Penland Summer Session 3 Classes

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

Frank Hamrick, Chasing The Sun, hardcover book

with 7-panel accordion gatefold, tea-stained Bugra

paper, letterpress text, Canapetta bookcloth, Davey

binder’s board, litho ink and PVA glue, 6 x 6 in.

In this class we will make paper from cotton rags and use that paper to create books, including hardbound pamphlet, accordion, Japanese, Coptic, and case-bound structures. Each structure will introduce techniques and materials including bookcloth, bookboard, magnets, bone clasps, and binding posts. Students may bring their old 100 percent cotton clothes to use in making paper. Beginning level, but experienced students are welcome. Code 03b

Assistant professor at Louisiana Tech University; other teaching: Maine Media Workshops, Santa Reparata International School of Art (Italy); collections: Center for Creative Photography (AZ), Georgia Music Hall of Fame, Hargrett Rare Book & Manuscript Library (GA).

Catherine White, Fishtail Cocoon, wood-fired

stoneware, 14 x 18 x 8 in.

Fire the wood kiln and find your recipe for studio stew. We will make thrown and handbuilt forms and oscillate between pencil-and-paint-on-paper and brush-and-slip-on-clay. We will investigate clay character, the poetics of texture, the use of line and pattern, printing with slip, and the rapport between form, stacking, and woodfiring. Stoneware clay. All levels. Code 03ca

Studio artist; teaching: Corcoran College of Art and Design (DC), Hood College (MD), Penland; collections: Renwick Gallery (DC), Freer/Sackler Gallery (DC); commissions: Omen Restaurant (NYC), Barack and Michelle Obama; exhibits nationally.

Each student in this class will create a single model of a form dear to his or her heart and then make two molds from that model: one will be suitable for slip casting porcelain, the other will be for pâte de verre (glass paste). We will then realize our forms in both media and compare and contrast the results. This is an ambitious project that may yield only a few pieces but will produce much insight into the nature of material and process and how these things influence our ideas and feelings about what we might make. All levels. Code 03cb

Deborah: studio artist; teaching: Pittsburgh Glass Center (PA), Pilchuck (WA); exhibitions:Traver Gallery (WA), Heller Gallery (NYC).

Tom: studio artist; NEA fellowship, Kohler Arts Center residencies; career retrospective at Gregg Museum (NC).

Deborah Horrell, Triad, cast glass, 30 x 18 x 6-1/2 in.

Tom Spleth, Untitled, slip-cast,

unglazed, high-fired porcelain,

decorated with inlaid colored slip,

28 in tall

Self-portraiture has a long and rich history. This class will explore self-portraiture through observation, working with oil paint and a primary palette. Once our first self-portrait is complete, we will make a psychological self-portrait. With the help of paint and collage, we will dig deep and discover our inner beauty. No painting experience necessary; you only have to be willing to explore who you are. All levels. Code 03d

Michael: assistant professor at Albion College (MI); exhibitions: Konakalti Kutur Merkezi (Turkey), Holter Museum of Art (MT).

Beverly: professor at North Carolina Central University; awards: Louis Comfort Tiffany Award, Guggenheim Fellowship, Creative Capital Project Grant, North Carolina Arts Council Artist Fellowship.

Michael Dixon, Untitled (Afro-Turk Portrait

Series), 130 x 110 cm.

Beverly McIver, Remembering Yesterday, oil on

canvas, 36 x 36 in.

Giles Bettison, Textile 2010, glass,

350 x 240 mm.

In this class, we will find ways of creating patterns by taking visual inspiration from different sources. Then we will explore different ways of realizing those patterns as glass murrini. I mostly work with Bullseye sheet glass to create murrini and we will work primarily with this technique, but we will also cover more traditional hot-forming methods. Once we have made some murrini, we will work through different ways of forming them into vessels and other objects and some techniques for finishing these pieces. Two years of hot glass experience required. Code 03ga

Studio artist; teaching: The Studio at Corning (NY), Canberra School of Art (Australia), Jam Factory (Australia), Creative Glass (Switzerland); exhibitions: Jane Sauer Gallery (NM), Sabbia Gallery (Australia), Bullseye Connection (OR).

Students in this class will learn multiple approaches to flameworking, allowing them to fabricate their ideas in glass. We will also interact with other materials and processes to create mixed-media work. Through demonstrations, discussions, experiments, and source imagery, we will work from beginning to end to create finished pieces that realize individual concepts and interests. This class is for beginners and artists working in other media who want to incorporate glass into their work. Beginning level. Code 03gb

Studio artist; teaching: National College of Art and Design (Ireland), Osaka University of the Arts (Japan), Rochester Institute of Technology (NY); visiting artist: Osaka University of the Arts Junior College (Japan), Aichi University (Japan); exhibitions: Heller Gallery (NYC).

Deborah: studio artist; teaching: Pittsburgh Glass Center (PA), Pilchuck (WA); exhibitions:Traver Gallery (WA), Heller Gallery (NYC).

Tom: studio artist; NEA fellowship, Kohler Arts Center residencies; career retrospective at Gregg Museum (NC).

Deborah Horrell, Triad, cast glass, 30 x 18 x 6-1/2 in.

Tom Spleth, Untitled, slip-cast,

unglazed, high-fired porcelain,

decorated with inlaid colored slip,

28 in. tall

James Viste, PLOP, Sake for Two, formed and

fabricated steel, 6 x 11 x 4 in.

This class will involve the manipulation of ferrous materials through a combination of forging, fabrication, and low-relief die-forge production and application to create functional/sculptural vessels. There will be an emphasis on the observation and influence of other craft materials such as clay, wood, fabric, and leather. All levels. Code 03i

Manager of Edgewise Forge (MI); teaching: College for Creative Studies (MI), Penland; work exhibited nationally.

David Clemons, Containment (Brooch), sterling

silver, nickel silver, polymer clay,

1-1/4 x 1-1/4 x 1/2 in.

A beguiling potential for seduction and beauty is found in commonplace materials when they are used in jewelry. This workshop will investigate the brooch through an intensive exploration of alternative materials. Attention will be given to material manipulation, the purposeful integration of metals, foreign materials, and various pin mechanisms. Techniques will include cold connections and soldering, and material investigations will include wood, paper, steel, plastic, and more. All levels. Code 03ma

Metalsmithing and jewelry artist in residence and head of metals department, University of Arkansas-Little Rock; exhibitions: Center for Craft, Creativity and Design (NC), RE/ACTIONS (MO); collections: Contemporary Craft Collection, Arkansas Art Center.

Jeffrey Clancy, Ornamentalware #7, pewter, base

metal, 25 x 3-1/2 x 4-1/2 in.

Often referred to as "the poor man’s silver," pewter has been used to make historic and contemporary ware that is rich in form, function, and expression. Tankards, ewers, candlestick holders, spoons, and wearables can be fabricated, formed, and cast in pewter. We will explore a wide range of holloware techniques and also mold making as it relates to pewter casting. Students will be encouraged to work across different traditional, utilitarian, and sculptural formats. All levels. Code 03mb

Studio artist; assistant professor at Maine College of Art; critic at Rhode Island School of Design; exhibitions: Renwick Gallery, Smithsonian Institution (DC), Elisa Platteau Gallerie (Belgium), Gallery 37-A (ME); Society of Arts and Crafts Artist Award (Boston).

Neal Rantoul, Near Pullman, Washington, 2010,

archival injket print, 20 x 30 in.

How do you make pictures taken outdoors say something? How do you make them have depth and impact? Landscape photographs are the easiest pictures to make but can be the most difficult to make well. This class will cover issues of light, texture, tone, color, form, and content to address the challenges and problems inherent in making powerful and subtle photographs of the rural and urban environment. We will work digitally, and the class will cover every part of the workflow, from camera functions to printing. All levels. Code 03p

Professor at Northeastern University (Boston); other teaching: Harvard University, New England School of Photography (Boston); collections: Museum of Fine Arts, Boston, Bibliotheque Nationale (France), High Museum of Art (GA).

Phil Sanders, Black Eyed

Susan, drypoint, roulette, chine

collé, 8 x 5 in.

Dry point and spit bite are the most direct methods for achieving line and tone in an intaglio plate. This class will cover techniques for working and reworking a plate, maintenance of tools, preparation of materials, and an introduction to steel facing. The class will also include drawing and composition with graphite, pen and ink, and ink wash, working both inside and outside the studio. All levels. Code 03x

Director & master printer at Robert Blackburn Printmaking Workshop (NYC); owner of PS Marlowe fine art publisher (NYC); teaching: Stanford University (NY), Frans Masereel Center (Belgium); collections: University of New Mexico Fine Arts Museum, Yale University Art Gallery (CT).

In this class on the basics of letterpress printing, we will cover the printer’s measurement system, proper terminology, and hand setting type. Students will print their own small or modest-sized projects. We will experiment with metal type, wood type, linoleum block carving, photopolymer platemaking, and using photo engravings. We will print with Vandercook and small table-top presses. Come with lots of ideas to work from. Beginning level. Code 03l

John: printer for over 50 years; teaching: University of Arkansas-Fort Smith, University of Iowa Center for the Book, University of Alabama.

Beth: studio ceramicist and printer; teaching: Arkansas Craft School, Arkansas Arts Center; represented by Freehand Gallery (Los Angeles).

John Horn, Untitled, letterpress print,

19 x 25 in.

Beth Lambert, Beautiful and Bright

Poster, letterpress and silkscreen,

11 x 14 in.

Rachel Miller, Drift, bent laminate oak

This class is for artists interested in the endless possibilities for interaction between garments, materials, sculpture, and performance. We will explore the political, social, historical, and aesthetic dimensions of costume as it relates to art, design, and the body in both Western and non-Western contexts. We will use traditional and nontraditional materials that are structural, experimental, and extending. With the beauty of Penland as our stage, students will design, fabricate, and document their work for themselves and/or for the public. All levels. Code 03ta

Artist, performer, writer, theatrical designer; teaching: Pratt Institute (NYC), University of the Arts (Philadelphia), Fashion Institute of Technology (NYC), Srishti (India); Museum of Arts & Design residency (NYC).

Marguerite Jay Gignoux, Marco illustration, textile

collage, hand-dyed cotton, linen, machine-stitched,

57 x 45 in.

Marguerite Jay Gignoux & Susie Wilde - Pictures & Words: Writing & Illustrating for Children

In a class especially (but not only) for teachers, we will explore the magical world of writing and illustrating for children. We will invent and connect words with innovative mixed-media illustrations. This class includes playful writing explorations and imaginative surface design activities including printing, drawing, stitching, dyeing, and layering paper and fabric. We will discuss works by creators of children’s literature, the role of the book designer, and DIY publishing. All levels. Code 03tb

Marguerite: textile artist; teaching: Elon University (NC); public art: Duke Hospital (NC), North Carolina Museum of Art.

Susie: author; children’s book columnist; teacher; work featured in Children’s Book Review, and Learning.

Richard Prisco, Synchronized Swimming,

mahogany, polished aluminum, 52 in x 15 in.

This class will explore the aesthetic power of exposed connective fasteners. We will combine alternative joinery techniques with metal and traditional furniture methods to create distinctive pieces. The class will cover all aspects of furniture making including design, safe machine operation, wood selection, and finishing. All levels welcome as long as you are curious and willing to explore. Code 03w

Studio furniture maker and industrial designer; professor at Appalachian State University (NC); other teaching: Savannah College of Art and Design (GA), Penland, Anderson Ranch (CO); work featured in Traditions/Innovations: American Masterpieces of Southern Craft traveling exhibition.