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Spring Visiting Artist

Spring 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. This spring we are delighted to have two visiting artists.

Cristina Córdova

Cristina Córdova is a ceramic sculptor and teacher. Her awards include the USArtists Fellowship and the North Carolina Arts Council Fellowship. Her work is in the collections of the Renwick Gallery (DC), the Museum of Art of Puerto Rico, and the Museum of Contemporary Art of Puerto Rico. She has taught at Penland, Haystack (ME), Santa Fe Clay (NM), and Anderson Ranch (CO).

Cristina will give a visiting artist lecture on Tuesday, April 2 at 8:15 PM in Northlight titled Manos abiertas: making from where you are. This event is free and open to the public.

“Many of the themes that ground my practice are rooted in the identity of someone from the Caribbean, from Puerto Rico. Amidst all the vantage points that catalyze creativity this one, time and time again, offers a clear stance from which images of weight emerge. And yet, having lived for years amidst the ebb and flow of Penland, this once impermeable identity now has softened boundaries that are in constant dialogue with all that is received and understood outside of the small, evergreen territory I still consider home. This lecture will speak to the influences that have shaped my creative practice and explore the emergence of themes tied to identity and displacement through the lens of figurative ceramics.”

Jaime Suárez

Jaime Suárez is a sculptor, ceramist, installation artist, set designer, draftsman, and teacher. His work has been collected by the Metropolitan Museum of Art (NYC), the Museum of Art in Colombia, and the Museum of Art of Puerto Rico. He is an associate professor in the school of architecture at the Universidad Politécnica de Puerto Rico.

Jaime will give a visiting artist lecture on Wednesday, April 3 at 8:15 PM in Northlight titled Clay Beyond Ceramics. This event is free and open to the public.

“Three experiences during the first year of architecture studies influenced my development as an artist: reading The Book of Tea by Kakuzo Okakura, a lecture by Louis Khan, and an investigation and paper on the work of Antonio Gaudi. An appreciation for nature and the passing of time, the inherent quality of materials, and the search for originality have shaped a diverse expression through clay which has extended to paper and concrete. Through the talk, I will share both conceptual concerns and techniques.”    

Cristina Córdova, "detail of Jungla," photographic polyptych, ceramic, resin, paper, glass, plastic, wood, 7 x 18 feet
Jaime Suárez, "detail of Tótem Telúrico," ceramic, concrete, granite, 40 feet tall
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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.”

portrait of Tift Merritt
Image: Alexandra Valenti / Sacks & Co.
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Wood Summer Session 7

Wood Summer Session 7
August 22-28, 2021
Brandy Clements and Dave Klingler
Handwoven Chair Caning

This workshop is an introduction to the craft of handwoven chair caning. Beginning students can learn the traditional six-way pattern. Intermediate weavers or ambitious beginners can weave new patterns such as the daisy or star, or they may want to make up their own pattern. We’ll also discuss structural issues, the history of chair caning, contemporary applications, and basically geek out on chairs of all kinds. Warning: if you take this workshop, you may become a chair nerd! All levels.

Note: Students can bring a chair (in good repair with the surface finished) with holes drilled around the seat frame, or instructors can provide chairs with advance notice. Students bringing chairs will be asked to e-mail a chair picture to the instructors ahead of time. 

Brandy: studio artist, educator, curator, historian, co-owner of the Silver River Center for Chair Caning (NC); teaching and lectures: Arrowmont (TN), Campbell Folk School (NC), Furniture Society conference, Seat Weavers Guild gatherings, Folk Art Center (NC), William King Museum of Art (VA), Blowing Rock Art and History Museum (NC), American Craft Council “Let’s Make” demonstrator. 

Dave: seat weaving expert, process analyst, educator, co-owner of the Silver River Center for Chair Caning (NC); teaching and lectures: Arrowmont (TN), Campbell Folk School (NC), Furniture Society conference, Seat Weavers Guild gatherings, Folk Art Center (NC), William King Museum of Art (VA), Island Farm (NC), American Craft Council “Let’s Make” demonstrator. | @silverriverchairs

Work by Dave Klingler
Dave Klingler, Traditional Six-Way Cane Pattern on Restored Thonet Chair, wood, rattan, 34 x 18 x 19 inches
Work by Brandy Clements
Brandy Clements, Handwoven Chair Caning in Double Daisy Pattern, rattan, 18 x 16 inches
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Textiles B Summer Session 7

Textiles Summer Session 7
August 22-28, 2021
Hillary Waters Fayle
Plants: Muse & Material

In this workshop we’ll use plants and other botanical materials to explore the connections between nature and humanity. We’ll spend time looking at and learning about plants: taking guided walks, drawing, stitching, spinning, pressing, printing, painting, and studying botanical material. We’ll source plants, nuts, seeds and other material to brew our own inks and dyes for textiles and paper. We’ll also experiment with leaves and other plant materials as a substrate: woven, cut, knotted, stitched, collaged, etc. The workshop will blend art, science, and natural history as we create botanical collaboration. All levels. Second-floor textiles studio.

Assistant professor and head of fibers at Virginia Commonwealth University; exhibitions: Blue Spiral 1 (NC), Momentum Gallery (NC), Sager Braudis Gallery (MO), Pensacola Museum of Art (FL), Ellen Nöel Art Museum (TX).

circle of embroidered leaves
Hillary Waters Fayle, "Circular Meditations I & II," stitched and embroidered holly leaves, 
14 x 14 inches
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Textiles A Summer Session 7

Textiles Summer Session 7
August 22-28, 2021
Stephanie Metz
Felt: Fiber in the Round

This workshop will be a thorough introduction to the tools, processes, and possibilities of needle felting. Students will learn to manipulate wool into free-standing, solid felt sculptures using barbed felting needles to coax loose fibers into sophisticated shapes. We’ll explore solid and hollow form-building, armatures, and adding mixed-media. Felting particularly lends itself to representing organic forms, and students are welcome to bring source material. This innovative use of a humble, inexpensive material is bound to energize your art-making. Note: feltmaking involves repetitive and vigorous hand and arm movement. All levels. Third-floor textiles studio.

Studio artist; teaching: Arrowmont (TN), Yuma Symposium (AZ), California College of the Arts; recent exhibitions: Jack Fischer (San Francisco), de Saisset Museum (CA); collections: Triton Museum (CA), National Centre for Craft & Design (UK).

installation of large, textured pod sculptures
Stephanie Metz, "In Touch: Hanging Pods," wool, industrial felt, filler, cable, approximately 50 x 30 x 30 each
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Print & Letterpress L Summer Session 7

Print & Letterpress Summer Session 7
August 22-28, 2021
Rick Griffith
Print Like You Mean It: The Making of a Manifesto

In this workshop we’ll explore personal narratives to bring autobiographical language—both poetry and prose—into focus as manifestoes for action. We’ll figure out what and who we are with a printing press as our instrument. We’ll SEE each other. We’ll be inspired toward truth and action with words as our raw material. Students will learn basic/intermediate skills in letterpress printing and typesetting using mid-century Vandercook proof presses and will  have finished prints to share at the end of the week. All levels. Letterpress studio.

Co-owner of Matter (Denver), a design studio, print shop, and bookstore; teaching: University of Denver, University of Colorado-Denver; exhibitions: Columbia College Center for Book, Paper, and Print (Chicago), Boulder Museum of Contemporary Art (CO), Denver Art Museum; collections: Denver Art Museum, Tweed Museum of Art (MN).

letterpress poster about education policy printed in orange and green
Rick Griffith, "Back to School," letterpress, 26 x 17-3/8 inches
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Print & Letterpress X Summer Session 7

Letterpress Summer Session 7
August 25-31, 2019
Jay Fox
Etch a Sketch

In this workshop you’ll learn all about etching and printing copper plates. We’ll look at historic and contemporary examples of the process and discuss ways to successfully transfer your ideas and images into finished prints. We’ll cover line etch, aquatint, spit bite, monoprinting, chine collé, and multiple-plate printing. Expect to finish the week with the knowledge needed to prepare plates, etch, print, edition, and curate your work. All levels. Code 07X

Print and letterpress studio coordinator at Penland; demonstrator and presenter at Southern Graphics Council International conferences; professional printing: Gallery Stokes (Atlanta), Press Play Editions (Atlanta), Swan Coach House (Atlanta); exhibitions: Pioneer House (TN), Turchin Center (NC), Elaine Erickson Gallery (Milwaukee), Art House (Atlanta).

Jay Fox, "Salvaged:Saved," etching, 10 x 6 inches
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Photography Summer Session 7

Photo Summer Session 7
August 22-28, 2021
May Babcock & Lindsey Beal
Foraged Photographs: Cyanotypes & Handmade Paper

This workshop will integrate hand papermaking and cyanotype printing. We’ll make paper from sustainably harvested plants and traditional fibers and create sheets using deckle boxes and multiple pulps. Using cyanotype and anthotype, we’ll create photograms from foraged plants and photographs from digital negatives. Cyanotype creates blue images that can be toned to other colors. Anthotypes are made with photosensitive plant emulsions. Working in both the photo and papermaking studios, students will build a supply of handmade papers, print unique images, and learn to create environmentally conscious artwork at home. All levels.

May: studio artist; teaching: Rhode Island School of Design, Women’s Studio Workshop (NY), Brown University (RI), Louisiana State University, Pyramid Atlantic (MD); residencies: White Mountain National Forest (NH), Guadalupe Mountains National Park (TX); public art: Rhode Island State House, T.F. Green International Airport (RI). Lindsey: studio artist; teaching: Rhode Island School of Design, Massachusetts College of Art and Design; solo exhibitions: Vermont Center for Photography, Griffin Museum of Photography (MA), Danforth Art Museum (MA); publications: New York Times Lens Blog, BBC Mundo, Photo District News, New Scientist.  |  @maybabcock

four abstract compositions of blue and white on gray paper
May Babcock and Lindsey Beal, "Lamina: Eddy 1–4," artist-made pulp paintings on pigmented cotton, flax, and corn husk, cyanotype, gouache, 8-1/2 x 11 inches
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Metals B Summer Session 7

Metals Summer Session 7
August 22-28, 2021
Kim Cridler
Drawn: The Sensitive Line

Philosopher Alexander Baumgarten described aesthetics as “the science of sensitive knowing.” In that spirit we’ll use simple techniques and direct observation to make structural wire forms. Demonstrations will include soldering steel wire, building symmetrical forms, forging and drawing wire, and finishing steel. Supplemented with short readings, visual presentations, and quick assignments, we’ll make models and samples before creating individual projects. This class is about starting where you are, working without hesitation, and seeing anew. Soldering experience will be helpful, but the workshop is open to all levels. Lower metals studio.

Studio artist; teaching: University of Wisconsin-Madison, San Diego State University, Arizona State University; upcoming retrospective at The Metal Museum (TN); collections: MTA Arts & Design (NYC), Museum of Fine Arts Houston (TX); representation: Lisa Sette Gallery (AZ).

wire metal basket with handles and stand
Kim Cridler, "Again (basin with butterflies)," steel, butterfly wings (Dichorragia nesmachus), 15 x 28 x 18 inches
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Metals A Summer Session 7

Metals Summer Session 7
August 22-28, 2021
Edna Madera
Gold Fusing

This workshop will introduce students to surface embellishment through fusing high-karat gold over silver. We’ll cover the basics and then explore additional surface considerations, such as finish, texture, and patina, that will complement students’ own designs. We’ll also cover roll-milling 24k gold, depletion gilding, tool and workspace setup, gold cutting, and torch fusing. Discussions will include prefabricated versus studio-made gold foils, workflow, and design experimentation. Some comfort working with torches will be helpful, but this workshop is open to all levels. Upper metals studio.

Studio artist; teaching: Pratt Fine Arts Center (Seattle); Award of Excellence at American Craft Council Baltimore show; publications: New Brooches: 400+ Designs in Contemporary Jewelry, SNAG Jewelry and Metals Survey 2017; representation: Ayesha Studio and Gallery (NJ).

Earrings with gold feather detail
Edna Madera, "Flora and Feather Earring," 24k, 18k, 14k, 11k bimetal, fine silver, 1-3/4 x 1-1/8 x 1/2 inch
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Iron Summer Session 7

Iron Summer Session 7
August 22-28, 2021
Meghan Martin
Functional Forms: Designing Tools and Utensils

Students in this workshop will learn the foundational skills of blacksmithing and explore their application to the design of culinary utensils and small-scale agrarian tools. Through a series of assigned projects, students will create a small collection of implements and practice forging techniques such as hammer control, tapering, shouldering, punching, drifting, spreading, and forming steel. Other demonstrations will include cold connections, filing, steel patination, forged surface textures, and more. While the focus will be on traditional hand-forging techniques, we’ll also use a variety of tools and equipment available in the Penland iron studio. All levels: beginners are encouraged, and there will be some advanced material for more experienced students.

Studio artist; teaching: Haystack (ME), artWORKS Visiting Artist at University of Arkansas at Little Rock; residencies: Penland Core Fellowship, Vermont Studio Center, Vermont Folklife Center Traditional Arts Apprenticeship; exhibitions: Penland Gallery, Blue Spiral 1 (NC), Columbia Center for the Arts (OR).

side view of a wood and metal garden trowel
Meghan Martin, "Garden Trowel," forged steel, palmwood handle, 3 x 10 inches
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Glass B Summer Session 7

Glass Summer Session 7
August 22-28, 2021
Kit Paulson
Gotta Make It Somehow

Approaching flameworking from a goal-oriented, project-based perspective, we’ll talk about and build things with borosilicate glass. Skill building will happen along the way, or it may be a goal in itself. Topics may include, but will not be limited to, blowing hollow forms, solid sculpting, large- and small-scale construction, hot and cold assembly, botanical and figure studies, tooling, color application, heat application, and annealing. Group or class projects are a possibility. All levels. Flame studio.

Independent artist; teaching: Bildwerk Frauenau (Germany), Corning Museum of Glass (NY), Canberra Glassworks (Australia), National College of Art and Design (Ireland), Pilchuck Glass School (WA); collections: Renwick Gallery (DC), KODA (Norway), Tacoma Museum of Glass (WA); Penland resident artist.

Telephone by Kit Paulson
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Glass A Summer Session 7

Glass Summer Session 7
August 22-28, 2021
Andy Paiko
We’re on Our Own

Based on the idea that if you want things done right you must do them yourself, this class will take a look at self-sufficiency in the glass studio. From solo, hot-work tips and techniques at the furnace to coldworking and assembly strategies, students will be encouraged to create the ambitious large and/or intricate work they have always wanted to attempt. Topics will include hot assembly alone, adding avolios and blown feet alone, solo punty making, marver-casting shapes for hot pick-up, and more. We’ll consider what goes into the whole process from idea generation to cashing the check and every step in between. You’ll be encourage to become lifelong students when there are no longer instructors and it’s time to get down to business. All levels. Hot shop.

Studio artist; collections: Renwick Gallery (DC), Chazen Art Museum (WI); Louis Comfort Tiffany Biennial Award; exhibitions: Stanza del Vetro (Venice, Italy), Museum of Fine Arts Boston; representation: Wexler Gallery (Philadelphia).

Andy Paiko, "Indefinite Sum 6 and 7," blown, sculpted, etched, and lacquered glass; brass, leather, tallest: 31 inches
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Drawing & Painting Summer Session 7

Drawing & Painting Summer Session 7
August 22-28, 2021
Leigh Suggs
Changing Perspective: Experimenting with Paper

This workshop is about changing your approach to paper. We’ll explore ways to transform paper—both technically and conceptually—into more than just a flat surface. Students will use simple tools to turn basic sheets into sculptural forms by cutting, folding, collaging, weaving, and using a variety of 3-d paper constructions. We’ll use natural and synthetic papers and create samples that will introduce you to the nuances of the material. There will be daily demonstrations, discussions of contemporary work, and time for experimentation. All levels. Note: this is not a hand papermaking workshop. 

Studio artist; teaching: Virginia Commonwealth University, Arrowmont (TN), Penland; exhibitions: Penland Gallery, Racine Art Museum (WI), Weatherspoon Museum (NC), Taubman Museum (VA); collections: Virginia Museum of Fine Arts, Roanoke College (VA); representation: Reynolds Gallery (VA).

Intricately cut vanishing pattern on blue paper
Leigh Suggs, "On Our Way," handcut acrylic on Yupo, 36 x 36 inches
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Clay B Summer Session 7

Clay Summer Session 7
August 22-28, 2021
Aisha Harrison
Striking the Balance

Working from personal narrative can be daunting and feel vulnerable, but it is often from that place that we communicate through our work with the most authenticity and awareness. In this workshop we’ll aim to strike a balance between the personal and the metaphorical to produce drawings and maquettes that can be developed into more finished pieces at home. We’ll use a multi-modal approach that includes guided journal writing, a drawing process meant to uncover subconscious thoughts, and sculpting. Students will also learn to use photographs in-the-round to improve the figurative elements of their work. We’ll use mid-range clay and will not be firing. No clay or drawing experience required; all levels. Lower clay studio.

Studio artist; teaching: Evergreen State College (WA), Penland, Baltimore Clayworks (MD), Lux Center for the Arts (NE); residencies: Watershed (ME), Lormina Salter Fellow at Baltimore Clayworks, Women’s Studio Workshop (NY); exhibitions: Bainbridge Island Museum of Art (WA), O’Kane Gallery (TX), Santa Fe Clay (NM), Salon Refu/Susan Christian Project Space (WA).

Aisha Harrison, "Ancestor I," clay, graphite embroidery floss, glue, 41 x 27 x 10 inches
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Clay A Summer Session 7

Clay Summer Session 7
August 22-28, 2021
Heesoo Lee
Dimensional Expression on Ceramic Surfaces

Students in this workshop will explore handbuilding, sgraffito, texture, and watercolor-style underglaze to create images of nature and memory on functional and sculptural porcelain vessels and tiles. First we’ll create a clay canvas through an additive process on handbuilt or wheelthrown porcelain forms. Then we’ll use commercial watercolor-style underglazes to create perspective and depth and imitate traditional China paint effects on greenware and bisque-fired surfaces. Projects will be tailored to your interests with special emphasis on landscapes and perspective. Basic wheelthrowing skills are a plus, but this workshop is open to all levels. Upper clay studio.

Studio artist; Archie Bray summer residency and long-term residency (MT); exhibitions: Akar (IA), Archie Bray, International Ceramic Biennale (Korea), TRAX Gallery (CA).


Vase decorated with a colorful raised tree design
Heesoo Lee, "In Dreams," porcelain, 18 inches tall
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Books & Paper P Summer Session 7

Books & Paper Summer Session 7
August 25-30, 2019
Jiyoung Chung
Joomchi! Why Not?

Joomchi is a traditional Korean method for making textured paper using water, mulberry paper, and eager hands. This workshop will cover its history, practice, and role in Korean society as well as the hands-on techniques and adaptations that have made it into a contemporary art form. Joomchi creates strong, textural, and painterly surfaces by layering and agitating Hanji (Korean mulberry papers). Its uses are diverse, and it can be incorporated into surface design, collage, drawings, wearables, unconventional body ornaments, or sculptural objects. All levels. Code 07PM

Studio artist; teaching: Arrowmont (TN), Sacramento Fine Arts Center (CA), Pacific Northwest Art School (WA), Rhode Island School of Design Continuing Education; exhibitions include 31 solo shows in the US and abroad; collections: Fidelity Corporate Art Collection (Boston), Museum of Arts and Design (NYC); author of Joomchi & Beyond.

Jiyoung Chung, "Whisper Romance III-VI," joomchi, handmade paper, paper yarn, 24 x 18 inches
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Books & Paper B Summer Session 7

Books & Paper Summer Session 7
August 22-28, 2021
Shanna Leino
Bone Folders Elevated

Working with elk bone, we’ll craft a traditional tool of the bookbinding trade: the bone folder. We’ll play with shape and ornament to move beyond a simple tool into the realm of the sculptural and adorned. These will be custom tools made to suit your individual needs, resulting in instruments of function and beauty. Students will create a small quiver of unique bone tools and a leather tool roll to house them safely. All levels. Note: We’ll be working with bone from elk killed in the wild. This material would otherwise be wasted and thrown away, but it is an animal product nonetheless.

Studio artist; teaching: University of Georgia Cortona Italy Program, Paper and Book Intensive (MI), Boston University, Minnesota Center for the Book, University of Iowa Center for the Book; Fiskars Artist in Residence (Finland); collections: Yale University Library (CT), University of Washington Special Collections, University of Iowa Special Collections.

Shanna Leino, "Carved Elk Bone Folders," elk bone, various dimensions
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Wood Summer Session 6

Wood Summer Session 6
August 8-19, 2021
Daniel Michalik

This workshop will explore cork and the many possibilities for design and making that can emerge from this wonderful, ecological material. We’ll learn and apply traditional woodworking techniques including machining, hand shaping, lathe turning, and bending, as well as experimental techniques such as cork casting. Cork will be used to achieve structure and visual texture in combination with wood and on its own. We’ll study cork farming, harvesting, and production and make objects that reflect these systems. We’ll start with experiments and then create tabletop accessories and furniture forms in which cork plays a central role. All levels.

Studio artist, product designer, and assistant professor at Parsons School of Design (NYC); other teaching: Central Saint Martins (London), Haystack (ME), Rhode Island School of Design; exhibitions: Renwick Gallery (DC), Fisher Parrish Gallery (NYC), Sight Unseen OFFSITE (NYC).

two textured cork stools, one light and one darker
Daniel Michalik, "Rook Stools," recycled cork, 20 x 15 x 15 inches each
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Textiles B Summer Session 6

Textiles Summer Session 6
August 9-21, 2020
Edwina Bringle
Class of Possibilities

This workshop will cover all the basics of weaving, including warping and planning, and it will give students the potential to move beyond what they imagined. There are many possibilities, including pattern weaving, tapestry, rugs, double weave, overshot, and more. We’ll explore, watch, ask and answer questions, learn from each other, and bring our ideas to life at the loom. All levels. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code 06TB

Professor emerita at University of North Carolina-Charlotte; Penland Outstanding Artist Educator award; collections: Mint Museum (NC), North Carolina Museum of History, Greenville Museum of Art (SC), Southern Highland Craft Guild (NC), private collections; former Penland resident artist.

woven piece in plum, aqua, orange, pink and blue
Edwina Bringle, "Lap Robe/Shawl," handwoven wool, 53 x 60 inches
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Textiles A Summers Session 6

Textiles Summer Session 6
August 8-19, 2021
Betty Maney
Cherokee White Oak Market Baskets

This workshop will begin with a thorough presentation and demonstration of Cherokee basketry. Students will then begin by scraping white-oak splints to a final finish before dyeing. The splints will be coiled and then dyed using walnut bark or hulls (dark brown) or bloodroot (burnt orange). Each student will then carve an interlocking, white oak handle for their market basket. The second week will cover the weaving process from start to finish, including the interlocking handle. The dyed splints will be used to create woven designs in the baskets. The availability of white-oak splints is limited; other materials will be available for students who want to make additional baskets. Please note that making Cherokee white-oak baskets is labor intensive. All levels. Second-floor textiles studio. This workshop has a studio fee of $350.

Second-generation basket weaver and owner of Betty Maney Gallery; teaching: Campbell Folk School (NC), Museum of the Cherokee Indian (NC), Swain High School (NC), Cherokee Youth Arts and Culture Camp (NC); exhibitions: Asheville Art Museum. Asheville Giduwah Festival (NC)  Museum of the Cherokee Indian, Cherokee Voices Festival (NC).

Facebook: bettymaneygallery

rectangular basket with weaving in multiple shades
Betty Maney, “Market Basket,” white oak, natural dyes, 13 x 8-1/2 x 11 inches
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Print & Letterpress L Summer Session 6

Print & Letterpress Summer Session 6
August 9-21, 2020
Brad Vetter
Lasers & Letterpress

Our duty as a new generation of letterpress printers is not just to communicate, but to see where we can take this medium as we move forward. This workshop will explore new techniques in letterpress with an emphasis on laser cutting and poster design. We’ll use Vandercooks, wood and lead type, computers, Penland’s new laser engraver, and the power of the printed word to discover new ways to collaborate with each other and communicate/impact/interact with the community around us. We’ll have daily demonstrations and show-and-tell with plenty of time for exploration and printing. Letterpress and/or Photoshop/Illustrator experience is a plus, but this workshop is open to all levels. Code 06L

Studio artist; teaching: Miami University (OH), Hamilton Wood Type and Printing Museum (WI); exhibitions: San Francisco Museum of Modern Art, Massachusetts Museum of Contemporary Art; publications: Low-Tech Print, Wood Type Evolved.

tour poster with graphic shapes in shades of orange, coral, and teal
Brad Vetter, "Margo Price Tour Poster," letterpress, 23 x 13 inches