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Photo(s) of the Week: Spring in the Studios

The following post is a photo slideshow. If you’re looking at it in email, we recommend viewing it on the blog.

Students at work in the "Artist and Weaver" concentration
The weaving studio has looked like a veritable Pantone book this spring
Ikat weaving (and party banners!)
A giant frame loom with a radial warp
It takes teamwork to prepare pulp for papermaking
Learning the delicate art of Eastern papermaking
Turning pulp to paper
Handmade sheets of paper show their texture in the sun
The iron class started by forging spoons and other small objects
Products of an iron inflation demo in Elizabeth Brim's workshop
The glow of a coal fire in the iron studio
Taking a closer look at negatives during a 1-week workshop
Nancy Blum came to campus as this spring's visiting artist
This spring's clay concentration includes throwing, decorating, and handbuilding
Wavy clay things
Colorful clay things
Working with image transferring techniques
Students adding soda to a kiln during firing
A few treasures out of the kiln
A rainbow of inks in the letterpress studio
A few of the cloth bags that came out of one week of "Printfest!"
Just a small selection of the plates and prints that came through the studio in one week
Inking wood type to add to a print
Instructor Laura Wood in the studio during her "Make Show Repeat" concentration
Talking metals
For Alicia Keshishian's color theory workshop, the whole drawing studio got a colorful makeover.
Choosing palettes from a table full of color
Everything is scaled up in the wood studio this spring for the timber framing class
Working on site before the whole frame is raised
Wood students with their building-to-be!
Glass bubbles and tubes and twists before the addition of neon
Some glass blowing teamwork.

 

Between seven concentrations and nine 1-week workshops, we’ve had a busy spring at Penland. It’s been exciting to see the progress that long classes make, whether it’s transforming straight beams into a fully-realized timber frame structure or collecting plant material to make into paper to make into books. Scroll through the photos above to get a glimpse of the colorful, experimental, detailed, thoughtful, beautiful things underway in the studios. And, if you’re in the area, please join us on May 5th at 8pm to celebrate the end of the session at the scholarship auction in Northlight!

 

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Thank You, Mary Ann!

Mary Ann 1994
Mary Ann Scherr in the Penland metals studio, 1994. Photo by Ann Hawthorne.

We are sorry to report that metalsmith, designer, educator, and Penland’s great friend Mary Ann Scherr died at her home in Raleigh, NC on March 1. Mary Ann, who famously never looked her age, was 94 years old.

She first taught at Penland in 1968 and went on to teach at the school at least 37 times. She served on the board of trustees and contributed to every benefit auction. Her broad knowledge of metalsmithing and design made it possible for her to teach students of almost any skill level or area of interest. She pioneered the use of exotic metals in adornment and received international attention for her development of decorative electronic body monitors. She was known for her work combining drawing and metals, and she had extensive experience in product design and production work. She was able to incorporate all of these interests into her teaching.

Mary Ann was trained at the Cleveland Institute of Art, The University of Akron, Kent State University, The New School, and Durham Tech Computer Center. She served as head of the product design department at Parsons School of Design, and was on the faculty of Duke University, Meredith College, and North Carolina State University. She also taught at Arrowmont and Haystack and led dozens of workshops at universities across the country.

Her work is found in many permanent collections, including The Vatican Museum of Art in Rome, The Metropolitan Museum, The Museum of Arts and Design, The Renwick Gallery of the Smithsonian American Art Museum, The Smithsonian Institution-Medical Division, and the Museum of Fine Arts, Boston. Her work is also in a number of well-known private collections including Liz Claiborne, Helen Drutt, the Knapp Jewelry Collection, U.S. Steel Corporation, and the Alcoa Company.

In addition to her metalsmithing and jewelry design, Mary Ann worked at Ford Motor Company, designing hubcaps, hood ornaments, and instrument panels; she and her late husband, Sam, ran an industrial design firm that produced designs for Tappan, Hoover, and Rubbermaid; she made illustrations for children’s books; and a cookie jar she designed found its way into Andy Warhol’s private collection and then onto the front page of the New York Times when it sold for $19,000 at Sotheby’s.

Mary Ann Scherr at Penland
Mary Ann and her friend Charlotte Wainwright at Penland’s 2008 Annual Benefit Auction, when Mary Ann was honored as that year’s Outstanding Artist Educator. Charlotte was the founding director of the Gregg Museum of Art & Design at North Carolina State University. Photo by Robin Dreyer

Her list of awards includes an honorary doctorate from Defiance College in Ohio, the Lifetime Achievement Award from the National Museum of Women in the Arts, the Distinguished Women of North Carolina Award, the North Carolina Governor’s Award, a Lifetime Achievement Award from the Society of North American Goldsmiths, and she was a fellow of the American Craft Council. In 2008, she was honored as a Penland School of Crafts Outstanding Artist Educator.

Penland has been one of the greatest beneficiaries of Mary Ann’s knowledge and generosity. And for her, the connection was a very personal one. In an interview several years ago she said, “For more than forty years, Penland has remained positively important in my life. As the world moves, so does Penland in its own way, and it offers me an opportunity to grow with it. Each time I go back, I find new ways of thinking.”

Mary Ann was predeceased by Sam Scherr, her husband of 54 years, and is survived by a daughter, Sydney, who lives in Malaysia, two sons, Randy, and Scott, daughter-in-law, Debora, and grandson Dylan, all from Raleigh.

The family asks that memorial contributions be directed to the Gregg Museum of Art & Design (516 Brickhaven Dr Suite 200, Raleigh, NC 27606) or to Penland School (PO Box 37, Penland, NC, 28765) where The Mary Ann Scherr Metals Scholarship has been created in her honor. (You can also contribute to that fund here; just put “Mary Ann Scherr Scholarship” in the “additional gift information” field.)

You can read more about Mary Ann’s life in this article from NC State and in this oral history from the Archives of American Art.

 

Mary Ann Scherr, Neck Lace
Mary Ann’s extraordinary piece titled “Neck-Lace” was presented to the Museum of Arts and Design by a group of donors at Penland’s 2015 Annual Benefit Auction. The piece is made from 14K gold with 50 diamonds. Photo by Mercedes Jelinek

 

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Make, Show, Repeat: Cross Training for Jewelers with Laura Wood

 

Laura wood black necklace

 

Before Laura Wood was a jeweler, she was a dancer. It’s a history that shows in her work—earrings and brooches that flutter and flow, pendants that seem nearly weightless in their volume. In her recent pieces, Laura has been exploring lace-like constructions of delicate metal. Each one calls to mind a certain rhythm and exuberance, as if a spiraling path of movement has been temporarily frozen in three dimensions.

Laura explains that her training in dance led her to “making adornment for the body, activating pleasure and enjoyment through wearing.” As she describes it, “Each piece is very much an effort in creating body-conscious work… I strive to enhance the silhouette of the body and create work to be worn as a celebration of performance and adornment.”

“Celebration” seems like an appropriate word to describe Laura’s approach to her career as a full-time jeweler. Her designs are lively and dynamic, and she is engaged in building and supporting her community of fellow metalsmiths. As a complement to her own work, Laura co-founded Jewelry Edition, an online and pop-up jewelry exhibit that features a rotating selection of emerging jewelry artists and strives to offer “an in-depth view into the process of contemporary jewelry.”

 

laura wood

 

For a lucky group of students, Laura will offer an extra in-depth view of that process at Penland this spring. Her 2016 concentration “Make, Show, Repeat: Cross Training for Jewelers” will focus on all stages of creating jewelry, from the idea phase and the technical aspects of making to finishing details and fine-tuning process.

Registration is now open for Make, Show, Repeat, which will run March 13 – May 6, 2016. Scholarships are available for the course. Scholarship applications are due November 28, 2015.

 

Laura wood jewelry

 

Make, Show, Repeat: Cross Training for Jewelers

Laura Wood – This workshop will introduce a variety of metalsmithing techniques and material exploration to use as a launching pad for new work or to enrich a jewelry-making vocabulary. We’ll engineer components, embellish surface structures, and hone finishing skills. Other highlights will include mold making, powder coating, etching, stone setting, and idea generation. A progressive timeline will guide the structure of the class to encourage fast development. We’ll share our growth in its various stages through pop-up exhibitions. Basic metalsmithing skills will be helpful, but this workshop is open to all levels. Code S00MB

Studio artist; teaching: Southwest School of Art (TX); visiting artist: Western Michigan University, New Mexico State University; gallery representation: Mora Contemporary Jewelry (NC), Signature Gallery (GA), Quirk Gallery (VA), Society for Contemporary Craft (PA), Gallery 360 (MN), Heidi Lowe Gallery (DE), Gallery Store (OR).

laurawoodstudios.com

 

Penland Spring Concentrations, March 13 – May 6, 2016
Books  |  Clay  |  Glass  |  Iron  |  Metals  |  Textiles  |  Wood