Just a reminder that registration forms are due December 3rd and only those who turn in their registration forms on time can be assured housing opportunities.
Just in case you misplaced your registration form or didn’t have one yet, we’ve placed it here for download. Give it a once over…sign it…mail it ( 2011 Registration_Form )with your check payable to the ECU metals guild and let the fun begin.
I thought it might be a good time to remind you all of the exhibition opportunity that comes with your participation in the symposium. Last year, we had cases filled to the brim with the work of symposium participants. This year we expect that there will be even more stellar work to show. As a result of limited space and the need to ensure we receive your work in a timely manner, please have the piece you plan on exhibiting delivered to us by Jan 4th. Work we receive after January 4th will unfortunately not be included in the exhibition. We are all so excited to see what you’ve been making. Last year, as a part of the symposium, participants were invited to have their piece critiqued by one of our many featured speakers and workshop leaders and it is our intention to do it again this year. We can’t wait to see all of the work.
Coinciding with this years symposium, we are also proud to host a traveling exhibition featuring some of the exciting work that is being done in tin. Curated by Marlene True, this exhibition, which will be housed over at the Mendenhall student center just behind the art building, features some surprising and beautiful work. Artists to be included in no particular order include:
J. Fred Woell, Robert Ebendorf, Bobby Hansson, Robert Villamagna, Kathryn Cole, Teri Blond, Ted McDonah, Kim Overstreet and Robin Kranitzky, Harriete Estel Berman, Robbie Barber, Tim Lazure, Leonard Streckfus, Judith Hoyt, Ellen Wieske, Marissa Saneholtz, Daniel Anderson, Bryan Petersen, Stephen Yusko, Kelly Robinson, Donna McCullough, Margaret Couch Cogswell, and Jane Wells Harrison.
We’ve begun to get some questions about the meat and potatoes of this years symposium and rather than email all of you individually about all the symposium events we’ve decided to post them here in this blog. So here you go.
ECU symposium 2011- Presentation Details
Bio, Lectures, Workshop Descriptions
Bio: Since 2005 Nicole has been an Assistant Professor at Indiana University in Bloomington, IN. Her education includes a bachelor of arts from Indiana University in 1991, and her first MFA from the University of Michigan. Nicole received her second MFA while on a Fulbright Scholarship to Australia at RMIT University in Melbourne, and in 2004 she returned to RMIT and completed her Ph.D. in Fine Arts.
Lecture: Technology and the Politics of the Handmade
In her lecture Nicole will talk about how she has come to use innovative technology in her own studio practice. She will also explain the various processes available, how artists are ‘naturals’ for learning the software, as well as show various works being created, via the computer, by metalsmiths and jewelry designers, printmakers, sculptors, ceramicists, digital artists, and designers.
Bio: Dan received his MFA in metal design at East Carolina University in Greenville, NC, and holds a BS degree in Art Education from Nazareth College of Rochester, NY. His work in jewelry and sculpture combines traditional metalsmithing with wood carving techniques. Dan is represented by Charon Kransen Arts in New York City; and has participated in SOFA: New York, Chicago and Santa Fe annually since 2008.
Workshop: Woodcarving for Jewelry
The goal of this workshop is to demonstrate woodcarving techniques that apply to jewelry. Dan will demonstrate how to make wood jewelry while safely using a bandsaw and power carving tools. These techniques can also be applied to plastics and hard waxes for casting or electroforming.
Bio: Hur is an associate professor in the School of Art and Design at East Carolina University with an extensive national and international exhibition record. She is a former artist-in-residence at John Michael Kohler Arts Center and has taught workshops at Penland School of Crafts, Newark Museum and Pullen Art Center.
Workshop: Mold-making and Casting Processes- Achieving Special Casting Effects
This how-to workshop will show you materials, methods and techniques that
broaden your creative mind to an innovative world of material possibility. Mi-Sook will demonstrate the use of one and two-part silicone rubber molds and liquid plastics to reproduce finely detailed and complex forms. The workshop will also include instructions on how to create special casting effects by adding a variety of fillers and tints, allowing artists to achieve creative resolution over the outcome.
Bio: Caroline Gore received her MFA from East Carolina University (Greenville, NC) and a BFA from Virginia Commonwealth University (Richmond, VA). Her work is represented by Ornamentum Gallery in Hudson New York, and she is an Associate Professor of Art and the Area Coordinator for Metals/Jewelry at Western Michigan University in Kalamazoo, Michigan where she lives and works. The outcomes of Gore’s studio practice vary in media, scale and implementation – ranging from small-scale wearable pieces to large sculptural installations. In addition to exhibiting internationally, she lectures on the placement of current conceptual patterns in the metals/jewelry field and teaches workshops on making processes from ideation to implementation.
Lecture: Shifting Tradition: A Journey Through Lineage
As one moves through study in our field a certain metalsmithing/jewelry lineage starts to form, early risks are nurtured by those around us… As a professional career starts to emerge and develop this lineage continues to grow…. A professional network develops and expands… As I return to ECU to speak on my own work – I am humbled by the opportunity- and find the symposium topic quite fitting. In this talk I will address expansion through dedication to my studio practice and through teaching in a University metals/jewelry program.
Bio: Lisa Johnson started her career in fine arts at Miami University under Distinguished Professor Susan Ewing. After receiving her BFA in 2004, she continued her education at Indiana University studying with Professor Randy Long and Dr. Nicole Jacquard and received her MFA in 2009. For the last few years Lisa has been incorporating porcelain into her studio practice where the content of her work arises from an interest in the juxtaposition of puns, translations, irony, and duality. Through identifiable objects her obsession with redefining the recognizable is a direct expression of observations or experiences that communicate as appealing, stimulating, and sometimes
Workshop: Breaking the Mold: Exploration of Found Objects in Cast Porcelain
Casting porcelain is not just a process used for making toilets. Slip casting started in 18th century Europe for mass production of Chinaware and small knick-knacks. In contemporary art, interdisciplinary and ceramic artists have been using this technique as a tool to explore familiar objects. The ability to reproduce exact replicas of just about
any item, highlights the decision making process of selecting a particular object and the context in which it is placed. In this workshop, slip casting will expand one’ s understanding to create three-dimensional art in the realm of sculpture, functional objects, and jewelry. Discovery will begin in the technical process itself as well as the
conceptual development of finding ways to assign new meaning to everyday items.
Bio: A renowned metalsmith, Muir has participated in more than 300 exhibitions in the United States and abroad. His pieces have been purchased by the Art Institute of Chicago, the Renwick Gallery of the Smithsonian American Art Museum and the National Air and Space Museum of the Smithsonian. In 1993, his work was chosen for the White House Collection of American Crafts holiday exhibit, and a piece from his “Changing Hand” series was included in a major 2003 exhibition of German and American art.
One of the foremost artists working in hollowware, Muir has received attention in several books and journals such as Metalsmith, American Craft and Craft Art.
Lecture: The Birth of Containment: Ceremony, Ornament and the Vessels of Tom Muir
This lecture spans 25 years of Tom Muir’s distinguished and diverse hollowware career. Delving into sources of the creative process (his own work and generally), focusing on themes of our natural and technological being, Mr. Muir explores the inspirations, humor, concepts and unique syntheses of his extraordinarily crafted and elegantly expressive work.
Workshop: Enhancing Work With A Catch
Knowing and understanding pinstems and catches is essential to creating professional jewelry. In this workshop, a stainless steel pinstem with a tension catch will be created by participants. Creative applications and the mechanical principles that apply to catches and pinstems will be developed through an examination of actual samples, slides and discussions. Students will learn how to solder stainless steel and many tricks applicable to soldering and fabrication.
Ken holds a BFA in painting and drawing and an MFA in jewelry and metalsmithing. Both areas of this training are important to his work and he combines the two in one-of-a-kind mixed media wearable assemblages that are made of colored, painted, patterned, and textured bits of unusual materials combined with silver and gold.
His jewelry has been exhibited nationally and internationally and is found in private and public collections including the permanent collections of the Smithsonian National Art Museum and the Tacoma Art Museum.
Workshop: Working With Mineral Pigments
One reason the color in Medieval manuscript illumination is so rich and lustrous is that it is actually made from ground and powdered semiprecious stones. Thin layers of a gemstone pigment were applied multiple times to build a deep saturated color whose durability lasts for centuries. This short workshop presentation will introduce the process of creating and using mineral pigments from a variety of gemstones and other substances and explore their application as a potential new coloring material in jewelry forms.
Using a recipe for a binding medium handed down for generations since the Middle Ages we’ll learn how to grind, sift, mix, and apply pure gemstone as a liquid paint. Hard rock lapis lazuli, malachite, turquoise, corals, azurite, ochres, and less noble materials such as clay brick and rust will be transformed into soft and luminous pigment.
Michael Dale Bernard
Bio: Michael Dale Bernard is a Los Angeles, California based artist. He earned his BFA in metalsmithing from the University of Illinois in 1999, where he was exposed to both traditional electroforming techniques as well as more industrial processes. He earned his MFA from California State University in Long Beach, again specializing in metals, but with the addition of a range of digital techniques.
Lecture: Coated and Coded: Urban image Metalsmithing
This lecture will be exploring representational imagery in jewelry and metals.
Workshop: Powercoating Workshop
This will be a hands-on demonstration of various DIY powder coating techniques. Students will be able to bring their own samples into the workshop to be coated, and will leave with a working knowledge of how to powder coat and the basics of how to set up their own system.
This year we will be holding another exhibition over at the Mendenhal Student Union. In addition to the Tin show–more on that later–the exhibition will be of sketchbook pages submitted by symposium participants. It is our hope that this exhibition will highlight some of the creative ways that we document our ideas. It would be great if the piece that is shown in the student exhibition was also the page chosen for the sketch book exhibition, but it is not necessary. It is also our plan to create an example publication for the exhibition through Blurb.com. If you don’t know what Blurb is, you should check it out. It’s a pretty neat resource for on demand publishing. I hope everyone is getting excited for the symposium, and remember that the sketch book page we’re looking for is the one that best records your creative ideas, not necessarily the page with the best draftsmanship.
As we continue to make preparations for the symposium we wanted to take this down time as an opportunity for giving everyone some helpful tips. There will be a contact list for everyone who attends the symposium. However, You might want to carry along personal business cards as a way for people to remember you when its over. We will be meeting so many people, possibly as many as a hundred and twenty! Because we are all visual people, a business card might be a handy way to make an impression or help you to remember your new friends. We have attached several cards from our contact list in case you wanted to see the different ways these artist have chosen to represent themselves.
While we include these artists as a possible source of inspiration for your business cards, please don’t feel as though you have to have your business card professionally printed, some of the most memorable cards can be made at home.
Again… it is not necessary to have a business card we just thought that this might come as a helpful little tip.