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Books and Paper Summer 2009 Classes are open to serious students of all levels unless specified in course description; beginners welcome. Session 1 May 24 - June 5  Gail Rieke Gail Rieke - The Artist as Traveler Who doesn't have a box of memorabilia crying out to become more than a pile of memories? Who doesn't yearn to capture the spark of spontaneous response while traveling? Your drawings, photos, paintings, collages, words, and daydreams can become the raw materials for varied inventive new journals. Transcend your past and inform your future by stepping into the flow of field trip explorations, slide lectures, and group dynamics. All levels. Code 01b Studio artist; teaching: University of Alberta (Canada), College of Santa Fe (NM), Haystack (ME), Convergence conference; collections: New Mexico Museum of Art, Albuquerque Museum (NM), University of New Mexico, Santa Fe Institute (NM).  Beatrice Coron Béatrice Coron - The Cutting Edge Using historical traditions, we will take a modern, exciting approach to paper cutting. We will create paper images and objects as well as paper plates for printing small editions. We will explore different materials for cutting and experiment with scale, from miniature to installation. The class will also include techniques and methods for stenciling, pop-ups, and composing large paper works. During an intensive session of serious fun, students will discover the incredible variety of contemporary papercutting and the many possible applications of this art form. All levels. Code 01x Studio artist specializing in cuttings used in artist's books, illustrations, and public art; collections: Metropolitan Museum of Art (NYC), Walker Art Center (MN).
Session 2 June 7 - June 19  Daniel Essig Daniel Essig - Textured, Painted, & Bound Working primarily with wood, but also exploring other nontraditional materials, we will create a variety of surfaces on wooden book covers. Using mostly hand tools, we will learn the fundamental skills and techniques needed to build a wooden book. We will cover Ethiopian-style bindings, but the main focus will be on creating rich and unique finishes. We will learn to recognize and exploit the properties of different woods when designing our books. Studio artist; teacher of workshops at book centers, craft schools, and colleges; North Carolina Arts Council Artist Fellowship; collection: Renwick Gallery (DC); author of a chapter in the "Penland Book of Handmade Books." Session 3 June 21 - July 3  Mina Takahashi Mina Takahashi - Subjective Color In this class, we will set aside the Pantone color matching system and explore how fiber and color come together to create a nuanced palette in papermaking. Students will prepare a range of Western and Asian fibers (cotton, abaca, linen, kozo, mitsumata) with a variety of coloring agents including artist pigments, fiber-reactive synthetic dyes, and natural dyes. We will compare how coloring agents affect different pulps to create an array of papers--translucent, radiant, ethereal, pure, saturated--that draw you in, warm you up, or just pop. All levels. Code 03b Editor of Hand Papermaking; former executive director of Dieu Donné Papermill (NYC); teaching: Haystack (ME), Seika University (Kyoto), Paper and Book Intensive, Minnesota Center for Book Arts, Rhode Island School of Design. Session 4 July 5 - July 17  Shawn Sheehy Shawn Sheehy - The Language of Pop-Ups Students in this class will gain enough knowledge of pop-up structures to shed light on the paper engineer_s secrets. After a grounding in basic tools and techniques, students will move on to building simple forms (the "nouns" of pop-ups). These will be followed by techniques for lifting or animating those forms (the "verbs" of pop-ups). Finally, students will invent their own pop-ups and work collaboratively to edition a book. All levels. Code 04b Studio artist; teaching: Columbia College Chicago, Ox-Bow (MI), Center for Book Arts (NYC), Bookworks (Asheville), Brookfield (CT); collections: Houghton Library at Harvard University (MA), American Museum of Papermaking (Atlanta), Chapin Library of Rare Books at Williams College (MA).  Goedele Peeters Goedele Peeters - Image, Book, Box In this workshop, we will pick up images from the environment, translate them into drawings, sketches, watercolors, photographs, etc., and then find a way to express them in printmaking. The end product will be artists' books, made using various printmaking and bookbinding techniques and presented in a handmade boxes. Techniques will include drypoint on PVC, woodcut, monotype, and chine colle, plus adhesive and nonadhesive book structures.We will also consider the relationship of text and image. The workshop will culminate with an exhibition. All levels. Code 04x Studio artist; exhibitions: Galerie Canvas (Belgium), Franz Mazereel Centre (Belgium), Prefectural Museum of Art (Japan), Kochi International Triennial of Prints (Japan), Bharat Bhavan International Biennial of Print Art (India).
Session 5 July 19 - August 4  Helen Hiebert Helen Hiebert - Paper in Three Dimensions Take paper from two dimensions to three! We will explore paper folding and cutting, model making, papermaking, and other techniques. Students will create pop-ups, origamic architecture, balloon structures, and architectural models. These techniques will be used to make inflatable paper balls, book structures, hot air balloons, lanterns, paper clothing, and other adaptations. Papermaking techniques will include overbeaten and translucent pulps, watermarking, and embedding wire, string, or reed to give the paper structural form. All levels. Code 05b Studio artist; adjunct faculty at Oregon College of Art and Craft; author of "Paper Illuminated," "The Papermaker's Companion," and "Papermaking with Plants." Session 6 August 9 - August 21  Eileen Wallace Eileen Wallace - Binding: Focus on Flexibility This class will explore the versatility of four structures and the flexibility they offer in choice of materials and ultimate use. Exploring the special properties of each structure, we will delve into the endless variations of the longstitch and linkstitch, the historical laced and tacketed ledger, the elegant simplified structure, and the often-overlooked hardcover pamphlet. These will form a broad vocabulary of book structures, allowing us to explore numerous possibilities for creating books with clear intent and purpose. Studio artist and proprietor of Mile Wide Press; teaching: Columbus College of Art and Design (OH), Washington University (St. Louis), Haystack (ME); co-director of Paper and Book Intensive.
Session 7 August 23 - August 29  Dolph Smith Dolph Smith - Shake, Rattle, & Roll This class will search for a book niche somewhere between pop-up and built. We will consider the book as tool; the book as display case; the book as container with storage space and windows, perhaps with movement behind the windows; the book as three-dimensional sculpture with three-dimensional illustrations; and we will explore the elements of sound and touch. We will attempt all of this using wood, copper, found stuff, milk paint, graphite, and who knows what else? It will all work out. All levels. Code 07b Professor Emeritus from Memphis College of Art (TN); other teaching: Arrowmont (TN) Paper and Book Intensive; collections: Arkansas Art Center, Memphis Brooks Museum of Art (TN), Ford Motor Company (MI), Nashville Airport Authority, National Soaring Museum (NY). |
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