As an artist-built and run school and residency, OX-BOW SCHOOL OF ART & ARTISTS’ RESIDENCY is dedicated to the creation and preservation of time and space for arts education, research, practice, and community-building for artists at all stages of their artistic journey. Founded in 1910, 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 together in 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. Ox-Bow is a 501c3 not-for-profit organization.
CONTACT US
WEBSITE : www.ox-bow.org
E-MAIL : oxbow@ox-bow.org
SAUGATUCK CAMPUS 3435 Rupprecht Way Saugatuck, MI 49453
OX-BOW HOUSE 137 Center Street Douglas, MI 49406
FOLLOW US ON INSTAGRAM & FACEBOOK @oxbowschoolofart + @oxbow_hospitality
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NOTE : All images are courtesy of artists/faculty unless otherwise noted.
Photo by Hannah Bugg
Photo Credit
WINTER SESSIONS AT OX-BOW
Join us at Ox-Bow School of Art & Artists’ Residency for a restorative winter session! This winter, we are offering two-week, for-credit, in-person, and online courses in a range of topics, including ceramics, fibers, painting and drawing, poetry, and science.
On campus, winter is a great time to enjoy Ox-Bow’s landscape, live, and work in a small community of artists, and to enjoy quiet, uninterrupted time for making.
Upon completing a two-week course for credit, students will receive 3 credits. Students enrolled in in-person classes will reside on Ox-Bow’s campus in Saugatuck, Michigan, and enjoy 24/7 access to the studios, delicious meals prepared daily, and discussions with a small community of peers. A class at Ox-Bow fulfills a portion of SAIC’s off-campus study requirements.
If you can’t join us on campus, consider enrolling in one of our online classes. Ox-Bow online classes meet Monday through Saturday during the session via Zoom and Google Classroom.
January 4 - 17, 2026
Every day during the session (including weekends) 9:30 a.m.–5:00 p.m EST IN-PERSON COURSES
SOFT MEANING: WEAVING, KNITTING, AND FELTING
with Abbey Muza FIBER 632 001
3 credits | $175 lab fee
CHAOS TEMPLE
with Elijah Burgher PAINTING & DRAWING 606 001
3 credits $175 lab fee
HOUR STUDIO
CLAY AS CANVAS
with Rachel Niffenegger CERAMICS 672 001
3 credits | $250 lab fee
THE SUN ON THE TONGUE: PAINTING & POETRY IN THE LANDSCAPE
Upon completing a two-week course for credit, students will receive 3 credits. Students enrolled in in-person classes will reside on Ox-Bow’s campus in Saugatuck, Michigan and enjoy 24/7 access to the studios, delicious meals prepared daily, and discussions with a small community of peers. A class at Ox-Bow fulfills a portion of SAIC’s off-campus study requirements.
SOFT MEANING: WEAVING, KNITTING, AND FELTING
WITH ABBEY MUZA | FIBER 632 001
3 CREDITS | $175 LAB FEE
In this course, students will make fiber-based work while developing an understanding of how the materials we use create and hold meaning. Focusing on the sustainable material; wool, students will explore a variety of treatments to create yarn, felt, cloth, and sculpture. We will build D.I.Y. handheld looms for our spun yarn, design flat works, explore dyeing, felting, and simple knitting techniques in the service of making soft works, as designed by the students. We will look at how the specific materials and techniques we use influence how we think about and create meaning in our work in relation to histories, cultures, and ecologies. Course readings and lectures will deeply consider how we can think about materials from various perspectives, and will include artists such as Ektor Garcia, Hana Miletić, and Cecilia Vicuña, and texts by authors including T’ai Smith and Denise Ferreira da Silva. Assignments will guide students
through processing a locally sourced sheep’s fleece and learning the rudimentary techniques of spinning, weaving, knitting, and felting, using this fleece and other fiber materials, including sourced and foraged materials from Ox-Bow’s campus. After learning a variety of techniques and conducting initial material experiments, students will make final works (which may take any form) that engage thoughtful and personal consideration of materials and their meanings.
ABBEY MUZA (they/them) uses weaving and other forms of image-making to explore narration, queer identity, image-making, and abstraction. They are interested in the specificities inherent in textile objects - how image and content can be imbued into a textile, or the uniqueness of a textile object’s relationship to ways of seeing and being in the world. They have been an artist in residence at ACRE and Alternative Worksite, and have been a Fulbright France Harriet-Hale Wooley Awardee, a Summer Fellow at the Ox-Bow School of Art & Artists’ Residency, and a visiting artist at the École nationale supérieure des Arts Décoratifs in Paris. They have shown their work at spaces including Tusk, Slow Dance, and the Fondation des États Unis. They have a BFA from the School of the Art Institute of Chicago and an MFA from the Tyler School of Art and Architecture. They currently work as a Visiting Artist at Penn State Berks.
Abbey Muza, Réciter le corps de l’autre, 2023, wool, cotton, linen, acrylic, 51.5 x 37 inches
MULTI-LEVEL PAINTING: FORM, PROCESS, & MEANING
WITH MAGALIE GUÉRIN | PAINTING 605 001 | 3 CREDITS
This course for beginning to advanced students will include extensive experimentation with materials and techniques through individual painting problems. Emphasis will be placed on active decision-making to explore formal and material options as part of the painting process in relation to form and meaning. Students will pursue various interests in subject matter. Students may choose to work with oil-based media. Demonstrations, lectures and critiques will be included.
Magalie Guérin, Untitled, 2025, Oil on canvas on panel, 20 x 16 inches
MAGALIE GUÉRIN’S (she/her) work is shape-based and abstract in nature although it employs strategies of representation (figure/ground relationship), which brings these invented shapes into an unknown yet seemingly familiar frame of reference. The experience of foreignness and discovery is at the core of Guérin’s practice. Guérin holds an MFA in Painting & Drawing from the School of the Art Institute of Chicago. She has had solo shows at Sikkema Jenkins & Co, Corbett vs Dempsey, Amanda Wilkinson, Chapter NY, Galerie Nicolas Robert, Schwarz Contemporary, and Anat Egbi. She is the author of NOTES ON, a compilation of studio writings (The Green Lantern Press, 2016/2019). Awards include Pace at FAWC, PollockKrasner Foundation grant, and Chinati Foundation residency. She is represented by Sikkema Jenkins & Co. in New York, Corbett vs. Dempsey in Chicago, and Galerie Nicolas Robert in Montreal/ Toronto.
What happens when we pick up a stick of charcoal or a brush dipped in ink? This course takes as its starting point William S. Burroughs’s dictum that “all art is magical in origin. . . . Paintings were originally formulae to make what is painted happen.” Magic
offers artists a set of imaginative tools with which to think otherwise about the work they do. Following an examination of concepts and imagery from witchcraft, hermeticism, alchemy, and the occult, students will explore the materials, processes, and psychic investments of the studio through the lens of spellcraft. Drawing will be emphasized as a research methodology and unique medium of expression. As part of a larger inquiry into symbols, we will study various examples of “unknown languages,” such as the myth of Odin’s discovery of the runes, Austin Osman Spare’s sigil magic, the Martian scripts of the 19thcentury spiritual medium Hélène Smith,
Using painting, drawing, and printmaking, ELIJAH BURGHER works at the crossroads of representation and language, figuration and abstraction, and the real and imagined. Drawing from mythology, ancient history, the occult, and ritual magick, Burgher cultivates a highly intimate code of symbolism to investigate the personal and cultural dynamics of desire, love, subcultural formation, and the history of abstraction. His work has been featured in museums and gallaries around the world including the 2014 Whitney Biennial. He is the co-author of Sperm Cult with Richard Hawkins. Burgher received a MFA from the School of the Art Institute and a BA from Sarah Lawrence College. He is represented by PPOW in New York, Western Exhibitions in Chicago and Ivan Gallery in Bucharest.
Elijah Burgher, installation view of A List of Wishes at (northern) Western Exhibitions in Skokie, IL, 2024
asemic writing, and the automatic techniques of the surrealists, through slide lectures and guided drawing exercises. James George Frazer’s principles of sympathetic magic will be used to think differently about both figurative representation and the specificity and history of materials and tools in drawing, collage, and painting. Additional themes will include ritual, sacrifice, divination, chance, and hauntology. We will look at the work of artists including Jesse Bransford, Atis Rezistans / Ghetto Biennale, Judith Noble, Marjorie Cameron, Wifredo Lam, and František Kupka. Readings will include “Reclaiming Animism” by Isabelle Stengers and excerpts from “Splinter Test” by Genesis P-Orridge; screenings will include films by Maya Deren and Harry Smith. Using James George Frazer’s “Law of Similarity” to think about figurative representation and wish fulfillment, students will make “cave drawings” with tools created from found materials in the landscape and inks we make together in class. The course will culminate in an indoor or outdoor installation of finished pieces.
IN-PERSON COURSE
CLAY AS CANVAS
WITH RACHEL NIFFENEGGER
CERAMICS 672 001 | 3 CREDITS | $250 LAB FEE
In this class, students will explore the two-dimensional and pictorial possibilities in clay by working on slabs. Students will learn effective slab rolling techniques, drying strategies, and explore a variety of mark-marking processes including carving, printing, underglazing and other painterly and graphic applications to solve traditional painting considerations including figure, ground, composition, color, and mark making in clay. To glean inspiration, we will review the work of artists including Betty Woodman, Ruby Neri, Haylie Jimenez, and Manal Kara. Assignments will invite students to consider the interaction between form and surface by combining slab/hand building with painting techniques using underglazes and image transfer. The course will culminate in a presentation of wall based works.
RACHEL NIFFENEGGER (she/her) utilizes curious and experimental media to conjure uncanny spirits. Pulled from the folds of psychedelic clay and spiraled through mirrored metal work her creations are preoccupied with fecundity and the macabre, at once psychedelic and mysterious. Rachel Niffenegger’s work has been included in museum shows at the Museum for Modern Art in Arnhem, the Netherlands; the MCA in Chicago; and in gallery shows in New York, Berlin, Chicago, Liverpool, Denver, and Milwaukee, among others. In 2012 she completed a residency at DE ATELIERS in Amsterdam. Niffenegger, received her BFA from the School of the Art Institute of Chicago and her MFA from Northwestern University in Evanston, Illinois. She is represented by Western Exhibitions in Chicago and lives and works in Chicago.
Rachel Niffenegger, Opia installation view, 2022
THE SUN ON THE TONGUE: PAINTING & POETRY IN THE LANDSCAPE
WITH ARNOLD KEMP | PAINTING 680 001 | 3 CREDITS | $175 LAB FEE
Inspired by great artists like Etel Adnan and Elizabeth Bishop and the winter landscape of Ox-Bow, this assignment driven studio course will activate writing for painters and painting for writers. Class discussions and readings will be wide-ranging with an emphasis on the creative process, the development of a personal voice, exchange of ideas, and practical topics in fine arts. Individualized critiques and meetings will follow the group discussions. Students will be expected to define a contextual framework and vocabulary for talking about their work as well as resolving form, content and technical issues. Areas of studio practice as well as outside of class assignments will explore expanded definitions of painting
and writing that relate to the body and things of the world, The course is designed to prepare students to pursue individual creative projects in a setting that supports critical thinking, risk-taking, and the production of a body of work on paper and other supports. Students in this course will be assigned a semi-private studio space and can work in the media of their choice. We will take inspiration from readings and screenings from artists including; Etel Adnan, a Lebanese-American poet, essayist, and visual artist. named “arguably the most celebrated and accomplished Arab American author writing today” by the academic journal MELUS: Multi-Ethnic Literature of the United States,. Elizabeth
Arnold J. Kemp, Score #07, 2025, Watercolor on paper, 24 x 32 in.
Bishop, who worked as a painter as well as a poet, and her verse, like visual art, is known for its ability to capture significant scenes, and Renee Gladman, a writer and artist preoccupied with crossings, thresholds, and geographies as they play out at the intersections of poetry, prose, drawing and architecture. Other readings will include Marie Howe’s The Good Thief, Deborah Digges’ Vesper Sparrows, Josh Ashberry’s Self-Portrait in a Convex Mirror, and Letters to the Future: Black Women/Radical Writing, as edited by Erica Hunt. Assignments will invite students to adapt sensations experienced in the OxBow landscape through words and drawing, inspired by Richard Hugo’s The Triggering Town, and to trade pieces of writings with confidants to develop works in watercolor or acrylic based on these writings. These exercises will require us to trust in what we can make of a synthesis of the known and unknown. Walking through the landscape, speaking to trees, looking for foxes, and screaming at the frozen lake will inform our final works.
ARNOLD J. KEMP (he/ him, they/them) is an artist and writer. Currently, he is a professor of ainting and Drawing at the School of the Art Institute of Chicago and was previously the chair of Painting and Printmaking at Virginia Commonwealth University. He has received awards from the John Simon Guggenheim Memorial Foundation, PollockKrasner Foundation, Joan Mitchell Foundation, and Academy of American Poets. His writing has appeared in Callaloo, Three Rivers Poetry Journal, Agni Review, MIRAGE #4 Period(ical), River Styx, Nocturnes, Art Journal, Tripwire, and in From Our Hearts to Yours: New Narrative as Contemporary Practice. Kemp’s critical writing has appeared recently in Texte zur Kunst, October and Spike Art Magazine. He has presented his writing publicly at The Poetry Foundation in Chicago and Human Resources in Los Angeles. His work is shown nationally and internationally.
ANIMAL BEHAVIOR
WITH DR. DIANNE JEDLICKA SCIENCE 3523 001 | 3 CREDITS
2:00–4:30 P.M. EST/ 1:00–3:30 P.M. CST
This course will incorporate field observations in the natural environment surrounding Saugatuck, Michigan into the study of animal behavior. Students will formulate and test hypotheses through the acquisition of data in the field. Topics covered include: classical learning and instinct, reproductive behaviors, and interactions between and within species.
NOTE: LIBSCI 3521: Animal Behavior is a separate course and may be taken for credit in addition to this one. NOTE: SAIC Students must have already taken English 1001 & 1005 in order to enroll in this course.
DR. DIANNE JEDLICKA teaches numerous Biology courses at the School of the Art Institute of Chicago, including Animal Behavior, Evolutionary Mammalogy, Ecology (Natural History), and Human Anatomy and Physiology. Her primary research has been at the community level of organization, focusing on the feeding strategies and predation of tree and ground squirrels based on their functional morphology. Observational data collected on nocturnal foraging of the eastern cottontail rabbit were published recently. All of these animals are found throughout the Ox-Bow region and offer Dr. Jedlicka’s students
Photos by Hannah Bugg
REGISTRATION
In-person registration begins Monday, November 10 at 8:30 a.m. CST in the Neiman Center, 37 S. Wabash, Chicago, IL 60603.
Online registration begins at 10:00 a.m. EST/9:00 a.m. CST via ox-bow.org.
TUITION & FEES
PROGRAM TUITION UNDERGRADUATE 2-WEEKS $5,724 GRADUATE 2-WEEKS $5,964
For-credit payments should be processed via check to SAIC or credit card payment through SAIC’s payment partner, CASHnet, which is accessible through PeopleSoft Self Service.
INFORMATION SESSION
Want to find out more about our winter session? Come to our information session on the 1st Floor Neiman Center, 37 S. Wabash, Chicago, IL 60603. Date coming soon.
Can’t attend the information session?
Email us at oxbow@ ox-bow.org to have your questions answered.
ROOM & BOARD
Drop Policy
If a student drops their course from the time of registration until four weeks before the start of their class (Friday, December 12), they will receive a tuition and room & board refund minus a $350 drop fee. If a student drops within four weeks of the start date of their class, no refunds will be given.
Single or shared rooms are available. Single rooms are limited, first-come, first-served, and we encourage those interested to register quickly. ROOM & BOARD COST
Room and board fees cover more than just your cozy 13-night stay. At Ox-Bow, the kitchen is the heart of campus and aims to provide all participants with three restorative, sustainable, and healthy meals per day. This team uses locally sourced ingredients whenever possible and can adapt to any dietary restriction. Meal plans are included in the room and board fee.
Requests to drop must be submitted in writing to the Ox-Bow registrar via email by 4:00 p.m. on the last day of the drop period. It is not possible to drop an Ox-Bow class through the SAIC Self Service, through the SAIC registrar, or to use scholarships granted by Ox-Bow to cover the costs of drop fees.
Students who register for an Ox-Bow class assume the risk that they may need to leave Ox-Bow due to testing positive for respiratory or other illnesses, and are encouraged to consider insurance options. Ox-Bow does not provide refunds for students who leave campus before the completion of their course for any reason.
Ox-Bow is dedicated to providing students with the experience described in the catalog, but cannot guarantee the listed faculty. In the rare event that a faculty member cannot instruct their class due to an
emergency, a replacement of similar expertise will be provided. Faculty replacement does not make a student eligible for a refund.
In the event that Ox-Bow must cancel a course due to low enrollment or for any other reason, full refunds will be given.
Ox-Bow reserves the right to adapt this drop policy after the publication of the catalog, per evolving guidelines and recommendations.
FUNDING OPPORTUNITIES
Students can be awarded funding from Ox-Bow to take a course via the Merit Scholarship, the Work Scholarship, and the NeedBased Scholarship. Awards for all three scholarships are partial in nature, but can combine to cover costs associated with an Ox-Bow enrollment. OxBow hires a diverse panel of artist professionals to review applications whose intersectional perspectives help identify merit in applications, to build a diverse student body and expand equity in aid awards. Please see below for details and instructions.
Ox-Bow Merit Scholarship
Ox-Bow will award a limited number of partial
merit scholarships this winter. Applications are due October 12 by 12:00 a.m. EST/11:00 p.m. CST All students are eligible to apply. These portfoliobased applications are reviewed by an outside panel of diverse arts professionals.
Students who receive a scholarship can pre-register for their preferred course. Apply online at ox-bow.org
Ox-Bow Work Scholarship
Ox-Bow will award several work scholarships on a firstcome, first-served basis to students enrolling in Ox-Bow classes for credit. The work scholarship is equivalent to 50% of the cost of shared room and board while attending Ox-Bow.
Students work 13 hours per week while on campus in one of the following jobs: kitchen, housekeeping, grounds and maintenance. Each work study scholarship field is unique and requires teamwork with other OxBow staff members in their departments. Tasks specific to these departments may change based on the time of year or priority projects but general descriptions are as follows; Kitchen work is often dishwashing, cleaning the dining room, or prepping ingredients for meals.
• Housekeeping is often cleaning bathrooms, sweeping floors, and turning over bedrooms.
• Grounds & Maintenance is often raking leaves, snow removal, setting up tables and chairs for events, and trash removal.
Students who receive a work study scholarship will receive confirmation of their field when they arrive on campus.
Schedules are dynamic, based on the current needs of each department and students will be scheduled to work, at times, during class. Faculty are aware that they may have a student who is working toward their work study scholarship and will keep them caught up with the syllabus. Failure to complete any of the hours assigned will result in the removal of the scholarship.
Work scholarships can only be claimed in person at Ox-Bow’s registration event in the Neiman Center starting at 8:30 a.m. CST on November 10.
Ox-Bow Need-Based Scholarship
This scholarship is available to students enrolling in an OxBow class who demonstrate financial need. Applications for this scholarship are informational, not portfoliobased, and are reviewed by the Ox-Bow Scholarship Committee on a rolling basis.
If a student is interested in a need-based scholarship for their winter 2026 enrollment, they should submit that application by Sunday, October 12 by 12:00 a.m. EST/11:00 p.m. CST. Awards will be communicated to the student at least one week before open registration.
COMMUNITY HEALTH GUIDELINES
Ox-Bow reserves the right to update its participant guidelines in response to emergent and/or ongoing local, regional, national and/ or global public health, safety and environmental concerns at any time and without warning. This includes, but is not limited to, requiring any participant to provide documentation of a negative COVID-19 test result and/or vaccination status before their participation, including approval for overnight accommodation.
SAIC FINANCIAL AID
Undergraduate and graduate students from the School of the Art Institute of Chicago may be able to use their financial aid award and merit scholarships from SAIC toward for-credit tuition for courses at Ox-Bow. Students will need to complete an SAIC Winter 2026 Institutional Financial Aid Application available at www. saic.edu/faforms. Applications must be submitted before the term begins.
Please contact the SAIC Student Financial Services
WINTER LIFE AT OX-BOW
The winter session at Ox-Bow is small and hosts no more than 30 students on campus. Faculty and students have the unique opportunity of living and working on campus together, sharing meals, and growing in a community of dedicated, thoughtful artists. Students reside in Ox-Bow’s Main Inn which also houses the dining room with a fireplace, the main office, and the lecture room. Students may request single or shared rooms, bathrooms are shared. A full orientation guide will be provided after registration.
Frederick Fursman
OX-BOW WAS FOUNDED IN...
SIT BY A FIRE
Enjoy the warmth of a cozy fire during the cold Winter nights.
Frederick Fursman and Walter Clute, two faculty members from the School of the Art Institute of Chicago, founded The Summer School of Painting (now Ox-Bow) in 1910.
LOCATIONS:
- New inn dining room - Campfire Ring by the lagoon
Sauga-what?
Who, what, where is Saugatuck?
Saugatuck is nestled along Lake Michigan and the Kalamazoo River and is defined by rolling dunes and lush countrysides. Saugatuck is home to a small number of yearround residents and slows down during the colder months.
GETTING TO OX-BOW
Our campus is located in Saugatuck, MI about 2 ½ hours from Chicago. Students are responsible for arranging their own transportation to campus. Driving is most convenient but public transportation is available. Please make travel arrangements early and be aware of weather conditions prior to your trip.
MEET THE NEIGHBORS: White-tailed deer and foxes are year-round residents in Saugatuck. Both species have been sited on campus and in the Tallmadge woods. If you visit Ox-Bow this winter, you might have the chance to meet them!
STUDIO BUILDINGS
» Open-air glass & metals studio
» Print studio for lithography, letterpress, silkscreen, + linocut
» Indoor/outdoor ceramics studio featuring a woodfired kiln.
SNOW FALL
Last year an average of 70” over the winter (West Michigan area)
The Crow’s Nest 2.1 mile loop is hikeable year around – but there’s something special about hiking the trail with cocoa in hand after a fresh dusting of snow.
Icons via noun project by Oliver Silvérus (snowflake), Nanda Ririz (train), Trishul (car), Luketaibai (fire), and P Thanga Vignesh (Michigan); Photos by Aaron Huber via Unsplash (deer); Ray Hennessy via Unsplash (fox)
WHITE-TAILED DEER
RED FOX
office or refer to the application for exact deadlines. Financial aid typically does not cover room and board or lab fees at Ox-Bow. Learn more about applying at the School’s Office of Financial Aid by calling 312-6296600 or by emailing saic.sfs@saic.edu.
POLICIES
Accommodations Policy
Ox-Bow is committed to providing students with disabilities equal access to the classroom and other events on campus. Because of the unique nature of learning at Ox-Bow, students are asked to communicate their needs related to living and learning to the Ox-Bow staff when asked during registration so that preparations can be made with the campus team and their faculty. If at any time a student needs to make a confidential accommodation request, they can do so by emailing oxbow@ ox-bow.org.
Admission Policy
Ox-Bow reserves the right to deny admission to any individual who has demonstrated a history of behavior that, in the judgment of Ox-Bow, might contribute in any way to the disruption of the educational processes or residential life on campus.
Attendance Policy
Due to the intensive nature of an Ox-Bow course, students are required to attend in full and every day during the session to be granted the credits assigned to their course. Ox-Bow will work with students who miss class and their faculty to understand their needs and get on a path toward completion. Missing one day of class or arriving tardy more than once will trigger a mediated conversation between the student, faculty, and Ox-Bow administration. Failure to correct unexcused absences will make the student eligible for a non-passing grade.
Grading Policy
Ox-Bow adheres to a credit/no credit grading system. Students enrolling in classes forcredit are indicated by the grading basis CR, or Credit, on the registration statement and transcript. Students enrolling in classes for non-credit are indicated by the grading basis AUD, or Audit, on the registration statement and transcript.
Guest Policy
No companions, guests, or visitors are permitted during your stay. All residential housing and studio facilities are limited to participants enrolled in courses.
Studio Policy
Each studio has specific policies in place to ensure the safety of students and equipment. Additionally, these policies ensure that all participants receive a quality education with equal access to faculty and equipment. All studio-specific policies will be explained on the first night of classes. Any student found in violation of these policies will be asked to leave the course without refund. These same policies are applied to any work conducted in the OxBow landscape or on the Ox-Bow grounds. Because Ox-Bow is a community, we ask that all students respect the rights of their classmates and fellow community members by following our policies.
Suspension & Expulsion Policy
Ox-Bow reserves the right to impose sanctions, including suspension and expulsion, without refund, upon students whose behavior, in the judgment of Ox-Bow, contributes in any way to the disruption of the educational processes or residential life on campus. Additional policies are listed in the Ox-Bow Policy & Procedures Handbook. SAIC students will be subject to disciplinary procedures and sanctions as outlined in the School of the Art Institute of Chicago’s Student Handbook.
OX-BOW BOARD & STAFF
OUR DIRECTORS
Shannon R. Stratton Executive Director
Claire Arctander
Deputy Director of Campus Life & Operations
Ashley Freeby Communications Director & Head Designer
Maddie Reyna Education Director
BOARD OF DIRECTORS
Steven C. Meier President
Scott Alfree
Evan Boris
Delinda Collier
Christopher Craft
Chris Deam
Marty Fluhrer
BOARD OF DIRECTORS
Dawn Gavin
Keith Goad
Loring Randolph
jina valentine
Keith P. Walker
Shauna Wilson
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.
EMERITUS BOARD
Ox-Bow’s Emeritus Board confers special honors and distinctions upon former members of Ox-Bow’s Board of Directors and Auxiliary Board who have exhibited noteworthy dedication and commitment to Ox-Bow. Membership in the Emeritus Board is a lifetime appointment that celebrates Ox-Bow’s important legacy.
OUR STAFF
ADMINISTRATIVE STAFF
Maggie Bandstra Manager of Ox-Bow House
Steven Berry Consulting Development Director
Hannah Bugg Digital Communications Assistant
Bobby Gonzales Programs Manager
Christopher Kubik Consulting Business Manager
Molly Markow Grants & Relationships Manager
Sally Moelle r Bookkeeper
Kate Nguyen Community Engagement & Events Manager
Kristie Noguera Bookkeeper
Candice Whitfield Retail Assistant
Karen Wentworth Bookkeeper
CAMPUS OFFICE Rowan Leek Campus Manager
Jon Lewis Campus Office Coordinator
HOUSEKEEPING
Aaron Whitfield Housekeeping Manager
Calcifer Strange Housekeeping Assistant
WELLNESS
Joan Wyand Assistant Manager of Campus Life: After Hours and Community Care
CULINARY
Sabrina Allen
Interim Culinary Manager
RAMA Assistant Culinary Manager
Ren Rodriguez Assistant Culinary Manager
CULINARY TEAM
MEMBERS
Baxter Baas
Cy Brogan
Joey Drouin
Court Leonpacher
Emma Metz
Erin Paulson
Frankie Rose Winum
FACILITIES
John Rossi
Facilities Manager
Nate Skiffington
Assistant Facilities Manager
Zain Sorathia Operations Manager
STUDIO MANAGERS
Dasha Klein
Print & New Media Studio Manager
Nick Fagan Metals Studio Manager
Zena Segre
Ceramics Studio Manager
Rachel Brace Glass Studio Manager
Muskwrat Evans
Glass Studio Technician
Brett Manski
Glass Studio Technician
IMPORTANT DATES
Sunday, October 12
Need based scholarships due by 12:00 a.m. EST/ 11:00 p.m. CST
Sunday, October 12
Ox-Bow Merit Scholarship Applications due by 12:00 a.m. EST/11:00 p.m. CST.
Monday, November 10
In-Person winter registration begins at 8:30 a.m. on the 2nd Floor Neiman. Online registration begins at 10:00 a.m. EST/9:00 a.m. CST at www.ox-bow.org.
