NCCCIAP

Kurt Dryhaug (Lamar University) Erin Cummingham (The University of Texas at Austin) Eric Fuertes (School of the Art Institute of Chicago) Stacey Holloway (University of Alabama at Birmingham) Butch Jack (Contemporary Sculptor) Donnie Keen (Keen Foundry) Wayne Potratz (Professor Emeritus, University of Minnesota) Luke Sides (Collin College) Jen Torres (University of Southern Mississippi) This panel will address making cast iron art in an industrial foundry. All panelists have

Luis Mesiti

Tobias Flores Introduction by Noah Kirby Toby was born in Flagstaff, Arizona in 1971. He studied printmaking, drawing, and sculpture in San Diego receiving a BA from San Diego State University in 2000. At SDSU he changed his major from printmaking to sculpture after learning to work with metal under master sculptor Gerald Dumlao. He studied sculpture and blacksmithing at Southern Illinois University at Carbondale receiving an MFA in 2003. He currently lives and works in Hays,

Gerry Masse (Sculpture Trails Outdoor Museum) Tracey Pfaff (Sculpture Trails Outdoor Museum) Various Sculpture Trails Outdoor Museum Artists Here is a quick run down of the Sculpture Trails safety tips given to the inters and artists just before they pour 30,000 pounds of iron during the Cast Iron Sculpture Workshops at the Sculpture Trails every July. Sculpture Trails safety officer, along with Gerry Masse, and a few Trails artists, share the most dangerous iron pour experie

Stacey Rathert (University of Mississippi) We share a great deal of knowledge about the material and process of cast iron at our conferences, which we take with us when we return to our respective corners of the world and pass on to others. For those working in academia or settings with opportunity to teach, returning from conferences with new information inspires more engaging instruction and innovative ideas in the classroom. The actual process of translating this knowledge

Stacey Holloway (University of Alabama at Birmingham) Christyn Overstake (Independent Artist) 'Shift Change: Recipe Book' will be a short presentation that introduces the collaborative project of a composed book of recipes from our fine art iron processes and community. For example: bot, bottom sand, ceramic shell slurry, and green sand mixtures, furnace diagrams, tricks and tips with sand molds, hand-drawn directions of choreography of a performance; notes from a demo, a rec

Jen Torres (University of Southern Mississippi), Kelly R. Ludeking (KRL Metal Art Studio), Corrina Sephora Mensoff (Phoenix Metalworks), Etienne Jackson (Independent Artist), & Matt Eaton (Institute of American Indian Arts) A two-part panel that starts with a discussion on artists/sculptors developing opportunities, networks, and building skills in a variety of work environments that support entrepreneurship that leads to creating a business. Part two will focus on the items

Brighton McCormick (McCormick Sculpture and The Chicago Ave. Fire Arts Center) Jess Bergman Tank (Chicago Ave. Fine Arts Center) The Chicago Avenue Fire Arts Center (CAFAC) is a non-profit arts organization that fills a unique niche in the Twin Cities. We focus on art forms produced using heat, spark, or flame: blacksmithing enameling, glass, jewelry making, metal casting, neon, sculptural welding, and more. The pillars of our programming are arts education, artist support, a

Jay Elias (Evolution Art Studio, Henry Ford College) Adam Hazlett (Henry Ford College) Upon my discharge from the Marine Corps in 1991, I suffered terribly from the effects of PTSD. This led me down a path of self-destruction which eventually turned into an 11 year prison sentence. In 2014 I met Casey Westbrook. He was a talented and amazing human who introduced me to the cast iron community, and through the creative process I began to explore the possibility of allowing myse

Changes in Seeing, Changes in Knowing, Changes in Making Elizabeth Kronfield, Mary Bates Neubauer, Ryan Lamfers, Ashley Hope Carlisle This panel seeks to understand how artists evlove their conceptual practice through repetition. of(or despite the repetition of) process. How do artists continue to change ideas when things such as mold-making, charging, patinas, or other technical aspects of making are no longer "new". We all find inspiration in learning, so how does this lear

Attached is a copy of the 2023 NCCCIAP's program