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SUMMER PROGRAM 2014 Workshops for Adults

HANDS-ON

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

Page

WKND

7/7–11

WKND

6/30–7/4

WKND

6/23–27

WKND

Please see course descriptions for exact dates and durations.

TA B L E O F CO N T E N TS 6/16–20

S C H E D U L E O F A D U LT C L A S S E S &

CERAMICS

Ceramics: The Ways of Clay

Hot Clay

Exploring the Altered Vessel

The Figure

The Painted Pot: Surface Tension

Cone 6: Exciting Glazes & Surfaces

Lively Pots: Form, Surface & Soda Firing JEWELRY/METALS

Forming, Forging & Finishing

Three Ring Circus

IDYLLWILD ARTS The School Mission 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. 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.)

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 1,800 adults and children attend the Idyllwild Arts Summer Program. The Summer Program is comprised of: • Adult Arts Center (This Catalog) • The Children’s Center (ages 5–12) (See separate Youth Program Catalog)

Metals Week

Architecturally Inspired Jewelry

Articulated Panel Bracelet

Bespoke Enamel Decals

Steel for Jewelers: From Ferrous to Fine

Textures

Working Jewelry MIXED-MEDIA/BOOK ARTS

Assemblage I: Wand of Protection

Assemblage II: Myth-ing in Action

Exploring Book Arts Through Cartography

Collaging the Translucent

Mythological Icons: Atypical Aphrodites NATIVE AMERICAN ARTS

Chumash Stone Carving

Navajo Inlay Jewelry

Cahuilla Style Pottery

Native American Flutemaking - Beginning & Intermediate

Native American Arts Festival

Northwest Coast Cooking & Food Culture

Native Plants: Contemporary and Traditional Uses

Cahuilla Basketry

Haida Basketry

Navajo Weaving I & II

Hopi Jewelry: Overlay & Tufa Casting

Hopi Tewa Pottery

Santa Clara Pottery

PAINTING/DRAWING 19

Advanced Drawing Intensive

Drawing Without Fear

Encaustic Painting

Experiential Drawing & Watercolor

Painting the Figure

• Junior Artist’s Center (ages 11–13) (See separate Youth Program Catalog)

Plein Air Painting

From Representation to Abstraction

• The Youth Arts Center (ages 13–18) (See separate Youth Program Catalog)

Unleashing Color

Watercolor Untamed

• Family Camp (All ages) (See separate Youth Program Catalog) We offer two catalogs, one for adults and one for children, teenagers and families. This catalog contains program information for adults. To request a Youth Catalog please call: 951-659-2171 ext. 2365 or visit www.idyllwildarts.org

PHOTOGRAPHY 22

Digital Photography & Beyond PRINTMAKING

Chiaroscuro Woodcut

Monotype SCULPTURE

Glass Blowing

Introduction to Sand Casting: In Bronze & Aluminum WRITING

GENERAL INFORMATION Campus Facilities & Services...........................................3 Daily Schedule.....................................................................3 Discounts/Credits............................................................ 30 Events Schedule ....................................................... 26, 27 Fee Payment/Refunds.................................................... 29 Helpful Weblinks.................................................................4 Housing and Meals............................................................3 Location/Transportation..................................................3 Maps (Location & Campus).......................................... 28 On Campus Activities for Adults...................................3 Registration Form..................................................... 29, 30 Things to do in Idyllwild ..................................................4 Idyllwild Arts Academy Information....................... 31

SCHEDULE/CONTENTS

The Art of Writing Fiction: Making It Up

Writing Memoir

Screenwriting

Poetry Week

New Poems

Towards A Book

Sn M

T W Th F

JUNE 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22/29 23/30 24 25 26 27 28

Sn M

T W Th F

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 JULY

Sn M

T W Th F

AUGUST 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24/31 25 26 27 28 29 30

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

USA CA A NI OR LIF

Los Angeles

IDYLLWILD San Diego

LOCATION & TRANSPORTATION Location Strawberry Valley view to Tahquitz Peak

HOUSING & MEALS On-Campus Housing Residence Halls: Modest dormitory rooms with twin or bunk beds accommodate one or two adults. Each dorm room has its own bathroom. Rates include 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 $535 per person per week $325 per person for three days Parks Exhibition Center Opening Reception

Adult Student Culmination

STUDENT LIFE

On-Campus Activities for Adults

Workshops 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 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. Evening events and activities take place throughout the week.

Each evening there are activities taking place throughout campus (see the Summer Events Calendar on 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:

Tuesday–Faculty artist slide lecture or Poetry Reading

Off-Campus Housing

There will be other events scheduled each week that all students are invited to attend, including lunchtime lectures during the Native American Arts Festival Week (June 29–July 5). 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.

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.

Parks Exhibion Center

The art studios include numerous indoor and outdoor facilities. Exhibition areas include the Parks Exhibition Center and the Eymann Sculpture Garden.

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 International Airport to Idyllwild. Arrangements must be made in advance. Please see transportation information section of the Registration Form on page 29.

Residence Hall accomodations are not available for weekend workshop participants. Please see the Off-Campus Housing information below. Please note: Quiet hours are 10 p.m.–8 a.m. Smoking is prohibited in all campus facilities. No pets are allowed.

Wednesday–Potluck and Barbeque at Studio D for all adult students, faculty members and school community members.

Our 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.

Residence Hall check-out time is 10 a.m. on Saturday.

Monday–Parks Exhibition Center reception: Faculty Art Show and Artist demonstration/ presentation

Friday–Adult student art show

Nelson Dining Hall

b. Private room & meals (limited availability) $745 per week $465 per person for three days

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.

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.

Parks Exhibiton Center

See page 4 for additional information.

Meals 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.

Kiln Firing Celebration

(Due to the large volume of students on campus, special diets cannot be accomodated.) The school also offers a snack bar which operates on a cash basis beginning June 30. Sandwiches, snacks and soft beverages are available from 11:30 a.m. to 7:30 p.m. daily.

Performance halls include the IAF Theatre, Stephens Recital Hall, Holmes Amphitheatre, and Junior Players Theatre among others.

Please note: At the time this catalog was printed, every effort was made to assure its accuracy. In keeping with our commitment to individual and timely needs of students and faculty, however, we reserve the right to make changes in faculty, courses, schedules, tuition and policies.

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.

For the most current information, see our website www.idyllwildarts.org/summer. 2013 Photographer: Paula Harding.

Kennedy Kiln Yard su mme r@ i d y l l w i l d a r t s. org

Faculty, Staff & Adult Student Potluck

THE PROGRAM

YOUTH PROGRAMS

CERAMICS Ceramics Workshop: Ways of Clay........................... 7 Greg Kennedy & David Delgado

For information about the following programs, visit us online or contact us to request a Youth Catalog. Visit: www.idyllwildarts.org Phone: 951-659-2171 x2365

Hot Clay Week I.............................................................. 5 Exploring the Altered Vessel............................... 5 John Oles

FAMILY CAMP (all ages)

The Figure.................................................................. 6 Patti Warashina

CHILDREN’S CENTER Multiarts Day Program (ages 5–8)

The Painted Pot........................................................ 6 Michael Corney

Specialized Programs (ages 9–12) DANCE Dance Explosion

Hot Clay Week II............................................................. 6

FILM Collaborative Filmmaking

Cone 6: Exciting Glazes & Surfaces................... 6 Margaret Bohls & Richard Burkett

MUSIC Piano Workshop THEATRE Acting for the Camera Mini-Musical Theatre Theatre of Myth & Folklore VISUAL ARTS Adventures in Art Art From Many Cultures Drawing & Sculpture Modern Art/Clay/Sculpture WRITING From Page to Stage

JUNIOR ARTIST (ages 11–13) THEATRE Mini-Musical Theatre Musical Theatre Shakespeare’s World Theatre Adventures VISUAL ARTS Ceramics Workshop Computer Animation Fashion Design, Art & More Magic of Art Painting & Drawing Photography Workshop WRITING Young Writer’s Workshop

YOUTH ARTS (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 Songwriting THEATRE Acting for the Camera Directing for the Camera Song and Dance Summer Theatre Festival Theatre Arts Summer Intensive VISUAL ARTS Art Exploration Ceramics: Clay Works Drawing & Painting Drawing & Painting MC Fashion Design Jewelry Workshop Black & White Photography Photo Exploration RE: Mix WRITING A Fiction Workshop Poetry Workshop

THE PROGRAM/CERAMICS

Lively Pots: Form, Surface & Soda..................... 7 Gay Smith

The Village of Idyllwild

ABOUT IDYLLWILD

SEE ALSO

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.

Cahuilla Style Pottery.................................................18 Tony Soares Hopi-Tewa Pottery.......................................................18 Mark Tahbo Santa Clara Pottery.....................................................18 Nathan Youngblood

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.

Trail Junction

Lodging 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. Motels and Inns Apple Blossom Inn......................... 951-659-4861 Bluebird Cottage Inn.................... 951-659-2696 Creekstone Inn................................ 800-409-2127 Fern Village Chalets....................... 951-659-2869 Fireside Inn....................................... 877-797-3473 Grand Lodge.................................... 951-659-2383 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............................... 800-450-1516 Rainbow Inn..................................... 951-659-0111 Silver Pines Lodge.......................... 951-659-4335 Strawberry Creek Inn.................... 800-262-8969 Strawberry Creek Bunkhouse......... 888-400-0071 Wilder Cabins.................................. 951-659-2926 Woodland Park Manor................. 877-659-2657 Cabins and Homes Idyllwild Mtn. Rentals................... 951-659-5349 Idyllwild Vacation Cabins............ 951-659-5444 Idyllwild Vacation Rentals........... 800-297-1410 Camping Idyllwild County Park.................... 800-234-7275

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

Things to do in Idyllwild 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 and bicycling. Horseback riding and fishing are available within 20 minutes from campus. Bring the whole family!

Helpful Weblinks www.idyllwildarts.org www.towncrier.com www.idyllwildherald.com www.idyllwildjazz.com www.greencafe.com www.idyllwild.me www.artinidyllwild.com

HOT CLAY June 15–28, 2014

Posey Bacopoulos, 2012

John Oles, Altered Bowl

WEEK I Exploring the Altered Vessel

John Oles June 15–21

Course # AACR ØØA1

Six-day session

Richard Burkett, 2012

HOT CLAY EVENTS OPEN TO THE PUBLIC Jeff Oestreich, 2012

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, Christa Assad, Posey Bacopoulos, Lesley Baker, Tom Bartel, Mary

Week 1 MONDAY, JUNE 16 7 p.m. Lecture: Patti Warashina 8 p.m. Artists Reception. Hot Clay & Visiting Faculty Show Parks Center TUESDAY, JUNE 17 7 p.m. Lecture: Michael Corney

Kay Botkins, Jason Burnett, Lisa Clague, Sunshine Cobb, Cynthia Consentino, Patrick Crabb, Debra Fritts, Linda Ganstrom, Rosette Gault, Arthur Gonzalez, Silvie Granatelli, Glenn Grishkoff, Martha Grover, Stephen Horn, Jeff Irwin, Paul Lewing, Joe Molinaro, Lisa Orr, Jeff Oestreich, Terry Rothrock, Esther Shimazu, Neil Tetkowski, James Tisdale, Geoff Wheeler, and Lana Wilson.

OVERVIEW Coordinator: Richard Burkett • Hands-On Workshops and Open Studios • Demonstrations and lectures presented by all faculty

THURSDAY, JUNE 19 7 p.m. Lecture: John Oles Week 2 SUNDAY, JUNE 22 7 p.m. Lecture: Margaret Bohls MONDAY, JUNE 23 8 p.m. Artists Reception. Parks Center WEDNESDAY, JUNE 25 7 p.m. Lecture: Gay Smith THURSDAY, JUNE 26 7 p.m. Lecture: Richard Burkett

• Critiques and feedback • Exhibits of faculty work 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 16 and 23.

Hot Clay Exhibition

This workshop is designed for those who seek to expand their vocabulary of ceramic forms and techniques, break out of a rut, or inject some new energy into an uninspired studio practice. We will explore such techniques as stretching, altering and darting to create unique pieces based on traditional pottery forms, and the use of carved stamps to apply texture. Inspiration for form and surface can be drawn, literally, from both natural objects and the human figure, alike. We will investigate drawing as a continuous component in the ongoing creative process. Whether you’re a Picasso or a Pollock, we will use drawing to inspire ideas for form and surface, from quick-and-dirty sketches to a life drawing session from a live model. Daily exercises include demonstrations of throwing and altering techniques, discussion and presentation on sources of inspiration, and informal critique of work in-progress. Work from the beginning of the week will have the opportunity to be glazed and fired to cone 10 in a gas kiln, while pieces finished later in the week may be bisque-fired only to encourage further exploration of form, surface, and inspiration in the sculptural and/or functional vessel. Skill Level: Beginners capable of pulling a 7” cylinder and Intermediate students. Materials: A complete materials list will be sent upon registration. Tuition: $725 Lab fee: $60 Enrollment limited to 10 students. JOHN OLES is a studio artist in New Orleans. His work can be found in several group and solo shows around the country, including the Ogden Museum of Southern Art, the 21st Annual Strictly Functional Pottery National, and the Carol Robinson Gallery. From 2008-2013, John taught ceramics at Loyola University and currently teaches at Tulane University. He has been a Visiting Artist at many prominent ceramics programs around the country, including Hartwick College, Louisiana Tech, UNC Asheville, and Harvard University. www.jolesart.com

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

John Oles, Jars su mme r@ i d y l l w i l d a r t s. org

CERAMICS

Richard Burkett, Cups

WEEK II Cone 6

Exciting Glazes & Surfaces Margaret Bohls & Richard Burkett June 22–28

Course # AACR ØØB1

Six-day session Patti Warashina, Feathered Harrassment Patti Warashina, A Red Figure

Richard Burkett, untitled

Students will bring bisque pots to decorate and glaze and will also have the opportunity to make pots during the workshop. A free copy of HyperGlaze glaze software will be provided for all students in this class.

Patti Warashina, Lunar Affair

Approaching a Clay Narrative

Skill Level: Intermediate

The Figure

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

Patti Warashina June 15–21

Course # AACR ØØA2

Tuition: $725 Lab fee: $65 Enrollment limited to 9 students.

Six-day session Social, political, and personal humorous narrative have been the focus and subject of Patti Warashina’s figurative clay sculpture for the past 50 years. This is a rare opportunity to work with a pioneering artist, known for her unparalleled contribution to the world of ceramics. In this workshop, participants will be encouraged to explore their own personal experiences and narratives in clay, working with Patti to build figurative sculpture. She will share her powerful techniques for clay sculpture, including slab building, pinching, and molds. She will construct a figure, as well as other abstract forms, demonstrating a variety of techniques and methods for efficiently building hollow forms. Patti will also demonstrate how she uses underglazes and glazes to complete her work. Slideshows and various videos will augment the demonstrations and reveal her artistic evolution in clay. Skill Level: Basic clay handbuilding skills, intermediate level recommended.

Michael Corney, Face Cup

Michael Corney, Small Vase

Surface Tension

The Painted Pot Michael Corney June 15–21

Tuition: $725 Lab fee: $65 Enrollment limited to 10 students.

This fast-paced class is designed for those who would like to expand their range of surface treatments beyond the use of glaze alone. We will focus on brush painted ceramic stains and underglazes in combinations with glazes to create controlled pictures and pattern. Once the palate is established we will turn to the important and often-neglected aspect of painted ceramics–what do I want/have to say? Learn to develop your visual language to express your political, personal or social beliefs.

from the University of Washington, where she later went on to teach for 25 years; she retired in 1995. She is an American Craft Council “Fellow”, has received the Twining Humber Lifetime Achievement Award, the University of Washington Distinguished Alumnus Award, the Governor’s Award of Special Commendation for the Arts, and two NEA Awards. Her work is included in national and international collections, including The Smithsonian, Museum of Art and Design, NYC, and LA County Art Museum.

MARGARET BOHLS teaches ceramics at the University of Nebraska in Lincoln. She has been teaching glaze chemistry at art centers and universities for the last 10 years. Her work has been shown in over 100 group and solo exhibitions since 1995 and is included in the permanent collections of the Minnesota Museum of American Art, the American Museum of Ceramic Art. She has written articles for Pottery Making Illustrated, and her ceramic work has been featured in both Ceramics Monthly and Studio Potter Magazine. www.margaretbohls.com RICHARD BURKETT has over 40 years of experience in ceramics, loves to make pottery and sculpture, and has studied ceramics around the world. He has made soda and salt-fired work during his entire career. Burkett is the author of HyperGlaze glaze software and the coauthor of the 6th edition of Ceramics: A Potter’s Handbook. He is currently Professor of Art-Ceramics at San Diego State University. www.richardburkett.com

Michael Corney, Small Vase

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

PATTI WARASHINA earned her BFA and MFA

A happy medium between high-fire and low-fire, cone 6 offers a wide range of decorating possibilities. In this class students will be given an overview of glaze chemistry as it applies to mid-range firing, and some simple strategies for developing a personal glaze palette. We will also work with texture, underglaze, in-glaze, and over-glaze decoration, and explore the use of resist and glaze layering to create more complex surfaces.

Course # AACR ØØA3

Six-day session

Daily activities will include: demonstrations of the use of stains, underglaze application and glaze color development, testing of colors and exercises designed to generate your ideas into visual terms. Michael is well-known for painting on slipcast forms, so he will also demonstrate his process for creating simple slip cast molds. Students will complete several sample pieces using the various techniques they’ve learned in the workshop, and will have the technical skills and confidence to continue developing these in their own studios.

Michael Corney, Story Jar

Skill Level: Advanced-beginner to Advanced. Materials: A complete materials list will be sent upon registration. Tuition: $725 Lab fee: $65 Enrollment limited to 10 students. MICHAEL CORNEY is a teacher and studio potter currently living in northern San Diego County. He received his BA degree from CSU, Fullerton, and went on to complete a MFA degree at Cranbrook Academy of Art in Michigan. Michael has taught workshops at Anderson Ranch, Penland School of Crafts and Santa Fe Clay, and participated in shows at Santa Fe Clay, NM, Northern Clay Center, MN, The Schaller Gallery, MI, and Akar Design Gallery IA. His work is in the permanent collections of The Fine Arts Museums of San Francisco, The Ceramic Research Center at Arizona State University Museum, the Racine Museum of Art and the Boise Museum of Art. www.michaelcorney.com

Margaret Bohls, Leaf Cup & Saucers

Margaret Bohls, Cruet Set

CERAMICS

951-659-2171x2365

J E W E L RY / M E TA L S

H OT C L AY Forming, Forging & Finishing.................................10 Deborah Jemmott Three-Ring Circus.......................................................10 Richard Salley & Jessica Jordan Metals Week.................................................................... 8 Architecturally Inspired Jewelry........................ 8 Harold O’Connor Articulated Panel Bracelet................................... 9 Pauline Warg

Gay Smith, Stacking Bowls

Bespoke Enamel Decals........................................ 9 Elise Preiss Steel for Jewelers: Ferrous to Fine.................... 9 April Wood

The Ways of Clay

Ceramics Workshop

Textures.....................................................................10 Charity Hall

Greg Kennedy & David Delgado June 30–July 11

Course # AACR Ø1-Ø2

Greg Kennedy

Two-week session 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.

Gay Smith, Dinnerware

Gay Smith, Cache Pot

Lively Pots

Form, Surface & Soda Firing Gay Smith June 22–28

Course # AACR ØØB2

Six-day session In this workshop we will explore ways to make lively, exciting pots. We’ll start with glazing bisqued pieces you bring to fire in the soda kiln. Then we’ll work with freshly thrown pots, altering form and surface with emphasis on making lively looking pots and improving practical skills. Everything from squaring, ovaling, fluting, faceting, altering lidded forms, feet and handles to basic throwing techniques will be on offer. Form and surface treatments, including slips and glazes that are particularly responsive to the effects of soda firing, will be covered. We’ll engage in lively conversations ranging over our interests and artistic passions, technical questions, developing a personal aesthetic, raw glazing, single firing, and soda firing. Skill Level: Basic wheel throwing skills, and ability to make/bring bisqued pots made of cone 10 clay. Materials: A complete materials list will be sent upon registration. Tuition: $725 Lab fee: $70 Enrollment limited to 10 students.

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. Skill Level: All levels welcome. Tuition: $725 per week Lab fee: $35 per week (Includes clay-150 lbs. of clay per student-and firing costs.) Enrollment limited to 10 students per week.

Working Jewelry....................................................10 Sarah Doremus

SEE ALSO Hopi Jewelry.................................................................16 Roy Talahaftewa Navajo Inlay Jewelry..................................................17 Richard Tsosie

David Delgado

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 29th 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 and potter living and working in Oakland, California. Originally from Southern California, David moved to Oakland to study Sculpture at the California College of the Arts, where he received a BFA in Sculpture in 2011. This will be David’s ninth year working with the Idyllwild Arts Summer Program.

GAY SMITH (Gertrude Graham Smith), is a studio potter and teaching artist single firing porcelain ware in a soda kiln near Penland, NC. Artist-inresidencies include Archie Bray Foundation and Penland School. She’s taught at Haystack, Penland, Harvard, and the Findhorn Foundation. Her work is represented internationally, is in collections including the Mint Museum in Charlotte, NC, and Yingge Ceramics Museum in Taiwan, and she has been featured in Ceramics Monthly. Her work can be viewed in publications including Making Marks and Functional Pottery by Robin Hopper, and Working with Clay by Susan Peterson. Grant awards include a North Carolina Visual Artist Fellowship, and two Regional Artist Project Grants. www.gertrudegrahamsmith.com

Greg Kennedy, Artist Lecture su mme r@ i d y l l w i l d a r t s. org

CERAMICS/JEWELRY

METALS WEEK June 15–19, 2014

Harold O’Connor, Pin

Fred Zweig, 2013

Harold O’Connor, Japanese House Ring

Metals Week Culmination, 2013

Architecturally Inspired Jewelry

Harold O’Connor June 15–19

Course # AAJW ØØA

One-week session This class will use a wide range of techniques to create work inspired by architecture. Starting with photos or sketches of your favorite architecture (Ancient or Modern) you will use elements of architectural works by such icons as Antonio Gaudi or Frank Gehry as inspiration to design and create rings and brooches. Instruction will be given in the following topics: • Creasing/Folding • Efficient Layout/Soldering Methods • Making Soldering Jigs

Pauline Warg

• Setting up Hollow Forms for Soldering

OVERVIEW

• Creating Corrugated metal sheet

Coordinator: Deborah Jemmott

• Beginning Silver granulation • Laminating copper/silver bi-metal sheet

Metals Week is designed to be a

• Making and reticulating shibuichi

week of creative and social renewal where you can relearn how to be

In addition, we will cover tools that make jewelry work more efficient and learn methods of finishing to obtain the final look of a professional piece.

Richard Salley, Rings

open to learning and seeing from

Metals Week Potluck & Auction

a creative perspective. You will be

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

working with master instructors in an environment that encourages opportunities to test ideas, try new techniques and create work as well as network and exchange ideas with other jewelers & metalsmiths.

Skill Level: Basic fabrication and soldering skills required.

Deb Jemmott, Serenity

Whether you come to learn 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 15 and run through Thursday, June 19. You will have the opportunity to work with one

Betty Helen Longhi, 2013

Other activities during the week include: • Exhibition of faculty work and opening reception

of six outstanding jewelers/metalsmiths – but in addition, you will have the

• Faculty slide show & lectures

opportunity to sign up for two lecture/demos from other instructors teach-

• Potluck dinner

ing during the week. This is a time for you to attend a lecture/demo, examine

• Auction

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

• End-of-the-week student exhibition

Tuition: $725 Lab fee: $45 (Includes the use of all tools, equipment, and consumables such as solder and compounds.) Students are encouraged to bring their own metal and tools–but they must be clearly marked. 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, 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 Techniques. His work is included in the public collections of 16 museums including: Smithsonian Institution, Metropolitoan Museum of Art, Boston Museum of Fine Arts; National Ornamental Metal Museum, Memphis, Koch Collection, Switzerland; and the Victoria & Albert Museum, London, England.

you have chosen.

JEWELRY

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Elise Preiss, First Step

Bespoke Enamel Decals

April Wood, Garden

Elise Preiss June 15–19

Course # AAJW ØØC

One-week session In this course, students will explore the various types of decals suitable for use with vitreous enamel. Enamel is the fusing of a layer of glass to metal. Commercial and custom decals allow the permanent transfer of imagery to an enameled piece in a short time. Using lead free enamel, students will learn the application and firing of vitreous enamel on both steel and copper. In addition to using commercially available decals, students will learn how to produce their own custom decals from photographs, illustrations, or text. Decal application and firing will be thoroughly covered using both torch and kiln firing techniques.

Pauline Warg, Bracelet

Articulated Panel Bracelet

Pauline Warg June 15–19

Course # AAJW ØØB

One-week session Using an articulated bracelet as the pallet, students will create a fluid narrative of creativity. The bracelet will be made of two to seven panels of metal with hinged connections and a catch. This class is an excellent option for students who have a crisp, tight uniform design style or those who tend towards a more sculptural or free form loose style. The project can be adapted to a wide variety of creative metalworking techniques. The panels can be symmetrical, asymmetrical, wide, narrow, any variety of shapes with form and dimension or flat. Mixed metals may be used as well as gemstones, texture, piercing and any combination of those techniques. When made properly the articulated bracelet will flow on the wrist. Students will be shown many examples of hinged articulated bracelets. Variations and themes for this type of bracelet will be discussed at length. The class will cover a wide variety of hinged connections using tubing, sheet metal, wire and jump rings. Clasp and closures will also be demonstrated and discussed. In addition to completing a hinged panel bracelet with a catch, students may be able to make samples of hinge variations and/or clasp options. Skill Level: Basic fabrication and soldering skills are helpful. Projects can be tailored to your skill level. Students with beginning skills are welcome. Materials: A complete materials list will be sent upon registration. Tuition: $725 Lab fee: $60 (Includes non precious metal and some wire. In addition, it includes the use of all tools, equipment, and consumables such as solder and compounds.) Students are encouraged to bring their own metal and tools–but they must be clearly marked. Enrollment limited to 12 students.

Pauline Warg, Bracelet

This workshop is perfect for students interested in adding imagery, patterns, or text to their work. The emphasis will be on experimentation. Students will create a range of samples for future reference and will take home at least one finished piece. Skill Level: Appropriate for all levels–beginner as well as intermediate and advanced. Materials: A complete materials list will be sent upon registration.

Pauline Warg, Rhythm Bracelet

PAULINE WARG earned a Journeyman Metalsmith Certificate after completing a 3 year apprenticeship with Master Goldsmith Philip Morton and holds a BFA from the University of Southern Maine. Her work encompasses fabricated jewelry, silversmithing and enameling. Pauline owns and operates WARG Enamel & Tool Center in Scarborough, Maine. She is the author of Making Metal Beads and contributor to The Jewelry Design Challenge. Most recently Pauline filmed the Interweave DVD, Basic Enameling: A Torch Fired Tutorial. www.wargetc.com

Tuition: $725 Lab fee: $75 (Includes paper, coated paper, enameling supplies, small tubing, wire, findings, 4 steel tiles and 4 copper stampings. In addition, it includes the use of all tools, equipment, and consumables such as solder and compounds.) Students are encouraged to bring their own metal and tools–but they must be clearly marked. Enrollment limited to 12 students. ELISE PREISS, from France, is an avid sailor, and

a maker at heart. She approaches her work just like she would the ocean, with a great deal of preparation, as well as humility, and confesses that sometimes “you just have to let the material speak.” After graduating with a BFA in Product Design from Otis College of Arts & Design, a summer apprenticeship in France with master blacksmith Guy Pendanx awoke her love for metal. She has an MFA with an emphasis in metal from CSU Long Beach. She has received awards including the Distinguished Achievement in Creative Activity Award from CSULB, and first place in the Jewelry category during Alchemy2, the enamelist society conference in Covington, KY in 2013. She now lives and works in Los Angeles. www.elisepreiss.com

April Wood, Nectar

From Ferrous to Fine

Steel for Jewelers April Wood June 15–19

Course # AAJW ØØD

One-week session This class will explore steel from a jeweler’s perspective. Learn to weld steel wire and sheet on a fine scale. Delve into silver and gold soldering on steel, both as a surface embellishment and a fabrication method. Surface techniques will include chasing and repoussé, coloring, and patinas. Students will also work with found steel, printed steel (tinplate), and a variety of cold connections. Skill Level: 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: $725 Lab fee: $35 (Includes the use of all tools, equipment, and consumables such as solder and compounds. Also includes steel sheet and wire.) Students are encouraged to bring their own metal and tools–but they must be clearly marked. Enrollment limited to 12 students. APRIL WOOD is a metalsmith from Baltimore. She teaches at the Maryland Institute College of Art , the Corcoran College of Art and Design and recently at the Penland School of Crafts. She is the recipient of three Maryland State Arts Council Individual Artist Awards (2009, 2010, 2012). The Austin Museum of Art hosted a solo exhibition of her work in 2012 and she recently exhibited at the SIERAAD International Art Jewelry Fair in Amsterdam. Her work has appeared in Surface Design Journal, Metalsmith, and Sculpture magazines. www.aprilwoodmetalsmith.com

Elise Preiss, Blue Cells

Metals Week Culmination su mme r@ i d y l l w i l d a r t s. org

Elise Preiss, Flower of Geometry

April Wood, Eve

JEWELRY

M E TA L S W E E K

Jordan & Salley, Spinner Rings Deborah Jemmott, Stability

Charity Hall, Grasshopper Brooch (back)

Sarah Doremus, Self-Fanning Ring

Jordan & Salley, Enamel Rings

Three-Ring Circus

Richard Salley & Jessica Jordan

Deborah Jemmott, Ripples Spoon

Forming, Forging & Finishing

Deborah Jemmott July 7–11

Course # AAJF Ø2

Finishing skills are often so obscure–and yet so important to making professional metalwork. Through the techniques of forming and forging, you will learn how to refine your design as you build it.

Textures

Charity Hall June 15–19

Course # AAJW ØØE

One-week session Create rich textures and distinctive patterns to give your jewelry new vibrancy and life. We will start by making a texture sample palette on a silver ring so that you have a wearable reference at your fingertips. Experiment with many direct methods of texturizing; upsetting and distorting metal with hammers and tools, precision cutting and carving, and freeform play. Apply those techniques to many different forms to open endless avenues of exploration in surface depth and pattern. Spend several more days creating textured settings for stones and other objects. We will cover the nitty-gritty of faceted stone setting. We will also explore avenues for setting cabochons, enamels, and other objects. You may choose to focus on one of these types or continue to develop and hone your surface texturing skills. Skill Level: This class is appropriate for all levels. Materials: A complete materials list will be sent upon registration. Tuition: $725 Lab fee: $60 (Includes the use of all tools, equipment, and consumables such as solder and compounds. Also includes practice stones, sterling wire/tubing.) Students should bring their own hand tools–but they must be clearly marked. A limited supply of optional materials may be available for sale. Enrollment limited to 12 students. CHARITY HALL is a metalsmith and enamelist in

southwestern Virginia. Drawing from her background in botany, she highlights insect diversity throughout her work. Charity teaches workshops at the Penland School of Crafts and many other art schools around the country. Her work has been exhibited nationally, and the Mesa Arts Center will host a solo exhibition of her work in 2014-2015. She has an MFA in Metal Design from East Carolina University and a BA in Biology from Colorado College. www.charityhall.com.

Sarah Doremus, 360 Degree View Ring

Working Jewelry

Sarah Doremus June 15–19

Course # AAJW ØØF

One-week session Learn how to make your jewelry do something! Pieces can move, turn, twist, flip open, pop or even squeeze. Your imagination is the limit. In this workshop you will learn ways to make your brooches spin, rings expand and necklaces reveal hidden chambers. Kinetic jewelry moves! Using springs, hinges and other mechanisms, you will learn ways to make your jewelry come to life. In this class we will incorporate springs to make things jump, bearings to make things move, and gears to make things spin. You will make a simple crank-shaft, a telescoping tube assembly, and have a day of problem solving. Skill Level: This class is appropriate for all metals students but some basic fabrication skills in metal would be helpful. Materials: A complete materials list will be sent upon registration. Tuition: $725 Lab fee: $70 (Includes spring wire, drill bits, bearings, rivets, gears, assorted tubing, plexiglass tubing, 1/4” plexiglass, miniature brass screws and bolts, cone burr, diamond drill bit, 2” silver bezel, ball bearing, 3” of 4ga sterling wire. In addition, it includes the use of all tools, equipment, and consumables such as solder and compounds.) Students are encouraged to bring their own metal and tools–but they must be clearly marked. Enrollment limited to 12 students. SARAH DOREMUS lives and works in Deer Isle,

Maine. She has been developing and teaching workshops for both children and adults throughout the country, including Haystack Mountain School of Craft, Peters Valley, and Metalwerx. She earned her BS in Art History from Northeastern University, a BFA from Mass College of Art. An active sculptor and metalsmith, her work has been shown in numerous publications and galleries, both invitational and solo, throughout the United States. www.sarahdoremus.com

Course # AAJC ØØ

Three-day session

One-week session Charity Hall, Andalusite Ring

June 20–22

Finishing well often starts at the beginning–from the first stages of planning, before the metal is even cut. Knowing how to approach layout, taking into account the techniques that will be used to execute the piece and planning for soldering are all skills that will be presented in this class. You will learn how to determine the order of operations appropriate for building your creation and how to take control of finishing techniques throughout construction. Through a series of planned exercises, you will experience a detailed examination of several basic jewelry making techniques: sawing, filing, soldering and finishing the metal–with a focus on craftsmanship. Then you will apply those skills to the more advanced techniques of forming and forging to create your own designs. Hand finishing techniques as well as use of the flex shaft and many of its bits, burs, buffs and tools will be taught. You are encouraged to bring work you have struggled with, have questions about or have issues finishing. Skill Level: All levels are welcome. Materials: A complete materials list will be sent upon registration. Tuition: $725 Lab fee: $45 (Includes some metals, 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. The instructor will have some materials and supplies available for purchase during class. Enrollment limited to 12 students. DEBORAH JEMMOTT has shared her love for metal by teaching jewelry making and metalsmithing to others since 1978. She teaches through the San Diego Community College District 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 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 30-Minute Bracelets, 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 has work in galleries across the country. She also operates her jewelry and metalsmithing company “Enhancements.” www.debjemmott.com

This intensive 3-day workshop focuses entirely on the process of ring making. In this series of workshops we will be presenting how to make 3 rings, 3 different ways in 3 days. The Spinner Ring Begin your Circus experience with a basic design that is determined to get you geared up and primed for the other types of rings you will learn to make. Although simple in concept, the Spinner Ring has unlimited design possibilities. You will learn how to properly size a ring for any given gauge of metal, how to resize a ring and how to finish your piece. The Bezel–Set Cabochon Ring On day two you will be creating a sterling silver bezel–set ring with a turquoise cabochon. You will be free to explore either a Southwest style ring or a more modern version using an open ring shank. Learning both how to create a soldered bezel and securely set a stone are two skills that can easily be applied to an infinite number of ring design possibilities. A valuable addition to your jewelrymaking arsenal! The Torch–Fired Enamel Ring with Tube–set CZ The grand finale! End your circus stint with a ring of fire! Learn the basics of torch-fired enameling and create a mini piece of artwork out of copper and molten glass. Next, combine your enameled element with a sparkling tube-set cubic zirconia to create a completely custom and one of a kind ring. Skill Level: Basic soldering and sawing experience recommended. Materials: A complete materials list will be sent upon registration. Tuition: $490 Lab Fee: $75 (Includes all materials and consumables for 3 rings, one in each style.) Enrollment limited to 20 students. RICHARD SALLEY began working with metal in 1969 as an assistant to metal sculptor Malcom Moran. His metal working experience turned to found object jewelry’after taking a workshop with Keith LoBue. Richard has recently retired from teaching in public schools to devote more time to his art and teaching workshops around the country. His interests include digital art, mixed media collage/ assemblage, sculpture and jewelry. Richard and his wife, Jane, live in Santa Fe, New Mexico. www.rsalley.com JESSICA JORDAN graduated from North Carolina State University’s College of Design with a BA in Art & Design. Largely self-taught in the realm of metal, she rounded out her college curriculum after graduation by attending independent metalsmithing classes at Penland School of Crafts and the John C. Campbell Folk School. She is currently the sole proprietress behind “Rosy Revolver”, an unflinching line of jewelry handbuilt for women who appreciate silver, stone, and the strength of the female spirit. Jessica resides in Fuquay-Varina, North Carolina. www.rosyrevolver.com

Charity Hall, Ammonite pin

JEWELRY

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MIXED-MEDIA/ BOOK ARTS Assemblage: Wand of Protection......................... 11 Michael deMeng Assemblage: Myth-ing in Action.......................... 11 Michael deMeng Exploring Book Arts thru Cartography...............12 Sibyl Rubottom Collaging the Translucent........................................12 Andrea Matus

Assemblage:

Wand of Protection and Myth-ing in Action Michael deMeng July 5-6 & 7-8

Course # AAAS Ø1

Four–day session-Includes both workshops. Students enrolling in both sessions may take advantage of special pricing. Please use the course code above. Tuition: $650 for both Sessions.

Mythological Icons: Atypical Aphrodites..........12 Andrea Matus

SEE ALSO Encaustic Painting......................................................20 Charlie Ciali Digital Photography & Beyond..............................22 David Hoptman

Michael deMeng, Caduceus of the Thriae (detail)

Michael deMeng, Caduceus of the Thriae

Assemblage

Wand of Protection Michael deMeng July 5–6

Course # AAAS Ø1A

Two–day session Students may select to enroll in one or both assemblage sessions. Recently I was commissioned to create a wand of protection for a friend. This person had a physical ailment that traditional medical methods proved futile in curing. She ended up using a byproduct of honey, which almost magically cured her condition. As a gesture of thanks to the bees (whom she saw as her saving force), she decided to take up beekeeping to honor her insect friends. The problem was, however, that she was deathly allergic to these little pollinating pals. So the wand of protection she asked me to create was to protect her from bee stings when she went on her apiarian expeditions. Of course, this creation is strictly metaphoric and was not intended to be a giant EpiPen. Rather, it is a psychological symbol that helped her to overcome her fears–a symbolic shield that would help her nurture the bees that nurtured her. We all have mental monsters to defeat, so it seemed to me that everyone might need a magical wand of protection now and again; something to give us a little psychological boost when we need it the most. So in this workshop, using objects and symbols of personal importance, participants are going to create magical wands to help them make those troubles disappear. This will be done incorporating a combination of painting, sculpture and assemblage. BUT THAT’S NOT ALL–We will also create a case, stand or shrine for Wand of Protection.

Michael deMeng, Golem of Prague

Assemblage

Myth-ing in Action Michael deMeng July 7–8

Course # AAAS Ø2

Two–day session

Michael DeMeng, Medusa

Students may select to enroll in one or both assemblage sessions.

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

Of all the things in this wide, wild world, what I have found to be the most inspirational source material are myths and legends. My first introduction came in movies like Sinbad and Jason and the Argonauts, and stop animation films filled with wondrously strange worlds abounding with odd entities such as multi-armed deities, cyclopean beasts, and snake-headed gorgons. After that I was hooked. I read everything I could on the topic…no matter the culture.

Tuition: $350 Enrollment limited to 20 students.

Many years later, I am still drawn to these concepts. Artistically, I have found these tales wonderful springboards for creativity. After all, artistic expression, like many heroic tales, is a journey into the unknown; the artist’s job is to go to secret lands and retrieve something magical to share with the world.

Tuition: $350 Enrollment limited to 20 students.

Your task for this class is to pick a myth or legend… any myth from any culture (preferably one that inspires or fascinates you). Next, using found objects and discarded toys you will create a piece of art that embodies the tale of your choosing. You could focus on a character (like Zeus or Shiva) or tell a story (like Pandora’s box). As for presentation, I will leave it up to you…could be a free standing sculpture or could be something that hangs on the wall. You definitely want to come to this class… otherwise you’ll be myth-ing out.

MICHAEL DEMENG, see bio under Assemblage:

Skill Level: All levels are welcome.

And with a wave of your wand your troubles will vanish…fingers crossed. Abracadabra! Skill Level: All levels are welcome. Materials: A complete materials list will be sent upon registration.

Myth-ing in Action.

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 Canada. As an artist he has participated in numerous exhibits that promote awareness of such issues as AIDS, breast cancer, environmental and other social issues. Michael 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 books, Secrets of Rusty Things and Dusty Diablos: Folklore, Iconography, Assemblage, Ole!, as well as the new Art Abandonment, co-authored with wife Andrea Matus. 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, Michael fosters community awareness, and offers creative methods to explore the human experience. www.michaeldemeng.com

MIXED MEDIA/BOOK ARTS

Collaging the Translucent and Mythological Icons

Andrea Matus July 10 & 11-12

Course # AAMC Ø2A

Three–day session-Includes both workshops. Students enrolling in both sessions may take advantage of special pricing. Please use the course code above. Tuition: $485 for both Sessions.

Collaging the Translucent

Andrea Matus

Sibyl Rubottom, Tutti E Due

Exploring Book Arts

July 10

Sibyl Rubottom

See special pricing for students enrolling in both of Andrea Matus’ workshops.

Through Cartography July 7–11

Course # AAMB Ø2

One–week session Artists’ books are not books about art; they are art expressed in book form. When the content and form of a book are considered together and given equal significance, the book becomes more than a simple container for information. The goal of many book artists is to involve the reader actively in the viewing process, not only to see the words on the page but also to think about how the words, pictures and physical form of the object all contribute to their meaning. From ancient times to the present, people have created maps to depict real and imagined territories reflecting personal and cultural worldviews. In this course, we will create books exploring the universal and the personal. Writing and collage exercises will help flex your bookmaking muscles and bring your artistic vision into focus. The course will examine ancient and modern maps, charts, and other graphical representations, in addition to various book structures and forms. This will be a journey of mapping ideas and the stories, real or imagined, that you’d like to tell in the book form. We will investigate the three aspects of a book: text, structure and image. Students will learn several Eastern and Western book structures, using adhesive and non-adhesive bindings, including stab binding, one-page signature“painted books,” accordion folds with covers, and an elegant wire edge binding. We will learn how to make paste paper and transfer techniques (for creating images from photos or text). Come to camp and have a journey within a journey!

Course # AAMC Ø2

One-day session

Typically collage is about the clever ways we combine items to cover over and transform surfaces; this time we are going to explore this medium in a slightly different way. In this class we will collage incorporating items that are transparent in nature. Combining transparencies, mica, photos, textured papers, ephemera, and found objects we will create rich, layered collages, with jewel-like depth and vibrancy. Using a small wood substrate as our base, we are going to design multi-tiered compositions. By learning the secrets of how to combine the visible with the semi-visible, and focusing on both the play of light and effects of depth, you will be able to create mesmerizing almost holographic effects. You choose whether the subject is a portrait, landscape or something else entirely.

Andrea Matus, Seadusa

Andrea Matus, The Knight of Wands

Mythological Icons

Atypical Aphrodites Andrea Matus July 11–12

See special pricing for students enrolling in both of Andrea Matus’ workshops.

Skill Level: All levels are welcome. Materials: A complete materials list will be sent upon registration. Tuition: $175 Lab Fee: $5 (Includes substrates, hardware and matte board.) Enrollment limited to 20 students. ANDREA MATUS DEMENG, see bio under Mytho-

logical Icons. Andrea Matus, The Siren

Skill Level: Beginner to Experienced book artist. Materials: A complete materials list will be sent upon registration. Tuition: $725 Lab Fee: $25 (Includes the materials & supplies for all scheduled projects.) Enrollment limited to 10 students. SIBYL RUBOTTOM holds her MFA from Yale University in Painting and her BFA from the Rhode Island School of Design. She is co-proprietor of Bay Park Press, a small fine arts press specializing in limited edition Artists Books and fine intaglio prints. Sibyl’s books are in the special collections of universities and libraries throughout the country (Library of Congress, John Hay Library at Brown University; and many others). She is an Artist-in-Residence at the Athenaeum Music and Arts Library in La Jolla, California and she teaches Book Arts at its School of the Arts.

Sibyl Rubottom, First Quarter

MIXED MEDIA/BOOK ARTS

Course # AAMM Ø2

Two-day session

The artist’s ability through the use of powerful imagery and cultural symbols to take an“ordinary” image and elevate it to something otherwordly is rather divine. You may choose an existing mythological god or goddess as your inspiration, or perhaps create one of your own to serve as your muse for our large-scale (4’x2’) mixed-media project based workshop. Prepare to do some transformative magic as we take everyday images and change them into iconic mixed media masterpieces. Bring your assortment of personal symbols, imagery and that box of ephemera that you’ve been collecting and we will incorporate them into your canvas elevating them from the ordinary to the extraordinary as we explore many sophisticated techniques for creating our deeply symbolic multilayered collage. We will use several methods, mediums and techniques for seamlessly merging otherwise unrelated imagery into a unified composition that will allow us to create modern day icons of our own. Skill Level: All levels are welcome. Materials: A complete materials list will be sent upon registration. Tuition: $350 Enrollment limited to 20 students. ANDREA MATUS DEMENG is a Vancouver, British Columbia artist who travels the world teaching and creating visual art. She shows and exhibits her unique combinations of painting, collage and sculpture throughout North America. Not one to be afraid of color, Andrea’s work, projects and workshops all revolve around the fusion of pattern and design with vivid colors. Her most recent project involves co-authoring a book with her talented artist-husband Michael deMeng. The book, entitled Art Abandonment, is due for release in the spring of 2014. www.andreamatus.com

Andrea Matus, The Queen

Andrea Matus, Measure of a Man

Andrea Matus, Temperance 951-659-2171x2365

N AT IVE AMERIC AN 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

June 29–July 6, 2014

CULTURE Native Arts Festival.....................................................13 Native Plants ............................................................14 Craig Torres, Barbara Drake, Daniel McCarthy, Abe Sanchez Northwest Coast Cooking/Food Culture Freddie Bitsoie

.....15

FIBERS Cahuilla Basketry ...................................................15 Rose Ann Hamilton

Matika Wilbur, photo of Sage Romero, Paiute

Haida Basketry .........................................................15 Lisa Telford Navajo Weaving ......................................................16 Barbara Ornelas & Lynda Pete JEWELRY Hopi Jewelry: Overlay & Tufa Casting .............16 Roy Talahaftewa Navajo Inlay Jewelry .................................................17 Richard Tsosie MUSIC/CARVING Chumash Stone Carving .........................................17 Tony Ayala Native American Flutemaking .............................17 Marvin & Jonette Yazzie, Ernest Siva POTTERY Cahuilla Style Pottery ...............................................18 Tony Soares Hopi-Tewa Pottery Mark Tahbo

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

Dr. Jessica Metcalfe, Native American Fashion Lecture 2013

OVERVIEW Reimagining Our Stories: Storytelling in the 21st Century Before the first Facebook post, YouTube video, tweet, Tumblr, or

Chef Freddie Bitsoie

Instagram we’ve been telling stories.

Santa Clara Pottery ................................................18 Nathan Youngblood

What is the impact of a changing

SEE ALSO Glass Blowing...............................................................23 Ramson Lomatewama

do we continue to use the power of stories to honor our traditions as well as

Introduction to Sand Casting.................................23 Gerald Clarke, Jr. Indicates workshop takes place during the Native American Arts Festival.

Git Hayetsk Dancers

world on the way we tell stories? How

Brent Michael Davids & Ensemble 2011

to ignite change + collaboration + collective action? This year’s Festival will explore these questions and the many modes of storytelling today. The spirit of this annual Festival Week is to bring the scientific, intuitive and

Gerald Clarke, Jr., Gallery Talk

trickster voices together for a balanced and provocative learning experience. It

FESTIVAL WEEK GUESTS

is designed to enhance and add depth to the hands-on workshop experience (see the following pages for workshop listings), and includes performances, the Michael Kabotie Lecture Series, art exhibits, and informal discussions with the visiting scholars, tribal elders and artists throughout the week. The Festival Week events are also those not enrolled in a workshop to

Mike & Mique’l Dangeli (Nisga’a, Tsimshian), Artists, Dance Group Directors

learn about the most current issues and theories concerning Native

Deana Dartt (Chumash/Californio) Curator of Native American Art, Portland Art Museum

American culture and art.

Please note:

Workshops that occur during

Gerald Clarke, Jr. (Cahuilla), Artist, Vice Chairman, Cahuilla Band of Indians FESTIVAL GUESTS Freddie Bitsoie (Navajo) Chef, Anthropologist

open the public, offering a way for

FESTIVAL CONSULTANTS Joe Baker (Delaware), Director, Palos Verdes Art Center

Git Hayetsk Northwest Coast Intertribal Dance Group Mountain Cahuilla Bird Singers Ellen Taubman Curator, Changing Hands: Art Without Reservation

the festival are designated with the festival logo.

Matika Wilbur (Swinomish/Tulalip) Photographer, Founder, Project 562 Additional guests to be announced. Git Hayetsk Dancers su mme r@ i d y l l w i l d a r t s. org

NATIVE AMERICAN ARTS

C U LT U R E

Native Plant Food Preparation

Native Plants

The Mt. Cahuilla Birdsingers

Contemporary & Traditional Uses Craig Torres, Barbara Drake, Daniel McCarthy & Abe Sanchez July 5–6

Course # NANP Ø1

Two-day session

Krieg Kalabasa, James Luna, Michael Kabotie

Dorothy Grant, 2013 Native Fashion Show

Michael Kabotie Lecture Series

FESTIVAL WEEK EVENTS OPEN TO THE PUBLIC Reimagining Our Stories: Storytelling in the 21st Century. Each day, the visiting guests will explore a wide range of topics on this theme. Native food tastings daily.

Parks Exhibition Center

SUNDAY, JUNE 29 6:30 p.m. Native American Radio Show: Live Taping MONDAY, JUNE 30 7 p.m. Ellen Taubman & Guest Artists Art as Story 8 p.m. Invitational Exhibition, New Stories: 6 Native Artists Opening/Reception

Barbara Ornelas, Lynda Pete

TUESDAY, JULY 1 12–1 p.m. Kabotie Lecture Series, Matika Wilbur, Stories Through Photographs WEDNESDAY, JULY 2 12–1 p.m. Kabotie Lecture Series, TBA THURSDAY, JULY 3 12–1 p.m. Kabotie Lecture Series, Deana Dartt, The Stories Museums Tell 7 p.m. Film Night FRIDAY, JULY 4 7 p.m. Performance: Mt. Cahuilla Bird Singers Git Hayetsk Northwest Coast Intertribal Dance Group

Learn ways to preserve and utilize native plants in this hands-on workshop. On day one, begin with an ethnobotany talk in the campus meadow next to ancient Cahuilla bedrock mortars to learn about local plants and their many uses. Next, learn how to make items from the tule & cattail plants: toys, doll, baby cradle, boat and mat. Learn about the many uses of tule/cattail for house thatching, boats, toys, mats, duck decoys, and food. In the evening, visit local Cahuilla rock art sites to learn the meaning, historical significance and importance of the preservation of these sites. Day two will be devoted to traditional and modern gathering practices of native plants; preparing and processing with a wide range of plants; and will include demonstrations on the processing of native plants into various products such as foot scrubs/soaks, salves, tinctures, etc. Learn how native plants are used for medicine and prepare natural remedies. Each student will take home herbal teas they make themselves as well as other native plant herbal products. This workshop is dedicated to our teacher, Katherine Siva Saubel, with deep gratitude. Skill Level: All levels are welcome. Tuition: $220 Lab fee: $30 (Includes all materials, collected and prepared; foods; field trip transportation and park fee.) Enrollment limited to 20 students. CRAIG TORRES (Tongva) is a member of Traditional Council of Pimu and involved with Ti’at Society, an organization focused on the revival of the traditional maritime culture of the Southern California coastal region and Southern Channel Islands. He is an artist, as well as cultural educator, presenter and consultant to schools, culture and nature centers, museums, and city, state and government agencies acting as a consultant on the Tongva. He has also been involved with the organization Preserving Our Heritage and Chia Café, which provide cooking demos and classes with California native plants. These activities also provide education on the importance of preserving native plants, habitats and landscapes for future generations.

California Native Plants

DANIEL MCCARTHY received his BS and MS in anthropology from the University of California, Riverside. For the past 40 years, he has worked at Anza-Borrego Desert State Park, Joshua Tree National Park and throughout Southern California compiling photographic inventories of rock art sites in these areas and throughout the western region. He has worked with Elders and Traditional Practitioners for over 35 years and served as the Tribal Relations Program Manager for the San Bernardino National Forest for 17 years. He is currently Director, CRM Department, at San Manuel Band of Mission Indians. ABE SANCHEZ has been actively involved in the revival and preservation of Indigenous arts and foods. Two of his specialties are Southern California Native American Basketry and California and Southwest Native foods. He has had the opportunity to work closely with traditional Native American gatherers to learn the methods and practices of these cultural specialists. His interest in traditional foods is that many of these local ingredients are sustainable products that are readily available yet underutilized. He believes that by having the opportunity to teach about these ancient natural foods and helping people learn ways to prepare and eat them again can make a difference in both their health and our environment.

Grinding Rose Petals

BARBARA DRAKE (Tongva) is a tribal elder and culture keeper. Her program, Preserving Our Heritage, is a food bank of native foods collected, preserved and processed for tribal elders. She is a member of the Mother Earth Clan, a group of three Southern California Native American women educators who have taught extensively in museums, schools and tribal institutions.

SATURDAY, JULY 5 8 a.m. Hopi-Tewa Pottery Firing Santa Clara Pottery Firing Ernest Siva

Barbara Drake

NATIVE AMERICAN ARTS

951-659-2171x2365

FIBERS

Northwest Coast Salmon Drying

Historic Cahuilla Basket

Cahuilla Basketry

Rose Ann Hamilton June 30–July 4

Course # NACB Ø1

One-week session

Chef Freddie Bitsoie

Northwest Coast Cooking & Food Culture Freddie Bitsoie June 29

Course # NANC Ø1

One-day session In this class we will explore food culture of the Pacific Northwest, from northwest Washington to the northern tip of Vancouver Island, looking at food practices of the Kwakiutl, Makah, and Samish tribes, to name a few. Students will explore salmon preparation along with clams, seaweed, and other bounties of the sea, and will also discover ways to prepare berries, milled products, and learn about usage of cedar and different types of lettuce. The Northwest is rich and diverse with many ingredients that contributed to modern American food culture. We will explore the uses of these ingredients from the past and look at ways they have changed over time. This class includes hands-on cooking with short presentations, and the content is designed to enable students to prepare these dishes at home.

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. 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. Skill Level: All levels are welcome. Tuition: $725 Lab fee: $40 (Includes materials, field trip transportation and use of tools in 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.

Skill Level: All levels are welcome. Materials: A complete materials list will be sent upon registration. Tuition: $175 Lab fee: $75 (Includes all foods, recipe booklet, and use of tools in class.) Enrollment limited to 12 students.

Lisa Telford, Haida Baskets

Lisa Telford

Haida Basketry

Lisa Telford

June 30–July 4

Course # NAHB Ø1

One-week session For the Haida of the Pacific Northwest, basketry was essential for survival years ago–baskets were used to gather, store and cook food. The instructor continues creating basketry to celebrate the beauty of nature. Even though basketry was functional, the Haida always included a bit of beauty in each work basket. In this class, each student will create a women’s work basket using western red cedar and Alaska yellow cedar bark. The techniques you will learn are two and three stand twining, the in-between stitch and you will use color to incorporate your bit of beauty. The size of the basket will depend on experience with basket making and textiles. Lisa harvests and prepares her own material, using red and yellow cedar bark. Harvesting cedar bark takes her hundreds of miles from home and takes many hours of preparation time. Materials are prepared differently depending on the final product. The bark is traditionally stored for one year and then further processing is required before weaving may start. Skill Level: Some weaving experience helpful.

FREDDIE BITSOIE, Diné (Navajo), is the owner of

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

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 and also contributes to Indian Country Today. He has been featured in Native Peoples Magazine and Arizona Highways. His most recent works have been on his own show Rezervations Not Required as well as a guest appearance on famous Italian Chef Lidia Bastianich’s show Lidia Celebrates America. He also has won the Native Chef Competition at the Smithsonian’s National Museum of the American Indian for 2013. 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.

Tuition: $725 Lab Fee: $95 (Includes all materials, gathered and prepared by the artist.) Enrollment limited to 8 students. LISA TELFORD is a Gawa Git’ans Git’anee Haida weaver from British Columbia. She comes from a long line of weavers including her grandmother, mother, aunt, cousins and daughter. Her baskets can be seen in the collections of The Oregon Historical Society, Hallie Ford Museum of Art, and The Smithsonian National Museum of the American Indian, The Heard Museum, The Portland Art Museum, and The Burke Museum. She is renowned for making baskets, traditional hats, and cedar bark clothing.

Students Gathering Basket Materials su mme r@ i d y l l w i l d a r t s. org

NATIVE AMERICAN ARTS

JEWELRY

Hopi Jewelry

Overlay & Tufa Casting Roy Talahaftewa June 30–July 4

Course # NAJH Ø1

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 oneof-a-kind designs. Students 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. Intermediate and advanced students may choose to learn the shadow box technique. Because students will be working closely with the teacher, the workshop is well-suited for students of all levels of experience.

Barbara Ornelas

Navajo Weaving

Beginning & Intermediate Barbara Ornelas & Lynda Pete June 23–27 June 30–July 4

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. Materials: Students may wish to bring a seat cushion and small clamp or desk lamp. Tuition: $725 per week

Skill Level: All levels are welcome. Materials: A complete materials list will be sent upon registration. Tuition: $725 Lab fee: $65 (Includes pre-cut tufa, the use of all tools, equipment and consumables 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.

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 choosing 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.

Richard Tsosie

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.

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 16 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

Roy Talahaftewa

NATIVE AMERICAN ARTS

951-659-2171x2365

MUSIC/CARVING

Tony Ayala, Fish Effigies

Richard Tsosie

Marvin Yazzie

Native American Flute Making

Marvin & Jonette Yazzie, Ernest Siva June 26–29 Tony Ayala, Flat Pelican Effigy

Chumash Stone Carving

Tony Ayala June 28–29

Course # NASC ØØ

Two-day session

Navajo Inlay Jewelry

Richard Tsosie June 23–27

Course # NAJN ØØ

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. Skill Level: All levels are welcome. Tuition: $725 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.

Course # NANF ØØA

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

The Chumash indigenous people of California produced many handcrafted items carved from steatite (soapstone), serpentine and other natural materials. Steatite artifacts recovered in Chumash village excavations include comals (food prep devices), bead ornaments, large and small bowls, animal effigies, land and maritime tools as well as many other items. Many Chumash stone carvers continue to practice this highly regarded and recognized cultural skill today. Each student will learn how to create two soapstone carvings: one pendant and one small animal effigy of their choice. Various items such as ceremonial pipes, animal effigies, bowls and pendants will be displayed and discussed. A brief overview of stone gathering techniques, among other aspects of traditional Chumash culture, will be taught. Skill Level: Beginner Materials: A complete materials list will be sent upon registration. Tuition: $220 Lab fee: $65 (Includes 2 soapstone pieces, one file, plus use of instructor’s files in class, dust mask, various grit sand paper, braided cord for pendant.) Enrollment limited to 10 students. ANTONIO A. AYALA, SR. (Tony) is a self taught stone carver who has been practicing this traditional Chumash culture craft for over 30 years. Studying books on Chumash culture and artifact excavation memoirs has been an inspiration and the source for verifying the techniques and cultural significance shown in his work. His works have been displayed in the Thousand Oaks Chumash Interpretive Center, Burke Museum in Washington State and the Channel Islands Maritime Museum. Tony has mentored and taught well known highly skilled stone carvers such as Ted R. Garcia, Ben Martinez, Madeline Zubiate, Ruth Valenzuela and many others.

June 27–29

Course # NANF ØØB

Beginners: 3-day session (Fri.-Sun.) 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. Beginning students (3-day session begins June 27) will use spruce 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). Intermediate students–those who have taken class from the Yazzies in the past (4-day session begins June 26) will use redwood for the body of the drone (double) flute and may choose the key (from F to A). 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) $60 (Intermediate, 4-day session) (Includes wood, totems, materials and the use of tools and equipment in class.) Enrollment limited to 10 students.

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 2011and played preshow for the Ramona Pageant. 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 former trustees. In 2004, Ushkana Press published his book, Voices of the Flute. He is president and founder of the Dorothy Ramon Learning Center.

Jonette Yazzie

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. Tony Ayala, Stone Pendants su mme r@ i d y l l w i l d a r t s. org

NATIVE AMERICAN ARTS

POTTERY

Nathan Youngblood, Untitled Jar

Hopi-Tewa Pottery

Mark Tahbo

Tony Soares, Class Demo

Cahuilla Style Pottery Firing

Cahuilla Style Pottery

Paddle & Anvil Technique 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.

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

Learn the traditional methods and techniques for making Santa Clara Pueblo pottery–the distinctive black polished work with carved designs. The instructor will guide students through all the steps from processing the native clay, hand–building using the coil technique, designing, carving, slipping and stone burnishing, to reduction firing for blackware.

Materials: A complete materials list will be sent upon registration. Tuition: $725 Lab Fee: $55 Enrollment limited to 15 students.

Skill Level: All levels are welcome. Materials: A complete materials list will be sent upon registration. Tuition: $725 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.

Mark Tahbo, Jar with Bird Tails

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.

Hopi-Tewa Pottery Firing

NATIVE AMERICAN ARTS

Students in this workshop will learn the traditional Hopi method of creating polychrome pottery, including coil building, stone burnishing, painting with natural pigments, and firing. Learn how to process and prepare raw clay for pottery making and to prepare beeweed plant for black paint. 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; see demonstrations of slipping techniques using white kaolin and yellow ochre; and learn two firing techniques (for both gray and yellow ochre pots).

Skill Level: All levels are welcome.

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. See a demonstration of fire-starting by friction, and learn how to make palm frond rings (pottery stands). 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.

Course # NAPS Ø1

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

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.

Tony Soares June 23–27

June 30–July 5 Course # NAPH Ø1

June 30–July 5

Cahuilla Style Pots

Santa Clara Pottery

Nathan Youngblood

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.

Because the instructor’s method requires extensive air-drying time, each student will have the privilege of using a dried vessel prepared by the instructor to learn the carving, polishing and firing techniques. In addition, each student will start pieces from the beginning of the process–mixing clay (with your feet!) and building pots–and will be able to complete those pieces at home after the 30-day drying period. The workshop will also include individual firings, and discussions about Santa Clara Pueblo, the pottery making tradition, and the cultural foundation from which the art is inspired. The raw clay and paints are provided by the artist, and are gathered from his home. Skill Level: All levels are welcome. Materials: A complete materials list will be sent upon registration. Tuition: $725 Lab Fee: Beginners: $95 (includes clay, paints, stones and all materials, as well as one 5.5” wide x 5 “ tall dried vessel prepared by the instructor to complete.) Returning students: $125 (Includes all of the above, but a larger dried vessel, 5.5” x 7 “ tall.) Enrollment limited to 12 students. NATHAN YOUNGBLOOD is a sixth generation potter from Santa Clara Pueblo, New Mexico, and is the grandson of renowned potter Margaret Tafoya, and son of Mela Youngblood. He has been making pottery since 1972, creating both black and red & tan traditional styles, and adhering to all the traditional aspects of making a bowl. Nathan has won numerous awards in Native American pottery competitions. His work has been exhibited widely at galleries and museums across the country, and he has been included in numerous magazines and books on Native American art and pottery. Nathan has served on the boards for the American Craft Council, Gallup Inter-Tribal Ceremonial, the Southwestern Association of Indian Arts (SWAIA), and the Wheelwright Museum.

Nathan Youngblood 951-659-2171x2365

PA I N T I N G & D R AW I N G

Advanced Drawing Intensive.................................19 Margaret Scanlan Drawing Without Fear...............................................19 Robert Regis Dvorák Encaustic Painting......................................................20 Charlie Ciali Experiential Drawing & Watercolor.....................20 Robert Regis Dvorák Painting the Figure.....................................................20 Juliette Aristides Plein Air Painting.........................................................21 Mike Hernandez

Margaret Scanlan, Five Cows in Field

From Representation to Abstraction..................21 Lisa Adams Unleashing Color........................................................21 Marie Thibeault Watercolor Untamed.................................................22 Nicholas Simmons Margaret Scanlan, Cow in Water # 6

Advanced Drawing Intensive

Margaret Scanlan June 23–27

Course # AAPD ØØ

One-week session This class is designed for students who have already taken an Intensive Drawing class with Margaret at Idyllwild, but it is also appropriate for those who are comfortable with their drawing skills and who wish to tackle advanced topics, such as foreshortening, translucence, reflections and other depictions of water, narration, and other topics to be decided by the class. General Daily Plan: Our mornings will include formal instruction, intensively studying the topic of the day, with visual examples, specific exercises, discussions, trial drawings, etc. Our afternoons– working, with periods of uninterrupted time, on a series of drawings focused on and appropriate for the topic of the day. Our goals–positive growth in drawing skills, a series of significant and beautiful drawings, more confidence in the failure-free process of working in a series, and the experience of a glorious week at Idyllwild.

Robert Dvorák, Cat

Robert Dvorák, String Face

Drawing Without Fear

Skill Level: Intermediate to advanced drawing skills

Robert Regis Dvorák

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

One-day session

Tuition: $725 Lab Fee: $10 (Includes model fees.) The instructor will have some materials on hand that will be available for purchase during class. 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), SloanKettering Hospital (NY), and L’Abbeye de la Roe (France). She also plays keyboards in a Celtic band, Red-Haired Mary.

June 22

Course # AAPF ØØA

Now you can draw without having to hide underneath the bed. You can draw without cold sweats, panic attacks, or feelings of embarrassment that may have limited you before! The art of drawing is fun and easy to learn when you get beyond the fear of failure. When you join this easy unique drawing class you will be in for some surprises. This enjoyable day should remove any drawing phobias you have for good, and open your creative expression for a lifetime of drawing pleasure. You will learn: • How to draw with feeling and fun • How to loosen up and be free • How to talk about a drawing without being critical • Ways to create the illusion of depth in a drawing • Some great ways to teach drawing to other adults and children

Robert Dvorák, Funny Animal

Materials: A complete materials list will be sent upon registration. Tuition: $175 Lab Fee: $40 (Includes the book, Drawing Without Fear, an Artist’s Drawing Pad 9x12, an acid free sketch pad with textured paper and all your drawing materials.) Enrollment limited to 20 students. ROBERT REGIS DVORÁK is an artist and popular speaker on the subject of creativity in education and business. A former professor of architecture at the Universities of Oregon and California, Berkeley, he is the author of Drawing Without Fear, The Magic of Drawing, Selling Art 101, Experiential Drawing, The Practice of Drawing as Meditation, The Pocket Drawing Book, and Travel Drawing and Painting. Robert has been teaching drawing and watercolor painting for 30 years at art centers, colleges and universities mainly in California and Hawaii. 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 www.globesketcher.com

• How to free yourself to discover your world with a pen or pencil—at home, in boring meetings, anytime, anyplace Class will use Mr. Dvorák’s book, Drawing Without Fear, as a guide to the exercises presented. The carefully planned sequence of information and hands-on drawing exercises with a wide variety of media will free your creative hand and eye. Skill Level: Beginning-Intermediate

Robert Dvorák

PAINTING & DRAWING

Charlie Ciali, Butch

Juliette Aristides, Oracle

Painting The Figure

Juliette Aristides June 19–21 Robert Dvorák, Female Standing

Robert Dvorák

Experiential Drawing and Watercolor

Build your artistic vocabulary as you work sequentially to complete one finished figure painting. In a methodical, step-by-step process, learn the methods of oil painting from the initial value study to a full color figure painting. Over the course of the workshop, you will dive into painting-related issues while exploring the artist’s most fascinating subject matter: the human figure. Progressing from value studies, to limited palette, and finally full color, you will develop a completed painting by the workshop’s end. Lectures and individual instruction aid your artistic progress. Much of the personal growth of the artist comes from having the right tools for self-correction and problem solving. With that in mind throughout the class, you participate in discussions on materials, methods and techniques to equip you with invaluable tools for your future artistic growth.

Robert Regis Dvorák June 20–21

Charlie Ciali, Edge of Night

Encaustic Painting

Charlie Ciali June 23–27

Course # AAPE ØØ

One-week session Dating back more the 5000 years, encaustic painting has a rich and varied history. The Ancient Greeks were believed to have used wax to seal their boats. Eventually pigments where added to the wax creating a decorative element. Some of the best-known early encaustic works are the Fayum portraits created by Roman–Egyptians during the first three centuries AD. Over 1000 portraits have been discovered. These portraits where placed over the mummy of the deceased. In more modern times Jasper Johns could be credited for reviving encaustic painting and transforming it into a unique painting style that has rapidly gained popularity in the last few decades. Whether you are an experienced encaustic painter or beginner, this workshop is designed to help you reach new levels of creativity with this versatile medium. The workshop will cover safe studio practices, creation of encaustic medium, how to apply encaustic to different grounds, how to create textured or smooth surfaces, hot tools and their use, mixed media, photo transfer, incorporation of three dimensional elements and more. An emphasis will be placed on working with each artist individually and collectively to find ways to explore your vision and how you want to make this unique painting style your own. The possibilities of encaustic painting as a creative expression are endless and exciting. Skill Level: All levels are welcome.

Course # AAPW ØØ

Two-day session The Art of Experiential Drawing and Watercolor is a revolutionary drawing method that transcends technical rules and teaches you to draw and paint using your creative experience. This workshop is for beginners, artists, and teachers who want to learn an approach to drawing and watercolor that will bring you to new levels of creativity and awareness through the experience of creating drawings and watercolors in a safe, non-competitive environment. You will learn to: · Express yourself drawing and painting with imagination and skill · See without judgment · Draw and paint quickly and effortlessly from your experience · Have fun drawing and painting anywhere, anytime · Techniques for drawing and painting people, skies, landscape, and still life subjects · Draw and paint the human figure · Master the Zen-like ability to concentrate in present time as you draw and paint · Practice drawing and painting for a lifetime of enjoyment This non-judgmental drawing and watercolor workshop will use Mr. Dvorák’s books, Experiential Drawing and The Pocket Drawing Book for examples and inspiration. Many of the exercises are innovative; others employ new applications to methods familiar to some artists. Those with no drawing or painting skills as well as those who draw and

Robert Dvorák, untitled

paint and would like to move more deeply into their artistic processes are welcome. This is not an ordinary art course. This workshop will provide a sequence of easy exercises designed to save you months of trial and error frustration. Experiential drawing and watercolor will delight and challenge you for years to come. Skill Level: All levels are welcome. Tuition: $350 Lab Fee: $70 (Includes handout materials, the books, Experiential Drawing and The Pocket Drawing Book, a 9” x 12” acid free sketch pad, a 9” x 12”, 140# cold pressed watercolor block, the Artist’s Drawing Pad 4x5, all your drawing materials, and model fees. You may bring your own watercolor palette and paints or purchase an inexpensive travel watercolor set and brush for $16 at the class.) Enrollment limited to 20 students. ROBERT REGIS DVORÁK, see bio under Drawing

Without Fear

Tuition: $725 Lab Fee: $85 (Includes 3 pounds of encaustic wax medium, assortment of substrates, assortment of encaustic paints, papers, tools, oil paints, photo transfer materials, and toner.) Enrollment limited to 10 students. CHARLIE CIALI received his BFA Degree in Ceramic Arts from Daemen College, Amherst, New York in 1978 followed by graduate studies at Edinboro University, Pennsylvania. Today he is a full time studio artist and encaustic and monotype instructor in Palm Springs. He is a Certified Instructor for Enkaustikos, one of the leading encaustic suppliers in the United States. He is actively involved in the local arts community having served as a Public Arts Commissioner and is currently on the Executive Board of the Artist Council at the Palm Springs Museum. Prior to moving to Palm Springs 12 years ago he owned Perspectives Gallery in Minneapolis. www.charlieciali.com . Charlie Ciali, Greenwich

PAINTING & DRAWING

Course # AAPF ØØ

Three-day session

Juliette Aristides, Remembrance

In addition to daily demonstrations and lectures, you will work directly on shorter poses each morning, and an extended 3-day pose in the afternoon based upon the day’s lecture and demonstration. You will progress from value to limited palette to full color in the mornings. In the afternoons, you will begin with a wipe-out style of under-painting, followed by a limited palette color painting, and finish with a full color over-painting. Skill Level: All levels are welcome. Materials: A complete materials list will be sent upon registration. Tuition: $490 Lab Fee: $55 (Includes model fees and group supplies.) Enrollment limited to 14 students. JULIETTE ARISTIDES is founder and instructor of Aristides Atelier at the Gage Academy of Fine Art in Seattle. She is the author of The Classical Drawing Atelier, The Classical Painting Atelier, and Lessons in Classical Drawing. Her education began in Design Systems under Myron Barnstone; she continued at the Pennsylvania Academy of Fine Art and The Atelier in Minneapolis; then attended National Academy in New York and became a founding member of Jacob Collin’s Water Street Atelier in Brooklyn. Juliette is the recipient of numerous awards and is recognized as a living master by The Art Renewal Center. She exhibits widely and her work has been featured in Artist’s Magazine, American Arts Quarterly, Fine Art Connoisseur, American Art Collector, American Artist and more. www.aristidesatelier.com

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Mike Hernandez, untitled

Lisa Adams, The Land of Forgotten Dreams

Marie Thibeault, Typhoon

Unleashing Color

Mike Hernandez, untitled Lisa Adams, At the Maelstrom’s Edge

Marie Thibeault June 30–July 4

Course # AAPC Ø1

One-week session

Lisa Adams, Drowning Out All Birdsong

From Representation to Abstraction Lisa Adams

June 30–July 4

Course # AAPA Ø1

One-week session Mike Hernandez, untitled

Plein Air Painting

Mike Hernandez July 10–12

Course # AAPP Ø2

Three-day session A strong understanding of natural color and lighting is an important asset to any environment artist or fine art painter. In this workshop, learn all about the important fundamentals of composition, color relationships, lighting, atmospheric perspective, and shape design through the use of gouache (water based medium paint like acrylic and watercolor). This is a great workshop for those who would like to learn how to capture a rich sense of natural lighting in their artwork. Pastel, acrylic and oil painters also welcome. Skill Level: Intermediate to advanced painters. Materials: A complete materials list will be sent upon registration. Tuition: $490 Lab Fee: $50 (Includes model fees.) Enrollment limited to 20 students. MIKE HERNANDEZ is a fine art landscape painter

and a Visual Development Artist/Production Designer at Dreamworks Animation. Some of his past projects include Sinbad, Spirit, Shrek 4, Bee Movie, Monsters vs Aliens, and Turbo. He graduated from Art Center College of Design with distinction in illustration, and taught landscape painting there after graduating. He has continued to teach landscape painting workshops for the past 12 years at colleges and a variety of other venues.

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. 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.

Lisa Adams, The Mire of Epiphany

Skill Level: Intermediate and advanced, not suitable for beginning level students. Materials: A complete materials list will be sent upon registration. Tuition: $725 Enrollment limited to 10 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 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 is represented by CB1 Gallery and blogs on Los Angeles art for the Huffington Post.

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In this exciting course, the student will explore color concepts and expression in a guided process of collage and painted studies. Course structure will be contextualized within the history of painting, and each student will gain an understanding of how color use can enhance and strengthen their own creative work. The group will begin with painted studies and collages that address essential color contrasts, with an emphasis on light, saturation, and proportion of color relationships. These initial composition studies will become the springboard for larger paintings tailored to individual needs. Each student will become more sensitive to how color creates light, space, focal point and meaning within their own work, gaining more power with color expression. Gouache and collage materials will be used in combination on paper. Skill Level: Some painting experience through professional painters. Materials: A complete materials list will be sent upon registration.

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.

Tuition: $725 Lab Fee: $20 (Includes shared supplies such as bulk paint and large paper.) Enrollment limited to 14 students.

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.

Marie Thibeault, Orange Sky

Mike Hernandez, Mt. Rainier

Accelerate your ability to discern and mix color, as well as experience new creative painting processes in this intensive one-week color 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 use and meaning in painting. Here the most important aspects of color are defined and explored in inventive approaches to pictorial composition.

Marie Thibeault, Mantle

MARIE THIBEAULT is a Professor of Art at California State University, Long Beach. 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 and Funtown, George Lawson Gallery, Los Angeles.

Marie Thibeault, Cast

PAINTING & DRAWING

DIGITAL PHOTOGRAPHY

PRINTMAKING

David Hoptman, Tuscany: one tree

Nicholas Simmons, Tsarina

Watercolor Untamed

Linda Santana, Limpiabotas

Experiencing Water–Based Media Nicholas Simmons July 7–9

David Hoptman, untitled photograph

Digital Photography & Beyond

Course # AAPW Ø2

Three-day session The 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; 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 water-based media.

Stepping Out of Your Comfort Zone David Hoptman David Hoptman, untitled altered photograph

Course # AAOD Ø2

One-week session Discover how a digital camera, a smart phone and mixed media techniques can enable you to become a stronger image-maker, expand your vision, and help you embrace new possibilities. Stepping out of your Comfort Zone is not just a challenge but a fun and liberating journey. The daily schedule will be divided between making photos in the field and studio sessions with demos, slide shows and mixed media work periods. In this workshop you will:

Skill Level: Some experience preferred, but all levels welcome.

• Strengthen foundational photographic skills with emphasis on composition, lens choices, lighting, camera functions and more.

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

• Learn how to affect image content using pastels, charcoal, paint & various other mixed media techniques on photographic prints.

Tuition: $490 Enrollment limited to 20 students. NICHOLAS SIMMONS is a renowned name of the

July 7–11

David Hoptman, untitled altered photograph

contemporary watercolor scene. His art is characterized by its originality, diversity and power, and has been featured in a wide variety of media. 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 and 2012, the world‘s largest watercolor exhibition. 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. and is represented by TillerWilliam Fine Arts. www.nicholassimmons.com

• Transfer and incorporate mixed media photographs onto panels and canvas. • Learn creative ways to fine tune and alter imagery using Photoshop. • Discover the dynamically imaginative world of “Phonagraphy”, with introductions to basic and advanced iPhone apps, as well as lenses, tripod, mounts, etc. The photographs made during our daily shooting schedule will not only augment your artistic sensibilities but also give you a better understanding of the subtleties associated with creativity as we affect prints and images with alternative media techniques. Skill Level: Beginner/hobbyist to professional. Materials: A complete materials list will be sent upon registration. Tuition: $725 Lab Fee: $25 (Includes Epson printing paper, shared materials such as pastels, matt medium, fixative sealant, foam brushes, yes paste, demo materials.) Enrollment limited to 15 students.

Nicholas Simmons, Meditation

Nicholas Simmons, Class Demo

PHOTOGRAPHY/PRINTMAKING

DAVID HOPTMAN has been a Professional and Fine Art Photographer for over 30 years. His work has been published in magazines from Architectural Digest, Travel and Leisure, and Elle to the Hollywood Reporter. David taught photography and printmaking while living in Tuscany from 2004-2010, where he founded Tuscan Light Photo Workshops. His photographic and printmaking work has been shown around the world from Australia, Estonia, and Italy, to cities throughout the US from New York to Los Angeles. He attended Oakland University, Rochester, MI, and College for Creative Studies. He has taught at universities, community colleges, and private workshops. David works as a commercial photographer and teacher in Santa Fe, NM. www.davidhoptman.com

Linda Santana, Amor Eterno

Chiaroscuro Woodcut

Linda Santana July 7–11

Course # AAOW Ø2

One–week session This workshop is an introduction to multi-color relief printmaking. The chiaroscuro woodcut technique was invented in Germany in the early 16th century and involves the use of several tonal layers and one “key” image layer. Participants will focus on carving and printing reductively from wood (MDF), and creating multiples of a two to four color image. This workshop will include a historical overview of relief printmaking as well as contemporary examples. Students will learn carving techniques with Japanese woodcut tools, tool sharpening methods, various approaches to transferring an image or drawing onto a block, ink mixing and modification, registration methods, printing and editioning. In this intensive workshop, participants will create an edition of multi-layered tonal prints. Skill Level: All levels are welcome. Materials: A complete materials list will be sent upon registration. Tuition: $725 Lab fee: $75 (Includes communal inks, MDF plywood, Japanese paper–4 sheets of mulberry & 4 sheets of Masa.) Enrollment limited to 10 students. LINDA SANTANA earned her degree in printmaking at UC Santa Cruz and her MFA at the University of North Texas where she taught courses in drawing and printmaking. She is a founder of a female printmaking network and is active in conferences and workshops across the country. She was recently recognized as the Artist of the Year by the Hispanic Women’s Network of Texas. She exhibits nationally and internationally including venues in Estonia, France, Nicaragua, and the Venice Biennale. Recently she has had solo exhibitions at the WoCA Gallery, Karpeles Manuscript Museum, and Galeria de la Rosa. Linda is currently a faculty member and Printmaking Coordinator in the Visual Art Department at Idyllwild Arts Academy.

SCULPTURE/ GLASS BLOWING SEE ALSO Assemblage.................................................................. 11 Michael deMeng Hot Clay: The Figure ................................................... 6 Patti Warashina Native American Flutemaking .............................17 Marvin & Jonette Yazzie, Ernest Siva

Introduction to Sand Casting

In Bronze & Aluminum Gerald Clarke, Jr. Ramson Lomatewama, Sandblasted glass pot

Vinita Voogd

Vinita Voogd, untitled monotype

Ramson Lomatewama, Hand-blown glass pot

Monotype

Multi–Plate Transparent Layering Vinita Voogd June 15–19

Course # AAOM ØØ

One-week session This class will cover a wide range of image making using the “reductive transparent stacked” monotype technique. Mark making, inking, image preparation, and various methods in wiping of the surface plate will be discussed. Monotype is a unique print made by means that permits only one impression. An image is made using inks on a non-absorbent surface such as Plexiglas. The image is then transferred to paper with the use of an etching press. The monotype is a unique one-of-a-kind image and cannot be duplicated. There are many ways to make monotypes. In this workshop, students will learn the multi-plate transparent layering technique. Three or more inks will be made transparent, printing will be done as each color is applied to the entire plate and wiped off by the artist. The final result is achieved by “stacking” or “layering” transparent inks, as the plate passes through the press each time. Skill Level: Some monotype and/or printmaking experience helpful, but all levels are welcome. Materials: A complete materials list will be sent upon registration. Tuition: $725 Lab Fee: $45 (Includes inks, paper for 8 prints, use of all tools and shared supplies in class.) Enrollment limited to 12 students. VINITA VOOGD was born and raised in New Delhi, India, and studied fine art at the College of Art, University of Delhi. After moving to California in 1982, she studied with John Paul Jones at UCI. She has been creating and exhibiting original fine prints for over 30 years. Vinita has lectured and demonstrated her techniques at colleges and universities and served as President of the Los Angeles Printmaking Society. She is currently teaching all levels of printmaking at Saddleback College and Golden West College.

Glass Blowing

Ramson Lomatewama June 30–July 4

Course # AASG Ø1

June 23–27

Course # AASC ØØ

One-week session In this course, students will be instructed in the process of sand casting in metal. Sand casting is a 10,000 year old process and art that involves creating a cavity in damp sand and then filling that cavity with molten metal. After cooling, the sand is broken away to reveal the casting. Students will be casting pieces daily, and will learn all steps in the process, including creating the molds, casting hot metal, metal finishing techniques, the building of a small-scale foundry furnace, as well as safety measures and an introduction to a range of molding materials. Each student will produce several small works out of aluminum or bronze, up to 5lbs each. There will also be a demonstration of cold casting techniques. The program is designed for anyone who aspires to work with molten metal, either in a home studio or a foundry.

One-week session

Skill Level: All levels are welcome.

This workshop is an introduction to the fundamentals of working with hot glass. This includes becoming familiar with the equipment and tools used to create glass art. Students will have the opportunity to create their own work, beginning with solid pieces (flowers, mushrooms, and paperweights) and eventually blowing simple vessels. Using colored glass, students will become familiar with the process of gathering and shaping hot glass into a variety of forms. Although the goal is to blow glass, advancement will depend on how quickly a student becomes adept at “working” the glass. The small class size allows for maximum time working with glass and lots of hands-on/ close instruction. At times, the temperature in a hot shop environment can easily exceed 120° F. Drink plenty of water!

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

Skill Level: No prior glass blowing experience is necessary.

Tuition: $725 Lab Fee: $45 (Includes metal–5 lbs each of bronze and aluminum, sand, clay, plaster and the use of equipment, kilns in class. Additional metal will be available for purchase by the pound.) Enrollment limited to 8 students. GERALD CLARKE, JR. is a Cahuilla Indian who spent his early childhood on the Cahuilla Reservation near Idyllwild, California. He went to college in Arkansas before moving to Texas where he earned both an MA and MFA. He has lectured on contemporary Native American Art and has exhibited his work widely. He currently serves as the Visual Arts Department Chair at Idyllwild Arts Academy.

Materials: A complete materials list will be sent upon registration. Tuition: $965 Lab fee: $75 (Includes frit/colored glass, clear glass, use of all tools and supplies in class, and propane.) Enrollment limited to 4 students. RAMSON LOMATEWAMA is an award-winning glass artist, kachina doll carver, and poet. His way of experiencing the world through the arts is a clear reflection of his rich heritage and the timeless culture of the Hopi people. He earned his BA from Goddard College in Plainfield, Vermont. Ramson has taught a wide range of workshops and courses, including a position at North Central College in Naperville, Illinois as an adjunct professor of sociology. Although ceremonies and cultural activities play a major role in his life, Ramson continues to dedicate time to schools, universities, and museums as a visiting scholar and artist. He currently lives in Hotevilla, AZ on the Hopi reservation, writing poetry and creating his hand-blown glass art. Ramson Lomatewama

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PRINTMAKING/SCULPTURE/GLASS

WRITING The Art of Writing Fiction........................................24 Samantha Dunn Writing Memoir...........................................................24 Amy Friedman Screenwriting...............................................................24 Barri Rosenblum Evins Poetry Week..................................................................25 New Poems..............................................................25 Natalie Diaz, Troy Jollimore, Ed Skoog Towards A Book......................................................25 Ellen Bass

Barri Rosenblum Evins

Screenwriting Revolution

Creating Successful Screenplays

Amy Friedman

Making It Up

The Art of Writing Fiction Samantha Dunn July 7–11 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 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. Skill Level: All levels are welcome. Tuition: $725 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, she 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, Samantha teaches in the UCLA Extension Writers Program and is program advisor for The Mark at PEN USA.

June 16–20

Amy Friedman July 7–11

Course # AAWF Ø2

Barri Rosenblum Evins

Writing Memoir 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. Skill Level: All levels are welcome. Tuition: $725 Enrollment limited to 10 students. AMY FRIEDMAN is the author of several memoirs,

Kick the Dog and Shoot the Cat, Nothing Sacred: A Conversation with Feminism, Desperado’s Wife, and most recently her co-authored memoir with Anne Willan, One Souffle at a Time: A Memoir of Food and France. Amy also writes the long-running, world-wide syndicated newspaper column 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 also teaches creative writing at UCLA Extension, and at the Skirball Cultural Arts Center.

Course # AASW ØØ

One-week session Build the skills, knowledge, concepts, and relationships needed to make breaking into the industry a reality for screenwriters at all levels of experience and proficiency. Develop ideas with expert guidance, hone essential professional skills, and gain invaluable personal and industry insight. Advance Assignments provide the foundation for one-on-one work and include creating Ten New Ideas. At the end of the course, you will have developed a solid, marketable, and exciting idea, empowering you to advance to the next level in your career. The week culminates in a talk with three working industry professionals, an agent, development executive and studio executive or manager, followed by lunch with the pros and the opportunity to build personal relationships. The afternoon is devoted to pitching your idea, with a generous amount of time available for feedback on the concept, market potential, pitching technique and how to move your work forward in the marketplace. Over the course of the week you will: • Understand the Industry from The Inside • Create Concepts that Ignite Industry Interest • Harness Your Passions and Showcase Your Strengths • Craft and Shape Ideas then Pitch with Skill and Confidence • Transform Structure from Biggest Fear to Best Friend • Shape and Refine Stories on a Single Page to End Endlessly Rewriting • Acquire Powerful Tools, Techniques and Templates Making Your Writing Process Faster and More Successful Skill Level: Open to all levels: aspiring, novice and experienced screenwriters will all benefit. Tuition: $725 Lab Fee: $50 (Includes numerous handouts and industry guests.) Enrollment limited to 15 students. BARI EVINS is a working film producer who has sold pitches and specs to all the majors. Barri created Big Ideas Seminar to give aspiring screenwriters what it takes to break into the business, providing professional techniques and powerful tools to achieve their dreams. Barri has taught at studios including Pixar, DreamWorks Animation and Blizzard, the UCLA Producers Program and AFI. A sought after Script Consultant and Pitch Doctor, she’s spoken at conferences including Great American PitchFest, Screenwriters Expo and Screenwriters World. She is a columnist for ScriptMag.com. www.bigBIGideas.com

Samantha Dunn

WRITING

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POETRY WEEK July 7–11, 2014 Coordinator: Ed Skoog

Ed Skoog

TRACK I New Poems

Natalie Diaz, Troy Jollimore Special Guests: Brendan Constantine, Matthew Dickman July 7–11

Course # AAWP Ø2A

One-week session This special week of poetry is open to anyone with an interest in writing poetry, following the longheld Idyllwild Arts tradition of building a diverse community of voices to enrich the conversation, 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 write new poems and explore new ideas. Poetry Week offers two tracks, New Poems and Towards A Book. Participants in New Poems will work with two workshop leaders on writing, revising and critiquing new poems. Small class size will ensure that each participant receives individual attention and advice about his or her development as a writer. Participants in the Towards A Book track will work with Ellen Bass on a small, representative set of poems submitted prior to Poetry Week to develop ideas about manuscripts such as a chapbook or a full collection. See separate course description. The tracks run concurrently from 9–noon, and all participants join together for craft talks by faculty and special guests from 2-4 p.m. and evening readings by students and faculty. Faculty readings followed by book signing. Ed Skoog will be available for individual critiques by appointment throughout the week. Skill Level: All levels are welcome. Tuition: $725 Enrollment limited to 10 students per track.

NATALIE DIAZ was raised in the Fort Mojave Indian Village in Needles, California. She is Mojave and an enrolled member of the Gila River Indian Tribe. Her first poetry collection, When My Brother Was an Aztec, was published by Copper Canyon Press in 2012. She won a 2012 Lannan Literary Fellowship, the 2012 Narrative Prize from Narrative Magazine, and a 2012 Native Arts & Culture Foundation Artist Fellowship. She is on the IAIA Low Residency MFA faculty. Diaz currently lives in Mohave Valley, Arizona, and works with the last remaining speakers at Fort Mojave to teach and revitalize the Mojave language. TROY JOLLIMORE is the author of At Lake Scugog: Poems, and Tom Thomson in Purgatory, which won the National Book Critics Circle Award for poetry. As a philosopher he has authored On Loyalty and Love’s Vision. He has published poems in the New Yorker, McSweeney’s, Poetry, The Believer, Tin House, and elsewhere, has received fellowships from the Stanford Humanities Center and the Bread Loaf Writers’ Conference, and is a 2013 Guggenheim Fellow. ED SKOOG (MFA, Creative Writing, University of

Montana) is author of Mister Skylight, a collection of poems (Copper Canyon, 2009) and Rough Day (Copper Canyon, 2013), 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 has been awarded fellowships from the Bread Loaf Writers Conference and The Lannan Foundation. He has been a writer-in-residence at the Richard Hugo House, George Washington University, and The University of Montana. He is a past chair of creative writing at Idyllwild Arts Academy. BRENDAN CONSTANTINE (Special Guest) holds an MFA from Vermont College of Fine Arts. He is the author of three collections of poetry and his work has appeared in numerous journals, most notably FIELD, Ploughshares, Poetry Daily, Zyzzyva, and L.A. Times best seller The Underground Guide To Los Angeles. He currently teaches poetry at The Windward School in West Los Angeles. Brendan also regularly offers workshops for hospitals, foster-care centers and with the Alzheimer’s Poetry Project. www.brendanconstantine.com MATTHEW DICKMAN (Special Guest) is the author of Mayakovsky’s Revolver (W.W. Norton, 2012) and 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.

Poetry Reading, David St. John

TRACK II Towards A Book

Ellen Bass July 7–11

Course # AAWP Ø2B

One-week session This workshop is for poets who are on their way to compiling a book or chapbook and want to make each poem as absolutely strong as it can be. Each day we will look at one aspect of the craft to support the revision process. Possible topics will be: discovery, description, image and metaphor, sentiment and sentimentality, and de-cluttering. We’ll read stellar poems from contemporary poets to illustrate these concepts and inspire us. We’ll also look at examples of revision in model poems so you can get an inside view of how some poets have worked and re-worked their poems to bring them from “there” to “here.” How different Yeats’ poem, Among School Children, would be if, instead of the famous line, “How can we know the dancer from the dance?” he’d left it as it was in the first draft, “It seems the dancer and the dance are one!” We’ll discuss and critique one poem a day from each poet, so by the end of the workshop, you’ll have detailed feedback on five poems that you then can apply to the rest of your manuscript. The feedback will be presented in a way that will help you not only make these poems better, but become a stronger poet for the new poems you have yet to write.

This Poetry Week track will run concurrently with New Poems from 9 a.m. to noon, and all participants join together for craft talks by faculty and special guests from 2-4 p.m. and evening readings by students and faculty. Skill Level: Poets who are ready to revise courageously in service to the poem. Tuition: $725 Enrollment limited to 10 students. ELLEN BASS poetry books include Like A Beggar (Copper Canyon, 2014), The Human Line, Mules of Love, and the groundbreaking anthology of women’s poetry, No More Masks! She is co-author of The Courage to Heal and Free Your Mind. Her poems have appeared in The New Yorker, American Poetry Review, The New Republic, and The Kenyon Review. Among her awards is a Pushcart Prize, Pablo Neruda Prize, Larry Levis Prize from Missouri Review, and New Letters Prize. She teaches in the MFA program at Pacific University.

Richard Kenney, 2013

Matthew Dickman su mme r@ i d y l l w i l d a r t s. org

WRITING

SUMMER EVENTS EARLY PAYMENT DISCOUNT DEADLINES 10% off the total cost of a program if payment in full is received by March 15, 2014. 5% off the total cost of a program if payment in full is received by April 15, 2014. See page 30 for details and information regarding additional discounts for families, friends and teachers. Youth Dance Workshop

Hopi-Tewa Pottery Firing

SUNDAY METALS WEEK. Lectures: Sarah Doremus, Charity Hall, Deb Jemmott, Harold O’Connor, Elise Preiss, Pauline Warg, April Wood, 7 p.m. Krone Library.

MONDAY

TUESDAY

HOT CLAY. Lecture: Patti Warashina 7 p.m. Krone Library.

HOT CLAY Lecture: Michael Corney 7 p.m. Krone Library.

WEDNESDAY

THURSDAY

Native American Arts Festival Lecture

FRIDAY

SATURDAY FAMILY CAMP BEGINS See our Youth Catalog or the summer website for a description of this unique fun filled oneweek program for the whole family.

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

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

HOT CLAY. Lecture: John Oles 7 p.m. Krone Library.

15 16 17 18 19 20 HOT CLAY. Lecture: Margaret Bohls 7 p.m. Krone Library.

Native Artist Demonstration: 7 p.m. Parks Center. Parks Exhibition Center Opening Reception. Hot Clay & Faculty 8 p.m.

Artist Lectures: Charlie Ciali Gerald Clarke, Jr., Margaret Scanlan 7 p.m. Krone Library.

HOT CLAY. Lecture: Gay Smith 7 p.m. Krone Library.

HOT CLAY. Lecture: Richard Burkett 7 p.m. Krone Library.

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

22 23 24 25 26 27 NATIVE ARTS WEEK. Panel: Native American Radio Show: Live Taping 6:30 p.m. Krone Library.

NATIVE ARTS WEEK. Lecture: Ellen Taubman & Guest Artists, Art as Story 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: Matika Wilbur, Stories Through Photos PlusNative Food Tastings 12 p.m. Krone Library. Artist Lectures. Lisa Adams, David Delgado, Greg Kennedy, Marie Thibeault 7 p.m. Krone Library.

NATIVE ARTS WEEK. Lecture: TBA 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: Deana Dartt, The Stories Museums Tell, PlusNative Food Tastings 12 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, Nathan Youngblood, Santa Clara Pueblo 8 a.m. Kennedy Kiln Yard. Student Jazz Concert. 1 p.m. IAF Theatre.

NATIVE ARTS WEEK. Film Night: 7 p.m. Krone Library.

Adult Arts Center Culminations. 4 p.m. Parks Center Patio. NATIVE ARTS WEEK. Performance: Mt. Cahuilla Birdsingers, Git Hayetsk Northwest Coast Intertribal Dance Group 7 p.m. IAF Theatre

J U LY 29 30 1 2 3 4 Poetry Reading. Poetry Week Faculty. Ellen Bass, Troy Jollimore, Ed Skoog 7 p.m. Parks Center. Parks Exhibition Center Opening Reception. 8 p.m. Vocal Music Recital. 8 p.m. Stephens.

Artist Lectures: David Hoptman, Deb Jemmott, Sibyl Rubottom, 7 p.m. Krone Library.

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

Poetry Reading. Poetry Week Students 6:30 p.m. Krone Library.

Children’s Open House. Multi-Arts. 2:45 p.m. Children’s Center Adult Writing Reading. Faculty & Students 3 p.m.TBA

Poetry Reading. Poetry Week Faculty. Natalie Diaz, Matthew Dickman, Brendan Constantine 8 p.m. Krone Library.

Adult Arts Center Culminations. 4 p.m. TBA. 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. 10:30 a.m. Theatre Adventures. 11:30 a.m. Children’s Center. Piano. 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.

6 7 8 9 10 11

Parks Exhibition Center

Children’s Center Multiarts Culmination

SUMMER EVENTS

Adult Arts Center Culmination

Youth Song & Dance Performance 951-659-2171x2365

Jr. Artist’s Musical Theatre Performance

SUNDAY

Parks Exhibition Center

MONDAY

Youth Chamberfest Performance, Royce Hall, UCLA, Los Angeles

TUESDAY

WEDNESDAY

Parks Exhibition Center Opening. 7 p.m.

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

THURSDAY

Adult Student and Faculty Potluck

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.

13 14 15 16 17 18 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. Modern Art. Clay/Sculpture. Magic of Art. 9:30 a.m. Comp. Animation. Page to Stage. 10 a.m. Acting for Camera. 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 . . IAF Theatre. 20 21 22 23 24 25

Parks Exhibition Center Opening. 7 p.m.

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

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

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

CHAMBER MUSIC IN IDYLLWILD SERIES Pre-Concert Talk. 7:30 p.m. Stephens. Concert I 8 p.m. Stephens.

CHAMBER MUSIC IN IDYLLWILD SERIES Faculty Concert 8 p.m. Stephens.

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

Songwriting Performance. 1 p.m. TBA.

Chamberfest: Chamber Orchestra 4:30 p.m. IAF Theatre CHAMBER MUSIC IN IDYLLWILD SERIES Pre-Concert Talk. 7:30 p.m. Stephens. Concert II 8 p.m. Stephens.

A U G U S T 1 27 28 29 30 31 Student Recital: Vocal Music. 8 p.m. Stephens.

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

HS Chamberfest: Final Concert 4 p.m. Royce Hall, UCLA

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

CHAMBER MUSIC IN IDYLLWILD 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

Children’s/Junior Artist’s Culminations. Art from Many Cultures. 9:30 a.m. Young Writers. 10 a.m. Theatre of Myth. 10:45 a.m. Shakespeare’s World. 11:30 a.m. Children’s Center

Theatre Performance. 2 & 8 p.m. JPT.

Youth/Jr. Artists Art Exhibit. 10 a.m. Parks Center.

HS Festival Choir 8 p.m. IAF Theatre.

Acting/Directing for Camera. 10 a.m. Ryan.

Student Chamber Music Recital. 8 p.m. Stephens.

HS Choir: Final Concert 4 p.m. Royce Hall, UCLA

Youth Fashion Show. 10 a.m. Old Dining Hall. Fiction Readings. 10 a.m. Todd Quad. Dance Culmination. 10 a.m. Fisher Studio. RE: Mix Culmination. 10 a.m. Studio A. Chamberfest Ch. Music 10 a.m. Stephens. Songwriting Performance. 1 p.m. TBA.

HS Festival Choir. 1 . . IAF Theatre. 10 4 5 6 7 8 9 Theatre Performance. 2 & 8 . . JPT. pm

Chamberfest Orchestra. 7 p.m. IAF Theatre.

Native American Arts Festival Lecture su mme r@ i d y l l w i l d a r t s. org

Youth Jazz Performance

Parks Exhibition Center Opening Reception

Jr. Artist’s Shakespeare Performance

SUMMER EVENTS

MAPS CAMPUS MAP Water Tanks

REGISTRATION (Bowman Arts Center)

4 3

1 1b

IAF Theatre

6 41

6b 42 24

LA IL

55 NE

61b

30 11 10

22 22b

20 19

21b

26. Ataloa Visual Arts Studio 14. Birchard 35. Bowman Arts Center 59. Campus Security Office 63. Cedar Classroom 11. Chemistry Lab 4. Children’s Center 47. Dance Offices 23. Old Dining Hall 48. Dorm 1 39. Dorm 3 38. Dorm 4 67. 45. 6. 22b. 25. 1.

68 70

46. Fisher Dance Studio 3. Fitzgerald Jr. Players Theatre 1b. Fugl Studio 54b. Health Center 7. Old Health Center 30. Hicks Studio 8. Holmes Amphitheatre 70. Housekeeping 5. Hummingbird Hollow 54. HUSCH Hall 36. IAF Theatre 56. Krone House (Academy Admission, Alumni, Marketing) 12. Krone Library 40. Lewitzky Dance Studio 43. Lupine 53. MacNeal Hall 64. Maintenance Building 51. Manzanita Chalet 18. Meadow 1 15. Meadow 2 20. Meadow 4a & 4b 16. Meadow 5

Krone Library

Campus Pool

14 IS

APELA DRIVE

67b

2 4

54b OW

Bowman Arts Center

TEMECUL A ROAD

40 46

Eagles Nest Classroom El Centro Classroom Elf Shelf Escherich Humanities Ctr. Eymann Sculpture Garden Film Lot

Str

ber

Cre e

TOLLGATE RD. (to hwy 243)

17. 21. 22. 21b. 32. 29. 27. 6b. 69. 55. 24. 50. 9.

Meadow 6 Meadow 7 Meadow 8 Meadow 9 Mellor Studio Millsap Studio Native Arts Studio Nelson Dining Hall North Classroom Oak Chalet Parks Exhibition Center Photography Lab Physics/Mathematics Lab

52. Pierson Hall 62. Pine Chalet 61b. Ponderosa Classroom 57. Pool 49. Rush Hall 28. Ryan Sound Stage

44. Sage Classroom 10. Schoustra Science Lab 60. Sequoia (Advancement, Development) 2. Sherman Costume Shop 68. South Classroom 33. SUMMER OFFICES 41. Spruce A & B 31. Steere Studio 13. Stephens Recital Hall 37. Studio A 19. Studio D 34. Todd Center/Bookstore 65. Troy Music Classrooms 66. Troy Restrooms 58. Wayne Hall 61. Wayne Music Rooms 67b. Wilson Classroom 42. Zimmerman Log Lodge

Husch Hall

LO C AT I O N M A P 5

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/Palm Desert). Left at Hwy 74, 10 miles to Hwy 243. Right 4 miles to Idyllwild. Left at Tollgate Road 1 mi. to campus. 2) Route 15 north to Winchester Road. Right on Winchester Road to Route 74; right on Route 74 to Mountain Center. Left on Route 243, 4 miles, left on Tollgate Road one mile to campus.

San Bernardino

215

Riverside

91 5

Beaumont

Banning

n B u r en

Ramon

215

a Exp ress way

Palm Springs

243

IDYLLWILD

111

Laguna Hills

215

Hemet

in c

371

Temecula

Palm Desert

111 Mtn. Center

s ter

Newport Beach

215

From the LA Area, through Banning: Route 10 or 60 East to Banning. Take the 8th St. exit to Route 243 which leads up the mountain 25 miles to Idyllwild. Continue 1 mile through the Village. Right on Tollgate Road one mile to campus.

Ontario

Road

Burbank

405 From the Riverside Area through Hemet: 210 Route 60 Riverside, towards Beaumont. Right 101 on Route 79, 8.3 miles to traffic light. Left onto 10 LOS ANGELES Ramona Express Way, travel 8 miles to Florida Ave. Left at traffic light onto Route 74. Fifteen 91 miles up the mountain to Hwy. 243 at Mountain Center. Left onto Route 243, 4 miles to Idyllwild. Long Beach 405 Left on Tollgate Road., one mile to campus.

Idyllwild Arts 52500 Temecula Dr, Idyllwild, CA 92549

Anza

79 To Warner Springs

15 Escondido

SAN DIEGO

From all directions, please note: The campus is located at the end of Tollgate Road, just beyond a bridge. Once on campus, turn right at the crosswalk (Cahuilla Drive) & proceed uphill, turn right at the “T,” to Bowman Arts Center for registration.

951-659-2171x2365

2014 SUMMER ADULT PROGRAM REGISTRATION FORM

R E G I S T R AT I O N

Page 1 of 2

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

(

)_________________________________________________________

Date of Birth

(Optional)

Evening

)___________________________________ Sch. App. Sent ______________

(

_______________________ Sex ______________Ethnicity

(Optional) ___________________________

Mat’ls List Sent ______________

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) $535 per week

(B) $325 per three days

Roommate Request Name (Adult Students Only)_____________________________________________________________________________________

Private Room (includes meals)

D) $465 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 ($150 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 Enrollment Procedures 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, 2014. Please make every effort to register as early as possible so you will receive your

su mme r@ i d y l l w i l d a r t s. org

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.

1) All fees, minus the $25 application fee are completely refundable up to 90 days before a class is scheduled to begin.

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.

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.

Refunds

3) If Idyllwild Arts cancels a class, all fees are refundable in full.

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.

Arrival and Check In 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. A Registration Packet will be sent to you with check-in dates and assigned classroom for your workshop. Please note: There are no provisions for those arriving before or after registration hours. See Discounts/Credit information on next page.

APPLICATION/REGISTRATION/REFUNDS

2014 SUMMER ADULT PROGRAM REGISTRATION FORM

IDYLLWILD ARTS F O U N DAT I O N

Page 2 of 2 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.

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 campus-approved publicity. ____________________________________________________________ ____________________________________________________ ________________________________

Signature of Student

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

Date

The Foundation now operates two programs: the Summer Program – in its 65th year of providing classes in the arts for all ages and abilities, and the Arts Academy – an independent boarding high school established in 1986 for students talented in the arts.

Summer Program • Eight-week season • 1800 students ages 5 to adult

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

_________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________

• Over 100 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

_________________________________________________________________________________________________________________________________________________________________

• We strive to provide more than $450,000 in financial aid during the Summer Program, to ensure that children and youth from lowincome families had access to arts education. We awarded over $480,000 in scholarships during the 2013 Summer Program.

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

Teacher Discount: Teacher Name_______________________________________________________________________________________ List other Teachers attending:

Academy • Co-educational, 300 students (49% international), grades 9–12 & postgraduate • Pre-professional training in creative writing, dance, filmmaking, interdisciplinary arts, music, theatre & visual arts (Majors: Music, Theatre, Dance, Moving Pictures, Creative Writing, Visual Art, InterArts)

____________________________________________________________ ____________________________________________________ ________________________________ Name Program Dates

• Students selected by audition or portfolio evaluation

____________________________________________________________ ____________________________________________________ ________________________________ Name Program Dates

• Comprehensive college preparatory academic curriculum

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

52500

Te m e c u l a

Road

•

P. O .

Box

•

Idyllwild,

92549

•

(951)

659-2171

•

Fa x

(951)

659-4552

•

idyllwildarts.org

• Academy graduates are sought by the finest colleges, conservatories and universities in the country • On average, more than half of our IAA students have access to an exceptional arts and academic education because of financial aid. For the 2013-2014 Academy school year of 300 students, we awarded nearly $6.13 million in scholarships to 61% of our student body!

We welcome your support Our Summer and Academy programs (and financial aid awards for eligible students) are made possible with the help of gifts from friends like you. To make a gift, or for further information regarding gifts, contact:

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, 2014. 5% off the total cost of a program if payment in full is received by April 15, 2014. 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. 1) Family members are not required to attend at the same time. 2) Not available to students choosing the Teacher Discount. 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) A new student can be claimed by only one returning student.

2) Does not apply to immediate family members of returning students. (see Family Discount) 3) Not available to weekend registrants. 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. 2) Fees for the workshop must be paid at the time of registration. 3) Available on a limited basis.

Idyllwild Arts Foundation Advancement Office P.O. Box 38, Idyllwild, CA 92549-0038 951-659-2171 ext. 2330 advancement@idyllwildarts.org www.idyllwildarts.org

su mme r@ i d y l l w i l d a r t s. org

ARTS ACADEMY

CERAMICS Ceramics: The Ways of Clay Hot Clay Exploring the Altered Vessel The Figure The Painted Pot: Surface Tension Cone 6: Exciting Glazes & Surfaces Form, Surface & Soda Firing

IDYLLWILD ARTS FOUNDATION

P.O. Box 38 Idyllwild, CA 92549

Non-Profit Organization U.S. Postage

PAID Idyllwild Arts Foundation

JEWELRY Forming, Forging & Finishing Three Ring Circus Metals Week Architecturally Inspired Jewelry Articulated Panel Bracelet Bespoke Enamel Decals Steel for Jewelers: Ferrous to Fine Textures Working Jewelry MIXED-MEDIA Assemblage BOOK ARTS Collaging the Translucent Book Arts through Cartography Mythological Icons NATIVE ARTS Chumash Stone Carving Navajo Inlay Jewelry Native American Flutes Cahuilla Style Pottery Native American Arts Festival Northwest Coast Cooking/Culture Native Plants Cahuilla Basketry Haida Basketry Navajo Weaving Hopi Jewelry Hopi Tewa Pottery Santa Clara Pottery

PAINTING/ DRAWING

Advanced Drawing Intensive Drawing Without Fear Encaustic Painting Experiential Drawing & Watercolor Painting the Figure Plein Air Painting Representation to Abstraction Unleashing Color Watercolor Untamed

PHOTOGRAPHY Digital Photography & Beyond PRINTMAKING Chiaroscuro Woodcut Monotype

SCULPTURE

Glass Blowing Introduction to Sand Casting

WRITING The Art of Writing Fiction Writing Memoir Screenwriting Poetry Week New Poems Towards A Book

SUMMER PROGRAM 2014 Workshops for Adults

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