Summer Session 5

Summer Session 5:
July 22 – August 7, 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.

Books & Paper Summer Session Five
July 22–August 7
Julie Leonard & Matt Runkle
Artists’ Books, Zines, Wordless Books & Comics

The artist’s book is a way of thinking in which form, sequence, text, image, and tactility combine to create a unique narrative experience. This workshop will explore this thinking as we make and experiment with artists’ books and their relationship to similar genres: comics, zines, and other “low-end” formats. We’ll consider where solid craft skills and multiples can happily meet. Students will learn digital printing, a variety of book structures for artists’ books, and editioning strategies, and will experiment with alternative content generation techniques. They’ll leave with an array of finished books. All levels. Code 05B

Julie: Associate professor at University of Iowa Center for the Book; collections: Sackner Archive of Concrete and Visual Poetry (Miami), Yale University (CT). Matt: studio artist and writer; teaching: San Francisco Center for the Book, University of Iowa Center for the Book, Emerging Writers Institute (CA); collections: Library of Congress Special Collections (DC), Mills College (CA), Newberry Library (Chicago).

Julie Leonard, "A History of…Vol.I," erasure text, found pages, wax graphite, 6 x 9 inches closed
Julie Leonard, "A History of…Vol.I," erasure text, found pages, wax graphite, 6 x 9 inches closed
Matt Runkle, "(Great) Catholics No. 1," zine, 5-1/2 x 8-1/4 closed
Matt Runkle, "(Great) Catholics No. 1," zine, 5-1/2 x 8-1/4 closed
Book & Paper Summer Session Five
July 22-August 7
Ann Marie Kennedy
Paper: Material & Content

Hand papermaking creates opportunities to incorporate found and natural materials into works of art. We’ll explore the processes of papermaking, choosing materials that will become part of the content of finished pieces. Paper pulps will come from materials including flax, abaca, plants, and used clothing/textiles. We’ll build a vocabulary of processes such as small and large sheet formation, working with high-shrinkage pulps, wet-collage, and pulp manipulation. The result will be 2d, 3D, or site-specific works expressing individual approaches to paper art. All levels. Code 05PM

Associate professor at Wake Technical Community College (NC); other teaching: University of Iowa Center for the Book, Women’s Studio Workshop (NY); collections: Library of Congress (DC), Yale University (CT); solo exhibitions: GreenHill Center (NC), Gregg Museum (NC); former Penland resident artist.

Ann Marie Kennedy, "Cloud Garden," abaca paper, textiles, plants, collaged paper, 20 x 16 inches
Clay Summer Session Five
July 22–August 7
Ronan Kyle Peterson

In this functional pottery workshop, we’ll work with red earthenware and use slips, terra sigillatas, and glazes to juice up our surfaces with imagery, textures, patterns, and lots of color! Techniques will include hakame, sgraffito, resists, slip/glaze trailing, and glaze layering and patterning. Focusing on cups, pitchers, and drinking sets and firing in electric kilns will allow us to experiment and process lots of information while improving throwing, construction, and design skills. Demonstrations will mostly be on the wheel but will include handbuilt elements. Students must be able to center and throw two pounds of clay or be comfortable constructing handbuilt forms. Code 05CA

Studio artist; teaching: Arrowmont (TN), Mudfire Studio (GA), Sierra Nevada College workshops (CA), The Kiln Studio (AL), Penland; exhibitions: Charlie Cummings Gallery (FL), Bascom Arts Center (NC), 18 Hands Gallery (Dallas), Pullen Arts Center (NC); former Penland core fellow.

Ronan Kyle Peterson, "Liney Bird Pitcher," red earthenware, layered slips, terra sigillatas, glazes, 8 x 8 x 6 inches
Ronan Kyle Peterson, "Liney Bird Pitcher," red earthenware, layered slips, terra sigillatas, glazes, 8 x 8 x 6 inches
Clay Summer Session Five
July 22–August 7
Kyungmin Park & Taylor Robenalt
Pristine Porcelain

This workshop will focus on creating human figures, flora, and fauna in porcelain. The instructors will demonstrate various technical processes to help students achieve crisp, clean lines and tight surfaces. Students will explore different facial expressions and gestures in figurative sculptures and how creatures can create different conceptual ideas and symbolism. The workshop will conclude with group and individual critiques. All levels. Code 05CB

Kyungmin: assistant professor at Endicott College (MA); NCECA and Ceramics Monthly emerging artist awards; Archie Bray Foundation (MT) residency. Taylor: adjunct professor at State College of Florida; residencies: Odyssey Clayworks (NC), Watershed Center (ME); Red Lodge Clay Center (MT).

Kyungmin Park, "Shall We?," porcelain, underglaze, glaze, zirconia, 16 x 14 x 14 inches
Kyungmin Park, "Shall We?," porcelain, underglaze, glaze, zirconia, 16 x 14 x 14 inches
Taylor Robenalt, "Cluster: Bear Thoughts," porcelain, underglaze, glaze, luster, 6 x 14-1/2 x 15 inches
Taylor Robenalt, "Cluster: Bear Thoughts," porcelain, underglaze, glaze, luster, 6 x 14-1/2 x 15 inches
Drawing & Painting Summer Session Five
July 22–August 7
Jill Eberle
Anatomy & Écorché

Launch into an in-depth study of the figure using 2d and 3d materials. Working from lectures, demonstrations, original handouts, and completed samples, each student will create a detailed model—an écorché—that is half skeleton, half muscles. We’ll also apply the knowledge we gain from this process by drawing from life. The goal is anatomical study rather than finished artwork. The workshop will be appropriate for artists working in any medium who are interested in improving their figurative skills. All levels; some figure drawing experience will be helpful. Code 05D

Studio artist; teaching: East Carolina University (NC), ECU Italy Intensives, Pocosin Arts (NC), Hollins University visiting artist (VA), Penland; exhibitions: Elder Gallery (NC), Gallery Hall (GA), GreenHill Center (NC), Greenville Museum (SC), Durham Art Guild (NC).

Jill Eberle, "Slinking Away," charcoal, watercolor, acrylic, aluminum, 28 x 22 inches
Jill Eberle, "Slinking Away," charcoal, watercolor, acrylic, aluminum, 28 x 22 inches
Glass Summer Session Five
July 22–August 7
Giles Bettison & Marc Petrovic
Flat Glass Murrine Roll-Ups

Using sheet glass as a foundation for making pattern, we’ll explore the possibilities of traditional and experimental murrine-based forms. Every student will work their way through concept, murrine execution, and rolling up and blowing or hot sculpting their desired forms. We’ll experiment and push traditional boundaries as students advance their ability to make hollow forms constructed from sheet glass murrine. Basic hot glass skills and familiarity with the hot shop required. Code 05GA

Giles: studio artist; exhibitions: SOFA Chicago, Tansey Contemporary (NM); collections: Australian National Gallery, Museum of Arts and Design (NYC); Marc: studio artist; teaching: Bullseye Glass (OR), The Studio at Corning (NY); collections: Museum of Arts and Design (NYC), Corning Museum (NY).

Giles Bettison, "Vista NY," hot-worked, blown, and cold-finished Bullseye sheet glass murrine, 7-1/2 inches tall
Marc Petrovic, "Avian Pair (Red Head)," fused and freehand hot-sculpted Bullseye glass, 5-1/2 x 11 x 9 inches
Glass Summer Session Five
July 22–August 7
Alicia Lomné
Pâte de Verre: The Glass Skin

This workshop will cover all the basics of making models, pouring open-faced molds, and packing glass within the mold to create thin-walled objects. Students will learn several methods of exact color placement, patterning, shading, and inlay, as well as color mixing. Thorough notes will be provided, and we’ll carefully review firing schedules. In the second half of the workshop we’ll work more experimentally using new techniques with second and third firings to rework/pattern/build existing pieces. Students will make finished work, test tiles, and experiments. Expect to work hard and have fun! All levels. Code 05GB

Studio artist; teaching: Bullseye Glass (Santa Fe, CA, OR), Pilchuck (WA), Haystack (ME), The Studio at Corning (NY); exhibitions: Muskegon Museum (MI), Kentucky Museum of Art and Craft, National Liberty Museum (Philadelphia), Mobilia Gallery (MA), Mint Museum (NC), Museo Gallery (WA).

Alicia Lomné, "The Blue Light of Day," glass, 7-1/2 inches tall
Iron Summer Session Five
July 22–August 7
Shawn HibmaCronan
Steel Sculpture

Starting with the basics, this workshop will cover a range of precise metal fabrication and forming techniques, as well as many tips and tricks for working wisely (i.e. safely and efficiently) with a variety of tools to create thoughtful, playful, engaging, and refined sculptures or maquettes for larger works. After a few assignments to get our minds warmed up, we’ll dive into demonstrations and individual ideation with 2d sketches on paper and full-scale chalk on the floor, quickly moving to wireframe mock-ups and constructing final sculptures. Techniques will include cutting, welding, drilling/tapping, forming sheet and bar stock, patinas, and finishing. All levels. Code 05I

Studio artist; teaching: The Crucible (CA), California College of the Arts teaching assistant; residencies: Autodesk Pier 9 (San Francisco), Museum of Arts and Design (NYC); exhibitions: San Jose Institute of Contemporary Art (CA), Oakland Museum of California; commission for the San Francisco International Airport.

Shawn HibmaCronan, "Angler," wood, steel, cast iron, light bulb, 8 x 3 x 10 feet
Metals Summer Session Five
July 22–August 7
Elliot Clapp & Arthur Hash

Making Embedded Accessories Through Applying Networks, Diodes, Circuits, Hardware, Enclosures, Embedded Sensors, and Electricity. Students will create interactive wearable objects as they learn the basics of electronics, programmable microcontrollers, assembling circuits, and Computer Aided Design (CAD). We’ll build basic circuits, program sensors, and fabricate enclosures, making multiple pieces and leaving with a broad understanding of embedding electronics into wearable work. All levels; students should be comfortable using computers as an artmaking tool and have the patience needed to troubleshoot technology. Code 05MA

Elliot: digital education specialist at Rhode Island School of Design. Arthur: assistant professor at Rhode Island School of Design; two Virginia Museum of Fine Arts fellowships, American Craft Council Searchlight Artist.

Elliot Clapp, "Pure Data Input Prototype," Arduino microcontroller, breadboard, wires, switches, potentiometers, 5 x 5 inches
Arthur Hash, "Pad Bracelet," sterling silver, 6 x 6 x 1 inches
Metals Summer Session Five
July 22–August 7
Phil Renato

Hair is a part of identity. It can be a marker for gender, ethnicity, age, or group identification and can be colored, cut, and combed with innumerable variations. The tools we use to craft our heads create opportunities for formal, ergonomic, and narrative differentiation. In this workshop we’ll make objects such as combs, picks, rakes, brushes, pins, and barrettes from metal, wood, and plastic. We’ll draw, saw, chamfer, carve, and mix these pieces with hot and cold connections. All levels. Code 05MB

Professor and director of the Dow Center for Art, Design and Technology at Kendall College of Art and Design (MI); other teaching: Winthrop University (SC); exhibitions: Eastern Michigan University, Lillstreet Arts Center (Chicago), “I.M.A.G.I.N.E. Peace Now” (traveling), Shemer Center for the Arts (Phoenix), Kent State University (OH).

Phil Renato, "Bride’s Comb," polyurethane, sterling silver, 7 x 3 x 5 inches
Photo Summer Session Five
July 22–August 7
Brian Taylor
Photography in Three Centuries

Let’s explore photography in a creative and intuitive way. We’ll begin with the beautiful 19th century gum bichromate printing process, allowing us to make multicolor photographs on surfaces like watercolor paper and fabric, which can then be used for handmade books, collage, painting, and drawing. Then we’ll move into the 20th century darkroom and explore innovative printing techniques with traditional black and white. Finally we’ll explore 21st century cell phone photography and digital printing. We’ll have lectures, slide shows, demonstrations, and plenty of time to produce your own beautiful artwork. All levels. Code 05P

Studio artist and executive director of the Center for Photographic Art (CA); teaching: California State University San Jose, University of California (Santa Cruz, Berkeley), Stanford University (CA); grants: NEA, Polaroid Corporation; collections: Bibliothèque Nationale (Paris), Victoria and Albert Museum (London), George Eastman House (NY).

Brian Taylor, "Signs of Life," toned silver gelatin prints in handmade book, 16 x 24 inches
Print Summer Session Five
July 22–August 7
Thomas Lucas
Adventures in Lithography

Students will explore the basic techniques of hand lithography using stones and plates. We’ll cover the fundamentals of stone lithography: graining, drawing, etching, paper registration, printing editions, and troubleshooting. And we’ll explore plate lithography and learn to incorporate experimental approaches with drawing, photo-mechanical image possibilities, and color layers into the lithographic print. Demonstrations and examples will present a variety of approaches to composition and concept. We’ll create and exchange a class portfolio. All levels. Code 05X

Studio artist and founder of Hummingbird Press Editions (Chicago); teaching: School of the Art Institute of Chicago, Ox-Bow (MI), Arrowmont (TN), SkopArt (Greece); solo exhibitions: Chicago State University, Museum of Greater Lafayette (IN); represented by N’Namdi Contemporary (Miami).

Thomas Lucas, "Aunt Dorothy with Valve Spring and Chevy," lithograph with cyanotype, 22 x 11 inches
Textiles Summer Session Five
July 22-August 7
Kim Eichler-Messmer
Natural Dyes & Quilting: Expanding on Tradition

This workshop will explore the potential for combining natural dyeing and quilting. We’ll cover a wide variety of natural dye techniques on cotton fabric including immersion dyeing with indigo and mordant dyes, overdyeing, shibori, clay resist, mordant painting/printing, and discharge. After creating a colorful library of dyed and patterned cloth, students will learn the basics of quilting including traditional and improvisational piecing and hand and machine quilting. Throughout the workshop we’ll channel our inner pioneers and practice patience, perseverance, and thoughtfulness. All levels. Code 05TA

Associate professor at Kansas City Art Institute (MO); other teaching: Arrowmont (TN), QuiltCon (CA); exhibitions: Quilt National (OH), International Quilt Festival; author of Modern Color: An Illustrated Guide to Dyeing Fabric for Modern Quilts (C&T Publishing).

Kim Eichler-Messmer, "How the Light Gets In," hand quilted, naturally dyed and discharged cotton, 54 x 54 inches
Mixed Media Summer Session Five
July 22-August 7
Kyoung Ae Cho
Mixed Media: Conversations with Nature

Paying close attention to marks that time has left behind in nature and the environment, this workshop will explore ideas while expanding visual and conceptual language. Students will be encouraged to use natural resources and found objects in creating outdoor installations as well as objects in the studio. This class is less of a how-to and more of an experience in discovery, questioning, and finding ongoing ways of working. All levels. Code 05TB

Professor at University of Wisconsin-Milwaukee; other teaching: Kansas City Art Institute (MO); exhibitions: Lynden Sculpture Garden (WI), Muskegon Museum (MI), North Carolina Museum of Art, Gregg Museum (NC), Kohler Arts Center (WI), Kemper Museum (MO); Sheldon Museum (NE), Tweed Museum (Duluth).

Kyoung Ae Cho, "Excess-Reworked" (detail), crabapple, burn marks, thread, canvas
Wood Summer Session Five
July 22-August 7
Gerald Weckesser
Skin-on-Frame Canoe Building

Using basic woodworking techniques, each student will build their own one-person canoe. Borrowing from diverse watercraft traditions such as Aleut ikyak or baidarkas, Inuit qujaq, and British Isle coracles and currachs, this workshop will focus on the skin-on-frame methods of boat building. The class will use a mix of modern materials and age-old traditions to build beautiful, durable, and lightweight boats. Time permitting, we’ll also build double-bladed paddles and water-test our crafts. All levels. Code 05W (Note: this workshop will have a $500 materials fee.)

Studio artist, Honors Fellow and faculty at East Carolina University (NC); exhibitions: Society of Arts and Crafts (Boston); publications: San Diego Home and Garden, I.M.A.G.I.N.E. Peace Now (published by Boris Bally).

Gerald Weckesser, "Canoe," Atlantic white cedar, sapele, dacron, 30 inches x 12 feet