Artist/Instructor-in-Residence in Photography for Fall 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 achievements, strong communication skills, sustained studio practice, and the desire to engage in collaborative experiences at OCAC.
The resident artist is expected to pursue a clearly articulated body of work or project, to teach one 3-credit BFA course “Digital Imaging I” in Photo Department 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 beyond teaching a 3-credit BFA course in Photography Department may include, guest lecturing in classes, giving public talks, providing mentorship to students, participating in open studios, and/or collaborating with faculty or students.
2015 Residency Dates
The 16-week residency will take place within the dates of August 31 – December 18, 2015
The robust and productive OCAC learning environment is comprised of a diverse mix of students, faculty, and visiting artists, all of whom work with 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 Photography is open to visual artists who:
Are working primarily with photographic 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 Photography/Digital Media 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 photography and contemporary theory;
Are interested in the integration of photographic practice and digital technology with a wide variety of other media; and
Demonstrate expertise in both digital and analog photographic processes with emphasis on digital capture, processing, color management, and output.
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.
- 10 images of personal work
- 10 images of student work
- Artist Statement
- Teaching Philosophy
- 3 letters of reference
Criteria for Selection
Applicants will be judged on the quality of their portfolios, as well as the originality and scope of their residency proposals.
Additional 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.
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, such as teaching a BFA Photography course, lecturing, participating in open studio hours and critiques, etc.
THE ARTIST-IN-RESIDENCE PROGRAM IS FUNDED BY A GENEROUS GRANT FROM THE COLLINS FOUNDATION.
STUDIO FACILITIES AT OCAC
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, three Vandercook proofing presses, small platen and antique proofing presses, and a large collection of metal and wood type. The Bindery includes a 40” board shear, French standing press, nipping presses, dry mount press, and miscellaneous sewing, punching, and backing equipment. The seasonal papermaking area (summer only) includes a Hollander beater and miscellaneous moulds and equipment for Western and Eastern approaches to papermaking.
The ceramics area includes sixteen built-in electric/kick potter’s wheels, five electric wheels, spray booth, sandblaster, fully-stocked glaze lab, limited plaster facility, and access to oxyacetylene and TIG welders. The indoor kiln area houses two state-of-the-art Blaauw kilns, twelve electric kilns and five computer kiln controllers. Outdoors are two salt and soda kilns, an Alpine updraft kiln, a low temperature salt kiln, two raku kilns, a test kiln, and an experimental firings area.
The Drawing, Painting, and Design Studios in the recently completed Jean Vollum Drawing, Painting, and Photography Building (all available to residents when not in use for classes) include large open studio/classrooms with windows and skylights for natural light. A variety of studio equipment, including easels and tables, are available for use as is the department’s tool shop with hand and power tools, a human skeleton, and a large supply of still life props.
The Weaving Studio has twenty-eight floor looms, including an 8- to 24-harnesses, AVL dobby loom, 12’ shannock loom, computers for drafting, and an extensive yarn collection. Construction studio consists of large work tables, drum carders, felting and spinning tools, eight Pfaff sewing machines, a Bernina 1260, two Pfaff 222, and two sergers. The Surface Design and Dye Studio has padded print tables as well as equipment and materials for various applications (painting, and printing, resist dyeing, batik and shibori). The Dye Studio is fully equipped for chemical and natural dye processes and 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 new 8000 square foot photography facility features specialized state of the art equipment in a Digital Imaging Lab, Lighting Studio, and wet and alternative processes darkrooms. The Digital Imaging Lab provides 18 Power Mac towers with Eizo monitors and a variety of film and flatbed scanners, two 17” Epson printers, a 44” wide format Epson printer for printing on non-standard materials, and a 63” Epson.
The Lighting Studio contains wall-mounted seamless backdrops, multiple power sources, and a variety of light modifiers. The Print Finishing Room is equipped with a wall-mounted glass and matt board cutter, dry mount presses, and individual flat files for storage. The Film Development Area includes individual film-loading rooms. 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, in addition to the 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 ultra violet light using traditional film negatives or enlarged digital negatives generated in the Digital Imaging Lab.
The Wood Studio’s machine room features a Sawstop table saw, two band saws, a radial arm saw, and two compound power miter saws. There are also three large lathes, two planers, joiners, and multi-routers. Sanding and finishing equipment includes an oscillating spindle sander, a disc sander, a 2-stage compressor, and a Venturi vacuum system in addition to a spray booth with HVLP and conventional spray guns. The bench room contains a wide array of hand tools including chisels, carving gouges, saws, and planes in addition to layout and forming tools.