Code: C0812-22
Students of any skill and knowledge level.
Scratching the Surface
Jul 25 - Aug 5, 2022
In order to develop depth in low-fire pottery surfaces, one cannot rely on the firing process alone. The surface must be activated through mark-making and layering glazes. Participants explore these challenges by using the decorating technique of sgraffito and layering multiple translucent glazes. The course looks at pottery decoration through history and inspires students to develop their own personal motifs. Coil-building and bisque mold techniques are demonstrated.
Hand-building, surface decoration, sgraffito, red earthenware, slips, underglazes and glazes, electric fire to cone 04
Shoko Teruyama
Shoko Teruyama grew up in Mishima, Japan. She earned a BA in education and taught elementary school before coming to the United States to study art at the University of Nebraska, Lincoln in 1997. Shoko received her MFA in ceramics in the fall of 2005 from Wichita State University. She finished a three-year residency at the Penland School of Crafts in 2008 and is now a studio artist in Alfred, NY.
Shoko Teruyama, Flower Plate
Tuition: $1,350.00
Studio Fee: $175.00
Registration Fee: $45.00
In 1966, American raku ceramicist Paul Soldner selected the site for what is now Anderson Ranch Arts Center, forming the foundation for a thriving ceramics program. Then and now, Anderson Ranch is a place where students exchange ideas and examine ceramic art and pottery-making techniques. It has always been a place where seminal moments of growth happen in an artist's creative and critical thinking. Here, both beginning and emerging artists gain strong fundamental support, while established artists achieve new perspectives and advance their techniques.
The Ranch Ceramics team provides support, feedback and technical problem solving, giving each artist the freedom to experiment and grow. Our primary focus is on personal advancement through a process of creative discovery. We also offer community engagement through events like our Locals' Clubs "Circle of Fire" where artists engage with the Ranch outside of the workshop setting.
The Soldner Ceramics Center makes up more than 10,000 square feet in three buildings. The Lyeth/Lyon kiln building is equipped with gas, electric, soda and wood kilns for both oxidation and reduction firings at all temperature ranges. The Ranch offers three wood kilns, four gas reduction kilns, one soda kiln and eleven high-temperature electric kilns.
Many of the items you'll need are available in the ArtWorks Store. Please click "View Full Supply List" to see a comprehensive list of items you'll need for this workshop.
Ceramic Glazing Brushes & Tools
Ceramic Tool Kit
Writing Utensil
X-Acto knife
View Full Supply List
Anderson Ranch closely follows guidance released by the Centers for Disease Control and Prevention, the State of Colorado and the Pitkin County Health Department. In order to operate safely during the ongoing COVID-19 pandemic, Anderson Ranch has made significant modifications to our housing and meal offerings.
NEW: Summer 2022 workshop participants ages 13 and up will be required to show proof of Covid-19 vaccination. Studio program participants are required to show proof that they have received the complete Covid-19 vaccine (i.e., two weeks have passed after receiving the second dose of either the Moderna or Pfizer MRNA vaccines or the single-dose Johnson & Johnson vaccine). Additionally, if six months have passed since completing the Moderna or Pfizer series or two months have passed since receiving the J & J vaccine, then a booster is also required. Ideally the booster would have been administered at least two weeks prior to coming to Anderson Ranch.
We have established a Business Safety Plan with added layers of precaution that prioritizes the health and safety of our staff, students, faculty and guests while continuing to provide you with the Anderson Ranch experience that you know and enjoy.
Housing is limited and includes shared and private lodging options. Reservations will be managed on a first-come, first-served basis. The earlier you reserve housing, the better your chance of receiving your preferred option. Please note: Workshop costs do not include accommodations.
Learn More About Lodging and Meals
Making Art Accessible
Applications for scholarship support are encouraged. Specific scholarships are funded by Ranch supporters, both individuals and foundations, either through endowed funds or special gifts.
Students have advanced skills and knowledge of the ceramics field. Students are highly motivated, have a minimum of five years experience in the field and have a portfolio of their artwork. Typical students are academics and professional artists.
Jun 6 - 17, 2022
Between the Idea and Making: Maintaining the Dialogue
Jan and Randy Johnston
Tuition $1,600
Code C0101-22
This workshop focuses on the exchange of ideas involved in working in clay related to form and function with sculptural intention. Demonstrations cover the use of the wheel and the hand-building construction. Instructors Randy and Jan Johnston explore their process through dialogue and conversations between each other and the participants. Discussions look at why one chooses their object, and how life experiences inform the artist's journey. This is a rare opportunity to spend uninterrupted time with internationally recognized ceramic artists and affords students a unique exploration of clay, expanding their knowledge of new and traditional techniques, including surface decorations, wood firing, soda, gas and glaze as well as understanding a deeper relationship to contemporary ceramics. To attend a Master Class workshop, a portfolio review is due by Friday, February 11th, 2022. Instructions on how to submit your portfolio are as follows: Submit digital images of your work in one single PDF (as opposed to individual JPG attachments) via email directly to Anderson Ranch Studio Coordinator, Louise Deroualle at lderoualle@andersonranch.org. The single PDF must be less than 10 MB to be considered. Include 5-10 images of your work with image identification that lists the title, media, dimensions and year of each image. While not required, it is helpful to see an artist statement addressing the images you send. Include "Advanced Portfolio Review" in the subject line of your email, as well as the title of the workshop for which you are applying. Please provide a phone number where you can be reached and a link to your website. Submissions that do not follow the requested directions will not be reviewed. To be considered, we must receive portfolios by 5 PM MST Friday, Feb. 11th, 2022. If we receive your materials after Feb. 11th, you will be considered on a space-available basis. We will email you regarding your status on or before Friday, Feb. 25, 2022. If you are accepted, a deposit of $500 will be required within one week of notification of acceptance to hold your place. Housing will be assigned on a space-available basis upon enrollment.
Virgil Ortiz: The Future is History
Virgil Ortiz
Historical events like the 1680 Pueblo Revolt may not immediately spring to mind when you think of science fiction, but blending age-old traditional methods with contemporary clay techniques traverses into the future. Using visual storytelling, students learn about the central cast of characters from Ortiz's screenplay Revolt 1680/2180 and how they shape the fantastical world he's creating with clay and multimedia art. Using a unique coil and scrape building process and carving methods, participants examine, explore and build a mid-sized scale bust. Students also create a personal rendition and interpretation of Virgil Ortiz's latest character to be revealed and exhibited at Vladem Contemporary Museum, Fall 2022.
Jun 20 - Jul 1, 2022
Form and Metaphor in Pots of Purpose
Gwendolyn Yoppolo
This workshop provides a unique opportunity for students to develop their individual artistic voice using the material vocabulary of form, function, color and surface to create work that can evoke emotion, deliver poetic metaphor, make connections to cultural histories and resonate sentiment. Utilitarian ceramic objects are landmarks of the physical, emotional and relational topographies we use to navigate our lived stories around food, self and each other. As thoughtful makers, students consider the larger purposes served by their work, incorporating layers of meaning. Students are not just making bowls to hold soup–they build receptive space into experience, to find moments of compassion and generosity in a handheld vessel. Students refine their works through dialogue, drawings and writings while exploring methods such as pinching, coiling, throwing and altering, solid prototyping, press molding and reductive shaping. Special attention is given to the development of color and surface qualities through creative glaze chemistry experiments that are grounded in scientific methodology, but driven by artistic intuition.