FALL 2019 | SPRING 2020 - Penland School of Crafts
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FALL 2019 | SPRING 2020
“Hard to explain what a special place this is. It definitely falls into the �you have to be there to truly get it� category. If you’re interested in learning new skills or polishing the old, there’s no place like Penland. Just trust me on this one.� —Kerik Kouklis, Penland photo instructor
We Help People Live Creative Lives individual studio work, and field trips. A stay
Penland School of Craft is an international cen- at Penland also offers evening slide talks, the
ter for craft education located in the Blue Ridge beautiful Penland Gallery, a reading room, visits
Mountains of North Carolina. Penland’s work- to nearby studios, volleyball games, movement
shops run the gamut from beginning to profes- classes, and walks on our mountain trails.
sional level. Penland serves people whose lives An on-campus coffeehouse provides hot and
are focused on making things and those who cold drinks, snacks, and a place to meet and
engage with craft as an enhancement to their converse. The school supply store features a
lives. Everybody learns from each other and variety of hand tools and craft materials along
shares their passion for making. with UPS shipping, books, postcards, snacks,
Penland’s beautiful and isolated environment, drinks, apparel, and other items. Wireless inter-
its historic campus, its shared eating and living net access is available throughout the campus.
spaces, and its well-equipped studios result in a The nearest medical facility is the Blue Ridge
community atmosphere that inspires creativity Hospital, located ten miles away.
About Penland and enhances learning. Most students live at Penland during their
Total-immersion workshops are a uniquely workshop, and all students may participate in
effective educational method. Penland operates activities on a twenty-four-hour basis. The din-
free from the constraints of grades, degrees, ing room provides three delicious meals each
and linear curricula and benefits from the tal- day. There are always choices for vegetarians,
ents of guest faculty from around the world. but we cannot always accommodate special
This combination allows the school to offer a dietary needs.
flexible and diverse program that supports craft What can you expect from time spent at
traditions while reshaping craft in the context Penland? You can expect to work hard, learn a
of the contemporary world. lot, and make friends in a beautiful and isolat-
ed setting with minimal distractions. You can
Penland in Fall and Spring expect to have fun, eat well, and get the kind
Penland’s eight-week fall and spring sessions, of energy that comes from immersion in some-
called Concentrations, are an unmatched thing you love.
opportunity in craft education: almost as long
as a college semester, with the intensity of a Other Programs
Front cover: Experimenting with total-immersion workshop. This is a time to Penland offers three distinct residencies: the
pulp painting and inclusions in the settle into the studio and make great strides in three-year resident artist program, which
paper studio. your work. While these sessions represent a serves full-time, self-supporting artists; the
substantial commitment of time, they contain two-year core fellowship, which is a full-time
Back cover: Instructor Paul Briggs the potential for extraordinary experiences. work-study program; and short-term winter
working in the clay studio. Running concurrently are one-week sessions residencies. The Penland Gallery and Visitors
that provide an immersive experience within a Center displays and sells work by Penland-
limited time frame and an opportunity to delve affiliated artists and welcomes thousands of
into very specific subject matter. visitors each year. Community collaboration
programs make Penland's creative resources
Life at Penland available in the local community. Complete
Each workshop is structured by the teacher, information at penland.org.
but most are a mix of demonstrations, lectures,
Fall
Concentration Clay
Suze Lindsay & Kent McLaughlin
Form, Function & Fire Code F00CA San Angelo Museum (TX), Asheville Art Museum (NC),
Eight-Week Workshops This workshop will be an expansive study of North Carolina Pottery Center.
Sept. 22 – Nov. 15, 2019 utilitarian pottery conducted through demon- forkmountainpottery.com
strations, discussions, sketchbook exercises,
Workshops listed as “all levels” welcome and structured practice. We’ll share our indi- Suze Lindsay, Stacked Vase, thrown and handbuilt,
serious students of any skill level, vidual approaches to making pottery, including salt-fired stoneware, 15 x 6 x 4 inches
beginning to advanced. wheelthrowing, altered forms, handbuilding Kent McLaughlin, Mashiko Jar, reduction-fired
with slabs and coils, and drop-and-drape molds. porcelain, wax resist glaze, 25 x 4 x 4 inches
Scholarships are available; the fall scholarship We’ll have conversations about making pots
application deadline is June 15, 2019; later for daily and ritual use and engage in exercises
applications will be accepted if there are that will develop continuity between form and
unfilled spaces or cancellations. surface. Presentations will include images and
videos that will encourage your personal voice.
Guest instructor Dan Finnegan will share his
work reflecting his training at Winchcombe
Pottery (UK). We will fire stoneware and porce-
lain in salt, reduction, and wood kilns. All levels.
Suze: studio potter; teaching: Anderson Ranch (CO),
Haystack (ME), Arrowmont (TN), Curaumilla Art
Center (Chile), Penland; collections:Taipei Yingge Ceram-
ics Museum (Taiwan), San Angelo Museum (TX), Ashe-
ville Art Museum (NC); former Penland resident artist.
Kent: studio potter; teaching: Anderson Ranch (CO),
Arrowmont (TN), Curaumilla Art Center (Chile), Jing-
dezhen Ceramic Institute (China), Penland; collections:
Glass
Greg Fidler, Kit Paulson, Kenny Pieper
& Pablo Soto
Penland Glass: A Bird’s-Eye View Code F00GA Greg: studio artist, chief administrative officer at
This exploration of hot glass, taught by four Spruce Pine Batch (NC); work represented by San-
nationally-known artists who live near the dra Ainseley Gallery (Toronto); former Penland res-
school, will be as varied and inspiring as the ident artist. Kit: Penland resident artist; teaching:
Penland glass community itself. Pablo will begin Pilchuck (WA), Blid-Werk Frauenau (Germany), Na-
with a focus on foundations—setups, propor- tional College of Art and Design (Dublin); collections:
tions, centering, and heat—along with discus- Tacoma Museum of Glass (WA), KODE (Norway).
sions of aesthetics, inspiration, and the formal Kenny: studio artist; teaching: Corning (NY), Pitts-
qualities of hot glass. Kenny will reinforce these burgh Glass Center, Cleveland Institute of Art, Pen-
fundamentals while introducing cane work and land; collections: Corning Museum (NY), Museum of
stemware. Greg will challenge students to push Fine Art Boston, New Orleans Museum. Pablo: stu-
forms out of round as they explore imbalance dio artist, glass fabricator; teaching: Haystack (ME),
and tension. Finally Kit will help students use Ox-Bow (MI), Corning (NY), Canberra Glass Works
their accumulated knowledge to move from (Australia), Pilchuck (WA); exhibitions: Blue Spiral
“how” to “why,” to pursue individual projects, 1 (NC), David McCune Gallery (NC), Momentum
and to dig into conceptual concerns through Gallery (NC).
reading, writing, thinking, and drawing exercises. kitpaulsonglass.com ∙ pieperglass.com
Each instructor will lead for two weeks and sotoglass.com
make regular visits throughout the workshop.
Visiting demonstrators, field trips, and studio Greg Fidler, Bowing Series Dark Chocolate Sand,
visits will give students even more access to glass, 29 inches tall
the deep pool of talent that is the Penland glass Kit Paulson, Moth/Mouth, borosilicate glass,
community. All levels. 20 x 20 x 12 inches
Kenny Pieper, Blue Satin Goblet Study, glass,
wood, 37 x 44 x 6 inches
Pablo Soto, Fitted Forms, glass, largest
16 x 7 x 7 inches
Fall Concentration, September 22 – November 15, 2019
Iron Metals Paper/Printmaking
Andrew Hayes Maia Leppo Georgia Deal
Focus on Fabrication Code F00I Jewelry: Designing for Production Code F00MA Paper & the Unique Print Code F00X
Starting with raw materials, you’ll learn to cut, This workshop will focus on designing and This intensive workshop will explore the end-
form, weld, and finish steel as you make functional creating production lines of jewelry using less possibilities for combining handmade pa-
and/or sculptural objects. We’ll start by working sheet and wire steel, silver, and other mate- per and the monoprint. We’ll begin by diving
through several projects to get acquainted with rials. Steel’s low cost and light weight will into the basics of papermaking, exploring tech-
the studio and tools. Then we’ll move to more encourage experimentation and facilitate niques to create unique substrates for printing.
independent work focusing on concept, design, making larger work. We’ll cover ideation to Then we’ll cover a wide range of monoprint
and execution. Techniques will include measuring; fabrication for rings, earrings, necklaces, and and monotype processes, including reductive,
layout; cutting with torches, saws, cutoff wheels, brooches. Along with bench skills, topics multiplate, and gum-transfer printing. In the
and shears; gas, MIG, and TIG welding; finish- will include outsourcing projects, fabricating paper studio we’ll work with Eastern and Western
ing; grinding; sanding; filing; patina; paint; and mechanisms, making multiples, finishing, and fibers, and topics will include stenciling, inclu-
presentation. Guest instructor Mike Rossi will marketing. We’ll delve into computer aided sions and embedments, pigmenting, and pulp
join us for a week of working with multiples. design with Rhino, which will open our jewel- transfer techniques. The back-and-forth of work-
The goal of this workshop is for you to find your ry to design possibilities beyond our hand skills. ing in both media will expand your visual vocab-
aesthetic in steel. All levels. This workshop will be especially relevant to ulary and encourage you to own every aspect of
Studio artist; teaching: Haystack (ME), Anderson those interested in working smart and making the process, from paper to print! Papermaker
Ranch (CO), Penland; collections:Yale Art Museum thoughtful designs in series. Guest instructor Helen Hiebert will join us for one week as our
(CT), Museum of Fine Arts Houston, Metal Museum Sarah Rachel Brown will join us for one week. guest instructor. All levels.
(TN); representation: JHB Gallery (NYC), Seager All levels. Studio artist; professor emeritus at Corcoran College
Gray Gallery (CA), Blue Spiral 1 (NC); former Pen- Studio artist; teaching: Arrowmont (TN), Touchstone of Art and Design (DC); other teaching: Arrowmont
land core fellow and resident artist. (PA); residencies: Arrowmont, Pocosin Arts (NC); (TN), Haystack (ME), Pyramid-Atlantic (MD); col-
andrew-hayes.squarespace.com galleries: Society for Contemporary Craft (Pittsburgh), lections: Library of Congress (DC), Corcoran Gallery
Quirk (VA), Lillstreet (Chicago), Artful Home (online). of Art (DC), Philadelphia Museum (PA).
Andrew Hayes, Yellow Intersection, steel, book paper, maialeppo.com georgiadeal.com
paint, 21 x 6 x 3 inches
Maia Leppo, White Trumpet Lei, steel, powdercoat, Georgia Deal, Roses & Razorwire, screenprint and
silicone, monofilament, 20 x 1/2 inches gum transfer on handmade paper, 24 x 30 inches
Textiles Wood Visiting Artist
Bhakti Ziek Jack Mauch
The Vocabulary of Weaving Code F00TB All Outward Appearances Code F00W Glass artist Katherine Gray will join the session
Weaving can take many forms that share the dis- In this workshop we’ll ponder the depths of for a week as a visiting artist. Katherine lives in
tinctive vocabulary of the medium. Using the something shallow: that infinitely thin layer we Los Angeles and is a professor of art at California
floor loom to explore the language of weaving, call the surface. Although wood is our material, State University–San Bernadino. Her work has
we’ll begin with clear instructions on how to set we’ll think like graphic designers, working with been exhibited at Heller Gallery (NYC), Glas-
up a loom and weave, and we’ll cover any weave composition, color, pattern, and texture to create museet Ebeltoft (Denmark), UrbanGlass (NYC),
structures students are interested in. Double expressive surfaces for furniture and sculpture. and most recently in solo shows at the Craft
weave, waffleweave, overshot, weft brocade, Our primary techniques will be marquetry, par- and Folk Art Museum (Los Angeles) and the To-
summer and winter, and tapestry are some quetry, wood and metal inlay, texturing, and ledo Museum of Art (OH). In 2017, she received
possibilities. We’ll investigate color, materials, painting. Beginners will learn fundamentals the Libenský/Brychtová Award from Pilchuck
texture, density, pattern, and concept. The use through assignments, which will be adapted to Glass School (WA) for her artistic and educa-
of natural dyes and weave software will be in- challenge experienced students. We’ll value pro- tional contributions to the field. Her work is
troduced early in the session. We’ll cover dye cess and discovery over product, keep a steady in the collections of the Corning Museum of
processes such as immersion dyeing, woven shi- but contemplative pace, and mine the veins Glass (NY) and the Tacoma Museum of Glass
bori, ikat, and painted warps. Together, we’ll tap our aesthetic curiosity—which may take us (WA). She has written about glass, curated
the potential of weaving to be a transformative deep below the surface. Guest instructor Ellen and juried exhibitions, and taught workshops
experience full of magic and insight into the con- Kaspern will join us for two weeks. All levels. around the world. She will also be seen in the
nectedness of all things. Guest instructor Cyndy Studio artist; teaching: Arrowmont (TN), Penland; upcoming Netf lix series Blown Away as the
Barbone will join us for one week. All levels. Massachusetts Cultural Council Artist Fellowship, resident evaluator.
Studio artist; teaching: Philadelphia College of Textiles Mineck Fellowship from the Society of Arts and Crafts katherine-gray.com
& Science, School of the Art Institute of Chicago, (Boston); residencies: Center for Furniture Craftsman-
Haystack (ME), Penland; recent exhibitions: Rijswick ship Studio Fellowship (ME), Penland Core Fellowship; Katherine Gray, Pale Green Bowl Iridescent Entity, sand-
Biennial 2019 (Netherlands), de Cordova Museum collections: Center for Art in Wood. blasted, iridized, blown glass, 51/2 x 19 x 161/2 inches
Biennial 2019 (MA); co-author of The Woven Pixel jackmauch.com
and Weaving on a Backstrap Loom.
bhaktiziek.com Jack Mauch, Double-Lidded Box, sapele, ebony, paint,
book cloth, sand-shaded pear veneer,
Bhakti Ziek, detail of 2018, handwoven silk 4 x 6 x 8 inches
Fall One-Week Session I | October 6 – 12, 2019
Glass Photography Specials
Sean Donlon Benjamin Dimmitt Caverly Morgan & Joy Seidler
Heat, Bend, Repeat Code F01GB Black & White Landscape Photography Immortal Messages: Mindfulness & Making
This workshop will explore unusual approaches Code F01P Code F01CB
to flameworked glass.We’ll cover a range of glass Through photographing in the field, experi- That which is never born and never dies is always
forming techniques, from the lathe to the bench, mentation, and critique, we’ll learn to make singing. This workshop invites you to explore
along with unconventional coloring methods compelling images of the landscape. We’ll con- ways we can source our creative endeavors from
and mirroring. In addition to basic flameworking sider historic and current practice as we learn the river-beneath-the-river—the wellspring of
skills, students will learn to form glass with the to think about landscape—photographing in consciousness experienced in moments of
lathe and fabricate graphite to make specific nearby mountains and forests and working meditation and creative practice. We’ll explore
shapes of glass. We’ll have constructive critiques in the darkroom with the goal of producing a how intention and attention, spontaneous play,
and discuss design, composition, concept devel- cohesive body of prints. We’ll emphasize ob- structured limits, and direct experience of the
opment, mirroring methods, fun, and life. servation, personal vision, and exploring new mystery can guide us. We’ll employ multiple
All levels. vocabularies. We’ll cover a wide range of topics crafts—paste-paper, journal making, clay, and
Studio artist; teaching: Virginia Commonwealth including metering, exposure, depth of field, more—as vehicles for the practice of presence
University, Chrysler Museum Glass Studio (VA); pinhole photography, film development, dark- and receptivity. We’ll explore meditation, weaving
Virginia Museum of Fine Arts fellowship; exhibitions: room printing, split-filter burning, lighting, and creative mindful practice into life, and the role
solo at Quirk Gallery (VA),Virginia Museum of Contem- composition. All levels. of service in the craft arts. All levels.
porary Art, Peninsula Fine Arts Center (VA), Houston Studio artist; teaching: International Center of Pho- Caverly: founder and guiding teacher of the mind-
Center for Contemporary Craft, National Liberty Muse- tography (NYC), Warren Wilson College (NC), The fulness organizations Presence Collective and Peace
um (Philadelphia),Washington Project for the Arts (DC). Bascom (NC); exhibitions: Southeast Museum of Pho- in Schools; former Penland core fellow. Joy: studio
seandonlondesign.com tography (FL), Ogden Museum (New Orleans), Soho artist and educator; over twenty years of experience
Photo (NYC); collections: Museum of Fine Arts Hous- teaching journaling; journals included in national
Sean Donlon, detail of Halo, installation: ton, American Academy of Arts and Letters (NYC), and international collections.
9 x 13 x 1 feet Florida Museum of Photographic Arts. caverlymorgan.org
benjamindimmitt.com
Caverly Morgan, Tribute to Paulus, clay, 3 x 31/2 inches
Benjamin Dimmitt, Palm Hammock, selenium-toned Joy Seidler, Fern Journal, paper, board, waxed linen,
gelatin silver print, 14 x 14 inches 91/4 x 61/4 inches
Fall One-Week Session II | October 20 – 26, 2019
Books Letterpress Painting
Lisa Blackburn Lynda Sherman Dietlind Vander Schaaf
The Artist’s Book: Simple Structure, Breaking the Algorithm Code F02L Encaustic 101: Painting with Wax Code F02D
Endless Possibility Code F02B This workshop will provide skills for rejecting Encaustic, meaning “to burn in” in Greek, is an
This introductory workshop will present the perfectionism and delving into process. Using art form dating back to the fifth century BC.
basic structures, tools, and materials of book- Penland’s collection of wood and metal type, It is a versatile method of painting using bees-
binding. We’ll focus primarily on book forms we’ll explore and experiment with text using tra- wax-based paint and a heated palette. This
such as accordion folds, pamphlets, and drum- ditional print shop practices.We’ll hand compose workshop will cover safety, supports, and his-
leaf bindings and how these components can be type on the stick and the press bed, working toric and contemporary uses along with tech-
used as building blocks for more complex ap- with flip turn and overprinting techniques.We’ll nical demonstrations and ample time to prac-
plications. There will be daily demonstrations, have daily demonstrations and lively discussions tice. Techniques will include application, fusing
prompts for inspiring content, discussions, pre- about collaboration, creative decision making, with a torch, color mixing, etching, accretion,
sentations of contemporary innovations based and analog content dissemination. Computer graphite and Xerox transfers, drawing on wax,
on these foundations, and time for experimen- free. All levels. collaging, incorporating found objects, creating
tation. Students will leave with a solid grasp Studio artist, founder of Bremelo Press (Seattle); transparent layers, and working with R&F pigment
of the basics, many samples, and lots of ideas teaching: LiTFUSE (WA), Ladies of Letterpress Print sticks. We’ll also talk about finishing, hanging,
as jumping-off points for developing their own Week (MO), Penland; collections: Swedish Collection and transporting encaustic paintings. All levels.
expressive work. All levels. (WA), Center for the Study of Political Graphics (CA); Studio artist, core instructor for R&F Handmade
Studio artist; workshop teaching: Detroit Institute of publications: Ladies of Letterpress, Vandercook Paints (NY); teaching: Haystack (ME), Snow Farm
Arts, Eastern Michigan University, Michigan State Book. (MA), Maine College of Art, New Hampshire Institute
University, Penland; residencies: Haystack Open Stu- bremelopress.com of Art, Rhode Island School of Design, Truro Center
dio (ME), AS IF Center (NC), Penland Winter Res- for the Arts (MA), Zijdelings (Netherlands); grants:
idency; exhibitions: Asheville Bookworks (NC), Mica Lynda Sherman, Pocket Poster, letterpress on paper, Maine Arts Commission, International Encaustic Artists,
Gallery (NC), GreenHill Center (NC). toothpick, 51/4 x 2 inches Hemera Foundation (CO).
dietlindvanderschaaf.com
Lisa Blackburn, Navigation, Lenox paper, etching ink,
book cloth, board, 61/4 x 31/4 inches closed Dietlind Vander Schaaf, All the Clouds in the Sky,
encaustic, oil, gold leaf, panel, 24 x 42 inches
Fall One-Week Session III | November 3 – 9, 2019 Clay Metals Textiles Eleanor Anderson Lisa Colby Leigh Hilbert Sketch Your Way into Clay Code F03CB Square One Code F03MB A Place for Tools Code F03TA This workshop will explore techniques for This beginning metals workshop will address This workshop is for those who honor their surface design on clay. We’ll create simple forms the basics of constructing jewelry or small objects. tools and want to create the proper containers through wheelthrowing and handbuilding and Students will practice cutting metal using a for them.Whether your tools are used for cooking, then spend the rest of our time learning tech- jeweler’s saw and joining parts through soldering sewing, woodworking, jewelry, or something niques such as inlay, sgraffito, stamping, slip and cold connections such as rivets.We’ll exper- else entirely, we’ll create custom-sized, detailed transfers, wax and tape resists, and water etching. iment with creating a variety of surface textures rolls, sheaths, aprons, and bags. Students will Sketchbook drawing and painting exercises will using hammers, punches, and the rolling mill, learn basic pattern drafting techniques and help us create original motifs, patterns, and and we’ll cover basic stonesetting and chain think about form and function as they create personal surfaces. We’ll have daily demonstra- making. Beginning level. their own versions of these work accessories using tions and individual meetings. Anyone who loves Studio artist; teaching: Arrowmont (TN), Craft Alliance canvas, leather, and hardware. Basic sewing ma- drawing is encouraged to join us, regardless of (St. Louis), Penland; representation: Metal Museum chine skills will be helpful, but this workshop is previous clay experience. We’ll work with mid- (Memphis), Mora Contemporary Jewelry (NC), Pen- open to all levels. range red and white clay and fire to cone 6 oxi- land Gallery; publications: 1000 Rings, 500 Silver Studio artist, owner of Overlap Sewing Studio and dation. All levels. Jewelry Designs. The Drygoods Studios (NC); teaching: University Studio artist; teaching: Colorado College, Brick Ce- lisacolby.com of California Berkeley,Warren Wilson College (NC), ramics (Cleveland), Pocosin Arts (NC); residencies: Penland; exhibitions: Center for Craft (NC), Toronto Penland Core Fellowship, Textile Arts Center (NYC), Lisa Colby, Saucer Necklace, sterling silver, Design Festival. Women’s Studio Workshop (NY), Studio Kura (Ja- 11 x 8 x 1/4 inches etsy.com/shop/overlap pan); one- and two-person exhibitions: Praxis Fiber Studio (Cleveland), Penland Gallery. Leigh Hilbert, Sewing Kit, waxed canvas, leather, eleanor-anderson.squarespace.com 12 x 11 inches Eleanor Anderson, Party Platter, porcelain, underglaze, glaze, 12 x 8 x 22 inches
General Information
Diversity and Inclusion than forty-five days before the beginning of to assist them. Please contact the registrar to
Penland School of Craft believes that diversity the workshop, there is no refund. This policy discuss housing and access to facilities.
and inclusion are essential to its mission. We also applies to work-study students. If it is Textiles are taught in second- and third-
want to inspire and nurture the human spirit, necessary for Penland to cancel a workshop, floor walk-up studios that can be accessed
and we value the perspectives and contribu- students will be notified and offered another by a stair lift. One metals studio has stairs
tions of all people. We want the Penland expe- class or a full refund. We cannot be responsible that compromise access; these metals
rience to include varied ideas, world views, for nonrefundable airline tickets. workshops are coded MA.
and personal characteristics. Penland is com-
mitted to being a community that welcomes Waiting Lists Penland Housing
and respects everyone regardless of age, abil- If the workshop you want is full, please call Penland housing is quite simple. Buildings are
ity, ethnicity, race, religion, philosophical or registration at 828-765-2359 to be placed on not air-conditioned—the climate is moderate,
political beliefs, sexual orientation, gender the waiting list, or e-mail with your contact and temperatures are cool at night. Furnishing
identity or expression, nationality, geographic information and a list of desired workshops to is basic: a bed and a place to put your clothes.
origin, and socioeconomic status. We are com- registrar@penland.org. We will contact you if Housing assignments are made shortly before
mitted to providing an environment free of space becomes available. the session begins. We do our best to match
discrimination. students with the type of housing they request,
Stand-By Program but this is not always possible, and we cannot
Registration, Deposits, and Fees Residents of certain counties in Western honor requests for specific rooms or buildings.
Registration is on a first-come, first-served North Carolina and Eastern Tennessee are You can find example photographs of Penland
basis and continues until workshops are filled. offered half-price tuition when they take housing on our website. Note: we only house
Spaces are reserved in each Concentration unfilled spaces less than two weeks before people enrolled in workshops.
workshop for scholarship students. All regis- the beginning of a workshop (four weeks
tration takes place online. Minimum age is 18. before an eight-week session). This offer is Off-Campus Students
A $50 registration fee is charged when you also available to all k–12 teachers and college, We recommend staying on campus to maxi-
apply. You may apply for several sessions university, and community college faculty mize your Penland experience. There are fre-
at once with one fee. A deposit of $500 per regardless of where they live. For details visit quent evening events and many people choose
eight-week workshop or $250 per one-week penland.org/standby. to do studio work late at night or early in the
workshop is required to secure a place in each morning. However, students who live in the
workshop you want to be enrolled in. Accessibility area or prefer to find their own lodging may
Your application will be processed once you Penland’s campus is on terrain that is steep and enroll as off-campus students. They can par-
have completed your online application and uneven. We are working to make our campus ticipate in all activities of the session and may
paid the registration fee and appropriate depos- more accessible, and housing is available that select a meal plan when enrolling.
its. See note below about waiting lists for full conforms with the Americans with Disabilities
workshops. Scholarship applicants pay a reg- Act. We provide accessible parking for the Cost of Materials/Studio Fees
istration fee but no deposit at the time of reg- dining hall, housing, and most studios. Several Tuition does not cover the cost of materials
istration. Apply using our online registration golf carts are available for students with mobil- used for students’ own production. (Hot glass
system at penland.org. ity limitations. Penland will make every effort tuition does cover the cost of the glass in the
to provide appropriate housing and program furnaces.) Most workshops require you to
Cancellation and Refund Policy access to people with disabilities to the degree bring certain materials and tools with you.
If you cancel forty-five days or more before possible without posing an undue hardship Most workshops also have a studio fee for
the beginning of a workshop, you will receive on the organization. Students are responsible supplies used by the group—expendables,
a refund, minus a $250 cancellation fee ($100 for requesting appropriate accommodations shared supplies, and materials used for demon-
for a one-week workshop). If you cancel later in advance and helping the school assess how strations. It does not include materials usedGeneral Information / Scholarships
by individual students to make their work; happy to be able to significantly reduce tuition one in the spring in the development office.
these can either be purchased at the school or fees for scholarship students this year. For the specific skill requirements for this
brought with you. We will make every effort position see the fall and spring scholarship
to notify students in advance if we anticipate a Partial Scholarships with page on our website or contact the registrar.
fee in excess of $50 for a one-week workshop Work Requirement
or $250 for an eight-week workshop. Look for Partial scholarship students do work for the Glass Studio Work-Study
this information on your materials list. Note: school during their session, pay a discounted There is one scholarship position in the fall and
flameworking students pay a $100 deposit and tuition, and receive room and board. There one in the spring for a glass student who will
a $10 rental fee on their tool kits; optional tool are no scholarships for one-week workshops. work 30 hours per week in the glass studio.
kits are available in the wood, metals, textiles, Full work-requirement scholarship stu- Your application should include five images of
books, and printmaking studios for a small dents work approximately twenty hours per your work. For more details, contact the glass
rental fee. week. (No full work-study in glass.) Reduced studio coordinator at 828-765-5507.
work-requirement scholarship students
Studio Information work approximately ten hours per week. Movement Work-Study
Detailed information about Penland’s studios is Scholarship students do a variety of tasks, There is one scholarship position in the fall
available under the About menu on our website. mostly in food service and dishwashing. Most and one in the spring for a student who will
work-study jobs are labor intensive. If you teach movement classes. Your application and
Studio Safety have physical limitations and you are selected résumé should address your qualifications to
In many workshops students may be working for a scholarship, please let us know before teach movement.
with tools that, if improperly used, can cause you get here what kinds of work you can do,
injury. A safety tour and information about and we’ll do our best to make an appropri- Texas Star Scholarship
the proper handling of tools and materials ate work assignment. In addition to regular Funded anonymously, this scholarship supports
is part of our program; however, students duties, scholarship students are required to a Concentration student in clay. The award is
assume the risk of working with tools and work from 9:00 AM to 5:00 PM on the day for a student with financial need who is ready
materials provided by the school. before and 9:00 AM to 12:30 PM on the day to engage fully in concentrated, creative explo-
after their session. ration. The recipient of this scholarship will
Scholarships Scholarship applications must be made have a full work requirement and will pay only
Note: In an effort to give students more time to online, using Slideroom, by midnight on $500 toward their tuition. The application
plan, we posted our fall Concentration descriptions June 15, 2019 for fall or November 28, 2019 deadline for this scholarship is June 15, 2019
online earlier than we have in the past. We also set for spring and must include two reference whether you are applying for fall or spring.
the fall scholarship deadline earlier so we can notify forms completed (before the deadline) by
scholarship recipients sooner. We were not able to put your chosen references. Scholarship students Full Scholarships with
this catalog on an accelerated schedule, so you may will be notified by July 1 for fall and December Work Requirement
receive it after the fall deadline has passed. If you 15 for spring, and once accepted will be asked Samuel A. Almon Scholarship
miss the deadline but are interested in a fall scholar- to pay their invoiced balance. We will con- Established in honor of Samuel Almon, who
ship, please call the registrar or check our website as sider applications after the deadline if there was a friend of the school, this fund provides
there may be spaces remaining and we sometimes get are unfilled spaces or cancellations. Apply at a scholarship with full work requirement that
cancellations. penland.slideroom.com, where you will find covers room, board, and tuition for a textiles
Penland seeks students with varied edu- complete application requirements. Concentration. This scholarship requires the
cational, cultural, and life backgrounds. student to contribute a piece to the scholar-
Scholarships further this goal by creating Special Partial Scholarships ship auction. The application deadline for this
opportunities for people who could not par- Development Work-Study scholarship is June 15, 2019 whether you are
ticipate without financial assistance. We are There is one scholarship position in the fall and applying for fall or spring.Scholarships/Policies
check with their institution to make sure credits
are transferable. Please contact the registrar if
you are interested in college credit. A certifi-
cate of course completion is available for a $20
fee. Teachers interested in Public Education
Certificate renewal credits for Penland classes
must contact their school board.
Arrival and Departure
Penland is located in the Blue Ridge Mountains
near Spruce Pine, North Carolina, 52 miles
northeast of Asheville. The easiest way to get
here is by car, but commercial van service is
available from the Asheville airport and bus ter-
minal at the beginning and end of each session
for a fee. Plan to arrive at Penland between 1:00
and 5:00 pm on Sunday. Sessions begin with an
orientation meeting at 5:00 pm. (Scholarship
students and studio assistants arrive in time to
work on Saturday morning.) Activities end at
noon on the last day of the session. (Scholarship
students and studio assistants stay one day later.)
Housing checkout is time is 2:00 pm.
Christy Wright Scholarship for Glass Art interested, check our website or call the regis-
Established by the family and friends of tration office about availability. Applications Policies
Christy Wright, this fund provides a schol- must be made online, using Slideroom, Drugs and Alcohol – Alcohol is not permitted
arship with a partial work requirement (see by midnight on June 15, 2019 for fall or in the studios. The legal drinking age in North
above) that covers room, board, and tuition for November 28, 2019 for spring. Apply at Carolina is 21. The use of illegal drugs while at
a glass Concentration for a student making a penland.slideroom.com. Penland is strictly prohibited. We cannot tol-
career transition into glass. The application erate behavior that jeopardizes your safety or
deadline for this scholarship is June 15, 2019 International students note: Because the U.S. the safety of others.
whether you are applying for fall or spring. government considers our work-study schol- Personal Property – Penland is not responsible
arship and studio assistantship programs to for the security of property belonging to stu-
Studio Assistants be work for hire, students who are not U.S. dents, instructors, or staff. Lockers are avail-
Studio assistants are students who assist citizens may not receive work-study scholar- able on campus.
instructors and fellow students and are respon- ships or studio assistantships unless they have a Pets – Students are not permitted to have pets
sible for maintaining the school’s standards work permit. on campus while at Penland.
for studio operation. In exchange for 25–40 Unacceptable Behavior – Penland reserves the
hours of work per week, assistants receive College and Teacher Credits right to dismiss any student, without refund,
room, board, and tuition. Studio assistants Undergraduate and graduate credit may be for behavior that is disruptive to the commu-
are required to work on the day before and earned at Penland through Western Carolina nity learning and living environment. Penland
the day after their session. Many instructors University. Charges are in addition to Penland’s may refuse admission to students with a history
recommend their own assistants. If you are fees and are subject to change. Students must of unacceptable behavior.Cost/Fees
Fees: Eight-Week Concentrations Fees: One-Week Sessions How to Apply for a Workshop
1. Minimum age is 18. Applications must be
Tuition Tuition made online at penland.org
Regular____________________________$4,578 Regular______________________________ $826 2. If you are applying for a scholarship or a stu-
dio assistantship, follow the instructions in
Hot glass__________________________$5,965 Hot glass__________________________$1,124
the section below.
3. Read cancellation and refund policy.
Partial Scholarship Tuition Room and Meals 4. Complete online application form, indicating
Full work requirement_____________$2,786 Dormitory*__________________________ $482 workshop choices (and preference order)
Reduced work requirement________$5,498 Double, common bath______________ $674 and housing preference. Application form is
Hot glass–reduced work*__________$6,318 Double, bath shared w/roommate___ $893 at penland.org.
Single, common bath______________$1,305 5. Online application process will include the
Work-study students receive meals and dor- Single, private bath________________$1,663 $50 registration fee and the $500 or $250
mitory housing as part of their scholarship. deposit(s). A deposit is required for each
*Dorms house 3–15 per room. session you want to enroll in.
*There are no full work-requirement 5. Balance due on August 15, 2019 for fall;
scholarships in hot glass. Meal Prices for Off-Campus Students January 23, 2020 for spring.
All meals____________________________ $328
How to Apply for a Scholarship or
Lunch and supper___________________ $251 Studio Assistantship
Room and Meals Lunch only__________________________ $110 1. Minimum age is 18.
Dormitory*________________________$3,900 Supper only_________________________ $141 2. Read scholarship information on
Double, common bath____________$4,392 preceding pages.
Double, bath shared w/roommate_$4,477 3. Read refund policy and cancellation policy.
Single, common bath______________$4,748 4. Log into penland.slideroom.com and follow
Single, private bath________________$5,014 instructions.
5. Scholarship applications are due on June 15,
2019 for fall and November 28, 2019 for spring.
*Dorms house 3–15 per room.
Penland does not have scholarships for fall
or spring one-week workshops.
Meal Prices for Off-Campus Students
All meals__________________________$2,176
Lunch and supper_________________$1,905
Lunch only__________________________ $847
Supper only_______________________$1,059 Catalog Credits
Robin Dreyer, editor; Ele Annand, design
Sarah Parkinson, editorial assistance
Leslie Noell, program director
Penland photos by Robin Dreyer
Penland School of Craft is a nonprofit, tax-exempt institution.
The school receives support from individuals, foundations, Thanks to Courtney Dodd, Tammy Hitchcock,
corporations, and the North Carolina Arts Council, a divi- Amanda Hollifield, Abigail McKinney, Leslie Noell,
sion of the Department of Natural & Cultural Resources. Amanda Rhodes
www.ncarts.org. Printed by Blue Ridge Printing, Asheville, NCSpring
Concentration Clay Glass
Jenny Mendes Dan Mirer
Eight-Week Workshops Parts Unknown Code S00CA Intentions & Inventions Code S00GA
The launching point for this workshop will be In this design-based workshop, students will
March 8 – May 1, 2020 an exploration of surfaces and a deep mining of pursue the creation of thoughtful objects. As-
personal content. Working primarily with low-fire signments will lead to material research and
Workshops listed as “all levels” clay, we’ll push the boundaries of the material problem solving with the larger goal of devel-
welcome serious students of any through explorations of form and narrative. oping an innovative vocabulary of techniques.
skill level, beginning to advanced. Experimentation with slips, underglazes, terra Along with blowing and forming on the pipe,
sigilatta, and different firings will lead students moldblowing will be an important aspect of the
Scholarships available; the spring scholarship to develop unique bodies of work. Using Penland’s workshop. We’ll cover mold design and tooling,
deadline is November 28, 2019, although landscape as genius loci, visiting sculptor Hester exploring the use of wood, plaster, graphite,
there are three special scholarships that have Pilz will collaborate with students for two weeks metal, rubber, and wax. These projects will enable
a deadline of June 15, 2019 even if you are to discover how the spirit of the landscape can less experienced students to create distinctive
applying for a spring workshop. inform our work. All levels. works while posing challenging opportunities
Studio artist; teaching: Arrowmont (TN), Santa Fe for more advanced students. While our work will
Clay, West Dean College (UK), Penland; Ohio Arts be centered in the hot shop, students will be en-
Council Individual Artist Fellowships; former Penland couraged to use the cold, kiln, and flame studios
resident artist; other residencies in France, Slovenia, in creating their work. Guest instructor Peter
Macedonia, Turkey, Serbia, The Netherlands, Latvia; Drobny will join us for a week. All levels.
exhibitions:The Clay Studio (Philadelphia), ClayAkar Studio artist; teaching: Corning (NY), UrbanGlass
(IA), Old Church (NJ),TRAX Gallery (CA). (NYC), Alfred University (NY), Snow Farm (MA),
jennymendes.com Pilchuck (WA), Toledo Museum (OH), Tyler School of
Art (PA); residencies: UrbanGlass, Corning,Toledo Muse-
Jenny Mendes, Two Chalices, low-fire clay, underglaze, um, Museum of Glass (WA).
slip, glaze, terra sigilatta, 9 x 8 x 4 inches danmirer.com
Dan Mirer, Squares, mold-blown glass, 23k and 12K
gold leaf, 41/2 x 21/2 x 21/2 inches eachSpring Concentration March 8 – May 1, 2020
Iron Letterpress Metals
Andy Dohner Jamie Karolich Suzanne Pugh
Attention to Detail Code S00I Print/Process/Production Code S00L Wunderkammer Code S00MA
In this workshop you’ll learn the fundamentals In this workshop students will be exposed to We’ll take a journey of deep investigation into
of working with hot metal. From forging to many methods of letterpress printing, includ- metal fabrication and forming techniques—with
fabricating, beginning and experienced metal- ing hand-set type, polymer plate printing, die a detour into lost-wax casting—as we pursue
workers will learn to transform their ideas into cutting, wood and linoleum relief printing, perfect, odd, and perfectly odd objects. Students
well-crafted objects. Using drawings, maquettes, and experimental techniques such as pressure will follow individual, but guided, investigations
and layout skills, we’ll troubleshoot design and printing. The workshop will be front-loaded as they make objects of curiosity: containers,
develop an eye for detail as we create functional with technical information and small projects, small sculptures, belt buckles, and other speci-
and sculptural objects. Along with all aspects of allowing students to spend the second month mens to fill their metaphorical cabinets of won-
forging, we’ll cover multiple cold-working pro- on self-guided projects using the techniques der. Technical information will include soldering,
cesses, welding, and fabrication methods. Topics learned. We’ll take field trips to visit nearby cold connections, scoring and bending, simple
will include project planning, tapering, isolating letterpress printers, and Margot Ecke will join raising, hydraulic forming, stone setting, chasing
mass, joinery, and surface applications. Students us for a week as our guest instructor. Students and repoussé, and lost-wax casting. Lola Brooks
should be prepared to work hard and have fun as can expect to leave with a new and diverse portfo- will join us for a week, sharing her expertise
a group and independently. Blacksmith Logan I. lio of prints. All levels. in fabricating hollow forms over an investment
Hirsh will join us for a week as guest instructor. Print production manager at Power and Light Press core. Expect to finish many pieces during these
All levels. (NM); exhibitions: Light Studios (NM), El Sol (NM), eight weeks while staying open to experimenta-
Studio artist; teaching: Austin Community College At Work (IN), PLAY (NC), Printed (KY); residencies: tion and play. All levels.
(TX), Peters Valley (NJ), California Blacksmith As- Arrowmont (TN), Wells College (NY), Western New Studio artist; teaching: former head of metals at City
sociation, Appalachian Center for Craft (TN), New Mexico University (NM), smART Kinston (NC), Pen- College of San Francisco, Peters Valley (NJ), Metal-
Agrarian School (MT), Penland; exhibitions: Metal land Core Fellowship. werx (MA); exhibitions:Velvet da Vinci (CA), Five Pins
Museum (Memphis), Madison Morgan Cultural Cen- jamieannekarolich.com Project (CA), HYART Gallery (WI), work published in
ter (GA),Toe River Arts (NC). The Metalsmith’s Book of Boxes and Lockets and
andrewdohner.com Jamie Karolich, Composition VII in Primary, wood Chasing and Repoussé (both Brynmorgen Press).
block print, 91/2 x 91/2 inches suzannepugh.org
Andy Dohner, Rudder, forged and fabricated steel,
blackened finish, 8 x 13 x 6 inches Suzanne Pugh, Great Basin, sterling silver, 3 x 2 x 2 inchesPhotography Textiles
Mercedes Jelinek Erika Diamond
Processing Process Code S00P Inside/Out: Garment as Identity Code S00TA “Penland School of Craft is the kind
This workshop will take students on a circular Clothing is our everyday costume, revealing of place where you can work on your
journey through photographic processes, from an- and concealing what lies beneath. From fab- artistic endeavors and ideas but also
alog to digital and back again.We’ll cover large-for- ric to form, our personal style reflects who connect over lunch or during studio
mat camera use, film developing, and traditional we are inside—our fears, our beliefs, and our visits and find synergies amongst other
darkroom printing.Then we’ll explore the basics of pride. Students in this workshop will learn ba- artists working in different media and
digital photography and make archival inkjet prints sic sewing techniques and various methods of collaborate and develop and nurture
from digital images and film scans. We’ll complete garment construction, and we’ll cover hand and each other in ways you can’t elsewhere
the loop by making digitally-printed negatives for machine stitching, embellishment, and off-loom and beyond.�
use with historic, hand-coated printing processes. techniques. We’ll work collaboratively to decon-
We’ll also cover still life, street photography, por- struct and experiment with found materials, —Steven Muñoz,
traiture, landscape and architectural photography, finding new ways to wear what we are. Students winter resident in printmaking
composition, lighting, night photography, digital will explore new techniques through weekly
workflow, digital editing with Lightroom and/or samples and create one or more finished wear-
Photoshop, archiving, and more. Guest instructor able pieces ready for the runway—or a walk in
Dan Estabrook will join us for a week. All levels. the woods. Steven Frost will join us for a week
Note: this workshop has a studio fee of $500. as guest instructor. All levels.
Fine art and commercial photographer; teaching: Studio artist, director of galleries at Chautauqua
Appalachian State University (NC), Penland; former Institution (NY); teaching: Virginia Commonwealth
Penland resident artist; exhibitions: Ogden Museum University, Rocky Mountain College of Art and Design
(New Orleans), SoHo Photo (NYC), Satellite Art Show (CO); residencies: McColl Center (NC), ABK Weaving
at Art Basel Miami; author of These Americans Center (WI); exhibitions/commissions: Dorsky Gal-
and Lost: Spruce Pine (both Kris Graves Projects). lery (NYC), Marta Hewett Gallery (OH), costumes for
mercedesjelinek.com Charlotte Ballet (NC). erikadiamond.com
Mercedes Jelinek, Cloud Feather, archival pigment Erika Diamond, Eggshell Garment for Hugging II,
print, 30 x 30 inches eggshells stitched between layers of tulle; garment
worn to record imprint of hugsSpring One-Week Session I | March 22 – 28, 2020
Glass Printmaking/Writing Textiles
Ben Elliott Stuart Kestenbaum & Susan Webster Amanda Thatch
Ebb & Flow Code S01GB Word & Image Code S01X Handweaving: Foundations & Exploration
This workshop will reveal the ins and outs of We’ll make images that inspire writing, writing Code S01TB
flameworking with borosilicate glass. Through that inspires images, and work that combines Weaving intersects material, action, time, and
demonstrations and individual work time, the two. Activities will include daily writing and attention. We’ll think about the poetics of this
we’ll meander through techniques for solid and drawing prompts. Students will learn various process as we learn the practical tasks involved
hollow work, color application, and assembly. low-tech printmaking techniques, including with setting up a floor loom to weave fabrics
Drawing on these traditional approaches, we gelatin-plate process, monotype drawing, and of our own design. We’ll work quickly with an
can delve into current trends, touching on blow direct stencil-use drawing, as well as painting, emphasis on making samples. Students will get
molds, cold assembly, and imagery. This will lead collage, and other tools and techniques to make comfortable with the process and sequence
us into designing finished objects or installations image and text components. Formats may in- of how to plan a project, wind a warp, dress a
with underlying themes or narratives. Students clude simple book structures and one-of-a-kind loom, and weave cloth. Our tools will connect
will leave with a foundation of skills and direc- pieces. We’ll emphasize experimentation. All us to the past, but through our work and ideas,
tions to add to their studio practice. All levels. levels. we’ll discover the contemporary possibilities of
Studio artist; teaching: North Carolina Glass Center, Stuart: poet and former director of Haystack (ME); handweaving. All levels, beginners encouraged.
Jackson County Green Energy Park (NC); work pub- poet laureate of Maine; visiting writer: Cranbrook Textile, book, and paper artist; former textile studio
lished in The Flow and Glassline. (MI), Rhode Island School of Design,Virginia Com- coordinator at Penland; teaching: Arrowmont (TN),
monwealth University, Penland; author of five col- Visual Arts Center of Richmond (VA); residencies:
Ben Elliott, All’s Well, flameworked glass, steel, lections of poetry. Susan: studio artist; teaching: Alabama Chanin Studio Artist in Residence (AL),
20 x 10 x 10 inches Haystack, Center for Contemporary Printmaking Penland Core Fellowship; exhibitions: Turchin Center
(CT), Studio Artworks Center (Jerusalem), Penland; (NC), Centro de las Artes de San Agustín (Mexico),
developed a model art program in Maine prison sys- Savannah Cultural Arts Gallery (GA), Des Lee Gal-
tem; exhibitions: Institute of Contemporary Art (ME), lery (St. Louis).
Maine Jewish Museum. amandathatch.com
stuartkestenbaum.com ∙ susanwebster.net
Amanda Thatch, Penland Scarves, handwoven cotton
Stuart Kestenbaum and Susan Webster, Time, and silk, natural dyes, 22 x 72 inches each
monotype, letter-stamped text, 22 x 15 inchesSpring One-Week Session II | April 5 – 11, 2020
Papermaking Textiles Wood
Frank Brannon Wayne Wichern Jenna Goldberg
Paper of Place S02PM Felt & Straw Hats: The Art of the Bandsaw Box Code S02W
How was paper first made where you live (or in Traditional Blocked & Freeform Code S02TB Bandsaw boxes are a simple way to make wood-
your place of origin), and who made that paper? We’ll create felt and straw hats using traditional en box structures without the burden of com-
In this workshop, we’ll intertwine the process hat blocks and freeform blocking methods.We’ll plicated joinery. Students will learn the basics
of hand papermaking with an understanding of form, sculpt, and mold onto wooden hat blocks of how to cut, glue, and manipulate wood. We’ll
its wide-ranging history. Through readings and to create classic hat shapes and freeform, eccen- also explore simple surface treatments includ-
some pre-workshop study of a place you know tric, sculptural hats. Traditional finishing and ing image transfers, color and painting tech-
well, you’ll gain an understanding of that loca- embellishment techniques will include hand- niques, texturing, and surface carving.We’ll cov-
tion (and maybe of yourself) by learning how sewn and machine-sewn welts, bias binding, er the safe use of machinery and how to sharpen
paper was made there. At the same time, we’ll and petersham ribbon bindings. Our fanciful chisels and carving tools. Personal exploration
practice the craft ourselves. We’ll process fiber hats will be completed with millinery ribbons, of form, surface, and imagery will be encour-
from tree bark (mostly mulberry) by soaking, flowers, silk fabrics, horsehair, straw braids, and aged. All levels.
stripping, scraping, cooking, and beating, and other trimmings. Students can expect to cre- Studio artist, teacher at Rhode Island School of
we’ll use Western techniques to make it into ate four or more hats. Machine or hand sewing Design; other teaching: Arrowmont (TN), Haystack
sheets. All levels. skills will be helpful, but the workshop is open (ME), Anderson Ranch (CO); residencies: Anderson
Book artist, owner of SpeakEasy Press, educator at to all levels. Ranch, San Diego State University; collections: Ren-
Northern Virginia Community College; other teach- Millinery designer and teacher; teaching: Oregon wick Gallery (DC), Mint Museum (NC).
ing: Paper & Book Intensive (MI), University of Ala- Shakespeare Festival, Cañada College (CA), Milli- jennagoldbergstudio.com
bama, Western Carolina University (NC), Kennesaw nery Meet-Up (TN), Peters Valley (NJ); exhibitions:
State University (GA); collections: American Anti- Museum of History & Industry (Seattle), Peninsula Jenna Goldberg, Green Box with Trays, painted and
quarian Society (MA), British Library, Emory Uni- Museum of Art (CA); collections: de Young Museum carved basswood, screenprinted interior,
versity (GA), Sequoyah Birthplace Museum (TN), (San Francisco), Museum of History and Industry; 5 x 26 x 7 inches
Vanderbilt University (TN). founding member of the Millinery Artisan Guild.
frank-brannon.squarespace.com waynewichernmillinery.com
Frank Brannon, Portal, hand-beaten mulberry (kozo), Wayne Wichern, Paris Topper, parisisal straw,
methyl cellulose, 28 x 18 x 84 inches silk sash/bow, veiling, silk/organza rose,
grosgrain ribbon, 10 x 10 x 10 inchesSpring One-Week Session III | April 19 – 25, 2020
Books Clay Wood
Daniel Essig Kurt Anderson Beth Ireland & Keunho Peter Park
Bookstone Bookwork Woodwork Code S03B Don’t Hate, Decorate! Code S03CB Creating Stringed Instruments Code S03W
This workshop will explore the possibilities of This workshop is about fun and innovative ways We have developed a method for making
combining mica, wood, and fine papers within of making and decorating plates, platters, and stringed instruments based on the bandsaw box
the book form. We’ll cover methods and pro- serving dishes with a focus on techniques that that allows students to create their own form for
cesses for successfully working with different will give your pottery a rich and vibrant sur- the body. We’ll use this method to make four- or
kinds of mica. We’ll create wooden book cov- face. We’ll place special emphasis on developing six-stringed guitars that are fun, sculptural, and
ers using hand tools or small power tools. Our personal iconography through the use of mishi- very playable, while covering techniques needed
books will be bound with the elegant Ethiopi- ma, sgraffito, and simple brush painting. We’ll to make other stringed instruments, including
an-style binding. All levels. also explore simple methods for creating plates, scale length, fretting, bracing, shaping, finishing,
Studio artist; teaching: Anderson Ranch (CO), Arrow- trays, and small platters through wheelthrowing and set up. We’ll have daily demonstrations and
mont (TN), University of Georgia Cortona Italy Pro- and slab construction. A moderate awareness of lots of studio time in a supportive atmosphere.
gram, Grampian Textures (Australia), Sievers School ceramic processes will be helpful, but this work- Students will learn to safely use the bandsaw,
of Fiber Arts (WI); North Carolina Artist Fellowship, shop is open to all levels. sander, router, and a variety of hand tools. Work
Penland Core Fellowship; collections: Renwick Gal- Studio artist; teaching: Archie Bray Foundation at your own skill level and create a beautiful in-
lery (DC), Mint Museum (NC), University of Iowa (MT),The Ohio State University, Penland; residencies: strument that will wow your friends and bring
Special Collections, University of California–Santa Watershed (ME), Archie Bray Foundation, Penland you years of playing enjoyment. All levels.
Cruz McHenry Library,Vanderbilt University Special Winter Residency, Fergus Post-MFA Fellowship at The Beth: studio artist; teaching: Center for Furniture
Collections (TN). Ohio State University; exhibitions: Red Lodge Clay Craftsmanship (ME), Peters Valley (NJ), Haystack
danielessig.com Center (MT), ClayAkar (IA),The Clay Studio (Phila- (ME), Arrowmont (TN), Appalachian Center for Craft
delphia), Santa Fe Clay (NM). (TN). Kuenho: studio artist, teacher at University
Daniel Essig, Latent, walnut, handmade paper, mica, @kurtandersonpottery of the Arts (Philadelphia); Warton Esherick Award at
vintage photographs and cases, Ethiopian and Coptic Philadelphia Museum of Art Craft Show.
binding, 6 x 4 x 21/2 inches Kurt Anderson, Oval Flask with Dog, stoneware, slip, bethireland.net ∙ studiospong.com
underglaze, glaze, 12 x 7 x 3 inches
Beth Ireland, Cranium Guitars, birch,
game boards, 32 x 10 x 23/4 inches each
Keunho Peter Park, Pat Guitar, basswood,
cherry, copper, 30 x 14 x 2 inchesYou can also read
