Posted on

Fall Visiting Artist

Fall Visiting Artist

Each fall and spring, Penland invites a visiting artist to join us for one or two weeks to engage with Concentration instructors and students. The intent is to add an invigorating presence to the session, enhancing the experience for everyone.

Tift Merritt

Tift Merritt is a singer and songwriter. In her nearly 20-year career, she has recorded seven albums of original material and earned a Grammy nomination. Tift is known for her short-story-style songwriting and her creative collaborations. She has shared the stage with bands as varied as Nick Lowe and Jason Isbell and was a member of Andrew Bird’s band, The Hands of Glory. In 2017, she designed a fabric collection for Bernhardt Design inspired by the guitar straps she makes with vintage ribbons. Most recently, she has been a regular contributor to the Oxford American, chronicling her tours with her young daughter Jean. The New Yorker called Tift “the bearer of a proud tradition of distaff country soul that reaches back to artists like Dusty Springfield and Bobbie Gentry.”

tiftmerritt.com

portrait of Tift Merritt
Image: Alexandra Valenti / Sacks & Co.
Posted on

Wood Summer Session 7

WOOD – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Julia Harrison
Carving Cottonwood Bark

The bark that is shed by cottonwood trees is an intriguing material for carving that offers dramatically unpredictable patterns, irregular shapes, and a soft but smooth texture. Bark responds better to strategy than to force and is a great material for beginners or those with lower hand strength as well as experienced carvers looking to build skill and sensitivity. Students will learn bark preparation, layout and roughing, tool selection, detailing, and finishing. We will primarily use hand tools but demonstrations will also cover some power tools and creating larger carving blocks. This process requires patience; expect steady but slow progress. All levels.

Studio artist; teaching: Penland, Haystack (ME), Arrowmont (TN), Pratt Fine Arts Center (WA), Snow Farm (MA), 92nd St. Y (NYC); grants: World Wood Day Research Grant, North Carolina Arts Council Artist Support Grant, Campbell Folk School Traditional Craft Mentorship (NC); residencies: Museum for Art in Wood (PA), Bunnell Street Arts Center (AK), Penland; collections: University of Arkansas, Tacoma Art Museum (WA), Mint Museum (NC), Museum for Art in Wood (PA).

juliaharrison.net | @byjuliaharrison
October 15 – November 15: Scholarship applications accepted
January 14 – Regular enrollment opens

Julia Harrison, detail of Third Season, cottonwood bark, 7 x 4 x 1 inches
Julia Harrison, detail of Third Season, cottonwood bark, 7 x 4 x 1 inches
Posted on

Textiles B Summer Session 7

TEXTILES – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Francisco Bautista and Laura Bautista
Zapotec Weaving

Students in this workshop will experience the beauty of crossing threads on a floor loom and creating motifs from the Zapotec culture of Mexico. The workshop will begin with some of the history behind our weaving traditions and techniques. Students will weave a traditional motif using various colors of their choosing. There will be daily demonstrations, discussions of historic and contemporary work, and some time for experimentation. We will also share how to make fringes. Although we will not be dyeing in this workshop, we will talk about our natural dyes. All levels. This workshop takes place in a second-floor walk-up studio that has partial access by a stair lift.

Francisco is a fourth-generation master weaver; originally from Teotitlán del Valle in Oaxaca, Mexico, Laura and Francisco now work together in Oregon; exhibitions: Smithsonian Craft Show (DC), Salem Art Fair & Festival (OR), BAM Arts Fair (WA), Sun Valley Arts and Crafts Festival (ID), Art in the High Desert (OR). 

bautistaweaving.com | @francisco_laura_bautista
January 15 – Regular enrollment opens

Francisco Bautista and Laura Bautista, Eye of God Pillow Case, sheep wool, cotton warp, 14 x 18 inches
Francisco Bautista and Laura Bautista, Eye of God Pillow Case, sheep wool, cotton warp, 14 x 18 inches
Francisco Bautista and Laura Bautista - photographed for The Immigrant Story © John Rudoff 2021
Posted on

Textiles A Summer Session 7

TEXTILES – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Annabel Lowe Wrigley
Improvisational Quilts

This workshop is all about color and the emotions that come from working with it. Using interesting and intuitive color combinations, students will explore different improvisational piecing techniques to create meaningful compositions. We will leave quilting perfectionism and perfect points at the door and dive into the beauty of creating interesting shapes and curves. Working with a selection of solid colored fabrics, students will focus on combinations that create emotion while experimenting with different piecing and construction techniques. We will explore finishing techniques and facing options for hanging. The goal is for each student to complete one piece. All levels. This workshop takes place in a third-floor walk-up studio that has partial access by a stair lift.

Textile artist; instructor of Creativebug online workshops (CA), teacher of workshops nationally and internationally; group and solo exhibitions at Almas RVA (VA); author of seven instructional sewing books including My Sewing Workshop and the We Love to Sew series.  

annabelwrigley.com | @littlepincushionstudio
January 15 – Regular enrollment opens

Annabel Lowe Wrigley, Study 13, 2022, fabric, thread, 38 x 43 inches
Annabel Lowe Wrigley, Study 13, 2022, fabric, thread, 38 x 43 inches
Posted on

Print & Letterpress L Summer Session 7

PRINT/LETTERPRESS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Alexander Lee Landerman
Letterpress Fundamentals

In this session students will explore the fundamentals of letterpress printing on the Vandercook press. We will delve into the essential elements: from typesetting and cleaning to blend-rolls and drying agents. Students will gain an understanding of typography and confidence in their ability to use movable type as they create evocative poster editions. They can expect to produce 2-3 small editions of letterpress-printed posters based on prompts generated by the group. All levels. Letterpress studio. 

Studio artist; lecturer in graphic design at Indiana University; residencies: Lawrence Art Center (KS), Alderworks (AK), Azule (NC), Porcupine Mountains State Park (MI), Petrified Forest National Park (AZ), Arrowmont Pentaculum (TN), Brush Creek Foundation (WY), Jentel Foundation (WY), Dorland (CA), Vermont Studio Center; representation: By Hand Gallery (IN), Quirky Fox (NZ), and Q Artists Cooperative (WI).

alexanderlanderman.com | @alexanderlanderman
January 15 – Regular enrollment opens

Alexander Lee Landerman, End Over End, ink drawing, letterpress printing from wood type, 22 x 30 inches
Alexander Lee Landerman, End Over End, ink drawing, letterpress printing from wood type, 22 x 30 inches
Alexander Lee Landerman, End Over End, ink drawing, letterpress printing from wood type, 22 x 30 inches
Posted on

Print & Letterpress X Summer Session 7

PRINT/LETTERPRESS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Rashaun Rucker
No Press, No Problem

This workshop will be geared toward beginning printmakers and those who have enjoyed the medium but don’t have access to a press. We will cover linocut relief printmaking, monotypes, and monoprints using tools such as acrylic/gelatin plates, sponges, string, cotton swabs, brushes, and other fun things. All processes will be done with water-based inks, which can be used safely in many different spaces. Expect to finish two or three pieces during the workshop. All levels. Printmaking studio. 

Studio artist; Sustainable Arts Foundation Award, Harpo Foundation Visual Arts Grant; collections: Smithsonian Museum of African-American History and Culture (DC), Mott-Warsh Museum (MI), Detroit Institute of Arts (MI), California African-American Museum (CA), Wake Forest University (NC), University of Michigan-Ann Arbor (MI), Clark Atlanta University (GA); representation: M Contemporary Gallery (MI). 

rashaunrucker.com | @ruckerarts
January 15 – Regular enrollment opens

Rashaun Rucker, The Ancestors Cried Asé, linocut, 18 x 12 inches
Rashaun Rucker, The Ancestors Cried Asé, linocut, 18 x 12 inches
Posted on

Photography Summer Session 7

PHOTO – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Emma Powell
Creative Cyanotype Explorations

This workshop will explore the creative depths of the rich, blue, cyanotype process as students learn to manipulate the technique for their own artistic goals. Cyanotype is a light-sensitive, hand-applied emulsion that is painted onto paper or other materials. It does not require a traditional darkroom and can even be exposed outside in the sun. Together we will explore exciting approaches, such as photograms, creating digital negatives, printing on imaginative substrates, and toning. Cyanotype is a great starting point for experimenting with alternative photographic processes, and it has many applications for photographers and mixed-media artists. All levels. 

Studio artist, curator; teaching: Colorado College, Iowa State University; exhibitions: Fox Talbot Museum (England), Seities Studio (Canada), George Eastman House (NY), Museum of Sleep (VA), Panopticon Gallery (MA), Colorado Photographic Arts Center (CO), Bell Projects (CO), Well Hung Curation (CO), Southeast Center for Photography (SC), Leeds Gallery at Earlham College (IN), Slow Exposures (GA), ArtWRKD (PA).

emmapowell.photo | @emmaobscura
January 15 – Regular enrollment opens

Emma Powell, Writer’s Block, cyanotype photogram and photograph on silk/hemp fabric, 16 x 16 inches
Emma Powell, Writer’s Block, cyanotype photogram and photograph on silk/hemp fabric, 16 x 16 inches
Posted on

Metals B Summer Session 7

METALS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Kirk Lang
Touch and Go

Would you like to add movement to your artwork? What if you could make an object that mimics the flapping wings of a bird, a flower blossoming, or a model of the earth rotating around the sun? Why imply movement in your work when you can actually make your work move! This workshop will explore the transformative power of motion and offer a unique perspective on how to generate movement in jewelry and small-scale sculpture. Students are invited to bring their own ideas, materials, and projects, but they will also be exposed to new project ideas and methodologies specific to kinetic mechanisms. Technical information will include wire work, riveting, tap and die, pressure fitting, machining, and soldering. Intermediate level: no experience with kinetic work is needed, but basic sawing, filing, and soldering skills are required. Lower metals studio. 

Studio artist; teaching: Metalwerx (MA), Lillstreet Arts Center (IL), Flux Metal Arts (OH), Danaca Design (WA); Artist Trust/Washington State Arts Commission Fellowship, Saul Bell Design Award; collections: Metal Museum (TN), Hallie Ford Museum (OR); representation: Facèré Jewelry Art Gallery. 

kirklang.com | @kirk_lang
Videos of Kirk’s kinetic work
January 15 – Regular enrollment opens

Kirk Lang, Constellation 9 (Pictor Minor), mixed metals, custom electronics, drawing easel component, 12 x 32 x 6 inches
Kirk Lang, Constellation 9 (Pictor Minor), mixed metals, custom electronics, drawing easel component, 12 x 32 x 6 inches
Posted on

Metals A Summer Session 7

METALS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Xinia Guan
Origami-Style Metal Fabrication

This workshop will explore ideas and techniques for combining the ancient art of origami with modern metalworking. We will transform flat sheets of copper or silver into intricate and structurally complex, three-dimensional shapes. As students learn a bit about the history and evolution of origami and begin to apply its principles to metalwork, they will develop an understanding of metal properties, structural mechanics, and the technical aspects of cutting and folding metal. Techniques will include sawing, piercing, soldering, and finishing processes. Basic metalworking skills will be helpful but this workshop is open to all levels. Upper metals studio. Note: this workshop takes place in a studio that has stairs that compromise access. It is made partially accessible by a stair lift.

Studio artist; teaching assistant at Savannah College of Art and Design (GA); recent exhibitions: Smithsonian Craft Show (Washington, D.C.), Philadelphia Museum of Art Contemporary Craft Show (PA); representation: Charon Kransen Arts (NYC).

xiniaguan.com | @xiniaguan.jewelry
January 15 – Regular enrollment opens

Xinia Guan, Flatland X, oxidized sterling silver, 23k gold, stainless steel, 2-1/2 x 2-1/2 x 1/2 inches
Xinia Guan, Flatland X, oxidized sterling silver, 23k gold, stainless steel, 2-1/2 x 2-1/2 x 1/2 inches
Processed with VSCO with al1 preset
Posted on

Iron Summer Session 7

IRON – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Gabriel Craig and Amy Weiks
A Love Letter to Grilles

Grilles have been used for centuries to enclose and protect, and they are the basis for a variety of forms, including gates, trellises, trivets, and fire screens. Blending pattern, form, and function, grilles are a potent vehicle for expression. In this workshop students will make small grillework that could be functional items or studies for larger work. We will cover tapering and scrolling before moving on to jig making to aid in creating repeated parts. We will cover collars, rivets, laps, and tenons and will introduce forge welding as a means of creating complexity in the grille components or frame. No matter where you are in your smithing journey, there will be plenty to assimilate. All levels. 

Metalsmiths, owners of Smith Shop (Detroit); teaching: Haystack (ME), Savannah College of Art and Design, Wayne State University (MI); residencies: Houston Center for Contemporary Craft, California College of the Arts, Warren Wilson College (NC); collections: Smithsonian American Art Museum (DC), Cranbrook Art Museum (MI), Mint Museum (NC). 

smithshop.com | @smithshopdetroit
January 15 – Regular enrollment opens

Gabriel Craig and Amy Weiks, Heirloom Trivet, forged and fabricated steel, 2-1/2 x 9-1/2 x 21 inches
Gabriel Craig and Amy Weiks, Heirloom Trivet, forged and fabricated steel, 2-1/2 x 9-1/2 x 21 inches
Posted on

Glass B Summer Session 7

GLASS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Rebecca Smith
Flirting with Fusing

This workshop will explore the vast possibilities of fused glass. We will begin by covering how to cut glass, touching on the fundamentals before diving into more advanced techniques such as on-edge strip construction and using the heat of the kiln to create faux murrine patterns with stacks. Then students will make glass of their own design while learning to manipulate glass stringers with heat and create imagery and pattern with glass powders. We will bring everything together as we create pieces that will become functional dishes or decorative wall art. Topics will also include coldworking, firing processes, and the behavior of glass. All levels. Kiln studio. 

Kiln forming coordinator and guest services at Pittsburgh Glass Center;  teaching: Pilchuck (WA), Penland, Pittsburgh Glass Center; exhibitions: Erie Art Museum (PA), Pittsburgh Glass Center, Pittsburgh Botanical Garden.

Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Rebecca Smith, On Edge, fused Bullseye sheet glass, 5 x 12 inches, 4 x 13 inches
Rebecca Smith, On Edge, fused Bullseye sheet glass, 5 x 12 inches, 4 x 13 inches
Posted on

Glass A Summer Session 7

GLASS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Boyd Sugiki and Lisa Zerkowitz
Refining Form

This workshop will focus on refining students’ skills by working on simple forms in clear glass: tumblers, cylinders, bowls, and bottles. Students will practice working efficiently, improving heat control, and surveying basic blowing theories. Instruction will be personalized to build on individual skills; one-on-one time will help you find simple solutions to common struggles. Intermediate/advanced level: at least two years of glassblowing experience required. Hot glass studio.

Studio artists working independently and collaboratively as Two Tone Studio; teaching: The Studio at Corning (NY), Pittsburgh Glass Center, Penland, Pilchuck (WA); representation: Vetri Glass (Seattle), White Bird Gallery (OR). 

twotonestudios.com | @twotonestudiosglass
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Boyd Sugiki and Lisa Zerkowitz, Spiral Platter, glass, 4-1/2 x 18 x 18 inches
Boyd Sugiki and Lisa Zerkowitz, Spiral Platter, glass, 4-1/2 x 18 x 18 inches
Posted on

Drawing & Painting Summer Session 7

DRAWING/PAINTING – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Vessna Scheff
Radiant Watercolors and Luminous Drawings

In this exploratory workshop, we will experiment with intuitive mark making, movement-inspired activities, blind drawing, and drawing from observation—with the goal of self-expression and developing an understanding of light. Fun and playful approaches will build comfort with drawing and watercolor, reveal tools and techniques for refining work (it is actually possible to “erase” watercolor!), and provide prompts for seeing. This workshop is for beginning-to-advanced students hoping to find enjoyment and ease in mark making and watercolor painting and/or to enhance their skill in drawing/painting from observation. As an instructor/artist/person who values silliness and play as critical components of grounded artistic living, I look forward to diving in with you. All levels. 

Vessna Scheff creates poetic paintings, portraits, performances, sounds, and installations that use watercolors, movement, vocals, and projections as mediums of inquiry. Grounded in watercolors, her work reclaims a medium that is often described as “difficult” and “sketch” for its uncontrollable qualities, and conceptualizes the freedom of watercolor as an expression of Black liberation: always being, responding, and adapting despite the confines of oppression. Scheff’s works dance with time and fall to gravity; they blend, bleed, and bloom. They stretch, they resist, they flood, they drip, potent in texture, heavy in meaning, and rich in nuance.

vessnascheff.com/visuals | @vessnascheff
Jan 15 – Regular enrollment opens

Vessna Scheff, Knit Seeds in the Soil, watercolor and pencil on canvas, 60 x 72 inches
Vessna Scheff, Knit Seeds in the Soil, watercolor and pencil on canvas, 60 x 72 inches
Posted on

Clay B Summer Session 7

CLAY – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Elena Renker
Kurinuki

Kurinuki is an centuries-old Japanese handbuilding technique that involves carving the exterior form from a solid block of clay and then hollowing it out. This more sculptural approach allows for complete freedom in the shaping of vessels. We will explore various forms from tea bowls to bottles, vases, boxes, and large bowls. Kurinuki is also useful in making sculptural forms. Stoneware clay; bisque fire only. All levels. Lower clay studio.

Studio artist; teaching: Auckland Studio Potters (Australia) and workshops in New Zealand, India, and Taiwan; exhibitions: Form Gallery (New Zealand), Schaller Gallery (MI), Mungyeong Ceramic Museum (Korea), Sogo Department Store (Tokyo), Stratford Gallery (UK); collection: Mungyeong Ceramic Museum (Korea); work featured in Ceramics Monthly and Logbook. 

elenarenker.com | @elena_renker
Jan 15 – Regular enrollment opens

Elena Renker, Sake Bottles, wood-fired stoneware, tallest: 6-1/4 inches
Elena Renker, Sake Bottles, wood-fired stoneware, tallest: 6-1/4 inches
Posted on

Clay A Summer Session 7

CLAY – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Neil Patterson
Altered Forms

Discover your personal forms by learning to use the potter’s wheel as a creative tool. Continue the process by altering wheelthrown parts and developing off-round forms. Our focus will be on exploring process and discovering your voice in clay, not on making finished pieces. We will bisque fire only. Some throwing experience will be helpful, but this workshop is open to all levels. Upper clay studio.

Studio artist; teaching: Tyler School of Art (Philadelphia), Swarthmore College (PA), Saint Joseph’s University (Philadelphia), workshop teaching nationally; residencies: The Clay Studio (Philadelphia), Penland Core Fellowship. 

Sandiandneil.com
Jan 15 – Regular enrollment opens

Neil Patterson, Black Flower Arranger, stoneware, 11 x 5 x 5 inches
Neil Patterson, Black Flower Arranger, stoneware, 11 x 5 x 5 inches
Posted on

Books & Paper P Summer Session 7

PAPER – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Jazmine Catasús
Experimenting with Pulp

This workshop will be guided by the materiality of handmade paper as students are encouraged to take an experimental approach and push the traditional boundaries of papermaking. Paper will be considered as a tactile medium like paint or clay. We will build imagery using the various textures, colors, and forms that paper pulp has to offer and use pulp to paint onto other surfaces, such as canvas. We will also cover preparing cotton fiber with the Hollander beater, small sheet forming, and stenciling. All levels. 

Studio artist; artistic director/master printer at EFA Robert Blackburn Printmaking Workshop (NYC); teaching: Pratt Institute (NYC), Dieu Donné (NYC), Recess Art (NYC) Center for Contemporary Printmaking (CT); residencies: Morgan Conservatory (OH), Bard Graduate Center (NYC); Hand Papermaking Board of Directors.

jazminecatasus.com | @jaz_arelis
January 15 – Regular enrollment opens

Jazmine Catasús, Emblem, paper pulp, gouache, red bole on canvas, 40 x 30 inches
Jazmine Catasús, Emblem, paper pulp, gouache, red bole on canvas, 40 x 30 inches
Posted on

Books & Paper B Summer Session 7

BOOKS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Rachel Mauser
Bookbinding: Simple to Complex

In this workshop, students will learn a variety of quick bookbinding structures and techniques that they can combine to create innovative forms for their own artist books. We will cover a variety of sewn and folded structures with daily demonstrations and hands-on instruction. This workshop will start with basic accordions and pamphlets and progress to more complex versions of these structures that can be used to bring a sculptural aspect to your books. Students are welcome to bring prints, posters, or paper ephemera to use as book content. They will leave with a variety of structures in their wheelhouse as well as mock-ups for combining them into unique forms. All levels.

Bookbinder, printmaker; co-founder and co-director of Steam Exchange Community Art Center (KY); teaching and curriculum development, screen print shop director (Louisville, KY); Kentucky Museum of Art and Craft teaching artist; Windgate Fellow, Windgate Project Grant, Penland Core Fellowship, Caldera Art Center (OR) residency; work featured in 500 Handmade Books Volume 2.

rachelmauser.com | @rachelmauser
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Rachel Mauser, Moment by Moment, Coptic binding with accordion book, letterpress printed, 8-1/2 x 5 x 1/4 inches
Rachel Mauser, Moment by Moment, Coptic binding with accordion book, letterpress printed, 8-1/2 x 5 x 1/4 inches
Posted on

Wood Summer Session 6

WOOD/MIXED MEDIA– SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Annie Evelyn
Interconnection: Not Just for Woodworkers

The wood class that’s not just for woodworkers! This introductory class is designed to help you incorporate a pre-existing object or material into a table or stool. Is it clay? glass? metal? wood? fiber? found object? Don’t have anything yet? We’ll find something when you arrive. The interconnection of two materials creates an exciting opportunity for creativity and problem-solving. You will learn to safely use the jointer, planer, table saw, bandsaw, mortiser, Festool Domino, router, and various hand tools. Class vibes: having fun, supporting each other, and celebrating accomplishments. All levels. Wood studio.

Assistant professor at Virginia Commonwealth University; development director and co-founder of Crafting the Future; residencies: Penland Resident Artist Program, Windgate Resident Artist at Indiana University of Pennsylvania, University of Wisconsin-Madison (WI), San Diego State University, Wornick Distinguished Visiting Professor at California College of the Arts; exhibitions: Center for Craft (NC), Tacoma Glass Museum (WA), Fuller Craft Museum (MA) Center for Art in Wood (PA).

annieevelyn.com | @annie_evelyn_furniture
January 15 – Regular enrollment opens

Annie Evelyn, Windsor Flower Chair, ash, glass vials, fresh flowers, 40 x 28 x 26 inches
Annie Evelyn, Windsor Flower Chair, ash, glass vials, fresh flowers, 40 x 28 x 26 inches
Posted on

Textiles B Summer Session 6

TEXTILES/MIXED MEDIA – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Kyoung Ae Cho
Mixed Media: Conversation with Nature

Paying close attention to the marks that time leaves behind in the environment, students in this workshop will explore ideas and expand their visual and conceptual language. We will use natural resources as well as found objects to create outdoor installations and objects in the studio. Through slideshows, discussions, demonstrations, and mini-exercises, students will be introduced to new ways of working and dealing with materials. Among other methods, we will use fiber handbuilding techniques such as looping, coiling, knotting, basketry, and stitching. This workshop is less of a how-to and more of an experience in discovery, questioning, and finding ongoing ways of working. All levels. Lower textiles studio. This workshop takes place in a second-floor walk-up studio that has partial access by a stair lift.

Professor at University of Wisconsin-Milwaukee; other teaching: Kansas City Art Institute, Haystack (ME), Penland; Pollack-Krasner Foundation Grant, Wisconsin Arts Board Fellowship; exhibitions: Lynden Sculpture Garden (WI), Muskegon Museum of Art (MI), North Carolina Museum of Art, Gregg Museum of Art & Design (NC), Sheldon Museum of Art (NE), Tweed Museum of Art (MN), Kemper Museum of Contemporary Art (Kansas City), John Michael Kohler Arts Center (WI), National Museum of Modern Art (Korea).

kyoungaecho.com
Kyoung Ae Cho videos

January 15 – Regular enrollment opens

Kyoung Ae Cho, 
"Excess-Reworked" (detail), crabapple, burn marks, thread, canvas
Kyoung Ae Cho, "Excess-Reworked" (detail), crabapple, burn marks, thread, canvas
Posted on

Textiles A Summers Session 6

TEXTILES – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Lucille Junkere
Soulful Indigo Dyeing

In this workshop, inspired by sustainability and the instructor’s de-colonial, anti-racist practice, you will learn to use and maintain nontoxic, natural indigo dyes suitable for plant and protein fabrics. We will experiment with traceably-sourced, hand-woven fabrics and textile waste; indigo-resist dyeing; and hand-cut stencils of students’ own design, creating patterned swatches and transforming them into beautiful, hand-stitched and embroidered cushion covers. All levels. This workshop takes place in a third-floor walk-up studio that has partial access by a stair lift.

Research-based studio artist/educator; teaching includes: William Morris Gallery (UK), Ditchling Museum of Art + Craft (UK), Oriel Myrddin Gallery (UK); residencies/fellowships include: Churchill Fellowship (Nigeria) Leverhulme Fellowship (Jamaica), recent exhibition: “Ancestral Libations: Allegories of Honouring and Remembrance” at 105a Studios (UK)

lucillejunkere.com | @lucillejunkere
January 15 – Regular enrollment opens

Lucille Junkere, Indigo-Dyed Cushions, cotton fabric, embroidery thread, natural indigo
Lucille Junkere, Indigo-Dyed Cushions, cotton fabric, embroidery thread, natural indigo
Posted on

Print & Letterpress L Summer Session 6

PRINT/LETTERPRESS – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Val Lucas
No Pressure: Combining Hand-Set Type and Pressure Prints

This workshop will combine two very different processes on the Vandercook proof press: hand-set typography and cut-paper pressure prints. The ethereal, fuzzy quality of the pressure print process creates layered imagery full of depth and variation that will contrast with crisp, clean text printed from metal and wood type. Students will experiment with multiple layers of pressure prints to which they will add text. Our formats will be broadsides or folded books. We will cover the basics of setting metal and wood type, creating paper matrices for pressure prints, and printing editions on the letterpress. Expect to create multiple experimental prints as well as one or two small editions. All levels. Letterpress studio.

Studio artist operating as Bowerbox Press; teaching: Towson University (MD), various letterpress and bookbinding workshops; Mark Samuels Lasner Fellow (American Printing History Association); collections: Baylor University Library (TX), Rollins College (FL), Maryland Institute College of Art (MD), International Printing Museum (CA).

bowerbox.com | @bowerbox
January 15 – Regular enrollment opens

Val Lucas, Sumac (Maligned Plants #1), pressure print, hand-set wood type, 11 x 17 inches
Val Lucas, Sumac (Maligned Plants #1), pressure print, hand-set wood type, 11 x 17 inches
Posted on

Print & Letterpress X Summer Session 6

PRINT & LETTERPRESS SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Adriane Herman
Mixed-Media Monoprint Mayhem

Feast on a buffet of additive and reductive techniques for transferring, repeating, layering, and juxtaposing images, marks, patterns, text, and textures. The path to press-preferring methods, such as painterly monotype, collagraph, pressure printing and chine collé, will be paved by press-free processes, such as trace monotype, that offer marks no other methods yield. We’ll generate repeatable matrices and stencils that can be combined to create one-of-a-kind works on paper, fabric, and other surfaces, plus variable editions and simple book structures. Equally suited for representation, abstraction, landscape, photographic, drawn/painted, or appropriated imagery, monoprint techniques are easily harnessed to yield cohesive series and sequences of truly unique prints. All levels. Printmaking studio.

Studio artist; teaching: Maine College of Art & Design; Kansas City Art Institute; Lunder Institute for American Art Fellowship; residencies: La Ceiba Grafica (Mexico), Kriti Gallery (India), Charlotte Street (Kansas City), Spudnik Press (Chicago); solo exhibitions: Adam Baumgold Gallery (NYC), Western Exhibitions (Chicago), Center for Maine Contemporary Art; collections: Bates College Museum (ME), Colby College Museum (ME), The Whitney Museum of American Art (NYC), Yale University Art Museum (CT).

adrianeherman.com | @listress

Val Lucas, Sumac (Maligned Plants #1), pressure print, hand-set wood type, 11 x 17 inches
Val Lucas, Sumac (Maligned Plants #1), pressure print, hand-set wood type, 11 x 17 inches