Category: Summer 6

Posted on by

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
Posted on by

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
Posted on by

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
Posted on by

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
Posted on by

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
Posted on by

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
Posted on by

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
Posted on by

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
Posted on by

Iron Summer Session 6

IRON SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Mike Rossi
Forged By Design

This workshop will use blacksmithing (hand- and power-hammer forging) and fabrication techniques (welding, riveting, bolting, etc) to create thoughtful sculpture and useful objects. We’ll start with introductory challenges, and then move into self-directed projects while participating in design exercises and discussions. We’ll also cover finishing techniques, including bringing color to steel surfaces. Throughout, we’ll consider the context of our work, and investigate the potential of blacksmithing in a 21st century studio practice. We’ll work hard, have fun, and create many new objects!  All levels.  

Studio artist; teaching: Haystack (ME), Ox-Bow (MI), Bryn Athyn College (PA), Kalamazoo College (MI), Penland; Windgate Artist in Residence at San Diego State University (CA) and Purchase College (NY); has an extensive personal library, two cats, and would like to get a dog. 

rossimetaldesign.com | @rossimetals

Mike Rossi, Ansible, inflated steel, 26 x 18 inches
Mike Rossi, Ansible, inflated steel, 26 x 18 inches
Posted on by

Glass B Summer Session 6

GLASS SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Jeff Heath
Patterns for Success

This workshop will be a survey of flameworking techniques used to create pattern. We’ll start with basic color application and work our way up to advanced pattern making, including Italian techniques such as zanfirico, reticello, and murrine. We’ll also cover basic flameworking techniques and explore how color and pattern can be used to add a signature style to jewelry, vessels, and sculpture. All levels. Flameworking studio. 

Studio artist; teaching: Flint Institute of Art (MI), Bergstrom-Mahler Museum of Glass (WI); residency: Illinois Wesleyan University (IL); exhibitions: Flint Institute of Art (MI), Pilchuck Gallery (Seattle). 

jeffheathglass.com | @jeffheathbar

Jeff Heath, Rainbow Murrine Goblet with Knot Stem, flameworked glass, 11 x 4 x 4 inches
Jeff Heath, Rainbow Murrine Goblet with Knot Stem, flameworked glass, 11 x 4 x 4 inches
Posted on by

Glass A Summer Session 6

GLASS SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Nate Watson
The Transparent Self

Through a series of personal reflections and material inquiries, we’ll identify methods for making the stories that define us visible through glass. This workshop will examine the qualities that make glass such a powerful mode of expression and help students find an honest and natural relationship with the material. We’ll cover many techniques for creating glass sculpture, including basic glassblowing, adhesives and assemblage, color application, and basic coldworking. Traditional and nontraditional processes will help you access the expression that comes from a harmony between you and the material. All levels. Hot-glass studio. 

Studio artist, member of Related Tactics Collective, executive director of Public Glass (San Francisco); teaching: Sierra Nevada College (CA), San Francisco State University (CA), California College of Arts (CA), University of Washington (WA); 2022 Center for Craft Research fellow; residencies; KALA Institute (CA), Pilchuck Glass School (WA), Starworks (NC), Montalvo (CA); exhibitions: Crafting the Vernacular at KMAC (KY), Disclosure with RelatedTactics at Center For Craft (NC), Disclosure with RelatedTactics at Corning Museum (NY).

nate-watson.com | @2natewatson

Nate Watson, Untitled Funnel Study, Series 4, Object 1, sapphire, glass, steel 12 x 14 x 14 inches
Nate Watson, Untitled Funnel Study, Series 4, Object 1, sapphire, glass, steel 12 x 14 x 14 inches
Posted on by

Drawing & Painting Summer Session 6

DRAWING AND PAINTING SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Morgan Thomas Shankweiler
Aleatory: Play as Process

This workshop will explore the use of chance, games, and play as points of departure for getting unstuck, experimenting with new ideas, and creating work with deep meaning. We’ll start each day letting games make creative decisions for us. Then we’ll create our own games to explore the intersection of chance and choice. We’ll focus primarily on drawing and painting and also explore collage and linoleum block printmaking. Our time will include demonstrations, discussions of historic and contemporary works, lots of game play, and time for individual and collaborative experimentation. Students can expect to finish at least one fully-realized drawing or painting, take home a spark-kit for future game creation, and contribute to large collaborative works with classmates. The emphasis will be on process, experimentation, and having fun in a supportive studio community. All levels. 

Studio artist, mural artist for Mural Arts Philadelphia and The Village of Arts and Humanities (Philadelphia); teaching: Philadelphia Museum of Art, Strath Haven High School (PA); residencies: School of Visual Art (NYC), DaVinci Art Alliance (Philadelphia), Penland winter residency; exhibitions: INLIQUID (Philadelphia), Second Street Gallery (VA), Hamilton Street Gallery (NJ), Fountain Street Gallery (Boston), A.I.R. Gallery (NYC).

morganthomasshankweiler.com | @morganthomasshankweiler

Morgan Thomas Schankweiler, Chosen Family; Making Sense of the Loose Ends and Tatters, ink and acrylic on paper, 22 x 30 inches
Morgan Thomas Schankweiler, Chosen Family; Making Sense of the Loose Ends and Tatters, ink and acrylic on paper, 22 x 30 inches
Posted on by

Clay B Summer Session 6

CLAY SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Brooks Oliver
Playful Plaster Molds

In this workshop, we’ll rethink the plaster mold, celebrate experimentation, and reimagine the familiar functional vessel. We’ll explore both classic and innovative ways of creating prototypes and work with plaster to generate molds for slip casting and press molding. Students will playfully investigate multiple techniques for constructing and decorating unique vessel forms in high-fire porcelain and stoneware while conceptually challenging how and why we use utilitarian vessels. Expect to leave with a few finished pieces and new ways of exploring your process. Some experience with ceramics will be helpful, but this workshop is open to all levels. Lower clay studio. 

Assistant Professor at the University of North Texas; former long-term resident and current board member at Archie Bray (MT); NCECA Emerging Artist Award; exhibitions: San Angelo Museum (TX), Ceramics Park Mino Museum (China), Artstream Nomadic Gallery (CO), Dallas Pottery Invitational (TX), Lacoste Gallery (MA), Red Lodge (MT) Northern Clay Center (MN); representation: RO2 (TX), Rubinered Gallery (CA), Radius (MT), Archie Bray (MT).

brooksoliver.com | @brooksoliver

Brooks Oliver, Grinders, porcelain, 10 x 4-1/2 x 3 inches
Brooks Oliver, Grinders, porcelain, 10 x 4-1/2 x 3 inches
Posted on by

Clay A Summer Session 6

CLAY SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Natalia Arbelaez
Modest to Monumental

This sculpture workshop will use basic techniques, including pinch and coil, to make small to large forms. These often overlooked techniques can be used to realize many ideas. For large forms we’ll use sectional methods that facilitate firing and shipping when faced with size constraints. We’ll also cover multiple surface techniques (glazes, stains, coldworking) that will bring color or subtlety. I will share the process of storytelling and research I use to create narratives full of symbolism. Low to mid-range firing. All levels. Upper clay studio. 

Studio artist; teaching; Clay Art Center (NY), College of New Rochelle (NY), Harvard University Ceramics Program (MA), Massachusetts College of Art and Design (Boston); residencies: Museum of Art and Design (NYC), American Museum of Ceramic Art (CA); representation: Mindy Solomon Gallery (Miami), Galerie Wolfsen (Denmark); collections: Everson Museum (NY), Fuller Craft Museum (MA), Institute of Contemporary Art (Miami). 

nataliaarbelaez.com | @natalia_arbelaez_

Natalia Arbelaez, Lucy Lewis, terracotta, majolica, 16 x 9 x 10 inches
Natalia Arbelaez, Lucy Lewis, terracotta, majolica, 16 x 9 x 10 inches
Posted on by

Books & Paper P Summer Session 6

BOOKS & PAPER SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Akemi Martin
From Substrate to Substance: Dimensional Papermaking

This experimental, hands-on workshop will expand your concept of what paper can be. Beginners and veterans alike will explore how paper pulp can be manipulated into 3D forms. We’ll make and use various relief matrices (often used in printmaking) and rubber molds as we move from the subtleties of debossed sheets to relief casts made entirely of paper pulp. All the while, we’ll cultivate an understanding of basic papermaking techniques such as beating and pigmenting pulp and forming sheets. Students will have the opportunity to make relief plates and at least two rubber molds (and the resulting paper casts), and they are encouraged to bring molds and relief plates to experiment with. All levels. Papermaking studio.

Note: the studio fee for this workshop is estimated at $325-375 per student.

Director/master papermaker at Pace Prints (NYC); teaching: Cooper Union (NYC), Penland (NC), State University of New York Purchase (NY), Dieu Donné (NYC), Gowanus Studio Space (NYC); publications: Hand Papermaking.

Paceprints.com | @paceprints

Akemi Martin and Leonardo Drew, 31P, cast and pigmented handmade paper, 12-1/2 x 12 x 2 inches
Akemi Martin and Leonardo Drew, 31P, cast and pigmented handmade paper, 12-1/2 x 12 x 2 inches
Posted on by

Books & Paper B Summer Session 6

BOOKS & PAPER SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Marianne Dages
Thinking in the Language of Books

A book is a place to hold thoughts. It could be a journal waiting to be written in or an artist’s book waiting to be read. This workshop will be about making books for your ideas. We’ll cover a variety of book structures for journaling or artist books with a focus on simple folded and sewn structures ranging from pamphlet to long-stitch to hardcover. We’ll also inset text or images onto covers and make simple folded sleeves and cases. As we’re making we’ll talk about how to generate ideas for books using chance operations and other fun exercises. Demonstrations will help students understand how book structures work so they can start experimenting and creating their own. All levels. Books studio. 

Studio artist and writer; publishes as Huldra Press and Sistrum (PA); teaching: Tyler School of Art (PA), Pyramid Atlantic (MD), Common Press (PA); exhibitions: Print Gallery Tokyo (Japan), Center for Book Arts (NY) IPCNY (NY), Napoleon (PA) Swarthmore College (PA), PNCA (OR); residencies: Wells College (NY), Herhusid (Iceland), Beisinghoff Printmaking Residency (Germany).

mariannedages.com | @huldrapress

Marianne Dages, Rabbit. Rabbit. Regret., softcover book with Risograph printing and letterpress printed cover, 7-1/2 x 5 x 1/4 inches closed
Marianne Dages, Rabbit. Rabbit. Regret., softcover book with Risograph printing and letterpress printed cover, 7-1/2 x 5 x 1/4 inches closed