Joseph Mills Photography
OKLAHOMA CITY MUSEUM OF ART Glen Gentele, President & CEO
Executive Staff Jim Eastep, Senior Development Officer Rodney Lee, Finance Director Jack Madden, Facility Operations Director
From the President & CEO
Glen Gentele
Contributors Alison Amick, Curator, Collections Chandra Boyd, Senior Associate Curator of Education Nicole Emmons, Editor Brian Hearn, Film Curator Jennifer Klos, Associate Curator Leslie A. Spears, Communications Manager Amy Young, Associate Curator of Education
The Museum remembers two long-time board members and patrons. Thank you for your lasting contributions to the Museum.
IN MEMORIAM
Board of Trustees Officers Frank D. Hill, Chairman Virginia Meade Fox, Immediate Past Chairman Elby J. Beal, Chairman-Elect Leslie S. Hudson, Vice-Chairman Duke R. Ligon, Vice-Chairman Judy M. Love, Vice-Chairman Peter B. Delaney, Treasurer John R. Bozalis, M.D., Secretary Katie McClendon J. Edward Barth Frank McPherson Katy Boren *James C. Meade William M. Cameron Frank W. Merrick Teresa L. Cooper *Charles E. Nelson *Marion DeVore Cynda C. Ottaway Theodore M. Elam Christopher P. Reen *Nancy P. Ellis Marianne Rooney *Shirley Ford Robert J. Ross Preston G. Gaddis II Amalia Miranda Silverstein, M.D. David T. Greenwell Darryl G. Smette Julie Hall Jeanne Hoffman Smith Kirk Hammons Denise Suttles Suzette Hatfield Jordan Tang, Ph.D. K. Blake Hoenig Lyndon C. Taylor The Honorable Jerome A. Holmes Wanda Otey Westheimer Joe M. Howell, D.V.M. Charles E. Wiggin Willa D. Johnson Marsha Wooden Penny M. McCaleb *Lifetime Trustee Donald W. Reynolds Visual Arts Center 415 Couch Drive Oklahoma City, OK 73102 (405) 236-3100 Fax: (405) 236-3122 www.okcmoa.com Readers’ comments are welcome. E-mail nemmons@okcmoa.com. Requests for permission to reprint any material appearing in this publication should be sent to the address above.
Morris Permenter 1925 - 2009
Joan Kirkpatrick 1933 - 2009
On the Cover
Inside The Dutch Italianates..........................................Pages 3-4 Interview with Ian Dejardin..............................Pages 5-6 Photography of Gary Winogrand........................ Page 7 The Vogel Collection...........................................Pages 8-9 In Focus @ OKCMOA.......................................Pages 10-11 Programs............................................................Pages 12-13 News....................................................................Pages 14-15 Mission statement The Oklahoma City Museum of Art enriches lives through the visual arts. Follow the Museum on Twitter @okcmoa Join the Museum on Facebook
Jan Weenix, Landscape with Shepherd Boy, 1664. Oil on canvas, 45 x 56. Courtesy of the Dulwich Picture Gallery (Detail on Cover)
The Dutch Italianates
October 8, 2009 - January 3, 2010
17th-century Masterpieces from Dulwich Picture Gallery, London By Jennifer Klos, associate curator OKLAHOMA CITY MUSEUM OF ART will be the final venue in a tour of The Dutch Italianates: 17th-century Masterpieces from Dulwich Picture Gallery, London. Organized by International Arts and Artists, Washington, D.C., the exhibition will feature 39 paintings from the collection of the Dulwich Picture Gallery, England’s oldest purpose-built public art gallery. It will be a rare opportunity to see these seventeenth-century masterpieces, which have never traveled as a group. Dutch artists such as Cornelis van Poelenburch (1594/5-1667), Adam Pynacker (1620/1-1673), Nicolaes Berchem (1620-1683), Aelbert Cuyp (1620-1691), and others, who were contemporaries of Rembrandt Van Rijn (1606-1669) and Johannes Vermeer (1632-1675), chose to capture views of the Italian landscape of the seventeenth century as seen through their own eyes or imaginations. These artists prospered throughout the seventeenth century in the Netherlands, a period known as the Dutch Golden Age, when trade, science, and art were flourishing. With a population of two million inhabitants, the Netherlands enjoyed unprecedented wealth. The Dutch East India Company was the largest commercial enterprise in the world, controlling more than half of all oceangoing trade and carrying the products of many nations.
This flourishing Dutch trade produced a wealthy merchant class, and this prosperity brought attention to the visual arts and most importantly created a market for art in Holland. The Dutch truly had a fondness for pictures that was not confined to the merchant class. Bakers, cobblers, butchers, and blacksmiths also were avid art collectors, creating a new kind of patronage. Painting was no longer primarily the preserve of church or aristocracy or even the very wealthy. This changed the shape of Dutch art, primarily the types of pictures produced, the manner in which they were made and sold, and their appearance. The political, economic, religious, and social circumstances of the Dutch Golden Age created a unique and fruitful climate for the arts. This period in turn produced a remarkable number of pictures, nearly one million, of extraordinary quality. Of the Dutch works produced in the seventeenth century, the varying subject matter included still life, genre painting, history painting, and landscape. The Dutch Italianate artists preferred landscape painting and were particularly influenced by Italy, which was universally acknowledged to be the home of art in the seventeenth century. Throughout the century, young Netherlandish artists undertook the difficult journey to Italy, either
Adam Pynacker, Landscape with Sportsmen and Game, 1665. Oil on canvas, 64 x 91. Courtesy of the Dulwich Picture Gallery.
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over the Alps or sometimes by sea. Most of them headed for Rome, some to paintings. For example, Both’s Road by the Edge of a Lake shows a delicacy of Venice, and others to Genoa and many other locations. These artists turned the landscape in contrast to peasants rendered in a broad characterization. Du to the Italian campagna (countryside or landscape) for their subject matter, Jardin’s A Smith Shoeing an Ox includes an architectural setting that is distinctly contributing to the birth of a new genre of pure landscape. Italianate, while the subject matter and the foreground scene are typical of the Most Italianate art was produced on the artists’ return to Holland for Bamboccianti. the Dutch market. Painters such as Jan Both (ca. 1615-1652) and Nicolaes The third Italianate genre, capriccio, emerged as a decorative type of Berchem brought back with them architectural fantasy where elements seductive visions of mountains and are brought together to create one peasants basking under golden skies. imaginary scene. Jan Lingelbach’s These and other artists filled sketchbooks An Italian Seaport reveals a bustling full of motifs of Italy for inspiration. harbor scene in a theatrical setting of Their light-filled canvases of seemingly exotic figures and classical statues. Jan exotic locales contrasted sharply with Weenix (1642-1719) similarly creates the flat, openness and often cloudy a capriccio imaginary theatrical scene skies of Holland. The Dutch Italianates in Landscape with Shepherd Boy. In this appealed to a section of the art-buying work (seen on the cover), the artist market, which signified Dutch society’s included a shepherd boy in front of growing cosmopolitism. The success of a column, which may reference the these artists relied heavily upon the style Temple of Vespasian that also appears and taste of the buyers, and Italianate in numerous other paintings. The boy landscapes became incredibly popular in with dogs in the foreground, the temple Holland. In fact, Dutch patrons were so in the middle ground, and travelers enamored of the genre that artists such in the distant background may have as Aelbert Cuyp and Philips Wouwermans symbolized an allegory at the time but (1619-1668) were inspired to create their today appear more as an imaginary own interpretations of a landscape they Jan Lingelbach, An Italian Seaport, 1670. Oil on canvas, 36 x 43. Courtesy of the Dulwich Picture Gallery. Dutch Italianate painting. had never seen. At the end of the eighteenth In addition to the Italian campagna views, there were two other genres to century when these works were purchased, Dutch Italianate artists were at emerge in the Italianate style. A decorative figure style, Bambocciante, evolved the height of their value and reputation. Dulwich Picture Gallery founders Sir from the work of painter and printmaker Pieter van Laer (1599-ca.1642), Peter Francis Bourgeois R.A. (1756-1811), a painter, art dealer, and collector, and whose nickname in Italy was Il Bamboccio (rag-doll). Known for painting lively his mentor and business partner, Noel Desenfans (d. 1807), began collecting scenes of peasant life, he captured so-called “low life” characters or people Dutch Italianate works among many other styles representative of various of the streets, shepherds, drinkers, beggars, and traveling musicians. Several periods in art history. The Dutch Italianates were known for their glorious artists, such as Both, Berchem, Jan Lingelbach (1622-1674), Karel Du Jardin tonal control, mastery of color, magical handling of light, humor, and sheer (1621/2-1678), and Wouwermans, included variants of these figures in their technical brilliance. The beauty of these works is truly remarkable. The Dutch masterpieces represent a unique time in art history when wealth, buyers’ taste, and the artists’ imagination coalesce into one, representing the influence of Italy and the important cultural elements of the Netherlands. The Dutch Italianates: 17th-century Masterpieces from Dulwich Picture Gallery, London will be on display October 8, 2009, through January 3, 2010. This selection of works from the permanent collection has been lent by permission of the Trustees of Dulwich Picture Gallery, London. Tour organized by International Arts & Artists, Washington, D.C.
Related Events Members’ Preview
The Dutch Italianates: 17th-century Masterpieces from Dulwich Picture Gallery, London Wednesday, October 7, 2009 5:30 - 8 p.m. Gallery/Lobby
Special Exhibition Lecture & Book Signing
Jan Both, Road by the Edge of a Lake, 1637-1642. Oil on panel, 30 x 28. Courtesy of the Dulwich Picture Gallery.
Exhibitions
“Dulwich Picture Gallery and the Dutch Italianates’” Opening Lecture presented by Ian Dejardin, director, Dulwich Picture Gallery Wednesday, October 7, 2009 5:30 p.m. Noble Theater (See page 6 for more information)
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Teacher Workshop
Thursday, October 29, 2009 5 - 8 p.m. Classrooms (See calendar for registration information)
Fall Festival Family Day
Sunday, November 22, 12-4 p.m. Presented with the support of Sonic, America’s Drive-In
Museum School
Related fall/winter classes for children ages 15 months through adult and camps for children ages 5-16. (See calendar for listings or visit okcmoa.com)
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Aelbert Cuyp, Herdsman with Cows, mid 1640. Oil on canvas, 57 x 79. Courtesy of the Dulwich Picture Gallery.
Interview with Dulwich Director Ian Dejardin ASSOCIATE CURATOR JENNIFER KLOS speaks with Ian Dejardin, director of Dulwich Picture Gallery and curator of The Dutch Italianates: 17th-century Masterpieces from Dulwich Picture Gallery, London, about the exhibition. Jennifer Klos: How did you originate the idea for this exhibition to travel to the United States? Ian Dejardin: It was always a project that my predecessor, Desmond Shaw-Taylor, had wanted to do, and we couldn’t find the right timing. Then, there were a couple of projects that we wanted to put on in the gallery that required extra space. We needed to clear a gallery, in fact. And so I was faced with a rather horrible choice of putting a whole room full of great paintings into store. And I didn’t want to do that because they were our Dutch Italianates. At which point, I remembered my conversation with International Arts & Artists. I approached them again and said, look, I know it’s very short notice, but rather than put these paintings into store, I would rather tour them, if at all possible, so that people can see them. And that was how it started. JK: Have these paintings ever travelled outside your gallery before this tour? ID: Never in a group. As individual paintings, or even one or two of them have travelled to the United States before, but we have never toured our entire selection like this. There are several paintings that are the best of their kind. JK: What is most interesting about Dulwich Picture Gallery’s collection of Dutch Italianate paintings that visitors may not know?
Exhibitions
ID: Dulwich Picture Gallery was founded in 1811 and is the first public art gallery in England, which means that these paintings have been on public view for nearly 200 years. In that time, of course, tastes change. At the time these paintings were acquired, these were very, very famous names indeed and far better known and far more collected in this country than the great classic Dutch landscapists. Nicolaes Berchem was one of the great gods of art, and nowadays people haven’t heard of him. That always fascinates me. I think it’s one of the most interesting things, the history of taste, because things go in and out of fashion. They are seen as million-pound paintings one minute, and nobody wants them the next. And because we have been here so long, we actually have several areas of painting on display in our gallery of the highest possible quality that have gone completely out of fashion for a period and then are on their way back. It’s charting the course…the paintings themselves don’t change but our appreciation of them does. It’s like rediscovering a whole new phase of art history. JK: What particular features characterize these paintings as Dutch Italianate? ID: The Dutch Italianates were right there at the creation of the classical landscape in Italy. They play an important role in it. With the exception of one or two, Dutch Italianates have a very particular feel to them that sets them apart. The Dutch are famously frank. They are not interested in the nonsense that they would have perceived in the Italian character. The Dutch Italianates were electrified by the landscape. But you will find, even in the most classical of their paintings, there are also Dutch elements, as with Cornelis van Poelenburch’s Valley with Ruins and Figures. As your eye moves into the center of the painting, you see that someone has put out their washing to dry.
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There is the old Roman ruin in the center and what the Dutch artist does is put the washing out to dry. That’s what I love about them. They like the little touches of real life. In all the landscapes, you will find this very particular view of the inhabitants, the very colorful peasant population, shepherdesses, muleteers. JK: Did the contemporary Italian artists of the seventeenth century respect these Dutch artists? ID: Very rarely. One of the most interesting things about this is that these painters have acquired this label, “the Dutch Italianates.” Of course, they were not known as that in their own day. They were just seen as Dutch artists. The reason that “Dutch Italianates” is such an unfortunate “dog-eared” label is because it gives the impression that they lived in Italy. They didn’t. They visited Italy, some of them for a comparatively short time, some of them for quite a long time. A lot of them would spend a year, 18 months, to two years. And when you consider the difficulties of the journey, that is quite a commitment. JK: For the artists who did not have the chance to travel to Italy, who influenced them the most? ID: The most influential artists would be Jan Both and Cornelis van Poelenburch. For instance, [Aelbert] Cuyp was electrified by Jan Both. There are two Cuyp paintings in the exhibition, Landscape with Cattle and Figures and Herdsmen with Cows, which are effectively identical in subject matter. And what has happened is that in between those two compositions, Cuyp has seen the works of Jan Both. So it’s Jan Both who teaches Cuyp how to capture a different light from what the classic Dutch artists were producing. I also think Poelenburch was hugely influential in [the work of ] Utrecht. He was larger than life, influencing whole generations of artists. Of course, what fascinates me about Holland is how close everybody was to each other. You think of artists in Haarlem and artists in Amsterdam without realizing that Haarlem is precisely 12 miles away from Amsterdam. It was never very hard to be influenced by other artists in Holland. You just jumped on a horse and rode down the road a bit. JK: Considering the wealth of the Netherlands in the seventeenth century, what was the art market like in Holland? ID: Holland, unlike almost anywhere in Europe at that point, was producing for a very large and not necessarily aristocratic market. By the end of the century, the school of landscape painting that emerges in Holland was being produced for quite ordinary families. There was a lot of wealth, there was a lot of religion, but there was also a respect for artists and a thriving market. It’s a very modern phenomenon, I think, in many ways, because you get artists who specialize. This is what the Dutch Italianates are doing. They painted in the manner not because they were inspired by the muse of Dutch Italianates of Italy; they were inspired by the market. There was a thriving mercantile population who were at this period conquering the world. I mean, the Dutch were all over the globe at this point trading. And that mercantile population were the people who were tapping into the Dutch Italianates because they provided a vision of a more exotic reality than just the dunes of Holland. Consequently, the Dutch Italianates developed not only the beautiful landscapes of Italy, which would have been recognized as such, but also fantasy scenes of harbors and marketplaces. They did it because it emphasized the cosmopolitan nature of their society at that moment. JK: How did the founders of Dulwich Picture Gallery, Sir Peter Francis Bourgeois and Noel Desenfans, acquire the Dutch Italianate paintings? ID: The story of our foundation is a natural-born Hollywood film. Our founders were kind of larger-than-life people. They were very interesting. They were foreigners within London. Desenfens was French. Bourgeois was Swiss, although his mother was English. They were always trying to break into the art establishment and always being resisted.
Exhibitions
Karel du Jardin, Peasants and a White Horse, ca. 1675. Oil on canvas, 24 x 22. Courtesy of the Dulwich Picture Gallery.
Our gallery’s origins are twofold, one in Jacobian England and the other in Poland in 1790. The King of Poland [Stanislas II August] gave the commission to our founders to put together a national museum for Warsaw to be a royal collection that was to educate the people of Poland but history intervened. Basically, Poland ceased to exist. Stanislas never paid up any money. And consequently, his influence has never really been traced on our collection, but it’s there, and it’s very interesting. The King of Poland, in giving this commission to our founders, clearly corresponded at length with them and had strong opinions on art. And so I think the shape of our collection, as it was eventually given to Dulwich College in 1811, owes quite a lot to his vision of what a collection for Poland would be like-It was to tell the history of art. JK: Lastly, what is your favorite painting or artist in the Dutch Italianates exhibition? ID: It’s really hard because I love them all. But, my favorite happens to be my namesake, Karel du Jardin. Everyone loves Smith Shoeing an Ox, and I do, too, but actually it’s Peasants and a White Horse. The painting had never been on view, and now it’s always on display. I can’t tell you how beautiful it is. The sky is poetic. And I just love that horse. He makes me want to cry. He’s so rackety. He’s so old. He’s worked so hard. And he seems to be laughing. I just find it very touching. The main thing that you cannot possibly judge from this reproduction is the unbelievable beauty of the landscape. It’s a very particular time of day, with these long shadows. And the little house or villa in the background is sunk in shadow, and you have these beautiful lilac hills on the horizon. It is really an extraordinary painting, and I have a completely irrational love of it. Join Ian Dejardin October 7, 2009, 5:30 p.m., for his lecture “Dulwich Picture Gallery and the Dutch Italianates” to learn more about the history of the gallery, its founders, and the works in the exhibition The Dutch Italianates. A book signing will follow. Tickets are required to attend the lecture and may be purchased in advance. Call (405) 278-8237 to purchase tickets by phone or buy online at okcmoa.com. Cost: $8 nonmembers, $6 seniors, $5 members, and free to students with ID.
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#1 IN YOUR FACE
Framing Points Don’t hang irreplaceable framed works in a bathroom. The high humidity and fluctuations in temperature might cause moisture to condense inside the frame package, which could in turn cause mold growth and other problems.
The Photography of Garry Winogrand By Jim Meeks, chief preparator & photographer “I PHOTOGRAPH TO SEE what the world looks like in photographs” is one of Garry Winogrand’s best-known and more perplexing quotes. Considered one of the greatest practitioners of street photography, Winogrand typically took a 35mm camera, often a Leica rangefinder with a wide-angle lens, and photographed people going about their daily business. This type of photography often exhibits whimsical or quirky events. Though Winogrand didn’t like being referred to as a street photographer, his name became synonymous with the style, and he influenced thousands of photographers through his books, prints, exhibitions, and classes. He was a prolific shooter, frequently exposing 10 rolls of film a day. He also often waited years before developing and printing his film, in order to maintain an emotional distance from the photographs and judge them on their own merits. At the time of his death from cancer in 1984, it was estimated that there were between 300,000 and 400,000 negatives that Winogrand had never seen. This ranged from undeveloped (or unprocessed) rolls to film that was not contact or proof printed. Winogrand’s prints Beverly Hills, CA (1980) and Venice, CA (1979) are from a series he completed on women and are both in the Museum’s collection. Beverly Hills, CA shows two attractive young women pushing their bicycles across a busy intersection. The woman on the right is looking directly at the camera and appears to know she is being photographed. There is a light behind her head, and the perspective lines direct our gaze to her. Winogrand enjoyed photographing women and loved their energy and the way they moved. This scene displays a typical Winogrand horizon line, which is slanting drastically off to the right. When asked about his slanting horizons, he responded by asking why they had to be level with the bottom edge. The combination of the tilting horizon and the wideangle lens gives the viewer a dynamic, active feeling as well as a sense of unease. Venice, CA shows an elderly woman staring up, sort of grimacing, at a
Garry Winogrand (American, 1928-1984). Venice, California from the Women are Better than Men portfolio, 1979. Gelatin silver print. Oklahoma City Museum of Art. Gift of Raymond W. Merritt, 1991.092
Exhibitions
hulking, middle-aged, bare-chested man. The horizon is also slightly tilted in this photograph, but it is the close-up view of the man’s back and the confused look on the woman’s face that lead you to ask what is going on. Winogrand often stated that he wasn’t trying to tell stories, or make a narrative of his photos, but that “Photography is about finding out what can happen in the frame. When you put four edges around some facts, you change those facts.” Winogrand was compulsive about printing the entire negative, whatever happened to be within those four edges, and you often see people moving in and out of the picture. The Venice photo also gives us a sense of unease, perhaps from imagining ourselves being accosted by a large, sweaty man, but it also makes us grin at the absurdity of the situation, whatever was really going on. Viewing these two photographs and having practiced street photography ever so slightly, I have a real appreciation for Winogrand’s eye and his willingness to get right in someone’s face to take a picture without blinking. I recently watched a video of Winogrand photographing from a Bill Moyers’ story back in 1982. I kept thinking how people would react today to Winogrand’s shooting style. Given the current paranoia about photographers either being terrorists or criminals, he might be hauled off to jail or questioned by the authorities at the very least. The human element in Winogrand’s photos definitely is what holds our interest. Whether it was attraction or repulsion, the beautiful or absurd, photographing the circus of life was his goal. Seeing photo opportunities around me and wishing I had a camera reminds me that Winogrand was that guy who was always prepared, always had his camera at hand. While he may have been somewhat compulsive about taking photos, the results speak for themselves. The Oklahoma City Museum of Art is pleased to own six prints from a portfolio titled Women are Better than Men. The prints were loaned in 1991 and then donated in 1995 by Raymond Merritt of NYC.
Garry Winogrand (American, 1928-1984). Beverly Hills, California from the Women are Better than Men portfolio, 1980. Gelatin silver print. Oklahoma City Museum of Art. Gift of Raymond W. Merritt, 1991.091
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The Vogel Collection
Photo by Christina Hicks
Installation, The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States
The gift of two unassuming collectors with a unique devotion and understanding of art By Alison Amick, curator for collections We didn’t call it a collection until other people did. People started asking to come over and see “the collection,” and that’s when we realized that it existed. We were told that people were talking about us and were curious and wanted to see our art; and that’s how that happened. Dorothy Vogel in a 1993-1994 interview with Ruth Fine, curator of special projects in modern art, National Gallery of Art OVER THE COURSE of more than forty years, New York collectors Dorothy and Herbert Vogel amassed one of the most significant collections of contemporary art in the United States. The couple began collecting early in their relationship, purchasing a ceramic Picasso vase as an engagement present in 1961. Herb, an avid art lover, exposed Dorothy to the arts with a visit to the National Gallery of Art on their honeymoon to Washington, D.C. Their early collecting endeavors included the purchase of a small sculpture by John Chamberlain in 1962, followed by a Sol LeWitt in 1965. Through LeWitt, who became a close friend, the Vogels met many contemporary artists, including Carl Andre, Robert Mangold, Sylvia
Plimack Mangold, Bob Smithson, and Lawrence Weiner. Herbert and Dorothy lived conservatively to fuel their collecting efforts. Dorothy’s income as a librarian paid expenses, while Herb’s salary as a postal officer was devoted to the acquisition of contemporary art. The Vogels frequented New York galleries, visited artists’ studios, and established relationships with many of the artists they collected. The Vogel collection predominantly consists of small-scale drawings and works that could easily fit into the couple’s Manhattan apartment. In the 1970s, the collection began to receive acclaim from artists and critics alike, and a number of exhibitions ensued. In 1990, Herb and Dorothy transferred their collection to the premises of the National Gallery of Art. Realizing that their collection of more than 4,000 works was too large for any single institution, the Vogels worked with the National Gallery of Art to distribute 50 works from the collection to one institution in each of the 50 states in a national gift program. The Oklahoma City Museum of Art was selected as the Oklahoma museum in 2008. The Museum’s gift mirrors the larger Vogel collection in its diversity. The 50 works donated to the Oklahoma City Museum of Art include minimal
50 States
Alabama: Birmingham Museum of Art | Alaska: University of Alaska Museum of the North, Fairbanks | Arizona: Phoenix Art Museum | Arkansas: The Arkansas Arts Center, Little Rock Art Museum, Wilmington | Florida: Miami Art Museum | Georgia: The High Museum of Art, Atlanta | Hawaii: Honolulu Academy of Arts | Idaho: Boise Art Museum | Illinois: University Kansas, Lawrence | Kentucky: The Speed Art Museum, Louisville | Louisiana: New Orleans Museum of Art | Maine: Portland Museum of Art | Maryland: Academy Art Museum, Easton | M of Minnesota, Minneapolis | Mississippi: Mississippi Museum of Art, Jackson | Missouri: Saint Louis Art Museum | Montana: Yellowstone Art Museum, Billings | Nebraska: Joslyn Art M New Mexico Museum of Art, Museum of New Mexico, Santa Fe | New York: Albright-Knox Art Gallery, Buffalo | North Carolina: Weatherspoon Art Museum, The University of North Carolin Pennsylvania Academy of the Fine Arts, Philadelphia | Rhode Island: Museum of Art, Rhode Island School of Design, Providence | South Carolina: Columbia Museum of Art | South Dakot Utah: Nora Eccles Harrison Museum of Art, Utah State University, Logan | Vermont: Robert Hull Fleming Museum, University of Vermont, Burlington | Virginia: Virginia Museum of Fine Art
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and conceptual art as well as figurative, representational, and expressionist examples. There are 25 artists represented, including Robert Barry, Lynda Benglis, Jene Highstein, Martin Johnson, Lucio Pozzi, Edda Renouf, and Richard Tuttle, among others. Now a part of the Museum’s permanent collection, the 50 works comprising The Dorothy and Herbert Vogel Collection add significantly to the Museum’s holdings in contemporary art and form a core for future developments in this area. One aspect of the Vogel collection that has been frequently explored in previous exhibitions is the collectors’ interest in minimalist and conceptual art. For example, Beyond the Picture: Works by Robert Barry, Sol LeWitt, Robert Mangold, and Richard Tuttle from the Collection of Dorothy and Herbert Vogel, New York (Kunsthalle Bielefeld; 1987) and From Minimal to Conceptual Art: Works from The Dorothy and Herbert Vogel Collection (National Gallery of Art, Washington, D.C.; 1994) highlighted examples by artists such as Robert Barry, Lynda Benglis, Edda Renouf, and Richard Tuttle, artists who are represented in the Museum’s Vogel collection. The Museum’s gift also includes figurative and representational works by artists such as Judy Rifka and Judith Shea, satirical works by Mark Kostabi, as well as a number of drawings by noted sculptors, including Jene Highstein, Steve Keister, and Alain Kirili. Some works are also personalized, notably two small untitled paintings by Michael Vinson Clark addressed to Herb Vogel on the occasion of his birthdays in 1985 and 1986. Prominent among the Museum’s collection are a number of watercolor drawings by Richard Tuttle. Tuttle developed a close friendship with the Vogels, who supported the artist early in his career and became prominent collectors of his work. By the mid-seventies, Tuttle was creating drawings that consisted of a few simple brushstrokes on notebook paper. These lyrical works explored the potentials of color, space, and form. The Museum’s collection includes several examples of works Tuttle created on lined notebook paper in the early eighties. As a leading contemporary artist, Tuttle’s work has been widely exhibited, most recently in a major touring retrospective organized by the San Francisco Museum of Modern Art in 2005. Tuttle, like many artists the Vogels befriended, introduced the pair to other artists whom they later collected, including Richard Francisco and Edda Renouf. The Vogel collection also includes a number of works by women artists. Though Herb and Dorothy were not active in feminist politics, their collection includes works by many women artists who were working in New York. The Vogels purchased works that interested them, and this included women artists at a time when many were not being avidly collected. Examples in the Museum’s collection include works by Lynda Benglis, Jill Levine, Edda Renouf, Judith Shea, and Lori Taschler. Widely collected by the Vogels, Edda Renouf described an early encounter in the following manner: “They took their time…looking at my works with full attention [which was] very inspiring to me, and the beginning of our long-lasting friendship based above all on our mutual devotion and understanding of art.” The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States is a joint initiative of the Trustees of the Dorothy and Herbert Vogel Collection and the National Gallery of Art with generous support from the National Endowment for the Arts and The Institute of Museum and Library Services. Since 2008, this program has distributed 2,500 works to the 50 participating museums, including Albright-Knox Art Gallery; The Museum of Contemporary Art, Los Angeles; Seattle Art Museum; and Yale University Art Gallery. For more on the project, visit www. vogel50x50.org.
Selected Bibliography/Sources: From the Collection of Dorothy and Herbert Vogel. Arnot Art Museum, Elmira, October 15 – December 31, 1988; Grand Rapids Art Museum, January 27 – March 19, 1989; Terra Museum of American Art, Chicago, April 8 – June 4, 1989; Laumeier Sculpture Park, St. Louis, June 18 – August 13, 1989; Art Museum at Florida International University, Miami, September 15 – November 10, 1989. From Minimal to Conceptual Art: Works from The Dorothy and Herbert Vogel Collection (with an essay by John T. Paoletti, and an interview with the Vogels by Ruth Fine.) National Gallery of Art, Washington, 29 May – 27 November 1994. Grynsztejn, Madeleine. The Art of Richard Tuttle. San Francisco: San Francisco Museum of Modern Art in association with D.A.P./Distributed by Art Publishers, Inc., New York, 2005. The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States. Washington, D.C.: National Endowment for the Arts, 2008. Women Artists in the Vogel Collection (with essays by Molly Donovan and Ruth Fine). Brenau University, Gainesville, Georgia, 5 February – 5 April 1998. The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States will be displayed in the Museum’s third floor galleries through December 6. An accompanying catalogue is available for purchase in the Museum Store for $30.
Edda Renouf (American, b. 1943). Early Morning Sound, 1999. Oil pastel over pastel chalk with scraped lines on paper, 19 x 15 in. Oklahoma City Museum of Art, THE DOROTHY AND HERBERT VOGEL COLLECTION: FIFTY WORKS FOR FIFTY STATES, a joint initiative of the Trustees of the Dorothy and Herbert Vogel Collection and the National Gallery of Art, with generous support of the National Endowment for the Arts and the Institute of Museum and Library Services, 2008.083. Photo credit: Lyle Peterzell
50 Museums
| California: The Museum of Contemporary Art, Los Angeles | Colorado: Colorado Springs Fine Arts Center | Connecticut: Yale University Art Gallery, New Haven | Delaware: Delaware Museum, Southern Illinois University, Carbondale | Indiana: IMA- Indianapolis Museum of Art | Iowa: Cedar Rapids Museum of Art | Kansas: Spencer Museum of Art, The University of Massachusetts: Harvard University Art Museum, Cambridge | Michigan: The University of Michigan Museum of Art, Ann Arbor | Minnesota: Frederick R. Weisman Art Museum, University Museum, Omaha | Nevada: Las Vegas Art Museum, Las Vegas | New Hampshire: Hood Museum of Art, Dartmouth College, Hanover | New Jersey: Montclair Art Museum | New Mexico: na at Greensboro | North Dakota: Plains Art Museum, Fargo | Ohio: Akron Art Museum, Akron | Oklahoma: Oklahoma City Museum of Art | Oregon: Portland Art Museum | Pennsylvania: ta: South Dakota Art Museum, South Dakota State University, Brookings | Tennessee: Memphis Brooks Museum of Art | Texas: Blanton Museum of Art, The University of Texas at Austin | ts, Richmond | Washington: Seattle Art Museum | West Virginia: Huntington Museum of Art | Wisconsin: Milwaukee Art Museum | Wyoming: University of Wyoming Art Museum, Laramie
Exhibitions
The Collection Film
Education News
IN FOCUS @ OKCMOA
Kaci Summers, of KISS FM’s Drew & Kaci show, broadcasts live from the roof terrace. Joining her are Garrett Cullum, Museum IT manager, and Crissy McAnally with KISS FM. OKCMOA President & CEO Glen Gentele accepts a check from Royce Reed and Gina Volturo of J.P. Chase Morgan Bank for the Museum’s Yellow Bus Brigade, which provides bussing and Museum admission for Oklahoma students.
OKCMOA Film Curator Brian Hearn with Phil Bacharach, president of the Oklahoma Film Critics Circle. The OFCC, which represents Oklahoma’s professional film critics, presented Hearn with the Tilghman Award for advancing cinema culture in the state.
Leland and Vicki Gourley, Glen Gentele, with Bob and Patty Roloff at the Members’ Preview for Julius Shulman: Oklahoma Modernism Rediscovered.
Lisa Small, curator of exhibitions, American Federation of Arts, with Alison Amick, curator for collections; Brian Hearn, film curator; Michael Toobey, director of Learning and Programmes, National Museum Wales; Amy Young, associate curator of education; Ernesto Sanchez, exhibit designer; and Leslie Spears, communications manager.
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Exhibitions
Melissa Scaramucci, program director for the deadCENTER Film Festival, with Pearl director King Hollis at the kick-off party on the roof terrace at the Museum. The movie Pearl was a sellout later that evening at the Museum.
The Collection Film
Education News
Thirty-fourth Annual
Renaissance Ball Chairpersons
Suzette & S. Kim Hatfield
Honorary Chairpersons Lil & Bill Ross
Sponsorship Chairpersons Tina & Elby Beal Denise & Ron Suttles Pam & Lyndon Taylor
Lil and Bill Ross with Judy Love
OKCMOA President & CEO Glen Gentele and Education Curator Chandra Boyd accept a check from Dennis Black, private client manager for U. S. Trust, Bank of America Private Wealth Management. The funds will go towards Saturday Drop-in Art for families.
Master Underwriters
Howard K. Berry Jr. Chesapeake Energy Corporation Devon Energy Corporation Inasmuch Foundation Judy & Tom Love/ Love’s Travel Stops OGE Energy Corporation Nancy & George Records
Photo by Alan Ball
The Bruce Benson band on the roof terrace.
Photo by Paul Houston Photography
Underwriters
2009 Debutantes, Grace Givens, Callie Gordon, Alexis Hefner, Kelsey Fredrickson, Eliza Delaney, Colby Magness, and Laura Thompson, pose in front of the tower, following the check presentation from the 2008 Beaux Arts Ball, which raised $40,000 for the Museum’s Beaux Arts Acquisition Fund.
Exhibitions
American Fidelity Foundation/ Mrs. C.B. Cameron BancFirst Bank of Oklahoma Crawley Petroleum Mr. & Mrs. Andrew J. Evans, II Mrs. Henry Freede Suzette & S. Kim Hatfield Leslie & Clifford Hudson MidFirst Bank The Payne Family SandRidge Energy Mr. & Mrs. R.L. Sias Trigen Energy Corp. James Vallion/Trochta’s
Sponsors
Bank of America C.L. Frates & Company Terri & Bert Cooper/ W&W Steel Cox Oklahoma Mr. & Mrs. Douglas R. Cummings Karen & Pete Delaney GlobalHealth, Inc. Nadine & Frank McPherson The Oklahoman
Benefactors
Ann Simmons Alspaugh Gene & Ed Barth Mr. & Mrs. Elby J. Beal Dr. & Mrs. John R. Bozalis Allen Brown Coppermark Bank Paul & Debby Dudman/Sterling Wines & Spirits Mr. & Mrs. T. M. Elam Pam & David Fleischaker Virginia Meade Fox Mr. & Mrs. Gary F. Fuller Mr. & Mrs. Gerald N. Furseth Mary Ellen & Bill Gumerson Julia & Kirkland Hall Bette Jo & Frank Hill Dr. & Mrs. Joe M. Howell Janet & John Hudson Sue Ann & Dudley Hyde InvesTrust, N.A. Lou C. Kerr/The Kerr Foundation, Inc. Mr. & Mrs. Duke R. Ligon Penny & John A. McCaleb John R. “Rob” McCune Mr. & Mrs. James C. Meade Anita & Carl Milam/Western Concepts Restaurants Leslie & Stuart Milsten Mr. & Mrs. Robert Z. Naifeh Polly & Larry Nichols Dr. Stan & Mrs. Raina Pelofsky James Pickel/Smith & Pickel Construction Alice & Phil Pippin Mr. & Mrs. William J. Ross Manda & Mark Ruffin Paul Silverstein, M.D. & Amalia Miranda, M.D. Mary & Craig Stanley Denise & Ron Suttles Glenna & Richard Tanenbaum Pam & Lyndon Taylor Susan & Mike Turpen UMB Bank/Mr. & Mrs. Royce Hammons Mr. & Mrs. Dick Workman LeRoy E. Young, D.O.
Thank You Sponsors!
The Collection Film
Patrons
Accel Financial Staffing/Meg & Chris Salyer Candy & Chuck Ainsworth Dr. & Mrs. Geoffrey P. Altshuler Dr. & Mrs. William L. Beasley DeDe & Bob Benham Dr. & Mrs. Charles Bethea Sam Blackstock & Jeff Erwin Senator & Mrs. Cliff Branan Mr. & Mrs. Paul C. Brou Dr. & Mrs. David Brown Mr. & Mrs. Jerry Burger Mr. & Mrs. John D. Cheek Mr. & Mrs. Paul A. Cox, Rock Island Exploration Cox Business Richard Craig & Pamela Bowie Jeanette & Rand Elliott Dr. & Mrs. Joseph Ferretti Roberta & Larry Fields Flintco, Inc. Mr. & Mrs. Byron J. Gambulos Cindy & Jim Hazelwood Mr. & Mrs. W. John Hefner Caroline & Durward Hendee Mr. & Mrs. K. Blake Hoenig The Honorable Jerome A. Holmes Vicki & David Hunt Janice Singer Jankowsky Dr. Jay C. & Susan Johnston Carol & Don Kaspereit Mr. & Mrs. Aubrey M. Kerr Linda & Tom Klos Ruth & Richard Lampton Sharon & Kenneth Lease Kym & Steve Mason Mr. & Mrs. Richard S. McLain Mr. & Mrs. K.T. Meade Patti & Mark Mellow Mr. & Mrs. Harry Merson Rev. Margôt L. Nesbitt Mrs. Mary Nichols Sara & Rob Northwood Charles L. Oppenheim Cynda & Larry Ottaway Tina & Tim Ridley Belinda & Lance Ruffel Sylvia & Robert Slater Mr. & Mrs. Darryl G. Smette Jeanne Hoffman Smith Sperry Van Ness/Marylee & Tim Strange SSM Health Care of Oklahoma Mary & Stan Stack Mr. & Mrs. Thomas Stapleton Judie Clouse Steelman Marion C. Stewart Stillwater National Bank Carole A. Sullivan Marnie & Clayton Taylor Donita & Larry Thomas The Trust Company of Oklahoma Lee & Todd Ward Renate & Chuck Wiggin
Education News
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Oklahoma City Museum of Art is pleased to announce an exciting new partnership for 2010! OKLAHOMA ART WRITING & CURATORIAL FELLOWSHIP Presented by the Oklahoma Visual Arts Coalition, in partnership with the University of Oklahoma School of Art & Art History and the Oklahoma City Museum of Art. The Oklahoma Art Writing & Curatorial Fellowship aims to train promising writers and curators by expanding their professional education and experience. This distinctive, yearlong program awards 12 fellows the opportunity to participate in a structured and innovative curriculum designed to encourage new writing and curatorial projects. Led by nationally-recognized mentors, the 12 fellows will receive feedback on their writing and curatorial projects and will connect to current dialogues in contemporary art. The award and program provides education, mentorship, and support to writers and curators to help them realize greater potential. Critical to the program is a public component in which leading professionals in the field will serve as mentors and participate in one of three public panel discussions held at the University of Oklahoma and the Oklahoma City Museum of Art. The distinguished 2010 mentors are: Tracy Abeln, editor, Review Magazine, Kansas City; Frances Colpitt, professor and Deedie Potter Rose Chair of Art History at Texas Christian University, Fort Worth, Texas. Margo A. Crutchfield, senior curator, Museum of Contemporary Art, Cleveland; Tom Eccles, executive director, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York; (Program Lead) Shannon Fitzgerald, independent curator and writer, Oklahoma City (former chief curator, Contemporary Art Museum St. Louis); Tyler Green, founder and editor, Modern Art Notes, Washington DC; Kate Hackman, associate director, Charlotte Street Foundation, Kansas City; Eleanor Heartney, art historian, Contemporary Art Critic, contributing editor to Art in America and writer, New York City; Catherine J. Morris, curator of the Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum of Art, Brooklyn (former adjunct curator of Contemporary Art, The Philbrook Museum of Art, Tulsa, Oklahoma); W. Jackson Rushing, III, Eugene Adkins Presidential Professor of Art History and the Mary Lou Milner Carver Chair in Native American Art in the OU School of Art and Art History, Norman, Oklahoma; and Emily Stamey, curator of Modern and Contemporary Art, Ulrich Museum of Art, Wichita State University, Wichita, Kansas. The program will be held from January–December 2010. Applicants must be Oklahoma residents or live within 350 miles of Oklahoma City. Undergraduate students may not apply. The full call for applicants is available online at Oklahoma Visual Arts Coalition’s Web site: http://www.ovacok.org. The deadline for applications is October 1, 2009. The Oklahoma Art Writing & Curatorial Fellowship is generously funded by the National Endowment for the Arts, Oklahoma Humanities Council, and John McNeese.
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Exhibitions
Museum Travels
First Stop China’s Quin Dynasty OKLAHOMA CITY MUSEUM OF ART and Journey House Travel, Inc. invite you to join us for a wonderful season of travel tours. We will begin by traveling to Houston, Texas, October 4-5, to see the Houston Museum of Natural Science’s presentation of Terra Cotta Warriors: Guardians of China’s First Emperor. Rated by TIME magazine as one of the “Top 10 Museum Exhibits” to see, Terra Cotta Warriors exhibits one of the most extraordinary archaeological finds of the 20th century, considered to be the Eighth Wonder of the World. Intended to protect China’s first emperor, Qin Shi Huang, these terra cotta warriors stood guard over his tomb complex, a vast necropolis commissioned by the Emperor when he was only 13 years old. Marvel at more than 100 amazing objects, the largest display of terra cotta figures and tomb artifacts to travel to the U.S. The cost is $550 per person and includes round trip airfare through American Airlines, round trip transfers from airport to hotel and to the museum, one night stay at the Houston Hilton Post Oak with breakfast, as well as museum entrance fees and afternoon shopping at the Galleria. On February 3, 2010, we will take our winter trip to the Philbrook Museum of Art to see works from the Eugene B. Adkins Collection. This collection is widely considered one of the finest collections of Native American and Kneeling Archer Qin dynasty (221-206 B.C.) Clay with Southwest art ever assembled by a private pigment. Height 125 cm, Width 74 cm. Excavated in 2001 collector. Philbrook’s inaugural exhibition of from Pit No. 2. Museum of the Terra-Cotta Warriors of Qin Shi Huang, Lintong. No. 005506. Photo © Wang Da-Gang. the Adkins material will display a significant sampling of this collection and will feature select paintings, pottery, jewelry, and more. The exhibition will include paintings by members of the Taos Society of Artists as well as important Western artists, such as Alfred Jacob Miller and Maynard Dixon. Additionally, works by significant Native American artists, including pottery by Maria Martinez and family, jewelry by Charles Loloma and Kenneth Begay, and paintings by R.C. Gorman, Pablita Velarde, Fritz Scholder, and T.C. Cannon will be on view. We will depart at 8:30 a.m. The cost is $95 per person, which includes luxury motor coach travel with coffee and juice service, lunch in Tulsa, admission to the museum, and wine and snacks on the return trip. Spring will provide a beautiful setting for our extended trip to Savannah, Forsyth Park, Savannah, Georgia. Photo by Amy Young Georgia. Walking through the city’s many azalea laden squares proves to be a wonderful way to relax and to take in the beauty of one of America’s largest National Historic Landmark Districts. Established in 1733 by General James Oglethorpe, Savannah has been called the “Hostess City of the South” for good reason. Hospitality and southern charm combine here to provide an unforgettable experience. Reserve your spot today to enjoy architecture and home tours, live music and shopping along River Street, lodging and a cooking class at the Mansion on Forsyth Park, dinner at the Old Pink House, and more! Dates and trip cost will be available soon. For more information, visit okcmoa.com or contact Brenda Kelly at 463-5811 or 1-800-726-0051 or e-mail brenda@journeyhouse.com.
The Collection Film
Education News
Journey to the East By Brian Hearn, film curator AT PRESS TIME, I am traveling east toward Boston for the National Alliance for Media Arts and Culture biennial conference. NAMAC is a membership based organization that provides invaluable capacity building support to a wide variety of independent media and visual arts organizations. The Oklahoma City Museum of Art has been a member for more than ten years. The theme of this year’s conference is “Commonwealth.” It is always a dynamic event where veteran and emerging leaders, practitioners, and thinkers convene, connect, and plot new approaches for sustaining our organizations and building the field. The zeitgeist of this gathering is a common world where arts and media are sustainable, creative, rooted in communities, interconnected through technology, and global in reach. I’m counting on taking away some best practices, fresh ideas, and strengthened networking.
Next stop is a research expedition at
the phenomenal collections of the George Eastman House in Rochester, New York. Named after the founder of the Eastman Kodak Company, who brought image making to the masses in the 20th century, this museum of film and photography is located on the grounds of Eastman’s estate. In addition to the house and gardens, the institution houses special exhibition and permanent collection galleries, the 350-seat Dryden Theater with its outstanding film program, and one of the top collections of film and photography in the world. Its research facilities are second to none. My objective will be to locate photographic evidence of the more than fifty garments that my colleague Jennifer Klos and I have curated for the Sketch to Screen: The Art of Hollywood Costume Design exhibition opening May 6, 2010. This unprecedented exhibit will reveal how designers throughout cinema history create iconic characters through their costumes. The exhibit will feature numerous Oscar® winning garments and the stars that wore them from Marilyn Monroe to Charlton Heston, Audrey Hepburn to Robert DeNiro.
The film business has its seasons. As the summer winds down, the season of bigbudget-blockbuster-popcorn-movies does too. Thank goodness! September marks the time when more serious films begin to hit the marketplace looking for critical praise and hopefully audiences. The main event is
Exhibitions
surely the ten-day-long Toronto International Film Festival, September 10-19. Toronto is the primary launching pad for art house films seeking distribution in North America. It is also an important litmus test for films with award aspirations. Along with the respectively more mature European festivals at Cannes, Venice, and Berlin, Toronto proves year in and year out that it is one of the top five film festivals in the world along with its rowdier American cousin, Sundance. I am making my maiden voyage to this festival, drawn in part by an international gathering of film programmers and lots and lots of interesting films. A biopic on Charles Darwin called Creation will kick off the festival just in time to mark the 200th anniversary of Darwin’s birth. The film stars Paul Bettany as the English scientist and Jennifer Connelly as his wife, Emma.
Heroes are few and far between in the
cutthroat film industry. One of my heroes is Oklahoma City native Bob Berney. For more than two decades, Bob has been a force in the international film world bringing smart, challenging, entertaining films to the screen. In the last decade, he has founded or operated some of the key companies dedicated to independent film, including Newmarket Films, IFC Films, and Picturehouse. One could argue that this genuinely nice guy has had a Midas touch handling films like Memento, My Big Fat Greek Wedding, Whale Rider, The Passion of the Christ, A Prairie Home Companion, Pan’s Labyrinth, and La Vie en Rose. After his last company was gobbled up and digested by a corporate behemoth, Bob has risen again with a new independent distribution company called Apparition. I was delighted to catch an advance screening of Apparition’s first theatrical release, Bright Star (film still below), directed by Jane Campion, about the English romantic poet John Keats and his lover Fanny Brawne. This absorbing period film, saturated in gorgeous images and poetic language, has all the marks of excellent taste that has made Bob one of my heroes. I look forward to more top-notch releases from Apparation. Mark it down, Bright Star, is guaranteed Oscar® bait. The film costumes in particular are worthy of a nomination, as are the attractive leads Abbie Cornish and Ben Whishaw. Sketch to Screen has taught me more about dresses than I ever wanted to know!
The Collection Film
Education Grants Awarded Museum announces new AmeriCorps position
THE OKLAHOMA COMMUNITY SERVICE COMMISSION recently awarded the Oklahoma City Museum of Art two capacity building grants totaling $11,500 with an anonymous match of $12,800. Monies will be used to fund AmeriCorps members serving at the Museum. The Museum will host one of 17 full-time members and one of nine minimum-time members awarded statewide. This is the fourth year for the Museum to receive funding for a Summer Camp Assistant minimum-time member. New this year will be the addition of a full-time member to assist in increasing the number of services offered to family, adult, and senior resident populations throughout the state of Oklahoma, with an emphasis on university students and faculty. Bryon Chambers, known to many as a manager in the Museum Cafe, has been appointed to the full-time Education Assistant position starting September 1, 2009. Chambers holds bachelor’s degrees in sacred music and music education and is a candidate for his master’s in vocal performance from Southwestern Oklahoma State University in Weatherford. Currently, he is enrolled at the University of Oklahoma where he is pursuing a master’s degree in art history. After completing a spring internship in the education department at the Museum, Bryon served as Summer Camp Assistant, where he oversaw and coordinated summer art camps for children ages 5-16. In his new role, Chambers will be an ambassador to area universities and colleges to promote exhibitions and educational programs. Additionally, he will assist the education department with its programming and research new opportunities for interactive interpretive spaces in the galleries. AmeriCorps is a network of local, state, and national service programs administered by the Corporation for National and Community Service. It connects more than 75,000 Americans each year in service projects to meet our country’s critical needs in education, public safety, health, and the environment. AmeriCorps members serve with more than 3,000 nonprofits, public agencies, and faith-based and community organizations. Since 1994, more than 400,000 men and women have provided needed assistance to millions of Americans across the nation through their AmeriCorps service.
Education News
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Saxum Public Relations selects Museum for Step Up PR grant SAXUM PUBLIC RELATIONS, Oklahoma’s largest public relations and creative firm, has selected the Oklahoma City Museum of Art as the first recipient of the firm’s $50,000 pro bono service grant for 2009-2010. Step Up is a PR grant program that will provide the nonprofit organization with access to a suite of public relations services at Saxum|PR and its sister agency Maxus Creative. Those services will include a combination of media relations assistance, comprehensive communications planning, select creative services, research, media training, and message development. “We look forward to working with our first Step Up recipient, the Oklahoma City Museum of Art,” said Saxum CEO Renzi Stone. “We want to provide an experience that is customized to meet their needs and build goodwill long-term in the community.” “This is an exciting time for the Museum,” said Glen Gentele, Oklahoma City Museum of Art’s president and CEO. “We are thrilled about having been selected and look forward to a productive partnership with the talented Saxum team.” The Step Up program is fortunate to have the recognized leadership and expertise of community advisers who guided the selection process for the 2009-10, $50,000 grant recipient. Those advisory members include: Ann Felton, chairman and CEO, Central Oklahoma Habitat for Humanity; Donna Rinehart-Keever, former president, Allied Arts; Bob Ross, president and CEO, Inasmuch Foundation; and Bob Spinks, president and CEO, United Way of Central Oklahoma.
Sign-up for the Museum E-news ARE YOU GETTING the Museum’s e-newsletter on Wednesdays? If not, please e-mail jeastep@okcmoa.com to start receiving the week’s e-news, special reminders about upcoming exhibitions and museum school classes, information on movie sneak previews, a calendar of downtown events for each week, and more!
ART TAP ON
A BEER TASTING EVENT! FRIDAY, OCTOBER 9, 2009 7:00-10:00PM
THE MUSEUM’S 6TH ANNUAL ART ON TAP will be held on Friday, October 9, 2009. Located throughout the Museum’s ground floor lobbies and on the Museum’s roof terrace, this exciting beer-tasting event will feature approximately 80 domestic and import beers from around the world. Hors d’oeuvres from local restaurants, such as the Museum Cafe, Abobe Grill Gourmet Mexicano, James E. McNellie’s Public House, and Old Germany Restaurant, will offer an assortment of flavors to complement any beer. Additionally, the evening will include live music by Bruce Benson on the Museum’s roof terrace at the Stella Artois Rooftop Beer Garden, sponsored by Premium Beers of Oklahoma. Last year this event sold out! So hurry and get your tickets to one of the most enjoyable events of the season. Tickets are available in advance only: $45 for members, $50 for nonmembers (Ticket sales will not be available the night of the event). For information, call (405) 236-3100, ext. 207. Purchase tickets online at okcmoa.com, at the Museum’s admission desk, or in the Museum Store.
5th Annual Beer Dinner
FEATURED SPONSOR Stella Artois
Featuring Belgium Beers Museum Cafe - October 12, 2009
PRESENTING SPONSOR $1500 Republic National Distributing Company STOUT SPONSORS $1000
Bronco Drilling Chesapeake Energy Corporation Cathy & Mike Cross Devon Energy Corp. First Mortgage Company Inasmuch Foundation OGE Corporation
5:30-6:00 p.m. - Beer & hors d’oeuvres cocktail hour. 6:00 p.m. - Dinner. $65 per person. Reservations are required. Call (405) 235-6262 Menu online www.okcmoa.com/cafe
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Exhibitions
The Collection Film
LAGER SPONSORS $500
Beale Professional Services Crawley Petroleum Mr. & Mrs. Ted Elam Frankfurt-Short-Bruza Associates Garrett & Company LLC Journey House Travel/ Brenda Kelly Kone Elevators Denna & Zeke Lay Duke R. Ligon Love’s Travel Stops & Country Stores MidFirst Bank OESCO Oklahoma Malt Beverage Association SandRidge Energy
PILSNER SPONSORS $250 Arvest Bank Virginia Meade Fox GlobalHealth High Rise Building Services Johnel & Frank Harrison Jerome A. Holmes Barbara Madden & Family Drs. Paul & Amalia Miranda Silverstein Sylvia & Marvin Small Kathy & Darryl Smette Jeanne Hoffman Smith UNUM/Scott Battaglia
As of September 1, 2009
Education News
Museum Welcomes Two New Trustees JEROME A. HOLMES was nominated by the President of the United States and confirmed by the Senate for a position on the U.S. Court of Appeals for the Tenth Circuit, which decides federal appeals coming from six states, including Oklahoma, New Mexico, and Colorado. When he took the oath of office, Judge Holmes became the first African-American to serve on the Tenth Circuit. Judge Holmes received his Juris Doctor from Georgetown University Law Center, where he served as Editor-in-Chief of the Georgetown Immigration Law Journal. He received his B.A. from Wake Forest University and earned his Master of Public Administration from Harvard University’s John F. Kennedy School of Government. At Harvard, Judge Holmes was a John B. Pickett Fellow in Criminal Justice Policy and Management. In addition to his service on the Board of the Oklahoma City Museum of Art, Judge Holmes currently serves on the boards of several nonprofits, including the Make-A-Wish Foundation and the Oklahoma Medical Research Foundation. He is a member of the Downtown Rotary Club of Oklahoma City. Judge Holmes also is a graduate of Leadership Oklahoma City (Class XX) and Leadership Oklahoma (Class XVIII).
OKLAHOMA CITY
MUSEUM OF ART Contact Information Visitor Services (405) 236-3100, ext. 237 Administrative Offices (405) 236-3100, ext. 0 www.okcmoa.com www.okcmoa.mobi
Museum Admission
JULIE HALL moved to Oklahoma City in 1989 with her husband, Kirk, who works at Fred Jones Industries. A native of Southern California, Julie graduated from the University of California, Los Angeles, with a bachelor’s degree in economics. She returned to the Anderson School of Management at UCLA to earn an M.B.A. in finance. Before moving to Oklahoma, Julie worked as a financial analyst for Columbia Savings in Beverly Hills. Julie has served as Chairman of Allied Arts, and President of the Oklahoma Zoological Society, Westminster School Board of Trustees, and the University Hospitals Foundation. She also was appointed to serve on the Oklahoma City Zoo Trust. Currently, Julie is active on the boards of the Oklahoma Humane Society, the Oklahoma School of Science and Mathematics Foundation, and the Oklahoma City Museum of Art. The Hall family also includes Bryan, a freshman at New York University, and Kendall, a junior at Casady School.
2009-2010 Annual Fund
Members, Free Adults, $12 Seniors (62+), $10 College Students (with ID), $10 Military (with ID), $10 Children (ages 6-18), $10 Children (ages 5 and under), Free Tours (15+), $7 per person Senior Tours (15+), $6.50 per person School Tours (15+), $3 per person
Museum Hours
Tuesday-Saturday, 10am-5pm Thursday, 10am-9pm (Cocktails on the Skyline) Sunday, noon-5pm Closed Mondays and Major Holidays
Film Admission
Members, $5 Adults, $8 Seniors (62+), $6 College students (with ID), $6
Membership
(405) 236-3100, ext. 215
EACH YEAR, the Oklahoma City Museum of Art relies on the generosity of its friends and supporters to meet the cost of providing programs and services to the community. One important vehicle for giving is through the Museum’s Annual Fund. The Annual Fund supports the Museum in its areas of greatest need. In addition to memberships, grants, and corporate sponsorships, gifts to the Annual Fund provide crucial funding for special exhibitions, education and film programs, and for general operating expenses. Look for the 2009-2010 Annual Fund brochure in your mailboxes in September. We hope you will consider giving to this year’s Annual Fund appeal. Gifts in any amount are deeply appreciated and are fully tax deductible. Your consideration is greatly appreciated. For more information, visit okcmoa.com/annualfundgiving. To inquire about gift processing or for information regarding Charitable Giving of stocks, bonds, mutual funds &/or other securities on behalf of the Museum, please call (405) 278-8215, (800) 579-9278, or e-mail annualfund@okcmoa.com.
Facility Rentals (405) 236-3100, ext. 286
Group Tours (405) 236-3100, ext. 286
School/Teacher Programs (405) 236-3100, ext. 212
Museum School School Tours/Reservations (405) 236-3100, ext. 213
Museum Store (405) 278-8233
Museum Cafe
(405) 235-6262 Sunday Brunch, 10:30am-3pm Monday, 11am-3pm Tuesday-Saturday, 11am-10pm OKCMOA offers docent-guided and self-guided tours to pre-scheduled adult and school groups of 15 or more. Call (405) 236-3100, ext. 286 (adults tours) or ext. 213 (school tours) for details.
Exhibitions
The Collection Film
Education News
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OKLAHOMA CITY MUSEUM OF ART
2009-2010 SEASON SPONSORS
nonprofit org. U.S. Postage PAID Okla. City, OK Permit No. 647
DONALD W. REYNOLDS VISUAL ARTS CENTER
415 Couch Drive Oklahoma City, OK 73102 (405) 236-3100 www.okcmoa.com
PRESENTING SEASON SPONSOR
Inasmuch Foundation
Address Service Requested
SEASON SPONSORS
Allied Arts Foundation Chesapeake Energy Corporation Devon Energy Corporation Kirkpatrick Foundation OGE Corporation Oklahoma Arts Council Crawley Petroleum Great Plains Coca-Cola Bottling Company MidFirst Bank SandRidge Energy, Inc. Saxum Public Relations Bank of America GlobalHealth Cox Oklahoma The Oklahoman Thatcher Hoffman Smith Film Endowment EDUCATION SPONSORS
Sarkeys Foundation and Sonic, America’s Drive-In Arts Education Endowments Oklahoma Community Service Commission
THANK YOU! New and Returning Season Sponsors. Your support is invaluable.
surprising. sophisticated. special.
Bring in this coupon to receive $5 off a purchase of $50 or more in addition to your 10% member discount.
Museum Cafe urban. elegant. unforgettable.
Monday 11:00 a.m. - 3:00 p.m. Tuesday-Saturday 11:00 a.m. - 10:00 p.m. High Tea Tues. - Thurs. 3:00 - 5:00 p.m. Sunday Brunch 10:30 a.m. - 3:00 p.m.
Expires December 31, 2009.
For more information, call (405) 235-6262. Make reservations or view menus at okcmoa.com/cafe
Let Us Cater Your Next Event!
Museum Store