A U G U S T 2016
MAGAZINE OF THE OKLAHOMA HALL OF FAME
One on One with Collage: An Interview with the Artist
Helping Neighbors: The Oklahoma National Guard Reponse to Hurricane Katrina Christie Owen: Oklahoma's Interior Sun Hall of Fame Member Spotlight: C.D. Northcutt Picture Yourself
O K L A H O M A H E R I TA G E A S S O C I AT I O N P U B L I S H I N G
AUGUST 2016 VOLUME 21 • NUMBER 2 PRESIDENT & CEO Shannon L. Rich
VICE PRESIDENT Gini Moore Campbell CHAIRMAN, PUBLICATIONS COMMITTEE Bob Burke DESIGN Skip McKinstry skipmckinstry.com
MAGAZINE OF THE OKLAHOMA HALL OF FAME
L E V E L S
2 From the Chairman Mark A. Stansberry
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From the President Shannon L. Rich
3 One on One with Collage: An Interview with the Artist
8 Helping Neighbors The Oklahoma National Guard Reponse to Hurricane Katrina Bob Burke
18 Christie Owen Oklahoma's Interior Sun
24 Hall of Fame Member Spotlight: C.D. Northcutt Millie J. Craddick 30 "Picture Yourself" Kathy McHoes Bailey Gordon Shelley Rowan
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MISSION PARTNERS MR. AND MRS. BOB BURKE THE CHICKASAW NATION CHOCTAW NATION OF OKLAHOMA
36 Book Review: Dust Storm & More Than A Coach
E.L. AND THELMA GAYLORD FOUNDATION GiANT PARTNERS JAMES C. & TERESA K. DAY FOUNDATION
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TOM AND JUDY LOVE THE OKLAHOMAN MEDIA COMPANY PUTERBAUGH FOUNDATION
38 OHOF’s Story Through Its People ON THE COVER: WATERBED: Waterbed, collage on paper, 16” x 20”. by Marissa Raglin.
BOARD OF DIRECTORS
It’s an exciting time for the Oklahoma Hall of Fame and the GaylordPickens Museum! With the successful completion of the capital campaign, the board of directors authorized staff to secure Roto, a full-service design and production firm specializing in first-hand experiences for museums. Since that time the Roto team and staff have been working together to roll out later this year “Phase One” of the Museum’s exhibit renovations. Next month the Tulsa World | Lorton Family Gallery will be hosting the 2D and 3D work of artist and graphic designer Christie Owen in an exhibit entitled “Surroundings”. From Edmond, by way of New York, Owen co-founded FRINGE Oklahoma Women’s Art Organization and Wings of Art, an auction and gala benefitting local artists and children with special needs. Please join us on Thursday, September 8th at 5:00 p.m. for the opening reception of Surroundings. We have had an excellent response to the annual donor solicitation, with many donors increasing their level of giving. Your support is vital to the continued growth of this organization and in
reaching Oklahomans statewide through our vast range of programming. If you have not remitted your annual donation, I would encourage you to do so, it is not too late. The 89th Oklahoma Hall of Fame Banquet & Induction Ceremony is scheduled for Thursday, November 17 at the Cox Convention Center in downtown Oklahoma City. I would like to thank The Oklahoman, Tulsa World, and The Lawton Constitution for serving as Presenting Sponsors again this year and The Chickasaw Nation, Love’s Travel Stops & Country Stores, Dillingham Insurance, David Stanley Auto Group, and UMB Bank Tulsa & Oklahoma City for supporting the event through individual sponsorships, Tickets will go on sale later this month and I hope you will join us as we bestow Oklahoma’s highest honor on the Class of 2016.
Mark A. Stansberry, Chairman
Mark A. Stansberry
Phil B. Albert
Bill Burgess, Jr.
Gov. Bill Anoatubby Ada
Joe P. Moran III
Virginia G. Groendyke Enid
Calvin J. Anthony
Bruce T. Benbrook Woodward
PRESIDENT & CEO Oklahoma City
Shannon L. Rich
Duke R. Ligon
Clayton I. Bennett Oklahoma City
Nevyle R. Cable
Glen D. Johnson
CHAIRMAN APPOINTMENTS DIRECTORS AT LARGE
There is a lot of activity at the Gaylord-Pickens Museum, home of the Oklahoma Hall of Fame. We have just completed See You Saturdays—six weeks of Saturday fun focusing on different areas of the state, From the Chickasaw Dance Troupe and bats from Alabaster Caverns to military vehicles and equipment from Fort Sill and simulated rowing on the Oklahoma River, guests of all ages enjoyed performances, demonstrations, and crafts while celebrating and learning the unique history of and opportunities in Oklahoma. I want to thank all of the partners from across the state that spent time with us to make this unique opportunity available to our visitors. Mark your calendars now for Saturday, November 12 and plan to join us for our annual Statehood Celebration and the grand opening of “Picture Yourself,” the newest interactive exhibit at the GaylordPickens Museum. In addition, you will have the opportunity to meet and shop the products of Oklahoma’s most talented youth at the Young Entrepreneurs and Artists Market.
Pat Henry Lawton
Glen D. Johnson Oklahoma City
Roxana Lorton Tulsa
Tom J. McDaniel Oklahoma City
Lee Allan Smith Oklahoma City
G. Lee Stidham Checotah
Alison Anthony Bob Burke
Steve Burrage Antlers
Ann L. Caine Oklahoma City
Stan Clark Stillwater
Mick Cornett Oklahoma City
Teresa Rose Crook Edmond
Chad Dillingham Enid
Rebecca Dixon Tulsa
Gentner F. Drummond Tulsa
Jeffrey T. Dunn Chickasha
Greg Elliott Chickasha
Ken Fergeson Altus
Malinda Berry Fischer Stillwater
Later this month we will release our first historical fiction title, Dust Storm. Based in northern Oklahoma during the 1930s, this work is heavily-illustrated with original artwork and copies of the book will be sent to public elementary school libraries statewide through our library distribution program. This is just one of the many titles donated to public school libraries statewide to strengthen the resources available to students on Oklahoma and its people. Library distribution would not be possible without your support. I encourage you to regularly check our website at OklahomaHOF.com to stay up to date on all the opportunities available to you as a donor. Thank you for your continued support of the Oklahoma Hall of Fame and the Gaylord-Pickens Museum.
One on One with Collage: An Interview with the Artist, Marissa Raglin By Erin Latham
xcitedly, I recently got to do my studio visit with an artist of whom I am very fond—Marissa Raglin, She is not only an incredible visual artist, creating whimsical ethereal collage works on paper, she is also one of my studio mates at #nextdoorstudiosokc. Raglin’s work fuses together dynamic imagery from the past to create comedic and dramatic narratives that envelop the viewer in the process and content. I had the opportunity to hang out with her while she was coming up with titles for an exhibition at Hojas Artspace.
How did your process develop into what it is today? I finished my BFA and an emphasis in painting from Oklahoma Baptist University in 2012, where I was drawn to acrylic because of the quick fluid movement of the medium. I found myself drawn to paper just as much, I would tear sheets out of magazines and books, and try to paint over them or incorporate them in the paintings I was making in some way.
Shannon L. Rich, President & CEO
Jennifer M. Grigsby
S. Bond Payne
Joe D. Hall
Gregory E. Pyle
T. Hastings Siegfried
Steven D. Hendrickson
Michael E. Smith
C. Renzi Stone
Clayton C. Taylor
Steven W. Taylor
Michael C. Turpen
John M. McArthur
Oklahoma City Elk City
Oklahoma City Oklahoma City Oklahoma City Yukon
Oklahoma City Stillwater Tulsa
Oklahoma City Durant
Frank W. Merrick Oklahoma City
I inherited a book my great grandmother was drawn to, the John James Audubon Book of Illustrations. I cut up parts of it and used them in my Senior Showcase, that’s where the idea of working with found imagery began.
Oklahoma City Durant Tulsa
Oklahoma City Oklahoma City Oklahoma City Tulsa
Oklahoma City Oklahoma City Oklahoma City
Ham, collage on paper, 11” x 14”.
Was there anything besides the Audubon book that influenced you? More recently, I’ve been drawn to collage after reading the book Creative Block by Danielle Krysa. I was following her contemporary blog called the “Jealous Curator”, I’m not sure how I stumbled upon her, but I got the book quickly off of Amazon and read through it because I felt I was in such a block with the abstract painting I was doing at the time. There was a lull in my art making after school for some time. The book encouraged me to practice exercises from several different artists that were interviewed, so I decided to pick up some different utensils and create. Funny enough, she wrote another book called Collage and I won a signed copy of it. After hearing about it, I knew I had
Spin Cycle, collage on paper, 16” x 20”.
to have to have a copy, so I left a comment on her blog, saying something to the effect of “I’m a collage novice, and I don’t know what I’m doing but I’m excited about it!” and I was chosen as the one person out of hundreds, to receive the free copy. It felt like a sign, something saying “Keep Going!”
You have a very specific aesthetic and set of imagery, can you tell me about them and where they come from? I use found imagery from vintage magazines, postcards, and books that I purchase from thrift shops and half-price book stores. I’m drawn to natural elements and nature-based imagery, as well as the different forms and shapes. I also love that I can collect other people’s postcards. I love to travel, and I feel like I’m getting their memory book when I purchase these items. I also am getting their appreciation for where and what they’ve experienced and wanted to share with others.
Quite a bit of the imagery comes from old publications that depict women defined in certain roles, are you interested in those ideas? I often feature women in my work, because I’m drawn to the imagery, Elements like contours or facial expressions, that when put together help bring your eye into the piece. I enjoy finding the humor and the absurdity of the women in these images because of the roles they are cast in, so that’s why I further feature them in unexpected locations or surroundings. It is absurd to have a woman in a specific outfit and pearls at the washing machine for example. I recognize the absurdity and that is what adds to the ease of being able to manipulate the images into having her do something just as absurd, like embracing a mountain.
So part of your process is looking for and creating humor? I definitely look for the humor in the work even if it’s just through the title, I’m drawn more to the illustrative imagery. I had a lot of fun recently in finding romance novel covers and cutting them out. It’s comedic to see a loving embrace between two people and then cut him out and make her hug something totally bizarre like a mountain.
Are you aware of the content you’re creating when you’re making, and do you try to push those ideas if/when you realize it? Yes, and no. Certain pieces come to mind in which I try to create a dialogue or narrative around a specific theme. Recently, my husband lost his grandfather, and I created a piece entitled “Void” which featured a woman in a very intense embrace from point of view of the back of the man’s head. I knew I wanted to encapsulate the idea of a huge loss so I removed his image, but left his figure there and blacked him out using gouache, I knew I wanted that feeling of loss or emptiness.
Specifically in one of my earlier works entitled “Mother’s Pill” it was very representative of my mother through a flower, a woman and child, and an alligator. That brute force of her and creating imagery that spoke about her. I knew I wanted to create a pill shape, or something to suggest a dietary supplement that someone could take to become like my mother. So I utilized the cut shapes and forms in order to get that to happen. Often, when I’m creating I have a specific characteristic or individual in mind that I’m trying to classify through the imagery. Sometimes there are certain concepts or ideas I want to create in removing or keeping or clustering, but I am also interested in happy accidents. It comes with the territory of cutting out so much imagery, that sometimes you happen to put one form next to another and you like the way shapes and forms interact.
Sometimes there are certain concepts or ideas I want to create in removing or keeping or clustering, but I am also interested in happy accidents.
The layering or removing of imagery helps create the narrative? Yes, if I’m creating and I have a specific family member in mind or I have a specific phrase that I want to say I will be deliberate in what imagery I’m trying to find and how I manipulate it. A lot of the time the narrative can come from finding the imagery and either removing or adding to complete the story. The found imagery is key to drawing the idea, so in this way the idea then comes after. I’m really drawn to negative space, because I feel that the white exterior allows the imagery room for conversation, so there’s more of a dialogue happening in my head and on the page. Questions along the lines of “why would these images be next to each other?” I utilize the negative space element in order to create the idea that the imagery is becoming unified. Sometimes the placement of shapes or negative space is only whimsical and there is not necessarily a meaning behind it, but it’s more about the shapes and the colors and how they play with each other.
Does that come from your background as an abstract painter?
Marissa Raglin with her collage entitled "Young and Old" at A Hiding Place.
I believe so, I’ve always simplified. I felt that my abstract works were too busy and I needed to simplify this idea of minimalism. The collage pieces are more thoughtful. I find even if I’m really partial to an image, I don’t copy or manipulate any of my images, so once I use it it’s gone. A lot of stress goes into the gluing process. When I’m working I’ll take photos and go home and sleep on it until I’m sure, or I’ll glue it down and come in the next day and think “that’s not funny or interesting, why did I do that?”
Golden Pony, collage and gouache on paper, 16” x 20”.
Midnight, collage on paper, 23” x 29”.
So it’s a commitment to put those images on paper? Yes, the gluing process is probably the most stressful part of the process because if something doesn’t take well to the vintage paper and it rips that’s my one shot. I can’t get these images back. So I am usually careful about when I commit to putting the images together permanently.
To that end, how is process important to your work? How do you feel about failure in art making or time periods when you have to fulfill a need to make work? During times of loss I have had an idea that I want to be fluid in my art making, I wanted to use the repetition of covering something up and sometimes painting with black in order to fulfill a need to create. The evening we found out about my husband’s grandfather I needed to come to the studio and make something happen, so there is some concept of knowing I need to continually be creating. I think I’ve begun exploring the idea of making just to make now. I think I was enjoying the path I was on, creating collages, since it was so new, but now I’m getting to the point where I’m willing to try something new again, which is why I’m incorporating the gouache elements. I have found that in the monotony of just making to make, I’m not as deliberate and precise as I am when I’m cutting and gluing for collage, things are more solidified. With painting, in my mind I continue to think that I can paint over things and fix mistakes, but it’s not really the case with gouache. I think the experimentation leads to something better. I’ve made a lot of bad art, and I can say that happily it’s led me to a point where I’m much more confident with doing or excited about the outcome of the work I’m making. Failure is frequent, I choose to just take it in stride. To try to keep seeing if that could lead to something else.
So I get an awesome opportunity to share my studio space with you and keep updated on your work but can you tell us what’s next? In terms of the studio I am incorporating some gouache elements, trying to think about the idea of altering the scene, not with my exacto knife, but minimalistically eliminating or adding something to an image instead of splicing together many pieces. Working larger, 18”x24” for a few shows coming up, and also working some with line work creating a background or a grounding to the works, instead of having them float in space.
What about exhibitions? I had a solo exhibition entitled “Assembled” in May at Hojas Artspace in Goldsby Oklahoma. I was then featured in the second round of the Oklahoma Visual Arts Coalition’s Collector’s Circle and was commissioned to create a piece for a collector. Last month I showed in “A Hiding Place”, an exhibition wherein the gallery provided each artist a poem to create a piece based upon. This exhibition is up until the end of September. In the coming months, I will be participating in Oklahoma Visual Art Coalition’s annual fundraiser, 12x12 at the Science Museum in September. I am also participating in a group exhibition entitled "Symbiotic" at the OU School of Art & Art History’s Lightwell Gallery opening October 11th. Symbiotic is an exhibition of collaborative works, including pairings of student and professional artists, highlighting the reliance between art and community.
During times of loss I have had an idea that I want to be fluid in my art making... The evening we found out about my husband’s grandfather I needed to come to the studio and make something happen... I need to continually be creating.
How do you think it is different to be an artist in this part of the country? How has it shaped your artist life? I think there are groups here that assist and promote the idea of being an artist in Oklahoma and nurture that fact. Things like OVAC, FRINGE, Artist Inc., and Oklahoma City Girls Art School all play a role in shaping an artist’s opportunities. It has become a worthwhile pursuit, being an artist here. I feel nurtured by being in a smaller pond or a tighter community, but I feel like we stick together, we promote one another’s works, and appreciate one another. The quality of life and the ease of living here, family, friends, and the people are all factors that keep me here, it’s mushy, but it’s true. I’ve been excited that since I’ve been pursuing this work, it has taken off. There are opportunities if you apply yourself, it is possible to have lots of opportunities here. Sundown, collage on paper, 23” x 29”.
Night Owl, collage on paper, 11” x 14”.
Void, collage and gouache on paper, 16” x 20”.
THE OKLAHOMA NATIONAL GUARD RESPONSE TO HURRICANE KATRINA
Hurricane Katrina was the most destructive natural disaster in the history of the United States. In late August and early September, 2005, the storm hammered 90,000 square miles of the Gulf Coast with 140-mile-per-hour winds and torrential rain. The aftermath was catastrophic, leaving nearly 2,000 people dead and more than $100 billion in damage. The greatest toll in human suffering and loss of property came in New Orleans. Levee breaches led to massive flooding and mass evacuations. Lack of adequate planning and preparation by federal, state, and local governments exacerbated the plight of people who had no means, or flatly refused, to evacuate. Some people were trapped in attics and nursing homes and drowned as the dirty waters engulfed them. Others escaped by chopping their way through roofs and waiting for rescue. The storm laid waste to much of the New Orleans police force, whose headquarters and several district offices, along with hundreds of vehicles and ammunition depots, were destroyed by raging waters. The water was a toxic brew of sewage and rotting corpses, E.coli, and dozens of other harmful bacteria and viruses. (Facing page) A CH-47 “Chinook” helicopter places sandbags in a breached section of a levee in New Orleans. The placement of sandbags was one of several tactics used by the U.S. Corps of Engineers to mend the levees so floodwater could be pumped from New Orleans. Courtesy Oklahoma Army National Guard.
As the national tragedy unfolded, the call for help was sounded...
The response of the Oklahoma National Guard in Task Force Oklahoma was timely and of great magnitude.
(Above) Residents of New Orleans walk through two to three foot deep floodwater looking for someplace dry where they can rest. Courtesy Oklahoma Army National Guard.
(Below) Members of the 1345 Transportation Company move through the flooded streets of New Orleans to the Superdome. The 1345th was the first Oklahoma Army National Guard unit on the ground in New Orleans after Hurricane Katrina Struck.
Restoring Order and Giving Hope— The Oklahoma National Guard Response to Hurricane Katrina, a new book co-authored by Colonel (Ret.) Max Moss, Jr. and Bob Burke, will be published by the Oklahoma Hall of Fame later this year. It is the story of men and women of the Oklahoma National Guard— and their heroic efforts during the days following the destruction
BY BOB BURKE
of one of America’s largest and most-celebrated cities.
Oklahoma Adjutant General Major General Harry M. Wyatt, III, right, and Governor Brad Henry, left, announced plans to send Oklahoma National Guardsmen to New Orleans to aid in the disaster recovery efforts. Courtesy Oklahoma Army National Guard.
Oklahoma Air National Guardsmen assigned to the 137th Airlift Wing load Army National Guardsmen’ gear onto a C-130 heading toward the Gulf Coast. The Air National Guard flew many flights carrying guardsmen, civilians, and supplies. Courtesy Oklahoma Army National Guard.
Even with the help of local National Guard troops, chaos gripped the city. It was a state of anarchy as corpses lay abandoned, fights and fires erupted, and survivors scrambled for seats on buses to carry them away from the misery. Fifteen thousand people who had sheltered at the New Orleans Convention Center grew hostile after waiting for days, surrounded by death and filth. There was such a crush of humanity that 88 police officers sent to investigate reports of assaults had to retreat. People were so hungry, helicopters could not land to distribute supplies and had to toss supplies from above. The sidewalks were packed with people out of food with no water or medical care, and there was no law enforcement in sight.
The famous Superdome, site of Super Bowls and college championships, became the “shelter of last resort” for 20,000 storm victims. Mayhem ensued, with rape, murder, and suicide reported. The people were hungry, angry, and afraid. When the storm ripped two large sections from the Superdome roof, water poured into the once proud arena and unbelievable conditions persisted. As the national tragedy unfolded, the call for help was sounded by President George W. Bush from the White House and the Louisiana Governor’s Mansion. The response of the Oklahoma National Guard in Task Force Oklahoma was timely and of great magnitude. Within a few minutes of being activated, units quickly launched an emergency plan to move personnel and equipment to New Orleans.
In convoys leaving from armories in Oklahoma City, Ada, Durant, Norman, Mangum, Stillwater, and dozens of other cities, troops and equipment headed to New Orleans. Eventually, more than 2,000 Oklahoma National Guardsmen took their skills and military training to the ultimate testing ground. Once on the ground, it made no difference whether they were infantry or artillerymen, headquarters units, or air guardsmen, all Oklahoma National Guard troops rolled up their sleeves and went to work saving lives and property. Even though some New Orleans residents who ignored their leaders’ calls for evacuation were frustrated and mad at everyone, most survivors appreciated the friendly faces of Oklahoma guardsmen. At the Convention Center, some of the thousands of storm victims applauded, threw their hands into the air, and shouted, “Thank you, Jesus,” as the camouflage-green Oklahoma National Guard trucks arrived filled with soldiers from across the Sooner State and food and water for the suffering. Men and women of the Oklahoma National Gueard left behind families, jobs, and school to carry out their assignments in the most trying of conditions. Sections of the city were patrolled in eight-man squads. Every patrol was a dirty, dangerous, and gruesome job that Oklahoma soldiers performed with the same seriousness they used to approach combat when deployed to Afghanistan or Iraq. Guardsmen will never forget wading through a gagging brown slush of flood water that was a hybrid of decaying bodies and ruptured sewer pipes. The first order of business was to secure sections of the stricken city and deliver water and food to survivors. Medical teams tried to lend assistance to the most severely injured and dehydrated. Death and destruction lay in every direction. Oklahoma guardsmen found an old man lying dead in a chaise lounge in a median as hungry babies walked around
Vehicles of the Headquarters Company, 45th Infantry Brigade Combat Team, lined up near the 23rd Street Armory in Oklahoma City in preparation for a convoy of men and equipment to New Orleans. Courtesy Oklahoma Army National Guard.
Foreman Scotty on set at the Circle 4 Ranch.
Members of the Oklahoma Army National Guard’s Quick Reaction Force board an Air National Guard C-130 on September 1, 2005. Courtesy Oklahoma Army National Guard. Members of the Oklahoma Army National Guard’s 1st Battalion, 279th Infantry exit Oklahoma Air National Guard C-130 “Hercules” on September 2, 2005, in New Orleans.
him. An elderly woman was dead in her wheelchair, covered by a tattered blanket. Because Oklahoma provided the first National Guard soldiers in the search and rescue and security effort, Brigadier General Myles Deering was given command of the Joint Task Force, a combined effort of 14,000 active duty and National Guard troops working to restore order in the wake of Katrina. Deering later served as Adjutant General of Oklahoma. Black Hawk helicopters from an air ambulance company in Lexington were used in search and rescue. On the ground, guardsmen went door to door trying to get people to leave. They recovered bodies, manned traffic control posts, and guarded water pumping stations, hospitals, and government buildings. To Sergeant First Class Robert Apala of Guthrie, it was like a science fiction movie. He said, “When we went into parts of the city where the water had subsided, there were vehicles everywhere, but not a single person. It was eerie.” Guardsmen first slept on cots in tents or huddled under 18-wheelers, then moved into buildings. They ate MRE’s (Meals Ready to Eat), worked long 12-24 hour shifts, and tried to relax by reading or listening to a battery-powered radio. Many soldiers were limited to one shower in the first two weeks of the operation. The nights were still and long. Major Robert Sowards of Enid said, “There was no electricity. It was pitch dark, and you could barely see the outline of the skyscrapers.” From a makeshift headquarters in the parking lot of a looted Wal-Mart Supercenter in the Crescent City’s Garden District, the 45th Infantry Brigade, along with members of other Oklahoma units, patrolled the area, deterred or arrested looters, and provided assistance to residents who stayed, instead of forcing them out at gunpoint. Major James Gill, in charge of the detailed directing of units said, “Since the governor did not sign an order for forced evacuation, all we could do is rescue people, provide food and
First Lieutenant Roy Banes, right, briefs Second Lieutenant Marion Mason of Geronimo at their unit headquarters of A Company, 700 Support Battalion. Courtesy Oklahoma Army National Guard.
An officer with the 145th Cavalry, 45th Infantry Brigade Combat Team, radios in a situation report during a security patrol. Courtesy Oklahoma Army National Guard. Members of the 45th Infantry Brigade Combat Team clean up storm debris near the New Orleans Public School’s administration building. Courtesy Oklahoma Army National Guard.
Members of Company B. 1st Battalion, 279th Infantry, conduct a foot patrol in the French Quarter in New Orleans. Courtesy Oklahoma Army National Guard.
A member of Company B, 279th Infantry, 45th Infantry Brigade Combat Team assists a woman who had been trapped in her home for more than a week. Courtesy Oklahoma Army National Guard.
Oklahoma soldiers rescue a New Orleans resident who stayed behind and survived Hurricane Katrina. Courtesy Oklahoma Army National Guard.
water, and make them comfortable.” The Garden District contained some of the most expensive real estate in the nation. Armed with loaded M-16s, Oklahoma soldiers from dozens of towns strolled past million-dollar antebellum homes, scouting for looters. The city was dark and eerily quiet. First Lieutenant Eric Kennedy said, “I’ve never seen such a big ghost town in my entire life.” Not only was New Orleans’ human population devastated, their pets suffered greatly. Oklahoma soldiers saved many animals, often finding starving leashed or chained dogs abandoned by their owners. Private First Class Daniel Denaeyer of Grove said it was heartbreaking to see residents who were forced to leave their beloved pets behind because animals were not allowed at evacuation shelters. Denaeyer said, “It was hard seeing peoples’ faces when we told them they couldn’t bring their pets. People were bawling… no jobs…hopeless. It was the first time that I had seen a grown man cry.” Dogs ran in packs on the streets and many cats were on roofs to avoid the dogs. Oklahoma took ten fuel tankers to New Orleans, each of which held 2,500 gallons of fuel. The soldiers who manned the tankers spent their time refueling emergency vehicles. Other soldiers cleared streets to restore traffic flow and National Guard medical personnel helped evacuate hospitals, treat the injured, and provide medical assistance to emergency workers. C-130s from the Oklahoma Air National Guard made hundreds of flights carrying supplies and soldiers to New Orleans. Helicopters picked up evacuees and lifted water from Lake Pontchartrain in massive orange buckets to fight fires. Oklahoma units looked for shelter away from the 90-degree heat and near 100-percent humidity. Some units made their headquarters in the rotundas of damaged hotels, in public school classrooms, in a children’s hospital, and under bridges.
Brigadier General Myles Deering, commander of the 45th Infantry Brigade Combat Team and Task Force Orleans, briefs Lieutenant General H. Steven Blum, Chief of the National Guard Bureau, on operations in New Orleans on September 9, 2005. Courtesy Oklahoma Army National Guard.
Members of the Oklahoma National Guard Command Staff meet with New Orleans Mayor Ray Nagin on September 5, 2005. Courtesy Oklahoma Army National Guard. Staff of the Oklahoma National Guard’s Joint Operations Center in New Orleans. Courtesy Oklahoma Army National Guard.
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We scheduled a last-minute booth at a promising trade show. Comtech really came through, quickly providing all of our Promotional Items for the event. They made it look easy! Oklahoma National Guardsmen conduct door-to-door searches in a New Orleans neighborhood. Courtesy Oklahoma Army National Guard.
Oklahoma soldiers make their way through floodwaters to provide security for key sites such as power stations or water pumping stations. Courtesy Oklahoma Army National Guard.
For nearly 40 days, Oklahoma National Guardsmen toiled in unbelievable conditions. Slowly, the putrid smell was mostly gone, traffic lights worked again, and New Orleans was getting back to its new normal—a devastated city that would take decades to recover. Then, weather forecasters predicted another hurricane, Rita, was headed for New Orleans. Guardsmen prepared for the worst, but Rita skirted the city, leaving only heavy rain that helped wash waste into the sewers. Oklahoma soldiers headed home in phases. As the men and women of the Oklahoma National Guard pulled out of New Orleans, most agreed that they would never forget the smell, the sounds of gunfire, and the images of dead bodies floating in the water. Sergeant Derrick Murray arrived with 60 National Guardsmen at the 45th National Guard Armory in El Reno after a three-day trip from Louisiana. When a reporter asked Murray to describe the devastation, he
said, “It was like a tornado to the 10th power. It’s something I don’t want to experience again.” When it was over, Louisiana Governor Kathleen Blanco thanked the Oklahoma guardsmen for “saving the day” for her people. The praise was deserved. Oklahoma units were in the thick of it in New Orleans, helping rescue storm survivors, restore order from the chaos, and locate bodies of the more than 1,500 killed in the city. The Oklahoma National Guard response was no surprise.The Guard has always responded quickly and efficiently, both in natural disaster or disorder at home and in military operations overseas. Guardsman Scooby Axson, a journalism major at the University of Oklahoma and reporter for the school newspaper, was deployed in New Orleans and wrote, “I have no problems telling people I am in the National Guard or that my tuition is paid for, because I am proud to serve the people of Oklahoma in a way that I will never forget.”
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“Big Nodo,” 2013. “Sugar Mountain #4 & #5”.
Inset: “Sugar Mountain #4 & #5”.
Christie Owen: Oklahoma’s Interior Sun By: Kyle Cohlmia
“Kismit,” 2014; acrylic, sand, steel, Masonite cradled with maple.
t’s summer in Oklahoma, and for those of us who live in our landlocked state, these mid-year months signify a different way of life: serenading cicadas, chlorine pools, freshly cut grass, and lots of sun. During the summer Oklahomans experience a sun that dries up the ground into tiny blades of grass, chases us out of bed, seeps into our skin when it’s at its peak, and leaves behind its warmth long after dipping out-of-sight beyond our rolling plains. It’s a unique time of year when we band together to brave the sun’s impression, often from THE interior of our homes.
“Sugar Mountain #9”.
Christie Owen, an Oklahoma City resident and full-time artist, is an interior decorator at heart who appreciates the Oklahoma sun. Originally from upstate New York, a place that defines the four seasons with greater poignancy, she states that Oklahoma’s sunnier climate has impacted her mental health in a positive way by keeping her happy and motivated. In addition, the Oklahoma landscape provides inspiration for her works, as she uses organic colors and draws inspiration from the natural elements she sees in her day-to-day life. A graphic designer for twenty years, Owen relishes in the primal movement of painting by striking a brush on canvas to create unexpected patterns and the physical nature of sculpting. In paintings like Soleil, a work shown in a series of six paintings selected for the Chesapeake Energy Arena Thunder Family VIP Lounge, we see Owen’s abstract, yet minimal look, creating a natural but pleasing example of the sun’s yellow color. An artist who focuses more on the process and aesthetic of her works, she states in her blog that “it’s nice to not have to contemplate a painting
... not only is “art more than what you think,” but ... “you can create anything.”
“Black + White #4”, 2015; acrylic on board; 48"x48"x3".
and its message. I just want my work to be pleasing to the viewer.” Through her artwork, Owen creates a warmth for our interiors, and much like the Oklahoma sun, is here to leave her impact. Raised in Victor, New York, Owen was surrounded by a family of talented artists, photographers, jewelers, and carpenters. She states that her family’s French ethnicity, which emphasizes living in harmony and attention to detail, inherently inspired her to create art and search for a sense of calmness in her life. Attending Victor High School, Owen gained support from her art teachers and was able to take concurrent enrollment in a 2D art class at Nazareth College in Rochester, New York. However, it was during college at Buffalo State College when Owen experienced a significant “aha moment” from one of her art history professors, Bonnie Gordon Pfhal. Pfhal took her class to her personal art studio where she exposed Owen and classmates to art that is more than 2D, where she was making thin thread-like material from acrylic paint and wrapping it around cylinders. Owen describes the feelings she gained from this studio visit as the moment
when she understood that not only is “art more than what you think,” but that “you can create anything.” From there she was inspired to experiment in different mediums including 3D. Owen graduated from SUNY Buffalo and shortly after moved to Oklahoma when her father, who worked for Kodak, was transferred to Oklahoma City. Shortly after the move, Owen started work in Norman as a graphic designer, a career that would last twenty years. She states that she was reluctant to move, left with the feeling of not knowing where she was going. She emphasizes that, at the time of the move, her expectations of what life should look like in her twenties were different. “I thought I should move somewhere in the mountains or by the ocean – somewhere more exotic,” Owen reminisces. However, now very content in her current Oklahoma City home, Owen speaks on the inspiration she pulls from our natural landscape and climate. While out state is land-locked, her artwork contains a “beachy vibe,” with calm, wave-like patterns and organic blues, yellows, whites, and browns. 2011 was a pivotal year for Owen. While she states that she never was not an artist, it was a year of firsts as her art developed into a full-time career. Owen met friend and colleague Christie Hackler through social media, which opened up unique opportunities for Owen. Hackler introduced Owen to David Phelps, a large-scale figurative sculptor from Oklahoma City, and with whom she started an apprenticeship for one year. Phelps provided more than technical instruction for the budding artist, as Owen states that, while nothing could ever replace a biological father figure, Phelps was her mentor, reinstilling that same excitement she felt during the first studio visit of her professor in Buffalo— that she could do anything. With a newly boosted confidence and acquired skills in working with bronze and steel, Owen recalls that sometimes Phelps left her
All in All,” 2015; acrylic on birch panel.
“Birch,” 2014; 24” x 48”.
alone in his studio to weld on her own. Owen felt she was trusted, stating that “as a woman, that is empowering.” During this year, Owen and Hackler co-founded FRINGE, a group for women visual artists, in Oklahoma. FRINGE is a “a collective of all fine arts mediums with various skills and a broad knowledge-base working together to promote progressive and forward thinking ideas. As a group we will evolve as individual artists, nurture each other’s ideas and form strong working relationships to create high quality art.” The group has developed into exhibiting quarterly shows; Owen describes the idea behind showing FRINGE artists’ work in higher quantity, as it “pushes the artist to produce more pieces and demand more from themselves.”
Christie Owen’s studio.
In addition, Owen has taught art classes in a traditional classroom through Edmond Public Schools and at unique educational institutions like Special Care, which provides instruction for students with and without disabilities, and taught skull drawing at the Museum of Osteology. Owen emphasizes that she is always encouraging her students to create in order to take something home. After all, what are we without our personalized interiors? While she is currently focused primarily on 2D painting, she has created 3D work and customized furniture as well. “Creating my art can be physically demanding,” Owen states, as she recalls time her in old studio, which had a more industrial tone. While she enjoys the more visceral and primal act of welding, going up and down a ladder, and painting
brushstrokes, to that of sitting in an office working from a computer most of the day. Owen speaks to working at her studio, when she felt the need to balance the physicality with breaks, taking photographs of works and working on graphic design pieces. Currently Owen enjoys surrounding herself in the comfort of her own home, painting and working from a moveable trolley, but looks forward to moving into a new home with husband, Mark and daughter, Ever, in the near future that will include her own studio in a separate area from their garage. Working from the interior of her home is a practice that mirrors the concept behind her work, as Owen emphasizes process over product and creating aesthetic pieces for interiors rather than theoretical work. “I don’t want to project
my beliefs onto people,” states Owen, as she laughs, recalling how some viewers of her art come up with their own beliefs about what her art means. However, instead of challenging people to think about a deeper meaning or startling the viewer, Owen’s pieces serve as minimalist, harmonious, and balanced—a reflection of Owen’s personal journey for calm. While her newer works have a stronger “analogue feel,” she has never mixed the two mediums of graphic design and painting. For Owen, she associates painting with a more human and primitive feel, balancing the chaos and uncontrollability of painting on canvas to that of controlled movement. A unique aspect of Owen’s work are her titles. “I title my work from moments in my life at the time and where I am going with my work.” While Owen states that she gained her naming skill from her background in marketing and the naming of products, she states, “sometimes I think I will run out of words.” However, with names like “Free as a Bird,” “Aren’t You Spry?” and “Kismit,” that are inspired from music and moments in time, it is doubtful Owen will disappoint with her titles. For example, Owen’s “Sugar Mountain Series” was titled after the Neil Young song, “Sugar Mountain.” The series is unique to Owen’s usual abstract and playful brushstrokes; it is completed with more control and intentional movements. “I painted the series at a time when I needed calmness,” Owen states. Owen’s brother was going through major surgery, and Owen sought solace in the meticulousness of dabbing paint in rows onto a canvas.
Looking to the future, Owen is excited about the Oklahoma City art world. She talks about the strength of the art community and talent of regional artists. Owen was asked to weigh in on the direction of the new campus for Oklahoma Contemporary, to which she reverberated her desire to focus on local, contemporary artists. With involvement with Oklahoma-based art programs and exhibits such as Artist INC and ArtNow through Oklahoma Visual Arts Organization, Owen learned the value of becoming business minded, even as an artistic person. She has shown at local galleries such as Nault Gallery, Penn Square Mall, Graphite, MAINSITE Contemporary, and at her showroom, Verbode. And while continuing to show around the Oklahoma City area, Owen is also being commissioned by the East and West coasts for her art. “I believe that my art speaks for itself,” Owen states. “It’s digestible, and people want to buy it.” As Oklahomans, we are known for our hearts; while living within the sometimes harsh elements of our landlocked climate, we value what’s inside. We live honestly and with passion, we invite people to our homes with the promise of life-long relationships, and we reach inside ourselves as a community during times of need, as our best selves are reflected internally. However, just like the year-round Oklahoma sun that keeps us warm and happy on the outside, Christie Owen’s artwork provides nourishment, adding light to the spaces that we value most, our interiors.
Christie Owen: Surroundings Opening September 8th, 2016 and running through January 7th, 2017, Christie Owen: Surroundings in the Tulsa World | Lorton Family Gallery at the GaylordPickens Museum, home of the Oklahoma Hall of Fame, will feature her 2D and 3D works. Additional programming for this exhibit includes an artist talk by Christie Owen on Thursday, October 6th at 6:00 pm at the Museum. For more information on this exhibit, please contact Marissa Raglin, Director of Museum Experience at 405.523.3231 or firstname.lastname@example.org.
H A L L
F A M E
M E M B E R
S P O T L I G H T
C.D. Northcutt BY MILLIE J. CRADDICK
larence D. “C.D.” Northcutt was born
in Guinn, Alabama on July 7, 1916, he has been an Oklahoman all but two months of his life.
C. D. Northcutt crossing the ocean on a freighter in 1937.
Thinking of his lineage Northcutt said, “Our earliest known ancestor in the United States was Francis Northcutt, who was a soldier of infantry in the Revolutionary War and who was drafted into the Army of the United States in Virginia, in September of 1777. Francis Northcutt begat Woodson Northcutt who begat James Adrian Northcutt who begat George Gideon Northcutt who begat Walter Northcutt, my father.” You can count five generations that separate the present day Northcutts from the War of the Revolution in the 1770s. Northcutt’s grandfather George Gideon Northcutt, moved to Marion County, Alabama, and served in the State Legislature in Montgomery, Alabama, from 1845 to 1849. Their ancestors, from that time forward, lived near Winfield and Guinn, Alabama. Northcutt’s father, Walter G. Northcutt, was born in 1893 in Guinn, and later married Essie Homer. Northcutt was the first child of ten and was born on his mother’s 20th birthday. His daddy owned 40 acres “and a mule” near Guinn. They had a “singlebuilt” house with 1” X 12” boards nailed to a frame as close as possible, but always had cracks between them.
There was no plaster, wallpaper, or wall covering on the inside. The house was on the banks of the Loaxapatlila Creek. The Northcutt’s doctor lived in Winfield, Alabama, but because of high water they had to get an elderly doctor from Guinn to come bring C.D. into the world. The doctor came in a horse and buggy and, while he was there, the Loaxapatlila crested and he was not able to return home for three days. Later, when Northcutt approached Social Security age, he stated, “I wrote the Bureau of Vital Statistics in Alabama for my birth certificate and they told me they had no record of my birth. This put me in a bind. Later, I decided to write them with more information, i.e. my father’s name, my mother’s name, my date of birth, place of birth, and all that sort of thing. At that point, they thought they had a record of my birth, but I had to get an affidavit signed by some relative who knew the circumstances. I got the affidavit sent to the Bureau of Vital Statistics and they sent back my ‘socalled’ birth certificate. It amazed me that the birth certificate showed my father’s name as Walter, my mother’s name as Allie, and I was a female child without a name. This is my official birth certificate.”
In 1916, the boll weevils had ruined the cotton crop and the soil had about worn out. Northcutt’s dad had heard about the black loam, rich soil in the Canadian River bottom near Lexington, Oklahoma, so they took a train to Purcell, which is across the Canadian River from Lexington. His dad got a job working for a gentleman on a farm. They lived in Lexington until 1918. Northcutt remembers riding in the back seat of a Model-T after dark one day carrying their last load of belongings to his new home. His dad had rented a place on a share-crop basis and it was north and east of Lexington. The only other thing Northcutt remembers about living there was that they were down in the valley below the house and his dad was harvesting corn. Northcutt was riding in the wagon and the mules were pulling the wagon. As they went down the rows, his dad snapped the ears off the stalk and threw them in the wagon. Suddenly, the mules decided they did not want to work in the corn field any longer. They took off at a run, turned around, ran back to the road, up the hill, into the yard, and into the lot behind the barn. Northcutt was holding both sides of the wagon and was scared to death. A couple of years later the Northcutt family moved to the Anderson farm to share-crop, where they lived four or five years. While living there his dad bought a new Model-T Ford, and parked it in the barn. It smelled new, had a top that could be folded down, and glass curtains which could be put up in case of rain. It was a two-seater and was called a “touring car.” It had running boards on the sides. Northcutt was immensely proud of that car. While living there he had his mother all to himself until his brother came along. His brother was still small for another couple of years, so Northcutt helped his mother. He would dry the dishes while she washed them and they had long conversations. She always told him that he would get a good education and would amount to something and would be somebody someday. She taught him his A-B-C’s and she started him in first grade at the Lone Star School when he was five years old. There was a big room and a little room. The little room had the first four grades and the big room had the next four. Although the teacher had only
graduated from the 8th grade, "she was a good teacher and the students learned a lot from her," Northcutt remembered. When Northcutt had been in the 5th grade about a month, the teacher came to talk with his dad. His dad said “the teacher says you’re not working!” Northcutt said, “Daddy, I am working. I’m making straight A’s.” His dad said, “She said you’re not working and she’s going to promote you to the 6th grade.”
my head. The town boys got haircuts at the barber shop which meant clip it and shave it down the sides. They wore waist pants, had low-cut shoes, brought their lunch, which was sliced bread in a brown paper sack, and I was just carrying biscuits with a fried egg or butter and sugar wrapped in newspaper. All of this humiliated me. I had a terrific inferiority complex, so I quit eating lunch. It had a good result because I lost a bunch of
When Northcutt graduated from the 8th grade he was eleven years old. Northcutt said, “When we went down to ‘Town School’ at Lexington, my nickname was ‘Fat Northcutt.’ The reason it was ‘Fat Northcutt’ is because I was fat. I wore overalls and high-topped shoes. My dad cut my hair with hand clippers and he cut the hair up the side of my head until the scull curved, so I had a kind of round bunch of hair on top of
weight. I remember running the last 100 yards after school up the hill to the house, for I just couldn’t wait to get a piece of cornbread with molasses.” The first nine weeks in high school he discovered the library. He would put his lesson book on his desk with the library book behind it so he could read in class. At the end of the first nine weeks, he had four “Cs” which appalled him. He got to work and brought them all up to “As.”
C. D. Northcutt with his mother, Essie Homer Northcutt. Essie lived to be 107.
George Nigh purchased a copy of Palace on the Prairie: The Marland Family Story, co-authored by C. D. Northcutt, during the Oklahoma Book Awards.
Sometime during his sophomore year, he begged his dad to give him a quarter for a haircut at the barber shop. His first haircut the barber had to use thinners because his hair was so bushy. He managed to get some waist pants and low-cut shoes, and by the time he was a junior he was somewhat fitting in with the other students and was selected as the lead for the junior/senior play. Northcutt graduated from high school at fifteen years old but would turn sixteen before classes started in the fall at the University of Oklahoma. He and his dad went to Norman several times before classes started to try to get him a job to help make his way through school. It was in 1932, during a severe depression, and seniors from all over the state had taken the jobs and there was nothing left. On the Sunday before school started at the University of Oklahoma, some friends were visiting with Northcutt’s parents at his home. The gentleman asked Northcutt if he was going to attend college. He said he didn’t know because he couldn’t find a job. The friend told him to go to the First State Bank at Lexington and draw a draft on him for $100 which would pay all of his expenses for the year for books, tuition, and supplies. His dad would arrange for him to ride with some folks from Lexington to Norman every day for $6 a month. However, he would have to hitchhike home at noon each day and pick cotton. The day of enrollment his dad told him “Clarence, you ain’t got no business goin’ to school. You need to stay here and work on the farm and help raise these kids.” He felt guilty but went ahead and attended school. Northcutt enrolled in engineering but his grades were not really good. At the end of the year the friend who had paid the $100 wanted him to draft another $100 but Northcutt told him he did not think engineering was what he was suited for. The friend said he had always wanted to be a lawyer. Northcutt enrolled in pre-law himself and his grades went straight up. In those days, you did not have to have a degree to go to law school. You merely took three years prelaw and then your first year of law school qualified you for a Bachelor’s Degree. By this time Northcutt was living in the county farm agent’s house. He had a room in their basement, fired their coal-fired
furnace in the wintertime at 6:30 in the morning, then helped with breakfast, washed the dishes, cleaned the house, and whatever else was needed. One thing that was needed was to wash and iron the county farm agent’s khaki uniform. He wore a fresh khaki uniform each day. Ironing his trousers was more like ironing a tent. Northcutt worked a certain number of hours each week for them and they paid him 25 cents an hour. His first two years at the university he took Advanced ROTC. The freshman and sophomore classes were required to take military training in which they were either all Privates, Corporals, or Sergeants, and had horse-drawn artillery and took equitation. In 1935, he and another private were chosen to be the Military Guard at the funeral of the pilot of the plane who was carrying Will Rogers when they crashed in Alaska. The pilot’s name was Wiley Post. His final year of ROTC he was promoted to Captain. Northcutt said, “While at summer camp, Captain Privett, who was a little prima donna, corrected me pretty strongly one day while we were out on exercise. At night after the exercises were over, our first duty was to scrub down the horses, oil the harnesses, and feed them. Only after that was all finished did we get chow. I let the Captain know he was wrong. The next day he gave me a private mount and I found out it didn’t hurt to express yourself. Later on he came to me and said, ‘Northcutt, the men need some kind of diversion this Friday night, and I want you to dream up a program of some sort. Put on a little play or something.’ I had Leo Zeff, a pudgy little fellow, wear a pair of shorts, take two garbage lids and do a fan dance in front of everyone. They thought it was hilarious. The more they hooted and laughed, the more Leo performed.” Northcutt graduated the youngest in his class at age 21 from the University of Oklahoma in 1938 with a Law Degree and a B.A. After he graduated from law school, he served as the assistant county attorney in Norman for two weeks while the county attorney was on vacation. Northcutt realized he wanted to be a practicing lawyer. After going to the State Capitol and being sworn in by the Supreme Court as a member of the Oklahoma State Bar, he hitchhiked back to his father’s sharecropper cotton farm
and started picking cotton. He picked cotton for about a month and then received a call from Dr. C.E. Northcutt in Ponca City. Northcutt said the reason he called me was, “he had an older sister, who with her husband were living on a sharecropper farm adjacent to ours. She had written her brother Dr. C.E. Northcutt, that Clarence Northcutt, a young man belonging to Walter and Essie, had graduated from law school and was down here on his father’s place picking cotton. Dr. Northcutt sent for me and I came to Ponca City. Eventually, he decided that he would loan me the money to open a law office. I lived in his home for three years before I got married.” Dr. Northcutt helped him buy a Ford coupe for $600. They called Dr. Northcutt’s vehicle a “4-hole Buick.” It was a red, four-door Buick and they called C.D.'s Ford the “Putt-Putt.” In 1941 he married Ruth Eleanor Storms and they moved into a small house which they paid $35 per month rent and it was completely furnished. That same year he founded Northcutt Law Firm in Ponca City and in 1977 merged with Clark & Hron which is now Northcutt, Clark, Gardner, Hron, & Tate. They never had a contract, never formed a corporation, Northcutt said
In 1985, C. D. Northcutt had the honor of presenting the Pioneer Woman Award to Justice Alma Wilson. The two would later become members of the Oklahoma Hall of Fame.
In 1988, C. D. Northcutt received his pin and commendation for 50 years of practicing law.
“I will have to say we got along just fine.” Northcutt practiced law his entire career as a highly regarded lawyer nationally. His practice areas were probate law and real estate law. He was a Fellow of the American College of Trial Lawyers; Member of the International Society of Barristers; Fellow of the American Bar Foundation; Fellow of the American College of Trust and Estate Counsel; Member of the International Academy of Trial Lawyers; Past President of the Oklahoma Bar Association; Member of the Board of Governors 1972-1975; and AV Peer Review Rated. Three months after getting married he received a letter from the War Department. Northcutt interrupted his law career in 1941 for World War II, serving in artillery as aerial observer. There were some officers participating in the training and he remembered one officer was a Lt. Colonel by the name of Dwight Eisenhower and another was a Brigadier General by the name of George Patton. Northcutt went to Europe as a major, participated in the invasion of Utah Beach, including numerous battles and campaigns in Northern France, Ardennes (Battles of the Bulge), and Rhineland before meeting the Russians on the Elbe River. He was promoted to Lieutenant Colonel, and released from active duty in 1946. He received five Battle Stars, a Bronze Star, and an Air Medal with Cluster for 150 missions. In 1949, he was offered promotion to Brigadier General as Division Artillery Commander, 95th Division (Reserve). He declined in order to remain committed to his law practice. C. D. Northcutt loved the game of golf, playing here in Florida in the 1990s.
Proud to support the T E L L ING OF O KL AH O M A ’ S S TO RY
through its people C. D. Northcutt, center, co-authored Palace on the Prairie: The Marland Family Story with Bob Burke, left, and William C. Ziegenhain.
An outstanding civic leader, Northcutt served in numerous leadership positions at the University of Oklahoma, including the Board of Visitors of the Law Center, Trustee of the Lew Wentz Foundation, Academy of University Fellows, member of the President’s Associates, and in many other capacities. In 1975, Northcutt was asked to locate Lydie Marland, the widow of Oklahoma Governor E.W. Marland, who had mysteriously disappeared from Ponca City in 1953. She was finally found in Washington, D.C. and exchanged letters with Northcutt and ultimately returned home to Ponca City. He remained Lydie’s legal adviser until her death. Northcutt served as president of the Ponca City Chamber of Commerce and the Kiwanis Club. He was a co-founder of the Cherokee Strip Gold Classic, which raised money for the Opportunity Center for mentally and physically challenged children in Ponca City and the surrounding area. Northcutt joined the First Baptist Church when he went to Ponca City in 1938, and in 1978, Northcutt was presented a plaque for forty years of teaching Sunday School. He also had been chairman of the Deacons and Trustees and Sunday School superintendent. In 1998, he was honored for sixty years of practicing law by John Gabarion, then president of the Oklahoma Bar Association. Northcutt was honored for playing all years of the Cherokee Strip Golf Classic benefiting the Opportunity Center. In 1981, he
was appointed as a Territorial Marshall of Oklahoma in the settled Territory of Oklahoma by George Nigh, and in 2001 Northcutt was inducted into the Oklahoma Hall of Fame. On his 90th birthday, July 7, 2006 Gov. Brad Henry proclaimed it C.D. Northcutt Day. The Northcutts had two children, Gayle Young and John E. Northcutt. He was grandfather and great grandfather to many. Following the death of Ruth Eleanor, Northcutt later remarried Gwen Walker Barton. Asked what the secret to his longevity was, Northcutt responded “I know how to pick ancestors.” C.D. Northcutt passed away on June 23, 2016, just two weeks prior to his 100th birthday. C. D. Northcutt was a 32nd Degree Mason.
he Gaylord-Pickens Museum is home to the Oklahoma Hall of Fame, an achievement that celebrates the innovators, trailblazers, and influencers that have contributed to Oklahoma’s rich heritage. For nearly ten years, the Museum has shared the powerful stories of these individuals through two permanent exhibits, a changing gallery, and a portrait collection. Soon, visitors will be able to immerse themselves in these stories like never before with the opening of a new permanent exhibit entitled “Picture Yourself,” the first since the GaylordPickens Museum’s opening in 2007.
PICTURE YOURSELF OPENING THIS FALL AT THE GAYLORD-PICKENS MUSEUM, HOME OF THE OKLAHOMA HALL OF FAME
BY KATHY McHOES, BAILEY GORDON AND SHELLEY ROWAN
THE NEW EXHIBIT “Picture Yourself ” is a custom exhibit that gives visitors the chance to literally step into the gilded frames of the portraits of Oklahoma Hall of Fame members and picture themselves as a star of a rodeo, a world-famous musician, or an astronaut exploring new frontiers! A set of three gilded frames will be installed in the gallery with dynamic backdrops and props to provide visitors with an opportunity to create a realistic, personalized photo. Each of the three scenes features a unique storyline inspired by the personal histories and industries showcased throughout the Museum. Designed to encapsulate and immerse the visitor in the narrative of their choosing, the exhibit themes will be updated throughout the year. Inspired by members of the Oklahoma Hall of Fame and targeting narratives unique to Oklahoma, these personalized portrait opportunities enable visitors to envision themselves in different roles and imagine what they, too, can accomplish. Alongside these immersive photo interactives, artifacts will be featured in a set of changing display cases, showcasing objects on loan from Oklahoma’s most notable personalities. Guests will come face to face with objects like Kristin Chenoweth’s TONY Award, astronaut Tom Stafford’s gloves, and Jane Jayroe’s Miss America crown.
“Picture Yourself ” is part of a larger plan to enhance the experience for visitors to the Gaylord-Pickens Museum. The master plan outlines new approaches for building on the rich tradition set forth by the Oklahoma Hall of Fame’s legacy and the organization’s important role as the caretakers of the state’s highest honor—induction into the Oklahoma Hall of Fame. The revamped museum experiences will provide audiences of all ages with multiple opportunities to engage with the museum’s content, contribute their personal stories, and immerse themselves in a celebratory experience focused on the state’s history and heritage. This new vision celebrates the values and achievements shared by all Oklahomans, reaching beyond the walls of the museum to connect museum visitors with the organization’s continued mission of telling Oklahoma’s story through its people.
Roto schematics provide a sneak peak at some of the new signage that will be installed in The Chickasaw Nation Oklahoma Through Its People Gallery.
A rendering of the new “Picture Yourself” exhibit to be installed on the second floor of the Gaylord-Pickens Museum, home of the Oklahoma Hall of Fame.
Visitors will be able to float in space alongside Oklahoma astronauts in one of the “Picture Yourself” interactives.
Left and above, Roto designers experiment with perspectives and imagery.
Memorabilia from Oklahoma Hall of Famer and astronaut Tom Stafford will be included in the new “Picture Yourself” exhibit.
THE TEAM To maximize the impact and success of the master plan, the Gaylord-Pickens Museum has partnered with Roto, a design and production firm renowned for their insightful and engaging museum exhibits. The award-winning design team and dedicated in-house exhibit engineering group are led by a team of five principals who have worked as a closely-knit team for more than 18 years. Originally the exhibits department at COSI, the renowned science museum in Columbus Ohio, these talents have grown the company into a full-service design and production firm that specializes in memorable interactives, contentrich interpretive exhibits, and dramatic story-driven experiences. In addition to their experience working with national and international museums, they have also demonstrated their capabilities locally, having produced successful exhibits specifically for the Oklahoma City market. Their talented team of exhibit professionals, coupled with their extensive understanding of the museum industry, has enabled them to collaborate with the Museum’s leadership and outline a comprehensive vision for the future experiences at the Gaylord-Pickens Museum. Over the past months the Oklahoma Hall of Fame staff and board of directors have worked diligently with Roto to outline opportunities for improving the museum’s existing facility, enhancing current and permanent exhibitions, and updating the galleries. Visitor experiences were evaluated based upon their audience appeal and their ability to fulfill the Oklahoma Hall of Fame’s mission of telling Oklahoma’s story through its people. After careful thought and planning, the team is pleased to unveil the master plan for the Gaylord-Pickens Museum, home of the Oklahoma Hall of Fame.
Guests will be able to picture themselves as the main attraction of a rodeo.
Roto staff working hard to ensure "Picture Yourself" launches in the fall.
Roto staff has enjoyed trying out some of the interactives that will be available to guests beginning in the fall through the “Picture Yourself” exhibit at the Gaylord-Pickens Museum, home of the Oklahoma Hall of Fame.
THE MASTER PLAN The master plan outlines a threephase rollout for updating the visitor experiences at the Museum. Through this partnership the Gaylord-Pickens Museum and Roto already have embarked on an ambitious timeline to unveil the first of these experiences in late fall. Focused on enhancements to the second floor of the museum, this initial launch will showcase some of Oklahoma’s most notable celebrities and Oklahoma Hall of Fame members, and will open to the public in early November in order to coincide with Oklahoma’s month of Statehood and the 2016 Oklahoma Hall of Fame Banquet & Induction Ceremony. Future improvements will be implemented throughout the rest of the museum in additional phases over the next two years.
The “Picture Yourself” exhibit will include memorabilia from a wide range of Oklahomans and members of the Oklahoma Hall of Fame, including Will Rogers and Wiley Post.
Phase one opens to the public on November 12th and enhances the visitor’s experience from the moment they first step into the Museum. Guests will be shifted away from a tour-based structure and towards a fully interactive, self-guided exploratory adventure throughout the building. In addition to the new “Picture Yourself ” exhibit, the phase one upgrade includes new wayfinding to enable the visitor’s independent exploration of the museum exhibits and interpretive content. Updates will be made to current signage throughout the Museum, aligning with and preserving architectural details and formal finishes of this historic landmark. Additional signage will be implemented to clearly identify the galleries and exhibits throughout the Gaylord-Pickens Museum, and the building’s amenities will be augmented with clearly marked signage to enhance and facilitate visitor flow throughout. Phases two and three will establish two new interactive experiences within the Museum. These spaces will focus on providing visitors with hands-on opportunities to learn and develop their creativity. Designed for early childhood, elementary, and middle school-aged visitors, the new learning spaces will ensure that young Oklahomans have a dedicated place to discover new possibilities and understand how their story contributes to our state’s rich heritage. THE EXPERIENCE The new Gaylord-Pickens Museum experience and the grand opening of the updated galleries will celebrate the visitor as the key beneficiary of the Museum’s new vision. Through the addition of a new permanent exhibit and updates to the Museum that it calls home, the Oklahoma Hall of Fame will welcome visitors with a renewed commitment to promoting state pride and telling Oklahoma’s story through its people.
Oklahoma Hall of Famer Judge Vicki Miles-LaGrange will be loaning items to complement the “Addressing the People” interactive.
The Kristin Chenoweth Arts and Education Fund will be making available to Museum guests Oklahoma Hall of Famer Kristin Chenoweth’s Tony Award as part of the new exhibit.
The cream suit worn by Principal Chief Wilma Mankiller during a summit in the White House Cabinet Room with President Ronald Reagan will be on display alongside the “Addressing the People” interactive.
With a career in broadcasting, Russell Perry will be displaying memorabilia in conjunction with the “Superstar Spotlight” interactive of the new “Picture Yourself” exhibit.
O K L A H O M A H E R I TA G E A S S O C I AT I O N P U B L I S H I N G
the leader in publishing Oklahoma's history
NE W RE L E A S E S DUST STORM
MORE THAN A COACH
From the author… I have a deep connection with Dust Storm. All of my grandparents and great-grandparents who were alive during the Dust Bowl years lived on farms in northern Oklahoma. They told hair-raising stories about how they coped with the dangerous dust clouds. Sometimes they were trapped in cars on roads as the storms struck. But most of the time they were on their farms, huddled in their houses.
More Than A Coach chronicles the life of Raymond Lawson Vaughn from his childhood in Washita County, Oklahoma and his college experiences as the captain of the Harding University basketball team to his service in the United States Navy during World War II as the Captain of PT Boat 243 in the South China Sea and his unwavering commitment as an educator and coach.
One fact they all said: there was no totally escaping the dust. It found its way into cars and homes around doors and windows. It came in between the planks of wooden walls. Often neighbors came down with “dust pneumonia” and were very sick, sometimes dying, from all the dust they breathed in.
DUST STORM By Jane McKellips Paintings by Christopher Nick $16.95
All the events in this book were based on stories I’ve heard from real people who lived through the terrible dust storms. Bugs really came up through floorboards, trying to find clean air to breathe. People who were outside and kept their eyes open during storms really went blind. Animals acted in the same way the story animals did when dust clouds drew near. After a storm finally ended, the outside to the horizon looked like a “black blizzard” had struck the region. Feet and feet of dust blanketed everything, making the area unrecognizable.
His lifelong experiences as a coach and athletic director both at Capitol Hill High School in south Oklahoma City and at Oklahoma Christian University in far north Oklahoma City are illustrated by stories provided by athletes that he coached and mentored from 1946 until his death in 1980. Of the thousands of athletes that he influenced, two of them, J.W. Mashburn and Jeff Bennett, had the opportunity to represent their country in the International Summer Olympic Games. Coach Vaughn’s devotion to his Christian faith and all those that he came in contact with over the years is evidenced through their memories of his lifelong dedication to excellence and achievement on the field of sport, in the classroom, and in life in general. The accounts of their personal experiences with Coach Vaughn will encourage and motivate the reader in the same manner he encouraged and motivated them.
MORE THAN A COACH: REMEMBERING THE LIFE OF RAY VAUGHN By Raymond L. Vaughn, Jr. $22.95
ALL PUBLICATIONS ARE AVAILABLE IN THE GAYLORD-PICKENS MUSEUM STORE, AT OKLAHOMAHOF.COM, AMAZON.COM, AND BOOKSTORES STATEWIDE.
OHOF’S STORY THROUGH ITS PEOPLE
In June, staff celebrated the 70th birthday of museum services associate Reece Van Horn.
Oklahoma Hall of Fame Vice Chairman Phil Albert spoke to Rotary 29 in Oklahoma City on June 14th.
Oklahoma City Boathouse Foundation Executive Director Mike Knopp addresses those attending the Oklahoma Hall of Fame’s Second Century event at RIVERSPORT Rapids on May 25th.
Matthew and Benjamin Briggs created masterpieces while visiting the Gaylord-Pickens Museum as part of the Love’s Travel Stops & Country Stores’ free day for employees.
Marissa Raglin and Bailey Gordon celebrate the Oklahoma Hall of Fame receiving the Outstanding Temporary Exhibit for America’s Road, the Journey of Route 66 from the Frontier Country Marketing Association. In 2015 the exhibit appeared in the Tulsa World | Lorton Family Gallery at the Gaylord-Pickens Museum.
Shannon L. Rich read a volume from the Oklahoma Children’s Series during Metro Tech’s Freedom School. Oklahoma Hall of Fame staff read every day for a week.
David Holland enjoyed the art of O. Gail Poole during the opening reception for O. Gail Poole: Rediscovered Oklahoma Master at the Gaylord-Pickens Museum on May 12.
Marissa Raglin and Nicole Poole, daughter of O. Gail Poole, celebrate the opening reception for Rediscovered Oklahoma Master at the Gaylord-Pickens Museum, home of the Oklahoma Hall of Fame.
On May 12 the Tulsa World | Lorton Family Gallery in the Gaylord-Pickens Museum hosted the opening reception for O. Gail Poole: Rediscovered Oklahoma Master.
The O. Gail Poole exhibit opened on May 12 in the Tulsa World | Lorton Family Gallery. The Legacy of O. Gail Poole: A Daughterâ€™s Mission artist talk by Nicole Poole, daughter of artist O. Gail Poole, was presented on July 14 in the Devon Energy Classroom of the Gaylord-Pickens Museum.
OHOF’S STORY THROUGH ITS PEOPLE
Above left: The Will Rogers Museum in Claremore partnered with the Oklahoma Hall of Fame to celebrate Green Country as part of See You Saturdays at the Gaylord-Pickens Museum. On July 9 the six-week program launched with activities and exhibits throughout the Museum.
Above: Sharon Postoak, right, helped London Klechka, Evan Olivas, Elaine Selid, and Kate McConnell make mini bows, one of the many activities offered during See You Saturdays. Above left: The Myers Family took advantage of the Love’s Travel Stops & Country Stores’ free day for employees at the Gaylord-Pickens Museum and enjoyed the Generosity Exhibit in The Chickasaw Nation Oklahoma Through Its People Gallery.
Above right: Basket weaver Susan Ledford, left, shared with Nancy Stansberry, Mariah Kingcade, Myles Kingcade, Jayden Kingcade, and Mark Stansberry the process for making baskets.
Left: Guests of all ages competed in paper airplane racing as part of See You Saturdays at the Gaylord-Pickens Museum on July 9.
Right: Maxton Harris tests out the paper airplane runway prior to the first See You Saturdays event on July 9th celebrating Green Country at the Gaylord-Pickens Museum.
Right: Wayne Walker and Jayden Martinez look on as Oklahoma Hall of Famer and Chickasaw artist Mike Larsen, right, worked on an original piece during the July 23rd See You Saturdays celebrating Chickasaw Country.
Bow maker Wayne Walker shared his handmade bows, arrows, and air darts with See You Saturdays guests.
Cotie Lancaster, left, explained to guests Courtney and Joslyn Franklin the history behind making shell shakers during the July 23rd See You Saturdays at the Gaylord-Pickens Museum.
See You Saturdays guests enjoyed meeting and learning the art of beadwork from Buddy Parchcorn.
See You Saturdays guests joined the Chickasaw Dance Troupe in performing.
OHOF’S STORY THROUGH ITS PEOPLE
Visitors enjoyed making their own portraits, playing life-size Jenga, and creating structures with magnetic colored tiles during the July 16 See You Saturdays celebrating Red Carpet Country at the Gaylord-Pickens Museum.
Third Thursday attendees created their own rocket with artist and illustrator Jerry Bennett following the reading of Five Seconds to Blastoff.
Families attending Third Thursday enjoyed story time and the craft that followed.
Both children and adults enjoyed the sand-art craft featuring the landscape of northwestern Oklahoma for See You Saturdays at the Gaylord-Pickens Museum.
As part of the many activities to celebrate Red Carpet Country, guests filled clear bottles with colored sand to make a unique landscape design to display at home.
Cory Benton and Bob Funk visit with Wes Watkins and Kim D. Parrish at the release of Making Things Better: Wes Watkins’ Legacy of Leadership at the Gaylord-Pickens Museum in May.
Author Kim D. Parrish, second from right, celebrated the release of Making Things Better: Wes Watkins’ Legacy of Leadership with Jim Winchester, Andy Lester, and Bruce Benbrook.
On May 5, Wes Watkins’ biography, Making Things Better: Wes Watkins’ Legacy of Leadership was released at the Gaylord-Pickens Museum. Making Things Better is one of the recent biographies released in the Oklahoma Trackmaker Series published by the Oklahoma Hall of Fame.
Guests attending the release of Making Things Better: Wes Watkins’ Legacy of Leadership enjoyed visiting with subject and Oklahoma Hall of Famer Wes Watkins and author Kim D. Parrish.
The July 3 Third Thursday featured Five Seconds to Blastoff by John Rousselle and illustrated by Jerry Bennett.
Marissa Raglin and Maxton Harris learned about Alabaster Caverns from Mike Caywood who brought videos and material to share with Gaylord-Pickens Museum guests as part of See You Saturdays on July 16.
OHOF’S STORY THROUGH ITS PEOPLE
Oklahoma Hall of Fame Chairman Mask Stansberry and President Shannon L. Rich welcomed those attending the Oklahoma Hall of Fame Announcement Luncheon and introduced members of the Oklahoma Hall of Fame.
Oklahoma Hall of Famer Bob Burke served as invocator for the Oklahoma Hall of Fame Announcement Luncheon.
Erielle Reshef congratulated Rita Bly Aragón on her pending induction into the Oklahoma Hall of Fame.
Classically-trained cellist Sam Kahre performed the “National Anthem” and “Oklahoma!” during the Oklahoma Hall of Fame Announcement Luncheon in the Bennett-McClendon Great Hall of the GaylordPickens Museum.
Oklahoma Hall of Famers Lee Allan Smith, left, and William Durrett congratulate the Oklahoma Hall of Fame Class of 2016.
The Oklahoma Hall of Fame Class of 2016, minus fellow Honoree Russell Westbrook, announced at the Oklahoma Hall of Fame Announcement Luncheon were Michael Burrage, Becky Dixon, Rita Bly Aragón, Kelli O’Hara, and Dan Dillingham.
KOCO 5 weekday morning anchor Erielle Reshef served as mistress of ceremonies for the Oklahoma Hall of Fame Announcement Luncheon and introduced the 2016 Class in attendance, from left, Rita Bly Aragón, Dan Dillingham, Kelli O’Hara, Michael Burrage, and Becky Dixon.
Nancy Stansberry, left, congratulates Kelli O’Hara on being named a member of the Oklahoma Hall of Fame Class of 2016.
Check support level desired. o Student .............................. $15 o Subscription ....................... $35 o Individualism ...................... $50 o Perseverance .................. $100 o Pioneer Spirit .................. $250 o Optimism ....................... $500 o Generosity ................... $1,000 o Legacy Circle ............. $2,000 o Honor Circle ............... $2,500 o Executive Circle .......... $3,500 o President’s Circle ......... $5,000 o Chairman’s Circle ...... $10,000
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Supporting the Oklahoma Hall of Fame makes an excellent gift. Please complete the form above and recipient information at right.
Jennifer & Mark Allen Edmond Robert D. Allen Oklahoma City* Joan Allmaras & Mark Houser Edmond Lona A. Barrick Ada Dr. & Mrs. William L. Beasley Oklahoma City Mr. and Mrs. Clayton I. Bennett Oklahoma City Elizabeth Bennett Oklahoma City Dr. William & Theta Juan Bernhardt Midwest City Barbara Bass Berry Sapulpa* Mr. & Mrs. G. T. Blankenship Oklahoma City* Gary & Lovilla Bowser Woodward Montie & Betty Box Sand Springs Sharlene S. Branham Oklahoma City* Phyllis & Russal Brawley Oklahoma City Bob Burke Oklahoma City* Carol & Nevyle Cable Okmulgee
GIFT RECIPIENT Mr./Mrs./Dr./Ms.
MISSION PARTNERS Mr. and Mrs. Bob Burke
Standard Donor Benefits • Subscription to Oklahoma: Magazine of the Oklahoma Hall of Fame and Hall of Fame Headlines e-update • 10% discount at the Gaylord-Pickens Museum Store • Invitations to organization and Museum events • Program and event discounts for Donors STUDENT $15 All Standard benefits plus: • Annual admission pass to the GaylordPickens Museum for student (must present valid student ID; kindergarten through college eligible) INDIVIDUALISM: $50 All Standard benefits plus: • Annual admission pass to the GaylordPickens Museum PERSEVERANCE: $100 All Standard benefits plus: • Annual admission passes to the GaylordPickens Museum for 2 adults and household children under 18
PIONEER SPIRIT: $250 All Perseverance benefits plus: • Four single-use guest passes to the GaylordPickens Museum OPTIMISM: $500 All Pioneer Spirit benefits plus: • 25% discount on one-time rental of the Devon Classroom GENEROSITY: $1,000 All Optimism benefits plus: • One complimentary weekday use of the Edith Kinney Gaylord Garden or BennettMcClendon Great Hall • Advance opportunity to purchase Oklahoma Hall of Fame Banquet & Induction Ceremony tickets • Recognition in the Oklahoma Hall of Fame Banquet & Induction Ceremony program
The Chickasaw Nation Ada
Choctaw Nation of Oklahoma Durant
E.L. and Thelma Gaylord Foundation
EXECUTIVE CIRCLE: $3,500 All Generosity benefits plus: • Customized facility use package*
GiANT Partners Edmond
James C. & Teresa K. Day Foundation Sugar Land, TX
PRESIDENT’S CIRCLE: $5,000 All Generosity benefits plus: • Customized facility use package* • Recognition in The Oklahoman, The Lawton Constituition and Tulsa World Oklahoma Hall of Fame Sunday Supplement CHAIRMAN’S CIRCLE: $10,000 All Generosity benefits plus: • Customized facility use package* • Recognition in The Oklahoman, The Lawton Constitution and Tulsa World Oklahoma Hall of Fame Sunday Supplement
Tom and Judy Love Oklahoma City
The Oklahoman Media Company Oklahoma City
Puterbaugh Foundation McAlester
HONOR CIRCLE: $2,500 All Generosity benefits plus: • Customized facility use package*
John Massey Durant Lynn A. McIntosh Ardmore Mekusukey Oil Company, LLC Wewoka Frank & Debbi Merrick Oklahoma City Mary Frances and Mick Michaelis Duncan Hon. Vicki Miles-LaGrange Oklahoma City Jasmine & Melvin Moran Seminole* Jeaneen Eddie Naifeh Oklahoma City Ronald J. Norick Oklahoma City C. D. & Gwen Northcutt Ponca City* Dr. Marion Paden Oklahoma City Richard M. Parker Oklahoma City Homer Paul Edmond William G. & Barbara Paul Oklahoma City Ruby C. Petty Oklahoma City Dr. Richard W. Poole Oklahoma City* Puterbaugh Foundation McAlester
Mrs. Henry Freede
R.A. Young Foundation
Mr. and Mrs. John D. Groendyke
Mr. and Mrs. J. Hugh Roff, Jr.
Mr. and Mrs. Mike D. Case Mr. and Mrs. Robert E. Tulsa Norman Central Liquor Company, Tulsa Owned and Operated by Oklahoma City Police the Naifeh Family Athletic League
Kathy Taylor and Bill Lobeck
Ms. Sharen Jester Turney Reynoldsburg, OH
Love's Travel Stops & Country Stores
A.P. Holding/ No Man's Land
Mr. and Mrs. Herman Meinders
Mervin Bovaird Foundation Tulsa
Mr. and Mrs. Joe Moran III Mr. and Mrs. Steve Burrage Tulsa Antlers Larry and Polly Nichols Cain Holding Group Oklahoma City
For more information about any of our donor levels or to customize your donor package at the $1,000 level and above, call Bailey Gordon at 405.523.3207. *Facility use is subject to availability, and restrictions may apply.
Cox Communications Oklahoma City
Mrs. Mary Nichols Oklahoma City
Oklahoma City Thunder Devon Energy Corporation Oklahoma City Oklahoma City Oklahoma City University Dillingham Insurance Oklahoma City Enid
Express Employment Professionals Oklahoma City
First United Bank Durant
Charles and Peggy Stephenson Family Foundation
Oklahoma Humanities Council, Inc.
Cherokee Nation Businesses Catoosa
Christy and Jim Everest Oklahoma City
Alisa Fellhauer Oklahoma City
Jean & Penn V. Rabb, Jr. Lawton Bill & Donna Ramsey Bixby Jack Rawdon & Dr. Andrea Key Oklahoma City Renfro Family Foundation Ponca City Frank C. & Ludmila Robson Claremore* Gennady Slobodov & Salam Ramadan Nichols Hills Lee Allan Smith Oklahoma City* Don E. Sporleder Davenport Nancy & Mark A. Stansberry Edmond Charles & Peggy Stephenson Family Foundation Tulsa Dean Stringer Oklahoma City* Judge & Mrs. Ralph G. Thompson Oklahoma City* Michael C. Turpen Oklahoma City Tallie & Thad Valetine Oklahoma City Mr. & Mrs. W. K. Warren, Jr. Tulsa*
Mr. and Mrs. W. DeVier Pierson Chevy Chase, MD
Mr. H.E. "Gene" Rainbolt
University of Oklahoma Foundation
Renfro Family Foundation
Ike and Marybeth Glass
Saint Francis Health System
Mr. and Mrs. Steven Grigsby
Oklahoma City Oklahoma City Newkirk
The University of Tulsa College of Engineering & Natural Sciences / Collins Edmond College of Business H.A. & Mary K. Chapman Tulsa Charitable Trust Tulsa Williams Companies Tulsa Hall Estill Dr. and Mrs. Nazih Zuhdi Oklahoma City Nichols Hills Mr. Joe D. Hall Elk City
$5,000 - $9,999 Allied Arts Oklahoma City
Mr. Douglas L. Jackson
Ponca City Ponca City Tulsa
University of Central Oklahoma Edmond
$3,500 - $4,999 Kristian Angels Oklahoma City
Ms. Melissa Baker The Woodlands, TX
Mr. John Boyd
Mr. and Mrs. Duke R. Ligon Oklahoma City Wewoka Daniel Brazeale Mustang Fuel Corporation Oklahoma City Oklahoma City Careertech Administrative NBC – Altus Council, Inc. Altus
G. Rainey Williams, Jr., Oklahoma City The Winchester Group LTD Chickasha Ruth & Stanley Youngheim El Reno IN HONOR OF Ret. Air Force General James E. Hill
WASHINGTON, D.C. David Busby Adam J. & Betty K. Permetter Falato
WYOMING W. R. & Judy Howell Wilson IN MEMORY OF CALIFORNIA Chester Cadieux Ed Ruscha Aubrey K. McClendon Venice C.D. Northcutt Yvonne Chouteau Terekhov SOUTH CAROLINA Robert E. Thomas Joseph H. Williams Retired CEO, The Williams Lew O. Ward, III Companies, Charleston TEXAS Kenneth H. Cooper, MD Dallas* Tom & Phyllis McCasland Dallas Frank W. Rees, Jr Irving VIRGINIA Willis C. Hardwick Alexandria Leslie A. Woolley Alexandria
MA+ Architecture & CMSWillowbrook
Mr. and Mrs. Art Cotton Oklahoma City
Mr. and Mrs. Ken Fergeson McElroy Manufacturing, Inc. Altus Tulsa Helmerich & Payne Inc. Earl Bay Mitchell Tulsa Edmond Heritage Trust Co. Mrs. Robert Z. Naifeh Oklahoma City Oklahoma City Darlene Irby Christina Noe Mangum
Alexandrea Doyal and Andrew Ingraham Houston, TX
Ms. Patricia Evans Ponca City
Ex Libris Users of North America Edmond
Michael and Sherry Fair Oklahoma City
Ms. Jena Malone
Oklahoma City National Memorial & Museum Oklahoma City
Raven Crowl Norman
Ms. Tracy Jungels Edmond
Kendra Scott Design Oklahoma City
Oklahoma State University Mekusukey Oil Company, Stillwater LLC OGE Energy Corp. Wewoka
First National Bank & Trust Oklahoma City Mr. and Mrs. Phillip D. of Okmulgee Dr. Scott and Cindi Owens Mercer Okmulgee
First National Bank of Oklahoma Oklahoma City
Charlie Fowler Fort Sill
Francis Tuttle Technology Center
Vaughn Development, L.L.C. Oklahoma City Edmond Fulton & Susie Collins Walton Family Foundation Foundation
Mr. Timothy C. Headington
Mr. Carl R. Renfro
Zarrow Families Mr. and Mrs. Bill Hancock Foundation Prairie Village, KS
Chae Group, LLC
OU/Price College of Ethics & Excellence in Business & Rainbolt College Journalism Foundation of Education Oklahoma City
Oklahoma State University Mr. Keith Bailey Tulsa Foundation Stillwater BancFirst Oklahoma City Adam and Betty K. Permetter Falato Big 12 Conference Washington, DC
Foundation Management, Inc.
Mr. Chad Tuttle
Mr. and Mrs. John Massey Norman Durant The University of Tulsa Matthew 25:40 Missions Tulsa
Baseball in the Cross Timbers LLC
Grumps Limited Partnership Mr. and Mrs. William Enid J. Ross Nichols Hills Inasmuch Foundation Oklahoma City Mr. Richard L. Sias Mr. and Mrs. David L. Kyle Oklahoma City Tulsa Simmons Foundation Oklahoma City L Brands Columbus, OH Sunbeam Family Services Oklahoma City The Lawton Constitution Lawton Tulsa World Media Mr. and Mrs. Kurt Leichter Company
10,000+ Phil B. and Joan M. Albert Stillwater Claremore Mrs. Katie McClendon Oklahoma City American Fidelity Foundation Ms. Reba McEntire
LEGACY CIRCLE: $2,000 All Generosity benefits plus: • Customized facility use package*
Dr. & Mrs. George Henderson Norman Don & Mary Herron Idabel James R. Higgins, MD Tulsa Mary Sue Hill Oklahoma City* Gary & Betty Huckabay Mustang John & Janet Hudson Edmond Bonnie & Norman Imes, MD Oklahoma City INTEGRIS Health Oklahoma City Mr. & Mrs. Gib James Oklahoma City Willa D. Johnson Oklahoma City Marilyn & Ed Keller Tulsa KWB Oil Property Management, Inc. Tulsa Tracy & David Kyle Tulsa Robert J. LaFortune Tulsa Hilda L. Lewis Oklahoma City Lana & Dave Lopez Oklahoma City Edmund Martin Edmond
MAIL TO: OKLAHOMA HALL OF FAME | 1400 CLASSEN DRIVE | OKLAHOMA CITY, OK 73106
SUBSCRIPTION $35 • Subscription to Oklahoma: Magazine of the Oklahoma Hall of Fame and Hall of Fame Headlines e-update
Charles Ford Tulsa Gen. (Ret.) Tommy & Cathryn Franks Roosevelt Mrs. Henry Freede Oklahoma City Aulena & Gilbert Gibson Oklahoma City Joan Gilmore Oklahoma City Marybeth & Ike Glass Newkirk Jack & Adrienne Grimmett Pauls Valley Mr. & Mrs. John D. Groendyke Enid Mark S. Grossman & Cynthia L. Brundige Oklahoma City M. K. Gumerlock Oklahoma City Joe D. Hall Elk City Dr. & Mrs. Don Halverstadt Edmond Dr. and Mrs. Michael D. Hampton Oklahoma City Fred & Kellie Harlan Okmulgee Robert J. Hays Chickasha Carol & Robert A.Hefner, IV Oklahoma City
Listed below are all donors to the Oklahoma Hall of Fame and Gaylord-Pickens Museum at the $2,500 level and above. Funded solely by private contributions, we are extremely grateful for the support of all the individuals and organizations who give to each of our programs and enable us to tell Oklahoma's story through its people. This list represents donors as of July 31, 2016.
GIFT RECIPIENT’S ADDRESS
Chris & Gini Moore Campbell Edmond Dr. & Mrs. Thomas J. Carlile Oklahoma City Central Liquor Company, Owned and Operated by the Naifeh Family Oklahoma City Checotah Land Mark Preservation Society Checotah The Chickasaw Nation Ada* Dean Andrew M. Coats Oklahoma City Comtech Oklahoma City Bill & Carol Crawford Frederick* Teresa Rose Crook, Edmond Frederick Drummond Pawhuska* Drew & Linda Edmondson Oklahoma City Nancy Ellis Oklahoma City Gary & Mary England Edmond William & Pam Fahrendorf Durant Ken & Mary Ann Fergeson Altus*
*Denotes Charter Sponsor
George Kaiser Family Foundation Tulsa
Nicole Pharaoh Oklahoma City
Richard and Jan Ronck Oklahoma City
Austin Schettler Moore
Ms. Kaitlyn Schrick Oklahoma City
Emily Sutton Zurmehly Oklahoma City
Ms. Nancy Teague Chickasha
Shelley Murray Norman
Oklahoma Academy Oklahoma City
Oklahoma Credit Union Oklahoma City
S. Bond Payne and Lori Payne Oklahoma City
Shannon Rich and Kelly Kerr Oklahoma City
Tri County Tech Foundation Mr. Edward Ruscha
Tip and Suzanne Graham
Mrs. Holly Henry
Flower Mound, TX
Dr. and Mrs. Joe Howell
SONIC, America's Drive-In
$2,500 - $3,499 Kim Brauer
Mr. Blaire Logan
Century City Artist Corp.
Ft. Walton Beach, FL Edmond
Oklahoma City Mounds
Chris and Emily Shoffner Edmond
Lee Allan Smith Oklahoma City
Ms. Margaret Anne Snyder Edmond
T.D. Williamson, Inc. Tulsa
We want to accurately thank our supporters. If you notice an error, please contact Bailey Gordon at 405.523.3207 or email@example.com.
2016 STATEHOOD DAY FESTIVAL
Saturday, November 12 | 10 a.m. to 5 p.m.
Celebrate Oklahoma’s 109th birthday with the Oklahoma Hall of Fame’s Statehood Day Festival complete with a full day of family friendly activities and FREE admission! ACTIVITIES INCLUDE: Grand Opening of “Picture Yourself” | Unveiling of the 2016 Oklahoma Hall of Fame Honoree Portraits | Young Entrepreneurs and Artists (YEA) Market Food Trucks | Discounts in the Museum Store | Interactive crafts for families NOW ACCEPTING YEA MARKET APPLICATIONS, VISIT OKLAHOMAHOF.COM TO APPLY!
The Young Entrepreneurs and Artists Market is designed for students of all ages to showcase and sell their work throughout the day. It is our mission to tell Oklahoma’s story through its people, promoting pride in our great state. This event is an opportunity for students to tell their own stories and present their own art, trade or performance.
Applications are due no later than Friday, October 7.
1400 CLASSEN DRIVE | OKLAHOMA CITY, OK | 405.235.4458 | OklahomaHoF.com