2015 Pilchuck Glass School Summer Program Catalog by Pilchuck Glass School

PILCHUCK GLASS SCHOOL

SUMMER PROGRAM

2015

U. S. P O STAG E

N O N P R O F I T.O R G

BE IMMERSED. BE INSPIRED. BE TRANSFORMED. PILCHUCK GLASS SCHOOL

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N E W T H I S Y E A R ! S T U D E N T A P P L I C AT I O N S A C C E P T E D F I R S T- C O M E , F I R S T- S E R V E D U N T I L C O U R S E S F I LL . V I S I T P I LC H U C K . C O M F O R A L I S T O F C O U R S E O P E N I N G S .

Every day is so inspiring, I can barely sleep. My thoughts are just swirling around like the glass.

P I LC H U C K G L A S S S C H O O L F O S T 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 GLASS IN ART AND DESIGN.

SUMMER 2015

Andrea Dezsö, Artist in Residence, Summer 2014

P I LC H U C K G L A S S S C H O O L

Founded in 1971, Pilchuck is an internationally recognized school that offers an in-depth education in glass and attracts artists from all over the world. The school is located fifty miles north of Seattle in the forested foothills of the Cascade Range, overlooking Puget Sound. Pilchuck’s mission is to inspire creativity and build a thriving artistic community in which all program participants are transformed by their experiences.

SUMMER PROGRAM

Pilchuck’s summer program runs from mid-May through late August and is composed of six sessions that vary in length. Each session is strengthened by the presence of highly acclaimed instructors, artists in residence, gaffers, teaching and artist assistants, an international student body, and an enthusiastic support staff. Within a session, concurrent courses on a variety of techniques are taught by an ever-changing roster of expert artist-instructors from around the world. These fast-paced courses are designed to bring students at all levels and of all ages into new creative territory and foster development of technical and conceptual skills. Session activities include demonstrations by instructors, artist presentations, evening gallery exhibitions, and spontaneous collaborations between classes. Pilchuck provides an immersive experience in a rich and focused learning environment that enables everyone on campus to work and grow creatively.

2015 SUMMER PROGRAM 2 0 1 5 H I G H L I G H TS

At Pilchuck Glass School, we look to the future of glass education. Our role is to maintain a keen awareness of how artists are using glass and expose them to new ideas and ways of working. Pilchuck students and faculty understand the world of contemporary art, digital media, and interdisciplinary collaboration in which artists meld techniques and ideas to make powerful new expressions in glass. They want to know about not only the “how” of making glass but also the “why.” This year, we’re updating and modernizing our facilities, as well as enhancing energy efficiency and sustainability through new designs and state-of-the-art equipment. We are also continually finding ways of enabling students to incorporate digital, sound, and image innovations into their work. Classes that focus on design, visualization, modeling, and process open up possibilities for complex, layered pieces. Our interest in pursuing cross-pollination between glass techniques and a myriad of other materials and prioritizing the infusion of meaning into works is supported by a group of pioneering instructors and artists in residence from around the globe. At Pilchuck, the future of glass is already here.

2015 ARTISTS AND CRAFTSPERSONS IN RESIDENCE 2 0 1 5 A R T I STS I N R E S I D E N C E Every session, Pilchuck invites noted artists with little or no glassmaking experience to experiment with glass on campus. Paired with gaffers, 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, some of the most innovative artists working in the area of interactivity, narrative, animation, political commentary, sculpture, painting, printmaking, and music will bring new perspectives to each summer session. Session 1

Davy McGuire Kristin McGuire

Session 2

Joel Otterson John Roach

Session 3

Liam Ă&#x201C; MaonlaĂ Camille Utterback

Session 4

Barbara Earl Thomas Penelope Umbrico

Session 5

Mona Hatoum Christine Tarkowski

Session 6

Chakaia Booker Jeff Colson

2 0 1 5 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 expertise in hot glassworking who execute the creative visions of artists in residence and 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 session.

Session 1

Niko Dimitrijevic Michael Hernandez

Session 2

Dan Friday Ray Friday

Session 3

Mikey Cozza Dante Marioni

Session 4

Jason Christian Daryl Smith

Session 5

Jeff Ballard Manny Krakowski

Session 6

Sarah E Gilbert Megan Stelljes

2015 ARTISTS IN RESIDENCE SESSION 1

SESSION 2

SESSION 3

SESSION 4

SESSION 5

SESSION 6

D AV Y M C G U I R E

J O E L OT T E R S O N

LIAM Ó MAONLAÍ

BARBARA EARL THOMAS

M O N A H ATO U M

CHAKAIA BOOKER

Davy and Kristin McGuire head an award-winning creative studio that designs unique visual experiences through art installations and theatrical projects. Combining animation, projection mapping, theater, film, dance, and papercraft, their artworks are delicate fantasies that bring stories to life through digital projection. The McGuires’ commissions include the Floating City, for Barneys’ iconic Madison Avenue Christmas windows, and Alchimie de Courvoisier, a paper diorama originally displayed at Harrods.

Joel Otterson, a 2014 Whitney Biennial exhibitor, is a sculptor whose fanciful assemblages of found items and thrift-store debris offer as much visual spectacle as social critique and conceptual intent. In mining the detritus of domestic utilitarianism and the mass consumption of commercial goods, Otterson’s work presents a conflicted definition of contemporary issues regarding excess, class, and perceived exuberance. He exhibits worldwide and is currently based in Los Angeles.

Musician and songwriter Liam Ó Maonlaí is strongly guided by the traditional language and music of his Irish homeland. His recent debut of Rian at Lincoln Center’s White Light Festival, in collaboration with the world-renowned Fabulous Beast Dance Theatre, is a superb performance of both contemporary dance and an indigenous and unique sound. The resulting soundtrack showcases his love of his Irish heritage and commemorates making “music of the land.”

Barbara Earl Thomas is a Seattlebased artist, award-winning writer, and arts administrator. Her paintings and prints have been exhibited at the Seattle Art Museum, the Tacoma Art Museum, and others throughout the United States. Thomas’ writing has earned recognition, including two Seattle Arts Commission awards for new nonfiction and publication in Raven Chronicles and Arcade Magazine. In 2013, she received a Mayor’s Arts Award as a Cultural Ambassador from Seattle’s Office of Arts & Culture.

Mona Hatoum, a Palestinian artist born in Beirut, has lived and worked in London since 1975. Her sculpture, performances, videos, and installations address issues revolving around involuntary dispersion, displacement, and conflicted notions of home. Hatoum has shown her work worldwide and had more than thirty solo museum and institutional exhibitions. A survey exhibition of her work opens at the Centre Pompidou, Paris, in June 2015 and travels to other European museums in 2016.

Chakaia Booker is an internationally recognized artist based in New York City. She is known for her work using tires and other materials that draw attention to issues of cultural identity, politics, and economic concerns. She was awarded a Guggenheim Fellowship in 2005, and her work is held in many museums, including the Metropolitan Museum of Art. In 2014, Booker’s work was displayed outside the National Museum of Women in the Arts in Washington, D.C.

K R I ST I N M C G U I R E

JOHN ROACH

C A M I LL E U T T E R B A C K

P E N E LO P E U M B R I C O

C H R I ST I N E TA R KO W S K I

J E F F C O LS O N

Winners of the Oxford Samuel Beckett Theatre Trust Award 2013, Davy and Kristin McGuire‘s work has encompassed theater productions such as The Icebook and the atmospheric stage adaptation of the popular fantasy novel Howl’s Moving Castle. Their latest award-winning theater show, The Paper Architect, premiered in July 2013 at the Barbican, London, and their renowned projection-mapping installations have been exhibited, sold, published, and screened internationally.

John Roach, a Brooklyn-based interdisciplinary artist and educator, explores sound in its broadest context, from complex to subtle, from noise to silence, from sound as matter to sound as metaphor. He is the director of the first-year study program at Parsons in New York City, where he has taught classes as diverse as Painting, Graphic Design, Time, and Sound Matters, which approaches sound as a hub that connects many art and design disciplines.

Camille Utterback creates aesthetically rich, experientially layered social spaces by combining various sensing and display technologies with her own custom software. Whether expressed in the form of building-scale projections, LED lighting, or intimate sculptures with embedded LCD screens, Utterback’s work engages participants in a process of embodied discovery as they explore the possibilities and behaviors of her intriguing systems. Her extensive exhibition history includes more than fifty shows on four continents.

Artist Penelope Umbrico’s photobased installations, video, and digital media works explore the ever-increasing production and consumption of images on the Internet. She has exhibited internationally, and her work is in the permanent collections of the Guggenheim Museum, the Metropolitan Museum of Art, and the Museum of Modern Art in New York. She has received numerous awards, including a Guggenheim Fellowship and a Smithsonian Artist Research Fellowship.

Christine Tarkowski’s work navigates sociopolitical themes by means of installation, sculpture, print, song, and audio recording. Her recent works contemplate the battered reality of Western-based ideals regarding religious, democratic, and cultural belief systems. Tarkowski has received grants from the Richard H. Driehaus Foundation and the Creative Capital Foundation and been awarded residencies by the Cité Internationale des Arts, Paris, and the John Michael Kohler Arts Center, Arts/Industry Program, Wisconsin.

Jeff Colson blends exemplary craftsmanship with a do-it-yourself aesthetic to create autobiographical objects and arrangements that are as contemplative as they are quirky. Wood and fiberglass transcend their materiality in abstracted renditions of items that challenge the viewer’s notion of what is real. Colson was awarded a 2012 Guggenheim Fellowship, and his work is in the permanent collection of the Museum of Contemporary Art, Los Angeles.

SESSION

M AY 1 8 –2 9

C O N C E P T TO C O N ST R U C T I O N

M E TA P H O R I C A LLY C O N TA I N E D

THE GLASS BUFFET

LAND, AIR, SEA , CRAFT

DRAWING THROUGH DEPTH

Glassblowing, Sculpting, Hot Casting, Coldworking

Glassblowing

Glassblowing, Hot Casting, Kiln Forming, Coldworking, Printmaking

Flameworking, Mixed Media

Engraving

In this project-led course, students will engineer functional vessels in borosilicate glass for exploration and transportation on land and sea and in the air. Each vessel will present unique technical and mechanical challenges that students will address while developing a fundamental knowledge of flameworking. Through daily demonstrations and intensive studio time, students will learn to navigate complex techniques with efficiency and ease. Be sure to bring a hard hat and swimmies.

The rich tradition of engraving dates back thousands of years. Bas-relief made on glass using a lathe and abrasive wheels provides endless possibilities for patterning and illustration. This course will start with the basics—understanding tools, how they are made and function, their proper use, choosing speeds and wheel profiles—and then move on to maximizing results. Students will use sketchbooks to find inspiration and will make personally meaningful works that convey their ideas.

C / ALL LEVELS

The physical and visual properties of blown, solidworked, and hot-cast glass will springboard students’ investigation of form, composition, color patterning, and light. Integrating new methods of coldworking, moldmaking, assemblage, and pick-up techniques, students will develop a distinctive sensibility with which to approach making sculptural and functional works. Students will be encouraged to cultivate personal aesthetics through hands-on experimentation with glass, research, photography, drawing, and collage. Expect an energetic class strengthened by teamwork, visiting artists, and field trips.

Students will be asked to consider the sculptural notions of the vessel and its purpose of “withholding content” while focusing on fundamental vessel-making techniques in the Hot Shop. Containers can take on many forms, such as houses, shells, and even ourselves. What could a container possibly hold? Personal items? Emotion? Memories? While honing essential glassblowing skills, students will explore form and function and develop purposeful connections between their designs and the contents of their vessels. B / INTRODUCTORY

Students new to glass will get handson experience and gain a fundamental understanding of several processes in this intensive, informational class. Daily demonstrations focused on glassblowing, fusing, and slumping will be complemented with instruction in coldworking, hot casting, and printmaking. Group discussions, drawing, and presentations on historical and contemporary glass will round out the class and provide context. With a wide breadth of technical understanding, students will have the ability to pair their ideas to process in meaningful ways. B / INTRODUCTORY

B / INTERMEDIATE

ROB STERN

Rob Stern’s broad artistic vision has allowed his various bodies of work to navigate many realms, ranging from design and public commission to installation and sculpture. Based in Miami, Stern established Rob Stern Art Glass, Inc., in 2003 and continues to work with his team on architectural, lighting, and personal projects. He has taught all over the world, and his 2015 Pilchuck course will mark his twenty-sixth consecutive summer at the school.

K A Z U K I TA K I Z A W A

Inspired by nature and informed by his cultural background, Kazuki Takizawa’s work merges traditional form with organic gesture. A Los Angeles–based artist, he holds a BFA in glass art from the University of Hawai‘i at Mānoa and has taught glassblowing throughout the United States. Takizawa has been a visiting artist at San Francisco State University and Santa Monica College and a teaching assistant and artist assistant at Pilchuck Glass School.

JANE BRUCE

Jane Bruce earned her master’s degree from the Royal College of Art, London, and undertook postgraduate study at Alfred University. Her work, an examination of the vessel through glassblowing, kilnworking, and coldworking, is deeply rooted in the history of the decorative arts. Drawing and printmaking are also significant aspects of this investigation. Bruce has been the recipient of fellowships, visiting artist awards, and grants, and her work is held in major museum collections worldwide.

B E C CY F E AT H E R

Beccy Feather’s work combines concepts of consumerism and product design with a clean aesthetic. Born in Suffolk, England, she studied at Wolverhampton University, earning a BFA in glass before moving to the United States. In 2010, she completed an MFA in glass at Rochester Institute of Technology. Now based in Philadelphia, she maintains her own studio and flameworking business. Feather has taught at The Studio of the Corning Museum of Glass and UrbanGlass in New York.

M AT T E O S E G U S O

Matteo Seguso inherited a love for engraving from his father, Master Bruno Seguso. Starting in the Seguso & Linzi workshop created by his father and Paolo Linzi, he dedicated himself to engraving, then continued to learn from professionals such as his uncle Mario Seguso and friend Vittorio Barbini. Seguso opened his own studio in 2006 and shortly thereafter began working with Lino Tagliapietra. His engraved surfaces adorn pieces in many private collections around the world.

HOW TO APPLY Page 23

Session 1 Gaffers: Niko Dimitrijevic and Michael Hernandez 8

A P P LY O N L I N E AT P I L C H U C K . C O M

2 SESSION

J U N E 2 –1 9

T H E N AT U R E O F S C U L P T U R E

W H AT L I E S B E N E AT H

S LU G O N E D O W N

G O TO W A R D T H E L I G H T

P O P G OT H I C G L A S S

Hot-Glass Sculpting

Glassblowing, Cane & Murrine, Engraving

Kilncasting, Sandcasting

Neon

Enamel Painting, Imagery, Stained Glass, Professional Practice

Come on an intensive journey into the possibilities of kilncast, sandcast, and slug-cast glass—and take home a wealth of knowledge and inspiration. This class will harness creativity by taking advantage of the immediacy of making open-face molds for casting from clay positives. Demonstrations will demystify the casting process and challenge students to work around the limitations imposed by the practice. Use of Gel-Flex rubber and coldworking techniques for finishing will be covered.

Most people live in the glow of electric light. In this course, exploration of the mechanics and potential of electric light in sculpture will empower nontechnically-inclined artists to harness this omnipresent medium. Instruction will address LED, fluorescent, and incandescent technology, along with neon, and includes glass-tube bending and splicing, bombarding, and transformers. In learning about the portability of battery power and the possibilities of solar power, students will gain an understanding of how our world is, and could be, lit.

Find inspiration by taking a closer look at nature’s designs. In this class, students will use traditional and unconventional techniques for creating texture, color, and pattern as they strive to capture the essence of the natural world in blown and hotsculpted forms. Using the garage and hot torches extensively, the class will learn to work as a team to assemble complex forms. Students will learn to think ergonomically, problem-solve as a team, and create with intention. Visiting artists and outings will complete this adventure. A / INTERMEDIATE

Students with an affinity for color, pattern, and texture will utilize traditional Venetian decorative techniques in contemporary ways. Glassblowing demonstrations will address pulling and using cane and murrine, Swedish overlay, and encalmo. In the Cold Shop, students will use the lathe for cameo and graal engraving, batutto, and inciso. While exploring various color applications and techniques, students will be encouraged to reinvent the relationship between form, patterning and finish, adding complexity and depth to their objects.

A / ALL LEVELS

A / INTERMEDIATE

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 Hawaii home. She earned a BFA in glass from the University of Hawai’i at Mānoa 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 taught in the United States and abroad. She currently lives in Stanwood, Washington.

JAMES ANDEREGG

Inspired by the organic nature of spontaneity, James Anderegg’s work merges the splendor of Venetian glass techniques with a design sensibility that favors the wild and exotic. His sculpture integrates a laborious layering of colored elements that undergo an equally laborious carving process; finished compositions reveal lively interior and exterior relationships. Anderegg was introduced to glass in 2002 and has been living and creating his work in a suburb east of Seattle ever since.

HOW TO APPLY

Students will be challenged and encouraged to develop an individual style and take a contemporary approach to applying imagery to glass. Demonstrations and student work time will focus on hand painting, airbrushing, inking, and silk-screening vitreous enamels alongside stained glass techniques such as cutting, copper foiling, and soldering. Professional practice lectures will provide students at all levels with insight on packaging themselves, marketing their art, being selected for artist residencies, and getting their work noticed and sold. B / ALL LEVELS

S A LL I E P O R T N OY

Sallie Portnoy is a prolific interdisciplinary artist, working in glass, clay, bronze, cement, polyurethane, mosaic, and steel. Her background in ceramics informs her work in glass, which has earned international recognition and representation in private and permanent collections. Portnoy has taught classes in Australia, Canada, and Turkey and at The Studio of the Corning Museum of Glass and UrbanGlass in the United States. She lives and works in the Northern Beaches area of Sydney, Australia.

JEREMY BERT

Jeremy Bert sees the abandoned signage of the commercial strip as an analogy for the state of our culture. His artwork consists of recycled and altered signage and free-form neon tubes. A licensed sign electrician, certified welder, and crane operator, Bert lives in Seattle and specializes in large-scale lighting and installation of electric signs. He received his BFA in 1994 from Alfred University and has shown his work at the Museum of Glass, Tacoma.

J O S E P H C AVA L I E R I

Joseph Cavalieri is a native New Yorker based in the East Village of Manhattan. Since 1997, he has been exhibiting painted, airbrushed, and silk-screened stained glass that contemplates issues of culture, identity, and sexuality. His MTA Arts for Transit public art commission can be viewed at the Metro-North Railroad Philipse Manor Station in Westchester, New York. In 2014, his work was included in NYC Makers: The MAD Biennial at the Museum of Arts and Design.

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Session 2 Gaffers: Dan Friday and Ray Friday 10

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3 SESSION

J U N E 2 2 – J U LY 3

THE FINE LINE

W O R D P L AY

D I G I TA L FA B G L A S S L A B

THE GLASS IS HALF FU LL

BREAKING & MENDING

Glassblowing

Glassblowing, Coldworking, Sandcasting, Printmaking

Digital Mold Printing, PLA Method, Hot Casting, Kilncasting

Flameworking

Color Lamination, Imagery, Professional Practice, Public Art

Anagrams, ambigrams, palindromes, pangrams, onomatopoeia: this class will seek inspiration in language and wordplay while investigating form, process, and phenomena. The written word, sound, gesture, and other systems of coded communication will drive explorations in glassblowing, coldworking, sandcasting, printmaking, mirroring, and playing with light and shadow. Can the collaborative, communicative nature of glass practice generate a common vernacular that becomes embedded in the work? What forms of language do artists develop, deliberately and unwittingly, that are unique to this discipline?

The studio will become a laboratory for combining the newest digital fabrication technologies and glass. This introduction to equipment, software, and techniques for transforming computer-generated ideas into cast-glass objects will focus on two core techniques: direct mold printing and the lost-PLA method. Students will have the opportunity to experiment and collaborate with the latest Spiral Arts secret projects, including a glass-printing robot, touchsensitive glass, ballistic deposition of glass, and use of microcontrollers in the studio.

What makes some objects appear to float while others flop? Students will investigate object profiles by observing, discussing, and drawing and then develop refined concepts in the Hot Shop, where technical challenges will be addressed. Emphasis on the visual perception of volume, weight, movement, and balance will encourage students to clarify designs and proceed with intention in the glassblowing process. Through drawing sessions, dialogue, and demonstrations, students will challenge themselves, strive for precision, and put their new knowledge into practice. B / ADVANCED

Working with borosilicate glass, this class will combine scientific flameworking techniques with artistic intention. Instruction will reinforce the basics before moving on to more advanced processes, providing a wide breadth of knowledge for constructing ideas at the torch. Students will be encouraged to have fun while challenging themselves in pursuit of artistic growth. Demonstrations will include color application, flaring, assembly, bridging, sculpting, and encapsulating, ensuring students a well-rounded foundation for creative expression. C / INTERMEDIATE

A / ALL LEVELS

This interdisciplinary class will demonstrate the creative and business aspects of architectural glass art by focusing on experimental, cold-glass imaging techniques. Using contemporary and innovative materials, students will be guided through the processes of breaking laminated glass, sandblasting, coloring, pouring silicone gels, and trapping materials between layers of glass. Discussions related to professional practice and submission of architectural calls for entry will include how to devise a brief, compose a design presentation, and make maquettes and samples. A / ALL LEVELS

B / INTERMEDIATE

HOW TO APPLY

J O S I E G LU C K

HELEN LEE

MICHAEL SCHUNKE

ALEXANDER ROSENBERG

Josie Gluck’s and Michael Schunke’s mutual interest in aesthetics, design, and craftsmanship led to the founding of their collaborative production studio, Vetro Vero, in 2011. With an emphasis on contemporary design, their products balance precise form and function. Gluck holds an MFA in studio/designed objects from The School of the Art Institute of Chicago. Schunke, an emeritus associate professor of the Toyama City Institute of Glass Art, has work in museum collections worldwide.

Helen Lee and Alexander Rosenberg are interdisciplinary glass artists. Lee teaches at the University of Wisconsin-Madison and Rosenberg at the University of the Arts in Philadelphia. They have led palindromic lives. Lee was born on 7/11, the number of her first house was 247, and she received a BSAD from MIT and an MFA from RISD. Rosenberg received an MSVisS from MIT and a BFA from RISD, his current house number is 247, and he was born on 11/7.

FRED METZ & TEAM

This team-taught course will be headed by Fred Metz, founder of Spiral Arts, along with several guest artist-technologists associated with the glass equipment company. Mark Ganter, a 3-D printing guru, is a professor of engineering at the University of Washington. Josh Kopel is the founder of Number 10 Web Company and organizer of Dorkbot’s Seattle chapter. Matthew Sorensen is an electronics and coding expert.

K I VA F O R D

Kiva Ford’s work spans the realms of art and science. Formally trained as a scientific glassblower, he holds a degree from Salem Community College, New Jersey, and has spent years creating complex glassware for scientific use. Currently, he puts his skills to use by day as the manager of the University of Notre Dame’s custom scientific glassblowing shop, and by night, he manages his own artistic practice, which has brought him worldwide recognition.

YO R G O S PA PA D O P O U LO S

While Cyprus-born Yorgos Papadopoulos was at the Royal College of Art, London, he developed a technique for treating sheet glass to create exhibition pieces, installations and architectural-scale artworks. Displaced by the 1974 Cyprus war, he has made breaking and mending, bridging cultural differences, and compensating for pain with beauty constant themes in his oeuvre. Papadopoulos has run his successful studio for fifteen years, authored the book Lamination (2004), and exhibited worldwide.

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Session 3 Gaffers: Mikey Cozza and Dante Marioni 12

A P P LY O N L I N E AT P I L C H U C K . C O M

4 SESSION

J U LY 7–2 4

WH AT ’S T H E US E ?

F U N - D A - M E N TA LS

N E W C O LO R S O F G E O M E T RY

BRIDGING THE GAPS

S U B STA N C E & S P E C TA C L E

Glassblowing

Coldworking, Color Lamination

Flameworking

Enamel Painting, Imagery, Assembly, Illumination

Form, ergonomics, and elegance will be guides for exploring functionality. This course will cover a variety of forms, from cups, bowls, plates, and vases to more elaborate footed vessels and methods of ornamentation. Instruction will emphasize efficiency and repetition in order to better understand forms and their methods of production. Students will be introduced to a variety of historical examples that successfully blend beauty and function and will be asked to formulate their own functional designs.

This course will teach the fundamentals—with an emphasis on “fun”—of working with molten glass. Beginning students or those in need of a refresher on basic technique will build new skills and learn to hone them. With daily demonstrations and plenty of hands-on practice, students will develop mind and body as they draw, design, and execute works of art while learning to think and work like enlightened glassblowers.

Pulling from Eastern European coldworking traditions, students will experiment with the optical properties of sheet glass and create systems for shifting the appearance of color within constructed forms. The class will learn how to break down form into a pattern for cutting sheet glass, assemble with UV glue, laminate with color, and use coldworking techniques from grinding to polishing. Presentations highlighting artists, both historical and contemporary, who use similar coldworking techniques, will provide context and inspiration.

The road to success is often paved with failure, particularly when pushing the limits. Working from ambitious designs, students will dissect form and process to overcome obstacles when constructing complex hollow objects in clear borosilicate glass at the torch. Exercises will include making and using jigs for bending small-diameter tubing into consistent, repeatable components for assemblage. With challenging assignments and personal projects, students will be encouraged to venture beyond their comfort zones, take risks, and enjoy the rewards.

B / ALL LEVELS

B / INTERMEDIATE

A / INTRODUCTORY

A / INTERMEDIATE

Utilizing the transparency of glass as a means for layering imagery, students will create the illusion of three-dimensional space and find new avenues for narrative and conceptual expression. The class will explore contemporary approaches to glass painting, use of digital imagery, photo-sensitive sandblasting, flat glass assembly, and strategies for illumination. Along the way, students will explore the use of depth to enhance symbolism and substance, create spectacle, manufacture kitsch, and investigate expanded possibilities for storytelling. B / ALL LEVELS

GRANITE CALIMPONG

Granite Calimpong creates objects that employ an astute sense of balance through form, volume, and color, always with an eye for subtlety. Since 2007, he has worked on the glassblowing teams of Nancy Callan, Benjamin Moore, and Ethan Stern, and several other key Seattle artists. In 2014, his work was included in Considering Design at Traver Gallery, Seattle. Calimpong is a member of the artist collective Fifty Four Sixteen, where he maintains his studio.

ED SCHMID

Ed Schmid has been working with hot glass since 1984 and is the author of the best-selling instructional books Beginning Glassblowing and Advanced Glassworking Techniques. He earned an MFA from The Ohio State University in 1990 and has since taught classes and conducted workshops all over the world. When Schmid is not writing or teaching, he develops his work at Glass Mountain Studios, which he operates with his wife in Bellingham, Washington.

GYÖ R GY G Á S PÁ R Z S U Z S A N N A KÓ R Ó D I

Hungarian artists György Gáspár and Zsuzsanna Kóródi specialize in the use of optical devices in their work. Gáspár focuses on the amplification of inner and outer space, and Kóródi creates rhythm and movement while capturing light with layers. Gáspár and Kóródi maintain a studio together and exhibit their work internationally. Gáspár is currently pursuing a PhD in the faculty of music and visual arts at the University of Pécs in Hungary.

M I C A H E VA N S

Micah Evans has been working with glass since 1999 and is recognized for his broad flameworking capabilities. His work spans function and sculpture and includes a new narrative body of work that examines himself and his family history of craft traditions. Evans has taught all over the United States and in 2012 was the first flameworker to be awarded a three-year artist residency at Penland School of Crafts, North Carolina.

JEFF ZIMMER

Jeff Zimmer’s works explore notions of ambiguity and doubt and provoke a sensual experience of light. Trained in theater in Washington, D.C., he currently lives and works in Scotland. In 2014, he won second place in the Coburg Prize for Contemporary Glass competition and was selected for a Stephen Procter Fellowship. His work is in the collections of the Victoria and Albert Museum, the European Museum of Modern Glass, and the Glasmuseet Ebeltoft.

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Session 4 Gaffers: Jason Christian and Daryl Smith 14

A P P LY O N L I N E AT P I L C H U C K . C O M

5 SESSION

J U LY 2 8 – A U G 1 4

E AT YO UR WAY T H ROUG H D ESIG N

C O LL A B O R AT I N G W I T H G R AV I T Y

C R O S S - P O LL I N AT I N G P R O C E S S

N E O N , P L A S M A , & B E YO N D

D I G I TA L P L AYG R O U N D

Glassblowing, Cooking

Glassblowing, Assembly, Sculpture

Glassblowing, Kiln Forming, Coldworking

Flameworking, Neon, Plasma

Kilncasting, Hot Casting, Coldworking, 3-D Rendering & Printing

This course about designing, creating, and using tableware to enhance the experience of eating is for those who love food, fun, friends, and glassblowing. Using favorite recipes and focusing on Pacific Northwest produce, students will consider specific design needs for displaying and honoring food for its nourishment. Through dialogue, research, drawing, prototyping, and inspiration from special guests, the class will examine functionality, culinary aesthetics, and approaches to production. Emphasis will be placed on teamwork, craftsmanship, and, of course, eating!

Consider the act of blowing glass as a collaboration between the body and the inherent properties of the material. Basic glassblowing, coldworking, and experimental methods of assembly will form the technical foundation for the invention of sculptural objects and components for installation. Group exercises, discussion, critique, and problem-solving sessions will fuel ideas and provide students with broader insight. Students will be encouraged to embrace chance and follow their intuition in pursuit of unexpected outcomes.

Turning to nature for inspiration, this class will be a search for unexpected ways of transforming glass. Students will develop work and find new ways of establishing form, surface, patterning, and content by merging unlikely glass processes. Hot-glass components will be made by hand and further manipulated through coldwork and the kiln-forming techniques of slumping and fusing. Moving fluidly between studios and basic glass techniques, the class will focus on process-driven experiments that lead to finished work.

Using both soft and borosilicate glass, students will work with plasma, glow discharge, and DC and highfrequency electronics to move beyond conventional neon and into free-form sculpture. The class will look to vintage glass objects for inspiration, particularly early Geissler tubes, which led to the development of modern electronics and eventually the field of neon. Demonstrations will begin with basic neon theory and techniques and progress to advanced applications. Some previous experience with flameworking is required.

A / ALL LEVELS

A / INTERMEDIATE

Build connections between the glassmaking processes of kilncasting, hot casting, and coldworking and new technologies. Students will learn to use Rhinoceros modeling software and 3-D printers to visualize ideas and create patterns that will be transformed into glass. Demonstrations will include lost wax and moldmaking for kilncasting. Experimentation will be essential as students explore possibilities for using glass and technology as tools for research, documentation, and exploration of time. A laptop is required. B / ALL LEVELS

ANNETTE BLAIR JENNIFER ELEK

HOW TO APPLY

Annette Blair is an exhibiting artist, production glassblower, gaffer, and assistant to many of Australia’s leading glass artists. Working mainly out of Canberra Glassworks and her studio in Queanbeyan, she focuses on design and the exploration of personal narratives in her exhibition works. Jennifer Elek’s love of the Pacific Northwest, cooking, and entertaining inspires her functional tableware. A Seattle-based artist, she recently exhibited her sculptural work at Traver Gallery, Seattle, and the Museum of Glass, Tacoma.

D AV I D K I N G

David King lives in Richmond, Virginia, where he makes objects, installations, and drawings that blur categories while addressing the transiency of human perception. After earning an MFA from Tyler School of Art, King presented his work at the 42nd Annual Glass Art Society Conference in Toledo, Ohio, and was awarded a fellowship at the Creative Glass Center of America (Wheaton Village), in Millville, New Jersey. His work was published in New Glass Review 32, 34, and 35.

M EGAN B IDDLE

Megan Biddle received a BFA from Rhode Island School of Design and an MFA from Virginia Commonwealth University. She has had residencies at the MacDowell Colony, the Creative Glass Center of America (Wheaton Village), and North Lands Creative Glass. Her work is in the permanent collection of the Embassy of the United States in Riga, Latvia. Biddle currently teaches in the glass program at Tyler School of Art and the University of the Arts in Philadelphia.

W AY N E ST R AT T M A N

Dr. Wayne Strattman, author of the textbook Neon Techniques, is the world’s only PhD in the neon arts. His Boston-based company, Strattman Design, is a world leader in developing and making plasma displays. Originally trained as an engineer, Strattman is now known worldwide for his artwork. Self: Illuminated, a show of his work contemplating modes of communication and cognition, was featured recently at the Charles River Museum of Industry & Innovation in Massachusetts.

NORWOOD VIVIANO

Norwood Viviano combines computer 3-D modeling and printing technology with glassblowing and glass casting for creating his sculptural works. He has been selected for residencies at the Royal College of Art, London; the Museum of Glass, Tacoma; and the Arts/Industry Program at Kohler Company. His work has been exhibited at Heller Gallery, New York; Art Miami; and the Venice Biennale. Viviano is the sculpture program coordinator at Grand Valley State University, Michigan.

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Session 5 Gaffers: Jeff Ballard and Manny Krakowski 16

A P P LY O N L I N E AT P I L C H U C K . C O M

6 SESSION

A U G 1 7–2 8

PAT T E R N S & M U R R I N E

CANE & FORM

Glassblowing, Murrine

Glassblowing, Cane

O U T O F T H E F L A M E & I N TO THE FIRE

Flameworking, Glassblowing This course will focus on making murrine cane and blowing vessels with it. The class will explore cold- and hotassembled murrine cane using colored sheet glass, hot glass, and premade elements. With daily practice, students will develop an understanding of the specific requirements of this technique and work through different ideas about pattern generation and application. Discussions will fuel the development of concepts and creation of pieces that are strengthened by the use of murrine.

Traditional and non-traditional canepulling and application techniques will be explored as ways of accentuating blown and sculptural forms. After an introduction to the basics of pulling simple cane patterns, students will work up to more complex designs. Demonstrations will cover multiple pick-up methods. This class is as much about innovation and discovery as it is about learning technique. Students will be encouraged to be adventurous and find new ways of utilizing cane for creative expression.

B / ADVANCED

B / INTERMEDIATE

A cross-disciplinary approach to flameworking and furnace working will guide students toward discovering the similarities and differences in processes and understanding the benefits and limitations of each. Starting with demonstrations of basic blown and solid forms, students will learn the building blocks for creating ideas big and small, flameworking models at the torch and then increasing scale in the Hot Shop. Group and individual discussions and a collaborative, team-based approach to working will be encouraged. B / INTRODUCTORY

IMAGINING GLASS IMAGES

I N N E R / O U T E R S PA C E

Digital Photography, Glass Decals, Kiln Forming

Kilncasting, Hanging-Hollow-Core and Press Molds

Combining digital photography and kiln-formed glass, this class will move fluidly between camera, computer, glass, and kiln by utilizing decals to apply imagery. Kiln-forming approaches that explore conceptual, material, and technical directions will be presented and encouraged. Discussions will address image capture, color translation, and file preparation, enabling students to get the most out of decal technology. A laptop with Photoshop and camera are required. Students will submit imagery to be printed as decals before the session.

Hollow-core kilncasting offers a special opportunity to alter the interior space of an object by layering form and creating depth, both visually and conceptually. In this class, students will learn to make multipart, hangingcore, and press molds for creating compound forms that express their ideas. Demonstrations will cover moldmaking, including silicone molds, and modeling with plaster and clay. The class will review use of clear versus colored glass, firing, and coldworking techniques such as cutting, grinding, and polishing. B / ALL LEVELS

B / ALL LEVELS

GILES BETTISON

Giles Bettison has been involved with studio glass since the early 1990s. He began exploring murrine cane in 1994 and graduated from Canberra School of Art in 1996. After setting up his own studio in 1997, Bettison has focused solely on making glasswork, mainly murrine vessels, almost exclusively out of Bullseye glass. He currently works out of his studio in Adelaide, Australia, and exhibits and teaches in Australia, Europe, and the United States.

TREG SILKWOOD

Treg Silkwood received a BFA from Alfred University and studied at the Academy of Applied Arts in Prague, and Illinois State University. His career in glass spans more than twenty years. Silkwood has been a gaffer for the Corning Museum of Glass’ Hot Glass Roadshow and had a solo show at Steuben’s flagship store in New York. He is program director and senior glass instructor at the Bay Area Glass Institute in San Jose, California.

HOW TO APPLY

KAREN BUHLER

AMY BAUR

PAT R I C I A D AV I D S O N

BRIAN BOLDON

Karen Buhler’s friendly glass characters are effervescent with humor, fun, and joy, influenced by her life experiences. She realizes her visions using traditional and innovative flameworking techniques. Patricia Davidson’s sculptures pull inspiration from nature, color, and light. She has worked on the teams of Dale Chihuly, Pino Signoretto, and Lino Tagliapietra while maintaining her own studio practice. Both Buhler and Davidson have been part of the Seattle glass community for more than twenty years.

Amy Baur and Brian Boldon founded In Plain Sight Art, a studio in Minneapolis that integrates digital print technologies with ceramics and glass. Baur, with an MFA from the University of Illinois at UrbanaChampaign, explores image, glass, and collage elements; Boldon, with an MFA from Rhode Island School of Design, integrates image and glass with physical phenomena and temporal experience. They exhibit as solo artists, and their collaborative artwork is included in thirty public art collections nationally.

E R I K A TA D A

Erika Tada’s poetic artwork cherishes her personal experiences and the feelings associated with them through the use of objects that commemorate her memories. She earned an MFA from Rochester Institute of Technology and a PhD from Tokyo University of the Arts. Tada has held residencies at the Corning Museum of Glass and Pilchuck Glass School and received a fellowship from UrbanGlass. She currently teaches at Toyama City Institute of Glass Art, Japan.

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Session 6 Gaffers: Sarah E Gilbert and Megan Stelljes 18

A P P LY O N L I N E AT P I L C H U C K . C O M

2015 PILCHUCK GLASS SCHOOL SUMMER PROGRAM

PILCHUCK.COM

A P P L I C AT I O N D E A D L I N E S New this year! Student applications are accepted first-come, first-served until courses fill. Visit Pilchuck.com for a list of course openings. JAN 7

Emerging Artist in Residence (EAiR)

FEB 4 Scholarship, Teaching Assistants, & Artist Assistants

M AY 1 8 –2 9

J U N E 2 –1 9

ROB STERN

KELLY O’DELL

Concept to Construction Glassblowing, Sculpting, Hot Casting, Coldworking

The Nature of Sculpture Hot-Glass Sculpting A / INTERMEDIATE

B / INTERMEDIATE

KAZUKI TAKIZAWA

JAMES ANDEREGG

Metaphorically Contained Glassblowing

What Lies Beneath Glassblowing, Cane & Murrine, Engraving

J U N E 2 2 – J U LY 3

JOSIE GLUCK & MICHAEL SCHUNKE

The Fine Line Glassblowing B / ADVANCED

HELEN LEE & ALEXANDER ROSENBERG

A / INTERMEDIATE

Word Play Glassblowing, Coldworking, Sandcasting, Printmaking

JANE BRUCE

SALLIE PORTNOY

FRED METZ & TEAM

The Glass Buffet Glassblowing, Hot Casting, Kiln Forming, Coldworking, Printmaking

Slug One Down Kilncasting, Sandcasting

Digital Fab Glass Lab Digital Mold Printing, PLA Method, Hot Casting, Kilncasting

B / INTRODUCTORY

A / ALL LEVELS

J U LY 7–2 4

GRANITE CALIMPONG

What’s the Use? Glassblowing

FEB 4

Seasonal Staff & Campus Assistants

OCT 28

John H. Hauberg Fellowship

J U LY 2 8 – A U G 1 4

ANNET TE BLAIR & JENNIFER ELEK

A U G 1 7–2 8

GILES BET TISON

Patterns & Murrine Glassblowing, Murrine

A / INTERMEDIATE

Eat Your Way through Design Glassblowing, Cooking

ED SCHMID

DAVID KING

TREG SILKWOOD

Fun-da-mentals Glassblowing

Collaborating with Gravity Glassblowing, Assembly, Sculpture

Cane & Form Glassblowing, Cane

A / INTRODUCTORY

A / ALL LEVELS

B / INTERMEDIATE

GYÖRGY GÁSPÁR & ZSUZSANNA KÓRÓDI

MEGAN BIDDLE

KAREN BUHLER & PATRICIA DAVIDSON

A / INTERMEDIATE

B / ADVANCED

B / INTERMEDIATE

New Colors of Geometry Coldworking, Color Lamination

Cross-Pollinating Process Glassblowing, Kiln Forming, Coldworking

A / ALL LEVELS

B / ALL LEVELS

A / INTERMEDIATE

B / INTRODUCTORY

Out of the Flame & Into the Fire Flameworking, Glassblowing

B / INTRODUCTORY

BECCY FEATHER

JEREMY BERT

KIVA FORD

MICAH EVANS

WAYNE STRAT TMAN

AMY BAUR & BRIAN BOLDON

Land, Air, Sea, Craft Flameworking, Mixed Media

Go Toward the Light Neon

The Glass Is Half Full Flameworking

Bridging the Gaps Flameworking

Neon, Plasma, & Beyond Flameworking, Neon, Plasma

C / ALL LEVELS

A / ALL LEVELS

C / INTERMEDIATE

B / INTERMEDIATE

A / INTERMEDIATE

Imagining Glass Images Digital Photography, Glass Decals, Kiln Forming B / ALL LEVELS

MAT TEO SEGUSO

Drawing through Depth Engraving C / ALL LEVELS

JOSEPH CAVALIERI

YORGOS PAPADOPOULOS

JEFF ZIMMER

NORWOOD VIVIANO

ERIKA TADA

POP Gothic Glass Enamel Painting, Imagery, Stained Glass, Professional Practice

Breaking & Mending Laminating Color & Imagery, Professional Practice, Public Art

Substance & Spectacle Enamel Painting, Imagery, Assembly, Illumination

Inner/Outer Space Kilncasting, Hanging-Hollow-Core & Press Molds

B / ALL LEVELS

A / ALL LEVELS

B / ALL LEVELS

Digital Playground Kilncasting, Hot Casting, Coldworking, 3-D Rendering & Printing

B / ALL LEVELS

ARTISTS IN RESIDENCE

Davy McGuire Kristin McGuire

Joel Otterson John Roach

Liam Ó Maonlaí Camille Utterback

Barbara Earl Thomas Penelope Umbrico

Mona Hatoum Christine Tarkowski

Chakaia Booker Jeff Colson

GAFFERS

Niko Dimitrijevic Michael Hernandez

Dan Friday Ray Friday

Mikey Cozza Dante Marioni

Jason Christian Daryl Smith

Jeff Ballard Manny Krakowski

Sarah E Gilbert Megan Stelljes 21

OPPORTUNITIES

A P P L I C AT I O N I N F O R M AT I O N T E A C H I N G & A R T I ST A S S I STA N T S H I P S

H O W TO A P P LY

SCHOLARSHIPS

Pilchuck teaching assistants (TAs) and artist assistants (AAs) play essential roles in the summer program by supporting the vision and goals of instructors and artists in residence.

New this year! Student applications are accepted firstcome, first-served until courses fill. Visit Pilchuck.com for a list of course openings.

Pilchuck provides financial assistance to more than one-third of its students through the generosity of donors, foundations, and student auctions and continues to expand the number of full and partial scholarships it offers to support diverse and talented individuals. Artists of all ages working in any media are encouraged to apply. Please review scholarship application instructions online.

TAs ensure a smooth and successful educational experience for instructors and students. Each instructor will be aided by two or three 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 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 $50 store credit, and travel reimbursement (60% for TAs; 100% for AAs; restrictions apply). Visit Pilchuck.com for application instructions. Applications Due: February 4, 2015

• Complete one online Summer Program Application Form to apply for student, scholarship, TA, and AA positions. A non-refundable US$45 application fee is charged to apply. • Complete the online Staff Application Form to apply for seasonal staff and campus assistantship opportunities. No fee is charged to apply for these positions. • Applications for scholarships , TA, AA, and staff positions are due before midnight (PST) February 4. • You must be at least eighteen years of age by the first day of the session for which you are registered. E X P E R I E N C E L E V E LS

Our levels have changed! Course levels are listed with each course description: • Introductory: 0–1 years of frequent practice in the technique(s) listed • Intermediate: 2–4 years of frequent practice in the technique(s) listed • Advanced: 5+ years frequent practice in the technique(s) listed • All Levels: Encompasses all of the above; all are welcome FEES

S E A S O N A L STA F F & C A M P U S A S S I STA N T S H I P S

Seasonal staff and campus assistants provide integral support to Pilchuck’s educational program and ensure that the campus runs smoothly. Seasonal staff positions are paid and require specialized skill sets and the ability to perform in a leadership capacity. Staff members play key roles in campus operations, including coordinating studios and overseeing campus assistants. Candidates 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 program needs. In addition to a salary, Pilchuck provides housing, meals, some studio access, and the opportunity to occasionally sit in on lectures and demonstrations. Campus Assistantships are ideal for emerging and experienced artists who wish to further develop their professional and technical expertise. Pilchuck provides a small stipend, housing, meals, some studio access, and the opportunity to occasionally sit in on lectures and demonstrations. International artists are encouraged to apply. Seasonal staff and campus assistants are usually selected for two or more consecutive sessions and will work fully scheduled weeks during their terms. Individual learning and participation happen during the performance of duties as well as during off-duty time when staff members are encouraged to experience the campus, studios, and educational events.

Scholarship applicants are scored and ranked based on artistic merit by a jury of arts professionals. Consideration may also be given for financial need. All scholarship applicants qualify for general scholarships; applicants may also qualify for a special scholarship if they are: • an international applicant (see list online) or resident of the Pacific Northwest, including Alaska, British Columbia, Idaho, Oregon, Montana, and Washington • of African American, Hispanic American, Native American, or other minority heritage • an applicant for a flameworking course • a glass industry worker (i.e. apprentice, assistant, or gaffer) • a 2014 poleturner, seasonal staff member, or summer intern • a 2014 nominee for a Corning Incorporated Foundation or Saxe Award

Program fees cover instruction, shared dormitory housing, meals, and basic supplies. Utility fees offset the cost of energy used in studios; are indicated by A, B, or C at the end of the course description. A housing upgrade is optional with an additional fee.

• currently enrolled as an art student at a New Englandarea school (see list online)

Total Fees:

Program Fee + Utility Fee

Program Fee:

US $3,615 per course sessions 2, 4, or 5 US $2,550 per course sessions 1, 3, or 6

Utility Fee:

A = $410 B = $285 C = $185

Undergraduate college credit may be earned through Cornish College of the Arts in Seattle, Washington. Pilchuck courses are eligible for three credits (US $330; subject to change) in addition to Pilchuck course fees. A passing grade is transcripted with a grade notation of “CR” for “Credit.” Students should consult their institution in advance to make sure credits are transferrable.

Upon acceptance a non-refundable US $500 deposit is due. The remaning balance is due May 1. A payment schedule may be arranged. See Pilchuck.com for cancellation policy.

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. • Dormitory Housing — consists of a double-occupancy room with access to central restrooms for men and women • Cottage Housing — consists of two double-occupancy rooms and a bathroom shared by the four residents. Cottage rooms carry an additional fee. Requests for cottage rooms may exceed availability. All session participants dine together. Course fees include three meals a day during the week, and two meals on weekends. Dietary restrictions can be accommodated with prior notice. Corning Incorporated Foundation The ArtsFund Foundation

• a member of a Partner Institution (see list online) C O LL E G E C R E D I T

I N T E R N AT I O N A L PA R T I C I PA N TS

H O U S I N G & M E A LS

Visit Pilchuck.com for a list of open positions and application instructions. Applications Due: February 4, 2015

Special this year! The top ranking scholarship recipient will also be offered a residency at open access studio and gallery S12 in Bergen, Norway. www.S12.no

Jean K. LaFromboise Foundation

International participants may travel to the United States as a visitor in order to participate in the Summer Program. Upon acceptance, we can also provide you with a letter that may help facilitate visa requests 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. 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.

Pilchuck does not discriminate on the basis of gender, sexual orientation, race, religion, nationality, or ethnic origin in employment or in artistic or educational programs. “Pilchuck” and “Pilchuck Glass School” are federally registered trademarks of Pilchuck Glass School. PHOTO CREDITS: Peter Kuhnlein, Alec Miller, Abram Deslauriers, staff, summer participants DESIGN: Studio Matthews COVER IMAGE: Artwork by Andrea Deszö, 2014 Artist in Residence.

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 and 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 online application form. Residency Dates: September 21–November 13, 2015 Applications Due: January 7, 2015

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 online application form. Residency Dates: April 27–May 13, 2016 Applications Due: October 28, 2015

Q U E ST I O N S ?

Contact the registrar at registrar@pilchuck.com or 360.445.3111, ext. 29.

Great connections and memories to last a lifetime. Tyler Kimball, Summer 2014