 |
 |
|||||||||
 |
||||||||||
 |
||||||||||
 |
 |
 |
 |
 |
 |
 |
 |
|
 |
|
 |
 |
|||||||||
 |
||||||||||
|
Fall Eight-Week Classes Classes are open to serious students of all levels unless specified in course description; beginners welcome.
Clay Gay Smith & Scott Goldberg - Form, Surface, Fire Students in this class will make and fire a body of strong functional work. We will begin with simple forms such as cups and will increase our technical and aesthetic skills as we move through bowls and then on to more complex forms such as jars and teapots. We will fire primarily in soda, salt, and reduction kilns with a focus on gaining practice, familiarity, and ease with firing. We will create forms and surfaces to respond to specific types of firing. The class will include frequent, supportive critiques. Scott will co-teach for three weeks. Intermediate level; basic wheelthrowing skills required. Code F00CA Gay: studio artist; workshop teaching: Penland, Haystack (ME), Harvard University (MA), Arrowmont (TN), Odyssey Center (NC); North Carolina Arts Council fellowship; collections: Crocker Art Museum (CA), Mint Museums (NC), Yingge Ceramics Museum (Taiwan). 
Gay Smith 
Scott Goldberg GLASS 
Kiara Pelissier Kiara Pelissier - Material as Concept We will begin this class by reviewing basic glassblowing techniques to ensure proper use of body, tools, and teamwork. These skills will enable us to proceed with in-depth experimentation. We will combine techniques—such as blowing, sandcasting, slumping, quick blow-molds, jigs, and adhesives—to get a job done. This class will push you into unfamiliar territory, letting your ideas and the material lead you. Students must have prior experience equivalent to a two-week workshop. Code F00GA Studio artist; teaching: Haystack (ME), Penland, Virginia Commonwealth University; Creative Glass Center of America (NJ) fellowship; representation: Reynolds Gallery (VA), Pistachios (IL), Penland Gallery; collections: Museum of American Glass (NJ), Capital One (VA), Markel Corporation (VA). Glass 
Janis Miltenberger Janis Miltenberger - Developing Focus: Expanding Technique Penland Concentration: a block of time devoted to learning skills, putting them into practice, and creating a body of new work. Students in this class will expand their knowledge of borosilicate flameworking techniques through class assignments, demonstrations, and practice. We will work with solid rods in functional and sculptural contexts along with blowing, molds, and other techniques. Most of the time will be spend working on your own projects, developing designs, troubleshooting, and experimenting. Whether your interests are functional or sculptural, this will be a fruitful fall experience. All levels. Code F00GB Studio artist; teaching: Pratt Fine Arts Center (Seattle), Niijima Glass School (Japan), Mesa Arts Center (AZ); exhibitions: Friesen Gallery (ID, WA), Thomas Riley Gallery (OH), Habatat Gallery (FL), Waterworks Gallery (WA) Museu Gallery (WA). IRON 
Mark Aspery Mark Aspery - The Skills of a Blacksmith This class is about mastering the fundamentals of blacksmithing in a forge environment. Developing strong hand-hammering skills along with an understanding of how steel moves will form the backbone of the class curriculum. Students will start with the fundamentals and progress through toolmaking, leaf work, and then small and large-scale classical joinery. This is a very structured class, which will use Mark’s books as accompanying texts. All levels. Code FOOI European journeyman blacksmith; associate of the Worshipful Company of Blacksmiths; owner/operator of the Mark Aspery School of Blacksmithing (CA); author of Mastering the Fundamentals of Blacksmithing, Mastering the Fundamentals of Leafwork, and the forthcoming Mastering the Fundamentals of Joinery. Metals 
Julia Woodman Julia Woodman
- Hollow & Shell Forms for
This class will concentrate on moving metal to create hollow forms and shell forms through forging and anticlastic and synclastic forming. You will study various design sources and adapt them to create your own style as you make jewelry, flatware and/or small vessels. In the process, you will develop a solid foundation of technical and design skills. The class will also explore tessellation, damascene, reticulation, kumboo, and more. Studio artist; Fullbright fellowship, first American to be a certified master silversmith in Finland; collections: High Museum (Atlanta), Dr. Seymour Rabinovitch Collection at Victoria and Albert Museum (London), Cathedral of St. Philip (Atlanta), Temple Sinai (Atlanta), Georgia State University; representation: Signature Gallery (Atlanta). PHOTO 
Dan Estabrook Dan Estabrook - From Craft to Concept This class will use the techniques and craft of photography to drive new creative concepts. Students will explore an enormous variety of historical and contemporary techniques—from cyanotpyes, salt prints, and gum bichromates to handmade cameras, darkroom experiments, and more—in order to push themselves and their work further than ever before. While our studio work will focus on experimentation, weekly, all-day group critiques will guide students toward a new body of work. This is an intensive class—both in the range of technical material and the depth of artistic discussion. Studio artist making contemporary art using 19th century photographic techniques along with sculpture, painting, and drawing; NEA fellowship; subject of recent documentary by Anthropy Arts; representations: Catherine Edelman Gallery (Chicago), Daniel Cooney Fine Art (NYC), Jackson Fine Art (Atlanta); this will be his umpteenth time teaching at Penland. PRINTMAKING/PAINTING 
Phil Garrett Phil Garrett - Print into Paint This class will use the spontaneous, fluid, and painterly monotype print process as a strategy for developing and refining ideas that will translate into acrylic paintings. We will spend the first half of the class exploring numerous approaches to monotypes, including basic subtractive, multiplate color with registration, and chine collé. Then students will take the ideas they have gleaned from ink and paper and develop them through paint and support. We will cover supports for painting and their preparation, a basic color palette, clean color mixing, blending, and glazing. We will underpaint, overpaint, look at alternative methods of layering paint, and learn how to varnish a completed painting. The class will include demonstrations and collective and individual critiques. Studio artist; founder and master printer at King Snake Press, a collaborative print studio (SC); teacher in the Golden Artist Colors Working Artist Program; exhibitions: If Art Gallery (SC), Pelter Gallery (SC), Hodges Taylor Gallery (NC), Asheville Museum of Art (NC), Jerald Melberg Gallery (NC); work in public and private collections. |
||||||||||
|
||||||||||
 |
|
|
|
|
|
|
|
|
|
|