School of Art & Artists’ Residency Summer 2015

1 Contents

Welcome 2 Courses 2 Course Calendar 4 Ceramics to Ox- B ow 6 Glass 9 Printmaking Over the 11 weeks of summer programming the Ox-Bow 13 Painting & Drawing campus lights up with the energy of hundreds of artists 17 Sculpture & Metals learning new processes and creating new work across 19 Fiber 20 Other Studio Areas a wide range of studios. The frenetic creative energy combined with the pristine natural backdrop, and the A1 Life at Ox-Bow scarce access to wireless signals, all add up to make for what feels like a time out of time experience. Ox-Bow 22 Special Programs 22 Fellowship Program is not the ordinary, or everyday. It’s an environment 23 Artist Residencies designed to provide the ideal conditions for creativity. 25 Pre-College Program Within this environment one encounters a totally different approach to thinking, making, and socializing. It’s 4 Faculty & 26 Visiting Artists an experience that is almost impossible to describe, 4-21 Faculty Biographies so we hope that as you look through the 2015 course 26 Visiting Artist offerings, that you are inspired to take one of the classes Biographies and to experience it for yourself. 30 Registration & Financial Aid Information Elizabeth Chodos, Executive & Creative Director 30 Registration Details 32 Scholarships & Financial Aid 35 Registration Form

Featured Cover Artist: Paula Wilson

Front cover: NEW DEVELOPMENT Intaglio with screen print Produced and editioned at MassArt’s Master Print Series, Massachusetts, MA 30"x15", 2012

Back cover: LIFE’S SOUNDTRACK Reduction woodcut from 2 blocks Photo by: Annie Fisher, Produced and editioned at MassArt’s Brianna Barron, Master Print Series, Massachusetts, MA Zophia McDougal, 30"x22", 2012 Sara Condo, & Shanna Shearer

2 1 2015 Course Calendar

Week 1 Week 2 Week 3 Week 4 Week 5 Week 6 Week 7 Week 8 Week 9 Week 10 Week 11 June 7–13 June 14–20 June 21–27 June 28–July 4 July 5–11 July 12–18 July 19–25 July 26–August 1 August 2–8 August 9–15 August 16–22

Visiting Artist James Siena Paul Sacaridiz Jim Hodges Zachary Cahill Kalup Linzy Robert Pruitt Kamau Patton Abigail DeVille Kelly Kaczynski Pam Lins Claire Pentecost

Ceramics Printmaking on Clay Breaking Bad Habits Free Clay Materials & Process: Woodfire CER 637 001/PRINT 633 001 CER 635 001 CER 624 001 CER 616 001 Thomas Lucas & Paul Wandless Ben & Delaney Ian McMahon & Ashley Lyon David Peters & Perry Haas DeMott

Glass Beginning Beginning Experiments in Glassblowing Multilevel Glass Casting Hot Shop Botanicals TCB (Taking Care Multi-Level Glassblowing: Glassblowing Glassblowing GLASS 616 001 Glassblowing GLASS 612 001 GLASS 638 001 of Business) Tradition & Innovation GLASS 601 001 GLASS 601 002 Arlo Fishman GLASS 602 001 Jerry Catania Emma Stein GLASS 635 001 GLASS 623 001 Jerry Catania Jerry Catania Jerry Catania Katherine Gray Anthony Cioe

Beginning Glassblowing GLASS 630 001 Jerry Catania

Printmaking The Happy Accident Mark Mark Screenprinting Relief & Collage Monotype Lithography: Stone & Lithography: Stone & Image & Word PRINT 628 001 PRINT 634 001 PRINT 634 002 PRINT 611 001 PRINT 607 001 PRINT 609 001 Photolithography Photolithography PRINT 619 001 Paula Wilson & Dana Carter Alex Chitty Alex Chitty Lauren Anderson Jeanine Coupe-Ryding Kristina Paabus PRINT 635 001 PRINT 635 002 Isak Applin & & Geoffrey Mark Pascale Mark Pascale David Wolfe Hamerlinck

Mark Lithography: Stone & Photolithography Book Structures PRINT 636 001 PRINT 637 001 PRINT 603 001 Alex Chitty Mark Pascale Jessica Peterson

Painting & Altered States Multilevel Painting Landscape Record Pre-College Program: Paint and Landscape: Watercolor Painting Drawing Marathon The Portrait Drawing PAINTING 638 001 PAINTING 605 001 PAINTING 641 001 Landscape Drawing Materials as Narrative PAINTING 606 001 PAINTING 603 001 as Starting Point Claire Sherman & Valerie Hegarty Claire Ashley & Kori Newkirk Scott Wolniak DRAWING 407 001 PAINTING 624 001 Carrie Gundersdorf Jimmy Wright PAINTING 614 001 EW Ross & Vera Iliatova Peter Williams Olivia Petrides

Metals Rewilding Steel Fabrication & Armature Construction Blacksmithing: Sculptural Forms Metals Casting 1: Image in Enamel SCULPT 650 001 SCULPT 649 001 SCULPT 623 001 Mold Making & Bronze SCULPT 645 001 Heather Mekkelson James Payne Mike Rossi Casting Intensive Veleta Vancza SCULPT 618 001 Kari Reardon

Other Papermaking Off the Wall: Pulp Sculpture Fashioning Legacies Environmental History at Ox-Bow Indigo & PAPER 604 001 PAPER 606 001 PERF 605 001 SCIENCE 603 001 its Metaphors Andrea Peterson Andrea Peterson Anthony Romero & J. Elmo Rawling & Evan Larson FIBER 614 001 Jillian Soto Jovencio de la Paz

If night is a weed and day grows less PHOTO 606 001 David Hartt

2 3 Summer Courses: Faculty Faculty Ceramics

Ceramics Benjamin DeMott Paul Wandless

Assistant Professor, 2012, SAIC Department of Born in Miami, FL and raised in Ceramics. BFA, 2004, Tyler School of Fine Arts, Delaware, Paul Andrew Wandless Philadelphia, PA. MFA, 2008, New York State currently lives and has his studio in Free Clay Breaking Bad Habits College of Ceramics Alfred University, Alfred, Chicago, IL. Wandless authored Image NY. Select exhibitions: Denver Art Museum, CO; Transfer On Clay, 500 Prints on Clay, Ian McMahon & Ashley Lyon Central Academy of Fine Arts, Beijing; Ice Box, co-authored Alternative Kilns & Firing Ben & Delaney DeMott Philadelphia; Meulensteen Gallery, New York; Techniques and frequently writes for CER 624 001 | 3 CREDIT HOURS | LAB FEE $150 Jane Hartsook Gallery, New York. Publications: several arts magazines on a variety of CER 635 001 | 3 CREDIT HOURS | LAB FEE $150 In this class we will make sculptures using basic clay Ceramics Now, Interview, Art Forum. Bibliography: topics. He is featured in the DVD Inspired by the rigor of Lars von Trier’s documentary “New Turns in Contemporary Ceramics” Gwen Fundamentals of Screen Printing On Clay. He has given numerous workshops manipulating techniques (slabs, coiling, pinching, and lectures regarding his art, techniques and research around the U.S. “The Five Obstructions,” students in this course will Chanzit; “Medium as Metaphor” Maika Pollack; “Overthrown in Denver” carving, etc...) as well as a variety of alternative and Canada on his clay work, prints, sculptures, paintings and drawings. Donald Kuspit. Collections: Holter Museum, MT. Awarded: 2013-14 Chicago approaches (paper-clay, unfired clay, combustible challenge current trends of intuitive and provisional uses of He also served on the Executive Boards for the National Council on Arts Coalition Hatch Residency. Online: www.benjamindemott.org supports) and proceed to experiment and discover our clay. Through exercises, design challenges and limitations, Education for the Ceramic Arts (NCECA) and the Potters Council. own alternative approaches. You will be encouraged to students will discover new technical and conceptual UNTITLED CAST | porcelain, glaze, epoxy, acrylic paint, steel | 2014 possibilities and will experience a range of ceramic BREAKING TRADITION | clay monoprint | 12.5"x13"x1.75", 2014 consider it in relation to other materials, both through material processes. Students at all levels working at the incorporating alternative materials into clay bodies, intersections of fine art and design are encouraged to enroll. Delaney DeMott as well as by challenging (or exploiting) conventional Ian McMahon forms, practices, and the perceived boundaries of clay Demonstrations and exercises will include fundamental Faculty, School of the Art Institute Ian McMahon received as a material. This class is intended to move beyond hand building strategies, experiments in slip modification, of Chicago, Department of his MFA in Sculpture and post-firing assembly and alternative finishing. Fiber and Material Studies and traditional technical instruction, and open up the Extended Media from dialogue on how we can use clay to convey and Department of Contemporary Virginia Commonwealth Practices (2013-current). BFA, University and his BFA in expand new meanings generally expressed with more 2004, Tyler School of Art, Ceramics from the New conventional sculptural tools. This course will be open Printmaking on Clay Temple University, Philadelphia, York State College of to beginning as well as advanced ceramic students; PA. MFA, 2013, School of the Art Ceramics, Alfred University. it will consist of demonstrations, critiques, slide Institute of Chicago, Chicago, IL. From 2009 to 2013 he was a recipient of a Jacob K. Javits Fellowship. presentations and mostly, personal hands-on work. Thomas Lucas & Paul Wandless Select exhibitions: Performative McMahon’s work has been shown both nationally and internationally at We will look at work from celebrated ceramicists like CER 637 001/PRINT 633 001 | 3 CREDIT HOURS | LAB FEE $150 Action, Preston Bradley Center, Chicago, IL; K[no][neu]W You, McClean venues including: Crane Arts (Philadelphia), Jingdezhen Ceramic Institute County Art Center, Bloomington, IL; Audience Architects, Collaboration with (Jingdezhen, China), The Pacific North West College of Art (Portland), Cal Funk and Ken Price and artists like Johan Tahon Printmaking is a process of transferring images, text dancers Benjamin Holliday Wardell and Michel Rodriguez Cintra, Chicago Pierogi Boiler Room (New York), G-Fine Arts (Washington), Bemis Center and Salto Alto, to the sculpture of more historic artists and photographs from one place to another. Traditional Artists Coalition, Chicago, IL; Quasi-Choreography, Chicago Artists Coalition, For Contemporary Arts (Omaha), and Suyama Space (Seattle), among like Matisse, Lucio Fontana, Niki de St. Phalle and printmaking techniques use inked plates, presses and Chicago IL; Figure and Ground, SUGGS Gallery, School of the Art Institute others. From mobile tractor-trailer to abandoned warehouse, McMahon’s contemporary makers like Vincent Fecteau, Rachel work confronts and transforms unconventional spaces. His sculptures fabric stretched onto a frame in the case of screenprinting. of Chicago, Chicago, IL; Acéphale, Roxaboxen Exhibitions, Artist/Curator, Harrison, Charles Long, Mark Manders and Chicago, Chicago, IL; Salon of Troy, Chicago, IL; Tyler School of Art of challenge the permanence of art and the permanence of place through This course will experiment with printing images on Rebecca Warren. Temple University, Philadelphia, PA; The Kinsey Institute Juried Show , Indiana performative and materially focused temporal constructions. Currently clay by hand using a range of techniques including University, Bloomington, IN; Victory for Tyler Show, Crane Building, living in Hornell, NY, he is the co-founder and co-director of the Belfry, an artist-run exhibition venue. screenprinting, relief and lithography. Utilizing simple Philadelphia, PA. Awarded: 2013-14 HATCH Residency, Chicago Artists tools to transfer images will allow for the creation of tiles, Coalition, Chicago, IL. www.delaneydemott.com CASCADE | plaster, used pallets | 40'x6'x21', 2014 vessels and sculpture. Use different clay slips, stains and modified underglaze and glazes on mainly low-temp clay A GLISSANDO (foreground) 4'x 3.5'x10"and DIMMER DEEDS (background) 2'x2'x6' Installation: digital print, foam, ceramic, rubber, resin, glitter, beads, spring, bodies with the firing done in electric kilns and Raku. paint, false eyelashes, wood, pleather, balloons, paper grass, felt, spackle & laser Ashley Lyon Expect a wide range of images, texture, pattern and color. cut band-aid | 2014 Ashley Lyon uses clay material in sculpture and photography seeking Thomas Lucas to create a dialectical Thomas received his MFA with a Merit relationship between space, viewer, image, and figurative Scholarship at The School of the Art object. Instead of using Institute of Chicago. Before that he received life-casts, she meticulously a BFA in Printmaking at Tyler School of hand builds all the components of her work, addressing levels of realism Art, Temple University in Philadelphia, PA. in attempt to transcend traditional figuration. In 2011 she received an Founder and Master Printer at Hummingbird MFA in Sculpture + Extended Media at Virginia Commonwealth University Press Editions located on Chicago’s South and in 2006 a BFA in Ceramics from the University of Washington in Side, Thomas has published such artists as Seattle. Lyon has been awarded residencies at the Archie Bray Foundation Kerry Marshall, William Conger, Richard for Ceramic Arts, Anderson Ranch Arts Center, the European Ceramic Hunt, Willie Cole and Barbara Jones-Hogu WorkCentre and Bemis Center for Contemporary Arts. She received an to name a few. He has taught at Tyler School of Art, The School of the Elizabeth Greensheild Grant in 2011 and 2014 and is currently the Turner Art Institute Chicago, Milwaukee Institute of Art and Design, Anchor Teaching Fellow in Ceramics at Alfred University as well as co-founder and Graphics Columbia College, Penland School of Crafts and Ox-Bow, and co-director of the Belfry, an artist-run exhibition venue in a repurposed is currently on faculty at Chicago State University. His own artworks are Methodist church in Hornell, NY. included in various private and public collections, exhibits nationally and abroad. Gallery repesentation by N’Namdi Contemporary Miami-Detroit. PILLOW | unfired clay | 2013

AUNT DOROTHY’S JAR | screenprint & lithography on stoneware | 8"x9"x5", 2012

4 5 Ceramics Faculty Faculty Glassblowing

David Peters For students David Peters was born and raised in of all levels Materials & Processes: Woodfire Amarillo, Texas. The son of wood-shop and earth science David Peters & Perry Haas teachers, he was CER 616 001 | 3 CREDIT HOURS | LAB FEE $150 curious about the natural world and TCB (Taking Care of Business) This multi-level ceramics course will incorporate wheel made things at thrown and hand built vessels and objects to be fired in a young age. He Katherine Gray both a high temperature stoneware gas kiln and in Ox-Bow’s went on to earn his single chambered catenary style wood kiln that was built in bachelors of art GLASS 635 001 | 1 CREDIT HOUR | LAB FEE $150 from Utah State Jerry Catania 2005. The first part of the course will be making individual University. While an artist in resident at the Archie Bray Foundation, David Students in this class learn the fundamentals of blown and work and firing the gas kiln with the second part being a began using locally sourced materials for his work. During graduate work BFA 1969 Michigan State University; MA 1985 Western Michigan solid hot-glass processes. Traditional and unconventional collaborative effort in loading, firing and unloading the work at Montana State University he researched and refined his unique approach University; Post-Graduate Work 1985-1990 Michigan State University. methods are introduced in order to develop a formal Catania began working in glass in 1972 as a part of the experimental in the wood kiln. Discussions, critiques and slide lectures to wood-firing through kiln design and experiments with CAD. He has language for expressing sculptural ideas. Techniques include beginnings of the Pilchuck Workshop glass school in Washington State, will be included. returned to Helena, Montana where he is a full time artist. and was accepted to be one of 30 students that summer to work and experimental mold blowing and hot working techniques, study glass under the direction of Dale Chihuly and Fritz Dreisbach. along with various color applications. The intended outcome In 1985 he started the Ox-Bow glass studio and in 1991 opened his of this course is to engage the students with the conceptual own studio in nearby Glenn, Michigan. In 2004 he moved the studio to possibilities of craft media while maintaining a focus on Benton Harbor, MI and started “Water Street Glassworks“—a not-for- developing technique and skill in the studio. By concurrently profit school of the glass arts. As for most people, he is enlivened by developing technical and intellectual prowess, students are the medium of glass—both in its glowing molten state and its striking introduced to the tools with which they can navigate optical splendor. The blowing and sand-casting processes inspire his creative process. The very physical process of blowing and casting fit a material in the service of an idea or concept. his creative concepts and energetic temperament—forcing him to be more intuitive and react more spontaneously. Glass as a material takes on a meaning beyond its optical beauty. Its reflections, distortions, and Glass Casting solid-yet-transparent properties—for him, are metaphors for illusion, paradox, insight, allusion and deception. It can represent a vision, a spirit, an illusion, a memory, a mirage or an ephemeral moment in time. Jerry Catania

Perry Haas TANGO | blown glass | 2014 GLASS 612 001 | 1 CREDIT HOUR | LAB FEE $250 Perry Haas has been working in ceramics since 2003. He holds a BFA in This course is for artists of any experience level wishing ceramics from Utah State University. Ceramics has taken him to China to better understand their own creative path through an where he studied at JCI, and Korea where he stayed and studied with Katherine Gray intense and intimate “hands on” exposure to the medium of ceramic artist Hung Chung Lee. Perry Haas’s work has been in numerous Katherine received exhibitions, most recently at Northern Clay Center, Minneapolis, cast glass. Students will learn about iming, viscosity, gravity, her undergraduate Glassblowing Minnesota; Crimson Laurel Gallery, Bakersville, North Carolina; and heat and light during hot studio sessions. Class will also be degree from Ontario Lillstreet Art Center in Chicago, Illinois. He has been in international discussing the technical and aesthetic concerns prior and College of Art in For students shows including ICMEA emerging artist in China, and has received a post process. Open face sand molds will be used as well as Toronto, and her MFA Purchase Award from NCECA Biennial. Perry has held residences in other interesting lectures, demonstrations and field trips. Missoula, Montana and internationally at Guldagergaar, Denmark. He from Rhode Island of all levels has been awarded the Young Wood Fire Artist Award of 2014 at the School of Design in European Wood Fire Conference. Currently Perry is a Long Term Providence, RI. Resident at Red Lodge Clay Center. Her work has been exhibited most recently at the Glasmuseet Ebeltoft in Denmark, Urban Glass in New NOODLE BOWL | wood fire Danish porcelain with Earthenware grog | 2014 York, and Galerie Handwerk in Munich. She has shown with See Line Beginning Glass Gallery and Acuna-Hansen Gallery, both in Los Angeles, and been reviewed in the LA Times and on Artforum.com. Her work can also Jerry Catania be found in the collections of the Corning Museum of Glass and the Tacoma Museum of Glass, among others. Katherine has written about GLASS 601 001 | 1 CREDIT HOUR | LAB FEE $150* glass, curated several exhibitions, and has taught workshops around GLASS 601 002 | 1 CREDIT HOUR | LAB FEE $150* the world. Currently, she lives and works in Los Angeles, California, GLASS 630 001 | 3 CREDIT HOURS | LAB FEE $300 and is an Associate Professor in Art at California State University, San Bernardino. This course offers hands-on glassblowing experience to the beginner. Participants learn a variety of techniques THE BREAK | glass, acrylic | 36"x84"x 57.5", 2013 for manipulating molten “hot glass” into vessel or sculptural forms. Lectures, videos, demonstrations, and critiques will augment studio instruction.

*Please see course calendar for class schedule.

6 7 Glassblowing Faculty Faculty Glassblowing Emma Stein For students with Anthony Cioe For students with Emma Stein received her BFA Anthony Cioe (born 1981) is in glass in 2011 from Alfred prior experience an American artist and designer University and her MFA in glass prior experience who lives and works in Brooklyn, in 2013 from Rhode Island NY. His studio practice consists School of Design. Her work is an of sculpture and installations that exploration of natural systems employ a large variety of media through various man-made Multi-Level Glassblowing including ceramics, glass, and natural materials, working Hot Shop Botanicals photography, drawing and principally in glass while also printmaking and cites influences using fabric, drawing and organic Jerry Catania such as entropy, appropriation, materials. Her work has been Emma Stein ubiquitous objects and museum shown at The National Liberty CER 602 001 | 1 CREDIT HOUR | LAB FEE $150 GLASS 638 001 | 1 CREDIT HOUR | LAB FEE $150 conservation. Cioe studied at Museum, the RISD Museum, and A hands-on studio workshop for those with some Rhode Island School of Design The Everhart Museum. She is In this introduction to glass sculpting we will use as glassblowing experience. Students will learn a variety (BFA, 2003) and Virginia currently working on several pieces for an installation at St. Ann’s Trinity inspiration the flora that surrounds Ox-Bow’s campus. The Commonwealth University of techniques for manipulating molten “hot glass” into Church in Brooklyn, NY. As a glass instructor, she has taught at Buck’s class will begin by collecting plants and images and will then (MFA, 2008). Cioe has shown Rock Camp, Brooklyn Glass and UrbanGlass. She currently lives and vessel or sculptural forms. Lectures, demonstrations, explore how glass can be manipulated while hot, to recreate nationally at Architectural works in Sheboygan, WI. videos and critiques will augment studio instruction. Artifacts, Chicago, IL; Anderson the botanicals. Throughout this class, students will learn Gallery in Richmond, VA; Crane WEEDED OUT: PITCHER’S THISTLE | glass, glue, ink & paper | March, 2014 four important glass-sculpting techniques: bit work, solid Arts in Philadelphia, PA; sculpting, the use of powder color and torches at the bench. Delaware Center for Contemporary Art in Wilmington, DE; John Michael Kohler Although the class will focus on sculpting plants, the many Multi-Level Glassblowing: Arts Center in Sheboygan, WI; Reynolds Gallery in Richmond, VA; Real Art Paula Wilson techniques explored in this course are universal to all hot Tradition and Innovation Ways in Hartford, CT; Steuben Galleries and The Boiler in Brooklyn, NY. His sculpting. This is an introduction to glass sculpting but at work is held in public and private collections including Summit Executive Paula Wilson (American, b. 1975) least one year of glass blowing experience is preferred. Center in Chicago, IL; The Museum of American Glass in Millville, NJ; John received her MFA from Columbia Anthony Cioe Michael Kohler Arts Center in Sheboygan, WI. Awards include Saint Botolph University in 2005 and has since CER 623 001 | 3 CREDIT HOURS | LAB FEE $300 Club Foundation Grant, Creative Glass Center of America Fellowship at been featured in group and solo Wheaton Cultural Arts Center in Millville, NJ. Cioe recently completed a 2014 exhibitions in the U.S. and Europe, Using traditional and non-traditional techniques, explored joint residency at The John Michael Kohler Arts Center in Sheboygan, WI including the Studio Museum in through drawings and historical examples, we will focus on and the Corning Museum of Glass in Corning, NY. Harlem, Sikkema Jenkins & Co., achieving specific shapes and consider simple innovations, Bellwether Gallery, Fred Snitzer Printmaking like playing with opacity, and aesthetic accidents—bubbles Gallery, The Fabric Workshop and Museum, Johan Berggren Gallery or cracks, to transform traditional forms. Students may in Sweden and Zacheta National focus to work on something as simple as a clear tumbler Gallery of Art, Warsaw. Wilson or can take on more complex projects. Finding significance is a recipient of numerous grants in even the most minute of details, we will find grounds for and awards including a Joan Mitchell The Happy Accident exploration, experimentation and conceptual thinking, while Artist Grant, P3Studio Artist-in- simultaneously examining the artifacts of our failures. Residency at the Cosmopolitan in Las Vegas, and the Bob and Happy Doran Fellowship at Yale University. Paula Wilson & Dana Carter She lives and works in Carrizozo, New Mexico. PRINT 628 001 | 3 CREDIT HOURS | LAB FEE $100 Experiments in Glass Blowing ASS BACKWARDS | monotype and ink on paper | 47"x31", 2014 Through an embrace of printmaking’s inevitable mishaps and slips, this class explores the power of the happy accident. Arlo Fishman Creating a spring-board for serendipitous mark making; a Dana Carter range of experimental techniques including paper lithography, CER 616 001 | 3 CREDIT HOURS | LAB FEE $300 Arlo Fishman Works in fabric, video, open screen printing and ghost imaging, are demonstrated. This class is intended for intermediate to advanced level glass gesture, response to Recognition of traditional techniques open the door to Arlo Fishman is an artist, fabricator, and educator in the San Francisco Bay students who wish to broaden their scope of this versatile site and the natural area. Presently, he teaches hot glass and light art classes at the Crucible nontraditional works in an effort to understand the role of world coalesce in Dana medium. Students will be asked to refine their technical in Oakland, CA. He has also taught neon at the Penland School of Crafts. printmaking’s analog pace in comparison to today’s digital Carter’s materially abilities in order to more clearly convey their artistic pursuits. Arlo has shown work in group exhibitions at the 1000 Van Ness Gallery in reality. Exploring the detachment between the hand and the inventive installations. San Francisco, the Museum of Neon Art in Los Angeles, and the Felix Kulpa The class will begin by covering basic glass blowing techniques. MFA UIC, School of press, students are encouraged to invent their own print- Gallery in Santa Cruz. Through skill building exercises the class will learn to work Art & Architecture. based processes. Discussion of relevant artists’ practices take as a team on large-scale projects. Students will be encouraged Selected exhibitions: place daily in tandem with technical lessons, studio time, to learn, but not take too seriously, the traditional aspects MassArt; Elmhurst Art Museum; Centre de Desarollo de las Artes Visuales, short readings and individual critiques. of this process. There will be an emphasis on incorporating Havana, Cuba; American Institute of Architecture, New Orleans; LeRoy other materials both through the glass blowing process and Neiman Center for Print Studies; Columbia University, New York; Hyde Park Art Center, Chicago; Iceberg Projects, Chicago; Glass Curtain Gallery Columbia in the finished product. Basic metalworking techniques College, Chicago; Vox Populi, Philadelphia; Gahlberg Gallery, College of will be covered. Be prepared to let go. Dupage; Locust Projects, Miami; The Bioscope, Johannesburg, South Africa.

SHADOWLITH | still from video with animation | 2012-2014

8 9 Printmaking Faculty Faculty Printmaking

Alex Chitty Lauren Anderson Born = Miami, 1979; Lives = Chicago Lauren Anderson lives and (mostly); BFA = Smith College; Studio works in Chicago, IL. She shares Mark Art, Biology, & Education, 2001. a birthday with Richard Pryor, Screenprinting MFA = School of the Art Institute of and earned a BFA from the School Chicago; Printmedia, 2008. of the Art Institute of Chicago. Alex Chitty Teaching = Museum of Contemporary She has exhibited at ADDS Lauren Anderson & Geoffrey Hamerlinck PRINT 634 001 | 1 CREDIT HOUR | LAB FEE $100 | 1 WK* Art, Ox-Bow (Bookmaking), School DONNA, Adult Contemporary, PRINT 611 001 | 3 CREDIT HOURS | LAB FEE $100 PRINT 634 002 | 1 CREDIT HOUR | LAB FEE $100 | 1 WK* of the Art Institute of Chicago CCS Bard, Golden Age, Megamall (Printmedia & Sculpture) & In this course, students will acquire technical proficiency PRINT 636 001 | 3 CREDIT HOURS | LAB FEE $200 | 2 WKS and Roots and Culture. You Columbia College (Printmedia). can find her publications in the in various hand and photographic stencil printing methods. This 2-week multi-level course teaches intaglio techniques See More = www.alexchitty.com collection of the Museum of Individual exploration and development in the medium will that mimic the marks of the pencil and brush. By using Modern Art Library, at Printed be encouraged and supported by individual instruction and sugarlift, spitbite, whiteground, drypoint, softground and Matter, Ooga Booga, & elsewhere. group critiques. Emphasis will be placed on unique prints multi-plate printing techniques students will learn to From THE WAY THEY WANTED TO SLEEP | inkjet print | 8.5"x11", 2014 created by layering, stencil repositioning and combining make prints that directly translate their personal style of hand mark-making with photographic and found imagery. drawing or painting. Emphasis is also placed on specific Collaboration will be encouraged. color mixing and careful paper choice. Slide lectures and Jeanine Coupe-Ryding examples will be used to illustrate this approach. Jeanine Coupe Ryding’s work has *Please see course calendar for class schedule. been shown throughout the U.S. and abroad. Perimeter Gallery, Chicago; Atrium Gallery, St. Louis; Olson Larsen in Des Moines and Relief and Collage August Art, London represent her work. She concentrates in woodcut prints, etchings, artist’s books, Jeanine Coupe-Ryding drawing and collage and has founded PRINT 607 001 | 1 CREDIT HOUR | LAB FEE $50 both Shadow Press and Press 928 in Evanston, Illinois for fine art Woodcut printmaking offers a broad range of expressive publishing. She received her BA from Geoffrey Hamerlinck possibilities, from abstract, minimal to intricately carved The University of Iowa and her MFA from Universitat der Kunste, Berlin, narrative. Combined with collage, participants will explore Germany. She has received various awards and residencies including Illinois Geoffrey Hamerlinck earned an MFA from The School of the Art the power and potential of both media. Traditional Arts Council Award, Arts Midwest, Frans Masereel Center, Belgium and Institute of Chicago in 2008 and a BFA from St. Cloud State University in 2005. He has shown prints and drawings at Soo Visual Art Center processes such as hand drawn design and carving will Anchor Graphics, Chicago. She teaches at the School of the Art Institute of Chicago. in Minneapolis, Speedboat Gallery in St. Paul, Eel Space in Chicago be combined with xerox transfer, stencil and chine colle. and various other places across the Midwest. Geoffrey is an Adjunct Students will be encouraged to explore photo, found and MOONLIT NIGHT | etching and woodcut collage | 8"x10", 2014 Professor of Art at St. Cloud State University. Lithography: Stone collage imagery. Various approaches to these processes and Photolithography will be shown through slides, books and actual artwork. DICKEY TELLS JOKES | ball point pen on paper | 2014 All processes can be done at home and are non-toxic. Kristina Paabus Mark Pascale Kristina Paabus is a multi- Mark Pascale disciplinary artist with a focus PRINT 635 001 | 1 CREDIT HOUR | LAB FEE $50 | 1 WK* in printmaking. Paabus earned Adjunct Professor, Printmedia (1981). BA, 1976, Southern Connecticut PRINT 635 002 | 1 CREDIT HOUR | LAB FEE $50 | 1 WK* Monotype her BFA from Rhode Island School State College; MFA, 1978, Ohio State University. Concurrent position: PRINT 637 001 | 3 CREDIT HOURS | LAB FEE $100 | 2 WKS of Design and MFA from School of Janet and Craig Duchossois Curator of Prints and Drawings, The Art This class will be offered in a two-week sequence and give the Art Institute of Chicago. She Institute of Chicago. Exhibitions organized: The Art Institute of Chicago; the beginner and/or more advanced artist the chance to Kristina Paabus was a Fulbright Fellow in Estonia, Intuit: The Center for Intuitive and Outsider Art. Publications: Martin PRINT 609 001 | 1 CREDIT HOUR | LAB FEE $50 and has participated in residencies Puryear: Multiple Dimensions (forthcoming), Contemporary Drawings from learn the traditional lithographic technique in week one. and exhibitions throughout the U.S. the Irving Stenn, Jr. Collection; Jasper Johns: Gray; The Picture Tells the Week two we will introduce the photo plate using analog and Europe. Prior to her current This course will present a variety of oil and water-based Story: The Drawings of Joseph E. Yoakum. methods or digitally manipulated photo positives. Emphasis monotype techniques including chine colle, multiple position, Kristina was Instructor and Graduate Coordinator in the will be placed on understanding how to make a lithograph plate or block printing, image transfers and over-printing. Department of Printmedia at SAIC, both in editions and as unique variants. Demonstrations Monotype is a versatile process that can be performed in and Visiting Assistant Professor will be given for the preparation of matrices, color mixing and Grant Wood Fellow in the landscape as well as in the studio. Painters as well as and modifying inks as necessary, as well as more advanced printmakers will find this a dynamic new medium that is Printmaking at The University of Iowa. Paabus lives and works in Ohio where she is Assistant Professor of Reproducible Media at Oberlin drawing techniques as required by participants’ needs and perfect for the home studio. College. www.kristinapaabus.com interests. Historical examples from the collection of The Art Institute of Chicago will be discussed in presentations aimed SETS AND SETS | screen monoprint | 19"x14". 2014 at enhancing participants’ aesthetic point of view.

*Please see course calendar for class schedule.

10 11 Printmaking Faculty Faculty Painting & Drawing

Isak Applin Claire Sherman

Isak Applin’s recent work Claire Sherman, b. Oberlin, OH. celebrates the lost legends, love Lives and works in New York. Claire Image and Word stories and eccentric characters Sherman received her BA from Altered States unique to the mill towns and The University of Pennsylvania and seaports of the American her MFA from the School of the Isak Applin & David Wolfe Claire Sherman & Valerie Hegarty Northeast. Isak’s paintings and Art Institute of Chicago. Recent PRINT 619 001 | 1 CREDIT HOUR | LAB FEE $50 drawings have been exhibited exhibitions include solo shows at PAINTING 638 001 | 3 CREDIT HOURS throughout the U.S., Canada, DC Moore Gallery, NY; Kavi Gupta Students enrolled in Image and Word explore several Painting meets sculpture and the imaginary meets the Germany and, most recently, at Gallery, Chicago; Houldsworth woodcut, hand printing, typesetting and letterpress the Hughes Gallery in Sydney, Gallery, London; DCKT, New York; real in this multi-level class exploring the visionary techniques. The class emphasizes the sequential and Australia. An avid printmaker, his graphic work may be found in New Aurobora, San Francisco; and Hof landscape. Students scavenge the external landscape for narrative properties of the relief printing process. Through York Public Library’s Special Collections and the Boston Public Library and Huyser Gallery, Amsterdam. Recent group exhibitions include the source material to assemble, graft, and fabricate uncanny presentations and critiques, the course of study examine Print Collection. He currently resides in Chicago. Contemporary Jewish Museum, San Francisco; Gallery Seomi, Seoul; juxtapositions and unnatural alterations of found objects how the physical qualities of the paper, image, text and The New Gallery, Austria; and the Neuberger Museum of Art, Purchase, using fast sculptural techniques that allow for maximum THE RETREAT | oil on canvas | 30"x30", 2013 binding can influence narration, pacing, rhythm and NY and the Kentucky Museum of Art and Craft, KY. Sherman is an permutations and experimentation. Readings and films Assistant Professor at Drew University in New Jersey and is represented meaning. The class also investigates the role of traditional range from John Muir’s musing on nature to Mary Shelley’s by DC Moore Gallery in New York and Kavi Gupta Gallery in Chicago. printing in contemporary image-making. Studio projects descriptions of gothic landscapes in Frankenstein. Students David Wolfe may include the creation and editioning of broadsides, Recipient of the Cora Bliss Taylor Fellowship for Distinguished Painters. develop projects that merge the psychological with the sets of prints, or pamphlets. David Wolfe is the proprietor of Cora Bliss Taylor was a beloved watercolor teacher in Saugatuck and friend visible by reasserting their sculptural creations back into Wolfe Editions, a letterpress and of Ox-Bow. Her strong vision and inspiring teaching capabilities left a great the natural environment and using them as inspiration for fine art print studio working with impression on her students, and many of her paintings hang in public spaces artists to print editions of books and visionary drawings, paintings, installations and/or another in Saugatuck/Douglas, providing a visual history of this community. The prints. David has taught book design series of sculptural objects. Taylor Fellowship was established by the Warnock family in 2000 to honor and book arts at The Maine College Cora Bliss and has in the past been used to bring eminent Visiting Artists of Art, Bowdoin College, Wellesley College and Dartmouth College, to the Ox-Bow campus including Francois Mechain, Frances Whitehead, along with ongoing letterpress and Susanna Coffey, Ellen Lanyon, Olive Ahyens, Shona MacDonald, and book arts classes in his own studio. Gladys Nilsson. He was the Master Printmaker for TREE the 2009 winter residency program | oil on canvas | 108"x84", 2014 at Penland School of Crafts in North Carolina. David won the 2010 Traditional Arts Fellow from the Maine Arts Commission, honoring his thirty years of letterpress printing in Maine. In Valerie Hegarty 2014 he received a grant from the Maine Arts Commission to support his Master Printer Training Program. Valerie Hegarty’s solo exhibitions CHLUCCO, CHIEF OF THE SEMINOLES | 4 color woodcut, ink on paper include Nicelle 17"x23", 2013 Beauchene, NY; Marlborough Gallery, NY; Locust Projects, Miami; Museum 52, London; The MCA Chicago; Book Structures Guild & Greyshkul, NY; among others including a commission for a public sculpture on the High Line and installations in The Brooklyn Museum historic Jessica Peterson period rooms. Hegarty has been awarded numerous grants such PRINT 603 001 | 1 CREDIT HOUR | LAB FEE $50 as the Pollock Krasner Foundation, NYFA, the Rema Hort Mann Foundation, and the Tiffany Foundation. Hegarty received an MFA A book is an intimate object that can be alluring and from The School of the Art Institute of Chicago, a BFA from San surprising. A book structure brings together bookbinding Francisco’s Academy of Art College & a BA from Middlebury College, techniques, ideas and form. As we contemplate our ideas Jessica Peterson VT. She is represented by Mike Weiss Gallery in New York. we will investigate several bookbinding structures and how Jessica Peterson is a letterpress printer, book artist and teacher. Her NIAGARA FALLS | foamcore, paper, paint, wood, glue, gel medium to use various tools, adhesives, cloth and create unusual award-winning artists’ books are collected by many special collections 59"x 118"x26", 2007 papers. Students will also learn how to paper back cloth libraries around the country, including at Yale University, Emory University, and manipulate difficult paper, as well as several binding Duke Univeristy and UCLA. Her creative work has been recognized by The techniques, including pamphlet, Japanese stab, accordion Windgate Foundation, The College Book Art Association, The Alabama State Council on the Arts and The Kentuck Arts Festival. Recently, she has and coptic. been a resident artist at Short Twig Press at Longwood University and Small Craft Advisory Press at Florida State University. She is the proprietor of The Southern Letterpress and an instructor at The University of Alabama. Follow her work on her website: www.papersouvenir.com

12 13 Painting & Drawing Faculty Faculty Painting & Drawing

Claire Ashley EW Ross

Claire Ashley is from MFA, The School of the Art Institute Edinburgh, Scotland. of Chicago. Former: Program Director, Multi-Level Painting She currently teaches Ox-Bow School of Art and Artist Pre-College Program: at the School of Residency; Dean, Continuing Studies, Landscape Drawing Claire Ashley & Kori Newkirk the Art Institute of SAIC; Adjunct Associate Professor, Chicago. Ashley’s work SAIC Performances/Exhibitions: PAINTING 605 001 | 3 CREDIT HOURS investigates inflatables University of Chicago; University of EW Ross & Olivia Pedtrides This course for beginning to advanced students will include as painting, sculpture, Minnesota; Atlanta College of Art; DRAWING 407 001 | 1 CREDIT HOUR (FOR CREDIT ONLY) installation and Western Michigan University; extensive experimentation with materials and techniques performance costume. Chicago Cultural Center; Cajarc, Drawing upon the natural terrain of Ox-Bow, students through individual painting problems. Students will pursue various She has shown nationally and internationally. Selected venues include: Tetley France. Awards: Illinois Arts Council explore drawing, design, composition and creativity. A interests in figure, landscape, abstract, imaginary and still-life Gallery, Leeds, UK; Disjecta Contemporary Art Center, Portland OR; Columbus Individual Artist’s Fellowship; wide variety of drawing materials are used. Slide lectures, painting and drawing. Students may choose to work with College of Art and Design, Columbus, OH; The Icebox at Crane Arts, Philadelphia, Chicago Council of Fine Arts; Alliance of Independent Colleges of Art critiques and meetings with visiting artists are included oil-based media. Demonstrations and critiques are included. PA; DeCordova Sculpture Park and Museum, Lincoln, MA; the Museum of Grant; School of the Art Institute Faculty Enrichment Grant; IAC each evening. Contemporary Art and the Chicago Cultural Center, Chicago, IL. She is represented Governor’s International Arts Exchange Grant. by Galleri Urbane Marfa + Dallas, TX and RÖR Contemporary, Miami, FL. SUFFERING AND HAPPINESS | 2011 Note to parents/guardians: All Pre-College students are DISTANT LANDSCAPES: PEEPDYEDCREVICEHOTPINKRIDGE | installation view required to reside on campus during the course. Students are chaperoned and rules and regulations are strictly enforced. Olivia Petrides An adult chaperone is housed with Pre-College students Kori Newkirk throughout the week. Students must provide their own Olivia Petrides has exhibited in Kori Newkirk, BFA, 1993, School of galleries and museums in Iceland, transportation to and from Ox-Bow. Pre-College students the Art Institute of Chicago; MFA, 1997, the Faroe Islands, Scotland, Seattle, are not allowed to have vehicles on campus. University of California, Irvine; 1997, Washington, DC, and Chicago. Skowhegan School of Painting and Her works are in the collections of Sculpture. Exhibitions: Museum of the Smithsonian Institution; the Contemporary Art, Los Angeles; MCA United States Park Service; the Field Chicago; Hammer Museum, Los Angeles; Museum; the Illinois State Museum; Whitney Museum, New York; Wexner Openlands Preservation Association Center for the Arts, OH; The Studio and Iceland’s Hafnarborg Institute of Museum in Harlem; Whitechapel Gallery, Art, among others. She has received London. Bibliography: Artforum, a Fulbright Grant; American- Los Angeles Times, Interview, New York Scandinavian Foundation Grants; Landscape Record Times, Frieze, Artltd., Flash Art; Vibe. Margaret Phillips Klimek Fellowship; Chicago Community Arts Assistance Collections: Art Institute of Chicago, MCA Chicago, Art Gallery of Program grant; an Illinois Arts Council Governor’s International Exchange Ontario, LACMA, Hammer Museum, MCA San Diego, MOCA, Henry Art Award and an Illinois Arts Council Special Projects Award. She has been Scott Wolniak Gallery. Awards: FOCA Fellowship, California Community Foundation, awarded residencies at the Rekjavik Municipal Museum and the Gil-society PAINTING 641 001 | 3 CREDIT HOURS Louis Comfort Tiffany Foundation, William H. Johnston Foundation, Joan in Iceland; the Faroe Islands Museum of Natural History; the Virginia Mitchell Foundation. Center for the Creative Arts; the Vermont Studio Center; Catwalk, New Students will utilize the landscape as raw material York; Yellowstone National Park; and the Ragdale Foundation. Petrides BAM BAM for site-specific mark making; pulling visual recordings | aluminum, artificial hair, plastic pony beads | 91"x60" received her M.F.A. from the School of the Art Institute of Chicago, where such as rubbings and castings directly from natural or she is currently an Adjunct Associate Professor in the Painting & Drawing found elements. Tree bark, rocks, and the forest floor, Department and the Visual Communications Department. Scott Wolniak among other things, can be recorded onto paper, canvas POLAR NIGHTS, PANEL II | ink & gouache on paper | 75"x52" and plaster through rubbing, staining and casting then Scott Wolniak is a multidisciplinary transformed through formal investigations in the studio. artist based in Chicago. His work Work will occur in situ and in studio. Aspects of in drawing, painting and sculpture material history, process and site-specificity will be explores the intersection of further considered through selected readings, including studio art and everyday life. He has exhibited at the Museum of “Seeing is Forgetting the Thing One Sees,” (Weschler), “Art Contemporary Art, Chicago, Art as Experience,” (Dewey) and “Color: A Natural Institute of Chicago, Chicago History of the Palette,” (Finlay). Cultural Center and the Hyde Park Art Center. His work has been reviewed in Artforum, Art in America and Art News, and featured in New American Paintings. Wolniak received a BFA from SAIC in 1995 and MFA from the University of Illinois at Chicago in 2002. He teaches at the University of Chicago and is represented by Valerie Carberry Gallery.

UNTITLED | acrylic, ink, watercolor on carved plaster, mounted on plywood 18"x14.75"x1.5", 2014

14 15 Painting & Drawing Faculty Faculty Painting & Drawing

Vera Iliatova Carrie Gundersdorf

Vera Iliatova moved to the US in 1991 at Carrie Gundersdorf is an Paint and Landscape: the age of 16 from St. Petersburg, Russia. artist based in Brooklyn, Watercolor She earned an MFA in painting/printmaking NY. She has had solo Materials as Narrative from Yale University and a BA from exhibitions at the Brandeis University. She has also studied Museum of Contemporary Carrie Gundersdorf at the Sorbonne University in Paris and Art and Shane Campbell Vera Iliatova completed a residency at Skowhegan Gallery, Chicago, IL. PAINTING 606 001 | 1 CREDIT HOUR PAINTING 624 001 | 1 CREDIT HOUR School of Art in Maine. Iliatova was a Louis Group exhibitions This course will focus on the materials and techniques Comfort Tiffany Foundation nominee in include 106 Green, of transparent watercolor. During the morning sessions, This multilevel painting course will investigate painting as 2009 and completed a studio residency NY; La Box, Bourges, France; Mills College of Art Museum, Marc Foxx students will work from a studio still life and explore a a form of language, where color, surface, and marks are at Marie Walsh Sharpe Space Program Gallery, CA; Hyde Park Art Center, Gallery 400, Kavi Gupta Gallery, considered as indicative of narrative. Students will consider the same year. She is represented by the Monya Rowe Gallery in New York, Chicago, IL, among others. Her work has been discussed in Art Review, variety of techniques and color schemes. Sessions will be questions such as: how do light, space and color suggest where she has shown her work in four solo exhibitions. She has also shown Artforum.com, Artnet, Art on Paper, Chicago Tribune, and Time Out individualized as much as possible to accommodate less narrative? How do surface and mark-making direct the at La Montagne Gallery in Boston and in group exhibitions at David Castillo Chicago. She has a BA from Connecticut College and a MFA from experienced students. Afternoons will be devoted to a reading of a painting, and how can meaning morph based Gallery, Miami; at CTRL Gallery in Houston; the Massachusetts College of the School of the Art Institute of Chicago. thematic suite of paintings developed over the course Art and Design in Boston and Pace University in New York City. Her work on context? Using direct observation of the landscape as a of the week. has been reviewed in Art in America, Artforum, The New York Times, The FOUR SECTION OF SATURN’S RINGS | colored pencil and watercolor/paper jumping off point, students will be encouraged to work from Houston Chronicle, The Boston Globe and The Philadelphia Inquirer, among 46"x60", 2013 other sources, such as memory and photographs. We will other publications. She currently lives and works in Brooklyn, NY. also examine painting in both contemporary and historical contexts. Oil paint will be supported, with demonstrations RECONCILIATION | oil on canvas | 40"x 50", 2013 on techniques and material properties of oil. However, other Mike Rossi media such as watercolor, gouache and acrylic will also be Born in Pontiac, Michigan, Jimmy Wright Metals/Sculpture supported for multi-level students. Mike Rossi is the principal of In 2014 his work was on view at Rossi Metal Design based in Leslie Heller Gallery, New York Philadelphia, specializing in City; Forum Gallery, New York unique architectural works and Drawing Marathon City; Nassau County Art Museum, sculpture. He received his MFA New York; Brattleboro Museum, from Cranbrook Academy of Blacksmithing: Sculptural Forms Vermont; Saugatuck Center for Art and his BFA from Northern Jimmy Wright the Arts, Michigan; Art Cologne, Michigan University. He has PAINTING 603 001 | 1 CREDIT HOUR Germany; Frieze Masters, London; exhibited at the Houston Center Mike Rossi Hang Ming Shui Pastel Art for Contemporary Craft, the This five day drawing intensive for beginning and Museum, Suzhou, PR China. His National Ornamental Metals SCULPT 623 001 | 3 CREDIT HOURS | LAB FEE $150 advanced students expands the experience and definition work is in the permanent collections of the Art Institute of Chicago, Illinois Museum in Memphis and the Torpedo Factory in Alexandria, Virginia, This intensive will start with the fundamental techniques of drawing. Drawing exercises emphasize figure/ground, and the Metropolitan Museum of Art, New York City and collections in the in addition to several private galleries. He has taught at Penland of forging, and move quickly into more advanced projects. composition, color and scale while exploiting materials U.S. and Europe. DC Moore Gallery, New York City and Corbett vs Dempsey, School of Craft (NC), Bryn Athyn College (PA), Kalamazoo College We will focus on the processes of moving material while and technique to push the perceptual conventions of the Chicago, Illinois have presented several solo exhibitions of his work and and Ox-Bow. He has been a resident artist at Penland, Haystack hot, and the forge and anvil will be the primary tools still life, the landscape and the figure. The course includes represent the artist. Mountain School of Craft and Ox-Bow. www.rossimetaldesign.com of achieving form. As a corollary, the history of forged daily demonstrations and discussions of historical and GATHERING ON BLACK #1 | pastel | 20"x 30.5", 2013 MASS EFFECT #6 ironwork (architectural, tools and sculpture) will serve contemporary masters use of ink, gouache, graphite, as a source of inspiration. Each student will also be acrylic and pastel with visual references from Rembrandt encouraged to make an inflated sheet metal sculpture. and Freud to Eve Hesse and Amy Sillman. James Payne

James Payne received an MFA from Cranbrook Steel Fabrication and Armature The Portrait as Academy of Art in 2011 Construction a Starting Point and a BA from Bennington College in 2006. James works in James Payne Peter Williams Sculpture, Installation, SCULPT 649 001 | 3 CREDIT HOURS | LAB FEE $150 PAINTING 614 001 | 1 CREDIT HOUR Print and Papermaking, and he has exhibited his Steel is an extremely versatile material for creating visual This class will focus on issues raised in painting, Peter Williams work in Brooklyn, Detroit, and structural forms. In this class students will learn how particularly portraits and self-portraits, translating what The paintings of Peter Williams have been described by artist and writer Chicago and Los Angeles. to work with steel on a fundamental level in a supportive is known and seen into the formal vocabulary of paint. He has spent time as William Eckhardt Kohler as “in no particular order: hallucinogenic, acerbic, shop environment. Techniques such as mig welding, Sources will include direct observation of the subject a resident at Franconia pained, beautiful, confessional, obsessive, critical, jarring, wild, weird and cutting, grinding, and polishing will be introduced and and the imagination. Students will investigate form and profoundly human. They are born from Williams’ experiences of race, Sculpture Park in Minnesota, Good Weather in Arkansas, Hook Pottery explored. Students will also test the functionality of their content as well as materials and techniques. Students appetite, and physical vulnerability. The visual lexicon is a heady blend Paper in Indiana and Ox-Bow School of Art in Michigan. James lives and works in Brooklyn. www.jamesedwinpayne.com armatures and structures by incorporating other materials may choose to work with oil-based media with odorless of psychedelic color, abstract pattern, and cartoon-manic imagery.” Most recently Williams has had solo exhibitions with Foxy Productions in New such as plaster and concrete. Slide presentations on solvents, or water-based media. Slide lectures and UNTITLED | white concrete, roses | 2014 York City and Paul Kotula Projects in Detroit. Recipient of numerous grants, historical and contemporary examples will augment studio critiques will be included. including a Joan Mitchell Award, his work was included in the 2002 Whitney work. Final projects will incorporate steel with found, cast Biennale and is in the permanent collection of the Detroit Institute of Art. and other materials.

16 NYACK | oil on canvas | 5"x11", 2013 17 Metals/Sculpture Faculty Faculty Fiber

Kari Reardon Andrea Peterson Kari Reardon is a Los Angeles based artist originally from Andrea Peterson is Metals Casting I: Mold Making Minneapolis, Minnesota. She an artist and educator. Papermaking and Bronze Casting Intensive received her BFA from the She lives and creates School of the Art Institute of work in northwest Andrea Peterson Chicago in 1999 after studying Indiana at Hook Kari Reardon at the Studio Arts Center in Pottery Paper, a studio PAPER 604 001 | 3 CREDIT HOURS | LAB FEE $150 SCULPT 618 001 | 1 CREDIT HOUR | LAB FEE $100 Florence, Italy and completed and gallery co-owned Paper as an art medium is exciting and elusive. Paper pulp her MFA in 2012 from the with her husband. She can be transformed into sculptural works, drawings with The beginning Metal Casting course will concentrate on California Institute of the Arts. combines paper arts, casting bronze into green sand and sodium silicate bonded Kari has been a recipient of printmaking and book arts to make works that address human relationship pulp and unusual surface textures. It can allude to skin, sand molds. Students will learn to create patterns and numerous grants, residencies to the environment. She teaches and lectures internationally: San metal, rock or something quite totally different. Explore all molds, the process of melting and pouring the metal, and and fellowships throughout Francisco Center for the Book, School of the Art Institute–Chicago, of these possibilities. Stretch your artistic and technical finishing and patination techniques for their castings. Class the U.S. and internationally. Morgan Conservatory, Cleveland, OH, Watermark Museum, Fabriano, skills to create unusual works of art. Italy. She is a 2014/15 recipient of an IAC grant. time will focus on safety in the foundry, history of the metal Currently she has a studio in Mount Washington and teaches bronze casting and beginning 3-D casting process and developing an understanding between design at California State University-Northridge. UNION | handmade paper and graphite | 2012 the foundry process, pattern generation and personal Off the Wall - Pulp Sculpture expression. Students will be encouraged to work in response NUDE, WITH HORSE | polystyrene, styro spray 1000, steel, aluminum, vinyl, to the natural environment at Ox-Bow while simultaneously acrylic hair, paint | 10'x3.5'x3.5', 2014 Andrea Peterson working in an open-air metal sculpture studio/foundry. PAPER 606 001 | 3 CREDIT HOURS | LAB FEE $150 Heather Mekkelson Paper fiber has been used in many cultures to make Rewilding Heather Mekkelson lives clothing and costumes, house structures, ritual objects and works in Chicago. and elements. A paper cup holding hot coffee is an Solo and two-person incredible feat of 3 – D paper ingenuity. Paper is an Heather Mekkelson exhibitions include Now integral part of our everyday existence. It is strong, tough SCULPT 650 001 | 3 CREDIT HOURS | LAB FEE $100 Slices at 65GRAND, Invisible Apocalypse at and a master of disguises. This course will explore the In this sculpture and installation course students will Roots & Culture; Heather possibilities of various paper fibers as sculptural medium. have the opportunity to contextualize their practice in the Mekkelson at +medicine Non-traditional and some traditional armature structures surrounding landscape of Ox-Bow using the concept of cabinet; Limited Entry Jovencio de la Paz specific to the capabilities of each fiber will be explored “rewilding” as their springboard. An abstract examination of at Old Gold; Debris Field at threewalls; and Out Land at STANDARD (all Jovencio de la Paz is an artist, writer, and teacher living and working as well as making new to accommodate ideas brought the psychological and ecological implications of rewilding Chicago, IL.) Her work has also been in group shows at The Museum in Chicago, Illinois. Using traditional Southeast Asian batik methods, to class. Pigments and surface treatment can suggest of Contemporary Photography (Chicago, IL), The Figge Art Museum habitats and reversing human domestication will lead to de la Paz makes large scale textiles in indigo. Recently, he has shown other materials were used while the paper maintains (Davenport, IA), The Poor Farm (Manawa, WI), Raid Projects (Los Angeles, the consideration of engineered environments, artificial work at the Museum of Contemporary Craft in Portland, OR; SOIL CA), and Vox Populi (Philadelphia, PA). Mekkelson’s work has been writ - it’s lightweight and durable qualities. interventions and ultimately, using uncertainty as a tool for Gallery in Seattle, WA; the Sculpture Center in Cleveland, OH; the ten about in Art Journal, Broadsheet, Time Out Chicago, New City, Chicago Chicago Artist’s Coalition in Chicago, IL; and the Hiram Van Gordon making art. Morning meetings will be devoted to readings, Tribune, Artforum.com and others. In 2012 she became an Artadia Award Memorial at Tennessee State University, to name a few. He received a discussions and presentations. Students will develop their Chicago awardee. Mekkelson is represented by 65GRAND. BFA from the School of the Art Institute of Chicago and an MFA from Indigo and its Metaphors ideas, experiment with materials and determine their sites the Cranbrook Academy of Art, Department of Fiber. Jovencio teaches BLUE CRATER NO. 5 | ultramarine blue chalk, glass, plastic painter points for the first half of the course in preparation for creating and in the Department of Fiber and Material Studies at the School of the 2013-2014, courtesy of 65GRAND. presenting their final project during the second half. Art Institute of Chicago. Jovencio de la Paz FIBER 614 001 | 1 CREDIT HOURS | LAB FEE $50 UNTITLED | batik and indigo on cotton | various dimensions, 2014 Veleta Vancza Indigo is the most utilized dyestuff on the planet. Both Image in Enamel Veleta Vancza began her career as an in its natural and its synthetic form, Indigo blue has a art/studio jeweler creating one-of-a- mysterious and contentious history: from the mystery Veleta Vancza kind conceptual works. More recently cults of Indigo in Southeast Asia to the slave trade in the she has been working on a larger scale New World. This course will cover fundamental techniques SCULPT 645 001 | 1 CREDIT HOUR | LAB FEE $50 creating sculpture, wall pieces and in preparing both natural and synthetic indigo dye-vats, installations using vitreous enamel on In this course students learn the basics of copper enam - and we will use those vats to explore traditional Japanese eling (fusing glass to copper) and explore the potential metal integrated with new technologies such as sound-mapping and 3D tie-dye (Shibori) as well as traditional Indonesian resist of enamel decals. We cover basic enameling techniques rendering software. She is recognized dying (Batik). Furthermore, we will also utilize the such as sifting and explore sophisticated decal techniques. for her experimental use of vitreous metaphoric notion of “blueness” and “bluing,” in Students create their own decals on campus using laser enamel as an adhesive, as well as relationship to the natural landscape. While surface printed images as well as experiment with decals that her innovations with phosphorescent design and the production of textiles will be emphasized, are commercially available. Lectures on the histories and enamels. Veleta is also the creator of students will be challenged to consider how the production MINE Luxury Nail Lacquer, a nail polish applications of this technique augment work in the studio. of color and cloth can manifest itself in performance, Group and individual discussions address technical issues that is pigmented exclusively with precious metals. MFA Cranbrook Academy of Art 2003; BFA State University of New York, New Paltz 2000; AAS Fashion installation and other alternative forms. This course of this process and troubleshoot how to incorporate these Institute of Technology 1993. is open to all levels of experience. elements into a completed artwork. This course is for all levels of students. No prior metals or enamel experience POSTCARD: CHANG & ENG 3 | vitreous enamel on steel | 4"x6", 2010 is necessary. 19 Life at Ox-Bow

At Ox-Bow we expect you to Inn/Accomodations Ox-Bow provides shared housing with limited opportunities for single rooms. Single experiment, play and trust your rooms can be requested at the time of registration and are available on a first-come, first-served basis, and for an additional fee of $100 per week. Singles are available instincts. You are instructed to be at no additional cost for those with accessibility issues. Individuals will be notified if Ox-Bow can provide them with a single upon arrival on campus. Roommates dedicated to your work in class, are paired according to gender, age, and, as much as possible, special requests. During the summer months, rooms are neither heated nor air-conditioned, so students should bring appropriate bedding/clothing for summer days and nights that can range be open to new experiences from cool to hot throughout the summer months. Detailed information regarding accommodations and recommended items to bring are provided at www.ox-bow.org and embrace a bucolic lifestyle. and in the Orientation Guide distributed to students after registration.

Schedule/Overview - Burke Inn Addition has bedrooms (2 ADA compliant) and two shared bathrooms, All classes begin on Sunday evenings. Attendance on the first Sunday evening kitchen, dining room with snack bar, and Ox-Bow’s lecture room of the course is mandatory. All students arrive between 2 PM (no earlier) and - Original Inn building has bedrooms and shared bathrooms, the Student Services 5 PM (Eastern time) on Sunday for check-in and orientation. If you are going to Office, Ox-Shop, gallery space, and the original dining room be late the first evening, please notify the campus office as soon as possible by - The White, one of Ox-Bow’s most historic buildings, houses most calling 269.857.5811. work-scholarship students Students participate in one class per session. All classes begin at 8 PM on the - The Janie has 5 bedrooms and a side porch for relaxing Sunday night of your arrival. Classes meet daily between 10 AM and 5 PM, except glass classes which meet at 9 AM-6 PM. Breakfast is served daily at 8 AM, lunch Commuting Students at 1 PM, and dinner is at 6 PM. Two-week classes meet on both days of the middle Commuting is an option for local residents and students who wish to make other weekend of the session. No classes meet on the last Saturday of the sessions. housing arrangements. We welcome students who live close enough to Ox-Bow to commute or choose accommodations off-campus, a variety of which (motels, Studios hotels, inns) are located in and around Saugatuck and Douglas. Both towns are about Ox-Bow studios are open 24 hours daily (except glass): three miles from Ox-Bow and are accessible by car or via a ferry that leaves from - Thiele Print Studio has clean workspace, gallery, and digital capabilities downtown Saugatuck. Visit www.saugatuck.com or call the Saugatuck Visitors - Spacious Haas Painting and Drawing Studio Bureau at 269.857.1701 for comprehensive information on lodging in the area. - Open-air Padnos Metals Studio Camping is not allowed at Ox-Bow. - Krehbiel Ceramics studio with several electric kilns, a gas-fired Please indicate on your registration form whether you plan to commute to Ox-Bow car kiln, raku capabilities, and a wood kiln or stay on campus. Meal plans are available for commuting students and may be - Open-air Burke Glass Studio with three glory holes and a glass annex purchased on the Ox-Bow campus during Sunday check-in. for glass bead making and cast glasswork - Clute Papermaking Studio Recreation

Students have a variety of recreational activities from which to choose. Whether you Some classes have a lab fee for materials and studio use. hike through the 115-acres of virgin wooded dunes, take a canoe ride through the lagoon or watch the sunset over Lake Michigan, you’ll discover many ways to enjoy the Meals great outdoors at Ox-Bow. You can also find students playing volleyball on the meadow, Students enjoy healthy and delicious meals prepared each day by our talented kitchen reading on the porch or warming their toes at the nightly campfires to get a break from staff. Meals are included in the room and board fee for students residing at Ox-Bow. the studio. Ox-Bow is only a short ferry ride away from the charming resort towns of Three meals, plus beverages and snacks, are served daily. Meal service begins with Saugatuck and Douglas, where visitors can enjoy art galleries and specialty shops. Sunday dinner and continues through breakfast on the Saturday of your departure. Additionally, on Friday nights after classes have ended, students, faculty and staff Vegetarian dishes are served with each meal. Please let the Ox-Bow office know of any gather on the meadow for dancing. Costume parties are a 100-year old tradition at food allergies or special diet requirements upon check-in. Commuting students may Ox-Bow, and we maintain this part of our history—only now with ipods and DJs. purchase one of two meal plans at the cost of $45 for breakfast and lunch or $150 for all meals per week.

A2 A3

Contact Information After June 1, 2015, questions concerning your stay at Ox-Bow (i.e. arriving, leaving, what to bring, travel issues, etc.) at Ox-Bow should be directed to the Ox-Bow office in Saugatuck at 269.857.5811. The Ox-Bow office is open Monday through Friday, 9 AM to 5 PM, EST. In the case that staff cannot answer your call, please leave a message and your call will be returned as promptly as possible. Questions regarding class registration and payment should be directed to the Ox-Bow Registrar in the Chicago Administrative Offices at 800.318.3019. Chicago office hours are Monday through Friday, 8:30 AM to 4:30 PM, CST.

Policies Admission Policies Ox-Bow reserves the right to deny admission to any individual who has demonstrated a history of behavior which, in the judgment of 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.

Suspension or Expulsion Policies: Ox-Bow reserves the right to impose sanctions including suspension and expulsion, without refund, upon students for behavior which in the judgment of Ox-Bow contributes in any way to the disruption of the educational processes or residential life at Ox-Bow. Additional policies are listed in the Ox-Bow Policy & Procedures Handbook. (SAIC students will be subject to the disciplinary procedure and sanctions as outlined in the School of the Art Institute of Chicago’s Student Handbook.)

Studio Policies Each studio has specific policies in order to ensure the safety of students and equipment. Additionally, these policies ensure that all participants receive a quality education by having equal access to faculty and equipment. All studio specific policies will be explained on the first night of class. Any student found in violation of these policies will be asked to leave the course without refund. These same policies are applied to any work conducted in the Ox-Bow landscape or on the Ox-Bow grounds. Because Ox-Bow is a community, we ask that all students respect the rights of their classmates and community members by following our policies.

A4 Science Faculty Faculty Performance

J. Elmo Rawling

Dr. J. Elmo Rawling 3rd is a Geology professor with the University of Wisconsin’s Geologic and Natural History Survey. Prior to that he Environmental History taught Earth Science to undergraduates at the UW-Platteville campus. Fashioning Legacies at Ox-Bow Most of the students in his classes were non-science majors and all of the courses included field experiences. Rawling grew up along the Anthony Romero & Jillian Soto shores of Lake Michigan and his research interests today include J. Elmo Rawling & Evan Larson beach and dune landscapes along the Great Lakes and how they evolve PERF 605 001 | 3 CREDIT HOURS SCIENCE 603 001 | 3 CREDIT HOURS over long time periods. This class explores the theme of performing cultural The natural world is dynamic, with changes taking place legacies with regards to fashion and entertainment across an immense spectrum of space and time. As of the 1990’s. The era of the supermodel, robust Evan Larson people, our perspectives can be limited to what we see in Anthony Romero and Jillian Soto multiculturalism, a decade edging towards a millennial our immediate surroundings and over our life spans. This Evan Larson is an Assistant Professor of Geography at the University ESCAPE GROUP, an artist collaborative based in Chicago and New landmark and further from the horrors of the AIDS crisis. course will use the Ox-Bow School of Art Field Campus as a of Wisconsin-Platteville. He is passionate about teaching, the York, was formed in response to a lack of individual resources globally Tracing different paths of identification and layers of natural environment and combining the two. Evan’s background natural laboratory to explore the application of methods in and locally. Anchored by Anthony Romero and J. Soto, ESCAPE history, students will create performances with these is in biogeography, the study of patterns in the living world and the GROUP includes a rotating cast of project-specific collaborators ideas in mind. This course will take the form of a studio- landscape evolution and vegetation dynamics. Students will underlying processes that create them. He uses dendrochronology, who collectively execute public and print-based projects. The group’s laboratory, where students will consider movement, gain a deeper comprehension of the campus’ current natural the study of variability in tree growth rings, extensively in his name responds to the pressures of simultaneously holding their duration and experiment with the performing object, environment, how its landscape has changed over recent teaching and research and loves getting outside with his students to working class Latino/a heritage with the social hierarchies of fashioned precisely to suit the work. centuries and millennia and how it may change in the future. experience first-hand the complexity, nuance and interconnections knowledge and sensibilities that often pervade academia and art This course will provide students a unique opportunity to of our environment. making. They believe the contemporary moment is one in which combine classroom, field and studio perspectives with individuals must come together to form relationships founded scientific principles to create an environmental narrative of on both commonality and difference. the Ox-Bow School of Art and its surroundings.

Michael Andrews Independent Study Mike Andrews works through histories and materials related to June 7–August 22 textiles, digital software, sculpture and collage. Exhibitions include Chicago Cultural Center; Museum of Contemporary Art, Chicago; Photography Society for Arts and Crafts, Boston; Jeff Bailey Gallery, NYC; The Suburban, Oak Park; William Bennington Gallery, London. He is Associate Professor in the Department of Fiber and Material Graduate Projects Studies at SAIC and the Academic Director at Ox-Bow School of Art and Artists Residency. If night is a weed and day Michael Andrews grows less MFA 6009 003 | 1 CREDIT HOUR | 1 WK MFA 6009 003 | 3 CREDIT HOURS | 2 WKS David Hartt

David Hartt David Hartt creates work that unpacks the social, cultural and economic complexities of his various subjects. He explores how historic ideas and PHOTO 606 001 | 3 CREDIT HOURS | LAB FEE $100 ideals persist or transform over time. Born in Montréal in 1967, he lives Undergraduate Projects The title of this class posits a shift in balance: of the and works in Chicago. He has an MFA from the School of the Art Institute of Chicago and he is on the Faculty at the Milton Avery Graduate School natural order, of the built environment, of the body politic, Michael Andrews of perception. The result is a creeping entropy that can of the Arts, Bard College, New York. Recent exhibitions include the Aimia Photography Prize exhibition at the Art Gallery of Ontario, The Canadian UGDIV 4000 | 1 CREDIT HOUR | 1 WK either be embraced or redirected. Taking a morphological Biennial at the National Gallery of Canada and solo shows at LA>

24 25 Special Programs Artists in Residence Program

Ox-Bow’s AIR program offers artists and Summer MFA Residency writers, at various stages in their career, Three week residencies The Fellowship Program the time, space, and community to encourage June 7-August 22, $525 Funded by the Leroy Neiman Foundation growth and experimentation in their practice. The Arts Faculty and Summer MFA residencies The Summer MFA Residency is a three-week program open to any current or recent MFA graduate. Recent grads must Each summer, Ox-Bow welcomes twelve are held during the summer while our core have graduated from an MFA program on or after December classes and community programs are in fellowship students from competitive art 2014. This program allows residents to take advantage schools all over the nation the opportunity session. During this time, this small group of of the summer community (faculty, visiting artists and to focus on their work, meet with renowned residents has access to Ox-Bow’s artist students) while also having the space and time to focus on artists and grow as a member of this unique community of students, faculty and Visiting their practice. The residency provides: community. These students live on campus Artists. The Fall Artists’ Residencies are held • Private Studio (raw studio space, classroom for 13 weeks, where they participate in campus for five weeks between September and studios not available) October. This larger group of artists enjoys the life as both staff members and as artists. • Private room (shared bathrooms and showers) quiet of campus and time to make work and • 3 meals a day Fellowship students are either selected build lasting relationships. • Access to visiting artists and faculty for studio visits by Ox-Bow’s jury, by their departments or • Evening artist lectures schools based on the merit of their work and • Opportunities to share work: slide presentations and/or readings on their commitment to making inspired and Artists’ Residencies for Arts Faculty innovative art. During their stay at Ox-Bow, Ox-Bow Fellowships for SAIC Two-week residencies Undergraduate and Graduate Students Applications for the Summer MFA residency are fellowship students are able to reinforce their June 7-August 22, $500 due February 9, 2015. Applications are available at: commitments to artmaking, and benefit from www.ox-bow.org Ox-Bow offers two fellowships to undergraduate and graduate During the summer, Ox-Bow offers two-week residencies to the intense focus and the access to professional degree-seeking students from the School of the Art Institute of five artists who are faculty members in the arts (any grade artists that life at Ox-Bow provides. Chicago. Students must be at least 21 years of age at start of level), in an adjunct or full-time capacity. This program is fellowship. For information on eligibility and to apply online, please designed to give teaching artists the much-needed time to Fall Artist & Writers Residencies Fellowship Student Opportunities: visit: www.ox-bow.org. Applications are due on February 23, 2015. focus on their own work throughout the summer and also to Two, three, four, and five week residencies • Receive studio space connect with other faculty who are teaching at Ox-Bow. The September 6-October 10 • Weekly stipend residency provides: $250 per week • Free room/board • Access to visiting artists for critiques Ox-Bow Fellowships for Degree-Seeking • Private Studio (raw studio space, classroom studios Fall residents are given the time, solitude, and focus often • Opportunity to exhibit their work Students from Any School not available) unavailable to so many working artists. Each fall between • Can audit one two-week course or two one- • Private room (shared bathrooms and showers) 25 and 30 artists participate in the residency creating a week courses (when space and time allows) Ox-Bow also offers two positions to undergraduate and • 3 meals a day community of engaged peers. At Ox-Bow, artists can enjoy graduate students from any degree-granting institution. • Access to visiting artists and faculty for studio visits 24-hour access to their studios, and an inspirational setting, Fellowship Student Responsibilities: Students should be in their junior year or older and currently • Evening artist lectures free from the expectations of commercial and academic • Participate in campus life as staff enrolled in a degree program in the visual arts. Must be at • Opportunities to share work: slide presentations demands. During the fall season, Artists’ in Residence have • Fellows work alongside of the regular staff least 21 years of age at start of fellowship. For information on and/or readings the opportunity to work in studios not available during the for just 20 hours per week on jobs ranging eligibility and to apply online, please visit: www.ox-bow.org. summer session. Three studios are dedicated specifically from dishwashing to office work Applications are due on February 23, 2015. Please note that the classroom studio facilities are not to writers. The fall is also an ideal time to propose group or • This minimal work commitment is designed available to ARs. Funding available, see page 24. collaborative work. The residency provides: so that fellows may make the most of their time in their studios at Ox-Bow Applications for the summer residency program are • Studio (access to ceramic, printmaking 2014 Fellowship Recipients • Fellows should seek out as many one-on-one due February 9, 2015. Applications are available at: and painting) Emma Pryde, School of the Art Institute of Chicago critiques as possible www.ox-bow.org • Private room (shared bathrooms and showers) David Derish, School of the Art Institute of Chicago • Spend a minimum of 15 hours a week in • 3 meals a day Osiris Zuniga, Pratt Institute their studios • A community of engaged artists Brianna Barron, College for Creative Studies • Attend at least 15 slide lectures over the • Opportunities to share work: slide presentations John-Elio Reitman, Cooper Union course of the summer and/or readings Nick Grasso, Lewis and Clark College Amelia Stanley, Hope College By working closely with the artists on staff, fellows develop Applications for the fall Residency Program are Carly Connelly, Herron School of Art and Design relationships with others who have also made artmaking due May 15, 2015. Applications are available online at: Annie Miller, University of Texas at Austin their lives. The fellowship program is a once in a lifetime www.ox-bow.org opportunity to be entirely focused as an artist within the Zophia McDougal, Kansas City Art Institute sanctuary of Ox-Bow. E. Winslow Funaki, Rhode Island School of Design Krzysztof Lower, Grand Valley State University

26 27 Special Programs Pre-College Program for Artist in Residence Program High School Juniors & Seniors continued Ox-Bow’s Pre-College program is a one-week intensive designed for advanced high school juniors, seniors and recent graduates who are International Artists OX-BOW NEA FALL SCHOLARSHIP AND STIPEND considering pursuing a degree in the visual Ox-Bow is pleased to be the recipient of a grant award from arts. Students are given the opportunity to Ox-Bow’s residency programs are open to international the National Endowment of the Arts. Ox-Bow will offer 26 evaluate and strengthen their commitment artists. Please take the following into consideration paid residency opportunities to artists in the summer and to the study of art, receive college level before applying: fall. In order to meet the needs of working artists, we are instruction, and receive 1 college credit through constantly striving to alleviate their financial barriers. Offering SAIC. Other Ox-Bow classes run concurrently • International artists are responsible for obtaining a visa, paid residencies answers the increasing call for Ox-Bow to as well as all necessary documentation for travel. be both an artistic and financial haven for artists and their with these courses, providing Pre-College • International applicants are eligible for funding, but work. This NEA support is a huge step in that direction. In students with a sense of community as they please note that any funding granted must be restricted addition to having residency fees waived, award recipients interact with other artist taking classes. to travel and materials. will receive a $200/week stipend. This program is supported in part by an award from the National Endowment for the Arts. Art Works. Landscape Drawing Collaborative Residents To apply, please include a statement of interest with your Artists may apply for both summer and fall residencies online Artist Residency Application. EW Ross & Olivia Petrides as individuals or as pairs to live and work on campus DRAWING 407 001 | 1 CREDIT HOUR | JULY 19-25 on a project of their design. Check our website for HIGH SCHOOL JUNIORS & SENIORS ONLY collaborative pricing. Drawing upon the natural terrain of Ox-Bow, students explore drawing, design, composition and creativity. A wide variety of drawing materials are used. Slide lectures, Funding Opportunities for critiques, and meetings with visiting artists are included Artists in Residence: each evening. More information about tuition and room • All residency applicants are eligible for scholarships, and board fees on page 31. which cover a portion of the fee. • Scholarships include William Carr Olendorf Residency PRE-COLLEGE SCHOLARSHIP Fund, Hartigan Memorial Scholarship (available for Students are encouraged to apply for the Pre-College Painters only) and the Metternich Endowment. scholarship. The deadline to apply for the scholarship is • Please indicate your interest in being considered for an Monday, June 15, 2015. The applications are reviewed on award on your application for residency. a rolling basis and students will be notified of the award • Scholarship recipients will be notified at the same time within four weeks of applying. Application available online as notification of their acceptance for a residency. on January 5, 2015. Visit: www.ox-bow.org

About our Funders: INFORMATION FOR PARENTS/GUARDIANS JOHN M. HARTIGAN MEMORIAL SCHOLARSHIP All students are required to reside on campus during FOR PAINTERS the course. Students are chaperoned and rules and John M. Hartigan was a life-long Chicagoan, an artist, regulations are strictly enforced. An adult chaperone a patron of the arts, and a dedicated family man. A gifted is housed with Pre-College students throughout the lawyer, and an engaged community member, John was week. Students must provide their own transportation always interested in civic affairs, sitting on a number to and from Ox-Bow, but are not permitted to have a of Boards. Over the years he took courses at the School of vehicle on campus. the Art Institute of Chicago, as well as summer courses at Ox-Bow. John loved both the camaraderie, and the artistic synergy of the campus. The Hartigan Endowment will be used to support the on-going education of artists-in- residence whose medium is acrylic and/or oil. This award is available to applicants for both the Summer and Fall Residency cycles.

28 29 Zachary Cahill HEALTHINFRIENDSHIP Visiting Acrylic on canvas 2014 - Artists Courtesy of the artist Photo by Tom Van Eynde In addition to its talented faculty, Ox-Bow hosts a series Jim Hodges Kelly Kaczynski received an Kelly Kaczynski of distinguished Zachary solo exhibitions at he has been associated Kaczynski MFA from Bard College, Only Mirrors Exist, Cahill the KW Institute for with the text and art Jim Hodges was born NY and BA from The For Example a Tulip visiting artists, art Contemporary Art, enterprise Our Literal in 1957 in Spokane, Kelly Kaczynski is Evergreen State 2012 Zachary Cahill is an Berlin, Germany; the Speed. His writings have Washington and an artist working College, WA. historians and critics interdisciplinary artist Museum of Contemporary appeared in Afterall, received his MFA from within the language who has been working Art Chicago; the Smart Frieze, Mousse and the Pratt Institute of sculpture. Selected each summer. These on the long term the Museum of Art; and Shifter Magazine. Cahill in Brooklyn, NY. exhibitions include project USSA 2012, threewalls, Chicago, is a regular contributor Since the late 1980s, Ortega y Gasset Projects, Visiting Artists have an exhibition-based amongst other. His work to Artforum.com and Hodges has created a NY; Soap Factory, MN; para-fictional narrative was included in the 8th a co-editor of the broad range of work Gahlberg Gallery, IL; been chosen to relating to concepts of Berlin Biennale for contemporary art exploring themes of threewalls, IL; Hyde nation building, since Contemporary Art journal Afterall. fragility, temporality, Park Art Center, IL; complement the 2009. He has had (2014). Since 2007 love and death utilizing University at Buffalo a highly original and Art Gallery, NY; Triple program offerings. poetic vocabulary. A Candie, NY; Boston major retrospective Center for the Arts, Visiting Artists give Institute of Technology in of Hodges’ work is MA. Curatorial projects 2007. Recent exhibitions currently on view at include the 2014 slide presentations include Puddle, pothole, the Hammer Museum exhibitions Roving portal at Sculpture in Los Angeles, and Room at Habersham of their work, are Center, Playing with Fire... has travelled from the Mills, GA and Virtually available for individual at El Museo del Barrio, Dallas Museum of Physically Speaking at Material Histories at Art, The Walker Art Columbia College, and group critiques, Studio Museum in Center in Minneapolis Chicago, IL and the Harlem, Outside the and the Institute of 2011 exhibition Lines at the Contemporary Contemporary Art in Mouthing (a sentient Pam Lins her MFA from Hunter and visit classes to Art Museum Houston, Boston. Hodges currently Pam Lins limb) at the Hyde Park College, of the City Gastown Follies, lives and works in New talk with students Art Center, Chicago, IL. Born Chicago, IL. Lives University of New York. Artspeak, Vancouver, York City. and works in Brooklyn, BC; Future Generation She was included in the and faculty. They NY. Lins refers to her Art Prize at Venice, The 2014 Whitney Biennial. work primarily as 55th Venice Biennale; She was the recipient of share their work and sculpture, although XXXXXXX, at Iceberg a Radcliffe Fellowship in she uses the term Projects, Chicago; Future 2014. Her most recent ideas, their success, expansively. She Generation Art Prize solo exhibition was teaches sculpture at Exhibition at the Pinchuk Denver Gold, at the and their insight the Cooper Union for Art Centre, Kiev, Ukraine; Tang Museum of Art the Advancement of with both students The Ungovernables, New in Saratoga Springs, Science and Art and New York, in 2012. In Abigail DeVille Museum, NY. DeVille is Abigail DeVille painting at Princeton and staff. a 2014-15 fellow at The 2008 Lins received a University. Through her Abigail DeVille received Radcliffe Institute for fellowship from the John work, Lins contemplates her MFA from Yale Advanced Study Simon Guggenheim the social, the political, University 2011 and her at Harvard. Memorial Foundation, BFA from the Fashion and the historical by and in 2007 she was constructing situations awarded a fellowship Jim Hodges inquisitive and in the visual arts from Untitled (one day it all comes true) equivocal to sculpture the George A. and Denim fabric and thread and the making of it. Eliza Gardner Howard 155"x 286.5" She utilizes history as Foundation. She is 2013 material and space as a represented by Rachel condition. Lins received Uffner Gallery in NYC.

30 31 Robert Pruitt James Siena Arts, Boston; San First Contact Francisco Museum conte, gold leaf, James Siena (b. 1957, of Modern Art; The coffee-stained paper California) is a New Museum of Modern 69"x 50" York-based artist whose Art, New York, and 2013 Visiting Artists complex, rule-based Whitney Museum of linear abstractions have American Art, New collaborative impulse. situated him firmly York, among others. He is a founding within the trajectory of Siena was elected an member of a number of modern American art. Academician at The artist groups including His artwork is driven National Academy in Claire Pentecost 16Beaver and many Otabenga Jones & by self-imposed 2011 and was inducted others organizing Associates, MF Problem predetermined sets into the American Claire Pentecost’s work a series of seminars (with his Fiancé, artist of rules, or “visual Academy of Arts and engages collaboration, to articulate the Autumn Knight), a algorithms,” which Letters in 2000. His research, teaching, interlocking scales of loose collective of find their end-result in many accolades also writing, lecturing, our existence in the local Houston artists intensely concentrated, include the Eissner drawing, installation logic of globalization. sometimes working vibrantly-colored, Artist of the Year Award and photography in an In the Midwest, she under the name freehand geometric from the Cornell Council ongoing interrogation collaborates with STACKS collective patterns. Siena works for the Arts at Cornell of the institutional Compass, initiating a and he is Co-Director across a diverse range University Award structures that series of public hearings of Houston Open of media, including (2009); he received organize knowledge. on the activities of the Studio Tours. He has lithography, etching, his BFA from Cornell Her projects often Monsanto Corporation. exhibited his work woodcut, engraving, in 1979. In 2004 he address the contested Recently Pentecost locally, nationally and drawing and painting. completed an artist- boundary between has exhibited at Robert Pruitt practice is chiefly internationally, notably the natural and the dOCUMENTA(13), He has been featured in in-residency program of numerous awards Kalup Linzy centered on rendering at the Museum of Fine Kalup Linzy artificial, focusing in Whitechapel Gallery, over 100 solo and group at Yaddo, and was among them a “ Robert A. Pruitt, born portraits of the human Arts Houston, The Lonely” Art Jobs recent years on food, and the 13th Istanbul exhibitions since 1981, elected to their Board grant from the Louis & Lullabies in 1975, is an artist body, specifically the Contemporary Arts Kalup Linzy is a video agriculture and bio- Biennial. She is including the 2004 of Directors shortly Comfort Tiffany Color and B&W Video. based in Houston black body. He projects Museum Houston, The and performance artist represented by Higher Whitney Biennial. His thereafter. For more TRT 3min 38sec. engineering. She has onto these bodies a Dallas Museum of Art, based in Brooklyn, Foundation, the John Texas. He earned his work is part of many than ten years, Mr. 2014 collaborated with Pictures, New York, juxtaposing series of The Bronx Museum of NY. His work is in the Simon Guggenheim B.A. at Texas Southern numerous prestigious Siena has lectured and Critical Art Ensemble and is Professor and experiences and material Art, the 2006 Whitney public collections at Memorial Foundation University and his public and private taught at art institutions and the late Beatriz Chair of the Department references, denoting a Biennial and most The Studio Museum fellowship, and a MFA from The Univer- collections, including throughout the country. daCosta, and since of Photography at the diverse and radical black recently a solo in Harlem, Whitney Creative Capital sity of Texas in Austin, the Metropolitan He has been represented 2006 she has worked School of the Art experience and future. exhibition at the Studio Museum of Art, Foundation grant. His focusing on painting Museum of Art, New by Pace Gallery with Brian Holmes, Institute of Chicago. Although Pruitt leads a Museum of Harlem. Museum of Modern Art, latest multi-platform and drawing. Pruitt York; Museum of Fine since 2004. and The Metropolitan interdisciplinary works in a variety steady solo practice he Museum of Art. He project is Art Jobs of materials but his also pursues an active is also the recipient and Lullabies.

Paul Sacaridiz

2007 and is a graduate Paul Sacaridiz is of the University of the Chair of the Art Pennsylvania with a Department at the degree in Sociology. University of Wisconsin- His work was shown Madison. As an artist in 2012 as part of his work encompasses the Pacific Standard the making of sculpture, Claire Pentecost Time Performance writing on the field of and Public Art Festival ExpoChacra, contemporary ceramics Agricultural Trade and in 2013 as part of and leadership within the Machine Project Show, Argentina 2005 academic and not for Field guide to L.A. profit arenas. His work Kamau Patton Kamau Patton Architecture. Patton has been included Proof of Concept has recently completed in exhibitions at the Mellon Elemental Arts Kamau Amu Patton projects in the area of Philadelphia Museum Initiative at Pomona College is an interdisciplinary soundscape studies of Art, the Denver Video Document artist based in New through grant support kite, sound, electronics, Art Museum, the York. His work issues provided by the State landscape Madison Museum of from an ongoing University of New James Siena 2014 Contemporary Art and involvement with the York at Buffalo, the the Houston Center for Dr. Michelle Carlson Enamel on aluminum generative intersection Mellon Elemental Arts Contemporary Craft 19.25"x15.25" of sound, light and Initiative at Pomona among others. He is a (48.9cm x 38.7cm) electronics. He College and the Tang Paul Sacaridiz recent inductee to the 2011-2014 received his MFA from Teaching Museum at International Academy - Stanford University in Skidmore college. of Ceramics and © James Siena, courtesy President-elect of the Pace Gallery National Council on Photo by: Tom Barratt / Education for the Pace Gallery 32 Ceramic Arts (NCECA). 33 Open online registration, in person, or by mail: Registration March 30, 2015 Tuition Room & Board Full Rate Total Work Scholarship Use the online form to request registration beginning on March 30, 2015 at 8:30 AM, Central. Non-credit students One week $550 $550 $1,100 -$365 can pay for the course by credit card at this time and (non-credit) The Ox-Bow Administrative for-credit students will make payment arrangements with Offices are located at: SAIC (please see our online FAQ with SAIC payment questions). Our registrar will process the registrations in the Room 1425 Two weeks $1,260 $1,100 $2,360 -$730 order they are received, emailing a confirmation soon after. (non-credit) 36 South Wabash Avenue In the event that the course you requested is full, you will Chicago, IL 60603 receive an email informing you of your status on the wait list or that you have been enrolled in your second choice course. One week (1 credit) 9 AM–5 PM CST, Monday–Friday UG rate $1,381 $550 $1,931 -$550 GR rate $1,467 $550 $2,017 -$550 All mail should be sent to: College Credit Ox-Bow Two weeks (3 credits) 36 South Wabash Avenue, 12th Floor Ox-Bow classes may be taken for either credit or non-credit. UG rate $4,143 $1,100 $5,243 -$1,100 Chicago, IL 60603 The Pre-College program class for high school student is GR rate $4,401 $1,100 $5,501 -$1,100 for-credit only. Ox-Bow is not responsible for lost or returned mail. Credit is awarded through the School of the Art Institute of Chicago. SAIC has been accredited since 1936 by the North The following drop fees will be assessed dependent on when Central Association of Colleges and Schools, and since 1944 you drop your course: Ox-Bow welcomes anyone 18 years or older, (charter member) by the National Association of Schools of Additional Fees Art and Design. from beginning to advanced artists, to register • From the first day of registration until 4:30 PM on Single Room Fee Monday, May 4: Students will receive a full refund for courses. Please refer to the following A limited number of single rooms are available for an extra To request a transcript from SAIC, please contact the minus a $100 drop fee. information to learn more about registration charge of $100 per week on a first-come, first-served basis. Registrar’s Office at 312.629.6700 or [email protected]. • If you drop after May 4 until 3 weeks prior to your first This fee is not charged until the availability of a single room and payment procedures: day of class: Students will receive a full refund minus can be confirmed, which is upon arrival at Ox-Bow for check-in. SAIC Off-Campus Study Requirement $250 drop fee and any associated lab fee. How to Register Ox-Bow courses taken for-credit can count toward the • If you drop within 3 weeks of the start date of your class: Lab Fees and Studio Fees off-campus study requirement that is mandatory for all No refunds will be given. Drops due to an unforeseen 1. Complete and submit registration form Lab fees are listed with course descriptions. Lab fees cover the undergraduates and may also satisfy degree requirements. emergency (i.e. hospitalization, etc.) are eligible to be on our website, at www.ox-bow.org. cost of essential class materials supplied by Ox-Bow, including First year students may register for Ox-Bow courses. contested through a refund review. Documentation may 2. Make payment arrangements. fuel costs (if applicable), and costs of maintaining the studios. be required and refunds are typically partial. Please 3. You can also register by mail or in person. Ox-Bow Please note the new studio fee structure for all Metals Courses. contact Ox-Bow’s registrar at 800.318.3019 for does not accept registration by phone. SAIC students All fees are due at the time of registration. more information. are not able to register online with Peoplesoft for Payment Ox-Bow classes, only at www.ox-bow.org. Payment for Credit Courses Pre-registration for currently March 16, 2015 Payment in full of all tuition, fees, and room and board Refund Policy enrolled SAIC students, in person: 8:30 AM is required at the time of registration, except for SAIC degree-seeking students, who will be billed through SAIC. Refunds can only be granted if drop requests are made three Open online registration, March 30, 2015 weeks prior to the beginning of the class. A signature is in person, or by mail Checks and money orders for credit courses should be made 8:30 AM required for a refund. In the event that Ox-Bow must cancel payable to The School of the Art Institute of Chicago (SAIC). a course due to low enrollment or for any other reason, full refunds will be given. SAIC student in person registration: March 16, 2015 Credit card payments for credit tuition should be made Currently enrolled undergraduate and graduate students through SAIC’s payment Service, CASHNET. Students who To drop a course, students must submit the request in at SAIC may register for Ox-Bow beginning at 8:30 AM on are taking courses for credit, but who are not affiliated with writing to Ox-Bow’s registrar. Call 800.318.3019 for more Monday, March 16, 2015. SAIC students can only register in the School of the Art Institute of Chicago will receive a information. Simply not attending does not constitute a drop. person at the Ox-Bow office (36 S. Wabash, Suite 1425) at student ID number as well as instructions on how to process Additionally, it is not possible to drop an Ox-Bow course this time. a credit card payment at the time of registration. All through the SAIC Self-Service or through the SAIC Registrar. payments must be made with in 48 hours of registration.

Payment for Non-Credit (Audit) Courses: 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. 34 35 LEROY NEIMAN FOUNDATION SCHOLARSHIP • Students may cancel their Work Scholarship awards Scholarships & For undergraduate or graduate students from SAIC. Credit up to the Monday three weeks before the start of or non-credit courses. their class. If you cancel three weeks before or during SAIC Financial Aid Financial Aid your work scholarship week, you forfeit the Undergraduate and graduate students from the School of the WEST MICHIGAN SCHOLARSHIP scholarship completely. Art Institute of Chicago may be able to use their financial aid For students residing within the 269, 616, or 231 area codes • Students may work as many weeks as are available but if award from SAIC toward credit tuition for courses at Ox-Bow. of Western Michigan. Non-credit courses only. they receive the 6 credit special they cannot work for at Please contact the SAIC Financial Aid Office for deadlines. least 2 weeks. Financial aid typically does not cover room & board or lab Ox-Bow offers a variety of scholarships for STEKETEE SCHOLARSHIP fees at Ox-Bow. students taking credit or non-credit classes For SAIC undergraduate and graduate students. Credit to ensure that the Ox-Bow experience is open or non-credit courses. Learn more about applying at the School’s Office of Financial to everyone. Apply online at www.ox-bow.org. Six Credit Special Aid, by calling 312.629.6600, or by emailing [email protected]. VI FOGLE URETZ SCHOLARSHIP Sign up for two 3 credit courses, (4 weeks at Ox-Bow) Ox-Bow Scholarships For undergraduate and graduate students from the School of the Art Institute of Chicago. Credit or non-credit courses. and get 2 weeks of room and board for free. Take 6 credits Scholarship applications are due on February 23, 2015. at Ox-Bow this summer and you: Only one application is required in order to apply for the WEGE FOUNDATION SCHOLARSHIP scholarships listed below. For students from the greater Grand Rapids area. Credit • will get 2 weeks of room and board free (a $1100 value!) or non-credit courses. • are eligible for federal loans MARY LOUISE BARNA MEMORIAL SCHOLARSHIP • can complete your 6 credits of SAIC off-campus For degree-seeking student from any college or university LALLA ANNE CRITZ ZANZI SCHOLARSHIP study requirements in one amazing summer! with demonstrated financial need, who would be unable For female SAIC undergraduate and graduate painting to attend Ox-Bow without the support of this scholarship. students only. Credit courses only. Credit courses only.

THE FITZ AND THELMA COGHLIN SCHOLARSHIP For students from the West Michigan region. Credit or Work Scholarships non-credit courses. Work Scholarship students have the opportunity to experience ISRAEL DAVIS SCHOLARSHIP Ox-Bow in a unique, “behind-the-scenes” way. These For Kendall College of Art and Design students who have students work closely with the resident staff and are asked had at least two classes of course work in ceramics or to respect their role as a part of the staff in fulfilling assigned students majoring in Sculpture. Credit or non-credit courses. duties. Work scholarships are awarded on a first-come, first- served basis beginning on the first day of SAIC registration, FREDERICK FURSMAN SCHOLARSHIP and there are a limited number of scholarship positions For undergraduate and graduate students currently available per week. enrolled in SAIC’s Painting and Drawing Programs. Credit or non-credit courses. Students are expected to work 15 hours each week in one of the roles below. Duties include housekeeping, building LORETTA GRELLNER SCHOLARSHIP and grounds maintenance, and dishwashing. Some jobs For adult women who are either pursuing a degree in art, or require missing minimal class time, and faculty are aware those who need to refresh their professional practice in the of the schedule and asked to be mindful in accommodating classroom environment. work scholarship students. Ox-Bow could not run effectively without the help of work scholarship students, and in return DANIEL CLARKE JOHNSON MEMORIAL SCHOLARSHIP we compensate the students by waiving the room and For undergraduate and graduate students from ANY school. board fees ($550 for credit students per week and $365 for Credit or non-credit courses. non-credit students per week). In order to fulfill the work scholarship students are expected to arrive on campus JASON KALAJAINEN SCHOLARSHIP Sunday between 2-5 PM and must stay until 2:00 PM on In honor of Jason Kalajainen’s seven years of service as the Sunday after their class. Ox-Bow’s Executive Director. For undergraduate or graduate students from any school. Credit or non-credit courses. • Work Scholarships are available to any student taking an Ox-Bow course, for credit or non-credit courses. GEORGE LIEBERT SCHOLARSHIP • There is no deadline; apply at time of class registration. For undergraduate and graduate students from ANY school. • Work Scholarships are not available to students enrolled Credit or non-credit courses. in glass courses or the Pre-College Program. • Please be certain before applying that you are able to DALE METTERNICH MEMORIAL SCHOLARSHIP complete the requested work. It is absolutely required For undergraduate and graduate students from ANY school. that students inform Ox-Bow in advance if they decide Credit or non-credit courses. not to complete work scholarship duties.

36 37 2015 Summer Mission and Overview Ox-Bow Board Chef of Directors Michael Henderberg

President Registrar Registration Form Ox-Bow’s mission is to serve as a David Geerts Rebecca Parker haven for the creative process through Vice President Staff Accountant Peter C. Krupp Amy Pietras instruction, example, & community. Secretary Associate Director STUDENT INFORMATION (PLEASE PRINT CLEARLY) Janet R. Cunningham Laurie Price First Name Last Name Middle Initial Through its affiliation with The School of the Treasurer Development Sam Wanner Coordinator SAIC Student Id (if applicable) Have you attended Ox-Bow Before? Yes No Art Institute of Chicago, Ox-Bow offers one- and Christopher Renton Members Date of Birth Age Gender two-week courses for credit and non-credit for Harry Arader Facilities Manager John Rossi Primary Phone Email beginning, intermediate, and advanced students. David Balas Address Hon. Patricia Birkholz Campus Director Ox-Bow’s courses are diverse, ranging in focus Shanna Shearer CITY STATE ZIP Barbara Whitney Carr from the functional to the sculptural; from traditional Pete M. Houlihan Seasonal Please inform us of any medical/health conditions or disabilities that might require assistance*: to contemporary; and from representational to Margaret Ladd Campus Staff Integral to the conceptual. There are a variety of ways to engage Maryjo Lemanski Ox-Bow experience are in the program, from being a student, artist in Steven C. Meier the dedicated seasonal EMERGENCY CONTACT INFORMATION residence, faculty member, visiting artist, or Carol Sarosik staff who help define the character of the Name Relationship Phone fellowship student. Whether there to learn, teach, Louise Silberman organization. Please visit Elissa Tenny Ox-Bow’s website for or work in the studio, artists find that Ox-Bow a list of this year’s DEMOGRAPHIC INFORMATION* Todd E. Warnock, talented seasonal staff. invigorates them with fresh ideas to bring back President Emeritus *Demographic and disability information on this form is optional and is collected with federal regulation. It is the policy of Ox-Bow not to discriminate on the basis of this information in regards to recruitment and admission, financial aid programs, to the studio. Keith P. Walker student employment service, educational programs and activities, or in employment practices. Stewardship Ox-Bow’s Board of Directors and Stewardship Committee Ethnicity Hispanic or Latino/a Not Hispanic or Latino/a Prefer not to answer Committee contribute their time, talents, and Chair David Balas Race American Indian or Alaskan Native Asian Black or African American resources to ensure that future generations of Vice Chairs Native Hawaiian or Other Pacific Islander White Other Prefer not to answer artists will benefit from Ox-Bow’s rich tradition Arthur H. Frederick Elizabeth Rupprecht and outstanding programming. We are grateful SCHOOL INFORMATION Secretary for their dedication and support. Patricia Dewey What school are you enrolled in? City & state Treasurer Level High school Post-Baccalaureate Undergraduate Graduate N/A Area of Study Roger Arbury Level Freshman Sophomore Junior Senior 1st year 2nd year Other Members James Brandess Lawrence Gammons COURSE REGISTRATION William Johnson, Jr. Are you registering for credit/non-credit? Credit Non-Credit Maryjo Lemanski COURSE TITLE DATES TUITION RM/BD FEE LAB FEE Kathleen Markland 1. Max Matteson 2. Carol Sarosik Kay Smalley 3. Alternate choice #1 Ox-Bow Staff Alternate choice #2 Academic Director Michael Andrews Executive and HOUSING REGISTRATION Creative Director Elizabeth Chodos I plan to commute daily (meal plans can be purchased upon arrival) Student Services I want to reside on campus. If staying on campus would you like to request a roomate: The School of the Art Institute of Chicago Coordinator is a major sponsor of Ox-Bow. Annie Fisher I would like to request a single room (limited availability on a first come, first served basis). If granted a single room, an additional $100/week will be due at check-in.

Course registration contnues on back 38 2015 Summer Registration Form Continued

DROP, REFUND & PAYMENT POLICIES: Please see pages 30-31.

REGISTRATION POLICIES

I understand that I am academically and financially responsible for the course(s) for which I’m registering. I understand that any changes are contingent upon the completion and submission of the proper forms to the Ox-Bow office and that I may incur academic or financial penalties if I don’t follow these procedures. I give Ox-Bow the permission to provide medical care, hospital or clinic treatment or to administer minor medicine provided through Ox-Bow to myself/my minor or ward. I hereby waive liability against Ox-Bow for such care provided or transportation to such location as deemed necessary by Ox-Bow. I give Ox-Bow permission to photograph and publish photographs of myself/my child participating in instruction and/or social activities at Ox-Bow, which permission shall remain in effect until revoked, in writing, by myself to the Ox-Bow staff.

SIGNATURE: I am 18 years of age, or older. I have read, understand and agree to the registration, drop policy, and payment information. Registration without payment, course choice, or which cannot be processed for any other reason will be returned.

*Registrations postmarked before March 23rd will not be processed until March 30th. This application is also available online at www.ox-bow.org.

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Questions? Email [email protected] Phone 1.800.318.3019 36 S Wabash Ave. 12th Fl Chicago, IL 60603

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