Gilcrease Magazine – Winter 2018

GILCREASE MAGAZINE WINTER 2018

Norman Rockwell: Behind the Camera

February 17, 2018 - June 10, 2018

V OL U ME 2 6 , N U MBER 1

WINTER 2018

In this Issue

4 In Memoriam

Gilcrease remembers Duane H. King, former executive director and renowned scholar, who died September 17, 2017.

6 Kings’ Gift

Thanks to the generosity of Judy and Tom King, Gilcrease Museum is now home to a small collection of Rick Bartow’s work.

8 Norman Rockwell:

Behind the Camera

Gilcrease will host a landmark exhibition showcasing the art and artistry of Norman Rockwell in a distinctly new light.

12 Campaign for Gilcrease

The campaign surges ahead with major gifts from Marcia and Ron MacLeod and Susie and Bob Jackson.

14 Digitization Grant

The Oklahoma Historical Records Advisory Board has awarded Gilcrease a grant to fund digitization of its Native American photograph collection.

20 Support Gilcrease Programs

Gifts to the Annual Fund help introduce more children to art, history and culture.

ON THE COVER Norman Rockwell, The Runaway, 1958, Cover of The Saturday Evening Post, September 20, 1958, oil on canvas, Norman Rockwell Museum Collection. ©SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved. www.curtislicensing.com. One of many works featured in the exhibition Norman Rockwell: Behind the Camera that opens February 17.

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

2

gilcrease.org Winter / 2018

1

V OL U ME 2 6 , N U MBER 1

WINTER 2018

In this Issue

4 In Memoriam

Gilcrease remembers Duane H. King, former executive director and renowned scholar, who died September 17, 2017.

6 Kings’ Gift

Thanks to the generosity of Judy and Tom King, Gilcrease Museum is now home to a small collection of Rick Bartow’s work.

8 Norman Rockwell:

Behind the Camera

Gilcrease will host a landmark exhibition showcasing the art and artistry of Norman Rockwell in a distinctly new light.

12 Campaign for Gilcrease

The campaign surges ahead with major gifts from Marcia and Ron MacLeod and Susie and Bob Jackson.

14 Digitization Grant

The Oklahoma Historical Records Advisory Board has awarded Gilcrease a grant to fund digitization of its Native American photograph collection.

20 Support Gilcrease Programs

Gifts to the Annual Fund help introduce more children to art, history and culture.

ON THE COVER Norman Rockwell, The Runaway, 1958, Cover of The Saturday Evening Post, September 20, 1958, oil on canvas, Norman Rockwell Museum Collection. ©SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved. www.curtislicensing.com. One of many works featured in the exhibition Norman Rockwell: Behind the Camera that opens February 17.

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

2

gilcrease.org Winter / 2018

1

DIRECTOR’S REPORT

A Shared Vision for the Future of Gilcrease At a recent design charrette led by Dr. Jack Crowley, professor of Urban Design at the University of Georgia, Gilcrease staff and the Gilcrease National Advisory Board were invited to share their thoughts on guiding principles to inform the museum’s future Susan Neal expansion. The report that will result from this two-day design exercise will guide the City of Tulsa in developing the request for qualifications to be released in early 2018 for consideration by interested architect design teams.

The process for architect consideration and selection will require approximately six months.

During this time, another process — of equal importance to the design itself — will take place. Through traditional and social media, the Gilcrease Museum website, focus groups, surveys and outreach, staff will engage our community in a conversation to learn what people treasure about Gilcrease, what they’d like to see more of in the expanded Gilcrease, and how we can better serve our real “boss” — the citizens of Tulsa — through the museum’s expansion. Through its ownership and the recent investment of $65 million in future development, the museum’s managing partner, The University of Tulsa, has placed the citizens of Tulsa at the very top of the Gilcrease organization chart.

In addition to the many audiences who already know and love Gilcrease, we know we have an opportunity, as well as an obligation, to cultivate and nurture new audiences here at home, nationally

and internationally. Beginning in December, visitors will be invited to give us their BEST ideas — what we should Begin, Enhance, Stop or Think about doing to make their experience at Gilcrease fun, memorable and meaningful.

The breadth and significance of the Gilcrease collection is powerful enough to transform people’s lives, helping each of us to better understand ourselves, our history, and most importantly, one another. Gilcrease is more than a once-in-a-lifetime experience. While it is a front door to the world and uniquely positions Tulsa on the art stage nationally and internationally, it is also our community’s living room — a place where all Tulsans are welcome to explore and make their own discoveries.

I hope you’ll join the conversation and give us your BEST ideas for Gilcrease. You’ll be hearing more from us on the many channels through which you can share your input; but in the meantime, feel free to contact us on our website at gilcrease.org.

It was our community’s shared vision that ensured Thomas Gilcrease’s collection would be enjoyed by generations to come when the museum was deeded to the City of Tulsa in 1955 and our shared vision to support its expansion, so it will continue to reflect Tulsans’ shared vision for our city’s successful future.

A Message from the National Advisory Board Chair It’s been a season of change for the Gilcrease-TU family. Former TU President Steadman Upham passed away at the end of July from complications following surgery. Not more than two months later, Duane King succumbed to cancer Jon R. Stuart and died in midSeptember.

As we grieve the loss and leadership of these two individuals who had a powerful influence and impact on Gilcrease Museum and The University of Tulsa, there is still a wonderful optimism about the future of both institutions.

I’m pleased to report that Susan Neal, former chief operating officer for Gilcrease Museum, has been tapped to be its new executive director. Susan has served as TU vice president for public affairs,

research and economic development since May 2010.

Susan has more than 30 years of experience in management as well as government and community relations. She also served two terms on Tulsa’s City Council after which she served on the management teams of Mayors Kathy Taylor and Dewey Bartlett.

Susan will also oversee operations at the Helmerich Center for American Research as executive director. Providing leadership for both the museum and research center will enable the continuation of the scholarship and programming underway at the Helmerich Center as a complement to the museum’s exhibition schedule and education programming.

Susan’s passion for the legacy of Thomas Gilcrease and his gift to the city and her desire to see the museum transformed into a destination that becomes an economic driver for Tulsa is evident.

Please join me in welcoming Susan to the role of executive director. We are eager to celebrate Gilcrease’s success under her leadership.

GILCREASE MUSEUM NATIONAL ADVISORY BOARD Kindest regards,

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

Jon R. Stuart, Chair Hans C. Helmerich, Vice Chair Max N. Berry, Chair, Collections & Acquisitions Committee Marcia M. MacLeod, Chair, Exhibitions & Programs Committee George S. Dotson, Chair, Planning & Development Committee Carol M. Adelson • Teresa B. Adwan • James F. Arens II • Joan B. Atkinson • James E. Bertelsmeyer • Robert S. Boswell Douglas A. Campbell • Frederick F. Drummond • Donna M. Dutton • Cynthia Stephenson Field • Randy A. Foutch E. Ann Graves • Gregory Allen Gray • Cheryl Groenendyke • Elizabeth Griot Hagans • William P. Healey • Susan B. Jackson Kristen Kenneally • David M. Leuschen • Marc C. Maun • Marcia V. Mayo • Charles O. Meyers, Jr. • Thomas Minckler • Mia Mascarin Oven Wilson Pipestem • James P. Ronda • J. Terrell Siegfried • Cameron O. Smith • Deacon Turner • Christy Vezolles Gilbert D. Waldman • Randi Stuart Wightman • Maxine Zarrow

2

Gilcrease Museum magazine

DIRECTOR’S REPORT

A Shared Vision for the Future of Gilcrease At a recent design charrette led by Dr. Jack Crowley, professor of Urban Design at the University of Georgia, Gilcrease staff and the Gilcrease National Advisory Board were invited to share their thoughts on guiding principles to inform the museum’s future Susan Neal expansion. The report that will result from this two-day design exercise will guide the City of Tulsa in developing the request for qualifications to be released in early 2018 for consideration by interested architect design teams.

The process for architect consideration and selection will require approximately six months.

During this time, another process — of equal importance to the design itself — will take place. Through traditional and social media, the Gilcrease Museum website, focus groups, surveys and outreach, staff will engage our community in a conversation to learn what people treasure about Gilcrease, what they’d like to see more of in the expanded Gilcrease, and how we can better serve our real “boss” — the citizens of Tulsa — through the museum’s expansion. Through its ownership and the recent investment of $65 million in future development, the museum’s managing partner, The University of Tulsa, has placed the citizens of Tulsa at the very top of the Gilcrease organization chart.

In addition to the many audiences who already know and love Gilcrease, we know we have an opportunity, as well as an obligation, to cultivate and nurture new audiences here at home, nationally

and internationally. Beginning in December, visitors will be invited to give us their BEST ideas — what we should Begin, Enhance, Stop or Think about doing to make their experience at Gilcrease fun, memorable and meaningful.

The breadth and significance of the Gilcrease collection is powerful enough to transform people’s lives, helping each of us to better understand ourselves, our history, and most importantly, one another. Gilcrease is more than a once-in-a-lifetime experience. While it is a front door to the world and uniquely positions Tulsa on the art stage nationally and internationally, it is also our community’s living room — a place where all Tulsans are welcome to explore and make their own discoveries.

I hope you’ll join the conversation and give us your BEST ideas for Gilcrease. You’ll be hearing more from us on the many channels through which you can share your input; but in the meantime, feel free to contact us on our website at gilcrease.org.

It was our community’s shared vision that ensured Thomas Gilcrease’s collection would be enjoyed by generations to come when the museum was deeded to the City of Tulsa in 1955 and our shared vision to support its expansion, so it will continue to reflect Tulsans’ shared vision for our city’s successful future.

A Message from the National Advisory Board Chair It’s been a season of change for the Gilcrease-TU family. Former TU President Steadman Upham passed away at the end of July from complications following surgery. Not more than two months later, Duane King succumbed to cancer Jon R. Stuart and died in midSeptember.

As we grieve the loss and leadership of these two individuals who had a powerful influence and impact on Gilcrease Museum and The University of Tulsa, there is still a wonderful optimism about the future of both institutions.

I’m pleased to report that Susan Neal, former chief operating officer for Gilcrease Museum, has been tapped to be its new executive director. Susan has served as TU vice president for public affairs,

research and economic development since May 2010.

Susan has more than 30 years of experience in management as well as government and community relations. She also served two terms on Tulsa’s City Council after which she served on the management teams of Mayors Kathy Taylor and Dewey Bartlett.

Susan will also oversee operations at the Helmerich Center for American Research as executive director. Providing leadership for both the museum and research center will enable the continuation of the scholarship and programming underway at the Helmerich Center as a complement to the museum’s exhibition schedule and education programming.

Susan’s passion for the legacy of Thomas Gilcrease and his gift to the city and her desire to see the museum transformed into a destination that becomes an economic driver for Tulsa is evident.

Please join me in welcoming Susan to the role of executive director. We are eager to celebrate Gilcrease’s success under her leadership.

GILCREASE MUSEUM NATIONAL ADVISORY BOARD Kindest regards,

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

Jon R. Stuart, Chair Hans C. Helmerich, Vice Chair Max N. Berry, Chair, Collections & Acquisitions Committee Marcia M. MacLeod, Chair, Exhibitions & Programs Committee George S. Dotson, Chair, Planning & Development Committee Carol M. Adelson • Teresa B. Adwan • James F. Arens II • Joan B. Atkinson • James E. Bertelsmeyer • Robert S. Boswell Douglas A. Campbell • Frederick F. Drummond • Donna M. Dutton • Cynthia Stephenson Field • Randy A. Foutch E. Ann Graves • Gregory Allen Gray • Cheryl Groenendyke • Elizabeth Griot Hagans • William P. Healey • Susan B. Jackson Kristen Kenneally • David M. Leuschen • Marc C. Maun • Marcia V. Mayo • Charles O. Meyers, Jr. • Thomas Minckler • Mia Mascarin Oven Wilson Pipestem • James P. Ronda • J. Terrell Siegfried • Cameron O. Smith • Deacon Turner • Christy Vezolles Gilbert D. Waldman • Randi Stuart Wightman • Maxine Zarrow

2

Gilcrease Museum magazine

In Memoriam

Duane H. King Duane King, former executive director of Gilcrease Museum and a widely recognized authority on American Indian history and culture, died September 17, 2017. He was 70.

King had been serving as director of the Helmerich Center of American Research at Gilcrease Museum, and TU’s vice president of museum affairs. He joined Gilcrease in 2008 and helped lead the transition of museum management from the City of Tulsa to The University of Tulsa.

King oversaw construction of the Helmerich Center, which is adjacent to Gilcrease, and had been director since it opened in 2014.

He was nationally known as a scholar of American Indian culture and history and the American West, and he wrote and spoke frequently on the topics.

TU President Gerard Clancy said of King: “The academic community has lost a brilliant scholar, and the TU family has lost a dear friend. In my last conversation with him, we talked indepth about how his work in understanding and teaching about America was so important in trying to heal today’s division in our nation.”

Before Tulsa, King directed museums in Los Angeles and New York, as well as Oregon and North Carolina.

He was founding editor of the Journal of Cherokee Studies and was former executive director of the Cherokee National Historical Society in Tahlequah. A noted Cherokee expert, he was often consulted by Cherokee Nation citizens on a variety of historical matters.

He was also among the advisers behind the Smithsonian Institution’s National Museum for the American Indian in Washington, D.C. A graduate of the University of Tennessee, King held a master’s and doctorate from the University of Georgia, the latter of which focused on researching the Cherokee language.

King loved Gilcrease Museum and the staff.

“Dr. King will be deeply missed. There was no kinder individual who consistently showed his concern for others,” said Susan Neal, executive director of Gilcrease Museum and HCAR, vice president for public affairs at TU. Thomas Gilcrease believed in leaving a meaningful legacy, as evidenced by his words: “If you’re going to leave a track, make it a good one.” “Duane lived that philosophy,” Neal said.

“His work, his character and his impact will be long treasured locally and nationally,” she added.

King is survived by his wife, Elise (Lee), son, Travis and daughter, Angela.

4

Gilcrease Museum magazine

Winter / 2018

5

In Memoriam

Duane H. King Duane King, former executive director of Gilcrease Museum and a widely recognized authority on American Indian history and culture, died September 17, 2017. He was 70.

King had been serving as director of the Helmerich Center of American Research at Gilcrease Museum, and TU’s vice president of museum affairs. He joined Gilcrease in 2008 and helped lead the transition of museum management from the City of Tulsa to The University of Tulsa.

King oversaw construction of the Helmerich Center, which is adjacent to Gilcrease, and had been director since it opened in 2014.

He was nationally known as a scholar of American Indian culture and history and the American West, and he wrote and spoke frequently on the topics.

TU President Gerard Clancy said of King: “The academic community has lost a brilliant scholar, and the TU family has lost a dear friend. In my last conversation with him, we talked indepth about how his work in understanding and teaching about America was so important in trying to heal today’s division in our nation.”

Before Tulsa, King directed museums in Los Angeles and New York, as well as Oregon and North Carolina.

He was founding editor of the Journal of Cherokee Studies and was former executive director of the Cherokee National Historical Society in Tahlequah. A noted Cherokee expert, he was often consulted by Cherokee Nation citizens on a variety of historical matters.

He was also among the advisers behind the Smithsonian Institution’s National Museum for the American Indian in Washington, D.C. A graduate of the University of Tennessee, King held a master’s and doctorate from the University of Georgia, the latter of which focused on researching the Cherokee language.

King loved Gilcrease Museum and the staff.

“Dr. King will be deeply missed. There was no kinder individual who consistently showed his concern for others,” said Susan Neal, executive director of Gilcrease Museum and HCAR, vice president for public affairs at TU. Thomas Gilcrease believed in leaving a meaningful legacy, as evidenced by his words: “If you’re going to leave a track, make it a good one.” “Duane lived that philosophy,” Neal said.

“His work, his character and his impact will be long treasured locally and nationally,” she added.

King is survived by his wife, Elise (Lee), son, Travis and daughter, Angela.

4

Gilcrease Museum magazine

Winter / 2018

5

ACQUISITION FEATURE

Kings’ Gifts Expand Bartow Collection

Judy and Tom King alongside their gift to Gilcrease Museum: Rick Bartow’s painting, Jane Avril – Spindly legs flying in all directions

Tom King grew up a mile from Gilcrease Museum and used to wander the grounds exploring with friends. Judy King first visited Gilcrease around 1963 and loves the landscape of the Osage Hills.

Together, Tom and Judy have raised two children and traveled the world, but they always come back to Oklahoma — and Gilcrease. In 2013, they decided to become museum members.

“We always visited Gilcrease and decided to join after realizing how much time we spent at the museum. Our membership has made it possible to do and learn more here,” said Tom, a 1976 graduate of The University of Tulsa.

He credits his alma mater, which began managing the museum in 2008, for giving him the push to join. He also supports Golden Hurricane athletics, TU’s College of Engineering and Natural Sciences and has served on the Alumni Association board. “I have really enjoyed the activities at the Helmerich Center for American Research,” Tom said. “The programs complement the museum collection, and the collaboration with the George Kaiser Family Foundation on The Dylan ArchiveSM is a great opportunity.”

Tom and Judy have become more involved, attending a

6

Gilcrease Museum magazine

variety of programs and exhibition openings. Along the way, they regularly increased their annual membership gift and joined the Gilcrease Council in September. As a retiree of ConocoPhillips, Tom leveraged a corporate match gift option to further support Gilcrease.

The two have developed a deep appreciation for the work of contemporary Native artists displayed at the museum.

Judy found a connection to the work of Rick Bartow, whose career retrospective, Things You Know But Cannot Explain, was on display at Gilcrease in 2016. “I was blown away immediately,” she said. “I could hear him speak in the exhibition. It was more than just beautiful artwork; he experienced what he painted. He lived it.”

Judy found Bartow’s work extremely telling and personal. “I was struck by the portrait of his wife. Although I didn’t know who she was at first, I immediately saw love — the love of his life — and peace. It was very emotional. I knew it was someone cherished and revered,” she explained.

She also saw patriotism in his work. “The impact of Vietnam on him was hard to miss. Our veterans don’t just go to war; they bring a part of the war home with them. It becomes a part of their life,” she said.

Tom admitted needing a little time to warm up to Bartow’s work. Yet, when he saw Foti’s Indian, a monotype of an Indian bust with wild headdress and somewhat reminiscent of the Native American portraits staged by Edward Curtis, “It was Gilcrease,” he said. “It belonged in the museum.”

The couple visited the Bartow exhibit repeatedly during its run and casually mentioned a few times that Gilcrease should acquire the work. Sadly, the artist passed away three weeks before the exhibition closed, but the Kings were unable to let the monotype go and later that year inquired about its availability. By the end of the year, Tom and Judy had made arrangements to purchase the piece for Gilcrease.

Judy’s infatuation with Bartow’s work continued, and she approached Gilcrease with interest in one of the artist’s paintings. (Bartow had already donated four pastels and the large, iconic sculpture From Nothing Coyote Creates Himself to the museum before his death.) After a few conversations with museum staff, the Kings purchased Jane Avril - Spindly legs flying in all directions for Gilcrease. Their generosity allowed Gilcrease to quickly add a small collection of Bartow’s work.

Tom and Judy have visited many museum collections in European countries, and their travels helped them appreciate the treasure they have in Tulsa.

“I never realized the collection sophistication of Thomas Gilcrease until we started traveling to Europe and seeing those museums,” Judy said. “There isn’t any museum that can top what Gilcrease has in its collection, especially with the archive.”

Tom and Judy have made Gilcrease a part of their lives, and their gifts to the museum will echo far into the future.

Rick Bartow, Foti’s Indian, 2001, monotype, 30" x 22".

Photo credit: Rebekah Johnson Photography Courtesy of the Richard E. Bartow Estate and Froelick Gallery, Portland, OR

Director of Learning and Engagement to Cultivate New Audiences

The University of Tulsa and Gilcrease Museum are pleased to announce that Alison Rossi has been named the museum’s director of learning and community engagement. This position is responsible for leading outreach efforts at Gilcrease to provide innovative participatory learning opportunities for diverse and multi-generational audiences.

Rossi most recently served as a part-time faculty member for Tulsa Community College and Point Loma Nazarene University in San Diego, California.

She previously served as a contributing writer for Art Focus Oklahoma, a museum consultant and director of education at Mingei International Museum in San Diego.

Rossi will be responsible for cultivating a new following for Gilcrease in a changing demographic through the development of public programs, academic programs and interpretive materials for all ages. “Both the museum and The University of Tulsa are dedicated to lifelong learning, and Alison is a great fit for this position,” said Susan Neal, executive director of Gilcrease Museum and HCAR, vice president for public affairs at TU. Winter / 2018

7

ACQUISITION FEATURE

Kings’ Gifts Expand Bartow Collection

Judy and Tom King alongside their gift to Gilcrease Museum: Rick Bartow’s painting, Jane Avril – Spindly legs flying in all directions

Tom King grew up a mile from Gilcrease Museum and used to wander the grounds exploring with friends. Judy King first visited Gilcrease around 1963 and loves the landscape of the Osage Hills.

Together, Tom and Judy have raised two children and traveled the world, but they always come back to Oklahoma — and Gilcrease. In 2013, they decided to become museum members.

“We always visited Gilcrease and decided to join after realizing how much time we spent at the museum. Our membership has made it possible to do and learn more here,” said Tom, a 1976 graduate of The University of Tulsa.

He credits his alma mater, which began managing the museum in 2008, for giving him the push to join. He also supports Golden Hurricane athletics, TU’s College of Engineering and Natural Sciences and has served on the Alumni Association board. “I have really enjoyed the activities at the Helmerich Center for American Research,” Tom said. “The programs complement the museum collection, and the collaboration with the George Kaiser Family Foundation on The Dylan ArchiveSM is a great opportunity.”

Tom and Judy have become more involved, attending a

6

Gilcrease Museum magazine

variety of programs and exhibition openings. Along the way, they regularly increased their annual membership gift and joined the Gilcrease Council in September. As a retiree of ConocoPhillips, Tom leveraged a corporate match gift option to further support Gilcrease.

The two have developed a deep appreciation for the work of contemporary Native artists displayed at the museum.

Judy found a connection to the work of Rick Bartow, whose career retrospective, Things You Know But Cannot Explain, was on display at Gilcrease in 2016. “I was blown away immediately,” she said. “I could hear him speak in the exhibition. It was more than just beautiful artwork; he experienced what he painted. He lived it.”

Judy found Bartow’s work extremely telling and personal. “I was struck by the portrait of his wife. Although I didn’t know who she was at first, I immediately saw love — the love of his life — and peace. It was very emotional. I knew it was someone cherished and revered,” she explained.

She also saw patriotism in his work. “The impact of Vietnam on him was hard to miss. Our veterans don’t just go to war; they bring a part of the war home with them. It becomes a part of their life,” she said.

Tom admitted needing a little time to warm up to Bartow’s work. Yet, when he saw Foti’s Indian, a monotype of an Indian bust with wild headdress and somewhat reminiscent of the Native American portraits staged by Edward Curtis, “It was Gilcrease,” he said. “It belonged in the museum.”

The couple visited the Bartow exhibit repeatedly during its run and casually mentioned a few times that Gilcrease should acquire the work. Sadly, the artist passed away three weeks before the exhibition closed, but the Kings were unable to let the monotype go and later that year inquired about its availability. By the end of the year, Tom and Judy had made arrangements to purchase the piece for Gilcrease.

Judy’s infatuation with Bartow’s work continued, and she approached Gilcrease with interest in one of the artist’s paintings. (Bartow had already donated four pastels and the large, iconic sculpture From Nothing Coyote Creates Himself to the museum before his death.) After a few conversations with museum staff, the Kings purchased Jane Avril - Spindly legs flying in all directions for Gilcrease. Their generosity allowed Gilcrease to quickly add a small collection of Bartow’s work.

Tom and Judy have visited many museum collections in European countries, and their travels helped them appreciate the treasure they have in Tulsa.

“I never realized the collection sophistication of Thomas Gilcrease until we started traveling to Europe and seeing those museums,” Judy said. “There isn’t any museum that can top what Gilcrease has in its collection, especially with the archive.”

Tom and Judy have made Gilcrease a part of their lives, and their gifts to the museum will echo far into the future.

Rick Bartow, Foti’s Indian, 2001, monotype, 30" x 22".

Photo credit: Rebekah Johnson Photography Courtesy of the Richard E. Bartow Estate and Froelick Gallery, Portland, OR

Director of Learning and Engagement to Cultivate New Audiences

The University of Tulsa and Gilcrease Museum are pleased to announce that Alison Rossi has been named the museum’s director of learning and community engagement. This position is responsible for leading outreach efforts at Gilcrease to provide innovative participatory learning opportunities for diverse and multi-generational audiences.

Rossi most recently served as a part-time faculty member for Tulsa Community College and Point Loma Nazarene University in San Diego, California.

She previously served as a contributing writer for Art Focus Oklahoma, a museum consultant and director of education at Mingei International Museum in San Diego.

Rossi will be responsible for cultivating a new following for Gilcrease in a changing demographic through the development of public programs, academic programs and interpretive materials for all ages. “Both the museum and The University of Tulsa are dedicated to lifelong learning, and Alison is a great fit for this position,” said Susan Neal, executive director of Gilcrease Museum and HCAR, vice president for public affairs at TU. Winter / 2018

7

EXHIBITION FEATURE a fleeting expression or freeze an especially difficult pose gave him free reign in imagining and constructing his visual narratives and sometimes serendipitously catching the nuances of character for which he is so beloved.

“Photography has been a benevolent tool for artists from Thomas Eakins and Edgar Degas to David Hockney,” notes Ron Schick, exhibition curator. “But the thousands of photographs Norman Rockwell created as studies for his iconic images are a case apart.” Exceptional in scope and detail, these study photographs are distinguished by Rockwell’s gift for character and narrative. And for viewers today, says Schick, they elicit “a haunting sense of déjà vu, mirroring his masterworks in a tangible parallel universe.”

Behind the Camera Gilcrease Museum is pleased to bring a landmark exhibition showcasing the art and artistry of Norman Rockwell in a distinctly new light. Organized by the Norman Rockwell Museum with works from its permanent collection, Norman Rockwell: Behind the Camera gathers prints of Rockwell’s study photographs and original paintings and drawings linked to photographs in the exhibition. The result is a fascinating frame-by-frame view of the development of some of Rockwell’s most indelible images. At the same time, the photographs themselves — painstakingly staged by Rockwell with an array of models, costumes, props and settings — are fully realized works of art in their own right.

Norman Rockwell: Behind the Camera is the first exhibition to explore in depth Rockwell’s richly detailed study photographs, created by the artist as references for his now iconic paintings.

The exhibition reveals this rarely seen, yet fundamental aspect of Rockwell’s creative process and unveils a significant new body of Rockwell imagery in an unexpected medium.

“Norman Rockwell was a natural storyteller with an unerring eye for detail,” says Stephanie Haboush Plunkett, deputy director and chief curator of the Norman Rockwell Museum. “This groundbreaking exhibition shows how 8

Gilcrease Museum magazine

Gene Pelhem, Photographer Norman Rockwell, Soda Jerk, 1953, Study for Cover of The Saturday Evening Post, August Reference photographs for Soda 22, 1953, (detail), Charcoal on paper mounted on board, Norman Rockwell Museum Collection, Jerk, 1953, Inkjet print, Norman Rockwell ©1953 Norman Rockwell Family Agency.

Collection, ©1953 Norman Rockwell Family Agency.

Gene Pelhem, Photographer, Photograph of Norman Rockwell, The Common Cold, 1945 Inkjet print, Norman Rockwell Collection, ©1945 Norman Rockwell Family Agency.

that narrative instinct found its first expression in the artist’s meticulously composed photographs.”

Early in his career, Rockwell hired professional models to pose for the characters in his paintings. Beginning in the mid-1930s, however, the evolving naturalism of his work led him to embrace photography, which had increasingly come in vogue as a useful tool for fine artists and a natural ally of commercial illustrators working on

tight deadlines. For Rockwell, already known as “the kid with the camera eye,” photography was more than an artist’s aid. The camera brought a new flesh-and-blood realism to his work and opened a window to the keenly observed authenticity that defines his art. Working with friends and neighbors rather than professional models fired Rockwell’s imagination by providing a wide assortment of everyday faces, while the camera’s ability to capture

Gene Pelhem, Photographer, Photographs for The Gossips, 1948 Inkjet print, Norman Rockwell Collection, ©1948 Norman Rockwell Family Agency.

Norman Rockwell, The Gossips, 1948, Cover of The Saturday Evening Post, March 6, 1948, Tear sheet, Norman Rockwell Museum Collection, ©SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved. www.curtislicensing.com

Winter / 2018

9

EXHIBITION FEATURE a fleeting expression or freeze an especially difficult pose gave him free reign in imagining and constructing his visual narratives and sometimes serendipitously catching the nuances of character for which he is so beloved.

“Photography has been a benevolent tool for artists from Thomas Eakins and Edgar Degas to David Hockney,” notes Ron Schick, exhibition curator. “But the thousands of photographs Norman Rockwell created as studies for his iconic images are a case apart.” Exceptional in scope and detail, these study photographs are distinguished by Rockwell’s gift for character and narrative. And for viewers today, says Schick, they elicit “a haunting sense of déjà vu, mirroring his masterworks in a tangible parallel universe.”

Behind the Camera Gilcrease Museum is pleased to bring a landmark exhibition showcasing the art and artistry of Norman Rockwell in a distinctly new light. Organized by the Norman Rockwell Museum with works from its permanent collection, Norman Rockwell: Behind the Camera gathers prints of Rockwell’s study photographs and original paintings and drawings linked to photographs in the exhibition. The result is a fascinating frame-by-frame view of the development of some of Rockwell’s most indelible images. At the same time, the photographs themselves — painstakingly staged by Rockwell with an array of models, costumes, props and settings — are fully realized works of art in their own right.

Norman Rockwell: Behind the Camera is the first exhibition to explore in depth Rockwell’s richly detailed study photographs, created by the artist as references for his now iconic paintings.

The exhibition reveals this rarely seen, yet fundamental aspect of Rockwell’s creative process and unveils a significant new body of Rockwell imagery in an unexpected medium.

“Norman Rockwell was a natural storyteller with an unerring eye for detail,” says Stephanie Haboush Plunkett, deputy director and chief curator of the Norman Rockwell Museum. “This groundbreaking exhibition shows how 8

Gilcrease Museum magazine

Gene Pelhem, Photographer Norman Rockwell, Soda Jerk, 1953, Study for Cover of The Saturday Evening Post, August Reference photographs for Soda 22, 1953, (detail), Charcoal on paper mounted on board, Norman Rockwell Museum Collection, Jerk, 1953, Inkjet print, Norman Rockwell ©1953 Norman Rockwell Family Agency.

Collection, ©1953 Norman Rockwell Family Agency.

Gene Pelhem, Photographer, Photograph of Norman Rockwell, The Common Cold, 1945 Inkjet print, Norman Rockwell Collection, ©1945 Norman Rockwell Family Agency.

that narrative instinct found its first expression in the artist’s meticulously composed photographs.”

Early in his career, Rockwell hired professional models to pose for the characters in his paintings. Beginning in the mid-1930s, however, the evolving naturalism of his work led him to embrace photography, which had increasingly come in vogue as a useful tool for fine artists and a natural ally of commercial illustrators working on

tight deadlines. For Rockwell, already known as “the kid with the camera eye,” photography was more than an artist’s aid. The camera brought a new flesh-and-blood realism to his work and opened a window to the keenly observed authenticity that defines his art. Working with friends and neighbors rather than professional models fired Rockwell’s imagination by providing a wide assortment of everyday faces, while the camera’s ability to capture

Gene Pelhem, Photographer, Photographs for The Gossips, 1948 Inkjet print, Norman Rockwell Collection, ©1948 Norman Rockwell Family Agency.

Norman Rockwell, The Gossips, 1948, Cover of The Saturday Evening Post, March 6, 1948, Tear sheet, Norman Rockwell Museum Collection, ©SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved. www.curtislicensing.com

Winter / 2018

9

Bill Scovill, Photographer Reference Photograph of Norman Rockwell, Norman Rockwell says “Pan American Was My Magic Carpet Around the World,” advertisement for Pan American Airways, 1956 Inkjet print, Norman Rockwell Collection, ©1956 Norman Rockwell Family Agency.

Before committing his ideas to canvas, Rockwell brought them fully to life in studio sessions. He carefully orchestrated each element of his design for the camera, selecting props and locations, choosing and directing his models — even getting in on the action to pose and perform. In fact, Rockwell’s photographic archive reveals that the artist himself was his most frequently captured model. Rockwell staged his photographs much as a film director works with a cinematographer, instructing his cameramen when to shoot, yet never personally firing the shutter.

Rockwell created dozens, even hundreds of photographs for each new subject, sometimes capturing complete compositions and other times jigsawing separate pictures of individual elements together.

Photography brought all the essential elements of Rockwell’s art completely under his direct control. For an artist with a “camera eye,” narrative genius and commitment to painstaking perfectionism, no better tool can be imagined.

A member opening for Norman Rockwell: Behind the Camera is set for February 15, 2018, from 6 to 8 p.m. The exhibition runs through June 10, 2018. Norman Rockwell: Behind the Camera has been organized by the Norman Rockwell Museum in Stockbridge, Massachusetts.

Media sponsorship has been provided by Curtis Licensing, a division of The Saturday Evening Post and the Norman Rockwell Family Agency.

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

Louis Lamone, Photographer, Bill Scovill and Norman Rockwell, ca 1962, Inkjet print, Norman Rockwell Collection, ©1962 Norman Rockwell Family Agency.

10

Gilcrease Museum magazine

Winter / 2018

11

Bill Scovill, Photographer Reference Photograph of Norman Rockwell, Norman Rockwell says “Pan American Was My Magic Carpet Around the World,” advertisement for Pan American Airways, 1956 Inkjet print, Norman Rockwell Collection, ©1956 Norman Rockwell Family Agency.

Before committing his ideas to canvas, Rockwell brought them fully to life in studio sessions. He carefully orchestrated each element of his design for the camera, selecting props and locations, choosing and directing his models — even getting in on the action to pose and perform. In fact, Rockwell’s photographic archive reveals that the artist himself was his most frequently captured model. Rockwell staged his photographs much as a film director works with a cinematographer, instructing his cameramen when to shoot, yet never personally firing the shutter.

Rockwell created dozens, even hundreds of photographs for each new subject, sometimes capturing complete compositions and other times jigsawing separate pictures of individual elements together.

Photography brought all the essential elements of Rockwell’s art completely under his direct control. For an artist with a “camera eye,” narrative genius and commitment to painstaking perfectionism, no better tool can be imagined.

A member opening for Norman Rockwell: Behind the Camera is set for February 15, 2018, from 6 to 8 p.m. The exhibition runs through June 10, 2018. Norman Rockwell: Behind the Camera has been organized by the Norman Rockwell Museum in Stockbridge, Massachusetts.

Media sponsorship has been provided by Curtis Licensing, a division of The Saturday Evening Post and the Norman Rockwell Family Agency.

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

Louis Lamone, Photographer, Bill Scovill and Norman Rockwell, ca 1962, Inkjet print, Norman Rockwell Collection, ©1962 Norman Rockwell Family Agency.

10

Gilcrease Museum magazine

Winter / 2018

11

CAMPAIGN FOR GILCREASE

Alumna’s Loyalty to TU and Gilcrease Inspire Legacy Gift

Marcia and Ron MacLeod

Marcia MacLeod comes by her love of art naturally.

Like many, she says she was “somewhat artistic” as a child and spent time painting and creating art. But she also was influenced a great deal by her grandmother, who was an artist and loved teaching art to others. Marcia’s grandparents collected art, particularly southwestern art and that with a Native influence.

So it made perfect sense years later when Marcia (BS ’75, JD ’80) was attending The University of Tulsa for her undergraduate degree that she enrolled herself in an art appreciation class. Her instructor asked the class to visit both Gilcrease and Philbrook museums.

“Gilcrease spoke to me because of its wonderful collection of American art. I loved to visit Gilcrease to escape studying and the hustle and bustle of campus life,” Marcia said.

12

Gilcrease Museum magazine

Even today, she continues to find Gilcrease a thoughtful respite.

Marcia, a member of the TU Board of Trustees, is also a member of the Gilcrease Museum National Advisory Board and chair of the Exhibitions and Programs Committee.

Recently retired from WPX where she served as senior vice president of HR and administration, Marcia founded M3 Consulting in 2016 and specializes in executive coaching, leadership development and compensation consulting. She is active in several other organizations in Tulsa including Tulsa Area United Way and their effort to recruit women and minorities for leadership positions. She also serves on the boards of Saint Simeon’s, Tulsa Community Foundation and Tulsa Regional Chamber.

Advocating for women has always been a passion of the MacLeod family. Marcia and her husband, Ron, via their Mott MacLeod Family Trust, grant two scholarships a year to graduating Girl Scouts through the Juliette Low Leadership Society. The scholarships assist those in pursuit of furthering their education via college or technical/trade school.

Marcia’s loyalty to her alma mater kicked in to gear when she moved back to Tulsa in 2001. She wanted to reconnect with TU to see how she could give back to the institution that provided a full ride scholarship for her undergraduate degree. She became heavily involved in the Collins College of Business under the influence of its current dean, Gale Sullenberger. Recently her career success and community involvement led her to be recognized as a TU Distinguished Alumna.

Gilcrease Museum and TU have both played a major role in Marcia’s life. Her willingness to pay it forward is now resulting in a planned gift to benefit both the university and Gilcrease, as part of the Campaign for Gilcrease to sustain the museum’s operations moving forward. With this recent commitment, the MacLeod legacy will forever be intertwined with both the museum and university.

“My hope is that following the museum’s expansion, we have the staff and facility to make our collection come to life by telling stories that connect with our visitors. I am grateful to be part of this transformation that will attract new visitors to Tulsa and also provide educational opportunities for generations to come. I think that would make Thomas Gilcrease smile,” Marcia said.

Love for Art Drives Couple’s Commitment to Gilcrease Susie Jackson remembers visiting Gilcrease Museum for the first time on a field trip with her daughter’s elementary school class. “Having lived in Chicago, I was used to the Art Institute,” she says. “Gilcrease was something so completely different.”

Before long, Susie was captivated by the museum overlooking the Osage hills, and her husband, Bob, began to catch the fever. They became museum members and have been loyal and generous supporters for the past 30 years.

“Gilcrease is unique as museums go — the setting, the architecture, the collection, the story of Mr. Gilcrease,” Bob says. “What I like about the museum is that it’s not a collection of disparate art. It’s very specialized and focused.”

Susie joined the Gilcrease Board of Directors in 1991 and served as president of the board during the museum’s landmark Thomas Moran exhibition, which drew record crowds during its three-month run in 1998 and ranks at the top of Jackson’s favorites. “That was an exciting time to be a part of the museum,” says Susie.

As a member of the Gilcrease Museum National Advisory Board, Susie enjoys channeling her passion for art into new initiatives that continue to elevate the museum’s mission.

During her time on the programs and exhibitions committee in 2014, she saw the successful launch of Gilcrease on Wheels, an educational outreach program that now reaches thousands of third-, fourth- and fifth-graders in rural areas across Oklahoma.

A love for art drives Susie’s passion for filling the couple’s home with a diverse collection of pieces including works by Leonard Wren and Carole Klein, who also served as associate curator of art for Gilcrease Museum.

The Jacksons not only champion the collection and programs of the museum, but also have affirmed their commitment through generous donations. They joined Gilcrease Council at the Leaders Level, supported The Anne Morand Endowment Fund to Conserve, Care for and Study the Collection at Gilcrease Museum and have purchased numerous pieces at the museum’s benefit art sales.

The couple also has supported important programs at The University of Tulsa, including Public Radio Tulsa KWGS and the Gertrude Frank Skelly Society.

Following a major gift to establish the Susan B. and Robert W. Jackson Seminar Room in TU’s Helmerich Center for

Susie and Bob Jackson

American Research, the Jacksons recently made a significant leadership contribution to the Campaign for Gilcrease.

In keeping with their philanthropic values and interests in the arts and education, their endowment will support the museum’s operations, including curatorial staff, exhibitions, digital curation and education programs for children and adults. The Jacksons also are including Gilcrease in their estate plans; their planned gift eventually will add to the endowment.

“This upcoming physical expansion will allow Gilcrease to showcase its remarkable collection and tell the story of the Americas like never before,” says Susie. “We are excited to count ourselves among those committed to making this extraordinary vision a reality.”

Winter / 2018

13

CAMPAIGN FOR GILCREASE

Alumna’s Loyalty to TU and Gilcrease Inspire Legacy Gift

Marcia and Ron MacLeod

Marcia MacLeod comes by her love of art naturally.

Like many, she says she was “somewhat artistic” as a child and spent time painting and creating art. But she also was influenced a great deal by her grandmother, who was an artist and loved teaching art to others. Marcia’s grandparents collected art, particularly southwestern art and that with a Native influence.

So it made perfect sense years later when Marcia (BS ’75, JD ’80) was attending The University of Tulsa for her undergraduate degree that she enrolled herself in an art appreciation class. Her instructor asked the class to visit both Gilcrease and Philbrook museums.

“Gilcrease spoke to me because of its wonderful collection of American art. I loved to visit Gilcrease to escape studying and the hustle and bustle of campus life,” Marcia said.

12

Gilcrease Museum magazine

Even today, she continues to find Gilcrease a thoughtful respite.

Marcia, a member of the TU Board of Trustees, is also a member of the Gilcrease Museum National Advisory Board and chair of the Exhibitions and Programs Committee.

Recently retired from WPX where she served as senior vice president of HR and administration, Marcia founded M3 Consulting in 2016 and specializes in executive coaching, leadership development and compensation consulting. She is active in several other organizations in Tulsa including Tulsa Area United Way and their effort to recruit women and minorities for leadership positions. She also serves on the boards of Saint Simeon’s, Tulsa Community Foundation and Tulsa Regional Chamber.

Advocating for women has always been a passion of the MacLeod family. Marcia and her husband, Ron, via their Mott MacLeod Family Trust, grant two scholarships a year to graduating Girl Scouts through the Juliette Low Leadership Society. The scholarships assist those in pursuit of furthering their education via college or technical/trade school.

Marcia’s loyalty to her alma mater kicked in to gear when she moved back to Tulsa in 2001. She wanted to reconnect with TU to see how she could give back to the institution that provided a full ride scholarship for her undergraduate degree. She became heavily involved in the Collins College of Business under the influence of its current dean, Gale Sullenberger. Recently her career success and community involvement led her to be recognized as a TU Distinguished Alumna.

Gilcrease Museum and TU have both played a major role in Marcia’s life. Her willingness to pay it forward is now resulting in a planned gift to benefit both the university and Gilcrease, as part of the Campaign for Gilcrease to sustain the museum’s operations moving forward. With this recent commitment, the MacLeod legacy will forever be intertwined with both the museum and university.

“My hope is that following the museum’s expansion, we have the staff and facility to make our collection come to life by telling stories that connect with our visitors. I am grateful to be part of this transformation that will attract new visitors to Tulsa and also provide educational opportunities for generations to come. I think that would make Thomas Gilcrease smile,” Marcia said.

Love for Art Drives Couple’s Commitment to Gilcrease Susie Jackson remembers visiting Gilcrease Museum for the first time on a field trip with her daughter’s elementary school class. “Having lived in Chicago, I was used to the Art Institute,” she says. “Gilcrease was something so completely different.”

Before long, Susie was captivated by the museum overlooking the Osage hills, and her husband, Bob, began to catch the fever. They became museum members and have been loyal and generous supporters for the past 30 years.

“Gilcrease is unique as museums go — the setting, the architecture, the collection, the story of Mr. Gilcrease,” Bob says. “What I like about the museum is that it’s not a collection of disparate art. It’s very specialized and focused.”

Susie joined the Gilcrease Board of Directors in 1991 and served as president of the board during the museum’s landmark Thomas Moran exhibition, which drew record crowds during its three-month run in 1998 and ranks at the top of Jackson’s favorites. “That was an exciting time to be a part of the museum,” says Susie.

As a member of the Gilcrease Museum National Advisory Board, Susie enjoys channeling her passion for art into new initiatives that continue to elevate the museum’s mission.

During her time on the programs and exhibitions committee in 2014, she saw the successful launch of Gilcrease on Wheels, an educational outreach program that now reaches thousands of third-, fourth- and fifth-graders in rural areas across Oklahoma.

A love for art drives Susie’s passion for filling the couple’s home with a diverse collection of pieces including works by Leonard Wren and Carole Klein, who also served as associate curator of art for Gilcrease Museum.

The Jacksons not only champion the collection and programs of the museum, but also have affirmed their commitment through generous donations. They joined Gilcrease Council at the Leaders Level, supported The Anne Morand Endowment Fund to Conserve, Care for and Study the Collection at Gilcrease Museum and have purchased numerous pieces at the museum’s benefit art sales.

The couple also has supported important programs at The University of Tulsa, including Public Radio Tulsa KWGS and the Gertrude Frank Skelly Society.

Following a major gift to establish the Susan B. and Robert W. Jackson Seminar Room in TU’s Helmerich Center for

Susie and Bob Jackson

American Research, the Jacksons recently made a significant leadership contribution to the Campaign for Gilcrease.

In keeping with their philanthropic values and interests in the arts and education, their endowment will support the museum’s operations, including curatorial staff, exhibitions, digital curation and education programs for children and adults. The Jacksons also are including Gilcrease in their estate plans; their planned gift eventually will add to the endowment.

“This upcoming physical expansion will allow Gilcrease to showcase its remarkable collection and tell the story of the Americas like never before,” says Susie. “We are excited to count ourselves among those committed to making this extraordinary vision a reality.”

Winter / 2018

13

Gilcrease Museum Awarded Digitization Grant The Oklahoma Historical Records Advisory Board has awarded Gilcrease Museum a $6,000 grant to fund a University of Tulsa Museum Science and Management graduate student to digitize a unique collection of 18th and 19th-century Native American photographs.

The Gilcrease Library and Archive collection contains more than 35,000 photographs including 1,695 photographs that pertain to Native American tribes in Oklahoma. The photographs have been acquired since the museum’s opening in 1949 and developed into a significant independent collection over the years. These distinctive photographs provide a glimpse into tribal life and customs after removal to Indian Territory (now Oklahoma) and visually illustrate the process of adaptation to European customs juxtaposed with attempts to retain cultural identities. Approximately 40 percent of the photos are one-of-a-kind, unduplicated images that do not exist in any other collections.

Prominent individuals with Oklahoma ties featured in this collection include Cherokee Chief John Ross, Principal Chief during the Removal Period and after (1828-1866); Choctaw Chief Peter Pitchlynn, political leader from 1830 through

Black Coyote, Watan-gaa, Captain of Indian Police Arapaho GM 4326.3609

14

Gilcrease Museum magazine

Anna Lee, Coos-o-woom Comanche GM 4326.3880

election as Principal Chief (1864-1866) and after; and the important Creek Artist Acee Blue Eagle, to name a few.

The project encourages scholarship by allowing for broader sharing of this rare, Oklahoma-based collection, which will be accessible through Gilcrease’s online collection portal (collections.gilcrease.org). The project also enables teaching fundamental digitization skills to the next generation of museum professionals by training a graduate student from TU in this increasingly important area of digital curation.

TU and Gilcrease both benefit: The graduate student will have a hands-on educational experience with a worldrenowned museum collection, and a portion of the museum’s photo archive will be digitized for broad scholarly use.

The Oklahoma Historical Records Advisory Board grant is funded by the National Historical Publications & Records Commission, a statutory body affiliated with the National Archives and Records Administration (NARA) that supports a wide range of activities to preserve, publish and encourage the use of documentary sources created in every medium ranging from quill pen to computer, relating to the history of the United States.

Lena Fisher, Comanche Girl Comanche GM 4326.7910

Wa-shi-ha, Fat on Skin, also called Wa-tse-mo-I, Star that travels (Bacon Rind), Osage GM 4327.4330

Winter / 2018

15

Gilcrease Museum Awarded Digitization Grant The Oklahoma Historical Records Advisory Board has awarded Gilcrease Museum a $6,000 grant to fund a University of Tulsa Museum Science and Management graduate student to digitize a unique collection of 18th and 19th-century Native American photographs.

The Gilcrease Library and Archive collection contains more than 35,000 photographs including 1,695 photographs that pertain to Native American tribes in Oklahoma. The photographs have been acquired since the museum’s opening in 1949 and developed into a significant independent collection over the years. These distinctive photographs provide a glimpse into tribal life and customs after removal to Indian Territory (now Oklahoma) and visually illustrate the process of adaptation to European customs juxtaposed with attempts to retain cultural identities. Approximately 40 percent of the photos are one-of-a-kind, unduplicated images that do not exist in any other collections.

Prominent individuals with Oklahoma ties featured in this collection include Cherokee Chief John Ross, Principal Chief during the Removal Period and after (1828-1866); Choctaw Chief Peter Pitchlynn, political leader from 1830 through

Black Coyote, Watan-gaa, Captain of Indian Police Arapaho GM 4326.3609

14

Gilcrease Museum magazine

Anna Lee, Coos-o-woom Comanche GM 4326.3880

election as Principal Chief (1864-1866) and after; and the important Creek Artist Acee Blue Eagle, to name a few.

The project encourages scholarship by allowing for broader sharing of this rare, Oklahoma-based collection, which will be accessible through Gilcrease’s online collection portal (collections.gilcrease.org). The project also enables teaching fundamental digitization skills to the next generation of museum professionals by training a graduate student from TU in this increasingly important area of digital curation.

TU and Gilcrease both benefit: The graduate student will have a hands-on educational experience with a worldrenowned museum collection, and a portion of the museum’s photo archive will be digitized for broad scholarly use.

The Oklahoma Historical Records Advisory Board grant is funded by the National Historical Publications & Records Commission, a statutory body affiliated with the National Archives and Records Administration (NARA) that supports a wide range of activities to preserve, publish and encourage the use of documentary sources created in every medium ranging from quill pen to computer, relating to the history of the United States.

Lena Fisher, Comanche Girl Comanche GM 4326.7910

Wa-shi-ha, Fat on Skin, also called Wa-tse-mo-I, Star that travels (Bacon Rind), Osage GM 4327.4330

Winter / 2018

15

Calendar of Events JANUARY 5 First Friday Art Crawl, 6-9 p.m.

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

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

For ages 3-6, accompanied by caregiver.

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

7 Exhibition Panel Discussion, 2-3 p.m. A conversation on Kay WalkingStick: An American Artist and After Removal: Rebuilding the Cherokee Nation.

Forge dynamic connections between two Gilcrease exhibitions as a panel of scholars, curators and artists presents dialogue related to issues of race, identity, gender, land and sovereignty.

JANUARY 21 Funday Sunday, Noon-4 p.m.

Join us for an enhanced Funday Sunday! Enjoy a performance, enriched programming and artmaking activities for both children and adults related to storytelling. Program details and the day’s schedule are on the museum’s website. Free.

FEBRUARY

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

8, 9, 15, 16 Museum Babies, 10:30-11:30 a.m. For ages birth to not-yet 3, accompanied by caregiver.

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

Gallery 18. Free.

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

18 Funday Sunday Noon-4 p.m.

Enjoy a performance and participate in exhibition-inspired activities and studio projects appropriate for a variety of visitors. Program details and the day’s schedule are available on the museum’s website. Free.

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

Gallery 18. Free.

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

Zarrow Center. Enjoy the Brady Arts District and view Prints by Ericka Walker.

Free.

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

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

For ages 3-6, accompanied by caregiver.

14 & 28 Drop-in Studio, 1-4 p.m.

Creative Learning Center. Explore new materials and concepts each month under the guidance of Gilcrease teaching artists.

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

2 Collection Lecture, Noon.

Tom Gilcrease Jr. Auditorium. Brummett Echohawk: An Artist Who Happens to be an Indian. Join Dr. Kristin Youngbull, author of Brummett Echohawk: Pawnee Thunderbird and Artist, as she discusses the life and work of Brummett Echohawk. Book signing to follow.

4, 11, 25 Drop-in Studio, 1-4 p.m.

Explore new materials and concepts each month under the guidance of Gilcrease teaching artists.

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

Zarrow Center. Enjoy the Brady Arts District and view Prints by Ericka Walker.

Free.

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

FEBRUARY 7 Exhibition Lecture 7 p.m.

Tom Gilcrease Jr. Auditorium. Drawing the Color Line: Thoughts on Norman Rockwell’s Integrationist Illustrations. Learn about two iconic Norman Rockwell works and their relationship to civil rights issues. Writer and historian Hannibal B. Johnson, Esq., a respected voice in the national dialogue on race relations, contextualizes the Rockwell images and provides insights regarding how the issues featured in these works continue to affect race relations and equity today. Stay for an interactive discussion following the talk.

Norman Rockwell, The Problem We All Live With, 1964, Look, January 14, 1964, Signed Print, Norman Rockwell Museum Collection.

16

Gilcrease Museum magazine

Museum Exhibitions Norman Rockwell: Behind the Camera February 17, 2018 – June 10, 2018 The Essence of Place: Celebrating the Photography of David Halpern November 21, 2016 – April 1, 2018

MARCH

Enduring Spirit: Native American Art August 9, 2017 – Ongoing Norman Rockwell, Art Critic, 1955, Cover of The Saturday Evening Post, April 16, 1955, Oil on canvas, Norman Rockwell Museum Collection, ©SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved. www.curtislicensing.com.

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

For ages 3-6, accompanied by caregiver.

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

4, 11, 25 Drop-in Studio, 1-4 p.m.

Are you feeling creative, but need some inspiration? Explore new materials and concepts each month under the guidance of Gilcrease teaching artists.

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

8, 9 Museum Babies, 10:3011:30 a.m. For ages birth to not-yet 3, accompanied by caregiver.

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

Gallery 18. Free.

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

18 Funday Sunday, Noon-4 p.m.

Enjoy a performance and participate in exhibition-inspired activities and studio projects appropriate for a variety of visitors. Program details and the day’s schedule are available on the museum’s website. Free.

20 Jazz Night, Featuring Leon Rollerson. Vista Room. 5:30-7:30 p.m.

Galleries remain open until 8 p.m. Buffet dinner provided. $8 per person.

21 Spring Break Family Drop-in Day, 1-4 p.m. Members only. A special day of art activities and refreshments.

22, 23 Spring Break Family Drop-in Day, 1-4 p.m. All are welcome for special days of art activities.

FOR DETAILED INFORMATION,

After Removal: Rebuilding the Cherokee Nation August 27, 2017 – January 21, 2018 Hidden in Plain Sight: Unexpected Views of Gilcrease Museum September 12, 2017 – April 1, 2018 Kay WalkingStick: An American Artist October 6, 2017 – January 7, 2018 To Endure in Bronze December 1, 2017 – Ongoing

Student Art Exhibitions CREATIVE LEARNING CENTER GALLERY

January 9 – February 4 Edison Preparatory School February 6 – March 4 Catholic Diocese Elementary March 6 – April 1 Summit Christian Academy

Winter / 2018 17 gilcrease.org/events

Calendar of Events JANUARY 5 First Friday Art Crawl, 6-9 p.m.

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

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

For ages 3-6, accompanied by caregiver.

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

7 Exhibition Panel Discussion, 2-3 p.m. A conversation on Kay WalkingStick: An American Artist and After Removal: Rebuilding the Cherokee Nation.

Forge dynamic connections between two Gilcrease exhibitions as a panel of scholars, curators and artists presents dialogue related to issues of race, identity, gender, land and sovereignty.

JANUARY 21 Funday Sunday, Noon-4 p.m.

Join us for an enhanced Funday Sunday! Enjoy a performance, enriched programming and artmaking activities for both children and adults related to storytelling. Program details and the day’s schedule are on the museum’s website. Free.

FEBRUARY

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

8, 9, 15, 16 Museum Babies, 10:30-11:30 a.m. For ages birth to not-yet 3, accompanied by caregiver.

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

Gallery 18. Free.

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

18 Funday Sunday Noon-4 p.m.

Enjoy a performance and participate in exhibition-inspired activities and studio projects appropriate for a variety of visitors. Program details and the day’s schedule are available on the museum’s website. Free.

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

Gallery 18. Free.

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

Zarrow Center. Enjoy the Brady Arts District and view Prints by Ericka Walker.

Free.

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

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

For ages 3-6, accompanied by caregiver.

14 & 28 Drop-in Studio, 1-4 p.m.

Creative Learning Center. Explore new materials and concepts each month under the guidance of Gilcrease teaching artists.

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

2 Collection Lecture, Noon.

Tom Gilcrease Jr. Auditorium. Brummett Echohawk: An Artist Who Happens to be an Indian. Join Dr. Kristin Youngbull, author of Brummett Echohawk: Pawnee Thunderbird and Artist, as she discusses the life and work of Brummett Echohawk. Book signing to follow.

4, 11, 25 Drop-in Studio, 1-4 p.m.

Explore new materials and concepts each month under the guidance of Gilcrease teaching artists.

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

Zarrow Center. Enjoy the Brady Arts District and view Prints by Ericka Walker.

Free.

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

FEBRUARY 7 Exhibition Lecture 7 p.m.

Tom Gilcrease Jr. Auditorium. Drawing the Color Line: Thoughts on Norman Rockwell’s Integrationist Illustrations. Learn about two iconic Norman Rockwell works and their relationship to civil rights issues. Writer and historian Hannibal B. Johnson, Esq., a respected voice in the national dialogue on race relations, contextualizes the Rockwell images and provides insights regarding how the issues featured in these works continue to affect race relations and equity today. Stay for an interactive discussion following the talk.

Norman Rockwell, The Problem We All Live With, 1964, Look, January 14, 1964, Signed Print, Norman Rockwell Museum Collection.

16

Gilcrease Museum magazine

Museum Exhibitions Norman Rockwell: Behind the Camera February 17, 2018 – June 10, 2018 The Essence of Place: Celebrating the Photography of David Halpern November 21, 2016 – April 1, 2018

MARCH

Enduring Spirit: Native American Art August 9, 2017 – Ongoing Norman Rockwell, Art Critic, 1955, Cover of The Saturday Evening Post, April 16, 1955, Oil on canvas, Norman Rockwell Museum Collection, ©SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved. www.curtislicensing.com.

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

For ages 3-6, accompanied by caregiver.

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

4, 11, 25 Drop-in Studio, 1-4 p.m.

Are you feeling creative, but need some inspiration? Explore new materials and concepts each month under the guidance of Gilcrease teaching artists.

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

8, 9 Museum Babies, 10:3011:30 a.m. For ages birth to not-yet 3, accompanied by caregiver.

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

Gallery 18. Free.

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

18 Funday Sunday, Noon-4 p.m.

Enjoy a performance and participate in exhibition-inspired activities and studio projects appropriate for a variety of visitors. Program details and the day’s schedule are available on the museum’s website. Free.

20 Jazz Night, Featuring Leon Rollerson. Vista Room. 5:30-7:30 p.m.

Galleries remain open until 8 p.m. Buffet dinner provided. $8 per person.

21 Spring Break Family Drop-in Day, 1-4 p.m. Members only. A special day of art activities and refreshments.

22, 23 Spring Break Family Drop-in Day, 1-4 p.m. All are welcome for special days of art activities.

FOR DETAILED INFORMATION,

After Removal: Rebuilding the Cherokee Nation August 27, 2017 – January 21, 2018 Hidden in Plain Sight: Unexpected Views of Gilcrease Museum September 12, 2017 – April 1, 2018 Kay WalkingStick: An American Artist October 6, 2017 – January 7, 2018 To Endure in Bronze December 1, 2017 – Ongoing

Student Art Exhibitions CREATIVE LEARNING CENTER GALLERY

January 9 – February 4 Edison Preparatory School February 6 – March 4 Catholic Diocese Elementary March 6 – April 1 Summit Christian Academy

Winter / 2018 17 gilcrease.org/events

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

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

To ensure availability of an interpreter, five to seven days notice is needed; 48 hours is recommended for all other accommodations. TU#17467

Help Gilcrease Travel Farther this Year Gilcrease Museum is committed to enriching educational experiences for children throughout the region. Education programs like Gilcrease on Wheels enliven the classroom through interactive learning activities.

In just three years, this mobile museum experience has traveled more than 25,000 miles to visit schools, libraries and community centers throughout rural Oklahoma. To date, Gilcrease on Wheels has visited almost 20,000 children in 29 counties.

You can help us introduce more children to art, history and culture through a gift to the Annual Fund. Your gift supports programming to enhance the learning and lives of many children. Please consider a tax deductible gift today.

To give online, please visit gilcrease.org/annualfund.

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

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

gilcrease.org

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

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

Š2018, GILCREASE MUSEUM