summer08_workshops

ROXANNE SWENTZELL
THE CERAMIC FIGURE

JUNE 9 - 13

In this workshop, we will use coil-building methods to create figurative sculptures that express the full range of human emotions. By exploring these universal themes, we can make work that is meaningful to ourselves as artists, and that affect viewers as well. We will discuss gesture, proportion, personal style, emotional expression, content, and meaning through these works. Students can work realistically or from their imaginations. Fine details and features will be sculpted and carved to create unique personalities in these sculptures. We will make table-top scaled pieces, and will complete one full figure by the end of the week. Completed pieces will be bisque fired after the workshop.
Open to all levels.

ROXANNE SWENTZELL has been playing with clay since the age of three. Born into a family of artists, she felt at home in a creative world. She used art as her first language, as speech was difficult for this young child. With a one-woman show at the Institute of American Indian Arts by the time she was in high school, Roxanne was well on her way to making art central in her life. After a year at the Portland Museum Art School in Oregon, she returned to New Mexico where she built a studio at Santa Clara Pueblo. She shows in galleries throughout the US and has several pieces in permanent collections in museums throughout the world. Recently she opened her own gallery, the Roxanne Swentzell Tower Gallery in Pojoaque, NM.

SUSAN BEINER
BAROQUE, SUMPTUOUS, ENCRUSTED

JUNE 16 - 20

Susan’s work references design and patterning within the hybridization of nature, and has been described as “high drama, illusion and grotesque floridity”. During this workshop students will create a library of slip-cast, thrown or handbuilt parts to use in exploring both sculptural and functional form. Students will construct playful compositions, using this vocabulary of parts and a clay-joining “glue”. We will cut and paste, bend and twist, and use wheel throwing and handbuilding to continue to develop these pieces. Participants should bring a small object (found or made) to use to make a slip-casting mold. Surface treatments will be demonstrated using cone 6 glazes, and we will gas fire one cone 6 kiln.
This workshop is open to all skill levels.

SUSAN BEINER received her MFA from the University of Michigan and BFA from Rutgers University in NJ. Currently she teaches at Arizona State University in Tempe, AZ. She has exhibited both nationally and internationally and has received several awards and residencies, including the Kohler Arts Industry Program, the Archie Bray Foundation, The Clay Studio and the European Workcenter, Netherlands. Her work has been published in various books and periodicals and is included in permanent and private collections, including Long Beach Museum of Art, Los Angeles County Museum of Art, Jingdezhen Ceramics Museum, China, and the Pricessehof Keramiekmuseum, Netherlands.

IAN ANDERSON
MADNESS IN THE LAB WITH PLASTER AND PICTURES

JUNE 23 - 27

Mold making and image transfer are often perceived to be tedious and overly technical. Not the case! Ian has patented his “WYCGAW” (what you can get away with) methods to help make these techniques fun, flexible and very practical. In this intense two part workshop, students will first learn to use plaster, make (at least) a two part slip casting mold, and practice slip casting. Secondly, students will learn a variety of surface transfer techniques: sgraffito, slip work, masking methods, carving, ceramic decals, photocopy resist, and digital transfer techniques. Bring your notebook, large coffee, and practice your shorthand because we will cover tremendous ground in our five days together. Theoretical and conceptual issues surrounding mold making and the use of image and type will be woven into demos.
All levels welcome.

IAN ANDERSON is a potter, sculptor, writer, graphic designer and prankster. He is a highly energetic and engaging instructor who is safe to be around as long as he is well fed. He currently teaches at the Maine College of Art in Portland, ME. Ian received a BA in Political Theory and a BA in Anthropology from the University of Virginia, and an MFA from the University of Nebraska at Lincoln. He has exhibited his sculptural work nationally, sold his pottery in several boutiques and galleries, and co-designs dinnerware for the giftware industry with sculptor Julie York. Most recently, his work was included in the NCECA National in Louisville, KY. (www.ianworks.com, www.neutriodesigns.com, www.mecaceramics.com)

TOM BARTEL
THE HUMAN FIGURE: FOCUS ON HEADS

JUNE 30 - JULY 4

This course will consider the human form as subject within contemporary ceramic practice through hand-forming construction methods and low-temperature surface treatment. We shall discuss the figure in terms of what it can look like (aesthetics), what it can mean (content) and the significance of how it is presented (context). Special attention will be devoted to head modeling techniques, focussing on rendering eyes, nose, mouth/teeth and ears. The fragmentation of human form will be discussed, especially how this often encourages, if not requires, the viewer to participate with the work. Tiles will be provided for experimentation with surface treatments such as slip application techniques and multi-firing. Surface treatment testing will be an integral part of the discovery process. Slide discussions will accompany technical demonstrations to provide context for points of departure and individual direction.
All levels are welcome.

TOM BARTEL grew up on the Erie shores of Cleveland, OH and is known for his “disturbing yet humorous” fragmented figures that take cues from a “shotgun blast” of influences ranging from antiquity to popular culture. He received his BFA from Kent State University, and his MFA from Indiana University, Bloomington. He is currently an Associate Professor at Western Kentucky University in Bowling Green, KY. He has taught numerous workshops nationwide, exhibits extensively both nationally and internationally, and his work has been included in many public and private collections. He has received Individual Artist Fellowships from the Pennsylvania Arts Council and the Kentucky Arts Council.

BERNADETTE CURRAN
THE DANGER IN PLAYING WITH ANIMALS

JULY 7 - 11

In this workshop, we will investigate a playful approach to clay by transforming simple pottery shapes into zoomorphic forms and their architectural abodes. From quick gesture drawings on paper to more imposing alterations of pots thrown fresh off the wheel, this spontaneity will allow for both functional and sculptural solutions. Using techniques such as cutting, folding, and pushing the clay, we will concentrate on the relationship between line and volume. Bernadette will share her ideas on drawing and painting with slips and sigillatas as a beginning layer to activate the surface. Then, we will finish the week with a cone 6 electric glaze firing. Demonstrations, slides and group discussions and exercises will be a part of our daily activities.
All levels are welcome, but some throwing experience is necessary.

BERNADETTE CURRAN is a studio potter working in Pennsylvania. She received her BFA from Pennsylvania State University and completed an MFA in Ceramics at Ohio State University. She was awarded fellowships from Baltimore Clayworks, Chester Springs Studio, and the Moravian Pottery and Tile Works. She has exhibited widely and taught numerous workshops throughout the country. Bernadette is currently teaching drawing and ceramics classes in the Philadelphia area.

ADELAIDE PAUL
YELLOW BRICK ROAD: FROM HERE TO WHERE?

July 14 - 18

Are you interested in exploring questions about how and why we, as artists, do what we do in our studios? Do you wish to pose fresh questions, or jump-start a new direction or generate change in your work? Bring an object(s) to this workshop that you connect with aesthetically, intellectually, or emotionally. Objects may be incorporated into a finished piece or they may be used to help generate change without becoming part of a piece. You are also asked to think about, and perhaps research, prior to the workshop, some issue or idea about which you are truly passionate, and that informs your work in some way. Together we will create an atmosphere that generates dialog, exploration, and problem solving around these questions, which are concerns for potters and sculptors alike.
All levels are welcome.

ADELAIDE PAUL received her BFA from New York State College of Ceramics at Alfred University, and her MFA from Louisiana State University, Baton Rouge. She lives and maintains a studio in Philadelphia. She teaches at the Maryland Institute College of Art in Baltimore, and also teaches anatomy to veterinary students at the University of Pennsylvania School of Veterinary Medicine. Adelaide has had solo shows at Garth Clark Gallery in NYC and School 33 in Baltimore. Her work is included in the permanent collection of the Museum of Fine Arts in Houston and she recently was the recipient of a Pew Fellowship. Her interests include: music, gardening, animal welfare issues, tattooing and cooking.

JOSH DEWEESE
PERMISSION TO PLAY: MAKING YOUR OWN POTS

July 21 - 25

This is a workshop for developing a personal language with pottery as a form of expression. We will spend the week working with wet clay, allowing time to “play” and discover personal ideas to develop in your own work. How do you begin to make pots that are yours? The class will include instruction in different ways of making pots, using both throwing and handbuilding techniques. Ideas and information for surface treatments and firing techniques will be discussed, and work will be bisque fired for transport home. Josh will give presentations on his own work and on the field of contemporary ceramics to complement this hands-on experience.
This class is for students with all levels of experience.

JOSH DEWEESE is a ceramic artist and educator. He currently teaches ceramics at Montana State University in Bozemen, MT where he and his wife Rosalie Wynkoop have recently built a home and studio. DeWeese served as Resident Director of the Archie Bray Foundation for the Ceramic Arts from 1992-2006. He holds an MFA from the New York State College of Ceramics at Alfred, and a BFA from the Kansas City Art Institute. DeWeese has exhibited and taught workshops internationally and his work is included in numerous public and private collections.

CHRISTYL BOGER
SELF PORTRAITS,
THE FIGURE IN CLAY

JULY 28 - AUGUST 1

Working from observation and imagination, students will create self portraits that reveal their own unique personality traits. Everyone is welcome, and students may choose to build heads, busts or partial figures depending on their level of skill and experience. Chris will demonstrate her own building methods, and discuss ways of adding narrative, thematic, or symbolic content to figurative works. She will also present slide lectures on the use of the figure in historical and contemporary ceramic art. Students will use study pieces to practice glazing, china painting, and decals, and large projects will be dried and bisque fired after the class.

CHRISTYL BOGER teaches ceramics at Indiana University in Bloomington, IN. She holds an MFA from Ohio University, and a BFA from Miami University. Her working methods and philosophy are showcased in The Figure in Clay: Contemporary Sculpting Techniques by American Masters, Lark Books. Christyl was the Evelyn Shapiro Foundation Fellow at The Clay Studio in Philadelphia, and an NCECA emerging artist in 2003. She has been a resident artist at the Archie Bray Foundation and the International Ceramic Research Center in Denmark. She exhibits widely, both nationally and internationally.

PETER PINNELL
A CERAMIC SMORGASBORD

August 4 - 8

This workshop is designed to stimulate the artistic appetite, and to provide a wide range of tasty experiences. We will spend time investigating a variety of ways to make pots, and the interesting little parts that go into pots, like handles, feet, spouts, and lids. We’ll be talking about glazes and other ceramic surfaces and how to understand and manipulate them. We’ll also be viewing and discussing images of historical pottery, and their influences on contemporary ceramics, as well as introducing the use of design language to facilitate critical discussions. There will be no glazed work made in this workshop. Instead, we will focus on producing a variety of pots (and pot parts) that can be bisqued and saved to act as a sketchbook of ideas for future work.
This workshop is designed for someone who is comfortable on the wheel but who may not have a great deal of throwing experience.

PETER PINNELL made his living as a potter for twelve years before moving to the University of Nebraska at Lincoln in 1995, where he is now Professor of Art. In addition to his teaching, he has continued to exhibit widely, with over 150 exhibitions since 1995. His work has appeared throughout the US, and in the Netherlands, South Africa, Japan, China, New Zealand, and Australia. He was a demonstrator at the NCECA Conference in Charlotte, NC in 2001.

BETH LO
FIGURE AND FIGURINE

August 11 - 15

What is the difference between a figurative sculpture and a figurine? Why are figurines sometimes viewed as kitsch, souvenir-like, or sentimental, while sculpture is considered important or heroic? In this class we will make figurative pieces and investigate the character and motivation behind both kinds of work. Students will spend the first two days working with a live model, practicing observation and invention, coil building and carving skills. Then they will make a two part plaster slip casting mold from their own abstraction of the human figure. Participants should bring ideas, drawings or photographs of interesting figurines (or the figurines temselves) for inspiration and discussion.
Some experience with clay would be helpful, but not necessary.
Model fee: $15 (please add $16.19 for model fee and tax to your total).

BETH LO was born in Indiana to parents who had recently emigrated from China. She received a BGS degree from the University of Michigan, and an MFA at the University of Montana under Rudy Autio. She succeeded him there as Professor of Ceramics when he retired in 1985. Beth has exhibited her work internationally, and has received numerous awards including a National Endowment for the Arts Visual Artist Fellowship Grant, a Montana Arts Council Individual Artist Fellowship and the 2006 Marion Vannett Ridgway Award for her children’s book, Mahjong All Day Long.

SUMMER SLIDE LECTURE SERIES

Roxanne Swentzell	June 11
Susan Beiner	June 18
Ian Anderson	June 25
Tom Bartel	July 2
Bernadette Curran	July 9
Adelaide Paul	July 16
Josh DeWeese	July 23
Christyl Boger	July 30
Peter Pinnell	August 6
Beth Lo	August 13

FREE • Open to the Public Lectures start at 7:00 pm Wednesdays at Santa Fe Clay 505-984-1122 1615 Paseo de Peralta Santa Fe, NM 87501

Tuition for all Workshops $450
Lab Fee for all Workshops $50
Non-refundable registration fee $50

Important Information

REGISTRATION
Enrollments for our workshops are limited and will be accepted on a first-come, first-served basis. We require full tuition, lab fee, and a $50 non-refundable registration fee for enrollment. We accept personal checks, money orders, traveler’s checks and Visa or Mastercard. Registration is non-transferrable. There will be a $50 fee to switch from one workshop to another, space permitting, within 30 days of the original workshop. Multiple workshops will receive a 10% discount on each tuition ($45.00 each), pay a lab fee for each workshop, and a single registration fee.

REFUNDS
Because of our obligations to our instructors, no refund of any payment will be made for notification of withdrawal within 30 days of the start of the workshop. Prior to that time, we will refund your tuition minus the $50 non-refundable registration fee and a $100 cancellation fee.

WORKSHOP CANCELLATIONS
We reserve the right to cancel a workshop if minimum enrollments are not met, in which case all tuitions and fees will be refunded. Notification of cancellation will be made by phone, at which time students will be offered the option of another workshop (based on availability) or a full refund. Sorry, but we cannot be responsible for non-refundable travel tickets.

ACCEPTANCE/WAITING LISTS
You must be at least 18 to participate in our workshops, or have permission in advance from the teacher before registering. When we receive your registration we will send confirmation and specific workshop information. If the workshop is full, you will be notified that you have been placed on a waiting list.

SKILL LEVELS
Our workshops are designed for serious ceramic students of varying ability levels. Please note the requirements in the workshop descriptions. If you have any questions about your placement, please contact us.

LAB FEES
Each workshop lab fee includes the costs of clays, glazes, firings, and other materials as specified by the instructor.

ACCOMMODATIONS
Motel rooms are available at The Santa Fe Sage Inn. Located only two blocks from our studio, and right next door to Whole Foods Market. This is an affordable housing option that many participants have found convenient. The Santa Fe Sage Inn is a pleasant Southwest-style motel, with upgraded amenities, air-conditioned rooms, cable TV and a small outdoor pool. Our rates: single or double room $63/night, based on availability. Room rates go up to $135/night on holiday and festival weekends: July 3 - 5 (Independence Day), July 8 - 13 (Folk Art Market), and July 24 - 26 (Spanish Market). Please call 1-866-433-0335 to make your reservations. You must mention that you will be taking a workshop at Santa Fe Clay to receive these rates, and we recommend that you make your reservations as soon as you have enrolled in your chosen workshop.

If you would prefer to arrange your own accommodations, you may contact:

Santa Fe Detours, sfdetours.com, 1-800-338-6877
santafehotels.com, 1-800-745-9910
Santa Fe Stay, santafestay.com, 1-800-995-2272

TRAVEL AND CLIMATE
Santa Fe is one of the few state capitals without a commercial airport. However, many major airlines serve Albuquerque International Sunport, 65 miles south, and shuttle bus transportation is available from the airport to downtown Santa Fe. In this high desert climate, at 7,000 feet, our summer days are usually sunny and warm with daytime temperatures rarely exceeding 85 degrees. During July and August, we look forward to brief and dramatic thunderstorms and evening temperatures dropping to below 60 degrees. Our facility is within walking distance of many excellent restaurants and the major museums and galleries for which this town is famous.

Tel: (505) 984-1122, Email: sfc@santafeclay.com