2021 Experience Ox-Bow Catalog

2021

EXPERIENCE OX-BOW

OX-B OW S C H O O L O F A R T & A R T I S T S ’ R ES I D EN CY

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

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 OX-BOW SCHOOL OF ART & ARTISTS’ RESIDENCY was established in 1910 and continues its mission of connecting artists to a network of creative resources, people, and ideas; an energizing natural environment; and a rich artistic history and vital future. Ox-Bow’s egalitarian and intimate environment encourages all artists, regardless of experience, to find, amplify, rediscover, and share their impulse to create. Faculty, visiting artists, residents, staff, and students live and work together in a temporary intentional community on our campus in Saugatuck, Michigan, where they share meals, social time, and the exchange of ideas.

We actively encourage our participants to engage across differences in age, regional location, race, and gender identity, learning what it means to be a community by participating in one.

Communications Associate Rebecca Parker Senior Director of Academic Programs Maddie Reyna Assistant Director of Academic Programs

CAMPUS & SEASONAL STAFF Erin Chapla Head Chef Nate Large Sous Chef Mary Clemens, Emory Hall, TJ Mathieu & Billy-Marie Peña Chefs John Rossi Facilities Manager Aaron Cook Operations Manager Mac Akin Campus Manager

Follow us on instagram and Facebook

Michael Cuadrado

@oxbowschoolofart

Housekeeping Manager

CONTACT US ox-bow@saic.edu || www.ox-bow.org 3435 Rupprecht Way, Saugatuck, MI 49453

Devin Balara Metals Studio Manager Dove Drury Hornbuckle Ceramics Studio Manager

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

Bobby Gonzales Print & New Media Studio Manager Lucy Gillis Glass Studio Assistant Danielle Thurber-DeGroot Campus Wellness Counselor

Cover: Brandon Dill and Kory Kearney

A Note from Our Director . . .

Dear Artists, Art Lovers, Neighbors, and Friends, In your hands you hold Ox-Bow School of Art & Artists’ Residency’s new Experience Ox-Bow catalog. Many of you are familiar with our Art on the Meadow summer program of one-day and four-day workshops, and are used to receiving that catalog in the mail. This year, we are excited to bring you a more thorough invitation to our campus, with expanded Art on the Meadow offerings, opportunities to schedule private one-on-one and small group classes, save the dates for this year’s Plein Air Picnic and Field of Vision events, and conversations with artists in our community.

Like many schools in 2020, Ox-Bow had to cease its summer and winter classes and recalibrate its approach to living and learning in community.

This break from in-person learning gave us the opportunity to reflect on the ingredients that make the Ox-Bow experience one that so many describe as “magical,” and to build on those ingredients to create new ways for artists to access our campus and programs.

After 111 years of providing sanctuary for artists and art lovers in West Michigan, Ox-Bow at its roots is invested in place. We strive to build a community that is welcoming to the wide range of people who are drawn to our historic campus, with its magnificent forest, stunning sunsets, and tranquil lagoon. We have a lot to share: a rich network of teaching artists excited to connect with students at all stages of their studio journey; an incredible culinary experience brought to you by our visionary chefs; and a passionate community of staff, supporters, and friends, who together make Ox-Bow a remarkable place where so many have felt at home.

We welcome everyone, from our stalwart supporters who have sustained us over the decades to our brand-new community members, to experience Ox-Bow with more depth and joy than ever before.

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

With care,

Shannon R. Stratton Executive Director

Photo: Jessica Labatte

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PLE IN PICN AIR ARE B ICS AC K !

Join us!

This summer we are offering a limited number of picnics! Join us on the meadow for one of our lovingly crafted summer meals: Dinner, May 21st Dinner, May 22nd Dinner, September 10th Brunch, September 12th COST: Dinner: $100 per person; Brunch $75.00 per person for a multi-course picnic meal including your choice of alcohol. Limited seating!

For more details and to book your table now, visit www.ox-bow.org/picnics

FALL SAVE THE DATES! Ox-tober Tea & Trails October 10th & 11th Spooky Trail October 29, 30, 31st 2

FIELD OF VISION 2021 Save the Date(s) for Ox-Bow’s Summer Benefit: Field of Vision!

Emeritus Cocktail Party July 9th Dinner & Dance July 10th Morning After Plein Air Picnic Brunch July 11th

VIP Weekend Packages available!

Contact Kate Nguyen at oxbowbenefit@ gmail.com to reserve your tickets or become a sponsor!

C O NTENTS 4

ART ON THE MEADOW

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RENTALS » » Cabin Rentals . . ............... 24

» » Overall Calendar............. 6

MEET OUR COMMUNITY » » Chris Ferris.................... 9

» » Studio Rentals................ 26 » » Cooking & Aesthetic Living............................ 7

» » James Brandess............. 19 » » Private classes............... 27 » » Maryjo Lemanski............ 22

» » 4-Day Art Workshops...... 10 » » Dove Drury Hornbuckle... 28 » » 2-Day Weekend Art Intensives................. 13 » » 1-Day Art Workshops...... 14 » » 1-Day Writing Workshops..................... 16 » » Faculty Bios................... 17 » » Landscape Painting with James Brandess............. 21

ALSO... » » Life at Ox-Bow. . ...................................30 » » Community Covid-19 Mitigation Guidelines...........................32 » » 1- & 2-Week Residential & Online Courses....................................33 » » Become a Member..............................34

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ART ON THE MEADOW

Art on the Meadow offers short-term, affordable art education opportunities, held outdoors under tents, for learners of all experience levels.

These intimate workshops are imaginatively challenging and logistically accessible for our West Michigan neighbors aged 13 and up.

Many of this year’s workshops engage with our natural environment or equip you to bring art home and into your everyday life.

Our faculty is made up of artists from right here in West Michigan and from around the nation. Some have taught here at Ox-Bow for decades; others are joining us on campus for the first time. All are committed to fostering immersive, expansive educational experiences for our community.

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ART ON THE MEADOW MAY 23 - 29 Carbon Fingerprint: Collective, Large-Scale Charcoal Drawing Tuesday–Friday, May 25–28, 10 a.m.–1 p.m.

2021 WORKSHOP SCHEDULE MAY 30 JUNE 5

Sensing Our Selves, Finding Our Frames: Perception & Possibility through Writing Saturday, June 5, 10 a.m.–5 p.m.

Japanese Papermaking Saturday, June 5, 10 a.m.–5 p.m.

Introduction to Bronze Casting Tuesday– Friday, June 1–4, 10 a.m.–1 p.m.

Music for NonMusicians Tuesday–Friday, June 1–4, 2–5 p.m.

JUNE 6 - 12 Food Styling & Tablescapes 101 Saturday, June 12, 10 a.m.–1 p.m.

Sumptuous Silk Scarf Marbling Saturday, June 12, 2–5 p.m.

Writing Personal History Saturday, June 12, 10 a.m.–5 p.m.

Banana Hammocks & Other Armatures: An Intro to Welding & Bending Steel Saturday, June 12, 10 a.m.–5 p.m.

Ice-Dye It!

JUNE 13 - 19 Perfect Grilled Salmon Saturday, June 19, 10 a.m.–1 p.m.

Art of the Meadow: Flower Arranging

KEY Art Cooking Writing JUNE 20 - 26 The Building Blocks of Bookmaking Saturday–Sunday, June 26–27, 10 a.m.–5 p.m.

Beyond the Screen: Anti-Edition Monoprinting for Fabric & Wearables Saturday, July 17, 10 a.m.–5 p.m.

Wind through the Fibers: Moving Paper Sculpture Saturday, July 17, 10 a.m.–5 p.m.

JULY 18 - 24 Super Sauces of Mexico Saturday, July 24, 10 a.m.–1 p.m.

Portraiture, Identity & Desire: Observational Drawing Tuesday–Friday, July 20–23, 2–5 p.m.

JULY 25 - 31 Tangled Up in Blue: Cyanotypes in Nature

A Poetry of Place: Charcoal Drawing Tuesday–Friday, June 15–18, 2–5 p.m.

Saturday–Sunday, July 31–August 1, 10 a.m.–5 p.m.

Mosaic as Painting Tuesday–Friday, July 27–30, 2–5 p.m.

Saturday, August 7, 10 a.m.–1 p.m.

The Camera as Drawing Machine Saturday–Sunday, August 7–8, 10 a.m.–5 p.m.

Engaging Hands: Patchwork Quilt Workshop

AUGUST 8 - 14 Observation & Invention in Painting Tuesday–Friday, August 10–13, 10 a.m.–1 p.m.

Experimental Painting en Plein Air Saturday, August 14, 10 a.m.–5 p.m.

Tuesday–Friday, August 3–6, 10 a.m.–1 p.m.

Drawing as Meditation Tuesday–Friday, July 13–16, 10 a.m.–1 p.m.

Water & Rocks: Wild Clay Workshop Tuesday–Friday, July 13–16, 2–5 p.m.

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Shape Scapes Collage Workshop

Tuesday–Friday, June 29–July 2, 2–5 p.m.

Tuesday–Friday, June 15–18, 10 a.m.–1 p.m.

Seasonal Improvisation

Saturday, July 3, 10 a.m.–1 p.m.

Collaging the Senses: Storytelling

If Only They Could Speak! OxBow Architecture in Watercolor

AUGUST 1-7

The Crossroads of Spice

Saturday, July 3, 10 a.m.–5 p.m.

Saturday, June 19, 2–5 p.m.

Tuesday–Friday, June 8–11, 2–5 p.m.

JULY 11 - 17

JUNE 27 JULY 3

Landscape Painting

Landscape Painting

Landscape Painting

Landscape Painting

Saturday, July 17, 10 a.m.–1 p.m.

Saturday, July 31, 10 a.m.–1 p.m.

Saturday, August 7, 10 a.m.–1 p.m.

Saturday, August 14, 10 a.m.–1 p.m,

IMPORTANT REGISTR ATION INFORMATION Registration must be accompanied by payment in full. Workshops may be canceled due to low enrollment. If your workshop is canceled, you will be notified by email and will receive a full refund. Students are required to supply their own basic materials for most workshops; supply lists will be sent in advance.

Meal Plans Lunch is included for all one- or two-day summer workshops.

Lunch is not included with fourday workshops. If you have signed up for a four-day workshop and would like to purchase a lunch plan for $40, please indicate your interest on the registration form, and include payment with registration.

Registration Course registration for summer workshops begins March 25, 2021.

To register online, go to www. ox-bow.org/art-on-the-meadow-workshops To register by mail, please complete the enclosed form and return it with payment in full to: Ox-Bow School of Art ATTN: Claire Arctander PO Box 216 Saugatuck, MI 49453

COOKING & AESTHETIC LIVING

3-hour workshops with lunch included at 1 p.m.

As creative people, our hunger for sensory bliss doesn’t stop at the edges of the canvas.

Treat all of your senses to the finer things in life with our Cooking and Aesthetic Living workshops this summer. Each of these threehour experiences will lavish you with new methods for bringing exquisite touches to your life. The past year has taught us just how precious home is—why not bring artful detail into yours on a daily basis?

Food Styling & Tablescapes 101 DATE: Saturday, June 12 TIME: 10 a.m.–1 p.m.

Payment Ox-Bow accepts Visa, MasterCard, Discover, and American Express, as well as personal checks and money orders, made payable to Ox-Bow. Cancelation and Refund Policy Students must cancel their registration at least 10 days in advance to receive a refund.

FACULTY: Emory Hall TUITION COST: $100

Calling voracious fans of food blogs and cookbook photography—learn all the tricks of the trade from an experienced food stylist and artist! This workshop will cover the food styling basics that originated in commercial and editorial photo shoots, so that students can bring them home to their own table. Students will learn how to style a dish, compose a plate of food, set a gorgeous and unique table, and make a beautiful Nicoise salad fit for Instagram or their first post-pandemic dinner party. All edible techniques; no glue required. Bring your own tweezers! All food materials will be provided.

Questions?

Email: carcta@ox-bow.org

*NOTE: This workshop focuses solely on food styling; it does not cover

Phone: (269) 857-5811

photography.

Maddie Reyna, flower arrangements for Ox-Bow. Photo by Maddie Reyna

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Sumptuous Silk Scarf Marbling DATE: Saturday, June 12, 2–5 p.m.

FACULTY: Ruby T TUITION COST: $120

Be dazzled and mesmerized by the art of marbling—an 11-century-old print process! Learn to swirl multicolored pigments in water, then capture the mesmerizing image forever in a oneof-a-kind wearable art piece. All materials will be provided.

Perfect Grilled Salmon DATE: Saturday, June 19,

10 a.m.–1 p.m.

FACULTY: Chris Ferris TUITION COST: $80 Chris Ferris, Head Chef and owner of local hot spot the Farmhouse Deli, will teach students how to make one of her favorite meals: grilled salmon with coconut spinach on ruby quinoa, followed by a coconut–Meyer lemon tart. Students will learn how and where to find fresh fish, how to grill fish perfectly to their taste, and how to substitute whole grains for healthier recipes. The resulting meal will be gluten-free and dairy-free—but you would never know it!

Art of the Meadow: Flower Arranging DATE: Saturday, June 19, 2–5 p.m.

FACULTY: Maddie Reyna TUITION COST: $120

This workshop invites participants to create a living sculpture with florals. We will review the art historical overlaps found in the Dutch baroque and ikebana styles and experiment with vessel armature techniques such as wire mesh, pin frog, and tape grid. Local and exotic live

flowers will be provided to each participant; after demonstration, arranging, and group discussion, participants will take their lush, ephemeral arrangements home.

The Crossroads of Spice DATE: Saturday, July 3,

10 a.m.–1 p.m.

FACULTY: Erin Chapla TUITION COST: $80 Ox-Bow’s Head Chef and “Spice Queen” Erin Chapla takes students on a fragrant tour of the Spice Islands of Southeast Asia. With maps and slides, this course will delve into the fascinating history of the spice trade, tracing the cultural influences that make this region the crossroads of many of the world’s finest culinary traditions, including Indian, Chinese, Thai, and European cuisines. Students will experience the scents and tastes of fresh herbs and spices, some new and some familiar, enlivened by the context of their stories. Chef Erin will share recipes and techniques as she demonstrates a Malaysian spice paste preparation, and show students how to perfume their own cooking with a few simple spice blends that transcend their ingredients. Class will culminate in a sampling of dishes that illuminate the Spice Islands as a delicious melting pot.

Super Sauces of Mexico DATE: Saturday, July 24,

10 a.m.–1 p.m.

FACULTY: Erin Chapla TUITION COST: $80 This process-based workshop will focus on the unctuous, rich chili sauces that form an essential cornerstone of Mexican cui-

Sign up for two or more Cooking and Aesthetic Living workshops, and we will send you a copy of our limited-edition COOKIE ZINE, produced by our kitchen staff and featuring many of Ox-Bow’s deeply beloved, top-secret cookie recipes!

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sine. Beginning with an introduction to several varieties of dried chilies and their origin stories, we will work together through the seven-step process of transforming them into concentrated, balanced sauces that transcend their humble ingredients. The flavors coaxed out of dried chilies as they simmer are not merely hot, but instead deliciously complex. We will discuss flavor in a way that is most often reserved for wine tasting.

The end results are versatile, velvety sauces with myriad applications, easy to make in big batches and store, and Chef Erin will share her favorite recipes for their use. We will make a lunch of the results and send participants home with ample sauce!

Seasonal Improvisation DATE: Saturday, August 7, 10

a.m.–1 p.m.

FACULTY: Erin Chapla TUITION COST: $80 Back by popular demand, this fun, spontaneous workshop will once again put Chef Erin on the spot to develop delicious dishes with a few kitchen staples and a wagonload of seasonal goodies fresh from the farmer’s market.

Together, we will examine the morning’s bounty, highlighting a few favorite local growers as we discuss what’s in season and the possibilities for each ingredient. We will cover some kitchen tips and techniques, talk about various flavor profiles and how to construct menus within them, and learn some loose, improvisational recipes as we work together to prepare a produce-forward lunch. Last year’s menu landed on an arugula and quinoa salad with fresh basil; perfect tomatoes and grilled sweet corn; a mustardy green salad of heirloom beans and new purple potatoes; and grilled peaches and sweet potatoes tossed in a fresh cherry vinaigrette—who knows what we’ll end up with this time!

More worksop offerings on page 10!

MEET OUR COMMUNITY

Chris Ferris

a long-time food partner & owner of Farmhouse Deli

Tell us about yourself. Where did you grow up, and

I moved back to southwest Michigan in 1993, after

how did you come to Saugatuck?

working in California and Chicago. I began cater-

I was born in South Haven [Michigan] in 1964. I grew

ing shortly thereafter and continue to do so still. I

up in the art community, attending many classes,

opened the Farmhouse Deli [in Douglas] in 2013. At

shows, openings, and studios of artists belonging

that time, it was my dream to have a tiny farm-

to SPACE, which was a local artists’ club. I moved to

to-table deli that provided the community made-

Santa Cruz, California, in 1977, but would come back

from-scratch food featuring healthy, fresh, local

to Michigan every summer to visit my family.

products. I thought it would be me cooking in the back and someone out front selling the food. I had

Describe your business and your path as a chef.

no idea it would grow into what it is today, employ-

I attended culinary school in California in 1983–1985.

ing over 50 people in the summer. We still serve

It was an amazing time to be in culinary school, as

made-from-scratch healthy foods, featuring local

famous chefs would visit our school and engage

products as much as possible.

us for projects. I met and talked with Alice Waters, Jeremiah Tower, and Randall Graham. These chefs,

When and how did you first come to

and many others, were passionate, and loved

know Ox-Bow?

sharing their skill sets and viewpoints with us young

My stepmom attended Ox-Bow to learn glassblow-

and eager cooks. I am unfathomably grateful for

ing in the 1980s, and I was intrigued. I visited the

their guidance.

campus and loved the creative atmosphere. I took glassblowing from Jerry and Kathy Catania at Vesuvius [Art Gallery] in the late nineties and catered all their openings. Many Ox-Bow students and faculty would attend the openings, and I became friends with a lot of them. I had the opportunity to run the kitchen the first few seasons that Ox-Bow did a winter program, which was an amazing experience that I am grateful for. I began catering the Summer Benefits years ago as well.

You have taught cooking workshops for our Art on the Meadow program; tell us about your decision to bring cooking workshops to Ox-Bow. I have a long history with Ox-Bow and have always wanted to support it in any way I can. It is a joy to teach cooking on the Meadow. There is an energy on the campus that allows one to tap into a vein of love and creativity in an amplified way and share that with the students, who feel it as well.

It carries you away!

STOP BY THE FARM HOUSE When traveling, I love going to local farmers markets. This salad was made only with ingredients from my friends organic farm in Kauai.

Photos: courtesy (x2)

DELI TODAY! www.thefarmhousedeli.com IG: @Thefarmhousedeli

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SPRING COOKING WORKSHOP The Art of the Picnic

DATES : Saturday, May 15, 10AM-1PM FACULTY: Erin Chapla TUITION COST: $100

Inspired by Ox-Bow’s popular Plein Air Picnic series, this workshop will help you compose a beautiful al fresco dining experience. We’ll discuss the components of an enticing menu, learning to juxtapose flavors and textures within a unifying theme to create a balanced offering. We’ll examine sources of inspiration for presentation, with an eye toward the thoughtful details that make for a memorable experience.

From a practical standpoint, we’ll talk about how to combine a few handmade morsels with purchased components for the overall impression of a handcrafted, curated menu; and how to pair beverages. Finally, we’ll roll up our sleeves and try our hands at creating several of the most complimented recipes of the Plein Air Picnics. We’ll enjoy the fruits of our labor together lagoon-side, with some brunch-ready wines, to round out the experience.

4 -DAY ART WORKSHOPS

These workshops do not include lunch. A four-day lunch plan is available for an additional $40. Please select this option when registering if you wish to join us for lunch at 1 p.m.

Carbon Fingerprint: Collective, Large-Scale Charcoal Drawing DATES : Tuesday–Friday, May

25–28, 10 a.m.–1 p.m.

FACULTY: Kyrae Dawaun TUITION COST: $185 This workshop will foster appreciation for the planet, our neighbors, and ourselves through the cultivation and study of charcoal as a drawing material. Participants will harvest, produce, and use vine charcoal and compressed charcoal in exploratory drawing processes. Smaller works on paper will prepare us to produce a cumulative, collaborative, wall-size mural.

No single participant will dictate the final image; the residues of our processes will comprise a (temporary) final product.

Introduction to Bronze Casting DATES : Tuesday–Friday, June 1–4,

10 a.m.–1 p.m.

FACULTY: Brent Harris TUITION COST: $235 This workshop will explore the basics of sculpting through lostwax bronze casting. Students will work directly in wax to create a small, sculptural work of art. The works will be invested and burned out in a furnace

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MEADOW color selection, progressing to folding and stitch-resist techniques, and finishing with proper washout methods and the unveiling of our creations. Students will walk away with at least 3–5 items to be worn on the body, hung in the home, or otherwise repurposed. Special emphasis will be placed on the upcycling of old clothing, found textiles, and fabrics. Have something hanging out in your closet that hasn’t seen the light of day in a while? Let’s dye it! All dyes will be provided.

If Only They Could Speak! Ox-Bow Architecture in Watercolor DATES : Tuesday–Friday,

June 15–18, 10 a.m.–1 p.m.

FACULTY: David Baker TUITION COST: $185

Ruby T, Drip dry cry, 2020, acrylic on hand-marbled silk, 18 x 24” in preparation for casting in molten bronze. We will work as a group to help set up the foundry, melt the bronze, and pour the works. Through handson processes and instructor-led demonstrations, students will learn the finishing techniques and patinas that will bring their bronze sculptures to life.

Music for Non-Musicians DATES : Tuesday–Friday,

June 1–4, 2–5 p.m.

FACULTY: Britni Bicknaver & Chris Reeves TUITION COST: $185 In this course, we will examine the ecstatic joy of collective belonging that occurs when those without a formal musical education are given permission to play and compose musical forms. Through hands-on musical activities, students

will explore early experimental music processes and collaborate to create new and contemporary works using Ox-Bow’s pristine, natural environment. No previous musical experience is required, and all instruments will be provided.

Ice-Dye It! DATES : Tuesday–Friday,

June 8–11, 2–5 p.m.

FACULTY: Bobby Gonzales TUITION COST: $205 Ice-dyeing is an easy-tolearn, visually complex, and beautifully unpredictable form of tie-dye. We will dive headfirst into a DIY ice-dye process, using a setup that can easily be re-created at home. Students will be guided through the entire process, beginning with fabric preparation and dye

Architecture is part of the unique experience that is Ox-Bow. From historical designs to functional studios, from the thoughtful integration of new buildings to the whimsical touches on the cabins—all add delight and inspiration to our visits. As we explore and paint these structures in watercolor, we will also learn a bit about their history.

A Poetry of Place: Charcoal Drawing DATES : Tuesday–Friday,

June 15–18, 2–5 p.m.

FACULTY: David Baker TUITION COST: $185 A wonderful tradition of Romantic landscape painting can be found in American art of the 19th century. From the Hudson River School to the Luminists to the tonalist painters, artists in this tradition transformed nature into personal poetic visions. The Ox-Bow campus offers a wealth of expressive elements from which to draw: water and sky, horizon and vista, shadow and

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Water & Rocks: Wild Clay Workshop DATES : Tuesday–Friday,

July 13–16, 2–5 p.m.

FACULTY: E. Saffronia Downing TUITION COST: $205 On the shores of Lake Michigan, a vein of clay runs through the sand. Over the years, artists have made trips to the clay beach—gathering, processing, and making artworks from Michigan’s yellow clay. In this workshop, participants will forage and process clay from Lake Michigan’s deposits to create hand-built ceramics.

Participants will consider the correspondence between maker and material as they investigate the craft of clay.

Portraiture, Identity & Desire: Observational Drawing DATES : Tuesday–Friday,

reflection—both visual and spiritual. Our class will explore ways to create emotional moods, from serenity to high drama, with light. We will use charcoal and white chalk as our media.

Collaging the Senses: Storytelling

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and take root when shared.

The workshop culminates in students sharing out work, publicly or privately, developed during the session. Students of all experience levels and backgrounds are encouraged to participate.

Drawing as Meditation

DATES : Tuesday–Friday,

DATES : Tuesday–Friday,

June 29–July 2, 2–5 p.m.

FACULTY: Gabriel Chalfin-Piney TUITION COST: $185 “Collaging the Senses” is a writing and storytelling workshop that introduces sight, sound, smell, touch, and taste as instructors in their own right.

Students will explore the senses available to them through multidisciplinary exercises, group discussions, writing, and the exploration of Ox-Bow’s campus. Oral history interviews, mindfulness meditation, and transformative justice practices will be explored as possible tools for developing a sustainable artistic practice.

Stories are not exclusively written; they lie beyond words,

July 13–16, 10 a.m.–1 p.m.

FACULTY: Janet Trierweiler TUITION COST: $185 This workshop provides students with a chance to practice drawing techniques that slow down the artmaking process, resulting in a peaceful and healing experience.

Use intuition and inspiration from Ox-Bow’s landscape to connect to natural, creative forces. Through meditative practices, we will engage all of our senses to enjoy calming, observational, and imaginative drawing. Learn to use tone and color to create serene and joyful moods with colored pencils and watercolor pencils on multimedia paper.

July 20–23, 2–5 p.m.

FACULTY: Michael Gabriel Cuadrado Gonzalez TUITION COST: $205 This class will explore the traditions of figure drawing from observation and their intersection with concepts surrounding identity and desire. Through drawing from live models, we will interpret approaches to the figure that date back to the early 16th and late 17th century with Caravaggio and Michelangelo, and consider how these techniques can be integrated into our contemporary context.

Students will be encouraged, but not required, to incorporate Ox-Bow’s encompassing land as it intermingles with the figure. Along with artists from the Renaissance and baroque periods, we will look at presentday figurative work by artists such as Doron Langberg, Angela Dufresne, Tschabalala Self, and Louis Fratino and examine a few of the many possibilities for figure rendering in contemporary contexts.

Michael Cuadrado, Where Seeds Fall, 2020. Charcoal, chalk pastel, woven paper, and inkjet prints on canvas

Mosaic as Painting DATES : Tuesday–Friday,

July 27–30, 2–5 p.m.

FACULTY: Dove Drury Hornbuckle TUITION COST: $205 This workshop presents participants with the opportunity to create uniquely designed wallmounted mosaics. It will include a beginner’s guide to ceramic materials and processes including clay bodies, underglazing, studio tool use, and safety protocols.

Participants will use ceramics made within the studio as well as ceramics brought from home to construct mosaic artworks.

This workshop will also focus on techniques for glaze application and surface treatments.

Engaging Hands: Patchwork Quilt Workshop DATES : Tuesday–Friday,

August 3–6, 10 a.m.–1 p.m.

FACULTY: Christalena Hughmanick TUITION COST: $185

This workshop investigates the democratic nature of quilting through its culture of open-source pattern sharing and group work.

The inherently social practice lends itself to conversations about its multicultural history and current pattern migration among international groups of quilters.

We will explore technical ways in which hand-stitching fabric can create a two-dimensional image or design. Methods include structural construction through fabric piecing and surface embellishment techniques of embroidery, appliqué, and topstitching. Work created will be sample-based, but necessary techniques to complete a quilt will be covered. All sewing levels are welcome, and collaboration among students will be possible.

Observation & Invention in Painting DATES : Tuesday–Friday, August

10–13, 10 a.m.–1 p.m.

FACULTY: Jasper Goodrich TUITION COST: $185

This en plein air landscape painting class focuses on the difference between painting outdoors and in the studio.

We will focus on oil painting techniques, but all painting/ drawing media are welcome.

Students will learn about mixing techniques, different media, and the basics of painting outdoors in both traditional and nontraditional ways. We will work on multiple surfaces at once—one can act as the main painting surface, while others can be used for oil sketches, washes that reflect the emotion of the landscape, and other abstract ways of filtering stimuli. Back in the studio space, we will add details, large swaths of color, and other changes, investigating the outcomes of variations in speed and location. This class emphasizes the structure of images and how changes in stimuli can affect the outcome of a painting.

2-DAY WEEKEND ART INTENSIVES

These workshops include lunch at 1 p.m.

The Building Blocks of Bookmaking DATES : Saturday–Sunday, June 26–27, 10 a.m.–5 p.m.

FACULTY: Honore Lee TUITION COST: $205

This workshop will introduce students to a range of folding techniques to create multiple-page books from a single sheet of paper. After experimenting with the variety of methods to create the book structure, students will be encouraged to explore ways to alter the structure to support the book’s content. We will discuss the relationship between form and content, along with media through which to express meaning within the book form. Media will include collage, drawing, wet media, printmaking, and text. Practical, accessible tools and techniques will be discussed throughout the workshop.

Gurtie Hansell, Punkin’ DMT, 2020. Cotton tee, silkscreen ink

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Tangled Up in Blue: Cyanotypes in Nature DATES : Saturday–Sunday, July

31–August 1, 10 a.m.–5 p.m.

FACULTY: Dutes Miller & Stan Shellabarger TUITION COST: $205 In this course, the science and mystery of the cyanotype will be revealed through discussion and practice. Cyanotype is the 178-year-old process of photographic blueprinting. We will create our own cyanotypes on paper and fabric using found objects and drawing. The interaction of the sun, the water, and Ox-Bow’s environment will coalesce to make our photographic work.

The Camera as Drawing Machine

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like window screens, aluminum foil, and prisms, alongside materials found in the immediate vicinity to create experimental photographs. Students will be introduced to techniques from experimental photography and cinema (cine-magic) to inspire their own explorations. Each student will leave with 2–3 composed formal images ready to share.

1-DAY ART WORKSHOPS These workshops include lunch at 1 p.m.

Japanese Papermaking

DATES : Saturday–Sunday,

DATE : Saturday, June 5,

August 7–8, 10 a.m.–5 p.m.

FACULTY: Barbarita Polster TUITION COST: $205 In this two-day photography workshop, students will be asked to think of the camera as a mode of drawing, using the etymological meaning of photo-graphy—“drawing with light”— as a jumping-off point. We will use easily acquired materials,

10 a.m.–5 p.m.

FACULTY: JoAnne Laudolff TUITION COST: $130 Dive into the process of traditional Japanese papermaking. We will use the three main fibers of Japan: kozo, gampi, and mitsumata. These plants all have long fibers that produce delicate and unique papers. We will start from the beginning,

beating the fibers by hand. After learning the nuances of each fiber, we will make paper using a sugeta, or mold and deckle. We will add color to the pulp, along with natural dried flowers, silk threads, and other organic materials. All of these components will serve to help students create one-of-a-kind papers. The paper we produce can be used for mixed-media work, bookmaking, or sculpting, or appreciated as a work of art in itself.

Banana Hammocks & Other Armatures: An Intro to Welding & Bending Steel DATE: Saturday, June 12,

10 a.m.–5 p.m.

FACULTY: Devin Balara TUITION COST: $130 In one day, this workshop will teach students the basics of welding, bending, and cutting steel. We will take the design of metal banana hammocks, or fruit hangers, as a starting point and play with design possibilities to ultimately create a unique functional object.

Technical demonstrations will include hot and cold bending, modular construction, welding, and surface-finishing strategies.

Jasper Goodrich, Whale Rock, 2020. Oil on linen

ART

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MEADOW Students will quickly gain confidence safely using equipment and be encouraged to play and improvise independently with the material at whatever scale they choose. This course is suitable for all levels of shop experience, and the techniques we will be learning require no great feats of strength or agility, only patience. Steel can work for everybody, so come as you are!

Shape Scapes Collage Workshop DATE : Saturday, July 3,

10 a.m.–5 p.m.

FACULTY: Molly Markow TUITION COST: $110 With its stream of endlessly reproducible images, materials, patterns, and information, the medium of collage has a unique history and vital connection to contemporary life.

During this day-long workshop, we will explore basic approaches to collage, including gathering and organizing collections of images and materials, and piecing them together in new configurations. Presentations of works by modern and contemporary artists will introduce students to the limitless possibilities of working with collage, while technical demonstrations and exercises will explore the material processes and concepts presented. This workshop will emphasize play, failure, and experimentation.

Beyond the Screen: Anti-Edition Monoprinting for Fabric & Wearables DATE : Saturday, July 17,

10 a.m.–5 p.m.

FACULTY: Gurtie Hansell TUITION COST: $120

What we wear offers us a vehicle for outward expression. But in a world that is stylistically ever-changing, the fast fashion industry is one of the largest contributors to the mounting climate crisis. In this class, we will explore different methods for enhancing fabrics and garments using traditional and nontraditional printing techniques, to create something fresh and one-of-a-kind out of clothing we already have. We will print from linoleum relief blocks, plates, rollers, and textural surfaces.

Come reinvigorate your wardrobe and household fabrics with everything from small repeat patterns to unrepeatable experiments!

Wind through the Fibers: Moving Paper Sculpture DATE : Saturday, July 17,

10 a.m.–5 p.m.

FACULTY: Anders Zanichkowsky TUITION COST: $130 Paper is everywhere—but how is it made? And more importantly, what can you make with it? In this workshop, participants will learn to produce beautiful sheets of handmade, decorative paper using both recycled and archival ma-

Kyrae Dawaun, student charcoal mural, Drawing from Observation course.

Virginia Commonwealth University Painting + Printmaking, Fall 2019

terials. Participants will also learn to harness the surprising strength and flexibility of this fine, thin material to build a moving, “breathing” mobile or other lightweight paper sculpture, such as jewelry or pennants. As we work, we will discuss the metaphors and poetry embedded in this ancient craft, and how we can use them to add deeper meaning to our process and our finished pieces. Participants will leave with a greater appreciation for how fibers run through their lives, and how contemporary artists are making powerful aesthetic work from materials traditionally used for functional purposes.

Experimental Painting en Plein Air DATE : Saturday, August 14,

10 a.m.–5 p.m.

FACULTY: Nicole Mauser TUITION COST: $110 This workshop is for plein air enthusiasts looking to expand their repertoire and for those curious to start painting out-of-doors with watercolor and/or ink on paper. We will depart from the traditional plein air landscape to focus on the details of natural surfaces and textures. Then, we will engage in experimental mark-making by improvising “brushes” made from natural materials that we will gather on Ox-Bow’s campus. No experience is necessary.

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ART

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1-DAY WRITING WORKSHOPS These workshops include lunch at 1 p.m.

Sensing Our Selves, Finding Our Frames: Perception & Possibility through Writing DATE : Saturday, June 5,

10 a.m.–5 p.m.

FACULTY: Marya Spont-Lemus TUITION COST: $110 What shapes who you are and what you notice?

What values and influences are—or do you wish were—embedded in your writing? What questions and tensions do you want to explore, for an audience or for yourself? Through guided reflection as well as open-ended exercises, we will zoom in and zoom out, to examine our own perception and experiences (and those of our characters) and how seemingly simple details might connect to larger structures and histories.

Activities may focus on description, point of view, setting, texture, layering, and scale, with particular attention to how we frame and reframe, make and break patterns, and probe interconnections and causality. This workshop will center on writing, while drawing upon concepts and tools from various creative forms; however, no previous writing experience is required.

Writing Personal History DATE : Saturday, June 12,

10 a.m.–5 p.m.

FACULTY: Jack Ridl TUITION COST: $110 All of us were taught “big history”: students learn about World War II, but not what it was like having a father who was the captain of an African American company, nor what it was like for his wife, wondering if he would return.

This workshop will provide a variety of ways to get in touch with your own history—the people and events that had an impact on you. The memories can be as traumatic as experiencing a war, as poignant and lasting as baking cookies with your grandmother. As the poet Garrett Hongo said, “We think we remember, but we really, deeply remember when we start writing in ever expanding detail.” Workshop time will be spent experimenting with a variety of ways to explore your history through writing.

All types of writing are welcome, and no previous experience is necessary.

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MARYA SPONT-LEMUS is a Chicago-based writer, interdisciplinary artist, and educator. Among other endeavors, she writes short fiction and personal essays for print, performance, and exhibition; interviews literary artists; and continues to revise a draft of her first novel. Across her work, she strives to enable a more empathetic and just society.

JACK RIDL’s latest collection is Saint Peter and the Goldfinch (Wayne State University Press). His last three books received national poetry book of the year awards, and his collection Against Elegies was selected by then– Poet Laureate of the United States Billy Collins for the Center for Book Arts Chapbook Award. A winner of the Gary Gildner Poetry Award, Ridl was honored by the Literary Society of West Michigan for his “lifetime of work for poetry literacy,” and the Poetry Society of Michigan named him “Honorary Chancellor,” making him only the second poet so honored. He and his wife, Julie, founded the Visiting Writers Series at Hope College.

More than 90 of his former students are now published authors, several having won national first book awards. In the words of the poet Naomi Shihab Nye, Ridl “is a superstar in the realm of compassionate, transporting, life-changing poetry.”

Photo by Kory Kearney (x2)

FACULTY BIOS DAVID BAKER is a visual artist who specializes in poetic landscape painting, much of it done en plein air. His studio pieces are often reinterpretations of paintings done outdoors. His principal media are watercolor, oil, and charcoal. Over the years, he has mounted more than four dozen solo exhibits. A lifelong artist and teacher, Baker recently retired as Art Professor Emeritus from Southwestern Michigan College; he has taught at Ox-Bow since 2000. He earned his MFA from Indiana State University. He is represented by Aveline Gallery, Benton Harbor, Michigan, and the Rising Phoenix Gallery, Michigan City, Indiana.

DEVIN BALARA’s recent work uses steel as a drawing material to depict cartoonish scenes inspired by bad omens, supernatural moments, desert island logic, and the outdoors as both unruly and picturesque. Her work has recently been exhibited at Comfort Station, Chicago; Ortega y Gasset Projects, New York; Grounds for Sculpture, Hamilton, New Jersey; SPRING/BREAK Art Show NYC; and DEMO Project, Springfield, Illinois. In 2014, Balara received the Sculpture magazine Outstanding Student Achievement in Contemporary Sculpture Award. She has been an Artist-in-Residence at Monson Arts, Elsewhere museum and artists’ resi-dency, the Vermont Studio Center, and the Wassaic Project. Balara spends summers managing the sculpture studio at Ox-Bow. Originally hailing from Tampa, Florida, she holds an MFA in Sculpture from Indiana University Bloomington and a BFA from the University of North Florida.

BRITNI BICKNAVER is an artist and educator from Cincinnati.

With a background in sculpture and drawing, Bicknaver works primarily in the medium of sound, creating pieces that range from audio tours to pop songs. Her work is fueled by concepts such as history, memory, arcane information, and the revelation of inner worlds. She received an MFA from the University of Cincinnati College of Design, Architecture, Art, and Planning and a BFA from the Art Academy of Cincinnati.

GABRIEL CHALFIN-PINEY is a multidisciplinary artist and organizer, with a background in

performance and exhibition-making. They are interested in making by way of olfactory, gustatory, and tactile experiments, prompting audience members to participate as co-creators. They hope to be part of building a play forward-abolition centric-family style eating-oral historical-tattooed-meditative-puppetry bound-molded-meditative-ecology. Gabriel holds an MA in Arts Administration and Policy from the School of the Art Institute of Chicago. They have shown work at the Dorsky Museum, Panoply Lab, High Concept Labs, and Grace Exhibition Space.

ERIN CHAPLA currently serves as Ox-Bow’s Head Chef; she’s been spicing your food in the Ox-Bow kitchen for 15 years. Her enduring love of Asian cuisine has been nurtured by extensive travel, as she honed her skills cooking and eating across south & east Asia for several years. She now lives with her family on their 5-acre permaculture homestead in the Allegan woods, where she tends an ambitious garden, an unruly flock of chickens, and two wild little girls.

Originally from Queens, New York, and now based in Baltimore, KYRAE DAWAUN was raised by a matriarch in the 1990s. Dawaun today maintains a practice embellishing quotidian cognizance with expressions of regional, cultural imagery through figuration and abstraction. His approach to his working modalities in painting, sculpture, and installation is influenced by his avid studies, speculation, and experience around architecture, hospitality, and the fluid and fickle nature of language. He has shown widely in the Washington metropolitan area and has been invited to work, reside, and exhibit in Los Angeles, Toronto, and Berlin, as well as Italy. He received the Denbo Fellowship at Pyramid Atlantic in 2016 and the DCCAH Arts and Humanities Fellowship in 2017.

He received his MFA in Painting and Printmaking from Virginia Commonwealth University and his BFA from the Corcoran School of the Arts and Design.

E. SAFFRONIA DOWNING works with clay to map material residue across time and place. She forages local materials and creates site-specific installation and

sculpture. Downing is the co-creator of the digital publication Viral Ecologies. Her work was featured in the 2019 autumn session of the Setouchi Triennale, Japan. She has also exhibited nationally at numerous Chicago and Baltimore galleries. She received her MFA from the School of the Art Institute of Chicago and her BA in Studio Art from Hampshire College.

For over 35 years, CHRIS FERRIS has worked in restaurants in California, Chicago, and Michigan, in every position from dishwasher to head chef. She has collaborated with Alice Waters, Jeremiah Tower, and Randall Graham. Since 2013, she has owned and operated the Farmhouse Deli in Douglas, Michigan, focusing on healthy, local, made-from-scratch food.

BOBBY GONZALES is a multidisciplinary artist based in Chicago, whose work explores the intersection of painting, performance, and photography. His most recent exhibitions and performances include Spontaneous Remarks at the Chicago Artists Coalition and participation in Merce Cunningham’s Field Dances at the Walker Art Center, Minneapolis; group exhibitions at the Institut für Alles Mögliche, Berlin, the Milwaukee Institute of Art and Design, and the Galleries at Columbia Uni-versity and Zürcher Studio, New York; and solo exhibitions at the Vox Populi, Philadelphia, artist collective, of which he was an artist member from 2012 to 2014.

Gonzales is currently the Print and New Media Studio Manager at Ox-Bow. He received his MFA in Photography from the School of the Art Institute of Chicago and his BFA in Painting from the Tyler School of Art and Architecture.

ART

ON THE

MEADOW nationally in venues in Illinois, New York, Connecticut, and Rhode Island. Goodrich is also interested in collaborative prac-tices inspired by music. Currently, he teaches at Marwen, the Hyde Park Art Center, and the School of the Art Institute of Chicago, in both the Printmedia Depart-ment and the Early College Program. He studied painting and sculpture, primarily casting processes, at Skidmore College, and printmaking at SAIC, where he received his MFA. EMORY HALL is an artist working with food at Ox-Bow. Her experience draws from commercial food styling, creating digital content for food brands, and working in Michelin-recognized kitchens in Chicago. Having taken classes through the Dutch Institute of Food and Design, she is currently working with food as a living sculptural medium and constantly seeking to expand the experience of visually and physically consuming food.

GURTIE HANSELL, aka Kangmankey, is a Chicago-based interdisciplinary artist and designer of genderqueer streetwear. Their signature style uses a range of self-taught and adapted techniques that anyone can learn and do from home. They subvert the expectation that so-called “gender neutral” clothing is all masculine in some way. Instead, they put all gender expressions front and center for everyone to explore. A self-described Craft Store Goth, Hansell creates “Gender Non-Specific Wearables for Your Gorgeous Spectrumful Ass!!!” They received a BA in Graphic Design from Columbia College Chicago.

MICHAEL GABRIEL CUADRADO GONZALEZ is a visual artist born in San Juan, Puerto Rico. He now lives and works between Chicago and Saugatuck. In 2017, he participated in Ox-Bow’s Fellowship program, and in winter 2020, he was an Artist-in-Residence at the Wassaic Project. He received a BFA in Drawing from Pratt Institute.

BRENT HARRIS is a multimedia sculpture artist who currently heads the Sculpture Department at the Kalamazoo Institute of Arts.

Harris has a long history in metals and foundry work. His public work, and the monumental pieces cast over years at his bronze foundry, can be found throughout the United States. He re-ceived his BFA from Western Michigan University.

JASPER GOODRICH is an artist and educator living in Chicago. He explores iteration in image-making in media including painting, drawing, printmaking, photography, and sculpture. He has exhibited

An interdisciplinary artist based between Saugatuck and Chicago, DOVE DRURY HORNBUCKLE believes the fundamental role of art is to activate profound transformations of self, communities,

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ART

ON THE

MEADOW and quality of life. Their artwork has been exhibited nationally and internationally in solo and group shows in Chicago, Melbourne, and New York. They currently work as the Ceramics Studio Manager at Ox-Bow. Hornbuckle received their MFA in Ceramics from the Rhode Island School of Design.

CHRISTALENA HUGHMANICK is an artist and educator based in New York and Chicago. Recent exhibition sites include Faur Zsófi Gallery, Budapest; Carriage Trade, New York; and Andrew Rafacz and Document, Chicago.

Her recent public engagement work Freedom Quilt Hungary was reviewed by Lori Waxman for the Quarantine Times and Hall W. Rockefeller for Less Than Half.

She has been an Artist-in-Residence at the American Academy in Rome, the SÍM Association of Icelandic Artists, the Moholy-Nagy Művészeti Egyetem, and Wedge Projects. She is the recipient of a Fulbright Hungary Student Grant, US Department of State Individual Assistance Grant, Grainger Marburg Travel Grant, and Lenore G. Tawney Foundation Scholarship. Hughmanick received an MFA in Fiber and Material Studies from the School of the Art Institute of Chicago.

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Fontsee Galleries, Grand Rapids; and River Gallery, Chelsea.

MOLLY MARKOW is an interdisciplinary artist based in Saugatuck and Chicago. Her work employs a playful approach to collage and assemblage to poke fun at idealized constructions of “nature” and landscape. She has had solo and two-person exhibitions at University Galleries, Normal, Illinois; Terrain Biennial, Chicago; and That Gallery, Laramie, Wyoming. She has been included in group shows at Scarlow’s Gallery, Casper, Wyoming; Transpace Gallery, Normal, Illinois; McLean County Arts Center, Bloomington, Illinois; and Ox-Bow. She has been an Artist-in-Residence at the Al Larson Prairie Center for the Arts and Lazuli Residency.

Markow is currently Executive Assistant at Ox-Bow.

JOANNE LAUDOLFF is a Saugatuck-based artist working in papermaking, fibers, and printmaking. She has studied these disciplines at Northern Illinois Universi-ty, the School of the Art Institute of Chicago, Sandra Jensen Studio, and Ox-Bow. She has led workshops over the past 20 years at the Nature Printing Society, the Morton Arboretum, and the DuPage Art League, among many other venues.

NICOLE MAUSER’s paintings and installations investigate tensions at play between color fields, materiality, and gesture within a language of abstraction. Her paint-ings have been exhibited nationally and internationally at venues including rk Gallery, Lichtenberg; the Arts Club of Chicago, Tiger Strikes Asteroid, and Carrie Secrist Gallery, Chicago; and Carthage College, Kenosha, Wisconsin. A former Chicago Artists Coalition HATCH Resident and Latitude Artist-in-Residence, Mauser received a City of Chicago Department of Cultural Affairs and Special Events Individual Artists Program Grant in 2017 and 2018.

She was a co-founder of the Kansas City Plein Air Coterie, a group of artists engaged in making paintings outdoors every week for more than a year, culmi-nating in public workshops and exhibitions.

HONORE LEE is a visual artist and educator from Grand Haven, Michigan, where she now resides.

For 40 years, she lived in Kalamazoo, where she maintained an active studio practice while working as a Teaching Artist with the Education for the Arts Aesthetic Education Program and as adjunct faculty in the humanities de-partment of Kalamazoo Valley Community College. Lee received her MA from Western Michigan University. Her work has been represented by numerous galler-ies in Michigan, including Water Street Gallery, Douglas; La-

Chicago-based artist collaborators MILLER & SHELLABARGER have had solo shows and performances at the Museum of Contemporary Art Chicago, Chicago Cultural Center, and DePaul Art Museum, Chicago; the Pulitzer Arts Foundation, Saint Louis; INOVA, Milwaukee; the Time-Based Art Festival, Portland, Oregon; Sindikit, Baltimore; and Gallery Diet, Miami. They have performed and/or exhibited in group shows across North America. Their work is in the collections of the Art Institute of Chicago; Nerman Museum of Contemporary Art, Overland

Park, Kansas; Newark Public Library, New Jersey; Eskenazi Museum of Art at Indiana University, Bloomington; and National Gallery of Canada, Ottawa. Miller & Shellabarger are the recipient of a 2008 Artadia Chicago Award and a 2007 Louis Com-fort Tiffany Foundation award. Dutes Miller and Stan Shellabarger also maintain separate artistic practices.

They are represented by Western Exhibitions, Chicago.

BARBARITA POLSTER is a writer and artist/filmmaker who teaches at the School of the Art Institute of Chicago. Solo exhibitions include shows at Critical Practices, New York; Glass Box, Seattle; and William Busta Gallery, Cleveland. Group exhibitions include shows at Carrie Secrist Gallery, Chicago; Field Projects Gallery and A.I.R. Gallery, New York; and the Cleveland Museum of Art. Residencies include the Studios at Mass MOCA, supported by an Illinois Arts Council Agency IAS Professional Development Grant and a City of Chicago Department of Cultural Affairs and Special Events Individual Artists Program Grant. She was awarded the MOCA Cleveland Nesnadny and Schwartz Visiting Curator Selection by João Ribas.

CHRIS REEVES is a Chicago-based research creator and artist. He is co-editor and author of The World’s Worst: A Guide to the Portsmouth Sinfonia (Soberscove), as well as the Hole Black Hole Catalog and Old Future’s Almanac (Flatland). His work has been featured in publications, galleries, and unconventional spaces throughout the United States and Europe. He is currently working on Playing Music Badly in Public, his second book on music and art, which looks at the value and joy of playing music without knowing how. Reeves holds a PhD in Art History from the University of Illinois at Chicago.

MADDIE REYNA is a Chicago-based artist who started MG Flower Studio in 2019. She began arranging flowers as a way to create subjects for her work, but this practice has come to stand alone as she applies considerations of color, form, and composition to three-dimensional organic matter.

In addition to flowering events for brides and other party throwers in

Chicago, she is Assistant Director of Academic Programs at Ox-Bow. She received a Master’s in Painting and Draw-ing from the School of the Art Institute of Chicago and studied at FlowerSchool New York.

RUBY T’s work is an experiment in translating fantasy to reality, and she is fueled by anger, desire, and magic. Named a 2018 Breakout Artist by Newcity, she has had solo and two-person exhibitions at Western Exhibitions, Roots and Culture, and the Back Room at Kim’s Corner Food, Chicago, and Randy Alexander, New York. She holds an MFA in Fiber and Material Studies from the School of the Art Institute of Chicago.

JANET TRIERWEILER enjoys creating large, expressive abstract paintings. Her work focuses on the sensual nature of art and the healing aspects of beauty. An interest in the full spectrum of human experience, from primal instincts to highest consciousness, has led her to study Eastern art and healing.

A Reiki Master through the Usui System of Natural Healing and certified Feng Shui designer through the New York Institute of Art and Design, Trierweiler has taught drawing and painting at the Evanston Art Center, the North Shore Art League, the Chicago Mosaic School, the Chicago Botanic Garden, and online through her own website. Col-lectors of her work include Northwestern University, the Illinois Institute of Art, Frank Thomas, and Fifield Companies. She holds a BFA in Studio Art from the School of the Art Institute of Chicago.

ANDERS ZANICHKOWSKY is an artist living in Chicago, where he works for Spudnik Press Cooperative. While his formal training is in works on paper, his studio practice is truly interdisciplinary and includes neon sculpture, digital video, performance art, weaving, social practice, and poetry. His work about grief and desire, which has been described as queer abstraction and queer futurism, invites people to celebrate and mourn the lives of individuals who cannot or will not leave the margins of society. He received his MFA from the University of Wisconsin–Madison and his BA from Hampshire College.

James Brandess a long-time Art on the Meadow instructor

P FOR SIGN UE S JAM S’APE C ‘LANDSING’ PAINT OPS! H WORKS age 21 p details on

Ox-Bow Landscape, Oil on Canvas; 48” x 58”; 1993

Tell us about yourself. Where

from observation. Painting the

When and how did you first

did you grow up, and how did

landscape is a big part of my

come to know Ox-Bow?

you come to Saugatuck?

practice. When I was a student

My first summer at Ox-Bow was

I came to Saugatuck from Chi-

in Chicago, I often went into the

1987. I applied for the job that

cago, Illinois. I was a student at

environs of Chicago and

was listed in a flyer on the bulle-

the Art Institute of Chicago. One

painted the urban landscape.

tin board outside what was then

day in late winter, I noticed on

However, being at Ox-Bow pro-

the second-floor figure-painting

a bulletin board in the hallway

vided the opportunity to work in

studio at the Columbus Drive

of SAIC an ad for a summer

a more rural environment. Ox-

Building at SAIC. E. W. Ross, who

maintenance position at a place

Bow was a place where I

had just stepped into his role of

called Ox-Bow in Saugatuck,

was able to leave my easel and

administering Ox-Bow, hired me.

Michigan. In return for three

my tables all set up. I was able

Two board members brought me

credits of independent study, we

to return to a painting day

up to Ox-Bow before the season

got room/board and a stipend.

after day. At Ox-Bow, the

started and dropped me right in

changing light dictates the

the middle of the empty cam-

Describe your own art practice.

terms of the painting more so

pus. I spent summers at Ox-Bow

I am a painter. I work in oil paint

than the chaotic environment

until 1994, when I started my stu-

and in watercolor. I often work

of a big city.

dio in downtown Saugatuck.

Photos courtesy of artist (x1)

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MEET OUR COMMUNITY

How long have you taught

You were a participant in an

You’ve been involved with

workshops for our Art on the

Arts on the Meadow workshop

Ox-Bow a long time; what is

Meadow program, and what

in 2020; tell us about that

one of your fondest/funniest

keeps bringing you back?

experience.

memories?

I taught my first classes at Ox-

It was wonderful. I understand

One of my fondest memories

Bow in 1989. One class, which I

the process people go through

is turning off the lights in my

started, was called “Art for Kids.”

to take a class, the indecision

studio in the Bogart late at

It cost five dollars. It ran from 10

right up to the last moment, the

night and following the

till noon on Saturday mornings

hesitancy of, “Do I really want

dark path through the woods,

for kids ages six through 12. To this

to commit to this? Can I afford

past the Inn and up the

day, I remain friends with some

the time?” Then, showing up

hill to my cabin. I felt divinely

of those families. Some of the

and being absorbed and

guided.

kids now have kids. Also, through

knowing that I am in exactly

Ox-Bow, I started to teach older

the right place at exactly the

students. There wasn’t the Art in

right time.

the Meadow as we know it today.

Through outreach with Sau-

How many paintings have

gatuck, we taught classes in the

you created based on the

gazebo in downtown Saugatuck,

landscape of Ox-Bow?

and also at places like Upward

Quite a few. The very first paint-

Bound at Hope College.

ings I showed in my studio in downtown Saugatuck were Ox-

What keeps bringing me back is

Bow landscapes—in all seasons.

that teaching at Ox-Bow is an-

Some of the early paintings

FOLLOW JAMES’S WORK AT www.jamesbrandess.com

other way to be part of the true

done at Ox-Bow were portraits

IG: @jamesbrandess

spirit of the place.

done in 1987.

FB: James Brandess

longform: Long talks, long walks, long contemplation, long form looking, and long form making.

This fall, Ox-Bow is piloting Longform, a new, three-week autumn studio intensive that assembles a small cross-disciplinary cohort of artists to learn, make, and engage in critical discussion across career stages. With disciplinary boundaries loosening around materials and process, Longform seeks to bring together artists working in a range of media to learn about and explore craft, materials, processes, and history, and how these intersect with their own research and practice. Participants will benefit from living and learning with a small group of colleagues, mentors, workshop leaders, and visiting artists. Through lectures, readings, studio visits, workshops, studio time, and critique, Longform offers a focused and rigorous collective experience that supports an expansion and deepening of participants’ studio practice and creative community.

Stay tuned to learn more about longform!

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Photos courtesy of artist (x1)

LANDSCAPE PAINTING WITH JAMES BRANDESS These workshops include lunch at 1 p.m.

Landscape Painting DATES : Saturdays: July 17, July 31, August 7, August 14,

10 a.m.–1 p.m. TUITION COST: $70 per day In these multilevel oil painting workshops, participants will paint outdoors in the historic Ox-Bow landscape. Instruction will focus on recognizing and then painting what we actually see. Through this process of learning to see, we will create paintings that have veracity and strength. The workshop will include discussion of the tools and materials needed to set up and paint in any landscape you choose.

Sign up for one, two, three, or all four of these three-hour morning painting workshops, which take place on the Meadow alongside the lagoon.

JAMES BR ANDESS maintains his studio in Saugatuck, where he also conducts painting workshops for adults and children. He is a graduate of the School of the Art Institute of Chicago.

REGISTRATION FOR SUMMER WORKSHOPS IS NOW OPEN! Registrer online at www. ox-bow.org/art-on-themeadow-workshops

LOOKING FOR A MAIL-IN REGISTRATION FORM? Turn to page 35

Do you have questions about Art on the Meadow workshops?

Contact Claire Arctander, Campus Director, at carcta@ox-bow.org

Photo from Landscape Painting taught by James Brandess in Summer 2020.

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MEET OUR COMMUNITY

Maryjo Lemanski

a long-time Ox-Bow friend and a recent participant of Cabin Rentals

Noosa Main Beach, Mixed Media, 61 X 81 cm, 2020

Tell us about yourself. Where did you grow up,

Describe your own art practice and your arts

and how did you come to Saugatuck?

advocacy work.

I grew up in Kalamazoo, Michigan, which is an

I received a BFA and an MFA in Painting and Print-

hour from Saugatuck. I was the oldest of six chil-

making. I began teaching art in unconventional

dren, and our summer vacations were often limit-

educational classrooms—adult ed, special ed,

ed to places close to home, where a picnic lunch

community ed, and juvenile homes. I learned as

was made and a day at the beach was planned.

much about life as I did about teaching art to stu-

We also visited South Haven for the same pur-

dents who had few opportunities to be creative. It

pose, but Saugatuck remained in my memories.

was some of the best teaching of my life.

Water Street Gallery began representing my work

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in 1980. My visits to Saugatuck were frequent due

I began working at the Kalamazoo Institute of

to openings, etc. I purchased the Water Street

Arts as an art instructor of children and adults in

Gallery and we bought a cottage in Saugatuck.

their school. My position changed to Art Coordi-

We moved here full-time in 2015.

nator, where I created programs that coincided

Photos courtesy of artist (x2)

with traveling exhibits from

all programs for many years. I

the process of artmaking. I

their permanent collection.

was asked to join the Auxiliary

attended an online class with

The exhibits traveled to un-

Board and served on that board

an artist not associated with

derserved communities in

until it transformed into the

Ox-Bow and [have] yet to create

Michigan. Many of the schools

Stewardship Committee, which

work from this class. I used the

and sites we worked with were

Carol Sarosik and I co-chaired.

weekend to explore new materi-

the same students that I had

We had an active committee of

als, images, and process. It was

taught in the past. I became

15 members, who were instru-

an oasis.

the Director of Museum Education, and this position was as an administrator instead of a teacher. The skills I learned were invaluable in my next profession as an art dealer and owner of Water Street Gallery in Douglas, Michigan. My challenges as Director were to instill creativity and a nonconventional energy into the library and the docent program. I purchased the Water Street Gallery in 2005. As a gallerist, [I connected] to the artists I represented as a fellow artist. I also found a close connection to my clients through my teaching and museum education experience.

I needed some time and space to reflect on my life and work. ... I used the weekend to explore new materials, images and process. It was an oasis.

My own art practice was ever present through all of my teaching positions. Most of my jobs were part-time. I found my time in the studio precious and challenging. I exhibited in galleries

mental in promoting the Friday

What keeps bringing you back

in Chicago; Naples, Florida; Ka-

Night Open Studios, the Benefit,

to Ox-Bow?

lamazoo; and Saugatuck. I have

and other events. I joined the

It is an addictive place. I can’t

returned full-time to my studio,

Executive Board and remained

stay away. It can be as solitary

which feels like home.

on the board until 2018.

as you make it or as social as

When and how did you first

You participated in a cabin

retreat from life. No pressure or

come to know Ox-Bow?

and studio rental in 2020; tell

expectations. I need Ox-Bow in

I came to Ox-Bow in 1985 for a

us about your stay. What made

my life.

monotype workshop. My first

you come to Ox-Bow in this

view of campus and thoughts

capacity? Did you focus on

were that this was heaven for

specific work while you were

artists, or a haven for artists! I

there? What did this time and

took workshops over the years in

space mean to you during the

printmaking, attended lectures,

pandemic?

and volunteered for the fund-

I needed some time and space

raisers. I also taught workshops

to reflect on my life and work.

for community members. I rec-

My studio provides me with a

ommended students to Ox-Bow

solitary place, but I needed to

FOLLOW MARYJO’S WORK AT

to attend classes and promoted

change the environment and

www.maryjolemanski.com

you want. It is a safe space to

23

E X P E R I E N C E O X- B O W: C A B I N R E N TA L S

Cabin Rentals

We warmly invite you to be our guest this summer. Stay in one of five historic cabins, and rent time in our specialized studio facilities to realize your projects in ceramics, glass, metals, or print. Our cabins provide space to dig into research and writing projects without distraction. We also have private studio spaces available for your use.

Unwind and take a swim, a canoe ride on the lagoon, or hike the Crow’s Nest Trail and experience the Ox-Bow life in a more intimate way than ever before!

All cabins are equipped with a bathroom (toilet and sink) and a minifridge. The West also features a full kitchenette and lagoon views.

Three meals a day, prepared and served by our stellar kitchen staff, are included with your cabin rental. You are welcome to use our beloved shower house, the Wet, during your stay.

Cabin rentals available from July 14-25 Private studio rentals and private classes available throughout the summer season

L E A R N M O R E AT W W W.OX- B OW.O R G/R E N TA L S

DAILY R ATES FOR HOUSING RENTA L S Base price for the Scanlon, Hoyt, Mason, Tallmadge (all prices include meals): $200/night for first guest $50/night for each additional adult guest $40/night for each child •Base price for the West: $250/night for first guest (includes meals)

24

Brandon Dill (x1); opposite page: Bobby Gonzales (x5)

SCANLON

The Scanlon was built in the 1920s by John and Zaidee

Scanlon, a painter and an opera singer, respectively. A prime example of the classic Michigan cottage style of architecture, the Scanlon is bigger than many of our cabins and features a vaulted ceiling, fireplace, and daybed in its generous living room. The Scanlon is a great spot for a family or small group, with a full-size master bedroom downstairs as well as an upstairs loft with two twin beds.

HOY T

The charming Hoyt, built in the 1930s, features a cozy

screened-in porch; two bedrooms, each with a full bed; and a living room. Affectionately referred to as the “Hoyt-y Toity” by some, the cabin features drywall and comfy touches that make it feel a bit less rustic than our other offerings. The Hoyt’s porch looks out onto the Meadow and other cabins.

WEST

Although it’s called the West, this may be the North Star in the

constellation of Ox-Bow’s cabins. The West owes its unique modularity and perfect lagoon-side location to Wisconsinite Charles Cameron West, a submarine builder. He shipped construction cabins across the lake to Ox-Bow at the close of World War II and combined them to form the West. In addition to a covered deck and a kitchenette with a sink, mini-fridge, microwave, and electric kettle, the West features one full bedroom and a living room with a futon, as well as a writer’s desk with a spectacular view.

TA LLMA DGE

Designed and built in 1923 by prominent Chicago

architect and Ox-Bow patron Thomas Eddy Tallmadge, this cabin is a gorgeous example of the Prairie style. The design touches throughout, from the fireplace to the window seats to the hand-painted living room ceiling, are a history or architecture buff’s dream come to life.

The Tallmadge features two bedrooms, one with a full bed and one with two twins.

MASON

The Mason is one of Ox-Bow’s larger cabins, with a ga-

ble roof and vaulted ceilings over a large, open living room and two private bedrooms. Tucked into the edge of the Tallmadge Woods, the Mason was built by landscape painters Alice Kolb Mason and Michael Mason in 1925. They truly considered the Mason a home and entertained family there every summer until the 1960s, when they gave the cabin to Ox-Bow. Now you can enjoy the fireplace, built-in features, and forest views. With one full and two twin beds, the Mason comfortably sleeps four people.

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E X P E R I E N C E O X- B O W: S T U D I O R E N TA L S

Studio Rentals

CER AMICS

Our Krehbiel Ceramics Studio

META L S

The Padnos Metals Studio is a spacious

features ample space and equipment for

open-air facility, housing equipment for weld-

handbuilding and wheel-throwing as well as a

ing, jewelry making, and other metal fabrication.

stocked glaze lab. Use of these facilities and our

Woodworking, mold making, and additional 3D

electric kilns is included in your daily studio rate,

processes are also at home in this space. We can

along with up to 50 pounds of clay. Additional

assist in ordering the materials you need ahead of

clay and use of our gas-fired car kiln are available

time (not included in your daily lab fee) so you are

for an additional fee.

ready to work upon arrival.

PRINT

GL ASS

The print studio, located on the first

Primarily an open-air glassblowing

floor of our Works on Paper building, houses

facility, the Burke Glass Studio also features a

lithography, collagraphy, etching, screenprinting,

coldworking annex for glass bead making and cast

woodcut, and letterpress facilities. Your daily lab

glasswork. Daily access to our hot shop includes

fee for print studio access includes ink,

full studio access, use of a top-loading annealer,

emulsions, and newsprint. Plan to bring your

50 pounds of clear glass, and use of our tools. Cold

own paper or, alternatively, consult with us about

shop access includes the use of our sandblaster

your paper needs.

(220 grit), as well as tools for plaster/silica mold making, casting, and flameworking.

26

Brandon Dill (x1); Bobby Gonzales (x1)

St udio Ren t al Br eakdow n Pricing for private studio rental in ceramics, metals, or print: BASE DAY RATE:

Cancelation Policy

with some basic previous

$75 per person

experience. The technician

Ox-Bow’s cabin and studio rentals

This level includes an

can provide instruction on

are a special program to help us

orientation to the shop by our

processes as predetermined

sustain our operations through

Studio Manager, as well as

in conversation prior to rental.

COVID-19 and the reduction of

limited access to the Studio Manager to ask shop-specific questions. It is appropriate for

PRICING FOR PRIVATE STUDIO RENTAL IN GLASS:

on-campus classes. We appreciate that it is difficult to make plans under these uncertain con-

artists who are experienced

$450/day for hot shop access

in the medium and looking to

This level includes an

ditions; however, in order to keep

work independently, not learn

orientation to the shop by

our facilities available for rental,

new processes.

our Studio Manager, as

we uphold a strict cancelation

well as the support of one

policy.

MENTORSHIP-LEVEL DAY RATE: $200

per person

glass studio assistant. It is appropriate for artists

This level includes the

who are experienced in the

support of one technician,

medium and looking to

who can provide hands-

work independently, not learn

on guidance to an artist

new processes.

For a full refund of the nightly rate, the guest must cancel 14 full days prior to local arrival time.

For a 50% refund of the nightly rate, the guest must cancel 7 full days prior to local arrival time.

If the guest cancels less than

Are you a beginner looking for private glassblowing instruction?

Contact Claire Arctander, Campus Director, at carcta@ox-bow.org to arrange a private class.

7 days in advance or decides to leave early after check-in, the nights not spent are nonrefundable.

In order to mitigate risks of the

Priva t e Gr oup Clas se s f or Adult s

spread of COVID, we ask those who have been exposed to or have symptoms of the virus not to

Looking for a more in-depth learning experience in one of our studios? Work with us to custom design a private class for you and several of your closest friends! We offer private classes for groups of 2–6 adults in our glass, print, ceramics, and metals studios. Your three-day private class experience will include daily lunch and a celebratory wine and cheese sendoff on the last day. For more information and availability, contact our Campus Director, Claire Arctander, at carcta@ ox-bow.org.

enter the Ox-Bow campus. Guests

Private Studios Need a simple space enclosed by four white walls where you can dig into your practice? We’ve got you covered. Rent one of our private studios in the Convent and have a room of your own, modestly equipped with a work table, chairs, and plenty of space to innovate!

celation fee.

will be asked to fill in a self-assessment survey 48 hours before arrival on campus. If guests are determined to be showing symptoms of COVID and Ox-Bow declines the reservation, a refund will be issued, minus a $150 canWe thank you for your under-

MEET COMMUOUR NITY Interview Maryjo L with emanski PG. 22

standing and support. As a small arts organization, we are depending on this income to help keep our 111-year-old campus and small staff intact.

In the event that state regulations require Ox-Bow to cancel rentals, guests will receive a full refund.

27

MEET OUR COMMUNITY

Dove Drury Hornbuckle our Ceramics Studio Manager

Ursula, 2018, stoneware reduction fired cone 10, 26” D x 15” H

Describe your own art practice.

relativity and thus I can become anything, trans-

I think of my art practice as putting ideas to form.

form myself infinitely, and can choose to take on

It’s an intuitive, spiritual, mysterious, evasive and

more gentler, more affirming, more loving, more

highly rewarding mutable experience. It is also a

proactive aspects of my Being. If I didn’t love myself

desire for communication. The process of creating

a moment ago then I can accept and acknowl-

art is a pathway to truly know myself. To do this I

edge that. That moment has passed, and there is

must be curious, open and present for the innu-

no going back, and that moment will never happen

merable changes of self that occur throughout my

again. So, I am already moving forward and in that

life. In my thinking I continually come back to the

procession can choose to change, with informed

Buddhist concept of Anattā, essentially that there is

intention and training of the mind, in order to bring

no permanent Self.

new realizations into the future of my heart-centered well being.

Making art is like creating a time capsule, the ‘ob-

28

ject’ encapsulates the subtle nuances and auto-

When and how did you first come to know Ox-Bow?

biographical elements of myself when I make the

While I was finishing my undergraduate degree at

work. I witness myself through the making of art. I

SAIC, I often heard fellow student’s experiences of

can utilize the artworks that I create as a source

a mysterious place called Ox-Bow. They seemingly

of reflection to think back upon, remember, and

came back from a separate planet, somewhere full

reevaluate who I was when I made the work. Often, I

of messy fun and connectivity. It wasn’t until I fin-

have much more compassion for who I was in hind-

ished my graduate degree at RISD in 2018 that I did

sight, which differs from the ordinary narratives of

further research and applied to be a resident of Ox-

self criticism that I have for who I am in the present.

Bow’s summer fellowship. I perceived the opportuni-

This brings me further into a pathway of under-

ty as this perfect post-degree oasis to recenter my

standing myself also as a human ‘object’ of infinite

practice: that Ox-Bow could be a space to rest and

Photo courtest of artist (x1); opposite page: Bobby Gonzales (x5); Mac Akin (x1)

to engage with a new communi-

Did you always work in

ticity and unpredictability. Clay

ty of artists whom I could learn

ceramics?

is a time-based material, and

from and collaborate with as we

I haphazardly stumbled into

there is always a balancing act

experienced a magical summer

ceramics as an undergradu-

of artistic agency and material

together - and it was.

ate student at SAIC, completely

limitations.

unaware that the medium would My fellowship summer truly

direct the course of my making

Tell us what being a studio

changed the course of my life

so intensely over the next several

manager at Ox-Bow means

and intensely reinvigorated my

years and into the present day.

to you.

working practice as an artist.

As an undergrad I found that

Being the ceramics studio man-

This was, in part, due to the

other students had experiences

ager, to me, means that I take

immense and multifaceted

with ceramics as children or in

on the responsibility and service

social atmospheres at Ox-Bow.

high school, but this was not my

of a community member who

Upon arriving I was immedi-

experience, and, to my advan-

acknowledges the importance

ately surrounded by the other

tage, I found that I did not have

of their cohabitational role at

fellows who had come from a

many preconceived ideas of my

Ox-Bow. Many students, artists,

similar background as a stu-

abilities with ceramics when I

instructors, mentors, fellows

dent, or recent alumni of an art

first encountered the material. I

and staff members benefit from

school. I remember my first days

found ceramics to be a refresh-

the ceramics studio and from

at Ox-Bow vividly, particularly

ing and less neurotic connection

its functional and operational

the enthusiastic invitations to

to my previous work with paint-

well being. I find this, at times,

celebrations, parties, gather-

ing, it gave me the ability to work

intimidating but mostly thrilling

ings, the sharing of zodiac signs,

with color in the 3d, to make

because I am actively embody-

etc. It was such a joy-oriented

color stand up. I felt less pre-

ing and participating within a

and eventful summer that I knew

cious with clay, and more able

role that allows for the develop-

I had to stay after my summer

to work in modular forms, finding

ment and pleasures and joys of

fellowship had ended.

curiosity and joy with it’s plas-

making art.

OX-SHOP

Ox-Shop is Ox-Bow’s online store, where you can find all your ox-merch! Check back often for new items and follow us on social media to hear about new product releases!

SUPPORT OUR PUBLISHING FUND! Ox-Bow has some plans to be in print! Help support our new publishing fund through a tax deductible donation today! On the horizon are: a limited edition biannual print edition of Crow’s Nest, with letter-press cover, more stories and other goodies;

Glassware

T-shirts

Mary K Scent

artist-books as compliments and capstones to some of Ox-Bow’s most renowned classes; and monographs about key Ox-Bow artists!

Your donation will be restricted to seeing these

Glass Bottles

Cookbook

Vases

publications come to life!

29

E XPERI ENC E OX-BOW

Experience Life at Ox-Bow Ox-Bow Overview: Yesterday & Today Frederick Fursman and Walter Clute, two faculty members from the School of the Art Institute of Chicago, founded Ox-Bow in 1910.

Each summer, artists, students, and educators gather along the lagoon in beautiful Saugatuck, Michigan, located two and a half hours from Chicago. With programs that cater to degreeseeking students, professional artists, and those new to the field, Ox-Bow is a protected place where creative processes break down, reform, and mature.

At Ox-Bow, we encourage you to experiment, take risks, be playful, and trust your instincts; to engage with other artists; to remain open to new experiences

30

and contribute your unique perspective to our vital and historic community.

Life at Ox-Bow in 2021 Our new Experience Ox-Bow offerings, along with our beloved Art on the Meadow workshops, invite you to get to know OxBow in new and invigorating ways. Book an immersive private class with your pod in one of our specialty studios. Add a private studio rental to your stay, or simply revel in our lush natural landscape during your time on campus. You can also truly be our guest by renting a historic cabin. Combine these elements into your very own customized Ox-Bow experience. Cabin and studio rentals are offered on a special, limited basis as space

allows. We remain committed to low participant thresholds in support of ongoing COVID mitigation efforts.

So, what exactly will campus life look like at Ox-Bow in 2021?

We are cautiously offering a new, condensed version of our residential summer classes, which can be taken for college credit. We expect that the result will be an enlivened campus community made up of faculty, students, staff, and visiting artists—with a smaller population than in years past, for the sake of social distance. Our food service and sanitation routines will continue to comply with CDC recommendations, and we will make the most of our copious open-air spaces.

Brandon Dill (x1)

Meals: Students and rental guests enjoy healthy and delicious meals prepared each day by our talented kitchen staff. Locally sourced ingredients are used as much as possible. Our chefs are happy to accommodate dietary restrictions; please let the Ox-Bow office know of any food allergies or special diet requirements before you come to campus.

POLICIES TO NOTE Companion/Guest Policy No companions, guests, or pets are permitted during your time on campus. All residential housing and studio facilities are limited to artists assigned to those spaces.

Studio Policies Each studio has specific policies in place to ensure the safety of students and equipment.

Additionally, these policies ensure that all participants receive a quality education with equal access to faculty and equipment.

Safety Measures at Ox-Bow Enrollment Our 2021 programming is focused on workshops and events geared toward smaller numbers of people.

Ox-Bow will allow a maximum of 45 residential participants on campus per program-period.

Spaces »» Access to the ground floor of the Ox-Bow Inn is primarily limited to staff. Participants will have access only during designated meal pickup times. »» We have implemented separate work spaces in studios, limited tool and equipment sharing, and heightened sanitation of high-traffic areas. »» Only Ox-Bow faculty, staff, and students in a given workshop/class will enter designated studios/ classrooms. »» Whenever possible, workshops and events will take place in sheltered

»»

»»

»» »» »»

outdoor/open-air spaces for maximum ventilation.

We will ensure that windows and doors with screens remain open as much as possible, keep fans running, and maximize airflow and ventilation.

In the warmer months, two 20-by-40-foot open-air tents on the Meadow facilitate outdoor gatherings.

No groups larger than 20 people will gather outdoors.

No groups larger than 12 people will gather indoors.

Residential participants will stay in single-occupancy rooms.

Dining »» When the dining room is open for meal retrieval, markings on the floor will direct flow of traffic and spacing. »» Meals will be served by staff wearing personal protective equipment. »» A plexiglass shield will separate participants and staff at the main serving station. »» Prepackaged, grab-and-go snacks will be available for residential participants. »» We will not allow the reuse of cups or plates for seconds. »» Participants will deposit all dirty dishes directly into tubs filled with a soap/detergent solution. »» We will dine in diffused, demarcated, and primarily outdoor seating areas. »» Food service practices will evolve as needed.

Cleaning »» Housekeeping staff use antiviral cleaning agents for all cleaning purposes. »» Housekeeping staff clean and disinfect public bathrooms and other hightraffic areas twice daily. »» DIY cleaning kits will be available in common areas of all dorms, in all cabins, and

in all studios. Housekeeping staff will replenish these kits as necessary. All community members will be expected to pitch in to keep themselves and their spaces clean. »» All public bathrooms are equipped with paper towel dispensers. »» Hand sanitizer dispensers are available in high-traffic areas.

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

31

E XPERI ENC E OX-BOW

COMMUNITY COVID-19 MITIGATION GUIDELINES As we are all in community together, it is everyone’s responsibility to assist in ensuring that we remain free of COVID-19.

All of our COVID guidelines and processes are motivated by CDC recommendations. Please refer to the latest CDC guidance, found here.

In order to mitigate the risks and spread of COVID-19, we have implemented new safety measures on campus. We ask that all community members follow the guidelines and best practices below.

Safety Measures for Residential Participants (anyone staying overnight) »» You must get a COVID test 72 hours prior to arrival at Ox-Bow, and submit proof of a negative result to the Campus Director before traveling to campus. »» We recommend that you isolate/quarantine for 14 days prior to arrival on

32

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

Best Practices when Traveling to Ox-Bow Please note that all students are responsible for arranging their own travel to and from campus. »» D rive, using a personal or rented vehicle if possible.

Enterprise, Avis, Hertz, and Budget all have locations in Holland, Michigan, an approximately 20-minute drive from campus. Check with the individual agency to see if they accept vehicle drop-offs. Ox-Bow will coordinate pickup from the rental drop-off point for residential students only. »» If using public transportation, use Amtrak.

Ox-Bow will coordinate pickup from the train station

for residential students only. »» W ear cloth face coverings/ masks while traveling.

General Community Guidelines »» C loth face coverings/masks are required indoors and encouraged at all times.

Specifically, you are required to wear a cloth face covering/mask in the following situations: »» Whenever you are inside a building. »» When engaging in programming. »» When working in the studios (both indoor and open air). »» O utdoors whenever you are within 6 feet of another person. »» Practice proper handwashing. »» S ocially distance, staying at least 6 feet apart from others, whenever possible.

Properly cover your mouth and nose when coughing and sneezing.

1- & 2-WEEK COURSE OFFERINGS FOR MICHIGAN BASED ARTISTS Learn more about our Summer residential and online course offerings by visiting our website!

SE S SI O N 1 M AY 12 –18

SE S SI O N 5 AU GU S T 2 3 -2 9

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

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

PLEIN AIR PLUS Josh Dihle PAINTING 659 001

ENCAUSTIC & MATERIALITY IN CONTEMPORARY PAINTING Kristy Deetz PAINTING 654 001

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

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

MONOTYPE Aay Preston Myint PRINT 609 001

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

DIMENSIONAL COLL AGE Annalee Koehn PAINTING 653 001

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

R E G I S T R AT I O N Opens online Monday, March 29, 2021 at 9:30 a.m. EST

TUITION & FEES 1-WEEK IN-PERSON COURSES TUITION... $900 ROOM & BOARD... $805 COVID FEE... $125 Total costs for 1 week in-person course

WILLIAM J. O’BRIEN

ERICA CARDWELL

WANT TO STAY HOME AND TAKE A COURSE? We are of fering 15 online cour ses for non- credit this summer!

$1,830 + LAB FEES

2-WEEK ONLINE COURSES TUITION... $1,000 Total costs for 2 week online course

JUN E 6 -19 JUNE 2 0 – JULY 3 JULY 11– 24

$1,000 + LAB FEES

Courtesy of the artist (x3)

More info at: www.ox-bow.org/summer-courses-2021

33

H AV E Y O U H E A R D A B O U T T H E ...

SAMSON CLUB?

Becoming a member of Ox-Bow is a way to show your support for a non-profit organization and art community that you care about! And we thank you for that! With your membership, you become a member of Ox-Bow, you become a supporter of our program, and your contribution goes to our general operations: upkeep of Ox-Bow’s historic, 110 year old campus; cost of programming, from faculty to facilities and equipment; and support for our seasonal operations from kitchen to studio and everything in between.

Your contribution also adds up to new projects that may not have funding yet – like publications, exhibitions and the research and preservation of our archives.

GET GREAT PERKS! + A ccess to our interactive map of campus Members Only Hat

Yearly Patch

+ Workshops + M embers only Talks + F irst Access to special new Mech! & MORE!

Special works of art made by Ox-Bow faculty

BECOME A MEMBER TODAY! MEMBERSHIP POLICIES MONTHLY MEMBERSHIP POLICY: Month one will include access to Samson’s Great Adventure and an exclusive OX Samson patch. All other merchandise will be processed and shipped following the receipt of the third full month of membership payment. Where it applies, members will receive exclusive artist editions after month 6 of payment is received in full.

ANNUAL MEMBERSHIP POLICY: Annual Memberships paid up front will receive their membership package within 3-4 weeks.

34

Bobby Gonzales (x1); Courtesy of artist (x2)

ART ON THE

REGI STR ATIO N FO R M

M E A D OW

Mail-in Registration begins March 25, 2021

STUDENT INFORMATION (PLEASE PRINT CLEARLY) First Name ______________________________________________ Last Name ________________________________________________ Birthday _ _ ___________________________________ Gender__________________ Pronoun ____________________________________ Home Number__ __________________________________________ Alternate_________________________________________________ Email Address_______________________________________________________________________________________________________ Street Address______________________________________________________________________________________________________ Address Line 2_ _ _____________________________________________________________________________________________________ City______________________________________________________ State______________ ZIP_ _ __________________________________ EMERGENCY CONTACT INFORMATION Name ______________________________________________________________________________________________________________ Relationship _________________________________________________ Phone_ _ ______________________________________________

Course Registration

Spring

Summer

COURSE TITLE/S

DATES

TUITION

_____________________________________________________________________________________________________________ _____________________________________________________________________________________________________________ _____________________________________________________________________________________________________________ _____________________________________________________________________________________________________________ _____________________________________________________________________________________________________________ TOTAL__ _________________________________________ Lunch Meal Plan Meal plans I would like to purchase ________________________ x $40____________ TOTAL________________________________ TOTAL AMOUNT DUE (total tuition + total meal plan):_______________________________________________ * F ULL PAYMENT DUE AT TIME OF REGISTRATION. Please complete payment information on back. Your registration will not be processed without payment information

PAYMENT METHOD _________ Check or Money Order Enclosed _________ Check or Money Order #_____________ _________ Credit Card/ Card #__________________________________________ Exp. Date_____________ CVV_________________ Billing Address___________________________________________________________________________________________

Registration received without payment or course information cannot be processed and will be returned.

I give Ox-Bow the permission to arrange medical care, including hospital or clinic treatment, or to administer medicine provided through Ox-Bow to myself/my child. I hereby waive liability against Ox-Bow for such care provided or transportation to such location as deemed necessar y by Ox-Bow. I give Ox-Bow permission to photograph and publish photographs of myself/my child participating in instructional and/or social activities at Ox-Bow, which permission shall remain in effect until revoked, in writing, by myself to the Ox-Bow staff. Revocation of permission must be submitted in writing to the Ox-Bow campus, 3435 Rupprecht Way, PO Box 216, Saugatuck, MI.

Signature______________________________________________________________________ Date______________________________

Mail this form to:

Ox-Bow School of Art ATTN: Claire Arctander PO Box 216 Saugatuck, MI 49453

Registration Online registration is available beginning March 25, 2021 at www.ox-bow.org/art-on-themeadow-workshops

Questions?

Email Claire Arctander at carcta@ox-bow.org

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

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Brandon Dill (x3); Shannon R. Stratton (x1); Bobby Gonzales (x1)

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

OX-BOW BOARD OF DIRECTORS Steven C. Meier President Janet R. Cunningham Secretary & Treasurer

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

OUR PROGRAMMING SUPPORTERS

EFROYMSON FAMILY FUND This project was funded in part by a grant from the Efroymson Family Fund.

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

Brandon Dill, courtesy (x5)

JOHN M. HARTIGAN MEMORIAL SCHOLARSHIP FOR PAINTERS John M. Hartigan was a life-long Chicagoan, an artist, a patron of the arts, and a dedicated family man. A gifted lawyer and an engaged community member, John was always interested in civic affairs, sitting on a number of Boards. Over the years he took courses at the School of the Art Institute, as well as Summer courses at Ox-Bow. John loved both the camaraderie and the artistic synergy of the campus.

The Hartigan Endowment will be used to support the on-going education of artist in residence whose medium is acrylic and/or oil. This award is available to applicants for both the Summer and Fall Residency cycles.

OX-BOW NEA AWARD Ox-Bow is pleased to be the recipient of a grant award from the National Endowment for the Arts. Ox-Bow will offer artist fully-subsidized and paid residency opportunities in the Summer and Fall. In order to meet the needs of working artists, we are constantly striving to alleviate financial barriers that hinder the creative process.

Offering paid residencies answers the increasing call for Ox-Bow to be both an artistic and financial haven for artists and their work. This program is supported in part by an award from the National Endowment for the Arts Art Works.

3435 Rupprecht Way, P.O. Box 216 Saugatuck, MI 49453

WWW.OX-BOW.ORG