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Wood Summer Session 3

Wood Summer Session 3
June 19–July 1
Gerald Weckesser
Building a Skin-on-Frame Canoe

Using basic woodworking techniques, each student will build their own single-person canoe. This workshop will focus on the skin-on-frame methods of boat building, borrowing from diverse water-craft traditions such as Aleut ikyak or baidarkas, British Isle coracles and curracks, and Inuit qujaq. We’ll mix modern materials and age-old traditions to build beautiful, durable, and lightweight boats. If time permits, we’ll also make double-blade paddles and water test our craft. All levels.

NOTE: The estimated materials cost for this workshop is $340 per student.

Studio artist, honors faculty fellow at East Carolina University School of Art and Design (NC).

geraldweckesser.com | @geraldweckesser

Gerald Weckesser and students, Penland Canoes, white oak, cedar, sapele, dacron, 12 feet x 30 inches
Gerald Weckesser and students, Penland Canoes, white oak, cedar, sapele, dacron, 12 feet x 30 inches
Gerald Weckesser, Canoe, white oak, cedar, sapele, dacron, 12 feet x 30 inches
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Textiles B Summer Session 3

Textiles Summer Session 3
June 19–July 1
Andrea Donnelly
Woven Cloth, Raw Material

We’ll create weaving-based artworks that start on the loom and finish as mixed-media collages. Experimenting with nontraditional interventions in the weaving process, including unweaving and on-loom painting, we’ll create a body of small weavings to develop an understanding of the qualities and characteristics of painting with pigment on thread and cloth. Off the loom, our woven cloth will become our raw material as we learn to stabilize, layer, and assemble woven elements into larger collage/mixed-media works backed with paper or unstretched canvas. Intermediate level: students must be comfortable setting up a loom and weaving plain/balanced weave. Lower textiles studio. 

Studio artist; teaching: Virginia Commonwealth University; exhibitions: Reynolds Gallery (VA), Center for Craft (NC), Museum Rijswijk (Netherlands); collections: North Carolina Museum of Art, Markel Corporation (VA), Dominion Energy (VA).

andreadonnelly.com | @andreadonnellyart, @andreadonnellystudio

Andrea Donnelly, Blue Brushes, handwoven cotton, dye, pigment, PVA, cotton backing, 39-1/2 x 30 inches
Andrea Donnelly, Blue Brushes, handwoven cotton, dye, pigment, PVA, cotton backing, 39-1/2 x 30 inches
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Textiles A Summer Session 3

Textiles Summer Session 3
June 19–July 1
Ann B. Coddington
Sculptural Basketry Plus

We’ll explore basketry as a sculptural medium capable of expressing ideas and carrying meaning beyond its utilitarian traditions. We’ll focus on twining with waxed linen and reed and also cover other processes such as netting, looping, random weave, and crochet. Most importantly we’ll share, discover, connect, interact, play, create, and have fun! All levels. Upper textiles studio.

Studio artist; teaching: Eastern Illinois University, Northwest Basket Weavers Guild (WA), Los Angeles Basketry Guild, Arrowmont (TN), Haystack (ME); Varda residency (CA); exhibitions: Quincy Art Center (IL), Textile Center (MN), Cedarhurst Center for the Arts (IL), Basketry in America (traveling).

Ann B. Coddington Website | @abcoddington

Ann B. Coddington, Ephemera, mixed-media fiber, dimensions variable
Ann B. Coddington, Ephemera, mixed-media fiber, dimensions variable
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Print & Letterpress L Summer Session 3

Print & Letterpress Summer Session 3
June 19–July 1
Chandler O’Leary and Jessica Spring
All-You-Can-Eat Letterpress Smorgasbord

In this feast of a workshop, students will consume the basics of typographic composition and digest the intricacies of digital file prep for found or original illustrations. We’ll stir together a rich mix of techniques as we combine photopolymer images with curved, angled, and circular daredevil typesetting. The combination of innovative analog and digital media will make for a full plate spiced with linoleum carving and hand coloring. Students will concoct an editioned print exchange and leave with recipes for a sumptuous printer’s banquet. All levels. Letterpress studio.

Chandler: studio artist, owner of Anagram Press; teaching: School of Visual Concepts (Seattle), Minnesota Center for Book Arts, Penland; Artist Trust GAP Award (WA), McMillen Foundation MAC Fellowship (WA); collections: Rhode Island School of Design, Library of Congress (DC), National Museum of Women in the Arts (DC), Newberry Library (Chicago); publications: Best Coast, Dead Feminists (both Sasquatch Books). 

chandleroleary.com | @drawntheroad

Jessica: studio artist, owner of Springtide Press; teaching: Pacific Lutheran University (WA), Paper and Book Intensive (MI), Hamilton Wood Type and Printing Museum (WI), Morgan Conservatory (OH); residencies: Edition/Basel (Switzerland), InCahoots (CA), International Printing Museum (CA); collections: The British Museum, Library of Congress (DC), San Francisco Museum of Modern Art; publications: Dead Feminists (Sasquatch Books). 

springtidepress.com | @springtidepress

 

Collaborative: deadfeminists.com

Chandler O’Leary and Jessica Spring, Truth or Consequences from the Dead Feminists series, letterpress from hand-lettered illustration, 18 x 10 inches
Chandler O’Leary and Jessica Spring, Truth or Consequences from the Dead Feminists series, letterpress from hand-lettered illustration, 18 x 10 inches
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Print & Letterpress X Summer Session 3

Print & Letterpress Summer Session 3
June 19–July 1
Yoonmi Nam
All About Mokuhanga

This workshop will explore the possibilities of mokuhanga: Japanese-style, water-based woodblock printing, which is non-toxic and does not require a press. This method has the potential for creating precise and exact marks as well as expressive and painterly impressions. Through hands-on demonstrations, students will learn basic traditional carving and printing processes and the kento registration method to create multilayer color prints. We’ll also cover tool sharpening, paper sizing, and paper mounting. This workshop will address both fundamental methods and experimental approaches to mokuhanga—there will be something for everyone! All levels.

Professor at University of Kansas; residencies: MI-LAB (Tokyo), Frans Masereel Centrum (Belgium); exhibitions: Haw Contemporary (Kansas City), The Print Center (Philadelphia), CfSHE Gallery (Tokyo); collections: Rhode Island School of Design Museum, Spencer Museum (KS).

yoonminam.com | @yoonmi_nam

 

Special thanks to Awagami Factory for their generous donation of handmade paper for this workshop.

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Yoonmi Nam, Winter Spring, mokuhanga, 11-3/4 x 16-1/2 inches
Yoonmi Nam, Winter Spring, mokuhanga, 11-3/4 x 16-1/2 inches
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Photography Summer Session 3

Photo Summer Session 3
June 19–July 1
Bridget Conn
Lightwork: Exploring Cameraless Photography

Photographic imagery need not be bound to cameras, so let’s leave the gear talk behind and seek the light. Using materials ranging from traditional black and white chemicals to plants from your garden, explore a variety of experimental photo techniques you can adapt to your home studio–with or without a darkroom. Processes will include photograms, cliché verre, solarization, chemigrams, anthotype, cyanotype, lumens, and cyanolumens. We’ll incorporate objects, drawing, painting, and printmaking techniques into our work and discuss contemporary photographic issues of physicality, ephemerality, and permanence. All levels. 

Assistant professor at Georgia Southern University; other teaching: University of Georgia Cortona Program (Italy), Warren Wilson College (NC); exhibitions: Center for Photographic Art (CA), Candela Books + Gallery (VA), Center for Fine Art Photography (CO); published in Jill Enfield’s Guide to Photographic Alternative Processes 2nd Edition (Routledge); founder and former director of The Asheville Darkroom (NC); representation: Tracey Morgan Gallery (NC).

bridgetconnartstudio.net | @bridgetconn

Bridget Conn, Point/Counterpoint 1, silver gelatin photographic chemigram, 20 x 16 inches
Bridget Conn, Point/Counterpoint 1, silver gelatin photographic chemigram, 20 x 16 inches
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Metals B Summer Session 3

Metals Summer Session 3
June 19–July 1
Lauren Kalman
Hydraulic Press: Symbols and Specimens

This workshop will use the hydraulic press as a central tool to form metal. Hydraulic-press forming often requires simplification or modification of forms; we will explore how these technical considerations can be used to create symbolic languages. As we develop designs, we’ll consider historic objects like ex votos, talismans, relics, and lockets as well as contemporary objects and jewelry. Students will experiment with combinations of silhouette dies, cast resin dies, carved acrylic dies, and pancake cutting dies. Working with these tools and inspirations, students will produce specimens, samples, experiments, and small-scale works. All levels. Lower metals studio.

Associate professor at Wayne State University; other teaching: Rhode Island School of Design, Brown University (RI), Penland, Pocosin Arts (NC); collections: Renwick Gallery (DC), Museum of Fine Arts Boston, Detroit Institute of Arts, Museum of Arts and Design (NYC), Stedelijk Museum (Amsterdam). 

laurenkalman.com | @laurenkalman

Lauren Kalman, But if the Crime is Beautiful...Hood (12), inkjet print, gold-plated brass, 28 x 20 inches
Lauren Kalman, But if the Crime is Beautiful...Hood (12), inkjet print, gold-plated brass, 28 x 20 inches
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Metals A Summer Session 3

Metals Summer Session 3
June 19–July 1
Kristin Mitsu Shiga
The Language of Jewelry

Develop your conceptual, technical, and design vocabularies in this intensive workshop. Discover (or refine) your creative voice to infuse your jewelry with meaning through personal storytelling. Playful morning exercises will inform and inspire independent work. In addition to beginning to advanced metal fabrication techniques, we’ll explore how to incorporate alternative materials such as wood, acrylic, and found objects. Techniques may include basic fabrication, cold connections, stone setting, chain making, findings, mechanisms, photo-etching, hydraulic forming, and casting. Our aim is to challenge ourselves on both a technical and a personal level and come away transformed. All levels. Upper metals studio.

Studio artist, owner of ‘Okina Jewelry teaching studio and gallery (HI); collections: Kamm Teapot Collection (NC), The White House (DC); publications: Art Jewelry Today, The Art of Enameling, several Lark Books 500 series books. 

okinajewelry.com | @metal_babe

YouTube channel

Kristin Mitsu Shiga, That’s How the Light Gets In, steel, sterling silver, copper, 18k gold, mica, 2-1/2 x 18 x 1/4 inches
Kristin Mitsu Shiga, That’s How the Light Gets In, steel, sterling silver, copper, 18k gold, mica, 2-1/2 x 18 x 1/4 inches
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Iron Summer Session 3

Iron Summer Session 3
June 19–July 1
Daniel Souto and Stephen Yusko
Material Studies

This workshop will explore inventive uses of material through creative problem solving. Students will work with forged, formed, and fabricated steel to create functional objects and/or sculpture. Techniques will include sheet and hollow forming, tube and pipe forging, hot and cold connections, and pattern and texture development on steel. Through demonstrations and discussions about design and function, we’ll work to create objects that balance the industrial history of steel with gracefulness of form. All levels.

Daniel: studio artist, founder, and executive director of La Caravana Escuela, a craft-based educational project empowering remote communities in Venezuela; other teaching: Haystack (ME), Souto Studios (Venezuela).

lacaravanaescuela.org | @lacaravanaescuela 

Stephen: studio artist; teaching: Haystack (ME), Cleveland Institute of Art, ThinkCraft Symposium (OH), Peters Valley (NJ), Touchstone (PA); Ohio Arts Council Individual Artist Excellence Award (OH), Cuyahoga County Creative Workforce Fellowship (OH); exhibitions: Metal Museum (TN), FORGE, International traveling exhibition (UK and USA). publications: 500 Metal Vessels (Lark Books), Metalsmith, American Craft. 

stephenyusko.com | @stephenyuskostudios

Daniel Souto, Forged and Punched Rod, steel, 1-inch round bar
Daniel Souto, Forged and Punched Rod, steel, 1-inch round bar
Stephen Yusko, Reliquary: Solitude, glass, painted wood, silver leaf, forged, machined, and fabricated steel, 8-3/4 x 3-1/8 x 8 inches
Stephen Yusko, Reliquary: Solitude, glass, painted wood, silver leaf, forged, machined, and fabricated steel, 8-3/4 x 3-1/8 x 8 inches
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Glass B Summer Session 3

Glass Summer Session 3
June 19–July 1
Sally Prasch
Sum of the Parts

The focus of this workshop is making hollow and solid shapes on Penland’s beautiful glassblowing lathe and then putting them together at the torch. We’ll cover lathe safety and maintenance and different ways to set up torches. Our primary glass will be borosilicate but other COEs can be explored as well. With lots of individual instruction, we’ll emphasize experimentation and developing your ideas. Bring your sketchbooks, and come have some fun in the Penland flameworking studio! All levels. 

Scientific glassblower and instructor at University of Massachusetts and University of Vermont; other teaching: Pilchuck (WA), Pittsburgh Glass Center, Niijima Glass School (Japan), Karma Design Studio (Turkey), Ingalena Klenell Studio (Sweden); organizer of Glass Life Forms 2021 at Fuller Craft Museum (MA) and the Oh, Beautiful Glass exhibitions at Leverett Art Center (MA). 

praschglass.com

Sally Prasch, Blown Away, glass, 18 x 12 inches
Sally Prasch, Blown Away, glass, 18 x 12 inches
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Glass A Summer Session 3

Glass Summer Session 3
June 19–July 1
Kim Harty
Glass Somatics

Glassblowing engages the entire body and the five senses. This workshop will investigate the ways that somatics can guide the artistic act of glass making. We’ll explore the relationship between glass making and muscle memory, choreography, hand-eye coordination, and spatial awareness. Students will learn traditional and experimental approaches to hot glass and will also work with drawing, photography, and video. Technical information will include glassblowing, assemblage, mirroring, sand casting, and basic kilnforming. All levels. Hot glass studio.

Chair of craft and material studies and section head and assistant professor of glass at the College for Creative Studies (Detroit); exhibitions: Design Museum Gent (Belgium), Chrysler Museum (VA), Toledo Museum (OH), Corning Museum (NY); writing published Glass Quarterly, Detroit Research, various museum catalogs. 

kimharty.com | @kimharty

Kim Harty, Tumbler Study 1, digital print on aluminum dibond, 21 x 31 inches
Kim Harty, Tumbler Study 1, digital print on aluminum dibond, 21 x 31 inches
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Drawing & Painting Summer Session 3

Drawing & Painting Summer Session 3
June 19–July 1
Clarence Morgan
Cultivating Aesthetic Instincts: Process, Systems, and New Forms

This workshop will explore a combination of approaches to drawing and painting with a focus on material processes and the development of ideas. The objective is to produce works inspired by independent thinking, aesthetic resourcefulness, and innate curiosity. We’ll approach our work with an open mind regarding materials, content, and methods as we explore unfamiliar terrain that will challenge conventional notions of drawing. We’ll have individual guidance, group discussions, and readings pertaining to the why and how of drawing as an essential artistic practice in the twenty-first century. Intermediate level: students should be conversant with the fundamentals of art and have some experience with a studio practice.

Professor of art at University of Minnesota; other teaching: East Carolina University (NC), Minneapolis College of Art & Design; collections: Weisman Art Museum, Cleveland Museum of Art, Walker Art Center (Minneapolis), Des Moines Art Center (IA), Minneapolis Institute of Art, Pennsylvania Academy of The Fine Arts; representation: Tory Folliard Gallery (Milwaukee), Burnet Fine Art & Advisory (MN).

clarence-morgan.com

Clarence Morgan, Nothing Is Apparent, graphite, acrylic ink, pen, watercolor crayon on paper, 22 x 30 inches
Clarence Morgan, Nothing Is Apparent, graphite, acrylic ink, pen, watercolor crayon on paper, 22 x 30 inches
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Clay B Summer Session 3

Clay Summer Session 3
June 19–July 1
Ashley Kim
Intimate and Colorful Clay

This handbuilding workshop will explore construction techniques such as pinching, coiling, darting, and hollow slab construction. Students will also learn to make drape molds with objects brought from home to create reinterpreted objects of use. The second part of the workshop will focus on exploring surface embellishing techniques and materials, including colored slips and underglazes. We’ll emphasize marrying form and surface through texture, pattern, and color to create works of intrigue and intimate beauty filled with personal language and meaning. We’ll use cone 5-6 B-Mix clay and fire in oxidation. All levels. Lower clay studio.

Studio artist and lecturer at San Diego State University (CA); recent exhibitions: Juried National IV at Red Clay Lodge (MT), Above Board (online); representation: Red Clay Lodge (MT), Freehand Gallery (Los Angeles), L’Atelier (CA).

 @ashleykimclayworks

Ashley Kim, Bucket, cone 5 clay, underglazes, glazes, image transfer, wire, 13 x 7 x 5 inches
Ashley Kim, Bucket, cone 5 clay, underglazes, glazes, image transfer, wire, 13 x 7 x 5 inches
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Clay A Summer Session 3

Clay Summer Session 3
June 19–July 1
Courtney Martin
Slab, Coil, Decorate, Fire

We’ll create platters and serving dishes using handbuilding techniques such as slab and coil construction and then add handles and feet, carve textures and patterns, and consider the specific functionality and visual balance of the pots. We’ll explore patterns through the use of wax and latex resists in our glazing and finish our pots by firing with wood, salt, and soda. High-fire stoneware. All levels. Upper clay studio.

Studio potter: teaching: Penland, Arrowmont (TN); exhibitions: solo at Signature Shop (Atlanta), Smithsonian Craft Show (DC), Shape Theory Collective (UT); organizer of Clay to Table (online); representation: Signature Shop (Atlanta), Schaller Gallery (MI), Freehand Gallery (Los Angeles), Penland Gallery. 

courtneymartinpottery.com | @courtneymartinpotter

Courtney Martin, Basket, wood-fired North Carolina clay, 14 x 10 x 10 inches
Courtney Martin, Basket, wood-fired North Carolina clay, 14 x 10 x 10 inches
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Books & Paper P Summer Session 3

Books & Paper Summer Session 3
June 19–July 1
Mary Hark
Immersed in Pulp: A Hand-Papermaking Intensive

Soft and airy or tough and bark-like, paper can be an absorbent material that carries fluidity with ease or possesses a dense, impenetrable surface. It can be smooth as glass or a lush field of texture. Whether it is skin or substrate, this wonderful material has endless possibilities. A thorough investigation of traditional papermaking processes will be the starting point for a lively exploration of surface, form, and content. We’ll cover a variety of fibers and approaches to surface and color. Each person will be encouraged to find ways of using this material to address their individual aesthetic concerns. All levels. Papermaking studio.

Professor of design studies at University of Wisconsin-Madison, proprietor of HARK! Handmade Paper Studio;  2021-2022 McKnight Fellow in Book Arts; collections: Metropolitan Museum (NYC), Brooklyn Museum (NYC), Smithsonian Museum of African Art (DC), Ginsberg Book Arts Collection (South Africa). Working with a project in Ghana to the first hand papermill in West Africa producing high-quality paper using local botanicals and textile waste.

maryhark.com | @harkhandmadepaper
ghanapaperproject.com | @theghanapaperproject

Mary Hark, Flax and Linen Papers, flax fiber, linen cloth, pigments, dyes, gelatin size, 18 x 24 inch sheets
Mary Hark, Flax and Linen Papers, flax fiber, linen cloth, pigments, dyes, gelatin size, 18 x 24 inch sheets
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Books & Paper B Summer Session 3

Books & Paper Summer Session 3
Session 3: June 19–July 1
Jeffrey Evergreen
The Mechanical Image: Process, Modularity, and the Distributed Form

Risograph duplicators, copiers, scanners, and desktop printers will be primary tools for exploring how artistic production functions differently in the context of multiplicity. We’ll take historical inspiration from twentieth-century graphic design, Dada, Fluxus, minimalism, and process art, while creating photo-mechanical layouts for use with scanners and copy camera techniques. Exercises will encourage formal transformation via reproductive processes, exploring the conceptual potential of modularity, iteration, and distributed form. Finished projects may include Risograph booklets, flat stock, collages, temporary installations, or other forms. All levels. Books studio.

Director of labs in the College of Architecture and Design at Lawrence Technological University (MI); teaching: College for Creative Studies (MI), Wayne State University (MI), Interlochen Center for the Arts (MI), Kalamazoo Institute of Arts (MI); recent exhibitions and performances: Dlectricity (Detroit), Wayne State University School of Music (Detroit), LightBox (Detroit), Michigan State University Union Gallery.

jeffreyevergreen.com | printcache.com | @jevergreen

Jeffrey Evergreen, Blue Banana Beard, 3-color Riso print on paper, 8-1/2 x 11 inches
Jeffrey Evergreen, Blue Banana Beard, 3-color Riso print on paper, 8-1/2 x 11 inches