Category: Summer

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Wood Summer Session 7

WOOD SUMMER SESSION 7
August 13–18, 2023
Harold Greene
Hand Tools First

The goal of this workshop will be to strike a balance between the use of machines and hand tools while creating aesthetically pleasing small wall cabinets. The practice of using hand tools—planes, dovetail saws, chisels, marking gauges, etc.—brings a certain joy to woodworking as you master the use and care of these tools. We’ll pay special attention to hand-cut dovetails, mortise and tenon joints, sharpening, and the adjustment and use of hand planes. All levels. 

Furniture designer/builder, founding member and teacher at Angels Gate Cultural Center (CA); exhibitions: City of Los Angeles Municipal Art Gallery, Craft Contemporary (Los Angeles); several public art projects on the Los Angeles waterfront; work published in Fine Woodworking.

haroldgreenefinefurnishings.com | @harold.greene

Harold Greene,Tokonomo Cabinet, pear, maple, elm, carob, cyprus, stone, 23 x 37 x 10 inches
Harold Greene,Tokonomo Cabinet, pear, maple, elm, carob, cyprus, stone, 23 x 37 x 10 inches
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Textiles B Summer Session 7

TEXTILES SUMMER SESSION 7
AUGUST 13–18, 2023
Tali Weinberg
Material Matters

This beginning workshop will take a playful, improvisational approach to weaving. Students will learn to wind a multi-colored warp, dress a floor loom, and be introduced to the fundamental skills and tools of the medium. Through hands-on experimentation, we’ll explore how color, material, structure, and density interact to allow for infinite design possibilities, even when limited to relatively simple patterning. Demonstrations will cover balanced, weft-faced, and warp-faced weaves while introducing relevant color theory, fiber properties, and the incorporation of alternative materials. Students will go home with a series of small pieces or samples packed with information for future projects. Beginning level. Second-floor textiles studio.

Studio artist; teaching: California College of the Arts, Textile Arts Center (NYC), Penland; Illinois Artist Fellowship, Serenbe Fellowship, Tulsa Artist Fellowship, Museum of Arts and Design Residency (NYC); exhibitions: Dreamsong (MN), Praxis (OH), Center for Craft (NC), 108 Contemporary (OK); collections: Berkeley Art Museum (CA), Georgia Museum of Art; publications: New York Times, onEarth Magazine, Surface Design Journal, Fiber Art Now, Ecotone.

taliweinberg.com | @tali.weinberg

Tali Weinberg, Water Bodies, hemp, plant- and insect-derived dyes, petrochemical-derived fishing line, 138 years of temperature data for the oceans, 50 x 35 inches
Tali Weinberg, Water Bodies, hemp, plant- and insect-derived dyes, petrochemical-derived fishing line, 138 years of temperature data for the oceans, 50 x 35 inches
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Textiles A Summer Session 7

TEXTILES SUMMER SESSION 7
AUGUST 13–18, 2023
Nneka Jones
Storytelling Through Eyes

In this embroidery workshop, we’ll explore the art of evoking emotions through the use of color, particularly focusing on the image of the human eye. Taking a nontraditional approach to embroidery, students will learn new methods for creating a realistic eye using a simple color palette and basic stitches. A step-by-step guide will simplify the embroidery process using a painterly approach. Students will learn how to analyze a photo, color block, and blend color to bring their story and emotions to life. All levels. Third-floor textiles studio.

Studio artist; work commissioned for Time Magazine cover (September, 2020), guest speaker at 2020 Adobe MAX conference; collections: City of Tampa (FL), Tampa Museum of Art (FL), Florida Craft Art Gallery (FL), Ferman Center for the Arts (FL).

artyouhungry.com | @artyouhungry

Nneka Jones, Yellow Light, hand embroidery and acrylic on canvas, 12 x 12 inches
Nneka Jones, Yellow Light, hand embroidery and acrylic on canvas, 12 x 12 inches
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Print & Letterpress L Summer Session 7

PRINT & LETTERPRESS SUMMER SESSION 7
AUGUST 13–18, 2023
Eileen Wallace
Ink, Paper, Wood

Using wood type and veneer, this workshop will develop a selection of letters, shapes, and images to create abstract compositions, modular designs, and/or text and image combinations. Wood type will be used for text but also to explore its potential to create patterns and shapes. We’ll cut our own designs in wood veneer, by hand and with the laser cutter, to be used modularly or in conjunction with wood type. The group will establish a set of individual and shared matrices that can be used in infinite combinations for broadsides and small prints. Instruction will include the fundamentals of letterpress printing. All levels. Letterpress studio.

Senior lecturer in printmaking and book arts at University of Georgia; teaching: Penland, Haystack (ME), Monson Arts (ME); exhibitions: Ink on Paper, A Letterpress Showcase (CA), New Impressions (WI); former Penland Resident Artist; curator of Masters: Book Arts (Lark).

eileenwallace.com | @eileenwallace

Eileen Wallace, Untitled Modular Composition, letterpress printed from wood veneer, 15 x 12 inches
Eileen Wallace, Untitled Modular Composition, letterpress printed from wood veneer, 15 x 12 inches
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Photography Summer Session 7

PHOTOGRAPHY SUMMER SESSION 7
AUGUST 13–18, 2023
Karen Navarro
Pushing the Boundaries of Collage

This workshop will introduce materials and techniques to push the boundaries of traditional collage. We’ll investigate the foundations of identity through portraiture collages. Students may work with their own archive or found images. The workshop will cover cut-and-paste techniques, digital manipulation and printing, painterly processes, and image appropriation. Materials will be provided, and students are also encouraged to bring their own collections of ephemera: photographs, magazines, wallpaper, cardboard, fabric scraps, etc. All levels. 

Studio artist; exhibitions: Contemporary Art Museum Houston (TX), Artpace San Antonio (TX), FAR Center for Contemporary Arts (IN), Big Medium (TX), Klompching Gallery (NY), Holocaust Museum Houston (TX), Houston Center for Photography (TX); representation: Foto Relevance (TX); publications: ARTnews, The Guardian, Observer, Rolling Stone Italia, Photo Vogue Festival Italia.

karennavarroph.com | @karennavarroph

navarro
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Metals B Summer Session 7

METALS SUMMER SESSION 7
AUGUST 13–18, 2023
Aminata Conteh
Over, Under, and Through: Experimental Metal Weaving

This workshop will explore the possibilities of using weaving and basketry techniques with metal materials. Using copper, nickel, steel, and silver, we’ll create a series of small woven samples culminating in final projects that will take the form of objects, adornment, or a mixture of both. We’ll have daily demonstrations as well as discussions of the historical and cultural contexts of the different techniques. Most importantly, this workshop will include plenty of time for experimentation. You’ll be encouraged to play! All levels. Lower metals studio. 

Studio artist; teaching assistant: Haystack (ME), Arrowmont (TN), Maine College of Art; Center for Craft Windgate-Lamar Fellowship, SNAG Early Career Artist Award; residencies: Indigo Arts Alliance (ME), Arrowmont Pentaculum (TN); exhibitions: Salon Design (NYC), Zero Station Gallery (ME), UNE Art Galleries (ME), Cove Street Art Gallery (ME).

aminataconteh.com | @aminomnom

Aminata Conteh, Untitled Lap Song, nickel, 13 x 13-1/2 x 10-1/2 inches
Aminata Conteh, Untitled Lap Song, nickel, 13 x 13-1/2 x 10-1/2 inches
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Metals A Summer Session 7

METALS SUMMER SESSION 7
AUGUST 13–18, 2023
Tara Locklear and Francesca Vitali
LINKED: Wood, Paper, Pins

Dive into the world of nontraditional jewelry by focusing on wood and its pulp (a.k.a. paper). We’ll begin by introducing paper folding techniques and then move on to simple wood shaping with hand and electric tools. Painting and staining both materials will add color, and rapid-fire class exercises will get your creative ideas flowing. We’ll focus on the brooch/pin format and use basic metalsmithing techniques with sterling silver, copper, brass and stainless steel. And we’ll investigate pin-back mechanisms as well as linkages for integrating brooches as necklace pendants. By the end of the workshop, each student will create a group of wearable pins/brooches. All levels. Upper metals studio.

Tara: studio artist; teaching: Haystack (ME), Brooklyn Metal Works (NYC), Pratt Institute (NYC), Contemporary Craft (PA), Penland; exhibitions: MAD About Jewelry (NYC), Philadelphia Museum Craft Show, ACC Baltimore, Velvet da Vinci (San Francisco), New York Jewelry Week; collections: Racine Art Museum (WI), Arkansas Museum of Fine Arts, Mint Museum (NC); publications: Metalsmith, American Craft, Niche. 

taralocklear.com | @taralocklear

Francesca: studio artist; teaching: Pocosin Arts (NC), Museum of Arts and Design (NYC), Contemporary Craft (PA); residencies: Arrowmont Pentaculum (TN); exhibitions: MAD About Jewelry (NYC), Heidi Lowe Gallery (DE), New York Jewelry Week (NYC); representation: Baltimore Jewelry Center (MD), Pistachios (IL); publications: American Craft, Fiber Art Now, Vogue. 

francescavitalipaperjewelry.com | @francescavitalipaperjewelry

Tara Locklear, Aerial Field Study Brooch, hand-carved reclaimed skateboard parts, hand carved reclaimed Durat countertops, oxidized sterling silver, stainless-steel, 4 x 3-2/3 x 1/2 inches
Tara Locklear, Aerial Field Study Brooch, hand-carved reclaimed skateboard parts, hand carved reclaimed Durat countertops, oxidized sterling silver, stainless-steel, 4 x 3-2/3 x 1/2 inches
Francesca Vitali, MAD Museum Brooch/Earrings, recycled museum catalogs, stainless steel, 3 x 3 inches
Francesca Vitali, MAD Museum Brooch/Earrings, recycled museum catalogs, stainless steel, 3 x 3 inches
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Iron Summer Session 7

IRON SUMMER SESSION 7
AUGUST 13–18, 2023
Paige Hamilton Davis
Metal Works!

This workshop will demonstrate and apply basic forging techniques with a focus on sculpture. We’ll emphasize efficient work methods, simple tooling, and developing individual vision and design. Each student will be attended to and challenged according to their abilities. Bring your experience to Penland’s beautifully-equipped iron studio and make something new. All levels. 

Studio artist, designer; teaching: Haystack (ME), University of North Carolina, Penland; work in various collections including the Gregg Museum at North Carolina State University. 

paigehamiltondavis.wordpress.com

Paige Hamilton Davis, Boat on Stand, forged and constructed steel, 2 x 3 x 8 feet
Paige Hamilton Davis, Boat on Stand, forged and constructed steel, 2 x 3 x 8 feet
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Glass B Summer Session 7

GLASS SUMMER SESSION 7
AUGUST 13–18, 2023
Mike Raman
Pipegeist

This workshop will survey a variety of pipe forms, moving through the history of glass pipes over the past 30 years, covering both dry and water pipes, and taking note of how the forms have evolved. Although we will cover basic color application, our focus will be on shaping and assembling hollow forms rather than pattern work. Students can expect to leave with a greater understanding of hollow shaping and seals and a deeper appreciation for the history and significance of the glass pipe. Intermediate/advanced level: students must have some experience making hollow forms at the torch. Flameworking studio. 

Studio artist; teaching: Pilchuck (WA), The Studio at Corning (NY), DC Glassworks (MD), The Heat Base (VA), Tobacco Leaf Studios (FL).

@mikeramanglass

Mike Raman, Pipegeist, black borosilicate glass, tallest: 15 inches
Mike Raman, Pipegeist, black borosilicate glass, tallest: 15 inches
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Glass A Summer Session 7

GLASS SUMMER SESSION 7
AUGUST 13–18, 2023
Jeff Mack
Hot-Forming Survey

This workshop will cover fundamental techniques of glassblowing, bit work, and hot sculpting. Demonstrations, focused projects, individual coaching, planning, and reflective discussion will help students build skills from any level of engagement. Central to the workshop will be practice making essential vessel forms and simple solid figures. Assignments will address important fundamentals for less-experienced students as well as nuanced technical hurdles that come into play for more advanced makers. Drawing on 30 years of problem-solving at the furnace, I will share lessons that will accelerate confidence and skill and help you take your hot-shop game to the next level. All levels. Hot-glass studio. 

Manager of hot glass programs at Corning Museum of Glass (NY); teaching: College for Creative Studies (MI), Pilchuck (WA), The Studio at Corning (NY), Toledo Museum of Art (OH), Oxbow (MI), Domaine de Boisbuchet (France); exhibitions: La Stanze del Vetro (Italy); Bergdorf Goodman (NYC); collections: Corning Museum (NY), Toledo Museum of Art (OH), Museum of Glass (WA); representation: Culture Object (NYC).

@kcamffej

Jeff Mack, Arrugginita, blown glass, oxidized steel, 21 inches tall
Jeff Mack, Arrugginita, blown glass, oxidized steel, 21 inches tall
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Drawing & Painting Summer Session 7

DRAWING AND PAINTING SUMMER SESSION 7
AUGUST 13–18, 2023
Dietlind Vander Schaaf
Encaustic: Layers, Translucency, and See-Throughs

This workshop will enable students to achieve greater clarity and translucency in their encaustic paintings. We’ll focus on building paintings from the ground up, covering what can be done directly on the substrate, between the layers of medium, and on the surface. We’ll discuss opaque and translucent color, how to create beautiful glazes, and working with various drawing materials: ink, charcoal, PanPastel, oil pastel, pencil, graphite and Pigment Sticks. Mark-making and writing exercises will help each student deepen their connection to their work. All levels. 

Studio artist; teaching: Haystack (ME), Arrowmont (TN), Castle Hill (MA), Snow Farm (MA), Zijdelings (Netherlands), Penland; instructor for R&F Handmade Paints; grants: Maine Arts Commission, International Encaustic Artists; exhibitions: Cape Cod Museum of Art (MA), Conrad Wilde Gallery (AZ), Fuller Craft Museum (MA), On Center Gallery (MA); representation: Portland Art Gallery (ME). 

dietlindvanderschaaf.com | @dietlindvanderschaaf

Dietlind Vander Schaaf, El Campo, encaustic, oil, 23K gold leaf on panel, 36 x 36 inches
Dietlind Vander Schaaf, El Campo, encaustic, oil, 23K gold leaf on panel, 36 x 36 inches
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Clay B Summer Session 7

CLAY SUMMER SESSION 7
AUGUST 13–18, 2023
William Baker and Caroline Douglas
Slow Clay for Fast Times

This workshop will use clay work as part of an attentive exploration of what we might mean by mindfulness or mindful awareness. Students will explore creative writing, journaling, meditation, and movement, and how these techniques can ignite our creativity and enliven our mood. We’ll also explore elements of the flow state as an additional way of understanding our creative practices and our relationships to them. Daily clay demonstrations will include various handbuilding and wheelthrowing techniques. Stoneware clay; bisque-fire only. All levels. Lower clay studio.

William: studio artist; teaching: Odyssey ClayWorks (NC), Castle Hill (MA); exhibitions: Blue Spiral I (NC). 

williambakerpottery.com | @williambakerpottery

Caroline: studio artist; teaching: Santa Fe Clay (NM), Penland, and in Morocco and Mexico; residencies: Glasgow School of Art (Scotland), Findhorn Foundation (Scotland), Red Lodge (MT); publications: 500 Animals (Lark Books), Dreaming Out Loud: An Artist in Clay Rebuilds Her Life.

carolinedouglas.com | @carolinedouglasart

William Baker, Rectangle Tray, cone 10 wood- and soda-fired handbuilt stoneware, 3 x 14 x 10 inches
William Baker, Rectangle Tray, cone 10 wood- and soda-fired handbuilt stoneware, 3 x 14 x 10 inches
Caroline Douglas, Lemur Tower, salt-fired stoneware, 18 x 14 x 7 inches
Caroline Douglas, Lemur Tower, salt-fired stoneware, 18 x 14 x 7 inches
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Clay A Summer Session 7

CLAY SUMMER SESSION 7
AUGUST 13–18, 2023
Lindsay Rogers
On Pots and Food

Using wheelthrown plates and bowls as our foundation, this workshop will investigate the relationship between pottery and food. From design to execution, we’ll focus on how form and surface design can affect how food is perceived. Slide talks and demonstrations will keep food at the center of the discussion. Decorative techniques will include texture and resist processes using paper, tape, vinyl, and wax. A range of clay bodies will be available; we’ll conclude with a bisque firing. Basic wheelthrowing skills will be helpful but this workshop is open to all levels. Upper clay studio.

Associate Professor at East Tennessee State University; teaching: Arrowmont (TN), Odyssey ClayWorks (NC); residencies: Archie Bray (MT), Watershed (ME), clay coordinator for the Arrowmont Pentaculum (TN); exhibitions: Blue Spiral 1 (NC), Clayakar (IA), Art of the Pot (TX), Dallas Pottery Invitational, Old Church Pottery Show (NJ), American Pottery Festival (MN); publications: Ceramics Monthly, Studio Potter, Pottery Making Illustrated (cover), Food & Wine, Bon Appetit, Martha Stewart Living. 

lindsayrogersceramics.com | @rogerspottery

Lindsay Rogers, Shadow Plate, lizella clay, porcelain slip, black glaze, 9-1/2 x 9-1/2 x 1 inches
Lindsay Rogers, Shadow Plate, lizella clay, porcelain slip, black glaze, 9-1/2 x 9-1/2 x 1 inches
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Books & Paper B Summer Session 7

BOOKS & PAPER SUMMER SESSION 7
AUGUST 13–18, 2023
Barbara Tetenbaum
Hybrid Book Structures: Form and Content

In this part-ideation/part-structure-exploration workshop, we’ll examine the role that page design, material selection, and book structure play in designing artist books, in particular those with multiple layers of content. We’ll ask what opportunities the artist’s book can offer to display multiple visual and textual voices? We’ll create book structures suited for hybrid reading experiences, such as the dragon scale binding, the magic wallet, a split-page pamphlet binding, and the instructor’s “game board” binding. We’ll jump-start our work with a chance-based ideation exercise. Demonstrations of image and text-generating techniques will help each student find ways to transfer their ideas to the page. The goal is for each student to leave with one finished project and working models for further inspiration. All levels. Books studio.

Visiting professor at Reed College (OR); former head of books and printmaking at Oregon College of Art and Craft; workshop teaching: Haystack (ME), Paper and Book Intensive (MI); two Fulbright fellowships, Walter Tiemann Price for Experimental Books; collections: Victoria and Albert Museum (London), Museum of Modern Art (NYC), Gutenberg Museum (DE); work published in Masters: Book Arts (Lark Books); representation: Vamp and Tramp (AL). 

slowread.org | @barbtetenbaum

Barbara Tetenbaum, Mining My Antonia, letterpress on various mould-made papers, cloth binding, 10 x 12 inches
Barbara Tetenbaum, Mining My Antonia, letterpress on various mould-made papers, cloth binding, 10 x 12 inches
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Wood Summer Session 6

WOOD SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Vivian Chiu
Joinery for Wood Sculpture

Build, craft, create, and learn in this workshop focused on making small sculptural objects and using wood as a medium for creative expression. Working with kiln-dried lumber, students will become familiar with a wide variety of hand and power tools as well as heavy woodworking machinery. Although our main focus will be traditional joinery, we’ll also cover wood selection and preparation, carving, shaping, and finishing. This workshop will offer a nurturing and welcoming environment for students to grasp the basics or brush up on old skills. Beginning level; experienced students welcome. 

Studio artist, adjunct professor at Virginia Commonwealth University; American Craft Council Emerging Artists Cohort 2022, New York Foundation for the Arts Fellowship; residencies: Haystack (ME), Bemis Center for Contemporary Arts (NE), Anderson Ranch (CO), Sculpture Space (NY), Houston Center for Contemporary Arts, Penland Winter Residency; recent exhibition at Penland Gallery; collection: Center for Art in Wood; representation: FLXST Contemporary (IL). 

vivianchiudesigns.com | @viv_chiu

Vivian Chiu, Self V (Burr), poplar, vinyl, adhesive, 66 x 17 x 17 inches
Vivian Chiu, Self V (Burr), poplar, vinyl, adhesive, 66 x 17 x 17 inches
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Textiles B Summer Session 6

TEXTILES SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Marianne Fairbanks and Sofia Hagstrom Møller
Color and Blocks

Students in this workshop will learn (or review) the fundamentals of weaving, including project planning, measuring, winding warps, dressing looms, calculating sett, and drafting on paper and the computer. We’ll explore yarn dyeing in gradients on cellulose fibers with reactive dyes. Hand-dyed colors in the yarn will lay the foundation for the block structures we’ll design and the nuances of color interaction in warp and weft. Each student will draft—on paper and digitally—specific combinations of block weaves in which groups of warp and weft threads produce two different-looking interlacements. Starting with these fundamentals, we’ll explore weaving as a medium capable of expressing ideas through pattern, color, structure, and material. Each person will be encouraged to use this material to address their individual aesthetic interests. All levels. Second-floor textiles studio.

Marianne: associate professor at University of Wisconsin-Madison; residency: Danish Artists Workshop; exhibitions: Officinet (Copenhagen), Copenhagen Contemporary, RAM Gallery (Oslo), Röhsska Museum of Design and Craft (Sweden), Museum of Arts and Design (NYC).

mariannefairbanks.com | @mariannefairbanks

Sofia: studio artist; teaching: Funen Art Academy (Denmark), Skals håndarbejdsseminarium (Denmark), Rødding højskole (Denmark), Greve Weavingshool (Denmark), Kea (Copenhagen); exhibitions: Lynn Mecklenburg Textile Gallery (WI), Officinet (Copenhagen).

sofiahagstrommoller.com | @sofiahagstrommoller

Marianne Fairbanks, detail of Three Monks, TC2 handwoven cotton
Marianne Fairbanks, detail of Three Monks, TC2 handwoven cotton
Sofia Hagstrom Møller, Rest Your Head on the Rainbow, cotton, 23-1/2 x 19-3/4 x 11-3/4 inches
Sofia Hagstrom Møller, Rest Your Head on the Rainbow, cotton, 23-1/2 x 19-3/4 x 11-3/4 inches
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Textiles A Summers Session 6

TEXTILES SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Paolo Arao
Behind the Seams

This workshop will explore possibilities for sharing personal stories through cloth. We’ll incorporate methods of ideation—including drawing and collage—into planning for finished pieces. Working with their own textiles, fabric scraps, or second-hand clothing, students will use color, pattern, and texture to convey meaning in constructed textiles (made with or without a sewing machine). Projects may take the form of fabric collages, flags, banners, or small quilts. In addition to demonstrations and discussions, we’ll have ample time for experimentation and to work on both individual and collaborative processes. Sewing machine skills will be helpful, but this workshop is open to all levels. Third-floor textiles studio.

Studio artist; teaching: Oxbow (MI), NYC Crit Club, Fashion Institute of Technology (NYC), Fordham University (NYC); recent solo exhibitions: The Columbus Museum (GA), Morgan Lehman Gallery (NYC); residencies: Haystack (ME), Vermont Studio Center, Art Omi (NY), Museum of Arts and Design (NYC), Bemis Center for Contemporary Arts (IA), Skowhegan (ME).

paoloarao.com | @paolo_arao

Paolo Arao, Hunting Season, cotton, canvas, flannel, wool, acrylic, colored pencil, wood, 28 x 42 inches; photo by Cary Whittier
Paolo Arao, Hunting Season, cotton, canvas, flannel, wool, acrylic, colored pencil, wood, 28 x 42 inches; photo by Cary Whittier
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Print & Letterpress L Summer Session 6

PRINT & LETTERPRESS SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Ingrid Ankerson
Experimental Typography

With an emphasis on play, experimentation, and embracing the unexpected, we’ll dive into Penland’s collection of wood and metal type to create one-of-a-kind typographic prints and collages. Students will start by learning the basics of letterpress printing and then expand on traditional methods with repetition, masking, overprinting, and cutting and pasting to explore the unique visual potential of typographic forms. We’ll set type in the composing stick, in an angle chase, and using daredevil furniture. All levels. Letterpress studio. 

Full-time faculty at Washtenaw Community College (MI); other teaching: University of Maryland Baltimore County (MD); exhibitions: Hamilton Wood Type and Printing Museum (WI); W. Keith & Janet Kellogg University Art Gallery (CA), Pearl Street Studios (MI); residency: InCahoots (CA).

ankerson.com | @ingrid_ankerson

Ingrid Ankerson, Untitled, letterpress printed from wood and metal type; collaged, 17 x 11 inches
Ingrid Ankerson, Untitled, letterpress printed from wood and metal type; collaged, 17 x 11 inches
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Print & Letterpress X Summer Session 6

PRINT & LETTERPRESS SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Adriane Herman
Mixed-Media Monoprint Mayhem

Feast on a buffet of additive and reductive techniques for transferring, repeating, layering, and juxtaposing images, marks, patterns, text, and textures. The path to press-preferring methods, such as painterly monotype, collagraph, pressure printing and chine collé, will be paved by press-free processes, such as trace monotype, that offer marks no other methods yield. We’ll generate repeatable matrices and stencils that can be combined to create one-of-a-kind works on paper, fabric, and other surfaces, plus variable editions and simple book structures. Equally suited for representation, abstraction, landscape, photographic, drawn/painted, or appropriated imagery, monoprint techniques are easily harnessed to yield cohesive series and sequences of truly unique prints. All levels. Printmaking studio.

Studio artist; teaching: Maine College of Art & Design; Kansas City Art Institute; Lunder Institute for American Art Fellowship; residencies: La Ceiba Grafica (Mexico), Kriti Gallery (India), Charlotte Street (Kansas City), Spudnik Press (Chicago); solo exhibitions: Adam Baumgold Gallery (NYC), Western Exhibitions (Chicago), Center for Maine Contemporary Art; collections: Bates College Museum (ME), Colby College Museum (ME), The Whitney Museum of American Art (NYC), Yale University Art Museum (CT).

adrianeherman.com | @listress

Adriane Herman, Wreckage Salad (Maelstrom), water soluble pastel transfer monotype on paper, 21 x 28-1/2 inches
Adriane Herman, Wreckage Salad (Maelstrom), water soluble pastel transfer monotype on paper, 21 x 28-1/2 inches
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Photography Summer Session 6

PHOTOGRAPHY SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Monty McCutchen
Wet-Plate Collodion

Students in this workshop will learn to use a historic photographic process to interpret the modern world using a visual syntax unlike any other. We’ll work with large-format cameras of various sizes and explore the full gamut of wet-plate collodion positives: tintypes, alumitypes, and ambrotypes. We’ll cover view camera use, mixing chemistry, pouring successful plates, exposure, development, hand coloring, and varnishing. Working with still-life, portraiture, and landscape imagery will give students access to a full range of expression. All levels. 

Note: the studio fee for this workshop is estimated at $250 per student.

Studio artist; senior VP at the National Basketball Association, former NBA referee; exhibitions: Soho Photo (NYC), Raid Our Gallery (CT), University of North Carolina-Asheville (NC). 

Read this article about Monty.

Monty McCutchen, Cally, wet-plate collodion tintype, 12 x 10 inches
Monty McCutchen, Cally, wet-plate collodion tintype, 12 x 10 inches
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Metals B Summer Session 6

METALS SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Matthieu Cheminée and Tim McCreight
Building on Basics

Between us, we have been making jewelry for 80 years, each in our own way exploring basic materials and techniques that have been central to metalsmiths for centuries. In this workshop students will revisit basics: pouring ingots, making sheet and wire, and using forging, piercing, and fabrication to create original wearables and utensils. After making their own unique stamps, gravers, and chisels, students will make jewelry that captures the materials and moments of Penland. Through group demonstrations and one-on-one conversations, each student will merge material, technique, and process to chart a path that makes their work meaningful and distinctive. Intermediate/advanced level: basic sawing, soldering, and filing skills required. Lower metals studio.

Matthieu: Studio artist who learned jewelry making in New Mexico and West Africa, where he has been working with jewelers for the past 25 years; has taught at schools in Canada, Africa, Europe, and US as well as his own studio for 20 years; author of Legacy: Jewelry Techniques of West Africa, and The Art of Stamping. 

matthieucheminee.com | @matthieucheminee

Tim: professor retired from Maine College of Art & Design, author of 20 books of metalworking, senior designer and editor at Brynmorgen Press; teacher of workshops nationally and internationally; served as a trustee for Haystack (ME) and SNAG. 

brynmorgen.com

Matthieu Cheminée, Untitled, Sterling silver, 18k gold, diamonds, fire opals, orange sapphires, 2-1/2 inches diameter
Matthieu Cheminée, Untitled, Sterling silver, 18k gold, diamonds, fire opals, orange sapphires, 2-1/2 inches diameter
Tim McCreight, Round Brooch, fine silver, 18K gold, 2-1/2 inches diameter
Tim McCreight, Round Brooch, fine silver, 18K gold, 2-1/2 inches diameter
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Metals A Summer Session 6

METALS SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Katja Toporski
Castables

This exploratory workshop will look at mold-making and casting alternative materials for jewelry making. We’ll cover various types of silicon molds along with low-tech materials like plaster and clay. We’ll use our molds to cast a variety of materials, including resin, concrete, wax, silicone, plaster, and reconstituted materials, resulting in non-metal components. Then we’ll consider ways of incorporating those castings into jewelry, including tabs and different prong settings using sheet metal. The emphasis will be on experimentation and understanding the language of different materials. Basic metalworking skills, such as piercing, soldering, filing, sanding, and polishing, will be covered. All levels. Upper metals studio. 

Studio artist; teaching: Baltimore Jewelry Center, Montgomery College (MD), Towson University (MD); recent solo exhibitions: Art Center East (Finland), A-Galerii (Estonia); representation: Charon Kransen Arts (NYC), A-Galerii (Estonia), Bayrischer Kunstgewerbeverein (Germany). 

katjatoporski.com | @katjatoporski

Katja Toporski, Dose of the Future, silver, eggshell, gelatin, 3 x 2 x 1/2 inches
Katja Toporski, Dose of the Future, silver, eggshell, gelatin, 3 x 2 x 1/2 inches