Mariana Garibay Raeke, Four Nights Anne Currier, Anamorphosis Diptych Mark Pharis, Vase
August 20 – 24 August 20 – 31 September 10 – 28
Moldmaking: pattern & repetition Ceramic Sculpture: Studio Intensive:
Mariana Garibay Raeke transforming source designing pottery forms
O
CONCEPT: Create sculptures of personal meaning while
investigating design, form, structure and ways in which
objects convey context in an introductory workshop that
encourages exploration. This workshop focuses on two-
and three-dimensional design and how the use of objects
— new and repurposed — defines form and conveys
meaning. Students are introduced to contemporary and
modern artists whose sculptural works exemplify the
language of two- and three-dimensional form. Through
presentations and demonstrations, you are exposed to a
variety of materials and techniques that highlight the use
of the found object in sculpture.
MEDIA & TECHNIQUES: We make small clay objects
from which silicone rubber and plaster molds are created.
We learn to mix and cast white concrete as we reproduce
the elements of our compositions multiple times. We go
on to examine individual ways of attaching the pieces
to the wall. Moldmaking and casting techniques are
demonstrated daily.
ACTIVITIES: The first part of the class consists
of presentations and a series of exercises aimed
at understanding the possibilities within patterns.
Participants develop multi-part compositions. Individual
and group feedback supports the development of each
project. The class wraps up with the presentation
and discussion of at least a segment of these modular
sculptures.
FACULTY: Mariana Garibay Raeke received her
M.F.A. in painting/printmaking from Yale University.
Her work is driven by an interest in the potential for
transformation contained in matter, and the wide range
of permutations that a specific material can assume.
Mariana teaches at Rutgers University, Newark, N.J.
www.marianagr.com
Anne Currier & Giselle Hicks
II
III
CONCEPT: Discover the endless possibilities in clay
when fascination with a source is filtered through
imagination and transformed through material, physical
space and process. In this workshop, we take an in-depth
look at how fixations and inspirations become a sculptural
experience using clay. We examine personal references
and the methods of interpreting them as sculpture,
resulting in a distinct personal style that expands your
ceramics practice with true meaning. Students working
in any genre of sculpture, from figurative to abstract, are
welcome.
MATERIALS & TECHNIQUES: We utilize pottery
wheels, a slab roller and extruder to accommodate a
variety of construction techniques. We use cone 10 clay
fired in oxidation and reduction kilns with slips and glazes.
ACTIVITIES: We enjoy morning and afternoon
demonstrations, slide lectures and idea-generating
exercises. Students initiate and pursue their own
interests that serve as a basis for one-on-one
observations and conversations.
FACULTY: Anne Currier is a ceramic sculptor and
professor emerita of Alfred University. She received
her M.F.A. from the University of Washington, and is
the recipient of fellowships from the NEA, the New
York Foundation for the Arts and the Virginia A. Groot
Foundation. Anne is recognized as a fellow of the
American Crafts Council.
www.harveymeadows.com
Giselle Hicks is the Studio Coordinator of Ceramics at
Anderson Ranch. She received her M.F.A. from Alfred
University. Her work has been exhibited at the Museum
of Fine Arts in Boston, the John Michael Kohler Art
Center, the Bellevue Art Museum and the Milwaukee
Institute of Art and Design.
Mark Pharis
II
III
CONCEPT: Elevate your ceramic craft and expand your
artistic perspective in a workshop that focuses on hand
building utilitarian forms. In this evocative workshop, we
consider ideas surrounding function and process from
the perspective of both throwing and hand building.
We look at the pragmatics of functional and conceptual
perspectives associated with pots, and we investigate
the relationship between 2-D patterns and 3-D form,
discussing ideas, symbol, metaphor and the meaning of
process.
MEDIA & TECHNIQUES: We work with earthenware
clay and make slips, sigillata and low-temperature glazes.
Our time together includes hand building demonstrations,
making paper patterns, an introduction into computer-
aided design (CAD), and simple mold mak ing.
ACTIVITIES: Monday, Wednesday and Friday include
morning and afternoon demonstrations and lectures
introducing students to glaze chemistry, computer-aided
design and ceramic work from the Bauhaus and the RAM
process. Students can expect discussions and exercises
that facilitate the development of visual language,
and should be open to constructive discussion and
conversation.
FACULTY: Mark Pharis studied ceramics at the
University of Minnesota. In the summer of 1973 he set
up a pottery studio outside Houston, Minn., where
he produced work until 1989. In 1985, he joined the
Department of Art at the University of Minnesota as
a faculty member. Mark served as the chair of the
department from 1998 until 2004 and as Associate Dean
from 2005 through 2008.
www.gisellehicks.com
TUITION $925
|
TUITION + STUDIO SUPPORT DONATION $1,125
REGISTRATION FEE $45
CODE S1211-18
|
|
STUDIO FEE $175
ENROLLMENT LIMIT 10
TUITION $1,195
|
TUITION + STUDIO SUPPORT DONATION $1,595
REGISTRATION FEE $45
CODE C1217-18
16 andersonranch.org 970/923-3181 [email protected]
|
|
STUDIO FEE $175
ENROLLMENT LIMIT 12
TUITION $1,475
|
TUITION + STUDIO SUPPORT DONATION $2,075
REGISTRATION FEE $45
CODE C1518-18
|
|
STUDIO FEE $245
ENROLLMENT LIMIT 14