Summer Session 1

Summer Session 1:
May 27 – June 8, 2018



We have eliminated the early-registration lottery. We will begin accepting registration for 2018 summer workshops at 9:00 AM EST on Monday, January 8. Registration for full-pay students will be on a first-come, first-served basis and will continue until workshops are filled. Spaces are reserved in each workshop for scholarship students. Scholarship applications are due by February 17.

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

Clay Summer Session One
May 27–June 8
Simon Levin
See What You Did

What is the effect of your choices? This will be a making class, focused on the development and execution of ideas. We’ll produce a lot of work, take playful risks, and share feedback. The goal is to make you a better, more articulate potter—to see what you did. Through fun exercises, painlessly quick critiques, and a lot of making, you’ll leave with a foundation and vocabulary of self-critique that will guide your future work. In addition, we’ll load and fire two wood kilns, taking ownership of wadding, placement, flashing, and surface with a careful eye on results. Basic wheelthrowing and handbuilding skills required. Code 01CA

Studio artist; teaching: Haystack (ME), Anderson Ranch (CO), Arrowmont (TN), Greenwich House Pottery (NYC), Archie Bray Foundation (MT); Fulbright Senior Research Scholar (Taiwan); solo exhibitions: Buena Vista University (IA), Red Lodge Clay Center (MT), AKAR Gallery (IA), Signature Gallery (Atlanta); has built 22 kilns across 4 countries.

Simon Levin, "Four-Point Bowl," wood-fired stoneware, 6 x 22 inches
Simon Levin, "Four-Point Bowl," wood-fired stoneware, 6 x 22 inches
Clay Summer Session One
May 27-June 8
Jenny Mendes & Shoko Teruyama
Slip Slidin’ Away

We’ll handbuild earthenware to make a wide range of work from vessels to sculpture. Using terra sigillata, slips, and glazes at cone 04, students will investigate form, decoration, drawing, imagery, and narrative. Through discussion, demonstration, and collaboration, we hope to awaken new possibilities in all of our work! The only prerequisite is a willingness to have fun and embrace the deliberate awkwardness of finding oneself in unknown territory. All levels. Code 01CB

Jenny: studio artist; teaching: Arrowmont (TN), Santa Fe Clay, Baltimore Clayworks; exhibitions: AKAR Gallery (IA), TRAX Gallery (CA); former Penland resident artist. Shoko: studio artist; teaching: University of Nebraska-Lincoln, Alfred University (NY); presenter: Utilitarian Clay (TN), NCECA 2017 (OR); former Penland resident artist.

Jenny Mendes, "Cat Mask," ceramic, terra sigillata, 9 x 9 x 4 inches
Shoko Teruyama, "Mug with Birds," earthenware, 3 x 4 inches
Drawing & Painting Summer Session One
May 27–June 8
Judith Kruger
Nihonga: Then & Now

This is a workshop in basic Nihonga: traditional Japanese pigment painting. We’ll make pigment from organic and inorganic matter like cured shells, minerals, pine soot, and indigo. Students will incorporate time-honed processes employed on ancient Asian screens and scrolls as well as eco-friendly techniques developed by the instructor. We’ll also cover metallic leafing and oxidation. Our goal will be multilayered paintings that embody the power to nurture the spirit. Figurative and abstract painters welcome. All levels. Code 01D

Studio artist; teaching: Studios at Massachusetts Museum of Contemporary Art, School of the Art Institute of Chicago; solo exhibitions: Wofford College (SC), Mattatuck Museum (CT), Hammond Museum (NY); collections: Savannah College of Art and Design (GA, Hong Kong), Center for Sustainable Landscapes (Pittsburgh), Jefferson Hospital (Philadelphia).

Judith Kruger, "Getty Shadows," mineral pigments, indigo, shell white, oxidized pure silver, copper, linen, 42 x 58 inches
Judith Kruger, "Getty Shadows," mineral pigments, indigo, shell white, oxidized pure silver, copper, linen, 42 x 58 inches
Glass Summer Session One
May 27–June 8
David Naito
Essential Shape

How do you form molten glass into a desired shape? This workshop will help you understand how glass moves and behaves, how to reason with it and free yourself up as a maker, and how to create well-balanced blown or solid glass. We’ll cover the needed heats, how and when to tool the glass, and different technical steps that will combine to make your glass process more fluent. We’ll stress teamwork and the importance of assisting. Please bring your ideas, sketches, and curiosity and be ready to blow, sculpt, and shape glass. All levels. Code 01GA

Studio artist; teaching: Alfred University (NY), Anoka-Ramsey Community College (MN), UrbanGlass (NYC); exhibitions: Design Museum Nuutajärvi (Finland), Foreman Gallery (NY); visiting artist: Ball State University (IN), Tavastia Vocational College (Finland), Mass College of Art (MA).

David Naito, "Kilta in Creme and Orange," blown and fused glass, 6-1/2 x 14 x 9-1/2 inches
David Naito, "Kilta in Creme and Orange," blown and fused glass, 6-1/2 x 14 x 9-1/2 inches
Glass Summer Session One
May 27-June 8
Sarah Blood
Seeking Enlightenment

Discover the aesthetic and conceptual possibilities of light and mixed media. By exploring traditional and experimental neon techniques, students will develop the skills they need for planning, creating, and installing their own neon and mixed-media works. We’ll emphasize play, material experimentation, and personal expression. Discussions and presentations will cover historical precedents and contemporary issues relevant to neon and its use as a medium for sculpture. Technical material will include drawing and bending tubes to patterns, splicing, bombarding, wiring, and installing finished work. All levels. Code 01GB

Assistant professor at Alfred University (NY); other teaching: Pilchuck (WA), UrbanGlass (NYC), Penland; exhibitions: Neuberger Museum of Art (NY), Museum of Neon Art (CA), Bergstrom-Mahler Museum of Glass (WI), Tianyuan Glass Centre (China), Lumiere Light Festival (London).

Sarah Blood, "Holding My Breath," neon, dressmaking pins, fabric, braiding, tassels, mixed media, 20-1/2 x 20-1/2 x 14 inches
Iron Summer Session One
May 27–June 8
James Viste
A Worthy Vessel

In this workshop we’ll manipulate ferrous materials through a combination of general forging, low-relief die-forge production, and application and fabrication techniques to create functional and/or sculptural vessels. We’ll emphasize the observation of other craft materials such as clay, wood, fabric, and leather as a possible inspiration for our work in steel. All levels. Code 01I

Studio artist and manager of Edgewise Forge (Detroit); teaching: College for Creative Studies (Detroit), New England School of Metalwork (ME), Peters Valley (NJ), Penland.

James Viste, "Arc Wave of Scutes," forged and fabricated steel, 4 x 5-1/2 x 3-1/2 inches
Metals Summer Session One
May 27–June 8
Tanya Crane
Metal, Texture, Enamel

This workshop will explore the surface of nonferrous metals through textures, patinas, and enamel. These processes will take students around and through the metals studio as they become familiar with tools and how they can be used to alter the surface of metal. We’ll emphasize enameling techniques such as limoges, champlevé, and sgraffito, which offer an opportunity to add color to silver and copper in traditional and nontraditional applications. We’ll texture both metal and enamel surfaces. Students will make a collection of samples and then incorporate them into finished jewelry pieces. All levels. Code 01MA

Part-time lecturer at School of the Museum of Fine Arts at Tufts (MA), critic at Rhode Island School of Design; other teaching: Fuller Craft Museum (MA), Haystack (ME); Society of Arts and Crafts Boston award; representation: Dow Studio (ME), J. Cotter Gallery (CO), Mora Contemporary Jewelry (NC), Abel Contemporary Gallery (WI).

Tanya Crane, "Folded Sgraffito Brooch," copper, shibuishi, enamel, steel pin stem, 4 x 3 inches
Metals Summer Session One
May 27–June 8
Frankie Flood
Color on Metal: Anodized Aluminum

This workshop will be an introduction to working with aluminum, a lightweight affordable metal that is perfect for creating colorful jewelry and objects. Anodizing produces a porous surface that allows aluminum to accept dye easily. The possible spectrum of color is almost endless. We’ll bring this industrial process into the studio as we create colorful bracelets, earrings, and pattern test samples. Demonstrations will cover an introduction to aluminum, annealing, forming, etching with vinyl resists, cold connections, anodizing, and numerous dying techniques to create unique colorful patterns. All levels. Code 01MB

Associate professor at Appalachian State University
(NC); grants: Peter S. Reed Foundation (NYC), NEA, Greater Milwaukee Foundation, University of Wisconsin-Milwaukee Digital Future; solo exhibition at Museum of Wisconsin Art.

Frankie Flood, "Isabella Cutter (Top Chef Pizza Cutter)," anodized aluminum, aluminum, brass, stainless steel, 41/4 x 8 x 2 inches
Photo Summer Session One
May 27-June 8
Christopher Benfey & Neal Rantoul
Word & Image

Using readings from seminal writers and photographic works from important photographers as a foundation, we’ll assign exercises that will help students create words with their images and images with their words. We’ll be out in the studios and the surrounding community making pictures with digital cameras and writing creatively. We’ll work to describe with precision and sympathy what is portrayed photographically while forming a vocabulary to deepen our understanding of our pictures. All sorts of digital cameras are welcome (except for phone cameras). Students are encouraged to bring a laptop computer with Lightroom software. All levels. Code 01P

Christopher: Professor at Mount Holyoke College (MA); Guggenheim fellowship; author of eight books on literature and the arts. Neal: Professor emeritus from Northeastern University (Boston); collections: Museum of Fine Arts Houston, Bibliothèque Nationale (Paris), High Museum (Atlanta).

Neal Rantoul, "Before and After Aerials, CA 2015," archival pigment print, 17 x 22 inches
Print & Letterpress Summer Session One
May 27–June 8
Koichi Yamamoto
Symmetry-Fold Intaglio & Kite Making

This workshop will explore intaglio, monoprint, chine-collé, collage, the symmetry-fold print process, and kite making. We’ll cover basic intaglio printmaking, experimenting with traditional copper intaglio as well as alternative matrices. If you already have intaglio plates please bring them. We’ll print in many different ways, and we’ll make monotypes and collage them 
together to create monoprints. In the latter part of the workshop, we’ll use our prints and bamboo to make kites. If there is wind, it flies. All levels. Code 01X

Associate professor at University of Tennessee; other teaching: Utah State University, University of Delaware, Arrowmont (TN); residencies: Anderson Ranch (CO), Art Print Residence (Barcelona), Double Dog Dare Studio (HI), Joshua Tree Lost Horse Cabin (CA); collections: University of Hawaii at Hilo, Boise Art Museum (ID), Portland Art Museum (OR), University of Alberta (Canada).

Koichi Yamamoto, "Hanamasu," intaglio on gampi paper, 24 x 18 inches
Print & Letterpress Summer Session One
May 27–June 8
David Wolfe
Freedom of the Press

From its beginning letterpress printing was the method for disseminating ideas. From political broadsides to daily newspapers, printing has been the great equalizer in our society. Students will learn woodcut and the proper use of letterpress type and presses as they investigate how to best express their ideas. We’ll study the history of free speech in print and make posters and broadsides that combine words and images. Students will print small editions and consider distribution methods in a digital age. All levels. Code 01L

Studio artist and owner of Wolfe Editions (ME); teaching: Maine College of Art, Maryland Institute College of Art, Bowdoin College (ME), Wellesley College (MA), Dartmouth College (NH), Haystack (ME), Ox-Bow (MI); Maine Traditional Arts Fellow, Master Printer for Penland Winter Printmaking Residency 2009.

David Wolfe, "Hot You," letterpress printed from woodcut and CNC cut, 10-1/4 x 10-1/4 inches
Textiles Summer Session One
May 27-June 8
Lavanya Mani

This workshop will explore kalamkari, a traditional Indian drawing, printing, and dyeing process once known famously as chintz. Through lecture-demonstrations and hands-on application, students will learn how kalamkari was made historically, how it is practiced today in various parts of India, and how it can be adapted for the contemporary studio. We’ll create strong, vivid colors using classic dye. We’ll cover fabric selection and the procedures and techniques for preparing fabric so it is receptive to the dye, including scouring, and pre-treatment with tannins and mordants. All levels. Code 01TA

Studio artist; exhibitions: solo at Chemould Prescott Road (Mumbai), Victoria and Albert Museum (London), Kochi-Muziris Biennale (India), Galerie Pagoda (Paris), Pearl Lam Gallery (Shanghai).

Lavanya Mani, "The Emperor’s New Machine," natural dye on cotton fabric, 6 x 9 feet
Textiles Summer Session One
May 27-June 8
Susie Taylor
Weaving Origami & Other Dimensional Possibilities

Students in this workshop will imagine, engineer, and create flat woven textiles that transform into dimensional forms. We’ll start by folding paper models that will lead into weaving and folding discontinuous pleats. This process involves modifying the loom and the weaving process and relies both on loom-controlled structures and hand manipulation techniques. We’ll explore other dimensional possibilities through frequent discussions about drafting, loom modification, and analysis of existing woven forms. We’ll experiment and collaborate. Students must be able to warp a floor loom unassisted and have an understanding of weave structures. Code 01TB

Studio artist; teaching: Tyler School of Art (Philadelphia), Arrowmont (TN); exhibitions: 9th International Fiber Art Biennale (China), 11th International Biennale of Contemporary Textile Art (Ukraine); publications: Artistry in Fiber Vol. 1 (Schiffer).

Susie Taylor, "Twill Diamond Positive," linen, 
24 x 24 inches
Wood Summer Session One
May 27-June 8
Jason Schneider
Table Talk

A table is a piece of furniture with a flat top and one or more legs, providing a level surface on which objects may be placed. In this workshop we’ll explore a variety of solid wood table designs. We’ll engage in the design process through model making and presentations on influential table designs. Once you narrow down a design, you’ll learn the best techniques and use the most appropriate materials to construct and finish your table. We’ll cover basic joinery and the safe use of hand and machine tools. All levels. Code 01W

Studio artist; teaching: Anderson Ranch (CO), SUNY Purchase College (NY); Windgate ITE Fellow at Center for Art in Wood (Philadelphia); exhibitions: San Diego State University, SOFA Chicago, Museum of Craft and Design (San Francisco), International Contemporary Furniture Fair (NYC).

Jason Schneider, "120º," corrugated cardboard, glass, 15 x 30 inches