Penland Summer Session 5 Classes

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

Melissa Jay Craig, (S)Edition (detail),

installation of 99 copies: handmade abaca

paper, embellished with cotton rag,

18 x 15 x 18 in. each

This highly individualized extravaganza of three-dimensional papermaking will focus on the specific, unique qualities of kozo and high-shrinkage fibers to make compelling paper forms, and the use of fiber-reactive dyes to create brilliant color. We will cover the construction of simple-to-complex armatures including removable, reusable, and included armatures, along with molds and adaptable forms for making editions or series. All levels, but some papermaking experience will be helpful. Code 05B

Studio artist; teaching: Columbia College Chicago, Paper and Book Intensive, Center for Book Arts (NYC); residencies: Vermont Studio Center, Jentel Foundation (MT); representation: Zia Gallery.

Peter Callas, Mentori, wood-fired clay,

natural ash glaze, 6 x 6 x 8 in.

IThis class will deal with all aspects of woodfired ceramics. There will be extensive information on clays, kiln designs, and firing techniques. Creative problem solving, personal expression, and objective evaluation of form will all be part of the workshop. Wheel-throwing and handbuilding demonstrations will deal with the aesthetics of woodfired ceramics. All levels. Code 05CA

Studio artist; teacher of more than 100 workshops; builder of the first U.S. anagama kiln; recent exhibitions: Daum Museum of Contemporary Art (MO), SOFA New York, San Angelo Museum (TX), American Museum of Ceramic Art (CA), Grounds for Sculpture (NJ); collections: Philadelphia Museum, Cleveland Museum, Powerhouse Museum (Australia), Museum of Modern Art (Brazil), National Museum of Contemporary Art (Korea), Guangdong Shiwan Museum (China), Shigaraki Ceramic Cultural Park (Japan), American Museum of Ceramic Art (CA).

Kenneth Baskin, Artifact Series: Linkage, mid-fired

stoneware, 12 x 26 x 6 in.

Explore the potential of slab construction to create single- or multiple-component sculptures during this workshop, which focuses on inventive construction strategies. Among the many techniques taught will be custom template production and fabrication of bracing forms using simple materials. We will use creative means to develop surface textures that enhance the conceptual aspects of the sculptural forms. Further development will be explored through mid-range and soda firings. Stoneware clay. All levels. Code 05CB

Associate professor and head of ceramics at McNeese State University (LA); exhibitions: Blue Spiral 1 (NC), Goldesberry Gallery (Houston), Yingge Ceramics Museum (Taiwan); collections: Yingge Ceramics Museum (Taiwan), Arkansas Arts Center, Hilliard University Art Museum (LA); work published in 500 Ceramic Sculptures (Lark Books).

Roger Nelson painting the Two Bears fresco

The only way to learn fresco is by doing fresco. We will work on several sizes of terra cotta tile. Students should make sketches or drawings in advance: simple still lifes, tree studies, small portraits, or simple landscape. Whatever you choose must be painted in one sitting of six to eight hours. We will take turns assisting one another on our panels and preparing the colors for the paintings. I will emphasize technique over design using the Florentine School as a guide. All levels. Code 05D

Studio artist; former chief associate artist to Ben Long; teaching: Fine Arts League of the Carolinas (NC); commissions: Saint Paul’s Episcopal Church (Winston-Salem, NC), Toscana Restaurant (NC), Center for Children (Minneapolis), several private homes.

Jason Chakravarty, Tobacconaut, blown,

sculpted, and etched glass, neon, wood

This class will focus on illuminating nontraditional neon pieces including sculpted forms created in the hot shop, commercial vessels, and found vessels. Students will gain an understanding of noble gases such as neon, argon, and krypton. Demonstrations will include effects created by different forms, gas pressure, and gas usage. Students will leave with gas-filled glass forms that can be illuminated. Intermediate level: basic hot glass skills required. We will not be covering gathering or other beginning glass techniques. Code 05GA

Studio artist; worked for four years in a traditional neon sign shop before beginning illuminate hot-shop forms in 2002; workshop teaching: Pittsburgh Glass Center, UrbanGlass (NYC), and many universities; representation: Riley Gallery (Cleveland), Pismo Contemporary Art Glass (Denver), Morgan Contemporary Glass Gallery (Pittsburgh), K. Allen Gallery (WI).

Marc VandenBerg, Wildebeest Spirit Vessel, blown,

lampworked and hot sculpted glass, 18 x 6 x 6 in.

This class will focus on sculpting solid forms from soft glass, including, but not limited to, figures, animals, and insects. We will address important issues in working with soft glass, including heat control, bit size, thermal shock, creating objects through preplanned steps, and using the annealer as a garage. We will address objects that can be completed in one sitting versus annealing and working off cold “leads.” The format will be open to student suggestions and collaborations. All levels. Code 05GB

Production glassblower, shop manager, and designer at The Henry Ford Museum (MI); teaching: Michigan Glass Project, Toledo Museum; exhibitions: Kittrell Riffkind Gallery (TX), Saginaw Art Museum (MI), The Works (Philadelphia), SOFA Chicago.

Rebekah Frank, Untitled, Cloven,

steel, iron, 28 x 3 x 4 in.

Bringing forged work out of its usual context and onto the body, students will experiment with the language of blacksmithing to create wearable pieces. The class will use smaller dimensioned material and play with a variety of connections unique to blacksmithing. Techniques will include basic forging (drawing, fullering, upsetting, drifting, punching, and riveting) as well as cutting, drilling, soldering, and finishing. The class will challenge skilled blacksmiths to think small, while creating an entry point for jewelers to get the feel of working with steel. All levels. Code 05i

Studio artist; Finlandia Foundation grant; collections: Cranbrook Museum (MI), Frankel Foundation (MI); exhibitions: Galerie Marzee (Netherlands), Espace Solidor (France), Velvet da Vinci (San Francisco).

Amir Friedman, Pepper Mill, steel and wood,

280 x 280 x 80 mm.

Since early times humans have used motion and mechanics for survival. In this era of luxury, we are free to harness movement for our own pleasure. Join me on a quest to harvest energy and transform it into ornament. We will explore different means of taming the earth’s elements, forces, and our abilities. Using craft and design, we will assemble jewelry and objects that may last for a lifetime or be gone in a flash. Hinges, mechanisms, tracks, springs, magnets, and more are welcome in this class. Basic sawing, filing, and soldering skills required. Code 05MA

Designer, jeweler, blacksmith; teaching: Bezalel Academy (Jerusalem); exhibitions: Gallery Complete (Israel), Herzl Lilenblum Museum (Israel), Eretz Israel Museum; collections: Israel Discount Bank.

Aaron Nelson, Audiobook, steel, brass,

motor and microcontroller, 16 x 16 x 16 in.

This workshop is your introduction to physical computing and interaction. We will use sensors, microcontrollers, and metal fabrication techniques to create objects that react and respond to the environment and people around them. We will explore circuit building and bending, coding with Arduino microcontrollers, mechanisms and movements, and the fabrication of parts on the manual lathe, plus TIG and MIG welding. Students must have a laptop computer. Basic soldering, sawing, and filing skills required. Code 05MB

Studio artist, technician at the University of Arkansas School of Architecture; teaching: University of Massachusetts-Dartmouth; exhibitions: Gallery 224 (MA), University of Massachusetts-Dartmouth, Southeastern College Art Conference (NC).

Dan Bailey, Penland Instructors Retreat, circle

panoramic digital photograph

Between still photography’s “decisive moment” and cinema’s representation of time lies a rich and compelling area. This digital class will look at conceptual and technical approaches to transitioning between photography and video and using these approaches to create effective time-based artworks. We will cover photo montage, time-lapse, stop motion, sound, full-fledged video, editing, and online presentation. The class is structured, but will provide focused time for students’ own creative, time-based, lens-gathered work.

Today, with a simple flick of a switch, an artist can move between taking a still photograph and capturing an HD video. This simplicity belies the dramatic difference in the challenge of working in time-based media. Issues of camera movement, timing, sequencing, structure, and sound are suddenly present. Different viewing venues and audiences also become important factors. Our journey in this class will begin with sequential still photography techniques and end with cinema. It is most appropriate for artists comfortable with digital still photography but interested in exploring the area of expressive cinematic arts. Along with being pertinent to photographers interested in documentary or narrative forms, the class will also be of interest to artists working in areas such as performance, choreography, installation, animation, and online media. Penland photographer Robin Dreyer will join the class for several days to lead a section on narrated slide shows. All levels. Code 05P

Professor of visual art and director of the Image Research Center at University of Maryland Baltimore County; collections: Museum of Modern Art (NYC), Centre Pompidou (Paris).

John Hitchcock, Signal MT,

screenprint, drawing, 30 x 44 in.

This class will focus on the post matrix and pushing the surface as we explore conceptual and technical possibilities through safe and easy printmaking techniques. We will begin with water-based screenprinting on paper, fabric, and wood, and cover a variety of procedures including monotypes, monoprints, hand-cut stencils, photo stencils, three-color reduction printing, hand dyeing, drawing back into, surface manipulation, and water-soluble marker methods to create experimental unique prints. All levels. Code 05X

Professor at University of Wisconsin-Madison; residencies: Venice Printmaking Studio, Vermont Studio Center; exhibitions: University of Ca’ Foscari (Venice), South African Museum (Cape Town), International Print Center (NY), Museum of Arts and Design (NYC), Herron School of Art (Indianapolis), Pyramid Atlantic Center (Baltimore), Factory Fresh Gallery ((NYC); collections: Turku Art Museum (Finland), Cork Printmakers (Ireland), Denver Art Museum, Nelson Atkins Museum (Kansas City).

Denise Bookwalter, Cropwork Orange, letterpress

on laser-cut paper, 3 in. diameter

In this class we will cover the basics of letterpress printing with the goal of creating one-sided, two-sided, and three-dimensional letterpress objects. Students will learn the basics of working with type, creating images with polymer plates, making and printing hand-cut relief plates, and experimenting with color. We will also cover various ways to get ink on paper, and students will investigate the multiple and modular possibilities presented by letterpress printing. Projects will be both individual and collaborative. All levels. Code 05L

Assistant professor at Florida State University; director and founding member of Florida State’s Small Craft Advisory Press; exhibitions: Cleveland Institute of Art, Haydon Art Center (NE), Alexander Brest Museum (FL), Edison College (FL).

Yoshiko Wada, Examples of

Traditional Japanese Boro,

mixed textiles

This class is for artists interested in patchwork, quilting, embroidery, collage, shibori, and painting who would like to engage in a dialog with fiber materials--especially tattered, stained, torn, and worn-out cloth and clothes. Students will learn about traditional Japanese textiles made with boro (rags and fabric scraps) and will reinterpret this folk tradition by creating fabric collages through layering, piecing, sewing, and darning. We will further transform our pieces with natural indigo dye (using organic vat methods) and over-dyeing with tannins. All levels. Code 05TA

Studio artist, curator, and textile researcher; exhibitions: Renwick Gallery (DC), International Textile Fair (Kyoto); president of the World Shibori Network, founder of Slow Fiber Studios; author of Memory on Cloth: Shibori Now, co-author of Kimono Inspiration: Art and Art to Wear in America, and Shibori: The Inventive Art of Japanese Shaped-Resist Dyeing.

Tommye Scanlin, Life Force, handwoven tapestry,

24 x 60 in.

Do you feel comfortable with your tapestry skills yet sometimes face a standstill when developing ideas and images? The what, why, and how of tapestry will be the heart of this class, which will be filled with contemplation, discussion, designing, and, of course, tapestry weaving. Explore your own what (image) and delve into the why (concept). Use the how of your skills and learn new ones to enhance your tapestry making. Students must be able to set up a loom for tapestry and have some tapestry-weaving experience. Code 05TB

Professor emerita from North Georgia College and State University; other teaching: Campbell Folk School (NC), Arrowmont (TN), Penland; Alliance Award of Excellence at Blue Ridge Fiber Show (NC); exhibitions: The Bascom (NC), Georgia State Capitol; membership: Southern Highland Craft Guild, Piedmont Crafts.

Dean Pulver, Africa 1, dyed

walnut, 38 x 26 x 24 in.

The chair is a form revered for its technical, ergonomic, and expressive possibilities. Students will learn to design and build a comfortable, structurally sound chair that expresses their personal aesthetic. We will cover drawing, model-making, mockups, ergonomics, joinery, laminate and steam bending, shaping and carving with hand and power tools, and surface techniques. The class will include presentations, demonstrations, and discussions. Be ready for an active and fun learning experience. Basic woodshop skills required. Code 05W

Studio artist; teaching: Anderson Ranch (CO), Arrowmont (TN), Center for Furniture Craftsmanship (ME); galleries: Wexler Gallery (Philadelphia), Tercera Gallery (San Francisco), Function + Art (Chicago), Logan Fine Art (Dallas).