Please click on each title for description or simply scroll down for 2010 Courses.

Ceramics Workshop
Reinventing the Wheel
Greg Kennedy

July 12-23
Course # AACR Ø1-Ø2
Two-week session

Students may take one week of this workshop only by permission of the instructor.

This intensive course is designed for beginning and advanced participants who would like to expand their experience in clay. The philosophy of the studio is to encourage interaction between fellow students of all skill levels. Activities such as clay mixing, kiln loading, firing, kiln unloading and glaze mixing are highly encouraged. Beginning instruction in the use of the pottery wheel is stressed and throwing on the potter’s wheel is emphasized. The studio also has the facilities for the hand builder, i.e. slabroller, extruder, and ample work space. Students will complete artworks in cone 6, high temperature reduction firings, and low temperature salt (saggar) and raku. Technical and aesthetic demonstrations take place each day.

The spacious, well lit studio is equipped with potter’s wheels, both kick and electric, a Brent slab roller, clay extruders, Soldner clay mixer, gas kilns, electric kilns, as well as our Anagama and fast fire wood kiln. We have ample work space, including a glaze room and separate facilities for throwing and hand building; in addition we have several outdoor work areas. Students may bring their own tools, but studio tools are available. The studio is open weekdays, 9 a.m. to 4 p.m. Each student will complete an abundance of pieces.

Tuition: $655 per week
Lab fee: $25 per week (Includes: 150 lbs. of clay per student and firing costs.)

Enrollment limited to 10 students per week.

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Cahuilla Style Pottery Making
Tony Soares

July 5-9
Course # NAPC ØØ
One-week session

Refer to the Native American Arts section for full course description.

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Hopi Tewa Pottery
Mark Tahbo

July 12-17
Course # NAPH Ø1
One-week session-includes Saturday am firing

Please refer to the Native American Arts Festival section for complete course description.

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Santa Clara Pueblo Pottery
Nathan Youngblood

July 12–17
Course # NAPS Ø1

One-week session-includes Saturday a.m. firing

Please refer to the Native American Arts Festival section for complete course description.

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Hot Clay: 4 workshops

June 27 - July 10, 2010
• Workshops
• Lectures
• Demos
• Individual Critiques

Please visit the Hot Clay section of our website for the complete description. Courses are below.

Hot Clay: 4 workshops
Cone 6 Glazes & Throwing Research...Ingrid Lilligren & Terry Rothrock
Folding Clay Slabs.............................Mary Kay Botkins
Monoprint & Molds: Open Books,
Open Minds......................................Arthur Gonzalez
Alternative Raku Firings.....................Eduardo Lazo

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________________________________Film_______________________________

Making the Short Film
Randy Redroad

June 27-29
Course # AAFMØØ
Three–day session

Students will write, shoot, direct and edit a five to ten minute short film. This is a unique opportunity to work with a professional filmmaker to learn the skills necessary to create a film and to understand the entire process–all in a very short time period. The workshop will cover basic camera operation on mini-dv cameras, different kinds of shots/angles, camera movement, working with actors and editing on Final Cut Pro. Emphasis will be placed on developing story ideas from the personal lives of students and their environment. Exercises will be designed to encourage communication among collaborators and independent thinking with media literacy emphasis. Class will culminate in a screening of the workshop film. This workshop is designed for beginners as well as those with some filmmaking experience.

Tuition: $465
Lab fee: $25 (Includes copy of film; use of film equipment and supplies.)

Enrollment limited to 10 students.

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_____________________________ JEWELRY_____________________________

Techniques in Copper & Silver Metal Clay Jewelry
Jonna Faulkner

July 17–19
Course # AAJC Ø1
Three-day session

Two exciting new types of metal clay–copper and bronze–have been introduced to the jewelry-making world in the last couple of years. Both work much like existing silver metal clays, though not exactly. The most obvious differences are in kiln firing times and temperatures and in their expense. The copper and bronze clays cost much less than the silver clay.

Water, a non-toxic organic binder, and tiny particles of metal combine to form all types of metal clay. Jewelry elements are built using simple hand tools, then dried completely and fired. Shrinkage varies according to the type of metal clay. After firing, pieces can be filed, sawed, sanded, polished, drilled, riveted and/or soldered. They can also be re-fired multiple times if changes to the original piece are desired.

This workshop will focus on working with copper metal clay and ways in which to combine it with silver metal clay. Techniques explored will include proper conditioning of the copper clay, approaches to texturing and joining, how to set pearls and fire-in-place stones, and ways to join the two metals through hot and cold connections.

Instruction will be given for students at all skill levels.

Materials: A complete materials list will be sent upon registration.

Tuition: $465
Lab Fee: $25 (Includes use of basic kits, kilns and consumable materials.)  Metal clay, various types of wire, pearls, fire-in-place stones, etc., will be available for purchase in class.

Enrollment limited to 12 students.

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Glass Beads
Margaret Zinser

July 8–9
Course # AAJB ØØA
July 10
Course # AAJB ØØB

Students may enroll in one or both workshops

Session I
July 8–9: Shaping , Encasing and Color

This workshop is for the intermediate beadmaker, specifically addressing ways to improve shaping and encasing skills to create elegantly shaped beads with rich color. Margaret guides students through a logical progression of“classic” bead shapes, providing tips for building a good base bead, “troubleshooting” uneven beads, and maintaining a good shape during surface decoration. Students will also learn multiple strategies for encasing beads, as well as how to deliberately distort base color with clear glass to achieve a number of interesting effects. With each new technique, Margaret teaches a different application for color. Specific beads made in each class are different, as Margaret adjusts each workshop to the goals of the students. Bring your questions, ideas, and open minds! Possible color topics include: the use of frits; silver leaf, foil, and wire; goldstone; enamels; “neato” reactive colors in the soft glass pallete.

Materials: A complete materials list will be sent upon registration.

Tuition: $310
Lab Fee: $55 (Includes glass to use in class, foil, frits, a 50 page notebook covering the techniques covered in class, use of torches and consumables in class.)

Enrollment limited to 8 students.

Session II
July 10: UnGlassy Glass Class!

This workshop is geared toward the intermediate beadmaker who wants to learn more about adding texture and organic details to their beadmaking repertoire. Margaret will share her strategies for mixing enamels, glass powders, frits, metals, and a little magic to create a wide variety of effects: rocky textures, ceramic-like finishes, elegant form, and rich color. This full and exciting one-day class builds on the skills covered in Shaping, Encasing, and Color, but can also be taken on its own. Students will leave this fun class with dozens of tips and techniques to incorporate into their own glass work.

Materials: A complete materials list will be sent upon registration.

Tuition: $155
Lab Fee: $35 (Includes glass to use in class, foil, frits, a notebook detailing the techniques covered in class, use of torches and consumables in class.)

Enrollment limited to 8 students.

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Soldering Boot Camp
Deborah E. Love Jemmott

July 19-23
Course # AAJS Ø2
One-Week session

Soldering is one of the most difficult, but most important techniques for any jeweler/metalsmith to master. While commonly used, it is not well understood. How many times have you gone to solder a joint together and it just won’t work? How do you know what’s wrong? How do you know what to do differently? The basics are very straightforward, but it is deceptively simple and there is much more going on than there appears to be.

This class will take you step by step through the soldering process from understanding its physics to the practical application of joining metal pieces together. In order to solder well, you not only need to understand how and why the soldering works, but you need to practice to become proficient with the soldering process.

In true “Boot Camp” fashion, you will complete a series of exercises in sheet and wire to learn the basics of soldering. Then we will move on to soldering jump rings, pin backs, earring posts and other soldering situations that require more skill. In addition, we will cover solder set-ups, jigs, fixtures, tools, fluxes and torches. Students are encouraged to bring their “solder problems” with them so they can be addressed in the class.

The focus of this class will not be on completing a finished piece, but rather on working your soldering skills until you can tackle even the most difficult soldering situation. This class will prove that soldering can be fun! You will have the opportunity to work with an instructor whose passion is soldering and teaching soldering to others. Instruction will be given for all levels of students. Intermediate and Advanced students will be given more challenging goals and assignments.

Materials: A complete recommended supply and tool list will be sent upon registration.

Tuition: $655
Lab fee: $45 (Includes the use of all tools, equipment, and consumables such as solder and compounds.) Students are encouraged to bring their own metal and tools – but they must be clearly marked. Some metal will be available for purchase in class.

Enrollment limited to 12 students.

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Also, refer to the Native American Arts and Metals Week sections of the website, for the following courses:

Hopi Jewelry
Native American Beadwork
Navajo Inlay Jewelry
Metals Week June 27 - July 1
- Etching
- Forging Neck Collars, Pendants & Slides
- Resin Inlay
- Sculpted Bezels & Non-traditional Stone Settings
- Trapping Found Objects
- Tool Making & Alterations

_______________________Mixed Media & Book Arts________________________

Altered Photos Explored
Karen Michel

July 23
Course # AAAP Ø2
One-day session

Looking for ways to integrate your photography into your other forms of artwork? Bring your photos and we’ll spend the day hands on altering our photos in fun and exciting ways using paints, drawing materials, stains, mark-making tools and even a needle and thread! We’ll explore the differences between altering photos we print on our home computers vs. photos printed commercially on specialty machines. 

Embellishing and altering photos can add a whole other dimension to your images. The more photos you bring, the more you can alter! Finished photos are perfect for use in collage work, scrapbooks, art journals or can even be featured on their own. Bring along your art journal or a couple of surfaces to mount your photos on such as a canvas panel or consider repurposing something in your home or studio.

Materials: A complete materials list will be sent upon registration.
Tuition: $155

Enrollment limited to 20 students.

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Artist's Books: Image & Structure
Laura Wait

July 19–23
Course # AAAB Ø2
One-week session

How do you make an artist’s book? In this workshop we will focus on illustrated manuscript books with non- adhesive exposed sewing. We will use an intuitive approach, employing multiple ways to create rich, colored images with the possibility of incorporating text. Course instruction will be balanced between page development and book structure.

Unique codex books with painted pages will be created with an emphasis on intuition and the hand, rather than computer generated imagery. Drawing inspiration from paste paper techniques we will create painted or decorated pages and enhance them with simple printmaking methods like Mylar stencils and stamp making. Students’ own handwriting will be developed as a way to create image as well as content. Use of alternative tools for writing will complement and enhance students’ own handwriting.

Medieval sewing methods will be the basis for this workshop introducing raised cord sewing and sewing with leather straps to make non-adhesive codex forms of books. Strong sewing will result in books that can be made of many materials and survive love and abuse or readers.

Many different covering materials could be used including handmade paper, collage, and thin metal. Various cover attachment methods such as slots or rivets or sewing will be shown, so that students can choose their own path. Covers will be an integral part of the design of the book, not an afterthought.

Materials: A complete materials list will be sent upon registration.

Tuition: $655
Lab Fee: $35 (Includes sewing materials and bookboard, adhesives, Mylar for stencils, covering materials such as thin metal, and some Japanese paper for page work, and use of all equipment in class)

Enrollment limited to 10 students.

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Assemblage I and II
Michael deMeng

July 8–9
Course # AAAS ØØA
July 10–11
Course # AAAS ØØB
July 8–11
Course # AAAS ØØ

Two two–day sessions

Students may select to enroll in one or both workshops.

Session I
July 8–9: Urn Your Keep

Now I’m of a belief that to be a great artist you need to put yourself, body and soul, into your pieces. So perhaps I’m taking it a bit far with this idea, but hey why not create a nice little space for you to dwell in after you “shuffled off this mortal” coil? In this class we’ll be making mixed media urns or reliquaries to house very special items (heirlooms, old letters, or even YOU) for posterity. Sure it sounds a bit morbid but that doesn’t mean you can’t have some fun with the idea. Of course another possibility is that this is a time capsule of sorts for whatever object you want to enshrine for the future (I hear Twinkies last forever…or thereabouts).

The basic process will be to take a box, jar, canister, etc. and using found objects, and personal effects transform it into some sacred container. We will do this using a combination of assemblage, collage, and painting. To quote David Bowie: Ashes to ashes, fun to funky”.

Enrollment limited to 20 students.

Materials: A complete materials list will be sent upon registration.
Tuition: $310 for Session I
$600 for both Session I & II

Session II
July 10-11: Mask Maker, Mask Maker, Make Me a Mask

I collect masks. I’m not sure what it is but ever since I was a kid I have always been intrigued by the idea of transforming one’s identity. That is why I love masks. Perhaps it’s a superhero thing, but mask making is one of the oldest cultural traditions in the world, in fact the earliest example being from the Stone Age. The hunters would wear animal masks to disguise themselves and stalk prey. They transformed themselves into the animals they were hunting. In essence, this is what a mask does: it changes the wearer into something else. Have you ever noticed when you wear a mask you act a little differently, that you temporarily lose yourself and become whatever the mask represents?

In this class we are going to play with this concept and using various found objects or existing masks, we are going to transform them into strange and unusual facial disguises. Since this is a two day class, you will have the opportunity to make plaster forms from your own face, if you are so inclined. It also allows ample drying time for some of the constructions before they are transformed with paint and texture.

Making masks is different than merely wearing them; it can be a process for artists to reveal what is veiled inside one’s soul. It is a strange art form that keeps secrets but also simultaneously unearths hidden worlds. Oh, the irony.

Enrollment limited to 20 students.

Materials: A complete materials list will be sent upon registration.
Tuition: $310 for Session II
$600 for both Session I & II

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Journaling: Romancing the Muse
Jan Harris

July 8
Course # AAAJ ØØ
One-day session

The key to being creative in every aspect of your life is to cultivate your passion for art into a steady practice. Artists who are unblocked have a passion that spills forth with ease and there are ways to nurture this kind of momentum. Bring your journals or a blank book with sturdy pages and join me in guided exercises where you will feel safe and inspired to create. We’ll experiment with paint, monoprint, stencils, stamps, sumi ink, collage and various acrylic mediums. We will touch on hand drawn letter forms and consider composition and placement of words and images. We will discuss what the journal can do and how we can use it as a springboard to other projects. There will be imagination prompts, writing exercises and lots of my favorite journaling techniques.

Materials: A complete materials list will be sent upon registration.

Tuition: $155
Lab Fee: $10 (Includes kit provided by instructor)

Enrollment limited to 20 students.

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Metal Treasure Book
Katherine England

July 3–4
Course # AAMB ØØ
Two-day session

Warm red brass and muted silver nickel are our canvases in this beautiful medium. In this class we learn the basics of metal working. We start with patinas to create a warm weathered look to our 4"x 6" metal book covers. Dremels, anvils, sexy-hammers, and ty wire will be your new best friends after the first day. You will learn how to cut, patina, drill, hammer and bend and feel like a pro. No adhesives are used so we learn ways of attachment with rivets and wire any trinkets, jewelry, buttons and charms you may want to use for your cover. We also play with creating clasps and pen holders to make your treasure book uniquely yours. Day two is spent learning to cut and drill leather and paper to add a spine and sew in your signatures (pages) and finish your new journaling companion. Time permitting we will begin our first pages with some simple drawing and watercolor lessons using nature as our subject.

Materials: A complete materials list will be sent upon registration.

Tuition: $310
Lab Fee: $18 (Includes all materials and items for your project.) Students are encouraged to bring any special trinkets, charms, jewelry, clasps, etc. that they may wish to add to their book.

Enrollment limited to 15 students.

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Mixed Media with Paper & Cloth
Jane LaFazio

July 4–5
Course # AAMP ØØ
Two-day session

Create a truly mixed media piece by collaging paper onto cloth. In class, we’ll paint and use a variety of textures to create our backgrounds on uncoated canvas. Then the instructor will show you easy ways to copy or draw your image onto the canvas. Once you’re happy with your design, you’ll collage it with a wild mixture of different types of paper and finish it off with painted and stamped and sewn details. Lots of demos of fun and interesting techniques will punctuate each day’s activities.

Tuition: $310
Lab Fee: $15

Enrollment limited to 20 students.

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Mixed Media: Waxy Layers
Jan Harris

July 9–10
Course # AAMW ØØ
Two-day session

We will explore new surface techniques as we create textured paintings of paper, paint, and collage, mount them on wood, then continue to build up the surface with more paint and a layer of encaustic wax that we will transfer onto, incise, and glaze with oil based pigment. This is a class to help all levels think outside the box when creating mixed media paintings.

Materials: A complete materials list will be sent upon registration.

Tuition: $310
Lab Fee: $15 (Includes kit provided by instructor)

Enrollment limited to 20 students.

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Mosaics 101 + Portraits
Katherine England

July 5–7
Course # AAMA ØØ
Three-day session

Find yourself oddly attracting to BLING? Ever felt like smashing things? Ready to go beyond paper? If so, this is the workshop for you. Day one is spent feeling comfortable with this medium and the tools used to make mosaic. We will make a small piece of art out of geometric, rhythmic pieces of glass. Returning students will know this as “spontaneous” mosaicing.

On days 2 and 3 we take on the challenge of creating a portrait of you, a friend, grandchild, or your pet goldfish out of colored glass. Using the mesh method we will learn to follow the lines and create the right tones and colors for an amazingly accurate reproduction of your subject. These methods cover the full range of mosaic technique, from the abstract to the real.

This class has proven to be a favorite with all levels of mosaic artists. You will fall in love with the intensity of the medium and take great pride in creating something so permanent. We will also cover any other aspects of mosaicing you may want to know to create your own projects at home. The instructor promises you will find the class to be extremely cathartic and satisfying. Warning: Mosaicing is highly addictive.

Tuition: $465
Lab Fee: $35 (Includes all glass, tiles, mesh, 8"x10"‚ backing, small mirror, adhesives, grouts) Students will have access to all the tools needed, such as nipper, cutters, running pliers, grout elf, etc. The instructor will have a selection of her favorite tools available for purchase as well.

Enrollment limited to 15 students.

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Prayer Flags
Karen Michel

July 25
Course # AAMF Ø3
One-day session

The thought behind prayer flags is that the wind will carry the intentions of the writings or imagery on the flags out into the world to benefit all living beings.

In this workshop we will create our own personal set of prayer flags, infused with our own hopes, wishes and icons. We will explore techniques such as painting, a bit of mixed media collage and a bit of sewing and stitching. By the end of the workshop you will have a set of prayer flags that reflects your creative spirit.

Materials: A complete materials list will be sent upon registration.
Tuition: $155

Enrollment limited to 20 students.

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Wet Felting
Jane LaFazio

July 6
Course # AAMF ØØ
One-day session

Make felt the Tibetan way and embellish the California way! Using colorful merino wool fibers, a modernized ancient technique, some creative designing and a lot of elbow grease, you will create a beautiful and feels-so-soft felt square in class. It may not be large enough to build a yurt; but it will make a lovely wall hanging or become part of another fiber piece. Our felt will dry over the lunch period, and in the afternoon we’ll create a fabulous art piece by embellishing our own original handmade felt with hand embroidery and/or beading. Felting requires agitating the wool fibers; you’ll be standing for about an hour, rolling the felt with your forearms. It’s not hard! It just takes some time.

Materials: A complete materials list will be sent upon registration.

Tuition: $155
Lab fee: $30 (Includes 6 oz. merino wool roving and an equipment kit to create an –18"x18" piece of felt).

Enrollment limited to 20 students.

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Gridlock Wood Collage
Karen Michel

July 24
Course # AAMC Ø2
One-day session

In this workshop we will explore creating three dimensional mixed media collages using bits of repurposed wood, papers and hardware to create a visual conversation. So pull out those paper scraps, photos, beads, collections and findings you’ve been saving, grab your glue & hammer and let’s put them to use! Finished piece will be ready to be hung on the wall. Small wood blocks will be provided to students which measure approximately 2"x 2.5".

Materials: A complete materials list will be sent upon registration.
Tuition: $155

Enrollment limited to 20 students.

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______________________Native American Arts________________________



Native Plants for Food & Medicine
Barbara Drake & Lorene Sisquoc

July 10–11
Course # NANP ØØ
Two-day session

This class will focus on the uses of Native plant derivatives used traditionally and by modern pharmacopeias of today. Students will also learn how indigenous medicine chests used various animal proteins such as spider webs to coagulate blood. Participants will assemble dried materials to make teas, salves, and lotions. Class will culminate with a Native Foods Feast prepared by participants.

Special highlights of the weekend will include: a presentation by Katherine Siva Saubel, honored elder and author of the Cahuilla tribe, who will have plant samples and discuss their uses as food and medicine; an evening outing to local rock art sites with Daniel McCarthy, tribal liaison and forest archaeologist, who will discuss the meaning, historical significance and importance of preservation of these sites.

Each participant will receive a Native Plant Resource Guide and Cookbook.

Tuition: $205
Lab fee: $15

Enrollment limited to 20 students.

See the article about this workshop in the Spring 2010 issue of News From Native California.

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Hopi Jewelry
Lawrence & Griselda Saufkie

July 5–9
Course # NAJH ØØ
One-week session

Students in this workshop will learn the Hopi overlay technique of silver­smithing. Beginning students will be introduced to the fundamental materials, processes, and techniques of silversmithing, and those with experience will be able to fine-tune their skills while mastering a new technique. Because students will be working closely with the teacher, the workshop is well-suited for students of all levels of experience.

Materials: Students should bring finished stones/cabachons (if planning to set stones); Gold/gold solder (only if planning to supply and use gold instead of sterling silver). Optional Items: Work lamp with extension cord; seat cushion; Tools, silver, stones are optional, but must be clearly marked.

Tuition: $655
Lab fee: $35 (Includes the use of all tools, equipment and consumables such as solder and compounds. An additional charge will be made for all silver and stones used.)

Enrollment limited to 13 students.

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Native American Beadwork
Joe Baker

July 5–9
Course # NAJB ØØ
One-week session

This rare opportunity to learn the art of beadworking with award-winning artist Joe Baker promises to be much more than a study of basic techniques. You will be introduced to the beadwork of generations of Native Americans, and to Joe’s own work and experience creating beautiful moccasins, bandolier bags, vests, beaded canvasses and more. His enthusiasm for the art form is contagious.

This workshop is designed to teach students basic beadworking techniques including the two-needle appliqué stitch and the peyote stitch. Students will be encouraged to explore these techniques in an informal learning environment that is both fun and relaxing. They will examine both historic and contemporary examples of the Delaware bandolier bag (an item worn by Delaware men with wide, fully beaded shoulder straps attached to a beaded bag).
Students may elect to create a contemporary beaded landscape on canvas. The techniques learned may be applied to moccasins, belts, gourds and other decorative and utilitarian items as well. Because students will be working closely with the instructor, the workshop is well-suited for all levels of experience.

Materials: A complete materials list will be sent upon registration.

Tuition: $655
Lab fee: $25 (Includes thread, needles, canvas)

Enrollment limited to 12 students.

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Cahuilla Style Pottery Making
Tony Soares

July 5–9
Course # NAPC ØØ
One-week session

Learn how to create the beautiful ollas used by the Cahuilla people of Southern California to store food and water. Using two different clay types during the week, including Salton Sea clay (for buff ware) and brown clay, students will hand build two to three 6" to 12" pots using the paddle and anvil method.

Experience all techniques and steps used in the process including paintbrush making, grinding and preparing paint stones to decorate the pots, making nets (used for holding and hanging the round-based ollas), and more. Take a field trip to collect firing materials, and see a demonstration of fire-starting by friction. Students will have the opportunity to experience two types of firings during the session and will learn to make an “urban kiln” for use at home.

Tuition: $655
Lab Fee: $55 (Includes gathered and prepared Salton Sea clay and brown clay; paints, firing materials, net making materials, field trip transportation and the use of all tools in class.)

Enrollment limited to 10 students.

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Native American Arts Festival

July 11 - July 17, 2010

•Performances
•Lectures
•Exhibits

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Native Craft Skills: Arrows, Quivers & Rattles
Tony Soares & Gerald Clark

July 17–18
Course # NACS Ø

In this hands-on course, students will use various tools and techniques to create arrows and quivers of the indigenous tribes of Southern California. Then learn the ancient art of making gourd rattles used for Bird Singing among many of the region’s tribes.

Day one will focus on the making of an arrow and quiver. Each participant will construct arrows using bamboo cane, learn ancient techniques of knapping obsidian into arrow points, and make hardwood foreshaft arrow points, using sinew to attach feathers and arrow points. Next, participants will construct and decorate a quiver made from the yucca plant stalk.

On day two, students will learn the traditional method of gourd rattle construction. Using hand tools, participants will prepare the gourds, make handles, insert the rattle material-Date Palm seeds, and decorate their rattles. After learning the traditional methods of making pinyon pitch/ash glue and paints, students will learn how to play and sing in the Cahuilla style. In addition, the history and significance of the Cahuilla Bird Songs will be explored.

Tuition: $310
Lab fee: $35 (Includes all materials, and the preparation and collection of many of the items)

Enrollment limited to 15 students.

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Cahuilla Basketry
Rose Ann Hamilton

July 12–16
Course # NACB Ø1
One-week session

The Indian tribes of California produced baskets of great diversity and beauty. The exquisite baskets of the Cahuilla, in particular, are recognized among the highest form of the basket making art, and in recent years the Cahuilla have experienced a revival in the tradition.

Each student will learn how to create a basket of his/her own during the workshop using yucca, sumac, juncus and deer grass. On a field trip to the nearby Cahuilla Reservation, students will be taught identification of plants used in basket making and will learn how to prepare the plants for use.

Tuition: $655
Lab fee: $35 (Includes materials, field trip transportation and use of tools in the class)

Enrollment limited to 10 students.

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Navajo Weaving: Beginning & Intermediate
Barbara Ornelas, Lynda Pete

July 5–9
Course # NANW ØØ

July 12–16
Course # NANW Ø1
One or Two-week session

Students will have the rare opportunity to learn the art of weaving from one of the Navajo Nation’s premier weavers, Barbara Teller Ornelas from the Two Grey Hills region of the Navajo Reservation. She will be assisted by her sister, Lynda Teller Pete. While instructing and demonstrating, Barbara and Lynda will share personal stories and experiences, allowing participants the chance to gain fascinating insights into the world of Navajo weaving.

Beginners: Students will learn the traditional method of Navajo weaving and will begin by learning how to prepare an upright Navajo-style loom for weaving. The majority of the week will be spent designing and learning how to weave a 16" x 24" rug. In order to complete the rug and learn how to finish the piece, it is recommended that students continue for the second week. Beginning weavers may enroll for the full two weeks or in the first week only. For beginners wanting to weave only, pre-warped looms will be available (must preorder).

Intermediate: Students will learn more advanced weaving techniques and more intricate patterns, and the rug may be any size. Students who have begun a rug in this workshop in previous summers may bring their rugs to complete. Intermediate students (those who have taken this course before or have had previous basic training in Navajo weaving on an upright loom) may enroll for the full two weeks or in the second week only. Intermediate students must bring their own loom and it must be set up for weaving before class begins. If you wish to warp your loom, you must attend the first session, even if you are a returning student.

Materials: Students may wish to bring a seat cushion and small lamp.

Tuition: $655 per week
Lab fee: $45 beginners (Includes warp and weft materials and the use of a loom and all tools in class. Looms, additional wool [6 skeens provided], battens and combs will be available for purchase). An additional $65 required if requesting a pre-warped loom-must be preordered. (does not include purchase of loom)
Intermediate students: no lab fee (wool and warp will be available for purchase)

Enrollment limited to 10 students per week.

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Navajo Inlay Jewelry
Richard Tsosie

July 12–16
Course # NAJN Ø1
One-week session

The Navajo adopted the art of jewelry making from the Spanish after contact, taking the art to new heights and establishing a style that is now considered to be the “traditional” Navajo style. Today, there are many Navajo jewelers who are moving beyond that style, designing contemporary pieces of jewelry which reflect a new Native American reality. Artists are creating colorful collages and patterns with beautiful stones and shells set in gold and silver. In addition to turquoise and coral, it is not unusual to find lapis lazuli, purple lavulite, diamonds, pearls, malakite, jet stone, jade, melon shell and other stones, shells and gems in contemporary Native American jewelry.

Working closely with one of the leading contemporary Navajo jewelers, students will learn the techniques used to create such pieces. They will design patterns, cut, grind and prepare stones, and set the stones into basic silver forms (rings, bracelets, earrings, bolos, etc.) which they have created. Participants without prior experience in silversmithing will also be introduced to the basic concepts of shaping silver.

Tuition: $655
Lab fee: $45 (Includes the use of all tools, equipment, and consumables such as solder and compounds. An additional charge will be made for all silver and stones used. A small selection of turquoise and other stones will be available for purchase, but students are encouraged to bring their own stones if they have preferences on colors/stone types. Students may bring their own silver, tools, stones, and a work lamp which must be clearly marked.)

Enrollment limited to 10 students.

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Native American Flute Making
Marvin and Jonette Yazzie
Ernest Siva

July 15–18
Course # NANF Ø1
Intermediate: 4-day session (Thurs.-Sun.)

July 16–18
Course # NANF Ø1B
Beginners: 3-day session (Fri.-Sun.)

In this workshop, each student will construct and decorate a six-hole flute under the guidance of an experienced Navajo flute maker. They will also learn some history of flutes as well as the care and handling of their newly created instrument. During the course, ethnomusicologist Ernest Siva will teach the basics of flute playing and each student will receive a small booklet of flute music.

Beginning students (3-day session begins
July 16) will use Incense Cedar, new this year, for the body of the flute. They will carve, shape, oil, tune and finally decorate their flute. The Pentatonic scale will be used to tune the flutes and students may choose the key (from F to A).

Intermediate students (4-day session begins July 15) will work alongside beginners, but will create a flute using canary or zebra wood (hard woods). Keys F# to B. The intermediate section is designed for those students who have already completed a flute in this workshop in prior years.

Materials: A complete materials list will be sent upon registration.

Tuition: $465 (Beginning, 3-day session)
$565 (Intermediate, 4-day session)

Lab fee: $40 (Beginning, 3-day session)
$55 (Intermediate, 4-day session)
(Includes wood, materials and the use of tools and equipment in class.)

Enrollment limited to 10 students.

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Hopi-Tewa Pottery
Mark Tahbo

July 12–17
Course # NAPH Ø1
One-week session-includes Saturday a.m. firing

Master potter Mark Tahbo returns to Idyllwild Arts to teach his popular pottery workshop. Students in this workshop will learn the traditional Hopi method of creating polychrome pottery. Revived at the turn of the century byHopi potter Nampeyo of Hano, the ancient Sikyatki style of Hopi pottery is recognized and collected throughout the world. Students will learn the Hopi techniques of coil building, stone burnishing, painting with natural pigments, and firing.

The natural clays and paints are provided by the artist, from the Hopi Reservation in Arizona. There is enough clay for each student to make 2 to 3 small pieces of pottery – all that can be successfully completed in the week-long workshop. This is not a production pottery course, but a careful examination of the delicate process of Hopi pottery making and the cultural foundation from which the art is inspired.

Tuition: $655
Lab Fee: $45

Enrollment limited to 15 students.

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Santa Clara Pueblo Pottery
Nathan Youngblood

July 12–17
Course # NAPS Ø1
One-week session-includes Saturday a.m. firing

Learn the traditional methods and techniques for making Santa Clara Pueblo pottery – the distinctive black polished work with carved designs. The instructor will guide students through all the steps from processing the native clay, hand-building using the coil technique, designing, carving, slipping and stone burnishing, to reduction firing for blackware.

Because the instructor’s method requires extensive air-drying time, each student will have the privilege of using a dried vessel prepared by the instructor to learn the carving, polishing and firing techniques. In addition, each student will start pieces from the beginning of the process - mixing clay (with your feet!) and building pots - and will be able to complete those pieces at home after the 30-day drying period. The workshop will also include a field trip to collect firing materials, individual firings, and discussions about Santa Clara Pueblo, the pottery making tradition, and the cultural foundation from which the art is inspired. The raw clay and paints are provided by the artist, and are gathered from his home.

Tuition: $655
Lab Fee: $90 (Includes clay, paints, stones and all materials, as well as one dried vessel to complete)

Enrollment limited to 15 students.

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__________________________ PAINTING & DRAWING ________________________

Contemporary Painting: From Representation to Abstraction
Devon Tsuno

July 5–9
Course # AAPD ØØ
One-week session

This energetic studio course explores historic and contemporary solutions to the portrayal of pictorial space in painting. The course also seeks to expand awareness of the connections between visual theory, literature, music and architecture.

Slide lectures (that take us from Vermeer and Van Gogh, to Matisse and Picasso, to deKooning and Albers, to Moses and Halley), artist’s homemade videos, films, Beat readings, individual technical assistance and group critique as well as historically appropriate music will punctuate the course.

Some painting experience is recommended but adventurous beginners are also welcomed. Paint used will be acrylic, preferably (because of fast drying time), but oil is fine to use as well.

Of special note: Participants are also invited to bring recently completed paintings to informally discuss them with the instructor during the summer session.

Tuition: $655
Lab Fee: $63 (Includes assorted shared classroom supplies; 3 stretched and gessoed canvasses-18"x 24", 16"x 20" and 3'x 4' box).

Enrollment limited to 15 students.

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The Practice of Drawing as Meditation
Robert Regis Dvorak

July 9–11
Course # AAPD ØØA
Three-day session

This class is about not only learning to draw well but also learning to make a drawing a meditation-a relaxed, conscious, and aware state that is optimum for the drawing experience-a state of restful alertness. Drawing and meditation are mutually beneficial for physical, mental, spiritual, and creative growth. You will learn to relax and be present as you draw. You will learn to perceive your world with clarity as you draw. Without an agenda for success and the fear of failure, you will find that drawing can become pure enjoyment.

Some of the benefits of this workshop are:

Improve drawing skill
Many new drawing techniques
New skill drawing the figure
Focused attention
Finding your creative voice
Seeing with the heart and hand
A stillness of being and a sense of peace
Learning to see-truly seeing
Increased perception
Seeing space, line, form, and light
Drawing without fear
Get outside of negativity
Finding a world at the end of your pen
Present moment awareness
A sense of peace

You will discover your artist within. Through a variety of fascinating subjects and methods-including live models-you will experience how easy and enjoyable drawing can be in this new and innovative workshop.

Tuition: $465
Lab Fee: $40 (Includes a 12" x 9" drawing pad, larger paper for the model sessions, the book: The Practice of Drawing as Meditation, all drawing materials, handouts) Wear comfortable drawing clothes.

Enrollment limited to 25 students.

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Embracing Encaustic Painting
Linda Womack

July 12–16
Course # AAPD Ø1
One-week session

No experience is necessary for this jam packed mixed media class in encaustic – an ancient wax based medium. Encaustic can be applied to many surfaces including wood, paper, and ceramics. The molten nature of the medium lends itself to adding collage embellishments and elements of texturing and carving the wax.

Encaustic is one of the oldest forms of painting, with paint made from pure pigment mixed with molten waxes and resin. The mixture is applied hot with a variety of tools, then reheated to fuse the layers together. Students will learn to make their own encaustic paint which will be used throughout the class.

In this workshop, step-by-step projects will illustrate techniques involving painting, collage (with a variety of papers and dried plants), working with stencils, embossing, photo transfers, layering, incising and textured finishes using wax in an assortment of vivid colors. Advanced techniques will include working with pigment sticks, pastels, graphite, shellac and other surprising materials to produce unusual and distinctive results.

This workshop will offer you an expanded visual language plus information on supply sources and safe studio set-up methods for further experimentation.

Materials: A complete materials list will be sent upon registration.

Tuition: $695
Lab Fee: $85

Enrollment limited to 10 students.

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Exploring Color
Marie Thibeault

July 19–23
Course # AAPD Ø2
One-week session

Accelerate your ability to discern and mix color, as well as experience new painting processes in this intensive one-week painting workshop. Designed to combine the best of her popular color and painting courses at CSULB, Marie Thibeault will guide students through a workshop that will insure a deeper understanding of the workings of color as it pertains to painters. This workshop is certain to expand your color vocabulary and mixing abilities, since the most important aspects of color are defined and explored in the process of composition and painting.

Students will begin by building collages, looking for and finding relationships in imagery, light, and color patterns. Personalized compositions will become the springboard for a series of paintings to be done during the week. Working in various scales from large to very small, each student will become more sensitive to how color creates light, space, focal point and meaning within a painted composition.

This exciting course will contextualize the most potent aspects of color within the
history of painting, as well as the introduction of new concepts of collage process, composition, image development and the painterly processes. All levels are welcomed, although some previous painting experience is desirable. Oil paint recommended.

Materials: A complete materials list will be sent upon registration.

Tuition: $655
Lab Fee: $15

Enrollment limited to 14 students.

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The Figure & Still Life
Peggi Kroll-Roberts

June 30–July 2
Course # AAPF ØØ
Three-day session

In this workshop the figure will be the subject matter, however the focus will be on improving drawing skills and seeing values and colors correctly and understanding their relationships to each other. Two days will be devoted to figure painting, and one to still life painting. There will be daily demonstrations emphasizing the big shapes and establishing their relationships correctly. This provides a springboard to adding additional information if the individual artist desires. We will address design and technique in a manner in which the individual artist may express themselves in a personal way. The student will experience many specific assignments, which helps to “get to the point a little more quickly.” Be ready to cover a lot of canvas and “learning through earnest mileage.” Students will receive plenty of one-on-one instruction and individual demonstrations as needed.

This oil painting workshop is appropriate for all levels. Pastel, acrylic, and watercolor painters welcome, but must be well-versed in using their selected medium.

Materials: A complete materials list will be sent upon registration.

Tuition: $465
Lab Fee: $25

Enrollment limited to 15 students.

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Plein Air Painting: Painting Landscape on Location
Ray Roberts

June 27–29
Course # AAPP ØØ
Three-day session

This will be a plein air workshop, where a portable painting setup is required for out in the field. We will cover all aspects of outdoor oil painting. Beyond the painting setup is the approach. Important in making a painting is to have a plan and overview of all aspects in your painting. The concept, composition and drawing, seeing the big and simple shapes, and color/value relationships of those shapes all fit together like a puzzle. Juggling these components is the challenge to making a painting manageable.

We will be painting exercises that will help you learn to create thoughtfully composed oil paintings that have ‘light’ in them. This approach reinforces awareness of the different parts to a painting enabling each artist to create a solid painting and develop their own voice. There will be demonstrations often and as needed, and lots of one-on-one attention.
This oil painting landscape workshop is appropriate for all levels – beginners through professional. (Pastel and acrylic painters are also welcome, but must be well-versed in using their selected medium.)

Please note: Sack lunches will be provided when class is painting off-site.

Materials: A complete materials list will be sent upon registration.
Tuition: $465

Enrollment limited to 15 students.

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Travel Painting & Journaling, Anytime, Anywhere
Barbara Roth

July 2–4
Course # AAPJ ØØ
Three-day session

In this workshop you will learn a variety of drawing, watercolor and journaling techniques. You will develop the ability to keep a journal filled with drawings, paintings and writing wherever you go. You will be able to record what inspires you daily, weekly or monthly, anywhere from your own backyard to Istanbul.

You will see lots of demonstrations of all methods and techniques and have studio time to practice with your instructor standing by to advise and support you. You will complete several pages in your journal over the course of the workshop and return home with lots of ideas and inspirations to continue. You will receive a list of writing prompts to jumpstart your journaling whenever you need to.

We will explore how to use the principles of composition to create eye-catching pages and how to use creative lettering and printing to enhance your journal. You will be given lots of ideas to choose from to create in your journal, such as recording colors you see and inspiring sights, insights, unexpected events, purchases, native costumes and styles, new friends, simple houses, doorways and landscapes, windows, hat and shoes, questions, gardens, memorable meals and much more.

In addition, you will learn how to take notes on location so you can create larger paintings or other artwork after you return home. You will learn how to draw from your photos using a grid. You will assemble your own sketchbook with sections for whatever you choose to record, anything from small paintings to collages of candy wrappers and train ticket stubs. Plus, you will discover the world of portable art materials, some of which are made from recycled tins and water bottle tops and learn all about using watercolor pencils and crayons, gouache, colored inks, and watercolor paints, mixing colors, fixing watercolor mistakes and how to avoid making muddy colors.

Materials: A complete materials list will be sent upon registration.

Tuition: $465
Lab Fee: $5

Enrollment limited to 20 students.

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Watercolor Unleashed
Nicholas Simmons

June 27–29
Course # AAPW ØØ
Three-day session

This workshop will concentrate on concepts and techniques for which Simmons is noted: diversity in subject matter; composition; poured watercolor; fluid acrylic used as transparent watercolor; unusual textures such as the instructor’s popular “batik” technique; large scale painting; computer-aided design (computer not required for enrollees); and creative photography for obtaining unconventional reference shots. Focus will be on concepts, composition and design elements. Students will paint daily, watch demos, and receive individualized attention. Be prepared for Nicholas’ high energy, unorthodox, and varied approach to watercolor. All levels welcome in this workshop designed to bring lots of new ideas and techniques to experienced painters, and introduce new painters to the medium.

Materials: A complete materials list will be sent upon registration.

Tuition: $465

Enrollment limited to 20 students.

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_________________________ PRINTMAKING_____________________________

Beyond Monotype
Ron Pokrasso

July 12–16
Course # AABM Ø1
One–week session

on Pokrasso covers a wide range of techniques possible in the monotype process and continues through the use of collage, drawing, and multiple plate projects. Students will be encouraged to pursue their artistic vision using monotype as a mark making tool in combination with whatever other techniques are efficient and available. The notion of the “artist as an inventor” will be stressed as mixed media techniques open the door to limitless opportunities. The approach is energetic and open, as each student’s individual style will dictate the direction of the workshop.

The program is totally non-toxic working with AKUA waterbased intaglio inks. Modifying, layering, mixing inks, finding color, use and abuse of mark-making tools, exploring the limits of paper, collage, chine colle and built up surface will all be discussed. Working with drawing materials, the optional integration of Solarplate, ImageOn, traditional intaglio plates, other matrices, and finishing prints as resolved and complete expressions, including solving issues after printing, are aspects of the workshop. Some monotype and/or other printmaking experience is helpful, and intermediate through advanced students are welcome.

Materials: A complete materials list will be sent upon registration.

Tuition: $695
Lab fee: $75

Enrollment limited to 12 students.

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Woodblock Printmaking: from Black & White to Color
Bridget Henry

July 10–11
Course # AABW ØØ
Two–day session

Come and learn how to print bold and texturally rich black & white and color images from a block of wood. Participants will learn about the different tools, woods, inks and printing methods needed to create a unique woodblock print. We will learn how to transfer a photo, collage or sketchbook drawing onto the board to use as a guide for carving. Carving with a dremel tool, adding decorative paper to the print, card making, and stenciling will be part of this exciting workshop. We will discuss safe printing procedures and non toxic clean up. Participants will go home with 2 finished prints with 6 impressions of each. All levels welcome and no drawing experience is needed.

Materials: A complete materials list will be sent upon registration.

Tuition: $310
Lab fee: $25 (Includes all materials)

Enrollment limited to 15 students.

___________________________SCULPTURE______________________________

Metal Casting For the Home-Based Studio
Paul Leathers

July 19–23
Course # AASC Ø2
One-week session

With roots stretching back to prehistoric times, metal casting is often selected as the technique of choice for the creation of functional and sculptural objects.

Oriented towards those who are interested in exploring metal casting, this workshop will explore foundry processes that have been adapted for use in the home-based studio. Students will create small cast objects such as medallions, door pulls, lids for pots/vessels, paper weights, small sculptures, etc. The course will be of special interest to those individuals—such as furniture makers, sculptors and glass, mixed media or ceramic artists—who might wish to incorporate small-scale cast metal objects into their current projects.

Topics to be covered will include direct method casting techniques; mold making with alginate and/or silicone rubber; wax model development; ceramic and/or refractory shell casting; surface finishing; metal coloring and patination. Visual presentations, demonstrations and handouts will support the learning process.
Instruction will be given for students of all levels and media backgrounds, however students with prior metalsmithing experience will be able to exploit the techniques more fully. While you should be able to cast a number of small-scale objects during the week, the emphasis of this class will on exploring a variety of casting techniques that could be used to make metal castings for future use.

Materials: A complete materials list will be sent upon registration.

Tuition: $655
Lab Fee: $85 (Includes metals, waxes, plasters and consumables)

Enrollment limited to 12 students.

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Paperplaster: Sculpture & Mold-Making
Trudy Golley

July 19–23
Course # AASP Ø2
One-week session

In this hands-on workshop, participants will learn the low-tech method of making and using Paperplaster (cellulose-reinforced plaster) as a sculptural material and for making light, strong molds with Trudy Golley, the originator of Paperplaster. The course will consist of demonstrations, visual presentations, hands-on experimentation and discussions. Using the techniques explored in the workshop, students will create both a relief wall-piece and a freestanding, small-scale sculpture. A personal approach to sculptural solutions will be encouraged.

This method is for anyone who works directly with plaster as a sculptural material, or uses slip-casting or press molds for clay or wax working, and wishes to be liberated from the trauma of the traditional methods of working with plaster. No more bulky, heavy molds: no more plaster disasters! Be prepared to cover some exciting new territory! All levels welcome, so those exploring sculpture for the first time will enjoy using this groundbreaking new material as well.

Materials: A complete materials list will be sent upon registration.

Tuition: $655
Lab Fee: $55

Enrollment limited to 12 students.

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Please go to the Native American Arts section of our website for the complete description of the following:

Sculpture
Native American Flute Making..Marvin & Jonette Yazzie, Ernest Siva

POTTERY
Hopi-Tewa Pottery..................Mark Tahbo
Santa Clara Pueblo Pottery......Nathan Youngblood

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______________________________WRITING_____________________________

Creative Nonfiction
Amy Friedman

July 19–23
Course # AAWE Ø2
One-week session

This workshop is for those just beginning and those whose work is well underway (and/or stalled), for those writing memoir, personal essay, a travel or cookbook, or any work of creative nonfiction. The instructor will help you to develop and craft your work, and we’ll study the elements that help writing to sparkle, including characterization, setting, voice, dialog and theme.

Excerpts from published works will help to serve as inspiration, and five, ten, and fifteen minute exercises will help to jump-start your writing and will offer guidance for both your work in progress and future work. A portion of our workshop hours will be devoted to reading your work aloud, with feedback from both the instructor and your fellow students. You will also receive information on marketing and proposal writing (for longer nonfiction works).

Our goal will be to complete a full essay and/or chapter by week’s end. We’ll meet for four hours each morning. Afternoons will be devoted to writing and reading time and to individual conferences with the instructor.

Tuition: $655

Enrollment limited to 12 students.

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Creating Fiction That is Real
Amy Wallen

July 12–16
Course # AAWF Ø1
One–week session

If you’re a storyteller who likes to embellish, or someone with a vivid imagination, or even if you have a great story, fact or fiction, and you want to find out what it’s really about, this writing workshop will work from the outside in to help you discover more about your stories and ideas. Even if you’ve never written a word, but have always wanted to write, you’ll be handed the tools to start. Or, if you’ve written thousands of pages, you’ll enter new doors and niches. Through in-class writing and creativity exercises, we will explore the freedom of writing without the boundaries of fact. We will learn how to create characters that come to life on the page, how to set the stage with words, and how to generate new story ideas. We will discuss fiction from flash to novel length. Writing fiction is often about finding the truth. But come prepared to make stuff up. Class time will be on-the-job training so bring plenty of pens and blank notebooks.

This workshop will meet from 9–noon each morning and again from 1–2 p.m., with time in the afternoon for writing and reading assignments and individual conferences with the instructor.

Tuition: $655

Enrollment limited to 12 students.

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The Intimate Chapbook & You: The Making of the Small Book
David St. John

July 19–23
Course # AAWC Ø2
One-week session

This five-day intensive workshop will focus on assembling and refining a publishable chapbook-length collection of poems. Participants must bring to the workshop (and send in advance to the instructor and other participants) a manuscript of 20–25 poems they consider “finished” and ready for publication. (Poems may have been previously published in journals and magazines.) In the workshop, we will consider both the sequencing of the poems (poem by poem) and the collective shape they might make as a book. Returning participants welcome.

In addition, afternoon and evening activities will be coordinated with Ed Skoog’s Poetry Intensive workshop. Participants of these two workshops will come together with the instructors for one afternoon discussion on process, craft and publishing, and for evening readings by the instructors as well as an open mic reading by participants.

Tuition: $695
Lab Fee: $10 (Includes copying manuscripts and the use of computers, copy machines and printers)

Enrollment limited to 10 students.

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Poetry Intensive
Ed Skoog

July 19–23
Course # AAWR Ø2
One-week session

In the Idyllwild Arts tradition-which holds that the diversity of participants enriches the learning experience for all-this workshop is open to anyone with a serious interest in writing poetry, from beginners to published poets. The instructor is committed to creating a workshop environment that encourages creative risk-taking, discipline and attention to craft, and to building a community of writers-with the more experienced writers taking a leadership role, and the newer writers offering the freshness of their perspective on the creative process.

Workshop activities will focus on helping participants generate new work and explore a wide range of literary styles and techniques, but will also include close-critique of drafts and revisions. Class will meet from 9 to noon each morning and again from 1-2 p.m., with time for writing and conferences during the afternoons. Small class size will ensure that each participant receives individual attention and is able to work at his or her own level.

In addition, afternoon and evening activities will be coordinated with David St. John’s workshop on the Intimate Chapbook. Participants of these two workshops will come together with the instructors for one afternoon discussion on process, craft and publishing, and for evening readings by the instructors as well as an open mic reading by participants.

Tuition: $655
Lab Fee: $10 (Includes use of computers and copy machines, as well as class handouts)

Enrollment limited to 10 participants

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Poetic Vision & The American West
David St. John

July 12–16
Course # AAWR Ø1
One-week session

For each of the morning sessions of this week-long class we will consider the work of poets of the American West – a range of works from Joaquin Miller to Larry Levis, Robinson Jeffers to Carolyn Kizer, Madeline de Fries to Theodore Roethke, Richard Hugo to Adrienne Rich, Gary Snyder to Diane di Prima. We will discuss what it means to be a poet of our Western landscape, our West Coast tradition of individualism, and our love for the natural world. In our discussions, we will also pay special attention to the visual representations of the West in paintings, photographs and movies. I will want to know who are the photographers of the West that you admire? Why? How are the artistic traditions of the American West different from those of the Eastern United States? Or, are they? What constitutes artistic permission in the West, and is it the same as the East Coast or not? For the afternoon sessions we will discuss the participants’ own work (generated in class or previously written) relating to these themes. Writing assignments will be given for those needing prompts. Participants will have the opportunity to read their work at an evening session. All levels are welcome.

Tuition: $695

Enrollment limited to 10 students.

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Also visit the FILM section for a complete description of the following:

Making the Short Film
Randy Redroad

June 27-29
Course # AAFMØØ