Center for Metal Arts

Sunday Sampler - Putting Design on the Line

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Is your design vision cloudy? Get a fresh look at what’s around you and how you can apply it to your own art – sculpture, jewelry, gardening, drawing, painting, graphics, interior space planning – whatever you create. David Caccamo, Pratt School of Art graduate and teacher of art in the Poughkeepsie School System, will challenge your innate sense of combining lines and curves in two dimensions and 3D (using copper wire.)

Hot Sheet Forming I and II with Vivian Beer

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This winter, Vivian Beer is offering two full weekend seminars on Sheet Forming topics. Hot Sheet Forming I (weekend of January 14-15)  will cover the processes of rolling, curving, sinking and raising in sheet steel. This hands-on workshop has applications from sculpture to maestro auto body work. 

Annual Summer Fold Form Conference with Charles Lewton-Brain

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4th Annual Fold Form Conference with Charles Lewton-Brain at the Center for Metal Arts in downstate NY July 21-24, 2011--two memorable days of face-time with Charles Lewton-Brain at the work bench, demonstrating all eight families of fold forms plus many variations. T-folds, cross folds, pleated folds, woven folds, sheared and formed star folds, chased wedge t-folds, Plunkett folds, and more. Charles is generous with his knowledge, so bring your questions, a sketchpad—and a camera.

Really, Where It All Began

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Metallurgy is ancient in sub-Saharan Africa, where the blacksmith often belonged to a special blacksmithing caste. He was regarded with some suspicion by the village or tribe because he could transform ore into powerful ceremonial objects filled with spiritual power. He was also powerful because he could produce utilitarian objects in a way no one else could. The wife of the blacksmith was often a potter—that other “First Craft”.

Aout Those Block Parties

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We started the school in the deep snowy winter of February 03, with Uri Hofi flying in from Israel to a mixed crowd of seasoned smiths and green beginners. The energy was high, notebooks were out, cameras took record numbers of photos, many blisters were taped, and Hofi was his inimitable self, on a veritable crusade to single-handedly transform the American blacksmith scene into a force for education.

Who Takes a Metal Arts Class? Part 4, The Keyboard Geek

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Not too long ago, real men didn’t touch keyboards, aka typewriters, that symbol of poorly paid woman’s work. Now many of us spend our days working our qwerty in the cyber economy. Our backs sag into a chair all day, while our fingers make small rapid motions, and our eyeballs flick over the screen. Except for a twitch of protest now and then from unused muscles, we barely move anything but fingers and eyeballs.

Who Takes a Metal Arts Class? Part 3, The Artist

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When we suggest that artists, sculptors and jewelers bring their own portfolios to the workshop, or even pieces of their work, the studio becomes an instant art show—sculptures on the workshop tables, portfolio pages, and even digital phones passed around to share images from the artist’s studio. It’s not critique time as much as shared pleasure in the creative process. Seeing one another’s work is a wonderful way to get to know fellow students between sessions of working at the forge.

Who Takes a Blacksmithing Class? Part 2, The Career Explorer

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We get many students who are just beginning to explore their career options. Typically they are young, post high school, and they already know that the narrow academic path is not for them. They want to work with their hands as well as their minds, and traditional college education offers them little. In fact, high school didn’t really do it for them either. They are smart, full of energy, and totally frustrated.

Who Takes a Metal Arts Class? Part i, the Master Smith

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There are many reasons to take a metals class, and here at the Center for Metal Arts we find in fact that we have three or four different types of students.

The first is the professional smith, one who knows her or his skills, understands what can be done with the metals, has a technical experience base, and wants to learn better techniques and tooling. Here is where the masters classes are golden. We have hosted a cadre of professional metal artisans who build award-winning work, and there is always something new to learn from the innovative master educators, and from one another.

Fire, Forge and Hot Iron for Sculptors

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What does blacksmithing bring to the sculptural process? Sculptor Frederic Crist returns to the Center for Metal Arts with a 2 day workshop March 20-21, 2010, to focus on use of traditional blacksmith techniques that can change up the creation and forging of sculpture. We will explore basic skills, process and tools. Form and create individual and multiple pieces, as well as investigate different assembly processes, wedging, riveting, and mortise and tenon. We will explore the use of mass and line in developing ideas and direction in sculpture.