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In keeping with the mission of the College, the faculty at Oregon College of Art and Craft are nationally and internationally recognized artists and scholars. They are experienced educators, innovative makers and thinkers, communicating formal and conceptual content through their rigorous exploration of creative practice.
Dylan J. Beck
Dylan J. Beck
Ceramics Department, Head/Associate Professor
MFA, Tyler School of Art, Temple University; Post Baccalaureate Fellowship, Illinois State University; BFA, Ohio University. Born in rural southeastern Ohio, DYLAN spent his childhood living between small town Ohio, inner city Columbus, and the wooded Hocking Hills. These diverse environments had a major impact on how he interprets landscape. As a teenager Dylan worked for his father’s home construction business which directly informed his use of materials and understanding of infrastructural development. His artwork explores the interaction of human activities with the natural environment and the idea that we are currently living in the Anthropocene, where human activities have had a significant global impact on the Earth's ecosystems.
EXHIBITIONS: (upcoming)Unconventtional Clay: Engaged in Change, 2016 NCECA Invitational; Zanesville Prize for Contemporary Ceramics; Scratching the Surface at Red Lodge Clay Center, MT; Rhythm Repetition Ritual at Pottery Northwest; Cloud Sourcing at Eutectic Gallery, Portland; and Constructed at Nightingale Gallery in Eastern Oregon University. PUBLICATIONS: The Flight Patterns of Dylan J Beck, Garth Clark's CFile; An Overwelming Trust in Progress, NCECA Journal 2012 vo.33; and 21st Centruy Ceramics: The First Decade. COLLECTIONS: San Angelo Museum of Fine Arts, TX; Ohio University School of Art, OH; and IDL Merchandising Solutions, PA. AWARDS: NCECA Emering Artist, National Award, 2012; Emerging Artist Award, Windgate Charitable Foundation, 2012. SERVICES: NCECA 2017 Portalnd Onsite Liaison, NCECA Board member; board member at Water shed Center for the Ceramic Arts; and Board president for ArtAxis Organization Inc.
MFA in Craft and Materials Studies, Virginia Commonwelath University; BED in Architecture, North Carolina State University. KARL leads the newest OCAC graduate program, the MFA in Craft. Formerly the head of the College’s Wood Department, Karl has been actively involved in the development of OCAC’s MFA programs, and was the Associate Chair within the Applied Craft + Design program. Prior to joining the faculty at OCAC, Karl was an Assistant Professor of Design at Virginia Commonwealth University’s branch campus in Qatar. He has also worked with students and faculty from the University of Manitoba as a guest artisan for service learning studios in Turkey and Africa. Karl’s artistic practice is founded on his complicity with material culture and the built environment, particularly as expressed through a making space.
EXHIBITIONS: Of Silence: Outpost porjects, Yucca Valley, CA; Not It, Linfield College, OR; All Rise: Seattle City Denny Substation Project, WA; and Contemporary Northwest Art Awards, Portland Art Museum, OR, PUBLICATIONS: “Making Awareness an Interview with ” Joshua West Smith, Drain; and, “The Object of Exchange”, Ceramic Monthly, AWARDS: U.S./Japan Creative Artist Fellowship Finalists for 2013, Japan-U.S. Friendship Commission; Finalists for 2013 Northwest Contemporary Art Awards, Portland Art Museum; and Project Grant and Individual Artist Fellowship, Oregon Arts Commission, SERVICES: Committee member and selection panel at Portland Metor Scholastic Art Awards, Regional Art & Culture Council, Disjecta, Portland; lecturer at numerous organizations including Anderson Ranch, CO, Portland Art Museum, OR, Museum of Contemporary Craft, OR, Umea Institute of Design, Sweden, and International House of Japan, Tokyo, Japan.
MFA in Metals, Rochester Institute of Technology; BFA in Metals/Jewelry, University of Washington. Along with teaching traditional metalsmithing and jewelry, CHRISTINE's personal work focuses on installation art, abstract sculpture in steel, wire, and mixed materials. Her work examines subjects such as human habit and predisposition.
EXHIBITIONS:permanent public art at Eastern Oregon University and at OCAC; Weight, Nine Gallery, Portland; Amass, Nine Gallery and Herded, Nine Gallery. COLLECTIONS: Harborview Medical Center, Seattle, WA; and Portland Community College, Portland, OR. AWARDS: Ford Foundation/Ucross Residency; Ucross Foundation Residency, Wyoming; and Jogn Michael Kohler Arts and Industry Residency, Wisconsin.
Follow Christine's Kohler Arts Industry Residency Experience
MFA, Minneapolis College of Art and Design.
EXHIBITIONS: "Timere Vacui", a group show he curated for Beppu-Wiarda Gallery, Portland and Function+Art, Chicago. PUBLICATIONS: Scratching the Surface- Art and Content in Contemporary Wood and "500 Wooden Bowls".
Photo credit: Noah Addis
MFA in Visual Studies from the Pacific Northwest College of Art; BFA in Wood , Oregon College of Art and Craft. BEN is a Portland–based artist, who along with Todd Isaacs is a founding member of SPACECRAFT. Part workshop and part idea factory; they produce everything from hand-tooled furniture, fixtures and interiors, to impromptu installations.
Certificate in Crafts, Oregon College of Art and Craft. JUDILEE is a textile artist who specializes in natural dye processes. She combines an innovative interpretation of traditional methods, handwoven and surface design techniques, and couture construction details to create a line of wearable garments, accessories, and original art pieces that portray a single moment in history.
Ph.D in Plant Biology (Systematics), University of Illinois; B.S. in Ecology and Systematic Biology, California Polytechnic State University. CATHERINE spent 15 years as a studio potter before earning her Ph.D. She is well-versed in Field Ecology and Ethnobotany.
PUBLICATIONS: David E. Seigler, John E. Ebinger, and Catherine E. Glass. 2013. Senegalia berlandieri, S.crassifolia, and S. reniformis Hybrids (Fabaceae: Mimosoideae) in Central and Northern Mexico. Madroño 60 (3):179-185.; Glass, C. E. & D. S. Seigler. 2006. A new combination in Senegalia and typification of six New World Acacia names. Taxon 55 (4); Glass, C. E. 2003. The Acacia berlandieri species group: Armed New World Members of Subgenus Aculeiferum (Fabaceae) North of the Isthmus of Tehuantepec, Mexico. (Doctoral thesis). University of Illinois, Urbana. 320 pages. PROFESSIONAL AFFILIATIONS: Botanical Society of America; Society for Economic Botany; Native Plant Society of Oregon; and The American Oriental.
MFA in Imaging Arts from the Rochester Institute of Technology; BA in Semiotics, Brown University. PHIL worked virtually exclusively as a photographer for over thirty years, exhibiting his work in numerous solo exhibitions throughout the United States and Europe. In recent years, Harris has begun to work with other two- and three-dimensional materials to address perceptual and philosophical concerns, including balance, imbalance, prosthesis, the interconnected nature of human existence, and the limits of individualism.
EXHIBITIONS: See For Yourself: Experiential Prototypes(solo), Doppler PDX Gallery, Portland, 2010; Shadows/Transmit (two-person with Susan Dunkerley Maguire), Houston Central Community College Gallery, Houston, TX, 2010. PUBLICATIONS: O Independent (Lisbon, Portugal),September 2003; Portland Magazine, Winter 2001and Spring 2001; and The Oregonian, January 2001. COLLECTIONS: Arquivo Fotográfico da Camara Municipal de Lisboa, Lisbon, Portugal; Bibliothèque Nationale de France, Paris; Harry Ransom Humanities Research Center, University of Texas, Austin; Houston Museum of Fine Arts; Kresge Art Museum, Michigan State University; and New Mexico State University, Las Cruces.
MFA in Fibers, Colorado State University; MFA in Fibers, Ewha Womans University; BFA in Fibers, Ewha Womans University. JISEON is the Dean of Academic Affairs at a formal Fibers Department Head at OCAC. Prior to joining the faculty at OCAC, she was an Assistant Professor of Textile Design at East Carolina University in NC. Born and rasied in South Korea, her work reflects her experiences as an immigrant by using anxiously orderly and delicate forms. Jiseon's current body of work tempers the chaos of communication through simple, essential techniques and fluid textile materials.
EXHIBITIONS: Hold That Thought, HAP Gallery, Portland; Top Ten Books to Read Before You Die, Nine Gallery, Portland; and invitational group shows Hands of Korea, exhibited in Korea, Europe, and the United States; and Innovators and Legends: Generations in Textiles and Fibers, exhibited in many states in the US. PUBLICATIONS:Textile Fibre Forum magazine in Australia; the Fiber Art Now catalog; and the Surface Design Journal. COLLECTIONS: Jordan Schnitzer Museum of Art; and Colorado State University. SERVICES: member, Disjecta Consilario Committee, Portland; member, Disjecta Biennial Community Committee| 2015 Portalnd Biennial Curator selection; member, Artist in Residence selection committe, Caldera; and member, Oregon Zoo Public Art Advisory Committee, Portalnd.
MA Writing from Portland State University; BA in English from Southern Oregon University. REBECCA is a fiction writer whose work is infused with the sensibilities of the young creative class that uses the Pacific Northwest as its way station for earnest, well-meaning adventuring to the world at large. She is the author of the novel Broken Homes & Gardens (2015) and co-author of The Eco-nomical Baby Guide (2010).
Rebecca Kelley Writes
MFA in Interdisciplinary 3D from University of Oregon: BFA in Metalsmithing from Colorado State University. COURTNEY is an alumni member of Ditch Projects, an artist-run gallery and collective, and has recently served as gallery manager for Disjecta Contemporary Art Center in Portland, Oregon. Her work has been exhibited in both national and international galleries, including SOFA New York 2011, SOIL Gallery (Seattle, Washington), Galleri Puls (Norheimsund, Norway), Disjecta Gallery (Portland, Oregon), and Heidi Lowe Gallery (Rehobeth, Rhode Island).
MFA, San Francisco State University. MATT is a photo-based artist who utilizes still imagery, performance, and writing to create text/image works. He was awarded an NEA grant as author and director of the Watershed Project; a multi-disciplinary touring exhibit. His work is exhibited nationally and often employs fabricated histories and sociopolitical observation as content.
MFA from Indiana University; BFA from Ohio University. JIM has taught at OCAC for the past twenty-five years and his residency history includes The Archie Bray Foundation, Helena, MT; Bullseye Glass, Portland, OR; and OCAC Senior Resident. He has maintained an involvement throughout his career in both functional and sculptural work. Some of this sculptural work has investigated environmental concerns regarding water issues, fisheries, and land use. He often employes post-firing construction with other medias such as metal, glass, and wood. Recently, he created a body of work titled, "Man Cans and Boy Toys." These sculptural, yet functional, vessels merge his interested in industrial objects with playful inspirations from his sons' toys. Jim's work has been featured in a variety of publications and exhibited in numerous national and regional shows; receiving honors and awards, including two solo shows at the Waterstone Gallery in Portland and the Mary Lou Zeek gallery in Salem, Oregon.
Ph.D. in Art History, University of California, Berkeley; M.A., University of California, Berkeley; B.A., Pomona College. ABBY's recent projects include studies of Late Gothic architecture in Paris and Normandy. She also co-edited a volume of essays, New Approaches to Medieval Architecture, published in 2011. Her research has been supported by the Social Science Research Council, the Fulbright Program, the Center for Advanced Study in the Visual Arts, and the Getty.
PUBLICATIONS: “On the Threshold of Heaven: Text and Ornament at Notre-Dame, Caudebec-en-Caux,”; forthcoming; “Interrogating Space: Jeanne Nagy at Disjecta Contemporary Art Center,” CIR: Curator in Residence, catalog for Disjecta Contemporary Art Center (Portland: 2013); Co-Editor with Robert Bork and William W. Clark, New Directions in Medieval Architecture; AVISTA Studies in the History of Medieval Technology, Science and Art (Ashgate: 2011); The Hand of the Master: Architects and Entrepreneurs in Late Gothic Paris,” AVISTA Forum Journal, 18/1 (Fall, 2009); Reappraising Design Methods in Medieval Architecture,” a review of Nigel Hiscock, The Symbol at Your Door: Numerical and Geometric Symbolism in Medieval Architecture (Ashgate: 2008) in Metascience (Summer 2009).
MFA in Fibers from Cranbrook Academy of Art; BFA in Fibers, Maryland Institute College of Art. EMILY explores the desire for alternate realities and liminal space. Through sculptural objects and installation, she investigates the use of story and symbols to mythologize natual phenomena, referencing our collective desire for escapism and secret knowledge. Her material choices are governed by each material's cultural and its ability to impart meaning. Hair, leather, and cloth reference the body, memory and culture.
EXHIBITIONS: Long Lost, Marlin and Regina Miller Art Gallery, Kutztown University; The Realm of Quantifiable Truths, Bullseye Gallery, Portland; Latheron Art Byre, Latheron, Scotland; Across every reason a movement, Littmand Gallery, Portland State University; Dark Ecologies, Bullseye Resource Center, New York. PUBLICATIONS: American Craft Magazine, August/September 2014; Drain Magazine, February, 2014; Art Ltd Magazine, September/October and May/June, 2012.
BFA from Pacific Northwest College of Art. GEORGIANA is a painter who exhibits locally and nationally; working in both two- and three-dimensions and often exploring symbols, systems of thought, and the evocative nature of color. The nature of consciousness is often expored in her work; how we make sense of our world and make connections with each other as sentient beings. For most of her paintings and objects she uses the arcane surface ground of hot-glue gesso, on wood or paper, allowing both additive and subtractive methods as she uses gouache, watercolor, oil paint, cold wax, and a variety of dry media. Currently she is creating a series of small but complex mixed-media paintings exploring the contemplative mandala as a format and a collection of large charcoal drawings relating to her dance practice.
EXHIBITIONS: "Lexicon: 100 Mixed Media Paintings" traveled to Elmhurst Art Museum, El Paso Museum of Art, the Chicago Cultural Center, and several university galleries.
MFA in painting and drawing from Washington State University; BFA in painting from the Pacific Northwest College of Art. MICHELLE's work is concerned with the placement and effect of fragments. Interested in a physical response to form, color and space she operates with the premise that certain arrangements of these simple elements can evoke clearly felt and understood experiences beyond language. Distance, proximity, isolation and repetitive structures of order are utilized as both comforting and alienating. She is convinced that these experiences can be socially powerful and that painting can be a sign, a reminder of this.
EXHIBITIONS: exhibited and curated in print around the United States and in Europe, including by Jennifer Blessing at the Guggenheim, New York; Lowery Sims, of the Museum of Arts and Design, New York, Jessica Morgan at the Tate, London, the Art Gym, Marylhurst University, Marylhurst, Oregon; Nine Gallery, Portland, Oregon; New Mexico State University, Las Cruces; Rome International University, Italy; and Barrett House Galleries, Poughkeepsie, New York. AWARDS: artist-in-residence at the American Academy in Rome, Italy; New Mexico State University, Las Cruces; and Vermont Studio Center, among others. numerous grants and honors, including an Oregon Arts Commission Individual Artist Fellowship; a Regional Arts and Culture Council Project Grant; an Oregon Arts Commission Career Opportunity Grant; and a Center on Contemporary Art, Seattle, Juror's Award. Ross is represented by Elizabeth Leach Gallery, Portland, Oregon.
MFA in Photography University of Oregon; BFA in Photography, Ohio University. MARK uses a variety of materials and processes to explore historical and contemporary patterns of human interaction with the land. Recent works include Roll on Columbia, a group of pinhole photographs exploring the Columbia River, Desert Time, a group of large format panoramic images of the deserts of the American West, and the “Art Contemplates Industry” project and traveling exhibition series which, in partnership with Portland General Electric and the Willamette Falls Heritage Foundation, provides unprecedented access for artists to explore historic hydro-electric power generating stations and their role in the industrial history of the Pacific Northwest.
EXHIBITIONS: Roll on Columbia, Newspace Center for Photography, Portland, 23 Alchemy, 23 Sandy Gallery, Portland. PUBLICATIONS: Window to the Past, The Sandy Post, 2009; Art Contemplates Industry, The Oregonian, 2007. COLLECTIONS: University of Oregon Law School; Ohio University Archives; and International Print Exchange Collection, Graphic School, Prague, Czech Republic.
MFA in Metals, University of Oregon; BFA in Metals, University of Kansas; BFA in Art History, University of Kansas. HEIDI is Chair of the MFA in Applied Craft + Design program, jointly offered by Oregon College of Art and Craft and Pacific Northwest College of Art. Heidi explores a wide range of materials in the service of her subject matter. Her style as an artist is a hybrid of conceptual art and craft, the objects well made and at the same time provocative and meaningful.
EXHIBITIONS: numerous shows, including exhibitions at the Co/Lab Art Fair in California, Raid Projects in California; Platform China in Beijing, Scope Art 2004 in New York; and the Hallie Ford Museum in Oregon. AWARDS: Ford Family Fellow (Oregon); MacDowell Colony Fellow (New Hampshire); Oregon Arts Commission Fellow; and several Regional Arts and Culture Council (RACC) Individual Project Grants (Oregon) and Oregon Arts Commission Career Opportunity Grants. SERVICES: lecturer at many institutions such as the Burg Giebichenstein in Germany, Cranbrook Academy of Art in Michigan and Kendall College of Art and Design in Michigan. PUBLICATIONS: published in Art in America, ArtNews; Drain Magazine; and the Huffington Post.
MFA in Printmaking, Cranbrook Academy of Art; BFA, University of Michigan in Ann Arbor. BRIAN has been teaching and mentoring at Oregon College of Art and Craft since 1993 in the Drawing/Painting, Book and Print and General Studies Departments. Prior to working full-time at OCAC, Brian was an Assistant Professor for 11 years teaching Printmaking and Visual Elements at Pacific Northwest College of Art in Portland, Oregon. His work combines the printmaking mediums of intaglio, lithography and relief as well as mixed media sculpture.
EXHIBITIONS:Flux: The Flowing in the Tide, SGCI, Portland, Oregon; and Ink This: Contemporary Printmaking in the Northwest at the Tacoma Art Museum, Tacoma, Washington. AWARDS: Artist-in-Residence at Caldera Arts, OR. PUBLICATIONS: Artweek, exhibition review, “ Brian Shannon & Christy Wyckoff at Alysia Duckler Gallery “; Traversing Territory, catalog, PICA’s Expanding Dimensions in Printmaking, p. 51; Art in America, photo of Choke, fall preview at Alysia Duckler Gallery, Sept. 1999, p55 by Lois Allan, June 2003, p23 (photo of Interlace). COLLECTIONS: the New York Public Library; New Orleans Museum Of Art; Portland Art Museum; Portland Visual Chronicles; and the Jordan D. Schnitzer Print Collection.
MFA from the University of Oregon; BFA, University of Poitier, Poitiers, France/University of Oregon, Eugene, Oregon; BFA, Fibers / French Art History minor. SHELLEY has studied Gobelins Tapestry and Medieval Art History in Poitier, Paris, and Uzes, France, Jacquard Hand Weaving at the Fondazione Arte Della Seta Lisio in Florence, Italy, and Digital Jacquard CAD Design at the Jacquard Center in North Carolina. Considering the action of weaving as an interlacement of opposing systems, her work investigates cloth making and production as a platform for social activism. Examining domestic dislocation through performance, installation, built environments and the woven object, her work is collected and exhibited internationally.
EXHIBITIONS: Materialities, Sandra J Blain Gallery,Arrowmont School of Art & Craft, Gatlinburg, Tennessee; Cauldron: A Wrinkle in Time Festival, Trinity Episcopal Cathedral, Portland; The Art is the Cloth: A Series of Reflections, von Auersperg Art Gallery, Deerfield Academy, Deerfield, Massachusetts. AWARDS: Individual Artist Fellowships from the Chenven Foundation of New York and the Oregon Arts Commission, COLLECTIONS: numerous public art collections; Marriott Hotel/ installation forthcoming, Portland; Hamersly Library, Western Oregon University, Monmouth, OR; Public Valley Library, Oregon State University, Corvallis, OR
MA and PhD in Art History from Columbia University. LEE'S specialty is 19th and 20th century art, with recent research focusing on portraiture.
MA in Jounalism/Public Affairs, The American University; BS in Political Science, SUNY, NEW Paltz. STEVE is an award-winning journalist and writer who has had more than 750 articles, editorials, essays, and other works published by more than 60 organizations and publications, including The Nation, The Washington Post, Public Citizen, The New York Times bestselling history book Chronicle of the 20th Century, and CBS Radio. He’s a recipient of the Washington Press Foundation Award and several journalism grants from various organizations, including The Center for Public Integrity, Voice of the Environment, and The National Forest Accountability Alliance. Currently, he is co-writing a book about ethical leadership and writes monthly articles for a national legal publication called "Of Counsel." Steve is also a performance artist and humorist, exploring socio-political issues in a medium he’s coined “journalistic theater.” In this format, performed as approximately one hour-long monologues, he says he likes to “push his concepts to the outer edge – and sometimes beyond."
MFA in Printmaking from the School of the Art Institute of Chicago; BS of Fine Art from the University of Wisconsin-Madison. BARB is an artist working in printed books and installation. In 1979, she founded her imprint, Triangular Press. This work can be found in many private and public collections in the US and abroad.
EXHIBITIONS: My Ántonia: Instructions for Seeing, Constellation Studios, Lincoln, NE; Four Proposals Toward the Future of Reading, Seager Gray Gallery,Mill Valley, CA; Approximate Exactitude: The Diagram and the Book, SGC International, Knoxville, TN; Redux: Selected Featured Artist Projects Renewed, Center for Book Arts, NYC, NY; Bainbridge Arts and Crafts, Carpe Librum. COLLECTIONS: Houghton Library, Harvard Univ.; Univ. of Oregon Special Collections; Multnomah Co. Public Library, Portland, OR; Otis College of Art and Design, LA; Cerritos Public Library, CA; Getty Art Center, Los Angeles, CA; Kohler Art Library, Univ. of Wisconsin-Madison; Lilly Library, Bloomington, IN; Victoria & Albert Museum; Museum fur Kunsthandwerk, Frankfurt, Germany; Weserberg Museum, Bremen; Deutsches Bucherei, Leipzig Deutsches Bibliothek. PUBLICATIONS: The Artist Book Yearbook; UWE-Bristol, England; A Close Read: The Cather Projects; 2011 Masters: Book Arts; Lark Books; The Blue Notebook; UWE, Bristol England (Artist Page) AWARDS: Merit Award; Book As Art 3.0, Art Institute of Atlanta-Decatur, GA; 2014 Exhibition and Purchase Awards; Print/Publish/Produce; Marriott Library, Univ. of UT, Salt Lake City; 2013 Finalist, MCBA Book Arts Prize, Minnesota Center for Book Arts, Minneapolis, MN; And Fulbright Lectureship; Faculty of Applied Art and Design, J.E. Purkyne Univ., Usti n. Labem, CZ
BA from Washington State University. BILL is a sculptor and installation artist who has also completed numerous public artworks. In 2005 Bill completed a large sculpture for Mary Bridge Children's Hospital in Tacoma, Washington and has worked on commissions in Seattle, Washington and Phoenix, Arizona. The Art Gym at Marylhurst University recently presented a mid-career retrospective of his work- Bill Will: Prototypes, 1980-2005.