Editor's note: The Mint Museum of Craft + Design / Mint Museum of Art provided source material to Resource Library Magazine for the following article. If you have questions or comments regarding the source material, please contact the Mint Museum of Craft + Design / Mint Museum of Art directly through either this phone number or web address:



 

The Nature of Craft and the Penland Experience

July 3, 2004 - January 30, 2005 

(above: Jacob Fishman, Penland, 1993, neon)

 

"What is it that one gets from a session at a craft school?  Technical information surely.  But even more than that, a sense of expanded personal possibility.  Basic needs are taken care of.  Food happens.  There is a place to sleep and minimal contact with telephones and automobiles.  There is nature.  Nonessentials are pared away.  For a few weeks one can part the waters of everyday reality and stand on the dry land of a dream.  It is a powerful and empowering experience."

                                                                                    Sculptor Bob Trotman 

 

The Penland School of Crafts is set on 400 acres of splendid isolation among the Blue Ridge Mountains of North Carolina.  Originally established by Lucy Morgan as a settlement program to preserve weaving skills and provide mountain women economic opportunity, Penland celebrates its 75th anniversary in 2004 having evolved as a national center for alternative craft education with programs in fourteen studies encompassing traditional and contemporary craft.  To artists and students, Penland is a craft mecca where total immersion workshops taught by a rotating group of guest instructors create a community of exchange -- in ideas, skills and support. (right: Fed Birkhill, Jr., Blue Skies, 1997, glass)

The Penland School's unique niche in contributing to the evolution of American craft is celebrated through the exhibition The Nature of Craft and the Penland Experience, on display July 3 through January 30, 2005 at Charlotte, NC's Mint Museum of Craft + Design.  Featured are 137 works made by artists affiliated with Penland School as instructors or resident artists.  All media taught at the school -- books and paper, clay, drawing and painting, glass, iron, metals, photography, printmaking, textiles and wood -- are included.  The work spans all eras of Penland's history.  Exhibition co-curators are Ellen Denker and Penland program director Dana Moore.

Denker views Penland as representative of the Arts and Craft movement that has been continuously growing in America. "The face of it may have changed, but its heart is constant," she wrote in her catalogue essay.  ". . . using process as the basis of definition rather than style -- is to see continuity in the past 125 years of the history of craft and to understand that the principles of the Arts and Craft movement have thrived for more than a century."

"Schools like Penland and Haystack Mountain (Maine) continue to be important because their small scale and flexible structure allow them to experiment and develop programs in a way that can't be done within the more formalized structure of universities and art schools," stated Paul Smith, Curator Emeritus of the American Craft Museum (now the Museum of Arts & Design) and a former Penland trustee.  "At Penland you learn by watching others and that's very important.  That community of exchange and sharing is hard to document, but it's part of why Penland exists." (left: Alida Fish, Walking with Pygmalion, #5, 1998, photography)

The exhibition is organized around three themes -- Skill: Mastery and Transmission; Sources: Where Ideas Are Found; and Expression: No Boundaries.  "Skill" celebrates mastery over material and examines the role of oral traditions in developing competence.  "Source" looks at environment, the body, spirituality, and play as the foundations of creativity in craft.  "Expression" demonstrates that craft communicates ideas, transcending the traditional boundaries of gender, ethnicity, age, and religion.  All hand-made objects embody these three elements to some extent, while some show one aspect to a greater degree than the other two.

In craft, skill is expressed as the facility to transform elemental materials such as wood, clay, metal and fiber into objects that inspire reflection and admiration by mastering the choreography controlling the material -- carving, turning, blowing, hammering, weaving.  Universities and craft school have supplanted artisan guilds in passing the oral traditions of skills developed over centuries to new generations.  Work featured in Skill: Mastery and Transmission begins with Edward Worst's Table Cover, ca.1930s.  Worst, a Chicago educator and follower of reformers Thomas Dewey and Francis W. Parker, co-founded the Summer Institute for Weaving at Penland in 1928 that became the Penland School of Handicrafts the following year. The section features works by ground-breaking innovators such as glass artist Harvey Littleton's Sympathy, 1978; wood artist Wendell Castle's Blanket Chest, 1963; clay artist Don Reitz's She Broke Her Leg, Not Her Heart, 1985; Penland's first metal instructor Brent Kington's Weathervane, 1978; and fiber artist Billie Ruth Sudduth's Fibonacci 21, 1996.

Source: Where Ideas Are Found amply illustrates that inspiration is found everywhere and that artists have an unique ability to explain ideas visually.  Nature can inspire (Marc Petrovic and Kari Russell-Pool's blown glass Blue Vase with Birds and Honeysuckle, 2003), be replicated in a range of material (Michael Sherrill's stoneware Shining Rock RhododendronRhodondendron, 2000, and Stephen Dee Edwards' glass Tripod Sea Form, 1985) or serve as an element of an object (Robert Ebendorf's Necklace, 1994, made of twigs, pearls and 18K gold).

Other inspiration includes manmade environment (Boris Bally's P is for Platter, 2003, incorporates recycled aluminum traffic signs and recycled deckplate), body, self and others (ArlineArlene Fisch machine and hand knits copper wire and fine silver into a hand-in-sleeve Bracelet and Glove, 1999) spirituality (Junichiro Baba's cast and acid etched glass The Memory of Shadows, 2002,  casts a mystical sense) and play (Lenore Davis' whimsical Mermaid Parade Float, 1976, made of cotton velvetine on wood or Rob Levine's blown glass, fruitful play on words Cup with Appeal #3, 1980). (left: Arline Fisch, Bracelet and Glove, 1999, metals)

The exhibition's third theme Expression: No Boundaries illustrates the dissolution of artistic boundaries as artists employ craft and mixed media in commenting on politics, gender, religion, ethnicity and the human condition.  Examples include Peter Gourfain's terracotta tribute to the civil rights movement, Powerful Days, 1992-93, and Alida Fish's reflection on the classical portrayal of women in art in her altered photograph Walking with Pygmalion #5, 1998. (right: Beverly McIver, Dance with Me, 1999, painting)

The Nature of Craft and the Penland Experience includes a display of work made in response to Penland as its own inclusive culture as a place and community.  Objects include a selection of Easter eggs made of clay, metal, glass and other material for Penland's annual Easter Egg hunt, outlandish croquet wickets from the Blacksmith's Croquet Game and the gate from Penland's iron studio that opened in 2000 incorporating memorabilia, demonstration pieces, objects donated by instructors and small pieces made by each member of the initial iron class.

The magic of Penland opens people to each other and their hands' work.  Not surprisingly, a craft community has grown around the school with over 100 working studios within 15 miles.  Penland School of Crafts director Jean McLaughlin summarizes that the exhibition and accompanying publication (Lark Books, available in July at Barnes & Nobles nationally, Penland Gallery and the Mint Museums Shops) explore many of the ideas the Penland community believe are central to craft -- "that learning, creativity and play are integrally linked; that craft is informed by ritual, celebration and function; that the hand and physicality are key influences in the making of craft and there is a chorography to studio activity; that the natural environment, community expression and oral transmission are of great importance to craft traditions; that craft has a relationship to the body, to beauty and to spirituality; and that craft, a universal language, is used cross-culturally by artists as a means of inspiration and communication." (right: Michael Sherrill, Shining Rock Rhododendron, c.2000)


Edited exhibition check list

 
Masters and Teachers
 
Jamie Bennett, metal (jewelry), b. 1948
Email Fleur, 2002 [brooch]
Gold and enamel
Artist (Stone Ridge, NY)
3" x 2.5"
 
John Cogswell, metal (silver vessels), b. 1948
Elijah's Cup (Kiddush cup), 1994
Silver
Jewish Museum (NYC), 1994.88
[approx. 10" H]
 
Doug Harling, metal (jewelry), b. 1959
Golden Peach, 2001 [brooch]
Gold
Artist (Greensboro, NC)
3" x 3" x 1"
 
Mary Ann Scherr, metals, b. 1921
Dinka, 1997
Gold, silver, emerald
Artist (Raleigh, NC)
18" H x 15" W
 
Randall Darwall, fiber (weaving), b. 1948
Jacket, 2002
Silk, hand dyed, complex weave
Artist (Bass River, MA)
32" x 24"
 
Marvin Jensen, metal (mokume), b. 1945
Mokume Vessel, 1989
Copper, kurimido, shibuichi, shakudo
Rhode Island School of Design
5 " H x 8" Diameter
 
Brent Kington, metals (sculpture), b. 1934
Weathervane, 1978
Bronze, steel, paint
American Craft Museum, NYC, 1994.7a,b
42" H x 40 1/2" x 13"
 
Mary Roehm, clay, b. 1951
Bowl, 1999
Wheel-thrown, wood-fired porcelain with natural ash glaze
Artist (New Paltz, NY)
7 " x 27" diameter
 
Fred Fenster, pewter, b.1934
Teapot, 2002
Pewter
Artist (Sun Prairie, Wisconsin)
11" H
 
Catherine Ellis, textile, b. 1951
Wrinkled as a Leaf, 2000
Cotton and polyester, woven, dyed and pleated
Artist (Waynesville, NC)
35" x 140" L (yardage)
 
Billie Ruth Sudduth, textile, b. 1945
Fibonacci 21, 1996
Reed, dyed and woven
Artist (Penland, NC)
16" H x 21"
 
Heikki Seppa, silver, b. 1927
Top Branch of Kalevala's Big Oak, 1982
Silver, amethyst
Saint Louis Art Museum, 15:1991
4 "H x 11" L x 5 " Deep
 
Frank E. Cummings III, wood turning, b. 1938
Vessel, ca. 1990
Lignum vitae, jade, gold, mother of pearl
Los Angeles County Museum of Art, 1997.279.5 (Los Angeles, CA)
9" H x 7" Diameter
 
William Harper, jewelry, b. 1944
Grand Barbarian's Trapeze with Cask, 1998 (brooch and casket)
Gold, cloisonné enamel, opal, pearl, coral, shell, carapace, Tiffany glass tile, nails, plastic, paper, beads
Newark Museum (Newark, NJ), 2000-14AB
Brooch 9 " x 7"; casket 7 " x 16 " x 13" (closed)
 
Tage Frid, wood, 1915-2002
Chair, 1979
Wood
Museum of Fine Arts, Boston (Boston, MA)
31" H x 19 5/8" W x 19" Deep
 
Harvey Littleton, glass (sculpture), b. 1922
Sympathy, 1978
Cased glass on optical base
High Museum of Art (Atlanta, GA)
16" x 10" x 8"
 
Fritz Dreisbach, glass (vessels), b. 1941
Vase, 1986
glass
Mike and Annie Belkin (Cleveland, OH)
9" x 7"
 
Warren MacKenzie, clay, b. 1924
Drop Rim Bowl, 2002
Stoneware, shino glaze
Artist (Stillwater, MN)
4" H x 10" diameter
 
Cynthia Bringle, clay, b. 1939
Vessel, 1998
Wood-fired, salt-glazed stoneware
Artist (Penland, NC)
33 x 10
 
Sam Maloof, wood, b. 1916
Rocker, 1989
Maple, ebony
Museum of Fine Arts, Boston, 2000.693
45" H x 25" W x 44" L
 
Wendell Castle, wood, b.1932
Coatrack with Trench Coat, 1978
Honduras mahogany
Museum of Fine Arts, Houston, 84.299
75H x 22 7/8 W x 21" Deep
 
Edward Worst, fiber (weaving), 1866-1949
Table Cover, 1930s
Cotton and linen, overshot weave
Illinois State Museum, Springfield, 1988.1.4
45H x 40.5 W
 
Emma Conley, fiber (dying), d. 1959
10" x 8", 1956]
 
Evon Streetman, photography, b.1932
Gilded Landscape: Penland School Compost Cage, 1995
Cibachrome, enhanced with gold and silver leaf
Private Collection
24"H x 36"W
 
Don Reitz, clay, b. 1929
She Broke Her Leg, Not Her Heart, ca. 1985
Stoneware, colored slip
Arkansas Arts Center Decorative Arts Museum (Little Rock, AR)
[from "Sara Series," influenced by Bill Brown Sr.]
41" x 21" x ?"
 
 
Source: Where Ideas Are Found
 
Artists have the ability to explain ideas visually. Their inspiration is found everywhere-by looking at natural and man-made environments, by examining body and spirit, by exploring the past, and imagining the future. Many insights are discovered by chance, in playful moments or through the process of making. These sources and the ideas they foster are visible in the objects that artists make.
 
Environment, Natural
 
Linda Darty, metal, b. 1952
Candlesticks (pair), 2000
Enameled silver
Artist (Greenville, NC)
4" H x 3" W
 
Robert Ebendorf, jewelry, b. 1938
Twig Necklace, 1994
Twigs, gold, [pearls]
Private Collection
13" x 13" x "
 
Stephen Dee Edwards, glass, b. 1954
Tripod Sea Form, 1985
Glass
MMCD 1986.28.4
8 7/8" x 10 "
 
Toshiko Takeazu, clay, b. 1922
Full Moon, 1978
Stoneware
Smithsonian American Art Museum, Renwick Gallery, 1989.36.2
27 " H x 29 " W
 
Kari Russell-Pool and/or Marc Petrovic, glass, b. 1967
Untitled, 2003
Glass, blown and lamp-worked
Artists (Centerbrook, CT)
Approx. 16/18" H x 10" W
 
Michael Sherrill, clay, b. 1954
Shining Rock Rhododendron, 2000
Stoneware
Lisa & Dudley Anderson
12" H x 20" W x 12" D
 
Paul Stankard, glass, b. 1943
Penland's Nocturnal Bloom, 2003
Glass assemblage
Artist (Mantua, NJ)
8" H x 7" x 4"
 
Mary A. Jackson, fiber, b. 1945
Sweet Grass Basket, 1999
Sweet grass, pine needles, palmetto
American Craft Museum (NYC), 2000.15
14 3/8" H x 8" Diameter
 
Anonymous Penland weaver
Pine Tree & Snow Ball, about 1939
Wool and linen, jacquard double-weave
Southern Highland Craft Guild (Asheville, NC)
42" x 29"
 
Richard Ritter, glass (sculpture), b. 1940
Floral Core Series #27, 2001
Blown glass with murrinis, electroformed copper
Private Collection
3 7/8" H x 9" x 12"
 
Richard Ritter, glass (sculpture), b. 1940
Untitled (Drawing), about 1977
Graphite (or pencil) on paper
Artist (Penland, NC)
8" x 11"
 
Mark Peiser, glass, b. 1938
The Wheat Piece, 1978
Glass (paperweight vase)
Indianapolis Museum of Art, Glick Collection (cat. 53)
7" H x 7" Diameter
 
Miyuki Imai, textile, b. 1968
Bibliography, 2000
Cotton, plants, seeds sewn together
Artist (Penland, NC & Japan)
100" x 80"
 
Michael Puryear, wood (furniture), b. 1944
Screen, 1999
Laminated ash, dyed green
Artist (New York City)
69" x 59" x 4.5" deep (lamination is 5/8" thick)
 
John Dodd, wood (furniture), b. 1954
Cylindrical Cabinet, 2003
Walnut
Artist (Canandaigua, NY)
48" H x 12" Diameter
 
Joe Walters, drawing/mixed media, b. 1952
Night Vision, series, 2000
Tea, bleach, shellac, beeswax on paper
Artist (Charleston, SC)
6 panels, each 18" x 18"
 
Linda Arbuckle, clay (majolica), b. 1950
Coffee Pot or Covered Jar,
Earthenware with majolica glaze
Artist (Miconopy, FL)
Approx. 10" H
 
Environment, Manmade
 
Paige Davis, iron, b. 1953
Bowl on Stand, 1999
Steel, forged
Private Collection
13 " H x 8 1/8" Diameter
 
William Daley, clay, b. 1925
Oval Chamber, 1986
Stoneware, press molded
Smithsonian American Art Museum, Renwick Gallery, 1988.63
40 3/8" H x 23 3/8" W x 20" Deep
 
Susie Ganch, jewelry, b. 1970
Thinking Cap #4, 2000
Silver
Artist (San Francisco, CA)
7.5 x 7 x 8"
 
Hoss Haley, metal/iron, b. 1961
Toy, 1998
Iron, steel, paint
Private Collection
15" H x 41" L x 10" Deep
 
C.R. "Skip" Johnson, wood, b. 1928
Floorwalker, 1988
Cherry wood
Artist (North Stoughton, WI)
24" x 24" x 24"
 
Christina Shmigel, metal, b. 1958
Place & Settlement #4, 1990-91
Brass, copper, steel
Artist (St. Louis, MO)
67" H x 5.5" x 5.5"
 
Carol Shinn, fiber, b. 1948
Storm Approaching, 2001
Machine stitched canvas
Artist (Tempe, AZ)
20" H x 15" W
 
Boris Bally, metal, b. 1961
Aluminum, copper
From the Artist (Providence, RI)
Approx. 23" diameter
 
Donald Drumm, metals (aluminum and steel sculpture), b. 1935
Mechanical Totem, ca. 1970
Aluminum
Don Drumm Studios, Akron, OH
20" H x 17" L x 4" W (base 4" x 14")
 
Al Vrana, metals (steel sculpture), 1921-1994
Fire God, 1968
Steel
Jo Vrana (Penland, NC)
14" H x 10" x 12"
 
Deborah Brackenbury, photography, b. 1952
Forbidding Mourning: Camel Cricket, 2002
Ceramic plate with photo emulsion
Artist (Norman, OK)
13" L
 
 
Body/Self/Other
 
Arline Fisch, metals, b 1931.
Bracelet and Glove, 1999
Coated copper, fine silver, machine and hand knit
5" Diameter x 20" L
 
Silvie Granatelli, clay, b. 1947
Lady Sauce Pots, 2000
Porcelain
Artist (Floyd, VA)
Approximately 15" L
 
Mary Lee Hu, metals, b. 1943
Neckpiece #9, 1973
Silver, gold, pearl
Museum of Fine Arts, Boston, 1996.1
10" x 12 1/4" x 8 3/4"
 
Jim Henkel, photographer, b. 1947
Two Hands, Sun Spots, 1993
Gelatin silver print
Artist (Penland, NC or Minneapolis, MN)
20" x 24"
 
Joe Bova, clay, b. 1941
Frog's Leg, 1980
Earthenware, overglaze
Artist (Guysville, Ohio)
20" H x 9" x 4.5"
 
Richard Jolley, glass, b. 1952
Female Bust with Leaves, 1989
Glass, cast and frosted
Indianapolis Museum of Art, Glick Collection (Indiana)
13" H x 10" W x 7" D
 
Ken Carder, glass, b. 1954
Venus and Child, 2001-2002
Glass, assembled inclusions
Artist (Bakersville, NC)
13.5" H x 6" W x 7"
 
Norm Schulman, clay, b. 1924
Deco Nude, 1990
Earthenware
Private Collection
4"H x 18" diameter
 
Jason Pollen, textile, b. 1941
Walking Meditation, 1997
Silk, etc.
Artist (Kansas City MO)
38" H x 27" W
 
Deborah Luster, photograph, b. 1951
from One Big Self, Prisoners of Louisiana, 1998-2002
Liquid emulsion on metal plate
Artist (Monroe LA)
5" H x 4"
 
Shane Fero, glass, b. 1952
Goblet, 2002
Glass, flameworked
Artist (Penland, NC)
9" H x 3" W
 
Emilio Santini, glass, b. 1955
Goblet, 2000
Glass, flamework
Artist (Williamsburg, VA)
Approximately 15" H
 
Fred Birkhill, Jr., glass, b. 1951
Blue Skies, 1997
Glass, flamework, wood
Artist (Pinckney, MI)
Shadow box 20" x 16" x 2"
 
Sally Prasch, glass, b. 1957
Spirit Goblet, 1999
Glass, flamework
Artist (Montague, MA)]
Approximately 9" H
 
Cesare Toffolo, glass, b. 1961
Granelli di Sabbia, 2002
Glass, flamework
Artist (Murano, Italy;)
Approximately 14" H
 
 
Spirituality
 
Junichiro Baba, glass, b. 1964
The Memory of Shadows, 2002
Glass, cast and acid etched
Artist (Japan & Penland, NC)
6" H x 45" L x 5" D
 
Dorothy Gill Barnes, fiber, b. 1927
Bark Holding Stone, 1997
Tree bark and stone
13" H x 6" W x 5" Deep
 
Mary Barringer, clay, b. 1950
Stoneware
Artist (Shelburne Falls, MA)
Approx. 9 x 18
 
Richard Mawdsley, metal, b. 1945
Standing Cup, about 1986
Silver, gold
Museum of Fine Arts, Boston, 1988.535a-b
17" H (approx. 5" diameter)
 
James Tanner, clay, b. 1941
Stoneware
Artist (Janesville, MN)
Approximately 30" H x 20/24" W x 3" D
 
Robert Turner, clay, b. 1913
Akan, 1984
Stoneware
Smithsonian American Art Museum, Renwick Gallery, 1993.54.20
17 3/8" H x 12 3/8" W x 11 " D
 
Kitty Couch, clay, b. 1921
Earth Series, 2002
Terra cotta
Artist (Penland, NC)
18" H x 18" x 15"
 
Byron Temple, clay, 1933-2002
Covered Jar, ca. 1975
Stoneware
New Jersey State Museum (Trenton, NJ), CH1991.26.1ab
7 1/8" H x 4 7/8" diameter
 
Rudy Kovacs, fiber, b. 1950
Cage Letter #2, 1993
Linen, rayon, gold leaf, paint
Boise Art Museum (Boise, ID), 1995.16.1
60" H x 36" W
 
Will Ruggles & Douglass Rankin, Rock Creek Pottery, clay
Will b. 1956; Douglass b. 1948
Platter, 2002
Stoneware, wood-fired
Artists (Bakersville, NC)
3.5" H x 14 " diameter
 
 
Play
 
Ted Hallman, textiles, b. 1933
L'Egyptien, 1964
Hand-woven cotton and linen with dyed acrylic inclusions
Philadelphia Museum of Art (Philadelphia, PA)
9' x 5'
 
Paul Marioni, glass, b. 1941
Grey Jaguar, 1998
Glass
Artist (Seattle, WA)
18 1/2" H x 10" W x 5" D
 
Valerie & Rick Beck, glass, both b. 1960
Dream Running, 1992
Glass
MMCD 1994.35
11 1/3" H x 12" W x 12" D
 
Rob Levin, glass, b. 1948
Cup with Appeal #3, 1980
Glass
Leigh Yawkey Woodson Art Museum (Wausau, WI)
7" H x 5 L x 2" Deep
 
Richard Marquis, glass, b. 1945
Bubble Boy, 1988
Blown and fabricated glass, murrine canes, paint, mirror, and glass shards
Indianapolis Museum of Art, Glick Collection (cat. 33)
30" H x 14" W
 
Jane Peiser, clay, b.1932
Figure, ca. 1996
Stoneware, salt glaze
Artist (Penland, NC)
22" H x 7" W x 4" Deep
 
Bobby Hansson, metals, b. 1937
Hunt's Briefcase, 1992
Tin cans, altered and joined, steel latch and hinges (from lunchbox)
Artist (Rising Sun, MD)
12" x 12" x 6" Deep
 
Audrey Handler, glass, b. 1934
Monuments in a Park, 1988
Glass, blown
Artist (Madison WI)
14" H x 14" W x 10" D
 
Deb Stoner, metals, b. 1957
Eyeglasses, 2002
metal, glass, gold, diamonds
Artist (Portland, OR)
2" H x 5" L x 5" W
 
Debra Frasier, book artist/writer/illustrator, b. 1953
On the Day You Were Born (back cover art), 1989 (published 1991)
Cut paper collage, canson papers, rubber cement
Artist (Minneapolis MN)
24" H x 18" W
 
Lenore Davis, textiles, lifedates
Mermaid Parade Float, ca. 1976
Cotton velvetine, wood, paint
Mobile Museum of Art (Mobile, AL)
20" H x 23" W
 
Edwina Bringle, textile, b. 1939
Succulents, 1998
Cotton cloth, textile paints, free-motion embroidery
Artist (Penland, NC)
27" H x 30" W (not including shallow shadow-box frame)
 
 
Expression: No Boundaries
 
Craft today has no boundaries as a vehicle for the expression of complex ideas. Gender, ethnicity, age and religion can be expressed through craft, but it is not constrained by them. Craft has no retirement age. Gender does not restrict practice: Women weld, men weave. Religious boundaries disappear when ethnicity is expressed and celebrated through craft, and craft can also be used for potent commentary on political issues and the human condition.
 
Elizabeth Brim, iron, b. 1951
Apron, 2003
Iron
Artist (Penland, NC)
40" H x 15" W x 4" D
 
William Brown, Jr., iron, b. 1955
Passions in Clay, 2001
Steel with acrylic enamels
Artist (Linville Falls, NC)
28" H x 15" W x 4 " Deep (weighs approximately 75 pounds)
 
Nick Cave, fiber, b. 1959
Sound Suit, 2002 [full body costume]
Fiber, mixed media
Artist (Chicago, IL)
6ft H x 3ft W x 2ft Deep
 
De la Torre brothers, glass-mixed media
Einar b. 1963; Jamex b. 1960
Christian Devil, 2001
Glass, mixed media
Private Collection
43 H x 21 W x 8 Deep
 
Arthur Gonzalez, clay - mixed media, b. 1954
Book of Whispers, 2002
Stoneware, underglaze, engobes, oil paint
Artist through John Elder gallery, New York City
30" H x 27" W x 15" D
 
Clarence Morgan, painting, b. 1950
Shift in Focus, 2000
Acrylic on canvas over panel
Artist (Minneapolis MN)
40" x 40"
 
Joyce Scott, textile/beads, b.1948
Spring, 2000
Glass beads, mixed media
MMCD 2001.44
 
Kenneth Kerslake, printmaking, b. 1930
Two Women Talking / Gap in Our Conversation, 1998
Drawing, graphite pencil on paper
Print, waterless litho printed from grained glass plates and digital transfer
Created and published by Harvey Littleton Studios, Spruce Pine, NC
Artist (Gainesville, FL)
32 x 25 and 24 x 18 (frame drawing together w/ altered print)
 
Walter Lieberman, glass, b. 1954
Nuestra Senora de Guadalupe, 1994
Glass, enamel
Private Collection
14" H x 12" W x 4" D
 
Brian Ransom, clay, b. 1954
Resonator, 2003
Clay, electronics
Artist (St. Petersburg, FL)
40" H x 12" D
 
Holly Roberts, photography/painting, b. 1953
Woman with Big Snake, 2001
Oil on silver print on canvas
Artist (Corrales, NM)
27" x 24"
 
Randy Shull, wood, b. 1962
South, 1992
Painted wood, mixed media
Brooklyn Museum of Art, 1994.206 (Brooklyn, NY)
84" H x 51" W x 18" D
 
Jerry Spagnoli, photograph, b. 1956
Untitled, 2002
Daguerreotype
Artist (New York City)
12 x 26 x 2
 
(2) Peter Gourfain, printmaking & clay, b. 1934
Powerful Days, 1991
Linoleum cut
Elvehjem Museum of Art, Madison WI, 2001.3
70" x 46" (image)
 
Peter Gourfain
Powerful Days, 1992-1993
Terracotta
Artist (Brooklyn, NY)
96" H x 22" W x 17" Deep
 
Alida Fish, photography, b. 1944
Walking with Pygmalion #5, 1998
Photograph, altered
Artist (Wilmington, DE)
11" H x 9"
 
Robert Trotman, wood, b. 1947
Louise, 1996
Wood
Smithsonian American Art Museum, Renwick Gallery (Washington, DC)
54" x 36" x 36"
 
Sergei Isupov, clay, b. 1963
To Run Away, 1999
Porcelain, slips
MMCD PG1999.75
8" H x 17" W x 7" Deep
 
Beverly McIver, painting, b. 1962
Dance with Me, 1999
Oil on canvas
Artist (Cambridge, MA)
40" x 30"
 
Gary Noffke, silver, b. 1943
Goblet, 1968
Silver
MMCD 1970.2
5 5/8" x 4"
 
Betty Oliver, paper, d. 2001
Large Rocking Chair, ca. 1980
Mixed media, string, pulp
Artist's Estate
44" H x 27" W x 40" Deep
 
Floss Perisho, textile/mixed media, 1909-2001
Corn-husk Dolls (3), 1958-1999
Mixed media
Private Collection
6" to 10" H (smallest won blue ribbon at NC State Fair, 1958)
 
Anonymous Penland metal worker
Pitcher, about 1935
Pewter
Southern Highland Craft Guild (Asheville, NC)
8 " H
 
Eileen Wallace, mixed media (book arts), b. 1968
Three Books, Japanese Bindings, 2003
Paper, silk, etc.
Artist (Chillicothee, OH)
5" H x 4" W x 1 "
 
John Pfahl, photography, b. 1939
Roan Mountain Lightning, Roan Mountain, North Carolina, 1977
Photograph, Ektacolor print
Artist (Buffalo, NY)
11" x 14"
 
Janet Taylor, fiber, b. 1941
Bullseye, 1970
Wool tapestry
Artist (Spruce Pine, NC)
8' H x 56" W x 56" deep
 
Tom Suomalainen, b. 1939
Man with Blinders I, c. 1975
Stoneware, hand-built, with underglaze slips
Private Collection
23" H x 8" W x 6 " Deep
 
Todd Walker, photography, 1917-1998
Sally, Abstract Orange, 1971
Serigraph
Estate of the Artist (Melanie Walker, daughter, Boulder, CO)
13" H x 9.5" (no frame)
 
Judy Jensen, glass, b. 1953
Blue Willow, 1996
Mixed media on glass
Artist (Austin, Texas)
25" H x 34 1/2" W
 
Kiesuke Mizuno, clay, b. 1969
Squirrel's Skull with Orchids, 2003
Porcelain, slip-cast and hand-built
Artist (St. Cloud, MN)
5" H x 12" W x 12" D
 
Thermon Statom, glass, b. 1953
La Figura Azul, 2001
Painted glass and found objects
Artist through Maurine Littleton (Washington, DC)
80" H x 23.5" x 5"
 
Daniel Essig, book arts, b. 1967
Book of Nails, 2002
Mahogany, paint, nails
Artist (Asheville, NC)
4" x 17" x 12" open (12" x 12" closed)
 
 
Penland School of Crafts: A Community of Making
 
During its seventy-five year history, Penland School of Crafts has developed its own culture, expressed in unique objects and rituals. Teachers, students, staff members, and artists living in the area are bound together in a community of craft characterized by sharing skills, sources, and ideas.
 
Dan Bailey, photography, b. 1952
Penland Target, 1983
Photograph (time lapse)
Artist (Glyndon, MD)
Approximately 30" x 40"
 
Oscar Bailey, photography, b. 1925
(2) Panoramas of Penland, 1971 & 1979
Photographs
Artist (Burnsville, NC)
1971: 8 " H x 45 " W (group portrait behind Lily Loom House)
1979: 8" H x 39" L (50th Anniversary group portrait in front of Pines)
 
Oscar Bailey, photography, b. 1925
Penland Iron Studio, 1982
Photograph
Artist (Burnsville, NC)
10" H x 36" W
 
Iron Studio Class Project; instructors: Japh Howard & Alice James
Iron Studio Gate, 2000
Iron/Steel
Penland School (Penland, NC)
115" H x 142" W
 
Fishman, Jacob, neon, b. date
Penland, 1993
Neon, electrical connections
Penland School (Penland, NC)
30" H x 60" W
 
Bea Nettles, photography, b. 1946
Mountain Dream Tarot, 1970/75 (2001 edition)
Photographic cards
Penland School (Penland, NC)
Cards 5 3/16" x 3 3/8"; box 5 3/8" x 3 7/8" x 1"
 
Wood Shop Class Project; instructor: Craig Nutt
Table, 1998
Wood, paint
Penland School (Penland, NC)
38 " H x 67" W x 21" Deep
 
Kathy King, clay, b. 1968
Inside a Penland Student's Stomach, 1998
Stoneware
Private Collection
5 " H x 10" W x 4" Deep
 
Easter eggs, various years, 1990s
Mixed media
Private Collections in and around Penland, NC
Various sizes (small)
 
Iron studio artists
Iron Croquet Set, 1978
Iron
Penland School Archives
Various sizes
 
Richard Margolis, photography, b. 1943
Swing Bridge, 1994
Photograph
Artist (Rochester, NY)
30" x 24" (framed, 37" x 30")
 
Paulus Berensohn, potter and author, b. 1933
Book: Finding One's Way With Clay, 1972
Pinch Pot: 11" H x 7" W
Private Collection
 
 
Editor's note: For privacy, names and addresses of Private Collection sources are removed from the above text.

rev. 7/1/04

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