Relief Print to Book Art
Aug
11
to Aug 17

Relief Print to Book Art

Relief Print to Book Art
Jeanine Coupe Ryding and Myungah Hyon
1 week course || PRINT 650 001 || 1 credit hours || Lab Fee: $50

Participants will learn to carve and print wood block narratives that are bound into book forms. Using the relief print and some writing, participants will learn single sheet, saddle stitch, perfect and accordion style bookbinding. The binding style of each book is considered with regard to the content it is presenting. Through examples and demonstrations students will learn about papers, using the tools of relief printmaking, as well as tools and materials of bookbinding. Emphasis is on content, self expression, and acquiring skills. No prior experience necessary, writers welcome.


FACULTY

Jeanine Coupe Ryding   Night Swim   woodcut print on Korean Hanji paper 2018

Jeanine Coupe Ryding
Night Swim
woodcut print on Korean Hanji paper
2018

Jeanine Coupe Ryding’s prints and artists books are in museum and private collections in the U.S, Europe and Japan. Her work focuses primarily on woodcut prints, etchings, artist’s books, drawing, and collage. She founded both Shadow Press and Press 928 in Evanston, Illinois for fine art printing and publishing. She received her BA degree from The University of Iowa and her MFA from the Universitat der Kunste, in Berlin, Germany. Jeanine has received various awards and residencies including Illinois Arts Council Award, Arts Midwest Grant, Frans Masereel Center residency in Belgium and Anchor Graphics residency in Chicago. She has been teaching in the Printmedia Department at the School of the Art Institute of Chicago since 1991.

 
Myungah Hyon   Connection   phone books, wood, PVA glue 2018

Myungah Hyon
Connection
phone books, wood, PVA glue
2018

Myungah Hyon is an Adjunct Associate Professor in Printmedia at the School of the Art Institute of Chicago. She earned her BFA from the Ontario College Of Arts and Design and MFA from SAIC. She has exhibited at Printed Matter Inc., NY; Kookmin Art Gallery, Seoul, Korea; Gallery Factory, Seoul, Korea; Riverside Art Center, Riverside, IL; William A. Koehnline Gallery, Des Plaines, IL; Elmhurst Art Museum, IL; Artemisia Gallery, Chicago, IL; Gallery 312, Chicago, IL and earned awards from The Community Artist Assistant Program, City of Chicago; Seoul Foundation for Arts and Culture; and Arts Council Korea. Her most recent publication is titled Book Book, Dreamer FTY (Publisher).

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Color
Aug
11
to Aug 17

Color

Color
Jo Hormuth
1 week course || PAINTING 655 001 || 1 credit hour

This course investigates a series of color problems to sensitize students to the interaction of color and color phenomena. Considering the problems of color use and color composition, the course emphasizes hue, value, and chroma and the application of such knowledge to the visual arts. A basic course for all disciplines in seeing and using color.


FACULTY

Jo Hormuth   Better Grammar-Garden (detail)   Lambda pigment printed photographs, face-mounted to clear acrylic, individually laser cut and mounted to 1/2” clear acrylic Suite of 8 works 2015-2017

Jo Hormuth
Better Grammar-Garden (detail)
Lambda pigment printed photographs, face-mounted to clear acrylic, individually laser cut and mounted to 1/2” clear acrylic
Suite of 8 works
2015-2017

Jo Hormuth is a multidisciplinary artist whose ideas spring from a fascination with perceptual, cognitive, and linguistic contradictions, backed by research into the architecture, history, and material conditions of the situation in which a work will be developed and shown. Her latest public project is Better Grammar–Garden, for the Chicago Botanic Garden. The eight large color compositions form a portrait of the garden—itself an abstraction—from monochrome macro photographs of plants taken over the course of a year. As founder of Chicago Architectural Arts, she focuses on the restoration of significant interiors; most recently, she researched and recreated interior finishes for the Darwin Martin House, Frank Lloyd Wright’s largest Prairie-style complex, and worked on the restoration of Charles Rennie Mackintosh’s Willow Tea Rooms in Glasgow. Hormuth is represented by Kusseneers Gallery, Brussels.

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Following a Blue Thread
Aug
11
to Aug 17

Following a Blue Thread

Following a Blue Thread
Sonja Dahl
1 week course || FIBER 618 001 || 1 credit hour || Lab Fee: $50

To love indigo is no innocent thing. This course, while focused on technical aspects of working with indigo dye, also takes into account the complexities inherent to historical and contemporary infatuation with the dye, specifically within its American trajectory from colonial plantation crop to current fetishization in popular culture. The students will be asked to approach their work with the dye from a critical standpoint, thinking not only about its alchemical and transformative mysteries, but also as a social-political substance, rich in semiotic potential. This class will depart from culturally specific approaches to surface design with indigo like batik and shibori, and instead utilize indigo through experimental, performative, and conceptually-driven means and materials.


FACULTY

Sonja Dahl   Colonial Glory   |synthetic indigo dye, rice 96” x 96” x .25 2016

Sonja Dahl
Colonial Glory
|synthetic indigo dye, rice
96” x 96” x .25
2016

Sonja Dahl is an artist, writer, and Research Associate in the Department of Art at the University of Oregon, Eugene. She received her MFA from Cranbrook Academy of Art in 2012 and subsequently spent several years making research and collaborative projects in Indonesia with support from the Fulbright Foundation and the Asian Cultural Council. Her artwork has been exhibited nationally and internationally, including San Jose Museum of Quilts and Textiles; Museum of Contemporary Craft, Portland; Darwin Visual Arts Association, Australia; and Bezirksmuseum Neubau, Vienna. Her writing is published in both peer-reviewed journals and print-based and online arts publications, including PARSE Journal, Textile: the Journal of Cloth and Culture, and Surface Design Journal. Dahl lectures widely and has attended residencies at Ox-Bow, Caldera, Summer Forum, and ACRE, among others. www.sonjakdahl.com

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Fungi: Making and Learning
Aug
11
to Aug 17

Fungi: Making and Learning

Fungi: Making and Learning
Christopher Lee Kennedy
1 week course || DRAWING 623 001 || 1 credit hour

This class explores the use of mycology, performance art, and movement research to develop artworks in collaboration with a landscape. Through a series of immersive encounters with Ox-Bow’s 115 + acre campus, students will experiment with practices such as embodied science, chance operation, and the development of movement scores to create ecologically-inspired artworks. Students will experiment with a range of media including field recording, drawing and experimental choreography. Class materials and exercises will draw inspiration from the life and work of John Cage who was not only an experimental Fluxus artist, but also an avid mushroom hunter and co-founder of the New York Mycological Society. While an introduction to mushroom identification and foraging will be discussed, the class will also focus on how mushrooms can serve as a metaphor and material for multispecies collaboration and reflective art practices. Studio work and research will ultimately result in new movement-based works, drawings and field research.


FACULTY

Christopher Lee Kennedy   Mycoramblings   microphone, field recorder, mushrooms 2016

Christopher Lee Kennedy
Mycoramblings
microphone, field recorder, mushrooms
2016

Christopher Lee Kennedy is an educator and artist based in Brooklyn, New York. With a background in environmental engineering, Kennedy playfully re-imagines field science techniques and develops new forms of storytelling to create installations, sculptures, and publications that examine conventional notions of ‘Nature’ and the possibility of interspecies collaboration. Kennedy has shown work at the Philadelphia Academy of Fine Arts, the North Carolina Museum of Art, the Southeastern Center for Contemporary Art, Hudson Valley Center for Contemporary Art, the Ackland Art Museum and the Queens Museum. He is currently a part time Faculty in the Department of Art and Design History and Theory at Parsons School of Design.

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Multi–Level Glass
Aug
4
to Aug 10

Multi–Level Glass

Multi–Level Glass
Leo Tecosky
1 week course|| GLASS 641 001 || 1 credit hour || Lab Fee: $150

A hands-on studio workshop for those with some glassblowing experience. Students will learn a variety of techniques for manipulating molten “hot glass” into vessel or sculptural forms.  Lectures, demonstrations, videos, and critiques will augment studio instruction.

FACULTY

Leo Tecosky   Artifactual   glass: blown, hot sculpted, sandblasted 7”x 20” x 4” Photo Credit: Nathan J Shaulis

Leo Tecosky
Artifactual
glass: blown, hot sculpted, sandblasted
7”x 20” x 4”
Photo Credit: Nathan J Shaulis

Leo Tecosky’s work is a mashup of art x craft x design. Combining traditional glassblowing techniques, graffiti, stylized typography, and Islamic geometric motifs, he creates new objects that do not conform to any one discipline. With a  BA in Fine Art from Alfred University and an MFA from The School of Visual Arts in Manhattan, Tecosky teaches at studios and universities both nationally and internationally. Leo lives and works in Brooklyn, NY, blowing glass and maintaining a studio practice.

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Lithography: Stone and Photolithography - 1 week, Session 2
Aug
4
to Aug 10

Lithography: Stone and Photolithography - 1 week, Session 2

Lithography: Stone and Photolithography
Danny Miller 
PRINT 635 002 || 1 credit hour || Lab Fee $50

This fast-paced course is designed for both beginners and advanced artists, and will be offered in a two-week sequence. Week one focuses on traditional methods with stone lithography, and week two introduces students to photomechanical lithography using both hand-drawn and digital processes.  Students are encouraged to investigate personal directions in their work as they explore lithographic possibilities through editions and unique variants.  Emphasis will be placed on both conceptual and technical development, and additional demonstrations will be added based on the specific interests and needs of the participants.  Class consists of demonstrations, presentations, work time, discussions, and critiques.  Historical and contemporary lithographic examples will be presented in order to clarify the relationships between idea, context, material, and process.


FACULTY

Danny Miller   humdrum   woodcut, 10.5”w x 11.5”h 2016

Danny Miller
humdrum
woodcut, 10.5”w x 11.5”h
2016

Danny Miller is an artist and musician working in Chicago, IL.  Utilizing woodblock, lithographic printing and drawing, he conjures works inspired by science fiction pulp covers, Victorian engravings, advertisements, comic books and music. Miller has taught at Ohio State University, University of Wisconsin-Madison, SAIC and Ox-Bow School of Art and has been the Printmedia Department Manager at SAIC for 30 years. He received his MFA from the University of Wisconsin-Madison and has worked in professional print shops including Landfall Press, Normal Editions Workshop and Four Brothers Press, in addition to playing and teaching traditional fiddle and banjo music at the Old Town School of Folk Music in Chicago.

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Wet-plate and Platinotypes - 1 week Session 2
Aug
4
to Aug 10

Wet-plate and Platinotypes - 1 week Session 2

Wet-plate and Platinotypes
Robert Clarke-Davis and Jaclyn Silverman
PHOTO 610 002 || 1 credit hour || Lab Fee $150

Using the historic, time-honored wet-plate collodion and platinotype processes students will move between the studio, community, and natural environment at Ox-Bow to create images and photographic objects. These courses can be taken sequentially for two weeks or individually for one week. The first week will focus on wet-plate collodion; students will explore the fundamentals of large format photography using analog view cameras to create glass-plate negatives in the field. Mobile, onsite darkrooms will allow instant gauging in progress and results. Glass plates can stand alone as photographic objects, or be reproduced in photographic printing. During week two students will work with platinotype printing, one of the most stable photographic processes. Students will use the traditional iron-based developing-out process of platinum palladium. Using digital cameras and laptops to capture images, they will digitally print negatives to be used in this unique tactile process. Those who participate in wet-plate collodion will be able to print directly from their glass plate negatives.


FACULTY

Robert Clarke-Davis   Untitled   2018

Robert Clarke-Davis
Untitled
2018

Robert Clarke-Davis has served as an Associate Professor in Photography at SAIC since 1990. He earned his BA from Beloit College and an MA at the University of London, Goldsmiths’ College, School of Art and Design. His work has exhibited at Cleveland Museum of Art; Milwaukee Art Museum; Wuk Kunsthalle, Vienna; and Magyar Fotogr’fiai M’zeum Kesckem’t, Hungary. His work is held in the collections of the Cleveland Museum of Art; Fine Arts Library, Indiana University, IN; Impressions Gallery, North Yorkshire; The Rooms Corporation of Newfoundland and Labrador. He is represented by James Baird Gallery.

Jaclyn Silverman   Jenn and Joel   Blue Rubytype 2018

Jaclyn Silverman
Jenn and Joel
Blue Rubytype
2018

Jaclyn Silverman is from Youngstown, Ohio, living in Chicago, Illinois. She received her BFA in Photography from The Ohio State University, and her MFA from the School of the Art Institute of Chicago. Her work revolves around community, place, and intergenerational histories. She has exhibited in Boulder, CO, Chicago, IL, Youngstown, and Columbus, Ohio. She has been the recipient of the Denman Research Grant from The Ohio State University and Women Artists Against Racism from the YWCA for her ongoing series, The Working Family. Her works are part of permanent collections with The Ohio State University, The Joan Flasch Artists’ Book Collection, and The Art Institute of Chicago. She and Robert Clarke-Davis curated the exhibition Within the Portfolios: 1968-2016 A History of Photography from the School of the Art Institute with the Joan Flasch Artists’ Book Collection. Silverman has been a visiting lecturer with The Ohio State University and Part-time Professor at Dominican University in River Forest, IL. Currently, she is Professor of Art and Humanities with Truman College, Artistic Director of Chicago art organization, CPS Lives, and returning faculty member with Ox-Bow School of Art.

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Multi-Level Painting: Form, Process and Meaning
Jul
28
to Aug 10

Multi-Level Painting: Form, Process and Meaning

Multilevel Painting: Form, Process and Meaning 
Nazafarin Lotfi and Erin Washington
2 week course || PAINTING 605 001 || 3 credit hours || Lab Fee: $50

This course for beginning to advanced students will include extensive experimentation with materials and techniques through individual painting problems. Emphasis will be placed on active decision-making to explore formal and material options as part of the painting process in relation to form and meaning. Students will pursue various interests in subject matter. Students may choose to work with oil-based media. Demonstrations, lectures and critiques will be included.


FACULTY

Erin Washington   Tempest   acrylic, colored pencil, graphite, high-polymer fil lead on panel 20" x 24" 2018

Erin Washington
Tempest
acrylic, colored pencil, graphite, high-polymer fil lead on panel
20" x 24"
2018

Erin Washington is a Painter, Drawer, and Installation artist currently living and working in Chicago. Using fugitive and symbolic materials (ashes, blackberries, bones, chalk, moss, and spaceblankets), Washington’s works source imagery from the Sciences, Mythology, and Art History that represent ruptures and failures in the search for meaning and truth. Colors fade or pigments are burned: the objects emulate the cycles they describe. The artist’s actions and products are in a constant state of flux, highlighting the disharmony between meaning, beauty, and a fundamentally messy universe. However, the relative temporality of the work’s making counters ambivalence; the immediate process and present-ness the work demands eclipses uncertainty... for the moment. Erin is currently a lecturer in the Painting and Drawing Department at the School of the Art Institute of Chicago, where she received her MFA in 2011. Notable solo exhibitions have been held at such venues as Illinois State University, The Riverside Art Center, Riverside Illinois and Zolla/Lieberman Gallery. Her work has also been included in group exhibitions at such spaces as Shane Campbell Gallery, Chicago; Julius Caesar, Chicago; and Columbia University in New York. Washington’s upcoming exhibition at Cleve Carney Art Gallery in Glen Ellyn, IL is scheduled for Fall 2019.

Nazafarin Lotfi   From Borderlands   ongoing, graphite on postcard paper 2017

Nazafarin Lotfi
From Borderlands
ongoing, graphite on postcard paper
2017

Nazafarin Lotfi received her MFA from the School of the Art Institute of Chicago in 2011 and her BA from the University of Tehran in 2007. Lotfi explores the phenomenology of spatial experience to investigate how self and place relate to and define each other. In the context of collective histories and memories, she examines the subjectivity of the politicized individual. Recent solo exhibitions include: Become Ocean, Soon.tw, Montreal, CA; Negative Capability, Regards, Chicago, IL; Poiesis, Fernwey Gallery, Chicago, IL; White Light, Andrew Rafacz Gallery, Chicago, IL; Love at Last Sight, Brand New Gallery, Milan, Italy; Circles, Tony Wight Gallery, Chicago, IL. Recent group shows include: Waving, Unisex Salon, Brooklyn, NY; This here, Regards, Chicago, IL; Elsewhere, Joseph Gross Gallery, Tucson, AZ; Sedentary Fragmentation, Heaven Gallery, Chicago, IL; Resonant Objects, Logan Center Exhibitions, Chicago, IL; among others. In 2015-2016, Lotfi was awarded an artist residency at the Department of Arts and Public Life at the University of Chicago.

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A Body in Motion
Jul
28
to Aug 3

A Body in Motion

A Body in Motion
Helen Lee
1 week course || GLASS 647 001 || 1 credit hour || Lab Fee: $150

This technical course will establish a firm foundation in glassblowing skills, emphasizing a detailed understanding of how to use one’s body to work with this changing state of matter. This course will bring to light common bad habits and poor physical practices common to glassblowing. Nontraditional methods of understanding movement and proprioception in the hot glass studio will be employed, including video analysis apps and audio-augmented tools. Reference will be made to Nicolás Salazar Sutil’s text Motion and Representation: The Language of Human Movement, movement models as illustrated by Oskar Schlemmer and The B-Team’s glass choreography. Through daily demonstrations, drills, and practice time, students can expect to move swiftly through a basic introduction or review of hot glass, with acute attention paid to the underpinnings of common pitfalls. Over the course of the week, students will produce basic blown forms with increasing proficiency and efficiency. 


FACULTY

Helen Lee   Alphabit   Glass murrine, Low-Iron Float Glass, Stainless Steel, Aluminum, Acrylic, LEDs 36” x 18” x 48” 2018

Helen Lee
Alphabit
Glass murrine, Low-Iron Float Glass,
Stainless Steel, Aluminum, Acrylic, LEDs
36” x 18” x 48”
2018

Helen Lee is an artist, designer, educator, and glassblower. Her work utilizes the amorphous properties of glass to speak to the changing nature of language—through form, over time, and across cultures. She holds an MFA in Glass from the Rhode Island School of Design and a BSAD in Architecture from the Massachusetts Institute of Technology. Her work is in the collections of the Minnesota Museum of American Art, the Corning Museum of Glass, the Chrysler Museum Glass Studio, and Toyama City Institute of Glass Art. Her recent exhibitions include Em Space Engram (Watrous Gallery, Madison, WI), and Carried on Both Sides (Knockdown Center, Maspeth, NY). She is currently an Assistant Professor and Head of Glass in the Art Department at the University of Wisconsin-Madison. 

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Wet-plate and Platinotypes - 2 Weeks
Jul
28
to Aug 10

Wet-plate and Platinotypes - 2 Weeks

Wet-plate and Platinotypes
Robert Clarke-Davis and Jaclyn Silverman
PHOTO 609 001 || 3 credit hours || Lab Fee $300

Using the historic, time-honored wet-plate collodion and platinotype processes students will move between the studio, community, and natural environment at Ox-Bow to create images and photographic objects. These courses can be taken sequentially for two weeks or individually for one week. The first week will focus on wet-plate collodion; students will explore the fundamentals of large format photography using analog view cameras to create glass-plate negatives in the field. Mobile, onsite darkrooms will allow instant gauging in progress and results. Glass plates can stand alone as photographic objects, or be reproduced in photographic printing. During week two students will work with platinotype printing, one of the most stable photographic processes. Students will use the traditional iron-based developing-out process of platinum palladium. Using digital cameras and laptops to capture images, they will digitally print negatives to be used in this unique tactile process. Those who participate in wet-plate collodion will be able to print directly from their glass plate negatives.


FACULTY

Robert Clarke-Davis   Untitled   2018

Robert Clarke-Davis
Untitled
2018

Robert Clarke-Davis has served as an Associate Professor in Photography at SAIC since 1990. He earned his BA from Beloit College and an MA at the University of London, Goldsmiths’ College, School of Art and Design. His work has exhibited at Cleveland Museum of Art; Milwaukee Art Museum; Wuk Kunsthalle, Vienna; and Magyar Fotogr’fiai M’zeum Kesckem’t, Hungary. His work is held in the collections of the Cleveland Museum of Art; Fine Arts Library, Indiana University, IN; Impressions Gallery, North Yorkshire; The Rooms Corporation of Newfoundland and Labrador. He is represented by James Baird Gallery.

Jaclyn Silverman   Jenn and Joel   Blue Rubytype 2018

Jaclyn Silverman
Jenn and Joel
Blue Rubytype
2018

Jaclyn Silverman is from Youngstown, Ohio, living in Chicago, Illinois. She received her BFA in Photography from The Ohio State University, and her MFA from the School of the Art Institute of Chicago. Her work revolves around community, place, and intergenerational histories. She has exhibited in Boulder, CO, Chicago, IL, Youngstown, and Columbus, Ohio. She has been the recipient of the Denman Research Grant from The Ohio State University and Women Artists Against Racism from the YWCA for her ongoing series, The Working Family. Her works are part of permanent collections with The Ohio State University, The Joan Flasch Artists’ Book Collection, and The Art Institute of Chicago. She and Robert Clarke-Davis curated the exhibition Within the Portfolios: 1968-2016 A History of Photography from the School of the Art Institute with the Joan Flasch Artists’ Book Collection. Silverman has been a visiting lecturer with The Ohio State University and Part-time Professor at Dominican University in River Forest, IL. Currently, she is Professor of Art and Humanities with Truman College, Artistic Director of Chicago art organization, CPS Lives, and returning faculty member with Ox-Bow School of Art.

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Wet-plate and Platinotypes - 1 week Session 1
Jul
28
to Aug 3

Wet-plate and Platinotypes - 1 week Session 1

Wet-plate and Platinotypes
Robert Clarke-Davis and Jaclyn Silverman
PHOTO 610 001 || 1 credit hour || Lab Fee $150

Using the historic, time-honored wet-plate collodion and platinotype processes students will move between the studio, community, and natural environment at Ox-Bow to create images and photographic objects. These courses can be taken sequentially for two weeks or individually for one week. The first week will focus on wet-plate collodion; students will explore the fundamentals of large format photography using analog view cameras to create glass-plate negatives in the field. Mobile, onsite darkrooms will allow instant gauging in progress and results. Glass plates can stand alone as photographic objects, or be reproduced in photographic printing. During week two students will work with platinotype printing, one of the most stable photographic processes. Students will use the traditional iron-based developing-out process of platinum palladium. Using digital cameras and laptops to capture images, they will digitally print negatives to be used in this unique tactile process. Those who participate in wet-plate collodion will be able to print directly from their glass plate negatives.


FACULTY

Robert Clarke-Davis   Untitled   2018

Robert Clarke-Davis
Untitled
2018

Robert Clarke-Davis has served as an Associate Professor in Photography at SAIC since 1990. He earned his BA from Beloit College and an MA at the University of London, Goldsmiths’ College, School of Art and Design. His work has exhibited at Cleveland Museum of Art; Milwaukee Art Museum; Wuk Kunsthalle, Vienna; and Magyar Fotogr’fiai M’zeum Kesckem’t, Hungary. His work is held in the collections of the Cleveland Museum of Art; Fine Arts Library, Indiana University, IN; Impressions Gallery, North Yorkshire; The Rooms Corporation of Newfoundland and Labrador. He is represented by James Baird Gallery.

Jaclyn Silverman   Jenn and Joel   Blue Rubytype 2018

Jaclyn Silverman
Jenn and Joel
Blue Rubytype
2018

Jaclyn Silverman is from Youngstown, Ohio, living in Chicago, Illinois. She received her BFA in Photography from The Ohio State University, and her MFA from the School of the Art Institute of Chicago. Her work revolves around community, place, and intergenerational histories. She has exhibited in Boulder, CO, Chicago, IL, Youngstown, and Columbus, Ohio. She has been the recipient of the Denman Research Grant from The Ohio State University and Women Artists Against Racism from the YWCA for her ongoing series, The Working Family. Her works are part of permanent collections with The Ohio State University, The Joan Flasch Artists’ Book Collection, and The Art Institute of Chicago. She and Robert Clarke-Davis curated the exhibition Within the Portfolios: 1968-2016 A History of Photography from the School of the Art Institute with the Joan Flasch Artists’ Book Collection. Silverman has been a visiting lecturer with The Ohio State University and Part-time Professor at Dominican University in River Forest, IL. Currently, she is Professor of Art and Humanities with Truman College, Artistic Director of Chicago art organization, CPS Lives, and returning faculty member with Ox-Bow School of Art.

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Lithography: Stone and Photolithography - 2 weeks
Jul
28
to Aug 10

Lithography: Stone and Photolithography - 2 weeks

Lithography: Stone and Photolithography
Danny Miller 
PRINT 637 001 || 3 credit hours || Lab Fee $100

This fast-paced course is designed for both beginners and advanced artists, and will be offered in a two-week sequence. Week one focuses on traditional methods with stone lithography, and week two introduces students to photomechanical lithography using both hand-drawn and digital processes.  Students are encouraged to investigate personal directions in their work as they explore lithographic possibilities through editions and unique variants.  Emphasis will be placed on both conceptual and technical development, and additional demonstrations will be added based on the specific interests and needs of the participants.  Class consists of demonstrations, presentations, work time, discussions, and critiques.  Historical and contemporary lithographic examples will be presented in order to clarify the relationships between idea, context, material, and process.


FACULTY

Danny Miller   humdrum   woodcut, 10.5”w x 11.5”h 2016

Danny Miller
humdrum
woodcut, 10.5”w x 11.5”h
2016

Danny Miller is an artist and musician working in Chicago, IL.  Utilizing woodblock, lithographic printing and drawing, he conjures works inspired by science fiction pulp covers, Victorian engravings, advertisements, comic books and music. Miller has taught at Ohio State University, University of Wisconsin-Madison, SAIC and Ox-Bow School of Art and has been the Printmedia Department Manager at SAIC for 30 years. He received his MFA from the University of Wisconsin-Madison and has worked in professional print shops including Landfall Press, Normal Editions Workshop and Four Brothers Press, in addition to playing and teaching traditional fiddle and banjo music at the Old Town School of Folk Music in Chicago.

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Lithography: Stone and Photolithography - 1 week, Session 1
Jul
28
to Aug 3

Lithography: Stone and Photolithography - 1 week, Session 1

Lithography: Stone and Photolithography
Danny Miller 
PRINT 635 001 || 1 credit hour || Lab Fee $50

This fast-paced course is designed for both beginners and advanced artists, and will be offered in a two-week sequence. Week one focuses on traditional methods with stone lithography, and week two introduces students to photomechanical lithography using both hand-drawn and digital processes.  Students are encouraged to investigate personal directions in their work as they explore lithographic possibilities through editions and unique variants.  Emphasis will be placed on both conceptual and technical development, and additional demonstrations will be added based on the specific interests and needs of the participants.  Class consists of demonstrations, presentations, work time, discussions, and critiques.  Historical and contemporary lithographic examples will be presented in order to clarify the relationships between idea, context, material, and process.


FACULTY

Danny Miller   humdrum   woodcut, 10.5”w x 11.5”h 2016

Danny Miller
humdrum
woodcut, 10.5”w x 11.5”h
2016

Danny Miller is an artist and musician working in Chicago, IL.  Utilizing woodblock, lithographic printing and drawing, he conjures works inspired by science fiction pulp covers, Victorian engravings, advertisements, comic books and music. Miller has taught at Ohio State University, University of Wisconsin-Madison, SAIC and Ox-Bow School of Art and has been the Printmedia Department Manager at SAIC for 30 years. He received his MFA from the University of Wisconsin-Madison and has worked in professional print shops including Landfall Press, Normal Editions Workshop and Four Brothers Press, in addition to playing and teaching traditional fiddle and banjo music at the Old Town School of Folk Music in Chicago.

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The Formal, The Experimental, The Unexpected: New Investigations in Clay
Jul
28
to Aug 10

The Formal, The Experimental, The Unexpected: New Investigations in Clay

The Formal, The Experimental, The Unexpected: New Investigations in Clay
Marie Hermann and Anders Ruhwald
2 week course || CER 648 001 || 3 credit hours || Lab Fee: $150

This course explores non-traditional and process-based ways of using clay for making sculpture. Students will work from the starting point that there is no right or wrong way of building with clay, and instead embrace the idea of working with clay as a way to explore the world we live in. We will be looking at a range of artists who engage experimental methodologies alongside deeply personal explorations in their creation of ceramic sculpture, including Kathy Butterly, Simone Leigh, and Sterling Ruby. We will also be reading texts including The Hysterical Material by Geof Oppenheimer, Ten Thousand Years of Pottery by Emmanuel Cooper, and Seeing Things by Alison Britton. Through these examples we will begin to understand how clay can be utilized as a medium to make sense of who we are and where we live. Students will embrace the idea of sculpture in its broadest sense, including both the formal and performative aspects of firing and working with clay. Students interested in participating in this workshop should be open to experimentation and un-programmed exploration. Students should expect to produce a body of work consisting of at least 3-5 finished pieces during the course which be presented and discussed in a final course critique. This is not a class for refining what you already know how to do, but a chance to find new ways of working with clay. 


FACULTY

Marie Herwald Hermann   Miles of Silent, But Not Now    porcelain, stoneware, silicone 2018

Marie Herwald Hermann
Miles of Silent, But Not Now

porcelain, stoneware, silicone
2018

Marie Herwald Hermann received her MFA from the Royal College of Art in London in 2009. Since then, she has exhibited extensively and widely. In 2018, her solo exhibitions included Bit by bit above the edge of things, Paris London Hong Kong, Chicago in 2017, Shields and the Parergon at Reyes Projects in Birmingham, MI and dusk turned dawn at Blackthorn at NADA, Miami. In 2016 she presented ‘Northern Light, Pontiac Rise’ at Galerie Nec in Paris and ‘A Gentle Blow to the Rock’ at Gallerie NeC in Hong Kong. She has also presented installations in numerous group exhibitions in the US, Denmark, Italy, China, Sweden and Germany. Her work is held in the collections of the Danish Art Foundation, the Denver Art Museum, the Servre Museum, Nordenfjeldske Kunstindustrimuseum, the Cranbrook Art Museum, the Jingdezhen Ceramic Art Museum and the Rothschild Collection. In 2013 she was awarded the Kresge Artist Fellowship, the Danish Art Foundation grant in 2009 and 2016, and the Annie and Otto Johs. Detlefs’ grant for young experimental ceramic artists in 2010. Hermann was born in Copenhagen and lives and works in Chicago and is an Assistant Professor at SAIC.

Anders Ruhwald    Like The New Past   Installation View, Denver Art Museum, USA All works are courtesy of the Artist, Moran Moran Gallery, Los Angeles and Volume Gallery, Chicago 2011

Anders Ruhwald
Like The New Past
Installation View, Denver Art Museum, USA
All works are courtesy of the Artist, Moran Moran Gallery, Los Angeles and Volume Gallery, Chicago
2011

Anders Ruhwald (born 1974, Denmark) is a sculptor and installation artist whose practice is grounded in ceramics. He lives and works between Detroit and Chicago and received his MFA from the Royal College of Art in London in 2005. Solo exhibitions include Unit 1: 3583 Dubois at MOCA Cleveland in 2017 more than 30 gallery and museum solo-shows as well as more than 100 group-exhibitions around the world. His work is represented in over 20 public collections including The Victoria and Albert Museum (UK), The Philadelphia Museum of Art, The Denver Art Museum, The National Museum (Sweden) and The Museum of Art and Design (Denmark), From 2008-2017 he was the Head of the Ceramics Department at Cranbrook Academy of Art. Currently he is a Visiting Professor at the National Academy of Arts in Oslo, Norway.

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Multi-Level Foundry
Jul
28
to Aug 10

Multi-Level Foundry

Multi-Level Foundry
Liz Ensz and Lloyd Mandelbaum
2 week course || SCULPT 660 001 || 3 credit hours || Lab Fee: $200

In this multilevel metal casting course, students will learn the fundamentals of pattern generation, simple and multi-part mold making techniques with sodium silicate bonded sand, casting with bronze, aluminum, and iron, and finishing and patination techniques for their castings. Explorations will be informed by the materiality of molten metal and molding processes, the history and technologies of metal casting, and discussion of cast metal sculpture in contemporary art. In the spirit of “there is no “I” in foundry,” teamwork and safe foundry practices form the foundation of the course. Students will be encouraged to experiment and respond to the natural environment with patterns made at Ox-Bow in an open-air sculpture studio.


FACULTY

Liz Ensz   Revisionist Landscapes (series)    cast iron 40” x 44” x 20” 2017

Liz Ensz
Revisionist Landscapes (series)
cast iron
40” x 44” x 20”
2017

Liz Ensz was born in Minnesota to a resourceful family of penny-savers, metal scrappers, and curators of cast-offs. With an interdisciplinary approach, their work ruminates on the mass-cultural investment in disposability and the human desire to imagine permanence through emblems, monuments, and commemoration. Ensz has exhibited textiles and sculpture nationwide, including Franconia Sculpture Park, Shafer, MN; Smack Mellon, Brooklyn, NY; Roots and Culture Contemporary Art Center, Chicago, IL; Boston Center for the Arts, Boston, MA; and Goucher College, Baltimore, MD. Awards include The John Michael Kohler Arts/Industry Program in Foundry, Sheboygan, WI; Salem Art Works, Salem, NY: Playa, Summer Lake, OR; LATITUDE, Chicago, IL; and Blue Mountain Center, Blue Mountain Lake, NY; City of Chicago DCASE Individual Artist Grant, and The Jacques and Natasha Gelman Travel Fellowship, among others.

Lloyd Mandelbaum   Part of Sequential Silhouettes Series   aluminum and wood, 19" 2018

Lloyd Mandelbaum
Part of Sequential Silhouettes Series
aluminum and wood, 19"
2018

Lloyd Mandelbaum is an artist and owner of the art casting foundry Chicago Crucible, which has been producing cast bronze, aluminum, and iron sculpture for public and private clientele since 2009. Lloyd received his BFA from the School of the Art Institute of Chicago with an emphasis in metal arts and has been in the field ever since. Lloyd also designs and builds foundry equipment for himself, other businesses, and institutions. Lloyd’s personal sculpture is figurative and abstract and is intended to evoke an energetic liveliness despite being made of static cast metal. In addition to operating his business and creating his own work, Lloyd has taught, lectured, spoken on panels, and consulted on foundry craft, operation, construction, and development for universities, industry, and individual artists across the country and internationally. 

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Alter/Overflow: Garment Making as Studio Practice
Jul
14
to Jul 27

Alter/Overflow: Garment Making as Studio Practice

Alter/Overflow: Garment Making as Studio Practice 
Brad Callahan and Vincent Tiley 
2 week course || FIBER 619 001  || 3 credit hours || Lab Fee: $100

Using the multifaceted and often conflicting traditions of queer dress as a foundation, this garment-based class will introduce students to a spectrum of Fashion industry and DIY garment making techniques. Students will explore methods of alternative pattern making, up-cycling, textile manipulation, embellishment, and hand techniques to create new wearable art that exists between fashion, performance, and sculpture. Themes of gender, race, desire, fetish, and camp will be explored and expanded in both personal projects and group discussion. Artists and designers whose work will be discussed include but are not limited to Leigh Bowery, Narcissister, Claude Cahun, Rebecca Horn, Stephen Varble, Louise Bourgeois, Raul De Neives, K8 Hardy, Terence Koh and Nayland Blake as well as Patrick Kelly, Adrian, Rudi Gernriech, Eiko Ishioka, Iris van Herpen, Charlie le Mindu, Charles Worth, Paul Poiret, Erte, Jean Paul Lespagnard, and Shaye St. John. Experimentation is encouraged and students are invited to present their work as performances, videos, installations, party-personce, etc.


Vincent Tiley   Scorpions   3hr performance for three performers, brass and leather jewelry 2017

Vincent Tiley
Scorpions
3hr performance for three performers,
brass and leather jewelry
2017

Brad Callahan is a graduate from the School of the Art Institute of Chicago. For almost a decade, Brad Callahan’s brand BCALLA has been dressing New York nightlife icons and pop celebrities. His work has been worn by Lady Gaga, Miley Cyrus, and Nicki Minaj and been published in V magazine, Vogue Italia and Dazed and Confused.


Brooklyn based artist Vincent Tiley received a MFA from the School of the Art Institute of Chicago and a BFA from the Maryland Institute College of Art. In 2017 he participated in the Fire Island Artist Residency (FIAR) and was a 2013 participant at Artist Cooperative Residency and Exhibition (ACRE) program. His work has been featured and reviewed in Art in America, the Chicago Tribune, and Performa. The artist has been widely exhibited internationally including the Museum of Art and Design, the Leslie-Lohman Museum, AxeNeo7, CFHILL, and the International Museum of Surgical Science.

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Beginning Glass, Session II
Jul
14
to Jul 27

Beginning Glass, Session II

Beginning Glass, Session II
GLASS 630 002 Deborah Adler
2 week course || 3 credit hours || Lab Fee: $300

This course offers hands-on glassblowing experience to the beginner. Participants learn a variety of techniques for manipulating molten “hot glass” into vessel or sculptural forms. Lectures, screenings, demonstrations, and critiques will augment studio instruction.


FACULTY

Deborah Adler   Black Bottles   glass 2018

Deborah Adler
Black Bottles
glass
2018

Deborah Adler’s career as a glassblower spans nearly two decades. Of that time, 15 years were spent in New York City working from the studios of UrbanGlass and GlassRoots. She has developed several bodies of work and exhibited them at SOFA Chicago and New York, nationally in numerous galleries, and craft shows. Deborah was also lead gaffer on teams fabricating work for prominent contemporary lighting designers. In 2015, Deborah left New York and relocated to Seattle, where she currently works as an artist assistant, while remaining focused on the design and production of her own work. 

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Materials and Mechanics of Woodfire
Jul
14
to Jul 27

Materials and Mechanics of Woodfire

Materials and Mechanics of Woodfire
Ashwini Bhat and Bruce Dehnert
2 week course || CER 647 001  || 3 credit hours || Lab Fee: $150

This course is centered around the wood kiln, from its mechanics to the material and conceptual considerations posed through its use. Students will have the opportunity to explore and produce a range of ceramic works, while learning about the relationships that ceramic forms can have to culture, history, personal expression, and social change. Students will be introduced to both historical and contemporary uses of wood-fired ceramics. Some of the reading materials in this course will be “The Kiln Book” by Frederick Olsen; “Theory of Craft” by Howard Risatti, and Building With Fire by Ray Meeker. Documentary film screenings include “Agni Jata” on Ray Meeker’s fired house project; “Traces” exploring theoretical issues regarding Western/Eastern approaches to the production of ceramics and “There Is No Customarily” on the Peters Valley Anagama. Presentations on firing wood kilns in the USA, China, Japan and India will be included. After the first week of making, the wood kiln will be loaded and fired as a team. The wood kiln offers a close up experience to the mechanics of kiln firing, in particular, how fuel and oxygen affect the quality and efficiency of the flame and in turn add to the final aesthetics of the surface. Over the course of thirty hours, the clay, glaze and wood ash will begin to melt in the high heat and create beautiful surface effects. Work will be finished by grinding, sanding and polishing.


FACULTY

Ashwini Bhat   Tactile Language   fired in the salt chamber of Anagama kiln at Cub Creek Foundation, VA, USA 2016

Ashwini Bhat
Tactile Language
fired in the salt chamber of Anagama kiln at Cub Creek Foundation, VA, USA
2016

Ashwini Bhat has an M.A in literature and a background in classical Indian dance for seventeen years. She studied ceramics with Ray Meeker at Golden Bridge Pottery, Pondicherry, India. Her work has been featured internationally in many galleries and exhibitions including, Lacoste Kean Gallery, Companion Gallery, In Tandem Gallery, Cohen Gallery at Brown University, American Jazz Museum, NCECA (2019; 2018; 2016; 2015 and 2013), Newport Art Museum; India Art Fair, Indian Ceramic Trienale; Indian Museum at FLICAM; and Woodfire Tasmania. Her work has been published in Riot Material, Ceramic Art and Perception, Ceramic Ireland, New Ceramics, Caliban, Crafts Arts International, The Studio Potter , and Logbook. She lives and works in Petaluma, CA.

Bruce Dehnert   Venetian   Wood fired and oxidation fired stoneware.  Slips. Glazes.  14”x9”x14”

Bruce Dehnert Venetian
Wood fired and oxidation fired stoneware.
Slips. Glazes.
14”x9”x14”

Bruce Dehnert received a BA in Creative Writing from the University of Montana and his MFA in Ceramics from Alfred University. He has taught at Hunter College, Parsons School of Art and Design, The School of Art [New Zealand], the Universiti Malaysia Sarawak, and the University of Massachusetts Dartmouth. Dehnert is the recipient of a New Jersey Artist Fellowship Award, and other awards including three time Fletcher Challenge International Ceramics Award winner, the Settlor Prize in Sculpture, and a Carnegie Premier Award for Works on Paper. He was also a finalist in the Robert Wood Johnson International Figurative Competition. His work is held in a number of museums and collections including The Crocker Museum, the Yixing Museum of Ceramic Art , The New Dowse Museum, The Liling Museum of Ceramic Art, The New Museum, and The White House. Dehnert remains active as a writer having had articles published in numerous journals including, Studio Potter, Ceramics Monthly, and Ceramics: Art and Perception. He has written a number of forewords for exhibition catalogs and books, including Woodfired Pottery: Susan Beecher. His bestselling book, Simon Leach’s Pottery Handbook, was recently published by Abrams Publishing of New York City. He is currently writing a biography on noted Japanese artist, Takeshi Yasuda. In 2016, Bruce was named a Fellow to the International Academy of Ceramics. Currently he is Head of Ceramics at Peters Valley School for Crafts in Layton, New Jersey.

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Blacksmithing: Sculptural Forms
Jul
14
to Jul 27

Blacksmithing: Sculptural Forms

Blacksmithing: Sculptural Forms
James Viste
2 week course || SCULPT 623 001 || 3 credit hours || Lab Fee: $150

This intensive will start with an introduction to the fundamentals of forging, and move rapidly toward advanced projects. We will focus on the hot manipulation of material with the forge, anvil, and hammer as our primary tools. A referential history of forged ironwork (architectural, functional, and sculptural) will serve as a source of inspiration. Students will be encouraged to produce a site-specific piece based on line and its relationship to chosen surroundings on campus.


FACULTY

James Viste   Arc Wave of Scutes

James Viste
Arc Wave of Scutes

James Viste was raised on a farm in Wisconsin, received a Bachelors degree from The University of Wisconsin, La Crosse; and an MFA from Cranbrook Academy of Art, Bloomfield Hills, MI. He is a nationally known blacksmithing demonstrator and exhibitor and has participated in several National Ironwork Restoration Projects including Cranbrook Educational Community and the Detroit Institute of Arts. He has worked for studios throughout Minnesota, Wisconsin, New Mexico and Michigan. He is currently the Manager of Edgewise Forge L.L.C., Detroit, MI; and employed as an instructor/technician by the College for Creative Studies, Detroit, MI.

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Abrupt Climate Change
Jul
14
to Jul 27

Abrupt Climate Change

Abrupt Climate Change
Mika Tosca
2 week course || SCIENCE 605 001 || 3 credit hours

Since 1970, global temperatures have risen more than a degree Fahrenheit, yet, despite dire warnings from climate scientists, humanity continues to emit climate-warming greenhouse gases at record pace. In the past two decades we have seen the increasing effects of devastating sea level rise, stronger and more powerful storms, longer droughts, deadly heat waves, destructive wildfires, accelerating loss of the world’s rainforests, growing species extinction rates, and changing water availability. In this course, we will explore the scientific explanation of contemporary climate change as well as the economic origins of our fossil fuel addiction. We will discuss future projections of climate change, the underpinnings of modern “climate change denial”, and whether we can avoid what scientists call “catastrophic climate change” in this century. We will consider current news articles and relevant policy solutions/responses, and class work will involve group work, critical thinking, quantitative practice, relevant scientific readings, qualitative homework, quizzes, an exam and a final project.


FACULTY

Mika Tosca   A plot showing increasing surface temperature (black line) in the Southeastern United States in response to declining industrial pollution (red line)

Mika Tosca
A plot showing increasing surface temperature (black line) in the Southeastern United States in response to declining industrial pollution (red line)

Mika Tosca is a trained climate scientist, having completed her Ph.D. work at the University of California, Irvine in 2012. While at Irvine, Dr.Tosca researched the interconnectivity of the climate with landscape fires and particulate (aerosol) emissions. She continued her work as a postdoctoral scholar at the Jet Propulsion Laboratory (a contracted lab of NASA) in Pasadena, CA, working under Dr. David Diner. There she continued researching the interactions between climate and landscape fires, even traveling as far as Namibia in 2016 to research the complex relationships between smoke from fires and cloud formation. At SAIC, she has begun to explore whether scientists can work with designers to determine whether reimagining data visualization can help scientists ask better questions. She continues to explore contemporary science questions concerning climate change and has given several invited presentations to various organizations.

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Beyond Observation: Embodiment and Materiality in the Landscape
Jul
14
to Jul 27

Beyond Observation: Embodiment and Materiality in the Landscape

Beyond Observation: Embodiment and Materiality in the Landscape
Carris Adams
2 week course || PAINTING 656 001 || 3 credit hours || Lab Fee: $50

In Beyond Observation, students are invited to redefine their perceptions and interactions with the landscape through various approaches to observational painting. While gaining proficiency in the techniques and vocabulary of painting, students will develop new ways of representing the landscape outside notions of the “serene” and “pastoral” while considering moments of their body/mind in the space. Artists’ work and writings will be provided as inspiration for assignments such as Andreas Siqueland, Rodney McMillian, Josephine Halvorson, Lari Pittman, Emily Cheng. Students will be challenged to experiment with the material properties of paint, language, principles and elements of design to compose a painting that embodies an exchange between the maker and the surrounding world.

FACULTY

Carris_Adams_2.jpg

Carris Adams is a visual artist whose practice visually investigates markers  of domesticated space. Her conceptually multi-layered works seek to inform and position viewers to recognize their assumptions, recall an experience and perhaps note how societal markers materialize in the landscape. Adams received her BFA from the University of Texas at Austin (2013) and her MFA from the University of Chicago (2015). Adams' work has been exhibited at The Studio Museum in Harlem, New York, NY; The Logan Center Exhibitions at The University of Chicago, Chicago, IL; Produce Model Gallery, Chicago, IL; Tiger Strikes Asteroid Gallery, Chicago,IL; and The Courtyard Gallery at The University of Texas at Austin, Austin, TX.

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Thought Collections: Exploring Book Structures
Jul
7
to Jul 13

Thought Collections: Exploring Book Structures

Thought Collections: Exploring Book Structures
Regin Igloria
1 week course || PRINT 648 001 || 1 credit hour || Lab Fee: $50

This course introduces bookbinding skills to students who will create a series of different hand-bound books, from pamphlets and stab bindings to more complex codex-style structures like the Coptic and long stitch. Each morning the instructor will introduce new binding techniques, and will follow up with an afternoon of content-building exercises using the environment, landscape, and a variety of drawing and collage materials. Students will explore ways of gathering and manipulating information in a portable format, resulting in a small volume of hand-held works.


FACULTY

Regin Igloria   A List For You (Original Detail Drawing)   Artists’ book (Photocopies on paper, edition 100) 4.25” x 5.5” 2017

Regin Igloria
A List For You (Original Detail Drawing)
Artists’ book (Photocopies on paper, edition 100)
4.25” x 5.5”
2017

Regin Igloria is a multidisciplinary artist and educator based in Chicago. His drawings, artists’ books, sculptures, and performances portray the human condition as it relates to the natural environment and inhabited spaces. With several years of arts administration and teaching under his belt, he founded North Branch Projects, an organization that builds connections through the book arts. Igloria has taught at places such as Marwen, RISD, The School of the art Institute of Chicago, Snow City Arts, and Carthage College to name a few. He received a 3Arts Individual Artist Award as well as local, national, and international grants and support through artist residencies, and has exhibited internationally. He received his MFA from Rhode Island School of Design.

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Casting in Context
Jul
7
to Jul 13

Casting in Context

Casting in Context
Steven Haulenbeek and Pete Oyler
1 week course || SCULPT 665 001 || 1 credit hour || Lab Fee: $100

This one-week design focused class will explore the relationship between industrial approaches to production and the natural environment. Making use of Ox-Bow’s unique location, natural, raw, found materials will be used as source material for mold making and on-site metal casting of functional objects. With an emphasis on finding creative ways to use readily available materials in the design process, this class will emphasize hands-on learning and students will develop skills in mold making, casting, and iterative design thinking. Students will work collaboratively throughout the casting process and will embrace a process based approach to making functional objects. Drawing inspiration from process-based designers working at various scales of production–including Hella Jongerius, Max Lamb, Chen Chen and Kai Williams–this course will explore how a range of contemporary designers expand traditional approaches to making objects and develop new processes through iteration. Readings by design critics David Pye, Alice Rawsthorn, and Murray Moss will help to inform and contextualize studio discussions. Key to all course content is an emphasis on different approaches to independent studio practice and production methods.By the end of this course, students should expect to produce one functional cast object and have thorough documentation of process.

FACULTY

Steven Haulenbeek   Ice-Cast Bronze Lace Vessel #1   Cast Bronze 2018

Steven Haulenbeek
Ice-Cast Bronze Lace Vessel #1
Cast Bronze
2018

Steven Haulenbeek is a Chicago based industrial designer and artist. He received his bachelors in drawing and sculpture from Hope College in Holland, Michigan in 2002 and received his Masters degree in Designed Objects from SAIC in 2006. In 2010 he founded his independent design practice with the interest in experimental, material, and process-based objects for the home. Steven Haulenbeek Studio is represented by Carpenters Workshop Gallery in Paris,

London and New York as well at The Future Perfect in New York and San Francisco. Steven’s work passes by the typical design/build format and instead seeks to invent a production framework by which objects emerge more organically. “Ice-Cast Bronze” and “Resin-Bonded Sand” are two of his best-know experimental processes developed in this spirit. TheIce-Cast Bronze collection pairs the natural freezing cold climate of the Chicago winter with the lost-wax process to create uniquely textured objects and furniture in cast bronze. The RBS Series (Resin-Bonded Sand) utilizes silica sand, a typically disposable industrial byproduct, to create colorful sculptural objects, furniture and lighting.

Pete Oyler   Title: L4.2-2   Materials: Ash

Pete Oyler
Title: L4.2-2
Materials: Ash

Pete Oyler is a product and furniture designer whose work explores the intersections of design, craft, contemporary culture, and history. Oyler produces work for license and larger volume production under his own name and is a Principal at Assembly Design, an award-winning studio he co-founded with interior designer Nora Mattingly. His studio practice emphasizes both traditional and experimental approaches to a wide range of materials and methods of production. His work has been exhibited and published internationally and he has received numerous awards including Forbes’ “30 Under 30”, the Metropolis “Likes Award for Innovation in Design”, Sight Unseen’s “American Design Hot List,” and Newcity’s “Design 50: Who Shapes Chicago.” Based in Chicago, Oyler is an Assistant Professor in Designed Objects at the School of the Art Institute of Chicago.

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Dimensional Collage
Jul
7
to Jul 13

Dimensional Collage

Dimensional Collage
Annalee Koehn
1 week course || PAINTING 653 001 || 1 credit hour || Lab Fee: $50

This week-long class combines traditional collage concepts and paper construction styles to explore a structural approach to image and form using found imagery and materials. Deliberate or makeshift, there is a body of artist collage referencing the world of 3D objects such as paper toys, games, and packaging. Informed by the tradition of artists’ collage and assemblage work, including Eileen Agar, Romare Bearden, Joseph Cornell, Hannah Hoch, Claes Oldenburg, Pablo Picasso, Betye Saar and Kurt Schwitters, this class will explore and expand the possibilities of 3D structural imagery, function, utility, and content building. Students will employ traditional materials and tools such as bristol board, exacto knife, scissors, tape and glue, and a stockpile of colored papers, found images, other printed materials. Students will come away with a collection of meaningful objects that incorporate their personal vision and an expanded visual vocabulary.


FACULTY

Annalee Koehn   Double Hurricane   Fabric and mixed media collage 2012

Annalee Koehn
Double Hurricane
Fabric and mixed media collage
2012

Annalee Koehn is a Chicago-based artist and musician, and teaches at SAIC in the Designed Objects department. Her work is primarily structural, but spans disciplines and materials, sometimes defying categorization. Threads that run throughout are an exploration of physical and metaphorical properties of materials, cause-and-effect, and the interplay of form and function. Koehn’s work has been shown at Galerie POWERHOUSE, Montreal, the Chicago Cultural Center, Frederick Layton Gallery at MIAD, Vanderbilt University, Edinboro University of Pennsylvania, Illinois State Museum, Randolph Street Gallery and others, and she has multiple grants, awards and 8 US Patents. She earned her MFA from Louisiana State University and BFA from University of Illinois. Other teaching includes Milwaukee Institute of Art and Design, West Virginia University, Oakton College, and traditional music and harmony singing at The Augusta Heritage Center.

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The Portrait As Starting Point
Jul
7
to Jul 13

The Portrait As Starting Point

The Portrait As Starting Point
Dylan Rabe 
1 week course || PAINTING 614 001 || 1 credit hour

This class will focus on issues raised in painting, particularly portraits and self-portraits, translating what is known and seen into the formal vocabulary of paint. Sources will include direct observation of the subject and the imagination. Students will investigate form and content as well as materials and techniques. Students may choose to work with oil-based media with odorless solvents, or water-based media. Slide lectures and critiques will be included.


FACULTY

Dylan Rabe   In Absinthia   oil and ink on canvas 2018

Dylan Rabe
In Absinthia
oil and ink on canvas
2018

Dylan Rabe is an artist living and working in Chicago. He predominantly makes hybrid ink and oil paintings, combining traditional techniques with automatic drawing and surrealist compositional strategies to give form to the subconscious, or an emotionally heightened vision of the external world. He received his BFA and MFA from the School of the Art Institute of Chicago, and has exhibited paintings, drawings, and animations at Chicago venues including the Beverly Arts Center, Julius Caesar, The Research House for Asian Art, Iceberg Projects, and Rare Visions in Boulder, Colorado.  He is currently a lecturer at SAIC.

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Weird Works: Strategies for a New Glass
Jun
30
to Jul 13

Weird Works: Strategies for a New Glass

Weird Works: Strategies for a New Glass
Ben Wright
2 week course || GLASS 630 002 || 3 credit hours || Lab Fee: $300

This class will use glass to translate observations of inspirational phenomena and systems into conceptual artworks.  Through a combination of sketches, immediate responses and longer projects students will work through the creative phases of observation, synthesis, modeling and realization in a supportive and catalytic learning environment. Brief daily readings will explore our favorite weird thinkers from Hunter s Thompson and George Orwell to Dr. Seuss and Buckminster Fuller. These visionaries will inspire and drive our material experiments beyond the well-worn paths of traditional investigations.  Glass lessons will include blowing, casting, cold working and a variety of less orthodox approaches. The class will respond by inventing techniques to address the concepts imbedded in individual projects and lead students towards a thoughtfully experimental approach to artmaking. Students should expect to produce a body of work consisting of 3-5 finished pieces during the course, to be presented in a culminating critique.


FACULTY

Ben Wright   Detail of The Curious Tale Of The Love Nut: An Anthropomorphic Love Story For The Anthropocene   still image from a live performance at the Chrysler Museum of Art, 2018

Ben Wright
Detail of The Curious Tale Of The Love Nut: An Anthropomorphic Love Story For The Anthropocene
still image from a live performance at the Chrysler Museum of Art, 2018

Ben Wright holds a BS in Evolutionary Biology from Dartmouth College, a BFA in Glass from the Appalachian Center for Crafts, and an MFA from Rhode Island School of Design. While at Dartmouth, he explored forests from upstate New Hampshire to tropical Jamaica to record and map songbirds for the renowned ornithologist Richard Homes. His background in biology figures strongly in his artwork, which delves deeply into the every evolving relationship between humans and their environment. Through work ranging from interactive visual installations to sonic landscapes he engages all of his viewers’ senses and often bridges the gap between art and science. He has taught his unique approach to art making at numerous schools including Pilchuck Glass School, Penland School of Craft, the University of the Arts in Philadelphia and abroad in Germany, Turkey, Denmark and Japan. He is currently the Director of Education at UrbanGlass in Brooklyn, New York.

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Hard Lines: Drawing with Steel
Jun
30
to Jul 6

Hard Lines: Drawing with Steel

Hard Lines: Drawing with Steel
Devin Balara
1 week course || SCULPT 663 001 || 1 credit hour || Lab Fee: $50

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

FACULTY

Devin Balara    Oh Shoot You Guys   Enamel, Steel, Wood 8' x 8' x 6' 2017

Devin Balara
Oh Shoot You Guys
Enamel, Steel, Wood
8' x 8' x 6'
2017

Devin Balara’s work pokes at the clumsy and absurd ways nature is deployed and consumed using sculptural illustrations inspired by bad omens, mirages, desert island logic, and the outdoors as both picturesque and unruly. Employing steel as a drawing material allows the imagery to freely distort and relate to surrounding space and objects, shifting perspective and narrative with each new line of sight.

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Power Objects and Alter Egos
Jun
30
to Jul 13

Power Objects and Alter Egos

Power Objects and Alter Egos
Joanna Powell and Anthony Sonnenberg
2 week course || CER 649 001  || 3 credit hours || Lab Fee: $150

Artists throughout time have constructed symbolic figures and avatars to represent idealized versions of our identities. In this course students will develop alter egos as a means to explore personal, social, and political power dynamics through artistic practice. Unfired clay will act as a material metaphor for identities in flux and anchor more expansive approaches to sculpture, performance, and installation art and act as a point of departure for considering performative and ephemeral approaches to character development and world building. Artists including Caravaggio, David Altmejd, and Walter McConnell will be referenced alongside contemporary drag performance, comics and mythological narratives to present students with a wide range of strategies for constructing characters and environments. No previous knowledge or working experience with clay is necessary for this course, although a willingness to get dirty and take chances will be, take chances and possibly make a fool of oneself will be. Students will create projects using hand-building techniques in combination with found objects and activated through performance and installation contexts. 


FACULTY

Joanna Powell   A Simple Complicated Truth    ceramic, canvas, acrylic, plastic, 10’x4’x7’9” 2014

Joanna Powell
A Simple Complicated Truth
ceramic, canvas, acrylic, plastic, 10’x4’x7’9”
2014

Joanna Powell (b. 1981, Dallas, TX) holds an MFA from The University of Colorado,Boulder and a BFA from The University of North Texas in Denton. Through installation she contextualizes common objects with personal meaning. Her work is the result of thinking about longing, privacy, history and sexuality. Powell has exhibited her work throughout the United States. Her most recent solo exhibition, Everything belongs to you, was held at the Denison Artspace in Newark, Ohio. She has been a resident artist at The Archie Bray Foundation, Haystack Mountain School of Crafts, Kansas State University and Denison University. In 2015 she was granted an Emerging Artist award from the National Council on Education for Ceramic Arts. Currently she resides in Helena, Montana and is a full-time studio artist and traveling lecturer.

Anthony Sonnenberg   Model for a Monument (Dreams last for so long, even after you’re gone)   Porcelain over stoneware, found ceramic  tchotchkes, glaze  35h x 15w x 15d in 2018

Anthony Sonnenberg
Model for a Monument (Dreams last for so long, even after you’re gone)
Porcelain over stoneware, found ceramic
tchotchkes, glaze
35h x 15w x 15d in
2018

Anthony Sonnenberg was born in Graham, Texas. He holds an MFA in Ceramics from the University of Washington in 2012 and a BA in Studio Art with an emphasis in Art History and Italian from the University of Texas, Austin in 2009. Crowns and candlesticks—things made in the moments just before a crash—are the subject of his work. His sculptural assemblages are made using a range of materials including ceramic, fiber, metal, papercut, drawing, performance, and photography. He has been the recipient of artist residencies at venues including the Archie Bray Foundation for the Ceramic Arts, Houston Center for Contemporary Craft, Pilchuck Glass School, Yaddo Artist Residency, Ox-Bow School of Art and Artists’ Residency, and Lawndale Artist Studio Program. He is the recipient of the 2014 RPF Grant from The New Foundation. His work has been exhibited widely across the United States and his first museum solo exhibition, Still Stage, Set Life took place in 2018 at the Art Museum of South East Texas in Beaumont, TX.

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Uniquely Printed Multiples: The Impossible Task of Monotype Mastery
Jun
30
to Jul 6

Uniquely Printed Multiples: The Impossible Task of Monotype Mastery

Uniquely Printed Multiples: The Impossible Task of Monotype Mastery 
Leah Mackin
1 week course || PRINT 657 001 || 1 credit hour || Lab Fee: $50

This course is an exploration and investigation of various approaches to the foundational printmaking process of monotype, with the explicit goal of generating a large quantity of printed works that realize the unlimited potential of a print. Utilizing both press-based, silkscreen, and hand-printing techniques, students will incorporate drawing, painting, stencils, photographic image transfers, and found materials. Production will be paired with critical dialogue concerning content and transformation of prints into book forms, serialized images, and sculptural installations. Study of historic and contemporary approaches to the monotype process include looking at examples of printed works by artists such as Tracey Emin, Alison Saar, Shlomith Haber-Schaim, Milton Avery, and Henri Matisse. Readings to provide framework for discussions include a poetic inquiry by Richard Tuttle and a comprehensive history of the medium - The Monotype: The History of a Pictorial Art by Carla Esposito Hayter. Through experimentation and practice of the variety of techniques covered, students should expect to complete multiple works, or even a series of works, to be presented in-progress at a mid-course critique and a final critique.


FACULTY

Leah Mackin   Soft Control: Scanimations   animated GIFs, digital images, inkjet print, edition of 3 2017

Leah Mackin
Soft Control: Scanimations
animated GIFs, digital images, inkjet print, edition of 3
2017

Leah Mackin is a visual artist who explores themes of reflection, response, and re-creation. She has received a number of awards, scholarships and honors, including a Robert Rauschenberg Foundation Archives Research Residency, an Artist’s Book Residency Grant at the Women’s Studio Workshop, both a Fall Residency Award and a LeRoy Neiman Scholarship to attend the Ox-Bow School of Art and Artists’ Residency, and a solo show award as a finalist in The Print Center’s 90th Annual Competition. Mackin holds an MFA in Studio Art from the School of the Art Institute of Chicago and a BFA in Printmaking + Book Arts from The University of the Arts in Philadelphia. She is currently a faculty member at the Book Arts Center at Wells College in Aurora, NY.

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Expansions: Skill Building for Advanced High School Artists
Jun
30
to Jul 6

Expansions: Skill Building for Advanced High School Artists

Expansions: Skill Building for Advanced High School Artists
Claire Arctander
1 week course || PAINTING 401 001 || 1 credit hour

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


FACULTY

Claire Arctander   American Standard   vintage toilet paper and latch hooked yarn 2017

Claire Arctander
American Standard
vintage toilet paper and latch hooked yarn
2017

Claire Arctander is an artist in Chicago. Working across multiple mediums, she joyfully articulates conflicted feminist notions of desire and desirability. Arctander’s works refer to and respectfully pervert the aesthetics of women’s creative outputs throughout American history. Via an investment in and respectful treatment of abject, lush materials and low-brow media outlets—such as pop music, home decor, porn, handicrafts, edibles, and consumer ephemera—she posits debasement as a viable position from which to critically operate. She works as a teaching artist at the Museum of Contemporary Art Chicago and at Weinberg/Newton Gallery. She has been a resident at The Cooper Union, Summer Forum, ACRE, and Ox-Bow. Her work has recently appeared at Franklin Street Works in Stamford, Spektrum in Berlin, Lula Cafe in Chicago, and Eastern Michigan University’s Ford Gallery.

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