Gilcrease Magazine – Winter 2015 by The University of Tulsa

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Gilcrease Museum Magazine â&#x20AC;¢ Winter 2015

V ol ume 2 3 , N u m b e r 1

In this Issue FEATURES 6 Frontier to Foundry

WI n t e r 2 0 1 5

Explore the early history of bronze casting in the United States during this unique look at small bronze sculpture from the museumâ&#x20AC;&#x2122;s collection.

10 Helmerich Center Inaugural Symposium Scholars from the Library of Congress and Cambridge University are set to present papers at the Helmerich Center symposium set for late March.

12 Rendezvous Mark your calendars for Rendezvous 2015 featuring the work of Andrew Thomas and Walter Matia.

15 Collection Highlight The works of Kananginak Pootoogook are examined.

William Gilbert Gaul, Indian Making Arrows oil, GM 0116.1230

O n the C o v er

SECTIONS

Summer Owl, Kananginak Pootoogook (1935-2010) Inuit, print on paper, 1972, 14.1011. Gift of Dr. Irvin Braverman. Two works by Pootoogook are featured in the Private Collections to Public Treasures exhibition on display through March 29, 2015.

16 Museum News 18 Member Profile 20 Education Highlights 22 Calendar of Events

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

Gilcrease Magazine

WINTER / 2015

V ol ume 2 3 , N u m b e r 1

In this Issue FEATURES 6 Frontier to Foundry

WI n t e r 2 0 1 5

Explore the early history of bronze casting in the United States during this unique look at small bronze sculpture from the museumâ&#x20AC;&#x2122;s collection.

10 Helmerich Center Inaugural Symposium Scholars from the Library of Congress and Cambridge University are set to present papers at the Helmerich Center symposium set for late March.

12 Rendezvous Mark your calendars for Rendezvous 2015 featuring the work of Andrew Thomas and Walter Matia.

15 Collection Highlight The works of Kananginak Pootoogook are examined.

William Gilbert Gaul, Indian Making Arrows oil, GM 0116.1230

O n the C o v er

SECTIONS

16 Museum News 18 Member Profile 20 Education Highlights 22 Calendar of Events

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

Gilcrease Magazine

WINTER / 2015

director’s report

Service and Volunteerism at the Heart of Gilcrease

A Message from the Gilcrease National Board Chair

When you think of individuals and organizations that have profoundly shaped Gilcrease Museum, you must immediately consider The Gillies. The Gillies have a decades-long commitment to Gilcrease Museum that began in 1967, and their volunteer service is unparalleled. Without the Gillies, we would not be able to carry out our mission of sharing the Gilcrease collection with our community as well as the visitors who come to the museum from all over the world. The Gillies make it possible for all to experience the magnificent treasures that Thomas Gilcrease made his life’s work. Nowhere has this been more apparent than the past two years, beginning with the museum’s digital curation effort. Without the help of the Gillies volunteers in the digitization lab, we could not have reached the recent milestone of cataloging the entire Russell Research Collection of more than 13,000 items. The Gillies also rose to the challenge of the demands of the Any Given Child collaboration with Tulsa Public Schools. They have shepherded thousands of first graders from Tulsa Public Schools through the museum providing memories of a lifetime for these children, and untold changed lives. From volunteer docents, to helping in the gift store and the Kravis Discovery Susan Neal Center and other areas, the Gillies partner with the museum in every way. Another stalwart supporter of the museum is Dale McNamara. Widely known for developing The University of Tulsa’s women’s golf program and leading TU to four national titles, as well as earning a national coach of the year title for herself, McNamara has served as chair of the Gilcrease Museum Board of Trustees since 2003. As chair of the Gilcrease Museum Board of Trustees and the City of Tulsa’s Park and Recreation Board, McNamara has been a steward of the museum for the city, keeping careful watch over all Gilcrease matters. She lends her strength and support to the museum largely behind the scenes. Both the Gillies and Dale McNamara serve as wonderful examples of service to a cause. That is why they have been chosen to receive this year’s Bluestem Award. The Bluestem Award, which will be presented at the Gilcrease Council Dinner in February 2015, honors individuals and organizations for their partnership in shaping the future of Gilcrease Museum. The award is named after the strong and resiliant indigo-hued prairie grass that has become synonymous with the Great Plains. Past recipients include Peggy and the late Walt Helmerich; Maxine and Jack Zarrow; the Harold Stuart Family represented by Randi Wightman and husband Fred, and Jon Stuart and wife Dee Dee; and to the H.A. and Mary K. Chapman Charitable Trust and the Mary K. Chapman Foundation, led by Donne Pitman and Jerry Dickman. The Gillies and Dale McNamara personify service with uncommon resolve to the success of Gilcrease Museum. I hope you will join me in congratulating these worthy honorees.

Almost every moment of our lives is filled with decision making, small and large, insignificant and life changing. Our time is devoted to both selfish and selfless pursuits that we believe will improve our lives or those around us. Then there are those rare and wonderful decisions such as becoming Cindy Field a member of Gilcrease Museum that accomplish both of these outcomes. As a member of Gilcrease Museum, you may enjoy a level of membership that provides you a range of opportunities from private tours, members-only events, subscription to publications, invitations to receptions with guest artists, or discounts in the museum store or facility use. But the benefits of the decision to become a Gilcrease member do not stop with you. Your membership supports the thousands of schoolchildren who visit Gilcrease Museum throughout the year, mothers with preschoolers creating art projects, or adults enjoying a presentation by an artist or scholar. And, the Henry Zarrow Center for Art and Education, an extension of Gilcrease education programs in downtown Tulsa, hosts art education classes for children and adults as well as showcases a variety of exhibits throughout the year. Your “perfect decision” of membership made the gift of a Gilcrease Museum experience possible for more than 40,000 school children during the last year. Your contribution, no matter how small or large, is utilized to share the history of the Americas with a new and diverse generation of Americans. The positive impact of these experiences is best explained by a student who told his teacher what he had learned as they left the museum: “I learned about these people who nearly died, but then they learned how to make different tools so they survived.” What better takeaway for a child than an understanding that learning new things is what makes us resilient? Gilcrease Museum is as much a school for lifelong learning as it is museum. Thank you for your perfect decision to experience the benefits of Gilcrease Museum membership while enriching the lives of others.

Susan Neal Vice President for Public Affairs, Research & Economic Development and Interim Chief Operating Officer of Gilcrease Museum

Gilcrease Magazine

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

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director’s report

Service and Volunteerism at the Heart of Gilcrease

A Message from the Gilcrease National Board Chair

Susan Neal Vice President for Public Affairs, Research & Economic Development and Interim Chief Operating Officer of Gilcrease Museum

Gilcrease Magazine

Allan Houser (1914-1994), Chiricahua Apache, Sacred Rain Arrow, bronze, 1988

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Frontier to Foundry The Making of Small Bronze Sculpture in the Gilcrease Collection

The Gilcrease collection of more than 200 small bronze sculptures is famous for important early casts by Frederic Remington and Charles M. Russell. Less well known are 19th century bronzes by Henry Kirke Brown, Thomas Ball and Paul Wayland Bartlett. Each of these sculptors played an important role in the development of an American art bronze casting industry in the last half of the 19th century.

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The term “serial sculpture” refers to a group of casts of the same sculpture that may be limited in number intentionally by the artist, or may be unlimited in number and produced according to demand. Most of the sculptures in this exhibit were never meant to be enlarged, were cast as part of a series and intended for sale to collectors. Multiple casts of a number of works; will be used to demonstrate details of casting technique; for example, both a sand cast and a lost wax cast of Frederic Remington’s The Scalp will be exhibited side by side to highlight the variation in final appearance of the same work made through different processes. Other multiples by various artists will be used to compare the underside or back of a bronze with an identical sculpture displayed in the normal orientation. The view of the interiors of bronze casts will be a rare and important opportunity to hone connoisseurship.

Frontier to Foundry: The Making of Small Bronze Sculpture in the Gilcrease Collection opens December 21, 2014 and runs through March 23, 2015. This exhibit will examine the early history of bronze casting in the United States, the transfer of the technology of bronze casting from France and Italy, and how bronzes are made both by sand casting and lost wax casting as demonstrated by examples drawn from the holdings at Gilcrease. Results of technical examination of the bronze portrait, Daniel Webster, by Thomas Ball (the first bronze sculpture mass produced in this country) and of Charles Russell’s Medicine Whip will shed light on sand-casting technology as practiced in the U.S. by the Ames Manufacturing Company in Chicopee, Massachusetts (the first successful American art bronze foundry) and the Griffoul Foundry in Newark, New Jersey, that cast work for Auguste Rodin in Paris prior to the foundry’s arrival in America in the late 19th century. The last years of the 19th century and the first years of the 20th were the period of largest growth in the production of small bronzes in series in the U.S. In France, this apex had occurred years earlier in mid-century.

Bronco Buster Frederic Remington bronze, GM 0827.33

Gilcrease Magazine

1. Roman Bronze Works, Queens, NY, 1949 — lunchtime in the wax model room. Sculpture of nude at top center is the plaster foundry model. The darker version of the sculpture near the seated man (left) is the wax model made from the plaster in preparation for lost wax casting. Courtesy Roman Bronze Works Archive, Amon Carter Museum of American Art. 2. Roman Bronze Works, Brooklyn, NY, 1905 — wax model room. Workmen are repairing the waxes by removing defects and mold lines prior to casting in lost wax. The wax horse parts have their internal cores already cast in place that are visible at the bases. Courtesy The Bernard Titowsky Collection, John D. Calandra Italian American Collection (Queens College, CUNY).

3. Roman Bronze Works, Brooklyn, NY, 1905 — plaster room. Plaster foundry models are prepared for molding. The plaster model for Frederic Remington’s The Scalp is in the foreground. Courtesy The Bernard Titowsky Collection, John D. Calandra Italian American Collection (Queens College, CUNY). 4. Gorham Manufacturing Company, Providence, RI, 1920s — finishing department. Workmen repair the bronzes after casting by removing defects and plugging holes. Courtesy of Samuel Hough.

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Frontier to Foundry The Making of Small Bronze Sculpture in the Gilcrease Collection

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Bronco Buster Frederic Remington bronze, GM 0827.33

Gilcrease Magazine

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Daniel Webster, Thomas Ball, 1853—Radiograph image shows details of casting technique. The small wires inside the head are the remains of reinforcements of the core. The head was cast separately from the body, and the join made after casting at the neck is visible. A hole in the top of the head allowed the core vent to expel gases from the interior during casting. The hole was repaired after casting and is now visible only in the radiograph.

Daniel Webster, the fiery abolitionist orator and U.S. Senator from Massachusetts, was a nationally known figure whose lengthy career allowed the kind of celebrity that today is reserved for film and sports stars. More than 200 bronze casts of this sculpture as well as many in plaster and ceramic were sold before and after the Civil War. The artist Thomas Ball had sold his patent and the right to reproduce the sculpture to the aspiring art dealer George Ward Nichols whose vigorous promotion of the artwork laid the foundation for his art business and spurred Ball’s career as a sculptor.

American foundries produced serial art bronze only by the sand-casting process for nearly 50 years until casting of sculptures in series in lost wax began almost simultaneously in France and America both as a result of a technology transfer from Italy. In New York, the Roman Bronze Works opened in 1900; and in Paris, the A.A. Hébrard foundry opened in 1902 both staffed with Italian craftsmen. The Gorham Foundry, in contrast, attempted lost wax production in 1906 in Providence, Rhode Island, using French founders and a different process that was not commercially viable. Ultimately Gorham developed a hybrid casting process using plaster molds rather than sand molds and when necessary subcontracted lost wax casting to other foundries. Frederic Remington made early casts of his first four works, Bronco Buster, The Scalp, Wounded Bunkie and Wicked Pony by sand-casting, but was quick to switch to the lost wax method. To highlight Frederic Remington’s groundbreaking creative exploitation of the lost wax process, three casts of his The Norther — one from Gilcrease and two from private collections — will be displayed side by side for the first time since their fabrication to allow close comparison of the only three casts of this work to have been made during Remington’s life. Cast in 1900, these were his first trial of the lost wax process at the Roman Bronze Works. In contrast to the sand-casting process used for his earliest casts, the lost wax process allowed the artist to make last-minute changes to each wax model just prior to casting by using a brush dipped in molten wax to impart texture to the frozen fur. Using the lost wax method resulted in significant variations among these three bronzes and changed the course of Remington’s sculptural oeuvre.

From My Point of View January 9, Noon, Gallery 18

Ins and Outs of Bronze Casting: Why Should We Care? Ann Boulton, Gilcrease Museum associate conservator and curator of the exhibition Frontier to Foundry, will make a case for the importance of the study — for both informing conservation treatments and increasing understanding of the artists’ creative visions — of the methods and materials for making bronze sculpture. In addition, some of the rarely exhibited sculptures currently on view will be discussed. American art bronze foundries that cast these works will be highlighted. The Norther, Frederic Remington, 1900—foundry mark for the Roman Bronze Works. Cire perdue is the French term for lost wax casting.

To highlight Frederic Remington’s groundbreaking creative exploitation of the lost wax process, three casts of his The Norther — one from Gilcrease and two from private collections — will be displayed side by side for the first time since their fabrication to allow close comparison of the only three casts of this work to have been made during Remington’s life.

Sunday Matinee Film January 11, 1:30 p.m. & 2:45 p.m. Tom Gilcrease Jr. Auditorium

Augustus Saint-Gaudens: Master of American Sculpture Tracing the life of Saint-Gaudens (1848-1907) from Dublin, Ireland, to New York then Cornish, New Hampshire, this documentary weaves in studies of six of his major works of art, including Standing Lincoln in Chicago, the Robert Gould Shaw Memorial in Boston, the William Tecumseh Sherman Monument in New York, Diana in Philadelphia, and the Adams Memorial in Washington, D.C. Trained in Paris and Rome, he is considered America’s premier sculptor of the 19th and early 20th centuries.

Road Trip – Bronze Foundry February 21, 2015 (February 28, 2015 – alternative snow date) 10:15 a.m. – 3:00 p.m. For adults and families with children 8 and up. $25 each members, $30 each not-yet members

Experience a deeper look into the creation of bronze sculptures. Join Ann Boulton, exhibition curator, for a special gallery talk. She will explore the making of bronzes and compare and contrast the magnificent bronzes from the Gilcrease collection. A bus trip to a regional foundry, The Bronze Horse in Pawhuska, will follow. Visitors will learn how bronzes are made and observe the work on sculptures in various stages of completion. Box lunches will be served on the bus. Following the foundry visit, the bus will take a short drive through Pawhuska to look at various bronzes around town. Reservations are required. Space is limited. Call 918-596-2774, or e-mail sarah-wright@utulsa.edu.

Exhibition Lecture Daniel Webster Thomas Ball bronze, GM 0826.93

The Norther Frederic Remington bronze, GM 0837.39

February 28, 2015 1:30 p.m., Tom Gilcrease Jr. Auditorium The Mastery of Bronze Sculpture with scupltor, Veryl Goodnight.

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From My Point of View January 9, Noon, Gallery 18

Sunday Matinee Film January 11, 1:30 p.m. & 2:45 p.m. Tom Gilcrease Jr. Auditorium

Exhibition Lecture Daniel Webster Thomas Ball bronze, GM 0826.93

The Norther Frederic Remington bronze, GM 0837.39

February 28, 2015 1:30 p.m., Tom Gilcrease Jr. Auditorium The Mastery of Bronze Sculpture with scupltor, Veryl Goodnight.

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Inaugural Symposium at Helmerich Center for American Research

The Helmerich Center for American Research will host a two-day symposium on March 27-28, 2015, marking the opening of the 25,000 squarefoot research facility to visiting faculty, students, and scholars to conduct research on the museum’s archival material. The Gilcrease Library and Archive constitutes one of the country’s most extensive collections of rare books, documents, maps, and unpublished material related to the history of American Indians and the American West. The collection includes more than 100,000 items that chronical this history – from the Spanish exploration and conquest of the Western Hemisphere, to the founding of democracy in the United States, to the American Indian attempts to maintain home territories during the 19th century. The symposium and associated events will coincide with the completion of the move of Gilcrease Museum’s Library and Archival collections into the state-of-the-art Helmerich Center. Renowned scholars, who have spent their careers at leading research institutions and universities in the field of American research, will lecture on the significance of the Gilcrease Archive, highlighting the strengths and the uniqueness of this collection. Among the presenters is Fenella France, chief of the Preservation Research and Testing Division of the Library of Congress. In 2010, using hyperspectral imaging equipment to distinguish discrete layers of ink using various spectra of light, France revealed that in the draft declaration copy in the Library of Congress, Thomas Jefferson initially wrote the word “subjects,” then carefully wrote over it to make that word “citizens.” Using the same technology, France will reveal the hidden secrets in Gilcrease Museum’s original copy of the Declaration of Independence and other documents related to the founding of democracy in America.

Gilcrease Magazine

Additional speakers include Jonathan King, former Keeper at the British Museum and now with the University of Cambridge, who will explore the two-volume, handwritten 1631 Journal of Luke Fox in the Gilcrease archives. Fox was an English navigator who made an early attempt to find the Northwest Passage to Asia. More than 350 years later, King conducted extensive ethnographic research with the descendants of the people Fox described in the Dorsett Bay area of northern Canada. Germaine Warkentin, of the University of Toronto, will shed new light on the Codex Canadensis in the Gilcrease Archives. This highly illustrated hand-written journal kept by Louis Nicolas in the 17th century is the best early description of the tribes, flora and fauna of New France along the St. Lawrence Seaway. Stephen Aron, a distinguished professor of history at the University of California, Los Angeles, will analyze the extensive Indian War journals in the Gilcrease Archives including the papers and letters of General George Armstrong Custer, Captain Frederick Benteen and others to better understand the Sioux position in the conflicts of the 1860s and 70s. Herman Viola, curator emeritus of the Smithsonian Institution’s National Anthropological Archives, will examine the Indian Legacy of Charles Bird King using the original portraits of Indian leaders from the 1820s and the hand-tinted lithographs by McKinney and Hall in the 1830s to showcase the importance of these items in the Gilcrease Collection. These are a few of the presenters for this landmark symposium hosted by the Helmerich Center for American Research and Gilcrease Museum, in partnership with The University of Tulsa and the City of Tulsa.

RIGHT: Charles Bird King, Rent-Che-Was-Me, Mak-Hos-Kah’s Wife (Female Flying Pigeon) oil on wood, GM 0126.1202.

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Inaugural Symposium at Helmerich Center for American Research

Gilcrease Magazine

RIGHT: Charles Bird King, Rent-Che-Was-Me, Mak-Hos-Kah’s Wife (Female Flying Pigeon) oil on wood, GM 0126.1202.

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SAVE THE DATE Contemporary Western art will take center stage at Gilcrease as Rendezvous, the museum’s annual exhibition and art sale, opens to the public April 16 through July 12, 2015. This year, painter Andy Thomas and sculptor Walter Matia are the featured artists at the 2015 Rendezvous Artists’ Retrospective and Art Sale. Both artists will have new works to offer buyers and collectors as well as numerous artworks depicting a retrospective of their careers. The 2015 artists will be inducted into the Rendezvous Hall of Fame.

Andy Thomas, Tecumseh and the Osage, oil on linen, 36” x 48”, 2014

Rendezvous 2015 Master Class Monday-Thursday, April 13-16, 9 a.m.-4 p.m. Henry Zarrow Center for Art and Education Andy Thomas, featured painter, will provide instruction in his oil painting technique. Space is limited. Skill level required – advanced amateur to professional artist. Contact Deborah Burke at deborah-burke@utulsa.edu to enroll. $175 members/$200 not-yet members. Students will provide their own supplies from a list furnished by the artist.

Artists’ Talks

Walter Matia, “Promise of Spring” Turkey Hens with Poults, bronze, 38" x 34" x 20", 2005

Gilcrease Magazine

Andy Thomas

Meet the Artists Brunch

April 17, 2014 • 10:30 a.m., Tom Gilcrease Jr. Auditorium Free to members • Open To the Public

April 18, 2015 11:00 a.m.-1:00 p.m.

Walter Matia

Enjoy meeting featured artists Andy Thomas and Walter Matia while dining in The Restaurant at Gilcrease. Cost is $19.95. To make reservations, call 918-596-2720.

April 17, 2015 • 1:30 p.m., Helmerich Hall Free to members • Open To the Public

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Andy Thomas, Tecumseh and the Osage, oil on linen, 36” x 48”, 2014

Artists’ Talks

Walter Matia, “Promise of Spring” Turkey Hens with Poults, bronze, 38" x 34" x 20", 2005

Gilcrease Magazine

Andy Thomas

Meet the Artists Brunch

April 17, 2014 • 10:30 a.m., Tom Gilcrease Jr. Auditorium Free to members • Open To the Public

April 18, 2015 11:00 a.m.-1:00 p.m.

Walter Matia

Enjoy meeting featured artists Andy Thomas and Walter Matia while dining in The Restaurant at Gilcrease. Cost is $19.95. To make reservations, call 918-596-2720.

April 17, 2015 • 1:30 p.m., Helmerich Hall Free to members • Open To the Public

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Tulsa World Joins Business Art Alliance GM: What is it about supporting the arts, or Gilcrease Museum, that adds value to your company or its culture? Supporting the arts is paramount in supporting the community as a whole, and Tulsa is unbelievably fortunate to have Gilcrease and a multitude of other arts venues to offer. We want to be a thriving community that attracts new businesses that come for the long haul and visitors who come for the day. We want young people who move here and want to raise their families here. We have to provide the resources that make this a place where people want to stay and live. Along with a strong education system, the arts are keys to being the kind of place people want to call home.

Bill Masterson, Jr.

The Tulsa World Media Company is a new member of Gilcrease Museum’s Business Art Alliance. As one of many companies in the community that partner with Gilcrease to provide a foundation of support for our exhibitions and educational programs, the Tulsa World’s support underscores the importance of Gilcrease Museum’s contribution to the economic development of Tulsa and to the cultural vitality of our community. We recently visited with Bill Masterson, Jr., new Tulsan and president & publisher of Tulsa World Media Company. GM: Why does your company choose to support Gilcrease Museum? Gilcrease Museum is a true treasure in this community. We at the Tulsa World feel that we have that in common. We want our readers to know what is available at the museum, whether it’s the extraordinary art, the wonderful restaurant or the amazing view of the Osage Hills as it changes throughout the year. It’s important that we tell the story of Gilcrease and its incredible partner, The University of Tulsa.

Gilcrease Magazine

GM: The Tulsa World has a long history of community involvement. What other ways are your employees engaged in supporting the Tulsa community and other organizations? We encourage our employees to volunteer with community organizations, at their churches and at their children’s schools. Ours is a 24-hour a day operation, but I’m proud to say that we have many individuals who give back to this community regularly. For example, Colleen Almeida-Smith, an assistant editor in our newsroom, serves this year as the president of the Community Food Bank of Eastern Oklahoma. We are extremely proud of her commitment and that of others in our organization who give of their time and resources. GM: You’ve recently been introduced to Gilcrease and its collection. Is there anything that you learned about the museum that surprised you? I wasn’t aware of the tremendous collection of Fredric Remington art that is housed at Gilcrease. I am a huge fan of Western art and Remington has always been one of my favorites. Even though I thought I knew most of his pieces, I was surprised to find that I didn’t. It’s been fun to discover ones I hadn’t seen before. GM: If you had visitors from out of town, what sites or activities would you encourage them to see/do? Well, obviously Gilcrease. That’s a given. But others we’ve enjoyed “discovering” and taking friends to include Philbrook; of course, the Woody Guthrie Center in the Brady District; and many of the events at Guthrie Green. We’ve had fun at concerts at the BOK Center and at The Joint at Hard Rock. Julie and I feel very fortunate to be a part of this community. We are constantly discovering new places to go and great new restaurants. Tulsa is a very positive and vibrant community. That is very evident when we take visitors around town. We feel very blessed to be here in Tulsa and at the Tulsa World.

The Prints of

Kananginak Pootoogook (1935-2010) “Those who make drawings, even if they are not photographically correct, do it by recalling and feeling once more the old ways. We know that there are people who can make pictures in the Kadlunak’s (white people’s) way and are very good at it, but their pictures look as if they were made with a camera, they may be accurate in detail but not good to look at. We are content, we feel that perhaps our way is more difficult, but that our pictures are more sought after.” Kananginak Pootoogook, 1973 orn in 1935 at Cape Dorset, located on the southern end of Baffin Island in Nunavut, the northernmost territory of Canada, Kananginak Pootoogook came of age alongside the introduction of printmaking to the Inuit. This synchronicity resulted in a 50-year career and his place as one of the first and finest Cape Dorset artists and printmakers. Inuit culture had a long and strong tradition of graphic design, from incised scenes on ivory, bone, and horn, to carved amulets and tools. When artist and author James Houston suggested the idea of printmaking in 1957, it was a natural progression. Hired to promote and encourage Inuit art on Baffin Island as a revenue stream, he began working with Cape Dorset artists, including the young Pootoogook. They experimented with techniques and supplies until Houston returned from Japan with lessons learned from master printmaker Un’ichi Iratsuka. A visible and recognizable influence was the adoption of signature “chops,” vertical symbols seen in Summer Owl and Musk Ox. The printing process, however, was the most profoundly affected. Instead of a single person executing every step, the communal division of labor was applied. The artist created the drawing; the printmaker prepared the image on the plate or other surface; and the printer physically transferred the image to paper. In late 1959, the first catalogued collection of Cape Dorset prints was released. It included a work by Pootoogook, as did nearly every annual edition since. Unlike others, he often preferred to create his drawing and prepare it for printing, unwilling to leave

Kananginak Pootoogook (1935-2010) Inuit, MUSK OX, stone cut on paper, 1977, GM 14.1012 Gift of Dr. Irvin Braverman

interpretation to another. He worked across media including stencils, copper engravings, etchings, lithography, and stonecut — a method similar to lithography and invented in Cape Dorset. Pootoogook’s career was critically acclaimed and garnered numerous honors, including the National Aboriginal Achievement Award in the Arts, and induction into the Royal Canadian Academy of the Arts. He was a pivotal figure in Inuit printmaking, and today his works are found in over 40 institutions across Canada and the United States. Thanks to the generosity of the late Dr. Irvin Braverman, Gilcrease Museum is one of them. Summer Owl and Musk Ox, important additions to the collection, are on display in the exhibition Private Collections to Public Treasures: New Acquisitions at Gilcrease Museum which runs through March 29, 2015.

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Bill Masterson, Jr.

Gilcrease Magazine

The Prints of

Kananginak Pootoogook (1935-2010) Inuit, MUSK OX, stone cut on paper, 1977, GM 14.1012 Gift of Dr. Irvin Braverman

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Museum News

Native Artists and Scholars – Bringing the Past to the Present Gilcrease Museum received a grant from the Institute of Museum and Library Services (IMLS) to fund a project to create the largest, multidisciplinary, searchable online catalogue of ancient Mississippian ceramic vessels. The award, a Museums for America (MFA) grant in the amount of $150,000, was one of 211 given across the nation. Seven Oklahoma institutions received grants, with Gilcrease Museum receiving the largest award in the state. In the award letter, IMLS noted that it “recognized innovation and cultural significance” in the Gilcrease proposed project titled “Native Artists and Scholars Bring Past to Present: Multi-Disciplinary Perspectives for Mississippian Culture Pottery.” The project will create a database and searchable terms that will be developed in collaboration with tribes who trace their ancestry to the sites and region from which these collections come, as well as archaeologists, ethnologists and tribal artists who are continuing the ceramic traditions of their people. By adding diverse perspectives from information experts, subject-matter experts and cultural experts to guide the cataloguing, this project will result in a robust public catalogue with records and images that are easily and comprehensively searchable using scholarly terms and design motifs. This project is a part of the larger initiative to digitize the Gilcrease collection. Within the museum’s archaeology collection, these 3,500 objects from the Lemley Collection of Mississippian period (700 CE – 1650 CE) ceramic vessels are highly

Gilcrease Magazine

regarded and much in demand for study. Assembled during the first half of the 20th century by Harry J. Lemley, a federal judge in Arkansas, the collection is comprised principally of objects from Missouri and Arkansas. Upon his death, the collection came to Gilcrease Museum where these items have quietly been in storage since 1955.

The most glaring loss of cultural connection is with those groups located in the American southeast and the woodlands. It was not until 1890 that Cyrus Thomas, working for the Bureau of Ethnology, formally acknowledged a connection between Native American mound building communities and modern Native American communities such as the Osage, Caddo, TunicaBiloxi, Quapaw, Muscogee, Cherokee and Choctaw, as well as many others. Prior to this, Americans believed that a “lost race” of people were responsible for building and creating the Mississippian mounds as well as the many objects of unprecedented design, beauty, and skill, frequently found with these structures and other ancient sites. Today, museums, scholars, and Native Americans strive to rebuild and reclaim this lost past. This project will be one of the best and most pertinent ways to achieve this goal.

With the growth of technology and the digital distribution of information, the discovery of artifacts being made by tribal descendants and academics has illuminated the once forgotten past and brought new energy to native artists and community members hoping to reconnect with their heritage. For example, after encountering pottery made by their ancestors, native artists such as Jeri Redcorn and Kaw Win Hut (Chase Earles) of the Caddo Tribe, set about the task of reverse engineering the techniques and have learned to make this pottery, from digging the clay, forming the vessel, inscribing the designs, to firing the finished pots. The effect on native artists in the region has been dramatic and is growing. Their work is now represented in numerous museum and private collections. In fact, one of Jeri Redcorn’s

pieces now sits in the Oval Office of the White House. The profound interest in making pottery according to old, rediscovered traditions can be seen in the activities of tribes in Oklahoma. Learning this skill is not only a creative outlet, but an economic opportunity. This project will directly benefit the descendants of the original creators of Lemley’s collection — the Caddo, Osage, Tunica-Biloxi, and Quapaw nations. The body of knowledge for Mississippian cultures in general will be expanded and enhanced through the sharing of this data online as archaeologists, art historians, ethnologists and Native American community members explore the iconographic continuity, and research the trade and migration patterns across North America and possibly into Mesoamerica.

Other tribes in Oklahoma, Arkansas, Missouri, Texas, Illinois, and multiple other states are also connected to this material through the Southeast Ceremonial Complex (a term that describes multiple Mississippian groups connected stylistically, architecturally, and economically during the period) and will benefit as well. The primary focus of this project, however, is on the needs of native artists, archaeologists and Tribal Historic Preservation offices. As this information is dispersed publicly, we anticipate a wealth of new interest from schools and the general public. IMLS is the primary source of federal support for the nation’s 123,000 libraries and 35,000 museums. The mission of IMLS is to inspire libraries and museums to advance innovation, lifelong learning, and cultural and civic engagement.

Double Bottle ceramic, 900 – 1500 CE GM 5425.1523

Tripod bottle, ceramic, 900 – 1500 CE GM 5425.629

IMLS reviewers described this as a model project for the nation because of the way it will help reconnect pre-Columbian cultures with their modern-day descendants. Even before the founding of the United States, Native American communities were systematically pushed aside and forgotten as an ever-growing population of Europeans moved across North America.

Bottle, ceramic, 900 – 1500 CE GM 5425.1186

WINTER / 2015

Museum News

Gilcrease Magazine

Double Bottle ceramic, 900 – 1500 CE GM 5425.1523

Tripod bottle, ceramic, 900 – 1500 CE GM 5425.629

Bottle, ceramic, 900 – 1500 CE GM 5425.1186

WINTER / 2015

Member Profile

Suzanne and Michael Wallis – Museum Supporters for Decades What is your favorite item in the museum’s collection? Is there something here that you must see each time you visit? MW: I always honor the man behind the museum by paying my respects at the first painting purchased by Thomas Gilcrease, Rural Courtship, by Daniel Ridgway Knight.

Suzanne and Michael Wallis

You and your wife, Suzanne, are longtime members and supporters of Gilcrease Museum. What’s so special about Gilcrease for you two? MW: Although I visited Gilcrease before we moved to Tulsa, it wasn’t until after we became citizens of this city that I really got to know the museum and the breadth of collections and see them up close and personal. I cherish everything contained within the walls of Gilcrease and that includes the vast amount of art, artifacts, and objects that reside in the museum’s tremendous archival area. I so appreciate the gift that Thomas Gilcrease gave all of us. Just the story of how Gilcrease Museum came to be is special. In my book extra special. SW: Gilcrease was one of the first discoveries we made after moving to Tulsa in 1982. We learned so much about the exhibits from Fred Myers and have both enjoyed working with the museum on long- and short-term projects. I am particularly grateful to Gilcrease Museum for purchasing the extensive collection of 101 Ranch objects and memorabilia acquired over the years by Ruth and Jerry Murphey. Several other major museums in Oklahoma turned down the opportunity to preserve this one-ofa-kind collection that helps tell the story of a magnificent Oklahoma ranch that no longer exists.

Gilcrease Magazine

Over the years there have been many outstanding exhibitions presented at Gilcrease. Which is a favorite of yours? Which is a favorite of Suzanne’s ? MW: My favorite is The 101 Ranch: The Real Wild West, the incredible exhibit from 2008 that showcased the stunning collection of Ruth and Jerry Murphey. I was a close friend of the Murpheys and worked with them over the years as I wrote The Real Wild West: The 101 Ranch and the Creation of the American West, considered the definitive book about the legendary ranch empire and the Miller family. I also played a role in the museum’s acquisition of the Murphey Collection of more than 3,000 items. SW: The Thomas Moran exhibition was my favorite from several standpoints. The Wallis Group, my public relations agency, was hired to publicize the exhibition. Our PR and advertising campaign resulted in a record-breaking 150,000 visitors to the museum during the three-month show. All of us at the agency enjoyed the challenge, and we were proud of the result. How do you think Gilcrease, and museums in Oklahoma in general, compare with other museums across the country, or internationally? MW: This state is fortunate to be home to several outstanding museums including not only the major museums such as Gilcrease, but also smaller museums that offer a peek inside the town’s attic. Together these treasure troves of culture and history attract and inform Oklahomans as well as a great number of

Gilcrease on Wheels – New Mobile Museum Experience Rolls into Poteau

domestic and foreign visitors who come because of the reputations of all of our museums. SW: Gilcrease, Philbrook, Tulsa Historical Society, the Sherwin Miller Museum of Jewish Art, The Performing Arts Center Gallery, and the Tulsa Air and Space Museum & Planetarium are each worthy of a visit to Tulsa. Together they tell the story of our rich Oklahoma heritage, often overlooked by so many potential visitors who ignore the state, including the geographically challenged who have been known to confuse Tulsa with Tucson. Knowing your penchant for words, if you could describe Gilcrease Museum using one word, what would it be? MW: Bravo! Steve and Pam Holton

We are all keepers of history. What are some of your most valued keepsakes? MW: In no certain order an original Route 66 shield, D.H. Lawrence’s double-headed ax, “Pretty Boy” Floyd’s death mask, a 101 Ranch branding iron, a baseball signed by Stan Musial, and a lock of Suzanne’s hair are a few of my treasured totems. SW: A gold bracelet and garnet ring that belonged to my mother, and a tiny wooden monkey that Michael gave me in 1971. What famous Oklahomans (or not-sofamous) would you invite to your imaginary dinner party?

Gilcrease on Wheels, a mobile museum experience for 3rd grade students in rural Oklahoma, made its public debut on October 23 at the Patrick Lynch Library in Poteau. The traveling exhibit was displayed at the public library following its debut at Poteau Elementary School earlier in the week. Nearly 500 school children visited the display with 182 third grade students fully immersed in the Gilcrease on Wheels experience.

Designed through a partnership with Poteau Public Schools, Gilcrease on Wheels utilizes the Gilcrease Museum collection of art, history, and cultural artifacts to augment Oklahoma academic standards for art, social studies and language arts. The experience features an 18-panel exhibition focusing on three areas of curriculum for third graders: United States history, Oklahoma history and Native American culture. Themed preand post-visit newspapers are distributed to students. An interactive component is introduced in the classroom and teachers receive supplemental material. During the past year, Poteau school teachers generated ideas to help develop the Gilcrease on Wheels program. Poteau Public Schools was the pilot for this initiative. After the launch, Gilcrease on Wheels began traveling to other rural school districts in southeastern Oklahoma. Many rural schools do not benefit from museum programming due to geographic location and limited funding for field trips. Gilcrease on Wheels is designed to extend the benefits of a

museum experience to students in these communities. The genesis of the idea for Gilcrease on Wheels came from Steve Holton, CEO and chairman of Central National Bank in Poteau. Holton and his wife, Pam, also have provided funding for the initiative. They have a genuine interest in enhancing educational opportunities for children in the Poteau school system as well as students throughout rural Oklahoma. “Our public education system needs to maintain a balance. In addition to life skills, we must continue to expose our students to the arts and culture. The ultimate goal is to encourage critical thinking and develop lifelong learning in students,” said Holton. Additional support for the program has come from Sylvia Ewing Hill and a commitment from the Windgate Charitable Foundation. A group of elementary and high school teachers from Poteau visited Gilcrease Museum last year to begin making plans for this new outreach initiative.

MW: Since we would like to have this dinner party in the magnificent Vista Room at Gilcrease Museum, Suzanne and I would obviously cohost the affair with Thomas Gilcrease. On the guest list would be Quanah Parker, Will Rogers, Kate Barnard, Woody Guthrie, Bill Pickett, brothers Frank and Waite Phillips, Cyrus Stevens Avery, Wilma Mankiller, and last but certainly not least, Charles Arthur “Pretty Boy” Floyd. Now that would be some gathering.

WINTER / 2015

Member Profile

Suzanne and Michael Wallis

Gilcrease Magazine

Gilcrease on Wheels – New Mobile Museum Experience Rolls into Poteau

WINTER / 2015

Education Highlights

Historical Performances – Dramatic and Musical – to be Staged at Gilcrease Wednesday, January 28, 2015, Reception 6:00 p.m., Vista Room, 7:00 p.m., Tom Gilcrease Jr. Auditorium

Gilcrease Museum Presents Lydia Broadnax

Valarie Gray-Holmes portrays Lydia Broadnax

In collaboration with the Colonial Williamsburg Foundation, the museum offers a program of living history featuring Lydia Broadnax, an early resident of Williamsburg. Portrayed by Valarie Gray-Holmes, Ms. Broadnax (ca. 1742-1827) was first slave of George Wythe’s and later his cook, which probably coincided with her emancipation in 1787. She was employed by Wythe (1726-1806) until his death. He was a lawyer and first Virginia signer of the Declaration of Independence. Due to the anticipated interest in this program, reservations are required. Please contact Deborah Burke at deborah-burke@utulsa.edu, or 918-596-2768. Cost: $8 members, $10 not-yet members, $5 children 18 and under.

Friday, February 6, 12 noon, Vista Room

From My Point of View The Star-Spangled Banner and Music of the War of 1812 – A Bicentennial Commemoration

In 1812, the United States declared war on Great Britain, but by the fall of 1814, the enemy had burned parts of Washington, D.C., then attempted, but failed, to capture Baltimore. In period attire, David and Ginger Hildebrand will demonstrate how popular melodies of the day inspired Francis Scott Key and others to express themselves through music. Ballads of this time celebrated heroes and great naval battles, including those of “Old Ironsides,” while marches and dance tunes cheered one and all through dark times. A surprising number of melodies popular from the Colonial and Revolutionary Period carried over into this important era, known as our “Second War for American Independence.” All music performed on appropriate instruments such as violin, hammered dulcimer, parlor guitar, piano and German & English flutes; spoken historical commentary helps put each piece into context. Free with museum admission. Sack lunches are encouraged. Beverages must be in closed containers. 20

Gilcrease Magazine

Spring Break Art Camp Gilcrease Museum - 2D and 3D Art Explorations! March 16 - 20, 2015 9:00 a.m. – 12 p.m. & 1:00 p.m. – 4:00 p.m. 5-6 year olds at Gilcrease Museum; 7-12 year olds at Zarrow Center Half-Day Class, Monday-Friday: $100 members, $125 not-yet members* All Day Classes: $200 members, $250 not-yet members* Registration and payment are required.

Celebrate spring break week with creative art activities that inspire young artists. Morning, afternoon or all day classes are available for children 5-6 years old. Sign up for half-day sessions for the week or bring a sack lunch and stay all day. Extended hours until 5:00 p.m. are available. Spring Break Art Camp at Gilcrease will conclude with a Student Art Show in the museum on Friday, March 20 at 3:30 p.m. Family and friends are welcome to attend. For more information about camp at Gilcrease, call 918-596-2774, or e-mail sarah-wright@utulsa.edu. For more information about camp at the Henry Zarrow Center for Art and Education, call 918-631-4402, or e-mail cindy-williams@utulsa.edu. *Scholarships are available. Please contact Sarah Wright, associate curator, Family and Youth Programs for an application for camp at Gilcrease Museum. Contact Cindy Williams, Manager of Public Programming for an application for camp at the Zarrow Center. 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.

Gilcrease Summer Art Camp Save the Date Gilcrease Camp: June 8 - June 26 and July 13 - July 31, 2015 Zarrow Camp: June 8 - 17 and July 27 - August 7, 2015 9:00 a.m. – 12 p.m. & 1:00 p.m. – 4:00 p.m. 5-6 year olds at Gilcrease Museum; 7-12 year olds at Zarrow Center Half-Day Class, Monday-Friday: $100 members, $125 not-yet members All Day Classes: $200 members, $250 not-yet members Registration and payment are required. It will be an exciting and fun-filled summer to explore the museum and the gardens and learn about art and different cultures that will inspire art-making activities. For more information about camp at Gilcrease, call 918596-2774, or e-mail sarah-wright@utulsa.edu. For more information about camp at the Zarrow Center, call 918-6314402, or e-mail cindy-williams@utulsa.edu. Registration for members begins March 1, 2015. Registration for not-yet members begins March 23, 2015.

WINTER / 2015

Education Highlights

Historical Performances – Dramatic and Musical – to be Staged at Gilcrease Wednesday, January 28, 2015, Reception 6:00 p.m., Vista Room, 7:00 p.m., Tom Gilcrease Jr. Auditorium

Gilcrease Museum Presents Lydia Broadnax

Valarie Gray-Holmes portrays Lydia Broadnax

Friday, February 6, 12 noon, Vista Room

From My Point of View The Star-Spangled Banner and Music of the War of 1812 – A Bicentennial Commemoration

Gilcrease Magazine

WINTER / 2015

Gilcrease Calendar of Events January 2 First Friday Art Crawl 6-9 p.m., Zarrow Center. Free

4 Glenpool H.S. Student Exhibition closes. 6 Tulsa School of Arts & Sciences Student Exhibition opens.

Gilcrease Museum Exhibitions On Common Ground Ongoing Focus on Favorites: Masterworks from the Gilcrease Collection Ongoing Frontier to Foundry: The Making of Small Bronze Sculpture in the Gilcrease Collection Through March 23, 2015 Private Collections to Public Treasures: New Acquisitions at Gilcrease Museum Through March 29, 2015

Zarrow Center Exhibitions

Sherman Smith Family Gallery Noon-8 p.m., Tuesday – Saturday; Noon-5 p.m., Sunday Fire & Ice Through January 25, 2015 Chris Ramsay: Meditations in Stillwater January 30 through March 29, 2015

Gilcrease Magazine

6 & 20 Open Studio for Adult Artists 4-7 p.m., Zarrow Center

9 From My Point of View

Noon, Gallery18. Gilcrease Associate Conservator Ann Boulton, Ins and Outs of Bronze Casting: Why Should We Care?

11 Sunday Matinee Film

Augustus Saint-Gaudens: Master of American Sculpture. 1:30 & 2:45 p.m., Tom Gilcrease Jr. Auditorium

13 Art Explorations

10 a.m.-Noon, Gallery/The Study

16 Brown Bag Lunch Lecture Noon-1 p.m., Zarrow Center. Cedric Mitchell, local glass artist.

17 Extended Pose Figure Drawing 1-5 p.m., Zarrow Center. $20

18 Funday Sunday

Noon-4 p.m. Museum. Free. Families with children ages 3-15

19 Drop-In Family Art Day Martin Luther King Jr. Day 1-4 p.m., Zarrow Center. Free

22, 23, 29 & 30 Mini Masters

10 a.m., Galleries and Creative Learning Center. Ages 3-6 accompanied by a caregiver.

Head Effigy Vessel, ceramic, 900 – 1500 CE GM 5425.1468

For detailed information, visit www.gilcrease.utulsa.edu. 28 Living History from Colonial Williamsburg Lydia Broadnax by Valarie Gray-Homes. Reception, 6 p.m., Vista Room Program, 7:30 p.m., Tom Gilcrease Jr. Auditorium

29 ZACH: Zarrow Art Classes for Homeschool

10-11:30 a.m. or 1:30-3 p.m. $10 members, $12 not-yet members

31 Improve Your Painting with Christopher Westfall 10 a.m.-4 p.m., Zarrow Center. $150 members; $175 not-yet members. Registration required, class size limited

February 1 Sunday Draws

6 TPS Student Art Show Reception

6-8 p.m., Gilcrease Studios, 2nd floor, Zarrow Center. Free. Catch the Spirit 6-9 p.m., Zarrow Center. Enjoy the Brady Arts District and visit new, exciting exhibitions each month. Free

28 Exhibition Lecture

8 Sunday Matinee Film

March

6 From My Point of View

Noon, Gallery 18. Star Spangled Banner Commemoration, musical performance by David & Ginger Hildebrand, Colonial Music Institute.

Winslow Homer, Watching the Breakers, oil on canvas, 1891, GM 0126.2264

1-2:30 p.m. $5 for members, $8 not-yet members. Ages 8 and up

10 a.m.-Noon, Gallery/The Study

15 Funday Sunday

10 a.m., Galleries and Creative Learning Center. Ages 3-6 accompanied by a caregiver.

1 Sunday Draws

10 Art Explorations

3 Catholic Diocese Elementary Schools Student Exhibition opens.

6, 12, 13, 19, 20 Mini Masters

1:30 p.m., Tom Gilcrease Jr. Auditorium. The Mastery of Bronze Sculpture. Veryl Goodnight.

1:30 p.m., Tom Gilcrease, Jr. Auditorium. Dolley Madison – America’s First Lady

13, 19 Museum Babies II

10 a.m. Characters of the West, Ages 3-6 accompanied by a caregiver.

Noon-1 p.m., Zarrow Center. Free. Chris Ramsay: Meditations in Stillwater, Chris Ramsay.

10 a.m.-4 p.m., Zarrow Center. $150 members; $175 not-yet-members. Registration required, class size limited

1 Tulsa School of Arts & Science Student Exhibition closes.

5 Kids Dig Books

27 Brown Bag Lunch Lecture

7 Improve Your Painting with Christopher Westfall

12, 20 Museum Babies I

4-7 p.m., Zarrow Center

10 a.m.-5 p.m., Zarrow Center. $60 members, $75 not-yet members. All supplies are included.

6 First Friday Art Crawl,

1-2:30 p.m. $5 for members, $8 not-yet members. Ages 8 and up

3 & 17 Open Studio for Adult Artists

27 Demonstration/Class: LowTech Photo Etched Pin or Pendant, Chris Ramsay

10:30 a.m. Ages birth-1 year with a caregiver 10:30 a.m. Ages 1 and 2 with a caregiver Noon- 4 p.m. Museum. Free. Families with children ages 3-15

16 Drop-In Family Art Day Presidents’ Day 1-4 p.m., Zarrow Center. Free

21 Road Trip – Bronze Foundry

10:15 a.m.-3 p.m. $25 members, $30 notyet-members. Reservations required. Adults with children 8 and up. Backup date is Feb. 28.

21 Introduction to Nuno Felting

1 Catholic Diocese Elementary Student Exhibition closes. 3 Booker T. Washington High School Student Exhibition opens. 3 & 24 Open Studio for Adult Artists 4-7 p.m., Zarrow Center

Tom Gilcrease Jr. Auditorium. Noon, She Wore a Yellow Ribbon. 2:45 p.m., The Man Who Shot Liberty Valance

10 Art Explorations

10 a.m.-Noon, Gallery/The Study

12 Museum Babies I

10:30 a.m. Ages birth-1 year with a caregiver

13 Museum Babies II

10:30 a.m. Ages 1 and 2 with a caregiver

14 Painting Pet Portraits

With artist Helen F. Howerton. Noon-5 p.m., Zarrow Center. $50 Gilcrease members, $65 not-yet-members

15 Funday Sunday

Noon-4 p.m. Museum. Free. Families with children ages 3-15

16-20 Spring Break Art Camp

9 a.m.-Noon or 1-4 p.m. Ages 5-6 at Gilcrease Museum. Ages 7-12 at Zarrow Center. One-half day, $100 members, $125 not-yet members. All day, $200 members, $250 not-yet members. Registration required.

17 Jazz Night

5 Kids Dig Books

TBA. Vista Room. 5:30-7:30 p.m. Free for Gilcrease members. Galleries remain open until 8:00 p.m. Buffet dinner provided for $8 per person.

6, 12, 13 Mini Masters

20 Gilcrease Forum

6 From My Point of View

26 ZACH: Zarrow Art Classes for Homeschool

10 a.m. Characters of the West, Ages 3-6 accompanied by a caregiver. 10 a.m., Galleries and Creative Learning Center. Ages 3-6 accompanied by a caregiver.

1-5 p.m., Zarrow Center. $40 members, $50 not-yet members. Supplies included.

Noon, Gallery 18. John Ford – Poet in the Desert, Joseph Malham, author and iconographer.

26 ZACH: Zarrow Art Classes for Homeschool

6-9 p.m., Zarrow Center. Free

10-11:30 a.m. or 1:30-3 p.m. $10 members, $12 not-yet members

8 John Ford Film Festival

6 First Friday Art Crawl 7 John Ford Film Festival

Introduction and commentary by Joseph Malham, Tom Gilcrease Jr. Auditorium. Noon, Stagecoach. 2:45 p.m., 3 Godfathers

1 p.m., Tom Gilcrease Jr. Auditorium. My Journey, Winnie Guess Perdue, elder of the Cherokee Nation.

10-11:30 a.m. or 1:30-3 p.m. $10 members, $12 not-yet members

28 Extended Pose Figure Drawing 1-5 p.m., Zarrow Center. $20

29 Booker T. Washington High School Student Exhibition closes.

Chris Ramsay, Circle of Life, photo etching

WINTER / 2015

Gilcrease Calendar of Events January 2 First Friday Art Crawl 6-9 p.m., Zarrow Center. Free

4 Glenpool H.S. Student Exhibition closes. 6 Tulsa School of Arts & Sciences Student Exhibition opens.

Zarrow Center Exhibitions

Sherman Smith Family Gallery Noon-8 p.m., Tuesday – Saturday; Noon-5 p.m., Sunday Fire & Ice Through January 25, 2015 Chris Ramsay: Meditations in Stillwater January 30 through March 29, 2015

Gilcrease Magazine

6 & 20 Open Studio for Adult Artists 4-7 p.m., Zarrow Center

9 From My Point of View

Noon, Gallery18. Gilcrease Associate Conservator Ann Boulton, Ins and Outs of Bronze Casting: Why Should We Care?

11 Sunday Matinee Film

Augustus Saint-Gaudens: Master of American Sculpture. 1:30 & 2:45 p.m., Tom Gilcrease Jr. Auditorium

13 Art Explorations

10 a.m.-Noon, Gallery/The Study

16 Brown Bag Lunch Lecture Noon-1 p.m., Zarrow Center. Cedric Mitchell, local glass artist.

17 Extended Pose Figure Drawing 1-5 p.m., Zarrow Center. $20

18 Funday Sunday

Noon-4 p.m. Museum. Free. Families with children ages 3-15

19 Drop-In Family Art Day Martin Luther King Jr. Day 1-4 p.m., Zarrow Center. Free

22, 23, 29 & 30 Mini Masters

10 a.m., Galleries and Creative Learning Center. Ages 3-6 accompanied by a caregiver.

Head Effigy Vessel, ceramic, 900 – 1500 CE GM 5425.1468

29 ZACH: Zarrow Art Classes for Homeschool

10-11:30 a.m. or 1:30-3 p.m. $10 members, $12 not-yet members

31 Improve Your Painting with Christopher Westfall 10 a.m.-4 p.m., Zarrow Center. $150 members; $175 not-yet members. Registration required, class size limited

February 1 Sunday Draws

6 TPS Student Art Show Reception

6-8 p.m., Gilcrease Studios, 2nd floor, Zarrow Center. Free. Catch the Spirit 6-9 p.m., Zarrow Center. Enjoy the Brady Arts District and visit new, exciting exhibitions each month. Free

28 Exhibition Lecture

8 Sunday Matinee Film

March

6 From My Point of View

Noon, Gallery 18. Star Spangled Banner Commemoration, musical performance by David & Ginger Hildebrand, Colonial Music Institute.

Winslow Homer, Watching the Breakers, oil on canvas, 1891, GM 0126.2264

1-2:30 p.m. $5 for members, $8 not-yet members. Ages 8 and up

10 a.m.-Noon, Gallery/The Study

15 Funday Sunday

10 a.m., Galleries and Creative Learning Center. Ages 3-6 accompanied by a caregiver.

1 Sunday Draws

10 Art Explorations

3 Catholic Diocese Elementary Schools Student Exhibition opens.

6, 12, 13, 19, 20 Mini Masters

1:30 p.m., Tom Gilcrease Jr. Auditorium. The Mastery of Bronze Sculpture. Veryl Goodnight.

1:30 p.m., Tom Gilcrease, Jr. Auditorium. Dolley Madison – America’s First Lady

13, 19 Museum Babies II

10 a.m. Characters of the West, Ages 3-6 accompanied by a caregiver.

Noon-1 p.m., Zarrow Center. Free. Chris Ramsay: Meditations in Stillwater, Chris Ramsay.

10 a.m.-4 p.m., Zarrow Center. $150 members; $175 not-yet-members. Registration required, class size limited

1 Tulsa School of Arts & Science Student Exhibition closes.

5 Kids Dig Books

27 Brown Bag Lunch Lecture

7 Improve Your Painting with Christopher Westfall

12, 20 Museum Babies I

4-7 p.m., Zarrow Center

10 a.m.-5 p.m., Zarrow Center. $60 members, $75 not-yet members. All supplies are included.

6 First Friday Art Crawl,

1-2:30 p.m. $5 for members, $8 not-yet members. Ages 8 and up

3 & 17 Open Studio for Adult Artists

27 Demonstration/Class: LowTech Photo Etched Pin or Pendant, Chris Ramsay

10:30 a.m. Ages birth-1 year with a caregiver 10:30 a.m. Ages 1 and 2 with a caregiver Noon- 4 p.m. Museum. Free. Families with children ages 3-15

16 Drop-In Family Art Day Presidents’ Day 1-4 p.m., Zarrow Center. Free

21 Road Trip – Bronze Foundry

10:15 a.m.-3 p.m. $25 members, $30 notyet-members. Reservations required. Adults with children 8 and up. Backup date is Feb. 28.

21 Introduction to Nuno Felting

1 Catholic Diocese Elementary Student Exhibition closes. 3 Booker T. Washington High School Student Exhibition opens. 3 & 24 Open Studio for Adult Artists 4-7 p.m., Zarrow Center

Tom Gilcrease Jr. Auditorium. Noon, She Wore a Yellow Ribbon. 2:45 p.m., The Man Who Shot Liberty Valance

10 Art Explorations

10 a.m.-Noon, Gallery/The Study

12 Museum Babies I

10:30 a.m. Ages birth-1 year with a caregiver

13 Museum Babies II

10:30 a.m. Ages 1 and 2 with a caregiver

14 Painting Pet Portraits

With artist Helen F. Howerton. Noon-5 p.m., Zarrow Center. $50 Gilcrease members, $65 not-yet-members

15 Funday Sunday

Noon-4 p.m. Museum. Free. Families with children ages 3-15

16-20 Spring Break Art Camp

9 a.m.-Noon or 1-4 p.m. Ages 5-6 at Gilcrease Museum. Ages 7-12 at Zarrow Center. One-half day, $100 members, $125 not-yet members. All day, $200 members, $250 not-yet members. Registration required.

17 Jazz Night

5 Kids Dig Books

TBA. Vista Room. 5:30-7:30 p.m. Free for Gilcrease members. Galleries remain open until 8:00 p.m. Buffet dinner provided for $8 per person.

6, 12, 13 Mini Masters

20 Gilcrease Forum

6 From My Point of View

26 ZACH: Zarrow Art Classes for Homeschool

10 a.m. Characters of the West, Ages 3-6 accompanied by a caregiver. 10 a.m., Galleries and Creative Learning Center. Ages 3-6 accompanied by a caregiver.

1-5 p.m., Zarrow Center. $40 members, $50 not-yet members. Supplies included.

Noon, Gallery 18. John Ford – Poet in the Desert, Joseph Malham, author and iconographer.

26 ZACH: Zarrow Art Classes for Homeschool

6-9 p.m., Zarrow Center. Free

10-11:30 a.m. or 1:30-3 p.m. $10 members, $12 not-yet members

8 John Ford Film Festival

6 First Friday Art Crawl 7 John Ford Film Festival

Introduction and commentary by Joseph Malham, Tom Gilcrease Jr. Auditorium. Noon, Stagecoach. 2:45 p.m., 3 Godfathers

1 p.m., Tom Gilcrease Jr. Auditorium. My Journey, Winnie Guess Perdue, elder of the Cherokee Nation.

10-11:30 a.m. or 1:30-3 p.m. $10 members, $12 not-yet members

28 Extended Pose Figure Drawing 1-5 p.m., Zarrow Center. $20

29 Booker T. Washington High School Student Exhibition closes.

Chris Ramsay, Circle of Life, photo etching

WINTER / 2015

1400 N. Gilcrease Museum Road Tulsa, OK 74127-2100

Remington: Lost and Found – Members Only Event Save The Date February 17, 2015 The Gilcrease collection of more than 20 Remington sculptures includes fine examples of early casts and some of dubious origin. After a short talk, members will follow Ann Boulton, associate conservator at Gilcrease into the exhibition, Frontier to Foundry, for a closer look at the Remingtons there. Frederic Remington (1861-1909) Buffalo Horse, bronze, 1907

Contact Gilcrease Museum MAIN NUMBER............................... 918-596-2700 TOLL FREE........................................ 888-655-2278 FAX.................................................... 918-596-2770 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...................... 918-596-2741 Administration.......................... 918-596-2754 Collections.................................. 918-596-2706 Exhibitions................................... 918-596-2788 Museum RESTAURANT................. 918-596-2720 FACILITY EVENTS............................ 918-596-2751 gilcrease.utulsa.edu ©2015, Gilcrease Museum

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#14730