Connect a publication of the Oklahoma City Museum of Art | Vol. 2012, Issue 2
FUSION [A New Century of Glass] | June 14â€“September 9, 2012
Bucky’s World See Buckminster Fuller’s Tetrascroll through June 24. This twenty-six page, forty-three foot, illustrated book uses the tale of Goldilocks and the Three Bears as its narrative structure and explains many of his theories about the universe. © Joseph Mills
Inside at a Glance
FUSION [A New Century of Glass] See sculptures and installations by 20 contemporary artists working in the medium of glass.
The Art of Golf Explore works by Rembrandt, Charles Lees, Norman Rockwell, Andy Warhol, and more in the first-ever exhibition devoted to the game.
10 OKCMOA Reaches Beyond Its Walls Outreach projects at OU Medical Center, INTEGRIS Jim Thorpe Rehabilitation, and three metro-area memory care centers use art education in service to the community.
What’s the Story? OKCMOA hosts Hearts for Hearing’s Summer Camp once again.
10th Anniversary Event Photos A Decade Downtown Save the date for the 37th Annual Renaissance Ball, September 7, 2012.
Mission The Oklahoma City Museum of Art enriches lives through the visual arts.
great art for everyone!
Executive Staff Sandy Cotton, Development Director Rodney Lee, Finance Director Jack Madden, Facility Operations Director
Editorial Staff Alison Amick, Curator for Collections Chandra Boyd, Senior Associate Curator of Education Jim Eastep, Senior Development Officer Nicole Emmons, Editor & Publications Coordinator Brian Hearn, Film Curator Jennifer Klos, Associate Curator
Board of Trustees Officers Elby J. Beal, Chairman Frank D. Hill, Immediate Past Chairman Frank W. Merrick, Chairman-elect Suzette Hatfield, Vice-chairman Leslie S. Hudson, Vice-chairman Duke R. Ligon, Vice-chairman Judy M. Love, Vice-chairman Virginia A. Meade, Vice-chairman Peter B. Delaney, Treasurer John R. Bozalis, M.D., Secretary Katie McClendon J. Edward Barth Frank W. McPherson Katy Boren *James C. Meade Allen Brown *Charles E. Nelson William M. Cameron Cynda C. Ottaway Teresa L. Cooper Caroline Patton Theodore M. Elam Christopher P. Reen *Nancy Payne Ellis Marianne Rooney *Shirley Ford Robert J. Ross Preston G. Gaddis Amalia Miranda Silverstein, M.D. David T. Greenwell Darryl G. Smette Julie Hall Jeanne Hoffman Smith, MSSW, ASCW Kirk Hammons Jordan Tang, Ph.D. K. Blake Hoenig Lyndon C. Taylor The Honorable Jerome A. Holmes Wanda Otey Westheimer Joe M. Howell, D.V.M. Charles E. Wiggin Willa D. Johnson
Photo by Sarah Hearn
Dear Members and Friends, On March 16-18, 2012, the Oklahoma City Museum of Art celebrated its 10th Anniversary in downtown Oklahoma City! Over the anniversary weekend, 9,500 people toured our galleries and participated in family activities, including gallery talks, hands-on art making, face painting, story times, an instrument playground, magic shows, puppet shows, live performances, a visit from OKC Thunder mascot—Rumble, and free film screenings. This funfilled weekend was made possible by our generous season sponsors as well as our special 10th Anniversary sponsors: Love’s Travel Stops and Country Stores; Oklahoma City Community Foundation; Oklahoma City Convention and Visitors Bureau; Frankfurt Short Bruza Associates; UMB Bank, n.a., Oklahoma City; Inasmuch Foundation; and Oklahoma Natural Gas, A Division of ONEOK, Inc. The anniversary celebration continues as we approach our summer exhibitions. Beginning June 14 through September 9, 2012, we will present FUSION [A New Century of Glass]. Curated by Alison Amick, curator of collections, and Jennifer Klos, associate curator, this exhibition acknowledges the important role of glass at the Museum and presents new perspectives by artists that use the medium of glass as part of their artistic practice. From July 19 through October 7, 2012, The Art of Golf will tee off. Organized by the High Museum of Art, Atlanta, in collaboration with the National Galleries of Scotland, this exhibition will explore the royal and ancient game as depicted by landscape and portrait artists, photographers, and pop artists through the ages. The centerpiece of the exhibition is known as the greatest golfing painting in the world: Charles Lees’s The Golfers, which portrays in detail a match played on the Old Course at St. Andrews in 1847. This masterpiece has never before traveled to the United States, though reproductions of it hang in golf clubhouses across the world. Also included in this edition of CONNECT, you will find articles highlighting a few of the education and outreach programs OKCMOA is involved with in the community. Our Healing Arts program is engaged in partnerships with The Children’s Hospital at OU Medical Center, INTEGRIS Jim Thorpe Rehabilitation Center, and three metro area memory care centers to provide art education and hands-on learning at these facilities for patients unable to attend the Museum. OKCMOA will once again partner with Hearts for Hearing to host a camp for children who have hearing loss but listen and speak and host one day of New View Oklahoma’s summer camp, Oklahomans Without Limitations (OWL), a free week-long camp experience for children who are blind or vision-impaired. During the summer months, we extend an invitation to visit the Museum and help us celebrate a decade downtown. Please join us for Cocktails on the Skyline, enjoy our special exhibitions and permanent collection, share family art-making activities at Drop-In Art, experience great films, wine and dine in the Museum Cafe, and visit the Museum Store to find unique treasures. On behalf of the Board of Trustees and staff, thank you for your continued support and patronage. We look forward to seeing you at the Museum this summer.
Penny M. McCaleb *Lifetime Trustee
Donald W. Reynolds Visual Arts Center 415 Couch Drive | Oklahoma City, OK 73102 (405) 236-3100 | Fax: (405) 236-3122 okcmoa.com Readers’ comments are welcome. Requests for permission to reprint any material appearing in this publication should be emailed or sent to the address above. Email firstname.lastname@example.org.
ON COVER: Walter Martin (American, b. 1953) and Paloma Muñoz (Spanish, b. 1965). Traveler CCLXVII (267), 2009. Glass, water, wood, and plastic, 9 x 6 x 6 in. (22.9 x 15.2 x 15.2 cm). Courtesy of the artists and P.P.O.W. Gallery, New York
Elby Beal Chairman, Board of Trustees
CONNECT | Vol. 2012, Issue 2
By Alison Amick and Jennifer Klos
June 14–September 9, 2012 Organized by the Oklahoma City Museum of Art
In celebration of its 10th anniversary in downtown Oklahoma City, the Oklahoma City Museum of Art has organized FUSION [A New Century of Glass], beginning June 14 through September 9, 2012. Curated by Alison Amick, curator for collections, and Jennifer Klos, associate curator, this major exhibition features 47 works of art from the twenty-first century that embrace the diversity and depth of the human experience. FUSION includes 20 contemporary artists working nationally and internationally who have engaged the medium of glass as part of their artistic practice. The objects reflect a range of subject matter and style and are in dialogue with concerns of the present day. Artists explore themes of social isolationism, paranoia, the passage of time, and also address the impact of technology on humanity and the environment, while exploring the dichotomy of idyllic utopian ideals and the realities of modern daily existence. The safety and sacredness of the home, family life, gender roles and interpersonal relationships are also questioned. Artists offer a new context for historical models and art forms, contrasting the inherent beauty and intrigue of glass with the artists’ introspective and personal approaches to the medium. The medium of glass has often occupied an ambiguous position
in the art world due to its inherent beauty and frequently decorative and utilitarian purposes. Over the past half century, attitudes toward glass have evolved. With the advent of the American Studio Glass Movement in 1962, glass became a more affordable and accessible medium for creative expression. Pioneered by Harvey Littleton, artists created independent workshops dedicated to glass blowing. At the University of Wisconsin at Madison, Littleton influenced a generation of artists including Marvin Lipofsky and Dale Chihuly. These artists brought a new awareness of glass as an artistic medium and artists such as Chihuly became a household name. Indeed, when the Oklahoma City Museum of Art opened the doors to its new downtown facility in 2002, it was with an exhibition of glass by Dale Chihuly; the collection was subsequently purchased with great community support. In celebration of the Museum’s 10th anniversary, FUSION acknowledges the important role of glass at the Museum and presents alternate perspectives by a new generation of artists. Collaborative artists Walter Martin and Paloma Muñoz re-envision the snow globe as a setting for their fantastical Travelers series (2002–11). Popular since the nineteenth century, snow globes have associations from idyllic scenes of winter wonderlands to mass-produced tourist souvenirs. However,
Lisa Capone David K. Chatt Steffen Dam Andrew Erdos Susan Taylor Glasgow Katherine Gray Timothy Horn Luke Jerram Karen LaMonte Silvia Levenson Beth Lipman Walter Martin & Paloma Muñoz Josiah McElheny Matthias Megyeri Marc Petrovic Charlotte Potter Clifford Rainey Mark A. Reigelman II Kari Russell-Pool Judith Schaechter
the twelve snow globes in FUSION present complex, open-ended narratives without any clear resolution. Martin and Muñoz’s mysterious winter scenes show unidentified travelers in unexpected environments. Uncertainty and ambiguity permeate their enclosed worlds, as the fate of the travelers is unknown. In contrast to the small, contained worlds of Martin and Muñoz, Andrew Erdos invites the viewer to enter an enclosed room filled with reflective surfaces and imaginative creatures. There, he explores the intersection and blurred boundaries between humans, the environment, and technology. Measuring approximately 6 x 8 feet, Texture of a Ghost (2011) contains mirrored floors and walls where fantastical hand-blown, animal-like forms project and recede to infinity. Video screens placed on the ceiling play an ever-changing landscape of desert and urban sites filmed by Erdos specifically for the installation. The energy and the light of the video, contained in a totally reflective environment, activate the animal sculptures and create a multisensory and very individual experience for the viewer. Internationally-acclaimed artist Josiah McElheny creates an environment of reflectivity rendered in historical and metaphorical significance. Influenced by R. Buckminster Fuller and Isamu Noguchi, Landscape Model for Total Reflective Abstraction (I) (2004) is a symbol of modernism with its open-form, landscape model of a flat, mirrored surface and hand-blown mirrored objects. The endless set of reflections renders the surface invisible and creates an infinite environment. As the viewer reflects upon the piece, it becomes an embodiment of one’s own subjectivity.
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Based in the U.K., Luke Jerram explores the tension between scientific objectivity and cultural perceptions of viruses, diseases, and bacteria. He began examining the global impact of disease through his sculptures of HIV, smallpox, and malaria, among others, in 2004. His colorless, glass representations of viruses were created as alternatives to the artificially colored imagery received through the media. In fact, viruses have no color, as they are smaller than the wavelength of light. In his Glass Microbiology series (begun in 2004), Jerram worked with virologists and glassblowers to create as accurate as possible representations of these potentially deadly microorganisms. Enlarged to 100,000 times its actual size, E. coli (2010) creates tension between the inherent beauty of the object and what the sculpture represents. Conceptual artist Mark A. Reigelman II’s Breaking the Bottle installation (2011) blurs the boundary between domestic tranquility and personal safety and security in the broader world. Influenced by the universality of glass placed as a protective measure on roofs and fences, Reigelman reinterprets this phenomenon within the sacredness of the home. The artist meticulously covered eleven archetypes of a traditional family home—chairs lamps, tables, mirror and rug— with protective shards of green industrial glass. Placed on a platform with dimensions of the artist’s childhood living room, Reigelman has rendered these familiar objects as isolated and useless. Intense color, ambiguous narratives, and meticulous attention to detail characterize the stained glass lightboxes of Judith Schaechter. While stained glass has traditionally been associated with medieval cathedrals and the theology of light, Schaechter reinterprets the medium through the use of contemporary imagery and symbols inspired by sources from mythology to comics. An Invocation (2009), The Sin Eater (2009), and The Minotaur (2010) reveal her talent as a draughtsman and her technical prowess. Schaechter fuses past and present in her expressive, seductive images that challenge the viewer to look beneath the surface. Based in the Czech Republic, American-born artist Karen LaMonte explores ideals of female beauty and art in her large, cast glass sculptures. The three works in the exhibition—Maiko (2010), Chado (2011), and Child’s Kimono (2012)—investigate the kimono in Japanese culture as a metaphor for identity and social language. Throughout her career, LaMonte has explored dress and the topography of the body in her transparent, large-scale sculptures, which portray the female form in absentia, often with “insinuations of loss and mortality.” In 2006, LaMonte was awarded a seven-month Creative Artists Exchange Fellowship from the Japan-United States Friendship Commission and the National Endowment for the Arts. During her time in Japan, she studied the kimono extensively. LaMonte’s new series of work emphasizes the garment’s texture and shape, while de-emphasizing the individualism of the body—she addresses culturally-constructed ideas of beauty and femininity in her investigation of the empty kimono. Beth Lipman’s monumental sculpture, Bride (2010), explores complex relationships between loss and fragility, order and chaos, and
[47 Works of art] 6
materialism and the transience of life. The colorless glass objects in her work call into question the societal expectations of marriage—the ideal versus the reality. On the foundation of a ten-foot, five-tiered dessert stand, the artist has carefully placed handmade glass objects that rise, overflow, and then spill on the floor. The top tier of Bride is a highly-ordered display that progressively descends into a more chaotic arrangement as you reach its base. Objects of bounty and plentitude— goblets, plates, tableware, and game—contrast with that of decay and spillage. Candles, rotting fruit, skulls, and broken forms reference ephemerality and the passage of time. The elusiveness of Lipman’s transparent forms diverges from the lush seventeenth-century Dutch stilllife painting tradition from which she drew her original inspiration. In addition to loans from major museums and galleries, works by Katherine Gray and Charlotte Potter were created specifically for FUSION. Gray’s Aglow incorporates a number of mass-produced glass ice buckets, which have been carefully arranged and lit, creating a dramatic installation. Potter’s Charlotte’s Web (2010–12) contains over 860 cameos, modeled after the profile pictures of her Facebook friends. Through the work of these 20 artists, FUSION demonstrates the dynamic role of glass in the twenty-first century. The exhibition brings together works that illuminate the medium of glass in new and exciting ways. Lenders to the exhibition include the Museum of Modern Art; Fine Arts Museums of San Francisco; Dallas Museum of Art; Corning Museum of Glass; Claire Oliver Gallery, New York; P•P•O•W Gallery, New York; Heller Gallery, New York; Imago Galleries, Palm Desert, CA; and Bullseye Gallery, among others. [IMAGE CREDITS] Page 4: Luke Jerram (British, b. 1974). E. coli, 2010. Glass, 18 x 53 x 18 in. (45.72 x 134.62 x 45.72 cm). Courtesy of Heller Gallery, New York, NY Page 5: Judith Schaechter (American, b. 1961). An Invocation, 2009. Stained glass mounted in a light box, 24 x 33 x 6 in. (61 x 83.8 x 15.2 cm). Courtesy Claire Oliver Gallery, NY At right: Beth Lipman (American, b. 1971). Bride, 2010. Mouth-blown glass and painted wood, 120 x 90 x 90 in. (304.8 x 228.6 x 228.6 cm). Courtesy Claire Oliver Gallery, NY Below: Josiah McElheny (American, b. 1966). Landscape Model for Total Reflection Abstraction (I), 2004. Mirrored glass and metal, 14 x 87 x 57 in. (35.56 x 221 x 144.78 cm). Dallas Museum of Art, Gayle and Paul Stoffel Fund for Contemporary Art, 2004.25.A-S
[Programs & events] Exhibition Preview Lecture with curators Alison Amick & Jennifer Klos Wednesday, June 13, 5:30 p.m. Members’ Preview Wednesday, June 13, 6–8 p.m. Artists’ Meet and Greet Wednesday, June 13, 6–7 p.m. Artist Talk with Judith Schaechter Thursday, June 14, 6 p.m. Drop-in Drawing Thursday, June 14, 6:30–8:30 p.m. *Teacher Institute Monday, June 25, 10 a.m.–4 p.m. Late Night at Urban Art (Offsite: 1218 N. Western Avenue, OKC, OK) Friday, June 29, 6–10 p.m. *Beginning Stained Glass Class (Offsite: 3817 N. College, Bethany, OK) Sat., July 14–Aug. 4, 12:30–3:30 p.m. Curator Talk Thursday, August 9, 6 p.m. Stained Glass Demonstration Thursday, August 9, 6:30–8:30 p.m. Last Call Thursday, September 6, 5–9 p.m. *Museum School Classes and Camps June–September All events are held at the Oklahoma City Museum of Art unless otherwise noted. For more information, visit okcmoa.com or call (405) 236-3100. *Pre-registration required
CONNECT | Vol. 2012, Issue 2
Above: Norman Rockwell (American, 1894–1978). Old Man Tracy, of Tracy and Tracy, 1926. Oil on canvas, 22 x 36 in. United States Golf Association Museum, Far Hills, New Jersey. Reproduced by courtesy of the Norman Rockwell Family Agency, Inc. Photo by Cindy Momchilov Bottom right: Andy Warhol (American, 1928–87). Jack Nicklaus, 1977. Acrylic and silk screen ink on linen, 40 x 40 in. The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © 2012 Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York
This summer, perfecting your swing on the golf course can be followed by a cool visit to the Museum’s galleries to explore the history of the sport through art. See the royal and ancient game as depicted by landscape and portrait artists, photographers, and pop artists through the ages. Organized by the High Museum of Art and the National Galleries of Scotland, The Art of Golf is the first-ever exhibition devoted to the game by a major American art museum. Comprising approximately 90 works from artists as diverse as Rembrandt, Charles Lees, Norman Rockwell, and Andy Warhol, The Art of Golf will examine the game’s origins, its foundation in Scotland, and its growth in America in the twentieth century. The exhibition also will include an introductory video that features golf legends Sir Michael Bonallack and Jack Nicklaus. The Art of Golf will begin with a display devoted to the depiction of kolf, a cousin of the modern game, as depicted in early Dutch landscape and genre paintings of the seventeenth century. This section will include Rembrandt’s famous etching The Ringball Player (1654) and winter landscapes by Hendrick and Barent Avercamp, which depict kolf being played on the frozen canals of Holland. Following in the display will be Scottish artworks of the eighteenth century, including the earliest known depiction of golf being played in Scotland (ca. 1740). Also included will be a series of iconic, Scottish golfing portraits from the National Galleries of Scotland, such as a stunning full-length portrait of the tartan-clad Sir James and Sir Alexander MacDonald (ca. 1749) by William Mosman and an incisive portrayal of William Inglis, captain of the Honourable Company of Edinburgh Golfers (ca. 1790), by Sir Henry Raeburn, the preeminent portraitist of the Scottish Enlightenment. Among many objects lent from the collection of the world-renowned Royal and Ancient Golf Club in St. Andrews, Scotland, is the charming portrait of Old Tom Morris by Sir George Reid. Morris was one of the great early players, winning four British Opens in the 1860s and also earning fame as a clubmaker and course designer. The centerpiece of the exhibition is known as the greatest golfing painting in the world: Charles Lees’s The Golfers, which portrays in detail a match played on the Old Course at St. Andrews in 1847. Jointly owned by the National Galleries of Scotland and the Royal and Ancient Golf Club, this masterpiece has never before traveled to the United States, though reproductions of it hang in golf clubhouses around the world. Displayed alongside the painting will be several preparatory sketches, all portraits of individuals who can be identified in the painting, and an early photograph by Hill and Adamson to which Lees referred as he composed his painting. Also included in this section will be golfiana—antique balls, clubs, and clothing—to illustrate the very different equipment used in the earliest days of the sport. Moving into the early twentieth century, the exhibition will present a series of elegant golﬁng scenes by Sir John Lavery, which capture the chic glamour and appeal of the game in the Roaring Twenties. This section will also feature art deco railway posters advertising Scotland’s premier courses to an expanding audience in Britain and a series of photographs by Harold Edgerton, developer of strobe photography, that features the great Bobby Jones, Jr., hitting a golf ball. Other artists featured in this section include Childe Hassam, James McNeill Whistler, Norman Rockwell, and Andy Warhol (an iconic screenprint of golfing superstar Jack Nicklaus, 1977, part of Warhol’s Athlete Series).
Charles Lees (Scottish, 1800–80). The Golfers, 1847. Oil on canvas, 51 1/2 x 84 1/4 in. Scottish National Portrait Gallery, Purchased with the assistance of the Heritage Lottery Fund, The Art Fund and the Royal and Ancient Golf Club, 2002. Photo: A. Reeve
Fittingly, the exhibition also will feature a special section on legendary American hero and Atlanta native Robert Tyre “Bobby” Jones, Jr. (1902–71), who popularized golf on the international stage. The exhibition will include portraits of Jones and notable photographs that illustrate his importance to the game and the bond he created between the United States and Scotland, where he came to love and admire the Old Course at St. Andrews. The Art of Golf will close with a series of aerial photographs by Patricia and Angus Macdonald, newly commissioned by the National Galleries of Scotland, which capture the beauty of iconic Scottish golf courses and explore the effects that human activity has had on the land. The exhibition will be accompanied by a full-color catalogue (Museum Store: $29.95) featuring essays by Dr. Tico Seifert, senior curator of Northern European Art, National Gallery of Scotland; Jordan Mearns, research assistant, National Galleries of Scotland; Dr. Catherine Lewis; Dr. Richard A. Lewis, curator of Visual Arts, Louisiana State Museum; and Rand Jerris, senior managing director of Public Services, United States Golf Association. The Art of Golf will be on view at the Oklahoma City Museum of Art from July 19 through October 7, 2012. It is organized by the High Museum of Art, Atlanta, in collaboration with the National Galleries of Scotland.
CONNECT | Vol. 2012, Issue 2
OKCMOA Reaches Beyond Its Walls Serving the Community Through Healing Arts Community outreach projects at OKCMOA engage people of all ages through active collaboration with partners throughout the community. The Healing Arts Outreach program at
Family members work together to create dream catchers at The Zone at Children’s Hospital.
OKCMOA provides art education and hands-on learning that serves as a creative outlet for patients. In an effort to reach populations unable to attend the Museum for health reasons, OKCMOA has established partnerships with The Children’s Hospital at OU Medical Center, INTEGRIS Jim Thorpe Rehabilitation, and three metro-area memory care centers: Cypress Springs, Epworth Villa, and Touchmark at Coffee Creek. Since 2010, the Museum has offered a bimonthly program at The Zone at Children’s Hospital, a 6,000-square-foot recreation room for children and their families who are staying in the hospital for prolonged treatment. Each month, an art educator visits The Zone to guide children and teens through an art-making experience that stimulates learning and serves as a therapeutic release from the stress of being ill or having a loved one who is ill. This March, Amanda Harmer, education and community outreach coordinator, expanded this program to include visiting individual patient’s rooms in an effort to provide art education to children who are not permitted in common areas such as The Zone. “The concept of visiting a patient’s room is incredibly new and exciting,” says Harmer. “We’re able to develop a project to meet the interests of the child, providing them the opportunity to creatively explore different media and artistic choices, without leaving their hospital beds.” In January 2012, Healing Arts Outreach broadened to include a collaboration with INTEGRIS Jim Thorpe Rehabilitation. Each month, Harmer visits INTEGRIS Southwest Medical Center and INTEGRIS Baptist to work with select patients who have suffered spinal cord injury, brain injury, orthopedic injury, or amputation. She works alongside a recreational therapist at each site, tailoring the activities to patients’ interests and therapeutic needs. Adjustments are made to assist in therapy such as encouraging a patient to stand while they work on a piece of art, varying the width or length of a brush to accommodate a patient’s grip, or providing an opportunity to refine motor skills by doing detailed drawing or painting.
Paige Stuart, recreational therapist at Jim Thorpe Rehabilitation at INTEGRIS Southwest Medical Center, says, “It is a positive experience for our patients to be instructed on modified and adaptive leisure and to help them continue enjoying their leisure activities with their disabilities. As therapists we can see the overall health and wellness that art can bring to a person through social interaction and improving cognitive, emotional, and physical health.” “Not only are we interested in working with individuals who already have an interest in art, but we also want to reach people who may have little or no previous experience. The process of making something takes their mind off the stress of their recovery and introduces them to something they may continue to enjoy after treatment,” comments Harmer. Cody Jones, recreational therapist at Jim Thorpe INTEGRIS Baptist, adds, “[Art] introduces the brain to diverse cognitive skills that help us unravel problems. Through art, one activates the creative part of the brain and develops new ways of thinking or approaching problems.” An important part of the recovery process at Jim Thorpe is to provide patients with tools and experiences in navigating everyday obstacles. As these patients prepare to re-enter their lives and use modifications to adjust to their new range of abilities, creativity and problem solving are skills that will serve them well. Jones adds, “Through the program, our patients have really enjoyed exploring creative leisure outlets and many have discovered new talents.”
A patient at INTEGRIS Jim Thorpe Rehabilitation practices painting as part of her treatment. Photo courtesy of INTEGRIS Health
The Museum’s memory care program continues to reach seniors with Alzheimer’s disease. The link between art and Alzheimer’s patients has been well researched. Art has been proven to help with creativity, expressive abilities, and stress reduction for patients with dementia. Harmer develops projects that not only engage the residents but also encourage links to their past and increase their communication through visual imagery. “I enjoy exploring all the senses with our memory care residents. If we can incorporate not only visual elements but also textures, smells, and sounds by using music, I feel like we’re creating a meaningful experience,” commented Harmer. “These visits are not only about making art, even though many of their pieces are beautiful and moving—it’s about making a personal connection with the residents.” For more information regarding community outreach programs, please contact Amanda Harmer at (405) 236-3100, ext. 221. Memory care center residents express their creativity
Enjoy a full bar, complimentary chips and salsa, and the beautiful ambiance and incomparable view of the Oklahoma City skyline every Thursday, 5 p.m.–10:30 p.m. (May through October). Last call is at 10 p.m. Galleries close at 9 p.m.
June 14–New Shoes 21–Rooftop Dogs 28–Born In November July 5–Burlap Tuxedo 12–Born In November 19–Born In November 26–Allie Lauren August 2–Music Maker 9–Born In November 16–Local Honey 23–Born In November 30–Music Maker September 6–Miss Blues 13–Born In November 20–Justin Young 27–Born In November October 4–Susan Herndon 11–Born In November
CONNECT | Vol. 2012, Issue 2
OKCMOA Partners with New View Oklahoma The Oklahoma City Museum of Art
More than 30 children from across the state took part in the 2011 Hearts for Hearing camp, held downtown at the Oklahoma City Museum of Art.
What’s the Story?
Hearts for Hearing Summer Camp 2012 This summer, the Oklahoma City Museum of Art will once again partner with Hearts for Hearing, an Oklahoma City-based 501(c)3 not-for-profit organization that provides comprehensive hearing health care for all ages, to present a camp for children who are deaf or hard-of-hearing learning to listen and talk. The camp, What’s the Story?, will serve children ages five years to early teens from all over the state as well as neighboring states to encounter storytelling from a variety of perspectives. They will unearth Native American culture and the history of storytelling through words, music, dance, and visual arts and will be inspired to share their stories with peers and generations to come. Campers will explore the great storytellers of their time, complemented by performances, hands-on art-making projects, and interaction with real-life storytellers within their own community. “This day camp provides enriching opportunities for children with hearing loss, while raising public awareness that a child born deaf can learn to listen and use spoken language,” comments Lindsay M. Hanna, a certified auditory-verbal therapist and speech-language pathologist at Hearts for Hearing. Campers will travel to various Oklahoma City venues where they will learn about visual arts, performing arts, music appreciation, literacy, fitness, and community awareness. Drawing from the world-class collections of the Oklahoma City Museum of Art, with an emphasis on narrative paintings, this unique camp also offers the chance for youth to engage with the Oklahoma City Philharmonic, the National Cowboy & Western Heritage Museum, and the American Indian Cultural Center and Museum, among others. One of the primary goals of the Hearts for Hearing summer camp is to increase community awareness of children who are deaf but learning to listen and talk. According to Chandra Boyd, senior associate curator of education at OKCMOA, “These inspiring campers are changing our perceptions about hearing-impaired children. These kids are listening and talking just like any other child their age. Being a part of this camp has been a very rewarding experience, and I think it will be a unique educational experience for visitors to the Museum as well as the children who participate.” What’s the Story? will be held June 11–15, 2012. For more information, contact Lindsay Hanna at (405) 548-4300.
will host a day in downtown Oklahoma City for New View Oklahoma’s summer camp, Oklahomans Without Limitations (OWL), a free, weeklong camp experience for children ages 8-18 who are blind or visionimpaired. New View Oklahoma—formerly Oklahoma League for the Blind—is a private, not-for-profit organization founded in 1949, whose mission is to empower people who are blind and visually impaired to achieve their maximum level of independence. “We are very excited at New View Oklahoma to be hosting our 14th year of summer camp for children with visual impairments. Partnerships such as that with the Oklahoma City Museum of Art allow opportunities for our campers to experience activities they would likely not have afforded to them. Campers will leave camp with a sense of accomplishment while carrying with them memories which will change their outlook on life and provide them hope for the future,” said Cathy Holden, Director of Rehabilitation. Camp activities are carefully planned and designed to encourage collaboration, improve confidence, self-esteem and independence, and challenge societal and self-imposed limits through a variety of indoor and outdoor activities in an accessible environment. The focus is on capability rather than disability. “Collaborating with New View for the OWL camp compelled the Museum to evaluate and address how welcoming we are to all visitors and to dismiss the misconception that there’s nothing for people who are blind or partially-sighted to see in an art museum,” said Assistant Curator of Education Bryon Chambers. The day in downtown Oklahoma City includes visits to both the Museum and the Crystal Bridge at the Myriad Botanical Gardens. After touring the Crystal Bridge, campers will walk to OKCMOA for an afternoon of dynamic programming with hands-on tours and activities, including object lessons with Oklahoma artist Samantha Lamb and the Instrument Playground provided by the OK Orchestra League and the OKC Philharmonic.
2011 Oklahomans Without Limitations campers
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Keith Haring Wooden Chair Expose your children to the wonderful world of pop art with this Keith Haring Children’s Chair by the French company Vilac. This lacquered, wood seat is inspired by the artist and social activist’s Radiant Baby drawing and is an example of children’s wares that receive adultfriendly style approval. This bright and bold design will easily complement any children’s space without compromising your love of modern design. Price: $137.95
Automoblox Explore your child’s sense of creativity and design through Automoblox. Creating something new and unique—born of a child’s imagination—is the idea behind these award-winning, quality toys for children ages 3 and up. Not only are they fun and inventive, but also they aid in creative problem solving, the ability to create precise hand and visual movements, and visual motor skills. Stop by the Museum Store to see all of the available styles and colors! Prices start at $13.95
Monday 10 a.m.–3 p.m. Tuesday–Saturday 10 a.m.–5 p.m. Thursday 10 a.m.–9 p.m. Sunday Noon–5 p.m. (405) 278-8233 | shop.okcmoa.com SHOP ONLINE NOW!
CONNECT | Vol. 2012, Issue 2
Thank you okc! On March 16–18, 2012, nearly 10,000 visitors joined in the three-day celebration of the Museum’s 10th anniversary in downtown Oklahoma City. Photos by Christopher McCord
10th Anniversary Events Were generously funded by our Annual Sponsors and: Love’s Travel Stops & Country Stores Oklahoma City Community Foundation Oklahoma City Convention & Visitors Bureau Frankfurt Short Bruza Associates UMB Bank, n.a., Oklahoma City Inasmuch Foundation Oklahoma Natural Gas, A Division of ONEOK, Inc.
CONNECT | Vol. 2012, Issue 2
Catering | Fine Dining | Brunch | MUSEUM CAFE tea
Catering, Fine Dining, Brunch, Museum Cafe Tea Weekly Lunch Specials Posted Online Visit us at okcmoa.com/eat Special event approaching? Call for Catering!
For more information, call (405) 235-6262. Make reservations or view menus at okcmoa.com/eat Sunday 10:30 a.m.–3 p.m. | Monday 11 a.m.–3 p.m. Tuesday–Saturday 11 a.m.–10 p.m. | MUSEUM CAFE Tea 3–5 p.m. (Tues.–Fri.)
OKCMOA FACILITY RENTALS
Catered by the Museum Cafe
GREAT SPACES | GREAT FOOD | GREAT ART Host your next business meeting, educational program, wedding reception, seated dinner, and more surrounded by the beauty and sophistication found in the galleries and spaces at the Oklahoma City Museum of Art. The success of your next event is just a call or click away. For availability, contact Whitney Cross at (405) 236-3100, ext. 207, or email email@example.com Visit online okcmoa.com
Two Days in Texas and Back Educator Chandra Boyd explores Chihuly at the Arboretum and Impressionism at the Kimbell By Chandra Boyd
OKCMOA Travel Tours open the door for you to experience breathtaking museums and cultural destinations across the country. Both a feast for the eyes and the mind, each tour includes a talk by Museum curators that highlights and enriches works on view, in addition to guided exhibition tours. Guests enjoy traveling and learning together, making this a fun, social outing for individuals and groups. Almost a year ago, we learned that the Dallas Arboretum would host a Dale Chihuly exhibition. The timing could not have been better, as OKCMOA had prepared to launch our 10th anniversary in 2012 with a reinstallation of our Mexican Hat and Horn Tower collection of Chihuly glass. We planned a visit to the Arboretum after dark to experience Chihuly Nights. Coincidentally, the Kimbell Art Museum in Fort Worth announced their exhibition, The Age of Impressionism: Great Paintings from the Clark. So an idea was hatched for a fun, overnight trip with two days full of great art! We boarded the motor coach with 38 guests the morning of May 16, enjoying coffee and sweet rolls as we hit the road. After a quick stop in Norman to pick up an additional guest, our travel agent (and hostess extraordinaire!) Brenda Kelly popped the cork on a bottle of champagne and served mimosas to the happy crowd. I had done quite a bit of research on the history of glass, the Studio Glass movement, and Chihuly—especially his gardens and glass series—and shared what I had discovered with a brief talk upon crossing the Texas border. It is really fascinating to know how glass emerged as an aesthetically-appealing art form, and it was just as interesting to learn how Chihuly blew the first glass bubble in his studio as a young college student. After settling into our hotel, some guests took a brief excursion to the Galleria while others readied themselves for the evening. The coach picked us up and transported us to the Arboretum, where we were greeted by a beautiful installation of Blue Icicles at the Cissy Thomsen Welcoming Water Wall. Once inside the gardens, we made our way to the Restaurant DeGolyer, taking time to stop and admire the Mexican Hat and Horn Tower, the Yellow Icicle Tower, and the Tiger Lilies, which are also featured in our collection at OKCMOA. Dinner followed outdoors, where we caught a view of the Citron Green and Red Tower. Then, at dusk we made our way around the gardens, our breath Float Boat and Carnival Boat taken away as we rounded each curve. The Scarlet Asymmetrical Tower gave way to another Yellow Asymmetrical Tower, pools filled Mirrored Hornets and Neodymium Reeds, and a serene Float Boat and Carnival Boat. More jewels greeted us, including Red Reeds, The Sun, White Belugas, and the exclusive Dallas Star, created just for this exhibition. There were many more to see, but our time was up—we’ll just have to go back! Day two had us venturing across Dallas to Fort Worth to the campus of museums there. Our main stop was The Kimbell to see The Age of Impressionism: Great French Paintings from The Clark, but we also managed to squeeze in a trip to the Amon Carter to see paintings by John Singer Sargent (also from The Clark’s collection). It was a sunny day, perfect for walking from museum to museum, and lunch at The Kimbell did not disappoint. The chef even came over to our table to sign copies of her cookbook! The Clark has an incredible collection of French impressionist works, but I was also pleasantly surprised by the range of paintings from neoclassicism and the Barbizon School to pointillism and post-impressionism. I savored the Bouguereau, Gérôme, Boudin, Monet, Renoir, Degas, Cassatt, Gaugin, and Bonnard, among so many others. After a quick visit to The Modern, we boarded the bus to come home, swapping stories about our favorite artworks. The coach trip home is no less a treat, as Brenda serves wine and a light supper. This was one of the happiest groups I have ever traveled with, and I can’t wait for our next art adventure! Join us for an upcoming excursion and be inspired by beautiful destinations and world-class collections just waiting to be discovered. For more details, visit okcmoa.com/learn/programs/adult/travel-tours/ or contact Brenda Kelly at Journey House Travel, (405) 463-5811.
CONNECT | Vol. 2012, Issue 2
A Decade Downtown 37th Annual Renaissance Ball Save the Date! Friday, September 7, 2012, 7:30 p.m.–midnight Oklahoma City Golf and Country Club The Renaissance Ball is the major annual fund raising event to support the mission-driven programs and operation of the Museum as well as education and outreach efforts throughout the community. Help us celebrate the Museum’s commitment to enriching lives through the visual arts! If you are interested in attending or sponsoring the Renaissance Ball, please contact Whitney Cross at firstname.lastname@example.org or (405) 278-8207. We hope to see you at the 37th Annual Renaissance Ball, A Decade Downtown. Chairs Tina & Elby Beal
Sponsorship Chairs Caroline & Durward Hendee Penny & John McCaleb Brenda & Tom McDaniel
Honorary Chairs Christy & Jim Everest
Thank you Season Sponsors! Founding Sponsors
Allied Arts Chesapeake Energy Corporation Inasmuch Foundation
Presenting Sponsors Devon Energy Corporation Estate of Carolyn Hill Margaret A. Cargill Foundation Oklahoma Arts Council OGE Corporation Nancy & George Records
Leading Sponsors Anonymous Anonymous Beaux Arts Society Crawley Petroleum E.L. and Thelma Gaylord Foundation Love’s Travel Stops & Country Stores M.R. and Evelyn Hudson Foundation SandRidge Energy, Inc. William Randolph Hearst Foundation
Supporting Sponsors Chase Bank, N.A. The Fred Jones Family Foundation Kirkpatrick Family Fund Kirkpatrick Foundation, Inc. Oklahoma City Community Foundation Oklahoma City Convention & Visitors Bureau Oklahoma Humanities Council Mr. & Mrs. Robert Z. Naifeh
Contributing Sponsors Ad Astra Foundation American Fidelity Foundation/Mrs. C.B. Cameron Anonymous BancFirst Bank of America Tina & Elby Beal Mr. Howard K. Berry, Jr. Karen & Peter Delaney Drake Gungoll Foundation Mr. & Mrs. Andrew J. Evans, II Frankfurt Short Bruza Associates Mrs. Henry J. Freede Suzette & S. Kim Hatfield GlobalHealth, Inc.
HE Rainbolt Trust Leslie & Clifford Hudson Lou C. Kerr/The Kerr Foundation, Inc. Tracy & David Kyle Ann Lacy Mr. & Mrs. Aubrey K. McClendon Virginia W. & James C. Meade Debbi & Frank Merrick Microsoft Corporation MidFirst Bank Mustang Fuel Caroline & Guy Patton Sarkeys Foundation Mr. & Mrs. R.L. Sias Jeanne Hoffman Smith SONIC, America’s Drive-In UMB Bank, n.a., Oklahoma City W.C. Payne Foundation
Education Sponsors Sarkeys Foundation Education Endowment SONIC, America’s Drive-In Education Endowment Gifts January 1, 2011 through June 5, 2012
OKCMOA Museum School Receives Gift from Chesapeake Energy A $150,000 gift to the Oklahoma City Museum of Art from Chesapeake Energy Corp. will be used to support and expand art classes and programs for students of all ages. The donation marks the first private gift given to the Museum School in its ten-year history and will help to provide quality arts instruction and materials to students participating in classes, workshops, and camps at the Museum. Additionally, expanded class offerings will provide a broader reach to the community by serving more students. “The Museum’s educational programming efforts are instrumental in helping us fulfill our mission to enrich lives through the visual arts,” said Sandy Cotton, development director of the Museum. “We are so pleased Chesapeake has the philanthropic vision to recognize the importance of arts education and its capacity to make our community a better place to live.” The Museum School was initiated as part of OKCMOA’s opening in its downtown location in March 2002. Since its inception, Museum School has offered more than 1,500 classes and camps and has served nearly 14,000 adults and children in the Oklahoma City community. The school facilitates the discovery of and appreciation for the visual arts by providing multiple-week visual art and art history classes and one-time workshops year-round. Sessions offer a creative outlet in the areas of painting, drawing, photography, glassblowing, and more. “We want to show that the arts are accessible to all, and that everyone can tap into their creativity through curiosity about and personal connections to artworks,” said Chandra Boyd, senior associate curator of education. This year, both the Museum and this exemplary program are celebrating a decade of arts in downtown Oklahoma City, and Chesapeake’s gift supports one of the principal funding objectives of the Museum’s 10th Anniversary Celebration, A Cultural Legacy. The initiative focuses on improving administrative, artistic, and educational effectiveness as well as attracting community members, collectors, artists, and philanthropists to the institution. “The arts are an integral part of our community, providing both intellectual nourishment and social benefit,” said Teresa Rose, Chesapeake director of community relations. “Chesapeake is honored to provide funding for the Oklahoma City Museum of Art’s Museum School and support its mission to foster a love of art in children and adults.” “The gift is validation for the Museum School,” Boyd said. “It is an honor to be recognized by Chesapeake for our arts education efforts serving the metro-area community and beyond.”
415 Couch Drive | Oklahoma City, OK 73102
Phone Numbers Main: (405) 236-3100 Cafe: (405) 235-6262 Store: (405) 236-3100, ext. 233 Membership: (405) 236-3100, ext. 215 or 200 Adult Tours: (405) 236-3100, ext. 213 School Tours: (405) 236-3100, ext. 213 Facility Rentals: (405) 236-3100, ext. 207 Fax: (405) 236-3122 Toll free: (800) 579-9ART
Museum Hours Tuesday−Saturday: 10 a.m.–5 p.m. Thursday: 10 a.m.–9 p.m. (May–Oct) Sunday: Noon–5 p.m. Closed Mondays and Major Holidays
General Admission Members: Free | Adults: $12 Seniors (62+): $10 | College Students (with ID): $10 Military (with ID): $5 | Children (ages 6−18): $10 Children (ages five and under): Free Tours (15 or more): $7 per person Senior Tours (15 or more): $6.50 per person School Tours (15 or more): $3 per person Thursday Nights: $5 after 5 p.m.
Film Admission Members: $5 Adults: $8 Seniors (62+): $6 College Students (with ID): $6
Museum Cafe Sunday Brunch: 10:30 a.m.–3 p.m. Monday: 11 a.m.–3 p.m. Tuesday–Saturday: 11 a.m.–10 p.m. (405) 235-6262 (Reservations & Catering)
Web site okcmoa.com
NETWORK Twitter.com/okcmoa | Find us on Facebook
Schedule your tour OKCMOA offers docent-guided and self-guided tours to pre-scheduled adult and school groups of 15 or more. Call (405) 236-3100, ext. 213 for details.
CONNECT | Vol. 2012, Issue 2
nonprofit org. U.S. Postage PAID Okla. City, OK Permit No. 647
415 Couch Drive |Oklahoma City, OK 73102 (405) 236-3100 | okcmoa.com Address Service Requested
Join our members & enjoy the benefits! Museum members receive discounts to Museum School, free general admission year-round, discounts on film tickets and Museum Store merchandise & more! Call today! (405) 236-3100, ext. 2155
September 27, 2012â€“January 6, 2013 American Moderns, 1910-1960: From Oâ€™Keeffe to Rockwell has been organized by the Brooklyn Museum.
Published on Oct 19, 2012
The Oklahoma City Museum of Art’s members’ magazine, CONNECT, features information on exhibitions, the Museum’s collection, programs and fil...