PILCHUCK GLASS SCHOOL PROGRAMS
2019
P I LC H U C K G L A S S S C H O O L F O ST E R S A N D E D U C AT E S A W O R L D W I D E C O M M U N I T Y T H AT E X P LO R E S T H E C R E AT I V E U S E O F G L A S S I N A R T A N D D E S I G N .
PROGRAMS 2019
W H Y S P E N D T I M E AT P I LC H U C K ?
Pilchuck Glass School offers an escape from the realities of the outside world, giving students the ability to step away from the distractions of daily life, offering the opportunity for fully focused time to work in a supportive environment with complete immersion. For one to three weeks during the summer and fall, people come to Pilchuck to push themselves, their work, and their conceptions of the possible. While living on campus, artists from all walks of life build bridges, develop community, and make, make, make. At Pilchuck, students have access to the best and most devoted artists and teachers in the world. Pilchuck is a global community; artists, craftspersons, designers, and makers from over seventy different countries come to experiment and share experiences, new ideas, methods, materials, and techniques. It’s all about the students during a session. Artists teaching artists, artists exposing each other to diverse ways of thinking and making, artists allowing each other to take risks in a supportive, encouraging environment. Pilchuck passionately works to provide an inclusive, welcoming, and safe environment for all to learn and immerse themselves in unique educational experiences. Pilchuck is committed to welcoming everyone with respect and understanding towards race, gender expression, age, national origin, disability, marital status, military status, and sexual orientation in our educational programs. Pilchuck programs aren’t just a place to retreat to, on top of the two Hot Shops, extensive Cold Shop, Studio Building, Kiln Shop, and Flat Shop, our campus also offers daily talks and lectures with access to the glass-plate Print Shop, the digital BotLab, the Wood & Metals Shop, a gallery space, and a library holding video documentation of demonstrations dating from the 1970s to present. Outside workspaces and an open environment mean that collaboration between classes and studios is a constant, supported by amazing staff, studio coordinators, and a host of visiting local artists. Why come to Pilchuck? Because Pilchuck is about an artist’s practice and personal growth. Yours.
2019 PROGRAMS
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2 0 1 9 H I G H L I G H TS Pilchuck programs run from May through November. Spring 2019 begins with our John H. Hauberg Fellowship and Spring Tours in combination with Artists@Work. Summer programs begin later in 2019 to ensure the arrival and installation of our new furnace in the iconic Pilchuck Hot Shop! Programs continue into the fall with two fall sessions, followed by the Emerging Artists in Residence and our youth programs. For the third year, Pilchuck is proud to continue with youth workshops in early spring and late fall, partnering to serve local teens from Hilltop Artists, Tacoma, and Lummi Youth Academy, Bellingham.
SUMMER PROGRAM In 2019, Pilchuck Glass School will be offering a new eight-day session, two twelve-day sessions, and two eighteen-day sessions. Instructors and Artists in Residence (AiRs) have been selected for their distinctive relationship to each session’s theme. Session themes act as a campus-wide parameter, outlining the focus of each course and providing a collective springboard for thoughtful interpretation and the creation of pieces infused with content. Courses offer a wide range of learning and skill levels in dynamic and immersive sessions. This summer, Material Matters, Classical Inquiry, Natural History, Pop Investigations, and Sign + Signifier will structure the focus of their respective sessions, as well as providing pathways to creation and discovery during the Summer Program. Pilchuck welcomes artists of all levels to participate in courses that delve into traditional forms of glassmaking, as well as unique hybrid courses that explore crosspollination. Digital fabrication with 3D scanning, printing, and modeling, glass and electronics, glass and ceramics, model and mold fabrication, neon, flameworking, hybrid printmaking, writing, equipment fabrication, art history, and social practice are among the diverse topics and methods offered in summer 2019. These collaborations between disciplines help create conduits for students and instructors to realize new ways of making while exploring form and meaning. Each session is strengthened by the presence of highly acclaimed artists in residence, gaffers, teaching and artist assistants, and a support staff of passionate and talented artists. A truly immersive experience, Pilchuck provides a rich and focused learning environment where everyone on campus works and grows creatively in a supportive community.
FA LL P R O G R A M The Fall Program is a dynamic and fulfilling way to end the summer and welcome in the fall. Fall sessions offer two one-week equally immersive educational opportunities. The themes, Realism and FUNdamentals, will provide focus and structure to the new and extended Fall Program courses. Glassblowing, flameworking, kilnworking, printmaking, and neon will be part of the course curriculum this fall. 3
2019 SUMMER CRAFTSPERSONS IN RESIDENCE 2019 SUMMER C R A F TS P E R S O N S I N R E S I D E N C E Craftspersons in residence, also known as gaffers, are accomplished artists with experience in hot glassworking who execute the creative visions of artists in residence and summer instructors. They have a strong interest in collaboration and a desire to stretch their abilities and ways of thinking. Craftspersons in residence hold the technical challenge and responsibility of creating work for other artists. Pilchuck invites two craftspersons in residence to participate in each summer session. Session 1
Jason Christian Daryl Smith
Session 2
Jack Gramann Shahid Khan
Session 3
Jen Elek Chris Stenzel
Session 4
Austin Stern Sasha Tepper-Stewart
Session 5
Alix Cannon Madeline Prowd
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2 0 1 9 V I S I T I N G A R T I STS Short-term visits by visual artists, designers, technical experts, curators, and critics enrich both the Summer and Fall Programs. Instructors are encouraged to invite local and visiting artists to give slide shows, lead discussions, give technical demonstrations, and critique students in their courses.
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2019 SUMMER ARTISTS IN RESIDENCE
2 0 1 9 S U M M E R A R T I STS I N R E S I D E N C E Every summer session, Pilchuck invites a noted artist to experiment with glass on campus. Paired with gaffers and artist assistants, they have the opportunity to address glass within their practice or add it to their vocabulary of work. For the Pilchuck student, artists in residence bring much to the campus learning experience, including different approaches and unique interrogations of the material. This year, innovative artists working in the area of sculpture, craft, political commentary, mixed media, printmaking, and performance will bring new perspectives to each summer session. Read more about Artist Assistantship opportunities on page 26.
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S E S S I O N 1: M E D I U M M AT T E R S
S E S S I O N 2 : C L A S S I C A L I N Q U I RY
DAWN CERNY
S H A R I M E N D E LS O N
Dawn Cerny is a Seattle-based artist and arts educator. Cerny’s work has been described as “ . . . literary, historical, and political. It’s also messy, pulpy, direct, and poetically profound. Oh, and it’s funny,” by art critic Jen Graves. Cerny uses her work to look for the comedic and tragic aspects of humans’ drive for safety and the desire to belong. Her works on paper, sculptures, and collaborative projects have been exhibited widely around the Pacific Northwest.
Shari Mendelson is a sculptor living and working in Brooklyn and upstate New York. She interprets ancient art using the ubiquitous material of our era: plastic bottles. Her work reflects on material value, historical interpretation, and the role objects play in the past’s relationship to the present. Mendelson has been the recipient of a Guggenheim Fellowship, four New York Foundation for the Arts Artist Fellowships, and a Pollock-Krasner Foundation Grant.
“ [ This experience] completely opened up my mind to the possibility of glass, it changes how I view and produce my work.” Damien Davis, Artist in Residence, Summer 2018
S E S S I O N 3 : N AT U R A L H I STO RY
S E S S I O N 4 : P O P I N V E ST I G AT I O N S
SESSION 5: SIGN + SIGNIFIER
DOUG JECK
C A N N U PA H A N S K A LU G E R
N ATA L I E B A LL
Doug Jeck is a master of the figurative genre in ceramics. He received his MFA from the School of the Art Institute of Chicago, and taught ceramic sculpture at the New York State College of Ceramics at Alfred University, before moving to teach at the University of Washington, Seattle, where he is currently the chair of ceramic art in the 3D4M Program. Jeck has received many awards and grants, his work is included in numerous private and public collections, and has been reviewed in various publications.
Cannupa Hanska Luger is a multidisciplinary artist of Mandan, Hidatsa, Arikara, Lakota, Austrian, and Norwegian descent. Through monumental installations, Luger interweaves performance and political action to communicate stories about 21st-century Indigeneity. Using social collaboration and in response to timely, site-specific issues, Luger produces multi-pronged projects which present a call to action, provoking diverse publics to engage with Indigenous peoples and values apart from the lens of colonial social structuring.
Natalie Ball has a bachelor’s degree with a double major in ethnic studies and art from University of Oregon, and a master’s in Maori visual arts with a focus on Indigenous contemporary art from Massey University, New Zealand. Ball received her MFA in painting and printmaking from Yale School of Art, Connecticut. Her work has been shown nationally and internationally, including at the Contemporary Native Art Biennial, Montreal; Te Manawa Museum of Art, New Zealand; Portland Art Museum; and IAIA Museum of Contemporary Native Art, Santa Fe.
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SESSION
1 MEDIUM MATTERS
J U N E 7–1 4
I N STA LL AT I O N S
Glassblowing, Coldworking, Installation, Mixed Media Come prepared to enter into a clean, uncluttered sculptural world! This course will move between several skills and resources, engaging in blowing and coldworking techniques. Students will learn how to achieve a perfect balance between hotwork and coldwork, utilizing sandblasting, engraving, hammering, and other finishing techniques, in order to realize a collaborative set-up in a study of the importance of harmony in dimensions. Students will work together to create a masterpiece in a large-scale installation. A / ALL LEVELS
E P LU R I B U S : C O N ST R U CT I N G THE BUBBLE
DO ANDROIDS DREAM OF C N C PAT H S ?
Glassblowing, Cane, Murrini, Design, Color Pattern
Glassblowing, Hot-Glass Casting, 3D Modeling, Digital, Moldmaking
Canework introduces the idea of forming a continuous surface from many separate component pieces, creating an opportunity for exploring both regular and irregular patterns in the glass body. This course will give students a good grounding in the basic fundamentals of working with cane, as well as encouraging them to develop their own strategies for innovating upon traditional techniques. Lectures on historical uses of cane, as well as more contemporary sources of inspiration, will supplement daily demonstrations in the Hot Shop.
Computers, robots, hot glass—what could possibly go wrong?! Explore 3D digital design CAD tools and CNC to create reusable graphite molds for glass casting. Students with 3D design experience may design forms with their software of choice, and 3D beginners will have access to some free, easy to learn tools to get them going. We will use the affordable and open-source XCarve CNC machine to mill graphite molds, and hot-shop time will explore graphite molds for ladle casting, centrifugal casting, blown and castglass combinations, and solidworked assemblies of multiple castings.
A / INTERMEDIATE
A / ALL LEVELS
A N TO I N E P I E R I N I
Antoine Pierini is part of a family of glassblowers. Owner of a glass studio located in Biot, French Riviera, his main inspiration is nature and Mediterranean cultural heritage. Considered a representative of French glass artists, Pierini created several master installations of bamboo on-site in locations including San Diego, New York, St Tropez, and London. Through his studio, Pierini has also hosted many artist residencies for artists such as Kelly O’Dell, Raven Skyriver, Ethan Stern, Gabe Feenan, and more.
S C OT T B E N E F I E L D
Scott Benefield has been an artist in residence at Corning Museum of Glass, New York; North Lands Creative, Scotland; Creative Glass Center of America, New Jersey; and Museum of Glass, Tacoma. He regularly teaches workshops in cane techniques and was a visiting scholar at Osaka University of Arts in 2009. He has been the recipient of a Queen Elizabeth Scholarship Trust grant to support independent research in glass. Benefield currently lives and works in Northern Ireland.
HOW TO APPLY Page 27
Session 1 Gaffers: Jason Christian & Daryl Smith 8
FRED KAHL
Fred Kahl is a New York City-based artist who works at the intersection of art, entertainment, and technology to create work invoking magic and wonder. Over the last several years, he has explored ways to combine 21stcentury technologies like computers and robots with more traditional glassmaking processes. Kahl has been a TED Resident, and artist in residence at the Museum of Glass, Tacoma; Corning Museum of Glass, New York; Wheaton Arts and Cultural Center, New Jersey; and staff, student, TA, and instructor at Pilchuck Glass School.
N AT U R A L T R A N S F O R M AT I O N S
Flameworking, Sculpting, Mixed Media, Installation Drawing on the immediate and unique environment of the Pilchuck campus, this course will employ natural forms as a starting point for material investigation. Using flameworked glass and mixed media, we will explore sculptural elements based on forms and patterns found in nature. The course focus will be on solid and hollow-sculpting techniques using bench and hand torches alongside surface manipulation and assembly methods. Bring a sketch book, a curious mind, and a desire to mix it up with materials! A / ALL LEVELS
I M M AT E R I A L : S C E N T & H O LLO W - C A ST F O R M S
Hollow-Core Casting, Lost-Wax Casting, Distillation, Natural Perfumery “Perfume straddles the line between the tangible and intangible, the earthly and the ethereal, the real and the magical.” —Mandy Aftel Fusing glass casting with history and sensory exploration, this course will examine the ethereal, fluid, and transparent qualities of glass and perfume; two properties that have been intertwined since their inception in ancient Mesopotamia. Students will be introduced to hollow-core casting and will use plant extractions and distillation to create their own individual scent. Each student will leave with a one-of-a-kind cast-glass vessel and a corresponding perfume.
GLASSOGRAPHY 2
Writing, Conversation, Public Reading This course is dedicated to making observations about glass through various writing experiences. Motivated to develop a broader conversation about the landscape of contemporary glass, students will examine the many fascinating nuances related to glass materiality, glass culture, our community, and issues related to the field in general. Through short writing exercises, lectures, group activities, writing projects, and public readings of our work, this course will serve as a means to convey information, exchange ideas, and make insightful discoveries. C / ALL LEVELS
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ANDREA SPENCER
Andrea Spencer’s small-scale sculpture and site-specific installations draw from natural forms to create artworks that carry a personal narrative. Throughout her work, she maintains an emphasis on the unique properties of glass, exploiting the intrinsic qualities of transparency, fragility, and fluidity inherent within the material through the making process. She has exhibited and taught internationally. Spencer currently maintains a studio practice in Northern Ireland.
E M I LY E N D O MICHAEL ENDO
Michael and Emily Endo (née Nachison) are based in Portland, Oregon, and Joshua Tree, California. Their individual and collaborative practices include art, education, and curation. Their work has been exhibited internationally in both solo and group exhibitions. Michael Endo earned an MFA from Cranbrook Academy of Art, Michigan, in 2009, and is currently the curator at Bullseye Projects. Emily Endo is an artist and perfumer. She received an MFA from Cranbrook Academy of Art in 2010.
D AV I D S C H N U C K E L
David Schnuckel’s work exhibits internationally and is in the permanent collections of the GlazenHuis, Belgium; Glasmuseet Ebeltoft, Denmark; and Museum of American Glass, New Jersey. He has taught at Alfred University, New York; Toyama City Institute of Glass Art, Japan; and more. As a writer, Schnuckel maintains a blog that examines his glass and teaching practice titled David Schnuckel Uses His Words and is a regular contributor to GASnews. He is an assistant professor of glass at the Rochester Institute of Technology, New York.
A P P LY O N L I N E AT P I L C H U C K . C O M
9
SESSION
2 CLASSICAL INQUIRY
J U N E 1 8 –2 9
HOW TO APPLY Page 27
D I S S O LV I N G B O U N D A R I E S
LINGUA FRANCA
C A R V I N G I LLU S I O N S
Glassblowing, Design, Color, Form
Glassblowing, Ceramic Printing, Design, Digital, 3D Modeling
Glassblowing, Engraving, Imagery, Animation
Seeking to unite students and teachers from both craft and technology backgrounds, this class will provide a foundation in glassworking and digital-fabrication techniques to foster experimentation between the two. Subjects for study include 3D modeling in Rhino and additive/ subtractive manufacturing, as well as daily demonstrations in traditional and non-traditional glassmaking in the Hot Shop. Armed with the skills to communicate between these two fields, students are encouraged to work collaboratively to explore materials and processes. Laptops are required.
With a focus on glass engraving, students will split their time between the Cold Shop and the Hot Shop in this course. Making basic forms in the Hot Shop to engrave, we will use the illusion of motion as a vehicle for content and narrative. Daily demonstrations using diamond, stone, and copper wheels will deepen your understanding of mark making, the tools used, and how to maintain them. Using basic technology, light, and projection, this class will experiment with ways of implying motion in imagery. Bring your sketchbooks and an open mind!
This course examines how hot-glass sculptures can impact and mediate our relationship to our body and our environment. Can glassblowing and encounters with blown-glass objects inform our awareness of self and place? Students will investigate process, developing new speculative works through group projects and individual responses. Demonstrations will expand hot-glass techniques including color application and pattern making. Discussions and critiques will underpin the role of formal aspects including site, scale, and abstraction in conveying students’ ideas. A / INTERMEDIATE
BENJAMIN COBB
B R A N DY N C A LL A H A N
SARAH GILBERT
NADÈGE DESGENÉTEZ
PHIRAK SUON
J A R O S L AV Š Á R A
Benjamin Cobb holds a BFA from Rochester Institute of Technology, New York, and has been a demonstrating artist at glass studios as far afield as Sweden, Czech Republic, and Italy. In his work, Cobb draws inspiration from the natural world, as well as scientific process. Nadège Desgenétez’s work investigates interrelations between body and place, and is informed by her experiences as a migrant and a maker. Faculty at the Australian National University Canberra, Desgenétez has taught and exhibited in Europe, North America, Asia, and Australia.
Brandyn Callahan and Phirak Suon met at Pilchuck Glass School in 2016 and have been collaborating ever since. Callahan’s background in combining glass with materials such as ceramics, copper, and leather, and Suon’s background in art, architecture, and 3D printing have uniquely qualified the two to explore materials through digital fabrication and traditional craft techniques. They were featured artists at the Museum of Glass, Tacoma, and demonstrating artists/lecturers at the Global Pathways for Craft Forum in Mexico.
Session 2 Gaffers: Jack Gramann & Shahid Khan 10
A / ALL LEVELS
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Sarah Gilbert received her BFA from Rochester Institute of Technology, New York, before moving to the Pacific Northwest to work as a member of the Museum of Glass Hot Shop Team in Tacoma. She has been there ever since, assisting artists in making their work in addition to developing her own practice. Jaroslav Šára graduated from Kamenický Šenov Glass School and the Glass College in Nový Bor with a diploma in glass engraving before receiving his Master of Art degree at Jan Evangelista Purkyně University in Ústí nad Labem, Czech Republic.
VENETIAN FLAMEWORKING | F R O M S O L I D TO H O LLO W
Flameworking, Sculpting, Tradition
MAKING IDEAS VISIBLE
Kilncasting, Imagery, Lost-Wax Casting, Printmaking
This course will mostly focus on the centuries-old Venetian tradition of flameworking. From the human figure to bugs and insects in soft glass, to the humble tumbler with Pyrex, to the most elaborate Venetian goblets in borosilicate. We will try together to reproduce the work of some of the old masters as well as some of the new ones. This course will deepen your understanding of the neverending possibilities of flameworking through the exploration of those various techniques, opening doors to your creativity.
Working with molds and exploring kiln and lost-wax casting, experimental printings, and coldworking, students in this course will work to create an installation combining glass, printings, and found objects. This course will explore printing on glass using sunlight printings, photo emulsions, and linocut printings to be able to convey students’ visions. Through rigorous personal reflection and inquiry, students will utilize lectures, visiting artists, and dialogues around contemporary art to develop and make visible their own intuitions and ideas.
A / ALL LEVELS
A / ALL LEVELS
EMILIO SANTINI
Emilio Santini was born in Murano, Italy, into a family with six-hundred years of glassblowing tradition. He currently resides in Williamsburg, Virginia. Santini has recently begun to combine his flameworking talent with furnace-blown and cast work. He has taught extensively in the United States’ major glass schools, and is a popular instructor for both beginning and highly skilled students.
S I LV I A L E V E N S O N
Originally from Buenos Aires, Argentina, Silvia Levenson immigrated to Italy in 1981. Levenson has dealt with social issues ranging from migration, the tensions of daily life, violence against women, and recently, the crimes of the 1976 Argentine coup d’état as represented in her traveling exhibition Identidad Desaparecida. She received the Rakow Commission Award from Corning Museum of Glass, New York, and the Glass in Venice Prize from Instituto Veneto. Her work has been exhibited around the world and is part of several collections.
A N C I E N T TO M O D E R N | E X P LO R AT I O N S I N T H E H I STO RY OF GLASS
Writing, Art History, Research Through an expansive look at the history of glass, gain a unique understanding of the origins of this fascinating material in the regions of the world where glassmaking has had the most significant impact. We will explore its ancient origins, the rise and importance of glass in Western Europe, most notably in Renaissance Italy, glass as America’s first industry, the fantastic innovations of the 19th century, and take a deep dive into the origins of the studio glass movement in the mid-20th century and contemporary trends in glass. C / ALL LEVELS
DIANE WRIGHT
Diane C. Wright is the curator of glass and decorative arts at the Toledo Museum of Art, Ohio, where she explores the infinite world of glass within the context of Toledo’s encyclopedic art collection. She has worked with glass collections at Yale University Art Gallery, Connecticut, and the Chrysler Museum of Art, Virginia, and has taught courses on glass history at the Rhode Island School of Design; Parsons the New School for Design, New York; and George Mason University, Virginia.
A P P LY O N L I N E AT P I L C H U C K . C O M
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SESSION
3 NATURAL HISTORY
J U LY 6 – 2 3
HOW TO APPLY
A D VA N C E D S C U L P T I N G I N G L A S S
T H E G L A S S E L E CT R I C
Hot-Glass Sculpting, Assemblage, Color, Observation
Glassblowing, Electroforming, Interactive Electronics
Focus on developing individual sculptural ideas while exploring a variety of blowing and sculpting techniques. Methods of surface treatment, torchwork, and assembly of elements in the garage will be thoroughly demonstrated. Emphasis will be on applying color and making it integral to the overall aesthetic. The goal is to improve skills and expand students’ working knowledge of hot glass so that they gain the courage to take aesthetic risks. The class will learn to communicate ideas by working through and with a team. Be prepared to explore and have fun!
Learn to combine hot-sculpted and plated glass with interactive electronics through a class that explores electroformed copper, inside sculpting, sensors, and microcontrollers! Students will learn a gestural approach to bubble sculpting, torchwork, and how to apply rare-earth colorants in Pilchuck’s Hot Shop. Students will then sandcarve and plate copper circuits into their sculptures. In parallel, students will learn how to activate those circuits by incorporating switches, proximity sensing, video manipulation, and 3D printing. Laptops required.
A / INTERMEDIATE
A / ALL LEVELS
JAS E N J O H N S E N
V I CTO R I A B R A D B U RY
KAREN WILLENBRINK-JOHNSEN
M A R K H U R ST Y
Jasen Johnsen served as the head studio technician at Pilchuck Glass School for nearly ten years, and also worked as a teaching assistant for Pino Signoretto and Hank Murta Adams in addition to creating and fabricating a line of fine-crafted glassworking tools. Karen Willenbrink-Johnsen creates work derived from her love of adventure, nature, and glass. She earned her BFA in sculpture from Ohio University, and was a core member of the William Morris team. She co-teaches throughout the world with her husband and collaborator, Jasen Johnsen.
Victoria Bradbury is a new-media artist weaving programming code, physical computing, body, and object. Her work was included in the Maker Movement Exhibition at the Eindhoven Maker Faire and at the {Re}HAPPENING at Black Mountain College, North Carolina. Mark Hursty applies digital manufacture and process abstraction to molten glass and installation works. He is a Fulbright Fellow who received his PhD from National Glass Centre at University of Sunderland. They both teach in the New Media Department at University of North Carolina Asheville.
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Session 3 Gaffers: Jen Elek & Chris Stenzel 12
E X P E R I E N T I A L A R C H A E O LO GY
O U T O F T H E B OX
I N V E ST I N G I N T H E M U LT I P L E
Equipment, History, Design, Fabrication, Core Forming
Flameworking, Functional & Non-Functional, Sculpting
Moldmaking, Kiln Forming, Kilncasting, Printmaking, Digital Applications
Combine science, art, technology, and technique as you engage firsthand with the historical origins of glassblowing! Using the most recent archaeological data on glass art and making in Antiquity, we will build and operate a series of wood and coal-fired clay furnaces to create objects inspired by productions dating from 3000 BCE to 200 CE. Returning back to the basics of the trade, from Mesopotamian core-formed vessels to early Roman glassblowing, the group will venture collectively into an experimental immersion in glassmaking and aesthetics.
Flameworking is a wonderful technique to create components that can be combined into various configurations forming both functional and non-functional sculpture. Starting with a drawing, learn to chart a course and build both small and large pieces. Together we will strategize different ways of working with the glass to create your project. This course will establish basic skills of how to make well-built solid work. Through daily class demonstrations, individual instruction, and practice, the student will gain the skill to shape both thin and thick glass rods and blow tubing.
Exploring the intersection between positive and negative impressions, this course will combine historic and contemporary moldmaking and printmaking techniques. Translating surface and form into cast-glass printing plates, students will learn the fundamentals of rubber moldmaking, slumping, fusing, and investment casting alongside vitreography and hand printing. Students will identify the benefits of urethane versus silicone rubbers, and build skills using plaster, wax, and plastic components both open-face and in the round.
A / ALL LEVELS
A / ALL LEVELS
A / ALL LEVELS
B R U N O V. A N D R U S
Bruno V. Andrus has been a Montrealbased professional glassblower and teacher for more than twenty years. His artwork, which has been exhibited internationally, mostly consists of series of objects which both celebrate and question the making, function, and decoration of glass vessels. He has combined his passion for glassmaking techniques with his academic interests by completing a PhD in art history on the topic of glassblowing. Andrus has led numerous courses, conferences, and is an active curator and writer.
J A N I S M I LT E N B E R G E R
Janis Miltenberger is most recognized for her use of glass as an evocative medium. Her work ranges from lifesized to small and intricate. By creating familiar objects, such as a cage or chair to frame her concepts, she draws the viewer into her world of ideas and imagery. Miltenberger first studied clay in college and then was introduced to glassblowing as an apprentice to Richard Marquis. Years later, it was the technique of lampworking that married her narrative style within a sculptural form.
R U BY D O R C H E ST E R HANNAH MARIE SMITH
Ruby Dorchester is a Denver glass artist and sculptor working with moldmaking and cast glass. Her work draws on her inherent curiosity of the natural world and the patterning that occurs within nature and the human form. Hannah Marie Smith is a Boston printmaker interested in the intersection of imagery and materiality. Previously awarded residencies at Zea Mays Printmaking, Massachusetts, and Pilchuck Glass School, she is coordinating a collection of essays on the topic of vitreography.
A P P LY O N L I N E AT P I L C H U C K . C O M
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SESSION
4 POP INVESTIGATIONS
J U LY 2 7– A U G 1 3
HOW TO APPLY
WORKING WITH THE CURRENT
I D I O SY N C R AT I C I N V E ST I G AT I O N S
Glassblowing, Coldworking, Assemblage, Mixed Media
Glassblowing, Moldmaking, Coldworking, Mixed Media
Build the momentum you need in this focused course as you reach towards your own personal goals with art and molten glass. Students will spend time in the Hot Shop to experiment with molten glass, explore both hot and cold assembly methods, and investigate scale, mixed media, and installation. Whether you plan to blow glass professionally or as a hobby, creativity is the key component to maintaining a healthy relationship with the material. Bring your ideas and concerns about glass and let’s step into the Hot Shop.
From fundamentals to fully executed ideas, this introduction to glassblowing will help you facilitate your creative pursuits. Concentrating on developing a well-informed, analytical practice in the hot shop that emphasizes good habits, efficiency, and creativity, students will be challenged to use their skills in pursuit of creative investigations, which will manifest in the form of unique works in glass. This course will also include discussions and demonstrations of other expressive techniques such as moldmaking, torchworking, and mixedmedia processes.
A / ALL LEVELS
A / INTRODUCTORY
K A Z U K I TA K I Z A W A
Kazuki Takizawa is a Los Angelesbased Japanese artist who was raised in Hong Kong and Bangkok, Thailand. Growing up in foreign countries his entire life, his art became an outlet for the expression of his personal journey. His work in glass sculptures and installations references a variety of topics related to mental health and depression. He has traveled extensively for teaching, exhibiting, and public speaking.
CHÉ RHODES
Ché Rhodes received his MFA from Tyler School of Art, Philadelphia. He was an assistant professor and head of glass art at Southern Illinois University, and currently is an associate professor and head of studio glass at the University of Louisville, Hite Art Institute. He is a former member of the Glass Art Society board of directors, and a former member of the Penland School of Crafts board of trustees. He has demonstrated at three Glass Art Society conferences and has taught in the United States and internationally.
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Session 4 Gaffers: Austin Stern & Sasha Tepper-Stewart 14
GLASS AS SOCIAL PRACTICE: ENVIRONMENTALISM
Glassblowing, Hot Casting, Mixed Media, Experimentation Develop a socially engaged practice informed by the materiality of glass, its craftsmanship, and its physical phenomena. Students will create actions and objects that foster social discourse and shared authorship as tools for promoting ecological consciousness and environmental stewardship. Studio prompts will encourage experiments in hot and cold glass that inspire a transformation in social space. Students will engage with communities in Seattle and the local region in an implementation of collaborative methodologies through the lens of environmental justice. A / ALL LEVELS
C A R M E N M O N TOYA A N J A L I S R I N I VA S A N
Carmen Montoya is a socially engaged artist whose work bridges the worlds of community activism and the art gallery through interventions that question the presumed inevitability of everyday life. Her primary medium is the communal process of making meaning. Anjali Srinivasan uses glass in crowdcreated installations and objects that remain incomplete without human intervention. Her studio promotes socially responsible glass design and is invested in how material imagination speaks to creative empowerment in a sustainable manner.
NEON FOR INSTALLATION & MIND CONTROL
Neon, Interactive Electronics, Mixed Media, Installation Using traditional and non-traditional neon-making techniques, students will look at the aesthetic and conceptual possibilities of combining light and mixed media to create immersive environments. Taking inspiration from mid-20th century installation art, light art, and UFO cults, we will develop artwork incorporating light, sound, and subtle animation to calm the soul or break down mental barriers. Learn to use electronics and environmental sensors to make work sensitive to light, sound, motion, and more. No experience with neon, coding, electronics, or cults necessary.
STA I N E D G L A S S A S S E M B L A G E
V I T R E O G R A P H Y & T H E M U LT I P L E
Stained Glass, Assemblage, Painting, Silver Stain
Printmaking, Imagery, Sandblasting, Experimentation
Create two or three stained glass panels as you investigate and work on glass to explore the notion of the ‘assemblage’ and its historic design potential. Students will explore traditional and contemporary processes of embellishing glass and cross reference this via support, exchange, demos, process, ideas, and hopefully a little magic. Techniques covered will include painting on glass, silver staining, leading, sandblasting, soldering, lamination, and various drawing and image-making methods.
Students will have a unique opportunity to use glass plates in the printmaking process of vitreography. Explore production of the multiple through various etching techniques and chemical processes, as well as other processes such as chinecollé and collage. Students will gain knowledge of both basic and advanced printmaking techniques, an understanding of paper and paper handling, ink mixing, blind embossing, and will leave the class with a substantial portfolio of 2D work. The session culminates in a print exchange, putting to use skills acquired to make multiple editions.
A / ALL LEVELS
A / ALL LEVELS
A / ALL LEVELS
R A N J I T B H AT N A G A R S A R A H B LO O D
Ranjit Bhatnagar works in music, installation, and text, with a particular interest in algorithmic techniques and in improvisation. His heaviest work is Stone Song, a 7,500 pound outdoor sound sculpture; his longest is The Tapestry of the Search for Terrestrial Intelligence at 44 yards. Sarah Blood is a visual artist who plays with the tension between light and materiality. Pushing the boundaries of phenomenology, her work questions perceptions of strength and permanence. She is an assistant professor in sculpture at Alfred University, New York.
GLENN CARTER
Glenn Carter is a freelance glassmaker based in Plymouth, England. He is a glass lecturer at Plymouth College of Art and holds an MVA from the glass department at the Australian National University in Canberra. He has commissioned work installed in over thirty-five non-secular buildings throughout the United Kingdom. Other works are included in the collections of the Rijksmuseum, Amsterdam; Estonian Museum of Applied Art & Design; Plymouth City Museum and Art Gallery, England; and North Lands Creative, Scotland.
BEN BERES
Ben Beres is one-third of conceptual art trio SuttonBeresCuller, who have been actively producing work in Seattle for nineteen years. Their list of awards includes a Creative Capital Grant, the Stranger Genius Award, and two MacDowell Colony fellowships. On his own, Beres is an accomplished printmaker who exhibits at Davidson Galleries, Seattle. He teaches printmaking at Cornish College of the Arts, Seattle, and has been actively working in print and works on paper for twenty years.
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SESSION
5 SIGN + SIGNIFIER
A U G U ST 1 7–2 8
HOW TO A PPLY
SIGNATURES IN GLASS
QUEST FOR THE GRAAL
Glassblowing, Experimentation, Mold Blowing
Glassblowing, Coldworking, Composition, Design, Color, Light
Within each individual is a unique quality allowing us to produce work that is as original as we are. In this course, students will play with and explore glass as a medium to find their own personal processes in blown work. Through experimental processes, students will work to increase their understanding of the material and to find meanings and ways to express their passion for glass. Students will take a sculptural approach using the hot torch, kiln, and molds. Be inspired by glass, the process of learning, discovering the materiality of the medium, and by yourself.
Join us in our quest for the graal! In this course, students will create multilayered graal glass vessels by blowing blank shapes of alternating colors in the Hot Shop; then use hand-cut Buttercut masks and sandblasting to create contrasting figurative or abstract compositions in raised relief on the surface of their vessels. Light will be an essential component to this course and the vessels, as the compositions come to life by backlighting. Join us, and see your work come to life! A / INTERMEDIATE
A / INTERMEDIATE
AYA O K I
Aya Oki is a Japanese artist based in San Bernardino, California. She creates glass sculptures that come from her own personal process and interactions with the material. Oki earned her MFA at Rochester Institute of Technology, New York, in 2014. Since then, Oki has been traveling the world as an artist and educator. Oki recently completed the Duncan McClellan Gallery Glass Residency in St Petersburg, Florida.
ANDREA DEZSÖ DANTE MARIONI
Andrea Dezsö works across a broad range of media: drawing, artist’s books, installation, and large scale public art. She has four permanent public art projects in New York City, three of which feature glass mosaic murals. Dezsö teaches and exhibits internationally. The son of Paul Marioni, Dante Marioni was raised in the middle of the studio glass movement. After having worked with Benjamin Moore and Lino Tagliapietra, he has since taken technical mastery of the material to new levels with signature iconic designs.
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Session 5 Gaffers: Alix Cannon & Madeline Prowd 16
PUSHING, FOLDING, B LO W I N G & M O L D I N G
Glassblowing, Coldworking Make forms and ideas come to life using the physics of glass. Students will further develop strong foundational skills in the Hot Shop through bit work, solid sculpting, blowing, and simple blow molds, as well as some color application techniques. We will complement these skills in the Cold Shop, with basic grinding, engraving, and image-transfer techniques, bringing ideas to fruition through traditional and experimental approaches to glass. The course will include demonstrations, hands-on experimentation, focus on individual practice, critique, and reflection.
K I N E T I C P L AY
MANIFESTING SURFACES
Flameworking, Sculpting, Kinetics, Play
3D Scanning + Printing, Moldmaking, Kilncasting
Investigating the possibilities of kinetic glass-art sculpture, this course will bring movement and motion to borosilicate sculptures by covering simple to complex mechanisms with a variety of cranks and movement studies. By embracing the entire process—from sketches to component production and final assembly and adjustments, students will be able to bring kinetic energy and motility to their sculptures at the bench. Anything can be made movable, so join us and create your own unique, dynamic sculpture!
With special focus on concept development and experimentation, this course will cover the basics of 3D scanning and photogrammetry, digital preparation, and a variety of computer programs that can be used to create and prepare objects for 3D printing. In order to transform 3D-printed objects into glass, we will focus on the PLA-burnout method, as well as the use of water-soluble PVA, in combination with a variety of moldmaking techniques for kilncast and slumped glass. Laptops will be required.
A / INTERMEDIATE
A / ALL LEVELS
A / ALL LEVELS
JOE GRANT
Embracing the myriad relationships between science, nature, and art allows Joe Grant’s sculptures to emerge. Grant is currently the director of STARworks Glass in North Carolina. He has taught at numerous craft schools and university programs. Grant’s work has garnered him numerous awards, including a fellowship at Creative Glass Center of America, New Jersey, and North Carolina Arts Council Fellowship. Recent exhibitions include the V.I.P. room of the World Science Festival at the W Hotel in New York and Carrack Modern Art in Raleigh.
K E N TA R O YA N A G I
Kentaro Yanagi was born in Tokyo and became interested in art at a young age, assembling and reconstructing toy models. His work incorporates movement and echoes the plastic models of his childhood play. In 2017, Yanagi’s glasswork was exhibited by H.P. FRANCE at Rooms Experience 34 in Tokyo, one of the largest exhibitions for fashion and art. Yanagi teaches flameworking and stained glass at three different art universities, and his work has garnered considerable praise for its originality, precision, and humor.
ÆSA BJÖRK HELENA KÅGEBRAND
Æsa Björk approaches her work by experimenting with material boundaries while considering questions related to the body, personal borders, and human existence. Björk is based in Bergen, Norway, and exhibits her work internationally. Helena Kågebrand currently lives in Sweden and is a sculptor who uses glass as her primary means of expression in addition to being a certified 3D technician. Her work has been shown at the Nordic Heritage Museum in Seattle, and different venues internationally.
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FALL SESSION 1 Fall Program courses are a new alternative to the longer Summer Program. They offer shorter one-week courses on campus with equal immersion and focus, while operating at a different pace. The number of students on campus is smaller than in the Summer Program, and campus events are minimalized for a quieter, more contemplative environment. The Fall Program courses this year include glassblowing, flameworking, neon, glass painting and enameling, as well as a hybrid printmaking course. The Fall Program is a dynamic and fulfilling way to end the summer and welcome in the fall.
REALISM
S E P T 2 –7
S P E C U L AT I V E M A K I N G : POSSIBLE IMPOSSIBILITIES
Flameworking, Glassblowing, Sculpting, Installation Thinking across boundaries between the hot shop and the torch, students will build beginning skills in both realms while working collaboratively to create larger works and structures. Wherever possible, low-tech problemsolving strategies will be deployed. This class will encourage working in response to objects, situations, and existing architectures. Be ready to create the precious and liberate it from its preciousness. Only soft glass will be used, all cane and tubing will be pulled from the furnace ultimately to be recycled. A / ALL LEVELS
N I KO D I M I T R I J E V I C K I T PA U LS O N
Niko Dimitrijevic received his MFA from Ohio State University. Most recently, his work has manifested as installations using light or its properties to define a given space. He has been a member of both the Museum of Glass, Tacoma, and William Morris glassblowing teams. Kit Paulson received her MFA from Southern Illinois University. She has been working with glass continuously since 2001. She is currently an artist in residence at Penland School of Crafts, North Carolina.
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T H E N AT U R E O F S C U L P T U R E
PHENOMENAL CORPOREAL
Hot Sculpting, Glassblowing, Color, Form
Flameworking, Sculpting, Color
Take a closer look at nature’s design to find inspiration. In this course, students will strive to capture the essence of the natural world in blown and hot-sculpted forms by using traditional and unconventional techniques to create texture, color, and pattern. Using the garage and hot torches extensively, the class will work in teams to assemble complex forms. Students will team problem solve and create with intention while refining their skills. A variety of perspectives on sculpture will be provided by conversations with and demonstrations from visiting artists.
This course will help students strengthen their sculpting ability in borosilicate glass through an exploration of anatomy. Students will combine the worlds of fact and fiction by creating realistic works entwined with fanciful motifs while focusing on research, attention to detail, and most importantly, developing confidence as sculptors. We will discuss the significance of visualization, experimentation, and intention. Group and individual demonstrations will be given. Look forward to challenging yourself creatively and technically in this course. A / ALL LEVELS
A / INTERMEDIATE
PA I N T I N G I N T H E T R A N S PA R E N T S PA C E O F G L A S S
Enamel, Painting, Imagery, Kiln Firing In this course, we will use vitreous enamels to apply images on two and three-dimensional glass with an emphasis on expanding dimensional space by layering between the front, back, and in-between spaces. We will combine and contrast personal iconography with ideas from contemporary art and culture using a variety of mark-making techniques such as glass painting, photo-resist sandblasting, etching cream, drawing with diamond bits, photo decals, and more. Come join us, and leave with an introduction to techniques, a great glass sample set, and memories! A / ALL LEVELS
K E LLY O ’ D E LL
Kelly O’Dell became captivated by glass as a child while watching her father work in his studio at their home in Kealakekua, Hawaii. She earned a BFA in glass from the University of Hawaii at Manoa, and soon afterward moved to Seattle where she assisted local artists and eventually became a member of the William Morris team. O’Dell has exhibited work and has taught across the United States and abroad. She has recently relocated to Lopez Island, Washington, with her husband, Raven Skyriver, and their son.
K I M B E R LY T H O M A S
Kimberly Thomas is known for her intentionally flawed and unusual characters. Using borosilicate glass as a core medium, she challenges viewers to face what makes them uncomfortable in order to offer them opportunities for fresh perspectives and personal development. Thomas graduated from the Rhode Island School of Design with a BFA in ceramics. In addition to her studio practice, Thomas is a professor of glass at Salem Community College in New Jersey, and guest instructor at various studios across the United States.
SUSAN STINSMUEHLEN-AMEND
Susan Stinsmuehlen-Amend’s tendency to bend rules has led to provocative interpretations of glass traditions in her art. Her achievements include being the first woman president of the Glass Art Society and a recipient of its Lifetime Membership Award and two National Endowment for the Arts grants. Her work in glass and mixed media, architectural glass, and hot glass is included in many private collections and public institutions including the Los Angeles County Museum of Art and the Museum of Arts and Design, New York.
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FALL SESSION 2
FUNdamentals
S E P T 1 0 –1 5
F R O M F L A M E TO F U R N A C E
Glassblowing, Flameworking, Experimentation, Lathe Blend the arts of furnace and lampworked glass as you use the torch to form shapes and objects that will be incorporated into hotworked glass over the course of this class. Students will cover fundamental lampworking and furnace glassblowing techniques, pulling and using cane and murrini, drawing with cane, and placing lampworked shapes onto hot glass. Students will also explore the use of scientific glassblowing techniques and the lathe in the Hot Shop. Experimentation and enthusiasm will be greatly encouraged! A / ALL LEVELS
GEORGE KENNARD S A LLY P R A S C H
George Kennard began his tenure at The Studio of The Corning Museum of Glass in 2001 as an instructor, teaching beginning and continuing classes in glassblowing. Kennard enjoys the limitless opportunities for creating with molten glass and prefers making large-scale incalmo pieces. Sally Prasch began her career at the age of thirteen apprenticing for Lloyd Moore and continued her education, receiving a BFA in ceramics and glass, a degree in applied science, and a certificate in scientific glass technology.
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SIGN ME UP!
F L I R T I N G W I T H F U N D A M E N TA LS
Neon
Kiln Forming, Process, Color, Coldworking
This course will cover the basics of standard neon-tube bending techniques and the FUNdamentals of neon! Working in the Flat Shop, students will be introduced to the torches, glass, processing with noble gases, and techniques behind this glowing medium. This course will also cover learning how to put some curves in straight glass tubing, basic install, and pattern making techniques. Let’s bend glass until all the tubes argon! Pack your patience and a smile. A / ALL LEVELS
Focus on the fundamentals of kilnformed glass, firing processes, and all the technical knowledge necessary for a well-crafted creation. Students will learn how to cut and shape sheet glass while also being introduced to a variety of materials such as glass frit, powder, and stringers; allowing us to create unique patterns, imagery, and depth. An introduction to coldworking will allow students to finish their work before slumping into functional dishes or decorative works of art. A / ALL LEVELS
S C R E E N P R I N T I N G & D RY V I T R E O U S E N A M E LS
Screen Printing, Enamels, Kiln Forming, Printmaking In this course, students will focus on the stages for printing dry vitreous enamels onto glass, and deepening their understanding of screen-printing processes, image development, and the complexity of stacking/ overlay. Through the exploration and discussion of the possibilities and limitations of materials, students will fine-tune techniques to build on in the future. Demonstrations will help students widen their comprehension of traditional screen-printing techniques, design principles, enamel and glass options, firing schedules, and basic coldworking skills. A / ALL LEVELS
M E G A N ST E LL J E S
Megan Stelljes earned her BFA in glass forming from Emporia State University, Kansas, before moving to Washington State to apprentice under Karen Willenbrink-Johnsen. Passionate about glass education, she works and teaches across the country. Stelljes found neon through Jeremy Bert, and has established her own neon shop. She has a strong relationship with Pilchuck Glass School, and has exhibited artwork at Museum of Neon Art, California; Sabbia Gallery, Australia; Pilchuck Gallery, Seattle; as well as Vetri Gallery, Seattle.
REBECCA SMITH
As a glass artist, Rebecca Smith explores what occurs naturally with the material, harnessing heat and flow to encourage the glass to speak for itself while conveying her vision. Currently, Smith is torn between two passions, one of pattern and chaos, the other an exploration of the formation of planet Earth. Her endeavors are supported by Pittsburgh Glass Center, her home for the past ten years, where she currently serves as the kilnforming and hospitality coordinator.
CHARLES COHAN SHANDRA MCLANE
Charles Cohan is professor of art and chair of printmaking in the Department of Art and Art History at University of Hawaii at Manoa. He received an MFA from Cranbrook Academy of Art, Michigan, and exhibits and teaches internationally. Shandra McLane is an experimental glass artist and educator based in New England, and is an active advocate of the STEAM initiative and interdisciplinary practices. Her work addresses pertinent social and environmental issues and strives to function simultaneously as visually enticing and socially relevant.
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2019 SUMMER + FALL PROGRAMS
1
M E D I U M M AT T E R S J U N E 7–1 4
A N TO I N E P I E R I N I
Installations Glassblowing, Coldworking, Installation, Mixed Media A / ALL LEVELS
2
C L A S S I C A L I N Q U I RY JUNE 18–29
3
N AT U R A L H I STO RY J U LY 6 –2 3
BENJAMIN COBB & NADÈGE DESGENÉTEZ
JASEN JOHNSEN & KAREN WILLENBRINK-JOHNSEN
Dissolving Boundaries Glassblowing, Design, Color, Form
Advanced Sculpting in Glass Hot-Glass Sculpting, Assemblage, Color, Observation
A / INTERMEDIATE
A / INTERMEDIATE SCOT T BENEFIELD
E Pluribus: Constructing the Bubble Glassblowing, Cane, Murrini, Design, Color Pattern A / INTERMEDIATE
BRANDYN CALLAHAN & PHIRAK SUON
Lingua Franca Glassblowing, Ceramic Printing, Design, Digital, 3D Modeling A / ALL LEVELS
VICTORIA BRADBURY & MARK HURSTY
The Glass Electric Glassblowing, Electroforming, Interactive Electronics A / ALL LEVELS
FRED KAHL
Do Androids Dream of CNC Paths? Glassblowing, Hot-Glass Casting, 3D Modeling, Digital, Moldmaking A / ALL LEVELS ANDREA SPENCER
Natural Transformations Flameworking, Sculpting, Mixed Media, Installation A / ALL LEVELS EMILY ENDO & MICHAEL ENDO
Immaterial: Scent & Hollow-Cast Forms Hollow-Core Casting, Lost-Wax Casting, Distillation, Natural Perfumery A / ALL LEVELS DAVID SCHNUCKEL
Glassography 2 Writing, Conversation, Public Reading
SARAH GILBERT & JAROSLAV ŠÁRA
Carving Illusions Glassblowing, Engraving, Imagery, Animation A / ALL LEVELS EMILIO SANTINI
Venetian Flameworking | From Solid to Hollow Flameworking, Sculpting, Tradition A / ALL LEVELS SILVIA LEVENSON
Making Ideas Visible Kilncasting, Imagery, Lost-Wax Casting, Printmaking
BRUNO V. ANDRUS
Experiential Archaeology Equipment, History, Design, Fabrication, Core Forming A / ALL LEVELS J A N I S M I LT E N B E R G E R
Out of the Box Flameworking, Functional & Non-Functional, Sculpting A / ALL LEVELS RUBY DORCHESTER & HANNAH SMITH
A / ALL LEVELS
Investing in the Multiple Moldmaking, Kiln Forming, Kilncasting, Printmaking, Digital Applications
DIANE WRIGHT
A / ALL LEVELS
Ancient to Modern | Explorations in the History of Glass Writing, Art History, Research
C / ALL LEVELS
C / ALL LEVELS
ARTIST IN RESIDENCE
ARTIST IN RESIDENCE
ARTIST IN RESIDENCE
Dawn Cerny
Shari Mendelson
Doug Jeck
GAFFERS
GAFFERS
GAFFERS
Jason Christian Daryl Smith
Jack Gramann Shahid Khan
Jen Elek Chris Stenzel
A P P L I C AT I O N D E A D L I N E S JAN 8
Emerging Artist in Residence (EAiR)
FEB 1
Scholarship & Priority Placement, Teaching Assistants & Artist Assistants, Summer Staff
OCT 25
John H. Hauberg Fellowship
Student applications accepted until courses are filled. For course descriptions and information on how to apply, please visit pilchuck.com. Questions? Contact the Pilchuck Registrar at registrar@pilchuck.com or 360.445.3111 ext. 29. 22
P I LC H U C K G L A S S S C H O O L
1201 316th St NW, Stanwood, WA 98292, USA
PILCHUCK.COM
4
P O P I N V E ST I G AT I O N S J U LY 2 7– A U G U ST 1 3
5
SIGN + SIGNIFIER A U G U ST 1 7–2 8
F1
REALISM S E P T E M B E R 2 –7
KAZUKI TAKIZAWA
AYA OKI
Working with the Current Glassblowing, Coldworking, Assemblage, Mixed Media
Signatures in Glass Glassblowing, Experimentation, Mold Blowing
A / ALL LEVELS
A / INTERMEDIATE
CHÉ RHODES
ANDREA DEZSÖ & DANTE MARIONI
A / ALL LEVELS
Quest for the Graal Glassblowing, Coldworking, Composition, Design, Color, Light
KELLY O’DELL
Idiosyncratic Investigations Glassblowing, Moldmaking, Coldworking, Mixed Media A / INTRODUCTORY
A / INTERMEDIATE CARMEN MONTOYA & ANJALI SRINIVASAN
Glass as Social Practice: Environmentalism Glassblowing, Hot Casting, Mixed Media, Experimentation A / ALL LEVELS RANJIT BHATNAGAR & SARAH BLOOD
Neon for Installation & Mind Control Neon, Interactive Electronics, Mixed Media, Installation A / ALL LEVELS GLENN CARTER
Stained Glass Assemblage Stained Glass, Assemblage, Painting, Silver Stain A / ALL LEVELS
NIKO DIMITRIJEVIC & KIT PAULSON
Speculative Making: Possible Impossibilities Flameworking, Glassblowing, Sculpting, Installation
The Nature of Sculpture Hot Sculpting, Glassblowing, Color, Form A / INTERMEDIATE
JOE GRANT
Pushing, Folding, Blowing & Molding Glassblowing, Coldworking
KIMBERLY THOMAS
Phenomenal CorpoReal Flameworking, Sculpting, Color
A / ALL LEVELS
A / ALL LEVELS
K E N TA R O YA N A G I
S U S A N ST I N S M U E H L E N - A M E N D
Kinetic Play Flameworking, Sculpting, Kinetics, Play
Painting in the Transparent Space of Glass Enamel, Painting, Imagery, Kiln Firing
A / INTERMEDIATE
A / ALL LEVELS
ÆSA BJÖRK & HELENA KÅGEBRAND
F2
Manifesting Surfaces 3D Scanning + Printing, Moldmaking, Kilncasting A / ALL LEVELS
FUNdamentals S E P T E M B E R 1 0 -1 5
GEORGE KENNARD & SALLY PRASCH
From Flame to Furnace Glassblowing, Flameworking, Experimentation, Lathe
BEN BERES
Vitreography & the Multiple Printmaking, Imagery, Sandblasting, Experimentation
A / ALL LEVELS
A / ALL LEVELS ARTIST IN RESIDENCE
ARTIST IN RESIDENCE
Cannupa Hanska Luger
Natalie Ball
GAFFERS
GAFFERS
Austin Stern Sasha Tepper-Stewart
Alix Cannon Madeline Prowd
MEGAN STELLJES
Sign Me Up! Neon A / ALL LEVELS REBECCA SMITH
Flirting with Fundamentals Kiln Forming, Process, Color, Coldworking A / ALL LEVELS CHARLES COHAN & SHANDRA MCLANE
Screen Printing & Dry Vitreous Enamels Screen Printing, Enamels, Imagery, Kiln Forming, Printmaking A / ALL LEVELS
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ARTISTS@WORK Pilchuck Glass School was founded in 1971 by Dale Chihuly with patrons Anne Gould Hauberg and John H. Hauberg. Dale Chihuly envisioned Pilchuck as an immersive educational experience, based on the premise that living, eating, and working together is all part of how we express ourselves through our art. Although much has changed since the 1970s, the original core values of the school endure and are voiced in the mission. Pilchuck Glass School inspires creativity, transforms individuals, and builds community. Spring is magical at Pilchuck when the campus is in full bloom. Experience the grounds and facilities that inspire hundreds of artists each year, enjoy tea or brunch in our iconic Lodge, and watch glassmaking in action during our Spring Tours and Artists@Work program. Artists@Work are glassblowers who push the boundaries of the medium and who are recognized for their expertise and artistry. We welcome this year’s artists, Jason Christian and Morgan Peterson, who will display their latest creations and create new work live in the Hot Shop. Spring Tours run from May 22–26, 2019. Visit our website to view tour times, purchase tickets, and join us this spring for our only open-campus event.
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SPECIAL SCHOLARSHIPS APPLY FOR A SCHOLARSHIP TO ATTEND THE 2019 SUMMER PROGRAM! Pilchuck offers a variety of general and specialized scholarships, giving a wide range of opportunities for students to attend summer courses. Over one-third of students receive some type of scholarship, award, or financial assistance. Applicants are judged mainly on artistic merit by a jury of international artists, designers, and glass professionals. Scholarship applications are due February 1, 2019. While all scholarship applicants qualify for general scholarships, applicants may also be eligible for a special scholarship if they are: • an international applicant, a citizen of Australia, New Zealand, Eastern Europe, Czech Republic, or China. • a resident of New England (NH, MA, ME, RI, CT, VT), Arizona, or Los Angeles. • a US citizen of African American, Hispanic American, Native American, or other minority heritage. • an applicant for a flameworking course. • a 2018 Summer Staff or Campus Assistant. • a 2018 Corning Inc. Foundation or Saxe Award Nominee. • a nominee from a 2019 Partner Institution (see list online). • an applicant working in digital technology. A U TO N O M A R E S I D E N CY M U R A N O Six top-ranking advanced glassblowers will be invited to participate in a cultural, live-work experience in Murano, Italy, between April 15–May 5, 2019. The program goal is to push creativity and innovation of design, concept, and content that will frame a project around a theme. Led by design leads and prompts, artists will work towards and define a collaborative vision of design. Artists will share hot-shop time with local glass masters and other fabricators to create an installation of glass components that define, respond to, and alter the chosen space. The top-ranking recipient will also receive a full scholarship for a 2019 Pilchuck summer course. All six participants will have the opportunity to work in a historical factory in Murano. Time on the project and in the furnace is balanced by opportunities to explore on one’s own the history and factories of Murano. Included in this scholarship are visits to museums, fabricators, and time for research. This opportunity is supported by Autonoma Factory (autonomafactory.com), and is the vision of Marcantonio Brandolini with the Autonoma Team. Autonoma Factory will provide the participants with housing, a contribution towards food expenses, and access to studios and equipment. No travel expenses will be covered. Artists are encouraged to bring their own glassblowing tools. S12 The top-scoring scholarship applicant will be offered a full scholarship for a 2019 Pilchuck summer course as well as a residency at S12 Open Access Studio and Gallery in Bergen, Norway, for a maximum of six weeks during the period between April 2019—April 2020. S12 supports artists experimenting with glass in all its diversity, and encourages interdisciplinary collaboration between glass and other art forms. Participants will be provided with housing, basic tools and equipment as is, basic materials, and may be provided with assistance towards travel upon request. The participant is responsible for meals, bringing any specialized tools or equipment that may be needed, and for additional or specialized materials. (s12.no) Scholarship applications are due February 1, 2019.
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OPPORTUNITIES T E A C H I N G & A R T I ST A S S I STA N TS H I P S
Pilchuck Teaching Assistants (TAs) and Artist Assistants (AAs) play essential roles in the educational programs by supporting the vision and goals of instructors and artists in residence. TAs ensure a smooth and successful educational experience for instructors and students. Each instructor will be aided by one or two TAs, depending on the studios used and class size. TAs should be well versed in the techniques related to the course for which they are applying. It is helpful, although not necessary, for TAs to have had previous experience at Pilchuck. AAs support the creative efforts of the artists in residence, who often have little or no experience working with glass. An AA helps the artist understand the fundamentals of glassworking and acts as a technical resource for the translation of ideas. All AAs must have extensive studio experience in various processes, an interest in collaboration, project management skills, and previous experience at Pilchuck. In addition to gaining valuable studio experience, TAs and AAs receive housing, meals, a credit in the store, and travel reimbursement (60% for TAs; 100% for AAs; restrictions apply). Visit pilchuck.com for application instructions. Applications Due: February 1, 2019 S U M M E R & FA LL STA F F
Pilchuck’s Summer and Fall Programs are supported in a variety of ways by a talented crew that dedicate skill and enthusiasm to ensure each session is a success. Staff, either as a Coordinator or Campus Assistant, require a willingness to help and the ability to perform in a leadership capacity. Coordinators need specialized skillsets and play key roles in campus operations, including managing studios, working on studio projects, and overseeing campus assistants. Coordinators should have extensive technical knowledge related to the position for which they are applying, excellent communication skills, and a readiness to be flexible based on the studio needs for the session. Visit pilchuck.com for detailed information about each Summer & Fall Staff role and application instructions. Applications Due: February 1, 2019
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A P P L I C AT I O N I N F O R M AT I O N H O U S I N G & M E A LS
H O W TO A P P LY
• Apply for all courses, scholarships, and assistantships with our online application form. • Only one application form and one nonrefundable US $50 application fee are needed to apply each year. • Student applications received prior to midnight (PST) February 1 are entered into a lottery for priority placement. Applications received afterward will be considered on a first-come, first-served basis for remaining openings. • Scholarships and assistantship applications are due before midnight (PST) February 1. • You must be at least eighteen years of age by the first day of the session for which you are registered. N E E D H E L P A P P LY I N G ?
Contact the registrar at 360.445.3111, ext. 29 or registrar@pilchuck.com.
A sense of community is integral to the spirit of campus life. All program participants live on campus for the duration of the session. No single, private rooms or private baths are available. All-gender restrooms are indicated on campus. • Dormitory Housing consists of a doubleoccupancy room with access to central restrooms for males and females. • Cottage Housing is an upgrade available for an additional fee, consisting of two doubleoccupancy rooms and a bathroom shared by the four residents. Cottages offer more space, greater privacy, and closer proximity to studios. Requests may exceed availability, and placement is not guaranteed. All session participants dine together. Course fees include three meals a day during the week, and two meals a day on weekends. Dietary restrictions can be accommodated with prior notice. SCHOLARSHIPS
E X P E R I E N C E L E V E LS
Course levels are listed with each course description: • I ntroductory: 0–1 years of frequent practice in the technique(s) listed. • I ntermediate: 2–4 years of frequent practice in the technique(s) listed. •A dvanced: 5+ years of frequent practice in the technique(s) listed. •A ll Levels: Encompasses all of the above; all are welcome. FEES
Program fees cover instruction, shared dormitory housing, meals, and basic supplies. Utility fees offset the cost of energy used in studios; fees are indicated by A, B, or C at the end of the course description. A housing upgrade is optional with an additional fee. A payment plan request may be arranged. TOTA L F E E S : Program Fee + Utility Fee
Refer to page twenty-five (25) for Special Scholarship information. C O LL E G E C R E D I T
Some Pilchuck summer courses are eligible for up to three undergraduate college credits through Cornish College of the Arts in Seattle. An additional fee (up to US $330; subject to change) is paid to Cornish in advance of the session to receive credit. A passing grade is transcripted with a grade notation of “CR” for “Credit”. Students need to consult their institution in advance to make sure credits are transferable. I N T E R N AT I O N A L PA R T I C I PA N TS
International participants may travel to the United States as a visitor in order to participate in the Summer and Fall Programs. Upon acceptance, we can provide you with a letter that may help facilitate visa requirements at an embassy and with entry into the United States. Citizens of countries that participate in the Visa Waiver Program may not require a tourist visa for travel to Pilchuck. Visit travel.state.gov for more information.
S U M M E R P R O G R A M F E E :
US $1,990 per course session 1 US $1,100 per writing course session 1 US $2,685 per course sessions 2, 5 US $1,500 per art history course session 2 US $3,700 per course sessions 3, 4 US $2,200 per print course session 4 S U M M E R U T I L I T Y F E E : A = $410 B = $310 C = $210 FA LL P R O G R A M F E E :
US $1,700 per course FA LL U T I L I T Y F E E :
A = $310 B = $210 C = $110
D I V E R S I T Y A N D I N C LU S I O N
Pilchuck is committed to its sense of community by welcoming everyone with respect and understanding towards gender, gender expression, age, race, national origin, disability, marital status, sexual orientation, or military status in employment or in artistic or educational programs. As an organization that has welcomed artists, instructors, staff, and students from over 70 countries with many different backgrounds, Pilchuck is passionate about creating an inclusive, open, and supportive community that is accessible to all. We are proud of our history as a haven for creativity, transformation, and individual expression. Pilchuck is deeply committed to continuing to build a supportive and diverse community around glass art.
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RESIDENCY PROGRAMS E M E R G I N G - A R T I ST- I N - R E S I D E N C E P R O G R A M
The EAiR program supports six artists who are making a transition in their professional lives. Whether moving from academia to a professional studio practice, taking up a new medium, or beginning a new body of work, this immersive residency is ideal for contemplation, research, and experimentation. The program provides artists with the place and time to develop an idea or project in glass, with the potential for realizing a new body of work. The residency requires a project proposal and supports kilnworking, coldworking, printmaking, flameworking, woodworking, metalworking, and use of mixed media, but not hot glassworking. No instruction is available, and some glassmaking experience is required. The program provides each artist with a stipend of US $1,000, open studio space, shared cooking facilities, and a private room in a cottage with shared bath. Residents should expect to participate in communal clean-ups and be available to visitors, among other activities. Materials, food, and travel reimbursement are not provided. Visit pilchuck.com for application instructions and the online application form. Residency Dates: September 30–November 20, 2019 Applications Due: January 8, 2019 J O H N H . H A U B E R G F E LLO W S H I P
Named for Pilchuck co-founder John H. Hauberg (1916–2002), the fellowship was established to encourage collaboration among a group of outstanding artists. Groups of up to six members are invited to submit proposals for utilizing the studios and campus environment for research and development of artwork based on a common theme or a collaborative project. Group members support one another, explore new working methods, and engage in critical dialogue. Artists in all media as well as writers, engineers, art critics, and curators are encouraged to apply; however, if the proposal includes use of glassmaking equipment, some members must have previous experience with Pilchuck’s facilities. Limited technical assistance is available. Open studio space and access to the Cold Shop, Mold & Kiln Shop, Print Shop, and Wood & Metals Shop are provided. Hot glassworking is not available during this time. Hauberg Fellows are provided living accommodations, meals, and limited supplies. Reimbursement for travel costs and honoraria are not provided. Visit pilchuck.com for application instructions and the online application form. Residency Dates: May 21–June 1, 2020 Applications Due: October 25, 2019 Q U E ST I O N S ?
Contact the registrar at 360.445.3111, ext. 29 or at registrar@pilchuck.com.
THA NK YO U TO O U R G E N E ROUS SUPP ORT E RS
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“ I feel the knowledge, love of art and community, and motivation to push harder could not have been acquired without this experience.” Beita Mossayebi, Student, Summer 2018
TH ANK YOU ! We are grateful to the members of the community whose gifts of time and talent are an invaluable support for Pilchuck. Volunteers play a key role in many of Pilchuck’s events and in our educational programs. PH OTO C R EDI TS: Ent Center for Contemporary Art, Robert Erlichman, Pollyanna Manning, Alec Miller, Jason S. Ordaz, Elisa Pickett, Ester Segarra, Alan Wiener, Cliff Bumgardner, S12 Open Access Studio & Gallery D ESI G N : Studio Matthews, Carlos Esparza C OV E R I M AG E: Songlin Li “Pilchuck” and “Pilchuck Glass School” are federally registered trademarks of Pilchuck Glass School.
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