COVER ART by: Snow Yunxue Fu
2020-2021
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 ideas; an energizing natural environment; and a rich artistic history and vital future. OxBow’s egalitarian and intimate environment encourages all artists, regardless of experience, to find, amplify, rediscover, and share their impulse to create. Faculty, Visiting Artists, Residents, staff, 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.
CON TAC T US WEBSITE : WWW.OX-BOW.ORG E-MAIL : OX-BOW@SAIC.EDU SAUGATUCK CAMPUS 3435 Rupprecht Way, Saugatuck, MI 49453 FOLLOW US ON INSTAGRAM AND FACEBOOK @OXBOWSCHOOLOFART
PROUDLY AFFILIATED WITH THE SCHOOL OF THE ART INSTITUTE OF CHICAGO, A MAJOR SPONSOR OF OX-BOW
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CORE COURSES page 2 WINTER SEMINARS page 20 WINTER INTENSIVE page 22 WINTER SHORTS page 26 TUITION & FEES page 33 R EGI S T R AT ION page 34 page 1
JANUARY 11 -22 , 2021
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Looking for a way to connect this winter? This December and January, we are running a series of new virtual programs for you to engage with online! In keeping with the Ox-Bow tradition of creating intimate and engaged artists’ communities, we will host a number of online intensives, bringing small groups together to share work and ideas and connect in conversation. In addition to a slate of two-week classes, we are piloting the program Conversations in Practice, a series of winter virtual seminars. Online programming is new to Ox-Bow’s curriculum, and already we’ve received some great feedback from faculty and students about their online learning experiences.
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The dynamic was very good, and I think that comes from having such a small class size. We were all able to have ample one-on-one time with our instructor as well as get to know each other and [each other’s] work in Zoom discussions.
screen grabs from Claire Ashley’s Exploding Paint Summer 2020 online class
Working with Claire [Ashley] online pushed me to make the limitations I had work for my practice, and also forced me to make work that I didn’t think I could make in the limited space that I had.
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Lauren Gregory
Queens-based and Tennessee-raised, Lauren Gregory is a painter, animator, and music video director. A third-generation southern female painter,
MATERIAL EXPLORATION IN STOP MOTION with Lauren Gregory 2-WEEK COURSE PAINTING 664 001 AND FVNM 664 001 3 CREDIT HOURS
she began by following in her mother’s and grandmother’s footsteps, often painting friends and family in quick onesitting sessions. Since she earned her MFA from the School of the Art Institute of Chicago in 2009, Gregory’s work has developed into oil-paint stop-motion animations—moving paintings in which thick
In this handcrafted animation production course, students
impasto strokes appear
will focus on techniques including paint and clay animation,
to move before the
paper cutout animation, stop-motion object animation, and
viewer’s eyes—and music
performative pixilation animation using the human body. Each
videos for international
student will shoot, edit, and produce one short animated film
acts. Her animations
during the course.
have been screened at MoMA PS1, the New Museum, the Museum of
We’ll explore the culture of experimental animation in class
Contemporary Art, Los
discussions after screening short works by Caroline Leaf,
Angeles, and museums
Allison Schulnik, Suzan Pitt, Jodie Mack, Kelly Gallagher,
and film festivals around
Helen Hill, Jeff Scher, Jacolby Satterwhite, Terry Gilliam, Chris
the world. Since 2010,
Sullivan, and others.
Gregory has lived and
Students will produce an animated short involving their own
worked in New York City, where she teaches painting and animation
material interests, collaging together stop-motion sequences
at Parsons School of
produced using a range of animation techniques.
Design.
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CORE COURSES
Peppreann for President Oil paint on canvas 26 x 20 in. 2017
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C O R E C O U R S E S // W I N T E R 2 0 21 // V I R T U A L LY AT OX- B O W
D r. D i a n n e Jedlicka teaches numerous biology courses at the School of the Art Institute of Chicago, including Animal Behavior, Evolutionary
OX BOW WINTER ECOLOGY w i t h D r. D i a n n e J e d l i c ka
Mammalogy, Ecology (Natural History), and Human Anatomy and Physiology. Her primary research has been at the community level of organization, focusing on the feeding
2-WEEK COURSE SCIENCE 606 001 3 CREDIT HOURS
Why do our Ox-Bow deer change fur types? Why do the sugar
strategies and predation of tree and ground squirrels based on their functional morphology. Observational data collected on nocturnal
maple tree leaves turn colors while the pines and cedars change
foraging of the eastern
“shades”? In this course, students will engage with the virtual
cottontail rabbit was
science lab to answer questions about the friendly and familiar
published recently. All
wildlife found at Ox-Bow during the cold months. The winter
of these animals are
habits of birds, turtles, bees, deer, and a variety of plant life will
found throughout the
be discussed and observed. Videos and lectures from campus will give updates on the wildlife environment at Ox-Bow.
Ox-Bow region and offer Dr. Jedlicka’s students ample opportunity for scientific observations.
Each student will participate in a session-long research project
Dr. Jedlicka has also
via zoo live cameras, focusing on a vertebrate of that student’s
presented and published
choice. Virtual labs will be conducted on animal population
articles on new teaching
adaptations and foraging, and readings from current scientific
methods and labs in the
papers on the physiological changes during winter coldness will be presented. Students can expect quizzes on ecological
college classroom.
----
vocabulary in addition to discussion and lectures during the
Dr. Dianne Jedlicka kayaking
daily live virtual meetings.
at Ox-Bow.
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CORE COURSES
kg Born in Poland and now based in Chicago, kg teaches at the School of the Art Institute of Chicago. Recent solo exhibitions include Blue Out Of My Mouth at Free Range Gallery, Chicago; Changeling at Julius Caesar, Chicago; and Alter at Terrain Exhibitions, Oak Park, Illinois. In January 2019, kg hung a solo exhibition, Some Kind of Duty, of woven works at the
WINTER WEAVING with kg
DePaul Art Museum, which included a participatory badminton field made in collaboration with artist Betsy Odom. Upcoming shows include the group
2-WEEK COURSE
show I Am I Said at Carthage
FIBER 621 001
College. Kg attended the
3 CREDIT HOURS
Skowhegan School of Painting and Sculpture in
Weaving is a process that 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
2017 and the Vermont Studio Center as a Fellow in 2018. Their first monograph, Some Kind of Duty, is available for purchase at the
and process-based approaches. Students will learn
DePaul Art Museum and on
weaving techniques and loom construction, and execute a
Amazon.
number of finished works.
www.karolinagnatowski.com
Students will focus on narrative in relation to weaving through imagery, found objects, woven structure,
---Banana Zucchini?! Banana.
performance, display, warp and weft relationships, and
With rope and hand-spun wool
color, and dig into the process of weaving itself as
7 x 9 in.
narrative work.
2018
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Snow Yunxue Fu is a New York–based international new media artist, curator, and Assistant Arts
3D ANIMATION, VIRTUAL ENVIRONMENTS with S n ow Yun xu e Fu
Professor in the Department of Photography and Imaging at New York University’s Tisch School of the Arts. She obtained an MFA in Studio Art from the School of the Art Institute of Chicago in 2014. Using topographical computer-rendered images and installations, her practice
2-WEEK COURSE FVNM 321 001 3 CREDIT HOURS
merges historical painterly, philosophical, and postphotographic explorations into the aesthetic and definitive nature of the
3D animation is a versatile and fast-growing technology, used in applications from movies and video games to virtual immersive environments. Students in this course
sublime. Fu’s artwork has been shown internationally, at venues including the New York Gallery of Chinese Art,
learn how to create their own worlds by building three-
Ars Electronica, the Venice
dimensional spaces, audio, interactivity, life forms, and/or
Architecture Biennale, Pioneer
objects using Maya software.
Works, Sedition, the Shenzhen Independent Animation
Looking to artists who are utilizing 3D animation in
Biennale, the Current Museum,
contemporary and experimental ways, such as Zeitguised,
the Thoma Foundation Art
Eddo Stern, and Jennifer Steinkamp, students will
House, and the Wrong Biennale.
research both traditional and nontraditional approaches
Her work has been collected
to the medium.
by institutions such as the Current Museum, New York,
The course begins with introductory exercises to explore
and she remains the youngest
the possibilities in 3D animation, ultimately focusing
artist collected by the National
on the skills necessary to complete individually driven final projects. The course will emphasize 3D modeling,
Art Museum of China. Her interviews and reviews have appeared in the New York Times
environment creation, and their potential relationships to
and the Boston Globe, among
nature.
other publications.
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CORE COURSES
Bask 3D still image 2019
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Snow Yunxue Rift 3D still image 2018
CORE COURSES
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QUANTUM LISTENING: LISTENING IN DREAMS with Kamau Amu Patton 2-WEEK COURSE SOUND 602 001 3 CREDIT HOURS
This course is a Deep Listening practicum with a focus on listening in dreams. Students will explore their dreaming habits and harness the skills and intuition needed to support the use of dreams as potent creative resources. Simultaneous meanings and a multiplicity of approaches are offered as means to cultivate dreams, and we will consider the physical, emotional, creative, and spiritual aspects of dreaming. Coursework is adapted from the Deep Listening research of Pauline Oliveros, composer and Director of the Deep Listening Institute, and the dreamwork of IONE, author, playwright, director, and text-sound artist. According to IONE, as we “enter the realm of dreams, we begin to expand our understanding of reality. . . . Embracing a quantum physics perspective, we widen our understanding” of the quantum mind. Participant dreamers will explore their dreams as individuals and as part of a dream community. This course encourages interdisciplinary methodology and crossmedia production of objects informed by the concepts engaged. Coursework includes participation in regular seminar group discussions, individual meetings, keeping a dream journal, and a final project, which can take form either as a research-based text or as a creative project that blends modes of production.
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CORE COURSES
Kamau Amu Patton Based in New Haven and Chicago, Kamau Amu Patton is an interdisciplinary artist and educator whose work examines history and culture through engagement with archives, documents, stories, and sites. His projects are dialogic and take form as expanded field conversations. Since 2016, Patton has been Assistant Professor of Visual and Critical Studies at the School of the Art Institute of Chicago. The recipient of an MFA from Stanford University, he has been the feature of solo exhibitions at the Tang Teaching Museum at Skidmore College, Saratoga Springs, New York; Yerba Buena Center for the Arts, San Francisco; Machine Project, Los Angeles; and Tilton Gallery, New York, among others. His work has also been included in exhibitions at the Museum of Modern Art (MoMA), the Whitney Museum of American Art, and the Drawing Center in New York, as well as the Los Angeles County Museum of Art and the Berkeley Art Museum and Pacific Film Archive. An award-winning artist and teacher, Patton has completed projects in the area of soundscape studies through support provided by the State University of New York at Buffalo and the Mellon Elemental Arts Initiative at Pomona College. This summer, Patton was an Artist-inResidence at Coaxial Arts Foundation, which hosted an iteration of his ongoing project, TEL.
---Installation view, Opener 32: Tel_, Tang Museum, Skidmore College, Saratoga Springs, NY, October 21, 2017–September 8, 2019.
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Stevie Cisneros Hanley Chicago-based artist Stevie Cisneros Hanley is a California native of mixed Indigenous Hawaiian, Mexican, Irish, and Punjabi heritage. The “Dainty Satanist,” as described by Vaginal Davis, has exhibited extensively in Berlin, where they lived for six years, most notably at September Gallery, Kunstraum Bethanien, and the Schwules Museum. Hanley
MULTI-LEVEL PAINTING: FORM, PROCESS AND MEANING with Stevie Cisneros Hanley
approaches sensorial boundaries through playgrounds of morality and formative imagination, in works that grapple with aspects of domesticity, trauma, and fetish. Their work delineates spaces both sacred and profane while creating a ritualized sacrilege that emboldens queer agency. Hanley’s practice incorporates their perspectives as an unapologetically queer humanoid and their
2-WEEK COURSE PAINTING 605 001 3 CREDIT HOURS
This course for beginning to advanced students will
religious experiences (specifically, of a failed Mormon-led “sexual reorientation” therapy), together with their navigation as an artist and educator. Hanley has exhibited at the Tüyup Fair, Istanbul; the
include extensive experimentation with materials and
Jerusalem Artists House; La MaMa
techniques through individual painting problems.
Galleria, New York; and Lodos,
Emphasis will be placed on active decision making
Mexico City, and is represented by
to explore formal and material options as part of the
M. LeBlanc, Chicago. They recently
painting process in relation to form and meaning. Students will pursue various interests in subject matter. Students may choose to work with oil-based
finished two solo shows in Chicago, at M. LeBlanc and the University Club of Chicago, and participated in the Psychic Plumbing at CANARY,
media. Demonstrations, lectures, and critiques will be
Los Angeles, which was favorably
included.
reviewed in Artforum.
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CORE COURSES
Hospital for Sick Witches, 2019Â watercolor pencil, gouache, and acrylic on paper (framed) 50.75 x 37.5 in (128.91 x 95.25 cm)
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Data humanism is the study of the disconnect that exists between quantitative data and lived experience. Artists examining and representing this data can offer new ways of imagining those connections between life in numbers and
IN | UN | DATA: HUMANIZING DATA VIZ with Jin a Valentin e 2-WEEK COURSE PRINT 656 001 3 CREDIT HOURS
map points and, on the other hand, sensual experience. In this course, students will examine various data sets related to their individual interests. We will investigate ways to see how our lives and searches are tracked online through search history analytics, Google Maps analytics, and various other metrics; we will look at census data and cultural data related to sociopolitical issues; we will see how data is organized and made available to the public through various online archives, including Wikipedia and the Library of
Siri and Alexa know you better than your mom. Amazon reminds you to buy her a birthday present from her wish list. Google Maps thinks you should try that new Thai restaurant because it’s Thursday and you always order Thai on Thursday. Your Target coupons predicted x, y, z. In this dystopian
Congress. The course is studio focused, but not media specific, and may encompass drawing, painting, collage techniques, and interventions in public spaces (à la the Situationist International).
era, all of human experience is quantifiable,
Virtual guest presenters will include
trackable, and subjected to data-driven
researchers in media theory, programmers
marketing techniques. In news media, data
from the Wikimedia Foundation, data
visualization attempts to qualify quantitative
visualization specialists, and artists who
data to craft compelling stories, affect
transform data visualization in their own
legislation, or generate support for a
works. This course would be of interest to
cause. However detailed the visualizations
anyone who uses the internet, is wary of
may be, they often fail to convey the lived
Big Data, and enjoys creative research,
experience of the events or phenomena
drawing, and intervening in public spaces.
that they illustrate.
Swipe right.
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CORE COURSES
ALMANAC (APORIA SERIES) Iron gall ink on handmade flax paper 12 panels, 22 x 30 in. (irregular) 2016
J i n a V a l e n t i n e ’s interdisciplinary practice
within the illogic of
Foundation for Advanced
with Heather Hart, of
is informed by the intuitive
aphasics or among an
Studies in the Fine Arts,
the Black Lunch Table,
strategies of American
aporetic oversaturation
Art Matters, and the Joan
an oral history archiving
folk artists and traditional
of meaning? She
Mitchell Foundation,
and Wikipedia project,
craft techniques, and
repurposes literary
and she has exhibited
Valentine received her
interweaves histories
devices and analytical
at venues including the
BFA from Carnegie Mellon
latent within found texts,
techniques, or illustrates
Drawing Center, the
University and her MFA
objects, narratives,
the incompatibility of
Studio Museum in Harlem,
from Stanford University.
and spaces. Formally,
content and substrate.
CUE Art Foundation,
She teaches in the
her practice deals with
Her practice has received
and the Museum of
Department of Printmedia
alternative readings of
recognition and support
Contemporary Art
at the School of the Art
text: What logic exists
from the Graham
Chicago. A co-founder,
Institute of Chicago.
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WINTER SEMINARS
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N
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Conversations in Practice brings together small groups of interdisciplinary artists to facilitate studio progress through critical discussion. Participants and faculty moderators will foster connection through the sharing of work, ideas, and conversation. The December seminar will take place over the course of three weeks, giving artists extended time to connect with peers and faculty to share work and receive meaningful feedback. Faculty will ground the class with a series of selected readings and facilitate conversations and critiques. In January, a shorter set of thematic seminars will be offered for artists to focus on daily studio reflections, material exploration, or writing assignments. Faculty will bring their own inspirations to the group to create unique parameters in each seminar. Faculty will work to facilitate honest and deep communication in the service of fostering motivating and progressive discoveries.
S E M I N A R S // W I N T E R 2 0 21 // V I R T U A L LY AT OX- B O W
Screen grabs from ‘Ghost and the Machine’ from Summer 2020
CONVERSATIONS IN PRACTICE: WINTER INTENSIVE DAT E S : N OV E M B E R 3 0 - D E C E M B E R 1 9 (3-weeks)
The Conversations in Practice winter intensive is designed for participants to connect with a community of fellow artists through generative conversation about their practice. This hybrid reading/critique group provides space for artists to present their work, engage in collective readings and discussion, and participate in productive group critiques over the course of three weeks. Artists will also have the opportunity for one-on-one visits with faculty to further share their work and get valuable feedback. Artists choose to work with one of the four faculty members for the duration of the three weeks.
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M EETING SCHEDULE This intensive will meet weekly, the days and times are specified by faculty. Artists should be available to participate in all meetings. Each twohour meeting will consist of a 30-minute discussion or exercise based on shared readings selected by the faculty, a 45-minute presentation of work by one participating artist, and a 45-minute group critique of the work. I NDIVIDUAL STUDIO VISITS Students will schedule a total of one individual studio visits with faculty at mutually agreed-upon times. A PPLICATION & FUNDING This program is application based and all accepted artists will be fully funded. Artists interested in this program should turn to the registration page (pg. 34) for more information on the application process.
WINTER INTENSIVE
Christine Tien Wang, Asteroid, 94 in x 70 in
Gordon Hall STAND AND Wood, hand-dyed fabric, pigmented joint compound, mosaic, and off-site performance Per formers: Chris Domenick, Ariel Goldberg, Gordon Hall, Andrew Kachel, Millie Kapp, Colin Self, Orlando Tirado Performance duration 60 min. Sculpture dimensions: 66 x 36 x 77 in. 2014 Images courtesy of Elyse Harary
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FAC U LT Y B I O S & S C H E D U L E
GORDON HALL
CHRISTINE TIEN WANG
M o n d a y, We d n e s d a y, a n d
M o n d a y, We d n e s d a y, a n d
Fr i d a y, 5 –7 p . m . E S T
Fr i d a y, 6 – 8 p . m . E S T
Gordon Hall is an artist based in New York who
Christine Tien Wang was born in Washington,
makes sculptures and performances. Hall has
DC. She received her BFA from the Cooper Union
had solo presentations at the MIT List Visual Arts
and her MFA in Painting from the University
Center, the Portland Institute for Contemporary Art,
of California, Los Angeles. Wang completed
the Renaissance Society, the Experimental Media
residencies at the Jamaica Center for Arts and
and Performing Arts Center (EMPAC), and Temple
Learning, Virginia Commonwealth University
Contemporary, and has been in group exhibitions at
School of the Arts in Qatar, Chashama North, and
the Whitney Museum of American Art, the Brooklyn
the Skowhegan School of Painting and Sculpture.
Museum, Hessel Museum of Art, Art in General, White
Her solo exhibition Coronavirus Memes is currently
Columns, and Socrates Sculpture Park, among many
on view at Galerie Nagel Draxler, Cologne.
other venues. Hall’s writing and interviews have
Selected group exhibition venues include shows
been published widely, including in Art Journal,
at Frans Hals Museum, Rachel Uffner Gallery,
Artforum, Art in America, and Bomb, as well as in
Magenta Plains, and Prince Street Gallery. Wang’s
Walker Art Center’s “Artist Op-Eds” series What
work is in the collections of Los Angeles County
about Power? Inquiries into Contemporary Sculpture
Museum of Art and the Groeninghe Art Collection,
(SculptureCenter), Documents of Contemporary Art:
Bruges, Belgium. Wang is represented by Night
Queer (Whitechapel and MIT Press), and Theorizing
Gallery in Los Angeles and Galerie Nagel Draxler
Visual Studies (Routledge). A volume of Hall’s
in Cologne and Berlin. Based in San Francisco, she
collected essays, interviews, and performance
is currently Assistant Professor of Painting and
scripts was published by the Portland Institute for
Drawing at California College of the Arts.
Contemporary Art in 2019. Hall was a 2019–2020 Provost Teaching Fellow in the Department of Sculpture at Rhode Island School of Design and will be 2021 resident faculty at the Skowhegan School of Painting and Sculpture. Hall is represented by DOCUMENT, Chicago. www.gordonhall.net
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Gordon Hall’s head shot by Lia Clay Miller
WINTER INTENSIVE
RUBA KATRIB
KAREN PATTERSON
M o n d a y a n d T h u r s d a y,
M o n d a y a n d We d n e s d a y,
10 a.m.-12 p.m. EST
5 -7 p. m . E S T
Ruba Katrib is Curator at MoMA PS1, in New
Karen Patterson joined the Fabric Workshop and
York. From 2012 to 2018, she was Curator at
Museum, in Philadelphia, as its inaugural Curator
SculptureCenter, New York, where she curated
in July 2019. Prior to this appointment, she was
over 20 solo and group exhibitions. Her previous
the Senior Curator at the John Michael Kohler
roles include Associate Curator at the Museum
Arts Center (JMK AC) from 2012 to 2019. Over the
of Contemporary Art North Miami and co-
past eight years, Patterson has curated over 50
founder of the residency and exhibition space
exhibitions. Her focus at JMK AC also included the
Threewalls, Chicago; she has also held positions
curation of the Arts Center’s premier collection of
at the Renaissance Society and the Center for
folk art, self-taught art, and artist environments,
Curatorial Studies at Bard College, where she
work that culminated in a multi-tiered
currently serves on the Graduate Committee. In
collaborative collections-based exhibition series,
2018, Katrib co-curated the SITE Santa Fe Biennial,
The Road Less Traveled (2017), which Hyperallergic
Casa Tomada, along with José Luis Blondet
praised as the year’s top exhibition. Patterson
and Candice Hopkins. In 2010, she was awarded
completed her BA in Folklore Studies at Memorial
a curatorial fellowship from the Andy Warhol
University of Newfoundland, Canada, and her
Foundation for the Visual Arts to support research
Master’s in Arts Administration at the School of
on artist-run educational platforms throughout
the Art Institute of Chicago. Publications include
Latin America, for a project that included a
Lenore Tawney: Mirror of the Universe (2019),
symposium and publication. A regular contributor
Eugene Von Bruenchenhein: Mythologies (2017),
to museum catalogs and periodicals, Katrib
Lee Godie: Self-Portraits (2015), and Ray Yoshida’s
frequently presents lectures and participates
Museum of Extraordinary Values (2013).
in panel discussions at universities and other institutions.
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Screen grabs from ‘Ghost and the Machine’ from Summer 2020
CONVERSATIONS IN PRACTICE: WINTER SHORTS
DAT E S : J A N U A RY 4 – 8 A N D J A N U A RY 2 5 – 2 9 , 2 0 2 1 (1-week)
The January session of Conversations in Practice comprises a series of weeklong thematic seminars, intended for artists who want to reflect on their practice and share their work through a more specific lens. Each faculty has created a unique seminar to facilitate explorations, experiences, and discussions as ways to share work and collective making.
MEETING SCHEDULE These seminars will meet Monday-Friday for two hours each day. Times will be specified by faculty. In addition, once during the week, each artist will meet one-on-one with faculty at a mutually agreed-upon time for feedback on their work.
APPLICATION & FUNDING This program is application based and all accepted artists will be fully funded. Artists interested in this program should turn to the registration page (page 34) for more information on the application process.
WINTER SHORTS
January 4-8th
PLURALS, PARALLELS, AND OTHER WAYS OF SAYING THINGS TWICE with Erica N. Cardwell
Often, artmaking negotiates and absorbs varying synchronicities, producing modes of expression and idea-making that can haunt us. At its most generative state, this process conjures repetition in exciting, and perhaps jarring, configurations. The concept of plurals and parallels has led to a curious conversation among practitioners who want to know how and why we say similar things through material, voice, genre, and texture. In this weeklong seminar, we will engage with work created by interdisciplinary artists who consider this in theory and practice, such as Renee Gladman, Cecilia VicuĂąa, Mary Ruefle, and others. We will discuss the ways hybridity contains possibilities, porous bodies, and entirely new forms. We will also experiment with some of our own works in progress to invite fresh interpretations.
imaginations of people of
Foundation, Vermont
color, as a tool for social,
Studio Center, and Banff
spiritual, and collective
Centre for Arts and
movement. Her work has
Creativity. Recently, she
appeared in Bomb, The
was invited to join the
Believer, The Brooklyn
Queer Art Mentorship
Rail, frieze, Hyperallergic,
Fellows cohort to work
Green Mountains Review,
with poet and mentor
Passages North, and
Pamela Sneed. In 2016,
other publications. Her
Cardwell received her
interdisciplinary
memoir was named
MFA in Writing from
performance; she
a finalist for the 2020
Sarah Lawrence College.
is a writer, critic, and
centers Black feminist
Graywolf Press Nonfiction
Currently, she teaches
educator based in
theory as her primary
Prize, and she has been
writing and social justice
Brooklyn. She often writes
critical approach.
awarded residencies
at the New School.
about print, archival
Cardwell is deeply
and fellowships from
media, visual culture, and
fascinated with the
the Lambda Literary
Erica N. Cardwell
www.erica-cardwell.com
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January 24 5 -29th
S E M I N A R S // W I N T E R 2 0 21 // V I R T U A L LY AT OX- B O W
THE HOW TO: EX AMINING YOUR PRACTICE THROUGH ZINES with Diana Nucera
In this seminar, we will deconstruct our practices by creating instructional zines that will assist others in understanding our own style, themes, and techniques. Participants will have an opportunity to share work, writings, and games that will lead to new conversations on the uniqueness of their practices. Exercises including designing worksheets, writing prompts, and assembling readings will enhance the deep understanding of each other’s work.
responsive to community
wireless networks, how
need and strengthens
the internet works, and
human connections
artificial intelligence.
to each other and the
She writes to elevate
planet. Her work includes
collective technological
creating teaching
consciousness and
materials and organizing
agency, prioritizing
models to fight digital
communities that
redlining and incubate
are often overlooked
neighborhood-built
within art, culture,
and -controlled internet
and technology
service providers in
advancements: people
low-income areas, and
of color, Indigenous
demystifying complex
communities, immigrants,
developing and
systems to weave
and people facing
is an artist, performer,
participating in digital
together science,
economic hardships. Her
and originator of the
justice and community
ecology, art, collective
17 zines, which include
“tech zine” genre—DIY
technology movements
liberation, and self-
The Teaching Community
popular education
in Detroit and across the
determination. Nucera
Technology Handbook
literature that brings
world. Nucera defines
teaches the technologies
and A People’s Guide to
together lessons learned
“community technology”
of mixing records,
AI, document community
from 11 years of
as technology that is
open data, community
technology in practice.
Diana Nucera
page 28
January 25 -29th
WINTER SHORTS
S e l i n a Tr e p p is a Swiss-American artist researching economy and improvisation. Finding a balance between the intuitive and conceptual is a goal; living a life of adventure is a way; embarrassment is often a result. She works across media, combining performance, installation, painting, and sculpture to create intricate setups that result in photos, drawings, and animations. In addition to her studio-based work, Trepp is active in the experimental music scene. In this context,
THE PROBLEM IS THE PROMPT w i t h S e l i n a Tr e p p
she sings and plays the videolah, her MIDI-controlled video synthesizer, to create projected animations as visual music in real time. She performs with a varying cast of
Artists often create work in response to a problem, whether it’s one of our own making or a challenge we recognize in the world around us. This seminar asks participants to look at the problem as a
collaborators and as one half of Spectralina, her long-running audiovisual collaboration with Dan
prompt for creating. Regardless of medium, art provides the space
Bitney.
and process to problem-solve and think about new possibilities.
----
Sometimes, the work might materialize from the problem; at other
Sadness is Satisfying
times, the problem is addressed through the process of making.
Oil pastel, pastel, watercolor, india ink, graphite, and dirt
In this course, we will explore this notion by looking at your work
on paper
under that lens, with hands-on exercises, group discussions, and
24 x 19 in.
group readings and artmaking.
2019
page 29
S E M I N A R S // W I N T E R 2 0 21 // V I R T U A L LY AT OX- B O W
January 24 5 -29th
WINTER SHORTS
Indira Allegra’s work explores memorial as a genre and a vital part of the human experience. Allegra reimagines what a memorial can feel like and how it can function through the practices of performance, sculpture, and installation. The three practices are intertwined—with sculptures at times initiating performances, performances creating sculptures, and sculptures expanding into installation environments. Deeply informed by the ritual, relational, and performative aspects of weaving, Allegra explores the repetitive crossing of forces held under tension, be they
with Indira Allegra
has been featured in exhibitions at the Museum of Arts and Design, the Arts Incubator in Chicago, John Michael Kohler Arts Center, Yerba Buena Center for the Arts, the Center for Craft, the Mills College Art Museum, Weinberg/
Loss is a normal part of lived experience. Memorials
Newton Gallery, and the Museum of the
to our losses are typically thought of as stone
African Diaspora, among others. Their
structures rising above eye level in a public square.
commissions include performances for
The Grammar of Grief series reimagines memorial
the San Francisco Museum of Modern
as a set of intimate performance practices that
Art, the de Young Museum, the Wattis
can be done at home and that come out of our bodies’ unique relationship to the grief in our
Institute, the City of Oakland, and the SFJAZZ Poetry Festival. Allegra has been the recipient of the Artadia Award,
lives. Workshop participants will develop their own
Mike Kelley Artist Project Grant, MAP
Grammar of Grief performances through writing and
Fund grant, Windgate Fellowship, and
movement exercises with objects in their homes.
Jackson Literary Award. The winner
Participants will then take images or video of their
of the 2019/2020 Burke Prize, they are a
memorial performances, which will culminate
2019/2020 Fleishhacker Foundation Eureka
in a group contribution to the Grammar of Grief Handbook—a living online resource for people
Fellow and a 2019–2022 Montalvo Arts Center triennial Sally and Don Lucas Artists Fellow. Allegra teaches graduate
seeking performance practices that can help them
students in the Art and Visual Culture
work through the losses in their lives.
Department at Mills College.
page 30
Grammar of Grief Series, 2020, Photo credit: Dorothy R. Santos
GRAMMAR OF GRIEF
material, social, or emotional. Their work
Student work from ‘Ghost and the Machine’ in Summer 2020
page 31
W I N T E R 2 0 21 // V I R T U A L LY AT OX- B O W
TUITION & FUNDING + REGISTR ATION
page 32
TUITION & FUNDING
C ONVERSATION IN PR ACTICE
W INTER CORE COURSES January 11-22, 2021 (2-week sessions)
I N T E R I N T E N S I V E W November 30-December 19
2021 TUITION
2020 TUITION Two day a week intensive
$1 ,75 0
Three day a week intensive
$2 , 5 0 0
SAIC Undergraduate
$5,220
SAIC Graduate
$5,394
Non-Credit
$1,800
FUNDING: Ox-Bow merit scholarships are available for the winter core courses. Awards are partial and students from
FUNDING: This is a fully funded opportunity for accepted participants. Financial Aid will be awarded to cover full program tuition.
the School of the Art Institute of Chicago may also be able to use their financial aid award from SAIC toward degree credit tuition for courses. The scholarship application is due
INTER SHORTS W January 4-8, or January 25-29th (1-week sessions)
Monday, November 9, 2020 at noon CST.
SCHOLARSHIP APPLICATION 2021 TUITION N o n - C r e d i t o n e we e k
$900
FUNDING: This is a fully funded opportunity for accepted participants. Financial Aid will be awarded to cover full
DROP POLICY: To ensure an intimate learning experience, we have limited space in each of our online classes. Any drops after December 14, 2020, will be refunded, but charged a $250 drop fee.
program tuition * S AIC students interested in taking
QUESTIONS? Contact Maddie Reyna,
Conversations in Practice Winter shorts
Assistant Director of Academic Programs, at
should contact us for more information.
mreyna@ox-bow.org
page 33
W I N T E R 2 0 21 // V I R T U A L LY AT OX- B O W
R E G I S T R A T I O N
the online courses for-credit or not for credit.
C ONVERSATIONS IN PRACTICE: WINTER INTENSIVE and SHORTS
Winter registration begins online Monday,
INTENSIVE
November 16, 2020 at 8:30 am CST.
D AT E S :
CORE ONLINE COURSES Our online Winter core courses will take place January 11-22, 2021. Students can take any of
REGISTR ATION
November 30-December 19 SHORTS
You can use the button above to access our website where you will find the form. Note the form will not be available until November 16, 2020.
DAT E S : January 4-8 or January 25-29
REGISTRATION PROCESS : Registration is not an automated process. Our registrar will process the registration requests in the order they are received, emailing a registration confirmation
This program is application based. Artists interested in this program should apply using the application button below.
soon after. In the event that the course you requested is full, you will receive an email or call informing you of your status on the wait list or that you have been enrolled in your second choice course.
APPLICATION
The application closes November 16, 2020.
QUESTIONS ABOUT WINTER 2020-2021? Contact Maddie Reyna, Assistant Director of Academic Programs, at mreyna@ox-bow.org page 34
Screen grabs from Claire Ashley’s online ‘Exploding Painting’ Class from Summer 2020
PROGRAM DATES: Conversation in Practice November 30-December 19th Core Classes January 11-22nd Conversations in Practice: Winter Shorts January 4-8, January 25-29th
DEADLINES: Winter Merit Scholarship Applications due November 9, 2020 Conversations in Practice Applications due November 16, 2020 Winter Open Registration November 16th, 2020