Oregon College of Art and Craft's residency program provides emerging and nationally-known artists the time and space to think and immerse themselves in their own creative process. Residents have the freedom to explore, experiment, interact, create and collaborate.
The College hosts a number of Residencies each year.
The Artist-in-Residence programs are supported by a generous grant from The Collins Foundation and Ford Family Foundation.
Artist-In-Residence | Spring 2015
Sarah McDermott lives in Washington DC where she makes books and prints as the Kidney Press. She also collaborates within the world of small press publishing, including designing the structures and covers for the magazine/art object Birkensnake. Sarah received her MFA in Book Arts from the University of Alabama. She has held residencies at Women's Studio Workshop, Pyramid Atlantic Art Center, and the Center for Book Arts in New York City where she was a Van Lier Scholar. Sarah is currently adjunct faculty in the Art and the Book M.A. Program at the Corcoran School of the Arts and Design of George Washington University. Her work is held in multiple public and private collections including Yale University Arts Library, the Smithsonian American Art and Portrait Gallery Library, and the Brown University Artists' Books Collection. During her semester at OCAC, Sarah will be teaching Papermaking. In addition to teaching, she will be developing her own work: experiments in papermaking for books and booklike structures concerning urban waterways and human manipulation of the environment.
Jeffry Mitchell was born in Seattle, WA. His practice spans ceramics, drawing, printmaking and installation. His oeuvre seamlessly combines high and low references that span religion, sex, nature, fine art, folk and decorative arts traditions. Mitchell received an MFA from Tyler School of Art, Temple University, Philadelphia, PA. Recent exhibitions include Our Prayer, AMBACH & RICE, Los Angeles, CA, Like a Valentine, The Art of Jeffry Mitchell, Henry Art Gallery, Seattle WA, May Flowers, Elizabeth Moore Fine Art, New York, NY, and the Contemporary Northwest Art Awards, Portland Art Museum, Portland, OR. Mitchell has received numerous honors including a Joan Mitchell Grant in 2009. His work can be found in numerous public collections including the Seattle Art Museum, Seattle, WA, Philadelphia Art Museum, Philadelphia, PA, Fogg Art Museum, Harvard University, Cambridge, MA and the Portland Art Museum, Portland, OR. Jeffry will be on campus April 6 – May 8, working on the conflation of two traditions: Newcomb Pottery and Old English salt-fired pottery.
Artist-In-Residence | Fall 2014
Margie Livingston received her M.F.A. in painting from the University of Washington. Her awards include a residency at the Shenzhen Fine Art Institute in Shenzhen, China, in 2008; a Fulbright Scholarship in 2001, the Arts Innovator Award in 2010, the Neddy Fellowship in Painting in 2010, and the Betty Bowen Annual Memorial Award in 2006. She is a finalist for the Portland Art Museum's 2015 Contemporary Northwest Art Awards. She is represented by Greg Kucera Gallery in Seattle and Luis De Jesus Los Angeles. Livingston’s work resides in the permanent collections of the Shenzhen Fine Art Institute, the Seattle Art Museum, the City of Seattle, King County, and the Henry Art Gallery.
“I had a very rich experience during the residency: met with several students during office hours, made studio visits, and hired students as interns to help me finish a project in the studio. I was able to complete a major piece while at OCAC. Having access to the wood studio, technical support, and students to help me really made a difference.”
Evan Baden earned his MFA from Columbia College in Chicago in 2014. Since 2006 he has created four bodies of work: The Illuminati, Technically Intimate, Under the Influence, and A Conversão de São Paulo. They have been widely exhibited internationally with museums and galleries throughout Europe and the United States. His work is held in public collections such as the Walker Art Center, Milwaukee Art Museum, FOAM Amsterdam, the Finnish Museum of Photography, the Museum of Contemporary Photography, and the Kinsey Institute. His work has been featured in numerous publications including TIME, The Guardian, FOAM, New York Magazine, Le Monde, D della Repubblica, Geo, and DIE ZEIT. He has been the recipient of the Jerome Fellowship for Emerging Artists and the Stuart Abelson Graduate Research Fellowship. He has been a finalist for the McKnight Fellowship for Photography as well as nominated for the Baum Award for Emerging American Photographers and the PDN 30. During his residency at OCAC, Evan worked as a visiting instructor in the photography department, and developed a new body of images working with students at a local high school to begin creating The Taradiddle High School Yearbook Project, an examination of truth, lies, and imagery.
Artist-In-Residence | Summer 2014
Tamara Ottum has been teaching art at Aloha High School for 11 years. She started the AP Studio Art program in 2006 and, with the help of her colleagues, the program has grown to one of the largest in the Pacific Northwest. Tamara was nominated for The Service to Beaverton Award Educator Category in 2013 and was awarded Beaverton Arts Commission Outstanding Visual Art Educator for 2007.
The mediums Tamara works in include plaster and paint on canvas, collage, paper sculpture, and graphic design. Her most recent body of work is entitled Visual Memoir. Tamara earned her BS in Studio Art from New York University and her Masters in Education from Portland State University. In her spare time she coaches cross-country, runs and spends time with her husband and their four kids.
Artist-In-Residence | Spring 2014
Heidi Neilson is an artist addressing topics such as weather, fake snow, and the cultural landscape of outer space. Her work, often collaborative and publishing-based, has been supported by the Art Matters Foundation, the Bronx Museum of the Arts, the Center for Book Arts, the College Book Art Association, The Drawing Center, Flux Factory, I-Park, the International Print Center New York, the Islip Art Museum, Kala Art Institute, Lower Manhattan Cultural Council, the Lower East Side Printshop, Provisions Library, the Queens Museum of Art, Visual Studies Workshop, and Women’s Studio Workshop. She is a member of the ABC Artists’ Books Cooperative, co-founded SP Weather Station, and her work is included in over 60 museum and university collections. Born in Oregon, Heidi received a BA in biology from Reed College and an MFA in painting from Pratt Institute, and lives and works in New York.
Beginning with a BA in sociology and anthropology from Lewis & Clark College in Portland, OR, Ms Kreutter has combined these degrees with her passion and talent for ceramics. Notable residencies for the artist have included Anderson Ranch, the Houston Center for Contemporary Craft, and the Vermont Studio Center. She recently received her MFA in ceramics from the University of Tennessee in Knoxville, TN.
There is a space between remembering and forgetting, a space of invented time.During my residency, I intend to delve further into ideas of loss, memory and its transformation through time.
Artist-In-Residence | Spring 2012
Courtney Dodd explores the limits of human perception through the optical ability of glass to reflect, duplicate and obscure. By creating her own series of blown glass photographic lenses, the artist has created unique perceptual filters. Ms. Dodd hopes to take advantage of elements of the Pacific NW spring – clouds, fog, rain, “to document geographically specific bodies of water through these lenses.” Her interest in multiple materials and techniques and her recent experimentation in the field of photography aid her in her challenge to create “phenomenon for the viewer”. Ms Dodd graduated from Missouri State University magna cum laude with a dual emphasis in graphic design and illustration and received her MFA from Virginia Commonwealth University with a concentration in glass.
GRAND PRIZE WINNER FOR CHEONGJU INTERNATIONAL CRAFT BIENNALE, KOREA
Artist/Instructor-in-Residence in Book Arts in Spring Semester of 2015 is a 16 week-long fellowship program intended to present the participants as role models for the OCAC community, to advance the careers of the practicing artists, and to strengthen the public’s awareness of the significant role that making has in a contemporary art context. By promoting an understanding of the creative process, the Artist-in-Residence Program expands OCAC’s mission as a public resource center for the exchange and exploration of ideas relevant to our cultural and social environment, particularly for engagement in the discourse surrounding contemporary craft and critical making.
The resident must be an artist with significant exhibition records and professional achievement, strong communication skills, sustained studio practice, and desire to engage in collaborative experiences at OCAC. A resident artist is expected to pursue a clearly articulated body of work or project, to teach one 3-credit BFA course in Papermaking and to integrate his or her practice into the academic programming and activities of the larger OCAC community. To this end, the resident’s specific involvement may include teaching a 3-credit BFA course in Book Art Department, guest lecturing in a class, giving public talks, providing mentorship to students, participating in open studios, and/or collaborating with faculty or students.
2015 Residency Dates
Spring: The 16-week residency will take place within the dates of January 18 – May 20, 2015
The robust and productive OCAC learning environment is comprised of a diverse mix of students, faculty and visiting artists, all of whom work in a variety of materials. To better engage with the community, residents may audit one studio school continuing education class/workshop tuition-free as space is available during their residency.
The resident receives a studio space on campus as well as a $6,000 stipend (for travel, living expenses other than housing, and all other expenses). On-campus housing may be provided, if needed, and is limited to the resident only – no spouses or pets.
Who Can Apply
The Artist/Instructor-in-Residence in Book Art is open to visual artists who:
• are working primarily with artist book or papermaking materials and processes;
• are able to provide evidence through appropriate documentation of 5 or more years of active professional studio practice;
• hold an MFA in Visual Arts with an emphasis in printmaking, papermaking, artist books or equivalent;
• have two or more years teaching experience in a degree program beyond a graduate teaching assistantship;
• display a comprehensive grasp of the history of print, papermaking, or book arts and contemporary theory;
• are interested in the integration of artist book or papermaking practice with a wide variety of other media;
The College defines excellent candidates as those whose careers have attracted critical attention on an international/national level, such as through inclusion in juried and/or curated exhibitions, through gallery representation, or coverage in a recognized art publication, etc. Applicants from diverse cultural and aesthetic backgrounds are encouraged to apply.
Criteria for Selection
Applicants will be judged on the quality of their portfolios, as well as the originality and scope of their residency proposals. Weight will also be given to the applicant’s potential for working within a community of makers and the relevance of the individual proposal to the resources available at OCAC.
• $6,000 stipend;
• use of state-of-the-art studios;
• on-campus housing, if needed;
• one Studio School continuing education class or workshop;
• focused time for studio engagement; and
• supportive interaction with fellow artists and students.
• Commit as a full-time resident/instructor for the specific period;
• provide all materials used during the residency;
• be accessible to OCAC students and the College community;
• produce a significant body of work and/or engage in explorations of new directions; and
• contribute to the community through a variety of activities, including teaching a BFA course in Papermaking course, lecturing, participating in open studio hours and critiques, etc.
Application Deadline: Friday, October 3, 2014
Applicants will be notified by the week of October 20, 2014
The studios at OCAC include Book Arts, Ceramics, Drawing and Painting, Fibers, Metals, Photography, and Wood.
The Print Shop houses two 27" x 48" Griffin etching presses; four Vandercook presses; Platen and proofing presses; and a large collection of metal and wood type. Systems for making polymer plates, aquatint, etching, and plate lithography. The Bindery includes two 40" board shears; three guillotine cutters; job backer; French standing press; nipping presses; two dry-mount presses; antique perforator, miscellaneous sewing, punching and stamping equipment. The papermaking area (shared with Fibers Department) has a David Reina Hollander-style beater as well as miscellaneous moulds and equipment for Western and Eastern papermaking.
The ceramics area includes sixteen built-in electric/kick potter’s wheels, eight electric wheels, hydraulic and manual extrudes, Soldner clay mixer, pug mill, spray booth, sandblaster, fully-stocked glaze lab, plaster/mold making area, and hot-wire foam cutting table. The indoor kiln area houses two state-of-the-art Blaauw kilns and twelve electric kilns; seven with computer kiln controllers. The outdoor kiln pad has a salt kiln, soda kiln, updraft sagger kiln, downdraft gas kiln, raku kiln, gas test kiln, experimental firings area, and oxyacetylene and TIG welding area.
The Drawing, Painting, and Design Studios in the Jean Vollum Drawing, Painting, and Photography Building include large open studio/classrooms with windows and skylights for natural light. A variety of studio equipment, including easels, tables, projectors, light tables, a human skeleton, and a large supply of still life props are available for use. The department’s tool shop includes chop saws, jigsaws, nail gun, clamps and a variety of hand tools.
The Weaving Studio has a 12’ Shannock Tapestry loom, twenty-six Macomber AD-A-Harness jack style floor looms, two AVL CompuDobby looms, computers for drafting, and an extensive yarn collection. The construction studio consists of large work tables, felting and spinning tools, two sergers, vintage leather sewing equipment, and 18 sewing machines. Sewing machines include three Janome Magnolia 7330s, three Janome 1600 P machines, five Pfaff 1220 Series machines, six Pfaff Hobby Series machines, and one Bernina 1620 quilting machine. The Surface Design and Dye Studio contains padded print tables, equipment and materials for various applications such as painting, and printing, resist dyeing-batik, and shibori. The Dye Studio is fully equipped for chemical and natural dye processes, as well as papermaking.
The Metals Studio contains equipment for centrifugal and vacuum casting, soldering, annealing, raising and forming, electroforming and plating, enameling, stonecutting and lapidary, oxy-acetylene welding, and tumbling. Drill presses, rolling mills, hydraulic press, horizontal and vertical bandsaws, metal lathe, chop saw, arc welder, wax injector, vulcanizer, sandblaster, jump and beverly shears, sanders, grinders, box break, and scroll saw, round out the Metals Studio facilities.
The photography facility features a Digital Imaging Lab, Lighting Studio, as well as wet and alternative processes darkrooms. The Digital Imaging Lab has 18 Power Mac towers with Eizo monitors, film and flatbed scanners, two 17” Epson printers, a 44” wide format Epson printer, and a 63” Epson. The Lighting Studio contains wall-mounted backdrops, multiple power sources, and light modifiers. The Print Finishing Room includes a wall-mounted glass and matt board cutter, dry mount presses, and individual flat files for storage. The Film Development Area includes three individual film-loading rooms, a film development sink, and two drying cabinets. The Gang Printing Darkroom has 12 Omega 4550 enlargers capable of handling 35mm, 2-1/4, and 4x5 negatives, two drop-bed enlarger stations, archival washers, and an RC print drier. The Alternative Processes Darkroom features a mural printing area, an 8” x 10” Devere enlarger, and two large format drop-bed enlarger stations. The 30” x 40” Metal Halide exposure unit with vacuum table allows users to experiment with a variety of 19th century contact printing processes that utilize ultraviolet light using traditional film negatives or enlarged digital negatives.
The Wood Studio features a 10’ Altendorf sliding table-saw, a SawStop table-saw, four band-saws, and two miter-saws. There are also two large lathes, two planers, two jointers, two router tables and two Multi-Router joinery machines. Sanding and finishing equipment includes an oscillating spindle sander, a 20” disc sander, an edge sander, a 2-stage compressor, and a Venturi vacuum system in addition to a spray booth with HVLP spray guns. The bench room contains a wide array of hand tools including chisels, carving gouges, saws, and planes as well as an array of Festool equipment.