Ted Sawyer, Come Back I, 2007.
Bullseye glass CO. Classes & Special Events, Santa Fe J U N E – S E PT E M B E R 2 0 1 0
FROM THE DIRECTOR What is Kiln-Glass? In 1974 three self-described “hippy glassblowers” started Bullseye Glass Company, a small factory for making specialty sheet glass in Portland, Oregon. While they initially focused on making colored sheets for use in stained glass, they aspired to do what had never been done before: to produce a palette of colored glasses tested to be compatible with one another for producing works in the kiln. By 1979 they had succeeded, but immediately ran into a challenge: they had created something remarkable for which almost no demand existed. Ever the innovators, they decided to embark on a long-term program of research projects working directly with artists to help pioneer and expand the technical, aesthetic and conceptual development of the field that is today known as kiln-glass. Kiln-glass is a term that describes an enormous range of techniques and outcomes that are radically more accessible than many other working methods, such as glassblowing, in which one must first develop basic physical skills for years before being able to effectively realize well-executed works. By contrast, many of the skills required for kiln-glass are things that most artists already possess: an understanding of design, composition, color theory, and the ability to conceive of layers of process and material application. And while kiln-glass does require basic knowledge of technical issues and nuances, these are readily obtained in short order through publications and curriculum that have been developed as an outgrowth of Bullseye’s years of collaboration with artists.
Bullseye in santa fe Bullseye staff and visiting instructors have offered this curriculum through classes, lectures, and demonstrations at our Resource Center in Portland since the mid-1990s. We have done the same on a national and international basis working with studios, schools, museums and universities from New York to San Francisco, and from Australia to Scotland. It is now our great privilege and pleasure to be opening a Bullseye Resource Center in Santa Fe in which we will provide students with inspiring and informative curriculum in working with kiln-glass. We will teach even the most basic skills and information at the highest level possible, giving students a comprehensive experience that encompasses fundamental to advanced techniques as well as theory, practice, craft, design and art. At Bullseye, we won’t just teach you how to do something; we’ll explain how we’ve arrived at specific methods in our decades of research into processes, products and equipment. While classes will begin in June, the grand opening of Bullseye Resource Center Santa Fe (www.bullseyeglass.com/santafe) will happen the evening of July 14, from 4–8 pm. Timed to fall between SOFA West (www.sofaexpo.com/santa-fe) and Art Santa Fe (www.artsantafe.com), the event will provide opportunities to meet with many Bullseye artists who will be in town for the shows, including: Klaus Moje, Jessica Loughlin, and Richard Whiteley from Australia; Steve Klein, Michael Rogers, Ted Sawyer, and Erik Whittemore from the US; and Yoko Yagi from Japan. The Resource Center will also be open special hours during both fairs: Sundays July 11 and 18 from 1 pm to 5 pm.
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There are also a number of other Bullseye-related events planned in Santa Fe this summer. As of this writing, Bruce Guenther, the Portland Art Museum’s Curator of Contemporary Art, is scheduled to present a talk on the work of Klaus Moje at Sweeney Convention Center on Saturday, July 10, at 10 am. Jessica Loughlin is scheduled to speak on her work at the Saint Francis Auditorium of the New Mexico Museum of Art on Sunday, July 11, at 2 pm. And Ted Sawyer is scheduled to give informal demonstrations as part of Art Santa Fe at Sweeney Convention Center from July 15–18.
Year round programming While summertime is high season in Santa Fe, we intend to continue to deliver dynamic programming all year round. We already have plans to bring painter and printmaker Martha Pfanschmidt in October to give a presentation on her transition into working with kiln-glass, how it has enabled her to do several major architectural projects, and how moving between media has informed and enriched her entire art practice. We are working on similar plans with other artists, and will continue to offer a range of beginning to advanced workshops through our talented in-house staff. If you have any questions about classes or events on the schedule, please don’t hesitate to contact us using the contact information on the Special Events page. If you live nearby or are planning to visit Santa Fe, make a point to come to the Resource Center to see our classroom facilities, check out class projects in the flesh, and learn more about our education programs. We look forward to seeing you soon. Ted Sawyer Director of Research & Education
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GENERAL CLASS INFORMATION Some classes are offered more than once per term. A discrete “CL” number is attached to each class with inclusive dates indicated. Classes range in length from a few hours to several days. Please note the date(s) and times for yours and plan to arrive a few minutes early the first day, especially if you are new to Bullseye Glass classes. Tuition includes all instruction, materials, and access to equipment (with the exception of respirators for some classes). You will receive any advance information needed for your class a few days prior to the start date. Daytime classes include a lunch break of approximately 45 minutes. All classes, open studios, and special events are held at the Bullseye Resource Center, 805 Early Street, Building E, Santa Fe, New Mexico. For general application information, see page 18. If you would you like to receive future class schedules and notices of special events via email, please send your request to santafeclasses@bullseyeglass.com. Note: Our mailing list is kept confidential.
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What Is Kiln-glass?
SPECIAL EVENT
$5
page 6
9
Printmaking for Kiln-glass
SPECIAL EVENT
$10
page 6
11–13
Printmaking for Kiln-glass
Whittemore
$365
page 12
19
Drawing with Glass
SPECIAL EVENT
$10
page 6
21–26
Survey of Kiln-glass
Whittemore
$550
page 9
28–29 & Jul 1
Intro to Fusing & Slumping
Whittemore
$165
page 8
7–10 & 12–13
Kilncast Glass
Whiteley
$1000
page 14
11
Artist Talk: Jessica Loughlin
SPECIAL EVENT NM MUSEUM OF ART
$5
page 6
11
Visit the Resource Center
SPECIAL HOURS
FREE
page 7
14
MEET THE ARTISTS
GRAND OPENING
FREE
page 7
18
Visit the Resource Center
SPECIAL HOURS
FREE
page 7
19–22
Drawing with Glass
Whittemore
$395
page 10
24
Painting with Glass
SPECIAL EVENT
$10
page 7
30–Aug 2
Painting with Glass
Whittemore
$450
page 11
4
Printmaking for Kiln-glass
SPECIAL EVENT
$10
page 6
6–8
Printmaking for Kiln-glass
Whittemore
$365
page 12
11
Drawing with Glass
SPECIAL EVENT
$10
page 6
14
Writing Artist Statements
SPECIAL EVENT
$40
page 7
19–22
Drawing with Glass
Prochaska
$395
page 10
23–24 & 26
Intro to Fusing & Slumping
Whittemore
$165
page 8
27–28 & 30
Basic Kilncast Glass
Whittemore
$350
page 15
4
What Is Kiln-glass?
SPECIAL EVENT
$5
page 6
9–14
Survey of Kiln-glass
Whittemore
$550
page 9
23–26
Painting with Glass
Sawyer
$450
page 11
28–Oct 2
Particulate Language
Newell
$550
page 13
Oct 2
Artist Talk: Catharine Newell
SPECIAL EVENT
$10
page 7
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SPECIAL EVENTS Registration for Special Events Please note that a small fee is charged for Bullseye special events, and advance payment is required. We accept cash, checks, Visa, MasterCard, and American Express. Please register in person if you plan to pay with cash. Cancellations with 48 hours’ notice prior to the event will receive a full refund. To make a reservation, email santafeclasses@bullseyeglass.com or call 505-467-8951. All events (except the Jessica Loughlin Artist Talk) are held at Bullseye Santa Fe Resource Center, 805 Early Street, Building E, Santa Fe, New Mexico.
PRESENTATION: WHAT IS KILN-GLASS? Erik Whittemore June 5 (EVS712-0001) / Saturday 2pm–4pm / $5 September 4 (EVS712-0002) / Saturday 2pm–4pm / $5 This presentation will provide an overview of many kiln-glass working methods including fusing, slumping, creating painterly imagery in glass, kilncasting and coldworking. Slides of finished works will augment a series of abbreviated step-by-step demonstrations of the basics of each method.
DEMONSTRATION: PRINTMAKING FOR KILN-GLASS Erik Whittemore June 9 (EVS713-0001) / Wednesday 5pm–7pm / $10 August 4 (EVS713-0002) / Wednesday 5pm–7pm / $10 See a step-by-step demonstration of how basic screen printing processes coupled with digital technologies allow artists to fire imagery ranging from photographs to hand-drawn artwork into glass.
DEMONSTRATION: DRAWING WITH GLASS Erik Whittemore June 19 (EVS711-0001) / Saturday 2pm–4pm / $10 August 11 (EVS711-0002) / Wednesday 5pm–7pm / $10 Drawing with crushed glass powders and frits is very different than drawing with traditional media such as graphite or ink. It is in ways a much more fluid and forgiving approach in which an incredible range of gesture and precision is possible. Working primarily with black powders and frits on clear sheet glass, Whittemore will demonstrate some of the many approaches to drawing with these materials as well as share images and physical samples of completed works.
ARTIST TALK Jessica Loughlin July 11 (EVS702-0001) / Sunday 2pm / $5 Details and registration at www.nmartmuseum.org or 505-476-5072 Jessica Loughlin is one of seven artists selected by Nicholas Baume, Director/Curator of the New York Public Art Fund, for Art on the Edge, the museum’s biennial juried contemporary art show. In this lecture she will speak on her history, ideas, work and methods. Organized and administered by the New Mexico Museum of Art. Location: Saint Francis Auditorium, New Mexico Museum of Art, 107 Palace Ave on the Plaza in Santa Fe. 6
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GRAND OPENING: MEET THE ARTISTS July 14 / Wednesday 4pm–8pm / Free Eight of Bullseye’s artists will be in Santa Fe for our grand opening celebration. Don’t miss the rare opportunity to meet some of the world’s most respected contemporary artists using kiln-glass methods. From Australia: Klaus Moje, Jessica Loughlin and Richard Whiteley. From the US: Steve Klein, Michael Rogers, Ted Sawyer and Erik Whittemore. From Japan: Yoko Yagi.
Resource Center SPECIAL HOURS July 11 / Sunday 1–5pm July 18 / Sunday 1–5pm Regular Resource Center hours: Tuesday–Saturday, 9am–5pm.
DEMONSTRATION: PAINTING WITH GLASS Erik Whittemore July 24 (EVS714-0001) / Saturday 2pm–4pm / $10 While there is a tradition of painting on glass that spans many centuries, it is only fairly recently that materials and processes have been developed that allow artists to paint with glass. In this presentation you will see how colored glass materials ranging from sheet to crushed glass powders and frits, along with threads of glass called stringers can be used to create a wide range of painterly effects and imagery.
HOW TO WRITE AN EFFECTIVE ARTIST STATEMENT Richard Speer August 14 (EVS715-0001) / Saturday 1pm–4pm / $40 An effective artist statement can open doors for an artist, influencing gallery directors, curators, and art critics. This much-misunderstood tool should be a component of every artist’s press packet or Web site. Yet many who are gifted in the realm of the visual have difficulty translating their creative intent into words. Internationally published art critic and author Richard Speer demystifies the artist statement in his three-hour workshop, a blend of lecture, group participation, and one-on-one constructive critique. Speer answers such questions as: What are the four essential elements every artist statement should have? What are the four most common mistakes to avoid? What length should an artist statement be? And how can you turn your visual and conceptual ideas into prose that will engage gallerists and the media? Participants will gain the tools needed to craft professional-caliber artist statements reflecting their unique strengths.
ARTIST TALK AND DEMONSTRATION Catharine Newell October 2 (EVS701-0001) / Saturday 2pm–4pm / $10 Join artist Catharine Newell as she shares images of her work, discusses her influences, and demonstrates her working methods for making everything from extremely gestural experimental studies to highly resolved images through stacking multiple layers of glass.
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Classes
INTRODUCTION TO FUSING AND SLUMPING Erik Whittemore June 28–29 & July 1 (CLS101-0001) / Monday & Tuesday 6pm–8:30pm / Thursday 6pm–7:30pm / 10 students / $165 August 23–24 & 26 (CLS101-0002) / Monday & Tuesday 6pm–8:30pm / Thursday 6pm–7:30pm / 10 students / $165 In this workshop you will learn the fundamentals of fusing and slumping sheet glass, two of the most basic kiln-glass methods. First you will learn how to cut sheet glass, including straight cuts, curved cuts, and perfect circles. From there, you will take these skills and put them to use designing, cutting and composing the parts necessary to make two well-crafted fused and slumped plates. In addition to hands on work, discussions and demonstrations will illuminate some of the basics of kilnforming, from types of glass and mold materials to kilns and firing schedules. No prerequisites.
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SURVEY OF KILN-GLASS Erik Whittemore June 21–26 (CLS108-0001) / Monday–Friday 10am–4pm / Saturday Noon–2pm / 10 students / $550 September 9–14 (CLS108-0002) / Thursday–Monday 10am–4pm / Tuesday Noon–2pm / 10 students / $550 This workshop will explore the basics of many of the practices that are known as kiln-glass. Through discussions, demonstrations, slideshows and hands-on work time, you will learn about cutting sheet glass, fusing, slumping, kilncasting, firing cycles, the effects made possible by firing glass to various temperatures, coldworking and how to achieve painterly imagery with glass. After taking this class you will be ready to choose a direction in which to further your kiln-glass education. That direction could lead you back to your studio to hone your skills or to one of our more focused workshops. No prerequisites.
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Classes DRAWING WITH GLASS Erik Whittemore July 19–22 (CLS113-0001) / Monday–Wednesday 10am–5pm / Thursday 10am–Noon / 8 students / $395 Tom Prochaska August 19–22 (CLS113-0002) / Thursday–Saturday 10am–5pm / Sunday 10am–Noon / 8 students / $395 Drawing with and firing crushed glass powders and frits is very different than drawing with traditional media such as graphite or ink. It is in ways a much more fluid and forgiving approach in which an incredible range of gesture and precision is possible. There is imagery readily available in the material itself, and at the same time, it may be used to translate ideas from life, sketchbooks, or other source material. By using a limited palette—primarily black glass as our medium and clear sheet glass as our support—we will be able to focus our energies on drawing and understanding the fundamentals of working with the materials without the distractions of flash, color, and tricks. You should expect to fire at least six sketches.
Tom Prochaska, Untitled (TP9-07), 2007.
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Ted Sawyer, Palimpsest, 2008.
PAINTING WITH GLASS Erik Whittemore July 30–August 2 (CLS106-0001) / Friday 10am–6pm / Saturday & Sunday 10am–4pm / Monday 10am–Noon / 8 students / $450 Ted Sawyer September 23–26 (CLS106-0002) / Thursday 10am–6pm / Friday & Saturday 10am–4pm / Sunday 10am–Noon / 8 students / $450 While there is a tradition of painting on glass that spans many centuries, it is only fairly recently that materials and processes have been developed, largely at Bullseye Glass, that allow artists to paint with glass. Students in this class will work with colored glass materials ranging from sheet to crushed glass powders and frits, and threads of glass called stringers to build a palette of techniques that allows a wide range of painterly effects. After working through a series of very specific hands-on exercises, students will undertake several exploratory projects to further develop their understanding of the materials. This workshop is suitable for artists from other media who want to translate their work into glass and is also valuable to beginning through advanced kilnworkers.
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Classes
PRINTMAKING FOR KILN-GLASS Erik Whittemore June 11–13 (CLS112-0001) / Friday–Saturday 10am–6pm /Sunday 10am–4pm / 9 students / $365 August 6–8 (CLS112-0002) / Friday–Saturday 10am–6pm /Sunday 10am–4pm / 9 students / $365 This workshop will take students through a series of printing exercises that will allow them to fire imagery into kiln-glass ranging from hand-drawn artwork, to digital imagery, to photographs. Processes covered include silk-screening enamels, photosensitive sandblast resist, and decal transfers. Students will leave with generous samples of each process along with enough information to continue working on their own. No prerequisites.
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Catharine Newell, Memory Notes: Collection II, 2008.
A PARTICULATE LANGUAGE Catharine Newell September 28–October 2 (CLS302-0001) / Tuesday–Friday 9am–5pm & Saturday 9am–Noon / 8 students / $550 The focus of this conceptually driven course is on developing and refining a skilled, intuitive and uniquely individual approach to mark making using sheet glass and powders. Sketches and single layer studies will lead to black and white, as well as color projects. Participants will expand their kilnforming skills while acquiring a greater understanding of material, composition, line, spatial perspective, and layering strategies. Experimentation and invention will be encouraged to move from idea to final resolution.
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Classes
Richard Whiteley, Divide, 2008.
KILNCAST GLASS Richard Whiteley July 7–10 & 12–13 (CLS303-0001) / Wednesday–Saturday & Monday–Tuesday 10am–6pm / 8 students / $1000 This class will develop a foundation in the techniques of mold-melted glass and coldworking. Students will learn a variety of mold-making processes, kiln firing procedures and coldworking and carving of Bullseye glass. The aim of the class will be for students to gain skills necessary to develop a creative dialogue with the material and to discover new perspectives for thinking through cast glass and its potential. There are no prerequisites, but students with some experience in glass and/or sculpture will get more out of this workshop than absolute beginners.
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BASIC KILNCAST GLASS Erik Whittemore August 27–28 & 30 (CLS103-0001) / Friday–Saturday & Monday 9am–5pm / 8 students / $350 This class introduces students to the hand-built refractory mold process through a series of sculptural casting projects. The first project gives students an opportunity to get their hands dirty with a basic open-faced casting. For the second project, students use found objects to create a series of molds that will be cast in frit, powder, and billet to illustrate the unique qualities of each form of glass. Students will learn basic coldworking skills in addition to firing procedures and investment mold recipes. No prerequisites.
OPEN KILNFORMING Bullseye Staff Two-hour minimum / $5 per hour Don’t miss this unique opportunity—one of the big perks for taking Bullseye classes. Bring your Bullseye glass to the Resource Center kilnforming studio and enjoy access to tools, kilns, and non-glass supplies. Learn studio practices, get exposure to diverse methods and materials, and be inspired by fellow members of the glass community. A Bullseye staff member will be on hand to answer questions and serve as a guide. Firing fees and mold rental charges will apply. Prerequisite: completion of at least one class in kilnformed glass at Bullseye (either Portland or Santa Fe). No reservations or deposits are required. Just drop in during one of the scheduled sessions and work for six hours straight or drop off work to be fired. To see the current schedule of sessions, visit www.bullseyeglass.com/santafe. Please note: Only Bullseye glasses may be used in Open Studio sessions. This policy prevents contamination of our teaching studio glass stock and prevents technical problems that could damage our equipment. No exceptions.
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Instructors AND Lecturers JESSICA LOUGHLIN is an independent studio artist in Adelaide, Australia, who graduated from the Canberra School of Art in 1997. Her work is exhibited regularly in the United States, Europe and Australia and is represented in major collections around the globe. Loughlin is widely recognized for her unique and considered approach to kilnformed glass, for which she has won a number of prestigious awards—including the Tom Malone Art Prize and Australia’s RFC Glass Prize. View her work at www.bullseyegallery.com CATHARINE NEWELL is recognized for her distinctive figurative work, which examines the persistence of memory and its impact on relationships. Newell lectures, teaches and exhibits internationally. She was nominated for the Louis Comfort Tiffany Biennial Award in 2003, and her work was selected for New Glass Review 26 and 30 and has recently been acquired for the permanent collections of Swedish Hospital in Seattle, University of Miami Lowe Museum, Hunter Museum of American Art, and the Museum of the Academy of Arts and Design Tsinghua University in Beijing. Newell lives in Portland, Oregon. View her work at www.bullseyegallery.com TOM PROCHASKA is an Assistant Professor of Printmaking at the
Photo: Heather Zinger
Pacific Northwest College of Art. Since 1996 he has collaborated with the Research & Education Department at Bullseye Glass Company to develop new methods of working with frits, powders, threads, and sheet glass that are the basis of the workshop “Drawing With Glass.” In Portland his glassworks may be seen at Bullseye Gallery (www.bullseyegallery.com) and his prints, paintings and sculpture at Froelick Gallery (www.froelickgallery.com).
TED SAWYER received his BA in art with a focus in ceramics from Lewis and Clark College. From 1992–1993 he was the artist in residence at Contemporary Crafts Museum and Gallery in Portland, Oregon. In 1997 he joined Bullseye, where he is the Director of Research & Education. He teaches and lectures internationally and exhibits his work at galleries around the world, including Bullseye Gallery. To view his work, which was featured in Corning’s New Glass Review 28 and 30, visit www.bullseyegallery.com
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RICHARD SPEER is the author of Matt Lamb: The Art of Success and a contributing critic for ARTnews, contributing editor for Art Ltd., and visual arts critic for Willamette Week. His articles and reviews have appeared in GLASS Quarterly, Newsweek, Salon, Opera News, and the Los Angeles Times and he has been awarded top accolades in his profession for feature stories and profiles of figures such as Luciano Pavarotti, Philip Glass, Camille Paglia, Chuck Palahniuk, and E. Fay Jones. Speer is currently writing a novel as well as a book of essays profiling 25 artists associated with Bullseye Gallery. ERIK WHITTEMORE is the Studio Coordinator for Bullseye Resource Center, Santa Fe. Whittemore earned his BS in art with a focus in sculpture from Eastern Oregon University. From 2004 to 2010 he was an instructor/technician at Bullseye Portland, where he developed and taught courses in kilncasting and coldworking, along with many other methods, and assisted a number of world-class artists. Whittemore can often be found in his studio developing new works, some of which can be viewed at www.bullseyegallery.com RICHARD WHITELEY is Head of the Glass Workshop at the Canberra School of Art, Australian National University. A Britishborn Australian, Whiteley has taught at Sydney College of the Arts (Australia), North Lands Creative Glass (Scotland), and the Studio of the Corning Museum of Glass (USA). His practice is dedicated to making kilncast and coldworked glass, and he maintains an active exhibition program. His work is represented by Bullseye Gallery and can be found in public and private collections around the world. View his work at www.richardwhiteley.com
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Application Enrollment in classes and workshops at Bullseye is designed for those 18 years of age or older. Classes are filled by application. We recommend early application to ensure your place in class. To apply, please submit the following materials by email: • Your complete contact information: mailing address, email, phone number. • Your CV or a brief summary of your art/craft experience. • Six images of your work (at no more than 100KB each). • The name(s) of the class(es) you wish to take. Email your materials to: santafeclasses@bullseyeglass.com Applications are being accepted now. Priority consideration will be given to applications submitted by May 3, 2010. Notification of acceptance in classes will begin on May 12, 2010. Applicants who qualify will have 48 hours to complete our easy registration and payment process. Applications received after May 3 will be considered only if there is space remaining in classes.
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www.bullseyeglass.com
Bullseye Resource Center, Santa Fe 805 Early Street, Bldg E
Santa Fe, NM 87505 USA