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Drawing and Painting
Workshops at Penland
Workshops are open to serious students of all levels unless specified in course description; beginners welcome.
spring one-week session 2
april 6 - 12, 2014
Jim Adams, Looking Back, acrylic, graphite,
canvas, 60 x 48 inches
2D or Not 2D
In this intensive one-week drawing and painting workshop, we’ll explore graphite and paper along with transparent acrylic colors. The workshop will help artists working in 3d media develop drawing and painting skills and it will help 2d artists explore new approaches to the blank page. Along with demonstrations and plenty of work time, we’ll spend one day making collaborative temporary installations using found materials and traditional painting and sculpting media to stretch our thinking about 2d and 3d work. We’ll consider the blur in our discussions and possibly frustrate each other toward greatness! Students of all levels and media interests welcome. Code S02D
Studio artist working in painting, drawing, blacksmithing, and sculpture; teaching: Jordan High School (NC), Grace School of Art (NC); Burren College of Art (Ireland) residency; demonstrator at International Stone Sculpture Symposium (IN); representation: Broadhurst Gallery (NC).
SUMMER session 1
May 25 - JUNE 6, 2014
Michael Dixon, Settling Down is Hard to Do When You
Are Fading into Nothing, oil on canvas, 20 x 20 inches
Process, Paint, & Performance
The self-portrait has a long and rich history. In this session, we’ll create a series of self-portraits using contemporary methods in oil paint. We’ll cover the process of drawing the figure, oil painting techniques, color theory, mixing color, and composition. Our focus will be drawing and painting from observation. We’ll also create performances in the class as a method for generating images of ourselves and use these images to consider conceptual ideas and storytelling. All levels. Code 01D
Assistant professor at Albion College (MI); Puffin Foundation grant (NJ); residencies: Virginia Center for the Creative Arts, Holter Museum of Art (MT), Vermont Studio Center, Ragdale Foundation (IL); exhibitions: Durham Arts Guild (NC), Holter Museum of Art (MT), Tucson Museum of Art (AZ), Miami-Dade College (FL), The Art Foundry Gallery (CA), The Marwen (Chicago). Michael explores the personal, societal, and aesthetic struggles of belonging to both “white” and “black” racial and cultural identities while simultaneously belonging fully to neither. The work of artists such as Robert Colescott, Beverly McIver, Michael Ray Charles, Glenn Ligon, and Kerry James Marshall have informed his work. His recent portraits explore the bi-racial identity of Afro-turks in Southwest Turkey.
SUMMER session 2
JUNE 8 - 20, 2014
Marge Luttrell, The Fate of Ariadne, encaustic,
collage, string, pins, 20 x 20 inches
Encaustic, Collage, & Monoprinting
Encaustic is the medium of the moment, but not everyone uses it to its full potential. We’ll experiment with this versatile wax medium to explore its myriad possibilities. This workshop will get you up to speed and then take your encaustic to the next level. We’ll cover basic application, tools, preparation, and safety, along with making your own paints. Collage techniques, transfers, layering, and other applications will jump-start your artistic journey. The workshop will include monoprinting on the hot box and instructions for building your own hot box. The goal is to enable students to embrace encaustic with a personal approach. All levels. Code 02D
Studio artist; fellowships: Fulbright, National Endowment for the Arts, National Endowment for the Humanities; exhibitions: Pennsylvania Festival of the Arts, American Council for Fine Crafts Show (NYC), Jersey Shore Fine Arts Festival (NJ), American Craft Council Show (Atlanta), Charleston Fine Arts Festival (SC).
SUMMER session 3
JUNE 22 - July 42014
Mary Ann Zotto, Rub-a-dub-dub, acrylic,
25 x 30 inches
Mary Ann Zotto
Narrative Life on the Page
In this workshop we’ll pursue revelatory images. This pursuit will be enhanced by wordplay, mythology, associative fantasy, exquisite corpse games, and collaboration. The aim is to remove pressured expectations while seeking an expanded narrative aesthetic. The impact of your images—whether representational or non-representational—will be improved by embracing your present mark-making style and imagination rather than trying to anticipate how you might draw or feel in the future. We’ll combine intense studio work with humor and a relaxed approach to finding a deeper involvement with the page. We’ll embrace brush work, dry mark-making, and mixed media. All levels. Code 03D
Studio artist and teacher at the University of North Carolina School of the Arts; other teaching: Weatherspoon Art Museum (NC), Tougaloo Art Colony (MI), Wake Forest University (NC); collections: United States Department of State Art Bank Project (DC), State of North Carolina, High Museum (Atlanta), Mint Museum (NC).
SUMMER session 4
July 6 - 18, 2014
Clarence Morgan, Rhythm Trance, acrylic, gesso,
collage, colored pencil, canvas over panel, 40 x 40 inches
Painting in the Abstract
Students in this workshop will develop a personal visual language of form, color, and line to create paintings that have the potential to convey expressive content with a degree of independence from visual references or familiar realms. Our work will celebrate painting as a two-dimensional artistic medium that activates the imagination. We’ll explore minimalism, reductive painting methods, pattern, and repetitive systems. Students may work with water-based media such as acrylics, water-based oil paints, and gouache, as well as drawing media, templates, stencils, and collage. Intermediate/advanced: students should be familiar with the fundamentals of painting and be predisposed to working abstractly. Code 04D
Professor and head of drawing and painting at University of Minnesota; Pennsylvania Academy of the Fine Arts Distinguished Alumni Award; fellowships: McKnight Foundation (MN), Bush Foundation (MN), North Carolina Arts Council; work shown in more than 200 exhibitions nationally and internationally; recent exhibitions: Contemporary Art Editions Fair (London), Fairbanks Gallery at Oregon State University, Minneapolis Institute of Art, David Richard Contemporary (Santa Fe), Korea Cultural Service Center (Beijing); collections: Cleveland Museum of Art, Walker Art Center (Minneapolis), Minneapolis Institute of Art, Weisman Art Museum (Minneapolis).
SUMMER session 5
July 20 - August 5, 2014
Evie Woltil Richner, Untitled (Chicken),
ink, watercolor on digital print, 7 x 5 inches
Evie Woltil Richner
Experiments in Drawing & Printmaking
We’ll use the unique setting and experience of Penland as a starting point to explore making images through a variety of drawing and printmaking processes. We’ll begin with a focus on capturing a sense of place through drawing and observing the world of Penland. Then we’ll bring these collected drawings and experiences into the print studio to prompt our experiments in monoprinting, soft and hard ground etching, and combinations thereof. This workshop will collaborate extensively with Robert Mueller’s workshop in the print studio. All levels. Code 05D
Studio artist; teaching: University of Florida; exhibitions: Holland Project Gallery (NV), First Street Gallery (NYC), Manifest Gallery (Cincinnati), WARPhaus Gallery (FL), Focus Gallery (FL), 4Most Gallery (FL), Rosalux Gallery (Minneapolis), Pacific Art League (CA), Anderson Art Center (WI).
SUMMER session 6
August 10 - 22, 2014
Lara Nguyen, Related, charcoal on paper,
22 x 30 inches
Charcoal: Burnt Sticks & Beyond
This workshop will emphasize the range of applications possible with charcoal in additive and subtractive drawing methods. From fluid gestural strokes to layers of smudges combined with fine hatch marks, students will gain experience with various forms of charcoal, learning when and how to combine powder, vine, willow, compressed, and pencil charcoal to achieve desired effects on a variety of paper surfaces. We’ll also address the use of erasers as drawing tools. We’ll work primarily from observation: constructed still lifes, the landscape, and models. Students may also pull imagery from other sources into their self-directed work. Demon-strations, critiques, and presentations of historic and contemporary art will accompany intensive studio practice. All levels. Code 06D
Professor at Warren Wilson College (NC), owner of Stone Cloud Studio (NC); other teaching: Indiana University, California State University-Long Beach; collections: Asian-American Arts Centre (NYC), Columbus College of Art & Design (OH), St. John’s Mercy Hospital (MO), Clare Care Clinic (IL); representation: Gallery Asheville (NC), Cinema Gallery (IL).
SUMMER session 7
August 24 - 30, 2014
The studio will be used for Nancy Blum’s class, Developing a Public Art Practice.
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