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Artists for Equity

Penland instructor David Clemons demonstrating at the anvil

Over the past few weeks, we’ve been thrilled to hear a strong demand for more opportunities for Black artists and students of color at Penland.

This desire has already resulted in the addition of three new summer 2021 scholarships to our list of scholarships for people of color. They were funded by Penland’s staff, team of directors, and Board of Trustees, respectively. Our staff wanted to make these opportunities as accessible as possible, so each scholarship will cover 100% of tuition, room, and board and also include a stipend for travel and materials.

At the same time, we’ve heard from lots of you, our friends and students and instructors, about wanting to donate to a similar scholarship fund. We’re pleased now to give you that opportunity through the new Artists for Equity Scholarship Fund. The goal of this fund is to increase opportunities for artists of color who would otherwise not have access to Penland due to funding.

In a caring and generous community like ours, even small gifts compound to make a big impact. A single scholarship won’t change the face of the craft world, but it can absolutely open up new possibilities for an individual and start creating the momentum we need to reach a more equitable, inclusive community at Penland and beyond. Please join in with a gift and help bring new artists and new voices to our community!

Contribute to Artists for Equity

 

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Photo of the Week: After All, We’re Neighbors

"We will get through this together. After all, we're neighbors."

As part of our #PenlandEverywhere series, session 2 instructor Ben Blount sent us the following words and images on June 16. Ben was scheduled to teach “The Collaborative Printer,” a letterpress workshop focused on the community-building potential of letterpress printing. And, as much as we would have loved to have Ben and his expertise in our studio this summer, this story of print-based community building is the next best thing. Thank you, Ben, for sharing the power of craft and the written word!

The first things I started to print after the stay in place order were in response to being separated from people in a way that I’d never been before. The longer that we were isolated, the more I thought about ways to make a connection with people. I realized that the people that I passed on the street or in the grocery store aisles were no longer just strangers—they were people I relied on to keep their distance, wear their masks, and wash their hands. We were in community together and they were, in fact, my neighbors.

I printed 250 copies of this poster and passed them out to the neighbors in the block surrounding my studio and the neighbors on the street where I live—4 blocks up, on each side of the street. I included a note with each print introducing myself and the project. The note ended with “At times like these, it’s more apparent that we’re all intrinsically connected, and this print is an acknowledgment of that connection. Consider it a token of my regard, a faith in our perseverance, and a welcome to the neighborhood. Stay safe, and I’ll see you outside.”

Many of my neighbors placed the poster on their windows and doors. But what’s really been interesting to me is how in a matter of weeks, as our attention has turned from COVID to police violence and the Black Lives Matter movement, perhaps the print has another reading. As we approach the 21st day of protests in our streets, we have seen people across the spectrum in support of their Black friends, coworkers, neighbors, and fellow citizens. There is a lot of work to do to live up to our ideals. Enough work for every neighbor. I’m happy to be a part of a print community that has raised their voice during this time of change.

See more of Ben’s work:
benblount.com
@blountben

Posters printed by Ben Blount and hung around his community

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Penland Everywhere: Session 1

The hardest thing about not holding workshops this summer is knowing that so many of you are missing out on the incredible interactions and relationships and skill building that time at Penland fosters. We believe there’s no substitute for this intense, in-person learning. But we also know that, wherever they are, our instructors are a generous group with a lot to teach and share. So, in that spirit, we’re checking in with a handful of them who would have been here teaching at the start of our summer sessions. We hope their words, images, and short videos light a creative spark in you—may you nourish it until the next time we can be together in the studios again! #PenlandEverywhere

Susan Goethel Campbell

Session 1 Drawing—Investigations in Materiality


I miss being part of the creative community at Penland this year. Since the pandemic I have been printing, making short videos and bending branches around the corners of my studio. There is something about a stick at 90-degree angle that feels so wrong and unnatural that somehow feels right. Some days I am completely focused in the studio and know where I am headed. On other days I am restless, totally lost and wander from one project to the next.

Sometimes being stuck, however frustrating, is a good thing. I have been reflective about my work, humanity and how we are all connected. My agitation has kept me moving and I have gotten back in touch with what really drives my creative practice. Exploring new materials with no particular outcome in mind is one of those places. With exhibitions postponed and projects cancelled having time to play has been a gift.

Wishing everyone good health and abundant creativity.

Andrea Donnelly

Session 1 Textiles—Woven Cloth, Raw Material

Andrea Donnelly's studio

Right now I’m working on a series of three large-scale collages made from cloth I wove and dyed by hand. These works combine the slow, methodical and thoroughly planned process of weaving, which I use to create raw material for collage with the spontaneous and playful puzzle-like creation of the final piece. Because the handwoven cloth is so dense it has a real weight and presence as a material, and putting the cut pieces together truly feels like building or sculpting.

When I started this series (still working on the title), I had a few things in mind that have been guiding the work: landscape, mountains, language, atmosphere, air, ice and water, chaos and order. I began this work a few months before quarantine, with seven huge panels of handwoven cloth in whites and creams of seven different materials (cotton warp woven with: linen, alpaca, bleached cotton, natural cotton, mohair, silk, and merino), which I overdyed in seven colors. Those cloths were then divided for the three large collages: the one you see on the wall is the largest and only vertical of the three, the other two are landscape orientation. The second one is finished and partially rolled up on the table, and I’m about to start on the third from the remaining pieces!

Lynn Duryea

Session 1 Clay—Stretch the Limit

sculptural ceramics in Lynn Duryea's studio

This is an image of my work space at Sawyer Street Studios in South Portland ME, a ceramics facility I purchased and renovated with three other women artists in 1988. We’re still going strong after all these years! The work you see here is from my most recent firing. All of my pieces are slab constructed with glazes and slips applied in layers, fired to 04 in oxidation. My reference is to various kinds of structures, some as small as letters of the alphabet, others large scale architectural and industrial forms. The idea is to refer rather than replicate. Tarpaper is an integral part of my idea generation and working process, used as maquette, template and mold. The patterns you see in the back left help me to envision 3-D form. A visit to my website will show you closer images of pieces, most of which are primarily clay, but some incorporate other materials.

Christoph Friedrich

Session 1 Iron—From Technique to Ideas

In German usage, a metal designer is also called an artist blacksmith—that means blacksmith and art, or craft and design, or hand and head, or art and skill.

As an artisan, it is very important to me personally that I first make sure that I have the techniques to realize my ideas with my hands. So, on the drawing board, I already have certain steps of realization in mind. However, this is not always possible, especially if the idea is completely new. I first try to create the idea in a different, softer material and then use a metal model to get closer to the original. Many of my works were created as models before I made the original in the workshop.

I would have liked to follow this approach in my workshop at Penland: Get to know techniques and then create an idea from head to hand.

Jeana Eve Klein

Session 1 Textiles—Say It Softly

weavings with household objects by Jeana Eve Klein

In an alternate reality, right now I would be immersed in the intensity of studio practice, the richness of relationships, and the abundance of fantastic food that is Penland. I would be teaching Say It Softly, a workshop driven by my own studio work of the last three years. We would be translating words into physical textile forms with processes like appliqué, reverse appliqué, piecing, embroidery, and embellishment (with loads of sequins). Instead, I am making masks and preparing to teach weaving at Appalachian State University as it was never intended: online.

I can only mentally justify my creative practice right now if it in some way gives something to others. Part of that drive has resulted in masks to give away (though certainly not at the same mass scale as so many artists right now), but a larger part has been modeling for my weaving students that the woven world is bigger than looms.

When my students at Appalachian State University left for spring break, their first major projects were almost finished on their looms. They had just started learning the language of weaving in January, and were ready to start speaking in visual sentences when their progress was halted. I promised to show them that weaving can happen anywhere and with anything, and so—in the last two months of the semester—I wove patterns (both complex and simple) throughout my home, using the obvious choices of fabric and yarn, but also things like tights, exercise equipment, spaghetti, and toilet paper in temporary installations. This practice was incredibly cathartic for me. It challenged that side of my brain that craves problem-solving and physical making, while providing what feels like meaningful examples to my students.

Now, I am preparing for the next iteration of weaving instruction, this time 100% online in a condensed five-week summer session. After teaching weaving on treadle looms for years, I am rethinking the entire woven world, and—for the first time—preparing instructional videos for my students. I am also considering how to respond to the incredible limitations of teaching and learning in this format: there is no direct physical interaction, there is no studio community, there is no yarn inventory. I am certain that the class will not be perfect, but I am also certain that my thinking and teaching about weaving will be forever changed.

My studio is a hot mess right now, with half-finished projects scattered everywhere and finished work layered on the walls, as daily reminders of canceled exhibitions. Fabric from my extensive stash is washed, ironed, cut, and/or sewn as it makes the slow transformation into masks. Yarn—from the scrap bin of the ASU fibers studio—blocks my path through the room as I obsessively, painstakingly disentangle and organize it to send off to my summer weaving students. I have no idea when “normal” will return, nor what my “real” studio work will look like when it does. For now, though, I am content to make a tiny contribution toward simply surviving this time, and am grateful to have the space and resources to do so.

Yuri Kobayashi

Session 1 Clay—Expedition to Curves

in-process and completed chair by Yuri Kobayashi

Music and chocolate keep spirits uplifted.
Muse and stupidity approach in the wee hours.
All the cards are held in my hand.
Playing with the game helps to shape the quality of my life.

Born and raised in Japan and now resident in the U.S., I am fascinated by the universality of human nature, on the one hand, and its unique individuality, on the other. My work inevitably reflects on my own personality, experiences, feelings, and beliefs. The discipline of Japanese ethics, aesthetics, and culture was embedded in me before I recognized it. Drawing on these cultural roots, my technical training, and decades of making, I seek to bridge the structure of the traditional craft and the freedom of contemporary art and design.

Whether I am channeling my inner chaos into an abstract sculptural form or a functional decorative object, the challenge is how to embed poetic qualities in work. Fabricating in wood with my own two hands is as essential to me as breathing. It is how I think, how I shape my life, how I relate to the world. In the hope of sharing compassion, encouragement, and inspiration, I play my hand as best I can.

Lindsay Oesterritter

Session 1 Clay—Innovation: One Pot at a Time

two pots by Lindsay Oesteritter, one with apples and one with her child inside

Recently my studio practice has slowed down as I ramped up watching my two kids full time. Catching a few hours each day has changed the way I have approached my creative time. Reading more poetry, working on pots for the garden, visiting ideas that have been on the back burner, and enjoying my kitchen pots even more. Unlike a lot of my colleagues, I am finding that because of the kids, I am away from the computer way more than usual. This means my emails take a little longer to get responded to and I am not synced into all the zoom possibilities, but I am engaging in my home space in a way that I have not since we moved here 5 years ago. Anyways, all this to say- I miss you and look forward to face to face connections soon. Be well. Lindsay

Holly Walker

Session 1 Clay—Stretch the Limit

Holly Walker in her studio

It’s so easy to assume that life will continue as we imagine it will. Maybe the challenge of our changing lives is to become more comfortable with the unknown. After a bit of a roller coaster ride, I feel my equilibrium and buoyancy returning. I seek solace in my studio, and feel so fortunate to have this life of clay already established, and a safe place to explore and imagine. Seeking beauty and working with color is especially uplifting. Daily rambles outside have led me to explore some of the old cemeteries in the area. I find the strolls peaceful, cementing relationships between the past, the present and the future. The two jars fronting this image are the first in a series responding to the grace and simplicity of grave monuments. The new memory I’m adopting is that this space between us all can hold humor, delight, surprise, new solutions, and thinking before action or words.

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Black Lives Matter

black lives matter

Penland’s mission is to “support individual and artistic growth through creative practice and discovery.” So we are a craft school, yes, but we are also advocates—for learning, for transformation, for supportive and generous community. And right now, that means we are advocates for the urgent changes that need to take place across this country. Black lives matter. Black joy and freedom and creative expression matter. Black grief and protests and injustices matter.

It’s difficult to support growth and creativity in a society where some people are unsafe, unequal, unvalued. And it’s hard to learn and share if we are not listening to all the voices that need to be heard.

This is a reminder to ourselves: There is so much work to do, and WE are the ones who have to do it.

This is a pledge to all of you: We will listen and learn and support and amplify and implement and question and use our resources to foster justice and equity in our community. We know that we still have work to do when it comes to issues of race, equity, and inclusion.

And this is an invitation: This work is not something that we can delegate, or finish, or brush off. It takes us all. Please, join in.

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Photo(s) of the Week: Packet Mania!

Early this week, Penland teamed up with our friends at Toe River Arts and an all-star crew of volunteers to get a second round of art packets out to students and families in our community. Much like our first round of packets, the goal was to provide inspiration and materials for creative activities that can be done at home by a range of age groups. All told, the Packet Mania team made a total of 590 art packets, the majority of which have been delivered to the Mitchell County Schools Central Warehouse to go out with their local food pickups on May 22.

Penland’s community collaborations manager Stacey Lane described these packets as “much more ambitious” than the first round. They contained a range of drawing supplies and papers, as well as tape, glue, scissors, origami paper, book-making materials, embroidery floss and fabric, needles, and even a small cardboard loom! Each packet also included a fun coloring sheet drawn by Mitchell High student Evelyn Kline and detailed instructions and suggestions for art activities and prompts using the materials. (Want to try them for yourself? Take a look here!)

Of course, a project like this is a big team effort, and we sure couldn’t have done it without the many people who contributed their time, energy, and talents. A big thank you goes out to:

  • Lisa Rose, Meg Peterson, and Stacey Lane, who coordinated the project through Penland’s community collaborations program
  • Mitchell County art teachers Melisa Cadell, Olivia Ellis, Leslie Dickerson, and Marisa Westall, who helped plan and provide content
  • Subs with SuitCASEs teaching artists Taylor Styles, Alena Applerose, and Sherry Lovett, who created lessons for the packets
  • Toe River Arts outreach coordinator Melanie Finlayson, who helped plan and coordinate this project and provided stickers and envelopes for the packets
  • Toe River Arts staff Debra Carpenter, JoAnn Townsend, and Tracy Maisch, who helped assemble packet materials
  • Kristie Autrey of Mitchell County Schools, who acted as liaison for the project
  • Cathy Adelman, Annie Evelyn, Kathie Sigler, and Sam Reynolds, who volunteered to prepare each packet’s pamphlet book materials
  • Penland core fellows Erica Schuetz, Mitsu Shimabukuro, and Scott Vander Veen, who cut burlap for the embroidery project
  • Mitchell High student Evelyn Kline, who created a special coloring sheet to include in each packet
  • Local student Lillian Kline, who helped with the shadow drawing project
  • The wonderful volunteers who helped with packet assembly, including Erica Schuetz, Michael Kline, Evelyn Kline, and Alena Applerose
  • And the generous donors who contributed funds to help make this project a reality!

We feel really lucky to be part of such a warm and generous community, and we can’t wait to see what creative ideas spring from these effort! We hope to share some of them with you in the coming weeks.

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A Quiet Influence

Donna Jean Dreyer at Penland
Donna Jean Dreyer at Penland in 1995. (Photo by Ann Hawthorne)

In early March, the Penland community lost a person who quietly made a deep impact on the school. Donna Jean Dreyer, who died at age 88, worked at Penland from 1986 through 1995 in publications, marketing, and fundraising. She kept the wider community informed through Penland’s newsletter, The Penland Line; she worked with designer Alicia Keshishian to define a basic format and tone for Penland’s workshop catalogs that persist to this day; she helped create Penland’s development office; and she was a trusted advisor to staff throughout the organization.

Donna Jean’s most significant contribution to the school, however, came several years after she retired, when the board asked her to step in as interim director in 1997. Earlier in her life, she had been the personnel director for the American Friends Service Committee, and, following that, she accepted a series of interim director positions in the Committee’s regional offices. This experience, combined with her strong Penland connection, made her uniquely qualified to guide the school through a moment of uncertainty and turmoil.

She gathered the staff together and clearly articulated some basic principles that would guide the next year. She carefully divided decisions and tasks between the ones she needed to deal with and the ones best left for the permanent director who would follow her. It was not a time for grand visions of the future. It was a time when wounds were healed, structural problems were addressed, and stability was restored.

After she turned the director’s office over to Jean McLaughlin, the staff commissioned resident artist Hoss Haley to make a beautiful concrete bench in her honor. It sits just above the volleyball court and includes a plaque that says, “She used her mind and her heart to nurture the work of our hands.” She lived the rest of her life in nearby Yancey County and maintained friendships with many in the school community. Various staff members continued to turn to her for advice and institutional history.

In 1996, after Donna Jean’s first Penland retirement, Dana Moore, who was program director for many years, wrote a tribute for The Penland Line. She distilled much of what was special about Donna Jean, and it seems appropriate to post part of that tribute here.

In trying to say something about Donna Jean, splashy anecdotes and knee slappers don’t come to mind. What I can tell about is this:

A person with uncommon wisdom who has an easy relationship with truth that the rest of us don’t always have.

A disarming honesty motivated by a deep compassion; if she has something difficult to say, she sticks with you until long after the shock has worn off.

An ability to distill and refine a complex situation into a well-posed problem.

A person who brings the same fairness and humanity to small choices that she brings to big issues.

A person who holds the center during times of flux and transition.

Donna Jean is simply the best thinker I know, with a way of taking a poetic route to the heart of a matter.

Though Penland shapes us all, some of us also shape Penland. In Donna Jean, Penland has been shaped by a force of goodwill that has warmed our future, and we thank her.

 

Donna Jean with Tim Veness and Alicia Keshishian at The Pines in 2016. They worked closely together at Penland in the early 1990s. (Photo by Robin Dreyer)

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A Beautiful Gift to Our Community

metalsmiths cat bates and mary lynn in the Penland metals studio
Instructor Cat Bates with student Mary Lynn in the Penland metals studio. Cat is one of the 116 artists who were scheduled to teach Penland workshops this summer.

We are thrilled to announce that Penland has been included in a remarkable gift made to five of the nation’s leading craft schools to provide honorariums to the teaching artists whose workshops were cancelled in response to the coronavirus pandemic.

Totaling nearly $1 million, the gift has been made by an anonymous donor to Arrowmont School of Arts and Crafts (TN), Haystack Mountain School of Crafts (ME), Peters Valley School of Craft (NJ), Pilchuck Glass School (WA), and Penland. Over 550 artists, across the country and internationally, will benefit from this support in recognition of the time they have spent preparing and planning their workshops and their ongoing commitment to craft education. The schools are not retaining any part of the gift; it will all go to our instructors. In Penland’s case, the honorariums will include spring and summer instructors, movement instructors, and Kids Camp instructors.

Since 2012 these five schools have worked together as a consortium to promote craft education on a national level. In recent months we have continued to support each other in new ways: thinking together about how to respond to the pandemic and learning from each other as we move through difficult times. This ongoing collaboration created an opportunity to advocate for the teaching artists who are central to our mission, and we are profoundly grateful for this unprecedented support to our community. This gift is truly an act of transformational philanthropy.