2021 Summer Course Catalog by Ox-Bow School of Art & Artists' Residency

O X - B O W S C H O O L O F A R T & A R T I S T S ' R E S I D E N C Y

S U M M E R 2 0 2 1 C O U R S E C ATA L O G

C O N TA C T U S OX-BOW @ SAIC.EDU

FOLLOW UP IG : @ OXBOW SCHOOLOFART FIND US 3 4 35 RU P P REC H T W AY

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S AUG AT UCK , MI 49453

COVER ART BY Melissa Leandro Poppy Mallow ; Jacquard weaving, dye, embroidery; 30 x 25 in. (76.2 x 63.5 cm); 2020 Photo courtesy of the artist.

PROUDLY AFFILIATED WITH THE SCHOOL OF THE ART INSTITUTE OF CHICAGO, A MAJOR SPONSOR OF OX-BOW

SAIC PG. 8

3 L E T T E R

FROM OUR

MICHIGAN ARTISTS PG. 14

DIRECTOR

6 B R E A K

DOWN OF

SUMMER

10 3 - W E E K

INTENSIVE

12 S A I C

R E G I S T R AT I O N & A P P L I C AT I O N S

16 2 - W E E K

COURSES

46 F A C U LT Y

& VISITING ARTIST BIOS

NON-CREDIT PG. 16

ONLINE PG. 38

S U M M E R 2 0 2 1 C O U R S E C ATA L O G

COURSE OFFERINGS PG. 4

O X - B O W S C H O O L O F A R T & A R T I S T S ' R E S I D E N C Y

TA B L E O F CONTENTS

THE TEAM ADMINISTRATIVE STAFF Shannon R. Stratton Executive Director Claire Arctander Campus Director Laura Eberstein Director of Finance & Administration Ashley Freeby Communications Manager & Head Designer Molly Markow Executive Assistant

MISSION & OVERVIEW

Ciera Mckissick

Ox-Bow connects artists to: •• A network of creative resources, people, and ideas •• An energizing natural environment

Communications Associate Rebecca Parker

•• A rich artistic history and vital future

Senior Director of Academic Programs

OX-BOW SCHOOL OF ART & ARTISTS’ RESIDENCY was established in 1910 and continues its mission of connecting artists to a network of creative resources, people, and

Maddie Reyna Assistant Director of Academic Programs

CAMPUS & SEASONAL STAFF Erin Chapla

ideas; an energizing natural environment; and a rich

Head Chef

artistic history and vital future. Ox-Bow’s egalitarian and

Nate Large

intimate environment encourages all artists, regardless

Sous Chef

of experience, to find, amplify, rediscover, and share their

Chefs

impulse to create. Faculty, Visiting Artists, Residents, staff,

Mary Clemens, Emory Hall,

and students live together in a temporary intentional community on our campus in Saugatuck, Michigan, where they share meals, social time, and the exchange of ideas. We actively encourage our participants to engage across differences in age, regional location, race, and gender identity, learning what it means to be a community by participating in one.

TJ Mathieu & Billy-Marie Peña John Rossi Facilities Manager Aaron Cook Operations Manager Mac Akin Campus Manager Michael Cuadrado Housekeeping Manager

Devin Balara Metals Studio Manager

Dove Drury Hornbuckle Ceramics Studio Manager Bobby Gonzales Print & New Media Studio Manager Connor O’Brien

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Glass Teaching Assistant

PROUDLY AFFILIATED WITH THE SCHOOL OF THE ART INSTITUTE OF CHICAGO, A MAJOR SPONSOR OF OX-BOW

Lucy Gillis Glass Studio Assistant Danielle Thurber-DeGroot Campus Wellness Counselor

Historically, artists have come to OxBow to take summer classes in studio art—and after a week or two spent living, working, and eating together in a setting replete with meadow, lagoon, and woods, they leave feeling part of a new community. Some talk about the magic of Ox-Bow, about feeling transformed, while others talk about the bonds they created here, about the friendships that blossomed over dinner and dance parties while immersed in their creative lives.

experimentation, and fellowship add up to transformation and renewal.

Like many schools in 2020, Ox-Bow had to cease its summer and winter classes and recalibrate its approach to living and learning in community. This break from in-person learning gave us the opportunity to reflect on the ingredients that make the Ox-Bow experience one that so many describe as “life-changing,” and to build on those ingredients to create an all-new immersive, multidisciplinary learning encounter.

We are hopeful that when people return to gathering—when warmer temperatures make the possibility of fellowship viable once again— this will be a time to work, talk, and repair together, and to stoke the transformative ideas that will carry makers and thinkers into the future with compassion, hope, and vibrancy.

In 2021, to mitigate risks to our staff and students, we have reduced our summer population by over half and introduced a new three-week intensive model. We believe this more intimate experience will allow for the type of authentic, interdisciplinary community that Ox-Bow thrives at making: one where deep learning, collaboration,

While 2020 challenged people across the globe, it was also a year that shattered entrenched systems, making room for the possibility of change. It forced all of us in our communities, both intimately and broadly, to reckon more deeply with the realities of privilege and disparity, and what care is and is capable of in the face of exceptional constraint.

On behalf of all of us at Ox-Bow School of Art & Artists’ Residency, we look forward to hosting you. With care,

Shannon R. Stratton Executive Director

SUMMER 2021

Dear Artist,

3 O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

A NOTE FROM OUR DIRECTOR...

COURSE OFFERINGS HOW CAN I TAKE A CLASS IN SUMMER 2021?

ONLINE Are available for those who want the Ox-Bow experience at home!

NON-CREDIT You can take in-person or online courses during session 3 or 5.

IN-PERSON

WHERE DO YOU GO TO SCHOOL?

NO SCHOOL AFFLIATION PARTNER SCHOOL

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You can take in-person courses during session 1 , 3, or 5.

SCHOOL OF THE ART INSITITUTE OF CHICAGO You can take in-person courses during session 2 or 4 for our 3-week intensive or session 3 for 2-week courses or session 5 for a 1-week course.

knit community, one that is both rigorous and generous, experimental, and supportive,

SUMMER 2021

At its core, Ox-Bow creates space for a close-

freeing up artists to take risks and engage in conversations that are impactful to their work. Over the last year, we’ve spent much time reflecting on the ways we continually learn

and grow as an organization, pinpointing those place as “life-changing,” and cultivating a more intentional approach to bringing people together on campus. This summer, we are embracing intimate learning communities on campus by hosting small groups of artists for in-person experiences. These smaller sessions allow us to explore new models, to provide dedicated weeks to particular audiences, and to be present with one another in a way that so many of us have been missing. We are excited to invite you to embrace this new season along with us. Use the flowchart to the left to beginning finding your path.

O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

aspects that make some artists describe the

COURSE CA LE N DA R

SESSION N O.

M AY 12 –18

M AY 24 -JUNE 14

1 -W E E K C O U R S E S

3 -W E E K I N T E N S I V E

PLEIN AIR PLUS Josh Dihle PAINTING 659 001

EXPLODING PA I N T : FIELDWORK Claire Ashley PAINTING 650 001

F E E LI N G S H A P E Y: MOVEM E NT & AB STR ACTION IN C O NTE M P O R A RY PA I N T I N G Alberto Aguilar & Alex Bradley Cohen PAINTING 660 001

FLOR A , FAU NA , FIGU RE & NARR ATIVE Salvador Jiménez-Flores & Casey Elizabeth Weldon CER 651 001

BEGINNING GLASS BLOWING Megan Biddle GLASS 630 001

CER A MICS & RITUAL Anna Mayer CER 636 001

MONOTYPE Aay Preston Myint PRINT 609 001

BL ACK IN THE WOODS: REPRESENTATION & THE PASTOR AL Ayanah Moor & Krista Franklin PRINT 652 001

THE FUTURE IS NOW: THE ANTHROPOCENE Jeremy Bolen PHOTO 612 001

DIMENSIONAL COLL AGE Annalee Koehn PAINTING 653 001

HARD LINES: D R AW I N G WITH STEEL Devin Balara & Abigail Lucien SCULP 663 001

GHOST IN TH E M ACH I N E Sarah Belknap & Joseph Belknap PHOTO 611 001

V I S ITI N G A R TI S T S

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WILLIAM J. O’BRIEN

LESLIE WILSON

DARIO ROBLETO

CHRISTINE WONG YAP

O N LI N E COURSES Photo courtesy of the artist (x10)

JUNE 18 -JULY 2

JULY 2 7- AU GU S T 17

AU GU S T 2 3 -2 9

2 -W E E K C O U R S E S

3 -W E E K I N T E N S I V E

1 -W E E K C O U R S E S

M U LT I - L E V E L PA I N T I N G : F O R M , PROCESS AND MEANING with Stevie Cisneros Hanley PAINTING 605 001

COLOR & L ANDSCAPE Jo Hormuth PAINTING 661 001

FA S T PA I N T I N G Arnold Kemp PAINTING 663 001

ENCAUSTIC & MATERIALITY IN CONTEMPORARY PAINTING Kristy Deetz PAINTING 654 001

BEGINNING GLASSBLOWING Victoria Ahmadizadeh Melendez GLASS 630 001

JOINERY: SCULPTURAL COLLABORATIONS Ato Ribeiro SCULP 670 001

R E M I X : C L AY & P R I N T Thomas Lucas CER 646 001

MULTILEVEL GL ASSBLOWING: WORKING HOT & TAKING CHANCES Ekin Deniz Aytac & Joshua Davids GLASS 641 001

S P E C U L AT I V E W O R L D S : SCREENPRINT AS INTERVENTION Corinne Teed & Erik Ruin PRINT 659 001

W E T- P L AT E PHOTOGR APHY Jaclyn Silverman PHOTO 613 001

P R I N T M A K E R S PAC E Danny Miller & Kristina Paabus PRINT 662 001

PA P E R M A K I N G STU D I O Andrea Peterson PAPER 604 001

V I R TUA L A R TI FACT S : MOLDMAKING, HYDROPRINTING, S C R E E N S PAC E OBJECTS Christopher Meerdo SCULP 662 001

HAND TO THREAD: I M P R OV I S AT I O N A L PAT C H W O R K & E M B R O I D E RY Melissa Leandro FIBER 623 001

B L ACKSM ITH I NG : SCULPTURAL FORMS Jessee Rose Crane SCULP 672 001

BEYOND BORDERS: THE THIRD DIMENSION IN PRINT & BOOKBINDING Jeanine Coupe Ryding & Myungah Hyon PRINT 658 001

NORA MAITE NIEVES

ILANA HARRISBABOU

JUN E 6 -19

EMMY BRIGHT

JENNIFER DATCHUK

JUNE 2 0 – JULY 3

ANTHEA BLACK

ERICA CARDWELL

JULY 11– 24

LE A R N M O R E A B O UT FAC UT Y & V I S ITI N G A R TI ST S O N PAG E S 3 8 - 4 5

SUMMER 2021

7 O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

SAIC COURSE OFFERINGS 3-W EEK SESSION* Session 2: May 24 – June 14, 2021 Session 4: July 27 – August 17, 2021 * Students must enroll in the entire three-week session. 2- WEEK SESSION Session 3: June 18 – July 2, 2021 1- W E E K S E S S I O N Session 5 : August 23 – August 29 ONLINE June 6-19, 2021 June 20 - July 3, 2021 July 11-24, 2021

In summer 2021, Ox-Bow is dedicating four sessions to in-person classes for students from the School of the Art Institute of Chicago. As part of this new, deeper experience of Ox-Bow, we invite students to live on campus for three weeks and participate in an intimate and fluid interdisciplinary learning environment that spans studios and concepts. Alternatively, if you are interested in focusing on one course for a shorter period of time, consider our one- or two-week session. For those unable to attend in person, check out our selection of online programs. Due to COVID-19, we will continue to limit the number of participants for our in-person classes. Please

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consider which option would work best for you. If you have any questions, feel free to reach out to us.

IS I T IN-P ERSON ?

Y ES !

HOW DOES I T WOR K ?

You take 3 courses over 3 weeks to earn 6 credits.

HOW DO I PICK CL A S SES ? First, identify your session dates from the boxes below or M ay 24 -June 14

Now, identify your courses from the list below

W EEK 1 (SE S SION 2) ** PICK 1 FROM THIS LIST • EXPLODING PAINT: FIELDWORK • BEGINNING GLASSBLOWING • BLACK IN THE WOODS: REPRESENTATION & THE PASTORAL • HARD LINES: DRAWING WITH STEEL

W EEK 2- 3 (SES SION 2) ** PICK 2 FROM THIS LIST

Jul y 28 -A ug u s t 17

Now, identify your courses from the list below

W EEK 1 ( SES SION 4) ** PICK 1 FROM THIS LIST

• FEELING SHAPEY: MOVEMENT & ABSTRACTION IN CONTEMPORARY PAINTING

• COLOR & LANDSCAPE

• CERAMICS & RITUAL

• WET-PLATE PHOTOGRAPHY

• THE FUTURE IS NOW: THE ANTHROPOCENE

• HAND TO THREAD: IMPROVISATIONAL PATCHWORK & EMBROIDERY

• GHOST IN THE MACHINE

• JOINERY: SCULPTURAL COLLABORATIONS

W EEK 2- 3 ( SES SION 4) ** PICK 2 FROM THIS LIST • FAST PAINTING • REMIX: CLAY & PRINT • PRINT MAKERSPACE • BLACKSMITHING: SCULPTURAL FORMS

SUMMER 2021

INTERESTED? Great, you can use the chart below to help understand how to pick your courses

9 O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

INTERESTED IN THE 3-WEEK INTENSIVE?

3-WEEK INTENSIVE

3-WEEK INTENSIVE OVERVIEW 3-week core class interdisciplinar y intensive. For-credit only ( 6 credits) During our three-week sessions, students will take three classes for a total of six credits. Students will take one class in the first week of the program and two in the second and third week, alternating between studios. This model is intended to provide a more fluid way of working across studios and conceptual ideas over a longer period. With a small group of students and faculty, this experience of Ox-Bow centers around moments of deep learning, collaboration, and experimentation. In addition to the in-person classes students will start the program with an online component where they will collectively think about interdisciplinary learning and learn about Ox-Bow as they prepare for their visit. Each week on campus a new visiting artist will share their work and conduct studio visits open to anyone on campus.

A PP LY

These sessions are application based. Students must apply and be accepted into the program. Find out more about the application process and fees on page 12.

Photos by Kory Kearney (x3)

CA L ENDA R OF COURSES

M AY 2 4 – J U N E 1 4 , 2 0 2 1

J U LY 2 7–AU G U S T 1 7, 2 0 2 1

1ST WEEK

2ND & 3RD WEEK

F E E LI N G S H A P E Y: MOVEM E NT & AB STR ACTION IN C O NTE M P O R A RY PA I N T I N G Alberto Aguilar & Alex Bradley Cohen PAINTING 660 001

EXPLODING PA I N T : FIELDWORK Claire Ashley PAINTING 650 001

BEGINNING GLASS BLOWING Megan Biddle GLASS 630 001

CERAMICS & RITUAL Anna Mayer CERAMICS 636 001

BL ACK IN THE WOODS: REPRESENTATION & THE PASTOR AL Ayanah Moor & Krista Franklin PRINT 652 001

THE FUTURE IS NOW: THE ANTHROPOCENE Jeremy Bolen PHOTO 612 001

HARD LINES: D R AW I N G WITH STEEL Devin Balara & Abigail Lucien SCULP 663 001

GHOST IN TH E M ACH IN E Sarah Belknap & Joseph Belknap PHOTO 611 001

VISITING ARTISTS

LESLIE WILSON

DARIO ROBLETO

1ST WEEK

2ND & 3RD WEEK

COLOR & L ANDSCAPE Jo Hormuth PAINTING 661 001

FA S T PA I N T I N G Arnold Kemp PAINTING 663 001

JOINERY: SCULPTURAL COLLABORATIONS Ato Ribeiro SCULP 670 001

R E M I X : C L AY & PRINT Thomas Lucas CERAMICS 646 001

WET-PLATE PHOTOGRAPHY Jaclyn Silverman PHOTO 613 001

PRINT M A K E R S PAC E Danny Miller & Kristina Paabus PRINT 662 001

HAND TO THREAD: I M P R OV I S AT I O N A L PAT C H W O R K & E M B R O I D E RY Melissa Leandro FIBER 623 001

B L AC K S M I T H I N G : SCULPTUR AL FORMS Jessee Rose Crane SCULPTURE 672 001

VISITING ARTISTS

CHRISTINE WONG YAP

EMMY BRIGHT

JENNIFER DATCHUK

ANTHEA BLACK

* Students must enroll in the entire three-week session.

EX A MPLES:

SESSION 4 > HAND TO THREAD (WEEK 1) + BLACKSMITHING & FAST PAINTING (WEEK 2&3) SESSION 2 > BLACK IN THE WOODS (WEEK 1) + THE FUTURE IS NOW & CERAMICS & RITUAL (WEEKS 2&3)

Photo courtesy of the artist (x6)

LE A R N M O R E A B O UT V I S ITI N G A R TI ST S O N PAG E S 3 8 - 4 5

SUMMER 2021

SESSION 4

Fo cu s e d o n cr af t- an d p r o c e s s - b a s e d l e ar nin g

11 O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

SESSION 2

Fo cu s e d o n a c o n c ep t u al f r am e w o r k o f m ak in g

R E G I S T R AT I O N , FUNDING & TUITION ONE-W EEK , T WO -W EEK & O N L I N E S E S S I O N R E G I S T R AT I O N

THR EE-W EEK SESSION A P P L I C AT I O N

Students can register for these classes at any time. Classes are available on a first-come, first served basis until full.

the three-week interdisciplinary session

The scholarship deadline is Monday, March 22, 2021, at 10 a.m. EST (9 a.m. CST). Open Summer Registration starts Monday, March 29, 2021, at 9:30 a.m. EST (8:30 a.m. CST). Registration will remain open until classes are full.

Students must apply to be accepted into (all classes in this session must be taken for credit). Ox-Bow tuition is the same as SAIC tuition; the additional costs are room and board, lab fees and a COVID fee.All participants who are accepted into the program will receive Ox-Bow funding to attend. Students may also be able to use their financial aid award from SAIC toward degree

TUITION & FEES

credit tuition for courses.

PROGRAM

Undergraduate

Graduate

TUITION

$1,740 per credit hour

$1,798 per credit hour

ROOM & BOARD (PER WEEK)

$805 per week

COVID FEE*

$125

TOTAL COSTS FOR ONE-WEEK

$3,540 + lab fees**

$3,627 + lab fees**

TOTAL COSTS FOR TWO-WEEKS

$6,995 + lab fees**

$7,129 + lab fees**

TOTAL COSTS FOR 2-WEEK ONLINE

$5,220

$5,394

The scholarship deadline is Monday, March 22, 2021, at 10 a.m. EST (9 a.m. CST).

APPLY TO THE 3-WEEK INTENSIVE

Online courses coming soon *COVID FEE: For 2021 we have added a COVID fee to our residential rates to cover the new costs incurred by COVID mitigation,

All accepted students will be notified by Friday, March 26th.

THR EE-W EEK SESSION TUITION & FUNDING PROGRAM

Undergrad

Graduate

TUITION (6 CREDITS)

$10,440 ($1,740 per credit hour)

$10,780 ($1,798 per credit hour)

ROOM & BOARD (3 WEEKS)

$2,415 ($805 per week)

LAB FEE

$250

COVID FEE

$125

OX-BOW FUNDING AWARD

–$1,900

TOTAL AFTER OX-BOW FUNDING

$11,330

$11 ,670

including but not limited to: increased support staff, regular testing for staff, and faculty, and increased materials and supplies costs necessary to make our campus safer. **LAB FEES are only associated with in-person classes and are listed with course descriptions. They cover essential class materials supplied by Ox-Bow, including fuel costs (if applicable), and the cost of maintaining the studios. Please note that students may incur other material costs, depending on the scale and scope of

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their projects. All fees are due at the time of registration. SCHOLARSHIPS: Ox-Bow merit scholarships are available for one-, two-week, and online core courses. Awards are typically partial.

APPLY FOR SCHOLARSHIPS HERE

Undergraduate and graduate students from the School of the Art Institute of Chicago may be able to use their financial aid award from SAIC toward degree credit tuition for courses at Ox-Bow. Applicants, including those applying solely for a merit scholarship, will need to complete an SAIC Summer 2021 Institutional Financial Aid Application, available at www. saic.edu/faforms. Applications must be submitted before the term begins. Please contact the SAIC Student Financial Services office or refer to the application for the exact deadline. Financial aid typically does not cover room and board or lab fees at Ox-Bow. To learn more about applying, contact the SAIC Student Financial Services office at (312) 629-6600 or saic.sfs@saic.edu.

DROP & REFUND POLICY Refunds can only be granted if drop requests are made three weeks prior to the beginning of class. In the event that Ox-Bow must cancel a course due to low enrollment or for any other

Due to our COVID community guidelines all participants must

the start date of your class,

SUMMER 2021

reason, full refunds will be given.

no refunds will be given. •• Drops due to an

be tested for COVID-19 72 hours

unforeseen emergency (i.e.

prior to coming to campus. If any

hospitalization, etc.) are

participant tests positive they

eligible to be contested

will not be able to attend and

through the School of the

therefore will be fully refunded

Art Institute of Chicago’s

with no associated drop fees

Refund Review Board.

(written notification and proof of

Documentation is required

test results will be required).

and refunds are typically

partial. To drop a course, students must submit the request in writing to

Please contact Ox-Bow at ox-

Ox-Bow by emailing ox-bow@

bow@saic.edu or for the drop

saic.edu. Simply not attending

and refund review forms and

does not constitute a drop.

information.

Additionally, it is not possible to drop an Ox-Bow course through SAIC Self-Service or through the SAIC Registrar.

P AY M E N T F O R CREDIT COURSES For students of the School of

The following drop fees will

the Art Institute of Chicago,

be assessed dependent on

all fees will be billed through

when you drop your course

SAIC. Checks and money orders

(scholarships cannot be used to

should be made payable to the

cover drop fees):

School of the Art Institute of

•• From the first day of

Chicago. Credit card payments

registration until 4:30 PM on

should be made through SAIC’s

Friday, April 16, 2021 you will

payment service, CASHNet.

receive a full refund minus a $100 drop fee. •• If you drop after April 16 until

Students who are taking courses for credit but are not affiliated

3 weeks prior to your first day

with the School of the Art

of class, you will receive a full

Institute of Chicago will receive

refund minus $500 drop fee

payment processing instructions

and any associated lab fees.

at the time of registration.

•• If you drop within 3 weeks of

O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

SAIC FINANCIAL AID

MICHIGAN ARTIST COURSE OFFERINGS 1- W E E K SESSION S ession 1: M ay 12–18 2- WEEK SESSION S ession 3: June 18 – July 2 1- W E E K SESSION Session 5 : August 23 – August 29 ONLINE June 6-19 June 20 - July 3 July 11-24

This summer presents three opportunities for Michigan students to enroll in core classes at Ox-Bow. The first week of programming will bring

We are excited to expand our partnerships with schools across Michigan this year. We will collaborate directly with each partner school to identify students who might benefit from attending Ox-Bow, in addition to working with you on funding.

R E G I S T R AT I O N Monday, March 29, 2021 – Open Summer Registration starts at 9:30 a.m. EST (8:30 a.m. CST) online

TUITION & FEES TUITION (1 WEEK)

$900 ROOM & BOARD (1 WEEK)

$805

together artists from

COVID FEE $125

partner schools from

TOTAL COSTS FOR 1 WEEK

all across Michigan, as well as other artists from Michigan who are not currently in academic programs. Session 3 and 5 are open to all artists, regardless of regional or academic affiliation.

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MICHIGAN PA R T NER SCHOOLS

$1,830 + lab fees TOTAL COSTS FOR 2 WEEKS

$3,535 + lab fees

SCHOL ARSHIPS Scholarship funding is available to Michigan artists. The scholarship deadline is Monday, March 22, 2021, at 10 a.m. EST (9 a.m. CST). For those students attending through their schools, funding will be coordinated with your school.

APPLY FOR SCHOLARSHIPS HERE

M AY 12 –18

JUNE 18 -JULY 2

AU GU S T 2 3 -2 9

1 -W E E K C O U R S E S

2 -W E E K C O U R S E S

1 -W E E K C O U R S E S

PLEIN AIR PLUS Josh Dihle PAINTING 659 001

M U LT I - L E V E L PA I N T I N G : F O R M , P R O C E S S AND MEANING with Stevie Cisneros Hanley PAINTING 605 001

ENCAUSTIC & MATERIALITY IN CONTEMPORARY PAINTING Kristy Deetz PAINTING 654 001

FLOR A , FAU NA , FIGU RE & NARR ATIVE Salvador Jiménez-Flores & Casey Elizabeth Weldon CER 651 001

BEGINNING GLASSBLOWING Victoria Ahmadizadeh Melendez GLASS 630 001

MULTILEVEL GL ASSBLOWING: WORKING HOT & TAKING CHANCES Ekin Deniz Aytac & Joshua Davids GLASS 641 001

MONOTYPE Aay Preston Myint PRINT 609 001

S P E C U L AT I V E W O R L D S : SCREENPRINT AS INTERVENTION Corinne Teed & Erik Ruin PRINT 659 001

PA P E R M A K I N G STU D I O Andrea Peterson PAPER 604 001

DIMENSIONAL COLL AGE Annalee Koehn PAINTING 653 001

V I R TUA L A R TI FACT S : MOLDMAKING, HYDROPRINTING, S C R E E N S PAC E O B J E C T S Christopher Meerdo SCULP 662 001

BEYOND BORDERS: THE THIRD DIMENSION IN PRINT & BOOKBINDING Jeanine Coupe Ryding & Myungah Hyon PRINT 658 001

WILLIAM J. O’BRIEN

NORA MAITE NIEVES

ILANA HARRISBABOU

SUMMER 2021

ERICA CARDWELL

O N LI N E C O U R S E S* JUN E 6 -19

JUNE 2 0 – JULY 3

JULY 11– 24

* T U R N TO PAG E 3 8 F O R M O R E I N F O M AT I O N

Photo courtesy of the artist (x4)

LE A R N M O R E A B O UT V I S ITI N G A R TI ST S O N PAG E S 3 8 - 4 5

O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

NON-CREDIT COURSE OFFERINGS 2-WEEK COURSES Session 3: Friday, June 18–Friday, July 2

This summer, we will have in-person sessions

1-WEEK COURSES Session 5: Monday, August 23–Friday, August 29

of Chicago and partner schools together with

open to non-credit students. These sessions will bring artists from the School of the Art Institute artists not enrolled in academic programs. Please note that each of these sessions will have very limited availability, as there will be

ONLINE June 6-19, 2021 June 20 - July 3, 2021 July 11-24, 2021

campus each week.

PA R T NER SCHOOL S

TUITION & FEES

We are excited to expand our

Tuition (1 week).............. $900

partnerships with schools across the country. For each partner school, we will collaborate with you directly

Room & Board (1 week)............................... $805

P AY M E N T F O R NON-CREDIT (AUDIT) COURSES Full payment of all tuition, fees, and room and board is required at the

COVID Fee........................ $125

time of registration. Payment for

identifying students who might

Total Costs...................... $1,830

non-credit courses may be made by

benefit from attending Ox-Bow,

................................................ + lab fees

credit card, check, or money order.

in addition to working with you on

TUITION (2 WEEKS)

Ox-Bow accepts Visa, Mastercard,

funding.

Tuition (2 week)...........$1,800

R E G I S T R AT I O N

Room and board

to determine the best process for

Monday, March 29, 2021 – Open

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a maximum number of students allowed on

Summer Registration starts at 9:30 a.m. EST (8:30 a.m. CST) online

(2 weeks)....................... $1,610

American Express, and Discover. Checks and money orders should be made payable to Ox-Bow.

COVID fee .................... $125 Total costs: .................$3,535 ................................................ + lab fees **Scholarship available

APPLY FOR SCHOLARSHIPS HERE

JUNE 18 -JULY 2

AU GU S T 2 3 -2 7

2 -W E E K C O U R S E S

1 -W E E K C O U R S E S

M U LT I - L E V E L PA I N T I N G : F O R M , PROCESS AND MEANING with Stevie Cisneros Hanley PAINTING 605 001

ENCAUSTIC & MATERIALITY IN CONTEMPORARY PAINTING Kristy Deetz PAINTING 654 001

BEGINNING GLASSBLOWING Victoria Ahmadizadeh Melendez GLASS 630 001

MULTILEVEL GL ASSBLOWING: WORKING HOT & TAKING CHANCES Ekin Deniz Aytac & Joshua Davids GLASS 641 001

There are so many reasons why I keep coming back but some of the main reasons are getting to be in a natural environment every

S P E C U L AT I V E W O R L D S : SCREENPRINT AS INTERVENTION Corinne Teed & Erik Ruin PRINT 659 001

PA P E R M A K I N G STU D I O Andrea Peterson PAPER 604 001

single day, constantly meeting new people who ready to learn and make art, losing track of time and never being in a hurry. Ox-Bow is its own world, once you arrive you completely lose track of The food is amazing, the

BEYOND BORDERS: THE THIRD DIMENSION IN PRINT & BOOKBINDING Jeanine Coupe Ryding & Myungah Hyon PRINT 658 001

community is welcoming and whether I am taking a class or teaching one I always feel so sad when it’s time to go. You spend so much time with the students and staff, you become like a tight knit community. - Melissa Leandro

NORA MAITE NIEVES

ILANA HARRISBABOU

ERICA CARDWELL

O N LI N E C O U R S E S* JUN E 6 -19

JUNE 2 0 – JULY 3

JULY 11– 24

* T U R N TO PAG E 3 8 F O R M O R E I N F O M AT I O N

Photo courtesy of the artist (x3)

are happy to be there,

time and the outside world. V I R TUA L A R TI FACT S : MOLDMAKING, HYDROPRINTING, S C R E E N S PAC E OBJECTS Christopher Meerdo SCULP 662 001

SUMMER 2021

LE A R N M O R E A B O UT V I S ITI N G A R TI ST S O N PAG E S 3 8 - 4 5

O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

S E S S I O N 1 : 1- W E E K C O U R S E S

C O U R S E D E S C R I P T I O N S : S ES S I O N 1 F L O R A , FA U N A , FIGURE & N A R R AT I V E

rary approaches to painting surface.

imagery, function, utility, and content

Students will develop outdoor observa-

building. Students will employ traditional

tional painting skills that can be brought

materials and tools such as bristol board,

back to the studio and worked over

X-Acto knives, scissors, tape and glue,

with an expanded vocabulary of mark

and a stockpile of colored papers, found

making and materiality. Taken together,

images, and other printed materials. Stu-

the strategies introduced in this course

dents will come away with a collection of

will bind close looking and immersion in

meaningful objects that incorporate their

This class engages with the form and

the natural environment with the inward

personal vision and an expanded visual

content of flora and fauna through

gaze and reactivity of the studio. We will

vocabulary.

figurative ceramics. Throughout history,

look closely at the work of Thornton Dial,

artists have used plant and animal life

Jay DeFeo, Gina Beavers, Chris Martin,

as tools for narrative and as modes of

Rashid Johnson, Charles Burchfield, and

expression to represent the conflicts

Lois Dodd. We will also broadly survey

and connections between living things.

Northern European medieval reliquary

From mythical narratives to hyperrealist

techniques and make use of recent

practices, representations of plant and

advances in painting materials. Students

animal life can create possibilities for

will produce five paintings that start

new stories, meanings, and identities.

outdoors and are completed in studio.

Students will employ various hand-build-

Students will also maintain a dedicated

ing methods, basic surface application,

sketchbook/scrapbook.

Instructor: Salvador Jiménez-Flores & Casey Elizabeth Weldon CER 651 001 | 1 week | Lab Fee: $75

and assemblage to explore their interest in culture, storytelling, and self-identity. Works by artists including Kiki Smith, Marcus Kenney, Firelei Baéz, and Alessandro Gallo will act as points of departure for our work. Through demonstrations, slides, in-class activities, readings, and group discussions, this course will provide a productive and critical space for making. Class conversations will focus on the content and context of student work.

PLEIN AIR PLUS Instructor: Josh Dihle

DIMENSIONAL C O L L AG E Instructor: Annalee Koehn

PAINTING 653 001 | 1 week | Lab Fee: $50

MONOTYPE

Instructor: Aay Preston-Myint PRINT 609 001 | 1 week | Lab Fee: $50 Monotype is a versatile, hybrid process that combines the reproducible technology of printmaking with chance operations and improvisation. This course will present several oil- and water-based monotype techniques grounded in drawn, painted, and photographic image transfers, as well as relief and collage. Through fast-paced, generative, and experimental printmaking in the landscape and in the studio, students will explore how monotype techniques can challenge

This class combines traditional col-

the typically strict qualities and defini-

lage concepts and paper construction

tions of the print medium.

styles to explore a structural approach to image and form using found imagery and materials. Whether deliberate or makeshift, there is a body of artist collage that references the world of 3D objects such as paper toys, games, and

PAINTING 659 001 | 1 week

packaging. Informed by the tradition of collage and assemblage work by artists

This course leapfrogs impressionist

including Eileen Agar, Romare Bearden,

landscape painting by adding tech-

Joseph Cornell, Hannah Höch, Claes Old-

niques and influences garnered from

enburg, Pablo Picasso, Betye Saar, and

folk artists of the American South,

Kurt Schwitters, this class will explore and

medieval reliquary art, and contempo-

expand the possibilities of 3D structural

PAG E 1 8

It’s a magical place and the convergence of great people and ideas. Although there are recurring events and traditions that take place at Oxbow, every time I go back the experience is uniquely its own. Always memorable.” - Alberto Aguilar

LE A R N M O R E A B O UT TH E FAC U LT Y O N PAG E S 3 8 - 4 5

SUMMER 2021 (clockwise from top left) Aay Preston-Myint, Untitled (Smoke), 2020, Screenprint on paper, 38” x 50” Casey Elizabeth Weldon, Sunset Sisters, 2020, 5’x 3.5’

Photo courtesy of the artist (x5)

Josh Dihle, Detail of Tasters, 2019, walnut, 66” x 50” x 2.5” Salvador JiménezFlores, El árbol del medio ambiente en la villita / The Environmental Tree of Little Village, 2020, Instal-

lation, terracotta, stains, metallic glaze, gold, copper, and pearl lusters Annalee Koehn, No.13, 2012, Fabric and mixed media collage

O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

SESSION 2 : 3-WEEK INTENSIVE

SESSION 2 (3 - W E E K I N T E N S I V E )

MAY 24–JUNE 14, 2021 FOCUSED ON A C O N C E P T UA L F R A M E WO R K O F MAKING

C A L END A R O F C O UR SE S F O R SE S SI O N 2

PAG E 20

1ST WEEK

2ND & 3RD WEEK

EXPLODING PA I N T : FIELDWORK Claire Ashley PAINTING 650 001

F E E LI N G S H A P E Y: MOVEM E NT & AB STR ACTION IN C O NTE M P O R A RY PA I N T I N G Alberto Aguilar & Alex Bradley Cohen PAINTING 660 001

BEGINNING GLASS BLOWING Megan Biddle GLASS 630 001

CERAMICS & RITUAL Anna Mayer CER 636 001

BL ACK IN THE WOODS: REPRESENTATION & THE PASTOR AL Ayanah Moor & Krista Franklin PRINT 652 001

THE FUTURE IS NOW: THE ANTHROPOCENE Jeremy Bolen PHOTO 612 001

HARD LINES: D R AW I N G WITH STEEL Devin Balara & Abigail Lucien SCULP 663 001

GHOST IN TH E M ACH IN E Sarah Belknap & Joseph Belknap PHOTO 611 001

* Students must enroll in the entire three-week session.

VISITING ARTISTS

LESLIE WILSON

DARIO ROBLETO

CHRISTINE WONG YAP

Leslie Wilson’s research focuses on the global history of photography, modern and contemporary arts of Africa and the African diaspora, modern and contemporary American art, and museum and curatorial studies. She is an Assistant Professor of Art History at SUNY Purchase, where her current book project charts the development and popularization of color photography in South Africa. She has recently written for publications including Foam, on Luther Konadu, and Manual, on Aïda Muluneh, and she interviewed Larry W. Cook for Weiss Berlin. From 2019 to 2021, she was a Curatorial Fellow at the Smart Museum of Art at the University of Chicago, and from 2015 to 2017, she held a predoctoral fellowship at the Center for Advanced Study in the Visual Arts. She holds a PhD in Art History from the University of Chicago and a BA in International Relations from Wellesley College.

Tapping into multiple creative traditions, ranging from astrophysics to paleontology to poetry to DJ culture, his work has focused with particular intensity on theories and practices of recording and on the material and emotional structures of intergenerational relay and memory. In 2015, he joined a distinguished team of scientists as the artistic consultant to Breakthrough Message, a multinational effort that aims to encourage intellectual and technical debate about how and what to communicate in the event that the current search for intelligent life beyond Earth is successful. In 2016, he was appointed as the Texas State Artist Laureate. In 2020, he was a research consultant to the popular science television series Cosmos: Possible Worlds, which aired on National Geographic and Fox. He is currently serving as Artistat-Large at Northwestern University’s McCormick School of Engineering and Block Museum of Art.

Christine Wong Yap uses social practice, drawing, printmaking, and publishing to explore dimensions of psychological well-being, such as belonging, interdependence, and collaboration. Born in California, she was a longtime resident of Oakland before relocating to Queens in 2010. She partners with organizations to conduct participatory research projects whose outcomes include site-specific public artworks, zines, and books. Her recent exhibitions include Between You and Me, curated by Shannon R. Stratton, at the John Michael Kohler Arts Center, Sheboygan, Wisconsin. Yap has completed over a dozen residencies, including Workspace at the Lower Manhattan Cultural Council and the Othering and Belonging Institute at the University of California, Berkeley. In 2021, she will be a Municipal Artist-in-Residence with the City of Berkeley via Kala Art Institute’s Print Public program. She holds an MFA and a BFA from the California College of the Arts.

Dario Robleto is a transdisciplinary artist, citizen-scientist, researcher, writer, and teacher.

An artist based in Queens, New York,

Photo courtesy of the artist (x3)

SUMMER 2021 O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

Claire Ashley, Clown (Laughing Stock), 2020. Spray paint on polyurethane coated ripstop nylon, zippers, fan, approx, 16’ x 10’ diameter. Photo courtesy of the artist.

SESSION 2 : 3-WEEK INTENSIVE

WEEK 1 C O U R S E D E S C R I P T I O N S : S ES S I O N 2

HARD LINES: D R AW I N G W I T H STEEL

BEGINNING GL ASSBLOWING Instructor: Megan Biddle

Instructor: Devin Balara & Abigail Lucien

GLASS 630 001 | 1 week

SCULP 663 001 | 1 week

blowing experience to the beginner.

This hybrid sculpture and drawing

Participants will learn a variety of

course will focus on steel fabrication

techniques for manipulating molten

and the translation of line on paper

“hot glass” into vessel or sculptural

to line in space. Students will learn

forms. Lectures, videos, demonstra-

to use steel as a drawing material

tions, and critiques will augment

with demonstrations in hot and cold

studio instruction.

This course offers hands-on glass-

bending, modular construction, welding, and finishing strategies. Technical demos and work time will accompany discussions about daily sketchbook practices and the ways in which literal weight can be given

E X P L O D I N G PA I N T : FI E LDWORK Instructor: Claire Ashley

PAINTING 650 001 | 1 week

to simple doodles or cartoon graph-

Rooted in an irreverent love of

ics. This course is suitable for all lev-

painting and an absurdly oedipal

els of shop experience; students will

desire to destroy it, this class looks

quickly gain confidence with equip-

at ways to create fantastical,

ment and be encouraged to play

hybridized, bastardized offspring

and improvise independently with

“paintings” in the expanded field.

the material at as large a scale as

We will connect painterly gestures

they choose. Students are required

with nontraditional surfaces,

to complete three assignments over

such as modular, flat-pack, and

the course of the week, one of which

portable sculptural forms; found

will reinforce basic knowledge of

objects; architectural space and

linear steel fabrication and safety,

virtual space; video projection;

and two utilizing linear steel draw-

performative action; and the

ings at the scale of the students’

body. Class presentations and

choosing. Ultimately, students may

discussions will take place in

deploy work into a particular site or

parallel with making to provide

landscape, allowing their sketches

historical context, connections

to stretch their legs.

to the traditions of painting, and practical solutions. Color workshops, woodshop authorizations, material sourcing field trips, video projection/

PAG E 2 2

performance workshops, and site-specific installations will be components of this class. A willingness to experiment, invent, imagine, and fail is required.

LE A R N M O R E A B O UT TH E FAC U LT Y O N PAG E S 3 8 - 4 5

B L AC K I N T H E WOODS: R E P R E S E N TAT I O N & T H E PA S T O R A L Instructors: Ayanah Moor & Krista Franklin PRINT 652 001 | 1 week

This interdisciplinary studio course examines notions of Blackness and the pastoral. We will discuss artworks and readings related to concepts of the Gothic, identity, race, cultural studies, and the landscape. In addition to more traditional processes, including paper making, cyanotype, relief printing, and creative writing exercises, faculty will support and cultivate diverse approaches to media, such as performance, site-specific installation, and field recording. Readings will include excerpts from Black Nature: Four Centuries of African American Nature Poetry, edited by Camille T. Dungy; Demonic Grounds: Black Women and the Cartographies of Struggle, by Katherine McKittrick; and White: Essays on Race and Culture, by Richard Dyer. The course will also include screenings of Get Out, by Jordan Peele; Swimming in Your Skin Again, by Terence Nance, and the episodic series Atlanta.

SUMMER 2021 (clockwise from top left) Ayanah Moor, This Is Your Sister Souljah Moment, 2017, ink on paper Megan Biddle, Untitled, 2019, glass and concrete, 7”x7”x6”

Photo courtesy of the artist (x5)

Abigail Lucien, Half Full and Knee Deep, 2018, oil and enamel on steel, 6.5’ x 6’ x 6’ Devin Balara, One Tiger, 2019, steel and enamel, 50” x 30” x 1/2”. No Flower, 2019, steel and enamel, 20” x 20” x 1/2”.

Krista Franklin, The Lovers in Reverse, 2019, Mixed media on watercolor paper, 30 in. x 22.5 in.

O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

SESSION 2 : 3-WEEK INTENSIVE

WEEK 2 & 3 C O U R S E D E S C R I P T I O N S : S ES S I O N 2

GHOST IN THE MACHINE

and haptically. As we acquire more

Jack Whitten, Saya Woolfalk, Gabriel

technical fluency, we’ll look at how

Orozco, Francis Alÿs, Eva Hesse, William

ceramics have been used throughout

Pope.L, and Abraham Cruzvillegas.

history to facilitate ritual in settings

During this two-week course, students

from the domestic to the alchemical.

will complete six resolved works and

“I cannot find my centre of gravity.” —

The latter half of the class will be given

engage in ongoing studio critique and

Mary Anne Atwood

over to student-initiated projects that

feedback. The class will culminate in

This class utilizes and facilitates ways

combine craft with concept. To this end,

a collaborative event to showcase

of perceiving beyond the human ma-

students will be asked to produce finely

students’ work.

chine. Using various light-sensitive me-

crafted, invested objects as well as

dia, the darkroom, film and digital cam-

more provisional, prop-based pieces.

eras, solar and nighttime telescopes,

This class covers hand-building basics

binoculars, sound recorders, and

as well as gives advanced students the

night-vision cameras, we will explore

opportunity to expand their practice.

time and the properties of waves. In

Artists with an interest in ceramics,

addition to producing images, videos,

sculpture, performance, and social

sound installations, and performanc-

practice are strongly encouraged to

es, we will look into art, cinema, and

Instructors: Sarah Belknap & Joseph Belknap PHOTO 611 001 | 2 weeks

literature, at works exploring themes of science, time, and perception. We will investigate practices by numerous artists, including James Turrell, Hiroshi Sugimoto, Werner Herzog, Simon Starling, Carsten Nicolai, Sarah Charlesworth, and Alan Lightman.

C E R A M ICS & R ITUAL Instructor: Anna Mayer CER 636 001 | 2 weeks

F E E L I N G S H A P E Y: M OV E M E N T & A B S T R AC T I O N I N C O N T E M P O R A RY PA I N T I N G Instructors: Alberto Aguilar & Alex Bradley Cohen PAINTING 660 001 | 2 weeks

THE FUTURE IS NOW: THE ANTHROPOCENE Instructor: Jeremy Bolen PHOTO 612 001 | 2 weeks

The term “Anthropocene” reflects the theory that we are living in a “new geological age of humankind,” in which our species is the prime force of transformation on the planet. According to this theory, our actions will be legible in rocks for millions of years to come. World-changing in the most literal sense, the Anthropocene hypothesis has implications that are at once profound and profoundly uncertain, calling into question the roles photography, design, and

This class explores methods for

the natural sciences can play as

visualizing memory, sensory experience,

critical and creative agents. This

This course explores the connection

and personal narratives through

transdisciplinary studio seminar

between ceramics and ritual,

movement and abstraction. Painting

will function as an experiment in

ceremony, and embodied engagement.

practice is approached through

these new forms of understanding.

Students learn and refine hand-

movement research, improvisation,

Over the course of the session, we

building techniques, including pinching,

and playful collaboration. Students will

will discuss and respond creatively

coiling, slab construction, using

realize tangible paintings and objects

to the following topics within the

press molds, and modeling. The class

in addition to daily experimental

Anthropocene theory: models, deep

will begin with a series of directed

movement workshops, collective

time, imag(in)ing, valuing nature, and

exercises designed to get students

actions, and performative gestures

slow violence/rapid change. Students

fluent in the above techniques. Some

designed to translate experience into

will be encouraged to work on self-

of the exercises will address different

image. Slide lectures and readings will

directed studio projects inspired by

methods for vessel construction,

explore the writing and work of artists

the readings and discussions, and can

while others will encourage students

including Allan Kaprow, Mutabaruka,

expect to participate in a lively final

to use clay more spontaneously

Yoko Ono, Adrian Piper, Lubaina Himid,

group critique.

LE A R N M O R E A B O UT TH E FAC U LT Y O N PAG E S 3 8 - 4 5

SUMMER 2021 (clockwise from top left) Alex Bradley Cohen, Madeline Aguilar, 2019, Acrylic on canvas, 30 x 30 inches Alberto Aguilar, Traduccion (Translation), Enamel paint on paper, 36”x48”

Anna Mayer, Mourning Ware with Funeral Fringe, 2019, inherited crushed dinnerware embedded in Obsidian clay, cut up discarded inner tube, 25“ x 12” diameter Jeremy Bolen, Slow Pause #4 (April 2020), 2021, Pho-

Photo courtesy of the artist (x5)

totex Image made from Film buried with Seismograph Machine during Covid-19 Pandemic Lock Down, Aqua Resin Cast Sarah Belknap & Joseph Belknap, Rock Like Woman on Mars, 2019, various, 20’ x 12’ x 7’

O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

S ESSIO N 3 : 2-WEEK COU RS ES

VISITING ARTISTS

SESSION 3 2-week core classes

JUNE 18–JULY 2

NORA MAITE NIEVES

This session at Ox-Bow follows our more traditional intensive model of taking one class over the course of two weeks. Each student will take a single class and work with faculty from 9:30 a.m. to 6 p.m. daily throughout the session.

Born in San Juan, Puerto Rico, and based in Brooklyn, Nora Maité Nieves is interested in the expanded dialogue of painting. Her paintings, drawings, and sculptures explore how we define space through domestic ownership, making reference to ornamental details from architecture, especially floor and wall surfaces and tiles. She is drawn to the mystic values of objects such as amulets, heirlooms, and jewelry. Recent solo exhibitions include Full Room in the Sun Room, Fresh Window Gallery, New York; Paisaje Lunar, Flyweight Projects, New York; and Tangible, Hidrante Gallery, San Juan. Recent group exhibitions include shows at Embajada, Km0.2, and the Museo de Arte Contemporáneo de Puerto Rico, San Juan; Jessica’s Apartment Gallery, Unisex Salon, and Fresh Window, New York; Galleri Thomassen, Gothenburg, Sweden; the Latino Arts Gallery, Milwaukee; and the Ukrainian Institute of Modern Art, National Museum of Puerto Rican Arts and Culture, and Terrain Biennial, Chicago. She has attended residencies

ILANA HARRIS-BABOU including High Concept Labs, the Cooper Union Summer Art Intensive, and ÁREA: Lugar de Proyectos, Caguas, Puerto Rico. Nieves received her MFA from the School of the Art Institute of Chicago and her BFA from the Escuela de Artes Plásticas y Diseño, San Juan. Ilana Harris-Babou’s work is interdisciplinary, spanning sculpture and installation, and grounded in video. Her work confronts the contradictions of the American Dream: the ever-unreliable notion that hard work will lead to upward mobility and economic freedom. She has exhibited throughout the United States and Europe, with solo exhibitions at 80WSE Gallery, the Museum of Arts and Design, and Larrie, New York. She has also exhibited at venues including Abrons Art Center, the Jewish Museum, SculptureCenter, and the Whitney Museum of American Art, New York, and the de Young, San Francisco. She holds an MFA in New Genres from Columbia University and a BA from Yale University.

JUNE 18 -JULY 2, 2 0 21

PAG E 26

2 -W E E K C O U R S E S

M U LT I - L E V E L PA I N T I N G : F O R M , PROCESS AND MEANING Stevie Cisneros Hanley PAINTING 605 001

BEGINNING GLASSBLOWING Victoria Ahmadizadeh Melendez GLASS 630 001

S P E C U L AT I V E WORLDS: SCREENPRINT AS INTERVENTION Corinne Teed & Erik Ruin PRINT 659 001

VIRTUAL A R TI FACT S : MOLDMAKING, HYDROPRINTING, S C R E E N S PAC E OBJECTS Christopher Meerdo SCULPTURE 662 001

Photo courtesy of the artist (x2)

SUMMER 2021 I think we’ll all have a renewed sense of the sheer privilege of being able to attend Oxbow in person this year. My advice is for us all to pause, to look up, out, and around, to inhale deeply, to take care of one another, to make the most of this special place :) - Claire Ashley

Brandon Dill (x1), Shannon R. Stratton (x1), courtesy (x3)

O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

S ESSIO N 3 : 2-WEEK COU RS ES

C O U R S E D E S C R I P T I O N S : S ES S I O N 3 BEGINNING GL ASSBLOWING

We will discuss artists who engage

readings will include essays that

with world-making, from the hellish

consider historic perspectives on

landscapes of Hieronymous Bosch to

computational visual culture as well

the utopic processions of Athi-Patra

as contemporary positions. Scholars

Ruga, as well as authors including

and artists include Rosalind Krauss,

Ursula K. Le Guin, Octavia Butler,

Sonia Sheridan, Hiwa K, Prosthetic

Jose Esteban Muñoz, and Ruth

Knowledge, and Timur Si-Qin.

This course offers hands-on

Levitas. Students will participate

Course assignments will move from

glassblowing experience to

in world-building prompts, writing

screen objects to physical objects,

the beginner. Participants will

exercises, and critical dialogues

culminating in hydroprinted forms

learn a variety of techniques for

on the role of printmaking as

that combine both two- and three-

manipulating molten “hot glass”

intervention in the social sphere.

dimensional compositional spaces.

into vessel or sculptural forms.

Assignments will include the creation

Lectures, videos, demonstrations,

of hand-cut stencils, digitally

and critiques will augment studio

designed CMYK projects, and a final

instruction.

project taking on the notion of the

Instructor: Victoria Ahmadizadeh Melendez GLASS 630 001 | 2 weeks 3 credit hours | Lab Fee: $300

S P E C U L AT I V E WORLDS: SCREENPRINT AS I NTE RVE NTI O N

Instructors: Corinne Teed & Erik Ruin PRINT 659 001 | 2-week 3 credit hours | Lab Fee: $100

In this course, students will develop screenprinting skills while

PAG E 28

considering the historical use of print

screenprint in the expanded field. Students will produce a portfolio of projects that incorporates twodimensional screenprinting.

V I R T U A L A R T I FAC T S : MOLDM AKING, HYDROPRINTING, S C R E E N S PAC E OBJECTS Instructor: Christopher Meerdo

M U LT I - L E V E L PA I N T I N G : F O R M , PROCESS AND MEANING

Instructor: Stevie Cisneros Hanley PAINTING 605 001 | 2 week | 3 credit hours

This course for beginning to advanced students will include extensive experimentation with materials and techniques through individual painting problems. Emphasis will be placed on active decision making to explore formal and material options as part of the

in inventing and building disparate

SCULP 662 001 | 2 weeks

worlds. Printmaking is unique for its

3 credit hours | Lab Fee: $200

history of communication through

This two-week intensive will consider

various interests in subject matter.

calling to action and imagining the

how nonmaterial modes can

Students may choose to work with

future. Students will explore notions

manifest into tangible objecthood.

oil-based media. Demonstrations,

of utopia and dystopia, using

Week 1 will introduce participants

lectures, and critiques will be

installation, animation, relief print,

to the moldmaking process,

included.

and performance in their endeavors

using the screenspace as source

to reimagine the graphic manifesto.

material. Week 2 will introduce

Students will be encouraged to

the hydroprinting technique,

experiment with text, posters, and

with a focus on both form and

immersive installations to redefine

surface. Typically used in industrial

the realm of the possible. The course

applications, water transfer printing

will include tutorials on printing

allows students to reimagine

techniques, incorporating both

and enrich their sculptures

hand-drawn and digital stencils.

with surface images. Course

LE A R N M O R E A B O UT TH E FAC U LT Y O N PAG E S 3 8 - 4 5

painting process in relation to form and meaning. Students will pursue

Victoria Ahmadizadeh Melendez, selective memory, 2018,   artists’ denim jacket, blown glass shards, mixed media,   jacket: women’s size medium, installation dimensions variable

Erik Ruin, Mary Maudlin (performance still at Rooftop Films), creation 2016, performance 2019, spraypaint, stencil and papercut on paper with live musical accompaniment, 30’x18” (scroll dimension)

Christopher Meerdo, Dispersal Order, 2020, thermoformed Kydex, electro luminescent paint, custom electronics, 11x16x5” Corinne Teed, The Entanglement I, 2018

O X - B O W S C H O O L O F A R T

F O R S A I C S T U D E N T S

Stevie Cisneros Hanley, Hospital for Sick Witches, 2019, water-

color pencil, gouache, and acrylic on paper (framed) 50.75” x 37.5”

SUMMER 2021

(opposite page - clockwise from top left)

Photo courtesy of the artist (x5)

SESSION 4 : 3-WEEK INTENSIVE

SESSION 4 (3 - W E E K I N T E N S I V E )

JULY 27 - AUGUST 17, 2021 F O C U S E D O N C R A F TAND PROCESSBASED LEARNING

C A L END A R O F C O UR SE S F O R SE S SI O N 2

PAG E 3 0

1ST WEEK

2ND & 3RD WEEK

COLOR & L ANDSCAPE Jo Hormuth PAINTING 661 001

FA S T PA I N T I N G Arnold Kemp PAINTING 663 001

JOINERY: SCULPTURAL COLLABORATIONS Ato Ribeiro SCULP 670 001

R E M I X : C L AY & PRINT Thomas Lucas CERAMICS 646 001

WET-PLATE PHOTOGRAPHY Jaclyn Silverman PHOTO 613 001

PRINT M A K E R S PAC E Danny Miller & Kristina Paabus PRINT 662 001

HAND TO THREAD: I M P R OV I S AT I O N A L PAT C H W O R K & EMBROID E RY Melissa Leandro FIBER 623 001

B L ACKSM ITH ING: SCULPTURAL FORMS Jessee Rose Crane SCULPTURE 672 001

* Students must enroll in the entire three-week session.

VISITING ARTISTS

EMMY BRIGHT

Detroit-based artist Emmy Bright works in drawing, writing, print, and performance. Her projects investigate the problems of empathy and the problems of boundaries. Her work asks: How do we be there for each other? For ourselves? And where is this “there” we’re all talking about? She looks to psychology, art history, comedy, and lots of lists and diagrams to figure out all of this thinking and feeling. Bright has exhibited widely in the United States and internationally. Currently, she is an Artist-in-Residence at Cranbrook Academy of Art, where she heads the graduate program in Print Media. She holds a Master of Education from the Harvard Graduate School of Education, an MFA from Cranbrook Academy of Art, and a BA in Art History from the University of Chicago. She is represented by David Klein Gallery, Detroit. Jennifer Ling Datchuk is a multidisciplinary artist based in San Antonio, Texas. Trained in ceramics, she works

JENNIFER DATCHUK

ANTHEA BLACK

with porcelain and other materials often associated with traditional women’s work, such as textiles and hair, to investigate fragility, beauty, femininity, intersectionality, identity, and personal history. Her work is an exploration of her layered identity—as a woman, as a Chinese woman, as an “American,” as a third-culture kid. Datchuk received the 2017 Emerging Voices Award from the American Craft Council and in 2020 was named a United States Artist Fellow in Craft. An Assistant Professor of Art at Texas State University, she holds an MFA in Artisanry from the University of Massachusetts Dartmouth and a BFA in Crafts from Kent State University.

recent exhibitions include Loosely Assembled, SBC Gallery, Montreal; HARDCORE EINDHOVEN, Van Abbemuseum, Netherlands; Beginning with the Seventies: GLUT, Belkin Art Gallery, Vancouver; and Publishing Against the Grain, touring through Independent Curators International. Her artist’s publications include the newspaper The HIV Howler: Transmitting Art and Activism and HANDBOOK: Supporting Queer and Trans Students in Art and Design Education, a queer and trans pedagogy project that took form as a collaborative letterpress book. Her book The New Politics of the Handmade: Craft, Art and Design (Bloomsbury Visual Arts), co-edited with Nicole Burisch, features new thinking in critical craft theory. A 2021 Fellowship Artist at KALA Art Institute, she is an Assistant Professor of Printmedia, Craft, and Graduate Fine Arts at California College of the Arts.

Anthea Black is a Canadian artist, art publisher, and writer based in Oakland and Toronto. Her studio practice focuses on print media and publishing to address queer feminism, collaboration, and the tensions between visual representation, embodied experience, and abstraction. Black’s

Instructor: Ato Ribeiro SCULP 670 001 | 1 week

In many cultures, quilting plays a

SUMMER 2021

J O I N E RY: SCULPTURAL C O L L A B O R AT I O N S

central role in shaping community through ritual, collective making, and storytelling. Students in this weeklong class will explore questions of cultural hybridity through experimental processes that cross found material with traditional crafting methods

including metalworking, woodworking, and a variety of stitching and appliqué and contemporary approaches to gathering and communal labor as points of departure, “Joinery: Sculptural Collaborations” merges group explorations of quilt making and hybrid craft practices with critical conversations about culture, place, and history. Communal making will provide a basis for class discussion and material research and complement self-directed projects in a supportive and collaborative atmosphere. Seminar discussions on critical theories in cultural studies will engage West African folklore alongside the works of Fred Moten, Stefano Harney, and Sara Ahmed and artists including Ibrahim Mahama, Harriet Powers, and Sadie Barnette, giving context to the intersections of contemporary theory and practice. Students will participate in material demonstrations, performance workshops, and seminar discussions and contribute to a Ato Ribeiro, Sisala The Micro & Macro, 2019, repurposed wood, wood glue, 21”w x 21”h x 18.5”d. Image courtesy of the artist.

collaborative class quilt.

LE A R N M O R E A B O UT TH E FAC U LT Y O N PAG E S 3 8 - 4 5

O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

techniques. Taking traditional

SESSION 4 : 3-WEEK INTENSIVE

WEEK 1 C O U R S E D E S C R I P T I O N S : S ES S I O N 4

W E T- P L AT E PHOTOGRAPHY

quarter glass plates in the student’s

Instructor: Jaclyn Silverman

concept or idea.

PHOTO 613 001 | 1 week

COLOR & L A N D S CA P E

Using the historic and time-honored wet-plate collodion process, students will move between the

PAG E 32

studio, the community, and the

own style, driven by individual

Instructor: Jo Hormuth PAINTING 661 001 | 1 week

HAND TO THREAD: I M P R OV I S AT I O N A L PAT C H W O R K & E M B R O I D E RY Instructor: Melissa Leandro FIBER 623 001 | 1 week This class will expand students’ knowledge of traditional

natural environment to create glass

This class will explore the interplay

and contemporary modes of

plate images and photographic

of color and light in Ox-Bow’s

manipulating and embellishing

objects. We will explore the

landscape. Since its inception as

fibrous textile materials. Through

fundamentals of large format view

a school of art, Ox-Bow has been

daily classroom demonstrations

camera photography while using

sought out by plein air painters for

and assignments, students will gain

individual mobile darkrooms for

its exemplary light conditions and

historical and technical instruction

plate processing and production.

beautiful landscape. The works

in a variety of needlework practices,

This course considers the technical

produced by artists navigating the

hand and machine quilting,

information, historical use, and

unique light effects at Ox-Bow are

embroidery, beading, and shibori

advancement of photographic

often wild, playful, and surprising,

and fabric resist-dyeing methods.

technology in comparison with

incorporating peculiar color

We will construct and deconstruct

contemporary conceptual use

harmonies and formal inventions.

found and sourced textiles through

by late-20th-century and current

This class will lead students in color

trapunto, appliqué, reverse appliqué,

21st-century artists such as Helen

studies of Ox-Bow’s light conditions,

visible mending, and patchwork

Maureen Cooper, Joni Sternbach,

which shift throughout the day,

techniques, with a keen focus on

and Sally Mann. Readings available

and will use photography as one

practices of collage, fabric/scrap

for reference include Basic

tool for isolating and observing

collecting, surface embellishment,

Collodion Technique: Ambrotype

color relationships through modern

and improvisational piecework.

and Tintype, by Mark Osterman

technology. Students will compare

Readings include “The Gee’s Bend

and France Scully Osterman,

in-situ methods of painting and will

Effect,” by Bridget R. Cooks, and

and Chemical Pictures: The Wet

utilize digital mediation alongside

PUSH Stitchery: 30 Artists Explore

Plate Collodion Book, by Quinn

the color theory of Josef Albers

the Boundaries of Stitched Art,

B. Jacobson. Students will work

and others to make vivid and

edited by Jamie Chalmers. We will

independently, progressing from

experimental paintings. Students

also consider the work of Dianna

tintype positives to glass negatives

are encouraged to work in water-

Frid, Ebony Patterson, Heidi Parkes,

and ambrotype objects. Subjects

based media but may also work

Sanford Biggers, and Anne Wilson.

can include the still life, portraiture,

with oils. Readings and lectures will

Students will be encouraged to

installation for performance, or

complement studio time. Student

pursue their conceptual concerns

natural documentation of the

work will culminate in a new body

with the community support of their

environment. Daily evaluations and

of landscape-inspired paintings for

peers and faculty, in group critiques

cross-classroom conversation will

final critique.

as well as one-on-one advising.

address technical and conceptual issues, and question historical and contemporary uses. The final product will include a suite of

LE A R N M O R E A B O UT TH E FAC U LT Y O N PAG E S 3 8 - 4 5

SUMMER 2021 Melissa Leandro, Jungle Room, 2019, woven cloth, stitching, embroidery, dye, foil, wood, 107.5 x 47.5 x 2.25 in. Jo Hormuth, The Big Picture (Sestina), 2020, Flashe on paper (commission study). Jessee Rose Crane, Warped, steel, glue, food coloring, L 13’x W 5’x H 5’

Photo courtesy of the artist (x3)

O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

SESSION 4 : 3-WEEK INTENSIVE

WEEK 2 & 3 C O U R S E D E S C R I P T I O N S : S ES S I O N 4

FA S T PA I N T I N G Instructor: Arnold Kemp

PAINTING 663 001 | 2 weeks

to build understanding of each medium, and students will conceive projects that reflect their interests. Instructors will be available to help

This class will encourage participants

facilitate individual, collaborative,

to put aside preciousness in

and interdisciplinary projects.

order to explore the dynamism of disposability, quantity, ephemerality, the artist joke, and the performance of the painterly pose. Through rapid assignments, thoughtful discussion

Instructor: Jessee Rose Crane SCULP 672 001 | 2 weeks

In this course, students will explore the fundamentals of forging mild

R E M I X : C L AY & P R I N T Instructor: Thomas Lucas CER 646 001 | 2 weeks

steel with a hammer, an anvil, and a coal forge to create functional and conceptual objects. The class will include demonstrations in the hot

of our daily work, student-led

This course will experiment with

manipulation of metal, tool operation

presentations, and slide lectures, we

hand-drawing and printing images

and safety, welding, steel inflations,

will explore the signifiers of working

on clay using a range of techniques,

and finishing techniques. We will

fast and how this operates socially

including screenprinting, relief,

discuss traditional and nontraditional

and politically within current trends

and lithography. Students will also

artists and architecture, including

and pressures. “Fast Painting” is

learn how to use different clay slips,

Samuel Yellin, Ruth Asawa, Elizabeth

intended for those who have a

stains, and modified underglazes

Brim, and the collaborative

developed painting voice and are

and glazes on low-temperature

construction of the City Museum,

prepared to focus on an independent

clay bodies, firing in electric and

Saint Louis. Students are encouraged

and committed practice.

raku kilns. Students will look to

to combine media and incorporate

poetry and graffiti aesthetics to

nonferrous disciplines such as

develop a visual language with

print, ceramics, and glass into

image and text from a socially

their projects; this may include the

conscious perspective. Historical

fabrication of a steel armature for a

and contemporary references will

ceramic piece or the production of a

include the work of “Cornbread,”

This class will engage students

mixed-media sculpture. Students will

considered the first graffiti artist, as

in a variety of traditional and

be expected to complete a minimum

well as the unidentified street artist

contemporary printmaking

of one self-directed project from

Banksy and the poetry written on the

processes. Exploring interdisciplinary

sketch to finalization and participate

city of Pompeii’s walls. Assignments

approaches to print, it emphasizes

in critique.

will focus on the production of tiles,

skill building, experimentation,

vessels, and sculpture, as well as

and individual voice. Beginning,

the potential for site-specific and

intermediate, and advanced

installation results. The form within

students will learn new techniques

the clay can serve as a platform for

and sharpen skills to achieve

a range in voice, drawing together

their unique goals. Through

concepts such as hip-hop, history,

global examples, demonstrations,

and politics. Expect a wide variety

discussions, and hands-on

of images, textures, patterns, and

experimentation, students will focus

colors.

P R I N T M A K E R S PAC E Instructors: Danny Miller & Kristina Paabus PRINT 662 001 | 2 weeks

PAG E 3 4

B L AC K S M I T H I N G : SCULPTURAL FORMS

on monotype, relief, screenprinting, intaglio, lithography, and hybrid processes. Assignments are designed

LE A R N M O R E A B O UT TH E FAC U LT Y O N PAG E S 3 8 - 4 5

(opposite page clockwise from top left) Arnold Kemp, cc, 2021, acrylic and graphite on canvas, 69” x 69” Kristina Paabus, T.V. Eye, 2018, laser-cut relief and screenprint, 20”x16”

Jaclyn Silverman, Kianni & Allexis, purple marble ambrotype, 3 1/4” x 4 1/4” Danny Miller, high tension, 2016, woodcut Thomas Lucas, Carburetor Pitcher, 2019, screenprint on earthenware, 14” x 5” x 6”

O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

Photo courtesy of the artist (x5)

SUMMER 2021

S E S S I O N 5 : 1- W E E K C O U R S E S

C O U R S E D E S C R I P T I O N S : S ES S I O N 5 PA P E R M A K I N G STUDIO

the hardcover accordion fold, crown book

and installation). We will reference The Art

folding, the franklin fold, the fishbone

of Encaustic Painting, by Joanne Mattera,

fold, and the triangular fold. There will be

and Encaustic Art, by Lissa Rankin, along

handouts to aid in note taking, as well as

with contemporary artists working in the

Paper 604 001 | 1 week 1.5 credits | Lab Fee: $50

examples for participants to learn from.

medium, including Byron Kim, Kiki Smith,

Emphasis is on content, self-expression,

and Petah Coyne. The course is structured

Paper as an art medium is exciting and elu-

and acquiring skills. Participants will come

for artists who have experience using

sive. Paper pulp can be transformed into

away with a good understanding of relief

encaustic and want to work with others in

sculptural works and drawings with pulp

printing, as well as how to make various

an atmosphere of exchange and dialogue.

and unusual surface textures. It can allude

book forms with their prints bound into

In-progress critiques and lectures will

to skin, metal, rock, or something totally

them. No prior bookbinding or print expe-

uncover relationships between materiality

different. Explore all of these possibilities.

rience is necessary. Writers are welcome.

and subject to create new ideas. The sur-

Instructor: Andrea Peterson

rounding natural environment will provide

Stretch your artistic and technical skills to create singular works of art.

B E YO N D B O R D E R S : THE THIRD DIMENSION IN PRINT & BOOKBINDING Instructors: Jeanine Coupe Ryding & Myungah Hyon

E N CA U S T I C & M AT E R I A L I T Y I N C O N T E M P O R A RY PA I N T I N G Instructor: Kristy Deetz

PAINTING 654 001 | 1 week 1.5 credits | Lab Fee: $100 This course contextualizes encaustic within

additional inspiration for pursuing new directions and taking risks.

M U LT I L E V E L GL ASSBLOWING: WORKING HOT & TA K I N G C H A N C E S Instructors: Ekin Deniz Aytac & Joshua Davids

PRINT 658 001 | 1 week 1.5 credits | Lab Fee: $50

contemporary painting and materiality.

Participants in this course will learn to

to continual reworking. Encaustic lends it-

create the illusion of three-dimensional

self to images that are buried under or em-

This is a hands-on studio workshop for

woodcuts that are bound into sculptural

bedded within multiple layers of wax and

those with some glassblowing experience.

book forms. Using a variety of registration

meaning. Students will experiment with

Students will learn a variety of techniques

methods, including printing on both sides

warm wax and pigment to uncover new

for manipulating molten “hot glass” into

of the paper, participants will explore

ideas through process and material. Topics

vessel or sculptural forms. Lectures,

the traditional methods and boundaries

covered include the deconstruction of the

demonstrations, videos, and critiques will

of printmaking. The class will include

language of painting, abstraction, and

augment studio instruction.

demonstrations of bookbinding methods

materiality (political, ecological, scientific

encompassing simple accordion folds,

and technological, ephemeral/durational,

Encaustic painting techniques create a va-

PAG E 3 6

riety of rich surface textures that respond

GLASS 641 001 | 1 week 1.5 credits | Lab Fee: $150

Myungah Hyon, MIX, 2019, wooden box, rock, paper, phone books

LE A R N M O R E A B O UT TH E FAC U LT Y O N PAG E S 3 8 - 4 5

SUMMER 2021 (clockwise from top left) Jeanine Coupe Ryding, Waterbound, 2020, woodcut print, 42”x30” Ekin Deniz Aytac & Joshua Davids, Tower and Rose, 2020, Cityscapes: Photo courtesy of the artist (x5)

Transparency, Blown Glass, Diamond Cut, and Sand Engraved, 14” x 14” x 4.5” Andrea Peterson, youth - promise, handmade abaca fiber and daylily spent blossoms, 31” x 47”

Kristy Deetz, Flag Day Transforming, 2020, Acrylic on Digital Pattern Printed on Silk with Embroidery, 36”x36”x1.5”

O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

ONLINE COURSE

2-week core classes. For credit and non-credit students (3 credits) If you can’t make it to Ox-Bow in person this

2-WEEK SESSIONS

summer, try one of our online classes. We are

June 6–19

offering a number of two-week classes with

June 20–July 3

a range of topics. In keeping with the Ox-Bow

July 11–24

tradition of creating intimate and engaged artists’ communities, these online intensives will bring small groups together to share work and ideas and connect in conversation.

R E G I S T R AT I O N Monday, March 29, 2021 – Open Summer Registration

P AY M E N T F O R N O N - C R E D I T (AUDIT) COURSES

starts at 9:30 a.m. EST (8:30 a.m. CST) online

Full payment of all tuition and fees is required at the time of registration. Payment for non-credit courses

may be made by credit card, check, or money order. Ox-Bow accepts Visa, Mastercard, American Express, and Discover. Checks and money orders should be made payable to Ox-Bow.

TUITION & FEES SAIC TUITION

PAG E 3 8

Undergraduate $5,220 + Lab Fees

APPLY FOR SCHOLARSHIPS HERE

Graduate Cost $5,394 + Lab Fees

NON-CREDIT $1,800 + Lab Fees

JULY 11– 24

2 -W E E K C O U R S E S

GRAPHIC NARRATIVE SURREALISM Cecilia Beaven PAINTING 665 001

FACES!: PORTRAITURE AND THE EXPANDED SUBJECT Ruby T PAINTING 652 001

MULTI-MEDIA PRINT STUDIO Jessica Gatlin PRINT 663 001

BETTER HOMES AND GARDENS Annalise Flynn ARTHI 625 001

BIRD SCIENCE: AN INTRODUCTORY SURVEY Dianne Jedlicka SCIENCE 604 001

MATERIAL EXPLORATION IN STOP MOTION Lauren Gregory PAINTING 664 001 or FVNM 664 001

MATERIALIZING CITATIONS: ARTISTIC RESEARCH AND FORM Mev Luna SCULP 673 001 or VCS 673 001

OPENSOURCE STRATEGIES IN 3D, ANIMATION AND PROJECTION Tim Beliveau FVNM 610 001

CLAY AND THE PRACTICE OF WALKING Nicole Seisler CER 654 001

OBJECTS IN VIDEO, VIDEO AS OBJECT Ilana Harris-Babou FVNM 609 001

MULTI-LEVEL PAINTING Kaveri Raina PAINTING 605 001

YOU ART WHAT YOU EAT Eric May SCULP 669 001

WEAVING INTENSIVE kg FIBER 621 001

POLITICS OF PRINT: THINKING THROUGH THE ARTIST PUBLICATION Kevin McCoy PRINT 660 001

3D ANIMATION VIRTUAL ENVIORNMENTS Snow Yunxue Fu FVNM 321 001

I learnt that Zoom can be another artistic platform for making work and engaging with a public. ...I discovered that one's dining room table is sometimes enough of a studio space and a slower, more meditative, drawing process is a lovely thing. - Claire Ashley

SUMMER 2021

JUNE 2 0 – JULY 3

39 O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

JUN E 6 -19

JUNE 6-19 COURSE DESCRIPTIONS: ONLINE W E AV I N G I N T E N S I V E

a personal database of source materials

graphic narrative and surrealist strategies,

Instructor: kg

and, through a series of iterative and multi-

and develop the skills to create imagina-

faceted making processes, extrapolate form

tive sequential art projects. We will look at

FIBER 621 001 | 2 weeks

and experiment with layered meaning-mak-

comics by contemporary authors such as

ing in response to their research interests. To

Emil Ferris, David B., Jillian Tamaki, and Mi-

that end, students are encouraged to bring

chael Deforge and host virtual screenings

with them their practice, across disciplines.

of alternative animations by Suzan Pitt, Sal-

Together, we will expand the inner logic of

ly Cruikshank, Pendleton Ward, and Yoriko

our respective processes by instinctively fol-

Mizushiri. In addition, we will look at the use

lowing research threads, remaining tethered

of surrealist strategies by contemporary

to scholarship as we allow the gravitational

painters including Christina Ramberg, Jim

force of this enigmatic approach to pull us

Nutt, and Marcel Dzama, and we will glean

and our practices away from the estab-

surrealist narrative strategies by reviewing

lished and toward the unknown.

the work of writers like the Oulipo group, the

The process of weaving allows contemporary makers to explore narratives of identity, labor, history, and the body. This course explores weaving’s connection to narrative, addressing how meaning can be made through conceptual and process-based approaches. We will focus on narrative in relation to weaving through imagery, found objects, woven structure, performance, display, warp and weft rela-

Latin American magical realism movement,

tionships, and color, and dig into the process of weaving itself as narrative work. Students will learn weaving techniques and loom construction, and execute a number of finished works.

BETTER HOMES AND GA R D E N S Instructor: Annalise Flynn ARTHI 625 001 | 2 weeks

M AT E R I A L I Z I N G C I TAT I O N S : ARTISTIC RESEARCH AND FORM

of art, architecture, and/or landscape architecture—including religious grottos;

VCS 673 001 OR SCULP 673 001 | 2 weeks

tural inventions; expressions of loneliness

it touches while remaining loyal to no particular form. That it cannot be defined so singularly is both a point of contention and a source of potential. Artistic research is, as Lucy Cotter states in the introduction to Reclaiming Artistic Research, “fundamentally different from academic research, . . . because it follows its own inner logic in resonance with the wider languages and sensibilities of art, rather than the logic of any external discipline.” Expanding on this text and collection of interviews, this course will engage a variety of research methods, including the activation of archives, material history, and oral history, delving into con-

PAG E 4 0

nacular art environments—combinations

spiritual, devotional, and mystical sites;

expansive that it amalgamates everything

painting and drawing can include illustrations, comic strips, comic pages, and zines. For the final project, students will create a graphic narrative piece employing material and narrative experimentation.

This course explores the rich genre of ver-

Instructor: Mev Luna

Artistic research is a methodology so

and Lewis Carroll. The assignments in

gardens; ephemeral yard shows; architec-

OBJECTS IN VIDEO, VIDEO AS OBJECT Instructor: Ilana Harris-Babou FVNM 609 001 | 2 weeks

and survival; homes fully transformed;

In a world where screens are often taken

artist’s museums; and other created

for granted, this course asks students to

spaces that are site- and life-specific. We

reimagine our complicated relationship

will examine historical and contemporary

with video. We will work at the intersection

art environments and issues impacting art

of moving image and sculpture, examining

from beyond the academic mainstream

how video can transform our connection to

and its evolving definitions, with attention

both our environment and our own bodies.

to environments in relation to their social,

Students will experiment with lighting,

political, and cultural contexts; the home

props, and set design, paying close at-

and landscape as studios; and site pres-

tention to how surfaces are transformed

ervation.

by the lens. We will investigate projection mapping, video installation, and the pecu-

G R A P H I C N A R R AT I V E SURREALISM Instructor: Cecilia Beaven PAINTING 665 001 | 2 weeks

siderations of embodied research and af-

Comics and other forms of graphic narra-

fect, social configurations, and the senses.

tive often enhance the irrational, absurd,

In addition to reading related texts, we will

and dreamy elements of life through surre-

look at the work of Lawrence Abu Hamdan,

alist techniques. Blurring the line between

Otobong Nkanga, Carolyn Lazard, Hồng-Ân

fact and fiction can strengthen the artist’s

Trương, Alan Ruiz, Jessica Vaughn, and Goat

vision and blend the inner world with the

Island, among others. Participants will build

physical. In this course, we will explore

liarities of the screen. While attention will be paid to demonstrations and hands-on experiments, we will also consider the work of Hito Steyerl and Nam June Paik and texts by Rosalind Krauss, all of whom unpack the relationship between objects and time and emphasize both the physicality and immateriality of video through explorations of installation and web-based art. Students can expect to participate in daily studio exercises. The class culminates in an ambitious final project, to be installed in physical space or online.

SUMMER 2021 (clockwise from top left) kg, All You animals, 2018, Two moths set in pools of golden Caran d’Ache on the ground of spun wool Rana brought back from Oaxaca plied through golden cotton

Photo courtesy of the artist (x4)

bars stuffed with the last of the incense I burned before you moved out 5”x5” Ilana Harris-Babou, 2016, still from Cooking with the Erotic, 2-channel HD video, 11:37min.

Mev Luna, Digital Deliverance: White Saviorism and the Screen, 2019, Large format publication on architectural blueprint hanger, 2' x 44” Cecilia Beaven, Cocodrilo Luminiscente, 2020, Acrylic on canvas, 20” x 24”

O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

JUNE 20–JULY 3 COURSE DESCRIPTIONS: ONLINE FAC E S ! : PORTR AITURE AND T H E E X PA N D E D SUBJECT

with practices in all media are welcome.

be placed on the conceptual develop-

This course draws from a culture of

ment and exploration of analog meth-

digital media, including writing by Hito

ods utilized in the civil rights protest

Steyerl, Jenny Odell, and Byung-Chul

era. Processes such as screenprinting,

Han and artwork by Mika Rothenberg,

vinyl-plate lithography, polymer plate

Korakrit Arunanondchai, and Virginia

printing, letterpress printing, and perfect

Lee Montgomery. Assignments will be

bindery will be demonstrated and utilized

given throughout the session, building on

to produce a series of artist’s books, with

What does it mean to draw the face of a

skills as they’re taught. We will begin with

the goal of producing visually striking

person, a place, or an idea? For centu-

short animations, move on to video/audio

content. The class will review the instruc-

ries, portraiture has been used to record

editing, and then challenge students to

tor’s own publication, Obliqueness of

history and build intimacy. With the fun-

gather images, video, or text from their

White Supremacy, as well as Propagan-

damentals of observational drawing as

own life to guide their digital work. The

da and Persuasion, by Garth S. Jowett

a starting point, this course explores the

course culminates in a set of animation

and Victoria J. O’Donnell, to examine the

boundaries of portrait making through

reels created by the class and projected

marriage of form and content. Excerpts

experimentation with subject, medium,

into the Ox-Bow campus.

from books such as The Vignelli Canon,

Instructor: Ruby T

PAINTING 652 001 | 2 weeks

scale, and site. From human faces to car faces to the faces of our ideas and emotions, we will stretch traditional notions of portraiture through expanded subject matter as well as material choices. Students will work with a range of wet and dry media, including charcoal, graphite, pen, and ink. Slide lectures and critiques will offer additional insight into the history and possibilities of portraiture, with an emphasis on portraiture beyond the Western canon.

by Massimo Vignelli, and White, by Jap-

M U LT I - L E V E L PA I N T I N G : F O R M , PROCESS AND MEANING

Instructor: Tim Belliveau FVNM 610 001 | 2 weeks

Digital tools can facilitate the interaction

rise of open-source software, students will capitalize on these resources from their home studios. Using Blender 3D software to model, animate, and import images, audio, and video, students will be encouraged to incorporate glitches and mistakes in experimental making.

PAG E 42

A beginner’s tutorial of the program will be provided, and we will use a range of strategies to mix digital and real objects and spaces. No experience in 3D software is required, and students

form, sequence, color, and visual impact. The class will comprise demonstrations, discussions, and time allotted for both research and work. The culminating pro-

PAINTING 605 001 | 2 weeks

with content collaboratively provided

This course for beginning to advanced

ject includes a series of handmade books and created by the class.

students will include extensive experimentation with materials and techniques Emphasis will be placed on active decision making to explore formal and material options as part of the painting process in relation to form and meaning. Students will pursue various interests in

BIRD SCIENCE: AN I N T R O D U C T O RY SU RVEY Instructor: Dianne Jedlicka SCIENCE 604 001 | 2 weeks

subject matter. Students may choose

Ox-Bow provides a wonderful opportunity

to work with oil-based media. Demon-

to observe many species of native birds

strations, lectures, and critiques will be

in various habitats. This class will virtually

included.

utilize the forests, meadows, dunes, and lakes in the vicinity to identify local spe-

of images, objects, and sounds in surprising and inspiring ways. Aided by the

useful tools for understanding layout,

Instructor: Kaveri Raina

through individual painting problems.

OPENSOURCE S T R AT E G I E S I N 3 D , A N I M AT I O N A N D PROJECTION

anese designer Kenya Hara, will become

POLITICS OF PRINT: THINKING THROUGH THE ARTIST P U B L I CAT I O N

cies conducting observational research on select species, we will look at worldwide distribution of the different bird families. We will discuss the physics of flight, bird anatomy, and physiology. Lectures

Instructor: Kevin McCoy

regarding egg laying, ecological and evo-

PRINT 660 001 | 2 weeks

influences on the synchronization of egg

Provoked by the current blurring of fact and fiction, students in this course will produce a series of collaborative artist’s books to explore and/or challenge propagandistic narratives. Emphasis will

lutionary adaptations, and environmental hatching, food availability, predator/ prey relationships, and migrations will be augmented by field trips to local zoos and museums. Students will be required to take one identification test and write two original bird lab research papers.

SUMMER 2021 (clockwise from top left) Ruby T, Drip dry cry, 2020, Acrylic on hand-marbled silk, 18 x 24" Kevin McCoy, BPP 66-82,

2019, 16 Pages, 8 x 10 inches, Cover: Thermography with a blind embossed Interior pages: 2-color Risograph printing, Side-stitched bindery; Produced by

Photo courtesy of the artist (x4)

WORK /PLAY in collaboration with Riso Hell Press Risograph printing: Riso Hell Press Kaveri Raina, Wish It Was Otherwise; Lack Of,

2020 Acrylic, graphite, oil pastel, burlap , 40" x 70" Tim Belliveau, La Realidad Del Perro (Group Exhibition), 2019, Framed Digital Prints, Varied

O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

JULY 11–24 COURSE DESCRIPTIONS: ONLINE M U LT I - M E D I A P R I N T STUDIO Instructor: Jessica Gatlin PRINT 663 | 2 weeks In this course, participants will be encouraged to explore the variety of alternative print techniques that are possible outside of the traditional studio setting. Using historical and contemporary examples, participants will challenge print vocabulary and form new definitions both individually and collectively. This range of imaging techniques will focus on experimentation with materials, content, and form. Students can expect demonstrations on various processes, such as relief, transfers, and cyanotype. Readings will include excerpts from Susan Blackmore’s The Meme Machine and Sarah Suzuki’s “Print People.” Assignments such as “Print in Theory” will assist participants in developing a personal approach to incorporating print media into their individual practices technically and/or conceptually. The class will culminate in a body of work or final project informed by studio prompts and individual research, to be shared with the group.

M AT E R I A L E X P L O R AT I O N I N STOP MOTION Instructor: Lauren Gregory

PAINTING 664 001 and FVNM 664 001 2 weeks In this handcrafted animation production course, students will focus on techniques including paint and clay animation, paper cutout animation, stop-motion object animation, and performative pixilation animation using the human body. Each student will shoot, edit, and produce one

PAG E 4 4

short animated film during the course. We’ll explore the culture of experimental animation in class discussions after screening short works by Caroline Leaf, Allison Schulnik, Suzan Pitt, Jodie Mack,

Kelly Gallagher, Helen Hill, Jeff Scher,

course begins with introductory exercises

Jacolby Satterwhite, Terry Gilliam,

to explore the possibilities in 3D anima-

Chris Sullivan, and others. Students will

tion, ultimately focusing on the skills

produce an animated short involving

necessary to complete individually driven

their own material interests, collaging to-

final projects. The course will emphasize

gether stop-motion sequences produced

3D modeling, environment creation, and

using a range of animation techniques.

their potential relationships to nature.

YO U A R T W H AT YO U E AT

C L AY & T H E P R AC T I C E O F WA L K I N G

Instructor: Eric May

SCULP 669 001 | 2 weeks Since the caves at Lascaux, food has

Instructor: Nicole Seisler

CER 654 001 | 2 weeks | Lab fee: $50

been an original subject of art. In this

This course will use clay to link the studio

course, we will explore representations of

with public space. In addition to learning

food in art; the use of food as a medium;

basic construction techniques, students

and the participatory possibilities of

will learn nontraditional approaches

cooking, serving, and dining as art forms.

and gain an in-depth understanding of

We will examine cultural and political

clay’s behavioral, cyclical, and relational

implications of what we eat and how it

qualities as they pertain to creating art-

relates to our everyday lives. Our paths

works that physically and conceptually

of research will wander through the

respond to particular sites and places.

history of food in art as well as outside of

Referencing over 70 years of walking as

the classroom, into the rich agricultural

a creative practice, exercises will use the

abundance of West Michigan, the tradi-

act of walking as a primary tool for mov-

tions of gastronomy at Ox-Bow, and our

ing clay beyond the studio and as a vis-

relationship to the natural landscape.

ceral method for deepening the connection between maker, material, and site.

3 D A N I M AT I O N VI RTUAL ENVIRONMENTS Instructor: Snow Yunxue Fu FVNM 321 001 | 2 weeks

The concept of walking as both a way of investigating site and a tool in the creative process references Guy Debord’s 1955 theory of psychogeography and extends into contemporary public practices, as evidenced by artists such as Richard Long, Hamish Fulton, Gabriel Orozco, and

3D animation is a versatile and

Francis Alÿs. Readings include One Place

fast-growing technology, used in appli-

after Another, by Miwon Kwon; A Field

cations from movies and video games to

Guide to Getting Lost, by Rebecca Solnit;

virtual immersive environments. Students

and Living as Form, by Nato Thompson.

in this course learn how to create their

The class structure will also include lec-

own worlds by building three-dimension-

tures, readings, work time, and critiques.

al spaces, audio, interactivity, life forms,

Projects will be site-specific and site-re-

and/or objects using Maya software.

sponsive, existing as singular works and

Looking to artists who are utilizing 3D

temporal multiples, in which clay is used

animation in contemporary and exper-

to absorb, mark, and build.

imental ways, such as Zeitguised, Eddo Stern, and Jennifer Steinkamp, students will research both traditional and nontraditional approaches to the medium. The

SUMMER 2021 (clockwise from top left) Jessica Gatlin, In Apropos Proposal, 2019, Hand-dyed & Screen Print Textile Assemblage Snow Yunxue Fu, Planets Domes, 2019, 3D still image

Photo courtesy of the artist (x4)

Nicole Seisler, Prepared, 2020, Unfired, Wedged Clay Lauren Gregory, Thu Tran, 2011, Oil paint on silk, 24 x 18"

O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

FAC U LT Y & VI S ITI N G ARTI ST B I O S Art Museum, Los Angeles. A former Artist-in-Residence at Ox-Bow, he is an alumnus of the Skowhegan School of

PAG E 4 6

Painting and Sculpture.

Aay Preston-Myint is an art-

Abigail Lucien is an interdis-

alberto aguilar is a chica-

Alex Bradley Cohen is a

ist, publisher, and educator

ciplinary artist raised in Cap

go-based artist who uses

Chicago-based painter

working in the San Francisco

Haitien, Haiti, and Florida,

whatever materials are at

who utilizes portraiture to

Bay Area, after several

and now based in Baltimore.

hand as a way to connect

visualize the push and pull

years building a career and

Encompassing sculpture,

with the viewer. he is part of

of identity and interpersonal

community in Chicago. His

poetry, video, and sound,

the exhibition latinxamerican

relationships. Working with

practice employs both visual

their practice looks at ways in

at the depaul art museum

acrylic paint on canvas, he

An artist, educator, and

and collaborative strategies

which cultural identities and

and has an upcoming solo

depicts friends, family mem-

author based in La Porte,

to investigate memory and

inherited colonial structures

exhibition at the national

bers, and himself in scenes

Indiana, Andrea Peterson

kinship, often within the

transmit to the body and

museum of mexican art,

that foreground everyday

creates paper artworks

specific context of queer

psyche by playfully challeng-

both in chicago. he has

moments. Materializing from

and relief-printed images

community and history. In

ing systems of assimilation

exhibited at the museum of

personal photographs and

on handmade sheets of

addition to his studio work,

through material. Their work

contemporary art detroit;

memories rather than direct

paper utilizing pulp-drawing

he is a founder of No Coast,

has been exhibited at institu-

palo alto art center; museum

observation, each painting

techniques. She also creates

an artist partnership that

tions including MoMA PS1,

of contemporary art chicago;

serves as an exercise

site-specific installation work

prints and distributes afford-

New York; Atlanta Contem-

minneapolis institute of art;

in world building, while

and book art pieces. She

able contemporary artwork,

porary; Urban Institute for

crystal bridges museum

emphasizing the interiority

co-operates Hook Pottery

as well as Co-Director of

Contemporary Arts, Grand

of american art, benton-

of his subjects. Cohen was

Paper, a joint venture with

the Chicago Art Book Fair,

Rapids; the Florida State Uni-

ville, arkansas; and the art

recently included in Triple:

her husband, the ceramic

and has served as a DJ and

versity Museum of Fine Arts,

institute of chicago. his work

Alex Bradley Cohen, Louis

artist Jon Hook. At this stu-

organizer for Chances Danc-

Tallahassee; Woman Made

is in the collections of the

Fratino, and Tschabalala

dio, she creates her artwork,

es, a party that supports

Gallery, Chicago; and Vox Po-

national museum of mexican

Self, at the University Art

conducts environmentally

and showcases the work of

puli and the Fabric Workshop

art, crystal bridges museum

Museum at the University of

concerned paper research,

queer artists in Chicago. He

and Museum, Philadelphia.

of american art, soho house

Albany, New York. His work

and produces paper that

currently develops public

Lucien was named to the

chicago, facebook, and

has been included in solo

is sold internationally.

programs at Headlands Cen-

2021 Forbes “30 Under 30”

the office of the mayor of

and two-person exhibitions

Peterson’s work has been

ter for the Arts, in Sausalito,

list and is the 2020 Harpo

chicago, lori lightfoot. he

at venues including the Lug-

collected by the Metropolitan

California, and is a member

Foundation Emerging Artist

purposely got rid of all caps

gage Store, San Francisco,

Museum of Art. She received

of the studio collective Real

Fellow. A full-time faculty

in this bio in order to create

and Mana Contemporary and

her MFA from the University

Time and Space, in Oakland.

member in the Interdisciplin-

a minor disruption.

Carrie Secrist Gallery, Chica-

of Minnesota and her BFA

ary Sculpture department at

go, as well as in group exhi-

from the School of the Art

the Maryland Institute College

bitions at the Studio Museum

Institute of Chicago.

of Art, they hold an MFA in

in Harlem and Socrates

Printmaking from the Univer-

Sculpture Park, New York;

sity of Tennessee, Knoxville

the Art Institute of Chicago;

and a BFA from Florida State

Elmhurst Art Museum, Illi-

University.

nois; and the Craft and Folk

Headshot of Aay Preston-Myint by Ryan Edmund Thiel; Photo courtesy of the artist (x5)

SUMMER 2021

2019 SAIC Faculty Enrichpatents, Koehn earned her MFA from Louisiana State University and her BFA from the University of Illinois.

Anna Mayer’s art practice is

Annalee Koehn is a

Anthea Black is a Canadian

Arnold Kemp’s visual art,

sculptural and social, with

Chicago-based artist and

artist, art publisher, and

performance, and writing

an emphasis on hand-built

musician whose work is

writer based in Oakland and

practices explore the regis-

ceramics. Her methodology

often structural but spans

Toronto. Her studio practice

tration and expression of the

emerges from enacting for-

disciplines and materi-

focuses on print media and

psyche. It is the genius of

mative site-specific analog

als, sometimes defying

publishing to address queer

materials to ensnare artists

firing projects in Southern

categorization. Threads that

An art historian and arts

feminism, collaboration, and

in complex attractions.

California. Mayer revels in

run throughout include an

administrator based in

the tensions between visual

Stroke, fold, tear, press:

the fact that ceramics has

exploration of physical and

Sheboygan, Wisconsin,

representation, embodied

material gestures shape the

historically been used to

metaphorical properties of

Annalise Flynn manages

experience, and abstraction.

artist over time, seeding

create highly functional

materials, play, cause and

SPACES—Saving and

Black’s recent exhibitions

and reseeding the psychic

items as well as wildly

effect, and the interplay of

Preserving Arts and Cultural

include Loosely Assembled,

conditions of making that

symbolic objects. Her work

form and function. Her work

Environments, the world’s

SBC Gallery, Montreal;

precede language, but never

is part of this lineage, with

has been shown at venues

largest repository of archival

HARDCORE EINDHOVEN,

form. Form is the shifting

equal concern for the future

including the Chicago

documentation related to

Van Abbemuseum, Nether-

apparition of the psyche, and

and a dramatically shifting

Cultural Center; La Centrale

artist-built environments.

lands; Beginning with the

its pull resonates throughout

climate—both ecological

Galerie POWERHOUSE,

Flynn’s work centers on

Seventies: GLUT, Belkin

Kemp’s interdisciplinary

and political. She recently

Montreal; Frederick Layton

highlighting vernacular cre-

Art Gallery, Vancouver;

practice. Recently, Kemp’s

had solo exhibitions at

Gallery at the Milwaukee

ative activity, using material,

and Publishing Against

work has been exhibited at

AWHRHWAR, Adjunct Posi-

Institute of Art and Design

collective memory, and

the Grain, touring through

Iceberg Projects, Chicago;

tions, and A–B Projects, all

(MIAD); Vanderbilt Univer-

place as research pillars.

Independent Curators

Biquini Wax, Mexico City;

in Los Angeles, and in early

sity, Nashville; Edinboro

She is also the Director of

International. Her artist’s

KSMoCA, Portland, Oregon;

2021, she opened a solo ex-

University, Pennsylvania;

Exhibitions at ART WORKS

publications include the

and the Drawing Center,

hibition at the Houston Cen-

the Illinois State Museum,

Projects, an arts-based

newspaper The HIV Howler:

New York. His works are in

ter for Contemporary Craft.

Springfield; and Randolph

human rights advocacy or-

Transmitting Art and

the collections of institutions

An invited artist at the 2021

Street Gallery, Chicago.

ganization in Chicago, where

Activism and HANDBOOK:

including the Metropolitan

NCECA Annual at the Alice

Koehn was a founding

she curates exhibitions and

Supporting Queer and Trans

Museum of Art and the

F. and Harris K. Weston

member of the original 1988

creates public programming

Students in Art and Design

Studio Museum in Harlem,

Art Gallery, Cincinnati, she

Par Excellence artist-built

addressing global human

Education, a queer and

New York; the Berkeley Art

has also had exhibitions at

miniature golf course and

rights and social justice

trans pedagogy project that

Museum; and the Portland

Ballroom Marfa, Texas; the

will re-create her golf hole

issues. She holds a Master’s

took form as a collaborative

Art Museum, Oregon. Kemp

Hammer Museum and Com-

for the upcoming exhibition

in Art History, Theory, and

letterpress book. Her book

is a Guggenheim Fellow and

monwealth and Council, Los

Par Excellence Redux at

Criticism from the School of

The New Politics of the

has received awards from the

Angeles; Kendall Koppe,

the Elmhurst Art Muse-

the Art Institute of Chicago

Handmade: Craft, Art and

Joan Mitchell Foundation and

Glasgow; and Glasgow

um, Illinois. She currently

and a Bachelor’s from the

Design (Bloomsbury Visual

the Pollock-Krasner Foun-

International. In addition,

teaches at the School of the

Northwestern University

Arts), co-edited with Nicole

dation. In 2020, he received

she has exhibited at the

Art Institute of Chicago in

Medill School of Journalism,

Burisch, features new think-

the Andy Warhol Foundation

Museum of Contemporary

the Designed Objects de-

with a minor in Art History.

ing in critical craft theory.

Arts Writers Grant.

Art, Los Angeles and the

partment. Other teaching in-

A 2021 Fellowship Artist at

Hammer Museum as part of

cludes MIAD, West Virginia

KALA Art Institute, she is

CamLab, her 14-year collab-

University, Oakton College,

an Assistant Professor of

orative practice with Jemima

and traditional music and

Printmedia, Craft, and Grad-

Wyman. Mayer is an Assis-

harmony singing at the Au-

uate Fine Arts at California

tant Professor of Sculpture

gusta Heritage Center and

College of the Arts.

at the University of Houston,

in private workshops. The

where she oversees the

recipient of multiple grants

Ceramics program.

and awards, including a

Headshot of Ato Ribeiro by Gioncarlo Valentine; Photo courtesy of the artist (x4)

47 O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

ment Grant and eight US

PAG E 4 8

Studio Museum in Harlem,

Galleries, Chicago, among

with honors from ENPEG La

New York; the Andy Warhol

other venues. She teaches

Esmeralda, Mexico City.

Museum, Pittsburgh; ONE

at Lillstreet Art Center and

National Gay and Lesbian

the Chicago Ceramic Center,

Archives at the University of

and works as an elementary

Southern California Libraries,

school art teacher. Weldon

Los Angeles; Subliminal

earned her MFA from

Projects, Los Angeles; Te

Kendall College of Art and

Ato Ribeiro is a multidisci-

Tuhi Centre for the Arts,

Design and her BFA from the

An artist based in Queens,

plinary artist working in a

Auckland, New Zealand; and

School of the Art Institute of

New York, Christine Wong

variety of media, including

Proyecto’ace, Buenos Aires.

Chicago, where she received

Christopher Meerdo’s

Yap uses social practice,

sculptural installation,

Moor has been awarded

the James Nelson Raymond

research is primarily

drawing, printmaking,

drawing, and printmaking.

artists’ residencies at Rogers

Fellowship.

invested in exploring hidden

and publishing to explore

He currently works between

Art Loft, the Center for Book

and inaccessible archives.

dimensions of psycholog-

Atlanta, Georgia, and Accra,

and Paper Arts, Hyde Park

Through expanded-pho-

ical well-being, such as

Ghana. His work has been

Art Center, Proyecto’ace,

tographic methodologies

belonging, interdependence,

exhibited at venues including

Auckland Print Studio,

of data processing, image

and collaboration. Born

Oglethorpe University,

Women’s Studio Workshop,

synthesis, and computa-

in California, she was a

Brookhaven, Georgia; Lisa

Blue Mountain Center, the

tional sculpture, his work

longtime resident of Oakland

Sette Gallery, Phoenix;

Vermont Studio Center,

considers the ways in which

before relocating to Queens

Nubuke Foundation, Accra;

and Atlantic Center for the

technological and visual

in 2010. She partners with

Cranbrook Art Museum,

Arts, where she worked with

Currently based in Chicago,

systems maintain or subvert

organizations to conduct par-

Bloomfield Hills, Michigan;

Master Artist Kerry James

Cecilia Beaven explores nar-

structures of power. Recent

ticipatory research projects

the N’Namdi Center for

Marshall.

rative and develops a specu-

exhibitions include shows

whose outcomes include

Contemporary Art, Detroit;

lative mythology through

at Exgirlfriend, Berlin; the

site-specific public artworks,

the Rozsa Center for the

painting, drawing, comics,

Museum of Contemporary

zines, and books. Her recent

Performing Arts, Houghton,

animation, and sculpture.

Photography, Chicago; Wil-

exhibitions include Between

Michigan; and Anastasia

She questions who gets to

fried Lentz Rotterdam; the

You and Me, curated by

Tinari Projects, Chicago.

establish the official cultural

National Gallery of Kosovo,

Shannon R. Stratton, at the

The winner of the 2017

narratives, and affirms her

Pristina; and the Mattress

John Michael Kohler Arts

Mercedes-Benz Financial

creative agency by modifying

Factory, Pittsburgh. He was

Center, Sheboygan, Wis-

Services Emerging Artist

existing tales and mythology,

an Artist-in-Residence at the

consin. Yap has completed

Award, Ribeiro has been an

Originally from Bessemer,

seamlessly adding fiction

SIM program in Reykjavik

over a dozen residencies,

Artist-in-Residence at Kün-

Alabama, and now based

and personal anecdotes.

and the Skowhegan School

including Workspace at the

stlerhaus Bethanien, Berlin,

in Chicago, Casey Elizabeth

Beaven’s multidisciplinary

of Painting and Sculpture.

Lower Manhattan Cultural

and received fellowships to

Weldon creates work

artwork has been shown in

Most recently, he was a

Council and the Othering

the Vermont Studio Center,

spanning ceramic sculpture,

solo exhibitions in Mexico

2018–2019 Fellow of the Jan

and Belonging Institute at

the Studios at MASS MoCA,

manipulated found objects,

City, Houston, and Chicago,

van Eyck Academie, Nether-

the University of California,

and the Skowhegan School

drawings, and paintings

as well as in group exhibi-

lands. Meerdo taught at the

Berkeley. In 2021, she will

of Painting and Sculpture.

made from various shades of

tions in Mexico, the United

School of the Art Institute of

be a Municipal Artist-in-Res-

soil. Her practice examines

States, Colombia, Sweden,

Chicago from 2012 to 2019

idence with the City of

Ayanah Moor is an interdisci-

human and animal behavior

Italy, and Japan. In 2019,

and was recently appointed

Berkeley via Kala Art Insti-

plinary artist whose practice

while balancing the similari-

she was awarded the Leroy

tenure-track Assistant Pro-

tute’s Print Public program.

explores Blackness, gender,

ties and differences between

Neiman Foundation Fellow-

fessor of Photography and

She holds an MFA and a BFA

desire, and language. She

wild and domestic life.

ship at Ox-Bow. In 2020,

New Media at the University

from the California College of

works across various media

Weldon compares human

she was invited as a resident

of North Texas. He received

the Arts.

to create paintings, prints,

social constructs to other

at the Mono Rojo ceramics

his MFA in Photography from

drawings, and performance.

behavior found in nature to

workshop in Mexico City. A

the University of Illinois at

Her work has been exhibited

create nonlinear narratives

current Radicle Studio Res-

Chicago. He is represented

at the Museum of Contem-

that oscillate between beau-

ident at Hyde Park Art Cen-

by Document, Chicago.

porary Art Chicago, the Mu-

tiful and unsettling. She has

ter, Beaven holds an MFA

seum of Contemporary Pho-

exhibited her work at the Fed

in Studio from the School of

tography, and the DePaul Art

Galleries at KCAD, Grand

the Art Institute of Chicago,

Museum, Chicago; Adobe

Rapids, Michigan, and Wom-

which she attended as a

Books, San Francisco; the

an Made Gallery and Sullivan

Fulbright Scholar, and a BFA

Photo courtesy of the artist (x5)

Behavior, Evolutionary Mam-

media and printmaking to

malogy, Ecology (Natural

articulate new perspectives

History), and Human Anat-

on ecological issues. Teed

omy and Physiology. Her

has exhibited in the United

primary research has been

States and abroad, and re-

at the community level of

cently attended residencies

organization, focusing on the

Originally from Edinburgh,

at ACRE, Signal Fire, Virginia

Dario Robleto is a transdis-

New Orleans–based artist

feeding strategies and preda-

Scotland, and now based

Center for Creative Arts, and

ciplinary artist, citizen-sci-

Devin Balara’s recent work

tion of tree and ground squir-

in Chicago, Claire Ashley

PLAYA. They now teach in

entist, researcher, writer,

utilizes steel as a drawing

rels based on their functional

investigates inflatables as

the Art Department at the

and teacher. Tapping into

material to depict cartoon-

morphology. Observational

painting, sculpture, installa-

University of Minnesota.

multiple creative traditions,

ish scenes inspired by

data collected on nocturnal

tion, and performance cos-

They received an MFA from

ranging from astrophysics to

bad omens, supernatural

foraging of the eastern cot-

tume. Her works have been

the University of Iowa and a

paleontology to poetry to DJ

moments, desert island

tontail rabbit was published

exhibited nationally and

BA from Brown University.

culture, his work has focused

logic, and the outdoors as

recently. All of these animals

internationally in galleries,

with particular intensity on

both unruly and picturesque.

are found throughout the

museums, and site-specific

theories and practices of re-

Her work has recently been

Ox-Bow region and offer Dr.

installations, performances,

cording and on the material

exhibited at Comfort Station,

Jedlicka’s students ample

and collaborations. Her

and emotional structures

Chicago; Ortega y Gasset

opportunity for scientific

work has also been featured

of intergenerational relay

Projects, New York; Grounds

observations. Dr. Jedlicka

on blogs such as Vice,

and memory. In 2015, he

For Sculpture, Hamilton,

has also presented and

Hyperallergic, and Artforum,

joined a distinguished team

New Jersey; Spring/Break

published articles on new

and in publications including

of scientists as the artistic

Art Show NYC; and DEMO

teaching methods and labs

Project, Springfield, Illinois.

in the college classroom.

Sculpture, Art Papers, the

Danny Miller is an artist and

consultant to Breakthrough

Boston Globe, the Chicago

musician working in Chi-

Message, a multinational

In 2014, Balara received

Tribune, Time Out Chicago,

cago. Utilizing woodblock,

effort that aims to encourage

the Sculpture magazine

the Yorkshire Post, and

lithographic printing, and

intellectual and technical

Outstanding Student

Condé Nast Traveler. Ashley

drawing, he conjures works

debate about how and what

Achievement in Contem-

teaches at the School of

inspired by pulp science

to communicate in the event

porary Sculpture Award.

the Art Institute of Chicago,

fiction covers, Victorian

that the current search for

She has been an Art-

in the departments of

engravings, advertisements,

intelligent life beyond Earth

ist-in-Residence at Monson

Contemporary Practices and

comic books, and music.

is successful. In 2016, he

Arts, Elsewhere museum

Painting and Drawing. She

Miller has taught at the Ohio

was appointed as the Texas

and artists’ residency, the

received her MFA from SAIC

State University, the Univer-

State Artist Laureate. In

Vermont Studio Center, and

and her BFA from Gray’s

sity of Wisconsin–Madison,

2020, he was a research

the Wassaic Project. Balara

School of Art, Aberdeen,

the School of the Art Institute

consultant to the popular

spends summers managing

Scotland.

of Chicago, and Ox-Bow, and

science television series Cos-

the sculpture studio at Ox-

has been the Printmedia De-

mos: Possible Worlds, which

Bow. Originally hailing from

Corinne Teed is a re-

partment Manager at SAIC

aired on National Geographic

Tampa, she holds a BFA

search-based artist working

for 32 years. He has worked

and Fox. He is currently

from the University of North

in printmaking, installation,

in professional print shops

serving as Artist-at-Large at

Florida and an MFA in Sculp-

Ekin Deniz Aytac and Joshua

time-based media, and

including Landfall Press,

Northwestern University’s

ture from Indiana University

Davids are a husband-

social practice. Their work

Normal Editions Workshop,

McCormick School of Engi-

Bloomington.

and-wife team of artists

lives at the intersections

and Four Brothers Press,

neering and Block Museum

working in glass. Hailing

of queer theory, ecology,

in addition to playing and

of Art.

from Edremit, Turkey, and

critical animal studies, and

teaching traditional fiddle

Colorado, US, respectively,

settler colonial studies. Teed

and banjo music at the Old

this dynamic duo draws from

collaboratively reimagines

Town School of Folk Music,

a distinctive combination

interspecies communities

Chicago, for 11 years. He

of culture, heritage, and

in this era of environmental

received his MFA from UW–

experience to elicit profound

devastation and climate

Madison.

expression in new works

change. Working between

Dr. Dianne Jedlicka teaches

of glass art. They have

portraiture and speculative

numerous biology courses at

lived, traveled, and created

world-building, their practice

the School of the Art Institute

artwork together since 2014.

Photo courtesy of the artist (x7)

SUMMER 2021

of Chicago, including Animal

research with time-based

49 O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

incorporates archival

PAG E 5 0

Their signature body of work,

of this thinking and feeling.

Fellows cohort to work with

an emphasis on empathy,

Cityscapes, is a sculptural

Bright has exhibited widely

poet and mentor Pamela

transcendence, and obsessive

exploration offering reflec-

in the United States and

Sneed. In 2016, Cardwell

detail. He frequently works

tions on the nature of self

internationally. Currently,

received her MFA in Writing

collaboratively with musicians,

as it relates to the places

she is an Artist-in-Residence

from Sarah Lawrence

theater performers, other art-

and things that shape our

at Cranbrook Academy of

College. Currently, she

ists, and activist campaigns.

experience. Drawing on both

Art, where she heads the

teaches writing and social

He is a founding member of

modern and ancient mythoi

graduate program in Print

justice at the New School. er-

the international Justseeds

as well as meditations on the

Media. She holds a Master of

ica-cardwell.com

Artists’ Cooperative and

Originally from Youngstown,

causal relationship between

Education from the Harvard

co-author, with Cindy Milstein,

Ohio, Jaclyn Silverman

set and setting, the artists

Graduate School of Educa-

of the book Paths toward

is a photographer who

weave a new visual tapestry

tion, an MFA from Cranbrook

Utopia: Graphic Explorations

collaborates on expanded

of form, light, and color.

Academy of Art, and a

of Everyday Anarchism (PM

intergenerational family

Glass is a unique medium

BA in Art History from the

Press). Current projects

histories through educational

owing to its elemental

University of Chicago. She is

include the Ominous Cloud

community programming,

nature and inherent optic

represented by David Klein

Ensemble, an ever-evolving,

historic processes, and analog

qualities, such as refraction,

Gallery, Detroit.

collectively improvising large

photography. Silverman has been a Lecturer in

dispersion, transmission,

Eric May is a Chicago-

ensemble for projections and

and reflectivity, which speak

land-based parent, chef,

music, which includes or has

Photography at the Ohio

directly to the movement

and artist. He cooked for

included members of the Sun

State University and a Visiting

of light within a material. In

Ox-Bow for 15 years, running

Ra Arkestra, Bardo Pond, and

Artist at Grenfell Campus,

this series, traditional vessel

the kitchen for 11 of those

Espers.

Memorial University of

forms are manipulated into

years. May is the founder and

Newfoundland, and Theaster

unconventional objects that

Director of Roots and Culture,

Gates commissioned her

are evocative of landscapes

a nonprofit contemporary art

to make photographic installations published in conjunction

viewed from an unfamiliar

Erica N. Cardwell is a writer,

center in Chicago’s Noble

perspective. A variety of

critic, and educator based

Square neighborhood. He has

with the exhibition A Johnson

hot glass color applica-

in Brooklyn. She often writes

exhibited work and hosted

Publishing Story at Stony

tions, along with diamond

about print, archival media,

events at the Museum of

Island Arts Bank, Chicago.

cutting and sand engraving,

visual culture, and inter-

Contemporary Art Chicago,

Collaboratively, Silverman

coalesce to represent the

disciplinary performance;

the Hyde Park Art Center,

Ilana Harris-Babou’s work is

worked with the Design

visual rhythms of a world we

she centers Black feminist

DePaul Art Museum, and

interdisciplinary, spanning

Museum of Chicago for the

inhabit together.

theory as her primary critical

Three Walls, Chicago, and the

sculpture and installation, and

public art piece Postcards to

approach. Cardwell is deeply

Charlotte Street Foundation,

grounded in video. Her work

Chicago, runs the East Side

fascinated with the imagi-

Kansas City, Missouri. He

confronts the contradictions

Volume One photo collective

nations of people of color,

received an MFA from North-

of the American Dream: the

with George Washington High

as a tool for social, spiritual,

western University.

ever-unreliable notion that

School on the far southeast

and collective movement.

hard work will lead to upward

side of Chicago, and partic-

Her work has appeared

mobility and economic

ipates in Loyola University’s

in Bomb, The Believer, The

freedom. She has exhibited

School Partnership Program

Brooklyn Rail, frieze, Hyper-

throughout the United States

with Sullivan High School

Detroit-based artist Emmy

allergic, Green Mountains

and Europe, with solo exhi-

in Rogers Park. She is the

Bright works in drawing, writ-

Review, Passages North, and

bitions at 80WSE Gallery, the

founding Artistic Director

ing, print, and performance.

other publications. Her

Museum of Arts and Design,

of the Chicago nonprofit

Her projects investigate the

memoir was named a finalist

and Larrie, New York. She

artists’ residency CPS Lives,

problems of empathy and

for the 2020 Graywolf

Erik Ruin is a Michigan-raised,

has also exhibited at venues

a part-time Professor of Arts

the problems of boundar-

Press Nonfiction Prize,

Philadelphia-based print-

including Abrons Art Center,

and Humanities with the City

ies. Her work asks: How

and she has been awarded

maker, shadow puppeteer,

the Jewish Museum, Sculp-

Colleges of Chicago, and

do we be there for each

residencies and fellowships

paper-cut artist, etc., who has

tureCenter, and the Whitney

faculty at Ox-Bow. Silverman

other? For ourselves? And

from the Lambda Literary

been lauded by the New York

Museum of American Art,

received her MFA from the

where is this “there” we’re

Foundation, Vermont Studio

Times for his “spellbinding

New York, and the de Young,

School of the Art Institute of

all talking about? She looks

Center, and Banff Centre for

cut-paper animations.” His

San Francisco. She holds

Chicago and her BFA from

to psychology, art history,

Arts and Creativity. Recently,

work oscillates between the

an MFA in New Genres from

the Ohio State University.

comedy, and lots of lists and

she was invited to join

poles of apocalyptic anxieties

Columbia University and a BA

diagrams to figure out all

the Queer Art Mentorship

and utopian yearnings, with

from Yale University.

Headshot of Jo Hormuth by Jorge Colombo ; Photo courtesy of the artist (x4)

eight large color composi-

Johannesburg; and the

tions form a portrait of the

“American,” as a third-culture

Drake, Toronto. Bolen serves

garden—itself an abstrac-

kid. Datchuk received the

as Assistant Professor of

tion—from monochrome

2017 Emerging Voices Award

Photography at Georgia State

macro photographs of plants

from the American Craft

University and is a co-founder

taken over the course of a

Council and in 2020 was

and co-organizer of the Deep

year. As founder of Chicago

named a United States Artist

Time Chicago collective. He

Architectural Arts, Hormuth

Jeanine Coupe Ryding’s work

Fellow in Craft. An Assistant

is represented by Andrew

Jessica Gatlin is an artist,

focuses on the restoration

focuses primarily on woodcut

Professor of Art at Texas State

Rafacz, Chicago.

maker, and part-time

of significant interiors; most

prints, etchings, artist’s books,

University, she holds an MFA

sorceress currently based

recently, she researched and

collage, and painting. Her

in Artisanry from the Univer-

in Baltimore. Gatlin exhibits

re-created interior finishes

prints and artist’s books are in

sity of Massachusetts Dart-

her work widely, including

for the Darwin Martin House,

museum, corporate, and pri-

mouth and a BFA in Crafts

recent shows at Coop Gallery,

Frank Lloyd Wright’s largest

vate collections in the United

from Kent State University.

Nashville, and the Robert

Prairie-style complex, and

States, Europe, and Japan,

F. Agrella Art Gallery, Santa

worked on the restoration of

and she founded Shadow

Rosa, California. She has also

Charles Rennie Mackintosh’s

Press and Press 928 in Evan-

participated in several artist

Willow Tea Rooms in Glasgow. She is represented by Kusseneers Gallery, Brussels.

ston, Illinois, for the purpose

Jessee Rose Crane is a

residencies and fellowships,

of fine art publishing. She

multidisciplinary sculptor, arts

including Ox-Bow, ACRE, and

has received an Illinois Arts

administrator, and musician

the Eugeniusz Geppert Acad-

Council award; an Arts Mid-

based in New Douglas,

emy of Fine Arts, Wroclaw,

west grant; two residencies

Illinois. Her approach to

Poland. In 2019, she served as the Hamblet Artist-in

at Frans Masereel Centrum,

Jeremy Bolen is an artist

sculpture joins technical

Belgium; Roger Brown Resi-

researcher, organizer, and

skills with a creative process

Residence at Vanderbilt Uni-

dencies in Michigan; and an

educator who lives and works

that encourages play and

versity. Gatlin recently joined

Anchor Graphics residency in

between Chicago and Atlanta.

embraces art in the everyday.

the faculty at the University of

Chicago. Ryding taught at the

He is interested in site-spe-

Her practice combines steel

Maryland, as Assistant Profes-

School of the Art Institute of

cific, experimental modes

with a variety of media to craft

sor of Print and Extended

Josh Dihle’s recent work mixes

Chicago from 1991 to 2019.

of documentation and presen-

both functional objects and

Media. She received her MFA

painting, wood carving, and

She received her Master’s in

tation. Much of Bolen’s work

conceptual experimentations

in Printmaking from the Uni-

furniture construction to lo-

Sculpture from the Universität

involves rethinking systems

used in exhibitions, videos,

versity of Tennessee, Knoxville

cate an interchange between

der Künste Berlin and her BA

of recording, in an attempt

and live performances with

and her BFA in Studio Art

touch, vision, ecology, and

in Literature and Fine Art from

to observe invisible traces of

her band Glow in the Dark

from Florida State University.

unprocessed psychic energy.

the University of Iowa.

various scientific experiments

Flowers. In her most recent

His work has been shown

and human interactions

sculptural work, she fabri-

in exhibitions at venues

with the earth’s surface. His

cates steel armatures to prop

including Andrew Rafacz,

work has been exhibited at

up large, vivid, curtain-like

4th Ward Project Space,

numerous locations, including

membranes made from glue

Carrie Secrist Gallery, Shane

the Museum of Contemporary

and food coloring. Crane is

Campbell Gallery, Valerie

Photography, Andrew Rafacz,

the Director of Rose Raft,

Carberry Gallery, and Adult

Soccer Club Club, Gallery

an artists’ and musicians’

Contemporary, Chicago, and

400, DePaul Art Museum,

residency founded in 2015.

Jo Hormuth is a multidisci-

Elmhurst Art Museum, Illinois;

Jennifer Ling Datchuk is a

and Hyde Park Art Center,

She received her MFA from

plinary artist whose ideas

Essex Flowers, Flyweight,

multidisciplinary artist based

Chicago; the University at

Southern Illinois University

spring from a fascination

and DUTTON, New York; the

in San Antonio, Texas. Trained

Buffalo; Salon Zürcher, New

Edwardsville and her BFA

with perceptual, cognitive,

University of Maine Museum

in ceramics, she works with

York; I.D.E.A. Space, Colorado

from the School of the Art

and linguistic contradictions,

of Art, Bangor; Champi-

porcelain and other materials

Springs; the Mission, Hous-

Institute of Chicago.

backed by research into the

on Gallery, Austin, Texas;

often associated with tradi-

ton; Untitled Art Fair, Miami;

architecture, history, and

Pleasant Plains, Washington,

tional women’s work, such as

Newspace Center for Pho-

material conditions of the

DC; and Annarumma Gallery,

textiles and hair, to investigate

tography, Portland, Oregon;

context in which a work will

Naples, Italy. His work has

fragility, beauty, femininity,

Haus der Kulturen der Welt

be developed and shown. Her

appeared in New American

intersectionality, identity, and

and Exgirlfriend, Berlin; PACT

latest public project is Better

Paintings and Chicago Artist

personal history. Her work is

Zollverein, Essen, Germany;

Grammar–Garden, for the

Writers. He has been an

an exploration of her layered

Galerie Zürcher, Paris; La

Chicago Botanic Garden. The

Artist-in-Residence at Krems,

Photo courtesy of the artist (x5)

SUMMER 2021

Box, Bourges, France; POOL,

a Chinese woman, as an

51 O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

identity—as a woman, as

Austria, as well as the Catwalk

of Chicago and a BFA from

Painting and Sculpture in

particular interest in fractures

(Schiffer) and Encaustic

Art Residency, the Vermont

the Maryland Institute College

2017 and the Vermont Studio

within those systems. Recent

Art: The Complete Guide to

Studio Center, and Ox-Bow. A

of Art, she has also studied

Center as a Fellow in 2018.

work investigates the lasting

Creating Fine Art with Wax

co-founder of Barely Fair and

at the Skowhegan School of

Their first monograph, Some

impact of Soviet occupation

(Watson-Guptill). A Professor

Co-Director of Julius Caesar

Painting and Sculpture.

Kind of Duty, is available for

on both tangible and invisible

in the Art discipline at the

purchase at the DePaul Art

spaces. Paabus has exhibited

University of Wisconsin–

gallery, both in Chicago, he holds an MFA from the School

Kevin McCoy is an artist and

Museum and on Amazon.

throughout the United States,

Green Bay, Deetz frequently

of the Art Institute of Chicago

designer based in Saint Louis.

karolinagnatowski.com

Europe, and China, and

serves as a visiting artist and

and a BA from Middlebury

He and his wife co-founded

her work can be found in

has led numerous paint-

College.

WORK/PLAY, which utilizes

Krista Franklin is an interdis-

numerous collections. Recent

ing/drawing workshops at

serigraphs, handmade publi-

ciplinary artist whose work

exhibitions include Mean-

venues including Haystack

cations, installations, archival

appears in Poetry magazine,

while, Hobusepea Galerii,

Mountain School of Crafts,

documents, and video-based

Black Camera, Copper

Tallinn, Estonia; NEO Geo,

Penland School of Craft,

works to examine erasure

Nickel, Callaloo, Vinyl,

Akron Art Museum, Ohio; and

Anderson Ranch Arts Center,

and identity and challenge

Bomb magazine, Encyclo-

the Novosibirsk International

Arrowmont School of Arts

historical records. Recent

pedia Volume II, F–K and

Triennial of Contemporary

and Crafts, and Ox-Bow. In

exhibitions include Small

Volume III, L–Z, and several

Graphic Arts, Russia. She has

addition to the 2011 UW–

Talk, Crystal Bridges Museum

anthologies. Her art has

received a Fulbright grant

Green Bay Founders Award

Born and raised in New Delhi,

of American Art, Bentonville,

been exhibited at the Poetry

for installation art in Estonia,

for Excellence in Scholar-

India, and now based in

Arkansas, and Overview Is a

Foundation, Chicago Cultural

the Grant Wood Fellowship in

ship, she received the 2016

Brooklyn, Kaveri Raina makes

Place, SPRING/BREAK Art

Center, National Museum

Printmaking at the University

SECAC Award for Excellence

paintings based on internal

Show, New York. Recent book

of Mexican Art, Rootwork

of Iowa, the Ohio Arts Council

in Teaching and a Graphis

dialogues, with words that

fairs include Printed Matter’s

Gallery, and Museum of

Individual Excellence Award,

Design Annual 2015 Silver

trigger a feeling or an experi-

LA Art Book Fair; the Chicago

Contemporary Photography,

and the Southern Graphics

Award. Recently, she served

ence. The sensation of hov-

Art Book Fair; the Small

Chicago; the Studio Museum

Council International Resi-

as Erasmus Visiting Lecturer

ering, lingering, or swaying in

Press Expo, Saint Louis; Fully

in Harlem, New York; and

dency Award. Paabus has

at the University of Kassel,

a state of flux or suspension

Booked, Dubai; and Booklyn’s

Konsthall C, Stockholm; and

attended artists’ residencies

Germany, and Artist-in Resi-

is a common theme. Raina’s

Engaged Editions: Creative

on the set of 20th Century

in the United States, Iceland,

dence at the Burren College

work extends to deeper

Advocacy in Print, New York.

Fox’s Empire. The author

Estonia, Romania, Russia,

of Art, Ballyvaughan, Ireland.

psychological moments with

He received an MFA from the

of Under the Knife (Candor

and China. An Associate Pro-

the self, wandering into the

Sam Fox School of Design

Arts) and Study of Love &

fessor of Reproducible Media

Queens-based and Tennes-

idea of what could have been,

and Visual Arts at Washington

Black Body (Willow Books),

at Oberlin College, she earned

see-raised, Lauren Gregory

and a few chosen memories

University in St. Louis.

she is also one of the main

her MFA from the School of

is a painter, animator, and

characters in Les Impatients,

the Art Institute of Chicago

music video director. A

PAG E 52

shared with others along the way. Raina has exhibited in

Born in Poland and now

a film-essay by Aliocha Imhoff

and her BFA from the Rhode

third-generation southern

the United States, India, and

based in Chicago, kg teaches

and Kantuta Quiros. Franklin

Island School of Design.

female painter, she began by

Europe. She had her first

at the School of the Art Insti-

teaches writing at the School

following in her mother’s and

international solo exhibition in

tute of Chicago. Recent solo

of the Art Institute of Chicago.

grandmother’s footsteps, often

2019 at Annarumma Gallery,

exhibitions include Blue Out

She holds an MFA in Inter-

painting friends and family

Naples, Italy; that same year,

Of My Mouth at Free Range

disciplinary Book and Paper

in quick one-sitting sessions.

she had a solo show at As-

Gallery, Chicago; Changeling

Arts from Columbia College

Since she earned her MFA

sembly Room and exhibited

at Julius Caesar, Chicago; and

Chicago.

from the School of the Art

at Luhring Augustine, both in

Alter at Terrain Exhibitions,

Institute of Chicago in 2009,

New York. Raina has received

Oak Park, Illinois. In January

Gregory’s work has developed

various awards and fellow-

2019, kg hung a solo exhibi-

Kristy Deetz’s extensive

into oil-paint stop-motion

ships, including the James

tion, Some Kind of Duty, of

exhibition record includes

animations—moving paintings

Nelson Raymond Fellowship

woven works at the DePaul

national and international

in which thick impasto strokes

and the Fred and Joanna

Art Museum, which included

venues. With Reni Gower,

appear to move before the

Lazarus Scholarship, and

a participatory badminton

she co-curated FABRICation,

viewer’s eyes—and music

was recently nominated for

field made in collaboration

which traveled to art muse-

videos for international acts.

the Joan Mitchell Foundation

with artist Betsy Odom.

Kristina Paabus is a multi-

ums, university art galleries,

Her animations have been

Painters and Sculptors Grant.

Upcoming shows include the

disciplinary visual artist with

and art centers. Her paintings

screened at MoMA PS1, the

The recipient of an MFA in

group show I Am I Said at

a focus in printmaking. Her

have been featured in books

New Museum, the Museum

Painting and Drawing from

Carthage College. Kg attended

research examines structures

including Encaustic Art in

of Contemporary Art, Los An-

the School of the Art Institute

the Skowhegan School of

of control and power, with a

the Twenty-First Century

geles, and museums and film

Photo courtesy of the artist (x6)

Art Museum, Illinois; and

and worked in New York City,

methodology, their work

Artemisia Gallery and Gallery

where she teaches painting

rethinks history to identify the

312, Chicago. She has

and animation at Parsons

fictions that govern contem-

received awards from the City

School of Design.

porary life, considering issues

of Chicago, Seoul Foundation

of institutional access, incar-

for Arts and Culture, and Arts

ceration, and how images of

Council Korea. Hyon is an Adjunct Associate Professor in

Based in Philadelphia, Megan

Melissa Leandro lives and

marginalized people are cir-

Biddle is an interdisciplinary

works in Chicago. She has

culated and controlled. Their

the Printmedia department at

artist whose work orbits be-

had recent solo exhibitions

works have been exhibited at

the School of the Art Institute

tween sculpture, printmaking,

at Andrew Rafacz, Chicago;

EXPO Chicago; Andrew Ra-

of Chicago, from which she

and drawing. Rooted in glass,

Frieze New York; the Universi-

facz, Chicago; and Prizm Art

earned her MFA and BFA.

she produces experiment-

ty Club of Chicago; the Union

Fair, Miami. Their time-based

She also holds an Associate

Leslie Wilson’s research

and process-driven work with

League Club of Chicago;

works have premiered at the

of the Ontario College of Arts

focuses on the global history

an emphasis on materials

Rockford University, Illinois;

San Francisco Museum of

and Design.

of photography, modern and

and their distinct charac-

and the Wright Museum of

Modern Art; Artists’ Television

contemporary arts of Africa

teristics. As an observer of

Art, Beloit, Wisconsin. Recent

Access, San Francisco; the

Nicole Seisler is a Los Ange-

and the African diaspora,

nature, she responds to the

group exhibitions include

New York Queer Experimental

les-based ceramic artist who

modern and contemporary

elusive and subtle, reflecting

shows at the DePaul Art

Film Festival; and Defibrillator

creates sculpture, installation,

American art, and museum

on variations of time and

Museum and the Arts Club

Gallery, Chicago. Luna was a

and public art that investigate

and curatorial studies. She is

cycles of growth and erosion.

of Chicago. Leandro was

2018 Art Matters Founda-

time, materiality, process, and

an Assistant Professor of Art

She has exhibited nationally

awarded the 2020 Illinois

tion fellowship recipient,

the overlapping roles of artist/

History at SUNY Purchase,

and internationally, and her

Arts Council Fellowship in

2018–2019 BOLT Resident at

viewer/participant/collabora-

where her current book proj-

work is part of the American

Crafts, the 2019 Windgate

the Chicago Artists Coalition,

tor. Nicole received her MFA

ect charts the development

Embassy’s permanent col-

Fellowship, the 2017 Toby

and 2017 SOMA Summer

from the School of the Art

and popularization of color

lection in Riga, Latvia. Biddle

Devan Lewis Fellowship at the

participant in Mexico City, and

Institute of Chicago and her

photography in South Africa.

has attended residencies at

School of the Art Institute of

is currently a Film Fellow in

BFA from the School of the

She has recently written for

MacDowell, the Jentel Artist

Chicago, and the 2017 Lumi-

the Queer|Art|Mentorship pro-

Museum of Fine Arts, Boston.

publications including Foam,

Residency, the Creative Glass

narts Cultural Foundation Fel-

gram. An Assistant Professor

She has exhibited widely at

on Luther Konadu, and

Center of America at Whea-

lowship. A 2017–2018 BOLT

of Contemporary Art Practice

museums ranging from the

Manual, on Aïda Muluneh,

tonArts, Sculpture Space, the

Resident at the Chicago Artist

and an AICAD Post-Graduate

Museum of Contemporary

and she interviewed Larry

Virginia Center for Creative

Coalition, she has also attend-

Teaching Fellow at Parsons

Photography in Chicago and

W. Cook for Weiss Berlin.

Arts, Pilchuck Glass School,

ed residencies at the Vermont

School of Design, they

the Museum of Fine arts in

From 2019 to 2021, she was

Haystack Mountain School

Studio Center, Atlantic Center

received an MFA in Perfor-

Tallahassee to the Museum of

a Curatorial Fellow at the

of Crafts, the Massachusetts

for the Arts, the Ragdale

mance from the School of the

Fine Arts in Boston and Craft

Smart Museum of Art at the

Museum of Contemporary

Foundation, ACRE, the Roger

Art Institute of Chicago and

Contemporary in Los Angeles.

University of Chicago, and

Art, and North Land Creative,

Brown House, the Weaving

a BFA in Textiles and Media

Nicole has taught ceramics at

from 2015 to 2017, she held

Scotland. She has taught at

Mill, the Jacquard Center, and

Arts from California College of

the School of the Art Institute

a predoctoral fellowship at the

Haystack, Pilchuck Glass

TextielLab, Netherlands. She

the Arts.

of Chicago, the University

Center for Advanced Study

School, UrbanGlass, and Ox-

received both her MFA and

of Washington, University of

in the Visual Arts. She holds

Bow, and currently teaches in

BFA from SAIC.

California Los Angeles, and

a PhD in Art History from the

the Glass Program at the Tyler

she was the Lincoln Visiting

University of Chicago and a

School of Art and Architec-

Professor of Ceramics at

BA in International Relations

ture. She is a Co-Director

Scripps College. Nicole is the

from Wellesley College.

and member of the Tiger

Director of the Los Angeles

Strikes Asteroid gallery, in

contemporary ceramics

Philadelphia.

gallery A-B Projects. Myungah Hyon has exhibited her work at venues including

Photo courtesy of the artist (x3

Mev Luna is an interdisciplin-

Printed Matter, New York;

ary artist currently based in

Kookmin Art Gallery and

New York, whose re-

Gallery Factory, Seoul;

search-based practice spans

Riverside Arts Center, Illinois;

performance, installation,

William A. Koehnline Gallery,

SUMMER 2021

Des Plaines, Illinois; Elmhurst

Through an autobiographical

53 F O R S A I C S T U D E N T S

video, new media, and text.

Since 2010, Gregory has lived

O X - B O W S C H O O L O F A R T

festivals around the world.

PAG E 5 4

Born in San Juan, Puerto

of Arts and Design, New

Museum of Art, Ohio; and

native of mixed Indigenous

York. He has served as an

the Arts Club of Chicago, the

Hawaiian, Mexican, Irish, and

Artist-in-Residence with the

Chicago Artists Coalition, and

Punjabi heritage. The “Dainty

City of Boston; the Harvard

Western Exhibitions, Chicago.

Satanist,” as described by

Ceramics Program, Office of

Their work has been featured

Vaginal Davis, has exhibited

the Arts at Harvard University;

in solo shows at the Arts Club

extensively in Berlin, where

and the Kohler Arts/Industry

of Chicago and MCA Chicago

they lived for six years, most

program. Jiménez-Flores has

and was recently included in

notably at September Gallery,

received the Joan Mitchell

the book Weather as Medi-

Kunstraum Bethanien,

um: Toward a Meteorological

and the Schwules Muse-

Rico, and based in Brooklyn,

Ruby T’s work is an experi-

Foundation Painters and

Nora Maité Nieves is interest-

ment in translating fantasy

Sculptors Grant as well as a

Art (Leonardo), by Janine

um. Hanley approaches

ed in the expanded dialogue

to reality, and she is fueled

grant from the New England

Randerson.

sensorial boundaries through

of painting. Her paintings,

by anger, desire, and magic.

Foundation for the Arts. He

drawings, and sculptures

Named a 2018 Breakout

is an Assistant Professor in

Snow Yunxue Fu is a New

and formative imagination,

explore how we define space

Artist by Newcity, she has had

Ceramics at the School of the

York–based international new

in works that grapple with

through domestic owner-

solo and two-person exhibi-

Art Institute of Chicago.

media artist, curator, and

aspects of domesticity,

ship, making reference to

tions at Western Exhibitions,

Assistant Arts Professor in the

trauma, and fetish. Their

ornamental details from

Roots and Culture, and the

Department of Photography

work delineates spaces both

architecture, especially floor

Back Room at Kim’s Corner

and Imaging at New York Uni-

sacred and profane while

and wall surfaces and tiles.

Food, Chicago, and Randy Al-

versity’s Tisch School of the

creating a ritualized sacrilege

She is drawn to the mystic

exander, New York. She holds

Arts. She obtained an MFA

that emboldens queer agency.

values of objects such as

an MFA in Fiber and Material

in Studio Art from the School

Hanley’s practice incorpo-

amulets, heirlooms, and jew-

Studies from the School of the

of the Art Institute of Chicago

rates their perspectives as

elry. Recent solo exhibitions

Art Institute of Chicago.

in 2014. Using topographical

an unapologetically queer

include Full Room in the Sun

computer-rendered images

humanoid and their religious

Room, Fresh Window Gallery,

and installations, her practice

experiences (specifically, of a

New York; Paisaje Lunar,

merges historical painterly,

failed Mormon-led “sexual re-

Flyweight Projects, New York;

philosophical, and post-pho-

orientation” therapy), together

and Tangible, Hidrante Gal-

tographic explorations into the

with their navigation as an art-

lery, San Juan. Recent group

aesthetic and definitive nature

ist and educator. Hanley has

exhibitions include shows at

of the sublime. Fu’s artwork

exhibited at the Tüyup Fair,

Embajada, Km0.2, and the

has been shown internation-

Istanbul; the Jerusalem Artists House; La MaMa Galleria,

playgrounds of morality

Museo de Arte Contemporá-

An interdisciplinary artist

Sarah Belknap and Joseph

ally, at venues including the

neo de Puerto Rico, San

born and raised in Jalisco,

Belknap are Chicago-based

New York Gallery of Chinese

New York; and Lodos, Mexico

Juan; Jessica’s Apartment

Mexico, Salvador Jiménez-

interdisciplinary artists and

Art, Ars Electronica, the

City, and is represented by M.

Gallery, Unisex Salon, and

Flores explores the politics

educators who make art

Venice Architecture Biennale,

LeBlanc, Chicago. They re-

Fresh Window, New York; Gal-

of identity and the state of

that looks at outer space, con-

Pioneer Works, Sedition,

cently finished two solo shows

leri Thomassen, Gothenburg,

double consciousness. He ad-

spiracy theories, and physics.

the Shenzhen Independent

in Chicago, at M. LeBlanc

Sweden; the Latino Arts

dresses issues of colonization,

Working as a team since

Animation Biennale, the

and the University Club of

Gallery, Milwaukee; and the

migration, the “other,” and

2008, they have exhibited

Current Museum, the Thoma

Chicago, and participated in

Ukrainian Institute of Modern

futurism through a mixture of

their art in artist-run exhibition

Foundation Art House, and

the exhibition Psychic Plumb-

Art, National Museum of

socially conscious installation,

spaces in Brooklyn, Detroit,

the Wrong Biennale. Her

ing at CANARY, Los Angeles,

Puerto Rican Arts and

public, and studio-based art,

Minneapolis, Kansas City,

work has been collected

which was favorably reviewed

Culture, and Terrain Biennial,

spanning drawing, ceramics,

Saint Louis, and Springfield,

by institutions such as the

in Artforum.

Chicago. She has attended

prints, and mixed-media

Illinois. In addition, they have

Current Museum, New York,

residencies including High

sculpture. Jiménez-Flores has

presented performances at in-

and she remains the youngest

Concept Labs, the Cooper

presented his work at venues

stitutions throughout Chicago,

artist collected by the National

Union Summer Art Intensive,

including the National Muse-

including the Chicago Cultural

Art Museum of China. Her

and ÁREA: Lugar de Proyec-

um of Mexican Art, Chicago;

Center, Hyde Park Art Center,

interviews and reviews have

tos, Caguas, Puerto Rico.

Grand Rapids Art Museum

Links Hall, and the Museum

appeared in the New York

Nieves received her MFA from

and the Urban Institute for

of Contemporary Art (MCA)

Times and the Boston Globe,

the School of the Art Institute

Contemporary Arts, Grand

Chicago. Their work has been

among other publications.

of Chicago and her BFA from

Rapids, Michigan; the Bemis

shown in group exhibitions at

the Escuela de Artes Plásticas

Center for Contemporary Arts,

the San Francisco Art Institute

Chicago-based artist Stevie

y Diseño, San Juan.

Omaha; and the Museum

Galleries; the Columbus

Cisneros Hanley is a California

Clinic, the Pérez Art Museum

and a Fellow at the Creative

Miami, and the Art Institute

occupy physical and digital

Glass Center of America at

of Chicago. He has received

space. A co-founder of Bee

WheatonArts. She has also

awards from the Louis Com-

Kingdom Glass studio, he also

been an Artist-in-Residence

fort Tiffany Foundation and

assisted in launching Berlin

at the Massachusetts Muse-

Artadia.

Glas e.V. and has worked for

um of Contemporary Art and

Ox-Bow and UrbanGlass,

the STARworks Glass Lab,

The founder of and Master

New York. His work has been

North Carolina. Ahmadiza-

Printer at Hummingbird

exhibited at the Cheongju

deh Melendez is currently a

Press Editions, Thomas Lucas

Craft Biennale, South Korea;

faculty member in Glass at

has published such artists

the Pergamonmuseum,

the Tyler School of Art and

as Kerry James Marshall,

Berlin; and the Pictoplasma

Architecture, from which she

William Conger, Richard

festival, Monterrey, Mexico.

received her BFA in Glass.

Hunt, Willie Cole, Barbara

He has attended residencies

She holds an MFA in Craft/

Jones-Hogu, Jean Matulka,

at the Europees Keramisch

Material Studies from Virginia

and Candida Alvarez. He has

Werkcentrum, Netherlands;

Commonwealth University.

shown his work in solo and

California State University,

group exhibitions at Chicago

Fullerton; and Casa Lü, Mexi-

State University and South

co City. He earned an MFA in

Side Community Art Center,

Fibers and Material Practices

Chicago; Elmhurst College, Il-

from Concordia University,

linois; N’Namdi Contemporary

Montreal.

Miami; and the Art Museum of Greater Lafayette, Indiana, as well as in Greece, Israel,

Chicago-based artist William

and Mexico. Lucas has taught

J. O’Brien’s idiosyncratic and

at the Tyler School of Art and

exuberant forms are born

Architecture, the School of

out of an improvised and

the Art Institute of Chicago,

intuitive studio practice, rich

the Milwaukee Institute of Art

in material experimentation.

and Design, Penland School

Based in Philadelphia, Victo-

Through drawing, painting,

of Craft, Arrowmont School of

ria Ahmadizadeh Melendez is

sculpture, and ceramics,

Arts and Crafts, and Ox-Bow,

a multidisciplinary artist who

O’Brien explores the tradition-

and is currently an Assistant

combines poetry and prose

al and historical application

Professor at Chicago State

with images and objects to

of materials, but also employs

University. He holds an MFA

create layered experienc-

play to refute such definitive

from SAIC and a BFA in Print-

es. She views glass as an

uses. Inspired by modern-

making from the Tyler School

inherently lyrical material, and

ism, as well as the history of

of Art. He is represented

utilizes it as a central element

material usage of outsider art,

by N’Namdi Contemporary,

in her work to translate poetic

his multidisciplinary practice

Miami and Detroit.

metaphor. Her work has been

is a search for identity and

shown at Glasmuseet Ebeltoft,

genuine expression through

Denmark; the National

material and process. O’Brien

Glass Centre, Sunderland,

has had solo exhibitions at

England; DOX Centre for

venues including Atlanta

Contemporary Art, Prague;

Contemporary; the Madison

and UrbanGlass, New York,

Museum of Contemporary

among other venues. She

Art, Wisconsin; the Museum

was featured in volumes 33

of Contemporary Art Chicago;

Tim Belliveau is a Canadian

and 38 of New Glass Review,

and the Nerman Museum of

artist and teacher focused on

published by the Corning Mu-

Contemporary Art, Overland

craft and digital technologies

seum of Glass. Ahmadizadeh

Park, Kansas. His work is

using glass, ceramic, and

Melendez was recently an

included in the permanent

3D print. His work combines

Emerging Artist-in-Residence

collections of the Cleveland

SUMMER 2021

at Pilchuck Glass School

ones, questioning how we

55 O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

handmade objects with digital

L I F E AT OX- B OW

OVERVIEW Frederick Fursman and Walter Clute, two faculty members from the School of the Art Institute of Chicago, founded Ox-Bow in 1910. Each summer, artists, students, and educators gather along the lagoon in beautiful Saugatuck, Michigan, located two and a half hours from Chicago. With programs that cater to degree-seeking students, professional artists, and those new to the field, Ox-Bow is a protected place where creative processes break down, reform, and mature. At Ox-Bow, we encourage you to experiment, take risks, be playful, and trust your instincts; to engage faculty and fellow students during course time and in our public spaces; to remain open to new experiences and contribute your unique perspective to our vital and historic

PAG E 5 6

community. During any given week, you will find: •• Students taking immersive classes •• Faculty from all over the world •• Renowned visiting artists, curators, and scholars •• Staff who are all working artists and have active studio practices

Brandon Dill (x1

ACTIVITIES & CAMPUS LIFE

Courses offer a unique opportunity

There are always a number of

to build your community by

activities to participate in around

working closely alongside artists

campus after course hours: •• Visiting Artist, Artist-in-

the guidance of world-class

Residence, and faculty

instructors. Ox-Bow’s courses are

lectures

diverse, ranging in focus from

•• The Crow’s Nest Trail: Hike

functional to sculptural; from

through 115 acres of wooded

traditional to contemporary; from

dunes

representational to conceptual.

Admission Policy Ox-Bow reserves the right to deny admission to any individual who has demonstrated a history of behavior that, in the judgment of Ox-Bow, might contribute in any way to the disruption of the educational processes or residential life on campus.

•• Canoeing: Explore the lagoon

Intensive and immersive one- and

and the beach along Lake

Companion/Guest Policy

two-week courses allow students

Michigan

No companions, guests, or visitors are

to delve deeply into their practices.

•• Volleyball on the Meadow

permitted during your stay. All residential

All studios except glassblowing are

•• Relaxing around the campfire

housing and studio facilities are limited

open 24 hours. Ox-Bow maintains

•• Spontaneous evening events

to artists enrolled in courses. We may

six classroom studios:

MEALS •• Thiele Print Studio

Students enjoy healthy and

•• Haas Painting & Drawing

delicious meals prepared each

Studio •• Seymour & Esther Padnos Metals Studio

day by our talented kitchen staff. Locally sourced ingredients are used as much as possible. Three

•• Krehbiel Ceramics Studio

meals per day are included in the

•• Burke Glass Studio

room-and-board fee for students

•• Clute Papermaking Studio

residing at Ox-Bow. Our chefs are happy to accommodate dietary

be able to assist participants in finding accommodations for individual family circumstances, but these arrangements will be made on a case-by-case basis and must be determined in advance of your course or residency. There is no guarantee that alternate accommodations can be established. Suspension & Expulsion Policies Ox-Bow reserves the right to impose

SCHEDULE

restrictions; please let the Ox-Bow

Classes meet daily and over

office know of any food allergies

weekend and holidays

or special diet requirements upon

expulsion, without refund, upon students

9:30 a.m.–6 p.m.

check-in.

whose behavior, in the judgment of

Day one:

Please refer to the Community

disruption of the educational processes

COVID-19 Mitigation Guidelines for

or residential life on campus. Additional

more information on meal service.

policies are listed in the Ox-Bow Policy

sanctions including suspension and

Ox-Bow, contributes in any way to the •• 2–5 p.m. (EST) Arrival for checkin and on-site paperwork •• 5:30 p.m. Orientation •• 6 p.m. Dinner

HOUSING

•• 8 p.m. First class meeting

Ox-Bow provides dormitory-style housing with shared bathrooms.

Day two: •• 8:30 am-9:00 am Breakfast

All students are assigned singleoccupancy rooms.

•• 9:00 am: Morning all campus orientation •• 9:30 am: First class meeting

COMMUTING STUDENTS (SESSIONS 1, 3 & 5 ONLY) Commuting is an option for local

& Procedures Handbook. (SAIC students will be subject to disciplinary procedures and sanctions as outlined in the School of the Art Institute of Chicago’s Student Handbook.) Studio Policies Each studio has specific policies in place to ensure the safety of students and equipment. Additionally, these policies

CONTACT INFORMATION

residents and students who wish to

Questions concerning your stay

make other housing arrangements.

at Ox-Bow (arriving, departing,

There are a variety of off-campus

what to bring, travel issues,

accommodations (motels, hotels,

etc.) should be directed to

inns) located in and around

policies will be explained on the first

the Saugatuck office at (269)

Saugatuck and Douglas. Both

night of classes. Any student found in

857-5811. The Ox-Bow campus is

towns are about two miles from

violation of these policies will be asked

located at 3435 Rupprecht Way,

Ox-Bow and are accessible by car.

to leave the course without refund. These

Saugatuck, MI 49453. Questions

There are also a number of options

same policies are applied to any work

regarding class registration and

located within walking distance.

conducted in the Ox-Bow landscape or

payment should be directed

Camping is not allowed at Ox-

on the Ox-Bow grounds. Because Ox-Bow

to the Assistant Director of

Bow. Meal plans are available for

is a community, we ask that all students

Academic Programs in the

commuting students (lunch only,

Chicago Administrative Offices at

$45; breakfast and lunch, $75; full

respect the rights of their classmates and

mreyna@ox-bow.org.

meal plan, $160).

ensure that all participants receive a quality education with equal access to faculty and equipment. All studio-specific

fellow community members by following our policies.

O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

from across the country under

POLICIES

SUMMER 2021

COURSES & STUDIOS

COMMUNITY COVID -19 M I T I G AT I O N GUIDELINES

As we are all in community together, it is everyone’s responsibility to assist in ensuring that we remain free of COVID-19. All of our COVID guidelines and processes are motivated by CDC recommendations. In order to mitigate the risks and spread of COVID-19, we have implemented new safety measures on campus. We ask that all community members follow the guidelines and best practices below. SAFETY MEASURES FOR RESIDENTIAL PARTICIPANTS (anyone staying overnight) •• You must get a COVID test 72 hours prior to arrival at Ox-Bow, and submit proof of a negative result to the Campus Director before traveling to campus. •• We recommend that you isolate/ quarantine for 14 days prior to arrival on campus.

PAG E 5 8

•• You will receive a questionnaire, to be filled out 48 hours prior to arrival on campus, confirming that you have not been exposed to COVID-19 and are not currently experiencing any symptoms.

courtesy of Christopher Meerdo 2020 Virtual Artifacts: Moldmaking, Hydroprinting, Screenspace Objects Course

heightened sanitation of high-

Please note that all students are

traffic areas.

responsible for arranging their own travel to and from campus. •• Drive, using a personal or rented vehicle if possible. Enterprise,

•• O nly Ox-Bow faculty, staff, and

disinfect public bathrooms and other high-traffic areas twice daily. •• DIY cleaning kits will be available in common areas of all dorms,

students in a given workshop/

in all cabins, and in all studios.

class will enter designated studios/

Housekeeping staff will replenish

classrooms.

these kits as necessary. All

•• W henever possible, workshops and

community members will be

locations in Holland, Michigan, an

events will take place in sheltered

expected to pitch in to keep

approximately 20-minute drive from

outdoor/open-air spaces for

campus. Check with the individual

maximum ventilation.

Avis, Hertz, and Budget all have

agency to see if they accept vehicle

•• We will ensure that windows and

drop-offs. Ox-Bow will coordinate

doors with screens remain open

pickup from the rental drop-off

as much as possible, keep fans

point for residential students only.

running, and maximize airflow and

•• I f using public transportation, use Amtrak. Ox-Bow will coordinate

ventilation. •• I n the warmer months, two

pickup from the train station for

20-by-40-foot open-air tents on

residential students only.

the Meadow facilitate outdoor

•• Wear cloth face coverings/masks while traveling.

gatherings. •• N o groups larger than 20 people will gather outdoors.

GENERAL COMMUNITY GUIDELINES •• Cloth face coverings/masks are required indoors and encouraged at all times. Specifically, you are

•• N o groups larger than 12 people will gather indoors. •• R esidential participants will stay in single-occupancy rooms.

required to wear a cloth face covering/mask in the following situations:

DINING •• W hen the dining room is open for

•• W henever you are inside a building.

meal retrieval, markings on the

•• W hen engaging in programming.

floor will direct flow of traffic and

•• W hen working in the studios (both indoor and open air). •• O utdoors whenever you are within 6 feet of another person. •• Practice proper handwashing. •• S ocially distance, staying at least 6 feet apart from others, whenever

spacing. •• M eals will be served by staff wearing personal protective equipment. •• A plexiglass shield will separate participants and staff at the main serving station. •• Prepackaged, grab-and-go snacks

possible. •• Properly cover your mouth and nose when coughing and sneezing.

will be available for residential participants. •• We will not allow the reuse of cups

SAFETY MEASURES AT OX-BOW Enrollment: Our 2021 programming is focused on workshops and events geared toward smaller numbers of

or plates for seconds. •• Participants will deposit all dirty dishes directly into tubs filled with a soap/detergent solution. •• We will dine in diffused, demarcated,

people.

and primarily outdoor seating areas. •• Food service practices will evolve

SPACES •• Access to the ground floor of the

as needed.

Ox-Bow Inn is primarily limited to staff. Participants will have access only during designated meal pickup

themselves and their spaces clean. •• All public bathrooms are equipped with paper towel dispensers. •• Hand sanitizer dispensers are available in high-traffic areas. IN CASE OF ILLNESS •• All community members will be asked to familiarize themselves

•• We have implemented separate work spaces in studios, limited

with COVID symptoms; we will make this information available through orientations, as well as postings on our website and on campus. We will also provide printouts with detailed information about local medical facilities. •• If you are experiencing symptoms, tell core staff immediately. •• Staff will take the temperature of any student demonstrating potential COVID symptoms. •• All students with COVID-like symptoms (cough and fever) will be asked to leave campus and seek medical care at the Campus Director’s discretion. •• In the event that anyone currently on campus has an active case of COVID or exhibits COVID-like symptoms, the Ox-Bow campus will close immediately. We will assist participants in making arrangements to leave campus. Ox-Bow will remain closed for two weeks prior to reopening. •• Ox-Bow will work with the required outside health departments for contact tracing. •• Ox-Bow’s staff cannot provide medical care or transportation to a care facility.

CLEANING •• Housekeeping staff use antiviral cleaning agents for all cleaning

times.

SUMMER 2021

tool and equipment sharing, and

OX-BOW

purposes. •• Housekeeping staff clean and

STAY U P TO DATE O N O U R C OV I D -1 9 M ITI GATI O N G U I D E LI N E S H E R E

O X - B O W S C H O O L O F A R T & A R T I S T S ’ R E S I D E N C Y

BEST PRACTICES WHEN TRAVELING TO

OX- BOW M E R IT SCHOLARSHIPS We offer a variety of scholarships for students taking credit or non-credit classes to ensure that the OxBow experience is open to everyone. The scholarship deadline is Monday, March 22, 2021, at 10 a.m. EST (9 a.m. CST). Apply online at www.ox-bow.org.* * Only one application is required to apply for all available scholarships.

BEA AND CAROLINE DAVIS SCHOLARSHIP:

GEORGE LIEBERT SCHOLARSHIP: For

MARION AND TOM WENDEL

Available to all students. Credit or non-credit courses.

undergraduate and graduate students

SCHOLARSHIP: For high school students

from any school. Credit courses only.

enrolling in the Pre-College program.

BEN SEAMONS MEMORIAL

JIM ZANZI SCHOLARSHIP FUND: For SAIC

MARY LOUISE BARNA MEMORIAL

SCHOLARSHIP: Available to all

students to take classes at Ox-Bow.

SCHOLARSHIP: For degree-seeking

students. Credit or non-credit courses.

Granted on the basis of financial need.

students from any college or university

Credit courses only.

with demonstrated financial need, who

DALE METTERNICH MEMORIAL

LALLA ANNE CRITZ ZANZI SCHOLARSHIP:

without the support of this scholarship.

SCHOLARSHIP: For undergraduate

For female SAIC undergraduate and

Credit courses only.

and graduate students

graduate painting students. Credit

from any school. Credit or non-credit

courses only.

would be unable to attend Ox-Bow

RUPPRECHT SCHOLARSHIP: For undergraduate and graduate students

courses. LATINX ARTIST VISIBILITY AWARD: A

currently enrolled in SAIC’s Painting and

DANIEL CLARKE JOHNSON MEMORIAL

fully funded opportunity for Latina/o/x

Drawing programs. Credit courses only.

SCHOLARSHIP: For undergraduate

students to experience Ox-Bow. For

and graduate students from any school. Credit or non-credit courses.

undergraduate and graduate students

STEKETEE SCHOLARSHIP: For SAIC

from any school. Credit or non-credit

undergraduate and graduate students.

courses. This award is in partnership

Credit or non-credit courses.

with J. Soto and Anthony Romero. VI FOGLE URETZ SCHOLARSHIP: For SAIC

DAVE BALAS SCHOLARSHIP: Available to all students. Credit or non-credit

LEROY NEIMAN FOUNDATION

undergraduate and graduate students.

courses.

SCHOLARSHIP: For undergraduate and

Credit or non-credit courses.

graduate students from any school. E.W. ROSS SCHOLARSHIP: For high

Credit or non-credit courses.

PAG E 6 0

College program.

WEST MICHIGAN SCHOLARSHIP: For students residing within the West

school students enrolling in the PreLORETTE GRELLNER SCHOLARSHIP: For

Michigan area. Credit or non-credit

adult women who are either pursuing a

courses.

FITZ AND THELMA COGHLIN

degree in art or seeking to refresh their

SCHOLARSHIP: For students from the

professional practice in the classroom

West Michigan region. Credit or non-

environment. Credit or non-credit

credit courses.

courses.

Brandon Dill (x3)

Ox-Bow’s Board of Directors contributes their time, expertise, and resources to ensure that future generations of artists will benefit from Ox-Bow’s rich tradition and outstanding programming. We are grateful for their dedication and support.

SUMMER 2021

BOARD OF DIRECTORS

OX-BOW BOARD OF DIRECTORS Steven C. Meier President

MEMBERS Scott Alfree Evan Boris Dawn Gavin Lucy Minturn Governance Chair William Padnos Elissa Tenny Keith P. Walker Todd E. Warnock

OUR PROGRAMMING SUPPORTERS

EFROYMSON FAMILY FUND This project was funded in part by a grant from the Efroymson Family Fund. The Efroymson Family Fund, a donor- advised fund of the Central Indiana Community Foundation, continues a long legacy of charitable commitment by the Efroymson family in central Indiana. The Efroymson Family Fund was established in 1998 by Dan and Lori Efroymson to promote the visibility of communities and to date has awarded more than $88 million in grants in central Indiana and beyond. For more information about the Efroymson Family Fund, visit: efroymsonfamilyfund.org

Brandon Dill, courtesy (x5)

JOHN M. HARTIGAN MEMORIAL SCHOLARSHIP FOR PAINTERS John M. Hartigan was a life-long Chicagoan, an artist, a patron of the arts, and a dedicated family man. A gifted lawyer and an engaged community member, John was always interested in civic affairs, sitting on a number of Boards. Over the years he took courses at the School of the Art Institute, as well as Summer courses at Ox-Bow. John loved both the camaraderie and the artistic synergy of the campus. The Hartigan Endowment will be used to support the on-going education of artist in residence whose medium is acrylic and/or oil. This award is available to applicants for both the Summer and Fall Residency cycles.

OX-BOW NEA AWARD Ox-Bow is pleased to be the recipient of a grant award from the National Endowment for the Arts. Ox-Bow will offer artist fully-subsidized and paid residency opportunities in the Summer and Fall. In order to meet the needs of working artists, we are constantly striving to alleviate financial barriers that hinder the creative process. Offering paid residencies answers the increasing call for Ox-Bow to be both an artistic and financial haven for artists and their work. This program is supported in part by an award from the National Endowment for the Arts Art Works.

O X - B O W S C H O O L O F A R T

Secretary & Treasurer

F O R S A I C S T U D E N T S

Janet R. Cunningham

W W W.OX- B OW.O R G