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Ox-bow history presentation

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Scans of a 22-page speech, a four-page timeline and four sheets of slides collected by Sheri Doyel, marketing director or associate resident director (assumed to be of Ox-Bow), June 2001. Also included is a scan of a note to "Judy" from Sheri dated 9/17/2002 explaining how the numbered slides fit with the text.
1; Ox-Bow is familiar (pause).. Ox-Bow is unknown, mysterious. It seems that since its founding days, Ox-Bow has been a place that comforts and soothes those that visit yearly while simultaneously providing endless fodder for those who are curious, but distant. Part of the reason I am here, speaking to you all tonight, is because of this enduring curiosity - that wonderful impulse that propels the young and the lucky old to expand their world through knowledge and experience. Unlike most of you, I didn't come to know Ox-Bow because of my curiosity... I simply needed a job. That was four years ago, making me a bit of an Ox-Bow pup. In this short time, however, I have had the opportunity to dip into the Ox-Bow archives, and to learn of Ox-Bow's history through various texts, newspaper articles, and from stories some of you have told me. I am not an expert on the history of Ox-Bow, nor have I scoured the archives from end to end - - But. as I have gleaned the facts and folklore of this, the oldest summer school of art in the Midwest (second oldest in the country)...I tell you that my curiosity has been piqued, the hunger for information has grown, but the meal is not to be finished.
2; My intention tonight is to feed your curiosity, not to completely satisfy it, so that you, too, might have a window into the magic that has sustained Ox-Bow - and its lineage of students, faculty, staff, and supporters for over ninety years. Ox-Bow is a retreat. Every student that comes to Ox-Bow is pulling back from something in their life. It may be a turning away from the urban environment or hectic daily schedules that leave no time for art making. Or maybe it is a temporary rejection of the confines of academic learning, or a job. But it is not a retreat into vacancy or empty quietness. Instead it is a retreat into a specific kind of abundance ...abundant learning about the techniques and content and possibilities of art...an abundant community that is ripe with encouragement and camaraderie....an abundant natural environment of rich forest, sandy scraggly dunes, and a sky that produces sunsets and rainshowers of the 3; Although formerly founded in 1910, the ingredients which stimulated the birth of Ox-Bow began brewing about ten years prior. John Johansen and Albert Krehbeil. both affiliated with the Art Institute of Chicago, were two of the earliest active artists to come to the Saugatuck/Douglas area right at the turn of the century. Johansen had a studio at the Bandle Farm and taught informal painting and sketching classes which focused on the spirit and splendor of light. (the practice and appreciation of impressionistic painting was still very much alive). Johansen traveled to Europe in 1906 with Frederick Fursman, also of the Art Institute. Fursman certainly heard from Johansen of the beauty and the possibilities here, because in 1910, approximately one year after his return from Europe, Fursman came to Saugatuck with Walter Marshall Clute and the two began offering painting classes. The first location of the school was at the Bandle Farm, also called Riverside Rest resort, on the east bank of the Kalamazoo River approximately 1 mile up stream from Ox-Bow's present location. Walter Marshall Clute assumed most of the responsibility of the school, eventhough he and Fursman were dubbed co-directors from the very start. 4; In 1912 and 13 there was a shift in both location and programming. Many of the courses were moved to the Park House, down river, and Autumn classes were added and held at the Riverside Hotel. In 1914, the school moved its entire operation to the Riverside Hotel - which today is known as the Ox-Bow Inn The Riverside Hotel has a history all its own which is well outlined in the Saugatuck Douglas Historical Society catalogs which accompanied the shows Painting the Town in 1997, and Lost and Found in 2000. I highly recommend them. But for our purposes, the most interesting aspect of this landmark building is that it has always been utilized in direct support of the industrial and commercial trends that support it. A quick run down: In the 1830s and 40s the main industry in the area was timber, and with that, shipbuilding... fishing, and, a bit later, fruit growing. Charles Shriver built a small house in the 1860s on what was then the ox-bow shaped bend of the Kalamazoo River. This area became a major landing for boats on Lake Michigan, specifically from Chicago and Milwaukee, and the Shrivers capitalized on the traffic by adding 5; on to their simple home in the 1890s, converting it into a 20-room hotel with kitchen, dining hall and two large sitting rooms on the first floor. All three industries began to decline steadily. Then in 1907 the Kalamazoo River channel was straightened, sacrificing beauty for directness, and cutting off the Riverside Hotel from its patrons. Its front door faced what became known as the 6; strong factor in. the industry of art and leisure that this area is still dependant upon today. In 1915 Walter Marshall Clute dies in an accident out in California and Fursman takes over as director - and remains as such for almost 30 years. The tenure of his commitment to Ox-Bow and the transition through which he guided the school explains why he is often (although incorrectly) referred to as the founder of Ox- Bow. Ox-Bow is a place....there's this old hotel and a lagoon, over 110 acres of sand, dirt and trees...and some smaller buildings, variously dated. But Ox-Bow is also a non-place, something that is less tangible, that exists within the relationships that create it. The two most crucial of these relationships - and certainly the most difficult to define and articulate - are the relationship between Ox-Bow and the 7; School of the Art Institute of Chicago (pause) and between Ox-Bow and its home, its community of Saugatuck. In the beginning, Ox-Bow's connection with the School of the Art Institute of Chicago - then known only as the Art Institute of Chicago -was obvious in that Fursman and Clute were teachers there, and many of the students who came to Saugatuck were also students at the Art Institute. Frederick Fursman was a painter of landscapes but he mostly focused on the figure. Obviously influenced by his studies in France, Fursman was interested in the light and color of surfaces. He was a native of Illinois, taught at the Art Institute of Chicago, at the Wisconsin Art School, and in later years settled here in Saugatuck. The ground for a more formal relationship between AIC and Ox-Bow was laid in 1915 when George Senseney, also of the Art Institute, began teaching etching courses at Ox-Bow- and brought with him Thomas Eddy Tallmadge who enrolled as a student, despite his already being a successful architect and architectural historian. (aside) Maybe Tallmadge set the precedent for the combination of 8; student and professional artists in one classroom at Ox-Bow. Tallmadge was immediately taken with Ox-Bow, then called the Summer School of Painting, and quickly became its best patron, bringing notable artists and architects to the Saugatuck school. Tallmadge was concurrently the president of the Alumni Association of the Art Institute, a position which would greatly impact the relationship between Ox-Bow and AIC. I want to list for you a few Tallmadge initiatives to illustrate the scope of his influence: 1919 He organizes the 9; permanent home for the summer school. This was made possible by financial contributions by Fursman, Tallmadge and others. 1921 Tallmadge individually purchases 5 acres adjacent to the school and shortly thereafter purchases the close to 100 acres surrounding it to protect the school from development - and to maintain privacy. Today this acreage is usually referred to as the Tallmadge Woods. Also in 1921 (it was a pivotal year for Ox-Bow) the school incorporated under the laws of Michigan on a 10; separate organization from AIC. Also, the Dean of SAIC in 1935 suggested that students at SAIC be more actively encouraged to take classes here in Saugatuck. To facilitate this, Francis Chapin, a popular instructor at the Art Institute, was brought in to teach lithography classes, and Ox-Bow courses were advertised in the regular AlC summer catalog. College credit for courses taken at Ox-Bow was also arranged for the students. Tallmadge was killed on January 1, 1940 in a train wreck. His death was a shock to the arts community. His will specified that his 100 acres that surrounded Ox- Bow be given to the school, with the stipulation that should it ever cease to be a school, the property would then go to the Village of Saugatuck for use as a park. He willed his shares of stock to the Alumni Association of the Art Institute of Chicago, further cementing the relationship between Ox-Bow and AIC for the forseeable future. Until the early 1970s, Ox-Bow was a private school of painting administered y its Director and 11; Alumni Association of SAIC. Tuition, private donations from the Board and their contacts provided financial security for Ox-Bow. There was, however, increasing demand for nationally recognized artists and critics, need for equipment and new studios - these needs, combined with the spiraling inflation of the 70s became to much. In 1972. Ox-Bow changed its charter from for-profit, to not-for-profit. This required all share holders to relinquish their stock (pause). The Frederick Fursman Foundation, established in 1947 after Fursman's death in '43, held his shares and agreed to turn them over, as did the Alumni Association, who controlled Tallmadge's shares, and Elizabeth Rupprecht who was responsible for her father Edgar's shares. At this time, the Board of Directors became responsible for the administration of the school and all of its assets. Today, born out of the naturally symbiotic relationship between Ox-Bow and SAIC, a sponsorship agreement exists that was adopted at the end of 1995. The agreement, essentially, is that SAIC will provide financial support for Ox-Bow and college credit for classes here, without which Ox-Bow could not survive, while Ox-Bow agrees to allow SAIC to appoint some members to its Board, and to consistently provide an alternative learning 12; environment for SAIC students. The length of the sponsorship agreement is 90 years. Also instrumental in the relationship between Ox-Bow and AIC was the consistant employment of faculty from AlC, the first of which, besides the founders, was Albert Krehbiel. Krehbiel's first association with Ox-Bow as in 1927 as the landscape painting instructor. He was also an instructor at the Armour Institute of Technology, and painted numerous images of Saugatuck throughout his life. Francis Chapin, whom I've already mentioned, succeeded Fursman as Director until 1946. He taught lithography here but is well known for his watercolors and has works in the permanent collections of the Metropolitan Museum in New York, the Art Institute of Chicago, the Philadelphia Museum and others. He is often described at lanky and 13; Elsa Ulbricht was also instrumental in the development of Ox-Bow, elected to the board as secretary-treasurer in 1924, voted vice-president in /35 and president in 1940. Then in 1946 Ulbricht succeeded Chapin as director of the school until 1957. She was a force in the Wisconsin art scene since 1910 with a long list of organizations she either headed up or established her herself. She is described atsdiminutive and dynamic by Frank Getlein in a 1957 article in the Milwaukee Journal. Arthur Deam first appeared on the Ox-Bow scene in 1929 and was a professor of architecture and design in Illinois. When Frederick Fursman bought a permanent residence in town and left his lease at the lighthouse on the Old Harbor (now the Ox-Bow Lagoon), Deam bought the lighthouse from the U.S. Government. As many of you know, the lighthouse was destroyed by a tornado in 1959, but rebuilt using some of the wood from the original structure, and will all the care of one who loves their home, and place. Deam was instrumental in the administration of Ox-Bow for many years, was a watercolorist himself. His family, who still owns 14; the lighthouse, have a friendly relationship with their Ox-Bow neighbors. -(I was just talking with Norm Deam about the lagoon in the office this afternoon). Dan Lutz studied at the Art Institute of Chicago and at University of Southern California, receiving his degree from USC in 1933. He taught at Ox-Bow from *40-*45, and also from '51-'53. He opened his own school, called the Dan Lutz School of Painting in Munising, Michigan the following year in 1954. Charles West was invited to Ox-Bow by Tallmadge and was good friends with John Norton. He was a shipbuilder by trade but realized the importance of diversion, or a hobby, and immersed himself in watercolors. Mostly an amateur. West spent many summers at Ox-Bow, inspired by both young and old. John Norton was a widely respected muralist and friend of Tallmadge's. Tallmadge built him a cabin, just behind his own, and the Norton family still use that cabin for summer retreats. 15; Ellen Lanyon, Loretta Greliner, and later Betsy Rupprecht were all directors of Ox- Bow, carrying the school mostly through the 60s and 70s. Now, at the risk of appearing presumptuous, I'll tell you what I know about Ox- Bow's relationship with its home community of Saugatuck. The first years of Ox- Bow's operation are marked by mutual attraction. There is no mention of unrest in the articles and letters I have read. Obviously the founding artists were enamoured by the town and its natural setting. There is also a quote from the local paper of 1913, mentioned in the Painting the Town catalog, where the editor remarks on paintings by Ox-Bow participants that had recently sold at an exhibition. He says, 16; Bow participants and local towns people to gather for dances, theatrics, and art exhibitions. Having a common place to gather is key to any relationship. (black But there is a path Ox-Bow and Saugatuck have traveled between then, and now. that one can't honestly call smooth. Ox-Bow has been negligent - at various periods throughout its history - in actively seeking relationship with local residents and in simply welcoming them (you) onto the property. Likewise some local residents seem to consider Ox-Bow-ians as an invasive presence....a typical us vs. them mentality, city vs. town, summer vs. year round, etc. So the combined bits of resistance, from both sides, has been. I think, problematic. Luckily, in the past 10 years, there has been a great deal of improvement, acceptance, and collaboration. Ox-Bow now offers 5 scholarships to local high school students, at least 6 to adult artists living in western Michigan, a growing program of community classes called Art on the Meadow that are affordable and scheduled to work around the working person's schedule, and a Friday Night Open House series that is free and open to the public….and fun, I might add. And the community is showing up. Less wary 17; about what is going on at the end of Park street, and more genuinely curious (pause) about how Ox-Bow's programs and presence might benefit them. Many of our board members live in the either Saugatuck or Douglas, and our relationships with local businesses are responsible and friendly. There is another thorn of contention that is sometimes mentioned, and that is the question of ownership. When Tallmadge willed Ox-Bow his 100 acres of woods in 1940, times, as usual, were tight. The school could hardly pay the property taxes on the few acres it already owned, let alone take on this additional tax burden. Ox-Bow asked the City - then Village - of Saugatuck to take title of the original Tallmadge land, with land rights remaining with the school as long as it exists as such...So…..who owns the river-front forest surrounding Ox-Bow? Well, the City has the title and Ox-Bow has ownership rights and this has been the case for sixty...one...years, which in my mind certainly constitutes a successful relationship. 18; Ox-Bow is durable, its buildings are strong in spite of being simultaneously charmingly rustic. I want to give a quick overview of the facility's evolution: Ox-Bow Inn, built as a hotel in the 1890s, students live upstairs and dine downstairs. Today there is also a small gallery on the 1ª floor. The three other original buildings still standing are The White And the Lutz The first studios at Ox-Bow were often called the 19; The curriculum at Ox-Bow initially consisted of a morning class in the studio. painting from a live model, and landscape painting in the afternoons. Fursman usually taught the morning portion, with Clute and later Krehbeil teaching in the afternoon. Saturday concourse. Clute Memorial Gallery built in 1928, first structure built specifically for studio use. Beuhr Printmaking studio Haas Painting studio built in the late 1970s, is beautifully located at the center of campus, a gentle reminder of the role painting, specifically, played in the history of Ox-Bow Glass Blowing began in 1985 under a tarp on the meadow, with Jerry Catania running the show. In 1988 the Helen Keeler Burke Glass Studio was built, and additions have been made since then. Not so long ago, metal sculpture also had a make-shift studio, but luckily the Padnos Metal Studio was built in 1995, an inspiring open-air studio. Great for hot metal working. 20; Ceramics. The curriculum at Ox-Bow has been varied ...here is a classic shot of 1970s performance work. We've offer at least one liberal arts courses like Ecology and Creative Writing each summer Ox-Bow has, as you might guess, just a few traditions. And in the spirit of the playfulness and comeradarie that inspired these traditions (put on hat) I want to share two of them with you. For many years Ox-Bow actively participated in the Saugatuck Venetian Nights festival, embellishing a simple canoe with lanterns and wearing festive dress. Also common were performance pageants - an Indian theme was common - and costume parties that have been taking place since the 20s, perpetuated I am sure by the enthusiasm of Elsa Ulbricht. Today we have a costume and dance party every Friday night for students, faculty and staff. 21; There is also an end-of-the-summer burial ritual, the 1st of which we have evidence for took place in 1930. Ox-Bow is art. Ox-Bow is craft. Ox-Bow is local. Ox-Bow is international. Ox-Bow is widely liberal. Ox-Bow is conservative. Ox-Bow is complicated. Ox-Bow is simple. Thank you for caring about this, your community. Thank you for caring about Ox- Bow as part of this community. But most all, (pause) I applaud your curiosity. Thank you. 22; I want to thank the AIC for the archival material I was given access to, the Saugatuck/Douglas Historical Society for hosting this lecture, and for doing such an excellent job educating us all on the history of the area through exhibitions and beautiful catalogs, Melissa Westrate for her graduate thesis research on the Tallmadge cabin, and Ox-Bow, my job and my home. timeline 1; Ox-Bow History Timeline Compiled by Sheri Doyel, Marketing Director or Associate Resident Director June, 2001 1910 Ox-Bow Founded by Co-Directors Frederick: Fursman and Walter Marshall Clute Clute assumes most responsibility Located mostly at the Bandle Farm, on the east bank of the Kalamazoo River until 1912 1912 and 1913 Autumn classes held at the Riverside Hotel (presently the Ox-Bow Inn) Summer classes move mostly to the Park House, Saugatuck 1914 Moved school to Riverside Hotel, owned by Mae and Clarence Lynds 1915 Clute dies. Fursman becomes director George Senseney conducts etching classes, brings Thomas Eddy Tallmadge to Ox-Bow, notable Chicago architect, as well as Ralph Seymour. Both members of the Chicago Society of Etchers. Tallmadge becomes interested in Ox-Bow; immediately becomes best patron and brings important people to Ox-Bow, including Hitchinson, M.R. Ryerson, Russell Tyson, A.G. Becker. Charles Worcester, Walter Brewster, Arthur Aldis, and other artists and architects. 1919 Tallmadge, as president of the Alumni Association of the Art Institute of Chicago, organizes timeline 2; 1921 Incorporated under the laws of Michigan on timeline 3; AIC School expects no financial retur unless enrollment averages over 35 (per week?), at which time it would take 40% of tuition from the AIC School students (that number was never reached). 1936 L.R. Brady made trustee of 28 of Fursman's stock with Pursman still holding voting proxy. Those shares were designated for transfer to the AIC Alumni Assoc when he dies 1939 and 1940 Dean of AIC School Norman Rice elected to Summer School of Painting board. He suggests craft courses 1940 Tallmadge dies Tallmadge previously bought 100 acres adjacent to the Summer School of Painting, willed to Ox-Bow during its existence, and then to revert to the Village of Saugatuck As former president of the AIC Alumni Association, he leaves his 125 shares to them (this may have been designated as early as 1924) Elsa Ulbricht becomes president of board. 1943 Fursman dies on June 12 28 of Fursman's shares go to AIC Alumni Assoc, who now have a total of 153. Remaining 212 go to his daughter and then to his heirs, who set up the Fursman Art Foundation in 1947 (for student scholarships) Breakdown of ownership is now: Fursman Foundation 212 - represented by president AIC Alumni Assoc 152 - represented by president Edgar Rupprecht SQ -represented by Elizabeth Rupprecht (daughter) 425 (this doesn't add up, check source) Art Deam asked to join board 1945 Art Deam elected president of the board Board members include Elsa Ulbricht, V.P., Francis Chapin. Sec.-Tres., Alice or Michael Mason, and Ryerson timeline 4; 1946 Elsa Ulbricht becomes director of Ox-Bow until 1957 1947 Twelve members are nominated to board, and board conducts all business of Ox-Bow Until 1957, there was always a representative of the AIC Alumni Assoc. on the Ox-Bow board 1951 Re-incorporated as note 01-15 slides 16-20 slides 20-40 slides 41-52 slides

2021.72.61

A comprehensive history of the school. The slides were likely scanned by Jack Sheridan or Dick Haight.

1910 Ox-BowPixels only

Winthers, Sally

2021.72

Sheridan, John "Jack" O. 1938-

Donation

digital asset

Digital data in CatalogIt

Ox-Bow/Summer School of Art

09/07/2025

10/03/2025