DOCSLIB.ORG

Summer 2015 School of Art & Artists' Residency

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

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
Recommended publications
  • JULIA HECHTMAN • Jhechtman@Gmail.Com Curriculum Vitae • 5 Sylvia Street, Boston, MA 02130

    JULIA HECHTMAN • [email protected] Curriculum Vitae • 5 Sylvia Street, Boston, MA 02130

    JULIA HECHTMAN • [email protected] Curriculum Vitae • 5 Sylvia Street, Boston, MA 02130 • 773-988-8257 EDUCATION 2001 MFA emphasis in Photography, Film, and Video, University of Illinois at Chicago, Chicago, Illinois Art and Design Fellowship, 1999 – 2000 1991 BFA emphasis in Fine Art Photography, Syracuse University, Syracuse, New York, Graduated with honors TEACHING HISTORY 2017 – Present Undergraduate Coordinator, Art + Design Department Program Head, Media Arts, Art + Design Department Northeastern University, Boston, Massachusetts 2009 – Present Full-Time Lecturer, Art + Design Department Northeastern University, Boston, Massachusetts 2012 – 2013 Artist Teacher, Low Residency MFA program Vermont College of Fine Art 2008 – 2010 Lecturer, Department of Fine Arts Brandeis University, Waltham, Massachusetts 2008 – 2009 Visiting Faculty, Photography Department School of the Museum of Fine Arts, Boston, Massachusetts 2006 – 2007 Full-Time Lecturer, Department of Visual Arts University of Chicago, Chicago, Illinois 2001 – 2006 Adjunct Assistant Professor, Photography Department School of the Art Institute of Chicago, Chicago, Illinois 2006 Adjunct Assistant Professor, Film and Video Department University of Illinois at Chicago, Chicago, Illinois JULIA HECHTMAN • [email protected] Curriculum Vitae • 5 Sylvia Street, Boston, MA 02130 • 773-988-8257 2003 – 2006 Visiting Lecturer, Department of Visual Arts University of Chicago, Chicago, Illinois 2001 – 2006 Adjunct Assistant Professor, First Year Program School of the Art Institute of Chicago,
  • Madrid, Spain, 1961. Lives and Works in Chicago. Professor, University of Illinois, Chicago

    Madrid, Spain, 1961. Lives and Works in Chicago. Professor, University of Illinois, Chicago

    IÑIGO MANGLANO-OVALLE Born: Madrid, Spain, 1961. Lives and works in Chicago. Professor, University of Illinois, Chicago EDUCATION 1989 M.F.A. Sculpture, The School of the Art Institute of Chicago, Chicago, Illinois 1983 B.A. Art and Art History, B.A. in Latin American and Spanish Literature, Williams College, Williamstown, Massachusetts SELECTED AWARDS & FELLOWSHIPS 2009 John Simon Guggenheim Memorial Foundation Fellowship 2008 The Richard H. Driehaus Foundation’s Individual Artist Award, Chicago, IL 2007 Medium Award in Fine Arts, Material ConneXion, New York, NY 2005 Award for Excellence in Design, The Art Commission of the City of New York 2005 Bicentennial Medal, Williams College, Williamstown, Massachusetts 2001 John D. and Catherine T. MacArthur Foundation Fellow 2001 - 2004 University Scholar, University of Illinois at Chicago 1997 - 2001 Media Arts Award, Wexner Center for the Arts, Columbus, Ohio 1998 - 2000 Media Arts Residency, Henry Art Gallery, University of Washington, Seattle 1997 ArtPace Foundation, International Artist Residency Fellowship, San Antonio, Texas 1995 National Endowment for the Arts Visual Artist Fellowship 1995 Orion Fellow, University of Victoria, British Columbia, Canada 1995 Great Cities Fellowship, College Urban Planning, University of Illinois at Chicago, Illinois 1994 Neighborhood Arts Program Grant, City of Chicago Dept. of Cultural Affairs, Illinois 1992 Illinois Arts Council Artist Fellowship Award SOLO EXHIBITIONS 2010 Happiness is a state of inertia. Max Protetch Gallery, New York, New York Iñigo
  • Art, Activism, and Technoscience Edited by Beatriz Da Costa and Kavita Philip

    Art, Activism, and Technoscience Edited by Beatriz Da Costa and Kavita Philip

    Tactical Biopolitics Art, Activism, and Technoscience edited by Beatriz da Costa and Kavita Philip Popular culture in this “biological century” seems to feed on proliferating representations of the fears, anxieties, and hopes around the life sciences, at a time when such basic concepts as scientific truth, race and da Costa and Philip, Philip, Costada and Tactical Biopolitics gender identity, and the human itself are destabilized Beatriz da Costa does interventionist art using new media/biology/art in the public eye. Public and expert discourses have computing and biotechnologies, and Kavita Philip converged to grapple with the ethical and creative studies colonialism, neoliberalism, and technoscience “Scientists and engineers, if they care for a better world, must more fully understand Tactical Biopolitics challenges that lie at the intersections of life, science, using history and critical theory. Both are Associate the consequences of their actions. Artists must learn more about science and take up and art. What do inquiring, curious, or anxious publics Professors at the University of California, Irvine. the challenge of illuminating our technological world to those who are shaping it. Both need to understand about biology and its current communities, in making their work more accessible to the other, will benefit. Not everyone Art, Activism, and Technoscience research frontiers? How might scientists assess myriad A Leonardo Book will agree with the politics argued here—but that is fine. The need for dialogue has now and often contradictory
  • Critical Art Ensemble, Tactical Media, and the Audience Thesis Presented in Partial Fulfillment Of

    Critical Art Ensemble, Tactical Media, and the Audience Thesis Presented in Partial Fulfillment Of

    Resisting the Body Invasion: Critical Art Ensemble, Tactical Media, and the Audience Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Shelby Elizabeth Brewster, B.F.A. Graduate Program in Theatre The Ohio State University 2015 Thesis Committee: Jennifer Schlueter, Advisor. Shilarna Stokes Copyright by Shelby Elizabeth Brewster 2015 Abstract “BioCom: building a better organic platform;” “BioCom: growing to meet your needs;” “BioCom: creating superior labor one worker at a time.”1 Though these catchy advertising slogans seem genuine, the company they advertise does not exist. BioCom is a fictional construct created by Critical Art Ensemble (CAE) as a part of their performance Flesh Machine (1998). CAE, a semi-anonymous group of five tactical media practitioners, have focused on the exploration of the intersections between art, critical theory, technology, and political activism since the collective’s creation in 1986. In response to the increasing impact of the biotechnology industry, from 1998 to 2004 CAE created seven projects focusing on issues ranging from reproductive technologies to genetically modified organisms. Through audience participation, the disruption of the traditional relationship between audience and performer, the use of actual scientific knowledge and processes, and digital performance techniques, CAE strove to create a space for critical dialogue surrounding these issues. Drawing on CAE’s own published material and scholarly analysis of their work, this thesis explores the specific performance strategies employed by CAE, places CAE’s work in the theatrical legacy of the avant-garde, and contextualizes it in its own historical moment, marked by debate surrounding the possibilities of biotechnologies.