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COVER ARTIST: Marianne Fairbanks Space Glo 2015 tape and spray paint on paper Photo Credit: Gregory Vershbow 2
A Note from Ox-Bow’s Executive and Creative Director Since its founding in 1910, Ox-Bow has provided an arena for new ways of thinking and making, all while uniting practitioners at many career levels in the pursuit of artistic production and community building. Ox-Bow is a place to try something new. Students meet peers from other institutions, forming unexpected relationships and collaborations. Painting majors take
Contents Courses and Faculty Course Calendar
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Printmaking
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ceramic classes and printmakers produce site-specific
Painting and Drawing
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performances. New and emerging artists approach long-
Ceramics
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Glassblowing
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As you make a selection for which class to take,
Metals/Sculpture
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consider the possibility of venturing outside your comfort
Special Topics
admired professionals in their field, creating connections that last for years to come.
zone. Part of what makes risk-taking at Ox-Bow possible
Art History
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and community. As an artist-run space that brings new
Animation
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people together every season, we continuously build and
Photography
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faculty, and staff. This makes for an experience that
Fiber
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is intentional and cooperative, while at the same time
Science
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Performance/Sculpture
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of the real world replicate themselves even in the most
Visiting Artists
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removed and idyllic scenarios. What Ox-Bow has taught me
Special Programs
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Fellowship Program
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we change location and enter an intentional community.
Artist Residencies
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Yes, we are leaving behind daily life as usual, but we
Pre-College Program
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Life at Ox-Bow
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is what I think of as the utopian culture of our campus
renew our commitments to one another as students,
temporary and aspirational. There is no such thing as true utopia. The problems
about utopia is that engagement with artistic process and its attendant socio-political questions only deepens when
are not turning away from inquiry, discourse, and skillacquisition. And through the process of pursuing these within a new context, we open up our thinking, change our behavior, and build new habits. We need art practices that thrive on risk-taking and community–building. It is not enough to imagine the world we want, we need opportunities to actually practice living it. And it is through this living that we take knowledge
Registration and Financial Aid Information Scholarships & Financial Aid
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Registration Details
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Registration Form
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back into our daily routines, art practices, and more permanent family and social structures. This is how true change takes root and new possibilities thrive. Let’s consider this catalog a preliminary roadmap for our growth as artists and community members.
Mike Andrews
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2018 Course Calendar
Visiting Artist
WEEK 1
WEEK 2
WEEK 3
WEEK 4
WEEK 5
June 3-9
June 10-16
June 17-23
June 24-30
July 1-7
Caroline Kent
Ebony G. Patterson
Stephanie Syjuco
Gordon Hall
Kristan Kennedy
Printmaking
Multiples & Experimental Printed Matter PRINT 651 001 Breanne Trammell
Black in the Woods: Representation and the Pastoral PRINT 652 001 Ayanah Moor & Krista Franklin
Etching PRINT 601 001 John O’Donnell
Painting & Drawing
Exploding Paint PAINTING 650 001 Claire Ashley & Kori Newkirk
Watercolor PAINTING 606 001 Carrie Gundersdorf
Pre–College Program: Landscape Drawing DRAWING 407 001 E.W. Ross & Olivia Petrides
Ceramics
Form Structure Surface CER 639 001 Del Harrow & Sanam Emami
Glass
Beginning Glass Session 1 GLASS 630 001 Bohyun Yoon
Metals
Special Topics
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Questioning Landscape PAINTING 651 001 Carris Adams
Shaping the View: Site Responsive Proposals CER 644 001 Linda Sormin & Dawn Franklin Multi-level Glass GLASS 641 001 Mert Ungor
Goo, Chunks and Sometimes Vases: Glassblowing for Beginners and Maestros GLASS 644 001 Tim Belliveau
Expression in Glass GLASS 645 001 Arlo Fishman & Lancelot S. Fraser
Blacksmithing: Sculptural Forms SCULPT 623 001 Mike Rossi Papermaking PAPER 604 001 Andrea Peterson
Party as Form SCULPT 648 001/ Art History 623 001 Shannon Stratton & Ben Fain
Bird Science: An Introductory Survey SCIENCE 604 001 Dianne Jedlicka
Supermodel: Imagining Alternative Models and Practices SCULPT 659 001 Edra Soto
Ghost in the Machine PHOTO 611 001 Sarah & Joseph Belknap
Activating and Animating Digital Collage FVNMA 608 001 Shani Peters
WEEK 6
WEEK 7
WEEK 8
WEEK 9
WEEK 10
WEEK 11
July 8-14
July 15-21
July 22-28
July 29-August 4
August 5-11
August 12-18
Arnold J. Kemp
Eric N. Mack
Asher Hartman
Ernesto Pujol
Caroline Woolard
Andy Coolquitt
Monotype PRINT 609 001 Aay Preston-Myint
Flora and Fauna of Ox-Bow: Nature Illustration in Watercolor PAINTING 613 001 Peggy Macnamara
Lithography: Stone and Photolithography PRINT 637 001 Danny Miller & Kristina Paabus
Lithography: Lithography: Photolithography Stone Lithography PRINT 635 001 PRINT 635 002 Danny Miller Danny Miller & Kristina Paabus & Kristina Paabus Painting Turned on its Head PAINTING 649 001 Paula Wilson
Relief Print to Book Art PRINT 650 001 Jeanine Coupe Ryding & Myungah Hyon
Screen printing: Marks, Stencils + Exposures PRINT 611 001 Nick Butcher & Mat Daly FACES!: Portraiture and the Expanded Subject PAINTING 652 001 Ruby T
Multi-Level Painting: Materials, Prcess & Form PAINTING 605 001 Josh Reames & Siebren Versteeg
Materials and Processes: Woodfire CER 616 001 Benjamin Lambert & Nathan Willever
The Object in Context CER 631 001 Anders Ruhwald & Marie Hermann
Beginning Glass Session 2 GLASS 630 002 Megan Biddle
Experiments in Glassblowing GLASS 616 001 Deborah Adler
Generative Forms SCULPT 657 001 Christopher Meerdo
Lighting: Fixtures, Flashlights & Reflectors SCULPT 658 001 Chris Buchakjian
Wet-plate and Platinotypes PHOTO 609 001 Robert Clarke Davis & Jaclyn Silverman
Wet-plate and Platinotypes PHOTO 610 001 Robert Clarke Davis & Jaclyn Silverman
Sumi-e: East Asian Brush Painting PAINTING 639 001 Qigu Jiang
Multi-Level Foundry SCULPT 660 001 Lloyd Mandelbaum & Liz Ensz
Image in Enamel SCULPT 645 001 Veleta Vancza
Organize Your Own PRINT 653 001 Daniel Tucker & Dan S. Wang
Speculative Weaving FIBER 617 001 Marianne Fairbanks
Wet-plate and Platinotypes PHOTO 610 002 Robert Clarke Davis & Jaclyn Silverman
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Paula Wilson, In the Desert: Mooning, 2016, collagraph on muslin from two plates, handprinted collage on muslin and inkjet collage on silk, mounted on canvas and wood
Aay Preston-Myint, Rainbows are the Shadows of a Presence, 2017, graphite, pigment, metallic tape, latex paint, paperclay, and colored lights
PRINTMAKING PAINTING & DRAWING
Claire Ashley, HotPocket (right), Puff (left back), 2017, installation shot from Loathsome Beauty, Loaded Body, curated by Rachel Adams, UB Anderson Gallery, University of Buffalo, NY, 2017, spray paint on PVC coated canvas tarpaulin and fans, photo courtesy of the artist
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Kristina Paabus, The Sleight, 2014, screen print and digital plotter drawing on paper
Multiples & Experimental Printed Matter
Black in the Woods: Representation and the Pastoral
Breanne Trammell PRINT 651 001 3 credit hours, 2 weeks Lab Fee: $100
Ayanah Moor + Krista Franklin PRINT 652 001 3 credit hours, 2 weeks Lab Fee: $100
June 3-16
June 17-30
This course will trace the roots of underground
This interdisciplinary seminar and studio course
publishing and artist-published objects and ephemera.
examines notions of blackness and the pastoral. We
Students will create a body of work based on assignment
will discuss art works and readings related to concepts
prompts and self-directed projects related to their individual
of the gothic, identity, race, cultural studies and the
practices through an idea-centered, research-based
landscape. In addition to more traditional processes
approach to building images and content. Class meetings
including papermaking, cyanotype, relief printing and
will be used for technical demonstrations (silkscreen, xerox
creative writing exercises, faculty will support and cultivate
monotypes & image transfers, letterpress monoprints,
diverse approaches to media, such as performance, site-
zines & basic bookbinding structures), looking at prints
specific installation, and field recording. Readings will
and printed matter, work time on projects, individual
include excerpts from Black Nature: Four Centuries of
mentoring and consultations, critiques of work, and
African American Nature Poetry Ed. by Camille T. Dungy;
discussions of readings.
Demonic Grounds: Black Women and The Cartographies
FACULTY
of Struggle by Katherine McKittrick; and White: Essays on Race and Culture by Richard Dyer; in addition to media
Breanne Trammell
screenings of Get Out by Jordan Peele, Swimming in
Breanne Trammell is a multi-disciplinary artist and Friday Night Lights
Your Skin Again by Terence Nance, and Falling to get
enthusiast. Her studio practice explores objects and icons from popular
here by Suné Woods.
culture, the confluence of highbrow and lowbrow, and mines from her personal history. Trammell’s publishing imprint, Teachers Lounge, operates as a forum
FACULTY
to explore subversive topics and reveal hidden histories related to education,
Ayanah Moor
activism, politics, sports, and visual culture. Her work has been widely
Ayanah Moor is an interdisciplinary artist whose practice takes the form
exhibited and she has been an artist-in-residence at the Women’s Studio
of individual action, collaboration, and participation. Her creative tools
Workshop, Ox-Bow School of Art, Kala Institute, Endless Editions, Zz School
include printmedia, painting, drawing, and performance. Moor’s visual field,
of Print Media, The Wassaic Project, and Kimmel Harding Nelson Center for
black vernacular and gender performance, operate within the discourse
the Arts. Trammell received her MFA from the Rhode Island School of Design
of authorship, sampling, and appropriation. She has exhibited at The
and is an Assistant Professor of Fine Arts at the University of Cincinnati.
Andy Warhol Museum, The Studio Museum in Harlem, Wexner Center for the Arts, One Archives—University of Southern California Libraries and
Breanne Trammell Pocket Poetry Mobile Zine Library, Ongoing copy machine & paper, boat battery, power inverter, your belongings
The Mattress Factory Art Museum. Dan S. Wang & Anthony Romero’s 2016 book, The Social Practice that is Race, described her work alongside Hank Willis Thomas and Ellen Gallagher as “carrying forward a new
FROM TOP: Ayanah Moor This Blackness Is Just For You, 2012 ink on paper Krista Franklin bodymemories & in-betweens, 2017 collage on ledger paper
black arts tradition.” Moor completed her BFA at Virginia Commonwealth University and MFA at Tyler School of Art. She is currently Chair of the Department of Printmedia at the School of the Art Institute of Chicago. Krista Franklin Krista Franklin’s poems and visual art have appeared in Poetry, Black Camera, Copper Nickel, Callaloo, Vinyl, BOMB Magazine, Encyclopedia, Vol. F-K and Vol. L-Z, and the anthology The BreakBeat Poets: New American Poetry in the Age of Hip-Hop. Willow Books published Study of Love & Black Body, her chapbook of poems, in 2012. Franklin’s work has exhibited at The Obama Foundation Summit, The Studio Museum in Harlem, Chicago Cultural Center, The Cornell Fine Arts Museum, The Columbia Museum of Art, National Museum of Mexican Art, and featured on 20th Century Fox’s Empire. She holds an MFA in Interdisciplinary Arts – Book & Paper from Columbia College Chicago.
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Etching
Monotype
John O’Donnell PRINT 601 001 1 credit hour, 1 week Lab Fee $50
Aay Preston-Myint PRINT 609 001 1 credit hour, 1 week Lab Fee $50
July 1-7
July 8-14
Students will be introduced to various methods
This course will present a variety of oil and water-
used in making intaglio prints. Demonstrated techniques
based monotype techniques including chine colle,
will include etching, drypoint, and aquatint, as well as
block printing, painted and photographic image
a variety of experimental approaches to plate-making
transfers, and over-printing. Monotype is a versatile
and printing. Discussion and critique of work will be
process incorporating chance and improvisation, and
included with equal emphasis on technique and concept.
can be performed in the landscape as well as in the studio. Painters as well as printmakers will find this a
FACULTY John O’Donnell
dynamic new medium that is perfect for the home studio.
John O’Donnell is an Assistant Professor of Printmaking at the University
FACULTY
of Connecticut. He has been making prints for 21 years and his current
Aay Preston-Myint
printmaking and drawing practice investigates “Hollow Earth Theory” which
Aay Preston-Myint is an artist, printmaker, and educator living in Chicago,
is a fantastic idea that the earth is hollow and composed of multiple layers of
USA. His practice employs both visual and collaborative strategies to
different subterranean realties. In addition to being a dedicated printmaker
investigate memory and kinship, often within the specific context of queer
he is also a multidisciplinary artist and performer. He has exhibited his prints
community and history. In addition to his own work in interdisciplinary
at the Print Center in Philadelphia, the International Print Center in New York
media, he is a founding member and chief organizer of several collectives
and Seoul Museum of Art in Seoul, South Korea. He has created performance
and collaborative projects including: No Coast, an artist partnership that
and installation pieces for Blue House Arts, Dayton, OH; Glass Box Gallery,
prints and distributes affordable contemporary artwork; the Chicago Art
Seattle, WA; New Britain Museum of American Art; Museum of New Art in
Book Fair, an annual event dedicated to showcasing emerging directions and
Detroit, MI; Proof Gallery in Boston, MA; FluxSpace in Philadelphia, PA; and
diverse legacies within small press arts publishing; and Chances Dances,
SOHO20 Gallery in New York, NY.
a party that supports and showcases the work of queer artists in Chicago.
John O’Donnell Hollow Earth: Morphology, 2017 etching
Aay Preston- Myint Untitled (Mirror) II and Untitled (Mirror) III, 2016 screen print and monoprint in dye, pigment, and bleach on hand-dyed canvas
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What's the best advice you’ve been given about artmaking that your students should know? Don't give up. Work begets work, keep working through the problems and the problems you overcome will guide you through the next set of challenges. Ideas emerge from materials, so just dig in and see what happens. -John O’Donnell
PRINT July 15-28,
July 15-21, July 22-28
Lithography: Stone and Photolithography Danny Miller and Kristina Paabus PRINT 637 001/ 635 001 or 635 002 1 credit hour, 1 week, $50 Lab Fee or 3 credit hours, 2 weeks, $100 Lab Fee 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 t wo 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 Danny Miller Untitled, 2016, lithograph
possibilities through editions and unique variants. Emphasis will be placed on both conceptual and technical development, and additional demonstrations will be added based on the specific interests and needs of the participants. Class consists of demonstrations, presentations, work time, discussions, and critiques. Historical and contemporary lithographic examples will be presented in order to clarify the relationships between idea, context, material, and process.
FACULTY Danny Miller 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, SAIC and Ox-Bow School of Art and has been the Printmedia Department Manager at SAIC for 29 years. He received his MFA from the University of Wisconsin-Madison and has worked in
Do you have a favorite Ox-Bow memory? Having attended Ox-Bow as a student, resident, and instructor, I often describe myself as an Ox-Bow megafan. This magical and transformative place is always inspiring, productive, and full of amazing people. For me it is not just one favorite memory that stands out, but rather the entire atmosphere that defines Ox-Bow. This unique experience includes long days and nights in the studio, exploring nature, time for focus, conversations with new and old friends, and of course the costume dance parties. -Kristina Paabus
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. Kristina Paabus Kristina Paabus earned her BFA from the Rhode Island School of Design and MFA from the School of the Art Institute of Chicago. She has exhibited her work throughout the U.S. and Europe, and recent exhibitions include NEO Geo at the Akron Art Museum, Belt and Road at The National Gallery of Kristina Paabus Something to Believe In, 2015 screen print and digital plotter drawing on paper
Bulgaria, and the grass is the same color over there at Gallery Metropol in Estonia. Paabus is the recipient of a Fulbright Fellowship for Installation Art in Estonia, the Grant Wood Fellowship in Printmaking at The University of Iowa, and the Southern Graphics Council International Guanlan Residency Award. Kristina has attended numerous artist residences such as ACRE, OxBow, Women’s Studio Workshop, Emmanuel College, S�M, MUHU A.I., Guanlan Original Printmaking Base, NCCA Kronstadt, and Anderson Ranch Art Center. Paabus is Associate Professor of Reproducible Media at Oberlin College.
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Relief Print to Book Art
Screen Printing: Marks, Stencils and Exposures
July 29-August 4
Jeanine Coupe Ryding and Myungah Hyon PRINT 650 001 1 credit hour, 1 week Lab Fee $50 Participants will learn to carve and print wood
August 5-11
Nick Butcher and Mat Daly PRINT 611 001 1 credit hour, 1 week Lab Fee $50
block narratives that are bound into book forms. Using
In this course, students will acquire technical
the relief print and some writing, participants will learn
proficiency in various hand and photographic stencil
single sheet, saddle stitch, perfect and accordion
printing metho ds. Individual exploration and
style bookbinding. The binding style of each book is
development in the medium will be encouraged
considered with regard to the content it is presenting.
and supported by both individual instruction and
Through examples and demonstrations students will
group critiques. Emphasis will be placed on unique
learn about papers, using the tools of relief printmaking,
prints created by layering, stencil repositioning, and
as well as tools and materials of bookbinding. Emphasis
combining hand mark-making with photographic and
is on content, self expression, and acquiring skills.
found imagery. Collaboration will be encouraged.
No prior experience necessary, writers welcome.
FACULTY Myungah Hyon Myungah Hyon is an Adjunct Associate Professor in Printmedia at the School of the Art Institute of Chicago. She earned her BFA from the Ontario College Of Arts and Design and MFA from SAIC. She has exhibited at Printed Matter Inc., NY; Kookmin Art Gallery, Seoul, Korea; Gallery Factory, Seoul, Korea; Riverside Art Center, Riverside, IL; William A. Koehnline Gallery, Des Plaines, IL; Elmhurst Art Museum, IL; Artemisia Gallery, Chicago, IL; Gallery 312, Chicago, IL and earned awards from Community Artist Assistant Program, City of Chicago; Seoul Foundation for Arts and Culture; and Arts Council Korea. www.myungahhyonart.com Jeanine Coupe Ryding Jeanine Coupe Ryding’s work has been shown throughout the U.S. and abroad and her prints and artists books are in multiple museum collections. She focuses primarily on woodcut prints, etchings, artist’s books, drawing and collage, and has founded both Shadow Press and Press 928 in Evanston, Illinois for artist’s books publishing. She received her BA from The University of Iowa and her MFA from Universitat der Kunste, Berlin, Germany. She has received various awards and residencies including Illinois Arts Council Award, Arts Midwest, Frans Masereel Center in Belgium, Roger Brown in Michigan and Anchor Graphics in Chicago. Her work is represented by Atrium Gallery in St. Louis, Olson Larsen Gallery in Des Moines and August Art in London. She has been teaching Printmedia at the School of the Art Institute of Chicago since 1991.
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FACULTY Nick Butcher Nick Butcher is a Chicago-based artist and musician. Since 2006 he’s worked collaboratively with his partner Nadine Nakanishi under the name Sonnenzimmer. Initially recognized for their idiosyncratic commissioned screen printed posters, their practice has since morphed into an interdisciplinary toolshed spanning multiple platforms, including exhibitions, publishing, performance, and graphic design. Their collaborative practice is grounded in the lasting potential of the graphic arts, while exploring the physical and conceptual friction between abstraction and communication. As a solo artist, Nick continues to record and perform music under his own name and the joke DJ name Jan Jammerlappen. Mat Daly Mat Daly (b. 1974) is an artist living and working in Saugatuck, MI. In the past decade Mat’s screen printed posters have become a mainstay of the Chicago indie music, art, and craft scenes as well as covering the walls (indeed maybe bathroom walls) of rock clubs, record stores and galleries across the US and abroad. In addition to being the principal poster designer for the nationally acclaimed Renegade Craft Fair, Mat’s past clients range from The MoMA to The Hideout. Mat’s screen printed work regularly traverses the natural landscape filtered through the distorting lens of memory.
PAINTING &DRAWING June 3-16
Exploding Paint Claire Ashley and Kori Newkirk PAINTING 650 001 3 credit hours, 2 weeks 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. We will connect painterly gestures with non-traditional surfaces such as modular, flat-pack, and portable sculptural form, found objects, architectural space, virtual space, video projection, performative action, and the body. 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 workshops, woodshop authorizations, material sourcing field trips, video projection/performance workshops, and site -specific inst allations will be components of this class. A willingness to experiment, invent, imagine, and fail is required.
FACULTY Claire Ashley Claire Ashley received her MFA from the School of the Art 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 Departments of Contemporary Practices and Painting and Drawing. She is represented by Galleri Urbane Marfa + Dallas, TX. 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
IMAGES L-R BY ROW: Jeanine Coupe Ryding Resting, 2017 woodcut print on Korean paper, Claire Ashley Rump (right), Roll (left), Sucker (foreground), installation shot from Loathsome Beauty, Loaded Body, curated by Rachel Adams, UB Anderson Gallery, University of Buffalo, NY, 2017 spray paint on PVC coated canvas tarpaulin, fans, and stuffing, Photo credit: UB Galleries. Kori Newkirk: Parade, 2016 metal, rubber, plastic, feather Myungah Hyon Connecting , 2008 porcelain, offset print Mat Daly Fira 1, 2013 silk screened monoprint on panel Nick Butcher and Nadine Nakanishi Untitled Monoprint, 2017 screen print
What motivates you in the studio? I think curiosity motivates me in the studio .... and very loud dance music .... I’ve been listening to a lot of Zhu lately. I like to encourage students to follow their odd curiosities. This curiosity can occur in material investigation, source material input, various media or mediated output, and allows the work to lead you in directions that changes your assumptions about what the work can be and how it can exist. -Claire Ashley
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. Kori Newkirk Kori Newkirk earned his BFA, from the School of the Art Institute of Chicago and his MFA from the University of California, Irvine and attended the Skowhegan School of Painting and Sculpture. Newkirk’s solo exhibitions include the Museum of Contemporary Art San Diego, Museum of Contemporary Art Cleveland, the Studio Museum in Harlem, the Art Gallery of Ontario, LAXART, the Fabric Museum and Workshop, Locust Projects and Deep River. Group exhibitions include the Whitney Biennial, the Dakar Biennial, the Serpentine, the Museum of Contemporary Art Chicago, the Hammer Museum, and the Museum of Contemporary Art Los Angeles. He has been awarded grants and fellowships by FOCA, Art Matters, The Louis Comfort Tiffany Foundation, The California Community Foundation, The William H. Johnson Foundation and The Joan Mitchell Foundation. His work has been discussed in Artforum, Los Angeles Times, Interview, New York Times, Frieze, art ltd., Flash Art, and Vibe.
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PAINTING &DRAWING
PAINTING &DRAWING
Watercolor
Questioning Landscape
Carrie Gundersdorf PAINTING 606 001 1 credit hour, 1 week
Carris Adams PAINTING 651 001 1 credit hour, 1 week
June 17-23
June 24-30
This course will focus on the materials and
In Questioning Landscape students are invited to
techniques of transparent watercolor. During the
redefine their perceptions of the landscape through
morning sessions, students will work from a studio
various approaches to observational painting. While
still life and explore a variety of techniques and color
gaining proficiency in the techniques and vocabulary of
schemes. Sessions will be individualized as much as
painting, students will develop new ways of representing
possible to accommodate less experienced students.
the landscape outside notions of the “serene” and “pastoral”.
Afternoons will be devoted to a thematic suite of
This class focuses on capturing everyday objects and
paintings developed over the course of the week.
visual culture found within the local landscape. Beginning with preparatory works on paper, we will move on to
FACULTY
using acrylic or oil paints to realize finished pieces. In this class students will be challenged to experiment
Carrie Gundersdorf
with the material properties of paint as well as the
Carrie Gundersdorf lives and works in Brooklyn, NY. She has had solo
principles and elements of design. Students will be
exhibitions at the Museum of Contemporary Art, Chicago; Julius Caesar,
expected to contribute constructively to discussions
Chicago; and Shane Campbell Gallery, Chicago. Her work has been in
about the work of their classmates. Additionally
included in group exhibitions at Mills College Art Museum, San Francisco;
the instructor will provide theoretical and visual
106 Green, Brooklyn; Regina Rex, New York; La Box, Bourges, France; Marc
resources to inform students’ use of form and content.
Foxx, Los Angeles; Gallery 400, Chicago; Loyola Museum of Art, Chicago; and Museum of Contemporary Art, Chicago, among others. Her work has been
FACULTY
discussed in Art Review, Artforum.com, Artnet, Art on Paper, Bad at Sports,
Carris Adams
Chicago Tribune, and Time Out Chicago. Gundersdorf was the recipient of
Carris Adams is a visual artist whose practice consists of drawings and
the Artadia Award and the Bingham Fellowship from the Skowhegan School
paintings that reference signs and signifiers in the landscape pointing to
of Painting and Sculpture. Gundersdorf is an Assistant Adjunct Professor at
systemic inequality and resilience. The conceptually multi-layered works
Columbia University and has previously taught at School of the Art Institute
seek to inform and position viewers to recognize their reactions concerning
of Chicago, Northwestern University and the University of Illinois at Chicago.
class and othered bodies. Adams received her BFA from the University of
She has a BA from Connecticut College and a MFA from SAIC.
Texas at Austin and her MFA from the University of Chicago.
Carrie Gundersdorf North Polar Region, 2016 colored pencil and watercolor on paper
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ABOVE: Peggy Macnamara Zoology Cabinet, 2015 watercolor on paper
BELOW: Carris Adams MXMLK II, 2017 ink and acrylic enamel on wall
BELOW RIGHT: E.W. Ross Pablo’s Owl in Landscape, 2012, ink on paper Olivia Petrides Blue, 2015 ink and gouache on paper
PAINTING &DRAWING
PAINTING &DRAWING
Pre-College Program: Landscape Drawing
Flora and Fauna of Ox-Bow: Nature Illustration in Watercolor
E.W. Ross and Olivia Petrides DRAWING 407 001 1 credit hour, 1 week
Peggy Macnamara Painting: 613 001 1 credit hour, 1 week
July 1-7
July 8-14
Drawing upon the natural terrain of Ox-Bow, students
This all level course concentrates on drawing and
explore drawing, design, composition and creativity. A wide
painting techniques. Specimens, birds, mammals, and
variety of drawing materials are used. Slide lectures, critiques,
insects from the Chicago Field Museum are provided so that
and meetings with visiting artists are included each evening.
students can draw from life and learn the layering watercolor
Note to parents/guardians: All Pre-College students are
technique. Field studies are encouraged so students can
required to reside on campus during the course. Students
juxtapose animal life with suitable habitat. Modeling,
are chaperoned and rules and regulations are strictly
measuring, building greys and browns, color theory is
enforced. An adult chaperone is housed with Pre-College
taught and demonstrated. Watercolor is a versatile medium
students throughout the week. Students must provide
and explorations of its many possibilities are encouraged.
their own transportation to and from Ox-Bow. Pre-College
I am in the studio every day. There are so many elements of nature, magnificent phenomenon and unseen creatures to be illuminated. I just finished an 8 foot fish from South America, endangered and in need of a strong conservation effort from the community and the experts at the Field Museum. It was a privilege to be part of the effort. -Peggy Macnamara
students are not allowed to have vehicles on campus. .
FACULTY E.W. Ross E.W. Ross is an artist based in Chicago. He has taught at SAIC, University of Chicago, University of Minnesota, Atlanta College of Art, Western Michigan University and the Ox-Bow School of Art and Artists’ Residency. Previously, he served as the Program Director at Ox-Bow and the Dean of Continuing Studies at SAIC. He has had solo exhibitions at the Chicago Cultural Center; Cajarc, France; Phipps Center for the Arts, Hudson, WI; Chicago Firehouse and earned the Illinois Arts Council Individual Artist’s Fellowship; Chicago Council of Fine Arts; Alliance of Independent Colleges of Art Grant; School of the Art Institute Faculty Enrichment Grants; and IAC Governor’s International Arts Exchange Grant. Olivia Petrides Olivia Petrides has exhibited in galleries and museums in Iceland, the Faroe Islands, Scotland, Seattle, Washington, D.C., and Chicago. Her works are in the collections of the Smithsonian Institution; the United States Park Service; the Field Museum; the Illinois State Museum; Openlands Preservation Association; and Iceland’s Hafnarborg Institute of Art, among others. She has received a Fulbright Grant; American-Scandinavian Foundation Grants; Margaret Phillips Klimek Fellowship; Chicago Community Arts Assistance Program grant; an
FACULTY Peggy Macnamara Peggy Macnamara has been Artist in Residence at the Field Museum in Chicago since 1990. She has published five books; Painting Wildlife published by Watson-Guptill and four others on nests, Illinois insects, migration and the return of the peregrine falcon with University of Chicago Press. She has a book on collections coming out in the Fall of 2017. Peggy is an Adjunct Professor at the School of the Art Institute of Chicago. She teaches scientific illustration, colored pencil and watercolor techniques. She also lectures and teaches workshops around the country. She has exhibited widely and has work in many collections such as the New York State Museum, Field Museum, Elmhurst Museum, Illinois State Museum, and Woodson Art Museum. She is the recipient of the Cora Bliss Taylor Fellowship for Distinguished Painters. Cora Bliss Taylor was a beloved watercolor teacher in Saugatuck and at Ox-Bow. Her strong vision and inspiring teaching capabilities le a great impression on her students, and many of her paintings hang in public spaces in Saugatuck/Douglas, providing a visual history of this community. The Taylor Fellowship was established by the Warnock family in 2000 to honor Cora Bliss and has in the past been used to bring eminent Visiting Artists to the Ox-Bow campus including Francois Mechain, Frances Whitehead, Susanna Coey, Ellen Lanyon, Olive Ahyens, Shona MacDonald, and Gladys Nilsson.
Illinois Arts Council Governor’s International Exchange Award and an Illinois Arts Council Special Projects Award. She has been awarded residencies at the Rekjavik Municipal Museum and the Gil-society in Iceland; the Faroe Islands Museum of Natural History; the Virginia Center for the Creative Arts; the Vermont Studio Center; Catwalk, New York; Yellowstone National Park; and the Ragdale Foundation. Petrides received her MFA from the School of the Art Institute of Chicago, where she is currently an Adjunct Associate Professor in the Painting & Drawing Department and the Visual Communications Department.
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PAINTING &DRAWING
PAINTING &DRAWING
Painting Turned on its Head
Multi-Level Painting: Process, Form, and Meaning
July 15-28
July 29-August 11
Paula Wilson PAINTING 649 001 3 credit hours, 2 weeks What if a painting became something other than
Josh Reames and Siebren Versteeg PAINTING 605 001 3 credit hours, 2 weeks
a fixture on a wall? What if it was clothing, a rug for a
This course for beginning to advanced students
room, or a by-product of a dance? What if we invited the
will include extensive experimentation with materials
anthropomorphization of an art work? This class takes
and techniques through individual painting problems.
traditional painting and turns it on its head. Upending
Emphasis will be placed on active decision-making
conventional concepts (color, light, and scale) and
to explore formal and material options as part of the
classically formatted art academy practices (plein air, life
painting process in relation to form and meaning.
studies, and emulation), we will focus on daily exercises
Students will pursue various interests in subject matter.
and experiments during the first week, while the second
Students may choose to work with oil-based media.
week will be reserved for a final project. Media usage will
Demonstrations, lectures and critiques will be included.
be demonstrated and applied including collage, monotype, screen printing, painting, stitching, and stenciling. Materials other than canvas will be used as substrates. Determining the best media for the application, we will examine the effects of watercolor, gouache, acrylic, spray, and oil paints— while along the way tearing, layering, and reconfiguring. Let’s explore and translate existing models of artmaking to reinvent what painting can be and do!
FACULTY Josh Reames Josh Reames (born 1985, Dallas, TX) received an MFA from the Art Institute of Chicago and a BFA from University of North Texas. He has presented his work at Andrea Rosen Gallery, Jacob Lewis Gallery, The Hole, Josh Lilley Gallery, Andrew Rafacz, Bill Brady Gallery, LVL3, Johannes Vogt, Monya Rowe Gallery, and the Urban Institute for Contemporary Art; at Brand New Gallery, Galeria Annaruma, and Dittrich & Schlechtriem. Reames’ work has been featured in Artillery, Artcritical, Hyperallergic, Artnews, New American Paintings, and
FACULTY
Artslant. Reames currently lives and works in New York.
Paula Wilson Paula Wilson is a visual artist whose multimedia practice employs an
Siebren Versteeg
extensive range of techniques to explore perceptions of light, form, and the
Siebren Versteeg was born about 17k days ago in New Haven. He has
body in space. Wilson’s work varies widely, encompassing sculpture, densely
studied at School of Visual Arts in New York, School of the Art Institute of
layered collage, painting, installation, and printmaking methods. Her subject
Chicago, University of Illinois at Chicago and Skowhegan School of Painting
matter is equally multifaceted, drawing inspiration from real and invented
and Sculpture. Solo exhibitions include The Museum of Art at Rhode Island
cultural histories and identities exploring myth, race and the dimensions of
School of Design; Hallwalls, Buffalo, NY; The Art Institute of Boston; the
femininity. Based in Carrizozo, New Mexico, Paula Wilson’s work is included in
Wexner Center for the Arts, Ohio; Max Protetch, New York; Rhona Hoffman
the collections of The Studio Museum in Harlem, Yale University Art Gallery,
Gallery and The Museum of Contemporary Art in Chicago. His work has been
Mildred Lane Kemper Art Museum, and Saatchi Gallery, among others. Previous
exhibited in group shows at Smithsonian’s Hirshhorn Museum, Washington,
solo exhibitions have been at Cherry & Lucic Portland, The Fabric Workshop
DC; ESSL Museum, Vienna; Contemporary Museum, Baltimore; Henry Art
and Museum, and the Center for Contemporary Arts in Santa Fe. She holds
Gallery, Seattle; Krannert Art Museum, Illinois; the Fabric Workshop and
an MFA from Columbia University and presently co-runs the artist-founded
Museum, Philadelphia; and the National Museum of Art, Czech Republic.
organization MoMAZoZo and the Carrizozo Colony.
Versteeg’s work can be found in public collections including the Guggenheim, NY; Albright-Knox, Buffalo; Yale University Art Gallery, New Haven, CT; Hirshhorn Museum, Washington, D.C.; and MCA, Chicago. He lives and works in New York.
IMAGES FROM CENTER TOP: Paula Wilson Mooning, 2016 made in collaboration with the University of Oregon monotype, screen print, woodblock print, and spray paint on muslin Siebren Versteeg Permanent Vacation, 2016 steel, concrete, Internet connected computer program output to 65” LCD Josh Reames cycles, 2017 acrylic on canvas
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PAINTING &DRAWING
PAINTING &DRAWING
Sumi-e: East Asian Brush Painting
FACES!: Portraiture and the Expanded Subject
Qigu Jiang Painting 639 001 1 credit hour, 1 week
Ruby T Painting 652 001 1 credit hour, 1 week
August 12-18
August 12-18
This one-week course introduces the basics of
What does it mean to draw the face of a person,
the traditional Chinese and Japanese ink and brush
place, or idea? For centuries, portraiture has been used to
stroke painting. Starting from learning tools and
record history and build intimacy. With the fundamentals
materials, the class concentrates on the basic skills
of observational drawing as a starting point, this course
and techniques that students could develop during the
explores the boundaries of portrait-making through
course. The philosophy of Zen behind the ink painting is
experimentation with subject, medium, scale, and site.
introduced as well. In-class demonstrations are followed
From human faces to car faces, to the faces of our ideas and
by painting, focusing on botanical subjects such as
emotions, we will stretch traditional notions of portraiture
bamboo and other flowers. Birds and fish are introduced in late sessions. This course is especially appropriate for students interested in drawing and watercolor.
FACULTY Qigu Jiang Qigu Jiang is an ink painter, teaching painting and art history at The School of the Art Institute of Chicago. He has also serveed as the director of The Research House for Asian Art since 2008. His exhibitions include the Rhode Island College; Tropenmuseum, Amsterdam; Duoyun Xuan Art Museum, Shanghai; Zhu Jizhan Art Museum; Yantai Art Museum; 99 Art Space Shanghai University Museum of Far Eastern Antiquities in Stockholm; Xuhui Art Museum; Qingdao Art Museum; Qing Zhuo Museum; Koehhnline Museum; Walsh Gallery; Jan Cicero Gallery; Museum of Art Fort Lauderdale, FL; Osaka Triennial, Japan. His work is in the collections of the Museum of Far Eastern Antiquities in Stockholm; Rothschild Investment Corp.; Telchar System Inc.; Swiss Bank Corp.; Prentiss Properties Corp. Texas; Euredit Co. Italy; Duolun Museum of Modern Art.
Ruby T TENSES zine excerpt, 2017 risograph on paper
What keeps you motivated in the studio? I am motivated by the vibrations and contradictions of the world outside the studio. I love being in public and interacting with the emotional shapes of daily living, whether ecstatic, tragic, or totally mundane. The studio then becomes a laboratory for processing these experiences, and making both sense and nonsense of this rough and juicy planet. -Ruby T
through expanded subject matter as well as material choices. Students will work with a range of wet and dry media, including charcoal, graphite, pen, and ink. Slide lectures and critiques will be included to offer additional insight into the history and possibilities of portraiture.
FACULTY Ruby T Ruby T’s work is an experiment in translating fantasy to reality, and she is fueled by anger, desire, and magic. She investigates the stimulating, banal, and often infrastructural as sites of power and exchange: nightclubs, domestic appliances, broadcast news, sex. Ruby graduated in 2016 with an MFA from SAIC, and has shown work at Chicago venues including Roots & Culture, Iceberg Projects, Hyde Park Art Center, the Back Room at Kim’s Corner Foods, Ballroom Projects, ACRE, EXPO, Comfort Station, Roman Susan, Chicago Filmmakers, Chicago Alternative Comics Expo, Woman Made Gallery, and Plaines Project. rubyt.net
Qigu Jiang Landscape #A28, 2015. ink on rice paper
15
Sanam Emami, Jar, 2017, ceramic (stoneware)
Bohyun Yoon, Glassorganism, 2013-2015, Materials: blown glass, 17 channel color video with sound, 1 minute 20 second
CERAMICS GLASSBLOWING
Tim Belliveau, Orchid, glass, metal, and wood stand, 2005
16
Del Harrow, Fake Olmec, 2017, ceramic (stoneware)
CERAMICS
CERAMICS
Form Structure Surface
Shaping the View: Site Responsive Proposals
June 3-16
Del Harrow & Sanam Emami CER 639 001 3 credit hours, 2 weeks Lab Fee $150 In this course students will fabricate visual languages
July 1-14
Linda Sormin & Dawn Franklin CER 644 001 3 credit hours, 2 weeks Lab Fee $150
and material structures to embody building and form. A
This course will encourage students to study, imagine,
range of introductory techniques and technologies will
and shape new possibilities for the architectural folly.
be presented, applicable to both ceramic sculpture and
A folly is a type of ornamental building or structure
functional pottery. Core techniques of wheel throwing,
with no practical purpose that offers dimension and
hand building, and basic mold making will be introduced, along with rudimentary computer modeling and parametric design. Emphasis will be placed on thinking through volume, geometry, proportion, composition, and context. Daily exercises will include technical demonstrations, sketching, form development, and surface design.
shapes one’s experience of the landscape. It urges toward a destination, provides space for reflection, or gives shelter. Clay and its potential for building will be
ABOVE: Linda Sormin Strange Feeling, 2017, glazed ceramic. Photo by Brian Oglesbee. BELOW: Dawn Franklin Reflected Ceiling Plan and Elevation, Dining Hall Renovation, 2016 3D sketch
the ideal material used to explore these ideas. Through charrettes, drawing, model making, and the hand building of clay forms students will explore site-responsive work. Students will work individually and collaboratively to fabricate both in the studio and landscape. Class
FACULTY
demos, site visits, and discussions will challenge attitudes towards materiality, scale, proportion, and location.
Del Harrow Del Harrow lives and works in Fort Collins, CO with his wife, potter Sanam Emami and their son, William. He is an Associate Professor at Colorado
FACULTY
State University where he teaches Sculpture, Digital Fabrication, and
Linda Sormin
Ceramics. His art practice spans the genres of sculpture and design and
Through objects and site-responsive installations, Linda Sormin’s work
integrates traditional manual and skill-based forming processes with
explores issues of fragility, aggression, mobility, survival and regeneration.
digital fabrication technology. Harrow has been invited to lecture widely
Born in Bangkok, Thailand, Sormin moved to Canada with her family at the
on his own work and on the intersection of digital fabrication and craft
age of five. Sormin worked in community development for four years in
in contemporary art and education. Recent lectures include Syracuse University/The Everson Museum of Art, The Auerbach Endowed Lecture Series at Hartford Art School, and the Current Perspectives Lecture Series at Kansas City Art Institute. His work has been exhibited recently at The Milwaukee Art Museum, The Denver Art Museum, The Arizona State University Art Museum, Vox Populi Gallery, The Museum of Fine Art in Boston, Haw Contemporary in Kansas City, and Harvey Meadows Gallery in Aspen, CO.
Thailand and Laos. She studied ceramics at Andrews University, Sheridan College and Alfred University. Sormin is Associate Professor of Ceramics at New York State College at Alfred University. Sormin’s work has been exhibited nationally and internationally, most recently at the Everson Museum, Disjecta Contemporary Art Center, Bluecoat Art Gallery, Ferrin Contemporary, National Gallery of Indonesia, Jogja National Museum and SaRang Building in Indonesia, the West Norway Museum of Decorative Art, Denver Art Museum and gl Holtegaard in Denmark.
Sanam Emami Sanam Emami is a ceramic artist and an Associate Professor of Pottery at Colorado State University, Fort Collins. She received a BA in History from James Madison University in Virginia, and an MFA in Ceramics from New York State College of Ceramics at Alfred University. She was a Visiting Assistant Professor in Ceramics at Alfred University, resident artist at the Archie Bray Foundation in Montana, and has lectured at the Office for the Arts at Harvard University; the Kansas City Art Institute; Arizona State University
Dawn Franklin Architecture is everywhere. From basic utility to astonishing complexity, it is a constant presence surrounding the most mundane and spectacular of human activities. The practice of creating architecture is informed by our experience of what is transgressive, pleasing and necessary for comfort, safety, conservation, economy and delight. Dawn Franklin’s daily work in the 20 years since graduating from Andrews University with a B.Arch. degree has been the practice of creating architecture. Architecture that solves problems;
Art Museum-Ceramic Research Center, and NCECA in Louisville, Kentucky.
is concerned with visual expressiveness; is occupied with materiality, form,
She received a New York Foundation for the Arts Grant for Craft and her work
scale; and strives toward imaginative and technical skill. She finds it to be
has been in exhibitions at numerous galleries across the country including
a complicated, engaging balancing act that is at moments contemplative
The Society of Arts and Crafts, Boston; Greenwich House Pottery, New York
and solitary; but is most often a collaborative ensemble performance with
City; The Art-Stream Nomadic Gallery; Northern Clay Center, Minnesota.
clients, engineers, government and construction professionals all shouting their parts. Dawn is a project architect at Collins Cooper Carusi Architects
SEE OPPOSITE PAGE FOR IMAGES.
in Atlanta, Georgia.
What keeps you motivated in the studio? The site looms above and veers past, willing me to compromise, to give ground. I roll and pinch the thing into place, I collect and lay offerings at its feet. This architecture melts and leans, hoarding objects in its folds. It lurches and dares you to approach, it tears cloth and flesh, it collapses with the brush of a hand. Nothing is thrown away. This immigrant lives in fear of waste. Old yogurt is used to jumpstart the new batch. What is worth risking for things to get juicy, rare, ripe? What might be discovered on the verge of things going bad? -Linda Sormin 17
CERAMICS
CERAMICS
Materials and Processes: Woodfire
The Object in Context
July 15-28
July 29-August 11
Anders Ruhwald & Marie Hermann CER 631 001 3 credit hours, 2 weeks Lab Fee $150
Benjamin Lambert & Nathan Willever CER 616 001 3 credit hours, 2 weeks Lab Fee $150
This course will focus on ceramic object making.
This multi-level ceramics course will incorporate
The word “object” has been specifically chosen, as it
wheel thrown and hand built vessels and objects to
is neutral to the divide between the utilitarian tool and
be fired in both a high temperature stoneware gas
the sculptural form. In this class we will view these
kiln and in Ox-Bow’s single chambered catenary style
categories as a continuum to see how these ideas may
wood kiln that was built in 2005. The first part of the course will be making individual work and firing the gas kiln with the second part being a collaborative effort in loading, firing, and unloading the work in the wood kiln. Discussions, critiques, and slide lectures will be included.
inform one another. Central to this will be a discussion ABOVE: Marie Herwald Hermann shields and the parergon of time, 2017 ceramic and silicone BELOW: Anders Herwald Ruhwald Weather Thinker, 2017 glazed earthenware
of how objects relate to each other and the possible sites in which they exists such as home, gallery, or landscape. Each session will have presentations, discussions, technical demonstrations, and critiques integrated into a focused, process-based studio experience.
FACULTY Benjamin Lambert
FACULTY
Benjamin is currently a Visiting Assistant Professor of Art and Design at
Marie Herwald Hermann
Alma College in Alma, Michigan. He grew up in the small, rural town of
Marie Herwald Hermann (born 1979, Copenhagen, Denmark) lives and works
Greene, Maine, spending time exploring the woods and rivers around his
in Detroit. She received her MFA from Royal College of Art in London in
home. In 2008, he received a BFA with a concentration in ceramics from the
2009. Solo exhibitions: include Shields and Parergons, Reyes Projects; And
University of Southern Maine. Between schooling, he maintained an active
dusk turned dawn, Blackthorn, NADA Miami; Northern Light, Pontiac Rise at
studio practice in Portland, Maine. In 2010, he worked as a summer staff
Galerie Nec, Paris, France: A Gentle Blow to the Rock, Hong Kong. She has
member at Watershed Center for the Ceramic Arts, in Newcastle, Maine.
participated in group exhibitions in USA, Denmark, Italy, China, Sweden and
He completed an MFA in Ceramics and Sculpture at Edinboro University of
Germany, including 99cents or less at MOCAD Detroit, and Another Look at
Pennsylvania, Edinboro, PA in 2015. Ben has assisted artists during workshops
Detroit: Parts 1 and 2 at Marianne Bosky Gallery. Her work is represented in
at Penland School of Crafts in North Carolina, Haystack Mountain School
the collections of The Danish Art Foundation, The Denver Art Museum, Servre
of Crafts in Deer Isle, Maine, and most recently at Arrowmont School of Art
Museum, Nordenfjeldske Kunstindustrimuseum, Cranbrook Art Museum and
and Craft in Gatlinburg, TN. He was also a participant as a resident in the
yhe Jingdezhen Ceramic Art Museum. She was awarded the 2013 Kresge Artist
second annual Arrowmont Pentaculum. He exhibits his work nationally.
Fellowship and the Danish Art Foundation Grant in 2016. She is currently
Nathan Willever
a Visiting Artist at SAIC.
Nathan Willever was raised in Portsmouth, New Hampshire. He holds a
Anders Herwald Ruhwald
Bachelor of Fine Arts in Ceramics from Maine College of Art, in Portland,
Anders Herwald Ruhwald (born 1974, Denmark) lives and works in Detroit,
Maine. He has taught numerous classes and workshops on functional pottery
He graduated from the Royal College of Art in London in 2005. Ruhwald has
at institutions such as The Clay Studio in Philadelphia, PA, Ox-Bow School
had more than 20 solo exhibitions in museums and galleries around the
of Art in Saugatuck, Michigan and Haystack Mountain School of Crafts in
world including MOCA Cleveland, OH, MIMA, The Museum of Art and Design,
Deer Isle, ME. Nathan is currently a long term Resident and Zeldin Fellow
and the Cranbrook Art Museum. His work has been shown in more than 80
at The Clay Studio.
group shows at venues like Yerba Buena Center for the Arts, Fondation d’entreprise Ricard, Pinakotek der Moderne, Taipei Yingge Museum, and Kunsthal Charlottenborg. His work is represented in over 20 public museum collections including The Victoria and Albert Museum, The Denver Art Museum, The Detroit Institute of Art, Musée des Arts Décoratifs,The Museum of Art and Design in 2011 he was awarded the Gold Prize at the Icheon International Biennial in South Korea. He also received the Sotheby’s Prize at the Victoria and Albert Museum in 2007.
Nathan Willever Two Yunomi, locally dug stoneware, white slip, cone 6 reduction
18
Benjamin Lambert False Sense of Security, 2016 earthenware, engobe, slip, underglaze, glaze
GLASS
Session 1, June 3-16 Session 2, July 15-28
Beginning Glass - 1 Bohyun Yoon GLASS 630 001 3 credit hours, 2 weeks Lab Fee $300
Beginning Glass - 2 Megan Biddle GLASS 630 002 3 credit hours, 2 weeks Lab Fee $300 This course of fers hands- on glas sblowing 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
What’s the best advice you’ve been given about artmaking that your students should know?
Bohyun Yoon Glass Tube, 2012 blown glass tube, color video with sound, 2 minutes
instruction.
FACULTY Bohyun Yoon Yoon’s art practice is very much influenced by the fields of science and physics
I am a strong believer in the arts as an understanding of the human experience. Using a pinhole camera as a metaphor for art, the pinhole must be small and precise (narrowing through research, concept and experiments with materials) to take an accurate picture of a subject. The pinhole that artists look through to view the world is what art is, as it embodies investigation into the world around it. Thus, it is my goal as a teacher to teach student artists to refine their pinhole by pushing each student to discover a more revealing picture. -Bohyun Yoon
as his work continuously exposes what is often invisible. Yoon exposes socially constructed notions of race, class, and gender by combining images of the human body with materials that possess invisible properties. To aid the physical properties of glass in speaking about society, Yoon’s art uses a variety of media and phenomena, for instance sound, reflection, and human perception. Yoon Received MFAs from both Rhode Island School of Design and Tama Art University. He has exhibited his works in FILE Sao Paulo, Singapore Open Media Art Festival, Museum of Arts and Design NY, Renwick Gallery in the Smithsonian American Art Museum, Contemporary Arts Museum Houston, Syracuse University and Hunter College. His work is in the collection at Smithsonian American Art Museum, Song Eun Art Space, Tama Art University and West Collection. Megan Biddle Megan Biddle is an interdisciplinary artist whose work orbits between sculpture, installation, drawing and video. Rooted in glass, she produces experiment 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 and Haystack Mountain School of Crafts. Her work was acquired into the American Embassy’s permanent collection in Riga, Latvia. She has taught at Haystack Mountain School of Crafts and Pilchuck Glass School and currently teaches in the Glass Program at the Tyler School of Art. She is an Assistant Director and member of Tiger Strikes Asteroid Gallery in Philadelphia, PA, where she lives and works. Megan Biddle The Weight of Waiting (detail), 2015 slumped window glass
19
GLASS
GLASS
Multi-level Glassblowing
Goo, Chunks and Sometimes Vases: Glassblowing for Beginners & Maestros
June 17-23
Mert Ungor Glass 641 001 1 credit hour, 1 week Lab Fee $150 A hands-on studio workshop for those with some glassblowing experience. Students will learn a variety
June 24-30
Tim Belliveau Glass 644 001 1 credit hour, 1 week Lab Fee $150
of techniques for manipulating molten “hot glass” into
Students will survey a wide variety of techniques using
vessel or sculptural forms. Lectures, demonstrations,
standard glass tools and equipment while also receiving
videos, and critiques will augment studio instruction.
more specialized instruction on particular techniques and processes to pursue specific projects. Through demonstrations, discussions, and experimentation students
FACULTY
will build a deeper understanding of the medium and the
Mert Ungor
best methods to realize their ideas. This course will teach
Mert Ungor was born in Antalya, Turkey. He graduated from the Visual Arts
glassblowing basics and assist experienced students in
Program of Sabanci University, focusing on sculpture. During his last year at
furthering their own abilities. Beginning glassblowers and
university he had a chance meeting with glass. He applied and was accepted
advanced students alike will oscillate between tradition
as a TA at the Glass Furnace Istanbul. Mert had a chance to assist many
and experimentation in order to find the perfect method
different glass artists from all around the world. He was invited to West
through which to realize their desired form or concept.
Texas A&M University to pursue his Masters. During his studies Mert interned at the Tacoma Museum of Glass where he worked with their team to assist master glass artists, such as Lino Tagliapietra. Mert lives in Michigan and
FACULTY
works as a glass artist.
Tim Belliveau Tim Belliveau is an artist and teacher working primarily in glass, ceramic and 3D software, blending sculptural materials made by hand with geometric prints and renderings made on computer. Belliveau was born in Montréal and received his BFA in glass from the Alberta College of Art and Design in 2005. He co-founded Bee Kingdom glass studio in 2005 as well as Berlin’s first public glass studio, Berlin Glas e.V. in 2012. He was a 2017 resident at the Europees Keramisch Werkcentrum (EKWC) in the Netherlands and currently
Mert Ungor Curved Leaf, 2017 blown glass
lives and teaches in Montréal. His work with the Bee Kingdom collective has been exhibited at the Cheongju Craft Biennale, The Pergamon Museum and at the Pictoplasma festival in Monterrey, Mexico.
FROM CENTER TOP: Tim Belliveau Melt Mountain, 2012 glass (blown and slumped) Arlo Fishman Wall Sign; Neon, 2013 glass, (found and fabricated)
What keeps you motivated in the studio? What keeps me motivated in the studio is my close group of friends and makers. It’s the little things for me like having conversations over coffee or during long sweaty days in the studio, and sharing our unconventional ideas with the people we trust. I’ve been very lucky to have lived in two major cities with vibrant glass communities and have surrounded myself with really wonderful supportive friends. -Deborah Adler
20
GLASS
GLASS
Expression in Glass
Experiments in Glassblowing
Arlo Fishman and Lancelot S. Fraser GLASS 645 001 3 credit hours, 2 weeks Lab Fee $300
Deborah Adler GLASS 616 001 3 credit hours, 2 weeks Lab Fee: $300
July 1-14
July 29-August 11
This class focuses on contemporary and traditional
This class is intended for multi-level glass students
hot glass working techniques. Class projects invite
who wish to broaden their scope of this versatile medium.
an exploration of what works, and why. Students will
Students will be asked to refine their technical abilities
develop their own designs and integrate concepts of
in order to more clearly convey their artistic pursuits.
heating, cooling, and gravity with their existing bodies
The class will begin by covering basic glass blowing
of work. Demonstrations include traditional vessel
techniques. Through skill building exercises the class will
forms, a survey of freehand sculpting techniques, plus
learn to work as a team on large-scale projects. Students
intentional deviation from standard practice. Personal
will be encouraged to learn, but not take too seriously,
expression and technical skill will play into the texture
the traditional aspects of this process. There will be an
of optics achieved. The history of this challenging and
emphasis on incorporating other materials both through
demanding substance will help examine the dichotomy
the glass blowing process and in the finished product.
between glass as craft material and fine art medium.
FACULTY
FACULTY
Deborah Adler
Arlo Fishman
Deborah’s career as a glassblower spans nearly two decades. Of that time,
Arlo Fishman is an artist and educator in the San Francisco Bay Area.
15 years were spent in New York City working from the studios of UrbanGlass
His work spans several disciplines, including glass sculpture, electronic
and GlassRoots. She has developed several bodies of work and exhibited
kinetics, and music composition. Arlo is a second generation glass blower
them at SOFA Chicago and New York, nationally in numerous galleries, and
and neon bender. He is also a highly skilled art installer who has installed
craft shows. Deborah was also lead gaffer on teams fabricating work for
sculptural neon at museums and institutions including the Art Institute
prominent contemporary lighting designers. In 2015, Deborah left New York
of Chicago, the Walker Art Center, the Los Angeles County Museum of
and relocated to Seattle, where she currently works as an artist assistant, while
Art. Presently a faculty member at the Crucible, Arlo aims to dazzle,
remaining focused on the design and production of her own work. She enjoys
educate, and inspire awe through expert technological integration in art.
drinking coffee with friends, eating sushi, being silly, and going to the gym.
Lancelot S. Fraser Lancelot S. Fraser grew up in the small mountain community of Idyllwild, California. At an young age he learned the craft of pottery and decided that he was going to be an artist. Lance began working with glass at Palomar College and received his BFA form California College of the Arts. He has attended the Pilchuck Glass School, Penland School of Crafts, Eugene Glass School, Appalachian Center for Crafts, and has taught at Ox-Bow School of Art. Lancelot is currently working as the Glass Studio Manager at California College of the Arts and Glass Faculty at The Crucible.
LEFT: Lancelot S. Fraser Gesture Bottles - Small Steal Blue and Black Pair, 2017 blown and sculpted glass RIGHT: Deborah Adler Pom-Pom, 2015 blown glass
21
Ben Fain, Death Float, Who, What, When, Where, Why Parade, Chesterhill, OH, Photo Credit: Carrie Schneider
Chris Buchakjian, Phantom Landscape, 2014, Nylon Wind Socks
SCULPTURE & METALS SPECIAL TOPICS
Shani Peters, Peace and Restoration (installation shot), includes Peace and Restoration for Self Determination collage series and Set Fire wood panel series, 2016, Archival print collage scans, led lightboxes, lasercut wood panels, fabrics, plants, lavender, incense
22
Christopher Meerdo, Hydroprinted sculpture sourced from MRI and SEM medical models from the U.S. Department of Health and Human Services., 2016, extruded polystyrene, hydrocal, plaster, hydroprint, acrylic gloss glaze
SCULPTURE &METALS
SCULPTURE &METALS
SCULPTURE &METALS
Blacksmithing: Sculptural Forms
Generative Forms
Mike Rossi SCULPT 623 001 3 credit hours, 2 weeks Lab Fee $150
Christopher Meerdo SCULPT 657 001 1 credit hour, 1 Week Lab Fee $100
Lighting: Fixtures, Flashlights & Reflectors
June 17-30
July 15-21
July 22-28
Chris Buchakjian SCULPT 658 001 1 credit hour, 1 week Lab Fee $50
This intensive will start with the fundamental
This one week intensive course will introduce students
techniques of forging, and move quickly into more
to mold making and casting techniques as well as various
This experimental course will highlight materials
advanced projects. We will focus on the processes of
approaches to applying surface treatments and imagery to
and technologies of lighting and light fixture design.
moving material while hot, and the forge and anvil will be the
sculpted objects. In addition to tutorials in painting, surface
Through hands-on demonstrations and practical
primary tools of achieving form. As a corollary, the history
finishing and decoupage techniques, students will have
exercises students will investigate the different qualities
of forged ironwork (architectural, tools, and sculpture) will
the opportunity to learn to utilize hydro-printing, a process
of light and its varied relationships to space, as well
serve as a source of inspiration. Each student will also be
for layering digital imagery on 3-D forms. Typically used
as its relationships to viewers. Students will employ
encouraged to make an inflated sheet metal sculpture.
in industrial applications, water transfer printing will allow
these principles to develop original light fixtures and/
students to re-imagine their sculptures, rich with surface
or light installations. Students will gain knowledge and
images. Through a variety of hands-on practica, we will
competency in the use of light as a generative material
consider both the origins of the objects that surround
in their studio practice, as well as comprehension of the
Mike Rossi
us and their inherent reproducibility. Students will select
effects of light on our perception of space and form.
Mike Rossi is the principal of Rossi Metal Design based in Philadelphia,
and create objects for casting and create reproductions
specializing in unique architectural works and sculpture. Born in Pontiac,
with their new skills. Emphasis will be placed on the
Michigan, he has a BFA in Blacksmithing from Northern Michigan University,
relationship between form and surface, and the poetics
FACULTY
and an MFA in Metalsmithing from Cranbrook Academy of Art. He has
of material composition and exterior/surface appearance.
Chris Buchakjian
FACULTY
Chris Buchakjian was born and raised in upstate New York. His current
exhibited nationally and internationally, most recently at the Torpedo Factory in Alexandria, VA as well as the National Ornamental Metals Museum in Memphis, and the Houston Center for Contemporary Craft. He has taught at Ox-Bow School of Art, Penland School of Craft, Haystack Mountain School of Craft, Bryn Athyn College and Kalamazoo College, and recently completed the Windgate Artist Residency at San Diego State University.
FACULTY Christopher Meerdo Christopher Meerdo is a Chicago-based artist who grew up in the Upper Peninsula of Michigan and Lithuania. Meerdo’s work was recently featured in a year-long solo exhibition at the Mattress Factory Museum of Contemporary Art in Pittsburgh. He was an artist in residence at the SIM Program in Reykjavik, Iceland and attended the Skowhegan School of Painting and Sculpture in 2013. Meerdo received his MFA in Photography from the
Mike Rossi Mass Effect: Horizon, 2016 forged steel, maple
University of Illinois at Chicago and currently teaches at the School of the Art Institute of Chicago. Recent exhibitions include Exgirlfriend, Berlin; The Museum of Contemporary Photography, Chicago, IL; Coco Hunday, Tampa, FL; Floating Museum, Chicago, IL; Cabinet Magazine, Brooklyn, NY; SIM
studio practice is concerned with the relationship between Light, Thingness, and Monumentality. Chris trained as a motion picture lighting designer specializing in remote location filming. He has had the privilege of leading lighting crews into caves, tombs and tunnels on five continents. In that time he has been tasked with creating original light fixtures for feature films and documentary television series. For over 15 years he has been working with light-artists to facilitate the creation of large-scale lighting installations. He enjoys the challenges and technical complexities that are unique to this vocation. His visual art has been exhibited as part of the annual Autumn Lights show in Los Angeles, Activate/Chicago, and at the A to Z West in Joshua Tree, California. Chris holds a Bachelor’s Degree in Filmmaking from Hofstra University and a Master’s Degree in Design from the School of the Art Institute of Chicago.
Gallery, Reykjavik, Iceland; The National Gallery of Kosovo and a traveling exhibition in Birmingham and Leicester, UK.. Christopher Meerdo White Hot (LCV), 2017, The Fantasy of Opting Out, hydroprint on painted extruded polystyrene, hydrocal, acrylic, LED screen, chain, carabiners, nylon webbing, USB drive, forced photogrammetry models resting atop leaked military drone videos, hydroprinted with images sourced from internet message boards
Chris Buchakjian Clock No. 2, 2012 fluorescent light boxes
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SCULPTURE &METALS
SCULPTURE &METALS
Multi-Level Foundry
Image in Enamel
Liz Ensz and Lloyd Mandelbaum SCULPT 660 001 3 credit hours, 2 weeks Lab Fee $200
Veleta Vancza SCULPT 645 001 Lab Fee $50
July 29-August 11
August 12-18
In this multi-level metal casting course, students will
In this course students learn the basics of copper
learn the fundamentals of pattern generation, simple and
enameling (fusing glass to copper) and explore the
multi-part mold making techniques with sodium silicate
potential of enamel decals. We cover basic enameling
bonded sand, casting with bronze, aluminum, and iron,
techniques such as sifting and explore sophisticated decal
and finishing and patination techniques for their castings.
techniques. Students create their own decals on campus
Explorations will be informed by the materiality of molten
using laser printed images as well as experiment with
metal and molding processes, the history and technologies
decals that are commercially available. Lectures on the
of metal casting, and discussion of cast metal sculpture
histories and applications of this technique augment work
in contemporary art. In the spirit of “there is no "I" in
in the studio. Group and individual discussions address
foundry,” teamwork and safe foundry practices form the
technical issues of this process and troubleshoot how
foundation of the course. Students will be encouraged to
to incorprate these elements into a completed artwork.
experiment and respond to the natural environment with
This course is for all levels of students. No prior metals
patterns made at Ox-Bow in an open-air sculpture studio.
or enamel experience is necessary.
FACULTY
FACULTY Veleta Vancza
Liz Ensz
Veleta Vancza has been working as an artist for almost 30 years. She began
Liz Ensz was born in Minnesota to a resourceful family of penny-savers,
her career as an art/studio jeweler creating one-of-a-kind conceptual works.
metal scrappers, and curators of cast-offs. She received her BFA in Fiber
More recently she has been working on a larger scale creating sculpture, wall
from the Maryland Institute College of Art and her MFA in Fiber and Material
pieces, and installations using vitreous enamel on metal integrated with
Studies from the School of the Art Institute of Chicago. Ensz has exhibited
new technologies such as sound-mapping, and 3D rendering software. She
her textiles and sculpture nationwide, has been awarded residencies at The
is recognized for her experimental use of vitreous enamel as an adhesive,
John Michael Kohler Arts/Industry Program in Foundry, Sheboygan, WI; Salem
as well as her innovations with phosphorescent enamels. Veleta is also the
Art Works, Salem, NY: Playa, Summer Lake, OR; LATITUDE, Chicago, IL; and
co-founder and Creative Director for Mina Atramentum, makers of Mine Luxury
Blue Mountain Center, Blue Mountain Lake, NY; and has been the recipient
Nail Lacquer www.minelacquer.com, and holds a patent for her research in
of a City of Chicago DCASE Individual Artist Grant, The Creative Baltimore
suspension-based coatings with precious metals & gemstones. Her innovative
Fund Grant, The Gilroy Roberts Fellowship for Engraving, and The Jacques
approach to packaging design has earned her worldwide recognition, and was
and Natasha Gelman Travel Fellowship. With an interdisciplinary approach,
a finalist for a Clio Image award in 2014. Veleta’s work has been exhibited
her work presents a comparative study of the mass-cultural investment in
internationally in venues such as the Museum of Arts & Design (NYC), the
disposability and the human desire to imagine permanence through emblems,
Design Museum (Helsinki), the Cheugju International Craft Biennale,and
monuments, and commemoration.
Museum fur Angewandte Kunst. Many of her works have been featured in
Lloyd Mandelbaum Lloyd Mandelbaum is a sculptor and entrepreneur currently residing in Hamilton, MI. Lloyd is the owner and operator of Chicago Crucible fine art foundry. He casts bronze, aluminum, and iron for artist and designers as well as in his own sculptural practice using a diverse array of techniques. After
a variety of books and periodicals such as Sculpture Magazine, Metalsmith Magazine, Marie Claire, WWD Japan, The Boston Globe, 500 Enameled Objects and The Art of Enameling: Techniques, Projects, Inspiration. Her works can be found in the permanent collections of the Kohler Company and the Museum of Arts & Design as well as numerous private collections. Veleta is currently
earning a BFA in sculpture from SAIC, Lloyd gained experience working in arts foundries before founding Chicago Crucible in 2009. His appreciation for the craft has also led him to design and build foundries across the country and in Mexico to better enable the art making process, as well as produce foundry equipment commercially
IMAGES FROM CENTER TOP: Liz Ensz E Pluribus Unum, 2014, cast pre-Reagan pennies Lloyd Mandelbaum lunge cast iron Veleta Vancza color pile #5, 2002 Copper, vitreous enamel
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ART HISTORY
ANIMATION
Party as Form
Activating and Animating Digital Collage
June 17-30
July 1-14
Shannon Stratton and Ben Fain SCULPT 648 001/Art History 623 001 3 credit hours, 2 weeks
Shani Peters FVNMA 608 001 3 credit, 2 weeks
Party As Form takes the history of celebration as its point of departure for a class that blends cultural theory
Accumulation, layering, and juxtaposition of images
with current experiments in curating, social practice
allow us to tell complex stories while simultaneously
and performance. Through a combination of readings,
pointing to layers of societal reference. In this course,
discussions and deployment, students will study the history,
students will be introduced to various approaches to
aesthetics, labor and conventions for parties from the intimate to the public, religious to the secular. Designed as a theory and practice art history class, Party As Form challenges participants to experience Ox-Bow, a site for gathering, community, participation and production, through the lens of readings in sociology, cultural and art theory on ideas that critically address the event, celebration or party as the gathering, hosting and cultivating of a
collage and basic animation techniques to create works ABOVE: Shani Peters Crown Futures (installation, process, and “Selfi-Determination Station” shots) Shani Peters with Sugar Hill youth for the Sugar Hill Children’s Museum of Art and Storytelling, 2016, 300 lasercut paper crowns, red carpet BELOW: Ben Fain The Doors of Life, 2013 Who, What, When, Where, Why Parade Chesterhill, OH Photo Credit: Carrie Schneider
that are embedded with personal meaning. Students will activate their compositions through performative projections, interactions with landscape, written or spoken text or as an online gif. More than static images on walls, these works will be experienced and expressed in relationship to the world they inhabit.
group. Topics include: liminality, community, formation
FACULTY
of publics, spectacle, utopias, leisure, play and ecstasy. Class consists of a combination of reading and discussion,
Shani Peters
lectures and presentations alongside projects that anchor
Shani Peters (b. 1981 Lansing, MI) is a multi-disciplinary artist based in New
discussion through interpretation, conceptualization and
York City. Her practice encompasses community building, activism histories,
the full design and hosting of on-site events. Students taking the course for Art History credit write critical and/
and the creation of accessible imaginative experiences. Peters holds a BA
or scholarly papers that locate their party or event within
from Michigan State University and an MFA from the City College of New York.
the context of contemporary art and art history. Students
She has presented work in the U.S. and abroad at the Schomburg Center
taking the course for Sculpture credit will be required to
for Research in Black Culture in New York City; Seoul Art Space Geumcheon
design, fabricate, and implement objects and scenarios
in South Korea; and the National Gallery of Zimbabwe in Harare. Selected
that relate to the directives of the course. Party forms may
residencies include those hosted by the Lower Manhattan Cultural Council,
include: weddings, raves, galas, Cinco de Mayo, parades,
Museum of Contemporary Art Detroit, The Laundromat Project, and Project
tea parties, debutante balls, masquerades, bar mitzvahs,
Row Houses. Her work has been supported by the Foundation for Contemporary
Mardi Gras, New Years Eve, Chinese New Year, 4th of
Arts, the Rauschenberg Foundation, Rema Hort Mann Foundation, and the Joan
July, Bastille Day, Burning Man, sleepovers and more.
Mitchell Foundation. Peters is a university and museum educator, focusing
NOTE: SAIC students must have already taken Art History 1001 & 1002 in order to enroll in this course.
her teaching at the intersection of art and social change.
FACULTY Shannon Stratton Shannon Stratton is the Chief Curator at the Museum of Arts and Design. She was the founder and then Executive Director of Threewalls from 2003-2012. Her practice spans curating, organization building, writing prose and poetry and a past as a fiber artist and T-shirt designer. Ben Fain Ben Fain (American, born London 1980, lives New York) is best known for his public performances and films involving parade floats as allegorical sculptures. His parades and parade floats have been deployed in diverse communities around the country. Ben received his MFA from the School of the Art Institute of Chicago and attended the Skowhegan School of Painting and Sculpture in 2008. He has been awarded a Joan Mitchell Foundation Residency Grant, as well as a NEA grant (with collaborators Dos Pestaneos). Fain co–ran Alogon Gallery, an independent artist–run space in Chicago. He recently taught the self–designed course “The Parade Float as Guerrilla Art,” through Northwestern University’s Department of Art Theory and Practice.
Shannon Stratton In Time: The Rhythm of the Workshop (Pictured: Daniel Eisenberg, The Unstable Object), 2016 Museum of Arts and Design, NYC, February 23-May 22, 2016
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PHOTO
PHOTO
Ghost in the Machine
Wet-plate and Platinotypes
Sarah and Joseph Belknap PHOTO 611 001 3 credit hours, 2 weeks Lab Fee $100
Robert Clarke Davis and Jaclyn Silverman PHOTO 609 001, 3 credit hours, 2 weeks Lab Fee $300 PHOTO 610 001, 1 credit hour, 1 week Lab Fee $150 PHOTO 610 002, 1 credit hour,1 week Lab Fee $150
June 17-30
July 15-28, July 15-21, July 22-28
"I cannot find my centre of gravity." Mary Anne Atwood— This class utilizes and facilitates ways of perceiving beyond the human machine. Using various light sensitive media, the darkroom, film and digital cameras, solar and night time 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 works exploring themes in science, time, and perception. Practices by numerous artists will be explored including but not limited to James Turrell, Hiroshi Sugimoto, Werner Herzog, Simon Starling, Carsten Nicolai, Sarah Charlesworth and Alan Lightman. .
FACULTY
Using the historic, time-honored wet-plate collodion and platinotype processes students 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 glassplate 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
Sarah and Joseph Belknap
most stable photographic processes. Students will use
Sarah Belknap and Joseph Belknap are Chicago-based interdisciplinary artists
the traditional iron-based developing-out process of
and educators who received their MFAs from the School of the Art Institute
platinum palladium. Using digital cameras and laptops
of Chicago. Working as a team since 2008, their art has been exhibited in
to capture images, they will digitally print negatives
artist-run exhibition spaces in Springfield, Brooklyn, Detroit, Minneapolis,
to be used in this unique tactile process. Those who
Kansas City, and St. Louis. In addition, they have presented performances at
participate in wet-plate collodion will be able to print
institutions throughout Chicago, including the Chicago Cultural Center, Hyde
directly from their glass plate negatives.
Park Art Center, and Links Hall. Their work has been shown at the Columbus Museum of Art, The Arts Club of Chicago, the Chicago Artists’ Coalition, Western Exhibitions, and a solo show at the Museum of Contemporary Art Chicago. They are currently working on a solo show at Illinois State University that will open during the Fall of 2018. In addition to the show they are collaborating with ISU’s planetarium to produce programming and are working with the city of Normal, IL to produce a large scale public installation.
FACULTY Jaclyn Silverman Jaclyn Silverman is a photographer from Youngstown, Ohio, living in Chicago, Illinois. She received her BFA in Photography from The Ohio State University, and her MFA from the School of the Art Institute of Chicago. Her photographic work and research has been exhibited in Columbus, Ohio, Youngstown, Ohio, Chicago, Illinois, and Boulder, Colorado, and collected by the Ohio State University, The Joan Flasch Artists’ Book Collection, and The Art Institute of Chicago. Silverman has been a Visiting Lecturer at The Ohio State University and Part-time Professor at Dominican University. She is currently a Teaching Artist at the Marwen Institute in Chicago, Illinois and a returning faculty to Ox-Bow School of Art. Robert Clarke-Davis 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
Sarah and Joseph Belknap Fall, 2013. digital archival print
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by James Baird Gallery.
FROM CENTER TOP: Robert Clarke Davis woody point, 2005 platinotype Jaclyn Silverman Abby and Grace, 2017 ambrotype
FIBER
FIBER
Papermaking
Speculative Weaving
June 3-16
Andrea Peterson PAPER 604 001 3 credit hours, 2 weeks Lab Fee $100
August 12-18
Marianne Fairbanks FIBER 617 001 1 credit hour, 1 week Lab Fee $50
Paper is an exciting and elusive art medium. Paper
Weaving has often been associated with themes
pulp can be transformed into sculptural works, drawings
of time, rhythm, meditation, and materiality and for this
with pulp and unusual surface textures. It can allude
course we weave small studies in response to these
to skin, metal, rock, or represent something entirely
prompts. Students will be encouraged to consider the act
unique. In class, we will explore these possibilities as
of weaving as an end in itself, conceptualizing process,
we examine other artists using pulp as a contemporary
while also learning technical skills including tablet, inkle
medium. Traditional and non-traditional processes,
and finger weaving along with pattern drafting. Woven
tailored to the capabilities of each fiber, will be explored.
studies will be developed on small portable looms and
Stretch your artistic and technical skills to create
from there students will consider how they might invent
unusual works of art.
new loom structures, weave into site-specific locations and create interactive projects. Concepts and theories will
FACULTY Andrea Peterson
be introduced through readings, slide presentations and discussions that will provide the direction and inspiration for each student to develop their own inquiries and inventions.
Andrea Peterson is an artist and educator. She lives and creates work in northwest Indiana Hook Pottery Paper, a studio and gallery co-owned with
What upcoming projects are you excited about? Weaving Lab is an ongoing social practice project and site of textile production that explores weaving cloth in relationship to inquiries around time, labor, rhythm, production, meditation and patterns. I have loved having the chance to work with the public to explore these questions and look forward to expanding the reach by making the lab mobile. Also I am working to create a new body of work a digital Jacquard Loom called the Thread Controller 2. It is really fun to use this tool for prototyping and translating ideas into cloth. -Marianne Fairbanks
her husband. She teaches at The School of the Art Institute of Chicago.
FACULTY
Andrea exhibits internationally, most recently in a paper arts exhibit Nature
Marianne Fairbanks
I Impression at the Municipal Gallery in Beer Sheva, Israel. She combines
Marianne Fairbanks is an Assistant Professor in the Design Studies department
paper arts, printmaking and book arts to make works that address human
at the University of Wisconsin – Madison. She received her MFA from the
relationship to the environment. She is a recipient of a 2016/17 Indiana
School of the Art Institute of Chicago and her BFA from the University of
Arts Council Grant.
Michigan. Her work has been shown nationally and internationally in venues including the Museum of Art and Design, the Museum of Contemporary Art in Chicago, the Smart Museum of Art and Museum London in Ontario. Her
Andrea Peterson one with the skull, 2017 jimson weed, handmade cotton rag and ink
current work is focused on the intersections of social practice, weaving, mathematics, and technology. mariannefairbanks.com and weavinglab.com.
Marianne Fairbanks Tapestry Machine 1 (pink), 2017 polyester thread, yarn, plumbing line, reflective thread, invisible warp, fabric
27
SCIENCE July 1-14
Bird Science: An Introductory Survey Dr. Dianne Jedlicka SCIENCE 604 001 3 credits, Two-weeks Ox-Bow provides a wonderful opportunity to observe many species of native birds in various habitats. This
SPECIAL TOPICS June 3-16
Supermodel: Imagining Alternative Models & Practice Edra Soto SCULPT 659 001 3 credit hours, 2 weeks
class will utilize the forest, meadow, dune, and lake in
Creatives often subscribe to various conceptual
the vicinity by learning to identify local species followed
models in order to generate or present their ideas.
by conducting observational research on select species.
But what happens when the preexisting models don’t suit
Worldwide distribution of the different bird families will
us? And how do we become agents? How can we project
then be looked at. The physics of flight, bird anatomy
coherence within our multiple interests? This course
and physiology will be discussed. Lectures regarding
will explore the traditional models of the studio and the
egg laying, ecological and evolutionary adaptations and
exhibition space and how to find agency in the liminal
environmental influences on synchronization of egg
space in between. Looking at the practices of artists like
hatching, food availability, predator/prey relationships, and
Rick Lowe, Hope Ginsburg and Chemi Rosado-Seijo
migrations will be augmented by field trips to local zoos
among others, students will explore how traditional
and museums. One identification test and two original
models of practice and display have been challenged and
written bird lab research papers will be required.
transformed. During this course, students can choose
What keeps you motivated in the studio? My motivation for making art comes from my urge to connect with the world. This leads me to create projects that encourage participation from the audience for their completion. My studio has become a place of gathering ideas and sometimes art making and storage, but it is outside were I find most of my motivations. -Edra Soto
to focus on challenging notions of the studio and the
FACULTY
exhibition space to create alternative models that relate
Dr. Dianne Jedlicka
to their own practices. Final projects can take the form
Dr. Dianne Jedlicka teaches numerous Biology courses at SAIC including
of sketches, diagrams, sculptures, installations, papers,
Animal Behavior, Evolutionary Mammalogy, Ecology, and Human Anatomy
interviews, lectures, collaborations, performance or magic.
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. She recently published
FACULTY
observational data collected on nocturnal foraging of the eastern cottontail
Edra Soto
rabbit. All of these animals are found throughout the Ox-Bow region and
Edra Soto (b. Puerto Rico) is a Chicago-based artist, educator, curator, and
offer Dr. Jedlicka’s students ample opportunity for scientific observations.
co-director of the artist-run project space THE FRANKLIN. She obtained her
Dr. Jedlicka has also presented and published articles on new teaching
MFA at the School of the Art Institute of Chicago in 2000, as well as attended
methods and labs in the college classroom. Papers on mirror neurons and
residencies at Skowhegan School of Painting and Sculpture; Beta-Local;
their implications for group behaviors is a current study topic of the Animal
Robert Rauschenberg Foundation; Project Row Houses; Arts/Industry at
Behavior students. Mammals, birds, and of course, our own lagoon turtles
Kohler and Headlands Center for the Arts. Her work was featured at the Pérez
will provide much insight into the animal kingdom.
Art Museum Miami; The Arts Club of Chicago and Museum of Contemporary Art Chicago. She co-curated the exhibition Present Standard at the Chicago Cultural Center with overwhelmingly positive reviews from the Chicago Tribune, Newcity, PBS, The Art Assignment and Artforum. She was featured in Newcity’s annual Art 50 issue Chicago’s Artists’ Artists and at VAM Studio 2017 Influencers and awarded the Efroymson Contemporary Arts Fellowship.
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Edra Soto Open 24 Hours, 2017 installation detail, wood, acrylic, found bottles, air dry clay
SPECIAL TOPICS July 29-August 11
Organize Your Own Daniel Tucker and Dan S. Wang PRINT 653 001 3 credit hours, 2 weeks This course grows out of the 2016 exhibition Organize Edra Soto Open 24 Hours, 2017 installation detail, found bottles, air dry clay
Your Own curated by Daniel Tucker. The exhibition took as its premise Stokely Carmichael’s fifty-yearold directive to go “organize your own” and featured contributions from forty-plus performers, artists, and writers, including co-instructor Dan S. Wang. Through a mix of curated texts and screenings and open studio production, students will grapple with the controversies and challenges of aesthetically complex political engagement in the era of Trump. Topics covered will range from activist documentation to slogan composition, from phone banking to scenario planning, from theoretical reflection to real-world intervention. Studio assignments will include printmaking, collage, documentary photography, and creative writing. Prompts will be provided while also leaving room for medium-specific and thematic concerns of the students. Finally, skill-based workshops drawing from the traditions of community organizing will be integrated into the course while maintaining a strong focus on the specific contributions that artists and designers can make to urgent discussions about new collectivity and social difference.
ABOVE: Daniel Tucker Organize Your Own opening night performance by Jenn Kidwell and Thomas Graves as part of an exhibition curated by Daniel Tucker. Photo by Paul Gargagliano BELOW: Dan S. Wang Primes: Nineteen In Thirteen In 1973, 2016 suite of nineteen drawings, ballpoint pen on junk mail
FACULTY Daniel Tucker Daniel Tucker works as an artist, writer and organizer developing documentaries, publications, exhibitions and events inspired by his interest in social movements and the people and places from which they emerge. His writings and lectures on the intersections of art and politics and his collaborative art projects have been published and presented widely. He has a longstanding interest in Chicago and co-founded AREA Chicago magazine, Never The Same oral history and archive, and edited the book Immersive Life Practices as part of the Chicago Social Practice History series developed by SAIC’s Department of Exhibitions & Exhibition Studies. He earned his MFA from University of Illinois at Chicago and BFA from the School of the Art Institute of Chicago and is an Assistant Professor and founding Graduate Program Director in Socially-Engaged Art at Moore College of Art & Design in Philadelphia. miscprojects.com. Dan S. Wang Dan S. Wang is an artist, letterpress printer, and writer excited to be co-teaching at Ox-Bow for his second time. Current projects include commissions from Asian Arts Initiative in Philadelphia and the Station Museum of Houston. His writings have been published internationally in journals, exhibition catalogues, and book collections. He has lectured widely, including at the Central Academy in Beijing, Documenta 11, and the third Creative Time Summit. He was a co-founder of the experimental project space Mess Hall in Chicago in 2003. His collaborative writings include the 2016 conversation-essay The Social Practice That Is Race co-authored with Anthony Romero published by the artist run Wooden Leg Press, and the 2015 critical essay In the Back of the Beyond in Global Activism from MIT Press, co-authored with Sarah Lewison.
29
Ebony G. Patterson, 18 (...when they grow up...), 2016, mixed media on hand-cut paper with beads, appliqués, embellishments, broaches, plastic, glitter, fabric, toys, EP00192
Kristan Kennedy, Tomorrow Tomorrow, CANADA, New York, NY Courtesy of Fourteen30 Contemporary, Portland, OR
VISITING ARTISTS
Andy Coolquit, Studio Art.................Period Room, 2016, mixed media, installation view
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Arnold J. Kemp, SLOW SEASON RITUAL DRAWING, 2016, photocopy with unique water color embellishments in custom frame
WEEK 1
WEEK 2
WEEK 3
Caroline Kent
Ebony G. Patterson
Stephanie Syjuco
June 3-9
June 10-16
June 17-23
Working within the historied language of abstract
Ebony G. Patterson (Jamaican, b. 1981 Kingston),
Stephanie Syjuco creates large-scale spectacles
painting, Kent investigates how that language is
attended Edna Manley College, Kingston, Jamaica (BFA,
of collected cultural objects, cumulative archives, and
understood amidst highly subjective cultural contexts.
2004) and Sam Fox College of Design & Visual Arts,
temporary vending installations, often with an active public
Kent’s painting practice is a constant pursuit of
Washington University, Saint Louis (MFA, 2006). She has
component that invites viewers to directly participate as
concretizing a language that speaks beyond the corridor
had solo exhibitions at The Studio Museum in Harlem,
producers or distributors. Using critical wit and collaborative
of a traditional painting practice to engage subjects
NY; Atlanta Center for Contemporary Art, GA; SCAD
co-creation, her projects leverage open-source systems,
related to the moving image as well as the written word.
Museum of Art, Savannah, GA; Boston University Art
shareware logic, and flows of capital, in order to investigate
Galleries; Museum of Art and Design, NY. Other projects
issues of economies and empire. Born in the Philippines,
include 32nd São Paulo Bienal; 12th Havana Biennial;
Syjuco received her MFA from Stanford University and
Prospect.3, and Jamaica Biennial 2014. She was a 2017
BFA from the San Francisco Art Institute. A recipient of a
Artist-in-Residence at the Rauschenberg Foundation, and
2014 Guggenheim Fellowship, her work has been shown
a 2015 recipient of the Joan Mitchell Foundation Art Grant.
nationally and internationally, and included in exhibitions
Public collections include The Studio Museum in Harlem,
at MoMA/P.S.1, the Whitney Museum of American Art,
NY; Museum of Art and Design, NY; Nasher Museum of
The San Francisco Museum of Modern Art, ZKM Center
Art, Durham, NC; Speed Museum, Louisville, KY; National
for Art and Technology, The 12th Havana Biennial, The
Gallery of Jamaica, Kingston. In 2018, Patterson will
2015 Asian Art Biennial (Taiwan), among others. She
present a solo exhibition at Perez Art Museum, Miami
is an Assistant Professor in Sculpture at the University
and at Monique Meloche Gallery, Chicago.
of California, Berkeley and lives and works in Oakland,
Caroline Kent earned her MFA from the University of Minnesota in 2008. Her work has been exhibited nationally at the California African American Museum, LA, The Suburban, Chicago, Unisex, Brooklyn and The Union For Contemporary Art, Omaha. She is the recipient of awards from the Jerome Foundation, the Pollock Krasner Foundation and the McKnight Foundation. Kent is cofounder of the Bindery Projects, an artist run exhibition space founded in Saint Paul, MN and is a current new fellow of Paint School, of the Shandaken Project, a residency program in New York’s Hudson Valley.
Caroline Kent The penultimate step, 2016 Acrylic on unstretched canvas
California.
Ebony G. Patterson ...here I, 2015-2017 hand-embellished jacquard woven tapestry with beads, appliqués, broaches, glitter and trim
Stephanie Syjuco Money Factory (An Economic Reality Game), 2015 participatory installation commissioned by the Asian Art Biennial, Taichung, Taiwan
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WEEK 4
WEEK 5
Gordon Hall
Kristan Kennedy
June 24-30
July 1-7
Gordon Hall’s sculptures and performances have
Kristan Kennedy is a Portland-based artist, curator,
been presented at SculptureCenter, Brooklyn Museum,
and educator. She is the Artistic Director, Curator of
Museum of Contemporary Art Chicago, Whitney Museum
Visual Art for the Portland Institute for Contemporary
of American Art, Movement Research, EMPAC, Art in
Art (PICA). For the last decade, Kennedy has focused
General, Temple Contemporary, Kent Fine Art, Foxy
on commissioning new work by international emerging
Production, Hessel Museum at Bard College, White
artists in the form of large-scale, site-specific installations
Columns, Wysing Arts Centre, Abrons Arts Center,
and solo projects that exist at the borders of genres.
and Socrates Sculpture Park, among others. Hall’s first
Kennedy teaches Contemporary Art History at Portland
institutional solo show will take place at the MIT List
State University, where she directed the MFA Visiting Artist
Center for Visual Arts in the Spring of 2018, and Hall will be
Program and Lecture Series (2011-2015), and founded
in residence at the Brodsky Center for Books and Editions
the programs companion journal STUDIO. Kennedy is
at Rutgers University in early 2018. Hall’s writings and
represented by Fourteen30 Contemporary, Portland,
interviews have been featured in a variety of publications
Oregon. While the artist identifies as a painter, she also
including V Magazine, Randy, Bomb, Title Magazine,
questions the history, process and medium that she is
Walker Art Center’s Artist Op-Ed Series, What About
complicit in perpetuating. Curator and critic Stephanie
Power? Inquiries Into Contemporary Sculpture (published
Snyder says of Kennedy’s paintings in Artforum, “their
by SculptureCenter), Documents of Contemporary Art:
intense dialectic of beauty and repulsion mirrors the artist’s
Queer (published by Whitechapel and MIT Press), and
philosophical struggles—we sense that both artist and
Theorizing Visual Studies (Routledge). Hall holds an MFA
artwork have gone through the wringer—together—to
and an MA in Visual and Critical Studies from the School
achieve a hard-won grace”. Recent exhibitions include Flat
of the Art Institute of Chicago.
Fix, Halsey McKay Gallery, NY; Eyes, Ditch Projects, OR; Sunday, Crisp-Ellert Museum, FL; Kristan Kennedy Meets a Clock, Soloway, NY; Sleeper, Fourteen30 Contemporary, OR; OO, Misako & Rosen, Tokyo; Tomorrow, Tomorrow, CANADA and Other Colors, Fourteen30 Contemporary.
Kristan Kennedy P.T.R.N.L.S.P.T.N., 2017 ink, dye, bleach on linen Courtesy of Fourteen30 Contemporary, Portland, OR
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WEEK 6
WEEK 7
Arnold J. Kemp
Eric N. Mack
July 8-14
July 15-21
Arnold Joseph Kemp has been working as an artist
Eric N. Mack was born in 1987 in Columbia, Maryland
in San Francisco, New York, Portland, Richmond, and
and lives and works in New York, NY. He received his
Chicago since 1991. He has also worked internationally in
BFA from The Cooper Union and his MFA from Yale
Stockholm, Paris, Vienna, Berlin and Nassau, Bahamas.
University. He is currently taking part in an artist-in-
He is an artist, curator and writer. His works are in the
residency programme at Delfina Foundation in London.
collections of the Metropolitan Museum of Art, The Studio
Institutional solo exhibitions include the BALTIC Artists’
Museum in Harlem, The Berkeley Art Museum and Pacific
Award 2017, BALTIC Centre for Contemporary Art,
Film Archive, The Tacoma Art Museum, The Schneider
Gateshead, UK (2017) and Eric Mack: Vogue Fabrics,
Museum of Art and the Fine Arts Collection at the University
Albright–Knox Art Gallery, Buffalo, NY. Major group
of California, Davis. He is a 2012 Guggenheim Fellow and
exhibitions include Ungestalt, Kunsthalle Basel; In the
has also received awards and fellowships from the Joan
Abstract, Massachusetts Museum of Contemporary Art;
Mitchell Foundation, the Pollock-Krasner Foundation, Art
Blue Black, Pulitzer Arts Foundation, St. Louis; Making &
Matters Inc., Printed Matter, Inc., and Portland Institute
Unmaking: An exhibition curated by Duro Olowu, Camden
for Contemporary Art. He holds an MFA from Stanford
Arts Centre, London, UK; and Greater New York, MOMA
University. He is Dean of Graduate Studies at The School
PS1, Long Island City, NY. His first solo exhibition with
of the Art Institute of Chicago. His work has been exhibited
Simon Lee Gallery will take place in London in April 2018.
in Chicago at Iceberg Projects.
ABOVE: Eric N. Mack A Lesson in Perspective, 2017 wool net curtain, tent cover, acrylic paint, linen, silk, polyester, velour Panel 1 : 315 x 180.3 cm (124 x 71 in.) Panel 2: 322.6 x 109.2 x 375.9 cm (127 x 43 x 148 in.) Panel 3: 215.9 x 487.7 cm (85 x 192 in.) Courtesy of the artist and Simon Lee Gallery IMAGES FROM TOP CENTER: Gordon Hall The Number of Inches Between Them, 2017 performance, approx. 45 min. pigmented cast concrete, color poster multiple, Performers: Mary Bok, Gordon Hall, Alan Crichton, Del Hickey, Susan Schor, Millie Kapp, and Chris Domenick Arnold J. Kemp HEADLESS AND SEATED, 2016 plywood veneer, oil paint, lemon halves
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WEEK 8
WEEK 9
Asher Hartman
Ernesto Pujol
July 22-28
Juyly 29 - August 4
Asher Hartman is an interdisciplinary artist, writer,
Ernesto Pujol is a site-specific performance artist
and director whose work at the junction of visual art and
and social choreographer known for his public practice.
theater centers on the exploration of the self in relation
Pujol creates durational, silent, walking performances
to Western histories and ideologies. He is also one
as complex portraits of people and places, inhabiting
half of the intuitive duo Krystal Krunch (with Haruko
familiar landscapes and emblematic architecture that
Tanaka) whose performances and workshops have been
have nevertheless become invisible, aiming to reveal their
presented in variety of venues including The Pulitzer Art
psychic underlay, in the Jungian sense. Pujol draws from
Museum, St. Louis; The Hayward Gallery, London; The
individual and collective memories and secrets through
Walker Art Center; Minneapolis, and The Miller Gallery
documented and undocumented, official and alternative
at Carnegie Mellon, Pittsburg; Real Art Ways, Hartford;
narratives. Pujol is interested in contributing to greater
and Extrapool, Netherlands; Hartman’s recent theatrical
individual and collective consciousness, to the notion
works include Sorry Atlantis, Eden’s Achin’ Organ Seeks
of our interconnectedness and interdependence—our
Revenge, Machine Project, 2017;Mr. Akita, Hauser &
Oneness. He engages in scholarly research and psychic
Wirth 2017, the Berkeley Art Museum and Pacific Film
acuity (a perceptual term coined by writer Lewis Hyde)
Archive (BAMPFA) 2017, and originally at the Frances
in the field. He trains citizens to perform communal,
Young Tang Museum Teaching Museum and Art Gallery,
esthetic, mindful, transformative presence. Pujol has
New York 2015; The Silver, the Black, the Wicked
an undergraduate degree in Humanities and Visual Arts.
Dance, LACMA 2016; Purple Electric Play !, Machine
He pursued independent graduate work in education,
Project 2014; Glass Bang, at the MAK Center for Art &
psychology, and communications. A recipient of numerous
Architecture’s RM Schindler’s Fitzpatrick-Leland House
awards, he received an MFA in Studio Practice from
as part of Machine Project’s engagement in the Getty
SAIC. Pujol currently serves as performance instructor
Museum’s Pacific Standard Time Presents: Modern
and thesis advisor in the low-residency MFA program in
Architecture in L.A.
Art Practice the School of Visual Arts, NY, and the lowresidency MFA program in Interdisciplinary Practice at the Hartford Art School, CT. Pujol is the author of Sited Body, Public Visions: silence, stillness & Walking as Performance Practice; as well as numerous published essays in collections such as Awake: Buddha Mind in Contemporary Art, Learning Mind: Experience Into Art, Fernwey: A Traveling Curator’s Project, and Lived Practice.
IMAGE LIST: RIGHT: Ernesto Pujol Time After Us, 2013 24-hour group performance Crossing the Line Festival, New York Photos by Nisa Ojalvo FROM CENTER TOP: Asher Hartman Purple Electric Play, Machine Project, 2014 Pictured: Philip Littell and Jasmine Orpilla. Puppets by Patrick Ballard. Photo credit: Marianne Williams. Andy Coolquit Studio Art.................Period Room, 2016 mixed media, installation view
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WEEK 10
WEEK 11
August 5-11
August 12 - 18
Caroline Woolard
Andy Coolquitt
Caroline Woolard (b. 1984, Rhode Island) makes
Andy Coolquitt was born in Texas in 1964, and
objects and systems at the intersection of art, technology,
currently lives in Austin. Next Spring he will open a solo
and the economy. Her recent project premieres include
exhibition at the Museum of Contemporary Art Santa
Carried on Both Sides at Lesley Heller, LMAK, and the
Barbara, in California. In the Summer of 2016, he produced
Knockdown Center in New York; Listen at Wave Pool and
a multi exhibition project titled Studio Art………..Period
the Contemporary Art Center in Cincinnati; and The Study
Room, while in residence at Artpace in San Antonio TX.
Center for Group Work in Dakar at the Dakar Biennial. She
In September 2014, Coolquitt presented his fourth solo
is an Assistant Professor of Sculpture at the University of
exhibition at Lisa Cooley, Somebody Place. In April and
Hartford and a Mentor in MFA Fine Arts at the School of
May of 2014, Coolquitt was artist-in-residence at the
Visual Arts. She speaks internationally about art, design,
Chinati Foundation in Marfa, Texas, which culminated
technology, and economic justice.Project commissions
with an exhibition, Multi-Marfa Room, at the Locker
include WOUND, Cooper Union, New York, NY; Capitoline
Plant in Marfa. In the Spring of 2014, Coolquitt had two
Wolves; Cornell University, Ithaca, NY; and Exchange
major solo exhibitions, including This Much at Galerie
Café, MoMA, New York, NY. Her multi-year, collaborative
Krinzinger in Vienna, Austria, and no I didn’t go to any
systems include OurGoods.org (since 2008); TradeSchool
museums here I hate museums museums are just
coop (since 2009); BFAMFAPhD.com (since 2014); NYC
stores that charge you to come in there are lots of free
Real Estate Investment Cooperative (since 2015). Recent
museums here but they have names like real stores at
critical writing about her work has appeared in Artforum,
Maryam Nassir Zadeh in New York. Coolquitt is perhaps
Art in America, and the New York Times. Woolard’s work
most widely known for a house, a performance/studio/
has been supported by residencies at LMCC; NewInc;
domestic space that began as his Master’s thesis project
Pilchuck; MoMA; Queens Museum; and Watermill and
at the University of Texas at Austin in 1994, and continues
through fellowships at Eyebeam; and the MacDowell
to the present day.
Colony. Caroline Woolard’s work has been the subject of two documentaries on PBS for Art21.
Caroline Woolard Amulet, 2017 porcelain, water, performance
35
April Camlin Fall 2017 Artist-in-Residence
2017 Fall Artists-in-Residence
SPECIAL PROGRAMS
Summer 2017 Fellowship Students
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Fall 2017 Artist-in-Residence Liz McCarthy in the studio
THE FELLOWSHIP PROGRAM FUNDED BY THE LEROY NEIMAN FOUNDATION Each summer, Ox-Bow offers 12 fellowship students from competitive art schools all over the nation the opportunity to focus on their work, meet with renowned artists, and grow as members of this unique community. These students live on campus for 13 weeks where they participate in campus life as both staff members and as 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 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: • 13 weeks on campus • Private studio space with 24 hour access • Free housing and meals
• Weekly studio visits with visiting artists • Exhibition opportunities
Who can apply for a fellowship?
Eligibility
• Students from any school • Ox-Bow offers 2 fellowships to undergraduate and graduate students from any degree-granting institution. • Ox-Bow offers 2 fellowships to undergraduate and graduate degree-seeking students from the School of the Art Institute of Chicago.
Students from Partner Schools Ox-Bow works with 8 partner schools to bring in fellows from across the country. The partner schools for 2018 are Pratt Institute, Cooper Union, Herron School of Art and Design, Kansas City Art Institute, Rhode Island
Applicants must: • Be undergraduate students in their junior/senior year or MFA students • Have graduated December 2017 or later • Be at least 21 years old at the start of the fellowship • Have the ability to work in the United States or have a work visa
2017 Fellowship Recipients Rabha Ashry, School of the Art Institute of Chicago Michael Cuadrado, Pratt Institute Jeffery Egner, Rhode Island School of Design
School of Design, Cranbrook Academy of Art, Grand
Jessica Gatlin, University of Tennesee-Knoxville
Valley State University, and University of Texas at Austin.
Kamron Hazel, Maryland Institute of Art
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.
• The opportunity to audit two weeks of a chosen course • A weekly stipend for working 20 hours per week on campus
Saige Hopkins, Cooper Union August Kochanowski, Herron School of Art and Design Luis Mejico, School of the Art Institute of Chicago Emily O’Leary, University of Texas at Austin Ato Ribiero, Cranbrook Academy of Art Natalie Spicker, Kansas City Art Institute
Application Deadline: February 20, 2018
Betsy Vollmar, Grand Valley State University
Program Dates: May 27–August 25, 2018
For more information and to apply online, visit www.ox-bow.org Michael Cuadrado Summer 2017 Fellow
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ARTISTS–IN–RESIDENCE PROGRAM Ox-Bow’s residency program offers artists and writers the time, space, and community to encourage growth and experimentation in their practice. The Arts Faculty and MFA Residencies are held during the Summer while our core classes and community programs are in session. During this time, a small group of 2-3 residents have access to Ox-Bow’s artist community of students, faculty, and visiting artists. The Fall Artists’ Residencies are held for five weeks between September and October. This larger group of artists has the opportunity to build a community while working in studios around campus.
Summer Arts Faculty Residency
Fall Artists’ & Writers’ Residencies
• Two week residencies
• Two, three, & five-week residencies
• June 3–August 18, 2018
• September 2–October 6, 2018
During the summer, Ox-Bow offers two week
Fall residents are given the time, solitude, and focus
residencies to faculty members in the arts, in an adjunct
often unavailable to so many working artists. Each Fall
or full-time capacity. This program is designed to give
between 25 and 30 artists participate in the residency
teaching artists the much-needed time to focus on their
creating a community of engaged peers. At Ox-Bow,
own work throughout the summer and also to connect
artists can enjoy 24-hour access to their studios, and
with other faculty teaching at Ox-Bow.
an inspirational setting, free from the expectations of
Recipients receive:
commercial and academic demands. During the Fall
• Private, raw studio space (classroom studios are not available for use)
season, Artists in Residence have the opportunity to work
• Private room (shared bathrooms and showers)
studios are dedicated specifically to writers. The Fall is
• 3 meals a day
also an ideal time to propose group or collaborative work.
• Access to visiting artists and faculty for studio visits
Recipients receive:
• Evening artist lectures
• Studio (and access to ceramic, printmaking and painting studios)
• Opportunities to share work through slide presentations, readings, etc. Applications are due February 1, 2018
Summer MFA Residency • Three-week residencies • June 3–August 18, 2018 The Summer MFA Residency is a three-week program open to any current or recent MFA graduate. Recent graduates must have graduated from an MFA program on or after December 2017. This program allows residents to take advantage of the summer community (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. Recipients receive: • Private Studio (raw studio space; classroom studios not available) • Private room (shared bathrooms and showers) • 3 meals a day • Access to visiting artists and faculty for studio visits • Evening artist lectures • Opportunities to share work through slide presentations, readings, etc. Applications are due February 1, 2018 38
in studios not available during the Summer session. Three
• Private room (shared bathrooms and showers) • 3 meals a day • A community of engaged artists • Opportunities to share work through slide presentations and/or readings Applications are due May 1, 2018
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 a visa, 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 Artists 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.
Costs Fully Funded Residencies All accepted residents will be fully funded. We have furthered our commitment to the needs of artists by no longer charging fees for the residency program. Artists may apply for additional stipends to help pay for the cost of travel, supplies, and time away from work. Please indicate your interest in being considered for an additional stipend on your application for residency.
Apply for a Residency at: www.Ox-Bow.org/apply-for-a-residency
Pre-College Program for High School Juniors & Seniors Ox-Bow’s Pre-College Program is a one week intensive designed for advanced high school juniors, seniors and recent graduates who are considering pursuing a degree in the visual arts. Students are given the opportunity to evaluate and strengthen their commitment to the study of art, receive college level instruction, and receive one college credit through SAIC. Other Ox-Bow classes run concurrently with these courses, providing Pre-College students with a sense of community as they interact with other artists taking classes. Students must be 16 to participate in this program. Landscape Drawing E.W. Ross & Olivia Petrides DRAWING 407 001 | 1 CREDIT HOUR | JULY 1–7
About our Funders: 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 of Chicago, 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 artists 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 artists 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.
Drawing upon the natural terrain of Ox-Bow, students explore drawing, design, composition and creativity. A wide variety of drawing materials are used. Slide lectures, critiques, and meetings with visiting artists are included each evening. More information about tuition and room and board fees on page 42.
PRE-COLLEGE SCHOLARSHIP Students are encouraged to apply for the Pre-College scholarship. The applications are reviewed on a rolling basis. Visit: www.Ox-Bow.org/pre-college-program INFORMATION FOR PARENTS/GUARDIANS All students are required to reside on campus during the course. Students are chaperoned and rules and regulations are strictly enforced. An adult chaperone is housed with Pre-College students throughout the week.
The following institutional partners enhance Ox-Bow’s residency program and expand its reach through generous financial support:
Students must provide their own transportation to and from Ox-Bow, but are not permitted to have a vehicle on campus.
Rhode Ishland Foundation’s MacColl Johnson Fellowship and Kathryn Johnson Fund along with the Alliance of Artists Communitues
39
LIFE AT OX-BOW Overview Frederick Fursman and Walter Clute, two faculty members from the School of the Art Institute of Chicago, founded Ox-Bow in 1910. Each Summer more than 500 artists, students, and educators gather along the lagoon in beautiful Saugatuck, MI, located 2 ½ hours from Chicago. With programs that cater to degreeseeking students, professional artists, and those new to the field, Ox-Bow is a protected place where creative processes shift, reform, and mature. At Ox-Bow, we encourage you to experiment, take risks, be playful, and trust your instincts; to engage faculty and fellow students during course time and in our public spaces; to remain open to new experiences and contribute your unique perspective to our vital and historic community. During any given week, you will find: • Students taking 1-2 week immersive classes • Faculty from all over the world
• Renowned Visiting Artists, Curators, and Scholars • MFA and Faculty Artists-in-Residence
• 12 Fellowship Students from schools across the country • Staff who are all working artists and have active studio practices
Courses & Studios
Activities & Camp Life
Housing
Courses offer a unique opportunity to build your
There are always a number of activities to
Ox-Bow provides shared, dormitory-style housing with
community by working closely alongside students
participate in around camp after course hours:
shared bathrooms in our main inns. Single rooms can
from across the country with world-class instructors. Ox-Bow’s courses are diverse, ranging in focus from functional to sculptural; from traditional to
• Visiting Artist, Artist in Residence and Faculty lectures
contemporary; from representational to conceptual.
• Friday Night Open Studios
Intensive and immersive one and two week courses
• The Crow’s Nest Trail: Hike through 115 acres of
allow students to delve into their practices. All studios, except glassblowing, are open 24 hours. Ox-Bow’s six classroom studios are:
• Take a canoe out to explore the lagoon and to the beach along Lake Michigan
• Thiele Print Studio
• Volleyball on the meadow
• Haas Painting & Drawing Studio
• Explore the charming resort towns of Saugatuck
• Seymour & Esther Padnos Metals Studio
and Douglas
on a first-come, first-served basis for an additional fee of $100 per week, except for those with accessibility requirements. We do our best to match students with the type of housing they request.
Commuting Students Commuting is an option for local residents and students who wish to make other housing arrangements. There are a variety of off-campus accommodations (motels, hotels, inns) located in and around Saugatuck and Douglas. Both towns are about 2 miles from Ox-Bow
• Krehbiel Ceramics Studio
• Relax around the campfire
and are accessible by car. There are a number of options
• Burke Glass Studio
• Themed Friday night costume parties are a 107-
located within walking distance. Camping is not allowed
• Clute Papermaking Studio
Schedule Sunday (First Day) Schedule: • Arrive between 2 and 5pm (Eastern time) for checkin and onsite paperwork • 5:30pm orientation meeting for all students and work study meeting • 6pm dinner • 8pm first class meeting Throughout the week:
year old tradition
Meals Students enjoy healthy and delicious meals prepared each day by our talented kitchen staff, who use locally
at Ox-Bow. Meal plans are available for commuting students (Lunch only $45, Breakfast and Lunch $75, Full Meal Plan $160).
Contact Information
sourced ingredients as much as possible. Meals are
Questions concerning your stay at Ox-Bow (i.e.
included in the room and board fee for students residing
arriving, leaving, what to bring, travel issues, etc.) should
at Ox-Bow. Three meals and snacks are served daily. Our chefs are happy to accommodate dietary restrictions; please let the Ox-Bow office know of any food allergies or special diet requirements upon check-in.
be directed to the 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-
• Students participate in one course per session
Bow Program Associate in the Chicago Administrative
• Classes meet daily 10am – 5pm (except glass
Offices at (800) 318-3019.
classes which meet at 9am – 6pm) • Two-week classes meet on both days of the middle weekend of the session • No classes meet on the last Saturday of the session 40
wooded dunes
be requested at the time of registration and are available
Policies Admission Policies Ox-Bow reserves the right to deny admission to any individual who has demonstrated a history of behavior which, in the judgment of 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 Ox-Bow reserves the right to impose sanctions including suspension and expulsion, without refund, upon students for behavior which in the judgment of Ox-Bow contributes in any way to the disruption of the educational processes or residential life at Ox-Bow. Additional policies are listed in the Ox-Bow Policy & Procedures Handbook. SAIC students will be subject to the disciplinary procedure and sanctions as outlined in the School of the Art Institute of Chicago’s Student Handbook. Studio Policies Each studio has specific policies in order to ensure the safety of students and equipment. Additionally, these policies ensure that all participants receive a quality education by having equal access to faculty and equipment. All studio specific policies will be explained on the first night of classes. Any student found in violation of these policies will be asked to leave the course without refund. These same policies are applied to any work conducted in the Ox-Bow landscape or on the Ox-Bow grounds. Because Ox-Bow is a community, we ask that all students respect the rights of their classmates and community members by following our policies.
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SCHOLARSHIPS & FINANCIAL AID OX-BOW MERIT SCHOLARSHIPS
LEROY NEIMAN FOUNDATION SCHOLARSHIP
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.
For undergraduate or graduate students. For credit or non-credit courses.
All applications are due on Tuesday, February 20, 2018. Apply online at www.Ox-Bow.org.
LORETTA GRELLNER SCHOLARSHIP For adult women who are either pursuing a degree in art, or those who need to refresh their professional practice in the classroom environment.
*Only one application is required in order to apply for all available scholarships.
THE BEA AND CAROLINE DAVIS SCHOLARSHIP
MARY LOUISE BARNA MEMORIAL SCHOLARSHIP
This scholarship is available to all students, credit or non-credit courses.
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.
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.
THE FITZ AND THELMA COGHLIN SCHOLARSHIP For students from the West Michigan region. Credit or non-credit courses.
GEORGE LIEBERT SCHOLARSHIP For undergraduate and graduate students from any school. For credit courses only.
ISRAEL DAVIS/FUNFALIFE SCHOLARSHIP For recent alumni of the Visual Arts Program of the University of North Carolina School of the Arts (within last five years). Credit or non-credit courses.
JAN KOKOT SCHOLARSHIP This scholarship is available to students taking for credit courses.
JASON KALAJAINEN SCHOLARSHIP 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.
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 noncredit courses. This award is in partnership with J. Soto and Anthony Romero.
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RUPPRECHT SCHOLARSHIP For undergraduate and graduate students, currently enrolled in SAICs 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.
WORK SCHOLARSHIPS Work Scholarship students have the opportunity to experience Ox-Bow in a unique, “behind-the-scenes” way by working closely with resident staff. Students are expected to work 15 hours each week and in return receive discounts of $575 per week on room and board fees. In order to fulfill the work commitment, students are expected to arrive on campus Sunday between 2-5pm and must stay until 2pm on the Sunday after their class. • Work Scholarships are awarded on a first-come, first-served basis beginning 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 can 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 Scholarship will have roommates. Please be certain before applying that you are able to complete the requested work. It is absolutely required that students inform Ox-Bow in advance if they decide not to complete work scholarship duties.
Ox-Bow Scholarship For non-credit students taking a summer course. Please see our website for more details: http://www.ox-bow.org/summer-financial-aid.
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 and board free (a $1,150 value!) • are eligible for federal loans • can complete your 6 credits of 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 aid award from SAIC toward degree credit tuition for courses at Ox-Bow. Students will need to complete an SAIC Summer 2018 Institutional Financial Aid Application available at www.saic.edu/ faforms even if you will be using only a merit scholarship award. Applications must be submitted before the term begins. Please contact the SAIC Student Financial Services office or refer to the application for exact deadlines. Financial aid typically does not cover room and board or lab fees at Ox-Bow. Learn more about applying at the School’s Office of Financial Aid, by calling (312) 629-6600, or by emailing saic.sfs@saic.edu.
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Registration Ox-Bow welcomes anyone 18 years or older, from beginning to advanced artists, to register for courses. Once registered, students will receive a confirmation email with orientation information, supply lists and syllabi.
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. TUITION BREAKDOWN CHART
TUITION
ROOM & BOARD
FULL RATE TOTAL WORK SCHOLARSHIP
One- Week (non-credit)
$600
$575
$1,175
Two weeks (non-credit)
$1,350
$1,150
$2,500
One Week UG rate: GR rate:
(1 credit) $1552 $1625
$575 $575
$2,127 $2,200
-$575 -$575
Two weeks: UG rate: GR rate:
(3 credits) $4,656 $4,875
$1,150 $1,150
$5,806 $6,025
-$1,150 -$1,150
Complete and submit a registration form on our website www.ox-bow.org or fill out the registration form on page 43. Make sure to include a signature and payment information. Ox-Bow does not accept registration by phone.
SAIC Registration, March 19 Currently enrolled undergraduate and graduate students at SAIC may register for Ox-Bow courses beginning in person on Monday, March 19, 2018 at 8:30am at the Ox-Bow office (36 South Wabash, Room 1425). Online registration begins at 1:30 pm CST at ox-bow.org. SAIC students are not able to register through PeopleSoft for Ox-Bow classes.
Open Registration, March 26 Registration online, in person, or by mail begins on Monday, March 26, 2018, at 8:30am CST. Our office will process registrations in the order they are received, emailing a confirmation soon after. In the event that the class you requested is full, you will receive an email informing you of your status on the wait list or that you have been enrolled in your second-choice class.
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
Additional Fees Lab Fees and Studio Fees Lab fees are listed with course descriptions. Lab fees cover the cost of essential class materials supplied by Ox-Bow, including fuel costs (if applicable), and costs of maintaining the studios. Please note students may incur other material costs depending on the scale and scope of their projects. All fees are due at the time of registration. Single Room Fee Single rooms can be requested at the time of registration and are available on a first-come, first-served basis for an additional fee of $100 per week, except for those with accessibility requirements. This fee is not charged until the availability of a single room can be confirmed, which is upon arrival at Ox-Bow for check-in.
Drop & Refund Policy Refunds can only be granted if drop requests are made three weeks prior to the beginning of the 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 the SAIC Self-Service or through the SAIC Registrar. The following drop fees will be assessed dependent on when you drop your course (scholarships cannot be used to cover drop fees):
National Association of Schools of Art and Design. The Pre-College program class for high school student is
• From the first day of registration until 4:30pm on Friday, April 20, you will receive a full refund minus a $100 drop fee.
for-credit only. To request a transcript from SAIC, please
• If you drop after April 20 until 3 weeks prior to your first day of class, you will receive a full refund
contact the Registrar’s Office at (312) 629-6700 or SAIC.
minus $250 drop fee and any associated lab fees.
registrar@saic.edu.
Payment for Credit Courses All for credit tuition, fees and room and board is
• 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.
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 SAIC’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.
Travel to Campus 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 5pm EST. Students are responsible for their own transportation to and from campus. If you plan to take the bus, please contact our Campus Director Shanna Shearer to coordinate pick-up from the bus station, (269) 857-5811. 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. To find out more about transportation, please visit www.Ox-Bow.org
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2018 SUMMER REGISTRATION FORM STUDENT INFORMATION (PLEASE PRINT CLEARLY) Last Name
First Name SAIC Student ID #
Middle Initial
Have You Attended Ox-Bow Before?
(if applicable)
Date of Birth
No
Yes
Age (mm/dd/yr)
Identify my Gender As
Gender Pronoun
Primary Phone
Address
CITY STATE ZIP Please inform us of any medical/health conditions or disabilities that might require assistance: or if you have an accommodation letter that you would like us to pass along to your faculty
EMERGENCY CONTACT INFORMATION Name DEMOGRAPHIC INFORMATION
Relationship
Phone
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
Asian
Black or African American
Hispanic or Latino/a
Middle eastern or North African
Other
Native Hawaiian or Other Pacific Islander
White
Prefer not to answer
SCHOOL INFORMATION What school are you enrolled in?
City & State
Level
High School
Post-Baccalaureate
Undergraduate
Graduate
Low Res Major Area of Study
Level
Freshman
Sophomore
Junior
1st Year Grad
2nd Year Grad
COURSE REGISTRATION Are You Registering for Credit/Non-Credit? COURSE TITLE
Credit DATES
N/A
Non Credit TUITION
RM/BD 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 have no housing preferences I want to reside on campus, in a gender-neutral room
I want to reside on campus and request as a roommate: I would like to request a single room (limited availability on a first-come, first-served basis) for an additional $100/week due at check-in Course registration continues on back 45
2018 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 20: you will receive a full refund minus a $100 drop fee. • If you drop after April 20 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 OxBow@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 Registrar. 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. Card Type:
Credit Card Number:___________________________________ Expiration Date: ________
Security Code:_______ Billing Address if Different from front of form: ________________________________________________ ________________________ 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. *Registrations postmarked before March 19th will not processed until March 26th. This application is also available online at www.ox-bow.org. Signature /Date Questions? Email Ox-Bow@saic.edu Phone (800) 318-3019 Stop by our office in the Sullivan Center 36 South Wabash, Room 1425 46
Mission & Overview 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 is a lifetime appointment that celebrates Ox-Bow’s important legacy.
Stewardship Committee 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.
Ox-Bow Board of Directors
Stewardship Committee
Staff
David Geerts, President Peter C. Krupp, Vice President Janet R. Cunningham, Secretary Sam Wanner, Treasurer David Balas, Emeritus Board Chair Tiffany Holmes Maryjo Lemanski Steven C. Meier Walter Petersen Kymberly Pinder Dale Rainville E.W. Ross Elizabeth Rupprecht, President Emeritus Louise Silberman Elissa Tenny Keith P. Walker Todd E. Warnock, President Emeritus
Julie Abel James Brandess John Cannarsa Jacqueline Carey Annette Cress Todd Knight Maryjo Lemanski, Chair Holly Leo Nico Leo Kathleen Markland Walter Petersen, Vice-Chair Greg Plowe Michael Rippey Kay Smalley Tim Straker Michael Tischleder
Mike Andrews, Executive & Creative Director Laura Eberstein, Director of Finance and Administration Annie Fisher, Program Associate Daniel Giles, Summer Academic Advisor Gabrielle Guerra, Marketing & Communications Coordinator Michael Henderberg, Head Chef Rebecca Parker, Program Director Cindy Peterson, Benefit Director John Rossi, Facilities Manager Shanna Shearer, Campus Director Ruby T., Temporary Administrative Assistant
Contact Us
Chicago Office 36 South Wabash, Rm 1425 Chicago, IL 60603 1.800.318.3019 Ox-Bow Saugatuck Campus 3435 Rupprecht Way Saugatuck, MI 49453 269.857.5811
Emeritus Board Roger Arbury Patty Birkholz Barbara Whitney Carr Patricia Dewey Arthur Frederick Lawrence Gammons Margaret McDermott Carol Sarosik
Seasonal Staff Integral to the Ox-Bow experience are the dedicated seasonal staff who help define the character of the organization. 2017 Seasonal Staff: Mac Akin, Chef Devin Balara, Metals Studio Manager Tim Belliveau, Glass Studio Manager Dulcee Boehm, Administrative Assistant Erin Chapla, Chef Mary Clemens, Chef Aaron Cook, Operations Manager Andrew Doty, Ceramics Studio Manager Arynn Hans, After Hours Personnel Nate Large, Chef Lauren McGill, Housekeeping Manager Mitchell Oliver, Chef/Gardening Osee Obaonrin, Kitchen and Maintenance Ryan Shrum, Print Studio Manager
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