Jason Kartez has relocated to Los Angeles where he is establishing a studio. He works for the non-profit artist run organization Side Street Projects, The Museum of Contemporary Art Los Angeles, and the City of Los Angeles.


12/06/18
Jason Kartez has relocated to Los Angeles where he is establishing a studio. He works for the non-profit artist run organization Side Street Projects, The Museum of Contemporary Art Los Angeles, and the City of Los Angeles.
12/06/18
Ligaia Meyer had two of her Oxbow prints selected for the University of New Mexico Young Artists Exhibition.

12/06/18
Jasmine Zelaya's work Twins is on display in downtown Houston as the Main Street Marquee, a billboard sized work of art on the Main Street Market building, through Art Blocks Houston. See more of Jasmine's work.

12/06/18
Matthew Rowe's first solo exhibition was held at the Four Seasons Resort and the Beals and Co Gallery in Santa Fe, New Mexico. He was featured in the Santa Fe Reporter article Dichotomy, Sienna Luna explores her duality while Matthew Rowe embraces imperfection by Alex De Vore.

09/18/18
Acadia Mezzofanti is the youngest exhibiting artist at Elevated: 2018 National Photography Show, at the Copley Society of Art in Boston. Former AIPAD president Robert Klein selected 23 artists from several hundred entries for the juried exhibit that explores the question: what elevates photography to fine art? See more of Acadia's work at www.acadiamezzofanti.com.

09/04/18
Musician Matthew Santos was in the August 29, 2018 New York Times article You Know What London Looks Like. But Have You Really Heard It? by the musician Dessa. In the photo LJ Rich, left, begins to manipulate the ambient sounds of Arnold Circus for Dessa and Matthew Santos.
Photograph by Tom Jamieson for The New York Times

09/04/18
William Binnie's first museum exhibition includes The Lure of the Dark: Contemporary Painters Conjure the Night at MASSMoCA, through Dec 2018. William will also be included in the 2019 DeCordova Biennial and he co-chaired the 2018 Studio Party of the Whitney Museum of America Art, which raised $4.8 million for the museum.
It's been a whirlwind week, but also a time when I sang the praises of Oxbow to my colleagues. I've been thinking much about how Oxbow is an exemplar of true education. That art centers the curriculum is hardly surprising, and for those of us who work within the traditional educational mold Oxbow offers a gold standard of focused project based learning. Beyond the school's approach to immersive experience are the intangibles which make Oxbow different. The sense of community and of working together, even as each student retained their strong individual presence is palpable. The feeling of warmth and trust between the adults and the nearly adults in the Oxbow community could be felt throughout the campus. The openness of the architecture and interconnectedness of the three studios in themselves speak of the Oxbow philosophy and identity. More than form follows function, the physical attributes of Oxbow have a distinct warmth and invite exploration.
I'm sure that the ongoing challenges of leading and reinventing your school might sometimes keep you from having the time to see Oxbow with the fresh eyes of a visitor, but your steady presence and vision are really visible in every detail. Thank you for inviting me to one of the most profound experiences in my career.
— Ken Rush, Visual Arts Department, Packer Collegiate Institute
The Oxbow School has both a local and national reputation for excellence. Oxbow produces great artists. In its studio, these emerging artists have a community of creative peers who respect one another and foster an expectation to produce thoughtful, sophisticated work.
— Paul Coffey, Vice Provost and Dean of Community Engagement, The School of the Art Institute of Chicago
Oxbow forced me to create, and by creating, I established foundation for my thought.
— Jamie Roux, Spring 2003

A School Like No Other