Posted on

Wood Summer Session 7

Wood Summer Session 7
August 14–19
Geoffrey Gorman
Finding the Soul of Lost Materials

This workshop will encourage students to experiment with innovative and intuitive ways of creating structures and forms using organic, found, and recycled materials. Employing unusual techniques developed by the instructor, each student will complete several forms. Students are invited to think about shapes and forms that hold particular interest for them and bring those ideas to the workshop along with some of their favorite cast-off materials. This workshop will be of value to beginners seeking an introduction to creating curious objects as well as experienced makers who want to reach the next level and break out of their comfort zone. All levels. 

Studio artist; teaching: Arrowmont (TN), Peter’s Valley (NJ), Penland; collections: New Mexico Arts Commission, Kamm Teapot Collection (NC), Racine Art Museum (WI), Center for Contemporary Art (Santa Fe); publications: American Craft, American Style, New York Post, Southwest Art, Cloth, Paper, Scissors; representation: Giacobbe Fritz Gallery (Santa Fe). 

geoffreygorman.com | @geoffreygorman

Geoffrey Gorman, Silent Flight, mixed media, found objects, 36 x 32 x 10 inches
Geoffrey Gorman, Silent Flight, mixed media, found objects, 36 x 32 x 10 inches
Posted on

Textiles B Summer Session 7

Textiles Summer Session 7
August 14–19
Karen Hampton
Strip-Woven Storytelling

Everyone has a story and the act of storytelling is healing for both the teller and the audience. In this workshop, inspired by the Kenté cloth weavers of Ghana, we’ll blend storytelling and weaving using shapes and symbols on painted warps that will be woven into long strips and then sewn together to create beautiful, woven designs. We’ll create imagery and pattern on warps through painting, dyeing, printing, and discharge. We’ll conclude the workshop by hand-stitching our strips together. All levels. Lower textiles studio.

Assistant professor at Massachusetts College of Art; residencies: Michigan State University, Sacatar Foundation (Brazil), St. Mary’s Art Center (NV); exhibitions: Honolulu Museum of Art, Wellin Museum of Art (NY), Jack Bell Gallery (London), Gallery Fritz (Santa Fe). 

kdhampton.com | @k.d28

Karen Hampton, Memories, cotton, 35-1/4 x 30-1/4 inches
Karen Hampton, Memories, cotton, 35-1/4 x 30-1/4 inches
Posted on

Textiles A Summer Session 7

Textiles Summer Session 7
August 14–19
Stephanie Santana
Printmaking on Textiles

In this workshop we’ll transform fabric with relief printing, monoprinting, and screenprinting. We’ll lay the groundwork for this exploration with demonstrations and a survey of historical and contemporary textile and surface design applications. With a focus on self-directed experimentation and play, students will develop their own motifs and textures by carving rubber blocks, manipulating paint on gelatin plates, and applying artwork onto screens. Students can expect to leave with a portfolio of textile studies for reference or as components for other projects. All levels; beginners encouraged. Upper textiles studio.

Studio artist; founding member of Black Women of Print; recent exhibition: A Contemporary Black Matriarchal Lineage in Printmaking at Highpoint Center of Printmaking (Minneapolis); collections: Metropolitan Museum (NYC), Getty Research Institute (Los Angeles), Museum of Fine Arts Boston, Smith College Museum of Art (MA).

stephaniesantana.com | @stephmsantana

Stephanie Santana, A Watchful Eye, screenprint appliqué, monotype, relief, hand embroidery, acrylic, machine quilting, left: 23-3/4 x 29 inches, right: 21 x 25-1/2 inches
Stephanie Santana, A Watchful Eye, screenprint appliqué, monotype, relief, hand embroidery, acrylic, machine quilting, left: 23-3/4 x 29 inches, right: 21 x 25-1/2 inches
Posted on

Print & Letterpress X Summer Session 7

Letterpress Summer Session 7
August 14–19
Heinrich Toh
High-Rolling Monoprints

In this workshop artists and image makers who want to create one-off pieces will discover opportunities for working on paper with the layered monoprint. We’ll balance process and content as we build layers using color, composition, and imagery. We’ll cover various applications for monotypes and inked-xerox image transfers (paper lithography). We’ll explore materials and methods for creating depth and space between background and foreground with texture, mark-making, and brushstrokes. Incorporating pattern, shape, and personal imagery from your photographs or drawings will further define your personal aesthetic. All levels. Printmaking studio.

Studio artist; teaching: Kansas City Art Institute, Arrowmont (TN), Pratt Fine Arts Center (Seattle), Oklahoma Fine Art Institute at Quartz Mountain; exhibitions: Wing Luke Museum of the Asian Pacific American Experience (Seattle), Bellevue Art Museum (WA); collections: Nelson-Atkins Museum of Art (Kansas City), Albrecht-Kemper Museum (MO).

heinrichtoh.com | @heinrichtoh

Heinrich Toh, Now That the Lights Are Gone, monoprint, paper lithography on Rives BFK paper, 35 x 47 inches
Heinrich Toh, Now That the Lights Are Gone, monoprint, paper lithography on Rives BFK paper, 35 x 47 inches
Posted on

Photography Summer Session 7

Photo Summer Session 7
August 14–19
Stephen Takacs
Dry-Plate Tintypes

This workshop will explore the process of using modern liquid photo emulsions to create dry-plate tintypes. Students will learn to coat metal plates with chemistry, expose them in large-format cameras, and develop them in the darkroom. Many of the demonstrations will focus on portraiture but students will be encouraged to pursue whatever subject matter they are most interested in. While prior photography experience will be helpful, this workshop is open to all skill levels. Note: large-format cameras are available in the Penland studio. 

Studio artist; teaching: Bushwick Community Darkroom (NYC), Columbus Cultural Art Center (OH), The Ohio State University; residencies: Jentel Foundation (WY); grants: Greater Columbus Arts Council Individual Artist Grant, Franklinton Arts District George Bellows Grant (OH); visiting artist: Kenyon College (OH), Valparaiso University (IN), Otterbein College (OH), University of Saint Francis (IN), Wexner Center for the Arts (OH).

stephentakacs.com | @brownieinmotion

Stephen Takacs, John Carlson from the Exquisite Corpse series, dry-plate tintype, 5 x 4 inches
Stephen Takacs, John Carlson from the Exquisite Corpse series, dry-plate tintype, 5 x 4 inches
Posted on

Metals B Summer Session 7

Metals Summer Session 7
August 14–19
Rachelle Thiewes
The Moving Canvas

The focus of this workshop is the relationship between jewelry and the human body. Movement, light, color, scale, line, form, weight, and anatomy are some of the essential elements that we’ll explore through short exercises. We’ll build concepts through personal interest and experience. The workshop will incorporate technical demonstrations focused on easy solutions, shortcuts, and tricks for fabricating and soldering metal. The goal is for students to leave with a fresh perspective, new possibilities, and some technical solutions that can be applied to their jewelry making. All levels. Lower metals studio. 

Studio artist; professor emerita at University of Texas El Paso; Houston Center for Craft Texas Master, Metal Museum Master Metalsmith (TN); collections: Smithsonian American Art Museum (DC), Metropolitan Museum of Art (NYC), National Museums of Scotland, Victoria and Albert Museum (London); publications: One of a Kind: American Art Jewelry, The Best in Contemporary Jewellery, Metalsmith.  

Rachellethiewes.com | @rachellethiewes

Rachelle Thiewes, Arc (necklace), steel, silver, auto paint, 6 x 7-1/4 x 1-1/4 inches
Rachelle Thiewes, Arc (necklace), steel, silver, auto paint, 6 x 7-1/4 x 1-1/4 inches
Posted on

Metals A Summer Session 7

Metals Summer Session 7
August 14–19
Beverly Penn
Still Nature: Direct Method Casting

Working from observation of the Penland landscape, students will create work using direct-method casting techniques. We’ll explore the Penland grounds to understand the connection between art and nature while collecting botanical and other organic samples for direct casting in either bronze or silver. Students will also learn techniques for preparing organic materials such as cloth, rope, lace, etc. for casting. There will be in-depth casting instruction, and students will combine cast elements to create finished artworks. We’ll also cover soldering techniques for incorporating appropriate mechanisms into finished forms. Basic metalsmithing skills will be helpful, but this workshop is open to all levels. Upper metals studio. 

Professor at Texas State University; Fulbright Fellowship, Rockefeller Foundation Bellagio Residency, Lux Art Institute International Artist Residency; collections: National Museum of Women in the Arts (DC), Yale University (CT), Cooper-Hewitt Museum (NYC), Philadelphia Museum of Art, Racine Art Museum (WI); representation: Lisa Sette Gallery (AZ).

beverlypenn.com

Beverly Penn, Asclepias, cast bronze, 24 x 10 x 10 inches
Beverly Penn, Asclepias, cast bronze, 24 x 10 x 10 inches
Posted on

Iron Summer Session 7

Iron Summer Session 7
August 14–19
Lisa Geertsen
Have Fun with It, Folx!

Try your hand at blacksmithing or expand your current skills in this fun and supportive workshop. Guided, beginning-level projects will include wall hooks and cooking tools as we cover skills such as tapers, scrolling, and chisel use. Experienced students can push their projects further. There will also be the option of a fun forging challenge open to all. If you have some experience and would like to use this workshop to try out new ideas and expand your skills, come join us. Open to all levels and all folx. 

Studio artist; teaching: Pratt Fine Arts Center (Seattle), University of Washington; demonstrations: Northwest Blacksmith Association, Western Reserve Blacksmith Association; exhibitions: Metaformation at Houston Center for Contemporary Craft and Appalachian Center for Craft (TN), Measured Making traveling exhibition (Italy, England, US); solo exhibitions: Pratt Gallery (Seattle), Equinox Studios (Seattle).

firelightforge.com | @firelightforge

Lisa Geertsen, Above the Clouds, steel, steatite, 10 x 6 x 3 inches
Lisa Geertsen, Above the Clouds, steel, steatite, 10 x 6 x 3 inches
Posted on

Glass B Summer Session 7

Glass Summer Session 7
August 14–19
Michael Endo
Constructed Images

My work combines glass powder and frit painting, drawing processes adapted for kiln glass, and centuries-old glass painting techniques in the construction of multilayered atmospheric spaces and narratives. This workshop will focus on these techniques and will encompass painting with glass powders, enamel painting adapted for high temperatures, and layered kilnforming along with printing and drawing techniques for kiln glass. All levels. Kiln studio.

Studio artist, curator at Bullseye Projects (OR, CA, NY, UK), co-director of High Desert Observatory (CA), partner in Yucca Valley Material Lab (CA); teaching: Bild-Werk Frauenau (Germany), Pilchuck (WA), UrbanGlass (NYC), Northlands Creative Glass (UK), Pittsburgh Glass Center; exhibitions: National Glass Centre (UK), Disjecta (Portland, OR), Yuan Yuan Art Center (China). 

michaelendo.com | @ofotherspaces 

Michael Endo, Crux, kilnformed glass, 24 x 39 inches
Michael Endo, Crux, kilnformed glass, 24 x 39 inches
Posted on

Glass A Summer Session 7

Glass Summer Session 7
August 14–19
Michael C. Krupiarz
Observe and Execute

This workshop is for beginning glass students looking to further develop their skill sets. We’ll take a close look at what is happening with the glass when it is heated, stretched, and blown. Students will practice making geometric forms—cones, cylinders, and spheres—that will inform more complicated shapes. We’ll emphasize technique, control, problem-solving methods, and clean lines. Instruction time will be divided between daily demonstrations and plenty of individual attention. Advanced beginning level: at least one prior glass workshop required.

Studio artist, coordinator at More Fire Glass Studio (NY); teaching: North Carolina Glass Center, Penland; exhibitions/representation: Asheville Area Arts Council (NC), Asheville Art Museum (NC), Center for Craft (NC), North Carolina Glass Center, Green Hill Center (NC), former Penland Core Fellow.

michaelckrupiarz.com | @mikekrupiarz 

Michael C. Krupiarz, Head, sculpted and blown glass, 16 x 10 x 4 inches
Michael C. Krupiarz, Head, sculpted and blown glass, 16 x 10 x 4 inches
Posted on

Drawing & Painting Summer Session 7

Drawing & Painting Summer Session 7
August 14–19
Yolanda Sánchez
Sense of Place: Exploring the Landscape through Abstraction

This workshop will emphasize intimate encounters with the landscape, cultivating awareness and presence, and learning to translate what we see into a sensory experience that can be transferred to a two-dimensional composition in paint. We’ll begin to develop an abstract visual language in various ways, from working in the landscape and in the studio to playing with materials other than paint, including colored pencils, paper collage, and found object assemblage. The goal is to understand something beyond the physical elements of the landscape, using nature as a way to express something internal, creating a poetic response. All levels. 

Studio artist; 2018 visiting artist at American Academy in Rome; Fulbright scholarship; teaching: Florida International University, Yale University (CT), University of Miami; exhibits nationally and internationally; representation: Kathryn Markel Fine Arts (NYC) and Kenise Barnes Fine Arts (NYC). 

Yolandasanchezstudio.com

Yolanda Sánchez, Prelude to a Kiss, oil on canvas, 52 x 42 inches
Yolanda Sánchez, Prelude to a Kiss, oil on canvas, 52 x 42 inches
Posted on

Clay B Summer Session 7

Clay Summer Session 7
August 14–19
Reggie Pointer
Play with Clay

This workshop will help you get the play into your clay. We’ll go from creating musical instruments to crafting game pieces using the handbuilding techniques of slab, coil, and pinch along with making and using multi-part molds. Our finished work will be bisque fired and raku fired. Along the way we’ll introduce a number of clay games that are fun and also teach a lesson. You’ll leave the workshop shaking a rattle, blowing a whistle, or beating a drum, and you might be carrying a chess set, a new game, or maybe even a doll head or two. All levels. Lower clay studio.

Associate professor at Howard University (DC); other teaching: Duke Ellington School of the Arts (DC), Grambling State University (LA), 2015 Mid-Atlantic Clay Conference, 2016 and 2019 NCECA conferences; creator of the comic book The Clay H.E.R.O.S.

@rwpointer

Reggie Pointer, Working for Peace, stoneware, metal, plastic, 4 x 4 inches
Reggie Pointer, Working for Peace, stoneware, metal, plastic, 4 x 4 inches
Posted on

Clay A Summer Session 7

Clay Summer Session 7
August 14–19
Sunshine Cobb
Exploring Functional Pottery with Handbuilding


This workshop will motivate novice potters to experiment with new and old forms and construction methods. With a process-over-product mentality and an eye toward creative expansion, we’ll cover coil and pinch methods along with hard and soft slab construction to generate pottery components. I will talk about building surfaces throughout the making process and glaze and surface treatments. We’ll discuss how inspiration and abstract concepts inform work and how they can be part of your creative practice. Midrange stoneware; bisque fire only.
Beginning level; experienced students welcome. Upper clay studio.

Studio artist; teaching: Red Clay Lodge (MT), Santa Fe Clay (NM), Anderson Ranch (CO), Penland; Archie Bray Foundation (MT) long-term residency; named 2013 Emerging Artist by Ceramics Monthly and NCECA; author of Mastering Hand Building (Voyageur Press).

sunshinecobb.com | @shinygbird

Sunshine Cobb, Garlic Boxes, ceramic, glaze, 5 x 4 x 6 inches each
Sunshine Cobb, Garlic Boxes, ceramic, glaze, 5 x 4 x 6 inches each
Posted on

Books & Paper B Summer Session 7

Books & Paper Summer Session 7
August 14–19
Jeffrey Altepeter
Traditional Calf Bindings

In this workshop, students will create replica 18-century trade-style bindings. Daily demonstrations will provide a foundation of traditional binding methods as we produce structurally accurate historical models. The books will be sewn on cords laced into boards then covered in leather. Equal attention will be given to the period aesthetic through the use of historical staining recipes to create sprinkled, splattered, mottled, and marbled calf. We’ll add decorative tooling with period-accurate finishing tools. All levels. Books studio.

Head of bookbinding at North Bennet Street School (Boston); other teaching: Paper and Book Intensive (MI), Guild of Book Workers, Penland. 

handbookbinding.com

Jeffrey Altepeter, Eighteenth-Century-Style Panel Binding and Marbled Sample Plaquette, calfskin over boards, 5 x 7 inches each
Jeffrey Altepeter, Eighteenth-Century-Style Panel Binding and Marbled Sample Plaquette, calfskin over boards, 5 x 7 inches each