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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 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 SPECIAL TOPICS 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
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