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Fall Weekend Books and Paper

Books and Paper – Fall Weekend Session
October 21-23, 2022
Ann Marie Kennedy
Paper and Light

Making paper by hand allows for an investigation into its material nature and the interaction between paper and light. Starting with natural fibers such as flax and abaca, students will learn how to create translucent paper from overbeaten pulps. We’ll cover sheet forming techniques, including the use of a deckle box, and add content via stencils, collage, and texture. All levels. 

Associate professor at Wake Technical Community College (NC); other teaching: Women’s Studio Workshop (NY), Paper and Book Intensive (MI), Penland; residencies: Penland Resident Artist Program; installations/exhibitions: Gregg Museum (NC), Light Art + Design (NC), Cantor Art Gallery (MA); collections: Yale University (CT), Library of Congress (DC). 

annmariekennedy.net | @paperhouse17

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

work by Ann Marie Kennedy
Ann Marie Kennedy, detail of Plant Page, abaca, 16 x 20 inches
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Books and Paper Fall Concentration

BOOKS AND PAPER FALL CONCENTRATION
October 2 – November 11, 2022
Cathy Adelman and Alice Vaughan
Books and Boxes: Divine and Sublime

This workshop will cover a broad range of traditional and modern techniques for making well-crafted, thoughtfully designed fine bindings and boxes. Through daily demonstrations and hands-on instruction, students will learn to make case bindings (both flexible and hard), slipcases, and portfolios using the primary materials of leather, paper, and book cloth. We’ll embellish our work using finishing techniques such as leather tooling, inlay, and gilding.  Two instructors with complementary and wide-ranging experience will present students with plenty of information and alternate approaches. All levels.

Cathy: studio artist; teaching: Guild of Bookworkers, Penland, private lessons; exhibitions: Gutenberg Museum (Switzerland), Grolier Club (NYC), American Bookbinders Museum (San Francisco), Bibliothèque Lausanne (Switzerland), Médiathèque Intercommunale (France), Bibliotheca Wittockiana (Belgium); work in private and public collections domestic and international.

cathyadelman.com

Alice: owner and principal binder at Hudson River Bindery (NY); teaching: State University of New York-New Paltz, Penland, private lessons; 40-years of experience binding books beginning with trade, commercial, and library bindings, and now working with clients from many parts of the book world with an increasing interest in repair and restoration. 

hudsonriverbindery.com

Cathy Adelman, The Bark of Memory/L'Ecorce du Souvenir, flexible leather binding, reliure a cru, bound in black leather, doublures and flyleaves in grey suede, leather endbands, titled in white foil, text by Helene Dorian, illustrations by Carol Bernier, 17.7 x 12.7 x 1.7 centimeters; 7 x 5 x 4-1/4 inches
Cathy Adelman, The Bark of Memory/L'Ecorce du Souvenir, flexible leather binding, reliure a cru, bound in black leather, doublures and flyleaves in grey suede, leather endbands, titled in white foil, text by Helene Dorian, illustrations by Carol Bernier, 17.7 x 12.7 x 1.7 centimeters; 7 x 5 x 4-1/4 inches
Alice Vaughan, Red Leather Chemise and Box, red harmatan leather, 5 x 4-1/4 x 1 inches
Alice Vaughan, Red Leather Chemise and Box, red harmatan leather, 5 x 4-1/4 x 1 inches
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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
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Books & Paper P Summer Session 6

Books & Paper Summer Session 6
July 31–August 12
Delaney Smith
Recording Surfaces

In this experimental workshop, students will create dynamic surfaces and forms with handmade paper. We’ll prepare cotton and abaca fibers in the beater and then use paper/pulp casting techniques to achieve a variety of forms from site-specific castings and moulds made in class using plaster, hydrostone, or alginate. Students are also encouraged to bring objects or materials to use in casting. In addition to experimenting with 3D paper techniques, students will be guided through several creative activities designed to encourage ideation and growth. All levels. Papermaking studio.

Artist, designer, educator; teaching: Arrowmont (TN), Oil & Cotton (TX), Eastfield College (TX); exhibitions: Erin Cluley Gallery (TX), 500X (TX), Gallery 219 (TX), Vignette 2019 (TX); collections: Texas Women’s University. 

delaneysmith.studio | @delaneysmithstudio

Delaney Smith, Knebix, cast recycled paper pulp, 53 x 57 x 8 inches
Delaney Smith, Knebix, cast recycled paper pulp, 53 x 57 x 8 inches
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Books & Paper B Summer Session 6

Books & Paper Summer Session 6
July 31–August 12
Rory Sparks
Fluxbooks

This workshop will present a brief history of the Fluxus art movement of the 1960s and engage with the playful humor it’s known for. Through a series of lively prompts and spirited games, each student will make unique books inspired by this art form, which relied on elements of chance and viewer participation. We’ll also explore kits and instructions as companion pieces to our books as we delve into the connection of art and life through play. We’ll cover several book structures with variations on each, including whimsical page treatments such as spinning wheels, pull tabs, and pockets and also construct simple paper and board boxes and enclosures to house our inspired creations. All levels. Books studio.

Studio artist, edition binder, printmaker; teaching: Pacific Northwest College of Art (Portland), Oregon College of Art and Craft; founder of Working Library (Portland) and Em Space Book Arts Center (Portland); exhibitions: c3:initiative (Portland), Joseloff Gallery (CT).

rorysparks.studio | @rorysparks

Rory Sparks, Singularity, paper, letterpress, wood, cloth, 10 x 10 x 3 inches
Rory Sparks, Singularity, paper, letterpress, wood, cloth, 10 x 10 x 3 inches
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Books & Paper B Summer Session 5

Books & Paper Summer Session 5
July 17–29
Béatrice Coron and Colette Fu
Prep! Cut! Pop!!

This workshop will explore ways to cut stories in paper and make them pop up! Students will learn composition, stenciling, and paper cutting techniques and make paper dimensional with basic-to-complex pop-up techniques including platforms, rotating discs, and pull tabs. We’ll also cover adapting pop-up mechanisms to other materials (glass, cardboard, metal) along with possibilities using Photoshop, 3D programs, and animation. Students will learn to incorporate their own art into structures to create unique papercuts, pop-up books, cards, installations, and art works. All levels. Books studio.

Béatrice: studio artist; teaching: Taller Leñateros (Mexico), Arrowmont (TN), Ox-Bow (MI); collections: Metropolitan Museum (NYC), Getty Museum (Los Angeles); public art: Charlotte-Douglas Airport (NC), “Lexington Life Column,” Asheville (NC), subway stations in New York, Cleveland, Chicago, Los Angeles. 

beatricecoron.com | @cutstories

Béatrice Coron TED talk 

Colette: studio artist; teaching: Haystack (ME), Arrowmont (TN), Ox-Bow (MI); solo exhibitions: National Museum of Women in the Arts (DC), Taubman Museum (VA), Phillips Museum (PA), Philadelphia Photo Arts Center (PA), Asian Arts Initiative (PA), Athenaeum (PA); collections: Metropolitan Museum (NYC), Library of Congress (DC).

colettefu.com | @colette_fu

Béatrice Coron, Magical Ride, hand-cut Tyvek, 35 x 35 inches
Béatrice Coron, Magical Ride, hand-cut Tyvek, 35 x 35 inches
Colette Fu, Kaifuna from the We Are Tiger People series, inkjet prints, board, cloth, adhesives, 17 x 25 x 18 inches
Colette Fu, Kaifuna from the We Are Tiger People series, inkjet prints, board, cloth, adhesives, 17 x 25 x 18 inches
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Books & Paper P Summer Session 4

Books & Paper Summer Session 4
July 3–15
Tatiana Ginsberg
Layering Paper: Creating Imagery

We’ll explore mark-making techniques for wet paper–including pulp painting, embedding, blow outs, stenciling, and watermarks–and how to layer them to create imagery. Students will learn to prepare a number of Eastern and Western fibers and to color them with pigments and natural dyes. With this expanded vocabulary of papermaking possibilities, students can create unique works, editions, or sheets that might later be worked on dry. No experience necessary, just a willingness to work hard in this physically demanding workshop. All levels. Papermaking studio.

Director of artistic projects and master collaborator at Dieu Donné Paper Mill (NY); teaching: Mount Holyoke College (MA), Women’s Studio Workshop (NY), University of Iowa Center for the Book (IA), University of California-Santa Barbara (CA); awards: Fulbright graduate research grant (Japan), College Book Art Association Emerging Educator Award; representation: Verne Gallery (OH).

tatianaginsberg.art | @tsgpaper

Tatiana Ginsberg, Punch VII, abaca, linen, cotton, pigment, 34 x 30 inches
Tatiana Ginsberg, Punch VII, abaca, linen, cotton, pigment, 34 x 30 inches
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Books & Paper B Summer Session 4

Books & Paper Summer Session 4
Session 4: July 3–15
Maria Veronica San Martin
Creating Artists’ Books

Students in this workshop will create artists’ books by examining their history, concepts, aesthetics, and techniques. We’ll start by looking at examples and asking basic questions about artists’ books: What are they? How do they differ from traditional books? What is their place in visual art and cultural criticism? Then we’ll cover collage, painting, drawing, and hand printing methods along with a variety of adhesive and nonadhesive bookbinding techniques. Finally we’ll work together to find ways to interpret messages through different book formats as students conceptualize and create their own projects. Students will learn to build content, forms, and 3D spaces by means of artists’ books. All levels. Books studio.

Studio artist, teaching at the Center for Book Arts (NY), Universidad Catolica and Universidad de Chile; grants: two New York Foundation for the Arts NYFA and three Chilean National grants; biennials: The Immigrant Artist Biennial (NY);  residencies: Whitney Museum ISP; scholar Center for Book Arts, Art OMI (NY); solo exhibitions: Museum Meermanno (ND), BRIC (Brooklyn), Center for Book Arts (NY), Museum of Memory, National Archive, and Animal Gallery (Chile); collections: MET (NY), Center Pompidou (FR), Walker Art Center (MN), National Center for Contemporary Art (CL).

mveronicasanmartin.com | @san.martin.maria

Maria Veronica San Martin, In Their Memory: Human Rights Violations: Chile, 1973–1990, paper, screenprinting, digital printing, handsewn accordion binding, 7-1/2 x 12-1/4 x 1-1/2 inches, extends to 50 inches
Maria Veronica San Martin, In Their Memory: Human Rights Violations: Chile, 1973–1990, paper, screenprinting, digital printing, handsewn accordion binding, 7-1/2 x 12-1/4 x 1-1/2 inches, extends to 50 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
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Books & Paper P Summer Session 2

Books & Paper Summer Session 2
June 5–June 17
Jo Stealey
Sculpting with Handmade Paper

Explore the sculptural potential of handmade paper through casting, forming, and draping processes using found or cloth molds, permanent armatures, and a variety of plant fibers, including cotton, abaca, flax, and kozo. We’ll investigate methods for producing high shrinkage, skin-like membranes and layered, transparent surfaces. We’ll incorporate layered paper, pulp painting, collage, drawing, and more, and we’ll pay special attention to personal artistic vision and translating other media into paper. All levels. Papermaking studio.

Professor of fibers and founding director of the School of Visual Studies at University of Missouri-Columbia; other teaching: Arrowmont (TN), Pensacola State (FL), University of Arkansas-Fort Smith; exhibitions: Havana Biennial 2015 (Cuba), Cedarhurst Museum (IL), Sager Reeves Gallery (MO), Windgate Gallery (AR); co-curator and author for the traveling exhibition Rooted, Revived, Reinvented: Basketry in America; collections: National Portrait Gallery Library (DC). 

jostealey.com@jostealey.art

Jo Stealey, Those Who Keep the World Running Smoothly, flax, waxed linen, forged steel, 24 x 20 x 6 inches
Jo Stealey, Those Who Keep the World Running Smoothly, flax, waxed linen, forged steel, 24 x 20 x 6 inches
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Books & Paper P Summer Session 1

Books & Paper Summer Session 1
May 29–June 3
Johanna Winters
Puppet Theater: Paper and Shadows

This workshop is an introduction to puppetry as a bridge between performance and visual art with an emphasis on hand-driven narrative: animating stories through human gestures. Students will explore modes of making through shadow theater and marionette forms using accessible materials, including papier-mâche, wire, cut paper, and analog overhead projectors (for projecting and animating shadow puppets at large scale). For those who wish to perform their work for an audience, we’ll host a performance for the Penland community at the end of the week. All levels. Papermaking studio.

Studio artist and educator; teaching: Kansas City Art Institute (MO), Johnson County Community College (KS), Wayne State College (NE); Missouri Western State University (MO); residencies: Yaddo (NY), Elizabeth Murray Artist Residency (NY), Vermont Studio Center (VT), Arrowmont (TN); recent exhibitions and performances: Coop Gallery (Nashville), Soo Visual Arts Center (Minneapolis), Open Eye Figure Theatre (Minneapolis), Plug Projects (Kansas City, MO), Lawrence Arts Center (KS).

jojowinters.com | @unruffian

Johanna Winters, The Middle Tell (still from live performance), paper, wire, overhead projectors
Johanna Winters, The Middle Tell (still from live performance), paper, wire, overhead projectors
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Books & Paper B Summer Session 1

Books & Paper Summer Session 1
May 29–June 3
Daniel Essig
Bookstone Bookwork Woodwork

This workshop will explore the possibilities of combining mica, wood, and fine papers within the book form. We’ll cover methods and processes for successfully working with different kinds of mica. We’ll create wooden book covers using hand tools or small power tools. Our books will be bound with the elegant Ethiopian-style binding. All levels. Books studio.

Studio artist; teaching: Anderson Ranch (CO), Arrowmont (TN), University of Georgia Cortona Italy Program, Grampian Textures (Australia), Sievers School of Fiber Arts (WI); North Carolina Artist Fellowship, Penland Core Fellowship; collections: Renwick Gallery (DC), Mint Museum (NC), University of Iowa Special Collections, University of California–Santa Cruz McHenry Library, Vanderbilt University Special Collections (TN).

danielessig.com

Daniel Essig, Latent, walnut, handmade paper, mica, vintage photographs and cases, Ethiopian and Coptic bindings, 6 x 4 x 2-1/2 inches
Daniel Essig, Latent, walnut, handmade paper, mica, vintage photographs and cases, Ethiopian and Coptic bindings, 6 x 4 x 2-1/2 inches