7 minute read
Project Hope, Unity, and Compassion at Living Arts Tulsa
Project Hope, Unity, and Compassion
by Kristin Gentry
Artist Greg Stivers painting on the boards of Vintage Wine Bar, photo by Tyler Huffman
Tulsa, Oklahoma’s rich history includes the numerous overlapping stories of its citizens of color within the African American and Native American populations. Tragically, one of the most horrific historical events in the cities’ history was the 1921 Tulsa Race Massacre in the Greenwood District; also known as Black Wall Street. The 1921 Tulsa Race Massacre destroyed African-American homes and businesses, and the number of people murdered and injured is still unknown, one hundred years later in 2021. Even today, racial, cultural, and political turmoil have all persisted within the Tulsa area stemming not just from this incident alone, though the Tulsa Race Massacre is certainly one of the most significant. The revitalization of the downtown Tulsa Arts District and Greenwood District over the last 15-20 years have given new avenues to artists, businesses, and the community to create a way forward towards rebuilding and repair by coming together through the arts.
The indigenous history of Tulsa is important beyond a simple land acknowledgement in understanding the specific area the art for Tulsa: Project Hope, Unity, and Compassion was created within. The land that Tulsa was founded on was established by the Mvskoke (Muscogee/Creek) and Lochapoka tribes. The Greenwood District is well known for its roots in the African American communities, but it was also built together with the indigenous tribal communities. Many tribal citizens hold both indigenous and African American ancestry. The Muscogee Creek Nation’s website shows that “from 1836 to 1896, the [Mvskoke] Nation conducted business around the [Council Oak] tree, and had a significant influence on the surrounding area that would later be known as the City of Tulsa, deriving
from the Creek word, ‘Tallasi’ or ‘Tvlvhasse’, meaning ‘old town’.” As of today, Tulsa now sits on the three sovereign nations of the Mvskoke, CWY, Tsa La Gi, (Cherokee) and , Wazhaze (Osage).
In the summer of 2020 during the lead up to Donald Trump’s rally in downtown Tulsa, businesses began boarding up their glass windows and doors. This move came amid fears founded on racist historical events, high tensions within the political climate of the country, and the loss of normalcy due to the global pandemic. In response, Tulsa’s artists and collectives stepped up to create murals on the wooden panels throughout the city. The panels reflected the multi-cultural experiences of the citizens of Tulsa. In 2021, Living Arts of Tulsa held an art exhibition displaying the art created on the panels. From curator Tina Henley, “Project Hope, Unity, and Compassion showcased a range of artistic expression from artists at a very crucial and tense time in Tulsa’s recent history.” The painted art panels were relocated into Living Arts of Tulsa for the exhibition, and Black Lives Matter was painted on the gallery floor.
(top) Mural by Chris Sker, photo by Keegan Sandusky (bottom) Framed photos by Tyler Huffman, mural by Clean Hands, photo by Keegan Sandusky
(continued from page 11)
Mural by Annie Jones and Black Lives Matter floor mural, photo by Tyler Huffman
of expression and the center of community discourse. Downtown Tulsa is certainly no different. At an incredibly tense time in our community, and in the midst of planning for unprecedented events, we found an opportunity to showcase Downtown Tulsa’s core values on temporary canvases throughout Downtown,” states Living Arts of Tulsa.
This exhibition showcased many artists and businesses all over Downtown. DGX featured the art of Chris Sker, Vast Bank Parking Garage featured the art of Terren Zinbi. Vast Bank featured the art of Clean Hands, Juniper featured the art of Krystie Bunch, Amelia’s Wood Fired Cuisine featured the art of Cody Edwards and Lucas Wisner, Bank of Oklahoma ATM featured the art of Antonio Andrews, PRHYME: Downtown Steakhouse featured the art of Annie Kate Jones, David Reed James, Amanda January and Mark Southerland. Vintage Wine Bar featured the art of Greg Stivers, DECOPOLIS featured the art of Todd Edwards, Tania Garza, Andrea Pemberton, and Brandi Ross on behalf of the TYPROS Arts & Entertainment Crew.
From curator Tina Henley, “With downtown Tulsa businesses boarded up in preparation for the Trump rally taking place during a pandemic, and the unknown in anticipation of large groups gathering and/or rioting, plywood boards became canvases for messages of encouragement and to inspire a higher consciousness in what the city should truly stand for. To come together.” Greg Strivers is pictured painting his piece at Vintage Wine Bar. Henley also stated, “not in a cliché way, but a reckoning in Tulsa as a city on a global stage and the posture towards its citizens. That unity is found not by choosing sides in opposition to be right or wrong, but to remind Tulsans of the value we have in each other as a community. To actively listen, correct and change for the better, and to respect each other as human beings.”
Chris Sker created the graffiti artwork that was on the panels at the DGX. He is a Tulsa-born African American artist with a passion for community engagement. His work can be seen on and inside numerous businesses around the city of Tulsa. Sker said, “that particular weekend saw our whole city in a state of tension, having built up for weeks. My piece said HOPE, and I just wanted to put that little positive message out to the public. I try to keep a hopeful mindset in life.” More of his work can be seen on his Instagram: @Sker_Creative.
(top) Mural by Todd Edwards, Tania Garza, Andrea Pemberton, and Brandi Ross on behalf of the TYPROS Arts & Entertainment Crew, photo by Tyler Huffman (bottom) Mural by Antonio Andrews on the Bank of America ATM
the Arts, the Oklahoma Arts Council, the City of Tulsa, and the Kathleen Patton Westby Foundation. Special thanks to Jarica Walsh, , and Jordan Harmon, Mvskoke, for their help with their tribal language spellings. n
Kristin Gentry, M.S., B.F.A., is an artist, writer, & curator. She is a citizen of the Choctaw Nation of Oklahoma. She was born and raised in Tulsa, Oklahoma.
The 100% job placement of Arts, Culture, and Entertainment (ACE) Management majors stems from a personalized curriculum, robust experiential learning, and tailored mentorship, all of which are core values of ACE Management’s Applied Assistant Professor, Samuel Krall. In any given class or program with Krall, a student may find themself pitching an idea to a local arts organization, meeting the staff and touring behind the scenes of an institution such as Crystal Bridges Museum of American Art, developing a new business alongside community entrepreneurs at a local incubator, or obtaining professional credentials through the major’s five real-world work experiences. Throughout, Krall works with each ACE Management major to help them reflect on these experiences, develop their career goals, and then successfully apply for positions or graduate study. “Our field has such an array of exciting professional opportunities,” Krall says, “that we tailor our approach to help students find the path that is just right for them.” Krall’s mentorship has led to him twice being selected as an MVP (“Most Valuable Professor”). ACE Management majors specialize in one of the following areas: Visual Arts; Performing Arts; Entertainment and Commercial Arts; or Cultural and Public Administration. A conservatory-trained musician, now Director of TU’s Alexandre Hogue Gallery, Krall lives out the interdisciplinary nature of ACE Management. He observes, “Exchanging ideas is key to our field. How the museum approaches fundraising may help the ballet; how the concert arena approaches marketing may help the community art school; how the local foundation makes its case to the state may help the freelancing filmmaker; and how we all work together may help transform a community.”
Please Follow us on Facebook: facebook.com/utulsaschoolofart Instagram: @utulsaart
