• $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.
Individual traveling expenses
he 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.
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.
More information here (PDF).
• 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.
Separate from studio
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.