Gilcrease Magazine – Fall 2018 by The University of Tulsa

GILCREASE MAGAZINE FALL 2018

ALBERT B I E R S TA D T Witness to a Changing West Discover the origins of the conservation movement in this landmark exhibition. Nov. 3, 2018 through Feb. 10, 2019

IN THIS ISSUE 08

GILCREASE MUSEUM AND T H E N AT U R E C O N S E R VA N C Y OF OKLAHOMA TEAM UP Learn about Gilcreaseâ&#x20AC;&#x2122;s newest partnership and the connection between a world-famous preserve and Albert Bierstadt

B I E R S TA D T P R O G R A M S AND EVENTS Join our member trip to the Tallgrass Prairie, and save the date for a special Albert Bierstadt exhibition wine dinner

F E AT U R E A R T I C L E

A L B E R T B I E R S TA D T: WITNESS TO A CHANGING WEST Explore how landscape artist Albert Bierstadt wielded his paintbrush to create a call to action for wildlife conservation

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VOLUME 27, NUMBER 4 FALL 2018

GILCREASE MAGAZINE

AMERICANS ALL! Discover immigrant artwork from the Gilcrease collection and the many contributions immigrants have made to American culture

FALL SYMPOSIUM Explore gender and identity in the West from multiple perspectives, expand on historical narratives and further the dialogue about the American West at the fall symposium

BEHIND THE SCENES Learn more about chief preparator Curt Selby and what it takes to work on the prep team

14 P R O G R A M S P O T L I G H T Learn how one Gilcrease educational program is reaching children beyond the museum walls

ON THE COVER Albert Bierstadt (American, b. Germany, 1830-1902). Yellowstone Falls, ca.1881. Oil on canvas, 44 ¼ x 30 ½ in. Buffalo Bill Center of the West, Cody, Wyoming. Gift of Mr. and Mrs. Lloyd Taggart. 2.63

15 B R U N C H W I T H A V I E W Plan to make The Restaurant at Gilcrease part of your next visit 16 A D A Y A T G I L C R E A S E Follow the adventures of the Fischer family as they spend a day exploring

JOIN US FOR GILCREASE AFTER HOURS Enjoy cocktails, live performances and our galleries open late on the last Friday of the month from 7 to 9 p.m. September 28 October 26

Gilcrease Museum Magazine / Fall / 2018

DIRECTOR’S REPORT Fast and Furious is the movie title I would choose to best describe my first year as Gilcrease’s executive director. Although marked by the loss of committed Gilcrease leaders, this year also brought great joy in working with a wonderful, multi-organizational team — Gilcrease, TU and the City of Tulsa — to implement our strategic plan, highlights of which include:  Engaging Gallagher and Associates to develop the Gilcrease Interpretive Plan  Securing new operating dollars to hire Learning and Community Engagement staff  Realigning existing resources to ensure resultsdriven marketing  Initiating a Gilcrease team focused solely on the visitor experience  Establishing the Duane King Fellows Program to further open the Gilcrease Archive and Bob Dylan ArchiveSM to researchers worldwide  Securing a second $250,000 IMLS grant to continue digitizing the Gilcrease collection  Growing an endowment toward a sustainable future  Completing all “Improve Our Tulsa” projects possible before Vision construction  Celebrating the 10-year anniversary of the TU, Gilcrease partnership and 50 plus years of Gillies volunteer support

The most important initiative among these achievements is the engagement of Gallagher and Associates, a world-renowned museum services firm, charged with developing the first interpretive plan in the museum’s history. Scheduled for completion this fall, the plan is charting a course for how Gilcrease will best serve the next generation. While Gilcrease has always had the capacity to be an economic engine for Tulsa, it is through this work that we are unlocking the vast collection and its importance to multiple generations, cultures and ethnicities. All of these efforts help us realize a deeper relationship with the residents of Tulsa and other stakeholders invested in Gilcrease. There is a heightened commitment by our team to deliver exciting, relevant experiences — both digitally and at the museum — that inspire joy, discovery and meaningful engagement to grow understanding of ourselves, our world and how we make it better. I’m thrilled to join you on this game-changing journey for Tulsa and Gilcrease, and I look forward to working for you as we continue to chart a new course for Tulsa’s most valuable treasure — Gilcrease Museum. Sincerely,

Susan Neal Executive Director of Gilcrease Museum and Helmerich Center for American Research Vice President for Public Affairs, The University of Tulsa

A M E S S A G E F R O M T H E N AT I O N A L A D V I S O R Y B O A R D C H A I R I am happy to serve as chairman of the Gilcrease National Advisory Board at an exciting moment in the museum’s history. We are fully engaged in planning the museum’s renovation and expansion that will launch in the coming year. The steps we take now are critically important to the future of the museum as well as to the residents of Tulsa, and I look forward to working with the National Advisory Board members, Gilcrease membership, staff and Gillies to ensure our success. In the nearly 70-year history of Gilcrease Museum, Tulsans have taken great pride in being home to the largest and finest collection of American art, artifacts and historical documents amassed by a single individual. That continued public pride and enthusiasm for Gilcrease was manifest in the Vision vote, which led to an extraordinary opportunity to realize a $65 million redevelopment of Tulsa’s most valuable asset. In an exciting step toward delivery of this project, the Gilcrease National Advisory Board supported the engagement of Gallagher and Associates, an international leader in museum and destination development. In collaboration with the Gilcrease staff, the Gallagher

team is charged with synthesizing the many stories within the Gilcrease collection to create an interpretive plan and a dynamic visitor experience. No small task given the collection covers more than 12,000 years of history. However, with leadership experience in such projects as the National Archive, numerous presidential libraries and world-renowned art museums within its portfolio, we believe Gallagher and Associates is a great choice to re-interpret the Gilcrease art and history holdings. The importance of the plan cannot be overstated as it will inform the architect selection process and provide the road map for the design team once selected. The Gilcrease Campaign will add private support to the monies approved by Tulsans with an additional goal of $50 million. We are nearing the half-point milestone of that important effort and are confident that, pending release of the Gallagher Plan and the architectural design concepts that will follow, the campaign’s momentum will continue to grow. I’d like to thank my predecessor, Jon Stuart, for his leadership, and I look forward to building on the good work accomplished in his tenure. I can’t imagine a more strategic time to be part of Gilcrease Museum’s story and want to extend thanks to the many members whose support plays an important role in this next chapter. Hans Helmerich Gilcrease Museum National Advisory Board Chair

GILCREASE MUSEUM NATIONAL ADVISORY BOARD Hans Helmerich, Chair Marc C. Maun, Vice Chair Carol M. Adelson Teresa B. Adwan James F. Arens II Alan S. Armstrong Joan B. Atkinson Max N. Berry James E. Bertelsmeyer Robert S. Boswell Douglas A. Campbell George S. Dotson Frederick F. Drummond Donna M. Dutton Cynthia Stephenson Field Randy A. Foutch Gregory Allen Gray Cheryl Groenendyke Elizabeth Griot Hagans William P. Healey Susan B. Jackson Kristen Kenneally David M. Leuschen Graydon D. Luthey, Jr. Marcia MacLeod Marcia V. Mayo Charles O. Meyers, Jr. Thomas Minckler Richard E. Muncrief Mia Oven Wilson Pipestem John D. Porter J. Terrell Siegfried Cameron O. Smith Jon R. Stuart Christy Vezolles Gilbert D. Waldman Randi Stuart Wightman Maxine Zarrow

Albert Bierstadt WITNESS TO A CHANGING WEST

By Laura Fry, Senior Curator and Curator of Art at Gilcrease Museum In the late 1880s, when American bison faced imminent extinction, artist Albert Bierstadt became a charter member of the new Boone & Crockett Club, the nation’s first conservation organization. At the initial meeting in 1888, the club determined their first priority — urging Congress to protect Yellowstone’s wildlife, particularly the bison. Exhibition organized by:

Gilcrease Museum’s 2018 exhibition season is sponsored by an anonymous donor in fond memory of Sam Miller. Generous support is also provided by the Maurice DeVinna Charitable Trust, Robin F. Ballenger and Merkel Family Foundation. Albert Bierstadt (American, born Germany, 1830-1902). Sierra Nevada Morning, 1870. Oil on canvas, 71.125 x 101 inches. Gilcrease Museum, Tulsa, Oklahoma. Gift of the Thomas Gilcrease Foundation, 1955. 0126.2305 Gilcrease Museum Magazine / Fall / 2018

ierstadt used his artistry to support the club’s call to action in his monumental painting The Last of the Buffalo. After decades of observing changes in the American West in the mid-19th century, Bierstadt stepped up as an advocate for native peoples and western wildlife. The painting formed a lament for the subjugation of indigenous peoples and a call to halt the wanton destruction of bison in the West. The exhibition Albert Bierstadt: Witness to a Changing West offers fresh perspectives on Bierstadt’s complex legacy and his contributions to debates about indigenous peoples, wildlife conservation and our national parks. The show presents more than 30 of Bierstadt’s original paintings from collections around the country, along with his engravings, photographs and illustrations. To provide a wider context for Bierstadt, the exhibition also includes a selection of artwork by

his fellow painters who influenced his work. Organized through a partnership between Gilcrease Museum and the Buffalo Bill Center of the West in Cody, Wyoming, this exhibition is currently on view at the Center of the West until September 30, 2018, and will be on view at Gilcrease Museum from November 3, 2018 through February 10, 2019. In 1859, fresh from studies in Europe, Bierstadt traveled west for the first time to present-day Wyoming. The young artist marveled at the lofty peaks of the Rockies and admired the Kansa, Pawnee, Arapaho, Sioux and Shoshone people he encountered. Bierstadt also found himself captivated by the endless herds of bison along the trail. His sketches from the journey, such as Head of Buffalo and Indian, show his early interest in Native Americans and alludes to their cultural and economic connections to bison.

PAINTER OF HISTORY Following his second trip westward in 1863, Bierstadt began expressing the epic scale of the American West in a series of immense, panoramic canvases, often combining scenes of Native American peoples in a spectacular mountain setting. While some critics admired his early paintings of the West, others lampooned Bierstadt’s combination of landscape painting with genre scenes of bustling Native American communities. Evidently the critics (and many Americans) preferred to imagine a West devoid of people, ripe for waves of new settlers. Bierstadt took this initial criticism to heart. Through most of his subsequent career, he rarely depicted native peoples in his large-scale “great pictures.” Bierstadt altered his focus and began painting pure landscapes, replacing human presence with bison and other animals, rendering wildlife as a symbol of a changing West.

FUN FACT Bison or Buffalo? Both terms refer to the same North American species. “Bison” is the proper scientific name. “Buffalo” is a popular synonym for the same animal, commonly used throughout American history.

NOVEMBER 3 Panel discussion featuring exhibition cocurators Laura Fry, Peter H. Hassrick and Karen McWhorter from 3 to 5 p.m.

But soon the outlook for America’s bison was shifting before Bierstadt’s very eyes. The completion of the Transcontinental Railroad in 1869 brought hordes of new hunters to the West, and the vast herds began to dwindle. In 1881, Bierstadt traveled to Yellowstone for the first time, a decade after the region was set aside as the world’s first national park. The park — especially its geysers — proved to be a fresh and exciting subject for the artist. But by the 1880s, bison and other large game animals had largely disappeared from the western plains and from the park itself, victim to unregulated hunting and poaching on a massive, continental scale. The Boone & Crockett Club’s call to action in 1888 came not a moment too soon.

NOVEMBER 18 Albert Bierstadt-themed Funday Sunday.

CONSERVATION TAKES CENTER STAGE In support of the Boone & Crockett Club’s appeal, Bierstadt’s painting The Last of the Buffalo depicts a single episode in a bison hunt as an allegory for the widespread changes taking place in the American West — and Bierstadt showed that both the bison and Native American people were hurtling toward disaster. In the lower left corner, the vacant eye sockets of a bleached bison skull stares straight at the viewer, an icy glare implicating all of America in this destruction and loss. The Last of the Buffalo helped make the public aware that the fates of Native Americans and the American bison in the West were under threat. In its time, the painting captured national and international attention. Bierstadt exhibited the painting in Paris, where it was visited by Lakota performers traveling with Buffalo Bill’s Wild West Show. In addition to being displayed in Europe, The Last of the Buffalo was reproduced as a photogravure print and distributed to a wide audience. «Albert Bierstadt (American, born Germany, 1830-1902). The Last of the Buffalo, ca. 1888. Oil on canvas, 60.25 x 96.5 inches. Buffalo Bill Center of the West, Cody, Wyoming. Gertrude Vanderbilt Whitney Trust Fund Purchase. 2.60

Albert Bierstadt (American, born Germany, 1830-1902). The Wolf River, Kansas, ca. 1859. Oil on canvas, 48.25 x 38.25 inches. Detroit Institute of Arts, Detroit, Michigan. Founders Society Purchase, Dexter M. Ferry, Jr. Fund. 61.28 Bridgeman Images

At the same time, the Boone & Crockett Club continued advocating for the bison’s survival. This combination of efforts produced tangible results with the passage of the National Park Protection Act in 1894, popularly known as the Lacey Act. The bill was signed into law by President Grover Cleveland and formed the beginning of effective federal protections for wild bison. By a hair’s breadth, America’s bison were saved from extinction. More than 100 years following Bierstadt’s death, debates about Native American sovereignty and conservation of natural resources continue to reverberate, notably in the 2016 pipeline protests at Standing

Rock Indian Reservation and in contentious ongoing debates about managing the Yellowstone bison herd as animals spread beyond the park's borders. Today, a re-examination of Albert Bierstadt’s work reveals historical precedents for concerns that continue to shape American discourse. Bierstadt’s approach to shifting cultures, landscapes and conservation efforts helped shape perceptions of a changing West, in his era and today. ■ Watch an interview with exhibition co-curator Laura Fry at gilcrease.org/bierstadt.

Gilcrease Museum Magazine / Fall / 2018

GILCREASE MUSEUM AND THE NATURE CONSERVANCY OF OKLAHOMA TEAM UP As one of the most highly anticipated exhibitions on the 2018 calendar, Gilcrease Museum is excited to team up with The Nature Conservancy of Oklahoma for Albert Bierstadt: Witness to a Changing West to highlight the impact Bierstadt’s work had on the conservation movement. While Bierstadt is most widely known for his beautiful landscape paintings of the American West, this exhibition examines him as a painter of history and shows how his work approached the conservation issues of his day. Through a partnership with The Nature Conservancy of Oklahoma, Gilcrease Museum invites visitors to take a deeper look at Bierstadt’s work to discover the environmental factors in his paintings that are still relevant to Oklahoma’s prairies today. “We are very excited about this new partnership with Gilcrease that will highlight the intimate intersection between nature and art,” said Mike Fuhr, state director of The Nature Conservancy of Oklahoma. “The natural world has been inspiring artists for centuries while also stirring conservation efforts around some of our most iconic landscapes.” 8

Critical to Bierstadt’s paintings is his treatment of bison and Native Americans — key subjects of his art. When viewed as a painter of history, it is easy to see the moral messages conveyed in his work: He aimed to preserve the dignity of native people, to reveal the mass killing of American bison and to inspire empathy for the dying species, particularly in Yellowstone National Park. “Conservation is such an important topic, and Bierstadt is one of the founders, a little known fact,” said Alison Rossi, Gilcrease director of learning and community engagement. “Additionally, this exhibition shows the important role art plays in shaping perceptions of our environment. In the coming months, this partnership will result in special lectures, panel discussions and family activities for our members and visitors alike.” Visit our website and stay connected through our weekly e-blast for upcoming programs and lectures in partnership with The Nature Conservancy of Oklahoma.

QUICK FACTS • TNC was created in 1951 to conserve the lands and waters on which all life depends. • TNC protects 11 preserves across Oklahoma. • TNC purchased the 32,000-acre Barnard Ranch in Oklahoma’s Osage Hills in 1989 and established the Joseph H. Williams Tallgrass Prairie Preserve. • The 39,650-acre Preserve is the largest protected remnant of tallgrass prairie left on Earth. • More than three dozen research projects are active on the preserve, and 180 publications in scientific journals have been produced. Learn more at nature.org/ tallgrass.

EXCLUSIVE MEMBERS TRIP TO TALLGRASS PRAIRIE PRESERVE November 2, 2018

Through our partnership with The Nature Conservancy of Oklahoma, Gilcrease Museum members are invited to experience the Tallgrass Prairie Preserve’s Annual Bison Round-Up on November 2. This unique event, which is not open to the public, provides an exclusive, behind-the-scenes conservation experience. Members will enjoy a continental breakfast, a curator-led tour of Albert Bierstadt: Witness to a Changing West, catered lunch and coach transportation to the Tallgrass Prairie Preserve. Witness part of the 2,700 head of bison being rounded-up and the cowboys working these giants through the corral with a personal guide. Harvey Payne, director emeritus of the Preserve, will colorfully detail the history of the Barnard Chapman Ranch where Ben Johnson often entertained John Wayne. Payne will also share other interesting aspects of the Tallgrass Prairie Preserve. Enjoy an authentic cowboy lunch catered by Bad Brad’s and learn the conservation strategies being implemented at the world’s largest protected remnant of tallgrass prairie. The cost is $60 per member; members may bring a not-yetmember guest for $80. Limited space available. Please register online at gilcrease.org/events, or contact Rachel Johnson at 918-596-2780 or rachel-johnson@utulsa.edu.

SCHEDULE 7:30 a.m. Breakfast at Gilcrease Museum 8:00 a.m. Tour of Albert Bierstadt: Witness to a Changing West with Laura Fry, senior curator and curator of art 8:30 a.m. Depart Gilcrease Museum. Bus ride discussion with Jenk Jones, a tour guide and board member for The Nature Conservancy of Oklahoma 10:30 a.m. Arrive at Tallgrass Prairie Preserve 11:30 a.m. Tour the Bison Round-Up 12:30 p.m. Barbeque lunch 3:30 p.m. Depart Tallgrass Prairie Preserve

ALBERT BIERSTADT EXHIBITION WINE DINNER November 16, 2018 | 6:30 p.m.

Join us for a special wine dinner featuring Ancien winemaker Ken Bernards and the exhibition Albert Bierstadt: Witness to a Changing West. Ancien wines are based on traditional winemaking that begins in the vineyard with rich soil and flavorful fruit. An emphasis on organic practices gives their wines a sense of place and is a perfect way to celebrate this exhibition and the American West. Gilcrease chef Lenny Borkowicz has created a four-course menu that pays homage to Bierstadt’s German heritage and is inspired by Bierstadt’s reverence for the natural landscape. Don’t miss this exclusive evening featuring some of the best the West has to offer. To view the menu and reserve your seat, please visit www.gilcrease.org/bierstadtdinner.

ABOUT KEN BERNARDS In 1992, Bernards made his first five barrels of Ancien Carneros Pinot Noir, marking the beginning of an ongoing quest for great Pinot Noirs. He has been living his dream making his own wines under the Ancien label since 1998. At Ancien, Bernards works exclusively with Pinot Noir, Chardonnay and Pinot Gris. Ken is the only winemaker to import grapes whole from France and then vinify them in California. Learn more at ancienwines.com. Gilcrease Museum Magazine / Fall / 2018

AMERICANS ALL! By Mark Dolph, Curator of History at Gilcrease Museum

s Gilcrease Museum approaches its 70th anniversary, we look forward to presenting our exceptional collections in fresh and relevant ways that resonate with our many diverse audiences. With the September 21, 2018, opening of Americans All!, we will do exactly that.

IMMIGRANT ARTISTS: THEN AND NOW Join us on September 21 at 1 p.m. for the Gilcrease Forum. Our speaker will be Gilcrease Museum Curator of History Mark Dolph who will discuss the new exhibition of Americans All! MAGIC CITY BOOKS PARTNERSHIP We’re excited to announce a new partnership with Tulsa’s own Magic City Books. The program will include a curated reading list, Gilcrease-Magic City Book Club and special author presentations. Visit gilcrease.org for the latest information.

The initial installation of Americans All! includes more than 50 paintings and sculptures celebrating well over 200 years of American art by 26 immigrant artists represented in the museum’s collection. Artists ranging from John James Audubon (Haiti), to Albert Bierstadt (Germany), to Leon Gaspard (Russia), to Emanuel Leutze (Germany), to Thomas Moran (England), Augustus Saint-Gaudens (Ireland), Jules Tavernier (France) and Olaf Wieghorst (Denmark) are just a few of those featured. For those familiar with the museum’s collections, Americans All! encourages you to examine beloved works in an unexpected context. For first-time visitors, Americans All! will demonstrate the museum’s commitment to inclusivity and sharing stories about not only our nation’s past, but its present and future. From its founding, the United States has been a nation of immigrants, and the current debates on immigration are nothing new. Immigration has always been, and will surely continue to be a front-of-mind issue with which Americans will grapple. Americans All! demonstrates that regardless of their origins, once here, immigrants have consistently contributed indispensable ingredients to the ongoing evolution of America’s cultural identity. During the period Thomas Gilcrease was actively building his collection, his interest in American history and preference of narrative art heavily influenced what he acquired. As a result, the museum's collection of immigrant artists is largely comprised of European immigrants. In a determined effort to ensure Americans All! resonates with those whose immigrant history

« Jules Tavernier, Indian Village, 0136.1222

Detail: Leon Gaspard, Indian Mother and Child, Gift of Dr. Edwin L. & Maxine Parker, GM 01.2567. Thomas Moran, Columbus Approaching San Salvadore, 0126.2343.

Thomas Moran, Hiawatha and the Great Sea Serpent, 0126.1115. Detail: José Antonio Pantoja Hernández, Exodus.

status confronting the challenges of being an "outsider."

and stories may be very different from European Americans, Americans All! will include an ongoing rotation of works by first-generation Tulsa area immigrant artists. This commitment to refresh Americans All! with works by contemporary artists is essential to presenting the continuum of immigrant contributions to art. Included are those of a Cuban political exile whose art makes timely, provocative comments on 21st-century issues; a Tulsa-area artist and teacher from Lebanon whose introspective frescos reflect his love of making art; and a haunting video performance by a young Mexican woman with Deferred Action for Childhood Arrivals (DACA)

At its core, Americans All! is dedicated to highlighting the many positive contributions immigrants have made and continue to make to American culture. This exhibition positions Gilcrease as a place where all visitors can consider these contributions, reflect on what it means to be an American and take a deeper look at those many “others” who have made and make such valuable contributions to American life. ■

Hear from contributing Tulsa immigrant artists José Antonio Pantoja Hernandez and Mazen Abufadil at gilrease.org/americansall.

Gilcrease Museum Magazine / Fall / 2018

FALL SYMPOSIUM

GENDER AND IDENTITY IN THE WEST October 12, 2018 9 a.m. – 3 p.m. Helmerich Center for American Research at Gilcrease Museum

Panelists:

Featured panelist Gregory Hinton

Laura Arata, Ph.D. Assistant Professor of History, Oklahoma State University Topic: “Whitewashing and White Hats: Creating the American Cowboy” Wade Blevins (Cherokee Nation), M.A. Cherokee language teacher, artist Topic: “Gender in Pre-Columbian Cultures and Tribal Communities Today” Johanna Blume, M.A. Associate Curator of Western Art, Eiteljorg Museum Topic: “Lillian Smith and the Miller Brothers 101 Ranch Wild West Show” Tracey Hanshew, Ph.D. Clinical Assistant Professor of History, Washington State University Tri-Cities Topic: “Wear a Bigger Bow: Working Cowgirls Accentuating Femininity in their Masculine Work” Gregory Hinton, B.A. California-based author, filmmaker, historian and lecturer Topic: “Curatorial Angst, or The Terrible Doubt of Appearances” Amy L. Scott, Ph.D. Associate Professor of History and Director of Women’s and Gender Studies, Bradley University Topic: “Alice Robertson and Gender Ideals in the Early 20th Century”

Gilcrease Museum holds a rich collection of artwork depicting the western United States. Created throughout the 19th and early 20th centuries, many of these artworks perpetuate a Euro-American narrative of the West as a wild frontier destined to be tamed by rugged, independent, heterosexual white males. Backed by the pseudoscience of the day that stressed the mental and physical superiority of white males, historical imagery of the American West often confirms and perpetuates this masculine ideal. However, Gilcrease is also home to various art and archival collections that reveal a more nuanced, complex, rich and diverse American West. These collections show that distinct communities challenged hegemonic manhood by creating new ideals of gender and masculinity in the West. “When we see the past through a narrow lens that glorifies one group at the expense of all others, we are more likely to tolerate presentday injustice,” said Dr. Natalie Panther, assistant director for Helmerich Center for American Research. “By exploring the varied histories of under-recognized populations, we discover an array of diverse experiences and human connections that existed in the past and continue today. The American West was and is home to communities and individuals whose behaviors and identities challenge the overly simplistic binary concept of gender and sexuality. We want to bring their stories and experiences into focus.” Join us as we explore gender and identity in the West from multiple perspectives, expand on historical narratives and further the dialogue about the human experience on October 12.

BEHIND THE SCENES with Curt Selby, chief preparator

From unpacking art to painting walls and guiding exhibition design, the Gilcrease Museum prep team is behind the scenes making it all happen. We sat down with Chief Preparator Curt Selby to learn more. Q: Where are you from? A: I grew up in Decatur, Illinois (go Cubs!). Q: How long have you worked at Gilcrease and in what roles? A: I have been at Gilcrease for almost six years. I started as a preparator and recently became the chief preparator in January of this year. Q: What does the prep team at Gilcrease do? A: We take care of all aspects of exhibition installation, and I mean everything — From unloading/loading trucks to unpacking art, assisting with layout and spacing, hanging art on the wall, lighting the artwork, creating exhibition graphics and text production, preparing pedestals for 3D and artifact objects and designing and fabrication of additional exhibition furniture: We do it all. Q: Who is on the prep team, and do you each have specific roles? A: In no particular order, prep team members are Patrick Geary, our exhibition designer; Jeff Brierly, our exhibition technician; Kelly Campbell, a preparator and me. Between the four of us, we have a broad range of overlapping skills, but also individual strengths. Patrick’s greatest strength his is strong artistic and esthetic sense, while Kelly is a master carpenter and mount maker and takes the lead on exhibition lighting. Jeff is our 3D specialist, with many years of experience working with bronze and stone sculpture. Q: What is the most challenging part of installing a new exhibition? A: Making sure the art is protected at all times. Q: Walk us through the planning process of installing a traveling exhibition. A: With a traveling exhibit, six to 12 months in advance we receive an “object list” and Patrick begins to figure how best to fit the exhibition into one of our galleries. Next, we quickly determine any casework and pedestal needs. Then, once a gallery is empty from a previous exhibition, we all begin painting, if necessary, and take care of in-house graphics, text panels, ID labels, wall clings, etc. When the art is finally delivered, we unload the trucks. The final process is laying out the exhibition, hanging the art, installing the casework/pedestals, fine-tuning the lighting and applying graphics.

Gilcrease Museum Magazine / Fall / 2018

GILCREASE IN THE COMMUNITY Library. “This program helped teach children the basic format of storytelling and demonstrated a creative way to tell a story through the creation of story cubes.” As Gilcrease expands its reach in the community, we are excited about the future and enhancing collaborations with TCCL to make a positive difference in the community. “Gilcrease belongs to the people,” said Rossi. “When local educational and cultural institutions collaborate, we amplify one another’s efforts to serve the public. We hope to build on the success of this summer and to continue our work with the libraries to meet the needs of our communities and inspire and engage Tulsans in new ways.”

GILCREASE TEAMS UP WITH YMCA TO SERVE 1,600 KIDS THE ART OF STORYTELLING This summer, Gilcrease launched a partnership with the Tulsa City-County Library (TCCL) as part of its 2018 Summer Reading Program to further foster literacy and connect reading to other disciplines — like art. In June, Gilcrease visited seven TCCL libraries to lead a series of one-hour programs tying storytelling, art and history together through interactive projects. “As a child growing up in Tulsa, visits to the library enriched my summers, opened up new worlds and encouraged exploration of topics that affected my life direction today,” said Alison Rossi, director of learning and community engagement at Gilcrease. “Libraries make a difference in our community, and we wanted to team up to cultivate literacy, including visual literacy, and introduce children to some of the lesser known but fantastic stories associated with our collections. With TCCL sites located across the county, this partnership allowed us to reach new audiences and heighten awareness of the museum's collection and programs.”

For the second year in a row, Gilcrease participated in the YMCA of Greater Tulsa’s Summer GO program. Located at Wright, Cecilia Clinton, Clinton West and Gilcrease elementary schools, students spent half the day working on core subjects and the other half focusing on the arts, science, technology, engineering, math, nutrition and coding. Gilcrease on Wheels provided a 45-minute program that included learning to lasso, dressing up as cowboys and cowgirls and handcrafting bolo ties all while learning about the museum. Reaching 1,600 kids during the past two summers, this program has allowed Gilcrease to further its relationship with Tulsa Public Schools students, many of whom have visited Gilcrease through Any Given Child first grade field trips.

Ranging in topics from the “Art of Conservation: Picturing the Great Outdoors” to “Sombreros and Spurs,” Gilcrease helped introduce children to artists and artworks featured in the collection, their historical context and relevance to current events. In total, three different programs were presented at seven TCCL sites. “Partnerships with institutions like Gilcrease Museum help the library achieve its goal of contributing to stronger communities by introducing the importance of life-long learning and literacy for all people throughout Tulsa County,” said Marilyn Tullis, assistant manager at Rudisill Regional

See what students are saying about Gilcrease on Wheels, another museum outreach program, at gilcrease.org/ gilcreaseonwheels.

BRUNCH WITH US! Fall is the perfect time to take in the colorful foliage of the Osage Hills at The Restaurant at Gilcrease. Offering an expansive buffet every Sunday from 11 a.m. to 3 p.m., make Sunday Brunch your new routine.

For reservations, call 918-596-2720. To view our menu, visit gilcrease.org/restaurant. We are now accepting reservations for Thanksgiving. Gilcrease Museum Magazine / Fall / 2018

A DAY AT GILCREASE F O L L O W I N G T H E F I S C H E R F A M I LY

Ford showing off the bones in the Kids Site.

The Fischer family (Doug, Valerie, Henry, Victor, Elizabeth, Emily, Ford, Frankie and Gus)

Emily ready for her close up.

What happens when you load up a family of nine with cameras and let them have the museum to themselves? A lot of fun! Follow the Fischer family’s day at Gilcrease as they toured the galleries and explored the Kravis Discovery Center. Capturing every moment along the way, it is easy to see why Gilcrease makes the perfect family outing.

Victor mastering his photography skills in “Enduring Spirit.”

Fischers pausing to take in the beauty of “Shoshone Falls on the Snake River” by Thomas Moran.

Elizabeth taking advantage of the opportunity to touch some of Gilcrease’s pottery.

Document your next visit and tag us, @GilcreaseMuseum

Gilcrease Museum Magazine / Fall / 2018

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#18034

SAVE THE DATE: JAZZ NIGHT! Enjoy live jazz, dinner, a cash bar and our galleries open late each quarter as we host Jazz Night in the beautiful Vista Room overlooking the Osage Hills. All performances take place 5:30-7:30 p.m., and our galleries are open until 8 p.m. The buffet dinner is $8.

Cloud Madonna, 1975. Acrylic on canvas. Collection of Charles and Karen Miller Nearburg, promised gift to the Hood Museum of Art, Dartmouth College, Dartmouth, New Hampshire, © 2018 Estate of T. C. Cannon.

September 18, 2018 - The Jazz Standard Quartet December 18, 2018 - Holiday Jazz featuring Leon Rollerson March 19, 2019 - Devre Jackson June 18, 2019 - TBA

MAIN NUMBER ......................918-596-2700

MUSEUM STORE ....................918-596-2725

gilcrease.org

TOURS .....................................918-596-2782

MUSEUM RESTAURANT ........918-596-2720