A University of Tulsa/City of Tulsa Partnership SPRING / 2015
Gilcrease Museum Magazine • Spring 2015
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V ol ume 2 3 , N u m b e r 2
In this Issue FEATURES 6 Rendezvous
6
12
8
16
Spring 2015
Walter Matia and Andy Thomas are the featured artists at this year’s Rendezvous.
8 Bluestem Honorees Dale McNamara and The Gillies were presented the Bluestem Award this year.
10 Meet the New Director James Pepper Henry becomes the 17th executive director of Gilcrease Museum.
12 California Dreaming Light and color are front and center in this upcoming exhibit of California impressionism.
16 Fingerprints from the Past Edgar Payne Rugged Peaks oil on canvas 53.5" x 51.5"
An astounding discovery was made when experts took a closer look at the museum’s Declaration of Independence.
18 ¡Yo Quiero West Mexico! More research on the museum’s collection of West Mexican ceramics turns up fascinating results.
O n the C o v er
SECTIONS
On the Beach, Donna Schuster, oil on canvas, 1917, 29 x 29, is one of the featured works in the California Impressionism: Selections from The Irvine Museum exhibition opening in May.
20 Museum News
10
21 Education Highlights 22 Calendar of Events
Like us on Facebook; follow us on Twitter, Instagram and Pinterest.
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Gilcrease Magazine
SPRING / 2015
3
V ol ume 2 3 , N u m b e r 2
In this Issue FEATURES 6 Rendezvous
6
12
8
16
Spring 2015
Walter Matia and Andy Thomas are the featured artists at this year’s Rendezvous.
8 Bluestem Honorees Dale McNamara and The Gillies were presented the Bluestem Award this year.
10 Meet the New Director James Pepper Henry becomes the 17th executive director of Gilcrease Museum.
12 California Dreaming Light and color are front and center in this upcoming exhibit of California impressionism.
16 Fingerprints from the Past Edgar Payne Rugged Peaks oil on canvas 53.5" x 51.5"
An astounding discovery was made when experts took a closer look at the museum’s Declaration of Independence.
18 ¡Yo Quiero West Mexico! More research on the museum’s collection of West Mexican ceramics turns up fascinating results.
O n the C o v er
SECTIONS
On the Beach, Donna Schuster, oil on canvas, 1917, 29 x 29, is one of the featured works in the California Impressionism: Selections from The Irvine Museum exhibition opening in May.
20 Museum News
10
21 Education Highlights 22 Calendar of Events
Like us on Facebook; follow us on Twitter, Instagram and Pinterest.
2
Gilcrease Magazine
SPRING / 2015
3
director’s report
New Era Begins at Gilcrease Museum in April
Susan Neal
Following a national search for a new executive director of The Thomas Gilcrease Institute of American History and Art, I am very pleased to announce the appointment of James Pepper Henry to the post. Jim emerged as the “right fit” among a very broad and very distinguished group of candidates. We are thrilled to have Jim at the helm of Gilcrease for its next phase of exciting growth. I hope you, our members and treasured supporters, share our enthusiasm. In addition to his evolving museum leadership positions, Jim shares a Native heritage with museum founder Thomas Gilcrease — both are of Muscogee (Creek) descent. Additionally, Jim is an enrolled member of the Kaw tribe and calls Oklahoma his ancestral home. Jim comes to us from the Heard Museum in Phoenix, Arizona. Under his direction, the Heard developed and curated the BUILD!: Toy Brick Art exhibition, which was the most successful summer exhibit in the museum’s history, increasing museum attendance by 58 percent and memberships by 150 percent. USA Today noted BUILD! as one of its “Top Ten must-see” exhibits in summer 2014. Prior to the Heard, he enjoyed a successful six-year tenure at the Anchorage Museum at Rasmuson Center, Alaska’s premier art, history and science institution. There, he oversaw the completion of the museum’s $110 million, 80,000-square-foot expansion. He is also a former associate director of the Smithsonian Institution’s National Museum of the American Indian (NMAI), where for nearly 10 years he managed a wide variety of American Indian community-oriented programs, services and traveling exhibitions. He played a pivotal role in the establishment and launch of NMAI, located on the National Mall in Washington, D.C., that opened to the public in 2004. It is no wonder that success has followed Jim to each institution he has led. Gilcrease Museum will be no different. Jim brings enthusiasm, energy and a desire to raise the profile of the museum to greater national acclaim and expand the local and regional “fan base.” Jim begins his new journey at Gilcrease on March 30. Having proudly served the museum in various capacities for many years, I know we are going to be in great hands. I look forward to working with Jim to expand on the progress we’ve made since The University of Tulsa and City of Tulsa partnership began nearly seven years ago. I hope to see you at the museum soon.
Susan Neal Vice President for Public Affairs, Research & Economic Development and Interim Chief Operating Officer of Gilcrease Museum
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Gilcrease Magazine
Frederic Remington (1861-1909) Buffalo Horse, bronze, 1907
A Message from the Gilcrease National Board Chair Spring is the season of new beginnings, so it is particularly appropriate that we celebrate our own “new beginning” at the Thomas Gilcrease Institute of American History and Art – our beloved Gilcrease Museum for short – with the arrival of James Pepper Henry as our new Cindy Field executive director. Jim joins us at a truly historic moment in the life of the museum. New buildings, new programs, and new exhibitions are positioning us well for membership expansion and rising national regard among artists and scholars. There are abundant opportunities in the coming weeks and months for members and friends to experience all the best that Gilcrease has to offer and perhaps to personally meet Jim Pepper Henry, too! Two of these are particularly notable, and we would welcome your attendance. The Rendezvous exhibition and art sale, which takes place on April 17, will feature the amazing sculpture and art of Walter Matia and Andy Thomas (see page 6-7). An exciting members-only preview event of the California Impressionism exhibition is on April 30 (see page 15). I hope you can join us for one or both of these important – and very fun – events. The discoveries presented by a group of international scholars at the inaugural symposium of the Helmerich Center for American Research (HCAR) has proven what many of us knew to be true: There are new discoveries to be made in the expansive archival materials that Thomas Gilcrease collected throughout his lifetime. Scholars from around the world are at this very moment unlocking the history of the Americas, and they are doing it on the grounds of Gilcrease Museum. Their findings will be presented at the HCAR inaugural symposium in late May. We will bring you an update in our next issue. It truly is a new season for Gilcrease, and we are very grateful that you are such an important part of it. On behalf of all the members of the Gilcrease National Board, thank you for all you continue to do for this national treasure. It is going to be an exciting year, indeed.
Allan Houser (1914-1994), Chiricahua Apache, Sacred Rain Arrow, bronze, 1988
Gilcrease National Board Cynthia Stephenson Field, Chair Jon R. Stuart, Vice Chair Cheryl Groenendyke, Secretary Joan B. Atkinson, Chair, Exhibitions & Programs Committee Hans C. Helmerich, Chair, Planning & Development Committee Thomas A. Petrie, Chair, Collections Committee Randy A. Foutch, Chair, Nominating Committee Steadman Upham, President, The University of Tulsa Carol M. Adelson • Teresa B. Adwan • James F. Arens II Robert L. Bayless, Jr. • Max N. Berry • James E. Bertelsmeyer Robert S. Boswell • Douglas A. Campbell • Sharon Coffman George S. Dotson • Donna M. Dutton • Frederick F. Drummond Charles R. Ford • E. Ann Graves • Gregory Allen Gray Elizabeth Griot Hagans • Kent J. Harrell • William P. Healey Susan B. Jackson • Kristen Kenneally • David M. Leuschen Marcia V. Mayo • Marcia M. MacLeod • Charles O. Meyers, Jr. Thomas Minckler • Mia Mascarin Oven • James P. Ronda J. Terrell Siegfried • Deacon Turner • Randi Stuart Wightman Maxine Zarrow
SPRING / 2015
5
director’s report
New Era Begins at Gilcrease Museum in April
Susan Neal
Following a national search for a new executive director of The Thomas Gilcrease Institute of American History and Art, I am very pleased to announce the appointment of James Pepper Henry to the post. Jim emerged as the “right fit” among a very broad and very distinguished group of candidates. We are thrilled to have Jim at the helm of Gilcrease for its next phase of exciting growth. I hope you, our members and treasured supporters, share our enthusiasm. In addition to his evolving museum leadership positions, Jim shares a Native heritage with museum founder Thomas Gilcrease — both are of Muscogee (Creek) descent. Additionally, Jim is an enrolled member of the Kaw tribe and calls Oklahoma his ancestral home. Jim comes to us from the Heard Museum in Phoenix, Arizona. Under his direction, the Heard developed and curated the BUILD!: Toy Brick Art exhibition, which was the most successful summer exhibit in the museum’s history, increasing museum attendance by 58 percent and memberships by 150 percent. USA Today noted BUILD! as one of its “Top Ten must-see” exhibits in summer 2014. Prior to the Heard, he enjoyed a successful six-year tenure at the Anchorage Museum at Rasmuson Center, Alaska’s premier art, history and science institution. There, he oversaw the completion of the museum’s $110 million, 80,000-square-foot expansion. He is also a former associate director of the Smithsonian Institution’s National Museum of the American Indian (NMAI), where for nearly 10 years he managed a wide variety of American Indian community-oriented programs, services and traveling exhibitions. He played a pivotal role in the establishment and launch of NMAI, located on the National Mall in Washington, D.C., that opened to the public in 2004. It is no wonder that success has followed Jim to each institution he has led. Gilcrease Museum will be no different. Jim brings enthusiasm, energy and a desire to raise the profile of the museum to greater national acclaim and expand the local and regional “fan base.” Jim begins his new journey at Gilcrease on March 30. Having proudly served the museum in various capacities for many years, I know we are going to be in great hands. I look forward to working with Jim to expand on the progress we’ve made since The University of Tulsa and City of Tulsa partnership began nearly seven years ago. I hope to see you at the museum soon.
Susan Neal Vice President for Public Affairs, Research & Economic Development and Interim Chief Operating Officer of Gilcrease Museum
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Gilcrease Magazine
Frederic Remington (1861-1909) Buffalo Horse, bronze, 1907
A Message from the Gilcrease National Board Chair Spring is the season of new beginnings, so it is particularly appropriate that we celebrate our own “new beginning” at the Thomas Gilcrease Institute of American History and Art – our beloved Gilcrease Museum for short – with the arrival of James Pepper Henry as our new Cindy Field executive director. Jim joins us at a truly historic moment in the life of the museum. New buildings, new programs, and new exhibitions are positioning us well for membership expansion and rising national regard among artists and scholars. There are abundant opportunities in the coming weeks and months for members and friends to experience all the best that Gilcrease has to offer and perhaps to personally meet Jim Pepper Henry, too! Two of these are particularly notable, and we would welcome your attendance. The Rendezvous exhibition and art sale, which takes place on April 17, will feature the amazing sculpture and art of Walter Matia and Andy Thomas (see page 6-7). An exciting members-only preview event of the California Impressionism exhibition is on April 30 (see page 15). I hope you can join us for one or both of these important – and very fun – events. The discoveries presented by a group of international scholars at the inaugural symposium of the Helmerich Center for American Research (HCAR) has proven what many of us knew to be true: There are new discoveries to be made in the expansive archival materials that Thomas Gilcrease collected throughout his lifetime. Scholars from around the world are at this very moment unlocking the history of the Americas, and they are doing it on the grounds of Gilcrease Museum. Their findings will be presented at the HCAR inaugural symposium in late May. We will bring you an update in our next issue. It truly is a new season for Gilcrease, and we are very grateful that you are such an important part of it. On behalf of all the members of the Gilcrease National Board, thank you for all you continue to do for this national treasure. It is going to be an exciting year, indeed.
Allan Houser (1914-1994), Chiricahua Apache, Sacred Rain Arrow, bronze, 1988
Gilcrease National Board Cynthia Stephenson Field, Chair Jon R. Stuart, Vice Chair Cheryl Groenendyke, Secretary Joan B. Atkinson, Chair, Exhibitions & Programs Committee Hans C. Helmerich, Chair, Planning & Development Committee Thomas A. Petrie, Chair, Collections Committee Randy A. Foutch, Chair, Nominating Committee Steadman Upham, President, The University of Tulsa Carol M. Adelson • Teresa B. Adwan • James F. Arens II Robert L. Bayless, Jr. • Max N. Berry • James E. Bertelsmeyer Robert S. Boswell • Douglas A. Campbell • Sharon Coffman George S. Dotson • Donna M. Dutton • Frederick F. Drummond Charles R. Ford • E. Ann Graves • Gregory Allen Gray Elizabeth Griot Hagans • Kent J. Harrell • William P. Healey Susan B. Jackson • Kristen Kenneally • David M. Leuschen Marcia V. Mayo • Marcia M. MacLeod • Charles O. Meyers, Jr. Thomas Minckler • Mia Mascarin Oven • James P. Ronda J. Terrell Siegfried • Deacon Turner • Randi Stuart Wightman Maxine Zarrow
SPRING / 2015
5
Contemporary Western art will take center stage at Gilcrease Museum in April as Rendezvous, the museum’s annual exhibition and art sale celebrates its’ 35th year of presenting the work of exemplary artists to admirers and collectors from across the country. Sculptor Walter Matia and painter Andy Thomas are the featured artists at the 2015 Rendezvous Exhibition and Art Sale. Both will have new works to offer buyers and collectors as well as numerous artworks depicting a retrospective of their life’s work. The 2015 artists will be inducted into the prestigious Rendezvous Hall of Fame.
Walter Matia Walter Matia was educated at Williams College in Massachusetts where he earned degrees in biology and art design. Much of his training was attained during a long apprenticeship in the exhibits department of the Cleveland Museum of Natural History. After leaving the Cleveland Museum, Matia worked for 11 years with the Nature Conservancy, a national nonprofit organization dedicated to the preservation of endangered species and unique habitats. He served as the organization’s vice president in charge of land management.
Matia began casting bronze sculptures in 1980. Initially he concentrated on bird life, and over the years he has worked on sporting dogs and other mammals. “I am a hunter, a fisherman, a bird watcher, a book collector, a lover of natural history curiosities, an undisciplined dog trainer, and some say, a good game cook. I enjoy these passions, which have their own rewards; but they also provide the narrative of my art,” Matia said. “I am a representational artist. I am not documenting or illustrating specific events; I am representing them. I see things in the wild. I then select shapes and organize the masses, lines and negative spaces into sculpture. My goal is to edit the details down to the artistic essentials. The overriding theme of my sculptures is motion.” Matia is a fellow of the National Sculpture Society, winner of their Gold and Bronze Medals along with numerous national awards. He lives in Maryland with his wife, Pam, and children Helen and Charlie.
Andy Thomas, Captains Courageous, oil on linen, 24" x 48", 2014
Andy Thomas Andy Thomas of Carthage, Missouri, is a painter of historical and western narratives. Many call Thomas the ‘Storyteller’. The use of strong storytelling, action and characters give a unique twist to his artwork, especially his western-themed paintings. Although noted for these western themes, Thomas doesn’t limit himself to just one subject or style. His passion is painting in the realism genre ranging from very loose to very tight. Thomas has painted many subjects from American history — from a picnic by the river, to kids playing sports, to a brutal bear fight. He tells the story of our lives through his painting. Over the years, Thomas has completed 29 major paintings for the National Park Service including Civil War battlefields at Fort Donelson, Fort Henry and Stones River in Tennessee, along with Pea Ridge in Arkansas. Additionally, he has painted the story of numerous Civil War events, primarily the TransMississippi theatre. He takes part in many prime western shows and auctions and has illustrated several books. Many of his images can be found on book covers, in magazine articles as well as historical
textbooks and documentary films. Maze Creek Studio published his books, The Artful Journey (2003) and The West in Action (2012). Prior to 1991, Thomas was a staff vice president of marketing services for Leggett & Platt, Inc. He has a bachelor’s degree in marketing management from Missouri Southern State University and is proud to be an inaugural member of the Russell Skull Society of Artists. Thomas and his wife, Dina, have worked together in the art world since 1991 while they raised their family of six children.
Gilcrease Museum thanks the following Rendezvous 2015 sponsors: The Gilcrease Council and The Zarrow Families Foundation. Exhibition season title sponsor is the Sherman E. Smith Family Charitable Foundation.
Meet the Artists Brunch
Saturday, April 18 – 11:00 a.m. - 1:00 p.m. The Restaurant at Gilcrease Museum. Reservations required.
Artist Talk with Walter Matia
Free with paid admission or event registration. Friday, April 17 – 1:30 p.m. Tom Gilcrease Jr. Auditorium
Artist Talk with Andy Thomas
Free with paid admission or event registration. Friday, April 17 – 10:30 a.m. Tom Gilcrease Jr. Auditorium
Walter Matia, Courage bronze, 24" x 32" x 15”, 2001
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Gilcrease Magazine
SPRING / 2015
7
Contemporary Western art will take center stage at Gilcrease Museum in April as Rendezvous, the museum’s annual exhibition and art sale celebrates its’ 35th year of presenting the work of exemplary artists to admirers and collectors from across the country. Sculptor Walter Matia and painter Andy Thomas are the featured artists at the 2015 Rendezvous Exhibition and Art Sale. Both will have new works to offer buyers and collectors as well as numerous artworks depicting a retrospective of their life’s work. The 2015 artists will be inducted into the prestigious Rendezvous Hall of Fame.
Walter Matia Walter Matia was educated at Williams College in Massachusetts where he earned degrees in biology and art design. Much of his training was attained during a long apprenticeship in the exhibits department of the Cleveland Museum of Natural History. After leaving the Cleveland Museum, Matia worked for 11 years with the Nature Conservancy, a national nonprofit organization dedicated to the preservation of endangered species and unique habitats. He served as the organization’s vice president in charge of land management.
Matia began casting bronze sculptures in 1980. Initially he concentrated on bird life, and over the years he has worked on sporting dogs and other mammals. “I am a hunter, a fisherman, a bird watcher, a book collector, a lover of natural history curiosities, an undisciplined dog trainer, and some say, a good game cook. I enjoy these passions, which have their own rewards; but they also provide the narrative of my art,” Matia said. “I am a representational artist. I am not documenting or illustrating specific events; I am representing them. I see things in the wild. I then select shapes and organize the masses, lines and negative spaces into sculpture. My goal is to edit the details down to the artistic essentials. The overriding theme of my sculptures is motion.” Matia is a fellow of the National Sculpture Society, winner of their Gold and Bronze Medals along with numerous national awards. He lives in Maryland with his wife, Pam, and children Helen and Charlie.
Andy Thomas, Captains Courageous, oil on linen, 24" x 48", 2014
Andy Thomas Andy Thomas of Carthage, Missouri, is a painter of historical and western narratives. Many call Thomas the ‘Storyteller’. The use of strong storytelling, action and characters give a unique twist to his artwork, especially his western-themed paintings. Although noted for these western themes, Thomas doesn’t limit himself to just one subject or style. His passion is painting in the realism genre ranging from very loose to very tight. Thomas has painted many subjects from American history — from a picnic by the river, to kids playing sports, to a brutal bear fight. He tells the story of our lives through his painting. Over the years, Thomas has completed 29 major paintings for the National Park Service including Civil War battlefields at Fort Donelson, Fort Henry and Stones River in Tennessee, along with Pea Ridge in Arkansas. Additionally, he has painted the story of numerous Civil War events, primarily the TransMississippi theatre. He takes part in many prime western shows and auctions and has illustrated several books. Many of his images can be found on book covers, in magazine articles as well as historical
textbooks and documentary films. Maze Creek Studio published his books, The Artful Journey (2003) and The West in Action (2012). Prior to 1991, Thomas was a staff vice president of marketing services for Leggett & Platt, Inc. He has a bachelor’s degree in marketing management from Missouri Southern State University and is proud to be an inaugural member of the Russell Skull Society of Artists. Thomas and his wife, Dina, have worked together in the art world since 1991 while they raised their family of six children.
Gilcrease Museum thanks the following Rendezvous 2015 sponsors: The Gilcrease Council and The Zarrow Families Foundation. Exhibition season title sponsor is the Sherman E. Smith Family Charitable Foundation.
Meet the Artists Brunch
Saturday, April 18 – 11:00 a.m. - 1:00 p.m. The Restaurant at Gilcrease Museum. Reservations required.
Artist Talk with Walter Matia
Free with paid admission or event registration. Friday, April 17 – 1:30 p.m. Tom Gilcrease Jr. Auditorium
Artist Talk with Andy Thomas
Free with paid admission or event registration. Friday, April 17 – 10:30 a.m. Tom Gilcrease Jr. Auditorium
Walter Matia, Courage bronze, 24" x 32" x 15”, 2001
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Gilcrease Magazine
SPRING / 2015
7
B L U E S T E M The annual Gilcrease Council Dinner was held February 24, 2015, and a host of Gilcrease Council donors, Gilcrease National Board members, museum friends and Gillies attended. The Council Dinner honors the individuals and organizations that make up the Gilcrease Council whose financial commitments have formed the foundation for a stronger, more vibrant museum. Oftentimes at the dinner, the Gilcrease Museum Bluestem Award is presented to give special recognition to individuals and groups that have profoundly shaped the museum through friendship and support. This year, two honorees were selected to receive the Bluestem Award — Dale McNamara, who chairs the City of Tulsa’s Park
A W A R D S Board and the Gilcrease Museum Board of Trustees; and The Gillies, the museum’s volunteer corps. McNamara’s committed stewardship of the museum includes her work helping to forge the 2007 management partnership between the City of Tulsa and The University of Tulsa. Then and now, her leadership makes her a key player in one of the most exciting chapters in the museum’s history. The Gillies were recognized for their decades-long commitment to Gilcrease Museum which began in 1967. Their volunteer service makes possible the museum’s mission of sharing its collection with the Tulsa community, and other visitors from around the world who come to experience the treasures amassed by Thomas Gilcrease.
Celebrating a Quarter Century of Service to Gilcrease Museum A memorable moment for Susan B. Jackson (known as Susie), came in 1997. As president of the Thomas Gilcrease Museum Association Board of Directors, she and her husband, Bob, were invited to travel to Washington, D.C., to attend the premier of the Thomas Moran Exhibition at the National Gallery of Art. The Moran exhibition ranks at Susie Jackson the top of Jackson’s favorites at Gilcrease. She recalls, “Many of the pieces in the exhibit were a part of the permanent Gilcrease collection. That was quite an evening!”
I am always awestruck when I walk into the gallery where the large Morans are hanging. As many times as I have seen them, I still am impressed by their magnificence. Cindy Field, chair of the Gilcrease National Board, welcomes guests to the Gilcrease Council Dinner.
Gillies present included: Del Shuler, Phyllis Logsdon, Jim Walker, Sally Tucker, Sondra Mullins, Marsha McElroy and Sharon Patch.
A crowd of Council members, National Board members and others gathered for a cocktail reception before the dinner.
Dale McNamara, left, is pictured here with Gilcrease Interim COO Susan Neal, and Sally Tucker, president of The Gillies.
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Gilcrease Magazine
Jackson joined the board in 1990; and from her first meeting, she says, it felt like a whole new world had opened. “I was so impressed with the vast collection of rare books, artifacts, sculptures and more that make Gilcrease Museum so special and unique. Around every corner there is something new to discover; and for me, an intended 30-minute visit nearly always turns into several hours.” “I am always awestruck when I walk into the gallery where the large Morans are hanging. As many times as I have seen them, I still am impressed by their magnificence,” she says. Moving on from the work of Moran, Jackson said she would like to see an exhibit of the museum’s collection of rare maps. “I’ve only seen a few of the many maps, but I believe seeing them in an exhibit would tell an exciting story of how our country was settled.” Jackson is currently a member of the Gilcrease National
Board. She sits on the programs and exhibitions committee and is particularly pleased about new programming offered to attract a younger audience. “There are many exciting programs that we are offering at the Henry Zarrow Center for Art and Education in downtown Tulsa, and one of our new outreach programs, ‘Gilcrease on Wheels,’ has proven to be a huge success reaching thousands of third graders in rural Oklahoma.” Jackson and her husband live in Bristow, a town of about 4,000. In addition to her time devoted to Gilcrease Museum, she volunteers for several community groups there and is a founding member of The Freeland Center Arts Council. “Our goal is to bring a variety of musical entertainment to Bristow four times each season. We have welcomed such diverse groups as Tulsa Opera, Asleep At The Wheel and Bravo Brass to the Bristow Performing Arts Center.” An avowed art lover, Jackson’s home is filled with diverse artwork including a collection of treasured works by Leonard Wren. “One of our favorite pieces is an oil Leonard painted for us years ago of two swans at Swan Lake in Tulsa.” There is also a painting of the Jacksons’ Angus cows that hangs over the mantle in the study. This work was done by Carole Klein, who recently retired as associate curator of art for Gilcrease Museum. “Certainly some of my favorite pieces of art are those by Carole Klein. I had seen a painting she did of Joe Chelakee, and I was so taken with her work that I asked her if she would paint a portrait of our children. That was over 20 years ago; and since that time, we have added several pieces of her art to our collection,” Jackson said. “Carole’s artwork makes me happy. I might add that Bob and I not only think she is an extremely talented artist, she has become a good friend.” The Jacksons not only champion the collection and programs of the museum, but are generous donors as well. Their latest gift was in support of the new Helmerich Center for American Research at Gilcrease Museum. The only wish Susie Jackson might not see in the near future at Gilcrease is an exhibit of French Impressionists. “I lived in Chicago for many years before moving to Tulsa, and my first experience with art was at The Art Institute and the Impressionist paintings in their private collection.” Perhaps she might settle for the California Impressionism exhibit opening at Gilcrease in May. SPRING / 2015
9
B L U E S T E M The annual Gilcrease Council Dinner was held February 24, 2015, and a host of Gilcrease Council donors, Gilcrease National Board members, museum friends and Gillies attended. The Council Dinner honors the individuals and organizations that make up the Gilcrease Council whose financial commitments have formed the foundation for a stronger, more vibrant museum. Oftentimes at the dinner, the Gilcrease Museum Bluestem Award is presented to give special recognition to individuals and groups that have profoundly shaped the museum through friendship and support. This year, two honorees were selected to receive the Bluestem Award — Dale McNamara, who chairs the City of Tulsa’s Park
A W A R D S Board and the Gilcrease Museum Board of Trustees; and The Gillies, the museum’s volunteer corps. McNamara’s committed stewardship of the museum includes her work helping to forge the 2007 management partnership between the City of Tulsa and The University of Tulsa. Then and now, her leadership makes her a key player in one of the most exciting chapters in the museum’s history. The Gillies were recognized for their decades-long commitment to Gilcrease Museum which began in 1967. Their volunteer service makes possible the museum’s mission of sharing its collection with the Tulsa community, and other visitors from around the world who come to experience the treasures amassed by Thomas Gilcrease.
Celebrating a Quarter Century of Service to Gilcrease Museum A memorable moment for Susan B. Jackson (known as Susie), came in 1997. As president of the Thomas Gilcrease Museum Association Board of Directors, she and her husband, Bob, were invited to travel to Washington, D.C., to attend the premier of the Thomas Moran Exhibition at the National Gallery of Art. The Moran exhibition ranks at Susie Jackson the top of Jackson’s favorites at Gilcrease. She recalls, “Many of the pieces in the exhibit were a part of the permanent Gilcrease collection. That was quite an evening!”
I am always awestruck when I walk into the gallery where the large Morans are hanging. As many times as I have seen them, I still am impressed by their magnificence. Cindy Field, chair of the Gilcrease National Board, welcomes guests to the Gilcrease Council Dinner.
Gillies present included: Del Shuler, Phyllis Logsdon, Jim Walker, Sally Tucker, Sondra Mullins, Marsha McElroy and Sharon Patch.
A crowd of Council members, National Board members and others gathered for a cocktail reception before the dinner.
Dale McNamara, left, is pictured here with Gilcrease Interim COO Susan Neal, and Sally Tucker, president of The Gillies.
8
Gilcrease Magazine
Jackson joined the board in 1990; and from her first meeting, she says, it felt like a whole new world had opened. “I was so impressed with the vast collection of rare books, artifacts, sculptures and more that make Gilcrease Museum so special and unique. Around every corner there is something new to discover; and for me, an intended 30-minute visit nearly always turns into several hours.” “I am always awestruck when I walk into the gallery where the large Morans are hanging. As many times as I have seen them, I still am impressed by their magnificence,” she says. Moving on from the work of Moran, Jackson said she would like to see an exhibit of the museum’s collection of rare maps. “I’ve only seen a few of the many maps, but I believe seeing them in an exhibit would tell an exciting story of how our country was settled.” Jackson is currently a member of the Gilcrease National
Board. She sits on the programs and exhibitions committee and is particularly pleased about new programming offered to attract a younger audience. “There are many exciting programs that we are offering at the Henry Zarrow Center for Art and Education in downtown Tulsa, and one of our new outreach programs, ‘Gilcrease on Wheels,’ has proven to be a huge success reaching thousands of third graders in rural Oklahoma.” Jackson and her husband live in Bristow, a town of about 4,000. In addition to her time devoted to Gilcrease Museum, she volunteers for several community groups there and is a founding member of The Freeland Center Arts Council. “Our goal is to bring a variety of musical entertainment to Bristow four times each season. We have welcomed such diverse groups as Tulsa Opera, Asleep At The Wheel and Bravo Brass to the Bristow Performing Arts Center.” An avowed art lover, Jackson’s home is filled with diverse artwork including a collection of treasured works by Leonard Wren. “One of our favorite pieces is an oil Leonard painted for us years ago of two swans at Swan Lake in Tulsa.” There is also a painting of the Jacksons’ Angus cows that hangs over the mantle in the study. This work was done by Carole Klein, who recently retired as associate curator of art for Gilcrease Museum. “Certainly some of my favorite pieces of art are those by Carole Klein. I had seen a painting she did of Joe Chelakee, and I was so taken with her work that I asked her if she would paint a portrait of our children. That was over 20 years ago; and since that time, we have added several pieces of her art to our collection,” Jackson said. “Carole’s artwork makes me happy. I might add that Bob and I not only think she is an extremely talented artist, she has become a good friend.” The Jacksons not only champion the collection and programs of the museum, but are generous donors as well. Their latest gift was in support of the new Helmerich Center for American Research at Gilcrease Museum. The only wish Susie Jackson might not see in the near future at Gilcrease is an exhibit of French Impressionists. “I lived in Chicago for many years before moving to Tulsa, and my first experience with art was at The Art Institute and the Impressionist paintings in their private collection.” Perhaps she might settle for the California Impressionism exhibit opening at Gilcrease in May. SPRING / 2015
9
James Pepper Henry Becomes New Executive Director at Gilcrease Museum ames Pepper Henry was going to make his
way to his new position at Gilcrease Museum via the famed Iditarod course in Alaska, but Mother Nature had other ideas. “Well, that was the plan, but I had to alter that based on the fact that they rerouted the Iditarod course due to lack of snow,” Pepper Henry said from his office at the Heard Museum, wrapping up his last days of work there. “There isn’t enough snow, so they’ve had to reroute the entire event. Instead of following the first several hundred miles of the Iditarod, I’ll be snowmobiling across an area near Mount McKinley and in south and east Denali. From snowmobiling across the Alaskan terrain, to performing traditional native dance at Kaw Nation Pow Wows, the new executive director of Gilcrease Museum has varied interests. As a student who studied sculpture, Pepper Henry had to take a job in museums to “subsidize” his art but stay close to the work. Eventually the museum work prevailed. Pepper Henry comes to Gilcrease Museum from the Heard Museum in Phoenix where he has served as director and CEO since 2013. Prior to the Heard, Pepper Henry enjoyed a successful sixyear tenure at the Anchorage Museum at Rasmuson Center, Alaska’s premier art, history and science institution. There, he oversaw the completion of the museum’s $110 million, 80,000-square-foot expansion. He also was a former associate director of the Smithsonian Institution’s National Museum of the American Indian, where he managed a wide variety of American Indian community-oriented programs, services and traveling exhibitions for nearly 10 years. “Moving to Oklahoma is a homecoming for me. I’m looking forward to coming back to my familial homeland and being a part of the Tulsa and greater Oklahoma community.” “I’m leaving one great American museum, the Heard, which is one of the finest American Indian museums in the world, to come to Gilcrease, which is a great museum of the Americas. Gilcrease not only is a great museum of American History and American Western art, but it also has tremendous ethnographic and anthropological collections,” Pepper Henry says.
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Gilcrease Magazine
James Pepper Henry visited Gilcrease Museum in 2013 as part of a group of directors from other museums across the country. Pictured, l to r: Pepper Henry; Shoshana Wasserman, director of Communications & Cultural Tourism for The American Indian Cultural Center and Museum; Kevin Gover, director, Smithsonian National Museum of the American Indian; Duane King, executive director of HCAR, and Rick West, director of Autry National Center.
He is excited to get to work with the Gilcrease collection. “I’m a fan of the grand landscape paintings such as Bierstadt’s Sierra Nevada Morning, and Moran’s Shoshone Falls, but I also like Blumenschein’s works,” he says. “Gilcrease also has the Ernest Emmett Thompson collection of Kaw cultural material. In fact, before it came to Gilcrease, the Thompson family transferred the material from the Ponca City Cultural Center to the Kanza Museum where I was director. I was once curator of that collection.” Pepper Henry is an enrolled member of the Kaw Nation, but is also affiliated with the Muscogee Creek Nation. His mother was of Kaw and Muscogee Creek descent, a shared Native Heritage he has with the museum’s founder, Thomas Gilcrease. “I have a lot to learn, but this is a great opportunity. There is much potential at Gilcrease, and the possibilities for educational programming and exhibitions utilizing the breadth of the Gilcrease collection are endless, as well as the opportunity to collaborate with other institutions around the country and the world.” Pepper Henry himself is an artist who has worked in bronze and ceramics, but he doesn’t find much time to create
From snowmobiling across the Alaskan terrain, to performing traditional native dance at Kaw Nation Pow Wows, the new executive director of Gilcrease Museum has varied interests. art these days. “I do have to jumpstart my art from time to time. But as a museum director, I get to help other artists, and I can live vicariously through their creative works. I like helping them,” he says. “I’m really excited about the possibilities of coming back and being a part of the community and growing the reputation of the museum. There is a great arts community in Oklahoma.”
James Pepper Henry shown here on his annual snowmobiling trek on the Iditarod course in Alaska.
SPRING / 2015
11
James Pepper Henry Becomes New Executive Director at Gilcrease Museum ames Pepper Henry was going to make his
way to his new position at Gilcrease Museum via the famed Iditarod course in Alaska, but Mother Nature had other ideas. “Well, that was the plan, but I had to alter that based on the fact that they rerouted the Iditarod course due to lack of snow,” Pepper Henry said from his office at the Heard Museum, wrapping up his last days of work there. “There isn’t enough snow, so they’ve had to reroute the entire event. Instead of following the first several hundred miles of the Iditarod, I’ll be snowmobiling across an area near Mount McKinley and in south and east Denali. From snowmobiling across the Alaskan terrain, to performing traditional native dance at Kaw Nation Pow Wows, the new executive director of Gilcrease Museum has varied interests. As a student who studied sculpture, Pepper Henry had to take a job in museums to “subsidize” his art but stay close to the work. Eventually the museum work prevailed. Pepper Henry comes to Gilcrease Museum from the Heard Museum in Phoenix where he has served as director and CEO since 2013. Prior to the Heard, Pepper Henry enjoyed a successful sixyear tenure at the Anchorage Museum at Rasmuson Center, Alaska’s premier art, history and science institution. There, he oversaw the completion of the museum’s $110 million, 80,000-square-foot expansion. He also was a former associate director of the Smithsonian Institution’s National Museum of the American Indian, where he managed a wide variety of American Indian community-oriented programs, services and traveling exhibitions for nearly 10 years. “Moving to Oklahoma is a homecoming for me. I’m looking forward to coming back to my familial homeland and being a part of the Tulsa and greater Oklahoma community.” “I’m leaving one great American museum, the Heard, which is one of the finest American Indian museums in the world, to come to Gilcrease, which is a great museum of the Americas. Gilcrease not only is a great museum of American History and American Western art, but it also has tremendous ethnographic and anthropological collections,” Pepper Henry says.
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Gilcrease Magazine
James Pepper Henry visited Gilcrease Museum in 2013 as part of a group of directors from other museums across the country. Pictured, l to r: Pepper Henry; Shoshana Wasserman, director of Communications & Cultural Tourism for The American Indian Cultural Center and Museum; Kevin Gover, director, Smithsonian National Museum of the American Indian; Duane King, executive director of HCAR, and Rick West, director of Autry National Center.
He is excited to get to work with the Gilcrease collection. “I’m a fan of the grand landscape paintings such as Bierstadt’s Sierra Nevada Morning, and Moran’s Shoshone Falls, but I also like Blumenschein’s works,” he says. “Gilcrease also has the Ernest Emmett Thompson collection of Kaw cultural material. In fact, before it came to Gilcrease, the Thompson family transferred the material from the Ponca City Cultural Center to the Kanza Museum where I was director. I was once curator of that collection.” Pepper Henry is an enrolled member of the Kaw Nation, but is also affiliated with the Muscogee Creek Nation. His mother was of Kaw and Muscogee Creek descent, a shared Native Heritage he has with the museum’s founder, Thomas Gilcrease. “I have a lot to learn, but this is a great opportunity. There is much potential at Gilcrease, and the possibilities for educational programming and exhibitions utilizing the breadth of the Gilcrease collection are endless, as well as the opportunity to collaborate with other institutions around the country and the world.” Pepper Henry himself is an artist who has worked in bronze and ceramics, but he doesn’t find much time to create
From snowmobiling across the Alaskan terrain, to performing traditional native dance at Kaw Nation Pow Wows, the new executive director of Gilcrease Museum has varied interests. art these days. “I do have to jumpstart my art from time to time. But as a museum director, I get to help other artists, and I can live vicariously through their creative works. I like helping them,” he says. “I’m really excited about the possibilities of coming back and being a part of the community and growing the reputation of the museum. There is a great arts community in Oklahoma.”
James Pepper Henry shown here on his annual snowmobiling trek on the Iditarod course in Alaska.
SPRING / 2015
11
In the early years of the 20th century, California produced a unique artistic style which combined several distinctive aspects of American and European art. This style, which is often called California Impressionism or California Plein Air painting, concerned itself with light and color. As a variant of the American Impressionist style, it focused directly on the abundant California light. Here, the land became the principal subject of this style, and it was represented as clean and unspoiled, with vigor and grandeur. The sun shone its light on the land and gave it color: greens of spring, browns of late summer and fall and everywhere, the deep blue mantle of the sky. In California, landscape painting was by far the most popular subject among its myriad painters. Where the French Impressionists yearned to capture the immediate moment, or the temporal fragment of societal activity, California’s Impressionists sought to catch the fleeting moment of specific natural light as it bathed the landscape. The clear and intense light of California, which appears so often in these paintings, defined the landscape. The biblical analogy of light as the
creative instrument is appropriate to the California landscape and the way artists addressed it; for without that unique light and the divine energy it represented, the land would not exist. Thus, the goal was to capture this striking visual sensation on canvas quickly, before the light changed. The key to achieving this goal was to get out of the studio and to paint outdoors, en plein air, and to accentuate the role of color to produce brilliant light effects. California Impressionism: Selections from The Irvine Museum opens May 3 and runs through September 6, 2015 at Gilcrease Museum. Some of the most popular works of art in The Irvine Museum’s collection will be displayed in this exhibition. Arcadian Hills by William Wendt (1865-1946) gets its title from the ancient Greek district of Arcadia, the idyllic paradise of legend and epic poetry. Titles echoing poetry and biblical passages are frequently seen on Wendt’s paintings as a way of praising the beauty and nobility of the California landscape, which he characterized as “Nature’s Temple.”
William Wendt, A Clear Day, oil on canvas, c. 1903, 30" x 40"
G. Gardner Symons, Southern California Coast, oil on canvas, 40.25" x 50"
California Dreaming
L
andscape painting
is a time-honored tradition that is inseparable from the spirit of American art. Indeed, from colonial times, American art has been governed by special circumstances unique to our country. Unlike Europe, American art was nurtured in the absence of empowered patronage, such as the monarchy or the church, both of which were powerful determinants in the progress of European art. Likewise, American artists retained a penchant for portraying genre, that is to say, the everyday character of American life. These “democratic” tendencies encouraged the espousal of landscape painting as the ideal vehicle for expressing the American spirit, as it created a metaphor of the American landscape as the fountainhead from which sprang the bounty and opportunity of rustic American life. Moreover, landscape painting afforded an avenue to express God and Nature as one, an understanding of spirituality that disavowed official religious patronage. When America emerged in the 19th century, it was with an art tradition that reflected what was paramount to American society — its people and its land.
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Gilcrease Magazine
SPRING / 2015
13
In the early years of the 20th century, California produced a unique artistic style which combined several distinctive aspects of American and European art. This style, which is often called California Impressionism or California Plein Air painting, concerned itself with light and color. As a variant of the American Impressionist style, it focused directly on the abundant California light. Here, the land became the principal subject of this style, and it was represented as clean and unspoiled, with vigor and grandeur. The sun shone its light on the land and gave it color: greens of spring, browns of late summer and fall and everywhere, the deep blue mantle of the sky. In California, landscape painting was by far the most popular subject among its myriad painters. Where the French Impressionists yearned to capture the immediate moment, or the temporal fragment of societal activity, California’s Impressionists sought to catch the fleeting moment of specific natural light as it bathed the landscape. The clear and intense light of California, which appears so often in these paintings, defined the landscape. The biblical analogy of light as the
creative instrument is appropriate to the California landscape and the way artists addressed it; for without that unique light and the divine energy it represented, the land would not exist. Thus, the goal was to capture this striking visual sensation on canvas quickly, before the light changed. The key to achieving this goal was to get out of the studio and to paint outdoors, en plein air, and to accentuate the role of color to produce brilliant light effects. California Impressionism: Selections from The Irvine Museum opens May 3 and runs through September 6, 2015 at Gilcrease Museum. Some of the most popular works of art in The Irvine Museum’s collection will be displayed in this exhibition. Arcadian Hills by William Wendt (1865-1946) gets its title from the ancient Greek district of Arcadia, the idyllic paradise of legend and epic poetry. Titles echoing poetry and biblical passages are frequently seen on Wendt’s paintings as a way of praising the beauty and nobility of the California landscape, which he characterized as “Nature’s Temple.”
William Wendt, A Clear Day, oil on canvas, c. 1903, 30" x 40"
G. Gardner Symons, Southern California Coast, oil on canvas, 40.25" x 50"
California Dreaming
L
andscape painting
is a time-honored tradition that is inseparable from the spirit of American art. Indeed, from colonial times, American art has been governed by special circumstances unique to our country. Unlike Europe, American art was nurtured in the absence of empowered patronage, such as the monarchy or the church, both of which were powerful determinants in the progress of European art. Likewise, American artists retained a penchant for portraying genre, that is to say, the everyday character of American life. These “democratic” tendencies encouraged the espousal of landscape painting as the ideal vehicle for expressing the American spirit, as it created a metaphor of the American landscape as the fountainhead from which sprang the bounty and opportunity of rustic American life. Moreover, landscape painting afforded an avenue to express God and Nature as one, an understanding of spirituality that disavowed official religious patronage. When America emerged in the 19th century, it was with an art tradition that reflected what was paramount to American society — its people and its land.
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Gilcrease Magazine
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One of the most popular paintings in this show is La Jolla Shores, painted in the early 1920s by Alfred R. Mitchell (1888-1972). The scene shows the community of La Jolla, just north of San Diego, as it looked long before the rampant development that characterize the area today. Mitchell was one of San Diego’s most important painters and most popular art teachers. In addition to numerous examples of California Impressionism, the exhibition also displays more progressive works, paintings that go somewhat beyond Impressionism and venture into Modernism. Macaw and Cockatoos, painted in 1926 by Jessie Arms Botke (1883-1971) is a brilliant example of how Art Deco made its impact on California Impressionism. What would otherwise be a beautiful, direct observation of exotic birds has been rendered a dazzling display of elegance and shimmer by the inclusion of the gold leaf background. Bathing Baby, by Elanor Colburn (1866-1939), was painted in Laguna Beach in 1930. Outwardly, the subject is simply a mother giving her baby a bath, but in fact, the painting is a masterpiece of dynamic symmetry, a Modernist style that relies on rhythmical repetitive symmetry in composition. On closer look, one can see an intricate system of lines connecting each corner and both the horizontal and vertical planes of the work.
Jessie Arms Botke, Macaw and Cockatoos, oil on board, 1926, 25" x 30"
Generally taken to be the most important of California’s Impressionist painters, Guy Rose (1867-1925) is represented by Laguna Eucalyptus, painted in Laguna Beach about 1916. One of the very few artists of this period to have been born and raised in California, Rose studied art in San Francisco and Paris and adopted a French Impressionist approach to painting. For eight years, between 1904 and 1912, Rose and his wife, Ethel, lived in the small village of Giverny and were friends and neighbors of Claude Monet. Laguna Eucalyptus was painted soon after Rose’s return to California. Southern California Coast, by George Gardner Symons (1861-1930) shows the coast at Laguna Beach near today’s community of Rockledge. Symons, who became quite
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Gilcrease Magazine
famous for his paintings of snow-covered hills and valleys in Massachusetts and New Hampshire, also loved to paint in southern California. A close friend of Wendt, Symons built a studio-home in Laguna Beach and became an active member of the local art community. Mountain Silence, painted by Paul Lauritz (1889-1975) in 1922, is a view of the California Sierra Nevada mountains on a bright, clear morning. The artist combines the majesty of the mountains with a sense of clear, crisp intense light so typical of the Sierra. This is achieved by adept handling of color and its application in a multitude of brightly colored dots of paint. The constant apparent motion caused by numberless dots of color gives the work its exceptional sense of natural, fluid light.
Elanor Colburn, Bathing Baby oil on canvas, 36" x 33"
Members Preview A members-only preview of California Impressionism will be held on April 30, 2015. A cocktail reception will begin at 6 p.m., and the galleries will be open until 8 p.m. Mark your calendar! Exhibition Lecture Jean Stern, executive director at The Irvine Museum, will present an illustrated lecture examining the principal Impressionist painters in California between 1895 and 1930 on Sunday, May 3, at 1:30 p.m. Choosing a number of works in the exhibition, he will discuss their merits and the contributions their creators made to the overall American Impressionism movement.
Frank Myers, Football Players, oil on canvas, 24" x 36"
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15
One of the most popular paintings in this show is La Jolla Shores, painted in the early 1920s by Alfred R. Mitchell (1888-1972). The scene shows the community of La Jolla, just north of San Diego, as it looked long before the rampant development that characterize the area today. Mitchell was one of San Diego’s most important painters and most popular art teachers. In addition to numerous examples of California Impressionism, the exhibition also displays more progressive works, paintings that go somewhat beyond Impressionism and venture into Modernism. Macaw and Cockatoos, painted in 1926 by Jessie Arms Botke (1883-1971) is a brilliant example of how Art Deco made its impact on California Impressionism. What would otherwise be a beautiful, direct observation of exotic birds has been rendered a dazzling display of elegance and shimmer by the inclusion of the gold leaf background. Bathing Baby, by Elanor Colburn (1866-1939), was painted in Laguna Beach in 1930. Outwardly, the subject is simply a mother giving her baby a bath, but in fact, the painting is a masterpiece of dynamic symmetry, a Modernist style that relies on rhythmical repetitive symmetry in composition. On closer look, one can see an intricate system of lines connecting each corner and both the horizontal and vertical planes of the work.
Jessie Arms Botke, Macaw and Cockatoos, oil on board, 1926, 25" x 30"
Generally taken to be the most important of California’s Impressionist painters, Guy Rose (1867-1925) is represented by Laguna Eucalyptus, painted in Laguna Beach about 1916. One of the very few artists of this period to have been born and raised in California, Rose studied art in San Francisco and Paris and adopted a French Impressionist approach to painting. For eight years, between 1904 and 1912, Rose and his wife, Ethel, lived in the small village of Giverny and were friends and neighbors of Claude Monet. Laguna Eucalyptus was painted soon after Rose’s return to California. Southern California Coast, by George Gardner Symons (1861-1930) shows the coast at Laguna Beach near today’s community of Rockledge. Symons, who became quite
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Gilcrease Magazine
famous for his paintings of snow-covered hills and valleys in Massachusetts and New Hampshire, also loved to paint in southern California. A close friend of Wendt, Symons built a studio-home in Laguna Beach and became an active member of the local art community. Mountain Silence, painted by Paul Lauritz (1889-1975) in 1922, is a view of the California Sierra Nevada mountains on a bright, clear morning. The artist combines the majesty of the mountains with a sense of clear, crisp intense light so typical of the Sierra. This is achieved by adept handling of color and its application in a multitude of brightly colored dots of paint. The constant apparent motion caused by numberless dots of color gives the work its exceptional sense of natural, fluid light.
Elanor Colburn, Bathing Baby oil on canvas, 36" x 33"
Members Preview A members-only preview of California Impressionism will be held on April 30, 2015. A cocktail reception will begin at 6 p.m., and the galleries will be open until 8 p.m. Mark your calendar! Exhibition Lecture Jean Stern, executive director at The Irvine Museum, will present an illustrated lecture examining the principal Impressionist painters in California between 1895 and 1930 on Sunday, May 3, at 1:30 p.m. Choosing a number of works in the exhibition, he will discuss their merits and the contributions their creators made to the overall American Impressionism movement.
Frank Myers, Football Players, oil on canvas, 24" x 36"
SPRING / 2015
15
Fingerprints on the Declaration of Independence
Fenella France of the Library of Congress visited Gilcrease Museum in January to examine several historic documents in the museum’s archival collection. Here she looks at the Certified Copy of the Declaration of Independence.
W Fenella G. France, Ph.D., Preservation Research and Testing Division Chief, Library of Congress
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Gilcrease Magazine
hen Fenella G. France, Ph.D. (U.S. Library of Congress) came to Gilcrease Museum in January to examine the founding documents of the United States in the archival collection, she was in for a surprise. She had heard about the certified copy of the Declaration of Independence signed by Benjamin Franklin and Silas Deane when they were U.S. Ambassadors to France. She knew about the Articles of Confederation and the letters of transmittal between Franklin and Baron von Schulenburg, Frederick the Great’s representative in Paris. She was also aware of the various letters and documents signed by founding fathers of this country, but she did not know if the documents would reveal any historical information other than that gleaned from the words of the typescripts of the originals. As chief of the Preservation and Testing Division of the Library of Congress, France had examined comparable documents in Washington, D.C. through a process called hyperspectral imaging. The technology has only recently been used in historic research. The process involves exposure to low levels of LED lighting, which is noninvasive and emits no heat for a fraction of a second, to examine successive layers of ink and watermarks, and determine the chemical components of the paper and ink with no risk to the paper itself. It is the equivalent of conducting an MRI. On the earliest draft of the Declaration of Independence held by the Library of Congress, France was able to determine that Thomas Jefferson had changed the word “subjects” to “citizens” although this revision was unseen by the naked eye. The evidence of the alteration was apparent only through hyperspectral imaging. France examined the Gilcrease documents in preparation for Library of Congress technicians coming to the Helmerich Center for American Research in February to do the imaging. She expected only to identify documents and not to make any discoveries in advance. But in a close visual examination, France noticed something that had eluded the many scholars who had previously studied the “birth certificate” of the United States in the Gilcrease Archives. On the museum’s certified copy of the Declaration, over the handwritten words “we have petitioned” are clearly visible the loops and whorls of a fingerprint preserved in possibly the same ink in which the document was written. The document may contain at least two identifiable prints of one of America’s founding fathers.
SPRING / 2015
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Fingerprints on the Declaration of Independence
Fenella France of the Library of Congress visited Gilcrease Museum in January to examine several historic documents in the museum’s archival collection. Here she looks at the Certified Copy of the Declaration of Independence.
W Fenella G. France, Ph.D., Preservation Research and Testing Division Chief, Library of Congress
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Gilcrease Magazine
hen Fenella G. France, Ph.D. (U.S. Library of Congress) came to Gilcrease Museum in January to examine the founding documents of the United States in the archival collection, she was in for a surprise. She had heard about the certified copy of the Declaration of Independence signed by Benjamin Franklin and Silas Deane when they were U.S. Ambassadors to France. She knew about the Articles of Confederation and the letters of transmittal between Franklin and Baron von Schulenburg, Frederick the Great’s representative in Paris. She was also aware of the various letters and documents signed by founding fathers of this country, but she did not know if the documents would reveal any historical information other than that gleaned from the words of the typescripts of the originals. As chief of the Preservation and Testing Division of the Library of Congress, France had examined comparable documents in Washington, D.C. through a process called hyperspectral imaging. The technology has only recently been used in historic research. The process involves exposure to low levels of LED lighting, which is noninvasive and emits no heat for a fraction of a second, to examine successive layers of ink and watermarks, and determine the chemical components of the paper and ink with no risk to the paper itself. It is the equivalent of conducting an MRI. On the earliest draft of the Declaration of Independence held by the Library of Congress, France was able to determine that Thomas Jefferson had changed the word “subjects” to “citizens” although this revision was unseen by the naked eye. The evidence of the alteration was apparent only through hyperspectral imaging. France examined the Gilcrease documents in preparation for Library of Congress technicians coming to the Helmerich Center for American Research in February to do the imaging. She expected only to identify documents and not to make any discoveries in advance. But in a close visual examination, France noticed something that had eluded the many scholars who had previously studied the “birth certificate” of the United States in the Gilcrease Archives. On the museum’s certified copy of the Declaration, over the handwritten words “we have petitioned” are clearly visible the loops and whorls of a fingerprint preserved in possibly the same ink in which the document was written. The document may contain at least two identifiable prints of one of America’s founding fathers.
SPRING / 2015
17
Tales from the Tomb: New Research on West Mexico Figures Provides Interesting Results New kinds of archaeological research are emerging at Gilcrease Museum. A brief “What’s new?” conversation between Dana Simon, a museum Gillie, and Bob Pickering, Ph.D., adjunct curator of anthropology at Gilcrease, led to a new collaboration with a local hospital that has produced some important results. The backstory begins with one of the most intriguing figures in Gilcrease’s collection of ancient West Mexico ceramic vessels — a dog figure with a human face mask. The style of the dog, a polished red ceramic, is known to be from West Mexico; it is called a “Colima polished red” style. Vessels representing a wide variety of animal, human, and plant forms in this style are known to archaeologists, collectors, and museums. However, a ceramic dog with a human face mask is another matter. In late 1889, renowned Mexican archaeologist, Manuel Gamio, illustrated a very similar dog.
Throughout much of Mesoamerica, and specifically in West Mexico, ceramic dog figures are found in tombs and associated with the dead. Two explanations have been suggested. The xoloitzcuintli, a medium-sized hairless dog, and a short-legged (tlalchichi) dog were the ancestors of modern Mexican breeds. In ancient times, the fat, shortlegged dogs were eaten. Including a ceramic version of such a dog in a tomb might be an offering to provide a special meal in the afterlife. However, dogs have another connotation. Dogs are associated with Xolotl, the earth monster that accompanied the sun through its journey through the underworld to be reborn each day in the east. This analogy suggests that the dog figures in the tombs might serve as guides for the deceased in their journey to rebirth. Gilcrease’s masked dog adds an additional symbolic twist to the story. However, before jumping into the debate, the curator’s first question is, “Is this item genuine?” To answer that question, this ceramic figure was one of the first to be examined using a medical endoscope (the same kind of endoscope used for
A Colima polished red dog figure from the museum’s collection of West Mexico ceramics recently underwent a CT scan to determine its authenticity.
physical exams on humans). Recently, the museum’s 40-yearold endoscope was replaced with a new digital, portable endoscope that provides much better imagery. Every hollow ceramic figure has a firing hole so that gases can escape during the firing process. The endoscope is inserted through this hole for a look inside the object. The preliminary exam worked well, but provided disappointing results. The inside of the body of the dog looked like the kind of fired clay that we expected. Pointing the endoscope into the head, whitish, plaster-like material covered the entire area and another material was observed to be adhering the face. The difference in the types of material indicated that the head portion was very different from the body. In fact, we suspected that the body of the dog was genuine but that the entire face had been modified; either heavily repaired or totally replaced. At this point in the story, we return to Dana Simon. After talking about the exam and problem, she introduced Pickering to her husband, Norman Simon, M.D., who then introduced museum staff to Craig Parker ARRT (R) and Heather Webb ARRT (R) (CT) of St. John Medical Center’s CT (computed tomography) unit. While the endoscope looks inside the ceramic figure, the CT scanner can penetrate the material, detecting materials of differing densities and showing them on the screen. Much to our chagrin, it appears that the Colima dog with the human face mask has been massively restored. Actually, the face, the important portion in this case, has been totally replaced
A computer image shows details from a CT scan of a Colima dog figure.
while the body of the dog is genuine. In the future, this dog will be excluded from research; and any display or imaging of this figure will include a note regarding the deception. Interesting to note that this figure was purchased by Thomas Gilcrease in the 1950s; an early date for this sophisticated deception. In December 2014, the Gilcrease team returned to the CT scan unit at St. John Medical Center with two magnificent West Mexican ceramic figures. Because these figures are more than 30 inches tall, they are sometimes called “monumentals” and are exceedingly rare. This scanning session explored how these finely crafted figures were constructed. The CT images will be used in a West Mexico exhibition that the museum is planning for 2016. The new exhibition will have a science section that highlights many different types of technology used to examine ancient figures. Using the hundreds of CT scans, visitors will be able to virtually fly-through these figures. Three-dimensional CT renderings will show details of the figures that are not visible to the naked eye. In archaeology, new ways of seeing objects often leads to new details and insights into the past. As the Gilcrease Museum-University of Tulsa collaboration deepens, and specialized technology like the CT unit at St. John becomes available, new research on the Gilcrease collections will accelerate, and the results will be presented in exhibitions, publications and programs.
A monumental West Mexican figure is scanned by the CT unit at St. John Medical Center. Findings will be highlighted during the Tales from the Tomb exhibit scheduled for 2016 at Gilcrease. SPRING / 2015
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Tales from the Tomb: New Research on West Mexico Figures Provides Interesting Results New kinds of archaeological research are emerging at Gilcrease Museum. A brief “What’s new?” conversation between Dana Simon, a museum Gillie, and Bob Pickering, Ph.D., adjunct curator of anthropology at Gilcrease, led to a new collaboration with a local hospital that has produced some important results. The backstory begins with one of the most intriguing figures in Gilcrease’s collection of ancient West Mexico ceramic vessels — a dog figure with a human face mask. The style of the dog, a polished red ceramic, is known to be from West Mexico; it is called a “Colima polished red” style. Vessels representing a wide variety of animal, human, and plant forms in this style are known to archaeologists, collectors, and museums. However, a ceramic dog with a human face mask is another matter. In late 1889, renowned Mexican archaeologist, Manuel Gamio, illustrated a very similar dog.
Throughout much of Mesoamerica, and specifically in West Mexico, ceramic dog figures are found in tombs and associated with the dead. Two explanations have been suggested. The xoloitzcuintli, a medium-sized hairless dog, and a short-legged (tlalchichi) dog were the ancestors of modern Mexican breeds. In ancient times, the fat, shortlegged dogs were eaten. Including a ceramic version of such a dog in a tomb might be an offering to provide a special meal in the afterlife. However, dogs have another connotation. Dogs are associated with Xolotl, the earth monster that accompanied the sun through its journey through the underworld to be reborn each day in the east. This analogy suggests that the dog figures in the tombs might serve as guides for the deceased in their journey to rebirth. Gilcrease’s masked dog adds an additional symbolic twist to the story. However, before jumping into the debate, the curator’s first question is, “Is this item genuine?” To answer that question, this ceramic figure was one of the first to be examined using a medical endoscope (the same kind of endoscope used for
A Colima polished red dog figure from the museum’s collection of West Mexico ceramics recently underwent a CT scan to determine its authenticity.
physical exams on humans). Recently, the museum’s 40-yearold endoscope was replaced with a new digital, portable endoscope that provides much better imagery. Every hollow ceramic figure has a firing hole so that gases can escape during the firing process. The endoscope is inserted through this hole for a look inside the object. The preliminary exam worked well, but provided disappointing results. The inside of the body of the dog looked like the kind of fired clay that we expected. Pointing the endoscope into the head, whitish, plaster-like material covered the entire area and another material was observed to be adhering the face. The difference in the types of material indicated that the head portion was very different from the body. In fact, we suspected that the body of the dog was genuine but that the entire face had been modified; either heavily repaired or totally replaced. At this point in the story, we return to Dana Simon. After talking about the exam and problem, she introduced Pickering to her husband, Norman Simon, M.D., who then introduced museum staff to Craig Parker ARRT (R) and Heather Webb ARRT (R) (CT) of St. John Medical Center’s CT (computed tomography) unit. While the endoscope looks inside the ceramic figure, the CT scanner can penetrate the material, detecting materials of differing densities and showing them on the screen. Much to our chagrin, it appears that the Colima dog with the human face mask has been massively restored. Actually, the face, the important portion in this case, has been totally replaced
A computer image shows details from a CT scan of a Colima dog figure.
while the body of the dog is genuine. In the future, this dog will be excluded from research; and any display or imaging of this figure will include a note regarding the deception. Interesting to note that this figure was purchased by Thomas Gilcrease in the 1950s; an early date for this sophisticated deception. In December 2014, the Gilcrease team returned to the CT scan unit at St. John Medical Center with two magnificent West Mexican ceramic figures. Because these figures are more than 30 inches tall, they are sometimes called “monumentals” and are exceedingly rare. This scanning session explored how these finely crafted figures were constructed. The CT images will be used in a West Mexico exhibition that the museum is planning for 2016. The new exhibition will have a science section that highlights many different types of technology used to examine ancient figures. Using the hundreds of CT scans, visitors will be able to virtually fly-through these figures. Three-dimensional CT renderings will show details of the figures that are not visible to the naked eye. In archaeology, new ways of seeing objects often leads to new details and insights into the past. As the Gilcrease Museum-University of Tulsa collaboration deepens, and specialized technology like the CT unit at St. John becomes available, new research on the Gilcrease collections will accelerate, and the results will be presented in exhibitions, publications and programs.
A monumental West Mexican figure is scanned by the CT unit at St. John Medical Center. Findings will be highlighted during the Tales from the Tomb exhibit scheduled for 2016 at Gilcrease. SPRING / 2015
19
Museum News
Education Highlights
Museum Hires New Chief Paper Conservator
Enroll Now for Summer Art Camp Summer Camp at Gilcrease Museum
After an extended search, Joanna Didik has been named chief paper conservator for Gilcrease Museum. Didik comes to Gilcrease from the National Archives in Dublin, Ireland, where she worked as a paper conservator. Prior to that, Didik served as conservator and head of the Section of Conservation and Reprography at the National Archive in Katowice, Poland. Didik holds a master of arts degree with a specialization in conservation and restoration of paper and leather from Nicholas Copernicus University in Torun, Poland. A native of Poland, Didik said, “My work is a great passion for me, whether it be hands on work with an object, collection care, or project management, I find it all challenging and deeply satisfying.” Didik will office in the Ann and Jack Graves Conservation Lab in the Helmerich Center for American Research at Gilcrease Museum. She joined the staff on February 23, 2015.
5-6 years old Monday-Friday • June 8-26; July 13-31, 2015 Cost is per week. Half-Day Class, 9 a.m. - 12 p.m. & 1- 4 p.m. $100/members, $125/not-yet members All-Day Class, 9 a.m. - 4 p.m. $200/members, $250/not-yet members Extended day, 4-5 p.m.: $25 per week per child Summer Camp at Gilcrease Museum will be an exciting and fun-filled time for kids to explore the museum and the gardens as well as learn about art and different cultures. Camp activities are designed to inspire art making. Registration is required, and scholarships are available. For more information about camp or a scholarship application, call 918-596-2774, or e-mail sarah-wright@utulsa.edu.
Summer Camp at the Henry Zarrow Center for Art and Education
Join the Gillies The Gillies, Gilcrease Museum’s volunteer service organization, are recruiting those interested in becoming museum volunteers. The next class of Gillies will begin training in September 2015. Gillies serve as docents, Kravis Discovery Center facilitators, outreach program speakers, museum store support and docents for tours of the Gilcrease gardens, as well as other areas where volunteers are needed throughout the museum. An open house at Gilcrease is planned for May 6, 2015 from 10:00 a.m. to noon. Anyone wishing to learn more about becoming a Gillie is invited to attend. For more information or to RSVP for the open house, please contact Mark Dolph at 918-596-2767, or e-mail mark-dolph@utulsa.edu.
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Gilcrease Magazine
Camp Cancellation & Refund Policy Cancellations received more than two weeks before the start date of a class will result in a full refund. Cancellations received less than two weeks before the start date of a class will not be eligible for a refund.
7-12 years old Monday-Friday • June 8-26; July 13-17; July 27-August 7, 2015 Cost is per week. Half-Day Class, 9 a.m. - 12 p.m. & 1 - 4 p.m. $100/members, $125/not-yet members All-Day Class, 9 a.m. - 4 p.m. $200/members, $250/not-yet members Extended day, 4-5 p.m.: $25 per week per child Youngsters can enjoy an exciting summer art camp adventure with eight weeks of morning, afternoon or all-day classes. Students will explore the Brady Arts District and participate in fun activities such as making glass art at the Tulsa Glass Studio. Daily shuttles to Gilcrease will be available for inspirational museum visits. Supervised lunch for all-day students is included. Call 918-631-4402, or e-mail cindy-williams@utulsa.edu.
Museum News
Education Highlights
Museum Hires New Chief Paper Conservator
Enroll Now for Summer Art Camp Summer Camp at Gilcrease Museum
After an extended search, Joanna Didik has been named chief paper conservator for Gilcrease Museum. Didik comes to Gilcrease from the National Archives in Dublin, Ireland, where she worked as a paper conservator. Prior to that, Didik served as conservator and head of the Section of Conservation and Reprography at the National Archive in Katowice, Poland. Didik holds a master of arts degree with a specialization in conservation and restoration of paper and leather from Nicholas Copernicus University in Torun, Poland. A native of Poland, Didik said, “My work is a great passion for me, whether it be hands on work with an object, collection care, or project management, I find it all challenging and deeply satisfying.” Didik will office in the Ann and Jack Graves Conservation Lab in the Helmerich Center for American Research at Gilcrease Museum. She joined the staff on February 23, 2015.
5-6 years old Monday-Friday • June 8-26; July 13-31, 2015 Cost is per week. Half-Day Class, 9 a.m. - 12 p.m. & 1- 4 p.m. $100/members, $125/not-yet members All-Day Class, 9 a.m. - 4 p.m. $200/members, $250/not-yet members Extended day, 4-5 p.m.: $25 per week per child Summer Camp at Gilcrease Museum will be an exciting and fun-filled time for kids to explore the museum and the gardens as well as learn about art and different cultures. Camp activities are designed to inspire art making. Registration is required, and scholarships are available. For more information about camp or a scholarship application, call 918-596-2774, or e-mail sarah-wright@utulsa.edu.
Summer Camp at the Henry Zarrow Center for Art and Education
Join the Gillies The Gillies, Gilcrease Museum’s volunteer service organization, are recruiting those interested in becoming museum volunteers. The next class of Gillies will begin training in September 2015. Gillies serve as docents, Kravis Discovery Center facilitators, outreach program speakers, museum store support and docents for tours of the Gilcrease gardens, as well as other areas where volunteers are needed throughout the museum. An open house at Gilcrease is planned for May 6, 2015 from 10:00 a.m. to noon. Anyone wishing to learn more about becoming a Gillie is invited to attend. For more information or to RSVP for the open house, please contact Mark Dolph at 918-596-2767, or e-mail mark-dolph@utulsa.edu.
20
Gilcrease Magazine
Camp Cancellation & Refund Policy Cancellations received more than two weeks before the start date of a class will result in a full refund. Cancellations received less than two weeks before the start date of a class will not be eligible for a refund.
7-12 years old Monday-Friday • June 8-26; July 13-17; July 27-August 7, 2015 Cost is per week. Half-Day Class, 9 a.m. - 12 p.m. & 1 - 4 p.m. $100/members, $125/not-yet members All-Day Class, 9 a.m. - 4 p.m. $200/members, $250/not-yet members Extended day, 4-5 p.m.: $25 per week per child Youngsters can enjoy an exciting summer art camp adventure with eight weeks of morning, afternoon or all-day classes. Students will explore the Brady Arts District and participate in fun activities such as making glass art at the Tulsa Glass Studio. Daily shuttles to Gilcrease will be available for inspirational museum visits. Supervised lunch for all-day students is included. Call 918-631-4402, or e-mail cindy-williams@utulsa.edu.
Gilcrease Calendar of Events April
12 Sunday Matinee Film
2 Kids Dig Books
Characters of the West, 10 a.m. For ages 3-6 accompanied by a caregiver.
3, 9, 10, 16, 17 Mini Masters
More Art Parts – Elements in Art. 10-11 a.m. For ages 3-6 accompanied by a caregiver. Galleries and Creative Learning Center
3 From My Point of View
Noon, Is Art Good for Us?, Joli Jensen, Ph.D., Hazel Rogers Professor of Communication, TU, PACCAR Classroom, Helmerich Center
Gilcrease Museum Exhibitions On Common Ground Ongoing Focus on Favorites: Masterworks from the Gilcrease Collection Ongoing Rendezvous Exhibition and Art Sale Opens April 16 through July 12, 2015 California Impressionism: Selections from The Irvine Museum Opens May 3 through September 6, 2015
3 First Friday Art Crawl 6-9 p.m., Zarrow Center. Free
7 & 21 Open Studio for Adult Artists 4-7 p.m., Zarrow Center
9 & 17 Museum Babies I
10:30 a.m. Ages birth-1 year with a caregiver
9 ZACH: Homeschool Teen Time 10-11:30 a.m. $10 members, $12 not-yet members, Zarrow Center
9 ZACH: Zarrow Art Classes for Homeschool 1:30-3 p.m. $10 members, $12 not-yet members, Zarrow Center
9 Watercolor & Wine
Zarrow Center Exhibitions
Sherman Smith Family Gallery Noon-6 p.m., Tuesday – Saturday; 1-5 p.m., Sunday • Admission is free. Rumbleville Opens April 3 through April 26, 2015 Books as Art Exhibition Opens May 1 through June 28, 2015
For detailed information, visit www.gilcrease.utulsa.edu.
6-8 p.m., $25 members, $30 not-yet members. Supplies furnished. Zarrow Center
10 & 16 Museum Babies II
10:30 a.m. Ages 1 and 2 with a caregiver
11 & 18 Mosaic House Number Plaques with Caryn Brown
1-4 p.m., $75 members; $85 notyet members. Supplies included. Zarrow Center
Rebel: Loreta Velazquez, Secret Soldier of the American Civil War. 1:30 & 2:45 p.m. Tom Gilcrease Jr. Auditorium
12 Drop-In Family Art Day
1 From My Point of View
“What you see is...What?” Cheryl Smallwood-Roberts, assistant curator, provides a revealing new look at ancient West Mexico ceramics. Noon, Gallery 18.
Celebrate Earth Day in the Park 1-4 p.m., Zarrow Center/Guthrie Green. Free
1 First Friday Art Crawl
13-16 Rendezvous 2015 Master Class with Andy Thomas
1 Exhibition Reception
9 a.m.-4 p.m., Zarrow Center. Enrollment required. Class size limited. Contact deborah-burke@utulsa.edu, 918-596-2768.
14 Art Explorations
California Impressionism. 10 a.m.-Noon, Gallery/The Study
17 Rendezvous 2015 Artists Talks
10:30 a.m. Andy Thomas; 1:30 p.m. Walter Matia. Tom Gilcrease Jr. Auditorium
19 Funday Sunday
Noon-4 p.m. Free. Families with children ages 3-15
19 Sunday Draws
1-2:30 p.m. $5 for members, $8 not-yet members. Ages 8 and up
24 Brown Bag Lunch Lecture
Rumbleville, Daniel Farnum, photographer. Noon-1 p.m., Zarrow Center
25 Spring Glass Fused Plate
1-3 p.m. Cost: Adults, 10" glass plate, $75; children 5 years and older, 8" cookie plate, $25. Zarrow Center
30 ZACH: Zarrow Art Classes for Homeschool
6-9 p.m., Zarrow Center. Free
Stories of Hope, 6-8 p.m. Zarrow Center’s Gilcrease Studios. A special exhibition by an array of patients, caregivers and stakeholders from Cancer Treatment Centers of America in Tulsa. Free
3 Sunday Draws
1-2:30 p.m. $5 for members, $8 not-yet members. Ages 8 and up
3 Exhibition Lecture
“California Impressionists Art”, 1:30 p.m., Jean Stern, executive director, The Irvine Museum. Tom Gilcrease Jr. Auditorium
5 & 19 Open Studio for Adult Artists 4-7 p.m., Zarrow Center
7 & 8 Chasing the Light
Plein air workshop with Kelli Folsom. 9 a.m.-4 p.m. Registration required. Contact Aubree Karner aubree-karner@utulsa.edu, 918-596-2793.
7 Kids Dig Books
Characters of the West. 10 a.m. For ages 3-6 accompanied by a caregiver.
7 Museum Babies I
10:30 a.m. Ages birth-1 year with a caregiver
10-11:30 a.m. or 1:30-3 p.m. $10 members, $12 not-yet members
8-10 Mother’s Day Jewelry Sale
May
8 Museum Babies II
1, 8, 14, 15 Mini Masters
Books as Art, Milissa Burkhart, book artist. Noon-1 p.m. Zarrow Center
More Art Parts – Elements in Art. 10-11 a.m., Galleries and Creative Learning Center. Ages 3-6 accompanied by a caregiver
25% off all jewelry
10:30 a.m. Ages 1 and 2 with a caregiver
8 Brown Bag Lunch Lecture 12 Art Explorations
10 a.m.-Noon, Gallery/The Study
Walter T. Matia, Rewards of First Light Maquette, 2012, 12" x 17" x 5"
14 ZACH: Homeschool Teen Time 10-11:30 a.m. $10 members, $12 not-yet members
16 Extended Pose Figure Drawing 1-5 p.m., Zarrow Center. $20
17 Funday Sunday
Noon-4 p.m. Free. Families with children ages 3-15
28 ZACH: Zarrow Art Classes for Homeschool
10-11:30 a.m. or 1:30-3 p.m. $10 members, $12 not-yet members
31 Sunday Matinee Film
Our Spirits Don’t Speak English: Indian Boarding School. 1:30 p.m. Free with paid admission. Tom Gilcrease Jr. Auditorium
June 2, 9, 16, 23, 30 Mini Masters
Art of the Land and Sea. 2-3 p.m. For ages 3-6 accompanied by a caregiver
5, 12, 19, 26 Mini Masters
Art of the Land and Sea. 10-11 a.m. For ages 3-6 accompanied by a caregiver
5, 12, 19, 26 Kids Dig Books
Life on the Northwest Coast. Noon-1 p.m. For ages 3-6 accompanied by a caregiver.
5 From My Point of View,
“When Fiction Masquerades As Fact: A Novel Find” in the Gilcrease Archives. Laura M. Stevens, Associate Professor of English, TU, Noon, Gallery 18..
5 First Friday Art Crawl 6-9 p.m., Zarrow Center. Free
7 Sunday Draws
1-2:30 p.m. $5 for members, $8 not-yet members. Ages 8 and up
8-12 Summer Art Camp
Animal Adventures. 9 a.m.-Noon, 1-4 p.m. For ages 5-6, $100/session, members; $125/session, not-yet members.
8-26 Summer Art Camp
9 a.m.-Noon or 1-4 p.m. For ages 7-12 at Zarrow Center. Half day, $100 members, $125 not-yet members. All day, $200 members, $250 not-yet members. Registration required.
9 Summer Kids Tours
Face Time with Superheroes. Tuesdays, Wednesdays, Thursdays, June and July. Contact the Tour Office, donna-gainey@ utulsa.edu, 918-596-2782.
14 Sunday Matinee Film
Art Colonies in America: The American Impressionists. 1:30 p.m. Free with paid admission. Tom Gilcrease Jr. Auditorium
15-19 Summer Art Camp
Garden Discoveries through Painting and 3D Garden World. 9 a.m.-Noon, 1-4 p.m. For ages 5-6, $100/session, members; $125/ session, not-yet members.
16 Jazz Night
Featuring 7 Blue Trio. Vista Room. 5:307:30 p.m. Free for Gilcrease Members. Galleries remain open until 8:00 p.m. Buffet dinner provided, $8 per person.
19-22 Father’s Day Sculpture Sale 25% off all bronze sculptures
21 Funday Sunday
Noon-4 p.m. Free. Families with children ages 3-15
22-26 Summer Art Camp
Impressions of the Land. 9 a.m.-Noon, 1-4 p.m. For ages 5-6, $100/session, members; $125/session, not-yet members.
Native American Treasures Trunk Show and Sale May 29-31 • 10:00 a.m.-5:00 p.m. • Museum Store
More than 1,000 pieces from Harold Finkelstein’s extensive portfolio will be featured in a trunk show, “Native American Treasures.” The pieces in the show and sale include contemporary and vintage Native American jewelry, hand-carved Zuni fetishes and other works of art. “Every piece was handcrafted in a home workshop,” says Finkelstein, who will be available throughout the show to answer questions and share stories. For more information, call the Museum Store at 918-596-2725. May 8-10 Mother’s Day Jewelry Sale.
22
Gilcrease Magazine
Rendezvous artist Andy Thomas, American Storytellers, oil on linen, 2010, 36" x 48"
SPRING / 2015
23
Gilcrease Calendar of Events April
12 Sunday Matinee Film
2 Kids Dig Books
Characters of the West, 10 a.m. For ages 3-6 accompanied by a caregiver.
3, 9, 10, 16, 17 Mini Masters
More Art Parts – Elements in Art. 10-11 a.m. For ages 3-6 accompanied by a caregiver. Galleries and Creative Learning Center
3 From My Point of View
Noon, Is Art Good for Us?, Joli Jensen, Ph.D., Hazel Rogers Professor of Communication, TU, PACCAR Classroom, Helmerich Center
Gilcrease Museum Exhibitions On Common Ground Ongoing Focus on Favorites: Masterworks from the Gilcrease Collection Ongoing Rendezvous Exhibition and Art Sale Opens April 16 through July 12, 2015 California Impressionism: Selections from The Irvine Museum Opens May 3 through September 6, 2015
3 First Friday Art Crawl 6-9 p.m., Zarrow Center. Free
7 & 21 Open Studio for Adult Artists 4-7 p.m., Zarrow Center
9 & 17 Museum Babies I
10:30 a.m. Ages birth-1 year with a caregiver
9 ZACH: Homeschool Teen Time 10-11:30 a.m. $10 members, $12 not-yet members, Zarrow Center
9 ZACH: Zarrow Art Classes for Homeschool 1:30-3 p.m. $10 members, $12 not-yet members, Zarrow Center
9 Watercolor & Wine
Zarrow Center Exhibitions
Sherman Smith Family Gallery Noon-6 p.m., Tuesday – Saturday; 1-5 p.m., Sunday • Admission is free. Rumbleville Opens April 3 through April 26, 2015 Books as Art Exhibition Opens May 1 through June 28, 2015
For detailed information, visit www.gilcrease.utulsa.edu.
6-8 p.m., $25 members, $30 not-yet members. Supplies furnished. Zarrow Center
10 & 16 Museum Babies II
10:30 a.m. Ages 1 and 2 with a caregiver
11 & 18 Mosaic House Number Plaques with Caryn Brown
1-4 p.m., $75 members; $85 notyet members. Supplies included. Zarrow Center
Rebel: Loreta Velazquez, Secret Soldier of the American Civil War. 1:30 & 2:45 p.m. Tom Gilcrease Jr. Auditorium
12 Drop-In Family Art Day
1 From My Point of View
“What you see is...What?” Cheryl Smallwood-Roberts, assistant curator, provides a revealing new look at ancient West Mexico ceramics. Noon, Gallery 18.
Celebrate Earth Day in the Park 1-4 p.m., Zarrow Center/Guthrie Green. Free
1 First Friday Art Crawl
13-16 Rendezvous 2015 Master Class with Andy Thomas
1 Exhibition Reception
9 a.m.-4 p.m., Zarrow Center. Enrollment required. Class size limited. Contact deborah-burke@utulsa.edu, 918-596-2768.
14 Art Explorations
California Impressionism. 10 a.m.-Noon, Gallery/The Study
17 Rendezvous 2015 Artists Talks
10:30 a.m. Andy Thomas; 1:30 p.m. Walter Matia. Tom Gilcrease Jr. Auditorium
19 Funday Sunday
Noon-4 p.m. Free. Families with children ages 3-15
19 Sunday Draws
1-2:30 p.m. $5 for members, $8 not-yet members. Ages 8 and up
24 Brown Bag Lunch Lecture
Rumbleville, Daniel Farnum, photographer. Noon-1 p.m., Zarrow Center
25 Spring Glass Fused Plate
1-3 p.m. Cost: Adults, 10" glass plate, $75; children 5 years and older, 8" cookie plate, $25. Zarrow Center
30 ZACH: Zarrow Art Classes for Homeschool
6-9 p.m., Zarrow Center. Free
Stories of Hope, 6-8 p.m. Zarrow Center’s Gilcrease Studios. A special exhibition by an array of patients, caregivers and stakeholders from Cancer Treatment Centers of America in Tulsa. Free
3 Sunday Draws
1-2:30 p.m. $5 for members, $8 not-yet members. Ages 8 and up
3 Exhibition Lecture
“California Impressionists Art”, 1:30 p.m., Jean Stern, executive director, The Irvine Museum. Tom Gilcrease Jr. Auditorium
5 & 19 Open Studio for Adult Artists 4-7 p.m., Zarrow Center
7 & 8 Chasing the Light
Plein air workshop with Kelli Folsom. 9 a.m.-4 p.m. Registration required. Contact Aubree Karner aubree-karner@utulsa.edu, 918-596-2793.
7 Kids Dig Books
Characters of the West. 10 a.m. For ages 3-6 accompanied by a caregiver.
7 Museum Babies I
10:30 a.m. Ages birth-1 year with a caregiver
10-11:30 a.m. or 1:30-3 p.m. $10 members, $12 not-yet members
8-10 Mother’s Day Jewelry Sale
May
8 Museum Babies II
1, 8, 14, 15 Mini Masters
Books as Art, Milissa Burkhart, book artist. Noon-1 p.m. Zarrow Center
More Art Parts – Elements in Art. 10-11 a.m., Galleries and Creative Learning Center. Ages 3-6 accompanied by a caregiver
25% off all jewelry
10:30 a.m. Ages 1 and 2 with a caregiver
8 Brown Bag Lunch Lecture 12 Art Explorations
10 a.m.-Noon, Gallery/The Study
Walter T. Matia, Rewards of First Light Maquette, 2012, 12" x 17" x 5"
14 ZACH: Homeschool Teen Time 10-11:30 a.m. $10 members, $12 not-yet members
16 Extended Pose Figure Drawing 1-5 p.m., Zarrow Center. $20
17 Funday Sunday
Noon-4 p.m. Free. Families with children ages 3-15
28 ZACH: Zarrow Art Classes for Homeschool
10-11:30 a.m. or 1:30-3 p.m. $10 members, $12 not-yet members
31 Sunday Matinee Film
Our Spirits Don’t Speak English: Indian Boarding School. 1:30 p.m. Free with paid admission. Tom Gilcrease Jr. Auditorium
June 2, 9, 16, 23, 30 Mini Masters
Art of the Land and Sea. 2-3 p.m. For ages 3-6 accompanied by a caregiver
5, 12, 19, 26 Mini Masters
Art of the Land and Sea. 10-11 a.m. For ages 3-6 accompanied by a caregiver
5, 12, 19, 26 Kids Dig Books
Life on the Northwest Coast. Noon-1 p.m. For ages 3-6 accompanied by a caregiver.
5 From My Point of View,
“When Fiction Masquerades As Fact: A Novel Find” in the Gilcrease Archives. Laura M. Stevens, Associate Professor of English, TU, Noon, Gallery 18..
5 First Friday Art Crawl 6-9 p.m., Zarrow Center. Free
7 Sunday Draws
1-2:30 p.m. $5 for members, $8 not-yet members. Ages 8 and up
8-12 Summer Art Camp
Animal Adventures. 9 a.m.-Noon, 1-4 p.m. For ages 5-6, $100/session, members; $125/session, not-yet members.
8-26 Summer Art Camp
9 a.m.-Noon or 1-4 p.m. For ages 7-12 at Zarrow Center. Half day, $100 members, $125 not-yet members. All day, $200 members, $250 not-yet members. Registration required.
9 Summer Kids Tours
Face Time with Superheroes. Tuesdays, Wednesdays, Thursdays, June and July. Contact the Tour Office, donna-gainey@ utulsa.edu, 918-596-2782.
14 Sunday Matinee Film
Art Colonies in America: The American Impressionists. 1:30 p.m. Free with paid admission. Tom Gilcrease Jr. Auditorium
15-19 Summer Art Camp
Garden Discoveries through Painting and 3D Garden World. 9 a.m.-Noon, 1-4 p.m. For ages 5-6, $100/session, members; $125/ session, not-yet members.
16 Jazz Night
Featuring 7 Blue Trio. Vista Room. 5:307:30 p.m. Free for Gilcrease Members. Galleries remain open until 8:00 p.m. Buffet dinner provided, $8 per person.
19-22 Father’s Day Sculpture Sale 25% off all bronze sculptures
21 Funday Sunday
Noon-4 p.m. Free. Families with children ages 3-15
22-26 Summer Art Camp
Impressions of the Land. 9 a.m.-Noon, 1-4 p.m. For ages 5-6, $100/session, members; $125/session, not-yet members.
Native American Treasures Trunk Show and Sale May 29-31 • 10:00 a.m.-5:00 p.m. • Museum Store
More than 1,000 pieces from Harold Finkelstein’s extensive portfolio will be featured in a trunk show, “Native American Treasures.” The pieces in the show and sale include contemporary and vintage Native American jewelry, hand-carved Zuni fetishes and other works of art. “Every piece was handcrafted in a home workshop,” says Finkelstein, who will be available throughout the show to answer questions and share stories. For more information, call the Museum Store at 918-596-2725. May 8-10 Mother’s Day Jewelry Sale.
22
Gilcrease Magazine
Rendezvous artist Andy Thomas, American Storytellers, oil on linen, 2010, 36" x 48"
SPRING / 2015
23
1400 N. Gilcrease Museum Road Tulsa, OK 74127-2100
Landscapes and Soundscapes: A TU Composers Installation at Gilcrease April 4 • 2-3:30 p.m.
MAIN NUMBER............................... 918-596-2700 TOLL FREE........................................ 888-655-2278 FAX.................................................... 918-596-2770
Join us for a special concert by students from The University of Tulsa School of Music, as they present new compositions inspired by works of art at Gilcrease Museum. Nine emerging artists will perform new works composed specifically for this program. Pieces will be heard in the museum galleries where the inspirational artworks are located. Each program section, lasting 20 minutes in length, will occur simultaneously in multiple galleries. Repetitions of the sections will be repeated as the audience
moves to the next performance space. A reception will be held immediately following the concert in the Vista Room, where visitors can meet the composers and discuss the performances. This performance is underwritten by
Contact Gilcrease Museum
TOURS.............................................. 918-596-2782 DEVELOPMENT................................ 918-596-2758 PUBLIC Relations........................ 918-596-2752 MEMBERSHIP.................................. 918-596-2758 support-gilcrease@utulsa.edu MUSEUM Store............................. 918-596-2725 EDUCATION...................................... 918-596-2768 GILCREASE LIBRARY...................... 918-631-6441 Administration.......................... 918-596-2754 Museum RESTAURANT................. 918-596-2720 FACILITY EVENTS............................ 918-596-2771 HELMERICH CENTER AT GILCREASE................................. 918-631-6400 gilcrease.utulsa.edu ©2015, Gilcrease Museum
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 24 of this Gilcrease implementation policy may beMagazine 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 Taylor, 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#15082