Penland Summer Session 6 Classes

Classes are open to serious students of all levels unless specified in course description; beginners welcome.
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Lisa Blackburn, Navigation, accordian-folded book

with wrap-around board cover and slipcase: etching

ink, Lennox 100 paper, bookcloth,

6-1/4 x 3-1/4 x 1-1/4 in.

Simple book structures can form the basis for creative investigation and artistic expression. We will explore simple sewn, adhesive, and nonadhesive book structures, plus paper decorating techniques. Along the way we will add low-tech processes for building imagery and content in our books. Students will leave with an understanding of bookbinding basics along with enough models and ideas to provide a foundation for many future projects. Beginning level, but experienced students are welcome. Code 06B

Studio artist; proprietor of Commonlife Press, former Penland studio coordinator; teaching: Detroit Institute of Arts, Penland; exhibitions: Asheville Bookworks (NC), McMaster Gallery (SC), Penland Gallery.

Andy Shaw, Tableware Series, water-carved

wheel-thrown porcelain, dimensions vary

(plates are 8-1/2 x 8-1/2 x 1 in.)

Pots are human-scaled objects that are visual, tactile, and functional. We will create a dynamic blend of those three elements by identifying the design essentials of pots, uncovering our preconceptions about dishes, and considering innovative solutions to functional forms. We will examine how, when, and why we use dishes, and reveal much about the social conventions that guide that use. Slides, demonstrations, reading, and writing will all prompt discussions about tableware design. High-temperature stoneware and porcelain; some firings will be straight reduction, other reduction salt/soda. All levels. Code 06CA

Assistant professor at Louisiana State University; other teaching: Haystack (ME), Arrowmont (TN), Clemson University (SC); residencies: Archie Bray (MT), Arrowmont (TN), The Clay Studio (Philadelphia); collections: Museum of Fine Arts, Houston, Crocker Museum (CA), Schein-Joseph Museum (NY), Sanbao Institute of Ceramic Art (China).

Tetsuya Yamada, Study of Flight

#15, ceramic, 7 x 16 x 6 in.

In this mixed-media sculpture class, we will investigate perception, context and the meaning of objects. Objects, their surroundings, and our knowledge can be processed in our minds to create a kind of narrative. We will work with high-fire stoneware and other materials and cover how to handle clay and the use of simple plaster press molds. Discussions, slide lectures, and demonstrations will help students develop creative thinking. All levels. Code 06CB

Associate professor of art at University of Minnesota; grand prize at Gyeonggi International Ceramics Biennale 2011 (Korea), Louis Comfort Tiffany award, McKnight Foundation fellowship; solo shows: Yoshii Gallery (NYC), John Elder Gallery (NYC); collections: Minneapolis Institute of Arts; Mint Museums (NC), Schein-Joseph Museum (NY), Kohler Arts Center (WI).

René Marquez, Faerie Dogs, oil and acrylic on

unstretched canvas, 74 x 91 in.

This drawing and painting workshop will use a variety of media to explore autobiographical imagery and encourage the expression of your own voice. We will start with personal images (photographs, prints, drawings, other art, etc.) and rework them through wet and dry, drawing and painting media to create new imagery. Our investigations will be material and conceptual with the ultimate goal of cultivating and expressing our unique points of view. All levels. Code 06D

Faculty at University of Delaware; exhibitions: Cultural Center of the Philippines, Bronx Museum (NYC), International Center of Photography (NYC), University of California-Irvine; published in the International Journal of the Arts in Society; co-curator of The Object of Nostalgia at Columbia College Chicago; runs a sanctuary for dogs.

Peter Ivy, Picnic Drink Set, glass,

copper, bamboo

Younobi–a sense of appreciation, order, or reason derived from interaction with a necessary object. How does it feel when it’s put to your lips? How does it clothe its contents or punctuate the table? Does it invite use? Does it reference its own making? Is it too much? Or is it just enough? This class will focus on the overlap of function and the inherent beauty of the blowing process. We will cover many shapes, from simple stemware to lids and plates, with an emphasis on getting the shapes to look clean. We will work to develop pace, rhythm, and a methodical, disciplined process. All levels, but basic hot glass skills are recommended. Code 06GA

Studio artist focused on designing and crafting tableware; teaching: Massachusetts College of Art, Rhode Island School of Design, Aichi University (Japan), Pilchuck (WA), Haystack (ME), Niijima Glass School (Japan). NOTE: Instructor Peter Ivy speaks fluent Japanese and welcomes Japanese students.

Jennifer Umphress,

Conspicuous,

flameworked glass,

23 x 8 x 3 in.

This class will concentrate on the fundamentals of solid borosilicate sculpture with a focus on sealife imagery. Students will learn basic sculpting skills to build a strong foundation for their work. They will then work with these foundation elements to create complex forms from simple components. We will also discuss solutions for finishing and displaying the work. Finally, we will move beyond the technical to help students find their personal voice within the framework of their art. All levels. Code 06GB

Studio artist; teaching: Glass Corner (Netherlands), Pittsburgh Glass Center, demonstrations throughout Japan; Pilchuck (WA) residency; NICHE award, Glasscraft emerging artist award; exhibitions: Hodgell Gallery (FL), Morgan Gallery (PA), Vetri Gallery (WA), Kobe Lampwork Museum (Japan), Morgan Contemporary Glass (Pittsburgh), Pilchuck glass auctions (Seattle), Kitrell/Riffkind Art Glass (Dallas).

Stephen Yusko, Blue Box Series:

Renew, forged and fabricated steel,

glass, 13-1/2 x 7-3/4 x 4 in.

This class will emphasize the exploration of form, line, and surface, while working primarily with forged and fabricated steel to create vessels that stand alone as well as vessels incorporated into furniture. Through technical demonstrations and discussions about design and function, we will work to create objects that balance the industrial history of the material with a gracefulness of form. Along with forging solid bar stock and tubing/pipe, we will cover pattern and texture on sheet/plate, joinery, and finishing processes. All levels. Code 06i

Studio artist; teaching: Touchstone (PA), Souto Studio (Venezuela), Haystack (ME); exhibitions: Society for Contemporary Craft (Pittsburgh), Arkansas Art Center, National Ornamental Metals Museum (Memphis).

Anika Smulovitz, body in motion -

breathe 2, sterling silver, repurposed

clothing, 3-1/2 x 4 x 3/4 in.

In this workshop we will explore possibilities for combining metal with unexpected materials to create jewelry and/or small objects. Each day we will discuss different conceptual and technical approaches and look at the work of artists who are finding inspiration and beauty in unexpected places. Materials will include metal, wood, plastics, paper, fabric, and found objects. Techniques will include soldering, cold connections, bezel and tube settings, hydraulic forming, and color applications. All levels, but basic metalworking skills will be helpful. Code 06MA

Professor at Boise State University (ID), exhibitions: Velvet da Vinci (San Francisco), Society of Arts and Crafts (Boston), Craft Alliance (St. Louis); board of directors of Society of North American Goldsmiths (SNAG); holds a U.S. design patent for her Lip Liners; collection: Jewish Museum (NYC).

Julia Harrison, Thomas, maple, paint,

wax, 3 x 2-1/2 x 2 in. each

Do you aim to make unique and meaningful jewelry? Consider adding wood to your repertoire! This beautiful, versatile, and affordable material is ideal for experimenting with both techniques and concepts. Using found and commercial wood and low-tech tools, we will investigate a wide range of topics including fabrication, veneering, handcarving, and stonesetting. Additional exercises and critiques will guide each student toward developing personal content and style. All levels. Code 06MB

Studio artist; teaching: Pratt Fine Arts (WA), Multnomah Arts Center (OR), Centrum (WA), 92nd St. Y (NYC); exhibitions: Wharton Esherick Museum (PA), Velvet da Vinci (CA), Rouse Gallery (MD), Racine Art Museum (WA), Museum of Contemporary Craft (OR).

Jill Enfield, Untitled, inkjet and palladium print on

Arches Platine paper, 13 x 19 in.

Each era of photography has an accumulation of inventions that can be used together to make images. Film to digital to chemical or digital to chemical to digital or… You can probably see that there is no end in sight for what photographers can do with so many tools available, and there is no reason to stick with one way of creating. We will make digital negatives from any type of image, digital or film. We will use them to make cyanotype, platinum, and palladium prints and combine these processes to make monoprints. We will also use inkjet printers to put down a layer of color before printing with the other processes, making beautiful combination prints that span the centuries. Students will leave with many new images and their imaginations in overdrive. All levels. Code 06P

Studio artist and commercial photographer; teaching: Parsons The New School of Design (NYC), International Center for Photography (NYC), New York University; commercial clients: Fortune, Kodak, Hasselblad, Nikon, St. Martin’s Press, Life; personal work published in Camera Arts, Nikon World, Camera and Darkroom; on advisory board for Freestyle Photographic; author of Photo Imaging: A Complete Guide to Alternative Processes, which won the Golden Light Award for best technical book fo 2002.

Melanie Finlayson - Recording Line & Texture: A New Approach to Old Traditions

In this class students will work with intaglio, relief, lithography, and/or monotype printmaking techniques. We will transform proofs and varied prints into finished works by layering traditional printmaking techniques with new matrices using found, recycled, and other materials. Students will learn to record texture and line as well as layer drawn or photographic images in with the final prints. All levels. Code 06X

Studio artist; former Penland studio coordinator; teaching: Bluseed Studios (NY) Plattsburgh State University (NY), Warren Community College (MI); two Venice Printmaking Studio residencies (Italy); exhibitions: New York State Art Museum, Gippsland Centre for Art and Design (Australia), Limerick School of Art and Design (Ireland).

Lee Marchalonis, Topsy,

pressure print, metal type on

Mohawk superfine paper,

17 x 9 in.

With its accessible printbed and wide range of inking options, the Vandercook proof press is excellent for relief-printing experimentation. This class will begin by covering handset lead and wood type. We will then combine text with imagery printed from a variety of matrices including carved blocks and pliable materials (paper, fabric, plant material) resulting in a series of thematically-related broadsides. All levels. Code 06L

Studio artist; teaching: Parsons The New School of Design (NYC), University of Iowa Center for the Book; residencies: Pyramid Atlantic Art Center (MD), Ora Lerman Trust (PA); collections: Carnegie Mellon University (Pittsburgh), Lafayette College (PA), University of San Diego Libraries (CA).

Malika Green, Dream Shoes, mixed media: leather,

wood, steel, paint, 5 x 10 x 2-3/4 each

Students in this class will design and construct a wearable pair of sandals. Students will build shoes from the ground up, beginning with drawing exercises and progressing to shape studies and construction techniques. We will use traditional and unconventional methods to develop your artistic vision in footwear. Leave with fantastic new sandals, custom-made for your feet, and the skills to make more. We will make shoes that are not just wearable, but are also works of art. All levels. Code 06TA

Studio artist and shoe designer; teaching: Textile Arts Center (NYC), Penland; Museum of Arts and Design (NYC) residency; exhibitions: Museum of Arts and Design (NYC), Cranbrook Art Museum (MI), Dixon Place (NYC); work featured in Nylon Magazine and Eat.Shop.Brooklyn.

Junco Sato Pollack, Kudzu Tea Set,

woven kudzu fibers

This class will use kudzu fibers to explore two- and three-dimensional fiber forms. We will harvest wild kudzu vines from Penland’s back yard, extract fibers, and weave mats using individually constructed Japanese-style twining looms and backstrap looms. Along with learning about this abundant source of fiber, students will explore the link between cordage, basket forms, and woven fabric. All levels. Code 06TB

Studio artist; taught for 20 years at Georgia State University; exhibitions: San Jose Museum of Textiles (CA), Pusan Biennial 2011 (Korea), Georgia State University Welch School of Art and Design Gallery, National Calligraphy Museum (Seoul); collections: Museum of Arts and Design (NYC), Francis Loeb Library Materials Collection at Harvard (MA), Wallace Library Collection at Rochester Institute of Technology (NY).

Bob Leverich, Evergreen Gallery Benches, Douglas

fir, 24 x 18 x 88 in. each

This class welcomes people of all levels of experience to build benches from wood (mostly). We will explore this simple seating form as a way to mark a time, the spirit of a place, or an experience in your life. Talks and demonstrations will address sculptural and functional approaches to bench building, design and visualization skills, wood and repurposed materials, basic woodworking and shaping skills, finishing, and shop safety. The aim will be to set new benchmarks for your skills and ideas in wood. All levels. Code 06W

Architect, sculptor, teacher of woodworking, sculpture, and sustainable design at Evergreen State College (OR); work in public and private collections in Wisconsin, North Carolina, and Washington State.