Art Focus Oklahoma, July/August 2005

ArtFocus Ok l a h o m a O k l a ho m a V i s u a l A r ts C o a l i t i on

Vo l u m e 2 0 N o . 4 J u l y / A u g u s t 2 0 0 5

ON THE MAP Four emerging unconventional artists are featured at The Metcalf Museum in Durham, OK. p.10

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contents

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profiles 3 guymon:closer to taos 5 glass art: jeff gullett 6 interview with trent lawson

reviews/previews 7 fiberworks 8 margaret bourke-white 8 the levant 9 tulsa mfa

features 10 on the map 12 LANDed 15

OVAC news

on the cover artist: Doug Ricketts title: Under the Wide Sky mixed media

business of art

16 at a glance / round up 16 renewing members 17

gallery guide

ArtFocus Ok l a h o m a Oklahoma Visual Arts Coalition P.O. Box 1946 • Oklahoma City, OK 73101 ph: 405.232.6991 • e: director@ovac-ok.org visit our website at: www.ovac-ok.org Executive Director: Julia Kirt director@ovac-ok.org Editor: Lori Oden publications@ovac-ok.org Art Director: Anne Richardson anne@speccreative.net Art Focus Oklahoma is a bimonthly publication of the Oklahoma Visual Arts Coalition dedicated to stimulating insight into and providing current information about the visual arts in Oklahoma.

Mission: The Oklahoma Visual Arts Coalition supports visual artists living and working in Oklahoma and promotes public interest and understanding of the arts.

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 Anonymous letters will not be published.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.

Editorial Board: Janice McCormick, Bixby; Stephen Kovash, Randy Marks and Sue Moss Sullivan, Oklahoma City; and Teresa Valero, Tulsa.

Assistance from: Edward Main, Bixby.

OVAC Board of Directors 2004-05: Richard Bivins, Cleveland; Elliott Schwartz, Rick Vermillion, Edmond; Diana Brown, Lawton; Maya Christopher, Joan Goth, Norman; Thomas Batista, Ellen Berney, J. D. Merryweather (Treasurer), John Seward (Vice President), Carl L. Shortt (President), Lila Todd, Oklahoma City; Suzanne C. Thomas (Secretary), Spencer; Chris Ramsay, Stillwater; Pam Hodges, Claudia Doyle, Teresa Valero, Tulsa.

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 National Association of Artists’ Organization.

member agency

This program is supported in part by the Oklahoma Arts Council

© 2005, Oklahoma Visual Arts Coalition. All rights reserved.

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Larry Wiggins, Flowers Photography

Guymon:

Closer To Taos Than You Think

by Julia Kirt Did you know Guymon is only 281 miles from Taos, New Mexico? Meanwhile, Guymon is 264 miles from Oklahoma’s capital city. This geography affects the community’s art and cultural life, inspiring a group of Guymon-area artists to focus on the arts as a tool for economic development.

On a recent visit to Panhandle State University in Goodwell in the panhandle of Oklahoma, I toured the burgeoning art scene in the area. I was impressed by the vision, tenacity and creativity of the artists there. The relationships between the university, commercial entities and various

municipalities are distinctive.

Goodwell is only about 10 miles from Guymon, so residents interact frequently.

Guymon boasts around 10,000 residents while approximately 1,200 reside in Goodwell. Panhandle State University dominates Goodwell, with the campus anchoring the town.

Much of the arts activity is happening in downtown Guymon, which was recently named Main Street. The city leadership is hoping this will catalyze development for the area. Already charming, the main street has many stores and a few restaurants.

The Wild Horse Gallery and Art Center is in the heart of downtown. An expansive space, the gallery features a variety of styles and media. The front of the gallery is cozy and lush, while the rear of the building is used for art classes and events.

Just up the road, the Soaring Eagle Fine Art Gallery is a warm environment, with wood floors and attractive displays. Run

by Panhandle State University student Pam French and her husband Rick, the gallery features area artists working in paint, ceramics, photography, and more.

The two galleries have partnered with the continued page 4

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(top) Brooke Jackson, Apples (bottom) Hector Cobos, Ceramic Mugs

continued from page 3

university to create a program called Artist Incubation. The mission of the program is “To develop a new economy and culture for Guymon based on Art, which includes the students at Oklahoma Panhandle State University and other local artists.”

According to Bryon Test, founder and chairman of Artist Incubation, Inc., “Our community needs an identity- something to make us different than other towns. We know that many travelers now route through Guymon to visit towns with art galleries such as Santa Fe and Taos - why not give them a reason to stay over?”

Artist Incubation formalizes links with the university and the local community, focusing attention on emerging artists.

Programs emphasize the potential of young artists for a new economy that includes quality exhibitions, regular community art classes, and a growing collector base that is both local and regional.

Guymon to Taos, NM

281 miles Guymon to OKC

264 miles Guymon to Tulsa

326 miles

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Guymon to Amarillo, TX

121 miles

Also the Panhandle State University art department chair Bryon Test said that more than 10 percent of students are now art majors. Not a blow off, the degree requires 126 hours of which 85 hours must be in designated fine art classes. Students must take basics such as drawing, sculpture, ceramics, art history, and painting as well as advanced courses like jewelry, watercolor, and special projects.

What makes the program unique, however, is the emphasis on marketing and business skills for artists. Professor Test teaches art marketing courses that teach student artists how to plan events, work with galleries, and promote their artwork. Further, the students learn how to sell their artwork by communicating with patrons and presenting their artwork professionally.

Advanced students work with a Taos, New Mexico gallery for their senior show, promoting and planning the exhibition themselves. The gallery owner has been so impressed with the students she has asked them to help with the marketing for all her exhibitions.

Throughout their school career, students also have the opportunity to exhibit or work at the Wild Horse Gallery and Art Center or exhibit at the Soaring Eagle Fine Art Gallery.

Panhandle State University student Fernando Montelongo serves as the gallery director. He told me that he discovered

his interest in arts administration helping with an art club event. Now he maintains relationships with the gallery artists, works with potential buyers, organizes events in the gallery and more. Other students work for the gallery between classes and during events.

Student Hector Cobos houses his studio in the back of the gallery, producing remarkable ceramics. Mr. Test described many Friday evenings where Hector is hard at work and area high school students come to hang around the gallery. The combination of artwork and young artists has encouraged area youth to be interested in the arts.

While I was there, students organized a huge event for high school art students called Jubilee. Between performances, a one-day exhibition, and assigning awards, Panhandle State students invited high school kids from all over the area to educational activities and encouraged them to plan to attend college. The university art club is quite active, taking regular field trips to New Mexico, Texas and urban areas in Oklahoma.

Several professors from Panhandle State University exhibit actively at the galleries, including memorable ceramics by David Elder, photography by Larry Wiggins, and watercolors by Yvonne Sangster.

Besides teaching, chairing the gallery, and community involvement, Mr. Test is also an accomplished painter, focused on painting western scenes.

The finale to my tour of Guymon was my great stay at the Willow’s Bed and Breakfast.

Just outside of town in a beautiful home with plush rooms, the Willow’s could not have been nicer or more welcoming. I resolved after my terrific breakfast to make Guymon a regular stop when I am traveling north or west, even a destination for arts adventures.

Restarting with strength and vision, the Guymon area arts organizations are proactively building their community.

More information about these programs can be found at www.artistincubation.com, www.opsu.edu, or www.guymonok.org.

Jeff Gullett: Contemporary Glass Art

by Lori Oden Jeff Gullett is a native Oklahoman and has been an artist most of his life. He plays guitar, he is a photographer, but his most recent artistic outlet is creating contemporary glass art. He brings a new vision to glass art.

For the past 8 years Jeff Gullett has been working with glass. He is mostly self-taught. His glass art includes stained glass, fused glass and lampworking. Private and corporate collectors are beginning to purchase his contemporary glass and he has been commissioned by churches and other businesses. Jeff recently opened his own glass studio Catchlight Creations at 3219 North College in Bethany. Classes for stained glass, fused glass and lampworking are available this summer. It is also a retail supply shop. Call (405) 942-2070, email ccartglass@aol.com or vist www.angelfire.com/art/ccartglass for more information.

Some may recognize his name, but more likely his voice. Gullett has been with Newsradio 1000 KTOK for 17 years. How he began in radio, according to Gullett, “was basically, on a dare”.

Gullett now produces and hosts shows, including “Local Perspective”.

Before radio, Gullett realized an interest in photography. He started his own photography business while working in management at Pipkin’s Cameras. The business was Catch the Light Photography. He and his partner produced fine art and commercial photography; he passed the photography business onto his partner when he became more involved at the radio station.

Although he continued his photography, it was on a more personal basis. “Being involved with the business of photography, I think I had forgotten why I loved taking photographs. On vacation in Seattle one year I took all of my camera equipment and remembered why I loved photography.” Nature was the subject of choice.

While in Seattle, Gullett met a young lady, who eventually became his wife. How does any of this relate to glass art?

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Art…It’s the Journey that Matters they lost their first child and Chieko went into a deep depression. Originally from Japan, she made jewelry and in an attempt to bring her out of depression he spent hundreds of dollars on jewelry making equipment and glass beads. As Gullett investigated the art of bead making he discovered stained glass. Eventually the marriage did not last, but he glass work did. Jeff has since happily married and his wife Diane is often with him at many festivals across the state.

For Jeff Gullett, art is about the journey. For inspiration he as written art…it’s the journey that matters on his studio wall. Gullett’s stained glass window hangings combine the grid-like style of Piet Mondrian and the whimsical wire projections of Alexander Calder. The large and small glass flowers Gullett produces have hard edges that are softened by more whimsical wire. A Southwest style emerges from his fused glass, along with a variety of styles of crosses. A recent commission for a church depicts Christ in the timeless stories of the Bible, but Gullett’s style gives way to a contemporary feel. Gullett participates in art festivals across the state. One visitor said, as she walked into Gullett’s festival tent, “finally, somebody who thinks outside the box!”

Jeff Gullett, Glass Flower, Wall Hanging

After meeting Chieko Fukuhara, they traveled back and forth between Oklahoma and Washington and were eventually married. In OKC they started trying to have children. Sadly,

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Interview with

TRENT LAWSON

By Robin Chase I distinctly remember the first time I saw Trent Lawson’s work. I was poking around the OCU art department with a friend of mine. When I came across his work, I needed to think twice about what I was seeing. At a first glance I saw monotone colors forming abstract shapes, gutted with cracks and thin fibers. Staring more intently, the shapes took forms of doglike creatures, gnarling tree branches and human torsos.

I have since followed the development of Trent’s oeuvre d’art through juried shows, group shows, fundraisers, retail stores and solo exhibitions. His technique, a blossoming concept at the time, has grown to encompass both heraldic and promiscuous lines peering from all shapes and sizes of stretched canvas. He has, in fact, created a new type of painting: the mixed media sculpture painting, stretched around driftwood and standing of its own volition on a pedestal. This, in my opinion, demands attention and avid questioning.

Art Focus: To give the readers an overview of your work, what is your artist statement?

Trent Lawson: My purpose, with each work I do, is to bring the viewer into the creative process by encouraging them to find their own meaning and imagery to each painting. Whether or not the viewer sees my particular imagery is not important. In preparation for a painting, I create lines in wet gesso, without a preconceived idea of the final product.

The lines I create are the basis for my imagery. I study the lines until an image or a composition comes to mind and then work to bring that out onto the canvas.

To best view my work, one should look as one does a Rorschach inkblot diagram: do not look for, but look passively and receive what the painting has to offer.

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AF: Your work employs mediums that give texture to the pieces. Sometimes there are filaments of cloth, other times the paint appears to be cracked. What mediums to you use to achieve these affects? Also, what

kind of surface do you paint on?

TL: Most of my texture comes from the gesso (a priming medium for the canvas).

Sometimes I mix things with the gesso, such as sawdust, or I manipulate the wet gesso by slinging water or ink onto it.

Another technique is to lay cheesecloth or other types of cloth onto the surface and after it dries, I pull the cloth off. Often, I use other fabrics than canvas for different textures. To achieve the cracks, it’s as simple as buying the cheap quality gesso and laying it on thick, and with some practice you can control the cracks.

AF: Your canvas is not always flat.

There are forms that stand alone similar to sculpture; others protrude from the wall with curves and sharp bends. I understand that you stretch the canvas around driftwood to achieve this shape.

What overall affect do you want this to give to the piece? I imagine it must be difficult to paint on a piece, which curves and bends. Do you paint first and then stretch?

TL: I don’t really know what was going through my head when I came up with the idea. I just remember I was mowing the lawn and kept passing this fallen branch on the ground, so I picked it up and made a canvas out of it. The way I see these pieces is kind of a middle ground between painting and sculpture. Right now they are more on the painting side, but as I do more of them, I hope to create some that are more stand-alone sculpture. Yes, it is difficult to paint on a curved frame.

More so because of trying to get it to sit still on the easel and picture how it will look hanging on a wall. The last couple I have done have been freestanding, so that makes it a little easier. But they are all stretched and then painted.

AF: Many of your works have hidden images, which don’t necessarily appear to the viewer at a first glimpse. Where do you find your subject matter? Are these intentional before you begin a piece or do they begin to appear to you as you work on them?

TL: My process is that of laying string in the wet gesso. I stare at it and turn it until I’m satisfied and then go about painting it. The lines left from the string are the basis for all my imagery. Most of the time, I see the images before I start to paint, but of course, through the process it changes and sometimes new imagery comes in. I am always amazed at the different interpretations people have of what they see in my work. That’s what makes it more fun for me, to hear what the viewer has to say.

AF: You have created a large series of marvelously small art called “boxes”.

These are three-dimensional pieces that protrude from the wall and are covered with different designs. What was your inspiration for the boxes? Will you be working on other small shapes as well?

TL: The boxes started out as experiments of what happens when I mix ‘this with that’. So I make a box and see if it might work for a larger painting. But they are fun and an interesting problem to solve in themselves, in that, finding a composition to go across the five sides. So far, I am sticking to the cube shape. I’m making some larger ones, but as of yet, I don’t have plans to do any other shapes. Maybe I’ll try to do a tree branch box . .. that could be interesting AF: What artists have inspired you and why?

TL: I don’t have any particular artists that have inspired me. They all have, in a way. I think it’s impossible to step out of your doorway and not be influenced or inspired by a dozen different things on your way to wherever you’re going.

AF: Where can readers view your work in the near future?

TL: At IAO, in July, when the 24 Works on Paper returns to Oklahoma City, OVAC’s 12x12 Fundraiser on September 24th, and at the TAC Gallery in Tulsa, March 2006.

reviews

Elia Woods, A Salad Ballad, Photo Transfer Quilt

FIBERWORKS, 2005

by Stephen Kovash The 27th annual FIBERWORKS exhibition sponsored by the Handweaver’s League of Oklahoma was featured in the Eleanor Kirkpatrick Gallery at City Arts Center March 12 – April 9. The exhibit included objects made of felt, woven cloth, paper, dyed fabric, photo transfer onto fabric, basketry, knitting, quilting, beading and more.

Sue Moss Sullivan, current President of the League, stated “It is the only state-wide show that gives fiber artists the opportunity to exhibit their work and the show helps educate visitors about the history and traditions of fiber as an art medium. It is always an exiting exhibit and Handweavers League of Oklahoma greatly appreciates the partnership with City Arts Center, the support of Oklahoma Arts Council, and our generous donors.”

Trent Lawson, Standing Freeform, Mixed Media

Machine stitched quilts were prominent in the show. The $1000 Best of Show award went to Elia Woods’ A Salad Ballad, a machine pieced quilt with photo transfers of different kinds of lettuce. Award of Merit – General winner VFR, by Barbara Willcox-Chaffin, used fabric, thread, and machine appliqué to show what appears to be a farm landscape with a sky and clouds.

Michi Susan’s Folk Festival No. 101-05, received the Award of Merit--Zolli Page award for papermaking. Sue Sullivan’s Ancient Sounds #5 was a pretty, geometric piece. She used rust to form the design with gold and black wire highlighting the shapes created by the rust.

Sue’s piece was also a winner of the Award of Merit – General.

Of the hand woven jewelry, my favorite was Midnight Pines, by Ann Enix. This was a pendant necklace and earrings created from coiled pine needles, thread, beads and jewelry findings. The intricate use of coiled pine needles was amazing.

The Award of Merit Excellence in Basketry went to Elizabeth Smothers for S395 which consisted of coiled pine needles, walnut slices, waxed linen on red fir. This was actually a beautiful hybrid basket/bowl, surrounded by the combined pine needles and intricate walnut cross sections.

The Juror’s Choice award (and also my personal favorite in the show), was My Friend the Puppeteer, handmade paper embossed with pastels by Glenna McBride. Blue and earthy colors predominate in this piece, which portrays a jester controlling a puppet, surrounded by stars, faces and clapping hands.

Other awards for outstanding entries included: Joe Handley Award – Technical Excellence in Traditional Weaving, $500, “Untitled,” Ruth Morrison; Most Innovative, $250, The Place We Call Home, Ann Enix; Awards Of Merit, $250: Rachel Valliere Award - Best Handwoven, Simply Mauveless, Lyn Lucas; Handweavers Guild of America Award of Excellence, $200, Nana’s Scarf, Julie Marks Blackstone; Interweave Press - Handweaving for the Home, $200 Turtle: In the Sun - Janie Wester. All of the award ribbons were hand-woven by Wanda Miller Nobbe.

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Margaret Bourke-White in OKC

by Sarah Williams Oklahoma City was fortunate to have the Margaret Bourke-White exhibition Photography of Design, 19271936 on display at the Oklahoma City Museum of Art. This exhibition featured rare and never-before-seen images from the formative years to early stardom of Bourke-White’s photographic career.

Upon walking into the dimly-lit exhibition at the OKCMOA, I was encompassed by the dark rich images by Margaret Bourke-White and overcome with joy to see a rare photography exhibition of such importance in Oklahoma City. The vintage photographs were wonderfully printed and exude a deep velvety black tonality that is yet unrivaled by contemporary papers and processes.

Margaret Bourke-White’s photographs still emanate the importance of the industrial age she documented, coupled with the raw beauty of the objects she portrayed through her vision.

Although the art work within the exhibition was incredible, the curatorial aspects left more to be desired. The show was didactic in nature and reminiscent of a textbook layout that is common in a museum experience. Chronologically hung works leave little room for the viewer to experience the subtle parallels between photographs sharing formal aesthetic elements from different periods of time in Bourke-White’s career.

The exhibition opened with a photograph titled Highbee Department Store Toys, 1929. This image subtly foreshadowed the aerial perspective she would use in years to come while photographing the Chrysler Building in the 1930s and later work in the 1950s. Furthermore, it showcased her understanding of the formal elements of composition and unique vision that would make Bourke-White the first female star photographer for Fortune magazine, and one of the first photographers for Life magazine.

The angular use of repetition is thematic throughout Bourke-White’s imagery and can be seen in a range of subject matter such as the organic repetition of a dogs tail tracks in the snow in Prentis Estate, Milady Peromyscus Drags Her Tail, the image of Russian Dancers lined up in a diagonal row titled, USSR Moscow, Ballet School Dancers, and an image featuring many pairs of high heels titled Delmar Shoes, 1933. From a contemporary standpoint, it is easy to speculate that there was a direct correlation between Bourke-White’s use of repetition and pattern in her imagery to the monotony of the many industrial jobs she was documenting during the 1920s and 1930s.

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Margaret Bourke-White was a photographer capable of changing public perception.

She once stated, “everything in a picture should contribute to the statement…good photography is a pruning process, a matter of fastidious selection.” Her work continues to influence photographers today.

Teresa Valero, Deir Janin, Lebanon, Photograph, 2002

The Levant

by Janice McCormick

The Levant: Lebanon and Syria Through Western Eyes (at the Tulsa Photography Collective’s gallery on the OSU-Tulsa campus this last winter) was as much about time as it was about people and places, whether it be stepping back in time, intermingling of ancient and modern times, or enduring through a lifetime.

Hamah, Syria (2004) conveys a sense of stepping back in time. On both sides of a narrow city street, gray stonewalls rise straight up. Receding towards the back, this street curves to the left, its final destination out of sight. Only one step marks the separation of the street from a light gray doorway. Wrought iron bars cover one full window and a partially seen second window. A green hanging plant provides not only a note of color to this gray, ancient scene, but also the only sign of life. This street is empty and the door is closed. Only a tantalizing glimpse of the past can be had.

The most obvious juxtaposition of the ancient past and the modern present can be found in Palmyra, Syria (2002). Against a background of rugged hills and amid sparse vegetation sits the ruins of an ancient temple, complete with Corinthian columns. In the foreground, parallel to the picture plane, runs a well-paved road, with a bright yellow line running down its length. A roadside billboard depicts a young woman selling a plate of pasta. This is hardly the typical postcard view that a tourist would snap.

A lifetime of care and woe are etched in the face of an elderly woman in Valero’s Deir Janin, Lebanon (2002). This up close and personal headshot captures every deep crag and crevice. Though her head turns slightly away to our right, her dark eyes gaze directly and unflinchingly at the camera. It is as if they say matter-of-factly, with neither vanity nor bravado, “I am here. I am still here.

Despite it all, I survive.”

It isn’t just people that endure the harsh clime and the passage of time. Chekka, Lebanon, (2002) is an architectural detail of a doorway set in a sand colored building. Sunlight floods this building, bleaching it of all color, of all life, except for its pair of blue doors. Though promising relief within these walls from the relentless sun and drying wind, these doors reveal signs of harsh times as well – the wood is parched and the blue is fading. Yet, they endure.

All in all, Teresa Valero’s camera captures more than the usual tourist imagery.

It delves into a culture at the crossroads, where the past and present co-mingle, where change is everywhere and yet much abides.

MFA Exhibition, 2005

reviews

The University of Tulsa

by Rhonda Davis It’s exciting to find that the figure no longer appears to be on the ‘endangered subjects’ list. Nor does painting appear, in the least, to be on its way to the grave. The University of Tulsa MFA recipient’s exhibit was marked by autobiography and introspection, yet less for the sake of mere self-discovery and more for the purpose of dialogue.

Holly Menzies’s self-portraits are confrontational studies of her body – sometimes experiencing disciplined and meditative Yoga exercises, other times, reflective and studied gazes. The works connect the act of painting, the study and control of self, the triumph of the body, as well as the exposed vulnerability of tangible flesh and muscle. Although self-portraits, they were some of the most compelling works in the show, confronting the viewer face-to-face.

There is a visceral quality to the oil paintings; planes break down and subdivide in the fresh watercolors, and pastel drawings reveal a kind of raw, untamed existence. Each medium in which she works reveals a different dimension of the self, a distinct tactile transcription executed with focus and control.

(top) Beth Henson, Heads or Tails, Monotype, Lithograph, Serigraph, Chine Colle, Thread and Pennies (bottom) Nathan Opp, Living Room (detail), Oil on Canvas

Beth Henson’s imagery combines various printmaking techniques, utilizing and transforming the power of the snap shot.

Wedding photographs altered by soft, unnaturalistic hues become elusive images describing the special moments of the event, such as the bride’s dance with the father in Letting Go and the bride and groom at the cake in Wishes Do Come True. These mixed-media prints combining monotype, serigraph and lithograph have been stitched with thread and framed within the final framed piece.

Woven and connecting, these threads become an inherent component of the works. Heads or Tails addresses the relationships we form through emotional contracts and the chances we take. Superimposed handwriting on the image of a woman and child is filled with the searching language of a private journal - the artist asking herself questions, but also

confronting the viewer with his or her own dreams and doubts.

In an interesting twist on the comic strip, Travis Hummingbird uses the accessibility of simple line drawings to create characters that defy characterization. Unlike the tightly knit personalities known in comic strips, Hummingbird’s are less definable.

Hummingbird’s use of cartoon becomes the perfect format to confront stereotyping issues.

Alongside his framed work sits his Giveaway Pile, with copies of his zine and characters cut out as bookmarks - all on cheap print paper for visitors to take. Stripping away the formality and often the pretense of the museum or gallery experience, Hummingbird permeates the boundaries between the art world and the casual observer.

It seemed too easy to describe the works of Nathan Opp as “contemporary Edward Hopper,” with their cool, subdued palette and beautifully executed brushwork depicting isolated figures within tightly composed settings. It’s irresistible to make this comparison, but it’s not the whole story, for there is a narrative within these carefully constructed scenes. And scenes they become, mostly from a strained intimacy between a man and woman, as in Oblique and Living Room, as well as directly from theater, as in Staged Play.

The subdued palette is curiously interrupted by the color red playing an important role of heightening the viewer’s awareness of the presence of unrest or perhaps a hint of underlying passion. Opp’s enigmatic paintings value the act of audience participation as part of art’s role, carefully omitting the end of the story.

All art is autobiographical in some sense.

How successfully it provokes the viewer to think beyond the artist’s identity and perspective marks work of greater scope.

Each of these artists appears to be examining his or her life and connecting to the viewer through self-revelation and the formation of direct dialogue.

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ON THE

feat ure Tammy Regan, Poetree

by Lori Oden

The Metcalfe Museum is a great first example of the galleries and museums across our great state and what they have to offer.

(below) Doug Ricketts, It’s All in the Deal

The Metcalfe Museum is located in Durham, Oklahoma. It houses the collection of Oklahoma pioneer artist Augusta Corson Metcalfe (1881–1971).

According to the museum, “Metcalfe, who settled on this site with her family in 1893, became one of Oklahoma’s most important artists. Throughout her life, she worked in a variety of mediums, including oils, watercolors, and ink and became best known for her depiction of Oklahoma’s pioneer heritage. Her representations of prairie fires, ranching scenes, and the rugged Oklahoma landscape take those who view her art on a journey into America’s pioneer past.”

Augusta Metcalfe has been inducted into the Oklahoma Hall of Fame and was featured in Life on July 17, 1950.

In addition to the permanent collection, The Metcalfe Museum also hosts and curates several exhibits throughout the year. A recent show entitled Young Guns: Visual Artists Who Shoot from the Hip featured four emerging artists. Director, David Cunningham, said, “I wanted to exhibit artists whose works were a bit unconventional – at least according to western Oklahoma standards.” The artists were: Chelsea Thomas from Reydon, OK who recently graduated from Southwest OK State University; Chris Gonzales, a current student at SWOSU; and Cynthia Clay and Tammy Regan, both from Cameron University.

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Each of these artists produces exciting, vibrant work. They are working in very

contemporary modes, not only by subject matter, but also by utilizing various and multiple mediums in one or more work.

Opening on July 5 at the Metcalfe Museum, with an artist reception on July 17 from 1-3pm, will be Doug Ricketts’ Art from the Ruins. Ricketts combines salvaged parts from windmills, houses, barns and other farm buildings, tools and equipment to create contemporary sculpture and furniture.

“Since 1977, I have lived and worked as a wood craftsman out on the rolling plains of the northeast Texas Panhandle.

I have watched as more and more of the old homesteads are abandoned and their barns, corrals and outbuildings slowly settle to the ground, forgotten. My desire to preserve some of the fine old structures and their stories, and my delight in the colors and textures of the weathered wood, barn tin, and harness hardware prompted me to begin incorporating the castoff materials into my furniture.”

Doug Ricketts grew up in New Mexico, but graduated with a BFA from Phillips University in Enid, Oklahoma. He studied sculpture and ceramics and while working on his degree, he was a carpenter and cabinetmaker. In 1977 he and his wife moved to inherited land near Lipscomb, Texas. Ricketts is inspired by barn roofs, early grain elevators and archetypal building shapes and details.

His inspiration also comes from his

(right) Chris Gonzelez, Devils and Pigs (below) Chris Gonzelez, Bathroom

exposure to art in New Mexico, his university studies and his current home.

Once the sculpture or piece of furniture is complete, it is sanded, sealed with a sealer that keeps the wood’s original color, sanded again and waxed and rubbed.

It is important that Rickett keeps the “history” of the piece and provides a story, nameplate and serial number for each work.

One of the stories might relate: “The message in pencil reads B.F.T., Appie, March 1, 1937, waiting to go to school. A teenager at the time, Beatrice Fern Turner created a time capsule on the siding of the old Moore House where she and her family lived from 1920 to 1940. In a way, to see her words transports us to that morning much faster than simply reading about a girl named Appie dallying away her last few minutes at home before the school day began. We are there and we can see Wolf Creek in the distance. Peeling away the layers reveals many such surprises. No one knows this more keenly than artist Doug Ricketts of Lipscomb, Texas who pulled back the brown roll siding to discover Appie’s record.”

Rickett’s has uncovered hundreds of these amazing stories; these stories are the base inspiration and weave their way into the soul of the sculpture or furniture piece. Art from the Ruins is a body of work that is unparalleled. Appie’s board is a featured part of Front Porch Conversations, one of the nine pieces created for the Art from the Ruins exhibit, which is sponsored and presented by the Canadian Arts Alliance of Canadian, Texas.

The Metcalfe Museum is a great first example of the galleries and museums across our great state and what they have to offer. Look for the Metcalfe Museum ON THE MAP and take time to visit.

Cynthia Clay, Deer Woman at Home, Bronze

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feat ure

LANDed

by Lori Oden

Contemporary garden structures “landed” in the Philbrook gardens on April 24 and will remain through the duration of the year.

LANDed: Innovative Garden Structures is a “must see” outdoor exhibition.

Brian J. Ferriso is the relatively new Executive Director at the Philbrook Museum of Art in Tulsa. He has been with the museum since June 2003. Ferriso has an impressive professional background. Born in New Jersey, Ferriso originally started his career in Economics. However, he was also interested in art. He studied painting under recognized painters and started teaching. Ferriso began studying art and worked internships in museums such as the Guggenheim. He is a non-profit’s dream.

He moved to Milwaukee and became a part of the curatorial team and eventually served as Deputy Director. He played a major roll in raising over nine million dollars and creating programs that changed the face of the Milwaukee Art Museum.

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The same intensity and involvement Ferriso had in Milwaukee is thriving and working at the Philbrook. When Ferriso came in 2003 the Philbrook gardens were in the midst of their renovation. Ferriso wanted to create a seamless flow between the indoor museum and the outdoor garden. The Philbrook’s impressive permanent collection and traveling exhibits showcase the history of art. The idea behind the Philbrook, as with many art museums around the world, is that people who visit the museum will have a concept of how the history of art evolved—from ancient art to contemporary concepts. Visitors would have the same type of experience in the garden – walk through Greek and English-inspired

gardens, intertwined with contemporary structures and sculptures. For Brian Ferriso, “the recent renovation and expansion of The Philbrook Museum of Art’s twentythree acres of gardens inspired LANDed: Innovative Garden Structures exhibition.

The comprehensive construction project reestablished the original vision of the gardens and its intention to use the natural landscape to stimulate the imagination, inspire creativity, and foster contemplation.

The gardens are perfectly suited to serve as outdoor galleries. With the integration of the five LANDed structures, the gardens truly become an extension of the museum’s indoor galleries, accommodating works of art among trees, walkways, and green spaces. The contemporary pavilions respond to and build upon a long history of garden design, while also presenting new ideas for the appearance and role of the formal garden in the twenty-first century.”

Fifty emerging architects were asked to submit for the project; thirty-five proposals were submitted and five were selected. In reference to the project, Ferriso stated, “the five structures selected for LANDed share similar goals and objectives with the Philbrook’s historical garden structures, however, the new creations help the visitor to see the gardens differently, redefine the outdoor spaces, and generate fresh visual reference points and terminuses. Moreover, they move the traditional garden structure in a new direction: the use of materials,

construction methods, modern design, and added functions distinguish them from Philbrook’s existing structures and their historical predecessors.”

ROAMroom, Split/View and Butterflies were designed for visitors to enter; the experience is enhanced only when entered. Butterflies, from the outside, is blinding white in the bright sun with an intricate, delicate pattern cut from the material that makes up the walls. The sun filters through the cut butterfly pattern to create a cool, soothing interior—a resting place. Split/View and ROAMroom are similar in design, visitors are encouraged to enter and view the Philbrook gardens from a new perspective.

Vines and [AND]SCAPES incorporate the surrounding landscape. Natural vines were planted underneath flowing and undulating wood and rope that will eventually immolate rolling hills and offer shade for rest. Mirrors are used as the primary tool to incorporate the surrounding landscape but only to create a new vision, or to “redefine” the outdoor space. The architects were della valle + Bernheimer design llp, designsubset, Lyn Rice Architects, MADE LLC, and Mitnick Roddier Hicks.

For more information about the exhibition, the architects and the conceptual structures, visit the Philbrook Museum of Art or their website www.philbrook.org.

The contemporary programs have been expanded at the Philbrook Museum of

MADE LLC, Vines (right) Lyn Rice Architects, [AND]SCAPES (below)

Della Valle + Bernheimer Design LLP, Butterflies

Art with LANDed and other programs, including FOCUS, which is a series of small exhibitions that feature contemporary artists. The first two artists were George Legrady and Josiah McElheny. “Modern art has always reflected and responded to contemporary issues, experience and technology. From the innovations of the Renaissance to the revolution of Impressionism, artists have continually challenged and reworked the conventions

and traditions of the past to create a new aesthetic more resonant with contemporary times. The intent of the FOCUS exhibitions is to showcase works of art that speak and of the world today,” as stated in the FOCUS publication.

Another fundamental change that was spearheaded by Brian Ferriso was the Philbrook’s mission statement.

Historically, museums and other non-profit

organizations’ missions state what they do, such as “we preserve”, “we collect”, and/or “we exhibit”. It seems so simple and so obvious, but instead of what a museum does, Ferriso believes it is more important to explain why. Art changes lives; it inspires and makes our lives more beautiful. How and why museums accomplish this must be at the heart of the mission. Their mission is: The Philbrook Museum of Art realizes human potential through art by stimulating continued page 14

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feat ure

LANDed Examples of Proposals (below)

imagination, thought, creativity, and community development. It should motivate individual artists and non-profits across our state to think about why we do what we do instead of what we do.

Those of you who are interested in contemporary art should keep a close eye on the Philbrook! Ferriso plans to exhibit at least one major contemporary show a year and continue the FOCUS series. Ceaser Pelli: Sections Through Practice will be exhibiting this summer and Cut: Film as Found Object in Contemporary Art will open in January!

Lyn Rice Architects, [AND]SCAPES

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Goals & System Development

by Sue Clancy

A three-part series by Sue Clancy – watch for the continuation in upcoming Art Focus issues.

Not long ago I was asked to give a talk at the Oklahoma Visual Arts Coalition’s Artist Survival Kit event, the “organized artist”. While I was preparing for the talk I’d occasionally mention the topic to someone and invariably they’d say something like “Organized Artist?! Isn’t that an oxymoron or something?”

I don’t think so. Being “organized” is not necessarily about the cleanliness or appearance of your desk or studio. It’s about having systems in place that help you meet your goals. When you’re an artist it means you are self-employed. You and only you can determine your artistic goals. Everything you do will stem from your goal(s), or lack of them. Having goals helps you organize a system of working and keeping records that suit you and where you want to be. Your goal and your system can be thought of as the ‘structural support’ for your art career/life - much like an armature is for sculpture or stretcher frame for a painting.

What is a goal?

As artists, it is good to have a main goal and several smaller more detailed goals that help you achieve your main goal.

Your main goal should be broad enough to allow room for growth and change (in media and/or subject matter), yet specific enough that it becomes a clear target. A goal such as, ‘I want to be a famous artist’ is too general. How would you know when you are famous? Why would you be famous? How would you become famous?

A goal might be stated, ‘I want to be known and collected for my whimsical thoughtful art:’ is general enough to allow some wiggle room, yet specific enough to be a target.

How do you establish a goal?

One primary way to find your goal is to daydream. Sit in a quiet place and imagine that you are 80 years old. You are being honored for your life’s work in some way.

What is the honor? What is your work like? What do people say about you and your work? How do you feel? Daydream in

Being “organized” is not necessarily about the cleanliness or appearance of your desk or studio. It’s about having systems in place that

Now that you have a picture of success and a goal - a system of working can be designed that will help you meet your goal. Whatever your system, it will change and grow as you figure out what works best for you. This flexibility is essential. However, most systems won’t work if you don’t use it and if it doesn’t help you meet your goal. In fact, if you enjoy the system that you develop and it’s easy for you to use you are more likely to use it and it is more likely to help you succeed. I’m all for fun and easy systems!

business of ar t

Part 1: The Organized Artist:

Next time we will discuss how to create a system that works well for you! In the meantime, you can visit www.ovacok.org to see the entire “Organized Artist” article.

help you meet your goals. detail - let it unfold in your mind. Write your dreams down in your journal so you can see how they change and grow over time. This helps you find ‘the real you’ -- what you really want to be when you grow up.

Another way to find a goal is to have heroes. Heroes help you form a picture of success and thus a goal. A hero is someone you admire for a reason. I recommend living heroes who are local, national and international. Learn as much as you can about them. Read about their lives and what made them ‘a success’. It doesn’t matter if the artist works in a similar medium or a similar style. In fact it may help if they are totally different as you can more easily focus on their career rather than technical details or subject matter.

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round up

Round Up Ad sales are in full swing this summer for Art Focus magazine. If you are interested in placing an ad, please call 405.232.6991, email publications@ovac-ok.org or visit the OVAC website www.ovac-ok.org.

SAVE THE DATE, September 24. The Oklahoma Visual Arts Coalition’s 14th Annual 12x12 Art Sale and Exhibition.

We are excited to announce a partnership with Creative Capital. They are a national organization based in New York City. They have created a professional development retreat for artists to catalyze their careers. We will work with them to bring it here in April 2006. This fall we will accept applications for artists wishing to participate (only space for 24). Watch for this soon. Meanwhile, if you are curious about this great organization, check them out at www.creativecapital.org The next OVAC grant deadlines are: July 15 and October 15.

The 2005 Oklahoma Painting and Drawing Biennial was a huge success. Special thanks to Cecil Lee and the University of Science and Arts of Oklahoma. Six artists received recognition and awards (watch for the review in Art Focus Oklahoma September/October); and thanks to guest curator/ juror Elizabeth Dunbar from the Kemper Museum of Contemporary Art in Kansas City. New to the Biennial this year was an artist symposium; artists served on a panel to discuss their work.

Program Assistant Stephanie Ruggles Winter is in her fourth year with OVAC. Thank you Stephanie for four years of service.

Interns Daisy Patton, Garris Dennis and Benjamin Kinney also deserve recognition for all of their hard work. Thank you for your dedication.

The second annual Tulsa – Momentum was held on Saturday, June 18. Another successful show in Tulsa thanks to the committee and all of the volunteers who worked on the event.

ON THE MAP is a new feature in Art Focus Oklahoma that will appear periodically throughout the year. It will feature suburban and rural galleries and museums across Oklahoma.

Very few people are often aware of the galleries and museums in our state and it is important to bring some visibility to artists and venues outside the major cities. We hope you enjoy the new feature.

Feedback is important—let us know how we are doing. Email publications@ovac-ok.org

AT A GLANCE

by Julia Kirt Displaying huge paintings, Norman artist George Hughes enlivened the gallery at Living Arts of Tulsa in his exhibition “Skin & Essence” May 6-26, 2005. Hughes is a Ghana native who teaches painting and mixed media at the University of Oklahoma. In his artist statement he explained that he seeks to “explore the nuance of the human condition in its mockery of contradictions, stereotype and errors.” Combining collage, strong brush strokes, and symbols, the intense paintings read almost like a visual blog. The scale of the work along with the fragments of signifiers in the mix were dizzying, but forceful. His use of black and white images of families as elements in the paintings gave a personal stroke that made the works less overwhelming. These photographs and the synchronicity of his palate make the works accessible.

Oklahoma City artist Garris Dennis exhibited his mixed media artworks May 13-27 at the Stage Center Theatre in downtown Oklahoma City.

With an established style beyond his years (this was his high school senior exhibition from the Classen School of Advanced Studies), Dennis showed nimble mastery of paint, drawing, and composition.

His works come across playful, but deep. His exploration of media, including such oddities as coffee and banana, read like a skilled modernist. However, his use of text frames his work in contemporary investigations of communication, identity, and even globalization.

His body of work created quite a buzz.

By Lori Oden I recently had the opportunity to visit the Tulsa Artists Coalition’s gallery in the historic Brady District in Tulsa. It was a small but wonderful gallery space. The front walls were a combination of exposed brick and windows and the gallery is well maintained and very clean.

Organized and run completely by volunteer effort, they do an excellent job; an obviously dedicated team. The exhibit on display at the time was their annual 5x5 fundraising show. Artists are invited each year to submit art that is 5x5 inches or 5x5x5 inches for 3D work. Wellknown and emerging artists participate. The show always opens on May 5, entry is $5 and all the work is sold for $55. All proceeds benefit the TAC. For small work they were powerful in presence; I was overwhelmed with how each piece stood out among the almost 200 submitted. Makes plans next year to see the 5x5 show!

Thank you to our New and Renewing Members from March and April

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Jane Ford Aebersold Rick Barnes Tracey Bewley Sherry and Ron Blankenship Leona Boone Jessica Clayton Shelly Collins Warren Corlett Elise Deringer

Joan Goth Sue Hale Lou Moore Hale Kim and Suzette Hatfield Beatriz and Arn Henderson Diann Harris Howell Michelle Johnson Amanda Knowles Carol Koss

Dawn Lafollette Erin Latham James McDaniel Suzanne Wallace Mears Kay Moore J.P. Morrison Mike Paluska Lou Ellen Paschal Paul Pfrehm

Rob Smith-Phenix Pam Powell Angela Renke Pauls Valley Arts Council Ali Seradge Lisa Simms David Varmecky

Gallery Listings Ada John Green: Assemblages and Constructions June 1- July 30 University Gallery East Central University (580) 310-5356 www.ecok.edu Ardmore Selections from Goddard Center’s Permanent Collection July 1- August 30 Charles B. Goddard Center 401 First Avenue SW (580) 226-0909 www.godart.org Bartlesville Building Images: 70 Years of Photography of Hedrich Blessing Through July 31 Structures of Our Times: 31 Buildings That Changed Modern Life August 12- October 2 The Drunken Boat: Paintings by Bruce Goff August 12-October 2 Price Tower Arts Center 6th and Dewey (918) 336-4949 www.pricetower.org Broken Bow Forest Heritage Center Beaver’s Bend Resort (580) 494-6497 www.beaversbend.com Chickasha Make Me a Copy: The Progression of Photography and Printmaking Through September 2 University of Sciences and Arts of Oklahoma Gallery-Davis Hall 1806 17th Street (405) 574-1344 www.usao.edu/

&

Exhibition Schedule

gallery/ Claremore Annual Faculty Show: Kren Bennett, Bryce Brimer, Dave Carman, Don Emrick, Gary Moeller and Mary Jane Porter August 25- September 16 Opening reception August 25, 5-7 Foundations Gallery-Baird Hall Rogers State University (918) 343-7740 Durant Southeastern OK State University 1405 N. 4th PMB 4231 http://www.sosu.edu/department/art/ gallery.htm Durham Doug Ricketts: Art from the Ruins July 5- August 31, Reception July 17 Metcalfe Museum Rt. 1 Box 25 (580) 655-4467 www.metcalfemuseum.org

Chambers Library Gallery University of Central Oklahoma 100 University Drive (405) 974-5931 http://www.ucok.edu/ El Reno Cheyenne Visions II July- September Redlands Community College (405) 262-2552 www.redlandscc.edu/visitors/ gallery.htm Idabel Native Baskets Through August Prehistoric to Contemporary Native American Art Long term Lifewell Gallery Museum of the Red River 812 East Lincoln Road

Lawton Works by Judy Idle, Linda Lugenbill and Rick Fry Through August 26 The Leslie Powell Foundation and Gallery 620 D Avenue (580) 357-9526 www.lpgallery.org Norman Norman High School, Middle School, Elementary Art Show Through July 23 Clotide Espinosa July 29- September 10 Firehouse Art Center 444 South Flood (405) 329-4523 www.normanfirehouse.com Jacobson House 609 Chautauqua (405) 366-1667 http://www.jacobsonhouse.com

Edmond Here Comes the Bride: Weddings in American Society Through July 16 Edmond Historical Society 431 S. Boulevard (405) 340-0078 www.edmondhistory.org Kenny McKenna and Joan Matzdorf July 29- August 15 Opening reception July 29, 5-7 Shadid Fine Art 19 N. Broadway (405) 341-9023 http:// www.shadidfineart.com/

(580) 286-3616 www.museumoftheredriver.org

Selections from the Permanent Collection Fred Jones Jr. Museum of Art 410 W. Boyd Street (405) 325-3272 www.ou.edu/fjjma/

Photograph from: Photographs: In Citizens Garb: Southern Plains Native Americans 1889-1891, from Mid-America Arts Alliance of Kansas City.

Exhibiting July 5- August 16 at the Ponca City Artsplace.

5-2-9 Group Show Through July 29 Jonathan Hils September 2- October 15 Mainsite Contemporary Art Gallery 122 East Main (405) 292-8095 www.mainsite-art.com

continued page 18

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Wedding Portrait, Manchester, Iowa.

Courtesy Rogers Historical Museum, Rogers, AR. On exhibit at the Edmond Historical Society through July 23.

International Photography Hall of Fame and Museum 2100 NE 52nd Street (405) 424-4055 www.iphf.org

Oklahoma City Hands On: Squiggles, Wiggles & Giggles Through August 20 City Arts Center 3000 Pershing Blvd.

(800) 951-0000 www.cityartscenter.org Pastels by Gallery Artists Through July 2 Lost & Found: Works by Carol Whitney Through July 9 Desert Hearts: Works by Victoria Shackelford July 15- August 13 Opening reception July 15, 6-9 pm JRB at the Elms 2810 North Walker- The Paseo Arts District (405) 528-6336 www.jrbartgallery.com 24 Works on Paper Traveling Exhibition July 8- July 30 Opening reception July 8, 6-8 pm Individual Artists of Oklahoma 811 N. Broadway (405) 232-6060 www.iaogallery.org

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The Noble Metals: Platinum and Palladium IPHF Main Gallery From a Child’s Heart: Toy Camera Collection and Photography by Michael Gilbert IPHF Gallery A Hugh Scott: Oklahoma City National Memorial, 10 Years Remembering IPHF Hall Gallery Through July 4 Arnold Newman: Portraiture Exhibition James Walden: An Itinerant Eye July 9- December 31 Opening reception July 9, 6-8 pm

Kirkpatrick Galleries at the Omniplex 2100 NE 52nd 800-532-7652 www.omniplex.org Fred Beaver and Acee Blue Eagle: Oklahoma Indian Artists Through October 23 National Cowboy and Western Heritage Museum 1700 NE 63rd (405) 478-2250 www.cowboyhalloffame.org Jackie and Jim Meeks Through July 8 North Gallery Christina Bushe July 18- September 16 North Gallery William Bennett Barry July 11- September 9 East Gallery Leslie Lienau Capshaw Through August 14 Governor’s Gallery Oklahoma State Capital Galleries 2300 N. Lincoln Blvd (405) 521-2931 www.state.ok.us/~arts Mid-Century USA: American Art and Design, 1940-1960 Through August 21 Oklahoma Museum of Art 415 Couch Drive (405) 236-3100 www .okcmoa.com Brunel Faris August 21- September 16 Opening reception August 21, 2-5 Nona Hulsey Gallery, Norick Art Center Oklahoma City University 1600 NW 26th (405) 521-5226

Joseph Daun: Fear and Apathy Sunni Mercer and Candice Black Through August 13 Untitled (Art Space) 1 NE 3rd St. (405) 815-9995 www.1NE3.com University Gallery Oklahoma Christian University 2501 East Memorial Road (800) 877-5010 Ponca City Robert Bubp: A Video Installation Through July 2 Photographs: In Citizens Garb: Southern Plains Native Americans 1889-1891 from Mid-America Arts Alliance of Kansas City July 5- August 16 Digital Photography: The Manipulated Image August 23- October 1 Artsplace Ponca City 319 East Grand Ave (580) 762-1930 Ponca City Art Center 819 East Central 580-765-9746

Shawnee Salmagundi Club: An American Institution July 8- August 7 Opening reception July 8, 7-9 pm A Mosaic of Beliefs: Sacred Objects August 17- December 4 Opening reception August 17, 7-9 pm Mabee-Gerrer Museum of Art 1900 West Macarthur (405) 878-5300 www.mgmoa.org Stillwater Gardiner Art Gallery Oklahoma State University 108 Bartlett University art.okstate.edu/gallery.htm Tonkawa Eleanor Hays Gallery Performing Arts Center Northern Oklahoma College 1220 East Grand (580) 628-6670 Tulsa Photographs produced by students of LaQuita Hinton and Apertures School of Photography July 7 through July 30 Opening reception Thursday, July 7th, 6-9 p.m.

Black and white photography

by Elizabeth Downing August 4 through September 1 Opening reception Thursday, August 4th, 6-9 p.m.

Apertures Gallery 1936 South Harvard (918) 742-0500 www.aperturesphoto.com Expression of Diversity: Regina Murphy June 2- 30 Opening reception June 2, 5-8 Color Connection Gallery 2050 Utica Square (918) 742-0515 Machu Picchu: Unveiling the Mystery of the Incas Through July 10 American Artists from the Collection Through July 31 Gilcrease Museum 1400 Gilcrease Road (918) 596-2700 www.gilcrease.org Holliman Gallery Holland Hall 5666 East 81st Street (918) 481-1111 Deception Pass: Installation by Tanya Synar July 7- 28 Zebanda: Indian Textiles and Artwork Exhibit by Beth Field August 27- September 4 Living ArtSpace 308 Kenosha (918) 585-1234 www.livingarts.org

Diverse Works 2005 July 1-30 Matt Moffett and Lisa Regan August 5- 27 Tulsa Artists Coalition Gallery 9 East Brady (918) 592-0041 www.tacgallery.org Tulsa Performing Arts Gallery 110 East 2nd Street (918) 596-7122 Tulsa Photography Collective Gallery North Hall at OSU-Tulsa 700 North Greenwood Alexandre Hogue Gallery Phillips Hall, the University of Tulsa 600 South College Ave. (918) 631-2202 www.cas.utulsa.edu/art/ Waterworks Art Studio 1710 Charles Page Blvd. http://www.cityoftulsa.org/parks/ Waterworks.htm

Seahorse (detail), The Drunken Boat series

by Bruce Goff Exhibiting at the Price Tower Arts Center in Bartlesville August 12 through October 2.

From the collection of Etsuko and Joe D. Price

Woodward Jesse Montes July 1-31 Plains Indians and Pioneers Museum 2009 Williams Ave www.pipm1.com (580) 256-6136

Floating World Gallery 3714 S. Peoria Avenue (918) 706-1825 LANDed: Innovative Garden Structures Through October 16 Cesar Pelli: Sections Through a Practice Through July 17 James McNeill Whistler August 7- October 30 The Philbrook Museum of Art 2727 South Rockford Road (918) 749-7941 www.Philbrook.org

Victoria Shackelford, Desert Wedding Party Oil on Canvas.

Exhibiting at the JRB Gallery July 15- August 13.

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ArtFocus Ok l a h o m a Annual Subscriptions to Art Focus Oklahoma

PO Box 1946 Oklahoma City, OK 73101

are free with membership to the

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Non Profit Org. US POSTAGE PAID Oklahoma City, OK Permit No. 113

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Membership forms and benefits can be found at www.ovac-ok.org or by phone (405) 232-6991.

Student Memberships: $15 Individual Memberships: $30 Family/Household Membership: $50 Patron Membership: $100 Sustaining Membership: $250

Promise Guidry Cowboy Pickle acrylic on canvas 2004 Recently in Momentum

Don’t Miss It (left) Detail from a painting

by Matt Moffett, Rapture

Looking good is an Art! New Location

Booth Space Available for stylist and manicurist

Exhibit at the Tulsa Artists Coalition, Matt Moffett and Lisa Regan, August 5-27

See the gallery guide (p. 17-19) for a complete listing of local events.

Art House

Salon & Gallery 8014 N. Western, Ste. B Wilshire Crossing

604-5025

Adrian Thompson Janna Rouse Carr Jace Henley

Visit www.ovac-ok.org to learn more about artists in Oklahoma.