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HISTORY
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ARTIST BOOK DISTRIBUTION
SUMMER ARTS INSTITUTE
Printmaking
Papermaking
Book Arts
Other Media
Registration
INTERNSHIPS
ARTS-IN- EDUCATION
EXHIBITIONS
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Women's Studio Workshop
PO BOX 489
ROSENDALE, N.Y. 12472
914 658 9133
wsw@mhv.net
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SUMMER ARTS INSTITUTE
PAPERMAKING
PAPER CLOTH/PAPER THREAD - Spinning Our Yarns
July 7 - 11
In this class participants will begin with traditional Japanese techniques
for paper textiles: spinning koyori, paper thread, and kamiko, paper
starched and worked into cloth-like material. From there we will experiment
with less traditional approaches to these techniques: rumpling, crumpling,
folding, dyeing, printing, sewing, wrapping, etc. Each student will come
with a favorite myth or fairy tale. Early on we will form very large sheets
on a hanging Korean screen. These will become the raw material for book,
clothing, on-the-wall or sculptural forms growing out of the chosen story.
Through slides and stories we will look into the metaphors of cloth and
thread.
Dorothy Field holds a MA in Textiles from the University of California at
Berkeley. She has traveled extensively in Asia researching handmade paper
and textiles, their techniques and place in traditional culture. Dorothy
teaches extensively in the US and Canada. Her current work uses handmade
paper for sculptural works and one-of-a-kind books.
SCULPTURAL PAPER
July 14 - 18
This workshop will be an exploration into sculptural applications of
handmade paper. Students will first learn how to prepare and process
various fibers in order to produce a palette of sculptural pulps. We will
explore techniques of drying, casting, pouring and lamination with a
variety of fibers, such as kozo, abaca, flax and hemp, as well as
indigenous plant material. The effects of cooking, beating times and
methods (i.e., Hollander vs. Hand beating), on translucency and shrinkage
will be discussed. Students will learn how to construct moulds and
armatures using cloth, wire, wood and found objects then explore methods of
fiber application suitable for each structure. The use of the vacuum table,
poured pulp techniques, and sheet forming for sculpture will also be
demonstrated. The emphasis of this workshop will be on using these
techniques in individualized ways.
Ann Marie Kennedy studied at the Museum School in Boston, and holds a BA
from Holy Cross College. She uses handmade paper in installations and
sculptural paper works and grows and processes flax for papermaking. Ann
Marie works as a technician and consultant to artists on papermaking
projects and is currently pursuing an MFA in Intermedia and Video Art from
the University of Iowa.
HANDMADE PAPER AND HANDMADE BOOKS
July 21 - 25
Time will be equally divided in this workshop between two studios; making
paper with Wendy Cain, and making books with Susan Mills. Participants
will customize paper production specifically for designated books. Both
non-adhesive and cloth covered books and a cloth covered box will be made.
There will be an opportunity to work with colored pulps and inclusions in
the paper and to work both collaboratively and individually on
one-of-a-kind and small editions. Experience in bookbinding or papermaking
is useful, but not necessary for a successful workshop session.
Susan Mills (book making), is an artist and bookbinder who lives in Nova
Scotia and New York City. She has taught at Nova Scotia college of Art and
Cooper Union. She has been making one-of-a-kind books since 1980. In 1995,
she was the recipient of the Womenâs Studio Workshopsâ Artistsâ Book
Residency Grant, during which she produced her book, Ruderal Plants of
Manhattan.
Wendy Cain (papermaking), holds an Honours Degree in Fine Art from the
University of Toronto, Ontario, Canada, and is an Associate of the Ontario
College of Art, Toronto, Ontario. Since 1972, she has had eleven solo
exhibitions, the last two at Galerie Maronie and Kyoto Seika University,
Kyoto, Japan. She has participated in over one hundred group exhibitions,
most as a Canadian printmaker and papermaker. Recently, her work has
focused on the practices of hand papermaking, and she has established a
paper studio in Newburgh, Ontario. She currently teaches printmaking and
papermaking at the Ontario College of Art and Design in Toronto.
EXPERIMENTAL SURFACE DESIGN FOR WESTERN PAPERS
July 28 - August 1
It is amazing how a normal-looking sheet of paper can be transformed by the
effects of a surface coating! This class will focus on surface treatments
of dry or nearly dry sheets, some of which will be made on site.
Participants will experiment with anything that can be put on, rubbed into,
or added to the sheets to change their appearance, color, texture, and
working properties. Commonly used materials such as gelatin sizing, methyl
cellulose, indigo, and walnut dyes, and less common materials such as wax,
linseed oil, furniture oils, plaster and egg white will be used. We will
look at the effects of varied beating times and fiber contents on the final
character of the coated or treated sheets. We will use some traditional
fibers like cotton, flax and abaca, and also look at some unusual fibers
such as kenaf and Foxfibre (naturally colored organic cotton). Students are
encouraged to bring papers to experiment with. By the end of the class,
each person will have a sample book documenting a wide variety of fibers,
beating times and surface coatings; there will also be time for individual
explorations and experiments.
Bridget O'Malley holds an MA/MFA in Printmaking from the University of
Iowa. Co-proprietor of Cave Paper, a handmade paper mill specializing in
decorated and unusual papers, pulp sheets, and blank books. She is an
instructor at the Minnesota Center for Book Arts in Minneapolis. In 1994
she completed a 5-year apprenticeship with Timothy Barrett at the
University of Iowa Center for the Book Paper Facilities. Bridget has taught
workshops in bookbinding and papermaking to students of all ages.
SUMMER BLUES: Handmade Paper and Indigo Dye
August 4 - 8
This workshop will begin with a focus on the basic process of forming
sheets of Western and Japanese papers and starting and maintaining an
indigo vat. The traditional roots of these processes will be examined with
slides, historical information, and studio work. Using traditional fabric
resist techniques, we will begin to dye the papers we have formed, and will
continue throughout the week to explore a range of surface treatments that
this combination of both traditional and experimental materials offer. By
the end of the week participants will have accumulated a portfolio of
papers rich in color and texture. In addition, students will be encouraged
to consider the expressive possibilities of using these papers in collage
and bookmaking.
Mary Hark holds an MFA from the School of the Art Institute of Chicago. She
currently teaches in the fibers program at Macalester College in St. Paul,
MN, and is a faculty member at Minnesota Center for Book Arts, where she
completed a two year artist-in-residence in papermaking in 1994.
GARDEN PAPERS AND NATURAL DYES
August 11 - 15
This class offers students the opportunity to make beautiful papers from
plants and resources right from their gardens. Students will learn the
basics of Western sheet forming, preparation of fibers and preparation of
natural dyes. At the end of the class students will learn a non-adhesive
binding in which they can incorporate their papers. Prior to the beginning
of the class, a supply list will mailed and students will be encouraged to
bring their own fibers to experiment with. These may include lilies,
bamboo, irises, hay, corn husks, pineapple tops, cattails, straw, onion
skins, beet juice, walnut husks, coffee grounds, tea leaves, and dried
flowers. All levels of experience, including the beginner, are welcome.
Carol Tyroler is currently working on her second Masterâs degree in
resource economics and policy at Duke University, where she is focusing on
natural resources, crafts and development. Her background in anthropology
coupled with arts training in papermaking and bookbinding lead her, in
1990, to start Amatl Papers, a grassroots development project with the
Otomi papermakers of San Pablito, Mexico called.
PAPERMAKING FOR PRINTMAKERS
August 18 - 22
The focus of this workshop will be on helping printmakers to create papers
customized for their individual artistic concerns. Beginning with the
basics of sheet forming in the Western tradition, then looking beyond them
to experiment with personal imagery, collage and the possible layering of
meaning that can be achieved when paper and print become unified. We will
discuss the suitability of different fibers as they are used in conjunction
with various printmaking techniques. Sizing methods, fiber preparation and
identification, and the use of pigments and additives will be covered. This
class is followed by MONOPRINTS ON HANDMADE PAPER, so that participants can
really put their papers to the test. No previous papermaking experience is
required, however, a working knowledge of some form of printmaking is
recommended.
For information on instructor Laura Moriarty, please see MONOPRINTS ON
HANDMADE PAPER, August 18 - 22.
THE LONG AND SHORT OF PULP PAINTING
August 25 - 29
Pulp painting is a method of creating images or designs with colored pulp
on a newly formed sheet of paper. In this class we will combine long fiber
mitzumata and short fiber cotton with western and Japanese papermaking
techniques and pulp painting, to create unique papers. Participants will
learn the basic fiber preparation for Japanese papermaking but will use
Western style screens and techniques to form sheets of paper that are
strong and supple. Then, using over-beaten cotton fiber and a variety of
pulp painting techniques, images or designs will be created on the base
sheet. Basic information, coloring pulp, additives, sheet forming and
drying, etc., will be covered, but the emphasis of the class will be on
individual experimentation to create papers suited to your own goals as an
artist.
Allyson Comstock was the recipient of an Individual Artistâs Fellowship
from the Alabama State council on the Arts in 1992, and has been a Resident
Artist at WSW and the Ucross Foundation. She exhibits her work regionally
and nationally, most recently at Artistsâ Alliance in Louisiana, 621
Gallery in Florida, and at the Ohio Craft Museum; her work is held in
private and corporate collections. Allyson is a papermaker and sculptor who
currently teaches sculpture and drawing at Auburn University, Alabama.
JAPANESE PAPERMAKING
October 25 & 26
In this workshop, students will use Kozo, (mulberry fiber), to make paper
as unique two-dimensional works or as materials for their art. Participants
will learn methods of fiber preparation, (soaking, cooking, cleaning and
beating), and of sheet formation. Inclusion of collage materials (found
paper, photos, prints, textiles, etc.), and pigmented cotton/linen fiber
for pulp painting will be demonstrated. Students should bring collage
materials to the workshops.
Kumi Korf holds an MFA in Architecture from Cornell University. Born in
Japan, she is an artist and creator of artistsâ books and monoprints using
artist-made paper. Kumi has apprenticed at Dieu Donne Papermill in New
York, and teaches workshops at the Center for Book Arts and Syracuse
University. Ms. Korf lives and works in Ithaca, New York.
Printmaking
Papermaking
Book Arts
Other Media
Registration
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