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Art Focus

O k l aho m a V i s ual A r ts C oal i t i on

Ok l a h o m a Vo l u m e 3 2 N o . 3

| Fall 2017

STREETS: MARK LEWIS OCTOBER 6 - NOVEMBER 19 16, 2017 OPENING RECEPTION: October 6:00-9:00pm October 6,6, 6:00-9:00pm ARTIST TALK: 1:30-3:00pm October 7, 1:30-3:30PM OCTOBER 7, 1:30-3:00PM

Market, Mark Lewis

Sponsored in part by Steadman & Peggy Upham


Curated Curatedby by108|Contemporary Kirsten Olds, PH.D OPENING RECEPTION: December 6:00-9:00pm December 1,1,6:00-9:00pm CURATOR WALKTHROUGH: December 2,2,1:30-3:00PM December 1:30pm-3:00pm

The Matriarch, Laurie Spencer


Art Focus

Ok l a h o m a Volume 32 No. 3 | Fall 2017 R e v i e w s a n d P re v i e w s 4

Finishing the Story by Mary Kathryn Moeller

10 COLORFUL DUET: Skip Hill & Todd Gray by Crystal Labrosse

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Positive Energy is Hope by Barbara Eikner

13 KATELYNN NOEL KNICK: Constructing Space by Cedar Marie

16 Back Gallery by Renee Montgomery

20 SPREADING THEIR WINGS: Romy Owens & Adam Lanman Collaboration Soars to Success by Kerry M. Azzarello

24 Ekphrasis: Fall 2017 edited by Liz Blood

26 OVAC News 28 Gallery Guide (top) On the cover: Searching for Stardust, cropped, Interior of Under Her Wing Was The Universe (middle) Guardians, detail, Jane Dunnewold, found quilt pieces, collage, spackle, gold leaf (bottom) Wumbus, Todd Gray

Support from:

Oklahoma Visual Arts Coalition 730 W. Wilshire Blvd., Suite 104, Oklahoma City, OK 73116. PHONE: 405.879.2400 WEB: Editor: Krystle Brewer, Art Director: Anne Richardson, Art Focus Oklahoma is a quarterly publication of the Oklahoma Visual Arts Coalition dedicated to stimulating insight into and providing current information about the visual arts in Oklahoma. Mission: Supporting Oklahoma’s visual arts and artists and their power to enrich communities. OVAC welcomes article submissions related to artists and art in Oklahoma. Call or email the editor for guidelines. OVAC welcomes your comments. Letters addressed to Art Focus Oklahoma are considered for publication unless otherwise specified. Mail or email comments to the editor at the address above. Letters may be edited for clarity or space reasons. Anonymous letters will not be published. Please include a phone number.

2017-2018 Board of Directors: President: Susan Green, Tulsa; Vice President: John Marshall, Oklahoma City; Treasurer: Gina Ellis, Oklahoma City; Secretary: Laura Massenat, Oklahoma City; Parlimentarian: Douglas Sorocco, Oklahoma City; Marjorie Atwood, Tulsa; Bob Curtis, Oklahoma City; Hillary Farrell, Oklahoma City; Jon Fisher, Oklahoma City; Barbara Gabel, Tulsa; John Hammer, Tulsa; Travis Mason, Oklahoma City; Michael Owens, Oklahoma City; Renee Porter, Oklahoma City; Amy Rockett-Todd, Tulsa; Dana Templeton, Oklahoma City; Chris Winland, Oklahoma City, Dean Wyatt, Tulsa; Jake Yunker, Oklahoma City. The Oklahoma Visual Arts Coalition is solely responsible for the contents of Art Focus Oklahoma. However, the views expressed in articles do not necessarily reflect the opinions of the Board or OVAC staff. Member Agency of Allied Arts and member of the Americans for the Arts. Š 2017, Oklahoma Visual Arts Coalition. All rights reserved. View the online archive at


FINISHING THE STORY: The Lives of Jane Dunnewold’s Art Quilts by Mary Kathryn Moeller

Messengers, Jane Dunnewold, found quilt pieces, collage, spackle, gold leaf

The quilt is a powerful American symbol. One of simplicity, family, and mid-western values. It is a common household item that has wrapped generations in comfort. Since the mid-1970s, the rise of the Art Quilt has challenged the traditional techniques and patterning of quiltmaking. Currently on view at the Hardesty Arts Center, Jane Dunnewold’s exhibition When is a Quilt Not a Quilt? The Paradox of Appropriation explores the past and present of the quilt through the transformation of traditional patterns and the use of unique materials. Dunnewold began a series in 2010 by reworking a vintage quilt with materials that thwarted the expected texture and pattern of the original fabric. She added spackling


to stiffen the fabric as well as colored pencil and sand. The end result, Dunnewold says, was unsatisfactory but an idea had begun to germinate. The series has become an existential exploration of the quilt. “If a quilt is no longer a quilt, then what is it?” Dunnewold asks. It is a question that can often draw the ire of those concerned with maintaining the integrity of an original piece. Yet it is important to note that Dunnewold does not take the destruction of cherished heirlooms as her starting place. Instead she has been known to rescue quilts from the trash heap. More often than not, she buys pieced quilt blocks from auctions. In this way, Dunnewold feels she can honor the work of a

previous quilter. Beginning with the original pattern, she adds layers of ideas, references, and geometry into the genealogy of the quilt. In doing so, Dunnewold is, in her husband’s words, “completing stories that someone else began.” The nomenclature of quilting patterns is extensive, including some 4,000 distinct patterns. The Log Cabin pattern, for example, is one of the most recognizable. It begins with a center shape, typically a square, and is built up through strips of contrasting colors or various shades sewn around the square. As Dunnewold reworks the designs of vintage quilt blocks, she also appropriates and plays

Resonance, detail, Jane Dunnewold, found quilt pieces, collage, spackle, gold leaf

with the actual names of the patterns. Like the Log Cabin, Everyone’s a Star is a quintessentially American quilting pattern. It often includes pinwheel-shaped stars that seem to rotate in their repetition across the fabric. Dunnewold reworks the name Everyone’s a Star by channeling the grand master of tongue-in-cheek appropriation, Andy Warhol, and titles her piece 15 Minutes of Fame. Other works have a more somber approach to this word play. Her piece Early Sunday Morning incorporates found pages of a church hymnal into the pattern called Crown of Thorns and is brushed with gold leaf. Biblical texts are found throughout Dunnewold’s work. The paper is cut and layered into the baseline geometry of the quilt’s pattern. The inclusion of gold leaf and pigment in these works results in a push and pull of pattern, text, and iridescence. Dunnewold is conscious of the history of the Art Quilt and keen to place its forms within a

larger context. In thinking about the current state of quilts made in studios, she developed what she calls the Taxonomy of Art Quilts. The list, she states, is a work in progress and is designed to categorize the work currently being made and shown around the world. The six primary categories are (1) Quilts Inspired by Traditional Patterns and Processes; (2) Abstract Innovative Piecing; (3) Narrative/Pictorial Quilts; (4) Formal Design Constructs; (5) Mixed Media Quilts; (6) Three Dimensional Quilts. The subcategories within the larger headings reference the art historical canon, such as Color Field Quilts, as well as a variety of techniques and styles, such as those using digital imagery and those influenced by graphic design. Dunnewold’s Taxonomy warrants further study as it helps to provide an understanding of the studio quilt, which is has now been part of artistic practice for more than 50 years. The Art Quilt Movement is often dated from a historic exhibition at the Whitney

Museum of American Art in 1971. Collectors Jonathan Holstein and Gail van der Hoof organized a selection of quilts chosen solely for their aesthetics. The roots of the Art Quilt Movement, however, actually pre-date the exhibition. They lie in the merging of traditional quiltmaking with modern design as seen in the work of artists such as Jean Ray Laury (1928-2011). Laury is considered to have laid the foundation for the rise of the studio quilt and, like many who came to be associated with the movement, was an academically trained artist. She promoted the application of formal artistic techniques - such as line, color, and rhythm - in quiltmaking and encouraged a break with traditional patterns. Laury also waded into raging debates about the demarcation between art and craft. In her 1966 book, Appliqué Stitchery, Laury promoted the expressive power of the artist over the materials. She argued, “Art has less (continued to page 6)

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(continued from page 5) to do with the material used than with the perceptive and expressive abilities of the individual. Any difference between the ‘fine’ and the ‘decorative’ arts is not a matter of material, but rather what the artist brings to the material.”1 Jane Dunnewold echoes this sentiment as a contemporary quiltmaker. As the walls between art and craft continue to crumble, Dunnewold believes that it is more important for artists to choose the right material for the expression. “The concept should drive the materials,” she states, believing that artists have the rights to use materials as they see fit. There remain heated discussions within the world of quiltmaking. Often the point of tension is the fusing of political messages with traditional forms. Dunnewold acknowledges that some believe that quilts should not have messages and that “the materials are neutral.” Yet she comes back to the notion that if the quilt is the right form to make a particular statement, she supports such expression. In the end, she believes that these debates bring new energy to the Art Quilt Movement and help keep it current and vibrant. Ultimately, Jane Dunnewold believes that art, like the family quilt has the ability to inspire, comfort, and tell stories. Powerful emotions can be provoked and communicated whether one is wrapped in the depths of a quilt or visually engulfed by a work on a gallery wall. Dunnewold’s Art Quilts invite viewers into the stories she has crafted and continued, extending the life not only of her chosen fabric blocks but also the Art Quilt Movement and the American quilting tradition. When a Quilt is Not a Quilt: The Paradox of Appropriation is on view until October 22nd at the Hardesty Arts Center, located at 101 East Archer Street in Tulsa. For more information call 918-584-3333 or visit n


Art Competition SINCE 1985



SUNDAY NOV 5 | 2 TO 5 PM Award Ceremony at 3 pm



Norick Art Center | 1601 NW 26th Street | OKC Gallery Hours | M - F 9 to 5 pm

MORE INFO | 405-208-5226 Mary Kathryn Moeller is an arts writer, curator, and educator. She can be reached at

1  Jean Ray Laury, Applique Stichery (New York: Reinhold Publishing Corporation, 1966), 11-12.


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POSITIVE ENERGY IS HOPE: A Pocket Full of Hope Moves Children to a Life of Possibilities By Barbara L. Eikner

UpBeat 360 with the Los Lonely Boys on Gurthrie Green in Tulsa

Energy can have you on the dance floor until the wee hours of the morning. Energy can have you transition your face, body, and spirit into the character of Cleopatra, Martin Luther King, Jr., or Abraham Lincoln in an Oscar-winning role in the movies. Energy can have you take a man-made instrument of wood, paper, or brass and make it sing like the birds in the sky, the rivers flowing through the mountains, or the Venice International Choral Group. That same energy can wreak havoc, take lives and destroy one’s self and community if not properly directed in a positive and focused manner for good. Directing energy into a positive force is the work of A Pocket Full of Hope, its

Executive Director Dr. Lester Shaw, and the board and volunteers that support its programs and students. A Pocket Full of Hope has serviced the youth of Tulsa and surrounding areas for seventeen years and has touched the lives of more than 5000 students and adults. A Pocket Full of Hope attracts its students from the organization’s partnership with Tulsa Public School System, as well as from auditions and performances, community outreach, word of mouth, and referrals from music, art, and stage crafts. Dr. Shaw shares the organization’s mission: “Imagine a place where youth move from a negative peer culture to a positive peer culture thus positively influencing their lives and our community. At A Pocket Full of Hope, we provide a risk-free

environment to explore problem resolution and change. In this organization, youth are given the opportunity to empower themselves in a non-threatening, participatory, and inclusive atmosphere using music, theatre, and dance.” Dr. Shaw has more than twenty-two years of teaching experience of youth and adults in Tulsa. He has received many awards for his efforts, among them The Oklahoma Arts Council Governors Arts Awards for Community Service, The Whitney M. Young Jr. Service Award, and The Dr. Martin Luther King Jr. Leadership Award. He is a member of Kappa Alpha Psi Fraternity and the Phi Kappa Phi National Honor Society. The staff of A Pocket Full of Hope consists of a part time administrative assistant (continued to page 8)

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Dr. Lester Shaw

and a pool of about ten volunteers. The development of a formalized alumni association is in process to ensure that graduates stay connected with the organization. The Pocket Players, which is currently made up of graduates, come back and mentor the current students. The Pocket Players provide information on their college life and work experiences. They assist in completing college and job applications and other readiness tasks. A Pocket Full of Hope has two major components: Social Responsibility and Music, Theatre, Dance, and Arts Production. Social Responsibility is the Educational Component of A Pocket Full of Hope. It focuses on providing an alternative to in-school suspension, truancy, and eliminating behavioral problems. Students are taught life skills, team building, the importance of being good citizens, and strong and productive students. In addition to those skills, participants are taught the value of work and leading healthy lives that include food, personal hygiene, staying physically fit,


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APFOH after performance at Mayfest Tulsa

and building and maintaining healthy and fruitful relationships. Some of the classes in this component are Read and Lead and Trust Bus. “Students are taught that the purpose of school is to learn and think. As simple as that sounds, many students come into the classroom with other intentions,” says Dr. Shaw. A Pocket Full of Hope also has Father to Father, a session to assist fathers in building up parenting skills and being in touch with their children. Music Theatre, Dance, and Arts Production is the performance component of A Pocket Full of Hope. The primary class for musical production is called UpBeat 360. Students are taught the entire musical production process, from writing the script, directing, and doing make-up to performing, designing the stage props, setting up the stage, and breaking down of props. UpBeat360 has performed productions such as Thriller, The Wiz, and Life is a Struggle. Life is a Struggle is their first original musical and its script won first place at the Gwendolyn Brooks Writers

Conference in Chicago. The UpBeat 360 has performed all over the state of Oklahoma and nationally, including New York, Atlanta, and Memphis. Youth Empowerment Tour (Spring Break and College Tours) and Creative Eyes (Photography/Videography) are the final classes in the component of Music, Theatre, Dance, and the Arts. This year all eleven of its high school seniors graduated, making this the seventeenth consecutive year it has had a 100% graduation rate! To get involved and help keep the energy flowing, visit A Pocket Full of Hope at n Barbara L. Eikner is author of How Do You Love…When? and Dirt and Hardwood Floors. She is owner of Trabar & Associates (arts management company), member of Living Arts of Tulsa, Tulsa Artist Coalition, OVAC, Philbrook Museum, Museum of African Diaspora, and other arts organizations. She can be reached at trabar@

(top and middle) APFOH performing Thriller show. (bottom) APFOH performing The Wiz.

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Kablooey, Todd Gray

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Jardin Do Amor (Manha Morning), Skip Hill

A COLORFUL DUET: Skip Hill & Todd Gray by Crystal Labrosse

The past opening exhibition at The Goddard Center in Ardmore, OK took on the works of Oklahoma native Skip Hill and Los Angeles based artist Todd Gray in Juxtaposition. This exhibition created an intriguing dialogue between the two artists through the comparison and proximity of their work. Skip Hill’s style blends high and low aesthetics through mixed media art. His poetic collage paintings draw from a range of sources such as comic books, Folk art, and tribal textiles, while Todd Gray’s artistic style is best described as contemporary pop art. He brings to life pop comic book prints with his use of clean drawn lines and bright colors to form three dimensional designs. Together their works created a colorful and thought provoking exhibition. The Goddard Center describes these two artists as “vibrant colorists” and suggest that “heavy chroma is the binding characteristic” of their work. A colorist artist uses color to convey a deeper meaning than what is seen on the surface alone. They are not focused exclusively on the color, but utilize the chroma as a vehicle for communicating their narratives to their audiences. Skip Hill uses the contrast of bold colors against black and gold to translate narrative to visual story telling. Todd Gray uses bright colors with sharp edges to tell his own song. Because our human eyes often see colors differently, a viewer comprehend and translate these lyrical stories differently. This is what makes colorist art a great way to contemplate and reflect on the dialogue the pieces create. Skip Hill transforms his travels and experiences with people, culture, and languages to create lyrical collage paintings. His use of imagery and design elements brings to life a colorful mix of international zest and a dash of art history. He utilizes colorful birds, trees, and animals to tell a story that draws the viewer in. It’s difficult to view his work without acquiring a sense of wanderlust because of the subject matter is depicted in a colorful collage that sings out to you. It’s as if looking at the world through Hill’s eyes.

Todd Gray describes himself as a “modern day, contemporary pop artist.” He grew up at the height of great pop artists like Warhol and Lichtenstein. Gray samples classic images from past pop culture, like the comic book “pow!” and integrates it with more modern-day imagery such as emojis. Together these elements create what he calls contemporary pop art. Gray’s goal for mixing familiar past imagery with icons from today’s culture is to create his own unique visual language. This imagined lexicon he developed is his way of creating beauty in the world. Gray sums up his work with, “I feel like art needs to be fundamentally beautiful like music needs to have a melody. That’s not to say pretty art isn’t necessary fine art, but if you can say asomething beautiful like a melody in a song then say something profound.” American pop artist, Roy Lichtenstein, excerpted images from comic books onto a large canvas. At the time, comic books were meant to be read and discarded. In contrast, putting the image onto a canvas immortalized it. Lichtenstein used melodramatic scenes and thick black outlines while retaining the square format found in a comic book strip. This same element of lines and shape is found in Gray’s work. Gray’s use of emojis and popular superhero imagery on his large three-dimensional works immortalizes our own modern-day pop culture. The exhibition, Juxtaposition: Skip Hill & Todd Gray was on view from July 1 September 1, 2017 at The Goddard Center. In an interview with the Gray when asked what he wanted to people to gain from visiting the exhibition he responded, “I want visitors to not only be inspired but to go home and feel good.” n

(top) Skip Hill and (bottom) Todd Gray

Crystal Labrosse has a BA in art history from Oklahoma State University and an MA in Middle East Studies from the University of Michigan. Currently, she resides in Detroit, MI.

(continued to page 12)

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(continued from page 11) (top) Flabbergast, Todd Gray (bottom) Indemnity, Stop Loss, & The Inherent Risks of Love, Skip Hill

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KATELYNN NOEL KNICK: Constructing Space by Cedar Marie

A Hug and a Highfive, Katelynn Noel Knick, acrylic on canvas, 36” x 36”, 2017

Katelynn Noel Knick grew up in an environment that was often physically changing. Her dad was an artist and a career draftsman who liked to play with his surroundings. His energy and drive influenced her own relationship with space, its inherit fluidity, and how, as an artist, she could touch it, map it, and change it. “He would just tear down the entire staircase and we would have to climb up a ladder to get to the bedroom. We never knew what to expect when we came home. I think seeing him alter spaces with ‘no rules apply’ inspired me to work with space in a similar way,” says Knick. Knick combines intuitive play along with the concept of mapping to get at that sense of spatial freedom in her abstract paintings. She may start by lightly mapping where she wants the lines and colors to go using pencil, or just make a mark and then react to that mark to make the next mark and so forth. The process of painting

Roll With It, Katelynn Noel Knick, mixed media on wood and acrylic shelf, 18” x 12” x 6”, 2017

and the painting itself act as maps. If she wants to relocate the work into or onto a physical space, the painting becomes an expanded blueprint for future sculptures or installations. If Teardrops Were Pennies and Heartaches Were gold, taken from a Kitty Wells song, is composed through a complicated dance between Knick, the constructed paths of surface and space, and her audience. Bright colors, gestural lines, textures, and layers of pen, color pencil, and acrylic washes hum and bounce and skip onto a bold white negative surface, while subtle, heavy shapes and intrusive marks reveal a visual tension. Many of her paintings are composed in this way. There is just enough playfulness and vulnerability to engage the viewer to look more closely. If you blink you might not notice that Knick is gently teasing us to go beyond the surface of painting, to enter into and to investigate that larger intimate story that each work tells.

“Each painting is so different,” Knick tells me. “Some of them are a little more comforting. Hug and a High Five feels like it has its arms out and is giving me a hug. The marks and movement embrace the canvas and wrap around the edges. I painted this piece after getting married last fall, when the ideas of love and support were on my mind. With Friends Forever Feels and Moody Blues, it is kind of like the paintings are on a roller coaster with a lot of ups and downs and loop-d-loop marks.” Mapping experiences through painting and as a way to understand space relationships comes natural to Knick. It is exciting to see how she turns painting into a physical form to replicate the movement, texture, and layering techniques using dimensional materials. The result of this process expands her visual vernacular, which, in turn, often leads her back to painting with new knowledge about constructing space. (continued to page 15)

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(continued from page 13) For instance, Knick’s Here/There/Everywhere installation led her to paint in a new way after she realized that there was a gap, an unintended distance between the viewer and the objects in the installation. She didn’t like the feeling that distance created. She then noticed that distance in her paintings too and wanted to bring her audience in closer without overwhelming them. She learned from creating the installation to embrace the negative space in her paintings instead of entirely occupying it with color. The value of the negative space as a location for lines and colors to exist, like a ladder or a staircase, led Knick to a broader sense of spatial depth. She also shifted to larger canvases, five to six feet, to help release the visual vocabulary she felt her smaller pieces were compressing, and to give herself more room to play with concepts. “People will be able to sort of walk into these new paintings like they would an installation because the paintings are as big as they are. There is more negative space but also fine lines and bigger strokes. You can start by looking from afar and get pulled into the little details.” Much of what keeps Knick interested in the way she is deconstructing and reconstructing space is the endless possibilities. Growing up in a house that was changing all the time has influenced her to feel free to play with the spatial ladders in her artwork, and to build unexpected staircases for herself and her audience. To see more of Katelynn Noel Knick’s artwork visit her website at n Cedar Marie is an independent artist and writer.

(opposite page) Friends Forever Feels, Katelynn Noel Knick, acrylic and pigment marker on canvas, 54” x 42”, 2017 (top right) Cosmic Clouds, Form I (detail), Katelynn Noel Knick, dyed paper, muslin, Mylar, and plastic sewn to wire mesh, 22” x 18” x 12”, 2016 (bottom right) Moody Blues, Katelynn Noel Knick, acrylic and pigment marker on canvas, 36” x 48”, 2017

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Back Gallery by Renee Montgomery

4th Annual Portrait Show, April 7, 2017

As Tulsa’s art neighborhoods become increasingly gentrified, the Back Gallery is the great leveler. Established in 2013, the Gallery is an alternative space in an alley of the Brady Arts District, open one evening a month during the First Friday art crawl. Visitors will remember this informal outdoor space for its lively and democratic atmosphere. The vision of artist Steve Monroe, the Back Gallery attempts to hold the ground on equal opportunity for artists. “I’ve always lived around downtown since the 1990s. I conceived the idea of the gallery to cut down on the red tape it takes to have a

show,” the Tulsa native explains. Monroe first thought he would just hang his own works but soon realized he could also assist local artists of all ages and distinctions. His shows have included “State of the Union,” an exhibition of contemporary political protest art; “Massacre in the Vernacular,” a video marking the anniversary of the Tulsa Race Riots; and, most recently in May, a display of the local photographers Clay Flores, Cyerica Kahn, Matt Phipps and Luciano Taretti. An annual stencil show is open to all artists 18 years and older—with so many willing participants, Monroe pulls names out of a hat. (Ninety-nine artists entered in 2017.)

The Gallery’s mission states its commitment to questioning traditional art spaces and the commercialization of art and to using fine arts to promote equality, all while engaging the community. Monroe’s favorite shows have been those devoted to helping a marginalized group or up-and-comer, such as the Inside-OUT Summer Camp program where kids demonstrated painting on shower curtains in July 2016. Monroe deems his first exhibition, related to the Tulsa Race Riots, as his “most powerful, starting it all.” Consisting of a performance piece, the show stemmed from the City’s questionable street name change from city founder and KKK member Wyatt Tate (continued from page 18)

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the university of

School of Art, Design and Art History

Owen Mundy & Joelle Deitrich November 2 - December 14, 2017 Owen Mundy is an artist, designer, and programmer whose research investigates public space, information privacy, and big data. Owen teaches a range of subjects for both the study and production of internet art, interface design, game design, and physical computing. Joelle Dietrick develops two-dimensional and time-based art works that consider contemporary nomadism and 21st century power structures. With a particular interest in female expatriates, she considers how these adventurous women negotiate their wanderlust with a desire for a home while in competition for boundaryless careers. Reception November 2, 2017 from 5:00 pm to 7:00 pm

The Narrow Abyss Elaine Bezold January 15 – February 8, 2018 Elaine Bezold is a photographer originally from Joplin, Missouri. She attended the University of Missouri for a BFA in Photography and Fibers, and The Massachusetts College of Art and Design for her MFA in Photography. Bezold’s photographs were recently featured by the German publication Der Grief, Aint-Bad Magazine, and Lenscratch. Her work has also been shown nationally at venues that include Aviary Gallery in Boston, Pittsburgh Filmmakers Gallery, and St. Edwards University in Austin.

(top) 4th Annual Portrait Show, April 7, 2017 (bottom) We Are Your Friends Dance Party and Photo Show, May 7, 2017

Opening Lecture & Reception January 18, 2018 Artist’s Lecture from 5:00 pm to 6:00 pm Reception: 6:00 pm to 7:00 pm – Alexandre Hogue Gallery Please follow us on Facebook For more information, visit www.cas.utulsa/edu/art/ or call 918.631.2739 • TU is an EEO/AA institution

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(continued from page 17)

(top left) light sculpture in the alley by Chris Wollard (bottom left) Third Annual Portrait Show, 2016 (right) Passage, Steve Monroe

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Life and Legacy: The Art of Jerome Tiger

Brady to Civil War photographer Mathew B. Brady.

August 25, 2017 – May 13, 2018

Following the May 2017 exhibition, Monroe, a single artist in his 40s, took a well-deserved summer break to focus on his own work and recover from the monthly expense of consistently mounting displays. Briefly attending Tulsa Community College and the Kansas City Art Institute in his 20s, the artist is largely self-taught. Monroe began making traditional paintings, expanding to landscape and portraits but, as he explains, “as I got older, my perspective changed. After George Bush was elected it didn’t seem to make sense anymore to paint landscapes. I wanted to do something to help make change. Around this time there were a lot of younger folks here in Tulsa involved in the punk DIY culture. Their philosophy of ‘If you don’t like it, don’t complain, do it yourself ’ was definitely an influence on starting Back Gallery as a way to make shows more simple, inexpensive and accessible to everyday people.” Monroe also credits his early attendance at Woody Guthrie festivals—“a great place to meet other artists and critical thinkers before the Internet.” Citing Guthrie’s and John Steinbeck’s writings as an important factor in his interest in the social practice of art, Monroe believes that “considering the state of affairs in the world, if an artist has a way to help or make a difference, I should be doing so.” Residing in a Brady District apartment building, currently with several Tulsa Artist Fellowship artists, Monroe describes his recent work as inspired by interactions downtown with a wide range of people, “by the different people hanging out there.” Scheduled for the September 1st exhibition, the Gallery’s fourth anniversary, is a show featuring relics (old T-shirts, flyers, photographs, documents), video, art and music related to Kris Rose’s upcoming book tracing Tulsa’s punk scene from 1994–2005. A fiber show is planned for October co-curated with artist Malinda Blank. The landlords of the adjacent buildings have opposed continued hanging on their walls so Monroe has tried metal standing racks but is still searching for an alternative method. Select Gallery projects can be seen on YouTube or the Gallery’s Facebook page. The alleyway is located off Brady Street in between Boston and Main streets behind the Valkyrie Bar and Tulsa Artists Coalition. Many of the Back Gallery’s exhibitions are accompanied by live music or a DJ, with visitors bringing their own food and drink. Contact for more information. n

Travelers. Jerome Tiger (Muscogee/Seminole, 1964. The Arthur and Shifra Silberman Collection, National Cowboy & Western Heritage Museum. 1997.27.116.

1700 Northeast 63rd Street Oklahoma City, OK (405) 478-2250

Exhibition Sponsor KFOR News Channel 4 Museum Partners Devon Energy Corp. • E.L. & Thelma Gaylord Foundation Major Support The Oklahoman Media Company • The True Foundation

Renee Montgomery served as an Assistant Director at LACMA and is now an art educator in the Tulsa area.


SPREADING THEIR WINGS: Romy Owens & Adam Lanman Collaboration Soars to Success by Kerry M. Azzarello

Presentation Elevations

Under Her Wing Was The Universe is full of stories. The short story being it is a site-specific public art project in Enid, Oklahoma. However, it is the other stories residing underneath the framework of the Enid Wing (as it has come to be known) that prove more enthralling. There is the story surrounding its ideation and evolution; the story of its funding, a story composed of hundreds of stories; the story of its opposition; and the story of the two artists responsible for this one-of-a-kind creation. In The Beginning

It started with a Facebook message in March. “Are you free for coffee?” Oklahoma City-based artist and curator romy Owens had been contemplating her

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next work, to be located in her home town of Enid, and turned to artist and architect adam Lanman, also of Oklahoma City, for a creative conversation.

living thing has to one another. The initial meeting provided a nebulous yet powerful spark that fueled a fast-paced, ambitious creative endeavor.

The pair had previously worked together, Owens serving as curator-in-residence for the Downtown OKC, Inc. Artist Invitational and Lanman as one of the selected artists who went on to design and build Skyline:Timeline (2016), a 6-tower installation serving as an abstracted, color coded history of the past sixty years in Oklahoma City.

The result is a strategic infill project that aims to be of service on multiple fronts. Rising from the surrounding prairie grass landscape the tall, sinuous structure with featherlike exterior cladding leads visitors down a path equally appropriate for social gatherings and quiet contemplations. The artwork is designated to fulfill a key component of the city’s strategic initiative and aims to enhance downtown space and promote tourism.

This time around, the discussion focused on notions of motherly protection, the comfort of a wing, the expansiveness of the universe, and the connection every

Creative Collaboration

The Enid Wing has been an artist-led

Teenage Daydreaming, Exterior of Under Her Wing Was The Universe

initiative from start to finish. This serves as a point of pride for Owens, “Not many artists have worked like this. I feel like that’s a big deal.” Collaborator adam Lanman agrees, “There was not a group coming to us asking for a public space. We saw a need and filled that gap with our talents, ambition, and work.” That meant being responsible for all aspects of the project: refining the idea, selecting the location, outlining the budget, setting a timeline, raising capital, seeking proper permits and approvals, planning fabrication, and ultimately overseeing construction. Each step is challenging and rewarding. There have been designs and redesigns,

technical drawings, material summaries, three-dimensional models and calculations all aimed at ensuring the project fits the budget and remains true to the artistic vision. The pair is quick to acknowledge they work well together as creative partners. Owens explains, “In terms of the creative and technical skills he brings to the project, adam has carried a lot of the weight in so many ways, which is very different for me, and frankly humbling. I feel like we are very equal partners, but when it comes to the workload, he is definitely working way more because I can’t do the things he does.” For Lanman it has been refreshing to work with a creative equal. He states,

“romy is multi-talented, a great spatial thinker, and a top level maker. Together we are combining skill sets both similar and dissimilar to make an incredible collaborative partnership resulting in work felt in the community and beyond.” Finding Funding

With an artistic vision and solid collaboration in place, energies turned toward acquiring the necessary resources. Owens led the charge in finding financial support through grant applications, fundraising events, meetings with individuals and businesses, and by managing the project’s GoFundMe website. She acknowledges that while it is humbling (continued to page 22)

f e a t u re


(continued from page 21)

Presentation Floor Plan

to ask for money, she is grateful that so many people believe in their mission. Across the state, hundreds of people have felt connected to the project. Prior to breaking ground, people opened up to share intimate emotional experiences, a clear indication of the deep connection the public feels with the project and a testament to the need for community-based art. In addition to sharing their stories, people shared support by purchasing naming-rights to ‘stars’. Suspended LED lights serve as celestial stand-ins forming a universe within the structure. In an impressively fast four-month period the artists successfully raised the $116,000 needed to complete the project. A Bout of Turbulence

Of course no great story is without its

22 f e a t u re

challenges. The Enid Wing is no different. Although the project was approved by the Public Arts Commission of Enid (PACE), the installation encountered resistance when brought before the Enid City Council. The July 6th council meeting included a lengthy two-hour discussion on the project, its merits, and a host of concerns, some tangential to the artwork itself. The item was tabled and would be revisited in 2 weeks. During that time, there was an outpouring of support for the project on social media. However, at the July 18th council meeting there was also some unexpected opposition. “Hands down the most surprising thing was when the Baptist ministers got up to judge us and call us pagan. I did not see that coming,” declares Owens. Tensions and the stakes were high. Commissioners

cast their votes 4-3 in favor of the piece, thus approving the project and providing $30,000 in funding. Architect Ken Fitzsimmons cites that the uproar puts the project in good company. “There are many examples of great art and architecture that have angered people because it did not just sit there and blend in,” he notes. “The best projects are ones that evoke and or provoke. What’s the point of spending a lot of effort and energy in building something if it looks like the same old thing and does not try to reach for something new?”

Sense of Community

While Under Her Wing Was The Universe stretches to reach for something new, the role of community behind it is very

familiar for both artists. At this point in her career Owens only wants to work on art that benefits or builds community. This can be seen at Current Studio, an experimental artist-run space she co-founded with Kelsey Karper, as well as her recent installations. To complete The Unbearable Absence of Landscapes (2015), a largerthan-life work that covered the side of 108|Contemporary in Tulsa, she enlisted the assistance of more than 400 people across the state to help create and assemble knitted squares. “I like intimate art that provides a personal connection, but I really feel like I am most useful making experiences that benefit large groups of people. In truth, I have always been this kind of person. It’s only been in the past three or four years that my artistic practice has shifted to reflect that.” Likewise, community plays an important role in Lanman’s work and projects created for atelieraL, his design firm. He says it is human nature for people to gather in public space. “That’s where I get to play a significant role, in the space, its definition, its configuration, what is in it, what is not, and how adaptable it is to future events and needs. Community is at the heart of placemaking, without a community there is no need for a place.” As for the rest of the story, that comes in the months and years ahead as the surrounding prairie grasses fill in, as the structure ages gracefully, and most importantly as each individual enters and leaves with a unique experience. Under Her Wing Was The Universe is located in Enid, Oklahoma, south of the Convention Center, on the northwest corner of W. Park Avenue and S. Grand Avenue. The project, which broke ground in September, will be a focal point during the Oklahoma Arts Conference, held this year in Enid October 24-26. The work is free and open to the public for the foreseeable future. Visitors are encouraged to post their photos and experiences using #enidwing. To learn more about this project and for a list supporters, go to and Kerry Azzarello is an artist and writer living and working in Oklahoma City. She has been inspired by the work of romy Owens and adam Lanman for over a decade and often uses their ambition to push her own work further. Kerry can be reached at

f e a t u re 23



EKPHRASIS: Fall 2017 edited by Liz Blood

One year has passed since the escalation of violence against peaceful protestors, or water protectors, at Standing Rock.

Sustainers Needle pulled through cloth is resistance.

Yatika Starr Fields’ painting

A strain

depicts a spiritual, nonviolent,

of heirloom corn roughly translated

boots-on-the-ground moment during the White Buffalo Calf Women’s march on November 27, 2016 on Highway 1806, outside the Oceti Sakowin camp in North Dakota. Poet Laura Da responds.

is the word sustainer—but the worlds that could once fit inside a word; wild horses or shadows glimpsed in the elbows of the hills— concepts teasing the corners of the mind

Poet Bio: Laura Da’ is a poet and public

school teacher. A lifetime resident of the Pacific Northwest, Da’ studied creative writing at the University of Washington and the Institute of American Indian Arts. She is Eastern Shawnee. Her first book, Tributaries, won a 2016 American Book Award. Artist bio: Yatika Starr Fields is an

Osage, Creek, and Cherokee painter and muralist. He lives and works in Tulsa, where he is a Tulsa Artist Fellow. Fields’s compositions are often large scale, left open to interpretation, and reference historical and contemporary themes.

white flags of prayer.

Running a finger across the slight backs of trade beads: cornflower blue, grassgreen,

the white-heart red a fire-flood of sunset.

Suddenly the women are all around, their steady footfalls the slow sustenance of earthspin.

(opposite page) White Buffalo Calf Women, Yatika Starr Fields, oil on canvas, 60 x 60”, 2017

e k p h r a s i s 25


We held our Annual Members’ Meeting on July 22nd at Oklahoma Contemporary (Special thank you to our friends at Oklahoma Contemporary for hosting!). In addition to our usual review of accomplishments for the year, we also had some time for members to break out into groups and share their ideas for OVAC programming. A few things we heard loud and clear were more professional development opportunities and events for networking and receiving feedback on artwork. We took these to heart and are working on ways to meet these needs.

Krystle Brewer, Executive Director

This month Art 365 opens in Tulsa at the Hardesty Arts Center. These artists, Narciso Argüelles, Pete Froslie, Andy Mattern, Amy McGirk and James McGirk, and Kelly Rogers, have worked incredibly hard on their projects for the past year with support from guest curator Dana Turkovic, and we are beyond thrilled to share their work with the Tulsa community. During the stretch of the show, each artist is hosting a workshop in correlation with the exhibition. I was able to attend a few of them while the show was in Norman and I can attest, each one is enlightening and meaningful. 24 Works on Paper has been traveling for over a year now and is nearing the end of its tour. It is currently in Alva at the Graceful Arts Center until November 10th and opens in its final location on December 1st at the Oklahoma

26 o v a c n e w s

FALL 2017

Hall of Fame. Ranging from photography to glitter, and “mangled survivors” to “lyrical flora,” to borrow the words from curator W. Jackson Rushing III, Ph.D., this show is truly one not to be missed! Our self-guided Tulsa Art Studio Tour moves to the fall this year on October 21st and 22nd with six studios and more artists than ever. You can buy your passports early on our website for $5 or buy them at any of the locations during the Tour for $10. October 15th is the next deadline for all OVAC Grants. Education grants are due the 15th of each month and all other grants are due quarterly. These grants can go towards buying new equipment, a large new body of work, workshops and professional development, and partnerships with community organizations. Visit our website for more information and don’t hesitate to call the office with questions. For more details about OVAC events or events happening around the state, visit our website at


Krystle Brewer Executive Director




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School of Visual Arts The University of Oklahoma For more info:

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We offer a comprehensive package of degrees in art, art history, and design.

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Schedule a tour to visit our facilities and meet the OU SoVA faculty.

Thank you to our new and renewing members from May through July 2017 Candace Abernathy Craig and Jenan Alleman Jennifer Allen-Barron Sharon and Jeff Allred Rebecca Arman Alexis Austin Scott Aycock Margaret Aycock Kerry Azzarello Ginnie Baer Rex Barrett Fran Barton Carol Beesley Eric Bloemers Bryan Boone David Branch Brent Brander Ariana Jakub Brandes Tracey Brauer Rebecca Brienen, PhD Autumn N. Brown

Mary Ellen Brown Cynthia Brown and Walt Kosty Jack and Lynn Bryant Pattie Calfy Cady Dill Carlson Claudia Carroll-Phelps Guy Chism Angela Church Marti Cordova Bryan Dahlvang Leslie Dallam Sarah Day-Short Kay Deardorff Rebecca Dierickx Michael Downes Elizabeth Downing Chase Kahwinhut Earles Lauren K. Florence Luke Funk Irmgard Geul

Joeallen Gibson Jr. Joseph Gierek Kristin and Dusty Gilpin Jeudi Hamilton William D. Hawk Geoffrey Hicks Larry K. Hill Gina Lindley Hoffman Justin Hogan Gayla S.A. Hollis Jan Holzbauer Brooke Hoover Theresa Hultberg Cecelia Hussein Jacqueline Iskander Bob James J. Jann Jeffrey Farooq Karim and Blossom Crews Kelsey Karper Yvonne Kauger

Mary James Ketch Andrea Kissinger Virgil Lampton Sharyl Landis Adam Lanman Monika Linehan William B. Livingston Jolene Loyd Forbes Phyllis Mantik deQuevedo Cynthia Marcoux Bobby C. Martin Mark Maxted Suzanne Wallace Mears Michelle Metcalfe Stacey D. Miller Sheila Minnich Regina Murphy Lawrence Naff Thomas Nesthus

Christie Fleuridas Owen Daisha Pennie Bryon Perdue Francisco Perez Nancy Peterson Patty S. Porter Cheryl Price Suzanne King Randall Anne Richardson Meredith RobertsMorris Jim Rode Christine Rodgers Amy Sanders Kerri Shadid Jim Sharp Carl and Beth Shortt Anne Solomon Eric Spiegel Clint Stone Sue Moss Sullivan

Michi and Charles Susan Patrick Synar Chuck and Ann Tomlins Patricia Triplett Alex True Joshua Vaughn Adam Vermeire Antoinette Vogt Tim and Jarica Walsh Jim Weaver David Webber Jesse Whittle Tommye Wilhite Dawn Williams Jessica Willis Jason Wilson John Wolfe May Yang

o v a c n e w s 27

Gallery Listings & Exhibition Schedule Ada




Oklahoma Printmaking Network, “Making Your Mark September 12 – October 13 63rd Annual Faculty Exhibit October 25 – November 20 Senior Exhibits November 27 – December 8 The Pogue Gallery East Central University 900 Centennial Plaza (580) 559-5353

2017 Seven-State Biennial Exhibition September 23 – October 20 The Sculptural Works of William Cannings November 4 – December 1 Nesbitt Gallery University of Science and Arts Oklahoma 1806 17th St (405) 574-1344 schedule

Donna Nigh Gallery University of Central Oklahoma 100 University Dr (405) 974-2432

All Fired Up Art Gallery 421 N Main (580) 338-4278

Altus Stolen Art Exhibition: A Retrospective September 15 – November 17 Wigwam Gallery 117 W Commerce St (580) 481-3150

Alva Native American Art September 1 – October 2 24 Works on Paper September 29 – November 10 Artist Round About November 3 – November 28 Christmas Show and Sale December 1 – January 2 Graceful Arts Gallery and Studios 523 Barnes St (580) 327-ARTS (2787)


Living Ghosts: Parker Seward & Laura Schechter September 5 – October 28 Calamitous Cowgirls: Donna Howell-Sickles November 29 – January 5 The Goddard Center 401 First Avenue SW (580) 226-0909

Bartlesville Price Tower Arts Center 510 Dewey Ave (918) 336-4949

28 g a l l e r y g u i d e

Claremore RSU Alumni Show September 21 – October 18 Senior Capstone Exhibition November 3 – November 21 Annual Christmas Show & Sale November 29 – December 6 Foundations Gallery Rogers State University 1701 W Will Rogers Blvd (918) 343-7740

Davis Chickasaw Nation Welcome Center 35 N Colbert Rd (580) 369-4222

Duncan Real Cowboys Exhibit May 2, 2017 – December 31, 2018 Chisholm Trail Heritage Center 1000 Chisholm Trail Pkwy (580) 252-6692


Barbers in Edmond: A Historic Trade February 21 – December 16 The Power of Children – Making a Difference September 1 – October 20 Edmond Historical Society & Museum 431 S Boulevard (405) 340-0078 Sandy Springer October Jen Hustis November Santa’s Art Workshop/ Holiday Art December Fine Arts Institute of Edmond 27 E Edwards St (405) 340-4481 Melton Gallery University of Central Oklahoma 100 University Dr (405) 974-2432 University Gallery Oklahoma Christian University 2501 E Memorial Rd (800) 877-5010

El Reno Redlands Community College 1300 S Country Club Rd (405) 262-2552

Centre Gallery Southeastern OK State University 1405 N 4th PMB 4231 (580) 745-2000



Owens Arts Place Museum 1202 E Harrison Ave (405) 260-0204

Metcalfe Museum 8647 N 1745 Rd (580) 655-4467

Hancock Creative Shop 116 S 2nd St (405) 471-1951

Idabel Selected Treasures form the Museum’s Collections I, II, and III July 18 – October 8 Seats of Power August 22 – October 22 Museum of the Red River 812 E Lincoln Rd (580) 286-3616


Tony Grider & Bill Betcher November 11 – December 29 The Leslie Powell Foundation and Gallery 620 D Avenue (580) 357-9526 Museum of the Great Plains 601 NW Ferris Ave (580) 581-3460

Norman Downtown Art and Frame 115 S Santa Fe (405) 329-0309 Firehouse Talent September 8 – October 21, 2017 Holiday Gift Gallery November 10 – December 23 Firehouse Art Center 444 S Flood (405) 329-4523 Jacobson House 609 Chautauqua (405) 366-1667

Body June 23 – December 30 Distinguished Visiting Artist: Robert Taylor October 6 – December 30 Fred Jones Jr Museum of Art 555 Elm Ave (405) 325-4938 Lane Banks October 9 – November 3 Fantasma November 20 – Dec 15 Lightwell Gallery University of Oklahoma 520 Parrington Oval (405) 325-2691 Cultural Connections: ClermontFerrand in Norman September 8 – November 11 Sarah Clough December 8 – January 12 MAINSITE Contemporary Art Gallery 122 E Main (405) 360-1162 Historic Quilt Show September – November Halloween @ The Historic House October Holiday Traditions of the Pioneer Era December - January Moore-Lindsey House Historical Museum 508 N Peters (405) 321-0156 Bert Seabourn, Abstract Expressionist September 8 – October 29 The Depot Gallery 200 S Jones (405) 307-9320

Oklahoma City Acosta Strong Fine Art 6420 N Western Ave (405) 453-1825

Grapevine Gallery 1933 NW 39 (405) 528-3739

Fluvial Terra September 7 – October 28 Kelly Campbell Berry September 7 – October 28 A History of [Artspace] November 16 – December 30 [ArtSpace] at Untitled 1 NE 3rd St (405) 815-9995

Howell Gallery 6432 N Western Ave (405) 840-4437

Brass Bell Studios 2500 NW 33rd (405) 361-3481 BrassBellStudios

Individual Artists of Oklahoma 706 W Sheridan Ave (405) 232-6060

Contemporary Art Gallery 2928 Paseo (405) 601-7474

George Oswalt, Jerry Loesburg, & Elizabeth Hahn October 6 – October 29 David Phelps, Jose Rodriguez, & Beatriz Mayorca November 3 – November 26 Christmas at the Elms, Denise Duong & Karam JRB Art at The Elms 2810 N Walker Ave (405) 528-6336

Factory Obscura Presents SHIFT November 9 – February 25, 2018 Current Studio 1218 N Penn Ave (405) 673-1218 Jon-Michael Frank September 7 – October 7 Ashley Dawn + Tanner Frady October 12 – November 5 Oklahoma Themed Group Art Show November 9 – December 3 Ceramics + Embroidery + Encaustics December 7 – January 7 DNA Galleries 1705 B NW 16th St (405) 371-2460 Outside In: a Showcase of the Sheridan Underpass Mural Artists July 1 – October 31 Exhibit C 1 E Sheridan Ave Ste 100 (405) 767-8900 Hidden Messages September 9 – November 25 Gaylord-Pickens Museum, home of the Oklahoma Hall of Fame 1400 Classen Dr (405) 235-4458

In Your Eye Studio and Gallery 3005A Paseo (405) 525-2161

Reclaiming My Humanity, New Works by Brett McDanel September 30 – November 10 Kasum Contemporary Fine Art 1706 NW 16th St (405) 604-6602 We the People: A Portrait of Early Oklahoma August 19 – October 22 National Cowboy & Western Heritage Museum 1700 NE 63rd (405) 478-2250 Nault Gallery 816 N Walker Ave (405) 642-4414 The Secret Paintings: Michael Pearce August 21 – October 20 Nona Hulsey Gallery, Norick Art Center Oklahoma City University 1600 NW 26th (405) 208-5226

Inasmuch Foundation Gallery Oklahoma City Community College Gallery 7777 S May Ave (405) 682-7576 The Complete WPA Collection: 75th Anniversary Through October 22 Master Strokes: Dutch and Flemish Drawings from the Golden Age October 28 – January 21 The Art of Oklahoma November 16, 2017 – September 2, 2018 The Modernist Spectrum: Color and Abstraction Through December 31 Oklahoma City Museum of Art 415 Couch Dr (405) 236-3100 Not for Sale: Graffiti Culture in Oklahoma October 5 – November 30 Art Now 2018 December 15 – January 19 Oklahoma Contemporary Arts Center 3000 General Pershing Blvd (405) 951-0000 Oklahoma State Capitol Galleries 2300 N Lincoln Blvd (405) 521-2931 Paseo Art Space 3022 Paseo (405) 525-2688 Red Earth 6 Santa Fe Plaza (405) 427-5228 Ray Harryhausen – Mythical Menagerie July 29 – December 3 smART Space Science Museum Oklahoma 2100 NE 52nd St (405) 602-6664 Summer Wine Art Gallery 2928 B Paseo (405) 831-3279

Park Hill


Cherokee National Historical Society, Inc. 21192 S Keeler Dr (918) 456-6007

Streets: Mark Lewis October 6 – November 19 Members Only: The State of Craft December 1 – January 21 108|Contemporary 108 E MB Brady St (918) 895-6302

Ponca City Ponca City Art Center 819 E Central (580) 765-9746

Shawnee Women’s Point of View September 5 – November 12 Mabee-Gerrer Museum of Art 1900 W Macarthur (405) 878-5300 Stillwater Gardiner Gallery of Art Oklahoma State University 108 Bartlett Center for the Visual Arts (405) 744-4143 Contingent Structures: Recent Ceramics by Brandon Reese July 20 – October 28 Kiki Smith and Paper: The Body, the Muse, and the Spirit August 8 – December 2 Femfolio August 15 – December 16 Oklahoma State University Museum of Art 720 S Husband St (405) 744-2780 Sulphur Chickasaw Visitor Center 901 W 1st St (580) 622-8050 Chickasaw-visitor-center

Tahlequah Spider Gallery Cherokee Arts Center 212 S Water Ave (918) 453-5728

Tonkawa Eleanor Hays Gallery Northern Oklahoma College 1220 E Grand (580) 628-6670

Aberson’s Exhibits 3624 S Peoria (918) 740-1054 After Removal: Rebuilding the Cherokee Nation August 25 – January 21 Kay WalkingStick: An American Artist October 6 – January 7 Creating the Modern Southwest October 16 – December 31 The Essence of Place: Celebrating the Photography of David Halpern November 22 - December 31 Gilcrease Museum 1400 Gilcrease Road (918) 596-2700 The Art of NEOWTA – Turned to Perfection: from Nature to Art September 1 – October 22 When is a Quilt Not a Quilt? The Paradox of Appropriation September 1 – October 22 Art365 October 6 – November 19 Hardesty Arts Center 101 E Archer St (918) 584-3333 Henry Zarrow Center for Art and Education 124 E MB Brady St (918) 631-4400 gilcrease.utulsa. edu/Explore/Zarrow Alexandre Hogue Gallery University of Tulsa 2930 E 5th St. (918) 631-2739 Holliman Gallery Holland Hall 5666 E 81st Street (918) 481-1111

(continued to page 30)

g a l l e r y g u i d e 29

(continued from page 29) Glimpse September 14 – October 7 Joseph Gierek Fine Art 1342 E 11th St (918) 592-5432

Game On! May 6 – February 4, 2018 Philbrook Downtown 116 E MB Brady St (918) 749-7941

Living Arts 307 E MB Brady St (918) 585-1234

HOTTEA Installation February 24 – November 5 Hope & Fear June 24 – November 12 Museum Confidential October 14 – May 6, 2018 Philbrook Museum of Art 2727 S Rockford Rd (918) 749-7941

Mainline 111 N Main Ste C (918) 629-0342 M.A. Doran Gallery 3509 S Peoria (918) 748-8700 2016: The Good the Bad and the WTF?! October 21 – October 31 Lovetts Gallery 6528 E 51st St (918) 664-4732

Pierson Gallery 1307-1311 E 15th St (918) 584-2440 Taylor Painter-Wolfe & Terry Turner October 6 – October 31 Every Place I Want to Be: Dean Wyatt November 3 – November 30

2 original and quality pieces of art by Oklahoma artists 2 tickets to CSA Launch Events twice a year 2 tickets to 12x12 Art Fundraiser $400 of this membership is tax deductible All of below

Listing of self or business on signage at events Invitation for 2 people to private reception with visiting curator 2 tickets each to Momentum OKC & Momentum Tulsa $200 of this membership is tax deductible. All of below


Acknowledgement in Resource Guide and Art Focus Oklahoma Copy of each OVAC exhibition catalog 2 tickets to Tulsa Art Studio Tour $100 of this membership is tax deductible. All of below


· Same benefits as Individual, for 2 people in household

INDIVIDUAL $45 · · · · ·

Subscription to Art Focus Oklahoma magazine Monthly e-newsletter of Oklahoma art events & artist opportunities Receive all OVAC mailings Listing in and copy of annual Resource Guide & Member Directory Invitation to Annual Members’ Meeting

Plus, artists receive: · Inclusion in online Artist Gallery, · Artist entry fees waived for OVAC exhibitions · Up to 50% discount on Artist Survival Kit workshops · Affiliate benefits with Fractured Atlas, Artist INC Online, Artwork Archive, and the National Alliance for Media Arts & Culture.


· Same benefits as Individual level. All Student members are automatically enrolled in Green Membership program (receive all benefits digitally).


The Gallery at Wilburton 108 W Main St (918) 465-9669

Woodward Plains Indians and Pioneers Museum 2009 Williams Ave (580) 256-6136

WaterWorks Art Center 1710 Charles Page Blvd (918) 596-2440


· · · · ·


Tulsa Performing Arts Center Gallery 110 E 2nd St (918) 596-2368

Collector Level + Community Supported Art (CSA) Program $1,000 ($85 a month option)

· · · · ·

SWOSU Art Gallery 100 Campus Drive (580) 774-3756

Lucy Burgess October 6 – October 28 Ercan Askin November 3 – November 25 Dazey Seth December 1 – December 30 Tulsa Artists’ Coalition 9 E MB Brady St (918) 592-0041

Become a member of the Oklahoma Visual Arts Coalition. Join today to begin enjoying the benefits of membership, including a subscription to Art Focus Oklahoma.

· · · · ·


Little Pictures Have Big Hearts: Taylor Painter-Wolfe December 1 – December 31 Urban Art Lab Studios 2312 E Admiral Blvd (918) 747-0510

MEMBER FORM ¨ Collector Level + Community Supported Art Program ¨ Patron ¨ Fellow ¨ Family ¨ Individual ¨ Student ¨ Optional: Make my membership green! Email only. No printed materials will be mailed. Name Street Address City, State, Zip Email Website


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Detach and mail form along with payment to: OVAC 730 W. Wilshire Blvd, Ste 104, Oklahoma City, OK 73116 Or join online at

Art Focus

Ok l a h o m a

Oct 6:

Art 365 opens at Hardesty Arts Center

Oct 15:

OVAC Artist Grants Deadline

Oct 21-22:

Tulsa Art Studio Tour

Nov 1:

Momentum Oklahoma Emerging Curator Application Deadline

Nov 11: Momentum Oklahoma Spotlight Application Deadline Dec 1:

24 Works on Paper opens at Oklahoma Hall of Fame

730 W. Wilshire Blvd, Suite 104 Oklahoma City, OK 73116 The Oklahoma Visual Arts Coalition supports Oklahoma’s visual arts and artists and their power to enrich communities. Visit to learn more.

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