COURSE CATALOG SUMMER 2020 SECTION TITLE

Course Calendar...... 2

COURSES & FACULTY

A note from Ox-Bow’s Ceramic...... 4 Executive Director Glassblowing...... 9

Painting & Drawing..... 12 I am writing this from my living room around criticality and invention, in Queens, New York, having yet to mess and productive play. Nestled Sculpture & Metals.... 18 embark on my move back to within the campus, they make Printmaking...... 24 Chicago to start my tenure as possible a level of focused, Ox-Bow’s next Executive Director. cross-disciplinary engagement SPECIAL TOPIC CLASSES (30) I am truly giddy when I think about and experimentation that can’t Fiber...... 31, 32, 37 the coming months. Having been take root in a traditional learning immersed in the Ox-Bow environ- environment. And Ox-Bow calls a Photography...... 31, 34 ment as a frequent instructor, I have remarkable landscape home: the Science...... 32 experienced firsthand its unique campus is situated on a rare fresh- blend of school, retreat, and water interdunal coastal wetland, Art History...... 32 temporary, intentional community. a habitat of great biodiversity that Film, Video, & Ox-Bow is small enough to retain helps maintain the health of Lake New Media...... 34 the intimacy of a little neighbor- Michigan. hood while being experimental Visual & Critical enough to resonate beyond its Ox-Bow is shaped by the people Studies...... 37 modest footprint. In my conversa- who gather here each summer and tions with artists throughout the fall: an energized group of artists country, before and after taking who teach, study, make, and visit, Visiting Artists...... 38 on this role, the mention of Ox-Bow as well as all those who labor to tends to elicit immediate adoration, make this campus a welcoming if not downright delight. Whether home. Together we open up the SPECIAL PROGRAMS the person I’m speaking with spent time and space for artists to dream, Pre-College...... 41 time at Ox-Bow last summer or a discuss, create, and yes, play, as we PROUDLY AFFILIATED decade ago, the feelings run deep: cultivate a community that every- Fellowship Program & WITH THE SCHOOL OF this place is special. one can call theirs. This catalog is THE ART INSTITUTE OF Artist Residencies...... 42 CHICAGO, A MAJOR an invitation to join us, for the first SPONSOR OF OX-BOW Ox-Bow is an extraordinary time or your next time, to not just environment—and there are discover but contribute to what IMPORTANT INFORMATION countless opinions on what makes makes this place special. CONTACT US it so. Three consistent explanations Life at Ox-Bow...... 44 are its community, its classes, and We look forward to spending time Chicago Office its landscape. Artists assemble here Registration & 36 South Wabash Ave, Rm 1425 with you, Financial Aid...... 48 Chicago, IL 60603 annually, many returning time and 1-800-318-3019 again, to renew their commitment Scholarships ...... 50 to their practice, to one another, COVER ART BY: Ox-Bow Saugatuck Campus and to collective, creative Registration Form...... 51 3435 Rupprecht Way Jeanine Coupe Ryding, Warm Cool Ash, community-building. Our class- Saugatuck, MI 49453 Shannon R. Stratton Supporters & rooms are laboratories established Executive Director woodcut print on Korean Hanji paper completed in 2017 269-857-5811 Board & Staff...... 53

103 MAY 31-JUNE 6 JUNE 7-JUNE 13 JUNE 14-20 JUNE 21-27 JUNE 28-JULY 4 JULY 5-JULY 11 JULY 12-18 JULY 19-25 JULY 26-AUG. 1 AUG. 2-8 AUG. 9-15 AUG. 16-22

VISITING ARTISTS VISITING ARTISTS

Leslie Wilson Matt Austin Samantha Bittman Erica N. Cardwell William J. O’Brien Zachary Fabri Michelle Grabner Naama Tsabar Nora Maité Nieves Haynes Riley John Kilduff Sky Hopinka

CERAMICS + RITUAL BURIED HISTORIES MATERIALS & MECHANICS OF WOODFIRE MONUMENTALITY & THE HAND-BUILT VESSEL FLORA, FAUNA, FIGURE, & NARRATIVE CERAMICS Anna Mayer Liz McCarthy John Dix & Katherine Maloney Luke Armitstead Casey Elizabeth Weldon & Salvador Jiménez Flores CER 636 001 CER 650 001 CER 647 001 CER 652 001 CER 651 001 CERAMICS

BEGINNING GLASS, SESSION 1 EXPERIMENTS IN GLASS BLOWING BEGINNING GLASS, SESSION 2 FLAMEWORKING: FINDING FORM IN TRANSLATION GO WITH THE FLOW MULTI-LEVEL GLASS

Victoria Ahmadizadeh Megan Biddle Tim Belliveau Amy Lemaire Michael Hernandez Ekin Aytac & GLASS GLASS 630 001 GLASS 616 001 GLASS 630 002 GLASS 649 001 GLASS 650 001 Joshua Davids GLASS 641 001 GLASS

FEELING SHAPEY: MOVEMENT & ABSTRACTION EXPANDED CARTOONING EXPANSIONS: SKILL EXPERIMENTAL & PAINTING

FAST PAINTING EXPLODING PAINT: FIELDWORK PLEIN AIR PLUS COLOR & LANDSCAPE DRAWING IN CONTEMPORARY PAINTING Jessica Campbell & Walter Scott BUILDING FOR WATERCOLOR Arnold J. Kemp & Christine Tien Wang Claire Ashley Josh Dihle Jo Hormuth Alex Bradley Cohen & Alberto Aguilar PAINTING 662 001 ADVANCED HIGH Hannah Barnes & PAINTING 663 001 PAINTING 650 001 PAINTING 659 001 PAINTING 661 001 PAINTING 660 001 SCHOOL ARTISTS Susan Klein Claire Arctander PAINTING 657 001 DRAWING

PAINTING & PAINTING 401 001 SCULPTURE SCULPTURE

DEADPAN: STEEL SYNTHETIC SKINS BLACKSMITHING: SCULPTURAL FORMS HARD LINES: JOINERY: SCULPTURAL VIRTUAL ARTIFACTS: MOLD MAKING, MULTI-LEVEL FOUNDRY METALS & REALISM Amy Brener Jessee Rose Crane DRAWING WITH STEEL COLLABORATIONS HYDROPRINTING, SCREENSPACE OBJECTS Liz Ensz & Lloyd Mandelbaum Chris Bradley SCULP 668 001 SCULP 623 001 Devin Balara & Ato Ribeiro Christopher Meerdo SCULP 660 001 SCULP 671 001 Abigail Lucien SCULP 670 001 SCULP 662 001 SCULP 663 001 & METALS SCULPTURE

BLACK IN THE WOODS: POLITICS OF PRINT: SPECULATIVE WORLDS: SCREENPRINT LITHOGRAPHY: STONE & PHOTOLITHOGRAPHY THE EXPANDED FIELD IN THE EXPANDING FIELD: BEYOND BORDERS: MONOTYPE REPRESENTATION & THINKING THROUGH AS INTERVENTION Danny Miller & Kristina Paabus ZINES, EPHEMERA & EVENTS FINDING THREE Aay Preston-Myint PRINTMAKING THE PASTORAL THE ARTIST Corinne Teed & Erik Ruin PRINT 637 001 Jesse Malmed & Breanne Trammell DIMENSIONS IN PRINT 609 001 Ayanah Moor & PUBLICATION PRINT 659 001 PRINT 661 001 PRINTING & Krista Franklin Kevin McCoy STONE LITHOGRAPHY PHOTOLITHOGRAPHY BOOKBINDING PRINT 652 001 PRINT 660 001 Danny Miller & Danny Miller & Myungah Hyon & Kristina Paabus Kristina Paabus Jeanine Coupe Ryding PRINT 658 001

PRINTMAKING PRINT 635 001 PRINT 635 002

PAPERMAKING ANIMAL BEHAVIOR AT OX-BOW OBJECTS IN VIDEO, VIDEO AS OBJECT WET-PLATE & PLATINOTYPES THE FUTURE IS NOW: THE ANTHROPOCENE METAMORPHOSING PAPER Andrea Peterson Dianne Jedlicka Ilana Harris-Babou Robert Clarke-Davis & Jaclyn Silverman Jeremy Bolen & Mika Tosca Andrea Peterson PAPER 604 001 SCIENCE 3523 001 FVNM 609 001 PHOTO 609 001 PHOTO 612 001 PAPER 627 001

WET-PLATE PLATINOTYPES METAMORPHOSING METAMORPHOSING Robert Clarke-Davis & Robert Clarke-Davis & PAPER PAPER TOPICS SPECIAL Jaclyn Silverman Jaclyn Silverman Andrea Peterson Andrea Peterson PHOTO 610 001 PHOTO 610 002 PAPER 607 001 PAPER 607 002

EXPERIMENTAL HAND TO THREAD: ALTER/OVERFLOW: GARMENT MAKING DIMENSIONAL

SPECIAL TOPICS GHOST IN THE MACHINE BETTER HOMES & GARDENS YOU ART WHAT YOU EAT Sarah Belknap & Joseph Belknap PATTERNING: IMPROVISATIONAL Lisa Stone AS STUDIO PRACTICE COLLAGE Eric May PHOTO 611 001 METHODS IN TEXTILE PATCHWORK & ARTHI 625 001 Brad Callahan & Vincent Tiley Annalee Koehn SCULP 669 001 PRINTING EMBROIDERY FIBER 619 001 PAINTING 653 001 OR Padma Rajendran Melissa Leandro VCS 669 001 FIBER 622 001 FIBER 623 001 CERAMICS

WEEKS 3&4 – JUNE 14-27 Gallery, Ballroom Marfa, Kendall Koppe, Commonwealth & Council, Hammer Museum and Glasgow International. She Ceramics + Ritual has a 14-year collaborative practice with Jemima Wyman, called CamLab, which has exhibited at MOCA Los Angeles and Instructor: Anna Mayer Hammer Museum. Mayer is currently Assistant Professor of Sculpture at University of Houston, where she oversees the 2-week || CER 636 001 Ceramics program. 3 credit hours || Lab Fee: $150 WEEKS 5&6 – JUNE 28-JULY 11 The course explores the connection between ceramics and ritual, ceremony, and embodied engagement. We will learn and Buried Histories refine hand-building techniques, including pinching, coiling, slab construction, using press molds, and modeling. Initial Instructor: Liz McCarthy exercises will address different methods for vessel construction and using clay spontaneously and haptically. As students 2-week || CER 650 001 acquire more technical fluency, we’ll look at how ceramics have 3 credit hours || Lab Fee: $150 been used throughout history to facilitate ritual in settings from the domestic to the alchemical. Students will produce both This class will be an ecological exploration of the finely-crafted, invested objects as well as more provisional, inherent sustainability in ceramics through local prop-based pieces. Artists with an interest in ceramics, clay harvesting, natural processing, and early firing (left) Anna Mayer sculpture, performance, and social practice are strongly techniques. We will consider the local landscape I Wish I Was encouraged to register. and its mineral deposits near the Kalamazoo Your Mother river, Lake Michigan, and other natural resources, 2018 Anna Mayer’s art practice is sculptural and social, with an emphasis on hand- discuss what clay techniques indigenous people obvara-fired built ceramics. Her methodology emerges from enacting formative site-specific used in the area, and re-interpret those processes. ceramic, glaze 12” x 1.5” x 12” analogue firing projects in Southern California. Mayer revels in the fact that Students will learn to dig for their own material, ceramics historically has been used to create highly functional items as well create natural glazes, and participate in building an (below) as wildly symbolic objects. Her work is part of this lineage, with equal concern underground kiln. This class will also consider how Liz McCarthy for the future, and a dramatically shifting climate—ecological and political. we understand history and tradition as constantly Whistle Built Mayer recently had solo exhibitions at AWHRHWAR, Adjunct Positions, and A-B changing narratives—considering what it means to for Eleven 2018 Projects, all in Los Angeles. In 2020 she will mount a large-scale solo show use these techniques and histories as the colonial CERAMICS + RITUAL BEGINNING GLASS 28” x 20” x 36” at Houston Center for Contemporary Craft. Other exhibitions include Night culture in the 21st century, and what we can change Instructor: SESSION 1 about our own culture by learning these processes Anna Mayer Instructor: of the past. This class will consider ceramic artifacts CER 636 001 Victoria of the Ottawa, Potawatomi, and Chippewa people. Ahmadizadeh This class will also explore artists that are using BURIED HISTORIES GLASS 630 001 ceramic techniques and styles of earlier cultures Instructor: to examine their own contemporary culture. Liz McCarthy EXPERIMENTS IN These examples include Cammie Staros, Theaster CER 650 001 GLASSBLOWING Gates, Shary Boyle, Ai Wei Wei, Raven Halfmoon, Instructor: and Nance Klehm. Useful texts include Thinking MATERIALS & Megan Biddle Inside the Box: An Interview with Gerhard Wolf by MECHANICS OF GLASS 616 001 Sina Najafi, Pit Firing Ceramics: Modern Methods, WOODFIRE Ancient Traditions by Dr. Dawn Whitehand, and Instructors: John Dix BEGINNING GLASS Glazes from Natural Sources: A Working Handbook & Katherine Maloney SESSION 2 for Potters by Sutherland, Brian. Students will use CER 647 001 Instructor: the regular facilities to make ceramic sculptures Tim Belliveau that interrogate the meaning of “functional”, as MONUMENTALITY GLASS 630 002 well as forage their own clay and glaze material and & THE HAND-BUILT collaboratively build a ground kiln to pit fire. VESSEL FINDING FORM IN Instructor: TRANSLATION: Liz McCarthy is a Chicago-based artist working across Luke Armitstead FLAMEWORKING mediums to explore and reinscribe material meaning and human CER 652 001 Instructor: collectivity. She received her MFA from the University of Illinois Amy Lemaire at Chicago in Studio Art, and her BFA from the University of FLORA, FAUNA, GLASS 649 001 North Carolina at Asheville in Photography. She was named a FIGURE, & “Chicago Break Out Artist” in 2017 by NewCity Magazine , and NARRATIVE GO WITH THE FLOW her mix of performance, sculpture, and installation have been Instructors: Instructor: exhibited at Museum of Contemporary Art Chicago; Hyde Park Art Casey Elizabeth Michael Hernandez Center in Chicago; Ghebaly Gallery in Los Angeles; ExGirlfriend Weldon & Salvador GLASS 650 001 in Berlin; and numerous Chicago galleries. She has participated Jiménez Flores in residences at Atlantic Center for the Arts, ACRE, High Concept CER 651 001 MULTI-LEVEL GLASS Laboratories, Banff Centre, Ox-Bow, and Lighthouse Works. As an Instructors: arts organizer and teaching artist, Liz has worked with ACRE in Ekin Aytac & many roles; co-founded Roxaboxen Exhibitions; acts as Founding Joshua Davids Director of the GnarWare Workshop ceramics school; and is GLASS 641 001 Faculty in Ceramics at the School of the Art Institute of Chicago.

4 5 CERAMICS

(top) been an artist in resident at Starworks Clay studio, Mars Luke Armitstead Hill University, and a summer studio assistant with Bruce Material as Dehnert at Peters Valley School of Craft. Her work has been Specimen exhibited throughout the east coast in juried gallery and 2019 concrete, ceramic, fine art shows, including Baltimore Clayworks, Starworks steel, epoxy, paint, Gallery, Peters Valley School of Craft, The Smithsonian Craft oxides, chain Show, and Morean Center for Clay. Katherine currently lives 4.5’ x 9’ x 2.5’ and works in Southeastern Virginia at her studio on the (bottom left) family farm. John Dix Take risks, help each 2019 WEEKS 9 & 10 – JULY 26-AUGUST 8 (bottom right) Katherine Maloney other, look for the Long Eared Hare Monumentality & 2019 opportunities in your the Hand-Built 14” x 7.5” x 5.25” mistakes. Vessel -Tim Belliveau Instructor: Luke Armitstead

2-week || CER 652 001 3 credit hours || Lab Fee: $150

Participants will design and create monumental sculptural vessels using a variety of traditional and multi-disciplinary techniques including coil, slab, architectural, and abstract hand-building, electric kiln firing, glazing, and alternative finishing techniques. Careful consideration of modern and contemporary projects relating to nature, WEEKS 7 & 8 – JULY 12-25 loaded and fired as a team. The wood kiln offers architecture, the monument, and sculpture will a close up experience to the mechanics of kiln be investigated as the relationship of beauty Materials & firing, in particular, how fuel and oxygen affect and function will be explored. We will look at the quality and efficiency of the flame; and in turn artists including Isamu Noguchi, Rubi Neri, Mechanics adds to the final aesthetics of the surface. Over the Friedensreich Hundertwasser, and Francesca course of thirty hours, the clay, glaze and wood Dimattio. Readings will include Stone or Sound, of Woodfire ash will begin to melt in the high heat and create Memory and Monuments in Contemporary Public beautiful surface effects. Work will be finished by Art by Gaia Salvatori. Throughout the course, Instructors: John Dix & grinding, sanding and polishing. individual meetings and conversations will be held Katherine Maloney to ensure students complete successful, unique John Dix has spent the last 30 of his 40 years with clay, and understood projects. Students should be 2-week || CER 647 001 primarily in Japan. This has led to works that show a strong expected to create 2-4 finished sculptures relating 3 credit hours || Lab Fee: $150 Japanese influence but still retain elements of his early to their investigations of the monument. The class training in the West. After graduating from Albion College in will culminate in a group critique where we will This course is centered around the wood kiln, Michigan, John embarked on an apprenticeship under master discuss our final ideas and finished pieces. from its mechanics to the material and conceptual potter Peter Johnson. The skills he learned there enabled him considerations posed via its use. Students will to travel and work with potters in Greece and Israel before Luke Armitstead is a sculptor working primarily in ceramics, have the opportunity to explore and produce a arriving in Japan in 1989. He worked in Bizen and Shigaraki concrete, and metal. Creating work with both design and range of ceramic works, while learning about before building a kiln and studio in the Tanba area of Japan. improvisation, his works contain a sense of urgency and the relationships that ceramic forms can have to John fires his anagama kiln two or three times a year. He intuitive form, often created in response to concepts and culture, history, personal expression, and social regularly exhibits in Japan and abroad. John is also a popular ideas revolving around the built environment, abstraction, change. Students will be introduced to both teacher who hosts workshops at his studio in Japan and politics, living systems, and the body. In 2011 Luke received historical and contemporary uses of wood-fired travels abroad every year to teach. His life’s journey is both a BFA from SAIC, where he developed a multidisciplinary ceramics. Some of the reading materials in this entertaining and inspiring. approach to art making with an interest in architecture, course will be The Kiln Book by Frederick Olsen; public art, and design. In 2013, Luke continued to develop Theory of Craft by Howard Risatti; and Building Katherine Maloney sculpts animal figures with white his skills and interests in ceramics while attending a With Fire by Ray Meeker. Documentary film stoneware and often incorporates them with wheelthrown two-year Post-Baccalaureate program at University of screenings include Agni Jata on Ray Meeker’s vessels to visually place the animals in gestures of Wisconsin, Madison. Luke started a two-year long ceramics fired house project; Traces exploring theoretical honor and integrity. She fires in electric and wood kilns, residency at Pottery Northwest in Seattle. While there, issues regarding Western/Eastern approaches accentuating preciousness and detail with glazes and he started to teach ceramic sculpture classes revolving to the production of ceramics and There Is No spontaneity of ash and flame. Her practice in ceramics around design/architecture, faces, and technique. In Fall Customarily on the Peters Valley Anagama. began at age eleven and continued with a BA degree 2018, Luke started his MFA degree with the 3D4M sculpture Presentations on firing wood kilns in the USA, from Guilford College where she studied under Charlie program at the University of Washington. Luke has been China, Japan and India will be included. This class Tefft. During study abroad in Southwest China, Katherine shown in a number of galleries throughout Chicago, New will focus on individual goals and projects. After apprenticed with Tibetan Nixi Potter, Sun Nuo QiLing, York City, London, Seattle, and the Midwest. He is currently the first week of making, the wood kiln will be which greatly influenced her current body of work. She has represented by Season Gallery in Seattle.

6 7 CERAMICS GLASS

WEEKS 11 & 12 – AUGUST 9-22 WEEKS 1 & 2 – MAY 31-JUNE 13 Flora, Fauna, Figure, Beginning Glass, Session 1 (top left) Casey Elizabeth & Narrative Weldon Instructor: Victoria Ahmadizadeh Yellow Rose Doe Instructors: Salvador Jiménez-Flores & 65” x 28” x 22” 2-week || GLASS 630 001 Casey Elizabeth Weldon 3 credit hours || Lab Fee: $300 (bottom right) Salvador 2-week || CER 651 001 Jiménez-Flores This course offers hands-on glassblowing experience to 3 credit hours || Lab Fee: $150 We are not Animals the beginner. Participants learn a variety of techniques for 2018 manipulating molten “hot glass” into vessel or sculptural tricolor exotic calf This class engages with the form and content of flora and hide, gold foil fringe, forms. Lectures, screenings, demonstrations, and critiques fauna through figurative ceramics. Throughout history, synthetic sinew, will augment studio instruction. artists have used plant and animal life as tools for narrative acetate, and glazed ceramics and as modes of expression to represent the conflicts Victoria Ahmadizadeh is a multi-disciplinary artist who combines poetry and and connections between living things. Notions of the (top right) prose with images and objects to create layered experiences. She views glass wild and domestic merge and are reflected in processes Victoria Ahmadizadeh as an inherently lyrical material, and utilizes it as a central element in her work like taxidermy, idealized floral prints, and in the process altered self (who I am to translate poetic metaphor. Ahmadizadeh holds an MFA in Craft/Material as a semi circle) of firing raw clay into ceramic objects. From mythical Studies from VCU and a BFA in Glass from Tyler School of Art and Architecture. 2019 narratives to hyper-realistic practices, representations blown, cast and She was recently an Emerging Artist in Residence at Pilchuck Glass School of plant and animal life can create possibilities for new coldworked glass, and a Fellow at the Creative Glass Center of America of WheatonArts, NJ. She stories, meanings, and identities. Students will explore cast wax, has also been an Artist-in-Residence at MASS MoCA as well as the STARworks vitreographic print various hand-building methods, basic surface application, Glass Lab in NC. Her work has been shown at Glasmuseet Ebeltoft in Denmark, 40” x 24” x 12” and assemblage to discuss their interest in culture, The National Glass Centre in England, DOX Centre for Contemporary Art in storytelling, and self-identity. Works by artists including (bottom right) the Czech Republic and UrbanGlass in Brooklyn, among other venues. She is Kiki Smith, Marcus Kenney, Firelei Baez, Alesandro Gallo, Megan Biddle included in New Glass Review #33 and #38, published by The Corning Museum Relics 1-9 and others will act as points of departure for our work in this of Glass. Ahmadizadeh currently lives in Philadelphia, where she has taught at 2017 course. Some of the scholars we will study in this course glass, coal Tyler School of Art and Architecture and the University of the Arts. include France de Waal and Homi K. Bhabha. Through 30” x 30” x 3” demonstrations, slides, in-class activities, readings, and WEEKS 3&4 – JUNE 14 -27 group discussions, this course will provide a productive and critical space for making. Class conversations will Experiments in focus on the content and context of student work. Students should expect to produce 2-3 finished sculptures during the Glassblowing semester, to be presented in a culminating course critique. Instructor: Megan Biddle Salvador Jiménez-Flores is an interdisciplinary artist born and raised in Jalisco, México. He explores the politics of identity and the state of 2-week || GLASS 616 001 double consciousness. Jiménez-Flores addresses issues of colonization, 3 credit hours || Lab Fee: $300 migration, “the other,” and futurism by producing a mixture of socially conscious installation, public, and studio-based art. His work spans This class is intended for multi-level glass students who wish from drawing, ceramics, prints, and mixed media sculpture. Jiménez- to broaden their scope of this versatile medium. Students will Flores has presented his work at the National Museum of Mexican Art, be asked to refine their technical abilities in order to more Grand Rapids Art Museum, Urban Institute of Contemporary Art, Bemis clearly convey their artistic pursuits. The class will begin by Center for Contemporary Arts, and Museum of Art and Design amongst covering basic glassblowing techniques. Through skill building others. He served as Artist-in-Residence for the city of Boston, Harvard exercises the class will learn to work as a team on large-scale Ceramics Program, Office of the Arts at Harvard University, and Kohler projects. Students will be encouraged to learn but not take too Arts Industry. Jiménez-Flores is a recipient of Joan Mitchell Foundation seriously the traditional aspects of this process. There will be Painters & Sculptors Grants and The New England Foundation for the Arts. an emphasis on incorporating other materials both through the He is an Assistant Professor in Ceramics at the School of the Art Institute glassblowing process and in the finished product. of Chicago. Megan Biddle is an interdisciplinary artist whose work orbits between Casey Elizabeth Weldon is an artist from Bessemer, Alabama. Her work sculpture, printmaking and drawing. Rooted in glass, she produces examines human and animal behavior while balancing the similarities experimental and process-driven work with an emphasis on materials and and differences between wild and domestic life. Weldon compares human their distinct characteristics. As an observer of nature, she responds to the social constructs to other behavior found in nature to create non-linear elusive and subtle, reflecting on variations of time, cycles of growth, and narratives that titillate between beautiful and unsettling. Her work is erosion. She has attended residencies at The Macdowell Colony, The Jentel made up of ceramic sculpture, manipulated found objects, drawings, and Foundation, The Creative Glass Center of America, Sculpture Space, The paintings made from various shades of soil. Weldon has exhibited her Virginia Center for Creative Arts, Pilchuck Glass School, Northlands Creative work at the Federal Galleries, Woman Made Gallery, Sullivan Galleries, Glass in Scotland, Haystack Mountain School of Crafts, and Mass MOCA. amongst others. She is a recipient of the James Nelson Raymond She has exhibited nationally and internationally and her work was acquired Fellowship Award that she received upon graduating with a BFA from The into the American Embassy’s permanent collection in Riga, Latvia. She has School of the Art Institute of Chicago. Weldon received her MFA at Kendall taught at Haystack Mountain School of Crafts, Pilchuck Glass School, Urban College of Art and Design with a full-ride fellowship. She lives in Chicago Glass, Ox-Bow School of Art, and currently teaches in the Glass Program at the where she teaches at Lillstreet Art Center, The Chicago Ceramic Center, Tyler School of Art. She is a Co-Director and member of Tiger Strikes Asteroid and works as an elementary school art teacher. Gallery in Philadelphia. where she lives and works.

8 9 GLASS GLASS

(clockwise from Ekin Aytac & WEEKS 5 & 6 – JUNE 28-JULY 11 Amy Lemaire is a multi-disciplinary artist and educator Professor and heads the glass program at Palomar College. top left) Joshua Davids based in Brooklyn. An explorer at heart, her work reveals an He is on the Board of Directors of the Glass Art Society and he Cityscape 5 Beginning Glass, interest in currency systems, material language poetics, and serves as Editor of GASnews. Tim Belliveau (Life in the the production of histories. Lemaire studied at the School of Lattice series Sunshine) blown glass blown, cut, Session 2 the Art Institute of Chicago (BFA) and Pratt Institute (MFA). WEEK 11 – AUGUST 9-15 and 3D printed engraved glass She has taught at UrbanGlass, Pilchuck Glass School, Penland bronze 14” x 14” x 4” Instructor: Tim Belliveau School of Crafts, and Salem Community College. As a visiting Multi-Level Glass artist and instructor, Lemaire has worked with students at Michael Amy Lemaire Hernandez Drawing 34 2-week || GLASS 630 002 Pratt Institute, NYU, Tyler School of Art, Alfred University, and Instructors: Ekin Aytac & Joshua Davids Peekypucker 2019 3 credit hours || Lab Fee: $300 University of Montana. Recent residencies include Tyler School 2019 borosilicate of Art, UrbanGlass, Museum of Art and Design, WheatonArts, 1-week || GLASS 641 001 blown and hot 12” x 11” x 15” This course offers hands-on glassblowing and the Brooklyn Navy Yard. Her essay Flame Grows Up was sculpted glass 1 credit hour || Lab Fee: $150 5” x 8” x 10” experience to the beginner. Participants learn a published in Glass Quarterly magazine in 2018. She is an variety of techniques for manipulating molten “hot artistic member of the American Scientific Glassblowers A hands-on studio workshop for those with some glass” into vessel or sculptural forms. Lectures, Association and a member of the Glass Art Society. Lemaire glassblowing experience. Students will learn a videos, demonstrations, and critiques will has exhibited at galleries across the US , including Traver variety of techniques for manipulating molten “hot augment studio instruction. Gallery in Seattle and is currently represented by Heller glass” into vessel or sculptural forms. Lectures, Gallery in NYC. demonstrations, videos and critiques will augment Tim Belliveau is a Canadian artist and teacher focused on studio instruction. craft and digital technologies using glass, ceramic and 3D WEEKS 9 & 10 – JULY 26-AUGUST 8 printing. His work combines handmade objects with digital Ekin Aytac is focused on exploring personal identity and ones questioning how we occupy physical and digital space. Go with the Flow how the individual is shaped through the lens of travel and He earned an MFA in Fibers and Material Practices from experience. Experimentation with various techniques in Concordia University, Montréal. He is a co-founder of Bee Instructor: Michael Hernandez glass making gives voice to the impact continual growth and Kingdom glass studio, assisted in launching Berlin Glas movement has on her art. Born in Edremit, Turkey in 1987, e.V. and has worked for Ox-Bow School of Art in Michigan 2-week || GLASS 650 001 Ekin graduated from the sculpture program of Marmara and UrbanGlass in Brooklyn. He has been a resident at 3 credit hours || Lab Fee: $300 University-Istanbul in 2010. After beginning work at The Glass the Europees Keramisch Werkcentrum in the Netherlands, Furnace in Istanbul, Ekin began watching some of the most California State University Fullerton, and Casa Lu in Mexico Working in molten glass requires an acute ability famous and skilled glass makers from around the world and City. His work has been exhibited at the Cheongju Craft to be sensitive to the forces of heat, gravity, and was mesmerized by the material. Ekin then traveled to the Biennale, The Pergamon Museum, and at the Pictoplasma centrifugal force. We will train the hands to adapt Czech Republic to study at the Novy Bor Glass School to learn festival in Monterrey, Mexico. and react to these forces as a means to control the different techniques of glass making. In 2014 she moved to material, but more importantly, to understand its the United States to begin an MFA in three dimensional arts WEEKS 7 & 8 – JULY 12-25 physical and formal possibilities. The objects and and glass. Ekin currently works as the programming manager residue of glassblowing and sculpting processes and resident artist at Glass Art Kalamazoo and is the Flameworking: will become elemental to further investigate co-founder of Design by Degree Glass. the ability of glass to incorporate, adulterate, Finding Form in obfuscate spaces in installation and sculpture. Joshua Davids is a well-rounded artist with a diverse Taking cues from the early experimental practices background. Extensive experience in glass, design, Translation of artists such as Richard Serra and Lynda Benglis, management, marketing, studio maintenance, and equipment students will gain a deeper knowledge of glass by engineering has been key to the success of various projects. Instructor: Amy Lemaire examining its properties to be both manipulated After studying at Regis University and West Texas A&M and understood as a dynamic, fluid medium. University for degrees in print and marketing as well as glass 2-week || GLASS 649 001 Exercises in writing/word play and drawing and sculpture, Josh has gone on to work for several prominent 3 credit hours || Lab Fee: $300 will challenge students to think about material glass artists, designed and built gallery and studio spaces, and metaphorical possibilities to glass and the honed project management skills in the corporate world, This class is an introduction to working and hot processes used to manipulate it. Assigned and is nurturing a budding career in the international glass thinking with glass. Focused on contextualizing projects will address the use of glass components market. As an artist and educator, Josh’s goals are to promote flameworking within contemporary sculpture, in multiple part sculpture and installation achieved glass art as a medium for profound expression, develop strong this workshop is ideal for artists crossing over through assemblage, cold construction/gluing, relationships essential to a thriving artistic community, and from other disciplines who would like to translate and mixed media. to share his knowledge and experience with future generations their ideas into glass. The goal of the class is of aspiring artists. Josh is the studio manager and fellow to complete two finished sculptures, which Michael Hernandez engages glass as a versatile sculptural resident artist at Glass Art Kalamazoo as well as co-founder of are both structurally sound and conceptually medium with unique abilities to capture time and movement. Design by Degree Glass. tight. Blending traditional and unconventional His explores formal fanaticism through objects that excite flameworking techniques, students are a sense of visual play and fetishistic tactility. Inspired by encouraged to explore the material and expand West Coast Funk and alternative folk movements, Hernandez their artistic vocabulary. We will consider the embraces unlikely compositions in color and form where material qualities of glass in the context of the space between seduction and repulsion is stretched, drawing, painting, sculpture, and performance. perverted, and redefined. Visual experiences that elicit Students can use glass as an opportunity to sensuality, folly, and enigma are ever-present in Hernandez’s connect materiality to related disciplines such objects and installations. Hernandez earned a BFA from as literature, psychology, optics, poetry, and Emporia State University and an MFA from New York State architecture. The coursework will include a College of Ceramics at Alfred University. He has participated combination of technical exercises designed to residencies and taught workshops at Pilchuck Glass School, improve hand skills, contextual presentations, and UrbanGlass, StarWorks, and numerous private and public group critique. institutions around the US. Currently, Hernandez is Associate

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FEELING SHAPEY: EXPERIMENTAL WATERCOLOR PLEIN AIR PLUS MOVEMENT & ABSTRACTION Instructors: Hannah Barnes & Instructor: Josh Dihle IN CONTEMPORARY PAINTING Susan Klein PAINTING 659 001 Instructors: Alex Bradley Cohen PAINTING 657 001 & Alberto Aguilar COLOR & LANDSCAPE PAINTING 660 001 FAST PAINTING Instructor: Jo Hormuth Instructors: Arnold J. Kemp & PAINTING 661 001 EXPANDED CARTOONING Christine Tien Wang Instructors: Jessica PAINTING 663 001 Campbell & Walter Scott PAINTING 662 001 EXPLODING PAINT: FIELDWORK Instructor: Claire Ashley PAINTING 650 001

WEEKS 1 & 2 – MAY 31-JUNE 13

Feeling Shapey: Movement (left) from personal photographs and memories rather then direct Alex Bradley Cohen observation, each painting serves as an exercise in world Shai-lee Horodi & Abstraction in 2018 building, while emphasizing the interiority of his subjects. acrylic on canvas Contemporary Painting He has held solo and two-person exhibitions at The Luggage 30” x 30” Store, San Francisco; Mana Contemporary, Chicago; and Carrie Instructors: Alex Bradley Cohen & Alberto Aguilar Secrist Gallery, Chicago, among others. Cohen has shown in (above) group exhibitions at The Studio Museum of Harlem, New York; Alberto Aguilar 2-week || PAINTING 660 001 The Art Institute of Chicago, Chicago; Elmhurst Art Museum, Drag feet through 3 credit hours || Lab Fee: $50 Elmhurst; Socrates Sculpture Park, Long Island City; and The snow, define Craft and Folk Art Museum, Los Angeles. He is an alumnus of the boundaries, work my way in. End This class explores methods for visualizing memory, sensory experience, and Skowhegan School of Painting & Sculpture and was an artist-in- at center personal narratives through movement and abstraction. Painting practice residence at the Ox-Bow School of Art. (Elkhart, KS) is approached through movement research, improvisation, and playful 2017 performance collaboration. Students will realize tangible paintings and objects in addition to Alberto Aguilar is a chicago based artist who uses whatever daily experimental movement workshops, collective actions, and performative materials are at hand as a way to connect with the viewer. gestures designed to translate experience into image. Slide lectures and he recently had a survey exhibition at gallery 400 in chicago readings will explore the writing and work of artists including Allan Kaprow, titled ‘moves on human scale. he has exhibited at the museum Mutabaruka, Yoko Ono, Adrian Piper, Lubiana Humid, Jack Whitten, Saya of contemporary art detroit; palo alto art center; national Woolfalk, Gabriel Orozco, Francis Alÿs, Eva Hesse, William Pope. L, and museum of mexican art, chicago; museum of contemporary art Abraham Cruzvillegas. During this course, students will complete six resolved chicago; minneapolis institute of art; crystal bridges museum works and engage in ongoing studio critique and feedback. The class will of american art, bentonville, ar; and the art institute of chicago. culminate in a collaborative event to showcase students’ work. his work is in the collections of the national museum of mexican art; crystal bridges museum of american art; soho house Alex Bradley Cohen is a Chicago-based painter who utilizes portraiture to visualize the push and pull chicago; and the office of the mayor of chicago, lori lightfoot. of identity and interpersonal relationships. Working with acrylic paint on canvas, the artist depicts aguilar is the recipient of the 3arts award. he purposely got rid friends, family members, and himself in scenes that foreground everyday moments. Materializing of all caps on this bio in order to create a minor disruption.

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WEEKS 3 & 4 – JUNE 14-27 WEEK 6 – JULY 5-11 Expanded Cartooning Experimental Watercolor Instructors: Jessica Campbell & Walter Scott Instructors: Hannah Barnes & Susan Klein

2-week || PAINTING 662 001 1-week || PAINTING 657 001 || 1 credit hour 3 credit hours || Lab Fee: $50 This class approaches watercolor from an experimental Comics, simultaneously ubiquitous and often overlooked, angle, using chance strategies to create new works. Working were once massmedia and now transitioning to the realm from traditional sources such as landscape, students of fine art. Its power lies in its ubiquity and newness. As a will harness the unpredictable qualities of watercolor to medium not much more than a century old, the forms and create improvisational, process-based images. Students limits of cartooning are still being felt out. In this course, will have the opportunity to work in a range of styles and students explore comics through a variety of approaches motifs, including both representational and abstract designed to strengthen the relationship of writing to images. Located squarely between painting and drawing, drawing, painting, and experimental publishing. Areas to watercolor possesses unique material characteristics that be investigated include strips, one page and short stories, lend it to explorations of chance, accident, immediacy, and supplemented by forays into writing and performance. impermanence. As pigment suspended in a transparent, This class will consider the work of Lynda Barry, Chris watery vehicle, watercolor engages the physical forces Ware, Nick Drnaso, Tara Booth, Jillian Tamaki, and George of gravity and fluidity like no other material. The class will Herriman. We will read and discuss essays by Seth, Paul create space for students to explore watercolor’s unique Karasik and Mark Newgarde, and Umberto Eco. While capacities for improvisation. A source of study will be John exercises will focus predominantly on comics, and writing, Cage’s chance-based watercolors created at the Mountain this class will emphasize hybrid and experimental forms Lake Workshop in Virginia between 1983 and 1990. We will that defy easy classification and is open to all disciplines. also explore techniques developed by Dada, Surrealist, and Students will create comic works using 2-D media and Fluxus artists to generate unplanned imagery, music, and will also participate in exercises designed to engage poetry, and consider how they can be applied to the performance and other forms of visual storytelling. The painting process. A series of daily exercises will introduce class will conclude with a critique of a new comic, drawing, students to tools, methods, and strategies. Additionally, painting, or performance. students will select a theme to explore independently throughout the class. Jessica Campbell’s satirical drawings, comics, and textiles take aim at everyday misogynistic experiences, both historical and Hannah Barnes is a painter who works with abstract forms and tropes to contemporary. Drawing from a wide range of influences including investigate the nature of meaning within abstraction. Her work in painting, science fiction, art-world politics, and her evangelical upbringing, drawing, and installation is permeated by an interest in she infuses her work with humor and vulnerability. Engrained within pattern-based structures, fragmentation, and impermanence. these works is a humorous tone, due to cartoony depictions and Investigations into ritual-based drawing traditions inform her approach to unorthodox material, though underlying this humour is often a darker process and materials. Born and raised on the New England coast, Barnes subject matter that directly or indirectly references class oppression, received an MFA in Visual Art from Rutgers University and a BFA from sexual violence, gender discrimination, trauma, and other personal Maine College of Art. Her projects have been exhibited in such places as the narratives. She is the author of the graphic novels XTC69 and Hot Columbus Museum of Art and Design in Columbus, Indiana; the Dhoominal or Not: 20th Century Male Artists, as well as a comics contributor to Gallery in Delhi; the Academy of Fine Art and Design in Wroclaw, Poland; Hyperallergic. She has had multiple exhibitions across the US and and Trestle Gallery in Brooklyn. Barnes was recently a resident in the Studio Canada, including solo exhibitions at the Museum of Contemporary Art Program at MASS MoCA in North Adams, and the recipient of a Hedda (Chicago); Field Projects (New York); Western Exhibitions (Chicago); Sterne Fellowship at the Vermont Studio Center. She received a 2017-2018 and group exhibitions at ICA (Baltimore); Hamilton Art Gallery Fulbright-Nehru Academic Excellence Fellowship for creative research in (Hamilton, ON); Richard Heller (Los Angeles); and moniquemeloche India. Barnes has taught painting and drawing since 2008 and is currently (Chicago). Her work has been included in many publications, including Assistant Professor of Art at the University of Southern Maine. New American Paintings, Art in America, Juxtapoz, NPR’s Studio 360, and The Globe and Mail. Susan Klein is an artist who works fluidly between painting and ceramics, exploring abstraction, color, response, and intimacy. She has exhibited her Walter Scott is an interdisciplinary artist working across comics, work both nationally and internationally. Her work was recently exhibited drawing, video, performance and sculpture. His comic series, Wendy, in a two-person show at Ortega y Gasset Projects in Brooklyn. Other ex- chronicles the continuing misadventures of a young artist in a satirical hibition venues include The Halsey Institute of Contemporary Art and The version of the contemporary art world. Anxious but empathetic, Wendy Southern, Redux Contemporary Art (Charleston, SC). Curatorial projects navigates the world of art openings, lizard-tongued curators, and include the 2018 exhibition “Nighttime for Strangers” at NARS Foundation fellow struggling artists. Wendy has been featured in Canadian Art, (top left) (bottom left) (top right) (bottom right) (Brooklyn) and “Maintenance of Way” at Redux Contemporary Art Center Art in America, and published online on the New Yorker. It was selected Jessica Campbell Walter Scott Hannah Barnes Susan Klein (curated for Tiger Strikes Asteroid, Greenville). Recent awards include a for the 2016 edition of Best American Comics, published by Houghton Drawing on the Excerpt from Blue Blaze After “Forest” Wassaic Project Residency and residency at the International Studio and 2018 2019 Mifflin Harcourt. Walter holds an MFA from the University of Guelph, Bed Wendy Curatorial Program. Other awards include a full fellowship to the Vermont 2019 2014 watercolor and oil glazed and oil in Guelph, Ontario. Recent exhibitions include Who Isn’t She? A acrylic rug on 2.5” x 2.5” on linen painted ceramic Studio Center, an Ox-Bow Artist-in-Residence Summer Fellowship, and an Wendy Retrospective, Galerie UQO (Gatineau), Slipping on the Missing panel 40” x 32” stoneware Otis College of Art and Design Summer Residency. Klein received her MFA X, Macaulay Fine Art (Vancouver), and The Pathos of Mandy, ISCP 48” x 36” 12” x 5” x 16” in 2004 from University of Oregon, a BFA in 2001 from University of New (Brooklyn). Walter’s new book, Wendy, Master of Art, is loosely based Hampshire, and studied art at NYU from 1997-99. Currently, she teaches on his experience in grad school. painting at the College of Charleston.

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WEEKS 7 & 8 – JULY 12-25 field (and in a play on words, the expanded field Josh Dihle’s recent work mixes painting, wood carving, and of Ox-Bow’s campus). We will connect painterly furniture construction to locate an interchange between touch, Fast Painting gestures with non-traditional surfaces such as vision, ecology, and unprocessed psychic energy. Educated at the literal field, lagoon, and landscape of Ox-Bow, Middlebury College and the School of the Art Institute of Chicago, Instructors: Arnold J. Kemp & modular, flat-pack, and portable sculptural form, he is the Co-Founder of Barely Fair and Co-Director of Julius Christine Tien Wang found objects, architectural space, virtual space, Caesar Gallery, both in Chicago. He has exhibited widely including video projection, performative action, and the at Andrew Rafacz Gallery, 4th Ward Project Space, Carrie Secrist, 2-week || PAINTING 663 001 body. We will work together to examine possible Essex Flowers, Flyweight, Shane Campbell Gallery, Valerie 3 credit hours || Lab Fee: $50 conceptual and material directions and expand Carberry Gallery, Adult Contemporary, Elmhurst Art Museum, on site-specific and time-based processes in and the University of Maine Museum of Art. He has attended Fast Painting will encourage participants to your work. There are two critiques planned during residencies at Krems, Catwalk Institute, Ox-Bow School of Art, put aside preciousness in order to explore the the week-long session. Class presentations and and the Vermont Studio Center. dynamism of disposability, quantity, ephemerality, discussions will take place in parallel with making the artist joke, and the performance of the to provide historical context, connections to the WEEK 12 – AUGUST 16-22 painterly pose. Through rapid assignments, traditions of painting, and practical solutions. thoughtful discussion of our daily work, student- Color tests, material sourcing field trips, video Color & Landscape led presentations, and slide lectures, we will projection/performance tests, and site-specific explore the signifiers of working fast and how this installations will be components of this class. A Instructor: Jo Hormuth operates socially and politically within current willingness to experiment, invent, imagine, and fail trends and pressures. This class is intended for is required. 1-week || PAINTING 661 001 || 1 credit hour those who have a developed painting voice and who are prepared to focus on an independent and Claire Ashley received her MFA from the School of the Art This class will explore the interplay of color and committed practice. Institute of Chicago, and her BFA from Gray’s School of Art light in Ox-Bow’s landscape. Since its inception in Aberdeen, Scotland. Originally from Edinburgh, Scotland, as a school of art, Ox-Bow has been sought out by Arnold Joseph Kemp has been working as an artist in San Ashley is now Chicago-based and teaches at the School of the plein air painters for its exemplary light conditions Francisco, New York, Portland, Richmond, and Chicago since Art Institute of Chicago in the Department of Contemporary and beautiful landscape. The results of artists 1991. He has also worked internationally in Stockholm, Paris, Practices and the Department of Painting and Drawing. navigating the unique light effects at Ox-Bow are Vienna, Berlin and Nassau, Bahamas. He is an artist, curator She has an old husband, three kids, a dog and four cats. often wild, playful and surprising, resulting in and writer. His works are in the collections of the Metropolitan Ashley’s work investigates inflatables as painting, sculpture, peculiar color harmonies and formal inventions. Museum of Art, The Studio Museum in Harlem, The Berkeley Art installation, and performance costume. These works have This class will lead students in color studies of the Museum and Pacific Film Archive, The Tacoma Art Museum, been exhibited nationally and internationally in galleries, unique light conditions which shift throughout The Schneider Museum of Art and the Fine Arts Collection at museums, and site-specific installations, performances and the day and will use photography as one tool for the University of California, Davis. He is a 2012 Guggenheim collaborations. Her work has been featured on blogs such as isolating and observing color relationships through Fellow and has also received awards and fellowships from the VICE, Hyperallergic, and ArtForum, and in magazines such modern technology. Students will compare Joan Mitchell Foundation, the Pollock-Krasner Foundation, Art as Sculpture Magazine, Art Papers, Boston Globe, Chicago in-situ methods of painting and will utilize digital Matters Inc., Printed Matter, Inc., and Portland Institute for Tribune, Time Out Chicago, Yorkshire Post, and Condé Nast mediation alongside the color theories of Joseph Contemporary Art. He holds an MFA from Stanford University. Traveller. Albers and others to make vivid and experimental He is Dean of Graduate Studies at The School of the Art paintings. Students are encouraged to work in Institute of Chicago. WEEK 11 – AUGUST 9-15 water based media but may also work with oils. Readings and lectures will complement studio Christine Tien Wang received her BFA from The Cooper Union Plein Air Plus time and students will create a new body of and her MFA in painting from UCLA in 2013. Wang completed landscape-inspired paintings for final critique. residencies at the Jamaica Center for Arts and Learning, Instructor: Josh Dihle VCUQatar, Chashama North, and Skowhegan. Wang’s solo Jo Hormuth is a multidisciplinary artist whose ideas spring exhibition Crypto Rich is currently on view at Galerie Nagel 1-week || PAINTING 659 001 || 1 credit hour from a fascination with perceptual, cognitive, and linguistic Draxler Kabinett space in Berlin. Selected group exhibition contradictions, backed by research into the architecture, history, venues include Rachel Uffner, Magenta Plains, The Prince This course leapfrogs Impressionist landscape and material conditions of the situation in which a work will Street Gallery. Wang is represented by Night Gallery in Los painting by adding techniques and influences be developed and shown. Her latest public project is Better Angeles and Galerie Nagel Draxler in Cologne and Berlin. Wang garnered from folk artists of the American Grammar–Garden, for the Chicago Botanic Garden. The eight is currently Assistant Professor of Painting and Drawing at south, Medieval reliquary art, and contemporary large color compositions form a portrait of the garden—itself California College of Art and lives and works in San Francisco. approaches to painting surface. Students will an abstraction—from monochrome macro photographs of develop outdoor observational painting skills that plants taken over the course of a year. As founder of Chicago WEEKS 9 & 10 – JULY 26-AUGUST 8 can be brought back to the studio and worked Architectural Arts, she focuses on the restoration of significant over with an expanded vocabulary of mark making interiors; most recently, she researched and recreated interior Exploding Paint: and materiality. Taken together, the strategies finishes for the Darwin Martin House, Frank Lloyd Wright’s largest introduced in this course will bind close looking Prairie-style complex, and worked on the restoration of Charles Fieldwork and immersion in the natural environment with Rennie Mackintosh’s Willow Tea Rooms in Glasgow. Hormuth is the inward gaze and reactivity of the studio. We represented by Kusseneers Gallery, Brussels. (clockwise from Arnold J. Kemp Jo Hormuth Josh Dihle Instructor: Claire Ashley will look closely at the work of Thornton Dial, top left) Untitled Better Grammar- Them Jay DeFeo, Gina Beavers, Chris Martin, Rashid 2019 Gardens (detail) 2019 Claire Ashley archival pigment 2015-2018 oil on linen over 2-week || PAINTING 650 001 Johnson, Charles Burchfield, and Lois Dodd. Hunnybunny (In a print panel 3 credit hours || Lab Fee: $50 We will also broadly survey Northern European Pickle) 61” x 41” Christine Tien 24” x 18” Medieval reliquary techniques and will make use of 2016-2019 Wang Using an irreverent love of painting and an recent advances in painting materials. Students will spray paint on PVC Johnny Depp coated canvas 2018 absurdly oedipal desire to destroy it, this class produce five paintings that start in the outdoors and tarpaulin, ropes, acrylic on canvas looks at ways to create fantastical, hybridized, are completed in studio. Students will also maintain and fan 36” x 48” bastardized offspring “paintings” in the expanded a dedicated sketchbook/scrapbook. approx: 12’x10’x8’

16 17 SCULPTURESECTION & METALS TITLE

DEADPAN: BLACKSMITHING: JOINERY: SCULPTURAL MULTI-LEVEL STEEL REALISM SCULPTURAL FORMS COLLABORATIONS FOUNDRY Instructor: Instructor: Instructor: Ato Ribeiro Instructors: Liz Ensz & Chris Bradley Jessee Rose Crane SCULP 670 001 Lloyd Mandelbaum SCULP 671 001 SCULP 623 001 SCULP 660 001 VIRTUAL ARTIFACTS: SYNTHETIC SKINS HARD LINES: DRAWING MOLDMAKING, Instructor: Amy Brener WITH STEEL HYDROPRINTING, SCULP 668 001 Instructors: SCREENSPACE Devin Balara & OBJECTS Abigail Lucien Instructor: SCULP 663 001 Christopher Meerdo SCULP 662 001

WEEK 1 – MAY 31-JUNE 6 Deadpan: Steel I met my favorite teacher Realism at Ox-Bow. I took Mike Instructor: Chris Bradley Rossi’s blacksmithing class 1-week || SCULP 671 001 1 credit hour || Lab Fee: $50

in my senior year at SAIC. When representation in steel is achieved the result can often be both His technical instruction playful and hollow. In this process- based intensive, students will consider how much visual and physical was exceptional because information is necessary in the pursuit of realism and experiment with the it was masterful yet easily formal limits of steel. Inspiration can be drawn from a common object, local or understood. You could see organic materials, and fictive designs to explore the whimsy of trompe l’oeil. This class is open to participants of all shop how much care he put experience levels. Demonstrations on sheet cutting, creating negative space into everything he made through rod work, scale exercises, and surface applications both traditional and unconventional will inform the from a simple demo to a students self-directed work. Students will be expected to complete at least sophisticated form, but at the one sculpture and are encouraged to consider its in-situ presentation at same time, Mike never took Ox-Bow during a final group critique.

Chris Bradley, is an artist based in Chicago. himself too seriously. It’s the He has recently presented his work in solo exhibitions at the Museum of Contemporary balance of these principles Art Chicago, Shane Campbell Gallery, Roberto Paradise, and the Museum of Contemporary Art Raleigh, and has been included in group shows at that I will use to mentor others The Renaissance Society, Atlanta Contemporary, Museum of Contemporary Art Santa Barbara, Chris Bradley Ceiling Fan for the rest of my life. Museum of Contemporary Art Detroit, the 2015 NRW-Forum, and the Elmhurst Art Museum. He steel, wood, paint, received his MFA degree from the School of the hardware -Jessee Rose Crane Art Institute of Chicago in 2010. In addition to his 8” x 8” x 8” studio practice, he is an instructor of sculptural practice at both SAIC and the University of Chicago.

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WEEK 2 – JUNE 7-13 of forged ironwork (architectural, functional, and Projects. Her work has been recently exhibited at The Comfort sculptural) will serve as a source of inspiration. Station in Chicago, Ortega Y Gasset Projects in NYC, Grounds Synthetic Skins Students will be encouraged to produce a site- For Sculpture in NJ, Spring Break Art Fair in NYC, and DEMO specific piece based on line and its relationship to Projects in Springfield, IL. Balara was a recipient of the 2014 Instructor: Amy Brener chosen surroundings. Outstanding Student Achievement in Contemporary Sculpture Award from Sculpture Magazine. 1-week || SCULP 668 001 Jessee Rose Crane is a multidisciplinary sculptor, arts 1 credit hour || Lab Fee: $50 administrator, and musician based in New Douglas, Illinois. Abigail Lucien’s interdisciplinary practice looks at ways Her approach to metalwork joins technical skills with a cultural identities and inherited colonial structures transmit This course aims to heighten awareness of the creative process that encourages play. Her practice combines to the body and psyche. Part familiar, part foreign, Lucien’s textures and surfaces that surround us in daily life, steel with a variety of media to craft both functional objects works employ an architectural vernacular – challenging and fuse this new consciousness into art making. and conceptual experimentations. She received her MFA from systems of assimilation through material and asking what Exercises and discussions in mold-making and Southern Illinois University Edwardsville and her BFA from it means for the body to empathize with a place. The works casting will be geared toward understanding the School of the Art Institute of Chicago. She is the director foreground their Haitian-American heritage by addressing tactility as it exists in our present moment in of Rose Raft, an artist and musician’s residency founded in notions of visibility, authenticity, and hybridity they relate both the physical and virtual realms. Special 2015. Her most recent series of work couples steel armatures to a multicultural queer identity. Raised in Florida and Haiti, focus will be given to replicating natural forms and glue to form translucent curtains that filter light through Lucien holds a BFA from Florida State University and an MFA in through synthetic or digital processes. As a result spectacularly painted membranes. As an internationally Printmaking from the University of Tennessee, Knoxville. Their of extensive in-class experimentation utilizing touring musician, she performs regularly with her bands, The work has exhibited at museums and institutions such as MoMA silicone, resin, hydrocal, clay, and fabric as well Funs and Swear Beam. PS1 in Long Island City, Atlanta Contemporary in Atlanta, as digital demonstrations in Blender, students and The Fabric Workshop and Museum in Philadelphia. will build inventories of sample textures to use as WEEK 5 – JUNE 28-JULY 4 Lucien is currently based in Richmond where they teach as a inspiration for their final projects and future work. full-time faculty member in the Sculpture + Extended Media Students will keep texture journals throughout Hard Lines: Department at Virginia Commonwealth University. the course, in which they will describe different textural experiences they have during each day. Drawing with Steel The final project can consist of one sculpture or a series, and its display must be carefully Instructors: Devin Balara & considered. Abigal Lucien

Amy Brener was born in Victoria, BC, Canada and is currently 1-week || SCULP 663 001 based in Queens, New York. Over the past ten years she has 1 credit hour || Lab Fee: $50 developed her own methods of mold-making and casting with a wide variety of materials such as resin and foam, This hybrid sculpture and drawing course will silicone, Hydrocal and Aqua-Resin. Within her sculptures, focus on steel fabrication and the translation disparate matter is compressed and congealed to produce of line on paper to line in space. Students will forms that are familiar yet strange, resembling otherworldly learn to use steel as a drawing material with monuments, reliquaries, fountains, cakes and garments. demonstrations in hot and cold bending, modular Since graduating with an MFA from Hunter College in 2010, construction, welding, and finishing strategies. her work has exhibited at galleries and institutions in the US, Technical demos and work time will accompany Canada, Europe, and China. Highlights include MoMA PS1, discussions about daily sketchbook practices and Socrates Sculpture Park and Jack Barrett in New York, the the ways in which literal weight can be given to Nasher Sculpture Center in Dallas, Galerie Pact in Paris, Reyes simple doodles or cartoon graphics. This course is Projects in Detroit, Wentrup Gallery in Berlin, MacLaren Art suitable for all levels of shop experience; students Centre in Ontario, and Riverside Art Museum in Beijing. Her will quickly gain confidence with equipment work has been featured in publications such as CURA, The and be encouraged to play and improvise New York Times, Hyperallergic, V Magazine, Artnet News, and independently with the material at as large a scale The Brooklyn Rail. Her awards include the Shifting Foundation as they choose. Students are required to complete Project Grant, NYFA Fellowship in Crafts/Scultpture and three assignments over the course of the week, Canada Council Visual Arts Project Grant. one which will reinforce basic knowledge of linear steel fabrication and safety, and two further

WEEKS 3 & 4 – JUNE 14-27 assignments, utilizing linear steel drawings at (clockwise from top left) the scale of the student’s choosing. Ultimately, Blacksmithing: students may deploy work into a particular site or Amy Brener Abigal Lucien landscape and let their sketches stretch their legs. Omni-Kit (Birthday) Swallowing our own spit 2019 to salivate once more Sculptural Forms urethane foam and 2019 Devin Balara’s recent work utilizes steel as a drawing resin, platinum silicone, enamel, acrylic, soap, Instructor: Jessee Rose Crane material to illustrate cartoon scenes inspired by bad omens, hydrocal, pigment, cocoa butter, coconut supernatural moments, desert island logic, and the outdoors chrysanthemum flowers, oil, satin, rebar sand, miscellaneous 80” x 41.5” x 33” as both unruly and picturesque. Originally hailing from 2-week || SCULP 623 001 objects 3 credit hours || Lab Fee: $150 Tampa, Florida, she holds a BFA from the University of North 69” x 24” x 16” Jessee Rose Crane Florida and An MFA in sculpture from Indiana University Kink (detail) This intensive will start with an introduction to in Bloomington. Devin is currently based in New Orleans, Devin Balara steel, plaster One Tiger 6” x 3” x 5’ Louisiana and spends summers managing the sculpture studio the fundamentals of forging and move rapidly 2019 toward advanced projects. We will focus on the hot at Ox-Bow School of Art and Artist Residency in Saugatuck, steel, enamel manipulation of materials with the forge, anvil, and MI. She has been an artist in residence at Monson Arts, 50” x 30” x 1/2” hammer as our primary tools. A referential history Elsewhere Museum, Vermont Studio Center, and The Wassaic

20 21 SCULPTURE & METALS SCULPTURE & METALS

WEEK 6 – JULY 5-11 water transfer printing allows students to reimagine their sculptures rich with surface images. Course readings will include Joinery: Sculptural essays that consider historic perspectives on computational visual culture as well as contemporary positions. Scholars and artists Collaborations include: Rosalind Krauss, Sonia Sheridan, Hiwa K, Prosthetic Knowledge, and Timur Si-Qin. Course assignments will move from Instructor: Ato Ribeiro screen objects to physical objects, culminating in hydroprinted forms that combine both two and three-dimensional compositional 1-week || SCULP 670 001 spaces. 1 credit hour || Lab Fee: $50 Christopher Meerdo’s research is primarily invested in exploring hidden and Quilting plays a central role in many cultures in shaping community inaccessible archives. Through expanded-photographic methodologies of data through ritual, collective making, and storytelling. Students in this processing, image-synthesis, and computational sculpture, his work considers one week class will explore questions of cultural hybridity through the ways in which technological and visual systems maintain or subvert experimental processes that cross found material with traditional structures of power. Meerdo received his MFA in Photography from the University crafting methods including metal working, woodworking and a of Illinois at Chicago, taught at The School of the Art Institute of Chicago from variety of stitching and applique techniques. Taking traditional and 2012-2019, and was recently appointed Assistant Professor of Photography contemporary approaches to gathering and communal labor as and New Media at the University of North Texas. Recent exhibitions include points of departure, The Built Quilt merges group explorations of Exgirlfriend, Berlin; The Museum of Contemporary Photography, Chicago; Wilfried quiltmaking and hybrid craft practices with critical conversations Lentz, Rotterdam; The National Gallery of Kosovo, Pristina; and The Mattress about culture, place, and history. Communal making will provide a Factory Museum of Contemporary Art, Pittsburgh. He was a resident at the SIM basis for class discussion and material research and complement Program in Reykjavik and Skowhegan School of Painting and Sculpture. Meerdo self-directed projects in a supportive and collaborative atmosphere. was most recently a fellow the Jan Van Eyck Academie in the Netherlands for the Seminar discussions on critical theories in cultural studies will 2018-2019 program. He is represented by Document Gallery in Chicago. engage the works of Fred Moten, Stephano Harney, Sarah Ahmed, West African folklore and artists including Ibrahim Mahama, Harriet WEEKS 9 & 10 – JULY 26-AUGUST 8 Powers and Sadie Barnette, giving context to the intersections of contemporary theory and practice. Students will participate in Multi-Level Foundry material demonstrations, performance workshops and seminar discussions and contribute to a collaborative class quilt. Instructors: Liz Ensz & Lloyd Mandelbaum

Ato Ribeiro (b. 1989) is a multidisciplinary artist working in a variety of media 2-week course || SCULP 660 001 including sculptural instillation, drawing, and printmaking. He was the 2017 3 credit hours || Lab Fee: $200 Mercedes-Benz Financial Services Emerging Artist Award recipient, Artist in Resident at Künstlerhaus Bethanien in Berlin, Germany, and received Fellowships In this multilevel metal casting course, students will learn the at Vermont Studio Center and Skowhegan School of Painting & Sculpture. His fundamentals of pattern generation, simple and multi-part mold work has been exhibited at the Lisa Sette Gallery, Phoenix, AZ; Front/Back Accra, making techniques with sodium silicate bonded sand, casting Ghana; Nubuke Foundation Accra, Ghana; Cranbrook Art Museum, Bloomfield (top left) with bronze, aluminum, and iron, and finishing and patination Ato Ribeiro Hills, MI; the N’Namdi Center for Contemporary Art, Detroit, MI; the Rozsa Center, techniques for their castings. Explorations will be informed by the Home Coming 3 Houghton, MI; Anastasia Tinari Projects, Chicago, IL; among others. His work is 2018 materiality of molten metal and molding processes, the history in the permanent collections of the Mercedes-Benz USA Headquarters, Detroit repurposed wood, and technologies of metal casting, and discussion of cast metal Institute of Art, Cranbrook Art Museum and some private collections. Ribeiro was wood glue sculpture in contemporary art. In the spirit of “there is no ‘I’ in 48”w x 72”h x 1.25”d born in Philadelphia, PA. and spent the formative years of his life in Accra, Ghana. foundry,” teamwork and safe foundry practices form the foundation He earned his BA from Morehouse College in Atlanta, Georgia, and his MFA in Print (bottom left) of the course. Students will be encouraged to experiment and Media from Cranbrook Academy of Art in Bloomfield Hills, Michigan. Christopher Meerdo respond to the natural environment with patterns made at Ox-Bow in Erythrocyte Ghosts an open-air sculpture studio. 2016 WEEKS 7 & 8 – JULY 12-25 extruded polystyrene, hydrocal, plaster, Liz Ensz was born in Minnesota to a resourceful family of penny-savers, metal Virtual Artifacts: hydroprint, acrylic scrappers, and curators of cast-offs. With a determined material engagement, gloss glaze scavenger impulse, and interdisciplinary approach, their work presents a 36” x 24” x 20” Moldmaking, comparative study of the mass-cultural investment in disposability and the (top right) human desire to imagine permanence through emblems, monuments, and Hydroprinting, Liz Ensz commemoration. They received an MFA in Fiber & Material Studies from the School E Pluribus Unum of the Art Institute of Chicago. Ensz is full-time faculty at the Maryland Institute 2014 Screenspace Objects cast pre-Reagan pennies, College of Art, and is based in Baltimore, the greatest city in America. steel stand, custom Instructor: Christopher Meerdo hardware Lloyd Mandelbaum is an artist and owner of the art casting foundry Chicago 5” x 5” x 6” Crucible, which has been producing cast bronze, aluminum, and iron sculpture

2-week course || SCULP 662 001 (bottom right) for public and private clientele since 2009. Lloyd received his BFA from the School 3 credit hours || Lab Fee: $200 Lloyd Mandelbaum of the Art Institute of Chicago with an emphasis in metal arts and has been in Sequential Silhouettes the field ever since. Lloyd also designs and builds foundry equipment for himself, This two week intensive course will introduce participants to the Series: #8 other businesses, and institutions. Lloyd’s personal sculpture is figurative, 2017 moldmaking process while using the screenspace as source iron abstract, and is intended to evoke an energetic liveliness despite being made material. This course will consider how non-material modes 18.5” x 9” x 7” of static cast metal. In addition to operating his business and creating his own can manifest into tangible objecthood. With a focus on both work, Lloyd has taught, lectured, spoken on panels, and consulted on foundry form and surface, the second half of the class will introduce the craft, operation, construction, and development for universities, industry, and hydroprinting technique. Typically used in industrial applications, individual artists.

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WEEK 1 – MAY 31-JUNE 6 Black in The Woods: Representation & the Pastoral Instructors: Ayanah Moor & Krista Franklin

1-week || PRINT 652 001 1 credit hour || Lab Fee: $50

This interdisciplinary seminar and studio course examines notions of blackness and the pastoral. We will discuss art works and readings related to concepts of the gothic, identity, race, cultural studies, and the landscape. In addition to more traditional processes including papermaking, cyanotype, relief printing and creative writing exercises, faculty will support and cultivate diverse approaches to media, such as performance, site-specific installation, and field recording. Readings will include excerpts from Black Nature: Four Centuries of African American Nature Poetry, Ed. by Camile T. Dungy; Demonic Grounds: Black Women and The Cartographies of Struggle by Katherine McKittck; and White: Essays on Race and Culture by Richard Dyerl in addition to media screening of Get Out by Jordan Peele, Swimming in Your Skin Again by Terence Nance, and Falling to get here by Suné Woods.

Ayanah Moor is an interdisciplinary artist whose work explores blackness, gender, desire, and language. She works across various media to create paintings, prints, drawings, and performance. Her work has been exhibited at the Museum of Contemporary Art Chicago, Museum of Contemporary Photography and the DePaul Art Museum, (Chicago); Adobe Books (San Francisco); The Studio Museum in Harlem (NY); The Andy Warhol Museum (Pittsburgh); ONE National Gay and Lesbian Archives—University of Southern California Libraries; Subliminal Projects (Echo Park, CA); Te Tuhi Centre for the Arts, (Auckland, New Zealand); and Proyecto ‘ace, (Buenos Aires). Moor has been awarded artist residencies at the Rogers Art Loft, (Las Vegas); Center for Book, Paper & Print, and Hyde Park Art Center (Chicago); Proyecto ‘ace (Buenos Aires); Auckland Print Studio (New Zealand); Women’s Studio Workshop (Rosendale), Blue Mountain Center (Blue Mountain Lake); Vermont Studio Center (Johnson) and Atlantic Center for the Arts (Florida) with Master Artist Kerry James Marshall. (left) BLACK IN THE WOODS: SPECULATIVE LITHOGRAPHY: THE EXPANDED FIELD BEYOND BORDERS: Krista Franklin REPRESENTATION & WORLDS: STONE & IN THE EXPANDING FINDING THREE Krista Franklin is an interdisciplinary artist whose work appears We Wear the Mask VIII THE PASTORAL SCREENPRINT AS PHOTOLITHOGRAPHY FIELD: ZINES, DIMENSIONS IN in POETRY magazine, Black Camera, Copper Nickel, Callaloo, 2014 Instructors: Ayanah INTERVENTION Instructors: EPHEMERA & EVENTS PRINTING & Vinyl, BOMB Magazine, Encyclopedia, Vol. F-K and L-Z, and several collage on hand- Moor & Krista Franklin Instructors: Corinne Danny Miller & Instructors: BOOKBINDING anthologies. She is the author of Under the Knife (Candor Arts, made paper PRINT 652 001 Teed & Erik Ruin Kristina Paabus Jesse Malmed & Instructors: 2018) and Study of Love & Black Body (Willow Books, 2012). Her art 8” x 6” PRINT 659 001 2-week Breanne Trammell Myungah Hyon & has widely exhibited at Poetry Foundation, Konsthall C, Rootwork (right) POLITICS OF PRINT: PRINT 637 001 PRINT 661 001 Jeanine Coupe Ryding Gallery, Museum of Contemporary Photography, The Studio Museum Ayanah Moor THINKING THROUGH 1-week PRINT 658 001 in Harlem, Chicago Cultural Center, National Museum of Mexican In Your Secret THE ARTIST PRINT 635 001 & Art, and on the set of 20th Century Fox’s Empire. Krista Franklin is Garden PUBLICATION 635 002 MONOTYPE also one of the main character from Les Impatients by Aliocha Imhoff 2017 plant, pot, Instructor: Instructor: & Kantuta Quiros. She holds an MFA in Interdisciplinary Arts – Book macramé, braids, Kevin McCoy Aay Preston-Myint & Paper from Columbia College Chicago, and teaches Writing at the filigree, bungee PRINT 660 001 PRINT 609 001 School of the Art. cord

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WEEK 2 – JUNE 7-13 WEEKS 5 & 6 – JUNE 28-JULY 11 W EEKS 7 & 8 – JULY 12-25* Politics of Speculative Worlds: Lithography: Stone & Print: Thinking Screenprint as Photolithography through the Artist Intervention Instructors: Danny Miller & Kristina Paabus

Publication Instructors: Corinne Teed & Erik Ruin 2-week || PRINT 637 001 3 credit hours || Lab Fee: $100 Instructor: Kevin McCoy 2-week || PRINT 659 001 3 credit hours || Lab Fee: $100 1-week options || WEEK 7 - Stone 1-week || PRINT 660 001 Lithography: PRINT 635 001 & 1 credit hour || Lab Fee: $50 In this course, students will develop screen- printing WEEK 8 - Photolithography: PRINT 635 002 skills while considering print’s history of inventing and 1 credit hour || Lab Fee: $50 Provoked by the current blurring of fact and building disparate worlds. Printmaking is unique for its fiction, students will produce a series of history of communication through calling to action and This fast-paced course is designed for both collaborative artist books to explore and/or imagining the future. In this class students will explore beginners and advanced artists, (and will be challenge propagandistic narratives. Emphasis notions of utopia and dystopia, using installation, offered in a two week sequence). Week one will be placed on the conceptual development animation, relief print, and performance in their focuses on traditional methods with stone and exploration of analog methods utilized endeavors to re-imagine the graphic manifesto. Students lithography and week two introduces students in the civil rights protest era. With the goal of will be encouraged to experiment with text, posters, to photomechanical lithography using both producing visually striking content, processes and immersive installations to redefine the realm of the hand-drawn and digital processes. Students are such as silk-screen, vinyl plate lithography, possible. Students will be presented with tutorials on encouraged to investigate personal directions in polymer plate, letterpress printing, and perfect printing techniques, incorporating both hand-drawn their work as they explore lithographic possibilities bindery will be demonstrated to produce a and digital stencils. We will discuss artists who engage through editions and unique variants. Emphasis series of artist books. The instructor’s own with world-making, from the hellish landscapes of will be placed on both conceptual and technical publication, Obliqueness of White Supremacy, Heironymous Bosch to the utopic processions of Athi development, and additional demonstrations, and Propaganda & Persuasion by Garth S. Patra Ruga. Authors discussed will include Ursula K. presentations, work time, discussions, and (clockwise from top left) Jowett and Victoria J. O’ Donnell will be reviewed Leguin, Octavia Butler, Jose Esteben Muñoz and Ruth critiques. Historical and contemporary by the class to examine the marriage of form Levitas. Students will participate in world-building lithographic examples will be presented in order Kevin McCoy LSD, The CIA, The and content. Excerpts from books such as prompts, writing responses, and critical dialogues on the to clarify the relationships between idea, context War on Drugs and The Vignelli Canon by Massimo Vignelli and role of printmaking as intervention in the social sphere. material, and process. MK Ultra​ White by Japanese designer Kenya Hara will Assignments will include creating hand-cut stencils, 2018 2-color riso- become useful tools to understand layout, form, digitally designed CMYK projects, and a final project Danny Miller is an artist and musician working in Chicago, graph printing, sequence, color and visual impact. The class taking on the notion of the screenprint in the expanded IL. Utilizing woodblock, lithographic printing and drawing, saddle-stitched bindery, 12 pages will consist of demonstrations, discussions, field. Students will produce a portfolio of projects that he conjures works inspired by science fiction pulp covers, 8.5” x 7” ​ time allotted for both research and work. The incorporates two-dimensional screenprinting. Victorian engravings, advertisements, comic books, and

Corinne Teed culminating project includes a series of hand- music. Miller has taught at Ohio State University, University of Mapping the made books containing content collaboratively Corinne Teed is a research-based artist working in printmaking, Wisconsin-Madison, the School of the Art Institute, and Ox-Bow Burrows: Figure 2 provided and created by the class. installation, time-based media and social practice. Their work lives at School of Art and has been the Printmedia Department Manager 2017 screenprint, the intersections of queer theory, ecology, critical animal studies and at SAIC for 31 years. He received his MFA from the University of photolitho Kevin McCoy is an interdisciplinary artist and settler colonial studies. Teed collaboratively re-imagines interspecies Wisconsin-Madison and has worked in professional print shops 17” x 14” designer based in St. Louis, Missouri. He is also half of communities in this era of environmental devastation and climate including Landfall Press, Normal Editions Workshop, and Four the collaborative duo named WORK/PLAY which was change. Working between portraiture and speculative world-building, Brothers Press, in addition to playing and teaching traditional Kristina Paabus The Guards started with his wife. He utilizes serigraphs, hand-made their practice incorporates archival research with time-based media fiddle and banjo music at the Old Town School of Folk Music in 2018 publications, installations, archival documents, and printmaking to articulate new perspectives on ecological issues. Chicago for 11 years. etching, aquatint, and video-based works to examine erasure, identity, Teed has recently attended residencies at ACRE, Signal Fire, Virginia screenprint, and linocut and challenge historical records. He received a BFA Center for Creative Arts, and Playa, and has exhibited in the U.S. Kristina Paabus is a multidisciplinary visual artist with a 24”x20” from the University of Missouri-St. Louis and a MFA and abroad. They received a BA at Brown University and an MFA at focus in printmaking. Her research examines structures of Erik Ruin, degree in Visual Art from the Sam Fox School of Art and University of Iowa, and now teach in the Art Department of University control and power, with a particular interest in fractures within Mary Maudlin Design, Washington University in St. Louis. Recent of Minnesota. those systems. Recent work investigates the lasting impact (performance still at Rooftop Films) exhibitions include Small Talk at Crystal Bridges of Soviet occupation on both tangible and invisible spaces. creation 2016, Museum of American Art, Bentonville, AR; 2019 MFA Erik Ruin is a Michigan-raised, Philadelphia-based printmaker, Paabus earned her MFA from the School of the Art Institute of performance 2019, Exhibition at The Luminary, St. Louis, MO; SPF 1991 shadow puppeteer, paper-cut artist, etc., who has been lauded by Chicago and BFA from the Rhode Island School of Design. She spraypaint, stencil and papercut on at projects+gallery, St. Louis, MO; Dream Weavers the New York Times for his “spell-binding cut-paper animations.” has exhibited her work throughout the United States, Europe, paper with live at Laband Gallery, Loyola Marymount University, Los His work oscillates between the poles of apocalyptic anxieties and and China, with recent exhibitions including Meanwhile at musical accompa- niment Angeles, CA; Overview is a Place at SPRING/BREAK utopian yearnings, with an emphasis on empathy, transcendence and Hobusepea Galerii (Estonia), NEO Geo at the Akron Art Museum, 30’ x 18” Art Show in New York, New York, NY; On & On at Beard obsessive detail. He frequently works collaboratively with musicians, and the Novosibirsk Graphics Triennial (Russia). Paabus is the

Danny Miller and Weil Galleries, Norton, MA; Change of State at The theater performers, other artists and activist campaigns. He is a recipient of a Fulbright Fellowship for Installation Art in Estonia, Panic Room Wassaic Projects in Wassaic, NY; Color-ism at Kranzberg founding member of the international Justseeds Artists’ Cooperative, the Grant Wood Fellowship in Printmaking at The University of 2019 Arts Center in St. Louis, MO. Recent book fairs include and co-author of the book Paths Toward Utopia: Graphic Explorations Iowa, an Ohio Arts Council Individual Excellence Award, and the iithograph Printed Matter’s LA Art Book Fair in Los Angeles, of Everyday Anarchism (with Cindy Milstein, PM Press, 2012). Current Southern Graphics Council International Guanlan Residency California; Chicago Art Book Fair in Chicago, IL; Small projects include the Ominous Cloud Ensemble, an ever-evolving, Award. Kristina has attended artist residences in the US, Press Expo in St. Louis, MO; Fully Booked Art Fair in collectively-improvising large ensemble for projections and music Iceland, Estonia, Romania, Russia, and China, and her work Dubai, UAE, and Booklyn’s Engaged Editions: Creative which at times has included/includes members of the Sun Ra can be found in numerous collections. Paabus is Associate Advocacy in Print in New York, NY. Arkestra, Bardo Pond and Espers. Professor of Reproducible Media at Oberlin College.

26 * WEEK 7 – July 12-18; WEEK 8 – July 19-25 27 PRINTMAKING PRINTMAKING

WEEKS 9 & 10 – JULY 26-AUGUST 8 Breanne Trammell is a multi-disciplinary artist, snack & Chicago; Gallery 312, Chicago. She has received awards from SPRTS enthusiast, amateur archivist, and co-president of the the City of Chicago, Seoul Foundation for Arts and Culture, and The Expanded Field Sandwich Club (a club that doesn’t meet and anyone can be a Arts Council Korea. member). Her publishing imprint Teachers Lounge operates as in the Expanding a platform to explore and illuminate hidden histories related Jeanine Coupe Ryding’s prints and artist books are in to education, activism, sports, and visual culture. For the past museum, corporate and private collections in the U.S., Europe Field: Zines, eight years, she has co-organized the annual Sandwich Club and Japan. Her work focuses primarily on woodcut prints, Summit, in addition to collaborative projects SPACE JAM (Iowa etchings, artist books, collage and painting. She founded Ephemera & Events City, IA), To Muncie, With Love (Muncie, IN), I Can’t Give You Shadow Press and Press 928 in Evanston, Illinois for fine art Anything But Love (Kansas City, MO), and The Joy of Enjoying publishing. She received a BA in Literature and Fine Art from Instructors: Jesse Malmed & (Philadelphia, PA) with Jesse Malmed. Breanne’s work has been the University of Iowa and a Masters degree in Sculpture Breanne Trammell exhibited widely in all sorts of spaces, and she has been an from the Universitat der Kunste, Berlin, Germany. Ryding artist-in-residence at the Women’s Studio Workshop, Endless has received an Illinois Arts Council Award, an Arts Midwest 2-week || PRINT 661 001 Editions, Kala Institute, and Ox-Bow, among others. In 2019, Grant, two Frans Masereel residencies in Belgium, Roger 3 credit hours || Lab Fee: $100 Breanne initiated a new project space PROM to be a platform Brown House residencies in Michigan and an Anchor Graphics for artists working in and around archives, and/or their residency in Chicago. She taught at The School of the Art We will explore the power of the zine and happenings personal collections. She earned her MFA from the Rhode Island Institute of Chicago from 1991 to 2019. to challenge and circumnavigate societal norms and School of Design and is an Assistant Professor at the University create alternative narratives that expand the field of Arkansas in Fayetteville, AR. WEEK 12 – AUGUST 16-22 of art. Through platforming, students will discuss early experimental and contemporary models of WEEK 11 – AUGUST 9-15 Monotype show building and collaborate to initiate new projects and spaces on Ox-Bow’s tiny but bustling campus Beyond Borders: Instructor: Aay Preston-Myint and the surrounding environments. Workshops on ephemera production, screenprinting, zine-making, Finding Three 1-week || PRINT 609 001 and creative modes of public communication will be 1 credit hour || Lab Fee: $50 held. Students are encouraged to make their own Dimension in Print work, work together with their peers, and/or envision This course will present a variety of oil and water- speculative projects. Engaging with histories and & Bookbinding based monotype techniques including chine futures of artist-led initiatives in the Midwest and colle, block printing, painted and photographic beyond including Temporary Allegiance, Trunk Instructors: Myungah Hyon & image transfers, and over-printing. Monotype Show, Chances Dances, The Thing, and Speed Jeanine Coupe Ryding is a versatile process incorporating chance and Show, students will work to produce paratext, improvisation, and can be performed in the context and text to animate, assist and activate 1-week || PRINT 658 001 landscape as well as in the studio. Painters as projects. Each project will feature printed matter and 1 credit hour || Lab Fee: $50 well as printmakers will find this a dynamic new screenprinting techniques will be demonstrated. medium that is perfect for the home studio. Readings, texts, and screenings will cover a range Participants will learn to create the illusion of of content and include the curatorial and publishing three dimensional woodcuts that are bound Aay Preston-Myint is an artist, publisher, and educator practices from a variety of contemporary artists and into sculptural book forms. Using a variety working in the San Francisco Bay Area, after several years organizers. Through a series of generative prompts of registration methods including printing building a career and community in Chicago. His practice and activities, students will conceptualize and on both sides of the paper, participants will employs both visual and collaborative strategies to organize site-responsive programmatic curatorial explore the traditional methods and boundaries investigate memory and kinship, often within the specific projects. Students may work independently of printmaking. Methods including simple context of queer community and history. In addition to his or collaboratively, and/or with faculty on their accordion folds, hardcover accordion, crown studio work, he is a founder of No Coast, an artist partnership proposals, installations, performances, and book, franklin fold, and triangular book will that prints and distributes affordable contemporary artwork, ephemera. The class will culminate in group be demonstrated. Emphasis is on content, is co-director of the Chicago Art Book Fair, and has served as critiques on one realized installation or performance. self-expression, and acquiring skills. No prior a DJ and organizer for Chances Dances, a party supporting bookmaking experience necessary and writers and showcasing the work of queer artists in Chicago. He is Jesse Malmed is an artist, curator and educator working in welcome. The following bookbinding methods currently the Program Manager at Headlands Center for the video, performance, text, installation, events, occasional will be demonstrated: simple accordion folds, Arts in Sausalito, California, a member of the studio collective objects, their gaps and overlaps. His works play in sub- and hardcover accordion, crown book, franklin Real Time and Space in Oakland, and a Fellow at the Kala Art counter-cultural histories, like a joke that’s a poem that’s fold, fishbone fold and triangular book. There Institute in Berkeley. a song covering itself, a shadow puppet interfering in the will be handouts to aid in note taking as well as broadcast beam, having deja vu for the first time or demonstrations and examples for participants watching a time travel sequence in reverse. Engaging with to learn from. Participants will have a good a range of publics, his entanglements and propositions understanding of relief printing as well as how to (clockwise Myungah Hyon from top left) include instigating the poster platform Western Pole, make various book forms with their prints in them Connecting + Hybrid 2019 co-driving artist bumper sticker project Trunk Show, by the end of class. Jesse Malmed paper, PVA Glue directing the Live to Tape Artist Television Festival, Most Participatory programming with ACRE TV and the Nightingale Cinema, Myungah Hyon is an Adjunct Associate Professor in the 2017 Jeanine Coupe Ryding Blue Double Bend hosting the Artists’ Karaoke Archive, permanent guest Printmedia Department at the School of the Art Institute of Aay Preston-Myint 2016 hosting contemporary art radio show Bad at Sports, and Chicago, from which she earned her BFA and MFA, alongside O woodcut print recording and assisting the kindergarten a capella noise an AOCA from the Ontario College Of Arts and Design. 2019 28”H x 72”W mixed drawing media and ensemble Huskies Floorchestra. He attended Bard College Her exhibition history includes Printed Matter, New York; metallic tape on paper Breanne Trammell and the University of Illinois at Chicago, where he teaches Kookmin Art Gallery, Seoul; Gallery Factory, Seoul; Riverside 26” x 32” I Can’t Give You Anything alongside Chicago Public Schools and the University of Art Center, Riverside, IL; William A. Koehnline Gallery, Des But Love Wisconsin-Milwaukee. Plaines, IL; Elmhurst Art Museum, IL; Artemisia Gallery, 2014

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WEEKS 1 & 2 – MAY 31-JUNE 13 FIBER Papermaking Instructor: Andrea Peterson

2-week course || PAPER 604 001 3 credit hours || Lab Fee: $100

Paper is an exciting and elusive art medium. Paper pulp can be transformed into sculptural works, drawings with pulp and unusual surface textures. It can allude to skin, metal, rock, or represent something entirely unique. In class, we will explore these possibilities as we examine other artists using pulp as a contemporary medium. Traditional and non-traditional processes, tailored to the capabilities of each fiber, will be explored. Stretch your artistic and technical skills to create unusual works of art.

Andrea Peterson creates paper art works and relief printed images on handmade sheets of paper that utilized pulp-drawing techniques. She also creates site- specific installation work and book art pieces. She is an artist, educator, and author based in Laporte, Indiana. She received her MFA from the University of Minnesota and BFA from the School of Art Institute of Chicago. She co-operates Hook Pottery Paper, which is a joint venture with her husband ceramic artist, Jon Hook. At this studio she creates her artwork, conducts environmentally concerned paper research and production paper that is sold internationally. Her work has been collected by The Metropolitan Museum of Art in NYC.

WEEKS 1 & 2 – MAY 31-JUNE 13 PHOTO Ghost in the Machine Instructors: Sarah Belknap & Joseph Belknap

2-week course || PHOTO 611 001 3 credit hours || Lab Fee: $50

“I cannot find my center of gravity—” Mary Anne Atwood

This class utilizes and facilitates ways of perceiving beyond the human machine. Using various light sensitive medias, the darkroom, film and digital cameras, solar and nighttime telescopes, binoculars, sound recorders, and night vision cameras, we explore time and the properties of waves. We will produce images, videos, sound installations, and performances. PAPERMAKING ANIMAL BEHAVIOR AT OX-BOW OBJECTS IN VIDEO, THE FUTURE IS NOW: DIMENSIONAL COLLAGE Beyond studio work we will look into art, cinema, and literature FIBER SCIENCE VIDEO AS OBJECT THE ANTHROPOCENE PAINTING as works exploring themes in science, time, and perception. Instructor: Andrea Peterson Instructor: Dianne Jedlicka FILM, VIDEO, & NEW MEDIA PHOTO Instructor: Annalee Koehn Practices by numerous artist will be explored including but not PAPER 604 001 SCIENCE 3523 001 Instructor: Ilana Harris-Babou Instructors: Jeremy Bolen & PAINTING 653 001 limited to James Turrell, Hiroshi Sugimoto, Werner Herzog, Simon FVNM 609 001 Mika Tosca Starling, Carsten Nicolai, Sarah Charlesworth, and Alan Lightman. GHOST IN THE MACHINE HAND TO THREAD: PHOTO 612 001 YOU ART WHAT YOU EAT PHOTO IMPROVISATIONAL WET-PLATE & PLATINOTYPES SCULPTURE / VISUAL Sarah Belknap & Joseph Belknap are Chicago-based interdisciplinary artists and Instructors: Sarah Belknap & PATCHWORK & EMBROIDERY PHOTO ALTER/OVERFLOW: GARMENT CRITICAL STUDIES educators who received their MFAs from the School of the Art Institute of Chicago. Joseph Belknap FIBER Instructors: MAKING AS STUDIO PRACTICE Instructor: Eric May Working as a team since 2008, their art has been exhibited in artist-run exhibition PHOTO 611 001 Instructor: Melissa Leandro Robert Clarke-Davis & FIBER SCULP 669 001 spaces in Springfield, Brooklyn, Detroit, Minneapolis, Kansas City, and St. Louis. FIBER 623 001 Jaclyn Silverman Instructors: Brad Callahan & VCS 669 001 In addition, they have presented performances at institutions throughout Chicago, (opposite page) (top) (bottom) EXPERIMENTAL PATTERNING: 2-weeks || PHOTO 609 001 Vincent Tiley including the Chicago Cultural Center, Hyde Park Art Center, Links Hall, and the MCA. Padma Rajendran Andrea Peterson Sarah Belknap & METHODS IN TEXTILE PRINTING BETTER HOMES & GARDENS 1-week || PHOTO 610 001 & FIBER 619 001 METAMORPHOSING PAPER American Dream Jeans Queenanne Joseph Belknap Their work has been shown in group exhibitions at SFAI Galleries (San Francisco, FIBER ART HISTORY PHOTO 610 002 PAPERMAKING 2017 2018 Twelve months of Sun California) the Columbus Museum of Art (Columbus, Ohio), The Arts Club of Chicago, Instructor: Padma Rajendran Instructor: Lisa Stone Instructor: Andrea Peterson resist, dye, polyester, and handmade pigmented Spots the Chicago Artists’ Coalition, Western Exhibitions, and solo shows at The Arts Club hand stitching on fabric cotton rag and ink 2014 FIBER 622 001 ARTHI 625 001 2-weeks || PAPER 627 001 of Chicago and at the Museum of Contemporary Art Chicago. Their work was recently 39” x 47” 22” x 30” digital archival print 1- week || PAPER 607 001 & 7” x 7” included in the book, Weather as Medium by Janine Randerson, in the Leonardo Series PAPER 607 002 through MIT Press.

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WEEK 3 – JUNE 14-20 into the study of animal behavior. Students Melissa Leandro (b. Miami, FL) is an artist and lecturer will formulate and test hypotheses through based in Chicago whose woven and embroidered surfaces FIBER the acquisition of data in the field. Topics explore her composite cultural identity through means of covered include: classical learning and instinct, intuitive mark making. Leandro was awarded the Toby Devan Experimental reproductive behaviors, and interactions between Lewis Fellowship (2017) and the Luminarts Fellowship and within species. (2017) from the Luminarts Cultural Foundation, Union Patterning: Methods League of Chicago. Leandro is currently represented by Dr. Dianne Jedlicka teaches numerous Biology courses at Andrew Rafacz Gallery in Chicago and has attended Roger in Textile Printing SAIC including Animal Behavior, Evolutionary Mammalogy, Brown House Residency, Michigan; The Weaving Mill, Ecology (Natural History), and Human Anatomy and Chicago; TextielLab, The Netherlands and the Jacquard Instructor: Padma Rajendran Physiology. Her primary research has been at the community Center, North Carolina. She holds an MFA from the School of level of organization focusing on the feeding strategies the Art Institute of Chicago. 1-week || FIBER 622 001 and predation of tree and ground squirrels based on their 1 credit hour || Lab Fee: $50 functional morphology. Observational data collected WEEKS 5 & 6 – JUNE 28-JULY 11 on nocturnal foraging of the eastern cottontail rabbit Decorating textile is a global tradition that continues was published recently. All of these animals are found ART HISTORY to inspire artistic, commercial, and domestic throughout the Ox-Bow region and offer Dr. Jedlicka’s spaces. Discover the techniques within fabric students ample opportunity for scientific observations. Dr. Better Homes & printing and explore how to transform textile. In this Jedlicka has also presented and published articles on new introductory course, students will learn the basics teaching methods and labs in the college classroom. Current Gardens of screen-printing and block printing onto fabric. study topics of the Animal Behavior students include mirror Students create and print their own designs using neurons and their implications for group behaviors. Dr. Instructor: Lisa Stone printmaking inks and Procion dye. We will enhance Jedlicka is returning to Ox-Bow for another session of Animal our fabrics with reflective foil printing and dye baths Behavior, mammals, birds, and of course, our own lagoon 2-week course || ARTHI 625 001 to create patterns that sit on the surface and invent turtles will provide much insight into the animal kingdom! 3 credit hours images that become apart of the fiber. Students are welcome to bring their own light colored fabrics, WEEK 4 – JUNE 21-27 This course explores the rich genre of vernacular like cotton, linen, silk. Students will screen-print art environments—combinations of art, with water-based inks on fabric and utilize Procion FIBER architecture and/or landscape architecture, dyes to experiment with block printing. Students including religious grottos, spiritual, devotional will continue transforming their fabric with resist Hand to Thread: and mystical sites, gardens, ephemeral yard and dye techniques. Through daily demonstrations shows, architectural inventions, expressions of and active studio time, students will experiment Improvisational loneliness and survival, homes fully transformed, with repeat patterns and printing singular images. artist’s museums, and other created spaces that As a class, will explore these different printing Patchwork & are site and life specific. The course examines approaches as tools for students to create print work, historical and contemporary art environments painting surfaces, decorative objects, or installation. Embroidery and issues impacting art from beyond the (clockwise from top left) academic mainstream and its evolving Melissa Leandro Padma Rajendran combines fabrics of many materials and definitions, environments in their social, political Instructor: Melissa Leandro 10am _Cosina patterns to explore the multi-faceted definitions of universal and cultural contexts, home and landscape as 2019 heritage. Born in Malaysia, Rajendran encodes cloth with inks, 1-week || FIBER 623 001 studios, and site preservation. The course will jacquard woven cloth, symbols, and scenes that honor personal stories and traditions. 1 credit hour || Lab Fee: $50 be augmented by several visiting artists and dye, stitching, embroidery, spray paint She received her MFA at the Rhode Island School of Design and scholars, with optional meals with guests after 24” x 35” is currently faculty at SUNY Purchase and Parsons School of Hand to Thread will expand your knowledge class. Students who successfully complete the Design. She has exhibited at Ortega y Gasset Projects, Brooklyn; of traditional and contemporary modes course may apply for a Roads Scholarship for Dianne Jedlicka High Tide Gallery, Philadelphia; Crystal Flowers Art Salon, New of manipulating and embellishing fibrous Research and Travel. One to three are awarded, Lisa Stone York; Beers London, UK; the Wassaic Project, Wassaic, NY; textile materials. Through daily classroom based on research proposals. Photo of: Ferdinand Unpaved Gallery, Yucca Valley, CA; September Gallery, Hudson, demonstrations and assignments, students Cheval’s Palais Ideal in NY; and completed residencies at Ortega y Gasset Projects, the will gain historical and technical instruction in Lisa Stone is curator of the Roger Brown Study Collection Hauterives, France. Studios at Mass MoCA, Women’s Studio Workshop, and Lower a variety of needlework practices, hand and and Senior Lecturer in the Department of Art History, Theory, East Side Printshop. machine quilting, embroidery, beading, and and Criticism, both at the School of the Art Institute of shibori and fabric resist dyeing methods. We Chicago. Her research, teaching, writing, and curating WEEKS 3& 4 – JUNE 14-27 will be constructing and deconstructing found concern artists who work independently from the academic and sourced textile materials through the use mainstream. Stone’s work focuses on the preservation and SCIENCE of trapunto, appliqué, reverse appliqué, visible interpretation of vernacular environment builders, whose mending, and patchwork techniques. Readings work is often home/garden-based, ignoring or dissolving Animal Behavior include The Gee’s Bend Effect by Bridget R. boundaries between home and studio, life and art. With Don Cooks and PUSH Stitchery: 30 Artists Explore the Howlett she has written and implemented preservation plans at Ox-Bow Boundaries of Stitched Art. We will also consider for environments in the US since 1986. She co-curated (with the work of Dianna Frid, Ebony Patterson, Heidi Kenneth Burkhart) the exhibition Chicago Calling: Art Against Instructor: Dianne Jedlicka Parks, Stanford Biggers, and Anne Wilson. With The Flow, part of the Terra Foundation for American Art’s a keen focus on practices of collage, fabric/ Art Design Chicago initiative, shown at Intuit: The Center 2-week || SCIENCE 3523 001 scrap collecting, surface embellishment, and for Intuitive and Outsider Art, touring to Paris, Kaufbeuren, 3 credit hours || Lab Fee: $50 improvisational piecework, students will be Germany, Lausanne, Amsterdam (2018-2021). Stone has a encouraged to pursue their conceptual concerns Master of Science in Historic Preservation (1998) from SAIC. This course will incorporate field observations in with the community support of their peers and She works, seasonally, with soil, plants, stone, chance, and the natural environment surrounding Saugatuck faculty, in group critiques and on-on-one advising. time in her studio, a garden/ruin in Spring Lake, Wisconsin.

32 33 SPECIAL TOPICS SPECIAL TOPICS

WEEKS 5 & 6 – JUNE 28-JULY 11 will move between the studio, community, and and whose actions will be legible in rocks for millions natural environment at Ox-Bow to create images of years to come. World-changing in the most FILM, VIDEO, & NEW MEDIA and photographic objects. These courses can be literal sense, the implications of the Anthropocene taken sequentially for two weeks or individually for hypothesis are profound but also very uncertain. Objects in Video, one week. The first week will focus on wet-plate It calls into question the role photography, design, collodion; students will explore the fundamentals and the natural sciences can play as critical and Video as Object of large format photography using analog view creative agents. This transdisciplinary studio cameras to create glass-plate negatives in the field. seminar will be an experiment in these new forms Instructor: Ilana Harris-Babou Mobile, onsite darkrooms will allow instant gauging of understanding. Over the course of the class in progress and results. Glass plates can stand session, we will discuss and respond creatively to 2-week || FVNM 609 001 || 3 credit hours alone as photographic objects, or be reproduced in the following topics within the Anthropocene theory; photographic printing. During week two students models, deep time, imag(in)ing, valuing nature, In a world where screens are often taken for will work with platinotype printing, one of the most and slow violence / rapid change. Students are granted, this course asks students to reimagine stable photographic processes. Students will use encouraged to work on self-directed studio projects this complicated relationship with video. We will the traditional iron-based developing-out process that are inspired by the readings and discussions, work at the intersection of moving image and of platinum palladium. Using digital cameras and can expect to participate in a lively final group sculpture, examining how video can transform our laptops to capture images, they will digitally print critique, and will have the opportunity to contribute connection to both our environment and our own negatives to be used in this unique tactile process. to the journal Mind and Nature. bodies. Students will experiment with lighting, Those who participate in wet-plate collodion will be props, and set design; paying close attention to able to print directly from their glass plate negatives Jeremy Bolen is an artist, researcher, organizer and educator how surfaces are transformed by the lens. We will to be used in this unique tactile process. interested in site specific, experimental modes of documentation investigate projection mapping, video installation, and presentation. Much of Bolen’s work involves rethinking and the peculiarities of the screen. While attention Robert Clarke-Davis has served as an Associate Professor systems of recording — in an attempt to observe invisible in this course will be paid to demonstrations and in Photography at SAIC since 1990. He earned his BA from presences that remain from various scientific experiments and hands-on experiments, we will consider the work Beloit College and an MA at the University of London, human interactions with the earth’s surface. His work has been of Hito Steyerl and Nam June Paik and texts by Goldsmiths’ College, School of Art and Design. His work exhibited widely at numerous locations including the Museum Rosalind Krauss, all who unpack the relationship has exhibited at Cleveland Museum of Art; Milwaukee Art of Contemporary Photography, Chicago; La Box, Bourges; PACT between objects and time and emphasize both Museum; Wuk Kunsthalle, Vienna; and Magyar Fotogr’fiai Zollverein, Essen; EXGIRLFRIEND, Berlin; University at Buffalo, the physicality and immateriality of video through M’zeum Kesckem’t, Hungary. His work is held in the Buffalo; IDEA Space, Colorado Springs; The Mission, Houston; installation and web-based art. Students can collections of the Cleveland Museum of Art; Fine Arts Galerie Zürcher, Paris; Andrew Rafacz, Chicago; Soccer Club expect to participate in daily studio exercises and Library, Indiana University, IN; Impressions Gallery, North Club, Chicago; Salon Zürcher, New York; The Drake, Toronto; the class culminates in an ambitious final project, Yorkshire; The Rooms Corporation of Newfoundland and Untitled Art Fair, Miami; Gallery 400, Chicago; Newspace Center to be installed in physical space or online. Labrador. He is represented by James Baird Gallery. for Photography, Portland; Depaul University Art Museum, Chicago and Hyde Park Art Center, Chicago. Bolen lives and works Ilana Harris- Babou’s work is interdisciplinary; spanning Jaclyn Silverman is a photographer collaborating on between Chicago and Atlanta, serves as Assistant Professor of sculpture and installation, and grounded in video. She speaks community based work around expanded family and personal Photography at Georgia State University, is a co-founder and co- the aspirational language of consumer culture, using humor intergenerational histories. Silverman has exhibited in Ohio, organizer of the Deep Time Chicago collective, and is represented as a means to digest painful realities. Her work confronts the Illinois, and Colorado, has been a Lecturer in Photography with by Andrew Rafacz Gallery. contradictions of the American Dream: the ever unreliable The Ohio State University and Dominican University, Visiting notion that hard work will lead to upward mobility and economic Artist with Grenfall College in Newfoundland, Canada, and Mika Tosca is a trained climate scientist, having completed her freedom. She has exhibited throughout the US and Europe, with commissioned by Theaster Gates for photographic installations Ph.D. work at the University of California, Irvine in 2012. While at solo exhibitions at 80WSE, The Museum of Arts & Design, and published in conjunction with the exhibition “A Johnson Irvine, Dr. Tosca researched the interconnectivity of the climate Larrie in New York. Other venues include Abrons Art Center, the Publishing Story” at Stony Island Arts Bank. She is a founding with landscape fires and particulate (aerosol) emissions. She Jewish Museum, SculptureCenter, the De Young Museum, and member and past Artistic Director of Chicago non-profit artist continued her work as a postdoctoral scholar at the Jet Propulsion the Whitney Museum of American Art. She holds an MFA in New residency, CPS Lives, Part-time Professor of Arts and Humanities Laboratory (a contracted lab of NASA) in Pasadena, CA, working Genres from Columbia University, and a BA from Yale University. with the City Colleges of Chicago, faculty with Ox-Bow School of under Dr. David Diner. There she continued researching the Art, and third year artist in residence with George Washington interactions between climate and landscape fires, even traveling W EEKS 7 & 8 – JULY 12-25* High School for the community photo collaboration, East Side as far as Namibia in 2016 to research the complex relationships Volume One. Silverman is from Youngstown, Ohio, received her between smoke from fires and cloud formation. At SAIC, she has PHOTO BFA from The Ohio State University and her MFA from the School of begun to explore whether scientists can work with designers the Art Institute of Chicago. to determine whether reimagining data visualization can Wet-Plate & help scientists ask better questions. She continues to explore WEEKS 9 & 10 – JULY 26-AUGUST 8 contemporary science questions concerning climate change and Platinotypes has given several invited presentations to various organization. PHOTO Instructors: Robert Clarke-Davis & Jaclyn Silverman The Future is Now: (clockwise from top left)

2-week || PHOTO 609 001 The Anthropocene Mika Tosca Jeremy Bolen 3 credit hours | Lab Fee $100 Detail from Casual Jaclyn Silverman Invisibility Instructors: Jeremy Bolen & Mika Tosca Kianni & Allexis Medium 2018 1-week options || WEEK 7 - Wet-Plate: 2019 Soccer Club Club, Chicago, PHOTO 610 001 & WEEK 8 - Platinotypes: 2-week || PHOTO 612 001 || 3 credit hours purple marble Illinois. ambrotype PHOTO 610 002 || 1 credit hour || Lab Fee: $50 3 1/4” x 4 1/4” Ilana Harris-Babou The Anthropocene is the theory that we are in a “new Finishing a Raw Robert Clarke-Davis Basement (still) Using the historic, time-honored wet-plate geological age of humankind,” in which our species Christmas Tree 2017 collodion and platinotype processes students is the prime force of transformation on the planet 4K video, 6:41 min.

34 * WEEK 7 – July 12-18; WEEK 8 – July 19-25 35 SPECIAL TOPICS SPECIAL TOPICS

WEEKS 9&10 – JULY 26-AUGUST 8 WEEK 11 – AUGUST 9-15 food as a media itself; and the participatory possibilities of cooking, serving, and dining as (clockwise from top left) FIBER PAINTING art forms. We will examine cultural and political implications of what we eat and how it relates Annalee Koehn Vincent Tiley to our everyday lives. Our paths of research No.17 Blue Zombie Alter/Overflow: Dimensional Collage 2013 2016 will wander through the history of food in art as fabric (hand-dyed, Garment Making as Instructor: Annalee Koehn well as outside of the classroom into the rich production, repurposed), Eric May agricultural abundance of Western Michigan, and mixed media collage American (Middle the traditions of gastronomy at Ox-Bow, and our Class Artist Pie) Studio Practice 1 week course || PAINTING 653 001 Brad Callahan 2018 1 credit hour || Lab Fee: $50 relationship to the natural landscape. Lost moments pie & recipe Instructors: Brad Callahan & Vincent Tiley captured forever Seattle Freezer, Seattle This week-long class combines traditional collage Eric May is a Chicagoland-based parent, chef, and artist. 2019 concepts and paper construction styles to explore a Eric cooked for Ox-Bow for 15 years, running the kitchen Shot by Michael Burk 2-week course || FIBER 619 001 3 credit hours || Lab Free: $100 structural approach to image and form using found for 11 of those years. He is the founder and director of imagery and materials. Deliberate or makeshift, Roots & Culture, a nonprofit contemporary art center in Using the multifaceted and often conflicting there is a body of artist collage referencing the Chicago’s Noble Square neighborhood. Received an MFA from traditions of queer dress as a foundation, this world of 3D objects such as paper toys, games, Northwestern University and has exhibited work and hosted garment-based class will introduce students to and packaging. Informed by the tradition of artists’ events at the Museum of Contemporary Art Chicago, the a spectrum of fashion industry and DIY garment collage and assemblage work, including Eileen Agar, Hyde Park Art Center, DePaul Art Museum, Three Walls, and making techniques. Students will explore Romare Bearden, Joseph Cornell, Hannah Hoch, The Charlotte Street Foundation. methods of alternative pattern making, up- Claes Oldenburg, Pablo Picasso, Betye Saar, and cycling, textile manipulation, embellishment, Kurt Schwitters, this class will explore and expand WEEK 11 & 12 – AUGUST 9-22 and hand techniques to create new wearable art the possibilities of 3D structural imagery, function, that exists between fashion, performance, and utility, and content building. Students will employ FIBER sculpture. Themes of gender, race, desire, fetish, traditional materials and tools such as bristol board, and camp will be explored and expanded in both x-acto knife, scissors, tape and glue, and a stockpile Metamorphosing personal projects and group discussion. Artists of colored papers, found images, other printed and designers whose work will be discussed materials. Students will come away with a collection Paper include to Leigh Bowery, Narcissister, Claude of meaningful objects that incorporate their personal Cahun, Rebecca Horn, Stephen Varble, Louise vision and an expanded visual vocabulary. Instructor: Andrea Peterson Bourgeois, Raul De Neives, K8 Hardy, Terence Koh, Nayland Blake, Patrick Kelly, Adrian, Rudi Annalee Koehn is a Chicago-based artist and musician and 2-week course || PAPER 627 001 Gernriech, Eiko Ishioka, Iris van Herpen, Charlie le teaches at SAIC in the Designed Objects Department. Her 3 credit hours || Lab Fee: $100 Mindu, Charles Worth, Paul Poiret, Erte, Jean Paul work is often structural, but spans disciplines and materials, Lespagnard, and Shaye St. John. Experimentation sometimes defying categorization. Threads that run throughout 1-week options || WEEK 11 - PAPER 607 001 & is encouraged and students are invited to present are an exploration of physical and metaphorical properties of WEEK 12 - PAPER 607 002 their work as performances, videos, installations, materials, play, cause-and-effect, and the interplay of form 1 credit hour || Lab Fee $50 party-personce, etc. and function. Koehn has multiple grants and awards, including a 2019 SAIC Faculty Enrichment Grant, and 8 US Patents. She Metamorphosis is an entity’s transformation Brad Callahan designs the label BCALLA. After graduating was a founding member of the original 1988 Par Excellence from its original structure into another form. In from SAIC he moved to New York City where his eye popping artist-built miniature golf course and will recreate her golf-hole this course, we will develop an understanding creations made their way from club kids to pop stars quickly for the 2020 exhibition Par Excellence Redux at the Elmhurst of paper fiber, in tandem with surface and becoming a staple for those who dress for attention. Art Museum. Her work has been shown at the Chicago Cultural structural modifications, to create works of BCALLA has appeared in numerous music videos, stage Center, Galerie POWERHOUSE, Montreal, Frederick Layton art. We will be using pulps that can be highly performances and print publications such as Vogue, I-D, Gallery at MIAD, Vanderbilt University, Edinboro University of pigmented or translucent to create effects PAPER, and Harpers Bazaar. Pennsylvania, Illinois State Museum, Randolph Street Gallery only possible with paper fiber. Pulp imaging, and others. Koehn earned her MFA from Louisiana State watermarking, and other techniques will be Vincent Tiley’s paintings, performances, and video works University and BFA from University of Illinois. Other teaching explored to create the illusion of entirely new take the visual and material cultures of queer desire and includes Milwaukee Institute of Art and Design, West Virginia surfaces. The transformed pulp will be soft, survival as primary sources. Influenced by fetish, fashion, University, Oakton College, and traditional music and harmony rigid, textured, sculptural, pigmented, etc. medicine, protest, and science fiction his work combines singing at The Augusta Heritage Center and private workshops. Handmade paper fibers are strong, durable, these vernaculars with the methodologies of abstraction and lightweight and can handle several and durational performance, using bodily restraint as a WEEK 12 – AUGUST 16-22 alterations—allowing them to reference metaphor to evoke visceral and political responses. Born in something entirely new. West Virginia, New York based artist Vincent Tiley received SCULPTURE a MFA from the School of the Art Institute of Chicago and a VISUAL CRITICAL STUDIES Andrea Peterson creates paper art works and relief BFA from the Maryland Institute College of Art. In 2017 he printed images on handmade sheets of paper that utilized participated in the Fire Island Artist Residency (FIAR) and You Art What You Eat pulp-drawing techniques. She also creates site-specific resident at ACRE. His work has been featured and reviewed installation work and book art pieces. She is an artist, in Art in America, the Chicago Tribune, Performa, and Instructor: Eric May educator, and author based in Laporte, Indiana. She received the New York Times. The artist has been widely exhibited her MFA from the University of Minnesota, MN and BFA from internationally including the Museum of Art and Design, 1-week || SCULP 669 001 or VCS 669 001 the School of the Art Institute of Chicago. She co-operates the Leslie-Lohman Museum, AxeNeo7, CFHILL, and the 1 credit hour || Lab Fee: $50 Hook Pottery Paper, which is a joint venture with her husband International Museum of Surgical Science.His works have ceramic artist, Jon Hook. At this studio she creates her been collected by the Whitney Library, the Leather Archives Since the caves at Lascaux, food has been an artwork, conducts environmentally concerned paper research and Museum, Yale University Library, and the Watson Library original subject of art. In this course we will and production paper that is sold internationally. Her work has at the Metropolitan Museum of Art. explore representation of food in art; employing been collected by The Metropolitan Museum of Art in NYC.

36 * WEEK 11 – August 9-15; WEEK 12 – August 16-22 37 VISITING ARTISTS

WEEK 1 – MAY 31-JUNE 6 WEEK 2 – JUNE 7-13 WEEK 5 – JUNE 28-JULY 4 WEEK 6 – JULY 5-11 Leslie Wilson Matt Austin William J. O’Brien Zachary Fabri

WEEK 3 – JUNE 14-20 WEEK 4 – JUNE 21-27 WEEK 7 – JULY 12-18 WEEK 8 – JULY 19-25 Samantha Bittman Erica N. Cardwell Michelle Grabner Naama Tsabar

Leslie Wilson’s scholarship mines Matt Austin is a book designer and publisher Samantha Bittman is an artist and teacher Erica N. Cardwell is a writer, critic, and Chicago-based artist William J. O’Brien’s Zachary Fabri works through a range of Michelle Grabner is an artist, writer and Naama Tsabar (b. 1982, Israel) Lives and the connections between photographic based in Chicago, IL. He is the founder and co- based in Brooklyn, NY. Her work exists educator based in Brooklyn, New York. Erica idiosyncratic and exuberant forms are born media, such as photo, video, performance curator. She is the Crown Family Professor works in NYC. received her MFA from Columbia technologies, visual form, and political owner of Candor Arts, an independent publisher between painting, weaving, and installation, uses a Black feminist lens as her primary out of an improvised and intuitive studio and drawing. His practice mines the of Painting and Drawing at the School of the University in 2010. Solo exhibitions and activism. International in scope, her research and resource for the design and production and within it she explores ideas around critical approach - she often writes about practice, rich in material experimentation. intersection of his personal life and local Art Institute of Chicago. She has also taught performances of Tsabar have been presented focuses on the global history of photography, of artist books. Dedicated to supporting pattern, perception, and the interconnected print, archival media, visual culture, and Through drawing, painting, sculpture, and community, while looking at concerns at The University of Wisconsin-Madison, at the Solomon R. Guggenheim Museum, modern and contemporary arts of Africa artists through alternative social systems, his development of weaving, technology, and interdisciplinary performance. Erica is deeply ceramics, O’Brien explores the traditional surrounding cultural commodification, Cranbrook Academy of Art; Milton Avery Museum of Art and Design, New York; The High and the African diaspora, and modern and relationship to arts communities continues to human cognition. She received her BFA in fascinated with the imaginations of people and historical application of materials, but gentrification, and public space. He has Graduate School of Arts–Bard College; Yale Line Art, New York; Nasher Museum, Durham, contemporary American art. Her current shift between artist, educator, and entrepreneur. Textiles from The Rhode Island School of of color, as a tool for social, spiritual, and also employs play to refute such definitive been awarded The Louis Comfort Tiffany University School of Art; the University of NC; Kunsthuas Baselland, Switzerland; Palais book project charts the development and In 2012, he co-founded LATITUDE, an open Design, and her MFA in Painting from The collective movement. Her writing has appeared uses. Inspired by Modernism, as well as the Foundation Award, the Franklin Furnace Pennsylvania; and Skowhegan School of De Tokyo, Paris; Prospect New Orleans; Tel popularization of color photography in South photography digital lab for Chicago, and The School of the Art Institute of Chicago. She or is forthcoming for BOMB, The Believer, history of material usage of Outsider Art, Fund for Performance Art, and the New Painting and Sculpture. Grabner’s work is Aviv Museum of Art; The Herziliya Museum Africa, from its inception in the early twentieth Chicago Perch, a creative platform for social has participated in residency programs at the Brooklyn Rail, Frieze, Hyperallergic, Green O’Brien’s multidisciplinary practice is a York Foundation for the Arts fellowship. represented by James Cohan Gallery, NYC; for Contemporary Art, Israel; MARTE-C, El century to contemporary practice. She is exchange through symposium dinners, book Joseph and Anni Albers Foundation, Sharpe- Mountains Review, Pank, Passages North and search for identity and genuine expression Fabri’s work has been exhibited at Art in Anne Mosseri-Marlio, Basel; Rocket, London; Salvador; CCA Tel Aviv, Israel; Faena Buenos currently the Curatorial Fellow for Diversity publishing, and public programs. As of January Walentas Studio Program, Skowhegan School other publications. She has been awarded through material and process. O’Brien General, The Studio Museum in Harlem, El the Green Gallery, Milwaukee, Gallery 16, San Aires; Frieze Projects, New York; Paul Kasmin in the Arts at the Smart Museum of Art at 2020, he has designed, funded, produced and of Painting and Sculpture, Bemis Center for residencies and fellowships from the Lambda has held solo exhibitions at the Madison Museo del Barrio, The Walker Art Center, The Francisco; bkprojects, Boston, MA. She has Gallery, New York; Paramo Gallery, Guadalajara; the University of Chicago, on leave from her published 46 books for artists (2 small books Contemporary Art, and Ox-Bow School of Art. In Literary Foundation, Vermont Studio Center, Museum of Contemporary Art, the Museum of Brooklyn Museum, The Barnes Foundation, exhibited her work at Musée d´art Grand-Duc Dvir Gallery, Israel; Spinello Projects, Miami. position as Assistant Professor of Art History of his own work) of which have been acquired 2012, she received the Artadia Award. Her work and the Summer Writers Retreat at the Banff Contemporary Art, Chicago and The Nerman birds + Richard, Third Streaming, Julius Jean, Luxembourg; Stadtgalerie, Keil; The Selected group exhibitions featuring Tsabar’s at Purchase College, SUNY. She has held by over 90 institutional collections around the has been written about in The New York Times, Centre for Arts and Creativity. Erica received Museum of Contemporary Art, Kansas City Caesar, and Performa. Artist residencies Indianapolis Museum of Art, Green Gallery, work include Schirn Kunsthalle in Frankfurt, curatorial internships at the Art Institute of world, including the Walker Art Center, the Art Wall Street International, and The Washington her MFA in Writing from Sarah Lawrence among others. O’Brien has received awards include Workspace at the Lower Manhattan Milwaukee; Kunsthalle, Bern; Walker Art Elevation 1049 Gstaad, Switzerland; Goodman Chicago, Contemporary Art Museum St. Louis, Institute of Chicago, the Metropolitan Museum Post, amongst others. Recent exhibitions College. She teaches writing and social justice from the Louis Comfort Tiffany Foundation Cultural Council, Smack Mellon, Jardim Center, Minneapolis; Daimler Contemporary, Gallery, South Africa; TM Triennale; Hasselt and the St. Louis Art Museum and contributed of Art, and the New York Public Library. Several include: Ronchini Gallery, London, UK; Andrew at The New School; and is on the editorial board and Artadia. His work is included in the Canada Center of Art and Technology, Berlin; Midway, Minneapolis; Rocket, London; Genk, Belgium; ‘Greater New York’ 2010 book reviews to African Arts and caa.reviews. books designed and published by Austin have Rafacz Gallery, Chicago, IL; Corbett vs. of Radical Teacher Journal. erica-cardwell.com permanent collections of the Cleveland HomeBase Project, and Skowhegan. He has INOVA, Milwaukee; Southfirst, Brooklyn; at MoMA PS1; Museum Dhondt-Dhaenens, From 2015 to 2017, she held a predoctoral been recognized internationally, namely: Go Dempsey, Chicago, IL; and Greenpoint Terminal Clinic, Miami Art Museum and The Art collaborated in interdisciplinary projects Gallery 16, San Francisco; Minus Space, Belgium; The Bucharest Biennale for Young fellowship at the Center for Advanced Study Down Moses edited by Teju Cole, a finalist Gallery; Brooklyn, NY. Institute of Chicago. with choreographer Joanna Kotze at the Brooklyn; Cranbrook Art Museum, Bloomfield Artists; Hessel Museum of Art at CCS Bard; in the Visual Arts. She received a PhD in Art for the 2019 Lucie PhotoBook Awards, and In Baryshnikov Arts Center, and with artist Hills, MI; Shane Campbell Gallery, Chicago; Casino Luxembourg, Luxembourg; ExtraCity History from the University of Chicago and the Company of Black by Cecil McDonald, Jr., Torkwase Dyson at the Graham Foundation, The Milwaukee Art Museum; Anne Mosseri- in Antwerp,Belgium.Tsabar’s work has been holds a BA in International Relations from a finalist for the 2017 Aperture/Paris Photo Museum of Modern Art and most recently at Marlio, Zurich; Bricks and Kicks, Vienna; featured in publications including ArtForum, Wellesley College. PhotoBook Awards. Since 2009, he has taught at Pace Gallery in New York City. Fabri lives and Turbinehallerne, Copenhagen; Ulrich Museum Art In America, ArtReview, ARTnews, The New the School of the Art Institute of Chicago, Senn works in Flatbush, Brooklyn. of Art, Kansas; Leo Koenig Gallery, New York; York Times, New York Magazine, Frieze, Bomb High School, Marwen, and currently teaches Harris Lieberman Gallery, New York. Magazine, Art Asia Pacific, Wire, and Whitewall, Artist Publishing Intensives through Candor Arts. among others.

38 39 PRE-COLLEGE PROGRAM

WEEK 5 – JUNE 28-JULY 4 Expansions: Skill Building for Advanced High School Artists Instructor: Claire Arctander

1-week || PAINTING 401 001 || 1 credit hours

This pre-college class will entail individual and collective exploration of foundational aspects of WEEK 9 – JULY 26-AUGUST 1 WEEK 10 – AUGUST 2-8 artmaking. Participants will establish a community in Nora Maite Nievés Haynes Riley which they draw from observation, make found object sculptures, and devise site-specific installations to investigate our current surroundings. Students will engage in mark-making and sculptural and performative experiments to learn about ourselves, our values, and our location. Using materials, sites and content found in and around Ox-Bow’s campus, students will begin to develop an understanding of the reasons why art is made. By week’s end, students will decide upon a central question and present a group show of works responding to that theme. Students will gain technical skills in observational drawing, formal skills in organizing objects into coherent artworks, and conceptual skills in developing strong ideas behind their art-making practice. The students’ interests, priorities and collaborative efforts will help dictate the direction of WEEK 11 – AUGUST 9-15 WEEK 12 – AUGUST 16-22 the course and the resulting exhibition.

John Kilduff Sky Hopinka Claire Arctander works across multiple mediums to joyfully articulate conflicted feminist notions of desire and desirability. Claire’s works refer to and respectfully pervert aesthetics of Nora Maité Nieves is an artist interested Haynes Riley is founder and director John Kilduff a.k.a. Mr. Let’s Paint is best Sky Hopinka is an experimental filmmaker women’s creative outputs throughout American history. Via an in the expanded dialogue of painting. Her of Good Weather, a gallery in North known for the cable access TV show titled working in forms of documentary and investment in and respectful treatment of abject, lush materials paintings, drawings and sculptures explore how Little Rock, Arkansas, which has had a “Let’s Paint TV” which debuted in 2001, narrative hybrids. He was born and raised and low-brow media outlets—such as pop music, home decor, we define space through domestic ownership. decentralizing impact on the presentation where Kilduff complicates his 35-year in Ferndale, Washington and spent a number porn, handicrafts, edibles, and consumer ephemera—she Nieves make reference to ornamental details of contemporary art. Riley’s practice as passion for plein air painting with comedic, of years in Palm Springs and Riverside, CA, posits debasement as a viable position from which to critically from architecture, especially to floor and wall an artist, curator, and designer seeks to dada-esque performances. After some time Portland, OR, and is currently based out of Ox-Bow’s Pre-College program is a in Ox-Bow’s Pre-College program, a operate. Claire is Campus Director at Ox-Bow. She has worked as surfaces and tiles. She is drawn to the mystic make meaningful connections through in acting school and improv training with the Vancouver and Milwaukee, WI. In Portland, one-week skill-building class designed week-long intensive course for high a teaching artist at the Museum of Contemporary Art Chicago and values of objects such as amulets, heirlooms, relationship-building and contextualization. Groundlings he received his MFA from UCLA he studied and taught chinuk wawa, a for advanced high school juniors, school students who come to Ox-Bow at Weinberg/Newton Gallery and has taught at the University of and jewelry. Nieves lives and works in Brooklyn. Solo exhibitions include An attitude you can in 2008. Kilduff has exhibited and performed language indigenous to the Lower Columbia seniors and recent graduates who to strengthen their skills and bond with Illinois Chicago and the City Colleges of Chicago. She has been a She received her MFA from the School of the wear, at TOPS, Memphis; Grand Opening, all over the US, Canada, Australia, and River Basin. His video work centers around resident at the Cooper Union, Summer Forum, ACRE, and Ox-Bow. are considering pursuing a degree in other artistic teens from a range of Art Institute of Chicago, and her BFA from La at Brittany, Vallejo; and Always, at The Austria. He lives and works in Los Angeles. personal positions of Indigenous homeland Her work has appeared at Franklin Street Works in Stamford, the the visual arts. Students are given the locations and backgrounds. Escuela de Artes Plásticas, in San Juan, Puerto Hills Esthetic Center, Chicago. Selected and landscape and designs of language as Museum of Contemporary Art Chicago, The Nightingale in Chicago, opportunity to evaluate and strengthen Rico. Recent solo exhibitions include: Full two-person exhibitions include Familiars containers of culture. He received his BA Artists’ Television Access in San Francisco, the 3001 Gallery at the their commitment to the study of art, Room in the Sun Room at Fresh Window Gallery with Katie Wynne at Sediment, Richmond from Portland State University and his MFA E.W. ROSS SCHOLARSHIP: For any University of Southern California, The Cell in New York City, Eastern in Brooklyn, NY, Paisaje Lunar at Flyweight and Homie Sapiens with Layet Johnson at in Film, Video, Animation, and New Genres receive college level instruction, and high-school student enrolling in the Michigan University’s Ford Gallery, nGbK in Berlin, and Gallery 400 Projects, Brooklyn, NY, and Tangible, Hidrante Thea Foundation, North Little Rock. Group from the University of Wisconsin-Milwaukee receive 1 college credit through the pre-college program. in Chicago among others. Gallery, San Juan, PR. Some of her recent exhibitions include La Mesa Brutal at Arturo and currently teaches at Simon Fraser School of the Art Institute of Chicago. group exhibitions include: Rubus Armeniacus Bandini, Los Angeles, Fence as part of The University in Vancouver. His work has played Other Ox-Bow classes run concurrently We are grateful to our supporters: (Himalayan Blackberry), Jessica’s Apartment Great Good Place at Threewalls, Chicago, at various festivals including the New York with these courses, providing The Marian and Tom Wendel Gallery, New York, Repatriation, (Museo de and Document V at The Luminary, St. Film Festival, Toronto International Film Pre-College students with a sense of Scholarship in support of the Arte de Puerto Rico), Eddy’s Room at Galleri Louis, among others. Riley has organized Festival, and Sundance. His work was a part community as they interact with other Pre-College Program. Thomassen, Gothenburg, Sweden, Lo Natural exhibitions independently and with various of the 2017 Whitney Biennial, the 2018 Front artists taking classes. at Unisex Salon Gallery, Brooklyn, Expansive platforms, including friendsh.jp, The Triennial and was a guest film curator at the (top: clockwise) Threads curated by Edra Soto at The Latino Arts Bedfellow’s Club, and Girl/Boy Gallery (which 2019 Whitney Biennial. About E.W. Ross A selection of photos from community participating Gallery in Milwaukee, Wisconsin. operated during Ox-Bow School of Art’s the 2019 Pre-College in the students’ interactive E.W. Ross was a talented and generous 2012 Fall Artist Residency). Riley studied class: drawing from final installation. at The Mountain School of Arts (MSA^) and artist, educator, and administrator. observation at the Crow’s Nest overlook, material 4 Colors to Wipe You has an MFA from Cranbrook Academy of Art. He served Ox-Bow for over 35 years as experiments with objects 2017 Riley lives and works in North Little Rock, Faculty, Program Director, and later collected around campus, vintage kleenex box and Arkansas. Board Member. He founded and taught and the Campus latch hooked yarn

40 41 SECTION TITLE FELLOWSHIP & RESIDENCY

FELLOWSHIP ELIGIBILITY SUMMER ARTS FACULTY RESIDENCY RECIPIENTS RECEIVE: Applicants must: Two week residencies •• Studio space with 24 hours access. •• Be undergraduate students in their May 31 - August 22, 2020 (all residents also have access to junior/senior year or MFA students or During the summer, Ox-Bow offers two our printmaking and metals studio. have graduated December 2019 or week residencies to faculty members The ceramics studio is dedicated to later in the arts, in an adjunct or full-time those artists working primarily in the •• Be at least 21 years old at the start of capacity. This program is designed to give medium. If you would like to use this the fellowship teaching artists the much-needed time space, make sure it is clearly stated in •• Have the ability to work in the United to focus on their own work throughout the your application) State or have a work visa summer and also to connect with other •• Private room (shared bathrooms and faculty teaching at Ox-Bow. showers) •• 3 meals a day 2019 FELLOWSHIP STUDENTS SUMMER MFA RESIDENCY •• A diverse community of engaged artists Cecilia Beaven, Three-week residencies • Opportunities to share work through School of the Art Institute of Chicago May 31 - August 22, 2020 • presentations Ali Bonfils The Summer MFA Residency is a three- Pratt Institute week program open to any current or INTERNATIONAL ARTISTS recent MFA graduate. Recent graduates CC Calloway Ox-Bow’s residency programs are open must have graduates from an MFA University of Texas at Austin to international artists. Please take program on or after December 2019. the following into consideration when Isabella Castillo This program allows residents to take applying: The University of Arkansas advantage of the summer community •• International artists are responsible (faculty, visiting artists and students) Scout Dearth for obtaining and necessary visas, as while also having the space and time Kansas City Art Institute well as all necessary documentation to focus on their practice. There are Isabella DeMatteo for travel. generally 3 summer residents on campus Cooper Union •• International applicants are eligible at a time. for funding, but please note that any Lin Foust funding granted must be restricted to Grand Valley State University MFA AND ARTS FACULTY RESIDENCY travel and materials. RECIPIENTS RECEIVE: Juan Hurtado Salazar THE LEROY NEIMAN FELLOWSHIP PROGRAM • Private Studio (raw studio space; Tyler School of Art and Architecture • COLLABORATIVE GROUPS Each summer, Ox-Bow offers 12 fellowship students from competitive art schools all classroom studios not available) Travis Morehead Artists may apply as individuals or as over the nation a fully funded opportunity to focus on their work, meet with renowned •• Private room (shared bathrooms and pairs to live and work on campus on a artists, and grow as members of this unique community. These students live on campus Rhode Island School of Design showers) project of their design. Applicants will for 14 weeks where they participate in campus life as both staff members and artists. By Martha Poggioli •• 3 meals a day receive one studio space as well as working closely with the staff, fellows develop relationships with others who have also School of the Art Institute of Chicago •• Access to visiting artist and faculty for shared housing. made artmaking their lives. Fellowship students are either selected by Ox-Bow’s jury or studio visits Skye Volmar the departments at one of eight partnering schools based on the merit of their work and •• Evening artist lectures Rhode Island School of Design on their commitment to making inspired and innovative art. During their stay at Ox-Bow, •• Opportunities to share work through fellowship students are able to reinforce their commitments to artmaking, benefit from Natalie Wadlington slide presentations, readings, etc. APPLICATION DEADLINES intense focus and access to professional artists. The fellowship program is a once in a Cranbrook Academy of Art lifetime opportunity to participate within an engaging artist-run community. FELLOWSHIP & FALL ARTIST & WRITER RESIDENCIES •• MFA & ARTS FACULTY Two, three, & five-week residencies RESIDENCY: January 30, FELLOWSHIP RECIPIENTS RECEIVE: WHO CAN APPLY FOR A FELLOWSHIP? ARTIST-IN-RESIDENCE RESIDENCY September 7 - October 11, 2020 2020, Midnight •• A studio space with 24 hour access •• Students from any school PROGRAM Ox-Bow’s residency program offers Fall residents are given the time, solitude, •• Weekly stipend for working 20 hours •• Ox-Bow offers 3 fellowships to and focus often unavailable to so many •• FELLOWSHIP: on campus in housekeeping, the undergraduate and graduate artists and writers the time, space, and working artists. Each Fall approximately February 20, 2020, Midnight kitchen, grounds and maintenance or students from any degree-seeking community to encourage growth and 35 artists and 6 writers participate in the office institution experimentation in the practice. The Arts Faculty and MFA Residencies are the residency creating a community of • COURSE MERIT •• Free housing and meals •• Ox-Bow offers 2 fellowships to • held during the Summer while our course engaged peers. At Ox-Bow, residents can SCHOLARSHIP: •• Weekly studio visits with visiting artists undergraduate and graduate classes and community programs are in enjoy 24-hour access to their studios, February 20, 2020, Midnight •• Opportunity to exhibit their work students from the School of the Art session. During this time, a small group and an inspirational setting, free from •• Opportunity to audit a two week Institute of Chicago of 3 residents have access to Ox-Bow’s the expectations of commercial and course of their choosing •• Students chosen by Partner Schools •• FALL ARTIST AND artist community of students, faculty, academic demands. During the fall WRITER RESIDENCY: and visiting artists. The Fall Artists’ season, Residents have the opportunity Ox-Bow works with eight partner schools to bring in fellows from across the country. The May 2, 2020, Midnight Residencies are held for five weeks in to work in studios not available during partner schools for 2020 are Pratt Institute, Cooper Union, Kansas City Art Institute, Rhode September and October. This larger the summer session. Three studios are Island School of Design, Cranbrook Academy of Art, Grand Valley State University, the For more information and group of artists has the opportunity dedicated specifically to writers. The fall University of Texas at Austin and the School of the Art Institute of Chicago. Students from to apply online, to build a community while working in is also an ideal time to propose group or these schools can apply through their school or apply directly to Ox-Bow for the open visit www.ox-bow.org studios around campus. collaborative work spots available to students from any school.

42 43 LIFE @ OX-BOW

COURSES & STUDIOS Courses offer a unique opportunity to build your community by working closely alongside artists from all over the world with world-class instructors. Ox-Bow’s courses are diverse, ranging in focus from functional to sculptural; from traditional to contemporary; from representational to conceptual. Intensive and immersive one and two week courses allow students to delve deeply into their practices. All studios, except glassblowing, are open 24 hours. Ox-Bow’s six classroom studios are: •• Thiele Print Studio •• Haas Painting & Drawing Studio •• Seymour & Esther Padnos Metals Studio •• Krehbiel Ceramics Studio •• Burke Glass Studio •• Clute Papermaking Studio

SCHEDULE Sunday (First Day) Schedule: •• Arrive between 2 and 5 PM (Eastern time) for check-in and onsite paperwork •• 5:30 PM orientation, meeting for all students and work study meeting •• 6 PM dinner •• 8 PM first class meeting

Throughout the Week: •• Students participate in one course per session •• Classes meet daily 10 AM – 5 PM (except glass classes which meet at 9 AM-6 PM) •• Two-week classes meet on both days of the middle weekend of the session OVERVIEW •• No classes meet on the last Frederick Fursman and Walter Clute, two and in our public spaces; to remain open Saturday of the session faculty members from the School of the to new experiences and contribute your Art Institute of Chicago, founded Ox-Bow unique perspective to our vital and historic CONTACT INFORMATION in 1910. Each summer more than 500 artists, community. During any given week, you Questions concerning your stay at students, and educators gather along the will find: Ox-Bow (i.e. arriving, leaving, what lagoon in beautiful Saugatuck, MI, located •• Students taking 1-2 week immersive to bring, travel issues, etc.) should 2 ½ hours from Chicago. With programs classes be directed to Saugatuck office at that cater to degree-seeking students, •• Faculty from all over the world (269) 857-5811. The Ox-Bow Campus professional artists, and those new to the •• Renowned Visiting Artists, Curators, is located at 3435 Rupprecht Way, field, Ox-Bow is a protected place where and Scholars Saugatuck, MI 49453. Questions creative processes break down, reform, •• MFA and Faculty Artists-in-Residence regarding class registration and and mature. At Ox-Bow, we encourage •• 12 Fellowship Students from schools payment should be directed to the you to experiment, take risks, be playful, across the country Ox-Bow Program Associate in the and trust your instincts; to engage faculty •• Staff who are all working artists and Chicago Administrative Offices at and fellow students during course time have active studio practices (800) 318-3019.

44 45 LIFE @ OX-BOW LIFE @ OX-BOW

contributes in any way to the disruption of the educational processes or residential life at Ox-Bow. (SAIC students will be subject to the disciplinary procedures and sanctions as outlined in The School of the Art Institute of Chicago’s Student Handbook.) Additionally, Ox-Bow reserves the right to deny a Work Scholarship to any individual who has demonstrated the inability to satisfactorily or safely complete the work assignments given as part of the Work Scholarship program.

COMPANION/GUEST POLICY No companions, guests or visitors are permitted during your stay. All residential housing and studio facilities are limited to artists enrolled in courses. We may be able to assist participants in finding accommodations for individual family circumstances, but these arrangements will be made on a case by case basis and must be in advance of your course or residency. There is no guarantee that alternate accommodations can be established.

SUSPENSION OR EXPULSION POLICIES ACTIVITIES & CAMP LIFE HOUSING Ox-Bow reserves the right to impose There are always a number of activities Ox-Bow provides shared, dormitory- sanctions including suspension and to participate in around camp after style housing with shared bathrooms expulsion, without refund, upon students course hours: in our main Inns. Single rooms can be for behavior which in the judgment of •• Visiting Artist, Artist-in-Residence requested at the time of registration and Ox-Bow contributes in any way to the and Faculty lectures are available on a first-come, first-served disruption of the educational processes •• Friday Night Open Studios basis for an additional fee of $150 per or residential life at Ox-Bow. Additional •• The Crow’s Nest Trail: Hike through 115 week, except for those with accessibility policies are listed in the Ox-Bow Policy & acres of wooded dunes issues. We do our best to match students Procedures Handbook. (SAIC students will •• Take a canoe out to explore the with the type of housing they request. be subject to the disciplinary procedure lagoon and to the beach along Lake and sanctions as outlined in the School Michigan COMMUTING STUDENTS of the Art Institute of Chicago’s Student •• Volleyball on the meadow Commuting is an option for local residents Handbook.) •• Explore the charming resort towns of and students who wish to make other Saugatuck and Douglas housing arrangements. There are a STUDIO POLICIES •• Relax around the campfire variety of off-campus accommodations Each studio has specific policies in order •• Themed Friday night costume parties (motels, hotels, inns) located in and around to ensure the safety of students and (a 110 year old tradition!) Saugatuck and Douglas. Both towns equipment. Additionally, these policies are about 2 miles from Ox-Bow and are ensure that all participants receive MEALS accessible by car. There are a number of a quality education by having equal Students enjoy healthy and delicious options located within walking distance. access to faculty and equipment. All meals prepared each day by our Camping is not allowed at Ox-Bow. studio specific policies will be explained talented kitchen staff. Locally sourced Meal plans are available for commuting on the first night of classes. Any student ingredients are used to as much as students (Lunch only $45, Breakfast and found in violation of these policies will possible. Meals are included in the room Lunch $75, Full Meal Plan $160). be asked to leave the course without and board fee for students residing refund. These same policies are applied at Ox-Bow. Three meals and snacks POLICIES to any work conducted in the Ox-Bow are served daily. Our chefs are happy ADMISSION POLICIES landscape or on the Ox-Bow grounds. to accommodate dietary restrictions; Ox-Bow reserves the right to deny Because Ox-Bow is a community, we please let the Ox-Bow office know Admission to any individual who has ask that all students respect the rights of any food allergies or special diet demonstrated a history of behavior of their classmates and community requirements upon check-in. which, in the judgment of Ox-Bow, members by following our policies.

46 47 REGISTRATION & FINANCIAL AID

COLLEGE CREDIT DROP & REFUND POLICY TRAVEL TO CAMPUS Work Scholarships are awarded on a Refunds can only be granted if drop Ox-Bow’s campus is located at 3435 first-come, first-served basis beginning Ox-bow classes may be taken for either requests are made three weeks prior to Rupprecht Way, Saugatuck, MI 49453. on the first day of SAIC registration. There credit or non-credit. Credit is awarded the beginning of class. In the event that Check-in on the first Sunday of classes are a limited number of scholarship through the School of the Art Institute of is between 2 and 4 PM EST. Students are Ox-Bow must cancel a course due to low positions available per week. Chicago. SAIC has been accredited since responsible for their own transportation enrollment or for any other reason, full •• Work Scholarships are available to 1936 by the North Central Association to and from campus. If you plan to refunds will be given. To drop a course, for-credit students only. of Colleges and Schools, and since take the bus, please contact the office students must submit the request in •• Work Scholarships are not available 1944 (charter member) by the National to coordinate pick-up from the bus writing to Ox-Bow’s Registrar. Call (800) to students enrolled in glass courses Association of Schools of Art and Design. station, 1-800-318-3019/[email protected]. 318-3019 or email [email protected] for or the Pre-College Program. The Pre-College program class for high International students, please check your more information. Simply not attending •• Students and request to work school students is for-credit only. To visa status before registering for an does not constitute a drop. Additionally, it Ox-Bow course. If you are planning to in housekeeping, grounds and request a transcript from SAIC, please is not possible to drop an Ox-Bow course travel out of the country before coming maintenance, or dishwashing. We contact the Registrar’s Office at (312) 629- through SAIC Self-Service or through the to Ox-Bow, verify that your visa is valid try our best to accommodate each 6700 or [email protected] for your registered course dates. More SAIC Registrar. request. information about transportation is •• Students may work as many weeks as PAYMENT FOR CREDIT COURSES available on our website. are available. All for credit tuition, fees and room and The following drop fees will be assessed •• Students participating in Work board is billed through SAIC. Checks dependent on when you drop your course Scholarship will have roommates. and money orders for credit courses (scholarships cannot be used to cover •• Please be certain before applying should be made payable to The School drop fees): • From the first day of registration until that you are able to complete the of the Art Institute of Chicago (SAIC). • 4:30 PM on Friday, April 24, 2020 you requested work. It is absolutely Credit card payments for credit tuition will receive a full refund minus a $100 required that students inform should be made through SAIC’s payment drop fee. Ox-Bow in advance if they decide not Service, CASHNET. Students who are • If you drop after April 24 until 3 weeks to complete work scholarship duties. taking courses for credit, but who are • prior to your first day of class, you will not affiliated with the School of the receive a full refund minus $250 drop OX-BOW SCHOLARSHIP Art Institute of Chicago will receive fee and any associated lab fees. For non-credit students taking a summer instructions on how to process payment • If you drop within 3 weeks of the start course. Please see our website for more at the time of registration. • date of your class, no refunds will be WORK SCHOLARSHIPS details. given. PAYMENT FOR NON-CREDIT (AUDIT) COURSES: Work Scholarship students have the •• Drops due to an unforeseen SIX CREDIT SPECIAL Payment in full of all tuition, fees, and opportunity to experience Ox-Bow in emergency (i.e. hospitalization, etc.) room and board is required at the time of a unique, “behind-the-scenes” way Take 6 credits at Ox-Bow this summer (two are eligible to be contested through registration. Non-credit courses may be by working closely with resident staff. 3-credit courses, 4 weeks total) and you: the School of the Art Institute of paid for by credit card, check, or money Students are expected to work 15 •• Receive 2 weeks of room & board free Chicago’s Refund Review Board. order. Ox-Bow accepts Visa, Mastercard, hours each week and in return receive (a $1250 value!) Documentation is required and American Express, and Discover. Checks discounts of $625 per week on room & •• Are eligible for federal loans refunds are typically partial. and money orders should be made board fees. In order to fulfill the work •• Can complete your 6 SAIC off-campus payable to Ox-Bow. commitment, students are expected to study requirements in one amazing Please contact Ox-Bow’s registrar at arrive on campus Sunday between 2-4 PM summer! [email protected] or (800) 318-3019 for the ADDITIONAL FEES and must stay until 2 PM on the Sunday refund review forms and information. LAB FEES AND STUDIO FEES after their class. SAIC FINANCIAL AID Lab fees are listed with course Undergraduate and graduate students Ox-Bow welcomes anyone 18 years or on Monday, March 23, 2020 at 8:30 AM descriptions. Lab fees cover the cost of from the School of the Art Institute of older, from beginning to advanced at the Ox-Bow office (36 South Wabash, essential class materials supplied by Chicago may be able to use their financial artists, to register for courses. Once Room 1425). Online registration begins Ox-Bow, including fuel costs (if FULL RATE WORK aid award from SAIC toward degree credit TUITION ROOM & BOARD TOTAL SCHOLARSHIP registered, students will receive a at 1:00 PM CST at ox-bow.org. SAIC applicable), and costs of maintaining the tuition for courses at Ox-Bow. Students will need to complete an SAIC Summer confirmation email with orientation students are not able to register through studios. Please note students may incur 1 Week Non-Credit $600 $625 $1,225 information, supply lists and syllabi. PeopleSoft for Ox-Bow classes. other material costs depending on the 2020 Institutional Financial Aid Application Complete and submit a registration scale and scope of their projects. All fees 2 Weeks Non-Credit $1,350 $1,250 $2,600 available at www.saic.edu/faforms even if form on our website www.ox-bow.org or OPEN REGISTRATION, MARCH 30 are due at the time of registration. you will be using only a merit scholarship 1 WEEK FOR 1 CREDIT fill out the registration form at the back Registration online, in person, or by award. Applications must be submitted of this catalog. Make sure to include mail begins on Monday, March 30, SINGLE ROOM FEE before the term begins. Please contact the Undergrad Rate $1,666 $625 $2,291 -$625 a signature and payment information. 2020, at 8:30 AM CST. Our office will Single rooms can be requested at the time SAIC Student Financial Services office or Ox-Bow does not accept registrations process registrations in the order they of registration and are available on a first- Graduate Rate $1,730 $625 $2,355 -$625 refer to the application for exact deadline. by phone. are received, emailing a confirmation come, first-served basis for an addition Financial aid typically does not cover soon after. In the event that the class fee of $150 per week, except for those with 2 WEEKS FOR 3 CREDITS room and board or lab fees at Ox-Bow. SAIC REGISTRATION, MARCH 23 you requested is full, you will receive an accessibility requirements. As of 2019, the Undergrad Rate $4,998 $1,250 $6,248 -$1,250 Currently enrolled undergraduate and email informing you of your status on the fee is taken at the time of your registration. Learn more about applying at the School’s Office of Financial Aid, by calling (312) 629- graduate students at SAIC may register waitlist or that you have been enrolled in If we are unable to provide you a single Graduate Rate $5,190 $1,250 $6,440 -$1,250 for Ox-Bow courses beginning in person your second-choice class. room, we will refund your payment. 6600, or by emailing [email protected].

48 49 This application is also available online at www.ox-bow.org.

2020 SUMMER REGISTRATION FORM

STUDENT INFORMATION (PLEASE PRINT CLEARLY)

First Name Last Name Middle Initial

SAIC Student ID # (if applicable) HAVE YOU ATTENDED OX-BOW BEFORE? Yes No

Date of Birth (mm/dd/yr) Age

Gender Pronouns

Primary Phone Email

Address City State Zip

Please inform us of any medical/health conditions or disabilities that might require assistance, and/or if you have an accommodation letter that you would like us to pass along to your faculty.

OX-BOW MERIT SCHOLARSHIPS EMERGENCY CONTACT INFORMATION Ox-Bow offers a variety of scholarships for students taking credit Name Relationship Phone or non-credit classes to ensure that the Ox-Bow experience is open to everyone. All applications are due on February 20, 2020 DEMOGRAPHIC INFORMATION: Demographic information on this form is optional and is collected with federal regulation. It is the policy of Midnight. Apply online at www.ox-bow.org *Only one application Ox-Bow not to discriminate on the basis of this information in regards to recruitment and admission, financial aid programs, student em- is required to apply for all available scholarships. ployment service, educational programs and activities, or in employment practices. Please check any and all categories that apply to you:

Race American Indian or Alaskan Native Asian Black or African American THE BEA AND CAROLINE DAVIS SCHOLARSHIP JASON KALAJAINEN SCHOLARSHIP MARION AND TOM WENDEL SCHOLARSHIP Hispanic or Latinx Middle Eastern or North African Other This scholarship is available to all students, In honor of Jason Kalajainen’s seven years For any high school student enrolling in Native Hawaiian or Other Pacific Islander White Prefer not to answer credit or non-credit courses. of service as Ox-Bow’s Executive Director. the pre-college program. For undergraduate or graduate students SCHOOL INFORMATION BEN SEAMONS MEMORIAL SCHOLARSHIP from any school. Credit or non-credit MARY LOUISE BARNA MEMORIAL SCHOLARSHIP What school are you enrolled in? City & State This scholarship is available to all students, courses. For degree-seeking students from credit or non-credit courses. any college or university with Area of Study JIM ZANZI SCHOLARSHIP FUND demonstrated financial need, who DALE METTERNICH MEMORIAL SCHOLARSHIP For SAIC students to take classes at Ox- would be unable to attend Ox-Bow Level High School Post-Baccalaureate Undergraduate Graduate Low Res For undergraduate and graduate students Bow on the basis of financial need. without the support of this scholarship. from any school. Credit or non-credit Credit courses only. Year 1st year 2nd year 3rd year 4th year 1st Year Grad 2nd Year Grad N/A courses. LALLA ANNE CRITZ ZANZI SCHOLARSHIP For female SAIC undergraduate and RUPPRECHT SCHOLARSHIP COURSE REGISTRATION DANIEL CLARKE JOHNSON graduate painting students only. Credit For undergraduate and graduate Are You Registering for Credit/Non-Credit? Credit Non-Credit MEMORIAL SCHOLARSHIP courses only. students, currently enrolled in SAIC’s For undergraduate and graduate students Painting and Drawing Programs. COURSE TITLE DATES TUITION ROOM & BOARD FEE LAB FEE from any school. Credit or non-credit LATINX ARTIST VISIBILITY AWARD Credit courses only. courses. A fully funded opportunity for Latina/o/x 1. students to experience Ox-Bow. For STEKETEE SCHOLARSHIP DAVE BALAS SCHOLARSHIP undergraduate and graduate students For SAIC undergraduate and graduate 2. This scholarship is available to all students, from any school. Credit or non-credit students. Credit or non-credit courses. credit or non-credit courses. courses. This award is in partnership with 3. J. Soto and Anthony Romero. VI FOGLE URETZ SCHOLARSHIP E.W. ROSS SCHOLARSHIP For undergraduate and graduate Alternate Choice #1 For any high school student enrolling in the LEROY NEIMAN FOUNDATION SCHOLARSHIP students from SAIC. Credit or non-credit pre-college program. For undergraduate and graduate students courses. Alternate Choice #2 from any school. Credit or non-credit THE FITZ AND THELMA COGHLIN SCHOLARSHIP courses. WEST MICHIGAN SCHOLARSHIP HOUSING REGISTRATION For students from the West Michigan For students residing within the region. Credit or non-credit. LORETTE GRELLNER SCHOLARSHIP Western Michigan area. Support in part I plan to commute daily (meal plans can be purchased upon arrival) I have no housing preferences For adult women who are either pursuing provided by the Wege Foundation. I want to reside on campus, in a gender-same room I want to reside on campus, in a gender-neutral room GEORGE LIEBERT SCHOLARSHIP a degree in art, or those who need to Credit or non-credit courses. I want to reside on campus and request as a roommate: I would like to request a single room (limited availability For undergraduate and graduate students refresh their professional practice in the on a first-come, first-served basis) for an additional from any school. For credit courses only. classroom environment. $150/week due at the time of registration

50 Course registration continues on back 51 This application is also available online at www.ox-bow.org. MISSION & OVERVIEW OX-BOW BOARD OF DIRECTORS Ox-Bow connects artists to: Steven C. Meier •• A network of creative resources, people and ideas. President •• An energizing natural environment. Peter C. Krupp 2020 SUMMER REGISTRATION FORM Vice President •• A rich artistic history and vital future. Janet R. Cunningham Secretary DROP POLICY BOARD OF DIRECTORS Lucy Minturn Please read carefully, Ox-Bow’s drop policy is not the same as SAIC’s drop policy. To drop a course, students must submit the request Ox-Bow’s Board of Directors contribute their time, expertise, and resources to Governance Chair in writing using Ox-Bow’s online drop form. Call (800) 318-3019 for more information. Simply not attending does not constitute a drop. ensure that future generations of artists will benefit from Ox-Bow’s rich tradition and Dawn Gavin Additionally, it is not possible to drop an Ox-Bow course through the SAIC Self-Service or through the SAIC Registrar. outstanding programming. We are grateful for their dedication and support. William Padnos Louise Silberman EMERITUS BOARD The following drop fees will be assessed dependent on when you drop your course: Elissa Tenny Ox-Bow’s Emeritus Board confers special honors and distinction upon former Keith P. Walker •• From the first day of registration until 4:30PM on Friday, April 24, you will receive a full refund minus a $100 drop fee. members of Ox-Bow’s Board of Directors and Auxiliary Board who have exhibited Todd E. Warnock •• If you drop after Friday, April 24 until 3 weeks prior to your first day of classes: you will receive a full refund minus $250 drop fee and noteworthy dedication and commitment to Ox-Bow. This a lifetime appointment that President Emeritus any associated lab fees. celebrates Ox-Bow’s important legacy. •• If you drop within 3 weeks of the start date of your class: no refunds will be given. STEWARDSHIP COMMITTEE STEWARDSHIP COMMITTEE Julie Abel Drops due to an unforeseen emergency (i.e. hospitalization, etc.) are eligible to be contested through the School of the Art Institute of Ox-Bow’s Stewardship Committee links Ox-Bow to the vibrant Saugatuck/Douglas James Brandess Chicago’s Refund Review Board. Documentation is required and refunds are typically partial. Please contact Ox-Bow’s registrar at community, as well as neighboring West Michigan communities, including Grand Jaqueline Carey [email protected] or (800) 318-3019 for the refund review forms and information. Rapids, Kalamazoo, Holland, and Muskegon. Members engage Ox-Bow with local Annette Cress residents and partners through events, programs, and general outreach. They Todd Knight PAYMENT are charged with educating the region about Ox-Bow’s resources, connecting Kathleen Markland individuals, families, and other organizations with meaningful opportunities on Greg Plowe Payment in full of all tuition, fees, and room and board is required at the time of registration, except for SAIC degree-seeking students, campus. The committee is responsible for maintaining open communication, Kay Smalley who will be billed through SAIC. SAIC students can view payment options by visiting www.saic.edu/payment/paymentoptions/ goodwill, and strong relationships between Ox-Bow and the community in which it has thrived for over a century. EMERITUS BOARD NON-SAIC (FOR CREDIT) STUDENT PAYMENTS: Roger Arbury •• Payments must be made by check payable to The School of the Art Institute of Chicago. Barbara Whitney Carr •• Checks should be mailed directly to Ox-Bow. (Ox-Bow, Attn: Registrar, 36 South Wabash, 12th Floor, Chicago, IL 60603). Patricia Dewey •• Checks will be delivered to Bursar’s office by Ox-Bow. Arthur Frederick Lawrence Gammons NON-CREDIT (AUDIT) COURSES: Margaret McDermott Carol Sarosik Payment in full of all tuition, fees, and room and board is required at the time of registration. Non-credit courses may be paid for by credit card, check, or money order. Ox-Bow accepts Visa, Mastercard, American Express, and Discover. Checks and money orders should be made payable to Ox-Bow and mailed directly to Ox-Bow, Attn: Registrar, 36 South Wabash, 12th Floor, Chicago, IL 60603. STAFF 2019 SEASONAL STAFF Shannon R. Stratton Devin Balara REGISTRATION POLICIES Executive Director Metals Studio Manager I understand that I am academically and financially responsible for the course(s) for which I’m registering. I understand that any Mac Akin Mary Clemens changes are contingent upon the completion and submission of the proper forms to the Ox-Bow office and that I may incur academic or Campus Operations Chef financial penalties if I don’t follow these procedures. I give Ox-Bow the permission to provide medical care, hospital or clinic treatment Assistant Michael Cuadrado or to administer minor medicine provided through Ox-Bow to me/my minor or ward. I hereby waive liability against Ox-Bow for such care Claire Arctander Housekeeping Manager provided or transportation to such location as deemed necessary by Ox-Bow. I give Ox-Bow permission to photograph and publish Campus Director Dove Drury photographs of me/my child participating in instruction and/or social activities at Ox-Bow, which permission shall remain in effect until Erin Chapla Ceramics Studio revoked, in writing, by me to the Ox-Bow staff. EFROYMSON FAMILY FUND of the Art Institute, as well as Summer Head Chef and Events Manager This project was funded in part by a courses at Ox-Bow. John loved both the Coordinator Bobby Gonzales grant from the Efroymson Family Fund. camaraderie and the artistic synergy of SIGNATURE: I am 18 years of age or older. I have read, understand, and agree to the registration drop policy and payment information. Aaron Cook Print and New Media The Efroymson Family Fund, a donor- the campus. The Hartigan Endowment Registration without payment, course choice, or which cannot be processed for any other reason will be returned. Operations Manager Studio Manager advised fund of the Central Indiana will be used to support the on-going *Mail-in registrations will not processed until the first day of registration on March 30th. Community Foundation, continues a long education of artist in residence whose Laura Eberstein Zander Harlan Director of Finance and Chef legacy of charitable commitment by the medium is acrylic and/or oil. This award Administration Efroymson family in central Indiana. The is available to applicants for both the Davis Hartman Efroymson Family Fund was established Summer and Fall Residency cycles. Ashley Freeby Glass Studio Manager Design & in 1998 by Dan and Lori Efroymson to Nate Large Communications promote the visibility of communities OX-BOW NEA AWARD Sous Chef Coordinator and to date has awarded more than $88 Ox-Bow is pleased to be the recipient of Connor O’Brien Danny Giles Signature Date million in grants in central Indiana and a grant award from the National Endow- Glass Teaching Assistant beyond. For more information about the ment for the Arts. Ox-Bow will offer artist Academic Director Marie Peña Efroymson Family Fund, fully-subsidized and paid residency Molly Markow Dishes and Administrative Assistant visit: efroymsonfamilyfund.org opportunities in the Summer and Fall. Housekeeping Assistant In order to meet the needs of working Ciera McKissick Natalie Spicker JOHN M. HARTIGAN MEMORIAL artists, we are constantly striving to Program Assistant Chef SCHOLARSHIP FOR PAINTERS alleviate financial barriers that hinder Rebecca Parker John M. Hartigan was a life-long Chica- the creative process. Offering paid Christina Sweeney Questions? Program Director goan, an artist, a patron of the arts, and residencies answers the increasing call Chef Maddie Reyna Email [email protected] a dedicated family man. A gifted lawyer for Ox-Bow to be both an artistic and fi- Danielle Thurber-DeGroot Assistant Program Phone (800) 318-3019 and an engaged community member, nancial haven for artists and their work. Wellness Counselor Director Stop by our office in the Sullivan Center, 36 South Wabash, Room 1425, Chicago IL 60603 John was always interested in civic af- This program is supported in part by an Andalyn Young John Rossi fairs, sitting on a number of Boards. Over award from the National Endowment for After Hours Personnel Facilities Manager the years he took courses at the School the Arts Art Works. 52 53 36 South Wabash Avenue 12th Floor Chicago, IL, 60603