Gilcrease Magazine – Fall 2017

GILCREASE MAGAZINE FALL 2017

Kay WalkingStick: An American Artist

V OL U ME 2 5 , N U MBER 4

FALL 2017

In this Issue

4 Kay WalkingStick

The national touring exhibition, Kay WalkingStick: An American Artist, comes to Tulsa.

8 Campaign for Gilcrease

The campaign gains steam with a major gift from The A.R. and Marylouise Tandy Foundation.

12 Kravis Discovery Center Reopens

The Kravis Discovery Center has reopened with the new, Interactive Discovery Trail featuring state-of-the-art technology.

14 To Endure in Bronze 16 Collection Feature The museum’s outstanding bronze sculptures will be on display in a new exhibition, To Endure in Bronze, set to open in December.

Get up close and personal with one of Thomas Moran’s sketches detailing his travels in Utah.

18 For Those who

Served and Serve

Our tribute to former veterans, some now serving in the museum’s volunteer corps.

ON THE COVER Kay WalkingStick, Me and My Neon Box, 1971 Acrylic on canvas, 54" x 60", Collection of the artist, Photo: Lee Stalsworth, Fine Art through Photography, LLC, Courtesy American Federation of Arts. One of many works featured in the exhibition Kay WalkingStick: An American Artist that opens October 6.

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gilcrease.org Fall / 2017

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V OL U ME 2 5 , N U MBER 4

FALL 2017

In this Issue

4 Kay WalkingStick

The national touring exhibition, Kay WalkingStick: An American Artist, comes to Tulsa.

8 Campaign for Gilcrease

The campaign gains steam with a major gift from The A.R. and Marylouise Tandy Foundation.

12 Kravis Discovery Center Reopens

The Kravis Discovery Center has reopened with the new, Interactive Discovery Trail featuring state-of-the-art technology.

14 To Endure in Bronze 16 Collection Feature The museum’s outstanding bronze sculptures will be on display in a new exhibition, To Endure in Bronze, set to open in December.

Get up close and personal with one of Thomas Moran’s sketches detailing his travels in Utah.

18 For Those who

Served and Serve

Our tribute to former veterans, some now serving in the museum’s volunteer corps.

ON THE COVER Kay WalkingStick, Me and My Neon Box, 1971 Acrylic on canvas, 54" x 60", Collection of the artist, Photo: Lee Stalsworth, Fine Art through Photography, LLC, Courtesy American Federation of Arts. One of many works featured in the exhibition Kay WalkingStick: An American Artist that opens October 6.

Like us on Facebook; follow us on Twitter, Instagram and Pinterest.

2

gilcrease.org Fall / 2017

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DIRECTOR’S REPORT

In Memoriam

A Witness to Leadership Shortly after joining Mayor Kathy Taylor’s staff in 2006, I was asked to develop a new governance plan for the management of Gilcrease Museum. Just as I was clear about my mission, I also understood that Mayor Taylor expected a workable solution on her desk in 90 days.

Assurance that we could be successful came Susan Neal when Walt Helmerich agreed to chair the Gilcrease Governance Task Force.

The group did its homework, methodically researching the governance systems of other municipally owned museums across the country. With the deadline approaching, the task force finalized its recommendation to identify and enlist an existing nonprofit with similar interests as the Gilcrease to manage the museum on behalf of the City.

But then something unexpected happened. The task force recommendation was never adopted. Before it could be formalized, the solution appeared one afternoon in Mayor Taylor’s office. The solution was seated next to me explaining The University of Tulsa’s ambition to build a research center — TU President Steadman Upham.

Anyone meeting Stead Upham for the first time would be a bit awestruck. Certainly, his towering 6'8" frame made an impression, but it was his gravitas, his intellect and his way of putting others at ease that I remember most.

President Upham along with Randy Foutch, a board member of both TU and Gilcrease, proceeded to paint an inspired picture of how the untapped potential of the Gilcrease Archive could be realized if the city would permit the university to construct a state-of-the-art research center adjacent to Gilcrease Museum. The center would be

university managed and mutually benefit both institutions.

When they were finished, I’m confident neither expected what came next. Mayor Taylor asked President Upham to manage “all of it” — a research center and the Gilcrease Museum. His response was measured intrigue, and most importantly, he didn’t say no.

In the coming months, there were more than just a few hurdles to overcome on the way to a signed management agreement between TU, Gilcrease and the City of Tulsa.

The complexity and number of relationships, boards, legal and financial considerations, and countless surprises that had to be managed would have deterred someone less visionary and determined than President Upham.

As I worked with him, his team and several of his board members, I knew I was a witness to what great leadership looks like.

Today, nearly 10 years into a TU-City management partnership, Gilcrease Museum is well positioned for a bright future with a $65 million expansion on its horizon.

President Upham’s bold leadership met a visionary challenge by Mayor Taylor and changed the future for both institutions.

When I think of Steadman Upham, gratitude is the word that most quickly comes to mind. As a citizen of Tulsa, I join many in being grateful for his quiet, impactful leadership that helped build a university and a stronger city. But for those of us who worked with and for him, we are most grateful for our own good fortune in knowing this giant of a leader, teacher, mentor and friend.

Steadman Upham

Steadman Upham and Duane H. King at the Helmerich Center for American Research

Kindest regards,

Susan Neal TU Vice President for Public Affairs, Economic Development and Chief Operating Officer for Gilcrease Museum

Upham in his art studio

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Gilcrease Museum magazine

Former University of Tulsa President Steadman Upham died July 30, 2017, from complications following surgery.

Upham joined TU in 2004 and served as president until 2012 and then returned later that year to resume the role at the request of the Board of Trustees. He retired in 2016 and planned to return to TU as a faculty member in the Department of Anthropology.

Upham oversaw broad, sustained development of TU’s academic programs and research enterprise. These advances included new doctoral programs in computer engineering, chemistry, physics and anthropology, a growing roster of interdisciplinary research institutes and increased internationalization of the curriculum.

He presided over the Embrace the Future Campaign (2004-11), which raised $698 million for campus growth, endowed scholarships, endowed faculty positions and other priorities.

In 2008, Upham led the university in forging the Gilcrease Museum management partnership with the City of Tulsa — an arrangement that has benefitted both institutions. The Helmerich Center for American Research also was established during his tenure, and he represented the center during the acquisition of The Bob Dylan Archive.

In 2014, the Oklahoma Center for Community and Justice honored Upham at its annual awards dinner. In 2015, TulsaPeople named him Tulsan of the Year; he also was inducted into the Oklahoma Hall of Fame that year.

He is survived by his wife of nearly 46 years, Peggy; their son, evolutionary biologist and Yale postdoctoral fellow Nathan Upham; their daughter, Portland architect Erin Upham, and her husband, Alejandro Lopez; and two grandchildren, Orion and Aadrock.

“We are devastated by the news of Stead’s death,” TU President Gerard Clancy said. “Stead was a great friend to the university and all of Tulsa. He and Peggy poured their lives into making TU better in every way. The university community is thankful that we had the chance to be led by them for so long.”

Induction into the Oklahoma Hall of Fame

DIRECTOR’S REPORT

In Memoriam

A Witness to Leadership Shortly after joining Mayor Kathy Taylor’s staff in 2006, I was asked to develop a new governance plan for the management of Gilcrease Museum. Just as I was clear about my mission, I also understood that Mayor Taylor expected a workable solution on her desk in 90 days.

Assurance that we could be successful came Susan Neal when Walt Helmerich agreed to chair the Gilcrease Governance Task Force.

The group did its homework, methodically researching the governance systems of other municipally owned museums across the country. With the deadline approaching, the task force finalized its recommendation to identify and enlist an existing nonprofit with similar interests as the Gilcrease to manage the museum on behalf of the City.

But then something unexpected happened. The task force recommendation was never adopted. Before it could be formalized, the solution appeared one afternoon in Mayor Taylor’s office. The solution was seated next to me explaining The University of Tulsa’s ambition to build a research center — TU President Steadman Upham.

Anyone meeting Stead Upham for the first time would be a bit awestruck. Certainly, his towering 6'8" frame made an impression, but it was his gravitas, his intellect and his way of putting others at ease that I remember most.

President Upham along with Randy Foutch, a board member of both TU and Gilcrease, proceeded to paint an inspired picture of how the untapped potential of the Gilcrease Archive could be realized if the city would permit the university to construct a state-of-the-art research center adjacent to Gilcrease Museum. The center would be

university managed and mutually benefit both institutions.

When they were finished, I’m confident neither expected what came next. Mayor Taylor asked President Upham to manage “all of it” — a research center and the Gilcrease Museum. His response was measured intrigue, and most importantly, he didn’t say no.

In the coming months, there were more than just a few hurdles to overcome on the way to a signed management agreement between TU, Gilcrease and the City of Tulsa.

The complexity and number of relationships, boards, legal and financial considerations, and countless surprises that had to be managed would have deterred someone less visionary and determined than President Upham.

As I worked with him, his team and several of his board members, I knew I was a witness to what great leadership looks like.

Today, nearly 10 years into a TU-City management partnership, Gilcrease Museum is well positioned for a bright future with a $65 million expansion on its horizon.

President Upham’s bold leadership met a visionary challenge by Mayor Taylor and changed the future for both institutions.

When I think of Steadman Upham, gratitude is the word that most quickly comes to mind. As a citizen of Tulsa, I join many in being grateful for his quiet, impactful leadership that helped build a university and a stronger city. But for those of us who worked with and for him, we are most grateful for our own good fortune in knowing this giant of a leader, teacher, mentor and friend.

Steadman Upham

Steadman Upham and Duane H. King at the Helmerich Center for American Research

Kindest regards,

Susan Neal TU Vice President for Public Affairs, Economic Development and Chief Operating Officer for Gilcrease Museum

Upham in his art studio

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Gilcrease Museum magazine

Former University of Tulsa President Steadman Upham died July 30, 2017, from complications following surgery.

Upham joined TU in 2004 and served as president until 2012 and then returned later that year to resume the role at the request of the Board of Trustees. He retired in 2016 and planned to return to TU as a faculty member in the Department of Anthropology.

Upham oversaw broad, sustained development of TU’s academic programs and research enterprise. These advances included new doctoral programs in computer engineering, chemistry, physics and anthropology, a growing roster of interdisciplinary research institutes and increased internationalization of the curriculum.

He presided over the Embrace the Future Campaign (2004-11), which raised $698 million for campus growth, endowed scholarships, endowed faculty positions and other priorities.

In 2008, Upham led the university in forging the Gilcrease Museum management partnership with the City of Tulsa — an arrangement that has benefitted both institutions. The Helmerich Center for American Research also was established during his tenure, and he represented the center during the acquisition of The Bob Dylan Archive.

In 2014, the Oklahoma Center for Community and Justice honored Upham at its annual awards dinner. In 2015, TulsaPeople named him Tulsan of the Year; he also was inducted into the Oklahoma Hall of Fame that year.

He is survived by his wife of nearly 46 years, Peggy; their son, evolutionary biologist and Yale postdoctoral fellow Nathan Upham; their daughter, Portland architect Erin Upham, and her husband, Alejandro Lopez; and two grandchildren, Orion and Aadrock.

“We are devastated by the news of Stead’s death,” TU President Gerard Clancy said. “Stead was a great friend to the university and all of Tulsa. He and Peggy poured their lives into making TU better in every way. The university community is thankful that we had the chance to be led by them for so long.”

Induction into the Oklahoma Hall of Fame

EXHIBITION FEATURE

Kay WalkingStick, Over Lolo Pass, 2003 charcoal, gouache, and encaustic on paper 25" x 50" Collection of the artist, Courtesy of June Kelly Gallery, Photo: Becket Logan Courtesy American Federation of Arts

Kay WalkingStick: An American Artist Kay WalkingStick: An American Artist surveys the career of one of today’s most accomplished Native American artists and a leading practitioner of contemporary landscape painting.

Over the course of four decades, WalkingStick has tirelessly explored her own complex cultural identity, engaging Native history along with feminism, Minimalism and other key art historical movements. She is particularly renowned for her majestic and sensual landscapes, which imbue natural scenery with the charge of personal and collective memory.

In addition to tracing WalkingStick’s artistic journey, this exhibition offers a fresh perspective on issues of race, identity, and national history that are central both to contemporary Native art and to American culture at large.

Kay WalkingStick: An American Artist is organized by the American Federation of Arts and the Smithsonian’s National Museum of the American Indian. The exhibition opens October 6, 2017 at Gilcrease Museum and features approximately 60 of her most notable works, drawn from public and private collections across the country and from the collection of the artist.

Kay WalkingStick: An American Artist demonstrates the breadth of WalkingStick’s achievements and her contributions to

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Gilcrease Museum magazine

American art. While WalkingStick’s work has been widely exhibited and discussed, this touring retrospective will be the first survey of her singular career. The exhibition, which originated at the Smithsonian’s National Museum of the American Indian (NMAI), was co-curated by Kathleen AshMilby (Navajo), associate curator, and David Penney, associate director for Museum Scholarship at the Smithsonian’s NMAI. WalkingStick’s biography is intimately tied to her art. The exhibition examines key moments of her life, which further illuminate her methods and motivations. As a young artist in the 1960s and 1970s, she created bold, graphic paintings using a color-blocking technique, eschewing modeling in favor of expanses of flat hues. By the mid-1970s, WalkingStick shifted away from the figure and toward abstraction; at the same time, she grew increasingly interested in her Native American heritage. During this period, she researched American Indian history and made paintings in homage to famous Native figures such as Chief Joseph, the great Nez Perce leader, and Sakajawea. Many of these are marked by thickly impastoed, sculptural surfaces, which WalkingStick achieved by scratching and manipulating layers of acrylic paint mixed with wax.

Kay WalkingStick, A Sensual Suggestion, 1974, acrylic on canvas, 42" x 48" Collection of the artist, Photo: Lee Stalsworth, Fine Art through Photography, LLC Courtesy American Federation of Arts

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EXHIBITION FEATURE

Kay WalkingStick, Over Lolo Pass, 2003 charcoal, gouache, and encaustic on paper 25" x 50" Collection of the artist, Courtesy of June Kelly Gallery, Photo: Becket Logan Courtesy American Federation of Arts

Kay WalkingStick: An American Artist Kay WalkingStick: An American Artist surveys the career of one of today’s most accomplished Native American artists and a leading practitioner of contemporary landscape painting.

Over the course of four decades, WalkingStick has tirelessly explored her own complex cultural identity, engaging Native history along with feminism, Minimalism and other key art historical movements. She is particularly renowned for her majestic and sensual landscapes, which imbue natural scenery with the charge of personal and collective memory.

In addition to tracing WalkingStick’s artistic journey, this exhibition offers a fresh perspective on issues of race, identity, and national history that are central both to contemporary Native art and to American culture at large.

Kay WalkingStick: An American Artist is organized by the American Federation of Arts and the Smithsonian’s National Museum of the American Indian. The exhibition opens October 6, 2017 at Gilcrease Museum and features approximately 60 of her most notable works, drawn from public and private collections across the country and from the collection of the artist.

Kay WalkingStick: An American Artist demonstrates the breadth of WalkingStick’s achievements and her contributions to

4

Gilcrease Museum magazine

American art. While WalkingStick’s work has been widely exhibited and discussed, this touring retrospective will be the first survey of her singular career. The exhibition, which originated at the Smithsonian’s National Museum of the American Indian (NMAI), was co-curated by Kathleen AshMilby (Navajo), associate curator, and David Penney, associate director for Museum Scholarship at the Smithsonian’s NMAI. WalkingStick’s biography is intimately tied to her art. The exhibition examines key moments of her life, which further illuminate her methods and motivations. As a young artist in the 1960s and 1970s, she created bold, graphic paintings using a color-blocking technique, eschewing modeling in favor of expanses of flat hues. By the mid-1970s, WalkingStick shifted away from the figure and toward abstraction; at the same time, she grew increasingly interested in her Native American heritage. During this period, she researched American Indian history and made paintings in homage to famous Native figures such as Chief Joseph, the great Nez Perce leader, and Sakajawea. Many of these are marked by thickly impastoed, sculptural surfaces, which WalkingStick achieved by scratching and manipulating layers of acrylic paint mixed with wax.

Kay WalkingStick, A Sensual Suggestion, 1974, acrylic on canvas, 42" x 48" Collection of the artist, Photo: Lee Stalsworth, Fine Art through Photography, LLC Courtesy American Federation of Arts

Fall / 2017

5

Kay WalkingStick, Chief Joseph series, 1974–76, acrylic, ink, and wax on canvas 20" x 15" ea. (27 panels of a 36-panel series), National Museum of the American Indian 26/5366.000–026 Courtesy American Federation of Arts

Kay WalkingStick, New Mexico Desert, 2011, oil on wood panel, 40" x 80" x 2" Purchased through a special gift from the Louise Ann Williams Endowment, 2013 National Museum of the American Indian 26/9250 Courtesy American Federation of Arts

During the 1980s, WalkingStick returned to figuration through diptychs in which she paired abstract and naturalistic representations of the same landscape, charting her travels throughout the United States and around the world. This format, which WalkingStick has continually developed and returned to, has become her hallmark. Shortly after beginning to work in diptychs, WalkingStick suffered a devastating personal loss and her art became more volatile, dark and intense. Beginning in 1996, WalkingStick’s extended trips in Italy gave her the opportunity to study that country’s landscapes and art.

During this period, she produced sensual paintings and drawings, often embedding personal narratives about sexuality, memory, and the body in representations of architecture and nature. The influences of Greco-Roman

6

Gilcrease Museum magazine

and Italian Renaissance art can be seen in decorative motifs; in the use of new materials, such as gold leaf; and in the Mediterranean views that frequently appear. WalkingStick’s sketchbooks, several of which are included in this exhibition, also document her travels in Italy and beyond, attesting to her deft ability to weave together disparate influences.

Over the past two decades, WalkingStick’s interests in landscape, the body, and history have merged in majestic and often monumental compositions. While the diptych format still appears, it does not dominate or dictate her mature practice. References to specific places — often sites laden with historical associations — have become more common and many works indulge, simply and unapologetically, in the beauty of the natural world.

WalkingStick’s most recent paintings

synthesize themes that she has explored throughout her career, joining rugged Western scenery with decorative motifs drawn from local Native peoples.

These paintings unite figuration and abstraction, Western and Native aesthetics, and personal and collective memories. Through the variety and sustained quality of her paintings and drawings over four decades, WalkingStick has challenged reductive understandings of what contemporary Native art can be.

A member opening for Kay WalkingStick: An American Artist is set for October 5, 2017, from 6 to 8 p.m.

Title sponsor of the Gilcrease exhibition season is the Sherman E. Smith Family Charitable Foundation. Generous support has also been provided by Mervin Bovaird Foundation, C.W. Titus Foundation and M.V. Mayo Charitable Foundation.

Kay WalkingStick, Going to the Sun Road, 2011, oil and white gold leaf collage on wood panel, 24" x 48" Collection of the artist, Courtesy of June Kelly Gallery Photo: Becket Logan Courtesy American Federation of Arts

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7

Kay WalkingStick, Chief Joseph series, 1974–76, acrylic, ink, and wax on canvas 20" x 15" ea. (27 panels of a 36-panel series), National Museum of the American Indian 26/5366.000–026 Courtesy American Federation of Arts

Kay WalkingStick, New Mexico Desert, 2011, oil on wood panel, 40" x 80" x 2" Purchased through a special gift from the Louise Ann Williams Endowment, 2013 National Museum of the American Indian 26/9250 Courtesy American Federation of Arts

During the 1980s, WalkingStick returned to figuration through diptychs in which she paired abstract and naturalistic representations of the same landscape, charting her travels throughout the United States and around the world. This format, which WalkingStick has continually developed and returned to, has become her hallmark. Shortly after beginning to work in diptychs, WalkingStick suffered a devastating personal loss and her art became more volatile, dark and intense. Beginning in 1996, WalkingStick’s extended trips in Italy gave her the opportunity to study that country’s landscapes and art.

During this period, she produced sensual paintings and drawings, often embedding personal narratives about sexuality, memory, and the body in representations of architecture and nature. The influences of Greco-Roman

6

Gilcrease Museum magazine

and Italian Renaissance art can be seen in decorative motifs; in the use of new materials, such as gold leaf; and in the Mediterranean views that frequently appear. WalkingStick’s sketchbooks, several of which are included in this exhibition, also document her travels in Italy and beyond, attesting to her deft ability to weave together disparate influences.

Over the past two decades, WalkingStick’s interests in landscape, the body, and history have merged in majestic and often monumental compositions. While the diptych format still appears, it does not dominate or dictate her mature practice. References to specific places — often sites laden with historical associations — have become more common and many works indulge, simply and unapologetically, in the beauty of the natural world.

WalkingStick’s most recent paintings

synthesize themes that she has explored throughout her career, joining rugged Western scenery with decorative motifs drawn from local Native peoples.

These paintings unite figuration and abstraction, Western and Native aesthetics, and personal and collective memories. Through the variety and sustained quality of her paintings and drawings over four decades, WalkingStick has challenged reductive understandings of what contemporary Native art can be.

A member opening for Kay WalkingStick: An American Artist is set for October 5, 2017, from 6 to 8 p.m.

Title sponsor of the Gilcrease exhibition season is the Sherman E. Smith Family Charitable Foundation. Generous support has also been provided by Mervin Bovaird Foundation, C.W. Titus Foundation and M.V. Mayo Charitable Foundation.

Kay WalkingStick, Going to the Sun Road, 2011, oil and white gold leaf collage on wood panel, 24" x 48" Collection of the artist, Courtesy of June Kelly Gallery Photo: Becket Logan Courtesy American Federation of Arts

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Campaign for Gilcrease Earns Pledge from the A.R. and Marylouise Tandy Foundation When it comes to philanthropy, opportunities to impact an entire community are rare. In the case of Gilcrease Museum’s major expansion, a once in-a-lifetime gift from the A.R. and Marylouise Tandy Foundation will help recreate the museum and stimulate new revenue streams for the City of Tulsa.

The Tandy Foundation has identified Gilcrease Museum as a valuable asset to the City of Tulsa, one capable of providing a more inviting atmosphere to new audiences; not only Tulsans, but also international visitors. As such, the Tandy Foundation recently awarded Gilcrease $10 million in support of the Campaign for Gilcrease, making a monumental commitment to the museum and its future. This gift, the single largest private gift received to date, is a testament to the value of the $65 million public investment made by the citizens of Tulsa.

With a love for the museum, its collection and recognizing the position Gilcrease holds in the community, the A.R. and Marylouise Tandy Foundation pledged its support of the museum and the ambitious dream to expand the facility, display more of its landmark collection and increase its role in economic development.

The museum expansion, funded through the Vision Tulsa sales tax extension passed by voters in April 2016, will update Gilcrease to modern standards and create more space for exhibitions, programs for children and families, dining and more.

“The generosity of the Tandy Foundation which believes in the potential of the Gilcrease collection and its ability to attract and engage broader audiences with the appropriate environment for display and interaction, is simply inspiring,”

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Gilcrease Museum magazine

said Susan Neal, the museum’s chief operating officer.

The last expansion of the museum was 30 years ago, and little has changed since. The collection has grown in that time, but additional space for display and storage has not kept pace.

Modern amenities that are taken for granted in most museums (such as flexible education areas, a spacious welcoming lobby and large, multi-use event space) have remained out of reach for Gilcrease. The Tandy Foundation recognizes the need to support those dreams to become reality.

While the Tandy name may be traditionally identified with leatherworking and household technology, locally it has become known for significant investments in community resources such as Holland Hall, the Tulsa Botanic Garden and YMCA, as well as area universities.

The Tandy Foundation is the legacy of Alfred Randolph (Bill) and Marylouise Tandy.

Bill was a World War II pilot who established a lucrative career in real estate development and construction nationwide, in addition to oil and gas production. He was active with numerous Tulsa organizations including the YMCA and Chamber of Commerce until his death in 1971. Marylouise, an alumna of TU, was a prominent presence in the Tulsa arts community before relocating to Maine where she continued as an arts advocate and transitioned into newspaper publishing, which became her passion until she passed away in 2009.

Gilcrease Museum is pleased to be added to the growing list of Tulsa institutions benefitting from the generosity of the A.R. and Marylouise Tandy Foundation. With the Tandy Foundation’s support, Gilcrease Museum will be positioned as a leader in arts and culture for years to come.

Fall / 2017

9

Campaign for Gilcrease Earns Pledge from the A.R. and Marylouise Tandy Foundation When it comes to philanthropy, opportunities to impact an entire community are rare. In the case of Gilcrease Museum’s major expansion, a once in-a-lifetime gift from the A.R. and Marylouise Tandy Foundation will help recreate the museum and stimulate new revenue streams for the City of Tulsa.

The Tandy Foundation has identified Gilcrease Museum as a valuable asset to the City of Tulsa, one capable of providing a more inviting atmosphere to new audiences; not only Tulsans, but also international visitors. As such, the Tandy Foundation recently awarded Gilcrease $10 million in support of the Campaign for Gilcrease, making a monumental commitment to the museum and its future. This gift, the single largest private gift received to date, is a testament to the value of the $65 million public investment made by the citizens of Tulsa.

With a love for the museum, its collection and recognizing the position Gilcrease holds in the community, the A.R. and Marylouise Tandy Foundation pledged its support of the museum and the ambitious dream to expand the facility, display more of its landmark collection and increase its role in economic development.

The museum expansion, funded through the Vision Tulsa sales tax extension passed by voters in April 2016, will update Gilcrease to modern standards and create more space for exhibitions, programs for children and families, dining and more.

“The generosity of the Tandy Foundation which believes in the potential of the Gilcrease collection and its ability to attract and engage broader audiences with the appropriate environment for display and interaction, is simply inspiring,”

8

Gilcrease Museum magazine

said Susan Neal, the museum’s chief operating officer.

The last expansion of the museum was 30 years ago, and little has changed since. The collection has grown in that time, but additional space for display and storage has not kept pace.

Modern amenities that are taken for granted in most museums (such as flexible education areas, a spacious welcoming lobby and large, multi-use event space) have remained out of reach for Gilcrease. The Tandy Foundation recognizes the need to support those dreams to become reality.

While the Tandy name may be traditionally identified with leatherworking and household technology, locally it has become known for significant investments in community resources such as Holland Hall, the Tulsa Botanic Garden and YMCA, as well as area universities.

The Tandy Foundation is the legacy of Alfred Randolph (Bill) and Marylouise Tandy.

Bill was a World War II pilot who established a lucrative career in real estate development and construction nationwide, in addition to oil and gas production. He was active with numerous Tulsa organizations including the YMCA and Chamber of Commerce until his death in 1971. Marylouise, an alumna of TU, was a prominent presence in the Tulsa arts community before relocating to Maine where she continued as an arts advocate and transitioned into newspaper publishing, which became her passion until she passed away in 2009.

Gilcrease Museum is pleased to be added to the growing list of Tulsa institutions benefitting from the generosity of the A.R. and Marylouise Tandy Foundation. With the Tandy Foundation’s support, Gilcrease Museum will be positioned as a leader in arts and culture for years to come.

Fall / 2017

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Gilcrease on Wheels Wins OMA Award

Any Given Child Earns State Arts Council Support Gilcrease Museum recently was awarded a grant from the Oklahoma Arts Council (OAC) in support of its Any Given Child program, which provides arts education for first grade students in Tulsa Public Schools.

The program serves approximately 3,800 students annually and includes a classroom visit, museum tour and hands-on art making activity.

The grant was awarded based on the program’s success in meeting the OAC’s three priorities for funding through their Arts in Education grant category: arts education, geographic reach, and access for underserved populations. (Fortyeight of the 51 elementary schools in the Tulsa Public Schools district are categorized as federal Title I schools, meaning they have high numbers or high percentages of children from lowincome families.)

The Any Given Child program was created by the John F. Kennedy Center for the Performing Arts in Washington, D.C., to assist communities 10

Gilcrease Museum magazine

in developing a plan for expanded arts education in grades K-8. Children throughout Oklahoma benefit from participation in the Any Given Child program that guarantees children have access to arts education through structured programs with a variety of Tulsa arts organizations.

Tulsa was the fifth city in the nation to adopt the program, which began in 2013 as a partnership between the Kennedy Center, Tulsa Public Schools and the Arts and Humanities Council of Tulsa, which provides centralized administration.

As a result of a series of cuts to public education, arts instruction is rarely found in the school day. However, Any Given Child, and funders like the OAC, make sure that the valuable lessons only the arts can provide are alive and well in Tulsa. Through Any Given Child, students in Tulsa receive regular arts instruction in their school day, regardless of reduced public education funding.

In addition to the program

experience, Gilcrease provides reimbursement for transportation expenses as well, removing a significant hurdle for schools while providing an enriching experience many students would not otherwise receive.

The OAC grant comes at a time when public funding for the arts in Oklahoma is being reduced, while a recent study cited nearly $900 million in economic activity can be attributed to the state’s not-for-profit arts industry. Gilcrease and programs like Any Given Child are helping create the next generation of artists, arts patrons and art collectors, strengthening the foundation of creative expression in Oklahoma.

For more than 50 years, the Oklahoma Arts Council has been advancing the arts in Oklahoma through grant programs that support individual artists as well as arts organizations large and small. Gilcrease thanks them for their tireless advocacy, as well as their investment in the museum’s Any Given Child initiative.

Gilcrease on Wheels, a mobile museum experience for 3rd, 4th and 5th grade students in rural Oklahoma, is now an award-winning program. The Oklahoma Museums Association presented their 2017 awards at the annual OMA conference in September, and Gilcrease on Wheels won the award for Outreach or Education program, budget category $15,001 and over.

The program is entering its fourth year of service to rural students. Last year, Gilcrease on Wheels traveled to 23 rural Oklahoma counties and served about 11,000 students. The program also expanded to the Oklahoma City area thanks to a grant from the Kirkpatrick Foundation. Scheduled stops this year include Stilwell, Poteau and Tahlequah.

The OMA Awards program honors the excellence and quality of projects accomplished by members throughout the state. Also, the program recognizes individuals and groups whose contributions have had an impact on Oklahoma museums and the museum profession. The OMA awards recognize achievements in the categories of conservation, exhibits, promotional pieces, publications, outreach or education programs and technology media.

Lead funding for the program comes from the Windgate Charitable Foundation. Other sponsors are Pam and Steve Holton, the Kirkpatrick Foundation, the Frank Family Foundation, Sylvia Ewing Hill, the Sam Viersen Family Foundation, WPX Energy, Marcia and Ron MacLeod, EnerWest Trading Company, the Jennie Smith Trust, the Williams Companies Foundation, the Raymond and Bessie Kravis Foundation, Carol and Frank Mulhern, the Kathleen P. Westby Foundation and the GE Foundation.

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Gilcrease on Wheels Wins OMA Award

Any Given Child Earns State Arts Council Support Gilcrease Museum recently was awarded a grant from the Oklahoma Arts Council (OAC) in support of its Any Given Child program, which provides arts education for first grade students in Tulsa Public Schools.

The program serves approximately 3,800 students annually and includes a classroom visit, museum tour and hands-on art making activity.

The grant was awarded based on the program’s success in meeting the OAC’s three priorities for funding through their Arts in Education grant category: arts education, geographic reach, and access for underserved populations. (Fortyeight of the 51 elementary schools in the Tulsa Public Schools district are categorized as federal Title I schools, meaning they have high numbers or high percentages of children from lowincome families.)

The Any Given Child program was created by the John F. Kennedy Center for the Performing Arts in Washington, D.C., to assist communities 10

Gilcrease Museum magazine

in developing a plan for expanded arts education in grades K-8. Children throughout Oklahoma benefit from participation in the Any Given Child program that guarantees children have access to arts education through structured programs with a variety of Tulsa arts organizations.

Tulsa was the fifth city in the nation to adopt the program, which began in 2013 as a partnership between the Kennedy Center, Tulsa Public Schools and the Arts and Humanities Council of Tulsa, which provides centralized administration.

As a result of a series of cuts to public education, arts instruction is rarely found in the school day. However, Any Given Child, and funders like the OAC, make sure that the valuable lessons only the arts can provide are alive and well in Tulsa. Through Any Given Child, students in Tulsa receive regular arts instruction in their school day, regardless of reduced public education funding.

In addition to the program

experience, Gilcrease provides reimbursement for transportation expenses as well, removing a significant hurdle for schools while providing an enriching experience many students would not otherwise receive.

The OAC grant comes at a time when public funding for the arts in Oklahoma is being reduced, while a recent study cited nearly $900 million in economic activity can be attributed to the state’s not-for-profit arts industry. Gilcrease and programs like Any Given Child are helping create the next generation of artists, arts patrons and art collectors, strengthening the foundation of creative expression in Oklahoma.

For more than 50 years, the Oklahoma Arts Council has been advancing the arts in Oklahoma through grant programs that support individual artists as well as arts organizations large and small. Gilcrease thanks them for their tireless advocacy, as well as their investment in the museum’s Any Given Child initiative.

Gilcrease on Wheels, a mobile museum experience for 3rd, 4th and 5th grade students in rural Oklahoma, is now an award-winning program. The Oklahoma Museums Association presented their 2017 awards at the annual OMA conference in September, and Gilcrease on Wheels won the award for Outreach or Education program, budget category $15,001 and over.

The program is entering its fourth year of service to rural students. Last year, Gilcrease on Wheels traveled to 23 rural Oklahoma counties and served about 11,000 students. The program also expanded to the Oklahoma City area thanks to a grant from the Kirkpatrick Foundation. Scheduled stops this year include Stilwell, Poteau and Tahlequah.

The OMA Awards program honors the excellence and quality of projects accomplished by members throughout the state. Also, the program recognizes individuals and groups whose contributions have had an impact on Oklahoma museums and the museum profession. The OMA awards recognize achievements in the categories of conservation, exhibits, promotional pieces, publications, outreach or education programs and technology media.

Lead funding for the program comes from the Windgate Charitable Foundation. Other sponsors are Pam and Steve Holton, the Kirkpatrick Foundation, the Frank Family Foundation, Sylvia Ewing Hill, the Sam Viersen Family Foundation, WPX Energy, Marcia and Ron MacLeod, EnerWest Trading Company, the Jennie Smith Trust, the Williams Companies Foundation, the Raymond and Bessie Kravis Foundation, Carol and Frank Mulhern, the Kathleen P. Westby Foundation and the GE Foundation.

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TEQ4 combined a range of contemporary technologies and traditional techniques to sensitively tell the stories behind the artifacts, including: Merging high technology with artisan techniques and natural materials

Kravis Discovery Center Reopens with New Interactive Discovery Trail The Kravis Discovery Center at Gilcrease Museum has reopened after a major renovation to feature a new, Interactive Discovery Trail designed by TEQ4, a United Kingdom-based firm that specializes in immersive attractions and interactive experiences for museums, science centers and theme parks around the world.

Visitor tracking, augmented reality and 3D printing are among the leading technologies TEQ4 has used to turn Gilcrease Museum’s collection of artifacts from indigenous peoples of the Americas into a unique

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Gilcrease Museum magazine

interactive and immersive educational attraction.

The new feature in the Kravis Discovery Center — The Interactive Discovery Trail — uses 3D soundscapes, innovative display solutions and TEQ4’s proprietary Chaperone™ system to tell the story of Native peoples and cultures of North, Central and South America through the 4,000 artifacts that make up the collection at the Kravis Discovery Center.

Tablets will guide school groups, children and adults through the Discovery Trail, providing a uniquely tailored experience as they explore the collection.

Immersive 3D soundscape recordings of birds, bison, horses and eagles recreate the natural environment — many recorded at the nearby Tallgrass Prairie Preserve — while handdrawn animations and visual projections onto kiln-formed glass help to animate and bring to life the stories and artifacts An augmented-reality interactive drawer experience replete with 3D printed and virtual objects allows visitors to see, manipulate and study the collection in detail A Projected Map Table and Bear Cave panorama made from organic, textured kiln-formed glass was handcrafted specially for the Kravis Discovery Center.

TEQ4’s CEO Martin Howe, who directed the project, said, “It was an extraordinary privilege working with the staff at Gilcrease Museum on the Kravis Discovery Center. When we took our first tour around the collection, we were amazed by the stories behind it. That was our inspiration. We wanted to make sure people had that personal experience. With the Chaperone™ technology, we give people a way to learn about the objects and the stories, and explore the center for themselves.”

“We are grateful to the Raymond and Bessie Kravis Foundation for the latest investment in the Kravis Discovery Center. The new Discovery Trail gives museum-goers a taste of new technologies that will be incorporated into the $65 million museum expansion project that is part of Vision Tulsa, approved by Tulsa voters last year,” said Susan Neal, chief operating office of Gilcrease.

“We appreciate the creative talent of TEQ4 to present a dynamic and educational experience.”

For school groups, families or other groups visiting the museum together, the software identifies the exact location of each user, and visitors can be automatically grouped into teams and directed around the experience, tracking their progress, recording their score and receiving prizes as they answer curriculum-centric questions along the trail.

The Interactive Discovery Trail is designed to complement the Oklahoma school content standards for the public school groups that tour the space yearly.

“For a new generation, the newly renovated Kravis Discovery Center now adds stories, voices and context to help visitors understand the genius and artistry of Native American cultures past and present,” said Bob Pickering, director of the Museum Science and Management Program at The University of Tulsa, and project manager of the Interactive Discovery Trail.

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TEQ4 combined a range of contemporary technologies and traditional techniques to sensitively tell the stories behind the artifacts, including: Merging high technology with artisan techniques and natural materials

Kravis Discovery Center Reopens with New Interactive Discovery Trail The Kravis Discovery Center at Gilcrease Museum has reopened after a major renovation to feature a new, Interactive Discovery Trail designed by TEQ4, a United Kingdom-based firm that specializes in immersive attractions and interactive experiences for museums, science centers and theme parks around the world.

Visitor tracking, augmented reality and 3D printing are among the leading technologies TEQ4 has used to turn Gilcrease Museum’s collection of artifacts from indigenous peoples of the Americas into a unique

12

Gilcrease Museum magazine

interactive and immersive educational attraction.

The new feature in the Kravis Discovery Center — The Interactive Discovery Trail — uses 3D soundscapes, innovative display solutions and TEQ4’s proprietary Chaperone™ system to tell the story of Native peoples and cultures of North, Central and South America through the 4,000 artifacts that make up the collection at the Kravis Discovery Center.

Tablets will guide school groups, children and adults through the Discovery Trail, providing a uniquely tailored experience as they explore the collection.

Immersive 3D soundscape recordings of birds, bison, horses and eagles recreate the natural environment — many recorded at the nearby Tallgrass Prairie Preserve — while handdrawn animations and visual projections onto kiln-formed glass help to animate and bring to life the stories and artifacts An augmented-reality interactive drawer experience replete with 3D printed and virtual objects allows visitors to see, manipulate and study the collection in detail A Projected Map Table and Bear Cave panorama made from organic, textured kiln-formed glass was handcrafted specially for the Kravis Discovery Center.

TEQ4’s CEO Martin Howe, who directed the project, said, “It was an extraordinary privilege working with the staff at Gilcrease Museum on the Kravis Discovery Center. When we took our first tour around the collection, we were amazed by the stories behind it. That was our inspiration. We wanted to make sure people had that personal experience. With the Chaperone™ technology, we give people a way to learn about the objects and the stories, and explore the center for themselves.”

“We are grateful to the Raymond and Bessie Kravis Foundation for the latest investment in the Kravis Discovery Center. The new Discovery Trail gives museum-goers a taste of new technologies that will be incorporated into the $65 million museum expansion project that is part of Vision Tulsa, approved by Tulsa voters last year,” said Susan Neal, chief operating office of Gilcrease.

“We appreciate the creative talent of TEQ4 to present a dynamic and educational experience.”

For school groups, families or other groups visiting the museum together, the software identifies the exact location of each user, and visitors can be automatically grouped into teams and directed around the experience, tracking their progress, recording their score and receiving prizes as they answer curriculum-centric questions along the trail.

The Interactive Discovery Trail is designed to complement the Oklahoma school content standards for the public school groups that tour the space yearly.

“For a new generation, the newly renovated Kravis Discovery Center now adds stories, voices and context to help visitors understand the genius and artistry of Native American cultures past and present,” said Bob Pickering, director of the Museum Science and Management Program at The University of Tulsa, and project manager of the Interactive Discovery Trail.

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To Endure in Bronze Fredric Remington The Norther bronze, GM0827.39

For those familiar with the many collections of art in Gilcrease Museum, none may be more well-known and iconic than the sculptures of Frederic Remington.

For Remington, the permanence of bronze was the medium to assure his artistic immortality. As Remington explained, “My oils will all get old and watery — that is they will look like stale molasses in time — my watercolors will fade — but I am to endure in bronze.”

T

aking Remington’s words as inspiration, To Endure in Bronze is set to open in December as the latest exhibition of objects from the museum’s permanent collection. To Endure in Bronze includes not only masterworks by Remington, but quite literally a “Who’s Who” of many of the most important American sculptors of the late 19th and early 20th centuries. Artists represented in what will surely become known as the museum’s “Sculpture Hall” include: Gutzon and Solon Borglum, Henry Kirke Brown, Malvina Hoffman, Frederick Forms Horter, Herman Atkins MacNeil, Alexander Phimister Proctor, Charles Russell and Constance Whitney Warren.

Henry Kirke Brown The Eagle bronze, GM0826.140

Make plans now to visit To Endure in Bronze. You’re certain to see many old favorites, discover new favorites and find more than a few surprises.

Alexander Phimister Proctor Prowling Panther bronze, GM0876.80

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Gilcrease Museum magazine

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15

To Endure in Bronze Fredric Remington The Norther bronze, GM0827.39

For those familiar with the many collections of art in Gilcrease Museum, none may be more well-known and iconic than the sculptures of Frederic Remington.

For Remington, the permanence of bronze was the medium to assure his artistic immortality. As Remington explained, “My oils will all get old and watery — that is they will look like stale molasses in time — my watercolors will fade — but I am to endure in bronze.”

T

aking Remington’s words as inspiration, To Endure in Bronze is set to open in December as the latest exhibition of objects from the museum’s permanent collection. To Endure in Bronze includes not only masterworks by Remington, but quite literally a “Who’s Who” of many of the most important American sculptors of the late 19th and early 20th centuries. Artists represented in what will surely become known as the museum’s “Sculpture Hall” include: Gutzon and Solon Borglum, Henry Kirke Brown, Malvina Hoffman, Frederick Forms Horter, Herman Atkins MacNeil, Alexander Phimister Proctor, Charles Russell and Constance Whitney Warren.

Henry Kirke Brown The Eagle bronze, GM0826.140

Make plans now to visit To Endure in Bronze. You’re certain to see many old favorites, discover new favorites and find more than a few surprises.

Alexander Phimister Proctor Prowling Panther bronze, GM0876.80

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Gilcrease Museum magazine

Fall / 2017

15

COLLECTION FEATURE

Thomas Moran’s Travels in Green River, Utah

By Laura F. Fry, Senior Curator and Curator of Art, Gilcrease Museum

Thomas Moran Green River watercolor and pencil on wove paper GM0236.898 16

Gilcrease Museum magazine

Thomas Moran’s first memories of the American West were shaped by the sheer golden cliffs, clear light and deep blue sky at the railroad stop in Green River, Wyoming. Throughout his career, he sketched and painted the famous Wyoming cliffs from various angles in shifting light, creating dozens of images.

From headwaters in the Wind River Mountains, the Green River meanders south through Wyoming, Colorado and Utah before joining the mighty Colorado River in the middle of Canyonlands National Park. While Thomas Moran most frequently visited the river in Wyoming, he also followed the river’s course in central and southern Utah. According to his sketches from his 1881 journey through New Mexico, Colorado and Utah, Moran visited the area around the town of Green River, Utah, on September 20, 1881.

In a hurried sketch simply titled Green River, Moran sped his hand across the paper to capture the tall, sculpted rock spires, patches of blue sky and passing rain showers in front of him.

He first outlined the rock contours in pencil, moving so quickly that the foreground is mere scribbles, gestural lines that hint at sandy slopes and bunches of grass. But wait! Perhaps the rain was quickly approaching. Rather than starting a second drawing, Moran filled in the sky with an extended landscape, adding another golden spire against an approaching storm.

With moments left, he darted his watercolor brush across the drawing, coloring bright orange bands of rock, grey slopes and a blue sky bled with purple. Another field sketch, complete!

Out of time, he scrawled hasty notes across the page for future reference. He labeled the rock formations “larger” and “wider,” indicating the proportions of the scene. Rough color notes included “shadow green at bottom,” “blue green” and even “rain orange,” describing the turbulent weather. The dark sky in the top right corner is scored with diagonal lines, perhaps noting a burst of rainfall. A vehement note near the center of the page, “X not here,” shows Moran correcting his own drawing, revealing his meticulous nature.

The resulting field sketch is characteristic of Moran’s travels and also delightfully strange. In admiring this drawing, former Gilcrease curator Anne Morand wrote, “He produced a wonderfully ambiguous spatial relationship.” With the double landscape, one scene seems to float above the other for a surreal, abstracted effect. By quickly applying thin washes of paint, Moran allowed the varying hues of the sky to blot and blend into one another, creating spontaneous color effects.

Today, this drawing allows us to imagine the energy of an approaching storm over the spectacular rock formations near Green River, Utah.

Fall / 2017

17

COLLECTION FEATURE

Thomas Moran’s Travels in Green River, Utah

By Laura F. Fry, Senior Curator and Curator of Art, Gilcrease Museum

Thomas Moran Green River watercolor and pencil on wove paper GM0236.898 16

Gilcrease Museum magazine

Thomas Moran’s first memories of the American West were shaped by the sheer golden cliffs, clear light and deep blue sky at the railroad stop in Green River, Wyoming. Throughout his career, he sketched and painted the famous Wyoming cliffs from various angles in shifting light, creating dozens of images.

From headwaters in the Wind River Mountains, the Green River meanders south through Wyoming, Colorado and Utah before joining the mighty Colorado River in the middle of Canyonlands National Park. While Thomas Moran most frequently visited the river in Wyoming, he also followed the river’s course in central and southern Utah. According to his sketches from his 1881 journey through New Mexico, Colorado and Utah, Moran visited the area around the town of Green River, Utah, on September 20, 1881.

In a hurried sketch simply titled Green River, Moran sped his hand across the paper to capture the tall, sculpted rock spires, patches of blue sky and passing rain showers in front of him.

He first outlined the rock contours in pencil, moving so quickly that the foreground is mere scribbles, gestural lines that hint at sandy slopes and bunches of grass. But wait! Perhaps the rain was quickly approaching. Rather than starting a second drawing, Moran filled in the sky with an extended landscape, adding another golden spire against an approaching storm.

With moments left, he darted his watercolor brush across the drawing, coloring bright orange bands of rock, grey slopes and a blue sky bled with purple. Another field sketch, complete!

Out of time, he scrawled hasty notes across the page for future reference. He labeled the rock formations “larger” and “wider,” indicating the proportions of the scene. Rough color notes included “shadow green at bottom,” “blue green” and even “rain orange,” describing the turbulent weather. The dark sky in the top right corner is scored with diagonal lines, perhaps noting a burst of rainfall. A vehement note near the center of the page, “X not here,” shows Moran correcting his own drawing, revealing his meticulous nature.

The resulting field sketch is characteristic of Moran’s travels and also delightfully strange. In admiring this drawing, former Gilcrease curator Anne Morand wrote, “He produced a wonderfully ambiguous spatial relationship.” With the double landscape, one scene seems to float above the other for a surreal, abstracted effect. By quickly applying thin washes of paint, Moran allowed the varying hues of the sky to blot and blend into one another, creating spontaneous color effects.

Today, this drawing allows us to imagine the energy of an approaching storm over the spectacular rock formations near Green River, Utah.

Fall / 2017

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For Those Who Served and Serve

Alan Jarvis has proudly carried the title of United States

By Mark Dolph, Associate Curator of History, Gilcrease Museum Earlier this year, Gilcrease Museum marked the centenary of America’s entry into World War I with the exhibition The Power of Posters: Mobilizing the Home Front to Win the Great War. For the remainder of 2017 until November 11, 2018, there will be many tributes paid to those who served our nation from April 6, 1917 until the armistice ending the war was signed as the clock struck “the eleventh hour of the eleventh day of the

Dr. Philip G. Cole with his wife Katharine Pyle Cole and their first child.

John Admire

Gilcrease Museum magazine

eleventh month” of 1918. These timely commemorations of the service and sacrifice for the Americans who helped “make the world safe for democracy” are honors well deserved. But as we remember those American doughboys of The Great War, let us not forget the service of those who followed them and continue to serve not only our country, but our local communities as well.

This ethos of service is manifest in Gilcrease Museum. A notable example is Dr. Philip Gillett Cole. In the years after his service in France during the First World War, Cole assembled an incredible collection of art that included works by Frederic Remington, Charles Russell and Joseph Henry Sharp among others. Upon Cole’s death in 1941, his vast collection became available for purchase. By early 1947, more than 600 objects of art and Cole’s extensive library collection had arrived in Tulsa to form the core of what in 1949 would become the Thomas Gilcrease Institute of American History and Art. This legacy of service continues to be well represented at Gilcrease Museum. The Gillies, the museum’s volunteer organization, are celebrating 50 years of museum service this year. Like Cole before them, many Gillies have served in our nation’s military. The University of Tulsa and Gilcrease Museum pay special tribute to all those who have served our country, and like the Gillies, continue to serve our community.

is a Major General, United States Marine Corps (Retired). His 43-year Marine career included a total of five combat tours and deployment in Vietnam, Iran-Iraq, and the Gulf War. He also served as the Senior Military Social Aide to the President, as the Marine Corps’ Legislative Liaison to the United States Congress, and as a member of General Colin Powell’s Joint Staff. Becoming a Gillie this past spring, Admire has come to more fully appreciate the power of art. As he is learning from his museum service, “Art can tell stories.

The collections within Gilcrease Museum tell many powerful stories.”

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Marine (Retired) since 1968. With his combat experience in Vietnam, Jarvis not only served his country, but protected Vietnamese villagers in the many hamlets in the areas he was deployed. After his military service and a 40-year career in the information technology industry, Jarvis joined the Gillies in 2011. The personal qualities developed in the Marines continue to benefit him. He believes “the life lessons learned in the Marines have served me well as a volunteer at Gilcrease Museum.

I feel honored to interact with our guests and share with them the stories contained within the museum’s wonderful collection.”

Rod Schneider

enlisted in the United States Air Force in 1954 and soon became a pilot flying cargo planes around the world. He was selected for the Special Forces and spent a year in Vietnam as an Air Liaison Officer and Forward Air Controller. After his service in Vietnam, Schneider transferred to a Fighter Wing in England, which proved to be one of the most rewarding experiences of his career. Following his USAF service, he continued to fly as a corporate pilot, eventually flying for the Williams Companies, which brought him to the Tulsa area. Joining the Gillies in 2005, Schneider defines his Gillies’ service “as a truly wonderful experience.”

Fall / 2017

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For Those Who Served and Serve

Alan Jarvis has proudly carried the title of United States

By Mark Dolph, Associate Curator of History, Gilcrease Museum Earlier this year, Gilcrease Museum marked the centenary of America’s entry into World War I with the exhibition The Power of Posters: Mobilizing the Home Front to Win the Great War. For the remainder of 2017 until November 11, 2018, there will be many tributes paid to those who served our nation from April 6, 1917 until the armistice ending the war was signed as the clock struck “the eleventh hour of the eleventh day of the

Dr. Philip G. Cole with his wife Katharine Pyle Cole and their first child.

John Admire

Gilcrease Museum magazine

eleventh month” of 1918. These timely commemorations of the service and sacrifice for the Americans who helped “make the world safe for democracy” are honors well deserved. But as we remember those American doughboys of The Great War, let us not forget the service of those who followed them and continue to serve not only our country, but our local communities as well.

This ethos of service is manifest in Gilcrease Museum. A notable example is Dr. Philip Gillett Cole. In the years after his service in France during the First World War, Cole assembled an incredible collection of art that included works by Frederic Remington, Charles Russell and Joseph Henry Sharp among others. Upon Cole’s death in 1941, his vast collection became available for purchase. By early 1947, more than 600 objects of art and Cole’s extensive library collection had arrived in Tulsa to form the core of what in 1949 would become the Thomas Gilcrease Institute of American History and Art. This legacy of service continues to be well represented at Gilcrease Museum. The Gillies, the museum’s volunteer organization, are celebrating 50 years of museum service this year. Like Cole before them, many Gillies have served in our nation’s military. The University of Tulsa and Gilcrease Museum pay special tribute to all those who have served our country, and like the Gillies, continue to serve our community.

is a Major General, United States Marine Corps (Retired). His 43-year Marine career included a total of five combat tours and deployment in Vietnam, Iran-Iraq, and the Gulf War. He also served as the Senior Military Social Aide to the President, as the Marine Corps’ Legislative Liaison to the United States Congress, and as a member of General Colin Powell’s Joint Staff. Becoming a Gillie this past spring, Admire has come to more fully appreciate the power of art. As he is learning from his museum service, “Art can tell stories.

The collections within Gilcrease Museum tell many powerful stories.”

18

Marine (Retired) since 1968. With his combat experience in Vietnam, Jarvis not only served his country, but protected Vietnamese villagers in the many hamlets in the areas he was deployed. After his military service and a 40-year career in the information technology industry, Jarvis joined the Gillies in 2011. The personal qualities developed in the Marines continue to benefit him. He believes “the life lessons learned in the Marines have served me well as a volunteer at Gilcrease Museum.

I feel honored to interact with our guests and share with them the stories contained within the museum’s wonderful collection.”

Rod Schneider

enlisted in the United States Air Force in 1954 and soon became a pilot flying cargo planes around the world. He was selected for the Special Forces and spent a year in Vietnam as an Air Liaison Officer and Forward Air Controller. After his service in Vietnam, Schneider transferred to a Fighter Wing in England, which proved to be one of the most rewarding experiences of his career. Following his USAF service, he continued to fly as a corporate pilot, eventually flying for the Williams Companies, which brought him to the Tulsa area. Joining the Gillies in 2005, Schneider defines his Gillies’ service “as a truly wonderful experience.”

Fall / 2017

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Calendar of Events OCTOBER 1 Sunday Draws, 1-2:30 p.m.

For ages 8 and up. $5 members, $8 not-yet members.

5 Member Opening, 6-8 p.m. Kay WalkingStick: An American Artist.

6 From My Point of View, Noon.

Gallery 18. Laura Fry, Senior Curator, will discuss the 2018 exhibition, Albert Bierstadt: Witness to a Changing West.

6 First Friday Art Crawl, 6-9 p.m.

Zarrow Center. Enjoy the Brady Arts District and view Evolution of Color: Contemproary Native American Exhibition. Free.

7 Mini Masters, 10:30-11:30 a.m.

For ages 3-6, accompanied by caregiver.

10 Art Explorations, 10 a.m.-Noon.

Gallery 18. Free.

10 Mini Masters, Noon-1 p.m. For ages 3-6, accompanied by caregiver.

12, 13, 19, 20 Museum Babies, 10:30-11:30 a.m. For ages birth to not-yet 3, accompanied by caregiver.

14 & 15 Tulsa American Film Festival, Saturday: 1-5 p.m. and Sunday: 1-5 p.m. The festival showcases independent filmmakers from across the United States, with feature length and short films. Visit Gilcrease as we show independent films that focus on Native American life. Free.

15 Funday Sunday, noon-4 p.m. For families with children ages 3-15. Free.

20 Mini Masters, 10-11 a.m. and Noon-1:00 p.m. For ages 3-6, accompanied by caregiver.

21 Full STEAM Ahead, 1-3 p.m.

A new program that focuses on STEM and incorporates art into the mix. For ages 8-12. $8 for members, $10 for not-yet members.

27 Gilcrease After Hours, TBA. 7-9 p.m. Free.

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Gilcrease Museum magazine

28 Beginning Beading, 10 a.m.-4 p.m.

Renowned Cherokee beadwork artist Martha Berry will offer an all-day class on beginning beading. She specializes in traditional Southeastern Woodlands beadwork. The class will include instruction in bead edging, looped fringe, tassel making and appliqué, as well as other techniques. Students will create a purse. The fee covers all materials. $175 for members, $200 for not-yet members.

29 Exhibition Lecture, 2-3 p.m.

Kay Walkingstick: An American Artist.

Internationally award-winning Cherokee artist, Kay Walkingstick, will speak about her retrospective exhibition. There will be a book signing after the lecture in the Gilcrease Museum Store.

NOVEMBER 3 From My Point of View, Noon.

Tom Gilcrease Jr. Auditorium. After Removal: Rebuilding the Cherokee Nation.

Natalie Panther, PhD., programs officer, Helmerich Center for American Research, will review the inspiration that lead to the After Removal exhibition.

3 First Friday Art Crawl, 6-9 p.m.

Zarrow Center. Enjoy the Brady Arts District and view Evolution of Color: Contemproary Native American Exhibition. Free.

4 Learning the Cherokee (Tsalagi) Language, 1-2:30 p.m. Danielle Culp, former director of Diligwa at the Cherokee Heritage Center, as she discusses the written syllabary invented by Cherokee scholar Sequoyah and learn the spoken language shared by thousands of Cherokee citizens.

4 Mini Masters, 10:30-11:30 a.m.

For ages 3-6, accompanied by caregiver.

5 Sunday Draws, 1-2:30 p.m. For ages 8 and up. $5 members, $8 not-yet members.

7 Mini Masters, Noon-1 p.m. For ages 3-6, accompanied by caregiver.

9, 10, 16, 17 Museum Babies, 10:30-11:30 a.m. For ages birth to not-yet 3, accompanied by caregiver.

10 Holiday Music Performances, Various area schools, 2-3 p.m., Helmerich Hall.

14 Art Explorations, 10 a.m.-Noon.

Gallery 18. Free.

12 Art Explorations, 10 a.m.-Noon.

Gallery 18. Free.

17 Mini Masters, 10-11 a.m. and Noon-1:00 p.m. For ages 3-6, accompanied by caregiver.

15 Mini Masters, 10-11 a.m. and Noon -1 p.m. For ages 3-6, accompanied by caregiver.

17-19 Annual Bronze Sale, 10 a.m.5 p.m. Museum Store. Save 30 percent on all in-stock bronze sculptures. No additional discounts apply.

16 Full STEAM Ahead, 1-3 p.m.

A new program that focuses on STEM and incorporates art into the mix. For ages 8-12. $8 for members, $10 for not-yet members.

18 Full STEAM Ahead, 1-3 p.m.

A new program that focuses on STEM and incorporates art into the mix. For ages 8-12. $8 for members, $10 for not-yet members.

19 Funday Sunday, Noon-4 p.m. For families with children ages 3-15. Free.

17 Funday Sunday, Noon-4 p.m. For families with children ages 3-15. Free.

17 Holiday Music Performances, Various area schools, 2-3:30 p.m., Tom Gilcrease Jr. Auditorium.

17 Santa Claus Visits, 2:30-5 p.m. For famlies with children ages 3-15. Free.

19 Jazz Night, Performer TBA. Vista Room. 5:30-7:30 p.m. Galleries remain open until 8 p.m. Buffet dinner available for $8 per person.

December 27, 28, 29 Winter Wonderland and Workshops, 1-4 p.m. Join us for holiday activities that include music and performances, and visit our creation stations to make holiday works of art. For families with children ages 3-15.

Museum Exhibitions The Essence of Place: Celebrating the Photography of David Halpern November 21, 2016 – April 1, 2018 Enduring Spirit: Native American Art August 9, 2017 – Ongoing After Removal: Rebuilding the Cherokee Nation August 27, 2017 – January 21, 2018

DECEMBER 1-3 Members Holiday Sale, 10 a.m.5 p.m. Museum Store. Members save 25 percent on all in-stock merchandise.

No additional discounts apply. Complimentary gift wrapping available.

Hidden in Plain Sight: Unexpected Views of Gilcrease Museum September 12, 2017 – April 1, 2018

1 From My Point of View, Noon.

Gallery 18.

Kay WalkingStick: An American Artist October 6 – January 7, 2018

1 First Friday Art Crawl, 6-9 p.m.

Zarrow Center. Enjoy the Brady Arts District and view Monterey Pop. Free.

To Endure in Bronze Opens in December

2 Mini Masters, 10:30-11:30 a.m. For ages 3-6, accompanied by caregiver.

Student Art Exhibitions CREATIVE LEARNING CENTER GALLERY

3 Holiday Music Performances, Various area schools, 2-3 p.m., Helmerich Hall.

Through October 1 Catholic Home Educators October 3 – October 29 Tour de Quartz Oklahoma Arts Institute

3 Sunday Draws, 1-2:30 p.m. For ages 8 and up. $5 members, $8 not-yet members.

October 31 – November 26 Glenpool High School

5 Mini Masters, Noon-1 p.m. For ages 3-6, accompanied by caregiver.

November 28 – January 7, 2018 Northwoods Fine Arts Academy

7 & 8 Museum Babies, 10:3011:30 a.m. For ages birth to not-yet 3 accompanied by caregiver.

FOR DETAILED INFORMATION,

Fall / 2017 21 gilcrease.org/events

Calendar of Events OCTOBER 1 Sunday Draws, 1-2:30 p.m.

For ages 8 and up. $5 members, $8 not-yet members.

5 Member Opening, 6-8 p.m. Kay WalkingStick: An American Artist.

6 From My Point of View, Noon.

Gallery 18. Laura Fry, Senior Curator, will discuss the 2018 exhibition, Albert Bierstadt: Witness to a Changing West.

6 First Friday Art Crawl, 6-9 p.m.

Zarrow Center. Enjoy the Brady Arts District and view Evolution of Color: Contemproary Native American Exhibition. Free.

7 Mini Masters, 10:30-11:30 a.m.

For ages 3-6, accompanied by caregiver.

10 Art Explorations, 10 a.m.-Noon.

Gallery 18. Free.

10 Mini Masters, Noon-1 p.m. For ages 3-6, accompanied by caregiver.

12, 13, 19, 20 Museum Babies, 10:30-11:30 a.m. For ages birth to not-yet 3, accompanied by caregiver.

14 & 15 Tulsa American Film Festival, Saturday: 1-5 p.m. and Sunday: 1-5 p.m. The festival showcases independent filmmakers from across the United States, with feature length and short films. Visit Gilcrease as we show independent films that focus on Native American life. Free.

15 Funday Sunday, noon-4 p.m. For families with children ages 3-15. Free.

20 Mini Masters, 10-11 a.m. and Noon-1:00 p.m. For ages 3-6, accompanied by caregiver.

21 Full STEAM Ahead, 1-3 p.m.

A new program that focuses on STEM and incorporates art into the mix. For ages 8-12. $8 for members, $10 for not-yet members.

27 Gilcrease After Hours, TBA. 7-9 p.m. Free.

20

Gilcrease Museum magazine

28 Beginning Beading, 10 a.m.-4 p.m.

Renowned Cherokee beadwork artist Martha Berry will offer an all-day class on beginning beading. She specializes in traditional Southeastern Woodlands beadwork. The class will include instruction in bead edging, looped fringe, tassel making and appliqué, as well as other techniques. Students will create a purse. The fee covers all materials. $175 for members, $200 for not-yet members.

29 Exhibition Lecture, 2-3 p.m.

Kay Walkingstick: An American Artist.

Internationally award-winning Cherokee artist, Kay Walkingstick, will speak about her retrospective exhibition. There will be a book signing after the lecture in the Gilcrease Museum Store.

NOVEMBER 3 From My Point of View, Noon.

Tom Gilcrease Jr. Auditorium. After Removal: Rebuilding the Cherokee Nation.

Natalie Panther, PhD., programs officer, Helmerich Center for American Research, will review the inspiration that lead to the After Removal exhibition.

3 First Friday Art Crawl, 6-9 p.m.

Zarrow Center. Enjoy the Brady Arts District and view Evolution of Color: Contemproary Native American Exhibition. Free.

4 Learning the Cherokee (Tsalagi) Language, 1-2:30 p.m. Danielle Culp, former director of Diligwa at the Cherokee Heritage Center, as she discusses the written syllabary invented by Cherokee scholar Sequoyah and learn the spoken language shared by thousands of Cherokee citizens.

4 Mini Masters, 10:30-11:30 a.m.

For ages 3-6, accompanied by caregiver.

5 Sunday Draws, 1-2:30 p.m. For ages 8 and up. $5 members, $8 not-yet members.

7 Mini Masters, Noon-1 p.m. For ages 3-6, accompanied by caregiver.

9, 10, 16, 17 Museum Babies, 10:30-11:30 a.m. For ages birth to not-yet 3, accompanied by caregiver.

10 Holiday Music Performances, Various area schools, 2-3 p.m., Helmerich Hall.

14 Art Explorations, 10 a.m.-Noon.

Gallery 18. Free.

12 Art Explorations, 10 a.m.-Noon.

Gallery 18. Free.

17 Mini Masters, 10-11 a.m. and Noon-1:00 p.m. For ages 3-6, accompanied by caregiver.

15 Mini Masters, 10-11 a.m. and Noon -1 p.m. For ages 3-6, accompanied by caregiver.

17-19 Annual Bronze Sale, 10 a.m.5 p.m. Museum Store. Save 30 percent on all in-stock bronze sculptures. No additional discounts apply.

16 Full STEAM Ahead, 1-3 p.m.

A new program that focuses on STEM and incorporates art into the mix. For ages 8-12. $8 for members, $10 for not-yet members.

18 Full STEAM Ahead, 1-3 p.m.

A new program that focuses on STEM and incorporates art into the mix. For ages 8-12. $8 for members, $10 for not-yet members.

19 Funday Sunday, Noon-4 p.m. For families with children ages 3-15. Free.

17 Funday Sunday, Noon-4 p.m. For families with children ages 3-15. Free.

17 Holiday Music Performances, Various area schools, 2-3:30 p.m., Tom Gilcrease Jr. Auditorium.

17 Santa Claus Visits, 2:30-5 p.m. For famlies with children ages 3-15. Free.

19 Jazz Night, Performer TBA. Vista Room. 5:30-7:30 p.m. Galleries remain open until 8 p.m. Buffet dinner available for $8 per person.

December 27, 28, 29 Winter Wonderland and Workshops, 1-4 p.m. Join us for holiday activities that include music and performances, and visit our creation stations to make holiday works of art. For families with children ages 3-15.

Museum Exhibitions The Essence of Place: Celebrating the Photography of David Halpern November 21, 2016 – April 1, 2018 Enduring Spirit: Native American Art August 9, 2017 – Ongoing After Removal: Rebuilding the Cherokee Nation August 27, 2017 – January 21, 2018

DECEMBER 1-3 Members Holiday Sale, 10 a.m.5 p.m. Museum Store. Members save 25 percent on all in-stock merchandise.

No additional discounts apply. Complimentary gift wrapping available.

Hidden in Plain Sight: Unexpected Views of Gilcrease Museum September 12, 2017 – April 1, 2018

1 From My Point of View, Noon.

Gallery 18.

Kay WalkingStick: An American Artist October 6 – January 7, 2018

1 First Friday Art Crawl, 6-9 p.m.

Zarrow Center. Enjoy the Brady Arts District and view Monterey Pop. Free.

To Endure in Bronze Opens in December

2 Mini Masters, 10:30-11:30 a.m. For ages 3-6, accompanied by caregiver.

Student Art Exhibitions CREATIVE LEARNING CENTER GALLERY

3 Holiday Music Performances, Various area schools, 2-3 p.m., Helmerich Hall.

Through October 1 Catholic Home Educators October 3 – October 29 Tour de Quartz Oklahoma Arts Institute

3 Sunday Draws, 1-2:30 p.m. For ages 8 and up. $5 members, $8 not-yet members.

October 31 – November 26 Glenpool High School

5 Mini Masters, Noon-1 p.m. For ages 3-6, accompanied by caregiver.

November 28 – January 7, 2018 Northwoods Fine Arts Academy

7 & 8 Museum Babies, 10:3011:30 a.m. For ages birth to not-yet 3 accompanied by caregiver.

FOR DETAILED INFORMATION,

Fall / 2017 21 gilcrease.org/events

1400 N. GILCREASE MUSEUM ROAD TULSA, OK 74127-2100

A University of Tulsa/City of Tulsa Partnership The University of Tulsa does not discriminate on the basis of personal status or group characteristics including but not limited to the classes protected under federal and state law in its programs, services, aids, or benefits. Inquiries regarding implementation of this policy may be addressed to the Office of Human Resources, 800 South Tucker Drive, Tulsa, Oklahoma 74104-9700, 918-631-2616. Requests for accommodation of disabilities may be addressed to the University’s 504 Coordinator, Dr. Tawny Rigsby, 918-631-2315.

To ensure availability of an interpreter, five to seven days notice is needed; 48 hours is recommended for all other accommodations. TU#17267

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