Art Focus
O k l a ho m a V i s ual A r ts C oal i t i on
Ok l a h o m a Vo l u m e 3 0 N o . 2
March/April 2015
Art Focus
Ok l a h o m a
from the editor As we welcome the thaw of spring in our state, the Oklahoma Visual Arts Coalition (OVAC) brings you several opportunities to escape your hibernation, meet artists, and learn about their work and process directly. OVAC’s annual rite of spring, the Tulsa Art Studio Tour (p. 8) held April 11-12, features sixteen artists in ten studio spaces (plus an additional nine “bonus” artists in nearby studios). This two-day event showcases a variety of styles, media and spaces, emphasizing the diverse working methods of artists. This is your chance to get a glimpse of how these artists make their work, see works in progress, and ask your questions to the artist directly. Tickets are just $5 in advance or $10 at the studio door. If you’d like a preview of the artists on the Tour, you can check out the Preview Exhibition on view through April 1 at the Circle Cinema Gallery, 12 S. Lewis in Tulsa. Momentum OKC (p. 6) on March 6-7 offers an opportunity to view, purchase and experience some of the best art being made by young artists in Oklahoma. This highly competitive exhibition provides a springboard for young artists to launch their careers, many showing their work for the first time. The article in this issue of Art Focus introduces the three Spotlight artists, who each received $2,000 and several months of guidance from our curators to create new projects for the exhibition. These artists will give brief talks about their work during the free gallery hours on March 9 at 6 pm. If you’re interested in the theory and conceptual frameworks behind artistic motivation, you’ll likely enjoy the free public panel on March 21 as a part of OVAC’s Oklahoma Art Writing & Curatorial Fellowship. Three visiting experts will discuss various modes of community-based practices in the arts. Panelists are Chloë Bass (Brooklyn, NY), Julia Cole (Kansas City, MO), and Daniel Tucker (Philadelphia, PA). Visit www.write-curate-art.org for more about the program. Please join me at these upcoming events. I look forward to learning together with you.
Oklahoma Visual Arts Coalition 730 W. Wilshire Blvd., Suite 104 Oklahoma City, OK 73116 ph: 405.879.2400 • e: director@ovac-ok.org visit our website at: www.ovac-ok.org Executive Director: Holly Moye director@ovac-ok.org Editor: Kelsey Karper publications@ovac-ok.org Art Director: Anne Richardson speccreative@gmail.com
Art Focus Oklahoma is a bimonthly publication of the Oklahoma Visual Arts Coalition dedicated to stimulating insight into and providing current information about the visual arts in Oklahoma. Mission: Supporting Oklahoma’s visual arts and artists and their power to enrich communities. OVAC welcomes article submissions related to artists and art in Oklahoma. Call or email the editor for guidelines. OVAC welcomes your comments. Letters addressed to Art Focus Oklahoma are considered for publication unless otherwise specified. Mail or email comments to the editor at the address above. Letters may be edited for clarity or space reasons. Anonymous letters will not be published. Please include a phone number. OVAC Board of Directors July 2014-June 2015: Margo Shultes von Schlageter, MD, Christian Trimble, Edmond; Jon Fisher, Moore; Bob Curtis, Gina Ellis (Treasurer), Hillary Farrell, TiTi Fitzsimmons, Michael Hoffner (Secretary), Stephen Kovash, Travis Mason, Suzanne Mitchell, Renée Porter (President), Douglas Sorocco, Oklahoma City; Dean Wyatt, Owasso; Joey Frisillo, Sand Springs; Shelley Cadamy, Jean Ann Fausser, Susan Green (Vice President), Janet Shipley Hawks, Ariana Jakub, Tulsa. The Oklahoma Visual Arts Coalition is solely responsible for the contents of Art Focus Oklahoma. However, the views expressed in articles do not necessarily reflect the opinions of the Board or OVAC staff. Member Agency of Allied Arts and member of the Americans for the Arts.
Kelsey Karper publications@ovac-ok.org
© 2015, Oklahoma Visual Arts Coalition. All rights reserved. View the online archive at www.ArtFocusOklahoma.org.
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On the cover Cynthia Brown, Tulsa, Possibilities of the Heart, Acrylic and mixed media, 36” x 36”. Brown is one of 16 artists featured on the Tulsa Art Studio Tour, April 11-12. See page 8.
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p ro f i l e s 4 A Want of Communication: Sally Schuh
As she settles in to her new home in Stillwater, Sally Schuh shares about her work as both an artist and a community organizer.
p re v i e w s 6 Momentum OKC: Artists in the Spotlight
Three Spotlight artists are creating new bodies of work for the annual Momentum OKC exhibition, which highlights Oklahoma artists ages 30 and younger.
8 A Room With a View: Tulsa Art Studio Tour
Sixteen artists in ten studios will open their doors to the public April 11 and 12 in Tulsa.
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10 Balanced Enchantment: The Art and Writing of Paul Medina
In a new series of sculptures, Oklahoma City artist Paul Medina addresses the frailty of humans in the face of powers beyond their control.
12 Creators: An Art Party of Ideas
A Tonkawa exhibition highlights the diverse talents of the Northern Oklahoma College art faculty.
14 Shifting Focus
Philbrook Downtown in Tulsa features the work of contemporary Native artists who use historical photographs as their inspiration.
18 The First Fifty Years of Oklahoma Art
Bringing together work by Oklahoma’s art pioneers, this exhibition showcases significant artists from the first fifty years of statehood.
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20 A World Unconquered
The Fred Jones Jr Museum of Art in Norman presents the most complete retrospective of the work of Oscar Brousse Jacobson.
f e a t u re s 22 Ekphrasis: Art & Poetry
A painting by Noel Torrey inspires poet Chad Reynolds to consider what it means to recognize other ways of being.
24 On the Map: Scissortail School of Art
Overflowing with art supplies and creativity, Norman’s newest art school develops the next generation of artists.
business of art 26 Ask a Creativity Coach: Handle Critique and Negative Self-Talk
The Creativity Coach offers tips for assessing the validity of praise and criticism of your artistic work.
OVAC news 27 OVAC News 28 New and Renewing Members 29 g a l l e r y
(p. 6) Jenna Bryan, Norman, Kawaisugiru, Mixed media, 40” x 30” (p. 8) Daniel Sutliff, Tulsa, Doozer, Acrylic on canvas, 36” x 60” (p. 24) The Scissortail Art School in Norman, founded by Lindsey Martin. Photo by Lindsey Allgood.
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A Want of Communication: Sally Schuh by Louise Siddons
Sally Schuh, Stillwater, Beauty Reflected, 2014, Vinyl lettering, Dimensions variable. Installed at North Seattle College, 16.5” x 142”
Sally Schuh was born in Buffalo, New York and spent much of her career in Seattle, Washington. Six months ago, Schuh relocated to Stillwater, Oklahoma, where she now works for Oklahoma State University as a visual resources curator. She holds degrees in sculpture from the University of Illinois Urbana-Champaign and in printmaking from the University of Washington Seattle. Her work has been exhibited at G. Gibson Gallery, Greg Kucera Gallery, the University of Puget Sound, Kala Art Institute, and elsewhere both nationally and internationally. We had an energetic discussion about her work both as an artist and as a community organizer, and what’s she’s looking forward to in Oklahoma. When did you know you wanted to be an artist?
Growing up, I went to the AlbrightKnox [Art Gallery, Buffalo, NY]; I vividly remember a room with a Kenneth Noland target painting, Andy Warhol’s Brillo boxes, and Lucas Samaras’ Mirrored Room. They were like toys in the best sense, and so I had a sense of art as accessible and fun. Your work is not, on the surface, a lot like Warhol or Noland…
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My work is influenced by minimalism and conceptualism, the concrete poets, and the text-based work of Lawrence Weiner and Joseph Kosuth. Then Lorna Simpson and Barbara Kruger… My interests have always pulled toward language and text-based stuff. I connect with process. Immediacy gets in my way. In printmaking and sculpture, there’s something in between the work and my hand that helps me develop the ideas. I love that what’s under the press blanket or inside the mold is never totally predictable. Your recent work uses texts written by Gertrude Stein.
I’m more and more interested in this line when text becomes image. Kruger, for example, works with a message in a very directive way. I’m interested in something a little more poetic. Part of what I love in sculpture is the multiples of things. If you have enough of them it’s really, really fun. Stein had this level of obsession about it that’s really appealing. I ask my students to read Stein’s poetry aloud. For me, your work is the visual equivalent of that sonic experience.
Oh, I’m glad that successfully came
across! Stein was breaking down written language, and I want to find ways of doing that visually. I started to work with Stein because I wanted more access to things like her repetition, which is never quite right, she never repeats herself… I decided to transcribe it on the typewriter, and the physicality, the sound of it—I felt like I was channeling Alice [Toklas]. I remember reading the Autobiography of Alice B. Toklas, and thinking it was so arrogant of Stein to write someone’s life for them. You taking Stein’s words and saying “they’re mine now” felt very redemptive. I love that you are doing to Stein what she did to everybody else.
[Laughing] Well, I think you’re giving me a little more credit than I deserve, but thank you! Oh, I don’t think I would like her at all. Her ideas about genius, about being outside of gender and treating women so poorly, and denying any Jewishness when it was the Holocaust, for God’s sake. It did take me a while to decide, I’m going to use it and I’m fascinated by it anyway. In my earlier work, I was using language from the turn of the century: “Stammering is a want of communication.” How great
Quite Wonderful (detail), 2013, Vinyl lettering, Dimensions variable by site. Installed at A Project Space, 2.5” x 118.5”
is that? It’s English but it’s not the way we speak now. And it’s very much about my work. There’s this stutter or stammer in how I’m taking something in visually and shifting it. And that stammer, that not-quite, I don’t know how to explain it…. In the typewriter pieces where I was overtyping until the paper started to break down, what’s interesting to me is that static and noise—not quite being able to articulate something visually or verbally. In my installation at A Project Space, I removed the middle of the letters in a sentence. I was both leaving it as a sentence and not. I’ve recently had an opportunity to play with windows, to have something read visually from both directions—and I like the scale. I wish I had opportunities to do more things at a much larger scale. And yet I’m sad that smaller scale stuff is dismissed. As a printmaker, I value the beauty of something that you really have to spend time with on a more intimate scale. You created and ran A Project Space, which was a residency with relatively informal exhibitions. How did that come about?
Because of my interest in process—I wanted artists to have control over when they let someone into their space, but providing the public with an opportunity to see their process was really exciting for me. I wanted there to be conversation about what happens in an artist’s studio, because it is very
different from what people see in a gallery. I want people to see art as something they can engage in as makers, viewers, collectors… You’ve also worked with Seattle Print Arts for a long time.
I ran Seattle Print Arts for about five years, working with 300 members. I put together biennial exhibitions, and we did art exchanges with Oaxaca and with China. The advantage of print is that you can do portfolio exchanges and exhibition exchanges. We got David Kiehl, from the Whitney, to jury one of the biennials, and Sarah Suzuki from MoMA—she was a kick. We pulled together money out of nowhere. I learned grant writing, and how to have that large vision for projects and the small details it takes to make them happen. I realized I can go back and forth between both, and it’s something I really love. Although it feeds my own professional practice, the energy that I’m putting into community can also derail it. But you get to the end and it’s amazing and you’re on this high—and I have to accept that it’s part of what I do in the world. So… we’ll see what I can do here! Are there things you’d like to find in Oklahoma?
I have a lot to learn. Being outside of an urban environment gives me a little more freedom. You have to make the effort to get out there, have conversations with new people, to put the pieces together. Going
Beautiful (detail), 2008, Japanese paper, beeswax, 31.5” x 24”
to the Oklahoma Arts Conference was really helpful, as is having Liz [Roth, Schuh’s wife] be a part of the community for almost a decade. For me right now it’s watching, talking to people, meeting individual artists who I have affinities with…. Those webs of connection are really what’s important. Oklahoma is going to change my work, and I’m curious to see how I navigate both my community-building self and my workingartist self. I’m very excited to see what’s next. See more of Schuh’s work at www.sallyschuh.com. n Louise Siddons is an assistant professor of art history at Oklahoma State University. She is currently writing a book on Oklahoma modernist J. Jay McVicker (1911-2004).
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Momentum OKC: Artists in the Spotlight by Krystle Brewer
(left) Eric Piper, Norman, The Answer is the Disaster, Serigraph, 30” x 22”. (right) Jenna Bryan, Norman, How to Lead, Woodblock relief print, 60” x 40”.
Twice each year the Oklahoma Visual Arts Coalition (OVAC) organizes an exhibition that focuses solely on Oklahoma artists ages thirty and younger: Momentum. OVAC selects a guest curator who in turn selects an Emerging Curator to work with and offer support to three key artists from the show, who have been selected as the Spotlight Artists. Each of these artists are awarded $2,000 and months of curatorial assistance to create a body of work or project that they may not otherwise have the resources to achieve. This year’s Momentum OKC curator is Juan William Chávez. He is a St Louis based artist who is interested in work that defines spaces through cultural and community connections. Emerging Curator, Suzanne C. Thomas, has a similar artistic perspective through her role as president of Inclusion in Art and her participation on boards for other art nonprofits. This shared ideology and approach to art and placemaking can be seen as a connecting vein through the proposals of each Spotlight Artist.
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Randall Barnes: #EmbraceTheBuff
Influenced by 1970s and ‘80s Kung Fu films, Randall Barnes pulls from the concept of kung fu: kung meaning skillful work, hard training or endeavor and fu meaning time spent. The two combined translates as time spent at skillful work, or hard training, or a craftsman. This definition of kung fu remains at the center of Barnes’ work. Barnes’ current project #EmbraceTheBuff draws from his time as a supervisor for the Oklahoma City Police Department in which he was responsible for the “buffing” out of
graffiti around the city. As an artist himself, it creates a tension between the street art or tagging and the pattern of rectangles he creates by removing them. This perpetual cycle of art making, covering, and making again is the guiding pattern for #EmbraceTheBuff. To accomplish this, Barnes is creating an alleyway in the gallery where he and a graffiti artist collaborator will engage in a continuous process of tagging the wall and buffing it out. It will be an ongoing push and pull throughout the duration of the exhibit.
Randall Barnes, Midwest City, The Technique Depends Mainly on Arm & Finger Strength, Woodcut painting, 6” x 12”
Jenna Bryan: Kamisphere
“In Japanese the word kami translates to both ‘paper’ and ‘god,’” said Jenna Bryan on her project. “The combination of these two forces is my closest understanding of what God is. Therefore, my only way of observing or connecting with God is through nature and through human beings.” Her interactive work Kamisphere is the coalescences of these thoughts. Allowing people to create avatars out of paper and, through these miniatures, place themselves in an environment, will produce a unifying gesture connecting the participants. Additionally, as participants create their own tiny version of themselves and personalize it with the clothing and tool cut-outs provided, the collaborative piece will morph and change according to those unique choices. Another element added to the work is the Japanese cultural phenomenon of kawaii. Essentially the word has grown to mean “cute” and captures the favored aesthetic of “cuteness” popular in Japanese culture. The way that kawaii renders objects in an otherworldly fashion is also a key reason for Bryan’s use of it. By adopting this style, she hopes to create another world for the
participants’ avatars to exist in, similar to that found in video game culture.
facilitator of creative experience alongside that of art maker.
Eric Piper: Authentic Human Interaction
Curator Juan William Chávez says, “The Momentum Spotlight artists all presented strong proposals that demonstrated great potential for both audience and community interactions.” With these interactive projects put forth by the Spotlight Artists, surrounded by submissions to the broader juried exhibition, Momentum continues to capture the dynamic landscape of art made by young artists in Oklahoma.
For his project Authentic Human Interaction, Eric Piper is running and documenting programming for Dope Chapel, a community space in Norman, for two months. In this space there will be a variety of artistic practices including visual art, concerts, workshops, lectures, and performances for the purpose of community building and creative growth. All of these experiences will then culminate at the Momentum opening in the form of visual, video, and audio documentation for viewers to see. In addition, Piper will make a 3D model of the Dope Chapel space, complete with a tiny exhibition inside, for viewers to see the layout of the space. “I feel art is a poetic way of experiencing the world. I feel that it allows us to communicate deeper than simply words or actions or objects,” said Piper on the work. “I hope that my art stimulates a meaningful poetic dialogue between the audience and their world.” His work demonstrates the changing role of the artist in social practice to include
The show opens March 6th and 7th from 8-11 pm at the Farmer’s Public Market, 311 S. Klein in Oklahoma City, with live music from local musicians, food trucks, performances, film screenings and more. There will also be free gallery hours the 8th and 9th from 2-7 pm, with the Spotlight artists offering brief talks about their work on the 9th starting at 6 pm. Visit www.MomentumOklahoma.org for more information. n Krystle Brewer is a Tulsa based artist, writer, and curator. She can be reached at www.krystlebrewer.com.
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A Room With a View: Tulsa Art Studio Tour by Mary Kathryn Moeller
(L to R) Tulsa Art Studio Tour featured artists Daniel Sutliff, Brooke Golightly, and Marjorie Atwood.
Painter and musician Daniel Sutliff says his studio space might be untidy but it works perfectly for him. Located at the Arts and Humanities Council of Tulsa’s Hardesty Art Center (AHHA) in Tulsa, Sutliff states that the studio is “chaotic and cluttered, but in a good way. I primarily paint, so having a lot of wall space and a lot of natural light is a plus. It’s nice to have a place where I can just focus on my work. I also like the fact that the studios are four floors up with an awesome view. That’s important. It’s nice to be able to step outside and clear my head every once in a while. ” This spring Sutliff will be one of sixteen artists to invite visitors to explore their studio space and learn more about their art work and creative practices. The public will have the chance to visit studios of artists working in a variety of media on April 11 and 12 as part of the Oklahoma Visual Arts Coalition’s (OVAC) 2015 Tulsa Art Studio Tour. Sutliff is one of three artists working at the AHHA studios who will be showcased on the Tour. Photographer Brooke Golightly also
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utilizes the space at AHHA and characterizes her studio as “small, comfortable, and eclectic.” Primarily Golightly prepares props for her photos and stores materials in her studio since she shoots almost entirely outdoors. She is currently working on a collaborative project with an Oklahoma City artist and creating pieces focused on a variety of Oklahoma landscapes. Painter and mixed-media artist Cynthia Brown (cover) has transformed a former garage apartment in her backyard into her studio. “The space is small but roomy enough to allow me space to work on several paintings at one time. My heated bamboo floor keeps it toasty in the winter.” Like Sutliff, Brown speaks of the importance of natural light and the inspiration drawn from a spectacular view. “I have two walls of windows with plenty of natural light. I have an awesome view of downtown Tulsa from the deck outside my studio.” Brown is currently working towards a joint exhibition in March with her good friend
John Hammer, Tulsa, Woody, Acrylic on canvas, 12” x 9”
Cynthia Marcoux. The Two Cynthias will pair Brown’s large abstract paintings, built upon layers of loose marks of color and writing, with Marcoux’s precise pencil drawings of antique memorabilia.
Tulsa Art Studio Tour 2015 Self-guided tour April 11-12, 2015, Noon-5 pm www.TulsaArtStudioTour.org
Jim Terrell, whose studio is located in la Maison at 11th & Victor, is currently working with Golden Open Acrylics, a relatively new medium for him. Terrell is using this slow-drying paint on three different series of works, which he is working on simultaneously. The largest of the three series focuses on fence post “totems.” It was on a drive down Highway 66 that he noticed a dress shirt attached to a fence post. He states, “Since then I have been looking at all the things that are put together on fence posts. I’ve discovered that much is communicated on those posts. These paintings are my memories, real and imagined.” Terrell states that it took time to grow into his studio but now it’s a home away from home. “The space is well lit and spacious enough to work. There is enough space to place an easel on one end and watercolor station on the other. I have good ‘get back space’ which is always nice to get a better view of the work.” Like Terrell, painter Marjorie Atwood is currently working on three series of works at the same time. She expects to have a variety of works in different stages of completion for visitors to see on the Tour. Her painting process involves a great deal of underpainting and multiple layers which allow her to progress through several pieces at once. Atwood explains that the unifying element among her different series “is the use of gold leaf and the patination of different kinds of leaf.” She describes her studio as a spacious storefront with fantastic light. “It is across the street from Ziegler’s Art Store which can be dangerous as it is easy to just walk across the street for something.” The 2015 Tulsa Art Studio Tour will be held Saturday and Sunday, April 11-12 from Noon-5 pm each day. Sixteen artists in ten different studios will welcome visitors. An additional nine “bonus” artists in nearby studios will have their spaces open as well.
Tom Conrad, Tulsa, Courtesans, Acrylic
A free preview exhibition is on display at the Circle Cinema gallery, 12 S. Lewis Ave in Tulsa, through April 1. Visitors will get a taste of the art and artists to be featured on the Tour. Tickets to the Tulsa Art Studio Tour are $5 in advance and $10 at the studio door. Admission for children and students is free. The event is sponsored in part by the Oklahoma Arts Council and Kinslow, Keith & Todd, Inc. For more information, visit www.TulsaArtStudioTour.org or call 405-879-2400. n
16 Artists in 10 Studios Marjorie Atwood, Mixed Media Cynthia Brown, Painting & Ceramics Jeremy Charles, Photography Rebecca Joskey, Painting Chris Rodgers, Statuary restoration Jim Terrell, Painting Ken Place, Woodworking Waterworks Studios: Sally Bachmann, Fiber art Tom Conrad, Painting Yusuf Etudaiye, Ceramics Robin Tilly, Jewelry AHHA studios: John Hammer, Painting Brooke Golightly, Photography Daniel Sutliff, 2-D Mixed media Brady Artists Studio: Mel Cornshucker, Ceramics Donna Prigmore, Ceramics Plus 9 bonus artists in nearby studios
Mary Kathryn Moeller is an independent curator, writer, and educator. She holds a MA in art history and teaches at Oklahoma State University. She is available via e-mail at mkmoeller77@gmail.com.
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BALANCED ENCHANTMENT: The Art and Writing of Paul Medina by Erin Schalk
(left) Paul Medina, Oklahoma City, Citrus, Mixed media, 19” x 13” x 8” and Red Earth, Mixed media, 26” x 6” x 6” (right) Wheel, Mixed media on clay and wood, 29” x 19” x 11”
In recent years, the truism that the future is uncertain has become increasingly palpable. Great awareness and anxiety involving environmental issues such as global warming, dangerous levels of pollution, and water and food shortages plague individuals and communities on local and global levels. Countless grassroots efforts spring up annually, intent on promoting sustainability and undoing past ecological damage. Yet problems remain which seem insurmountable. In his Balancing Acts sculpture series, Oklahoma City artist Paul
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Medina addresses what he describes as a “dysfunctional sadness” at humans’ frailty and folly in the face of powers beyond their control. Medina’s Balancing Acts is a series of clay and mixed media figural sculptures. Perhaps the most remarkable feature of these personages rests in their delicacy. Some sculptures are comprised of disembodied faces under totems of stacked objects, while others feature limbless torsos with gently tilted heads. By abstracting the body, Medina draws attention to each individual’s
sensitively rendered facial expression, and these countenances exhibit an otherworldly emotional depth. With closed or half-lidded eyes and slightly open mouths, these figures appear in a serene and almost dreamlike trance. Simultaneously their sense of peace is tenuous. The balance between each person and the burdens he or she carries teeter precariously in space, threatening to collapse at any moment. Medina’s sculptures are not merely harbingers of what may be a progressively challenging future. Destruction is contingent upon
an initial creation. By taking pleasure in this process of creation, Medina continually generates new ideas for his visual art. Furthermore, it is this constant experimentation, problem solving and resulting discoveries that lead Medina through all evolutionary stages of each body of work.
available in three formats including a special edition with Medina’s illustrations, a second edition with the novel only, and a Kindle eBook. On April 18th at 2 pm, Medina will hold a book signing at JRB Art at the Elms gallery, 2810 N Walker in Oklahoma City. Prints of the book’s illustrations will also be available for purchase.
Medina describes, “With the series Balancing Acts, I had a concept and a visual road map. After about seven pieces, the concept shifted a little and so did the visual imagery. As I progressed even further, the figurative elements fell away and the pieces became more simplified and abstract. Did I have that in mind at the beginning of the creative journey of the series? Absolutely not. The exploration of the new materials, playing, stumbling with the new tools, in part led me to this new place. I wouldn’t have it any other way.”
Sculptures from Medina’s Balancing Acts series will be featured at 108 Contemporary in Tulsa and JRB Art at The Elms in Oklahoma City this spring. Both exhibitions will have an opening reception on Friday, April 3rd. Medina and artist Seigfried Halus will both show at JRB, and their two-person exhibition will close on April 25th. Medina’s exhibition at 108 Contemporary will extend through May. For more details, please visit 108contemporary.org and jrbartgallery.com.
In Balancing Acts, it is apparent that Medina radiates a passion for unearthing the unexpected through his process of making art. This love of discovery extends far beyond the walls of Medina’s studio. He recently published his first novel Enchanted Circles, a fantasy tale for young adults that addresses themes of the joy inherently found in curiosity, as well as maintaining faith in infinite possibilities. Enchanted Circles follows the adventures of the protagonist Zak, a twelve-year-old boy who is uncommonly wise and concerned for the welfare of others. As Zak grapples with an emotionally distant father and the loss of his mother, he uncovers a magical history at the homes of his Aunt Millie and her neighbors in the mountains of New Mexico. Medina’s experience as a professional visual artist is apparent in his captivatingly descriptive writing style. Through words, he conveys detailed sensory information which encourages readers to pause and meditate upon the sweet aromas of Miss Hannah’s freshly baked peanut butter cookies, her kitchen’s ethereal mosaic floor, and the everchanging palette of colors in New Mexico’s enchanting landscape.
To find further information on Medina and his art and writing, please visit enchantedcirclesseries.com. n Erin Schalk is an artist and writer based in Dallas, Texas. She may be reached at elschalk@gmail.com.
Balancing Act #3, Mixed media, 23” x 10” x 9”.
Enchanted Circles may be purchased through Amazon and createspace.com. The novel is
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CREATORS: An Art Party of Ideas by Lucie Smoker
“How wonderful and curious each individual life is. When you look at it from the right angle, you can see the cracks, the oddities,” says Dr. Don Stinson, poet and professor at Northern Oklahoma College (NOC). Teaching gives him something of a peephole into students’ everyday lives, “a fuller view of the communities in which we live and work.” At the Eleanor Hays Gallery in Tonkawa, Stinson and other members of the awardwinning faculty have merged paintings, digital media, sculpture, ceramics and poetry into Creators: The Faculty Biennial, a glimpse into each of their creative lives. The interplay of divergent ideas creates a feeling of conversation, like walking into some cool New York art party except nobody’s behind on the rent. “It’s all about friendship, people working together,” says Jena Kodesh, a multi-awardwinning instructor. “As teachers, we have a lot of influence. My students know that I care about them as well as the art. I try to meet each kid where they are.” She teaches drawing, design, watercolor and oil painting to small classes of about a dozen students. As she gets to know each individual, she uses her training in both art and behavioral therapy to pull out their strengths. “I give a lot of my ideas to the students so I have to keep pushing myself as an artist. I learn from the kids, too, but sometimes I start feeling more like a teacher than an artist. I get the desire to create and just have to get it out.” Her upbeat paintings embody deep purple wines, golden pears and light reflecting off glass. She enjoys organic shapes from nature but again uses them to symbolize a personal connection. “I recently adapted wine to represent my hospitality toward friends—and as a symbol of myself.” (top) Ken Crowder, Tonkawa, Waiting Gown, Photography (bottom) Jena Kodesh, Tonkawa, The Kids Are Gone, Oil on canvas, 11” x 14”
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In sharp contrast, poet Don Stinson sees himself as a loner who enjoys surreal views into life’s strangeness. From his poem Shadow of a Shadow:
In the midst of our lives on long drives we wander and we ponder the ways the swift days mystify...
Each artist chimes in with a different voice. Audrey Schmitz’s charismatic 3D sculptures use “the earth itself (clay), and tiny earth facsimiles (toy metal globes) in combination with photographs to express ideas of transformation, energy, and life cycles.” It is her human imagery, however, that draws the most attention with deep insights like snippets of an overheard confession. Motion graphics by Brad Matson offer a bridge between the natural reality and the digital one. When he arrived at NOC 14 years ago, he had never used a computer. With a background in filmmaking, he progressed from Beta tapes to leading a program in state-of-the art digital media. “Basically, you have to outwork the competition,” he says. His intense program of 3D animation, modeling, motion graphics, editing and filmmaking began the year with thirty-two students but will graduate only twenty. “The difference is the p-factor: the passion to do something.” It’s the passion and interplay of these works that builds the feeling of conversation. These people like working together; they respect each other’s ideas. What a great environment for bringing out diverse talent. Photographer Ken Crowder joins in last, quietly, with the voices of the party’s wallflowers. “Most people can see images if they are shouting at them, or even talking to them. One of my goals in my life as a photographer has always been to be on the lookout and be sensitive to wonderful photographic subjects that are whispering.” With such deep respect for diverse ideas, it’s no wonder that Kodesh calls their program the “best-kept secret in the state of Oklahoma.” The Creators exhibition is open Monday through Friday from 1-5 p.m. through March 27 at the Eleanor Hays Gallery, Northern Oklahoma College, 1220 E. Grand, Tonkawa. For more information, call (580) 628-6670. n Lucie Smoker is an Oklahoma mom, mystery author and freelance writer who believes totally in the power of community. For more on her work, go to luciesmoker. wordpress.com.
(left) Brad Matson, Tonkawa, 3D Car, Video still. (right) Audrey Schmitz, Tonkawa, This Side Up, Clay, wood, photographs.
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Shifting Focus by Renee Fite
When photographers began capturing images of people or places to be remembered, and perhaps cherished, the art of photography was born. Historic photographs can be studied to reveal traditions, documentation of events and fashion. Photographs have inspired artists to translate their perceptions of those images, marrying them with their media of choice. Eloquent examples of such paintings, pottery, beadwork, basketry and a graphic novel are currently on display through April 26 at the Philbrook Downtown in Tulsa in the exhibition Shifting Focus: Historical Photos, Contemporary Art. For this exhibition the featured photographic images were taken by both professional photographers such as Edward S. Curtis, as well as snapshots by relatives from family albums. The artworks based on these photos are expressive in reimagining how those images can live today, with one piece of pottery even having a Star Wars theme. “This show is very focused on how Native American artists have used historical photographs in their creations. I’m really interested in what the artists say through their self-identity with their work, through this small show with a big idea,” said Christina E. Burke, Philbrook Curator of Native American and Non-Western Art, who organized the exhibition. A larger than life painting at the opening of the exhibition features a long-legged, lanky young Native American man with a cheerful smile, wearing a blue Navy uniform, standing in front of a family store, with a partial red Coca Cola image painted on the wall behind him. Uncle David (Killed in Action 1944) by Bobby C. Martin, a Muscogee (Creek) painter and printmaker from Tahlequah, is rendered in oil, encaustic, collage, and screen print on panel. This painting melds two family photos, showing both a red, white and blue patriotic image, Bible text and images and represents the fact that Native Americans have been involved in every branch of the service in every war, more than any other ethnic group. Martin said he was “blown away” when he walked in and saw his piece as the anchor piece. “I am honored and blessed that Philbrook’s curator, Christina Burke, asked me to be a part of the exhibition,” Martin said. “She’s been a
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supporter and champion for Native art and artists, especially Oklahoma artists, for a long time and she continues to put together amazing shows. We’re very fortunate to have her at the Philbrook.” Old family photographs passed down from his full-blood Muscogee (Creek) grandmother, mother, aunts and cousins provide a nearly endless supply of resources for his artwork, Martin said. “At almost every family get-together, a cousin shows up with a new batch of photos that they found in a shoebox in a closet, or in the tattered black pages of an old leather-bound photo album,” Martin said. “These images of close kinfolk and distant relatives have become icons for me, symbols of a Native American identity that is not seen as ‘traditional,’ but is just as valid and vital to me—a tradition of Indian Christianity and mission schools that has been a part of my family history for generations. The images provide a connection with my past, a way to remember and honor the generations that have come before, a way to commemorate our unique family heritage.” He especially likes the way Burke presented the original photos that the artwork was derived from right next to the artwork. “You rarely see that in any exhibition. Most of the time as a viewer you have no knowledge that there was a photo reference or inspiration,” Martin said. “For me, it was interesting to see the old Curtis photo that Fritz Scholder based his painting on, or some of the other works that used photos as a starting point. I also appreciated the way my photos were displayed next to my piece, so that viewers got a glimpse into some of the history and backstory of my creative approach.” An oil on canvas painting by Fritz Scholder, Luseiño (1937-2005) Indians #19, 1967, was created after seeing a photograph by American Edward S. Curtis (1868-1952), Arikara Medicine Ceremony- The Ducks circa 1908. “It’s big and bright, and inspired the idea for this show,” said Burke of the painting. “Scholder animated Curtis’ black and white images with his characteristic bright color palette and quick brush strokes, giving historical photographs
(top) Bobby C. Martin, Tahlequah, Uncle David, Killed in Action 1944, Encaustic, oil, collage and screenprinting 48” x 72”. (bottom) Reference Photo of R.W. and David Herron, c. 1943
new life.” Curtis is famous for his monumental 20 volume series published between 1907 and 1930 of North American Indians. Said Burke, “We see these Curtis photographs so often in documentaries and shows about Native people.” Artists like Fritz Scholder are reinterpreting to another level, said Burke. “He did a whole series of paintings based on Curtis photographs that were part of a traveling exhibit the Smithsonian did in the ‘70s.” San Ildefonso Pueblo artist Tony Da (19402008) took photographs of his grandparents and recreated them in realistic one to one
translations in printmaking and drawing, adding images to better define the people, such as round images of iconic pottery his grandmother made that appear like halos behind her head. “His grandparents Maria and Julian Martinez made the black on black pottery which features stylized feather designs and a feathered serpent, known as Avanya to the Pueblo people of the southwest,” said Burke. Along with the paintings, some artists are going to 3D in very specific ways including pottery, basketry and beadwork. Twilight beaded handbag, 1998, by Jackie Larson-Bread, Blackfeet, represents a reprint of a photograph by American photographer Charles M. Bell (1848-1893) Portrait of Lakota leader, Red Shirt in Washington DC, circa 1880. “This photograph was taken about 100 years ago, and Jackie redid that portrait in glass beads, adding color and texture, bringing it into the present,” said Burke. “She’s known for her intricate beaded ‘portraits’ of Native American leaders.” Star Wars is the theme on a large pot made by Susan Folwell, Santa Clara Pueblo, that shows the silhouette of Hopi women with a butterfly hair style and one of Princess Leia, with similar hair styles and design images. The landscape from Luke Skywalker’s home planet could easily be that of the Hopi. “Borrowed from Fred Jones [Jr. Museum of Art], this pot was made from the image of a 1907 Curtis photo,” said Burke. “Another interesting layer of this piece is Navajo language that says, “in a galaxy far, far away,” the opening line from Star Wars, and refers to the fact the movie was recently dubbed in the Navajo language.”
Love is the theme of another pot, Polaroid Indian Love Song, 2014, which is a tribute to Cherokee artist Stephen Woods’ mother. Two photographs of his mom on vacation, standing next to a man in flamboyant regalia in one image, and an unexpected kiss in the next. They were taken a year or so before she met his dad and are displayed on the wall beside the large, somewhat heart-shaped, vessel. “The pot incorporates traditional designs, copper and a transferred photograph onto the pot,” said Burke. Roy Boney, Jr., Cherokee artist and language preservationist, did a lot of research for the artwork on the cover of his 2013 graphic novel, Tales of the Mighty Code Talkers, We Speak in Secret, which depicts Cherokee Code Talkers, and incorporates the Cherokee syllabary into it. World War I soldier George Adair, along with other historic photos and accounts, were some of his inspiration. Tulsa artist Shan Goshorn, Eastern Band of Cherokees, turned an historical photo of Native students from the Carlisle Boarding School in Pennsylvania into a basket. She wove not only the photograph, but text of the student’s names into the design, reviving and forever documenting their presence at an institution seemingly designed to eradicate their culture. The basket, made in 2013, is entitled Stolen. As with many historical photographs the identity of the person or people depicted often remains unknown. For Native Americans, Burke is among those working to change that. Throughout the 20th and 21st centuries, Native American art has shifted from utilitarian to something more esthetic, said Tricia Milford-Hoyt, director of communications for Philbrook. “This exhibition has been very well received, and a point of pride for Oklahoma and Tulsa,” she said. “The anonymity of records of Native Americans in the past is better represented now with the research and preservation by Christina and her colleagues, with an essential part of her work to recognize their identity.” Burke said, “Our records are very well documented, not anonymous. This keeps the names alive.”
Jackie Larson-Bread, Blackfeet, b. 1960, Twilight beaded handbag, 1998, Leather, glass beads
For more information, visit www.philbrook.org. n
(top) Fritz Scholder, Luseiño, 1937-2005, Indians #19, 1967, Oil on canvas. (bottom) Edward S. Curtis, American, 18681952, Arikara Medicine Ceremony – The Ducks, c. 1908, Reprint of photograph.
Freelance writer, photographer and artist Renee Fite is the founding president of the Arts Council of Tahlequah, wife of musician John Fite, mother of five and grandmother of three. A graduate of Oklahoma Arts Council Leadership Arts Class 7, she encourages others to explore our state arts through this incredible experience.
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Developing creative thinking skills 173,000 kids served An agency of state government • arts.ok.gov
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TH E UNB E AR A BL E A BSE N CE OF LANDS C A P E : a s t a t ew id e k n i tti ng proj ect Call for Knitters and Donations Project Description: The Unbearable Absence of Landscape is a statewide knitting project to unite communities and draw attention to Oklahoma’s beautiful skyscapes. Led by Oklahoma artist Romy Owens, the project is comprised of independent knitters, knitting circles, and outreach groups to create a single large “blanket” that will cover the façade of 108 Contemporary’s gallery in Tulsa’s Brady Arts District. The top portion will be comprised of blue squares where the lower half will consist of green squares, so that at a distance it appears as a continuation of the landscape; in essence making the gallery a part of the skyline. Knitting Specifications: Yarn: 80-100% Acrylic, super bulky 6, blue or green Stitches: garter, stockinette, seed/British moss, American moss, basket, cable, raspberry Square: 25 stitches across (approx. 8.5”-9”), 24 - 28 rows down but shorter or longer is fine too, leave at least a 12” tail at the start and end, size 8 needles Drop off locations: • 108 Contemporary: 108 East M.B. Brady Street | Tulsa, OK 74103 | 918-895-6302 • Oklahoma Visual Arts Coalition: 730 West Wilshire Blvd, #104 | Oklahoma City, OK 73116 | 405-879-2400 Additional statewide drop off locations in Bartlesville, Enid, Lawton, and McAlester will be announced as they are made available. The installation is scheduled for Fall 2015 and will remain up until it begins to deteriorate. For questions on the project or information about donating yarn contact: a.d@108contemporary.org or visit 108contemporary.org
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The First Fifty Years of Oklahoma Art by Emily L. Newman
This spring, Oklahomans will have the opportunity to see and study art pioneers from across the state. These leaders have not only produced powerful artwork, but worked to develop art awareness throughout the state, promote and create lasting cultural institutions, and design art curriculum and programs for schools across the state. The First Fifty Years of Oklahoma Art, on view at the Gaylord-Pickens Museum in Oklahoma City, is a focused show that examines the development of art and art communities at the time the state was really defining itself. Curated by Amena Butler, Art Resource Curator of the Melton Art Reference Library, the exhibition includes a wide variety of artists working in a variety of mediums. The idea for the show emerged years ago, when Butler was working on creating a directory of Oklahoma artists. This exhibition acts as a resource, by illustrating the work of the early significant artists. Now that the exhibit has come to fruition, it is not only exciting, but necessary and useful to see these path-breakers in one place. These are the artists and influential figures that laid the groundwork for contemporary artists working in Oklahoma and the thriving art communities that populate the state. Butler chose artists that were “firsts,” focusing on men and women who broke boundaries and used their artwork to advance their cause. For example, in including Martha Avey’s work, Butler draws attention to the fact that she instituted an art curriculum for Oklahoma public schools. Additionally, the work of Oscar Brousse Jacobson, whose work is currently featured in an exhibition at the Fred Jones Jr. Museum of Art in Norman (see story on page 20) is shown. Jacobson not only shaped the art program at the University of Oklahoma, but also notably championed Native American art as fine art. Native American art is, of course, included in the exhibition. Records, information, and even artwork are often scant when it comes to early important Native American artists. Butler smartly brought in artists who had learned techniques and processes from influential elder artists; for example, artists who work with ledgers. In the early nineteenth century, Plains Indians artists began using ledger books to make art, which had historically been used by white men to keep inventories. Included in the exhibition, Wiyaluaofra Zan (Shows The Feather) utilized an 1889 ledger as the basis for his drawing Kills a Crow (c. 1891).
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An equally important Oklahoman artist, Eugene Jesse Brown, has his work Violent Times (1948) loaned to the exhibition from the Oklahoma State Art Collection. Brown, who is African American, established the Langston University Art Department (which is now, sadly, defunct). Like Brown, Nan Sheets’ art and career shaped the foundation of art in Oklahoma. Not only did she start the first commercial gallery in Oklahoma City, she would eventually help establish and lead the institution that would become the Oklahoma City Museum of Art. Both artists’ work is contentdriven, Brown focusing on classical motifs and objects while Sheets depicts a New Mexican landscape. Accompanying these artists are William Harold Smith, Adah M. Robinson, Woodrow Wilson Crumbo, Paul England, Anna Miller, Frederick Becker and Alexandre Hogue, among others. To group all of these artists together work was loaned from the Melton Art Reference Library, Mabee-Gerrer Museum of Art, the Oklahoma State Arts Collection (courtesy of the Oklahoma Arts Council), and private collectors. At the heart of this exhibition is Oklahoma. These artists supported and buoyed the arts at a time when arts support in this region was practically nonexistent. Viewing this exhibition reminds us of the persistence and drive of Oklahoma artists, a unique and lasting legacy that continues today. On display until April 25th, The First Fifty Years of Oklahoma Art is being presented in the Tulsa World Gallery at the Gaylord-Pickens Oklahoma Heritage Museum, located at 1400 Classen Drive in Oklahoma City. More information, including details on lectures and programming can be found at www.oklahomaheritage.com or by following @OKHeritage on Twitter. n Emily L. Newman is presently Assistant Professor of Art History at Texas A&M University-Commerce. Specializing in contemporary art, gender studies, and popular culture, she earned her PhD from The Graduate Center, City University of New York.
Wiyaluaofra Zan-Shows The Feather, Sioux, Kills A Crow (c.1891), Colored Pencil on Ledger, 13.5” x 16.5”. Courtesy Melton Art Reference Library.
The First Fifty Years of Oklahoma Art: Lecture Series MARCH 26, 6-7 PM The New Deal and its impact on Oklahoma Art with Thomas E. Young, Assistant Librarian, Philbrook Museum of Art APRIL 23, 6-7 PM Oklahoma Art History, An Outsiders Perspective with Dr. Teresa Pac, Ph.D., Assistant Professor, Global Art and Visual Culture Coordinator, University of Central Oklahoma Department of Art EXHIBITION CONTINUES THROUGH APRIL 25 Gaylord-Pickens Oklahoma Heritage Museum in Oklahoma City www.oklahomaheritage.com
ACT III: HAROLYN LONG, PAUL MEDINA, AND SUE MOSS SULLIVAN
April 3 – May 17, 2015 Opening Reception: April 3, 2015, 6-9 PM Act III is an exhibition composed of ceramic and fiber works by Oklahoma City artists Harolyn Long, Paul Medina, and Sue Moss Sullivan.
108 East M.B. Brady Street, Tulsa, OK 74103 www. 108contemporary.org Image: (left) Burden by Paul Medina, (top right) Drenched by Sue Moss Sullivan, (bottom right) Wolfetrap by Harolyn Long. Brady Craft Alliance, Inc., dba 108|Contemporary is a charitable organization under Section 501(c)(3) of the Internal Revenue Code.
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A World Unconquered by Page Grossman
Oscar Brousse Jacobson (U.S., b. Sweden, 1882-1966), The Red Tank or Indian Pool, 1940, Oil on canvas, 22” x 28”. Fred Jones Jr. Museum of Art, The University of Oklahoma, Norman; Gift of Robert Long.
There are few people who can claim to have influenced the art culture of an entire state. Oscar Brousse Jacobson was one of those few people. Jacobson immigrated to the United States from Sweden in 1890. He received a master of fine arts from Yale and a doctorate of fine arts from Bethany College in Kansas. Jacobson’s true passion was to bring art culture to Oklahoma; he saw great potential in the newly formed state. Jacobson’s Oklahoma journey began in 1915 when he was hired as the first and only staff member of the newly formed school of art at the University of Oklahoma. Jacobson began collecting art as soon as he arrived at the university. In 1936, Jacobson founded an art museum on the University of Oklahoma campus, bringing in the first donated collection of art, the WentzMatzene collection. Along with being the head of the art department, Jacobson became the director of the art museum. Through September 6, 2015 the Fred Jones Jr. Museum of Art is celebrating the centennial anniversary of Jacobson’s arrival on the University of Oklahoma campus. A World Unconquered: The Art of Oscar Brousse Jacobson is a retrospective of his life and work curated
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by Dr. Mark White, interim director and Eugene B. Adkins curator at the Fred Jones Jr. Museum of Art. The exhibition includes over 70 works, most by Jacobson, a few by artists who Jacobson found influential. A World Unconquered is the most complete retrospective of Jacobson’s work so far. It includes some of his earliest work up to his paintings from the 1950s. Approximately half of the artworks in the exhibition were gathered from private collections. When planning for this show the Fred Jones Jr. Museum of Art put out a call to the public to find Jacobson’s works of art. There was a flood of responses. One call came in from a family in Colorado who had lived near the Jacobson’s cabin. Jacobson had given this family his paintbrush jar, made by John Frank of Frankoma Pottery. The family wanted the jar to be displayed in the retrospective. Worried about damage during transport, curator Mark White traveled to Colorado to retrieve the jar. While there, he visited some of the sites that Jacobson painted. White says that Jacobson liked to paint nature scenes, but he focused on the harshness of the landscape. Most of the locales that
he painted are inhospitable and remote. To reach the places he painted takes a strenuous hike. Jacobson wanted to show nature in its undisturbed, unpopulated state. His work is imbued with the conservationist philosophy touted by Theodore Roosevelt. Jacobson is most often known in the art world as a promoter of Native American fine art. Jacobson worked with Kiowa artists, known as the Kiowa Five, to transform the perception of Native American crafts into art. Native Americans have always created art, but it was never intended for the sole purpose of art. Native Americans painted and crafted for decoration and utility. Jacobson influenced the Native Americans to become artists and to share their talent with the world. He was the first person to see their art as more than an anthropological study. Though Jacobson is well known for his influence on Native American fine art, this exhibition focuses on him as a painter. Jacobson was a prolific painter, creating over 600 works of art in his 50-year career. This retrospective exhibition is intended to focus solely on Jacobson’s career and on the influence he had over the culture of Oklahoma art.
Not only did Jacobson help found the University of Oklahoma’s museum, he was also very involved with the Works Progress Administration art programs in Oklahoma, one of which became what is now the Oklahoma City Museum of Art. Many of the arts organizations within the state also owe their beginnings to Jacobson. Curator Mark White says, “Jacobson is, in many ways, the motivating principle behind the development and culture in Oklahoma. When he comes, there’s no museum and no artists organizations. He is an important figure in helping to organize the artists and in moving towards the establishment of a museum in this state. Jacobson wanted to expose Oklahomans to the world around them, not merely to the landscape of Oklahoma and Colorado, but to world culture. When he arrived, Jacobson found a state still in its infancy. He made an attempt to bring a cultural sensibility to this state. Much of what he attempted to do, did
eventually blossom into what we have now.” A World Unconquered will be on display at the Fred Jones Jr. Museum of Art through September 6. This is the most complete retrospective of the work of Oscar Brousse Jacobson, a man who was incredibly influential to the art world of Oklahoma. To celebrate the centennial anniversary of his arrival at the University of Oklahoma, come view his paintings of unconquered landscapes. See the beauty in nature undisturbed by man as seen by one of the founding members of Oklahoma art culture. For more information, visit ou.edu/fjjma. n Page Grossman graduated in 2013 from the University of Oklahoma with a B.A. in online journalism and a B.A. in art history.
Winter Forest in Sweden, ca. 1914, Oil on canvas, 18” x 24”. Fred Jones Jr. Museum of Art, The University of Oklahoma, Norman; Gift of Hal Johnson, 1983.
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Noel Torrey, Oklahoma City, Kind of Blue, Oil on canvas, 72” x 72”
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EKPHRASIS: Art & Poetry edited by Liz Blood
In his response to Noel Torrey’s painting, Kind of Blue, poet Chad Reynolds considers what it means to recognize other ways of being, to be more and less – nothing in between. Ekphrasis is a place for poets to express their imaginative understanding of a visual work of art.
A winter dawn breaks its gray into orange To be kind of blue is to admit other colors in a room What is this “I” I’ve become? O
Chad Reynolds is the author of three poetry chapbooks, with a fourth and fifth forthcoming in 2015. Recent work has appeared or is forthcoming in Cutbank, the minnesota review, Sink Review, Sixth Finch, Ghostwriters of Delphi, and Corduroy Mountain. He lives in Oklahoma City, where he co-runs Short Order Poems. Noel Torrey lives and paints in Oklahoma City.
KIND OF BLUE by Chad Reynolds (after a painting by Noel Torrey)
to feel forms outside a self are selves, O
n
to see in circles other shapes To both be sparse and full, parse out one’s space in hues like steps in time to take
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SCISSORTAIL SCHOOL OF ART: Where Kids’ Creativity Soars by Lindsey Allgood
ON THE
The Scissortail Art School in Norman, founded by Lindsey Martin. Photos by Lindsey Allgood.
Nestled above Guestroom Records on downtown Main Street in Norman, Oklahoma, Scissortail Art School for children thrives. The cozy, colorful studio is full of supplies, from rainbow feathers and beads to watercolors and fabric scraps. When students walk in, they put on an apron and get busy with creative projects developed by Lindsey Martin, founder of Scissortail School of Art. Martin is constantly creating new projects and classes to appease the growing school. “I love to joke that my brain was Pinterest before Pinterest was around,” said Martin. “I have always stored away hundreds of art projects in my brain.”
Martin dreamed of opening an art school for children and Norman seemed like the perfect spot. “One of my old friends opened up a store in downtown Norman and asked if I was ready to make that dream a reality. In one month, we completely set up … my art school. With help from friends we came up with the name, Scissortail School of Art. I wanted to incorporate our great state into the name. It was like serendipity, we both said ‘Scissortail’ at the same time.” Martin’s childhood also inspired her to open the school. “My grandmother always had a cabinet full of art supplies growing up. I would make art all summer long at her house whether it was watercolors … or chalk drawings. At summer camp, I would make tin foil sculptures with the foil wrappings in my lunch box. It’s always been in my blood to create.” Martin believes that school art programs are vital for children’s development. Her own schooling led her to open Scissortail School of Art. “I moved to Altus, Oklahoma
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when I was a freshman in high school,” said Martin. “We had an excellent art program there. We were never short on supplies. If it were not for that art building and all that it contained…I would have gotten away from that school as fast I could have. Art saved me from becoming someone else.” Scissortail is a great opportunity for kids to develop creative skills outside of public school, where art may not be emphasized. “Sadly, there is not enough funding for every school,” said Martin. “It is a weird thing to me that the children in Oklahoma are tested on art in standardized testing, but most are not provided with an art teacher. I feel really blessed to be able to make an impact in the lives of the children.” Scissortail partially relies on donated supplies from the public, alongside Martin’s thriftiness and her ability to turn anything into an artistic material. She uses old newspapers, magazines, marbles and discarded toys. Martin believes exploring creativity at a young age benefits children as they mature. “The
confidence that it brings them is the best part. As we get older there are so many things that block us from being the true people we are,” said Martin. “Children do not have these blocks and can be who they want to be. It’s…awesome to see them flex their creative brain muscles”. Scissortail School of Art offers many classes for students age two to eleven, including homeschool classes, after school classes, workshops, camps, birthday parties and baby showers. Camps are offered during public schools’ spring, summer and fall breaks. Classes expose students to more than arts and crafts in the studio. “During the December Norman Art Walk, I hosted a kid’s artist market,” said Martin. Nine students sold handmade arts and crafts. They learned how to handle money and interact with customers. “They gained a strong sense of self and pride,”
said Martin, who plans to hold the project again in May 2015. Scissortail recently outgrew its space above Guestroom Records and will merge with Sublime Signs Creative Studio. “We will have so much more room and many more art mediums available like ceramics, welding and glass blowing,” said Martin, who is thrilled to host more parties and hire assistants as the school continues to grow. Visit www.scissortailschool.com for class schedules and more information. n Lindsey Allgood is a performance artist who received her MFA from the University of Oklahoma. Her work can be found at www.lindseyallgood.com.
Lindsey Martin, founder of Scissortail Art School. Photo by Lindsey Allgood.
Supplying regional artists and collectors with all their creative and exhibition needs for over 40 years. Oils, Acrylics, Watercolor Pastel, Graphic Media Brushes, Drawing Materials Paper, Pads, Canvas Easels, Studio Equipment Custom & Readymade Frames, Mounting, Creative Matting and Full Framing Services.
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ASK A CREATIVITY COACH: Got Talent? Motivation Matters More by Romney Nesbitt
ASK A CREATIVITY COACH:
HANDLE CRITIQUE AND NEGATIVE SELF-TALK
by Romney Nesbitt
Dear Romney, How should I evaluate comments about my work? How can I assess whether my own evaluation is valid or not? Do you have some tips on critique and negative self-talk? — I Like “Likes”
Dear Like,
CRITIQUE: when others are critical of your work:
It’s natural to seek approval but you can’t believe everything you hear (even from yourself!). When assessing the validity of a comment (solicited or unsolicited), consider the source. When family members or friends offer praise or criticism, they may lack the professional credentials to give their comments validity. A comment (positive or negative) from a professional working in the field or a professor or mentor should have more clout. Here are some guidelines.
• If the comment is negative, give yourself time to get over your initial reaction or hurt feelings. • Consider the source. Does this person have the background to offer an educated opinion? • Write down the comment. • In a day or two read the comment and look at your work with fresh eyes. • Truthfully evaluate your work. Is it polished? Professional? Rushed? Is there room for improvement? • Make revisions or jot down improvements you could make in the future. Congratulations! You found the silver lining in the cloud! NEGATIVE SELF-TALK: what you say about your work:
The 47th Annual Gussman Juried Student Art Exhibition will open on March 26, through April 16, 2015, in the Alexandre Hogue Gallery. Opening Reception March 26, 5:00 p.m. to 7:00 p.m. with an award ceremony; 5:30-6:00 p.m. The exhibit celebrates the best of the School of Art in digital media, painting, sculpture, drawing, ceramics, printmaking, photography, and graphic design. The Gussman Student Art Show is the capstone exhibit of each academic year. This exhibit is intended to showcase the most exceptional creative works produced by students in the School of Art. All University of Tulsa graduate and undergraduate students who were enrolled during the current academic year are eligible to submit works for inclusion in this exhibit.
For more information, visit www.cas.utulsa.edu/art/ or call 918.631.2739 • TU is an EEO/AA institution
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business of art
The voice in our head is rarely friendly—especially if you’re feeling hungry, angry, lonely or tired (H.A.L.T.). Set realistic goals that take into account your family and job responsibilities, health, etc. If you can admit that you didn’t give your best effort, you can aim higher by remembering the following: • Recall past successes (sales, awards, recognition etc.) to raise your mood. • Good products don’t magically appear without effort. They require time and revision. • You can improve your work habits. • Use your high-energy time for your high-value activity/your creative work. Use low-energy times for preparation or research. • Create in short periods of time (twenty minutes) to avoid mental fatigue. • Eat a healthy snack and drink water before you begin working to give your brain a boost. • Maintain a regular sleep schedule. • Feelings and emotions are temporary and will change. • You can try again. Life is full of “do-overs”—that’s how we learn. n Romney Nesbitt is a Creativity Coach and author of Secrets from a Creativity Coach. She welcomes your comments and questions at romneynesbitt@gmail.com. Book her to speak to your group through OVAC’s ARTiculate Speakers Bureau.
OVAC NEWS
MARCH | APRIL 2015
The third iteration of OVAC’s Oklahoma Art Writing & Curatorial Fellowship will run throughout 2015, with the first of four free public panels held on March 21, 2015, 1-3 pm at the Fred Jones Jr. Museum of Art in Norman. The panel, which focuses on communitybased practices in the arts, will feature three visiting experts: Chloë Bass, independent conceptual artist and cultural critic, Brooklyn, NY; Julia Cole, interdisciplinary artist, educator and community strategist; Rocket Grants Coordinator, Charlotte Street Foundation, Kansas City, MO; and Daniel Tucker, artist/writer/curator, Assistant Professor and Graduate Program Manager in Social and Studio Practices at Moore College of Art and Design in Philadelphia, PA. The program is presented as a partnership with the Oklahoma City Museum of Art and The School of Art & Art History at the University of Oklahoma, with the support of the Oklahoma Arts Council and the Kirkpatrick Family Fund. Visit www.write-curate-art.org for more information. Each year, OVAC gives two Oklahoma Visual Arts Fellowship awards of $5,000 and two $500 Student Awards of Excellence to individual artists. These awards are intended to reward qualified artists with outstanding vision and are chosen by a guest curator from applications submitted by the artists. The deadline to apply is April 1, 2015. Applications include 10 images, a resume, and an artist statement. See www.ovac-ok.org for the full guidelines. OVAC invested $8,896 in ten artist project grants in January. Creative Projects Grants were awarded to Holly Wilson for her Native American Superheroes series, to be exhibited at Oklahoma Contemporary in Oklahoma City May 26-August 21, and Amanda Bradway for her Rites of Passage series, to be exhibited at 108 Contemporary in Tulsa in June. Gregory Jerome received a John McNeese Grant for Professional Development in Socially-Engaged Artwork to help him attend the annual convention of the National Afterschool Alliance, where he’ll learn about developing meaningful after-school arts programs. Community/Artist Partnership Grants were awarded to Hunter Brothers for a photography exhibition in partnership with the Homeless Alliance and to romy owens for The Unbearable Absence of Landscapes, a knitbomb project in partnership with 108 Contemporary. Professional Basics Grants were awarded to Eli Casiano, Michael Jones, Jessica Coleman, and Lauren Rosenfelt. Jordan Wong received an Education Grant. Upcoming Artist Grant deadlines are April 15 and July 15. Visit www.ovacgrants.org for details and application forms. OVAC will accept applications for summer internships through April 30. Working alongside OVAC staff, interns are exposed to the daily management of an artist service organization and gain access to the people, events, and resources of the state’s arts community. Submit resume and cover letter to Mandy Messina at office@ovac-ok.org. Art People
In January, OVAC welcomed new Operations Manager Mandy Messina. Originally from South Africa, Messina earned her BFA
in Sculpture from The University of Cape Town in 2009. She then worked for two years in South Korea as an English teacher, completed a design and marketing internship in China, and most recently served as Education Intern at the Modern Art Museum of Ft. Worth, Texas. We are thrilled to have her join our team, where she manages volunteers, maintains office operations, and assists with various programs. After more than eight years of dedication to OVAC’s mission of supporting artists in our state, Associate Director Kelsey Karper is leaving her position to focus on her own artistic practice. While her big smile, passion, and unwavering commitment will be greatly missed, we wish her the best as she pursues her creative work. Karper will remain on staff through April 30 to assist in the transition. Applicants interested in the position should apply by the deadline of March 13. Welcome and congratulations to James Pepper Henry, who was recently selected as the new executive director of Tulsa’s Gilcrease Museum. Most recently, Pepper Henry served as director and CEO of the Heard Museum in Phoenix, Arizona. He has also worked at the Anchorage Museum at Rasmuson Center and was associate director of the Smithsonian Institution’s National Museum of the American Indian for ten years. Pepper Henry will begin his new duties at Gilcrease on March 30. n
Experience the Historic Paseo! Shopping, Dining & Learning! 20 Galleries, 75 Artists, Restaurants, Boutiques, Art and Education For more information about Educational Programs contact:
ARTS DISTRICT
405.525.2688 www.thepaseo.com #FirstFridayPaseo
First Friday Gallery Walks every month Friday 6-10 pm
ovac news
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Thank you to our new and renewing members from November and December 2014 Jo Ann Adams Craig and Jenan Alleman Marilyn Artus Lori Bacigalupi and James Young Keith Ball and Marti Jourden Tommy and Tahlia Ball Joy Reed Belt, JRB Art at the Elms Patricia R Bradley Colleen Brown Steve Brown Kendall Brown Jack and Lynn Bryant Moriah Butterfield Monica Cain Annalisa and Bruce Campbell
Cady Dill Carlson Karen L. Collier Kjelshus Collins and Andrea McMillan Lucinda Cornish Lindsay Larremore Cr aige Janey Carns Crain Bob Curtis Bryan Dahlvang Kay Decker, Graceful Arts Gallery and Studios Dorothy Dinsmoor Nicole Emmons Hillary and Peter Farrell Jennifer Fletcher Mary German Diane Glenn and Jerry Stickle
Almira Grammer Brent and Kennetha Greenwood Kirkland and Julia Hall Bob and Janet Hawks Shelly Henry Billy Hensley Michelle Himes-McC rory Ronald Hoppers Kendall and Christine Howerton Pouya Jahanshahi Cynthia and Thomas Janssen Curtis Jones Jim and Laurie Keffer Judy Kelley Sue Kelley Karen Kirkpatrick
Judy Laine Virgil Lampton Erin Latham Trent Lawson Tina Layman Jessica Legako Jose (Joe) Machado, Jr. Jason and Leigh Martin John and Nancy Martin Janice Mathews-Gordon Paul Mays Kathy McRuiz Earl and Marie Miller Carla Groschick Miller Brandon Mitts Nicole Moan Diane and Ellen Moershel Markus Muse Ann L Neal
George Oswalt Christie Fleuridas Owen Ted Petty Andrew Phelan Katie Prior Michelle Firment Reid Anne Richardson Sarah Rittenhouse and Mauricio Toro Victoria Roden Sue Ross Liz Roth Abe Rucker Mary Ruggles Roger Runge Diane Salamon Chris Sanner Ann Saxton Barbara S. Scott
Rachel Shropshire Stephen Smith Alfred Smith Laurie Spencer Bennett Stookey William R. and Nancy Struby Jim Terrell Noel Torrey Christian and Alesha Trimble Joyce Ulstrup M. Teresa Valero Burneta Venosdel Jason Wallace Paul Walsh Mo Wassell Joanne Woodward May Yang Jill Young
VEDA REED last light
b 1934 Granite, OK
Spring 2015
DLG memphis & nashville davidluskgallery.com
Night Lights No. 2, 2014, oil on canvas, 44x60�
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ovac news
Gallery Listings & Exhibition Schedule Ada
Duncan
James Gaar Through March 13 60th Annual Student Exhibition March 23 - April 24 The Pogue Gallery East Central University 900 Centennial Plaza (580) 559-5353 ecok.edu
Mike Aguirre Through March 23 Aaron Mallard March 23 – May 22 Chisholm Trail Heritage Center 1000 Chisholm Trail Pkwy (580) 252-6692 onthechisholmtrail.com
Alva Lauren Purje and Adam De Boer Through March 6 Popular Culture: Luke Galutia, Zack Koch, Jack Wells March 6-27 Tour de Quartz April 3-27 Graceful Arts Gallery and Studios 523 Barnes St (580) 327-ARTS gracefulartscenter.org
Edmond Edmond Historical Society & Museum 431 S Boulevard (405) 340-0078 edmondhistory.org
Youth Visions Photography Contest March 2 - 31 Tony Grider Photography March James Coplin April Fine Arts Institute of Edmond 27 E Edwards St Ardmore Annual High Schools and Middle Schools (405) 340-4481 edmondfinearts.com 2015 Exhibition A Step Back in Time March 5 – 21 Through March 5 Opening March 5, 4:30 – 7pm Political Cartoon Collection Annual Elementary Schools 2015 April 23-June 23 Exhibition Opening April 23, 4-6 pm March 31 – April 18 Melton Gallery Opening March 31, 4:30 – 7pm University of Central Oklahoma The Goddard Center 100 University Dr 401 First Avenue SW (405) 974-2432 uco.edu/cfad (580) 226-0909 goddardcenter.org
Broken Bow
Idabel
Oscar Brousse Jacobson Through September 6 Fred Jones Jr Museum of Art 555 Elm Ave (405) 325-4938 ou.edu/fjjma Painting/Drawing Student Exhibition April 1 - 16 OAEA Young Talent in Oklahoma Exhibition March 7 – 28 Senior Capstone Exhibition April 26-May 9 Lightwell Gallery University of Oklahoma 520 Parrington Oval (405) 325-2691 art.ou.edu Abstract Abstract Evanescent Iridescence: John Bruce Through March 14 OU MFA Show April 10-22 MAINSITE Contemporary Art Gallery 122 E Main (405) 360-1162 normanarts.org
Two Voices: Painter and Poet Through March 7 USAO BFA Spring Show March 28 – April 24 Nesbitt Gallery University of Science and Arts Oklahoma 1806 17th St (405) 574-1344 usao.edu/gallery/schedule
2015 Healing Studio Exhibition March 6-21 Opening March 13, 6-9 pm Firehouse Art Center 444 S Flood (405) 329-4523 normanfirehouse.com Drama, Death, Dirge: Frederic Remington’s American West Through March 8 The Nature of Man: Paintings & Drawings by Harold Stevenson Through March 15 Beyond the Battlefield: Depictions of War Through May 10 A World Unconquered: The Art of
Coyote Songs – Desperado Dreams: the Art of Robby McMurtry Madonnas of the Prairie: Depictions of Women in the American West Ansel Adams: Masterworks Through May 10 Conflict Cast in Bronze Through July 12 National Cowboy & Western Heritage Museum 1700 NE 63rd (405) 478-2250 nationalcowboymuseum.org
School of Visual Arts Student Exhibition March 6 – April 17 School of Visual Arts Senior Capstone Oklahoma City Exhibition The First Fifty Years April 24-May 10 Through April 25 Gaylord-Pickens Oklahoma Heritage Nona Hulsey Gallery, Norick Art Center Museum Oklahoma City University 1400 Classen Dr 1600 NW 26th (405) 235-4458 oklahomaheritage.com (405) 208-5226 okcu.edu
Theresa Hurt Opening March 6 Master Woodworking Artists of the Year 40/40: 40 years, 40 objects Through March 28, 2015 Four Instagram Photographers Exploring Exhibition Museum of the Red River #MyOklahoma March 1 – May 5 812 E Lincoln Rd Opening April 3 Forest Heritage Center (580) 286-3616 museumoftheredriver.org In Your Eye Studio and Gallery Beaver’s Bend Resort 3005A Paseo (580) 494-6497 beaversbend.com (405) 525-2161 inyoureyegallery.com Norman
Chickasha
The Ladies: New Works by Thomas Batista Through March 6 Chicanita, On The Plains: New Works by Blue Face Killer March 10 - April 5 Opening March 13, 7-11 pm Kasum Contemporary Fine Art 1706 NW 16th St (405) 604-6602 kasumcontemporary.com
Emily Petree March 17-April 25 Individual Artists of Oklahoma 706 W Sheridan Ave (405) 232-6060 iaogallery.org Meghan Gerety & Jessica Lutz March 6 – 28 Siegfried Halus & Paul Medina April 3 – 25 JRB Art at the Elms 2810 N Walker Ave (405) 528-6336 jrbartgallery.com
Intent to Deceive: Fakes and Forgeries in the Art World Through May 10 Warhol: The Athletes April 16-July 12 Oklahoma City Museum of Art 415 Couch Dr (405) 236-3100 okcmoa.com Mary Russell Through April 26 Robert Goddard Through April 12 Virginia Stroud Through April 19 Tommy Lee Ball April 27 – June 28 Shevaun Williams April 20 – June 21 Oklahoma State Capitol Galleries 2300 N Lincoln Blvd (405) 521-2931 arts.ok.gov
Paseo Arts Association’s Annual Members’ Show March 6 – 28 Paseo Art Space 3022 Paseo (405) 525-2688 thepaseo.com FOR/give // Christie Hackler March 6-28 Husbands, Wives and Lovers: Mary James Ketch April 3-25 The Project Box 3003 Paseo (405) 609-3969 theprojectboxokc.com LifeTiles by Rufus Butler Sedar Through May 16 Satellite Galleries Science Museum Oklahoma 2100 NE 52nd St (405) 602-6664 sciencemuseumok.org HR Kaiser: Western Bronze March 1-30 Opening March 6, 6-10 pm Summer Wine Art Gallery 2928 B Paseo (405) 831-3279 summerwinegallery.com Everything is Not Ok March 13-15 Tall Hill Creative 3421 N Villa
Shawnee Michi Susan: An Oklahoma Treasure Through March 22 Mabee-Gerrer Museum of Art 1900 W Macarthur (405) 878-5300 mgmoa.org
Stillwater Todd McDonald: Recent Works Through March 20 Graphic Design Senior Portfolio Exhibition: March 25 – April 3 Senior Studio Capstone Exhibition: April 8 – 17 Opening April 9, 5-7 pm Annual Juried Student Exhibition: April 22 – May 8 Opening April 26, 2-4 pm Gardiner Gallery Oklahoma State University 108 Bartlett Center for the Visual Arts (405) 744-4143 museum.okstate.edu
gallery guide
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(Gallery Guide, continued from page 29) (Stillwater, continued) The New York Project: James Rosenquist: Illustrious Works on Paper, Illuminating Paintings Through March 14 Frank Lloyd Wright’s Samara: A Mid-Century Dream Home Through April 21 Close to Home: Photographs by Richard S. Buswell Through May 9 Postal Plaza Gallery Oklahoma State University Museum of Art 720 S Husband St (405) 744-2780 museum.okstate.edu
Sulphur
Tulsa
James Wallace, Tyra Shackleford, Brad Woods March 1-June 30 Chickasaw Visitor Center 901 W 1st St (580) 622-8050 chickasawcountry.com/explore/ view/Chickasaw-visitor-center
Innovators & Legends: Generations in Textiles and Fiber Through March 22 Act III: Harolyn Long, Paul Medina and Sue Moss Sullivan April 3-May 17 Opening April 3, 6-9 pm 108 Contemporary 108 E MB Brady St (918) 895-6302 108contemporary.org
Tonkawa Creators: Faculty Biennial Exhibition Through March 27 Annual Student Art Exhibition April 13-May 4 Eleanor Hays Gallery Northern Oklahoma College 1220 E Grand (580) 628-6670 north-ok.edu
Children & Adult Art Classes Monthly Art Exhibits Theatre Performances Community Programs Facility Rentals Special Events
Frontier to Foundry Through March 23 Private Collections to Public Treasures: New Acquisitions Through March 29 Rendezvous Artists’ Retrospective and Art Sale
30 years g n i t a r Celeb ity! of creativ
27 E Edwards | Edmond, OK North of the Downtown Post Office
PATRON - $250
-Listing of self or business on signage at events -Invitation for two people to private reception with visiting curators -$210 of this membership is tax deductible. -All of below
FELLOW - $125
-Acknowledgement in the Resource Guide and Art Focus Oklahoma -Copy of each OVAC exhibition catalog -$85 of this membership is tax deductible. -All of below
FAMILY - $60
Stories and Art: Beyond Illustration Center for Poets & Writers Exhibition Through April TCC Center for Creativity Student Show April 2-19 Hardesty Arts Center 101 E Archer St (918) 584-3333 ahhatulsa.org Chris Ramsay: Mediations in Stillwater Through March 29 Henry Zarrow Center for Art and Education 124 E MB Brady St (918) 631-4400 gilcrease.utulsa.edu/Explore/ Zarrow
GLITCH/ANALOGOUS Through March 27 New Genre XXII-A March 6-7 Wundrian: JP Morrison Lans The You and the I: Micaela de Vivero Drought: A Landscape Within March 6-April 23 Sweet Pea’s Gestation & Day in the Park April 3-23 Living Arts 307 E MB Brady St (918) 585-1234 livingarts.org Young Guns Through March 7 Lovetts Gallery (918) 664-4732 lovettsgallery.com Fever & Flash Through March 15 Shifting Focus Through April 26 Philbrook Downtown 116 E MB Brady St (918) 749-7941 philbrook.org
¨ Patron
¨ Fellow
¨ Family
Prints by Micheal Jones March 6 - 28 Sacred Mascots: Matthew Bearden April 3 - 25 Tulsa Artists’ Coalition 9 E MB Brady St (918) 592-0041 tacgallery.org
Weatherford Tapestry Exhibition Through March 18 Southwestern Oklahoma State University 100 Campus Dr (580) 774-3756 swosu.edu
¨ Student
Name Street Address City, State, Zip
INDIVIDUAL - $40
Website
Phone
Credit card #
Exp. Date
-Valid student ID required. Same benefits as Individual level.
Ancient Ways: Modern Forms Through April 2 Sherwin Miller Museum of Jewish Art 2021 E 71st St (918) 492-1818 jewishmuseum. net
¨ Individual
STUDENT - $20
Whistler and the British Etching Revival Through April 5 From New York to New Mexico Through May 3 Philbrook Museum of Art 2727 S Rockford Rd (918) 749-7941 philbrook.org
MEMBER FORM
-Same benefits as Individual level for two people in household -Subscription to Art Focus Oklahoma -Monthly e-newsletter of Oklahoma art events and opportunities -Receive all OVAC mailings -Listing in and copy of Annual Resource Guide & Member Directory -Access to “Members Only” area on OVAC website -Invitation to Annual Meeting Plus, artists receive: -Inclusion in online Artist Gallery -Artist entry fees waived for OVAC sponsored exhibitions -Up to 50% discount on Artist Survival Kit workshops -Discounted registration for Artist INC Online Course -Affiliate benefits with National Alliance of Media Arts and Culture, Fractured Atlas, and Artwork Archive
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Alexandre Hogue Gallery University of Tulsa 2930 E 5th St. (918) 631-2739 utulsa.edu/art
Taryn Singleton Master of Fine Art Thesis Exhibition Through March 19 The Gussman Juried Exhibition March 26 – April 16 Senior Show April 23 – May 8
www.edmondfinearts.com 405.340.4481
Become a member of the Oklahoma Visual Arts Coalition. Join today to begin enjoying the benefits of membership, including a subscription to Art Focus Oklahoma.
April 16 - July 12 Gilcrease Museum 1400 Gilcrease Road (918) 596-2700 gilcrease.utulsa.edu
Are you an artist? Y N Medium?_____________________________________ Would you like to be included in the Membership Directory? Y N Would you like us to share your information for other arts-related events?
Y
N
Comments:
Detach and mail form along with payment to: OVAC, 730 W. Wilshire Blvd, Suite 104, Oklahoma City, OK 73116 Or join online at www.ovac-ok.org
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Art Focus
Ok l a h o m a
Annual Subscriptions to Art Focus Oklahoma are free with OVAC membership. Thru Apr 1:
Tulsa Art Studio Tour Preview Exhibition (Tulsa)
Mar 6-7:
Momentum OKC
Mar 8-9:
Momentum OKC Gallery Hours & Spotlight Artist Talks
Mar 13:
Application Deadline for OVAC Associate Director Position
Mar 21:
ASK Workshop - Money, Money, Money (Ponca City)
Mar 21:
Public Panel - Community-Based Practice in the Arts (Norman)
Apr 1:
Oklahoma Visual Arts Fellowships & Student Awards of Excellence Application Deadline
Apr 11-12:
Tulsa Art Studio Tour
Apr 15:
OVAC Grants for Artists Deadline
Apr 25:
ASK Workshop - The Online Artist (OKC)
Apr 30:
OVAC Summer Internship Application Deadline
730 W. Wilshire Blvd, Suite 104 Oklahoma City, OK 73116 The Oklahoma Visual Arts Coalition supports Oklahoma’s visual arts and artists and their power to enrich communities.
Non Profit Org. US POSTAGE PAID Oklahoma City, OK Permit No. 113
Visit www.ovac-ok.org to learn more.
View the full Oklahoma visual arts calendar at ovac-ok.org/calendar.
MARCH JESSICA LUTZ MEGHAN GERETY Opening Reception: FRIDAY, MARCH 6 6 - 10 P.M.
APRIL SIEGFRIED HALUS PAUL MEDINA Opening Reception: FRIDAY, APRIL 3 6 - 10 P.M. Gallery Hours: Tue - Sat 10 am - 6 pm Sun 1 pm - 5 pm DETAIL
2810 NORTH WALKER PHONE: 405.528.6336 www.jrbartgallery.com
JRB ART AT THE ELMS