Summer Session 2

Summer Session 2:
June 4 – June 16, 2023

 

Register for Workshops
Workshops are open to serious students of all levels unless specified in course description; beginners welcome.

Scholarship information; scholarship application deadline is February 15.

Please read this note about our session schedules.

BOOKS & PAPER SUMMER SESSION 2
JUNE 4–16, 2023
Jaz Graf
Handmade Paper: Strata, Impressions, Geometries

The workshop will explore the physical and conceptual characteristics of handmade paper. We will cook, macerate (by hand and machine), and form paper from natural fibers such as abaca, flax and mulberry. Techniques will include Eastern-style sheet forming using a flexible sugeta mould, pulp dipping, inclusions, and paper layering to generate imagery. Using a “bones to skin” approach, we’ll incorporate armatures, casings, and translucency. A combination of demonstrations and lots of experimental play time will result in sculptural paper forms, hybrid objects, iterative configurations of image/material designs, and paper as a supportive material substrate. All levels. Papermaking studio.

Studio artist; teaching: State University of New York (Purchase), University of Notre Dame (IN), Caldwell University (NJ); West Bay View Fellowship at Dieu Donné (NYC), Salzberg Book Arts Residency at Jaffe Center for Book Arts (FL), Studio Award at Women’s Studio Workshop (NY); exhibitions: Newark Museum (NJ), Seager/Gray Gallery (CA), South Bend Museum (IN). 

jazgraf.com | @jazgraf

Jaz Graf, Vestiges of the Old World (detail), ceramic, paper, steel, wood, thread
Jaz Graf, Vestiges of the Old World (detail), ceramic, paper, steel, wood, thread
CLAY SUMMER SESSION 2
JUNE 4–16, 2023
Guillermo Cuellar
Wheel to Table

Students in this workshop will make wheelthrown utilitarian forms: from basic bowls and cylinders to more complex pieces, such as teapots, depending on each individual’s skill level. Demonstrations will cover tools and techniques for throwing, altering, and assembling pots and will address feet, lids, and handles. We’ll share the excitement of firing our stoneware clay pieces in reduction and salt/soda kilns. One-on-one instructional time will meet each student at their level of experience for individual skill building and support. We’ll explore, experiment, and engage in a relaxed and fun conversation about community, food, and the place of handmade pottery in our lives. All levels. Upper clay studio. 

Studio artist; teaching: Venezuelan Association of the Arts of Fire, assisted workshops taught by Warren MacKenzie, Linda Christianson, and others; Minnesota State Arts Board grant; exhibitions: Venezuelan National Art Gallery, Museo de Arte Contemporaneo de Caracas (Venezuela) Museo de Arte Contemporaneo de Puerto Rico, Smithsonian (DC), The Northern Clay Center (Minneapolis), Weisman Art Museum (Minneapolis), St Croix Valley Pottery Tour (MN); founding member of Grupo Turgua, promoting Venezuelan craft. 

guillermopottery.com | @guillermopottery

Guillermo Cuellar, Fluted Bowl, stoneware, ash glaze; reduction fired, 5-1/4 x 9-3/8 x 9-3/8 inches
Guillermo Cuellar, Fluted Bowl, stoneware, ash glaze; reduction fired, 5-1/4 x 9-3/8 x 9-3/8 inches
CLAY SUMMER SESSION 2
JUNE 4–16, 2023
Pattie Chalmers
Oh! You Pretty Things

“To articulate what is past does not mean to recognize ‘how it really was.’ It means to take control of a memory as it flashes in a moment of danger.”
-Walter Benjamin

Students in this workshop will learn from my approach to constructing earthenware objects. Sharing techniques through demonstrations and guided hands-on learning, I will impart many aspects of my creative practice: handbuilding, printing, glazing, and much more. Responding to daily prompts, students will create personalized objects to explore the genre of still life and to consider a thing’s capacity to act as a conduit for memory. All levels. Lower clay studio. 

Professor at Southern Illinois University-Carbondale; workshop teaching: Northern Clay Center (Minneapolis), Haystack (ME), Arrowmont (TN),  Harvard Ceramics Program (MA), Penland; solo exhibitions: Sheldon Art Center (St. Louis) Craft Alliance (St. Louis); group exhibitions: Virginia Museum of Contemporary Art, Bradbury Art Museum (AR); collections: San Angelo Museum (TX), The Clay Studio (Philadelphia), Rosenfield Collection (TX). 

pattiechalmers.com | @ladypattiechalmers

Pattie Chalmers, detail of Every Day I Think of You, terracotta, mixed media, dimensions variable
Pattie Chalmers, detail of Every Day I Think of You, terracotta, mixed media, dimensions variable
DRAWING AND PAINTING SUMMER SESSION 2
JUNE 4–16, 2023
Billy Renkl
Gleaning: Studio Approaches to Collage

As a studio practice, collage is pretty new—just over a century old. This workshop will offer analog experiences using collage, some of which will be based informally in its early history, including vivid works by artists such as Hannah Höch and Max Ernst. We’ll cover cutting and gluing techniques, but a productive collage practice is not necessarily based on manual skills. Our principle goals will be experimentation, the development of personally expressive work using found imagery, and an understanding of the unique ways found imagery communicates. All levels.

Professor at Austin Peay State University (TN); solo exhibitions: Cumberland Gallery (Nashville), Taylor Bercier Fine Arts (New Orleans), Vanderbilt University (Nashville), University of Kentucky, Tennessee Arts Commission, Galerie Neue Raume (Berlin); illustrator working for many clients, recently illustrated the picture book When You Breath (Cameron Kids).

billyrenkl.com | @billyrenkl

Billy Renkl, Commerz #29: Boston Lead Pointer I, collage of vintage packaging, 3 x 4 inches
Billy Renkl, Commerz #29: Boston Lead Pointer I, collage of vintage packaging, 3 x 4 inches
GLASS SUMMER SESSION 2
JUNE 4–16, 2023
Joe Grant
Glass Smorgasbord

This workshop will explore a variety of techniques for using glass as an artist’s material. While students should already be able to gather, shape, and make simple forms with molten glass, we’ll assess, review, and expand on those fundamental skills. Then we’ll explore solid sculpting, bit working, assembling parts, color applications, and mold blowing. We’ll combine traditional and experimental approaches to help develop your artistic practice; each student will be able to pursue what interests them most. The workshop will include demonstrations, skill-building exercises, and a focus on individual practice. We’ll stress teamwork, thinking outside the box, and using glass in unique ways. Advanced beginning level: at least one previous glassblowing workshop required. Hot glass studio.

Studio artist, director of STARworks Glass (NC); other teaching: Pilchuck (WA), Haystack (MA), East Carolina University (NC), Appalachian State University (NC), Illinois State University (IL); exhibitions: FRANK Gallery (NC), Greenhill Center (NC), William King Museum (VA), Chrysler Museum (VA), STARworks Gallery (NC); commission: Reid Heart Center (NC).

joegrantglass.com | @joegrantglass

Joe Grant, Bollides Wake, glass, 18 x 12 x 10 inches
Joe Grant, Bollides Wake, glass, 18 x 12 x 10 inches
GLASS SUMMER SESSION 2
JUNE 4–16, 2023
Alicia Lomné and Sayaka Suzuki
Pâte de Verre and the Dynamic Duo

In this fast-paced, fun workshop you’ll have the opportunity to study two approaches to the pâte de verre casting process. We’ll begin by creating color samples using the colors of your choice. You’ll learn to measure the perfect blends for predictable results and to create your own blends like a cook. We’ll work with clay models, pour refractory molds, and apply frit and powder to the surface of the mold as a painter might. There are many crossovers between our techniques along with some radical differences. We look forward to experimenting, playing, and pushing the boundaries with everyone in the workshop. You can expect to finish at least four pieces plus color samples and experiments. All levels. Casting studio. 

Alicia: studio artist; teaching: Pilchuck (WA),The Studio at Corning (NY), Penland, Haystack (ME), Bullseye Glass Studios (OR), Warm Glass (UK), Bild-Werk Frauenau (Germany); exhibitions: Kentucky Museum of Art and Craft, Muskegon Museum of Art (MI), The Figge Art Museum (IA), Bergstrom Mahler Museum (WI), National Liberty Museum (Philadelphia), Museo Gallery (WA), Ken Saunders Gallery (Chicago).

@littlebitoalice

Sayaka: studio artist, teacher at Virginia Commonwealth University; workshop teaching: The Studio at Corning (NY), Haystack (ME), Pittsburgh Glass Center, UrbanGlass (NYC); fellowships: Vermont Studio Center, Virginia Museum of Fine Arts; exhibitions: New Mexico Museum of Art, Czong Institute for Contemporary Art (Korea), Museo Crocetti (Italy); solo shows: Virginia Museum of Contemporary Art, Pensacola Museum of Art (FL).

sayaka-suzuki.com

Alicia Lomné, Flying Dreams, pâte de verre, orange: 6 x 5-1/2 x 7 inches, blue: 5-3/4 x 6-1/2 x 7-1/4 inches
Alicia Lomné, Flying Dreams, pâte de verre, orange: 6 x 5-1/2 x 7 inches, blue: 5-3/4 x 6-1/2 x 7-1/4 inches
Sayaka Suzuki, Ancestral Wave, pâte de verre, letters from my ancestors, washi paper, 9 x 21 x 4 inches
Sayaka Suzuki, Ancestral Wave, pâte de verre, letters from my ancestors, washi paper, 9 x 21 x 4 inches
IRON SUMMER SESSION 2
JUNE 4–16, 2023
Erica Moody
Forging and Fabricating Utensils

We’ll combine basic forging, metal fabrication, and jewelry techniques as we create utensils, mostly of brass, copper, and steel. Demonstrations and experimentation will give students the opportunity to make their own eating and/or serving utensils for practical use or as sculpture. Depending on student interests, techniques covered may include cold and hot forming (forging, sanding, cutting, sinking), cold and hot connections (riveting, wrapping, silver soldering, brazing), finishing (sanding, hand-filing, texturing, burnishing), and combining materials (different metals and/or found materials such as wood, bone, scrap metal, etc.). All levels.

Studio artist, architectural metals fabrication shop owner; teaching: Haystack (ME), Center for Metal Arts (PA), Center for Furniture Craftsmanship (ME), Massachusetts College of Art and Design, Harvard Graduate School of Design (MA), Woodenboat School (ME); Haystack Open Studio Residency; exhibitions: Penland Gallery, Haystack Gallery (ME), Meeler Gallery (ME), CRAFT Gallery (ME), The Bascom (NC). 

ericamoody.com | @ericamoody

Erica Moody, Sujeo Set, chopsticks: aluminum, ebony; tasting spoon: burnished, blackened stainless steel; both pinned with brass, 9 inches long
Erica Moody, Sujeo Set, chopsticks: aluminum, ebony; tasting spoon: burnished, blackened stainless steel; both pinned with brass, 9 inches long
METALS SUMMER SESSION 2
JUNE 4–16, 2023
Maya Kini
Hybrid Forms

This workshop will explore the idea of the hybrid through the medium of lost-wax casting. We’ll look at families of objects and discuss their histories and how to alter their narrative and function by interfering with their form. By combining wax with organic objects, plastic parts, and other combustible, small-scale found objects, we’ll create metal pieces that bring disparate elements together. Techniques will include centrifugal and vacuum casting, basic metal alloying, embedding gemstones, alginate molds, simple press molds, casting metal onto or into existing metal objects, and combining casting with fabrication to further hybridize our forms. All levels. Upper metals studio.

Studio artist; teaching: Sacramento City College (CA), California State University-Sacramento; American Craft Council Searchlight Fellow; exhibitions: Shibumi Gallery (CA), The Studio Gallery (San Francisco), Petaluma Art Center (CA), Facèré Jewelry Gallery (Seattle), Velvet da Vinci (San Francisco), Galerie Louis Smit (Amsterdam), Society of Arts and Crafts (Boston); publications: CAST (Schiffer), 500 Wedding Rings (Lark), 500 Enameled Objects (Lark).

mayakini.com | @mkini

Maya Kini, Various Positions, cast bronze, tallest: 4 x 2 x 2 inches
Maya Kini, Various Positions, cast bronze, tallest: 4 x 2 x 2 inches
METALS SUMMER SESSION 2
JUNE 4–16, 2023
Lynn Batchelder
Mark Making

Mark making is fundamental—it calls to mind communication, action, time, and presence. Through drawing exercises and exploring our surroundings, we’ll create, discover, document, and lift marks and textures as poetic and visual inspiration. Direct mark-making processes such as embossing, engraving, etching, and chasing, will be combined with simple tool making and rogue techniques to translate this information into metal. A range of samples will emerge in the first week. Through group dialogue, we’ll learn from each other’s experiments and discuss productive directions toward finished wearable pieces. All levels. Lower metals studio.

Associate professor at State University of New York-New Paltz; Art Jewelry Forum Artist Award; residencies: Arrowmont (TN), Haystack (ME), Women’s Studio Workshop (NY); representation: Gallery Loupe (NJ).

lynnbatch.com | @lynnbatch

Lynn Batchelder, Unearthed Pendants, anodized and dyed aluminum, sterling silver, 22 x 4 x 1/2 inches
Lynn Batchelder, Unearthed Pendants, anodized and dyed aluminum, sterling silver, 22 x 4 x 1/2 inches

PHOTOGRAPHY SUMMER SESSION 2
JUNE 4–16, 2023

Pipo Nguyen-duy
Sense of Place

This workshop will focus on portraiture in the environment using 35mm cameras and black and white film. We’ll work to create portraits that highlight the significance of their locations. The workshop will cover camera functions, film processing, and black and white printing in the darkroom. This workshop will be an opportunity for students to engage with each other as they explore concepts and techniques. Cameras are available at Penland and students are also welcome to bring their own. Darkroom experience will be helpful, but this workshop is open to all levels.

Professor at Oberlin College; grants: Guggenheim, En Foco, National Endowment for the Arts, Oregon Arts Commission fellowship, multiple individual artist fellowships from Ohio Arts Council; residencies: Light Works (NY), Headlands Center for the Arts (CA), Lila Wallace-Reader’s Digest Artists at Giverny Fellowship (France); exhibitions: Sam Lee Gallery (Los Angeles), Elizabeth Leach Gallery (Portland, OR), Light Works (NY); representation: CLAMPART (NYC).

piponguyen-duy.com | @adustoflife

Pipo Nguyen-duy, AnOther Western: Man with Antlers, photograph, 10 x 8 inches
Pipo Nguyen-duy, AnOther Western: Man with Antlers, photograph, 10 x 8 inches
PRINT & LETTERPRESS SUMMER SESSION 2
JUNE 4–16, 2023
Jenny Schmid
Intense Color Intaglio Intensive

Multiple-plate intaglio offers unparalleled color intensity, saturating paper with layers of pigmented ink. Using no specific key plate, we’ll explore three-layer printing and registration to create a full range of color. We’ll start with textural processes to create tonal range: aquatint, spit bite, soft ground, crayon resist, scraping, and burnishing. Then we’ll move on to multiple-plate registration, color combinations, and ink mixing. The work of various artists will serve as inspiration, and students will be encouraged to work in the style of their preference, as both figurative and abstract approaches will benefit from these uniquely stunning processes. All levels. Printmaking studio.

Professor at University of Minnesota; grants; Fulbright (Slovakia), McKnight Fellowship, Bush Artists Grant, Minnesota State Arts Board grants; residency: The Frans Masereel Center (Belgium); collections: Minneapolis Institute of Arts, Detroit Institute of Arts, Library of Congress; representation: Davidson Galleries (Seattle). 

jennyschmid.com 

Jenny Schmid, Smoking Ghost, three-plate intaglio, 18 x 16 inches
Jenny Schmid, Smoking Ghost, three-plate intaglio, 18 x 16 inches
PRINT & LETTERPRESS SUMMER SESSION 2
JUNE 4–16, 2023
Rick Griffith
Extending the Printed Page

What do you do when the paper isn’t big enough, when the text isn’t small enough, or when the press needs to be bigger? Letterpress as a collage mechanism can be a profound exploration of scale and is ideal for creating larger-format works. In this workshop combining letterpress printing with collage and writing, students will learn how to improvise in multiple directions simultaneously and find balance between text, form, and process. Whether they bring a theme or choose to shoot from the hip, students will develop an intuitive practice and the ability to discuss what is happening in real time. We’ll cover techniques of typesetting, printing, collage, and image manipulation. All levels. Letterpress studio.

Letterpress printer, designer, collagist, writer, optimist futurist; founder and partner in the graphic design consultancy MATTER (Denver); designer of the Black Astronaut Research Project (blarp.org); teaching: Rocky Mountain College of Art and Design (Denver), University of Denver, University of Colorado at Denver, Academy of Arts, Architecture, and Design (Prague), East Carolina University (NC); collections: Denver Art Museum, Hamilton Wood Type and Printing Museum (WI), Tweed Museum (MN).

morematter.com | @rickgriffith

Rick Griffith, You & Me, ink on paper; silkscreen, letterpress, 39-1/4 x 27-1/2 inches
Rick Griffith, You & Me, ink on paper; silkscreen, letterpress, 39-1/4 x 27-1/2 inches
TEXTILES SUMMER SESSION 2
JUNE 4–16, 2023
Charllotte Kwon and Tim McLaughlin
The Inkmaker’s Pen

Students will learn to prepare a variety of inks from classic ink-making traditions, including iron gall, dye-based, and pigmented inks. We’ll create colorful lake pigments from natural dyes and use them alone and in combinations. Students will also learn to extract colorants from plants and work with foraged materials. We’ll use these inks to discover the basics of pointed pen (flex) writing with dip nibs and to experiment with reed and quill pens and work with brushes and washes. Some time will be spent considering works on paper, sketchbooks, journals, and the role of writing in artistic expression as we explore the incredible potential of pen and ink for developing a personal hand. All levels. Third-floor studio.

Note: the studio fee for this workshop is estimated at $250-300 per student.

Charllotte: founder of Maiwa School of Textiles (Vancouver, Canada) and owner of Maiwa Handprints; co-producer of four documentary films and a number of print publications; has traveled the world, studying, teaching, and working with artists using traditional techniques in India, Peru, Bangladesh, Ethiopia, and Canada; honorary doctorate from University of Fraser Valley (BC); Robert Jekyll Award for Leadership in Craft (Canada).  

maiwa.com

Tim: artist, writer, photographer, and a founding director of Maiwa School of Textiles where he teaches ink making, chemistry, and the history of natural dyes; has kept journals for 40 years as a long-term project in book arts; has also been active in experimental radio, hypertext fiction, graphic design, book production, and documentary film. 

tmcl.ca | @artisan_ink

Charlotte Kwon and Tim McLaughlin, Ink Making Materials, cochineal, weld, indigo, tannins, shellac, gum Arabic, oak galls, pens, nibs
Charlotte Kwon and Tim McLaughlin, Ink Making Materials, cochineal, weld, indigo, tannins, shellac, gum Arabic, oak galls, pens, nibs
TEXTILES SUMMER SESSION 2
JUNE 4–16, 2023
Joy Boutrup and Catharine Ellis
Intersecting Processes: Weaving and Natural Dyeing

During this weaving and dyeing workshop, students will experiment freely with fibers, weave structures, and natural dyes. We’ll use appropriate processes for mordanting and dyeing both protein and cellulose fibers, while also investigating the possibilities of cross dyeing. We’ll explore the use of resists such as ikat, woven shibori, and traditional shibori. Our color palette will consist of classical dyes—including indigo, weld, madder, and cochineal—known for their lightfast qualities and longevity. Students can expect to complete a collection of samples and a finished piece, if desired. Our focus will be on learning, experimentation, and idea development. Intermediate/advanced level: students should be able to warp a loom and weave independently. Second-floor textiles studio.

Note: The studio fee for this workshop is estimated at $200.

Catharine: studio artist, educator; teaching: Haywood Community College (NC), Convergence (TN), Sanborn Mills Farm (NH), Eugene Textiles Center (OR), Campbell Folk School (NC), Penland; exhibitions: Blue Spiral I (NC), Fuller Craft Museum (MA), Penland Gallery; author of Woven Shibori (Interweave Press), co-author of The Art and Science of Natural Dyes (Schiffer). 

ellistextiles.com 

Joy: textile engineer, chemist, teacher at Designskolen Kolding (Denmark); co-author of The Art and Science of Natural Dyes (Schiffer). 

Catharine Ellis, Moroccan Inspiration, wool, cotton, natural dyes, 41 x 80 inches
Catharine Ellis, Moroccan Inspiration, wool, cotton, natural dyes, 41 x 80 inches
WOOD SUMMER SESSION 2
JUNE 4–16, 2023
Katie Hudnall
Paint, Patterns, and Palimpsests

Wood is an incredible material for surface decoration because it can be dyed, painted, drawn on, burned, carved, stamped, and added to with a million different materials. However, because woodworking can be labor intensive and time consuming, this part of designing a piece can get overlooked. We’ll approach a wide range of surface decoration possibilities, blending traditional and contemporary processes to develop unique visual languages. The goal is for each student to produce sample panels of different surface techniques: a rich library of ideas and processes to help with future works. From the basics of surface preparation to paints, dyes, drawing, carving, and clear finishing, this demo-heavy experimental workshop will look at surface decoration from many different angles. All levels. 

Associate professor at University of Wisconsin-Madison; exhibitions: Crafting a Continuum: Rethinking Contemporary Craft at Arizona State University Art Museum, Making a Seat at the Table: Women Transform Woodworking at Center of Art in Wood (Philadelphia), This Present Moment: Crafting a Better World at Renwick Gallery (DC); collections: Arizona State University Art Museum, Center for Art in Wood (Philadelphia), Renwick Gallery (DC). 

katiehudnall.com | @katiehudnall

Katie Hudnall, Trunk Fish Cabinet, found wood, glass, fasteners, polychrome, lacquer, 18 x 6 x 4 inches
Katie Hudnall, Trunk Fish Cabinet, found wood, glass, fasteners, polychrome, lacquer, 18 x 6 x 4 inches