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Fall Weekend Specials

SPECIALS WEEKEND SESSION
October 21 – 23, 2022
Alicia D. Keshishian
Color Confidence

Color is a powerful tool. In this intensive workshop we’ll explore color through a series of hands-on exercises to reveal not only the basics of color theory but also how to integrate color into your chosen medium. And while color theory is important, it only begins the conversation, because how you apply color is what’s critical to successful work. You will leave the workshop with greater confidence navigating the language and use of color which, in turn, will expand your artistic voice. All levels. Printmaking studio.

Designer with more than 40 years of experience as an art director, graphic designer, surface designer, illustrator, color consultant, and teacher of color workshops; owner of Carpets of Imagination; executive board member for the Color Marketing Group; has studied and taught with Leatrice Eiseman, executive director of the Pantone Color Institute; residencies: Penland Resident Artist Program; former Penland graphic designer. 

adkcarpets.com | @aliciakeshishian

Alicia D. Keshishian/Carpets of Imagination, Instinct, hand-knotted Tibetan wool and silk, 14 x 8-1/2 feet
Alicia D. Keshishian/Carpets of Imagination, Instinct, hand-knotted Tibetan wool and silk, 14 x 8-1/2 feet
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Fall Weekend Wood

WOOD – FALL WEEKEND
OCTOBER 18 – 21, 2024
Jenna Goldberg
Bandsaw Boxes

Bandsaw boxes are a simple way to make wooden box structures without the burden of complicated joinery. Students will learn the basics of cutting, gluing, and manipulating the material. We will also explore simple surface design treatments such as image transfers, color and painting techniques, texture, and surface carving. Demonstrations will include the safe use of machinery and sharpening chisels and carving tools. Personal exploration of form, surface, and imagery will be encouraged. All levels. 

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

@jenna43215

Jenna Goldberg, Bandsaw Boxes, painted and carved basswood, image transfers, 10 - 20 inches long
Jenna Goldberg, Bandsaw Boxes, painted and carved basswood, image transfers, 10 - 20 inches long
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Fall Weekend Printmaking and Letterpress

PRINTMAKING – FALL WEEKEND
OCTOBER 18 – 21, 2024
Heinrich Toh
The Layered Monotype

In this all-level, beginner-friendly workshop, we will explore printmaking applications with layered monotypes. This easy, intuitive process has endless possibilities that will help you learn to work with color, shapes, and composition while printing on an etching press. Our goal will be to create complex, luscious layers filled with painterly brushstrokes, marks, repeated patterns, impressions, and embossments. We will skillfully use found objects like cardboard, doilies, bubble wrap, dried flowers, and leaves. Get inspired and create one-of-a-kind prints. All levels; a love of puzzle-solving recommended. 

Studio artist; teaching: Kansas City Art Institute (MO), Arrowmont (TN), Penland, Pratt Fine Arts Center (WA), Oklahoma Fine Art Institute at Quartz Mountain; exhibitions: Lawrence Art Center (KS), Wing Luke Asian Museum (Seattle), Bellevue Art Museum (WA); collections: Nelson-Atkins Museum of Art (MO), Albrecht-Kemper Museum (MO), Truman Medical Center (MO), University Hospital of Cleveland, American Century Investments.

heinrichtoh.com | @heinrichtoh

Heinrich Toh, Help Me to Decide, monoprint and paper lithography on Rives BFK paper, 27 x 27 inches
Heinrich Toh, Help Me to Decide, monoprint and paper lithography on Rives BFK paper, 27 x 27 inches
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Fall Weekend Metals

METALS – FALL WEEKEND
OCTOBER 18 – 21, 2024
Ashley Buchanan
Let’s Powder Coat It!

Students in this workshop will learn to create a clean, durable, and colorful finish on jewelry or other small metal objects through the industrial process of powder coating. During the weekend we will cover the basic methods of application, experiment with alternative processes, and discuss the equipment needed to assemble a personal powder-coating set-up. This workshop will provide students with a practical and accessible finishing option that can be easily integrated into any studio practice. Bring finished pieces, unfinished projects, and lots of metal objects to powder coat. Beginning students can work with pre-cut metal shapes, simple wire drawings, or found metal objects. Come ready to work and play! All levels. Lower metals studio. 

Studio artist; teaching: Society for Contemporary Craft (Pittsburg), and The Art League (VA), Penland; multiple awards of excellence at high end craft shows around the US; exhibitions: Racine Art Museum (WI), Museum of Arts and Design (NYC), SOFA Chicago; publications: two 500 Series books (Lark Books), Metalsmith, American Craft (featured as short-listed artist for Emerging Voices Award). 

ashleybuchananjewelry.com | @ashleybuchananjewelry

Ashley Buchanan, Chain Silhouette Chain, hand-cut brass, sterling silver, powder coat, 20 inches long
Ashley Buchanan, Chain Silhouette Chain, hand-cut brass, sterling silver, powder coat, 20 inches long
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Fall Weekend Clay

CLAY FALL WEEKEND SESSION
October 20–22, 2023
Lisa Pedolsky
Contain Your Enthusiasm

This process-oriented workshop will focus on slab-constructed ceramics whose function is to contain: cups, bowls, plates. Students will be guided through the building process from drawings to paper patterns to assembling components in earthenware. We’ll incorporate various elements including feet and rims and will use familiar and unconventional tools for building and decorating. Topics will include slump and drape molds, sgraffito, and stencils. Students will leave with a number of fully-formed vessels, however, in this short time frame, we won’t be glazing or firing. This is a beginning level workshop that is also suitable for experienced students who want to learn new methods or hone their skills. Lower clay studio.

Studio artist; teaching: Penland (NC), Shakerag Workshops (TN), Taos Clay (NM), San Juan College (NM), Plinth Gallery (CO); residencies: NCECA International Partners Program, Centro de Arte Curaumilla (Chile); publications: Studio Potter, Pottery Making Illustrated, 500 Vases (Lark Books); representation: Penland Gallery (NC), Diane West (CO); collections: Rosenfield Collection (TX), San Juan College (NM), Centro de Arte Curaumilla (Chile).

lisapedolsky.com | @lisapedolsky_twofishstudio
Process video

Enrollment for this workshop will begin on May 1. 

Lisa Pedolsky, Wonky Plates, slab-constructed earthenware, multiple glazes, longest: 7 inches
Lisa Pedolsky, Wonky Plates, slab-constructed earthenware, multiple glazes, longest: 7 inches
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Wood Fall Concentration

WOOD FALL CONCENTRATION
October 1 – November 10, 2023 (six weeks)
Wyatt Daglá Severs
Design, Build, Admire

This workshop will explore the characteristics of wood and the creation of one-of-a-kind furniture pieces. We’ll begin with each student building a table, working from quick sketches to full-scale drawings, refining ideas, and developing an understanding of the set-up and operation of the tool involved. The rest of the workshop will focus on students building furniture unique to their imaginations and learning to break down the construction of complex pieces into single steps. Individual instruction will support each person’s specific areas of interest. All levels. 

Studio artist, teacher and manager of woodworking at Innovation Hub (KY); other teaching: Penland, Peter’s Valley (NJ), Arrowmont (TN), Campbell Folk School (NC), Appalachian Center for Craft (TN); exhibitions: Paducah School of Art and Design (KY), Nashville International Airport (TN), Desotorow Gallery (GA), Yeiser Art Center (KY); publications: 500 Cabinets (Lark Books), Making Good, Maker Moxie, Woodwork magazine. 

wyattsevers.com | @wyattsevers

Regular enrollment will begin on May 1.

Wyatt Daglá Severs, Day Table, ash, cherry, maple, milk paint, Danish oil, 33-7/8 x 67 x 10-3/8 inches
Wyatt Daglá Severs, Day Table, ash, cherry, maple, milk paint, Danish oil, 33-7/8 x 67 x 10-3/8 inches
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Textiles Fall Concentration

TEXTILES – FALL CONCENTRATION
SEPTEMBER 29 – NOVEMBER 8, 2024 (6 weeks)
Amanda Thatch
Thinking with the Loom

Starting from the basics of planning a project and dressing the loom, we will explore how the loom can be a partner in thinking about structure, use, and meaning. We will learn about traditional patterns and learn to draft our own. We will study color interactions and use dye processes such as ikat, woven shibori, and warp painting to make ever more intentional choices about desired results. We will be working toward a sense of fluency with the loom so we can express our ideas with precision and confidently combine skills to create unique cloth. All levels. Lower textiles studio.

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

Studio artist; teaching: Arrowmont (TN); KANEKO (NE), Peters Valley (NJ), University of Wisconsin-Madison (WI); residencies: Praxis Fiber Workshop Digital Weaving Lab (OH), Winterthur Museum, Garden and Library (DE), Alabama Chanin Studio (AL). 

amandathatch.com | @amandathatch

Regular enrollment begins on May 1.

Textile work by Amanda Thatch
Amanda Thatch, Passage/Means of Crossing, wool, silk, Tencel, cotton, commercial and natural dyes; handwoven on computer aided looms, approximately 70 x 20 inches each
Portrait of Amanda Thatch
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Print & Letterpress Fall Concentration

Papermaking/Printmaking Fall Concentration
September 22 – November 15, 2019
Georgia Deal
Paper & The Unique Print

This intensive workshop will explore the endless possibilities for combining handmade paper and monoprinting. We’ll begin by diving into the basics of papermaking, exploring techniques to create unique substrates for printing. Then we’ll cover a wide range of monoprint and monotype processes, including reductive, multiplate, and gum-transfer printing. In the paper studio we’ll work with Eastern and Western fibers, and topics will include stenciling, inclusions and embedments, pigmenting, and pulp transfer techniques. The back-and-forth of working in both media will expand your visual vocabulary and encourage you to own every aspect of the process, from paper to print! Papermaker Helen Hiebert will join us for one week as our guest instructor. All levels. Code F00X

Studio artist; professor emeritus at Corcoran College of Art and Design (DC); other teaching: Arrowmont (TN), Haystack (ME), University of Georgia Cortona Italy Program, Pyramid-Atlantic (MD); collections: Library of Congress (DC), Corcoran Gallery of Art (DC), Philadelphia Museum, Yale University Library (CT).

layered print in aqua, orange, and red on handmade paper
Georgia Deal, "Roses & Razorwire," screenprint and gum transfer on handmade paper, 24 x 30 inches
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Photography Fall Concentration

PHOTO – FALL CONCENTRATION
SEPTEMBER 29 – NOVEMBER 8, 2024 (6 weeks)
Jill Enfield
Photography Through the Ages

This workshop will explore the limitless possibilities of working with photographic processes invented during the past three centuries. By first learning each process and then beginning to combine them, each student will invent their own way of working. We will have daily demonstrations, discussions of historic and contemporary works, and plenty of time for experimentation. Processes will include in-camera and digital negatives, wet-plate collodion (ambrotypes, tintypes, negatives), cyanotype, Van Dyke brown, platinum/palladium, albumen, and digital printing. The workshop will be exciting for beginning to advanced photographers who want to set aside time to experiment and make new art. All levels. 

Photographer, educator, author; teaching: associate professor at Parsons The New School of Design (NYC), Maine Media Workshops, Griffin Museum of Photography (MA), NORDphotography (Norway); 2022 keynote speaker for Finnish Darkroom Association, advisor to Lishui International Handmade Photography Center (China); collections: Amon Carter Museum of Art (TX), Crocker Art Museum (CA), Toledo Museum of Art (OH), Museo de Arte Moderno (Columbia); author of Jill Enfield’s Guide to Alternative Processes, used as a textbook in many schools.

jillenfield.com | @jillenfield

Regular enrollment begins on May 1.

Photograph by Jill Enfield
Jill Enfield, Newburgh-Beacon Bridge, ambrotype from smart phone capture, 5 x 7 inches
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Metals Fall Concentration

METALS – FALL CONCENTRATION
SEPTEMBER 29 – NOVEMBER 8, 2024 (6 weeks)
Aran Galligan
From Tradition to Exploration 

Starting with the fundamentals of jewelry fabrication, stone/object setting, and vitreous enamels, we’ll delve into a diverse world of techniques, from traditional to exploratory methods. Curiosity will be encouraged as we navigate the vast landscape of jewelry making. As we progress, students will select and combine techniques that resonate with them, culminating in designing and crafting functional jewelry and wearable art. Experimentation and repetition will foster a deeper understanding of materials. 

Technical information may include sawing, soldering, riveting, cold connections, filing, polishing, patinas, findings, chain making, hollow construction, texturing, roller printing, metal etching, enameling, and bezel, tube, and flush settings. All levels. Upper metals studio.

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

Studio artist, owner of Aide-mémoire jewelry company and store (Seattle); teaching: SUNY New Paltz (NY), North Seattle College, Penland, Contemporary Craft (PA), Danaca Design (WA); exhibitions: Schmuck (Germany), Gallery Marzee (Netherlands), NSC Art Gallery (WA), Bini Gallery (Australia), Bilk Gallery (Australia), Bellevue Arts Museum (WA), Velvet da Vinci (CA), Penland Gallery. 

aranmade.com | a-m.shop

Aran Galligan, Rock Rings, 14k yellow gold, sterling silver, lab-grown diamonds, beach rocks, 1 x 1 x 1 inches
Aran Galligan, Rock Rings, 14k yellow gold, sterling silver, lab-grown diamonds, beach rocks, 1 x 1 x 1 inches
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Iron Fall Concentration

IRON – FALL CONCENTRATION
SEPTEMBER 29 – NOVEMBER 8, 2024 (6 weeks)
James (Coop) Cooper
Moving and Shaping Iron

This workshop will explore the plasticity of iron. Forging at the anvil and using machines, we will employ basic forging techniques to create simple and complex sculptural objects. We will begin with simple exercises, developing a vocabulary and an understanding of how iron moves under the hammer. As confidence increases, we will explore form and volume, developing ideas into designs. 

Students will be encouraged to incorporate natural materials, such as stone or wood, with a thought toward physical and visual balance. Expect field trips to the scrap yard and into the forest in search of materials and inspiration. We will explore color through paint, patina, tinted waxes, and vitreous enamels. There will be regular demonstrations and individual instruction throughout the workshop. Forging iron is physically demanding; please come with a desire to work hard and a playful spirit. All levels. 

Studio artist; former artist-in-residence and conservator at The Metal Museum (TN); teaching: The Metal Museum (TN), Appalachian Center for Craft (TN), Penland; public art: City Center Park (NC), Birmingham Botanical Garden (AL), Emory Children’s Hospital (Atlanta), Wildacres Retreat (NC); galleries: Penland Gallery, Mica Gallery (NC). 

cricketscove.net | @cricketsforge

James (Coop) Cooper, Iron Orchids, iron, paint, 24 x 9 × 9 inches
James (Coop) Cooper, Iron Orchids, iron, paint, 24 x 9 × 9 inches
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Glass Fall Concentration

GLASS – FALL CONCENTRATION
SEPTEMBER 29 – NOVEMBER 8, 2024 (6 weeks)
Jennifer Caldwell and Jason Chakravarty
Fabricating Stories in Glass

This workshop will focus on creating narrative objects in glass. We will survey multiple approaches and techniques in an introductory and exploratory way, including applying imagery to glass, flameworking, cold working, mold making, several casting methods, and one or two weeks in the hot glass studio. We will develop ideas, break down designs, and plan as we create glass sculptures that are made in parts and driven by content. Discussions and demonstrations will focus on logical approaches to material and process and when, why, and how to use a certain glass type or technique. This will be a labor-intensive, experimental journey. All levels. 

Jennifer: studio artist; teaching: UrbanGlass (NYC), Arrowmont (TN), Pratt Fine Arts Center (Seattle), The Glass Furnace (Turkey), Pilchuck (WA), GoggleWorks (PA), Pittsburgh Glass Center, Studio 19 (UK), The Melting Point (AZ), Niijima Glass Festival (Japan), Penland; residencies: Barrio Glassworks (CA), Tacoma Glass Museum (WA), Corning Museum (NY), Neusole Glassworks (OH), Pilchuck (WA). 

jennifercaldwell.com | @jenniferecaldwell

Jason: studio artist; teaching: Arizona State University, Arrowmont (TN), UrbanGlass (NYC), Pratt Fine Arts Center (Seattle), Bazalel Academy (Israel), The Glass Furnace (Turkey), The Studio at Corning (NY), Cleveland Institute of Art, GoggleWorks (PA), Mesa Arts Center (AZ), Salisbury University (MD); residencies: Tacoma Glass Museum (WA), Barrio Glassworks (CA), Cleveland Institute of Art, Toledo Museum of Art (OH). 

jasonchakravarty.com | @jcsquared.shop 

Jennifer Umphress-Caldwell; Jason Chakravarty; Glass; Octopi, Octopus,  glass, portholes, buoy, torch
Jennifer Umphress-Caldwell; Jason Chakravarty; Glass; Octopi, Octopus, glass, portholes, buoy, torch
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Drawing & Painting Fall Concentration

DRAWING AND PAINTING FALL CONCENTRATION
October 1 – November 10, 2023 (six weeks)
Clarence Morgan
Practical Reset: Pushing your Practice

Artists are often taught to think about painting and drawing in ways that reinforce conventional practices and classifications. In this workshop, students will play in the gap between what is familiar and modes of working that are beyond their place of comfort, adjusting to unconventional ways of using tools, materials, and processes. Participants will be encouraged to rethink their studio practice and develop individual visual vocabularies that speak to their inner life as well as their personal history, cultural heritage, and ethnic lineage. This is a conceptually-driven workshop that will not focus on specific skills or techniques. Intermediate level: for people who have an established artistic practice in any medium. 

Studio artist; professor emeritus at University of Minnesota; Distinguished Alumni Award from Pennsylvania Academy of the Fine Arts, Penland Outstanding Artist Educator, Sam and Adele Golden Foundation Artist Residency (NY); recent exhibitions: Ralph Arnold Gallery (IL), Penland Gallery, Minneapolis Institute of Art; collections: Walker Art Center (Minneapolis), Cleveland Museum of Art, Flint Institute of Art (MI), North Dakota Museum of Art. 

clarence-morgan.com | @cmorganstudio

A Penland video about Clarence Morgan: https://www.youtube.com/watch?v=3nv_YtCVrsc

Regular enrollment will begin on May 1.

Clarence Morgan, Uses of Solitude, graphite, watercolor, acrylic ink, marker, pen on paper, 22 x 30 inches
Clarence Morgan, Uses of Solitude, graphite, watercolor, acrylic ink, marker, pen on paper, 22 x 30 inches
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Clay Fall Concentration

CLAY – FALL CONCENTRATION
SEPTEMBER 29 – NOVEMBER 8, 2024 (6 weeks)
Esther Shimazu
Arm, Leg, Wing

We will start with the human figure and then riff on this form to explore other creatures. Using standard handbuilding methods, we will work mainly hollow and in parts (if you know how a teapot is made, that will be helpful),. Techniques may include carving, re-sectioning, scraping, seams, slashing, using paperclay to control shrinking, slips, stains, resists, fusing parts with glaze, re-firing, repairs, etc. Students can expect to complete three or four medium-sized (10-20 inch) pieces plus some smaller works, maquettes, and studies. Some goals for the workshop are surprising yourself, maximizing individual expression, working with one’s inner nerd, and not being too attached to a standard. Firing will mostly be electric. All levels. Lower clay studio.

Studio artist; teaching: Anderson Ranch (CO), Santa Fe Clay (NM), Emily Carr Institute of Art and Design (Vancouver, BC), San Miguel de Allende (Mexico), Penland; collections: Honolulu Museum of Art, Fresno Art Museum (CA), St. Louis Art Museum, Berkeley Art Museum (CA), Kutani Collection (Japan), Cincinnati Art Museum, Crocker Art Museum (MA), Racine Art Museum (WI), Fule International Ceramic Art Museum (China). 

esthershimazu.com | @esthershimazu

Esther Shimazu, Just Us, stoneware, porcelain, 6 x 7-3/4 x 7 inches
Esther Shimazu, Just Us, stoneware, porcelain, 6 x 7-3/4 x 7 inches
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Books and Paper Fall Concentration

BOOKS – FALL CONCENTRATION
SEPTEMBER 29 – NOVEMBER 8, 2024 (6 weeks)
Brien Beidler
Timeless Tomes for Tomeless Times: Historic Leather Bindings

Students in this workshop will use historic binding methods and materials to create leather books fit for use and expression in a modern context. We will demystify obscure and often elusive techniques such as sewing on raised cords, edge trimming, endbanding, leatherworking, and gold tooling with genuine gold leaf and egg glair. We will also have a chance to make and use our own custom decorative leather stamps. Although we will primarily make blank books, students may choose to rebind a book as long as the pages are in signatures. This workshop is ideal for anyone looking for an accessible path to learning traditional hand bookbinding. It will also be useful to experienced binders and conservators who would like to deepen their knowledge and expand their technical repertoire. All levels.

Studio artist; teaching: Escuela de Artes y Oficios Santo Domingo (Bogotá, Colombia), North Bennet Street School (Boston), Massachusetts Institute of Technology, Paper and Book Intensive (MI), University of Alabama, University of Utah, Penland; 2023 McKnight Book Arts Fellow, 2021 Interdisciplinary Artist in Residence at the Oak Spring Garden Foundation (VA); collections: San Francisco Public Library, Oak Spring Garden Foundation (VA), Massachusetts Institute of Technology, Library of Congress (DC). 

beidlermade.com | @bhbeidler

Brien Beidler, Heritage, paper, leather, linen and silk thread, gold leaf, 9 x 6 x 1-1/2 inches
Brien Beidler, Heritage, paper, leather, linen and silk thread, gold leaf, 9 x 6 x 1-1/2 inches
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Metals Fall 3

Metals Fall One-Week Session III
November 3-9, 2019
Lisa Colby
Square One

Due to the current risks associated with bringing a large group of people together on our campus, we have decided to cancel all spring 2020 one-week workshops. Please see our COVID-19 Response page for more information. Thank you for your understanding and support as we navigate this evolving situation.

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Textiles Fall 3

Textiles Fall One-Week Session III
November 3-9, 2019
Leigh Hilbert
A Place for Tools

Due to the current risks associated with bringing a large group of people together on our campus, we have decided to cancel all spring 2020 one-week workshops. Please see our COVID-19 Response page for more information. Thank you for your understanding and support as we navigate this evolving situation.

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Books & Paper Fall 2

Books & Paper Fall One-Week Session II
October 20-26, 2019
Lisa Blackburn 
The Artist’s Book: Simple Structure, Endless Possibility

Due to the current risks associated with bringing a large group of people together on our campus, we have decided to cancel all spring 2020 one-week workshops. Please see our COVID-19 Response page for more information. Thank you for your understanding and support as we navigate this evolving situation.

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Print & Letterpress Fall 2

Print & Letterpress Fall One-Week Session II
October 20-26, 2019
Lynda Sherman
Breaking the Algorithm

Due to the current risks associated with bringing a large group of people together on our campus, we have decided to cancel all spring 2020 one-week workshops. Please see our COVID-19 Response page for more information. Thank you for your understanding and support as we navigate this evolving situation.

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Drawing Fall 2

Drawing & Painting Fall One-Week Session II
October 20-26, 2019
Dietlind Vander Schaaf
Encaustic 101: Painting with Wax

Due to the current risks associated with bringing a large group of people together on our campus, we have decided to cancel all spring 2020 one-week workshops. Please see our COVID-19 Response page for more information. Thank you for your understanding and support as we navigate this evolving situation.

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Glass Fall 1

Glass Fall One-Week Session I
October 6-12, 2019
Sean Donlon
Heat, Bend, Repeat

This workshop will explore unusual approaches to flameworked glass. We’ll cover a range of glass forming techniques, from the lathe to the bench, along with unconventional coloring methods and mirroring. In addition to basic flameworking skills, students will learn to form glass with the lathe and fabricate graphite to make specific shapes of glass. We’ll have constructive critiques and discuss design, composition, concept development, mirroring methods, fun, and life. All levels. Code F01GB

Studio artist; teaching: Virginia Commonwealth University, Chrysler Museum Glass Studio (VA); Virginia Museum of Fine Arts fellowship; exhibitions: solo at Quirk Gallery (VA), Virginia Museum of Contemporary Art, Peninsula Fine Arts Center (VA), Houston Center for Contemporary Craft, National Liberty Museum (Philadelphia), Washington Project for the Arts (DC).

seandonlondesign.com

Sean Donlon, detail of "Halo," installation: 9 x 13 x 1 feet
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Photo Fall 1

Photo Fall One-Week Session I
October 6-12, 2019
Benjamin Dimmitt
Black & White Landscape Photography

Through photographing in the field, experimentation, and critique, we’ll learn to make compelling images of the landscape. We’ll consider historic and current practice as we learn to think about landscape—photographing in nearby mountains and forests and working in the darkroom with the goal of producing a cohesive body of prints. We’ll emphasize observation, personal vision, and exploring new vocabularies. We’ll cover a wide range of topics including metering, exposure, depth of field, pinhole photography, film development, darkroom printing, split-filter burning, lighting, and composition. All levels. Code F01P

Studio artist; teaching: International Center of Photography (NYC), Warren Wilson College (NC), The Bascom (NC); exhibitions: Southeast Museum of Photography (FL), Ogden Museum (New Orleans), Soho Photo (NYC); collections: Museum of Fine Arts Houston, American Academy of Arts and Letters (NYC), Florida Museum of Photographic Arts.

benjamindimmitt.com

Benjamin Dimmitt, "Palm Hammock," selenium-toned gelatin silver print, 14 x 14 inches