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Fall Weekend Wood

WOOD – FALL WEEKEND
OCTOBER 18 – 21, 2024
Jenna Goldberg
Bandsaw Boxes

Bandsaw boxes are a simple way to make wooden box structures without the burden of complicated joinery. Students will learn the basics of cutting, gluing, and manipulating the material. We will also explore simple surface design treatments such as image transfers, color and painting techniques, texture, and surface carving. Demonstrations will include the safe use of machinery and sharpening chisels and carving tools. Personal exploration of form, surface, and imagery will be encouraged. All levels. 

Studio artist; teaching: Rhode Island School of Design, Arrowmont (TN), Haystack (ME), Anderson Ranch (CO), Penland; collections: Renwick Gallery (DC), Mint Museums (NC). 

@jenna43215

Enrollment opens May 1

Jenna Goldberg, Bandsaw Boxes, painted and carved basswood, image transfers, 10 - 20 inches long
Jenna Goldberg, Bandsaw Boxes, painted and carved basswood, image transfers, 10 - 20 inches long
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Fall Weekend Printmaking and Letterpress

PRINTMAKING – FALL WEEKEND
OCTOBER 18 – 21, 2024
Heinrich Toh
The Layered Monotype

In this all-level, beginner-friendly workshop, we will explore printmaking applications with layered monotypes. This easy, intuitive process has endless possibilities that will help you learn to work with color, shapes, and composition while printing on an etching press. Our goal will be to create complex, luscious layers filled with painterly brushstrokes, marks, repeated patterns, impressions, and embossments. We will skillfully use found objects like cardboard, doilies, bubble wrap, dried flowers, and leaves. Get inspired and create one-of-a-kind prints. All levels; a love of puzzle-solving recommended. 

Studio artist; teaching: Kansas City Art Institute (MO), Arrowmont (TN), Penland, Pratt Fine Arts Center (WA), Oklahoma Fine Art Institute at Quartz Mountain; exhibitions: Lawrence Art Center (KS), Wing Luke Asian Museum (Seattle), Bellevue Art Museum (WA); collections: Nelson-Atkins Museum of Art (MO), Albrecht-Kemper Museum (MO), Truman Medical Center (MO), University Hospital of Cleveland, American Century Investments.

heinrichtoh.com | @heinrichtoh

Enrollment opens May 1

Heinrich Toh, Help Me to Decide, monoprint and paper lithography on Rives BFK paper, 27 x 27 inches
Heinrich Toh, Help Me to Decide, monoprint and paper lithography on Rives BFK paper, 27 x 27 inches
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Fall Weekend Metals

METALS – FALL WEEKEND
OCTOBER 18 – 21, 2024
Ashley Buchanan
Let’s Powder Coat It!

Students in this workshop will learn to create a clean, durable, and colorful finish on jewelry or other small metal objects through the industrial process of powder coating. During the weekend we will cover the basic methods of application, experiment with alternative processes, and discuss the equipment needed to assemble a personal powder-coating set-up. This workshop will provide students with a practical and accessible finishing option that can be easily integrated into any studio practice. Bring finished pieces, unfinished projects, and lots of metal objects to powder coat. Beginning students can work with pre-cut metal shapes, simple wire drawings, or found metal objects. Come ready to work and play! All levels. Lower metals studio. 

Studio artist; teaching: Society for Contemporary Craft (Pittsburg), and The Art League (VA), Penland; multiple awards of excellence at high end craft shows around the US; exhibitions: Racine Art Museum (WI), Museum of Arts and Design (NYC), SOFA Chicago; publications: two 500 Series books (Lark Books), Metalsmith, American Craft (featured as short-listed artist for Emerging Voices Award). 

ashleybuchananjewelry.com | @ashleybuchananjewelry

Enrollment opens May 1

Ashley Buchanan, Chain Silhouette Chain, hand-cut brass, sterling silver, powder coat, 20 inches long
Ashley Buchanan, Chain Silhouette Chain, hand-cut brass, sterling silver, powder coat, 20 inches long
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Textiles Fall Concentration

TEXTILES – FALL CONCENTRATION
SEPTEMBER 29 – NOVEMBER 8, 2024 (6 weeks)
Amanda Thatch
Thinking with the Loom

Starting from the basics of planning a project and dressing the loom, we will explore how the loom can be a partner in thinking about structure, use, and meaning. We will learn about traditional patterns and learn to draft our own. We will study color interactions and use dye processes such as ikat, woven shibori, and warp painting to make ever more intentional choices about desired results. We will be working toward a sense of fluency with the loom so we can express our ideas with precision and confidently combine skills to create unique cloth. All levels. Lower textiles studio.

Note: this workshop takes place in a second-floor, walk-up studio that is made partially accessible with a stair lift. 

Studio artist; teaching: Arrowmont (TN); KANEKO (NE), Peters Valley (NJ), University of Wisconsin-Madison (WI); residencies: Praxis Fiber Workshop Digital Weaving Lab (OH), Winterthur Museum, Garden and Library (DE), Alabama Chanin Studio (AL). 

amandathatch.com | @amandathatch

 

Scholarship application deadline extended to April 19
Regular enrollment opens May 1

Textile work by Amanda Thatch
Amanda Thatch, Passage/Means of Crossing, wool, silk, Tencel, cotton, commercial and natural dyes; handwoven on computer aided looms, approximately 70 x 20 inches each
Portrait of Amanda Thatch
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Photography Fall Concentration

PHOTO – FALL CONCENTRATION
SEPTEMBER 29 – NOVEMBER 8, 2024 (6 weeks)
Jill Enfield
Photography Through the Ages

This workshop will explore the limitless possibilities of working with photographic processes invented during the past three centuries. By first learning each process and then beginning to combine them, each student will invent their own way of working. We will have daily demonstrations, discussions of historic and contemporary works, and plenty of time for experimentation. Processes will include in-camera and digital negatives, wet-plate collodion (ambrotypes, tintypes, negatives), cyanotype, Van Dyke brown, platinum/palladium, albumen, and digital printing. The workshop will be exciting for beginning to advanced photographers who want to set aside time to experiment and make new art. All levels. 

Photographer, educator, author; teaching: associate professor at Parsons The New School of Design (NYC), Maine Media Workshops, Griffin Museum of Photography (MA), NORDphotography (Norway); 2022 keynote speaker for Finnish Darkroom Association, advisor to Lishui International Handmade Photography Center (China); collections: Amon Carter Museum of Art (TX), Crocker Art Museum (CA), Toledo Museum of Art (OH), Museo de Arte Moderno (Columbia); author of Jill Enfield’s Guide to Alternative Processes, used as a textbook in many schools.

jillenfield.com | @jillenfield

 

Scholarship application deadline extended to April 19
Regular enrollment opens May 1

Photograph by Jill Enfield
Jill Enfield, Newburgh-Beacon Bridge, ambrotype from smart phone capture, 5 x 7 inches
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Metals Fall Concentration

METALS – FALL CONCENTRATION
SEPTEMBER 29 – NOVEMBER 8, 2024 (6 weeks)
Aran Galligan
From Tradition to Exploration 

Starting with the fundamentals of jewelry fabrication, stone/object setting, and vitreous enamels, we’ll delve into a diverse world of techniques, from traditional to exploratory methods. Curiosity will be encouraged as we navigate the vast landscape of jewelry making. As we progress, students will select and combine techniques that resonate with them, culminating in designing and crafting functional jewelry and wearable art. Experimentation and repetition will foster a deeper understanding of materials. 

Technical information may include sawing, soldering, riveting, cold connections, filing, polishing, patinas, findings, chain making, hollow construction, texturing, roller printing, metal etching, enameling, and bezel, tube, and flush settings. All levels. Upper metals studio.

Note: this workshop takes place in a studio with stairs that compromise access. It is made partially accessible by a stair lift. 

Studio artist, owner of Aide-mémoire jewelry company and store (Seattle); teaching: SUNY New Paltz (NY), North Seattle College, Penland, Contemporary Craft (PA), Danaca Design (WA); exhibitions: Schmuck (Germany), Gallery Marzee (Netherlands), NSC Art Gallery (WA), Bini Gallery (Australia), Bilk Gallery (Australia), Bellevue Arts Museum (WA), Velvet da Vinci (CA), Penland Gallery. 

aranmade.com | a-m.shop

 

Scholarship application deadline extended to April 19
Regular enrollment opens May 1

Aran Galligan, Rock Rings, 14k yellow gold, sterling silver, lab-grown diamonds, beach rocks, 1 x 1 x 1 inches
Aran Galligan, Rock Rings, 14k yellow gold, sterling silver, lab-grown diamonds, beach rocks, 1 x 1 x 1 inches
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Iron Fall Concentration

IRON – FALL CONCENTRATION
SEPTEMBER 29 – NOVEMBER 8, 2024 (6 weeks)
James (Coop) Cooper
Moving and Shaping Iron

This workshop will explore the plasticity of iron. Forging at the anvil and using machines, we will employ basic forging techniques to create simple and complex sculptural objects. We will begin with simple exercises, developing a vocabulary and an understanding of how iron moves under the hammer. As confidence increases, we will explore form and volume, developing ideas into designs. 

Students will be encouraged to incorporate natural materials, such as stone or wood, with a thought toward physical and visual balance. Expect field trips to the scrap yard and into the forest in search of materials and inspiration. We will explore color through paint, patina, tinted waxes, and vitreous enamels. There will be regular demonstrations and individual instruction throughout the workshop. Forging iron is physically demanding; please come with a desire to work hard and a playful spirit. All levels. 

Studio artist; former artist-in-residence and conservator at The Metal Museum (TN); teaching: The Metal Museum (TN), Appalachian Center for Craft (TN), Penland; public art: City Center Park (NC), Birmingham Botanical Garden (AL), Emory Children’s Hospital (Atlanta), Wildacres Retreat (NC); galleries: Penland Gallery, Mica Gallery (NC). 

cricketscove.net | @cricketsforge

 

Scholarship application deadline extended to April 19
Regular enrollment opens May 1

James (Coop) Cooper, Iron Orchids, iron, paint, 24 x 9 × 9 inches
James (Coop) Cooper, Iron Orchids, iron, paint, 24 x 9 × 9 inches
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Glass Fall Concentration

GLASS – FALL CONCENTRATION
SEPTEMBER 29 – NOVEMBER 8, 2024 (6 weeks)
Jennifer Caldwell and Jason Chakravarty
Fabricating Stories in Glass

This workshop will focus on creating narrative objects in glass. We will survey multiple approaches and techniques in an introductory and exploratory way, including applying imagery to glass, flameworking, cold working, mold making, several casting methods, and one or two weeks in the hot glass studio. We will develop ideas, break down designs, and plan as we create glass sculptures that are made in parts and driven by content. Discussions and demonstrations will focus on logical approaches to material and process and when, why, and how to use a certain glass type or technique. This will be a labor-intensive, experimental journey. All levels. 

Jennifer: studio artist; teaching: UrbanGlass (NYC), Arrowmont (TN), Pratt Fine Arts Center (Seattle), The Glass Furnace (Turkey), Pilchuck (WA), GoggleWorks (PA), Pittsburgh Glass Center, Studio 19 (UK), The Melting Point (AZ), Niijima Glass Festival (Japan), Penland; residencies: Barrio Glassworks (CA), Tacoma Glass Museum (WA), Corning Museum (NY), Neusole Glassworks (OH), Pilchuck (WA). 

jennifercaldwell.com | @jenniferecaldwell

Jason: studio artist; teaching: Arizona State University, Arrowmont (TN), UrbanGlass (NYC), Pratt Fine Arts Center (Seattle), Bazalel Academy (Israel), The Glass Furnace (Turkey), The Studio at Corning (NY), Cleveland Institute of Art, GoggleWorks (PA), Mesa Arts Center (AZ), Salisbury University (MD); residencies: Tacoma Glass Museum (WA), Barrio Glassworks (CA), Cleveland Institute of Art, Toledo Museum of Art (OH). 

jasonchakravarty.com | @jcsquared.shop 

 

Scholarship application deadline extended to April 19
Regular enrollment opens May 1

Jennifer Umphress-Caldwell; Jason Chakravarty; Glass; Octopi, Octopus,  glass, portholes, buoy, torch
Jennifer Umphress-Caldwell; Jason Chakravarty; Glass; Octopi, Octopus, glass, portholes, buoy, torch
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Clay Fall Concentration

CLAY – FALL CONCENTRATION
SEPTEMBER 29 – NOVEMBER 8, 2024 (6 weeks)
Esther Shimazu
Arm, Leg, Wing

We will start with the human figure and then riff on this form to explore other creatures. Using standard handbuilding methods, we will work mainly hollow and in parts (if you know how a teapot is made, that will be helpful),. Techniques may include carving, re-sectioning, scraping, seams, slashing, using paperclay to control shrinking, slips, stains, resists, fusing parts with glaze, re-firing, repairs, etc. Students can expect to complete three or four medium-sized (10-20 inch) pieces plus some smaller works, maquettes, and studies. Some goals for the workshop are surprising yourself, maximizing individual expression, working with one’s inner nerd, and not being too attached to a standard. Firing will mostly be electric. All levels. Lower clay studio.

Studio artist; teaching: Anderson Ranch (CO), Santa Fe Clay (NM), Emily Carr Institute of Art and Design (Vancouver, BC), San Miguel de Allende (Mexico), Penland; collections: Honolulu Museum of Art, Fresno Art Museum (CA), St. Louis Art Museum, Berkeley Art Museum (CA), Kutani Collection (Japan), Cincinnati Art Museum, Crocker Art Museum (MA), Racine Art Museum (WI), Fule International Ceramic Art Museum (China). 

esthershimazu.com | @esthershimazu

 

Scholarship application deadline extended to April 19
Regular enrollment opens May 1

Esther Shimazu, Just Us, stoneware, porcelain, 6 x 7-3/4 x 7 inches
Esther Shimazu, Just Us, stoneware, porcelain, 6 x 7-3/4 x 7 inches
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Books and Paper Fall Concentration

BOOKS – FALL CONCENTRATION
SEPTEMBER 29 – NOVEMBER 8, 2024 (6 weeks)
Brien Beidler
Timeless Tomes for Tomeless Times: Historic Leather Bindings

Students in this workshop will use historic binding methods and materials to create leather books fit for use and expression in a modern context. We will demystify obscure and often elusive techniques such as sewing on raised cords, edge trimming, endbanding, leatherworking, and gold tooling with genuine gold leaf and egg glair. We will also have a chance to make and use our own custom decorative leather stamps. Although we will primarily make blank books, students may choose to rebind a book as long as the pages are in signatures. This workshop is ideal for anyone looking for an accessible path to learning traditional hand bookbinding. It will also be useful to experienced binders and conservators who would like to deepen their knowledge and expand their technical repertoire. All levels.

Studio artist; teaching: Escuela de Artes y Oficios Santo Domingo (Bogotá, Colombia), North Bennet Street School (Boston), Massachusetts Institute of Technology, Paper and Book Intensive (MI), University of Alabama, University of Utah, Penland; 2023 McKnight Book Arts Fellow, 2021 Interdisciplinary Artist in Residence at the Oak Spring Garden Foundation (VA); collections: San Francisco Public Library, Oak Spring Garden Foundation (VA), Massachusetts Institute of Technology, Library of Congress (DC). 

beidlermade.com | @bhbeidler

 

Scholarship application deadline extended to April 19
Regular enrollment opens May 1

Brien Beidler, Heritage, paper, leather, linen and silk thread, gold leaf, 9 x 6 x 1-1/2 inches
Brien Beidler, Heritage, paper, leather, linen and silk thread, gold leaf, 9 x 6 x 1-1/2 inches
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Fall Short Session Print and Letterpress

LETTERPRESS – FALL SHORT SESSION
SEPTEMBER 22 – 27, 2024 (4 STUDIO DAYS)
Brad Vetter
Lasers and Letterpress

Walking the line between analog and digital, this workshop will explore new technologies and techniques in letterpress printing with a focus on using the laser engraver. Our duty as a new and developing generation of letterpress printers is no longer just to communicate, but also to expand the conversation, push on its limitations, and see what new things are possible in this centuries-old medium. Students will make posters using antique type and presses in collaboration with the studio’s laser engraver to discover exciting new approaches to letterpress printing. Letterpress and Photoshop/Illustrator experience will be helpful, but this workshop is open to all levels. 

Note: Students should bring a computer if they can; contact the studio operations manager if you are enrolled and are unable to bring a computer: studio_operations@penland.org

Studio artist; teaching: Miami University (OH), Northern Illinois University, Hamilton Wood Type & Printing Museum (WI); exhibitions: Danish Museum of Media, University of Akron Fine Arts (OH), University of Mary Hardin-Baylor (TX); publications: Low-Tech Print, Uppercase Magazine, Wood Type Evolved; clients: Nike, Snoop Dogg, Chevrolet, Chris Stapleton.

bradvetterdesign.com | @bradvetter

Enrollment opens May 1

Brad Vetter, Noah Kahan Show Poster, letterpress, 22 x 13 inches
Brad Vetter, Noah Kahan Show Poster, letterpress, 22 x 13 inches
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Fall Short Session Metals

METALS – FALL SHORT SESSION
SEPTEMBER 22 – 27, 2024 (4 STUDIO DAYS)
Joanna Gollberg
Setting the Trap

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:

  • We will only be using a torch with two gases, such as the Smith Little Torch or the Meco. Be prepared to have a mind-blowing experience working with this tool!
  • This workshop takes place in a studio with stairs that compromise access. It is made partially accessible by a stair lift. 

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

gollberg
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Fall Short Session Iron

IRON – FALL SHORT SESSION
SEPTEMBER 22 – 27, 2024 (4 STUDIO DAYS) 
Susan Madacsi
Paper to Fire: Forged Botanicals

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

Susan Madacsi, Tulips for Steven, forged and fabricated steel, paints, wax, 26 x 13 x 2 inches
Susan Madacsi, Tulips for Steven, forged and fabricated steel, paints, wax, 26 x 13 x 2 inches
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Fall Short Session Drawing and Painting

DRAWING/PAINTING – FALL SHORT SESSION
SEPTEMBER 22 – 27, 2024 (4 STUDIO DAYS)
Chuck Webster
Exploring Materials and Mark Making

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

Chuck Webster, Invaders, oil and collage on panel, 24 x 30 inches
Chuck Webster, Invaders, oil and collage on panel, 24 x 30 inches
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Clay Fall Short Session

CLAY – FALL SHORT SESSION
SEPTEMBER 22 – 27, 2024 (4 STUDIO DAYS)
Adrienne Eliades
Say It with Surface

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

Adrienne Eliades, Stacked Mugs, porcelain, glaze, underglaze, 4-3/4 x 3-1/4 x 3-1/4 inches
Adrienne Eliades, Stacked Mugs, porcelain, glaze, underglaze, 4-3/4 x 3-1/4 x 3-1/4 inches
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Wood Summer Session 7

WOOD – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Julia Harrison
Carving Cottonwood Bark

The bark that is shed by cottonwood trees is an intriguing material for carving that offers dramatically unpredictable patterns, irregular shapes, and a soft but smooth texture. Bark responds better to strategy than to force and is a great material for beginners or those with lower hand strength as well as experienced carvers looking to build skill and sensitivity. Students will learn bark preparation, layout and roughing, tool selection, detailing, and finishing. We will primarily use hand tools but demonstrations will also cover some power tools and creating larger carving blocks. This process requires patience; expect steady but slow progress. All levels.

Studio artist; teaching: Penland, Haystack (ME), Arrowmont (TN), Pratt Fine Arts Center (WA), Snow Farm (MA), 92nd St. Y (NYC); grants: World Wood Day Research Grant, North Carolina Arts Council Artist Support Grant, Campbell Folk School Traditional Craft Mentorship (NC); residencies: Museum for Art in Wood (PA), Bunnell Street Arts Center (AK), Penland; collections: University of Arkansas, Tacoma Art Museum (WA), Mint Museum (NC), Museum for Art in Wood (PA).

juliaharrison.net | @byjuliaharrison
October 15 – November 15: Scholarship applications accepted
January 14 – Regular enrollment opens

Julia Harrison, detail of Third Season, cottonwood bark, 7 x 4 x 1 inches
Julia Harrison, detail of Third Season, cottonwood bark, 7 x 4 x 1 inches
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Textiles B Summer Session 7

TEXTILES – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Francisco Bautista and Laura Bautista
Zapotec Weaving

Students in this workshop will experience the beauty of crossing threads on a floor loom and creating motifs from the Zapotec culture of Mexico. The workshop will begin with some of the history behind our weaving traditions and techniques. Students will weave a traditional motif using various colors of their choosing. There will be daily demonstrations, discussions of historic and contemporary work, and some time for experimentation. We will also share how to make fringes. Although we will not be dyeing in this workshop, we will talk about our natural dyes. All levels. This workshop takes place in a second-floor walk-up studio that has partial access by a stair lift.

Francisco is a fourth-generation master weaver; originally from Teotitlán del Valle in Oaxaca, Mexico, Laura and Francisco now work together in Oregon; exhibitions: Smithsonian Craft Show (DC), Salem Art Fair & Festival (OR), BAM Arts Fair (WA), Sun Valley Arts and Crafts Festival (ID), Art in the High Desert (OR). 

bautistaweaving.com | @francisco_laura_bautista
January 15 – Regular enrollment opens

Francisco Bautista and Laura Bautista, Eye of God Pillow Case, sheep wool, cotton warp, 14 x 18 inches
Francisco Bautista and Laura Bautista, Eye of God Pillow Case, sheep wool, cotton warp, 14 x 18 inches
Francisco Bautista and Laura Bautista - photographed for The Immigrant Story © John Rudoff 2021
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Textiles A Summer Session 7

TEXTILES – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Annabel Lowe Wrigley
Improvisational Quilts

This workshop is all about color and the emotions that come from working with it. Using interesting and intuitive color combinations, students will explore different improvisational piecing techniques to create meaningful compositions. We will leave quilting perfectionism and perfect points at the door and dive into the beauty of creating interesting shapes and curves. Working with a selection of solid colored fabrics, students will focus on combinations that create emotion while experimenting with different piecing and construction techniques. We will explore finishing techniques and facing options for hanging. The goal is for each student to complete one piece. All levels. This workshop takes place in a third-floor walk-up studio that has partial access by a stair lift.

Textile artist; instructor of Creativebug online workshops (CA), teacher of workshops nationally and internationally; group and solo exhibitions at Almas RVA (VA); author of seven instructional sewing books including My Sewing Workshop and the We Love to Sew series.  

annabelwrigley.com | @littlepincushionstudio
January 15 – Regular enrollment opens

Annabel Lowe Wrigley, Study 13, 2022, fabric, thread, 38 x 43 inches
Annabel Lowe Wrigley, Study 13, 2022, fabric, thread, 38 x 43 inches
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Print & Letterpress L Summer Session 7

PRINT/LETTERPRESS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Alexander Lee Landerman
Letterpress Fundamentals

In this session students will explore the fundamentals of letterpress printing on the Vandercook press. We will delve into the essential elements: from typesetting and cleaning to blend-rolls and drying agents. Students will gain an understanding of typography and confidence in their ability to use movable type as they create evocative poster editions. They can expect to produce 2-3 small editions of letterpress-printed posters based on prompts generated by the group. All levels. Letterpress studio. 

Studio artist; lecturer in graphic design at Indiana University; residencies: Lawrence Art Center (KS), Alderworks (AK), Azule (NC), Porcupine Mountains State Park (MI), Petrified Forest National Park (AZ), Arrowmont Pentaculum (TN), Brush Creek Foundation (WY), Jentel Foundation (WY), Dorland (CA), Vermont Studio Center; representation: By Hand Gallery (IN), Quirky Fox (NZ), and Q Artists Cooperative (WI).

alexanderlanderman.com | @alexanderlanderman
January 15 – Regular enrollment opens

Alexander Lee Landerman, End Over End, ink drawing, letterpress printing from wood type, 22 x 30 inches
Alexander Lee Landerman, End Over End, ink drawing, letterpress printing from wood type, 22 x 30 inches
Alexander Lee Landerman, End Over End, ink drawing, letterpress printing from wood type, 22 x 30 inches
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Print & Letterpress X Summer Session 7

PRINT/LETTERPRESS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Rashaun Rucker
No Press, No Problem

This workshop will be geared toward beginning printmakers and those who have enjoyed the medium but don’t have access to a press. We will cover linocut relief printmaking, monotypes, and monoprints using tools such as acrylic/gelatin plates, sponges, string, cotton swabs, brushes, and other fun things. All processes will be done with water-based inks, which can be used safely in many different spaces. Expect to finish two or three pieces during the workshop. All levels. Printmaking studio. 

Studio artist; Sustainable Arts Foundation Award, Harpo Foundation Visual Arts Grant; collections: Smithsonian Museum of African-American History and Culture (DC), Mott-Warsh Museum (MI), Detroit Institute of Arts (MI), California African-American Museum (CA), Wake Forest University (NC), University of Michigan-Ann Arbor (MI), Clark Atlanta University (GA); representation: M Contemporary Gallery (MI). 

rashaunrucker.com | @ruckerarts
January 15 – Regular enrollment opens

Rashaun Rucker, The Ancestors Cried Asé, linocut, 18 x 12 inches
Rashaun Rucker, The Ancestors Cried Asé, linocut, 18 x 12 inches
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Photography Summer Session 7

PHOTO – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Emma Powell
Creative Cyanotype Explorations

This workshop will explore the creative depths of the rich, blue, cyanotype process as students learn to manipulate the technique for their own artistic goals. Cyanotype is a light-sensitive, hand-applied emulsion that is painted onto paper or other materials. It does not require a traditional darkroom and can even be exposed outside in the sun. Together we will explore exciting approaches, such as photograms, creating digital negatives, printing on imaginative substrates, and toning. Cyanotype is a great starting point for experimenting with alternative photographic processes, and it has many applications for photographers and mixed-media artists. All levels. 

Studio artist, curator; teaching: Colorado College, Iowa State University; exhibitions: Fox Talbot Museum (England), Seities Studio (Canada), George Eastman House (NY), Museum of Sleep (VA), Panopticon Gallery (MA), Colorado Photographic Arts Center (CO), Bell Projects (CO), Well Hung Curation (CO), Southeast Center for Photography (SC), Leeds Gallery at Earlham College (IN), Slow Exposures (GA), ArtWRKD (PA).

emmapowell.photo | @emmaobscura
January 15 – Regular enrollment opens

Emma Powell, Writer’s Block, cyanotype photogram and photograph on silk/hemp fabric, 16 x 16 inches
Emma Powell, Writer’s Block, cyanotype photogram and photograph on silk/hemp fabric, 16 x 16 inches
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Metals B Summer Session 7

METALS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Kirk Lang
Touch and Go

Would you like to add movement to your artwork? What if you could make an object that mimics the flapping wings of a bird, a flower blossoming, or a model of the earth rotating around the sun? Why imply movement in your work when you can actually make your work move! This workshop will explore the transformative power of motion and offer a unique perspective on how to generate movement in jewelry and small-scale sculpture. Students are invited to bring their own ideas, materials, and projects, but they will also be exposed to new project ideas and methodologies specific to kinetic mechanisms. Technical information will include wire work, riveting, tap and die, pressure fitting, machining, and soldering. Intermediate level: no experience with kinetic work is needed, but basic sawing, filing, and soldering skills are required. Lower metals studio. 

Studio artist; teaching: Metalwerx (MA), Lillstreet Arts Center (IL), Flux Metal Arts (OH), Danaca Design (WA); Artist Trust/Washington State Arts Commission Fellowship, Saul Bell Design Award; collections: Metal Museum (TN), Hallie Ford Museum (OR); representation: Facèré Jewelry Art Gallery. 

kirklang.com | @kirk_lang
Videos of Kirk’s kinetic work
January 15 – Regular enrollment opens

Kirk Lang, Constellation 9 (Pictor Minor), mixed metals, custom electronics, drawing easel component, 12 x 32 x 6 inches
Kirk Lang, Constellation 9 (Pictor Minor), mixed metals, custom electronics, drawing easel component, 12 x 32 x 6 inches