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Fall Weekend Drawing and Painting

Drawing and Painting – Fall Weekend Session
October 22-24, 2021
Lara Call Gastinger
Discovering a Landscape Through Drawing

How do you immerse yourself in and capture the beauty of a new landscape? This weekend workshop will delve into making discoveries and seeing plants with new eyes by drawing with a pen and using watercolor to enrich the drawings. Students will go home with a treasured accordion nature journal depicting the inspiring plants and landscape of Penland. The skills learned will be adaptable for use in any travel or perpetual journal. All levels. 

Botanical artist and illustrator; two Royal Horticultural Society Botanical Art Show gold medals (London); numerous American Society of Botanical Illustrators (ASBA) exhibitions; illustrations published in Flora of Virginia, Peterson’s Field Guide to Mushrooms, ASBA’s Botanical Art Techniques Handbook.

laracallgastinger.com | @laragastinger

 

This workshop begins at 5:00 p.m. on Friday and workshop activities will end at 5:00 p.m. on Sunday; students are welcome to stay through Monday morning. Monday breakfast will be the last meal provided; please plan to depart campus by 10:00 a.m.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

Lara Gastinger, Fal Perpetual Journal, pen and watercolor on paper, 9 x 11 inches
Lara Gastinger, Fal Perpetual Journal, pen and watercolor on paper, 9 x 11 inches
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Fall One Week Wood

Wood – Fall One-Week Session
September 19-25, 2021
Beth Ireland and Keun Ho Peter Park
Creating Stringed Instruments

In this workshop you’ll create a beautiful instrument that will wow your friends and bring you years of enjoyment. We’ll focus on making four- or six-string guitars as we cover the basic elements needed to create all stringed instruments, including scale, fretting, bracing, finishing, shaping, and set up. We have developed a method of making instruments based on the bandsaw box, which allows students to create a sculptural form for the guitar body. The instruments will be fun and playable. We’ll have daily demonstrations and lots of studio time in a safe, supportive atmosphere. We’ll cover the safe use of the bandsaw, sander, router, and a variety of hand tools as we complete the project. All levels.

Beth: owner of Beth Ireland Woodworking, specializing in architectural and artistic woodturning; part of the traveling craft project Turning Around America and the instrument project strumfactory.com; teaching: Arrowmont (TN), Port Townsend School of Woodworking (WA), Center for Furniture Craftsmanship (ME); three Windgate fellowships. 

bethireland.net | @thebethisyettocome

Keun Ho Peter: studio artist and teacher at University of the Arts (PA); other teaching: Peter’s Valley (NJ), Arrowmont (TN), Center for Furniture Craftsmanship (ME); Wharton Esherick Award at the Philadelphia Museum of Art Craft Show; Windgate artist residency at Indiana University of Pennsylvania.

studiospong.com | @studiospong

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

musical instruments by Beth Ireland
Beth Ireland, Cranium Guitar, birch (I planted when I was 12), Cranium game board, 32 x 10 x 10 inches
musical instrument by Keun Ho Peter Park
Keun Ho Peter Park, Ninja Guitar, walnut, plywood, bloodwood, 36 x 12 x 3 inches
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Fall One Week Printmaking

Print – Fall One-Week Session
September 19-25, 2021
Michael Ezzell
Copper Plate Creatures

Gods and monsters have been part of storytelling for centuries, and printmakers have always brought that fantastical imagery to life. In this workshop, students will explore introductory intaglio techniques to illustrate mythical creations and manifest their own stories. We’ll work through the stages of developing the copper plate, manipulating drypoint, hard and soft grounds, aquatint, soda bite, and multiple color plates. Finally we’ll print small editions to keep or trade. All levels. 

Studio artist; teaching: AS220 Collaborative Printshop (RI); exhibitions: Gallery 2052 (Chicago), World’s Fair Gallery (RI), Studio Sesh Arts (FL), Gutstein Gallery (GA); solo exhibitions: King Lens and Friends (RI), Sulfur Studios (GA); publications: The Hand Magazine, The Flagler Review, Juztapoz. 

mezzell.com | @eezzll

Here’s a video of Michael demonstrating soda bite.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

print by Michael Ezzell
Michael Ezzell, Fall of Atlantis, intaglio, 11 x 12-1/2 inches
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Fall One Week Photography

Photography – Fall One-Week Session
September 19-25, 2021
Cindy Steiler
Cyanotype on Fabric

Cyanotype is an inexpensive and versatile photographic process dating to the 1840s that produces rich, monochrome images. This workshop will explore the possibilities of cyanotype with fabric as our ground. We’ll cover chemistry, fabric selection, preparation methods, and optimizing digital negatives made from digital image files, scans, or film negatives. We’ll move beyond basic blue and experiment with bleaching and toning to alter color and mood. Students will gain the knowledge and skills needed to achieve a range of effects as well as set up their own practice. All levels. 

Studio artist; teaching: Contextile Biennial (Portugal), 577 Foundation (OH); residencies: Prairie Ronde (MI), Jentel Foundation (WY), James Castle House (ID); exhibitions: James Castle House Museum, Espaço Campanhã (Portugal), Outer Space Gallery (FL), Foto Batalha Museu (Portugal), Zorka Rose Gallery (FL), Assemble Gallery (Seattle).

cindysteiler.com | @_steiler

Here’s a good interview with Cindy.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

photographs on cloth by Cindy Steiler
Cindy Steiler, detail of All Too Brief, cyanotype on fabric, industrial weaving bobbins 
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Fall One Week Metals

Metals – Fall One-Week Session
September 19-25, 2021
Tara Locklear
Conscious Connections

Cohesion,  Purpose, and  Function  are  critical  components  to making  jewelry  comfortable on the body.  During this one-week workshop we’ll embrace nontraditional materials to create well-designed wearable jewelry. Bring your materials of choice—wood, plastic, wire, glass components, beads—and we’ll transform our ideas into finished jewelry. We’ll discuss the function, purpose, and role of findings in the overall cohesion of our pieces. Through group and individual conversations, we’ll consider visual continuity and the design process. We’ll fill our sketchbooks and then make paper maquettes and wire samples, paying close attention to scale, composition, visual weight, and wearability. Then we’ll create finished pieces using a variety of metalsmithing techniques, including sawing, soldering, capturing, and forming. Depending on experience, students will make several pieces or a small, cohesive collection. All levels welcome, but metalsmithing experience will be helpful. Upper metals studio.

Studio artist; teaching: Haystack (ME), Brooklyn Metal Works (NYC), Pratt Institute (NYC), Society of Contemporary Craft (Pittsburgh); Excellence in Jewelry Award at Philadelphia Museum of Art Craft Show, American Craft Council Show Award of Excellence; exhibitions: Museum of Arts and Design (NYC), Velvet da Vinci (San Francisco), J. Cotter Gallery (CO); collections: Racine Art Museum (WI). 

taralocklear.com | @taralocklear

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

bracelet by Tara Locklear
Tara Locklear, Configuration Collection Line Links, reclaimed hand-carved skateboard, walnut, Gabon ebony, hand-fabricated, oxidized sterling silver findings, 8 inches long
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Fall One Week Iron

Iron – Fall One-Week Session
September 19-25, 2021
Elizabeth Brim
Basics of Forging

Students in this workshop will learn the basic techniques of forging through demonstrations and practice. Assignments will guide the development of skills needed to create expressive and well-crafted sculpture or functional objects in steel. We’ll use ancient, traditional ironworking techniques to produce unique, innovative, contemporary works in metal. All levels, beginners encouraged. 

Studio artist; teaching: Haystack (ME), Peters Valley (NJ); visiting artist at several universities and Cranbrook (MI); North Carolina Arts Council fellowship; Master Metalsmith at National Ornamental Metal Museum, Master Blacksmith at Fire on the Mountain 2021; solo exhibitions: North Carolina Museum of Art, Gregg Museum of Art and Design (NC); former Penland studio coordinator.

elizabethbrim.com | @halfroundbastard

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

steel sculpture by elizabeth brim
Elizabeth Brim, Talons, steel, 25 x 24 x 11 inches
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Fall One Week Glass

Glass – Fall One-Week Session
September 19-25, 2021
Joseph Cavalieri
Anime and Aesop in Glass

Students in this workshop will learn, practice, and perfect techniques to create precise imagery on stained glass resulting in a finished, multicolored 16 x 16 inch stained glass window plus many samples. We’ll explore anime figures and Aesop fable illustrations as possible inspiration, but students are encouraged to bring and share their own references. Each student will design and create an elaborate window using painting, airbrushing (using an atomizer), pen-and-ink, and sandblasting techniques. Enamel paints will be applied to the glass surface and then fired in a kiln. The final work will be copper-foiled and soldered together. No glass cutting, soldering, or expert painting/drawing experience needed; we’ll be tracing found images. All levels. 

Studio artist; teaching: Corning Museum (NY), Bezalel Academy (Israel), UrbanGlass (NYC), National College of Art and Design (Dublin); invitations to 17 residencies; collections: Museum of Arts and Design (NYC), Italian American Museum (NYC), Leslie-Lohman Museum (NYC), STAX Museum (Memphis); public commissions: MTA Arts for Transit (NYC), Church of Our Lady of Sorrows (Brazil). 

@Joseph_Cavalieri_Glass

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

stained glass by Joseph Cavalieri
Joseph Cavalieri, Two Nanny Goats, hand-painted, airbrushed, kiln-fired enamels on glass, steel frame, LED lights, 56 x 34 x 2 inches
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Fall One Week Drawing and Painting

Drawing and Painting – Fall One-Week Session
September 19-25, 2021
Hollie Chastain
Exploring Paper Art and Collage

Collage is a vast and playful medium with unlimited options for exploration. In this workshop we’ll experiment with a variety of substrates and adhesives and combine them with techniques such as painting and mark-making, adding embroidery and woven paper elements, and template building. You’ll leave with several finished pieces, but most of the time will be spent experimenting and gathering skills, inspiration, and techniques to carry forth into your own paper art and collage practice. All levels. 

Studio artist, illustrator; teaching: Arrowmont (TN), Squam Art Workshops (RI); exhibitions: The Arts Company (Nashville), Kentuck Art Center (Tuscaloosa); publications: Create Magazine, Colossal, Gestalten Books; author of If You Can Cut You Can Collage (Quarto Press); representation: dk Gallery (GA), Chauvet Arts (TN). 

holliechastain.com | @holliechastain

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

collage by Hollie Chastain
Hollie Chastain, Psychopomp 1, paper collage, 8 x 8 inches
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Wood Fall Concentration

Wood Fall Concentration
October 3 – November 12 (six weeks)
Liz Koerner
Designing in the Woodshop

This workshop will explore processes for generating and refining handbuilt wooden forms. We’ll experiment to discover options, analyze findings, and forge connections between making and designing. Demonstrations will include scale drawing, model-making, milling, joinery, shaping, finishing, and other techniques depending on student interest and needs. We’ll also cover 3-D design fundamentals and strategies for creative problem-solving. Students can expect to make a variety of small wood projects and one or two larger works that may be sculptural or functional. This workshop will provide a solid foundation for those new to woodworking and help experienced students expand their practice. All levels.

Studio artist; teaching: University of Central Arkansas, Indiana University of Pennsylvania, San Diego State University; fellowship/residencies: The Wood Center at Indiana University of Pennsylvania, Herekeke Art Center (NM), Warren Wilson College (NC), Penland Core Fellowship; exhibitions: Manifest Gallery (OH), Foundry Art Centre (MO), Vessel Gallery (CA).

liz-koerner.com

Scholarship information here.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

Sculpture by Liz Koerner
Liz Koerner, Recurrent, Douglas fir, basswood, ash, vinyl, water, graphite, liming wax, 31 x 59 x 21 inches
Furniture by Liz Koerner
Liz Koerner, Martois, plywood, cherry, mixed veneers, paint, lacquer, hardware, 24 x 45 x 14 inches
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Textiles Fall Concentration

Textiles Fall Concentration
October 3 – November 12 (six weeks)
Amara Hark-Weber
Blue Suede and Beyond: Introduction to Lasted Footwear

Students in this workshop will design and build their own handmade leather shoes. Starting where all shoes start, we’ll measure feet, learn basic last alteration, and then move on to patterning, upper making, and various construction techniques, including cemented, pegged, lining-lasted-stitch-down, and hand-welted. We’ll use many types and colors of leather, and students can expect to make at least one pair of shoes with each of these constructions, resulting in a small collection. We’ll go over everything from start to finish to make lovely, lasted and lined shoes. With an emphasis on foundational skills, this workshop is open to all levels.

NOTE: Material costs will vary depending on the number of shoes made and what kind of leather is used, but are likely to average $250 per pair with an estimated 4-6 pairs over the course of the class, so a total of $1000-1500, depending on student designs.

Custom shoemaker; teaching: School of the Art Institute of Chicago, University of Wisconsin-Madison, Quest University (British Columbia), Penland; 2017 Rare Craft Fellowship from American Craft Council, Minnesota State Arts Board grant, Jerome Fellowship; exhibitions: St. Xavier University Chicago, Brooklyn Shoe Space (NYC), Dubuque Museum of Art (IA), Otis College of Art and Design (Los Angeles).

harkweberstudio.com | @harkweberstudio

Scholarship information here.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

Boots by Amara Hark-Weber
Amara Hark-Weber, Black Boots, calf and salmon leather, rubber heel cap, metal shank, size 41
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Metals Fall Concentration

Metals Fall Concentration
October 3 – November 12 (six weeks)
Laura Wood
Foundations in Form and Color

This workshop will cover techniques that facilitate the development of a wide range of contemporary jewelry components. We’ll build a broad catalog of sculptural forms with methods including, but not limited to, sheet metal fabrication, brazing, and hydraulic forming. Enamel and powder coat will be our main color applications, and we’ll expand on these techniques throughout the workshop. We’ll focus on incorporating our creations into the brooch format, but students may also explore pendants, earrings, and other forms. We’ll cover several setting methods for traditional and nontraditional materials including prong, tab, and bezel settings along with fabricating findings for jewelry forms. Experimentation will be encouraged! All levels.

Studio artist; teaching: Arrowmont (TN), Southwest School of Art (TX), Metalwerx (MA), Penland; collections: Gregg Museum (NC), North Carolina State Permanent Collection, Racine Art Museum (WI); former Penland resident artist; publications: American Craft, Metalsmith, Cast a Book.

laurawoodstudios.com | @laurawoodstudios

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

Brooch by Laura Wood
Laura Wood, Space Between: Green + Green (brooch), enamel on copper, sterling silver, uvarovite, 3-3/4 x 2-1/4 x 1/4 inches
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Iron Fall Concentration

Iron Fall Concentration
October 3 – November 12 (six weeks)
Shawn HibmaCronan
Steel Sculpture: Set in Motion

This workshop will focus on creating activated sculptures intended to move, evolve, and interact with their environment. Beginning with the basics, we’ll cover a wide range of metal fabrication and assembly techniques along with many tips and tricks for problem-solving and working safely and efficiently with a variety of tools. Topics will include design for movement, layout, 3-D mockup, cutting, drilling, threading, mill and lathe machining, plasma cutting, MIG and TIG welding, basic tube/bar/sheet forming, and metal finishing. This workshop will be great for those new to metalwork as well as experienced students who are interested in broadening and refining their skill set. All levels.

NOTE: This workshop will not cover forging.

Studio artist; teaching: Crucible School (CA), Penland; student mentor at California College of the Arts; residencies: Autodesk Pier 9 Workshop (San Francisco), Oakland Museum of California; exhibitions: San Jose Institute of Contemporary Art (CA), Tokyo Metropolitan Museum of Art, commissions: Compass Books at San Francisco Airport, Lowe Enterprises, many private clients.

shawnhibmacronan.com | @shawnhibmacronan

Scholarship information here.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.
Most campus activities will return to normal operating procedures.

Work by Shawn HibmaCronan
Shawn HibmaCronan, The Freedom Press, steel, bamboo, oak, cork, rope, paper, ink, 7 x 8 x 9 feet
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Glass Fall Concentration

Glass Fall Concentration
October 3 – November 12 (six weeks)
Jeremy Bert and Jen Elek
Illumination Projects in Glass

This workshop, designed for artists interested in the potential of illumination in their work, will focus on light and its relationship with glass. The workshop will center around the foundations of glassblowing and creating sculpture that explores glass’s ability to magnify, diffuse, and reflect light. Students will work with candlelight, LED, incandescent, and neon as sources of illumination. We’ll spend significant time in the hot-shop producing 3-D glass sketches with the specific goal of manipulating light. Jeremy will join the workshop for four weeks of work in the neon studio, beginning with the basics of standard neon tube production. Topics will include foundational forms in the hot shop, color techniques, cold working, basic electrical wiring, neon tube manipulation, and portable light projects. All levels.

NOTE: Because of the close contact involved in hot shop work, participation in this workshop will require proof of COVID-19 vaccination.

Jeremy: mixed media artist, licensed sign electrician, neon tube bender; teaching: Pilchuck (WA), UrbanGlass (NYC), Penland; exhibitions: Museum of Glass (WA); representation: Traver Gallery (Seattle).

Jen: studio artist; member of Lino Tagliapietra hot shop team for 15 years; teaching: Pilchuck (WA), UrbanGlass (NYC), Jam Factory (Australia), Penland; collections: Museum of Glass (WA), Toyama Glass School Museum (Japan); representation: Traver Gallery (WA); Pilchuck trustee.

jenelek.com | @jelekff

Scholarship information here.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.
Most campus activities will return to normal operating procedures.

Work by Jeremy Bert and Jen Elek
Jeremy Bert and Jen Elek, Thunder Mounds, glass, neon, transformer, QTO cable, switch, 22 x 8 x 8 inches, 11 x 18 x 18 inches
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Clay Fall Concentration

Clay Fall Concentration
October 3 – November 12 (six weeks)
Ben Carter
Low-Fire is Cooler

This workshop will focus on the rich history of low-fire ceramics with the goal of integrating surface design with both handbuilt and thrown/altered pottery. Students will use a variety of surface design methods—including  slip decorating, sgraffito, stamping, and transfer techniques—to create patterns that are steeped with meaning and personal resonance. During the workshop we’ll discuss aesthetic issues (proportion, color theory, etc.); making strong, functional pots at low-fire temperatures; and creative problem-solving in the studio. We’ll work with terracotta clay and fire in electric kilns. All levels.

Studio artist; host of the Tales of a Red Clay Rambler podcast; teaching: workshops in U.S., Canada, Australia, and New Zealand; residencies: Anderson Ranch (CO), Archie Bray (MT), Guldagergaard Research Center (Denmark); author of Mastering the Potter’s Wheel; representation: The Clay Studio (Philadelphia), Schaller Gallery (MI).

carterpottery.com | @carterpottery
talesofaredclayrambler.com

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

work by Ben Carter
Ben Carter, Swirl Pitcher, cone 03 earthenware, slips, underglaze, glaze, 12 x 7 x 6 inches
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Fall One Week Books

Books – Fall One-Week Session
September 19-25, 2021
Sarah Bryant
Exploring Long- and Link-Stitch

Long- and link-stitch bindings are structures grounded in the traditional bookbinding practices of Italy and Germany. They remain favorites among hand bookbinders today for their flexibility, durability, and the opportunities they offer for innovative pattern-making and design along the spine. In this workshop students will learn three traditional long/link-stitch bindings and then spend the rest of the week experimenting with alternate sewing and covering techniques. We’ll delve into a number of materials for the covers and spine pieces, including leather, handmade paper, wood, and nontraditional materials. All levels.

Assistant professor at University of Alabama; other teaching: Wells College (NY), University of Georgia Cortona Italy Program, West Dean College (UK); collections: Library of Congress (DC), New York Public Library, Yale Arts Library, Thomas J. Watson Library at the Metropolitan Museum of Art (NYC).

bigjumppress.com | @bigjumppress

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.
Most campus activities will return to normal operating procedures.

books by sarah bryant
Sarah Bryant, Long- and Link-Stitch Bindings, leather, paper, veneer, cloth, thread, dimensions vary
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Wood Summer Session 7

Wood Summer Session 7
August 14–19
Geoffrey Gorman
Finding the Soul of Lost Materials

This workshop will encourage students to experiment with innovative and intuitive ways of creating structures and forms using organic, found, and recycled materials. Employing unusual techniques developed by the instructor, each student will complete several forms. Students are invited to think about shapes and forms that hold particular interest for them and bring those ideas to the workshop along with some of their favorite cast-off materials. This workshop will be of value to beginners seeking an introduction to creating curious objects as well as experienced makers who want to reach the next level and break out of their comfort zone. All levels. 

Studio artist; teaching: Arrowmont (TN), Peter’s Valley (NJ), Penland; collections: New Mexico Arts Commission, Kamm Teapot Collection (NC), Racine Art Museum (WI), Center for Contemporary Art (Santa Fe); publications: American Craft, American Style, New York Post, Southwest Art, Cloth, Paper, Scissors; representation: Giacobbe Fritz Gallery (Santa Fe). 

geoffreygorman.com | @geoffreygorman

Geoffrey Gorman, Silent Flight, mixed media, found objects, 36 x 32 x 10 inches
Geoffrey Gorman, Silent Flight, mixed media, found objects, 36 x 32 x 10 inches
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Textiles B Summer Session 7

Textiles Summer Session 7
August 14–19
Karen Hampton
Strip-Woven Storytelling

Everyone has a story and the act of storytelling is healing for both the teller and the audience. In this workshop, inspired by the Kenté cloth weavers of Ghana, we’ll blend storytelling and weaving using shapes and symbols on painted warps that will be woven into long strips and then sewn together to create beautiful, woven designs. We’ll create imagery and pattern on warps through painting, dyeing, printing, and discharge. We’ll conclude the workshop by hand-stitching our strips together. All levels. Lower textiles studio.

Assistant professor at Massachusetts College of Art; residencies: Michigan State University, Sacatar Foundation (Brazil), St. Mary’s Art Center (NV); exhibitions: Honolulu Museum of Art, Wellin Museum of Art (NY), Jack Bell Gallery (London), Gallery Fritz (Santa Fe). 

kdhampton.com | @k.d28

Karen Hampton, Memories, cotton, 35-1/4 x 30-1/4 inches
Karen Hampton, Memories, cotton, 35-1/4 x 30-1/4 inches
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Textiles A Summer Session 7

Textiles Summer Session 7
August 14–19
Stephanie Santana
Printmaking on Textiles

In this workshop we’ll transform fabric with relief printing, monoprinting, and screenprinting. We’ll lay the groundwork for this exploration with demonstrations and a survey of historical and contemporary textile and surface design applications. With a focus on self-directed experimentation and play, students will develop their own motifs and textures by carving rubber blocks, manipulating paint on gelatin plates, and applying artwork onto screens. Students can expect to leave with a portfolio of textile studies for reference or as components for other projects. All levels; beginners encouraged. Upper textiles studio.

Studio artist; founding member of Black Women of Print; recent exhibition: A Contemporary Black Matriarchal Lineage in Printmaking at Highpoint Center of Printmaking (Minneapolis); collections: Metropolitan Museum (NYC), Getty Research Institute (Los Angeles), Museum of Fine Arts Boston, Smith College Museum of Art (MA).

stephaniesantana.com | @stephmsantana

Stephanie Santana, A Watchful Eye, screenprint appliqué, monotype, relief, hand embroidery, acrylic, machine quilting, left: 23-3/4 x 29 inches, right: 21 x 25-1/2 inches
Stephanie Santana, A Watchful Eye, screenprint appliqué, monotype, relief, hand embroidery, acrylic, machine quilting, left: 23-3/4 x 29 inches, right: 21 x 25-1/2 inches
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Print & Letterpress X Summer Session 7

Letterpress Summer Session 7
August 14–19
Heinrich Toh
High-Rolling Monoprints

In this workshop artists and image makers who want to create one-off pieces will discover opportunities for working on paper with the layered monoprint. We’ll balance process and content as we build layers using color, composition, and imagery. We’ll cover various applications for monotypes and inked-xerox image transfers (paper lithography). We’ll explore materials and methods for creating depth and space between background and foreground with texture, mark-making, and brushstrokes. Incorporating pattern, shape, and personal imagery from your photographs or drawings will further define your personal aesthetic. All levels. Printmaking studio.

Studio artist; teaching: Kansas City Art Institute, Arrowmont (TN), Pratt Fine Arts Center (Seattle), Oklahoma Fine Art Institute at Quartz Mountain; exhibitions: Wing Luke Museum of the Asian Pacific American Experience (Seattle), Bellevue Art Museum (WA); collections: Nelson-Atkins Museum of Art (Kansas City), Albrecht-Kemper Museum (MO).

heinrichtoh.com | @heinrichtoh

Heinrich Toh, Now That the Lights Are Gone, monoprint, paper lithography on Rives BFK paper, 35 x 47 inches
Heinrich Toh, Now That the Lights Are Gone, monoprint, paper lithography on Rives BFK paper, 35 x 47 inches
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Photography Summer Session 7

Photo Summer Session 7
August 14–19
Stephen Takacs
Dry-Plate Tintypes

This workshop will explore the process of using modern liquid photo emulsions to create dry-plate tintypes. Students will learn to coat metal plates with chemistry, expose them in large-format cameras, and develop them in the darkroom. Many of the demonstrations will focus on portraiture but students will be encouraged to pursue whatever subject matter they are most interested in. While prior photography experience will be helpful, this workshop is open to all skill levels. Note: large-format cameras are available in the Penland studio. 

Studio artist; teaching: Bushwick Community Darkroom (NYC), Columbus Cultural Art Center (OH), The Ohio State University; residencies: Jentel Foundation (WY); grants: Greater Columbus Arts Council Individual Artist Grant, Franklinton Arts District George Bellows Grant (OH); visiting artist: Kenyon College (OH), Valparaiso University (IN), Otterbein College (OH), University of Saint Francis (IN), Wexner Center for the Arts (OH).

stephentakacs.com | @brownieinmotion

Stephen Takacs, John Carlson from the Exquisite Corpse series, dry-plate tintype, 5 x 4 inches
Stephen Takacs, John Carlson from the Exquisite Corpse series, dry-plate tintype, 5 x 4 inches
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Metals B Summer Session 7

Metals Summer Session 7
August 14–19
Rachelle Thiewes
The Moving Canvas

The focus of this workshop is the relationship between jewelry and the human body. Movement, light, color, scale, line, form, weight, and anatomy are some of the essential elements that we’ll explore through short exercises. We’ll build concepts through personal interest and experience. The workshop will incorporate technical demonstrations focused on easy solutions, shortcuts, and tricks for fabricating and soldering metal. The goal is for students to leave with a fresh perspective, new possibilities, and some technical solutions that can be applied to their jewelry making. All levels. Lower metals studio. 

Studio artist; professor emerita at University of Texas El Paso; Houston Center for Craft Texas Master, Metal Museum Master Metalsmith (TN); collections: Smithsonian American Art Museum (DC), Metropolitan Museum of Art (NYC), National Museums of Scotland, Victoria and Albert Museum (London); publications: One of a Kind: American Art Jewelry, The Best in Contemporary Jewellery, Metalsmith.  

Rachellethiewes.com | @rachellethiewes

Rachelle Thiewes, Arc (necklace), steel, silver, auto paint, 6 x 7-1/4 x 1-1/4 inches
Rachelle Thiewes, Arc (necklace), steel, silver, auto paint, 6 x 7-1/4 x 1-1/4 inches
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Metals A Summer Session 7

Metals Summer Session 7
August 14–19
Beverly Penn
Still Nature: Direct Method Casting

Working from observation of the Penland landscape, students will create work using direct-method casting techniques. We’ll explore the Penland grounds to understand the connection between art and nature while collecting botanical and other organic samples for direct casting in either bronze or silver. Students will also learn techniques for preparing organic materials such as cloth, rope, lace, etc. for casting. There will be in-depth casting instruction, and students will combine cast elements to create finished artworks. We’ll also cover soldering techniques for incorporating appropriate mechanisms into finished forms. Basic metalsmithing skills will be helpful, but this workshop is open to all levels. Upper metals studio. 

Professor at Texas State University; Fulbright Fellowship, Rockefeller Foundation Bellagio Residency, Lux Art Institute International Artist Residency; collections: National Museum of Women in the Arts (DC), Yale University (CT), Cooper-Hewitt Museum (NYC), Philadelphia Museum of Art, Racine Art Museum (WI); representation: Lisa Sette Gallery (AZ).

beverlypenn.com

Beverly Penn, Asclepias, cast bronze, 24 x 10 x 10 inches
Beverly Penn, Asclepias, cast bronze, 24 x 10 x 10 inches