Penland School of Crafts Photography Summer 2010

Classes are open to serious students of all levels unless specified in course description; beginners welcome.

Christina Z. Anderson, Handstand,

tricolor gum bichromate, 12 x 16 in.

This class will focus on three photographic printing processes in combination. We will create unique, evocative, contemporary images using cyanotype over platinum, gum over cyanotype, and gum over platinum. We will also discuss creativity, composition, contemporary photography, organizing and showing one’s work, and other topics. We will cover digital negatives in depth, so intermediate knowledge of photo editing software is required (Photoshop, PS Elements, Lightroom); bringing a laptop is encouraged. Code 01p

Assistant professor at Montana State University; author of Experimental Photography Workbook and Alternative Processes Condensed; collections: Kinsey Institute (IN), Atelier ph7 (Belgium).

Kyle Bajakian, Old Faithful, archival inkjet print

on watercolor paper, 12 x 18 in.

Ansel Adams called his method “previsualization,” and this class will put it into practice, exploring the Penland environs and making photographs that speak to the physical and cultural landscape. Back at the lab, we will process our black and white film and apply some advanced printing techniques in the darkroom to produce fine art prints. In addition to field trips, lab time, and group critique, we will review the history of landscape photography and discuss possible future trends. All levels. Code 02p

Adjunct professor at Montana State University; former director of photography at Anderson Ranch (CO); contributing author to Third Views, Second Sights: A Rephotographic Survey of the American West.

Dan Bailey, Cat Hollow Pool, inkjet print, 24 x 48 in.

When one angle isn’t enough . . . photos without borders . . . mapping the terrain . . . wish you were here. Conveying a sense of time and space in imagery is an age-old challenge and desire. This class will cover current techniques and approaches to creating digital panoramas and immersive photography. Output will focus on the digital print, but will also include screen-based and online presentation (Web delivery, Google Earth, etc.). Students must bring a digital SLR; personal laptops will be helpful. All levels. Code 03p

Code 03p Director of the Imaging Research Center at University of Maryland/Baltimore Campus; collections: Museum of Modern Art (NYC), Pompidou Center (Paris).

Jo Whaley, Atomic Tea Party,

chromogenic print from color negative film,

30 x 24 in.

Since the days of Daguerre, there has been imagery constructed to be photographed. Working in various genres, from still life to allegorical portraiture and figurative tableaux, we will cover the construction of images using theatrical techniques. Instruction will include attention to natural light and techniques for manipulating it. We will study the history and contemporary practice of constructed images. Students may work in black and white or color in any format, but must have a firm technical grasp of their camera. Those working digitally must bring laptops and understand their software. Code 04p

Studio artist; exhibitions: George Eastman House (NY), Museum of Modern Art (San Francisco); author of The Theater of Insects (Chronicle Books).

Jeff Goodman, Story Telling Card (front and back),

silver gelatin print, 3-1/2 x 5-1/4 in.

How do we see? What does thinking look like? When an image speaks to you, what language does it use? What is the relationship between memories, dreams, and photographs? We will play with these and other questions by creating photo sequences, storytelling cards, alien Scrabble sets, flip books, and photographic Rorschach tests. Covering black and white photo processes as well as pinhole photography, time exposures, light painting, and photograms, this class will allow us to investigate not only our own perception, but also the deep mysteries of light and time. All levels. Code 05p

Award-winning instructor in the media studies program at Appalachian State University; extensive experience leading workshops in photography, video production, and the relationship between art and science.

Scott McMahon, Forgotten Attributes,

gum bichromate photograph, 20 x 16 in.

This class will focus on the expressive qualities of gum bichromate printing. Students will make multilayered gum prints using sensitized pigments and various light resists, including film negatives, pinhole images, digital transparencies, etc. We will combine gum with cyanotype and experiment with the obscure anthotype process. We will also explore inventive image generation and alternative cameras (pinhole, plastic, modified) as we bring process and concept together. All levels. Code 06p

Teacher at University of the Arts (Philadelphia); work published in Pinhole Photography by Eric Renner and The Book of Alternative Photographic Processes by Christopher Alexander.

Jerry Spagnoli, Angela, daguerreotype,

6-1/2 x 8-1/2 in.

A daguerreotype is a photographic image produced on a sheet of polished silver, unique for its clarity and presence. The process has been largely lost to artists for over 100 years, so it has much unexplored potential and a rich historical legacy. The method I teach minimizes the use of hazardous chemicals. This technique, introduced in 1840 by M.E. Bequerrel, is a versatile image-making system. Plates can be exposed in a large format camera or contact printed from film positives. Basic camera and darkroom skills required. Code 07p

Studio artist; collections: National Portrait Gallery (DC), Museum of Modern Art (NYC), Art Institute of Chicago; author of Daguerreotypes (Steidl) and the forthcoming American Dreaming (Steidl).

Stephen Sidelinger, Cloths of Heaven, gouache

and mixed media on paper, 18 x18 in.

All crafts at some point are easier with an understanding of pattern structures and methods—being able to see and think in repeats. This class will provide hands-on methods for creating 15 kinds of patterns. We will start with basic patterns: from block, brick, diamond, and step to geometric structures and free-form repeats. Then we will draw from the past: primitive ornament, Egyptian, Greek, and Asian patterns, manuscript illumination, William Morris, and Art Deco. No previous knowledge of pattern design needed. All levels.
Code 05ta
Third-floor textiles studio.

Faculty at Ringling College of Art (FL); author of Visual Language: A Guide to Finding Personal Style, and A Color Manual. stephensidelinger.com The second-floor textiles studio will be used this session for an exploratory workshop for artists in any media, titled All About the Why.

Christina Shmigel, Bamboo Window, bamboo,

plastic string, the city of Shangai, 24 x 28 in.

This is a workshop for makers in any medium who want to deepen their understanding of the wellsprings of their work. Through a series of riddles and explorations, using images, 3D sketching, book- and model-making, and materials different from, but parallel to, our customary ones, we will investigate what makes our work uniquely ours. With play and curiosity, we will explore ways of opening up our future work. All levels. Code 05tb
Second-floor textiles studio.

Studio artist in sculptural installation; former professor of sculpture at Webster University (St. Louis); solo exhibitions: St. Louis Art Museum, Laumeier Sculpture Park (St. Louis), Duolun Museum of Art (Shanghai).