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Intaglio intensive with Emily Arthur | March 23-29, 2014



For [Emily Arthur’s] etching Water Moccasin (with Shot) [seen above], the work was first blown apart with a shotgun then reassembled before printing. Her iconography of snake, bird, and moth is broken by bullet holes as an example of what art historian Nancy Mithilo identifies in Arthur’s work as an ‘attraction to the vulnerable and the traumatic.’–Jan Davis, writing about Emily Arthur’s work as part of the Impact 8 International Printmaking Conference and published in IMPRINT, 2013


Emily Arthur


Emily W. Arthur
The Language & Practice of Etching
In the printmaking studio
This intaglio intensive will introduce beginning printmakers to the major acid-etching techniques of line etch and aquatint. Experienced printmakers will be able to work with more advanced methods such as sugar lift, pochoir, chine collé, spit bite, water bite, and multiple-plate color printing. Bring your curiosity, energy, and ideas along with drawings, found imagery, and/or previous plates and prints of any kind. All levels. Code S03X




Register here
for this workshop




Emily Arthur is associate professor at University of North Florida. Her residencies include the Venice Print Studio (Italy), Vermont Studio Center, A.I.R. Vallauris (France). She has been the lead printer for Penland’s winter print residency, and her work is included in collections in Russia, Estonia, Japan, New Zealand, U.K., Italy, and France.



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Introducing Penland’s 2014-2017 Resident Artists


Four artists have been selected as Penland resident artists who will live and work in Penland’s close-knit community for the next three years. The incoming artists will arrive in September, 2014 and join returning Penland resident artists Micah Evans, Dustin Farnsworth, and Rachel Meginnes. They include:


Annie Evelyn

annieevelynAnnie Evelyn received her BFA and MFA in furniture design at the Rhode Island School of Design. She has taught classes in furniture design, woodworking, and upholstery at The New School (NY), Anderson Ranch, RISD, Penland, and others. A recipient of the Windgate Fellowship in 2010, Annie spent a year as an artist in residence at Indiana University Center for Turning and Furniture Design. Her work has been shown throughout the US and abroad, most recently at the 2013 International Contemporary Furniture Fair. From 2010 to 2011, she worked in New Orleans as set decorator, assistant casting director, and associate producer on the award-winning film Beasts of the Southern Wild, all the while maintaining New Colony Furniture, her design/build business specializing in furniture design and upholstery.

As a Penland resident artist, Annie wants to regain the experimental and conceptual side of her process, something that has been sidelined by the practicalities of making a living as a designer. She hopes three years of studio exploration will help her “establish a way of working and a way of life where [art and design] are working together, informing and strengthening each other.” Annie will relocate to Penland from Brooklyn, New York.


Andrew Hayes

andrewhayesAndrew Hayes studied art at Northern Arizona University in Flagstaff and arrived at Penland as a core fellow in 2007. For four years during and following his core fellowship, Andrew worked as a studio assistant to former Penland resident artist Hoss Haley, while beginning to exhibit his altered books throughout the US. In 2013, Andrew established his own studio in Asheville, NC, and began work as a full-time artist. He is now represented by galleries in California, Oregon, North Carolina, Ohio, and Canada. In 2012, Andrew was an Emerging Artist Spotlight presenter at the national Society of North American Goldsmiths conference.

Andrew’s residency at Penland comes at a pivotal moment as he develops new work, new professional relationships, and new markets. About his continued connection to Penland, Andrew says: “Penland has shaped my life as an artist. I am eternally grateful for all the breakthroughs and positive experiences I’ve received directly or indirectly through the school… I want to give back to the community that has supported me in countless ways.” More about Andrew and his work can be found on his website.


Mercedes Jelinek

mercedesjelinekMercedes Jelinek earned a BFA from SUNY Purchase in 2007 and an MFA from Louisiana State University in 2012. Her work has been shown nationally and has recently been included in exhibits at the Ogden Museum (Louisiana) and Cuchifritos Gallery (NYC). Mercedes  has built a  freelance career working in several genres of commercial photography— architecture, fashion, events, and journalism. She is one of the first photographers to be granted access to the top of the new World Trade Center building, and is currently photographing its final construction. Mercedes has taught in several universities and photo centers, run professional and community photo studios, and assisted several elite photographers.

As a Penland resident artist, Mercedes hopes to continue a neighborhood photo booth portrait project with individuals from the Penland community, and challenge her work through increased scale and research into non-toxic photo processes. She will be moving to Penland from Brooklyn, New York. Her work can be viewed on her website.


Jaydan Moore

jaydanmooreJaydan Moore earned his BFA in jewelry/metal arts from California College of the Arts in 2008 and an MA and MFA from the University of Wisconsin, Madison in 2011 and 2012. He has taught at several esteemed metals programs throughout the country and has studied under and/or assisted master metalsmiths including Richard Mawdsley, Fred Fenster, Bob Coogan, and Marilyn da Silva. Jaydan was a university fellow at UW/Madison in 2009; a resident artist at the Houston Contemporary Craft Center in 2012; and is currently the Fountainhead Fellow at Virginia Commonwealth University’s Department of Craft and Material Studies. He is also teaching in the metals department at VCU.

Through the Penland Resident Artist program Jaydan will dedicate three years to his own studio work in complement to his established academic teaching path. View Jaydan’s work and learn more on his website.


For more information about the Penland resident artist program, please click here.


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Winter Studio Visit: Angela Eastman



We stopped by the drawing and painting studio recently where core fellow Angela Eastman has set up winter operations. She showed us this span of foliage she was assembling–a shaped wire armature with painted tar paper cuts affixed (see above). The piece is Angela’s first private commission, made for a Brevard family’s home. 

Angela walked us through the process of creating the piece, opening her sketchbook to drawings she made at the site. “The spear pattern on the wire is a continuation of patterns I found outside of the house,” she said. 


As we looked back up at the piece, we saw the sketches translated into three dimensions–a challenging fluidity captured. We talked about how the installation would go. Angela smiled and recounted carrying one of her wing-like wire pieces up a hill on her back, and how it jived with an ongoing thought she has: try some paper-form costumes for dancers and pieces for the stage. 



After looking at the commissioned piece, Angela handed us one of the metal cups stuffed with black tar-paper cuts left over from the process–she will use them for something–and continue her exploration of pattern, line, and form. She expressed a desire to use all materials at hand as well as employ greener resources. Next in Angela’s sights? Chasing a balance between making smaller, functional work and larger pieces: floor-length paper-cuts, jewelry and neckpieces, ephemeral land-based sculpture.

But our eyes were drawn back to the world of small things in Angela’s work space. This table, which speaks to one artist’s close attention to visual rhythms and disturbances in nature: 



To view an image of the finished private commission by Angela Eastman (seen above), visit:
Photographs by Robin Dreyer, writing by Elaine Bleakney

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Taking on the student as the client: Phil Sanders at Penland


Artist, master printer, publisher, creative services consultant, and non-profit arts administrator Phil Sanders was at Penland in January to teach Business Time*, a week-long class he designed to “help artists fully understand and explore the business of making and selling their work through setting realistic short, mid, and long-term goals.” We stopped by to listen in–just as the class was beginning to talk about accounting. They began by generating a list of the expenses that artists have. (“What else do you spend money on?” asked Phil. “Tacos!” answered one artist. Probably the most lively accounting class of all time.)

The workshop covered topics from products and production to marketing and contracts–and included individual meetings; a discussion with Kathryn Gremley, director of the Penland Gallery; a visit to Hoss Haley’s studio in Asheville; and another visit to Melanie Finlayson’s Green Plum Gallery in Spruce Pine.

We caught up with Phil Sanders over email to ask him a couple of questions about the course and beyond:


What was your inspiration for developing this course–and where and when did you start teaching it?


The course came out of a conversation I had with Dana Moore several years ago. She knew that I own and operate a consulting company, PS Marlowe, that focuses on creative professionals and creative capital companies (galleries, non-profits, foundations, creative capital industries: advertising, publishing, auction houses, art fairs, and entertainment as well as individual artists).


The long, short of it is: I developed this class for artists at Penland. I wrote the course book based on my strategic planning process for any business. It does not matter if it is a sole proprietorship or a 1,000 employee company, every business needs the same things.


As far as inspiration for developing the class, it’s the same reason I began PS Marlowe: artists need help understanding why they do what they do and how to share it with others. It can be difficult for an artist to separate their business goals from their personal goals. It can be even harder to see the way forward when you care so much for what you make and do.


Writers get editors, big companies get CFOs, and artists get each other (great for living a creative life, not so good for business). I treat each student like a client. This course provides artists with an editor and CFO.

A couple of months ago we read Jerry Saltz’s take on the trouble with MFA programs for artists. In the piece he writes: ‘Call me conservative, but it’s also time for grad programs to stress courses in craft and various skills — from blacksmithing to animal tracking, if these are things students need to learn for the visions they want to pursue.’ The little jest about animal tracking aside, how do you see what’s happening at Penland as part (or to the side?) of art education? Or do you look at the art-education landscape in different terms, different ways?


Can’t believe it, but I do agree with Jerry Saltz. (I even think tracking is an interesting skill to learn, especially applied to the art business world.  Another topic for another time.) I personally believe that the vast majority of academic institutions have evolved their primary mission away from providing the service of professional education in terms of the arts. I believe they are creating professional academics not professionals in their field of study.


Penland is a rare institution that teaches the how to do with as much weight as the what to do. I do not think that Penland operates within the academic landscape of arts education, and to me that is a great thing.


The difference at Penland is that practicing professionals in the field teach. This real world experience is extremely valuable if the arts are to have any chance at being an employment option for future generations. At the current rate of change in academia they will not be.


I personally believe in supporting sustainable careers in the arts. If Penland existed inside the academic system, artists would lose one of the last places where this access to real world, practical experience exists. The apprenticeship system worked for centuries.  It is a rare thing now within the arts and it is showing with the general lack of quality in construction and production in contemporary art. (To all artists out there, collectors are fed up with paying to fix your shoddy craftsmanship.) We have lost our hands-on education and with it are losing three-dimensional problem solving skills, generally learned through arts education. This is a larger problem for the entire American economy. There is a reason investment banking firms hire MFAs not just MBAs.


I started teaching this class at Penland because I believe that Penland was founded on helping people live their lives through their craft traditions. That means making a living–or at the very least–supplementing a living through one’s art. But it also means enriching artists’ lives by helping them bring their visions into the world and share with others.


The most common comment in the Business Time classes has been “why didn’t I get this information in school?” My response: That’s not what academia is for anymore. That is why you are at Penland.

*Phil Sanders’s course is generously funded by a Penland supporter who believes in providing Penland artists with business tools for the marketplace.


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2D or Not 2D with Jim Adams | April 6-12, 2014


Being present is the key. All of the best tools, materials and ideas are just artifacts and ether without a maker who is present. A fully present maker is truly something to behold.–Jim Adams


Jim Adams, Looking Back, acrylic, graphite, canvas, 60 x 48 inches
Jim Adams, Looking Back, acrylic, graphite, canvas, 60 x 48 inches

Jim Adams
2D or Not 2D
In the drawing and painting studio

In this intensive one-week drawing and painting workshop, we’ll explore graphite and paper along with transparent acrylic colors. The workshop will help artists working in 3d media develop drawing and painting skills and it will help 2d artists explore new approaches to the blank page. Along with demonstrations and plenty of work time, we’ll spend one day making collaborative temporary installations using found materials and traditional painting and sculpting media to stretch our thinking about 2d and 3d work. We’ll consider the blur in our discussions and possibly frustrate each other toward greatness! Students of all levels and media interests welcome. Code S02D 




We’ll also discuss the value and practice of a keeping a sketchbook and consider ways to develop a studio practice–no matter where we are and which tools we have at hand. Studio assistant Libby Lynn will demonstrate encaustic painting.


Register here for this workshop




Jim Adams in a studio artist working in painting, drawing, blacksmithing, and sculpture. (In Februrary of 2014, he’ll be making work in Penland’s iron studio.) Jim has taught at Jordan High School (NC), Grace School of Art (NC), Burren College of Art (Ireland) residency, and has demonstrated at the Interational Stone Sculpture Symposium (IN). His work is represented by Broadhurst Gallery (NC).



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Portland to Penland

Drew Kail at Penland

Drew Kail arrived at Penland for the first time last week, traveling from Portland, Oregon to work in Penland’s print studio with lead printer Diane Fine. He began his residency by etching this woodblock with a landscape and then spending, he noted, a lot of time with a lot of ink.

Drew’s landscape tells the story of his journey, Portland to Penland. (In one corner of the print, a figure shouts “Bye!” from a terminal that seems to float above the earth rolling out below.) Here’s a detail from the print, a bird’s-eye look at one printmaker’s winter arrival in the mountains of western North Carolina: