Posted on

May Special Session Wood

Wood – May Special Session
May 1-6, 2022
Jenna Goldberg
The Art of the Bandsaw Box

Bandsaw boxes are a simple way to make wooden box structures without complicated joinery. Students will learn the basics of how to cut, glue, and manipulate the material. We’ll also explore simple surface design treatments such as image transfers, color and painting techniques, texturing, and surface carving. The workshop will include demonstrations of the safe use of machinery as well as how to sharpen chisels and carving tools. Personal explorations of form, surface, and imagery will be encouraged. All levels.

Studio artist, teacher at Rhode Island School of Design; other teaching: Penland, Arrowmont (TN), Haystack (ME), Anderson Ranch (CO); work shown at galleries nationally; collections: Renwick Gallery (DC), Mint Museums (NC).

@jenna43215

Jenna Goldberg, Orange Jewelry Box, painted and carved basswood, screenprinted interior, 5 x 28 x 8 inches
Jenna Goldberg, Orange Jewelry Box, painted and carved basswood, screenprinted interior, 5 x 28 x 8 inches
Posted on

May Special Session Textiles

Textiles – May Special Session
May 1-6, 2022
Amanda Thatch
Handweaving: Foundations and Exploration

This workshop will explore both the practical and poetic aspects of creating unique cloth by hand, an activity that interlaces material, time, and attention. With an emphasis on creating samples, students will get comfortable with the skills of planning a project, winding a warp, dressing a floor loom, and weaving cloth. Along the way we’ll explore why handweaving is relevant in a world of fast fashion, learn about weavers who have come before us, and understand how color, material, and structure can create meaning. Our tools will connect us to the past, and through our work and ideas, we’ll discover the contemporary possibilities of handweaving. All levels; beginners encouraged. Lower textiles studio.

Note: this workshop takes place in a second-floor walk-up studio that has partial access by a stair lift.

Textile, book, and paper artist; former textile studio coordinator at Penland; teaching: University of Wisconsin-Madison, Arrowmont (TN); fellowships: Winterthur Library and Museum Maker-Creator Fellowship (DE), Penland Core Fellowship; exhibitions: Ruth Davis Design Gallery (WI), Corr Gallery (MT), Turchin Center (NC), Centro de las Artes de San Agustín (Mexico).

amandathatch.com | @amandathatch

Amanda Thatch, Wait (Summer), handwoven cloth, silk, Tencel, natural dyes; warp ikat, 24 x 40 inches
Amanda Thatch, Wait (Summer), handwoven cloth, silk, Tencel, natural dyes; warp ikat, 24 x 40 inches
Posted on

May Special Session Printmaking and Writing

Printmaking and Writing – May Special Session
May 1-6, 2022
Stuart Kestenbaum and Susan Webster
Word and Image

We’ll make images that inspire writing, writing that inspires images, and work that combines the two. Activities will include daily writing and drawing prompts as ways to generate work. Students will learn various low-tech printmaking techniques including gelatin-plate process, direct stencil, and monotype drawing. And we’ll use a variety of tools and techniques, including drawing, painting, and collage, to make image and text components. Formats may include simple book structures and one-of-a-kind pieces. We’ll emphasize experimentation. All levels. Printmaking studio.

Stuart: poet, former director of Haystack (ME), poet laureate of Maine; visiting writer: Penland, Cranbrook (MI), Rhode Island School of Design, Virginia Commonwealth University; author of six published collections of poetry including the recent Things Seem to Be Breaking.

stuartkestenbaum.com | @stukestenbaum

Susan: studio artist; teaching: Haystack (ME), Penland, Center for Contemporary Printmaking (CT), Studio Artworks Center (Jerusalem); developed a model art program in the Maine prison system; exhibitions: Institute of Contemporary Art (Maine College of Art), Maine Jewish Museum.

susanwebster.net | @susanwebsterdeerisle

Stuart Kestenbaum and Susan Webster, Overflow, monotype, letter-stamped text, 22 x 15 inches
Stuart Kestenbaum and Susan Webster, Overflow, monotype, letter-stamped text, 22 x 15 inches
Posted on

May Special Session Metals

Metals – May Special Session
May 1-6, 2022
Ellen Wieske
Hold the Line

Wire is a wonderfully direct material. Using a few tools, it’s possible to make a variety of objects—from jewelry scale to architectural elements—from the same information. We’ll be working with black annealed steel wire, which most resembles a pencil line. Beginning with a brief look at how wire has historically been made, we’ll cover many techniques and highlight working methods based on Slovakian tinkering. All levels. Upper metals studio.

Note: This workshop takes place in a studio that has stairs that compromise access. It is made partially accessible by a stair lift.

Studio artist working in many materials, deputy director at Haystack (ME); worked in jewelry industry for 18 years as jeweler/stone setter/designer; teaches internationally.

dowstudiodeerisle.com

Ellen Wieske, Basket, steel wire, 5 x 5 x 24 inches
Ellen Wieske, Basket, steel wire, 5 x 5 x 24 inches
Posted on

May Special Session Iron

Iron – May Special Session
May 1-6, 2022
Peter Ross
Three-Legged Smith’s Helper

The smith’s “helper” is an unsung hero, the modest extra hand that’s available at just the right moment. Content to stay out of the limelight, the helper never complains and is always ready when needed. The smith’s helper is a tool, and we will start with two helper designs—one simpler, one more challenging—as we explore various approaches to creating adjustable height and to making tools that are both solid and interesting. Students will also be encouraged to incorporate their own designs and ideas. We may use forge welding, punching, tenons, upsetting, riveting, collars, slitting, scrolls, and assembly: many of the skills used in architectural work, but on a smaller scale. Our emphasis will be on forged components and traditional assembly rather than fabrication. Intermediate/advanced level: basic hand forging and forge welding skill required.

Studio artist; master of the blacksmith shop at Colonial Williamsburg for 25 years; specialist in reproduction 18th and 19th century hardware and tools; teaching: Haystack (ME), Penland, Campbell Folk School (NC), Touchstone (PA), Peters Valley (NJ), Tillers International (MI), New England School of Metalwork (ME); frequent demonstrator at ABANA conferences.

peterrossblacksmith.com

work by Peter Ross
Peter Ross, Three-Legged Smith's Helper, forged steel
Posted on

May Special Session Glass

Glass – May Special Session
May 1-6, 2022
Sibelley
Blown to Fruition

This workshop will focus on figurative, hollow sculpting in flameworked glass. The goal is to develop characters from sketches into physical objects. Whether you are a beginner or have some experience, you’ll leave with a piece that speaks to you. Bring a sketchbook and ideas for your characters! All levels. Flameworking studio. 

Studio artist; flameworker for Neptune Glassworks (Los Angeles); upcoming workshop teaching: Pilchuck (WA), SnowFarm (MA), The Glass Furnace (Turkey); work marketed through Instagram; flameworking performances for various clients including Carhartt, Von Miller, and Flow Kana. 

sibelley.com. | @sibelley

Sibelley, Motoko: Ghost in the Shell, borosilicate glass, 23k gold luster; sandblasted, coldworked, 7 x 4-1/2 x 3 inches
Sibelley, Motoko: Ghost in the Shell, borosilicate glass, 23k gold luster; sandblasted, coldworked, 7 x 4-1/2 x 3 inches
Posted on

May Special Session Drawing and Painting

Drawing and Painting – May Special Session
May 1-6, 2022
René Marquez
Mixed-Media Memories/Personal Narratives

This concept-based workshop will explore the use of mixed-media drawing and painting to tell personal stories and explore individual narratives. We’ll emphasize the development and exploration of personal lexicons. We’ll work with dry and wet drawing materials plus acrylic paint. Students can paint on canvas, create drawings on paper, or try other formats. Bring photographs and other source materials to work with; these will be the point of departure for our work. All levels.

Professor of art and design at University of Delaware; other teaching: Haverford College (PA), University of Pennsylvania; residencies: Banff Centre (Alberta), Des Moines Art Center (IA), Vermont Studio Center, Duntog Foundation (Philippines); exhibitions: Cultural Center of the Philippines, Bronx Museum of the Arts (NYC), International Center of Photography (NYC), Delaware Art Museum, West Gallery (Philippines).

renejmarquez.com

René Marquez, Faerie Dogs, acrylic and oil on unstretched canvas, 72 x 96 inches
René Marquez, Faerie Dogs, acrylic and oil on unstretched canvas, 72 x 96 inches
Posted on

May Special Session Clay

Clay- May Special Session
May 1-6, 2022
Kurt Anderson
Don’t Sweat the Technique

This workshop will focus on surface decoration and various techniques used to give your pottery a rich and vibrant surface. Students will be encouraged to develop their own personal iconography through the use of mishima, sgraffito, and simple brush painting. We’ll also spend time exploring simple methods of creating plates, trays, and small platters, either through wheelthrowing or slab construction. A moderate understanding of ceramic processes will be helpful, but this workshop is open to students of all levels. Upper clay studio. 

Studio artist; residencies: Watershed (ME), Archie Bray Foundation (MT), Penland Winter Residency, Fergus Post-MFA Fellow at The Ohio University.

@kurtandersonpottery

Kurt Anderson, Oval Flask with Dog, stoneware, slip, underglaze, glaze, 12 x 7 x 3 inches
Kurt Anderson, Oval Flask with Dog, stoneware, slip, underglaze, glaze, 12 x 7 x 3 inches
Posted on

May Special Session Books

Books and Paper – May Special Session
May 1-6, 2022
Brian Chan
Origami: Theory and Craft

Starting with traditional origami models such as the crane, frog, and iris, we’ll follow the progression of this art form up to the latest creations and techniques pioneered by modern folders. I’ll present my own work as examples and delve into the design process as we spend time understanding the geometry of origami crease patterns, exploring folding techniques, and learning about the use of different papers for different styles. Students will have the opportunity to design and fold their own models. All levels. Books studio.

Studio artist working in origami, illustration, digital sculpting, and 3D printing; teaching: MIT Hobby Shop (MA); special guest at origami conventions in Japan, Korea, Italy, Spain, Peru, and Bolivia; exhibitions: Origami House (Japan), Peabody Essex Museum (MA); diagrams published by Japan Origami Academic Society.

brianchandesigns.com | @brianchandesigns

Brian Chan, Oak Leaf, handmade Origamido paper, 6 x 3 x 1/2 inches
Brian Chan, Oak Leaf, handmade Origamido paper, 6 x 3 x 1/2 inches
Posted on

Wood Fall Concentration

Wood Fall Concentration
October 3 – November 12 (six weeks)
Liz Koerner
Designing in the Woodshop

This workshop will explore processes for generating and refining handbuilt wooden forms. We’ll experiment to discover options, analyze findings, and forge connections between making and designing. Demonstrations will include scale drawing, model-making, milling, joinery, shaping, finishing, and other techniques depending on student interest and needs. We’ll also cover 3-D design fundamentals and strategies for creative problem-solving. Students can expect to make a variety of small wood projects and one or two larger works that may be sculptural or functional. This workshop will provide a solid foundation for those new to woodworking and help experienced students expand their practice. All levels.

Studio artist; teaching: University of Central Arkansas, Indiana University of Pennsylvania, San Diego State University; fellowship/residencies: The Wood Center at Indiana University of Pennsylvania, Herekeke Art Center (NM), Warren Wilson College (NC), Penland Core Fellowship; exhibitions: Manifest Gallery (OH), Foundry Art Centre (MO), Vessel Gallery (CA).

liz-koerner.com

Scholarship information here.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

Sculpture by Liz Koerner
Liz Koerner, Recurrent, Douglas fir, basswood, ash, vinyl, water, graphite, liming wax, 31 x 59 x 21 inches
Furniture by Liz Koerner
Liz Koerner, Martois, plywood, cherry, mixed veneers, paint, lacquer, hardware, 24 x 45 x 14 inches
Posted on

Textiles Fall Concentration

Textiles Fall Concentration
October 3 – November 12 (six weeks)
Amara Hark-Weber
Blue Suede and Beyond: Introduction to Lasted Footwear

Students in this workshop will design and build their own handmade leather shoes. Starting where all shoes start, we’ll measure feet, learn basic last alteration, and then move on to patterning, upper making, and various construction techniques, including cemented, pegged, lining-lasted-stitch-down, and hand-welted. We’ll use many types and colors of leather, and students can expect to make at least one pair of shoes with each of these constructions, resulting in a small collection. We’ll go over everything from start to finish to make lovely, lasted and lined shoes. With an emphasis on foundational skills, this workshop is open to all levels.

NOTE: Material costs will vary depending on the number of shoes made and what kind of leather is used, but are likely to average $250 per pair with an estimated 4-6 pairs over the course of the class, so a total of $1000-1500, depending on student designs.

Custom shoemaker; teaching: School of the Art Institute of Chicago, University of Wisconsin-Madison, Quest University (British Columbia), Penland; 2017 Rare Craft Fellowship from American Craft Council, Minnesota State Arts Board grant, Jerome Fellowship; exhibitions: St. Xavier University Chicago, Brooklyn Shoe Space (NYC), Dubuque Museum of Art (IA), Otis College of Art and Design (Los Angeles).

harkweberstudio.com | @harkweberstudio

Scholarship information here.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

Boots by Amara Hark-Weber
Amara Hark-Weber, Black Boots, calf and salmon leather, rubber heel cap, metal shank, size 41
Posted on

Metals Fall Concentration

Metals Fall Concentration
October 3 – November 12 (six weeks)
Laura Wood
Foundations in Form and Color

This workshop will cover techniques that facilitate the development of a wide range of contemporary jewelry components. We’ll build a broad catalog of sculptural forms with methods including, but not limited to, sheet metal fabrication, brazing, and hydraulic forming. Enamel and powder coat will be our main color applications, and we’ll expand on these techniques throughout the workshop. We’ll focus on incorporating our creations into the brooch format, but students may also explore pendants, earrings, and other forms. We’ll cover several setting methods for traditional and nontraditional materials including prong, tab, and bezel settings along with fabricating findings for jewelry forms. Experimentation will be encouraged! All levels.

Studio artist; teaching: Arrowmont (TN), Southwest School of Art (TX), Metalwerx (MA), Penland; collections: Gregg Museum (NC), North Carolina State Permanent Collection, Racine Art Museum (WI); former Penland resident artist; publications: American Craft, Metalsmith, Cast a Book.

laurawoodstudios.com | @laurawoodstudios

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

Brooch by Laura Wood
Laura Wood, Space Between: Green + Green (brooch), enamel on copper, sterling silver, uvarovite, 3-3/4 x 2-1/4 x 1/4 inches
Posted on

Iron Fall Concentration

Iron Fall Concentration
October 3 – November 12 (six weeks)
Shawn HibmaCronan
Steel Sculpture: Set in Motion

This workshop will focus on creating activated sculptures intended to move, evolve, and interact with their environment. Beginning with the basics, we’ll cover a wide range of metal fabrication and assembly techniques along with many tips and tricks for problem-solving and working safely and efficiently with a variety of tools. Topics will include design for movement, layout, 3-D mockup, cutting, drilling, threading, mill and lathe machining, plasma cutting, MIG and TIG welding, basic tube/bar/sheet forming, and metal finishing. This workshop will be great for those new to metalwork as well as experienced students who are interested in broadening and refining their skill set. All levels.

NOTE: This workshop will not cover forging.

Studio artist; teaching: Crucible School (CA), Penland; student mentor at California College of the Arts; residencies: Autodesk Pier 9 Workshop (San Francisco), Oakland Museum of California; exhibitions: San Jose Institute of Contemporary Art (CA), Tokyo Metropolitan Museum of Art, commissions: Compass Books at San Francisco Airport, Lowe Enterprises, many private clients.

shawnhibmacronan.com | @shawnhibmacronan

Scholarship information here.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.
Most campus activities will return to normal operating procedures.

Work by Shawn HibmaCronan
Shawn HibmaCronan, The Freedom Press, steel, bamboo, oak, cork, rope, paper, ink, 7 x 8 x 9 feet
Posted on

Glass Fall Concentration

Glass Fall Concentration
October 3 – November 12 (six weeks)
Jeremy Bert and Jen Elek
Illumination Projects in Glass

This workshop, designed for artists interested in the potential of illumination in their work, will focus on light and its relationship with glass. The workshop will center around the foundations of glassblowing and creating sculpture that explores glass’s ability to magnify, diffuse, and reflect light. Students will work with candlelight, LED, incandescent, and neon as sources of illumination. We’ll spend significant time in the hot-shop producing 3-D glass sketches with the specific goal of manipulating light. Jeremy will join the workshop for four weeks of work in the neon studio, beginning with the basics of standard neon tube production. Topics will include foundational forms in the hot shop, color techniques, cold working, basic electrical wiring, neon tube manipulation, and portable light projects. All levels.

NOTE: Because of the close contact involved in hot shop work, participation in this workshop will require proof of COVID-19 vaccination.

Jeremy: mixed media artist, licensed sign electrician, neon tube bender; teaching: Pilchuck (WA), UrbanGlass (NYC), Penland; exhibitions: Museum of Glass (WA); representation: Traver Gallery (Seattle).

Jen: studio artist; member of Lino Tagliapietra hot shop team for 15 years; teaching: Pilchuck (WA), UrbanGlass (NYC), Jam Factory (Australia), Penland; collections: Museum of Glass (WA), Toyama Glass School Museum (Japan); representation: Traver Gallery (WA); Pilchuck trustee.

jenelek.com | @jelekff

Scholarship information here.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.
Most campus activities will return to normal operating procedures.

Work by Jeremy Bert and Jen Elek
Jeremy Bert and Jen Elek, Thunder Mounds, glass, neon, transformer, QTO cable, switch, 22 x 8 x 8 inches, 11 x 18 x 18 inches
Posted on

Clay Fall Concentration

Clay Fall Concentration
October 3 – November 12 (six weeks)
Ben Carter
Low-Fire is Cooler

This workshop will focus on the rich history of low-fire ceramics with the goal of integrating surface design with both handbuilt and thrown/altered pottery. Students will use a variety of surface design methods—including  slip decorating, sgraffito, stamping, and transfer techniques—to create patterns that are steeped with meaning and personal resonance. During the workshop we’ll discuss aesthetic issues (proportion, color theory, etc.); making strong, functional pots at low-fire temperatures; and creative problem-solving in the studio. We’ll work with terracotta clay and fire in electric kilns. All levels.

Studio artist; host of the Tales of a Red Clay Rambler podcast; teaching: workshops in U.S., Canada, Australia, and New Zealand; residencies: Anderson Ranch (CO), Archie Bray (MT), Guldagergaard Research Center (Denmark); author of Mastering the Potter’s Wheel; representation: The Clay Studio (Philadelphia), Schaller Gallery (MI).

carterpottery.com | @carterpottery
talesofaredclayrambler.com

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

work by Ben Carter
Ben Carter, Swirl Pitcher, cone 03 earthenware, slips, underglaze, glaze, 12 x 7 x 6 inches
Posted on

Metals B Summer Session 4

Metals Summer Session 4
July 4-15, 2021
Adam Atkinson and Everett Hoffman
Forged and Bedazzled

Form and color will unite in this intensive forging and stone setting workshop as students produce one-of-a-kind jewelry, utensils, and small sculpture. A series of demonstrations will cover cold and hot forging nonferrous metals along with a variety of setting techniques, including tab, bezel, tube, flush, and prong. We’ll explore sawing, soldering, and cold connections as we find compelling methods of fabrication. Once students have mastered the basics, they will design and fabricate their own unique, bedazzled objects. Whether you have years of experience or have never touched a forging hammer, this workshop will enhance your practice. All levels. Lower metals studio.

Adam: metalsmith, curator, educator; current Penland resident artist; teaching: Virginia Commonwealth University, Boise State University (ID), Baltimore Jewelry Center, Pocosin Arts School of Fine Craft (NC); exhibitions: Wayne Art Center (PA), Green Hill Center (NC), Nagoya Zokei University (Japan); curatorial: Spectral Matter (an LGBTQIA+ exhibition platform), Ripple Effect: 168. Everett: studio artist, writer, curator; current Penland resident artist; other residencies: Arrowmont (TN), Baltimore Jewelry Center; exhibitions: Virginia Museum of Contemporary Art, Contemporary Craft Museum (Pittsburgh), Soil Gallery (Seattle), Benaki Museum (Athens, Greece).

adamatkinsonart.com | @adamatkinson_art
everetthoffman.net | @everetthoffman

Jewelry by Adam Atkinson
Adam Atkinson, Gentle Phallus, steel, silver, deer fur, oak, acrylic, 3 x 1 x 1/2 inches
Work by Everett Hoffman
Everett Hoffman, Pink Cocktail Ring, vintage rhinestones, mild steel, 14k gold, silver, 3-1/4 x 2 x 2 inches
Posted on

Wood Spring Concentration

Wood Spring Concentration
March 6 – April 29, 2022
Christina Boy
Spruce It Up!

After spending way more time inside your home recently, are there areas you’d like to make more efficient, more meaningful, or simply more cozy? While learning the fundamentals of woodworking technique, tools, and safety, we’ll build small pieces of furniture—stools, benches, side tables, mini-cabinets—to spruce up our everyday spaces. We’ll start by covering basic techniques such as simple joinery and milling rough-sawn lumber. As our work progresses, we’ll go into greater depth according ot the needs of each student’s projects and designs. At the end of eight weeks, both you and your home will be enriched. All levels.

Studio artist; former Penland core fellow; teaching: Arrowmont (TN), Penland (NC), A Workshop of Our Own (MD), Sawtooth School (NC), Chestnut Creek School of the Arts (VA), Orange County Libraries (VA), representation: Troika Contemporary Craft Gallery (VA), Penland Gallery; exhibitions: La Difference (VA), Penland Gallery, Southern Highlands Craft Guild (NC), Crossroads Gallery (VA).

christinaboydesign.com | @christinaboydesign

Christina Boy, Chair 220, maple, walnut, leather strapping, 30 x 16 x 18 inches each
Christina Boy, Chair 220, maple, walnut, leather strapping, 30 x 16 x 18 inches each
Posted on

Textiles Spring Concentration

Textiles Spring Concentration
March 6 -April 29, 2022
Erika Diamond
Body as Armature

Using ourselves as inspiration and armature, we’ll create objects for the body by following the basic principles of the scientific method: observe, collect, measure, experiment, hypothesize, test, and modify. Our sculptural forms will connect conceptually and physically to the body as metaphoric and literal extensions of the self. Starting with the idea that a stitch is a hole—in any material—connected to another hole with something functioning as thread, we’ll explore inventive methods of creating form, including additive textile techniques (stitching, knitting, coiling, weaving, bobbin lace), and casting and then deconstructing materials (cutting, drilling, etc.) to turn them into pliable cloth. We’ll discover how to wear new materials as we mine the personal meaning behind them. All levels. 

Note: This workshop takes place in a second-floor, walk-up studio that is made partially accessible by a stair lift.

Studio artist, assistant director of galleries at Chautauqua Institution (NY); teaching: Virginia Commonwealth University, Rocky Mountain College of Art and Design (CO); residencies: McColl Center for Visual Art (NC), STARworks (NC), ABK Weaving Center (WI), Platte Forum (CO); exhibitions: Form & Concept Gallery (NM), Dorsky Gallery (NYC), Kent State University Museum (OH), Fiberart International 2019 (PA); commissions: costumes for Charlotte Ballet (NC); collections: San Jose Museum of Quilts & Textiles (CA). 

erikadiamond.com | @diamond_erika

Erika Diamond, Eggshell Garment for Hugging II, eggshells stitched between layers of tulle, garment worn to record imprint of hugs
Erika Diamond, Eggshell Garment for Hugging II, eggshells stitched between layers of tulle, garment worn to record imprint of hugs
Posted on

Print & Letterpress Spring Concentration

Print & Letterpress Spring Concentration
March 6 – April 29, 2022
Jamie Karolich
Print/Process/Production

Letterpress is a democratic art form; it disseminates information widely through its ability to produce multiples. Whether you are experienced or new to letterpress, this workshop will explore this democratic idea and what it means to learn, share, and reproduce. Students will gain knowledge in multiple printing methods and processes, including handset type, polymer plate printing, die cutting, wood and linoleum relief printing as well as experimental techniques. Front loaded with technical information and small collaborative projects, this workshop introduces print techniques and encourages students to think outside of their own creative default. Students will have time to journey into their own self-guided projects and can expect to leave with a new, diverse portfolio of prints that exemplify traditional and experimental techniques and explorations. All levels. Letterpress studio.

Printer and proprietor of Small Batch Studio; co-organizer of Southwest Print Fiesta (NM); exhibitions: New Mexico Printmaking Invitational, New Grounds Remarque Print Workshop (NM), Light Studio (NM), El Sol (NM), At Work (IN), PLAY (NC); residencies: The Common Press (CO), Arrowmont (TN), Western New Mexico University, smART Kinston (NC), Penland Core Fellowship. 

jamieannekarolich.com | @jamiekarolich

work by Jamie Karolich
Jamie Karolich
Posted on

Photography Spring Concentration

Photo Spring Concentration
March 6 – April 29, 2022
Mercedes Jelinek
Processing Process

This workshop will take students on a journey through analog, digital, and hybrid photographic processes. We’ll cover large-format camera use, film development, and traditional darkroom printing. We’ll also scan film, shoot digitally, and use these files to make archival inkjet prints. From there, we’ll learn to further manipulate our photographs through collage and alternative photographic processes. This workshop will also cover basic and advanced shooting techniques, composition, framing, digital workflow, archiving, digital editing (with Lightroom or Photoshop), and more. All levels. 

Studio artist; teaching: East Carolina University Italy Intensives Program, Appalachian State University (NC), Penland; former Penland resident artist; exhibitions: Odgen Museum (New Orleans), SoHo Photo (NYC), Satellite Art Show at Art Basel Miami, Pingyao International Photo Festival (China); publications acquired by Museum of Modern Art (NYC), Guggenheim Museum (NYC), Metropolitan Museum (NYC), Whitney Museum (NYC), Library of Congress (DC), Aperture Foundation (NYC), Getty Institute (Los Angeles). 

 mercedesjelinek.com | @mercedes_jelinek

Mercedes Jelinek, Insomnia, archival pigment print, 22 x 17 inches
Mercedes Jelinek, Insomnia, archival pigment print, 22 x 17 inches
Posted on

Metals Spring Concentration

Metals Spring Concentration
March 6 – April 29, 2022
Suzanne Pugh
Wunderkammer

Let’s take a journey of deep investigation into fabrication and forming techniques, with a detour into lost-wax casting, to develop stronger skills in pursuit of the perfect, odd, and perfectly odd object. Students will engage with individual but guided explorations as they make objects of curiosity–containers, small sculptures, belt buckles, and other specimens–to build our cabinet of wonder. Expect to finish many pieces in these eight weeks while staying open to experimentation and play. All levels. 

Note: This workshop takes place in a studio that has stairs that compromise access. It is made partially accessible by a stair lift.

Studio artist: teaching: former associate professor and head of metals at City College of San Francisco, University of Georgia Cortona Program (Italy), Haystack (ME), Metalwerx (MA); exhibitions: Velvet da Vinci (CA), Five Pins Project (CA), HYART Gallery (WI); work published in The Metalsmith’s Book of Boxes and Lockets and Chasing and Repoussé (Brynmorgen Press).

pughworks.com | @birdiefastbottom

Suzanne Pugh, Stump Cups, sterling silver, tallest: 3 inches
Suzanne Pugh, Stump Cups, sterling silver, tallest: 3 inches
Posted on

Glass Spring Concentration

Glass Spring Concentration
March 6- April 29, 2022
Dan Mirer
Intentions and Inventions

Go deep into thoughtful design during eight weeks of intensive glass work. With a focus on the hot shop, this workshop will encourage a curious, problem-solving mindset as students develop an innovative vocabulary of techniques and create considered, refined objects. Using analog and digital design, we’ll make molds and tools from wood, plaster, graphite, metal, rubber, and wax. We’ll cover graphite/plaster turning molds, wooden blow molds, hot blow molds, and cold blow molds. Students will be encouraged to incorporate cold working, kiln forming, and flameworking into their processes. Both beginners and experienced glass artists will discover challenges and possibilities that will stretch their work in new directions. All levels.

Studio artist: teaching: Corning Museum (NY), UrbanGlass (NYC), Alfred University (NY), Snow Farm (MA), Pilchuck (WA), Toledo Museum of Art (OH), Tyler School of Art (PA), Penland; residencies: UrbanGlass, Corning Museum, Toledo Museum of Art, Museum of Glass (WA). 

danmirer.com | @danmirer 

Dan Mirer, Gold-Leaf Drinking Ware, mold-blown glass, 23k and 12k gold leaf
Dan Mirer, Gold-Leaf Drinking Ware, mold-blown glass, 23k and 12k gold leaf
Dan Mirer, Bubble Orb, blown and sandblasted glass, trapped air, 6 x 6 inches
Dan Mirer, Bubble Orb, blown and sandblasted glass, trapped air, 6 x 6 inches