Ox-Bow 2020 Summer Course Catalog by Ox-Bow School of Art & Artists' Residency

COURSE CATA LOG

SUMMER 2020

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

COVER ART BY: Jeanine Coupe Ryding, Warm Cool Ash, woodcut print on Korean Hanji paper completed in 2017

Ox-Bow Saugatuck Campus 3435 Rupprecht Way Saugatuck, MI 49453 269-857-5811

SECT IO N T I T L E

C ourse C alendar ........... 2 COURSES & FACULTY C er amic . .................... 4

A note from Ox-Bow’s Executive Director

G l assblowing ............... 9 Painting & D r awing ..... 12

I am writing this from my living room

around criticality and invention,

in Queens, New York, having yet to

mess and productive play. Nestled

S culpture & M etals .... 18

embark on my move back to

within the campus, they make

Chicago to start my tenure as

possible a level of focused,

P rintmaking . ............. 24

Ox-Bow’s next Executive Director.

cross-disciplinary engagement

SPECIAL TOPIC CLASSES (30)

I am truly giddy when I think about

and experimentation that can’t

the coming months. Having been

take root in a traditional learning

F iber ............... 31, 32, 37

immersed in the Ox-Bow environ-

environment. And Ox-Bow calls a

P hotogr aphy .......... 31, 34

ment as a frequent instructor, I have

remarkable landscape home: the

experienced firsthand its unique

campus is situated on a rare fresh-

S cience .................... 32

blend of school, retreat, and

water interdunal coastal wetland,

temporary, intentional community.

a habitat of great biodiversity that

Ox-Bow is small enough to retain

helps maintain the health of Lake

the intimacy of a little neighbor-

Michigan.

hood while being experimental

A rt H istory . ............. 32 F ilm , V ideo , & N ew M edia ................ 34 V isual & C ritical S tudies .................... 37

enough to resonate beyond its

Ox-Bow is shaped by the people

modest footprint. In my conversa-

who gather here each summer and

tions with artists throughout the

fall: an energized group of artists

country, before and after taking

who teach, study, make, and visit,

on this role, the mention of Ox-Bow

as well as all those who labor to

tends to elicit immediate adoration,

make this campus a welcoming

if not downright delight. Whether

home. Together we open up the

SPECIAL PROGRAMS

the person I’m speaking with spent

time and space for artists to dream,

time at Ox-Bow last summer or a

discuss, create, and yes, play, as we

P re -C ollege . ............. 41

decade ago, the feelings run deep:

cultivate a community that every-

F ellowship P rogr am &

this place is special.

one can call theirs. This catalog is

A rtist R esidencies ....... 42

an invitation to join us, for the first Ox-Bow is an extraordinary

time or your next time, to not just

environment—and there are

discover but contribute to what

countless opinions on what makes

makes this place special.

it so. Three consistent explanations

V isiting A rtists .......... 38

IMPORTANT INFORMATION L ife

are its community, its classes, and

We look forward to spending time

its landscape. Artists assemble here

with you,

O x-B ow ........... 44

annually, many returning time and

R egistr ation & F inancial A id ............. 48

again, to renew their commitment

S chol arships ............ 50

to their practice, to one another,

R egistr ation F orm ....... 51

and to collective, creative community-building. Our classrooms are laboratories established

Shannon R. Stratton Executive Director

S upporters & B oard & S taff ........... 53 103

MAY 31-JUNE 6

JUNE 7-JUNE 13

JUNE 14-20

V I S I T I N G Leslie Wilson

Matt Austin

JUNE 28-JULY 4

Erica N. Cardwell

William J. Oâ&#x20AC;&#x2122;Brien BURIED HISTORIES

Anna Mayer CER 636 001

Liz McCarthy CER 650 001

BEGINNING GLASS, SESSION 1

EXPERIMENTS IN GLASS BLOWING

BEGINNING GLASS, SESSION 2

Victoria Ahmadizadeh GLASS 630 001

Megan Biddle GLASS 616 001

Tim Belliveau GLASS 630 002

FEELING SHAPEY: MOVEMENT & ABSTRACTION IN CONTEMPORARY PAINTING

EXPANDED CARTOONING

EXPANSIONS: SKILL BUILDING FOR ADVANCED HIGH SCHOOL ARTISTS

Alex Bradley Cohen & Alberto Aguilar PAINTING 660 001

Jessica Campbell & Walter Scott PAINTING 662 001

Claire Arctander PAINTING 401 001 DEADPAN: STEEL REALISM

Chris Bradley SCULP 671 001

BLACK IN THE WOODS: REPRESENTATION & THE PASTORAL

Ayanah Moor & Krista Franklin PRINT 652 001

JULY 5-JULY 11

A R T I S T S

CERAMICS + RITUAL

CERAMICS GLASS PAINTING & DRAWING SCULPTURE & METALS PRINTMAKING SPECIAL TOPICS

Samantha Bittman

JUNE 21-27

SYNTHETIC SKINS

BLACKSMITHING: SCULPTURAL FORMS

Amy Brener SCULP 668 001

Jessee Rose Crane SCULP 623 001

POLITICS OF PRINT: THINKING THROUGH THE ARTIST PUBLICATION

Zachary Fabri

EXPERIMENTAL WATERCOLOR

Hannah Barnes & Susan Klein PAINTING 657 001

HARD LINES: DRAWING WITH STEEL

JOINERY: SCULPTURAL COLLABORATIONS

Devin Balara & Abigail Lucien SCULP 663 001

Ato Ribeiro SCULP 670 001

SPECULATIVE WORLDS: SCREENPRINT AS INTERVENTION

Corinne Teed & Erik Ruin PRINT 659 001

Kevin McCoy PRINT 660 001

PAPERMAKING

ANIMAL BEHAVIOR AT OX-BOW

OBJECTS IN VIDEO, VIDEO AS OBJECT

Andrea Peterson PAPER 604 001

Dianne Jedlicka SCIENCE 3523 001

Ilana Harris-Babou FVNM 609 001

GHOST IN THE MACHINE

EXPERIMENTAL PATTERNING: METHODS IN TEXTILE PRINTING

HAND TO THREAD: IMPROVISATIONAL PATCHWORK & EMBROIDERY

Padma Rajendran FIBER 622 001

Melissa Leandro FIBER 623 001

Sarah Belknap & Joseph Belknap PHOTO 611 001

BETTER HOMES & GARDENS

Lisa Stone ARTHI 625 001

JULY 12-18

JULY 19-25

JULY 26-AUG. 1

V I S I T I N G Michelle Grabner

Naama Tsabar

Nora Maité Nieves

AUG. 2-8

AUG. 9-15

AUG. 16-22

John Kilduff

Sky Hopinka

A R T I S T S Haynes Riley

FLORA, FAUNA, FIGURE, & NARRATIVE

Luke Armitstead CER 652 001

Casey Elizabeth Weldon & Salvador Jiménez Flores CER 651 001

FLAMEWORKING: FINDING FORM IN TRANSLATION

GO WITH THE FLOW

MULTI-LEVEL GLASS

Amy Lemaire GLASS 649 001

Michael Hernandez GLASS 650 001

Ekin Aytac & Joshua Davids GLASS 641 001

FAST PAINTING

EXPLODING PAINT: FIELDWORK

PLEIN AIR PLUS

COLOR & LANDSCAPE

Arnold J. Kemp & Christine Tien Wang PAINTING 663 001

Claire Ashley PAINTING 650 001

Josh Dihle PAINTING 659 001

Jo Hormuth PAINTING 661 001

VIRTUAL ARTIFACTS: MOLD MAKING, HYDROPRINTING, SCREENSPACE OBJECTS

MULTI-LEVEL FOUNDRY

BEYOND BORDERS: FINDING THREE DIMENSIONS IN PRINTING & BOOKBINDING

MONOTYPE

STONE LITHOGRAPHY

PHOTOLITHOGRAPHY

Danny Miller & Kristina Paabus PRINT 635 001

Danny Miller & Kristina Paabus PRINT 635 002

WET-PLATE & PLATINOTYPES

Robert Clarke-Davis & Jaclyn Silverman PHOTO 609 001 PLATINOTYPES

Robert Clarke-Davis & Jaclyn Silverman PHOTO 610 001

Robert Clarke-Davis & Jaclyn Silverman PHOTO 610 002

THE EXPANDED FIELD IN THE EXPANDING FIELD: ZINES, EPHEMERA & EVENTS

Jesse Malmed & Breanne Trammell PRINT 661 001

Aay Preston-Myint PRINT 609 001

Myungah Hyon & Jeanine Coupe Ryding PRINT 658 001

THE FUTURE IS NOW: THE ANTHROPOCENE

METAMORPHOSING PAPER

Jeremy Bolen & Mika Tosca PHOTO 612 001

Andrea Peterson PAPER 627 001 METAMORPHOSING PAPER

METAMORPHOSING PAPER

Andrea Peterson PAPER 607 001

Andrea Peterson PAPER 607 002

ALTER/OVERFLOW: GARMENT MAKING AS STUDIO PRACTICE

DIMENSIONAL COLLAGE

YOU ART WHAT YOU EAT

Brad Callahan & Vincent Tiley FIBER 619 001

Annalee Koehn PAINTING 653 001

Eric May SCULP 669 001 OR VCS 669 001

SPECIAL TOPICS

WET-PLATE

Liz Ensz & Lloyd Mandelbaum SCULP 660 001

PRINTMAKING

Danny Miller & Kristina Paabus PRINT 637 001

SCULPTURE & METALS

LITHOGRAPHY: STONE & PHOTOLITHOGRAPHY

PAINTING & DRAWING

Christopher Meerdo SCULP 662 001

GLASS

MONUMENTALITY & THE HAND-BUILT VESSEL

John Dix & Katherine Maloney CER 647 001

CERAMICS

MATERIALS & MECHANICS OF WOODFIRE

CERAMICS + RITUAL

Instructor: Anna Mayer CER 636 001

BEGINNING GLASS SESSION 1

BURIED HISTORIES

Instructor: Victoria Ahmadizadeh GLASS 630 001

Instructor: Liz McCarthy CER 650 001

EXPERIMENTS IN GLASSBLOWING

MATERIALS & MECHANICS OF WOODFIRE

Instructors: John Dix & Katherine Maloney CER 647 001 MONUMENTALITY & THE HAND-BUILT VESSEL

Instructor: Luke Armitstead CER 652 001 FLORA, FAUNA, FIGURE, & NARRATIVE

Instructors: Casey Elizabeth Weldon & Salvador JimÃ©nez Flores CER 651 001

Instructor: Megan Biddle GLASS 616 001 BEGINNING GLASS SESSION 2

Instructor: Tim Belliveau GLASS 630 002 FINDING FORM IN TRANSLATION: FLAMEWORKING

Instructor: Amy Lemaire GLASS 649 001 GO WITH THE FLOW

Instructor: Michael Hernandez GLASS 650 001 MULTI-LEVEL GLASS

Instructors: Ekin Aytac & Joshua Davids GLASS 641 001

CER A MIC S W E E K S 3 & 4 – J U N E 14 - 2 7

Ceramics + Ritual Instructor: Anna Mayer 2-week || CER 636 001 3 credit hours || Lab Fee: $150

(left) Anna Mayer I Wish I Was Your Mother 2018 obvara-fired ceramic, glaze 12” x 1.5” x 12” (below) Liz McCarthy Whistle Built for Eleven 2018 28” x 20” x 36”

The course explores the connection between ceramics and ritual, ceremony, and embodied engagement. We will learn and refine hand-building techniques, including pinching, coiling, slab construction, using press molds, and modeling. Initial exercises will address different methods for vessel construction and using clay spontaneously and haptically. As students acquire more technical fluency, we’ll look at how ceramics have been used throughout history to facilitate ritual in settings from the domestic to the alchemical. Students will produce both finely-crafted, invested objects as well as more provisional, prop-based pieces. Artists with an interest in ceramics, sculpture, performance, and social practice are strongly encouraged to register. Anna Mayer ’s art practice is sculptural and social, with an emphasis on hand-

built ceramics. Her methodology emerges from enacting formative site-specific analogue firing projects in Southern California. Mayer revels in the fact that ceramics historically has been used to create highly functional items as well as wildly symbolic objects. Her work is part of this lineage, with equal concern for the future, and a dramatically shifting climate—ecological and political. Mayer recently had solo exhibitions at AWHRHWAR, Adjunct Positions, and A-B Projects, all in Los Angeles. In 2020 she will mount a large-scale solo show at Houston Center for Contemporary Craft. Other exhibitions include Night

Gallery, Ballroom Marfa, Kendall Koppe, Commonwealth & Council, Hammer Museum and Glasgow International. She has a 14-year collaborative practice with Jemima Wyman, called CamLab, which has exhibited at MOCA Los Angeles and Hammer Museum. Mayer is currently Assistant Professor of Sculpture at University of Houston, where she oversees the Ceramics program.

W E E K S 5 & 6 – J U N E 2 8 - J U LY 11

Buried Histories Instructor: Liz McCarthy 2-week || CER 650 001 3 credit hours || Lab Fee: $150 This class will be an ecological exploration of the inherent sustainability in ceramics through local clay harvesting, natural processing, and early firing techniques. We will consider the local landscape and its mineral deposits near the Kalamazoo river, Lake Michigan, and other natural resources, discuss what clay techniques indigenous people used in the area, and re-interpret those processes. Students will learn to dig for their own material, create natural glazes, and participate in building an underground kiln. This class will also consider how we understand history and tradition as constantly changing narratives — considering what it means to use these techniques and histories as the colonial culture in the 21st century, and what we can change about our own culture by learning these processes of the past. This class will consider ceramic artifacts of the Ottawa, Potawatomi, and Chippewa people. This class will also explore artists that are using ceramic techniques and styles of earlier cultures to examine their own contemporary culture. These examples include Cammie Staros, Theaster Gates, Shary Boyle, Ai Wei Wei, Raven Halfmoon, and Nance Klehm. Useful texts include Thinking Inside the Box: An Interview with Gerhard Wolf by Sina Najafi, Pit Firing Ceramics: Modern Methods, Ancient Traditions by Dr. Dawn Whitehand, and Glazes from Natural Sources: A Working Handbook for Potters by Sutherland, Brian. Students will use the regular facilities to make ceramic sculptures that interrogate the meaning of “functional”, as well as forage their own clay and glaze material and collaboratively build a ground kiln to pit fire. Liz McCarthy is a Chicago-based artist working across mediums to explore and reinscribe material meaning and human collectivity. 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. She was named a “Chicago Break Out Artist” in 2017 by NewCity Magazine , and her mix of performance, sculpture, and installation have been exhibited at Museum of Contemporary Art Chicago; Hyde Park Art Center in Chicago; Ghebaly Gallery in Los Angeles; ExGirlfriend in Berlin; and numerous Chicago galleries. She has participated in residences at Atlantic Center for the Arts, ACRE, High Concept Laboratories, Banff Centre, Ox-Bow, and Lighthouse Works. As an arts organizer and teaching artist, Liz has worked with ACRE in many roles; co-founded Roxaboxen Exhibitions; acts as Founding Director of the GnarWare Workshop ceramics school; and is Faculty in Ceramics at the School of the Art Institute of Chicago.

Take risks, help each other, look for the opportunities in your mistakes. -Tim Belliveau

been an artist in resident at Starworks Clay studio, Mars Hill University, and a summer studio assistant with Bruce Dehnert at Peters Valley School of Craft. Her work has been exhibited throughout the east coast in juried gallery and fine art shows, including Baltimore Clayworks, Starworks Gallery, Peters Valley School of Craft, The Smithsonian Craft Show, and Morean Center for Clay. Katherine currently lives and works in Southeastern Virginia at her studio on the family farm.

W E E K S 9 & 10 – J U LY 2 6 - A U G U S T 8

Monumentality & the Hand-Built Vessel Instructor: Luke Armitstead 2-week || CER 652 001 3 credit hours || Lab Fee: $150

W E E K S 7 & 8 – J U LY 12 - 2 5

Materials & Mechanics of Woodfire Instructors: John Dix & Katherine Maloney 2-week || CER 647 001 3 credit hours || Lab Fee: $150 This course is centered around the wood kiln, from its mechanics to the material and conceptual considerations posed via its use. Students will have the opportunity to explore and produce a range of ceramic works, while learning about the relationships that ceramic forms can have to culture, history, personal expression, and social change. Students will be introduced to both historical and contemporary uses of wood-fired ceramics. Some of the reading materials in this course will be The Kiln Book by Frederick Olsen; Theory of Craft by Howard Risatti; and Building With Fire by Ray Meeker. Documentary film screenings include Agni Jata on Ray Meeker’s fired house project; Traces exploring theoretical issues regarding Western/Eastern approaches to the production of ceramics and There Is No Customarily on the Peters Valley Anagama. Presentations on firing wood kilns in the USA, China, Japan and India will be included. This class will focus on individual goals and projects. After the first week of making, the wood kiln will be

loaded and fired as a team. The wood kiln offers a close up experience to the mechanics of kiln firing, in particular, how fuel and oxygen affect the quality and efficiency of the flame; and in turn adds to the final aesthetics of the surface. Over the course of thirty hours, the clay, glaze and wood ash will begin to melt in the high heat and create beautiful surface effects. Work will be finished by grinding, sanding and polishing. John Dix has spent the last 30 of his 40 years with clay, primarily in Japan. This has led to works that show a strong Japanese influence but still retain elements of his early training in the West. After graduating from Albion College in Michigan, John embarked on an apprenticeship under master potter Peter Johnson. The skills he learned there enabled him to travel and work with potters in Greece and Israel before arriving in Japan in 1989. He worked in Bizen and Shigaraki before building a kiln and studio in the Tanba area of Japan. John fires his anagama kiln two or three times a year. He regularly exhibits in Japan and abroad. John is also a popular teacher who hosts workshops at his studio in Japan and travels abroad every year to teach. His life’s journey is both entertaining and inspiring. Katherine Maloney sculpts animal figures with white stoneware and often incorporates them with wheelthrown vessels to visually place the animals in gestures of honor and integrity. She fires in electric and wood kilns, accentuating preciousness and detail with glazes and spontaneity of ash and flame. Her practice in ceramics began at age eleven and continued with a BA degree from Guilford College where she studied under Charlie Tefft. During study abroad in Southwest China, Katherine apprenticed with Tibetan Nixi Potter, Sun Nuo QiLing, which greatly influenced her current body of work. She has

Participants will design and create monumental sculptural vessels using a variety of traditional and multi-disciplinary techniques including coil, slab, architectural, and abstract hand-building, electric kiln firing, glazing, and alternative finishing techniques. Careful consideration of modern and contemporary projects relating to nature, architecture, the monument, and sculpture will be investigated as the relationship of beauty and function will be explored. We will look at artists including Isamu Noguchi, Rubi Neri, Friedensreich Hundertwasser, and Francesca Dimattio. Readings will include Stone or Sound, Memory and Monuments in Contemporary Public Art by Gaia Salvatori. Throughout the course, individual meetings and conversations will be held to ensure students complete successful, unique and understood projects. Students should be expected to create 2-4 finished sculptures relating to their investigations of the monument. The class will culminate in a group critique where we will discuss our final ideas and finished pieces. Luke Armitstead is a sculptor working primarily in ceramics,

concrete, and metal. Creating work with both design and improvisation, his works contain a sense of urgency and intuitive form, often created in response to concepts and ideas revolving around the built environment, abstraction, politics, living systems, and the body. In 2011 Luke received a BFA from SAIC, where he developed a multidisciplinary approach to art making with an interest in architecture, public art, and design. In 2013, Luke continued to develop his skills and interests in ceramics while attending a two-year Post-Baccalaureate program at University of Wisconsin, Madison. Luke started a two-year long ceramics residency at Pottery Northwest in Seattle. While there, he started to teach ceramic sculpture classes revolving around design/architecture, faces, and technique. In Fall 2018, Luke started his MFA degree with the 3D4M sculpture program at the University of Washington. Luke has been shown in a number of galleries throughout Chicago, New York City, London, Seattle, and the Midwest. He is currently represented by Season Gallery in Seattle.

CER A MIC S (top) Luke Armitstead Material as Specimen 2019 concrete, ceramic, steel, epoxy, paint, oxides, chain 4.5’ x 9’ x 2.5’ (bottom left) John Dix 2019 (bottom right) Katherine Maloney Long Eared Hare 2019 14” x 7.5” x 5.25”

CER A MIC S W E E K S 11 & 12 – A U G U S T 9 - 2 2

Flora, Fauna, Figure, & Narrative Instructors: Salvador Jiménez-Flores & Casey Elizabeth Weldon 2-week || CER 651 001 3 credit hours || Lab Fee: $150 This class engages with the form and content of flora and fauna through figurative ceramics. Throughout history, artists have used plant and animal life as tools for narrative and as modes of expression to represent the conflicts and connections between living things. Notions of the wild and domestic merge and are reflected in processes like taxidermy, idealized floral prints, and in the process of firing raw clay into ceramic objects. From mythical narratives to hyper-realistic practices, representations of plant and animal life can create possibilities for new stories, meanings, and identities. Students will explore various hand-building methods, basic surface application, and assemblage to discuss their interest in culture, storytelling, and self-identity. Works by artists including Kiki Smith, Marcus Kenney, Firelei Baez, Alesandro Gallo, and others will act as points of departure for our work in this course. Some of the scholars we will study in this course include France de Waal and Homi K. Bhabha. Through demonstrations, slides, in-class activities, readings, and group discussions, this course will provide a productive and critical space for making. Class conversations will focus on the content and context of student work. Students should expect to produce 2-3 finished sculptures during the semester, to be presented in a culminating course critique. Salvador Jiménez-Flores is an interdisciplinary artist born and raised in Jalisco, México. He explores the politics of identity and the state of double consciousness. Jiménez-Flores addresses issues of colonization, migration, “the other,” and futurism by producing a mixture of socially conscious installation, public, and studio-based art. His work spans from drawing, ceramics, prints, and mixed media sculpture. JiménezFlores has presented his work at the National Museum of Mexican Art, Grand Rapids Art Museum, Urban Institute of Contemporary Art, Bemis Center for Contemporary Arts, and Museum of Art and Design amongst others. He served as Artist-in-Residence for the city of Boston, Harvard Ceramics Program, Office of the Arts at Harvard University, and Kohler Arts Industry. Jiménez-Flores is a recipient of Joan Mitchell Foundation Painters & Sculptors Grants and The New England Foundation for the Arts. He is an Assistant Professor in Ceramics at the School of the Art Institute of Chicago. Casey Elizabeth Weldon is an artist from Bessemer, Alabama. Her work

examines human and animal behavior while balancing the similarities and differences between wild and domestic life. Weldon compares human social constructs to other behavior found in nature to create non-linear narratives that titillate between beautiful and unsettling. Her work is made up of ceramic sculpture, manipulated found objects, drawings, and paintings made from various shades of soil. Weldon has exhibited her work at the Federal Galleries, Woman Made Gallery, Sullivan Galleries, amongst others. She is a recipient of the James Nelson Raymond Fellowship Award that she received upon graduating with a BFA from The School of the Art Institute of Chicago. Weldon received her MFA at Kendall College of Art and Design with a full-ride fellowship. She lives in Chicago where she teaches at Lillstreet Art Center, The Chicago Ceramic Center, and works as an elementary school art teacher.

(top left) Casey Elizabeth Weldon Yellow Rose Doe 65” x 28” x 22” (bottom right) Salvador Jiménez-Flores We are not Animals 2018 tricolor exotic calf hide, gold foil fringe, synthetic sinew, acetate, and glazed ceramics (top right) Victoria Ahmadizadeh altered self (who I am as a semi circle) 2019 blown, cast and coldworked glass, cast wax, vitreographic print 40” x 24” x 12” (bottom right) Megan Biddle Relics 1-9 2017 glass, coal 30” x 30” x 3”

GL A S S W E E K S 1 & 2 – M A Y 3 1- J U N E 13

Beginning Glass, Session 1 Instructor: Victoria Ahmadizadeh 2-week || GLASS 630 001 3 credit hours || Lab Fee: $300 This course offers hands-on glassblowing experience to the beginner. Participants learn a variety of techniques for manipulating molten “hot glass” into vessel or sculptural forms. Lectures, screenings, demonstrations, and critiques will augment studio instruction. Victoria Ahmadizadeh is a multi-disciplinary artist who combines poetry and

prose with images and objects to create layered experiences. She views glass as an inherently lyrical material, and utilizes it as a central element in her work to translate poetic metaphor. Ahmadizadeh holds an MFA in Craft/Material Studies from VCU and a BFA in Glass from Tyler School of Art and Architecture. She was recently an Emerging Artist in Residence at Pilchuck Glass School and a Fellow at the Creative Glass Center of America of WheatonArts, NJ. She has also been an Artist-in-Residence at MASS MoCA as well as the STARworks Glass Lab in NC. Her work has been shown at Glasmuseet Ebeltoft in Denmark, The National Glass Centre in England, DOX Centre for Contemporary Art in the Czech Republic and UrbanGlass in Brooklyn, among other venues. She is included in New Glass Review #33 and #38, published by The Corning Museum of Glass. Ahmadizadeh currently lives in Philadelphia, where she has taught at Tyler School of Art and Architecture and the University of the Arts.

W E E K S 3 & 4 – J U N E 14 - 2 7

Experiments in Glassblowing Instructor: Megan Biddle 2-week || GLASS 616 001 3 credit hours || Lab Fee: $300 This class is intended for multi-level glass students who wish to broaden their scope of this versatile medium. Students will be asked to refine their technical abilities in order to more clearly convey their artistic pursuits. The class will begin by covering basic glassblowing techniques. Through skill building exercises the class will learn to work as a team on large-scale projects. Students will be encouraged to learn but not take too seriously the traditional aspects of this process. There will be an emphasis on incorporating other materials both through the glassblowing process and in the finished product. Megan Biddle is an interdisciplinary artist whose work orbits between

sculpture, printmaking and drawing. Rooted in glass, she produces experimental and process-driven work with an emphasis on materials and their distinct characteristics. As an observer of nature, she responds to the elusive and subtle, reflecting on variations of time, cycles of growth, and erosion. She has attended residencies at The Macdowell Colony, The Jentel Foundation, The Creative Glass Center of America, Sculpture Space, The Virginia Center for Creative Arts, Pilchuck Glass School, Northlands Creative Glass in Scotland, Haystack Mountain School of Crafts, and Mass MOCA. She has exhibited nationally and internationally and her work was acquired into the American Embassy’s permanent collection in Riga, Latvia. She has taught at Haystack Mountain School of Crafts, Pilchuck Glass School, Urban Glass, Ox-Bow School of Art, and currently teaches in the Glass Program at the Tyler School of Art. She is a Co-Director and member of Tiger Strikes Asteroid Gallery in Philadelphia. where she lives and works.

GL A S S (clockwise from top left) Tim Belliveau Lattice series blown glass and 3D printed bronze Michael Hernandez Peekypucker 2019 blown and hot sculpted glass 5” x 8” x 10”

Ekin Aytac & Joshua Davids Cityscape 5 (Life in the Sunshine) blown, cut, engraved glass 14” x 14” x 4” Amy Lemaire Drawing 34 2019 borosilicate 12” x 11” x 15”

GL A S S W E E K S 5 & 6 – J U N E 2 8 - J U LY 11

Beginning Glass, Session 2 Instructor: Tim Belliveau 2-week || GLASS 630 002 3 credit hours || Lab Fee: $300 This course offers hands-on glassblowing experience to the beginner. Participants learn a variety of techniques for manipulating molten “hot glass” into vessel or sculptural forms. Lectures, videos, demonstrations, and critiques will augment studio instruction.

Amy Lemaire is a multi-disciplinary artist and educator based in Brooklyn. An explorer at heart, her work reveals an interest in currency systems, material language poetics, and the production of histories. Lemaire studied at the School of the Art Institute of Chicago (BFA) and Pratt Institute (MFA). She has taught at UrbanGlass, Pilchuck Glass School, Penland School of Crafts, and Salem Community College. As a visiting artist and instructor, Lemaire has worked with students at Pratt Institute, NYU, Tyler School of Art, Alfred University, and University of Montana. Recent residencies include Tyler School of Art, UrbanGlass, Museum of Art and Design, WheatonArts, and the Brooklyn Navy Yard. Her essay Flame Grows Up was published in Glass Quarterly magazine in 2018. She is an artistic member of the American Scientific Glassblowers Association and a member of the Glass Art Society. Lemaire has exhibited at galleries across the US , including Traver Gallery in Seattle and is currently represented by Heller Gallery in NYC.

Tim Belliveau is a Canadian artist and teacher focused on

craft and digital technologies using glass, ceramic and 3D printing. His work combines handmade objects with digital ones questioning how we occupy physical and digital space. He earned an MFA in Fibers and Material Practices from Concordia University, Montréal. He is a co-founder of Bee Kingdom glass studio, assisted in launching Berlin Glas e.V. and has worked for Ox-Bow School of Art in Michigan and UrbanGlass in Brooklyn. He has been a resident at the Europees Keramisch Werkcentrum in the Netherlands, California State University Fullerton, and Casa Lu in Mexico City. His work has been exhibited at the Cheongju Craft Biennale, The Pergamon Museum, and at the Pictoplasma festival in Monterrey, Mexico.

W E E K S 7 & 8 – J U LY 12 - 2 5

Flameworking: Finding Form in Translation Instructor: Amy Lemaire 2-week || GLASS 649 001 3 credit hours || Lab Fee: $300 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.

Professor and heads the glass program at Palomar College. He is on the Board of Directors of the Glass Art Society and he serves as Editor of GASnews.

W E E K 11 – A U G U S T 9 -15

Multi-Level Glass Instructors: Ekin Aytac & Joshua Davids 1-week || GLASS 641 001 1 credit hour || Lab Fee: $150 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.

W E E K S 9 & 10 – J U LY 2 6 - A U G U S T 8

Go with the Flow Instructor: Michael Hernandez 2-week || GLASS 650 001 3 credit hours || Lab Fee: $300 Working in molten glass requires an acute ability to be sensitive to the forces of heat, gravity, and centrifugal force. We will train the hands to adapt and react to these forces as a means to control the material, but more importantly, to understand its physical and formal possibilities. The objects and residue of glassblowing and sculpting processes will become elemental to further investigate the ability of glass to incorporate, adulterate, obfuscate spaces in installation and sculpture. Taking cues from the early experimental practices of artists such as Richard Serra and Lynda Benglis, students will gain a deeper knowledge of glass by examining its properties to be both manipulated and understood as a dynamic, fluid medium. Exercises in writing/word play and drawing will challenge students to think about material and metaphorical possibilities to glass and the hot processes used to manipulate it. Assigned projects will address the use of glass components in multiple part sculpture and installation achieved through assemblage, cold construction/gluing, and mixed media. Michael Hernandez engages glass as a versatile sculptural medium with unique abilities to capture time and movement. His explores formal fanaticism through objects that excite a sense of visual play and fetishistic tactility. Inspired by West Coast Funk and alternative folk movements, Hernandez embraces unlikely compositions in color and form where the space between seduction and repulsion is stretched, perverted, and redefined. Visual experiences that elicit sensuality, folly, and enigma are ever-present in Hernandez’s objects and installations. Hernandez earned a BFA from Emporia State University and an MFA from New York State College of Ceramics at Alfred University. He has participated residencies and taught workshops at Pilchuck Glass School, UrbanGlass, StarWorks, and numerous private and public institutions around the US. Currently, Hernandez is Associate

Ekin Aytac is focused on exploring personal identity and how the individual is shaped through the lens of travel and experience. Experimentation with various techniques in glass making gives voice to the impact continual growth and movement has on her art. Born in Edremit, Turkey in 1987, Ekin graduated from the sculpture program of Marmara University-Istanbul in 2010. After beginning work at The Glass Furnace in Istanbul, Ekin began watching some of the most famous and skilled glass makers from around the world and was mesmerized by the material. Ekin then traveled to the Czech Republic to study at the Novy Bor Glass School to learn different techniques of glass making. In 2014 she moved to the United States to begin an MFA in three dimensional arts and glass. Ekin currently works as the programming manager and resident artist at Glass Art Kalamazoo and is the co-founder of Design by Degree Glass. Joshua Davids is a well-rounded artist with a diverse

background. Extensive experience in glass, design, management, marketing, studio maintenance, and equipment engineering has been key to the success of various projects. After studying at Regis University and West Texas A&M University for degrees in print and marketing as well as glass and sculpture, Josh has gone on to work for several prominent glass artists, designed and built gallery and studio spaces, honed project management skills in the corporate world, and is nurturing a budding career in the international glass market. As an artist and educator, Josh’s goals are to promote glass art as a medium for profound expression, develop strong relationships essential to a thriving artistic community, and to share his knowledge and experience with future generations of aspiring artists. Josh is the studio manager and fellow resident artist at Glass Art Kalamazoo as well as co-founder of Design by Degree Glass.

FEELING SHAPEY: MOVEMENT & ABSTRACTION IN CONTEMPORARY PAINTING

Instructors: Alex Bradley Cohen & Alberto Aguilar PAINTING 660 001 EXPANDED CARTOONING

Instructors: Jessica Campbell & Walter Scott PAINTING 662 001

EXPERIMENTAL WATERCOLOR

PLEIN AIR PLUS

Instructors: Hannah Barnes & Susan Klein PAINTING 657 001

Instructor: Josh Dihle PAINTING 659 001 COLOR & LANDSCAPE

FAST PAINTING

Instructors: Arnold J. Kemp & Christine Tien Wang PAINTING 663 001 EXPLODING PAINT: FIELDWORK

Instructor: Claire Ashley PAINTING 650 001

Instructor: Jo Hormuth PAINTING 661 001

PA IN T IN G & DR AW IN G

W E E K S 1 & 2 – M A Y 3 1- J U N E 13

Feeling Shapey: Movement & Abstraction in Contemporary Painting Instructors: Alex Bradley Cohen & Alberto Aguilar 2-week || PAINTING 660 001 3 credit hours || Lab Fee: $50 This class explores methods for visualizing memory, sensory experience, and personal narratives through movement and abstraction. Painting practice is approached through movement research, improvisation, and playful collaboration. Students will realize tangible paintings and objects in addition to daily experimental movement workshops, collective actions, and performative gestures designed to translate experience into image. Slide lectures and readings will explore the writing and work of artists including Allan Kaprow, Mutabaruka, Yoko Ono, Adrian Piper, Lubiana Humid, Jack Whitten, Saya Woolfalk, Gabriel Orozco, Francis Alÿs, Eva Hesse, William Pope. L, and Abraham Cruzvillegas. During this course, students will complete six resolved works and engage in ongoing studio critique and feedback. The class will culminate in a collaborative event to showcase students’ work. Alex Bradley Cohen is a Chicago-based painter who utilizes portraiture to visualize the push and pull of identity and interpersonal relationships. Working with acrylic paint on canvas, the artist depicts friends, family members, and himself in scenes that foreground everyday moments. Materializing

from personal photographs and memories rather then direct observation, each painting serves as an exercise in world building, while emphasizing the interiority of his subjects. He has held solo and two-person exhibitions at The Luggage Store, San Francisco; Mana Contemporary, Chicago; and Carrie Secrist Gallery, Chicago, among others. Cohen has shown in group exhibitions at The Studio Museum of Harlem, New York; The Art Institute of Chicago, Chicago; Elmhurst Art Museum, Elmhurst; Socrates Sculpture Park, Long Island City; and The Craft and Folk Art Museum, Los Angeles. He is an alumnus of the Skowhegan School of Painting & Sculpture and was an artist-inresidence at the Ox-Bow School of Art. Alberto Aguilar is a chicago based artist who uses whatever

(left) Alex Bradley Cohen Shai-lee Horodi 2018 acrylic on canvas 30” x 30”

(above) Alberto Aguilar Drag feet through snow, define boundaries, work my way in. End at center (Elkhart, KS) 2017 performance

materials are at hand as a way to connect with the viewer. he recently had a survey exhibition at gallery 400 in chicago titled ‘moves on human scale. he has exhibited at the museum of contemporary art detroit; palo alto art center; national museum of mexican art, chicago; museum of contemporary art chicago; minneapolis institute of art; crystal bridges museum of american art, bentonville, ar; and the art institute of chicago. his work is in the collections of the national museum of mexican art; crystal bridges museum of american art; soho house chicago; and the office of the mayor of chicago, lori lightfoot. aguilar is the recipient of the 3arts award. he purposely got rid of all caps on this bio in order to create a minor disruption.

PA IN T IN G & DR AW IN G W E E K S 3 & 4 – J U N E 14 - 2 7

Expanded Cartooning Instructors: Jessica Campbell & Walter Scott 2-week || PAINTING 662 001 3 credit hours || Lab Fee: $50 Comics, simultaneously ubiquitous and often overlooked, were once massmedia and now transitioning to the realm of fine art. Its power lies in its ubiquity and newness. As a medium not much more than a century old, the forms and limits of cartooning are still being felt out. In this course, students explore comics through a variety of approaches designed to strengthen the relationship of writing to drawing, painting, and experimental publishing. Areas to be investigated include strips, one page and short stories, supplemented by forays into writing and performance. This class will consider the work of Lynda Barry, Chris Ware, Nick Drnaso, Tara Booth, Jillian Tamaki, and George Herriman. We will read and discuss essays by Seth, Paul Karasik and Mark Newgarde, and Umberto Eco. While exercises will focus predominantly on comics, and writing, this class will emphasize hybrid and experimental forms that defy easy classification and is open to all disciplines. Students will create comic works using 2-D media and will also participate in exercises designed to engage performance and other forms of visual storytelling. The class will conclude with a critique of a new comic, drawing, painting, or performance. Jessica Campbell ’s satirical drawings, comics, and textiles take aim at everyday misogynistic experiences, both historical and contemporary. Drawing from a wide range of influences including science fiction, art-world politics, and her evangelical upbringing, she infuses her work with humor and vulnerability. Engrained within these works is a humorous tone, due to cartoony depictions and unorthodox material, though underlying this humour is often a darker subject matter that directly or indirectly references class oppression, sexual violence, gender discrimination, trauma, and other personal narratives. She is the author of the graphic novels XTC69 and Hot or Not: 20th Century Male Artists, as well as a comics contributor to Hyperallergic. She has had multiple exhibitions across the US and Canada, including solo exhibitions at the Museum of Contemporary Art (Chicago); Field Projects (New York); Western Exhibitions (Chicago); and group exhibitions at ICA (Baltimore); Hamilton Art Gallery (Hamilton, ON); Richard Heller (Los Angeles); and moniquemeloche (Chicago). Her work has been included in many publications, including New American Paintings, Art in America, Juxtapoz, NPR’s Studio 360, and The Globe and Mail. Walter Scott is an interdisciplinary artist working across comics,

drawing, video, performance and sculpture. His comic series, Wendy, chronicles the continuing misadventures of a young artist in a satirical version of the contemporary art world. Anxious but empathetic, Wendy navigates the world of art openings, lizard-tongued curators, and fellow struggling artists. Wendy has been featured in Canadian Art, Art in America, and published online on the New Yorker. It was selected for the 2016 edition of Best American Comics, published by Houghton Mifflin Harcourt. Walter holds an MFA from the University of Guelph, in Guelph, Ontario. Recent exhibitions include Who Isn’t She? A Wendy Retrospective, Galerie UQO (Gatineau), Slipping on the Missing X, Macaulay Fine Art (Vancouver), and The Pathos of Mandy, ISCP (Brooklyn). Walter’s new book, Wendy, Master of Art, is loosely based on his experience in grad school.

(top left) Jessica Campbell Drawing on the Bed 2019 acrylic rug on panel 48” x 36”

(bottom left) Walter Scott Excerpt from Wendy 2014 2.5” x 2.5”

(top right) Hannah Barnes Blue Blaze 2018 watercolor and oil on linen 40” x 32”

(bottom right) Susan Klein After “Forest” 2019 glazed and oil painted ceramic stoneware 12” x 5” x 16”

PA IN T IN G & DR AW IN G W E E K 6 – J U LY 5 -11

Experimental Watercolor Instructors: Hannah Barnes & Susan Klein 1-week || PAINTING 657 001 || 1 credit hour This class approaches watercolor from an experimental angle, using chance strategies to create new works. Working from traditional sources such as landscape, students will harness the unpredictable qualities of watercolor to create improvisational, process-based images. Students will have the opportunity to work in a range of styles and motifs, including both representational and abstract images. Located squarely between painting and drawing, watercolor possesses unique material characteristics that lend it to explorations of chance, accident, immediacy, and impermanence. As pigment suspended in a transparent, watery vehicle, watercolor engages the physical forces of gravity and fluidity like no other material. The class will create space for students to explore watercolor’s unique capacities for improvisation. A source of study will be John Cage’s chance-based watercolors created at the Mountain Lake Workshop in Virginia between 1983 and 1990. We will also explore techniques developed by Dada, Surrealist, and Fluxus artists to generate unplanned imagery, music, and poetry, and consider how they can be applied to the painting process. A series of daily exercises will introduce students to tools, methods, and strategies. Additionally, students will select a theme to explore independently throughout the class. Hannah Barnes is a painter who works with abstract forms and tropes to investigate the nature of meaning within abstraction. Her work in painting, drawing, and installation is permeated by an interest in pattern-based structures, fragmentation, and impermanence. Investigations into ritual-based drawing traditions inform her approach to process and materials. Born and raised on the New England coast, Barnes received an MFA in Visual Art from Rutgers University and a BFA from Maine College of Art. Her projects have been exhibited in such places as the Columbus Museum of Art and Design in Columbus, Indiana; the Dhoominal Gallery in Delhi; the Academy of Fine Art and Design in Wroclaw, Poland; and Trestle Gallery in Brooklyn. Barnes was recently a resident in the Studio Program at MASS MoCA in North Adams, and the recipient of a Hedda Sterne Fellowship at the Vermont Studio Center. She received a 2017-2018 Fulbright-Nehru Academic Excellence Fellowship for creative research in India. Barnes has taught painting and drawing since 2008 and is currently Assistant Professor of Art at the University of Southern Maine. Susan Klein is an artist who works fluidly between painting and ceramics,

exploring abstraction, color, response, and intimacy. She has exhibited her work both nationally and internationally. Her work was recently exhibited in a two-person show at Ortega y Gasset Projects in Brooklyn. Other exhibition venues include The Halsey Institute of Contemporary Art and The Southern, Redux Contemporary Art (Charleston, SC). Curatorial projects include the 2018 exhibition “Nighttime for Strangers” at NARS Foundation (Brooklyn) and “Maintenance of Way” at Redux Contemporary Art Center (curated for Tiger Strikes Asteroid, Greenville). Recent awards include a Wassaic Project Residency and residency at the International Studio and Curatorial Program. Other awards include a full fellowship to the Vermont Studio Center, an Ox-Bow Artist-in-Residence Summer Fellowship, and an Otis College of Art and Design Summer Residency. Klein received her MFA in 2004 from University of Oregon, a BFA in 2001 from University of New Hampshire, and studied art at NYU from 1997-99. Currently, she teaches painting at the College of Charleston.

PA IN T IN G & DR AW IN G W E E K S 7 & 8 – J U LY 12 - 2 5

Fast Painting Instructors: Arnold J. Kemp & Christine Tien Wang 2-week || PAINTING 663 001 3 credit hours || Lab Fee: $50 Fast Painting will encourage participants to put aside preciousness in order to explore the dynamism of disposability, quantity, ephemerality, the artist joke, and the performance of the painterly pose. Through rapid assignments, thoughtful discussion of our daily work, studentled presentations, and slide lectures, we will explore the signifiers of working fast and how this operates socially and politically within current trends and pressures. This class is intended for those who have a developed painting voice and who are prepared to focus on an independent and committed practice. Arnold Joseph Kemp has been working as an artist in San

Francisco, New York, Portland, Richmond, and Chicago since 1991. He has also worked internationally in Stockholm, Paris, Vienna, Berlin and Nassau, Bahamas. He is an artist, curator and writer. His works are in the collections of the Metropolitan Museum of Art, The Studio Museum in Harlem, The Berkeley Art Museum and Pacific Film Archive, The Tacoma Art Museum, The Schneider Museum of Art and the Fine Arts Collection at the University of California, Davis. He is a 2012 Guggenheim Fellow and has also received awards and fellowships from the Joan Mitchell Foundation, the Pollock-Krasner Foundation, Art Matters Inc., Printed Matter, Inc., and Portland Institute for Contemporary Art. He holds an MFA from Stanford University. He is Dean of Graduate Studies at The School of the Art Institute of Chicago. Christine Tien Wang received her BFA from The Cooper Union and her MFA in painting from UCLA in 2013. Wang completed residencies at the Jamaica Center for Arts and Learning, VCUQatar, Chashama North, and Skowhegan. Wang’s solo exhibition Crypto Rich is currently on view at Galerie Nagel Draxler Kabinett space in Berlin. Selected group exhibition venues include Rachel Uffner, Magenta Plains, The Prince Street Gallery. Wang is represented by Night Gallery in Los Angeles and Galerie Nagel Draxler in Cologne and Berlin. Wang is currently Assistant Professor of Painting and Drawing at California College of Art and lives and works in San Francisco.

W E E K S 9 & 10 – J U LY 2 6 - A U G U S T 8

Exploding Paint: Fieldwork Instructor: Claire Ashley 2-week || PAINTING 650 001 3 credit hours || Lab Fee: $50 Using an irreverent love of painting and an absurdly oedipal desire to destroy it, this class looks at ways to create fantastical, hybridized, bastardized offspring “paintings” in the expanded

field (and in a play on words, the expanded field of Ox-Bow’s campus). We will connect painterly gestures with non-traditional surfaces such as the literal field, lagoon, and landscape of Ox-Bow, modular, flat-pack, and portable sculptural form, found objects, architectural space, virtual space, video projection, performative action, and the body. We will work together to examine possible conceptual and material directions and expand on site-specific and time-based processes in your work. There are two critiques planned during the week-long session. Class presentations and discussions will take place in parallel with making to provide historical context, connections to the traditions of painting, and practical solutions. Color tests, material sourcing field trips, video projection/performance tests, and site-specific installations will be components of this class. A willingness to experiment, invent, imagine, and fail is required.

Josh Dihle’s recent work mixes painting, wood carving, and

Claire Ashley received her MFA from the School of the Art

This class will explore the interplay of color and light in Ox-Bow’s landscape. Since its inception as a school of art, Ox-Bow has been sought out by plein air painters for its exemplary light conditions and beautiful landscape. The results of artists navigating the unique light effects at Ox-Bow are often wild, playful and surprising, resulting in peculiar color harmonies and formal inventions. This class will lead students in color studies of the unique light conditions which shift throughout the day and will use photography as one tool for isolating and observing color relationships through modern technology. Students will compare in-situ methods of painting and will utilize digital mediation alongside the color theories of Joseph Albers and others to make vivid and experimental paintings. Students are encouraged to work in water based media but may also work with oils. Readings and lectures will complement studio time and students will create a new body of landscape-inspired paintings for final critique.

Institute of Chicago, and her BFA from Gray’s School of Art in Aberdeen, Scotland. Originally from Edinburgh, Scotland, Ashley is now Chicago-based and teaches at the School of the Art Institute of Chicago in the Department of Contemporary Practices and the Department of Painting and Drawing. She has an old husband, three kids, a dog and four cats. Ashley’s work investigates inflatables as painting, sculpture, installation, and performance costume. These works have been exhibited nationally and internationally in galleries, museums, and site-specific installations, performances and collaborations. Her work has been featured on blogs such as VICE, Hyperallergic, and ArtForum, and in magazines such as Sculpture Magazine, Art Papers, Boston Globe, Chicago Tribune, Time Out Chicago, Yorkshire Post, and Condé Nast Traveller.

W E E K 11 – A U G U S T 9 -15

Plein Air Plus Instructor: Josh Dihle 1-week || PAINTING 659 001 || 1 credit hour This course leapfrogs Impressionist landscape painting by adding techniques and influences garnered from folk artists of the American south, Medieval reliquary art, and contemporary approaches to painting surface. Students will develop outdoor observational painting skills that can be brought back to the studio and worked over with an expanded vocabulary of mark making and materiality. Taken together, the strategies introduced in this course will bind close looking and immersion in the natural environment with the inward gaze and reactivity of the studio. We will look closely at the work of Thornton Dial, Jay DeFeo, Gina Beavers, Chris Martin, Rashid Johnson, Charles Burchfield, and Lois Dodd. We will also broadly survey Northern European Medieval reliquary techniques and will make use of recent advances in painting materials. Students will produce five paintings that start in the outdoors and are completed in studio. Students will also maintain a dedicated sketchbook/scrapbook.

furniture construction to locate an interchange between touch, vision, ecology, and unprocessed psychic energy. Educated at Middlebury College and the School of the Art Institute of Chicago, he is the Co-Founder of Barely Fair and Co-Director of Julius Caesar Gallery, both in Chicago. He has exhibited widely including at Andrew Rafacz Gallery, 4th Ward Project Space, Carrie Secrist, Essex Flowers, Flyweight, Shane Campbell Gallery, Valerie Carberry Gallery, Adult Contemporary, Elmhurst Art Museum, and the University of Maine Museum of Art. He has attended residencies at Krems, Catwalk Institute, Ox-Bow School of Art, and the Vermont Studio Center.

W E E K 12 – A U G U S T 16 - 2 2

Color & Landscape Instructor: Jo Hormuth 1-week || PAINTING 661 001 || 1 credit hour

Jo Hormuth is a multidisciplinary artist whose ideas spring from a fascination with perceptual, cognitive, and linguistic contradictions, backed by research into the architecture, history, and material conditions of the situation in which a work will be developed and shown. Her latest public project is Better Grammar–Garden, for the Chicago Botanic Garden. The eight large color compositions form a portrait of the garden—itself an abstraction—from monochrome macro photographs of plants taken over the course of a year. As founder of Chicago Architectural Arts, she focuses on the restoration of significant interiors; most recently, she researched and recreated interior finishes for the Darwin Martin House, Frank Lloyd Wright’s largest Prairie-style complex, and worked on the restoration of Charles Rennie Mackintosh’s Willow Tea Rooms in Glasgow. Hormuth is represented by Kusseneers Gallery, Brussels.

PA IN T IN G & DR AW IN G

(clockwise from top left) Claire Ashley Hunnybunny (In a Pickle) 2016-2019 spray paint on PVC coated canvas tarpaulin, ropes, and fan approx: 12’x10’x8’

Arnold J. Kemp Untitled 2019 archival pigment print 61” x 41”

Jo Hormuth Better GrammarGardens (detail) 2015-2018 Christine Tien Wang Johnny Depp 2018 acrylic on canvas 36” x 48”

Josh Dihle Them 2019 oil on linen over panel 24” x 18”

DEADPAN: STEEL REALISM

BLACKSMITHING: SCULPTURAL FORMS

JOINERY: SCULPTURAL COLLABORATIONS

MULTI-LEVEL FOUNDRY

Instructor: Chris Bradley SCULP 671 001

Instructor: Jessee Rose Crane SCULP 623 001

Instructor: Ato Ribeiro SCULP 670 001

Instructors: Liz Ensz & Lloyd Mandelbaum SCULP 660 001

SYNTHETIC SKINS

HARD LINES: DRAWING WITH STEEL

Instructor: Amy Brener SCULP 668 001

Instructors: Devin Balara & Abigail Lucien SCULP 663 001

VIRTUAL ARTIFACTS: MOLDMAKING, HYDROPRINTING, SCREENSPACE OBJECTS

Instructor: Christopher Meerdo SCULP 662 001

W E E K 1 – M A Y 3 1- J U N E 6

I met my favorite teacher at Ox-Bow. I took Mike Rossi’s blacksmithing class in my senior year at SAIC. His technical instruction was exceptional because it was masterful yet easily understood. You could see how much care he put into everything he made from a simple demo to a sophisticated form, but at the same time, Mike never took himself too seriously. It’s the balance of these principles that I will use to mentor others for the rest of my life. -Jessee Rose Crane

Deadpan: Steel Realism Instructor: Chris Bradley 1-week || SCULP 671 001 1 credit hour || Lab Fee: $50 When representation in steel is achieved the result can often be both playful and hollow. In this processbased intensive, students will consider how much visual and physical information is necessary in the pursuit of realism and experiment with the formal limits of steel. Inspiration can be drawn from a common object, local or organic materials, and fictive designs to explore the whimsy of trompe l’oeil. This class is open to participants of all shop experience levels. Demonstrations on sheet cutting, creating negative space through rod work, scale exercises, and surface applications both traditional and unconventional will inform the students self-directed work. Students will be expected to complete at least one sculpture and are encouraged to consider its in-situ presentation at Ox-Bow during a final group critique. Chris Bradley, is an artist based in Chicago. He has recently presented his work in solo exhibitions at the 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 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 addition to his studio practice, he is an instructor of sculptural practice at both SAIC and the University of Chicago.

SCUL P T URE & IO M ENTAT ILTSL E SECT

Chris Bradley Ceiling Fan 2015 steel, wood, paint, hardware 8” x 8” x 8”

SCUL P T URE & M E TA L S

SCUL P T URE & M E TA L S W E E K 2 – J U N E 7-13

Synthetic Skins Instructor: Amy Brener 1-week || SCULP 668 001 1 credit hour || Lab Fee: $50 This course aims to heighten awareness of the textures and surfaces that surround us in daily life, and fuse this new consciousness into art making. Exercises and discussions in mold-making and casting will be geared toward understanding tactility as it exists in our present moment in both the physical and virtual realms. Special focus will be given to replicating natural forms through synthetic or digital processes. As a result of extensive in-class experimentation utilizing silicone, resin, hydrocal, clay, and fabric as well as digital demonstrations in Blender, students will build inventories of sample textures to use as inspiration for their final projects and future work. Students will keep texture journals throughout the course, in which they will describe different textural experiences they have during each day. The final project can consist of one sculpture or a series, and its display must be carefully considered. Amy Brener was born in Victoria, BC, Canada and is currently based in Queens, New York. Over the past ten years she has developed her own methods of mold-making and casting with a wide variety of materials such as resin and foam, silicone, Hydrocal and Aqua-Resin. Within her sculptures, disparate matter is compressed and congealed to produce forms that are familiar yet strange, resembling otherworldly monuments, reliquaries, fountains, cakes and garments. Since graduating with an MFA from Hunter College in 2010, her work has exhibited at galleries and institutions in the US, Canada, Europe, and China. Highlights include MoMA PS1, Socrates Sculpture Park and Jack Barrett in New York, the Nasher Sculpture Center in Dallas, Galerie Pact in Paris, Reyes Projects in Detroit, Wentrup Gallery in Berlin, MacLaren Art Centre in Ontario, and Riverside Art Museum in Beijing. Her work has been featured in publications such as CURA, The New York Times, Hyperallergic, V Magazine, Artnet News, and The Brooklyn Rail. Her awards include the Shifting Foundation Project Grant, NYFA Fellowship in Crafts/Scultpture and Canada Council Visual Arts Project Grant.

W E E K S 3 & 4 – J U N E 14 - 2 7

Blacksmithing: Sculptural Forms Instructor: Jessee Rose Crane 2-week || SCULP 623 001 3 credit hours || Lab Fee: $150 This intensive will start with an introduction to the fundamentals of forging and move rapidly toward advanced projects. We will focus on the hot manipulation of materials with the forge, anvil, and hammer as our primary tools. A referential history

of forged ironwork (architectural, functional, and sculptural) will serve as a source of inspiration. Students will be encouraged to produce a sitespecific piece based on line and its relationship to chosen surroundings.

Projects. Her work has been recently exhibited at The Comfort Station in Chicago, Ortega Y Gasset Projects in NYC, Grounds For Sculpture in NJ, Spring Break Art Fair in NYC, and DEMO Projects in Springfield, IL. Balara was a recipient of the 2014 Outstanding Student Achievement in Contemporary Sculpture Award from Sculpture Magazine.

Jessee Rose Crane is a multidisciplinary sculptor, arts

administrator, and musician based in New Douglas, Illinois. Her approach to metalwork joins technical skills with a creative process that encourages play. Her practice combines steel with a variety of media to craft both functional objects and conceptual experimentations. She received her MFA from Southern Illinois University Edwardsville and her BFA from the School of the Art Institute of Chicago. She is the director of Rose Raft, an artist and musician’s residency founded in 2015. Her most recent series of work couples steel armatures and glue to form translucent curtains that filter light through spectacularly painted membranes. As an internationally touring musician, she performs regularly with her bands, The Funs and Swear Beam.

W E E K 5 – J U N E 2 8 - J U LY 4

Hard Lines: Drawing with Steel

Abigail Lucien’s interdisciplinary practice looks at ways

cultural identities and inherited colonial structures transmit to the body and psyche. Part familiar, part foreign, Lucien’s works employ an architectural vernacular – challenging systems of assimilation through material and asking what it means for the body to empathize with a place. The works foreground their Haitian-American heritage by addressing notions of visibility, authenticity, and hybridity they relate to a multicultural queer identity. Raised in Florida and Haiti, Lucien holds a BFA from Florida State University and an MFA in Printmaking from the University of Tennessee, Knoxville. Their work has exhibited at museums and institutions such as MoMA PS1 in Long Island City, Atlanta Contemporary in Atlanta, and The Fabric Workshop and Museum in Philadelphia. Lucien is currently based in Richmond where they teach as a full-time faculty member in the Sculpture + Extended Media Department at Virginia Commonwealth University.

Instructors: Devin Balara & Abigal Lucien 1-week || SCULP 663 001 1 credit hour || Lab Fee: $50 This hybrid sculpture and drawing course will focus on steel fabrication and the translation of line on paper to line in space. Students will learn to use steel as a drawing material with demonstrations in hot and cold bending, modular construction, welding, and finishing strategies. Technical demos and work time will accompany discussions about daily sketchbook practices and the ways in which literal weight can be given to simple doodles or cartoon graphics. This course is suitable for all levels of shop experience; students will quickly gain confidence with equipment and be encouraged to play and improvise independently with the material at as large a scale as they choose. Students are required to complete three assignments over the course of the week, one which will reinforce basic knowledge of linear steel fabrication and safety, and two further assignments, utilizing linear steel drawings at the scale of the student’s choosing. Ultimately, students may deploy work into a particular site or landscape and let their sketches stretch their legs. Devin Balara’s recent work utilizes steel as a drawing material to illustrate cartoon scenes inspired by bad omens, supernatural moments, desert island logic, and the outdoors as both unruly and picturesque. Originally hailing from Tampa, Florida, she holds a BFA from the University of North Florida and An MFA in sculpture from Indiana University in Bloomington. Devin is currently based in New Orleans, Louisiana and spends summers managing the sculpture studio at Ox-Bow School of Art and Artist Residency in Saugatuck, MI. She has been an artist in residence at Monson Arts, Elsewhere Museum, Vermont Studio Center, and The Wassaic

(clockwise from top left) Amy Brener Omni-Kit (Birthday) 2019 urethane foam and resin, platinum silicone, hydrocal, pigment, chrysanthemum flowers, sand, miscellaneous objects 69” x 24” x 16” Devin Balara One Tiger 2019 steel, enamel 50” x 30” x 1/2”

Abigal Lucien Swallowing our own spit to salivate once more 2019 enamel, acrylic, soap, cocoa butter, coconut oil, satin, rebar 80” x 41.5” x 33” Jessee Rose Crane Kink (detail) steel, plaster 6” x 3” x 5’

SCUL P T URE & M E TA L S W E E K 6 – J U LY 5 -11

Joinery: Sculptural Collaborations Instructor: Ato Ribeiro 1-week || SCULP 670 001 1 credit hour || Lab Fee: $50 Quilting plays a central role in many cultures in shaping community through ritual, collective making, and storytelling. Students in this one week class will explore questions of cultural hybridity through experimental processes that cross found material with traditional crafting methods including metal working, woodworking and a variety of stitching and applique techniques. Taking traditional and contemporary approaches to gathering and communal labor as points of departure, The Built Quilt merges group explorations of quiltmaking and hybrid craft practices with critical conversations about culture, place, and history. Communal making will provide a basis for class discussion and material research and complement self-directed projects in a supportive and collaborative atmosphere. Seminar discussions on critical theories in cultural studies will engage the works of Fred Moten, Stephano Harney, Sarah Ahmed, West African folklore and artists including Ibrahim Mahama, Harriet Powers and Sadie Barnette, giving context to the intersections of contemporary theory and practice. Students will participate in material demonstrations, performance workshops and seminar discussions and contribute to a collaborative class quilt. Ato Ribeiro (b. 1989) is a multidisciplinary artist working in a variety of media including sculptural instillation, drawing, and printmaking. He was the 2017 Mercedes-Benz Financial Services Emerging Artist Award recipient, Artist in Resident at Künstlerhaus Bethanien in Berlin, Germany, and received Fellowships at Vermont Studio Center and Skowhegan School of Painting & Sculpture. His work has been exhibited at the Lisa Sette Gallery, Phoenix, AZ; Front/Back Accra, Ghana; Nubuke Foundation Accra, Ghana; Cranbrook Art Museum, Bloomfield Hills, MI; the N’Namdi Center for Contemporary Art, Detroit, MI; the Rozsa Center, Houghton, MI; Anastasia Tinari Projects, Chicago, IL; among others. His work is in the permanent collections of the Mercedes-Benz USA Headquarters, Detroit Institute of Art, Cranbrook Art Museum and some private collections. Ribeiro was born in Philadelphia, PA. and spent the formative years of his life in Accra, Ghana. He earned his BA from Morehouse College in Atlanta, Georgia, and his MFA in Print Media from Cranbrook Academy of Art in Bloomfield Hills, Michigan.

W E E K S 7 & 8 – J U LY 12 - 2 5

Virtual Artifacts: Moldmaking, Hydroprinting, Screenspace Objects Instructor: Christopher Meerdo 2-week course || SCULP 662 001 3 credit hours || Lab Fee: $200 This two week intensive course will introduce participants to the moldmaking process while using the screenspace as source material. This course will consider how non-material modes can manifest into tangible objecthood. With a focus on both form and surface, the second half of the class will introduce the hydroprinting technique. Typically used in industrial applications,

SCUL P T URE & M E TA L S water transfer printing allows students to reimagine their sculptures rich with surface images. Course readings will include essays that consider historic perspectives on computational visual culture as well as contemporary positions. Scholars and artists include: Rosalind Krauss, Sonia Sheridan, Hiwa K, Prosthetic Knowledge, and Timur Si-Qin. Course assignments will move from screen objects to physical objects, culminating in hydroprinted forms that combine both two and three-dimensional compositional spaces. Christopher Meerdo’s research is primarily invested in exploring hidden and

inaccessible archives. Through expanded-photographic methodologies of data processing, image-synthesis, and computational sculpture, his work considers the ways in which technological and visual systems maintain or subvert structures of power. Meerdo received his MFA in Photography from the University of Illinois at Chicago, taught at The School of the Art Institute of Chicago from 2012-2019, and was recently appointed Assistant Professor of Photography and New Media at the University of North Texas. Recent exhibitions include Exgirlfriend, Berlin; The Museum of Contemporary Photography, Chicago; Wilfried Lentz, Rotterdam; The National Gallery of Kosovo, Pristina; and The Mattress Factory Museum of Contemporary Art, Pittsburgh. He was a resident at the SIM Program in Reykjavik and Skowhegan School of Painting and Sculpture. Meerdo was most recently a fellow the Jan Van Eyck Academie in the Netherlands for the 2018-2019 program. He is represented by Document Gallery in Chicago.

W E E K S 9 & 10 – J U LY 2 6 - A U G U S T 8

Multi-Level Foundry Instructors: Liz Ensz & Lloyd Mandelbaum 2-week course || SCULP 660 001 3 credit hours || Lab Fee: $200

(top left) Ato Ribeiro Home Coming 3 2018 repurposed wood, wood glue 48”w x 72”h x 1.25”d (bottom left) Christopher Meerdo Erythrocyte Ghosts 2016 extruded polystyrene, hydrocal, plaster, hydroprint, acrylic gloss glaze 36” x 24” x 20” (top right) Liz Ensz E Pluribus Unum 2014 cast pre-Reagan pennies, steel stand, custom hardware 5” x 5” x 6” (bottom right) Lloyd Mandelbaum Sequential Silhouettes Series: #8 2017 iron 18.5” x 9” x 7”

In this multilevel metal casting course, students will learn the fundamentals of pattern generation, simple and multi-part mold making techniques with sodium silicate bonded sand, casting with bronze, aluminum, and iron, and finishing and patination techniques for their castings. Explorations will be informed by the materiality of molten metal and molding processes, the history and technologies of metal casting, and discussion of cast metal sculpture in contemporary art. In the spirit of “there is no ‘I’ in foundry,” teamwork and safe foundry practices form the foundation of the course. Students will be encouraged to experiment and respond to the natural environment with patterns made at Ox-Bow in an open-air sculpture studio. Liz Ensz was born in Minnesota to a resourceful family of penny-savers, metal

scrappers, and curators of cast-offs. With a determined material engagement, scavenger impulse, and interdisciplinary approach, their work presents a comparative study of the mass-cultural investment in disposability and the human desire to imagine permanence through emblems, monuments, and commemoration. They received an MFA in Fiber & Material Studies from the School of the Art Institute of Chicago. Ensz is full-time faculty at the Maryland Institute College of Art, and is based in Baltimore, the greatest city in America. Lloyd Mandelbaum is an artist and owner of the art casting foundry Chicago Crucible, which has been producing cast bronze, aluminum, and iron sculpture for public and private clientele since 2009. Lloyd received his BFA from the School of the Art Institute of Chicago with an emphasis in metal arts and has been in the field ever since. Lloyd also designs and builds foundry equipment for himself, other businesses, and institutions. Lloyd’s personal sculpture is figurative, abstract, and is intended to evoke an energetic liveliness despite being made of static cast metal. In addition to operating his business and creating his own work, Lloyd has taught, lectured, spoken on panels, and consulted on foundry craft, operation, construction, and development for universities, industry, and individual artists.

BLACK IN THE WOODS: REPRESENTATION & THE PASTORAL

Instructors: Ayanah Moor & Krista Franklin PRINT 652 001 POLITICS OF PRINT: THINKING THROUGH THE ARTIST PUBLICATION

Instructor: Kevin McCoy PRINT 660 001

SPECULATIVE WORLDS: SCREENPRINT AS INTERVENTION

Instructors: Corinne Teed & Erik Ruin PRINT 659 001

LITHOGRAPHY: STONE & PHOTOLITHOGRAPHY

Instructors: Danny Miller & Kristina Paabus 2-week PRINT 637 001 1-week PRINT 635 001 & 635 002

THE EXPANDED FIELD IN THE EXPANDING FIELD: ZINES, EPHEMERA & EVENTS

Instructors: Jesse Malmed & Breanne Trammell PRINT 661 001

BEYOND BORDERS: FINDING THREE DIMENSIONS IN PRINTING & BOOKBINDING

Instructors: Myungah Hyon & Jeanine Coupe Ryding PRINT 658 001 MONOTYPE

Instructor: Aay Preston-Myint PRINT 609 001

PRIN M ANK TINI TGL E SECTTIO

W E E K 1 – M A Y 3 1- J U N E 6

Black in The Woods: Representation & the Pastoral Instructors: Ayanah Moor & Krista Franklin 1-week || PRINT 652 001 1 credit hour || Lab Fee: $50

This interdisciplinary seminar and studio course examines notions of blackness and the pastoral. 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, cyanotype, relief printing and creative writing exercises, faculty will support and cultivate diverse approaches to media, such as performance, site-specific installation, and field recording. Readings will include excerpts from Black Nature: Four Centuries of African American Nature Poetry, Ed. by Camile T. Dungy; Demonic Grounds: Black Women and The Cartographies of Struggle by Katherine McKittck; and White: Essays on Race and Culture by Richard Dyerl in addition to media screening of Get Out by Jordan Peele, Swimming in Your Skin Again by Terence Nance, and Falling to get here by Suné Woods. Ayanah Moor is an interdisciplinary artist whose work explores

blackness, gender, desire, and language. She works across various media to create paintings, prints, drawings, and performance. Her work has been exhibited at the Museum of Contemporary Art Chicago, Museum of Contemporary Photography and the DePaul Art Museum, (Chicago); Adobe Books (San Francisco); The Studio Museum in Harlem (NY); The Andy Warhol Museum (Pittsburgh); ONE National Gay and Lesbian Archives—University of Southern California Libraries; Subliminal Projects (Echo Park, CA); Te Tuhi Centre for the Arts, (Auckland, New Zealand); and Proyecto ‘ace, (Buenos Aires). Moor has been awarded artist residencies at the Rogers Art Loft, (Las Vegas); Center for Book, Paper & Print, and Hyde Park Art Center (Chicago); Proyecto ‘ace (Buenos Aires); Auckland Print Studio (New Zealand); Women’s Studio Workshop (Rosendale), Blue Mountain Center (Blue Mountain Lake); Vermont Studio Center (Johnson) and Atlantic Center for the Arts (Florida) with Master Artist Kerry James Marshall. Krista Franklin is an interdisciplinary artist whose work appears in POETRY magazine, Black Camera, Copper Nickel, Callaloo, Vinyl, BOMB Magazine, Encyclopedia, Vol. F-K and L-Z, and several anthologies. She is the author of Under the Knife (Candor Arts, 2018) and Study of Love & Black Body (Willow Books, 2012). Her art has widely exhibited at Poetry Foundation, Konsthall C, Rootwork Gallery, Museum of Contemporary Photography, The Studio Museum in Harlem, Chicago Cultural Center, National Museum of Mexican Art, and on the set of 20 th Century Fox’s Empire. Krista Franklin is also one of the main character from Les Impatients by Aliocha Imhoff & Kantuta Quiros. She holds an MFA in Interdisciplinary Arts – Book & Paper from Columbia College Chicago, and teaches Writing at the School of the Art.

(left) Krista Franklin We Wear the Mask VIII 2014 collage on handmade paper 8” x 6” (right) Ayanah Moor In Your Secret Garden 2017 plant, pot, macramé, braids, filigree, bungee cord

PRIN T M A K IN G

(clockwise from top left) Kevin McCoy LSD, The CIA, The War on Drugs and MK Ultra 2018 2-color risograph printing, saddle-stitched bindery, 12 pages 8.5” x 7” Corinne Teed Mapping the Burrows: Figure 2 2017 screenprint, photolitho 17” x 14” Kristina Paabus The Guards 2018 etching, aquatint, screenprint, and linocut 24”x20” Erik Ruin, Mary Maudlin (performance still at Rooftop Films) creation 2016, performance 2019, spraypaint, stencil and papercut on paper with live musical accompaniment 30’ x 18” Danny Miller Panic Room 2019 iithograph

PRIN T M A K IN G W E E K 2 – J U N E 7-13

W E E K S 5 & 6 – J U N E 2 8 - J U LY 11

W E E K S 7 & 8 – J U LY 12 - 2 5 *

Politics of Print: Thinking through the Artist Publication

Speculative Worlds: Screenprint as Intervention

Lithography: Stone & Photolithography

Instructors: Corinne Teed & Erik Ruin

Instructor: Kevin McCoy

2-week || PRINT 637 001 3 credit hours || Lab Fee: $100

2-week || PRINT 659 001 3 credit hours || Lab Fee: $100

1-week || PRINT 660 001 1 credit hour || Lab Fee: $50 Provoked by the current blurring of fact and fiction, students will produce a series of collaborative artist books to explore and/or challenge propagandistic narratives. Emphasis will be placed on the conceptual development and exploration of analog methods utilized in the civil rights protest era. With the goal of producing visually striking content, processes such as silk-screen, vinyl plate lithography, polymer plate, letterpress printing, and perfect bindery will be demonstrated to produce a series of artist books. The instructor’s own publication, Obliqueness of White Supremacy, and Propaganda & Persuasion by Garth S. Jowett and Victoria J. O’ Donnell will be reviewed by the class to examine the marriage of form and content. Excerpts from books such as The Vignelli Canon by Massimo Vignelli and White by Japanese designer Kenya Hara will become useful tools to understand layout, form, sequence, color and visual impact. The class will consist of demonstrations, discussions, time allotted for both research and work. The culminating project includes a series of handmade books containing content collaboratively provided and created by the class. Kevin McCoy is an interdisciplinary artist and designer based in St. Louis, Missouri. He is also half of the collaborative duo named WORK/PLAY which was started with his wife. He utilizes serigraphs, hand-made publications, installations, archival documents, and video-based works to examine erasure, identity, and challenge historical records. He received a BFA from the University of Missouri-St. Louis and a MFA degree in Visual Art from the Sam Fox School of Art and Design, Washington University in St. Louis. Recent exhibitions include Small Talk at Crystal Bridges Museum of American Art, Bentonville, AR; 2019 MFA Exhibition at The Luminary, St. Louis, MO; SPF 1991 at projects+gallery, St. Louis, MO; Dream Weavers at Laband Gallery, Loyola Marymount University, Los Angeles, CA; Overview is a Place at SPRING/BREAK Art Show in New York, New York, NY; On & On at Beard and Weil Galleries, Norton, MA; Change of State at The Wassaic Projects in Wassaic, NY; Color-ism at Kranzberg Arts Center in St. Louis, MO. Recent book fairs include Printed Matter’s LA Art Book Fair in Los Angeles, California; Chicago Art Book Fair in Chicago, IL; Small Press Expo in St. Louis, MO; Fully Booked Art Fair in Dubai, UAE, and Booklyn’s Engaged Editions: Creative Advocacy in Print in New York, NY.

In this course, students will develop screenprinting skills while considering print’s history of inventing and building disparate worlds. Printmaking is unique for its history of communication through calling to action and imagining the future. In this class students will explore notions of utopia and dystopia, using installation, animation, relief print, and performance in their endeavors to re-imagine the graphic manifesto. Students will be encouraged to experiment with text, posters, and immersive installations to redefine the realm of the possible. Students will be presented with tutorials on printing techniques, incorporating both hand-drawn and digital stencils. We will discuss artists who engage with world-making, from the hellish landscapes of Heironymous Bosch to the utopic processions of Athi Patra Ruga. Authors discussed will include Ursula K. Leguin, Octavia Butler, Jose Esteben Muñoz and Ruth Levitas. Students will participate in world-building prompts, writing responses, and critical dialogues on the role of printmaking as intervention in the social sphere. Assignments will include creating hand-cut stencils, digitally designed CMYK projects, and a final project taking on the notion of the screenprint in the expanded field. Students will produce a portfolio of projects that incorporates two-dimensional screenprinting. Corinne Teed is a research-based artist working in printmaking, installation, time-based media and social practice. Their work lives at the intersections of queer theory, ecology, critical animal studies and settler colonial studies. Teed collaboratively re-imagines interspecies communities in this era of environmental devastation and climate change. Working between portraiture and speculative world-building, their practice incorporates archival research with time-based media and printmaking to articulate new perspectives on ecological issues. Teed has recently attended residencies at ACRE, Signal Fire, Virginia Center for Creative Arts, and Playa, and has exhibited in the U.S. and abroad. They received a BA at Brown University and an MFA at University of Iowa, and now teach in the Art Department of University of Minnesota. Erik Ruin is a Michigan-raised, Philadelphia-based printmaker,

shadow puppeteer, paper-cut artist, etc., who has been lauded by the New York Times for his “spell-binding cut-paper animations.” His work oscillates between the poles of apocalyptic anxieties and utopian yearnings, with an emphasis on empathy, transcendence and obsessive detail. He frequently works collaboratively with musicians, theater performers, other artists and activist campaigns. He is a founding member of the international Justseeds Artists’ Cooperative, and co-author of the book Paths Toward Utopia: Graphic Explorations of Everyday Anarchism (with Cindy Milstein, PM Press, 2012). Current projects include the Ominous Cloud Ensemble, an ever-evolving, collectively-improvising large ensemble for projections and music which at times has included/includes members of the Sun Ra Arkestra, Bardo Pond and Espers.

Instructors: Danny Miller & Kristina Paabus

1-week options || WEEK 7 - Stone Lithography: PRINT 635 001 & WEEK 8 - Photolithography: PRINT 635 002 1 credit hour || Lab Fee: $50 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, 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. Danny Miller is an artist and musician working in Chicago, IL. Utilizing woodblock, lithographic printing and drawing, he conjures works inspired by science fiction pulp covers, Victorian engravings, advertisements, comic books, and music. Miller has taught at Ohio State University, University of Wisconsin-Madison, the School of the Art Institute, and Ox-Bow School of Art and has been the Printmedia Department Manager at SAIC for 31 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. Kristina Paabus is a multidisciplinary visual artist with a

focus in printmaking. Her research examines structures of control and power, with a particular interest in fractures within those systems. Recent work investigates the lasting impact of Soviet occupation on both tangible and invisible spaces. Paabus earned her MFA from the School of the Art Institute of Chicago and BFA from the Rhode Island School of Design. She has exhibited her work throughout the United States, Europe, and China, with recent exhibitions including Meanwhile at Hobusepea Galerii (Estonia), NEO Geo at the Akron Art Museum, and the Novosibirsk Graphics Triennial (Russia). Paabus is the recipient of a Fulbright Fellowship for Installation Art in Estonia, the Grant Wood Fellowship in Printmaking at The University of Iowa, an Ohio Arts Council Individual Excellence Award, and the Southern Graphics Council International Guanlan Residency Award. Kristina has attended artist residences in the US, Iceland, Estonia, Romania, Russia, and China, and her work can be found in numerous collections. Paabus is Associate Professor of Reproducible Media at Oberlin College.

* WEEK 7 – July 12-18 ; WEEK 8 – July 19-25

PRIN T M A K IN G W E E K S 9 & 10 – J U LY 2 6 - A U G U S T 8

The Expanded Field in the Expanding Field: Zines, Ephemera & Events Instructors: Jesse Malmed & Breanne Trammell 2-week || PRINT 661 001 3 credit hours || Lab Fee: $100 We will explore the power of the zine and happenings to challenge and circumnavigate societal norms and create alternative narratives that expand the field of art. Through platforming, students will discuss early experimental and contemporary models of show building and collaborate to initiate new projects and spaces on Ox-Bow’s tiny but bustling campus and the surrounding environments. Workshops on ephemera production, screenprinting, zine-making, and creative modes of public communication will be held. Students are encouraged to make their own work, work together with their peers, and/or envision speculative projects. Engaging with histories and futures of artist-led initiatives in the Midwest and beyond including Temporary Allegiance, Trunk Show, Chances Dances, The Thing, and Speed Show, students will work to produce paratext, context and text to animate, assist and activate projects. Each project will feature printed matter and screenprinting techniques will be demonstrated. Readings, texts, and screenings will cover a range of content and include the curatorial and publishing practices from a variety of contemporary artists and organizers. Through a series of generative prompts and activities, students will conceptualize and organize site-responsive programmatic curatorial projects. Students may work independently or collaboratively, and/or with faculty on their proposals, installations, performances, and ephemera. The class will culminate in group critiques on one realized installation or performance. Jesse Malmed is an artist, curator and educator working in video, performance, text, installation, events, occasional objects, their gaps and overlaps. His works play in sub- and counter-cultural histories, like a joke that’s a poem that’s a song covering itself, a shadow puppet interfering in the broadcast beam, having deja vu for the first time or watching a time travel sequence in reverse. Engaging with a range of publics, his entanglements and propositions include instigating the poster platform Western Pole, co-driving artist bumper sticker project Trunk Show, directing the Live to Tape Artist Television Festival, programming with ACRE TV and the Nightingale Cinema, hosting the Artists’ Karaoke Archive, permanent guest hosting contemporary art radio show Bad at Sports, and recording and assisting the kindergarten a capella noise ensemble Huskies Floorchestra. He attended Bard College and the University of Illinois at Chicago, where he teaches alongside Chicago Public Schools and the University of Wisconsin-Milwaukee.

Breanne Trammell is a multi-disciplinary artist, snack & SPRTS enthusiast, amateur archivist, and co-president of the Sandwich Club (a club that doesn’t meet and anyone can be a member). Her publishing imprint Teachers Lounge operates as a platform to explore and illuminate hidden histories related to education, activism, sports, and visual culture. For the past eight years, she has co-organized the annual Sandwich Club Summit, in addition to collaborative projects SPACE JAM (Iowa City, IA), To Muncie, With Love (Muncie, IN), I Can’t Give You Anything But Love (Kansas City, MO), and The Joy of Enjoying (Philadelphia, PA) with Jesse Malmed. Breanne’s work has been exhibited widely in all sorts of spaces, and she has been an artist-in-residence at the Women’s Studio Workshop, Endless Editions, Kala Institute, and Ox-Bow, among others. In 2019, Breanne initiated a new project space PROM to be a platform for artists working in and around archives, and/or their personal collections. She earned her MFA from the Rhode Island School of Design and is an Assistant Professor at the University of Arkansas in Fayetteville, AR.

W E E K 11 – A U G U S T 9 -15

Beyond Borders: Finding Three Dimension in Print & Bookbinding Instructors: Myungah Hyon & Jeanine Coupe Ryding 1-week || PRINT 658 001 1 credit hour || Lab Fee: $50 Participants will learn to create the illusion of three dimensional woodcuts that are bound into sculptural book forms. Using a variety of registration methods including printing on both sides of the paper, participants will explore the traditional methods and boundaries of printmaking. Methods including simple accordion folds, hardcover accordion, crown book, franklin fold, and triangular book will be demonstrated. Emphasis is on content, self-expression, and acquiring skills. No prior bookmaking experience necessary and writers welcome. The following bookbinding methods will be demonstrated: simple accordion folds, hardcover accordion, crown book, franklin fold, fishbone fold and triangular book. There will be handouts to aid in note taking as well as demonstrations and examples for participants to learn from. Participants will have a good understanding of relief printing as well as how to make various book forms with their prints in them by the end of class. Myungah Hyon is an Adjunct Associate Professor in the Printmedia Department at the School of the Art Institute of Chicago, from which she earned her BFA and MFA, alongside an AOCA from the Ontario College Of Arts and Design. Her exhibition history includes Printed Matter, New York; Kookmin Art Gallery, Seoul; Gallery Factory, Seoul; Riverside Art Center, Riverside, IL; William A. Koehnline Gallery, Des Plaines, IL; Elmhurst Art Museum, IL; Artemisia Gallery,

Chicago; Gallery 312, Chicago. She has received awards from the City of Chicago, Seoul Foundation for Arts and Culture, and Arts Council Korea. Jeanine Coupe Ryding ’s prints and artist books are in museum, corporate and private collections in the U.S., Europe and Japan. Her work focuses primarily on woodcut prints, etchings, artist books, collage and painting. She founded Shadow Press and Press 928 in Evanston, Illinois for fine art publishing. She received a BA in Literature and Fine Art from the University of Iowa and a Masters degree in Sculpture from the Universitat der Kunste, Berlin, Germany. Ryding has received an Illinois Arts Council Award, an Arts Midwest Grant, two Frans Masereel residencies in Belgium, Roger Brown House residencies in Michigan and an Anchor Graphics residency in Chicago. She taught at The School of the Art Institute of Chicago from 1991 to 2019.

W E E K 12 – A U G U S T 16 - 2 2

Monotype Instructor: Aay Preston-Myint 1-week || PRINT 609 001 1 credit hour || Lab Fee: $50 This course will present a variety of oil and waterbased monotype techniques including chine colle, block printing, painted and photographic image transfers, and over-printing. Monotype is a versatile process incorporating chance and improvisation, and can be performed in the landscape as well as in the studio. Painters as well as printmakers will find this a dynamic new medium that is perfect for the home studio. Aay Preston-Myint is an artist, publisher, and educator

working in the San Francisco Bay Area, after several years building a career and community in Chicago. His practice employs both visual and collaborative strategies to investigate memory and kinship, often within the specific context of queer community and history. In addition to his studio work, he is a founder of No Coast, an artist partnership that prints and distributes affordable contemporary artwork, is co-director of the Chicago Art Book Fair, and has served as a DJ and organizer for Chances Dances, a party supporting and showcasing the work of queer artists in Chicago. He is currently the Program Manager at Headlands Center for the Arts in Sausalito, California, a member of the studio collective Real Time and Space in Oakland, and a Fellow at the Kala Art Institute in Berkeley.

(clockwise from top left) Jesse Malmed Most Participatory 2017 Aay Preston-Myint O 2019 mixed drawing media and metallic tape on paper 26” x 32”

Myungah Hyon Connecting + Hybrid 2019 paper, PVA Glue Jeanine Coupe Ryding Blue Double Bend 2016 woodcut print 28”H x 72”W Breanne Trammell I Can’t Give You Anything But Love 2014

PRIN T M A K IN G

PAPERMAKING

ANIMAL BEHAVIOR AT OX-BOW

FIBER Instructor: Andrea Peterson PAPER 604 001

SCIENCE Instructor: Dianne Jedlicka SCIENCE 3523 001

GHOST IN THE MACHINE

HAND TO THREAD: IMPROVISATIONAL PATCHWORK & EMBROIDERY

PHOTO Instructors: Sarah Belknap & Joseph Belknap PHOTO 611 001

FIBER Instructor: Melissa Leandro FIBER 623 001

EXPERIMENTAL PATTERNING: METHODS IN TEXTILE PRINTING

BETTER HOMES & GARDENS

FIBER Instructor: Padma Rajendran FIBER 622 001

ART HISTORY Instructor: Lisa Stone ARTHI 625 001

OBJECTS IN VIDEO, VIDEO AS OBJECT

THE FUTURE IS NOW: THE ANTHROPOCENE

FILM, VIDEO, & NEW MEDIA Instructor: Ilana Harris-Babou FVNM 609 001

PHOTO Instructors: Jeremy Bolen & Mika Tosca PHOTO 612 001

WET-PLATE & PLATINOTYPES

PHOTO Instructors: Robert Clarke-Davis & Jaclyn Silverman 2-weeks || PHOTO 609 001 1-week || PHOTO 610 001 & PHOTO 610 002

ALTER/OVERFLOW: GARMENT MAKING AS STUDIO PRACTICE

FIBER Instructors: Brad Callahan & Vincent Tiley FIBER 619 001

DIMENSIONAL COLLAGE

PAINTING Instructor: Annalee Koehn PAINTING 653 001 YOU ART WHAT YOU EAT

SCULPTURE / VISUAL CRITICAL STUDIES Instructor: Eric May SCULP 669 001 VCS 669 001 METAMORPHOSING PAPER

PAPERMAKING Instructor: Andrea Peterson 2-weeks || PAPER 627 001 1- week || PAPER 607 001 & PAPER 607 002

S PECI A L TO PIC S WEEKS 1 & 2 – MAY 31-JUNE 13

FI B E R

Papermaking Instructor: Andrea Peterson 2-week course || PAPER 604 001 3 credit hours || Lab Fee: $100 Paper is an exciting and elusive art medium. Paper pulp can be transformed into sculptural works, drawings with pulp and unusual surface textures. It can allude to skin, metal, rock, or represent something entirely unique. In class, we will explore these possibilities as we examine other artists using pulp as a contemporary medium. Traditional and non-traditional processes, tailored to the capabilities of each fiber, will be explored. Stretch your artistic and technical skills to create unusual works of art. Andrea Peterson creates paper art works and relief printed images on handmade

sheets of paper that utilized pulp-drawing techniques. She also creates sitespecific installation work and book art pieces. She is an artist, educator, and author based in Laporte, Indiana. She received her MFA from the University of Minnesota and BFA from the School of Art Institute of Chicago. She co-operates Hook Pottery Paper, which is a joint venture with her husband ceramic artist, Jon Hook. At this studio she creates her artwork, conducts environmentally concerned paper research and production paper that is sold internationally. Her work has been collected by The Metropolitan Museum of Art in NYC.

W E E K S 1 & 2 – M A Y 3 1- J U N E 13

PH OTO

Ghost in the Machine Instructors: Sarah Belknap & Joseph Belknap 2-week course || PHOTO 611 001 3 credit hours || Lab Fee: $50 “I cannot find my center of gravity—” Mary Anne Atwood This class utilizes and facilitates ways of perceiving beyond the human machine. Using various light sensitive medias, the darkroom, film and digital cameras, solar and nighttime telescopes, binoculars, sound recorders, and night vision cameras, we explore time and the properties of waves. We will produce images, videos, sound installations, and performances. Beyond studio work we will look into art, cinema, and literature as works exploring themes in science, time, and perception. Practices by numerous artist will be explored including but not limited to James Turrell, Hiroshi Sugimoto, Werner Herzog, Simon Starling, Carsten Nicolai, Sarah Charlesworth, and Alan Lightman.

(opposite page) Padma Rajendran American Dream Jeans 2017 resist, dye, polyester, and hand stitching on fabric 39” x 47”

(top) Andrea Peterson Queenanne 2018 handmade pigmented cotton rag and ink 22” x 30”

(bottom) Sarah Belknap & Joseph Belknap Twelve months of Sun Spots 2014 digital archival print 7” x 7”

Sarah Belknap & Joseph Belknap are Chicago-based interdisciplinary artists and educators who received their MFAs from the School of the Art Institute of Chicago. 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.

S PECI A L TO PIC S W E E K 3 – J U N E 14 - 2 0

FI B E R

Experimental Patterning: Methods in Textile Printing Instructor: Padma Rajendran 1-week || FIBER 622 001 1 credit hour || Lab Fee: $50

Dr. Dianne Jedlicka teaches numerous Biology courses at

SAIC including Animal Behavior, Evolutionary Mammalogy, Ecology (Natural History), and Human Anatomy and Physiology. Her primary research has been at the community level of organization focusing on the feeding strategies and predation of tree and ground squirrels based on their functional morphology. Observational data collected on nocturnal foraging of the eastern cottontail rabbit was published recently. All of these animals are found throughout the Ox-Bow region and offer Dr. Jedlicka’s students ample opportunity for scientific observations. Dr. Jedlicka has also presented and published articles on new teaching methods and labs in the college classroom. Current study topics of the Animal Behavior students include mirror neurons and their implications for group behaviors. Dr. Jedlicka is returning to Ox-Bow for another session of Animal Behavior, mammals, birds, and of course, our own lagoon turtles will provide much insight into the animal kingdom!

Decorating textile is a global tradition that continues to inspire artistic, commercial, and domestic spaces. Discover the techniques within fabric printing and explore how to transform textile. In this introductory course, students will learn the basics of screen-printing and block printing onto fabric. Students create and print their own designs using printmaking inks and Procion dye. We will enhance our fabrics with reflective foil printing and dye baths to create patterns that sit on the surface and invent images that become apart of the fiber. Students are welcome to bring their own light colored fabrics, like cotton, linen, silk. Students will screen-print with water-based inks on fabric and utilize Procion dyes to experiment with block printing. Students will continue transforming their fabric with resist and dye techniques. Through daily demonstrations and active studio time, students will experiment with repeat patterns and printing singular images. As a class, will explore these different printing approaches as tools for students to create print work, painting surfaces, decorative objects, or installation.

Hand to Thread: Improvisational Patchwork & Embroidery

Padma Rajendran combines fabrics of many materials and

Instructor: Melissa Leandro

patterns to explore the multi-faceted definitions of universal heritage. Born in Malaysia, Rajendran encodes cloth with inks, symbols, and scenes that honor personal stories and traditions. She received her MFA at the Rhode Island School of Design and is currently faculty at SUNY Purchase and Parsons School of Design. She has exhibited at Ortega y Gasset Projects, Brooklyn; High Tide Gallery, Philadelphia; Crystal Flowers Art Salon, New York; Beers London, UK; the Wassaic Project, Wassaic, NY; Unpaved Gallery, Yucca Valley, CA; September Gallery, Hudson, NY; and completed residencies at Ortega y Gasset Projects, the Studios at Mass MoCA, Women’s Studio Workshop, and Lower East Side Printshop.

W E E K S 3 & 4 – J U N E 14 - 2 7

SCIENCE

Animal Behavior at Ox-Bow Instructor: Dianne Jedlicka 2-week || SCIENCE 3523 001 3 credit hours || Lab Fee: $50 This course will incorporate field observations in the natural environment surrounding Saugatuck

into the study of animal behavior. Students will formulate and test hypotheses through the acquisition of data in the field. Topics covered include: classical learning and instinct, reproductive behaviors, and interactions between and within species.

W E E K 4 – J U N E 2 1- 2 7

FI B E R

1-week || FIBER 623 001 1 credit hour || Lab Fee: $50

Melissa Leandro (b. Miami, FL) is an artist and lecturer

based in Chicago whose woven and embroidered surfaces explore her composite cultural identity through means of intuitive mark making. Leandro was awarded the Toby Devan Lewis Fellowship (2017) and the Luminarts Fellowship (2017) from the Luminarts Cultural Foundation, Union League of Chicago. Leandro is currently represented by Andrew Rafacz Gallery in Chicago and has attended Roger Brown House Residency, Michigan; The Weaving Mill, Chicago; TextielLab, The Netherlands and the Jacquard Center, North Carolina. She holds an MFA from the School of the Art Institute of Chicago.

W E E K S 5 & 6 – J U N E 2 8 - J U LY 11

A R T H I S TO RY

Better Homes & Gardens Instructor: Lisa Stone 2-week course || ARTHI 625 001 3 credit hours This course explores the rich genre of vernacular art environments—combinations of art, architecture and/or landscape architecture, including religious grottos, spiritual, devotional and mystical sites, gardens, ephemeral yard shows, architectural inventions, expressions of loneliness and survival, homes fully transformed, artist’s museums, and other created spaces that are site and life specific. The course examines historical and contemporary art environments and issues impacting art from beyond the academic mainstream and its evolving definitions, environments in their social, political and cultural contexts, home and landscape as studios, and site preservation. Lisa Stone is curator of the Roger Brown Study Collection

Hand to Thread will expand your knowledge of traditional and contemporary modes of manipulating and embellishing fibrous textile materials. Through daily classroom demonstrations and assignments, students will gain historical and technical instruction in a variety of needlework practices, hand and machine quilting, embroidery, beading, and shibori and fabric resist dyeing methods. We will be constructing and deconstructing found and sourced textile materials through the use of trapunto, appliqué, reverse appliqué, visible mending, and patchwork techniques. Readings include The Gee’s Bend Effect by Bridget R. Cooks and PUSH Stitchery: 30 Artists Explore the Boundaries of Stitched Art. We will also consider the work of Dianna Frid, Ebony Patterson, Heidi Parks, Stanford Biggers, and Anne Wilson. With a keen focus on practices of collage, fabric/ scrap collecting, surface embellishment, and improvisational piecework, students will be encouraged to pursue their conceptual concerns with the community support of their peers and faculty, in group critiques and on-on-one advising.

and Senior Lecturer in the Department of Art History, Theory, and Criticism, both at the School of the Art Institute of Chicago. Her research, teaching, writing, and curating concern artists who work independently from the academic mainstream. Stone’s work focuses on the preservation and interpretation of vernacular environment builders, whose work is often home/garden-based, ignoring or dissolving boundaries between home and studio, life and art. With Don Howlett she has written and implemented preservation plans for environments in the US since 1986. She co-curated (with Kenneth Burkhart) the exhibition Chicago Calling: Art Against The Flow, part of the Terra Foundation for American Art’s Art Design Chicago initiative, shown at Intuit: The Center for Intuitive and Outsider Art, touring to Paris, Kaufbeuren, Germany, Lausanne, Amsterdam (2018-2021). Stone has a Master of Science in Historic Preservation (1998) from SAIC. She works, seasonally, with soil, plants, stone, chance, and time in her studio, a garden/ruin in Spring Lake, Wisconsin.

S PECI A L TO PIC S

(clockwise from top left) Melissa Leandro 10am _Cosina 2019 jacquard woven cloth, dye, stitching, embroidery, spray paint 24” x 35” Dianne Jedlicka Lisa Stone Photo of: Ferdinand Cheval’s Palais Ideal in Hauterives, France.

S PECI A L TO PIC S W E E K S 5 & 6 – J U N E 2 8 - J U LY 11

FILM, VIDEO, & NEW MEDIA

Objects in Video, Video as Object Instructor: Ilana Harris-Babou 2-week || FVNM 609 001 || 3 credit hours In a world where screens are often taken for granted, this course asks students to reimagine this complicated relationship with video. We will work at the intersection of moving image and sculpture, examining how video can transform our connection to both our environment and our own bodies. Students will experiment with lighting, props, and set design; paying close attention to how surfaces are transformed by the lens. We will investigate projection mapping, video installation, and the peculiarities of the screen. While attention in this course will be paid to demonstrations and hands-on experiments, we will consider the work of Hito Steyerl and Nam June Paik and texts by Rosalind Krauss, all who unpack the relationship between objects and time and emphasize both the physicality and immateriality of video through installation and web-based art. Students can expect to participate in daily studio exercises and the class culminates in an ambitious final project, to be installed in physical space or online. Ilana Harris- Babou’s work is interdisciplinary; spanning

sculpture and installation, and grounded in video. She speaks the aspirational language of consumer culture, using humor as a means to digest painful realities. Her work confronts the contradictions of the American Dream: the ever unreliable notion that hard work will lead to upward mobility and economic freedom. She has exhibited throughout the US and Europe, with solo exhibitions at 80WSE, The Museum of Arts & Design, and Larrie in New York. Other venues include Abrons Art Center, the Jewish Museum, SculptureCenter, the De Young Museum, and the Whitney Museum of American Art. She holds an MFA in New Genres from Columbia University, and a BA from Yale University.

W E E K S 7 & 8 – J U LY 12 - 2 5 *

PH OTO

Wet-Plate & Platinotypes Instructors: Robert Clarke-Davis & Jaclyn Silverman 2-week || PHOTO 609 001 3 credit hours | Lab Fee $100 1-week options || WEEK 7 - Wet-Plate: PHOTO 610 001 & WEEK 8 - Platinotypes: PHOTO 610 002 || 1 credit hour || Lab Fee: $50 Using the historic, time-honored wet-plate collodion and platinotype processes students

* WEEK 7 – July 12-18 ; WEEK 8 – July 19-25

will move between the studio, community, and natural environment at Ox-Bow to create images and photographic objects. These courses can be taken sequentially for two weeks or individually for one week. The first week will focus on wet-plate collodion; students will explore the fundamentals of large format photography using analog view cameras to create glass-plate negatives in the field. Mobile, onsite darkrooms will allow instant gauging in progress and results. Glass plates can stand alone as photographic objects, or be reproduced in photographic printing. During week two students will work with platinotype printing, one of the most stable photographic processes. Students will use the traditional iron-based developing-out process of platinum palladium. Using digital cameras and laptops to capture images, they will digitally print negatives to be used in this unique tactile process. Those who participate in wet-plate collodion will be able to print directly from their glass plate negatives to be used in this unique tactile process. Robert Clarke-Davis has served as an Associate Professor in Photography at SAIC since 1990. He earned his BA from Beloit College and an MA at the University of London, Goldsmiths’ College, School of Art and Design. His work has exhibited at Cleveland Museum of Art; Milwaukee Art Museum; Wuk Kunsthalle, Vienna; and Magyar Fotogr’fiai M’zeum Kesckem’t, Hungary. His work is held in the collections of the Cleveland Museum of Art; Fine Arts Library, Indiana University, IN; Impressions Gallery, North Yorkshire; The Rooms Corporation of Newfoundland and Labrador. He is represented by James Baird Gallery. Jaclyn Silverman is a photographer collaborating on community based work around expanded family and personal intergenerational histories. Silverman has exhibited in Ohio, Illinois, and Colorado, has been a Lecturer in Photography with The Ohio State University and Dominican University, Visiting Artist with Grenfall College in Newfoundland, Canada, and commissioned by Theaster Gates for photographic installations published in conjunction with the exhibition “A Johnson Publishing Story” at Stony Island Arts Bank. She is a founding member and past Artistic Director of Chicago non-profit artist residency, CPS Lives, Part-time Professor of Arts and Humanities with the City Colleges of Chicago, faculty with Ox-Bow School of Art, and third year artist in residence with George Washington High School for the community photo collaboration, East Side Volume One. Silverman is from Youngstown, Ohio, received her BFA from The Ohio State University and her MFA from the School of the Art Institute of Chicago.

W E E K S 9 & 10 – J U LY 2 6 - A U G U S T 8

PH OTO

The Future is Now: The Anthropocene Instructors: Jeremy Bolen & Mika Tosca 2-week || PHOTO 612 001 || 3 credit hours The Anthropocene is the theory that we are in a “new geological age of humankind,” in which our species is the prime force of transformation on the planet

and whose actions will be legible in rocks for millions of years to come. World-changing in the most literal sense, the implications of the Anthropocene hypothesis are profound but also very uncertain. It calls into question the role photography, design, and the natural sciences can play as critical and creative agents. This transdisciplinary studio seminar will be an experiment in these new forms of understanding. Over the course of the class session, we will discuss and respond creatively to the following topics within the Anthropocene theory; models, deep time, imag(in)ing, valuing nature, and slow violence / rapid change. Students are encouraged to work on self-directed studio projects that are inspired by the readings and discussions, can expect to participate in a lively final group critique, and will have the opportunity to contribute to the journal Mind and Nature. Jeremy Bolen is an artist, researcher, organizer and educator

interested in site specific, experimental modes of documentation and presentation. Much of Bolen’s work involves rethinking systems of recording — in an attempt to observe invisible presences that remain from various scientific experiments and human interactions with the earth’s surface. His work has been exhibited widely at numerous locations including the Museum of Contemporary Photography, Chicago; La Box, Bourges; PACT Zollverein, Essen; EXGIRLFRIEND, Berlin; University at Buffalo, Buffalo; IDEA Space, Colorado Springs; The Mission, Houston; Galerie Zürcher, Paris; Andrew Rafacz, Chicago; Soccer Club Club, Chicago; Salon Zürcher, New York; The Drake, Toronto; Untitled Art Fair, Miami; Gallery 400, Chicago; Newspace Center for Photography, Portland; Depaul University Art Museum, Chicago and Hyde Park Art Center, Chicago. Bolen lives and works between Chicago and Atlanta, serves as Assistant Professor of Photography at Georgia State University, is a co-founder and coorganizer of the Deep Time Chicago collective, and is represented by Andrew Rafacz Gallery. Mika Tosca is a trained climate scientist, having completed her Ph.D. work at the University of California, Irvine in 2012. While at Irvine, Dr. Tosca researched the interconnectivity of the climate with landscape fires and particulate (aerosol) emissions. She continued her work as a postdoctoral scholar at the Jet Propulsion Laboratory (a contracted lab of NASA) in Pasadena, CA, working under Dr. David Diner. There she continued researching the interactions between climate and landscape fires, even traveling as far as Namibia in 2016 to research the complex relationships between smoke from fires and cloud formation. At SAIC, she has begun to explore whether scientists can work with designers to determine whether reimagining data visualization can help scientists ask better questions. She continues to explore contemporary science questions concerning climate change and has given several invited presentations to various organization.

(clockwise from top left) Mika Tosca Jaclyn Silverman Kianni & Allexis Medium 2019 purple marble ambrotype 3 1/4” x 4 1/4” Robert Clarke-Davis Christmas Tree

Jeremy Bolen Detail from Casual Invisibility 2018 Soccer Club Club, Chicago, Illinois. Ilana Harris-Babou Finishing a Raw Basement (still) 2017 4K video, 6:41 min.

S PECI A L TO PIC S

(clockwise from top left) Annalee Koehn No.17 2013 fabric (hand-dyed, production, repurposed), and mixed media collage Brad Callahan Lost moments captured forever 2019 Shot by Michael Burk

Vincent Tiley Blue Zombie 2016 Eric May American (Middle Class Artist Pie) 2018 pie & recipe Seattle Freezer, Seattle

S PECI A L TO PIC S W E E K S 9 & 10 – J U LY 2 6 - A U G U S T 8

FI B E R

Alter/Overflow: Garment Making as Studio Practice Instructors: Brad Callahan & Vincent Tiley 2-week course || FIBER 619 001 3 credit hours || Lab Free: $100 Using the multifaceted and often conflicting traditions of queer dress as a foundation, this garment-based class will introduce students to a spectrum of fashion industry and DIY garment making techniques. Students will explore methods of alternative pattern making, upcycling, textile manipulation, embellishment, and hand techniques to create new wearable art that exists between fashion, performance, and sculpture. Themes of gender, race, desire, fetish, and camp will be explored and expanded in both personal projects and group discussion. Artists and designers whose work will be discussed include to Leigh Bowery, Narcissister, Claude Cahun, Rebecca Horn, Stephen Varble, Louise Bourgeois, Raul De Neives, K8 Hardy, Terence Koh, Nayland Blake, Patrick Kelly, Adrian, Rudi Gernriech, Eiko Ishioka, Iris van Herpen, Charlie le Mindu, Charles Worth, Paul Poiret, Erte, Jean Paul Lespagnard, and Shaye St. John. Experimentation is encouraged and students are invited to present their work as performances, videos, installations, party-personce, etc. Brad Callahan designs the label BCALLA. After graduating

from SAIC he moved to New York City where his eye popping creations made their way from club kids to pop stars quickly becoming a staple for those who dress for attention. BCALLA has appeared in numerous music videos, stage performances and print publications such as Vogue, I-D, PAPER, and Harpers Bazaar. Vincent Tiley ’s paintings, performances, and video works

take the visual and material cultures of queer desire and survival as primary sources. Influenced by fetish, fashion, medicine, protest, and science fiction his work combines these vernaculars with the methodologies of abstraction and durational performance, using bodily restraint as a metaphor to evoke visceral and political responses. Born in West Virginia, New York based artist Vincent Tiley received a MFA from the School of the Art Institute of Chicago and a BFA from the Maryland Institute College of Art. In 2017 he participated in the Fire Island Artist Residency (FIAR) and resident at ACRE. His work has been featured and reviewed in Art in America, the Chicago Tribune, Performa, and the New York Times. The artist has been widely exhibited internationally including the Museum of Art and Design, the Leslie-Lohman Museum, AxeNeo7, CFHILL, and the International Museum of Surgical Science.His works have been collected by the Whitney Library, the Leather Archives and Museum, Yale University Library, and the Watson Library at the Metropolitan Museum of Art.

W E E K 11 – A U G U S T 9 -15

PA I NTI N G

Dimensional Collage Instructor: Annalee Koehn 1 week course || PAINTING 653 001 1 credit hour || Lab Fee: $50

food as a media itself; and the participatory possibilities of cooking, serving, and dining as art forms. We will examine cultural and political implications of what we eat and how it relates to our everyday lives. Our paths of research will wander through the history of food in art as well as outside of the classroom into the rich agricultural abundance of Western Michigan, the traditions of gastronomy at Ox-Bow, and our relationship to the natural landscape.

This week-long class combines traditional collage concepts and paper construction styles to explore a structural approach to image and form using found imagery and materials. Deliberate or makeshift, there is a body of artist collage referencing the world of 3D objects such as paper toys, games, and packaging. Informed by the tradition of artists’ collage and assemblage work, including Eileen Agar, Romare Bearden, Joseph Cornell, Hannah Hoch, Claes Oldenburg, Pablo Picasso, Betye Saar, and Kurt Schwitters, this class will explore and expand the possibilities of 3D structural imagery, function, utility, and content building. Students will employ traditional materials and tools such as bristol board, x-acto knife, scissors, tape and glue, and a stockpile of colored papers, found images, other printed materials. Students will come away with a collection of meaningful objects that incorporate their personal vision and an expanded visual vocabulary.

Eric May is a Chicagoland-based parent, chef, and artist. Eric cooked for Ox-Bow for 15 years, running the kitchen for 11 of those years. He is the founder and director of Roots & Culture, a nonprofit contemporary art center in Chicago’s Noble Square neighborhood. Received an MFA from Northwestern University and has exhibited work and hosted events at the Museum of Contemporary Art Chicago, the Hyde Park Art Center, DePaul Art Museum, Three Walls, and The Charlotte Street Foundation.

Annalee Koehn is a Chicago-based artist and musician and

2-week course || PAPER 627 001 3 credit hours || Lab Fee: $100

teaches at SAIC in the Designed Objects Department. Her work is often structural, but spans disciplines and materials, sometimes defying categorization. Threads that run throughout are an exploration of physical and metaphorical properties of materials, play, cause-and-effect, and the interplay of form and function. Koehn has multiple grants and awards, including a 2019 SAIC Faculty Enrichment Grant, and 8 US Patents. She was a founding member of the original 1988 Par Excellence artist-built miniature golf course and will recreate her golf-hole for the 2020 exhibition Par Excellence Redux at the Elmhurst Art Museum. Her work has been shown at the Chicago Cultural Center, Galerie POWERHOUSE, Montreal, Frederick Layton Gallery at MIAD, Vanderbilt University, Edinboro University of Pennsylvania, Illinois State Museum, Randolph Street Gallery and others. Koehn earned her MFA from Louisiana State University and BFA from University of Illinois. Other teaching includes Milwaukee Institute of Art and Design, West Virginia University, Oakton College, and traditional music and harmony singing at The Augusta Heritage Center and private workshops.

W E E K 12 – A U G U S T 16 - 2 2

S C U LP T U R E VI S UA L C R ITI CA L S T U D I E S

You Art What You Eat Instructor: Eric May 1-week || SCULP 669 001 or VCS 669 001 1 credit hour || Lab Fee: $50 Since the caves at Lascaux, food has been an original subject of art. In this course we will explore representation of food in art; employing

W E E K 11 & 12 – A U G U S T 9 - 2 2

FI B E R

Metamorphosing Paper Instructor: Andrea Peterson

1-week options || WEEK 11 - PAPER 607 001 & WEEK 12 - PAPER 607 002 1 credit hour || Lab Fee $50 Metamorphosis is an entity’s transformation from its original structure into another form. In this course, we will develop an understanding of paper fiber, in tandem with surface and structural modifications, to create works of art. We will be using pulps that can be highly pigmented or translucent to create effects only possible with paper fiber. Pulp imaging, watermarking, and other techniques will be explored to create the illusion of entirely new surfaces. The transformed pulp will be soft, rigid, textured, sculptural, pigmented, etc. Handmade paper fibers are strong, durable, and lightweight and can handle several alterations—allowing them to reference something entirely new. Andrea Peterson creates paper art works and relief printed images on handmade sheets of paper that utilized pulp-drawing techniques. She also creates site-specific installation work and book art pieces. She is an artist, educator, and author based in Laporte, Indiana. She received her MFA from the University of Minnesota, MN and BFA from the School of the Art Institute of Chicago. She co-operates Hook Pottery Paper, which is a joint venture with her husband ceramic artist, Jon Hook. At this studio she creates her artwork, conducts environmentally concerned paper research and production paper that is sold internationally. Her work has been collected by The Metropolitan Museum of Art in NYC.

* WEEK 11 – August 9-15 ; WEEK 12 – August 16-22

W E E K 1 – M A Y 3 1- J U N E 6

W E E K 2 – J U N E 7-13

W E E K 3 – J U N E 14 - 2 0

W E E K 4 – J U N E 2 1- 2 7

Leslie Wilson

Samantha Bittman Leslie Wilson’s scholarship mines the connections between photographic technologies, visual form, and political activism. International in scope, her research focuses on the global history of photography, modern and contemporary arts of Africa and the African diaspora, and modern and contemporary American art. Her current book project charts the development and popularization of color photography in South Africa, from its inception in the early twentieth century to contemporary practice. She is currently the Curatorial Fellow for Diversity in the Arts at the Smart Museum of Art at the University of Chicago, on leave from her position as Assistant Professor of Art History at Purchase College, SUNY. She has held curatorial internships at the Art Institute of Chicago, Contemporary Art Museum St. Louis, and the St. Louis Art Museum and contributed book reviews to African Arts and caa.reviews. From 2015 to 2017, she held a predoctoral fellowship at the Center for Advanced Study in the Visual Arts. She received a PhD in Art History from the University of Chicago and holds a BA in International Relations from Wellesley College.

Matt Austin is a book designer and publisher

based in Chicago, IL. He is the founder and coowner of Candor Arts, an independent publisher and resource for the design and production of artist books. Dedicated to supporting artists through alternative social systems, his relationship to arts communities continues to shift between artist, educator, and entrepreneur. In 2012, he co-founded LATITUDE, an open photography digital lab for Chicago, and The Chicago Perch, a creative platform for social exchange through symposium dinners, book publishing, and public programs. As of January 2020, he has designed, funded, produced and published 46 books for artists (2 small books of his own work) of which have been acquired by over 90 institutional collections around the world, including the Walker Art Center, the Art Institute of Chicago, the Metropolitan Museum of Art, and the New York Public Library. Several books designed and published by Austin have been recognized internationally, namely: Go Down Moses edited by Teju Cole, a finalist for the 2019 Lucie PhotoBook Awards, and In the Company of Black by Cecil McDonald, Jr., a finalist for the 2017 Aperture/Paris Photo PhotoBook Awards. Since 2009, he has taught at the School of the Art Institute of Chicago, Senn High School, Marwen, and currently teaches Artist Publishing Intensives through Candor Arts.

Matt Austin

Erica N. Cardwell

Samantha Bittman is an artist and teacher based in Brooklyn, NY. Her work exists between painting, weaving, and installation, and within it she explores ideas around pattern, perception, and the interconnected development of weaving, technology, and human cognition. She received her BFA in Textiles from The Rhode Island School of Design, and her MFA in Painting from The School of the Art Institute of Chicago. She has participated in residency programs at the Joseph and Anni Albers Foundation, SharpeWalentas 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. Her work has been written about in The New York Times, Wall Street International, and The Washington Post, amongst others. Recent exhibitions include: Ronchini Gallery, London, UK; Andrew Rafacz Gallery, Chicago, IL; Corbett vs. Dempsey, Chicago, IL; and Greenpoint Terminal Gallery; Brooklyn, NY.

Erica N. Cardwell is a writer, critic, and educator based in Brooklyn, New York. Erica uses a Black feminist lens as her primary critical approach - she often writes about print, archival media, visual culture, and interdisciplinary performance. Erica is deeply fascinated with the imaginations of people of color, as a tool for social, spiritual, and collective movement. Her writing has appeared or is forthcoming for BOMB, The Believer, Brooklyn Rail, Frieze, Hyperallergic, Green Mountains Review, Pank, Passages North and other publications. She has been awarded residencies and fellowships from the Lambda Literary Foundation, Vermont Studio Center, and the Summer Writers Retreat at the Banff Centre for Arts and Creativity. Erica received her MFA in Writing from Sarah Lawrence College. She teaches writing and social justice at The New School; and is on the editorial board of Radical Teacher Journal. erica-cardwell.com

V ISI T IN G A RT IS T S

W E E K 5 – J U N E 2 8 - J U LY 4

W E E K 6 – J U LY 5 -11

William J. O’Brien

Zachary Fabri

W E E K 7 – J U LY 12 -18

W E E K 8 – J U LY 19 - 2 5

Michelle Grabner Chicago-based artist William J. O’Brien’s idiosyncratic and exuberant forms are born out of an improvised and intuitive studio practice, rich in material experimentation. Through drawing, painting, sculpture, and ceramics, O’Brien explores the traditional and historical application of materials, but also employs play to refute such definitive uses. Inspired by Modernism, as well as the history of material usage of Outsider Art, O’Brien’s multidisciplinary practice is a search for identity and genuine expression through material and process. O’Brien has held solo exhibitions at the Madison Museum of Contemporary Art, the Museum of Contemporary Art, Chicago and The Nerman Museum of Contemporary Art, Kansas City among others. O’Brien has received awards from the Louis Comfort Tiffany Foundation and Artadia. His work is included in the permanent collections of the Cleveland Clinic, Miami Art Museum and The Art Institute of Chicago.

Naama Tsabar

Zachary Fabri works through a range of media, such as photo, video, performance and drawing. His practice mines the intersection of his personal life and local community, while looking at concerns surrounding cultural commodification, gentrification, and public space. He has been awarded The Louis Comfort Tiffany Foundation Award, the Franklin Furnace Fund for Performance Art, and the New York Foundation for the Arts fellowship. Fabri’s work has been exhibited at Art in General, The Studio Museum in Harlem, El Museo del Barrio, The Walker Art Center, The Brooklyn Museum, The Barnes Foundation, birds + Richard, Third Streaming, Julius Caesar, and Performa. Artist residencies include Workspace at the Lower Manhattan Cultural Council, Smack Mellon, Jardim Canada Center of Art and Technology, HomeBase Project, and Skowhegan. He has collaborated in interdisciplinary projects with choreographer Joanna Kotze at the Baryshnikov Arts Center, and with artist Torkwase Dyson at the Graham Foundation, Museum of Modern Art and most recently at Pace Gallery in New York City. Fabri lives and works in Flatbush, Brooklyn.

Michelle Grabner is an artist, writer and curator. She is the Crown Family Professor of Painting and Drawing at the School of the Art Institute of Chicago. She has also taught at The University of Wisconsin-Madison, Cranbrook Academy of Art; Milton Avery Graduate School of Arts–Bard College; Yale University School of Art; the University of Pennsylvania; and Skowhegan School of Painting and Sculpture. Grabner’s work is represented by James Cohan Gallery, NYC; Anne Mosseri-Marlio, Basel; Rocket, London; the Green Gallery, Milwaukee, Gallery 16, San Francisco; bkprojects, Boston, MA. She has exhibited her work at Musée d´art Grand-Duc Jean, Luxembourg; Stadtgalerie, Keil; The Indianapolis Museum of Art, Green Gallery, Milwaukee; Kunsthalle, Bern; Walker Art Center, Minneapolis; Daimler Contemporary, Berlin; Midway, Minneapolis; Rocket, London; INOVA, Milwaukee; Southfirst, Brooklyn; Gallery 16, San Francisco; Minus Space, Brooklyn; Cranbrook Art Museum, Bloomfield Hills, MI; Shane Campbell Gallery, Chicago; The Milwaukee Art Museum; Anne MosseriMarlio, Zurich; Bricks and Kicks, Vienna; Turbinehallerne, Copenhagen; Ulrich Museum of Art, Kansas; Leo Koenig Gallery, New York; Harris Lieberman Gallery, New York.

Naama Tsabar (b. 1982, Israel) Lives and works in NYC. received her MFA from Columbia University in 2010. Solo exhibitions and performances of Tsabar have been presented at the Solomon R. Guggenheim Museum, Museum of Art and Design, New York; The High Line Art, New York; Nasher Museum, Durham, NC; Kunsthuas Baselland, Switzerland; Palais De Tokyo, Paris; Prospect New Orleans; Tel Aviv Museum of Art; The Herziliya Museum for Contemporary Art, Israel; MARTE-C, El Salvador; CCA Tel Aviv, Israel; Faena Buenos Aires; Frieze Projects, New York; Paul Kasmin Gallery, New York; Paramo Gallery, Guadalajara; Dvir Gallery, Israel; Spinello Projects, Miami. Selected group exhibitions featuring Tsabar’s work include Schirn Kunsthalle in Frankfurt, Elevation 1049 Gstaad, Switzerland; Goodman Gallery, South Africa; TM Triennale; Hasselt Genk, Belgium; ‘Greater New York’ 2010 at MoMA PS1; Museum Dhondt-Dhaenens, Belgium; The Bucharest Biennale for Young Artists; Hessel Museum of Art at CCS Bard; Casino Luxembourg, Luxembourg; ExtraCity in Antwerp,Belgium.Tsabar’s work has been featured in publications including ArtForum, Art In America, ArtReview, ARTnews, The New York Times, New York Magazine, Frieze, Bomb Magazine, Art Asia Pacific, Wire, and Whitewall, among others.

W E E K 9 – J U LY 2 6 - A U G U S T 1

W E E K 10 – A U G U S T 2 - 8

Nora Maite Nievés

Haynes Riley

W E E K 11 – A U G U S T 9 -15

W E E K 12 – A U G U S T 16 - 2 2

John Kilduff

Nora Maité Nieves is an artist interested

in the expanded dialogue of painting. Her paintings, drawings and sculptures explore how we define space through domestic ownership. Nieves make reference to ornamental details from architecture, especially to floor and wall surfaces and tiles. She is drawn to the mystic values of objects such as amulets, heirlooms, and jewelry. Nieves lives and works in Brooklyn. She received her MFA from the School of the Art Institute of Chicago, and her BFA from La Escuela de Artes Plásticas, in San Juan, Puerto Rico. Recent solo exhibitions include: Full Room in the Sun Room at Fresh Window Gallery in Brooklyn, NY, Paisaje Lunar at Flyweight Projects, Brooklyn, NY, and Tangible, Hidrante Gallery, San Juan, PR. Some of her recent group exhibitions include: Rubus Armeniacus (Himalayan Blackberry), Jessica’s Apartment Gallery, New York, Repatriation, (Museo de Arte de Puerto Rico), Eddy’s Room at Galleri Thomassen, Gothenburg, Sweden, Lo Natural at Unisex Salon Gallery, Brooklyn, Expansive Threads curated by Edra Soto at The Latino Arts Gallery in Milwaukee, Wisconsin.

Haynes Riley is founder and director of Good Weather, a gallery in North Little Rock, Arkansas, which has had a decentralizing impact on the presentation of contemporary art. Riley’s practice as an artist, curator, and designer seeks to make meaningful connections through relationship-building and contextualization. Solo exhibitions include An attitude you can wear, at TOPS, Memphis; Grand Opening, at Brittany, Vallejo; and Always, at The Hills Esthetic Center, Chicago. Selected two-person exhibitions include Familiars with Katie Wynne at Sediment, Richmond and Homie Sapiens with Layet Johnson at Thea Foundation, North Little Rock. Group exhibitions include La Mesa Brutal at Arturo Bandini, Los Angeles, Fence as part of The Great Good Place at Threewalls, Chicago, and Document V at The Luminary, St. Louis, among others. Riley has organized exhibitions independently and with various platforms, including friendsh.jp, The Bedfellow’s Club, and Girl/Boy Gallery (which operated during Ox-Bow School of Art’s 2012 Fall Artist Residency). Riley studied at The Mountain School of Arts (MSA^) and has an MFA from Cranbrook Academy of Art. Riley lives and works in North Little Rock, Arkansas.

John Kilduff a.k.a. Mr. Let’s Paint is best known for the cable access TV show titled “Let’s Paint TV” which debuted in 2001, where Kilduff complicates his 35-year passion for plein air painting with comedic, dada-esque performances. After some time in acting school and improv training with the Groundlings he received his MFA from UCLA in 2008. Kilduff has exhibited and performed all over the US, Canada, Australia, and Austria. He lives and works in Los Angeles.

Sky Hopinka

Sky Hopinka is an experimental filmmaker working in forms of documentary and narrative hybrids. He was born and raised in Ferndale, Washington and spent a number of years in Palm Springs and Riverside, CA, Portland, OR, and is currently based out of Vancouver and Milwaukee, WI. In Portland, he studied and taught chinuk wawa, a language indigenous to the Lower Columbia River Basin. His video work centers around personal positions of Indigenous homeland and landscape and designs of language as containers of culture. He received his BA from Portland State University and his MFA in Film, Video, Animation, and New Genres from the University of Wisconsin-Milwaukee and currently teaches at Simon Fraser University in Vancouver. His work has played at various festivals including the New York Film Festival, Toronto International Film Festival, and Sundance. His work was a part of the 2017 Whitney Biennial, the 2018 Front Triennial and was a guest film curator at the 2019 Whitney Biennial.

PRE- COL L EGE PROGR A M W E E K 5 – J U N E 2 8 - J U LY 4

Expansions: Skill Building for Advanced High School Artists Instructor: Claire Arctander 1-week || PAINTING 401 001 || 1 credit hours This pre-college class will entail individual and collective exploration of foundational aspects of artmaking. Participants will establish a community in which they draw from observation, make found object sculptures, and devise site-specific installations to investigate our current surroundings. Students will engage in mark-making and sculptural and performative experiments to learn about ourselves, our values, and our location. Using materials, sites and content found in and around Ox-Bow’s campus, students will begin to develop an understanding of the reasons why art is made. By week’s end, students will decide upon a central question and present a group show of works responding to that theme. Students will gain technical skills in observational drawing, formal skills in organizing objects into coherent artworks, and conceptual skills in developing strong ideas behind their art-making practice. The students’ interests, priorities and collaborative efforts will help dictate the direction of the course and the resulting exhibition. Claire Arctander works across multiple mediums to joyfully

Ox-Bow’s Pre-College program is a

in Ox-Bow’s Pre-College program, a

one-week skill-building class designed

week-long intensive course for high

for advanced high school juniors,

school students who come to Ox-Bow

seniors and recent graduates who

to strengthen their skills and bond with

are considering pursuing a degree in

other artistic teens from a range of

the visual arts. Students are given the

locations and backgrounds.

opportunity to evaluate and strengthen their commitment to the study of art, receive college level instruction, and receive 1 college credit through the

E.W. ROSS SCHOLARSHIP: For any high-school student enrolling in the pre-college program.

articulate conflicted feminist notions of desire and desirability. Claire’s works refer to and respectfully pervert aesthetics of women’s creative outputs throughout American history. Via an investment in and respectful treatment of abject, lush materials and low-brow media outlets—such as pop music, home decor, porn, handicrafts, edibles, and consumer ephemera—she posits debasement as a viable position from which to critically operate. Claire is Campus Director at Ox-Bow. She has worked as a teaching artist at the Museum of Contemporary Art Chicago and at Weinberg/Newton Gallery and has taught at the University of Illinois Chicago and the City Colleges of Chicago. She has been a resident at the Cooper Union, Summer Forum, ACRE, and Ox-Bow. Her work has appeared at Franklin Street Works in Stamford, the Museum of Contemporary Art Chicago, The Nightingale in Chicago, Artists’ Television Access in San Francisco, the 3001 Gallery at the University of Southern California, The Cell in New York City, Eastern Michigan University’s Ford Gallery, nGbK in Berlin, and Gallery 400 in Chicago among others.

School of the Art Institute of Chicago. Other Ox-Bow classes run concurrently

We are grateful to our supporters:

with these courses, providing

The Marian and Tom Wendel

Pre-College students with a sense of

Scholarship in support of the

community as they interact with other

Pre-College Program.

artists taking classes. About E.W. Ross E.W. Ross was a talented and generous artist, educator, and administrator. He served Ox-Bow for over 35 years as Faculty, Program Director, and later Board Member. He founded and taught

(top: clockwise) A selection of photos from the 2019 Pre-College class: drawing from observation at the Crow’s Nest overlook, material experiments with objects collected around campus, and the Campus

community participating in the students’ interactive final installation. 4 Colors to Wipe You 2017 vintage kleenex box and latch hooked yarn

SECT IO N T I T L E

THE LEROY NEIMAN FELLOWSHIP PROGRAM Each summer, Ox-Bow offers 12 fellowship students from competitive art 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. These students live on campus for 14 weeks where they participate in campus life as both staff members and artists. By working closely with the staff, fellows develop relationships with others who have also made artmaking their lives. Fellowship students are either selected by Ox-Bow’s jury or the departments at one of eight partnering schools based on the merit of their work and on their commitment to making inspired and innovative art. During their stay at Ox-Bow, fellowship students are able to reinforce their commitments to artmaking, benefit from

FELLOWSHIP & RESIDENCY

intense focus and access to professional artists. The fellowship program is a once in a lifetime opportunity to participate within an engaging artist-run community.

FELLOWSHIP RECIPIENTS RECEIVE:

WHO CAN APPLY FOR A FELLOWSHIP?

•• A studio space with 24 hour access

•• Students from any school

•• Weekly stipend for working 20 hours

•• Ox-Bow offers 3 fellowships to

on campus in housekeeping, the

undergraduate and graduate

kitchen, grounds and maintenance or

students from any degree-seeking

the office •• Free housing and meals

institution •• Ox-Bow offers 2 fellowships to

•• Weekly studio visits with visiting artists

undergraduate and graduate

•• Opportunity to exhibit their work

students from the School of the Art

•• Opportunity to audit a two week course of their choosing

Institute of Chicago •• Students chosen by Partner Schools

Ox-Bow works with eight partner schools to bring in fellows from across the country. The partner schools for 2020 are Pratt Institute, Cooper Union, Kansas City Art Institute, Rhode Island School of Design, Cranbrook Academy of Art, Grand Valley State University, the University of Texas at Austin and the School of the Art Institute of Chicago. Students from these schools can apply through their school or apply directly to Ox-Bow for the open spots available to students from any school.

F EL LOW SHIP & RESIDEN CY FELLOWSHIP ELIGIBILITY

SUMMER ARTS FACULTY RESIDENCY

Applicants must:

Two week residencies May 31 - August 22, 2020

•• Be undergraduate students in their junior/senior year or MFA students or have graduated December 2019 or later •• Be at least 21 years old at the start of the fellowship •• Have the ability to work in the United State or have a work visa

During the summer, Ox-Bow offers two week residencies to faculty members in the arts, in an adjunct or full-time capacity. This program is designed to give teaching artists the much-needed time to focus on their own work throughout the summer and also to connect with other faculty teaching at Ox-Bow.

2019 FELLOWSHIP STUDENTS Cecilia Beaven, School of the Art Institute of Chicago Ali Bonfils Pratt Institute CC Calloway University of Texas at Austin

The Summer MFA Residency is a threeweek program open to any current or recent MFA graduate. Recent graduates must have graduates from an MFA program on or after December 2019.

Scout Dearth

(faculty, visiting artists and students) while also having the space and time to focus on their practice. There are generally 3 summer residents on campus at a time.

Lin Foust Juan Hurtado Salazar Tyler School of Art and Architecture Travis Morehead Rhode Island School of Design Martha Poggioli School of the Art Institute of Chicago Skye Volmar Rhode Island School of Design Natalie Wadlington

MFA AND ARTS FACULTY RESIDENCY RECIPIENTS RECEIVE: •• Private Studio (raw studio space; classroom studios not available) •• Private room (shared bathrooms and showers) •• 3 meals a day •• Access to visiting artist and faculty for studio visits

those artists working primarily in the medium. If you would like to use this space, make sure it is clearly stated in your application) •• Private room (shared bathrooms and showers) •• 3 meals a day artists presentations

INTERNATIONAL ARTISTS Ox-Bow’s residency programs are open to international artists. Please take the following into consideration when applying: •• International artists are responsible for obtaining and necessary visas, as well as all necessary documentation for travel. •• International applicants are eligible for funding, but please note that any funding granted must be restricted to travel and materials.

COLLABORATIVE GROUPS Artists may apply as individuals or as pairs to live and work on campus on a project of their design. Applicants will receive one studio space as well as shared housing.

•• Evening artist lectures •• Opportunities to share work through slide presentations, readings, etc.

Cranbrook Academy of Art

FALL ARTIST & WRITER RESIDENCIES

ARTIST-IN-RESIDENCE PROGRAM

The ceramics studio is dedicated to

•• Opportunities to share work through

advantage of the summer community

Grand Valley State University

our printmaking and metals studio.

Three-week residencies May 31 - August 22, 2020

The University of Arkansas

Cooper Union

(all residents also have access to

•• A diverse community of engaged

This program allows residents to take

Isabella DeMatteo

•• Studio space with 24 hours access.

SUMMER MFA RESIDENCY

Isabella Castillo

Kansas City Art Institute

RECIPIENTS RECEIVE:

Two, three, & five-week residencies September 7 - October 11, 2020

Ox-Bow’s residency program offers

Fall residents are given the time, solitude,

artists and writers the time, space, and

and focus often unavailable to so many

community to encourage growth and

working artists. Each Fall approximately

experimentation in the practice. The

35 artists and 6 writers participate in

Arts Faculty and MFA Residencies are

the residency creating a community of

held during the Summer while our course

engaged peers. At Ox-Bow, residents can

classes and community programs are in

enjoy 24-hour access to their studios,

session. During this time, a small group

and an inspirational setting, free from

of 3 residents have access to Ox-Bow’s

the expectations of commercial and

artist community of students, faculty,

academic demands. During the fall

and visiting artists. The Fall Artists’

season, Residents have the opportunity

Residencies are held for five weeks in

to work in studios not available during

September and October. This larger

the summer session. Three studios are

group of artists has the opportunity

dedicated specifically to writers. The fall

to build a community while working in

is also an ideal time to propose group or

studios around campus.

collaborative work

APPLICATION DEADLINES •• MFA & ARTS FACULTY RESIDENCY: January 30, 2020, Midnight •• FELLOWSHIP: February 20, 2020, Midnight •• COURSE MERIT SCHOLARSHIP: February 20, 2020, Midnight •• FALL ARTIST AND WRITER RESIDENCY: May 2, 2020, Midnight For more information and to apply online, visit www.ox-bow.org

OVERVIEW Frederick Fursman and Walter Clute, two

and in our public spaces; to remain open

faculty members from the School of the

to new experiences and contribute your

Art Institute of Chicago, founded Ox-Bow

unique perspective to our vital and historic

in 1910. Each summer more than 500 artists,

community. During any given week, you

students, and educators gather along the

will find:

lagoon in beautiful Saugatuck, MI, located 2 ½ hours from Chicago. With programs

classes

that cater to degree-seeking students,

•• Faculty from all over the world

professional artists, and those new to the

•• Renowned Visiting Artists, Curators,

field, Ox-Bow is a protected place where

and Scholars

creative processes break down, reform,

•• MFA and Faculty Artists-in-Residence

and mature. At Ox-Bow, we encourage

•• 12 Fellowship Students from schools

you to experiment, take risks, be playful, and trust your instincts; to engage faculty and fellow students during course time

•• Students taking 1-2 week immersive

across the country •• Staff who are all working artists and have active studio practices

L IF E @ OX- BOW COURSES & STUDIOS Courses offer a unique opportunity to build your community by working closely alongside artists from all over the world with world-class 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 one and two week courses allow students to delve deeply into their practices. All studios, except glassblowing, are open 24 hours. Ox-Bow’s six classroom studios are: •• Thiele Print Studio •• Haas Painting & Drawing Studio •• Seymour & Esther Padnos Metals Studio •• Krehbiel Ceramics Studio •• Burke Glass Studio •• Clute Papermaking Studio

SCHEDULE Sunday (First Day) Schedule: •• Arrive between 2 and 5 PM (Eastern time) for check-in and onsite paperwork •• 5:30 PM orientation, meeting for all students and work study meeting •• 6 PM dinner •• 8 PM first class meeting Throughout the Week: •• Students participate in one course per session •• Classes meet daily 10 AM – 5 PM (except glass classes which meet at 9 AM-6 PM) •• Two-week classes meet on both days of the middle weekend of the session •• No classes meet on the last Saturday of the session

CONTACT INFORMATION Questions concerning your stay at Ox-Bow (i.e. arriving, leaving, what to bring, travel issues, etc.) should be directed to Saugatuck office at (269) 857-5811. The Ox-Bow Campus is located at 3435 Rupprecht Way, Saugatuck, MI 49453. Questions regarding class registration and payment should be directed to the Ox-Bow Program Associate in the Chicago Administrative Offices at (800) 318-3019.

L IF E @ OX- BOW contributes in any way to the disruption of the educational processes or residential life at Ox-Bow. (SAIC students will be subject to the disciplinary procedures and sanctions as outlined in The School of the Art Institute of Chicago’s Student Handbook.) Additionally, Ox-Bow reserves the right to deny a Work Scholarship to any individual who has demonstrated the inability to satisfactorily or safely complete the work assignments given as part of the Work Scholarship program.

COMPANION/GUEST POLICY No companions, guests or visitors are permitted during your stay. All residential housing and studio facilities are limited to artists enrolled in courses. We may be able to assist participants in finding accommodations for individual family circumstances, but these arrangements will be made on a case by case basis and must be in advance of your course or residency. There is no guarantee that alternate accommodations can be established.

SUSPENSION OR EXPULSION POLICIES ACTIVITIES & CAMP LIFE

HOUSING

Ox-Bow reserves the right to impose

There are always a number of activities

Ox-Bow provides shared, dormitory-

sanctions including suspension and

to participate in around camp after

style housing with shared bathrooms

expulsion, without refund, upon students

course hours:

in our main Inns. Single rooms can be

for behavior which in the judgment of

requested at the time of registration and

Ox-Bow contributes in any way to the

are available on a first-come, first-served

disruption of the educational processes

•• Friday Night Open Studios

basis for an additional fee of $150 per

or residential life at Ox-Bow. Additional

•• The Crow’s Nest Trail: Hike through 115

week, except for those with accessibility

policies are listed in the Ox-Bow Policy &

issues. We do our best to match students

Procedures Handbook. (SAIC students will

with the type of housing they request.

be subject to the disciplinary procedure

•• Visiting Artist, Artist-in-Residence and Faculty lectures

acres of wooded dunes •• Take a canoe out to explore the

and sanctions as outlined in the School

lagoon and to the beach along Lake

COMMUTING STUDENTS

of the Art Institute of Chicago’s Student

•• Volleyball on the meadow

Commuting is an option for local residents

Handbook.)

•• Explore the charming resort towns of

and students who wish to make other

Michigan

housing arrangements. There are a

STUDIO POLICIES

•• Relax around the campfire

variety of off-campus accommodations

Each studio has specific policies in order

•• Themed Friday night costume parties

(motels, hotels, inns) located in and around

to ensure the safety of students and

Saugatuck and Douglas. Both towns

equipment. Additionally, these policies

are about 2 miles from Ox-Bow and are

ensure that all participants receive

MEALS

accessible by car. There are a number of

a quality education by having equal

Students enjoy healthy and delicious

options located within walking distance.

access to faculty and equipment. All

meals prepared each day by our

Camping is not allowed at Ox-Bow.

studio specific policies will be explained

talented kitchen staff. Locally sourced

Meal plans are available for commuting

on the first night of classes. Any student

ingredients are used to as much as

students (Lunch only $45, Breakfast and

found in violation of these policies will

possible. Meals are included in the room

Lunch $75, Full Meal Plan $160).

be asked to leave the course without

Saugatuck and Douglas

(a 110 year old tradition!)

and board fee for students residing

refund. These same policies are applied

at Ox-Bow. Three meals and snacks

POLICIES

are served daily. Our chefs are happy

ADMISSION POLICIES

landscape or on the Ox-Bow grounds.

to accommodate dietary restrictions;

Ox-Bow reserves the right to deny

Because Ox-Bow is a community, we

please let the Ox-Bow office know

Admission to any individual who has

ask that all students respect the rights

of any food allergies or special diet

demonstrated a history of behavior

of their classmates and community

requirements upon check-in.

which, in the judgment of Ox-Bow,

members by following our policies.

to any work conducted in the Ox-Bow

L IF E @ OX- BOW

COLLEGE CREDIT Ox-bow classes may be taken for either credit or non-credit. Credit is awarded through the School of the Art Institute of Chicago. SAIC has been accredited since 1936 by the North Central Association of Colleges and Schools, and since 1944 (charter member) by the National Association of Schools of Art and Design. The Pre-College program class for high school students is for-credit only. To request a transcript from SAIC, please contact the Registrarâ&#x20AC;&#x2122;s Office at (312) 6296700 or saic.registrar@saic.edu

PAYMENT FOR CREDIT COURSES All for credit tuition, fees and room and board is billed through SAIC. Checks and money orders for credit courses should be made payable to The School of the Art Institute of Chicago (SAIC). Credit card payments for credit tuition should be made through SAICâ&#x20AC;&#x2122;s payment Service, CASHNET. Students who are taking courses for credit, but who are not affiliated with the School of the Art Institute of Chicago will receive instructions on how to process payment at the time of registration.

PAYMENT FOR NON-CREDIT (AUDIT) COURSES: Payment in full of all tuition, fees, and room and board is required at the time of registration. Non-credit courses may be paid for by credit card, check, or money order. Ox-Bow accepts Visa, Mastercard, American Express, and Discover. Checks and money orders should be made payable to Ox-Bow.

ADDITIONAL FEES LAB FEES AND STUDIO FEES Lab fees are listed with course Ox-Bow welcomes anyone 18 years or

on Monday, March 23, 2020 at 8:30 AM

descriptions. Lab fees cover the cost of

older, from beginning to advanced

at the Ox-Bow office (36 South Wabash,

essential class materials supplied by

artists, to register for courses. Once

Room 1425). Online registration begins

Ox-Bow, including fuel costs (if

registered, students will receive a

at 1:00 PM CST at ox-bow.org. SAIC

applicable), and costs of maintaining the

confirmation email with orientation

students are not able to register through

studios. Please note students may incur

information, supply lists and syllabi.

PeopleSoft for Ox-Bow classes.

other material costs depending on the scale and scope of their projects. All fees

Complete and submit a registration

form on our website www.ox-bow.org or

OPEN REGISTRATION, MARCH 30

fill out the registration form at the back

Registration online, in person, or by

of this catalog. Make sure to include

mail begins on Monday, March 30,

SINGLE ROOM FEE

a signature and payment information.

2020, at 8:30 AM CST. Our office will

Single rooms can be requested at the time

Ox-Bow does not accept registrations

process registrations in the order they

of registration and are available on a first-

by phone.

are received, emailing a confirmation

come, first-served basis for an addition

soon after. In the event that the class

fee of $150 per week, except for those with

SAIC REGISTRATION, MARCH 23

you requested is full, you will receive an

accessibility requirements. As of 2019, the

Currently enrolled undergraduate and

email informing you of your status on the

fee is taken at the time of your registration.

graduate students at SAIC may register

waitlist or that you have been enrolled in

If we are unable to provide you a single

for Ox-Bow courses beginning in person

your second-choice class.

room, we will refund your payment.

are due at the time of registration.

REGIS T R AT IO N & F IN A N CI A L A ID DROP & REFUND POLICY

TRAVEL TO CAMPUS

Work Scholarships are awarded on a

Refunds can only be granted if drop

Ox-Bow’s campus is located at 3435 Rupprecht Way, Saugatuck, MI 49453. Check-in on the first Sunday of classes is between 2 and 4 PM EST. Students are responsible for their own transportation to and from campus. If you plan to take the bus, please contact the office to coordinate pick-up from the bus station, 1-800-318-3019/ox-bow@saic.edu. International students, please check your visa status before registering for an Ox-Bow course. If you are planning to travel out of the country before coming to Ox-Bow, verify that your visa is valid for your registered course dates. More information about transportation is available on our website.

first-come, first-served basis beginning

requests are made three weeks prior to the beginning of class. In the event that Ox-Bow must cancel a course due to low enrollment or for any other reason, full refunds will be given. To drop a course, students must submit the request in writing to Ox-Bow’s Registrar. Call (800) 318-3019 or email ox-bow@saic.edu for more information. Simply not attending does not constitute a drop. Additionally, it is not possible to drop an Ox-Bow course through SAIC Self-Service or through the SAIC Registrar. The following drop fees will be assessed

on the first day of SAIC registration. There are a limited number of scholarship positions available per week. •• Work Scholarships are available to for-credit students only. •• Work Scholarships are not available to students enrolled in glass courses or the Pre-College Program. •• Students and request to work in housekeeping, grounds and maintenance, or dishwashing. We try our best to accommodate each request. •• Students may work as many weeks as are available. •• Students participating in Work

dependent on when you drop your course

Scholarship will have roommates.

(scholarships cannot be used to cover

•• Please be certain before applying

drop fees):

that you are able to complete the

•• From the first day of registration until 4:30 PM on Friday, April 24, 2020 you

requested work. It is absolutely

will receive a full refund minus a $100

required that students inform

drop fee.

Ox-Bow in advance if they decide not to complete work scholarship duties.

•• If you drop after April 24 until 3 weeks prior to your first day of class, you will receive a full refund minus $250 drop

OX-BOW SCHOLARSHIP

fee and any associated lab fees.

For non-credit students taking a summer course. Please see our website for more

•• If you drop within 3 weeks of the start date of your class, no refunds will be given.

details.

WORK SCHOLARSHIPS Work Scholarship students have the

•• Drops due to an unforeseen emergency (i.e. hospitalization, etc.) are eligible to be contested through the School of the Art Institute of

opportunity to experience Ox-Bow in a unique, “behind-the-scenes” way by working closely with resident staff. Students are expected to work 15

Chicago’s Refund Review Board.

hours each week and in return receive

Documentation is required and

discounts of $625 per week on room &

refunds are typically partial.

board fees. In order to fulfill the work commitment, students are expected to

Please contact Ox-Bow’s registrar at ox-bow@saic.edu or (800) 318-3019 for the refund review forms and information.

arrive on campus Sunday between 2-4 PM and must stay until 2 PM on the Sunday after their class.

SIX CREDIT SPECIAL Take 6 credits at Ox-Bow this summer (two 3-credit courses, 4 weeks total) and you: •• Receive 2 weeks of room & board free (a $1250 value!) •• Are eligible for federal loans •• Can complete your 6 SAIC off-campus study requirements in one amazing summer!

SAIC FINANCIAL AID Undergraduate and graduate students from the School of the Art Institute of Chicago may be able to use their financial

WORK SCHOLARSHIP

aid award from SAIC toward degree credit

TUITION

ROOM & BOARD

FULL RATE TOTAL

1 Week Non-Credit

$600

$625

$1,225

will need to complete an SAIC Summer

2 Weeks Non-Credit

$1,350

$1,250

$2,600

available at www.saic.edu/faforms even if

tuition for courses at Ox-Bow. Students 2020 Institutional Financial Aid Application you will be using only a merit scholarship

1 WEEK FOR 1 CREDIT

award. Applications must be submitted

Undergrad Rate

$1,666

$625

$2,291

-$625

Graduate Rate

$1,730

$625

$2,355

-$625

2 WEEKS FOR 3 CREDITS

before the term begins. Please contact the SAIC Student Financial Services office or refer to the application for exact deadline. Financial aid typically does not cover room and board or lab fees at Ox-Bow.

Undergrad Rate

$4,998

$1,250

$6,248

-$1,250

Graduate Rate

$5,190

$1,250

$6,440

-$1,250

Learn more about applying at the School’s Office of Financial Aid, by calling (312) 6296600, or by emailing saic.sfs@saic.edu.

OX-BOW MERIT SCHOLARSHIPS Ox-Bow offers a variety of scholarships for students taking credit or non-credit classes to ensure that the Ox-Bow experience is open to everyone. All applications are due on February 20, 2020 Midnight. Apply online at www.ox-bow.org *Only one application is required to apply for all available scholarships.

THE BEA AND CAROLINE DAVIS SCHOLARSHIP

JASON KALAJAINEN SCHOLARSHIP

MARION AND TOM WENDEL SCHOLARSHIP

This scholarship is available to all students, credit or non-credit courses.

In honor of Jason Kalajainen’s seven years of service as Ox-Bow’s Executive Director. For undergraduate or graduate students from any school. Credit or non-credit courses.

For any high school student enrolling in the pre-college program.

BEN SEAMONS MEMORIAL SCHOLARSHIP This scholarship is available to all students, credit or non-credit 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 This scholarship is available to all students, credit or non-credit courses.

E.W. ROSS SCHOLARSHIP For any high school student enrolling in the pre-college program.

For SAIC students to take classes at OxBow on the basis of financial need.

LALLA ANNE CRITZ ZANZI SCHOLARSHIP For female SAIC undergraduate and graduate painting students only. Credit courses only.

LATINX ARTIST VISIBILITY AWARD A fully funded opportunity for Latina/o/x students to experience Ox-Bow. For undergraduate and graduate students from any school. Credit or non-credit courses. This award is in partnership with J. Soto and Anthony Romero.

LEROY NEIMAN FOUNDATION SCHOLARSHIP

THE FITZ AND THELMA COGHLIN SCHOLARSHIP

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

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

LORETTE GRELLNER SCHOLARSHIP

GEORGE LIEBERT SCHOLARSHIP For undergraduate and graduate students from any school. For credit courses only.

JIM ZANZI SCHOLARSHIP FUND

For adult women who are either pursuing a degree in art, or those who need to refresh their professional practice in the classroom environment.

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

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

This application is also available online at www.ox-bow.org.

2020 SUMMER REGISTRATION FORM STUDENT INFORMATION (PLEASE PRINT CLEARLY) First Name

Last Name

Middle Initial

SAIC Student ID # (if applicable)

HAVE YOU ATTENDED OX-BOW BEFORE?

Date of Birth (mm/dd/yr)

Age

Gender

Pronouns

Primary Phone

Email City

Address

State

Yes

Zip

Please inform us of any medical/health conditions or disabilities that might require assistance, and/or if you have an accommodation letter that you would like us to pass along to your faculty.

EMERGENCY CONTACT INFORMATION Name

Relationship

Phone

DEMOGRAPHIC INFORMATION: Demographic information on this form is optional and is collected with federal regulation. It is the policy of Ox-Bow not to discriminate on the basis of this information in regards to recruitment and admission, financial aid programs, student employment service, educational programs and activities, or in employment practices. Please check any and all categories that apply to you: Race

American Indian or Alaskan Native Hispanic or Latinx Native Hawaiian or Other Pacific Islander

Asian Middle Eastern or North African White

Black or African American Other Prefer not to answer

SCHOOL INFORMATION What school are you enrolled in?

City & State

Area of Study Level

High School

Year

1st year

Post-Baccalaureate 2nd year

COURSE REGISTRATION Are You Registering for Credit/Non-Credit? COURSE TITLE

Graduate

Undergraduate 3rd year

Credit

4th year

Low Res 1st Year Grad

2nd Year Grad

N/A

Non-Credit

DATES

TUITION

ROOM & BOARD FEE

LAB FEE

1. 2. 3. Alternate Choice #1 Alternate Choice #2 HOUSING REGISTRATION I plan to commute daily (meal plans can be purchased upon arrival) I want to reside on campus, in a gender-same room I want to reside on campus and request as a roommate:

I have no housing preferences I want to reside on campus, in a gender-neutral room I would like to request a single room (limited availability on a first-come, first-served basis) for an additional $150/week due at the time of registration

Course registration continues on back

This application is also available online at www.ox-bow.org.

2020 SUMMER REGISTRATION FORM DROP POLICY Please read carefully, Ox-Bow’s drop policy is not the same as SAIC’s drop policy. To drop a course, students must submit the request in writing using Ox-Bow’s online drop form. Call (800) 318-3019 for more information. Simply not attending does not constitute a drop. Additionally, it is not possible to drop an Ox-Bow course through the SAIC Self-Service or through the SAIC Registrar. The following drop fees will be assessed dependent on when you drop your course: •• From the first day of registration until 4:30PM on Friday, April 24, you will receive a full refund minus a $100 drop fee. •• If you drop after Friday, April 24 until 3 weeks prior to your first day of classes: you will receive a full refund minus $250 drop fee and any associated lab fees. •• If you drop within 3 weeks of the start date of your class: no refunds will be given. Drops due to an unforeseen emergency (i.e. hospitalization, etc.) are eligible to be contested through the School of the Art Institute of Chicago’s Refund Review Board. Documentation is required and refunds are typically partial. Please contact Ox-Bow’s registrar at Ox-Bow@saic.edu or (800) 318-3019 for the refund review forms and information.

PAYMENT Payment in full of all tuition, fees, and room and board is required at the time of registration, except for SAIC degree-seeking students, who will be billed through SAIC. SAIC students can view payment options by visiting www.saic.edu/payment/paymentoptions/

NON-SAIC (FOR CREDIT) STUDENT PAYMENTS: •• Payments must be made by check payable to The School of the Art Institute of Chicago. •• Checks should be mailed directly to Ox-Bow. (Ox-Bow, Attn: Registrar, 36 South Wabash, 12th Floor, Chicago, IL 60603). •• Checks will be delivered to Bursar’s office by Ox-Bow.

NON-CREDIT (AUDIT) COURSES: Payment in full of all tuition, fees, and room and board is required at the time of registration. Non-credit courses may be paid for by credit card, check, or money order. Ox-Bow accepts Visa, Mastercard, American Express, and Discover. Checks and money orders should be made payable to Ox-Bow and mailed directly to Ox-Bow, Attn: Registrar, 36 South Wabash, 12th Floor, Chicago, IL 60603.

REGISTRATION POLICIES I understand that I am academically and financially responsible for the course(s) for which I’m registering. I understand that any changes are contingent upon the completion and submission of the proper forms to the Ox-Bow office and that I may incur academic or financial penalties if I don’t follow these procedures. I give Ox-Bow the permission to provide medical care, hospital or clinic treatment or to administer minor medicine provided through Ox-Bow to me/my minor or ward. I hereby waive liability against Ox-Bow for such care provided or transportation to such location as deemed necessary by Ox-Bow. I give Ox-Bow permission to photograph and publish photographs of me/my child participating in instruction and/or social activities at Ox-Bow, which permission shall remain in effect until revoked, in writing, by me to the Ox-Bow staff.

SIGNATURE: I am 18 years of age or older. I have read, understand, and agree to the registration drop policy and payment information. Registration without payment, course choice, or which cannot be processed for any other reason will be returned. *Mail-in registrations will not processed until the first day of registration on March 30th.

Signature

Questions? Email Ox-Bow@saic.edu Phone (800) 318-3019 Stop by our office in the Sullivan Center, 36 South Wabash, Room 1425, Chicago IL 60603

Date

MISSION & OVERVIEW

OX-BOW BOARD OF DIRECTORS Steven C. Meier President Peter C. Krupp Vice President Janet R. Cunningham Secretary Lucy Minturn Governance Chair Dawn Gavin William Padnos Louise Silberman Elissa Tenny Keith P. Walker Todd E. Warnock President Emeritus

Ox-Bow connects artists to: •• A network of creative resources, people and ideas. •• An energizing natural environment. •• A rich artistic history and vital future.

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

EMERITUS BOARD Ox-Bow’s Emeritus Board confers special honors and distinction upon former members of Ox-Bow’s Board of Directors and Auxiliary Board who have exhibited noteworthy dedication and commitment to Ox-Bow. This a lifetime appointment that celebrates Ox-Bow’s important legacy.

STEWARDSHIP COMMITTEE

STEWARDSHIP COMMITTEE Julie Abel James Brandess Jaqueline Carey Annette Cress Todd Knight Kathleen Markland Greg Plowe Kay Smalley

Ox-Bow’s Stewardship Committee links Ox-Bow to the vibrant Saugatuck/Douglas community, as well as neighboring West Michigan communities, including Grand Rapids, Kalamazoo, Holland, and Muskegon. Members engage Ox-Bow with local residents and partners through events, programs, and general outreach. They are charged with educating the region about Ox-Bow’s resources, connecting individuals, families, and other organizations with meaningful opportunities on campus. The committee is responsible for maintaining open communication, goodwill, and strong relationships between Ox-Bow and the community in which it has thrived for over a century.

EMERITUS BOARD Roger Arbury Barbara Whitney Carr Patricia Dewey Arthur Frederick Lawrence Gammons Margaret McDermott Carol Sarosik

STAFF

2019 SEASONAL STAFF

Shannon R. Stratton Executive Director

Devin Balara Metals Studio Manager

Mac Akin Campus Operations Assistant

Mary Clemens Chef

Claire Arctander Campus Director

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

JOHN M. HARTIGAN MEMORIAL SCHOLARSHIP FOR PAINTERS John M. Hartigan was a life-long Chicagoan, an artist, a patron of the arts, and a dedicated family man. A gifted lawyer and an engaged community member, John was always interested in civic affairs, sitting on a number of Boards. Over the years he took courses at the School

of the Art Institute, as well as Summer courses at Ox-Bow. John loved both the camaraderie and the artistic synergy of the campus. The Hartigan Endowment will be used to support the on-going education of artist in residence whose medium is acrylic and/or oil. This award is available to applicants for both the Summer and Fall Residency cycles.

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

Erin Chapla Head Chef and Events Coordinator Aaron Cook Operations Manager Laura Eberstein Director of Finance and Administration Ashley Freeby Design & Communications Coordinator Danny Giles Academic Director Molly Markow Administrative Assistant Ciera McKissick Program Assistant Rebecca Parker Program Director Maddie Reyna Assistant Program Director John Rossi Facilities Manager

Michael Cuadrado Housekeeping Manager Dove Drury Ceramics Studio Manager Bobby Gonzales Print and New Media Studio Manager Zander Harlan Chef Davis Hartman Glass Studio Manager Nate Large Sous Chef Connor O’Brien Glass Teaching Assistant Marie Peña Dishes and Housekeeping Assistant Natalie Spicker Chef Christina Sweeney Chef Danielle Thurber-DeGroot Wellness Counselor Andalyn Young After Hours Personnel

36 South Wabash Avenue 12th Floor Chicago, IL, 60603