Category: Summer 7

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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