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SUMMARY:Book Arts Summer Institute 2024
DESCRIPTION:Summer Institute is on! \nOur registration portal is now closed. We are able to take additional sign ups for Week 2 through Friday\, June 14 at 12:00 PM. Please email bookartscenter@wells.edu for information. \nSummer Institute brings instructors\, artists\, and participants from across the country to learn with top-notch book artists\, printers\, calligraphers\, and paper artists a stone’s throw from beautiful Cayuga Lake. We’re pleased to present this year’s workshops\, all of which welcome both beginners and experienced practitioners. \nOn April 29\, 2024\, Wells College announced its forthcoming closure. Our Book Arts Summer Institute will take place this summer as planned.  \n\n		Week 1: June 9 – 15\, 2024\n	\n				Life Beyond the Single Sheet – Marbling and Book Making with Leslie A. Grossman\, Parhelion Marbling\n				 \nDo you have handmade books\, but don’t know what to put on the pages? Do you allow decorative papers to live in the back of a drawer\, stacked flat because you don’t know what to do with them?  Or are you simply curious about marbling and would like to try it? This workshop is for you! This two-in-one class will begin with a comprehensive introduction to Paper Marbling\, the centuries-old process of creating intricate patterns in paints floating on a water-based bath and transferring them to paper. The last days of the workshop will have you cutting\, folding\, shaping\, and transforming these freshly marbled papers into an artist book. You’ll leave this workshop having the courage to take the next step\, breathe new purpose into your prints\, and give them a life beyond the flat sheet. \nLeslie A. Grossman is a paper\, book\, and print artist in Lansdowne\, PA. She received her Printmaking BFA in 2008 from Western Michigan University\, and her Printmaking MFA from The University of Tennessee-Knoxville in 2012. Leslie has exhibited her work nationally and internationally including IPCNY in New York City\, Grand Rapids Art Museum in Grand Rapids\, MI\, Barbara Archer Gallery in Atlanta\, GA\, Grafiki Warsztatowej in Poland\, and InLiquid in Philadelphia\, PA. Her books can be found in multiple university and private collections. Leslie is also an arts educator; she teaches marbling\, book arts\, and printmaking at craft schools and in her studio. \n				Cutting Edge: Woodcut and Movable Type Poster Workshop with Martin Mazorra\n				 \nIn this course\, we’ll use woodcut and movable type to explore the relationship between image and text. We’ll combine the direct and immediate qualities of woodcut images with letterpress printed text to make editorial\, graphic statements. This workshop provides hands-on experience in designing\, carving\, and printing woodcut images\, as well as the basic principles and process for letterpress printing hand-composed wood and metal type forms. These technical demonstrations will be complemented by presentations of physical examples of engaging woodcut and typographic presswork. We will also discuss strategies for developing copy to accompany the woodcut images. Over the week\, participants will generate small editions of their woodcuts and wood type letterpress printed posters. For all levels. \nMartin Mazorra is a Brooklyn-based artist originally from West Virginia. He works chiefly in woodcut and letterpress\, from small books\, prints on paper\, large prints on fabric\, to site specific print-based installations. Since forming Cannonball Press in 1999\, Martin has travelled and exhibited internationally. He is represented by Planthouse Gallery in NYC and Signal Return Gallery in Detroit. Martin is the recipient of a 2007 NYFA Fellowship in Printmaking\, a 2010 United States Artists Ford Foundation Fellow\, and a Marie Walsh Sharpe Studio Grant. His work is in the collections of the Beinecke Rare Book Library\, The Metropolitan Museum of Art\, The San Francisco Museum of Modern Art\, The Taubman Museum\, The Block Museum\, and the Fort Wayne Museum of Art. \n				Design in the Details: Bookbinding Adaptations & Variations with Stephanie Wolff\n				This workshop will cover inventive designs for physical book pages\, inspired by historic bindings and ephemera. Learn how to incorporate photos or prints into a book\, mount loose material\, hinge and fold in oversized pages\, and how to create pockets\, foldouts\, envelopes\, closures\, volvelles\, and more. Bind a series of sample pages into an album structure in the process. It’s the details that elevate a work from commonplace and set it apart. This workshop’s approach to the page goes beyond the traditional printed page\, but could be combined with them and applied to various book formats. We will discuss problem-solving with the use of unconventional materials or the desire to alter a structure to suit one’s purpose. Each student will leave with a reference model using an album structure that will hold pages created during the week\, along with additional examples and a set of handouts to refer to later. Students can incorporate content on a chosen theme into their models if desired\, or come ready to play.  \nStephanie Wolff works with paper\, text\, textile\, and the book form\, often on themes of weather\, science\, history\, and rural life. Her work has been exhibited in the U.S. and Germany and is in many public and private collections. She has been an Artist-in-Residence at Maine Media Workshops + College and the Jaffe Center for Book Arts and was awarded a creative research fellowship from the American Antiquarian Society. Stephanie’s years as a book conservator enriched her knowledge in the history\, construction\, and repair of a wide range of materials. She enjoys teaching to share her knowledge from bookbinding\, conservation\, and fine arts. www.stephaniewolffstudio.com @stephaniewolffstudio \n\n		Week 2: June 16 – 22\, 2024\n	\n				Risobookapalooza with Josh Dannin\n				 \nRisobookapalooza will unpack the exciting printing machine that has taken the art and design world by storm: the Riso digital duplicator. We’ll use a variety of book and zine formats to explore the countless ways these quirky stencil printers can be used to produce printed matter that’s rich in color\, character\, and content. Risobookapalooza will touch on analog approaches to image making\, incorporating hand-drawn and collage methods\, as well as other improvisational techniques. We’ll also cover digital methods of color separation\, color profiling for photographic work\, and a range of applications and resources that can aid in computer-to-Riso output. This 5-day workshop is the perfect opportunity for the Riso-curious and Riso-experienced alike to learn\, experiment\, and enjoy all that risography has to offer. \nJosh Dannin is an artist and printmaker originally from Philadelphia\, now based in Bethlehem\, New Hampshire. Dannin runs Directangle Press\, a letterpress and risograph printmaking studio and artist residency in the White Mountains. Previously a regular contributor to Printeresting.org\, he coedits Power Washer Zine\, a semiannual publication about screenprinting featuring artist interviews and essays\, high-end humor\, and lo-fi graphics. In addition to leading workshops at Directangle Press\, Dannin teaches printmaking as a Lecturer at Dartmouth College. His printed and bound works have been exhibited at galleries\, artist-run spaces\, and museums throughout North America and Europe. \n				Wood Engraving for Artists\, Illustrators\, and Miniature Print Lovers with Rebecca Gilbert\n				 \nWood engraving is a relief printmaking process that involves carving into endgrain hardwood\, making it possible for an artist to create highly detailed images and tonally rich compositions. Used as the primary means for printing illustrations alongside of moveable type from the late eighteenth century through most of the nineteenth century\, wood engraving is still a great way to incorporate imagery into letterpress cards\, book plates\, printed ephemera\, artist books\, broadsides\, and of course to develop graphic stand-alone images\, especially when there is a need to work small. Workshop participants will be guided through the entire process from transferring an image\, to engraving\, to printing small editions. Participants will learn about types of wood used for engraving\, care and sharpening of tools\, safe use of printing equipment\, ink mixing\, and types of paper. Printing by hand as well as on a Vandercook proof press will be covered. No previous engraving or printing experience is necessary\, but patience\, good eyesight\, and a steady hand are very helpful. \nRebecca Gilbert is a Philadelphia-based artist whose work exemplifies a dedication to traditional printmaking processes. Representations of longing\, mystery\, and communication between the realms of the living and the dead are embedded throughout much of her work. Rebecca’s artwork can be found in numerous public collections\, including the Victoria & Albert Museum\, Ashmolean Museum\, and Princeton University Library’s Graphic Arts Collection. Her extensive exhibition record includes galleries and museums in New York\, California\, Spain\, Canada\, Korea\, Estonia\, and England. Rebecca’s most recent awards include a Victor Hammer Fellowship from Wells College; an Illuminate the Arts Grant; a Creative Research and Innovation Grant; an Independence Foundation Fellowship; and a Winterthur Artist/Maker Fellowship. Rebecca earned her MFA in Printmaking & Book Arts from The University of the Arts\, and her BFA from Marshall University. She has experience teaching at numerous institutions\, including Maryland Institute College of Art and University of the Arts. She serves on the board of The Wood Engravers’ Network\,and is represented by The Print Center. https://rebeccaprint.com/  @rebecca_print \n				Papermaking: Creative Techniques and Self-Expression with Candy Alexandra González\n				 \nGain a robust introduction to papermaking as a historical\, contemporary and expressive art form. Through demos and facilitated inquiry-based investigation\, participants will develop both essential and foundational papermaking skills\, and experiment with artistic processes such as embedding\, wet collage\, and pulp painting. Participants will also spend time developing a small body of work that bridges their artistic practice and papermaking techniques; they will leave this workshop with an array of handmade paper samples and a small body of completed works. \nCandy Alexandra González is a Little Havana-born and raised\, NYC and Philadelphia-based\, multidisciplinary visual artist\, poet\, activist and trauma-informed art educator. Candy received their MFA in Book Arts + Printmaking from the University of the Arts in 2017. Since graduating\, they have been a 40th Street Artist-in-Residence in West Philadelphia\, a West Bay View Fellow at Dieu Donné in Brooklyn\, NY\, Leeway Art and Change Grant Recipient and the 2021 Linda Lee Alter Fellow for the DaVinci Art Alliance. Candy is currently an Art + Art Education doctoral student at Teachers College\, Columbia University. candyalexandragonzalez.com @candy_alexandra1 \n				GET MEDIEVAL! Calligraphy Workshop with Grendl Löfkvist\n				In this weeklong workshop\, we’ll cast off our hair shirts\, sharpen our quills\, and enter the medieval scriptorium! We’ll immerse ourselves in two basic scripts of the Middle Ages\, minus the usual plagues\, feudal attitudes\, or torture chambers. We will coax the chisel-edged nib to reveal its secrets as we indulge in luscious medieval letterforms from the sanctuary of our scriptorium. Together\, we will tackle Uncial\, Gothic Textura\, and Textura’s accompanying majuscules. If you’re a total beginner\, no worries – this welcoming workshop is appropriate for both novices and seasoned scribes. And for those who want to bring their practice into the (gasp) 21st century\, you’ll have the option of translating your work into a substrate suitable for printing! We will spend a day on the letterpress\, printing multiples of your calligraphic quotation or message. All necessary tools and materials will be provided. Let’s get medieval! \nGrendl Löfkvist\, Education Director at Letterform Archive\, teaches type history at Type West\, the Archive’s postgraduate certificate program in type design. She is also an instructor at City College of San Francisco\, and has taught calligraphy at a handful of Bay Area institutions\, including the San Francisco Center for the Book\, Stanford University\, and Pixar. Grendl has ink in her veins: she was a press operator for 20 years\, and she serves on the Board of the American Printing History Association’s NorCal chapter. She’s always on the lookout for macabre print\, type\, and lettering lore.  \n				Folding and Sewing: Exploring Combinations and Collaboration within Book Arts with Erin Sweeney\n				 \nIn this course we will explore both folded and sewn structures and the ways in which these can be combined. We will learn a myriad of folded one sheet structures. Focusing on several simple bindings like Sewn Chains and long stitch variations\, we will practice stitching methods and will utilize the folded structures as sections to be bound. These fun and flexible bindings are deceptively simple and can be multiplied to create multi-section bindings. We will also learn variations on the Coptic binding. We will also explore the fabulous accordion and all the things we can do with this simple structure. There are so many different ways to use the accordion-using one sheet of paper\, making it into a spine\, adding multiple folds to each other\, and using these as part of a sewn structure. We will experiment with size as well-going very small to very big. The class will also have the opportunity to collaborate with the Risograph workshop! \nErin Sweeney lives and works in southern New Hampshire. She received her MFA in Book Arts and Printmaking from the University of the Arts in Philadelphia\, where she was awarded the Elizabeth C. Roberts Prize for Graduate Book Arts. She also has a BFA in Sculpture from the Maine College of Art in Portland\, Maine. Sweeney exhibits nationally\, most recently at the Rhode Island Center for Photographic Arts\, Twiggs Gallery and Kimball Jenkins Gallery\, both in New Hampshire. In 2019\, Sweeney was awarded a Ruth and James Ewing Award for Excellence in the Arts\, and in 2020 was a juror for the Awards. Additionally\, Sweeney is the Coordinator of the Art Education program and Assistant Professor of the Practice at Plymouth State University in New Hampshire. She teaches workshops at her Lovely in the Home Press and at many locales\, including Haystack Mountain School of Crafts in Deer Isle\, Maine\, North Country Studio Workshops in Bennington\, Vermont; Pratt Fine Arts in Seattle\, Washington and Maine Media Workshops and College. \n	Looking for Pulp Painting Intensive with Meg Black? This workshop has been cancelled for 2024. \nAdditional registration tips can be found below. \nRegister for both weeks and save 10%. Enter coupon code bothweeks at checkout. Hint: purchase each workshop in a separate transaction to take full advantage of the offer. Reserving a shuttle? You only need to select this for one week. \nInternships and a limited number of scholarships will be available. See below for details. \n	Program Details\nLocation\nAll classes will be held on the picturesque campus of Wells College\, 170 Main Street\, Aurora\, New York 13026. Wells College is located on the eastern shore of Cayuga Lake in the heart of the Finger Lakes region. The area is well known for its natural beauty\, lakes\, waterfalls\, charming small villages\, farms and wineries. The Wells College Book Arts Center is located in Morgan Hall\, and houses one of the finest teaching collections of book arts equipment in the country. Travel by plane\, train\, or bus is possible through Syracuse\, NY. A college-run shuttle between Syracuse and Wells College is available. \nSchedule\nParticipants staying on campus should plan to arrive on Sunday afternoon between 12:00 pm and 3:00 pm. Dinner for those who have purchased all meals will be available Sunday evening\, alongside a welcome event. Those not staying on campus should plan to arrive Monday morning in time for class. Classes run Monday though Friday\, 9 am to 12:00 or 12:30 and 1:30 to 5:00 pm. Departure is the following Saturday morning by 11 am. Participants will receive an introduction letter from their instructor before the course begins with information about what to expect in your workshop. \nAccommodations and Meals\nOn-campus dormitory accommodations are in private rooms or double rooms with a shared bath for the six nights\, along with all meals. The cost includes all linens and internet access via campus WIFI. Still\, participants should consider bringing a comfortable pillow\, and those who are driving may benefit from bringing an electric fan. Off-campus lodging options include The Inns of Aurora\, bed and breakfasts and major hotel chains 20-40 minutes from campus. Please note that Verizon has the strongest cell phone signal on campus\, and other carriers may be spotty. A lunch-only option is available for commuter students. \nAccessibility\nWe regret to say that the Book Arts Center is not currently handicapped accessible\, although the dormitory is. Please contact us with any questions. \nScholarships\nWe are pleased to be able to offer a limited number of scholarships to participants who would not otherwise be able to attend.  Full and partial scholarships will be awarded for one class per person. Priority consideration will be given to applications received by March 31\, when we begin reviewing applications. Applications are still being accepted on a rolling basis. Learn more and apply here. \nInternships\nThe Institute offers several two-week internships to undergraduate and graduate participants in the book arts. Interns receive room and board alongside partial participation in two workshops\, while assisting instructors. Interns will also assist in preparation and clean up for each session and may assist the program facilitators with other tasks. The internship application period closed March 31. \nStandby Program\nHalf-price tuition may be available to those in the Standby Program to register for any spots remaining available two weeks before the program. Please note that recipients will be responsible for the full cost of housing and meals if needed. Register for our Standby Program here. \nTuition and Fees\nTuition for one week is $1099 and includes course materials. Participants may register for one class only per week.  \nCOVID Policy\nWells College reserves the right to test any or all visitors at any time\, and to quarantine anyone who tests positive for COVID. Please help us keep everyone safe. \nDeposit and Refund Policy\nWe encourage early registration since our courses are limited to 8-12 participants. A $200 portion of your registration is a non-refundable deposit and is due at registration. \nIf you pay your deposit only today\, the balance of your registration amount will be due by May 9\, 2024. We will reach out after receiving your registration with an invoice for the balance and information about payment plan options. \nYou may cancel your registration until May 9\, 2024 and receive a refund minus the non-refundable $200 deposit. After that date\, there will be no refunds. Should we need to cancel a course for any reason\, you will be notified and offered another class or a full refund. We cannot be responsible for non-refundable airline tickets or any other costs. \nRegistration Tips\nLocating your Cart: after you add a workshop\, with room and board selections\, to your Cart\, a green window will appear at the top of the page where you can select “View Cart.” If you navigate away from that page and cannot locate your cart\, add another item to the cart to get the green window with “View Cart” link. You will then see everything you’ve added to your cart and can delete any extra items before checking out.
URL:https://arts.wells.edu/event/book-arts-summer-institute-2024/
LOCATION:Wells College\, 170 Main Street\, Aurora\, NY\, 13026\, United States
CATEGORIES:Arts
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