We’re thrilled to announce our complete lineup of summer 2020 workshops! We’ve got 104 different offerings for you to choose from, each one an opportunity to learn from experienced makers and explore new materials and dream up new ideas and connect with other folks doing the same. Browse them all by studio, by session, or in our online catalog PDF (paper catalogs are at the printer at this very moment!).
Want a little taste of what you might find?
Books & Paper: large-scale sheet forming, cast paper sculpture, cut paper and pop-up books Clay: ceramic tile, animated ceramic sculptures, building with paperclay, kurinuki Drawing & Painting: abstract painting, observational oil painting, sketchbooks Glass: glass painting, borosilicate sculpture, mold making, hot glass sculpting Iron: metal furniture, forged utensils and vessels, sculptural steel Metals: electroforming, Japanese engraving, sand casting, gold fusing Photo:view cameras, poetic photographs, cameraless photography, hand coloring prints Print & Letterpress: mokuhanga, screenprinting, typography on the press, lithography Textiles: block printing with natural dyes, sculptural basketry, boro and indigo, intermediate weaving Wood:curved forms in wood, timber framing, cork, sculptural spoon carving
…and dozens and dozens of other things, too.
Registration will open for all summer workshops on January 13 at noon Eastern time on a first-come, first-served basis.Scholarships are available for all summer workshops! Scholarship applications open January 1 and are due by February 17. Starting this year, scholarships have a reduced application fee of $10.
Up in the drawing and painting studio, Evie Woltil Richner and her students are experimenting with mark making, process, and play. They workshop is called Experimental Drawing & Sketchbook Development, but a quick look around the room reveals that the first week has gone far beyond drawing to include collage, photography, brushwork, and more. Above, student Amy Robinson adds text to the richly detailed book she is creating. Meanwhile, core fellow Kento Saisho experiments with 3D forms in cardboard and gesso. The goal of it all is less about a product and more about revitalizing each artist’s flow of ideas and energy.
Here it is, the summer 2018 workshop catalog!We’re thrilled to share our lineup with you in anticipation of another summer packed with creativity, energy, new friendships, and new ideas. We’re offering 102 unique workshops led by 116 talented artist/instructors, including favorites like encaustic painting and steel sculpture and special classes like brushmaking and skin-on-frame canoe building. Most workshops are open to serious students of all levels (beginners included!), and all give you access to the slide nights, dance parties, movement classes, scholarship auctions, and more that make a Penland session so special.
This year, summer registration will open to all students on January 8 at 9 AM EST on a first-come, first-served basis; we will not be using a lottery system. Applications may be submitted online, by fax, by post, or in person.
Scholarships are available for every summer workshop, including full, partial, and work-study scholarships. Spaces will be held in each workshop for scholarship students. Scholarship applications are due by 11:59 PM EST on February 17.
We hope you find a few minutes over the holidays to pour over the Penland catalog and find the perfect workshop for you, wherever you are in your creative journey. Look out for full course descriptions on the website by the end of December, with printed catalogs to follow in early January.
Holly Roberts, who will be teaching an eight-week Penland workshop beginning in March, is a painter and a photographer. Her work with paint tends toward color and layers, while her photographs often highlight everyday patterns and textures in black and white—the branches of trees against the sky, the coiled springs of a mattress, the pebbly surface of a paved driveway. But her real work is in combining the two into narrative collages.
Holly’s collages speak to specific memories, thoughts, or individuals, and she can elaborate on the stories behind each. There’s the yellow collage of a cowboy, for example, loosely inspired by her husband’s grandfather in his ranch hand days out in Texas and New Mexico, or the aqua and dull red image of three faces inside separate houses that deals with the growing rifts between siblings as they age.
On the surface, some elements of these stories are obvious—the cowboy boots, the human features, the three peaked roofs. But deeper inspection draws out more depth from the constructed layers. The cowboy’s belt buckle is pasted from a photograph of a bird’s nest, and the squiggling “bones” that run the length of his body are the branches of trees. In the collage of houses, there are recognizable shapes, but others draw questions—are those hands reaching up from the bottom, or roots? Is the sky filled with clouds, or are those thought bubbles brimming with the unsaid words between siblings?
There’s a directness to these pieces that belies their depth and consideration. What first appears playful or happenstance is the result of careful arranging, rearranging, testing, and experimenting. Holly understands her materials as language and has gained the fluency to communicate through them on an immediate, elemental level.
The short video below is an illuminating view into her creative process in the studio:
This spring, we are thrilled to welcome Holly back to Penland to share her approach to narrative collage with our community. She and her students will go in-depth with the possibilities of paint mixed with other media during her concentration The Perfect Union: Paint, Collage & Transfers. The workshop will run March 11 – May 4, 2018, and registration is open now. Students can expect eight weeks of investigation, exploration, questions, and camaraderie.
The Perfect Union: Paint, Collage & Transfers
Holly Robert—Students will begin the process of combining media by experimenting with different ways of applying paint. Painted surfaces will serve as the core of the images to follow and will guide students in forming these images. Students will experiment with transfer processes, gluing and adhesive techniques, and using their own source material to build images onto their painted surfaces. The workshop will stress investigation, exploration, and risk in an attempt to marry disparate media such as print, text, photographs, and any other material students want to use. All levels. Studio fee: $170. Code S00D
Studio artist; teaches nationally and internationally; two NEA fellowships; monographs of her work published by Nazraeli Press and Friends of Photography; collections: Art Institute of Chicago, Center for Creative Photography (AZ), San Francisco Museum of Modern Art, Museum of Fine Art Houston, Los Angeles Museum of Contemporary Art.
The job of a Penland studio coordinator is a many-faceted one. Our eight coordinators order materials and keep studios clean and equipment running smoothly. They manage budgets and large inventories of supplies. They work with our programming office to plan upcoming workshops, and instructors to provide for specific classes, and individual students to solve problems on the fly. It’s a demanding and unpredictable job, which makes it all the more impressive that these eight individuals are also working artists in their own right. We are thrilled and proud that they have come together to put on a group show of their work at the Asheville Area Arts Council. Appropriately, the exhibition is called Off the Clock.
As curator and Penland friend Elaine Bleakney writes:
OFF THE CLOCK features eight artists, all full-time studio coordinators at Penland School of Crafts in Penland, NC. The work on view here was made in the off-hours by friends and colleagues who see each other daily and exchange interests, affection, knowledge, and regard for each other.
This is not a group show in the traditional sense. These artists are not strangers, and the works are not estranged from each other, despite their singular presences. Rather, looking from artist to artist, the viewer might pick up a magical sense that the works were made on the same set of evenings, in studios closeby. One of these artists might have looked up from her work and gazed out the cool, green window. She might have seen one of the other artists riding by on a bike, and waved.
Off the Clock will be on view at the Refinery Creator Space at 207 Coxe Ave in Asheville through September 16, 2016. It features the work of Daniel T. Beck (iron/sculpture), Betsy DeWitt (photography), Susan Feagin (ceramics), Jay Fox (print), Nick Fruin (glass), Ian Henderson (metals), Ellie Richards (wood/sculpture), and Amanda Thatch (drawing/textiles).
There will be a reception for the show on Friday, September 2 from 5 PM to 8 PM, and the artists will present a public talk on Saturday, September 3 from 4 PM to 6 PM. More information about both events is available on the exhibition’s Facebook event page.
The annual October Core Show is a much-anticipated highlight of fall at Penland, and this year was no exception. Our nine core fellows came together to put on a stunning show of pieces from their workshops across the Penland studios. Titled Personal Effects, the show featured furniture, prints, photographs, weaving, ceramics, sculpture, jewelry, and much more. It was a great opportunity to see the cumulative talent of this group of young artists, and also to show our appreciation for these people who do so much at the very heart of the Penland community.