Winter 2020-2021 at Ox-Bow School of Art & Artists' Residency

COVER ART by: Snow Yunxue Fu

2020-2021

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. OxBow’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 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.

CON TAC T US WEBSITE : WWW.OX-BOW.ORG E-MAIL : OX-BOW@SAIC.EDU SAUGATUCK CAMPUS 3435 Rupprecht Way, Saugatuck, MI 49453 FOLLOW US ON INSTAGRAM AND FACEBOOK @OXBOWSCHOOLOFART

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

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CORE COURSES page 2 WINTER SEMINARS page 20 WINTER INTENSIVE page 22 WINTER SHORTS page 26 TUITION & FEES page 33 R EGI S T R AT ION page 34 page 1

JANUARY 11 -22 , 2021

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Looking for a way to connect this winter? This December and January, we are running a series of new virtual programs for you to engage with online!

In keeping with the Ox-Bow tradition of creating intimate and engaged artists’ communities, we will host a number of online intensives, bringing small groups together to share work and ideas and connect in conversation. In addition to a slate of two-week classes, we are piloting the program Conversations in Practice, a series of winter virtual seminars.

Online programming is new to Ox-Bow’s curriculum, and already we’ve received some great feedback from faculty and students about their online learning experiences.

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C O R E C O U R S E S // W I N T E R 2 0 21 // V I R T U A L LY AT OX- B O W

The dynamic was very good, and I think that comes from having such a small class size. We were all able to have ample one-on-one time with our instructor as well as get to know each other and [each other’s] work in Zoom discussions.

screen grabs from Claire Ashley’s Exploding Paint Summer 2020 online class

Working with Claire [Ashley] online pushed me to make the limitations I had work for my practice, and also forced me to make work that I didn’t think I could make in the limited space that I had.

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C O R E C O U R S E S // W I N T E R 2 0 21 // V I R T U A L LY AT OX- B O W

Lauren Gregory

Queens-based and Tennessee-raised, Lauren Gregory is a painter, animator, and music video director.

A third-generation southern female painter,

MATERIAL EXPLORATION IN STOP MOTION with Lauren Gregory

2-WEEK COURSE

PAINTING 664 001 AND FVNM 664 001

3 CREDIT HOURS

she began by following in her mother’s and grandmother’s footsteps, often painting friends and family in quick onesitting sessions. Since she earned her MFA from the School of the Art Institute of Chicago in 2009, Gregory’s work has developed into oil-paint stop-motion animations—moving paintings in which thick

In this handcrafted animation production course, students

impasto strokes appear

will focus on techniques including paint and clay animation,

to move before the

paper cutout animation, stop-motion object animation, and

viewer’s eyes—and music

performative pixilation animation using the human body. Each

videos for international

student will shoot, edit, and produce one short animated film

acts. Her animations

during the course.

have been screened at MoMA PS1, the New Museum, the Museum of

We’ll explore the culture of experimental animation in class

Contemporary Art, Los

discussions after screening short works by Caroline Leaf,

Angeles, and museums

Allison Schulnik, Suzan Pitt, Jodie Mack, Kelly Gallagher,

and film festivals around

Helen Hill, Jeff Scher, Jacolby Satterwhite, Terry Gilliam, Chris

the world. Since 2010,

Sullivan, and others.

Gregory has lived and

Students will produce an animated short involving their own

worked in New York City, where she teaches painting and animation

material interests, collaging together stop-motion sequences

at Parsons School of

produced using a range of animation techniques.

Design.

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CORE COURSES

Peppreann for President Oil paint on canvas 26 x 20 in.

2017

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C O R E C O U R S E S // W I N T E R 2 0 21 // V I R T U A L LY AT OX- B O W

D r. D i a n n e Jedlicka teaches numerous biology courses at the School of the Art Institute of Chicago, including Animal Behavior, Evolutionary

OX BOW WINTER ECOLOGY w i t h D r. D i a n n e J e d l i c ka

Mammalogy, Ecology (Natural History), and Human Anatomy and Physiology. Her primary research has been at the community level of organization, focusing on the feeding

2-WEEK COURSE

SCIENCE 606 001

3 CREDIT HOURS

Why do our Ox-Bow deer change fur types? Why do the sugar

strategies and predation of tree and ground squirrels based on their functional morphology.

Observational data collected on nocturnal

maple tree leaves turn colors while the pines and cedars change

foraging of the eastern

“shades”? In this course, students will engage with the virtual

cottontail rabbit was

science lab to answer questions about the friendly and familiar

published recently. All

wildlife found at Ox-Bow during the cold months. The winter

of these animals are

habits of birds, turtles, bees, deer, and a variety of plant life will

found throughout the

be discussed and observed. Videos and lectures from campus will give updates on the wildlife environment at Ox-Bow.

Ox-Bow region and offer Dr. Jedlicka’s students ample opportunity for scientific observations.

Each student will participate in a session-long research project

Dr. Jedlicka has also

via zoo live cameras, focusing on a vertebrate of that student’s

presented and published

choice. Virtual labs will be conducted on animal population

articles on new teaching

adaptations and foraging, and readings from current scientific

methods and labs in the

papers on the physiological changes during winter coldness will be presented. Students can expect quizzes on ecological

college classroom.

----

vocabulary in addition to discussion and lectures during the

Dr. Dianne Jedlicka kayaking

daily live virtual meetings.

at Ox-Bow.

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CORE COURSES

kg Born in Poland and now based in Chicago, kg teaches at the School of the Art Institute of Chicago.

Recent solo exhibitions include Blue Out Of My Mouth at Free Range Gallery, Chicago; Changeling at Julius Caesar, Chicago; and Alter at Terrain Exhibitions, Oak Park, Illinois. In January 2019, kg hung a solo exhibition, Some Kind of Duty, of woven works at the

WINTER WEAVING with kg

DePaul Art Museum, which included a participatory badminton field made in collaboration with artist Betsy Odom. Upcoming shows include the group

2-WEEK COURSE

show I Am I Said at Carthage

FIBER 621 001

College. Kg attended the

3 CREDIT HOURS

Skowhegan School of Painting and Sculpture in

Weaving is a process that allows contemporary makers to explore narratives of identity, labor, history, and the body.

This course explores weaving’s connection to narrative, addressing how meaning can be made through conceptual

2017 and the Vermont Studio Center as a Fellow in 2018.

Their first monograph, Some Kind of Duty, is available for purchase at the

and process-based approaches. Students will learn

DePaul Art Museum and on

weaving techniques and loom construction, and execute a

Amazon.

number of finished works.

www.karolinagnatowski.com

Students will focus on narrative in relation to weaving through imagery, found objects, woven structure,

---Banana Zucchini?! Banana.

performance, display, warp and weft relationships, and

With rope and hand-spun wool

color, and dig into the process of weaving itself as

7 x 9 in.

narrative work.

2018

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Snow Yunxue Fu is a New York–based international new media artist, curator, and Assistant Arts

3D ANIMATION, VIRTUAL ENVIRONMENTS with S n ow Yun xu e Fu

Professor in the Department of Photography and Imaging at New York University’s Tisch School of the Arts. She obtained an MFA in Studio Art from the School of the Art Institute of Chicago in 2014. Using topographical computer-rendered images and installations, her practice

2-WEEK COURSE

FVNM 321 001

3 CREDIT HOURS

merges historical painterly, philosophical, and postphotographic explorations into the aesthetic and definitive nature of the

3D animation is a versatile and fast-growing technology, used in applications from movies and video games to virtual immersive environments. Students in this course

sublime. Fu’s artwork has been shown internationally, at venues including the New York Gallery of Chinese Art,

learn how to create their own worlds by building three-

Ars Electronica, the Venice

dimensional spaces, audio, interactivity, life forms, and/or

Architecture Biennale, Pioneer

objects using Maya software.

Works, Sedition, the Shenzhen Independent Animation

Looking to artists who are utilizing 3D animation in

Biennale, the Current Museum,

contemporary and experimental ways, such as Zeitguised,

the Thoma Foundation Art

Eddo Stern, and Jennifer Steinkamp, students will

House, and the Wrong Biennale.

research both traditional and nontraditional approaches

Her work has been collected

to the medium.

by institutions such as the Current Museum, New York,

The course begins with introductory exercises to explore

and she remains the youngest

the possibilities in 3D animation, ultimately focusing

artist collected by the National

on the skills necessary to complete individually driven final projects. The course will emphasize 3D modeling,

Art Museum of China. Her interviews and reviews have appeared in the New York Times

environment creation, and their potential relationships to

and the Boston Globe, among

nature.

other publications.

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CORE COURSES

Bask 3D still image 2019

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Snow Yunxue Rift 3D still image 2018

CORE COURSES

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QUANTUM LISTENING: LISTENING IN DREAMS with Kamau Amu Patton

2-WEEK COURSE

SOUND 602 001

3 CREDIT HOURS

This course is a Deep Listening practicum with a focus on listening in dreams. Students will explore their dreaming habits and harness the skills and intuition needed to support the use of dreams as potent creative resources. Simultaneous meanings and a multiplicity of approaches are offered as means to cultivate dreams, and we will consider the physical, emotional, creative, and spiritual aspects of dreaming.

Coursework is adapted from the Deep Listening research of Pauline Oliveros, composer and Director of the Deep Listening Institute, and the dreamwork of IONE, author, playwright, director, and text-sound artist. According to IONE, as we “enter the realm of dreams, we begin to expand our understanding of reality. . . . Embracing a quantum physics perspective, we widen our understanding” of the quantum mind. Participant dreamers will explore their dreams as individuals and as part of a dream community.

This course encourages interdisciplinary methodology and crossmedia production of objects informed by the concepts engaged.

Coursework includes participation in regular seminar group discussions, individual meetings, keeping a dream journal, and a final project, which can take form either as a research-based text or as a creative project that blends modes of production.

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CORE COURSES

Kamau Amu Patton Based in New Haven and Chicago, Kamau Amu Patton is an interdisciplinary artist and educator whose work examines history and culture through engagement with archives, documents, stories, and sites. His projects are dialogic and take form as expanded field conversations. Since 2016, Patton has been Assistant Professor of Visual and Critical Studies at the School of the Art Institute of Chicago. The recipient of an MFA from Stanford University, he has been the feature of solo exhibitions at the Tang Teaching Museum at Skidmore College, Saratoga Springs, New York; Yerba Buena Center for the Arts, San Francisco; Machine Project, Los Angeles; and Tilton Gallery, New York, among others. His work has also been included in exhibitions at the Museum of Modern Art (MoMA), the Whitney Museum of American Art, and the Drawing Center in New York, as well as the Los Angeles County Museum of Art and the Berkeley Art Museum and Pacific Film Archive. An award-winning artist and teacher, Patton has completed projects in the area of soundscape studies through support provided by the State University of New York at Buffalo and the Mellon Elemental Arts Initiative at Pomona College.

This summer, Patton was an Artist-inResidence at Coaxial Arts Foundation, which hosted an iteration of his ongoing project, TEL.

---Installation view, Opener 32: Tel_, Tang Museum, Skidmore College, Saratoga Springs, NY, October 21, 2017–September 8, 2019.

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Stevie Cisneros Hanley Chicago-based artist Stevie Cisneros Hanley is a California native of mixed Indigenous Hawaiian, Mexican, Irish, and Punjabi heritage. The “Dainty Satanist,” as described by Vaginal Davis, has exhibited extensively in Berlin, where they lived for six years, most notably at September Gallery, Kunstraum Bethanien, and the Schwules Museum. Hanley

MULTI-LEVEL PAINTING: FORM, PROCESS AND MEANING with Stevie Cisneros Hanley

approaches sensorial boundaries through playgrounds of morality and formative imagination, in works that grapple with aspects of domesticity, trauma, and fetish.

Their work delineates spaces both sacred and profane while creating a ritualized sacrilege that emboldens queer agency.

Hanley’s practice incorporates their perspectives as an unapologetically queer humanoid and their

2-WEEK COURSE

PAINTING 605 001

3 CREDIT HOURS

This course for beginning to advanced students will

religious experiences (specifically, of a failed Mormon-led “sexual reorientation” therapy), together with their navigation as an artist and educator. Hanley has exhibited at the Tüyup Fair, Istanbul; the

include extensive experimentation with materials and

Jerusalem Artists House; La MaMa

techniques through individual painting problems.

Galleria, New York; and Lodos,

Emphasis will be placed on active decision making

Mexico City, and is represented by

to explore formal and material options as part of the

M. LeBlanc, Chicago. They recently

painting process in relation to form and meaning.

Students will pursue various interests in subject matter. Students may choose to work with oil-based

finished two solo shows in Chicago, at M. LeBlanc and the University Club of Chicago, and participated in the Psychic Plumbing at CANARY,

media. Demonstrations, lectures, and critiques will be

Los Angeles, which was favorably

included.

reviewed in Artforum.

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CORE COURSES

Hospital for Sick Witches, 2019Â watercolor pencil, gouache, and acrylic on paper (framed) 50.75 x 37.5 in (128.91 x 95.25 cm)

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C O R E C O U R S E S // W I N T E R 2 0 21 // V I R T U A L LY AT OX- B O W

Data humanism is the study of the disconnect that exists between quantitative data and lived experience. Artists examining and representing this data can offer new ways of imagining those connections between life in numbers and

IN | UN | DATA: HUMANIZING DATA VIZ with Jin a Valentin e

2-WEEK COURSE

PRINT 656 001

3 CREDIT HOURS

map points and, on the other hand, sensual experience. In this course, students will examine various data sets related to their individual interests. We will investigate ways to see how our lives and searches are tracked online through search history analytics, Google Maps analytics, and various other metrics; we will look at census data and cultural data related to sociopolitical issues; we will see how data is organized and made available to the public through various online archives, including Wikipedia and the Library of

Siri and Alexa know you better than your mom. Amazon reminds you to buy her a birthday present from her wish list. Google Maps thinks you should try that new Thai restaurant because it’s Thursday and you always order Thai on Thursday. Your Target coupons predicted x, y, z. In this dystopian

Congress.

The course is studio focused, but not media specific, and may encompass drawing, painting, collage techniques, and interventions in public spaces (à la the Situationist International).

era, all of human experience is quantifiable,

Virtual guest presenters will include

trackable, and subjected to data-driven

researchers in media theory, programmers

marketing techniques. In news media, data

from the Wikimedia Foundation, data

visualization attempts to qualify quantitative

visualization specialists, and artists who

data to craft compelling stories, affect

transform data visualization in their own

legislation, or generate support for a

works. This course would be of interest to

cause. However detailed the visualizations

anyone who uses the internet, is wary of

may be, they often fail to convey the lived

Big Data, and enjoys creative research,

experience of the events or phenomena

drawing, and intervening in public spaces.

that they illustrate.

Swipe right.

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CORE COURSES

ALMANAC (APORIA SERIES) Iron gall ink on handmade flax paper 12 panels, 22 x 30 in. (irregular) 2016

J i n a V a l e n t i n e ’s interdisciplinary practice

within the illogic of

Foundation for Advanced

with Heather Hart, of

is informed by the intuitive

aphasics or among an

Studies in the Fine Arts,

the Black Lunch Table,

strategies of American

aporetic oversaturation

Art Matters, and the Joan

an oral history archiving

folk artists and traditional

of meaning? She

Mitchell Foundation,

and Wikipedia project,

craft techniques, and

repurposes literary

and she has exhibited

Valentine received her

interweaves histories

devices and analytical

at venues including the

BFA from Carnegie Mellon

latent within found texts,

techniques, or illustrates

Drawing Center, the

University and her MFA

objects, narratives,

the incompatibility of

Studio Museum in Harlem,

from Stanford University.

and spaces. Formally,

content and substrate.

CUE Art Foundation,

She teaches in the

her practice deals with

Her practice has received

and the Museum of

Department of Printmedia

alternative readings of

recognition and support

Contemporary Art

at the School of the Art

text: What logic exists

from the Graham

Chicago. A co-founder,

Institute of Chicago.

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WINTER SEMINARS

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Conversations in Practice brings together small groups of interdisciplinary artists to facilitate studio progress through critical discussion.

Participants and faculty moderators will foster connection through the sharing of work, ideas, and conversation.

The December seminar will take place over the course of three weeks, giving artists extended time to connect with peers and faculty to share work and receive meaningful feedback. Faculty will ground the class with a series of selected readings and facilitate conversations and critiques.

In January, a shorter set of thematic seminars will be offered for artists to focus on daily studio reflections, material exploration, or writing assignments. Faculty will bring their own inspirations to the group to create unique parameters in each seminar. Faculty will work to facilitate honest and deep communication in the service of fostering motivating and progressive discoveries.

S E M I N A R S // W I N T E R 2 0 21 // V I R T U A L LY AT OX- B O W

Screen grabs from ‘Ghost and the Machine’ from Summer 2020

CONVERSATIONS IN PRACTICE: WINTER INTENSIVE DAT E S : N OV E M B E R 3 0 - D E C E M B E R 1 9 (3-weeks)

The Conversations in Practice winter intensive is designed for participants to connect with a community of fellow artists through generative conversation about their practice. This hybrid reading/critique group provides space for artists to present their work, engage in collective readings and discussion, and participate in productive group critiques over the course of three weeks. Artists will also have the opportunity for one-on-one visits with faculty to further share their work and get valuable feedback. Artists choose to work with one of the four faculty members for the duration of the three weeks.

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M EETING SCHEDULE This intensive will meet weekly, the days and times are specified by faculty. Artists should be available to participate in all meetings. Each twohour meeting will consist of a 30-minute discussion or exercise based on shared readings selected by the faculty, a 45-minute presentation of work by one participating artist, and a 45-minute group critique of the work.

I NDIVIDUAL STUDIO VISITS Students will schedule a total of one individual studio visits with faculty at mutually agreed-upon times.

A PPLICATION & FUNDING This program is application based and all accepted artists will be fully funded. Artists interested in this program should turn to the registration page (pg.

34) for more information on the application process.

WINTER INTENSIVE

Christine Tien Wang, Asteroid, 94 in x 70 in

Gordon Hall STAND AND Wood, hand-dyed fabric, pigmented joint compound, mosaic, and off-site performance Per formers: Chris Domenick, Ariel Goldberg, Gordon Hall, Andrew Kachel, Millie Kapp, Colin Self, Orlando Tirado Performance duration 60 min.

Sculpture dimensions: 66 x 36 x 77 in.

2014 Images courtesy of Elyse Harary

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FAC U LT Y B I O S & S C H E D U L E

GORDON HALL

CHRISTINE TIEN WANG

M o n d a y, We d n e s d a y, a n d

M o n d a y, We d n e s d a y, a n d

Fr i d a y, 5 –7 p . m . E S T

Fr i d a y, 6 – 8 p . m . E S T

Gordon Hall is an artist based in New York who

Christine Tien Wang was born in Washington,

makes sculptures and performances. Hall has

DC. She received her BFA from the Cooper Union

had solo presentations at the MIT List Visual Arts

and her MFA in Painting from the University

Center, the Portland Institute for Contemporary Art,

of California, Los Angeles. Wang completed

the Renaissance Society, the Experimental Media

residencies at the Jamaica Center for Arts and

and Performing Arts Center (EMPAC), and Temple

Learning, Virginia Commonwealth University

Contemporary, and has been in group exhibitions at

School of the Arts in Qatar, Chashama North, and

the Whitney Museum of American Art, the Brooklyn

the Skowhegan School of Painting and Sculpture.

Museum, Hessel Museum of Art, Art in General, White

Her solo exhibition Coronavirus Memes is currently

Columns, and Socrates Sculpture Park, among many

on view at Galerie Nagel Draxler, Cologne.

other venues. Hall’s writing and interviews have

Selected group exhibition venues include shows

been published widely, including in Art Journal,

at Frans Hals Museum, Rachel Uffner Gallery,

Artforum, Art in America, and Bomb, as well as in

Magenta Plains, and Prince Street Gallery. Wang’s

Walker Art Center’s “Artist Op-Eds” series What

work is in the collections of Los Angeles County

about Power? Inquiries into Contemporary Sculpture

Museum of Art and the Groeninghe Art Collection,

(SculptureCenter), Documents of Contemporary Art:

Bruges, Belgium. Wang is represented by Night

Queer (Whitechapel and MIT Press), and Theorizing

Gallery in Los Angeles and Galerie Nagel Draxler

Visual Studies (Routledge). A volume of Hall’s

in Cologne and Berlin. Based in San Francisco, she

collected essays, interviews, and performance

is currently Assistant Professor of Painting and

scripts was published by the Portland Institute for

Drawing at California College of the Arts.

Contemporary Art in 2019. Hall was a 2019–2020 Provost Teaching Fellow in the Department of Sculpture at Rhode Island School of Design and will be 2021 resident faculty at the Skowhegan School of Painting and Sculpture. Hall is represented by DOCUMENT, Chicago. www.gordonhall.net

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Gordon Hall’s head shot by Lia Clay Miller

WINTER INTENSIVE

RUBA KATRIB

KAREN PATTERSON

M o n d a y a n d T h u r s d a y,

M o n d a y a n d We d n e s d a y,

10 a.m.-12 p.m. EST

5 -7 p. m . E S T

Ruba Katrib is Curator at MoMA PS1, in New

Karen Patterson joined the Fabric Workshop and

York. From 2012 to 2018, she was Curator at

Museum, in Philadelphia, as its inaugural Curator

SculptureCenter, New York, where she curated

in July 2019. Prior to this appointment, she was

over 20 solo and group exhibitions. Her previous

the Senior Curator at the John Michael Kohler

roles include Associate Curator at the Museum

Arts Center (JMK AC) from 2012 to 2019. Over the

of Contemporary Art North Miami and co-

past eight years, Patterson has curated over 50

founder of the residency and exhibition space

exhibitions. Her focus at JMK AC also included the

Threewalls, Chicago; she has also held positions

curation of the Arts Center’s premier collection of

at the Renaissance Society and the Center for

folk art, self-taught art, and artist environments,

Curatorial Studies at Bard College, where she

work that culminated in a multi-tiered

currently serves on the Graduate Committee. In

collaborative collections-based exhibition series,

2018, Katrib co-curated the SITE Santa Fe Biennial,

The Road Less Traveled (2017), which Hyperallergic

Casa Tomada, along with José Luis Blondet

praised as the year’s top exhibition. Patterson

and Candice Hopkins. In 2010, she was awarded

completed her BA in Folklore Studies at Memorial

a curatorial fellowship from the Andy Warhol

University of Newfoundland, Canada, and her

Foundation for the Visual Arts to support research

Master’s in Arts Administration at the School of

on artist-run educational platforms throughout

the Art Institute of Chicago. Publications include

Latin America, for a project that included a

Lenore Tawney: Mirror of the Universe (2019),

symposium and publication. A regular contributor

Eugene Von Bruenchenhein: Mythologies (2017),

to museum catalogs and periodicals, Katrib

Lee Godie: Self-Portraits (2015), and Ray Yoshida’s

frequently presents lectures and participates

Museum of Extraordinary Values (2013).

in panel discussions at universities and other institutions.

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S E M I N A R S // W I N T E R 2 0 21 // V I R T U A L LY AT OX- B O W

Screen grabs from ‘Ghost and the Machine’ from Summer 2020

CONVERSATIONS IN PRACTICE: WINTER SHORTS

DAT E S : J A N U A RY 4 – 8 A N D J A N U A RY 2 5 – 2 9 , 2 0 2 1 (1-week)

The January session of Conversations in Practice comprises a series of weeklong thematic seminars, intended for artists who want to reflect on their practice and share their work through a more specific lens. Each faculty has created a unique seminar to facilitate explorations, experiences, and discussions as ways to share work and collective making.

MEETING SCHEDULE These seminars will meet Monday-Friday for two hours each day. Times will be specified by faculty. In addition, once during the week, each artist will meet one-on-one with faculty at a mutually agreed-upon time for feedback on their work.

APPLICATION & FUNDING This program is application based and all accepted artists will be fully funded. Artists interested in this program should turn to the registration page (page 34) for more information on the application process.

WINTER SHORTS

January 4-8th

PLURALS, PARALLELS, AND OTHER WAYS OF SAYING THINGS TWICE with Erica N. Cardwell

Often, artmaking negotiates and absorbs varying synchronicities, producing modes of expression and idea-making that can haunt us. At its most generative state, this process conjures repetition in exciting, and perhaps jarring, configurations. The concept of plurals and parallels has led to a curious conversation among practitioners who want to know how and why we say similar things through material, voice, genre, and texture.

In this weeklong seminar, we will engage with work created by interdisciplinary artists who consider this in theory and practice, such as Renee Gladman, Cecilia VicuĂąa, Mary Ruefle, and others. We will discuss the ways hybridity contains possibilities, porous bodies, and entirely new forms. We will also experiment with some of our own works in progress to invite fresh interpretations.

imaginations of people of

Foundation, Vermont

color, as a tool for social,

Studio Center, and Banff

spiritual, and collective

Centre for Arts and

movement. Her work has

Creativity. Recently, she

appeared in Bomb, The

was invited to join the

Believer, The Brooklyn

Queer Art Mentorship

Rail, frieze, Hyperallergic,

Fellows cohort to work

Green Mountains Review,

with poet and mentor

Passages North, and

Pamela Sneed. In 2016,

other publications. Her

Cardwell received her

interdisciplinary

memoir was named

MFA in Writing from

performance; she

a finalist for the 2020

Sarah Lawrence College.

is a writer, critic, and

centers Black feminist

Graywolf Press Nonfiction

Currently, she teaches

educator based in

theory as her primary

Prize, and she has been

writing and social justice

Brooklyn. She often writes

critical approach.

awarded residencies

at the New School.

about print, archival

Cardwell is deeply

and fellowships from

media, visual culture, and

fascinated with the

the Lambda Literary

Erica N. Cardwell

www.erica-cardwell.com

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January 24 5 -29th

S E M I N A R S // W I N T E R 2 0 21 // V I R T U A L LY AT OX- B O W

THE HOW TO: EX AMINING YOUR PRACTICE THROUGH ZINES with Diana Nucera

In this seminar, we will deconstruct our practices by creating instructional zines that will assist others in understanding our own style, themes, and techniques.

Participants will have an opportunity to share work, writings, and games that will lead to new conversations on the uniqueness of their practices. Exercises including designing worksheets, writing prompts, and assembling readings will enhance the deep understanding of each other’s work.

responsive to community

wireless networks, how

need and strengthens

the internet works, and

human connections

artificial intelligence.

to each other and the

She writes to elevate

planet. Her work includes

collective technological

creating teaching

consciousness and

materials and organizing

agency, prioritizing

models to fight digital

communities that

redlining and incubate

are often overlooked

neighborhood-built

within art, culture,

and -controlled internet

and technology

service providers in

advancements: people

low-income areas, and

of color, Indigenous

demystifying complex

communities, immigrants,

developing and

systems to weave

and people facing

is an artist, performer,

participating in digital

together science,

economic hardships. Her

and originator of the

justice and community

ecology, art, collective

17 zines, which include

“tech zine” genre—DIY

technology movements

liberation, and self-

The Teaching Community

popular education

in Detroit and across the

determination. Nucera

Technology Handbook

literature that brings

world. Nucera defines

teaches the technologies

and A People’s Guide to

together lessons learned

“community technology”

of mixing records,

AI, document community

from 11 years of

as technology that is

open data, community

technology in practice.

Diana Nucera

page 28

January 25 -29th

WINTER SHORTS

S e l i n a Tr e p p is a Swiss-American artist researching economy and improvisation.

Finding a balance between the intuitive and conceptual is a goal; living a life of adventure is a way; embarrassment is often a result. She works across media, combining performance, installation, painting, and sculpture to create intricate setups that result in photos, drawings, and animations.

In addition to her studio-based work, Trepp is active in the experimental music scene. In this context,

THE PROBLEM IS THE PROMPT w i t h S e l i n a Tr e p p

she sings and plays the videolah, her MIDI-controlled video synthesizer, to create projected animations as visual music in real time. She performs with a varying cast of

Artists often create work in response to a problem, whether it’s one of our own making or a challenge we recognize in the world around us. This seminar asks participants to look at the problem as a

collaborators and as one half of Spectralina, her long-running audiovisual collaboration with Dan

prompt for creating. Regardless of medium, art provides the space

Bitney.

and process to problem-solve and think about new possibilities.

----

Sometimes, the work might materialize from the problem; at other

Sadness is Satisfying

times, the problem is addressed through the process of making.

Oil pastel, pastel, watercolor, india ink, graphite, and dirt

In this course, we will explore this notion by looking at your work

on paper

under that lens, with hands-on exercises, group discussions, and

24 x 19 in.

group readings and artmaking.

2019

page 29

S E M I N A R S // W I N T E R 2 0 21 // V I R T U A L LY AT OX- B O W

January 24 5 -29th

WINTER SHORTS

Indira Allegra’s work explores memorial as a genre and a vital part of the human experience.

Allegra reimagines what a memorial can feel like and how it can function through the practices of performance, sculpture, and installation. The three practices are intertwined—with sculptures at times initiating performances, performances creating sculptures, and sculptures expanding into installation environments.

Deeply informed by the ritual, relational, and performative aspects of weaving, Allegra explores the repetitive crossing of forces held under tension, be they

with Indira Allegra

has been featured in exhibitions at the Museum of Arts and Design, the Arts Incubator in Chicago, John Michael Kohler Arts Center, Yerba Buena Center for the Arts, the Center for Craft, the Mills College Art Museum, Weinberg/

Loss is a normal part of lived experience. Memorials

Newton Gallery, and the Museum of the

to our losses are typically thought of as stone

African Diaspora, among others. Their

structures rising above eye level in a public square.

commissions include performances for

The Grammar of Grief series reimagines memorial

the San Francisco Museum of Modern

as a set of intimate performance practices that

Art, the de Young Museum, the Wattis

can be done at home and that come out of our bodies’ unique relationship to the grief in our

Institute, the City of Oakland, and the SFJAZZ Poetry Festival. Allegra has been the recipient of the Artadia Award,

lives. Workshop participants will develop their own

Mike Kelley Artist Project Grant, MAP

Grammar of Grief performances through writing and

Fund grant, Windgate Fellowship, and

movement exercises with objects in their homes.

Jackson Literary Award. The winner

Participants will then take images or video of their

of the 2019/2020 Burke Prize, they are a

memorial performances, which will culminate

2019/2020 Fleishhacker Foundation Eureka

in a group contribution to the Grammar of Grief Handbook—a living online resource for people

Fellow and a 2019–2022 Montalvo Arts Center triennial Sally and Don Lucas Artists Fellow. Allegra teaches graduate

seeking performance practices that can help them

students in the Art and Visual Culture

work through the losses in their lives.

Department at Mills College.

page 30

Grammar of Grief Series, 2020, Photo credit: Dorothy R. Santos

GRAMMAR OF GRIEF

material, social, or emotional. Their work

Student work from ‘Ghost and the Machine’ in Summer 2020

page 31

W I N T E R 2 0 21 // V I R T U A L LY AT OX- B O W

TUITION & FUNDING + REGISTR ATION

page 32

TUITION & FUNDING

C ONVERSATION IN PR ACTICE

W INTER CORE COURSES January 11-22, 2021 (2-week sessions)

I N T E R I N T E N S I V E W November 30-December 19

2021 TUITION

2020 TUITION Two day a week intensive

$1 ,75 0

Three day a week intensive

$2 , 5 0 0

SAIC Undergraduate

$5,220

SAIC Graduate

$5,394

Non-Credit

$1,800

FUNDING: Ox-Bow merit scholarships are available for the winter core courses.

Awards are partial and students from

FUNDING: This is a fully funded opportunity for accepted participants.

Financial Aid will be awarded to cover full program tuition.

the School of the Art Institute of Chicago may also be able to use their financial aid award from SAIC toward degree credit tuition for courses.

The scholarship application is due

INTER SHORTS W January 4-8, or January 25-29th (1-week sessions)

Monday, November 9, 2020 at noon CST.

SCHOLARSHIP APPLICATION 2021 TUITION N o n - C r e d i t o n e we e k

$900

FUNDING: This is a fully funded opportunity for accepted participants.

Financial Aid will be awarded to cover full

DROP POLICY: To ensure an intimate learning experience, we have limited space in each of our online classes. Any drops after December 14, 2020, will be refunded, but charged a $250 drop fee.

program tuition * S AIC students interested in taking

QUESTIONS? Contact Maddie Reyna,

Conversations in Practice Winter shorts

Assistant Director of Academic Programs, at

should contact us for more information.

mreyna@ox-bow.org

page 33

W I N T E R 2 0 21 // V I R T U A L LY AT OX- B O W

R E G I S T R A T I O N

the online courses for-credit or not for credit.

C ONVERSATIONS IN PRACTICE: WINTER INTENSIVE and SHORTS

Winter registration begins online Monday,

INTENSIVE

November 16, 2020 at 8:30 am CST.

D AT E S :

CORE ONLINE COURSES Our online Winter core courses will take place January 11-22, 2021. Students can take any of

REGISTR ATION

November 30-December 19 SHORTS

You can use the button above to access our website where you will find the form. Note the form will not be available until November 16, 2020.

DAT E S : January 4-8 or January 25-29

REGISTRATION PROCESS : Registration is not an automated process. Our registrar will process the registration requests in the order they are received, emailing a registration confirmation

This program is application based.

Artists interested in this program should apply using the application button below.

soon after. In the event that the course you requested is full, you will receive an email or call informing you of your status on the wait list or that you have been enrolled in your second choice course.

APPLICATION

The application closes November 16, 2020.

QUESTIONS ABOUT WINTER 2020-2021?

Contact Maddie Reyna, Assistant Director of Academic Programs, at mreyna@ox-bow.org page 34

Screen grabs from Claire Ashley’s online ‘Exploding Painting’ Class from Summer 2020

PROGRAM DATES: Conversation in Practice November 30-December 19th Core Classes January 11-22nd Conversations in Practice: Winter Shorts January 4-8, January 25-29th

DEADLINES: Winter Merit Scholarship Applications due November 9, 2020 Conversations in Practice Applications due November 16, 2020 Winter Open Registration November 16th, 2020