Art Focus Oklahoma, March/April 2008 by Oklahoma Visual Arts Coalition

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Okl a ho m a V i s u al A r ts C o al i t i on

A N N I V E R S A R Y

Vo l u m e 2 3 N o . 2

March/April 2008 th A N N I V E R S A R Y 1

Shannon Leigh Crider page 20

Art<OFocus m N a Xk Yl Na Uh \o Z Oklahoma OklahomaVisual VisualArts ArtsCoalition Coalition P°"°Ê ÝÊ£ {ÈÊUÊ" > >Ê Ìy, P.O. Box 1946 • Oklahoma City,OK OK73101 73101 « \Ê{äx°ÓÎÓ°È £ÊUÊi\Ê` rector@ovac-ok.org ph: 405.232.6991 • e: director@ovac-ok.org visit visitour ourwebsite websiteat: at:www.ovac-ok.org www.ovac-ok.org Executive ExecutiveDirector: Director:Julia JuliaKirt Kirt director@ovac-ok.org director@ovac-ok.org Editor: Editor:Kelsey KelseyKarper Karper publications@ovac-ok.org publications@ovac-ok.org Art ArtDirector: Director:Anne AnneRichardson Richardson anne@speccreative.com anne@speccreative.com Art ArtFocus FocusOklahoma Oklahomaisisaabimonthly bimonthlypublication publication of ofthe theOklahoma OklahomaVisual VisualArts ArtsCoalition Coalitiondedicated dedicated to tostimulating stimulatinginsight insightinto intoand andproviding providingcurrent current information informationabout aboutthe thevisual visualarts artsininOklahoma. Oklahoma.

On the Cover: Shannon Leigh Crider, Oklahoma City, Shannon, Collage, 24”x20”, at Istvan Gallery at Urban Art through May 1.

Annette Ellis, Tulsa Studio Art Tour

profiles profiles Dean Wyatt

reviews/previews reviews/previews

Christian Pitt 53 Laurie Spencer 5 Sue Clancy

7 86 8 10 10 11 11 12

ArtReach Tulsa Studio Tour Mazen Abufadil Bare Bones Film Festival Jack Dowd Anna von Mertens

12 14 14 18 16 20

Momentum OVAC Exhibits History ART 365: Ashley Griffith ART 365: Joseph Daun Tulsa Public Art On the Map: Urban Art

member agency

10 10

Bare Bones 11 Film Festival Mays, 6 Paul Oklahoma City

contents contents

LaurieSpencer Spencer 5 Laura Tulsa Tulsa

Roots & Ties Seven State Biennial Art Underground

features features

business of of art art business

18 Rejected? Don’t Feel Dejected 22 Ask a Creativity Coach This program is supported in part by the Oklahoma Arts Council

19 22 20 23 20 23 22 24

OVAC news news OVAC

New & Renewing Members At a Glance Round UP New & Renewing Members At a Glance Round UP

gallery guide guide gallery

Mission: Mission:The TheOklahoma OklahomaVisual VisualArts ArtsCoalition Coalition supports supportsvisual visualartists artistsliving livingand andworking workinginin Oklahoma Oklahomaand andpromotes promotespublic publicinterest interestand and understanding understandingof ofthe thearts. arts. OVAC OVACwelcomes welcomesarticle articlesubmissions submissionsrelated relatedto to artists artistsand andart artininOklahoma. Oklahoma.Call Callor oremail emailthe the editor editorfor forguidelines. guidelines. OVAC OVACwelcomes welcomesyour yourcomments. comments.Letters Letters addressed addressedto toArt ArtFocus FocusOklahoma Oklahomaare areconsidered considered for forpublication publicationunless unlessotherwise otherwisespecified. specified.Mail Mail or oremail emailcomments commentsto tothe theeditor editorat atthe theaddress address above. above.Letters Lettersmay maybe beedited editedfor forclarity clarityor orspace space reasons. reasons.Anonymous Anonymousletters letterswill willnot notbe bepublished. published. Please Pleaseinclude includeaaphone phonenumber. number. Art ArtFocus FocusCommittee: Committee:Janice JaniceMcCormick, McCormick,Bixby; Bixby; Sue Clancy, Norman; Michael Don Emrick, Hoffner, Tulsa; Stephen Susan Grossman, Kovash, Cindy Norman; Miller, Michael DebbieHoffner, Nauser,Stephen Roger Kovash Runge and andSue SueMoss MossSullivan, Sullivan,Oklahoma OklahomaCity. City. OVAC OVACBoard Boardof ofDirectors Directors2007-2008: 2007-2008:Kathleen Kathleen Rivers, Rivers,Ada; Ada;Richard RichardPearson, Pearson,Rick RickVermillion, Vermillion, Edmond; Edmond;Jonathan JonathanHils, Hils,Norman; Norman;Skip SkipHill, Hill, Stephen StephenKovash Kovash(Vice (VicePresident), President),Suzanne Suzanne Mitchell, Mitchell,John JohnSeward, Seward,Carl CarlShortt, Shortt,Suzanne Suzanne Thomas, Thomas,Lila LilaTodd, Todd,Sydney SydneyBright BrightWarren, Warren,Elia Elia Woods Woods(Secretary), (Secretary),Oklahoma OklahomaCity; City;Joellen Joellen Frisillo, Frisillo,Pam PamHodges, Hodges,PhD PhD(President), (President),Sand Sand Springs; Springs;Cathy CathyDeuschle, Deuschle,Elizabeth ElizabethDowning, Downing, Jean JeanAnn AnnFausser Fausser(Treasurer), (Treasurer),RC RCMorrison, Morrison,Tulsa; Tulsa; Eunkyung EunkyungJeong, Jeong,Weatherford Weatherford The TheOklahoma OklahomaVisual VisualArts ArtsCoalition Coalitionisissolely solely responsible responsiblefor forthe thecontents contentsof ofArt ArtFocus Focus Oklahoma. Oklahoma.However, However,the theviews viewsexpressed expressedinin articles articlesdo donot notnecessarily necessarilyreflect reflectthe theopinions opinionsof of the theBoard Boardor orOVAC OVACstaff. staff. Member MemberAgency Agencyof ofAllied AlliedArts Artsand andmember memberof ofthe the National NationalAssociation Associationof ofArtists’ Artists’Organizations. Organizations. 2008,Oklahoma OklahomaVisual VisualArts ArtsCoalition. Coalition.All Allrights rightsreserved. reserved. ©©2008,

profile

Christian Pitt, Norman They Saw Her From the Dean Wyatt, Tulsa, Window of the Train The Clouds Were Stained Red, Endura Metallic Print, Acrylic on Canvas, 5”x7” 24” x 30”

Christian Pitt by Lori Oden

Dean Wyatt: TWILIGHT ZONE

Whether we like it or not, we all have to adapt. Some of us are just better at it than others. by Gretchen Collins Christian Pitt said of her childhood, “I was born and raised by well-grounded hippies The commute home for most of us is a who taught me to question authority and who monotonous journey, but for Dean Wyatt, it’s embraced change as a lifestyle.” She attended his favorite time of day. Twilight, filled with eight different grade schools and lived in the many elements that enliven his paintings, three different states. Her parents settled in presents a rich source of ideas. Oklahoma City, where she was born, and she finished Catholic Wyatt’s her life education as an artistinbegan in a schools. completely Encouraged to pursue path, Pitt was different medium: penany andlife ink. He pursued compelled fine during art. Shehigh studied his interesttoinstudy drawing school in at KansasOklahoma. City Art Institute, University of Duncan, Although art class was Central Oklahoma, the College of Santa Fe, somewhat a babysitting service for “ne’er-doand received Bachelor of FineCharles Arts wellthen students” he her credits his teacher, Degree from therecognizing University those of Oklahoma Novotny, with having ainreal 1992. interestDuring in art. her college career she studied abstract expressionistic painting, photography “Hedrawing, taught me lot of basics,” Wyatt and as awell as the art history. recalls. “Sometimes I still hear his voice After a devastating fire space in 1996 that saying, ‘That negative there is destroyed not her house and all of her art work up to that working.’” Novotny encouraged Wyatt to point, Pitt nobut longer paints draws. try painting, at the timeorhis interest in realistic drawing was too strong. Portraits Pitt is married and has a daughter. One of comprised much of what he created then. her first purchases after the fire was a digital One might take as long as three months as he camera. She has collected and makes handcarefully stippled each feature. made toys and dolls since then as well. In her artist statement she wrote, “I made toys as a

child to entertain my younger brother when we didn’t have a television. We would create elaborate sets with puppets and all our toys, and make anyone sit and watch us perform and work out the drama. I had myto It occurred toall Wyatt later heAfter might want daughter, I realized importance of the it try painting. Whenthe he visited museums, human throughviewing. play, and was thenecessity paintingstoheexpress most enjoyed the concept of thewere monster dioramas became Where portraits concerned, he felt he had clear.” two paths her he done it These all. “Maybe I justmerged ran outinto of ideas,” current says. artistic vision. Dessert a series colorful scenes, Oh, no.and TheDisease, ideas were onlyofhibernating, portrays a seemingly lying waiting to spill out inperfect his newcouple medium of and walking through a field of yellow, wireacrylics. Acrylics work well for Wyatt because poked flowers a pretty they are quick with to dry, which sky suitsbackground. his busy life A appears, then a fuzzy black andto as young a CPA.boy “I have to find little opportunities striped paint.” monster. They also allow him to work in layers and interesting textures. Oddly, the dolls and monsters have only one expression throughout the series. It in is Pitt’s Wyatt’s love of the gloaming began mastery of the andwith stagehisset-up that childhood. He camera would sit parents as make the images and series’ so moving. Angle the sun set. The Wichita Mountains in the and depth-of-field role in distance, the gentleplay hillsa starring and the shifting bringing the indelible story andimpressions emotions soon close to colors made Wyatt. real life.my favorite time of day to watch the “It was sky change. I tried to capture some of that in As Dessert and Disease continues, the monster photography. It was short-lived,” he laughs. and the girl dance and kiss and eventually he whisks her away. It begs the question, “Who is the monster here?” The young, pretty girl

ditches her boyfriend for a fantasy adventure with unknown character. Pitt said, “I like to imagine what could be done, what would be done, if people had the ability to act in the way they truly wish to:intotime the imagined life. It wasn’t the moment a photo offered These monsters do anything this life, that Wyatt was can looking for, but aintime-lapse especially if you make them.” We areas can live of colors and occupants. Different of the vicariously through them. Is that In what canvas represent many moments. anyisofsohis attractive images and stories: works youabout often Pitt’s find components of earth,the air, fact that water. some of us would like to leave our fire and comfortable world, to do something different, As weaswalked around thelove Pearl such dance and fall in onGallery a whim,in Tulsa, it where works were on display would just Wyatt’s be too crazy? at interview, Fence 4 (Separation) came into Monsters on the Town is a The variety of images view. First impression? fence is not intact. with monsters and dolls positioned Why?different Is it a barrier? Maybe not. “I try to in front of scenes the pages of he leave it vague andtorn openfrom to interpretation,” magazines. explains. A doll with a strange orange head wrap approaches a singular man reading likes toHer firstoverbearing paint a canvas black. “I aWyatt newspaper. personality like the way blackrespectable creates thisscene. platform. bombards thisthe quiet, It gives a lot of depth.” This creates a surprise A foremost life,paint and in factor. Whatinfluence appears in to Pitt’s be green onher the current maternal grandfather. finishedwork, work was was her actually a shade of brown. He was aonprofessional and an avid Waiting the Moon is magician abraded with a palette toy collector. Pitt would in his knife. Wyatt chose black participate paint and dragged magic shows as a the child; she leapt of a lifethe knife around painting. Heout appreciates sized doll house, levitated, and had her hand the effect that can make the work appear aged. magically removed and head chopped off. continued continued page page 44

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continued from page 3 There is much activity in the center of “Moon.” Wyatt draws the eye there with subtle strokes of bright color among the earth tones. It might be remnants of light or flowers in the field. “All those things enter my mind when I do it.” In The Clouds Were Stained Red, Wyatt used a trowel from a bathroom remodel to add dramatic texture to the painting. “I wanted to play with a harsher edge on this one.” The colors don’t compromise. continued fromtheir page ground 3 They stand along the rigorous edge. To view more of Wyatt’s work log onto www.deanwyatt.com. Another current series is Little Devils or Beelzebuddies. Pitt said, “Specifically, the Little While Wyatt’saspaintings been to referred to Devils started a series inhave response my opinions as landscapes, they aren’t in the realistic sense. about the election of George Bush to U.S. “There’s notina 2004. wholeThe lot ofgroup me sitting outside saying presidency of 30 Little Devils, here’s this landscape, now I’m going to go inside the ‘George Bush’ edition, sold so quickly that I and interpret things I might seethe driving thought it wasit.a It’s good idea to explore idea of home that may lead to certain little elements of the creating monsters for sale.” painting.” Wyatt makes every minute count in the twilight zone. Beelzebuddies hasnnow evolved into dust sprites inspired from Japanese folklore. According to Pitt, About thesprites Author:are, Gretchen Collins has that covered the arts the dust “the little things swoosh by in Tulsa for the past 13 years. She is an award-winning your feet when you first walk into a darkened room. writer; the Society of Professional Journalists Addingincluding to that, the Beelzebuddies hide your keys from award, and was an art major in college. you under the blankets in your bed, or leave the milk out at night when you could have sworn that you put it back. And, none of them have bums.” Most of Pitt’s monsters are made with felt, fabric, wire, wool, paper, and other vintage and new craft materials. She adds needle felted accents and plastic or glass eyes for detail, and does not use glue of any kind to adhere the details. Christian Pitt is also the Managing Director and Curator at MAINSITE Contemporary Art in Norman, Oklahoma. She is active in the art community in Norman and Oklahoma City. Her work has been accepted into art galleries nationally, she designs and maintains websites, and does freelance photography for publications and bands. Pitt’s work can be seen on www.monstercoop.com or at her next exhibition in 2008 at Whittier Gallery at Friends University in Kansas. About the Author: Lori Oden is photographer who specializes in nineteenth century processes, an adjunct professor at Oklahoma City University and theDean Executive Wyatt, Tulsa, Waiting for the Moon, Acrylic on Director for the Paseo Artists Association. Canvas, 24” x 24”

Dean Wyatt, Tulsa, Fence 4 (Separation), Acrylic on Canvas, 24” x 24”

(clockwise from top) Christian Pitt, Norman, Watch It or You’ll Fall, Endura Metallic Print, 7”x5” Christian Pitt, Norman, Hey, Newspaper Man, Endura Metallic Print, 5”x7” Christian Pitt, Norman, Candlewalking, Endura Metallic Print, 5”x7”

profile

Laurie Spencer: An Update by Janice McCormick Laurie Spencer is an award winning Tulsa ceramicist and art teacher at Holland Hall. She won the Award of Excellence from Oklahoma Visual Arts Coalition in 1990. Her other awards include: the Americans for the Arts, Community Residency Exchange Program, U.S./Ireland 1999; the New Forms Regional Initiative Grant (NFRIG) 1996; and the Lila Wallace-Readers Digest International Artist Program Grant and Arts International, a 6-month residency for research and teaching in Ecuador, 1992-93. This profile, based on a series of questions, will catch us up on her artistic career. All of Spencer’s art reflects her interest in organic forms. Her small artworks range in size from fruit and vegetable cast clay ornaments that fit into your hand to two to three feet tall clay water whistles. An example of the latter, Morning Song, was featured on the cover of the January/February 2006 issue of Art Focus Oklahoma. She even has created whistles as large as five and a half feet in height which were tree forms with the knot holes as whistles. Lately, she has been exploring fire whistles (more about them later). Her large scale domes are architectural pieces within which a gathering of 10 to 15 people could easily be accommodated. Oklahoma City residents may be familiar with her Philodendron Dome, a site-specific metal sculpture commissioned by Oklahoma City in 1992 and located at Myriad Gardens. Tulsans may view her Calyx Dome, (1996-97) a site-specific fired, 18’ clay dome in the woods of the Holland Hall School campus. This last work was created in collaboration with Daniel Cajamarca, her husband, a potter whom she had met in Ecuador. She considers it her greatest accomplishment. Of this work she says, “It was an enormous undertaking. The entire project took over a year to complete with planning, clay body testing, making models and the building, firing and clean up of the dome. It was 18’ tall and took over 10 tons of clay which we mixed in 100 lb. batches. Physically it was grueling. In the end, while we did have a lot of technical difficulties, I was very happy with the piece.” In response to my question as to what has been the biggest change in her life and artistic career since receiving the Award of Excellence, Spencer says, “The biggest change in my life is having a child. At that time, I decided to take time off from art making and devote my time to my child, Geovy. I started throwing large bowls that I could paint on as it is a fast process that allowed me to keep my hands in clay. The sculptures are very time consuming and I didn’t want to work on something that would take so long to complete. My son is in first grade now so I am starting to have more time to work although it isn’t like before. I cut back my teaching to part-time and I work on my sculptures primarily while my son is at school. I have not made any domes in the last several years. Building a dome is a very intensive process and not something I would want to undertake until my son is older.” As to whether the themes of her art have changed over the years, Spencer explains, “I still have similar interests, in organic forms and whistling

(top) Whistle Works, an installation of ceramic whistles created by community participants and Laurie Spencer at the John Michael Kohler Art Center in Sheboygan, Wisconsin in September 2006. Photo courtesy of the John Michael Kohler Art Center. (bottom) A musical performance using ceramic whistles.

sculptures, but I have been exploring different processes and aspects of these ideas. Currently I am working on a series of ‘Fire Whistles’ that are whistling sculptures designed to be activated by fire. They have a water chamber inside that when the water boils, creates steam and enough air velocity to activate the whistles. I am playing around with these whistles as pieces which can be placed inside a fire sculpture and also for use in a campfire. “The fire sculptures are something I have been exploring off and on for several years. It is a sculpture made with a chicken wire interior structure that has a skin of paper and clay slip like papier-mâché. It is filled with combustibles and lit when finished. The fire is intended to be a part of the sculpture and the piece is complete when in full flame. It is intended as a temporary piece which self-destructs in the process and is great for special events. I was invited to do a firing demonstration last summer at the International Ceramic Festival in Wales. I built and ‘fired’ a fire sculpture at that event. Afterwards I began to think about how I could combine it with the whistles to make a ‘singing’ fire sculpture. That is how I started working on the fire whistles with which I am currently involved. Since I do like to work large, the fire sculptures allow me to work in a large scale, but much more quickly than building something like a large dome.” She adds, “My whistles are not intended as musical instruments but rather as sound sculptures.” Teaching art and creating art often go hand in hand for Spencer. In the summer of 2006, she participated in a special programs workshop called “Connecting Communities” at the John Michael Kohler Art Center in Wisconsin. She describes the experience as follows: “I loved how they set the program up. Instead of bringing artists in to teach a class, they bring them in to do a collaboration with the community so that it is the creation of an art piece for the community continued to page 6

prof ile continued from page 5

as well as the artist. The participants (of all ages) work together on the artist’s vision so that it is the creation of an art piece for the community as well as of a piece.community the artist. The participants (of all ages) work together on the artist’s vision of a

piece. “During my residency, we created together an installation of ceramic whistles. Each class worked on a different section. It was based on different parts of the life “During my residency, we created together an installation of ceramic whistles. cycles. One group did whistles of new growth, another of flowers. We made a large Each class worked on a different section. It was based on different parts of the flowering life bush to hold flower whistlesofwhich could be takenofout to play cycles. Onethe group did whistles new growth, another flowers. Weand made put back again. Another group did seeds, etc. Each form created a different type of a large flowering bush to hold the flower whistles which could be taken out tone and pitch. weback finished, brought theseeds, composer Leeform Tomboulian to playAfter and put again.they Another groupindid etc. Each created a to write a piece usingtype the ofwhistles with which was different tone andcombined pitch. After we traditional finished, theyinstruments, brought in the composer performedLee later that summer at their arts festival and again at the opening of the Tomboulian to write a piece using the whistles combined with traditional exhibit of instruments, our whistleswhich in thewas fall. As part later of thethat exhibit, I made several large and pieces performed summer at their arts festival at the opening the exhibit of our whistles the fall. As branches part of thethat to anchor again the exhibit such as of a large tree whistle that hadin removable exhibit, I madethe several largethe pieces anchor exhibit suchwhistles as a largecreated tree by were whistles. During exhibit, treetoalso heldthe a lot of bird whistle that had removable branches that were whistles. During the exhibit, the the students. tree also held a lot of bird whistles created by the students.

“That experience brought out several ideas and processes that I want to follow up on “That brought out several ideas and processes I want followdone but haven’t had experience a chance to yet. I had to work quickly in orderthat to get thetopieces up on but haven’t had a chance to yet. I had to work quickly in order to get the while I was there and I’m not used to working that way. I also made large pieces in pieces done while I was there and I’m not used to working that way. I also made sections which I have never done. It really helped to jump start my ideas again after large pieces in sections which I have never done. It really helped to jump start not havingmy done for having a while.” ideasmuch againwork after not done much work for a while.” This coming Spencer Spencer will be will teaching a one aweek intensive workshop on Thissummer, coming summer, be teaching one week intensive workshop “Sculptural Whistles” at Eureka Springs School of the Arts in their 2008 summer on “Sculptural Whistles” at Eureka Springs School of the Arts in their 2008 program. summer program. Besides her art and SpencerSpencer reachesreaches out toout share her knowledge with the Besides herteaching, art and teaching, to share her knowledge with the ceramics through community through national publications. anfor article for ceramics community national publications. She wroteShe anwrote article Ceramics Monthly“El in Rio 1998deentitled Rio de la Vidaof-Ecuador,” Intimationscovering of Ecuador,” Monthly inCeramics 1998 entitled la Vida“El - Intimations covering andtrees large that whistling treesmade that after she had made after water whistles andwater largewhistles whistling she had returning from her her six-month residency in Ecuador. Pierce Clayton‘s Clay six-monthreturning residencyfrom in Ecuador. Pierce Clayton‘s book Clay Lovers Guide book to Making Lovers Guide to Making Molds has several images of her whistles made while Molds has several images of her whistles made while in residency at the Kohler in residency at the Kohler factory. Both the Calyx Dome and the Imaret Dome factory. Both the Calyx Dome and the Imaret Dome have had articles detailing their have had articles detailing their construction, firing and concepts. In Alternative construction, firing and concepts. In Alternative Kilns, the British author Ian Gregory Kilns, the British author Ian Gregory covers various alternative firing techniques covers various alternative firing techniques and includes an article on the Calyx Dome. and includes an article on the Calyx Dome. Over the years, Spencer has developed Over the years, Spencer developed a way to fire domes has enabled a way to fire thehas domes which has enabled herthe to fire suchwhich large structures on-site. her to fire As such large structures on-site. As she put it, “Each one was a she put it, “Each one was a learning experience” and one which learning she is willing experience” to and share.one which she is willing to share. I then asked her,asked “What do you seeyou your as art playing in the She I then her,role “What role do seeart your as playing in community?” the community?” replied, “IShe seereplied, the community as being theas broader of art. I of hope my “I see the community being thecommunity broader community art. that I hope work addsthat to the artfield is understood, what it is andwhat can it be.is There a my field work and addshow to the and how art is understood, and canisbe. is a very long tradition whistlethe making around and I also see very long There tradition of whistle makingofaround world and Ithe alsoworld see myself as part myself as part that has continuum. My work by hasmany been influenced by many artists of that continuum. Myofwork been influenced artists from various times various times I toothrough can touchmy someone else through and places.from Hopefully, I tooand canplaces. touch Hopefully, someone else art and/or teaching.” my art and/or teaching.”

As to any unfulfilled goal(s) she would like to achieve, Spencer says, “I want to Asthe to any unfulfilled goal(s) she would like achieve, wantidea to continue in creative process of exploration andtosee whereSpencer it takessays, me.“IOne continue in the creative process of exploration and see where it takes me. One leads to another and the excitement is following the path and not knowing where idea leads to another and the excitement is following the path and not knowing you will end up.” And, we can be sure that wherever Laurie Spencer’s art ends up, it where you will end up.” And, we can be sure that wherever Laurie Spencer’s art  will be unusual and exciting. ends up, it will be unusual and exciting. n About the Author: McCormick is an artis reviewer who has about art art About theJanice Author: Janice McCormick an art reviewer whobeen has writing been writing about in Tulsa and Oklahoma since 1990. Currently, she teaches philosophy part-time at Tulsa in Tulsa and Oklahoma since 1990. Currently, she teaches philosophy part-time at Tulsa CommunityCommunity College. She can beShereached artreview@olp.net. College. can be at reached at artreview@olp.net. 6

(top) Laurie Sencer, Tulsa, Tulip Whistle, Ceramic. The double vessel water whistle comes from the pre-Columbian cultures of the Andes. When partially filled with water, it can be rocked back and forth to create life-like sounds as the water pushes air through the whistles. (bottom) The Calyx Dome built in a wooded area on the Holland Hall campus by Laurie Spencer and Daniel Cajamarca. The 18’ tall ceramic dome was built and fired on site as a sculpture that can be viewed and experienced from the inside as well as the outside. The interior creates an acoustical chamber that accents sounds. Completed in 1997, the entire process took over a year to complete with the coil built dome requiring 10 tons of clay.

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(left) Joe Goode, Los Angeles, CA, Black Sheep â&#x20AC;&#x201C; Golden Boys, Mixed Media, 40â&#x20AC;?x35.75â&#x20AC;?

Roots & Ties

(left) Katherine Liontas-Warren, Lawton, A Regional Search, Pastel, 30â&#x20AC;?x44â&#x20AC;?

(right) Ed Ruscha, Venice, CA, and Mason Williams, Venice, CA, Double Standard, Serigraph, 25â&#x20AC;?x40â&#x20AC;?

(right) Kathryn Kelley, Houston, TX, (foreground) I Hate The Idea of Surrender, Mixed Media Installation, (background) The Shadowlands, Tar, Nails, Tires, Rope

by Grant Lacquement Untitled [ArtSpace] recently hosted a very important selection of work by a group of expatriate Oklahoma artists that have been instrumental in the Los Angeles art scene for more than 50 years. The concept for the show was fitting in ambition and scope for a museum retrospective, including many works by Robert Bonaparte, Joe Goode, Jerry McMillan, Lee Mullican, Ed Ruscha, and Mason Williams. In addition to organizing the show, Untitled published a wonderful accompanying color catalog with a special essay by Dave Hickey (and I say if you ever read anything about art, read Dave Hickey). Beyond the sphere of the art world, this group has been influential in our broader culture in the areas of popular entertainment (music and television) and spirituality. A very broad influence indeed.

American blankets intermixed with a standing figure surrounded by a field of onlookers. Mullican produced a series of similar works that he called the Raga Series; a reference to the melodic modes used in traditional Indian music.

in addition to his work in visual art. It is a delight to see works from these artists shown together because many of the works reference other works in the exhibit. A good example is the mixed media work Black SheepGolden Boys by Joe Goode. The work is paint laid thickly over a photograph. The image in the photo is of a billboard and the image on the billboard is a photo of Ed Ruscha, Joe Goode, and Jerry McMillan sitting on a car, sipping beer. McMillan took the original photograph used for the billboard, Goode took the photo of the billboard used as a basis for this work.

UNIVERSITY OF CENTRAL OKLAHOMA

Mullicanâ&#x20AC;&#x2122;s evolving work was just a beginning of Oklahomansâ&#x20AC;&#x2122; influence on LA. A very important group of four Oklahoma artists moved to LA to start their individual careers around 1960. These artists were Goode, McMillan, Ruscha, and Williams. This group of artists represents a key component of an art scene that soon evolved in southern California. I donâ&#x20AC;&#x2122;t know what else you call it but a Another work in the show, the serigraph scene, with the classic example being in Paris: Double Standard by Ed Ruscha and Mason The scene of Picasso, Matisse, and Hemingway Williams, shows a recurring theme in Ruschaâ&#x20AC;&#x2122;s hanging out in Gertrude Steinâ&#x20AC;&#x2122;s salons. These work: the idea of using an existing image scenes are always an artistic miracle; somehow as a ready-made for a new work of art. The Lee Mullican, a Chickasha native, moved to they happen, a group of artists that somehow image used in Double Standard first shows California after World War II, working as an form and nurture and inspire each others work. up in Ruschaâ&#x20AC;&#x2122;s work in the groundbreaking artist. At the time abstract expressionism, and The group in this exhibition formed among book Twenty Six Gasoline Stations, a book of New York City were the pillars of world art. people who attended Classen High School photographs of gas stations along route But Mullican found his own way, evolving in the 50â&#x20AC;&#x2122;s and were collectively drawn 66 from Oklahoma City to LA. The photo a mixture of abstract and representative to the receptive opportunities in LA. Goode, of the Standard station in Amarillo is the imagery as his work evolved. He was strongly McMillan, and Ruscha attended Chouinard basis for imagery that recurrs in Ruschaâ&#x20AC;&#x2122;s influenced by Native American culture Art Institute (Now the California Institute work to this day. The print in the show was and Eastern spirituality. These Buddhist of the Arts). Williams eventually landed a collaborative effort between Ruscha and and Hindu influences mixed seamlessly in LA after traveling with his music career. Williams, an image already familiar to them with the Native traditions he was familiar While Goode, McMillan, and Ruscha started both from Ruschaâ&#x20AC;&#x2122;s work and from driving with. The result was imagery in support of artistic careers that would be a foundation Juried Exhibition of Student Work (9-12 Grades) past the Amarillo Standard station on trips Californiaâ&#x20AC;&#x2122;s adolescent New Age spirituality in the ntryburgeoning Pop movement, Williams E 7 0 0 2 â&#x20AC;? n back and forth to Oklahoma. r, Exhibit open through March 28th, 2008 e v a e (or spiritually outside the structures of W expanded in all directions, writing for â&#x20AC;&#x153;Dream religious institutions). A painting of television (the Smothers Brothers Comedy Donna Nigh GalleryAbout 4th the Floor, Nigh University Author: Grant is a painter Center and Mullicanâ&#x20AC;&#x2122;s in the exhibition, Untitled (J.F.K.), Hour, and recording the Grammy award photographer and also designs and builds furniture. has patterns recalling the weaving in Native winning instrumental â&#x20AC;&#x153;Classical Gasâ&#x20AC;?), all this He can be reached at lintegritas@gmail.com.

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â&#x20AC;&#x153;Young Talent in Oklahomaâ&#x20AC;?

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NORTH N.W. 4TH STREET

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Art Underground

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In a clever use of form meeting function, each of the hallways of the intricate tunnel system is lit by an immersion of colored light provided by fluorescent lights with colored gels. Not only does the lighting create a futuristic sci-fi environment, it also aids in navigating the tunnels. The colors act as codes with green signifying the passage way to a bank or financial institution, blue for federal buildings, and so on. One of the longest hallways in the system is known as the “Light Gallery” with a wall of perforated metal, lit from behind with a soft glow of yellow along the bottom, met with a brilliant blue glow from above.

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Recently, Downtown OKC, Inc worked with Oklahoma City architectural firm Elliott + Associates to give the tunnel system new life. Michael Hoffner of Elliott + Associates, who served as project architect, explained that the idea for the renovation was conceived as a gigantic artful experience. Both Rand Elliott and Hoffner have been involved in the arts for quite some time and their vision incorporated that interest.

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by Kelsey Karper Beneath the streets of Oklahoma City’s reviving downtown is a system of underground pedestrian tunnels that total about three-quarters of a mile in length, linking 16 blocks and over 30 buildings in the downtown area. The tunnels, now known as The Underground, have recently received a face lift of their own. Formerly known as the Conncourse (named after Jack T. Conn, one of the tunnel system’s early promoters), the earliest tunnel was built in 1931, with the remaining portions being built in the 1970s.

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Aside from the creative use of light and color that has become a signature of Elliott’s, the plan also included spaces for a variety of art installations. Several of The Underground’s passageways have been reserved for use as galleries showcasing photographs that tell the story of the history of business and life in downtown Oklahoma City. Another section of the tunnels is designated as the “Invited Artists Gallery,” featuring exhibitions of artwork by Oklahoma artists, selected by local curators. Devon Energy sponsors the exhibitions that are changed on a quarterly basis. The current exhibition in this space is Four Letter Word L*O*V*E curated by Sarah Hearn. The exhibit opened on Valentine’s Day and features mail art addressing the subject of love. Mail art is defined as any original work of art that is sent through the postal system. This exhibit continues through April 4th. As a part of the plan for the renovation, three artists were commissioned to create site-specific installations in some of the empty storefronts in The Underground. The first installation to be completed is by Oklahoma City artist Duff Bassett, titled A Conversation with Ishmael. Located beneath the Globe Life building at 120 Robert S. Kerr, the installation uses several cameras, a projection screen, nine televisions and a digital delay to capture the activity of passersby. As you walk past the storefront windows, your image appears on the screens at different rates, confusing the viewer’s perception of time and motion. Two more installation projects are in the works by artists Stan Carroll and Klint Schor and funds are being sought for additional installation projects in the future. The Underground can be accessed by stairs and elevator at many locations downtown. It is open 6:00 am – 8:00 pm, closed Saturdays, Sundays and holidays. For more information and a map of The Underground, visit www.downtownokc.com. n About the Author: Kelsey Karper is the Editor of Art Focus Oklahoma and a photographer working in historic and alternative processes. She can be reached at publications@ovac-ok.org.

(top) map of The Underground (middle) Duff Bassett, Oklahoma City, A Conversation With Ishmael, Installation (bottom) The Invited Artists Gallery in The Underground.

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Juried Exhibition of Student Work (9-12 Grades) Exhibit open through March 28th, 2008 Donna Nigh Gallery 4th Floor, Nigh University Center

prev iew Tulsa Art Studio Tour 2008 selected artists W. Maurice Clyma Mikey Coy Elizabeth Downing Janet Duvall Annette Ellis James Gallagher Yiren Gallagher Shan Goshorn Lou Hodgson John Mark Lackey Sharyl Landis Darshan Phillips Renee Reed Robert Reed John Brooks Walton

Shan Goshorn, photo credit: Neosha Pendergraft

Tom Richardson John Brooks Walton

Tulsa Art Studio Tour

Aaron Whisner

2008 by Cathy Deuschle

“The first thing painters ask about a studiospace usually concerns the light. And so one might think of a studio as a kind of conservatory or observatory or even lighthouse. And of course light is important. But it seems to me that a studio, when being used, is much more like a stomach. A place of digestion, transformation and excretion. Where images change form. Where everything is both regular and unpredictable. Where there’s no apparent order and from where a well-being comes. A full stomach is, unhappily, one of the oldest dreams in the world. No?” - critic, John Berger in a letter to artist, Leon Kossoff On April 12 and 13, 17 Tulsa artists will open their studios in an effort to help the public better understand the creative process and the environment needed to unleash creative thought and bring it to fruition. OVAC began organizing studio tours in Oklahoma City in 1997 and brought the idea to Tulsa in 2002. By the completion of this year’s tour, the number of Tulsa artists featured will reach 67.

Whether a studio is Matisse-like in its calm and luxury, has many towering stacks of dusty accumulation, or is as simple as a clearing on the kitchen table; it can mirror or expand upon the idiosyncracy of both the artist and the art and provide physical evidence that the way art comes into being is as infinitely varied as art itself. Artists accustomed to promoting their work in the studio will comfortably welcome the influx of new visitors. Artists for whom the studio has always been a private realm may find the prospect of such exposure daunting. Opening ones interior life to public scrutiny is brave and generous. For art lovers, access to this world is a real treat. In the past, OVAC has sponsored a preview exhibit to build excitement for the tour and showcase representative samples from each artist. This year’s exhibit at the Circle Cinema will run from April 3 through May 27. An opening event is scheduled for Thursday, April 3, from 5 to 8. Those who haven’t been to the Circle will no doubt be impressed by the high ceiling, the beautiful

light and the convivial atmosphere of the gallery located in the lobby of this ’20s era movie theater. A wealth of media and processes will be on display including turned wood, pastel, photography, painting, ceramics, mixed media, graphic design, beadwork and printmaking. Besides providing a sampling of the variety and quality of homegrown art in Tulsa, this exhibit can help those pinched on time decide which studios to visit. Many of the studios are close to each other; a few are within easy walking distance. A majority of the artists share space. As in the past, each artist will be on site throughout the tour to answer all manner of questions and demonstrate his or her working process. Visitors will also see completed work and have the opportunity to purchase art as well. For more detailed information about the tour and the exhibition please go to www.TulsaArtStudioTour.org . n About the Author: Cathy Deuschle is an artist and a teacher living in Tulsa.

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Film Making toisthe Bone Extraordinary Sometimes Ordinary Bare Bones International Film and Music Festival by Anne Allbright

April 17-27, 2008 by B.L. Eikner

From September through November 2007, the Charles B. Goddard Center for the Performing Arts in Ardmore, April is theheld month, for the lasthighlighting nine years, that Muskogee Oklahoma an exhibition the the workcity of of Florida and the state ofJack Oklahoma opportunity to see some based sculptor Dowd. get On an a beautiful fall morning, I of the best independent filmmakers in the world converge thefuss Bare Bones made the drive down to Ardmore to see what allonthe was International Film and Music Festival. about. I must confess to harboring a number of preconceived notions after viewing the artist’s website However, I Oscar and ShIronbutterfly Ray started oneportfolio. of the first Oklahoma learned rather quickly that it’s one thing to see a sculpture on a independent film festivals in March 2000 and have assisted, collaborated website, but something entirely different to witness it firsthand. and served as consultants to what is now over a dozen film festivals The Internet, and for all its technological can’t elevenin Oklahoma other states. Underinnovations, the directionjust of their reproduce the physical presence of a pieceFilm of well-crafted year-old non-profit company, Darkwood Arts Institute (DFAI), sculpture. the Ray’s bring Bare Bones to Muskogee in April and Script 2 Screen to Tulsa in work October of eachayear. DFAI wasofestablished to offer training Dowd’s showcases hodge-podge sculpted Americana, and education, consultation, economic and cultural development heavy on humor and without the grim overtones plaguing the and membership forartists. independent filmmakers, screenwriters, work of manydevelopment well-meaning Upon entering the exhibit, actors, directors and for high school and college students interested in the I was greeted by a life-size redneck fisherman, complete with art of filmmaking. half of an F-150 Ford Truck and accompanying Confederate flag. It definitelystated madethat for atheir peculiar introduction. The manpeople in to do ShIronbutterfly dream was to spawn other Southern Exposure seemed ridiculous yet completely realistic, film festivals and give the audiences in this region another alternative which I think may have been The the point piece. to Austin and Dallas, Texas. focus of of the DFAI is toSeveral enhance the similarly detailed sculptures followed, including flamboyantly opportunities for the little guy to show his or herafilm and be educated to dressed cowboy a psychedelicright guitar-wielding angel. Bare Bones has the art and skillsand of filmmaking here in Oklahoma. been a positivethe jewel for the of film in Dowd’s Oklahoma, which Undoubtedly, highlight theindustry show was tribute to has now become a destination for independent filmmakers. Andy Warhol, Andy Warhol Twenty Times. The sheer size and uniformity thenumber work was impressive sayBones the least. Since 2000,ofthe of films in the to Bare Film Twenty Festival has grown life-size models of Andy Warhol stand with arms crossed in from just 35 to over 165 films shown and the number submitted for varying shades of red, blue, green, yellow, and purple. The piece165 films review and selection has grown from 50 to over 400. In 2007, took an entire room and certainly would haveon made king were up screened in the festival. Bare Bones focuses filmsthe with a budget of pop art proud. of less than one million dollars in which the director also writes and produces the film andofmicro films whichI often are less minutes and When viewing many the sculptures, feltthan as if15I was features at which last 90 of minutes 2 hours. the name Bare Bones. peering a reflection myself,towith bothThus the good and bad Bare Bones started out as just a film festival but now it has moved into traits staring back in equal measure. The folks celebrated in the music side of film and entertainment. Live music is now part of Dowd’s work could very easily be one of your neighbors, if your the venue and artists are being awarded for music, soundtracks neighbors were a beer-swilling biker or a high-flying teenage and CD compilation. Seminars and workshops and music are also being skateboarder. I found myself wonderingonifmovies once the lights were offered. Bare Bones has honored Oklahoma music legends such turned off at the exhibit and the doors locked for the night, as Leon Russell andofD.C. Minner with the Trailblazer andmight Livinghave Legend Awards what kind conversation the various sculptures with during their With nine year one another. suchtenure. an interesting cross-section of American society present, there wouldshe be said somethat lively discussion. In speaking withsurely ShIronbutterfly, Bare Bones is known as the Thankfully, Jack Dowd’s artwork makes the viewer of that “World’s Friendliest Film Festival,” labeled as such part by their attending  discussion. filmmakers. “Our objective is to ensure that all participants know that we celebrate filmmakers, that filmmakers are comrades notthecompetitors, About the Author: Anne Allbright is an instructor of history at to increase networks, develop relationships and encourage collaboration.” University of Central Oklahoma where she researches and writes about the Many letters participants off with the common opening line American West.from She can be reachedstart at anneallbright@yahoo.com. - everyone was treated the same. Many filmmakers’ first festival experience started at Bare Bones and the positive atmosphere has encouraged them to stay on their dream track.

DFAI is growing and recently moved to their new home in December 2007. With the need for additional space, the festivals’ new location is 223 N Third Street, Suite 2A in the Doyle Bland Building in Muskogee. This new location offers space for a studio, editing, screening, administrative offices, community service activity room and the official home of the Muskogee Area Film Production Office. Oscar and ShIronbutterfly Ray received the Governors Arts Special Recognition Award in November 2005. Bare Bones has an excellent volunteer program for ShIronbutterly and Oscar Ray in their those interested in assisting Darkwood Film Art Institute office in the festival. If you want in Muskogee. photo credit: Trabar to watch some of the best Communications LLC. independent films this side of Sundance come to the historic Roxy Theatre or Oklahoma Music Hall of Fame in downtown Muskogee. Many of the filmmakers don’t leave without participating in the finale of the festival which includes juried awards known as The Bonehead Awards. These awards recognize the Best of the Fest in several categories: Micro, Mini, Short, Feature, Genres, Cinematography, Acting and others. The Indie Auteur of the Year Award is given to the feature filmmaker who wore the most hats such as writer, producer, director, cinematographer, Jack Dowd, Sarasota, FL, Andy Warhol editor, actor, music composer, and demonstrates the best entrepreneurial Twenty Times, Gypsum spirit for getting their project made BAMN (by any means necessary) on Jack Dowd, Sarasota, and off the set with the most efficient budget. Finally, there is FL, alsoSouthern the Exposure,vote Gypsum & Filleted Truck Audience Choice Awards, where registered attendees for their favorite movies and movie poster art. The festival is open to the public and more information is available at barebonesfilmfestival@yahoo.com. For sponsorship information, you can contact shironbutterfly@gmail.com. Tickets are available at www. barebonesfilmfestivals.org or by calling 918-616-1335. n About the Author: Barbara Eikner is owner of Trabar & Associates, which provides artists with PR and management services. A member of TAC, OVAC, Philbrook, Gilcrease and Community Artists Collective of Houston, she can be reached at trabar@valornet.com.

prev iew Anna von Mertens, Suggested North Points, installation at the University of California, 2005

A New Take on History Quilts by Curtis Jones The art of quilting can be traced back as far as ancient Egypt and has endured the vast upheavals, expansions, and migrations that have defined human history ever since. Its importance to our own culture can be measured by the numerous examples residing in local history museums from coast to coast. In fact, much of our history, both seen and unseen, shared and personal, can be discovered through an in-depth study of American quilts. None of this is lost on sculptor Anna Von Mertens. For over a decade, she has used the shared language of quilting to analyze our relationship to, understanding of, and dependence upon the natural world and its myriad of phenomena. In her artist statement Von Mertens explains: “I use the stitch as an orientation marker, a way of siting where one has been and where one is going.” This idea of mapping permeates her body of work. Whether it’s the migration routes of birds, the energy patterns of atomic explosions, or the labyrinthine maze of computer circuitry, Von Mertens’ work takes the abstractions we have devised to understand, navigate, and subjugate our environment and transforms them into a tactile form with which we are all familiar and comfortable— the quilt. In her most recent body of work, entitled As the Stars Go By, Von Mertens expands her vision to engage the subject of American History. She bases each quilt in the series on a particular episode in our violent past. Subjects range from Columbus’ landing, to the Battle of Antietam, to D-Day, to September 11. Von Mertens explains that she focused on events which “produced a psychological shift, where time acts as a pivot point so that what came before and what follows seem part of different worlds.” But instead of

PHOTO THURSDAYS

To learn more about Anna Von Mertens visit her website, www.annavonmertens.com. The OU Visual Art Students Association (VASA) is proud to host a lecture by Ms. Von Mertens on Thursday, March 13 at 2:00pm. The event will take place at the Fred Jones Jr. Museum of Art in Norman. Admission is free and all are welcome. n About the Author: Curtis Jones is an artist specializing in works on paper. He teaches printmaking at the University of Oklahoma and can be reached at chivo@ou.edu.

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BLACK WHITE + GRAY: A PORTRAIT OF SAM WAGSTAFF AND ROBERT MAPPLETHORPE

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relying on the banal time lines and romantic/horrific images generally associated with our understanding of these events, Von Mertens points our attention to a system that provides a much more profound perspective, the paths of the stars above. In a meticulously rendered play on photo-realism, each quilt at first looks like a time-lapse image of a clear night sky--- and actually is a carefully researched replication of the celestial movements above the titled event. Only upon approaching, does the viewer notice that the image is a quilt and that each star’s path is composed of handstitched thread. Closer inspection reveals that the artist has dyed the thread and varied the stitching so that each star’s path bears its own particularly nuanced color and intensity. The craftsmanship is as beautiful as the idea. Instead of focusing our attention on the gruesome images and statistics of which we’re already aware, the artist has provided us a tranquil space in which we can contemplate the existence we share as we ask ourselves how we can be capable of such horror. The work doesn’t agitate us, it comforts us— like all good quilts do.

APRIL 17

SHOWTIMES 7:30 PM

$8 ADULTS $6 SENIORS & STUDENTS $5 MEMBERS

Oklahoma City

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MUSEUM OF ART 415 Couch Drive 405.278.8237 www.okcmoa.com

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OVAC Exhibitions: 20 YEARS OF OKLAHOMAN ART by Julia Kirt

HISTORY The same year that the Oklahoma Visual Arts Coalition was founded, 1988, the Oklahoma Arts Council kicked off a new exhibition meant to transform the public’s view of Oklahoma artists: VisionMakers. What a propitious year of new opportunities for artists. An exhibition focused on high craft, VisionMakers excited artists around the state with the prospect of cash awards and significant curators viewing their artwork. Spearheaded by Oklahoma Arts Council director Betty Price, VisionMakers focused on craft media, defined in the first call for entries as glass, clay, paper, wood, metal, fiber, etc. Early documents state that the purpose of the exhibition was that Oklahoma artists were “often recognized in prestigious competitions and exhibitions across the country” but there was a “lack of recognition for these artists within the state.” This impetus along with a need to show the public the talent within state lines helped form the Oklahoma Visual

Arts Coalition’s (OVAC) exhibition program for the next 20 years.

they were excited about how successful the exhibition had been.

The first VisionMakers exhibition was shown at both Kirkpatrick Center and the Philbrook Museum of Art and was funded by several major corporate sponsors. OVAC gave the Oklahoma Arts Council, a state agency, the first OVAC Distinguished Achievement Award for creating VisionMakers.

McNeese said OVAC never had any intention of having a gallery space, but taking on an exhibition made sense because of the common mission of quality support for artists. This move meant OVAC has sought gallery and museum partners to host the exhibition.

After two successful exhibitions the Oklahoma Arts Council approached OVAC to take over organizing VisionMakers in 1990. They agreed to change it to a biennial exhibition to increase submissions and encourage new artwork. OVAC Founder and Executive Director John McNeese said that when approached, OVAC was excited to begin organizing the exhibition. He said at the time OVAC was still young and developing its focus. The board and McNeese agreed that the exhibition fulfilled their primary goal of money for artist through the sizable cash prizes. Plus, Ken Little, 1988

Richard Bivins, 1988

After hosting VisionMakers at the Oklahoma City Art Museum for several years, McNeese said the museum directors changed several times. It was uncertain if VisionMakers would still be hosted there and so OVAC started working with other venues. Throughout the run of VisionMakers and the Oklahoma Painting Biennial, OVAC has worked with 12 different galleries. McNeese instigated the Oklahoma Painting Biennial in 1991 to bring the same kind of respect to painters. He approached Brunel Faris and the Oklahoma City University Hulsey Gallery to host the first two exhibitions. DJ Lafon, 1991 Bob Hawks, 1991

Stephanie Grubbs, 1988 1989

1988

1988 Richard Copeland, 1988

EXHIBITION FACTS VisionMakers 1988 Awards: Susan Hamlet, Ken Little, Richard Copeland Jurors: Marcia Manhart, Executive Director, The Philbrook Museum of Art, Tom Toperzer, Director, Fred Jones Jr. Museum of Art, and Eudora M. Moore, Consultant, former Crafts Coordinator for the NEA and Curator of Design for the Pasadena Art Museum Locations: Kirkpatrick Center, OKC & Philbrook Museum of Art, Tulsa

VisionMakers 1989 Awards: Kreg Kallenberger, Jeff Hammill, George Wilson Juror: Michael Wesley Monroe, curator at the Renwick Gallery Location: Bank of Oklahoma Tower Oklahoma Painting Biennial I: 1991 Awards: Carol Beesley, George Bogart, Rebecca Friedman Juror: Jim Waid, artist, Tucson, Arizona Location: Hulsey Gallery, Oklahoma City University

Kathy McRuiz, 1989 VisionMakers 1991 Oklahoma Visual Arts Coalition takes over organization of exhibition.

David Roberts, 1991

Awards: D.J. Lafon, V’Lou Oliveira, Tom Pershall, David M. Roberts, Eliza Tillie Woods Juror: John Perrault, Senior Curator, American Craft Museum Location: Oklahoma City Art Museum at the Fairgrounds

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O Consistent in all OVAC’s exhibitions, the format of each exhibition is open call, allowing the broadest possible participation. Submissions must come from artists living and working in Oklahoma who are not degreeseeking students. Artists have responded without fail since the beginning with hundreds of artworks submitted annually. Also consistent in all exhibitions, national guest curators have been carefully chosen. McNeese said this was fundamental to the exhibition’s success. He said the outside perspectives on Oklahoma artists’ work were helpful and refreshing. McNeese said he learned from watching the curators view the artwork and discussing their perspectives. He cited John Perrault from the American Craft Museum, the 1991 VisionMakers juror, as one of the most inspiring curators. Many of the guest curators have come from museum or contemporary art centers. A volunteer Exhibitions Committee made up

of board members, artists, and committee members from across the state select the curators. New perspectives help keep the exhibitions focused. To date VisionMakers and the Biennial exhibitions have provided over $80,000 in award monies to artists. Catalogs have been produced since 2005 and previously gallery guides and a postcard series documented the artwork.

QUERIES Juried exhibitions have their benefits as well as challenges. One ongoing discussion among planners and artists is how to set the criteria for the exhibitions. OVAC has always limited entry to Oklahoma residents to focus the opportunity within the state. The Exhibitions Committee carefully decided that only artists under 18 and degree-seeking students would not be eligible. Many felt the venues available on campuses as well as the guidance of instructors gave students advantages outside of these professional exhibitions. Conversely,

Momentum, instigated in 2002, focuses on artists who are still in school or recently graduated with an upper age limit of 30. As the field changes and disciplines change, how should OVAC define who is eligible in terms of media? In 1998, the VisionMakers exhibition officially expanded to become “Arts in 3-dimensional media” rather than focused only on craft. Although some decried the change as watering down the exhibition, the move mirrored national shifts away from strict separations of artistic media and the more accepted elevation of craft into the mainstream art world. Comparably, drawing was added to the Biennial exhibition in 1999. Then printmaking and photography were added in the most recent Biennial in 2007. The Exhibition Committee debates the best way to define the content of the exhibitions as the boundaries between artistic disciplines are blurred as artists mix media and experiment.

Martha Avrett, 1994

Oklahoma Painting Biennial II: 1993 Awards: Troy Wilson, Debra Hensley, Bryon Shen

Oklahoma Painting Biennial III:1995

Juror: William G. Otton, Art Museum of South Texas; Corpus Christi, TX

Awards: Jeff Dodd, George Oswalt, Tom Poolaw

Location: Hulsey Gallery, Oklahoma City University

Juror: Sandy Ballatore, Curator of Contemporary Art, Museum of Fine Arts, Santa Fe Location: City Arts Center, Oklahoma City

VisionMakers 1994 Awards: Elyse Bogart, Randy Marks, Don Narcomey, Terry W. Powell, Corazon S. Watkins Juror: Matthew Kangas, Independent Critic and Curator, Seattle, WA Location: Oklahoma City Art Museum at the Fairgrounds

VisionMakers 1996 Awards: Janet Massad, V’Lou Oliveira, Chris Ramsey Juror: Ruth Deyoung Kohler, Director, John Michael Kohler Art Center, Sheboygan, Wisconsin Location: Kirkpatrick Center, Oklahoma City and Bartlesville Museum in the Price Tower, Bartlesville

Oklahoma Painting Biennial IV:1997 Awards: John Cox, Wendy Mahsetky-Poolaw, Corazon Watkins Juror: Kathy A. Albers, Albers Fine Arts Gallery, Memphis, TN Location: City Arts Center, Oklahoma City

feat u re However, they question, if OVAC does not define the exhibition by media or other limitations that focus participation, is it worth getting in the exhibition at all?

competitions continue nationwide, gallerists and museum curators spend less time looking for artists there. Debates rage about the value of juried shows for artists’ resumes. Artists still benefit, no doubt, from the cash prizes and networking with curators and other artists. They can be a boost. However, solely entering juried shows cannot make a sustainable career.

Curators usually decide on an exhibition subject or focus then seek artists who could create work for the exhibition. That way they are able to select each piece and ensure a coherent body of work. For juried shows, OVAC’s guest curators pick from alreadycreated artwork for VisionMakers and the Biennial, so they cannot pick works outside the submission pool to develop themes further. Recent feedback about OVAC juried exhibitions indicates that museums are concerned that the exhibitions will happen regardless of the breadth of work submitted: basically, the show will go on regardless of what the curator finds. OVAC views this regularity as an encouragement for artists to create and submit so works with galleries open to artists’ work.

Funds to artists and a regular survey of what is being made in the state are some of the advantages of the juried exhibitions. Annual or biennial juried exhibitions are a part of a long tradition for artists from the French Salon made prominent in the 18th century. Artists are given a chance to compete with their peers while the public can see what is being made contemporaneously. The role and structure of juried shows have changed through the late 20th century. As recently as the 1970s, regional museums such as the Philbrook Museum of Art (Oklahoma Annual Artists’ Exhibition) and the Oklahoma City Museum of Art (Eight State Exhibition) held juried shows of area artists’ work.

Changes in the art environment, such as these, led OVAC to convene an Exhibitions Think Tank co-chaired by John Seward and Ira Schlezinger in 2004 to analyze possible improvements in the program. After feedback from the 25 plus artists and curators, the Exhibitions Committee determined OVAC should add an exhibition, Art 365, that involves curators more intensely, gives more money to artists to create new work, and offers more of a watershed experience for artists’ careers. VisionMakers and Biennial are under discussion for changes as they move to every three years.

A byproduct of these shifts is that the processes for most group art exhibitions at prestigious museums nationwide is less democratic and more hierarchical with layers of curators viewing art at respected galleries nationally. Invitational exhibitions, like the Whitney Biennial, are standard. In this case, each guest curator decides who to invite from their sphere of knowledge.

As local museums have shifted their focus from more static and permanent collection exhibitions to dynamic, changing exhibitions, group exhibitions of local artists work have mostly faded away. Curatorial practice emphasizes education and the publics’ engagement more than ever. As a result general surveys of paintings by Oklahomans, for instance, rarely fit into current museum exhibition priorities.

No matter the future direction, OVAC will make sure the exhibitions have the greatest possible impact for Oklahoma artists and are proud of the past 20 years of VisionMakers and Biennial exhibitions. n

Open call juried exhibitions are frequently run by discipline-focused organizations (i.e. Fiber Artists Oklahoma). Although many

About the Author: Julia Kirt has served as Executive Director of the Oklahoma Visual Arts Coalition since 1999.

Dennis Martin, 1999

Tom Pershall, 1998

Ron Blankenship, 2002

Jason Aguilar, 2001 Stephanie Grubbs, 1998

Gael Sloop, 1998 Jim Powers, 2000

VisionMakers 1998

VisionMakers 2000

Awards: Bryce Brimer, Patrick Synar, George Synar

Awards: Pamela Husky, Jaymes Dudding, George Wilson

Juror: Bruce W. Pepich, Director, Charles A. Wustum Museum of Fine Art Location: City Arts Center, Oklahoma City Oklahoma Painting & Drawing Biennial V: 1999 Awards: Norman Akers, Wendy Mahsetky-Poolaw, George Wilson Juror: David S. Rubin, Curator of 20th Century Art, Phoenix Art Museum Location: City Arts Center, Oklahoma City

Betty Wood, 2002 O. Gail Poole, 1999

Juror: Darrel Sewell, Robert L. McNeil Jr. Curator of American Art and Head of American Art Department, Philadelphia Museum of Art Location: City Arts Center, Oklahoma City Oklahoma Painting & Drawing Biennial VI: 2001 Awards: Dennis Martin, David Holland, Nathan Opp Juror: Terrie Sultan, Director and Chief Curator at the Blaffer Gallery, Houston Location: City Arts Center, Oklahoma City

VisionMakers 2002 Awards: Ron Fleming, David Phelps, Elia Woods Juror: Lane Coulter, Independent Curator, Santa Fe, Location: Fred Jones Jr. Museum of Art, Norman Oklahoma Painting & Drawing Biennial VII: 2003 Awards: Ernesto Sanchez, Mark Lewis, John Cox Curator: Raechell Smith, founding Director of the H&R Block Artspace at the Kansas City Art Institute Location: City Arts Center, Oklahoma City

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Elyse Bogart, 2006

Maxine Warren, 2005

Chris Small, 2007

Kay Moore, 2004 Jeff Dodd, 2007

Paul Pfrehm, 2006 Jennifer Barron, 2005 David Phelps, 2004 OVAC Biennial 2007, Catherine Morris and Julia Kirt

VisionMakers 2004 Awards: Jonathan Hils, Phyllis Mantik, Bob Hawks Curator: Diane Barber, Visual Arts Director, Diverseworks, Houston Location: Individual Artists of Oklahoma Gallery, Oklahoma City Oklahoma Painting & Drawing Biennial VIII: 2005 Awards: John L. Cox, F. Bradley Jessop, Sharon McCoy, Kathleen Rivers, Michael J. Wilson, Larry Preston Curator: Elizabeth Dunbar, Curator of the Kemper Museum of Contemporary Art in Kansas City Location: University of Science and Arts of Oklahoma, Chickasha

Kate Kline, 2006 VisionMakers 2006 Awards: Curtis Jones, Sunni Mercer, Paul Medina, Anne-Marie Walker, Stefan Chinov, C. Elizabeth Smathers Curator: Mark Masuoka, Director, Bemis Center, Omaha, Nebraska Location: Leslie Powell Gallery, Lawton

Oklahoma Visual Arts Coalition Biennial 2007 Awards: Chris Small, Stefan Chinov, Narciso Arg端elles, David Goodrich, Yiren Gallagher, Frank Wick Curator: Catherine Morris, Adjunct Curator of Contemporary Art, Philbrook Museum of Art and independent curator, New York City Location: Mabee-Gerrer Museum of Art, Shawnee

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SPECIAL SERIES:

ART 365

Article 5 4 of ofaasix sixpart partseries series highlighting one of the six artists selected for Art ART 365

Artist Joseph Daun by Stephen Kovash Artist Joe Daun describes himself as evasive when it comes to describing the meaning of his work. While the subtext of his installations may be elusive, the apparent meaning is about as understated as a kick to the head. While working at a Baptist college for four years, Daun found it interesting how people expressed their faith in a competitive environment. He constructed a fourteen foot motorized drivable cross out of steel and blue neon tubes. The title of the piece was CrossKart. Subtle. Originally from Florida, Daun has been actively involved in photography and music since the age of ten. Daun graduated from Florida State University in 1990 with a BFA and earned a MFA with an emphasis in photography and sculpture from University of Texas San Antonio in 1994. After stints at colleges in New York and Kentucky, the artist is currently an art professor at the University of Central Oklahoma, having recently stepped down as chairman of the Art Department to concentrate more fully on his artwork and teaching. In his bio, Daun explains that each of his pieces starts with a question to himself about the meaning of the small things that surround us every day. The concept of the machine, functionality, goal setting, communication and surveillance also intrigue the artist. A recent installation at the Untitled [ArtSpace] in Oklahoma City featured a room size cage containing a bed, a table and a large exercise wheel ala a giant hamster cage. Daun found

(from left to right) Joseph Daun, Oklahoma City, Diner (Installation), Lighting Fixtures, Conveyor, Laminated Plywood Counter Tops, Steel Book Shelves with Baltic Birch Shelves, Books, Dimensions Variable Joseph Daun, Oklahoma City, Wheel, Steel, 9’x5’x9’ Joseph Daun, Oklahoma City, CrossKart, Steel, Gasoline Engine, Neon Tubes, 6’x10’x14’

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this piece particularly interesting because people stood on the outside of the cage waiting to run on the wheel. “They weren’t allowed to run on the wheel, which I believe made the act of running on the wheel attractive. We all struggle to challenge ourselves in positive ways” stated Daun. The question the artist asks may be personal, but the answers seem to be very relevant to the viewers. Daun’s current undertaking is part of the Oklahoma Visual Arts Coalition’s Art 365 project, in which selected artists are given a stipend and work one-on-one with a curator over the course of 365 days. The guest curator chosen for the exhibition is Diane Barber. Barber serves as Co-Executive Director and Visual Arts Curator of DiverseWorks in Houston. She is responsible for developing and implementing the organization’s visual arts, curating exhibitions and organizing educational projects. DiverseWorks houses two on-site galleries featuring a combined fourteen to sixteen exhibitions a year. Reviewing the proposals, Barber found many artists defining and exploring American identity, whether they named it literally or not. According to Barber, the selected proposals consider aspects of the American identity through icons, introspective explorations, symbolic natural worlds, consumerism and surveillance. Barber has made several studio visits with all the participating artists over the project year.

The other selected artists are Sarah Atlee, Norman; Betsy Barnum, Edmond; Ashley Griffith, Oklahoma City; Darshan Phillips & Aaron Whisner (collaborative project), Tulsa; and Liz Roth, Stillwater. Their work represents painting, printmaking, mixed media, sculpture and modified technologies. Liz Roth, Sarah Atlee, Betsy Barnum and Ashley Griffith have been profiled in previous editions of Art Focus Oklahoma. (To view past issues, visit the Art Focus archive at www.ArtFocusOklahoma.org.) The description in Daun’s Art 365 proposal was more than a little vague, but he is continuing his work with machines and vehicles and the process is definitely informing the product. As Daun describes it, “I tend to think a lot about how a piece is working when I am doing the mindless fabricating that takes up the majority of the time in executing a piece. I say mindless but the process is very similar to an oil painter laying down layers of color. There has to be a plan but the plan evolves as the artist puts down layer after of layer of color.” As of this writing, the artist has completed a motorized desk, portable office and is currently working on a desk with flapping wings. While it sounds comical, if the finished product follows the trend of his past installations, it will not only be challenging to the viewer, it will be intricate, elegant and beautiful to watch. According to Daun, working one-on-one with the curator has been somewhat liberating for

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J OSEPH D AUN Joseph Daun, Oklahoma City, Automatic Painting Machine, Paint Gun, CO2 Tank, Canvas Panels, Paintballs, Dimensions Variable

him. “I am usually good at ‘show and tell’ so it is easy to just go through the paces when I meet with a curator. Diane has pushed me to get out of my comfort zone to actually talk about my work instead of doing my regular song and dance. I really feel that she will have a long-term impact on my work,” states the artist. An added benefit of the Art 365 project is Daun was able to use a portion of the stipend to renovate his garage into a studio suitable for the scope of his projects. For the past twelve years he has been using his driveway and classroom space to accomplish his work. The new studio is located in his backyard so Daun is hoping that he won’t have to return it to OVAC upon the completion of his project. The work by Daun and the other selected artists will be shown at the Untitled [ArtSpace] at 1 NE 3 in Oklahoma City, March 14-April 26, 2008, with a Curator’s Talk and Artist Reception on March 21, 5-8pm. The exhibit will then travel to Tulsa and other regional locations. The Art 365 project is funded in part by the Oklahoma Humanities Council, the National Endowment for the Humanities, Oklahoma Arts Council, Allied Arts, Kirkpatrick Foundation, and Jean Ann Fausser. n

Ashley Griffith, Oklahoma City, 66 Jesus, Photography, 22”x19”

About the Author: 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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Apertures Gallery Highlighting photography in Oklahoma. New exhibits each month.

Apertures School of Photography Evening classes in a variety of photography topics.

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1936 S. Harvard Tulsa, OK 74112 | 918-742-0500 19 19

ON THE

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Urban Art in Oklahoma City by Susan Grossman Possibilities.

Some might say this area to the west of the city center is the next up and coming area for re-gentrification.

It takes a keen sense of foresight to see the possible in a collection of old bricks and mortar. Yet possibility is exactly what Rick and Tracey Bewley The building has seen its share of businesses come and go. At various saw when they entered the 7,000-square-foot space in the 1200 block of times it has hosted a furniture store, offices, artists’ studios and an auto Western Avenue in Oklahoma City. Call it love at first sight. school. of the Auto School sign arethe visible following the painstakingly documented 73-piece the Smithsonian Institution. It wasTraces returned to Oklahoma Visitors arriving at Tulsa International Airport most the recent renovation. Today, in a in unique effort, is1218 collection 1987.and Thecollaborative bronze sculpture a auspices of (TIA) may notice only the baggage carousels, but the City of Tulsa in 1997 under “As as we saw this,artwe knewand immediately we wouldMuseum. take it,” strong presence the Promenade the PAC. TIA soon is brimming with inside out. Next thatGilcrease N. Western Avenue has become home to in Istvan Gallery, ArtofFusion Studio Tracey Bewley said. “We could see the Most potential time you’re at the airport, look around. of and it was perfect for and Blue Sage Studio. Colorful World is a tapestry by Dutch artist Also in this area is the bronze bust of our vision.” the art is displayed prior to security. It is rich in Karel Appel. The unrestrained color in thisIstvan Oklahoma’s favorite son, Will Rogers by The gallery fronts the building and is operated by Stephen Kovash. aviation, oil and Native American history. Now, after 14 months of renovation, that vision hasJoe been transformed work ofOklahoma silk is arresting. One can’t help who but be Davidson. The reason his nose isthe shiny? features work of established artists as well as those it. Hermann notes there are almost Rubbing it is reputed good luck. Thanks to the of the TIA Cultural into Urban Art,formation an historic mid-town building housing an eclectic mix to beare up-and-coming. The drawn space istoinviting and Kovash, who has always 700,000 knots in Colorful World. Appel’s works Advisory than two ago, theloft art living space for the of artist’s Group studios,less a gallery and,years eventually, wanted tothe own a gallery, said his intent is to make the visiting experience Outside, in the center arrival area, is have been exhibited in the Guggenheim and at the airport willArt continue to evolve. Bewley’s. Urban sits in the shadowAlexis of the Oklahoma City skyline for experienced patronsofand novicesArt. alike. Currently, Morning Mission by sculptorcomfortable Robert Weinman. Theart Museum Modern Higgins, Deputy Director of Marketing says th The Oklahoma just past the intersection of 12 Street & Westrn Ave. Istvan Gallery is exhibiting work by Shannon Crider and Annalisa It represents the 40,000 pilots trained in Tulsa TIA working to reflect the community so is nearby, as well as the City is Public Schools administrative complex in the Promenade is Joseph Raffael’s by Spartan Aeronautics during WWII.through May Also Campbell 2, 2008. people will recognize they are in Tulsa without Plaza District. watercolor, Dusk at Kodai. Often compared having to consult their ticket stub. Thein gallery Saturdays and Sundays, by A new work has been installed the is open Thursdays, to Monet’s works, upon closerand inspection, it appointment. On the first Friday each month Kovash hosts a Story departures roadway. Tulsa art students from is only similar in subject, not in style. TheSlam. The Smithsonian Institution Hall of Petroleum Similar to a High poetry slam,stainless participants sevensculpture minutes by to relate story Edison, McCain, Memorial and Rogers steelhave Untitled Davida Lee Mural is located in the upper level where the Schools painted the colorfulon 168-foot mural a specific topic. In January, example, “Oops, Used I did as it Brownfor was donatedthe bytopic Johnwas Williams. rental car companies are officed. At thirteenlast summer. Students used again: 20 colors and 25 where the celebrated. Blunders” storiesthe were the best logogoof-up for the PAC, larger 10-foot version x-fifty-six feet, it is difficult to miss, and you wouldn’t want to. The work, both painting and gallons of paint to create the cheerful sendoff to stands outside the entrance. This piece is all travelers. The back of Urban Art isabout homelight, to Blue Studio andSage appears to which changemoved imagesfrom when installation, depicts 1966 era oil exploration, near Arcadia in May 2007. Andyfrom Boatman, owner of the glass blowing viewed different perspectives. production and distribution. Twenty-six early While at TIA, look for the Tulsa Historical and art glass enterprise, teaches middle school and opens the studio Tulsa oilmen are featured including Walter H. Society automobile, Gilcrease artifacts and the the dress circle,the or 1,000-year-old upper lobby ofart theofThird Helmerich, II of Helmerich & Payne and John evenings and weekends. In Boatman teaches glass Price Tower Arts Center exhibits. the Untitledtours sculpture in steel Williams of Williams Pipeline. blowing and the studio isStreet openentrance, for demonstrations, and lessons. and glass by Stanley Landsman represents a Downtown at the Tulsa Performing Arts Center different of landscape. Hung from the “Walter Helmerich called his friends,” Higgins Anchoring the collective space is atype communal kitchen and the Bewley’s (PAC), there is art both inside and outside ceiling, the mirrors andglass lights are pertinent says. “Each paid $3,000 a piece to be included Art Fusion Studio where they create their fused designs. Using of the theatres. The building is a work of art ingredients of this attention grabbing in the painting.” computer-controlled kilns, the Bewley’s create everything from piece. designed by architect Minoru Yamasaki of functional pieces such asHondo table settings to decorative wall hangings. World Trade Center fame. Thanks to the 1970 Canyon Cliffs by Alexandre Hogue, They Delbert L. Jackson, the artist, was staff Tulsa ordinance that Kathleen Westby andout of acrylic, alsoP.make pieces jewelry, can be found forare sale in the along with the which Hepworth sculpture, illustrator of Pan American Petroleum Charles Norman pioneered, gallery no less up than one and furniture front, outvaluable of “found” items. the most pieces in the collection. Corporation and medical staff illustrator for percent of new or revised construction must be Originally titled Pray For Us, St. Peter, Hogue Hillcrest Medical Center. Originally from Bewley’s“Of away fromitthe Oklahoma City expended for works of art. Very little could have taken toldthe Hermann, course was a facetious Nebraska, he studied fine arts at the University home they have spent years restoring but eventually they plan to move title, but there were not enough people with a of Nebraska and the University of Tulsa. The ordinance made the purchase oftop Barbara into the floor of the building. They now the He chance combine sense of humor that have got it.” wenttowith the Hepworth’s, Seaform (1964),everything a reality. Itinto has astar The mural was painstakingly moved to allow cohesive whole of andthe that cinchedinstead. the deal. location painting Hogue chose quality. “She was the first to pierce the form,” space for the new central security area. Oil the frame to complement the strong, chiseled according to Nancy Hermann, field fittings are part of the piece. The fittings “WePAC sawMarketing this as a great forms opportunity to combine working and living represented in the our oil painting. Director/Intermission editor-in-chief. Hermann protected this work, originally displayed at space,” she said. “When we have to switch kilns in the middle of the

feat u re (top left) A fused glass bowl by Rick and Tracy Bewley.

The dazzling collection is available for viewing during any performance. Don’t (top right) Guests admire forgetblown the PAC Gallery located at the ticket office level. Exhibitions change glass work at Blue monthly. Sage Studio. One of the(bottom) most recent to public art in Tulsa is at the Central Center in Blown additions glass Centennial Park. Located in the Pearl District, the area at Sixth Street and Peoria ornaments by Andy Boatman Avenue is of home TheStudio. Village at Central Park - brownstone residences reminiscent Blue to Sage of New York City neighborhoods. The historical Fire Alarm Building, an Art Deco treasure, was renovated by the American Lung Association of Oklahoma. To permanently record the newly landscaped jewel on the edge of downtown, artist William Franklin was chosen to paint a mural of it. Franklin is a third-generation Tulsan. In addition to the large painting of the park, he also created four smaller night during a project, it will be much easier to just come downstairs murals in sepia, depicting the Union Depot, the original Art Deco Municipal than to get dressed and drive to our studio, which currently is down the early downtown Tulsa and the Perryman house. Airport, street.” She added that the couple knew they would have tenants right Other public art includes Artificial Cloud downtown at Union Station, The Appeal away with Kovash and Boatman. to the Great Spirit in Woodward Park and the many penguins, decorated by artists the Tulsa Zoo. NatureWorks is responsible for the placement of many wildlife Tracey expects to start the upstairs restoration soon and hopes to befor finished sculptures within 18 months. “This has all worked out well and the response has been around town, but especially in River Parks. positive,” she said. “The building has a long history of artists and although According to Jim Coles, Administrator, Arts Commission of the City of Tulsa, it was a littered mess when we first saw it (debris filled 10 dumpsters after who worked on the Central Center project, “Public art provides a reflection the renovation started) we have been able to realize the instant vision to we the residents and visitors as to the many aspects of life that make the had for the space.” n community unique.” About the Author: Susan Grossman is assistant director of marketing for University About the Author: Gretchen Collins has covered the arts in Tulsa for the past 13 years. She an award-winning writer; including the Society of Professional Journalists award, and of Oklahoma Outreach and aPark freelance writer based in Norman. She can beisreached William Franklin, Centennial 2007, Mural. was an art major in college. at susangrossman@cox.net. Photo by Jim Coles. William Franklin & Kurt Forschen, Tulsa Municipal Airport, Mural. Photo by Jim Coles.

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Apertures Gallery Highlighting photography in Oklahoma. New exhibits each month.

Apertures School of Photography Evening classes in a variety of photography topics.

Apertures Framing Custom frame shop for all your framing needs.

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1936 S. Harvard Tulsa, OK 74112 | 918-742-0500 21

bus iness busi ness of ar t

Ask a Creativity Coach

Rejected? Don’t Feel Dejected!

by Romney Nesbitt by Sue Clancy, Nathan Lee and Romney Nesbitt Dear Romney, I keep getting requests to donate artwork to various auctions or fundraisers. Should I participate or not? - Tapped out Dear Tapped,

An invitation to participate in an auction or fundraiser is an invitation. You can say “No.” This is a request for your time and talent. You decide whether this opportunity fits your career goals, interests and time. Auction promoters may promise “exposure” for artists, but what you receive in publicity may be negligible in comparison to the time and effort these events sometimes require. (A notable exception is OVAC’s 12 x 12 Art Show and Sale which raises funds for OVAC programs and promotes artists and their work.) These three questions may help you make a decision: 1. Will this particular “opportunity” move me closer to my career goals? 2. Do I have enough of a special interest in helping this group that I’m willing to donate a piece? 3. Do I have the time available to prepare, deliver and retrieve my art work on that date? If the answer is “yes” to all three questions you may want to participate. To keep from tapping out your energies and supply of marketable artwork, limit the number of freebies you participate in per year. As a coach, I want to put this question in perspective. Any “opportunity” that comes along (auction, class, road trip, movie etc.) will take your time and creative energies. Be strategic! Ask yourself “Does this opportunity move me toward or away from my career goals?” This basic self-coaching question presupposes you have defined career goals and a plan to reach them—without that, you’ll be tempted to do whatever comes along hoping it will help your career. As the Cheshire Cat said in Alice in Wonderland, “If you don’t know where you’re going, any road will get you there.” n About the Author: Romney Nesbitt is a creativity coach, artist, teacher and writer living in Tulsa. She welcomes your coaching questions for future columns. Contact her at RomneyN@cox.net.

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Hugh Meade, Elizabeth Brown, Suzette Hatfield, Kathy Reynolds and Ann McDermott, Samurai Gothic, Mixed Media

AT a GLANCE by Anne Allbright On Friday, January 11, I attended the opening reception of Dinner in the Deuce at Untitled [ArtSpace] in Oklahoma City. By the time I arrived the place was jam packed with lively guests. There was a little something for everyone. Artists working collectively from Oklahoma, Kansas, and Texas designed over a dozen themed dinner tables and “handcrafted everything from the silverware to the chairs to the tablecloths and their work blends the ingenuity and design that can be brought to everyday life.” I tended to gravitate towards the Samurai Gothic, so I inquired a bit more. According to one of its’ artists, Hugh Meade, “Samurai Gothic represents a natural evolution of the Arts and Crafts movement of the early twentieth century, which was heavily influenced by the arts and aesthetics of Southeast Asia. By the late twentieth century the cultural influences had shifted, thanks in large part to the power of cinema, and the sometimes flamboyant styles adopted by ‘underground’ youth cultures.” This exhibit continued through February 23, 2008. I hope that many in the Metro area were able to swing by and decide for themselves which of the themed displays appealed to their own personal tastes. n About the Author: Anne Allbright is an instructor of history at the University of Central Oklahoma where she researches and writes about the American West. She can be reached at anneallbright@yahoo.com.

Rick Brown, Malia Tate, Cindy Swanson, Nicki Albright and Andrew Boatman, Nights in White Satin, Mixed Media

OVAC news

Round UP Up

March/April 2008 2008 January/February

OVAC was pleased to attend a lovely retirement gathering for Betty Price, long time director of the Oklahoma Arts Council, in November. Betty is well known nationwide for growing support for the arts in Oklahoma. Her work has led consistently to monies for education, community projects, and artists around the state. We will miss you Betty and look forward to the ongoing successes of the Oklahoma Arts Council. You now can request a copy of OVAC’s new Grants for Artists brochure. Increasing funds to artists, OVAC has funds available for various individual artist projects. Working toward an exhibition? Attending a conference or special training? Collaborating with a community organization? These are some of the many types of grants for which you can apply. We have expanded online information about how to apply for grants as well. Email Kelsey at publications@ovac-ok.org or call 405-232-6991 to receive a brochure. With over 2,300 in attendance, Momentum OKC had another excellent year. We are indebted to Christian Trimble and Jennifer Barron for co-chairing the event for a second year. Besides great new ideas, they helped the committee grow art sales by 400%! We enjoyed the warm,

Thank you

Upcoming Artist Survival Kit Workshops: March 22: No Stress Press, MultiArts Center, Stillwater April 19: Getting it “Wright”: The Gallery Approach, Price Tower Arts Center, Bartlesville More info at www.ArtistSurvivalKit.org. Please join us at the Art 365 exhibition opening on March 21 at Untitled [ArtSpace] in Oklahoma City. The exhibition will also travel regionally to Tulsa, Cedar Rapids, Iowa and Houston, Texas. More information about the project and exhibit can be found at www.Art365.org. n

to our New and Renewing Members from November and December 2007

Fether Aen Katharine Alexander Mary Jane Alexander & Edward Knight Bonnie Amspacher Marian and Duane Anderson Marty and Martha Avrett Keith Ball and Marti Jourden Evan Beasley Kimberly Berry Bryan Boone Deborah Brackenbury Dylan and Amanda Bradway Pegge Butenhoff Annalisa and Bruce Campbell Donna Carter Chris Castor Angela Renee Chase Abi and Jim Chodosh Taylor Cleveland W. Maurice Clyma Lansen Grant Conley Ramsey Conway Jon Corea Danielle Cost Shannon Leigh Crider Bryan Crump Patrick Cunningham Lagueria Davis Lynn Deal Kay Deardorff

dry location provided by ProSource—thank you! The artist awards were well received thanks to STA Travel. Mark your calendars for Momentum Tulsa on June 21.

Lori Delozier Ana Maria Diaz Robert Dodd Tina M. Dymond Daniel Eaton Eliam Tiffany English Yusef Etudaiye Karin Teresa Fain Thomas and Anita Fields Brian and Titi Fitzsimmons Natalie Friedman Samantha Futrel Joe Brandon Garcia Barney Gibbs Ian Gillis John and Stephany Gooden Darryl Gouch James E. Greenlee II Martin and Kathleen Hallren Burt Harbison Rebecca Harkey Nancy Harkins Riley Harmon Diane Harris Virginia Harrison Heather Hawkins Bob and Janet Hawks Kjelshus HC Brian and Sarah Hearn Shane Hemberger Jaime Henderson Shalene Henley

Susan Hensel Drew Henson Miguel Herrera Geoffrey Hicks Doré Hill Darryl E. Hillard Jr. Lou Hodgson Don Holladay Dirk Hooper Shirley Houx Kendall Howerton Douglas Hurt Adrienne Hutcheson Cynthia Janssen Jann Jeffrey Mariah Johnson Nancy Johnston Adam Jones Stephanie A. Jones Ellen Jonsson Kreg Kallenberger Robyn Kelley Julia J. Kirt Alexander JP Knight Allegra Alexander Knight Erin Kozakiewicz Vanessa Larwig Larry Latham Julia Layman Tom E. Lee Nick Lillard Jr. Patrick List Clay Little Courtney Logue Janna Luttrell

Brooke Madden Vicki Maenza Cindy Mason Christa May Lorena McClain Chelsea McClanahan Kathy McRuiz Susan Messerly Faye Miller Stacey Miller Thomas Mills Sharon J. Montgomery Caryl Morgan William and Janie Morris Sarah Mosman John Mowen Raybert Murrell Sabzeh Nakhchi Lance Newman Amy Nix Brandi Noriega Lori Oden Ann Barker Ong and Jasmine Ong Romy Owens Kim Pankhurst Ronna Pernell Anndrea Ploeger Ann Powell Justin Powers Zachary Presley Marcie Price Esteban Pulido Ryan Rains Suzanne King Randall

Deborah Collins Liz Rodda Brady Rohling Rraydisa Basil Russell Jr. Sendy Sanders Lois Scharrer Tony and Clarissa Sharp Patric Shurden Jerrod Smith Stephen Smith Amber Rae Smithers Sara Stanley Jim Stewart Abby Stiglets Andrea Taber Andrew and Mary Tevington Skip Thompson George and Lila Todd Jim and Beth Tolbert Brooks Tower Emily Warren Moses White Jesse Whittle Frank Wick Charles and Renate Wiggin Bill Williams Michael J. Wilson Maranda Wirtz Robert Wood Marina Yereshenko Jacque Collins Young

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galler y gu ide

Gallery Listings Ardmore

Durham

Charles Rushton Photography Through March 29 All Schools Exhibit April The Goddard Center 401 First Avenue SW (580) 226-0909 goddardcenter.org

Nature Beckons: Landscape Paintings by Augusta Metcalfe March 1 – May 27 Memories as Heirlooms: Fine Art by Peggy Carr March 1 – May 27 The World Through My Eyes: Photo Collages by Sarah Jrab March 1 – May 27 Metcalfe Museum Rt. 1 Box 25 (580) 655-4467 metcalfemuseum.org

Bartlesville Hollyhock House and Olive Hill: Frank Lloyd Wright and Edmund Teske Through March 30 Setting the Table: Designs in MidCentury Dinnerware April 6 – August 3 Price Tower Arts Center 510 Dewey Ave. (918) 336-4949 pricetower.org

Chickasha Carolyn Cornwell Faseler and Vicki Maenza Through March 14 Student Show March 29 – April 18 University of Sciences and Arts of Oklahoma Gallery-Davis Hall 1806 17th Street (405) 574-1344 usao.edu/gallery/

Durant Great Plains Juried Art Exhibition Through March 20 High School Art Show March 30 – April 4 Southeastern OK State University 1405 N. 4th PMB 4231 sosu.edu

El Reno 2007 Gordon Parks Photography Competition Finalists Through March 19 RCC Student Show and Showcase March 31 – May 16 Redlands Community College (405) 262-2552 redlandscc.edu

Lawton Ben Harjo, Maryruth Prose, Holly Thompson Opening Reception, March 8, 7-9 pm The Leslie Powell Foundation and Gallery 620 D Avenue (580) 357-9526 lpgallery.org

Norman Dreamer 8: Heartburn... the antiValentines Day Through March 15 Dreamer 9: Migration... the Origami Experience March 29 – May 10 Opening Reception March 29, 6-10 pm Dreamer Concepts Studio & Foundation 324 East Main (405) 701-0048 dreamerconcepts.org Tracy Birdwell & Healing Studio Through March 14 Firehouse Art Center 444 South Flood (405) 329-4523 normanfirehouse.com

Brett Weston (1911-1993), Pines in Fog, Monterrey, Gelatin Silver Print, 13 ½”x10 ¼” at the Oklahoma City Museum of Art March 20 – May 18.

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Jack Hokeah and the Art of the Kiowa Five Through March 30 University of Oklahoma American

Exhibition Schedule Indian Artists Exhibition April 6 – June 29 Indian Art Market May 3 - 4 Jacobson House 609 Chautauqua (405) 366-1667 jacobsonhouse.com Michele Martin Coyne & Jeff Dodd Through March 28 Mainsite Contemporary Art Gallery 122 East Main (405) 292-8095 mainsite-art.com

Oklahoma City Narrative: Luis Abreux, Sue Clancy, Dana Azar and Brent Greenwood March 6 – April 12 Opening Reception, March 6, 5:30-7:30 The Sea, The Surge and The Seamstress: A Story about Salt and Morning Light by Samantha Lamb March 6 – April 12 Opening Reception, March 6, 5:30-7:30 City Arts Center 3000 General Pershing Blvd. (800) 951-0000 cityartscenter.org

Paris 1900 Through March 2 The Tilghman Print Collection Through May 4 Brett Weston: Out of the Shadow March 20 – May 18 Oklahoma City Museum of Art 415 Couch Drive (405) 236-3100 okcmoa.com Spring Student Exhibition March 30 – April 11 Nona Hulsey Gallery, Norick Art Center Oklahoma City University 1600 NW 26th (405) 208-5226 okcu.edu George Rooks March 7 – 29 Opening Reception, March 7, 6-10pm Oklahoma Watercolor Association April 4 – April 30 Opening Reception, April 4, 6-10pm Paseo Art Space 3022 Paseo (405) 525-2688 thepaseo.com

DJ Lafon Current Works March 7 – March 29 Brett Weston Photographs April 4 – April 26 JRB Art at the Elms 2810 North Walker (405) 528-6336 jrbartgallery.com

Art 365 March 14 – April 26 Opening Reception, March 21, 5-8pm Untitled [ArtSpace] 1 NE 3rd St. (405) 815-9995 1ne3.org

Shannon Crider and Annalisa Campbell Through April 27 Istvan Gallery at Urban Art 1218 N. Western Ave. (405) 831-2874 istvangallery.com

Ponca City

Stomp Dance and Stickball Through May 4 Real Western Wear Through May 4 The Rodeo Photography of Louise Serpa Through May 4 National Cowboy & Western Heritage Museum 1700 NE 63rd (405) 478-2250 nationalcowboymuseum.org

Youth Art Month March Paintings by Rob Smith April Ponca City Art Center 819 East Central 580-765-9746 poncacity.com

Shawnee Draughtsmen: Selected Prints of James Mcneill Whistler and Sir Francis Seymour Haden Through April 6 Mabee-Gerrer Museum of Art 1900 West Macarthur (405) 878-5300 mgmoa.org

galler y guide gu ide (left) Samantha Lamb, Oklahoma City, The Sea, The Surge and the Seamstress, Photography, at City Arts Center in Oklahoma City March 6 – April 12. (below) Annalisa Campbell, Piedmont, Mannequin Serenade, Mixed Media, at Istvan Gallery in Oklahoma City through April 27.

Tulsa Todd Homer March 27 – April 24 Apertures Gallery 1936 South Harvard (918) 742-0500 aperturesphoto.com

Skiatook Passions Through March 29 Beginnings April 2 – May 31 Prairie’s Edge Art Gallery 100 E. Rogers Blvd. (918) 384-9104 prairiesedgeart.com

Stillwater Graphic Design Capstone Exhibition March 5 – 14 Studio Capstone Exhibition March 26 – April 4 Art History Senior Symposium Exhibition April 7 – 11 Annual Juried Student Exhibition April 16 - 30 Gardiner Art Gallery Oklahoma State University 108 Bartlett University (405) 744-6016 okstate.edu

Charles Banks Wilson: An Oklahoma Life in Art Through March 9 1776-1876: A Century of American History in Art Through May 25 Gilcrease Museum 1400 Gilcrease Museum Road (918) 596-2700 gilcrease.org Imagescape: Soundscape: Landscape by Ursula Scherrer and Michelle Nagai March 7 – 27 Installation Performances March 7, 8 pm and March 8, 5 pm Liggett Studio 314 S. Kenosha (918) 694-5719 liggettstudio.com Track & Trolley – Installation by Glenn Davis March 6 – 27

Jules Chéret (French, 1836-1932). Jardin de Paris, ca. 1895. Color lithograph, 48 x 34 1/8 in. Lent by The Minneapolis Institute of Arts, Gift of Bruce B. Dayton. Part of the Paris 1900 exhibit at the Oklahoma City Museum of Art through March 2.

New Genre XIV March 6 – 9 Very Bad Art Show April 1 Snap Line Graffiti & 960 Snap Shots April 3 - 24 Living Arts 308 S. Kenosha (918) 585-1234 livingarts.org Waite Philips: The Man and his Legacy Through May 4 The Philbrook Museum of Art 2727 South Rockford Road (918) 749-7941 Philbrook.org OVAC 20th Anniversary Exhibition February 28 – March 30 Photographs by Annabel Clark April 3 - 27 Tulsa Performing Arts Center Gallery Third and Cincinnati (918) 596-7122 tulsapac.com Contact editor for information about submitting listings at publications@ ovac-ok.org. For a more complete list of Oklahoma galleries, visit www.ovac-ok.org.

Sarah Atlee, Norman, Mundy Tulsa, Present Day, Acrylic and Collage on Found Panel, 10”x22”, a part of the Art 365 exhibition at Untitled [ArtSpace], March 14-April 26.

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