On & Off the Wall Don’t miss seeing works by Richard Diebenkorn, Henry Moore, Reuben Nakian, John Latham, and others before they come off the walls to make way for Jonathan Hils: INTERSECTION. The second installation of the NEW FRONTIERS: Series for Contemporary Art, INTERSECTION opens in this third floor gallery September 9, 2010. Photo by Jim Meeks
Inside at a Glance
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Clothing Characters, Fashioning Film Stars OKCMOA presents its first exhibition dedicated to fashion and film, Sketch to Screen opens May 6.
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Deborah Landis: Costume Designer Profile Curator Jennifer Klos takes a behind-the-scenes look at the art of creating film characters with costume designer Deborah Landis.
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From the Collection: Luis Jiménez Explore the Museum’s collection of prints by Luis Jiménez with curator Alison Amick.
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New Devices, Old Dilemmas The beginnings of a beautiful friendship with Scan it! Learn about the best use for your smartphone in the galleries with educator Bryon Chambers.
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News & More Project 180, New Chairman & Annual Fund Giving
Sandy Schreier: Collector Spotlight Private collector Sandy Schreier reveals her passion for Hollywood costumes at the Friends’ Lecture in June.
Mission The Oklahoma City Museum of Art enriches lives through the visual arts.
Photo by Jim Meeks
Dear Members and Friends Executive Staff Glen Gentele, President & CEO Rodney Lee, Finance Director Jack Madden, Facility Operations Director
Editorial Staff Alison Amick, Curator for Collections Chandra Boyd, Senior Associate Curator of Education Jim Eastep, Senior Development Officer Nicole Emmons, Editor & Publications Coordinator Brian Hearn, Film Curator Jennifer Klos, Associate Curator Leslie A. Spears, Communications Manager
Board of Trustees Officers Frank D. Hill, Chairman Virginia A. Meade, 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 Frank McPherson J. Edward Barth *James C. Meade Katy Boren Frank W. Merrick William M. Cameron *Charles E. Nelson Teresa L. Cooper Cynda C. Ottaway Theodore M. Elam Christopher P. Reen *Nancy P. Ellis Marianne Rooney *Shirley Ford Robert J. Ross Preston G. Gaddis 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 Honorable Jerome A. Holmes Wanda Otey Westheimer Joe M. Howell, D.V.M. Charles E. Wiggin Willa D. Johnson Marsha Wooden Penny M. McCaleb
We are ramping up for an excellent series of programs this spring and summer that will entice you, inspire you, intrigue, and delight you. Please enjoy this issue of CONNECT and learn all about what is happening at the Oklahoma City Museum of Art. Join us on May 5 for the members’ preview of Sketch to Screen: The Art of Hollywood Costume Design. See the garments worn by movie stars of the films you know and love in an exhibition about how the costumes were created. The exhibition lecture by Deborah Nadoolman Landis, noted film and theater costume designer, is titled Dressed: A Century of Hollywood Costume Design. Plan to attend the lecture before the preview for a new take on cinema and more. As part of the exhibition, the Museum will be presenting a Thursday night film series throughout the summer months, highlighting movies that feature costumes on display in the show. Check inside for more details. Excitement is growing for the reopening of the Roof Terrace on May 6 with Cocktails on the Skyline and Art After 5. This fantastic weekly event features evening performances, including Born in November, wine by the bottle, wine by the glass, select beers, mixed drinks, open galleries, new friends, and a view of the transforming Oklahoma City skyline. As noted in the last issue of CONNECT, we are looking forward to launching the Museum’s new Web site. We have been testing various Web features on our current site—like online art camp registration—and will migrate these modules over to the new site in June. Thanks again to our friends at Saxum for the Step-Up grant, which made possible the new logo and Web site designs. Film lovers, art collectors, and museum goers, we are bringing back Herb & Dorothy, the award-winning film about two fabulous New York art collectors—a librarian and a U.S. postal worker—who amassed one of the 20th century’s great collections of contemporary art. How did they do it? Come see for yourself on June 6 in the Noble Theater at 2 p.m. The film is entertaining and provides an illuminating perspective on art, collecting, and ultimately the couple’s philanthropy through their gift of art to 50 museums in 50 States. This is an amazing story that will inspire you. On a related note, the deadCENTER Film Festival kick-off party is June 10, at 6 p.m., on the Museum’s Roof Terrace. Last year was excellent, and we are looking forward to another amazing time this year. For information about the festival, visit deadcenterfilm.org. Art camps begin June 1, and this summer, we have added more camps to the schedule, including a new half-day camp for preschoolers. We will continue to offer the popular film and video, digital photography, mixed media, and printmaking camps as well as camps thematically tied to special exhibitions. Register your children early for these innovative sessions. There is something for everyone at the Oklahoma City Museum of Art. I invite you to visit often, and as always, thank you for your support. Sincerely,
Katie McClendon *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.
Glen Gentele President & CEO On the Cover Vivien Leigh as Scarlett O’Hara in Gone with the Wind, 1939. Costume Designer: Walter Plunkett. Photo courtesy of George Eastman House Motion Picture Department Collection
CONNECT | Vol. 2010, Issue 2
Claudette Colbert in Cleopatra, 1934. Costume Designer: Travis Banton. Photo courtesy of George Eastman House Motion Picture Department Collection
Costuming Characters, Fashioning Film Stars Opening May 6, 2010, the Oklahoma City Museum of Art presents the exclusive exhibition Sketch to Screen: The Art of Hollywood Costume Design on view through August 15, 2010. This original exhibition, organized by the Museum, explores the vital artistic contribution of costume design throughout the history of the American motion picture industry. It also marks the first exhibition of its kind at the institution. Never before has the Museum presented an exhibition featuring garments or an exhibition integrating the Museum’s film program. Curated from private and institutional collections, Sketch to Screen: The Art of Hollywood Costume Design consists of more than 85 original garments and accessories worn in films by some of Hollywood’s greatest stars, including Charlie Chaplin, Greta Garbo, Marlene Dietrich, John Wayne, Audrey Hepburn, Bette Davis, and Charlton Heston. Film costumes worn by contemporary stars George Clooney, Meryl Streep, Russell Crowe, Kate Winslet, Robert DeNiro, Renee Zellweger, and Johnny Depp are also represented in the exhibition. Garments from various decades demonstrate the range of creativity and craftsmanship that costume designers use to construct film characters through clothing. The exhibition also tells this story through costume design sketches, wardrobe and film production photographs, documents, and film clips. Sketch to Screen is organized in ten thematic sections revealing the many ways in which costume designers bring characters to life on the screen: Costuming Silent Screen Stars; Fashioning the Femme Fatale; Fit for a Queen; Gone with the Wind; The Cowboy and His Clothes; Broadway Melodies & Movie Musicals; Comic Books & Superheroes; Women’s Fashion: Grace, Elegance, Pizzazz; It’s a Man’s World; And the Winner Is….
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The exhibition highlights the contributions of the greatest costume designers from the Hollywood studio era, such as Walter Plunkett, Gilbert Adrian, Travis Banton, and Edith Head, while tracing the evolution of the often underappreciated costume designer’s role in contemporary films. Visitors can learn about the little known costume design process— beginning with the film script, research, design sketches, materials selection, and garment production as well as fittings with the actors and screen tests—which is an altogether different process from designing everyday fashion. In most respects, the collaborative process of costume design has remained unchanged. These artisans coordinate closely with the film director, cinematographer, production designer, and hair and makeup department. Using a palette of color, texture, and silhouette, the costume designer aims to create authentic characters through their clothing. In other words, costume design is a form of storytelling. Consider how important Scarlett O’Hara’s gowns were to Gone with the Wind or imagine Superman without his red cape and boots. Indeed, costume is character. The Oklahoma City Museum of Art is the exclusive U.S. venue for Sketch to Screen: The Art of Hollywood Costume Design. The exhibition is cocurated by Brian Hearn, film curator, and Jennifer Klos, associate curator. Numerous related events will take place over the summer months, including two lectures, a Thursday night Sketch to Screen film series, Family Day, and a Last Call event, featuring a movie character costume contest. To find out more, explore the exhibit by section on the next page. Then, hear from collector Sandy Schreier and costume designer Deborah Nadoolman Landis in the following pages.
Costuming Silent Screen Stars
Fashioning the Femme Fatale
The pictures were silent, but the stars
The archetype of the dangerous,
SCENE BY SCENE
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At a glance, explore the exhibition’s ten thematic sections, showcasing costumes, characters, and the art of the moving image. Test your film IQ. Guess the films and stars in the photos shown. (Answers listed on page 18.)
were emerging in the first three decades
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desirable, “deadly woman” has been
of American cinema. Chaplin, Pickford,
a stock cinematic character from the
Valentino, and Swanson all recognized
silent era to this day.
Historical dress, particularly for royal
The American West has been a
subjects, has always presented
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One of the most significant “costume
pictures” ever produced, Gone with the
subject of American cinema from the
Born on the Broadway boards, the
production challenges and design
Wind remains a towering achievement
beginning. These diverse cowboys
American musical film has been a
opportunities for American filmmakers
of American epic filmmaking.
represent variations on western wear.
showcase for spectacular costume
the importance of clothing to create characters.
Fit for a Queen
and costume designers.
Gone with the Wind
Comic Books & Superheroes
The Cowboy and His Clothes
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Women’s Fashion:
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Some of the greatest film characters
Grace, Elegance, Pizzazz
have come from the colorful pages of
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Musicals
design.
And the Winner Is…
It’s a Man’s World
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Broadway Melodies & Movie
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Male characters in the movies wear
The Academy of Motion Picture Arts
From tailored suits to glamorous gowns,
more than just suits and jeans. From
and Sciences established an Oscar® for
comic books. Superheroes remain a
women’s wear is in a state of constant
gangsters to astronauts to football
Best Costume Design in 1948. Here are
strong subject in American cinema.
evolution.
players, these male characters inhabit
some unforgettable winners.
the wide world of work.
CONNECT | Vol. 2010, Issue 2
Sandy Schreier Collector Spotlight By Jennifer Klos, associate curator
With over 15,000 items in her collection of
Sandy Schreier’s collection contains both high fashion and twentieth-century French couture, American fashion, and Hollywood Hollywood costume design, two very different subjects. While fashion costumes and accessories, Sandy Schreier has a collection that any design is produced for the retail market, costume design is produced person would envy. She acquired many of her pieces as gifts, starting for a character in a film. According to Schreier, “they share the bond at a young age, and some were purchased through auction or private of ‘body coverings,’ but fashion is for real people (although couture, dealers. With the importance of her items and their broad scope, or custom-made clothing, is purchased by the wealthy), and costumes they are in demand by museums around the world, including The are designed for characters in a screenplay.” This was a lesson taught Metropolitan Museum of Art in New York, The State Hermitage Museum to Sandy by the late costume designer Edith Head. Fashion designers, in St. Petersburg, Russia, and the Musée du Louvre in Paris. Her impressive such as Erté, Georges Lepape, Coco Chanel, and others, were hired collection draws interest from fashion designers, film and music stars, to come to Hollywood. These designers quickly realized that creating a and costume designers. She is a fashion three-dimensional ensemble is different from historian, archivist, appraiser, author, lecturer, designing something meant to be seen on a television personality, and most importantly, two-dimensional screen. passionate collector. “I hold the history of A few fashion designers, such as twentieth-century fashion in my hands,” Pierre Balmain, Yves Saint Laurent, and Sandy has stated. Elsa Schiaparelli, did find success creating Sandy’s passion for fashion and costumes for film. For example, Schiaparelli Hollywood costuming began at an early was hired to design Zsa Zsa Gabor’s age in Detroit. Her father was head furrier at costumes for the film Moulin Rouge in Russek’s, a branch of the famous New York 1952. Most known for her surrealist fashions, store. Sandy accompanied her father to Schiaparelli turned to Henri de Toulousework on many occasions and she became Lautrec’s iconic image of Parisian performer enthralled with the beautiful clothes, jewels, Jane Avril to inspire her design of the and furs, and found herself scrutinizing serpent dress. On loan from Schreier and fashion periodicals such as Vogue and on display in Sketch to Screen, the serpent Harper’s Baazar. At the same time, Sandy dress brings up many questions of whether was taken with Hollywood movies when her this outfit really did exist or if it came out of parents took her to the theater. She found Toulouse-Lautrec’s imagination. Even though stars’ costumes on the silver screen to be Schiaparelli did not receive screen credit just as exciting. Sandy stated in an interview, alongside Marcel Vertes, Vertes did go on “they [Hollywood costumes] were my to win the Academy Award® for Costume fantasy come true.” Design for Moulin Rouge. Sandy’s favorite films were from the 1930s, Hollywood’s “Golden Age,” when Join Sandy Schreier June 2 at 6:30 p.m. for motion picture studios had large wardrobe “HOLLYWOOD DRESSED & UNDRESSED,” a departments. “They had hundreds of people presentation of the Friends’ Lecture Series, to Zsa Zsa Gabor as Jane Avril in Moulin Rouge, 1952. Costume Designer: working there: seamstresses and people hear the back stories of film costuming, as Marcel Vertes. Gown designed by Elsa Schiaparelli. Photo courtesy of George Eastman House Motion Picture Department Collection doing beading and embroidery. It was like told to Sandy by the fashion and film industry’s the French couture,” Sandy explained. “They designers, the people who make the clothes sent Adrian to France to study Marie Antoinette before the movie was we’d love to wear. A book signing precede the lecture, beginning at 5:30 p.m. made, taking his whole staff with him to study the clothes and the jewels Sandy Schreier’s Hollywood Dressed and Undressed: A Century of Cinema that Norma Shearer would wear on screen.” Schreier credits the studio Style (Rizzoli, 1998) and Hollywood Gets Married (Clarkson Potter, 2002) are era with elevating the role and public image of costume designers, who available in the Museum Store. Friends’ Lectures are free to Museum members were dressing actors in the studios as well as in their personal lives. “Until at the Friend, Friends, and Sustainer membership levels. Seating is limited to 1953, the Oscars were on the radio,” Sandy continued. “The stars got all 250. Prices are $5 for general membership levels and $10 for nonmembers per glitzed up and the radio announcer would describe what the stars were ticket. Tickets may be purchased in advance. Call (405) 278-8237 to purchase wearing, and they were all designed by the studio designers.” tickets.
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SHOP THE STORE FIND UNIQUE TREASURES THAT ARE TRULY WORKS OF ART New Cashmere and silk Pashmina Shawls
With over 25 new spring colors to choose from, our luxurious 2 Ply cashmere and silk blend pashmina shawls are the essential accessory. Breathe new life into your everyday wardrobe or with its natural silk sheen add a dramatic accent to your evening wear. Our cashmere/silk pashmina shawls are not only the perfect accessory for any occasion, but also make the perfect gift. Price: $40
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Pendant & Concrete Bangle
Karen Konzuk’s breathtakingly simple and clean design captivates the modern eye. The unique and edgy combination of two industrial building materials, concrete and stainless steel, creates a modern architectural object, rather than a mere accessory or jewelry piece. Konzuk’s ability to turn the rough and industrial into modern and elegant continues to astound. This bangle embodies the strength a modern woman possesses, and contemporary design is reflected in this minimal pendant for the trend-conscious woman. Stop by the Museum Store to view the entire collection of Concrete Jewelry. $156.95 Pendant/$146.95 Bangle
Recycled Glass Votives
With the arrival of spring, it’s time to add a splash of color to your home décor, and we’ve got just the thing! Our new Scalloped Recycled Glass Votives are the perfect touch to any home or patio. Votives are made from 100% recycled glass and come in an array of colors. Prices: $8.95 large/$6.95 small
Earth (art) Sticker
The EARTH sticker was created by artist Philip Krohn. All net proceeds go to nonprofit organizations working to protect biodiversity and wilderness. To see a list of supported organizations, please visit earthsticker.com. Price: $2.95
Tuesday – Saturday 10 a.m. – 5 p.m. Sunday noon – 5 p.m. (405) 278-8233 | okcmoa.com/store
Dressed: A Century of Hollywood Costume Design
Academy Award-nominated costume designer Deborah Nadoolman Landis showcases one hundred years of Hollywood’s most tantalizing costumes and the characters they helped bring to life. Drawing on years of extraordinary research, Landis has uncovered both a treasure trove of costume sketches and photographs— many of them previously unpublished—and a dazzling array of first-person anecdotes, including a foreword by Anjelica Huston. Along the way, she also provides an eye-opening, behind-the-scenes look at the evolution of the costume designer’s art. A lavish tribute that mingles words and images of equal luster, Dressed is one book no film or fashion lover should be without. (596 pages/over 800 pictures) Price: $75 (A book signing will be held on May 6, 2010, 6 p.m.)
CONNECT | Vol. 2010, Issue 2
Deborah Nadoolman Landis: Costume Designer Profile Associate Curator Jennifer Klos speaks with Deborah Nadoolman Landis, costume designer and historian, about her extensive film career and the wonderfully comedic characters and costumes of Three Amigos. JENNIFER KLOS: How did you first become interested in the field of costume design? DEBORAH NADOOLMAN LANDIS: I think I was born a costume designer. My first love is history, and I think that costume designers come from very different fields, but it’s not unusual to find costume designers that have strong interests in history and literature. Costume designers must know more than simply how to sew; you have to be incredibly resourceful, to do a lot with your hands, you have to have an incredible sense of color, and you have to love people and stories about people. I was also interested in fashion but even more interested in dress up, theater, fantasy, and the imaginative. JK: What brought you to Hollywood to begin working on films? DNL: I had been working in the Shakespeare festival before college. While I was in high school, I grew up in Manhattan, and I would take the subway down and stand in the back of Broadway theaters on Wednesday, and I saw every show that went up on Broadway as a high school student. When I was in college, my senior thesis as a theater major was about costumes and masks of the commedia dell’arte, so I was a full-formed costume designer by 18. After I graduated, it was a decision of whether I wanted to stay and join a costume house like Brooks Van Horn, but I was pretty lazy. I worked that summer at a festival in Vermont, and I was ready to get out of New York, because I was born and grew up in Manhattan, so I wanted to get out of there. It’s my hometown, and I was ready to see something else. The only thing I could think of that could be as good as New York was Hollywood. At the time, UCLA was not the greatest MFA program in the world, but I figured I would get out there to LA and get in the industry. JK: As you progressed throughout your career, did your design processes evolve over time?
DNL: I think I have come to believe that the process of costume design has not changed. There isn’t a difference between designing for a high school show and designing for Avatar. It starts with a script, whether it is a play or a movie, and whether it has a low budget or a huge budget. Basically it’s making the characters from the page come alive. A costume designer reads a script or a play and has to discover, with the director, who these people are. Then Deborah Nadoolman Landis with her dog, Jack. to create authentic and believable characters. I don’t distinguish between low budget, high budget, any genre. It’s all the same because a costume designer never knows what genre they’re going to be called upon to do next. My first movie was The Kentucky Fried Movie, which was a low-budget movie. The costume budget was $15,000. Not too many years later at the age of 27, I did Raiders of the Lost Ark, which had a budget close to half a million dollars, yet I was doing the same exact job. It was the same exact job that I had done in high school when I designed for The Crucible. I read it, I discussed it with the director, the director gave me an understanding about who the people are, I did sketches, and we started to design. It was the same job, and it’s been the same job forever. JK: What was it like designing the costumes for Three Amigos? DNL: It was a delight from start to finish. It was written by Lorne Michaels,
Left: Costume Illustration of Steve Martin as Lucky Day in Three Amigos, 1986. Costume Illustrator: Kelly Kimball. Photo courtesy of Deborah Nadoolman Landis. Right: Martin Short, Chevy Chase, and Steve Martin in Three Amigos, 1986. Costume Designer: Deborah Nadoolman. Photo courtesy of George Eastman House Motion Picture Department Collection
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who is the producer of “Saturday Night Live,” and Steve Martin. I had designed a few movies with Chevy Chase, and Steve Martin at the time was a close personal friend. We knew at the time that the amigos (Chevy Chase, Martin Short, and Steve Martin) were silent film characters. More than that, they were silent film stars. It wasn’t really a slapstick comedy, but when my husband John Landis and I work together, we try to make the period very true to form. We don’t take it lightly; we do a lot of research, for the time period, and if there’s exaggeration, it’s always in support of the movie, never to detract. Three Amigos was never meant to look like a down-and-dirty comedy, but we always had these exaggerated aspects to the film. For instance, the amigos are always spotless in these mariachi costumes that I designed with very elaborate soutache braiding (different for each of the amigos) all over it. The mariachi costumes are covered with Swarovski crystals. A lot of them you don’t notice because they are dark or black diamond, so they just shimmer, but the juxtaposition of having these Swarovski-encrusted mariachi costumes in the village of Santa Poco and with the banditos who were like the Charles Schultz character Pigpen, where every time they moved they had these clouds of dust around them. The counterpoint of strangers in a strange land, completely spotless, Hollywood stars waiting for their valet cars. So Three Amigos was a fantastic experience; we shot it in Old Tucson. I made every single thing you see in that movie. It was very spoiling having three fantastic comedians who loved their costumes. I made many multiples of the costumes, and Marty, Steve, and Chevy all went home with a set. JK: Tell us about the costume illustrations for Three Amigos. DNL: Kelly Kimball was my assistant for many years, and I started as her assistant. As I got busier and busier as a costume designer, I asked her to come do illustrations for me. I do thumbnails, and the purpose of her illustration is to show the finished image to the director. I have always, in my own life, seen the costume very well in my mind’s eye, and I work with fabric three-dimensionally on a dress form. Some designers produce their own illustrations. I use dress forms and fabric, and the illustrators are like a public letter writer. It’s like having terrible handwriting but being a great poet. You tell it to someone with beautiful handwriting, and they make it look beautiful, but the artistry is in the telling. In my career, I have seen the most beautiful drawings turn into the worst costumes. The talent for costume design, not the drawings, the talent is how it looks on screen and how it works for the movie. That’s the contribution. That’s the successful costume. It doesn’t disappear. Not “is it beautiful in person,” not “is it well-made,” not “is the drawing fantastic,” but “is it right for the scene?”
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Inasmuch Foundation SEASON SPONSORS
Allied Arts Foundation Chesapeake Energy Corporation Devon Energy Corporation OGE Corporation Oklahoma Arts Council Bank of America | Crawley Petroleum The E.L. & Thelma Gaylord Foundation Great Plains Coca-Cola Bottling Company Kirkpatrick Foundation | MidFirst Bank SandRidge Energy, Inc. | Saxum Public Relations Cox Oklahoma | GlobalHealth | The Oklahoman Thatcher Hoffman Smith Film Endowment EDUCATION SPONSORS
Sarkeys Foundation and Sonic, America’s Drive-In Arts Education Endowments Oklahoma Community Service Commission Exhibition Sponsors
Academy of Motion Picture Arts and Sciences Ad Astra Foundation | B.R. Polk, Inc. Mr. and Mrs. J. Clifford Hudson | National Endowment for the Arts Oklahoma City Convention & Visitors Bureau Oklahoma Humanities Council | Stella Artois
JK: How do you measure the success of costumes for a film? DNL: It’s not about what’s prettiest or what’s period. It’s really about what’s a good movie. If you enjoy a movie and love it, the costumes are great, even if you don’t notice them. Really, especially if you don’t notice them. That’s the measure of great costume design. If the costumes disappear into the fabric of the narrative, that is the greatest accomplishment that any costume designer could hope to achieve. LECTURE May 5, 5:30 p.m. “Dressed: A Century of Hollywood Costume Design” Lecture is free to the public. Tickets are available on a firstcome, first-served basis and are limited to 250 seats. BOOK SIGNING May 6, 6 p.m. Deborah’s book Dressed: A Century of Hollywood Costume Design (Harper Collins, 2007) is available in the Museum Store. SPECIAL APPEARANCE May 6, 7:30 p.m. Landis kicks off the Sketch to Screen Film Festival with an introduction to Three Amigos. For a listing of festival screenings, visit okcmoa.com or see the enclosed calendar.
RELATED EVENTS exhibition lecture “Dressed: A Century of Hollywood Costume Design” Lecture by Deborah Nadoolman Landis, Ph.D. Wednesday, May 5, 2010 5:30 p.m. Noble Theater Members’ Preview Wednesday, May 5, 2010 6–8 p.m. Sketch to Screen Film Festival Thursdays, May 6–August 12, 2010 7:30 p.m. Noble Theater
family day Saturday, May 22, 2010 12–4 p.m. Presented with the support of Sonic, America’s Drive-in friends’ lecture “Hollywood Dressed and Undressed” Lecture by Sandy Schreier Wednesday, June 2, 2010 6:30 p.m. Noble Theater Last Call Thursday, August 12, 2010 5–9 p.m.
CONNECT | Vol. 2010, Issue 2
Tan Lejos de Dios, Tan Ceras de los Estados Unidos [So Far from God, So Close to the United States] (2001)
From the Collection: Luis Jiménez By Alison Amick, Curator for Collections
Luis Jiménez’s bold, probing works fuse his interests in popular culture, social commentary, and his Mexican-American heritage. The son of an immigrant, Jiménez was born in El Paso, Texas, in 1940.1 He developed an interest in car culture at a young age, influenced, in part, by time spent in his father’s neon sign shop. As an artist, he embraced his heritage, proudly stating, “I’m a Chicano.”2 He chose to identify himself with fellow Mexican-American artists who often explore themes of bicultural identity in their works. Harry Gamboa, Jr. once described Chicanos as having a “phantom culture,” a culture that artists and activists have advocated since the Chicano Movement of the sixties.3 Influences such as politics, traditional Mexican folklore and customs, urban life, graffiti, and pop culture permeate Jiménez’s works as well as that of other Chicano artists.4 Jiménez received his B.S. in art and architecture from the University of Texas at Austin in 1964 and quickly won acclaim as an artist. After graduation, he studied with Francisco Zúñiga at the Ciudad Universitaria in Mexico City, where he was influenced by the murals of Diego Rivera, David Alfaro Siqueiros, and Jose Clemente Orozco, who were known as Los Tres Grandes. In 1966, Jiménez went to New York City to pursue a career as an artist and served as an assistant to sculptor Seymour Lipton. Jiménez had his first solo exhibition in 1969 at Graham Gallery and left two years later for New Mexico. A renowned sculptor, painter, and printmaker, Jiménez is perhaps best known for his colorful fiberglass sculptures, such as Mesteño at the Fred Jones Jr. Museum of Art, University of Oklahoma, Norman. The Oklahoma City Museum of Art’s collection includes six lithographs by the artist, which were purchased in 2008. Jiménez’s lithographs are frequently expressive and emotionally charged, capturing both the three-dimensionality and monumentality of his work in sculpture. Jiménez’s interests in social commentary and public art were greatly influenced by Los Tres Grandes and works by New Deal artists. In his artwork, Jiménez frequently explored the theme of border crossing. Tan Lejos de Dios, Tan Ceras de los Estados Unidos [So Far from God,
10
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So Close to the United States] (2001) addresses the continued national debate over securing national borders and adds a powerfully human component. This lithograph contains elements found throughout Jiménez’s work, such as the immigrant and the coyote. Here, a father carries his daughter, tired from the journey, on his shoulders. Jiménez often used this stance when portraying scenes of border crossings, prompting many art historians to make comparisons to St. Christopher, who carried Christ on his shoulders over rough waters.5 The coyote also has several associations, including a person with mixed European and Mexican ancestry as well as one who smuggles immigrants into the United States.6 Jiménez once discussed this connection saying, “We [Mexican-Americans] are not unlike the coyote, an animal once targeted for extinction by ranchers.”7 With this in mind, his work captures
Reflejo del Chucho (2001)
the danger, desire, and drama associated with an illegal entry into the United States. Living in El Paso and later New Mexico, Jiménez was familiar with the plight of the new immigrant; he also had familial connections as his father was, for a time, an undocumented worker. Lithographs such as Reflejo del Chucho (2001) and El Borracho (1992) capture the gritty realities of urban street life and culture. In Reflejo del Chucho, Jiménez utilizes vivid colors to capture a world filled with prostitutes, low riders, and tattoos. Completed in 1992, El Borracho was executed during a period when Jiménez was exploring themes related to death; Benito Huerta suggests this work represents a “standoff” between life and death.8 Jiménez’s drunk stands on a street corner, approaching a prostitute who reveals herself as death. The drama of the moment is heightened by the headlights of two cars, which cast a series of abstracted shadows around the man. The uncertainty of the moment calls into question the man’s fate and, ultimately, that of the viewer’s. Jiménez also was drawn to equestrian subjects and themes related to the American West and Southwest, where the cowboy and horse remain powerful symbols of American cultural identity. Jiménez’s work often points to the Mexican origins of the cowboy, and he explored this theme in sculptures such as Vaquero, located in Moody Park, Houston, Texas. In his lithograph Study of a Classical Horse and a Modern Horse (1994), Jiménez compares the classical horse of antiquity with that of the appaloosa, a horse native to the United States and cultivated by the Nez Perce Indians. The role and importance of the horse in American history is further explored in works such as Blue Mustang, a large fiberglass piece commissioned by the Denver International Airport and completed two years after the artist’s death in 2006. Jiménez was working on the enlargement of Blue Mustang in his studio in Hondo, New Mexico, when a piece of the sculpture fell “and pinned him to a steel support” causing “severe trauma to his leg,” ultimately leading to his death.9 This tragic accident ended an illustrious artistic career spanning over four decades. See works by Jiménez from the Museum’s permanent collection on view in Luis Jiménez from July 15–December 12, 2010, in the third floor galleries.
In the Galleries
Sketch to Screen: The Art of Hollywood Costume Design May 6–August 15, 2010, 1st Floor
The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States Through July 3, 2010, 3rd Floor
Théodore Géricault : Prints from the Tilghman Collection Through July 25, 2010, 2nd Floor
El Borracho [The Drunk] (1992) To view the major sources for biographical information about Luis Jiménez in this article, see Camille Flores-Turney, “Howl: The Artwork of Luis Jiménez,” in Howl: The Artwork of Luis Jiménez (New Mexico: New Mexico Magazine, 1997, 11-68, and Ellen J. Landis et al., Man on Fire: Luis Jiménez (Albuquerque, NM: The Albuquerque Museum, 1994). 2 As quoted in Michael Brenson, “Movement’s Knowledge,” in Luis Jiménez: Working-Class Heroes: Images from the Popular Culture (Kansas City, MO: Exhibits USA, Mid-America Arts Alliance, 1997), 11. 3 Harry Gamboa, Jr. quoted in Max Benavidez, “Chicano Art: Culture, Myth, and Sensibility,” in Chicano Visions: American Painters on the Verge (Boston, New York, and London: Bulfinch Press Book, Little, Brown and Company, 2002), 17. 4 For more on the origins and influences of Chicano Art, see Benavidez, “Chicano Art,” 11-21 and Alicia Gaspar de Alba, Chicano Art: Inside/Outside the Master’s House: Cultural Politics and the CARA Exhibition (Austin: The University of Texas Press, 1998). For a discussion on Chicano Art, its influences, and the “usage problem” of the term Chicano, see Chon A. Noriega, “The Orphans of Modernism,” in Phantom Sightings: Art after the Chicano Movement (Los Angeles: Los Angeles County Museum of Art and University of California Press, 2008), 16-45. 5 Shifra M. Goldman, “Luis Jiménez: Recycling the Ordinary into the Extraordinary,” Man on Fire, 17; Lucy R. Lippard, “Dancing with History: Culture, Class, and Communication,” Man on Fire, 23; Flores-Turney, “Howl,” 44; Benito Huerta, “Introduction: Working Class Heroes,” in Luis Jiménez: Working-Class Heroes: Images from the Popular Culture (Kansas City, MO: Exhibits USA, Mid-America Arts Alliance, 1997), 10. 6 Lippard, “Dancing with History,” 34 and Flores-Turney, “Howl,” 41. 7 Quoted in Flores-Turney, “Howl,” 11. 8 Huerta, “Introduction,” 10. 9 Jocelyn Y. Stewart, “Obituary: Luis Jimenez Jr., 65; Artist Whose Sculptures Are on Public Display Nationwide,” Los Angeles Times, June 15, 2006, http://articles.latimes.com/2006/jun/15/local/me-jimenez15 (accessed March, 29, 2010). 1
Alfonso Ossorio: Gifts from the Ossorio Foundation Through November 14, 2010, 2nd Floor
Luis Jiménez July 15–December 12, 2010, 3rd Floor CONNECT | Vol. 2010, Issue 2
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In focus @ OKCMOA oklahoma art writing and curatorial fellowship
LAST CALL FEATURING ANTI.GRAVITY.MATERIAL.LIGHT
Glen Gentele led a tour of the exhibition Jason Peters: Anti. Gravity.Material.Light for fellows and mentors participating in the Oklahoma Visual Arts Coalition’s Oklahoma Art Writing and Curatorial Fellowship. The program is presented in partnership with the University of Oklahoma’s School of Art and the Oklahoma City Museum of Art. Photo by Candace Coker.
On March 27, 2010, more than 100 guests attended the panel discussion “What Does a Curator Do? Three Curatorial Models” in the Noble Theater. Pictured from left to right are Catherine J. Morris, Tom Eccles, Kate Hackman, Margo A. Crutchfield, and Shannon Fitzgerald. Photo by Candace Coker.
gallery stories Last Call celebrated the closing of Jason Peters | Anti.Gravity.Material.Light. Upper left: Museum staff leads mini tours through Ossorio. Lower photos: last shots of the exhibition. Photos by Romy Owens.
drop-in art with the OKC thunder
On February 13, 2010, education curator Chandra Boyd and children’s librarian Rondia Banks, from the Downtown Library, presented “I Spy Something Red.” The program combined storytelling for children with games and activities related to the theme of the color red in art.
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On March 13, 2010, OKC Thunder players James Harden (above) and Eric Maynor (right) dropped in on families participating in Drop-in Art. The players helped children with their art projects, signed autographs, and put a smile on everyone’s face. Photos provided by the OKC Thunder.
okcmoa.com
family day
More than 650 adults and children attended the family day held February 27, 2010. Activities included face painting, a family activity guide, a contemporary performance by r.a.c.e. dance company, story times presented by the Metropolitan Library System, and hands-on art activities. Photos by Alan Ball Photography.
twitpic
oklahoma humanities awards Curator Alison Amick, Glen Gentele, president and CEO, and Ed Barth, OKCMOA board member & chair of the Oklahoma Humanities Council Board of Trustees, at OHC’s awards ceremony on March 4, 2010. The Museum won Outstanding Project for the exhibition Harlem Renaissance. Photo by Steve Sisney, courtesy of the Oklahoma Humanities Council.
Kristin Epperson Smith uploaded this photo of her husband, Chris, creating a his own light-inspired art inside the Jason Peters exhibition. It took four tries to achieve the heart.
friends lecture
portfolio day with the oklahoma art education association at the okcmoa
Local art professors from universities reviewed the portfolios of high school juniors and seniors for their college and scholarship applications.
On February 17, 2010, members enjoyed hearing Helen C. Evans, Ph.D., the Mary and Michael Jaharis Curator for Byzantine Art at the Metropolitan Museum of Art, speak on the exhibition The Philippe de Montebello Years: Curators Celebrate Three Decades of Acquisitions. Photos by Alan Ball Photography.
CONNECT | Vol. 2010, Issue 2
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New Devices, Old Dilemmas Photo by Jim Meeks
The beginnings of a beautiful friendship with Scan it! By Bryon Chambers, Education Assistant
They are fast; they are multifunctional; and they are quickly taking over the mobile phone industry—smartphones are everywhere it seems and their capabilities appear endless. These relatively new devices have brought about innovative ways to market to the masses as well as ways to interact with not only each other but also the world around us. They appeal to a growing audience, whose age gets younger and younger every year. This technologically savvy youth is our future, and as a Museum, we must learn to embrace their knowledge base or lose the next generation of Museum visitors. However, we are faced with the dilemmas of balancing issues such as our photography policy and our plea for a respectful silence in the galleries with unique uses for these smart, handheld devices in Museum spaces. While it is a fine line, we are accepting its challenges. The use of mobile phones in galleries may seem odd to some, when only a few years ago, many museums, including OKCMOA, enforced no cell phone use policies. The cell phones of that time had a single purpose to serve—the ability to have phone conversations anywhere at anytime—and needless to say, that had no place in museum galleries. Now, handheld devices, such as iPhones, Palms, and BlackBerries, have transformed ordinary cell phones into miniature computers with multifunctioning capabilities, which means many museum visitors carry with them devices that can be used not only for calling or texting but also for searching the web, downloading media, and scanning information. In response to this rapid evolution of communication devices, the Museum is developing ways to utilize these smartphone technologies to better serve its visitors. Recently, we introduced a new resource for handheld devices, named Scan It!. Scan It! labels can be found throughout the Museum. These labels include three versions of two-dimensional barcodes or tags, namely QR codes, EZ codes, and Microsoft Tags. The same codes and tags are found in many magazines and even local newspapers, such as LOOKatOKC and soon The Oklahoman. When scanned, these codes quickly direct visitors to a web-based resource without having to type in a lengthy URL or Web address. For example, when you scan a label in the Museum’s third floor exhibition of The Vogel Collection, the collection’s Web site, Vogel50x50.org, opens in a new page on your smartphone’s Web browser. To start scanning codes, the first step is to download one of several, free reader applications, such as NeoReader, Microsoft Tag Reader, or ScanLife. Load the reader application that works with your device and start scanning to discover a wide range of web-based resources. To see how easy it is to use Scan It!, practice with the codes seen at right. For those who can search the Web on their handheld device, another resource to consider is the Museum’s Web site, okcmoa.com.
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Digital versions of many printed materials provided at the Museum, such as gallery guides, family guides, and educators’ resource guides, can also be found on our Web site. These guides contain art activities, additional exhibit information, and expanded discussions on key works. Parents can access resources to lead their children through special exhibitions and permanent collection galleries. Teachers can use discussion guides to prepare for a tour or to review what students have seen and learned following a visit. As an added benefit, viewing these resources in their digital formats provides a paperless option for visitors. Also available on the Web site, Museumgoers can enjoy a growing number of media files, including audio recordings of lectures, artist talks, and time-lapsed videos of exhibition installations. Visitors can walk through an exhibition and watch its installation in a condensed, threeminute version or listen to artists talk about their own works. Visit the Museum’s Web site often for more postings of new media. By using handheld devices, visitors can also listen to audio tours, which were first introduced to museums over forty years ago. OKCMOA often provides audio tours related to special exhibitions and key works from the permanent collection. Instead of using audio wands, available at the admissions desk, visitors can use their phones—smart or otherwise—to listen to a self-guided audio tour provided by OnCell Audio. The capabilities of mobile devices are advancing at a rapid pace, and the Museum is just beginning to take advantage of the possibilities. Times and technology have changed, but the standards of museum etiquette have not. When in the galleries, visitors should remember to silence all electronic devices, use headphones to listen to audio, and always exit the galleries to accept a phone call. When watching videos, reading text, or scanning codes, visitors should be mindful of their surroundings to avoid disturbing others or worse, art objects. Most importantly, remember the primary reason for visiting the Museum—to see great art. Technology may be a fantastic resource, but occasionally consider putting away all devices, all distractions, and just take the time to visually explore the art objects before you uninterrupted—it’s still the best way to view art. Scan It! guides are available in the Museum’s galleries.
vogel50x50.org
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Thursdays, May - October, 5-9pm. $5 After 5pm. Includes admission to the galleries & roof
The band schedule for the summer! May 6 May 13 May 20 May 27 June 3 June 10 June 17 June 24 July 1
Born In November Bruce Benson Synopsis Heather Nelson Trio Born In November Matt Stansberry Band Marcy Priest Maurice Johnson Synopsis
July 8 July 15 July 22 July 29 August 5 August 12 August 19 August 26
Marcy Priest Heather Nelson Trio Bruce Benson Born In November Heather Nelson Trio Born In November Synopsis Born In November
CONNECT | Vol. 2010, Issue 2
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Education Out & About
Family Visits @ OKCMOA
While most of the Museum’s core educational programs occur onsite in the classrooms, theater, and galleries of the Donald W. Reynolds Visual Arts Center, staff often travels off-site to give presentations or provide art-making activities for both adults and children in the community. This summer, educators will provide enriching experiences in a number of community sites. These include branch libraries in the Metropolitan Library System, Oklahoma City Park and Recreation centers, and senior adult living centers in Oklahoma City. On June 28, from 3-4 p.m., teaching artist Erin Oldfield will offer
Having children does not necessarily mean you can’t fly by the seat of your pants—just be sure to pack a snack! Actually, there is a bit more planning required for any type of outing with children, and with a little advanced preparation, a trip to an art museum can be a breeze. We understand many parents and grandparents are uncomfortable bringing children into the galleries where centuriesold, priceless—and breakable—works of art line the walls. To ease these fears, the Museum now offers several “tools” to assist families in making their visits as educational and enjoyable as possible. Newly added to the Museum’s For Families page at okcmoa. com is a section on Planning a Family Visit. Here, you’ll find tips and
“Underwater Sea Adventure,” a hands-on art activity designed especially for families. The project complements the library’s summer reading program for children, “Make a Splash at Your Library,” and will take place at the Choctaw Library (2525 Muzzy Street, Choctaw). In July, Erin visits the Midwest City Library (8143 East Reno Avenue, Midwest City) to lead a fun activity just for teens. “Design and Go Costumes” brings to life the garments and sketches featured in the Museum’s special exhibition Sketch to Screen: The Art of Hollywood Costume Design. Teens can design, draw, and create wearable—albeit temporary—fashions inspired by their favorite Hollywood characters. This event is scheduled to take place on July 19 from 1-2 p.m. Working with the City of Oklahoma City’s Parks and Recreation Department, OKCMOA has invited Woodson Park Senior Activity Center and Will Rogers Senior Citizens Center to bring their guests to the Museum for a private tour of the galleries, conversation with curators, and refreshments on Monday, June 14. The following week, Museum educators will visit the center to provide a short presentation and hands-on art lesson. Similar programs are being coordinated in partnership with Arts Council of Oklahoma City at Metropolitan Better Living Center and Easter Seals Adult Day Health Center. For more information about community outreach programs offered by the Museum, call (405) 236-3100, ext. 231.
tricks to make the most of your family’s next OKCMOA adventure. Additionally, you will find a link to Museum Manners. No museum is without a set of policies and regulations about how to behave in the galleries. Understanding why these rules are important—to protect the artworks as well as the visitor—is key to having a stress-free museum visit. Learning how to explore artworks together can be a big hurdle for some families, with so many different levels of interest and attention spans. Recently, museum educators developed a family guide to the permanent collection galleries on the second and third floors of the Museum. This guide is broken down into several areas, ranging from landscapes and seascapes to sculpture and modern art. Each section features activities that encourage taking a closer look at the artist and artworks, as well as gallery games and activities that correspond with our Discovery Packs. These fun, interactive backpacks feature a new look and logo and offer familiar, fun treasures, including sketchbooks and materials, to design and make your own works of art. To keep from being overwhelmed during your visit, simply grab a Discovery Pack at the admissions desk and try to complete only one or two sections of the family guide. The guide is designed to be used for multiple visits to the Museum and leaves you wanting to come back and do more. Every Saturday, visitors can take part in Drop-in Art, an artistled, make and take art project inspired by artworks in the Museum or special occasions. Gallery Stories, themed storytelling sessions in the galleries, are offered the second Saturday of each month, in partnership with the Metropolitan Library System. The barriers to bringing families into the art museum are starting to fade, and many parents are happy to share their tales of museum outings with others to encourage a community of arts learners.
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Visiting an Art Museum
Instructor Erin Oldfield blogs on visiting the Museum with children Yesterday I took my boys to the OKCMOA. It is one of their favorite places to visit. We were getting inspiration ideas for projects at home this week. Here they are looking at a giant assemblage piece by Alfonso Ossorio, titled INXIT. We are going to create our own assemblage pieces at home later today.
museums locally and in other states. Also, look into any children programs they offer like tours, classes, and more. See if your museum offers anything for children. Our museum offers a really cool backpack (The Discovery Pack) to check out. It is filled with fun things to do during your visit. This is perfect for older children. Know the museum rules for where you are visiting. Some prohibit photography, food, etc. in certain areas. Prepare your children for their visit. Read books about museums, art, color, etc. before you go. Go over your rules and expectations for visiting a museum with your child. Small children might need to be reminded several times. I mention rules to our toddlers at least three times during our gallery walks. They also might do best in a stroller. Remember that short attention span! If they do well in one area, be sure to praise them for good behavior! I say, “you all are doing such a great job using walking feet today! Thank you!” Be vigilant in watching and being responsible for your child while you are there. Some good rules to explain are: 1. Never touch the artwork. This is my number one rule. We use our eyes to look at the art. Never our hands. I still hold my four-year-old’s hand. We use the buddy system! I say, “will you be my buddy? Hold my hand!” I make him responsible for me—he thinks it’s fun. Before the trip we talk about why touching art is harmful— the oils on our fingertips leave marks that can ruin the artwork—not to mention the artwork can be fragile and touching could puncture a canvas. Kids can put their hands in their pockets, on their hips, even on their heads... just not on the walls, pedestals, or artwork! 2. Stay three steps back. You will be less likely to run into trouble if you stay 3 steps back from the artwork. If you get close, they will get close. We have to try to set good examples. 3. Put on our walking feet! We are sure to put on our walking feet when we enter the museum. We never run, gallop, skip, jump, etc. in the galleries. Someone can trip, fall, and hurt the artwork or even worse, themselves! 4. Use our quiet voices. We use our quiet voices so that everyone can enjoy their museum visit. This applies to adults too! :) 5. Save the snacks. Save the snacks to enjoy outside on a warm day or on your car ride home. Food and drinks can spill, splatter, and damage works of art. Food in the galleries can also attract bugs that can be harmful to artwork. 6. Don’t forget to have fun. Play a game with your child. Before we go, we pick a color of the day. It’s our magic color to find in the museum. This will continue to engage your child as you make your way through the galleries.
People ask me all the time, “Are you insane? How do you take your kids to a museum?” Visiting an art museum should be a fun experience for you and your child. I do teach young children at the OKCMOA, but I love to take my own children there as well. I believe letting children see art at a young age is important. Some of my first memories are going to galleries and museums with my own parents. Bringing them to a museum is also a good way to start showing them proper museum manners. These ideas mainly apply to young children but can easily be adapted for older children as well. In reality, your first visit may not go as you plan. They might forget the rules you put in place, but try again. I find the more you go, the more familiar and comfortable they become. When planning your trip to a museum make sure you go at a good time for your child, not what is a good time for you. Don’t go at meltdown time... Go after a nap... Go after they have eaten. When you check in to your museum, look into a membership. They are usually pretty cost effective and offer discounts or reciprocity for other
If there is a bench, take a break! We will sit and play I Spy. Ask your child questions. There are so many questions, from easy concepts for little ones like color, lines, texture, and shapes to more difficult concepts for older children like harmony, balance, dimension, and movement. Let your children teach you. I try not to give my children my personal opinion of what I like or dislike. I want them to form their own opinion. Usually your kids will let you know when they’ve had enough! Take your new knowledge home to make a creation you were inspired by. Get out there and enjoy the Arts! This article is reprinted with permission of Erin Oldfield and is taken from her March 17, 2010, blog post “Visiting an Art Museum” on laughpaintcreate.blogspot.com As one of the Museum’s teaching artists, Erin Oldfield leads a number of toddler and preschool classes as well as activities for family days, Drop-in Art, and community outreach. She shares her experiences, tips, and creative projects for families on her blog, Laugh, Paint, Create! To read more, visit laughpaintcreate. blogspot.com.
CONNECT | Vol. 2010, Issue 2
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OKCMOA looks forward to downtown improvements with Project 180
Rendering provided by the City of OKC
The Museum looks forward to future improvements brought about the City of Oklahoma City’s new initiative, Project 180, which was begun at the end of April. This
three-year, three-phase redesign of downtown streets, sidewalks, parks, and plaza, all within walking distance of the Museum, will enhance the appearance of the area and make it more pedestrian friendly. Plans call for the addition of landscaping, public art, marked bike lanes, decorative street lighting, on-street parking spaces, and even a few electric car recharging stations.
The first phase of construction includes the renovation of Robinson, Park Avenue, Dean A. McGee, Reno, and Walker. For Museum visitors, the street most affected during phase one will be Walker Avenue. Through communications by e-mail, newsletters, Twitter, Facebook, and signage, the OKCMOA will keep members and visitors informed on the latest updates surrounding the Museum. A dramatic transformation of the Myriad Botanical Gardens is included in the first phase of Project 180. Plans currently include the addition of a grand performance lawn, water features, an ice skating rink, and more. One of the biggest changes, however, will be the reglazing of the 22-year-old Crystal Bridge Tropical Conservatory, which will be closed for construction for approximately one year. Phase two will begin in 2011 and includes construction on NW 5th Street, Robert S Kerr, East Main Street, California, Sheridan, Hudson, North
Sketch to Screen: Scene by Scene 1. Mary Pickford as Tessibel Skinner in Tess of the Storm Country, 1922. Costume Designer: uncredited. Photo courtesy of George Eastman House Motion Picture Department Collection. 2. Jamie Lee Curtis as Helen Tasker in True Lies, 1994. Costume Designer: Marlene Stewart. Photo courtesy of George Eastman House Motion Picture Department Collection. 3. John Gilbert as Antonio and Greta Garbo as Queen Christina of Sweden in Queen Christina, 1933. Costume Designer: Adrian. 4. Costume illustration by Walter Plunkett of Vivien Leigh as Scarlett O’Hara in Gone With the Wind, 1939. Costume Designer: Walter Plunkett. Photo courtesy of the Academy of Motion Picture Arts and Sciences. 5. Robert Redford as The Sundance Kid in Butch Cassidy and the Sundance Kid, 1969. Photo courtesy of George Eastman House Motion Picture Department Collection.
Robinson, and EK Gaylord. Also included will be renovation of the grand lawn at City Hall. The last phase is slated for 2012 and includes NW 4th Street, West Main Street, Broadway, Harvey, and North Walker. This phase will include the renovation of Bicentennial Park, located in front of the Civic Center Music Hall. Construction is slated to be completed by January 2014. For more information on Project 180, visit okc.gov/project180.
Allied Arts has only a few weeks left to reach its $2.85 million fundraising goal. Allied Arts provides 20 local arts organizations—including the Oklahoma City Museum of Art—with funding, marketing, and business development support. Do your part to support the arts in 2010. Visit www.alliedartsokc.com for more information or to donate.
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6. Liza Minnelli as Francine Evans in New York, New York, 1977. Costume Designer: Theodora Van Runkle. Photo courtesy of George Eastman House Motion Picture Department Collection. 7. Christopher Reeve as Clark Kent/Superman in Superman IV, 1987. Costume Designer: John Bloomfield. Photo courtesy of George Eastman House Motion Picture Department Collection. 8. Keira Knightley as Cecilia Tallis in Atonement, 2007. Costume Designer: Jacqueline Durran. Photo courtesy of NBC Universal Archive. 9. Charlton Heston as Ramon Miguel Vargas in Touch of Evil, 1958. Costume Designer: Bill Thomas. Photo courtesy of NBC Universal Archive. 10. Russell Crowe as Maximus in Gladiator, 2000. Costume Designer: Janty Yates. Photo courtesy of NBC Universal Archive.
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For availability, contact Matt Thomas at (405) 278-8286 or e-mail mthomas@okcmoa.com Visit online okcmoa.com
Beal elected new chairman This June, successful entrepreneur Elby J. Beal will be named the Museum’s new Board Chairman. A member of the Board since 2001, Beal has served on the Resource Development, Facilities, and Finance/ Investment committees and recently served as a sponsorship chair of the 34th Annual Renaissance Ball, along with his wife, Tina. He is Managing Partner of Golf Club Partners, teaches classes on entrepreneurship at OU, serves on the board of the YMCA of Greater Oklahoma City, and is a member of All Souls Episcopal Church. Beal succeeds veteran attorney Frank D. Hill, who served a two-year-term as Chairman of the Board and has been a member of the Board since 2000. During Hill’s term, the Museum presented nine special exhibitions, including Roman Art from the Louvre, which brought highlights from one of the world’s greatest museums and drew record attendance and sales. Additionally, more than 100 art objects were added to the Museum’s collection, including two paintings by Ippolito Caffi that will be included in the upcoming exhibition La Serenissima: Eighteenth-century Venetian Art from North American Collections, opening September 9, 2010.
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Annual Fund Giving Support the Museum Today The Museum’s Annual Fund campaign is a year-round effort in support of the enormous expense of providing quality programs for our community. Your support of the Museum’s Annual Fund through a gift or pledge at this time is crucial. Through the generosity of patrons like you, the Oklahoma City Museum of Art is able to fulfill its mission to enrich lives through the visual arts. Your donation will immediately provide for quality arts education and film programs, exhibitions, conservation of works of art, and general operating of the Museum. A gift to the Annual Fund is a yearround investment in the Oklahoma City Museum of Art and in the role the Museum plays in inspiring art and culture in Oklahoma City. Gifts of all sizes are vital to the success of the Museum. The impact of your donation can be seen in the wonderful art in our galleries, children’s programming, films, talks by guest lecturers, our visitor services staff, and even in the paint on the walls. As a donor to the Annual Fund, you are providing essential revenue toward the success of the Museum. The development staff at the museum encourages inquiries about supporting the Museum. Please contact the department if you have any questions about making a donation or the important programs your gift will support. You can reach the development office by calling (405) 236-3100, ext. 215 or ext. 207, or by e-mailing annualfund@okcmoa.com.
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CONNECT | Vol. 2010, Issue 2
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