Posted on

Contemporary Ceramics at the Penland Gallery

Ceramic work by Shalene Valenzuela, Jeremy R. Brooks, and Roberto Lugo.
Works from “Within the Margins.” From left to right: “Ironing Things Out: Various Notions” by Shalene Valenzuela, “(Altered) Young Man’s Fancy” by Jeremy R. Brooks, and “Basquiat and Celia Teapot” by Roberto Lugo.

 

The Penland Gallery presents Within the Margins: Contemporary Ceramics, an exhibition curated by Steven Young Lee, in the John and Robyn Horn Gallery. Seventeen artists are represented in the exhibition with mostly narrative ceramic sculpture in a wide range of forms and styles. The exhibition runs from May 30 through July 16 with a gallery talk at 3:30 PM on Saturday, June 3 and a reception to follow from 4:30 to 6:30 PM.

The group of artists is quite varied in terms of their cultural backgrounds and personal histories, and this is reflected in the content of the work. Shalene Valenzuela, for example, says of her bright-colored earthenware and porcelain sculptures: “My narratives explore topics ranging from fairytales, urban mythologies, consumer culture, societal expectations, etiquette, and coming-of-age issues.” Sculptor Sunkoo Yuh makes complex pieces that are often groupings of forms including plants, animals, fish, and human figures. He describes his process this way: “I draw images intuitively and spontaneously with ink and brush. I study my drawings and select a few to transform into three-dimensional clay sculptures. My work expresses my inner emotions, communications about life, and directly draws from mundane experiences.”

Curator Steven Young Lee is the resident artist director of the Archie Bray Foundation for the Ceramic Arts in Helena, Montana. He has lectured extensively in North America and Asia including at the Metropolitan Museum of Art in New York City. His work was recently featured as part of “Visions and Revisions: Renwick Invitational 2016” at the Renwick Gallery of the Smithsonian Institution in Washington, DC.

In describing his intent for the exhibition, Lee said, “The exhibition includes artists who, while residing within one set of perceived margins or another, are working from within to expand or redefine those boundaries, ultimately shifting the lines of ethnicity, race, gender, sexuality, cultural identity, or material association. Each artist is articulating a world view, and the most important aspect of their work is the sincerity of their investigation and quality of their execution. The title, Within the Margins, recognizes that while boundaries do exist, the mere fact of their existence invites—if not demands—that they be confronted, challenged and reshaped.”

 

Three ceramic plates featuring the letters E, F, and G
E, F, and G plates by Holly Walker from “Abecedarium | Envisioned.”

 

Also on view, in the Focus Gallery, is a small-format exhibition of functional ceramics by Holly Walker. She specializes in handbuilt earthenware and approaches the surfaces of her pots as a painter, brushing colored slips over the clay surface and then layering them with multiple glazes. This exhibition is titled Abecedarium/Envisioned because it includes an installation of twenty-six plates whose designs are inspired by the letters of the alphabet. The gallery talk at 3:30 on Saturday, June 3 will include remarks from both Steven Young Lee and Holly Walker.

The Visitors Center Gallery has an ongoing display of objects that illuminate the history of Penland School, while the Lucy Morgan Gallery presents a selection of work by dozens of Penland-affiliated artists. On display outside the Penland Gallery is a monumental steel sculpture by Hoss Haley and two new stone installations by Carl Peverall.

The Penland Gallery and Visitors Center is open Tuesday through Saturday, 10:00 AM-5:00 PM and Sunday, Noon-5:00 PM; it is closed on Mondays. For more information call 828-765-6211 or visit penland.org/gallery.

 

Save

Save

Save

Posted on

Elephants at the Gallery

gallery-maruyama

 

The Penland Gallery proudly presents Wendy Maruyama: the wildLIFE Project, a mixed-media exhibition that draws attention to the plight of elephants. Through a moving installation of large-scale objects, shrine forms, and informational panels, the show creates a powerful aesthetic environment and makes a compelling case for the preservation of animals in the wild. This touring exhibition originated at the Houston Center for Contemporary Craft and will be on display at the Penland Gallery through September 4. All are welcome to join us for the opening reception on Saturday, July 16, 4:30-6:30 PM, which will celebrate The wildLIFE Project as well as a show of paintings by Kreh Mellick in the Focus Gallery.

Furniture maker, artist, and educator Wendy Maruyama has been making innovative work for forty years. While her earlier work was built around traditional craft objects, in recent years she has moved beyond the boundaries of studio craft and into the realm of installation and social practice. The wildLIFE Project was inspired by a trip to Kenya where she saw elephants and other large animals in the wild and met with wildlife advocates to learn about the impact of poaching.

In this show, the elephant is memorialized in monumental form through a series of masks, eight to twelve feet in height and constructed from wood panels tied together with string. Several shrine forms are also on display, one of which is based on a traditional Buddhist altar. This beautifully crafted furniture piece incorporates an image of an elephant, flowers, a candle, an incense burner, and a handmade bell that rings every fifteen-minutes to memorialize the elephants that are being killed for their ivory. Another piece, titled Sarcophagus, is a wood and glass box that encases a stack of tusks made from blown glass. Maruyama made these objects in collaboration with glass artists Nancy Callan and Dan Friday during a residency at Pilchuck Glass School in Washington. A third shrine incorporates video, and the wall panels complement the artwork with photographs, text, and graphics.

elephant mask
“Orkanyawoi,” Wendy Maruyama

Curator Elizabeth Kozlowski has followed Maruyama’s work for many years. She says the artist views this body of work not only as an art project but as an advocacy tool. “The social-practice component of her artwork is successful in combining art, advocacy, education, and community. Her work manages to pull you in with stirring visuals and keep you engaged with multiple layers of content.”

Wendy Maruyama was a professor of woodworking and furniture design at San Diego State University in California for more than thirty years. Her work has been exhibited in New York City, San Francisco, Tokyo, Seoul, and London and can be found in many museum collections including the Victoria and Albert Museum in London, the Dallas Museum of Art in Texas, the Museum of Fine Arts, Boston, the Philadelphia Museum of Art, and the Museum of Arts and Design in New York City. She has received a National Endowment for the Arts Fellowship, a Japan/US Fellowship, a Fulbright Research Grant and the California Civil Liberties Public Education Grant. She has also been an instructor at Penland School of Crafts several times.

The wildLIFE Project has been shown at the Houston Center for Contemporary Craft in Texas and the Center for Art in Wood in Philadelphia. After it leaves the Penland Gallery, it will travel to the Chrysler Museum of Art in Norfolk, VA and the San Francisco Museum of Craft and Design.

This exhibition is a great opportunity to visit the recently renovated and expanded Penland Gallery, which also features paintings by Kreh Mellick in the Focus Gallery beginning July 15. As something special, Kreh’s work not only hangs in frames for the exhibition, but has moved onto the walls themselves in the form of large-scale murals. Come by the opening reception on Saturday, July 16, 4:30-6:30 PM to see the exhibitions, or stop by anytime during gallery hours Tuesday through Saturday, 10:00 AM-5:00 PM and Sunday, Noon-5:00 PM.

 

gallery-kreh-1

 

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Posted on

This Is a Photograph | Penland Gallery Exhibition

Chris McCaw Heliograph 095
Chris McCaw, Heliograph 095, two unique gelatin silver paper negatives, 10 x 8 inches each. This image was created by exposing photo paper in a view camera for long enough to allow the sun to create a trail across the negative. This piece represents two solar exposures.

 

What possibilities do historic photographic processes offer to contemporary artists? What does it mean to make photographic images with chemically-sensitized and processed materials in the digital era? These are some of the questions raised by “This Is a Photograph: Exploring Contemporary Applications of Photographic Chemistry,” the inaugural exhibition at the newly renovated and expanded Penland Gallery & Visitors Center. Curated by Brooklyn-based photographic artist and long-time Penland instructor Dan Estabrook, the exhibition not only reveals some of the arresting possibilities of these processes, it also brings work by world-class image makers to our community here in Western North Carolina.

Jerry Spagnoli Glasses
Jerry Spagnoli, Glasses 3-3-12, daguerreotype, 14 x 11 inches. A daguerreotype is an image created on a silver surface that has been polished to a mirror finish and then sensitized with fuming iodine and bromine. Dating to 1839, it was the first widely-used photographic process.

“This Is a Photograph” displays work by twenty-three artists experimenting with a variety of processes and materials in ways that frequently have little to do with their historic antecedents: tintype images made on found metal objects, large daguerreotypes that look almost holographic, images created by painting directly onto photo paper with chemicals, and images made by igniting gunpowder that had been sprinkled directly onto photo paper, to name a few. As Penland Gallery Director Kathryn Gremley describes, “handmade images created through the complex alchemy of light and chemistry are the common ground of the artists invited by Estabrook for this exhibition.”

“This Is a Photograph” opens on March 22, 2016. The gallery will celebrate with a public reception on Saturday, March 26 from 4:30-6:30 p.m at which Dan Estabrook and some of the artists will be present. The exhibition will be on display through May 1.

 

“This Is a Photograph” features the following artists: David Emitt Adams, Christina Z. Anderson, John Brill, Christopher Colville, Bridget Conn, Danielle Ezzo, Jesseca Ferguson, Alida Fish, Adam Fuss, Mercedes Jelinek, Richard Learoyd, Vera Lutter, Sally Mann, Chris McCaw, Sibylle Peretti, Andreas Rentsch, Holly Roberts, Mariah Robertson, Alison Rossiter, Brea Souders, Jerry Spagnoli, Bettina Speckner, Brian Taylor

Read Dan Estabrook’s essay on the show below, and you can see images of all the work in the show on the Penland Gallery website.

 

Adam Fuss Untitled
Adam Fuss, Untitled 2006, unique cibachrome photogram, 30 x 40 inches (courtesy of Cheim and Read, NY). This image was created by exposing color photographic paper through a transparent tank of colored water (with a baby in it).

 

One year ago, I was here at Penland teaching a workshop called “Photography in Reverse,” in which the students and I worked backward through the entire history of photography, stopping at key moments to experiment, play, and think about the nature of each technology. Starting with our smartphones and handheld devices—the very definition of today’s tech—we began to ask ourselves how photography has changed at this critical moment, now that almost all our daily photographic usage is created and printed digitally. At our first step backward in time, with the earliest digital cameras, we learned something crucial: although photography is becoming purely digital, like much else in our life today, we still live in a physical world, and there are artists who will always want to make physical things.

Christopher Colville Dark Horizon 41
Christopher Colville, Dark Horizon 41, gunpowder generated gelatin silver print; unique print, 8 x 6 inches. This image was created by igniting gunpowder in the presence of photographic paper.

We had to scramble to find the right cords and batteries and software so we could use some early digital cameras from 2001, and it became evident how much harder it was to work with the obsolete technology of 5 or 15 years ago than with the processes of 150 years ago. Most of our computers now can’t run the first version of Photoshop (ca. 1990) or read early Photo CDs or Zip Drives. Even the standard color snapshot is being discontinued, since the machines required to make and develop color films are disappearing for good. The history of photography, like the history of technology in general, seems to suggest that every new system or process is an advancement on the last, making all older forms obsolete. And yet for every technique that has been pronounced dead, there seems to be an artist ready to explore its particular expressive qualities. After all, decades after the invention of mass-produced ceramics, people still want to throw beautiful pots. The artists in this exhibition are each exploring the possibilities of physical and chemical photography to pursue their own contemporary aims, very much in the here and now.

Some are finding a wealth of new beauty in the simplicity of the photographic act—a permanent mark made by the meeting of light and chemistry. Others are deeply engaged with history, in how we look backward from the present or forward to the years ahead. Still others have realized how much can be revealed in the life of a physical photographic object. Any technology that can still be used by artists, whether it’s something that can be handmade or something produced from saved and scavenged machines, is going to have an ongoing parallel history through the work of these artists, not just as a period relic but as a technology carried along into the present with new developments and new meaning for the future.

A decade from now it will likely be easier to make a daguerreotype than to use the iPhone you bought in 2016; in 100 years that will be even more true. In the meantime, there will be artists like these to involve us in the material world in which we live, and to expand the possibilities of just what a photograph is.

Dan Estabrook | Studio Artist | Penland Instructor

 

Sally Mann Untitled (Self Portraits)
Sally Mann, Untitled (Self-Portraits), 2012, unique collodion wet-plate positives on metal with sandarac varnish, 9 parts, 10 x 8 inches each (courtesy of Edwynn Houk Gallery, NY). These self-portraits were made using the traditional tintype technique, which involves pouring a liquid emulsion onto a metal plate and then exposing it before it has completely dried.

 

Alida Fish Winter Leaves
Alida Fish, Winter Leaves, archival pigment print transferred onto oxidized aluminum, 24 x 20 inches. Alida creates patterns of oxidation on aluminum sheets and then transfers digitally-printed photographs onto the metal surface.

 

Posted on

One Weekend, Two Shows

Penland has not one but two groups of super-talented artists living and creating on campus: our resident artists and our core fellows. And next weekend, they will put on not one but two gorgeous shows to display their recent creations. Mark your calendar down for the evening of October 9, and mark down the afternoon of October 10 as well. Both openings will be well worth attending.

 

Core show poster

 

Personal Effects: Core Show 2015
Opening Reception October 9, 8:00-11:00pm, Northlight Hall

Personal Effects brings together pieces by Penland’s nine talented core fellows: Jamie Karolich, Joshua Kovarik, Meghan Martin, Emily Rogstad, Tyler Stoll, Elmar Fujita, Daniel Garver, Morgan Hill, and Bryan Parnham. The core fellows design and curate the show, and it’s a rare opportunity for them to display the sum of all the thinking, learning, and creating they do in their individual classes and studio practices.

If you can’t make the opening (or you just want a second look), the core show will also be open to the public from 12:00-6:00pm on October 10 and 11 and from 4:00-6:00pm on October 12 and 13.

 

promotional image for the upcoming resident artist show

 

The Barns: 2015
Opening Reception October 10, 4:30-6:30pm, Gallery North

The Barns: 2015 will be the first opportunity to see work from Penland’s current group of resident artists all together. Our newest residents Dean Allison, Maggie Finlayson, Seth Gould, and Tom Jaszczak will display their work alongside that of Annie Evelyn, Andrew Hayes, Mercedes Jelinek, and Jaydan Moore, who joined the program a year ago. The show will reflect the varied interests and talents of our residents, with works in cast glass, clay, metal, and photography alongside furniture, printmaking, and mixed media sculpture.

The Barns: 2015 will be on view this fall in Penland’s Gallery North from October 6 through November 15. Students and guests on campus are encouraged to stop by during their visits.

 

Posted on

Snapshots from a Penland tour

It's important to stay hydrated on a Penland tour. After stopping at the Penland coffee shop, we head up to the Drawing & Painting studio, where instructor Michael Dixon's students are working on self portraits.
Mikaela Darnell draws herself with her left hand. All the students in this workshop are drawing themselves with their non-dominant hand as a morning exercise.
Next door, in the Books studio, studio assistant Cheryl Prose pops out to show us the vats, fibers, and watery containers used in Eastern papermaking.
Check out the goo! (We check out the full spread of beautiful hardware and materials too.)
On the porch of the glass studio, our intrepid Penland tour guide, Val Schnaufer, prepares us for the awesomeness that is the hot shop.
Behold the awesomeness.
At this point, the other members of this tour (student-artists from Carolina Friends School in Durham, NC) are growing weary of my camera. And rightly so. But look! Instructor Katie Hudnall stops to talk with us about how her students are working intuitively with wood.
From the Wood studio we walk to Photography (where we disappear in the darkroom) and then over to Print, where instructor Kristin Martinic dazzles us with her work--prints inspired by swimming and swimming pools.
She is fun.
We peek into the Penland clay studios. Out back, Joe Pintz demonstrates a mold-making technique to his class, which we only catch a glimpse of because DEMOS ARE SACRED and Penland tours totally respect this.
Meanwhile, we climb the wood steps of Lily Loom House to visit Nick DeFord's embroidery-on-paper workshop. The students stitch and chat about local thrift shops, a potential Asheville trip, and how to find Black Mountain College.
Their table is a mountain of inspiration.
 It's hard to end a Penland tour. Thank you to our wonderful guide Val, the Penland Gallery staff, Amelia Shull, and the young artists from Carolina Friends School for visiting and letting us tag along.

 

Interested in taking a Penland tour? Tours are free and start at the Penland Gallery and Visitors Center every Wednesday, March through early December, 1:30 PM. Reservations are required. Please call the gallery at (828) 765-6211 to schedule a tour.

 

Posted on

Joseph Pintz: Ceramics | May 23 – June 22, 2014

Joseph Pintz: Ceramics opens today at the Penland Gallery. “Stubborn physicality” is a phrase Pintz uses to describe his tableware. Recently, his surfaces have brought elements of the ethereal to this physicality, evoking arid skies and desert colors.

 

 

 

In an age of ever-increasing speed, the dinner table is the perfect place to savor – to spend time, to share food and vessels made with integrity and purpose. I sincerely hope that such sustenance allows us to develop a deeper relationship to making and to each other. —Joseph Pintz

 

 

All works included in Joseph Pintz: Ceramics are viewable and available for purchase online at the Penland Gallery.

 


 
 

Joseph Pintz’s functional and sculptural ceramic work explores the role that domestic objects play in fulfilling our physical and emotional needs. Inspired by his Midwestern roots, Pintz creates mundane forms based on utilitarian vessels and other implements associated with the hand. In the process, the dense meaning of these objects is transferred into clay. Pintz earned his BA in anthropology and urban studies at Northwestern University.  After receiving his MFA from the University of Nebraska-Lincoln, he was a resident artist at the Archie Bray Foundation. He has received the NCECA Emerging Artist Award as well as the Individual Excellence Award from the Ohio Arts Council. He is  on research leave from the University of Missouri while working at the Roswell Artist-in-Residence program. He is teaching a handbuilding workshop in the Penland clay studio, May 25-June 6.

 
 

Posted on

A walk in the woods with Eleanor Annand

IsolateDetail_Web

Eleanor Annand, detail from “Isolate,” scribed and abraded drawing on paper (see below for image of the whole work).

 

An artist goes for a walk in the woods. One foot, and then another. It’s a form of precision. “You walk with a reasonable, natural rhythm; let it be natural, just as with the breath,” says the Buddhist meditation master and scholar Chögyam Trungpa, describing the practice of walking meditation. The artist walks. She observes her weight, her step, its repetition. She looks at the world around her and notices, also, the interior.

 

This is one way to think about artist Eleanor Annand’s recent body of work, completed at a time when she was researching meditation and walking—and taking many walks and hikes herself. A former Penland core fellow, Annand now lives in Asheville, North Carolina, and sustains a busy life as a full-time graphic designer. And so, to the dreamy image of an artist walking in the woods, we have to add another image to the story of Annand’s process: the artist wakes up early, goes down to her basement with her tea—and creates before the workday begins. “I don’t binge on creative time,” she says. “I prefer more of a slow and steady approach. A couple of quiet hours in the morning are ideal.”

 

Annand’s current work, on view until May 11 at the Penland Gallery, is made up of paintings on steel and works on paper. The steel pieces are coated with approximately four layers of enamel spray paint. The paper, coated with ten to twelve layers of paint on top of a layer of gesso. After the coated field is dry, Ele uses a scribe to make her low-relief mark. Marks, we should say—Annand’s works are often tidal surges of mark making (and abraded marks)–a discipline attached to the precise and generative act of seeing that can be experienced in meditation.

 

Isolate_Web

Eleanor Annand, “Isolate”

 

But Annand does not expect you to approach her painting and be enlightened. (Neither does she expect this as an end-result of her own process.) On this point she is clear-eyed. “I see most things in life as grey,” she says, “not black and white. These works aren’t about an incident but about the general emotion I carry from something.” Annand pauses and takes a sip of chai between thoughts. “There is not an answer in my work, but an acceptance. Not a wanting.”

 

How did Annand, trained in graphic design and letterpress, arrive at this steady point as an artist? Annand took her first workshop—in weaving—at Penland while still in college. Later, after working in graphic design for several years with clients like IBM, Annand took a break from professional life to get back into her hands by taking a fall 2009 workshop in Penland’s print studio. At this point, she applied for and received the two-year Penland core fellowship.

 

This was 2010. Annand’s first eight-week workshop as a core fellow was with printmaker Phil Sanders. “All of my work was figurative at the time,” she remembers. Sanders would open the workshop with an hour or two for individual drawing time, and he would orbit the room, witnessing. She recalls him pointing to a moment of abstraction in one of her figurative drawings, and saying something to the effect of ‘I think you’re more interested in what’s happening here.’ He was right—Annand’s work has moved, over the years, toward the abstract. “I still won’t commit myself to letting go of the figures,” she says. “I think that they are moving toward a different part of what I make, in illustration.”

 

To pay attention to what you’re doing—this is the most important thing I learned from Penland, adds Annand. To pay attention leads to true expression. Having a healthy sense of self-awareness has led me to make work I believe is authentic and honest.

 

Pyre_Web

Eleanor Annand, “Pyre,” painting on steel

 

Our conversation wanders back to walking, how the rhythm of walking sharpens and creates an attention to the rich periphery. She mentions her painting, “Pyre” (above).

 

“It’s not like I walked into the woods and found a pyre and decided to recreate it,” Annand smiles. “It’s about introspection, and making honest marks. I’m sure that something on my walks, some kind of distraction, helped bring the form inside.”–Elaine Bleakney