Summer Session 5: July 23 - August 8, 2017

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


Enrollment for summer 2017 workshops is currently open. All applications received by 5 PM on February 11 will be placed into an early application lottery. Remaining spaces will be filled on a first-come, first-served basis. Scholarship applications are due February 17.




books and paper

Beth Schaible, Longstitch Spines, leather, waxed linen cord,

paper, various dimensions


Beth Schaible
Structures & Surface

We値l begin this workshop by exploring several different binding structures including longstitch with both leather and paper covers, Coptic binding, and other folded structures. We値l also create our own cover papers and end sheets using calligraphy and hand lettering techniques, natural dyes, and watercolor. These surface techniques will help us create one-of-a-kind books. All levels. Code 05B


Printer, binder, calligrapher; print director at 7 Ton Design and Letterpress (NC); teaching: Pyramid Atlantic Art Center (MD), Asheville Bookworks (NC), Penland; Penland Core Fellowship.




Kevin Crowe, Thrown/Slab Bottle, wood- and salt-fired stoneware,

13 x 14 x 5 inches


Kevin Crowe
Woodfiring & Throwing

Participants in this workshop will bring twenty bisqued pots of various sizes (light cone 10 clay body recommended), which they will surface, wad, load, and fire in Penland痴 three-chamber wood kiln; the third chamber will be salted. As the kiln cools, we値l have a throwing workshop. Curiosity and a sense of humor required. All levels. Code 05CA


Studio artist; adjunct faculty at Hood College (MD); wood kilns built: Touchstone (PA), Baltimore Clay Works, Horseshoe Mountain Pottery (UT), Penland; recent exhibitions: Crimson Laurel Gallery (NC), Workhouse Arts Center (VA).






Kenneth Baskin, Artifact Series: Rail and Gear, soda-fired

stoneware, 21 x 25 x 7 inches




Kenneth Baskin
Clay Slab & Beyond

This workshop in ceramic sculpture will explore the possibilities of object relationships. We値l examine how objects interact, the aesthetic implications of these interactions, and their ability to imply movement. We値l use traditional handbuilding techniques with an emphasis on soft- and stiff-slab construction. We値l cover darting, extruded form alteration, custom template production, fabricating bracing forms, and surface applications such as clay texturing. We値l work with stoneware, slips, and glazes, including crater glazes, and fire in mid-range oxidation and soda kilns. All levels. Code 05CB


Associate professor and head of ceramics at McNeese State University (LA); collections: Yingge Ceramics Museum (Taiwan), Arkansas Arts Center, Hilliard University Art Museum (LA); work published in 500 Ceramic Sculptures (Lark Books) and Ceramics Monthly.




Drawing and painting

Tonya D. Lee, Imerovigli, mixed media on polyester film,

12 x 9 inches


Tonya D. Lee
Color & Abstraction

In this process-centered workshop, we値l develop abstract imagery through drawing, painting, low-tech printmaking, and collage. The physical, psychological, and cultural aspects of color will provide a theoretical foundation for the role of color in an abstract composition. We値l look to the visual world for moments of departure where one can explore color as both form and content. Demonstrations, one-on-one and group discussions, and presentations on historic and contemporary references will support an emphasis on process and experimentation. We値l work with acrylic paint. All levels. Code 05D


Studio artist; teaching: Art Institute of Pittsburgh, Monmouth University (NJ), University of North Florida; exhibitions: Jacksonville Museum of Modern Art (FL), J. Johnson Gallery (FL), D. M. Allison (TX); collections: Weatherspoon Museum (NC), Nemours Hospital (FL).












Devin Burgess, Alchemist Study, blown glass, tallest: 34 inches


Devin Burgess
Rough Out & Refine

In this workshop we値l explore forms and ideas in the hot shop and then hone the details in the cold shop. Through this process we値l learn to let go of the instant gratification of completing a form on the blowpipe. Instead, our hot-shaped pieces will be the beginning of new possibilities revealed through the coldworking process. This workshop will cover glassblowing skills and help students understand cold shop tools and execution including the use of stone- and diamond-wheel engraving. Intermediate; two years of experience and basic hot shop skills required. Coldworking skills are not required. Code 05GA


Studio artist producing designs for architectural firms and designers worldwide; Excellence in Glass Design award at the Smithsonian Craft Show; exhibitions: SOFA Chicago, Philadelphia Museum of Art Craft Show, Architectural Digest Home Design Show (NYC).





Erika Tada, Rabbit with Cups, kiln-cast glass, 5 x 26 x 5 inches




Erika Tada
Imagining the Inside

Hollow-core kiln-casting is a mold-making technique that expands your ability to create complex cast objects that are sculpted on both the exterior and interior surfaces. In this class, we値l emphasize learning the structures of core forms and making multi-part molds. This technique offers a special opportunity to visually and conceptually layer the inner and outer space of glass. We値l use inherent qualities of the material耀uch as magnification and depth葉o create unique objects. All levels; advanced students are welcome. Code 05GB


Instructor at Tokyo University of the Arts; other teaching: Rochester Institute of Technology (NY), The Studio at Corning (NY); residencies: Pilchuck (WA), Tacoma Museum of Glass (WA); best debut artist at SOFA Chicago from Vetro magazine.





Vivian Beer, Dressed Up and Pinned, hydraulically-formed and

fabricated steel, automotive finish, 8 x 15-1/2 x 7 feet



Vivian Beer
Design & Fab-ulous

This workshop will focus on the relationship between digital design and physical making耀pecifically steel fabrication. We値l cut digitally-designed parts with a computer-controlled (CNC) plasma cutter and assemble and further manipulate them through traditional metalworking. Topics include modeling in scale, digital scanning, basic computer-aided design (CAD) in Rhino, CNC plasma cutting, welding, jig making, using the hydraulic press, die building, sheet/plate/bar metal forming, and abrasives. Let痴 see how the digital landscape can help us make our pieces fabulous in the physical world. Intermediate/advanced; basic metalworking skills required. Code 05I


Studio artist; teaching: Anderson Ranch (CO), Haystack (ME); Mineck Furniture Fellowship (Boston), Ellen Degeneres Design Challenge winner; collections: Smithsonian (DC), Museum of Fine Arts, Boston, Brooklyn Museum (NYC), Museum of Arts and Design (NYC).








Anna Johnson, Felis Canis Necklace, coyote vertebra, cat

vertebra, Ethiopian white opals, black moonstone, pyrite, fine

silver, sterling silver, cast silver, 18 inches


Anna Johnson
Freestyle Assemblages

A few basic skills can take you far and provide endless creative freedom. In this class we値l explore casting found objects, simple wax carving, stonesetting, basic fabrication, and joinery. Using these techniques, students will be encouraged to create wearable samples and experiment with combining methods into thoughtful jewelry or small sculpture. Students can expect to create multiple pieces throughout the class and leave with a broad knowledge of basic skills in small metals. All levels. Code 05MA


Studio artist; teaching: Haywood Community College (NC); exhibitions: Mora Contemporary Jewelry (NC), The Smithery (OH), Heidi Lowe Gallery (DE), Baltimore Jewelry Center (MD), McColl Center (NC), Asheville Area Arts Council (NC).







Unfortunately, Caroline Gore's 5th session workshop The Snake Paused has been cancelled. Please see our open summer workshop list for other classes that still have available space.

Summer Open Workshop List







Printmaking and Letterpress

Clay Harmon, Conversation, polymer photogravure printed with

oil-based ink, 13 x 16 inches

Clay Harmon
Polymer Photogravure

Photopolymer plates are a nontoxic, water-etched alternative to traditional acid-etched copper plates for printmaking. In this workshop, we値l use them to make photographic-quality, continuous-tone photogravure plates for intaglio printing on etching presses. While this will be of special interest to photographers, the same techniques can be used to create intaglio plates from hand-drawn sketches and other artwork. We値l have abundant time to create a portfolio of around a dozen images and experiment with techniques that stretch the boundaries of traditional photographic printing. All levels. Code 05X


Studio artist; teaching: Glassell School of Art (Houston), Houston Center for Photography, Asheville Bookworks (NC), Project Basho (Philadelphia); collections: Museum of Fine Arts, Houston, private collections in Europe, Asia, and the Americas.





Sarah Bryant, Fond, letterpress-printed book in enclosure with a

suite of prints and an object, 7-1/4 x 4-1/8 x 5/8 inches



Sarah Bryant
The Letterpress-Printed Artist痴 Book

This letterpress-based workshop is devoted to books as an expressive form. We値l begin by combining simple bookbinding techniques, writing exercises, and drawing assignments to create book sketches and drafts. We値l waste no time moving our ideas to the press: setting type in metal, carving imagery from linoleum, and guiding our ideas into book form. By the end of the session, each participant will create an edition of an artist痴 book. Topics will include basic press operation, hand-setting type, letterpress image-making, and basic bookbinding structures. All levels. Code 05L


Studio artist; teaching: University of Alabama, University of Georgia Cortona Italy Program, London Centre for Book Arts; book arts fellowship at Wells College (NY); collections: Yale University (CT), New York Public Library, Library of Congress (DC), University of Chicago, Massachusetts College of Art.





Tim Eads, Weekender, Black New Lines, screen-print on canvas,

28 x 22 x 6 inches


Tim Eads
Textile Design: Fundamental to Experimental

This workshop will cover the fundamentals of screen-printing, from screen prep to designing and printing repeat patterns on fabric. We値l quickly move past the basics so you can begin experimenting with multi-layer color transparencies and monoprinting. After printing the fabric, students will be encouraged to turn them into sculptures (wall pieces or 3d forms) or wearable garments. (No sewing required for the sculptures.) We値l cover simple repeats (both hand drawn and digital) so you can easily print yardage of any size using color formulas that can be scaled up for larger projects. All levels. Code 05TA


Studio artist, designer; teaching: Tyler School of Art (Philadelphia); lectures: University of the Arts (Philadelphia), Moore College of Art and Design (Philadelphia); exhibitions: Delaware Art Museum, Delaware Contemporary; collections: The West Collection (Philadelphia), Please Touch Museum (Philadelphia).





Amy Putansu, Adrift (detail), raw silk



Amy Putansu
Introduction to Ondul

Ondul is a French word for undulating or wavy. Ondul fabric breaks the grid of conventional weaving, producing gently curving threads in the cloth through the use of an unusual tool: the fanning (or ondul) reed. Students will become acquainted with this rare technique through a round-robin experience, making a collection of fabrics. We値l emphasize learning how to maneuver the reed. We値l cover the materials and structures most suitable for ondul and the techniques that complement it. Students are encouraged but not required to bring an ondul reed. Intermediate/advanced; students must be able to warp a loom independently and be familiar with basic weave structures. Code 05TB


Instructor in the professional crafts program at Haywood Community College (NC); nominated for U.S. Artists Fellowship and American Crafts Council Rare Craft Award; collections: Renwick Gallery (DC), National Silk Museum (China).







Ted Lott, Habitation #10, found object, pine, electrical, twine,

34 x 24 x 24 inches


Ted Lott
The En-Lightened Object: Functional Sculpture from Found Materials

In this workshop we値l find the creative and illuminative potential latent in ordinary objects. Beginning with the basics of wiring a single bulb, students will design and build their own lamps, lights, and lighted objects using items diverted from the waste stream. We値l focus on quick, fun, and intuitive ways of building as we cover safe wiring, switches, carving and shaping, painting, finishing, and various means of gluing, screwing, and otherwise joining objects together. We値l use basic woodshop tools such as the bandsaw, drill press, hand tools, etc. All levels. Code 05W


Studio artist; teaching: Edinboro University of Pennsylvania, Center for Turning and Furniture Design (PA); exhibitions: Alton Arts Center (AR), Swarthmore College (PA), Blue Spiral Gallery (NC), Form & Concept Gallery (NM); residencies: Kohler Arts/Industry (WI), Anderson Ranch (CO), Vermont Studio Center.