workshops

updated wed 24 nov 10

DIRTYBIRD5@aol.com on thu 4 apr 96

Thanks to our local potters network, Clay Connection, I'm the lucky winner of
a $500.00 scholarship to take any workshop in the field of claywork that I
choose. I know there were a lot of posts about good workshops for this year
some time ago, but I didn't save them because this wasn't an option for me.
I'd appreciate anyone's sending me suggestions on specific workshops out
east they think will be exceptional.

TIA
Julie Moore
Manassas, VA
Still looking for a used pugmill.....

emily harper on thu 4 apr 96

At 06:40 AM 4/4/96 EST, you wrote:
>----------------------------Original message----------------------------
>Thanks to our local potters network, Clay Connection, I'm the lucky winner of
>a $500.00 scholarship to take any workshop in the field of claywork that I
>choose. I know there were a lot of posts about good workshops for this year
>some time ago, but I didn't save them because this wasn't an option for me.
> I'd appreciate anyone's sending me suggestions on specific workshops out
>east they think will be exceptional.
>
>TIA
>Julie Moore
>Manassas, VA
>Still looking for a used pugmill.....
>
>
Recently attended a workshop by Peter Callas at the University of Central
Florida, Orlando, Florida, where I picked up a brochure about a couple of
workshops at Mr. Callas' studio in Belvidere, New Jersey this summer:

Peter Voulkos and Paul Soldner - July 27th & 28th

Peter Voulkos and Rudy Autio - August 3rd & 4th

The phone number for more information is 908-475-8907. Thanks for a great
workshop Mr. Callas.

Emily Harper
Titusville, Florida
on the Space Coast

p4337@freenet.edmonton.ab.ca on fri 5 apr 96

Hi Julie...... Congrats....why not come NORTH ...to Edmonton Alberta Canada
for the Edmonton
International Seminar...FIREWORKS. Don Rietz, Ron Roy, Nina Hole,Rebecca
Rupp,Steve Hienemann, Nuburo Kubo, Les Manning, Dr. Tee Guidotti will all
be presenters as well as great social/dance, bus tours to gallerys in the
area, openings and just plan potters talk. There is billiting available
at potters homes and the cost for the seminar is 165.00 before April 30.
190.00 after April 30. Dates are May 9 to the 12th and its going to be
great. These are Canadian prices.
If anyone else is interested in this Seminar...just check out the www Uof
A homepage on the www.at:

http://www.extension.ualberta.ca/finearts/fireworks/

You can get a registration booklet with all the info you need by
contacting the U of A e-mail address on the www page. Check it out.
Hope to meet some of the clayarters at the seminar. If enough register I
will get a clayart breakfast going here. Come check out the GREAT WHITE
NORTH ;>}}}}}}} As Always in Clay Peggy

PEGGY HEER/Heer Pottery email: p4337@freenet.edmonton.ab.ca
9702 76 AVENUE phone: 433-0290
EDMONTON, AB CANADA T6E 1K3 http://www.ffa.ucalgary.ca/artists/pheer/
------------------------------------------------------------------------
On Thu, 4 Apr 1996 DIRTYBIRD5@aol.com wrote:

> ----------------------------Original message----------------------------
> Thanks to our local potters network, Clay Connection, I'm the lucky winner of
> a $500.00 scholarship to take any workshop in the field of claywork that I
> choose. I know there were a lot of posts about good workshops for this year
> some time ago, but I didn't save them because this wasn't an option for me.
> I'd appreciate anyone's sending me suggestions on specific workshops out
> east they think will be exceptional.
>
> TIA
> Julie Moore
> Manassas, VA
> Still looking for a used pugmill.....
>

Nancy Utterback on sun 8 sep 96

I don't know if any of you have suggestions or can help, but I teach at two
facilities in the Denver-Boulder area. The Pottery Lab in Boulder and City
Park Recreation Center in Westminster CO. Anyway, I am in charge of bringing
people for workshops. We have had Cynthia Bringle, Paul Soldner, Jim Lorio,
Bob Smith etc. But now I need some help getting in touch with other potters.
I would like to ask Don Rietz to come and maybe Linda Christensen or Randy
Johnston. If anyone has any other suggestions or can tell me how to reach
potters for worksohps I would appreciate it.

Nancy Utterback

Bob Hanlin on mon 9 sep 96

>----------------------------Original message----------------------------
>I don't know if any of you have suggestions or can help, but I teach at two
>facilities in the Denver-Boulder area. The Pottery Lab in Boulder and City
>Park Recreation Center in Westminster CO. Anyway, I am in charge of bringing
>people for workshops. We have had Cynthia Bringle, Paul Soldner, Jim Lorio,
>Bob Smith etc. But now I need some help getting in touch with other potters.
> I would like to ask Don Rietz to come and maybe Linda Christensen or Randy
>Johnston. If anyone has any other suggestions or can tell me how to reach
>potters for worksohps I would appreciate it.
>
>Nancy Utterback

Nancy:
In the far distant past I've been successful in getting adresses from the
American Craft Council in NYC. I don't have an address or phone number
but it should be in the magazine AMERICAN CRAFT.
BobH in OKc

YiLi Lin on wed 4 dec 96

Does anyone have a guide to workshops or short seminars for beginning
potters in North Carolina? Please e-mail any information to
ylilin@tribeca.ios.com. thanks.

YiLi Lin

Lori Boardman on thu 5 dec 96

At 08:10 PM 12/4/96 EST, you wrote:
>----------------------------Original message----------------------------
>Does anyone have a guide to workshops or short seminars for beginning
>potters in North Carolina? Please e-mail any information to
>ylilin@tribeca.ios.com. thanks.
>
>YiLi Lin
>
>Try the John C. Campbell Folk School in Brasstown, N.C.
800 FOLK-SCH
Life is what happens while waiting for something else to happen!

HWCGmc1@aol.com on sat 7 dec 96

YiLi Lin-Odyssey-Center for the Ceramic Arts in Asheville,NC has a full
program of classes and workshops covering all levels. Their program is held
year-round. Their address is
Odyssey-Center for the Ceramic Arts
PO Box 18284
Asheville, NC 28814
704-285-0210
Brian

Penny Hosler on sat 14 mar 98

I've been reading ClayArt for several months now and would
love to attend some of the workshops mentioned, but I have a
question. How irritating is it for one of these highly trained
artists to have rank amateurs in their workshops? I attended
one and felt very much out of my depth. Everyone there had
been working with mud for at least 10 years and were making
their livings with it, and although they were very nice I was
somewhat embarrassed.
Is there any way of knowing whether a workshop is aimed
at "advanced" or "intermediate", etc? Listening to some
doofus asking why the sky is blue when everyone else is arguing
quantum physics has got to be annoying. Am I being too
sensitive, or should I wait until I feel more comfortable with
my level of expertise?
(I can make/pour molds, hand-build, and fire/elec
only--haven't learned the wheel yet. I'd take some more
college ceramics classes, but there's really nothing available
here, so I'm just reading everything I can get my hands on)


Penny in Sequim,WA
pshosler@olypen.com

Paul Lewing on sun 15 mar 98

Penny,

You should be able to call the school that's sponsoring the workshop
and ask them about the level of expertise required for a particular
class. And if they can't tell you, they should let you call the
instructor and ask them. The teacher really should tell you if you're
going to be lost.

Of course, sometimes you can assume a level of knowledge. You
probably wouldn't sign up for a week-long glaze chemistry class if
you'd never mixed a glaze, unless it specifically said it was for
beginners. Or a class on throwing huge pots if you could barely
center.

But there is no excuse for making anyone feel like an idiot for asking
questions in a workshop that is supposedly aimed at all levels. I
hope I've never done that, and I know I try to start at the beginning,
no matter where I know most people in the audience are. When I talk
about glazes, I always start with "Glaze is basically glass, and glass
is mostly silica." And I stop frequently if I'm explaining something
complicated, just to ask if folks are still with me. I feel like if
anybody has any questions when I get done, I haven't done my job. On
the other hand, if you still have questions, you haven't done your
job. Everyone, including the instructor, should remember that every
single person there knows more about SOMETHING than you do. So
there's no excuse for feeling superior because you know more about
clay.

Another thing to keep in mind when you feel lost- sometimes it's
valuable to know just how much you don't know.

Paul Lewing, Seattle
http://digitalfire.com/education/people/lewing

Vince Pitelka on sun 15 mar 98

> I've been reading ClayArt for several months now and would
>love to attend some of the workshops mentioned, but I have a
>question. How irritating is it for one of these highly trained
>artists to have rank amateurs in their workshops? I attended
>one and felt very much out of my depth. Everyone there had
>been working with mud for at least 10 years and were making
>their livings with it, and although they were very nice I was
>somewhat embarrassed.

Penny -
I am sorry to hear that you felt embarrassed. Your presence on this list
indicates a commitment to clay, and you should not hesitate to participate
in workshops to whatever extent is within your means. You state that the
other participants in the above-mentioned workshop were nice to you, and I
think this is what you would encounter in most workshops. Unless the
up-front information specifies otherwise, begininers are welcome. That's
how it works, and you should not feel at all embarrassed. It is amazing how
much you can accomplish in each workshop. Forget your embarrassment, take a
few workshops, and you will no longer be a beginner.
- Vince

Vince Pitelka - vpitelka@DeKalb.net
Home 615/597-5376, work 615/597-6801, fax 615/597-6803
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166

JLHclay on sun 15 mar 98

Penny, Some people are easily irritated. Don't they just deserve to live with
themselves. How do I think of beginners? Sometimes they remind me of puppy
dogs. I love puppy dogs but I don't discuss the meaning of life with
them.Sometimes beginners have fresh new insights that give me the same thrill
I had when I was still delighted with the blue sky instead of hard science.
Attend workshops ask questions, thanks for having the courage to begin this
art adventure. I don't feel I've arrived it's a long journey but the trip is
a trip. Joy in Tucson where the wild flowers are wild & the rain keeps coming
down.

Carl meigs on sun 15 mar 98

At 03:34 PM 3/14/98 EST, you wrote:
>----------------------------Original message----------------------------
> I've been reading ClayArt for several months now and would
>love to attend some of the workshops mentioned, but I have a
>question. How irritating is it for one of these highly trained
>artists to have rank amateurs in their workshops? I attended
>one and felt very much out of my depth. Everyone there had
>been working with mud for at least 10 years and were making
>their livings with it, and although they were very nice I was
>somewhat embarrassed.
> Is there any way of knowing whether a workshop is aimed
>at "advanced" or "intermediate", etc? Listening to some
>doofus asking why the sky is blue when everyone else is arguing
>quantum physics has got to be annoying. Am I being too
>sensitive, or should I wait until I feel more comfortable with
>my level of expertise?
> (I can make/pour molds, hand-build, and fire/elec
>only--haven't learned the wheel yet. I'd take some more
>college ceramics classes, but there's really nothing available
>here, so I'm just reading everything I can get my hands on)
>
>
>Penny in Sequim,WA
>pshosler@olypen.com
>
>From one beginner and workshop attendee to another:

1.You're being too sensitive.

2. You are describing me when you talk about finding yourself at sea
in the midst of experienced company.

3. Trust your colleagues to have a memory of what it was like to begin.
I have never been snarled at by classmate or by workshop leader.

4. Finally--a practical approach: I always contact the directors and/or
organizers of the workshop about the level of experience required, the
techniques to be demonstrated/ taught, etc. I hand built first and then , after
reading books and tyring it myself, I took a workshop in throwing with Phil
Rogers. The group was a mix of people just like me and people who were
already turning out marketable stuff. Rogers was tolerance itself and got my
hands moving right.

5. Be brave.


Carl Meigs

meigs@neca.com

Joyce Lee on sun 15 mar 98

Penny,

In my almost three years in clay now I have attended throwing,
kiln building, woodfiring, glaze color and development, handbuilding,
and primitive clay firing workshops. All were taught by experts. All
were mind-boggling. Each time I was the least experienced there (and
probably the oldest being older than dirt, as many of you are aware).
If anyone minded my ignorance and awkwardness with the clay, it was
never shown by word, deed or glance. Vince Pitelka, Nils Lou, Jack Troy,
Robin Hopper couldn't have been more professional, understanding and
fun. Go, run, sign up. You'll be happy you did.

Joyce
In the Mojave where we've felt the earth move several times recently.
Just like the movies, we simply sit and wait until it stops, waiting to
see whether it's the biggy or not.

KarenzPotz on mon 16 mar 98

Penny

Many of the pamphlets sent out by the craft centers that offer workshops
specify what level the students should be at. If you can't find the
information, just call and ask someone at the center. They might know or they
might not. If they have no idea then its probably safe to assume teh workshop
is for all levels. Instructors who want to work with a certain level student
almost always specify.

Anyway, you should never feel inadequate rather you should
soak up as much information as you possibly can from those who know more than
you! Its a wonderful way of learning-- from your peers and your instructor!!
And remember you paid to learn and have fun so relax and dont feel like your
not as good..... most of us don't care...we all want to have fun and learn
more too.

Karen
P.S. .....dont forget you just may have some advice or techniques that a more
advanced student never learned forgot.So dont worry about what you don't know
but share everything you do know!!

Gracedart on mon 16 mar 98

Penny,
I agree with Joyce. When I was an active board member of a calligraphy group
it was always a concern that beginners were intimidated by some of our big
name workshop instructors. It was frustrating. We wanted all to attend the
workshops and learn.
To make high level workshops less intimidating one experienced calligrapher
once remarked that we each have to accept the place in which we exist and move
on from there. For me that was an important concept and still is today.
Learning and advancing our skills is more important than where we fall in
line. Focusing too much on line position may block our attempts to grow.
And remember all teachers have a duty to serve all who wish to learn and if
they don't have the patience for all then maybe instructing is not for
them...and if other students cannot respect beginners maybe they have
forgotten from where they came. Everyone in a teaching-learning situation has
certain roles that if carried out makes a learning experience a pleasure for
everyone.


enjoy any workshop you want to attend !
grace

the Gallagher's on mon 16 mar 98

How irritating is it for one of these highly trained
>artists to have rank amateurs in their workshops? I attended
>one and felt very much out of my depth. Everyone there had
>been working with mud for at least 10 years and were making
>their livings with it, and although they were very nice I was
>somewhat embarrassed.
.. Forget your embarrassment, take a
few workshops, and you will no longer be a beginner.
- Vince

Penny,
I agree with Vince and I could be a considered a newcommer, although my clay
interest has run 20 years, beginning in high school, I have only in the last
three years gotten serious enough to take more classes and attend workshops.
There is always a mix of students from the novice to the 20 year
"professional" studio potter. I come from a different place in my clay
experiance, but can still enjoy, understand, and sometimes add to the
discussion.

The more I learn, the less I know, but I keep going and soon I will be on my
way!

Michelle
In Oregon, where my basement studio is almost ready to go!

maggie j jones on tue 17 mar 98

Penny...Don't worry about how much you don't know...just go to the
ones that interest you and discover what you can learn...get up next to
them and keep your eyes and ears open! Not having gone to college,
workshops were wonderful for my early years in clay.
Mags outside of "Bleak " Mtn NC

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Gari Whelon on tue 17 mar 98

Hi Penny:

You're getting good advice here, we all are.

I am another recent in the scheme of things potter and my source of
knowledge is workshops and other potters as well as books and lots and lots
and lots of trying it.

Workshops are a wonderful source of ideas, inspiration and knowledge, and
let you learn the tricks and techniques. The question you want to ask is
probably the same as someone else who is hesitant, ask away, how else can we
learn.

Most potters are incredibly kind and forthcoming, and, if they are on a
workshop circuit, they have probably been asked the same question several
other places so they won't feel your question out of place.

A while back there was a thread on Zen and the Art of Motercycle
Maintenance, it made me go back and reread that classic that had been
sitting in the bookshelf for so long.

It talks about the goal of Zen being to arrive at the beginners mind, That
is something we can all strive for, being there is not a cause for
embarrassment.

Gari Whelon

At 11:47 AM 3/16/98 EST, the Gallagher's wrote:
>----------------------------Original message----------------------------
>How irritating is it for one of these highly trained
>>artists to have rank amateurs in their workshops? I attended
>>one and felt very much out of my depth. Everyone there had
>>been working with mud for at least 10 years and were making
>>their livings with it, and although they were very nice I was
>>somewhat embarrassed.
>. Forget your embarrassment, take a
>few workshops, and you will no longer be a beginner.
>- Vince
>
>Penny,
>I agree with Vince and I could be a considered a newcommer, although my clay
>interest has run 20 years, beginning in high school, I have only in the last
>three years gotten serious enough to take more classes and attend workshops.
>There is always a mix of students from the novice to the 20 year
>"professional" studio potter. I come from a different place in my clay
>experiance, but can still enjoy, understand, and sometimes add to the
>discussion.
>
>The more I learn, the less I know, but I keep going and soon I will be on my
>way!
>
>Michelle
>In Oregon, where my basement studio is almost ready to go!
>
>

Penny Hosler on thu 19 mar 98

I'd like to thank everyone who responded to my e-mail re
neophytes in workshops, and there were a lot of you who took
time to reassure me. I'm kinda dazzled at how few Inflated
Egos are part of this group. Maybe playing in mud keeps ones
feet on the ground? From now on I'll make the requisite phone
call to see if in fact they're aimed at a certain level. If no
one seems to know I'll just gird my loins and go for it. Thank
you again.

Penny(or Penelope...whatever) in Sequim
pshosler@olypen.com

SBRANFPOTS on mon 23 mar 98

I've been in and out of my CLAYART mail for the past two weeks but I have
noticed a thread about workshops. Here's my 2 cents. From my perspective as a
teacher and potter, workshops are the best way to learn. Not as a substitute
for regular classes but as an addendum to them. However, there are some
caveats. You must attend workshops with an open mind and without
preconceptions. As both a presenter and attendee I have found that people are
most often disappointed (and rightly so) when they feel the workshop didn't
meet their expectations or preconceived notions about what they were going to
be exposed to and learn. Find out as much as you can about the content of the
workshop as possible before you sign up. Listen carefully to the details of
the agenda and don't make assumptions. Often people go to workshops assuming
that they are going to get what they want and not what the presenter is
planning or prepared to give. Of course there always is a degree of give and
take and the presenter will usually respond to the audience at least in some
fashion. If the workshop is a participatory one then be certain about the
level of skill and experience that is expected and that you have. There is
always something to learn and to benefit from at a workshop not only from the
guest but from the other participants as well. Observation, discussion,
questions, conversation...... pay attention and you will come away with
something new. There is much more to comment on but I'll leave it for the rest
of you !

Steven Branfman
The Potters Shop

Tim Stowell on tue 24 mar 98

Speaking of workshops...I was on my way back from a show and thinking
about pottery stuff as I was speeding down (or up) the thruway. I came up
with an interesting question for everybody.

If you were to attend your dream workshop, what would it be and who would
be presenting it, and where would it be held???

If you were to give your dream workshop, what would it be and where would
it be held???

Just thought I'd ask.

Tim


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Yvonne M. Pund on wed 25 mar 98

My dream workshop would be, within 90 miles of Evansville, IN. Begin on
Saturday Morning and End on Sunday afternoon. Cover one technique each
weekend for several weekends in a row. I'm Dreaming Right. Yvonne

On Tue, 24 Mar 1998, Tim Stowell
wrote:

> ----------------------------Original message----------------------------
> Speaking of workshops...I was on my way back from a show and thinking
> about pottery stuff as I was speeding down (or up) the thruway. I came up
> with an interesting question for everybody.
>
> If you were to attend your dream workshop, what would it be and who would
> be presenting it, and where would it be held???
>
> If you were to give your dream workshop, what would it be and where would
> it be held???
>
> Just thought I'd ask.
>
> Tim
>
>
> _____________________________________________________________________
> You don't need to buy Internet access to use free Internet e-mail.
> Get completely free e-mail from Juno at http://www.juno.com
> Or call Juno at (800) 654-JUNO [654-5866]
>

Gregory D Lamont on wed 25 mar 98

Tim,

An interesting question! At this point in my development, I would most
like to attend a workshop where we all learn glazing techniques--especially
brushwork. To see how they go about it and to learn what materials they
use would be great.

Greg

At 07:42 AM 3/24/98 EST, you wrote:
>----------------------------Original message----------------------------
>Speaking of workshops...I was on my way back from a show and thinking
>about pottery stuff as I was speeding down (or up) the thruway. I came up
>with an interesting question for everybody.
>
>If you were to attend your dream workshop, what would it be and who would
>be presenting it, and where would it be held???
>
>If you were to give your dream workshop, what would it be and where would
>it be held???
>
>Just thought I'd ask.
>
>Tim
>
>
>_____________________________________________________________________
>You don't need to buy Internet access to use free Internet e-mail.
>Get completely free e-mail from Juno at http://www.juno.com
>Or call Juno at (800) 654-JUNO [654-5866]
>

Judith Enright on wed 25 mar 98

Up until a week or so ago, my dream workshop as an attendee would have been with
Beatrice Wood, learning sculptural, in Ojai, California.

Giving a workshop: teaching 3d and 4th graders mask-making in a one-day
workshop. (I'm actually privileged enough to be doing this at the end of April
here in California!)

Great questions, Tim!

Judith Enright @ Black Leopard Clayware


----------
From: Tim Stowell
Sent: Tuesday, March 24, 1998 7:42 AM
To: Multiple recipients of list CLAYART
Subject: Re: workshops

----------------------------Original message----------------------------
Speaking of workshops...I was on my way back from a show and thinking
about pottery stuff as I was speeding down (or up) the thruway. I came up
with an interesting question for everybody.

If you were to attend your dream workshop, what would it be and who would
be presenting it, and where would it be held???

If you were to give your dream workshop, what would it be and where would
it be held???

Just thought I'd ask.

Tim


_____________________________________________________________________
You don't need to buy Internet access to use free Internet e-mail.
Get completely free e-mail from Juno at http://www.juno.com
Or call Juno at (800) 654-JUNO [654-5866]

pedresel@3-cities.com on fri 27 mar 98

Surface decoration for the two-dimensionally challenged.

-- Evan Dresel who figures he better post something to help keep the list
going while the NCECAoids are away.

>
>----------------------------Original message----------------------------
>Speaking of workshops...I was on my way back from a show and thinking
>about pottery stuff as I was speeding down (or up) the thruway. I came up
>with an interesting question for everybody.
>
>If you were to attend your dream workshop, what would it be and who would
>be presenting it, and where would it be held???
>
>If you were to give your dream workshop, what would it be and where would
>it be held???
>
>Just thought I'd ask.
>
>Tim

Dannon Rhudy on thu 16 apr 98

I have a student who is looking for a workshop, handbuilding
or wheel, pots, in: Colorado, New Mexico, Oklahoma, possibly
Tennessee, Missouri, Arkansas, N.C.. Summer sometime. I already
have the workshop agendas for Steamboat and for Craft Center and
Haystack. Any other, please email me direct and I'll arrange for
flyers/prospecti to be sent to him so he can decide what he wants.

Thanks for help.

Dannon Rhudy
potter@koyote.com

VandRKatz on fri 17 apr 98

You should contact PENLAND & the John Cambell School in N.C. They both have
clay workshops year round, provide lodging & I understand both are in a lovely
setting. I have not had the opportunity to attend but I am on the mailing
list & should I ever have the chance . . .
Vicki Katz
Katz Creek Pottery

Julie Lacroix on thu 28 may 98

Sierra Nevada College, Lake Tahoe, Visiting Artist Summer Workshops.
Taking registration for Fred Olsen, June 8-12;Jack Troy (closed); Sheri
Sweigard, Glaze calculation, June 22-26; Catharine Hiersoux, porcelain,
June 29-July 3; Marc Lancet, Raku, July 6-10; Lana Wilson (closed);Ed
Broadfield, glass blowing, July 20-24 and July 27-31. Workshops also
include wood sculpture, painting, photography, basketry, digital arts and
more. Call 800 332 8666 for information and registration.

billie mitchell on mon 8 jun 98

does anyone know of any good workshops in
georgia or north carolina? im looking for
some in how to mix glazes saggar firing,
and something in wood firing. thanks
billie mitchell

lpskeen on tue 9 jun 98

billie mitchell wrote:
>
> ----------------------------Original message----------------------------
> does anyone know of any good workshops in
> georgia or north carolina? im looking for
> some in how to mix glazes saggar firing,
> and something in wood firing. thanks
> billie mitchell

Someone (ratku@aol.com) recently posted info on a saggar firing workshop
with Edge Barnes to take place in Raleigh next week and in July.
Haven't heard any more about it though.
--
Lisa Skeen
Living Tree Pottery & Soaps
http://www.uncg.edu/~lpskeen
"We will have to repent in this generation not merely for the hateful
words and actions of the bad people, but for the appalling silence of
the good people." -- Dr. M. L. King, Jr. 4/16/63

Karen Gringhuis on tue 9 jun 98

One place to start is contacting Cedar Creek Gallery in Creedmore
NC.

Skov-Riggs, Linda on tue 9 jun 98

billie mitchell wrote:
>
> ----------------------------Original message----------------------------
> does anyone know of any good workshops in
> georgia or north carolina? im looking for
> some in how to mix glazes saggar firing,
> and something in wood firing. thanks
> billie mitchell

Billie,

A good place to check for up-coming NC workshops is:

http://www.cclay.com/

There are postings on the Events section and also the Bulletin Board.

Linda

Vince Pitelka on tue 9 jun 98

>does anyone know of any good workshops in
>georgia or north carolina? im looking for
>some in how to mix glazes saggar firing,
>and something in wood firing. thanks

Billie -
Here at the Appalachian Center for Crafts Nick Seidner and Diane Rosenmiller
will be doing a woodfiring workshop July 6-10. Participants will make and
decorate pots, but will also bring bisque pots for wood-firing. Nick
Seidner is a full-time potter in Vermont, Diane Rosenmiller runs the Frog
Hollow Craft Center in Middletown Springs, Vermont. Email me with any
quesitons, or call the Craft Center at the number below.
- Vince

Vince Pitelka - vpitelka@DeKalb.net
Home 615/597-5376, work 615/597-6801, fax 615/597-6803
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166

Frank Tucker on fri 19 jun 98

To anyone in or visiting the Toronto area:
A well kept secret is that Tucker's Pottery Supplies puts on workshops 4 or
5 times a year. They take a part of their warehouse, clean it up, bring in
chairs and lunch, and host a weekend workshop. So far they've done
PaperClay with Rosette Gault; Kilns and Firing with their own staff; and
Porcelain with Harlan House.
June 27th and 28th Susan Gamble of Tucson Arizona will be doing a workshop
on Mosaic Tile Installations, and Public Art, as well as touching on Women
in Public Art. She is an accomplished ceramic artist, and the weekend
should prove to be very interesting. The fee is just $90.00 Canadian, and
includes lunch both days.
For more info. or to register, call Tucker's at : 1-800-304-6185,
or fax them at : 905-889-7707,
or email at : tuckers@passport.ca

Kenneth D. Westfall on sat 20 jun 98

Sarah
I don't know if this will fill your needs but it is a great place to
be for workshops and it draws people for all over. Along with the clay
work shop there is music, dancing, and just plain fun. Check it out at
http://www.augustaheritage.com and I hope this helps you and see you there.



At 09:19 AM 6/19/98 EDT, you wrote:
>----------------------------Original message----------------------------
>------------------
>Hello All-
>
>I am trying to find a residential-type throwing workshop from 2-4
>weeks to attend in either July or August. In other words, I am
>trying to find a live/eat/throw together sort of program that is
>aimed at international participants.
>
>I would prefer Mexico, but other countries are certainly possible.
>
>If anyone has either attended such a workshop and would recommend
>it, or has information about something like this, please let me know.
>
>Thanks a lot-
>
>Sarah Picciotto
>
>I'm not sure how this works, so in case you need my direct email
>address, it's sarahp@ican.net
>

Frank Tucker on tue 28 jul 98

To anyone from or visiting the Toronto area in August:

There's going to be a fantastic workshop the weekend of August 15th and 16th.

On Saturday August 15th, Trudy Golley will be giving a workshop on
"Unconventional Clay and Molds - PaperPlaster and Paperclay". Trudy has
developed a technique of adding paper pulp to plaster. This allows people
to make large molds that are significantly lighter than normal. The demo.
and slide presentation will be great for anyone interested in making
unusual press molds or casting molds who wishes to explore the liberation
that paperpulp in plaster will afford.
Trudy is currently an instructor in design at the Kootenay School of Art
in British Columbia, and has previously taught at The Alberta College of
Art, and Universities of Calgary, Tasmania, and Manitoba. She has done
lectures and residencies in Canada, Australia, Hong Kong, and Malta, and
pursued her MFA at University of Tasmania. This should truly prove to be
an exciting day.

On Sunday August 16th, Neil Forrest will be giving a workshop on "Egyptian
Paste - Self Glazing Coloured Clay". Neil will present his use of Egytian
Paste clay as both a decorative and functional surface, discussing
processes unique to this ancient self-glazing ceramic, and show the
techniques that he has devised to shape this challenging material.
Neil has been an active leader in the ceramic community for more than 15
years and is currently an Associate Professor of Ceramics and Drawing at
the Nova Scotia College of Art and Design. He has acted us juror and
participated in many international gallery exhibitions and has been an
invited lecturer, instructor and visiting artist to numerous institutions
around the world. He has been an advisor on the Canada Council, the
Institute for Contemporary Canadian Craft, and the Canada Council Art Bank.
Neil has much insight to share with us.

For further information, simply contact :

Tucker's Pottery Supplies
fax: 905-889-7707
phone: 1-800-304-6185
email: tuckers@passport.ca

Tracy or Joy Gunderman on thu 7 jan 99

Someone inquired about workshops. Last summer I enjoyed a great one with
Robert Piepenberg at the Laloba Ranch Clay Center in Steamboat Springs,
Colorado.

Laloba runs quite a number of two- week workshops during the summer and
each is taught by a well-known artist/educator. College credit is also
available. The ranch is in a wonderful setting with a well equiped studio
with living quarters above. Three meals were provided at the "main" house,
and they were really great. The number of students is limited to ten and
this provided individual treatment. Laloba is owned and operated by Judith
Day who has done a great job and maintains a neat sense of humor.

There are two large gas kilns, one is hard brick for salt, and also a large
electric. We did salt, pit, and some fuming as well as the Raku which was
the subject of my workshop. Other artists stopped by, especially on
weekends, and contributed their own talents. Piepenberg was really great
and has made a big difference in my work.

Sorry if this sounds like an ad, but I really enjoyed this experience and
plan on attending more. I think Laloba runs a list of specific workshops
in CM. Their web page is:
http://www.cmn.net/~laloba/

Tracy

paul on wed 13 jan 99

Dear All,

If anyone is interested in a two week, intensive workshop on Majolica
and Raku in beautiful West Virginia, July 11 - 24, contact Augusta Heritage
Workshops at Davis and Elkins College in Elkins, West Virginia. Augusta is
very well known for music, dance and folklore classes and amazing concerts.
Phone is 304-637-1209
web address is augusta@DnE.wvnet.edu

Paul Wilmoth
earthenware, and wood/salt stoneware
pwearthenware@email.msn.com
-----Original Message-----

Pamela Frank on mon 25 jan 99

Does anyone know of any upcoming workshops in VA, or eastern NC, DC or =
southern
MD?




Adopt the pace of nature, her secret is patience.
Ralph Waldo Emerson

Veena Raghavan on tue 26 jan 99

Pamela,
If you are within reach of Arlington VA, contact the Lee Art
Center, 5722 Lee Highway, Arlington VA 22207. Telephone: 703-228-5256
FAX 703-538-5921
They have a series of classes and there is a workshop too. Best
thing would be to get the information from them.
I was visiting my daughter in Arlington a couple of months ago and
went to the Center. It seems to b a very nice place to work and they have
interesting workshops and classes.
Hope this helps.
Veena
Veena Raghavan
75124.2520@compuserve.com

Ann Schwartz on mon 8 feb 99

Cabrillo College Potters' Guild is pleased to sponsor two workshops this
winter. Ruthanne Tudball will be at Cabrillo (75 miles south of San
Francisco) on Feb. 14th and Lana Wilson will be here March 6th. For more
information, see the Potters' Guild web page at
www.cabrillo.cc.ca.us/divisions/vapa/vapa/.

Pamela Frank on sun 28 feb 99

I am thinking of taking a workshop this summer at the Peter Valley Art =3D
Center in
Layton NJ. While the workshops sound wonderful, they are a bit costly and =
=3D
before
I give them my money and plan an 7-8 hour road trip I would like to know if
anyone has any information about the center or their workshops. Thanks
Adopt the pace of nature, her secret is patience.
Ralph Waldo Emerson

Pat Colyar on mon 3 jan 00

There are still a couple of slots left in the following workshops at
Seward Park Art Studio, in Seattle, Washington:

January 8th and 9th, 10 a.m.-4 p.m: "Decorating Stoneware" by
Cathra-Anne Barker. Hands-on; bring a bisqued piece to decorate. $95
Slide lecture Fri., Jan.7th, 7 p.m., $4

February 26th and 27th, 10 a.m.-4 p.m.:"Form from Function - Sculptural
Vessels" $95 Combinations of throwing and handbuilding techniques. Slide
lecture Fri., Feb.25, 7 p.m., $4

Both of these potters have been featured in Ceramics Monthly, and make
pots that have interesting surfaces as well as great forms. For more
information or to register, call Seward Park Art Studio at 206-722-6342.
Seward's web-site is
http://www.sewardparkart.com

Thanks! Pat Colyar, in snowy Gold Bar, WA

kblack on fri 4 feb 00

Are there any workshops or support groups in the Syracuse, New York area?
Kathy B

GORMO1@AOL.COM on sun 27 aug 00

I have been to many good ones a few OK ones and one everybody should
have been refunded and this was at a big craft school but that has been years
ago
and I have never been back or said anything bad about the school.But people
have
every right to do so!! As long as they are telling the truth about the school
and
that goes for the school too!! Word of mouth and clayart are two great sources
of information for claypeople it is about time the schools hear the feedback
the
good and the bad.
ps raku workshop 2000
oct 14-15
waterford va
w/rick berman $50 a day host claytimes last one i was great

GORMO I POTTERY
POTTER : JIM GORMAN
500 SOUTHGATE DRIVE
BLACKSBURG,VA 24060
PHONE 540-953-0673
E-MAIL GORMO1@AOL.COM

Les Crimp on sun 17 sep 00

Cleo - Re: Workshops

I would suggest you contact the Potters Guild of B.C. at their e-mail
address which is bcpguild@intouch.bc.ca

They will be able to tell you of any up-coming workshops. Good Luck !!

Les Crimp
lcrimp@home.com

Rose Bauer on mon 18 sep 00

Hi Cleo,

"Series" Red Deer College's Summer School Of The Visual Arts offers 5 =
day workshops during July and August. It doesn't get any better than =
this!!!

Recent clay courses taught by Barbara Tipton, John Chalke, Katrina =
Chaytor, Trudy Golley, Jim Etzkorn, Meira Mathison and Chuck Wissinger =
(Canada), Janet DeBoos & Sandra Black (Australia), John Calver =
(England), Rimas VisGirda and Jack Troy (USA).=20

http://extension.rdc.ab.ca/seasonal/series.htm



Also check out "MISSA", Metchosin International Summer School of the =
Arts.=20
Tom Coleman, Robin Hopper, Lana Wilson to name a few recent =
instructors.
http://www.uwc.ca/pearson/summer/missa/missa.htm

>From the tumblestacked mind of......
rose

Alexis Evans on wed 22 aug 01

> Whatever list you all come up with...
> I vote for Steven Hill at Red Star Studios meeting and exceeding every one
> of the items on the list.
>
> Enough said.
>
> KEEP CENTERED
> Cullen
> Naperville, Illinois



I don't like to make "me, too" posts but ....all during this thread I've
wanted to comment on his terrific workshop....everything a workshop should
be and more...wonderful influence on loosening up my tight [then] ole
amatuerish looking pots. I would take it again ina minute...

Are magazines the best place to find listings for workshops??? Seems like
the southeast is lacking in them...or I haven't learned where to look yet.

After reading here for 2 weeks I realize I need to make a commitment to
reach outside my grasp....and not be so intimidated by all those of you who
are so dynamic while I'm so average. [Been looking at too many websites!!]

Pottery has always been humbling to me. I was a graphic artist/illustrator
who usually caught on quickly to artsy stuff but it seems like pottery uses
both sides of the brain....coordination, organization, strength,control to
throw and then chemistry and engineering to glaze, and overall creativity
to give it all a unique flair. I've had to work harder at it than my other
artsy tries but it means so much more....guess that's why.
Lexxey

Kenneth J. Nowicki on wed 22 aug 01

I have to jump in on this one too. As a full-time stay-at-home-Dad with two
in diapers, I don't get to immerse myself in clay as much as I would like...
but the kids are growing and soon they'll be in school and I can return to my
pottery business. But for now, I try and keep connected to the clay community
through Clayart, NCECA, and an occasional workshop if I can swing it.

One of the best I've ever attended was a Steven Hill workshop in Chicago
Park, CA two summers ago. Steven was kind enough to allow me to video tape
during the workshop, and I know in my future years in clay, I'll return again
and again to review those tapes. It was a demonstration workshop which was
fine by me, as I wanted to soak in and absorb everything Steven shared,
either by his insightful words and humor... or his amazing techniques
handling clay... and of course his single firing methods and glaze palette.

Steven is a kind, and generous person... and his shapes are just delicious!
So much movement. So much grace. I think he is one of the best out there. If
you get a chance to take one of his workshops, don't miss it! (and no, I'm
not on the payroll of Red Star Studios!... lol)

Just now... 2 years later... as I slowly return to throwing at the wheel
again... I'm seeing myself "loosening up" at the wheel for the first time in
my throwing career (I normally throw very precise, and I know I am too "anal"
about details, making sure everything is just so clean looking). This is all
so much of a breakthrough for me... and I know Steven's influence is starting
to surface in my own work. It's a new and exciting time for me at the
wheel... and maybe because the few hours a month I can squeeze into getting
to my wheel, and not having the demand of running my pottery business full
time like I was... has given me sort of a more relaxed approach and allowed
me to subconsciously experiment more and push my own boundaries. It's given
me inspiration and an eagerness to get my new studio set up once my family
completes the relocation to Long Island from Southern California in the
coming months. I can't wait to get cranking again making pots! :-)

Ken
in Encino, CA (soon to be Long Island, NY)

"As a certain sadness comes to mind thinking about giving up my
"personalized" California license plate with the sunset and palm trees... it
says: CLAY RT Do you think anyone has those plates in New York?"


.............................................................................

.....................
In a message dated 08/22/01, lexxey@HOME.COM writes:

> I don't like to make "me, too" posts but ....all during this thread I've
> wanted to comment on his terrific workshop....everything a workshop should
> be and more...wonderful influence on loosening up my tight [then] ole
> amatuerish looking pots. I would take it again ina minute...
<>
> Lexxey
.............................................................................

.........................
> > Whatever list you all come up with...
> > I vote for Steven Hill at Red Star Studios meeting and exceeding every
one
> > of the items on the list.
> >
> > Enough said.
> >
> > KEEP CENTERED
> > Cullen
> > Naperville, Illinois

artimater on mon 14 jan 02

Sorry.....stuck with a little time on my hands,
Announcing a workshop: $100

Semester long workshop in North Dallas, with Rush "his =
highness".....Semester long immersion in the life of a living breathing =
fine artist....You will see him create works of fine art in front of =
your eyes.....He will answer any question you ask.....He may be =
wrong.....Arrive at his house 6 days a week at 6:00am......Follow him to =
Ceramics Heaven(You must enroll)....Work by his side....Go with him to =
pick up Grandma's lunch.....Come back to Ceramics Heaven....Work by his =
side all afternoon.....Follow him home.....I think you will want to go =
to where ever you are staying before Gloria gets home ......6 days a =
week.....Even god finds time to take Sundays off......
This workshop will be an eye opener....Especially if you stay after =
Gloria gets home....
All for $100(plus tuition at Ceramics Heaven and housing)
BYOB
DISCLAIMER- Some days he just lays there like a fish all twichy

PAX,
Rush
Where is that SYbalLIstianAbus
"I only indulge when I've seen a snake, so I keep a supply of =
indulgences and snakes handy"
http://artimator.com
rush@artimator.com
http://clubs.yahoo.com/clubs/texasceramics

Artimator Galleries
2420 Briarwood Ln.
Carrollton, TX 75006
972-841-1857

Vince Pitelka on tue 16 sep 03

Lesley -

When someone quotes you their fee, it is just their stipend for teaching the
workshop. You are expected to provide all meals, accommodations, and
transportation in addition to the stipend. In some cases the workshop host
buys the plane ticket and pays for all meals, and in other cases the artist
covers those costs and then gets reimbursed. Some artists do not like to
stay in private homes when they teach workshops, but personally I like it.
When I go teach a workshop I like to get the flavor of the community, the
people, etc.

Usually the slide show and "meet the artist" evening is included in the
stipend. Almost all venues ask for that, and very few of them pay any extra
for it. I certainly would not expect to receive anything extra for doing
the slide show and "meet the artist" night.

Yes, there is usually a contractual letter that is exchanged, but not
always. Most commercial workshops venues do a contractual letter, whereas
the private studios that offer workshops usually do not.
Best wishes -
- Vince

Vince Pitelka
Appalachian Center for Craft
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Home - vpitelka@dtccom.net
615/597-5376
Office - wpitelka@tntech.edu
615/597-6801 x111, FAX 615/597-6803
http://iweb.tntech.edu/wpitelka/

Bob Nicholson on tue 16 sep 03

Our Guild has hosted a number of workshops with out of area speakers. All
the issues and questions you asked are good, but there aren't hard and fast
answers.

The best thing you can do is TALK TO YOUR SPEAKERS. Find out what they
expect and what they charge, then see if you can build a profitable workshop
around it. (We've found many speakers to be incredibly generous and giving!)

It is important to write down everything, and get a signed contract. This
protects both parties. The contract should spell out conditions for
cancelling.
That also means you need a cancellation policy when you start taking sign-ups!

Good luck with your program!

If you have other specific questions, drop me a note offline and I
will refer you
to our workshops chairman.

By the way, if you are not listed in our Guild directory, at
http://www.ovcag.org/guilds , please send me a note with your
guild name, website, location and contact info.

- Bob

Paul Lewing on tue 16 sep 03

on 9/16/03 4:48 AM, lesley hildreth at hildreth99@COX.NET wrote:

> When someone quotes you their fee, what does that normally include?
Hi, Lesley. My upcoming workshop at Bracker's in Lawrence, Kansas will make
39 states I've taught workshops in, so I have some experience here. Sorry
for the blatant plug, but I hope to see some Clayarters there.

> Are you expected to provide accommodations, meals and/or transportation
> fees?
Yes, all of these. Most presenters are willing to stay at someone's house
(I prefer that myself, although I hate putting a kid out of their room), but
some would rather have a motel room. If it's a workshop longer than a
weekend, you should probably do the motel, as it's quite an imposition on
someone.
If your presenter comes from farther away than maybe an hour's drive, you
should pay mileage or air fare. Figure if it's too far to drive home for
the night, you should pay transportation costs. I usually prefer to make
travel reservations myself, to better fit my schedule, and so I get the
airline miles. But you may prefer to do it, so you get them.
Meals are also included, but most potters don't at all mind making their own
breakfast. Any restaurant or takeout meals should be paid for by the
school. I personally love the potluck dinner during the workshop. I often
feel like I do all the talking during a weekend workshop and I don't get to
know the students, so this is a great opportunity. And home cooked meals
are just as fine with me as restaurant meals. But be sure to check with
each of your presenters about food preferences and allergies.
And if your presenters have some free time, it's really nice to show them
around a little. As an example, I'm trying to book workshops next summer in
places that have major league baseball. But I would never expect my host to
pay for something as expensive as that. In fact, last fall, when I was in
Boston I took my hosts to a game at Fenway Park, but my hosts in New Jersey
had season Yankees tickets, so they treated me. But any artist would like
to see galleries and museums. If it's a place I've never been before, just
a driving tour is a real treat for me.

> If they are doing a slide show/=B9meet the artist=B9 for two hours the evening
> before the workshop, how do you decide how much they should be paid for
> that?
If I'm only doing a slide show at some venue, I will of course charge for
that. But often if I'm doing a weekend class, I will do the Friday night
slide show at no extra charge. I figure I was going to show those slides
anyway, and I was going to be there anyway. Then I will (depending on the
topic of the class and what slides I have) usually do another slide show
just for the participants. But I tend to just keep talking as long as
anyone will listen, so doing the show Friday night just lets me give out
more information during the workshop.

> And, presumably some sort of contractual letter is exchanged?
Usually, but not always. Certainly if it's more than a weekend, you would
want a contract. But I do not have one with Bracker's and I assume I'm not
going to see one. I'd say there is one about two thirds of the time.
And there are some things you need to require from your presenters.
You will need a photo and a bio (or at least a resume) in plenty of time to
help you with the publicity. Ask for a photo of the work for your flyer and
one of the presenter with his work for the media.
You need a list of what the presenter will need in the way of supplies and
materials. This should be detailed enough that if he needs a board or 20
paper cups, you shouldn't have to scramble for them during the workshop.
And make sure there's someone at every workshop who knows where stuff like
that is, because there's always something you need. I once was unable to
present a key part of a class because the only extension cord was locked up
and no one had the key.
And if students are going to need more than a notebook, they need a detailed
list, sent in time for you to send it with registration confirmation.
And don't forget to have the presenter fill out a Form 1090 for the IRS.

Good luck with your first workshops. It'll be fun- I promise!
Paul Lewing, Seattle

lesley hildreth on tue 16 sep 03

Our local potter's association is trying to set up guidelines for bringing
in people to conduct workshops.
We had a meeting last night and among the questions that were tossed around
were:

When someone quotes you their fee, what does that normally include?
Are you expected to provide accommodations, meals and/or transportation
fees?
If they are doing a slide show/=B9meet the artist=B9 for two hours the evening
before the workshop, how do you decide how much they should be paid for
that?
And, presumably some sort of contractual letter is exchanged?

I realize that there are all sorts of exceptions & =8Cwell it depends=B9 but we
are looking for some sort of starting point.

Appreciate having ClayArt faithfully waiting for me in my message box every
morning.

- Lesley
Virginia Beach, where I am anxiously trying to find some hatches to batten
down in anticipation of the arrival of Isabel

Milla Miller on tue 16 sep 03

My friend in Hawaii actally Oahu Windward group hosted many workshops and
often the presenters agreed to stay with guild members and eat with them for
breakfast and they had ''covered dish'' lunches where everyone signed up to bring
a favorite and any noncooks brought the napkins,plates,cups ,coffee and
server and condiments,ice and cold drinks.The refrigerator and microware oven
helped when coolers alone were not enough to keep the food serving safe.

Dinner out was ''Dutch'' aka each pay your way .This order could be
reversed.We had the slide shows in the evening and the presenter did the demo during
the day and dinner then a slide show so non ''workshop'' members could see the
slide show.We also gave college students a reduced rate and sometimes the
slide show was at a seperate cost for non workshop attendees and other times it
was free.

At times we had wrokshops over a few days and there was a'' day rate'' for
those who could not attend the entire and that was more per day by a good deal
than the per day of the entire workshop.We always liked to have one night
where we ''entertained'' the presenter.If a host was providing for that person's
stay that person and organizers would have the opportunity to take the
presenter out and treat the host and presenter at their personal expense for the
evening prior to the event.Usually, the presenter gave the host a pottery token
for their hospitality.It is usually a workable situation but some will not be
that flexible and some were hard to please with special diets and allergies
that made things a bit difficult.If your group does not have any good host
homes a list of bed and breakfasts or motels will be necessary and that will
be part of the workshop price.If the group pays it direct to the motel and
gets airline tickets it makes the artist's tax situation easier and the group
can control costs some.The matter of bringing tools and props and having all the
presenter needs to do the techniques must have become trickier [since
911]and must now be sent ahead by an agreed upon carrier and expenses for that can
get tricky with certain ones,so it may help to that in writing and agreed
upon before making other committments.Always get the stufff insured and secure
them when they arrive.It helps if you check on the past workshops any artist
presenter has done and talk with the hosts on what to expect, if possible, as
this can make it easier on all.Each person is different and most are wonderful
to work with, a few are difficult.

The biggest thing to plan for outside the workshop is to think of any out of
town participants and mentally walk in their shoes in your planning and try to
make a list to send them of places to stay at all price points and their
distance from the workshop with maps to scale.Restaurants and their menu sample
sheets,location of pottery suppliers [locally or nearby] if supplies might
be needed that are not provided.Always send a list of supplies needed and
local accommodations with requests so total cost of enrollment can be easily
determined as many of us are on a budget and need a heads up.

Think of how you will handle cancellations under any imaginable circumstance
in advance on the part of either the presenter, host or participants and
develop a worst scenerio policy[keep in mind how it will affect future offerings
the way you handle it].Make that policy known in advance to all involved.

Have more than one person in charge and have more than one contact phone
number and if using email have the mail checked frequently for anything that
arises.Anyone out of town needs 24 hour contacts, if possible, in case of
emergencies.

We will be looking foreward to your workshops.Keep us informed.Remember some
presenters schedule even a year or more in advance as do many crafters and
some will schedule a ''route'' that has several stops and that might keep
travel expenses down for all involved.Think smart and it will make it more
''workable'' for everyone.Be careful of dates used, and be sensitive to both local
events and the general competing events on many venues that will affect your
event in a myriad of ways.Ask around and online if you are not sure what
competes for that particular date.It is vexing when several occurr on the same
weekend and none other times, seems that happens often.We can't clone ourselves nor
do most of us have the budget for too many too close together nor the same
weekend,lol.

Get the money from participants in advance [at least to cover
costs].Sometimes ,an early lower price incentive will help procrastinators decide and will
give a clue to enrollment and might be tied to a cancelation clause for the
presenter.Choose a program you have strong reason to believe you have enough
potental enrollment to cover entire event costs.If that same presenter has given
many recent workshops nearby, there may not be as much interest to your member
population.

I hope this gives some useful info.

Margaret in SC

Milla Miller on tue 16 sep 03

If many members wish to be host or if someone who cannot provide the privacy
or any need the presenter may desire you have to decide in advance how your
group may best handle such situations.You must listen to what the presenter
desires and rotate the host responsibilities and be sensitive to members who
want to host but who might not meet the guest's needs.It is hard to be fair in
all situations, be careful.

There should be some thought about distance and other issues for choosing a
host ,even involvement with other group responsibilities.Being a host is both
an honor and work and how you select and reward the host needs to be fair.If
it is not done with fairness and sensitivity toward all involved it could
undermine your group in the future if that is ignored due to personalities.
Margaret

Barbara Brown on wed 17 sep 03

I was workshop chair for ACGA (Assoc of Clay and Glass artists of Ca)
for 21 years (1960-2001) It was a job I loved.
Our workshops were all one day workshops. They were demonstration only
workshops to meet the artist, watch them work and hear their story with
their slide show right before lunch. The lunch was either potluck or
bring your own,
The workshop hours were 10-5 or 9-4.
I hosted all the visiting artists and made many wonderful friends. I
would have them arrive Thurs, Fri I took them to San Francisco on a
pottery tour of museums and galleries. Sat workshop, Sun home.
Fri evening there was a potluck at my house open to all potters to meet
the artist.
We tried to keep the workshops affordable for everyone. We paid the
visiting artist $500 plus $300 airfare. We suggested they bring pots
for sale to add to their income. We charged $25 for people to attend
the workshop. I arranged the workshops at different colleges and art
centers and we shared the profit or loss.
I would do one(or more) in the south bay area at DeAnza College and one
in the north bay area at Walnut Creek Art Center.
As you can imagine, times have changed and workshop artist fees have
gone up and workshop fees also.
Since I've retired from ACGA workshop chair, I've made myself available
for having potters potlucks and hosting visiting artists at my house for
OVCAG workshops. Irene Jenkins is the workshop chair for OVCAG and is
doing a wonderful job.
Barbara

Barbara Brown phone/fax 408-736-3889
1225 Manzano Way,Sunnyvale,Ca. 94089
http://www.silverhawk.com/crafts/bbrown97
email: bbrown3@webtv.net

John Baymore on wed 17 sep 03

Our local potter's association is trying to set up guidelines for bringin=
g
in people to conduct workshops.We had a meeting last night and among the
questions that were tossed around
were:
When someone quotes you their fee, what does that normally include?
Are you expected to provide accommodations, meals and/or transportation
fees?
If they are doing a slide show/=3DB9meet the artist=3DB9 for two hours th=
e
evening
before the workshop, how do you decide how much they should be paid for
that?
And, presumably some sort of contractual letter is exchanged?



Lesley,

Hi. As you likely know if you've been around the clay field a while ...
like a number of folks here on CLAYART..... I do workshop presentations a=

bit . So I thought I'd give you my thoughts on this question.

When I "quote a fee" for a workshop it is for my "expertise and experienc=
es
in general" and my teaching abilities........... plus my time in prepari=
ng
for the event, the time spent traveling to the event, actually presenting=

at the "formal" aspects of the event, being involved with the "informal"
aspects of the event (dinners, schmoozing time, etc.), and the time spent=

traveling back from the event. So the "fee" quoted is really paying for
the time being a "teacher" in all the diverse aspects that role really
entails.
=

In addition to that fee for my time and expertise..... the expenses I inc=
ur
for doing the event are also expected to be covered by the organizers. =

Those expenses would include stuff like transportation costs, food, and
lodging. And of course any specialized materials utilized in the course =
of
the workshop and xeroxing of handouts and such. Depending on the
particular venue..... sometimes the housing is a hotel and it is paid for=

by the organizers and I never see anything to do with the costs..... and
sometimes I pay my own expenses and then send the bill to the organizer. =
=

As to food...... sometimes it is billed to the hotel room...... and
sometimes I pay the bills and then send the costs to the organizer after
the fact. There is no "standard deal" that I have seen developing.

Transportation could simply be some gas for the car........ or it could b=
e
as elaborate as airfare and a rental car. A lot depends on the particula=
r
venue. Also the organizers cover the expenses for lodging. In my case,
lodging could be as simple as a spare bedroom in a potter's house (as lon=
g
as there are no cats or hampsters...allergic ). Or a basic motel like=
a
Motel 6. Don't need the "Ritz" . As to food expenses.... that would
include food "on the road" as well as food while at the event. On the ro=
ad
traveling... I try to eat cheaply to keep the organizer's event costs dow=
n.
At the event, such food can be potlucks or whatever or dinners at local
eateries or in people's homes. Again...... don't need "Chez Fantastique"=

. I usually enjoy having "local" foods.

I always try to save the organizers money whenever I can in the expense
category. I realize that no one is really getting rich at this stuff =
. =

But I also realize the real value of my time. Particularly as I get olde=
r
and realize that there ain't a lot of it left to me . =


A "typical" weekend workshop includes arriving mid-day on Friday and
"schmoozing" with the organizers and getting the lay of the land, a Frida=
y
evening slide talk (up to about 3 hours of time), a long day on Saturday
that can run into the evening after dinner if needed, and a pretty long d=
ay
on Sunday..... trying to end by 4:30 -5:00 PM. So that "quoted fee" cove=
rs
two and a half long days plus the time to get there and back. =


If I am doing a "weekend workshop", usually the Friday evening slide
presentation is just figured in as a part of it in the original figure we=

agree upon. It is very uncommon that you wouldn't just do this anyway
. If a slide show thing is somehow an "add on" after the fact when we=

have already settled on the price (which it rarely is) I usually don't
charge all that much additional since I am planning on being there anyway=

........ maybe an additional $75- $100 max. Some of my exact fee for =
a
workshop depends on the nature of a workshop that I do. When I have
presented at NCECA .......as you likely know...... everyone gets the same=

minimal honorarium everyone does, no expenses paid, and so on. That
particular presentation venue is really considered a "service to the fiel=
d"
type thing .....and no one gets much money. But presenting there certain=
ly
IS good "press" . =


When I do something like a kiln building workshop the basic fee is often =
a
bit larger because the logistics that I have to take care of both before
and after the event are MUCH greater than doing something like a "this is=

who I am and this is what I make" type workshop. If I have to do a speci=
al
design and set of plans for the kiln being built..... the price gets even=
a
bit higher. A "weekend" kiln building workshop often really involves abo=
ut
a week of my time. A couple hour slide lecture type thing of course is a=

pretty simple event and hence is pretty inexpensive. Particularly if it =
is
a program that I have the already slides set up for and haver done in the=

past. An actual hands-on full woodfiring workshop tends to be on the
higher side 'cause it typically involves a LOT of hours per day and a lot=

of really hard physical work .

Another slight consideration that happens sometimes in the basic fee I
charge is how much the venue is likely to be able to "make" on the event
and how the numbers of participants will impact how hard I have to work
when doing it to really make it "click". In some formats, for the goals =
of
the workshop,..... larger groups make the thing far harder to accomplish.=
=

It is one situation to work in an interactive setting for a group of say=

10 people........ and a different situation to do the same with a group o=
f
30. And of course the organizers have more budget to work with if they a=
re
charging for 30 people rather than 10. This is not a big factor.... but
sometimes it can factor in.

So when setting these things up, I talk a lot with the organizers about
exactly what their goals for the workshop are, how many people will be
involved, who those people will be, and what they want me to accomplish
with their participants. Every event...even if I have "done it before" i=
s
really a bit "custom" to the location and people. And from all that
information, the actual fee for my services gets determined.

Like most presenters, I also try to lump multiple workshops together in a=

geographic area or on a "road trip" route. That way I can save each of t=
he
venues some of the transportation expenses..... because in effect they
"share" a large portion of them. In that sense, I can also do a simple
short slide lecture at a location where such a short and simple
presentation would not be practical otherwise due to the expense of getti=
ng
me to travel there for that alone.

I think you will find most presenters are pretty flexible and easygoing
about the food, transportation , and lodging aspects of these things. An=
d
that most try to save the organizers some money on these expenses wheneve=
r
they can.

Hope this and the stuff I sent you "off list" is helpful.


best,

.....................john


John Baymore
River Bend Pottery
22 Riverbend Way
Wilton, NH 03086-5812 USA

JBaymore@compuserve.com
http://www.JohnBaymore.com

603-654-2752 (studio)
800-900-1110 (studio)

Bob Hamm on wed 17 sep 03

----- Original Message -----
From: "Paul Lewing"

> And there are some things you need to require from your presenters.
> You will need a photo and a bio (or at least a resume) in plenty of time
to
> help you with the publicity. Ask for a photo of the work for your flyer
and
> one of the presenter with his work for the media.
> You need a list of what the presenter will need in the way of supplies and
> materials. This should be detailed enough that if he needs a board or 20
> paper cups, you shouldn't have to scramble for them during the workshop.

This is another good reason for a contract. The Kelowna Clay Festival
contract has two paragraphs; KCF will supply and presenter will supply. In
preliminary discussions with the presenter we put together a list of
requirements. These are written into the contract which is then sent to the
presenter. The presenter is asked to check that all their needs will be met
and by which party before they send back the signed contract. The result is
a smooth workshop experience with little improvisation required.

Best regards

Bob - finally back to normal after the Kelowna Mountain Provincial fire
forced us to evacuated twice. On the evening of Friday August 22 over 200
homes were destroyed in the city of Kelowna. No deaths or serious injuries.
We were lucky. I hope the communities on the east coast facing an
approaching hurricane feel as lucky in its aftermath as we do now.

Bob Hamm
Robert Hamm Studio Gallery
6750 Highway 33 East, Kelowna, BC V1P 1H9
Phone 250 765-8876 Fax 250 765-0497 email bobhamm@look.ca
To visit my web site http://www.bobhamm-art.com
Kelowna Clay Festival web page http://www.bobhamm-art.com/clayfest

jessica gitlis on wed 4 feb 04

The Greenbelt Community Center will be offering 3 workshops over the =
coming months. We are located at 15 Crescent Rd., Greenbelt Maryland. =
(approx. 20 minutes from Washington DC)

Margaret Boozer: Sculptural Drawing
March 13 & 14: 10am - 5pm
Sculptor and ceramist Margaret Boozer explores aesthetic and practical =
issues of ceramics for the wall, from large installations to small =
prints and drawings, addressing issues of ceramic work that speaks of =
mass, but reads like a drawing or painting.=20

Gary Irby: Clay & Fire
April 18 &25: 10am - 4pm

Work with Gary to create wheel and hand built pieces the first Sunday =
and bring the work to a Raku firing at the second workshop meeting.=20

Hank Murrow: Using the Wheel and Extruder
Friday, May 14-Sunday May 16.=20

Hank Murrow will be presenting a slide show and discussion of his work =
on Friday evening. On Saturday and Sunday he will be demonstrating ways =
to begin, alter and trim pots and use of the extruder. The workshop will =
include some hands-on activities for the participants.=20

For more information call or email: Jessica Gitlis
301-397-2208x 2290
jgitlis@ci.greenbelt.md.us

LFREIMAN on tue 25 may 04

Dear Clayarters,

I would like to know if someone in the Seattle Wa. area is giving =
workshops this summer,=20
I need to visit my new nephew at the same time I can hang around for a =
while and would like to attend one or two workshops if possible I can =
make my plans accordingly.
I am interested in wood firings, soda/salt firings getting a bit tired =
of good old Cone 6 I need some pizzas, I want my work to explode with =
life a hands on workshop would be great.
I can also make my way to the Chicago/Waukegan Ill area around the same =
time, if anyone has any suggestions please contact me at =
lfreiman@rogers.com or through clayart.
Thanks in advance,
Susan R

Liz Willoughby on wed 23 mar 05

The Potter's Council Regional Workshops reminds me a bit about
Fusion: The Ontario Clay and Glass Association's annual conference.
This includes a workshop by two presenters, a exhibition of juried
work, pre-conference mini workshops, and a dinner/dance. This year
it is held in Waterloo Ontario, the last week-end in May and the
presenters are Cathi Jefferson and Chris Gustin. More info at
Http://www.clayandglass.on.ca

I have the feeling that what the Potter's Council is trying to do is
what Fusion has been doing for years.
So if anyone is interested in coming to southwestern Ontario and
having a good time, go to the web-site.

Meticky Liz from Grafton, Ontario, Canada.

a member of both of the above.

marianne kuiper milks on fri 28 oct 05

--- Russel Fouts wrote:

Hi again, Russell,
You wrote it twice..I read it twice. How dilligent.
I wonder now what I wrote in the first place,because
that is exactly what I have in mind. Perhaps I should
check to see what I wrote!
The idea is that EVERYONE who comes contributes
something. I hope it works, I'm so excited!

Waar in Belgie woon je? In Brussel zelf, of in de
buurt? Misschien kom ik een keertje langs - tde
volgende trek naar Nederland.

Marianne

> Mariann E,
>
> Something great and easy to do is to arrange for a
> friend-potter/s to
> come and stay with you for a week or more and
> everybody shares techniques.
>





__________________________________
Yahoo! Mail - PC Magazine Editors' Choice 2005
http://mail.yahoo.com

Russel Fouts on fri 28 oct 05

Mariann E,

Something great and easy to do is to arrange for a friend-potter/s to
come and stay with you for a week or more and everybody shares techniques.

I first did this with my friend from Israel (now New Jersy) Kobbi
Nissim. We became friends at the Tokoname workshop and when he said
he was coming through Brussels we arranged the workshop. We spent the
first few days in London OD'ing on pottery and other art and then
came back and just made, made, made. There was a lot of sharing of
ideas and sometimes we reached the point where the result was greater
then the sum of the parts.

The second happened when Marta and I were in San Diego for NCECA. We
arranged to come a week early so we could work together. Nan Coffin
and Richard Burket loaned us their studio/backyard and again, we just
made, made, made. Again many of the results were greater than the sum
of the parts.

I also have this many times when I meet with my potter-friend Ruth
Balou, recently moved to Belgium. Whenever we get together, we can't
resist playing with each other's clay and tools and that leads to all
kinds of things.

The same priciple, on a much larger scale is "Hay Creek", mel's farm
where he invites friends and they play with clay (and other
materials), kilns, do demos for each other, etc. I'm sure that the
result is VASTLY larger than the sum of the parts.

Russel





Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
Tel: +32 2 223 02 75
Mobile: +32 476 55 38 75

Http://www.mypots.com
Home of "The Potters Portal"
Over 3000 Pottery Related Links!
Updated frequently

My work can also be seen on:
The World Crafts Council Belgium Site http://wcc-bf.org:
Members English Pages: http://wcc-bf.org/artistes/ukrussel_fouts.htm
EasyCraft: http://www.easycraft.org

"To announce that there must be no criticism of the president, or that
we are to stand by the president, right or wrong, is not only
unpatriotic and servile, but is morally treasonable to the American
public." --U.S. President (and Nobel Peace Prize winner) Theodore
Roosevelt.



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JOYCE LEE on thu 22 jun 06

If I weren't in the position where my Physical/Occupational
therapist tells me that if I miss therapy for several days again right
now that I may well have to go back to where I was last July 4,
which was a pretty bad place.

BUT IF THAT WEREN'T THE CASE.....

I think I'd hit Charlie and Linda Riggs at Laloba Ranch (if they'd let =
me in); then
the Potters Council workshop, the one at Francis Marion U. in July=20
with Mel, Stephanie, Dannon and so many others that I wouldn't want to =
miss;
I'd sign up at Vince's place for at least one week plus re-visit his =
workshop
at Michael McDowell's in Washington; oh yes, drop by Robin Hopper's to
finally make a Randy Broadnax moment in time not to be forgotten; find
out what the Coleman's are presenting about firing in the Geil; look for
something offered by Bill Van Gilder .......=20

That would be my dream and would be possible if the therapist hadn't
said flatly "not this summer." =20

Still....... life is good and I am a very fortunate woman and potter.

Joyce
In the Mojave desert of California USA

Allyson May on wed 28 may 08

This is a multi-part message in MIME format.

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Hey All,

Spaces are available in two of my summer workshops.=20

August 30 and 31 2008 and September 27-28 2008

Naked Clay: Investigations in Alternative Firing Techniques.=20

This 2 day hands on workshop will provide information and =
experimentation in Naked Raku and Saggar firing, Participants will bring =
bisqued works and saggars. All other materials will be provided. =
Emphasis will be on experimentation, skill development and problem =
solving. A Technical Data Sheet will be provided several weeks in =
advance to assist participants in the construction of items for the =
workshop.=20

The workshop will include:

a.. Slide presentation,=20
b.. Workshop manual (processes, recipes, clay bodies)=20
c.. Discussion and demonstration of all techniques,=20
d.. Firing=20
e.. Evaluation/critique=20
f.. Lunch
Whether you are experienced or just beginning to explore =
alternative firing, this workshop will be an excellent opportunity to =
gain new insights and experience in a fun and relaxing environment. =
Class space is limited so make reservations early.

Cost: 2 day workshop, materials and lunch $175.00
=20
Location: Stoney Creek Pottery, Bloomington, Indiana=20
Contact: Allyson May AMay4@msn.com =20

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style=3D"PADDING-LEFT: 10px; FONT-WEIGHT: normal; FONT-SIZE: 10pt; =
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leftMargin=3D0 topMargin=3D0 acc_role=3D"text" CanvasTabStop=3D"true"=20
name=3D"Compose message area">

Hey All,

 

Spaces are available in two of my summer workshops. 

 

August 30 and 31 2008  and  September 27-28 2008 Naked Clay: Investigations in Alternative Firing Techniques. = This 2 day hands on workshop will provide information and=20 experimentation in Naked Raku and Saggar firing, Participants will = bring=20 bisqued works and saggars. All other materials will be provided. = Emphasis=20 will be on experimentation, skill development and problem solving. = A=20 Technical Data Sheet will be provided several weeks in advance to = assist=20 participants in the construction of items for the workshop. The workshop will include: Slide presentation,=20 Workshop manual (processes, recipes, clay bodies)=20 Discussion and demonstration of all techniques,=20 Firing=20 Evaluation/critique=20 Lunch Whether you are experienced or just beginning to explore = alternative=20 firing, this workshop will be an excellent opportunity to gain new = insights and experience in a fun and relaxing environment. Class = space is=20 limited so make reservations early. Cost: 2 day workshop, materials and lunch $175.00

colSpan=3D4>Location:=20 Stoney Creek Pottery, Bloomington, Indiana Contact: = Allyson=20 May href=3D"mailto:AMay4@msn.com">title=3D"mailto:AMay4@msn.com CTRL + Click to follow link"=20 color=3D#d78807>AMay4@msn.com

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dianamp@COMCAST.NET on tue 23 nov 10

EMU (Ypsilanti, Michigan) will offer a workshop on mural making in the summ=
er semester (July/August).
I have a lot of experience making large murals (see public art section of d=
ianapancioli.com).


I am also contemplating workshops at various locations on hand building BIG=
POTS.
Amaco will carry an inexpensive CD and die kit explaining the process
in their next catalogue (in the spring), but it is better taught in person.
I will put some photos of my students and their big pots on my web site
soon. I think you will be impressed by what both art majors and non-art maj=
ors
can build in their first course (second assignment!).


Diana Pancioli