Summer 2020 Sarah Parkinson We Help People Live Creative Lives Penland School of Craft is an international cen- ter for craft education located in the Blue Ridge Mountains of North Carolina. Penland’s workshops run the gamut from beginning to professional level; they serve people who teach, people who make a living out of their studios, and people who simply want to live creative lives. Everybody learns from each other. The only prerequisite for participation is a passion for learning. Penland’s beautiful and isolated environment, its historic campus, its shared eating and living spac- es, and its well-equipped studios create a special community atmosphere that inspires creativity and enhances learning. Total immersion workshops are a uniquely effec- tive way of learning. Penland operates free from the constraints of grades, degrees, and linear cur- ricula and benefits from the talents of guest faculty from around the world. This combination allows the school to offer a flexible and diverse program that supports craft traditions while reshaping craft in the context of the contemporary world.

Catalog Credits Robin Dreyer, editor Ele Annand, design Sarah Parkinson, editorial assistance Leslie Noell, program director Penland photos by Robin Dreyer except where noted Thanks to Courtney Dodd, Kathryn Gremley, Tammy Hitchcock, Mia Hall, Amanda Hollifield, Abigail McKinney, Printed by Blue Ridge Printing, Asheville, NC

Penland School of Craft is a nonprofit, tax-exempt institu- tion. The school receives support from individuals, founda- tions, corporations, and the North Carolina Arts Council, a division of the Department of Natural & Cultural Resources. www.ncarts.org. Cover: Studio assistant Dani Giannone working in the iron studio. From the Director Index Objects made and experienced by hand serve as an important counterpoint to the increasingly digital culture we find ourselves in. At Penland, materials and making are a means to under- Matrix of Workshops ...... 2–3 standing, interpreting, and communicating with the world. Each of the workshops described Registration ...... 39 Scholarships ...... 42 in this summer catalog is an opportunity to connect with your creative impulses and with Support for Penland ...... 45 materials, processes, and objects. Other Programs ...... 48

Penland’s collaborative atmosphere of community learning serves people whose lives are focused on making things, as well as those who engage with craft as an enhancement to their Books and Paper ...... 4–7 lives. We are often asked if you have to be an experienced artist to attend Penland. We always say Clay ...... 8–11 Drawing and Painting ...... 12–13 no, but you do have to be serious about engaging with a community of people who care deeply, Glass ...... 14–17 penland.org share freely, and sometimes stay in the studio until the wee hours of the morning. You have to Iron ...... 18–19 On our website, you’ll find all the infor- be open to working hard, learning a lot, making friends, finding new pathways, and letting your Metals ...... 20–23 mation in this catalog, links to instructor mind and creativity roam. Photography ...... 24–25 websites, frequently asked questions, travel information, details about our studios, pho- Printmaking and Letterpress . . . . 26–29 I hope you will join us this summer! tos, video, our blog, and links to our social Textiles ...... 30–33 media feeds. Wood ...... 34–35 Specials ...... 36–37

Mia Hall, director

“My three visits to Penland have been pivot points, touchstones, milestones, guideposts in my creative journey—the full effects and significance of which will only become evident with time.”

Rachel, textiles student Session Books & Paper Clay Drawing & Painting Glass Iron pages 4–7 pages 8–11 pages 12–13 pages 14–17 pages 18–19

Hong Hong Lindsay Oesterritter Susan Goethel Campbell Jasen Johnsen & Christoph Friedrich Body & Landscape: Innovation: One Pot at a Time Investigations in Materiality Karen Willenbrink-Johnsen From Technique to Ideas 1 The Large-Scale Pour Hot Glass Sculpting May 24 – June 5 two weeks Lynn Duryea & Holly Walker Jeff Heath Stretch the Limit Making with Intent

Maria Veronica San Martin Sanam Emami Harriet Hoover Boyd Sugiki & Lisa Zerkowitz Daniel Souto & Stephen Yusko 2 Creating Artists’ Books Pottery: Vessels for Food Stretch It, Flip It, Reverse It Form, Color & Professional Practice Material Studies June 7 – 19 two weeks Delaney Smith Del Harrow Caterina Zucchi Recording Surfaces Building Systems Blown Glass Beads: Skills & Shapes

Frank Hamrick Courtney Martin Rosy Lamb Kazuki Takizawa Ellen Durkan Handmade Paper & Artists’ Books Slab, Coil, Decorate, Fire Painting What You See Exploring Creativity with Fitting & Forging: 3 Cane & Murrini Wearable Bustiers & Chest Pieces June 21 – July 3 two weeks Shiyuan Xu John Littleton & Kate Vogel Building Structures with Paperclay Captured in Glass

Rory Sparks Sue Tirrell Curtis Bartone Nancy Callan & Mel Douglas Maegan Crowley 4 Fluxbooks Stories in the Round Beyond Tradition Intertwine Material Exploration = Inspiration July 5 – 17 Forrest Lesch-Middelton two weeks Andrea Peterson Handmade Tile: Design, Anne Petters Papermaking in the Field Create, Install The Poetics of Glass

John DeMerritt Kyle Carpenter & Michael Kline Alberto Mier Megan Biddle Vivian Beer & Hannah Vaughan Contained Within: The Seasoned Surface Sketchbook: Your Creative Gathering Momentum Design on Fire 5 Boxes & Enclosures Playground July 19 – August 4 Arturo Córdova & two and one-half weeks Elizabeth Alexander Cristina Córdova Lisa Demagall Cast Paper Sculpture Sculpture in Motion Delighting in the Details

Béatrice Coron & Colette Fu Michael Sherrill Yolanda Sánchez Joe Grant Jay Burnham-Kidwell Prep! Cut! Pop! The Unified Object: Color, Sense of Place Make It Happen! Hearth to Table 6 Form, Surface August 9 – 21 two weeks Pattie Chalmers Kimberly Thomas-Zii Everything & More Mean What You Say

Jeffrey Altepeter Heesoo Lee Leigh Suggs Michael C. Krupiarz Andrew Kyte Traditional Calf Bindings Dimensional Expression Changing Perspective: Observe & Execute Distilling Design 7 May Babcock & Lindsey Beal on Ceramic Surfaces Experimenting with Paper Elena Renker Michael Endo August 23 – 29 Foraged Photographs: Cyanotypes one week & Handmade Paper Kurinuki Constructed Images Metals Photography Print & Letterpress Textiles Wood Specials pages 20–23 pages 24–25 pages 26–29 pages 30–33 pages 34–35 pages 36–37

Rachel Shimpock Pipo Nguyen-duy Yoonmi Nam Jeana Eve Klein Yuri Kobayashi Susan Goethel Campbell Electroformerrific Sites & Locations All About Mokuhanga Say It Softly Expedition to Curves Investigations in Materiality

Nicole Jacquard Andrea Donnelly Make, Think, Discuss, Repeat Woven Cloth, Raw Material

Lauren Markley Jim Stone Kasey Ramirez Akemi Nakano Cohn Laura Mays Fabrication for Sculptural Jewelry View Camera Workshop The Woodcut: Beyond Black Katazome, Natural Dyes & Indigo Right Angles, Wrong Angles & White

Masakatsu Chiba & Yurico Saka Ben Blount Traditional Japanese Engraving The Collaborative Printer

Sharon Massey Richard Tuschman Kristina Paabus Graham Keegan Adrien Segal Contemporary Enamel The Poetic Photograph Intaglio & the Hybrid Print Natural Dye Block Print Carve, Bend, Shape Jim Sherraden Jaydan Moore Opening & Pushing the Mo Kelman Fabrication Envelope in Letterpress Skins, Skeletons, Nets & Knots

Richard Elaver Elizabeth Ellenwood John Hitchcock Jessica V. Gatlin Sylvie Rosenthal Making a Spectacle Cameraless Photography Screenprint Demo City! Suit Yourself Hybrid Object Laboratory

Cat Bates Glamour & Grit: Sand Casting David Wolske Adele Stafford for the Jeweler The Art of Typography Cloth Is Material

Masako Onodera Jeff Goodman Andrew Polk & Kathryn Polk Ann B. Coddington Raivo Vihman Raivo Vihman Material Exploration: Photography in the Fourth Dimension Stone Lithography Sculptural Basketry + Timber Vernacular Timber Vernacular Bodies & Senses Bryce McCloud Bryce McCloud Adam Whitney The Interactive Print-O-Rama Elisabeth Hill The Interactive Print-O-Rama Raising & Shaping Metal Vessels Do-Gooders Social Art Gathering Limitations as License Do-Gooders Social Art Gathering

Ruta Reifen Susan Bryant Asuka Ohsawa Yoshiko I. Wada Daniel Michalik Daniel Michalik Ready, Set, Wax! Hand Coloring Black & Screenprint Essentials Boro Transformed Cork Cork White Prints

Julia Woodman Brad Vetter Edwina Bringle Flatware with Tessellation Lasers & Letterpress Class of Possibilities

Edna Madera May Babcock & Lindsey Beal Stephanie Metz Aspen Golann & Julian Watts Leigh Suggs Gold Fusing Foraged Photographs: Cyanotypes Felt: Fiber in the Round Sculptural Carving: Spoons Changing Perspective: & Handmade Paper Experimenting with Paper Kim Cridler Hillary Waters Fayle Hillary Waters Fayle Drawn: The Sensitive Line Plants: Muse, Medium & Material Plants: Muse, Medium & Material Books & Paper 1 May 24–June 5 1 of 2 Hong Hong Body & Landscape: The Large-Scale Pour See also Changing Perspective: Code 01PM Experimenting with Paper on An expansion on Nagashizuki and Nepalese page 13 papermaking, the large-scale paper pour is an active, environmental process. We’ll begin Workshops listed as “all levels” with fundamentals such as bark cooking, pulp welcome serious students beating, and vat dyeing. Then we’ll collaborate of any skill level, beginning to make 8 x 8 foot sheets of paper while ex- to advanced. ploring pattern-making and mark-making techniques such as spraying, dripping, sprin- Scholarship information kling, wet collaging, and embedding. Students begins on page 42. will build their own 4 x 8 foot moulds for class and home use. In this physically demanding Students may enroll in one workshop, we’ll work indoors and out, indi- workshop per session. vidually and collectively. All levels. Studio artist; teaching: Women’s Studio Workshop (NY), Wellesley University (MA), Longwood Univer- sity (VA); residencies: MacDowell (NH),Yaddo (NY); solo exhibitions: Yeiser Art Center (KY), Bedford Gallery (VA), Lane Art Gallery (OR). honghong.studio

Hong Hong, the artist with Composition for That Which Is Real, mulberry bark, dye, salt, sun, water, dust, pollen, hair, repurposed paper, 192 x 144 inches 4 2 June 7–19 3 June 21–July 3 Maria Veronica San Martin Delaney Smith Frank Hamrick Creating Artists’ Books Code 02B Recording Surfaces Code 02PM Handmade Paper & Artists’ Books Students in this workshop will create artists’ In this experimental workshop, students will Code 03PM books by examining their history, concepts, create dynamic surfaces and forms with hand- In this workshop, we’ll make rag paper from aesthetics, and techniques. We’ll start by looking made paper. We’ll prepare cotton and abaca your old cotton and linen clothes and incorpo- at examples and asking basic questions about fibers in the beater and then use paper/pulp rate it into various book structures including artists’ books: What are they? How do they casting techniques to achieve a variety of forms hardcover pamphlet, accordion, longstitch, case differ from traditional books? What is their from site-specific castings and moulds made in bound, Japanese, and Coptic bindings. More place in visual art and cultural criticism? Then class using plaster, hydrostone, or alginate. Stu- experienced students can experiment with ad- we’ll cover collage, painting, drawing, and hand dents are also encouraged to bring objects or vanced forms such as z-fold and dos-a-dos. We’ll press printing methods along with a variety of materials to use in casting. In addition to ex- talk about editing and sequencing content, and adhesive and nonadhesive bookbinding tech- perimenting with 3-d paper techniques, stu- how size, material, and structure choices can niques. Finally we’ll work together to find dents will be guided through several creative support subject matter. We’ll have options for ways to interpret messages through different activities designed to encourage ideation and placing imagery or text into our books digitally book formats as students conceptualize and growth. All levels. or manually. We’ll divide our time between the create their own projects. Students will learn Artist, designer, educator; teaching: Arrowmont (TN), book and papermaking studios. All levels. to build content, forms, and 3-d spaces by Oil & Cotton (TX), Eastfield College (TX); exhibi- Professor at Louisiana Tech University; teaching: means of artists’ books. All levels. tions: 500X (TX), Vignette 2019 (TX); collections: University of Georgia’s Cortona Italy Program, Art Studio artist; teaching: Center for Book Arts (NYC), Texas Women’s University. Institute of Boston Mentor Program; collections: Art Universidad de Chile; collections: Centre Pompidou delaneysmithstudio.com Institute of Chicago, Amon Carter Museum (TX), (Paris), Metropolitan Museum (NYC), Walker Art Ogden Museum (New Orleans). Center (Minneapolis). Delaney Smith, NO #6, cast handmade abaca frankhamrick.com mveronicasanmartin.com paper, 41 x 37 inches Frank Hamrick, It Was There All Along, Maria Veronica San Martin, Indignity and handbound artist’s book with relief Resistance in the Foothills of the Andes, accordion printed cover, 87/8 x 9 x 5 inches book, 131/4 x 10 x 11/4 inches 5 Books & Paper 2 of 2

4 July 5–17 5 July 19–August 4 Rory Sparks Andrea Peterson John DeMerritt Elizabeth Alexander Fluxbooks Code 04B Papermaking in the Field Code 04PM Contained Within: Boxes Cast Paper Sculpture Code 05PM This class will present a brief history of the In this workshop, we’ll dive into making paper & Enclosures Code 05B This workshop will be an in-depth explora- Fluxus art movement of the 1960s and engage from a variety of plants: garlic leaf, field pea This workshop will explore a systematic and tion of sculpting with a wonderfully versatile with the playful humor it’s known for. Through stem, sisal, cattails, hay, and wheat straw plus formula-based approach to creating boxes, material. We’ll cover a variety of techniques a series of lively prompts and spirited games, other possibilities presented locally, which may housings, and enclosures for books and objects. for casting paper forms from objects to cre- each student will make unique books inspired include knotweed, kudzu, and garlic mustard. Students will spend the first part of the work- ate seemingly weightless assemblages that can by this art form, which relied on elements of We’ll cover selecting and gathering plants, in- shop making uniformly-sized clamshell boxes as be painted, cut into, collaged onto, etc. We’ll chance and viewer participation. We’ll also tensive cooking, beating, pigmenting, and sheet they learn covering techniques, miters, cutting cast with pulp, freshly made paper, and found explore kits and instructions as compan- forming. With our dry papers, we’ll explore sequences, templates, formulas, and adhesive paper and touch on cutting, forming, assem- ion pieces to our books as we delve into the fold strength, surface dyeing, paste papers, and awareness. The second part will focus on the bling, and installation art. We’ll have critiques connection of art and life through play. We’ll suminagashi to fully understand the capability construction of one or more custom enclosures. and group discussions throughout the session as cover several book structures with variations of these fibers as finished paper. This physically We’ll explore wells, recessed areas, alternative the work develops. Open to anyone who enjoys on each, including whimsical page treatments active workshop will include harvesting plants structures, laminating, tongue and groove hing- exploring and experimenting with materials. such as spinning wheels, pull tabs, and pock- by hand and cooking fiber over a wood fire. ing, and, time permitting, foil stamping and All levels. ets and also construct simple paper and board All levels. surface decoration. All levels. Associate professor at University of North Carolina boxes and enclosures to house our inspired Assistant Professor at School of the Art Institute of Owner of John DeMerritt Bookbinding (CA); teach- School of the Arts; solo exhibitions: William King creations. All levels. Chicago; exhibitions: Brauer Museum of Art (IN), ing/lectures: San Francisco Center for the Book, Museum (VA), Southeastern Center for Contemporary Studio artist, edition binder, printmaker; teaching: Kral Art Center (MI), Robert C. Williams Museum Columbia College Center for Book and Paper Arts Art (NC), Boston Sculptors Gallery; finalist for Mu- Pacific Northwest College of Art (Portland), Ore- of Papermaking (GA); collections: Metropolitan (Chicago), Visual Studies Workshop (NY), North seum of Arts and Design Burke Prize; collections: gon College of Art and Craft; founder of Working Museum (NYC), Fort Wayne Museum (IN). Bennet Street School (Boston). Crystal Bridges Museum (AR), Mint Museum (NC). Library (Portland) and Em Space Book Arts Cen- hookpotterypaper.com johndemerrittbookbinding.com elizabethalexanderstudio.com ter (Portland); exhibitions: c3:initiative (Portland), Joseloff Gallery (CT). Andrea Peterson, Natural Fiber Papers, various John DeMerritt, Hockney, Brillianta bookcloth, Elizabeth Alexander, Let Him Speak First rorysparks.studio fibers, 18 x 24 inches each imitation leather, Eska board, gray foil, (Positives), extracted wallpaper print, adhesive, 10 x 13 x 4 inches wood, 96 x 120 x 70 inches Rory Sparks, Way Finding, paper, letterpress, wood, cloth, 1 x 1 x 1 inch each 6 6 August 9–21 7 August 23–29 Béatrice Coron & Colette Fu Jeffrey Altepeter May Babcock & Lindsey Beal Prep! Cut! Pop! Code 06B Traditional Calf Bindings Code 07B Foraged Photographs: This workshop will explore ways to cut stories In this workshop, students will create replica Cyanotypes & Handmade Paper Code 07P in paper and make them pop up! Students will 18-century trade-style bindings. Daily demon- This workshop will integrate hand papermak- learn composition, stenciling, and paper cutting strations will provide a foundation of tradi- ing and cyanotype printing. We’ll make paper techniques and make paper dimensional with tional binding methods as we produce struc- from sustainably harvested plants and tradi- basic-to-complex pop-up techniques including turally accurate historic models. The books tional fibers and create sheets using deckle platforms, rotating discs, and pull tabs. We’ll will be sewn on cords laced into boards then boxes and multiple pulps. Using cyanotype and also cover adapting pop-up mechanisms to covered in leather. Equal attention will be given anthotype, we’ll create photograms from for- other materials (glass, cardboard, metal) to the period aesthetic through the use of aged plants and print photographs from dig- along with possibilities using Photoshop, 3-d historical staining recipes to create sprinkled, ital negatives. Cyanotype creates blue images programs, and animation. Students will learn splattered, mottled, and marbled calf. We’ll that can be toned to other colors. Anthotypes to incorporate their own art into structures add decorative tooling with period-accurate are made with photosensitive plant emulsions. to create unique papercuts, pop-up books, finishing tools. All levels. Working in both studios, students will build cards, installations, and art works. All levels. Head of bookbinding at North Bennet Street School a supply of handmade papers, print unique Béatrice: studio artist; teaching: Arrowmont (TN), (Boston), other teaching: Paper and Book Intensive images, and learn to create environmentally Ox-Bow (MI); collections: Metropolitan Museum (MI), Guild of Book Workers, Penland. conscious artwork at home. All levels. (NYC), Getty Museum (Los Angeles). Colette: May: studio artist; teaching: Rhode Island School studio artist; teaching: Haystack (ME), Arrowmont Jeffrey Altepeter, 18th-Century-Style Panel Binding of Design, Women’s Studio Workshop (NY). Lindsey: (TN), Ox-Bow (MI); collections: Metropolitan Mu- and Marbled Sample Plaquette, calfskin over studio artist; teaching: Rhode Island School of Design, seum (NYC), Library of Congress (DC). boards, 5 x 7 inches each Massachusetts College of Art and Design. beatricecoron.com  colettefu.com maybabcock.com  lindseybeal.com

Béatrice Coron, Magical Ride, handcut Tyvek, May Babcock and Lindsey Beal, Lamina: Eddy 35 x 35 inches 1–4, artist-made pulp paintings on pigmented Colette Fu, Kaifuna from We Are Tiger Dragon cotton, flax, and corn husk, cyanotype, People series, inkjet prints, board, cloth, adhe- gouache, 81/2 x 11 inches sives, 17 x 25 x 18 inches 7 Clay 1 May 24–June 5 1 of 2 Lindsay Oesterritter Lynn Duryea & Holly Walker Innovation: One Pot at a Time Code 01CA Stretch the Limit Code 01CB Workshops listed as “all levels” This workshop will focus on the investigations Explore the potent possibilities of form and welcome serious students and explorations that go into creating and scale with two long-time handbuilders: Lynn of any skill level, beginning refining functional pottery forms. Mostly using is a minimalist sculptor and inventor of the to advanced. stoneware, we’ll work on the wheel and use SlabSling; Holly is a coil and pinch potter. Using handbuilding techniques including slab, carving, handbuilding and various idea-generating meth- Scholarship information and coil. We’ll also cover bisque molds, spouts ods, we’ll investigate how materials, process, begins on page 42. and handles, mark making, and incorporating and technique intersect to produce work with inspirations. Although we’ll focus on explora- depth and meaning. Using earthenware and Students may enroll in one tion, students can expect to take home a few electric firings, we’ll explore surface potentials workshop per session. completed new forms and many more investi- in applications appropriate for both sculptural gations and ideas. The workshop will include and functional work, ranging from subtle and daily discussions, demonstrations, and experi- soft to exuberant color. All levels. ment-oriented exercises. Bisque fire only. Lynn: studio artist, professor emerita at Appalachian All levels. State University (NC); exhibitions: Fuller Craft Studio artist; teaching: Arrowmont (TN), Archie Museum (MA), Center for Maine Contemporary Bray (MT), Watershed (ME); residencies: Arrow- Art. Holly: studio potter; teaching: Haystack (ME), mont, Strathnairn Arts Association (Australia); Rhode Island School of Design; representation: exhibitions: Flower City Invitational (NY), Old Akar (IA), The Clay Studio (Philadelphia). Church Pottery Show (NJ), Smithsonian Craft Show lynnduryea.com  hollywalkerceramics.com (DC), author of Mastering Kilns & Firing. loceramics.com Lynn Duryea, INSERT/WIDE and INSERT/ DEEP, earthenware and kanthol wire, Lindsay Oesterritter, Dessert Bowl, iron-rich 81/2 x 16 x 31/2 inches, 13 x 101/2 x 33/4 inches stoneware, 3 x 5 x 5 inches Holly Walker, Checkerboard Jar, terracotta, colored slips and glazes, 81/2 x 81/2 x 8 inches 8 2 June 7–19 3 June 21–July 3 Sanam Emami Del Harrow Courtney Martin Shiyuan Xu Pottery: Vessels for Food Code 02CA Building Systems Code 02CB Slab, Coil, Decorate, Fire Code 03CA Building Structures with Paperclay Serving dishes contain and serve; they hold This workshop will explore a range of systems In this workshop we’ll create platters and Code 03CB our favorite foods and our cultural histories. and techniques for creating volumetric, hand- serving dishes using building techniques in- From organic life forms to mechanical parts In this workshop, we’ll explore a range of his- built sculptures with a focus on problems of cluding slab and coil construction. We’ll add to mathematical theories, structures exist toric and contemporary ideas for serving and scale, gravity, and architecture. We’ll engage handles and feet, carve textures and patterns, everywhere. This workshop will explore var- storing everything from small delicacies to in demonstrations, reading, discussions, and and consider the specific functional/visual ious structural units and investigate different main courses. These ideas—organized around critiques, and techniques will include building balance of these pots. Using wax and latex handbuilding techniques to create structural the space of the table—will be the starting with coils and slabs, using one-part plaster resists with glaze, we’ll explore pattern ideas forms with porcelain paperclay. We’ll prepare point for imagining the form, scale, surface, molds, glazing and electric firing (cone 04 oxida- on our pots. The work will be finished in salt our own paperclay and learn the properties of and structure of pots. We’ll use mid-range tion). We’ll draw inspiration from the sympa- and soda kilns. All levels. this more forgiving material. We’ll develop our clays, glazes, and slips and explore a variety of thetic creative practices of music and poetry Studio artist; teaching: Arrowmont (TN), Penland; work by experimenting with methods such as solutions to transform drawings and sketch- and their use of system, material, and formal exhibitions: Smithsonian Craft Show (DC), Cousins pinch pot, slab, coil, slip-trailing, and dipping es into 3-d clay forms. Bring family recipes thinking to generate creative expression. in Clay (NC), solo at Signature Shop (Atlanta). found objects. The workshop will include daily and sketches of ideas for serving dishes. Basic All levels. courtneymartinpottery.com demonstrations, discussions of contemporary wheelthrowing skills will be helpful, but this Associate professor at Colorado State University; artwork, and individual meetings. All levels. workshop is open to all levels. other teaching: Haystack (ME), Anderson Ranch Courtney Martin, Handled Tray, wood-fired Studio artist; teaching: Lillstreet Art Center (Chicago), Associate professor at Colorado State University; (CO); exhibitions: Museum of Fine Arts Boston, stoneware, 5 x 10 x 20 inches Lawrence Art Center (KS), Arizona State Univer- Archie Bray residency (MT), New York Foundation Denver Art Museum, Milwaukee Museum of Art; sity (AZ); residencies: Archie Bray (MT), Houston for the Arts grant; exhibitions: Schaller Gallery representation: Haw Contemporary (Kansas City), Center for Contemporary Craft; collections: Korea (MI), Flower City Invitational (NY), Harvey/Meadows Harvey/Meadows Gallery (CO). Ceramic Foundation, San Angelo Museum of Fine Gallery (CO). delharrow.net Arts (TX), National Museum of Slovenia. sanamemami.com shiyuanxu.com Del Harrow, Table and Surface/Hole/Shadow, Sanam Emami, Tableware, stoneware, ceramic, glaze, plywood, sculpture on right: Shiyuan Xu, Fission #6, porcelain paperclay, chocolate stoneware, slips, stencils, oxidation, 60 x 20 x 20 inches glaze, 111/4 x 14 x 61/2 inches largest plate: 10 inches 9 Clay 2 of 2

4 July 5–17 5 July 19–August 6 Sue Tirrell Forrest Lesch-Middelton Kyle Carpenter & Michael Kline Arturo Córdova & Cristina Córdova Stories in the Round Code 04CA Handmade Tile: Design, The Seasoned Surface Code 05CA Sculpture in Motion Code 05CB Explore the connection between form and Create, Install Code 04CB Students in this workshop will explore a full Students in this workshop will create an artic- surface by drawing, painting, and carving on This action-packed workshop will navigate palette of surface design techniques and how ulated ceramic sculpture and use it to develop leather-hard porcelain. Bring narrative source tile making from beginning to end. Starting they relate to functional pottery form. We’ll a stop-motion animation sequence. We’ll pres- materials—drawings, photographs, ephemera— with a block of clay and ending with unique stamp, paint, scratch, and scrape stoneware ent methods for building and finishing ceramic to create a personal library of imagery. We’ll individual tiles and groupings installed as wall pots, bringing layer upon layer of visual interest components as well as strategies for unifying distill these ideas into dynamic, colorful surface hangings, you are sure to leave with a new to the surface. We’ll experiment with flashing the parts with metal elements that will facilitate design, giving individual stories universal appeal. understanding of what it means to be a tile slips, underglaze, and glaze that will be enhanced posing. We’ll cover basic lighting and animation Working with cone 6 porcelain, underglazes, maker! We’ll cover tile history, traditional and in cone 10 soda and salt firings. Fresh ideas and techniques focusing on the fundamentals of and glaze, we’ll make a variety of small/medi- contemporary methods of making and finishing new skills will open a path forward for each movement to create stop-motion progressions um-sized, hand- and wheel-formed vessels to different tile shapes and surfaces, making and student’s creative exploration. We’ll engage the inside personalized sets using Dragonframe be decorated using sgraffito, mishima, trailing, using silkscreens for image transfer, firing tile, class in conversation regarding their individual software. All levels. and painting. Some understanding of ceramic and how to confidently prepare and complete perspectives of studio potter life and practices. Arturo: artist and animator; professional experi- processes will be helpful, but this workshop is large-scale installations. All levels. All levels. ence: 10.30 Animation Collective (Mexico), Charged open to all levels. Studio artist; teaching: Arrowmont (TN), Greenwich Kyle: studio artist; teaching: Sawtooth (NC), Col- Studios (NYC); currently building sets and animat- Studio artist; teaching: Anderson Ranch (CO), House Pottery (NYC), California College of the Arts; lege of Lake County (NC); exhibitions: Akar (IA), ing on a short film called Andromeda. Cristina: Arrowmont (TN), Baltimore Clayworks; residencies: Ceramics Monthly 2014 Ceramic Artist of the Year; Schaller Gallery (MI). Michael: studio artist; studio artist; teaching: Haystack (ME), University Archie Bray, California State University-Chico; work published in New York Times, Architectural teaching: Anderson Ranch (CO), Haystack (ME); of Nebraska, Gaya Ceramics (Bali); USArtists Fel- exhibitions: Old Church (NJ), Red Lodge (MT), The Digest, Ceramics Monthly; author of Handmade collections: Islip Art Museum (NY), Gregg Museum lowship, North Carolina Arts Council Fellowship; Clay Studio (Philadelphia); representation: Schaller Tile: Design, Create, and Install Custom Tiles. (NC), San Angelo Museum of Fine Arts (TX). collections: Renwick Gallery (DC), Museo de Arte Gallery (MI), Visions West Contemporary (MT). FLMceramics.com carpenterpottery.com  klinepottery.com Contemporaneo (Puerto Rico). suetirrellceramics.com arturororo-blog.tumblr.com Forrest Lesch-Middelton, Neeley Stairs, Kyle Carpenter, Bottle, salt-fired stoneware, cristinacordova.com Sue Tirrell, Wolf and Hare Lunch Plate, screenprinted, reduction cooled, stoneware underglaze, 61/4 x 5 inches handbuilt porcelain, underglaze, glaze; tile, 17 x 5 feet Michael Kline, Platter, stoneware, porcelain Arturo Córdova, Stack, ceramic, 12 inches tall sgraffito design, 81/2 x 81/2 x 11/2 inches inlay, 15 x 2 inches Cristina Córdova, Recolección, ceramic, wire, 60 inches tall 10 6 August 9–21 7 August 23–29 Michael Sherrill Pattie Chalmers Heesoo Lee Elena Renker The Unified Object: Color, Everything & More Code 06CB Dimensional Expression on Kurinuki Code 07CB Form, Surface Code 06CA This workshop will cover the handbuilding Ceramic Surfaces Code 07CA Kurinuki is an old Japanese technique of hand- In the natural world, color is always in motion, techniques I use in the construction of earth- Students in this workshop will explore hand- building. It involves carving and marking the transitioning from one color to the next. This enware figures and objects. Through demon- building, sgraffito, texture, and watercol- exterior form from a solid block of clay and workshop will explore techniques using porce- strations and guided, hands-on learning, I’ll or-style underglaze to create images of nature then hollowing it out. This sculptural approach lain and slips to create transitional color. I will cover every aspect of the process and provide and memory on functional and sculptural allows complete freedom in shaping vessels. demonstrate post-firing surface techniques us- prompts to promote the development of per- porcelain vessels and tiles. First we’ll create We’ll use the technique to explore various ing diamond abrasives to remove material and sonal narratives as students create earthen- a clay canvas through an additive process on forms, from tea bowls to sake bottles, vases, polish the surface. We’ll cover the use of ex- ware sculptures inspired by both experience handbuilt or wheelthrown porcelain forms. boxes, and large bowls. Some of the work will truders and some handbuilding techniques and and imagination. Techniques will include hol- Then we’ll use commercial watercolor-style be glazed and fired in a gas kiln. All levels. make a variety of sample pieces. Artists who low handbuilt fabrication, simple methods underglazes to create perspective and depth Studio artist; teaching: Auckland Studio Potters work at the wheel will also discover applica- for low-tech printing on clay, approaches to and imitate traditional China paint effects on (New Zealand), workshops in New Zealand and ble techniques. Students will be encouraged to surface treatments, mixed media, and much greenware and bisque-fired surfaces. Projects overseas; Shigaraki Ceramic Culture Park residen- bring their favorite handbuilding tools—par- more. Electric firing. All levels. will be tailored to your interests with special cy (Japan); exhibitions: Front Room Gallery (New ticularly for mark making, texturing, carving, Professor and head of ceramics at Southern Illinois emphasis on landscapes and perspective. Basic Zealand), Mungyeong Ceramic Museum (Korea), and embossing. Electric firing. All levels. University-Carbondale; solo exhibitions: Craft Alliance wheelthrowing skills are a plus, but this work- Sogo Department Store (Tokyo); representation: Studio artist; teaching: Arrowmont (TN), Anderson (St. Louis), Red Lodge (MO), Hunter College (NYC); shop is open to all levels. Electric firing. Schaller Gallery (MI), Form Gallery (New Zealand), Ranch (CO); USArtists Fellowship, Renwick Alli- group exhibitions: Harvard Ceramic Center (MA), Studio artist; Archie Bray summer residency and Te Uru Gallery (New Zealand). ance Master of the Medium, Mint Museum Artist American Museum of Ceramic Arts (Los Angeles), The long-term residency (MT); exhibitions: Akar (IA), elenarenker.com of the Year (NC); collections: Renwick Gallery (DC), Clay Studio (Philadelphia). Archie Bray, International Ceramic Biennale (Korea), Museum of Arts and Design (NYC), Corning Muse- pattiechalmers.com TRAX Gallery (CA). Elena Renker, Kurinuki Tea Bowl, um (NY), Los Angeles County Museum. @heesooceramics woodfired stoneware, 4 x 5 inches michaelsherrill.net Pattie Chalmers, Pimples Turn to Kisses, earthenware, wire, underglaze, glaze, Heesoo Lee, In Dreams: Deep Fall, porcelain, Michael Sherrill, Mashiko, porcelain, silica colored pencil, 9 x 8 x 8 inches 17 x 10 x 5 inches bronze, 16 x 16 x 11 inches 11 Drawing & Painting 1 May 24–June 5 2 June 7–19 3 June 21–July 3 Susan Goethel Campbell Harriet Hoover Rosy Lamb Investigations in Materiality Code 01D Stretch It, Flip It, Reverse It Code 02D Painting What You See Code 03D Workshops listed as “all levels” Is materiality always physical? This interdis- This workshop will give artists from all dis- Painting from life requires a rigorous cultivation welcome serious students ciplinary workshop will investigate all aspects ciplines an opportunity to bust open their of a self-questioning, open mind. A true-to-life of any skill level, beginning of materiality including sound and digital studio practice while stretching the endpoints painting is an exercise in active not-knowing. to advanced. works. It is for artists, thinkers, and makers of drawing. With an emphasis on play, process, In this workshop, we’ll work in oils from a interested in deepening their creative practice and experimentation, we’ll use chance-based combined subject matter of still life and life Scholarship information through material investigation. We’ll research prompts to forage pattern, discover spatial models. We’ll learn to look at the visual plane begins on page 42. and discuss the lineage of specific materials relationships, make marks, and create works more truthfully, more simply, more wholly. In and create sketches, assemblages, and models that extend past the flat surface. We’ll work the the first week of the workshop, we’ll cover Students may enroll in one for future works. Daily exercises will focus spectrum of scale and materials, starting with pre-mixing colors and values on our palettes workshop per session. on the physical properties of both natural and mark making and moving from the studio into and multiple approaches to starting a painting. manufactured materials. Bring your favorite the environment. Expect to use your whole In the second week, we’ll work from one point materials, an open mind, and a willingness to body to generate large works while also making of view, freely evolving, starting over, repaint- hone your curiosity. All levels. pocket-sized drawings of your day. All levels. ing our work. All levels. Studio artist; teaching: Cranbrook (MI), College for Studio artist, teacher at Wake Technical Commu- Studio artist; Prix de portrait Paul-Louis Weiller Creative Studies (MI); exhibitions: Crystal Bridges nity College (NC); North Carolina Arts Council (France), J Henry Sheidt Memorial Travel Scholar- Museum (AR), National Museum of Women in the Fellowship; exhibitions: Weatherspoon Art Muse- ship from Pennsylvania Academy of the Fine Arts; Arts (DC), Detroit Institute of the Arts, Drawing um (NC), Museum of Contemporary Art Detroit, exhibitions: BP Portrait Award Exhibition at the Center (NYC), New York Public Library; represen- LIGHT Art + Design (NC). National Portrait Gallery (London), four solo shows tation: David Klein Gallery (Detroit), Apinwall harriethoover.com at Galerie Guido Romero Pierni (Paris); author of Editions (NYC), Galerie Tom Blaess (Switzerland). the children’s book, Paul Meets Bernadette. susangoethelcampbell.com Harriet Hoover, Check this Aura, gouache, ink, rosylamb.com sewn paper on vinyl and paper, Susan Goethel Campbell, Flint Carpet, earth, 51 x 38 inches Rosy Lamb, Red Willa, oil on canvas, roots, grass grown in plastic water bottles, 28 x 36 inches 31/2 x 9 feet 12 4 July 5–17 5 July 19–August 4 6 August 9–21 7 August 23–29 Curtis Bartone Alberto Mier Yolanda Sánchez Leigh Suggs Beyond Tradition Code 04D Sketchbook: Your Creative Sense of Place Code 06D Changing Perspective: This workshop will begin by introducing stu- Playground Code 05D These are the elements at the heart of this Experimenting with Paper Code 07D dents to the basics of drawing and the prop- This workshop will explore the possibilities workshop: having an intimate encounter with This workshop is about changing your approach erties of traditional drawing media: graphite, of the sketchbook. We’ll practice and experi- the landscape, cultivating awareness and pres- to paper. We’ll explore ways to transform silverpoint, charcoal, conté, ink line, ink wash- ment while taking advantage of the freedom ence, and translating what we see into a sen- paper—both technically and conceptually— es, colored pencils, and pastels. We’ll discuss of play the pages provide. We’ll cover some sory experience that becomes a composition in into more than just a flat surface. Students various papers and their properties as each basic drawing concepts and a variety of tools paint­. We’ll develop abstract visual language in will use simple tools to turn basic sheets into technique is introduced. This foundation will and media—both wet and dry. Our goal will various ways, from working in the landscape sculptural forms by cutting, folding, collag- serve as a springboard for experimentation be to dig into your creativity and break out and the studio to playing with materials oth- ing, weaving, and using a variety of 3-d paper and personal expression as students are en- of your comfort zone. The sketchbook is the er than paint (colored pencils, paper collage, constructions. We’ll use natural and synthetic couraged to move beyond drawing as simply a ideal playground for letting go, unlocking your found object assemblage, etc.). Our goals are papers and create samples that will introduce means to an end. All levels. potential, and developing your individual point to understand something beyond the physical you to the nuances of the material. There will Studio artist, teacher at Savannah College of Art of view. Students of all disciplines and all elements of the landscape, to use nature as a be daily demonstrations, discussions of con- and Design (SC); grants: Ludwig Vogelstein Foun- levels welcome. way to express something internal, and to cre- temporary work, and time for experimenta- dation (CA), Illinois Arts Council; residencies: Koli Senior designer at CNN Digital; exhibitions: Matre ate a poetic response. All levels. tion. All levels. (Finland), Playa (OR), Emmanuel College (MA); Gallery (Atlanta), Karuse Gallery (Atlanta), ICA Studio artist; teaching: Yale University (CT), Uni- Studio artist; teaching: Virginia Commonwealth solo exhibitions: Telfair Museum (GA), Alberta Fair (NYC), GaleríaYemayá (PR); publications: At- versity of Miami; Fulbright scholar, visiting artist at University, Arrowmont (TN), Penland; exhibitions: Printmakers (Canada), Morris Graves Museum of lanta Journal Constitution, Mundo Hispanico American Academy in Rome; exhibitions: Miami In- Penland Gallery, Racine Art Museum (WI), Weath- Art (CA); collections: Telfair Museum, Block Muse- (Atlanta), Creative Loafing (Atlanta), Studio ternational Airport Galleries, J.Johnson Gallery (FL), erspoon Museum (NC), Taubman Museum (VA); um at Grinnell College (IA). Visit Magazine, Modern Ink (online); represen- Korea Bojaji Forum (Seoul); representation: Kathryn collections: Virginia Museum of Fine Arts, Roanoke curtisbartone.com tation: dk Gallery (GA). Markel Fine Arts, Kenise Barnes Fine Art. College (VA); representation: Reynolds Gallery (VA). @albertomier_art yolandasanchezstudio.com leighsuggs.com Curtis Bartone, Process, graphite on paper, 20 x 15 inches Alberto Mier, Witness, sumi ink on paper, Yolanda Sánchez, Joyous Rambling, oil on Leigh Suggs, On Our Way, handcut acrylic 15 x 11 inches canvas, 52 x 42 inches on Yupo, 36 x 36 inches

13 Glass 1 May 24–June 5

1 of 2 Jasen Johnsen & Karen Willenbrink-Johnsen Jeff Heath Hot Glass Sculpting Code 01GA Making with Intent Code 01GB Workshops listed as “all levels” This workshop will be crammed full of infor- This workshop will be a survey of flamework- welcome serious students mation drawn from our lengthy experience ing techniques used to build a foundation for of any skill level, beginning in sculpting glass. We’ll present experimental conceptually-driven sculpture. Working with to advanced. ways of working glass so ideas can materialize. borosilicate glass, we’ll cover networking, sol- Demonstrations will include a variety of frit id and hollow sculpting, hollow vessels, and Scholarship information and powder techniques, torch work, and the making large work from small components begins on page 42. use of customized tools. We’ll cover blown and using both hot and cold joints. Students will solid forms with an emphasis on teamwork be encouraged to make work driven by ideas. Students may enroll in one and use the garage to construct parts. Students We’ll also discuss portfolios, career paths, and workshop per session. will have time to work out their ideas daily. funding projects. All levels. Plan to work hard and have a blast. Interme- Studio artist; teaching: Flint Institute of Art (MI), diate level: two-years of hot glass experience Bergstrom-Mahler Museum (MI); exhibitions: required. Pilchuck Exhibition Space (Seattle), Flint Institute Collaborating studio artists; teaching: Pratt Fine of Art, Made Gallery (Chicago); residencies: Illinois Arts Center (Seattle), Pilchuck (WA), Red Deer College Wesleyan University. (Canada); residency: Soneva Fushi (Maldives); ex- jeffheathglass.com hibitions: Museum of Northwest Art (WA), Tacoma Museum of Glass (WA), Schack Art Center (WA), Jeff Heath, Transcendence, flameworked glass, solo show at Habatat Galleries (FL); work in muse- metal, electrical wire, 36 x 24 x 8 inches um collections worldwide. willenbrinkjohnsen.com

Jasen Johnsen and Karen Willenbrink-Johnsen, Peacock, blown and sculpted glass, steel, 20 x 30 x 13 inches 14 2 June 7–19 3 June 21–July 3 Boyd Sugiki & Lisa Zerkowitz Caterina Zucchi Kazuki Takizawa John Littleton & Kate Vogel Form, Color & Professional Blown Glass Beads: Skills & Shapes Exploring Creativity with Captured in Glass Code 03GB Practice Code 02GA Code 02GB Cane & Murrini Code 03GA We’ll explore adaptive mold making as a means This workshop will start with a focus on refin- This workshop will focus on blown glass Students in this workshop will be challenged of encapsulating ideas in glass, examining the ing skills by working on clear forms such as beads. Working with soft glass, we’ll create to subvert the fundamentals of glassblowing properties of glass and considering how it can tumblers, bowls, bottles, and squeezed forms. wearable glass bead compositions that are and explore their individual interests. We’ll enhance our creative vision. These ideas will Students will practice working efficiently, im- voluminous yet light. We’ll start by making help each other experiment with whatever inform the models we create from clay, found proving heat control, and surveying blowing round beads, then use heat, gravity, and rota- wild ideas we may have about glass, venturing objects, and wax to make molds for kiln casting. theories. Then we’ll apply these skills to color tion to make different shapes. We’ll cover sur- out from traditional glass vessels. Demonstra- We’ll cover working with wax, mold recipes, techniques such as overlays, cane work, incalmo, face decoration and stringing beads to make tions will include using bundles of rods, pre- glass sources, firing schedules, calculating vol- and other processes. Instruction will be per- jewelry. This dynamic and practical workshop heated shards, fused glass chunks, and more as umes, many types of mold making, and casting sonalized to build on each individual’s skills will include group demonstrations and one- we work to find our own unique methods of with various materials including sheet glass, with one-on-one time used to find solutions on-one instruction with the goal of giving you shaping molten glass. More technical demon- frit, and billets. Be prepared to experiment and to common struggles. We’ll also have conver- the information you need to be independent strations will be given in the latter half of the problem-solve. Glass experience will be helpful, sations about professional practice and field and skilled in blowing beads and composing workshop, including the use of cane and murrini but this workshop is open to all levels. trips to local studios. Intermediate level: two balanced and wearable objects. All levels. as a way to introduce line and pattern. All levels. Collaborating studio artists; teaching/demon- years of hot glass experience required. Designer, studio artist, owner of Studiozero-vetro Studio artist, owner of KT Glassworks (Los Angeles); strations: University of North Carolina Wilm- Studio artists working independently and collabo- (Italy); teaching: Vetroricerca Glas & Modern (Ita- teaching: Pilchuck (WA), Pittsburgh Glass Center, ington, Penland, Corning Hot Glass Road Show rating on a line of studio glass as Two Tone Studios; ly); exhibitions: International Glass Biennale Sofia Urban Glass (NYC); residencies: STARworks (NC), (IL); exhibitions: Habatat Gallery (MI), SOFA teaching: The Studio at Corning (NY), Pittsburgh (Bulgaria), Ireland Glass Biennale Dublin, Inter- The Works (OH); exhibitions: River House Arts Gal- Chicago, Bergstrom-Mahler Museum of Glass Glass Center, Pilchuck (WA), Penland; representation: national Art Jewelery Exhibition (Beijing). lery (OH), Craft in America Center (CA); represen- (WI); collections: Corning Museum of Glass (NY), Vetri (Seattle), Barneys (NYC), Hunter Gatherer studiozerovetro.it tation: Duncan McClellan Gallery (FL). High Museum (Atlanta), Mint Museum (NC). (HI), RISD Works (RI). kazukitakizawa.com littletonvogel.com twotonestudios.com Caterina Zucchi, Roots Necklace, Murano glass, polyester string, 241/2 inches long Kazuki Takizawa, Minimalist, glass, John Littleton and Kate Vogel, Heart’s Path, Boyd Sugiki and Lisa Zerkowitz, Seaside, 15 x 8 x 8 inches cast glass, 211/2 x 101/2 x 53/4 inches blown glass, 24 x 6 x 71/2 inches 15 Glass 2 of 2

4 July 5–17 5 July 19–August 4 Nancy Callan & Mel Douglas Anne Petters Megan Biddle Lisa Demagall Intertwine Code 04GA The Poetics of Glass Code 04GB Gathering Momentum Code 05GA Delighting in the Details Code 05GB Glass is a fantastic medium for finding new In this idea-based, experimental workshop, In this nontraditional hot glass workshop, Using borosilicate glass, we’ll create delight- ways to bend space, stretch time, and renew we’ll explore a specific kilnforming, pâte de we’ll embrace an experimental and curious fully detailed, sculptural objects at the torch. a sense of wonder. This workshop will explore verre process. Using a variety of mold-mak- approach to achieve unexpected outcomes By studying objects carefully, we can break the linear complexities and the unique spatial ing materials (plaster, silica, wax, clay, fiber with a versatile material. We’ll begin with the them down into their parts and recreate them qualities of glass. Working in the hot and cold frax, alginate), this technique will allow us fundamentals needed to navigate the hot shop as glass sculpture. Instruction will cover glass shops, students will be challenged to look at to transfer drawings, handwriting, and struc- and cold shop, covering techniques in alterna- rod construction, bridging, armatures, solid the relationship of form, pattern, balance, and tures from a mold onto glass. Starting with tive surface applications, cold assembly, and sculpting, and non-vessel, sculptural tube design. Through a combination of traditional fusing glass sheets that carry our individual mixed media. With daily demonstrations and working. Time will be allotted for requested and experimental techniques, we’ll develop designs, we’ll continue into three dimensions plenty of work time for exploration, students demonstrations, class discussions, and prob- objects that merge surface and drawing so the by manipulating the glass in the kiln during will quickly develop a personal vocabulary lem-solving. All levels, come as you are! form is not just a canvas but a 3-d drawing itself. the firing and through various slumping meth- based on process-driven results. Expect to Studio artist; teaching: Kent State University Intermediate level: two years hot glass expe- ods. Understanding the aesthetic qualities and produce samples and studies focused around (OH), Cleveland Institute of Art (OH), Bild-Werk rience required. sculptural potential of this technique will be texture, color, and form. All levels. Frauenau (Germany), The Studio at Corning (NY), Nancy: studio artist, senior member of Lino Tagli- the backbone for developing new ideas. All Studio artist, co-director of Tiger Strikes Asteroid Pittsburgh Glass Center; residencies: Pilchuck (WA), apietra’s team; teaching: Pilchuck (WA), Haystack levels. Gallery (Philadelphia), instructor of glass at Tyler Pittsburgh Glass Center. (ME); residencies: Museum of Glass (WA), Toledo Studio artist; teaching: City and Guilds of London School of Art (Philadelphia); other teaching: Haystack lisademagall.com Museum of Art (OH). Mel: studio artist and sessional Art School (UK), Royal College of Art (London), (ME), Pilchuck (WA), UrbanGlass (NYC); residencies: lecturer at Australian National University; collections: Institute for Ceramic and Glass (Germany); Queen Jentel Foundation (WY), Creative Glass Center of Lisa Demagall, Without..., flameworked Glassmuseet Ebeltoft (Denmark), National Gallery Elizabeth Scholarship Trust scholar; residencies: America (NJ), Northlands Creative Glass (Scotland), borosilicate glass, wood, 35 x 60 x 60 inches of Australia, Corning Museum (NY). Pilchuck (WA), Edinburgh College of Art; exhibitions: MacDowell Colony (NH). nancycallanglass.com  meldouglasglass.com Michelangelo Foundation (Venice), Bullseye Projects meganbiddle.com (UK), Sue Schiepers Gallery (Belgium). Nancy Callan and Mel Douglas, Bound, Tether, annepetters.com Megan Biddle, detail of Lithosphere, glass, and Tie Droplets, blown, coldworked, concrete, mica and engraved glass, 14 x 14 x 14 inches each Anne Petters, Books of Disquiet, glass, 113/4 x 7 x 6 inches each 16 6 August 9–21 7 August 23–29 Joe Grant Kimberly Thomas-Zii Michael C. Krupiarz Michael Endo Make It Happen! Code 06GA Mean What You Say Code 06GB Observe & Execute Code 07GA Constructed Images Code 07GB Students in this introductory workshop will Art is communication, a language of thoughts This workshop is for beginning glass students My work combines glass powder and frit paint- discover the potential for making their ideas and feelings. Every artist speaks a different dia- looking to further develop their skill sets. We’ll ing, drawing processes adapted for kiln glass, come to life in glass. First we’ll develop a strong lect, and while the interpretation is subjective, take a close look at what is happening with the and centuries-old glass painting techniques in foundation of glassmaking skills: gathering, the expression should be accurate. With a focus glass when it is heated, stretched, and blown. the construction of multilayered atmospheric shaping, and making simple forms with mol- on honing sculptural skill, improving technical Students will practice making geometric spaces and narratives. This workshop will focus ten glass. Next we’ll cover solid sculpting, bit fluency, and developing creative intelligence, forms—cones, cylinders, and spheres—that on the techniques used in my practice and working, and blown glass techniques. Finally students will learn how to manufacture their will inform more complicated shapes. We’ll will encompass painting with glass powders, we’ll explore some basic color applications unique aesthetic speech and then use this emphasize technique, control, problem-solv- enamel painting adapted for high temperatures, and moldblowing possibilities. A combination sculptural language to create a short story in ing methods, and clean lines. Instruction time and layered kilnforming along with printing of traditional and experimental approaches to glass. Through group and individual demos, will be divided between daily demonstrations and drawing techniques for kiln glass. All levels. glassmaking will bring your ideas to life. The we’ll cover sculpting borosilicate glass, assem- and plenty of individual attention. Advanced Studio artist, curator at Bullseye Projects (OR, CA, workshop will include demonstrations and bly, timing, and texture. Mixed media and beginning level: a perfect next step for students NY, UK), co-director of High Desert Observatory skill building exercises and will focus on indi- reckless abandon encouraged. All levels. who have taken at least one introductory glass (CA), partner in Yucca Valley Material Lab (CA); vidual practice. Beginning level. Studio artist, instructor of glass art at Salem Com- workshop. teaching: Bild-Werk Frauenau (Germany), Pilchuck Studio artist, director of STARworks Glass (NC); teach- munity College (NJ); other teaching: UrbanGlass Studio artist, coordinator at More Fire Glass Stu- (WA), UrbanGlass (NYC), Northlands Creative ing: Pilchuck (WA), Haystack (ME), East Carolina (NYC), The Studio at Corning (NY); exhibitions: dio (NY); teaching: North Carolina Glass Center, Glass (UK), Pittsburgh Glass Center; exhibitions: University (NC), Appalachian State University (NC); Glass Vegas Expo (Las Vegas). Penland; exhibitions/representation: Asheville Area National Glass Centre (UK), Disjecta (Portland, exhibitions: William King Museum (VA), Chrysler @IrocZii Arts Council (NC), Asheville Art Museum (NC), OR), Yuan Yuan Art Center (China). Museum (VA), STARworks Gallery; commission: Reid Center for Craft (NC), North Carolina Glass Cen- michaelendo.com Heart Center (NC). Kimberly Thomas-Zii, Finger Bunny, glass, ter, Green Hill Center (NC). joegrantglass.com 71/2 x 4 x 31/2 inches michaelkrupiarz.com Michael Endo, Crux, kilnformed glass, 24 x 39 inches Joe Grant, Bollides Wake, glass, 12 x 18 x 10 Michael C. Krupiarz, Thumbprint Cups, blown inches glass, 31/2 x 4 inches each

17 Iron 1 May 24–June 5 2 June 7–19 3 June 21–July 3 Christoph Friedrich Daniel Souto & Stephen Yusko Ellen Durkan From Technique to Ideas Code 01I Material Studies Code 02I Fitting & Forging: Wearable Workshops listed as “all levels” Art comes from skill. This workshop will be- This workshop will explore inventive uses of Bustiers & Chest Pieces Code 03I welcome serious students gin with a focus on the seven most important material through creative problem-solving. This workshop is about designing and forging of any skill level, beginning forging techniques: drawing down, shrinking, Students will work with forged, formed, and wearable elements that fit on your chest, neck, to advanced. bending, upsetting, swaging, punching, and fabricated steel to create functional objects and torso: bustiers, necklaces, or chest pieces. forge welding. Each will be demonstrated in and/or sculpture. Techniques will include Techniques will include designing and forging Scholarship information detail and then immediately applied by making sheet and hollow forming, tube and pipe forg- symmetrical pieces that fit the body and form- begins on page 42. simple objects. In the second part of the work- ing, hot and cold connections, and pattern ing and shaping sheet metal for that extra lift! shop, themes and motivating examples will be and texture development on steel. Through We’ll cover leather and riveting techniques Students may enroll in one used to stimulate ideas. The best ideas will be demonstrations and discussions about design that can be used as a form of attachment so workshop per session. sketched, modeled in plasticine, and realized and function, we’ll work to create objects that your pieces will be beautiful and functional. in iron. As the workshop progresses, it will balance the industrial history of steel with Some experience will be a plus, but this work- become more challenging—participation will gracefulness of form. All levels. shop is open to all levels. lead to increased skill level. The days will follow Daniel: studio artist, founder and director of La Professor at Delaware College of Art and Design; a clear, predetermined structure, but students Caravana Escuela, a craft-based educational project five Delaware Division of the Arts grants; solo ex- are invited to contribute their own ideas for empowering remote communities in Venezuela. hibitions: Delaware Center for Contemporary Arts, content. All levels. Stephen: studio artist; teaching: Haystack (ME), Chris White Gallery (DE), Dickinson College (PA), Owner and manager of the historic water-powered Cleveland Institute of Art, Peters Valley (NJ); exhibi- Apex Gallery (SD). hammer forge in Sennwald, Switzerland; teaching: tions: Metal Museum (TN), FORGE, international ellendurkan.com University of Southern Illinois-Carbondale, Metal traveling exhibition (US, UK). Museum (TN), Bondi Design (San Francisco), Cascadia stephenyusko.com Ellen Durkan, Forged Fashion Collection, steel, Center for Art (OR). leather, dimensions vary schmiede.ch Daniel Souto, detail of Railing, forged steel Stephen Yusko, detail of Sanctuary: Trinity, Christoph Friedrich, Three Sisters, forged and forged, machined, and fabricated steel pressed steel, 7 x 31/2 x 11/2 each 18 4 July 5–17 5 July 19–August 4 6 August 9–21 7 August 23–29 Maegan Crowley Vivian Beer & Hannah Vaughan Jay Burnham-Kidwell Andrew Kyte Material Exploration = Inspiration Code 04I Design on Fire Code 05I Hearth to Table Code 06I Distilling Design Code 07I This workshop will help students expand This workshop will focus on using design Using mild and stainless steel, Damascus steel, In this workshop we’ll work to condense design their sculptural vocabulary in steel. We’ll be- concepts and craft methods to develop each and tinned copper, we’ll create utensils and ideas into focused sample/study pieces. Students gin creating form by shaping pipe, tubing, and student’s creative voice in metal furniture. De- vessels used in preparing, cooking, and serving will explore, draw, model, and experiment to sheet metal using hot and cold techniques. sign challenges will develop projects from idea food. We’ll explore hot forging, sinking and produce iron sketches. These sketches will then Then we’ll cover fabrication techniques, includ- to 2-d to 3-d. We’ll begin with drawing and forming, forge welding, tinning, oil curing, and be edited to establish a clear idea for each stu- ing cutting, welding, and grinding, emphasizing then move to drafting/modeling at scale and finishing. By combining traditional techniques dent’s final study piece. As we work through this personal expression as students apply the metal fabrication, including welding, hollow with contemporary design, we’ll realize excit- process, we’ll cover a broad range of forging, demonstrated techniques to create their own construction, pattern making, hand hammer ing and functional pieces for use in the kitchen, fabricating, and finishing techniques. And we’ll sculptures. Inspiration, material exploration, control, surface development, and finishing. including spoons, spatulas, forks, knives, and spend some time each day discussing the work of scale, and metal finish will all be considered as We’ll have slide presentations, critiques, and cooking/serving vessels. All levels. other artists to inspire ideas. All levels. each student works toward their own finished ideation exercises and discuss proportion, Studio artist, professor emeritus at Mohave Commu- Owner of Kyte Metalwerks (MI) focusing on archi- piece. All levels. ergonomics, style, history, and material exper- nity College (AZ); teaching: Peters Valley (NJ), Appa- tectural commissions and public art; demonstrator Owner/operator of Iron Maegan Metalworks (CO); imentation. Whatever your goals, the iron stu- lachian Center for Craft (TN), Mendocino Arts Center at many blacksmith conferences; collections: Inglis teaching: New England School of Metalwork (ME) dio will be our creative laboratory. All levels. (CA), Adams Forge (Los Angeles), Penland; exhibitions: Estate (MI), Washington National Cathedral (DC). University of the Arts (PA), Haystack (ME), Ox-Bow Vivian: studio artist; teaching: Haystack (ME), National Gallery of Art and Capitol Rotunda (DC), kytemetalwerks.com (MI), Peters Valley (NJ). Penland; collections: Smithsonian American Art National Vietnam Veterans Art Museum (Chicago), ironmaeganmetalworks.com Museum (DC), Museum of Arts and Design (NYC). Metal Museum (TN); publication: Vietnam: Reflexes Andrew Kyte, Portal #11, mild steel, Hannah: furniture, product, architectural design- and Reflections (Harry Abrams). 38 x 16 x 2 inches Maegan Crowley, detail of Divided, forged and er; furniture designs in galleries in Chicago and fabricated steel Boston. vivianbeer.com  hannahvaughan.com Jay Burnham-Kidwell, Chef’s Knife, Damascus steel, mokume-gane, luan, 13/4 x 12 x 1 inches Vivian Beer, Twin Engine, formed/fabricated steel, automotive paint, 26 x 23 x 102 inches Hannah Vaughan, Remnant Series Rusted, steel, rust, 28 x 19 x 34 inches 19 Metals 1 May 24–June 5

1 of 2 Rachel Shimpock Nicole Jacquard Electroformerrific Code 01MA Make, Think, Discuss, Repeat Code 01MB Workshops listed as “all levels” This dive into electroformed copper plating Creating work can be isolating, and approach- welcome serious students will emphasize process, technique, and ex- ing the bench can sometimes seem daunting. of any skill level, beginning perimentation. We’ll begin by learning how to Students in this workshop will approach the to advanced. prepare your small items for the electroform- studio fresh each day and be challenged to cre- ing baths in the studio and then cover how to ate a daily piece from particular prompts. We’ll Scholarship information make and use a small home plating system. combine idea generation, material studies, and begins on page 41. We’ll also make a pen plater and play with technical demonstrations, plus short readings alternative plating solutions. Finally we’ll ap- for inspiration and understanding the creative The upper metals studio has steps ply vitreous enamel to plated forms and learn process. Challenges will be set every day, includ- that compromise accessibility, a technique for “drawing” with plating metal ing starting points for exploration, demonstra- although it can be accessed with and enamel. With proper preparation metal- tions of basic techniques and mechanisms, and a stair lift. Workshops with an lic, nonmetallic, and organic items can all be explorations of traditional and unusual materi- “A” in the code are taught in this plated. Rachel’s book of secrets is open, and all als. The goal is for students to think beyond the studio. levels are welcome! normal routine of working and explore the Associate professor at Long Beach City College (CA) potential they have either forgotten or didn’t Students may enroll in one and California State University Long Beach (CA); realize they had. All levels. workshop per session. collections: Enamel Arts Foundation (Los Angeles); Associate professor and metals coordinator at Indiana galleries: Mora (NC), Shibumi (San Francisco), University; two Fulbright Fellowships; ten solo exhibi- Form & Concept (NM); publications: Food as Art tions and over 100 invitational/juried exhibitions in by Carolyn Tillie, Metalsmith, Ornament. US, Europe, Asia, and Australia. rachelshimpock.com @nicolejacquard

Rachel Shimpock, Full Piece of Toast Necklace, Nicole Jacquard, Passion Pink, copper, laser toast, copper, enamel, brass, 4 x 4 inches engraved enamel, silver, galvanized steel, stainless steel, 31/2 x 3/4 x 41/2 inches 20 2 June 7–19 3 June 21–July 3 Lauren Markley Masakatsu Chiba & Yurico Saka Sharon Massey Jaydan Moore Fabrication for Sculptural Jewelry Code 02MA Traditional Japanese Engraving Code 02MB Contemporary Enamel Code 03MA Fabrication Code 03MB Taking a structural approach to jewelry, we’ll The traditional Japanese engraving technique Vitreous enamel offers endless possibilities In this workshop we’ll make fabricated ves- explore 3-d forms to create wearable sculp- called wabori is based on brush paintings and for adding color, texture, pattern, imagery, sels, defining what is meant by “vessel” pretty ture. We’ll work through a number of fabrica- calligraphy. Students in this workshop will and text to metal objects and jewelry. This broadly. We’ll cover sheet patterning tech- tion techniques—including hollow construc- learn the basic techniques of engraving, tool workshop will cover techniques ranging from niques to create all types of shapes and learn tion, spliced construction, and scoring and making, and sharpening, along with surface sifting to champlevé, including liquid enamels, how to cut metal efficiently. Efficient layout folding—improving soldering skills along the preparation, use of the Japanese calligraphy decals, stencils, cloisonné, enameling on 3-d for simple and complex forms will make fab- way. There will be daily demonstrations, and brush, and design transfer. We’ll have demon- forms, and application to both copper and rication go smoothly. We’ll build compound class projects will present opportunities to strations and plenty of time for one-on-one steel. We’ll explore how to incorporate enam- curves through sinking and raising, create hone sequencing and problem-solving skills. instruction. By the end of the session, students el into your work—including setting and sharp edges through scoring and bending, and Time permitting, we’ll also touch on surface will be able to engrave textures, patterns, and fastening techniques—as well as design and bring pieces together using larger-scale sol- treatments and the use of alternative mate- letters onto the metal’s surface. All levels. concept development. With an emphasis on dering techniques. All levels. rials. Students should come away with many Masakatsu: owner/operator of Atelier FER (Japan); contemporary and experimental approaches, Studio artist; teaching: Virginia Commonwealth samples and a few finished pieces. All levels. exhibitions: The 50th Japan Crafts Exhibition, Fukuoka this workshop will allow students to begin a University, Rhode Island School of Design, Califor- Studio artist; teaching: Arrowmont (TN), Boulder Prefectual Museum of Art (Japan), Fukuoka Asian studio practice in enamel or to expand their nia College of the Arts, Haystack (ME), Penland; Metalsmithing Association (CO), James Carter Art Museum (Japan). Yurico: studio artist; teaching: existing practice. All levels. residencies: Penland Resident Artist, Kohler Arts Studio (NC); exhibitions: Munich Jewellery Week Yamawaki Art College (Japan); exhibitions: Exhibition Associate professor at Indiana University of Penn- Industry (WI), Houston Center for Contemporary (Germany), Green Hill Center (NC), East Carolina of Traditional Japanese Metalwork (Japan), Tokyo sylvania; other teaching: Haystack (ME), Center for Craft, Virginia Commonwealth University Foun- University (NC), Society of Arts and Crafts Boston Traditional Crafts Fair (Japan). Enamel Art (CA); collections: Enamel Arts Founda- tainhead Fellowship; collections: Museum of Fine (MA); publications: 500 Silver Jewelry Designs. facebook.com/AtelierFer  hot-rose.net tion (CA), Racine Arts Museum (WI); publications: Arts Houston, Carnegie Museum of Art (PA), Kohler laurenmarkleyjewelry.com Metalsmith, American Craft, New Brooches & Company (WI). Masakatsu Chiba, Baby Poster, brass, New Bracelets, The Art of Enameling. jaydanmoore.com Lauren Markley, Folded Silver and Enamel 4 x 6 inches sharon-massey.com Necklace No. 2, sterling silver, enamel, pendant: Yurico Saka, Botan, copper, plating, Jaydan Moore, Mitosis, found silver-plated 6 x 21/2 inches 43/4 x 7 inches Sharon Massey, Hope, Faith, and Charity, platters, varying sizes steel, champlevé enamel, 4 x 4 x 1 inches each 21 Metals 2 of 2

4 July 5–17 5 July 19–August 4 Richard Elaver Cat Bates Masako Onodera Adam Whitney Making a Spectacle Code 04MA Glamour & Grit: Material Exploration: Bodies & Senses Raising & Shaping Metal Vessels This class is all about making eyewear also Sand Casting for the Jeweler Code 04MB Code 05MA Code 05MB known as jewelry for the face. We’ll explore This hands-on workshop will introduce students This experimental workshop will focus on Prepare to hammer! We’ll start with raising, a variety of materials—traditional buffalo to jewelry-scale sand casting—from casting the exploration of nontraditional materials the process of hammering sheet metal into horn to colored plastics, titanium to sil- found objects in bronze, shibuichi, and silver to make objects for the body. We’ll gather lo- seamless vessels, by making samples of differ- ver—with a focus on the design and con- to the design and creation of original two- cally-available materials—things from nature, ent raising styles—angle, Dutch, and crimp— struction of wearable frames. Along the way part patterns. Demonstration of pertinent thrift store finds, etc.—and discover how learning proper mechanics and the design ben- we’ll experiment with a range of studio finishing and joining techniques will enable sight, smell, taste, hearing, and touch work efits of each style. Using these samples, we’ll techniques, including hinge construction, sol- students to bring castings from raw metal with the shapes and materials of objects in the explore shaping with hammers and detailing dering, riveting, and integrating digital pro- to fully wearable jewelry. After core skills are context of the body. We’ll cover basic metal- through the use of pitch and chasing. Finally cesses. We’ll cover the technical aspects of eye- covered, students will be encouraged to pick smithing, including sawing, filing, annealing, we’ll put all the skills together, along with your wear so students can construct frames capable and choose demonstrations based on their in- drilling, chain-making, and patina, and work personal designs, and develop a hammering of holding prescription lenses. Intermediate dividual goals and can expect to leave with at with cold-connections, including riveting, tab plan to create your unique project. All levels. level: students should be comfortable with least a few (if not many) finished pieces and constructions, and jump rings, and other craft Studio artist; teaching: Escuela de Artes Santo Do- basic metal fabrication techniques. samples. All levels. fabrication methods, such as sewing, knotting, mingo (Columbia), Appalachian Center for Crafts Associate professor of industrial design at Appala- Studio artist; teaching: Penland, Maine College of and weaving. All levels. (TN), Metalwerx (MA), Center for Metal Arts (PA), chian State University (NC); exhibitions: Museum of Art Community Education; residencies: Haystack Associate professor at the University of Wiscon- Raffles College (Malaysia); exhibitions: Mercer Mu- Arts and Design (NYC), International Contemporary Open Studio (ME), Pace House (ME); representation: sin-Stout; exhibitions: Fuller Craft Museum (MA), seum (PA), Quirk Gallery (VA), Gallery 224 (MA), Furniture Fair (NYC), Cranbrook Museum of Art Mora Gallery (NC), Esqueleto (CA), The Portland Museo del Gioiello (Italy); collections: Toledo Muse- Baltimore Jewelry Center (MD). (MI), Metal Museum (TN). Museum of Art Store (ME), Portland Dry Goods um of Art (OH), Racine Art Museum (WI). aw-metalsmith.com richardelaver.com (ME), Rock Paper Scissors (ME). masakoonodera.com cat-bates.com Adam Whitney, Copper Bowl #5, copper, Richard Elaver, Buffalo Horn Frames,buffalo Masako Onodera, Topology 2, repurposed fur 33/4 x 41/2 x 61/2 inches horn, white gold, brass, approximately Cat Bates, Token Cuff 2, brass, collar, leather coat parts, sugar pot parts, 6 x 6 inches each 21/2 x 2 x 1/2 inches brass, brass chain, thread, fiber fill, 21 x 9 x 21/2 inches 22 6 August 9–21 7 August 23–29 Ruta Reifen Julia Woodman Edna Madera Kim Cridler Ready, Set, Wax! Code 06MA Flatware with Tessellation Code 06MB Gold Fusing Code 07MA Drawn: The Sensitive Line Code 07MB Students in this workshop will use several Discover how to move metal using time-honored This workshop will introduce students to surface Philosopher Alexander Baumgarten described wax-forming techniques to complete a set of forging and shell-forming techniques and embellishment through fusing high-karat gold aesthetics as “the science of sensitive know- designs prepared for metal casting and primed create handsome copper, brass, or silver flatware over silver. We’ll cover the basics and then ex- ing.” In that spirit we’ll use simple techniques for stone setting—including bezel, prong, and adorned with 3-d tessellation (patterns created plore additional surface considerations, such and direct observation to make structural basket settings. We’ll learn subtractive methods by joining a number of small units). Students as finish, texture, and patina, that will comple- wire forms. Demonstrations will include sol- using carving wax with files, burrs, and carving can expect to finish two or three pieces, but ment students’ own designs. We’ll also cover dering steel wire, building symmetrical forms, tools, and we’ll work additively with soft waxes we’ll emphasize process, experimentation, roll-milling 24k gold, depletion gilding, tool forging and drawing wire, and finishing steel. using wax pens and other modeling tools. We’ll and developing skills. Techniques and demon- and workspace setup, gold cutting, and torch Supplemented with short readings, visual pre- cover different approaches to surface embel- strations will be introduced daily and as fusing. Discussions will include prefabricated sentations, and quick assignments, we’ll make lishment and wax production considerations needed for individual projects. One-on-one versus studio-made gold foils, workflow, and models and samples before creating individual like mold making. After our designs have been instruction will allow students to explore design experimentation. Some comfort work- projects. This class is about starting where you cast into metal and properly finished, we’ll be and problem-solve at their own skill lev- ing with torches will be helpful, but this work- are, working without hesitation, and seeing set to set! We’ll practice basic stone setting el. Bring your favorite tools, your imagina- shop is open to all levels. anew. Soldering experience will be helpful, and preparation for outsourced stone setting tion, and an optivisor, and we’ll all become Studio artist; teaching: Pratt Fine Arts Center but the workshop is open to all levels. in the future. All levels. hammerrific! All levels. (Seattle); Award of Excellence at American Craft Studio artist; teaching: University of Wiscon- Studio artist; teaching: Rhode Island School of Design, Studio artist; teaching: Campbell Folk School (NC), Council Baltimore show; publications: New sin-Madison (WI), San Diego State University, Ar- Pratt Institute (NYC), Shenkar College of Engineering Spruill Center for the Arts (Atlanta), Chastain Art Brooches: 400+ Designs in Contemporary izona State University; upcoming retrospective at and Design (Israel), 92nd Street Y (NYC), Metalwerx Center (Atlanta), Georgia State University; collec- Jewelry, SNAG Jewelry and Metals Survey 2017; The Metal Museum (TN); collections: MTA Arts & (MA); work sold in more than 20 jewelry and lifestyle tions: Victoria and Albert Museum (London), Muse- representation: Ayesha Studio and Gallery (NJ). Design (NYC), Museum of Fine Arts Houston (TX); boutiques in the US and Europe. um of Fine Arts Boston, High Museum (Atlanta). ednamadera.com representation: Lisa Sette Gallery (AZ). rutareifen.com juliawoodman.com kimcridler.com Edna Madera, Flora and Feather Earring, Ruta Reifen, Monde Ring, 14k gold, Julia Woodman, Bubble Champagne 24K, 18K, 14K, 22K bimetal, fine silver, Kim Cridler, Again (basin with butterflies),steel, multicolored sapphires, lavender amethyst, Cocktail Ladle, sterling silver, glass bead, 13/4 x 11/8 x 1/2 inch butterfly wings (Dichorragia nesmachus), 3/4 x 1/2 x 1/2 inches 15 x 41/2 inches 15 x 28 x 18 inches 23 Photo 1 May 24–June 5 2 June 7–19 3 June 21–July 3 Pipo Nguyen-duy Jim Stone Richard Tuschman Sites & Locations Code 01P View Camera Workshop Code 02P The Poetic Photograph Code 03P Workshops listed as “all levels” This workshop will offer photographers a The view camera may seem daunting, but it As fine art photographers, how do we develop welcome serious students chance to engage with the environment. is easily mastered. Its contemplative, methodical and strengthen our ability to craft personal, of any skill level, beginning Whether your photography addresses the approach rewards users with photographs of poetic photographs with compelling emotional to advanced. landscape, portraiture, or other subject mat- the highest quality. We’ll learn to use the resonance? This digital photography workshop ter, we’ll work to make images that highlight large-format camera, control focus and per- will address that question as we explore the Scholarship information the geographic, cultural, historic, or person- spective, develop sheet film using a simplified genres of still life, landscape, and figure/por- begins on page 42. al significance of location. Exercises, assign- zone system, make darkroom enlargements, trait photography. We’ll learn and practice the ments, and group and individual meetings will and scan negatives for digital printing. This principles of composition, color, and both nat- Students may enroll in one help you refine your sense of place. Students workshop is best for those comfortable with ural and studio lighting as we develop a “best workshop per session. may work with existing images or create new the rudiments of traditional black-and-white practices” workflow from capture to print. ones. The workshop will accommodate any photography—exposure, film development, Join us as we pursue our quest to become level of skill and almost any photo technolo- and printing—but it is open to all levels. more effective emotional messengers through gy: digital, film, alternative process, etc. We’ll Students may use a Penland camera or bring our photography. All levels. work together on both conceptual and techni- their own. Studio artist; teaching: Ringling College of Art and cal concerns. All levels. Distinguished professor of photography at University Design (FL), Maine Media Workshops (ME), Los Professor at Oberlin College (OH), fellowships and of New Mexico; named Honored Educator by Society Angeles Center of Photography; New York Founda- grants: Guggenheim (NYC), multiple Ohio Arts for Photographic Education; collections: Museum of tion for the Arts Fellowship; exhibitions: Center for Council fellowships; residencies: Lila Wallace-Readers Modern Art (NYC), Museum of Fine Arts Boston; six Photographic Art (CA), Museum of Contemporary Digest Foundation Artists at Giverny (France), Light of his textbooks are in wide use. Art Krakow (Poland); Photovisa (Russia); representa- Work (NY); solo exhibitions: ClampArt (NYC), Sam jimstone.com tion: Klompching Gallery (NYC), photo-eye Gallery Lee Gallery (Los Angeles), Espace (Vietnam). (Santa Fe), Kopeikin Gallery (CA). piponguyen-duy.com Jim Stone, Jason, Who Wants a Career in Law richardtuschman.com Enforcement, and Some of His 1400 Transformers, Pipo Nguyen-duy, Duck Pond, inkjet print, Rio Rancho, New Mexico, archival pigment Richard Tuschman, Pink Bedroom (Daydream), 30 x 45 inches print, 20 x 24 inches archival pigment print, 21 x 31 inches 24 4 July 5–17 5 July 19–August 4 6 August 9–21 Elizabeth Ellenwood Jeff Goodman Susan Bryant May Babcock & Lindsey Beal Cameraless Photography Code 04P Photography in the Hand Coloring Black & Foraged Photographs: Leave your cameras behind and create photo- Fourth Dimension Code 05P White Prints Code 06P Cyanotypes & Handmade Paper Code 07P graphs using only objects and light. Students From motion to memory, time has always been This workshop will explore the visual, creative, This workshop will integrate hand papermak- in this workshop will experiment with multi- a central medium and subject of photography. and expressive possibilities of color applied ing and cyanotype printing. We’ll make paper ple wet-darkroom contact printing processes, This workshop will explore a wide range of by hand to traditional black and white photo- from sustainably harvested plants and tradi- scanner images, and digital printing. We’ll cov- photographic techniques that employ time graphs. Responding to light, space, and atmo- tional fibers and create sheets using deckle er the foundations of the darkroom and digital directly: pinhole cameras, light painting, motion sphere, we’ll document our personal reactions boxes and multiple pulps. Using cyanotype and workspaces plus print manipulation using col- studies, flip books, cinemagraphs, stop-motion to the local environment and landscape. Back anthotype, we’ll create photograms from for- lage and other drawing/painting media. We’ll animation, and video. We’ll cover photo basics, in the studio, we’ll make prints in the dark- aged plants and photographs from digital neg- have daily demonstrations along with pre- including camera controls, photo and video room and experiment with toners, photo oils, atives. Cyanotype creates blue images that can sentations covering a range of historical and software as needed, and darkroom chemistry and colored pencils to add visual and emotional be toned to other colors. Anthotypes are made contemporary photography. This workshop for use with pinhole cameras. As we move through depth to prints. The workshop will include in- with photosensitive plant emulsions. Working will broaden the concept of what it means to our time together, we’ll experiment with making struction in camera functions, exposure and in both studios, students will build a supply of “make” a photograph and give students plenty both still and moving images that play with—and development of negatives, and making gelatin handmade papers, print unique images, and of time for experimentation. All levels. celebrate—the most mysterious of dimensions. silver prints using enlargers. All levels. learn to create environmentally conscious art- Studio artist; teaching: University of Connecticut; All levels, beginners welcome. Studio artist, professor emerita at Austin Peay State work at home. All levels. RFOTOFOLIO Denis Roussel Merit Award; exhibi- Award-winning instructor in the media studies University (TN); exhibitions: SoHo Photo Gallery May: studio artist; teaching: Rhode Island School tions: Vermont Center for Photography, Panopticon program at Appalachian State University; exten- (NYC), Jeffrey Leder Gallery (NYC), San Diego of Design, Women’s Studio Workshop (NY). Lindsey: Gallery (MA), Danforth Museum (MA); collections: sive experience leading workshops in photography, Art Institute; collections: Knoxville Museum of Art studio artist; teaching: Rhode Island School of Design, Danforth Museum, Rochester Museum of Fine Art documentary video, and the relationship between (TN), The Photographic Archives (KY). Massachusetts College of Art and Design. (NY), New Hampshire Institute of Art. art, science, and the creative process. susanbryantphoto.com maybabcock.com  lindseybeal.com elizabethellenwood.com jeffgoodman.space Susan Bryant, Cloister #2, Merida, gelatin May Babcock and Lindsey Beal, Lamina: Eddy Elizabeth Ellenwood, Sandwich Bag, Collected Jeff Goodman, Gulls, digital image silver print with hand-applied oil paint, oil 1–4, artist-made pulp paintings on pigmented on December 3, 2018, archival pigment print pastel, and colored pencils, 91/2 x 21 inches cotton, flax, and corn husk, cyanotype, from cyanotype original, 40 x 30 inches gouache, 81/2 x 11 inches 25 Print &

Letterpress 1 May 24–June 5

1 of 2 Yoonmi Nam All About Mokuhanga Code 01X Workshops listed as “all levels” This workshop will explore the possibilities welcome serious students of mokuhanga: Japanese-style, water-based of any skill level, beginning woodblock printing, which is nontoxic and to advanced. does not require a press. This method has the potential for creating precise and exact marks Scholarship information as well as expressive and painterly impres- begins on page 42. sions. Through hands-on demonstrations, students will learn basic traditional carving Students may enroll in one and printing processes and the kento registra- workshop per session. tion method to create multilayer color prints. We’ll also cover tool sharpening, paper sizing, and paper mounting. This workshop will address both fundamental methods and experimental approaches to mokuhanga—there will be something for everyone! All levels. Professor at University of Kansas; residencies: MI- LAB (Tokyo), Frans Masereel Centrum (Belgium); exhibitions: Haw Contemporary (Kansas City), The Print Center (Philadelphia), CfSHE Gallery (Tokyo); collections: Rhode Island School of Design Museum, Spencer Museum (KS). yoonminam.com

Yoonmi Nam, Winter Spring, mokuhanga, 113/4 x 161/2 inches 26 2 June 7–19 3 June 21–July 3 Kasey Ramirez Ben Blount Kristina Paabus Jim Sherraden The Woodcut: Beyond The Collaborative Printer Code 02L Intaglio & the Hybrid Print Code 03X Opening & Pushing the Envelope Black & White Code 02X Leveraging the power of the printed word, we’ll This workshop will introduce students to in Letterpress Code 03L Using everything from knives and gouges to explore the community-building potential of intaglio printmaking through drypoint and This workshop will cover intro-to-advanced hammers and torches, this woodcut workshop letterpress printing. This workshop will focus copper etching, using additive and subtractive letterpress and intro-to-advanced image carv- will focus on expanding students’ graphic on concept and content as we work on a variety techniques. Employing hand-drawn approaches, ing on multiple surfaces. If it will go through vocabulary beyond linear and bold qualities of projects with varying levels of collaboration students will be encouraged to experiment the press, we’ll try it: wood type, metal type, toward textural and atmospheric effects. Guid- and sharing. We’ll cover traditional letterpress as they investigate personal directions for hand-carved blocks, the leaves in the fields. ed drawing exercises will complement ex- processes with a focus on using wood type. their work. We’ll focus on learning to create We’ll look past the use of type as letters and perimental and collaborative demonstrations We’ll also learn some image making and basic and manipulate the malleable intaglio matrix investigate its value as forms. Once our imagery covering image transfer methods, traditional bookbinding techniques in support of larger while also combining strategies to form hybrid is created, words can be integrated. We’ll aim and alternative carving methods, inking with collaborative projects. Students will leave with prints. Along with hard ground, soft ground, for excellence not perfection, and students oil-based inks, color-mixing, and both press a series of editioned prints, a copy of our col- aquatint, and multiple color-plate intaglio will go home with a carload of work. No press- and non-press printing methods. Students will laborative book, and the experience of working printing, we’ll explore introductory elements es or type will be injured. Each day will in- experiment with the techniques and pursue within a community of printers and makers. of monotype, relief, screenprint, and lithography. clude the three Cs of this workshop: courtesy, their own original imagery. All levels. All levels. community, and comedy. All levels. All levels. Studio artist; teaching: Colorado College, Cleveland Associate professor at Oberlin College (OH); other Studio artist; manager, master printer, and archivist Clinical assistant professor at University of Arkan- Institute of Art; Hamilton Wood Type and Printing teaching: University of Iowa, School of the Art In- at Hatch Show Print for 30 years (Nashville); sas; residencies: Guanlan Original Printmaking Museum residency (WI); collections: Metropolitan stitute of Chicago, Ox-Bow (WI); exhibitions: Akron Tennessee Distinguished Artist Award; work toured Base (China), Vermont Studio Center; Mid-America Museum (NYC), Newberry Library (Chicago), School Art Museum (OH), Hobusepea Galerii (Estonia); nationally with the Smithsonian; author of Hatch Art Alliance Artists 360 grant; exhibitions: Inter- of the Art Institute of Chicago. collections: Harvard Art Museum (MA), Cleveland Show Print: The History of a Great American national Print Center New York, Morgan Conser- benblount.com Clinic, China Printmaking Museum, Novosibirsk Poster Shop. vatory (Cleveland), University of Richmond (VA), State Art Museum (Russia). jimsherraden.com Andy Warhol Museum (Pittsburgh). Ben Blount, Antiracism Fist, letterpress, kristinapaabus.com kaseyramirez.com 19 x 25 inches Jim Sherraden, Mule Skinner Blues, oil-based Kristina Paabus, The Guards, intaglio, relief, ink; letterpress from woodblock and wood Kasey Ramirez, Hull, woodcut, 22 x 34 inches screenprint, 24 x 20 inches type, 26 x 40 inches 27 Print & Letterpress 2 of 2

4 July 5–17 5 July 19–August 4 John Hitchcock David Wolske Andrew Polk & Kathryn Polk Bryce McCloud Screenprint Demo City! Code 04X The Art of Typography Code 04L Stone Lithography Code 05X The Interactive Print-O-Rama This workshop will focus on the post-matrix Let’s demystify and deconstruct traditional Stone lithography, first developed by Alois Do-Gooders Social Art Gathering Code 05L and pushing the surfaces of paper, wood, and rules and use letterpress to create expressive Senefelder in 1796, continues to captivate artists Howdy friends! Are you wondering how you fabric. We’ll work with water-based screen- typographic prints. We’ll learn to print from today. Join two different types of lithographers can make prints AND a difference in this great printing with low-tech stencil methods, wood and metal types and experiment with as they demonstrate techniques and philoso- big world? One solution: experimental print- stressing the current trends of print media in layering, rotation, systematic variation, back- phies for working on and printing from the ing, social art, and your big ideas! Let’s use our contemporary culture. Demonstrations will wards transfer, monoprint, monotype, and amazing Bavarian limestone. Students will brains and hearts and printing presses to make include handcut and photo stencil methods, isotype printing techniques. We’ll also examine learn the processes of drawing on the stone, things happen. In this workshop we’ll discuss manipulation of the surface, sculptural prints, and discuss work by designers and artists who chemically processing (etching) the image, the basic ideas of interactive, socially-minded hand dyeing, sewing, drawing back into, and use type in dynamic and evocative ways. Together proofing, and printing a final edition. Imaging art, use the letterpresses to make a bunch of water soluble markers as we create experi- we’ll expand our visual vocabularies and explore approaches will include crayon drawing, tusche relief prints, collaborate on an interactive art mental, unique prints. We’ll emphasize gain- new typographic frontiers. All levels. wash techniques, transfers, and experimental project at Penland, and talk about how to cre- ing both proficiency in the techniques and Assistant professor at University of North Texas; methods. We’ll have a special demonstration on ate your own public art campaign back home. an awareness of how these skills can be used other teaching: Montana State University, Miami making litho crayons. All levels. Bring an open mind and your talents. within the larger cultural context. All levels. University (OH), School of Visual Concepts (Se- Andrew: professor emeritus at University of Ar- All levels. Professor at University of Wisconsin-Madison; attle),Virginia Commonwealth University; Hatch izona; collections: Hunan Art Institute (China), Studio artist, director of Isle of Printing (Nashville); grants: Robert Rauschenberg Foundation (NYC), Show Print visiting artist (Nashville), Utah Arts & Hunterdon Art Museum (NJ), Denver Art Museum. teaching: Watkins College of Art (TN), Penland; Jerome Foundation (MN); solo exhibitions: American Museums fellow; exhibitions: Hamilton Wood Type Kathryn: studio artist; teaching: Frogman’s Print public art: Automat Idea Exchange (TN), Noelle Culture Center (Shanghai), Missoula Art Museum and Printing Museum (WI), GOCA Downtown Workshops (NE); collections: Museum of Fine Arts (TN), Southwest Print Fiesta (NM), Our Town (MT), Mulvane Art Museum (KS), Museum of Con- (CO), Hatch Show Print. Boston, Sado Print Museum (Japan). Nashville, All Are Welcome (TN), Pinewood Social temporary Native Arts (Santa Fe). david-wolske.com andrewpolk.com  @onechair (TN), Invasion UK. hybridpress.net isleofprinting.com David Wolske, Angle Chase 01, letterpress from Andrew Polk, Intersecting Histories, lithography, John Hitchcock, Beef Tank, acrylic paint, dye; wood and metal types, 81/2 x 11 inches 101/2 x 9 inches Isle of Printing, Our Town: Together Heroic, screenprint, 30 x 22 inches Kathryn Polk, This End Up, stone and plate large-scale stamps, ink lithography, 20 x 81/2 inches 28 6 August 9–21 Asuka Ohsawa Brad Vetter Screenprint Essentials Code 06X Lasers & Letterpress Code 06L This intensive workshop will cover the basics Our duty as a new generation of letterpress of water-based screenprinting while focusing printers is not just to communicate, but to see on different ways an image can be manipulat- where we can take this medium as we move ed, reproduced, and transformed in this me- forward. This workshop will explore new dium. We’ll begin with non-digital techniques techniques in letterpress with an emphasis such as hand-cut/hand-drawn stencils, reduc- on laser cutting and poster design. We’ll use tion prints, and crayon monoprints. Then we’ll Vandercooks, wood and lead type, computers, focus on image manipulation in Photoshop Penland’s new laser engraver, and the power of for output to digital transparencies used with the printed word to discover new ways to col- photo emulsion on the screens. Students may laborate with each other and communicate/ create a series of edition prints on paper or impact/interact with the community around one-of-a-kind prints on different substrates us. We’ll have daily demonstrations and show- that can be incorporated into other media and-tell with plenty of time for exploration such as painting or sculpture. All levels. and printing. Letterpress and/or Photoshop/ Studio artist; teaching: School of the Museum of Illustrator experience is a plus, but this work- Fine Arts (Boston), Parsons School of Design (NYC), shop is open to all levels. San Francisco Art Institute; collections: Center for Studio artist; teaching: Miami University (OH), Book Arts (NYC), Emily Carr University of Art and Hamilton Wood Type and Printing Museum (WI); Design (Vancouver), San Francisco Public Library, exhibitions: San Francisco Museum of Modern Art, State University of New York at New Paltz. Massachusetts Museum of Contemporary Art; pub- asukaohsawa.com lications: Low-Tech Print, Wood Type Evolved. bradvetterletter.press Asuka Ohsawa, Somewhere, Sometime #12, screenprint, 12 x 9 inches Brad Vetter, Margo Price Tour Poster, letterpress, 23 x 13 inches 29 Textiles 1 May 24–June 5

1 of 2 Jeana Eve Klein Andrea Donnelly Say It Softly Code 01TA Woven Cloth, Raw Material Code 01TB Workshops listed as “all levels” We may speak loudly in this workshop, but We’ll create weaving-based artworks that start welcome serious students we’ll do it through the softness of textiles. on the loom and finish as mixed-media collages. of any skill level, beginning Using language as a starting point—phrases, Experimenting with nontraditional interven- to advanced. mottos, slogans, and powerful single words— tions in the weaving process, including un- we’ll make ideas literally tangible. We’ll use a weaving and on-loom painting, we’ll create a Scholarship information range of textile processes to translate words body of small weavings to develop an under- begins on page 42. into physical forms, including appliqué, re- standing of the qualities and characteristics verse-appliqué, trapunto, piecing, embroidery, of painting with pigment on thread and cloth. Textiles workshops are taught in and embellishment (with plenty of sequins). Off the loom, our woven cloth will become second- and third-floor walk-up Students can expect to produce a set of pro- our raw material as we learn to stabilize, layer, studios that are made partially cess samples and one or more finished pieces by and assemble woven elements into larger col- accessible with a stair lift. the end of the workshop. All levels. lage/mixed-media works backed with paper or Professor of fibers at Appalachian State University unstretched canvas. Intermediate level: stu- Students may enroll in one (NC); other teaching: Arrowmont (TN); Artspace dents must be comfortable setting up a loom workshop per session. residency (NC), North Carolina Arts Council Indi- and weaving plain/balanced weave. vidual Craft Artist Fellowship; exhibitions: Museum Studio artist; teaching: Virginia Commonwealth of Design (Atlanta), PULSE Art Fair (Miami). University; exhibitions: Reynolds Gallery (VA), Center jeanaeveklein.com for Craft (NC), Museum Rijswijk (Netherlands); collections: North Carolina Museum of Art, Markel Jeana Eve Klein, Recent Activity: Would My Corporation (VA), Dominion Energy (VA). Trump-Supporting Facebook Friends Shoot Me?, andreadonnelly.com recycled textiles, sequins, beads, 53 x 68 inches Andrea Donnelly, Blue Brushes, handwoven cotton, dye, pigment, PVA, cotton backing, 391/2 x 30 inches 30 2 June 7–19 3 June 21–July 3 Akemi Nakano Cohn Graham Keegan Mo Kelman Katazome with Natural Dyes & Indigo Natural Dye Block Print Code 03TA Skins, Skeletons, Nets & Knots Code 03TB Code 02TA We’ll begin by exploring the basic concepts In this experimental workshop, students will Katazome is a traditional Japanese resist tech- of natural dyes: mordants and plant pigments. learn methods for building skeletal structures nique that uses rice paste applied through a We’ll use color from foraged plants and those with rigid and semi-rigid materials such as rattan, stencil. Working with natural dyes, students specifically grown for their dye potential. bamboo, wood, wire, found materials, and recy- will learn basic katazome and explore images Then we’ll step into making basic printing cled frameworks. Techniques will include lash- representing their own stories. We’ll cover blocks from a number of materials and ex- ing, chaotic plaiting, and wire construction. mordants and earth pigments along with cut- periment with printing on a range of fabrics. To put skins on these structures, we’ll work ting stencils, cooking rice paste, making soy The class will emphasize techniques for hand with knotted and knotless netting, gut, and rice milk, brushing a variety of natural dyes, and block-printing repeat patterns and layering papers. Paintable graphite, wax, and kakishibu steam-setting colors. We’ll also dip rice-past- multiple colors onto the same piece of fabric. tannin will further modify surfaces. Exercises, ed fabric into the indigo pot to create intense Students can expect to make their own print- brainstorming, and problem-solving challenges shades of blue. Sumi ink will create depth ing blocks and produce a series of 18 x 22 inch will guide your production of a series of pro- and variation with indigo blue. Tsutsugaki— pieces showcasing different print techniques totypes that will ignite your studio practice. freehand drawing with rice paste in a pastry and colors along with larger works. All levels. All levels. tube—will add additional design elements. Studio artist, textile designer, and natural dye Studio artist, professor emeritus at Community College All levels. advocate; teaching: Marshfield School of Weaving of Rhode Island; other teaching: Haystack (ME), Peters Studio artist; teaching: School of the Art Institute (VT), Snow Farm (MA), workshops across the country Valley (NJ), Maiwa (Vancouver); exhibitions: Wayne Art of Chicago, Haystack (ME), Anderson Ranch (CO), as part of his annual Indigo Tour; designs used by Center (NJ), Cheongju International Craft Biennale Zijdelings (Netherlands); Ragdale residency (IL); boutique designers and international brands on (Korea), International Shibori Symposium. exhibitions: Museum of Arts and Design (NYC), garments, home goods, wallpaper, and accessories. mokelman.com Bellevue Art Museum (WA), Gallery Uesto (Tokyo). grahamkeegan.com akemistudio.com Mo Kelman, Cloud and the Space Between, Graham Keegan, detail of Diamonds in shibori-dyed and shaped silk, wood, steel Akemi Nakano Cohn, detail of Sunrise, Sunset Tessellation, madder, iron/tannin, cotton; wire, cordage, nails, 81 x 44 x 151/2 inches # 2, natural dyes on silk organza; katazome woodblock print 31 Textiles 2 of 2

4 July 5–17 5 July 19–August 4 Jessica V. Gatlin Adele Stafford Ann B. Coddington Elisabeth Hill Suit Yourself Code 04TA Cloth Is Material Code 04TB Sculptural Basketry + Code 05TA Limitations as License Code 05TB This workshop will be a hacker’s guide to pattern This workshop will be a rich examination of We’ll explore basketry as a sculptural medi- Friction with the perceived limitations of a drafting, alterations, and custom clothing. Using the materiality of fiber and its narrative in- um capable of expressing ideas and carrying discipline can often spark the fire of creative a combination of construction, mending, and fluence on handwoven cloth and our design meaning beyond its utilitarian traditions. We’ll thinking and problem-solving. In this work- printmaking, we’ll impose personal and/or cul- process. We’ll trace fiber stories from origin focus on twining with waxed linen and reed shop, weavers as well as craftspeople from tural values on existing garments and objects. through finished works. Ranging from the and also cover other processes such as netting, different disciplines will learn (or review) the Through making and altering, we’ll also engage last organic cotton farmers in West Texas to looping, random weave, and crochet. Most fundamentals of weaving, including measuring in dialogue pertaining to consumption, access, the importance of Landrace wool cultivation, importantly we’ll share, discover, connect, and winding warps, dressing looms, calculat- labor, value, and exchange. We’ll cover sewing, discussions will touch on fiber agriculture and interact, play, create, and have fun! All levels. ing sett, and drafting on paper and the com- fit adjustments, garment deconstruction and processing, sustainability. and cultural own- Studio artist; teaching: Eastern Illinois University, puter. These fundamentals may be seen as lim- re-creation, embroidery, mending, and screen- ership. Through sketching, writing, and sam- Northwest Basket Weavers Guild (WA), Los Angeles itations, but during the second week of class printing. Expect to finish two or three pieces, pling, students will be asked to create woven Basketry Guild, Arrowmont (TN), Haystack (ME); we’ll apply the skills acquired and honed in the but the emphasis will be on process and exper- work deeply integrating material and form. Varda residency (CA); exhibitions: Quincy Art Center previous week to personal projects by explor- imentation. Basic sewing machine skills will be We’ll cover a variety of fundamental weaving (IL), Textile Center (MN), Cedarhurst Center for the ing/deploying a variety of weaving techniques helpful, but this workshop is open to all levels. drafts, hand finishing methods, and decorative Arts (IL), Basketry in America (traveling). that challenge the loom’s limitations, such as Assistant professor at University of Maryland; residen- weaving techniques including leno and overlay. @abcoddington layered weaves, pile weaves, deflecting struc- cies: Ox-Bow (MI), Wassaic Projects (NY), ACRE (WI), All levels. tures, and pick-up techniques. All levels. Eugeniusz Geppert Academy of Fine Arts (Poland); ex- Studio artist, vice president of client services at Higg Ann B. Coddington, close, twined and Studio artist and certified master weaver; teaching: hibitions: COOP Gallery (TN), Co-Prosperity Sphere Co, providing sustainability assessment tools to ap- crocheted linen, 30 x 20 x 8 inches Vävstuga Weaving School (MA), Campbell Folk (IL), Seedspace (TN), The Holland Project (NV). parel and textile industries; Albers Foundation re- School (NC), Arrowmont (TN); publications: jvgatlin.com search residency (CT); lectures: Museum Design Sum- Handwoven, Complex Weavers 40th Anniversary mit (Santa Fe), DO Lectures (CA); collections: Rhode Book, The Art of Weaving 4th Edition. Jessica V. Gatlin, Untitled (Printed Dress), Island School of Design. plainweave.net screenprint on cotton, 48 x 22 inches voicesofindustry.com Elisabeth Hill, detail of Sample, merino wool Adele Stafford, Fragments of Appalachia, Black Thorn Farm wool; overshot float 32 6 August 9–21 7 August 23–29 Yoshiko I. Wada Edwina Bringle Stephanie Metz Hillary Waters Fayle Boro Transformed Code 06TA Class of Possibilities Code 06TB Felt: Fiber in the Round Code 07TA Plants: Muse, Medium & Material Code 07TB In this workshop focused on the individual’s This workshop will cover all the basics of This workshop will be a thorough introduc- This workshop will be a blend of art, science, journey of making marks on fabric, we’ll rein- weaving, including warping and planning, and tion to the tools, processes, and possibilities of and natural history focused on botanical col- terpret the Japanese folk tradition of boro (tat- it will give students the potential to move be- needle felting. Students will learn to manipulate laboration. We’ll spend time looking at and tered, mended, patched, pieced items). We’ll yond what they imagined. There are many pos- wool into free-standing, solid felt sculptures learning about plants: taking guided walks, listen to the dialogue between maker and sibilities, including pattern weaving, tapestry, using barbed felting needles to coax loose drawing, stitching, spinning, sketching, press- materials, exploring mending processes and rugs, double weave, overshot, and more. We’ll fibers into sophisticated shapes. We’ll explore ing, printing, painting, and studying botanical strengthening fabric by dyeing it in an organic explore, watch, ask and answer questions, solid and hollow form-building, armatures, material. We’ll also experiment with leaves indigo vat. Topics will include stitching, piecing, learn from each other, and bring our ideas to and adding mixed-media. Felting particularly and other plant materials as substrates that patching, mending, fulling, mark making, painting, life at the loom. All levels. lends itself to representing organic forms, and can be woven, cut, knotted, stitched, col- and distressing. This alternative, creative process Professor emerita at University of North Carolina- students are welcome to bring source materi- laged, etc. We’ll source plants, nuts, seeds, records the history of reuse, repair, and time Charlotte; Penland Outstanding Artist Educator al. This innovative use of a humble, inexpensive and other materials to brew inks and dyes for spent stitching, bringing boro’s imperfect beauty award; collections: Mint Museum (NC), North Caro- material is bound to energize your art-making. textiles and paper. Plants and other botanical to the surface in our consciousness. All levels. lina Museum of History, Greenville Museum of Art All levels. Note: feltmaking involves repet- materials will be our means to explore the con- Studio artist, curator, president of World Shibori Net- (SC), Southern Highland Craft Guild (NC), private itive and vigorous hand and arm movement. nections between nature and humanity. work, founder of Slow Fiber Studios (CA); Smithso- collections; former Penland resident artist. Studio artist; teaching: Arrowmont (TN), Yuma All levels. nian Master of the Medium award; fellowships: Japan Symposium (AZ), California College of the Arts; Assistant professor and head of fibers at Virginia Foundation (Tokyo), James Renwick Alliance (DC), Edwina Bringle, Lap Robe/Shawl, handwoven recent exhibitions: Jack Fischer (San Francisco), de Commonwealth University; exhibitions: Blue Spi- Center for Japanese Studies at University of Califor- wool, 53 x 60 inches Saisset Museum (CA); collections: Triton Museum ral 1 (NC), Sager Braudis Gallery (MO), Pensacola nia-Berkeley; author of multiple books on shibori, (CA), National Centre for Craft & Design (UK). Museum of Art (FL), Ellen Noel Art Museum (TX). kimono, boro, and contemporary textile art. stephaniemetz.com hillarywfayle.com yoshikowada.com Stephanie Metz, In Touch: Hanging Pods, wool, Hillary Waters Fayle, Circular Meditations Yoshiko I. Wada, Boro Sample, various industrial felt, filler, cable, approximately I & II, stitched and embroidered holly leaves, textiles, indigo 50 x 30 x 30 each 14 x 14 inches

33 Wood 1 May 24–June 5 2 June 7–19 3 June 21–July 3 Yuri Kobayashi Laura Mays Adrien Segal Expedition to Curves Code 01W Right Angles, Wrong Angles Code 02W Carve, Bend, Shape Code 03W Workshops listed as “all levels” At the heart of this workshop is the trans- In this workshop we’ll look at various aspects Both rigid and flexible, wood is an ideal ma- welcome serious students formation of a stick from straight to curved. of stepping away from 90 degrees—from terial for creating curvaceous shapes, yet it is of any skill level, beginning We’ll focus on wood-bending techniques slopes, bevels, and facets to compound an- often made to be flat, straight, and square. We’ll to advanced. to stimulate creativity and expand design gled joinery. We’ll see how this can expand the cover many ways to transform wood into sculp- potential, experimenting directly with the range of possibilities in making cabinets and tural forms and furniture through additive and Scholarship information material to drive ideas. We’ll steam- or cold- boxes and have our brains tickled by spatial subtractive carving, bent and stack laminations, begins on page 42. bend wood to achieve unique organic lines and geometric problem-solving. Along with and dynamic joinery. Demonstrations will and forms—the possibilities are infinite. The daily demonstrations, we’ll look at historic emphasize the safe use of power tools for rough Students may enroll in one primary goal of this workshop is to learn ba- and contemporary pieces and discuss their shaping and hand-held tools for achieving workshop per session. sic bending techniques and how to play with construction. Expect to practice with two or detailed shapes, patterns, textures, and refining them. The result may not be finished objects. three sample joints and then make a box or smooth forms into finished pieces of furniture It’s more likely to be a collection of carefully small cabinet that incorporates non-right an- or sculpture. A process of quick iteration will crafted maquettes filled with the potential to gles. You’ll also gain insight into 90 degrees— facilitate design and experimentation with var- inspire furniture, furniture components, or how sometimes it has unique properties and ious methods for creating organic shapes in pure sculpture. All levels. sometimes it’s just a number. Intermediate wood. Students of all levels of woodworking Studio artist; teaching: Rhode Island School of level: basic woodshop skills required. will gain new skills. Design, Center for Furniture Craftsmanship (ME); Professor and program director at The Krenov Studio artist; teaching: California College of the recent exhibitions: Arizona State University Art School at Mendocino College (CA); collections: Na- Arts, University of San Francisco; residencies: Museum, Center for Art in Wood (Philadelphia), tional Museum of Ireland; co-author of the forth- Benchspace Cork (Ireland), Center for Art in Wood Houston Center for Contemporary Craft, Gallery coming book Making a Seat at the Table: Women (Philadelphia); publications: American Craft, NAGA (MA). Transform Woodworking. 500 Tables, Data Flow 2. yurikobayashi.com lauramays.com adriensegal.com

Yuri Kobayashi, Lin & Sui, ash, chair: Laura Mays, Skew Box, Irish oak, Adrien Segal, Strata Bench, carved plywood, 29 x 25 x 25 inches, table: 27 x 16 x 16 inches 43/4 x 18 x 4 inches 29 x 96 x 31 inches 34 4 July 5–17 5 July 19–August 4 6 August 9–21 7 August 23–29 Sylvie Rosenthal Raivo Vihman Daniel Michalik Aspen Golann & Julian Watts Hybrid Object Laboratory Code 04W Timber Vernacular Code 05W Cork Code 06W Sculptural Carving: Spoons Code 07W In this workshop students will learn tradition- Think mortise and tenon joinery, but think This workshop will explore cork and the Explore the potential of woodcarving by trans- al and alternative processes for making func- big. In this collaborative workshop, we’ll many possibilities for design and making that forming the wooden spoon into an abstract, tional and sculptural hybrid objects: objects delve into the ins and outs of woodworking can emerge from this wonderful, ecological sculptural object. We’ll discuss the intersec- that present or perform unlikely combina- on a timber scale. Each student will begin by material. We’ll learn and apply traditional tion of craft, design, and art, and challenge our tions. The work will be assembled and carved, building a pair of splayed leg sawhorses to use woodworking techniques including machining, preconceptions about the role that form and using both additive and subtractive tech- as a work station. We’ll spend the rest of the hand shaping, lathe turning, and bending, as function play in the everyday objects around niques. We’ll cover lamination, joinery, curved time constructing a small, structural timber well as experimental techniques such as cork us. Each student will design and carve a sculp- and not-square pieces, and small architectural frame joined with mortises, tenons, pegs, and casting. Cork will be used to achieve structure tural wooden spoon that subverts, exaggerates, components, along with safe and appropriate wedges while developing skills with hand tools and visual texture in combination with wood or illuminates something new about this familiar machine tool, hand-held power tool, and hand and power tools. Topics will include joinery and on its own. We’ll study cork farming, har- utensil. We’ll survey historic and contempo- tool usage as we make objects the world has design, layout strategies, working with green vesting, and production and make objects that rary designs and cover traditional and modern never imagined. All levels. wood, and scribing natural forms. The frame reflect these systems. We’ll start with experi- carving techniques, essential power tools, wood Studio artist; teaching: University of Wisconsin- we build will be disassembled and sold in the ments and then create tabletop accessories and species selection, wood grain, sanding, and fin- Madison; California College of the Arts, Haystack scholarship auction. All levels. furniture forms in which cork plays a central ishing. All levels. (ME), Anderson Ranch (CO), Australian National Founder of Haystack Joinery (ME); teaching: role. All levels. Aspen: studio artist, Penland wood studio coordina- University, Tainan National University (Taiwan); Waterfall Arts (ME), Viljandi Cultural Academy Studio artist, product designer, and assistant pro- tor; teaching: Lie Nielsen Toolworks (ME), Haystack exhibitions: Fuller Craft Museum (MA), Mint Mu- (Estonia), Haystack (ME), Tabonuco (Puerto Rico), fessor at Parsons School of Design (NYC); other (ME). Julian: studio artist; teaching: California Col- seum (NC), Museum of Arts and Design (NYC). Vanaajamaja (Estonia), Penland. teaching: Central Saint Martins (London), Hay- lege of the Arts, Anderson Ranch (CO), Haystack (ME); sylvierosenthal.com haystackjoinery.com stack (ME), Rhode Island School of Design; exhibi- representation: Patrick Parrish Gallery (NYC). tions: Renwick Gallery (DC), Fisher Parrish Gallery aspengolann.com  julianwattsstudio.com Sylvie Rosenthal, Battle Cat (possible futures), Raivo Vihman, Cabin Roof Framing, cedar, pine, (NYC), Sight Unseen OFFSITE (NYC). bass, steel, epoxy, paint, half a moped, red oak, 16 x 24 feet danielmichalik.com Aspen Golann, detail of Pink Throne, 33 x 22 x 90 inches mahogany carving, ash structure, silk, velvet Daniel Michalik, Rook Stools, recycled cork, Julian Watts, Maple Utensil Collection, bleached 20 x 15 x 15 inches each maple, dimensions variable 35 Specials 1 May 24–June 5 5 July 19–August 4 Susan Goethel Campbell Raivo Vihman Bryce McCloud Investigations in Materiality Code 01D Timber Vernacular Code 05W The Interactive Print-O-Rama Workshops listed as “all levels” Is materiality always physical? This interdis- Think mortise and tenon joinery, but think Do-Gooders Social Art Gathering Code 05L welcome serious students ciplinary workshop will investigate all aspects big. In this collaborative workshop, we’ll Howdy friends! Are you wondering how you of any skill level, beginning of materiality including sound and digital delve into the ins and outs of woodworking can make prints AND a difference in this great to advanced. works. It is for artists, thinkers, and makers on a timber scale. Each student will begin by big world? One solution: experimental print- interested in deepening their creative practice building a pair of splayed leg sawhorses to use ing, social art, and your big ideas! Let’s use our Scholarship information through material investigation. We’ll research as a work station. We’ll spend the rest of the brains and hearts and printing presses to make begins on page 42. and discuss the lineage of specific materials time constructing a small, structural timber things happen. In this workshop we’ll discuss and create sketches, assemblages, and models frame joined with mortises, tenons, pegs, and the basic ideas of interactive, socially-minded Students may enroll in one for future works. Daily exercises will focus wedges while developing skills with hand tools art, use the letterpresses to make a bunch of workshop per session. on the physical properties of both natural and and power tools. Topics will include joinery relief prints, collaborate on an interactive art manufactured materials. Bring your favorite design, layout strategies, working with green project at Penland, and talk about how to cre- materials, an open mind, and a willingness to wood, and scribing natural forms. The frame ate your own public art campaign back home. hone your curiosity. All levels. we build will be disassembled and sold in the Bring an open mind and your talents. Studio artist; teaching: Cranbrook (MI), College for scholarship auction. All levels. All levels. Creative Studies (MI); exhibitions: Crystal Bridges Founder of Haystack Joinery (ME); teaching: Studio artist, director of Isle of Printing (Nashville); Museum (AR), National Museum of Women in the Waterfall Arts (ME), Viljandi Cultural Academy teaching: Watkins College of Art (TN), Penland; Arts (DC), Detroit Institute of the Arts, Drawing (Estonia), Haystack (ME), Tabonuco (Puerto Rico), public art: Automat Idea Exchange (TN), Noelle Center (NYC), New York Public Library; represen- Vanaajamaja (Estonia), Penland. (TN), Southwest Print Fiesta (NM), Our Town tation: David Klein Gallery (Detroit), Apinwall haystackjoinery.com Nashville, All Are Welcome (TN), Pinewood Social Editions (NYC), Galerie Tom Blaess (Switzerland). (TN), Invasion UK. susangoethelcampbell.com Raivo Vihman, Cabin Roof Framing, cedar, pine, isleofprinting.com red oak, 16 x 24 feet Susan Goethel Campbell, Flint Carpet, earth Isle of Printing, Our Town: Together Heroic, roots, grass grown in plastic water bottles, large-scale stamps, ink 31/2 x 9 feet 36 6 August 9–21 7 August 23–29 Daniel Michalik Leigh Suggs Hillary Waters Fayle Cork Code 06W Changing Perspective: Plants: Muse, Medium & Material Code 07TB This workshop will explore cork and the Experimenting with Paper Code 07D This workshop will be a blend of art, science, many possibilities for design and making that This workshop is about changing your approach and natural history focused on botanical col- can emerge from this wonderful, ecological to paper. We’ll explore ways to transform laboration. We’ll spend time looking at and material. We’ll learn and apply traditional paper—both technically and conceptually— learning about plants: taking guided walks, woodworking techniques including machining, into more than just a flat surface. Students drawing, stitching, spinning, sketching, press- hand shaping, lathe turning, and bending, as will use simple tools to turn basic sheets into ing, printing, painting, and studying botanical well as experimental techniques such as cork sculptural forms by cutting, folding, collag- material. We’ll also experiment with leaves casting. Cork will be used to achieve structure ing, weaving, and using a variety of 3-d paper and other plant materials as substrates that and visual texture in combination with wood constructions. We’ll use natural and synthetic can be woven, cut, knotted, stitched, col- and on its own. We’ll study cork farming, har- papers and create samples that will introduce laged, etc. We’ll source plants, nuts, seeds, vesting, and production and make objects that you to the nuances of the material. There will and other materials to brew inks and dyes for reflect these systems. We’ll start with experi- be daily demonstrations, discussions of con- textiles and paper. Plants and other botanical ments and then create tabletop accessories and temporary work, and time for experimenta- materials will be our means to explore the con- furniture forms in which cork plays a central tion. All levels. nections between nature and humanity. role. All levels. Studio artist; teaching: Virginia Commonwealth All levels. Studio artist, product designer, and assistant pro- University, Arrowmont (TN), Penland; exhibitions: Assistant professor and head of fibers at Virginia fessor at Parsons School of Design (NYC); other Penland Gallery, Racine Art Museum (WI), Weath- Commonwealth University; exhibitions: Blue Spi- teaching: Central Saint Martins (London), Hay- erspoon Museum (NC), Taubman Museum (VA); ral 1 (NC), Sager Braudis Gallery (MO), Pensacola stack (ME), Rhode Island School of Design; exhibi- collections: Virginia Museum of Fine Arts, Roanoke Museum of Art (FL), Ellen Noel Art Museum (TX). tions: Renwick Gallery (DC), Fisher Parrish Gallery College (VA); representation: Reynolds Gallery (VA). hillarywfayle.com (NYC), Sight Unseen OFFSITE (NYC). leighsuggs.com danielmichalik.com Hillary Waters Fayle, Circular Meditations Leigh Suggs, On Our Way, handcut acrylic I & II, stitched and embroidered holly leaves, Daniel Michalik, Rook Stools, recycled cork, on Yupo, 36 x 36 inches 14 x 14 inches 20 x 15 x 15 inches each 37 Registration

Sarah Parkinson

They are wedging clay with their feet. 38 Registration

postcards, Penland gear, and other items. Registration Process be charged unless you are enrolled. To place Wireless internet access is available through- Penland will begin accepting full-pay regis- your name on a waiting list, please call 828- out campus, and there are several public com- tration for summer workshops at noon est 765-2359 or e-mail [email protected]. “With the friendly people I’ve puters. Most students live at Penland, and on Tuesday, January 13. Registration is on all students may participate in activities on a a first-come, first served basis and continues Cancellations & Refunds connected with, the wonderful 24-hour basis. Penland housing is simple but until workshops are filled. All registration takes Penland makes a substantial investment when adequate, and it puts you close to all the activ- place online. Spaces are reserved in each work- planning a workshop, and vacancies can be food, the beautiful environment, ity. There is more information about housing shop for scholarship students. The scholarship hard to fill even if there is a waiting list, so we and the excellent instruction, on page 40. application will be available in Slideroom on must charge cancellation fees to offset the cost At Penland, you can expect to work hard, January 1 and must be completed by 11:59 pm est of these vacancies. If you cancel anytime up to I will leave Penland a better learn a lot, make friends, and immerse your- on February 17. See the scholarship information 45 days before the beginning of a workshop, self in an environment that’s free from many section beginning on page 42. you will receive a full refund minus a $100 artist full of gratitude, fresh of the distractions of everyday life. You can cancellation fee and the $50 processing fee. ideas, and an expanded desire look forward to having fun, eating good food, Processing Fee & Deposits If you cancel less than 45 days before the be- and feeling the kind of energy that comes from A $50 application fee is charged when you apply. ginning of the workshop, there is no refund. to create.” immersing yourself in something you love. You may apply for several sessions at once with If it is necessary for Penland to cancel a work- one fee. A deposit of $250 per workshop is shop for any reason, students will be notified Diversity & Inclusion required to secure a place in each workshop and offered another workshop or a full refund. Karen, drawing student Penland School of Craft believes that diversity you want to be enrolled in. Scholarship appli- We cannot be responsible for nonrefundable air- and inclusion are essential to its mission. We cants pay a $10 Slideroom fee but no deposit at line tickets. want to inspire and nurture the human spirit, the time of registration. Penland registrations are transferable to and we value the perspectives and contribu- The balance of your fees (including room another person only if the workshop does not tions of all people. We want the Penland expe- and board) is due on April 15. If payment is not have a waiting list; if you wish to transfer your rience to include varied ideas, world views, and received by this date, you may lose your space registration, please call the registrar to inquire. personal characteristics. Penland is committed in the workshop and be charged a cancellation to being a community that welcomes and fee. If you register after April 15, full payment Stand-By Program Life at Penland respects everyone regardless of age, ability, is due with your application. Apply online at Residents of nearby counties in Western North Each workshop is structured by the teacher, ethnicity, race, religion, philosophical or politi- penland.org. Application procedures are Carolina and Eastern Tennessee are offered half- but most are a mix of demonstrations, lectures, cal beliefs, sexual orientation, gender identity or explained on page 46. price tuition when they take unfilled spaces individual studio work, and field trips. A stay expression, nationality, geographic origin, and less than two weeks before the beginning of a at Penland also offers daily movement classes, socioeconomic status. We are committed to Waiting Lists workshop. This offer is also available to allK –12 evening slide talks, visits to nearby studios, providing an environment free of discrimination. If you are interested in a workshop that is teachers and all teachers at colleges, universities, volleyball games, dances, hikes, or swimming in full, we encourage you to place your name on or community colleges, regardless of where they the Toe River. Registration Information the waiting list. We get some cancellations, live. For details contact the Penland registrar or The Pines dining hall provides three deli- Penland welcomes serious students of and the enrollment picture can change from visit penland.org/standby. cious meals each day. An on-campus coffee- all levels of experience—absolute beginners week to week. Waiting lists are kept in order house offers hot and cold drinks, snacks, and to professionals. The minimum age is 18. by the date requests are received. Applicants Accessibility a place to meet and relax. The school supply Some workshops are tailored for beginners will be contacted if space becomes available. Penland’s campus is located on terrain that is store features a variety of hand tools and craft and some require prior experience; most No deposit is necessary to have a space on a steep and uneven. Most of our studios are materials along with UPS shipping, books, welcome a range of skill levels. waiting list, and the $50 processing fee will not accessible, and housing is available that con-

39 Registration

forms to the Americans with Disabilities Act. little smaller; many are in older buildings. The Most workshops require you to bring certain for behavior that is disruptive to the commu- We provide accessible parking for the dining “hostel” option in economy housing refers to materials and tools with you, and most of them nity learning and living environment. Penland hall, housing, and most studios. Several golf rooms that house up to 13 people. have a studio fee for supplies used by the group. may refuse admission to students with a past carts are available for students who have mobil- Housing assignments are made on a first- We will make every effort to notify students in history of unacceptable behavior. ity limitations. Penland will make every effort come, first-served basis. We do our best to advance if we anticipate a studio fee in excess of to provide appropriate housing and program match students with the type of housing they $50. Look for this information on your materials College & Teacher Credits access to people with known disabilities to request, but this is not always possible, and we list. Note: flameworking students pay a $100 de- Undergraduate and graduate credit may be the degree possible without posing an undue cannot honor requests for specific rooms or posit and a $10 rental fee on their tool kits; rental earned at Penland through Western Carolina hardship for the organization. People with dis- buildings. You can find example photographs of tool kits are available in the wood and metals stu- University for a fee of $175 per undergradu- abilities are responsible for requesting appro- Penland housing at penland.org/housing. Note: dios for a small fee. ate credit and $200 per graduate credit. These priate accommodations in advance and help- we only house people enrolled in workshops. fees are in addition to Penland’s fees and are ing the school assess how best to assist them. Studio Safety subject to change. Students must check with Please contact the registrar to discuss housing All-Gender Housing In many workshops students may be working their institution to make sure these credits and access to studios and other facilities. We recognize that traditional housing options with tools that can cause injury if improperly are transferable. The college credit application Textiles workshops are taught in second- do not meet all students’ needs, particularly used. A safety tour and information about the form will be available in our online registra- and third-floor walk-up studios made partially with regard to gender identity or expression. proper handling of tools and materials is part of tion system once you are enrolled. It must be accessible by a stair lift; one of the metals Our online application form includes some our workshops; however, students assume the completed at least three weeks before the first studios has stairs that compromise access. all-gender housing options. risk of working with tools and materials pro- day of your workshop. A certificate of course It is made partially accessible by a stair lift. vided by the school. completion is also available. Teachers interest- The workshops in this metals studio have the Meals ed in receiving Public Education Certificate letter A in the class code. Students staying on campus pay for all meals as Studio Information renewal credits for Penland workshops must part of their room and board charge. Penland Information about Penland’s studios, includ- contact their local school board. Penland Housing provides excellent, nutritious meals made with ing a list of the tools and equipment in each We recommend staying on campus to maxi- fresh ingredients, some grown on campus. studio, is under the About tab on our website. Arrival & Departure mize your Penland experience. There are fre- There is always a vegetarian option and a salad Penland is located in the Blue Ridge Moun- quent evening events and many people choose bar, but we cannot promise to accommodate Policies tains near Spruce Pine, NC, 52 miles north to do studio work late at night or early in the special dietary needs. If you have questions Drugs and Alcohol—Alcohol is not permitted of Asheville. The easiest way to get here is by morning. about food at Penland, please send an inquiry to in the studios. The legal drinking age in North car, but commercial van service (not affiliated Penland housing is quite simple. Buildings [email protected]. Carolina is 21. The use of illegal drugs while at with Penland) to and from the Asheville air- are not air-conditioned—the climate is mod- Penland is strictly prohibited. We cannot port and bus terminal is available before and erate, and temperatures are cool at night. Off-Campus Students tolerate behavior that jeopardizes your safety after each session for a fee. Plan to arrive at Furnishing is basic: a bed and a place to put Students who live in the area or prefer to find or the safety of others. Penland between 1:00 and 5:00 pm on Sunday. your clothes. their own lodging may enroll as off-campus Personal Property—Penland is not responsible Sessions begin with an orientation meeting at Our housing is priced in two tiers: standard students and participate in all activities of the for the security of property belonging to stu- 5:00 pm. Sessions end at noon on the last day of and economy. Penland session. Off-campus students may dents, instructors, or staff. the session. Housing checkout time is 2:00 pm. Standard housing includes rooms that are a select a meal plan when enrolling. Pets—Students are not permitted to have pets Note: Studio assistants and scholarship stu- bit larger and, in some cases, in recently con- with them while at Penland. If you work with dents with a work requirement must arrive in structed or renovated buildings. The “dormito- Cost of Materials an ADA compliant service animal, please con- time to work on Saturday morning, except for ry” option in standard housing refers to rooms Tuition does not cover the cost of materials used tact the registrar. 6th session when they start work on Sunday that house four people. for students’ own production. (Hot glass tuition Unacceptable Behavior—Penland reserves the morning. These students also work on the day Economy housing includes rooms that are a does cover the cost of the glass in the furnaces.) right to dismiss any student, without refund, after their session.

40 Registration

41 Scholarships

Scholarship Information Full Scholarship with No Work Requirement: Penland is an intentionally inclusive and dy- students receive meals, dormitory hous- namic creative community—a community ing, and tuition with no work requirement. that welcomes diversity and purposefully There are more than 100 of these scholar- seeks students with diverse educational, cul- ships. tural, and life backgrounds. Penland seeks stu- dents who can profit from the creative energy Studio Assistantship: students work in the that arises from diverse artistic visions and studio before, during, and after their session, approaches. Our scholarship program helps preparing for the workshop and assisting the people live creative lives by enabling opportu- instructor. They receive meals, shared housing, nities and artistic challenges for people from and tuition. all walks and stages of life. Some spaces are reserved in each workshop Scholarship applications must be made on- for scholarship students. Scholarships are in- line, using Slideroom, by 11:59 pm est on tended for students who would have difficulty February 17. They must include two com- attending Penland without financial assistance. plete reference forms. Scholarship applicants You may not apply as a full-paying student if pay a nonrefundable $10 Slideroom fee; if you are applying for a scholarship. If you are awarded a scholarship, they will be charged not selected, you may reapply as a full-paying an additional $25 processing fee. Early decision student if space is available. applicants will be notified within three busi- ness days of completing their application. All Partial Scholarship with others will be notified by April 10. Work Requirement (Work-Study) Apply at penland.slideroom.com. Please Work-study students are an integral part of do not use the regular enrollment system. life at Penland. Work-study students accept the challenge of balancing studio time with Penland offers scholarships in working for the school. four categories: During the session work-study students Partial Scholarship with Work Require- work approximately 20 hours per week on a ment: students work for the school before, variety of service tasks, usually cleaning, food during, and after their session. They receive service support, dishwashing. (Because of the meals, dormitory housing, and pay a discount- glass workshop schedule, glass students work ed tuition. There are more than 175 of these 12 hours per week and pay a higher fee.) All scholarships. (See note about early decision work-study students are given a schedule on option.) the first day and generally work part of each day during the session as well as on the day Full Scholarship with Work Requirement: before and after the session. The work is man- students work for the school before, during, ual labor and the schedule, while reasonable, and after their session. They receive meals, requires work-study students to carefully bal- dormitory housing, and tuition. There are ance their time and energy between the studio more than 70 of these scholarships. and their work obligations.

42 Scholarships

43 Scholarships

Sarah Parkinson Early Decision Option Every session, Penland needs a crew of reli- able and committed work-study students in the dining hall. Many people have expressed an interest in finding out sooner whether they have been chosen for a scholarship. And every- one would prefer to get their first or second choice of workshop. We have joined these in- terests in the early decision option. If you are willing to commit to a partial scholarship with a work assignment in the dining hall, you will be notified of your en- rollment status within three working days after the completion of your application. Applications may be submitted between Jan- uary 1 and February 17 and will be considered complete once Penland receives completed reference forms from two of your references. Applicants for this option pay a nonrefundable Slideroom fee of $10. They do not pay any oth- er processing fee. If you accept a scholarship offered under this option, you will not be eligible for a full scholarship this summer. If you decline a scholarship offered under this option before the February 17 deadline, you will still have the option of applying for a full scholarship. Because these applications are processed before other scholarship applications, this op- tion increases your chance of getting a schol- arship for your first- or second-choice work- shop. One space will be held in each workshop Work-study students receive dormitory from 9:00 am to 5:00 pm on the day before International applicants note: because the for early decision applicants (spaces will be housing. Dormitories are common living areas their session and 9:00 am to 12:30 pm the government considers our work-study schol- held for other scholarship applicants as well). accommodating 4 to 13 students. day after their session. You are responsible arship program to be work-for-hire, students These spaces will be awarded on a first-come, If you are unable to perform the labor-in- for making travel arrangements that will allow who are not US citizens may not receive first-served basis. Apply now! tensive jobs required, please do not apply for you to meet this requirement. If you cannot work-study scholarships unless they are these scholarships. Full scholarships with no meet this requirement, please do not apply. authorized to work in the US. International Full Scholarship with Work Requirement work requirement are available. Applications procedures are explained on students may apply for full scholarships with These work-study scholarships carry the same In addition to working during the session, page 46. no work requirement. work requirement as the partial scholarships, work-study students are required to work however they cover all room, board, and tu-

44 Scholarships/Support for Penland ition. (Please read details of work require- • Woman taking a workshop/pursuing a Studio Assistantship Scholarship Auctions ment on page 42.) These scholarships target career in books, drawing, painting, or Studio assistants are students who assist in- One important source of funds for Penland’s students with exceptional talent and financial photography structors and are responsible for maintaining scholarship programs is the sale of work at need. Applicants submit images of their work. • Person of color the school’s standards for studio operation. auctions that take place at the end of each If you apply for one of these scholarships, • Veteran Assistants receive housing and meals and pay session. Donations come from students, in- you are encouraged to also apply for a partial • Person with disability only the $10 nonrefundable Slideroom fee and structors, and friends. These auctions are cel- scholarship. See note below about targeted • LGBTQ the studio fee (paid at the end of the session). ebrations of the work done in the workshops, scholarships. Application procedures are ex- • LGBTQ NC resident Studio assistants are responsible for their own and they are an opportunity for neighbors, plained on page 46. • Forty or older travel expenses. visitors, and craft enthusiasts to enjoy the energy • Forty or older taking a wood workshop Assistants are selected based on their of a Penland session. If you are in the area on Full Scholarship with No Work • Sixty or older, studying an unfamiliar knowledge of a working studio. In addition one of the auction dates, be sure to join us for Requirement medium to 25–40 hours of work each week, studio the fun. These full scholarships cover room, board, • Emerging artist assistants are required to work from 9:00 am and tuition and have no work requirement. • Emerging artist 50 or older to 5:00 pm on the day before and 9:00 am to 2020 Scholarship Auction Dates Most of them target students with exception- • Accomplished in one medium and 5:00 pm the day after their session and must Auctions take place at 8:00 pm al talent and financial need, and applicants are taking a workshop in another make travel arrangements which will allow on the Penland campus encouraged to submit images of their work. • Exploring a career or life transition them to meet this requirement. If you cannot Thursday, April 30 Thursday, July 16 However, a limited number of these scholar- • Amateur or professional performer in meet this requirement, please do not apply. Thursday, June 4 Monday, Aug. 3 ships do not require images. If you apply for dance, drama, or music Many instructors select their own assistants; Thursday, June 18 Thursday, Aug. 20 available positions will be listed in Slideroom one of these scholarships, you are encouraged • Changing career to craft education Thursday, July 2 Thursday, Nov. 12 and at penland.org/assistants. Application to also apply for a full scholarship with work • Metals educator living in Japan procedures are explained on page 46. requirement and a partial scholarship if you • Student at Louisiana State University International applicants note: because the are willing and able to meet the work require- School of Art Annual Benefit Auction government considers our studio assitantships ment (see page 42). See note below about * Art major at Mars Hill University The 2020 benefit auction takes place on Friday, to be work-for-hire, we cannot accept appli- targeted scholarship preferences. Applica- • Student, faculty, or adjunct faculty at August 7 and Saturday, August 8. Each year, cants who are not US citizens unless they are tion procedures are explained on page 46. Meredith College more than two hundred current and former authorized to work in the US. • Rising sophomore or junior at Appala- instructors, resident artists, and core fellows Targeted Scholarship Preferences chian State University and first time at donate work in support of Penland’s programs Some full scholarships (with or without Penland Support for Penland and studios. Students, staff, neighbors, and work requirement) have stated preferences • NC resident living east of Raleigh You are invited to be part of the group of gen- board members volunteer their time to create from our funders in addition to exceptional • NC resident taking a workshop that erous individuals who contribute to Penland’s an atmosphere of fun and celebration. Auction talent and financial need. If you meet any of uses new technologies annual fund to support studios, scholarships, guests enjoy an exhibition of auction work, the following preferences, you will be able to • Student from Appalachia, age 18–35 and programs. Tuition and fees do not reflect meals under a festival tent, and the opportu- indicate this in your Slideroom application, • Resident of Avery, Cleveland, McDowell, the true cost of offering these programs. Stu- nity to collect beautiful works of art. Absentee and it may increase your chance of receiving Mitchell, Rockingham, or Yancey counties dent fees cover less than half of Penland’s oper- bidding is available. To receive an invitation, call a scholarship. in NC ating costs. We welcome your contribution of the development office at 828-765-2359, ext. 1205. • Teacher (at any level)—no images required • Resident of Idaho, Oregon, Washington any size. You can donate on our website where • International student you will find information about a variety of • Woman A complete list of specially funded, named ways to help the school. With your support we • Woman who speaks English as a second scholarships is available on our website at can continue to help thousands of people live language penland.org/scholarship-funds. creative lives.

45 Tuition, Room & Board

Tuition, Room & Board How to Apply as a Full-Paying Student 1. Minimum age is 18. Applications must be made online at Tuition 1 wk 2 wks 2½ wks penland.org. Regular...... 867 1,533 1,944 2. If you are applying for a scholarship or a studio assistantship, Hot glass...... 1,180 2,013 2,612 follow the instructions in the section below. 3. Read cancellation and refund policy on page 39. Tuition for Partial Scholarships with Work Requirement 4. Complete online application form, indicating workshop choices Regular...... 377 681 888 (and preference order) and housing preference. Application form Hot glass...... 543 989 1,288 is at penland.org. Partial scholarship students receive meals and dormitory accommodations at no 5. Online application process will include (in US currency) the $50 additional charge as part of their scholarship package. application fee and the $250 deposit(s). A deposit is required for All students pay a studio materials fee at the end of the session. See each session you want to enroll in. note on page 40. 6. Full balance is due April 15.

“Before coming here, I was Room and Board – Standard 1 wk 2 wks 2½ wks Includes all meals. How to Apply for a Scholarship or unsure of my place in craft and Dormitory...... 514 914 1,228 Studio Assistantship Double/common bath...... 707 1,289 1,696 1. Minimum age is 18. Scholarship and studio assistantship feeling a bit isolated. Being here Double/bath shared w/roommate...... 938 1,704 2,230 applications must be made online at penland.slideroom.com. surrounded by so many dedi- Single/common bath...... 1,351 2,457 3,232 Do not also use the regular enrollment application. Single/private bath...... 1,720 3,156 4,147 2. Read cancellation and refund policy on page 39. cated and talented craftswomen, Dorms house 3–4 per room. 3. If applying for a studio assistantship, check penland.org/assistants or Slideroom to determine availability. plus learning about Lucy and Room and Board – Economy 1 wk 2 wks 2½ wks 4. Scholarship and studio assistantship applications require a nonre- the history of this school, I am Includes all meals fundable $10 Slideroom fee. If you receive a scholarship, you will Hostel...... 443 784 1,055 also be charged a $25 processing fee. (Early decision scholarship energized and fueled to learn Single/common bath...... 1,090 1,977 2,600 students do not pay a processing fee.) You will need to list at least Hostels house up to 13 per room. two references as part of your application. Your references will and create more now than ever.” receive a reference form by e-mail. Reference forms must be com- Off-Campus Student Meals 1 wk 2 wks 2½ wks pleted by the application deadline for your application to be con- All meals...... 345 629 818 sidered. Studio assistantship and many full scholarship applications Izzy, wood student Lunch and supper...... 264 477 623 require images of your work. Breakfast only...... 81 152 195 5. Your application must be complete by 11:59 pm est on February 17. Lunch only...... 116 214 280 6. You will be notified of your status by April 10 and be asked to pay in Supper only...... 148 263 344 full at that time. (Early-decision applicants will be notified within three business days of completing their application.) See note about cost of materials on page 40. More details are included in the Slideroom application form at penland.slideroom.com.

46 47 Other Programs

Other Penland Programs Penland Resident Artists Community Open House The resident artist program provides a stim- Every spring, Penland’s community open The Penland Gallery and Visitors Center ulating, supportive environment for artists at house welcomes visitors into the studios for The Penland Gallery and Visitors Center is transitional points in their careers, enriching an afternoon of demonstrations and hands- one of the finest showcases for contempo- the total educational experience available at on activities. The 2020 open house will be on rary craft in the Southeast. Attracting more Penland. Resident artists are self-supporting, Saturday, February 29 from 1:00–5:00 pm. than 10,000 visitors each year, the gallery dis- independent artists who live and work at plays and sells work by current and former Penland for three years. Fall and Spring Sessions “Using your physical body to Penland instructors, resident artists, and stu- The program welcomes motivated, focused In addition to the workshops described in this dents from around the world. The gallery also individuals working in any of the me- catalog, Penland offers one- and eight-week make the thoughts in your mind presents eight invitational exhibitions each dia taught at Penland. Application deadline: workshops each spring and fall. Our eight- year. A knowledgeable staff provides infor- January 15. week sessions, called concentrations, allow come into the world—there’s mation about craft processes, the school’s you to settle into the studio for an extended not much that you can do that’s programs, the artists, and studios in the area. Core Fellowship Program period of time and make great strides in your Gallery hours: March to early-December: Penland’s core fellows are full-time students work. One-week spring and fall workshops more beautiful than that.” Tuesday through Saturday, 10:00 am–5:00 who live and work at the school for two make Penland available to people who can’t pm; Sunday, 12:00–5:00 pm. Campus tours are years. These artists are members of the staff take as much time away from their lives. available on Wednesdays when workshops who have ongoing responsibilities and take a Patrick Beggs, clay student are in session. For more information visit leadership role among work-study students. Movement penland.org/gallery or call 828-765-6211. Core fellows receive housing, meals, and tu- Movement classes are available during Penland ition. They are chosen based on the seriousness sessions at no extra charge. The movement Visiting Penland of their artistic intent and their ability to work program at Penland is based on the belief that In the interest of protecting the focused atmo- with others. Application deadline: October 15. ease of movement is an aid to the creative pro- sphere of our workshops, Penland’s teaching cess. Movement instructors come from a vari- studios are not open to the public. The Pen- Winter Residencies ety of disciplines. land Gallery sponsors weekly tours of the cam- Winter residencies are an opportunity for a pus when school is in session, March through community of artists to work independently Summer 2020 Movement Instructors mid-November. Because tour sizes are limited, in our studios for a short time. There are a Session One: Hannah Levin we recommend calling for reservations. limited number of artists per studio. Hous- Session Two: Gwen Hashimoto The studios of Penland’s resident artists ing, kitchen facilities, and the Penland Coffee Session Three: Etti Clingman are open, and many nearby craftspeople House are available, but the dining hall is not Session Four: Nicki Strouss have hours when their studios are generally open. Application deadline: August 15. Session Five: Diann Fuller open. The gallery staff provides a map for a Session Six: Diann Fuller self-guided tour of the campus and a map of Community Education Session Seven: Elif Tuzer studios in the area. Penland also has trails that Penland sponsors several programs that make Information about visiting Penland and all are open to the public. Penland is located near the school’s resources available to the local Opposite: Steel feather designed by instructor Spruce Pine, North Carolina, 52 miles north- community. The Teaching Artist Initiative of our programs is available at penland.org. Roberto Giordani and built by students in his 2018 east of Asheville. provides art programs in the Mitchell County summer workshop. schools and creates teaching opportunities for You can watch a new, short video about Back cover: Leather-bound journals by instructor artists. Summer art camps offer a variety of Penland at penland.org/video. Beth Schaible. children’s activities led by area artists.

48

Penland School of Craft | Post Office Box 37 | Penland, NC 28765–0037 | 828.765.2359 | penland.org