BOOKS – SUMMER SESSION 2
June 1-13, 2025 (11 STUDIO DAYS)
Jerushia Graham
Paper: Slice, Snip, Cut

Making papercuts hones the skill of defining the essential elements of an image. Impressive cuts can be created using the most basic of tools: paper, scissors, cutting mat, x-acto knife. Students will learn about paper cutting traditions of cultures around the world; construct a sample book of cuts; experiment with cutting lightweight and heavyweight papers, vinyl, and yupo (a plastic paper). Students will be encouraged to try cutting with scissors, art knives, surgical knives, snips, chisels, and punches. Mounting techniques will include spray adhesive, artist-tac, PVA, rubber cement, and a glue stick. We will cover the design concepts of black line, white line, mirrored images, asymmetrical designs, and multi-colored layered images. Our sample books will provide practical experience and serve as reference tools for personal projects made during the second week. All skill levels are welcome. Books studio.

Studio artist, museum manager at Robert C. Williams Museum of Papermaking (Atlanta); teaching: Paper Book Intensive (MI), Arrowmont (TN), Kennesaw State University (GA), University of West Georgia (GA), Art Institute of Atlanta-Decatur (GA); exhibitions: A&E Atlanta Local Stories Digital Billboard, Cochran Gallery (GA), Hudgens Center (GA), MOCA GA; residencies: Art & History Museum of Maitland (FL), Halden Bookworks (Norway), The Creatives Project (GA); collections: Thomas J. Watson Library of The Met (NYC), Cochran Collection (GA). 

jerushiagraham.wixsite.com/jerushiagraham | @jerushia.graham

November 15 – December 16: Scholarship applications accepted
February 3: Regular enrollment opens

PAPERMAKING/BOOKS – SUMMER SESSION 2
JUNE 1-13, 2025 (11 STUDIO DAYS)
Radha Pandey and Johan Solberg
Art of the Book in the Islamicate Lands

In this intensive workshop, students will learn Indo-Islamicate papermaking and use some of the paper they produce to bind two Islamic-style codices. Using traditional methods of sheet forming and fiber preparation, we will immerse ourselves in the papermaking practiced in India in the 13th century. We will then size, dye, and burnish our sheets to prepare for the next step: binding. During the second week, students will work on two Islamicate bindings based on historical examples from the 9th and 15th centuries. Students will leave with a sampling of various techniques on their papers and two historical binding models. All levels. Papermaking studio.

Radha: papermaker and letterpress printing; teaching: University of Iowa Center for the Book (IA), Princeton University (NJ), Cleveland Institute of Art (OH), Harvard Art Museums (MA), Institut National du Patrimoine (France), Leksands Folkhögskola (Sweden), Bomuldsfabriken Kunsthall (Norway), Museu Molí Paperer de Capellades (Spain); residencies: Women’s Studio Workshop (US), Kristiansand Kunsthall (Norway); artist books in over 80 public collections internationally.

radhapandey.com | @pandey.radha

Johan: bookbinder; co-director of Halden Bookworks (Norway); teaching: Leksands Folkhögskola (Sweden), University of Iowa Center for the Book (IA), Morgan Conservatory (Cleveland), Bomuldsfabriken Kunsthall (Norway), Snow Farm (MA); residencies: Kristiansand Kunsthall (Norway).

johansolberg.com | @johan_solberg

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

CLAY – SUMMER SESSION 2
JUNE 1-13, 2025 (11 STUDIO DAYS)
Kathy King
Past and Present

This session will find inspiration in ceramic art history—from Neolithic Chinese storage pots to 17th century portrait plates—through a series of short lectures focused on historical methods of making and the social context from which work was created. As we consider our past, we will respond by making work that reflects contemporary viewpoints. Surface decoration and treatments, print-transfer techniques, and narrative will be special areas of focus. We will work on and off the wheel, primarily with mid-range porcelain. Slips, underglazes and glazes will allow us to explore numerous surface techniques, including sgraffito, slip inlay, simple screen printing, and print transfers. Post-glaze work will involve overglaze enamel and lustre techniques. All levels. Upper clay studio.

Studio artist; director of Harvard Ceramics (MA); teaching: Harvard University (MA), Massachusetts College of Art and Design (MA), Georgia State University (GA), School of the Museum of Fine Arts at Tufts (MA), American Museum of Ceramic Art (CA), Haystack (ME), Arrowmont (TN), Anderson Ranch (CO); residencies: Archie Bray (MT), Watershed (ME), Shigaraki Ceramics Cultural Center (Japan); host of For Flux Sake podcast. 

kathykingart.com | @kathykingart

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

CLAY – SUMMER SESSION 2
JUNE 1-13, 2025 (11 STUDIO DAYS)
Kyungmin Park
Stack Up!

In this workshop, students will learn how to create a sculpture that is taller than the height of a standard electric kiln (26 inches). Working with stoneware clay, we will use coiling, pinching, and slab-building to sculpt multiple sections and create life-sized stacked sculpture. The workshop will cover the entire process from the initial idea to the final assembly, including surface decoration using underglaze and glaze. We will also explore assembling different sections of the stacked sculpture, firing, and final assembly. Some experience will be helpful, but this workshop is open to all levels. Lower clay studio.

Associate professor at Endicott College (MA); 2016 NCECA Emerging Artist of the Year, 2015 Ceramics Monthly Emerging Artist; fellowships: Windgate, Matsutani; residencies: Jingdezhen International Studio (China), Red Lodge (MT), Watershed (ME); exhibitions: SOFA Chicago, Clay Studio (Philadelphia), Fuller Craft Museum (MA), Lillstreet Art Center (Chicago), Duane Reed Gallery (St. Louis), Leedy Voulkos Art Center (MO). 

kyungminpark.com | @kyungminpark929

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

DRAWING/PAINTING – SUMMER SESSION 2
JUNE 1-13, 2025 (11 STUDIO DAYS)
Julie Snidle
Encaustic 

This workshop will give students a safe and thorough foundation for painting with encaustic and provide plenty of time to explore the possibilities of this fascinating wax medium. We will begin with a brief history and then cover safety, tools, materials, painting, and fusing. Demonstrations will focus on technique and the special characteristics of wax, such as opacity, temperature, adhesion, and texture. Techniques will include image transfers, combining oil and wax, using paper as a substrate, and creating a desired surface quality. We will venture outside the studio in search of nature’s inspiration, tools, and stamps. The workshop will also cover topics related to studio setup, framing, and presentation of work. All levels. 

Studio artist; R&F Handmade Paints core artist/instructor, Ampersand Art Panels artist ambassador; teaching: North Country Studio Workshops (VT), Touchstone (PA), Penland; representation: Canary Gallery (AL), Kolman Reeb Gallery (Minneapolis). 

juliesnidle.com | @juliesnidle

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

GLASS – SUMMER SESSION 2
JUNE 1-13, 2025 (11 STUDIO DAYS)
Jessi Moore
Chromatic Creations

This advanced-beginning workshop will delve into the wide world of COLOR in blown glass. Using color application as a jumping-off point we will delve into satisfyingly saturated colors exploring how shape and hue intermingle. Techniques such as lip wraps, bit application, and faux-encalmo will create dynamic, chromatic, functional objects that mix and match colors. An additional focus of the workshop will be learning and refining basic blown shapes such as cone, cylinder, sphere, and bowl. With daily demonstrations and plenty of practice time, students can expect to gain foundational skills and explore personal directions in their work. We will emphasize collaboration and teamwork. Be ready to sweat it out and have fun! Advanced-beginning level; at least one previous glassblowing workshop required. 

Studio artist; teaching: New York University, The Studio at Corning (NY), Pittsburgh Glass Center, UrbanGlass (NYC), Snowfarm (MA); recent residencies: Goggleworks (PA), Pittsburgh Glass Center, Haystack (ME). 

jessimooreglass.com | @jessimoorenotless

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

GLASS – SUMMER SESSION 2
JUNE 1-13, 2025 (11 STUDIO DAYS)
Sarah Blood
Light, Weight, and the Sublime

This intensive workshop in neon and mixed-media will focus on skill development, experimentation, and personal expression. Through demonstration, presentations, discussions, and hands-on experience, we will explore traditional and non-traditional neon techniques and their integration with mixed-media. Students will engage in tasks designed to foster rigorous and thoughtful artmaking. By applying these techniques in both the studio and the sketchbook, they will develop a focused approach to exploring ideas, allowing for both creative expression and technical proficiency with a goal of developing a vocabulary in neon and mixed materials. Working with neon is technically difficult and failure will be a large part of the learning process. During the workshop we will come to understand the value of failure as part of the creative process and what it can teach us in all areas of our lives. All levels.

Studio artist; associate professor of light at NYSCC at Alfred University (NY); other teaching: Tsinghua University (Beijing), Pilchuck (WA), Penland; John Michael Kohler Arts Center Arts/Industry Residency (WI); recent exhibitions: Akron Museum (OH), Windgate Museum of Arts (AK), Museum of Glass (WA), Delaware Contemporary Museum (DE), Traver Gallery (WA), Cité des Arts International (Paris), Kummelholmen (Sweden).

sarahblood.com | @sarah_blood

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

METALS – SUMMER SESSION 2
JUNE 1-13, 2025 (11 STUDIO DAYS)
Laura Wood
Multicolor

This workshop will focus on developing shape, form, and color in multiples using the hydraulic press, hand fabrication, and enamel. Students will build a small collection based on a chosen shape using custom silhouette dies. As they develop a robust library of metal components, we will introduce the basics of sifted enamel. Soldering strategies and engineering for jewelry findings in non-ferrous metals will be demonstrated throughout, and we will discuss fabrication skills specific to ear wires, linking mechanisms, tab settings, and pin backs. The two-week timeframe will provide a fast-paced atmosphere for creating a capsule collection of jewelry with vivid color. 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; teaching: Penland, Arrowmont (TN); former Penland Resident Artist; collections: Gregg Museum of Art and Design (NC), Racine Art Museum (WI), Mint Museum (NC), Enamel Arts Foundation (Los Angeles), Philadelphia Museum (PA), Yale University Art Gallery (CT), Arkansas Museum of Fine Arts (AR), Crocker Art Museum (CA).

laurawoodstudios.com | @laurawoodstudios

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

METALS – SUMMER SESSION 2
JUNE 1-13, 2025 (11 STUDIO DAYS)
Charity Hall
Kinetic Sculpture

Think. Design. Build. In this fabrication-intensive workshop, students will create small kinetic sculptures and automata. We will work with copper, brass, silver, and steel and also incorporate alternative materials such as wood, stone, and paper. We will start by fabricating small kinetic samples to understand basic mechanisms and then build small desktop or wall-mounted interactive sculptures. Construct your own hinges, ball and socket joints, crank shafts and more as you explore mechanisms, movement, and design. Tap into your boundless imagination as you learn from demonstrations, discussions, and experimentation. The workshop will cover basic fabrication techniques, including sawing, piercing, carving, and soldering. All levels. Lower metals studio. 

Studio artist; teaching: Pima Community College (AZ), Idyllwild Arts Academy (CA), Pocosin Arts (NC), Campbell Folk School (NC), Metalwerx (MA); collections: Yale University Art Gallery (CT), Philadelphia Museum of Art, Arkansas Museum of Fine Arts (AR), Mint Museum (NC), Crocker Art Museum (CA). Artist photo by Jina Seo. 

charityhall.com | @metalbug00

You can see videos of Charity’s kinetic pieces here.
https://charityhall.com/kinetic-insects/

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

PHOTO – SUMMER SESSION 2
JUNE 1-13, 2025 (11 STUDIO DAYS)
Brooke White
Photographing Place with Film

In this workshop, students will use 35mm film cameras to explore the concept of place. We will identify qualities that make the Penland area unique and consider how to express them through the medium of analog, black-and-white photography. We will cover camera functions, film processing, and darkroom printing. From the magic space of the darkroom, students will produce photographs that showcase their engagement with the local environment. All levels. 

Professor and director of the school of art and design at University of Illinois; Fulbright Scholar Award; exhibitions: Hammer Museum (Los Angeles), Georgia Museum of Art, Chrysler Museum (VA), Ogden Museum of Southern Art (New Orleans), Mississippi Museum of Art, Mamia Bretesche Gallery (France); publications: Oxford American, Aint Bad Magazine, Give and Take: Motherhood and the Creative Process, Reckonings and Reconstructions: Southern Photographs from the Do Good Collection.

brookecwhite.net | @brookecwhite_studio

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

PRINT/LETTERPRESS – SUMMER SESSION 2
JUNE 1-13, 2025 (11 STUDIO DAYS)
Emmy Lingscheit
Reverse It: Relief and Intaglio

This workshop offers an immersion in the techniques and materials of relief and intaglio printmaking. Students will begin by exploring relief carving and printing techniques, including color printing and layered reductive approaches to image development, along with tool sharpening, block preparation, and registration systems. In the second week we will cover intaglio processes and introduce various methods of creating line, tone, and texture on copper plates. Students can expect to finish two or more pieces during the session; however, creative development of imagery, process exploration, and bold experimentation will also be encouraged. Bring a sense of curiosity, motivation to learn and make things, and some loose idea of the imagery you would like to work. All levels. Printmaking studio.

Associate professor at the University of Illinois, Urbana-Champaign; workshop teaching: Penland, Arrowmont (TN), Frogman’s Print Workshops (NE); residencies: Highpoint Center for Printmaking (Minneapolis), Zygote Press (Cleveland), Ucross (WY), Kohler Arts/Industry Program (WI), Vermont Studio Center; solo exhibitions: Spudnik Press (Chicago), Indianapolis Art Center, John Michael Kohler Arts Center (WI), Sheldon Galleries (St. Louis); representation: Davidson Galleries (Seattle). 

emmylingscheit.com | @emmquad

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

PRINT/LETTERPRESS – SUMMER SESSION 2
JUNE 1-13, 2025 (11 STUDIO DAYS)
Amos Paul Kennedy, Jr.
Introduction to Bad Printing

This workshop is for people who want to find new ways to use letterpress equipment to make multiples. It is designed to help the curious put ink on paper. The less you know about letterpress, the better. Put perfection to the side and come with an open mind. Introductory level.  Letterpress studio.

I was born.
I am animal.
I am human.
I live.
I live negro.
I tell you this because you will mistake me for an africanamerican BUT i am negro, a descendant of the enslaved peoples of theseunitedstatesofamerica.
I live southern.
I was born colored in Louisiana. I was raised negro. I was educated Black.

Artist photo: Amos Kennedy at Penland in 1995.

Here’s a short video of Amos talking about his work: https://www.youtube.com/watch?v=AwrJWOtmgY8&t=9s 

@kennedyprints

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

TEXTILES – SUMMER SESSION 2
JUNE 1-13, 2025 (11 STUDIO DAYS)
Rena Wood
Exploring Abstract Embroidery

This is a workshop for those who have never stitched and for experienced stitchers who want to find new inspiration. Students will learn about various styles of hand stitching and the tools and techniques used to create intuitive embroidered work. As students develop a collection of stitched samples, we will experiment with a variety of materials and discuss design elements, color gradations, and mark-making through stitching. The workshop will include demonstrations, personalized guidance, and plenty of time to explore new ideas and develop your own visual language with a needle and thread. Bring an open mind and an interest in the slow process of hand stitching. All levels. Third-floor textiles studio.

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

Associate professor at Tennessee Tech University/Appalachian Center for Craft (TN); previously visiting professor at Bloomsburg University (PA) and Skidmore College (NY); residencies: Houston Center for Contemporary Craft (TX), Arrowmont (TN), Craft Alliance (MO); Tennessee Arts Commission’s Individual Artist Fellowship in Craft; recent solo exhibitions: Dairy Barn Art Center (OH), Sarratt Gallery at Vanderbilt University (TN), Leedy Voulkos Art Center (MO).

renawood.com | @woodrena

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

TEXTILES – SUMMER SESSION 2
JUNE 1-13, 2025 (11 STUDIO DAYS)
Peggy Hart
The Blanket

Think of the blanket as a functional rectangle that can hold any design, from traditional to unconventional. We’ll consider material, weave structure, color, and construction as we create blanket designs. The workshop is designed to encourage you to take on the large project you have been dreaming of. We will use traditional blanket construction techniques, seaming sections to achieve desired width. Beginning to advanced weavers will sample weave structures and design, weave, and finish a blanket. We will use primarily natural fibers- cotton and wool- with an opportunity to explore properties of different wools and wool yarns. All levels. Second-floor textiles studio.

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

Production weaver; teaching: Penland, Harrisville Designs (NH); publication: Wool: Unraveling an American Story of Artists and Innovation (Schiffer).

blanketweave.com | @blanketweave

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

WOOD – SUMMER SESSION 2
JUNE 1-13, 2025 (11 STUDIO DAYS)
Jason Schneider
Corrugated Cardboard Construction

Corrugated cardboard is versatile and often overlooked as a material to create finely crafted objects. After laminating corrugated materials together, it is possible to create highly textured furniture, bowls, lamps, and sculpture with the bandsaw, table saw, woodturning lathe, chainsaw, and other hand and power tools. This workshop will start with the lamination process and move on to machining. We will use various subtractive processes to reveal the form within the blank. Students will leave with several finished projects and an appreciation for the potential of constructing objects from corrugated cardboard. All levels. 

Associate professor in the woodworking and furniture design program at Northern Michigan University; exhibitions: Anderson Ranch (CO), Aspen Art Museum (CO), Center for Art in Wood (Philadelphia), Museum of Craft and Design (San Francisco), Neuberger Museum at State University of New York-Purchase. 

jasonschneiderfurniture.com | @jps_furniture

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens