Summer Session 3: June 26 - July 8, 2016

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


Enrollment for summer 2016 workshops is currently open. Workshops are filled on a first-come, first-served basis, and enrollment remains open until all class spaces are full or the workshop begins.




books and paper

Macy Chadwick and Jennifer McKnight, Observations on

Listening, letterpress, silkscreen, 11-1/4 x 8-1/4 inches


Macy Chadwick

Hidden & Revealed

Explore the interactive qualities of a book: what is hidden and what is revealed at the turn of the page? We値l create a variety of accordion and codex bindings that incorporate pockets, flaps, windows, multiple transparent layers, and more. We値l also cover content generation techniques for both text and image. Zoom in on particular parts of images, bury information in layers of transparencies, and discover unexpected combinations as you look through, within, and under the pages of your books. Bindings include trifold leporello, concertina with transparent pages, storage book with windows, and accordion book with pockets. All levels. Code 03B


Studio artist; teaching: Academy of Art University (San Francisco), San Francisco Art Institute; residencies: Vermont Studio Center, Venice Printmaking Studio, Druckwerk (Switzerland); collections: Victoria and Albert Museum (London), Yale University (CT).






Frank Brannon with performance artist Jeff Marley, Unega nole

Gigage (White and Red), paper installation and performance, day 15



Frank Brannon
Unprotected Paper

Making paper by hand is a satisfying process that yields a beautiful product, but making paper from scratch takes time, and the time invested often means the paper takes on a precious quality. We値l question that preciousness by developing site-specific, outdoor paper installations at Penland. Students will learn the basics of papermaking with a focus on developing successful art installations. Hand-harvested tree bark will be our fiber source, and the natural degradation of the installation will be our touchstone for discussion. Students will also be able to make some paper for other uses. All levels. Code 03PM


Studio artist, instructor at Western Carolina University (NC), owner of SpeakEasy Press (NC); letterpress monograph on the historical Cherokee Phoenix newspaper of northern Georgia is held in special collections libraries in the U.S. and England.





Mark Hewitt, Large Egg Vase, wood-fired,

salt-glazed stoneware, black slip, yellow

inclusion stain, 44 x 24 inches

Mark Hewitt
Stuck in the Mud

This workshop will examine all aspects of pottery. Our particular focus will be design and production skills, including throwing, handle pulling, decorating, and glazing. There will be ample time to draw, discuss, and experiment as we examine the familiar and the unfamiliar, looking for inspiration from history, psychology, nature, and the contemporary ceramic scene. We値l refine habitual processes and try new ones. We値l make small- and medium-sized pots from stoneware and fire the wood and salt kilns. All levels. Code 03CA


Studio potter: teaching: La Meridiana (Italy), International Ceramics Festival (Wales); awards: United States Artist Fellowship, Balvenie Rare Craft Award finalist, Archie Bray Voulkos Fellowship; exhibitions: Pucker Gallery (MA), Blue Spiral (NC), Ogden Museum (New Orleans), Nasher Museum (NC), Gallery Yufuki (Japan).







David L. Gamble, Dead Bird Icon, handbuilt terra

cotta, cone 4 electric multi-fired, 14 x 11 x 1-1/2


David L. Gamble & Tracy P. Gamble
The Gambles Clay Adventure

During the first week of our adventure, we値l experiment with low-fire clays. The second week we値l create with cone 5 clays and glazes. We値l experiment with underglazes on wet clay and bisqueware. Among other forms, we値l make face masks, tiles, spontaneous teapots, sushi plates, and nichos. The workshop will include lectures on firing electric kilns, and we値l do some brushmaking as a bonus. All levels: this workshop will be particularly beneficial for K-12 art teachers. Code 03CB


David: studio artist; works with Skutt Ceramic Products; teacher of hundreds of workshops in the U.S. and Canada and symposiums in Eastern Europe. Tracy: studio artist; consultant for American Art Clay. They were featured in a 都tudio visit article in Ceramics Monthly.










Drawing and painting

Brooke Rothshank, Tape Measure, watercolor, 1 x 1 inches

Brooke Rothshank
Painting: Small & Often Code

This is an introductory workshop in daily miniature painting. This detail-focused session will cover small composition design, the use of watercolor compared to other media, and the value of artistic accountability with an emphasis on completing daily work. We値l consider the possibility of preparing both miniature and full-size frames. Demonstrations and one-on-one instruction will address the needs of students with different levels of experience. Come prepared to push the boundaries of your productivity and create intimate paintings that capture moments from your time at Penland. All levels. Code 03D


Studio artist, illustrator of three children痴 books for Herald Press; teaching: International Guild of Miniature Artisans School (ME); exhibitions: Andy Warhol Museum (Pittsburgh), Chicago International Miniature Show; work featured in Miniature Collector and Dollhouse Miniatures magazines.








Rebecca Arday and David Schnuckel,

com/mensural, blown, kiln cast, flameworked

glass, mixed-media, 18 x 7 x 7 inches

Rebecca Arday & David Schnuckel
Logic & Lyricism

This workshop will take a two-pronged approach to establishing and expanding a sculptural practice in hot glass. Demonstrations will reinforce basic methods and introduce advanced techniques that will support conceptual intent. Exercises and prompts will spur the harmonizing of form and content as we pursue work with poetic appeal. Coldworking, assembly, cold surface treatments, and the integration of additional media will provide more options for layering content in finished works. Intermediate level: students should be able to gather and make basic shapes. Code 03GA


Rebecca: studio artist; teaching: Pilchuck (WA); exhibitions: Glasmuseet Ebeltoft (Germany), Bullseye Gallery (Portland, OR), Friesen Gallery (Seattle). David: studio artist: teaching: Pilchuck (WA), National College of Art and Design (Dublin); exhibitions: 1975 Gallery (NY), Robert Lehman Gallery (NYC), Glasmuseet Ebeltoft (Denmark).




Amy Lemaire, Oxides Coordinate Strand, soda-lime glass,

plastic-coated stainless steel wire, 9 x 2 x 11 inches

Amy Lemaire
Active/At Rest

This workshop will explore the possibilities of wearable glass sculpture and consider multiple positions for sculptural objects: active when displayed on the body, and at rest in a more formal sculptural presentation. Working with both borosilicate and soda-lime glasses, we値l cover traditional and experimental approaches to flameworking, including material preparation, working hollow, design and surface treatment, coldworking, kinetics, and hot and cold assembly. The goal is to create a collection of related works that are structurally sound and conceptually tight. All levels. Code 03GB


Studio artist, adjunct professor at Salem Community College (NJ), director of The Bead Project at UrbanGlass (NYC); Museum of Arts and Design residency (NYC); Wheaton Arts fellowship (NJ); exhibitions: SOFA Chicago and New York, Wheaton Arts (NJ); representation: Donna Schneier Fine Arts (FL).







Patrick J. Quinn, Tail Feathers, mild steel, brass,

14 x 14 x 9 inches

Patrick J. Quinn
Mechanical Relationships

Students will learn and practice a refined approach to forging, focusing on sculptural ideas and shapes. We値l use a combination of forging and basic machining to create handmade hardware and custom fasteners that connect multiple forgings into a single unified form. We値l create graceful lines and tapers through the use of set hammers, striking, and shouldering to isolate mass and move material into position for connections. We値l emphasize fine finishing techniques including surface treatments, texture, and patination. All levels. Code 03I


Blacksmithing coordinator at Center for Metal Arts (NY); teaching: Haystack (ME), Center for Metal Arts (NY), Adirondack Folk School (NY), Salem Art Works (NY), The 3rd Ward (NYC); NICHE Award; exhibitions: National Ornamental Metal Museum (TN), Wayne Art Center (PA); work published in Anvil痴 Ring, New York Daily News, Metalsmith Exhibition in Print.








Boris Bally, Trussware, .925 silver, largest: 9-1/2 x 2-3/4 x 3/4



Seliena Coyle, Untitled, sterling silver, bog oak, steel wire,

2-1/4 x 3/4 x 2-1/4 inches


Boris Bally & Seliena Coyle
Artful Eating Utensils

Tired of using mundane utensils that ruin the poetry of your meals? This workshop will awaken your cutlery sets by recycling them into the tabletop crown jewels they were meant to be. Students will transform flatware using a variety of materials and techniques. Demonstrations will include fabrication, marriage of metals, cold joining, stonesetting, hinges, simple forging, and much more. Students may also design and create utensils from scratch. We値l explore structure, design, and conceptual issues. All levels. Code 03MA


Boris: studio artist; teaching: Haystack (ME), Arrowmont (TN); collections: Museum of Arts and Design (NYC). Seliena: studio artist; teaching: Indiana University, National College of Art & Design (Ireland); exhibitions: National Craft Gallery (Ireland), Electrum Gallery (London).













Unfortunately, the session 3 lower metals class has been cancelled.






James Henkel, Plant Study #3, archival

pigment print, 20 x 16 inches

James Henkel
Making the Picture: The Constructed Image

Still life, tableau, arranged image葉hese are terms used to identify an approach to photography based on constructing content for the camera, with the photographer organizing the elements and meaning of the image. We値l explore various approaches to the constructed image, including portrait, tabletop, and landscape photography. For those who prefer a documentary approach, we値l consider how images are 田onstructed in the camera, paying close attention to formal and aesthetic elements found within the frame. Students may work in the darkroom or digitally (however this is not a software workshop). All camera formats welcome. All levels. Code 03P


Professor emeritus from University of Minnesota; fellowships: McKnight Foundation (MN), Minnesota State Arts Board, Bush Foundation (MN); collections: San Francisco Museum of Modern Art, Whitney Museum (NYC), Walker Art Center (MN).







Printmaking and Letterpress

Althea Murphy-Price, Super Silky Jumbo Studio

No. 6 (Hot Air), lithograph, 38 x 29 inches


Althea Murphy-Price
Plate Lithography

This workshop will introduce a variety of approaches for lithographic printing using photo-positive lithographic plates and polyester printing plates. We'll create imagery through traditional, photographic, and experimental approaches and produce multi-layered, multi-colored prints. We'll explore modes for creating unique textures and using collage methods for versatile printing. We'll also cover chemical processing, registration techniques, mixing ink, and printing. Students are encouraged to bring source imagery and/or preliminary sketches to be altered during the workshop. All levels. Code 03X


Assistant professor at University of Tennessee; other teaching: Indiana University; residencies: Venice Printmaking Studio (Italy), Vermont Studio Center, Frank Lloyd Wright School (WI); collections: Southern Graphics Council (GA), Kohler Library (WI), Tyler School of Art (Philadelphia), Atlanta University, Purdue University (IN).





Cathryn Amidei, Receptor, mercerized cotton,

polyester machine embroidery thread, rayon chenille,

36 x 31 inches


Cathryn Amidei
Woven Matrix: Weaving with the TC2

The TC2 is a hand loom that digitally controls every thread in the warp independently, expanding options for image, color, texture, and dimension. After an introduction to the loom, students will be guided through digital file development and weaving techniques. A communal approach will allow us to cover more ground as we explore multi-layer and multi-shuttle weaves, brocading, color blending, and experimental outcomes. Each student will develop samples and one finished piece. Students are encouraged to bring a computer with Photoshop installed. All levels. Code 03TA Note: this workshop will take place in the flex studio.


Associate professor at Eastern Michigan University; residencies: Digital Weaving Norway, Oriole Mill (NC); exhibitions: Fiber Arts VII (CA), Work Gallery (MI), Velocity of Textiles (GA).







Barbara Cooper, Mantle, wood, burl, 16 x 20 x 20 inches


Barbara Cooper

Drawing on nature as a source of information and inspiration, this workshop will create 3d forms and develop ideas using fiber and sculptural processes. We値l dissect and reconfigure found objects to understand the relationship between surface and volume. Then we値l build by layering to create solid volumes that reveal the history of the form痴 development. We値l work with traditional, alternative, and repurposed materials. Our focus will be on experimentation and improvisation and how ideas can be developed. All levels. Code 03TB


Studio artist; residencies: City Museum of Copenhagen, Pilchuck (WA), Kohler Arts/Industry Program (WI), Vermont Studio Center, Hafnarborg Institute of Culture and Fine Art (Iceland); collections: Contemporary Museum (Honolulu), Cranbrook Academy of Art Museum (MI), Smithsonian National Museum of American Art (DC), Museum of Contemporary Art (Chicago).







Ray Duffey, Recovery, cherry wood,

reclaimed wood, 14 x 44 x 60 inches

Ray Duffey

Working with reclaimed materials is an exciting point of departure for discovery and improvisation. We値l work with reclaimed wood in combination with new materials to create functional and sculptural furniture. Our resulting pieces will have built-in histories (factual or fictitious) that deliver rich narratives and content. We値l employ basic joinery techniques such as mortise and tenon and more advanced techniques such as bent lamination. Students can bring reclaimed materials, and the class will dumpster-dive and use local resources as needed. All levels. Code 03W


Teacher and woodshop technician at Herron School of Art and Design (IN); Maine College of Art residency; exhibitions: Artspace Gallery One (NC), Dean Johnson Gallery (IN), Furniture Society Conference (MA), Indiana State University, Dairy Barn Arts Center (OH), Rebus Works Gallery (NC).