Supplies students need to\nbring:
Hill side Grain blends modern science and old-world stone\nmilling to produce f lour from grains grown adjacent to the mill. Our\npractices in the field i nclude improving soil health\, crop diversity\, water\nconservation\, whil e in the mill we work to produce healthy\, high quality\,\nunadulterated\, fresh flour. (171 Pero Road\, Bellevue)
\n
Supplies students need to\nbring:
Hillside Grain blends modern science and old-world stone\nmilli ng to produce flour from grains grown adjacent to the mill. Our\npractices in the field include improving soil health\, crop diversity\, water\ncons ervation\, while in the mill we work to produce healthy\, high quality\,\n unadulterated\, fresh flour. (171 Pero Road\, Bellevue)
\nSupplies students need to\nbring:
Hill side Grain blends modern science and old-world stone\nmilling to produce f lour from grains grown adjacent to the mill. Our\npractices in the field i nclude improving soil health\, crop diversity\, water\nconservation\, whil e in the mill we work to produce healthy\, high quality\,\nunadulterated\, fresh flour. (171 Pero Road\, Bellevue)
\n
Supplies students need to\nbring:
Hillside Grain blends modern science and old-world stone\nmilli ng to produce flour from grains grown adjacent to the mill. Our\npractices in the field include improving soil health\, crop diversity\, water\ncons ervation\, while in the mill we work to produce healthy\, high quality\,\n unadulterated\, fresh flour. (171 Pero Road\, Bellevue)
\nSupplies students need to\nbring:
Hill side Grain blends modern science and old-world stone\nmilling to produce f lour from grains grown adjacent to the mill. Our\npractices in the field i nclude improving soil health\, crop diversity\, water\nconservation\, whil e in the mill we work to produce healthy\, high quality\,\nunadulterated\, fresh flour. (171 Pero Road\, Bellevue)
\n
Supplies students need to\nbring:
Hillside Grain blends modern science and old-world stone\nmilli ng to produce flour from grains grown adjacent to the mill. Our\npractices in the field include improving soil health\, crop diversity\, water\ncons ervation\, while in the mill we work to produce healthy\, high quality\,\n unadulterated\, fresh flour. (171 Pero Road\, Bellevue)
\nSupplies students need to\nbring:
Hill side Grain blends modern science and old-world stone\nmilling to produce f lour from grains grown adjacent to the mill. Our\npractices in the field i nclude improving soil health\, crop diversity\, water\nconservation\, whil e in the mill we work to produce healthy\, high quality\,\nunadulterated\, fresh flour. (171 Pero Road\, Bellevue)
\n
Supplies students need to\nbring:
Hillside Grain blends modern science and old-world stone\nmilli ng to produce flour from grains grown adjacent to the mill. Our\npractices in the field include improving soil health\, crop diversity\, water\ncons ervation\, while in the mill we work to produce healthy\, high quality\,\n unadulterated\, fresh flour. (171 Pero Road\, Bellevue)
\nFamilies will\nmak e art\, explore The Museum’s Art Lab and view the exhibition together.\n Designed for families with kids who are 5 and older. Afternoon Art session s\nwill be offered July 29\, August 5 &\; 12. Projects will change on a \nweekly basis.
Sessio
n 1\ntakes place from 2:30-3:20pm—one family should sign up for one slot
\ntogether.
Session 2 takes place from 3:30-4:20pm—one family shou
ld\nsign up for one slot together.
Due to limited space in our\nclassroom and we can only accommodate a family of up to 4 people per \nreservation (ticket). If your family group is larger than 4 people\, ple ase\nreserve additional slots as necessary.
F amilies will\nmake art\, explore The Museum’s Art Lab and view the exhib ition together.\nDesigned for families with kids who are 5 and older. Afte rnoon Art sessions\nwill be offered July 29\, August 5 &\; 12. Projects will change on a\nweekly basis.
Session 1\ntakes place from 2:30-3:20pm—one family should sig
n up for one slot\ntogether.
Session 2 takes place from 3:30-4:20pm
—one family should\nsign up for one slot together.
Due t o limited space in our\nclassroom and we can only accommodate a family of up to 4 people per\nreservation (ticket). If your family group is larger t han 4 people\, please\nreserve additional slots as necessary.
Encaustic\nmonotyp e uses a heated palette with an application of pigmented wax on the\npalet te’s metal surface to create instant results. It is an intuitive\nproces s that is quick\, unpredictable and spontaneous! Printing with\npigmented waxes offers an opportunity to investigate a wide variety of\nideas and me thods to inspire and expand the artist’s visual\nlanguage.
Medium:\nPrintmaking
\nAge and ability: adults\, beg inner to\nintermediate
Nancy Vorm relocated to the Was atch\nFront from her native state of Indiana in 2001. Her work is a contin ual\nexploration of materials\, layers\, textures and color utilizing vari ous\nmedia such as\, inks\, pigments\, paper and wax. In addition to her r egular\nstudio practice\, Nancy Vorm has participated in numerous juried s hows in\nUtah\, California\, New York and Taiwan\; as well as\, teaching t he encaustic\ntechnique. Vorm currently works full time as a studio artist at Bogue\nFoundry in Salt Lake City. She is represented by Phillips Galle ry in Salt\nLake City.
For additional questions\nregarding this workshop \, please email Jeanne Knott\, Visual Arts Class\nAssistant at jknott@svmoa.org.
E ncaustic\nmonotype uses a heated palette with an application of pigmented wax on the\npalette’s metal surface to create instant results. It is an intuitive\nprocess that is quick\, unpredictable and spontaneous! Printing with\npigmented waxes offers an opportunity to investigate a wide variety of\nideas and methods to inspire and expand the artist’s visual\nlangua ge.
Medium:\nPrintmaking
\nAge and abil ity: adults\, beginner to\nintermediate
Nancy Vorm rel ocated to the Wasatch\nFront from her native state of Indiana in 2001. Her work is a continual\nexploration of materials\, layers\, textures and col or utilizing various\nmedia such as\, inks\, pigments\, paper and wax. In addition to her regular\nstudio practice\, Nancy Vorm has participated in numerous juried shows in\nUtah\, California\, New York and Taiwan\; as wel l as\, teaching the encaustic\ntechnique. Vorm currently works full time a s a studio artist at Bogue\nFoundry in Salt Lake City. She is represented by Phillips Gallery in Salt\nLake City.
For additional questions\nregard ing this workshop\, please email Jeanne Knott\, Visual Arts Class\nAssis tant at jknott@svmoa.org.
Encaustic\nmonotyp e uses a heated palette with an application of pigmented wax on the\npalet te’s metal surface to create instant results. It is an intuitive\nproces s that is quick\, unpredictable and spontaneous! Printing with\npigmented waxes offers an opportunity to investigate a wide variety of\nideas and me thods to inspire and expand the artist’s visual\nlanguage.
Medium:\nPrintmaking
\nAge and ability: adults\, beg inner to\nintermediate
Nancy Vorm relocated to the Was atch\nFront from her native state of Indiana in 2001. Her work is a contin ual\nexploration of materials\, layers\, textures and color utilizing vari ous\nmedia such as\, inks\, pigments\, paper and wax. In addition to her r egular\nstudio practice\, Nancy Vorm has participated in numerous juried s hows in\nUtah\, California\, New York and Taiwan\; as well as\, teaching t he encaustic\ntechnique. Vorm currently works full time as a studio artist at Bogue\nFoundry in Salt Lake City. She is represented by Phillips Galle ry in Salt\nLake City.
For additional questions\nregarding this workshop \, please email Jeanne Knott\, Visual Arts Class\nAssistant at jknott@svmoa.org.
E ncaustic\nmonotype uses a heated palette with an application of pigmented wax on the\npalette’s metal surface to create instant results. It is an intuitive\nprocess that is quick\, unpredictable and spontaneous! Printing with\npigmented waxes offers an opportunity to investigate a wide variety of\nideas and methods to inspire and expand the artist’s visual\nlangua ge.
Medium:\nPrintmaking
\nAge and abil ity: adults\, beginner to\nintermediate
Nancy Vorm rel ocated to the Wasatch\nFront from her native state of Indiana in 2001. Her work is a continual\nexploration of materials\, layers\, textures and col or utilizing various\nmedia such as\, inks\, pigments\, paper and wax. In addition to her regular\nstudio practice\, Nancy Vorm has participated in numerous juried shows in\nUtah\, California\, New York and Taiwan\; as wel l as\, teaching the encaustic\ntechnique. Vorm currently works full time a s a studio artist at Bogue\nFoundry in Salt Lake City. She is represented by Phillips Gallery in Salt\nLake City.
For additional questions\nregard ing this workshop\, please email Jeanne Knott\, Visual Arts Class\nAssis tant at jknott@svmoa.org.
Encaustic\nmonotyp e uses a heated palette with an application of pigmented wax on the\npalet te’s metal surface to create instant results. It is an intuitive\nproces s that is quick\, unpredictable and spontaneous! Printing with\npigmented waxes offers an opportunity to investigate a wide variety of\nideas and me thods to inspire and expand the artist’s visual\nlanguage.
Medium:\nPrintmaking
\nAge and ability: adults\, beg inner to\nintermediate
Nancy Vorm relocated to the Was atch\nFront from her native state of Indiana in 2001. Her work is a contin ual\nexploration of materials\, layers\, textures and color utilizing vari ous\nmedia such as\, inks\, pigments\, paper and wax. In addition to her r egular\nstudio practice\, Nancy Vorm has participated in numerous juried s hows in\nUtah\, California\, New York and Taiwan\; as well as\, teaching t he encaustic\ntechnique. Vorm currently works full time as a studio artist at Bogue\nFoundry in Salt Lake City. She is represented by Phillips Galle ry in Salt\nLake City.
For additional questions\nregarding this workshop \, please email Jeanne Knott\, Visual Arts Class\nAssistant at jknott@svmoa.org.
E ncaustic\nmonotype uses a heated palette with an application of pigmented wax on the\npalette’s metal surface to create instant results. It is an intuitive\nprocess that is quick\, unpredictable and spontaneous! Printing with\npigmented waxes offers an opportunity to investigate a wide variety of\nideas and methods to inspire and expand the artist’s visual\nlangua ge.
Medium:\nPrintmaking
\nAge and abil ity: adults\, beginner to\nintermediate
Nancy Vorm rel ocated to the Wasatch\nFront from her native state of Indiana in 2001. Her work is a continual\nexploration of materials\, layers\, textures and col or utilizing various\nmedia such as\, inks\, pigments\, paper and wax. In addition to her regular\nstudio practice\, Nancy Vorm has participated in numerous juried shows in\nUtah\, California\, New York and Taiwan\; as wel l as\, teaching the encaustic\ntechnique. Vorm currently works full time a s a studio artist at Bogue\nFoundry in Salt Lake City. She is represented by Phillips Gallery in Salt\nLake City.
For additional questions\nregard ing this workshop\, please email Jeanne Knott\, Visual Arts Class\nAssis tant at jknott@svmoa.org.
Families will\nmak e art\, explore The Museum’s Art Lab and view the exhibition together.\n Designed for families with kids who are age 5 to 12. Afternoon Art session s\nwill be offered July 29\, August 5 &\; 12. Projects will change on a \nweekly basis.
Session 1 takes place from\n2:30-3:20pm—on
e family should sign up for one slot together.
\nSession 2 takes plac
e from 3:30-4:20pm—one family should sign up for one\nslot together.
Due to limited space in our classroom and we\ncan only accomm odate a family of up to 4 people per reservation (ticket).\nIf your family group is larger than 4 people\, please reserve additional\nslots as neces sary.
F amilies will\nmake art\, explore The Museum’s Art Lab and view the exhib ition together.\nDesigned for families with kids who are age 5 to 12. Afte rnoon Art sessions\nwill be offered July 29\, August 5 &\; 12. Projects will change on a\nweekly basis.
Session 1 takes place from\
n2:30-3:20pm—one family should sign up for one slot together.
\nSes
sion 2 takes place from 3:30-4:20pm—one family should sign up for one\ns
lot together.
Due to limited space in our classroom and we \ncan only accommodate a family of up to 4 people per reservation (ticket) .\nIf your family group is larger than 4 people\, please reserve additiona l\nslots as necessary.
Due to the\nu ncertainty around Covid-19 and in prioritizing the safety of our community \nand concert attendees\, the hard decision has been made with Gregory Ala n\nIsakov’s team to cancel this summer's concert. We hope to bring Grego ry\nfor a concert in the future. For the first time in over 40 years\, Sun \nValley Museum of Art will not be gathering our community for outdoor liv e\nconcerts. While\nwe're devastated over the whole\nsituation\, we're strategizing how we can continue con necting you to live\nperformances\, so stay tuned! If\nyou'd be willing to help The Museum financially durin g this difficult time\,\nwe'd welcome a donation of any size as a vote of solidarity in bringing\nback live performances stronger than ever.
Finishing out the\nconcert series at River Run Lodge is the soul ful Gregory Alan\nIsakov. This talented singer-songwriter was born in Johannesburg\,\nSouth Africa\, and now calls Colorado home. I sakov has toured\ninternationally with his band and has performed with nat ional symphony\norchestras across the United States. In addition to owning his independent\nrecord label\, Suitcase Town Music\, he also manages a s mall farm in Boulder\nCounty that provides produce to over a dozen local r estaurants.
Due to the\nuncertainty around Covid-19 and in prioritizing the safety
of our community\nand concert attendees\, the hard decision has been made
with Gregory Alan\nIsakov’s team to cancel this summer's concert. We ho
pe to bring Gregory\nfor a concert in the future. For the first time in ov
er 40 years\, Sun\nValley Museum of Art will not be gathering our communit
y for outdoor live\nconcerts. While\nwe're devastated<
span> over the whole\nsituation\, we're strategizing how we
can continue connecting you to live\nperformances\, so stay tuned!
If\nyou'd be willing to help The Museum
financially during this difficult time\,\nwe'd welcome a donation of any s
ize as a vote of solidarity in bringing\nback live performances stronger t
han ever.
Finishing out the\nconcert series at River Run Lodge is the soulful Gregory Alan\nIsakov. This talented singer-songwriter was born in Johannesburg\,\nSouth Africa\, and now calls Colorado home. Isakov has toured\ninternationally with his band and has p erformed with national symphony\norchestras across the United States. In a ddition to owning his independent\nrecord label\, Suitcase Town Music\, he also manages a small farm in Boulder\nCounty that provides produce to ove r a dozen local restaurants.
Can you describe\n what you see? Art inspires\, captures\, escapes\, disrupts\, disturbs\,\nc onceals\, and reveals. It also helps us learn to look more carefully\,\nre minding us that what we think we see is not all there is. In this time of\ nmis-seeing and misunderstanding\, careful looking is ethical and urgent\n work. Please join us for ninety minutes of generative writing exercises\nb ased on the current exhibition. Experiment with new ways to view art and\n play with language. Everyone is welcome\; the workshop is open to all\nlev els\, from beginner to advanced.
This class takes place\nWe d\, Aug 19\, from 6–7:30pm
Medium: writing
\nAge and ability: 14yrs and older\, beginners welcome
Sarah Sentilles is a writer\, teache r\,\ncritical theorist\, scholar of religion\, and author of many books\, including\nDraw Your Weapons\, which won the 2018 PEN Award for C reative\nNonfiction. Her writing has appeared in The New York Times\, The New Yorker\,\nOprah Magazine\, Ms.\, Religion Dispatches\, Oregon ArtsWatc h\, and the Los\nAngeles Review of Books\, among other publications. She's had residencies at\nHedgebrook and Yaddo.
She earned a bachelor's degree at Yale and\nmaster's and doctoral degrees at Harvard. She is also the co-founder of the\nAlliance of Idaho\, which works to protect the basi c human rights of\nimmigrants by engaging in education\, outreach\, and ad vocacy at local\,\nstate\, and national levels. At the core of her scholar ship\, writing\, and\nactivism is a commitment to investigating the roles language\, images\, and\npractices play in oppression\, violence\, social transformation\, and justice\nmovements.
She has taught at Pacific Northwest College of Art\,\nPortland State University\, California State U niversity Channel Islands\, and\nWillamette University\, where she was the Mark and Melody Teppola\nPresidential Distinguished Visiting Professor. S he teaches writing\nworkshops and works one-on-one with clients to help su pport their art\,\nwriting\, and creativity. She lives in Hailey\, Idaho.< /p>
For\nadditional questions regarding this workshop\, please e mail Jeanne Knott\,\nVisual Arts Class Assistant at jknott@svmoa.org.
C an you describe\nwhat you see? Art inspires\, captures\, escapes\, disrupt s\, disturbs\,\nconceals\, and reveals. It also helps us learn to look mor e carefully\,\nreminding us that what we think we see is not all there is. In this time of\nmis-seeing and misunderstanding\, careful looking is eth ical and urgent\nwork. Please join us for ninety minutes of generative wri ting exercises\nbased on the current exhibition. Experiment with new ways to view art and\nplay with language. Everyone is welcome\; the workshop is open to all\nlevels\, from beginner to advanced.
This clas s takes place\nWed\, Aug 19\, from 6–7:30pm
Medi
um: writing
\nAge and ability: 14yrs and older\, beginners welcome
Sarah Sentilles is a writer\, teacher\,\ncritical theorist\, scholar of religion\, and author of many books\, including\nDraw Your Weapons\, which won the 201 8 PEN Award for Creative\nNonfiction. Her writing has appeared in The New York Times\, The New Yorker\,\nOprah Magazine\, Ms.\, Religion Dispatches\ , Oregon ArtsWatch\, and the Los\nAngeles Review of Books\, among other pu blications. She's had residencies at\nHedgebrook and Yaddo.
She ear ned a bachelor's degree at Yale and\nmaster's and doctoral degrees at Harv ard. She is also the co-founder of the\nAlliance of Idaho\, which works to protect the basic human rights of\nimmigrants by engaging in education\, outreach\, and advocacy at local\,\nstate\, and national levels. At the co re of her scholarship\, writing\, and\nactivism is a commitment to investi gating the roles language\, images\, and\npractices play in oppression\, v iolence\, social transformation\, and justice\nmovements.
She has t aught at Pacific Northwest College of Art\,\nPortland State University\, C alifornia State University Channel Islands\, and\nWillamette University\, where she was the Mark and Melody Teppola\nPresidential Distinguished Visi ting Professor. She teaches writing\nworkshops and works one-on-one with c lients to help support their art\,\nwriting\, and creativity. She lives in Hailey\, Idaho.
For\nadditional questions regarding this wo rkshop\, please email Jeanne Knott\,\nVisual Arts Class Assistant at jknott@svmoa.org.
Join us for\ na glass of wine as you tour the exhibition with SVMoA’s\ncurators.
From the Colour of Its Bloom: Camas\nPrairie considers a unique landscape in Southern Idaho that is home\nto multiple ecosystems and social histories\, and is named for the Camas\nLily\, which blooms ea ch spring and has traditionally been an important food\nstaple for the Sho shone and Bannock peoples.
The project will\nconsist of an exhibiti on including 4 commissioned bodies of work\, 1 outdoor\nsculptural install ation in the city of Ketchum\, a signage project in\ncollaboration with th e Shoshone-Bannock Tribes and a catalog. The\nexhibition will feature new artwork by:
< strong>FREE\, pre-registration\nrequired. Each session is limited to 10\nparticipants.
<
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< span>Join us for\na glass of wine as you tour the exhibition with SVMoA’ s\ncurators.
From the Colour of Its Bloom: Camas\nPrairi e considers a unique landscape in Southern Idaho that is home\nto mu ltiple ecosystems and social histories\, and is named for the Camas\nLily\ , which blooms each spring and has traditionally been an important food\ns taple for the Shoshone and Bannock peoples.
The project will\nconsi st of an exhibition including 4 commissioned bodies of work\, 1 outdoor\ns culptural installation in the city of Ketchum\, a signage project in\ncoll aboration with the Shoshone-Bannock Tribes and a catalog. The\nexhibition will feature new artwork by:
FREE\, pre-registration\nrequired. Each sess ion is limited to 10\nparticipants.
Join us for\ na glass of wine as you tour the exhibition with SVMoA’s\ncurators.
From the Colour of Its Bloom: Camas\nPrairie considers a unique landscape in Southern Idaho that is home\nto multiple ecosystems and social histories\, and is named for the Camas\nLily\, which blooms ea ch spring and has traditionally been an important food\nstaple for the Sho shone and Bannock peoples.
The project will\nconsist of an exhibiti on including 4 commissioned bodies of work\, 1 outdoor\nsculptural install ation in the city of Ketchum\, a signage project in\ncollaboration with th e Shoshone-Bannock Tribes and a catalog. The\nexhibition will feature new artwork by:
< strong>FREE\, pre-registration\nrequired. Each session is limited to 10\nparticipants.
<
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n=\"file_browser\" data-entity-embed-display=\"image:image\"\ndata-entity-
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e=\"en\">
< span>Join us for\na glass of wine as you tour the exhibition with SVMoA’ s\ncurators.
From the Colour of Its Bloom: Camas\nPrairi e considers a unique landscape in Southern Idaho that is home\nto mu ltiple ecosystems and social histories\, and is named for the Camas\nLily\ , which blooms each spring and has traditionally been an important food\ns taple for the Shoshone and Bannock peoples.
The project will\nconsi st of an exhibition including 4 commissioned bodies of work\, 1 outdoor\ns culptural installation in the city of Ketchum\, a signage project in\ncoll aboration with the Shoshone-Bannock Tribes and a catalog. The\nexhibition will feature new artwork by:
FREE\, pre-registration\nrequired. Each sess ion is limited to 10\nparticipants.
Basket making is\n a meditation as well as an art form. Basketry is one of the oldest known\n crafts dating back to more than ten thousand years. The weaving techniques \nhaven’t changed and the evidence is found everywhere there is\nciviliz ation.
In this class\, you will learn and use the twining\ntechniqu e to make either a 2” diameter plate or a little round box\, just\nthe r ight size for a ring. A lid can be made out of class. The material we\nuse will be 4 and 7 ply waxed linen\, in a multitude of beautiful colors.\nOn e of the joys of crafting with this material is watching its\ntransformati on from natural substance to art piece.
Medium: Fiber\n
Age and ability: 16 yrs. and older\ , beginners\nwelcome
A mast er in fine arts\,\nSally has been drawn to basketry for its quiet contempl ative quality as\nwell as a myriad of colors and patterns\, and organic sh apes. She has won\nnumerous awards for her work\, as well as having her ba skets published in\nsix books on basketry. She gets enormous joy from teac hing others this\ncraft.
B asket making is\na meditation as well as an art form. Basketry is one of t he oldest known\ncrafts dating back to more than ten thousand years. The w eaving techniques\nhaven’t changed and the evidence is found everywhere there is\ncivilization.
In this class\, you will learn and use the twining\ntechnique to make either a 2” diameter plate or a little round box\, just\nthe right size for a ring. A lid can be made out of class. The material we\nuse will be 4 and 7 ply waxed linen\, in a multitude of beau tiful colors.\nOne of the joys of crafting with this material is watching its\ntransformation from natural substance to art piece.
Medium: Fiber\n< /strong>
Age and ability: 1 6 yrs. and older\, beginners\nwelcome
< span>A master in fine arts\,\nSally has been drawn to basketry for i ts quiet contemplative quality as\nwell as a myriad of colors and patterns \, and organic shapes. She has won\nnumerous awards for her work\, as well as having her baskets published in\nsix books on basketry. She gets enorm ous joy from teaching others this\ncraft.
Basket making is\n a meditation as well as an art form. Basketry is one of the oldest known\n crafts dating back to more than ten thousand years. The weaving techniques \nhaven’t changed and the evidence is found everywhere there is\nciviliz ation.
In this class\, you will learn and use the twining\ntechniqu e to make either a 2” diameter plate or a little round box\, just\nthe r ight size for a ring. A lid can be made out of class. The material we\nuse will be 4 and 7 ply waxed linen\, in a multitude of beautiful colors.\nOn e of the joys of crafting with this material is watching its\ntransformati on from natural substance to art piece.
Medium: Fiber\n
Age and ability: 16 yrs. and older\ , beginners\nwelcome
A mast er in fine arts\,\nSally has been drawn to basketry for its quiet contempl ative quality as\nwell as a myriad of colors and patterns\, and organic sh apes. She has won\nnumerous awards for her work\, as well as having her ba skets published in\nsix books on basketry. She gets enormous joy from teac hing others this\ncraft.
B asket making is\na meditation as well as an art form. Basketry is one of t he oldest known\ncrafts dating back to more than ten thousand years. The w eaving techniques\nhaven’t changed and the evidence is found everywhere there is\ncivilization.
In this class\, you will learn and use the twining\ntechnique to make either a 2” diameter plate or a little round box\, just\nthe right size for a ring. A lid can be made out of class. The material we\nuse will be 4 and 7 ply waxed linen\, in a multitude of beau tiful colors.\nOne of the joys of crafting with this material is watching its\ntransformation from natural substance to art piece.
Medium: Fiber\n< /strong>
Age and ability: 1 6 yrs. and older\, beginners\nwelcome
< span>A master in fine arts\,\nSally has been drawn to basketry for i ts quiet contemplative quality as\nwell as a myriad of colors and patterns \, and organic shapes. She has won\nnumerous awards for her work\, as well as having her baskets published in\nsix books on basketry. She gets enorm ous joy from teaching others this\ncraft.
Basket making is\n a meditation as well as an art form. Basketry is one of the oldest known\n crafts dating back to more than ten thousand years. The weaving techniques \nhaven’t changed and the evidence is found everywhere there is\nciviliz ation.
In this class\, you will learn and use the twining\ntechniqu e to make either a 2” diameter plate or a little round box\, just\nthe r ight size for a ring. A lid can be made out of class. The material we\nuse will be 4 and 7 ply waxed linen\, in a multitude of beautiful colors.\nOn e of the joys of crafting with this material is watching its\ntransformati on from natural substance to art piece.
Medium: Fiber\n
Age and ability: 16 yrs. and older\ , beginners\nwelcome
A mast er in fine arts\,\nSally has been drawn to basketry for its quiet contempl ative quality as\nwell as a myriad of colors and patterns\, and organic sh apes. She has won\nnumerous awards for her work\, as well as having her ba skets published in\nsix books on basketry. She gets enormous joy from teac hing others this\ncraft.
B asket making is\na meditation as well as an art form. Basketry is one of t he oldest known\ncrafts dating back to more than ten thousand years. The w eaving techniques\nhaven’t changed and the evidence is found everywhere there is\ncivilization.
In this class\, you will learn and use the twining\ntechnique to make either a 2” diameter plate or a little round box\, just\nthe right size for a ring. A lid can be made out of class. The material we\nuse will be 4 and 7 ply waxed linen\, in a multitude of beau tiful colors.\nOne of the joys of crafting with this material is watching its\ntransformation from natural substance to art piece.
Medium: Fiber\n< /strong>
Age and ability: 1 6 yrs. and older\, beginners\nwelcome
< span>A master in fine arts\,\nSally has been drawn to basketry for i ts quiet contemplative quality as\nwell as a myriad of colors and patterns \, and organic shapes. She has won\nnumerous awards for her work\, as well as having her baskets published in\nsix books on basketry. She gets enorm ous joy from teaching others this\ncraft.
Using\nphoto s of our beautiful Gem State for inspiration\, participants will work\nthr ough several exercises on paper that explore design elements and\nprincipl es such as line\, shape\, repetition and value. The focus of this\nprocess is to learn different approaches of abstracting from reality that\ncan be used in designing future artworks. Participants will leave with a\nwork o f art made of either fused fabrics or collaged papers.
Medium: Mixed Media\nCollage
Age and ability: 16\nyrs. and older\, beginners welcome
Boise artist\, Lisa Flowers Ross\,\ncreates abstract textile art that reduces core elements into basic shapes\nand organic forms. Her hand dyed colors and distinct edges create a graphic\nquality\, while adde d stitching enhances the tactile nature of the fabric.\nIn her body of wor k\, nature and daily observation are her main\ninspirations. Flowers Ross ’ artwork has been exhibited in solo\, group and\njuried exhibitions nat ionally and internationally\, and are included in\nprivate\, public and co rporate collections.
\nThe a rtist has created several public artworks\,\nreceived grants from the Idah o Commission on the Arts and Alexa Rose\nFoundation and has been an artist -in-residence in Oregon\, Idaho and\nWyoming. Flowers Ross holds a Bachelo r of Arts degree in Studio Art\n(drawing)\, as well as a degree in Busines s. She is a juried artist member\nof the professional groups\, Northwest D esigner Craftsmen and Boise Open\nStudio Collective Organization.
For additional questions regarding th is\nworkshop\, please email Jeanne Knott\, Visual Arts Class Assistant a t jknott@svmoa.org.
Using\nphotos of our beautiful Gem State for inspiration\, participan ts will work\nthrough several exercises on paper that explore design eleme nts and\nprinciples such as line\, shape\, repetition and value. The focus of this\nprocess is to learn different approaches of abstracting from rea lity that\ncan be used in designing future artworks. Participants will lea ve with a\nwork of art made of either fused fabrics or collaged papers.
Medium: Mixed Media\nCollage
Age and ability: 16\nyrs. and older\, beginners welcome
Boise artist\, Lisa Flowers Ross\,\ncreates abstract textile art that reduces core elements into basic shapes\nand or ganic forms. Her hand dyed colors and distinct edges create a graphic\nqua lity\, while added stitching enhances the tactile nature of the fabric.\nI n her body of work\, nature and daily observation are her main\ninspiratio ns. Flowers Ross’ artwork has been exhibited in solo\, group and\njuried exhibitions nationally and internationally\, and are included in\nprivate \, public and corporate collections.
\n< span>The artist has created several public artworks\,\nreceived gran ts from the Idaho Commission on the Arts and Alexa Rose\nFoundation and ha s been an artist-in-residence in Oregon\, Idaho and\nWyoming. Flowers Ross holds a Bachelor of Arts degree in Studio Art\n(drawing)\, as well as a d egree in Business. She is a juried artist member\nof the professional grou ps\, Northwest Designer Craftsmen and Boise Open\nStudio Collective Organi zation.
For additional questi ons regarding this\nworkshop\, please email Jeanne Knott\, Visual Arts C lass Assistant at jknott@svmo a.org.
Meet at The Museum\, Ketchum and caravan up to\nYankee Fork \, and the ghost town of Custer\nCity.
< p>Whether you believe the richness\nof our state lies in its vast beauty o r the lure of fortunes found in\nmineral deposits\, this field trip is mea nt to inspire your inner\nartist.Join us while we take an artistic look at Idaho’s mining\nheritage. We’ll start with a beautiful drive over Galena Summit and into\nthe Stanley Basin taking a brief tour of the Stanley Museum\, then exploring\nthe Yankee Fork Gold Dredge and delve int o Idaho’s past with a walk\naround the ghost town of Custer. We will spe nd the afternoon drawing sites\nthat inspire us.
Medium: Drawing\n
Age and\nability: 16 yrs. and older\, beginners\nwelcome
Bob Dix\nearned a B A at San Francisco State University and an MFA at the New York\nState Coll ege of Ceramics at Alfred University. He has exhibited his work\nwidely in California\, Nevada and Idaho at institutions including the\nHeadlands Ce nter for the Arts\, San Francisco Artspace\, the San Francisco\nArt Instit ute\, the Richmond Art Center\, the San Jose Museum of Art and the\nSan Fr ancisco Museum of Modern Art.
For additional questions\nregardi ng this workshop\, please email Jeanne Knott\, Visual Arts Class\nAssist ant at jknott@svmoa.org.< /p>
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Meet at The Museum\, Ketchum and caravan u p to\nYankee Fork\, and the ghost town of Custer\nCity.
Whether you believe the richness\nof our state lies in its vast beauty or the lure of fortunes found in\nmineral deposits\, this field trip is meant to inspire your inner\nartist.
Join us while we take an artistic look at Idaho’s mining\nheritage. We’ll start with a beautiful drive over Galena Summit and into\nthe Stanley Basin taking a b rief tour of the Stanley Museum\, then exploring\nthe Yankee Fork Gold Dre dge and delve into Idaho’s past with a walk\naround the ghost town of Cu ster. We will spend the afternoon drawing sites\nthat inspire us.
Class takes place Sat\, Aug 29 from\n10am–5pm.Medium: Drawing\n
Age and\nability: 16 yrs. and older\, begin ners\nwelcome
Bo b Dix\nearned a BA at San Francisco State University and an MFA at the New York\nState College of Ceramics at Alfred University. He has exhibited hi s work\nwidely in California\, Nevada and Idaho at institutions including the\nHeadlands Center for the Arts\, San Francisco Artspace\, the San Fran cisco\nArt Institute\, the Richmond Art Center\, the San Jose Museum of Ar t and the\nSan Francisco Museum of Modern Art.
For additional q uestions\nregarding this workshop\, please email Jeanne Knott\, Visual A rts Class\nAssistant at jknot t@svmoa.org.