2022 Ox-Bow Summer Course Catalog

O X - B O W S C H O O L O F A R T & A R T I S T S ' R E S I D E N CY

'22 SUMMER COURSE CATALOG

OX- BOW TEAM ADMINISTRATIVE STAFF Shannon R. Stratton Executive Director Claire Arctander Campus Director MISSION & OVERVIEW Ox-Bow connects artists to: • A network of creative resources, people, and ideas • An energizing natural environment

Ashley Freeby Communications Director

• 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 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.

CONTACT US

Nicholas Jirasek Culinary Director Maddie Reyna Interim Director of Academic Programs Michael Cuadrado Programs Manager Shanley Poole Administrative Assistant CAMPUS STAFF John Rossi Facilities Manager

WEBSITE : www.ox-bow.org E-MAIL : ox-bow@saic.edu

Aaron Cook Operations Manager

SAUGATUCK CAMPUS 3435 Rupprecht Way, Saugatuck, MI 49453 FOLLOW US ON INSTAGRAM AND FACEBOOK @OXBOWSCHOOLOFART @RESTAURANTINTHEWOODS

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

*All images of faculty or visiting artists are courtesy of artists/faculty unless otherwise noted.

CATALOG DESIGN BY: ASHLEY M . FREEBY 102

Laura Eberstein Director of Finance & Administration

Mac Akin Campus Manager Devin Balara Metals Studio Manager Dove Drury Hornbuckle Ceramics Studio Manager Bobby Gonzales Print & New Media Studio Manager Danielle Thurber-DeGroot Campus Wellness Counselor For Faculty bios turn to page 30

'22 SUMMER COURSE CATALOG

What's Inside 4

DID YOU KNOW?

WHAT OUR ALUMNI SAY

COURSE DESCRIPTIONS

5 6 22

CAMP: 3- WEEK INTENSIVE

26 30 38 42

COURSE CALENDAR

MEET OUR FACULTY VISITING ARTISTS

LIFE AT OX-BOW

REGISTRATION, SCHOLARSHIPS, & ROOM + BOARD

GUIDELINES & POLICIES

FELLOWSHIP PROGRAM

ARTIST RESIDENCY

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48 50

52 1

'22 SUMMER COURSE CATALOG

"Do you like sparkle? I bring lots of sparkle and glitter to the course. I am not joking.

I will teach you how to make your work like it's from outer space."

- Ling Chun, instructor of Clay Makerspace during 3-week intensive

COVER ART BY: Ling Chun Green Jar, 2018 ceramics, hair, metal, powder-coasted 60” x 17” x 17”

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'22 SUMMER COURSE CATALOG

A note from Ox-Bow’s Executive Director

For the student, Ox-Bow provides an experience like no other: it combines the artist residency with the intensity of mentorship and intergenerational community practice. Our faculty approaches teaching here with a spirit of experimentation that is not possible in the regular classroom, because Ox allows artists to fully immerse themselves in their practice and their field 24/7. That will

DEAR ARTIST,

change you, and your work. It will leave

The last two years have been

you hungry to make more room in your life

transformational for all of us. Individually

for your art, and inspire you to surround

and collectively we have been

yourself with a community of artists that

challenged to grow, a growth that has

will keep challenging you, supporting you,

been difficult and painful, but often

and loving you, and you them.

infused with surprise and joy. In the moments when we are forced to change,

As you turn the page and consider the

it can be hard to imagine a beautiful

courses we have curated for you this

outcome, but inevitably we look back at

summer, imagine how you might show up

those moments and see them as not only

with the last two years behind you, ready

pivotal but invaluable.

to transform again, and deepen your commitment to your practice. We are

Ox-Bow’s alumni often talk about how

ready for you and your metamorphosis.

their time here challenged and changed

Join us and discover not just Ox-Bow, but

them—as artists and as people. That is

who you are on the path to becoming.

the remarkable experience of the artist residency: it interrupts your daily life and

Yours,

routine and introduces the unexpected, facilitating new relationships, new conversations, new perspectives, and, naturally, new work.

Shannon R. Stratton. Executive Director 3

'22 SUMMER COURSE CATALOG

Did you know...

OX-BOW WAS FOUNDED IN...

Our campus sits on the TALLMADGE WOODS and is protected through a conservation easement.

acres of dunes, forests, and trails

9 Studio Buildings

Ox-Bow’s campus is home to a variety of trees, including BEECH, HEMLOCK, OAK, AND MAPLE.

» Open-air glass and metals studio » P rint studio for lithography, letterpress, silkscreen, + linocut » Indoor/outdoor ceramics studio featuring a wood-fired kiln.

Past Party Themes Goth Prom Ox-Bow Goes to Hell Caveman Rave Mommies, Daddies & Babies

CHECK FOR TICKS DAILY 4

Haunted Greenhouse Yuppies vs. Puppies Fake Naked Isa Genzken

Neon Bondage

Druid Grove

Olive Garden vs.

Red Lobster

Hi-Visibility Sexy

Centaurs vs.

Bath Salts Vibrant Tide

RARE SPECIES KNOWN TO OX-BOW’S CAMPUS

Eastern Box Turtle

Pileated Woodpecker

Total Shrimp Meltdown Dungeons and Dragqueens

~ 20 DANCE PARTIES EVERY SEASON

Blanchard’s Cricket Frog

Brandon Dill; NounProject.com: Forest by buheicon, Tick by ProSymbols, and Disco Ball by Kmg Design; Shutterstock.com: Eastern Box Turtle by Dimitrios Pippis, Pileaterd Woodpecker byFotoRequest, Blanchard's Cricket Frog by Ryan M. Bolton

What our Alumni say...

SUMMER STATS

38

FACULTY MEMBERS 19 returning faculty 19 are new faculty

10 VISITING ARTISTS

11

RETURNING

+

18 NEW

=

29

COURSES

~ 250

12 FELLOWS

students over the course of 5 sessions

“ I have major food allergies and everyone in the kitchen was amazing!” “ This was one of the best groups I’ve ever worked with.

I loved the instructors and my classmates.” “ I knew nothing about glassblowing before now.

I have gained so much knowledge this week.” “ The class dynamic was so good! Instructors were great and set the class up for a lot of camaraderie and collaborative practice.” “ Wow! I was grateful to take a course with professional equipment & items that have been cared for by the community for generations.” “ The classroom dynamic was very supportive and everyone was able to have a chance to be heard and our intimate class created memorable conversations and laughter.” “ Both instructors definitely went out of their way to help us out and introduce us to new materials and equipment. It made me feel super supported and like they were very committed to making the class an experimental experience for all.”

“ Super Awesome teacher!

Totally opened my mind. I learned a lot about hand building. I learned a lot about ceramics, which I had never done. The studio was well equipped, clean and spacious.” “ E xcellent reading sessions on [the] Crow’s Nest. I had so much fun discussing the readings and they were very generative. I liked that we got to do a lot of conceptual critical thinking that aligned with my graduate classes.

Felt like a more advanced level of study.” “ The classroom community was overall really awesome.

[My instructor] was one of the best teachers I’ve ever had. So kind and worked so hard so we could have a good experience.” “ Amazing! Super helpful and inspiring. I worked with fibers for the first time. I learned ways to work with different material, that creating is not just for the studio, it can happen anywhere!” “ Yes yes yes! I enjoyed the program! I loved it. Actually thinking about making more glass pieces!” “ Thank you to all the staff members and teachers during my stay. It’s been amazing!”

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SPECIAL TOPIC PRINTM AKING PAINTING & DR AWING SCULPTURE & METALS GL ASS CER A MICS

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For Faculty bios turn to page 30

Beginning Glassblowing

Corey Pemberton June 19 – July 2 || 2-weeks GLASS 601 001 || 3 credits $300 Lab Fee This course offers hands-on glassblowing experience to the beginner. Participants learn a variety of techniques for manipulating molten “hot glass” into vessel or sculptural forms. Lectures, videos, demonstrations, and critiques will augment studio instruction.

glass vessels by Corey Pemberton

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Go With the Flow

Michael Hernandez June 5-18 || 2-weeks GLASS 650 001 3 credits || $300 Lab Fee Working in molten glass requires an acute ability to be sensitive to the forces of heat, gravity, and centrifugal force. We will train the hands to adapt and react to these forces as a means to control the material, but more importantly, to understand its physical and formal possibilities. The objects and residue of glassblowing and sculpting processes will become elemental to further investigate the ability of glass to incorporate, adulterate, obfuscate spaces in installation and sculpture.

Taking cues from the early experimental practices of artists such as Richard Serra and Lynda Benglis, students will gain a deeper knowledge of glass by examining its properties to be both manipulated and understood as a dynamic, fluid medium. Exercises in writing/word play and drawing will challenge students to think about material and metaphorical possibilities to glass and the hot processes used to manipulate it. Assigned projects will address the use of glass components in multiple part sculpture and installation achieved through assemblage, cold construction/gluing, and mixed media.

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Flameworking: Finding Form in Translation

Woodfire & Sustainability in Clay

Carmen Lozar

Jon Hook

August 7-13 || 1-week GLASS 649 001 1.5 credits || $150 Lab Fee

June 5-18 || 2-weeks CER 655 001 3 credits || $150 Lab Fee

This class is an introduction to working and thinking with glass. Focused on contextualizing flameworking within contemporary sculpture, this workshop is ideal for artists crossing over from other disciplines who would like to translate their ideas into glass. The goal of the class is to complete two finished sculptures, which are both structurally sound and conceptually tight. Blending traditional and unconventional flameworking techniques, students are encouraged to explore the material and expand their artistic vocabulary. We will consider the material qualities of glass in the context of drawing, painting, sculpture, and performance. Students can use glass as an opportunity to connect materiality to related disciplines such as literature, psychology, optics, poetry, and architecture. The coursework will include a combination of technical exercises designed to improve hand skills, contextual presentations, and group critique.

In this course, students will use the natural environment of Ox-Bow as inspiration and material through clay impressions to make a sculptural or a functional body of work via handbuilding or wheel throwing. We will explore the natural, alternative, and sustainable processes available in the ceramics studio which may include making ash glazes from local plants, clay mold making from natural elements, pit firing processes, and wood firing with a waste fryer oil assist.

We may look at the work of Maria Martinez and Shoji Hamada for inspiration and readings may include selections from historical and contemporary wood fired ceramics texts.

Students will participate in daily demonstrations exploring new techniques and consider aesthetics with a focus on sustainable and regenerative processes in the ceramic field. The class is tailored to students of any skill level and will culminate with a wood fire and presentation of final projects.

Mosaics in Strata

E. Saffronia Downing & Dove Drury Hornbuckle

Ox-Bow on the Wheel

Liz McCarthy

June 19 - July 2 2-weeks || CER 658 001 3 credits || $200 Lab Fee

August 14-27 || 2-weeks CER 656 001 3 credits || $150 Lab Fee

In this course, students will produce handcrafted ceramic tiles, forage for ceramic materials, and gain knowledge on material ecologies. Students will be taught techniques in tile making including slab making, reusing ceramic residue, and various methods in surface design.

Taking advantage of the unique setting of Ox-Bow, we will forage for materials from local clay deposits and transform them in the ceramics studio.

Students in this course will collaborate on a sitespecific installation, and contribute to a permanent tiled outdoor mural on Ox-Bow’s campus. This class will be informed by the work of artists including Nek Chand, Isaiah Zagar, and Mary Nohl. Readings can include Carrier Bag Theory by Ursula Le Guin.

Assignments will include tile making, surface treatment exercises, ceramic recycling methods, discussion, and participation in the culminating mosaic mural.

In this course, students will use the potter’s wheel to create thrown forms.

Through practice and demonstration, participants will hone skills to successfully build scale and refine pieces in clay. Pre-Columbian work will provide insight, as well as contemporary artists which may include Shio Kusaka and Betty Woodman.

Demonstrations will focus on centering, producing uniformity, and glazing techniques. Through assignments including throwing many pots in succession, students will become familiar with the disposability and ephemerality inherent to the medium and aim to master its spontaneity. This class will culminate in group critique and is open to students of all levels.

For Faculty bios turn to page 30

(clockwise from top left) 1. Jon Hook, the galaxy, 8” x 8” x 2”, a mold was first made from clay of a mushroom then bisque fired to make multiples ash glaze, woodfired and pit-fired stoneware, 2000 2. Liz McCarthy, Miram, Glazed Stoneware, H: 12", 2020 3. Michael Hernandez, Slippery Salacious Slurp, hot and kilnformed glass, 5 x 4 x 2”, 2018 4. Dove Drury Hornbuckle, Exhibitionist, 20” D x 26” H, Stoneware and glaze, fired cone 04 oxidation, 2020

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'22 SUMMER COURSE CATALOG

(clockwise from top left) 1. ceramic work by E. Saffronia Downing 2. Devin Balara, One Tiger, steel, enamel, 50" x 30" x 1/2", 2019 3. Abigail Lucien, Half Full and Knee Deep, oil and enamel on steel, 6.5’ x 6’ x 6’, 2018 4. Carmen Lozar, I have been so busy..., flameworked and fused glass, 12"L x 3"D x 6.5"H, 2020

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Sculpture & Metals

Chris Bradley, Paradise (A Bird) with Modern Coat Rack (No Diving), 2017, Stainless Steel, steel, wood, paint, ink jet print, 8" x 5" x 4"

Hard Lines: Drawing with Steel

Devin Balara & Abigail Lucien Deadpan: Steel Realism

Chris Bradley June 19 - July 2 || 2-weeks SCULP 671 001 || 3 credits || $50 Lab Fee When representation in steel is achieved the result can often be both playful and hollow.

In this process-based intensive, students will consider how much visual and physical information is necessary in the pursuit of realism and experiment with the formal limits of steel.

Inspiration can be drawn from a common object, local or organic materials, and/or fictive designs to explore the whimsy of trompe l'oeil. This class is open to participants of all shop experience levels. Demonstrations on sheet cutting, creating negative space through rod work, scale exercises, and surface applications both traditional and unconventional will inform the student's self-directed work. Students will be expected to complete at least one sculpture and are encouraged to consider its in-situ presentation at Ox-Bow during a final group critique.

For Faculty bios turn to page 30

August 7-13 || 1-week SCULP 663 001 || 1.5 credits || $50 Lab Fee This hybrid sculpture and drawing course will focus on steel fabrication and the translation of line on paper to line in space. Students will learn to use steel as a drawing material with demonstrations in hot and cold bending, modular construction, welding, and finishing strategies.

Technical demos and work time will accompany discussions about daily sketchbook practices and the ways in which literal weight can be given to simple doodles or cartoon graphics. This course is suitable for all levels of shop experience; students will quickly gain confidence with equipment and be encouraged to play and improvise independently with the material at as large a scale as they choose. Students are required to complete 3 assignments over the course of the week, one which will reinforce basic knowledge of linear steel fabrication and safety, and two further assignments, utilizing linear steel drawings at the scale of the student’s choosing. Ultimately, students may deploy work into a particular site or landscape and let their sketches stretch their legs.

Multi-Level Foundry

Brent Harris August 14-27, 2022 || 2-weeks SCULP 660 001 || 3 credits || $200 Lab Fee In this multilevel metal casting course, students will learn the fundamentals of pattern generation, simple and multi-part mold making techniques with sodium silicate bonded sand, casting with bronze and aluminum and finishing and patination techniques for their castings.

Explorations will be informed by the materiality of molten metal and molding processes, the history and technologies of metal casting, and discussion of cast metal sculpture in contemporary art. In the spirit of there is no "I" in foundry, teamwork and safe foundry practices form the foundation of the course. Students will be encouraged to experiment and respond to the natural environment with patterns made at Ox-Bow in an open-air sculpture studio.

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'22 SUMMER COURSE CATALOG

Richard Hull, Untitled, crayon on paper, 24 x 18in, 2020

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(clockwise from top left) 1. Brent Harris, Birth of the Pyrophytic Masculine, bronze, H: 10”, 2017 2. M agalie Guérin, Untitled (res 8.1), Oil on canvas on panel, 30x24”, 2020 3. J eanine Coupe Ryding, Waterbound, 42 x 30”, 2020.

4. Heather Hart & Jina Valentine, Black Lunch Table: Artist Roundtable, Elsewhere Museum, Greensboro, NC

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'22 SUMMER COURSE CATALOG

Painting & Drawing 14

Laurel Sparks, Venus, Poured gesso, waterbased paint, ash, paper pulp, glitter, collage, woven canvas strips, 24 x 24 inches, 2021

Paint Makerspace

Words, Music, Action!

Laurel Sparks

Richard Hull

June 5-18 || 2-week PAINTING 669 001 || 3 credits

June 19 – July 2 || 2-week PAINTING 668 001 || 3 credits

This survey course provides students of all levels with the opportunity to work on their own projects and expand their painting skills. Students will have dedicated access to the painting studio and will be encouraged to experiment with various materials and techniques.

Demonstrations may present techniques in acrylic or oil, sketching and planning processes, preparation of painting surfaces, and information on studio safety. The faculty will host presentations and lectures on relevant historical artists as well as contemporary painters, and students will engage in discussions, readings, screenings, and critiques with the group which illuminate painterly concerns and emphasize active decision making. Assignments are designed to build understanding of new methods, and students will conceive projects that reflect their interests. Instructors will be available to help facilitate individual, collaborative, and interdisciplinary projects and this course will culminate in a group critique.

In this interdisciplinary course, participants will invite music and poetry to inform their efforts in painting, drawing, and performance. The group will explore painterly strategies that foreground intuition within a structure and embrace poetic rhythm and syntax. In service of this creative integration, esteemed guests including poet and critic John Yau and musician and composer Ken Vandermark will lead students through demonstrations related to their fields. Pulling from the rich history of painters, writers, and musicians in concert, the class will look at the work of Joe Brainard and John Ashbury, John Cage, Merce Cunningham and Robert Rauchenberg, Joan Mitchell and John Schuyler, Katharina Grosse and Barry Schwabsky, and Alain Kirilli. Assignments will ask participants to practice the interpretation of words and sounds through painting and drawing techniques.

The class will culminate in a symphonic performance of spoken and written word, music, and visuals designed by the students, faculty, and class guests.

Graduate Projects

Magalie Guérin June 19 – July 2 || 2-week MFA 6009 001 || 3 credits In this intensive, an intimate group of currently enrolled MFA students have the opportunity to independently study at Ox-Bow. Students will have dedicated studio space to work on projects of their design, either in response to the specific environment of Ox-Bow or to prepare for their thesis shows. Faculty will assume a mentorship role and assist the candidates in emphasizing their voice.

Faculty will lead group conversations, critique, presentations, and other activities so as to encourage the rapid growth and connection amongst the graduates. Faculty will prepare a reader which will supplement the graduate’s time at Ox-Bow and group conversations, and host regular one-on-one studio visits. This course will culminate in an open studio event, welcoming the entire Ox-Bow community.

For Faculty bios turn to page 30

(clockwise from top left) 1. Breanne Trammell, The Joy of Enjoying, Screenprint & risograph, 11.25" x 9" or 11.25" x 17.25" (with back cover unfolded for placemat), Edition of <333, 2019 2. Jesse Malmed, Sighght, video still 3. Eric May, Greatness, 2016, Hand painted signs, Printext, Indianapolis 4. Nicholas Lowe, goat island archive- we have discovered the performance by making it, Chicago Cultural Center, March - June 2019

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'22 SUMMER COURSE CATALOG

Printmaking 16

Beyond Borders: Finding Three Dimensions in Print & Bookbinding

Jeanine Coupe Ryding & Myungah Hyon The Living Archive The Expanded Field in the Expanding Field: Zines, Ephemera and Events

Jesse Malmed & Breanne Trammell June 5-18 || 2-weeks PRINT 661 001 || 3 credits $100 Lab Fee We will explore the power of the zine and happenings to challenge and circumnavigate societal norms and create alternative narratives that expand the field of art. Through platforming, students will discuss early experimental and contemporary models of show building and collaborate to initiate new projects and spaces on Ox-Bow’s tiny but bustling campus and the surrounding environments.

Workshops on ephemera production, screenprinting, zine-making, and creative modes of public communication will be held. Students are encouraged to make their own work, work together with their peers, and/ or envision speculative projects.

Engaging with histories and futures of artist-led initiatives in the Midwest and beyond including Temporary Allegiance, Trunk Show, Chances Dances, The Thing, and Speed Show, students will work to produce paratext, context and text to animate, assist and activate projects. Each project will feature printed matter and screenprinting techniques will be demonstrated. Readings, texts, and screenings will cover a range of content and include the curatorial and publishing practices from a variety of contemporary artists and organizers. Through a series of generative prompts and activities, students will conceptualize and organize site-responsive programmatic curatorial projects.

Students may work independently or collaboratively, and/or with faculty on their proposals, installations, performances, and ephemera. The class will culminate in group critiques on one realized installation or performance.

Heather Hart & Jina Valentine June 19 – July 2 || 2-weeks PRINT 666 001 || 3 credits $50 Lab Fee The archive is alive. It evolves. It breathes. As such, it is limitless in scope and depth. As artists, we seek to make it knowable and harness its resources in the studio. In this course we will peer into black holes in archives [censored texts, omitted narratives, blacklisted individuals], test the limits of searchability [content elusive of metadata, errata, miscellania], and re-envision ways of finding and ways of knowing. The course is studio focused, but not media specific, and may encompass drawing, painting, collage techniques, and interventions in public spaces (á la the Situationist International).

Our experimentations will be both individual and collaborative and will take the forms of performance, site specific sculpture, and drawing.

We will work with the Saugatuck Historical Center archives, the Black Lunch Table archives, the Ox-Bow History archiving project, and Wikimedias. Texts and media will include A Glossary of Haunting (Tuck + Ree), Interacting with Print Elements of Reading in the Era of Print Saturation (Multigraph Collective), Constituting an Archive (Stuart Hall), various readings from Archives (Whitechapel publication), Wiki@20. Artists + collectives discussed will include Tahir Hemphill, Black Lunch Table, Joy Buolamwini, Nontsikelelo Mutiti, Braxton Shelley, Tiona Nekkia McClodden, Steffani Jemison, Kameelah Janaan Rasheed, Grisha Coleman. In addition to practicing ongoing preservation work related to the Ox-Bow history archiving project, students will learn how to add and edit content on Wikipedia, create a body work which reflects an historical or archived area of interest, and work together on a collaborative site-based project involving research on the history of the place, installation, and performance.

August 7–13 || 1-week PRINT 658 001 || 1.5 credits $50 Lab Fee Participants will learn to create the illusion of three-dimensional woodcuts that are bound into sculptural book forms. Using a variety of approaches to registration and printing, participants will explore traditional and nontraditional methods of printmaking that will become content for their books.

The class will include the following methods of folding paper/prints for bookbinding; simple accordion, hardcover accordion, crown, franklin, and triangular. Emphasis is on concept, self-expression, and acquiring skills. We will supply handouts, do demonstrations and provide examples of each technique.

Each participant will have a good understanding of relief printmaking, the bookbinding forms taught in class and how content relates to form as well as their prints folded and bound into the books they have made. This class welcomes beginning through advanced skill levels and writers.

Screen Print Studio

Frances Lightbound August 14-27 ||2-weeks PRINT 665 001 || 3 credits $100 Lab Fee In this course, students will engage in the process of screen printing through an investigation of various image making techniques. Students will be challenged to compose images by exploring the additive framework of the printing process. Improvisational image making will be encouraged through demonstrations of varying stencil making approaches, hand mark-making processes, and found imagery. We will look at examples of screen printed work throughout history which may include Kiki Smith, Ghada Amer, Emmy Bright, and Sonnenzimmer. Discussions and assignments including creating hand-cut stencils and digitally designed CMYK projects will serve a final portfolio displaying a strong artistic voice. The final projects should demonstrate commitment to a screen printed project in a contemporary context. This class is open to students of all levels.

For Faculty bios turn to page 30

Frances Lightbound, Untitled (Variable Edition), 2020, screen prints on paper, each print 7x10”.

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'22 SUMMER COURSE CATALOG

(clockwise from top left) 1. Andrea Peterson, UNION, pigmented pulp, ink, 48” x 36", 2021 2. M yungah Hyon, Connecting + Hybrid, Paper, PVA Glue, 2019 3. J aclyn Silverman, Family Portrait, Glass Plate Negative, Wet Plate Collodion, 3" X 4", 2021 4. Chris Edwards, A Miraculous Snail, Quilted Cotton, 60''x80'', 2021

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'22 SUMMER COURSE CATALOG

Archiving Ox-Bow: Creative Processes and Presence

Nicholas Lowe June 5-18 || 2-weeks HPRES 601 001 || 3 credits The archive of Ox-Bow School of Art and Artists Residency represents the long history of the school offering insights into the lives and experiences of those who created it and went there. This class will explore the archive through its physical material properties and the narrative and historical details it alludes to. Work will initially focus on the standards and expectations of physical care providing a handson working experience of archival processing and cataloging. Then moving to consider exploratory and responsive artistic and curatorial work with archival materials, leading to a questioning about the needs of this particular archive. The class will open with readings in material culture, collecting and object theory including, Jules Prown, Arlette Farge, Raphael Samuel, Edmund De Waal, and Jean Baudrillard. Moving then to an expanded consideration of the physical and intellectual material of archives through artistic responses and curatorial approaches, including work by artists Mark Bradford, Lauren Bon, Christian Boltanski, Nancy Spero and Victoria Martinez alongside the curatorial approaches of Harald Szeemann, Seymore Rosen, Fred Wilson, Orhan Pamuk, and others.

Assignments will include both archival work and creative studio based making. Working on archival processing and cataloging provides a hands-on opportunity to explore the content of the archive. Then based on findings in the archive to work towards a creative and critical project in response to compelling aspects of the material, the form, the content, the concepts and the ideas.

The opportunity to teach in the summer program at Ox-Bow is something I've been looking forward to for a number of years - More than anything I'm looking forward to contributing to the diversity and long history of the organization - it's an exciting prospect and an honor to be asked to do this.

- Nicholas Lowe, faculty of Archiving Ox-Bow: Creative

Processes and Presence during session 1

Papermaking Studio

You Art What You Eat

Andrea Peterson

Eric May

June 5-18 || 2-weeks PAPER 604 001 || 3 credits $100 Lab Fee

August 7-13 || 1-week SCULP 669 001 || 1.5 credits

Paper as an art medium is exciting and elusive. Paper pulp can be transformed into sculptural works, drawings with pulp and unusual surface textures. It can allude to skin, metal, rock or something quite totally different. Explore all of these possibilities. Stretch your conceptual and technical skills to create unusual works of art.

For Faculty bios turn to page 30

Since the caves at Lascaux, food has been an original subject of art. In this course we will explore representation of food in art; employing food as a media itself; and the participatory possibilities of cooking, serving, and dining as artforms. We will examine cultural and political implications of what we eat and how it relates to our everyday lives. Our paths of research will wander through the history of food in art as well as outside of the classroom into the rich agricultural abundance of Western Michigan, the traditions of gastronomy at Ox-Bow, and our relationship to the natural landscape.

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'22 SUMMER COURSE CATALOG

Special Topic continued

Cloud Objects

Chris Edwards & Soo Shin August 14-27 || 2-weeks FIBER 624 001 || 3 credits $100 Lab fee

Plurals, Parallels, and Other Ways of Saying Things Twice

Erica N. Cardwell August 7-13 || 1-week WRIT 607 001 || 1.5 credits

Wet Plate Photography

Jaclyn Silverman August 7-13 || 1-week PHOTO 613 001 || 1.5 credits $100 Lab Fee Using the historic and timehonored wet-plate collodion process, students will move between the studio, the community, and the natural environment to create glass plate images and photographic objects.

We will explore the fundamentals of large format view camera photography while using individual mobile darkrooms for plate processing and production. This course considers the technical information, historical use, and advancement of photographic technology in comparison with contemporary conceptual use by late-20th-century and current 21st-century artists such as Helen Maureen Cooper, Joni Sternbach, and Sally Mann. Readings available for reference include Basic Collodion Technique: Ambrotype and Tintype, by Mark Osterman and France Scully Osterman, and Chemical Pictures: The Wet Plate Collodion Book, by Quinn B. Jacobson. Students will work independently, progressing from tintype positives to glass negatives and ambrotype objects. Subjects can include the still life, portraiture, installation for performance, or natural documentation of the environment. Daily evaluations and cross-classroom conversation will address technical and conceptual issues, and question historical and contemporary uses. The final product will include a suite of quarter glass plates in the student’s own style, driven by individual concepts or ideas.

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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. In this hybrid writing and studio course, participants will explore the concept of plurals and parallels and examine how voice, genre, texture, and material can have a curious effect on written and dimensional works. As a class, we will engage with the projects of interdisciplinary artists who consider this in theory and practice, such as Cauleen Smith, Cecilia Vicuña, Adrienne Rich, and others. Through a story-based inquiry project, we will discuss the ways hybridity contains possibilities, porous bodies, and entirely new forms. We will also experiment with our own works in progress to invite fresh interpretations.

A Study in Natural Dyes

Isa Rodrigues August 14-27 || 2-weeks PAPER 612 001 || 3 credits $50 Lab fee In this class, participants learn how to obtain eco-friendly color on a variety of materials. We start by learning the foundations of natural dyeing—collecting and experimenting with plant material from the prairie and using both vat and contact dyeing methods.

We then build on this knowledge by using dyes from around the world, including the indigo process.

Discussion topics, such as dye history, gardens and techniques, are supplemented with detailed handouts. Open to all levels.

In this course, students will use traditional and nontraditional fibrous materials and produce objects, flying artworks, and installations using a variety of processes. Combining machine assisted and hand quilting techniques with the structural considerations of kite making, students will learn fabric and paper construction methods which include piecing and applique, integrating the quilted line into the image, and will build improvisational patterning skills.

Demonstrations on mapping out 2D and 3D images in fibers, piecing, applique, armature building, and additive image making will encourage the students to explore alternative and whimsical sensibilities attainable in soft sculpture. We may take inspiration from the work of Nancy Crow, Claes Oldenberg, Faith Ringgold, Rosie Lee Tompkins, David Byrne, Lee Bowery, Shinique Smith, Karen Reimer, Kimsooja, Aram Han Sifuentes, Sanford Biggers, Japanese Boro, Korean Jogakbo, and the Tristan Quilt. Screenings may include True Stories (1986), Common Threads: Stories from the Quilt (1989), and readings may include “Knitting, Weaving, Embroidery, and Quilting as Subversive Aesthetic Strategies: On Feminist Interventions in Art, Fashion, and Philosophy” (Michna 2020), “Quilting Across Prison Walls: Craftwork, Social Practice, and Radical Empathy” (Talwar, Wallis 2020). Students will conceive and construct original fiber works in response to assignments that focus on the expressive, personal, and comical possibilities of these materials, including constructing a kite-like artwork which will be part of a group performance and flying session in Ox-Bow's meadow and finishing a quilted piece that makes a statement. Using their quilting, patterning, and sculptural skills students will be encouraged to make a wearable item for Ox-Bow's Friday Night Costume Party. The class will culminate in a final group presentation.

Graduate Projects

James English Leary August 14-27 || 2-weeks MFA 6009 001 || 3 credits In this intensive, an intimate group of currently enrolled MFA students have the opportunity to independently study at Ox-Bow. Students will have dedicated studio space to work on projects of their design, either in response to the specific environment of Ox-Bow or to prepare for their thesis shows.

Faculty will assume a mentorship role and assist the candidates in emphasizing their voice. Faculty will lead group conversations, critique, presentations, and other activities so as to encourage the rapid growth and connection amongst the graduates. Faculty will prepare a reader which will supplement the graduate’s time at Ox-Bow and group conversations, and host regular one-on-one studio visits. This course will culminate in an open studio event, welcoming the entire Ox-Bow community.

For Faculty bios turn to page 30

'22 SUMMER COURSE CATALOG

(clockwise from top left) 1. James English Leary, Pointer (6), Acrylic on Panel, 48”x39”, 2020 2. Soo Shin, Carrying and Carried, Concrete, cedar, W5” H12” D5.5”, 2020 3. E rica N. Cardwell, Black Brockington Portrait by Chitra Ganesh from Teaching Black Lives Matter Issue 106 of Radical Teacher Journal 4. Isa Rodrigues, Modular weaving III, undyed Icelandic wool, 2015

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'22 SUMMER COURSE CATALOG

CAMP

2022 3-Week Intensive

Take a dip in swooning sentimentality, introduce an androgynous caricature to the pastoral, and wield your taste for style, decor, and craft during Ox-Bow’s 3-week Intensive, CAMP. Students can participate in a variety of courses that celebrate humor, improvisation within an aesthetic, and explore the variants of sophistication within ourselves. Apply now, the password is: MAGIC Students who enroll in CAMP will receive a unique, interdisciplinary experience of Ox-Bow where they select two courses to enroll in and alternate back and forth between those two studios. For-credit completion of CAMP awards the student 6 credits. CAMP is open to any

SESSION 3 July 15 - August 6 APPLICATION DEADLINE March 28, 2022

participant over 18, requires enrollment in two courses, and participation in the virtual pre-session meetings. Applications are required.

Awarded students will receive a scholarship toward their enrollment in CAMP. Applications are required and awarded students will automatically receive a scholarship toward their enrollment in the intensive.

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VISITING ARTISTS John Kilduff July 17 - 23 Sara Greenberger Rafferty July 24 - 30 Harold Mendez July 31 - Aug. 6

I'm always excited to be at Ox-Bow in person and bask in the landscape, pace, and camaraderie of the community!! There's nothing quite like it!

And I'm excited about this new class with Vincent as I've oddly enough never taught an inflatables-specific class before!

- Claire Ashley, faculty of Inflatables: Paint

Skins during 3-week intensive

Inflatables: Paint Skins

Claire Ashley & Vincent Tiley July 15 – August 6 PAINTING 667 001 || $50 Lab Fee What’s up with inflatables as an art form? In this class, participants will explore how the skin of an inflatable may be used as a surface for prints, paint, and other marks. We will harness the kinetic and time-based elements of making inflatable objects and consider contextual applications, conceptual thinking, and the expanded field of painting strategies related to the inflatable form. We will look at historical and design precedents which may include Paul McCarthy, Yayoi Kusama, and Seaborg Latex.

Readings and screenings may include Lightness

by Italo Calvino, Philip Roth’s The Breast, Chapter One, and Albert Lamorisse’s Le Ballon Rouge.

Using Ox-Bow’s campus as a site for investigation and intervention, students will be asked to create an inflatable installation specific to a chosen site.

Space, scale, audience participation, technical concerns, and other relationships between the site and the inflatable should be carefully considered and demonstrated.

Glass Transformations: Mold Making in the Hot Shop

Victoria Ahmadizadeh-Melendez July 15 – August 6 GLASS 641 001 || $300 Lab Fee In this class, students will use molds to create detailed and specific sculptural glass pieces.

Reusable two-part plaster molds will allow students to transform found objects into clear or colored blown glass. Rubber molds will be used to create single-use "hot" blow molds to practice building positives for cold work, mixed media, and assemblage. We will look at mold-blown glass produced by the ancient Romans, as well as multiple contemporary artists using molds in the hot shop such as Stine Bidstrup and Thaddeus Wolfe. Students will complete sculptures with objects made using a plaster blow mold, a rubber mold, and multiple single-use hot blow molds. All experience levels are welcome.

For Faculty bios turn to page 30

Party As Form

Alex Chitty & Kelly Lloyd July 15 – August 6 || AHIST 462 001 Party As Form takes the history of celebration as its point of departure for a class that blends cultural theory with current experiments in curating, social practice and performance.

Through a combination of readings, discussions and deployment, students will study the history, aesthetics, labor and conventions for parties from the intimate to the public, religious to the secular.

Designed as a theory and practice art history class, Party As Form challenges participants to experience Ox Bow, a site for gathering, community, participation and production, through the lens of readings in sociology, cultural and art theory on ideas that critically address the event, celebration or party as the gathering, hosting and cultivating of a group. Topics include: liminality, community, formation of publics, spectacle, utopias, leisure, play and ecstasy. Class consists of a combination of reading and discussion, lectures and presentations alongside projects that anchor discussion through interpretation, conceptualization and the full design and hosting of on-site events. Students taking the course for Art History credit write critical and/or scholarly papers that locate their party, or event within the context of contemporary art and art history.

Student taking the course for Sculpture will be required to design, fabricate, and implement objects and scenarios that relate to the directives of the course. Party forms may include: weddings, raves, galas, Cinco de Mayo, parades, tea parties, debutante balls, masquerades, bar mitzvahs, Mardi Gras, New Years Eve, Chinese New Year, 4th of July, Bastille Day, Burning Man, sleepovers and more. NOTE: SAIC students must have already taken Art History 1001 & 1002 in order to enroll in this course.

Clay Makerspace

Ling Chun July 15 – August 6 CER 657 001 || $200 Lab Fee This course provides students of all levels with the opportunity to work on their own projects and to improve their ceramics skills.

Students will have access to all materials in the Ceramic Studio, and can choose from a variety of firing options, including the electric kiln, gas kiln, or raku. Demonstrations will include hand building, vessel creation, construction methods, proper firing methods, and encourage intermediate understanding of drying times, methods for building sound pieces, techniques for minimizing loss, and studio safety. Taking inspiration from historical movements and contemporary ceramicists, students may engage in coil and slab building, slip casting, have time on the potter’s wheel, and practice a variety of surface design techniques. Assignments are designed to build understanding of each method, and students will conceive projects that reflect their interests. Instructors will be available to help facilitate individual, collaborative, and interdisciplinary projects.

Inflating Steel: ThermoPneumatic-Hyper-Forming

Jessee Rose Crane & Mike Rossi July 15 – August 6 SCULP 674 001 || $200 Lab Fee In this class, students will be led through the wild process of inflating welded steel structures.

Sheet steel armatures will be welded, put into a forge and heated until bright orange, then inflated with compressed air. Students will work in an improvisatory mode, rapidly iterating many pieces over the session. Studio work will be augmented by lectures, discussions, and critique that support discovery and play within the studio and this largely untapped process. We will look at the work of American blacksmith Elizabeth Brim and Polish designer Oskar Zieta and pull inspiration from the polygonal geometries of indie video game design as well as the palette of Brutalist architecture. The culminating assignment in this course will invite students to design and create a steel inflatable that will be safely installed on the surface of Ox-Bow's Lagoon. Thoughtfulness, intent, and context will be emphasized. This class is beginner-friendly, and will serve as an introduction to metal fabrication and finishing.

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'22 SUMMER COURSE CATALOG

(clockwise from top left) 1. Victoria Ahmadizadeh Melendez, say yes (the decision of the flower), blown phosphor-coated glass, argon and mercury, hand-cut risograph prints, 4 ft x 6 ft W x 4 in D, 2021 2. L ing Chun, Duo, glass, ceramics, metal, hair, 9 X 8 X 11, 2019 3. work by Kelly Lloyd 4. Alex Chitty, It overwhelms but it does not stop, Powder coated Steel, blackened walnut, brass, black marble, c-prints, cork, terracotta cotton rope, 65" x 50" x 5", 2016

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'22 SUMMER COURSE CATALOG

(clockwise from top left) 1. Claire Ashley, ASTROZONE, Griffin Music Hall, Murphy Arts District, El Dorado, AR. Organized by the Crystal Bridges Museum of American Art, Bentonville, AR. Image Credit: Steve Nochs, 2020 2. V incent Tiley, Frog in Acid, Acrylic, tempera, liquid latex, and rope on suiting wool, 60 in x 48 in, 2019 3. M ike Rossi, Ansible, inflated steel, 28” x 16” x 16”, 2019 4. Jessee Rose Crane, Doozy, Mixed media, found objects, steel, wood, bronze, magnifying lenses, 8’x3’x9’, 2017

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202 2 S U M M E R CO U R S E C A L E N D A R

CER AMICS

GL ASS

PA I N T I N G & D R AW I N G

JUNE 5-18

J U N E 1 9 - J U LY 2

S ES S I O N 1

S ES S I O N 2

Woodfire & Sustainibilty in Clay

Mosaics in Strata

Jon Hook

E. Saffronia Downing & Dove Drury Hornbuckle

Go With The Flow

Beginning Glassblowing

Michael Hernandez

Corey Pemberton

Paint Makerspace

Words, Music, Action!

Laurel Sparks

Richard Hull + Ken Vandermark & John Yau Graduate Projects

Magalie Guérin

PRINTMAKING

The Expanded Field in the Expanding Field: Zines, Ephemera and Events

Jina Valentine & Heather Hart

Jesse Malmed & Breanne Trammell Deadpan: Steel Realism

SCULPTURE & M E TA L S S P E C I A L TO P I C

The Living Archive

Chris Bradley

Archiving Ox-Bow: Creative Processes and Presence

Nicholas Lowe Papermaking

Andrea Peterson

VISIT ING ARTISTS 26

Austin Lee

Jiha Moon

Devin T. Mays

Wells Chandler

June 5 - 11

June 12 - 18

June 19 - 25

June 26 - July 2

CA MP: 3-WEEK INTENSIVE

J U LY 1 5 - A U G U S T 6

AUGUST 7 - 13

AUGUST 14 - 27

S ES S I O N 3

S ES S I O N 4

S ES S I O N 5

Clay Makerspace

Ox-Bow on the Wheel

Ling Chun

Liz McCarthy

Glass Transformations: Mold Making in the Hot Shop

Flameworking: Finding Form in Translation

Victoria Ahmadizadeh

Carmen Lozar

Inflatables: Paint Skins

Vincent Tiley & Claire Ashley

Inflating Steel: Thermo-Pneumatic-Hyper-Forming

Jessee Rose Crane & Mike Rossi

Beyond Borders

Screen Print Studio

Jeanine Coupe Ryding & Myungah Hyon

Frances Lightbound

Hard Lines: Drawing with Steel

Multi-Level Foundry

Brent Harris

Devin Balara & Abigail Lucien

Party as Form

Plural, Parallels and Other Ways of Saying Things Twice

Kelly Lloyd & Alex Chitty

Graduate Projects

James English Leary

Erica N. Cardwell You Art What You Eat

Cloud Objects

Eric May

Chris Edwards & Soo Shin

Wet-Plate Photography

A Study in Natural Dyes

Isa Rodrigues

Jaclyn Silverman

John Kilduff July 17 - 23

Sara Greenberger Rafferty

Harold Mendez

Gina Beavers

Chloë Bass

Chris Bogia

July 31 - Aug. 6

August 7 - 13

August 14 - 20

August 21 - 27

July 24 - 30

27

'22 SUMMER COURSE CATALOG

28

'22 SUMMER COURSE CATALOG

Did you know...

Burials at Ox-Bow are a long-held tradition. Each year at the end of the summer season, the entire staff digs a hole the depth of the shortest person on campus.

Staff are invited to reflect on the season and to place an object, memory, or memento in the hole. Buried items over the years include bits of favorite costumes, scobies, and sealed letters—to oneself, or to the experience.

Deecy Smith of designvox

29

'22 SUMMER COURSE CATALOG

Meet Our Faculty "BLT [Black Lunch Table] has inspired the development of our courses taught independently, and we've also hosted events at our institutions, involving our students, other teachers, librarians, and community members. Ox-Bow will be unique in that the place itself is an archive... and is constantly changing. We're curious about what gets recorded, how it's documented, and who those histories are told by + shared with. All of this is relevant to BLT." - Jina Valentine, faculty of The Living Archive during session 2 co-taught with Heather Hart

Claire Ashley Devin Balara Chris Bradley (not shown) Erica N. Cardwell Alex Chitty Ling Chun Jessee Rose Crane E. Saffronia Downing Chris Edwards Magalie Guérin Brent Harris Heather Hart Michael Hernandez Dove Drury Hornbuckle Jon Hook Richard Hull Myungah Hyon James English Leary Frances Lightbound Kelly Lloyd Nicholas Lowe Carmen Lozar Abigail Lucien Jesse Malmed Eric May Liz McCarthy Victoria Ahmadizadeh Melendez Corey Pemberton Andrea Peterson Isa Rodrigues Jeanine Coupe Ryding Mike Rossi Soo Shin Jaclyn Silverman Laurel Sparks Vincent Tiley Breanne Trammell Jina Valentine

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Bradley Marshall

view our faculty bios

'22 SUMMER COURSE CATALOG

in residence at Monson Arts

appeared in BOMB, The Believer,

Small Sculpture (2017), Corbett

in Monson, Maine; Elsewhere

Brooklyn Rail, frieze, Hyperallergic,

Vs. Dempsey, Chicago; Stranger

Museum in Greensboro, North

Green Mountains Review, Passages

Things (2017), DePaul Art

Carolina; Vermont Studio Center

North, and other publications. Her

Museum, Chicago; Objectifying

in Johnson, Vermont; and The

memoir was named as finalist for

the Photograph (2017), NIU Art

Wassaic Projects in Wassaic, New

the 2020 Graywolf Press Nonfiction

Museum, DeKalb, Illinois; slight

York. Her work has been recently

Prize, and she has been awarded

pitch (2016) at LUCE, Turin, Italy;

CLAIRE ASHLEY (she/her) uses her

exhibited at The Comfort Station in

residencies and fellowships from

the sun-drenched neutral that goes

JESSEE ROSE CRANE is a

work to investigate inflatables as

Chicago, Illinois; Ortega Y Gasset

the Lambda Literary Foundation,

with everything (2016), PATRON,

multidisciplinary sculptor, arts

painting, sculpture, installation,

Projects in New York; Grounds For

Vermont Studio Center, and Banff

Chicago; Turning Spoons into Forks

administrator, and musician

and performance costume.

Sculpture in Hamilton Township,

Centre for Arts and Creativity.

(2016), Hyde Park Art Center,

based in New Douglas, Illinois. Her

These works have been exhibited

New Jersey; Spring Break Art

Recently, she was invited to join

Chicago; Orchid (2014), ADDS

approach to sculpture joins technical

nationally and internationally in

Fair in New York;, and DEMO

the Queer Art Mentorship Fellows

DONNA, Chicago.

skills with a creative process that

galleries, museums, site-specific

Projects in Springfield, Illinois.

Cohort to work with poet and

encourages play and embraces

installations, performances,

Balara was a recipient of the 2014

mentor, Pamela Sneed. In 2016,

art in the everyday. Her practice

festivals, and collaborations. Her

Outstanding Student Achievement

Erica received her MFA in Writing

combines steel with various media

work has been featured on blogs

in Contemporary Sculpture Award

from Sarah Lawrence College.

to craft both functional objects

such as VICE, Hyperallergic, and

from Sculpture Magazine.

Currently, she teaches writing and

and conceptual experimentations

social justice at The New School.

used in exhibitions, videos, and live

Artforum, and in magazines such as Sculpture Magazine, Art Papers,

CHRIS BRADLEY, born in New

Boston Globe, Chicago Tribune,

Jersey, is an artist based in

Time Out Chicago, Yorkshire Post,

Chicago. He has recently presented

LING CHUN (she/her) is a

MFA from Southern Illinois University

and Condé Nast Traveller. Ashley

his work in solo exhibitions at

multimedia artist from Hong

Edwardsville and her BFA from The

received her MFA from the School

the Museum of Contemporary Art

Kong. Her work represents the

School of the Art Institute of Chicago.

of the Art Institute of Chicago and

Chicago, Shane Campbell Gallery,

coexistence of multicultural

She is the director of Rose Raft, an

her BFA from Gray’s School of Art,

Roberto Paradise, and the Museum

identities within a single society.

artist and musician’s residency

Aberdeen, Scotland. Originally

of Contemporary Art Raleigh.

Chun’s practice focuses on

founded in 2015. In her most recent

from Edinburgh, Scotland, Ashley

Bradley has been included in group

ALEX CHITTY, born in Miami,

creating artifacts which speak

sculptural work, she fabricates steel

is now Chicago based. Currently,

shows at The Renaissance Society,

Florida, is a transdisciplinary artist

about history with a contemporary

armatures to prop up large curtain-

she teaches at the School of the

Atlanta Contemporary, Museum of

based in Chicago and elsewhere.

sensibility. In her execution and

like vivid membranes made from glue

Art Institute of Chicago in the

Contemporary Art Santa Barbara,

Chitty received a Bachelor of

conceptualization of creative

and food coloring.

Department of Contemporary

Museum of Contemporary Art

Fine Art from Smith College,

projects, Chun brings together

Practices, and the Department of

Detroit, the NRW-Forum, and the

Massachusetts, and a Master in

her knowledge of Chinese culture

Painting and Drawing.

Elmhurst Art Museum. He received

Fine Arts from the School of the Art

and her contemporary artistic

his MFA degree from the School

Institute of Chicago. They teach,

vision. Chun aspires to create

of the Art Institute of Chicago in

lecture and work as a visiting artist

public artifacts to bring relevance

2010. In addition to his studio

in institutions and organizations

to historical storytelling in her

practice, he is an instructor of

both within and beyond the United

future artistic pursuits. Chun is

sculptural practice at both SAIC

States: Museum of Contemporary

the recipient of numerous awards

and the University of Chicago.

Art Chicago; Spudnik; University

including the ArtBridge Fellowship

E. SAFFRONIA DOWNING works

of Chicago; Columbia College; The

2020 sponsored by Chihuly Garden

with wild clay to create site-specific

Art Institute of Chicago; Ox -Bow;

and Glass and The National Council

sculpture and installation.

DEVIN BALARA's recent work

Hol Chan Marine Reserve, Belize;

on Education for the Ceramic Arts

Downing forages material from

utilizes steel as a drawing

and the Brooklyn Botanic Garden.

emerging artist award in 2020.

local landscapes to consider the

material to illustrate cartoon

Recent exhibitions include: Both

In 2019, Chun was shortlisted

correspondence between maker

scenes inspired by bad omens,

And (2021), Tiger Strikes Asteroid,

for the Young Master Art Prize

and matter. She received her MFA

supernatural moments, desert

Chicago; No Soft Edges: Women in

in London and recently she has

in Ceramics from the School of

island logic, and the outdoors

Minimalism (2021), GAVLAK, Palm

been shortlisted for 2021 Korea

the Art Institute of Chicago. Her

performances with her band Glow in the Dark Flowers. She received her

as both unruly and picturesque.

ERICA N. CARDWELL is a writer,

Beach, Florida; State of the Art II

International Ceramics Biennale.

work has recently been featured in

Originally hailing from Tampa,

critic, and educator based in

(2020), Crystal Bridges Museum

Chun is currently based in Seattle.

exhibitions at Bad Water, Knoxville,

Florida, she holds a BFA from the

Brooklyn, New York. Erica often

of American Art, Bentonville,

She works as a ceramic educator at

Tennessee; Resort, Baltimore,

University of North Florida and

writes about print, archival

Arkansas; Becoming the Breeze:

North Seattle College and also as

Maryland; and The Franklin,

an MFA in sculpture from Indiana

media, visual culture, and

Alex Chitty with Alexander Calder

an educational guide for the Wing

Chicago, Illinois. Downing has

University in Bloomington, Indiana.

interdisciplinary performance;

(2019), Museum of Contemporary

Luke Museum.

received awards and residencies

Devin is currently based in New

she centers Black feminist theory

Art, Chicago; pulling flavor from

such as ACRE residency, the Ox-Bow

Orleans, Louisiana and spends

as her primary critical approach.

the dirt (2018), PATRON, Chicago;

LeRoy Neiman Fellowship, and the

summers managing the sculpture

Erica is deeply fascinated with the

Living Architecture (2020), 6018

Lunder Institute for American Art

studio at Ox-Bow School of Art and

imaginations of people of color

North, Chicago; They will bloom

Fellowship. Downing lives and works

Artist Residency in Saugatuck,

as a tool for social, spiritual, and

without you (2017), Elmhurst

nomadically.

Michigan. She has been an artist

collective movement. Her work has

Art Museum, Elmhurst, Illinois;

32

folk movements, Hernandez

Ceramics Department in Fall 2020.

Pace at FAWC (2019), Pollock-

embraces unlikely compositions

They have served as the Ceramics

Krasner Foundation Grant (2018),

in color and form where the space

Studio Manager at the Ox-Bow

and Chinati Foundation Residency

between seduction and repulsion

School of Art & Artists’ Residency

(2018). She is represented by

is stretched, poked, and ruffled. A

since 2019.

Corbett vs. Dempsey in Chicago

connoisseur of craft and masseur

and Galerie Nicolas Robert in CHRIS EDWARDS (he/him) makes

Montreal.

of material, his practice moves Based in Brooklyn, New York,

through experimental excursions

work that focuses on paying

HEATHER HART has been an artist

of processes, from the technically

attention, taking time, practicing

in residence at Joan Mitchell

ambitious to the joyously naïve.

feeling awe, and being at home.

Center, McColl Center of Art +

He uses quilts, pottery, stickers,

Innovation, Bemis Center for Art,

Hernandez earned a BFA from

and gems in the pursuit of making

LMCC Workspace, Skowhegan,

Emporia State University, Emporia,

art that is fun, funny, nice, and

Robert Blackburn Printmaking

Kansas; and an MFA from New

Studio ceramic artist, JON HOOK,

sublimates his unease about the

Workshop, Santa Fe Art Institute,

York State College of Ceramics at

creates sculptural and functional

world into craft. He received his

Fine Arts Work Center, and the

Alfred University, Alfred, New York.

work. In 1997 he co-opened Hook

Master of Fine Arts in Painting and

BRENT HARRIS's world and his

Whitney ISP. She is interested

He has attended residencies and

Pottery Paper, a gallery and studio

Drawing from SAIC in 2011 and

work is created in Kalamazoo

in creating site-specific liminal

taught workshops on sculptural

in northwest Indiana with his wife,

his Master of Social Work from the

Michigan, where he resides with

spaces for personal reclamation, in

approaches to glassblowing,

Andrea Peterson. He has built kilns

University of Iowa in 2014, while

his two children. Brent received

questioning dominant narratives

kilnforming, and neon at Pilchuck

in which he only fires with wood. He

also completing a term of service

his BFA from Western Michigan

and proposing alternatives to

Glass School, Urban Glass, and

finds that wood firing is an intense

with Americorps. He is a Licensed

University in 1994. Immediately

them. Hart received grants from

numerous other private and

and industrious process which

Clinical Social Worker and works

afterwards, feeling the need to do

Anonymous was a Woman, Joan

public institutions around the US.

connects directly to the land. The

as a psychotherapist in addition

more for his community, he put his

Mitchell Foundation, Harpo

Currently, Michael is Associate

work emphasizes the use of local

to his art practice. He lives in

art career on the back burner and

Foundation, Jerome Foundation

Professor and head of the glass

materials such as local clay, straw,

Chicago with his husband, dog,

worked as a paramedic for seven

and a fellowship from NYFA.

program at Palomar College. He

and thistles, adding color in the

and two cats. He has exhibited

years. In that time he became a

Her work has been included in

is on the Board of Directors of the

form of ash glaze to the surface of

work at Tusk, LVL3, Oggi Gallery,

field trainer for new medics and

a variety of publications and

Glass Art Society and he serves as

the ceramics. He is a forerunner

Dreamboat, Western Exhibitions,

continued sculpting from the front

exhibited worldwide including

Editor of GASnews.

and expert in his field concerning

and Julius Caesar in Chicago.

seat of an ambulance.

at Storm King Sculpture Park,

sustainable ceramic studio

Socrates Sculpture Park, Seattle

practices. His work is in numerous

In 2003, he bought the bronze

Art Museum’s Olympic Sculpture

private collections internationally.

casting foundry he once mentored

Park, Studio Museum in Harlem,

He exhibits internationally: Krasl

at: The Alchemist Sculpture

ICA Philadelphia, Art in General,

Art Center, St. Joe, Michigan;

Foundry. Along with Harris’s work,

The Drawing Center, PS1 MoMA,

Phoenix Gallery, New York; Brauer

the Alchemist made a name for

Museum of Arts and Craft in

Museum, Valparaiso, Indiana;

itself, creating large scale work of

Itami, Portland Art Center, and

national importance. They found a

the Brooklyn Museum. She studied

DOVE DRURY HORNBUCKLE

Bend, Indiana. He conducts

MAGALIE GUÉRIN, born in

niche in the sports industry casting

at Cornish College of the Arts in

(they/them) is an artist, teacher

workshops at his own studio. He

Montreal, lives and works in

players for the Detroit Redwings,

Seattle, Princeton University in

and studio manager. Previous

has taught at various institutions

Marfa, Texas. Her work is shape-

Los Angeles Lakers, Chicago

New Jersey, and received her MFA

exhibitions have been held at

such as St. Mary’s College, Notre

based and abstract in nature

White Sox/Cubs and dozens more.

from Rutgers University.

Goldfinch Gallery, Tender to the

Dame, Indiana.

although it employs strategies

Brent has had shows in galleries

Bone, Chicago, Illinois, 2021,

of representation, which brings

and public spaces throughout the

and a solo presentation at Roots

these invented shapes into an

Midwest. His sculptures can be

& Culture Earth, My Likeness,

unknown yet seemingly familiar

seen in collections in New York,

Chicago, Illinois, 2020. Past

frame of reference. The experience

Chicago, and London. Currently

awards include a teaching

of foreignness and discovery is

he is Head of the Sculpture

fellowship from the Vermont

at the core of Guérin’s practice.

Department at the Kalamazoo

Studio Center in 2020, and the

Guérin holds an MFA in Painting

Institute of Arts, teaching and

and Drawing from the SAIC (2011).

developing new programming. He

MICHAEL HERNANDEZ engages

the Ox-Bow School of Art in 2018.

RICHARD HULL’s figural paintings

She has had solo shows at Amanda

also enjoys working in the public

glass and light-based mediums

Past teaching roles have been

explore abstraction with his iconic

Wilkinson, London, England;

schools as a teaching artist for

through sculptural forms and

held as Adjunct Professor in the

gestural movements, creating an

Chapter NY, New York; Galerie

Education for the Arts. Beginning

experiential spaces, exploiting

Art and Art History department

animated relationship between

Nicolas Robert, Montreal; Corbett

this summer, Brent will be teaching

their unique abilities to capture

at Hope College in Fall 2021, as

imaginary characters and the

vs Dempsey, Chicago; Schwarz

bronze casting at Ox-Bow and bring

time and movement. He explores

workshop instructor at the Ox-Bow

viewer. While in graduate school

Contemporary, Berlin; and Anat

the visual arts to the Kalamazoo

visual narratives through objects

School of Art within the ‘Art on the

Hull’s work was admired by the

Egbi, Los Angeles. She is the author

County Juvenile Home.

and environments that beckon play

Meadow’ series in Summer 2021,

iconic Chicago art dealer Phyllis

of NOTES ON, a compilation of

and tactile engagement. Inspired

and as lecturer at the School of

Kind, and he began to exhibit

studio writings (The Green Lantern

by West Coast Funk and alternative

the Art Institute of Chicago in the

his work in her galleries beside

South Bend Museum of Art, South

LeRoy Neiman Fellowship from

33

'22 SUMMER COURSE CATALOG

Press, 2016/2019). Awards include

'22 SUMMER COURSE CATALOG

artists from the Chicago Imagist

of assimilation through material.

movement. Hull earned his BFA

Lucien was named to the 2021

from Kansas City Art Institute and

Forbes 30 Under 30 list and is

his MFA from the School of the Art

the 2020 Harpo Emerging Artist

Institute of Chicago. Richard Hull

Fellow. They hold a BFA from Florida

is currently represented by Western

State University and an MFA in

Exhibitions in Chicago. He has

Printmaking from the University of

work in the permanent collections

Born in Chicago, JAMES ENGLISH

KELLY LLOYD (she/her) is

Telling stories has always been

Tennessee, Knoxville. Their work

of many museums and galleries

LEARY (he, him, they), is a

a transdisciplinary artist

CARMEN LOZAR’s primary

has exhibited at museums and

across the country, including

New York-based painter, writer,

who focuses on issues of

objective. Some narratives are sad,

institutions such as MoMA PS1,

the Art Institute of Chicago, the

filmmaker, and teacher. He received

representation and knowledge

funny, or thoughtful but her pieces

Long Island; Atlanta Contemporary,

Museum of Contemporary Art

his BFA from Cooper Union where

production and prioritizes public-

are always about celebrating life.

Atlanta; UICA, Grand Rapids,

Chicago, and the Smithsonian

he has been an adjunct instructor

facing collaborative research.

Her most current body of work deals

Michigan; Museum of Fine Arts,

American Art Museum in

of Drawing since 2014. Leary is a

She is currently a member of

with spills. Life is messy; these

Tallahassee; Woman Made Gallery,

Washington, D.C.

founding member of The Bruce High

12ø Collective, and co-founder

small narratives accentuate the

Chicago; as well as Vox Populi

Quality Foundation, which was the

of the continuing collaborative

movement and flow of glass but are

Gallery and The Fabric Workshop

subject of a 2013 retrospective

projects HAIR CLUB, the Art

also telling in how they represent

and Museum in Philadelphia. Lucien

at the Brooklyn Museum. He is a

Workers Group, and Living Within

our relationship to the world.

is currently based in Baltimore,

Tiffany Foundation Award recipient

the Play. Lloyd is a PhD Candidate

and a former Robert Rauschenberg

in Practice-Led Fine Art at the

Carmen Lozar is a faculty member

in the Interdisciplinary Sculpture

Foundation resident. Leary’s work

University of Oxford where she

of the Ames School of Art at Illinois

department at MICA.

was included in the 2010 Whitney

studies representations of artistic

Wesleyan University in Bloomington,

Maryland where they teach full-time

Biennial, the 2010 Greater New

labor in film and television. Lloyd

Illinois. She often travels abroad

MYUNGAH HYON is an Adjunct

York show at MoMA PS1, the 2011

received a dual MFA in Painting

to teach and share her love for

Associate Professor of Printmedia

Sundance Film Festival, and the

and Drawing and MA in Visual &

glass – most recently to England,

at the School of the Art Institute

2014 Liverpool Biennial.

Critical Studies from School of the

Turkey, Italy, and New Zealand – but

of Chicago where she received her

Art Institute of Chicago in 2015,

always returns to her Midwestern

BFA and MFA. She also received

and a BA from Oberlin College in

roots. A graduate of the University

an associates degree from the

2008. Lloyd has published writing

of Illinois at Urbana-Champaign,

Ontario College of Arts and Design.

with Green Lantern Press, Palgrave

she completed her post-graduate

JESSE MALMED is an artist, curator

Hyon has exhibited her work at

Macmillan, and Punctum Press,

degree at Alfred University, New

and educator working in video,

venues including the School

and attended artist residencies

York, and is represented by Ken

performance, text, installation,

of the Art Institute of Chicago

at Flat Time House, Kulturkontakt

Saunders Gallery in Chicago. She

events, occasional objects, their

Exhibitions; Printed Matter Inc.,

Austria, and the Aarhus Center

has held two residencies at the

gaps and overlaps. His works play in

New York; Kookmin Art Gallery,

FRANCES LIGHTBOUND works

for Visual Art. Recent exhibitions

Corning Museum of Glass and

sub- and counter-cultural histories,

Seoul, Korea; Gallery Factory,

between printmaking, sculpture, and

include the Royal Academy

one at Penland School of Craft.

like a joke that's a poem that's a song

Seoul, Korea; Riverside Art Center,

installation to explore relationships

Schools, London, England;

Lozar is included in the permanent

covering itself, a shadow puppet

Riverside, Illinois; William A.

between bodies and built

Institute of Contemporary Art,

collections of the Museum of Art

interfering in the broadcast beam,

Koehnline Gallery, Des Plaines,

environments. Using grids and other

Baltimore; Bill’s Auto, Chicago;

and Design (MAD) in New York,

having deja vu for the first time, or

Illinois; Elmhurst Art Museum,

modular systems as a foundational

and Crybaby, Berlin.

The Museum of Glass inTacoma,

watching a time travel sequence

Illinois; Artemisia Gallery,

structure and point of departure, her

Washington and the Bergstrom

in reverse. Engaging with a range

Chicago, Illinois; Gallery 312,

work seeks and encourages moments

Mahler Museum in Neenah,

of publics, his entanglements and

Chicago, Illinois. She has received

of fracture, fluidity, or ambiguity

Wisconsin.

propositions include instigating

awards from the Community

in seemingly fixed systems of

the poster platform Western Pole,

Artist Assistant Program, City

organization and meaning. Her work

co-driving artist bumper sticker

of Chicago; Seoul Foundation

has been exhibited nationally and

project Trunk Show, directing the

for Arts and Culture; and Arts

internationally; recent exhibitions

Live to Tape Artist Television Festival,

Council Korea. Her work can be

include Blue Star Contemporary,

found in the collections of the Joan

San Antonio; Snehta, Athens; Hyde

NICHOLAS LOWE is an

Nightingale Cinema, hosting the

Flasch Artists' Books Collection

Park Art Center, Chicago; MONACO,

interdisciplinary visual artist,

Artists' Karaoke Archive, permanent

in Chicago and Printed Matter Inc.

St Louis; 68projects, Berlin. She

writer, educator, and curator whose

in New York. Publications of Hyon

has collaborated on projects with

work is known for its contextual

ABIGAIL LUCIEN is an

show Bad at Sports, and recording

include BookBook, published by

designers, dancers, and fellow

and documentary approaches.

interdisciplinary artist raised in

and assisting the kindergarten a

DREAMERfty, and Kaleido_Book by

artists, and was a co-founder of

His visual and performance works

Cap-Haitian, Haiti and Florida.

capella noise ensemble Huskies

Candor Arts.

2|1|4|1 artist collective, Scotland.

forefront material research,

Working in sculpture, poetry,

Floorchestra. He attended Bard

Originally from Sheffield, England,

interpretation, and public

video, and sound, their practice

College and the University of Illinois

she holds an MFA from School of the

engagement. Lowe is a Professor

looks at ways cultural identities

at Chicago, where he teaches

Art Institute of Chicago, and a BA

at The School of the Art Institute of

and inherited colonial structures

alongside Chicago Public Schools

(Hons) from Glasgow School of Art,

Chicago and is the John H. Bryan

transmit to the body and psyche

and the University of Wisconsin-

Scotland.

Chair of Historic Preservation.

by playfully challenging systems

Milwaukee.

34

programming with ACRE TV and the

guest hosting contemporary art radio

In 2010, she joined the founding

specializing in unique architectural

North Carolina. He currently

team of the Textile Arts Center

works and sculpture. Born in

resides in Los Angeles, California

(TAC), where she has worked as

Pontiac, Michigan, he has a BFA

where he splits his time between

Co-Executive Director for the last

in Blacksmithing from Northern

the nonprofit arts organization

6 years. Isa teaches weaving,

Michigan University, and an MFA

Crafting the Future, glass blowing,

natural dyeing and other surface

in Metalsmithing from Cranbrook

and his painting practice.

design techniques at TAC and

Academy of Art. He has exhibited

ERIC MAY is a Chicagoland-based

Currently based in Philadelphia,

Pemberton strives to bring

other venues, and is currently

nationally and internationally,

parent, chef, and artist. Eric

VICTORIA AHMADIZADEH

together people of all backgrounds

part-time faculty at the Rhode

including recently, “Meta-

cooked for Ox-Bow for 15 years,

MELENDEZ (she/her) combines

and identities, breaking down

Island School of Design. Her work

Formation” at Houston Center

running the kitchen for 11 of

poetry and prose with images,

stereotypes and building bridges,

has been exhibited at the Museum

for Contemporary Craft and “40

those years. Eric is the founder

glass objects, and neon signage to

not only through his work with

of Art and Design and the Cooper

under 40: the Next Generation

and director of Roots & Culture,

create layered experiences for the

Crafting The Future but with his

Hewitt Museum, and she has

of American Metal Artists” at

a nonprofit contemporary art

viewer. These installations touch

personal artistic practice as well.

created work for clients such as

the National Ornamental Metals

center in Chicago’s Noble Square

upon themes of desire, personal

Altuzarra, Gabriela Hearst, Ace

Museum in Memphis. He has

neighborhood. Eric received an

transformation, and longing to find

Hotel, Thompson Street Studio,

taught at Ox-Bow, Bryn Athyn

MFA from Northwestern University

magic amid a culture of repetition

amongst others.

College, Kalamazoo College,

and has exhibited work and

for survival. Her work has been

Penland School of Craft, and

hosted events at the Museum of

recently exhibited at Fleisher Art

Haystack Mountain School of Craft.

Contemporary Art Chicago, The

Memorial in Philadelphia, Heller

He has been a Windgate Artist-in-

Hyde Park Art Center, Depaul Art

Gallery in New York, Contemporary

Residence at San Diego State and

Museum, Three Walls, and The

Craft in Pittsburgh, and Bellevue

Charlotte Street Foundation.

Arts Museum in Bellevue,

ANDREA PETERSON is an artist

an extensive library, and has been

Washington. Ahmadizadeh

and educator. She lives and creates

playing the video game Sable.

Melendez has been a glassworker

work in northwest Indiana at Hook

for over 13 years, a path that

Pottery Paper, a studio and gallery

JEANINE COUPE RYDING’s prints

has led her to artist residencies

co-owned with her husband. She

and artist books are in museum

at Pilchuck Glass School, The

combines paper arts, printmaking,

and corporate and private

Creative Glass Center of America,

and book arts to make works that

collections in the U.S., Europe, and

and MASS MoCA, among others.

address human relationship to

Japan. Her work focuses primarily

She is currently the Director of

the environment. She teaches and

on woodcut prints, etchings, artist

LIZ MCCARTHY (she/they) is a

The Bead Project at UrbanGlass,

lectures internationally: Cooper

books, collage and painting. She

Chicago-based artist combining

and is also faculty at Tyler School

Union, New York; Robert C Williams

founded Shadow Press and Press

SOO SHIN (she/her) uses sculpture

ceramics with other mediums to

of Art and Architecture, from

Papermaking Museum, Atlanta;

928 in Evanston, Illinois for fine

as her primary medium while

interrogate material and cultural

which she received her BFA in

Morgan Conservatory, Cleveland;

art publishing. She received a BA

incorporating wood, ceramic,

modes of identity performativity.

Glass. She holds an MFA in Craft/

Watermark Museum, Fabriano,

in Literature and Fine Art from the

metal, and fabric. Her practice

She received her MFA from the

Material Studies from Virginia

Italy. She is collected by The

University of Iowa and a Masters

explores experiences of a person

University of Illinois at Chicago in

Commonwealth University. A

Metropolitan Museum of New York.

degree in sculpture from the

through bodily gestures and space.

Studio Art and her BFA from the

contributing writer to Glass:

Universitat der Kunste, Berlin,

She finished her MFA degree

University of North Carolina at

The UrbanGlass Art Quarterly

Germany. Jeanine has received

at School of the Art Institute

Asheville in Photography. Her mix

and Glass Art Society News,

an Illinois Arts Council Award, an

of Chicago and holds MFA and

of performance, sculpture, and

Ahmadizadeh Melendez is

Arts Midwest Grant, two Frans

BFA degrees at Ewha Womans

installation have been exhibited

passionate about educating others

Masereel residencies in Belgium,

University, Seoul, South Korea.

at the Museum of Contemporary

on glass and neon’s use as artistic

Roger Brown House residencies in

Her solo exhibitions include The

Art Chicago; Hyde Park Art Center

mediums.

Michigan, and an Anchor Graphics

Body of a Dreamer at PATRON,

residency in Chicago. She taught

Chicago; Paths between Two

SUNY Purchase. He has two cats,

in Chicago; Ghebaly Gallery in Los Angeles; ExGirlfriend in Berlin; and

ISA RODRIGUES (she/her) is

at The School of the Art Institute of

Steps at Goldfinch, Chicago; and

numerous Chicago galleries. She

a textile artist and educator

Chicago from 1991 to 2019.

A Collection of Tears 2012-Present

most recently had solo exhibitions

currently based in Brooklyn,

at Bar 4000, Chicago. She is

at Goldfinch and 062 in Chicago.

New York and Lagos, Portugal.

a recipient of fellowships at

Currently she acts as Founding

She works mostly with weaving

MacDowell Colony, Peterborough,

Director of the GnarWare Workshop

and dyeing, inspired by natural

New Hampshire;Vermont Studio

ceramics school and is Faculty in

phenomenons, textile processes,

Center, Johnson, Vermont; and

Ceramics at the School of the Art

Born in Reston, Virginia, COREY

and materials. She is also

Arts/Industry program at the

Institute of Chicago.

PEMBERTON received his BFA from

interested in art education as

John Michael Kohler Arts Center,

Virginia Commonwealth University

a means to create community

in 2012. He has completed

and preserve material culture.

MIKE ROSSI (he/him) is a

residencies at The Pittsburgh

She received an MA in Textile

blacksmith and metalworker

Glass Center; Bruket, Bodø,

Conservation from the New

based in Philadelphia, where

Norway; and Core Fellowship at the

University of Lisbon, Portugal.

he runs Rossi Metal Design,

Sheboygan, Wisconsin.

35

'22 SUMMER COURSE CATALOG

Penland School of Crafts, Penland,

'22 SUMMER COURSE CATALOG

New York; Berman Museum at

Museum, AxeNeo7, CFHILL, and the

participated in residencies at the

Ursinus College, Collegeville,

International Museum of Surgical

Atlantic Center for the Arts, Women’s

Pennsylvania; Museum of Fine Arts,

Science. His works have been

Studio Workshop, Sculpture Space,

Boston, Massachuesetts; Hessel

collected by the Whitney Library,

the Skowhegan School of Painting

Museum of Art, Annandale-on-

the Leather Archives and Museum,

and Sculpture, the Santa Fe Art

Hudson, New York; and DeCordova

Yale University Library, and the

Institute, and the Cité Internationale

JACLYN SILVERMAN (she/her) is

Museum, Lincoln, Massachuesetts.

Watson Library at the Metropolitan

des Arts in Paris, Joan Mitchell

a photographer from Youngstown,

Sparks’s work has been reviewed

Museum of Art.

Center in New Orleans, and Banff

Ohio currently living and working

in publications such as the New

Centre in Alberta. Her work has

in Chicago, Illinois. Her work

Yorker, New York Magazine, The

received recognition and support

engages generational identity

Brooklyn Rail, Two Coats of Paint,

from the Graham Foundation, North

in place while questioning

Modern Painters, New American

Carolina Arts Council, Art Matters

photographic collaborations and

Paintings, Art21 Magazine, Vogue

Foundation, and the Joan Mitchell

public projects through education,

Mexico, and Art in America. She

Foundation. Jina received her BFA

portraiture, and storytelling.

has received numerous grants and

from Carnegie Mellon University and

She received the Fergus Family

fellowships including MacDowell

Endowment for the Arts Award

Colony, Peterborough, New

BREANNE TRAMMELL is a

and Denman Research Grant

Hampshire; Elizabeth Foundation

multi-disciplinary artist, amateur

The BLACK LUNCH TABLE (BLT)

through Ohio State University.

Studio Intensive Program at

archivist, and nonmusician

is an ongoing collaborative

She co-curated the exhibition,

Robert Blackburn Printmaking

currently living and working in

project founded by artists Jina

Within the Portfolios, 1968-2016;

Workshop, New York; Fire Island

Fairfield, California. Her work

Valentine and Heather Hart. The

a History of Photography from

Artist Residency, Astoria, New

has been exhibited in a variety

project was first staged in 2005

the School of the Art Institute of

York; Residenza del Palmerino,

of spaces and places, most

at the preeminent artist residency

Chicago at the Joan Flasch Artists'

Associazione Culturale Il,

recently the Center for Book Arts,

Skowhegan School of Painting and

Book Collection. Commissioned

Palmerino, Italy; Berkshire

Nightingale Cinema, the Chicago

Sculpture. The BLT has since taken

by Theaster Gates, Silverman

Taconic Fellowship; SMFA Alumni

Printmakers Collaborative,

the form of oral archiving sessions,

created photographic installations

Traveling Fellowship; and an Elaine

cybermesa, and the Arkansas

salons, peer teaching workshops,

published in conjunction with the

DeKooning Fellowship.

State Fair. Breanne received her

meetups, and Wikipedia edit-a-

exhibition, A Johnson Publishing

MFA from the Rhode Island School

thons. BLT has been hosted by

Story at Stony Island Arts Bank. She

of Design and has participated in

Storm King Art Center in New York,

is the Founding Artistic Director

artist residencies including the

Dorchester Projects in Chicago,

and piloting artist-in-residence

Women’s Studio Workshop, Ox-Bow,

Eastern Washington University

of Chicago artist residency and

and Counterproof Press.

in Spokane, Bemis Center for

her MFA from Stanford University.

non-profit organization, CPS Lives.

Contemporary Arts in Omaha, the

Currently, she is part-time faculty

Creative Time in Brooklyn, UNC

at Loyola University Chicago.

Chapel Hill, Kohler Art Center in

Silverman received her BFA in

Born in West Virginia, New York

Sheboygan, University of Toronto

photographic studies from The Ohio

based artist VINCENT TILEY

Scarborough, Elsewhere Museum

State University and MFA in Studio

(he/they) received an MFA from

in Greensboro, the Joan Mitchell

Art from the School of the Art

the School of the Art Institute

Center in New Orleans, the McColl

Institute of Chicago.

of Chicago and a BFA from the

Center for Art + Innovation in

Maryland Institute College of Art.

Based in Chicago, JINA VALENTINE

Charlotte, The Tarble Art Center

Tiley's garment-based durational

is an Associate Professor of

at Eastern Illinois University, and

performances queer clothings’

Printmedia at the School of the

Weeksville Heritage Center in

myriad uses--often combining

Art Institute of Chicago. Her

Brooklyn, among others. BLT was

multiple performers into one

independent practice reconciles the

awarded a 2016 Creative Capital

sculptural and painted form; the

space between data visualized and

Grant, a Digital Innovation Lab

garments no longer function as

experience lived to foster nuanced

Fellowship from Institute for Arts

outward signifiers adorned by an

and alternative understandings of

and Humanities at UNC Chapel

LAUREL SPARKS is a Brooklyn-

interior self but fully disguise,

sociopolitical phenomena, and to

Hill, and an Artist Community

based painter whose work

restrain, and extend their wearers,

inspire compassionate associations

Engagement Grant from the

embodies geometric symbol

irreverent of the corporeal

with communities and individuals

Rema Hort Foundation. BLT has

systems and the transmitting

boundaries of individual selves.

affected by or generative of these

been featured in Hyperallergic,

potential of pattern and

His work has been featured and

phenomena. She has exhibited

Yes!Weekly, ArtFCity, Burnaway,

materiality. Exhibitions include

reviewed in Art in America, the

at venues including The Drawing

Artsy, and the Skowhegan Journal.

solo shows at Kate Werble gallery,

Chicago Tribune, Performa, and the

Center, The Studio Museum in

Hart received her MFA from

New York; Knockdown Center,

New York Times. The artist has been

Harlem, the CUE Foundation,

Rutgers University with studies

Brooklyn; and group shows at

widely exhibited internationally

MCA Chicago, the DiRosa

at Princeton University and

Cheim and Read Gallery, New

including the Museum of Art

Preserve, Southern Exposure,

Valentine received her MFA from

York; Leslie-Lohman Museum,

and Design, the Leslie-Lohman

and Marlborough Gallery. She has

Stanford University.

36

The thing about inflatables is something that’s as tall as a house can roll up and fit inside a suitcase or back pack. You can really be playful in just where you install - there’s forest, beach, lake, lagoon, and the campus of Ox-Bow to be explored for installation.

- Vincent Tiley, faculty of Inflatables: Paint Skins

during 3-week intensive

Bradley Marshall (x4)

37

'22 SUMMER COURSE CATALOG

Meet Our Visiting Artists Ox-Bow is proud to platform a range of voices, ideas, and perspectives through its Visiting Artist Program. Every week, a new artist comes to campus to participate in the community, most notably through an artist talk open to everyone on campus. After the talk, a sign-up sheet is presented where anyone on campus can select a time to have a studio visit.

Chloë Bass, The unparalleled mix of emotion, 2019, Laser printed aluminum with artist-written text on brushed aluminum stake, 5" x 8" (sign-face), approximately 16" tall, Installation view, St. Nicholas Park, Harlem, NY. Image by Scott Rudd, courtesy of the Studio Museum in Harlem

Austin Lee June 5 - 11

John Kilduff July 17 - 23

Gina Beavers August 7 - 13

Jiha Moon June 12 - 18

Sara Greenberger Rafferty July 24 - 30

Chloë Bass August 14 - 20

Devin T. Mays June 19 - 25

Harold Mendez July 31 - August 6

Wells Chandler June 26 - July 2

view their work

CHLOË BASS (she/her) is a multiform conceptual artist working in performance, situation, conversation, publication, and installation. Her work uses daily life as a site of deep research to address scales of intimacy: where patterns hold and break as group sizes expand. Chloë has held numerous fellowships and residencies: she is a 2020-2022 Faculty Fellow for the Seminar in Public Engagement at the Center for Humanities (CUNY Graduate Center), a 2020-2022 Lucas Art Fellow at Montalvo Art Center, and was a 2019 Art Matters Grantee. Her projects have appeared nationally and internationally, including recent exhibits at The Pulitzer Arts Foundation, The Studio Museum in Harlem, Mass MoCA, Kunsthalle Wilhelmshaven, BAK basis voor actuele kunst, the Knockdown Center, the Kitchen, and the Brooklyn Museum, among others.

38

Chris Bogia August 21 - 27

He currently lives in Queens, New York.

Bogia is the recipient of a 2018 grant from the Pollack-Krasner Foundation, a 2018 Queens Council for the Arts Grant, the 2017 Rema Hort Mann Foundation’s Artist Community Engagement Grant, the 2015 Tiffany Foundation Grant, and GINA BEAVERS, born in Athens, Greece,

was an artist-in-resident at the Queens

creates paintings and installations

Museum Studio Program from 2016 to

inspired by photos culled from the internet

2018. Recent exhibitions include a 2021

and social media,rendered in high acrylic

public project with Art in Buildings in New

relief. Her series have included paintings

York a solo presentation at Mrs. Gallery,

that are based on body painting, social

Chicago, 2019; group exhibitions at

media snapshots of food, make-up

Hesse Flatow, New York Primary, Miami;

tutorials, memes, and bodybuilder

RUSCHMAN, Chicago; The Public Art

selfies. Her work has been presented in

Fund, New York Shulamit Nazarian, Los

solo exhibitions around the word and is

Angeles; Bric, Brooklyn; Mrs. Gallery;

included in the permanent collections

The New Museum; and a presentation at

of the Whitney Museum, the ICA Miami,

NADA with Mrs. Gallery in 2020. Bogia

and the Tel Aviv Museum of Art. She has

is the co-founder of Fire Island Artist

had two recent solo museum exhibitions:

Residency (FIAR), the first LGBTQ artist

in 2019 at MoMA PS1 and in 2021 at the

residency in the world, located in Cherry

Neuer Essener Kunstervein. Beavers holds

Grove on Fire Island, and was FIAR’s

a BA in Studio Art and Anthropology from

acting director from 2011-2020. He is

the University of Virginia (1996), an MFA

currently an instructor of sculpture at

in Painting and Drawing from the School

New York University.

of the Art Institute of Chicago (2000), and an MS in Education from Brooklyn College (2005). She currently lives and works in Orange, New Jersey.

WELLS CHANDLER (he/him) is a

1 // Breanne Trammell

Bronx based artist who explores

2 // Jina Valentine

ecology, community, gender, and queer iconography through the mediums of CHRIS BOGIA’s work reflects an ongoing

crochet, embroidery, drawing, and cake.

interest in interior design and decorative

He received his MFA from Yale University

art. As Bogia says, “My work sits in a

in 2011 where he was awarded the Ralph

queer space between contemporary art

Mayer Prize for proficiency in materials

and decorative art, courting and resisting

and techniques. From 2016 to 2017 he

both worlds simultaneously”. Bogia’s

was a recipient of the Sharpe Walentas

work spans works on paper, textiles,

Studio Program. He has had recent solo

and sculpture, frequently incorporating

exhibitions at Diablo Rosso, Panama City,

individually hand-laid strands of yarn into

Panama; Galerie Eric Mouchet, Paris,

the surfaces of his work. Thematically,

France; MOCA Tucson; Mrs., Maspeth,

Bogia says: “I like to work on a primary

NY; Union Gallery, London, England;

subject as a series for an extended

and Andrew Rafacz, Chicago. Recent

amount of time like bonsai trees,

group exhibitions include The Pensacola

fountains, or mandalas, contemplating

Museum of Art, Pensacola, Florida;Leslie

their potential as cultural and poetic

Lohman Museum of Art, New York Choi

1. Gina Beavers, Painting Georgia O'Keefe, Rothko and Pink Mondrian on my lips, Acrylic and foam on linen on panel, 71 7/8 x 73 1/2 x 13 1/2 inches, 2021. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. Photo credit: Lance Brewer,

symbols while investigating their forms

and Lager, Cologne, Germany; MOCA

through repeated design and color

Detroit, Detroit, Michigan; and Marinaro,

iterations until I feel I have extracted

New York. His work has been reviewed

and imbued enough depth of meaning

by Roxane Gay, Art Forum, The New York

2. C hris Bogia, Big Bonsai and Pruning Hand, Wood, steel, pvc, grasscloth wallpaper, lacquer, (rug dim 8 x 10 feet), Big Bonsai dims: 6 x 9 x 2 ¾ feet, 2019

and visual delight in equal measure.”

Times, Hyperallergic, The Huffington

Bogia received his BFA at New York

Post, TimeOut, Modern Painters, Maake

University and MFA from Yale University.

Magazine, Two Coats of Paint and AEQAI.

Wells Chandler Headshot credit: Manal Abu-Shaheen

39

'22 SUMMER COURSE CATALOG received his MFA in Painting from Yale School of Art in 2013 and his BFA from

1. Harold Mendez, Field (Encounter), Archival pigment print, litho crayon, graphite and charcoal mounted on dibond in twelve (12) parts, 79" x 556", 2019 2. work by Austin Lee 3. S ara Greenberger Rafferty, Single Tablet, Fused and kilnformed glass, and hardware, 43 1/4 x 63 1/4 x 1 in. 2021

Tyler School of Art. Lee's airbrush paintings often combine digital technologies with traditional media, while also working in sculpture and video. Lee’s work reflects his fascination SARA GREENBERGER RAFFERTY

with a digitally and technologically

(she/her) is a multi-disciplinary visual

advancing world, the impact this has on

artist based in Brooklyn since 2000.

contemporary culture, society, politics,

She is Associate Professor and Director

and how it affects the way we look at art.

of Graduate Studies in Photography at Pratt Institute. She is the Chair of the Artist Council of Powerhouse Arts, also in Brooklyn, which will bring art and craft fabrication facilities and education to the community in 2022.

She received a BFA from the Rhode Island School of Design and an MFA from Columbia University School of the

DEVIN T. MAYS (he/him, they/

Arts. She says, "My work incorporates

them) holds a BBA in International

analyzing, transforming, and quoting

Business and Marketing from Howard

images and objects in culture to

University. After receiving his degree,

underscore socio-political truths. I

he worked in advertising developing

process images in culture, making them

brand strategies and commercials

manifest in sculptural and architectural

for the better part of a decade. He

ways, to better understand the world,

returned to school to pursue an MFA

and present a simultaneous vision of

in studio practice from The University

critique and camaraderie."

of Chicago. There, he developed an interdisciplinary practice he often refers to as an exercise in the infinite, a practice-in-participation, a practice-in-practice. Since then, he has exhibited at the Museum of Contemporary Art, Chicago; The Driehaus Museum; Museum of Contemporary Photography; Lowe Art

JOHN KILDUFF aka Mr. Let’s Paint is

Museum, University of Florida; Nahmad

best known for the cable access TV show

Projects, London, England; DePaul Art

titled “Let’s Paint TV” which debuted in

Museum, Chicago; Regards Chicago;

2001, where Kilduff complicates his 35-

and The Gray Center among others. He

year passion for plein air painting with

currently lives and works in Chicago.

comedic, dada-esque performances.

After some time in acting school and improv training with the Groundlings, he received his MFA from the University of California, Los Angeles in 2008. Kilduff has exhibited and performed recently during the 2021 Liste Showtime Art Fair in Switzerland and all over the US, Canada, Australia, and Europe. He lives and works

HAROLD MENDEZ is a first-

in Los Angeles.

generation American of Colombian and Mexican descent. Working in photography, sculpture, and installation, his work often considers the transnational experience with an interest in how constructions of history and geography shape our sense of self. Mendez’s ten-year career survey premiered at the

40

AUSTIN LEE lives and works in New

Institute of Contemporary Art, Los

York. Born in Las Vegas in 1983, Lee

Angeles 2020-2021 and toured

museums including the Institute for Contemporary Art at Virginia Commonwealth University. He has participated in significant exhibitions, including Being: New Photography in 2018 at the Museum of Modern Art, and the 2017 Whitney Biennial. Mendez's work has been the subject of exhibitions at the Studio Museum in Harlem; MoMA PS1; the Renaissance Society; Project Row Houses; and the Museum of Contemporary Art, among other venues. He has been

1. Wells Chandler, Warrior, hand crocheted assorted fibers, 40” x 34”, 2021 2. J ohn Kilduff, performance documentation 3. J iha Moon, Blue mustache, earthenware, porcelain slip, underglaze, glaze, wire, wicker, 14 x 9.5 x 5in, 2019 4. work by Devin T. Mays

an artist-in-residence at the Robert Rauschenberg Foundation; Core Program; Skowhegan School of Painting and Sculpture; Headlands Center for the Arts; as well as the Kohler Arts/Industry Residency. His works are included in the permanent collections of the Whitney Museum of American Art; Studio Museum in Harlem; and the Museum of Fine Arts, Houston.

JIHA MOON’s gestural paintings, mixed media, and ceramic sculpture explore fluid identities and the global movement of people and their cultures. She says, “I am a cartographer of cultures and an icon maker in my lucid worlds.” She is taking cues from wide ranges of history of Eastern and Western art, colors and designs from popular culture, Korean temple paintings and folk art, internet emoticons and icons, fruit stickers and labels of products from all over the place.

She often teases and changes these lexicons so that they are hard to identify yet stay in a familiar zone.

Moon is from DaeGu, Korea and lives and works in Atlanta, Georgia. She received her MFA from the University of Iowa, Iowa City. Her works have been acquired by Asia Society, New York; High Museum of Art, Atlanta, Georgia The Mint Museum of Art, Charlotte, NC; Smithsonian Institute, Hirshhorn Museum and Sculpture Garden, Washington, D.C.

41

'22 SUMMER COURSE CATALOG

Life at Ox-Bow Frederick Fursman

42

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 degree-seeking students, professional artists, and those new to the field, OxBow 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 faculty and fellow students during course time and in our public spaces; to remain open to new experiences and contribute your unique perspective to our vital and historic community. During any given week, you will find: • Students taking immersive classes • Faculty from all over the world • Renowned visiting artists, curators, and scholars • Staff who are all working artists and have active studio practices

'22 SUMMER COURSE CATALOG

Sauga-what?

What, who, where is Saugatuck?

Saugatuck is nestled along Lake Michigan and the Kalamazoo River and is defined by rolling dunes and lush country sides. Saugatuck is home to a small number of year round residents but is a prime summer getaway as the town comes to life in the warmer months.

GROCERY STORE - Lake Vista Supervalu

ICE CREAM - Dairy Dayz

CAFES/COFFEE - T he Farmhouse Deli & Pantry - Pennyroyal Cafe & Provisions - I sabel's Market + Eatery - Uncommon Coffee Roasters

LAUNDRY - Zoom Express Laundry NATURE - Saugatuck Dunes State Park - Oval Beach

@resturantinthewoods The Ox-Bow kitchen is the place to be!

21,739

COOKIE ALERT!!

MEALS MADE stats from 2021

24

OX-FLOCK bottles of Mikey's Hot Sauce from Hinterland Farms

CHICKENS

421 lbs

of Turkey Foot Farms pastureraised chicken

1,950 lbs 48 avocados in a batch of Ox-Bow Guacamole

9

of Russet Potatoes from Visser Farms

+

2

DUCKS

=

1,080 EGGS

13,464 COOKIES PER YEAR

WANTED: BUTTER KNIVES

142 butter knives on the toast bar to start the summer, 16 remaining

Clare Britt; Michigan state illustration by Ted Grajeda from the Noun Project; cookie illustration Adrien Coquet from the Noun Project

43

'22 SUMMER COURSE CATALOG

12

9

8 5 3

6

1 4

7 11 2 13

10

1

THE INN

6

2

THE MEADOW

7

3

THE JANIE (NOT SHOWN)

THIELE PRINT STUDIO

11

CLUTE PAPERMAKING STUDIO

HAAS PAINTING & DRAWING STUDIO

12

CROW'S NEST

8

S EYMOUR & ESTHER PADNOS METALS STUDIO

13

LAGOON

4

THE MARSHALL

9

KREHBIEL CERAMICS STUDIO

5

THE WET

10

BURKE GLASS STUDIO

Learn more about Ox-Bow from our interactive map!

Includes playlists, zines, videos, & much more.

Scan QR code to access the map, password = hotdogs

44

map buildings were drawn and designed by Dove Drury Hornbuckle

Courses offer a unique opportunity

• C anoeing: Explore the lagoon and the beach along Lake Michigan

to build your community by working

• Volleyball on the Meadow

closely alongside artists from across the

• Relaxing around the campfire

country under the guidance of world-

• Spontaneous evening events

class instructors. Ox-Bow’s courses are diverse, ranging in focus from

MEALS

functional to sculptural; from traditional

Students enjoy healthy and delicious

to contemporary; from representational

meals prepared each day by our

to conceptual. Intensive and immersive

talented kitchen staff. Locally sourced

one-, two-, and three- week courses

ingredients are used as much as

allow students to delve deeply into

possible. Three meals per day are

their practices. All studios except

included in the room-and-board fee for

glassblowing are open 24 hours. Ox-Bow

students residing at Ox-Bow. Our chefs

maintains six classroom studios:

are happy to accommodate dietary

• Thiele Print Studio

restrictions; please let the Ox-Bow office

• Haas Painting & Drawing Studio

know of any food allergies or special diet

• S eymour & Esther Padnos

requirements upon check-in.

'22 SUMMER COURSE CATALOG

COURSES & STUDIOS

Ox-Bow's Playlists ON SPOTIFY

Metals Studio • Krehbiel Ceramics Studio

Please refer to the Community COVID-19

• Burke Glass Studio

Mitigation Guidelines for more

• Clute Papermaking Studio

information on meal service.

SCHEDULE

HOUSING

Classes meet daily, including the

Ox-Bow provides dormitory-style

weekend, 9:30 a.m. – 5 p.m.

housing with shared bathrooms.

Students may choose shared or single

CONTACT INFORMATION

room accommodations.

Questions concerning your stay at Ox-Bow (arriving, departing, what to

COMMUTING STUDENTS

bring, travel issues, etc.) should be

Commuting is an option for local

directed to the Saugatuck office at (269)

residents and students who wish to

857-5811. The Ox-Bow campus is located

make other housing arrangements.

at 3435 Rupprecht Way, Saugatuck,

There are a variety of off-campus

MI 49453. Questions regarding class

accommodations (motels, hotels, inns)

registration and payment should be

located in and around Saugatuck

directed to the Programs Manager at

and Douglas. Both towns are about

oxbow@ox-bow.org.

two miles from Ox-Bow and are accessible by car. There are also a

ACTIVITIES & CAMPUS LIFE

number of options located within

There are always a number of activities

walking distance. Camping is not

to participate in around campus after

allowed at Ox-Bow. Meal plans are

course hours:

available for commuting students

• Visiting Artist, Artist-in-Residence, and faculty lectures • The Crow’s Nest Trail: Hike through 115 acres of wooded dunes

Clare Britt

(lunch only, $45; breakfast and lunch, $75; full meal plan, $160). Commuting is not an option for those enrolling in the three week intensive.

45

2022 SUMMER COURSE CATALOG

Registration & Tuition

All Ox-Bow Core Classes are open to any participant over 18 for registration on Monday, March 28, 2022. Your registration request can be submitted to the Ox-Bow registrar via the form on our website. Classes are available on a first-come-first-served basis.

Ox-Bow’s for-credit tuition is the same as SAIC’s per credit. Students may also be able to use their financial aid award from SAIC toward degree credit tuition for courses.

Please note, Ox-Bow’s registrar does not work from Ox-Bow’s campus in Saugatuck, MI and will not be available via the campus phone.

Any questions regarding registration should be directed to our main email, oxbow@ox-bow.org.

NON-CREDIT

UNDERGRAD FOR-CREDIT

GRAD FOR-CREDIT

$900

$2,610

$2,697

2-WEEKS

$1,800

$5,220

$5,394

3-WEEKS

$2,700

$10,440

$10,788

1-WEEK

Scan the QR Code for easy access to the registration page.

Prefer not to register online? Please contact oxbow@ox-bow.org and we will happily set up a call to process your registration over the phone.

room & board An essential part of the magic of Ox-Bow is getting to know its domestic architecture, sharing meals, and living amongst fellow students, faculty, and staff. Room & Board fees cover lodging during the session and three meals per day. All students staying overnight will also be charged a $125 COVID fee which supports our campus in ongoing COVID-19 mitigation policies.

Room & Board costs are available in two tiers to accommodate those who would prefer a

Scholarships Ox-Bow Merit Scholarships are available to apply toward any core class.

Awards are typically partial. The scholarship deadline is Monday, March 14,

single room. Single Rooms are limited and we encourage those interested to register quickly.

SHARED ROOM & BOARD 1-WEEK

SINGLE ROOM & BOARD

$840

$1,200

2022, at midnight.

2-WEEKS

$1,820

$2,600

Apply online at www.ox-bow.org/ summer-tuition

3-WEEKS

$2,800

$4,000

46

Clare Britt; Bobby Gonzales

We offer a variety of scholarships for students taking credit or noncredit classes to ensure that the Ox-Bow experience is open to everyone. The scholarship deadline is Monday, March 14, 2022, by midnight. Apply online at www.ox-bow.org.*

LORETTE GRELLNER SCHOLARSHIP

* Only one application is required to apply for all available scholarships.

MARY LOUISE BARNA

For adult women who are either pursuing a degree in art or seeking to refresh their professional practice in the classroom environment. Credit or non-credit courses.

MEMORIAL SCHOLARSHIP For degree-seeking students from any BEA AND CAROLINE DAVIS SCHOLARSHIP

FITZ AND THELMA COGHLIN SCHOLARSHIP

college or university with demonstrated

Available to all students.

For students from the West Michigan

financial need, who would be unable to

Credit or non-credit courses.

region. Credit or non-credit courses.

attend Ox-Bow without the support of this

BEN SEAMONS MEMORIAL SCHOLARSHIP

GEORGE LIEBERT SCHOLARSHIP

Available to all students.

For undergraduate and graduate

RUPPRECHT SCHOLARSHIP

Credit or non-credit courses.

students from any school. Credit

For undergraduate and graduate students

courses only.

currently enrolled in SAIC’s Painting and

scholarship. Credit courses only.

DALE METTERNICH

Drawing programs. Credit courses only.

MEMORIAL SCHOLARSHIP

JIM ZANZI SCHOLARSHIP FUND

For undergraduate and graduate

For SAIC students to take classes

STEKETEE SCHOLARSHIP

students from any school. Credit or

at Ox-Bow. Granted on the basis of

For SAIC undergraduate and graduate

non-credit courses.

financial need. Credit courses only.

students. Credit or non-credit courses.

DANIEL CLARKE JOHNSON

LALLA ANNE CRITZ ZANZI SCHOLARSHIP

VI FOGLE URETZ SCHOLARSHIP

MEMORIAL SCHOLARSHIP

For female SAIC undergraduate & graduate

For SAIC undergraduate and graduate

For undergraduate and graduate

painting students. Credit courses only.

students. Credit or non-credit courses.

LEROY NEIMAN FOUNDATION

WEST MICHIGAN SCHOLARSHIP

SCHOLARSHIP

For students residing within the

DAVE BALAS SCHOLARSHIP

For undergraduate and graduate

West Michigan area. Credit or

Available to all students.

students from any school. Credit or

non-credit courses.

Credit or non-credit courses.

non-credit courses.

students from any school. Credit or non-credit courses.

Deecy Smith of designvox

47

'22 SUMMER COURSE CATALOG

Merit Scholarships

Community Covid-19 Mitigation Guidelines

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

ensuring that we remain free of COVID-19. All

and primarily outdoor seating areas.

• Food service practices will evolve as necessary.

coordinate pickup from the rental dropoff point for residential students only.

• If using public transportation, use Amtrak. Ox-Bow will coordinate pickup from the train station for residential students only.Wear cloth face coverings/ masks while traveling.

As we are all in community together, it is everyone’s responsibility to assist in

• We will dine in diffused, demarcated,

CLEANING • Housekeeping staff use antiviral cleaning agents for all cleaning purposes.

• Housekeeping staff clean and disinfect public bathrooms and other high-traffic areas twice daily.

GENERAL COMMUNITY GUIDELINES • Cloth face coverings/masks are required

• DIY cleaning kits will be available in common areas of all dorms, in all cabins,

of our COVID guidelines and processes are

indoors and encouraged at all times.

and in all studios. Housekeeping staff

motivated by CDC recommendations.

Specifically, you are required to wear a

will replenish these kits as necessary. All

cloth face covering/mask in the following

community members will be expected

situations:

to pitch in to keep themselves and their

In order to mitigate the risks and spread of COVID-19, we have implemented new

» Whenever you are inside a building.

safety measures on campus. We ask that all

» When engaging in programming.

community members follow the guidelines

» When working in the studios (both

and best practices below.

indoor and open air).

• Practice proper handwashing.

Safety Measures for Residential Participants (overnight guests) • Effective September 15, 2021, Ox-Bow School of Art and Artists’ Residency will

in high-traffic areas.

apart from others, whenever possible.

• Properly cover your mouth and nose when coughing and sneezing.

IN CASE OF ILLNESS • All community members will be asked to familiarize themselves with COVID symptoms; we will make this information

SPACES

available through orientations, as well

of full and current vaccination, unless

• We have implemented separate work

they cannot do so due to a religious or

spaces in studios, limited tool and

campus. We will also provide printouts

medical reason or other authorized

equipment sharing, and heightened

with detailed information about local

exception. This requirement pertains to

sanitation of high-traffic areas.

everyone staying overnight on campus,

• Only Ox-Bow faculty, staff, and students

including staff, students, faculty,

in a given workshop/class will enter

artists-in-residence and other guests.

designated studios/classrooms.

Vaccination must be current and up-

• Whenever possible, workshops and

to-date (either the initial vaccination or

events will take place in sheltered

booster administered within the past 12

outdoor/open-air spaces for maximum

months).

• We will also maintain our mitigation

ventilation.

• We will ensure that windows and doors

as postings on our website and on

medical facilities.

• If you are experiencing symptoms, tell core staff immediately.

• Staff will take the temperature of any student demonstrating potential COVID symptoms.

• Any participants with COVID-like symptoms (cough and fever) will be asked to leave campus and seek

standard that all of our fully-vaccinated

with screens remain open as much

medical care at the Campus Director’s

overnight guests on campus get a COVID

as possible, keep fans running, and

discretion. Any participants testing

test 72 hours prior to arrival, and submit

maximize airflow and ventilation.

positive for COVID-19 will be asked to

proof of a negative result to the Campus Director before traveling to campus.

• We recommend that you isolate/

• In the warmer months, open-air tents

campus.

• You will receive a questionnaire, to be

isolate and to exit campus as soon

on the Meadow facilitate outdoor

as possible. Ox-Bow cannot provide

gatherings.

quarantine space for participants who

quarantine for 14 days prior to arrival on

test positive for COVID-19.

DINING • When the dining room is open for meal

• If a confirmed case of COVID or COVIDlike symptoms are exhibited by anyone

filled out 48 hours prior to arrival on

retrieval, markings on the floor will direct

currently on campus, Ox-Bow reserves

campus, confirming that you have not

the flow of traffic. Please space out 6’

the right to actions, including immediate

been exposed to COVID-19 and are not

apart when waiting in line and retrieving

closure of our campus and/or providing

currently experiencing any symptoms.

food.

COVID testing to staff and participants.

• Meals will be served in a sociallyBest Practices when Traveling to Ox-Bow Please note that all students are responsible for arranging their own travel to and from campus.

• Drive, using a personal or rented vehicle if possible. Enterprise, Avis, Hertz, and Budget all have locations in

48

paper towel dispensers.

• Hand sanitizer dispensers are available

• Socially distance, staying at least 6 feet

require every participant who stays overnight on campus to submit proof

spaces clean.

• All public bathrooms are equipped with

distanced manner.

• Use provided hand sanitizer before retrieving food.

• Grab-and-go snacks will be available for residential participants between meals.

• Participants must bus their own used dishes back to the dish pit.

In the case of any closures, we will assist in making arrangements to have participants leave campus.

• 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.

'22 SUMMER COURSE CATALOG

Policies

DROP POLICY Please read carefully, Ox-Bow's drop policy is not the same as SAIC's drop policy.

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.

COMPANION/GUEST POLICY No companions, children, guests, or visitors are permitted during your stay. All residential housing and studio facilities are limited to artists enrolled in courses.

We may be able to assist participants in finding accommodations for individual

Refunds can only be granted if drop requests are made three weeks prior to the beginning of the class.

In the event that Ox-Bow must cancel a course due to low enrollment or for any other reason, full refunds will be given.

To drop a course, students must submit the request in writing to Ox-Bow’s registrar via email. Simply not attending does not constitute a drop. Additionally, it is not possible to drop an Ox-Bow course through the SAIC Self-Service or through the SAIC Registrar.

family circumstances, but these arrangements will be made on a caseby-case basis and must be determined in advance of your course or residency.

There is no guarantee that alternate

The following drop fees will be assessed dependent on when you drop your course (scholarships cannot be used to cover drop fees):

accommodations can be established.

SUSPENSION & EXPULSION POLICIES 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.)

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. All studio-specific policies will be explained on the first day of classes. Any student found in violation of these policies will be asked to leave the course without

• F rom the first day of registration until 3 weeks before the start of your class you will receive a full refund minus a $250 drop fee.

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

• D rops due to an unforeseen emergency (i.e. hospitalization, etc.) are eligible to be contested through the School of the Art Institute of Chicago’s Refund Review Board. Documentation is required and refunds are typically partial.

Due to our COVID community guidelines all participants must be tested for COVID-19 72 hours prior to coming to campus. If any participant tests positive they will not be able to attend and therefore will be fully refunded with no associated drop fees (written notification and proof of test results within 5 days of the first day of class will be required).

refund. These same policies are applied to any work conducted in the Ox-Bow landscape or on the Ox-Bow grounds.

Because Ox-Bow is a community, we ask that all students respect the rights of their classmates and fellow community members by following our policies.

Please contact Ox-Bow’s registrar at oxbow@ox-bow.org for the refund review forms and information. Ox-Bow reserves the right to adapt this drop policy after the publication of the catalog, per evolving COVID-19 Guidelines and recommendations.

49

'22 SUMMER COURSE CATALOG

The Leroy Neiman Fellowship Program

2020/2021 Fellowship Students Stud ents Saffronia Downing the School of the Art Institute of Chicago Yanka Kostova

Each summer, Ox-Bow offers 12 fellowship

WHO CAN APPLY FOR A FELLOWSHIP?

students from competitive schools all over

• Students from any school

the nation a fully funded opportunity to

• O x-Bow offers 2 fellowships to

focus on their work, meet with renowned

undergraduate and graduate

artists, and grow as members of this

students from any degree-seeking

unique community. The Fellows live on

institution

campus for 6 weeks where in addition

undergraduate and graduate

non-profit will participate in all areas

students from the School of the Art

staff, fellows develop relationships with

Alexandre Pepin University of Texas at Austin

• O x-Bow offers 2 fellowships to

to providing support labor to an arts of campus life. By working closely with

Pratt Institute

Institute of Chicago

Jada Patterson Kansas City Art Institute

• Students chosen by Partner Schools

others who have also made artmaking

Vyczie Dorado-Lopez

their lives. Beginning in Summer 2022, 6

Ox-Bow works with partner schools to

of the 12 fellowships will serve applicants

bring in fellows from across the country.

with interest in specific fields of study

The partner schools for 2022 are Cooper

including Forestry & Landscape,

Union, Cranbrook Academy of Art, Grand

Historic Preservation & Archiving, Arts

Valley State University, Kansas City Art

Administration, Culinary Arts, Photography

Institute, Pratt Institute, Rhode Island

& Communications, and Glass. These

School of Design, the School of the Art

themed fellowships will support the

Institute of Chicago, the University of

Fellow’s professional development within

Texas at Austin, and Tyler School of Art.

Lucy Gillis

their field and allow for growth in focused

Students from these schools can apply

areas essential to Ox-Bow culture.

through their school or apply directly to

Tyler School of Art and Architecture

Ox-Bow for the open spots available to Fellowship students are either selected by

Eunhyung Chung

our partnering schools based on the merit

ELIGIBILITY

of their work and on their commitment to

Applicants must:

fellowship program is a once in a lifetime

• B e undergraduate students in their junior/senior year or MFA students

opportunity to participate within an

• Have graduated December 2021 or later

engaging artist-run community.

• B e at least 21 years old at the start of the fellowship

Fellowship recipients receive: • A studio space with 24 hour access

• H ave the ability to work in the United States or have a work visa

• S tipend for research and related

• Weekly studio visits with visiting artists • Opportunity to exhibit their work

50

Rhode Island School of Design Clara Fischer the School of the Art Institute of Chicago Andre Melchor Kansas City Art Institute

labor on campus • Free housing and meals

BN Symons Grand Valley State University

students from any school.

Ox-Bow’s jury or the departments at one of

making inspired and innovative art. The

Cooper Union

Learn more about the specific fields of study by scanning the QR Code

Gabriella Gutierrez Cranbrook Academy of Art

Clare Britt (x2); Deecy Smith of designvox (x6); Bradley Marshall

'22 SUMMER COURSE CATALOG

Summer Artist-inResidence Program

Ox-Bow’s Summer Residency Program offers 12 artists the time, space, and community to encourage growth and experimentation in their practice for three weeks on campus. The Summer Residencies are held while our core classes and community programs are in session. During this time, a small group of residents have access to Ox-Bow’s artist community of students, faculty, and visiting artists.

Our Summer Residencies are open to artists at any level. Currently enrolled students, MFA candidates, arts faculty, emerging, or established artists are encouraged to apply. There are generally three residents on campus at a time.

The dates available are; • May 30 - June 18, 2022 • June 19 - July 8, 2022 • July 18 - August 6, 2022 • August 7 - 26, 2022 Residency Recipients receive: • Private Studio (raw studio space; classroom studios not available) • Private room (shared bathrooms and showers) • 3 meals a day • Access to visiting artist and faculty for studio visits • Evening artist lectures • Opportunities to share work through slide presentations, readings, etc.

Applications are due February 21, 2022 by midnight.

52

Clare Britt; Deecy Smith of designvox; Bradley Marshall

OX-BOW BOARD OF DIRECTORS

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

Steven C. Meier President Janet R. Cunningham Secretary & Treasurer Scott Alfree Evan Boris Rhonda Brown Dawn Gavin Lucy Minturn Governance Chair Diana Nucera William Padnos Keith P. Walker EMERITUS BOARD Ox-Bow’s Emeritus Board confers special honors and distinction upon former members of Ox-Bow’s Board of Directors and Auxiliary Board who have exhibited noteworthy dedication and commitment to Ox-Bow. This a lifetime appointment that celebrates Ox-Bow’s important legacy.

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

The Efroymson Family Fund, a donor- advised 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

David Balas Patty Birkholz Barbara Whitney Carr

established in 1998 by Dan and Lori Efroymson to promote the visibility of

Patricia Dewey

communities and to date has awarded more than $88 million in grants in

Hank Feeley

central Indiana and beyond. We are grateful to the Efroymson Family Fund for their support of our Visiting Artists Program. For more information about the Efroymson Family Fund, visit: efroymsonfamilyfund.org JOHN M. HARTIGAN MEMORIAL SCHOLARSHIP FOR PAINTERS John M. Hartigan was a life-long Chicagoan, an artist, a patron of the arts, and a dedicated family man. A gifted lawyer and an engaged community member, John was always interested in civic affairs, sitting on a number of Boards. Over the years he took courses at the School of the Art Institute, as well as Summer courses at Ox-Bow. John loved both the camaraderie and the artistic synergy of the campus. The Hartigan Endowment will be used to support the on-going education of artist in residence whose medium is acrylic and/or oil. This award is available to applicants for both the Summer and Fall Residency cycles.

Arthur Frederick Lawrence Gammons Margaret McDermott Carol Sarosik Elizabeth Rupprecht President Emeritus Todd E. Warnock President Emeritus Jana Wright Jim Zanzi

'22 SUMMER COURSE CATALOG

The Board

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