Ox-Bow's 2024 Summer Course Catalog

BY: JAMIE DAVIS KELTER

A NOTE FROM OX-BOW’S EXECUTIVE DIRECTOR

Dear Artist,

You are holding in your hands a catalog full of possibility! As you think ahead to your summer, what are you imagining? Days spent at the beach with friends? Time to dig into a new idea in the studio? An opportunity to learn a new skill that you can’t at your college? Maybe you are looking forward to some much-needed time in nature, taking forest baths, and birdwatching. Perhaps you are excited to let off a little steam and go dancing under the moonlight. Did you know that you can do all of that, and more, with us at Ox-Bow?

A summer with Ox-Bow is a summer expanding your community of artists, learning from experienced mentors, and meeting visiting artists from across the country whose professional practices will inspire and motivate you as you develop your own unique voice. Each year we offer a range of classes geared towards learning at all stages of an artist’s journey—allowing you to hone your skill as a painter or learn a whole new craft in our glass studio. All of our classes are carefully curated to provide a range of opportunities in our

core studios: painting and drawing, printmaking, ceramics, glass, and metals, as well a number of special topics, including expanded offerings in fiber and dedicated space for comics and illustration. We invite you to come study for a one- or two-week session, or dig in and spend your whole summer with us. Either way, you have choices: take courses for non-credit or take credits towards your degree—yes, your federal grants and student aid apply!

There is likely snow on the ground when you crack open the cover of this year’s Summer Catalog, so I’m hoping this glimpse into what we have in store has you dreaming of sunny days by the OxBow lagoon surrounded by new friends. Ox-Bow is a school, but it is also an invigorating natural environment, an important historic site, and a robust community of artists from all stages of their career. It is all of these things that make Ox-Bow the unique and magical experience that it is. We hope that you’ll join us this summer and become part of our growing community of artists who have come to know the Ox-Bow magic.

Until then!

Shannon R. Stratton, Executive Director

Our campus sits on the TALLMADGE WOODS and is protected through a conservation easement.

acres of dunes, forests, and trails

Ox-Bow’s campus is home to a variety of trees, including BEECH, HEMLOCK, OAK, AND MAPLE

RARE SPECIES KNOWN TO OX-BOW’S CAMPUS

THE INN

THE MEADOW

THE JANIE (NOT SHOWN)

THE MARSHALL

THE WET

SEYMOUR & ESTHER PADNOS METALS STUDIO

KREHBIEL CERAMICS STUDIO

BURKE GLASS STUDIO

THIELE PRINT STUDIO

HAAS PAINTING & DRAWING STUDIO

CLUTE PAPERMAKING STUDIO

CROW'S NEST

LAGOON

Eastern Box Turtle

Pileated Woodpecker

Blanchard’s Cricket Frog

10 Glass

12 Ceramics

14 Painting & Drawing

15 Printmaking & Photo

19 Cartooning & Illustration

20 Sculpture & Metals

22 Fiber & Material Studies

24 Special Topics

25 Online Courses

26 Course Calendar

38 Meet Our Faculty

46 Meet Our Visiting Artists

Learn More About Ox-Bow

1 A Note from our Executive Director

2 Did you know... Our Environment & Campus

4 Life at Ox-Bow

6 Meet Our Programming Team & Student Ambassadors

35 Summer Artist-in-Residence Program

36 Summer Fellowship Program

53 Did you know... Zine Library The

54

54

55

56

57 Our Program Supporters

Fun Stuff

18 READ: In Line

28 READ: More Than a Stitch

30 READ: The Ancient Future: Clay & Sound

33 Full Circle

34 Peter Williams Awardee - Myungah Hyon

50 Make Your Own Kite by Hai-Wen Lin

COURSES & STUDIOS

Courses offer a unique opportunity to build your community by working closely alongside artists from across the country under the guidance of worldclass instructors. Ox-Bow’s courses are diverse, ranging in focus from functional to sculptural; from traditional to contemporary; from representational to conceptual. Intensive and immersive oneand two-week courses allow students to delve deeply into their practices. All studios except glassblowing are open 24 hours. Ox-Bow maintains six classroom studios:

• Thiele Print Studio

• Haas Painting & Drawing Studio

• Seymour & Esther Padnos Metals Studio

• Krehbiel Ceramics Studio

• Burke Glass Studio

• Clute Papermaking Studio

SCHEDULE

• Classes meet daily, 9:30 a.m. – 5 p.m.

• Breakfast is 8:30 - 9 a.m.

• Lunch is 1 - 2 p.m.

• Dinner is 6 - 7 p.m.

• Faculty and Visiting Artist Lectures begin at 8 p.m.

CONTACT INFORMATION

Ox-Bow is located at 3435 Rupprecht Way, Saugatuck, MI 49453. To report travel issues or any last minute questions on the weekend of your arrival, please call the Saugatuck office at (269) 857-5811.Questions regarding class registration, payment, scholarship, or any other questions that come up prior to your arrival weekend should be directed to the Programs Manager, Bobby Gonzales, at oxbow@ox-bow.org.

ACTIVITIES & CAMPUS LIFE

There are always a number of activities to participate in around campus after course hours:

• Visiting Artist, Artist-in-Residence, Fellow, and faculty lectures

• The Crow’s Nest Trail: Hike through 115 acres of wooded dunes

• Canoeing: Explore the lagoon and the beach along Lake Michigan

• Volleyball on the Meadow

• Relaxing around the campfire

• Spontaneous evening events

MEALS

Students enjoy healthy and delicious meals prepared each day by our talented kitchen staff. Locally sourced ingredients are used as much as possible. Three meals per day are included in the room-and-board fee for students residing at Ox-Bow. Our chefs are happy to accommodate dietary restrictions; please complete the dietary restriction form that will be sent upon registration confirmation.

HOUSING

Ox-Bow provides dormitory-style housing with shared bathrooms. Students may choose shared or single room accommodations. Roommate requests are possible for students in shared housing.

COMMUTING STUDENTS

Students with other housing arrangements may commute to campus and will be assessed $75 per day for a meal plan. Camping is not allowed at Ox-Bow.

TRAVELING TO OX-BOW

Our campus is located in Saugatuck, Michigan about 2 ½ hours from Chicago. Students are responsible for arranging their own transportation to campus. Driving is most convenient but public transportation is available. Please make travel arrangements early and be aware of weather conditions prior to your trip.

COMMUNITY HEALTH GUIDELINES

Ox-Bow reserves the right to update their participant guidelines in response to emergent and/or ongoing local, regional, national and/or global public health, safety and environmental concerns at any time and without warning. This includes, but is not limited to, requiring any participant to provide documentation of a negative COVID-19 test result and/or vaccination status prior to their participation, including approval for overnight accommodation.

MEET OUR PROGRAMMING TEAM

Together, Maddie and Bobby make up the Programs Team at Ox-Bow. Both are passionate about cultivating relationships with artists and faculty at their home bases in Chicago, on Ox-Bow’s campus, and beyond. Each year they work to create a one-of-a-kind lineup of courses, fellowships, and residencies. If you see them on campus or at a tabling event in Chicago, don’t be a stranger! They’d love to hear about your practice and they might even give you the scoop on their favorite spots on campus (the lagoon and the Rob!).

MADDIE REYNA

Describe your position in one or two sentences?

As Academic Program Director, most of my year is spent forging new and maintaining existing relationships with artists who impact our summer session. Whether faculty, visiting artist, student, or administrator at one of our partner schools, I work closely with all of them to prepare an inspiring summer plan. For 2024, this meant writing 24 new classes to add to our summer catalog. I can't wait to share it with everyone!

What's your favorite part of your role?

I love being able to support artists. I'm proud to be a part of an organization that contracts over one hundred artists each year to bring their expertise to our participants. When a faculty or visiting artist is inspired by the bounds and realities of Ox-Bow to propose an experience that expands their practice as well as others, I get really excited to help them achieve that goal and share their passion with the participants.

What's your favorite Ox-Bow tradition?

A sucker for unique folksy interior design, my favorite Ox-Bow tradition is the chair painting. Because of them, meal time becomes an opportunity to look back at seasons passed through the chairs painted by past staff, faculty, and students. Some are sentimental, some are crass, but they are always conversation starters.

BOBBY GONZALES

Describe your position in one or two sentences?

I am the Manager of Academic Programs at Ox-Bow, which involves a fair amount of registrar-type duties, as well as building courses and recruiting faculty to teach.

You can often find me on the 2nd floor of the Sharp building

at SAIC on friday afternoons - helping enroll students and giving out information about Ox!

What's your favorite part of your role?

My favorite part of the job is connecting artists with our residency and fellowship programs.

What’s your favorite Ox-Bow tradition?

My favorite Ox-Bow tradition is for sure the Friday night costume parties. I've seen so many folks liberated on the dancefloor in my time at Ox-Bow. I love seeing the many random, off-the-cuff costumes that our students, faculty, and staff put together—sometimes just moments before the dancing begins. The costume parties have also served as a potent way for our staff and visitors to sharpen, or begin to imagine, their very own DJ practices. Somehow we all (sort of) know how to DJ now!

GOT QUESTIONS ABOUT HOW TO START YOUR ACADEMIC JOURNEY AT OX-BOW?

You can find Maddie and Bobby frequently on SAIC's campus or email your questions to oxbow@ox-bow.org

TWELVE VISITING ARTISTS

OX-BOW'S UNOFFICIAL MASCOT

MADDIE REYNA Academic Program Director

BOBBY GONZALES Programs Manager

66

FACULTY MEMBERS

OUR NEW STUDENT AMBASSADORS

DYLLAN CHAMPION

What is your favorite spot on campus? While I had transformative experiences on the lagoon, at the Crow’s Nest, and in the meadow, the most beautiful part of Ox-Bow to me is the fire pit. What seems like a basic area—forgotten during the day behind the shade of trees—is always ignited by the stories living around this circle.

Can you share a special Ox-Bow memory with us?

While the smoke from the Canadian wildfires had kept us from hiking all week long, on the morning of the last day of class, two other people agreed to wake with me at sunrise and climb to the top of the Crow’s Nest. While the smoke and fog had yet to dissipate fully, we were greeted with the view of the mist at the top, like we were above the sky… It was a moment of clarity for us, a moment in the grief of leaving but an act of gratitude.

What course were you a part of last year and what did you take away from it?

I attended Carrie Gundersdorf’s “Drawing Place in Watercolor & Gouache…” What I call most upon in this course is not the work that I completed, but the rediscovery in this freedom of artmaking, one spurred by the love of capturing the essence of the space, to the pure fulfillment of creating, and—in the case of Ox-Bow—its giving recognition to small instances that shape the environment.

What makes you excited to be an ambassador?

I was seconds away from canceling my Ox-Bow experience when my friends told me to just push a little, to experience something new.

When I dropped my bags in the White [Cabin], I sat in my room for thirty minutes just looking out at the rainy meadow thinking about what I had just done, when a person in the room next to me knocked on my door and asked if I wanted to go explore… My excitement in being an Ox-Bow Ambassador lies in telling my truth of hesitation [for] motivation, in being a source of inspiration to others who share in doubt, and to be the one to give the push.

Do you have any future plans / projects in mind that would help make Ox-Bow more visible at SAIC?

I am excited by the numerous ways in which Ox-Bow’s influence can be promoted in the city because Ox-Bow in its essence is about the facilitation of diverse communities coming together for success. I am excited to talk to Ox-Bow alumni, taking their experiences to SAIC media outlets such as Free Radio or FNews, or by creating shows or displaying their artwork within SAIC’s environment.

Tell us about your creative practice! My current focus being in print media and painting, I am interested in experimentation, in finding iterations, and in the creation of a collective.

SU KAIDEN CHO

What is your favorite spot on campus? My favorite location on campus is the lake. Each morning, I wake up and enjoy getting on the boat and allowing the light currents of the water to guide me across the expanse of water.

Can you share a special Ox-Bow memory with us?

My special memory of this day at Ox-Bow is the nightly gathering after dinner, where cohorts, students, and

visiting artists gather by the bonfire to share personal stories, fostering a deep bonding experience for all.

What course were you a part of last year, and what did you take away from it?

During the summer of 2023, I was honored to be a teacher’s assistant for Turtel Onli's airbrush painting class. Throughout this period, I learned a great deal. The faculty displayed exceptional support in guiding students toward their full potential in their artistic endeavors. Furthermore, I personally encountered a remarkably positive atmosphere within the artist residencies and among the fellows.

What makes you excited to be an ambassador?

Ox-Bow operates as a nurturing environment, allowing students the freedom to express themselves openly and authentically. In my capacity as a student ambassador, my goal is to advocate for the school and contribute to representing it to both students and the wider community. I strongly believe in the transformative power of art. Not only does it enhance students’ decisionmaking abilities, but it also facilitates healing through the act of creation and participation.

Do you have any future plans / projects in mind that would help make Ox-Bow more visible at SAIC?

In looking ahead, I have several prospective initiatives aimed at enhancing Ox-Bow’s visibility at SAIC. One of these initiatives involves orchestrating engaging events, including exclusive meet-and-greet sessions with a select group of former Artists-in-Residence. These gatherings would provide a platform for these individuals to recount their experiences and insights gained during their residencies, offering invaluable perspectives to the community.

Tell us about your creative practice!

My current artistic exploration delves into the phenomenology of visibility and invisibility within my paintings. I am focused on presenting the raw materials in my compositions without creating illusions. Natural light and space, the surface, and shapes are integral aspects of my work.

DYLLAN CHAMPION Student Ambassador SU KAIDEN CHO Student Ambassador

2024 ACADEMIC PROGRAM

Ox-Bow School of Art & Artists’ Residency has a rich history of connecting artists to new skills, supportive mentors, and inspiring nature. As we embark on another summer season, we are excited for a new group of students to join and engage with us in our courses that bridge craft and concept, merge play and focus, and allow students to explore new techniques in the studio.

Every summer Ox-Bow provides 1 or 2- week offerings—including our familiar courses in woodfired ceramics, glassblowing, and papermaking—that students come back for year after year. This season, our Summer 2024 Core Course Program offers special focuses with unique opportunities to learn: illustration from cartoonists, expansive fiber-based methods, and studio-based skills rooted in social, event-based practices.

All Core Academic Courses are open to anyone over 18 and are available as for- or non-credit enrollments. Class meets every day during the session, including any weekend, from 9:30 a.m. - 5 p.m. EST. During each session, Ox-Bow hosts an exciting calendar of events after class hours including Visiting Artist lectures, spontaneous workshops, and social gatherings.

Dave Kim, Baekdo Moon Jar, 2020, Stoneware, glaze, 16 x 16 x 16 in.

glass glass

GLASSBLOWING

with Victoria Ahmadizadeh

Melendez

GLASS 681 001 | 3 CREDITS

$350 LAB FEE | MAY 26 - JUNE 8

This course will cover the fundamentals of glassblowing and is designed to develop a student’s foundational knowledge and skill upon which more advanced ideas can be built. Students will learn to gather hot glass out of the furnace and how to manipulate it with a variety of tools and techniques in both the hot shop and the cold shop. Productive practices including working as a team, timing and choreography, and using natural elements to execute ideas will be demonstrated. This course may include a screening of Glassmakers of Herat. We will investigate glassblowing from a historical approach and look at objects from different periods in history, including works made by Pino Signoretto, Bill Gudenrath, and Karen Willinbrink-Johnsen. Assignments will range from functional cup making, executing complex abstractions, and methods for coloring and patterning. This course will culminate in the completion of a student designed sculpture or installation to be exhibited in the hot shop.

GLASS MULTIPLES

with Christen Baker & Priscilla Lo

GLASS 651 001 | 3 CREDITS

$350 LAB FEE | JUNE 9 - 22

This introductive and investigative class will explore the creative possibilities for making multiples in glass through casting. We will learn three methods of glass forming: low relief hot casting, high relief kiln casting, and hollow form hot blow molds. In addition to these casting techniques, students will learn basic glass blowing methods including gathering on rods and how to utilize tools to press hot glass. Using these skills and techniques

students will learn to reproduce surface, texture, and form and will be encouraged to creatively consider repetition and pattern through glass. Looking at the work of Beth Lipman, Layo Bright, Fred Kahl, and Thaddeus Wolfe will facilitate discussions in critical theory and artistic practice, as it applies to mold making in glass. In addition to assignments designed to gain understanding of the casting techniques focused on in the course, students will propose a final project to be installed at Ox-Bow and shared with the community. This course is open to students of all levels.

THE DINNER PARTY

with Corey Pemberton

GLASS 676 001 | 3 CREDITS

$350 LAB FEE | JUNE 23 - JULY 6

There’s nothing more satisfying than eating and drinking from handmade wares with friends. This course, open to students of all levels, will focus on establishing a strong foundation in form and function in service of manipulating molten glass into items for a communal table setting. We will learn the processes involved in making objects including drinkware, pitchers, serving bowls, plates, and candlesticks and consider the works of Judy Chicago, Beth Lipman, and Joe Cariati. Underscoring the social nature of the glassblowing process in the studio, our objective will be to create a tablescape to use for a social mixer at the end of the class, bringing everyone together to celebrate one another’s hard work and individuality. Students need only bring a good attitude, an open mind, and a hunger to learn!

GLASSBLOWING

with Yashodhar Reddy & Will Hutchinson

GLASS 681 002 | 3 CREDITS

$350 LAB FEE | JULY 15 - 27

This course will cover the fundamentals of glassblowing and

is designed to develop a student’s foundational knowledge and skill upon which more advanced ideas can be built. Students will learn to gather hot glass out of the furnace and how to manipulate it with a variety of tools and techniques in both the hot shop and the cold shop. Productive practices including working as a team, timing and choreography, and using natural elements to execute ideas will be demonstrated. This course may include readings from Ed Schmidt’s Beginning Glassblowing and a screening of Glassmakers of Herat We will investigate glassblowing from a historical approach and look at objects from different periods in history, including works made by Pino Signoretto, Bill Gudenrath, and Karen Willinbrink-Johnsen. Assignments will range from functional cup making, executing complex abstractions, and methods for coloring and patterning. This course will culminate in the completion of a student designed sculpture or installation to be exhibited in the hot shop.

MULTI-LEVEL GLASSBLOWING

with Hoseok Youn

GLASS 641 001 | 1.5 CREDITS

$175 LAB FEE | JULY 28 - AUGUST 3

A hands-on studio workshop for those with some glassblowing experience. Students will learn a variety of techniques for manipulating molten “hot glass” into vessel or sculptural forms. Lectures, demonstrations, videos, and critiques will augment studio instruction.

FLAMEWORKING: FINDING FORM IN TRANSLATION

with Carmen Lozar

GLASS 649 001 | 1.5 CREDITS

$175 LAB FEE | AUGUST 4 - 10

This class is an introduction to working and thinking with glass. Focused on contextualizing

flameworking within contemporary sculpture, this workshop is ideal for artists crossing over from other disciplines who would like to translate their ideas into glass. The goal of the class is to complete two finished sculptures, which are both structurally sound and conceptually tight. Blending traditional and unconventional flameworking techniques, students are encouraged to explore the material and expand their artistic vocabulary. We will consider the material qualities of glass in the context of drawing, painting, sculpture, and performance. Students can use glass as an opportunity to connect materiality to related disciplines such as literature, psychology, optics, poetry, and architecture. The coursework will include a combination of technical exercises designed to improve hand skills, contextual presentations, and group critique.

GLASSBLOWING

with Ekin Aytac & Joshua Davids

GLASS 681 003 | 3 CREDITS

$350 LAB FEE | AUGUST 11 - 24

This course will cover the fundamentals of glassblowing and is designed to develop a student’s foundational knowledge and skill upon which more advanced ideas can be built. Students will learn to gather hot glass out of the furnace and how to manipulate it with a variety of tools and techniques in both the hot shop and the cold shop. Productive practices including working as a team, timing and choreography, and using natural elements to execute ideas will be demonstrated. This course may include readings from Ed Schmidt’s Beginning Glassblowing and a screening of Glassmakers of Herat. We will investigate glassblowing from a historical approach and look at objects from different periods in history, including works made by Pino Signoretto, Bill Gudenrath, and Karen WillinbrinkJohnsen. Assignments will range from functional cup making, executing complex abstractions, and methods for coloring and patterning. This course will culminate in the completion of a student designed sculpture or installation to be exhibited in the hot shop.

(Left to right from top left)

1. Christen Baker, New! And Impervious to Natural Elements, installation View with HDPE _O_ ,2023, glass, cement blocks, hand painted sign, osb plywood, rope, tape, 24 x 69 x 102 in.

2. Corey Pemberton, Dinner Party 2023, Oxbow class of 23, blown glass and friends

3. Victoria Ahmadizadeh Melendez, a quiet life, a couple of times over, 2021, blown glass, argon and mercury, built into table, Photo Credit: Matthew Hollerbush

4. Carmen Lozar, Burn, 2022, Flameworked glass, 5 (H) x 9 (L) x 7.25 (W) in.

5. Priscilla Lo, Kitty Constraints, Unbearable Wearable Series, 2022, Digitally enhanced glass and bronze, 6 x 6 x 4 each in., Photo by B. Fortuné

6. Hoseok Youn, Buster, 2021, Glass Blown, Cold assembled, 12 (L) x 7 (W) x 20 (H) in.

7. Will Hutchinson , terrarum, 2022, blown glass, plants, moss

8. Ekin Aytac & Joshua Davids, Starscape, Blown Glass, Diamond Cut, Sand Engraved, 18 x 14 x 6

9. Yashodhar Reddy, Antlers, 2021, Glass, 12 x 16 x 10 in.

WOODFIRE: ANCIENT METHODS & CONTEMPORARY APPLICATIONS

with Henry Crissman & Virginia Rose Torrence

CERAMICS 660 001 | 3 CREDITS

$300 LAB FEE | MAY 26 - JUNE 8

This course will explore the many histories, methods, and potentials of using wood as fuel to heat and transform clay into ceramic. Presentations will survey ceramic science, the history and logic of kiln design, and the range of objects made with wood fired kilns. Demonstrations will include handbuilding and wheel throwing techniques as well as experimental methods with found ceramic materials and objects. Films and readings including Maria Martinez: Indian Pottery of San Ildefonso and Robin Wall Kimmerer’s Braiding Sweetgrass will offer insights as we engage and form the material of the Earth. Conversations throughout will aim to assist students in finding creative agency with ceramics. Students will work on independent projects and the class will culminate in a nearly two day long firing of Ox-Bow’s 50 cubic foot catenaryarch wood-kiln; a massive group effort that will involve loading the kiln, and methodically stoking it with wood for the duration of the firing until our desired temperature is reached throughout. While the kiln cools we’ll explore ways in which the techniques covered might be applied outside of the workshop, and build and fire a small and temporary kiln which students could easily recreate independently. Once cool, the big kiln will be unloaded and cleaned, results will be finished and analyzed, and we’ll hold an exhibit of the works created.

MUSICAL MUD

with Liz McCarthy

CERAMICS 665 001 | 3 CREDITS

$225 LAB FEE | JUNE 9 – 22

This course explores designing, firing, and activating clay instruments, while considering the medium’s unique relationship with sound. We will review the four main types of ceramics instruments; aerophones, chordophones, idiophones, and membranophones (think whistles,

harps, shakers, and drums) and explore building strategies for peak resonance. Hand-building and wheel throwing techniques will be demonstrated and students are free to explore these possibilities in service of designing their instruments. We will elevate the tasks of sourcing clay, designing a soundscape, preparing our bodies for performance, and accessorizing our happenings, taking inspiration from artists who did the same including ancient Mexican and Peruvian makers, Julia Elsas, Joey Watson and reviewing Barry Hall’s From Mud to Music. Assignments will invite students to participate in fluxus exercises, encouraging play in performance with objects. The course will culminate in a musical performance for the Ox-Bow community, utilizing our studiomade wares.

THE PORTRAIT AND THE FIGURE IN CERAMICS

with Rodrigo Lara Zendejas

CERAMICS 668 001 | 3 CREDITS

$225 LAB FEE | JUNE 23 - JULY 6

This studio class for beginning and experienced students addresses the evolution of the figurative object as a consistently potent vehicle in the art continuum. Emphasis is placed on students’ personal investigations of the human form as a subject in contemporary ceramics, beyond the study of anatomy. An examination of a variety of ceramic construction strategies and techniques are explored through demonstrations and class projects concentrating on hand building without an armature. Firing and post-firing processes, surface treatments, and the incorporation of other media with clay will be covered. The figure in architecture, its relationship to vessels, and threedimensional figure will be examined. Historical and contemporary concepts and artists related to ceramics and the figurative object in general will be included. Readings will include Mark Manders’ “My Work is Always Totally Silent” and we will screen “Stories” by Kiki Smith. Students will analyze and learn mass, form, and proportion in 3-5 projects focusing on portraits and figures. The work developed during class time could be approached as either proportionate and detailed; or whimsical, stylized, and hilarious.

CUTENESS OVERLOAD

with Chase Barney & Emily Yong Beck

CERAMICS 663 001 | 3 CREDITS

$225 LAB FEE | JULY 15 - 27

Cuteness and humor can be used to convey serious topics in a palatable way. Artists such as Robert Arneson, Magdalena Suarez Frimkess, Ruby Neri, and Beth Lo utilize these tactics in their clay practice to tell us stories from unique points of view. Students will learn handbuilding techniques such as coil building, slab construction, pinch pots, and various surface design techniques, combining these skills with their interpretation of “cute” to achieve their desired result. This course allows students of all levels to work on projects, improve their ceramics skills and develop their visual vocabulary. Participants will have access to all materials in the ceramic studio and demonstrations will include hand-building, vessel creation, construction methods, proper firing methods, and encourage an intermediate understanding of drying times, methods for building sound pieces, techniques for minimizing loss, and studio safety. Taking inspiration from the California Funk movement and ideas about the aesthetics of optimism, as coined by curator Angelik Vizcarrondo-Laboy, students will be encouraged to listen to episodes of Vizcarrondo-Laboy’s podcast “Clay in Color”. Group readings and discussion will focus on Sontag’s “Notes on Camp”, we will screen episodes of Art 21 and Craft in America, as well as classic cartoons such as Looney Tunes and Hello Kitty. Assignments are designed to build an understanding of hand-building techniques, ceramic tradition, cuteness’s place in the present art canon, and how to introduce humor and play into your practice. Assignments and exercises may include clay-exquisite-corpse, pinch pot coffee cups, and a narrative vessel. Instructors will be available to help facilitate individual projects and class critiques.

CLAY AT THE TABLE

with S. Lantz & Amanda Salov CERAMICS 667 001 | 3 CREDITS

$225 LAB FEE | JULY 28 - AUGUST 10

In this class, artists will engage with

techniques in the ceramics studio to adorn a celebratory dinner event on the final day of class. Students will utilize handbuilding, throwing, and other formation techniques to make plates, bowls, cups, candle holders, and wearables, as envisioned by the group for the party. Participants will also learn how to add pigment to glaze to create ombre (color to color blend) and gradients (color tinted gradually). The class will culminate in an delightfully colorful meal and celebratory installation. We will review the work of artists who have successfully merged social practice with exceptional ceramic wares including Judy Chicago, Felix Gonzales-Torres, and Jennifer Ling Datchuk. Readings will include Ashley Anastasia Howell’s research on utilizing color in dining spaces and we will screen Pete Pinnell’s Thoughts on Cups . Assignments will invite students to design a ceramic jewelry piece for the event and consider vessel specificity by designing a platter for a specific dish or item of food.

MOON JARS: THROWING LARGE VESSELS

with Dave Kim

CERAMICS 664 001 | 3 CREDITS

$225 LAB FEE | AUGUST 11 - 24

The moon jar, a notable piece of traditional Korean white porcelain created during the Joseon Dynasty (1392–1897), is the inspiration of this class. Originating in the fifteenth century, it earned its name due to its resemblance to the moon and the creamy hue of its glaze. Comprising two hemispherical halves seamlessly connected at the center, the moon jar exhibits a subtly irregular shape, which was intentionally incorporated to heighten its organic charm. During this class, we will explore several techniques employed in crafting this distinctive pottery form including shaping and throwing large vessels, unique and historic glazing techniques, trimming and edge refinery, and systems for successful firing. Students will be encouraged to incorporate these techniques into their own practices and ceramic goals and the class will culminate in a group reflection on the wares made.

PAINTING & DRAWING

PAINT MAKERSPACE

with Laurel Sparks

PAINTING 669 001 | 3 CREDITS

$50 LAB FEE | MAY 26 - JUNE 8

This survey course provides students of all levels with the opportunity to work on their own projects and expand their painting skills. Students will have dedicated access to the painting studio and will be encouraged to experiment with various materials and techniques. Demonstrations may present techniques in acrylic or oil, sketching and planning processes, preparation of painting surfaces, and information on studio safety. The faculty will host presentations and lectures on relevant historical artists as well as contemporary painters, and students will engage in discussions, readings, screenings, and critiques with the group which illuminate painterly concerns and emphasize active decision making. Assignments are designed to build understanding of new methods, and students will conceive projects that reflect their interests. Instructors will be available to help facilitate individual, collaborative, and interdisciplinary projects and this course will culminate in a group critique.

RHYTHMISTIC AIRBRUSH

with Turtel Onli

PAINTING 679 001 | 3 CREDITS

$100 LAB FEE | MAY 26 - JUNE 8

Taught by an airbrush master and legend of the Chicago-based Wearable Art Movement in the 1970’s, students who enroll in this class have a unique opportunity to enhance their technique with an exciting and versatile tool while considering the radicality of the medium. At the heart of the Wearable Art Movement was the rejection of traditional hierarchies that elevated fine art over craft. With this in mind, students will survey the fundamentals, care, and accessories related to the airbrush to create exceptional wearable and 2D artworks. This is a project based course designed to expand the skills of the beginner and experienced

airbrush user. Proper handling, studio safety, and water based methods will be demonstrated for a more errorless experience. We will glean inspiration from the airbrush greats including Terry Hill, Olivia De Berardinis, H. R. Giger, and Pamela Shanteau and available texts will include The Complete Airbrush Book by Ralph Maurello, The Ultimate Airbrush Handbook by Pamela Shanteau. Assignments will familiarize students with both stencils and a freehand technique to achieve an expressive result. Our most complex project will involve precise registration techniques, with multiple colors and spray patterns to achieve an excellent collection of designed 2D and wearable artworks. T-shirts and other fabric will be provided, but students should also bring their own pieces that they imagine could be involved in their final, wearable, presentation.

WORDS, MUSIC, ACTION!

With Richard Hull, John Yao, & Ken Vandermark

PAINTING 668 001 | 3 CREDITS

$100 LAB FEE | JULY 15 - 27

In this interdisciplinary course, participants will invite music and poetry to inform their efforts in painting, drawing, and performance. The group will explore painterly strategies that foreground intuition within a structure and embrace poetic rhythm and syntax. In service of this creative integration, esteemed guests including poet and critic John Yao and musician and composer Ken Vandermark will lead students through demonstrations related to their fields. Pulling from the rich history of painters, writers, and musicians in concert, the

class will look at the work of Joe Brainard and John Ashbury, John Cage, Merce Cunningham and Robert Rauchenberg, Joan Mitchell and John Schuyler, Katharina Grosse and Barry Schwabsky, and Alain Kirilli. Assignments will ask participants to practice the interpretation of words and sounds through painting and drawing techniques. The class will culminate in a symphonic performance of spoken and written word, music, and visuals designed by the students, faculty, and class guests.

COLOR

with Mario Romano & William Sieruta

PAINTING 658 001 | 3 CREDITS

$50 LAB FEE | JULY 15 - 27

This course investigates a series of color problems to sensitize students to the interaction of color and color phenomena. Considering the puzzles of color use and color composition, this course emphasizes hue, value, and chroma and the application of

such knowledge to the visual arts. Students are encouraged to work in the 2-d media of their choosing (acrylic, oil, pastels, etc) and will be provided with a list of colors to construct their palate prior to the beginning of class. Students will practice looking at color, and in the first week of class will take inspiration from a presentation of one hundred paintings, including work made by David Hockney, Joan Mitchell, Milton Avery, Jacob Lawrence, Stuart Davis, Josef Albers, Karl Wirsum, and Georgia O’Keefe. We will consider how they have all playfully explored the power of color. Assignments will invite students to complete both simple and complex color wheels, with the goal of discerning the sometimes unintuitive interaction of pigments. Students will work in the studio and in the landscape, observing, utilizing, and manipulating color in nature. This is a basic course about seeing and using color that can be applied to all disciplines.

DRAWING PLACE IN WATERCOLOR & GOUACHE

with Carrie Gundersdorf

PAINTING 672 001 | 1.5 CREDITS

$50 LAB FEE | AUGUST 4 - 10

This course explores materials and methods of transparent and opaque watercolor (gouache). Watercolor is historically associated with observing the natural world through works such as botanical and wildlife illustrations, J.M.W. Turner’s ethereal landscapes, Charles Burchfield’s transcendental images, and Joseph Yoakum’s reminisced locations. This course celebrates the ease and transportability of working in watercolor and gouache and transforms the landscape into the studio. We will use the Ox-Bow environment as a source of material for developing a personal approach to drawing the space around us. This course will help students build a basic understanding of watercolor and gouache – its materials: paint, brushes, and paper, how to mix color, layer washes, build compositions while masking out

areas, and how to use mark-making to articulate surfaces. We will look at artists including John Singer Sargent, Winslow Homer, Georgia O’Keefe and contemporary artists, Dawn Clements, Shazia Sikander, and Amy Sillman. Exercises involving color, observation, and mark-making will help familiarize students with the medium. Students will demonstrate creating color with value, layering washes, and mixing color. They will learn to mask a foregrounded object, build a drawing with layers of color, and techniques for painting wet into wet.

DRAW,

PAINT, PRINT with Michelle Grabner, Fox Hysen, Brad Killam, & Molly Zuckerman-Hartung

PAINTING / PRINT 677 001

3 CREDITS | $150 LAB FEE

AUGUST 11 - 24

This class champions the interrelationship and the experimental nature of drawing, printmaking, and painting and will invite artists to move fluidly between Ox-Bow’s painting studio and the print studio, providing students with the opportunities to actively combine printmaking, drawing, painting, and collage techniques and materials. Methods demonstrated will include monoprinting, etching, screen printing, frottage, collage, grattage,

decalcomania, and fumage. In the painting studio, students can work in watercolor, gouache, acrylic, and/or oils. This course is meant to challenge traditional drawing, painting, and printmaking techniques and focus directly on the spirit of the process and its relationship to contemporary contexts. Chance operations and collaboration will be encouraged. We will review the work of many artists who experiment successfully with a multidisciplinary approach including Dottie Attie, Squeak Carnwath, Judy Pfaff, Miriam Schapiro, Joan Synder, Mickalene Thomas, William Weege, Jeffrey Gibson, and Louisa Chase and discussions will be supplemented by The Slip, 2023 by Prudence Peiffer and “Alex Jovanovich on Peter McGough”, Artforum 2023. Assignments will develop and expand mark-making and compositional vocabularies in relationship to the concepts of expression, attention, histories, form, and social arrangements. Students will be split into 2-groups, one group will have a home-base in the painting studio and the other in the print studio. As the group progresses through content, they will switch studios and focus on assignments specific to those facilities. On the weekend, both groups will come together with all faculty to have group critiques and discussions. The class will culminate in a final presentation of works installed at Ox-Bow.

PHOTO

PRINTMAKING &

LITHOGRAPHY: STONE & PHOTOLITHOGRAPHY

with Danny Miller & Kristina Paabus

PRINT 637 001 | 3 CREDITS

$200 LAB FEE | MAY 26 - JUNE 8

This fast-paced course is designed for both beginners and advanced artists, and will be offered in a two-week sequence. Week one focuses on traditional methods with stone lithography, and week two introduces students to photomechanical lithography using both hand-drawn and digital processes. Students are encouraged to investigate personal directions in their work as they explore lithographic possibilities through editions and unique variants. Emphasis will be placed on both conceptual and technical development, and additional demonstrations will be added based on the specific interests and needs of the participants. Class consists

(left page) Laurel Sparks, Harvest Moon, 2023, waterbased paint, pored gesso, paper pulp, glitter, collage, torn woven canvas, 36 x 36 in. (above) Madeleine Aguilar & bex ya yolk, Prototypes for Compatibility (1 of 3), 2023, paper, PVA, and sandstone

of demonstrations, presentations, work time, discussions, and critiques. Historical and contemporary lithographic examples will be presented in order to clarify the relationships between idea, context, material, and process.

WANDERING SPIRITS

with Joseph & Sarah Belknap

PHOTO | 615 001 | 3 CREDITS

$150 LAB FEE | JUNE 9 - 22

What does it mean to make an image? In this course we will make images and photographs using the Earth’s Sun in collaboration with photographic techniques that emerged in the 1800s and continue to be used in contemporary art. We will play with digital photography, anthotypes, cyanotypes, chlorophyll prints, and other alternative photographic techniques. We will utilize photography, drawing, painting, and collage to make images with depth, vibrancy, and wildness. Our images will be experienced through virtual worlds and platforms as well as physical spaces of the home, communities and other locations through posting, installing, inserting, publishing and other possible ways where images can be transmitted. The acceleration of image production has transformed our understanding of ourselves by folding the horizon in on itself. We will look into phenomenological studies of being while making images that examine our contemporary conditions of the power within our lives that these images can serve, deconstruct and reinvent. From social justice, deep fakes, intimacy, ecology - the political impact of images shape our existence. While we look at contemporary and historical image making we will look at ways of seeing. Artists will include Anna Atkins, Kiki Smith, Candice Lin, Zadie Xa, and Dario Robleto. Readings and screenings for this course will include Rebecca Solnit, Susan Sontag, Jean Painlevé,

Sara Ahmed, and Hito Steyerl. Assignments will invite students to respond to the reading and viewing of Hito Steryerl’s work How Not to be Seen and create a series of images using the Cyanotype process. We will also consider the perspective points of the viewer and the processes of concealment that make this object or subject hidden in plain sight.

RISO-RELATIONS & BOOKISH BEHAVIORS

with Madeleine Aguilar & bex ya yolk

PRINT 668 001 | 3 CREDITS

$150 LAB FEE | JUNE 23 - JULY 6

This course is an introduction to the RISOgraph as a tool for high volume printing, editioned objects, and bookmaking to produce publications in printed bookish form. Students will experiment with a range of binding, printing, and sculptural tools to create publications while learning a variety of book structures and binding techniques. Equipment and praxis include but are not limited to: the RISOgraph printer, screen printing, xerox copier, comb binder, Epson scanner, laminator, spiral bound machine, and hand bookbinding tools. Daily in-class technical demonstrations in tandem with lectures on independent presses, zine makers, works by artists and publishers that utilize the RISO as both an economic and artistic tool, and prominent book artists will all be explored. The class will culminate in the production of a publication for the Ox-Bow Artists’ book and Zine Library (est. 2023). Each student will donate at least one book from their edition(s) to the collection. This gesture in fostering community by means of leaving ephemera and art objects for future artists to engage with, is the very core of what arts publishing can be.

(top to bottom) 1. William Sieruta, Severed Snake, oil on board, 60 x 72 in.; 2. Mario Romano, Pond Painting Series, 2017, watercolor, 9 x 12 in.; 3. Turtel Onli, Koko Performance, 2022, airbrushed textile paints on unprimed cotton, 48 x 48 in.

(left to right from top left) 1. Danny Miller, Close, 2023, acrylic on wood panel, 11 x 14 x 1 in.; 2. Kristina Paabus, (in the) Shadows of Debris, 2022, collagraph intaglio, linocut, and letterpress, 24 x 20 in.; 3. Brad Killiam, Untitled, 2023, digital photographs; 4. Fox Hysen, Language (from horizon line series), 2023, 22 x 16 in.; 5. bex ya yolk, The Mother and the copy, the copy, the copy..., 2022, paper, poplar wood, walnut stain, wood glue, 11 x 26 in.; 6. Sarah and JO Belknap, Signs of Life, 2020, digital collage, 20 x 30 in.; 7. Michelle Grabner; 8. Molly Zuckerman-Hartung, Ooh Dyslexics on Fire, 2023, acrylic and oil on canvas, 28 x 20 in.; 9. Carrie Gundersdorf, Moncuri Cone, back, 2023, colored pencil and watercolor on paper, 28 x 22 in.

IN LINE

Exploring abundant joy in linework with Mark Thomas Gibson

“There's a certain type of drawer who's constantly looking for lines, who wants to see lines, who loves drawing,” Mark Thomas Gibson said, adding that that’s what initially attracted him to comics. He was in elementary school when he fell in love with his first comic, an issue of Wolverine by John Buscema.

Gibson still finds himself drawn to lines, but as he’s spent more time with comics his care for the genre has grown in its diversity. Beyond the linework and style, he believes comics are an essential way in which we can connect to others stories and offer our own. He sees voices, intention, and individual perspectives shining through his students’ work.

Despite Gibson’s current adoration for comics, which started in his youth, he set them aside for a number of years. He described himself as a product of the 1950’s war on comics. Born in 1980, Gibson explained that war lasted well beyond the 50's. Even in undergrad he resisted taking a drawing class “because drawing was the devil,” according to his upbringing. When he finally took the course, he fell in love fast, describing the experience as meeting an evil mistress.

When the dean of his department in graduate school visited Gibson’s studio, it was a drawing that the dean purchased. Gibson remembers scoffing at his decision, wishing he’d instead been more drawn to one of his paintings. The dean left the young artist with these parting words, “All this other shit doesn’t matter. These drawings, that’s it!” A tough pill to swallow, it took Gibson another two years before he accepted those words. Eventually he came around. Not only did his drawings attract viewers, Gibson also realized he found more joy in producing drawings. This realization left a profound impact on Gibson and has transformed his relationship with both his creative practice and teaching. Gibson values the moments in the studio when he catches a

student lighting up about their own idea. In those moments he asks them, “don’t you want more of that?” Over and over, he finds that when students are resistant to pursuing that spark, it’s because someone along the way told them “this isn’t right.” In Gibson’s space, he strives to get students back in touch with their own voice and grant them trust and access to the limitless joy that comes from using that voice.

Gibson insists that working from that place of enthusiasm is key to giving back to other artists. You can only give to others, when you are feeling satisfied in your own practice. He admires the comic community for this. Early in his career he sat down with a prolific comic writer at their house and the writer looked over his work. “He didn’t ask for anything in

return, he just gave,” Gibson marveled. Evident in Gibson’s own life is this same generosity. Contrary to some other creatives, he doesn’t seem fatigued from teaching or mentorship. Instead, he delights in the opportunity to nurture their potential. He makes it clear that it’s not all encouragement, “I’ll question you, I’ll challenge you, but I always make it clear I’m on your side.”

This is the first year that Gibson’s course, “Considering Comics: Graphic Narratives in Ink,” will be offered at OxBow. Students enrolled can expect to be guided by Gibson’s welcoming spirit, fervor for comics, and vast technique. His goal in every course is to equip students with a well stocked toolkit that will serve them well beyond their weeks on campus.

CARTOONING & ILLUSTRATION

CONSIDERING COMICS: GRAPHIC NARRATIVES IN INK

with Mark Thomas Gibson

PRINT 670 001 | 3 CREDITS

$150 LAB FEE | JULY 28 - AUGUST 10

From their inception, comics have been complicated. They are often brash, have political use, and a special ability to record the civic passions of their time. In this course, we will consider this history and use it as inspiration to tell the stories of our own personal and meaningful experience. We will engage with techniques including starting a narrative, storyboarding, sketching, inking, lettering, coloring, and do-ityourself publishing techniques including the risograph. We will consider the work of cartoonists and screenwriters including

Eleanor Davis, Marjane Satrapi, Alison Bechdel, Ta-Nehisi Coates, and Rodney Barnes, discuss Scott McCloud’s Understanding Comics , and Will Eisner’s Graphic Storytelling and Visual Narrative , and screen Stan Lee’s How to Draw Comics the Marvel Wa y. In addition to a call and response activity where paired students explore their communication skills by completing an eight panel comic together, this class will culminate in a presentation of original artwork and self-published graphic novels to the Ox-Bow community.

FIELD ILLUSTRATION

with Josh Dihle

PAINTING & DRAWING 678 001

1.5 CREDITS | $50 LAB FEE

JULY 28 - AUGUST 3

Inspired by the landscape and wildlife of Ox-Bow, this class invites students to develop an illustrative portfolio in pencil, ink, watercolor, and gouache. Students will build effective and inventive travel easels to explore campus and, working both outside and in the studio, will develop a personal approach to rendering and responding to the plants and animals that call Ox-Bow home. Demonstrations will cover methods for effective color mixing and composing in the field as well as techniques for recreating botanical structure, basic animal anatomy, and biological textures including bark, shell, and feathers. We will review the work of John James Audubon, Walton Ford, Evelyn Statsinger, and Kiki Smith and students will carry a naturalist pocket guide for reference. Onsite and studio drawing assignments will be accompanied by readings and discussions of naturalist poetry by Mary Oliver, Seamus Heaney, and Sharon Olds. Assignments will challenge students to notice the nuance in nature and will include a bug hunt, with invertebrates sketched in graphite, and a watercolor assignment that gives visual expression to a work of poetry or literature. Students will be encouraged to propose a final project inspired by their observations.

(left page)

Mark Thomas Gibson, The Boys , 2023, ink on canvas, 89 3/4 x 67 x 1

(above)

Josh Dihle, Peaceable Kingdom, 2023, mixed media, 60 x 44 x 5 in.

SCULPTURE & METALS SCULPTURE & METALS

THINGS BECOME THINGS: SCULPTURE & SITE SPECIFIC INSTALLATION

with Devin T. Mays

SCULPTURE 689 001 | 3 CREDITS

$100 LAB FEE | MAY 26 - JUNE 8

Students will create objects and temporary environments specifically for the Ox-Bow campus. Ox-Bow’s community of art making as well as its unique natural offerings such as the forests, lagoon, and lake will be the source and location for site-specific creations. It is an opportunity to blur the lines between studio production and daily life in this setting and be in conversation with other artists expanding the boundaries of the studio. Students will experiment with various traditional and non-traditional approaches to object making such as casting, construction, knotting, the augmentation of found objects, and dimensional drawing. The resulting sculptural experiments will be placed in spaces in and around Ox-Bow. Presentations on historical and contemporary examples including Beverly Buchanan, Emmer Sewell, and Kenzi Shiokava will help to contextualize these modes of working and readings will include Forms of Poetic Attention by Lucy Alford, Blackness and Nothingness by Fred Moten, A Voyage to Arcturus by David Lindsay, and The Endgame by Beckett. We will discuss the meanings of exhibiting work in a variety of spaces: rural/urban, indoor/outdoor/, natural/manicured, gallery space/living space, sacred/ profane, actual/virtual and in addition to creating objects and environments for specific locations, we will also reverse this process by letting spaces dictate what the sculptural environment should be. Assignments will invite students to wander, catalog the material world of their surroundings, and produce temporary slight and monumental gestures in the landscape. Regular

discussion and critique will culminate in a presentation of works for the Ox-Bow community.

HOT & COLD CASTING

with Chris Bradley

SCULPTURE 687 001 | 3 CREDITS

$250 LAB FEE | JUNE 9 - 22

In this class, students will be introduced to a variety of casting techniques including silicone, plaster, rigid and flexible foams, concrete, and aluminum. With these methods artists can explore the opportunities for multiples and realism within sculpture. Demonstrations will introduce students to best practices within cold casting techniques and build toward the molten metal aluminum and bronze pours. After experimenting with them all, students will design and propose a final project utilizing at least one of the featured methods. Students are encouraged to bring items they would like to cast, and to consider foraging in the natural landscape as a source of inspiration. We will review the work of sculptors and installation artists including Liz Magor, Tony Matelli, Rachel Whiteread, Daniel Arsham, and Urs Fischer for inspiration. Working in the open–air metals studio, the class will focus on methods for safe casting. Assignments will invite students to work in response to the natural environment, casting foraged objects, and exploring pattern generation. The class will culminate in a presentation of casted sculptures installed on OxBow’s campus.

BLACKSMITHING: SCULPTURAL FORMS

with

Natalie Murray

SCULPTURE 672 001 | 3 CREDITS

$250 LAB FEE | JUNE 23 - JULY 6

This intensive will start with the fundamental techniques of forging, and move quickly into more advanced projects. We will focus

on the processes of moving material while hot, and the forge and anvil will be the primary tools of achieving form. As a corollary, the history of forged ironwork (architectural, tools, and sculpture) will serve as a source of inspiration. Each student will also be encouraged to make an inflated sheet metal sculpture.

ALTERNATIVE ARMATURES

with Elena Ailes

SCULPTURE 685 001 | 3 CREDITS

$200 LAB FEE | JULY 15 - 27

In this class, we will build armatures from wood, metal, and found manufactured and natural objects. Working in Ox-Bow’s Metals Studio, students will explore threedimensional design concepts and sculptural projects at any scale and repurposing and recycling materials will be encouraged. We will integrate unconventional materials including glue, foam, items foraged from Ox-Bow’s campus, and use play, intuition, and memory to design a unique and expressive body of work. Demonstrations on technical skills will include methods for effective welding, joinery, installation, and finishing. Slide lectures will review the work of Barbara Hepworth, Leonardo Drew, Bob Cassily, and Niki de Saint Phalle and discussions will cover contemporary sculptural practices, sustainable sculpture, and current 3D scanning and printing technology. Assignments will invite students to use abstract shapes,

forms, and textures to fabricate 3D self-portraits. In week one students will learn how to craft sturdy and expressive armatures and in week two we will focus on the “skin” that covers the armature. Students will be encouraged to consider how their design and patterns, textures, and materials used affect our emotions. This course is a great way to be introduced to a variety of techniques in a sculpture shop, beginners are welcomed.

THE WORLD IS ONE. THE HUMAN IS TWO: DECONSTRUCTING AND RECONSTRUCTING OBJECTS

with John Preus

SCULPTURE | 684 001

1.5 CREDITS | $50 LAB FEE JULY 28 - AUGUST 3

This course will challenge students to work across two hand-made designed objects, one chosen and one randomly procured, to create a third sculpture which creatively considers form, function, destruction, and collaboration. Students will provide the items, which must be made by a human and no bigger than 3 feet on any side, and participate in an object swap to secure their second subject. Demonstrations including chop saw, band saw, jig saw, and other basic building tool usage will introduce students to a variety of processes they can utilize in

constructing/deconstructing their object. Throughout the creation process we will discuss the object as sacrament, fetish, scapegoat, and as matter of hermeneutics. We will look at the work of contemporary artists such as Brian Jungen, Edra Soto, Amanda Williams, Theaster Gates, Doris Salcedo, and others. Because of the short length of time we have together, some short limited readings will be assigned, but a more extensive list of resources and texts will be made available. Susan Sontag, Laura Kipnis’s Against Love, Joan Didion on desire, Peter Rollins on the Lacanian subject and the church that believes in nothing. Colby Dickinson on the Sacrament and the Fetish object, Rene Girard on the scapegoat and mimetic desire. Students should be prepared for a robust collaborative experience as this course will dedicate significant time to the ritual and performance of the object exchange, so as to set the stage for considering the relationship between forms. This course will culminate in a final presentation of sculptures thoughtfully installed indoors or out.

BUILDING BIG

with Nick Fagan & Mark Schentzel SCULPTURE 686 001 | 3 CREDITS

$200 LAB FEE | AUGUST 11 – 24

This class will focus on building large, sculptural structures in wood and metal. Cost effective and beginner friendly methods will be employed to empower students to overcome the intimidation that can accompany a wish to work large. Together, we will consider the steps required to complete a large sculpture including drafting, model making, fabrication, safety, and budgeting. We will draw inspiration from sculptures by Phyllida Barlow, view Robert Snyder’s1974 documentary The World of R. Buckminster Fuller, and readings will include Robert Smithson’s “A Tour of the Monuments of Passaic”. After completing a small-scale balsa wood model, students can expect to complete one large-scale sculpture. This class will culminate in a presentation of monumental sculptures in the landscape.

(left page) Chris Bradley, To Come or To Go, 2021, cast urethane, nickel plated steel, paint, and hardware, 40 x 20 x 12 in;

(above -left to right from top left) 1. Devin T. Mays, Untitled (Unnamed), 2023, pallets, shims and door stop; 2. Nick Fagan, Love Hours , 2022, Install; 3. Natalie Murray, Bowls , 2017, Steel, 18 x 18 x 4 in.; 4.Mark Schentzel, Era Alter, steel, stainless steel, wood, 12 x 12 x12 ft.;

5. John Preus, The Beast, 2014, felt, wood, chicago public school furniture, 20 x 20 x 18 ft.

FIBER & MATERIAL STUDIES

PAPERMAKING STUDIO

with Andrea Peterson

PAPER 604 001 | 3 CREDITS

$200 LAB FEE | JUNE 9 - 22

Paper as an art medium is exciting and elusive. Paper pulp can be transformed into sculptural works, drawings with pulp and unusual surface textures. It can allude to skin, metal, rock or something quite totally different. Explore all of these possibilities. Stretch your artistic and technical skills to create unusual works of art.

QUEER CRAFT

with Wells Chandler

FIBER 629 001 | 3 CREDITS

$150 LAB FEE | JUNE 9 - 22

This course will consider queer aesthetics and contributions to the development of visual, literary, filmic and philosophical culture with an

emphasis on craft. Queer culture is not a separate or parallel function of a larger culture, but is central to and generative for it. We will address how the inclusivity and resistance of the queer movement offers productive models for artistic production now. Demonstrations and assignments will introduce crochet, dyeing, activist performance techniques and anarchist publishing strategies to the group who will also use collaboration, exploring in nature, narrative, upscaling and play as a way to contextualize queer craft, queer activism, making kin, and queer mysticism. Readings will include Larry Mitchell + Ned Asta’s The Faggots & Their Friends Between Revolutions , 1977, Audre Lorde Uses of the Erotic: The Erotic as Power, 1978 and Jose Esteban Munoz Cruising Utopia: The Then and There of Queer Futurity, 2010. We will look at the work of Vaginal Davis, Sheila Pepe and Joe Brainard

and we will screen Apichatpong

Weerasethakul’s 2004 film Tropical Malady and Jennie Livingston’s 1990 film Paris is Burning among others. Assignments will encourage surprise, discovery, and world building. In addition to working on proposed personal projects, artists will work collaboratively on polymorphously perverse drawings, mycelium networks, and historical lesbian structures. The class will culminate in a runway presentation of crafted wearables.

SOFT COMPOSITIONS

with Chris Edwards & Lauren Gregory

FIBER 627 001 | 3 CREDITS

$50 LAB FEE | JUNE 23 - JULY 6

This course celebrates handicraft and invites students into the sewing circle in service of solving compositional problems with

the language of quilting. Serving students at all levels of experience, participants will learn traditional, nontraditional, machine, and handsewing techniques to produce soft objects including quilts, banners, windsocks, dolls, and installations. Demonstrations on mapping 2D and 3D images, piecing, applique, dyeing, and additive image making will encourage the exploration of the alternative and whimsical sensibilities in soft sculpture. Platforming the loose and improvisational markmaking possible with traditional stitch and appliqu e techniques of quilt-making, this highly collaborative and social course will be inspired by the works of Rosie Lee Tompkins, the Gees Bend Quilters, Claes Oldenberg, RuPaul, David Byrne, and Lee Bowery. Screenings may include True Stories (1986), Common Threads: Stories from the Quilt (1989), and readings may include “Knitting, Weaving, Embroidery, and Quilting as Subversive Aesthetic Strategies: On Feminist Interventions in Art, Fashion, and Philosophy” (Michna 2020). Students will conceive and construct original fiber works in response to assignments that focus on the expressive, personal, and comical possibilities of these materials. Assignments will include completing piecing, construction, binding, and quilting of a full personal quilt project, collaborating on group textiles, even with artists in other classes, and students will make a wearable item for Ox-Bow’s Friday Night Costume Party. The course will culminate in a group quilt show installed in the landscape.

CROCHET, GIFTS, FRIENDS: THE POLITICS OF SOFTNESS

with Falaks Vasa

FIBER 630 001 | 1.5 CREDITS

$50 LAB FEE | JULY 28 - AUGUST 3

Often, we crochet as something else happens – a class, a Netflix show, a catastrophe. Often, we crochet objects we don’t keep – a silly frog, a hundredth granny square, a scarf. Often, we crochet with friends, for friends – community, gifts, softness. In this class, we will turn our full attention to the gestures of labor and generosity that can enable a fiber art practice. We will learn the basics of crochet, practice it as individuals and in community, and create works that consider the audience and the gift of gifting carefully. Discussions and presentations will consider the work of Wells Chandler, Faith Ringgold, and Nina Katchadourian. Readings will include excerpts from Lewis Hyde’s The Gift: Imagination and the Erotic Life of Property, Sara Ahmad’s Queer Phenomenology, and we will screen the film Wool 100% . To enhance the communal nature of our discussions and learning, students will also be able to propose relevant screenings to host throughout studio work time. Assignments will invite students to unpack what gift-giving means to them while building technical skills, and the class will culminate in a critique and/or exchange of final crocheted projects.

PAPERMAKING IN TIME & PLACE

with Megan Diddie & Aya Nakamura

PAPER 631 001 | 1.5 CREDITS

$100 LAB FEE | AUGUST 4 - 10

This class will explore paper’s origins and invite artists to consider the source of paper fiber, explore the ways techniques have evolved over centuries, and negotiate their own relationship to this ancient art form. Reviewing the methods that cultures throughout time have utilized to make paper, students will identify, responsibly harvest, and process prairie plants for various paper projects. We will utilize the Sugeta to explore Japanese papermaking, molds and deckles for Western papermaking, and freestanding molds for Nepalese papermaking. We will consider the work of other papermakers including Hong Hong, Zarina Hashmi, and Yoonshin Park and readings will include Dard Hunter’s The History and Technique of an Ancient Craft and Anish Kapoor’s “Silence and Transition”. Assignments will invite students to harvest natural materials, including bark, and explore the possibilities for turning what they forage into paper. In addition to demonstrations and assignments, students will have time to design and complete their own paper project. The artist’s relationship to material, ritual, and history should be considered for the portfolio completed in class.

NATURAL DYES & WEARABLE SCULPTURE

with Joey Quiñones

FIBER 625 001 | 3 CREDITS

$150 LAB FEE | AUGUST 11 - 24

Prior to 1856, all dyes used on textiles came from natural sources. In this course we will explore multiple ways of adding color to cloth, with particular attention paid to patterning created through resist methods such as pastes, waxes, stitching, and binding. As a class we will use cotton and incorporate methods such as printing with mordants. We will also explore the metaphorical components of color and the use of fiber as an act of resistance and selfexpression. In this course we will read excerpts from Maggie Nelson’s lyric essay, “Bluets” as our meditation on color. The Art and Science of Natural Dyes by Joy Boutrup and Catharine Ellis will provide us technical guidance, and by examining the work of artists such as Pia Camil and Nick Cave we will draw inspiration for our final wearable sculpture project. Screenings will include, “In Conversation: Jim Arendt”. Assignments will include a Kanga inspired textile to showcase the use of patterning and layering of natural dyes and a wearable sculpture collaborative project.

(left page - left to right from top left) 1. Chris Edwards, Yellow Vanity with Pink Hallway Quilt, 2023, quilt fabric, vinyl, fringe, pompom trim, 72 x 90' in.; 2. Megan Diddie, headspace, 2023, gouache on paper, 25 x 22 in.; 3. Falaks Vasa, Pillowphone (from the series Pillows for the Pandemic, 2020, embroidery thread, polyfill, cotton fabric, 5.78 x 2.71 x 2.34 in.; 4. Wells Chandler, Isn’t She Lovely, 2023, hand crocheted assorted fibers, 20 x 18 in; 5. Lauren Gregory, The State of Tennessee Quilt, 2023, cotton and thread, 86 x 61.5 in.; 6. Andrea Peterson, Embrace, 2023, kozo, ink, dye, 24 x 67 in.; 7. Aya Nakamura, Heart (V), 2023, colored pencil on handmade paper, 77 x 41 in.; (above) Joey Quiñones, Ere Ibeji, 2015, naturally dyed cotton, photosensitive ink, transparencies, 52 x 14 in.

SPECIAL

SPECIAL TOPICS

BLACK IN THE WOODS

with Krista Franklin & Ayanah Moor

FIBER & PRINT 652 001 | 3 CREDITS

$150 LAB FEE | JUNE 23 - JULY 6

This interdisciplinary seminar and studio course examines notions of blackness and the woods. We will discuss art works and readings related to concepts of the gothic, identity, race, cultural studies and the landscape. In addition to more traditional processes including papermaking, sun printing, monoprinting and creative writing exercises, faculty will support and cultivate diverse approaches to media, such as performance, site-specific installation, and field recording. In this course, students will view and discuss works by artists such as Kerry James Marshall, Ana Mendieta, and David Hammons. They will be required to read a number of works such as selected poems and essays from the anthology Black Nature, edited by Camille T. Dungy, and will screen short films and an episode from the FX television show Atlanta. Student assignments are varied and will range from creative writing and text generating exercises both in and out of class to hand papermaking, drawing, collage strategies, and conceptual prompts informed by student driven research.

WILD SOUNDS

with Skooby Laposky

SOUND 603 001 | 1.5 CREDITS

$50 LAB FEE | JULY 21 - 27

Sounds are vibrations that carry intelligence, ideas, feelings, and memories. In this class students will become acoustic ecologists, sound designers, and deep listeners. We will use various microphones (contact mics, hydrophones, geophones, and binaural systems) to harvest and listen to the sound textures of Ox-Bow’s vibrant ecosystem and amplify its unheard activities and patterns. We will build listening stations around the Ox-Bow campus to immerse ourselves in the daily rhythms of the nonhuman world that go largely unnoticed. Additionally, we will create sculptural instruments out of foraged materials found on walks that will become the source for our electroacoustic recordings. These newly discovered rhythms of nature will be the foundation and inspiration for our sound compositions and visual works.

The act of listening is crucial to our creative process and progress. We will engage in the deep listening and discussion of Chris Watson’s Cima Verde , Bernie Krause’s The

Great Animal Orchestra , and John Cage’s Child of Tree (for amplified plant materials) to unlock new patterns of thought. This class aims to create a meaningful listening practice by engaging with the environment using various sound technologies that aid in pulling us closer to the natural world. Using amplification and sound editing software we’ll unlock the hidden languages surrounding us and use this to start our dialogues. Students should bring their own laptops for editing purposes and will be introduced to open source software to complete this part of the project. Assignments will invite students to compare field recordings as captured by their own ears versus through the microphone, create a listening station that will broadcast its live mic feed via short range FM transmission, and collaborate with the landscape in a final, sound station on display for the Ox-Bow community.

RHYMING THE LAND

with Hai-Wen Lin & Manal Shoukair

SCULPTURE 688 001 | 1.5 CREDITS $100 LAB FEE | AUGUST 4 - 10

This course is an exploration of land art, installation, and

performance art that uses poetry as a framework to think about sculpting. As a class, we will consider the poem and its structures (rhyme, meter, stanza, verse) as form, material, and method. We will begin with a series of exercises that develop a relationship between writing, the land, and our bodies. Techniques demonstrated will include mold making, field recording, movement mapping, basic metal and woodwork. This is not a poetry class, but a class of poetic making and will entail mapping, listening, walking, sharing, caring, speaking, humming, singing, dancing, and meditating as forms of writing and research. We hope to challenge conventional understandings of the separation between body and environment by situating ourselves directly within the land. We will consider the works of artists such as Ana Mendieta, Liu Bolin, Richard Long, Andy Goldsworthy, Mierle laderman Ukeles, and Rebecca Horn. Readings and screenings may include Braiding Sweetgrass , the Tao Te Ching , and Leaning Into the Wind . The final project is the construction of a duet poem wherein one part originates from the artist’s body and one part originates from the landscape.

(from left to right) 1. Ayanah Moor, Ha-Ya (Eternal Life), 2022, Acrylic and latex on wood panel, glass shelf, plants, and shell skull, h: 60 x w: 48 x d: 17 in.; 2. Skooby Laposky, Speaking With Antoine, 2023, Biodata sonification and modular synthesis recording with Rashid Johnson installation, various sizes; 3. Krista Franklin, Out of Love But Maybe There’s Still Some Romance, 2021, collage in handmade paper, 25.5 x 15.5 in.; 4. Manal Shoukair, memento, 2021, solid bronze cast of starling, 4 x 7 x 6 in.; 5. Hai-Wen Lin, Untitled (Sun Being), 2023, drop cloth, air float charcoal, tape, string, approx. 72 × 72 × 72 in.

ONLINE COURSES

MATERIAL CODE

with Samantha Bittman

FIBER 626 001 & PAINTING 603 001

3 CREDITS | JUNE 14 - 27, 10 A.M.- 12:30 P.M. CST

In this course, students will explore how the weave draft technique, often utilized by weavers for the loom, can generate patterned binary code which can then be translated into textile, painting, sound, and many other media. Focusing on the communicative capabilities of their chosen material, students will draft and manipulate algorithmic pattern generators to produce endless patterns of 1’s and 0’s. Works made by artists including Anni Albers, Xylor Jane, Beryl Korot, and kg will lead us into conversations around the origins of weaving, the loom, computers, and algorithmic art making. Discussion will be supplemented by Bhakti Ziek’s The Woven Pixel, Beverly Gordon’s “Cloth as Communication”, and Chris Ofili: Weaving Magic. Assignments will include drafting a “Sample Blanket” with graph paper, colored pencil, and other flat materials and, while contemplating how material choice makes meaning, final pieces of any media that utilize the code will be shared amongst the group.

DREAMING COMMUNITY: IMMERSIVE 3D WORLD BUILDING IN NEW ART CITY

with Hiba Ali

ART & TECH 606 001 | 3 CREDITS

JUNE 21 - JULY 5, 1 - 3:30 P.M. CST

Dreams have the ability to activate our imagination. In this class we start with dreams as an inspiration point, and translate them via a collective 3D collage in New Art City, a 3D interactive platform. Demonstrations will prepare students to use 3D objects, images, and soundscapes to create a collective dreamland. We will use software including Blender, GIFs,

and Bandlab to build an immersive collective collage on New Art City. Inspired by the work of Tabitha Rezaire, Ruha Benjamin, and Mariame Kaba, in dreaming with community, we will create a digital portal of inspiration and activate our collective imagination. We will screen Tabitha Rezaire, Neema Githere, Merriam Bennani, Amina Ross, and Hito Steyer’s video work and discuss them. We will read chapters from We Do This ‘Til We Free Us: Abolitionist Organizing and Transforming Justice (2021) by Mariame Kaba, “Viral Justice: How We Grow the World We Want (2022) by Ruha Benjamin and I Will Survive (2021) by Hito Steyerl. Assignments will invite students to locate their sense of comfort online, and arrange images, 3D objects and text, and sounds to translate those feelings into a space of virtual relaxation. Students will present a final project to the group. Students should supply a laptop with Blender software installed and create an account in New Art City (links will be provided upon enrollment). This class is open to students of all levels.

VIRTUAL LYRIC BOOKS

with Lee Blalock

ART & TECH 604 001 | 3 CREDITS

JULY 5 - 21, 10 A.M. - 12:30 P.M. CST

As humans, we perpetually process a great deal of information from every direction, in every form, and often it isn’t kind enough to come in linearly, for easy digestion. Processing this noise doesn’t always happen in a thorough and organized manner. Instead, we often sample bubbles of thought that float between fiction and perceived reality. This course invites artists to explore practices that allow for bursts of thought using software and text. On our way to skill-based workshops, we will discuss contemporary media artists working with text, computation, and technology including Mendi +

Keith Obadike, Allison Parrish, Nick Montfort, and Judd Morrissey. The generative poetry of early computer artists, excerpts from The Breakbeat Poets: New American Poetry in the Age of Hip-Hop, and the experimental text practices of different art movements will all supplement and inspire this class experience. We’ll look at art that marries text with technology and discuss how this affects how language is understood. Artists will create two works-in-progress that take cues from algorithmic techniques, song lyrics, combinatorial writing, and concrete poetry and receive handson experience placing these ideas in virtual environments using the game engine software Unity and code software p5.js. Students should provide their own computers and will be given access to the softwares.

MULTI-LEVEL PAINTING: FORM, PROCESS, AND MEANING

with Josh Dihle

PAINTING 605 001 | 3 CREDITS

JULY 11 - 24, 10 A.M. - 12:30 P.M. CST

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 painting process in relation to form and meaning. Students will pursue various interests in subject matter. Students may choose to work with oil-based media.

Demonstrations, lectures and critiques will be included.

(left to right) 1. Samantha Bittman, Untitled, 2020, acrylic on hand-woven textile, 30 x 24 in.; 2. Josh Dihle, Cuttings, 2022, colored pencil on walnut, 18 x 14 x 2 in.; 3. HIba Ali, in the weeds installation, 2021, installed roman susan gallery in alignment with the available city as a partner program of the chicago architecture biennial, chicago, IL, astroturf, video projection, sound of lawnmowers; 4. Lee Blalock, sy5z3n_4: Medi(a)tation for Virtual Respiration, 2019, 56 modified resin Buddha models, 40 solenoids, 28 LEDs, wood, gold leaf, custom software, video, and sound, 4 x 4 x 5 ft.

SESSION ONE

May 26 - June 8 (2 weeks)

Glass GLASSBLOWING

Victoria Ahmadizadeh

Melendez

GLASS 681 001 | 3 CREDITS

Ceramics

WOODFIRE: ANCIENT METHODS & CONTEMPORARY

APPLICATIONS

Henry Crissman & Virginia Rose Torrence

CERAMICS 660 001

3 CREDITS

Painting & Drawing PAINT MAKERSPACE

Laurel Sparks

PAINTING 669 001

3 CREDITS

RHYTHMISTIC AIRBRUSH

PrintMaking & Photo

Turtel Onli

PAINTING 679 001

3 CREDITS

LITHOGRAPHY: STONE & PHOTOLITHOGRAPHY

Danny Miller & Kristina Paabus

PRINT 637 001 | 3 CREDITS

Sculpture & Metals THINGS BECOME THINGS:

SCULPTURE & SITE

SPECIFIC INSTALLATION

Devin T. Mays

SCULPTURE 689 001

3 CREDITS

Fiber & Material Studies

SESSION TWO

June 9 - 22 (2 weeks)

GLASS MULTIPLES

Christen Baker & Priscilla Lo

GLASS 651 001 | 3 CREDITS

MUSICAL MUD

Liz McCarthy

CERAMICS 665 001

3 CREDITS

WANDERING SPIRITS

Joseph & Sarah Belknap

PHOTO 615 001

3 CREDITS

HOT & COLD CASTING

Chris Bradley

SCULPTURE 687 001

3 CREDITS

QUEER CRAFT

Wells Chandler

FIBER 629 001 | 3 CREDITS

PAPERMAKING STUDIO

Andrea Peterson

PAPER 604 001 | 3 CREDITS

SESSION THREE

June 23 - July 6 (2 week)

THE DINNER PARTY

Corey Pemberton

GLASS 676 001 | 3 CREDITS

THE PORTRAIT AND THE FIGURE IN CERAMICS

Rodrigo Lara Zendejas

CERAMICS 668 001

3 CREDITS

SESSION FOUR

July 15 - 27 (2 weeks)

GLASSBLOWING

Yashodhar Reddy & Will Hutchinson

GLASS 681 002 | 3 CREDITS

CUTENESS OVERLOAD

Chase Barney & Emily Yong Beck

CERAMICS 663 001

3 CREDITS

WORDS, MUSIC, ACTION!

Richard Hull, John Yao, & Ken Vandermark

PAINTING 668 001

3 CREDITS

RISO-RELATIONS & BOOKISH BEHAVIORS

Madeleine Aguilar & bex ya yolk

PRINT 668 001 | 3 CREDITS

COLOR

Mario Romano & William Sieruta

PAINTING 658 001

3 CREDITS

BLACKSMITHING:

SCULPTURAL FORMS

Natalie Murray

SCULPTURE 672 001

3 CREDITS

ALTERNATIVE ARMATURES

Elena Ailes

SCULPTURE 685 001

3 CREDITS

SOFT COMPOSITIONS

Chris Edwards & Lauren Gregory

FIBER 627 001 | 3 CREDITS

BLACK IN THE WOODS

Special Topics

Alex Bradley Cohen

Krista Franklin & Ayanah Moor

FIBER & PRINT 652 001

3 CREDITS

WILD SOUNDS

Skooby Laposky

SOUND 603 001 | 1.5 CREDITS

You Ni Chae

John Kilduff

Anna Betbeze Tammie Rubin

Michael Mahalchick

Nate Young

Abigail Lucien

Visiting Artists

SESSION FIVE

July 28 - August 3 (1 week)

MULTI-LEVEL

GLASSBLOWING

Hoseok Youn

GLASS 641 001 | 1.5 CREDITS

CLAY AT THE TABLE

S. Lantz & Amanda Salov

CERAMICS 667 001 | 3 CREDITS

SESSION SIX

August 4 - 10 (1 weeks)

FLAMEWORKING: FINDING

FORM IN TRANSLATION

Carmen Lozar

GLASS 649 001 | 1.5 CREDITS

SESSION SEVEN

August 11 - 24 (2 weeks)

GLASSBLOWING

Ekin Aytac & Joshua Davids

GLASS 681 003 | 3 CREDITS

MOON JARS: THROWING LARGE VESSELS

Dave Kim

CERAMICS 664 001

3 CREDITS

ONLINE COURSES

JUNE 14 - 27 | 10 A.M.- 12:30 P.M. CST

MATERIAL CODE

FIELD ILLUSTRATION

Josh Dihle

PAINTING & DRAWING 678 001

1.5 CREDITS

DRAWING PLACE IN

WATERCOLOR & GOUACHE

Carrie Gundersdorf

PAINTING 672 001 | 1.5

CREDITS

CONSIDERING COMICS: GRAPHIC NARRATIVES IN INK

Mark Thomas Gibson

PRINT 670 001 | 3 CREDITS

DRAW, PAINT, PRINT Michelle Grabner, Fox Hysen, Brad Killam, & Molly Zuckerman-Hartung

PAINTING / PRINT 677 001

3 CREDITS

THE WORLD IS ONE.

THE HUMAN IS TWO: DECONSTRUCTING AND RECONSTRUCTING

OBJECTS

John Preus

SCULPTURE 684 001

1.5 CREDITS

CROCHET, GIFTS, FRIENDS:

THE POLITICS OF SOFTNESS

Falaks Vasa

FIBER 630 001 | 1.5 CREDITS

BUILDING BIG

Nick Fagan & Mark Schentzel

SCULPTURE 686 001

3 CREDITS

Samantha Bittman

FIBER 626 001 & PAINTING 603 001

3 CREDITS

JUNE 21 - JULY 5 | 1 - 3:30 P.M. CST

DREAMING COMMUNITY: IMMERSIVE 3D WORLD BUILDING IN NEW ART CITY

HIba Ali

ART & TECH 606 001 | 3 CREDITS

JULY 5 - 21 | 10 A.M. - 12:30 P.M. CST

VIRTUAL LYRIC BOOKS

Lee Blalock

ART & TECH 604 001 | 3 CREDITS

JULY 11 - 24 | 10 A.M. - 12:30 P.M. CST

MULTI-LEVEL PAINTING: FORM, PROCESS, AND MEANING

Josh Dihle PAINTING 605 001 | 3 CREDITS

NATURAL DYES & WEARABLE SCULPTURE

Joann Quiñones

FIBER 625 001 | 3 CREDITS

PAPERMAKING IN TIME & PLACE

Megan Diddie & Aya Nakamura

PAPER 631 001 | 1.5 CREDITS

RHYMING THE LAND

Hai-Wen Lin & Manal Shoukair

SCULPTURE 688 001

1.5 CREDITS

Leeza Meskin B. Ingrid Olson

Cartooning & Illustration

Visiting Artists

Online Courses

Cynthia Alberto Eric J. Garcia

More Than a Stitch

There’s something age old and deeply human about a sewing circle. It’s an ancient tradition that transcends time and cultures. Lauren Gregory and Chris Edwards have participated in this tradition these past two years at Ox-Bow, each time introducing a new body of students to the practice in their course “Soft Compositions.” After an introduction of the course and a morning session to acquaint students with initial techniques, Gregory and Edwards take their seats amidst the circle. For the rest of the session, they’ll sit level with the students and join them in communing around a shared goal. By the end of their two weeks on campus, each student will complete their own quilt. Likewise, Gregory and Edwards commit themselves to finishing one alongside the students. “Far from taking away from teaching the class” Gregory finds that how “deep into our [own] creative projects [we go] seems to really fuel the situation with other students.”

For most, this is their first quilting endeavor. Gregory explained that many of them gravitate towards precision and perfection, but Edwards loves to dispel this tendency by playfully reminding them “it’s a f***ing blanket.” At the end of the session, if it functions as such, that’s a success. This approach comes naturally to Edwards who operates on profound instinct and spends no more than two weeks on a quilt. He holds that problem solving is intrinsic to quiltmaking and loves seeing students grapple with that aspect of the form. Each one manages to develop their own ways of navigating these problems as they arise.

“The direction that people are coming from and what they want their quilt to say and what kind of things they want from a quilt and what their relationship is…

it’s so unique, and it’s so personal, ” says Edwards. He theorizes that part of this comes from the homey and nostalgic nature of quilts. He witnesses the intersection of these personal relationships and memories with the object, intersecting with each student’s own art practice. “We see a lot of that expression of cultural relationships to quilting, how that is expressed and how the craft is expressed from [each] person.” In representational projects, Edwards finds that the process of making the quilt ends up becoming a method of processing the representation, “the process of working through something while making,” as Edwards puts it.

Many students come with materials of their own such as hand printed fabric and naturally dyed fibers. Some arrive with a vision in mind, while others develop improvisationally. All return home with a quilt of their own: a capsule of their method and self preserved in the fibers.

Both Gregory and Edwards model the individuality present in quilts. Gregory, a third-generation, Southern painter, made the transition to quilts during the pandemic’s early stages. During this time, she found herself unable to paint. The women in her family had modeled the tradition of quilting, just as they had painting. She recalled an early memory in which her mother made Gregory a quilt for her bed and guided young Lauren as she made a matching miniature quilt for her doll. Similarly, the first quilt Edwards made was done in collaboration with his mother during undergrad. In the course, Edwards and Gregory highlight this generational history of quilts, introducing students to its Appalachian and Southern roots with

historic figures and artists such as the Gee’s Bend quilters.

As many quilters have professed in their own words, quilts offer up their own language. For Edwards and Gregory, this language seems to be one of love. At one point during our video call, Gregory showed me the full-sized quilt Chris had given her last Christmas. “I cried like a little baby when I opened this box… it’s one of the most amazing gifts anyone's ever given me,” said Gregory. Former classmates in the School of the Art Institute’s Painting MFA, Gregory and Edwards seem to have been brought even closer through their summers teaching at Ox-Bow. “He’s my best quilting buddy,” Gregory said. “And he’s just, he’s amazing… He’s such a prolific quilter and it has opened up this whole world of quilting and building a quilting community that has been really special to me.”

Each year in the studio at OxBow, a micro community of quilters also emerges. Edwards credits this partially to the sewing circle: the conversations that emerge over the hours and the silences that they also share. In the studio, Edwards has observed students teaching themselves and their peers new methods. “We had students that were teaching themselves new quilting techniques… and then we all learned as they were doing them.” Edwards made it clear that this form of exchange is core to the spirit of quilt making.

Of Ox-Bow and the course, Gregory shared, “It is my favorite place, my favorite two weeks out of the year, hands down…” As she showed me shelf after shelf of fabric in her studio, she pointed to a pile set aside for Ox-Bow, “I’m already thinking of what fabrics I’m going to bring next summer.”

Chris Edwards and Lauren Gregory bring quilting a nd community to Ox-Bow through their third rendition of Soft Compositions. Written by Shanley Poole

If “The Ancient Future” caught your interest, consider taking “Musical Mud” with Liz McCarthy. She looks forward to instructing the course which will offer a “medley of instrument making in clay! We will straddle technique and modes of play to make an array of musical instruments, culminating in a celebratory performance.“

Read the full course description on page 13.

BY: IAN SOLOMON AND NATIA SER, 2023 SUMMER FELLOWS IN PHOTOGRAPHY & COMMUNICATIONS

The Ancient Future: Clay & Sound

A look into the 2023 course that explored ceramics, music, and the shared spirit of humanity.

Written by Shanley Poole

CREATING THE COURSE:

Israel (Izzy) Davis and Douglas R. Ewart are two friends, artists, and intuitive musicians with a thirty year history together. Last summer, they returned to Ox-Bow to debut a new course that combined their history and strengths. What resulted was a course that fostered experimentation, kinship, and generous offerings that spilled past the walls of the studio, onto all of campus.

The course—titled “The Ancient Future: Clay & Sound”—derives its name from, in Ewarts word’s, the idea that “the Ancient ways and the people that live that way have left a much smaller footprint and live more in concert with the world's natural ecosystems by not destroying trees, waterways, animals and more. The idea that a sustainable and kind future is dependent on acknowledging and learning from ancient traditions.” The name is borrowed from a slogan of the Association for the Advancement of Creative Musicians (AACM), an organization of which Ewart is a longtime member. “We embarked on making drums and flutes and saucers,” Ewart said of the start of the session. From there Ewart and Davis watched where interest sparked in the students and improvisationally retooled the course’s direction from there. At the heart of both of their teaching practices is a desire to meet students where they are at.

All of the students in the session were beginners in both ceramics and music, but few considered themselves musicians. Each had bravely signed up for the course

knowing that it would culminate in a public ensemble performance. Davis and Ewart worked intentionally to dispel any fears that naturally arose. From day one in the studio, Davis emphasized that simply clapping your hands or striking a drum is enough. When performing as an ensemble these elements can layer on top of another; “You develop a more what we perceive as a more complex rhythm,” Davis said.

ARTISTS AT HEART:

Both Davis and Ewart treat teaching as a practice of its own, just as sacred and important as their artistic practice. Davis’s voice tightened on the other end of the line as he described how important it was to him. “To have an impact on students and share this path together… That's really, it’s a gift.” These words rang with a sincerity reinforced by Davis’s own path to the arts. He knew full well the liberation a classroom can provide. The son of a single mother who worked in a local factory in

North Carolina, Davis credited that “art was the door for [him].” And as we dove further into conversation together, it became clear he doesn’t take his path or the power of the arts for granted. Davis credited that education is not rooted merely in acquisition of skills and degrees, it’s also an opportunity to participate in a shared exchange of humanity. I saw the traces of kinship in these words as Davis’s former professor Ewart shared that he “differentiate[d] schooling from education.”

Ewart’s first exposure to ceramics came at an early age. Across the street from his childhood home in Kingston, Jamaica was a pottery workshop that was commissioned by the government to make clay pipes for sewage and irrigation. He chuckled as he recounted disguising their clay in fudge bar wrappers and offering it as a treat to friends. While this remained his only relationship to ceramics for a time, music played a central role in Ewart’s upbringing. “Because of the drive for independence, which we got in 1962, the music was changing [in Jamaica],” said Ewart.

In particular, Ewart reflected on the impact of Count Ossie and the Mystic Revelation of Rastafari, recounting that he knew a number of the group’s players. “The place where you would hear a lot of the original music… was at the dancehall because they weren't playing this music on the radio,” Ewart said, adding that this repression of music was done intentionally by authorities. “You're supposed to look to the

Metropolitan colonizers as the vanguard of intellect,” Ewart elaborated, connecting this theme to what he sees happening in institutions in America, where binaries are drawn between functional and abstract or intelligent design and implications of unintelligent design. “It’s an oxymoron,” Ewart said, “all design is intelligent!” Such passionate and insistent affirmations not only drove my conversation with Ewart, but Ewart’s teaching philosophy too. Ewart believes that learning is reciprocal between teacher and student, rather than a oneway transit. With such a perspective, it’s no wonder why his relationship with former student Israel Davis has grown into one of both peers and friends.

A SHARED SPIRIT:

When the instructors began to brainstorm the framework for the course, they launched from Davis’s background in ceramics, Ewart’s expertise in music and music history, and both of their interests in non-mainstream pedagogy. “We boiled it down to these ancient art forms [creating] new pathways to social and cultural connection through shared human spirit,” Davis specified. When faced with those words, I was struck by the ambitious scope they tried to offer, a scope which they successfully managed to host. I intentionally say host because of their commitment to an equal exchange of knowledge within the student-professor dichotomy. The suspension of traditional hierarchies was essential to their goal to engage in shared spirit.

Two students taught Davis the Chinese words for certain ceramic terms, while Davis taught the students how to accomplish the methods that matched the vocab. Towards

the end of the two week session, one student shared with Davis that “she’d never felt as recognized in a class” as she had in “The Ancient Future.” Like many courses at Ox-Bow, the connection lasted beyond the time in the studio. When Ewart performed in Chicago a few weeks later, two students assured him they’d be there. Hearing this news, Ewart packed the flute one of these students had made for him and played it at the concert as a nod of solidarity. “What the class has done is created a platform for enduring connections,” he shared in reflection of that moment playing the flute on stage.

THE FINAL OFFERING:

These enduring connections were also a gift that impacted those beyond the students in Ewart and Davis’s course. When Davis proposed “The Ancient Future,” he reached out to his friend and former student Joey Quiñones. He asked if they’d have interest in proposing a course that would harmonize with his. Quiñones in turn proposed a wearable dyes course

that employed use of natural materials to create Kanga inspired textiles. Both courses visited each other’s studios, learned from the practices of one another, and created cross-disciplinary works.

The two courses also collaborated to create what Ewart called a Final Offering— “like a musical meal,” he elaborated—to campus. Students of Sound and Clay donned textiles made by Wearable Dyes and offered a song to all on campus, a song created from the instruments they’d made over the two week session. When they concluded, everyone gathered around a table to enjoy Ewart’s homebrewed ginger beer in ceramic vessels made by Davis and Teaching Assistant, Melissa Navarre. Serendipitously, the event took place midsummer, when energy from staff was low. Davis shared that more than one individual thanked him, Ewart, and the students for providing something to gather around as a community: an enriching, satisfying meal indeed.

WHAT ARE KANGAS?

The kanga is a type of garment commonly worn in the African Great Lakes Region. These versatile pieces can be used as skirts, headwraps, aprons, and more. Early versions of the textile featured spotted patterns that looked similar to the plumage of a guinea fowl. The Swahili word for the species being “kanga,” the garment took its name from the bird.

Interested in taking “Wearable Dyes” with Joey Quiñones?

See page 23 for the course description.

FULL CIRCLE

Year after year, artists new and old return to campus to soak up another slice of summer at Ox-Bow.

More often than not, when in conversation with Students, Faculty, and Artist (Residents & Visiting), I hear mention of their hopes to return to Ox-Bow. As the Engagement Liaison of Alumni efforts, this serves as music to my ears. It seems remarkably commonplace at Ox-Bow that an artist begins to chart their return to campus before they’ve even left. Ask a faculty member how long they’ve taught here, and the answer might very well be over a decade or they might tell you about their role last season as a LeRoy Neiman Fellow. The Summer 2024 faculty proves no exception to this tradition: while some are returning after decades, others couldn’t stay away for a single summer.

Shanley Poole Engagement Liaison & Storyteller

The Ox-Bow Effect is our first zine installment dedicated to our Alumni Aristists-in-Residence. The program, established in 2023, brings artists back to the Ox-Bow community. Namesaked for the habit artists have of circling back to campus, The Ox-Bow Effect reveals the stories of artists, what brought them to campus, what keeps them coming back, and how their practice has changed because of the space. Volume I explores the artistic journeys of our first three Alumni Artistsin-Residence: bex ya yolk, Paul Peng, and Mia Rollins. Check out the online edition at [insert link].

Meet a few of the faculty circling back to Ox-Bow:

Skooby Laposky first came to Ox-Bow in 1996. He didn’t formally return until the Summer of 2023 when he brought a biodata sonification installation to the Field of Vision Benefit; though, in 2020 he embarked on a 40 mile round-trip bike ride to visit Ox-Bow while on vacation in West Michigan. This year Laposky returns to teach "Wild Sounds", which will focus on harvesting the sounds of Ox-Bow and listening as a creative process. Learn more about the summer course on page 24.

Priscilla Kar Yee Lo & Christen Baker met at

Ox-Bow last summer, with Lo as a Glass Studio Assistant and Baker as the LeRoy Neiman Fellow in the studio. In 2024 they return to campus to teach Glass Multiples. Learn more about the summer course on page 10.

Henry Crissmas and Virginia Rose Torrence initially joined Ox-Bow as LeRoy Neiman Fellows, Crissman in 2010 and Torrence in 2012. Their experiences there left a strong impact. Crissman reflected on meeting Theaster Gates during his summer there, while Torrence cited she’d made

lifelong friends during her season. “ [Ox-Bow] is one of the most important fixtures of the contemporary art ecosystem in this country. And I don't really think that can be overstated,” Crissman said. The two of them (half) joked that they’ve been trying to find their way back to campus ever since. The duo returned in 2023 as Faculty for the summer session’s woodfire course, and quickly returned four months later to teach a similar 10-day intensive workshop for the community. In 2024 they’ll return once again to teach both a core course

and community workshop focused on woodfire. Learn more about the summer course on page 13.

Hai-Wen Lin brought their enthusiasm for photography, writing, and kites to Ox-Bow in 2022 as the LeRoy Neiman Communications Fellow. This year, they’re bringing a new course to campus alongside Manal Shoukair. The course focuses on performance art and poetry as a lens for sculpture. See page 24 for more info on the summer course and page 51 to make your own kite with the help of Lin.

Peter Williams Award

Introducing our 2024 Awardee: Myungah Hyon. Written by Shanley Poole

Myungah Hyon—an incredible artist, teacher, and collaborator—is the first honorary recipient of the Peter Williams Award, which was introduced in 2022 in memory of its namesake. Through conversations with Hyon, her co-teacher Jeanine Coupe Ryding, a former TA, students, and more, Hyon’s curiosity, generosity, and hunger for the arts and the arts’ community shines with warmth and brilliance.

Over the years Hyon has shown numerous students the art of bookmaking and granted them the tools to fall in love with and tend to the craft well. She has continued to push the boundaries of the medium and collaborates with those she sees doing the same. Both her mentors and mentees look to her as an inspiration and dear friend. Here’s a glimpse of Hyon in studio, classroom, and collaboration:

HYON IN THE STUDIO

“There’s an air of determination,” Former TA Chang Yuchen described in Hyon. Yuchen recognizes that it takes a tenacity to balance teaching and creating. Hyon’s

creative. Just when you think you know what bookbinding and sculpture are about. She starts doing something very different. ” Ryding said in reference to the phone books. Under Hyon’s manipulation these structures have evolved the ordinary objects into something far beyond.

Ryding remembers her first impression of Hyon as a person of quiet and vibrant enthusiasm. This same note thrums through her work. “She hungers for the creative time,” Ryding said. Hyon finds a boundless fascination with all things artbook related, “It’s a life learning process to really invest [in] how to work with the different materials.”

One of Hyon’s most recent collections of work Connecting showcases Hyon’s explorations. Employing woodwork, ceramic,

“Myungah’s generous teaching is laser-focused and experimental, in equal parts. She teaches complex techniques with expertise, patience and precision, laying the foundations for developed projects, experimentation and play both within the time of the [course] and beyond. Myungah is a joy to work with and learn from!”

- Frances Lightbound (student, Summer 2017)

co-teacher, Jeanine Coupe Ryding, recognized this as a gift with Hyon as well, describing it as a “boundless energy” that she admired. Both Ryding and Yuchen spoke with admiration about the creative initiative that Hyon has taken over the years, always bringing new twists, while still holding reverence for an age-old craft. A classic example of this is Hyon’s phone book sculptures. “It's always been inspiring. She's always come up with things that are very natural for the medium. But very

printmaking, and more, the exhibition showed the work of an artist who continues to find joy and novelty amidst an ever evolving practice.

HYON IN THE CLASSROOM

On one of Hyon’s first days teaching at Ox-Bow, she greeted students with an enthusiastic lecture. Her co-teacher, Jeanine Coupe Ryding, described her quick words and grandiose hand gestures as students' eyes grew wider and wider. When

Ryding suggested Hyon slow down a bit, she took the advice in stride, laughed and apologized to the students for her mistake. Ryding chuckled while recounting the story, adding that “after that point, everybody [in the course] was a lot more relaxed.”

Hyon, simply by acknowledging her fervor, captured the trust of her students in that first session. Such an ability is transformational to the studios at Ox-Bow, where students only have one to two weeks to develop a connection to course material, peers, and faculty.

Of course, Hyon’s impact on students expands well beyond Ox-Bow. Chang Yuchen worked during her first year of graduate school as Hyon’s TA. Ten years later Yuchen says, “I actually think about [Hyon] and her teaching on a daily basis.” At the time, Yuchen had no formal experience with bookbinding; “[Hyon] very generously accepted me [as her TA],” Yuchen said, and through that generosity Yuchen’s creative pursuits were set in a new direction. She saw that for those who took Hyon’s courses “it really raised the bar for how much [one] could accomplish… that has been continuously inspiring in my [own] teaching.”

HYON IN COLLABORATION

Hyon sees students and teaching assistants not merely as students, but as artists in their own right. This lens has led Hyon to invite former TA, Chang Yuchen and Li Han to co-create a publication with her. Yuchen cited how impactful the four year process of collaborating on Book Book was to her relationship with Hyon. “She’s a role model,” Yuchen said. Hyon is far from naive to the importance of the mentor-mentee dynamic. As someone who was eventually able to teach with her own mentor, Jeanine Coupe Ryding, Hyon hopes to set a similar

BY:

“I appreciate the gentle firmness and mastery during [the course], there were challenging folds or projects but she always believed in our cohort despite the growing pains of adapting to a new medium!”

- Isabelle Rizo (student, Summer 2022)

precedent with her mentees. Book Book was eventually published by Printer Matter and has since sold out of four editions. Yuchen, who went on to accomplish several residencies, publications, and now also teaches at the university level, was not shy to give credit to Hyon’s impact on her trajectory.

Throughout their time collaborating together, Yuchen particularly valued the care that Hyon showed for Yuchen beyond her artistic pursuits. “She always asked me if I was eating okay, which in an East Asian context is a love language.” Ryding similarly took note of Hyon’s fostering spirit, “She has a good heart,” one that Ryding noted has stayed intact throughout many years in academia. This attitude of care for the person at the center of the artist, echoes back to the award’s namesake, and it seems an easy assumption that Williams would applaud Hyon’s nomination.

ABOUT MYUNGAH HYON ( ) expresses the concept of "connecting" with various mixed media. She attempts to connect and interact directly with the viewer through her interest in combining incomplete, partial fragments that she encounters through everyday life. Myungah's work provokes new and unique experiences that result in transformed impressions to the viewer. Additionally, Myungah Hyon finds other ways to connect with the viewer by researching various Artists' Books structures to merge traditional binding and innovative methods, exploring the different forms of the term "connecting" literally and figuratively (myungahhyonart.com).

ABOUT THE AWARD

The Peter Williams Award was created in recognition of an Ox-Bow BIPOC Alum (Instructor, Faculty, or Visiting Artist) whose teaching and/or mentorship exemplifies excellence and care for the student experience, lifelong learning, and creative exploration. The award is named in memory of former faculty member Peter Williams who invested deeply in the students of Ox-Bow and embodied these same virtues. In 2022 the award was given to the memory of Peter Williams.

Nominations for the 2025 Awardee can be submitted by anyone with an Ox-Bow affiliation. By nominating an Alum, you’re playing an essential role in empowering artists and telling the story of Ox-Bow.

Pssst… can’t decide who to nominate? You can always nominate multiple Alum.

Summer Artist-inResidence Program

Ox-Bow’s fully-funded Summer Residency Program offers 12 artists the time, space, and community to encourage growth and experimentation in their practice for three weeks on campus.

The Summer Residencies are held while our core courses and community programs are in session. During this time, a small group of residents have access to Ox-Bow’s artist community of students, faculty, and visiting artists.

Our summer residencies are open to artists or writers at any level. Currently enrolled students, MFA candidates, arts faculty, emerging, or established artists are encouraged to apply. There are generally three residents on campus at a time.

THE DATES AVAILABLE ARE:

• May 26 – June 15

• June 16 - July 6

• July 14 - August 3

• August 4 - 24

RESIDENCY RECIPIENTS RECEIVE:

• A studio space with 24-hour access

• Housing and 3 meals per day

• Weekly studio visits with visiting artists

• Opportunity to exhibit their work

Applications are due February 25 by 1:00 a.m. EST (midnight CST).

(above) Ania Freer and Paula Kamps (Artists-in-Residence 2023) work on a zine in the Works on Paper Studio; bex ya yolk (Alumni Artists-in-Residence) performs on the meadow with three other artists, including Madeleine Aguilar (Print and New Media Studio Manager, Artists-in-Residence 2022).

The Summer Fellowship Program

Each summer, Ox-Bow offers fellowship students from competitive schools all over the nation a fully funded opportunity to focus on their work, meet with renowned artists, and grow as members of this unique community. The fellows experience the entire Ox-Bow summer session and live on campus for 13 weeks where, in addition to providing support labor to an arts non-profit, will participate in all areas of campus life. By working closely with staff, fellows develop relationships with others who have also made artmaking their lives.

Fellows are selected based on the merit of their work, their commitment to making inspired and innovative art, and their stated growth potential at Ox-Bow. The fellowship program is a once in a lifetime opportunity to participate within an engaging artist-run community.

The 2024 Fellowship dates are May 23 - August 26

Fellowship recipients receive:

• A studio space with 24 hour access

• Bi-weekly stipend for on campus labor

• Housing and 3 meals per day

• Weekly studio visits with visiting artists

• Opportunity to exhibit their work

• Opportunity to TA a class

Juniors, seniors, or graduate students from any degree-seeking institution are eligible for the Fellowship. In 2024, two fellowship positions will be awarded to students from the School of the Art Institute of Chicago.

Ox-Bow works with partner schools to bring in fellows from across the country. In 2024,

Ox-Bow’s active partner schools include Herron School of Art & Design, Northwestern University, the School of the Art Institute of Chicago, the University of Texas at Austin, and Tufts University.

Eligibility- Applicants must:

• Be undergraduate students in their junior/senior year or graduate students.

• Have a graduation date of December 2023 or later

• Be at least 21 years old at the start of the fellowship

• Have the ability to work in the United States or have a work visa

202 3 FELLOWSHIP STUDENTS

Christen Baker Tyler School of Art

Cole Bespalko Pratt Institute

Day Brierre Pratt Institute

Gabrielle Clemente

University of Texas at Austin

EXYL

Rhode Island School of Design

Philipp Groth

School of the Art Institute of Chicago

Jack Holly Kansas City Art Institute

Ian Solomon

Cranbrook Academy of Art

Natia Ser

School of the Art Institute of Chicago

(top, left to right) 2023 Fellowship StudentsCole Bespalko, Phillipp Groth, Day Brierre, Ian Solomon, Natia Ser, (bottom, left to right) EXYL, Gabrielle Clemente, Christen Baker, and Jack Holly.

Meet our 2023 Summer Fellows

Music videos, polaroid manipulation, live performances, short films, and ecological investigations all came to life through the 2023 cohort of Summer Fellows.

CHRISTEN BAKER

This summer Christen Baker was captured by the current discourse around development of the dunes in Saugatuck, where a marina would be installed. Her work culminated in an exhibition at Ox-Bow’s Betsy Gallery. It showcased not only her research, but also a slice of the countless hours she spent in her work placement in the glass studio. She also jumped into a new medium this summer, getting to know the Risograph and producing a series of interactive prints that gallery viewers could take home. The exhibition coalesced into a beautiful portrait of Baker’s summer, one of curiosity, investigation, and an attention to craft.

This summer Baker returns as Faculty to teach “Glass Multiples” with Priscilla Kar Yee Lo. Learn more about the course on page 10.

JACK HOLLY produced and directed the film Big Yellow Horse during their summer on campus, first debuting it with a screening on the meadow. The film went on to make its public premier at a filmmaker’s showcase in Kansas City in November of 2023. Holly shared on social media that “this film means a lot to me, not only because it’s my first ‘real’ film, but because of where and who I made it with.”

NATIA SER combined her reverence for water, passion for cooking, and gift for connecting with others on the sincerest of levels to create an intimate and interactive performance piece. Read more about the experience on our website at ox-bow.com/news.

(clockwise from top left) Promo for Jack Holly’s short film Big Yellow Horse; Christen Baker, Public Notice, 2023, polyethylene rope, glass, hardware, galvanized steel anchor; Public Notice, detail shot; noodles made and ceramic bowls by Natia Ser; documentation of Natia Ser’s performance piece A Sunday Brunch; Christen Baker, Erosion, 2023, risograph print on copy paper.

meet our faculty

Madeleine Aguilar tells stories, builds archives, maps spaces, constructs furniture, records histories, organizes data, catalogs objects, prints publications, creates frameworks, collects imagery, acquires trades, ties knots, re-purposes materials, imitates structures, utilizes chance, plays instruments, follows intuition, prompts participation, guides observation, leaves evidence, develops routines, takes walks, breaks habits, and makes lists. Using the archive as form, she acknowledges the passing of time by cataloging lived spaces, collected objects, familial histories, personal relationships, natural phenomena, mundane routines, and ephemeral moments. She runs bench press, a collaborative Risograph press based in Chicago, and is currently Print & New Media Studio Manager at Ox-Bow School of Art and Artists’ Residency.

Victoria Ahmadizadeh

Melendez (b. 1988, she/her) combines poetry, images, blown glass and neon lights to create layered installations that draw inspiration from her Puerto Rican and Persian heritage. Both joyful cultural traditions and the challenges of immigration and diaspora are reflected through objects that memorialize interpersonal connections. Victoria has been awarded artist residencies at Pilchuck Glass School, the Corning Museum of Glass and Blue

Mountain Center, among others. Dozens of galleries and museums in the United States and abroad have exhibited her work, including Glasmuseet Ebeltoft, S12 Gallery, BWA Wroclaw, Heller Gallery, Traver Gallery and the Tacoma Museum of Glass. Her sculptures are included in New Glass Review #33, #38 and #42, annual journals documenting innovative artworks in the material. Victoria lives in Philadelphia and is an Adjunct Associate Professor at Tyler School of Art, from which she received her BFA in Glass. She holds an MFA in Craft/Material Studies from Virginia Commonwealth University.

hiba ali is a producer of moving images, sounds, garments and words. they use principles of game design, 3d animation and immersive installations to create liminal spaces where they engage in world building, storytelling and digital poesis. in their practice, this term means a way to call forth more loving and healing into our world. they use virtual reality, 3d animation and augmented reality to slow down time and create portals of solace and care. they are an assistant professor at the college of design in the art & technology program at the university of oregon in eugene and they teach on decolonial, feminist, anti-racist frameworks in digital art pedagogies. their work has been presented in chicago, stockholm, vienna, berlin, toronto, new york, istanbul, são paulo, detroit, windsor, dubai, austin, vancouver, and portland.

Christen Baker is a multidisciplinary artist whose work explores the complex relationship between the economy of attention and desire, and information architecture. In exploring the intersection of technology, media, and visual art, Baker utilizes glass, neon, photography and 3d scanning to create a new visual lexicon that speaks to the subtle and often indirect ways in which attention and desire shape our perception of the world around us.

Baker earned a Bachelor of Fine Arts in Ceramics from the Kansas City Art Institute and a Master of Fine Arts from Tyler School of Art and Architecture. She was a lecturer in Ceramics and Kiln-Formed Glass at Kansas City Art Institute and has completed residencies at UrbanGlass Window Gallery in Brooklyn, NY, Belger Arts in Kansas City, MO, and the International Ceramics Studio in Kecskemet, Hungary and was awarded the Leroy Nieman Fellowship in Glass at Oxbow School of Art and Artist Residency.

She currently lives and works in Philadelphia, PA, where she continues to explore the geographies of public spaces and objects, real and imagined.

Chase Barney is an artist working with clay to create vases adorned with flowers, animals, and bright colors. The narrative

in his work is loose, a mish-mash of Mormon dogma, fairy tale, and fable, as well as a deep love for cliché, pop culture, and family lore. Barney graduated with a BFA from the University of Minnesota and his MFA at The School of the Art Institute Chicago in 2022. Barney has exhibited across the United States and received numerous grants and scholarships supporting his work, including a 2020 Minnesota State Arts Board Artist Initiative Grant and the New Artist Full Merit Scholarship from SAIC. Barney is originally from Utah. He lives and works in Chicago, IL.

Sarah Belknap and JO Belknap are Chicago-based interdisciplinary artists and educators. Working as a team since 2008, their art has been exhibited in artist-run exhibition spaces in Springfield, Brooklyn, Detroit, Minneapolis, Kansas City and St. Louis. In addition, they have presented performances at institutions throughout Chicago, including the Chicago Cultural Center, Hyde Park Art Center, Links Hall, and the MCA. Their work has been shown in group exhibitions at SFAI Galleries (San Francisco, California) the Columbus Museum of Art (Columbus, Ohio), The Arts Club of Chicago, the Chicago Artists’ Coalition, Western Exhibitions, and solo shows at The Arts Club of Chicago and at the Museum of Contemporary Art Chicago. Their work was recently included in the

book, ‘Weather as Medium’ by Janine Randerson, in the Leonardo Series through MIT Press.

Samantha Bittman is a visual artist and educator based in the Hudson Valley, NY. In her practice, she works with woven patterning to generate paintings, graphic wallpapers, and tiled installations. She has participated in residency programs at the Josef and Anni Albers Foundation, Sharpe-Walentas Studio Program, Skowhegan School of Painting and Sculpture, Bemis Center for Contemporary Art, and Ox-Bow School of Art. In 2012, she received the Artadia Award. Recent solo exhibitions include, Ronchini, London, UK; Andrew Rafacz, Chicago, IL; Morgan Lehman, NY, NY; and Greenpoint Terminal Gallery, Brooklyn, NY. She has been included in numerous group exhibitions including David Castillo, Miami, FL; Shane Campbell, Chicago, IL; and Rhona Hoffman, Chicago, IL. Her work has been written about in The New York Times, Wall Street International, and The Washington Post, amongst others. She has taught at numerous institutions Rhode Island School of Design, The School of the Art Institute of Chicago, Tyler School of Art, Haystack School of Crafts, and Ox-Bow. In 2022, she founded Catskill Weaving School, an artistrun school that offers in-person and online weaving workshops, based in Catskill, and Brooklyn, NY. She holds an MFA from The School of the Art Institute of Chicago, and a BFA from Rhode Island School of Design.

Lee Blalock is a Chicago-based artist and educator presenting alternative and hyphenated states of being through technologymediated processes. Interested in how technologies support the idea of impossible anatomies, behaviors, and performances, her work is an exercise in body modification by way of amplified behavior or “change-of-state”. Lee’s interests include embodied cognition, anatomy and biomechanics, bionics, mechatronics, human/ non-human entanglement, retro technology, and computational abstraction. She has presented work domestically, internationally, and virtually at many institutions including Feral File (online), Ars Electronica (online), the wrong biennale (online), NYU Abu Dhabi Art Gallery, Experimental Sound Studio (Chicago), ICA (Philadelphia), 205 Hudson Gallery (NY), and the Art Institute of Chicago. Lee is an Assistant Professor in the Art and Technology Studies / Sound Practices Department at the School of the Art Institute of Chicago and practices various forms of embodiment as an everyday athlete.

Chris Bradley is an artist based in Chicago, IL, USA. He has presented his work in solo exhibitions at Ackerman Clarke Gallery, Museum of Contemporary Art Chicago, Shane Campbell Gallery, Roberto Paradise, and the Museum of Contemporary Art Raleigh, and has been included in group shows at the Chicago Architecture Biennial 2023, the Renaissance Society, Atlanta Contemporary, Museum of Contemporary Art Santa Barbara, Museum of Contemporary Art Detroit, the NRW-Forum, and the Elmhurst Art Museum. He received

his MFA degree from the School of the Art Institute of Chicago in 2010. In 2017, he was the recipient of the Meier Achievement Award. In addition to his studio practice, he is an instructor of sculpture at both SAIC and the University of Chicago. Over the past two decades, Bradley has developed a sculptural language around representation, poetics of ordinary subjects, trompe l’oeil techniques, and exhibition as site for the imagination. He aims to use this creative language to encourage his audience to practice the suspension of disbelief as a method for reconsidering and understanding this shared common world.

Wells Chandler is a Bronx based artist who explores ecology, community, gender and queer iconography through the mediums of crochet, embroidery, drawing and cake. He received his MFA from Yale University in 2011 where he was awarded the Ralph Mayer Prize for proficiency in materials and techniques. From 2016-17 he was a recipient of the Sharpe Walentas Studio Program. Recent solo exhibitions include Galerie Eric Mouchet (Brussels, Belgium), Andrew Rafacz (Chicago, IL), Diablo Rosso (Panama City, Panama), and Galerie Eric Mouchet (Paris, France). Recent group exhibitions include International Objects (Brooklyn, NY), Goldfinch Gallery (Chicago, IL), and Helena Anrather (New York, NY). His work has been reviewed by Roxane Gay, Art Forum, The New York Times, The New Yorker, Hyperallergic, The Huffington Post, TimeOut, Modern Painters, and Two Coats of Paint. Chandler is a Soloway gallery member. He is a Visiting Assistant Professor at SUNY Purchase where he has taught for four years. In the Spring of 2023, Chandler was appointed the Teiger Mentor in the Arts at Cornell.

Henry James Haver Crissman is an artist and educator who thinks of his art as a means, not an end. The projects, objects, installations, happenings, etc. that one might call his ‘art’ precipitates from the swirling confluence of ceramic making, place making, critical engagement, and community facilitation and participation that wholly encompasses his life.

Henry James Haver Crissman earned a BFA in Craft from the College for Creative Studies in Detroit, MI in 2012, and a MFA in Ceramics at Alfred University in Alfred, NY in 2015. He now lives and works in Hamtramck, MI where he and his wife and fellow artist, Virginia Rose Torrence, founded and co-direct Ceramics School, a community ceramics studio and artist residency. He regards teaching as an integral aspect of his creative practice, and in addition to teaching at Ceramics School, he is currently an adjunct professor in the Studio Art and Craft Department at the College for Creative Studies in Detroit, MI.

Ekin Deniz Aytac and Joshua Davids are a collective husband and wife team of artists creating glass sculpture. Hailing from Edremit, Turkey and Colorado, USA respectively, this dynamic duo draws from a unique combination of culture, heritage, and experience to elicit profound expression in new works of glass art. Drawing on both modern and ancient mythos as well as their own meditations on the causal relationship between set and setting, the artists weave a new visual tapestry of form, light, and color. Shared interests in the glass medium, architectural and geometric pattern, nature, and

narrative help guide the formal elements of their explorations in sculptural objects. In their work, traditional vessel forms are manipulated into unconventional objects used to evoke landscapes viewed from a unique perspective. A variety of hot glass color applications, diamond cutting, and sand engraving coalesce and together represent the visual rhythms of a world we inhabit together.

Megan Diddie is a Chicagobased artist working with drawing, animation, video, and paper-making. Her work explores relationships between human bodies, plants, landscapes, and built environments. Drawing is at the heart of her practice. For Diddie, drawing is a language used to work through ideas, curiosities, and messages from the unconscious. Her work with video and animation elaborates upon the drawings and is a tool for complicating ideas and refining stories. Material exploration of paper has been a huge part of her practice. She is currently creating a paper-making studio with artist and collaborator Aya Nakamura called Switch Grass Paper. This studio aims to explore local fibers and the roll they can play in art making. Diddie is received a post baccalaureate degree from The School of the Art Institute of Chicago and a MFA from University of Illinois at Champaign-Urbana.

With a hand for detail and an eye on the natural world, Josh Dihle blends painting, carving, drawing, and sculpture to open visionary portals into the heart. He is the cofounder of experimental art/ performance platforms Color Club and Barely Fair and teaches

painting and drawing at the School of the Art Institute of Chicago.

Dihle has had solo exhibitions at M+B (Los Angeles, CA), Andrew Rafacz (Chicago, IL), 4th Ward Project Space (Chicago, IL), McAninch Arts Center (Chicago, IL) and Valerie Carberry Gallery (Chicago, IL). Dihle’s work has been exhibited in group shows nationally and internationally, including MASSIMODECARLO Vspace (Milan, Italy), University of Maine Museum of Art (Bangor, ME), Hyde Park Art Center (Chicago, IL), Rover (Chicago, IL), Elmhurst Art Museum (Elmhurst, IL), IAM Gallery (New York, NY), Flyweight Projects (New York, NY), Essex Flowers Gallery (New York, NY), Ruschman (Mexico City, Mexico) and Annarumma Gallery (Naples, Italy). His work and curatorial projects have been written about in The New York Times, Chicago Tribune, New City, Artspace, The Washington Post, and Artsy, among others. Dihle lives and works in Chicago, IL.

Chris Edwards makes work that focuses on practicing caring about things and being at home. He currently makes quilts and pottery in the pursuit of making art that depicts objects found in his space alongside imagined elements that add layers of humor, glamor, and mysteriousness. His work reflects his interest in creating objects that become part of his environment and interact with the real objects and life they represent. He received his Master of Fine Arts in Painting and Drawing from SAIC in 2011 and his Master of Social Work from the University of Iowa in 2014. He is a Licensed Clinical Social Worker and works as a psychotherapist in addition to his art practice. He lives in Chicago with his husband, dog, and two cats. He has exhibited work at Adds Donna, Tusk, LVL3, Oggi Gallery, Dreamboat, Western Exhibitions, and Julius Caesar in Chicago.

Nick Fagan is a multimedia artist based in Cape Cod. He has exhibited work in a number of galleries and shows across the United States, most recently the Egg Collective in New York, Massey Klein Gallery in New York, Tops Gallery in Memphis, Tennessee as well as the Seattle art fair with FFT and Future Art Fair with ADA Gallery. He has been awarded fellowships and residencies from the Skowhegan School of Painting and Sculpture, the MASS MoCA Studio Program and The Fine Arts Work Center in Provincetown. His work has been featured or reviewed in a number of publications, including Burnaway, NPR, Divergents Magazine, New American Paintings, and The Rib. Awards include a Kennedy VSA Artists with Disabilities Award, and Foundation of Contemporary Art Grant. He received his MFA in sculpture from Ohio State University in 2017.

Krista Franklin is a writer, performer, and visual artist, the author of Solo(s) (University of Chicago Press, 2022), Too Much Midnight (Haymarket Books, 2020), the artist book Under the Knife (Candor Arts, 2018), and the chapbook Study of Love & Black Body (Willow Books, 2012). She is a recipient of the Helen and Tim Meier Foundation for the Arts Achievement Award and the Joan Mitchell Foundation Painters and Sculptors Grant. Her visual art has been exhibited at DePaul Art Museum, Poetry Foundation, Konsthall C, Rootwork Gallery, Museum of Contemporary Photography, Studio Museum in Harlem, Chicago Cultural Center, National Museum of Mexican Art, and the set of 20th Century Fox’s Empire. She is published in Poetry,

Black Camera, The Offing, Vinyl, and a number of anthologies and artist books.

Michelle Grabner (b. 1962, Oshkosh, USA) holds an MA in Art History and a BFA in Painting and Drawing from the University of Wisconsin–Milwaukee, and an MFA in Art Theory and Practice from Northwestern University. Grabner is the 2021 Guggenheim Fellow and a National Academician in the National Academy of Design. She joined the faculty of the School of the Art Institute of Chicago in 1996, and currently is the Crown Family Professor of Art and Chair of Painting and Drawing department. She is also a senior critic at Yale University in the Department of Painting and Printmaking. Her writing has been published in Artforum, Modern Painters, Frieze, Art Press, and ArtAgenda. Grabner also runs The Suburban and The Poor Farm with her husband, artist Brad Killam. She co-curated the 2014 Whitney Biennial at the Whitney Museum of American Art, and served as the inaugural artistic director of FRONT International, a triennial exhibition in and around Cleveland, OH in 2018. She co-curated the 5th edition of Sculpture Milwaukee titled there is We in 2021. Grabner currently lives and works in Milwaukee, USA.

Lauren Gregory (she/her) is a painter, animator, director and quilter who is best known for her technique of oil paint stop-motion animation, a way of making her paintings move. Born and raised in the mountains of East Tennessee, she began as an observational portrait painter, capturing friends and family in quick one session

sittings. Lauren is the third in a lineage of southern female painters, following in the footsteps of her mother and grandmother. She received an MFA from the School of the Art Institute of Chicago in 2009, and since then has created GIFs, looped video installations, and narrative animated shorts that have screened at MoMA P.S.1, the New Museum, MOCA Los Angeles, and at museums and film festivals around the world. She has directed and animated music videos for Toro y Moi, Leonard Cohen, and Uffie, and has been awarded artist residencies in Italy, Hungary and in upstate New York. Quilting, another art form she learned as a child from the matriarchs in her family, has resurfaced as a major part of Lauren’s practice in recent years. She teaches Experimental Animation at Parsons School of Design and teaches quilting at Ox-bow School of Art. She is represented in New York by the Elijah Wheat Showroom, and in Nashville by Red Arrow Gallery. Lauren lives and works in Nashville, Tennessee.

Carrie Gundersdorf ’s works on paper reference early modernist painting and natural and astronomical phenomena. In recent work, Gundersdorf transcribes patterns found on seashells to create pictorial compositions, while leaving the test patterns on the edges of the paper to reveal process. Her work aims to expose small moments of discovery. Gundersdorf has had solo exhibitions at the Korn Gallery, Drew University, Madison, New Jersey; the Museum of Contemporary Art, Chicago; and Shane Campbell Gallery, Chicago. Her work has been included in group exhibitions at 106 Green, New York; Mills College Art Museum, Oakland, California; La Box, Bourges, France; Gallery 400, University of Illinois, Chicago; Hyde Park Art Center, Chicago; Marc Foxx Gallery, Los Angeles; and Loyola Museum

of Art, Chicago. Gundersdorf’s work has been reviewed in Art Review, Artforum.com, Artnet, and elsewhere. She was awarded the Artadia Award in Chicago and the Bingham Fellowship to attend the Skowhegan School of Painting and Sculpture. Gundersdorf received her BA from Connecticut College and her MFA from the School of the Art Institute of Chicago. She lives and works in Brooklyn.

Molly Zuckerman-Hartung is a painter and writer from Olympia, Washington. She was a riot grrrl and worked in used bookstores and bars until her thirties, when she attended the School of the Art Institute for graduate school, and now she is working in Norfolk, Connecticut. She is opening her attention to composting, depth psychology, differance, climate change, doppelgängers, permaculture, New England furniture, rural transfer stations, daily rhythm, the effects of soul lag on humans, L=A=N=G=U=A=G=E poets, the color of sunlight through smoke from fires 3,000 miles away, and the emotional landscapes of the people around her. She has shown all over, including at The Blaffer Museum in Houston, TX, The MCA in Chicago, The Walker Art Center in Minneapolis, and the 2014 Whitney Biennial. She is a frequent lecturer at schools across the country, including, Hunter College at CUNY, UCLA, The University of Ohio, Cranbrook, University of Alabama, the SAIC Low Residency Program, and Cornell College. ZuckermanHartung is represented by Corbett vs Dempsey in Chicago.

including, the Art Institute of Chicago; Museum of Contemporary Art, Chicago; the Smithsonian Museum, Washington, D.C.; Nelson-Atkins Museum, Kansas City; Museum of Fine Arts, Houston and the Smart Museum, Chicago. Hull has presented more than forty solo exhibitions dating from 1979 to 2023, along with countless group exhibitions. He has exhibited his work at the, Minneapolis Institute of Art, The Art Institute of Chicago; Museum of Contemporary Art, Chicago; Nelson- Atkins Museum, Kansas City; the Aldrich Museum of Contemporary Art. He lives and works in Chicago and is represented by Western Exhibitions, Chicago.

Will Hutchinson holds an MFA in sculpture from The University of Montana and BFA in drawing from The Art Academy of Cincinnati. He is a former smokejumper and all around adventurer. Invested in the truth of experience, his practice is mainly focused on functional objects that attempt to facilitate and enhance experiences from the mundane to the extraordinary. Currently Will works as a full time knife-maker and teaches glassblowing workshops in the Bitterroot Valley of Montana.

collections of many museums,

Fox Hysen works between the flat schematics of a horizontal picture plane such as floor-plans or writing and illusion of space such as a landscape. This formal tension between the illusion of depth and the diagrammatic is a way of teasing out other kinds of tension: personal versus cultural meaning, experiences versus ideas, subject versus object, feeling versus thought, past versus present, etc. Hysen has a need for a connection between things. Hysen works from

Richard Hull ’s paintings, drawings and prints can be found in the

observation and from memory. They look at the room or whatever is out their window or remember the space of a walk. They recycle ideas from old paintings. They have worked in many different ways so there is a lot to rediscover. A painting is like a double mirror, it reflects itself (and you simultaneously).

Hysen currently teaches full-time at the LeRoy E. Hoffberger School of Painting at MICA in Baltimore and lives and works in Norfolk.

Awards include the Pollock-Krasner Foundation Grant in 2022 and the Tournesol Award at the Headland’s Center for the Arts in 2016.

Brad Killam's work has been featured in over 30 solo and twoperson exhibitions (collaborations with artist Michelle Grabner) and more than 60 group exhibitions since receiving an MFA from University of Illinois Chicago in 1993.

In 1999 he co-founded (with Michelle Grabner) and currently co-directs The Suburban, an artist’s run space in Milwaukee, WI. In 2008 he co-founded (with Michelle Grabner) and co- directs, Poor Farm Exhibitions and Press, an artist run space in Wisconsin.

Dave Kim the Potter’s ceramic practice explores precolonial Korean pottery traditions. Currently based in New York, Dave is devoted to carrying on an ancient tradition that has been passed down generationally, working to preserve a craft and culture that is slowly dissipating in the contemporary conversations.

Kim’s practice is research-based. Through extensive study and labor intensive apprenticeships under master potters, Kim has mastered the key visual elements—form,

surface, color, and material— that define traditional Korean ceramics. He has a specialized focus on the techniques of Sang-gam (inlay), Baek-ja (porcelain-ware), and Buncheong (stamps). These techniques were originally developed during the Joseon Dynasty (1392-1897) and were used to create functional ware for a variety of contexts that ranged from mundane household affairs to ancestral ritual practices to royal ceremonies. Prioritizing refined subtly over ornate embellishments, they signify the distinctive aesthetic philosophy of that time–simplicity as an embodiment of natural and unpretentious beauty.

S. Lantz is an artist working primarily in ceramics. Drawing upon histories of adornment and communications of individual and collective identities, their work explores explicit or encoded identities, context, care, and the ownership and telling of stories and histories. They are fascinated by in-between points in the continuums of fitting and not fitting, clarity and obscurity, and the complexities inherent in visual languages of communication and documentation.

S. Lantz has exhibited ceramic work nationally and abroad, and have most recently participated in residencies at the Penland School of Craft and the International Artists Residency Exchange. They received a Bachelor of Arts in 3D4M (ceramics+glass+sculpture) at the University of Washington, Seattle. Born in Seattle, Washington, Lantz has spent the past few years in Maine, where they held the positions of Studio Coordinator at Watershed Center for the Ceramic Arts and Administrator of The Color Network. They are currently based in Northwest Arkansas.

Skooby Laposky, as a film composer and field recordist, has enriched numerous documentary films, bringing depth and resonance to their subjects. His DJing and music production for the club space delivers a visceral experience, igniting communal movement and euphoria on the dancefloor. His uniquely designed sounds for consumer products infuse them with essential character, seamlessly integrating these devices into people’s daily lives. Laposky’s recent work in biodata sonification music has helped support environmental stewardship programs and the restorative practices of yoga and meditation. Recent projects include the public art project Hidden Life Radio and his ongoing site-specific project, Palm Reading, with Los Angeles-based guitarist Charles Copley. Palm Reading’s debut location releases were Malibu: Point Mugu and Joshua Tree National Park on the Myndstream wellness music label. Upcoming location releases include oases from Palestine and Israel. Hidden Life Radio was awarded NYFA’s Tomorrowland Projects Foundation Award in 2022 to support its 2023 broadcast location in New York’s Hudson Valley. Laposky is currently a Neighborhood Salon Luminary at the Isabella Steward Gardner Museum.

Born 1981, Mexico. Rodrigo Lara Zendejas , Assistant Professor/ Area Head of the Ceramics Department; University of Notre Dame. He received an MFA from SAIC in 2013 and his BFA, from the Universidad de Guanajuato in Mexico in 2003. Lara has had solo exhibitions at institutions such as the Museo de Arte Moderno in

the state of Mexico; Museo de la Ciudad in Querétaro, Mexico; Hyde Park Art Center in Chicago; the National Museum of Mexican Art in Chicago; C.G. Boerner in New York City; Kruger Gallery in Marfa, Texas; among others. Lara has two monographs of his work, Máscaras y Artefactos and Memorials. He won the first price in sculpture at the Premio Nacional de las Artes Visuales in Mexico in 2010. He has received several awards including: IAPG, DCASE, Chicago; Proyectos Especiales and Jóvenes Creadores, FONCA, Mexico City; Emerging Artist Grant, Joan Mitchell Foundation, NYC; James Nelson Raymond Fellowship, 2013 SAIC; PECDA Estudios en el extranjero, IQCA; International Graduate Scholarship, SAIC; and the John W. Kurtich Travel Scholarship, SAIC, Berlin/Kassel, Germany, among others. He currently lives and works in Chicago.

Hai-Wen Lin is a TaiwaneseAmerican artist whose work explores constructions of the body and its surrounding environment. They are an alumnus of the Skowhegan School of Painting and Sculpture, previously a LeRoy Neiman Fellow at the Ox-Bow School of Art, and earned a Master of Design in Fashion, Body and Garment from the School of the Art Institute of Chicago where they were selected as a Fashion Future Graduate by the CFDA upon graduating. Lin has published research on smart textiles and taught origami technique workshops at UC Davis, UC Berkeley, and MIT. They have performed publicly at the Chicago Cultural Center and MU Gallery, and have exhibited work in a variety of places including the San Jose Museum of Quilts and Textiles, 3S Artspace in New Hampshire, the Pittsburgh Glass Center, the walls of their home, their friend’s home, within an envelope, on a plate, on a lake, and in the sky.

As a child of a Chinese immigrant family in North America, Priscilla Lo was perpetually reminded to be practical about her future. But after over a decade as a health care professional, she began to feel dissatisfied with the direction of her life. Priscilla turned to creative outlets to find a voice and explore her identity as a woman of color. She is drawn to glass because it is constantly in a state of fragility and permanency. Using this paradoxical nature of glass and pop culture icons of her childhood, she considers her individuality though the lens of her cultural upbringing. Through her work, she aims to spark discourse about socially fixed racial frameworks. She is also interested in incorporating new technology like 3d rendering, digital processes, and different glass techniques in her artist practice. Priscilla has shown her work in various galleries internationally, and at the Chinese American Museum in Chicago. She has a degree from Sheridan College and an MFA from Illinois State University and is currently the Resident Artist and an adjunct professor at Rochester Institute of Technology.

Carmen Lozar is a glass artist and a faculty member of the Ames School of Art at Illinois Wesleyan University in Bloomington, Illinois. During summers she often travels to teach and share her love for glass - most recently to England, Turkey, Italy, and New Zealand but always returns to her Midwestern roots.

A BFA graduate of the University of Illinois at Urbana-Champaign, she completed her post-graduate degree at Alfred University, New York, and is represented by Ken Saunders Gallery in Chicago. She is included the permanent collections

of the Museum of Art and Design(MAD) in NY, The Museum of Glass, WA and the Bergstom Mahler Museum in WI.

Devin T. Mays (b. Detroit, MI) uses sculpture, installation, performance and pictures to offer observation of what’s seen and unseen. The materials being used in his practice do not always present themselves as anything more than what they appear to be. There is not always a physical transformation at the hands of his facilitation. He often refers to his interdisciplinary practice as an exercise in wandering, a practice-in-practice, a place for things to become Things. Mays has exhibited at Sculpture Center, New York; Museum of Contemporary Art, Chicago; The Driehaus Museum, Chicago; Museum of Contemporary Photography, Chicago; Belmacz, London; The Reva and David Logan Center for the Arts at the University of Chicago; DePaul Art Museum, and The Gray Center for Arts & Inquiry among others. Mays holds a Bachelor of Business Administration from Howard University and a Master of Fine Arts from The University of Chicago. He is currently a fellow with the Center for Engaged Research and Collaborative Learning (CERCL) and the Art Department at Rice University.

Liz McCarthy (She/they) is a Chicago-based artist that combines ceramics with other objects and performances. Often her sculptures take the form of whistles that have the potential for instrumental performances. These objects harken potential modes for human collectivity, ecology, vulnerability, and play. She received her MFA from

the University of Illinois at Chicago in Studio Art and her BFA from the University of North Carolina at Asheville in Photography. Her mix of performance, sculpture, and installation have been exhibited at Museum of Contemporary Art Chicago, Hyde Park Art Center, and Goldfinch in Chicago; Ghebaly Gallery in Los Angeles; ExGirlfriend in Berlin, and numerous other galleries and institutions. She has participated in residencies at Atlantic Center for the Arts, ACRE, High Concept Laboratories, Banff Centre, Ox-Bow, and Lighthouse Works. Her projects have been supported by Joan Mitchell Foundation, Illinois Arts Council, and Chicago’s Department of Tourism and Chicago Artist Run Spaces Award. Currently she acts as Founding Director of the GnarWare Workshop ceramics school and community studio. She was previously a founding Co-Director of the artist collective and exhibition space Roxaboxen Exhibitions. She also lectures at the School of the Art Institute of Chicago.

Danny Miller is an artist and musician working in Chicago, IL. Utilizing woodblock, lithography, etching, painting and drawing, he conjures works inspired by science fiction pulp covers, film noir, vintage advertisements, comics and music. Miller has taught at Ohio State University, University of Wisconsin-Madison, School of the Art Institute, and OxBow School of Art, and retired from the SAIC Printmedia department after 32 years. He received his MFA from the University of Wisconsin-Madison and has worked in professional print shops including Landfall Press, Normal Editions Workshop and Four Brothers Press, in addition to playing and teaching traditional fiddle and banjo music at the Old Town School of Folk Music in Chicago for 11 years.

The poetics of Blackness and queerness are centered in Ayanah Moor ’s approach to painting, print, drawing, and performance. She earned a BFA from Virginia Commonwealth University and MFA from Tyler School of Art, Temple University. Her exhibition venues include Manetti Shrem Museum of Art, (Davis, CA); Museum of Contemporary Art; DePaul Art Museum, and Museum of Contemporary Photography, (Chicago, IL); The Studio Museum Harlem, NY; Andy Warhol Museum, (Pittsburgh); ONE National Gay and Lesbian Archives—University of Southern California Libraries; Te Tuhi Centre for the Arts, (New Zealand); Proyecto ‘ace, (Buenos Aires); daadgalerie, (Berlin), among others. Moor’s publications include, Incite: Journal of Experimental Media, SPORTS (2017) edited by Astria Suparak and Brett Kashmere, Nicole Fleetwood’s, Troubling Vision: Performance, Visuality, and Blackness (2011), and What is Contemporary Art? (2009) by Terry E. Smith.

Natalie Murray is a sculptor and fabricator with a BFA from The School of the Art Institute of Chicago where she continued to work as a foundry manager post-graduation. Beyond collegiate instruction, she teaches welding classes, including the 'Women in Welding' course at the Arc Academy. Natalie's time and talents have taken her from her Midwestern roots all the way to the largest women's university in the world in Riyadh, Saudi Arabia; building some of their first maker-space facilities.

Aya Nakamura is a Chicagobased visual artist. Nakamura was born in Japan and educated in France and the US. She holds a BA in Fine Arts and Political Science from the University of Pennsylvania, and an MFA in Painting and Drawing from the School of the Art Institute of Chicago. Nakamura is represented by Western Exhibitions in Chicago, IL. She has shown at venues in the United States and abroad, including The Hangar and Dawawine in Beirut, Lebanon; Supa Salon in Istanbul, Turkey; Mana Decentralized in Jersey City, NJ; MPSTN in Fox River Grove, IL; and Western Exhibitions in Chicago, IL. She is the recipient of the DCASE Individual Artist Program, the Rex Abandon Fund from Chop Wood, Carry Water, the Denbo Fellowship from Pyramid Atlantic Art Center, and the George and Ann Siegel Fellowship from the School of the Art Institute of Chicago. She is the co-founder of Switch Grass Paper, a paper making studio based in Chicago, IL.

Turtel Onli I was a major -market illustrator for the likes of Holt, Rinehart & Winston, Chicago Magazine, Capital Records, MODE Avant-Garde Magazine, and more after graduating from the School of the Art Institute of Chicago in BFA Art Ed & M.A.A.T. Art Therapy.. I taught Air-Brush on fabrics at the Textile Art Center in Chicago plus had an amazing run producing wearable art. All due to the air-brush. i use it still in doing Rhythmistic Fine Art and Illustrations for my limited edition Graphic Novels.

Kristina Paabus (USA/EE) is a multidisciplinary visual artist and printmaker. Her work examines systems of power and control, with a focus on Soviet and Post-Soviet histories. Paabus earned her BFA from the Rhode Island School of Design and MFA from the School of the Art Institute of Chicago. She has exhibited throughout the US, Europe, and China; and her work can be found in numerous private and public collections. Recent solo exhibitions including Meanwhile at Hobusepea Galerii (Estonia) and Something to Believe In at the McDonough Museum of Art (OH). Paabus has participated in numerous international and domestic artist residencies, and was a recipient of a Fulbright Fellowship for Installation Art in Estonia, the Grant Wood Fellowship in Printmaking at The University of Iowa, and an Ohio Arts Council Individual Excellence Award. Paabus lives and works in Ohio where she is an Associate Professor of Reproducible Media and Chair of the Studio Art Department at Oberlin College.

Corey Pemberton (American b. Reston, VA 1990) received his BFA from Virginia Commonwealth University in 2012. He has completed residencies at The Pittsburgh Glass Center (PA), Bruket (Bodø, NO), Alfred University (NY), as well as a Core Fellowship at the Penland School of Crafts (NC). He has exhibited work at the Robert and Frances Fullerton Museum of Art (CA), The Contemporary Museum of Art in Raleigh (NC), and has work in the permanent collections of The Museum of Art and Design (NY), The Boston Museum of Fine Art (MA), and The Chrysler Museum of Art (VA).

Pemberton currently resides in Los Angeles, California where he splits his time between the nonprofit arts organization Crafting the Future, painting, and his glass practice. He strives to bring together people of all backgrounds and identities, breaking down stereotypes and building bridges; not only through his work with Crafting The Future but with his personal artistic practice as well.

Andrea Peterson is an artist and educator. She lives and creates work in northwest Indiana, , Hook Pottery Paper, a studio and gallery co-owned with her husband. She teaches at The School of the Art Institute of Chicago. She combines paper arts, printmaking and book arts to make works that address the human relationship to the environment. She was recently collected by Whirlpool Corporation in St. Joseph, MI and the Watson Library at the Metropolitan Museum of Art in New York City which recognized her as a 21st century creator of unusual handmade papers and surface design.

John Preus works with broken things in 2-dimensional, sculptural and functional formats. His earliest memories are of running barefoot dodging cow pies in Tanzania, child to Lutheran missionaries. His work reflects on the nature of trauma and memory, the capacity of material to store psychic and emotional content, the history of religion and its use of imagery to convey meaning and influence. He is currently thinking about the relationship between the DSM (Diagnostic Statistical Manual of Psychological Disorders used by psychiatrists) and its relationship to demonology. He studied at

the School of the Art Institute, and received his MFA from the University of Chicago. He shows currently with Pentimenti Gallery in Philadelphia, Rena Bransten Gallery in San Francisco.

Joey Quiñones is a mixed-media artist who primarily uses fiber and ceramics to explore Afro-Latine identity in a global context. In their fiber work, they use natural dyes, silkscreening, and fiber manipulation to create their figurative sculptures. They have an MFA in Studio Art from Indiana University, Bloomington, and a Ph.D. in English from the University of Iowa. Their work has been shown at venues such as the Akron Art Museum, the Contemporary Art Center in Cincinnati and the Crocker Art Museum in Sacramento, and they have had residences at Vermont Studio Center and Kohler Arts/Industry Program. They currently are the Artist-inResidence and Head of the Fiber Department at Cranbrook Academy of Art.

Yashodhar Reddy is an Indian-American glass artist from Central Pennsylvania. His work focuses on the traditional aspects of glass craft and design from a functional viewpoint. Refining form and technique through the study of tableware, lighting fixtures, and abstract sculpture. He draws inspiration from the aesthetics of historical glass objects, with the intention of rendering his works with more relevant and personal styles.

His education began at Harrisburg Area Community College where he was introduced to the medium and from there continued to travel the world to study with prestigious glass

artists such as Raven Skyriver, Kelly O’Dell, Darin Denison, and Davide Fuin. He has a diverse working experience ranging from design studios such as Niche Modern and AO Glassworks to educational organizations such as the prestigious Corning Museum of Glass, where he has been on the team of many reputable artists such as Swedish maker, Fredrik Nielsen and Head of Glass at SIU, Jiyong Lee. He was previously working at the Oxbow School of Art and Artist’s Residency as Glass Studio Manager.

Since his time away from Ox-Bow he is continuing his education, working as an apprentice glassmaker in Venice, Italy for one of the last few living Masters in Murano, Italy, a small island located in the Venetian lagoon that is well renowned for its centuries long artistic glass making history.

Mario Romano is an artist and educator who currently resides in Upstate New York. He graduated from the Art Institute of Chicago with his Master of Fine Arts in 2012. Mario has shown at galleries both Nationally and Internationally including Chicago, New York, Austin and Germany. In addition to his dedicated teaching practice, Mario has continued his investigation into drawing and painting and often looks at his surroundings for inspiration. In addition to both his teaching and art career, Mario is also part of the College Art Association as well as the Scholastic Arts Association in Upstate New York.

Virginia Rose Torrence (She/her) Co-owns, operates and teaches at Ceramics School, a community ceramics studio and

Artist Residency in Hamtramck MI.

Virginia’s art practice is sometimes making pottery, and sometimes making sculptures. She received her BFA in Craft/Ceramics from the College for Creative Studies (Detroit, MI) in 2013 and her MFA in Ceramics from Alfred University (Alfred, NY) in 2016. Virginia lives and makes art in Hamtramck, MI with her partner and co-teacher Henry Crissman, two dogs, two cats and a parakeet.

Amanda Salov ’s work examines the qualities of a moment, or the idea of a moment in physical form: temporal, fragile and fleeting. With her porcelain sculptures, installations, and paintings, she uses natural phenomena as metaphors and anchors for the transitions we all face. Raised in rural Wisconsin, she received her BFA from the University of Wisconsin - Whitewater and her MFA from the University of Missouri - Columbia. She has shown work throughout the United States and has earned a number of awards, including the Oregon Art Commission Grant (2013, 2016, 2017), Ford Family Foundation Grant (2016, 2017), a Washington State Artist Trust Grant (2018), and an Allied Arts Grant (2022). Salov has received residencies and teaching opportunities around the globe including at the Reykjavik School of Visual Arts in Iceland, Tainan National University of the Arts in Taiwan, the Archie Bray Foundation, the University of Washington, and the University of Arkansas. She currently resides in Seattle, Washington with her semiferal cattle dog and partner.

Mark Schentzel holds a BFA in Sculpture and Functional Art from Kendall College of Art and Design, He received the program’s sculpture excellence award. Mark appreciates the craft school experience, and has attended workshops at Ox Bow School for the Arts (MI), Penland School of Craft (NC), and Peters Valley Craft Education Center (NJ). He has over 25 years of welding and custom metal fabrication experience and is co-founder and co-owner of EA- Craftworks in Grand Rapids MI; a custom metal shop providing unique metal works to Michigan and surrounding areas. Mark’s largescale public sculptures in Michigan and the Midwest carry notions of material identity, sustainability considerations, and infrastructure issues.

Manal Shoukair is a LebaneseAmerican artist whose work in video performance, sculpture, and site-specific installations explore the complex intersectionality of her multicultural identity, Islamic spirituality, and contemporary femininity. Shoukair’s installation work directs the viewer in space that is only partially physically accessible, forcing the feeling of being left out or cut off. It prompts the viewer to explore a space physically, psychologically and culturally; methodologies that parallel her intuitive practice. The work navigates a conscious space of being and reflection of place and directs awareness inward, engulfing its audience in the stillness of its gesture. Manal has been featured in art publications, including Hyperallergic, Sculpture Magazine and the Detroit Metro Times. Manal holds a BFA from the College for Creative Studies in Detroit and

is a recent MFA graduate from the Sculpture and Extended Media Department at Virginia Commonwealth University. She is a recipient of the Master’s Thesis Grant from Virginia Commonwealth University, the Gilda Award from the Kresge Foundation, the Skowhegan School of Painting and Sculpture Fellowship and the Vermont Studio Center Fellowship.

William Sieruta (he/him) can’t decide if he’s a painter, a sculptor, a writer, or a designer, so instead of committing to one discipline, his time is haphazardly dividede between all of these pursuits. He studied Painting and Drawing at the School of the Art Institute of Chicago, where he earned an MFA in 2012. He was also awarded a fellowship to Oxbow School of Art, an experience he draws inspiration from to this day.

After several stints as an artist assistant and studio manager in New York, William returned to his native Massachusetts where currently he teaches painting classes and workshops. He was awarded a grant from the Massachusetts Cultural Council for his “Thinking in Color” studio workshop in 2018. These days WIlliam lives and makes art on January Mountain with his wife Jennifer and his son Ziggy.

Laurel Sparks is a Brooklynbased painter whose work applies esoteric correspondence systems to materialize structures outside of perceptible reality. They hold an MFA from Bard College and a BFA from the School of the Museum of Fine Arts, Boston at Tufts University. Exhibitions include solo shows at Kate Werble gallery, NYC; Knockdown Center, Brooklyn,

NY and group shows at Cheim and Read gallery, NYC; Leslie-Lohman Museum, NYC; Museum of Fine Arts, Boston, MA, Hessel Museum of Art, Annandale-on-Hudson, NY; and DeCordova Museum, Lincoln, MA. Awards include a MacDowell Fellowship, Elizabeth Foundation Studio Intensive Program at Robert Blackburn Printmaking Workshop, NY, Fire Island Artist Residency, NY, Berkshire Taconic Fellowship, SMFA Alumni Traveling Fellowship and an Elaine DeKooning Fellowship. Sparks lives and works between Brooklyn and Hudson Valley, NY and teaches undergraduate and graduate painting at Pratt Institute in Brooklyn. In 2022/23 Sparks received a project grant to produce an immersive installation for Invisible Prairie at Tinworks Art, Bozeman MT.

Mark Thomas Gibson's (b. 1980, Miami, Florida) personal lens on American culture stems from his viewpoint as an artist, a professor, and an American history buff. These myriad and often colliding perspectives fuel his exploration of contemporary culture through the language of painting and drawing, revealing a vision of America where every viewer is implicated as a potential character within the story. Gibson has released two books: Some Monsters Loom Large, 2016, with funding from the Foundation for Contemporary Arts; and Early Retirement, 2017, with Edition Patrick Frey in Zurich. Gibson has been awarded: residencies at Yaddo; the Elizabeth Murray Artist Residency; a fellowship from the Pew Center for Arts and Heritage, Philadelphia; a Hodder Fellowship from the Lewis Center for the Arts, Princeton University; a Guggenheim Fellowship from the Guggenheim Memorial Foundation, New York; and was named a 2022 Grantee by The Louis Comfort Tiffany Foundation, New York. In 2023 Gibson had solo exhibitions at Sikkema & Jenkins Co. in New York and MOCAD in Detroit, and was included in the exhibition

Rising Sun: Artists in an Uncertain America at the African American Museum in Philadelphia. Gibson is represented by M+B, (Los Angeles) and Loyal, (Stockholm, Sweden). He is currently an Assistant Professor of Painting at Tyler School of Art and Architecture, Temple University and lives and works in Philadelphia.

Ken Vandermark (USA 1964) is an avant-garde improviser, composer, saxophonist/clarinetist, curator, and writer.  In 1989 he moved to Chicago from Boston and has worked continuously from the early 1990s onward, both as a performer and organizer in North America, Europe, Latin America, Ethiopia, and Japan, recording in a large array of contexts, with many internationally renowned musicians.  In 1999 he was awarded a MacArthur Fellowship in music.

Falaks Vasa (they/she, b. 1995) is an interdisciplinary artist, emerging writer, and award-winning educator from Kolkata, India, based currently in Providence, Rhode Island. Their work spans everything from crochet, 3D animation, and fiction, to performance, video, and stand-up, but always relates to the position, orientation, and experience of their own body. She graduated from Brown University with an MFA in Literary Arts in 2023, and from the School of the Art Institute of Chicago with a BFA in 2018. Falaks has also attended artist residencies at the Skowhegan School of Painting and Sculpture, and ACRE. They have published a poetry chapbook with the unnamed zine project, and written a speculative fiction novel, awaiting publication. They won the Archambault Award for Teaching Excellence for the course ‘Queer Strategies of Resistance:

Fools, Tricksters, Shapeshifters’ in 2022, and have shown their artwork internationally at spaces like the Queer Arts Festival, Vancouver, the Queens Museum, NYC, and BARTALK, The Hague. Currently, Falaks is thinking about what to have for lunch today, although it is way past lunchtime.

bex ya yolk (they/them) is a transdisciplinary visual artist, book maker, scholar, and professor. yolk runs an independent artists’ book bindery, THUNGRY founded in Atlanta, GA now residing in Chicago, IL. With a BFA from Virginia Commonwealth University School of the Arts and an MFA from the School of the Art Institute of Chicago as a full merit scholar—yolk has received grant endowment and recognition from the Atlanta Contemporary, the College Book Art Association, CODEX International Biennial Artists’ Book Fair and Symposium, and the Judith Alexander Foundation.

To date, THUNGRY operates as a publishing initiative focused on disrupting what we’ve come to understand qualifies a Book, complicating traditional ways of book building + semantics, through experimentation and queering praxis. yolk also maintains an extensive, generative, multi-year research study into the ‘maternal complex’, made up of subgenres like mothernism, the maternal identity, care work, reproductive design, rematriation, reproductive justice, container technics, matrescence, and the gestational state especially in queer folx exploring the intersectionalities between the Book + this kind of body.

John Yau has published over 50 books of poetry, fiction,

and art criticism. Born in Lynn, Massachusetts in 1950 to Chinese emigrants, Yau attended Bard College and earned an MFA from Brooklyn College in 1978. Yau’s many collections of poetry include Corpse and Mirror (1983), Edificio Sayonara (1992), Forbidden Entries (1996), Borrowed Love Poems (2002), Ing Grish (2005), Paradiso Diaspora (2006), Exhibits (2010), and Further Adventures in Monochrome (2012). His collections of stories and prose poetry include Hawaiian Cowboys (1994), My Symptoms (1998), and Forbidden Entries (1996). Yau has written on artists such as Andy Warhol, Joe Coleman, James Castle, and Kay Walkingstick. He has also collaborated with artists Archie Rand, Thomas Nozkowski, and Leiko Ikemura in poetry and art books like Hundred More Jokes from the Book of the Dead (2001), Ing Grish (2005), and Andalusia (2006). Yau has received many honors and awards for his work including a New York Foundation for the Arts Award, the Jerome Shestack Award, and the Lavan Award from the Academy of American Poets. He has received fellowships from the National Endowment for the Arts, the Ingram-Merrill Foundation, and the Guggenheim Foundation, and was named a Chevalier in the Order of Arts and Letters by France. Yau has taught at many institutions, including Pratt, the Maryland Institute College of Art and School of Visual Arts, Brown University, and the University of California-Berkeley. Since 2004 he has been the Arts editor of the Brooklyn Rail. He teaches at the Mason Gross School of the Arts and Rutgers University, and lives in New York City

Emily Yong Beck is an interdisciplinary ceramic artist who received her BFA from the School of the Art Institute in 2021. Currently based in Chicago, Illinois, her works are largely inspired by significant cultural pieces of craft, cartoon and

kawaii culture. The appropriation of certain motifs are an attempt to create a dialogue about forgotten histories and propaganda. Beck’s work has been featured in the solo exhibitions Lions & Lambs, Gaa Gallery Provincetown, MA, Spoonful of Sugar at New Image Art, Los Angeles, CA, and a two-person presentation with Gaa Gallery and a solo exhibition at Gaa Projects, Cologne, Germany. Beck has been awarded residences such as The Residency Program in Versailles, France where the work made was featured at Lefebvre et Fils in Paris, France in a solo exhibition, Gimbap Paradise.

Hoseok Youn is a South Korean glass artist specializing in glassblowing. Youn holds his B.F.A. degree in glass and ceramic major from Namseoul University, Cheon Ahn, Korea and earned a M.F.A. in glass from Southern Illinois University Carbondale, Illinois, USA. He has worked at Toledo Museum of Art and taught at Bowling Green State University as an adjunct professor. Hoseok is currently a studio lead and educator at Belger Art Center in Kansas City, Missouri.

Youn’s work has received various scholarships and awards including Corning Museum of Glass, Pittsburgh Glass Center, Art Alliance for Contemporary Glass, Penland School of Craft, Niijima Glass Center, Pilchuck Glass School, and Glass Art Society. He is 2023 SAXE Emerging Artist Award recipient of Glass Art Society and he was resident artist at Museum of Glass Tacoma in 2023. His work has been exhibited broadly and internationally in Illinois, Missouri, Texas, California, Ohio, Michigan, Washington, Indiana, China, Italy, and Poland.Rodrigo Lara Zendejas

meet our visiting artists

Ox-Bow is proud to platform a range of voices, ideas, and perspectives through its Efroymson Family Fund Visiting Artist Program. Every week, a new artist comes to campus to participate in the community, most notably through an artist talk open to everyone on campus. After the talk, a sign-up sheet is presented where anyone on campus can select a time to have a studio visit. Priority for studio visits is given to the Fellows and Residents who are on campus with a dedicated studio space.

2024 VISITING ARTISTS

SESSION 1

MAY 26 - JUNE 1

Anna Betbeze

JUNE 2 - 8

Tammie Rubin

SESSION 2

JUNE 9 -15

Michael Mahalchick

JUNE 16 - 22

Alex Bradley Cohen

SESSION 3

JUNE 23 - 29

Nate Young

JUNE 30 - JULY 6

You Ni Chae

SESSION 4

JULY 15 - 20

Abigail Lucien

JULY 21 - 27

John Kilduff

SESSION 5

JULY 28 - AUGUST 3

Cynthia Alberto

SESSION 6

AUGUST 4 - 10

Eric J. Garcia

SESSION 7

AUGUST 11 - 17

Leeza Meksin

AUGUST 18 - 24

B. Ingrid Olson

(above) Alex Bradley Cohen, In the Studio, 2022, Acrylic on canvas, h: 14 x w: 18 in.; (right page) 1. Tammie Rubin, Always & Forever (forever, ever), 2022, pigmented porcelain, underglaze, glaze, 15.5 x 32 x 12 in.; 2. Leeza Meksin, A Part Apart, 2022, oil, oil stick, acrylic and paper pulp on canvas, 11.25" x 14.25" x 1.5"; 3. You Ni Chae, Untitled, oil on linen, 19 x 16 in.; 4. Eric J Garcia, Alien Abduction, 2021, prickly pear ink on paper, h: 8 x w: 5 in.; 5. Abigail Lucien, Chen Peyi, 2023, enamel, vinyl, and flock on steel, 51.5 x 29 x 7 in.

Cynthia Alberto —artist, designer, and founder of the Brooklyn-based Weaving and Healing arts studio Weaving Hand—bridges traditional and contemporary techniques, drawing inspiration from ancient communities of Europe, Asia, Latin America, and Africa.

Alberto developed "Weaving Together:” a series of ongoing collaborative events that focus on healing the community and create interpersonal relationships through the act of weaving together. "Weaving Together" events were held at the Museum of Arts and Design, Cooper Hewitt, Barnard College, Pratt Institute, Earth Day Initiative, Pioneer Works, Queens Museum, Ace Hotel, Haystack Mountain School of Crafts and Bldg 92 Brooklyn Navy Yard. Alberto is a recipient of the Dan River Weaving Award (1998); Peters Valley Craft Center Art Educator Scholarship (2008); The Pollock-Krasner Foundation Grant (2009); Museum of Arts and Design—Open Studio Artist Residency (2008 & 2018); and Ace Hotel Artist in Residence (2015 - 2016); Artshack Brooklyn, Artist in Residence (2021). Since 2009, Alberto has been a Resident Artist at League Artists Natural Design, a studio and gallery in Brooklyn that features work by adult artists living with disabilities. Alberto has conducted lectures and workshops at the Queens Museum of Art, Tyler School of Art, Pratt Institute, Fashion Institute of Technology, Brooklyn Fashion and Design Accelerator, Sheridan College Textiles Department, and Kapisanan Philippine Centre for Arts and Culture.

Anna Betbeze is a visual artist whose experimental work involves

exploration of haptic sensation, arriving at new forms that combine elements of sculpture, painting, puppetry, and pedagogy. Betbeze considers the ephemerality of lived experience alongside the supposed deathlessness of artistic creation. Betbeze’s work has been shown at institutions such as MoMA PS1, Musee d’Art Moderne de la Ville de Paris, The Hessel Museum at Bard College, and The Power Station, Shanghai. Her project Touch Workshop was featured in TDR (The Drama Review) (Fall 2021). Betbeze lives and works in Los Angeles and is faculty at University of California–Riverside.

Eric J. García uses history and a graphic style to create political art that confronts our understanding of the present. Using printmaking, drawings, murals and multimedia projects that use very specific meaningful materials, he aims to prevent historical amnesia and cultural erasure. By reexamining forgotten stories in an accessible and visually striking way, his work can be a tool with which to share, to learn from and to spark critical dialogue. He received his BFA with a minor in Chicano studies from the University of New Mexico, and earned his MFA from the School of the Art Institute of Chicago. Garcia is a teaching artist, a member of the Veteran Art Movement, and one of the newest members of the Justseeds Print Cooperative. Garcia has exhibited nationally and can be found in the collections of the Smithsonian American Art Museum, the Art Institute of Chicago, the Metropolitan Museum of Art and Library of Congress.

show titled “Let’s Paint TV”, where Kilduff combines painting with performance. His first love in art was painting the landscape from life (Plein air painting), something that he has done for over 40 years. Today, Kilduff goes back and forth between these two disciplines in the making of his art.

Kilduff received a BFA in Fine Art from Otis/Parsons School of Design (Los Angeles) in 1987. After school, he became interested in performance and took acting (Los Angeles City College) and improv classes (Groundlings). After doing some movie background work he started doing cable access tv in 1995. His first show was titled “The Jim Berry Show”, than in 2001, he started “Let’s Paint TV”. In 2008, Kilduff graduated with a MFA in Fine Art from UCLA. Kilduff has exhibited and performed all over the US, Canada, Australia and Europe. He lives and works in Los Angeles.

Abigail Lucien is a HaitianAmerican interdisciplinary artist. Working across sculpture, literature, and time-based media, their work addresses themes of (be) longing, futurity, myth, and place by considering our relationship to inherited colonial structures and systems of belief/care.

Lucien received the 2023 Sondheim Award, was named to the 2021 Forbes 30 Under 30 list, is a recipient of a 2023 Ruby’s Award, 2021 VMFA Fellowship and the 2020 Harpo Emerging Artist Fellowship. Past exhibitions include SculptureCenter (NY), MoMA PS1 (NY), MAC Panamá (Panamá), Tiwani Contemporary (London), Atlanta Contemporary (Atlanta, GA), Frost Art Museum (Miami, FL), and The Fabric Workshop and Museum (Philadelphia, PA). Residencies include Skowhegan School of Painting & Sculpture (Madison, ME), Amant Studio & Research Residency (NY), the Eugeniusz Geppert Academy of Fine Arts (Wrocław, Poland), The

Luminary (St. Louis, MO), Santa Fe Art Institute (Santa Fe, NM), ACRE (Steuben, WI), and Ox-Bow School of Art & Artist Residency (Saugatuck, MI).

Lucien is currently based between Baltimore, MD and Brooklyn, NY and teaches as an Assistant Professor of Sculpture at Hunter College in NYC.

Michael Mahalchick is an artist from Pottsville, PA . He currently lives and works in Brooklyn, NY. His works typically center around sculpture, collage and performance. Working primarily with found materials his work engages with themes of value, memory, temporality, identity and chance.

He received a 2010 Bessie New York Dance and Performance Award for his work with choreographer luciana achugar and in 2021, Canada, his long standing gallery, published a monograph chronicling nearly twenty years of his visual and performance work. His work has been noted in The New York Times, Artforum, and Frieze and has performed at The Tate Britain, The Walker Art Center, MN, The Whitney Museum, NY, The Kitchen, NY, Danspace Project, NY, and Movement Research, NY among others. He received a BFA from Tyler School of Art, Temple University, Philadelphia, PA in 1993 and an MFA from California Institute of the Arts, Valencia, CA in 1995.

Leeza Meksin is a New York-based interdisciplinary artist working in painting, installation, public art and multiples. Her work investigates parallels between conventions of painting, architecture and

our bodies. Meksin has created site-specific installations for The deCordova Sculpture Park and Museum, The Brooklyn Academy of Music, National Academy of Design, The Uptown Triennial, NYC, Utah Museum of Contemporary Art, The Kitchen, BRIC Media Arts. She has exhibited her paintings at Regina Rex Gallery, Thomas Erben Gallery and Brandeis University. In 2021 Meksin was awarded the NYFA/NYSCA Artist Fellowship in Interdisciplinary Work, and in 2015 received the emerging artist Rema Hort Mann Foundation grant. In 2019, Meksin was artist-in-residence at The Chinati Foundation in Marfa, TX. Her work has been featured in Bomb, The Brooklyn Rail, The New York Times, Hyperallergic, Chicago Tribune, and The Village Voice. In 2013 Meksin co-founded Ortega y Gasset Projects, an artist-run gallery in Brooklyn that she continues to codirect. Meksin received a MFA from Yale School of Art, a BFA from The SAIC and a BA/MA in Comparative Literature from The University of Chicago. In 2021 she joined the faculty at Cornell University in the College of Architecture, Art, Planning (AAP).

You-Ni Chae, born in Daegu, South Korea. She lives and works in Queens, New York. She earned her BFA(2006), MFA(2008) from The School of the Art Institute of Chicago in 2008. Her intimate abstract paintings are highly aware of basic pictorial structure, movement and color through improvisation, repetition and spontaneity. They are drawn from both Eastern and Western artistic traditions. In her works, brush work and process are held in close tension with image and perception. She grapples with history and identity to create works that simultaneously hold seemingly competing thoughts, places and intentions. Recent solo/ two persons exhibitions include: Fata Morgana at Laurel Gitlen, New York,

NY, You Ni Chae and Brad Mildrexler at Adams and Ollman, Portland, OR, On the Umber Rim, Guertin’s Graphics, Red Hook, NY, Plants, Window, Cloud, Tails, Adds Donna Gallery, Chicago, IL, and Motif Painting, 65Grand Gallery, Chicago, IL, Groundless Beef, Julius Caesar, Chicago, IL

Tammie Rubin is an artist who considers power objects, coded symbols, Black American migration and citizenry, rituals, and magical thinking. Rubin employs ceramic conical forms, raised maps, and murals to create spaces of physical, metaphysical, and spiritual escape. Rubin holds an MFA in Ceramics from the University of Washington in Seattle and a BFA in Ceramics and Art History from the University of Illinois, Urbana-Champaign. Rubin has exhibited widely; selections include Project Row Houses, Houston, TX., the Hessel Museum of Art at Bard College, Annandaleon-Hudson, NY., Indianapolis Art Center, Indianapolis, IN., The Houston Center for Contemporary Craft, TX., and grayDUCK Gallery, Austin, TX., and Rivalry Projects Buffalo, NY. She is represented by C24 Gallery, New York, NY., and Galleri Urbane, Dallas, TX.

Her artwork has received reviews in publications such as Artforum, Art in America, Brooklyn Rail, Glasstire, Austin American-Statesman, Austin Chronicle, Sightlines, fields, Conflict of Interest, Ceramics: Art & Perception, and Ceramics Monthly. Born and raised in Chicago, Rubin lives in Austin, Texas, where she is an Associate Professor of Ceramics and sculpture at St. Edward's University.

John Kilduff AKA Mr Let’s Paint is best known for the cable access tv

Alex Bradley Cohen (b. 1989) lives and works in Chicago, IL. Alex utilizes painting to visualize the push and pulls of political life. Working with acrylic paint on canvas, he depicts friends, family members, and himself in scenes that foreground everyday moments. Materializing from personal photographs and memories rather than direct observation, each painting serves as an exercise in imaginative world building. Recent group exhibitions include In Relation to Power: Politically Engaged Works from the Collection, Nasher Museum of Art at Duke University, Durham, NC; State of the Art 2020, Crystal Bridges Museum of American Art, Bentonville, AK; and Triple: Alex Bradley Cohen, Louis Fratino, and Tschabalala Self, University Art Museum at the University of Albany, NY. Other exhibitions include The Studio Museum of Harlem, New York, NY; The Art Institute of Chicago, Chicago, IL; Elmhurst Art Museum, Elmhurst, IL; and The Craft and Folk Art Museum, Los Angeles, CA, among others. He is an alumnus of the Skowhegan School of Painting & Sculpture and was an artist-inresidence at the Ox-Bow School of Art.

(from left to right)

1. Michael Mahalchick, Masks (detail), 2021, pigmented latex rubber

2. John Kilduff

3. Cynthia A. Alberto, My Anting Anting (My Amulet), human hair, cotton and wool yarns, h: 25 x w: 25 in.

4. Anna Betbeze, Whale, 2021, wool, silk, rope, acid dyes, 240 x 200 x 8 in.

Make Your Own Kite

This kite, designed by Hai-Wen Lin, is ready to take flight in your local sky real estate. Just follow the directions below. Warning: attempting to fly a kite may elicit feelings of joy, frustration, and/or child-like wonder.

YOU WILL NEED:

Glue

Tape Strings

Spars x 3 - one the width of the kite, and two the length of the diagonal)

This can be 1/8 inch wooden dowels, bbq skewers, magazine pages rolled up very tightly

Tails x 2 - each at least 4 feet long and 1 inch thick

This can be ribbon, long strips of paper taped together, fabric, ect.

(outside cover)

(inside cover)

5. Flip the kite over and poke holes so that you can tie a piece of string starting from the top spar and then around the center where the diagonal spars intersects. This is the bridle.

6a. Finally, tie your kite line to the bridle!

6b. Balancing tip: When tying the kite line to the bridle, hold your kite by your kite line. The top should be higher than the bottom. Aim for a 20-30º angle!

1. Tape a spar along the top fold line.

Back

Front

4. Tape down the two diagonal spars.

2. Fold down top edge along fold line and glue down.

3. Ttape your tails on each of the bottom two corners.

DID YOU KNOW...

Zines hold a special place at Ox-Bow. They encapsulate the creative fervor, insistent independence, and zany joy of artists here. This has become all the more true since Madeleine Aguilar (Print & New Media Studio Manager) & bex ya yolk (Artist-in-Residence 2023), brought the Zine Library to campus, which includes over 75 publications and counting! The ever-growing collection includes work by Artists-inResidence, staff, faculty, and students. You can explore the library for yourself on campus in the Works on Paper Studio.

(row one, left to right) Various authors, i'm not totally convinced the turtle exists; H Schenck & Liesel Schubel, Queer Methods in Print & Glass, risograph; (row two, left to right) Brendan Page, The Villa: a Love Island Publication, 2023, risograph on newsprint; Jesse Malmed, YOU0u aRERE aA LiGHGHT tHAHT NEV3vER GOEOES OUoUT, 2022, Xerox; Jessica Gatlin & Brandon Donahue-Shipp, CHOPSHOP: Guided Transformations, 2023, risograph; Laz Kilmer, (DE)FLOWER, 2023, risograph; Yeji Kim & Rowan Leek, Printmaking To-Go, 2023, laserprint; (row three, left to right); Various authors, 2742396164695731, 2023, risograph; Ashley Molesso & Chess Needham, Queer Tarot: An Inclusive Deck & Guidebook, 2022, risograph; Luba Mendelvich & Madeleine Aguilar, up the dune | down the dune, 2022, Xerox; (top) Woody Leslie, Tiny Stories, 2009, Xerox; (middle) Woody Leslie, Tinier Stories, 2010, Xerox; (bottom) Woody Leslie, Tiniest Stories, 2011, Xerox; Ari Gomez, Cyclops Puppy: a pop-up zine by Ari G., 2023, risograph; (row four, left to right) Various authors, Inventory, 2010, risograph; Dianne Jedlicka, From Shore to Forest: Birds of S.W. Michigan, 2023, risograph and laser; Kapka, Doobious Odyssey, 2023, risograph; Laz Kilmer, The Horrors, 2023, risograph; Turrim, Greetings From Mother's Peak, 2023; (row five, left to right) Fishman Town, Xerox; J Yarvitz, Cookie Book, 2014; Various authors, Unladylike

TUITION AND ROOM & BOARD

Ox-Bow offers the opportunity to enroll in courses either for-credit or non-credit. The rates associated with the enrollment type are reflected below.

Students who complete a for-credit course will receive credit through the School of the Art Institute of Chicago. Ox-Bow’s for-credit tuition is the same as SAIC’s per credit. In most cases, students enrolled in courses for-credit can use their financial aid award from SAIC toward degree credit tuition for courses.

The tuition listed below does not include any lab fee associated with the course. Please check the course listings for those details.

REGISTRATION

All Ox-Bow core courses are open to any participant over 18 for registration. Certain courses fill rapidly and we encourage you to register on the first day it is available.

For-credit registration begins at 8:30 a.m CST on Monday, March 25 in the Neiman Center, 2nd floor, 37 S. Wabash. After 9:00 a.m CST / 10:00 a.m. EST on Monday, March 25, your registration request (for-credit or noncredit) can be submitted to the Ox-Bow registrar via the form on our website.

Please note, Ox-Bow’s registrar does not work from Ox-Bow’s campus in Saugatuck, Michigan and will not be available via the campus phone. Any questions regarding registration should be directed to our main email, oxbow@ox-bow.org.

PAYMENT INFORMATION

For-credit payments should be processed via check to SAIC or credit card payment through SAIC’s payment partner, CASHnet, which is accessible through Peoplesoft Self Service.

Scan the QR Code to access to the registration page. Prefer not to register online? Please contact oxbow@ox-bow.org and we will happily set up an appointment to process your registration over the phone.

An essential part of the magic of Ox-Bow is getting to know its domestic architecture, sharing meals, and living amongst fellow students, faculty, and staff. Room & board fees cover more than just your cozy 6- or 13-night stay. At Ox-Bow, the kitchen is the heart of campus and aims to provide all participants with three restorative, sustainable, and healthy meals per day. The team uses locally sourced ingredients as much as possible and can adapt to any dietary restriction. Meal plans are included in the room and board fee.

Room & Board costs are available in two tiers to accommodate those who would prefer a single room. Single Rooms are limited and we encourage those interested to register quickly.

Non-credit payment should be processed by credit or debit card via the Ox-Bow registration form. Payment for non-credit enrollments is due at the time of registration.

DROP POLICY

If a student drops their course from the time of registration until three weeks before the start of their class. they will receive a full refund minus a $250 drop fee.

If a student drops within three weeks of the start date of their class, no refunds will be given. Requests to drop must be submitted in writing to the Ox-Bow registrar via email. It is not possible to drop an Ox-Bow class through the SAIC Self Service or through the SAIC registrar.

In cases of a documented emergency, students may go through SAIC’s refund review process.

If any participant tests positive for COVID-19 within 5 days of the first day of class, they will receive a credit to attend a future Ox-Bow class of the same credit type and amount. Proof of test results is required.

Ox-Bow is dedicated to providing students with the experience described in the catalog, but cannot guarantee the listed faculty. In the rare event that a faculty cannot instruct their class due to an emergency, a replacement of similar expertise will be provided. Faculty replacement does not make a student eligible for a refund.

In the event that Ox-Bow must cancel a course due to low enrollment or for any other reason, full refunds will be given.

Please contact Ox-Bow’s registrar at oxbow@ox-bow.org for the refund review forms and information.

Ox-Bow reserves the right to adapt this drop policy after the publication of the catalog, per evolving COVID-19 Guidelines and recommendations.

SCHOLARSHIPS

Students can be awarded funding from Ox-Bow to take a course via the Merit Scholarship, the Work Scholarship, and the Need Based Scholarship. Awards for all three scholarships are partial in nature but can combine to cover costs associated with an Ox-Bow enrollment. Ox-Bow hires a diverse panel of artist professionals to review applications whose intersectional perspectives help identify merit in applications, with the goal of building a diverse student body and expanding equity in aid awards. Please see below for details and instructions.

THE OX-BOW MERIT SCHOLARSHIP

Merit Scholarship funds can apply toward any core course for-credit or non-credit enrollment. Applications are submitted through the Ox-Bow website, are based on the prospective student’s portfolio and response to short essay questions, and are reviewed by a panel of diverse arts professionals with experience at Ox-Bow. Awards are typically partial and

communicated to the student at least oneweek prior to open registration so that they can claim their spot in class.

The Merit Scholarship deadline is Sunday, March 10 at midnight CST / 1 a.m. EST. Apply online at www.ox-bow.org.

THE OX-BOW WORK SCHOLARSHIP

Ox-Bow will award a number of work scholarships on a first-come, first-served basis to students enrolling in Ox-Bow classes for-credit. The work scholarship is equivalent to 50% of the cost of shared room and board while attending Ox-Bow.

Work Scholarship students work thirteen hours per week while on campus in one of the following jobs: kitchen, housekeeping, grounds and maintenance. Each work scholarship field is unique and requires teamwork with other Ox-Bow staff members in their departments. Tasks specific to these departments may change based on the time of year or priority projects but general descriptions are as follows;

• Kitchen work is often dishwashing, cleaning the dining room, or prepping ingredients for meals.

• Housekeeping is often cleaning bathrooms, sweeping floors, and turning over bedrooms.

• Grounds & Maintenance is often raking leaves, snow removal, setting up tables and chairs for events, and trash removal.

Students can rank their preferred department at the time of registration and will receive confirmation of their department when they arrive on campus.

Work schedules are dynamic, based on the current needs of each department and students will be scheduled to work, at times, during class. Faculty are aware they may have a student who is working toward their work scholarship and will keep them caught up with the syllabus. Failure to complete any of the hours assigned will result in a removal of the scholarship.

Due to one seven-hour shift scheduled on the final Saturday of the session, we highly recommend that work scholarship students drive their own car to OxBow. Public transportation leaves the Saugatuck area in the morning and does not accommodate this important, final shift. Students who did not drive to campus or cannot get a late ride home with a friend, must find local accommodations on their own. If you are not driving, please consider if it is worth it to you to purchase accommodations nearby in order to take advantage of the work scholarship.

Work scholarships can only be claimed in person at Ox-Bow's registration event in the Neiman Center, 37 S Wabash, 2nd floor, starting at 8:30 a.m. CST / 9:30 a.m. EST on March 25.

THE OX-BOW NEED BASED SCHOLARSHIP

The Need Based Scholarship can apply toward any core course for-credit or non-credit enrollment for students who demonstrate financial need. If awarded, this scholarship will offset the cost of room and board. Applications for this scholarship are informational, not portfolio based, and are reviewed by the Ox-Bow Scholarship Committee on a rolling basis.

If a student is interested in a Need Based Scholarship for their summer 2024 enrollment, they should submit that application by Sunday, March 10 by midnight CST / 1:00 a.m. EST. Awards will be communicated to the student at least one-week prior to open registration. Apply online at www.ox-bow.org.

NATIA SER, 2023 SUMMER FELLOW IN PHOTOGRAPHY & COMMUNICATIONS

Ox-Bow thanks its family of funders for building the endowments that support our students.

BEA AND CAROLINE DAVIS SCHOLARSHIP:

Available to all students. Credit or noncredit courses.

BEN SEAMONS MEMORIAL SCHOLARSHIP:

Available to all students. Credit or noncredit courses.

DALE METTERNICH MEMORIAL

SCHOLARSHIP: For undergraduate and graduate students from any school. Credit or non-credit courses.

DANIEL CLARKE JOHNSON MEMORIAL

SCHOLARSHIP: For undergraduate and graduate students from any school. Credit or non-credit courses.

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

FITZ AND THELMA COGHLIN SCHOLARSHIP:

For students from the West Michigan region. Credit or non-credit courses.

GEORGE LIEBERT SCHOLARSHIP:

For undergraduate and graduate students from any school. Credit courses only.

JIM ZANZI SCHOLARSHIP FUND:

For SAIC students to take classes at OxBow. Granted on the basis of financial need. Credit courses only.

LALLA ANNE CRITZ ZANZI SCHOLARSHIP:

For female SAIC undergraduate and graduate painting students. Credit courses only.

LEROY NEIMAN FOUNDATION

SCHOLARSHIP: For undergraduate and graduate students from any school. Credit or non-credit courses.

LORETTE GRELLNER SCHOLARSHIP:

For adult women who are either pursuing a degree in art or seeking to refresh their professional practice in the classroom environment. Credit or non-credit courses.

MARY LOUISE BARNA MEMORIAL SCHOLARSHIP: For degree-seeking students from any college or university with demonstrated financial need, who would be unable to attend Ox-Bow without the support of this scholarship. Credit courses only.

RUPPRECHT SCHOLARSHIP:

For undergraduate and graduate students

currently enrolled in SAIC’s Painting and Drawing programs. Credit courses only.

STEKETEE SCHOLARSHIP:

For SAIC undergraduate and graduate students. Credit or non-credit courses.

VI FOGLE URETZ SCHOLARSHIP:

For SAIC undergraduate and graduate students. Credit or non-credit courses.

WEST MICHIGAN SCHOLARSHIP:

For students residing within the West Michigan area. Support provided in part by the Wege Foundation. Credit or non-credit courses.

FINANCIAL AID FROM THE SCHOOL OF THE ART INSTITUTE OF CHICAGO

Undergraduate and graduate students from the School of the Art Institute of Chicago may be able to use their financial aid awards and scholarships from SAIC toward for-credit tuition costs Ox-Bow. Students interested in this should reach out to Student Financial Services to refer to their deadlines and ensure the funding will be applied to the summer term.

POLICIES

ACCOMMODATIONS POLICY

Ox-Bow is committed to providing students with disabilities equal access to the classroom and other events on campus. Because of the unique nature of learning at Ox-Bow, students are asked to communicate their needs related to living and learning to the Ox-Bow staff when asked during registration so that preparations can be made with the campus team and their faculty. If at any time a student needs to make a confidential accommodation request, they can do so by emailing oxbow@ox-bow.org.

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.

ATTENDANCE POLICY

Due to the intensive nature of an Ox-Bow course, students are required to attend in full and everyday during the session to be granted the credits assigned to their course. Ox-Bow will work with students who miss class, and their faculty to understand their needs and get on a path toward completion.

Missing one day of class or arriving tardy more than once will trigger a mediated conversation between student, faculty, and Ox-Bow administration. Failure to correct unexcused absences will make the student eligible for a non-passing grade.

GRADING POLICY

Ox–Bow adheres to a credit/no credit grading system. Students enrolling in classes for-credit are indicated by the grading basis CR, or Credit, on the registration statement and transcript. Students enrolling in classes for non-credit are indicated by the grading basis AUD, or Audit, on the registration statement and transcript.

GUEST POLICY

No companions, guests, or visitors are permitted during your stay. All residential housing and studio facilities are limited to participants enrolled in courses.

STUDIO POLICY

Each studio has specific policies in place to ensure the safety of students and equipment. Additionally, these policies ensure that all participants receive a quality education with equal access to faculty and equipment. All studio-specific policies will be explained on the first night of classes. Any student found in violation of these policies will be asked to leave the course without refund. These same policies are applied to any work conducted in the Ox-Bow landscape or on the Ox-Bow grounds. Because Ox-Bow is a community, we ask that all students respect the rights of their classmates and fellow community members by following our policies.

SUSPENSION & EXPULSION POLICY

Ox-Bow reserves the right to impose sanctions including suspension and expulsion, without refund, upon students whose behavior, in the judgment of Ox-Bow, contributes in any way to the disruption of the educational processes or residential life on campus. Additional policies are listed in the Ox-Bow Policy & 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.

BY:

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 IndianaCommunity 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. We are grateful to the Efroymson Family Fund for their support of our Visiting Artists Program. For more information about theEfroymson Family Fund, visit: efroymsonfamilyfund.org

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 ofBoards. 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 andFall Residency cycles.