Building on the Body: Identity, Materials, Jewelry

Cover: Cocktail Ring, Sharon Massey Photograph: Jack Dean Model: Laurel Ryan

8/2-9/22

Building on the Body: Identity, Materials, Jewelry

Sponsors The Mervin Bovaird Foundation Tom and Susie Wallace Jan Jennings and Herb Gottfried TODD Architecture Group Doug Campbell _____________________________ Friends Anonymous Michael and Dana Birkes Crossland Construction Company David and Carolyn Nierenberg Bob and Sandy Sober _____________________________ Program Sponsors Thomas K. McKeon Center for Creativity, Tulsa Community College Tulsa City and County Library

Road Crack on N. Broadway Ave., Ubana IL Motoko Furuhashi

Eleanor Bolton London, England

Caitie Sellers Richmond, Virginia

Kat Cole Dallas, Texas

Jiȓí Šibor Brno, Czech Republic

Karen-Ann Dicken Glasgow, Scotland

Demitra Thomloudis Athens, Georgia

Motoko Furuhashi Las Cruces, New Mexico

Jess Tolbert El Paso, Texas

Yong Joo Kim Providence, Rhode Island

Julia Turner San Francisco, California

Sharon Massey Indiana, Pennsylvania

Kee-Ho Yuen Iowa City, Iowa

Tiff Massey Detroit, Michigan Ritsuko Ogura Tokyo, Japan Federica Sala Milano, Italy Caitie Sellers, Resolution #2

Jewelry made from building materials captures the achievement of art jewelry with significant works by designers from the United States, Europe and Asia.

Brooches, necklaces, and rings reveal how jewelers, influenced by place and urban identity, use materials such as corrugated cardboard, copper mesh and steel to challenge perceptions of jewelry on the body as architecture and wearable sculpture. The exhibit challenges our awareness of jewelry in the context of contemporary culture.

Jewelry Merges Material and Identity by Erin Rappleye, Curator

Erin Rappleye is originally from the Chicago-area.

She received an MFA with Distinction in Jewelry and Metal Arts from the University of Iowa, and a BFA from the University of Iowa. She was Instructor of Jewelry and Metals at Interlochen Arts Camp at the Interlochen Arts Academy, summers 2016 to 2018.

Her work is featured in Narrative Jewelry: Tales from the Toolbox. Currently, Erin resides in Tulsa, OK, where she is a studio artist and Assistant Professor of Art at Tulsa Community College, School of Visual and Performing Arts..

X

Building on the Body features the work of 15 different contemporary artists, whose jewelry merges material and identity in the context of architecture and the spaces we inhabit. This exhibition features innovative processes, materials, and ideas that challenge traditional jewelry silhouettes and adornment practices.

Consider the following: What is jewelry? Are there elements of your own life which could be represented through materials or architectural elements? Is jewelry always dependent on the human body or can it exist elsewhere, such as within a sidewalk crack or pothole?

These artists have purposefully swapped out traditional precious materials in favor of concrete, wood, cardboard, site-specific found objects, etc. They have also borrowed structural elements from their physical environments such as stairs, highways, and bridges to craft beautifully designed pieces that both hold their own as individual structures existing off the body; but once worn, complement the architecture of the human form.

It has been an honor to connect and work with all of the artists involved in this exhibition. I would like to give special thanks to the Building on the Body Exhibition Committee, 108|Contemporary board and staff, exhibition donors, as well as my TCC colleagues and students for their support and enthusiasm.

I hope you find the pieces featured in this exhibition to be just as precious, if not more so, than jewelry made with diamonds or gold.

Their value is rooted in their ability to hold and convey memory, place, and experience. This intrinsic value and the creative choices of both material and form speak to various facets in the identities of each artist.

The installation design of this exhibition reflects complex themes of the artists’ personal narratives, unusual materiality, and wearability.

Video projections of models on a scrim stretched on a scaffold helps demonstrate how these pieces can be worn as well as exhibited.

Several display pieces such as tables and I-beam slabs are intended to remind the viewer of the jewelry’s contextual framework.

Exhibition design, execution and 3D renderings by Erin Rappleye.

Place and Materiality by Demitra Thomloudis, Feature Artist

Architecture to Art Jewelry: The Use of Industrial Materials on an Intimate Scale

by Kat Cole, 108|Contemporary Lecturer

Materiality presents an explicit lens to observe the authority of place/site within jewelry’s historical and contemporary contexts and its inseparable bond it has to individuality, society, and culture. Materiality in itself contributes to meaning-making through dialogues, selections, and actions. As makers, we work between the gap of what we intend to say and how our methods and materials inherently subsist as we reflect through them. The crafting of jewelry is a means to profoundly support our foundations for self-expression and identity. In many ways it exists to engage intimately with the body in an effort to deepen our understanding of the world we are surrounded by.

Demitra Thomloudis, studio jeweler, is an Assistant Professor in the Jewelry & Metalwork area at the Lamar Dodd School of Art, University of Georgia.

She received her MFA from San Diego State University and a BFA from the Cleveland Institute of Art. Recognized internationally she has been invited to exhibit, lecture, and teach at The Museum of Arts and Design, The Museum of Modern Art, Arnhem, The Benaki Museum; The Hellenic Museum, and The Penland School of Crafts among others. Residencies include the Houston Center for Contemporary Craft and Smitten Forum. Publications include To the Point, New Necklaces, CAST, 500 Plastic and Resin Jewelry, 500 Enameled Objects, and The Art of Jewelry: Plastic & Resin. She is represented by Charon Kransen Arts, Alliages Organization, and Penland Gallery.

Kat Cole is a studio artist in Dallas, TX. Cole received her MFA at East Carolina University and BFA from Virginia Commonwealth University. She is co-founder of the online and pop-up project Jewelry Edition and is currently serving on the Board of Directors for Society for North American Goldsmiths. Kat Cole’s work is internationally recognized and has been published in Lark Books’ 500 Enameled Objects, Schiffer Publishing’s Art Jewelry Today 3, Metalsmith Magazine, Ornament, American Craft and Art Jewelry Magazine. Her work is in private and public collections including The Museum of Arts and Design in New York City, Racine Art Museum and Houston Museum of Fine Art.

Humans began making beads out of shells for bodily adornment, some of our first creative endeavors and one of the defining characteristics of our species, 75,000 years ago. It was 12,000 years ago that historians point to an ancient Mediterranean people who built round structures for housing as our first examples of architecture. Our basic need for shelter has grown to encompass a transformation of the landscape with more than half of the world population living in cities. We spend a vast majority of our time in these structures of our own making — living our daily lives within the context of architecture. Often, this is without thought to the buildings and their materials that constantly surround us. It is only by changing the context that one can appreciate the everyday.

Concrete, glass, steel — materials of the urban landscape are ubiquitous and banal. They are chosen for their abundance, durability and strength. What happens when those same materials are reinterpreted, scaled down, into the intimate landscape of the human body? Concrete with diamonds, gold on steel, bricks and pearls — the art jewelry world is rich with artists using materials that have been appropriated from industrial purposes. While the use of found objects is not new to studio jewelry­— some jewelers are researching and developing new ways of working with materials usually associated with large-scale architectural purposes with surprising affect. These innovative makers take materials that would not normally wear well on the body and transform them into pieces of wearable art that challenges our notions of what is “precious.” What speaks more poetically of the human condition of today — gold and diamonds or steel and concrete?

London, England

eleanor bolton Large Knot Necklace Cotton rope, yarn 19.7” x 7.9” x 1.2” Atlas Necklace Cotton rope, yarn, gold plated brass 12.6” x 11.02” x 1.1-3.2” Zadie Necklace Cotton, acrylic, stainless steel, brass 7.1” x 6.3” x .5” Gray Multi-strand Necklace Cotton rope, yarn 12.6” x 7.1” x 1.2”

Eleanor Bolton is a British designer based in London. Eleanor trained at the Royal College of Art graduating in 2010. Her unique craft technique of coiling and hand stitching cotton rope creates sculptural yet lightweight tactile jewelry. Through working intuitively, the material provides the information and inspiration for the growing forms that evolve through a sensitivity to the micro details of the making process as well as to the precise scale of the pieces. The movement, knotting and twisting of the coils reveals the striking stitching in contrasting colors, while their form as large-scale jewelry pieces celebrates the softness, tactility, and lightness of the material. This attention to detail, combined with the innovative use of the materials, define Eleanor’s approach. She aims to use the manipulation of simple materials to create something unexpected and unusual.

Color inspiration for the pieces often comes from the palette of fine art painters.

“I am known for my unique craft technique of coiling and hand stitching cotton rope to create sculptural yet lightweight tactile jewelry.”

Dallas, Texas

kat cole Boundary Lines Loop #1 Red Steel, enamel 18” x 10” x 1” Boundary Lines Loop #2 Steel, enamel 18” x 10” x 1” Color Landscape Steel, enamel, stainless steel 8” x 4” x 1”

I find meaning through the observance and intimate awareness of the places I inhabit.

With each geographic change, I have become more attuned to the natural and man-made attributes that make a location unique. I look to the built environment, the city in which I live, for the formal qualities of my work: materials, forms, color, and surface quality.

The steel and concrete structures that surround us are evidence of human inhabitants past and present. Monumental structures are interpreted into the intimate scale of jewelry and are completed when worn on the landscape of the body.

I work in steel and porcelain enamel, both materials predominately used industry, on the small scale of the body. The combination allows me to create unique and lightweight forms with distinctive surfaces and colors. Enamel is sifted or painted onto the surface of the hollow steel forms and fused in a kiln at 1500 degrees.

“I find meaning through the observance and intimate awareness of the places I inhabit.”

Glasgow, Scotland

karen-ann dicken City Necklace Steel, 9ct gold 13” x .8” x .8” Fuller City Steel, 18ct gold 1.6” x 1.3” x .79” Mountain City Ring Steel, 18ct gold 1.4” x 1.4” x 2” Asteroid City Steel, quartz 2” x 1” x 1”

Karen-Ann Dicken is a jewelry designer and lecturer based in Scotland. She graduated with her MA from the Royal College of Art in 2007 and is currently researching for her PhD looking at the use of 3D printing to make tooling for craft.

Her collection of city jewelery was inspired by a concept of Buckminster Fuller and his idea that if you make a geodesic dome big enough then the air inside will be lighter than the frame, and we could build cities that floated around the world. The collection explores the possibilities of these being built and the implications of such a project. Would this be utopia? Or would this be a floating housing scheme where people feel restricted and trapped by their surroundings? Her work is created through laser welding and 3D printing, predominantly using steel and gold.

“The initial concept for the collection was to produce jewelry that was fragile looking and yet strong using the theories of triangulation as seen in engineering and architecture. The pieces are created using laser welding as a production method.”

Las Cruces, New Mexico

motoko furuhasHi Untitled Hammer sank pewter 19.69” x 15.75” x 2.36” Mesilla Tape, road segments, brass, silver, powder coat, paint 2.95” x 2.95” x 1.2” NMSU Parking Lot Tape, road segments, brass, silver, powder coat, paint 2.95” x 2.95” x 1.2” Anthony Tape, road segments, brass, silver, powder coat, paint 2.95” x 2.95” x 1.2”

My research has been influenced by the locations where I have lived or visited. Since my childhood, growing up in Tokyo, I use my imagination by looking at maps to travel around the world. My recent works still have been inspired by my experiences traveling, and the roads that take me from one place to another. I use materials from streets that show physical evidence of the passage of time. This is characterized by my selection of “insignificant” objects as the focal point. Raw materials collected from locations I have visited become precious pieces of evidence that recall the nostalgia or history of a specific place. These objects carry the sustainable value. Relevant to the site from which it has been excavated, each found object is a unique representation of the interrelationships between time, location, perception, and importance. Materials that at first glance appear insignificant, are actually relics of an entire narrative that would normally be forgotten.

Each imperfection represents a thread of its own reality, unique to itself and carries the history of a distant memory. Highlighting narratives behind these imperfections is what I strive for. My work is a shift in the meaning of perfection transforming our perception of reality to new perspectives.

“My research has been influenced by the locations where I have lived or visited. I use materials from streets that show physical evidence of the passage of time.”

Providence, Rhode Island

yong joo kim In Light of II Series #2 Velcro® hook & loop fastener, thread 6.2” x 6.2” x 3.9” Passen Necklace Velcro® hook & loop fastener, thread 28” x 9.4” x 4.3”

For me, making art is a way of exploring this simple yet complex question: what does it mean for us to survive? I focus primarily on a single material: hook and loop fasteners.

The choice to create jewelry out of an inexpensive material often considered unattractive and mundane was originally inspired by two reasons. On the one hand, it was to survive financially by keeping material costs down. On the other hand, it was to challenge my ability to survive in a field known for its use of attractive and precious materials. What I have since learned is that the creative process is also something that requires survival.

In the creative process, we often get stuck. When we do, we feel as if there is a finite limit to our ability to create. To survive the creative process is to continue to feel alive when we get stuck by not giving up. To do this, we must be able to embrace and appropriately respond to a variety of unpleasant surprises, so as to overcome them. When we do this, we often end up with art that defies our imagination—art that provides us with experience of sublime, inspiration, and beauty that helps us realize there still exists infinite possibilities.

I wish to share these experiences with those who witness or wear my work.

“I find new ways of looking, decomposing, composing, and creating a relationship between jewelry and our body.”

Indiana, Pennsylvania

sharon massey Brickwall Knuckleduster Copper, enamel 2” x 4” x .5” Necklace (variation), Ductwork Collection Copper, enamel, salvaged galvanized steel 12” x 5” x 2” Cocktail Ring Copper, enamel, nickel 4” x 4” x 4”

My work is inspired by the post-industrial landscape of Pittsburgh and the surrounding areas. As the Rust Belt region has shifted from a reliance on coal, steel, and manufacturing; remnants of that past have remained. Smokestacks, chimneys, and other masonry edifices are scattered like monuments around the region. These brick structures dominate both the urban landscape and the surrounding countryside.

The Ductwork and Brickwork series of jewelry investigates the architecture of the postindustrial landscape and the metalwork within it. Using copper and enamel to imitate masonry patterns, and salvaged galvanized steel with a crystalline surface, I create abstractions of familiar architectural forms.

“My work is inspired by the postindustrial landscape of Pittsburgh and the surrounding areas, and I pay homage to the region’s blue-collar past through my use of both labor and materials.”

Detroit, Michigan

tiff massey Lousiana St. Hazelnut wood, copper, broom, rope, string 19.5” x 6” x 3” Nevada St. Hazelnut wood, copper, rope, caution tape 12” x 8.25” x 1.25” Hildale St. Hazelnut wood, silver, rope, book 14” x 7” x 2.5” Beaubian St. Pine wood, copper, glass, rope 17.5” x 7.5” x 2.25”

My work merges the regal aesthetics of traditional African fashion and hair-styling techniques with the grandiose bravado of 1980’s hip-hop jewelry. Influenced by Detroit’s history of ostentatious fashion, my work examines how symbols of wealth in the regalia of African diaspora affect the viewer’s behavior and attitude, eliciting an experience where viewers may encounter an object and engage in thoughts and/or acts of vanity.

What intrigues me the most about my wearable sculptures is how the work makes people feel. Once the body activates the piece, the wearer takes on a persona very different from their first encounter with the works. This brief window of sureness; the “I’m it” expression validates the very essence of its conception. This is why I make. This is the Detroit way-oflife being shared through the vehicle of jewelry. This is not just a symbolic gesture usually associated with love. The work is about you and your own “you-ness” when you feel like a million bucks — Slick Rick said it best: “I’m fresh, dressed like a million bucks.”

My experience with jewelry became my gateway to other media, to a larger perspective, and to making large-scale sculpture, always with a consistent emphasis on adornment.

What happens when the viewer becomes adorned and how does the environment facilitate that transition from the unadorned to the adorned? How does the context and placement of an object influence an individual’s perception of self? The work first seduces the viewer, creating a desire to take, touch, and activate. Once activated the pieces immediately create a sense of confidence in the wearer, producing an increased desire to show off and be seen.

“My work is an observation of class, race and contemporary culture, viewed through the lens of African adornment and life in Detroit.”

Tokyo, Japan

ritsuko ogura White Roll Brooch Corrugated cardboard, acrylic color, silver, paint 2.1” x 2.8” x 1.9” Burnt Ball Brooch Corrugated cardboard, silver 3.23” Back to Wood Bracelet Corrugated cardboard, cashew nut resin coating, rubber cord 2.8” x 2.95” x 2.95” Neck Wave Corrugated cardboard, acrylic color 17.3” x 17.3” x 4.7”

I was fortunate to come across corrugated cardboard. I use corrugated cardboard for the following reasons: It is cheap, unprecious, popular, standard manufactured material of our time. It must be very easy for everybody to find all over the world.

Originally, we use it for packing, so it never attracts people’s attention by itself. It has a destiny to be thrown away instantly after people have used it up. It’s totally different from Japanese paper which is very beautiful and artistic itself. So, it fascinates and inspires me very much. When I think about how I can make it into jewelry and how I can give it power, brilliance, dignity, grace, etc., I can imagine so many things in my mind. Also, I can discover and explore many possibilities whenever I face this material.

Finally, it will metamorphose into beautiful jewelry.

“I use corrugated cardboard for the following reasons: It is cheap, unprecious, not special, popular, typical standard manufactured from factories in our time.”

Milano, Italy

federica sala Naked Wood Wood, silver 4” x 2” x 1” Untitled Pendant Wood, linen threads 3” x 5.5” x .4”

There’s a reality to discover, in which everything is possible, and it is exactly the opposite of what we know. Through my work I’m looking for the union and balance of elements, defying the laws of the reality we know, playing with the whimsical nature of glass, wood, and iron, my elective materials. All the uncertainties I see in our surroundings are turned into delicate jewelry pieces that once placed on the body, there’s nothing else you can think about.

My work is deeply based on a scientific approach to materials that I manipulate to create things never seen before. By pushing the boundaries of materials, I look for the inner tension of things that I shape into a new temporary balance.

“By pushing the boundaries of materials, I look for the inner tension of things that I shape into a new temporary balance.”

Richmond, Virginia

caItie sellers Renovation #2 Bracelet Sterling silver, copper mesh 4.5” x 3” x 1.75” Brick Necklace Sterling silver, copper mesh 8.5” x 7” x 1”

Highways, railroads, and power lines link us in a common web across the developed world, and while these structures require the most sophisticated engineering to accomplish they are so familiar as to be largely ignored. I turn this imagery into adornment, using the language of jewelry to load value onto these basic necessities for modern urban life.

I am interested in the subtle changes of architectural details between cities and the visual cues that inform an outsider of a place’s personality. Having lived in numerous cities, I use my observations to catalogue these similarities and differences and then reflect them in my work. The subtlety allows the wearer of my pieces to make a connection to their specific place in the world by dressing in a representation of its landscape.

Using soldering, fusing, and hand forming, I primarily work with oxidized sterling silver, fine copper mesh, 18k gold, and precious stones.

“My work is informed by my sense of place and observations of the many cities in which I’ve lived. I am intrigued by the urban landscape.”

Brno, Czech Republic

jiRi sibor Untitled, Twisted Circles Stainless steel, acrylic, cold connected-riveted 2.6” x 2.6” x 1.7”

As I create wearable small objects, I use architectonical language and engineering

Green & Fluo Yellow Stainless steel, glass rods, cold connected-riveted 2.84” x 1.9” x .79”

which we perceive directly, spontaneously, without a need to evaluate it rationally.

Untitled, The Circle Series Stainless steel, acrylic, cold connected-riveted 2.4” x .5” Blue & Fluo Yellow Stainless steel, glass rods, cold connected-riveted 3.54” x .43” x .63”

structure in combination with glass or acrylic, which bear influence of the light.

Translucency and reflections of the light is my target. The subtle light is a phenomenon

“In my jewelry, there is an essence of architecture, design, and engineering elements that surround me and are deeply rooted in the history of my country.”

Athens, Georgia

Demitra Thomloudis Reconstructed: Grid Paint, cement, fibers, resin, steel, wood, duct tape, sterling silver, nickel silver 4” x 3” x 1.75” (W)eighted, 15.014 Ounces Necklace Paint, cement, resin, steel, wood, sterling silver, nickel silver 12” x 12” x 1.5” On loan from the collection of Efharis Alpedis (W)eighted, Necklace with Reassembled Interior Paint, cement, resin, steel, wood, sterling silver, nickel silver 20” x 12” x 2”

My work acts as a mobile vestige; rooted in place, personal narrative, and identity. I am influenced by the vernacular architecture and landscapes of site-specific locations which has led me to extract aesthetic characteristics and construction techniques that I employ in creating works for the body. As an artist using jewelry and objects as an artistic format for self expression, my work intends to challenge the construct of the medium as a means to examine value, material sign systems, and extensions of personal/place identity.

By relating to the aesthetics of architecture, landscape, and place I see jewelry as a means to connect us closer to the world we are surrounded by.

“My jewelry is influenced by the vernacular architecture and landscapes of site-specific locations.”

El Paso, Texas

JESS TOLBERT Staplewear 9 Staples, steel 2.25” x 2.5” x 1.25”

A humble staple is often overlooked, simply used to bind a few pages together, or to post

Staplewear 3 Staples, steel, sterling silver 3.25” x 1.5” x 0.25”

actions of layering, patterning, and systemically constructing, I replicate the pace of mass

a flyer to a lamppost; its purpose does not often extend beyond what it was intended for. I am drawn to its recognizable form and to the rhythm of its use. Through repetitive production, but not its protocols. With infinite possibilities, I reflect upon the unknown makers and their process to create a product that is now my raw material, capturing labor in the form of jewelry.

“I am drawn to a staple’s recognizable form and the rhythm of its use.”

San Francisco, California

Julia Turner Stack Bracelet Maple, stain, sterling silver, steel, magnetic clasp 2.5” x 2.75” x 1” Lamina #3 Walnut, steel 7” x 10” x .5”

I create graphic and sculptural pieces that are strong and subtle, beautifully crafted, and a pleasure to live with. My work is driven by a continuous exploration of materials and techniques from diverse disciplines. My studio tables are piled with small experiments in form and surface which I arrange and re-arrange, finding tensions, creating compositions, moving ideas forward, and developing the strongest impulses into finished work. I freely combine everything that interests me; mixing hot and cold connections, carving and fabricating, wood and gold, traditional enamel and industrial paint. My work reflects a fascination with the boundary between the human-built and natural worlds, the beauty of accidental collaborations between them, and our often funny ideas about what we can and can’t control.

“My work is driven by a continuous exploration of materials and techniques from diverse disciplines.”

Iowa City, Iowa

Kee-ho Yuen Time out Gold plated silver, bronze, anodized aluminum, bird eye maple wood, and rock 4” x 3” x 2.5” Look beyond the adjectives Anodized aluminum, wild rice, Pyrex glass, brass, rock, cork, acrylic paint, Plexiglass, and laser printer ink, glass bottle

by Benjamin Revis 2.75” x 2.25” x 1.75”

My work is an evolving collage of both the philosophy and the sensibility of the East and West. It is an aesthetic investigation as well as a quest to whimsically comment on human emotions and interactions. I employ an eclectic use of contemporary and traditional technologies and materials, ranging from advanced 3-D computer modeling to traditional fabrications and enameling.

“My work is an evolving collage of both the philosophy and the sensibility of the East and West.”

Special Thanks to our Generous Patrons January 1, 2018 - June 30, 2019

Myra Block Kaiser

Flint Family Foundation

George Kaiser Family Foundation

The McGill Foundation _____________________________

The Anne & Henry Zarrow Foundation

Larry and Marilyn Lee

The Charles and Marion Weber Foundation _____________________________ The Newman Family Foundation Bank of Oklahoma

x _____________________________ Sandy and Bob Sober Janis Updike and James M. Walker Caroline Crain

Christian Keesee

Marcy and Bernard Robinowitz

Kenneth Lawence

M. Teresa Valero and Ghayth G. Coussa

Cindy McGhee Marcy and Bernard Robinowitz

Hogan Assessment Systems

Robert and Roxana Rozsa Lorton

Jean Ann and Tom Fausser

William F. and Susan W. Thomas

Maxine and Jack Zarrow Family Foundation

Kathleen Baab

Peter M. Walter _____________________________

Katherine G. and John Coyle

Robin Ballenger

Margaret and Jack Neely

David and Carolyn Nierenberg

Peter M. Walter

Burt B. Holmes

Leigh Ann Moss

TODD Architecture Group

The Mervin Bovaird Foundation

Debbie Zeligson

The University of Tulsa Oklahoma Center for the Humanities

Sanford & Irene Burnstein Foundation

Hall Estill

Winston Peraza _____________________________

Nancy and Andrew Wolov _____________________________

Doug Campbell

The Judith & Jean Pape Adams Charitable Foundation

Derek Pettifer

Melanie and Lex Anderson

Holbrook Lawson and Rick Holder

Terri and Nigel Higgs

Laura and Scott Andrews

Barbara Brehm

Ruth K. Nelson

Julie Allen

Julie Allen

Kathleen Gerety and James

Anonymous

Laura and Scott Andrews

Christina Burke

Howard Kirkpatrick Family Foundation

Michael and Dana Birks

Kenya Carter

Jan Jennings and Herb Gottfried

Oklahoma Arts Council

Janet and Ken Levit

Daniel Burnstein

Jan and David Finer

Bank of Oklahoma

Kalpana Misra Anchor Stone Company

Annie and Jeff Van Hanken

Matt Carney

Katie Fox

Susie and Tom Wallace

Cecil & Virgie Burton Foundation

Samantha Weyrauch Davis

Christian Keesee

St. John Ascension

The Gelvin Foundation

Kathleen Patton Westby Foundation

Crossland Construction Company

Terri and Nigel Higgs

Corey Block

Beth Downing and Gavin W. Manes

Kenneth Lawrence

Frederic Dorwart

Tammie and David Maloney

Janet Hasegawa

Rita Levit

Arts Alliance Tulsa ____________________________ Shannon and Eric Richards Art Alliance for Contemporary Glass Charles and Lynn Schusterman Family Foundation

William F. and Susan W. Thomas

Sherri Goodall Woody Guthrie Center Susan and Boby Mase

Andrea B. Schlanger M. Teresa Valero Marcia MacLeod Cristina Umezawa Martin Wing

Red Scarecrow Brooch, Ritsuko Ogura

108|Contemporary

Executive Board

Board Interns

BOB Exhibit Committee

Myra Block Kaiser, Chair

Sarah Andrews

Jan Jennings, Chair

Jean Ann Fausser,Vice Chair

Bonita James

Jennifer Boyd

Jan Jennings, Secretary

Derrick Pettifer _____________________________

Barbara Brehm

Scott Andrews, Treasurer _____________________________ Board of Directors Barbara Brehm Kathie Coyle Samantha Weyrauch Davis Katie Fox Terri Higgs Holbrook Lawson Roxana Rozsa Lorton

Staff Susan Baley Executive Director

Catherine Crain Jack Dean Brian Hughes

Jennifer Boyd Exhibition Director

Erin Rappleye

Jack Dean Communications Coordinator

Jeff Van Hanken _____________________________

Laurel Ryan Community Engagement Manager

Graphic Design

Cristina Umezawa

Cristina Umezawa and TCC Digital Media Students _____________________________

Marcia MacLeod

Video

Kalpana Misra

We thank our generous models for their time and participation.

Leigh Ann Moss Winston Peraza Shannon Richards Cristina Umezawa Janis Updike Walker Martin Wing

Brady Craft, Inc., dba 108|Contemporary, is a charitable organization under Section 501(c)(3) of the Internal Revenue Code.

Entry wall installation

Building on the Body: Identity, Materials, Jewelry © 2019 All Rights Reserved 108|Contemporary 108 East Reconciliation Way Tulsa Oklahoma 74103 www.108contemporary.org