for the San Luis Obisbo Mozart Festival, Los Angeles County Museum of Art/KUSCFM broadcasts, Swiss National Radio, and National Public Radio’s Performance Today. His chamber performances have included the Santa Fe, La Jolla, and Mainly Mozart Music Festivals, and the Camerata Pacifica of which he is the Principle violinist. As a founding member of the Angeles String Quartet (1987–1993) he toured throughout North America including New York’s 92nd Street “Y” and recorded an interactive CD/video disc for Voyager Company.

The Pacific Trio summe r @ id y llwild art s . o r g

MIXED MEDIA/MUSIC

NATIVE AMER I CAN AR TS The Native American Arts Workshops are designed for adults at all levels of experience and knowledge. Working closely with master artists and cultural specialists, students have the rare opportunity to learn traditional and contemporary Native American art forms and to gain an understanding of the rich cultural foundation which inspires and motivates each artist.

NATIVE AMERICAN ARTS FESTIVAL

July 8–July 14, 2012

CULTURE Native Arts Festival....................................... 14 Native American Cuisine Freddie Bitsoie

........................ 15

Native Plants ............................................. 15 Barbara Drake & Lorene Sisquoc FIBERS Cahuilla Basketry ..................................... 16 Rose Ann Hamilton Hopi Basketry................................................ 16 Griselda Saufkie Navajo Weaving ...................................... 16 Barbara Ornelas & Lynda Pete JEWELRY Hopi Jewelry.................................................. 17 Roy Talahaftewa Navajo Inlay Jewelry Richard Tsosie

............................... 17

MUSIC/CARVING Native American Flutes ........................... 17 Marvin & Jonette Yazzie, Ernest Siva POTTERY Cahuilla Style Pottery.................................. 18 Tony Soares Hopi Tewa Pottery Mark Tahbo

.................................... 18

Mata Ortiz Pottery Jorge Quintana

.................................... 18

Indicates workshop takes place during the Native American Arts Festival.

Dustinn Craig, 2011 Film Festival

Parks Exhibition Center

OVERVIEW Collaboration in Native American Arts and Culture Each day, the visiting scholars and artists will explore a wide range of topics with slide lectures, demon-

Brent Michael Davids’ Last of the Mohicans Concert 2011

strations, & performances. Native food tastings daily. The week-long Native American Arts Festival, designed to enhance and add depth to the hands-on workshops, includes performances, the Michael Kabotie Lecture series, art exhibits, and informal discussions with a distinguished group of artists, tribal elders and scholars. In addition, the Festival Week offers a way for those not enrolled in a workshop to participate and learn about the most current issues and theories concerning Native American artists, art and culture. The spirit of this annual series is to bring the scientific, intuitive and trickster voices together for a balanced and provocative learning experience. This year’s program, “Collaboration,” is founded on the principle that art engenders social progress.

Freddie Bitsoie

Artists working together further creation and knowledge, thus building a pathway between inherited traditions and the dy-

Richard Tsosie

namic innovations of our global society. Please note: Workshops that occur during the festival are designated

with the festival logo.

Tony Soares

NATIVE AM. ARTS

The Cahuilla Bird Singers 9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

Native Plants for Food & Utilitarian Purposes

CULTURE

Barbara Drake & Lorene Sisquoc July 7–8

Course # NANP ØØ

Two-day session In this workshop, dedicated to our teacher Katherine Siva Saubel, participants will learn ways to save and utilize native plants from helping the environment to medical alternatives. Native plants are taking their rightful place in health and nutrition. This class will offer a hands-on experience in collecting, growing and using these culturally valuable plants today.

Ernest Siva

Hopi Pottery Firing

FESTIVAL WEEK EVENTS OPEN TO THE PUBLIC

Hank Louis

Collaboration in Native American Arts and Culture. Each day, the visiting scholars and artists will explore a wide range of topics on “Collaboration” with slide lectures, demonstrations, & performances. Native food tastings daily. SUNDAY, JULY 8 6:30 p.m. Panel: Dr. Lowell Bean, Barbara Drake, Dr. Eric Elliott, Daniel McCarthy, Lorene Sisquoc Considering the Life & Legacy of Katherine Siva Saubel (1920–2011) through her many collaborations

Ica Ducheneaux, Kit

FESTIVAL WEEK GUESTS Joe Baker Delaware Tribe, Consultant to this program, Executive Director, Longue Vue House and Gardens, New Orleans Gerald Clarke, Jr. Cahuilla, Artist, Tribal Counsel Vice Chairman, Cahuilla Band of Indians Lowell Bean Anthropologist Freddie Bitsoie Navajo, Chef, Anthropologist Hadrien Coumans Co-founder, Lenape Center Barbara Drake Tongva, Educator Eric Elliott Ethnolinguist Sandy Frank Lakota, Photographer Hank Louis Founder, DesignBuildBLUFF Ken Marchionno Artist, Founder, Lakota Future Generations Teen Photojournalism Project Daniel McCarthy Archaeologist, US Forest Service Tribal Relations Program Manager

MONDAY, JULY 9 7 p.m. Artist Talk: * Guest Artists Invitational Exhibit 8 p.m. Exhibition Opening/Reception TUESDAY, JULY 10 12–1 p.m. Brown Bag Lecture: * Hank Louis, Building with Empathy: Homes on the Navajo Reservation WEDNESDAY, JULY 11 12–1 p.m. Brown Bag Lecture: * Dr. John Molina, Traditional Indian Medicine THURSDAY, JULY 12 12–1 p.m. Brown Bag Lecture: * Ken Marchionno & Sandy Frank 300 Miles, Two Weeks with Lakota Teens on the Oomaka Tokatakiya 7 p.m. Film Night FRIDAY, JULY 13 8 a.m. Cahuilla Style Pottery Firing. 7 p.m. Performance: Cahuilla Birdsingers. Special Guest, TBA SATURDAY, JULY 14 8 a.m. Hopi-Tewa Pottery Firing. Mata Ortiz Pottery Firing

Freddie Bitsoie

Native American Cuisine

Popular Pre-Iberian Ingredients in America Today Freddie Bitsoie July 14–15

Course # NANC Ø1

Two-day session During this two-day class, learn about Pre-Iberian ingredients from modern day America as well as the history of ingredients and how they are in the process of revitalization throughout the country. Ingredients will come from the Northeast, Southeast, Southwest, and Northwest. The class will be divided into four sessions. Each session will cover one region and will explore how foods from each region evolved through pre-Iberian times, through colonization, to Relocation, to the present. Participants will have the opportunity to enjoy the tastes of these ingredients and foods in many variations from traditional to contemporary. Each participant will receive a booklet of Chef Freddie Bitsoie’s recipes to take home. Tuition: $335 Lab fee: $45 (Includes all food, supplies and

recipe booklet.) Enrollment limited to 15 students. Freddie Bitsoie, Diné (Navajo), is the owner of FJBits Concepts, a firm that specializes in Native American food ways. He has traveled the country, making presentations for organizations and companies such as Kraft Foods, The College of Holy Cross, Yale University, the Heard Museum, Phoenix, AZ. He has been featured in Indian Country Today and Native Peoples magazine. Freddie attended the University of New Mexico, majoring in cultural anthropology with a minor in art history before attending culinary school. Today, he is one of the most sought after and renowned Native American chefs and Native foods educators in the country. www.fjbits.com

After the annual ethnobotany talk in the campus meadow, we will learn how to make cordage from yucca, nettle, dogbane, and iris, which was used to strengthen shelters, lash a canoe, string beads, and make nets. Using premade cordage, guest Gerald Clarke will help guide us in learning to construct a small net carrying bag in the style used by our ancestors from this region. The evening will take us to some local rock painting sites with Daniel McCarthy, U.S. Forest Service Tribal Relations Program Manager, who will discuss the meaning, historical significance and importance of preservation of these sites. Sunday will be devoted to traditional and modern gathering practices of native plants; preparing and cooking with plants such as yucca, wild rose, cactus, elderberry, stinging nettle, mesquite, acorn, and many others; an overview on setting up an elders’ food bank and the uses of native plants as a valuable asset to aiding diabetes prevention; and finally feasting together on the foods we prepare. Each student will receive a book of recipes. Tuition: $220 Lab fee: $30

Enrollment limited to 20 students. Barbara Drake is a member of the Ti’at (canoe) Society of the Gabrielino (Tongva) tribe and has served as secretary of the Tribal Council. She is a member of Mother Earth Clan, a group of Native American women educators who give cultural presentations on Southern California Indians in schools, museums and other venues throughout the region. She teaches Native Californian Lifeways at UC Riverside Extension. Barbara is a consultant to museums, nature centers and libraries and is involved in setting up cultural exhibits and living histories that reflect early California Indian lifestyles.

Lorene Sisquoc is a descendent of the Mountain Cahuilla and a member of the Fort Sill Apache tribe. She is co-founder of Mother Earth Clan and gives cultural presentations throughout the region. Lorene is the curator of the Sherman Indian Museum in Riverside, CA. She is on the board of directors of the California Indian Basket Weavers Association, as well as Natachee (a non-profit organization dedicated to the continuance of American Indian culture and spirituality). In 1997, the city of Riverside honored her with the Dr. Martin Luther King, Jr. Visionary Award for community cultural awareness.

* Includes Native Food Tastings

John Molina Pascua Yaqui, Chief Executive Officer, Phoenix Indian Medical Center Lorene Sisquoc Mt. Cahuilla/Apache, Curator, Sherman Indian Museum Ernest Siva Cahuilla/Serrano, President & Founder, Dorothy Ramon Learning Center Jock Soto Navajo/Puerto Rican, Former Principal Dancer, New York City Ballet Additional guests to be announced. Daniel McCarthy summe r @ id y llwild art s . o r g

NATIVE AMERICAN ARTS

FIBERS

Historic Cahuilla Basket

Hopi Coiled Plaque start

Navajo Weaving Studio

Cahuilla Basketry

Hopi Basketry

Navajo Weaving

Rose Ann Hamilton

Coiled Plaque Style Griselda Saufkie

Beginning & Intermediate Barbara Ornelas & Lynda Pete

One-week session

July 2–6

The Indian tribes of California produced baskets of great diversity and beauty. The exquisite baskets of the Cahuilla, in particular, are recognized among the highest form of the basket making art, and in recent years the Cahuilla have experienced a revival in the tradition.

One-week session

July 2–6 July 9–13

July 9–13

Course # NACB Ø1

Each student will learn how to create a basket of his/her own during the workshop using yucca, sumac, juncus and deer grass. On a field trip to the nearby Cahuilla Reservation, students will be taught identification of plants used in basket making and will learn how to prepare the plants for use. Tuition: $680 Lab fee: $40 (Includes materials, field trip

transportation and use of tools in the class) Enrollment limited to 10 students. Rose Ann Hamilton, Mountain Cahuilla, learned the art of Cahuilla Basketmaking from Donna Largo, longtime Idyllwild Arts summer faculty member and the weaver responsible for the current revival of the tradition. Rose Ann was one of Donna’s first Cahuilla students, and has been making baskets for 20 years . She is active in the Southern California Indian Basketweavers Association, and teaches basketmaking at numerous venues, including Agua Caliente Cultural Museum and UCLA.

Course # NAHB ØØ

Hopi Baskets play an integral role in the life and ceremonies of the Hopi people. From dances and weddings to giving thanks and appreciation, the uses of baskets at Hopi are many. The exquisite baskets that are woven by Hopi women come in three distinct styles and techniques. The coiled plaques made at Second Mesa are the subject of this workshop. This is a rare opportunity to work with Hopi elder Griselda Saufkie from the village of Shungopovi, Second Mesa. Students will learn the techniques of making and incorporating design into a coiled plaque basket. They will learn how the yucca and galleta grass are gathered and prepared for texture and color, and each student will then design and create a plaque basket. In addition, Griselda will bring prepared yucca to create Hopi sifter baskets. This is a one-day process, so a student may choose to learn this technique in addition to the coil technique. Materials: A complete materials list will be sent upon registration. Tuition: $680 Lab Fee: $45 (Includes prepared materials and

the use of tools in class.) Enrollment limited to 8 students. Griselda Saufkie lives on the Hopi Reservation in Arizona. She began making baskets upon initiation, when she was about 12 years old. She has the distinction of being named an Arizona Indian Living Treasure. Griselda has received many awards for her basketry, and is included in books such as Art of the Hopi: Contemporary Journeys on Ancient Pathways, by Lois and Jerry Jacka.

Rose Ann Hamilton

Course # NANW ØØ Course # NANW Ø1

One or Two-week session Students will have the opportunity to learn the art of weaving from Master Navajo Weaver, Barbara Teller Ornelas, originally from Two Grey Hills and Newcomb, New Mexico, and her sister Lynda Teller Pete. While instructing and demonstrating, Barbara and Lynda will share their family’s personal weaving stories and experiences, allowing participants a chance to view the world of Navajo weaving. According to Navajo oral tradition two holy people, Spider Woman and Spider Man, introduced weaving to the Navajo. Spider Man constructed the first loom, which was composed of sunshine, lightning, and rain; and Spider Woman taught the people how to weave on it. Spider Woman was discovered by the Holy Twins, the culture heroes of the Navajo Creation Story, in a small opening in the earth surrounded by an array of beautiful weavings. Entering her dwelling, the Holy Twins descended a ladder made of yarn, whereupon Spider Woman offered them knowledge of the world of weaving. Beginners: Students will learn the traditional method of Navajo weaving and will begin weaving on Day 1 with a pre-warped, upright Navajo loom. The majority of the week will be spent designing and learning how to weave a 12” x 16” rug. There will be a lesson on warping a loom later in the week. Beginning weavers may enroll for the full two weeks or in the first week only. Intermediate: Students will learn more advanced weaving techniques and more intricate patterns, and the rug may be any size. Students who have begun a rug in this workshop in previous summers may bring their rugs to complete, or may begin a new rug. Intermediate students must bring their own loom and it must be set up for weaving before class begins. Alternately, they may order a pre-warped loom (when they register) to work on if they prefer. Intermediate students (those who have taken this course before or have had previous basic training in Navajo weaving on an upright loom) may enroll for the full two weeks or in the second week only.

ing to use a pre-warped loom, which must be ordered at the time of registration, the lab fee is $45.) Enrollment limited to 10 students per week. Barbara Teller Ornelas is best known for her Navajo “tapestry” weavings (95–120 weft threads per inch). She has set several records with her weavings: she has won Best of Show at the Santa Fe Indian Market twice; she established a new record in 1987 by selling a weaving for $60,000 that she and her sister Rosann Lee made; and she has woven the largest tapestry-style Navajo weaving on record. Barbara is a fifth generation weaver who was raised near Two Grey Hills on the Navajo Reservation where her father was a trader. She has been featured in National Geographic, Business Week, Americana and Native Peoples Magazines, as well as numerous books. She has won dozens of awards, and has demonstrated and lectured at museums and institutions across the country and recently did a cultural exchange with the Peruvian weavers in Peru at the request of the US State Department. Barbara and Lynda have taught their popular workshop at Idyllwild Arts for 14 summers.

Lynda Teller Pete began weaving at age 6 and won her first major award at age 12 at the Gallup Ceremonial. She has gone on to win numerous awards for her weaving; recently winning the Best of Classification for Textiles at the prestigious 2011 Santa Fe Indian Market. Lynda collaborates with museums, schools and other art venues in Colorado and around the country to teach the public about Navajo weaving. She is also known as an accomplished beadwork artist and has won many awards for this work as well. www.navajorugweavers.com

Materials: Students may wish to bring a seat cushion and small clamp or desk lamp. Tuition: $680 per week Lab fee: $75 beginners (Includes the use of

a pre-warped loom and all tools in class, six skeins of wool. Looms, additional wool, battens and combs will be available for purchase.) Intermediate students: no lab fee (wool and warp will be available for purchase. If choosLynda Pete

NATIVE AMERICAN ARTS

9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

JEWELRY

MUSIC/CARVING

Roy Talahaftewa, Tufa Cast Bracelet

Jewelry Lab

Native American Flute Making Marvin & Jonette Yazzie, Ernest Siva July 12–15

Roy Talahaftewa, Sun Buckle

Course # NANF Ø1A

Hopi Jewelry

Intermediate: 4-day session (Thurs.-Sun.)

Overlay & Tufa Casting Roy Talahaftewa

July 13–15

July 2–6

In this workshop, each student will construct and decorate a six-hole flute under the guidance of an experienced Navajo flute maker. They will also learn some history of flutes as well as the care and handling of their newly created instrument. During the course, ethnomusicologist Ernest Siva will teach the basics of flute playing and each student will receive a small booklet of flute music.

Course # NAJH ØØ

One-week session In this workshop, students will learn the classic Hopi Overlay technique of metalsmithing, as well as Tufa Casting. Tufa is a soft porous stone used for direct casting one-of-a-kind designs. Student may combine tufa cast pieces with their overlay designs (multiple layers of sheet silver with cut-out designs, textured and oxidized recessed surfaces), or students may create separate overlay and tufa works. In addition, the instructor will demonstrate techniques for making stamping tools. Beginning students will be introduced to the fundamental materials, processes, and techniques of silversmithing, and those with experience will be able to fine-tune their skills while mastering new techniques. Because students will be working closely with the teacher, the workshop is well-suited for students of all levels of experience. Materials: A complete materials list will be sent upon registration. Tuition: $680 Lab fee: $55 (Includes pre-cut tufa, the use

of all tools, equipment and consumable such as solder and compounds.) Students are encouraged to bring their own silver and hand tools, if they have them, but these items must be clearly marked. Some silver sheet will be available for purchase in class. Enrollment limited to 12 students. Roy Talahaftewa is from Shungopovi village on the Hopi Reservation in Arizona, and is a member of the Water Clan. He works in both silver and gold, and uses both Hopi overlay and tufa casting in his designs. Roy has been receiving major awards for his work since 1981, including Best of Show at the Heard Museum, among many others. Working with the non-profit Hopi Pu’tavi Project, Inc., Roy teaches Hopi youth the art of metalsmithing, and he is an active advocate and promoter of Hopi artists on the reservation.

Course # NANF Ø1B

Beginners: 3-day session (Fri.-Sun.)

Richard Tsosie

Navajo Inlay Jewelry Richard Tsosie July 9–13

Course # NAJN Ø1

One-week session The Navajo adopted the art of jewelry making from the Spanish after contact, taking the art to new heights and establishing a style that is now considered to be the “traditional” Navajo style. Today, there are many Navajo jewelers who are moving beyond that style, designing contemporary pieces of jewelry which reflect a new Native American reality. Artists are creating colorful collages and patterns with beautiful stones and shells set in gold and silver. In addition to turquoise and coral, it is not unusual to find lapis lazuli, purple lavulite, diamonds, pearls, malakite, jet stone, jade, melon shell and other stones, shells and gems in contemporary Native American jewelry. Working closely with one of the leading contemporary Navajo jewelers, students will learn the techniques used to create such pieces. They will design patterns, cut, grind and prepare stones, and set the stones into basic silver forms (rings, bracelets, earrings, bolos, etc.) which they have created. Participants without prior experience in silversmithing will also be introduced to the basic concepts of shaping silver. Tuition: $680 Lab fee: $45 (Includes the use of all tools,

equipment, and consumables such as solder and compounds. An additional charge will be made for all silver and stones used. A small selection of turquoise and other stones will be available for purchase, but students are encouraged to bring their own stones if they have preferences on colors/stone types.) Students may bring their own silver, tools, stones, and a work lamp which must be clearly marked. Enrollment limited to 10 students. Richard Tsosie is a Navajo jeweler and sculptor from Flagstaff and the Wide Ruins area of the Navajo Reservation and is currently living in Scottsdale, Arizona. His work has been featured in American Indian Art Magazine, Arizona Highways Magazine, the video “Beyond Tradition: Contemporary Indian Art and Its Evolution”, as well as several books including, Southwestern Indian Jewelry by Dexter Cirillo and Enduring Traditions, Art of the Navajo by Jerry Jacka. Richard’s work has been exhibited in galleries and museums from New York to California.

Beginning students (3-day session begins July 13) will use western red cedar for the body of the flute. They will carve, shape, oil, tune and finally decorate their flute. The Pentatonic scale will be used to tune the flutes and students may choose the key (from F to A).

Ernest Siva

Intermediate students (4-day session begins July 12) will use western red cedar for the body of the flute and will choose key of D or C (low). they will make a laminated totem (new this year) to go with their flute. Materials: A complete materials list will be sent upon registration. Tuition: $490 (Beginning, 3-day session)

$590 (Intermediate, 4-day session)

Lab fee: $40 (Beginning, 3-day session)

$55 (Intermediate, 4-day session) (Includes wood, materials and the use of tools and equipment in class.) Enrollment limited to 10 students.

Marvin Yazzie

Marvin and Jonette Yazzie are from Lukachukai, a small town on the Navajo reservation in the Four Corners region of Arizona. Jonette assists Marvin in flute making, an art they learned from their relative Willard Coyote. Their flutes are carried in the Heard Museum shop and others around the country, as well as Asia and Europe. Recording artist Scott August of Cedar Mesa Music has used Yazzie flutes on Sacred Dreams and New Fire, two of his CDs. Marvin is listed in Flute Magic and Voices of the Flute. Yazzie flutes are used in the music programs of Tuscon and Klamath-Trinity school districts. Marvin and Jonette played flutes in the play Anasazi at the Ramona Bowl in 2011. www.yazzieflutes.com Ernest H. Siva is a musician and teacher. He is the cultural advisor and tribal historian for the Morongo Band of Mission Indians. Siva formerly taught public school music in Palm Springs and Los Angeles before teaching courses in American Indian music at UCLA for 12 years. He and his wife June are Idyllwild Arts alumni and trustees. In 2004, Ushkana Press published his book, Voices of the Flute. He is president and founder of the Dorothy Ramon Learning Center.

Roy Talahaftewa summe r @ id y llwild art s . o r g

NATIVE AMERICAN ARTS

POTTERY

Mark Tahbo, Jar with Moths

Hopi-Tewa Pottery Mark Tahbo July 9–14

Cahuilla Style Pottery Firing Tony Soares

Cahuilla Style Pottery Tony Soares July 2–6

Course # NAPC ØØ

One-week session Learn how to create the beautiful ollas used by the Cahuilla people of Southern California to store food and water. Using two different clay types during the week, including Salton Sea clay (for buff ware) and brown clay, students will hand build two to three 6" to 12" pots using the paddle and anvil method. Experience all techniques and steps used in the process including paintbrush making, grinding and preparing paint stones to decorate the pots, making nets (used for holding and hanging the round-based ollas), and more. Take a field trip to collect firing materials, and see a demonstration of fire-starting by friction. Students will have the opportunity to experience two types of firings during the session and will learn to make an “urban kiln” for use at home. Tuition: $680 Lab Fee: $55 (Includes gathered and prepared

Salton Sea clay and brown clay; paints, firing materials, net making materials, and the use of all tools in class.) Enrollment limited to 10 students.

Jorge Quintana

Course # NAPH Ø1

Mata Ortiz Pottery

One-week session-includes Saturday a.m. firing

Jorge Quintana

Students in this workshop will learn the traditional Hopi method of creating polychrome pottery. Revived at the turn of the century by Hopi potter Nampeyo of Hano, the ancient Sikyatki style of Hopi pottery is recognized and collected throughout the world. Students will learn the Hopi techniques of coil building, stone burnishing, painting with natural pigments, and firing.

July 9–14

Students will also have the opportunity to experiment with two types of clay, the Hopi-Tewa gray clay, as well as the yellow ochre clay that Nampeyo often used; learn how to process and prepare raw clay for pottery making; prepare beeweed plant for paint; see demonstrations of slipping techniques using white kaolin and yellow ochre; and learn two firing techniques (for both gray and yellow ochre pots). The natural clays and paints are provided by the artist, from the Hopi Reservation in Arizona. There is enough clay for each student to make 2 to 3 small pieces of pottery – all that can be successfully completed in the week-long workshop. This is not a production pottery course, but a careful examination of the delicate process of Hopi pottery making and the cultural foundation from which the art is inspired. Tuition: $680 Lab Fee: $55

Enrollment limited to 15 students. Mark Tahbo is known as one of the finest Hopi potters today. Born and raised on the Hopi Reservation, First Mesa, Mark learned the art from his great grandmother Grace Chapella, Nampeyo’s neighbor and a principle pottery “revival” artist decades ago. His distinctive pots have been exhibited worldwide in museums and galleries. Among the many top awards he has earned at the Santa Fe Indian Market is the prestigious Helen Naha Memorial Award for Excellence in Hopi Pottery which he earned for 3 consecutive years. Mark has been profiled in various publications including Native Peoples Magazine, and is included in numerous books and articles on Pueblo pottery.

Course # NAPM Ø1

One-week session-includes Saturday a.m. firing Inspired by the ancient Casas Grandes pottery of Chihuahua, Mexico, Juan Quezada began making pottery in 1975 in his village of Mata Ortiz. His success inspired others to begin making this style of pottery, and there are now hundreds of potters working in Mata Ortiz. Jorge Quintana was one of Juan’s students, and has emerged as one of the outstanding and innovative potters of this second generation of Mata Ortiz artists. In this course, students will learn to create both polychrome and black pots in the Mata Ortiz tradition. Participants will build, polish, sand, paint and fire their pots in an outdoor firing. Jorge will also teach how to make paint brushes with hair, mix clay and pigments. The clay and paints/pigments are provided by the instructor and are gathered from his home. A special highlight of the week will be a presentation on the history of Mata Ortiz pottery by Walter Parks, author of The Miracle of Mata Ortiz. Tuition: $680 Lab Fee: $50 (Includes clay, pigments, firing

materials, and the use of pukis and other tools in class.) Enrollment limited to 12 students. Jorge Quintana is an artist, innovator, entrepreneur and teacher. Jorge is known not only for his exquisitely symmetrical polychrome pots, but also for his experimentation with the use of different minerals to color his pots. He has demonstrated the art across the U.S. at venues including the Southwest Museum in Los Angeles, Idyllwild Arts, the Autry Museum, and the Sam Maloof Foundation for Arts and Crafts. His distinctive polychrome pots have been shown in the major exhibitions on Mata Ortiz pottery, including the Exhibits USA Potters of Mata Ortiz traveling exhibition and the American Museum of Ceramic Arts (AMOCA) exhibition in Pomona, California. He is included books on the subject, including The Miracle of Mata Ortiz by Walter Parks.

Tony Soares learned the fundamentals of pottery from his grandmother at age seven, starting a 30+ year journey to revive the fading art of olla making. Though not of Cahuilla descent, he is credited with helping to revive the art of Cahuilla pottery making through his experimentation with local clays and indigenous handbuilding techniques. Today, his pottery is displayed in art galleries and museums including the Tahquitz Canyon Museum. Tony is dedicated to sharing his knowledge to ensure that Native American pottery making is never lost. He has taught his skills at many venues including the Agua Caliente Band of the Desert Cahuilla of Palm Springs and the Yuman tribes of the Colorado River, Arizona.

Mark Tahbo

NATIVE AMERICAN ARTS

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PA I N T I N G & D R AW I N G Drawing Intensive......................................... 19 Margaret Scanlan Drawing & Painting As Meditation............ 19 Robert Regis Dvorák Encaustic Painting....................................... 20 Amber George The Figure & Still Life..................................... 20 Peggi Kroll-Roberts Painting Now: Color & Meaning................ 20 Marie Thibeault Plein Air Pastels............................................. 21 Clark Mitchell Portraits.......................................................... 21 Ray Roberts

Robert Dvorák, Man Reclining

The Practice of Drawing/Painting as Meditation

Representation To Abstraction.................. 21 Lisa Adams

Robert Regis Dvorák

WaterCOLOR................................................. 22 Barbara Roth Watercolor Unleashed................................ 22 Nicholas Simmons

July 6–8 Margaret Scanlan, Paradise Lost

Drawing Intensive Margaret Scanlan

SEE ALSO Encaustic Monoprinting.............................. 23 David Clark Graphic Novel...............................................24 Dan Archer

July 9–13

Course # AAPD Ø1

One-week session Whether you draw regularly or haven’t drawn since kindergarten, this class will provide, in one solid week, a meaning-filled framework for tremendous growth in your drawing ability. The techniques, tricks, and sequential exercises in this structured class can dramatically improve and give confidence to your drawing skills if you are new to drawing. If you have some experience, you can expect to be drawing at a whole new level of sensitivity and competence at the end of the class. Expect to work hard, learn a lot, and have a very good time. If you’ve always wanted to draw, or to draw better, this class is for you. Returning students may choose to review or to embark on a week of more advanced drawing projects, based on your personal goals, to be worked out individually with the teacher. All levels are welcome. Tuition: $680 Lab Fee: $65 (Includes materials and model

fee.) Enrollment limited to 12 students. Margaret Scanlan is a full-time studio artist in Knoxville, TN, working in acrylic and watercolor, large and small scale work. She is a signature member of the American Watercolor Society, the National Watercolor Society, and the Watercolor USA Honor Society. For many years she has taught painting, drawing, and color theory workshops at Arrowmont, the John C. Campbell Folk School, Penland School, le Petit Bois Gleu and Chateau du Pin in France. Her work is in numerous private, corporate, and public collections in the US and Europe, including the Huntsville Museum of Art (AL), the Springfield Art Museum (MO), Sloan-Kettering Hospital (NY), and L’Abbeye de la Roe (France). She also plays keyboards in a Celtic band, RedHaired Mary.

Margaret Scanlan, Cowch

Margaret Scanlan, Disappearing Cows summe r @ id y llwild art s . o r g

Course # AAPD ØØA

Three-day session We live in a fast-paced world with text messaging, cell phones and emails. When we want to relax, drawing can be a way to refresh our minds and body, to create just for fun anytime, anywhere. This class is about not only learning to draw and paint watercolors but also learning to make drawing and painting a meditation-a relaxed, conscious, and aware state that is optimum for creative experience-a state of restful alertness. Drawing, painting and meditation are beneficial for physical, mental, spiritual, and creative growth. You will learn to be mindful as you draw and paint. You will learn to perceive your world with clarity as you draw and paint. Without an agenda for success and the fear of failure, you will find that drawing and painting can become pure enjoyment. Some of the benefits of this workshop are: Improve drawing skill Many new drawing techniques New skill drawing & painting the figure with watercolor Relaxed and focused attention Finding your creative voice Seeing with the heart and hand A stillness of being and a sense of peace Learning to see, truly seeing Increased perception Seeing space, line, form, and light Drawing & painting without fear Discovering your world at the end of your pen, pencil and brush Present moment awareness A sense of peace

Robert Dvorák, Fish With Stripes

Robert Dvorák, Woman Gesture

Discover your artist within. Through a variety of fascinating subjects and methods-including a live model-you will experience how easy and enjoyable drawing can be in this new and innovative workshop. Tuition: $490 Lab Fee: $68 (Includes model fee, a 12" x

9" drawing pad, the book: The Practice of Drawing as Meditation, all drawing materials, handouts.) Wear comfortable drawing clothes. Enrollment limited to 25 students. Robert Regis Dvorák, an artist and popular speaker (over 1000 speeches) on subjects of creativity for education and business, has been teaching drawing and watercolor painting for 35 years at colleges and universities in California and Hawaii. He is a former Professor of Architecture at the University of Oregon and the University of California, Berkeley. He has authored: Drawing Without Fear, Experiential Drawing, The Practice of Drawing as Meditation, Travel Drawing and Painting and Selling Art 101. He has exhibited his drawings and paintings in 24 one-man shows and many other group exhibits in the USA and abroad. www.youcreate.com

Robert Dvorák, Watercolor

Robert Dvorák

PAINTING & DRAWING

Peggi Kroll-Roberts, untitled

Marie Thibeault, Semaphore

Painting Now Color & Meaning Marie Thibeault Peggi Kroll-Roberts, Butter on Green Plate

The Figure & Still Life Peggi Kroll-Roberts

Accelerate your ability to discern and mix color, as well as experience new painting processes in this intensive one-week painting workshop. Designed to combine the best of her popular color and painting courses at CSULB, Marie will guide students through a workshop that will insure a deeper understanding of the workings of color as it pertains to painters. This workshop is certain to expand your understanding of color and its meaning within painting, since the most important aspects of color are defined and explored in the process of composition and revealed through process.

Course # AAPF ØØ

Three-day session

Amber George, Bits & Pieces

Encaustic Painting Painting with Wax Amber George July 2–6

Course # AAPE ØØ

One-week session This workshop will introduce the ancient medium of encaustic painting to beginning and experienced artists. From the basics on how to prepare a panel for painting to more complex techniques like image transfers, collage and working with stencils, students will leave the workshop with a thorough set of skills. Also covered in the class will be tips for setting up a safe studio space to work with encaustic to enable students to work in the medium independent of a workshop situation. Each day will be structured to allow for a balance between demonstrations and work time. Individual and group critiques will allow for students to learn from each other as well as the instructor. Each student will be encouraged and supported to find and express their own artistic voice through this supportive workshop environment. Open to all skill levels, however a basic understanding of painting in general is very useful. Materials: A complete materials list will be

sent upon registration. Tuition: $695 Lab Fee: $90 (Includes all encaustic paint,

encaustic medium, beeswax, painting panels, electrical tools, torches and most other consumables.) Enrollment limited to 10 students. Amber George received her BA in Fine Art from UCLA in 1994. Her work is represented by galleries across the country. In 2008, she had a solo show at the Museum of the Southwest titled Roots and Branches. Her work was featured in Embracing Encaustic and Studio Visit Magazine in 2011. In addition to private collections across the US, her work is also included in numerous corporate collections including the Four Seasons Hotel, Westin Hotels and China World Trade Center, Beijing China.

PAINTING & DRAWING

Course # AAPC Ø1

One-week session

June 24–26

Amber George, The Nuts & Bolts

July 9–13

In this workshop the figure will be the subject matter, however the focus will be on improving drawing skills and seeing values and colors correctly and understanding their relationships to each other. Two days will be devoted to figure painting, and one to still life painting. There will be daily demonstrations emphasizing the big shapes and establishing their relationships correctly. This provides a springboard to adding additional information if the individual artist desires. We will address design and technique in a manner in which the individual artist may express themselves in a personal way. The student will experience many specific assignments, which helps to “get to the point a little more quickly.” Be ready to cover a lot of canvas and “learning through earnest mileage.” Students will receive plenty of one-on-one instruction and individual demonstrations as needed. This oil painting workshop is appropriate for all levels. Pastel, acrylic, and watercolor painters welcome, but must be well-versed in using their selected medium. Materials: A complete materials list will be sent upon registration. Tuition: $490 Lab Fee: $25 (Includes model fee and group

supplies) Enrollment limited to 15 students. Peggi Kroll-Roberts, award winning artist and teacher, was trained at Arizona State University and the Art Center College of Design in Pasadena, CA. Peggi worked as a fashion and advertising illustrator before making the transition into fine art. Using intense color and value to accentuate her subject, she moved into fine art with a bold palette, a love for small paintings and a very loose style that achieves a lot with a few very energetic brush strokes. She prefers to suggest reality than render it. Inspired by her children she paints beach scenes and other aspects of their lives. She also breaks away from the conventional still life by painting scenes of cosmetics and the occasional coffee cup or slab of butter. Peggi’s work gives us a new appreciation of our own daily life. www.krollroberts.com

Students will begin by building collages, looking for and finding relationships in imagery, light, and color patterns. Personalized compositions will become the springboard for a series of paintings to be done during the week. Working in various scales from large to very small, each student will become more sensitive to how color creates light, space, focal point and meaning within a painted composition. This exciting course will contextualize the most potent aspects of color within the history of painting, as well as the introduction of new concepts of collage process, composition, image development and the painterly processes. This class is designed for those who have some painting experience through professional painters. Oil paint is recommended. Materials: A complete materials list will be sent upon registration. Tuition: $680 Lab Fee: $15

Enrollment limited to 14 students. Marie Thibeault is a Professor of Art at California State University, Long Beach, where she teaches her much sought after color course for painters. This seminal course is highly effective for all levels of painters from beginners to professionals. She received her BFA in painting from Rhode Island School of Design, and an MFA in painting from the UC Berkeley. Her large abstract paintings are arenas of action, informed by the contemporary landscape in transition and utilize symbolic color as an expressive force. She has an extensive exhibition record, and is the recipient of numerous awards. Her most recent exhibitions include Broken Symmetries at the Torrance Museum of Art, and When Worlds Collide at George Lawson Gallery, in San Francisco.

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Lisa Adams, Made in USA

Lisa Adams, Avian Avatar

From Representation to Abstraction Lisa Adams July 2–6

Course # AAPA ØØ

One-week session This one-week course, taught by renowned Los Angeles painter Lisa Adams, is designed to facilitate non-professional and professional painters alike in discovering or honing their personal vision and in stimulating imaginary thinking. Clark Mitchell, After the Storm

Plein Air with Pastel Clark Mitchell July 16–18

Course # AAPP Ø2

Three-day session Clark Mitchell, Just Down the Lane

In this outdoor workshop, students will use soft pastels on sanded papers. Stressing high contrast in all aspects of a landscape, the instructor will cover: choosing an enticing scene; creating the most powerful composition using a viewfinder; value sketching; and editing. Numerous outdoor demonstrations will show each stage from vivid underpainting to final detail work. There will be plenty of at-easel assistance. Each student will need a set-up for on-location work. Some pastel experience preferred, but not required. Materials: A complete materials list will be sent upon registration. Tuition: $490 Enrollment limited to 12 students. Clark Mitchell’s pastels have recently been

Clark Mitchell, Waters Edge

featured on the cover and in articles in Southwest Art and The Pastel Journal. His work has also been featured in American Artist and Pastel Artist International. He received Best of Show Awards at Maui Plein Air Painting Invitational in 2011, and at the Laguna Beach Plein Air Invitational in 2005. He has taught workshops around the country and holds classes regularly in his straw bale studio in the California Wine Country.

Ray Roberts, Young Woman with Scarf

Portraits Painting the Head Ray Roberts June 27–29

Course # AAPP ØØ

Three-day session This workshop will give students the tools and techniques to create believable and convincing portraits in oil with special emphasis on painting the head. Through demonstrations and exercises, Ray will guide artists of all levels through the fundamentals, including: • Measurements and proportions: discussion of various approaches to accurately measure and view your subject in terms of abstract shapes • Artistic understanding of the features, their placement and form • Creating form and solidity with the head as a result of the sum of this knowledge and overall general shape and form We will be covering lots of canvas and there will be lots of personal attention! Pastel and acrylic painters are also welcome, but must be well-versed in using their selected medium. Materials: A complete materials list will be

sent upon registration. Tuition: $490

Enrollment limited to 15 students. Ray Roberts was born in California and has been a professional artist for over 30 years, dividing his time between California and Arizona. Receiving his BFA from Art Center College of Design, Roberts began his career as an illustrator before transitioning to fine arts. He is the recipient of many prestigious awards including the California Art Clubs’ Gold Medal Award. Roberts incorporates his on-location painting experience into his studio works. He brings to Idyllwild more than 15 years experience conducting plein air workshops. www.krollroberts.com

summe r @ id y llwild art s . o r g

With an equal emphasis on formal skills and experimentation, exercises focus on trusting the intuition, learning to see inward and the practice of seeing oneself reflected in the world at large. The task becomes how do we see our authentic selves in the external environment and how do we make this vision manifest in painting? At core we will be asking more questions than delivering concrete answers, all the while working on creating paintings that are well-crafted and clearly rooted in individual expression. Using both representational and abstract elements is crucial in bringing to life a balanced view of the visual world and of one’s expression. Embracing and combining dichotomies, as a conceptual foundation, will be stressed as well as risk-taking-that is, working for the exploratory experience rather than creating nice tidy paintings that look good. Informal talks will include such topics as the discipline of being an artist, the rigor of professional practices with regard to career and how to remain true to a unique vision despite market trends. A visiting guest will give short presentation during the week as well. Participants must have basic painting skills, which include mixing paint and basic color theory, as well as basic drawing skills. Oil paint is recommended but acrylic paint is also acceptable. Materials: All participants will need to bring

a laptop and digital camera (or phone with camera), as well as their usual painting equipment. A list of suggested items to bring will be sent upon registration. Tuition: $680 Enrollment limited to 20 students. Lisa Adams has a BA from Scripps College in Claremont, California and an MFA from the Claremont Graduate University, She is the recipient of numerous awards including a Fulbright. She has successfully taught at many renowned art departments throughout the Los Angeles area and abroad and has been an artist-in-residence in Slovenia, Finland, Japan, Holland and Costa Rica. Her work is in the public collections of Eli Broad, the San Jose Museum of Art, and the Edward Albee Foundation. Lisa’s first monograph book, Vicissitude of Circumstance, published by ZERO+Publishing was released in Fall 2011.

PAINTING & DRAWING

PRINTMAKING Drypoint Etching........................................... 22 Brian Cohen Encaustic Monoprinting.............................. 23 David Clark

Brian Cohen, Connecticut Landscape

Beyond Monotype....................................... 23 Ron Pokrasso Woodcut Printmaking.................................. 23 Bridget Henry Barbara Roth, untitled

SEE ALSO Artist ASAP..................................................... 11 Lesley Riley Nicholas Simmons, XinJin

Watercolor Unleashed Nicholas Simmons July 16–18

Barbara Roth

WaterCOLOR Barbara Roth June 28–30

Course # AAPW ØØ

Three-day session Would you like to: Take the mystery out of mixing paint? Make better color choices? Understand simple color theory? Know why your color mixtures come out mousey? Place the right colors next to each other to create harmony? Figure out the right color mixes quickly? No matter if you are a beginning or experienced watercolorist, the information you learn about color in this workshop will bring your projects to a new level. Participants will develop an understanding of the principles of color by creating easy small watercolor paintings and practice exercises illustrating each color concept. You will put together all your paintings, exercises and notes in a personal color notebook. Your notebook will guide you when you return home and have questions about color. Your instructor will demonstrate all techniques and you’ll have studio time to practice with your instructor standing by to help and answer all your questions. In addition to the many color topics, some of the techniques you’ll see demonstrated and learn include creating rainbow washes, pouring watercolor for radiant under paintings, impressionist layering of colors, how to choose different colors beyond what you actually see (or why you might want to paint a purple cow), using color inks and lots more. Some of the handy devices you will create in class will include a value finder and a set of color chips. All levels welcome. Mixed media artists, calligraphers, scrapbook keepers, and quilters will also benefit from this workshop. Materials: A complete materials list will be

Artist Book Strategies................................... 11 Barbara Tetenbaum Assemblage.................................................. 11 Michael deMeng

Course # AAPW Ø2

Fiber Collage................................................ 12 Tracie & Marylin Huskamp

This workshop will concentrate on concepts and techniques for which Simmons is noted: diversity in subject matter; composition; poured watercolor; fluid acrylic used as transparent watercolor; unusual textures such as the instructor’s popular “batik” technique; computer-aided design (computer not required for enrollees). Focus will be on concepts, composition and design elements. Students will paint daily, watch demos, and receive individualized attention. Be prepared for Nicholas’ high energy, unorthodox, and varied approach to watercolor. All levels welcome in this workshop designed to bring lots of new ideas and techniques to experienced painters, and introduce new painters to the medium.

Graphic Novel...............................................24 Dan Archer

Three-day session

Materials: A complete materials list will be sent upon registration. Tuition: $490 Enrollment limited to 20 students. Nicholas Simmons has quickly become a renowned name of the contemporary watercolor scene, winning major awards and gaining media exposure. His art is characterized by its diversity and power, and has been featured in a variety of publications, and on Maryland Public Television. In 2008 his DVD Innovative Watermedia was released by Creative Catalyst Productions. He is sponsored by Da Vinci Paint and Escoda Artist Brushes of Barcelona introduced a Nicholas Simmons signature series in 2012. Awards include top prize at the 2007 National Watercolor Society, consecutive gold medals at the Pennsylvania Watercolor Society, 2008–2009, and the gold medal at the Texas Watercolor Society in 2010. The artist exhibits internationally with major watermedia stars, and was the only judge representing the Americas at the Shanghai Zhujiajiao International Watercolour Biennial Exhibition in 2010, the world‘s largest watercolor exhibition. He will again judge the Biennial in 2012. Nicholas is one of six painters in the newly-formed North American Watercolor Artists group, which will represent the United States in various international exhibitions. He is sought after as a workshop instructor, lecturer, and judge, known for his fresh, unorthodox, and often irreverent approach. The artist lives in the Washington, D.C. area. www.nicholassimmons.com

Brian Cohen, Landscape – New Hampshire

Marbling on Paper/Fabric.......................... 12 Steve Pittelkow Pastel Art Journaling.................................... 13 Tracie & Marylin Huskamp Brian Cohen, Connecticut Landscape

Drypoint Etching From the Landscape Brian Cohen June 24–26

Course # AADE ØØ

Three-day session Participants will complete an edition of prints from metal plates worked entirely without acids, using a traditional technique called drypoint. In drypoint, a student draws directly on a metal plate, creating lines and textures that will hold ink when printed. The drypoint medium is a wonderful means of making a drawing directly from observation into a print, without toxic chemicals or technical obstacles. The softness, variety, and warmth of the drypoint line is uniquely expressive among all printmaking media. We may further explore traditional means of altering the metal surface, such as roulette and engraving, and further explore materials to roughen the plate not usually associated with intaglio (metal plate prints), such as sandpaper, sandblasting, stamping, and hammering. Participants will also learn to lighten areas of the plate with the scraper and burnisher. The starting point for our imagery in this class will be the landscape surrounding the campus, though participants will continue to develop their plates in the studio, printing frequently to assess the development of the image. We will also emphasize the skills of hand-wiping a plate before printing, and will explore variations in color and collage printing. Materials: A complete materials list will be

sent upon registration. Tuition: $490 Lab Fee: $65

Enrollment limited to 10 students.

sent upon registration.

Brian D. Cohen, newly appointed President of

Tuition: $490 Lab Fee: $10

Idyllwild Arts, is an educator and artist. Before coming to Idyllwild, Brian completed 26 years at The Putney School in Vermont, where he was Founding Director of the Summer Programs, Dean of Faculty, and a visual arts teacher. Brian is a printmaker and founder of Bridge Press, publisher of limited edition artist’s books and etchings. He has shown in over thirty individual exhibitions and over 150 group shows, and his books and etchings are held by major private and public collections throughout the country.

Enrollment limited to 20 students. Barbara Roth has a degree in art from UCLA, a teaching credential with specialization in art education, and has studied art at Art Students League in NY, Art Center in Pasadena, and Otis Parsons in LA. For many years, she taught school and wrote and illustrated children’s books. Today, she teaches at Palomar College Community Ed, the Encinitas Public Library, in her home studio and at art retreats in the US, as well as in Italy, France and England. In addition she writes “How To” books on Painting, Drawing and Sketchbooking. Barbara uses this method of keeping a color notebook for her own personal painting. www.barbararothart.com

Nicholas Simmons

PAINTING & DRAWING/PRINTMAKING

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Bridget Henry, Baby Bird

Woodcut Printmaking Bridget Henry July 3–4

Course # AAMW ØØ

Two-day session Come and learn the simple and beautiful process of making woodblock prints. Woodblock prints are a great way of making your own cards, prayer flags, quilt design, and patches. Each student will walk away from this workshop with two editioned images of their own: one in black and white and one printed with two colors. The workshop will cover the various types of wood, tools, inks, and papers used to make a print. Carving, color mixing and printing techniques will be demonstrated and experienced first-hand. We will be using hand and dremel tools for carving, a press and wooden spoon for printing. We will be printing with oil-based inks and learning non-toxic clean up.

David Clark, Made with Fire

Encaustic Monoprinting David Clark July 20–21

Course # AAEM Ø2

Two-day session This workshop is an exciting introduction to the techniques involved in producing repeatable images while printing with wax. The purpose of this class is to expose participants to a wide variety of paints, papers, stencils and tools connected to the encaustic monoprint process and to give students access to varied printing techniques that will allow them to fine tune their prints. Students begin first by learning the basics and variables of the encaustic monotype: heat, paint, paper and pressure. They then progress to layering color and pattern using different types of stencils and masking in order to further refine their printed images. Students can expect to create numerous prints during this class encompassing a varied range of technical and intuitive process. Come discover how much fun monoprinting with wax can be. This class functions well for a wide variety of skill levels in printing, but some previous experience working with encaustic is helpful. Materials: A complete materials list will be sent upon registration. Tuition: $335 Lab Fee: $80 (Includes all paints, papers and

tools. Students will be given an allotment of a variety of papers to work with, and more paper will be available for purchase if you find that you are a very fast printer.) Enrollment limited to 10 students. David Clark’s encaustic print work has drawn critical acclaim for its graphic style and fineness of execution. He exhibits nationally, showing his work in numerous solo and group shows including the 33rd Bradley International Print and Drawing Exhibition and Aqua Art Miami. David’s printwork has been published and featured in Contemporary Paper and Encaustic: International Trends by Catherine Nash and Encaustic Works 2011 published by R & F Handmade Paints. David teaches encaustic printmaking around the country and was recently a presenter to a sold out crowd as part of the Monotype Marathon at the 5th International Encaustic Conference in Provincetown, Massachusetts. David is currently preparing for an upcoming solo show of his prints at the Process Museum in Tucson, Arizona. www.davidaclark.com

No previous art experience is necessary to participate, only a willingness to learn. If you have a design or photo in mind, please bring it to the workshop and we will learn ways of transferring the image to the block. The image size we will be working with will be 6”x 8”.

Beyond Monotype Ron Pokrasso July 16–20

Course # AABM Ø2

One–week session, Begins at 1 p.m. July 16 Ron Pokrasso covers a wide range of techniques possible in the monotype process and continues through the use of collage, drawing, and multiple plate projects. Students will be encouraged to pursue their artistic vision using monotype as a mark making tool in combination with whatever other techniques are efficient and available. The notion of the “artist as an inventor” will be stressed as mixed media techniques open the door to limitless opportunities. The approach is energetic and open, as each student’s individual style will dictate the direction of the workshop. The program is non-toxic working with AKUA waterbased intaglio inks. Modifying, layering, mixing inks, finding color, use and abuse of mark-making tools, exploring the limits of paper, collage, chine colle and built up surface will all be discussed. Working with drawing materials, the optional integration of Solarplate, ImageOn, traditional intaglio plates, other matrices, and finishing prints as resolved and complete expressions, including solving issues after printing, are aspects of the workshop. Though some monotype and/or other printmaking experience is helpful, all levels of students are welcome. Materials: A complete materials list will be

Materials: A complete materials list will be

sent upon registration. Tuition: $335 Lab Fee: $20 (Includes all materials.)

Enrollment limited to 12 students.

Ron Pokrasso, Two Heads Are Better

Ron Pokrasso

sent upon registration. Tuition: $695 Lab fee: $75

Enrollment limited to 12 students. Ron Pokrasso received his MFA degree from Pratt Institute in 1975 and has had over 40 solo exhibitions and more than 150 group shows. His work is in public, private, and corporate collections throughout the US and abroad as well as being featured in several books. He is originator of the printmaking event “Monothon” and has been an ardent supporter of arts programs for youth. His teaching experience includes universities, museums, public schools and private workshops, as well as Artist Residencies in the US, Scotland, Ireland and Italy. www.ronpokrasso.com

David Clark summe r @ id y llwild art s . o r g

Bridget Henry has been exploring the possibilities of woodcut printmaking since 1994, and continues to be enthralled with this alchemical process. She is a graduate of UC Santa Cruz and the recipient of the 2001 James Phelan award in printmaking. Bridget works in the printmaking studio of UC Santa Cruz and has taught color woodcut at the Cabrillo College Summer Arts program, Momi Lani Paper Arts, California Art Education Association, Art League of Santa Cruz, Idyllwild Arts and out of her home studio on the north coast of Santa Cruz, CA.

Bridget Henry, Hives

Bridget Henry, Woman with Flowers

PRINTMAKING

SCULPTURE

WRITING

Felted Wool Sculpture................................. 24 Stephanie Metz

Graphic Novel.............................................. 24 Dan Archer

Welded Steel Sculpture............................... 24 Gerald Clarke, Jr.

Liars Way: A Fiction Primer.......................... 25 Samantha Dunn Memoir/Creative Nonfiction...................... 25 Amy Friedman

SEE ALSO

Poetry Camp................................................. 25 Gabrielle Calvocoressi, Matthew Dickman, Ed Skoog,

Assemblage...................................................11 Michael deMeng Hot Clay: The Figure........................................4 Linda Ganstrom

Dan Archer, Hardhat Gerald Clarke, Jr.

The Graphic Novel Dan Archer July 16–20

Dan Archer, Hardhat

Stephanie Metz, Trio of Teddy Skulls

Felted Wool Sculpture Stephanie Metz July 16–20

Course # AASF Ø2

Welded Steel Sculpture

One-week session

Gerald Clarke, Jr.

You may know that felt is a non-woven textile made of wool, but have you considered its sculptural possibilities? You can learn to manipulate wool into three-dimensional, free-standing, solid felt sculpture using simple tools and techniques. No crocheting or knitting required: instructor Stephanie Metz uses felting needles to coax loose fibers into sophisticated shapes.

July 2–6

This week-long workshop is a thorough introduction to the tools, processes, and possibilities of needle-felting. Class includes hands-on practice, discussion, demonstrations, and slides. This class will teach you an innovative use of a humble and inexpensive material that is bound to energize your artmaking. Note: feltmaking involves repetitive and vigorous hand and arm movement. Open to all skill levels. Materials: A complete materials list will be

sent upon registration. Tuition: $680 Lab Fee: $75

Enrollment limited to 12 students. Stephanie Metz is a fine artist whose innovative work in felted wool has garnered international attention. Her work focusing on the relationship between humans and the natural world fuses sharp wit, thoughtful observation, and flawless craftsmanship to blur the line between art and science, natural and unnatural, organic and manmade. Stephanie has taught at USF, CCA, Cabrillo College, Kala Art Institute, and Penland School of Crafts. She received her BFA in Sculpture from the University of Oregon. www.stephaniemetz.com

Stephanie Metz

Course # AAWN Ø2

One-week session

Course # AASS ØØ

One-week session A major sculptural medium of the 20th century, steel is a strong, durable and versatile medium for the contemporary sculptor. In this workshop with dynamic instructor Gerald Clarke, students will learn the various methods and techniques for creating a welded steel sculpture. The workshop will cover both practical and creative aspects of the medium. Welding processes to be covered will include MIG, Arc, Oxy-Acetylene and plasma cutting. Each student will produce a moderately sized sculpture (under 6 foot). Finishing methods will be discussed and safety practices will be stressed. This workshop is somewhat physically demanding and students should be able to lift at least 30 pounds and use hand and power tools. This workshop is open to beginning and intermediate students. Materials: A complete materials list will be sent upon registration. Tuition: $680 Lab Fee: $80 (Includes steel, consumables,

and use of tools in class.) Enrollment limited to 8 students. Gerald Clarke Jr. is a member of the Cahuilla Band of Indians located 40 miles southwest of Palm Springs, California. He currently lives on his family’s ranch on the reservation and serves on the Tribal Council as Vice-Chairman. Gerald has taught classes in Sculpture and New Media at Idyllwild Arts Academy for the past seven years. Previously, Gerald served as an Assistant Professor of Art at East Central University in Ada, Oklahoma. In addition to his teaching duties, he has exhibited his work at a variety of venues throughout the country and abroad. In 2007, Gerald was awarded an Eiteljorg Museum Fellowship for Native American Fine Art.

From Art Spiegelman’s Pulitzer Prize–winning Maus to Alan Moore’s The Watchmen, graphic narratives have a unique capacity to tell complex stories through the simple combination of rich visuals and text. They have become synonymous with bold, innovative storytelling far beyond superheroes and encompass memoir, historical fiction, journalism, and more. This course offers a balance between the hands-on and the theoretical, and will begin with discussions of several key graphic novels as well as an overview of this hybrid literary form. Students will then learn the necessary writing and artistic skills to turn their story ideas into a realized graphic novel extract. Welcoming both newcomers and those with experience, the course will examine each step of the creative process: scripting and narrative arcs; thumbnailing; pencilling; inking; scanning; and production. Students will then produce a short graphic novel extract, that they will be able to take with them in both hard copy and digital format. Materials: A complete materials list will be sent upon registration. Tuition: $680 Enrollment limited to 12 students. Dan Archer creates non-fictional, journalistic comics to offer a new perspective on human rights issues and give voice to stories that wouldn’t otherwise be heard. His journalistic pieces have been published by American Public Media, The Poynter Institute, Huffington Post, Alternet, The Guardian UK, Presente, Wired, Operamundi (Brazil), Expressbuzz (India) and Independent World Report. He was recently awarded a John S. Knight Fellowship for Professional Journalists at Stanford University, where he investigated ways of combining visual storytelling and digital technology to make news stories more compelling. He has also worked with several publishers, including Penguin, Atlantic Books, Random House and Abrams. He is currently working on a long-form piece about human trafficking in the United States. He received his MFA in cartooning from the Center for Cartoon Studies in Vermont and also co-teaches the graphic novel project through the Creative Writing Department at Stanford University.

Stephanie Metz, Super Suckler

SCULPTURE/WRITING

9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

Matthew Dickman is the author of All-American Poem (American Poetry Review/ Copper Canyon Press, 2008) and the recipient of the Honickman First Book Prize, the May Sarton Award from the American Academy of Arts and Sciences, the Kate Tufts Award from Claremont College, and the 2009 Oregon Book Award. He is co-author of the forthcoming 50 American Plays from Copper Canyon Press. He has also received residencies and fellowships from The Michener Center for Writers in Austin, Texas; The Vermont Studio Center; The Fine Arts Work Center in Provincetown; and The Lannan Foundation. His poems have appeared in Tin House, McSweeney’s, Ploughshares, and the New Yorker, among others. W.W. Norton & Co. will publish his second book in 2012. Matthew is America’s bestselling poet under age 60. Gabrielle Calvocoressi Amy Friedman

Ed Skoog, Poetry Reading

The Liar’s Way: A Fiction Primer

Memoir & Creative Nonfiction

Poetry Camp

Samantha Dunn

Amy Friedman

July 16–20

Gabrielle Calvocoressi, Matthew Dickman, Ed Skoog

Course # AAWF Ø2

One-week session “Never let the truth get in the way of a good story,” Mark Twain supposedly said. This workshop will explore the art and craft of fiction, using a multitude of exercises to tap and enhance your own deep sources of creativity. If you have a vivid imagination, or if you are a storyteller who likes to embellish, or you want to look at your tales with a new perspective, the class will provide you with the tools to paint with words. Whether you are a beginner or are a prolific writer, you will walk away from this workshop with a better understanding of the structural elements that underpin all great stories. You will also be armed with new techniques for creating characters who come to life on the page, for creating vivid worlds with your words, and for how to keep generating story ideas. All levels of writer will be able to apply the lessons. While writing fiction is often about finding the truth of the story, come prepared to make stuff up. And to write! Class time will be about practicing what we learn—bring plenty of pens and blank notebooks. By the end of the week, everyone will have at least one well-honed piece of fiction presentable for public consumption. This workshop will meet from 9–noon each morning and again from 1–2pm in the afternoon for writing sessions. Tuition: $680 Enrollment limited to 12 students. Samantha Dunn is the author of Failing Paris, a finalist for the PEN West Fiction Award, and the bestselling memoir, Not By Accident: Reconstructing a Careless Life , as well as Faith in Carlos Gomez: A Memoir of Salsa, Sex and Salvation. Her work is anthologized in a number of places, including the short story anthology, Women on the Edge: Writing from Los Angeles, which Dunn co-edited. A winner of the Maggie Award for Best Personal Essay in a Consumer Publication, Dunn is a widely published journalist regularly featured in O the Oprah Magazine, the Los Angeles Times, and Ms., among others. A member of the Writers’ Guild, Dunn teaches in the UCLA Extension Writers Program and is program advisor for The Mark at PEN USA.

summe r @ id y llwild art s . o r g

Course # AAWE Ø2

One-week session This workshop is for those just beginning and those whose work is well underway (and/ or stalled), for those writing memoir, personal essay, or any work of creative nonfiction. The instructor will help you to develop and craft your work, and we’ll study the elements that help writing to sparkle, including characterization, setting, voice, dialog and theme. Excerpts from published works will help to serve as inspiration, and five, ten, and fifteen minute exercises will jump-start your writing and offer guidance for your work. A portion of our workshop hours will be devoted to reading your work aloud, with feedback from both the instructor and your fellow students. You will also receive information on marketing and proposal writing (for longer nonfiction works). Our goal will be to complete a full essay and/ or chapter by week’s end. We’ll meet for four hours each morning, with afternoons devoted to individual conferences, writing and reading time. Tuition: $680 Enrollment limited to 10 students. Amy Friedman is the author of two memoirs, Kick the Dog and Shoot the Cat and Nothing Sacred: A Conversation with Feminism. She recently completed the memoir, Desperado’s Wife, and is the author of the long-running, world-wide syndicated newspaper for children, Tell Me A Story. She often performs her personal essays at Spoken Word venues in LA and has published hundreds of stories, columns and articles. Amy teaches creative writing at UCLA Extension, through PEN/USA and at the Skirball Cultural Arts Center.

July 16–20

Course # AAWP Ø2

One-week session This special week of poetry is open to anyone with an interest in writing poetry, following the long-held Idyllwild Arts tradition of bringing up to the mountain a diverse community of voices to enrich the conversation for all, from enthusiastic beginners to emerging and established poets. Five days of workshops, craft talks, readings, and lively discussion under the pines will focus on helping participants generate new work and explore literary styles and techniques. Faculty will rotate through workshop groups so that everybody will have worked intensely for two full sessions with each of the three faculty poets by the end of the week, writing new poems, receiving critique from faculty and peers, and being immersed in new and old perspectives. Close-critique of drafts and revisions will be balanced with larger propositions about the nature of poetry. Small class size will ensure that each participant receives individual attention and advice about his or her development as a writer. Our busy, rigorous schedule includes workshops from 9–noon, and craft talks by faculty and special guests from 1–3 p.m. On Tuesday evening, the faculty and special guests will read from their work, followed by a book signing; on Thursday evening, workshop participants are invited to read new poems from the workshops. Tuition: $680 Enrollment limited to 10 students per workshop group.

studied at Sarah Lawrence College and e a r n e d h e r M FA f r o m Columbia University. Her first book, The Last Time I saw Amelia Earhart (Persea Books, 2005), was shortlisted for the Northern California Book Award and won the 2006 Connecticut Book Award in Poetry. Her second collection, Apocalyptic Swing (Persea Books, 2009), was a finalist for the 2009 Los Angeles Times Book Prize. Gabrielle’s awards and honors include a Stegner Fellowship, a Jones Lectureship at Stanford University and a Rona Jaffe Women Writers’ Award. Her poem Circus Fire, 1944 received The Paris Review’s Bernard F. Connors Prize. She teaches at the MFA programs at California College of Arts in San Francisco and at Warren Wilson College. She also runs the sports desk for the Best American Poetry Blog.

Ed Skoog (MFA, Creative Writing, University of Montana) is author of Mister Skylight, a collection of poems (Copper Canyon, 2009) and Rough Day (forthcoming from Copper Canyon), as well as many stories and poems in literary magazines such as The Paris Review, Poetry, Ploughshares, The New Republic, American Poetry Review, and Narrative. He also writes for the Los Angeles Review of Books. He has been a Robert Frost Fellow at the Bread Loaf Writers Conference and a Tennesee Williams Scholar at the Sewanee Writers Conference. His work has won awards from the William Faulkner Society and the Poetry Society of America. He was one of thirteen teachers nationwide nominated for a Distinguished Teacher in the Arts award from the National Foundation for Advancement in the Arts in 2005. He has been a writer-in-residence at the Richard Hugo House and George Washington University. He has taught poetry at Tulane, the New Orleans Center for Creative Arts, and was chair of creative writing at Idyllwild Arts Academy. He lives in Seattle.

Claudia Rankine (Special Guest) earned a BA at Williams College and an MFA at Columbia University. She has published several collections of poetry, including Don’t Let Me Be Lonely: An American Lyric (2004) and Nothing in Nature is Private (1994), which won the Cleveland State Poetry Prize. With Juliana Spahr, she co-edited American Women Poets in the 21st Century: Where Lyric Meets Language (2002) and, with Lisa Sewell, American Poets in the 21st Century: The New Poetics (2007). Her poems have been included in the anthologies Great American Prose Poems: From Poe to the Present (2003), Best American Poetry (2001), and The Garden Thrives: Twentieth Century AfricanAmerican Poetry (1996). Her play Detour/South Bronx premiered in 2009 at New York’s Foundry Theater. Claudia has been awarded fellowships from the Academy of American Poets, the National Endowment for the Arts, and the Lannan Foundation. She has taught at the University of Houston, Barnard College, and currently at Pomona College.

WRITING

SUMMER EVENTS EARLY PAYMENT DISCOUNT DEADLINES 10% off the total cost of a program if payment in full is received by March 15, 2012. 5% off the total cost of a program if payment in full is received by April 15, 2012. See page 30 for details and information regarding additional discounts for families, friends and teachers. Parks Exhibition Center

SUNDAY METALS WEEK. Lectures: Christians, Hall, McCarthy, Jemmott, O’Connor, Warg, Webb 7 p.m. Krone Library.

Youth Chamberfest Performance

MONDAY

TUESDAY

WEDNESDAY

THURSDAY

HOT CLAY. Lecture: Jeff Oestreich 7 p.m. Krone Library.

Artist Lectures: Brian Cohen, Peggi Kroll-Roberts, Ray Roberts 7 p.m. Krone Library.

HOT CLAY Lecture: Posey Bacopoulos 7 p.m. Krone Library.

METALS WEEK. Student Show. 4 p.m. Krone Library Patio.

Parks Exhibition Center Opening Reception. Hot Clay, Metals Week & Faculty. 8 p.m. Continues through July 1. Parks Center.

Parks Exhibition Center Opening Reception

FRIDAY

SATURDAY

HOT CLAY. Lecture: Linda Ganstrom 7 p.m. Krone Library.

JUNE

24 25 26 27 28 29 HOT CLAY. Lecture: Richard Burkett 7 p.m. Krone Library.

Native Artist Demonstration: Roy Talahaftewa, Hopi Metalsmith, 7 p.m. Parks Center.

Artist Lectures: Lisa Adams, Gerald Clarke, Amber George 7 p.m. Krone Library.

HOT CLAY. Lecture: Silvie Granatelli 7 p.m. Krone Library.

Native Am. Pottery Firing. Tony Soares, Cahuilla Style. 8 a.m. Kennedy Adult Arts Center Culminations. 4 p.m. Parks Center.

Parks Exhibition Center Opening Reception. Hot Clay & Faculty 8 p.m.

J U L Y 1 2 3 4 5 6 NATIVE ARTS WEEK. Trunk Show: Mata Ortiz Pottery, Oaxacan Carving & Weaving 1–4 p.m. Parks Center. Panel: Bean, Drake, Elliott, McCarthy, Sisquoc, Considering the Life & Legacy of Katherine Siva Saubel 6:30 p.m. Krone Library.

NATIVE ARTS WEEK. Lecture: Guest Artists, 7 p.m. Parks Center. Parks Exhibition Center Opening Reception. 8 p.m. Faculty Jazz Combo Concert. 8 p.m. IAF Theatre.

NATIVE ARTS WEEK. Lecture: Hank Louis, Building with Empathy: Homes on the Navajo Reservation PlusNative Food Tastings 12 p.m. Krone Library. Artist Lectures. Margaret Scanlan, Marie Thibeault, Greg Kennedy, David Delgado. 7 p.m. Krone Library.

NATIVE ARTS WEEK. Lecture: Dr. John Molina, Traditional Indian Medicine PlusNative Food Tastings 12 p.m. Krone Library. Adult Arts Center, Faculty, Staff & Associates of IAF Potluck Dinner. 5:30 p.m. Studio D.

NATIVE ARTS WEEK. Lecture: Ken Marchionno, Sandy Frank, 300 Miles, Two Weeks with Lakota Teens on the Oomaka Tokatakiya, PlusNative Food Tastings 12 p.m. Krone Library. NATIVE ARTS WEEK. Film Night: 7 p.m. Krone Library.

Children’s Open House. Multi-Arts. 2:45 p.m. Children’s Center

Native American Arts Pottery Firings. Mark Tahbo, Hopi Tewa, Jorge Quintana, Mata Ortiz 8 a.m. Kennedy Kiln Yard.

Adult Arts Center Culminations. 4 p.m. Parks Center.

Student Jazz Concert. 1 p.m. IAF Theatre.

NATIVE ARTS WEEK. Performance: Cahuilla Birdsingers, Special Guest. 7 p.m. TBA.

8 9 10 11 12 13 Artist Lectures: Dan Archer, Ron Pokrasso, Nicholas Simmons 7 p.m. Parks Center. Parks Exhibition Center Opening Reception. 8 p.m.

Poetry Reading. Gabrielle Calvocoressi, Mathew Dickman, Claudia Rankine, Ed Skoog. 7 p.m. Krone Library.

Adult Arts Center, Faculty, Staff & Associates of IAF Potluck Dinner. 5:30 p.m. Studio D.

Poetry Reading. Adult Students 7 p.m. Krone Library.

Children’s Open House. Multi-Arts. 2:45 p.m. Children’s Center Adult Arts Center Culminations. 4 p.m. Kennedy Kiln Yard.

Vocal Music Recital. 8 p.m. Stephens.

Youth Song & Dance Performance. 8 p.m. IAF Theatre.

Faculty Jazz Combo Concert. 8:30 p.m. IAF Theatre.

Children’s/Junior Artist’s Culminations. Mini-Musical. Adventures in Art. Painting & Drawing. 9:30 a.m. Filmmaking. 10 a.m. Dance Workshop. 10:30 a.m. Puppetry. 11 a.m. Theatre Adventures. 11:30 a.m. Children’s Center. Piano Workshop. 10 a.m. Stephens. Youth Art Exhibit. 10 a.m. Parks Center. Youth Computer Animation. 10 a.m. Krone Library. Youth Fiction Reading. 10 a.m. Todd Quad. Youth Piano Recital. 1 p.m. Stephens. Youth Jazz Concert. 10 a.m. IAF Theatre. Youth Jazz Concert. 1 p.m. IAF Theatre.

15 16 17 18 19 20

Youth Choir Performance

Children’s Center Multiarts Culmination

SUMMER EVENTS

Youth Theatre Festival Performance

The Pacific Trio 9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

Hopi-Tewa Pottery Firing

SUNDAY

Youth Dance Workshop

MONDAY

Cahuilla Birdsingers

TUESDAY

WEDNESDAY

Parks Exhibition Center Opening. 7 p.m.

Faculty, Staff & Associates of IAF Potluck Dinner. 5:30 p.m. Studio D.

THURSDAY

Youth Jazz Performance

FRIDAY

SATURDAY

Children’s Center Open House & Culminations. 2:45 p.m. Children’s Center

Children’s Culmination. Drawing & Sculpture. 9:30 a.m. Children’s Center.

Theatre Production. 8 p.m. JPT.

HS Wind Ensemble. 1 p.m. IAF Theatre.

Music Faculty Recital. 8 p.m. Stephens.

Youth Film Making Screening. 10 a.m. Ryan Soundstage. HS Symphony Orchestra. 3:30 p.m. IAF Theatre. Theatre Production. 8 p.m. JPT.

22 23 24 25 26 27 Symphonic Band. 1 p.m. IAF Theatre.

Student Recital: Instrumental Music. 8 p.m. Stephens.

Faculty, Staff & Associates of IAF Potluck Dinner. 5:30 p.m. Studio D.

Student Recital: Instrumental Music. 8 p.m. Stephens.

Children’s Center Open House. Multi-Arts. 2:45 p.m. Children’s Center Young Harpists Recital. 7 p.m. Stephens. Student Chamber Music Recital. 8 p.m. Stephens.

Children’s/Junior Artist’s Culminations. Fashion Design & More. Modern Art. Clay & Sculpture. The Magic of Art. 9:30 a.m. Computer Animation. Page to Stage. 10 a.m. Beyond the Mask. 10:45 a.m. Musical Theatre. 11:30 a.m. Children’s Center. Youth Art Exhibit. 10 a.m. Parks Center. Youth Fashion Show. 10 a.m. Old Dining Hall. Youth Readings. 10 a.m. TBA. Dance Culmination. 10 a.m. Fisher Studio. Acting/Directing for Camera. 10 a.m. Ryan. Symphonic Band. 12 p.m. IAF Theatre. HS Wind Ensemble. 2 p.m. IAF Theatre. HS Symphony Orchestra. 4 p.m. IAF Theatre.

AUGUST 29 30 31 1 2 3 DISTINGUISHED ARTIST CHAMBER MUSIC SERIES Pre-Concert Talk. 7:30 p.m. Stephens. Concert I 8 p.m. Stephens.

Parks Exhibition Center Opening. 7 p.m.

Faculty, Staff & Associates of IAF Potluck Dinner. 5:30 p.m. Studio D.

Adult Chamber Music Workshop Masterclass. 1:30 p.m. Stephens.

Student Chamber Music Recital . 10 a.m. Stephens.

Children’s Center Open House. Multi-Arts. 2:45 p.m. Children’s Center

Chamberfest: Chamber Orchestra 4:30 p.m. IAF Theatre

HS Festival Choir. 1 p.m. IAF Theatre.

DISTINGUISHED ARTIST CHAMBER MUSIC SERIES Pre-Concert Talk. 7:30 p.m. Stephens. Concert II 8 p.m. Stephens.

5 6 7 8 9 10 Student Recital: Vocal Music. 8 p.m. Stephens.

Student Percussion Recital. 7 p.m. IAF Theatre. Student Chamber Music Recital. 8 p.m. Stephens.

Faculty, Staff & Associates of IAF Potluck Dinner. 5:30 p.m. Studio D. Student Recital: Instrumental and Vocal Music. 8 p.m. Stephens.

DISTINGUISHED ARTIST CHAMBER MUSIC SERIES Pre-Concert Talk. 7:30 p.m. Stephens. Concert III 8 p.m. Stephens.

Children’s Center Open House. Multi-Arts. 2:45 p.m. Children’s Center Sketch Comedy Performance. 8 p.m. JPT. HS Festival Choir 8 p.m. IAF Theatre. Student Chamber Music Recital. 8 p.m. Stephens.

HS Chamberfest: Final Concert 1 p.m. IAF Theatre.

Children’s/Junior Artist’s Culminations. Improv Workshop. Art from Many Cultures. 9:30 a.m. Young Writers Workshop. 10 a.m. Shakespeare’s World. 10:30 a.m. Theatre of Myth/Folklore. 11:30 a.m. Children’s Center Youth/Jr. Artists Art Exhibit. 10 a.m. Parks Center. Acting/Directing for Camera. 10 a.m. Ryan. Fiction Readings. 10 a.m. Todd Quad. Dance Culmination. 10 a.m. Fisher Studio. Chamberfest Ch. Music 10 a.m. Stephens. Sketch Comedy Performance. 10 a.m. JPT. HS Festival Choir. 1 p.m. IAF Theatre.

HS Choir: Final Concert TBA Univ. of Redlands

Chamberfest Chamber Orchestrra. 8 p.m. IAF Theatre.

19 13 14 15 16 17

Junior Artist’s Theatre Adventures Performance summe r @ id y llwild art s . o r g

Adult Arts Center Culmination

Youth Song & Dance Performance

Artist Lecture

SUMMER EVENTS

MAPS CAMPUS MAP Water Tanks

(Bowman Arts Center)

Site of the new Housekeeping Facility

Pierson Dorm

REGISTRATION

Site of the new Maintenance Yard

IV R

67b

55 N

61b

63 58

65 5

6 10

Site of the new Theatre & Classrooms

8 7

Tennis Courts & P.E. Facilities to be sited

46. Fisher Dance Studio

1 4

DRIVE

tra

erry

C re

TOLLGATE RD. (to hwy 243)

3. Fitzgerald Jr. Players Theatre

21b

1b. Fugl Studio

Husch Hall

7. Health Center 30. Hicks Studio

26. Ataloa Visual Arts Studio

8. Holmes Amphitheatre

14. Birchard

70. Housekeeping

35. Bowman Arts Center

5. Hummingbird Hollow

59. Campus Security Office

54. HUSCH Hall

63. Cedar Classroom

36. IAF Theatre

11. Chemistry Lab

17. Meadow 6

44. Sage Classroom

21. Meadow 7

10. Schoustra Science Lab

22. Meadow 8 21b. Meadow 9

60. Sequoia (Advancement, Development)

32. Mellor Studio

2. Sherman Costume Shop

29. Millsap Studio

68. South Classroom

27. Native Arts Studio

33. SUMMER OFFICES

6b. Nelson Dining Hall

41. Spruce A & B

69. North Classroom

31. Steere Studio

47. Dance Offices

56. Krone House (Academy Admission, Alumni, Marketing)

23. Old Dining Hall

12. Krone Library

55. Oak Chalet

13. Stephens Recital Hall

48. Dorm 1

40. Lewitzky Dance Studio

24. Parks Exhibition Center

37. Studio A

39. Dorm 3

43. Lupine

50. Photography Lab

19. Studio D

38. Dorm 4

53. MacNeal Hall

9. Physics/Mathematics Lab

34. Todd Center/Bookstore

67. Eagles Nest Classroom

64. Maintenance Building

52. Pierson Hall

45. El Centro Classroom

51. Manzanita Chalet

62. Pine Chalet

66. Troy Restrooms

6. Elf Shelf

18. Meadow 1

61b. Ponderosa Classroom

58. Wayne Hall

22b. Escherich Humanities Ctr.

15. Meadow 2

57. Pool

61. Wayne Music Rooms

25. Eymann Sculpture Garden

20. Meadow 4a & 4b

49. Rush Hall

67b. Wilson Classroom

1. Film Lot

16. Meadow 5

28. Ryan Sound Stage

42. Zimmerman Log Lodge

4. Childrenâ&#x20AC;&#x2122;s Center Bowman Arts Center

D LA

HU CA

22b

13 14

15 22

12 10

APELA

67 LO

TEMECULA ROAD

Idyllwild Arts Pool

65. Troy Music Classrooms

Campus Trail

L O C AT I O N M A P

Left onto Ramona Express Way, travel 8 miles to Florida Ave. Left at traffic light onto Route 74. Fifteen miles up the

210

101

Long Beach

405

From the LA Area, through Banning: Newport Beach

Route 10 or 60 East to Banning. Take the

mountain 25 miles to Idyllwild. Continue

Beaumont

Banning

79 Ramon Va a E xp n Buren ress way 215 15

243

IDYLLWILD

Laguna Hills

215

8th St. exit to Route 243 which leads up the

Riverside

Left onto Route 243, 4 miles to Idyllwild. Left

San Bernardino

215

LOS ANGELES

mountain to Hwy. 243 at Mountain Center. on Tollgate Road., one mile to campus.

Ontario

215

Road

Right on Route 79, 8.3 miles to traffic light.

Burbank

405

Palm Springs Palm Desert

111 Idyllwild 111 Village

Hemet

Mtn. Center

ster

Route 60 Riverside, towards Beaumont.

From the Riverside Area through Hemet:

i nc

371

Temecula

Anza

1 mile through the Village. Right on Tollgate Road one mile to campus.

To Warner Springs

From the San Diego Area: 1) Hwy 15 north to Temecula. Exit Hwy 79 south toward Indio/Palm Desert. Turn left

onto Hwy 371 (Continue towards Indio/

Tahquitz Trail

Palm Desert). Left at Hwy 74, 10 miles to Hwy 243. Right 4 miles to Idyllwild. Left at Tollgate

Escondido

Road 1 mi. to campus.

SAN DIEGO

2) Route 15 north to Winchester Road. Right on Winchester Road to Route 74; right on Route 74 to Mountain Center. Left on Route

From all directions, please note:

243, 4 miles, left on Tollgate Road one mile

The campus is located at the end of Tollgate Road, just beyond a bridge. Once on campus, turn

to campus.

right at the crosswalk (Cahuilla Drive) & proceed uphill to Bowman Arts Center for registration. View from Campus

MAPS

9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

2012 SUMMER ADULT PROGRAM REGISTRATION FORM

REGISTRATION

Page 1 of 2

QUESTIONS? Contact our Registrar: (951) 659-2171 x 2365 fax (951) 659-4552 summer@idyllwildarts.org

IdyllwildARTS S u m m e r

P r o g ra m

STUDENT INFORMATION Student Name

Please type or print in ink all information. One form per student. (Photocopy additional forms if needed)

Last _______________________________________________________ First ______________________________________

SUMMER OFFICE USE

Mailing Address

Street and Number____________________________________________________________________________________

Rec’d _________________

City _____________________________________________________ State _________________ Zip _________________

Cust. # ________________

E-mail Address ______________________________________________________________________________________

Packet Sent ________________

Phone

Day

(

)_______________________________________________________

Evening

)__________________________________ Sch. App. Sent _____________

(

Mat’ls List Sent ____________

Date of Birth (optional)_________________ Sex______________

CLASSES DESIRED $225 Deposit required for each class. (Please note: Tuition includes lunch for all adult students.)

Course Title__________________________________________Course Code___________________ Dates________________________ Cost_________________

Housing & Meal Plans (see below for description)

Cost_________________

Course Title__________________________________________Course Code___________________ Dates________________________ Cost_________________

Housing & Meal Plans (see below for description)

Cost_________________

Course Title__________________________________________Course Code___________________ Dates________________________ Cost_________________

Housing & Meal Plans (see below for description)

Cost_________________

Sub-Total:_______________

ADULT HOUSING AND MEAL PLANS (See page 3 for information)

Double Room (includes meals)

(A) $520 per week

(B) $310 per three days

Roommate Request Name (Adult Students Only)__________________________________________________________________________________

Private Room (includes meals)

D) $450 per three days

Meals Only

(E) $90 per week-Dinner Sunday thru Breakfast Saturday

TRANSPORTATION (See page 2 for information)

A form will be sent to confirm your reservation. Transportation is available from Ontario International Airport and Palm Springs Airport ($125 each way).

Transportation Needed:

One way

Both ways

Amount:_______________

Non-refundable Application Fee:

$25

Please do not apply any discounts to the total. Discounts will be reflected in your bill. TOTAL:_______________

I have enclosed the non-refundable $25 application fee & the non-refundable $225 deposit for each course ($25 penalty for returned checks/refused credit charges)

METHOD OF PAYMENT

I have enclosed a check. Check #_________________________

VISA

MasterCard

Am. Ex.

Discover

Please charge my credit card. Amount to be charged $______________________ Card #___________________________________________ Expiration Date_____________

Name as it appears on card_________________________________________________Signature______________________________________________________

PLEASE COMPLETE THE BACK OF THIS FORM AND MAIL WITH YOUR DEPOSIT TO: Registrar, Summer Program • Idyllwild Arts • P.O. Box 38 • Idyllwild, CA 92549-0038

Registration and Fee Payment All applications must be accompanied by the completed registration form, the $25 application fee, and a non-refundable $225 deposit for each course chosen to ensure class placement. The $225 is applied toward tuition. You may also register by phone using your VISA, MasterCard, American Express or Discover Card: 951-659-2171 x2365. The balance of all tuition, room and board fees will be due in full at least 30 days before class begins. A late registration fee of $50 will be added to all accounts which are past due. All past due accounts will be turned over to a collection agency after September 30, 2012. Please make every effort to register as early

summe r @ id y llwild art s . o r g

as possible so you will receive your registration packet in time to complete and return any necessary forms. For late registrants, class placement cannot be guaranteed until payment in full is received by Idyllwild Arts. Enrollment is automatically confirmed upon full payment of fees. Your cancelled check or credit card bill is your receipt. Upon receipt of the registration form and fee, a packet of registration materials will be mailed to you.

Refunds The Summer Program’s planning, hiring, purchasing and related expenses are directly determined by the number of enrollments received in the early Spring. Therefore, no

refunds are made for early withdrawals, student cancellations or no-shows (regardless of accident, illness, or change of plans) except as follows.

Idyllwild Arts is not able to apply non-refundable payments to a future summer program. There are no exceptions to this policy.

1) All fees, minus the $25 application fee are completely refundable up to 90 days before a class is scheduled to begin. 2) If a student withdraws more than 30 days prior to a scheduled class, all minus the $25 application fee and $225 deposit will be refunded upon written request. No refunds of any kind will be made less than 30 days before a class is scheduled to begin. 3) If Idyllwild Arts cancels a class, all fees are refundable in full.

APPLICATION/REGISTRATION/REFUNDS

IdyllwildARTS S u m m e r

2012 SUMMER ADULT PROGRAM REGISTRATION FORM Page 2 of 2

P r o g ra m

PLEASE COMPLETE THE REMAINDER OF THE FORM IN ORDER FOR YOUR REGISTRATION TO BE PROCESSED

Student Name

Last _______________________________________________________ First ______________________________________

In signing this application, I acknowledge that I have read the policies of Idyllwild Arts as noted in the catalog including the sections relating to payment of fees and refunds, and agree to abide by them. I understand that I am solely responsible for all medical expenses incurred by me while enrolled in the Idyllwild Arts Summer Program. Consent is hereby given for the applicant, while a student at Idyllwild Arts, to participate in radio and television programs without compensation and for photographs taken at Idyllwild Arts to be used in campusapproved publicity. ____________________________________________________________ ____________________________________________________ ________________________________

Signature of Student

Signature of Parent/Guardian if student under 18 years of age

Date

Please list the names and addresses of friends you have who would like to receive a Summer Program Catalog.

_________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________ I would like to receive information about the Idyllwild Arts Academy. (See page 31 of this catalog for a brief description of the Academy.)

DISCOUNT PROGRAMS Please complete the following to be assured the correct discount is credited to you. (See this page for information.)

Early Payment of Fees: (Fees must be received in full in order for discount to apply)

Family Discount: Other Family Members Attending

March 15–10% discount

April 15–5% discount

____________________________________________________________ ____________________________________________________ ________________________________ Name Program Dates ____________________________________________________________ ____________________________________________________ ________________________________ Name Program Dates

School/Teacher Discount: School/Teacher Name_____________________________________________________________________ List other Teachers attending:

Bring a Friend:

a) Name(s) of student(s) I have referred to the Summer Program. Please be sure that any students you have referred to Idyllwild Arts list you in part (b) of their application. Credit cannot be applied to your account until Idyllwild Arts has received your friend’s application with you listed in part (b). ____________________________________________________________ ____________________________________________________ ________________________________ Name Program Dates ____________________________________________________________ ____________________________________________________ ________________________________ Name Program Dates

b) Name of student who referred me to the Summer Program—one name only. Must be completed to insure credit to referring student.

____________________________________________________________ ____________________________________________________ ________________________________ Name Program Dates

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Discounts/Credits Idyllwild Arts offers students the following options to reduce the cost of attending the Summer Program. They are applied to the total cost of a program: tuition, housing, meals, lab fees, and transportation. They cannot be applied to room deposits or key deposits. Early Payment Discount 10% off the total cost of a program if payment in full is received by March 15, 2012. 5% off the total cost of a program if payment in full is received by April 15, 2012. 1) Any changes or additions to enrollment made after the Early Payment deadline are subject to the full price. 2) Students choosing the Early Payment option are not eligible for scholarships.

APPLICATION/DISCOUNTS

Family Discount Two or more members of the same immediate family qualify for a reduction of $50 per person per week.

1985–2011 are eligible. 2) A new student can be claimed by only one returning student.

1) Family members are not required to attend at the same time.

3) Does not apply to immediate family members of returning students. (see Family Discount)

2) Not available to students choosing the School/Teacher Discount.

4) Not available to weekend registrants.

3) Not available to weekend registrants. Bring a Friend Receive credit of $50 per new student—one who has not attended the Summer Program previously—you bring to the Summer Program, up to half the total cost of your stay at Idyllwild Arts. 1) Students who attended during the summers

2) Fees for the workshop must be paid at the time of registration. 3) Available on a limited basis.

Teacher and Student Discount If there is space available in a workshop 30 days before it begins, teachers (K–12, currently employed, full time) and current college/ university students (full time) may enroll at 50% off of tuition. 1) Available only to week-long workshop registrants.

9 5 1 - 6 5 9 - 2 1 7 1 x2 3 6 5

YOUTH PROGRAMS

Your life in the arts begins with ...

For detailed information about the children and teenage summer programs, please visit us online or contact us to request a Youth Catalog. website: www.idyllwildarts.org phone: 951-659-2171, ext. 2365

IdyllwildARTS ACADEMY

FAMILY CAMP (all ages) CHILDREN’S CENTER Multiarts Day Program (ages 5–8) Specialized Programs (ages 9–12) DANCE Dance Explosion

Idyllwild Arts Academy is

FILM Collaborative Filmmaking

America’s finest boarding

MUSIC Piano Workshop

high for the arts. The Academy offers pre-

THEATRE Beyond the Mask Mini-Musical Theatre Puppet Anarchy Theatre of Myth and Folklore

professional training in Creative Writing,

VISUAL ARTS Adventures in Art Art From Many Cultures Drawing & Sculpture Modern Art, Clay & Sculpture

Dance, Filmmaking, Interdisciplinary Arts, Music, Theatre and Visual

WRITING From Page to Stage

Arts along with rigorous

JUNIOR ARTIST’S CENTER (ages 11–13)

college preparatory

THEATRE Improv Workshop Mini-Musical Theatre Musical Theatre Shakespeare’s World Theatre Adventures

academics.

VISUAL ARTS Ceramics Workshop Computer Animation Fashion Design, Art & More Magic of Art Painting & Drawing Photography Workshop

For information: admission@idyllwildarts.org or 951-659-2171 ext. 2223

WRITING Young Writer’s Workshop

Visit: www.idyllwildarts.org

YOUTH ARTS CENTER (ages 13–18) COMPUTER ARTS Computer Animation DANCE Dance Workshop Song and Dance FILM Acting for the Camera Directing for the Camera Filmmaking MUSIC Symphonic Band HS Symphony Orchestra HS Wind Ensemble HS Chamberfest Festival Choir Harp Workshop Jazz Workshop Piano Workshop Song and Dance THEATRE Acting for the Camera Directing for the Camera Sketch Comedy Song and Dance Summer Theatre Festival VISUAL ARTS Art Exploration Ceramics: Clay Works Drawing & Painting Drawing & Painting Master’s Class Fashion Design Jewelry Workshop Photography: Black & White Photo Explorations Site-Specific Sculpture WRITING A Fiction Workshop Graphic Novel Poetry Workshop

summe r @ id y llwild art s . o r g

IDYLLWILD ARTS FOUNDATION The IAF is a non-profit corporation, founded (in 1946 as a summer center in the arts) on the premise that the arts provide a common language and that participation in the arts can not only enrich lives but can change lives. The Foundation now operates two programs: the Summer Program – in its 63rd year of providing classes in the arts for all ages and abilities, and the Academy – an independent boarding high school established in 1986 for students talented in the arts. Summer Program

Academy

Idyllwild Arts welcomes your support

• Eight-week season

• Co-educational, 295 students (42% international), grades 9–12 and postgraduate

Our Summer and Academy programs (and financial aid awards for eligible students) are made possible with the help of gifts from friends like you.

• 1600 students ages 5 to adult • Over 100 intensive hands-on workshops in creative writing, dance, music, theatre, visual arts, Native American arts • Family Camp • Adult Theme Weeks: Hot Clay, Metals Week, Native American Arts Festival • Professional artist-teachers • 30% of participants attending a Summer Program workshop received financial aid in 2011– totaling nearly $650,000

• Pre-professional training in creative writing, dance, filmmaking, interdisciplinary arts, music, theatre and visual arts • Students selected by audition or portfolio evaluation • Comprehensive college preparatory academic curriculum • Academy graduates are sought by the finest colleges, conservatories and universities in the country • Over 55% of students receive some amount of financial aid – totaling nearly $5,400,000

To make a gift, or for further information regarding gifts, contact: Idyllwild Arts Foundation Advancement Office P.O. Box 38 Idyllwild CA 92549-0038 951-659-2171 ext. 2330 advancement@idyllwildarts.org www.idyllwildarts.org

YOUTH INFORMATION/ARTS ACADEMY/IAF FOUNDATION

IDYLLWILD ARTS FOUNDATION

CERAMICS Ceramics: The Ways of Clay Hot Clay Week The Figure Focus on Form/Soda Glazes Demystified Majolica Painted Pots Porcelain Tableware

Non-Profit Organization U.S. Postage

P.O. Box 38 Idyllwild, CA 92549

PAID

Idyllwild Arts Foundation

JEWELRY Dimensional Forming Exploring Art Clay Copper Foundology Metals Week ChamplevĂŠ Enamel Etching Examining the Brooch Found Objects Soldering Bootcamp Stone Setting MIXED-MEDIA Artist ASAP BOOK ARTS Artist Book Strategies Assemblage Fiber Collage Marbling on Paper/Fabric Pastel Art Journaling MUSIC

Chamber Music Workshop

NATIVE ARTS Cahuilla Style Pottery Hopi Basketry Hopi Jewelry Native Arts Festival Cahuilla Basketry Hopi Tewa Pottery Mata Ortiz Pottery Native American Cuisine Native American Flutes Native Plants Navajo Inlay Jewelry Navajo Weaving

PAINTING/ DRAWING

Drawing Intensive Drawing/Painting As Meditation Encaustic Painting The Figure & Still Life Painting Now: Color & Meaning Plein Air Pastels Portraits Representation To Abstraction WaterCOLOR Watercolor Unleashed

PRINTMAKING Drypoint Etching Encaustic Monoprinting Beyond Monotype Woodcut Printmaking SCULPTURE

Felted Wool Sculpture Welded Steel Sculpture

WRITING

Graphic Novel Liars Way: A Fiction Primer Memoir/Creative Nonfiction Poetry Camp

Idyllwild Arts

Wo rk s h o p s f o r A d u l t s

One to Six Day Intensive Workshops for Adults Including the Native American Arts Festival, Hot Clay. and Metals Week (Children & Youth Course Catalog published separately-see information on page two for details) MasterCard, VISA, Discover, & American Express accepted Visit our website: w w w . i d y l l w i l d a r t s . o r g