Due to the current risks associated with bringing a large group of people together on our campus, we have decided to cancel all spring 2020 one-week workshops. Please see our COVID-19 Response page for more information. Thank you for your understanding and support as we navigate this evolving situation.
Due to the current risks associated with bringing a large group of people together on our campus, we have decided to cancel all spring 2020 one-week workshops. Please see our COVID-19 Response page for more information. Thank you for your understanding and support as we navigate this evolving situation.
This workshop will explore unusual approaches to flameworked glass. We’ll cover a range of glass forming techniques, from the lathe to the bench, along with unconventional coloring methods and mirroring. In addition to basic flameworking skills, students will learn to form glass with the lathe and fabricate graphite to make specific shapes of glass. We’ll have constructive critiques and discuss design, composition, concept development, mirroring methods, fun, and life. All levels. Code F01GB
Studio artist; teaching: Virginia Commonwealth University, Chrysler Museum Glass Studio (VA); Virginia Museum of Fine Arts fellowship; exhibitions: solo at Quirk Gallery (VA), Virginia Museum of Contemporary Art, Peninsula Fine Arts Center (VA), Houston Center for Contemporary Craft, National Liberty Museum (Philadelphia), Washington Project for the Arts (DC).
Through photographing in the field, experimentation, and critique, we’ll learn to make compelling images of the landscape. We’ll consider historic and current practice as we learn to think about landscape—photographing in nearby mountains and forests and working in the darkroom with the goal of producing a cohesive body of prints. We’ll emphasize observation, personal vision, and exploring new vocabularies. We’ll cover a wide range of topics including metering, exposure, depth of field, pinhole photography, film development, darkroom printing, split-filter burning, lighting, and composition. All levels. Code F01P
Studio artist; teaching: International Center of Photography (NYC), Warren Wilson College (NC), The Bascom (NC); exhibitions: Southeast Museum of Photography (FL), Ogden Museum (New Orleans), Soho Photo (NYC); collections: Museum of Fine Arts Houston, American Academy of Arts and Letters (NYC), Florida Museum of Photographic Arts.
That which is never born and never dies is always singing. This workshop invites you to explore ways we can source our creative endeavors from the deep river-beneath-the-river—the eternal wellspring of consciousness experienced in quiet moments of meditation and creative practice. We’ll explore how intention and attention, spontaneous play, structured limits, and direct experience of the mystery can guide us. We’ll employ multiple crafts—including paste-paper, journal making, clay, and more—as vehicles for the practice of presence and receptivity. We’ll explore meditation, weaving creative mindful practice into life, and the role of service in the craft arts. All levels. Code CB-Flex
Caverly: founder and guiding teacher of the mindfulness organizations Presence Collective and Peace in Schools; studied for eight years in a Zen monastery; former Penland core fellow. Joy: studio artist and educator; over twenty years of experience teaching journaling at Penland and elsewhere; journals included in national and international collections.
Using an additive woodworking approach, students will create lanterns using freeform bending and binding techniques to transform linear components into unique organic forms. With a little help from steam and gentle coaxing, line will give way to volume and extend into shadow as each student creates their own unique, functional, hanging or free-standing light source. We will cover hand tools, the band saw, and basic electrical wiring. Come ready to experiment and explore within a fun and guided framework. All levels.
Studio artist; teaching: Edgewood College (WI), Moore College of Art & Design (PA), Montgomery County Community College (PA); Center for Furniture Craftsmanship fellowship (ME); collections/permanent installations: CUNA Mutual-TruStage (WI), Biochemical Sciences UW Madison (WI).
chloris-lowe.com | @c.instalowe
Enrollment opens May 1
This short session will introduce two methods for making photographic negatives, both of which predate the advent of film: the calotype paper negative and the wet-plate collodion glass negative. Working with raw chemistry and simple materials, students will make photographic negatives suitable for printing with almost any process. While we work, we’ll discuss the history and syntax of each process: how the method for making the negative affects the images created with it. Bring your own props and costumes if you wish, or venture out into the beautiful North Carolina landscape. Cameras will be available in the studio. All levels.
Studio artist, visiting assistant professor at Pratt Institute (NYC), frequent Penland instructor since 1994; exhibitions: Catherine Edelman Gallery (Chicago), Daniel Cooney Gallery (NYC), Wilson Museum (VA), Halsey Institute of Contemporary Art (SC); recent projects include a handmade artist book project in collaboration with Nathan Carter, published by Threestart Books (Paris).
Regular enrollment will begin on May 1.
Using fabrication methods and proper soldering techniques, students will learn to make a variety of settings to trap objects in their jewelry. We’ll cover bezels, prongs, tabs, tube settings, balling wire to hold items in place, and professional bead stringing and knotting. These techniques along with in-depth soldering techniques will help students add colorful and interesting gemstones or found objects to their work. Students can work from assignments or they can bring ideas for jewelry designs they want to complete. Soldering experience will be helpful, but this workshop is open to all levels. Upper metals studio.
Notes:
Studio artist; twenty years selling her work at craft and jewelry galleries and fine craft shows; teaching; Craftsy.com, Arrowmont (TN), Haystack (ME), Penland; author of Making Metal Jewelry, Creative Metal Crafts, The Art & Craft of Making Jewelry, and The Ultimate Jeweler’s Guide (all published by Lark Books); other publications: Metalsmith, Ornament, 21st Century Jewelry (Sterling), 500 Wedding Rings (Lark Books).
joannagollberg.com | @joannagollberg
Enrollment opens May 1
Using paper as a design and problem-solving tool, students will learn to translate the natural world into forged steel. We will start by gathering botanical objects that carry aesthetic intrigue. Then we will make paper patterns inspired by these gatherings and use various tools to cut sheet, thin plate, and angle iron and create leaves, petals, stems, etc. We will cover the transition from a flat plane to volumetric form through folding, creasing, and rolling metal while it is in a malleable state. Forging techniques and different hammer styles will create surface texture. I will also demonstrate a variety of finishing techniques that use color. Students will return home with samples, patterns to work with in their own studios, and a finished piece. All levels.
Studio artist; teaching: Campbell Folk School (NC), New England School of Metalwork (ME), Brookfield (CT), The Steel Yard (RI); exhibitions: Seattle Art Fair (WA), 1st International Biennale (Braga, Portugal), Bellevue Arts Museum (WA), Metal Museum (TN), Fuller Craft Museum (MA), Smithsonian Craft Show (DC), Philadelphia Museum Craft Show, David Lusk Gallery (TN); residencies: Ferro (Germany), Vermont Studio Center.
madacsistudios.com | @smadacsi
Enrollment opens May 1
This workshop will focus on adding detailed images to stained glass works using processes that will include airbrush, pen-and-ink drawing, sandblasting, painting, and screenprinting (using screens supplied by the instructor). Enamels will be applied to the glass surface and then kiln fired. No need to be an expert painter as we will be tracing images. Students will make many samples that will be joined with copper foil and solder to make a larger finished panel. All levels.
Studio artist; teaching: The Studio at Corning (NY), Pilchuck (OR), Bezalel Academy of Arts and Design (Israel); residencies Museum of Arts and Design (NYC), Sacatar Foundation in Bahia (Brazil); public art projects: MTA Commission (NYC), Our Lady of Mercy Church (Brazil); collections: Museum of Arts and Design (NYC), Italian American Museum (NYC), Leslie-Lohman Museum (NYC); current solo exhibition: Dixon Place (NYC).
cavaglass.org | @joseph_cavalieri_glass
Enrollment opens May 1
When making art, each material brings its own qualities to your practice. In this workshop we will get loose and work without fear as we will explore traditional materials, such as oil, acrylic, watercolor, charcoal, and pencil, along with new, found materials, such as dirt, pebbles, bark, grass, and any materials students wish to bring with them. We will find ways to use and combine these, learning how materials behave physically and how they impact each other. Students will gain a new comfort level with their work and leave with energy, ideas, and a fresh perspective on their process. All levels.
Studio artist; teaching: Rhode Island School of Design, State University of New York-Purchase, Vermont Studio Center, Boston University, Virginia Commonwealth University; residencies: Yaddo (NY), Macdowell Colony (NH); collections: Museum of Modern Art (NYC), Metropolitan Museum of Art (NYC), Museum of Fine Arts Houston, Dallas Museum of Art, Whitney Museum (NYC).
chuck-webster.com | @chuckwebster
Enrollment opens May 1
Cultivate your creative voice through surface design on clay. Beginning with test tile studies, students will work through aesthetic considerations such as color, composition, and imagery (whether abstract or representational). Then, working with thrown forms such as cups, bowls, and vases, students will practice applying 2D imagery to 3D forms. Techniques will include inlay, slip trailing, stenciling, and resist in combination with underglaze and glaze. Demonstrations, exercises, and discussions will prompt students to connect with their internal and external sources of inspiration. Students will leave with new skills and ideas, greenware pots, and glazed test tiles fired to mid-range temperature. All levels. Upper clay studio.=
Studio artist; teaching: Lewis & Clark College (OR), Portland Community College (OR), Arrowmont (TN), Touchstone (PA), Idyllwild Arts (CA); residencies: Ash Street Project (OR), Guldagergaard (Denmark), The Bright Angle (NC); representations: Charlie Cummings Gallery (FL), Clay Akar (IA), Eutectic Gallery (OR); publications: Ceramics Monthly, Pottery Making Illustrated (cover), The Beginner’s Guide to Handbuilding, The Beginner’s Guide to Wheel Throwing.
adrienneeliades.com | @bugaboo_eyes
Enrollment opens May 1
This workshop will focus on the materials, tools, and methods needed to cut a colorful paper portrait with accuracy and expression. Students will learn to capture likeness and personality using a photo of themselves or someone else as a template for their paper cut. We will cover paper cutting techniques, safety, positive and negative space, and cutting and gluing colorful infills to make your paper portrait stand out. All levels.
Studio artist; teaching: Morgan Conservatory (OH), Artspace (NC), Chesapeake Art Center (MD), Jaffe Center for Book Arts (FL); Peter Bullough Foundation residency (VA); exhibitions: Women’s Caucus for Art (MD), Museum of American Illustration (NYC), solo show at Chesapeake Art Center, (MD); collections: St. Paul Episcopal Church (VA), National Museum of African American History and Culture (DC), National Institute of Health Clinical Center (MD), Inova Schar Cancer Institute (VA).
washingtoncuts.com | @washingtoncuts
Enrollment opens May 1
Learn to breathe life into your drawings with animation.This workshop will focus on frame-by-frame animation techniques using traditional tools, such as paper and light tables, and a variety of wet and dry mediums (paint, ink, colored pencil, charcoal, markers, gouache, pastel, etc.). We will give special attention to observation, gesture, and embracing the tangible qualities of physical materials. Students will learn pipelines for turning drawn frames into short videos and gifs using scanners, cameras, and Adobe software. You will leave with a deeper understanding of the principles of movement, three short animated loops, and the ability to continue creating animations at home. No experience with animation, drawing, or photography required. All levels. Photography studio.
Animation director; teaching: visiting faculty at CalArts Experimental Animation (CA), visiting lecturer at UCLA Design Media Arts; Sundance Makers Lab participant; film festivals: London International Animation Festival, Ottawa International Animation Festival, ANIMAFEST Zagreb (Croatia), Feinaki Beijing Animation Week, Anifilm International Animation Festival (Czech Republic).
jamiewolfe.com | @jamikwolfe
January 15 – Regular enrollment opens
In this fast-paced, fun workshop you’ll have the opportunity to study two approaches to the pâte de verre casting process. We’ll begin by creating color samples using the colors of your choice. You’ll learn to measure the perfect blends for predictable results and to create your own blends like a cook. We’ll work with clay models, pour refractory molds, and apply frit and powder to the surface of the mold as a painter might. There are many crossovers between our techniques along with some radical differences. We look forward to experimenting, playing, and pushing the boundaries with everyone in the workshop. You can expect to finish at least four pieces plus color samples and experiments. All levels. Casting studio.
Alicia: studio artist; teaching: Pilchuck (WA),The Studio at Corning (NY), Penland, Haystack (ME), Bullseye Glass Studios (OR), Warm Glass (UK), Bild-Werk Frauenau (Germany); exhibitions: Kentucky Museum of Art and Craft, Muskegon Museum of Art (MI), The Figge Art Museum (IA), Bergstrom Mahler Museum (WI), National Liberty Museum (Philadelphia), Museo Gallery (WA), Ken Saunders Gallery (Chicago).
Sayaka: studio artist, teacher at Virginia Commonwealth University; workshop teaching: The Studio at Corning (NY), Haystack (ME), Pittsburgh Glass Center, UrbanGlass (NYC); fellowships: Vermont Studio Center, Virginia Museum of Fine Arts; exhibitions: New Mexico Museum of Art, Czong Institute for Contemporary Art (Korea), Museo Crocetti (Italy); solo shows: Virginia Museum of Contemporary Art, Pensacola Museum of Art (FL).
This transformative workshop will help participants develop a studio practice based on curiosity and exploration. Drawing inspiration from the origins of kindergarten, we will embrace a non-linear, non-goal-oriented approach to problem-solving. Through engaging, hands-on projects involving various media–including paint, paper sculpture, drawing, maquette-making, and typography–students will learn to listen and respond to materials, allowing them to guide artistic decisions. We will emphasize the importance of sketching, ideation, critique, and presentation. By the end of the workshop, students will have gained insights into their creative process and established a solid foundation for their studio practice. All levels. Books studio.
Michael: artist, designer, typographer; principal at Cina Associates (MN), creating custom typefaces, branding, and lifestyle projects; a monograph of his award-winning album artwork for the acclaimed record label Ghostly International was published by VSCO; his design portfolio includes Disney, Apple, American Express, ESPN, Pepsi, Coke, Hewlett Packard, and Microsoft.
cinaassociates.com | @michaelcina
Matthew: sculptor working primarily with folded paper; teaching: Penland, Haystack (ME), Arrowmont (TN), Tamarind Institute (NM), Museum of Mathematics (NYC); exhibitions: Duran Mashaal Gallery (Montreal), Art Miami, Art Toronto, Papier Art Fair (Montreal), Art on Paper Fair (NYC), Paradigm Gallery (Philadelphia); client list includes Ghostly International, Apple, P&G, Facebook, Levi’s, Sesame Street, and the Queen of Jordan.
mattshlian.com | @matthewshlian
Jan 15 – Regular enrollment opens
The words text and textile share the same origin in the Latin “textere” meaning “to weave.” In this workshop students will weave together textile techniques and text to create meaningful embroideries that celebrate the stitch and the written word. The workshop will cover basic and complex embroidery stitches that will be used for design, appliqué, collage, and embellishment on both fabric and paper. Exercises and projects will encourage students to consider meaning as they incorporate idioms, poetics, fiction, and the visual word. Students of all skill levels welcome, including writers who are interested in exploring visual art. Upper textiles studio.
Artist, educator, administrator; teaching: Arrowmont (TN), Penland, University of Tennessee; exhibitions: Knoxville Museum of Art (TN), Houston Center for Contemporary Craft, Vanderbilt University (TN), Pyramid Atlantic Art Center (MD); Rauschenberg Residency (FL); juror: American Tapestry Biennial 13, Center for Craft Teaching Artist Cohort.
Note: This workshop takes place in a third-floor walk-up studio that is made partially accessible by a stair lift.
Scholarship application deadline is August 15.
Regular enrollment begins October 2.
Selfies, profile pics, and headshots are ubiquitous in contemporary pictorial culture, but how can we create portraits that transcend the ordinary? How do we photograph faces and figures to suggest deeper psychological truths, both particular to the subject and universal to our shared humanity? Using the examples of past masters, as well as Richard’s own work, we’ll start at the beginning, exploring the expressive elements of composition, color, gesture, environment, and both studio and natural lighting. Together we’ll pursue a quest to become emotional messengers through the medium of portrait photography. Students will need to bring a digital camera with manual controls. All levels.
Fine art photographer; teaching: Ringling College (FL), University of Akron (OH), Maine Media Workshops, Los Angeles Center of Photography; New York Foundation for the Arts Fellowship, Photolucida Critical Mass Top Fifty (2014, 2016, 2021); exhibitions: Center for Photographic Art (CA), Museum of Contemporary Art Krakow (Poland), Photovisa Festival (Russia); representation: Klompching Gallery (NYC), photo-eye Gallery (NM).
This is a letterpress workshop with no letters. Instead we will focus on making pattern-based prints on the Vandercook presses using custom-made, type-high shapes. Students will design and produce modular components capable of versatile arrangements and exciting permutations. Not only will the multiples of each shape be of perfect printing height, but every piece will be finished and trimmed to uniform pica lengths and widths to allow for the easy creation of new patterns using traditional letterpress spacing materials. In addition to individual print editions, collaborations will be encouraged for students interested in sharing their special components. We will make these components by cutting wood, plastic, and metal with small table saws and various hand tools. The workshop is open to all levels, but a high level of patience for making exact measurements is a must.
Studio artist: teaching: Arrowmont (TN), Ox-Bow (MI), Center for Book Arts (NYC), University of Tennessee Knoxville, Signal Return (Detroit), The Arm (NYC), Clarion University (PA), College for Creative Studies (Detroit).
stukenborgpress.com | @stukenborgpress
Scholarship application deadline is August 15.
Regular enrollment begins October 2.
Using experimental casting processes rooted in hand papermaking techniques and the distinct properties of different fibers, students will learn to record dimension, texture, surface, and form with paper pulp. We’ll begin with basics such as fiber processing in the Hollander beater and sheet forming and then apply these skills to a variety casting methods, such as embossing with the hydraulic press and vacuum table; laminate-casting of objects with high-shrinkage fibers; and packing low-relief, miniature, and found moulds. Through material exploration, this experimental workshop will emphasize the unique possibilities of various paper pulps as casting media. We’ll cover ways of working applicable to both professional and improvisational studio contexts. All levels.
Studio artist; MFA in sculpture from Yale School of Art (CT); former Penland core fellow; teaching: Women’s Studio Workshop (NY), Dieu Donné (NYC); solo exhibitions: AS220 Reading Room (RI), Sculpture Center (Cleveland), Green Galleries at Yale School of Art (CT).
In this workshop students will learn to apply enamel to 3-D copper forms. These forms will be created using the hydraulic press and premade, 3-D-printed dies of various designs. Then students will build layers of vitreous enamel on those forms using sifting and wet-packing techniques. Although CAD design and 3-D printing will not be taught in this workshop, Sunyoung will introduce the basic concepts of the processes, and students will gain an understanding of the possibilities for using these technologies to create dimensional, enameled metal forms. All levels. Upper metals studio.
Assistant professor at University of Kansas; other teaching: Arrowmont (TN), East Carolina University (NC); residencies: Pocosin (NC), Arrowmont (TN); exhibitions: The Sandra J. Blain Galleries (TN), Korea Design & Craft Foundation (Seoul), Wayne Art Center (PA), Tyler School of Art (PA), Baltimore Jewelry Center (MD), Awon Gallery (Seoul).
sunyoungcheong.com | @sunyoung.cheong
Note: This workshop takes place in a studio with steps that compromise accessibility. It is made partially accessible by a stair lift.
Scholarship application deadline is August 15.
Regular enrollment begins October 2.
This workshop will cover the process of screenprinting with pigment sticks, tinted gesso, and ink onto and under encaustic surfaces. We will cover basic encaustic processes: mixing and applying paint, fusing, scraping, and working with transparent and opaque color. A simplified approach to screenprinting will make the process easy to grasp as we unite printed elements with painted surfaces. Students will create images incorporating multiple passes from fixed screenprinting stations along with freeform printing approaches. Together we will explore how painting and printmaking can overlap and influence one another. All levels. Drawing and painting studio.
Studio artist and co-founder of Catalyst Art Lab; teacher of encaustic and printmaking workshops in the U.S., Canada, Mexico, and Ireland; fellowship and five residencies at Ballinglen Arts Foundation (Ireland); exhibitions: Minneapolis Institute of Art, McLean Projects for the Arts (VA), MicKinney Contemporary (Dallas), Bienal Duoro (Portugal); representation: Addington Gallery (Chicago), Brandt-Roberts Galleries (OH); work in numerous private collections.
jeffreyhirst.com | @jeffreyhirst
Scholarship application deadline is August 15.
Regular enrollment begins October 2.
