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Wood Summer Session 7

Wood Summer Session 7
August 22-28, 2021
Brandy Clements and Dave Klingler
Handwoven Chair Caning

This workshop is an introduction to the craft of handwoven chair caning. Beginning students can learn the traditional six-way pattern. Intermediate weavers or ambitious beginners can weave new patterns such as the daisy or star, or they may want to make up their own pattern. We’ll also discuss structural issues, the history of chair caning, contemporary applications, and basically geek out on chairs of all kinds. Warning: if you take this workshop, you may become a chair nerd! All levels.

Note: Students can bring a chair (in good repair with the surface finished) with holes drilled around the seat frame, or instructors can provide chairs with advance notice. Students bringing chairs will be asked to e-mail a chair picture to the instructors ahead of time. 

Brandy: studio artist, educator, curator, historian, co-owner of the Silver River Center for Chair Caning (NC); teaching and lectures: Arrowmont (TN), Campbell Folk School (NC), Furniture Society conference, Seat Weavers Guild gatherings, Folk Art Center (NC), William King Museum of Art (VA), Blowing Rock Art and History Museum (NC), American Craft Council “Let’s Make” demonstrator. 

Dave: seat weaving expert, process analyst, educator, co-owner of the Silver River Center for Chair Caning (NC); teaching and lectures: Arrowmont (TN), Campbell Folk School (NC), Furniture Society conference, Seat Weavers Guild gatherings, Folk Art Center (NC), William King Museum of Art (VA), Island Farm (NC), American Craft Council “Let’s Make” demonstrator. | @silverriverchairs

Work by Dave Klingler
Dave Klingler, Traditional Six-Way Cane Pattern on Restored Thonet Chair, wood, rattan, 34 x 18 x 19 inches
Work by Brandy Clements
Brandy Clements, Handwoven Chair Caning in Double Daisy Pattern, rattan, 18 x 16 inches
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Textiles B Summer Session 7

Textiles Summer Session 7
August 22-28, 2021
Hillary Waters Fayle
Plants: Muse & Material

In this workshop we’ll use plants and other botanical materials to explore the connections between nature and humanity. We’ll spend time looking at and learning about plants: taking guided walks, drawing, stitching, spinning, pressing, printing, painting, and studying botanical material. We’ll source plants, nuts, seeds and other material to brew our own inks and dyes for textiles and paper. We’ll also experiment with leaves and other plant materials as a substrate: woven, cut, knotted, stitched, collaged, etc. The workshop will blend art, science, and natural history as we create botanical collaboration. All levels. Second-floor textiles studio.

Assistant professor and head of fibers at Virginia Commonwealth University; exhibitions: Blue Spiral 1 (NC), Momentum Gallery (NC), Sager Braudis Gallery (MO), Pensacola Museum of Art (FL), Ellen Nöel Art Museum (TX).

circle of embroidered leaves
Hillary Waters Fayle, "Circular Meditations I & II," stitched and embroidered holly leaves, 
14 x 14 inches
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Textiles A Summer Session 7

Textiles Summer Session 7
August 22-28, 2021
Stephanie Metz
Felt: Fiber in the Round

This workshop will be a thorough introduction to the tools, processes, and possibilities of needle felting. Students will learn to manipulate wool into free-standing, solid felt sculptures using barbed felting needles to coax loose fibers into sophisticated shapes. We’ll explore solid and hollow form-building, armatures, and adding mixed-media. Felting particularly lends itself to representing organic forms, and students are welcome to bring source material. This innovative use of a humble, inexpensive material is bound to energize your art-making. Note: feltmaking involves repetitive and vigorous hand and arm movement. All levels. Third-floor textiles studio.

Studio artist; teaching: Arrowmont (TN), Yuma Symposium (AZ), California College of the Arts; recent exhibitions: Jack Fischer (San Francisco), de Saisset Museum (CA); collections: Triton Museum (CA), National Centre for Craft & Design (UK).

installation of large, textured pod sculptures
Stephanie Metz, "In Touch: Hanging Pods," wool, industrial felt, filler, cable, approximately 50 x 30 x 30 each
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Print & Letterpress L Summer Session 7

Print & Letterpress Summer Session 7
August 22-28, 2021
Rick Griffith
Print Like You Mean It: The Making of a Manifesto

In this workshop we’ll explore personal narratives to bring autobiographical language—both poetry and prose—into focus as manifestoes for action. We’ll figure out what and who we are with a printing press as our instrument. We’ll SEE each other. We’ll be inspired toward truth and action with words as our raw material. Students will learn basic/intermediate skills in letterpress printing and typesetting using mid-century Vandercook proof presses and will  have finished prints to share at the end of the week. All levels. Letterpress studio.

Co-owner of Matter (Denver), a design studio, print shop, and bookstore; teaching: University of Denver, University of Colorado-Denver; exhibitions: Columbia College Center for Book, Paper, and Print (Chicago), Boulder Museum of Contemporary Art (CO), Denver Art Museum; collections: Denver Art Museum, Tweed Museum of Art (MN).

letterpress poster about education policy printed in orange and green
Rick Griffith, "Back to School," letterpress, 26 x 17-3/8 inches
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Photography Summer Session 7

Photo Summer Session 7
August 22-28, 2021
May Babcock & Lindsey Beal
Foraged Photographs: Cyanotypes & Handmade Paper

This workshop will integrate hand papermaking and cyanotype printing. We’ll make paper from sustainably harvested plants and traditional fibers and create sheets using deckle boxes and multiple pulps. Using cyanotype and anthotype, we’ll create photograms from foraged plants and photographs from digital negatives. Cyanotype creates blue images that can be toned to other colors. Anthotypes are made with photosensitive plant emulsions. Working in both the photo and papermaking studios, students will build a supply of handmade papers, print unique images, and learn to create environmentally conscious artwork at home. All levels.

May: studio artist; teaching: Rhode Island School of Design, Women’s Studio Workshop (NY), Brown University (RI), Louisiana State University, Pyramid Atlantic (MD); residencies: White Mountain National Forest (NH), Guadalupe Mountains National Park (TX); public art: Rhode Island State House, T.F. Green International Airport (RI). Lindsey: studio artist; teaching: Rhode Island School of Design, Massachusetts College of Art and Design; solo exhibitions: Vermont Center for Photography, Griffin Museum of Photography (MA), Danforth Art Museum (MA); publications: New York Times Lens Blog, BBC Mundo, Photo District News, New Scientist.  |  @maybabcock

four abstract compositions of blue and white on gray paper
May Babcock and Lindsey Beal, "Lamina: Eddy 1–4," artist-made pulp paintings on pigmented cotton, flax, and corn husk, cyanotype, gouache, 8-1/2 x 11 inches
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Metals B Summer Session 7

Metals Summer Session 7
August 22-28, 2021
Kim Cridler
Drawn: The Sensitive Line

Philosopher Alexander Baumgarten described aesthetics as “the science of sensitive knowing.” In that spirit we’ll use simple techniques and direct observation to make structural wire forms. Demonstrations will include soldering steel wire, building symmetrical forms, forging and drawing wire, and finishing steel. Supplemented with short readings, visual presentations, and quick assignments, we’ll make models and samples before creating individual projects. This class is about starting where you are, working without hesitation, and seeing anew. Soldering experience will be helpful, but the workshop is open to all levels. Lower metals studio.

Studio artist; teaching: University of Wisconsin-Madison, San Diego State University, Arizona State University; upcoming retrospective at The Metal Museum (TN); collections: MTA Arts & Design (NYC), Museum of Fine Arts Houston (TX); representation: Lisa Sette Gallery (AZ).

wire metal basket with handles and stand
Kim Cridler, "Again (basin with butterflies)," steel, butterfly wings (Dichorragia nesmachus), 15 x 28 x 18 inches
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Metals A Summer Session 7

Metals Summer Session 7
August 22-28, 2021
Edna Madera
Gold Fusing

This workshop will introduce students to surface embellishment through fusing high-karat gold over silver. We’ll cover the basics and then explore additional surface considerations, such as finish, texture, and patina, that will complement students’ own designs. We’ll also cover roll-milling 24k gold, depletion gilding, tool and workspace setup, gold cutting, and torch fusing. Discussions will include prefabricated versus studio-made gold foils, workflow, and design experimentation. Some comfort working with torches will be helpful, but this workshop is open to all levels. Upper metals studio.

Studio artist; teaching: Pratt Fine Arts Center (Seattle); Award of Excellence at American Craft Council Baltimore show; publications: New Brooches: 400+ Designs in Contemporary Jewelry, SNAG Jewelry and Metals Survey 2017; representation: Ayesha Studio and Gallery (NJ).

Earrings with gold feather detail
Edna Madera, "Flora and Feather Earring," 24k, 18k, 14k, 11k bimetal, fine silver, 1-3/4 x 1-1/8 x 1/2 inch
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Iron Summer Session 7

Iron Summer Session 7
August 22-28, 2021
Meghan Martin
Functional Forms: Designing Tools and Utensils

Students in this workshop will learn the foundational skills of blacksmithing and explore their application to the design of culinary utensils and small-scale agrarian tools. Through a series of assigned projects, students will create a small collection of implements and practice forging techniques such as hammer control, tapering, shouldering, punching, drifting, spreading, and forming steel. Other demonstrations will include cold connections, filing, steel patination, forged surface textures, and more. While the focus will be on traditional hand-forging techniques, we’ll also use a variety of tools and equipment available in the Penland iron studio. All levels: beginners are encouraged, and there will be some advanced material for more experienced students.

Studio artist; teaching: Haystack (ME), artWORKS Visiting Artist at University of Arkansas at Little Rock; residencies: Penland Core Fellowship, Vermont Studio Center, Vermont Folklife Center Traditional Arts Apprenticeship; exhibitions: Penland Gallery, Blue Spiral 1 (NC), Columbia Center for the Arts (OR).

side view of a wood and metal garden trowel
Meghan Martin, "Garden Trowel," forged steel, palmwood handle, 3 x 10 inches
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Glass B Summer Session 7

Glass Summer Session 7
August 22-28, 2021
Kit Paulson
Gotta Make It Somehow

Approaching flameworking from a goal-oriented, project-based perspective, we’ll talk about and build things with borosilicate glass. Skill building will happen along the way, or it may be a goal in itself. Topics may include, but will not be limited to, blowing hollow forms, solid sculpting, large- and small-scale construction, hot and cold assembly, botanical and figure studies, tooling, color application, heat application, and annealing. Group or class projects are a possibility. All levels. Flame studio.

Independent artist; teaching: Bildwerk Frauenau (Germany), Corning Museum of Glass (NY), Canberra Glassworks (Australia), National College of Art and Design (Ireland), Pilchuck Glass School (WA); collections: Renwick Gallery (DC), KODA (Norway), Tacoma Museum of Glass (WA); Penland resident artist.

Telephone by Kit Paulson
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Drawing & Painting Summer Session 7

Drawing & Painting Summer Session 7
August 22-28, 2021
Leigh Suggs
Changing Perspective: Experimenting with Paper

This workshop is about changing your approach to paper. We’ll explore ways to transform paper—both technically and conceptually—into more than just a flat surface. Students will use simple tools to turn basic sheets into sculptural forms by cutting, folding, collaging, weaving, and using a variety of 3-d paper constructions. We’ll use natural and synthetic papers and create samples that will introduce you to the nuances of the material. There will be daily demonstrations, discussions of contemporary work, and time for experimentation. All levels. Note: this is not a hand papermaking workshop. 

Studio artist; teaching: Virginia Commonwealth University, Arrowmont (TN), Penland; exhibitions: Penland Gallery, Racine Art Museum (WI), Weatherspoon Museum (NC), Taubman Museum (VA); collections: Virginia Museum of Fine Arts, Roanoke College (VA); representation: Reynolds Gallery (VA).

Intricately cut vanishing pattern on blue paper
Leigh Suggs, "On Our Way," handcut acrylic on Yupo, 36 x 36 inches
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Clay B Summer Session 7

Clay Summer Session 7
August 22-28, 2021
Aisha Harrison
Striking the Balance

Working from personal narrative can be daunting and feel vulnerable, but it is often from that place that we communicate through our work with the most authenticity and awareness. In this workshop we’ll aim to strike a balance between the personal and the metaphorical to produce drawings and maquettes that can be developed into more finished pieces at home. We’ll use a multi-modal approach that includes guided journal writing, a drawing process meant to uncover subconscious thoughts, and sculpting. Students will also learn to use photographs in-the-round to improve the figurative elements of their work. We’ll use mid-range clay and will not be firing. No clay or drawing experience required; all levels. Lower clay studio.

Studio artist; teaching: Evergreen State College (WA), Penland, Baltimore Clayworks (MD), Lux Center for the Arts (NE); residencies: Watershed (ME), Lormina Salter Fellow at Baltimore Clayworks, Women’s Studio Workshop (NY); exhibitions: Bainbridge Island Museum of Art (WA), O’Kane Gallery (TX), Santa Fe Clay (NM), Salon Refu/Susan Christian Project Space (WA).

Aisha Harrison, "Ancestor I," clay, graphite embroidery floss, glue, 41 x 27 x 10 inches
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Clay A Summer Session 7

Clay Summer Session 7
August 22-28, 2021
Heesoo Lee
Dimensional Expression on Ceramic Surfaces

Students in this workshop will explore handbuilding, sgraffito, texture, and watercolor-style underglaze to create images of nature and memory on functional and sculptural porcelain vessels and tiles. First we’ll create a clay canvas through an additive process on handbuilt or wheelthrown porcelain forms. Then we’ll use commercial watercolor-style underglazes to create perspective and depth and imitate traditional China paint effects on greenware and bisque-fired surfaces. Projects will be tailored to your interests with special emphasis on landscapes and perspective. Basic wheelthrowing skills are a plus, but this workshop is open to all levels. Upper clay studio.

Studio artist; Archie Bray summer residency and long-term residency (MT); exhibitions: Akar (IA), Archie Bray, International Ceramic Biennale (Korea), TRAX Gallery (CA).


Vase decorated with a colorful raised tree design
Heesoo Lee, "In Dreams," porcelain, 18 inches tall
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Books & Paper B Summer Session 7

Books & Paper Summer Session 7
August 22-28, 2021
Shanna Leino
Bone Folders Elevated

Working with elk bone, we’ll craft a traditional tool of the bookbinding trade: the bone folder. We’ll play with shape and ornament to move beyond a simple tool into the realm of the sculptural and adorned. These will be custom tools made to suit your individual needs, resulting in instruments of function and beauty. Students will create a small quiver of unique bone tools and a leather tool roll to house them safely. All levels. Note: We’ll be working with bone from elk killed in the wild. This material would otherwise be wasted and thrown away, but it is an animal product nonetheless.

Studio artist; teaching: University of Georgia Cortona Italy Program, Paper and Book Intensive (MI), Boston University, Minnesota Center for the Book, University of Iowa Center for the Book; Fiskars Artist in Residence (Finland); collections: Yale University Library (CT), University of Washington Special Collections, University of Iowa Special Collections.

Shanna Leino, "Carved Elk Bone Folders," elk bone, various dimensions
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Wood Summer Session 6

Wood Summer Session 6
August 8-19, 2021
Daniel Michalik

This workshop will explore cork and the many possibilities for design and making that can emerge from this wonderful, ecological material. We’ll learn and apply traditional woodworking techniques including machining, hand shaping, lathe turning, and bending, as well as experimental techniques such as cork casting. Cork will be used to achieve structure and visual texture in combination with wood and on its own. We’ll study cork farming, harvesting, and production and make objects that reflect these systems. We’ll start with experiments and then create tabletop accessories and furniture forms in which cork plays a central role. All levels.

Studio artist, product designer, and assistant professor at Parsons School of Design (NYC); other teaching: Central Saint Martins (London), Haystack (ME), Rhode Island School of Design; exhibitions: Renwick Gallery (DC), Fisher Parrish Gallery (NYC), Sight Unseen OFFSITE (NYC).

two textured cork stools, one light and one darker
Daniel Michalik, "Rook Stools," recycled cork, 20 x 15 x 15 inches each
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Textiles A Summers Session 6

Textiles Summer Session 6
August 8-19, 2021
Betty Maney
Cherokee White Oak Market Baskets

This workshop will begin with a thorough presentation and demonstration of Cherokee basketry. Students will then begin by scraping white-oak splints to a final finish before dyeing. The splints will be coiled and then dyed using walnut bark or hulls (dark brown) or bloodroot (burnt orange). Each student will then carve an interlocking, white oak handle for their market basket. The second week will cover the weaving process from start to finish, including the interlocking handle. The dyed splints will be used to create woven designs in the baskets. The availability of white-oak splints is limited; other materials will be available for students who want to make additional baskets. Please note that making Cherokee white-oak baskets is labor intensive. All levels. Second-floor textiles studio. This workshop has a studio fee of $350.

Second-generation basket weaver and owner of Betty Maney Gallery; teaching: Campbell Folk School (NC), Museum of the Cherokee Indian (NC), Swain High School (NC), Cherokee Youth Arts and Culture Camp (NC); exhibitions: Asheville Art Museum. Asheville Giduwah Festival (NC)  Museum of the Cherokee Indian, Cherokee Voices Festival (NC).

Facebook: bettymaneygallery

rectangular basket with weaving in multiple shades
Betty Maney, “Market Basket,” white oak, natural dyes, 13 x 8-1/2 x 11 inches
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Print & Letterpress X Summer Session 6

Print & Letterpress Summer Session 6
August 8-19, 2021
Asuka Ohsawa
Screenprint Essentials

This intensive workshop will cover the basics of water-based screenprinting while focusing on different ways an image can be manipulated, reproduced, and transformed in this medium. We’ll begin with non-digital techniques such as hand-cut/hand-This intensive workshop will cover the basics of water-based screenprinting while focusing on different ways an image can be manipulated, reproduced, and transformed in this medium. We’ll begin with analog techniques such as hand-cut/hand-drawn stencils, reduction prints, and crayon monoprints. Then we’ll focus on image manipulation in Photoshop for output to digital transparencies for use with photo emulsion on the screens. Students may create a series of edition prints on paper or one-of-a-kind prints on different substrates that can be incorporated into other media such as painting or sculpture. All levels. Print studio.

Studio artist; teaching: School of the Museum of Fine Arts Boston, Parsons School of Design (NYC), San Francisco Art Institute; collections: Center for Book Arts (NYC), Emily Carr University of Art and Design (Vancouver), San Francisco Public Library, State University of New York at New Paltz.

screenprint of a bright cartoon bunny face, japanese characters, and swirl patterns
Asuka Ohsawa, "Somewhere, Sometime #12," screenprint, 12 x 9 inches
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Photography Summer Session 6

Photo Summer Session 6
August 8-19, 2021
Christina Z. Anderson 
Alternative Processes: Cyanotype, Gum, Palladium

This workshop is for those who believe that image capture is just the starting point of the final photograph. We’ll focus on the contemporary use of three 19th century printing processes—cyanotype, palladium, and tricolor gum bichromate—printed singly and in combination with one another. We’ll print from digital negatives that we’ll make using a rudimentary method or, if desired, a more expert method called QuadTone RIP (QTR). Students should bring lots of color digital images to work with—it doesn’t matter what sort of camera they came from. We can also work from scanned prints or negatives. Intermediate Photoshop skills will be helpful but are not required. All levels.

Professor at Montana State University; series editor for the Focal Press/Routledge Contemporary Practices in Alternative Process Photography series; work shown nationally and internationally in more than 100 shows and 50 publications; author or co-author of 7 books on alternative photographic processes sold in more than 40 countries.

photo print of two seagulls against a sky of small, puffy clouds
Christina Z. Anderson, "Popcorn Clouds," tricolor gum bichromate, 11-3/4 x 11-3/4 inches
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Metals A Summer Session 6

Metals Summer Session 6
August 8-19, 2021
Cat Bates
Glamour and Grit: Sand Casting for the Jeweler

This hands-on workshop will introduce students to jewelry-scale sand casting—from casting found objects in bronze, shibuichi, and silver to the design and creation of original two-part patterns. Demonstration of pertinent finishing and joining techniques will enable students to bring castings from raw metal to fully wearable jewelry. After core skills are covered, students will be encouraged to pick and choose demonstrations based on their individual goals and can expect to leave with at least a few (if not many) finished pieces and samples. All levels. Upper metals studio.

Studio artist; teaching: Penland, Maine College of Art Community Education; residencies: Haystack Open Studio (ME), Pace House (ME); representation: Mora Gallery (NC), Esqueleto (CA), The Portland Museum of Art Store (ME), Portland Dry Goods (ME), Rock Paper Scissors (ME).

thick brass cuff
Cat Bates, "Token Cuff 2," brass, 2-1/2 x 2 x 1/2 inches
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Iron Summer Session 6

Iron Summer Session 6
August 8-19, 2021
Haley Woodward 
Sculptural Forms in Steel

This workshop will explore the fundamentals of blacksmithing in the context of sculptural forms. Starting at the anvil, we’ll go over hand skills and basic operations and cover using a sledgehammer with a partner to increase stock size and improve accuracy. Then we’ll take what we have learned about moving material and translate it to the power hammer, demonstrating its safe and effective use, including top tools and swage dies for making repetitive parts. These techniques will be used to drive the creation of abstract forms and the exploration of material and process. From there, we’ll assemble our work using traditional connections and modern fabrication, letting the feel and narrative of the work determine the best processes. This workshop will be perfect for  beginning/intermediate students who want to build their skills or for experienced blacksmiths ready to push their understanding and expression. All levels. 

Professor at Austin Community College (TX); other teaching: Center of Metal Arts (PA), New England School of Metalwork (ME), Penland; demonstrations: ABANA, CBA, AABA, Metal Museum (TN); exhibitions: Dimension Gallery (TX), Appalachian Center for Craft (TN).

Haley Woodward, "Slow Zone," steel, 36 x 36 inches
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Glass B Summer Session 6

Glass Summer Session 6
August 8-19, 2021
Mathieu Grodet
Say Something with Glass

This innovative workshop will be an introduction to the Venetian glass cane technique called murrine. Using the classic Franchini technique, students will work with soft glass to create simple and intricate murrine patterns, letters, and images. These elements will then be made into beads, pendants, rings, and other solid forms. Carefully considering design principles and elements, students will execute projects that combine multiple glass pieces at the torch. By the end of the workshop, students will have made several unique pieces using flameworking, fusing, and coldworking. Soft glass only. All levels. Flame studio.

Studio Artist; teaching: Haliburton School of Art and Design at Fleming College (Ontario), Aya Glass Studio (Japan), China Academy for the Arts; collections: Museum of Fine Arts (Montréal), Lommel Museum (Belgium), Art Institute of Chicago, Corning Museum (NY); representation: Sandra Ainsley Gallery (Toronto).

Matthieu Grodet, "Declaration of Human Rights," Moretti glass, wood, cement, 43 x 30-1/2 x 2 inches
Matthieu Grodet, "Murrine Letters and Numbers," Moretti glass, largest: 3/8 inches
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Books & Paper P Summer Session 6

Books & Paper Summer Session Six
August 8-19, 2021
Susan Gosin and Cynthia Nourse Thompson
Contemporary Papermaking for Book Arts

Students in this workshop will learn to prepare pulp and make paper sheets from a wide range of fibers, including linen, cotton, kozo, and abaca. In-depth explorations of pulp painting, coloring, collaging, stenciling, and watermarking will lead to the design and production of books and dimensional artworks. We’ll cover numerous traditional and contemporary book structures and produce two artist book prototypes and an accordion-style portfolio for paper samples. The instructors will meet with students individually to help guide each person’s process from concept to production. Students are encouraged to bring imagery, poetry, text, and collage material for inspiration.This workshop is open to adventurous students of all levels of skill.

Susan: studio artist, co-founder of Dieu Donné (NYC), co-chair of Dieu Donné Papermill (NYC), president of Dieu Donné Press (NYC); developed curricula and designed programs for various schools, including The New School (NYC) and Bibliotheca Alexandria (Egypt); Printmaker Emeritus award from Southern Graphics Council; exhibitions/collections include Metropolitan Museum (NYC) and Museum of Modern Art (NYC). Cynthia: associate professor and director of curatorial affairs at Kennesaw State University (GA); other teaching: University of the Arts (Philadelphia), Memphis College of Art, University of Georgia Cortona Italy Program, Haystack (ME); residencies: Yaddo (NY), Women’s Studio Workshop (NY), Visual Studies Workshop (NY); 2021 Maker-Creator Fellowship at Winterthur Museum (MD)

Susan Gosin, "Khela" (detail), artist book, 12-1/2 x 15-1/2 inches
Cynthia Nourse Thompson, "Conceal," letterpress and archival pigment print on handmade pigmented cotton paper, 5 x 9 inches closed
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Clay A Summer Session 6

Clay Summer Session 6
August 8-19, 2021
Michael Sherrill
The Unified Object: Color, Form, Surface

In the natural world, color is always in motion, transitioning from one color to the next. This workshop will explore techniques using porcelain and slips to create transitional color. I will demonstrate post-firing surface techniques using diamond abrasives to remove material and polish the surface. We’ll cover the use of extruders and some handbuilding techniques and make a variety of sample pieces. Artists who work at the wheel will also discover applicable techniques. Students will be encouraged to bring their favorite handbuilding tools—particularly for mark making, texturing, carving, and embossing. Electric firing. All levels. Upper clay studio.

Studio artist; teaching: Arrowmont (TN), Anderson Ranch (CO); United States Artists Fellowship, Renwick Alliance Master of the Medium, Mint Museum Artist of the Year (NC); collections: Renwick Gallery (DC), Museum of Arts and Design (NYC), Corning Museum (NY), Los Angeles County Museum.

sculpture of orange patterned leaves on a branch
Michael Sherrill, "Mashiko," porcelain, silica bronze, 16 x 16 x 11 inches