BOOKS – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Anna Embree
Case Binding

This workshop will explore hard and soft cover case structures for a variety of textblock types. We will consider how structural components such as sewing style and covering materials influence construction, openability, and end use. Cases will be made for newly constructed textblocks, using a variety of sewing styles, and for rebinding books that need new covers. Paper decorating techniques, endbanding, and cloth backing will be incorporated into the projects to create one-of-a-kind books and simple boxes. All levels. 

Professor in the MFA Book Arts Program at The University of Alabama; co-director of Paper and Book Intensive (MI); collections: Columbia University (NY), Baylor University Special Collections (TX), University of Central Florida (FL), Indiana University (IN), Arizona State University (AZ).

See more of Anna’s work.
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

PAPER – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Lee Emma Running
Cast Paper Sculpture

In this workshop students will explore handmade paper as a primary material for creating sculpture. Paper pulp is a material uniquely suited for sculpture: it can hold a surprising amount of detail when cast, and it can be flexible, light, and translucent. Starting with pulp preparation and basic sheet forming, students will learn to create paper forms using plaster molds, flexible molds, direct casting, and sculptural sheet forming. Beginning to advanced students will be encouraged to explore new ways of working with this versatile material. All levels. 

Studio artist;  teaching: Grinnell College (IA), University of Iowa, Nanjing University (China), Ox-bow (MI), Penland; grants: Iowa Arts Council, Populous Fund, Amplify Arts Working Group; residencies: Kohler Arts/Industry Program (WI), Ucross Foundation (WY), Jentel Foundation (WY); exhibitions: Corvallis Arts Center (OR), Form and Concept (NM), PACE Gallery (IA); installations: St. Ambrose University (IA), Iowa Department of Cultural Affairs, Bernheim Arboretum (KY), Upper Iowa University. 

leerunning.com | @lee.running
January 15 – Regular enrollment opens

CLAY – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Arthur Gonzalez
When Sculpture Talks Back

With the life-size portrait bust as our format, students will learn how to depict emotions through facial expressions and asymmetrical poses and find their way to narrative. We will work with a handbuilding method called the inside-out technique, in which the artist’s hands stand in for the muscle and bone. This technique enables the artist to manipulate the figure in a natural manner, from both sides of the clay wall, turning the clay into “skin.” The application of color will be guided by the theories of Post-Impressionism and the Bay Area Figurative Movement, representing emotion and “time of day.” We will work with a low-fire, iron-base clay. All levels. Upper clay studio.

Professor at California College of the Arts; two Virginia Groot Foundation awards and four NEA fellowships; 55 solo exhibitions including John Natsoulas Gallery (CA), John Elder Gallery (NYC), Susan Cummins Gallery (CA); collections: Museum of Modern Ceramic Art (Japan), Racine Art Museum (WI), Crocker Art Museum (CA), Oakland Museum (CA), Yingge Ceramics Museum (Taiwan), Museum of Arts and Design (NYC). 

arthurgonzalez.net | @arthur7582
Video series about Arthur
Jan 15 – Regular enrollment opens

CLAY – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
A. Blair Clemo
No Rules Mold Making

This approachable and beginner friendly workshop will demystify making and using plaster molds. With an emphasis on exploration and creative problem-solving, we will cover a broad range of techniques for making and using press molds while challenging expectations of what molds can do. A “no rules” approach will simplify mold making and result in versatile molds that can be combined with other forming processes (wheel, coil, slab) to make new and innovative forms. Demonstrations will focus on prototyping, mold making, and utilitarian pottery. We will work at cone 6 with options for oxidation and salt/soda firing. All levels. Lower clay studio.

Associate professor and head of clay at Virginia Commonwealth University; residencies: Northern Clay Center (Minneapolis), Da Wang Culture Highland (China), Zentrum für Keramik (Berlin), Jingdezhen International Studio (China), Archie Bray Foundation Invited Artist Program (MT), International Ceramics Studio (Hungary); work included in more than 130 solo and group exhibitions.

ablairclemo.com | @abcpottery
Jan 15– Regular enrollment opens

DRAWING/PAINTING – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Ian Brownlee
Narrative Drawing

This workshop will use the figure as a starting point for telling stories. Working with narrative requires us to remember something we knew in childhood: that art is a type of play. This idea will be balanced with instruction in technical drawing skills, including line, texture, shading, and perspective. We’ll draw from a live model with pencil, charcoal, and conté and then add acrylic paint and collage. Individual instruction will help each student find their own creative voice. Although we will cover technique, the emphasis will be on visual communication. Students will leave with one or more large drawings that tell their own stories. All levels.

Studio artist; teaching: Arrowmont (TN), Campbell Folk School (NC); large-scale murals in North Carolina, Tennessee, California, and Oregon; exhibitions: Blue Spiral I (NC), Asheville Art Museum (NC), Brevard College (NC), 311 Gallery (NC), Jack The Pelican Presents Gallery (NYC); work published in New American Paintings.

ianbrownlee.com | @ianbrownlee
Jan 15 – Regular enrollment opens

GLASS – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Einar de la Torre and Jamex de la Torre
The Anti-Purist Rapture

This workshop is a two-for-one deal: a sculpting workshop in the hot-glass studio and a mixed-media workshop in the classroom. In the hotshop students will make new pieces using bit working, hot assemblage, torch working, and powder pattern pick-ups. In the classroom we will cover various adhesives and coatings used to construct mixed-media assemblages. Students should bring materials they are familiar with, including found objects, to inspire mixed-media work. Our aim is to collectively think outside the object-making box. We will encourage a questioning process to make sure that hot glass—or any other medium, for that matter—works for you, the artist, and not the other way around. Students should be interested in sharing an experimental environment. Some hot glass experience will be helpful, but this workshop is open to all levels. Hot glass studio. 

Collaborating artists making mixed-media/glass sculpture, installation, and public art projects; United States Artists Fellowship, Louis Comfort Tiffany Award; Joan Mitchell Painters and Sculptors Grant; 20 solo museum shows, including a touring retrospective under the Smithsonian’s National Museum of the American Latino; participated in five biennials.

delatorrebrothers.art | Facebook

Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

GLASS – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Amy Lemaire
Beyond Tradition

Venture beyond tradition and push the boundaries of jewelry making as you explore the versatility of glass for creating wearable sculpture. This workshop will introduce you to a world of endless possibilities where traditional methods serve as a solid foundation for exploring uncharted territories of experimental technique. After practicing essential skills such as material preparation for soft glass and borosilicate, color application, and sculpting solid and hollow forms, we will explore mixed-media elements, improvised blow molds, and unique surface textures. Expect to gain a fresh perspective on the possibilities of glass jewelry, a deeper understanding of flameworking practices, and a new collection of unique pieces that reflect your personal style. All levels. Flameworking studio. 

Studio Artist; teaching: Salem Community College (NJ), Pilchuck (WA), UrbanGlass (NYC); Teaching Artist Cohort Grant from Center for Craft (NC), Acquisition Award/MAD About Jewelry from Museum of Arts and Design (NYC); recent exhibitions: SARAHCROWN (NYC), Mahnaz Collection (NYC), Delaware Contemporary (DE); representation: SARAHCROWN (NYC); collections: Museum of Arts and Design (NYC), Ringling Museum (FL). 

amylemaire.com | @amylemairestudio
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

IRON – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Eric A. Ryser
Contained

This workshop will focus on vessel forms as students design and construct objects that express their interpretation of the word “contained.” We will cover the fundamentals of layout, forging and fabrication, and surface decoration. Techniques will include hand- and power-hammer work, welding, sheet metal construction and joinery, hot and cold press operation, texturing, etching, coloring, and more. Individual creativity will be encouraged in the creation of both sculptural and functional objects. The workshop will fuse traditional and contemporary finishing processes. Group conversations and individual instruction will be an ongoing part of the workshop. All levels. 

Studio artist; teaching; Kansas State University, Southern Illinois University-Carbondale, Appalachian Center for Craft (TN), Penland; exhibitions: Nerman Museum of Contemporary Art (KS), Alice C. Sabatini Gallery (KS), Cranbrook Art Museum (MI), Metal Museum (TN), Fuller Craft Museum (MA).

ryserforge.com | @ericryser
January 15 – Regular enrollment opens

METALS – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Jina Seo
Identity and Material Exploration

This workshop will explore ways of combining metal components with other materials to create wearable pieces that express your interests, identity, and representation of the body. We will explore deconstructing and constructing various kinds of materials: raw materials, industrial and domestic items, natural components, old and used objects, etc. Students are encouraged to bring materials from home. Technical information will include soldering, various pin mechanisms, and  cold connections such as rivets and tab settings. We will also cover the basics of photographing your work. 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.

Associate professor at Missouri State University; residencies: Penland Winter Residency (NC), Arrowmont Pentaculum (TN), Smitten Forum at Pocosin Arts (NC); recent exhibitions: Gallery Baum (Korea), Baltimore Jewelry Center (MD), New York City Jewelry Week (NY), Contemporary Craft (PA), Penland Gallery; collection: Mint Museum (NC).

 jinaseo.com | @jinaseo_jewelry 
January 15 – Regular enrollment opens

METALS/IRON– SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Sarah Holden
Steel for Jewelers: From Mild to Wild

Students in this workshop will explore steel at the scale of jewelry. Our first focus will be fabrication as we discuss the differences between soldering, brazing, and welding and experiment with all of them. Students will then be able to create sheets of patterned steel with wire and/or make jewelry and/or small objects from steel sheet. We will cover pattern development and material behavior and discuss creative linkages, surface design, preservation techniques, and incorporating steel into jewelry designs. All levels. Lower metals studio. 

Studio artist; teaching: Chicago Industrial Arts and Design Center, University of Wisconsin-Milwaukee, Evanston Art Center (IL), Lillstreet Art Center (IL); Illinois Arts Council Individual Artist Grant (IL); exhibitions: Fuller Craft Museum (MA), Specific Gravity (NY), Quirk Gallery (VA), Penland Gallery (NC); representation: Baltimore Jewelry Center (MD), Equinox Gallery (TX), Gallery 2052 (IL), Ombre Gallery (OH); collections: Mint Museum (NC), Racine Art Museum (WI). 

sarahholdenmetalsmithing.com | @holdensc
January 15 – Regular enrollment opens

PHOTO – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Jim Stone
View Camera Workshop

The view camera may seem daunting, but it is easily mastered. Its contemplative, methodical approach rewards users with photographs of the highest quality. We will learn to use the large-format camera, control focus and perspective, develop sheet film using a simplified zone system, make enlargements in a darkroom, and scan negatives for digital printing. Alternative and historic printing methods will be discussed but not practiced. It will be helpful if students are familiar with the rudiments of traditional black-and-white photography — exposure, film development, and darkroom printing — but this workshop is open to all levels.

Distinguished Professor of Photography at the University of New Mexico, 2016 Honored Educator at the Society for Photographic Education conference; author of six textbooks widely used for university-level photography courses including A User’s Guide to the View Camera; collections: Museum of Modern Art (NYC), Museum of Fine Arts Boston, American Art Museum (DC), Los Angeles County Museum of Art. 

jimstone.com
January 15 – Regular enrollment opens

PRINT/LETTERPRESS – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Andrew Rubin
Reductive Relief Class

Using Penland’s letterpress studio and its four Vandercook presses, students will plan and print two editions during this workshop. The first will be a four-color process print in perfect registration, which will familiarize students with the reductive process for making multi-color prints from a single block. For the second edition, we will loosen things up, work in different sizes, and add the possibility of chine collé, stencils, monoprinting, and blend rolls. These prints will become part of an exchange portfolio so each student will have a suite of prints from the session. Demonstrations will also include Vandercook press maintenance, troubleshooting, inking, and cleaning. All levels. Letterpress studio.

Instructor of printmaking at University of Wisconsin-Madison; former master printer for University of Wisconsin-Madison’s Tandem Press; has collaborated with more than 75 artists including Jim Dine, Alison Saar, Robert Cottingham, Ruth Weisberg, and Judy Pfaff.

andyrubin.com | @amrubin55
January 15 – Regular enrollment opens

TEXTILES – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Libby O’Bryan and Jonnie Rettele
Capsule Wardrobe Design/Build 

Learn to build pieces of your dream wardrobe using the on-trend patterns from our company, Open Studio. Sewing and pattern-making techniques will build your skills in construction and fit, while a dialogue around labor, craft, and consumption will fuel your home sewing practice. We will start by making a class “uniform” that offers several variations. Then we will shift into a more independent direction, teaching how to hack Open Studio patterns to make garments just for you. We will help you discover your personal style through the most sustainable fashion choice—making your own clothes! All levels. This workshop takes place in a third-floor walk-up studio that has partial access by a stair lift.

Libby: owner and founder of the industrial sewing factory and design studio Sew Co and the clothing brand Rite of Passage; co-founder of Open Studio Patterns; exhibitions: Chicago Cultural Center, Knoxville Museum of Art, Southeastern Center for Contemporary Art (NC), Center for Craft (NC). 

wcsewco.com | @sew_co | riteofpassageclothing.com | @riteofpassageclothing

Jonnie: independent designer who began by producing her own menswear clothing line for the contemporary fashion market in 2009 then expanded into naturally-dyed quilts and interior soft goods for custom clients and large retailers; co-founder of Open Studio Patterns with industry peers Libby O’Bryan and Leigh Hilbert to empower home sewists to make their own clothing.

openstudiopatterns.com | @openstudiopatterns
January 15 – Regular enrollment opens

TEXTILES – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Rachel Meginnes
Rag Weaving and Material Meaning

Part concept-based, part technique-based, this workshop will layer the fundamentals of weaving on a loom with the deeper meaning materials hold. Taking a no-holds-barred approach, we will work with found materials such as paper, fabric, flora and more, and learn to ready these materials for weaving on a floor loom. We will discuss the way meaning embeds itself in material and explore how the act of collecting and reclaiming can embolden one’s work. Students should bring a collection of materials (old clothes, fabric, ephemera) as well as digital imagery they might like to play with. They can expect to leave with exploratory studies, finished weavings, and knowledge of how to warp and weave basic structures on a 4-harness loom. All levels. This workshop takes place in a second-floor walk-up studio that has partial access by a stair lift.

Studio artist, creative coach; teaching: Earlham College (IN), MAIWA School of Textiles (British Columbia), Haystack (ME), Arrowmont (TN), Penland; residencies: Penland School Resident Artist Program, Jentel Foundation (WY); collections: Art in Embassies Collection (Amman, Jordan), Cameron Art Museum (NC), University of Arkansas at Little Rock; representation: Tracey Morgan Gallery (NC), Hodges Taylor (NC). 

rachelmeginnes.com | @rachelmeginnes
January 15 – Regular enrollment opens

WOOD – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Matthew Hebert
Digital Carving in Wood

This workshop will introduce the exciting potential of carving and shaping wood using a CNC router. We will start with the basics of 3D modeling and quickly develop designs for small sculptures or vessels that will be carved from wooden blanks. We will work with Rhino software and Penland’s Shopbot. After the CNC process is done, there will be time to explore finishes such as painting, patina, burning, etc. Demonstrations and discussions will cover contemporary techniques of digital design and manufacture ranging from surface modeling to photogrammetry (creating 3D meshes through photography). These processes can be useful for a range of materials and studio practices. All levels. 

NOTE: Students in this workshop should bring a laptop computer if they can. If you are enrolled and cannot bring a computer, please contact Nadia Massoud at studio_operations@penland.org.

Associate professor at San Diego State University (CA); residencies: Emma International Collaboration (Canada), Artifact Gallery University of California, San Diego (CA); exhibitions: Athenaeum Music and Arts Library (CA), Mingei International Museum (CA), Blue Spiral 1 (NC), Wayne Art Center (PA); collections: City of San Diego (CA), Athenaeum Music and Arts Library (CA). 

eleetwarez.net | @eleetwarez
January 15 – Regular enrollment opens