ArtOFocus k l a h o m a
O k l a ho ma V i s ual A r ts C oal i t i on
Vo l u m e 2 8 N o . 4
July/August 2013
Art OFocus k l a h o m a from the editor The Oklahoma Visual Arts Coalition is busy preparing our exhibitions for the coming year. In OVAC’s exhibition programs, we strive to offer Oklahoma artists new opportunities to propel their careers forward. In this issue of Art Focus Oklahoma, we present the first in a series of articles introducing our readers to the artists selected for OVAC’s Art 365 exhibition. Now in its third iteration, Art 365 will open in February 2014 at [Artspace] at Untitled in Oklahoma City, then travel to the Arts & Humanities Council of Tulsa’s Hardesty Arts Center in May 2014. Five Oklahoma artists were selected from an open call for proposals to create new projects or bodies of work for the exhibition. They will each receive a $12,000 honorarium and guidance from guest curator Raechell Smith as they work over the next year. Featured in this issue is Bryan Cook (p. 4), whose photography offers us a momentary escape to places we are not likely to see with our own eyes. The other four artists selected for Art 365 are Cathleen Faubert, Eyakem Gulilat, Alexandra Knox, and Romy Owens. You’ll read more about them and their projects in upcoming issues or visit the website at www.Art365.org. While OVAC’s Art 365 exhibition offers one framework for encouraging artists in the creation of new work, in this issue you’ll also read about a few other upcoming exhibitions that highlight artistic excellence and connections amongst artists and their work. For example, the annual Fiberworks exhibition (p. 20) features Oklahoma artists employing fiber as a medium. Despite the connecting thread, this show can include an incredible diversity of styles and themes. Similarly, East Central University highlights outstanding work by former art department students in their alumni exhibition (p. 12). OVAC is also preparing for the 24 Works on Paper exhibition, a partnership with Individual Artists of Oklahoma, opening on July 26, 6-9 pm at IAO Gallery, 706 W. Sheridan in Oklahoma City. This biennial exhibition features 24 artworks in a diversity of media on paper. After its debut in OKC, 24 Works on Paper will travel the state to 10 additional venues, bringing contemporary Oklahoman artwork to communities large and small. Visit www.24works.org for schedules of the exhibition tour, workshops, artist talks, and other related events. Lastly, we’re gearing up for Momentum Tulsa 2013, which will open on October 12, 8 pmMidnight at Living Arts, 307 E. Brady in Tulsa. Oklahoma artists ages 30 and younger are invited to submit up to three artworks to be considered by our curators. The deadline to apply is September 5, 5 pm. Visit www.MomentumOklahoma.org for details.
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: Julia Kirt 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 2013 - June 2014: Patrick Kamann, Margo Shultes von Schlageter, MD (Treasurer), Christian Trimble, Edmond; Eric Wright, El Reno; Suzanne Mitchell, Renée Porter (Vice President), Norman; Jennifer Barron, Susan Beaty (Secretary), Bob Curtis, Gina Ellis, Hillary Farrell, Titi Nguyen Fitzsimmons, MD, Michael Hoffner, Kristin Huffaker, Stephen Kovash, Carl Shortt, Oklahoma City; Dean Wyatt, Owasso; Joey Frisillo, Sand Springs; Jean Ann Fausser (President), Susan Green, Janet Shipley Hawks, Sandy Sober, 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. © 2013, Oklahoma Visual Arts Coalition. All rights reserved.
Follow along with these exhibitions and the featured artists in upcoming issues of Art Focus, or watch our website at www.ovac-ok.org.
View the online archive at www.ArtFocusOklahoma.org.
Support from:
Kelsey Karper publications@ovac-ok.org
On the cover Bryan Cook, Oklahoma City, Saint Mary Lake, Photography. See page 4.
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Art 365: Bryan Cook
Photographer Bryan Cook, selected as one of five artists for OVAC’s Art 365 exhibition, takes viewers to remote locations in National Parks, wilderness areas, and wildlife refuges, offering an awe-inspiring view of the magnificence of nature.
Nouveau Nippon
Drawing on her Japanese heritage as well as an interest in Art Nouveau, history, and pop culture, OKCbased artist JUURI creates mixed media portraits that subtly convey deep emotion.
10 Visions in Expressionism: Bert Seabourn Continues to Perfect his Creative Legacy
In his 50 year career, painter Bert Seabourn has received many honors and accolades, and he feels he’s a better painter now than ever before, due to a rigorous work schedule and a mutually beneficial teaching practice.
re v i e w s 12 Alumni Exhibition at East Central University’s Pogue Art Gallery
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Three alumni of the art department in southeast Oklahoma are exhibiting their work, demonstrating to current students what is possible for graduates of the program.
p re v i e w s 14 A Natural Fit: 108 Contemporary Artist-in-Residence Heather Clark Hilliard
As the first artist-in-residence for a new gallery in Tulsa, Hilliard will create site-specific installations, inviting the public to experience the process and gain new appreciation for natural materials.
16 Prix de West
The National Cowboy & Western Heritage Museum celebrates the 40th Prix de West exhibition by highlighting artists featured during its history.
18 Combined Minds: An Artistic Collaboration
Tulsa’s Portico Dans Theatre is creating a new multidisciplinary production, including collaboration amongst dance, video, music, and installation artists.
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20 The 35th Annual Fiberworks Exhibit
The 35th Fiberworks exhibition gets a new home and includes educational opportunities for artists and the public.
21 An Exhibition with a Powerful Message – Stirring the Fire: A Global Movement to Empower Women and Girls
An exhibition at the Fred Jones Jr Museum of Art examines the struggle of women and girls in the developing world who seek access to health care and education.
f e a t u re s 23 The Little Program that Could: Spotlight on Studio 222 After School Programs
Studio 222, a program of St. Luke’s United Methodist Church in Oklahoma City, offers children the opportunity to experience art in many forms.
25 On the Map- The Mothman takes on the Mother Road: Rick Sinnett’s Route 66 Mural Project Inspired to make art available to all people, Oklahoma City artist Rick Sinnett has undertaken a project of massive proportions.
OVAC news 26 New and Renewing Members 27 OVAC News
business of art
(p. 10) Bert Seabourn, Warr Acres, Four Martini Lady, acrylic on Masonite, 48” x 36” (p. 12) Stacey D. Miller, Oklahoma City, Dinner at the Red Light, Monotype Print, 11” x 17” (p. 18) Portico Dans Theatre performers.
28 Ask a Creativity Coach: Stay in the Flow
The Creativity Coach explains how creative ideas are like leap frogs. Let them jump when they’re ready.
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Art 365: Bryan Cook by Kirsten Olds
Bryan Cook, Oklahoma City, Snowfield Near Hallett Peak, Photography
This is the first in a series of articles profiling artists selected for Art 365 2014, an Oklahoma Visual Arts Coalition (OVAC) program that supports five artists’ innovative projects over the course of a year. Projects are nurtured in consultation with guest curator Raechell Smith, Director of the H&R Block Artspace at the Kansas City Art Institute, and culminate in the Art 365 exhibition, which opens February 2014 at [Artspace] at Untitled in Oklahoma City and then travels to the Arts & Humanities Council of Tulsa’s Hardesty Arts Center in Tulsa in May 2014. 4
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Writing in 1712, English author and politician Joseph Addison described qualities of the sublime (which he called “greatness”) found in “the Largeness of a whole View, considered as one intire Piece. Such are the Prospects of an open Champian Country, a vast uncultivated Desart, of huge Heaps of Mountains, high Rocks and Precipices, or a wide Expanse of Waters, where we are not struck with the Novelty or Beauty of the Sight, but with that rude kind of Magnificence which appears in many of these stupendous Works of Nature… We are flung into a pleasing Astonishment at such unbounded Views, and feel a delightful Stillness and Amazement in the Soul at the Apprehension of them.” Oklahoma City-based artist Bryan Cook’s landscape photographs capture this very essence of “greatness”—both the awe the uncultivated vistas inspire and the terrifying sense of mortality they strike in viewers, who suddenly seem so small, so insignificant.
he pursued photography after a move to Japan in 2006—beguiled by its distinct urban landscape, Cook began to take photographs as a means of understanding his environs. After returning stateside, he furthered his training by working in commercial studios in Minneapolis and Oklahoma City. Outside, Cook’s exhibition this spring at Boren Fine Art Gallery in Oklahoma City’s Paseo Arts District, transported viewers to the cloudshrouded alpine heights and dazzling azure waters of St. Mary Lake, Montana (cover), and the fog-thickened air of forested trails to Mt. Fuji in Japan. The clarity and detail in the eight photographs in the show remind us of the camera’s ability to render views impossible for the naked eye: this cameraaided vision affords both fine features—such as the granite veins striating the Gunnison’s canyon cliffs—and expansive vistas, within the
same photograph. While such depth of field and richness of detail have traditionally been achieved by using medium- and large-format film cameras, Cook shoots digitally, with some minor image editing afterwards (to render “the scene as I remember it,” he adds). For Art 365, which opens in March 2014, he plans to go big—increasing the size of his prints, possibly to 4 x 6 feet, to express the power and immediacy of the scenes. The imagery for the show will likely be taken from spring and summer treks in Colorado, Wyoming, and Montana, sites imbued with significance both national and highly personal to Cook. The various parks and preserves among the Rocky Mountains, in particular, resonate with him, especially after a 2011 trip to Glacier National Park that he describes as “the best moment of my life.” (continued to pg. 6)
Cook hikes into remote areas of national parks and other protected wilderness areas, his main company 12 pounds of camera gear. “All that’s keeping me alive at night is a thin tent and some plush goose feathers,” he laughs, with a sense of wonder at nature’s unpredictable power. That these landscapes are both protected and publically accessible matters to Cook. “The best defense National Parks, wildernesses, state parks, wildlife refuges, and all public spaces have is publicity,” he explains, “and a love affair that publicity can spark.” In this preservationist ethos he follows in the trails of the Sierra Club’s most visible supporter Ansel Adams, as well as 19th-century lensmen Carleton Watkins and William Henry Jackson, whose iconic images galvanized support for the establishment of national parks such as Yosemite and Yellowstone. Indebted to their legacy, Cook’s photographs—in both black-and-white and color—contribute to ongoing conversations about maintaining our national resources for future generations. The need to preserve our protected natural areas as sites of “refuge, discovery, and challenge” motivates Cook’s artistic practice. Largely self-taught, he only began exhibiting his work a few years ago. After graduating from the University of Oklahoma with a degree in philosophy and the history of science,
Bryan Cook, Oklahoma City, Burnt Lodgepole Pine in West Yellowstone, Photography
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Many of his photographs show the West and Southwest which emphasizes a particular view of the American landscape, one that 19th-century writers distinguished from Europe’s more cultivated landscapes and analogized with freedom and manifest destiny, and, even at times, equated to a new Eden. Yet frequently absent are the foreground conventions and framing devices of landscape painting and photography that allow viewers to appreciate the view from the comforts of grassy spot or rock ledge. No sign of fauna is visible in these lands. Instead we are reminded of their remoteness and untamable nature. Snowfield Near Hallett Peak, for example, conveys the sense of isolation that accompanies this terra incognito. Its virgin white swells offer no point of orientation - no horizon line, containing forms, or traces of human activity - a negation that suggests the inhospitable nature of this hauntingly beautiful snowscape. The palette is startlingly, lusciously reduced: a Whistlerian symphony in grays and white. In Jackson Lake, Grand Teton National Park, Wyoming, an icy blue dawns across the horizon, punctuating the mostly monochrome field, slopes, and sky. Even something as commonplace as the color white becomes fodder for Cook’s formal explorations of line, value, and composition. The square format of the works heightens their aesthetic appeal and enables him to isolate key motifs. “I am drawn to photographs that seduce me,” Cook divulges. And seduced we are by his pictures. Nature as the embodiment of a spiritual, universal life force enlivens Cook’s photographs. Eons-old masses seem to glow with an ethereal light, recalling the transcendentalist aesthetics of the 19th-century. During backcountry hikes “it’s hard not to be aware of my station in the world and at the mercy of things much larger than me,” a sentiment Cook expresses that could have been penned by Emerson or Thoreau. Whether we call it sublime, “greatness,” just plain nature, or something else entirely, his photographs convey, from the gallery space, the aching beauty and our stupendous awe of these still-pristine landscapes.
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Bryan Cook, Oklahoma City, Jackson Lake, Grand Teton National Park, Wyoming, Photography
To view more of Cook’s work, visit www.bryancookphoto.com. For more about the Art 365 exhibition, visit www.Art365.org. n Assistant Professor of Art History at the University of Tulsa, Kirsten Olds received her Ph.D. from the University of Michigan. Her research focuses on artists’ groups in the 1970s and the networks they forged as alternatives to mainstream institutions such as the art gallery, mass circulation journal, and network television.
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Alive Alive “Flight” by Christopher Domanski
“Shakespeare” by Gary Lee Price
Where Public Art Comes
“Breath” by David Thummel
For more information, contact Zina Gelona at (405) 974-3432 7
Nouveau Nippon by Hugh Meade
(left) JUURI, Norman, Rotten or Redeemed?, Watercolor, colored pencil, acrylic, and gold leaf on board, 20” x 30” (right) Strong or Weak, Watercolor, acrylic, and colored pencil on board, 15” x 20”
Bold colors, contrasts, and clear Japanese themes and references are hallmarks of JUURI’s work. Though she signs her paintings with her Japanese given name “JUURI” ( ), she simply goes by her English full name Julie Robertson in other situations. There is no question that Japanese culture is the lens through which she focuses her work, but the modern American experience is also evident. She combines both classical drawing skill and a fierce expressionist style to create maximum visual drama. Even when the subject is male, there is a sense of the feminine in the work; a grace in the lines and forms. The subjects, all beautifully rendered in layers of watercolor, color pencil, and acrylic paint, seem to be in various states
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of emotional or perhaps spiritual transition. Tears, and sometimes blood, are displayed on faces or bodies of people in a transcendent state of mind. These are drawn with such skill that entire stories are told by the facial expressions and the position of the hands or the tilt of the head. Areas of gold leaf in some pieces accentuate the artist’s use of light versus dark in her work.
and both arms fully “sleeved” in traditional tattoos appears to be in deep but melancholy contemplation, perhaps of his past. The question, posed in Japanese calligraphy and gold leaf, floats above his head as flowers frame the subject like abstract wings. In Trash or Treasure, it seems as though the same Japanese style that fascinated the Art Nouveau crowd is expressing itself in a new era.
This advanced, almost renaissance-era, technical skill is balanced by the semicontrolled chaos of vivid pigment or stark blackness that surrounds it. Her recent work especially shows this sense of striking contrast. Even the titles, like Rotten or Redeemed and Strong or Weak, point out the sharp distinctions presented in these works. A Japanese man with a closely cropped beard
“Many people tell me my work looks Art Nouveau,” said JUURI, “but I don’t particularly try to make it so. I guess the Japanese influence is the common denominator, since my earliest years were spent there, and my mother is Japanese. The culture is a part of my life.” She also finds inspiration in fashion photography, music videos, and historical art and drama. She
expresses admiration for the perfection of Western Renaissance figures and the composition and colors of Japanese ukiyo-e. She has returned to Japan many times since her birth and early childhood there, and the influence of both historical and modern Japanese culture is vividly present throughout JUURI’s work. JUURI has the ability and skill to make her subjects seem totally alive and deeply emotional. There is a glistening quality to the skin tones, and in the tears and blood, that approaches trompe l’oeil. The ability to convey this depth of human experience in a single image is remarkable, and seeing it “IRL” (in real life) is the best way to experience JUURI’s work. Viewers will have the opportunity to see the work at DNA Galleries, 1709 NW 16th St in Oklahoma City, in August. This show, a two person effort with Amanda Bradway, is her current focus, but she doesn’t plan to pursue a lot of exhibitions over the next year. Instead, JUURI is looking to refine her drawing technique even further with renewed concentration on the human face and more sophisticated color schemes. She said, “I want to start figure drawing again because it shows in your work, whether you paint full figures or not. For my new body of work, I am focusing almost exclusively on the face; I am completed mesmerized by the human face. I also want to be more intricate and detailed in the flowers and patterns surrounding the faces, and leave the backgrounds stark black so I can focus foremost on those elements that I am most interested in.” When asked about her process, JUURI continued, “I begin with a pencil drawing, then overlay thin washes of watercolor on top. The painting looks quite abstract and indistinct at this point. Once I’m satisfied with the colors, I use colored pencil to add sharp definition to the face and the flowers. The black background is acrylic paint, and I do that last. I like that it’s the final touch that makes everything pop out. “I use a combination of reference material for all my paintings. They might include photos from magazines, the internet, shots I’ve taken specifically for the painting, etc. There are a few faces out there that I keep coming back to because the aesthetics are so pleasing to me. So that’s why many of my girls look similar. They are not supposed to be anyone in particular. I guess they are all my own conjectures of what I think is beautiful.” As part of a new venture, JUURI is making time in her calendar to offer a limited number of personal or small group (3 or less) portraits done in her distinctive style. For more about portraiture, please contact the artist through her website, www.juuriart.com. n Hugh Meade is an OKC based sculptural artist and designer. He is the owner of Oddfab Design Lab, an artist-led design and fabrication studio focused on public art and architectural signage
(top) JUURI, Norman, Trash or Treasure, Watercolor, acrylic, and colored pencil on board, 15” x 20” (bottom) The Standing Death of Ben-Kei St. Sebastian, Watercolor, acrylic, colored pencil, and gold leaf on board, 18” x 24”
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Visions in Expressionism: Bert Seabourn Continues to Perfect his Creative Legacy by Karen Paul
Named one of Oklahoma’s Living Treasures in 2004, contemporary American Expressionist Bert Seabourn continues to push the boundaries of his work and raise the profile of Oklahoma artists on a national and international scale. Seabourn, who celebrated his 83rd birthday this year, still maintains his deep passion for creative expression. A painter, printmaker and sculptor, Seabourn has received international recognition for his 50-year career. His pieces are housed in prestigious collections including The Vatican Museum of Religious Art in the Vatican City, Italy; the Smithsonian Museum of Natural History in Washington, D.C.; the President Gerald R. Ford Library Collection in Ann Arbor, MI; The President George and Barbara Bush Collection, in Houston, TX; the National Cowboy and Western Heritage Museum in Oklahoma City, OK; and the Oklahoma City Museum of Art in Oklahoma City, OK. Seabourn’s calling as a professional artist started in 1978 after he left a 23-year career in commercial art. “I was painting on nights and weekends. I convinced my wife that I could make a living at it,” he said. “I was finally selling enough work part-time that I knew I could make a living of it.” “My first time at the Arts Festival, some of my originals sold for $0.50,” Seabourn said. “A dentist from Chickasha bought all 50 originals to give to his clients. It didn’t matter that at the time Hallmark cards were selling for $1.50. I was happy to sell my work.” The first period of Seabourn’s work focused heavily on more traditionally-styled Western images including Native American portraits and bison. These images resonated so well with his clients that he faced resistance when he eventually decided to move in a new artistic direction. “I was doing almost exclusively Indian subjects. When I tried to get into other subjects, the galleries I worked with didn’t want them,” he said. “The galleries didn’t know if they would sell. They didn’t want to take up wall space with questionable art.”
Knowing some of the galleries would not make the change with him, Seabourn still decided to move his work in a new direction both in style and subject matter. In the end, some of the galleries who voiced concerns stayed with him, while others did not. Even though Seabourn’s subject matter has evolved during his career, the hours he dedicates to his painting are as strong as they ever were. Seabourn still keeps a professional schedule that might prove daunting to many younger artists. “If I’m not teaching or working, I usually start painting about 5:00 in the morning. I’ll paint until noon or 1:00 p.m., when I stop for lunch,” he said. “I often paint seven days a week, including Sunday afternoons after church.” Seabourn feels his dedication to painting has paid off by making him a more consistent artist. “In the beginning of my career, I might have one out of five paintings that I thought was good,” he said. “Now, it’s closer to five out of five, or nine out of 10. I’ve learned to take my mistakes out while I’m painting.”
subject, I know I’m going to find something that they like to do,” he said. “Teaching has helped me be a better painter. Today, I’m a better painter than I ever was.” Despite his numerous professional successes and his defining role in the Oklahoma arts community, Seabourn remains humble about what he has achieved as an artist. “It’s a good feeling knowing that I can make a living at what I love to do,” he said. Seabourn’s art will be featured during two exhibitions this fall. The first exhibition will run from July 1 through September 1, 2013 in the East Gallery of the Oklahoma State Capitol. A second exhibition will be held in August 2013 at the Edmond Fine Arts Institute. See more of his work at www.50pennplacegallery.com. n Karen Paul is a freelance writer based in Norman, OK. Paul specializes in arts-based articles. You can contact her at karenpaulok@gmail.com.
One of his favorite tricks for spotting the mistakes he sees in his work is to view his unfinished work in a mirror. “In a mirror, it’s a different painting,” he said. “The old mirror technique is great.” In addition to his rigorous painting schedule, Seabourn regularly teaches classes at the Oklahoma Contemporary Arts Center in Oklahoma City, OK and the Fine Arts Institute in Edmond, OK. For Seabourn, teaching is an opportunity to share his love of art and his experiences as an artist.
(opposite page) Relativity, acrylic on canvas, 48” x 36” (below) Bert Seabourn, Warr Acres, Man of Medicine, acrylic on canvas, 36” x 36”
“When I first teach a class, the first night is strenuous on both me and the students,” he said. “I always tell them ‘Next week is going to be much better for both of us.’” By the second week of the class, Seabourn and his students find their rhythm as a group. It is an important part of the artistic process; Seabourn often moves his students in and out of their comfort zones by introducing them to a wide range of subjects during their sessions. “By switching around from subject to
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Alumni Exhibition at East Central University’s Pogue Art Gallery by Stephen Kovash
Stacey D. Miller, Oklahoma City, Besieged by Passion, Monotype Print, 37” x 36”
The Department of Art at East Central University (ECU) in Ada, Oklahoma is hosting an exhibition featuring the work of ECU alumni artists Stacey D. Miller, G. Patrick Riley, and Justin Irvin.
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According to Gallery Director Dr. Taryn Chubb, “From time to time, we like to invite alumni to exhibit their work in order to show our current students what graduates of this program are able to accomplish.” ECU has a long tradition of producing talented artists including Leon Polk Smith and D.J. Lafon. “Our alumni continue to actively exhibit not only in Oklahoma and the surrounding region, but also nationally,” Chubb noted.
Recipient of the Curator’s Choice Award at the Oklahoma Visual Arts Coalition’s Momentum exhibition in 2004, Justin Irvin graduated in 2005 and moved to New York City. With his background in art and art history, Irvin was hoping to find a position in a gallery. Fortuitously, his first job was with the Danese Gallery which provided a gateway to several positions. He worked for Benrimon Contemporary where he co-curated a show with the ECU Director of the School of Fine Arts and chair of the art department Dr. Brad Jessop. The show focused on four generations of ECU artists. The artist is currently the Registrar at Nyehaus where he plans to stay for the immediate future.
After leaving ECU, each of the artists took very different paths to arrive where they are today.
When first moving to NYC, the artist lost track of his work due to a combination of
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his small apartment space and the time he spent working in various galleries. In 2009 he started working in collage. According to Irvin, the move to collage was “…partly because I had the space to work this way and partly because I had totally lost all my drawing skills since college.” Irvin has found that he really loves working with cut paper and will continue in that direction for now. “I am starting to make larger collages now (bigger apartment) and I’m going to start making works in small series based on different subject matter, such as repetition, erotic art and literature,” stated Irvin. He hopes to be accepted into some group shows in NYC during the fall. You can find out more about Irvin at chillyjki.tumblr.com. Stacey Miller completed her BA in Fine Art
from ECU in 2006. Working closely with Professor Kate Rivers, Miller developed her printmaking skills and networked artistic relationships that would provide valuable opportunities. Miller studied under Indrani Gall, learning various techniques of the ImagOn printmaking process and acquired an assistant position with the Los Milagros Printing Studio in OKC. Miller moved on to a position as Studio Manager and Printmaking Instructor at the Untitled [Artspace] in OKC, the largest open printing facility in Oklahoma. Working with artists including John Paul Philippe, Christine Sefolosha, Nick Bubash, Katherine LiontasWarren, Bert Seabourn, Michi Susan, Jenifer Lynch and Julia Ayres, Miller acquired expertise in several printmaking processes. She has also taught numerous workshops and private lessons in different printmaking techniques. Currently working out of her home printing studio, Miller still finds time to mentor and instruct. She has exhibited her artwork nationally in over eighty solo, group, invited, permanent, or juried exhibitions and is the recipient of the 2012 Artist of the Year award from the Paseo Arts Association. Miller’s website is www.sdmillerart.com. Patrick Riley attended ECU from 1959 through 1961. He took a year off (“dropped out” according to Riley) and returned to school at the University of Oklahoma, graduating in 1962 with a BA and a Master’s Degree in 1971. While not technically an ECU graduate, the artist states, “East Central is where my art career jump started and they have, I think, adopted me as one of theirs.” Focusing on Arts Education, Riley has spent almost 50 years as an artist, teacher and mentor, teaching the arts at all grade levels, at university as well as teaching workshops and seminars. Well known for his large sculptures of leather and paper masks, Riley recently retired as Fine Arts Director and as a visual arts teacher in the Oklahoma City public school system. He is a member of the Oklahoma Arts Council’s Artist in Residency Program and continues to create, show and mentor. By commission, the artist regularly creates copper Healing Sculptures and Butterfly Trees for hospital gardens. Riley received the Oklahoma Governor’s Arts Award in 2012. You can find more about Riley’s lengthy career at www.okragraphics.com.
(top) Justin Kyle Irvin, New York City, They Took Too Much, Collage with thread, 15.75” x 15” (bottom) Patrick Riley, Bethany, Mask, Mixed media
The Alumni Exhibition will continue through August 30. The Pogue Art Gallery is open to the public weekdays from 8:00 a.m. to 5:00 p.m. More information on the ECU gallery can be found at www.ecok.edu/colleges/liberalarts_socialsciences/art/Gallery.htm. n Stephen Kovash owns the Istvan Gallery at Urban Art, is an OVAC Board Member and has a day job with the Environmental Protection Agency. He can be reached at urbanartokc@gmail.com.
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A Natural Fit: 108 Contemporary Artist-in-Residence Heather Clark Hilliard by Mary Kathryn Moeller
Heather Clark Hilliard is an experimenter at heart. Known for her advocacy of natural color, Hilliard combines a love for traditional materials and processes, such as hand-spun wool, with an extensive knowledge of plant dyes and earth pigments to create large-scale installations. With an invitation to be the first artist-inresidence at Tulsa’s 108 Contemporary, Hilliard said, “It’s been a nice exchange because we are all in new territory.” The exhibition and residency, which runs July 5-21, will give Hilliard the opportunity to expand on existing concepts within her larger body of work while exploring questions about the natural landscape of Oklahoma and its place within the broader context of global ecology. One of the most exciting aspects of the residency for Hilliard is the unique advantage of working directly in the main gallery. She stated, “It’s not a traditional artistin-residence where there’s work space [separate from] the gallery.” The ability to process her installations in a space she characterizes as beautiful and pristine, with a sparse quality that perfectly complements her work, is a thrill for Hilliard. The expansive space at 108 Contemporary allows for the capacity to further experiment with an on-site installation known as Bloodlines/Lovelines in which Hilliard connects bands of hand-spun yarn between two walls to create a web of geometric shapes. The red color of the wool, derived from the madder root Rubia tinctorum, gives the piece the appearance of a maze of biological material found in all living creatures. With her work, Hilliard creates a sense of unity among all natural elements and entities, established through the transformation of materials and space. Hilliard relishes the possibility of making the artist’s process accessible for visitors, giving them the freedom to rediscover and connect with natural materials, a subject on which she is very passionate. “I love the raw materials themselves, I think they’re so beautiful.” In the exhibition she plans to display a number of the organic substances related to the coloring of fabric, many of which she has grown or has collected on her travels. From eucalyptus leaves to wild sage, this aspect of the exhibition will provide viewers an intimate experience with the smells and textures of materials from which they may otherwise be distanced. Hilliard said, “My sense is that we lack [a] kind of interaction of really knowing where materials come from…and having a larger context behind it.” She hopes this exhibition will be the first step for many to begin to bridge that gap. Heather Clark Hilliard, Norman, Anatomy (detail), Commercial and hand spun wool, natural plant dyes, cages constructed to protect young trees, 36” x 96” x 36” (12 pieces). Photo credit: Heather Clark Hilliard.
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The residency project finds Hilliard experimenting with the history of the juniper tree, Juniperus virginiana, in a broader context. Despite being Oklahoma’s only native evergreen, the juniper tree has been characterized as an invasive species that has taken advantage of the changes
human beings have wrought upon the prairie landscape. With the reduction of fire and the removal of indigenous grazing animals in the Plains, the rather opportunistic juniper tree has taken advantage to push West with rapid pace. Sourced from Hilliard’s own property, the juniper trees used in her residency installation could raise a number of issues connected to the changing Oklahoma landscape, including the current drought, as part of the shifting nature of the global environment. Yet Hilliard looks to approach this project historically rather than politically. “It’s a really complicated issue and it’s not even about saying this is the right way and this is the wrong way, it’s just that these are the issues and it’s happening on a global scale.” She is fascinated with the idea of creating an artwork from a material considered to be utilitarian, and somewhat of an annoyance, and hopes that her work will spark an interesting and thoughtful conversation. The inclusion of materials generally valued for their practical qualities rather than their aesthetics is a standard under which Hilliard works to re-imagine and re-evaluate the use of fiber and various plant materials in her work. “I am very interested in traditional process but I don’t want to make traditional work out of it.” Recently completed works, Anatomy and Haunted Blues, will be featured in the exhibition at 108 Contemporary as well as Collected Color V: Summer 2011, all of which Hilliard hopes will challenge terms such as ‘craft’. “Craft is such a loaded word and there is so much crossover between art and design. I like the idea of bringing all of those things together so they cannot be so narrowly defined.” For more information about Heather Clark Hilliard, visit www.heatherclarkhilliard.com. 108 Contemporary is located at 108 E. Brady Street in Tulsa, OK and is available at 918-237-9592 or online at www.108contemporary.org. n Mary Kathryn Moeller is currently pursuing her Master’s in art history at Oklahoma State University where she works as a Graduate Research Assistant for the OSU Museum of Art. She is available via e-mail at mkmoeller77@gmail.com.
(top) Collected Color V: Summer 2011, Cotton broadcloth, dye plant species collected in Norman, OK, custom maple frames, 23” x 39” x 1.5” (11 pieces). Photo credit: Heather Clark Hilliard. (bottom) detail of Collected Color V: Summer 2011
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Prix de West by Page Grossman
(left) William Acheff, Taos, NM, Firelight by Strike-a-Light, Oil on linen, 20” x 16”. (right) Bill Anton, Prescott, AZ, A New Day Dawns, Oil, 30” x 28”
As a celebration of contemporary western art and artists, the 40th Anniversary Prix de West Invitational Art Exhibition and Sale opened on June 7, kicking off with a weekend full of activities at the National Cowboy and Western Heritage Museum in Oklahoma City. As a celebration of the 40 years that the Prix de West Invitational Art Exhibition and Sale has been running, the museum is exhibiting only artists who have taken part in the exhibition in previous years. Some of the artists have been in the exhibition for 35 years and some for only two, says Catherine Page-Creppon, Director of Public Relations and Museum Events at the National Cowboy and Western Heritage Museum. The type of art chosen for this exhibition includes traditional works
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that represent western landscapes and others that are more contemporary. The exhibition includes paintings and sculptures, more than 300 works of art by 100 different artists. All of the art for the Prix de West Invitational was chosen by museum board members on the Prix de West committee. All of the artwork is for sale during the exhibition but will remain hanging in the Prix de West galleries until August 4, the close of the exhibition. According to Page-Creppon, each year more than half of the art is sold to collectors. The Prix de West Invitational is the largest fundraiser for the National Cowboy and Western Heritage Museum. The museum receives a 25 percent commission on the sale of artworks.
Though awards are given for excellence in many areas, the most important prize for artists is the Prix de West Purchase Award. The piece chosen to receive this award becomes a part of the museum’s permanent collection. The National Cowboy and Western Heritage Museum houses the Prix de West collection of western art. Selections from the collection have recently been moved to the Robert and Grace Eldridge Gallery to be available to more visitors. This additional Prix de West collection of western art has been on display since January 25 and will remain installed until December 31, 2013. For more information, visit www.nationalcowboymuseum.org. n
(above) Oreland C. Joe, Sr., Kirtland, NM, Blessings for the Twin Warriors, Utah alabaster, 12” x 12.5” x 12.5” (right) Steve Kestrel, Desert Timeline, Black slate and Colorado sandstone, 9.5” x 31.75” x 7”
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Combined Minds: an Artistic Collaboration by Krystle Brewer
(left) Portico Dans Theatre (right) Glenn Herbert Davis, Tulsa, Over, Mixed media, 11’ x 13’ 5” x 5’ 11”
A fusion of dance and theatre combines a variety of dance styles including jazz, contemporary, hip-hop and aerial with acting to create a unique performance experience. Portico Dans Theatre’s upcoming show Combined Minds follows the tribulations of a troubled young girl caught between childhood and adulthood that is forced to cope with bullying for her desire to stay a kid. The cast consists of 15 adults and 10 children who act out with dance the difficulty of growing up. Despite the inclusion of young cast members, this magical yet dark tale with personified toys plotting revenge is intended for adults and mature children due to the themes portrayed. Uniting visual artists such as videographers and installation artists as well as musicians, the dance company has found new ways to create vibrant productions. In this multidisciplinary performance, original video by videographer Jeff Anderson is incorporated into the storyline to add another dimension
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to the set. “The collaboration between artists has made this project greater than a work by any one person or even the sum of its parts. It truly supports the theme of Combined Minds,” said Anderson of the project. The theatre once used video only during interludes but the group has pushed the concept further to weave video throughout the performance itself. Although most of their performances have a simplistic approach to their sets taking place in non-traditional venues such as gardens, galleries and even in the street, in this production they adopted a collaborative and inclusive approach incorporating installation pieces by renowned Tulsa artist Glenn Herbert Davis. “Working this translation, extremes of functionality, and provisions for dancers are three key aspects that drew me to this opportunity. Frankly too, installation and performance art owe such a debt to theater that it’s only natural that I attempt to walk on stage,” said Davis. During the show, the dancers will interact with an oversized toy
box, jack-in-the-box, and barrel of monkeys. After the performance, Davis anticipates showing the works alongside other works of his in the traditional gallery setting to allow viewers a closer look. For this performance the co-artistic directors Jennifer Alden and Michael J. Lopez “combined their minds” to create the concept, direction, and choreography. All of the works performed by Portico Dans Theatre are written or rewritten adaptations of classic stories to create vibrant original shows. Working collaboratively and pushing the limits of performance has created a dynamic group of artists from varying backgrounds, each with something different to offer to the whole. With all of the dancers holding “day jobs” while working with the theatre, they acquire different perspectives to bring to the varying projects. This approach to theatre has been found to be successful for both viewers who want an outlet to view contemporary dance in a
unique way but also for the artists involved who are given more opportunities and embrace the “better together” philosophy. Portico Dans Theatre has been a driving force in expanding the arts in Tulsa for performing and visual artists alike. When Portico Dans Theatre was first established in 2008 there were no other dance theatre companies established in Tulsa’s continually growing art scene. Co-founders and dancers Jennifer Alden and Valerie Cordero recognized a void in venues for dancers post-college and worked together to establish a dance theatre for the eager abundance of talented dancers and choreographers. “When we started, there weren’t any [venues for dancers] and now there are four. We all work together; we share dancers, stories, and support and now there is a great support system here. The arts scene is growing and it’s fantastic how we are growing and thriving in this community,” Alden commented. Choosing the name “Portico” as a combination of the founders’ homes, Portland and Mexico, in addition to its definition of being the open entrance to a building, fit with their mission and concept for the company. They envisioned a place of creative collaboration across disciplines and that is what can be seen in their performances today. Combined Minds will be performed by the Portico Dans Theatre July 19th and 20th at 8 pm and July 21st at 2 pm in the Tulsa Performing Arts Center. More information can be found at www.porticodanstheatre.org. n Krystle Brewer is an artist, writer, and curator who currently works at the Oklahoma State University Museum of Art as a graduate research assistant. She can be reached at Krystle@krystlekaye.com.
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The 35th Annual Fiberworks Exhibit by Susan Beaty
(left) Janet Shipley Hawks, Tulsa, Bent Needle Cactus, Free motion machine stitched machine embroidery thread, 15” x 10” x 11” (from Fiberworks 2012). (right) Julie Blackstone, Shawnee, If Courbet had Kandinsky’s Palette, Embroidery floss, French knots, satin stitch, 6.5” x 6.5” (from Fiberworks 2012)
The tactile and visual experiences of fiber arts offer a welcome respite from our increasingly digital world. Those who share that sentiment are in luck as the annual Fiberworks exhibit returns this month. The popular event has an exciting new home for its 35th year: the Arts and Humanities Council of Tulsa’s Hardesty Arts Center (AHHA). Fiberworks is a project of Fiber Artists of Oklahoma (FAO). That group began in Norman in 1976 as the Handweavers League of Oklahoma, and became a statewide organization in 1984. The group changed its name to Fiber Artists of Oklahoma in 2006, to better reflect the broader focus of its members’ work. In 1978, the group organized its first exhibit, called Fiberworks, which has since become a major annual juried fiber art show. Fiberworks alternates annually between exhibiting in Tulsa and Oklahoma City. The 2012 Fiberworks was installed at Individual Artists of Oklahoma Gallery, in Oklahoma City’s Film Row district. The pieces selected for that diverse show included elaborate feathered bird masks, intricate quilts and baskets, tapestries, scarves, and a few pieces which challenged expectations of fiber art, including a beautiful needlepoint piece depicting a flaming skull in vivid colors.
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Fiberworks accepts submissions only from artists currently residing in Oklahoma. Artists do not have to be FAO members to enter. The varied textiles include weaving, needlework, basketry, quilting, soft sculpture, beading, paper, knitting, crocheting, and felting. Those attending Fiberworks will find innovative manifestations of traditional crafts, resulting in surprisingly modern and eclectic pieces. The broad range of media and styles serves to educate visitors about the many facets of fiber arts. The expansive AHHA space will allow for larger pieces in this year’s incarnation. FAO members have expressed excitement about the opportunities for demonstrations and workshops in the AHHA facility. Artists may submit up to three pieces, delivering actual work samples on July 7 and 8. The guest juror this year is Barbara Shapiro, whose works cover a wide spectrum of the fiber arts. Shapiro began weaving in 1975 in New York City; she combines knowledge of historical and ethnic textiles with extensive technical experience in weaving and surface design. In addition to sharing her knowledge through many publications, workshops, and lectures, Shapiro also serves on the boards of the Textile Society of America and Textile
Arts Council of the Fine Arts Museums of San Francisco and is a docent at the Museum of Craft and Folk Art. Fiberworks 2013 premiers with an opening reception on the evening of Friday, July 12. On that evening, the guest juror will give a lecture and present awards totaling over $4,000. Shapiro will also lead a threeday workshop titled Sources of Inspiration: Exploration in Design, from July 14-16. Other events during the show include the Brady Arts District’s First Friday on August 2, and a closing reception August 23. AHHA is open every day except Tuesdays and offers free admission to the public. OVAC members who were wowed by the AHHA space during its opening exhibition, Concept/OK, will be eager to return to see amazing new work from Oklahoma fiber and textile artists. Fiberworks and AHHA are both worth the drive-whether you are across town or across the state. For more information, visit www.fiberartistsok.org. n Susan Beaty is an attorney in Oklahoma City and a member of the Oklahoma Visual Arts Coalition’s Board of Directors.
An Exhibition with a Powerful Message Stirring the Fire: A Global Movement to Empower Women and Girls by Sasha Spielman
Phil Borges (U.S., b. 1942), Rufo, 2005, Chromogenic print, 24” x 20”
It’s hard to imagine that there are still women in the world who lack proper health care, educational opportunities and suffer discrimination on a daily basis. It’s not just one country or a particular society - it’s more complex than that. The Fred Jones Jr. Museum of Art in Norman currently has on display a powerful collection of images titled Stirring the Fire: A Global Movement to Empower Women and Girls. The photographer behind the striking photos is no stranger to human suffering. He is probably the one man who has seen it all – Phil Borges. Even though our society gets bombarded with sad images every day and we have more or less become desensitized to them, Borges’ photos
have managed to capture the remarkable courage and generosity these women possess and translate their strength throughout the Stirring the Fire exhibition. For the past 25 years, Borges has traveled the world to capture with his camera the issues people who live in the developing world face. He seldom uses color; instead, black and white portraits remain his signature. Borges is also an activist and a filmmaker. In 2004, he joined Amnesty International and began working on Stirring the Fire. The photographer aimed at addressing gender issues. In addition to the exhibition, a website was designed providing a database of organizations that can help women and girls worldwide achieve equality and social justice. In 2007, Borges was named one of the “Top 10 photographers that inspire
us” by AmericanPhoto Magazine. In fact, Stirring the Fire is not just an exhibition, it’s also “a global movement toward gender equality that sponsors internships, study-abroad programs and opportunities for creative volunteering and political advocacy,” said Daniel Simon, assistant director and editor-in-chief for World Literature Today. With its educational narrative the exhibition exposes the viewer to not one but multiple worlds, where women thrive amidst challenges and their stories inspire solutions. Madeleine Albright calls these women “pioneers and pathfinders: We learn their (continued to pg. 22)
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(continued from pg. 21) names and see their faces, and witness the work of their hands and minds. We are encouraged and inspired, and… also challenged to consider what we can do – each in our own way – to create a world more free, prosperous and humane than it has ever been.” According to the United Nations, more than 774 million adults are illiterate in the world today and two thirds are women - a number too difficult to fully comprehend. Take a moment to pause and learn about Yelda, 12, who dreams of being a teacher or Humaria, 11, who sells eggs on the streets to help her family, and soon you realize that social equality and justice is a slow and ongoing process. In 2003, the Out-of-School Girls Project began to help girls ages 9 to 14 get back to school and catch up on their education. For many families in the developing world, these girls are the first generation to receive any type of formal education. By educating women, a society can move forward and strengthen its culture. The idea of bringing Stirring the Fire to Oklahoma began two years ago when Simon and Yousef Khanfar began planning the annual Puterbaugh Festival for International Literature and Culture, sponsored by World Literature Today. For the past 40 years, the Festival has brought world-renowned keynote speakers. At this year’s event the Ethiopian writer Maaze Mengisle and Phil Borges spoke to more than 1,500 attendees. The public also had the opportunity to participate in roundtable discussions, a panel on human trafficking, and writing and photography workshops for students. Though the festival is over, Stirring the Fire is still on display at the Fred Jones Jr. Museum of Art until July 28. The museum is free of charge and open to the public. “Since the earliest daguerreotypes, photographs have transformed the way we see ourselves, one another and the world around us,” said R.C. Davis-Undiano, World Literature Today executive director. “Going back millennia, writers have also transformed our ways of encountering the world. Looking through the eyes of writers and photographers, prepare to be astonished by the power of what images and words can accomplish together.” n Sasha Spielman is a web editor who enjoys blogging, appreciates beautiful black and white photography, and loves producing short documentaries. She firmly believes that “Art washes from the soul the dust of everyday life.” (top) Phil Borges (U.S., b. 1942), Leum Titya, Chromogenic print, 24” x 20” (bottom) Phil Borges (U.S., b. 1942), Lucille, 1994, Chromogenic print, 24” x 20”
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The Little Program that Could: Spotlight on Studio 222 After School Programs by Nathan Lee
(left) Sharon Von Schriltz recently taught a ceramics class at the Studio 222 south site. (right) Albert Gray Eagle and Victoria Nevarez show students how to make, decorate and play a variety of flutes.
Oklahoma is full of art these days. Galleries pepper the state, open studios abound and now suddenly, the state has become a contender on the nation’s arts and culture front. As wonderful as the creative growth has been, there are still pockets of undiscovered treasures. Beyond the known territory of the visual and performing arts landscape are the jewels that somehow fall through the cracks. One such gem is a small building with large glass windows, white walls and track lights.
to provide a safe environment where inner city youth, who may not have the necessary resources, have opportunities to learn and experience visual and performing art along with life skills,” Robinson said. “We believe art offers the students a way to express themselves as well as enhances academic skills such as reading, history, science and math. The building provides a space for displaying their artwork in a way that helps to build self-esteem and confidence in the students.”
This unassuming building is the home base for Studio 222, an after school program located at 1500 N. Robinson in Oklahoma City.
Robinson has built a solid foundation that has quietly stood for nine years. A mission of St. Luke’s United Methodist Church, Studio 222 is an example of what can be done when a truly passionate individual puts a dream into motion. Robinson acknowledges the support of the church and the freedom she was given to implement the program. Among other church resources, church vans provide much needed transportation to and from the program. That flexibility and openness to new ideas enabled her to creatively incorporate innovative art elements as well as strong character building aspects into Studio 222. This was important because the program focuses on helping at-risk inner city youth become more positive and more confident in their ability to succeed.
On first inspection, it would be easy to mistake it as another studio for a working professional artist. With a closer look you can see paintings that have the innocence of children just beginning to find their creativity. Sculptures, mixed media art pieces and photographs populate the walls of the facility. It’s clear that Studio 222 was made with young people in mind first, not as an afterthought. The program originally served middle school students but has now expanded to include elementary age students. The building received renovations that gave the young artists an opportunity to show their creations in a way that was comparable to work spaces for professional adult artists. It was something that the founder and Executive Director Julie Robinson wanted to see a reality. “Studio 222 began in 2004 as an avenue
In addition to the transportation, life skills component and art, the children are also provided with meals. Not only do these meals satisfy hungry stomachs, but they also provide a sense of belonging and consistency in their lives. For many of these students, that consistency
is missing due to tough realities, family dynamics and other circumstances. Every session begins with a meal at 4 pm before the classes convene. With the help of volunteers who diligently come to assist with classes and meal preparations, Studio 222 is an example of the idea that it takes a village to help raise a child. That nurturing environment has made the program successful and has contributed to its expansion. Because of the positive growth, Robinson saw that it was time to enlist the assistance of someone who not only understood the arts, but program building as well. Initially, Nathan Pratt taught sculpture at Studio 222. With experience in the arts, youth program building and marketing, Robinson recognized it was a good fit and named Pratt the site Director for the downtown studio. Prior to his experience with Studio 222, he worked with the nonprofit Creative Oklahoma and played a key role in organizing the stand out Oklahoma ArtScience Prize after school program, which originated in Boston. Through a collaboration between Creative Oklahoma and Harvard University, The ArtScience Prize came to Oklahoma City and Pratt stepped up to assist with the development of that wonderful program. His expertise now facilitates new possibilities within Studio 222. “Studio 222 empowers students to creatively express themselves and dream about their (continued to pg. 24)
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(continued from pg. 23) futures,” Pratt said. “While this program was built for young people, it also helps launch and sustain the careers of local artists. We display and promote the work of our artists. The entire community benefits when both students and teachers are recognized. This program is investing in the lives of young people, local artists and the community. We believe 222 is a catalyst for community outreach and economic development.” Pratt also cites another point of importance with Studio 222. As a working artist himself, he understands that many creative professionals have to supplement their incomes. Studio 222 has a flexible rotating nine week schedule that allows the program to involve many artists. All of the artists are well compensated for their time and it illustrates the level of respect the program has for their talents. With the opening of two new locations, they have greatly expanded the number of artists who work with the program. This keeps presentations fresh for the students and ensures the involvement of more artists. In addition to consistent art mentors, Pratt has also incorporated guest speakers from different backgrounds to teach the students
(left) Studio 222 Teaching Artist Armando Rivera taught students to construct, paint and play box drums. (right) Studio 222 student displaying her work at the 9-week art show.
about everything from life skills to creating inventions. This variety helps keep the children from becoming complacent and gives them a sense of excitement as they never know who will be dropping in next! Oklahoma has grown culturally and artistically in a short period of time. Programs like Studio
222 raise the bar for bringing creativity to the youth of Oklahoma. For more information about Studio 222, visit their website at studio222okc.org. n Nathan Lee is a visual artist in Oklahoma City.
Art exhibits | Artist demos | Live music food | family Fun | Free & Open to Public
SEPTEMBER 20-21, 2013
Friday, Noon-6 p.m. | Saturday 10 a.m.-6 p.m. Now in its fourth year, Art on the Hill is an art show and sale befitting student scholarships in the arts. Art on the Hill showcases regional talent, including Oklahoma artisans. The event also features outstanding works by area high school and college students. Prizes will be awarded for the winners. 1701 W. WILL ROGERS BLVD. CLAREMORE, OKLAHOMA
For more information, visit www.rsu.edu/ArtOnTheHill or call 918-343-7740 24
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The Mothman takes on the Mother Road: Rick Sinnett’s Route 66 Mural Project
ON THE
by Molly O’Connor
Leaning against wobbly scaffolding thirty feet above ground, artist RP “Rick” Sinnett boldly applies thick layers of paint across the wall. Despite the relentless Oklahoma wind, extreme temperatures, inevitable gravity (or even angry teams of fire ants) his focus remains steady and intent as he transforms a plain wall into a vivid kaleidoscope of color. Within a few hours of fast and fearless work, Sinnett almost disappears into the wall as his original and vibrant mural emerges. For those who pass by, often gazing up in awe at the valiant, creative process and fluttering activity high above them, they might ask to themselves, “Is it any wonder that they call him ‘Mothman’?” An artist with a background in printmaking and 2-D design, Sinnett has most recently embarked on a new venture in creating large-scale public murals. Crediting his love of Oklahoma culture and, in particular, the history of Route 66, in 2011 Sinnett devised a plan to paint a total of eleven murals at different sites along Oklahoma’s section of the Mother Road. While this may sound like an overzealous pipedream, to date the first three of Sinnett’s murals have been completed in Bristow, El Reno and Tulsa. And now, plans for a fourth mural in Oklahoma City are swiftly moving towards production.
of the Rocktown Climbing Gym in downtown Oklahoma City, the silo measures 120 feet wide by 100 feet tall, proving to be the largest canvas Sinnett has ever painted. The work, titled This Land, includes images of Indian paintbrush flowers, the scissortail flycatcher and bison. It will add a splash of color to the Oklahoma City skyline and will also be viewable from the Oklahoma River. Thanks to a successful Kickstarter campaign and the generosity of several supporters, Sinnett will complete This Land in summer of 2013. In addition to financial support from several individuals and local businesses, donated supplies such as paint and equipment and volunteer labor have also been secured to make the mural a reality. Most recently, Downtown Oklahoma City, Inc. pledged $10,000 to the project which helped Sinnett reach his fundraising goal. Overall, the murals, which are receiving national recognition, celebrate our Oklahoma culture and contribute to the authenticity of place. Each one has a clear connection to the community where it’s located, yet there are some common fundamentals that exist in the series. Sinnett’s iconic designs incorporate Oklahoma emblems and each one includes some element of land, water, vegetation and animal life.
Ironically, this new endeavor was almost unintentional. While Sinnett was passionate about the concept of public art and content with the design process, he initially planned to delegate the actual labor to a third party. Instead, the printmaker by trade has found the large-scale implementation to be exciting and rewarding. And, he’s grown to feel quite at ease working at great heights.
While working in Bristow, Sinnett discovered that the town historically had one of the highest concentrations of Lebanese immigrants in the country. Due to the influence of the Lebanese heritage, Bristow remains a major distributer of tabouli. This discovery influenced Sinnett to incorporate bulgur wheat into the mural design, a decision which appeased the local farmers.
For Sinnett’s next mural, the sky is truly the limit. Planned for the north and south sides
The selected sites for the murals are often set a bit off the main road and are painted on the
A digital rendering of the completed This Land mural on the Rocktown Climbing Gym in downtown Oklahoma City.
sides of silos or historic buildings. Sinnett intentionally chooses places that will lure art enthusiasts and travelers in search of roadside attractions. In the process, he has found that the murals have the capacity to attract visitors and generate new interest in local communities. “I’ve worked to be strategic in choosing places. The perfect canvas is usually found a little off the beaten track,” Sinett said. “I wanted to steer traffic to places that deserved it. I see the importance of the economic impact of the works by bringing people to a certain place.” In addition, the murals have become a catalyst for community discussion and understanding of public art. Sinnett works closely with civic leaders and community representatives in planning each mural. He also takes time to talk with visitors that stop by to observe the creative process. The works have been well received and have contributed to civic pride and a sense of cultural identity. “People can’t help but see the process and become attached to it. Daily, locals would come by and would create dialogue. This (continued to pg. 26)
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(continued from pg. 25) donating the series of murals solely out of his love for his home state. He has found this new venture in his art practice to be extremely fulfilling and a meaningful way that he can give back to others. “I just realize the value of public art. As an artist, I’ve been searching for a way to feed my soul. You want to do something for the good of mankind. But…I’m an artist, not a doctor.” The next time you find yourself traveling the Mother Road, be sure to stop off and check out one or all of Sinnett’s murals. You never know…you may even catch him at work, enhancing the Oklahoma skyline. To find out more about Rick Sinnett’s Route 66 Mural Project, visit mothcollection.com. n Rick Sinnett at work on his This Land mural, which is located on the wall of the Rocktown Climbing Gym in downtown Oklahoma City. The wall measures 120 feet wide by 100 feet tall, proving to be the largest canvas Sinnett has ever painted. Photo by Shannon Cornman for Oklahoma Gazette.
would eventually become them taking interest in the mural to taking ownership of it. It belongs to the people. Public art is my mission.” Sinnett’s mural project has also opened new doors for arts education and school collaborations. He has made efforts to utilize the murals and design process as a teaching
tool for young people. “One of the best things I love about this is wherever I go paint a mural, I reach out to the local school. I see a connection between the artwork and what they are learning in school. I see science, math and of course creativity. Creativity is the foundation.”
Molly O’Connor is a multidisciplinary artist from Oklahoma City. She also serves as the Cultural Development Director for the Oklahoma Arts Council. She can be contacted at moconnor1122@ yahoo.com.
Sinnett is committed to creating and
Thank you to our new and renewing members from March and April 2013 Drew and Judy Ackerman Nicole Adkisson Margaret Aycock Keith Ball and Marti Jourden Marc Barker Jennifer Barron and Bonnie Allen Linda Bayard Rhonda Bell Theresa Bembnister M. Tim Blake Meloyde Blancett-Scott Felix Blesch Andrew Boatman John Brandenburg and Janet Massad Benita Brewer Krystle Brewer Jan Brian Alva Brockus Tammy Brummell Sharon Burchett Martha Burger
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Dennis and Deborah Burian Stan Carroll Josh Cassella W. Maurice Clyma Linda,Ian and Rachel Coward Cynthia Curry Gayle Curry Sarah Day-Short and Kevin Short Kay Deardorff Brenda Dewald Rebecca Dierickx-Taylor Steve and Maggie Dixon Anke Dodson Robert Dohrmann Julia DuBreuil Sarah Engel-Barnett Joseph Gierek Fine Art Jordan Godlewski Steven Goodwin Grace Grothaus Marsha Gulick
Sue Hale Nancy Hamill Tessa Raven Hancock Kalliopi and Nikolas Harris Mark Hatley Tina R. Hayner Tony Hennigh Jordan Hill Linda Hiller Dirk Hooper John Hopper Alex Horner Kristin Huffaker and Cody Greenhaw Cecelia Hussein Jennifer Cocoma Hustis Jane Iverson Allie Jensen Aubrey Jensen Rusty Johnson Micheal W. Jones Valerie Jones Michelle Junkin
Kelsey Karper Claire Kennedy Allin KHG Nathan Guilford and Julia J. Kirt Janie Kirt Morris Tony and Julie Lacy Vanessa Larwig Vincent B. Leitch Rod Limke Kelley Lunsford Kayela Lynn Shannon Mabry Dru Marseilles William McClure Cindy Miller John Wayne Morrison Deborah Myers David Nees Romney Oualline Nesbitt Thomas Nesthus Ryan Pack Casey Pankey Gay Pasley
Patty S. Porter Nicole Preston Michael Rahn Alan and Val Ray Daryl Reimer Teri-Lee Rhoades Jim Roaix Morgan Robinson Verletta Russell Gloria Shows Louise Siddons Tamara Sigler Mona Smith Lynda SmithSchick Brenda Spencer Eric Spiegel Julie Strauss Julia Swearingen Suzanne C. Thomas Skip Thompson Brooks Tower Carla Treadway Christian and Alesha Trimble
Lorie Tripplehorn and Doug Kelly Spencer Ulm Katie Van Patten Kyme Vincent Antoinette Vogt Elizabeth MD Vuong Crystal Walters Stephen Webber Jean Weber Charles and Renate Wiggin Libby Williams Holly Wilson Rachel Wimpey, Willowbrush Studio and Gallery Mark Wittig Elia Woods Janice Wright Shawn M. Zenthoefer Bj Zorn
OVAC NEWS
july | august 2013
During the Tulsa Art Studio Tour artist Andrew Storie shared his sculpture tools and techniques with Tour visitors.
Save the date OVAC will host its only fundraiser of the year - the 12x12 Art Fundraiser - on Friday, September 20, 2013. OVAC asks 150 Oklahoma artists to create a work that measures 12 inches square. Attendees bid in a silent and blind auction, providing an entertaining way to begin or grow an art collection. They also will enjoy live music, tasty appetizers from many of Oklahoma City’s favorite restaurants and a fun atmosphere. OVAC will transform 50 Penn Place, a former retail space, into a bustling lounge and gallery for the event. www.12x12okc.org OVAC devoted $5,550 to artist projects through grants in the last quarter. Creative Projects Grant recipients included Rebecca Cox, Norman, for her feature film Tarsus and Paul Bagley, Oklahoma City, for a residency at the Vermont Studio Center. Wendy Fox, Oklahoma City and Chris Ramsay, Stillwater, received Education Grants. Fox will participate in a workshop, “Solarplate: Printmaking in the Sun,” with Dan Welden. Ramsay was selected for the Open Studio program at the Haystack Mountain School of Crafts in Deer Isle, ME. Five artists received
In April, 10 artists opened their studios for the Tulsa Art Studio Tour. Here, artist Steve Tomlin demonstrates his painting techniques for Tour visitors.
professional basics grants to advance their art marketing and presentation: Mark Hatley, Tahlequah; Kalee Jones W., Oklahoma City; Erin Latham, Norman; Sara Maynard, Edmond; and Hubert Wedell, Tulsa. Congratulations artists and we look forward to your successful projects. The next OVAC Artist Grant deadlines are July 15 and October 15. New application forms can be found on the website at www.ovac-ok.org. Thank you to the stellar Tulsa Art Studio Tour Committee led by Susan Green & Alan Frakes. In April, 10 fascinating artists opened their working studios to the public and more than 400 attended. Thanks to key supporters the George Kaiser Family Foundation, Walsh Branding, and anonymous donors for making the event popular.
Art People Amber Sharples was appointed executive director of the Oklahoma Arts Council, the official state agency for the support and development of the arts. Besides managing the State Art Collection, Capitol Art Collection and other duties at the Council for the past seven years, Sharples is an active curator, teacher and writer. Sharples holds a MA in Art History from the University of Oklahoma and a Graduate Certificate in Museum Collections Management and Care from The George Washington University. She also participated in the last Oklahoma Art Writing and Curatorial Fellowship. We are so glad to work with you in this new role, Amber! n
Watch for calls for artists for all of the Oklahoma Visual Arts Coalition’s programs at http://tinyurl.com/OVACcalls.
ovac news
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Ask a Creativity Coach: Got Talent? Motivation Matters More by Romney Nesbitt
Ask a Creativity Coach: Stay in the Flow by Romney Nesbitt
Dear Romney, My difficulty seems to be staying focused on one creative idea at a time. Any tips? —Distracted Dear Distracted, You may be fighting a losing battle. The natural tendency of creative people is to carry the seeds of many ideas at the same time; the trick is keeping all ideas moving forward. In my book, Secrets From a Creativity Coach, I have a chapter titled “The Care and Feeding of Leap Frogs.” The chapter is about managing the flow of ideas without controlling the ideas. Ideas are like leap frogs. Imagine a frog jumping in a race. The frog jumps, then sits, then jumps again in a different direction when it’s ready. Creative ideas are like jumping frogs. An idea jumps, then sits to ponder, then jumps again when it’s ready. Trying to stay focused on one idea at a time may not be possible or helpful. For most creative people, two or three ideas or projects aren’t too many to keep
Where Art & History Come Alive. The First Friday Gallery Walk takes place on the first Friday of every month, rain or shine, from 6-10pm. Paseo galleries host lively opening receptions featuring new artwork, live music, and refreshments. The Gallery Walk is free to attend and open to the public. Join us for an unforgettable art experience. The Paseo is home to 20 galleries and working studios, all within walking distance, and occupied by more than 75 artists. Intermingled with the galleries are a variety of unique gift and clothing shops, an event center and restaurants. For more information, call 405.525.2688 or visit thepaseo.com.
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business of art
in play. Let’s say you’re working on a painting, a preliminary drawing for another piece and a gallery proposal. Paint until you reach the point when you’re not sure what to do next. Rather than trying to stay focused on that one idea and running the risk of forcing a solution just to get something done, give your brain a time-out by shifting your creative attention to a different idea. By working on another creative project you allow your brain to stay in the creative flow and you’re giving your subconscious time to work on the painting problem. Flow is a relaxed state of mind where solutions often surface. When the painting solution emerges, shift back to the painting and paint with confidence. Be willing to shift back and forth between a few projects and keep your creativity “on.” n Romney Nesbitt is a Creativity Coach and author of Secrets From a Creativity Coach. Visit her website at www.romneynesbitt.net. Romney welcomes your comments and questions at romneynesbitt@gmail.com. Book her to speak to your group through OVAC’s ARTiculate Speakers Bureau.
Gallery Listings & Exhibition Schedule
Ada
Norman
Alumni Exhibit: Stacey Miller, Justin Irwin, Patrick Riley Through August 30 The Pogue Gallery Hallie Brown Ford Fine Arts Center 900 Centennial Plaza (580) 559-5353 ecok.edu
Midsummer Nights’ Fair July 13-14 Firehouse Art Center 444 South Flood (405) 329-4523 normanfirehouse.com
Alva Annual Photography Show July 5-31 Lester Raymer Retrospective August 2-31 Graceful Arts Gallery and Studios 523 Barnes St. (580) 327-ARTS gracefulartscenter.org
Ardmore Dorothy Bertine: Lifetime of Painting July 1-August 3 Opening July 21, 12:302:30 pm Sharon Montgomery & Janet O’Neil August 9-September 7 Opening August 9, 6:007:30 pm The Goddard Center 401 First Avenue SW (580) 226-0909 goddardcenter.org
Bartlesville Frank Lloyd Wright’s Samara: A Mid-Century Dream Home Through September 8 Price Tower Arts Center 510 Dewey Ave. (918) 336-4949 pricetower.org
Edmond T&S Web Artist July Bert Seabourn August Fine Arts Institute of Edmond 27 E Edwards St (405) 340-4481 edmondfinearts.com
Stirring the Fire: A Global Movement to Empower Women and Girls A World Literature Today Photography Exhibition with works by Phil Borges Through July 28 Into the Void Through July 28 Hopituy: Hopi Art from the Permanent Collections Through September 15 Fred Jones Jr. Museum of Art 555 Elm Ave. (405) 325-4938 ou.edu/fjjma Matthew Boonstra Norman Featured Artist Michael Joy Wilson Water Closet Gallery: Discernible Discourse curated by Krystle Brewer Through July 13 Mainsite Contemporary Art Gallery 122 East Main (405) 360-1162 normanarts.org
Oklahoma City FRINGE: Lost in a Dream August aka gallery 3001 Paseo (405) 606-2522 akagallery.net Unbound: 3D Printmaking Through September 7 [ArtSpace] at Untitled 1 NE 3rd St. (405) 815-9995 artspaceatuntitled.org Conrad Crespin & Sean Lyman Opening July 12 Amanda Bradway & JUURI Opening August 9 DNA Galleries
1705 B NW 16th (405) 371-2460 dnagalleries.com Thomas Batista Opening July 5, 6-10 pm Jim Keffer Opening August 2, 6-10 pm JRB Art at the Elms 2810 North Walker (405) 528-6336 jrbartgallery.com Ashley Smith, Tanner Frady, Bjorn Bauer, Tony Westlund, Scott Henderson LOCUS: The Women of Fringe Through July 28 Urban Artist Exhibition August 9-October 27 Opening August 9-10 Istvan Gallery at Urban Art 1218 N. Western Ave. (405) 831-2874 istvangallery.com Prix de West Invitational Art Exhibition Through August 4 National Cowboy & Western Heritage Museum 1700 NE 63rd (405) 478-2250 nationalcowboymuseum.org
Douglas Henderson Through August 25 Bert Seabourn July 1-September 1 Helen Howerton July 8-September 8 Oklahoma State Capitol Galleries 2300 N. Lincoln Blvd (405) 521-2931 arts.ok.gov Soundscapes Through August 2 Out of the BOX 2 Through September 15 Jennifer Cocoma Hustis: Untamed August 10-March 10 Opening August 10, 6-9 pm The Satellite Galleries at Science Museum Oklahoma 2100 NE 52nd St (405) 602-6664 sciencemuseumok.org
Park Hill Cherokee Homecoming Art Show August 24-September 15 Opening August 23, 6-8 pm Cherokee National Historical Society, Inc. 21192 S. Keeler Drive (918) 456-6007 cherokeeheritage.org
Herb Ritts: Beauty and Celebrity Through July 28 Wayne White: Halo Amok June 6-September 1 Of Heaven and Earth: 500 Years of Italian Painting from Glasgow Museums August 22-November 17 Oklahoma City Museum of Art 415 Couch Drive (405) 236-3100 okcmoa.com
Piedmont
Laurie Frick Through August 23 Oklahoma Contemporary Arts Center 3000 General Pershing Blvd. (405) 951-0000 oklahomacontemporary.org
The Art of the Human Figure July 13-August 25 Mabee-Gerrer Museum of Art 1900 West Macarthur (405) 878-5300 mgmoa.org
Silk Paintings: Works by Megan Clements & Carol Lorance July 19-August 9 Opening July 19, 6-9 pm Red Dirt Gallery & Artists 13100 Colony Pointe Blvd #113 (405) 206-2438 reddirtartistsgallery.yolasite.com
Shawnee
Stillwater China Impermanent Beauty: Photography by Ka Yeung August 19-September 27 Opening August 29, 5-7 pm Gardiner Gallery Oklahoma State University 108 Bartlett Center for the Visual Arts (405) 744-4143 museum.okstate.edu
Tulsa Heather Clark Hilliard: Finding the Fire (Artist in Residence) July 1-20 Opening July 5, 6-9 pm A Turn of Events: Northeastern Oklahoma Woodturner Association August 2-18 Opening August 2, 6-9 pm 108 Contemporary 108 E Brady (918) 237-9592 108contemporary.org Dreams and Visions: The American West and the Legacy of Imagination Through August 25, 2013 Gilcrease Museum 1400 Gilcrease Road (918) 596-2700 gilcrease.org Fiberworks 2013 July 12-August 23 Opening July 12 Hardesty Arts Center 101 E Archer St (918) 584-3333 ahhatulsa.org New Masters of Old Traditions Through July 26 American in Ink 2 August 2-September 29 Henry Zarrow Center for Art and Education 124 E Brady St (918) 631-4400 gilcrease.utulsa.edu/Explore/ Zarrow
gallery guide
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New Arts Camp July 15-26 Living Arts 307 E. Brady (918) 585-1234 livingarts.org Hardlines: Bregelle Davis, Geoffrey Gorman, Mark Yearwood Through July 15 Lovetts Gallery 6528 E 51st St (918) 664-4732 lovettsgallery.com Bookworks III Through July 21 Adolph Gottlieb: Sculptor Through August 25 Remainder Through September 29 Sirens of the Southwest Through November 10 The Philbrook Museum of Art 2727 South Rockford Road (918) 749-7941 philbrook.org
Kristy Deetz: Earth Texts August 29-September 26 Opening September 5, 4 pm Alexandre Hogue Gallery Phillips Hall, The University of Tulsa 2930 E. 5th St. (918) 631-2739 cas.utulsa.edu/art
Woodward Skip Braun Photography July 2-31 Photography Contest Sept. 7-Oct. 26 Plains Indians and Pioneers Museum 2009 Williams Ave (580) 256-6136 pipm1.com
A Figure and Chair: Paintings by Kaylee Huerta July 5-27 Heavy Metal: Rob Key and Melissa Key August 2-31 Tulsa Artists Coalition Gallery 9 East Brady (918) 592-0041 tacgallery.org
Threshold by Scott Henderson of Oklahoma City, on display at Istvan Gallery in Oklahoma City through July 28.
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. 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
-Same benefits as Individual level for two people in household
INDIVIDUAL - $40
-Subscription to Art Focus Oklahoma -Monthly e-newsletter of visual art events statewide (sample) -Receive all OVAC mailings -Listing in Annual Resource Guide and Member Directory -Copy of Annual Resource Guide and Member Directory -Access to “Members Only” area on OVAC website -Invitation to Annual Meeting Plus, artists receive: -Inclusion in online Virtual Gallery -Monthly e-newsletter of opportunities for artists (sample) -Artist entry fees waived for OVAC sponsored exhibitions -Up to 50% discount on Artist Survival Kit workshops -Associate Membership in Fractured Atlas, with access to services such as insurance, online courses and other special offers.
STUDENT - $20
-Valid student ID required. Same benefits as Individual level.
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MEMBER FORM ¨ Patron
¨ Fellow
¨ Family
¨ Individual
¨ Student
Name Street Address City, State, Zip Email Website
Phone
Credit card #
Exp. Date
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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ArtOFocus k l a h o m a Annual Subscriptions to Art Focus Oklahoma are free with OVAC membership. July 15:
OVAC Grants for Artists Deadline
July 26:
24 Works on Paper Opening Reception, OKC
July 31:
OVAC Fall Internship Application Deadline
Sept 5:
Momentum Tulsa Artist 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.
Sept 20: 12x12 Art Fundraiser, OKC Oct 12:
Momentum Tulsa: Art Doesn’t Stand Still
July Thomas Batista Opening Reception: FRIDAY, JULY 5 6 - 10 P.M.
August Jim Keffer Opening Reception: FRIDAY, AUGUST 2 6 - 10 P.M.
Gallery Hours: Mon - Sat 10 am - 6 pm Sun 1 pm - 5 pm
2810 North Walker Phone: 405.528.6336 www.jrbartgallery.com
JRB
ART
AT THE ELMS