Art Focus Oklahoma, March/April 2005

ArtFocus Okl a h o m a O k l a homa Visual Arts Coalit io n

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Vo l u m e 2 0 N o . 2 M a r c h / A p r i l 2 0 0 5

It’s Back!

After a three year hiatus, Individual Artists of Oklahoma (IAO) has brought back the 24 Works on Paper Traveling Exhibition.

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contents

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profiles 3 tulsa artists’ studio tour 6 artists out of their element

reviews/previews 9

24 works on paper

11 24 hours from tulsa 12 sacred hybrids 13 back to basics photography 14 contemporary fiber art

features 15 history of competitive shows and oklahoma: centerfold

OVAC news 16 at a glance on the cover Artist: Mark Hatley title: Sorry Spot, Monotype, In IAO’s 24 Works on Paper

Member of the National Association of Artists’ Organization.

17 round up / momentum okc 20 renewing members 18

member agency

gallery guide

ArtFocus Ok l a h o m a Oklahoma Visual Arts Coalition P.O. Box 54416 • Oklahoma City, OK 73154 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: Janice McCormick (918) 366-3394 artreview@mindspring.com 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.

OVAC welcomes article submissions related to artists and art in Oklahoma. Article proposals should be sent to the OVAC office either by mail or email.

Quality images are also accepted with complete caption information. Deadlines are six weeks before the publication date. For instance, the deadline for the May/June issue is March 15. OVAC includes gallery listings for visual art exhibitions for which the entire content of the show remains intact for the duration of the exhibition. Every effort is made to include galleries and venues statewide that provide OVAC timely information.

OVAC welcomes your comments. Letters addressed to Art Focus are considered for publication unless they include the note “Not for publication” and may be sent to the editor at the address above. Letters may be edited for reasons of space or clarity.

Anonymous letters will not be published. Please include your telephone number if your letter is to be published.

Editorial Board: Janice McCormick, Bixby; Stephen Kovash, Randy Marks and Sue Moss Sullivan, Oklahoma City; and Teresa Valero, Tulsa. Assistance from Edward Main, Bixby. Cecil Lee, Norman/ Chickasha is editor emeritus.

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, Carissa Bish, 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.

This program is supported in part by the Oklahoma Arts Council

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

profile

e r o l p Ex creativity

Art Studio Tour Exposes Artists in Tulsa

Behind the scenes with ceramic cats, wooden tornadoes, and bronze children, visitors can see how artists work on the Art Studio Tour. Set for Saturday, April 16 and Sunday, April 17 in Tulsa, the OVAC Art Studio Tour 2005 will feature nine artists demonstrating a variety of media, including wood, fiber, painting, landscape installation, and ceramics.

The artists’ studios will be open to the public from noon until 5 p.m. each day of the self-guided tour, giving visitors the chance to talk with the artists, view and buy artwork and see art being made. Visitors are able to see inside the working spaces of both established and emerging artists, from basement to loft, individual and shared. The works range from abstract to representational, realistic to expressionist and traditional to cutting edge. Best of all, the viewing experience is relaxed and informal. Each artist will be present both days at their studios for demonstrations, questions and conversation.

Participating Tulsa artists are: Roz Cook, sculpture; Janet Duncan, landscape installation; Cynthia Brown and Walt Kosty, ceramics; Bob Hawks, wood; Janet Hawks, fiber; Louise Higgs, painting; Kate Kline, fiber; and Matt Moffett, painting. continued page 4

Cynthia Brown from Brown Cat Studio with some of her ceramic creations.

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Maps and tickets to the OVAC 2005 Art Studio Tour are $10, $5 for students and are available at Ziegler’s (6 N Lewis) or Brookside Pottery (3710 S Peoria) in Tulsa or online at www.ovac-ok.org. OVAC members will receive a coupon good for two tickets in the mail. Student or other groups may make special arrangements for discounted rates.

For the first time this year, visitors will have the opportunity to preview the artwork and meet the artists in advance at a sample event at the Gilcrease Museum on April 7. For $30 or $50 a couple, patrons can view examples of each artist’s work and enjoy great refreshments. Their patron ticket will also be good for the tour the following weekend.

Participating Artist Information: Rosalind Cook Sculpture

Rosalind was born in Lima, Peru in 1946.

Living in an isolated community high in the Andes until the age of seven was conducive to creativity as well as a love for varied cultures and people, which is often evident in her bronze sculptures.

Sculpting was a hobby that began to grow along with Rosalind’s children. She began concentrated sculpting studies in the 1980s and knew this was a calling on her life.

Soon after casting her first bronzes in 1989, her professional career quickly began to grow through select gallery representation and shows. Notable commissions enlarged the scope of her work, including works at hospitals, parks, libraries, churches, corporate headquarters as well as private homes across the country. Rosalind said, “My work is most recognized by the faces and the flowing forms of my sculptures. My goal is to capture the spirit of my subject, be it joyful, peaceful, animated, etc. I see my sculptures as a way to communicate with a viewer and hopefully celebrate the human spirit with them.”

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Janet Duncan Environmental artwork

“The last 3-4 years of my life have been spent on a tract of land just north of Tulsa, Oklahoma creating an environmental earthwork. The original 10-acre plot was covered with trash and debris, overgrazed, and overgrown with vines.

While discovering the land, I’ve begun to discover myself. What has evolved includes pathways, seating areas, sculptures and more. Additional expression through electronic media and written works document the many levels of my experience.

The primary goal is to provide a space that shares my own experience with the viewer, while providing a space for their own inner reflections.”

Bob Hawks Woodturning

After serving five years in the Army during World War II, he attended the Art Center College in Los Angeles and in 1948 started his own commercial photography business.

Bob’s clients included several well-known national magazines until 1987 when he relinquished management of the business and was able to devote most of his time to woodturning. While still active as a magazine photographer, he now has more time to create one of a kind, hollow vessels for sale and exhibit throughout the United States. Bob’s pieces are included in the permanent collections of The White House Collection of American Crafts, Oklahoma Governors Mansion, Glenbrook Hospital, Forest Heritage Center Museum, Arrowmont School of Arts & Crafts and more.

Jan Hawks Fiber

Jan Hawks is a fiber artist who grew up with adults who created clothing and decorative items by knitting, crocheting and sewing. Her interest in fibers started very early as she hung on her mother’s back as she sewed on a treadle sewing machine.

At age six she learned to knit, was sewing all her own clothing by 15 and at 17 began to learn to weave. Through the years she has learned many crafts but currently is

working mostly with fibers and the sewing machine. She started into quilting when she saw a magazine article on Seminole patchwork and much of her work contains this technique. She has had several magazine articles published showing her own designs using this technique and has had wall hangings and wearable art shown in juried shows in Texas and Oklahoma including Visionmakers and Fiberworks. She continues to experiment with traditional techniques using them in untraditional ways.

Cynthia Brown and Walt Kosty, Brown Cat Studio Ceramics, Mixed Media Assemblage

Each piece of artwork from the Brown Cat Studio is hand built and a one-of-akind ceramic sculpture. Cynthia works in coil, slab, and pinch construction for her whimsical and colorful creations. She frequently creates animal series, most recently on cats. Walt works in the studio also, which was originally conceived as an endeavor for Cynthia’s work. He is involved with the commercial aspects of the business, but also creates text pieces that he evolved into performance expressions. Using found and common artifacts, Walt builds assemblages or installations.

Matt Moffett Painting

Matt Moffett started oil painting because his dog died in 2000. Since then, his life has drastically changed from teaching Spanish at the University of Tulsa, to teaching art to public school kids at one of the poorest public elementary schools in Tulsa. Moffett paints pet portraits throughout the US and parts of Europe; collectors include Barry Switzer and President Gerald Ford.

Kate Kline Fiber

Kate is a fiber artist and runs a textile studio in Oklahoma, where she teaches quilting, hand-dyeing and surface design. In addition, she makes quilts and garments, and does machine quilting for other artists. “I have been working with fabrics as long as I can remember, from

Rosalind Cook “Waterlily” bronze

dressing my dolls in scarves as a young girl to making garments and quilts from my hand dyed and embellished fabrics.

Always wanting to create something unique, I have designed and constructed much of my own clothing since my college years. I started painting and printing on fabrics experimentally in the ‘90’s and took classes with Jane Dunnewald and Ann Johnston. I’m always experimenting with a variety of media from other disciplines, such as welding, pottery, painting and drawing. While I am often working in a somewhat traditional mode, my varied background and cross-media scrounging bring a unique touch to my work.

Although I have some formal art training, I believe my ‘eye’ comes from experience, an open mind and passion.”

Louise Higgs Painting

Louise Higgs is a painter and educator.

Higgs has served as the artist-in-residence for the Hospice of Green Country in Tulsa, working creatively with grieving family members, terminally ill patients and hospice staff members.

Matt Moffett Lulu takes a dip 24”x30”, oil on canvas, 2004

Picture from Janet Duncan’s environmental installation in north Tulsa.

OKC Art Studio Tour: The OVAC Board has elected to take a break from the OKC Art Studio Tour to draw together a task force to develop a statewide tour. OVAC’s goals are to grow links between artistic communities and highlight artists all over the state. Anyone interested in helping create this new statewide venture, call or email Julia Kirt (405-232-6991 or director@ovac-ok.org) to participate in the task force.

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profile

Audrey Schmitz Aphrodite’s Charms Stoneware clay, found iron elements

Out of Their Element Out in the Elements

By Randy Marks

My studio partner and well-known provocateur Larry Pickering suggested that we should have an outdoor sculpture show at Studio 31 Deuce on NE 37th in Oklahoma City. When I agreed that would be a good idea, he told me that I was in charge of it.

This was apparently cosmic payback for my goading him into doing a show of nonfunctional sculpture as opposed to the functional art for which he is known. Fair enough.

The first item of business was to put the show off as long as possible. Finally the Friday following Thanksgiving was

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chosen. The next item was theme. I kicked around several ideas then decided that this could be an opportunity for some fresh thinking. The question was posed “What would happen if you asked artists who had never done outdoor sculpture to do outdoor sculpture?”

Item number three was recruitment. In order to make the proposition attractive it seemed smart to insure more exposure for the show than a one night stand at our studio. Joy Reed Belt stepped forward to host the show after the initial opening at JRB Art at the Elms.

Recruitment came easily after that

and then a bonus was added. Audrey Schmitz, who had accepted an invitation to participate as a sculptor, said she would like the show to travel to the Eleanor Hays Gallery on the Northern Oklahoma College campus, Tonkawa.

Fourteen artists accepted the challenge to get out of their normal element and try their hands at outdoor sculpture.

The diverse group included a high school student, a blues guitarist, fiber artists, painters, architects and more.

Following are comments from some of the participants:

Morgan Robinson

seed pod/picked up/taken home/all alone thick & thins/once again/coffee shop/did not stop pushed the top/ink drops/sketched a bit/ quite intense pleasant trip/sang a song/devils claw felt the need/I let it bleed in letting go/I trapped some time/I called it mine/I stared in space/never erased my hand just sketched/I stretched/my window home/all alone I thought of Japan/sensitive land/seems to know/ thoughts that allow SEEDS to grow I gave it light/that dimly glows/my nudging spirit/lets me know/which way we should go I try to say/concentrate/don’t stay up late/ you took the bait watch the leaves/watch the trees/that let you in/allowing grins show me grass/sing me songs/quietly sway/ & sing along take a coffee/take a tea/don’t think too much/let it be simple sophisticated/ exchanged & traded/ blessed but frustrated walk around/ take a seat/suspended shapes encase me/in the minute’s moon & sun/ one in all and all in one Nathan Lee

Most of my sculptures have the look of something that would more than likely live on the outside. I use parts of trees and other things that occur in nature. I try to make figures that are quite unnatural in appearance but seem some how familiar. If I can make people take a second look then I have accomplished my goal.

I am glad that I participated in this exhibition because it gave me the opportunity to show my art in a different environment and it gave me a new direction for my art both in technique and execution.

I made a few missteps when creating my piece but I also learned so much from a technical standpoint. This has opened a new door of possibilities with my work and I am looking forward to gaining more experience in showing in an outdoor environment.

Brian Fitzsimmons

When Randy invited me to be part of the exhibit, I was afraid. It had been some time since I’ve created an object with no physical purpose or as art in a pure sense.

Although my work in architecture and furniture design attempts to be beautiful or intriguing as a piece of art in it’s own

Brian Fitzsimmons stolen concrete

right, the function/physical purpose of the piece always significantly impacts the design direction. With art, one should have something to say, or at least create something worth looking at more than once. Art has to stimulate the mind.

So I started with trying to make something worth looking at. Along the way, the piece started to say something. Issues with religion and the hypocrisy that often stems from it began to find metaphor in stolen. The flightless wing strapped on as a religious guise, or an angel stripped of its wing and left powerless, the conflict between perception and reality. The use of material and form attempt to strengthen this notion.

Concrete is used as both something heavy, rigid and solid, and something apparently fluid and delicate.

That said, I chose to use concrete from the start. I have done a few concrete sculptures in the past, though none as large as stolen. The traditional use of concrete is unforgiving. A negative form is created to fill with concrete, making a positive. There are no second tries, short of starting over. Similar to architecture and furniture, plan it first, then make it. The base was created this way.

In contrast, the wing explores the novel approach of pouring concrete over a wire armature. This approach allows some manipulation of the form to happen during the creative process. The form is slowly built up, … extending the time for decision-making.

Michael Hoffner

“Reluctant” might be a good word to describe the attitude with which I agreed to participate in this show - I had never done a sculpture large enough or permanent enough to stay outdoors. But having agreed, I was determined to do a good job.

Layers of crumpled paper had figured in my work lately, and I thought a similar effect could be made with sheet metal. My first piece of outdoor sculpture would address the viewer at eye level, meaning there would probably be some kind of armature to position the sheet metal at viewing height. With a list of possibilities and constraints, I began my usual way of working.

Sketches are done, usually three-dimensional views - I always try several ideas. When I hit on something I really like, I draw several views, details of how materials will come together and how connections will be made. After my pencil sketches had me convinced that the design for Sunflowers was worthy, I modeled it on my computer. Adjustments were made until the proportions looked right. Most of what remained at this point was to focus on the craft in executing the design.

With the computer model, I was able to make a scale drawing to give the steel supplier.

As a result of planning, every piece the steel supplier provided was exactly the right size, and every piece I needed was there. No material was wasted and there really wasn’t anything left to figure out. It was almost like assembling a kit—except that I didn’t know how to weld.

Before Randy and Larry taught me to weld, I didn’t know there was anything missing from my life. Zoomed in on the finite world of creating a weld, there was a place where the sense of time and space was lost, except for a 3/16” pool of molten metal I was coaxing down the joint of two steel plates. The act of fabricating Sunflowers was a more visceral experience than my drawing or painting. The physical demands of working with large, heavy pieces contributed to the elevated focus that made this experience so enjoyable. Compared to two-dimensional work, the results are so much more tangible. If a painting is a diagram of an idea or an artifact, a sculpture is truly an artifact. I am no longer reluctant.

Alyson Atchison

I enjoyed this experience tremendously.

Everyone should force themselves at least once to expand their usual way of thinking into a new dimension. I literally felt my brain stretching as I tried to picture how I would “draw” in the third dimension. In my drawings, the lines are the most important part of the image. I didn’t want to lose the sketchiness and expression that I get with my lines. So, it was important for me to be able to see my “style” in what I made. The steel rods I had available to work with lent well to this idea. continued page 8

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Heather Lee

I think one of the most challenging things for me when making my sculpture was waterproofing it and getting it ready for an outdoor environment. Since all of my work is done using fabric, getting it ready for weather and the elements was the main priority.

Angela Renke

I reference parts of the human body to create something that may convey a small glimpse of my past along with my present thoughts on the nature of the two sexes. I have an inner obsession with the part of me that defines me as a woman. It is not so much a physical obsession, as it is a conceptual obsession. The vagina makes me a woman, it is so literal, but it is the most obvious difference between man and woman. The physicality of humans is one of few concrete differences; whereas other differences are left as subjective ideas.

These differences create my fascination of our similarities. I am interested in understanding how our differences complement each. In this work I sought to focus on the gray areas of similarity between man and woman. I was thinking of these differences, whether they be physical or behavioral, which come together to form a similarity.

Sue Moss Sullivan

photo credit: Ken Crowder

It was still hard for me to transfer my thinking from 2D to 3D. Upon my orientation to welding, I told my teacher I wanted to make a building for a practice piece. He showed me how to get started and then I went to work, but stopped short with a flat outline of a building. I couldn’t see past the second dimension. I was sure my sculpture was supposed to be flat. It was like a light went on in my head when he showed me how far I could go with it.

I have fantasized about working in metal or wood for the outside gallery, but needed this push, shove and challenge to move me out of the comfort of my chosen medium. The ideas for the two pieces I completed came easily, but the execution was the challenge. Fortunately, I have my own resident welder, Andy, who patiently waited while I lined up everything, and then threw me the grinder and plasma cutter to do my own finish work.

I loved working with these tools and seeing it all come together. When I saw them installed, I wanted to alter and change them, but that’s for another time and other work.

Audrey Schmitz

Aphrodite’s Charms evolved after thinking about the lives of women in ancient cultures, and making sketches for a sculpture that would commemorate their history in some way. To realize the piece as a giant bracelet came as a result of a visit to Tonkawa Foundry’s scrap lot to seek “art parts,” and finding some curved pipe.

Although the pieces were not full circles, I saw the potential for charm bracelet fragments – no longer intact but offering traces of a life.

Aphrodite, the Ancient Greek goddess of love, beauty and humanity became my subject – certainly she would have received many charms from her lovers and consorts... [and] The charms are handmade

ALTHOUGH THE PIECES WERE NOT FULL CIRCLES, I SAW THE POTENTIAL FOR CHARM BRACELET FRAGMENTS – NO LONGER INTACT BUT OFFERING TRACES OF A LIFE. of stoneware clay, hollow slab forms that are incised and glazed to resemble bronze or iron. Each charm represents the “giver” in both the design and personal message engraved into the clay...

The major structural components are made of iron, mostly found elements left for scrap from the foundry yard and an oil-field supply business. Some machine work was required along with welding – so I bought or begged this expertise from friendly, talented and curious Tonkawa citizens.

Randy Marks As the curator I should, mai oui, be biased.

That aside I can say that I was happy and more so with the work that was presented.

Each artist brought good work and a new perspective to their sculptures.

Oklahoma Painting and Drawing

Biennial VIII

April 30-June 10, 2005 Opening reception: April 30, 2-4 pm Curator’s talk: 2:30 Art Gallery at the University of Science and Arts in Chickasha 8

Organized by the Oklahoma Visual Arts Coalition • For more information, go to: ovac-ok.org or call (405) 232-6991.

by Stephen Kovash After a three year hiatus, Individual Artists of Oklahoma (IAO) has brought back the 24 Works on Paper Traveling Exhibition. Once publicly funded, this 16th exhibition of works on paper is now sponsored by the Stephany Poorbaugh Memorial Fund and by a contribution from Dr. Mark Allen Everett as part of the Art Freedom Fund of IAO. 24 Works on Paper travels to five locations in Oklahoma starting in September 2004, and return to Oklahoma City in July of 2005 for an artist’s reception and closing exhibition. The review was done at the East Central University Gallery in Ada.

reviews

24 Works on Paper Traveling Exhibition 2004: A Speedy Review

This exhibition, juried by Katherine LiontasWarren, Professor of Art at Cameron University, is an outreach program of IAO. The purpose of the outreach is to provide quality contemporary art to communities that normally have limited access, and to give state-wide exposure to Oklahoma’s contemporary artists. All forms of works on paper are considered including: photography, painting, drawing, lithography, etching, serigraphs, collage, and mixed media.

Usually by the time you read one of these articles, the exhibition has closed and you no longer have a chance to view the work. Since this show will be traveling through July, you still have a chance to see it. Venues for the exhibition include Northern Oklahoma College, Tonkawa, from the last week of September through the end of October, 2004; Southwestern Oklahoma State University, Weatherford, second week of November through the third week of December, 2004; East Central University, Ada, January through February, 2005; Leslie Powell Gallery, Lawton, May through June, 2005; and at IAO Gallery, Oklahoma City, July, 2005.

Winners of the $200 Awards of Merit are Mark Hatley and Tim Sullivan. Each artist received a $25 honorarium for accepted work.

I have found it challenging to review single artist shows in that I need to be able to describe what is going on, give a fair indication of the overall show, while not taking up too much space. My test here is to attempt coverage to all the participating artists while considering your attention span. So in this era of “speed dating” and “poetry slams,” I am going to attempt “Speed Reviewing.”

Burt Seabourn (OKC) Pablo and Me - Intaglio Etching – Collage format, found Picasso, couldn’t find Burt, browns predominate, mixture of masculine and feminine images. continued page 10

Kathleen Rivers Morning Coffee Giclee

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reviews

William Struby (OKC) Distance – Mixed Media - Nice piece, reminiscent of a post-WWI French Poster, very blue, slender woman (in bondage?).

Kathleen Rivers (Ada) The Dance - Collage Monotype - Businessman walking, towering buildings, crumbling destruction, fire, smoke, scribbling over the top of the piece.

Kathleen Rivers (Ada) Morning Coffee - Giclee – Voluptuous female form, nice use of color, with black, white, pink (blood), yellow and orange predominating. A fancy coffee order is written over the piece.

Trent Lawson (OKC) Belly - Mixed Media/Acrylic - paint and other material is layered on thick, creating a texture that looks like cracked earth/sculpture/ raku. Very earthy, like the floor of the Mojave Desert.

D.J. Lafon (Norman) Gertrude Stein Charcoal – VERY nice study of a woman (Gertrude Stein maybe?).

Kolbe Roper (Edmond) Simple Celebration – Mixed Media - Middle Eastern feel, collage, Whirling Dervishes, people praying, Russian (?) Musicians in a rotunda (think Library of Congress). Collage includes three illustrations of some sort of grain.

Mark Hatley (Ada/South Carolina) Sorry Spot – Monotype - Picasso meets Ren and Stimpy. Disturbing yet very pleasing.

Great use of color – multicolor Ren with one big arm, one little arm, surrounded by stars. Green, blue and red predominate.

Chris Corbett (OKC) In the Motionless and Timeless Center - Silver Gelatin Photo – Timeless is appropriate – classic female nude in a hollow tree/sylvan setting.

Sue Clancy (OKC) Hungry for Music - Mixed Media – Classic Sue, whimsical figure, eating and drinking musical notes, hand made paper (Sue’s specialty), collage of images include Beethoven, Ears and the statement “About 1801,

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Beethoven began to experience deafness, but he did not allow this to interfere with his composing.”

Christina Busche (OKC) Untitled Photograph - Black and White, ghostly images (looks like New Orleans), possibly a man and woman in a hallway.

Eerie yet compelling.

Amanda Boehm (Lawton) 6 Visits or 21 Days Carpal #3 - Intaglio – very interesting, ropy and masculine, resembles a Japanese back tattoo.

Keith Ball (OKC) Hub Cap Giclee Print, Acrylic – Partial photograph of a vintage wire hubcap, finished in graphite, paint splatters and graphics reminiscent of 80’s pop art – Duran Duran meets A-HA in automobile alley.

Alyson Atchison (OKC) Girl with Grace - Serigraph – Alyson is going to be big, pick up her stuff while it is still underpriced. The print shows a figure of a girl commanding a fish from the water, stars and moon in the background.

Turquoise blue, red, yellow and orange predominate.

F. Bradley Jessop (Ada) Blue Yodel #2 - Monotype, Mixed Media – Industrial, 50’s/60’s (post?) modern images – female in profile, whimsical cat scratched cartoon. Neat high tech material – aluminized ink.

Jacquelyn J. Knapp (Chickasha) Searching - Graphite – Very nice graphite (almost 3D) representation/ study of clouds possibly storm clouds.

Betty Wood (Norman) Fantasy Landscape – Monoprint - Rolling destitute landscape, dried leaves/weeds, willow branches – lonely highway?

Betty Wood (Norman) Arching Forms - Monoprint - Stark, black and white, deathly, arch shape predominates (tombstone?), winter, iris, ginkgo, willow branch.

Petas (OKC) Symbols of Us, Reprise

- Mixed Media- The Artist formerly known as Wendy Mahsetky-Poolaw – Cave paintings, horses, plants and flowers. Stark and compelling.

Petas (OKC) Symbols of Us - Mixed Media – Very challenging piece, deceptive, images are there, you have to find them, face of a man in pain, conflict, wings. Black and whites predominate.

Tim Sullivan (Norman) Apotheosis - Screen print – Kaleidoscopic vista of human form, black, blue, purple and earth tones, images intertwined in a psychedelic background, very 60’s.

Michael Wilson (Norman) Precious - Monotype - Schizophrenic, beautiful, misshapen daisy with dollar bills for leaves, writing, coherent yet conflicting and contradictory.

Michael Wilson (Norman) Ways In Monotype – Child images, block numbers, windows, quote “Happiness is a warm puppy/so I got on/His name is Happy Stefan Chinov (Ada) Untitled – Etching – Black ink, white paper, rhomboid and other uneven shapes.

This is a great, well juried show and is an excellent representation of what the artists in Oklahoma are currently doing.

Please don’t miss it at the Leslie Powell Gallery or the IAO in July.

Post Script – I promised to give a few words about Mark Hatley, who received one of the two awards of merit. Mark recently graduated from the Art Program at ECU which continues to produce very promising artists. I recently looked at Mark’s senior show that, while undisciplined, was wonderful to view.

He shares the quirky dark cartoon style of many of his contemporaries and he deserved the award of merit. His “24 Works” piece nicely represents his overall portfolio. Mark has moved to South Carolina to pursue graduate work. I look forward to see his work as it matures.

Bradley Jessop Blue Yodel #2 Monotype and mixed media

Ace Cuervo’s

24 Hours from Tulsa

Unlike Ian and Sylvia’s song of the same name, Ace Cuervo’s 24 Hours from Tulsa (recently at Holliman Gallery, Holland Hall campus) captures not a physical distance from Tulsa, but rather a psychological distance experienced while within Tulsa’s city limits. The titles to all of Cuervo’s black and white photographs merely state the exact time they were taken. His approach to the traditional subject matter of cityscape and architectural detail has a decidedly post-modern flair with its highly self-reflexive emphasis on the nature of photographic images as images. He achieves this by deliberately misemploying photographic techniques: over exposure when taking the picture or underexposure when printing (2:20pm); jostling the camera during a very long exposure resulting in wavy lines of light (1:26am, 1:45am); and simply leaving it out of focus (2:38pm).

Among these images of Tulsa’s urban environment, there are familiar architectural landmarks: the old Mayo Hotel (3:08pm), the soon-to-be-demolished Denver Grill (1: 27pm; 1:14pm), and the Admiral Twin Drivein Theater (10:22am). Even a new landmark is tossed in for good measure - the retroArt-Deco downtown Bus Station (3:17pm).

Yet, such familiarity does not bring comfort.

Something is lacking. It takes a moment to realize that there are no people in this city.

The very purpose for this architecture – to serve human needs – remains unfulfilled. You

By Janice McCormick

can almost hear the hollow footsteps of the photographer on an empty street.

2:20pm, a large 17” by 22” photograph, captures the sweep of an extended overpass as viewed from below. Its concrete arc dominates the entire image. As it hovers over and curves away from you, a palpable sense of distance separates you from the bleached-out cityscape beyond. The “T” shaped concrete supports and steel guardrail heighten this separation.

Here, the image’s large blank white areas (deliberately the result of improper exposure) amplify the barrenness of the scene.

1:45am strikes the viewer as a drive-by shot of the cityscape taken at night from afar.

Jiggling the camera while set on a long exposure distorts the lights of skyscrapers and lampposts into sharply delineated streaks, bars and tildes. The resulting rhythmic liveliness contrasts with the rather dark, uneventful sky and totally black foreground. Reflecting on this liveliness, you realize that it comes not from the city itself, but rather from the photographer’s actions. For all you see, this is a dead city. Furthermore, this blurred skyline of unremarkable, late modern glass-boxes (which could be any where in the world) leaves you disoriented and wondering, “Am I the only one here? And, where am I, anyway?”

Several signs crop up through out the exhibit, but one in particular caught and held my attention. The lit neon sign in 9:53pm reads: “COUPLE $28 / Gateway Motor Hotel

/ WKLY EXTENDED STAY / RATES STARTING AT $22/ SLEEP AMERICAN.” At first, the cartoon-like Uncle Sam holding a stars and stripes suitcase brings a smile because of its folksy charm. But, when coupled with the phrase “Sleep American”, it takes on an unwelcoming and excluding tone. And, you feel a bit sheepish for having found it amusing.

With only traces of human activity found (a sun-lit but empty sidewalk - 4:25pm, an unmanned bike leaning against a bar or liquor store wall - 1:52pm, and a motel sign lit up to attract sleepy passer-bys - 9:53pm), it is startling and rather surreal to find human faces. But, these faces turn out to be images in the mural on the south-facing wall of the Denver Grill (1:14pm), taken in December 2004. On a larger-than-life scale and painted in an awkward manner, the heads of Marilyn Monroe, James Dean and Elvis Presley peer out across a broad and empty stretch of gravel.

All their color drained away by the black and white photograph portends their imminent destruction by the bulldozer.

Breaking with the traditional, objective documentary approach that merely records what is present, Cuervo explores his own complex and ambivalent reactions to Tulsa by manipulating various photographic processes.

And, in the process, he creates a psychic distance that allows us to look at Tulsa from a different perspective.

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reviews

Sacred Hybrids There is a piece entitled, Nurture or Nature, in the Sacred Hybrids exhibit at Tulsa’s Living ArtSpace.

The work is a bowl-shaped vessel of manzanita burl and gourd – beautifully gnarled, organic and irregular - that holds in its center a cradled shell

by Rhonda S. Davis

hackberry. Other works are composed of more elaborate, complex open and closed forms, playing off outer and inner light patterns. Serpico, a small vessel, retains the natural irregularities and openings of buckeye burl, allowing the light to shine through circular openings, repeating the cast light shapes from its exposed interior. Open and closed forms take a most ornate turn in Dragon Dance, made of redwood burl and mannered into fluid, leaf-like spirals.

The hand of Linda Stilley becomes evident in the adornment of many of the works present, not just riding upon their surface, but penetrating into their content and three-dimensionality. Primarily a painter who has also worked in clay, Stilley appears to slip effortlessly into a collective consciousness with Fleming, elaborating on the integration of the tactile and spiritual by using opaque and translucent acrylic washes and the introduction of fetishes in the form of extraneous objects, such as beads and feathers. Time Frame incorporates hackberry, acrylic, leather, copper, stone and bone into a vessel. The repetition and subsequent patterns composed of these ornate features suggests musical rhythm, with perhaps ritualistic associations. At times, Stilley vacillates between suggestively unrestrained brushwork and the insistence of order, as she complements the forms.

Dragon Dance

by Ron Fleming. redwood burl, from the exhibit Sacred Hybrids at Living ArtSpace, December 2-23, 2004, Tulsa, OK.

from which an egg, born of polished stone, has emerged. A succession of protective orbs and vessels - molded by nature, molded by hands – this piece also holds in its center the essence of a collaborative exhibition by two Tulsa artists, Ron Fleming and Linda Stilley. If this title, Nurture or Nature, poses as a question, then this exhibit sets up a compelling dialogue between the two. And, if this title is the answer to a question, then it’s easy to accept its harmonious resolution.

Vessels and bowls, urns and jars metamorphose into womb-like forms, alternately protective and vulnerable, inviting you to witness the birth and decay of nature. An intriguing combination of bio-morphic and geometric designs, natural and mannered surfaces, this collection reveals the individual style of each artist, but resolves itself best in the works which join the two most evocatively; these are the “sacred hybrids.”

Ron Fleming’s turned-wood sculptures are texturally diverse and expressive. There are the simple vessels, with geometric patterns, combining smooth and jagged edges, like Pyramidal Vessel, made of spalted (a process of rotting the wood to create a pattern)

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Method and content are tightly woven in this exhibit. Naturally evolving and deteriorating wood, suggestive of transition and the passage of time, crosses paths with the touch of the artists’ hands - gentle hands, playing off the stage of life of the material itself and intent on preserving its inherent beauty, but firm and molding hands as well. Metamorphosis rests in three pieces, made of sycamore, acrylics, hackberry, walnut and cocobolo.

Like Nurture or Nature, it addresses the core of our existence, as it joins man and environment through the birth of one from the other. Smooth egg shapes that have left behind their broken shells, jagged from the break or trauma of birth, serve as symbolic reminders of both life’s protection and destruction.

There is an implied tenderness toward the natural condition of the woods and materials in this collection – a respect for their innate qualities. There is the mark of the artist as well, searching for and determining his or her creative, but respectful role.

Fleming and Stilley found a good match with each other for their respective aesthetics when they joined forces here, establishing a dynamic not unlike the one which exists in the play of the concepts of nature and nurture they address. It’s a dynamic operating on many levels, including one which reminds us of a shared passage of time with nature’s resources, where we recognize and find universal concepts of beauty.

previews

Back

to

Basics

In an age where digital photography has become the norm, this exhibit will take an alternative view and feature Oklahoma and regional artists preferring light and the camera over a computer screen and Photoshop.

A variety of photographic techniques such as Cyanotype, Polaroid Transfer and Daguerreotype will be on display. Back to Basics Photography and Eye Spy, a coinciding exhibition of children’s photography, will be on display April 28 – May 31, 2005 in the Eleanor Kirkpatrick Gallery at City Arts Center. There will be an opening reception on Thursday, April 28, 2005 from 5:30 -7:30pm.

The Back to Basics Photography exhibit has been included in the 2005 gallery season to showcase the variety of styles and techniques within the medium of alternative photography. Don’t let the name “Back to Basics” deceive you! This exhibit will offer exceptional work that is anything but elementary! This celebration of the basic relationship between artist and camera has produced work that is innovative and contemporary. Each artist has explored alternative processes to develop a body of work with a fresh and unique appeal.

Some artists such as Jim Meeks’ images will explore man-made objects in basic geometric shapes that were found in various places and that had either been thrown away or left to rust and decay. “I like the character these objects take on over time, the basic shapes, their commonness and the process of searching for them,” says Meeks.

His works have been featured recently in

Kimberly Rodriquez NY Strip Back to Basics Photography at City Arts

Photography

the International Photography Hall of Fame in Oklahoma City and a number of his images are in public and private collections throughout the United States and Europe.

Sarah Williams has returned to Oklahoma City from New York and is now making her presence in art venues in the Oklahoma market. Williams’ images are the result of a unique process that she has developed. In Topography of the Brain, Williams began with colored pencil and ink drawings, coated with cooking spray and baked in the oven, resulting in an orange cast. She then coated the drawings with gel medium making them printable. She has refined the process and her experience allows her the ability to color balance her imagery. “I immerse myself in the creative process beyond traditional techniques.

The alchemy and unexpected surprises that are possible with processing prints by hand allow my creativity to flourish beyond the creation of a negative or a print,” says Williams.

Dallas based artist Kimberly Rodriguez is the Merchandising Coordinator for Wright Studios which produces small product catalogues. Catalogue photography requires detailed attention to presentation, placement and lighting. In contrast Rodriguez prefers to photograph the world without manipulation.

Rodriguez comments, “I want to show how or where things were before they were lit, shot and burned to a disc. The minute details that make up the world around me speak to me.”

Using a Holga camera, she has allowed the natural occurrences of light leaks and ghosting

to affect her composition. She creates an interesting visual collage of disoriented subject matter combined with scenes from daily life.

Back to Basics Photography promises to be a photographic journey into the contemporary world of alternative process photography. Images will be presented in a wide variety of unique formats including light boxes, photographic constructions and installation pieces.

In addition, there will be a coinciding children’s photography exhibit Eye Spy in the back of the gallery. Under the guidance of a professional photographer, children will be given cameras to photograph the world as they see it. This exhibit opportunity has been made possible by Kirkpatrick Bank.

The Eleanor Kirkpatrick Gallery is located in City Arts Center at State Fair Park, 3000 General Pershing Blvd., OKC, OK. For more information or call 951-0000, gallery hours are Monday - Thursday 9:00 a.m. - 10:00 p.m. and Friday - Saturday 9:00 a.m. - 5:00 p.m.

Jim Meeks Campbell Center Back to Basics Photography at City Arts

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previews

CONTEMPORARY

Fiber Art

The 27th Annual Fiberworks Exhibition sponsored by the Handweaver’s League of Oklahoma will be featured in the Eleanor Kirkpatrick Gallery at City Arts Center March 12 – April 9th, 2005.

Oklahoma artisans working in a tactile medium are infusing innovation into a traditional artform, creating a new genre of contemporary “fiberworks.” This extraordinary exhibit includes objects made of felt, woven cloth, paper, dyed fabric, photo transfer onto fabric, basketry, knitting, quilting, beading and more.

Artwork will be accepted for entry into this juried exhibit at City Arts Center on Saturday and Monday, March 5th & 7th noon to 4pm. A non-refundable entry and handling fee will cost members $15 and $20 for non-members. This entitles the entrant to submit up to three (3) works.

Awards are given for outstanding entries.

The Linen: Enduring and Endearing Workshop will be offered in conjunction with the exhibit on Saturday and Sunday, March 12 - 13, 2004 from 9am – 4pm at Center City Arts Center. The workshop cost is $60 for members and $80 for non-members. Artists interested in submitting work for the exhibition or attending the Linen: Enduring and Endearing Workshop should call Dorothy Dinsmoor at (405) 348-4666.

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Fiberworks began in 1978 by the Handweavers League to provide Oklahoma fiber artists with an opportunity to enhance and expand the artform and offer a venue for exhibiting and selling these unique works of art. “The Handweavers League is very proud of our annual Fiberworks Exhibition. It is the only statewide 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 exciting exhibit and Handweavers League of Oklahoma greatly appreciates the partnership with City Arts Center, and the support of State Arts Council, and our generous donors,” comments Sue Moss Sullivan who is the 2004-2005 Handweavers League of Oklahoma President.

The juror for the 2005 Fiberworks exhibit is Nancy Hoskins, from Eugene, Oregon.

Ms. Hoskins has an extensive background as a weaver, an instructor, a writer, and a researcher. With an MS in Interdisciplinary Studies (Art History, Art Education, and Fine Arts) from the University of Oregon, she taught college weaving from 1981 to 1996. Ms. Hoskins has a special interest in Pharaonic, Coptic, and Early Islamic textiles, which as resulted in numerous publications, including the recently

above left: Laura Strand (Last year’s Juror of Fiberworks) If Only Painted silk above right: Lin Hartgrove-Sanchez Miho (left) Basile (right) Scanned photograph printed on vinyl, sliced by hand and woven

published Coptic Tapestry Albums and the Archeologist of Antinoi, Albert Gayet. Ms. Hoskins researched Coptic collections in over fifty museums around the world to gather material for this book. She is also the author of Weft-faced Pattern Weaves: Tabby to Taqueti; Universal Stitches for Weaving, Embroidery, and Other Fiber Arts; Boundweaving (a video tape); and many articles in textile and archeological journals.

Nancy Hoskins has exhibited in 30 solo and group art exhibitions in the United States, Canada, and Australia, and has presented over 100 programs and workshops for guilds as well as for regional, national, and international conferences in 18 states and five countries. With her broad range of interests, skills and experiences, Ms. Hoskins will bring to Oklahoma fiber artisans an extraordinary opportunity to gain both an introduction to Coptic and Early Islamic textiles and a unique handson weaving experience.

City Arts Center is located at the State Fair Park, 3000 General Pershing Blvd., OKC, OK. Gallery hours are MondayThursday 9:00 a.m.-10:00 p.m. and Friday-Saturday 9:00 a.m.- 5:00 p.m. with no admission charge.

and

OKLAHOMA:Centerfold

By Cecil Lee

Audrey Schmitz Icon Photo-assemblage: Silver gelatin prints, glass, wood 20.75 x 12 x 4.75” Awarded Best of Show in Eleventh Biennial National Juried Oklahoma:Centerfold Exhibition.

Stephanie Grubbs Swimming Flying wool felt

Mike Stephens First Class Woodcut

On January 16, the Leslie Powell Foundation and Gallery biennial, OKLAHOMA:Centerfold, opened with a reprise at the USAO Art Gallery in Chickasha.

This is the first of three competitive shows to be in the USAO Art Gallery this Year. This density of Competitive Shows Would have been unusual 20 years ago – but not forty years ago. As I remember, the first fall I taught at OU in 1959, shortly after I arrived as a new teacher, my colleagues and I attended the Southwest Biennial show sponsored jointly by the Oklahoma City Museum and the University of Oklahoma. Competitive shows were common after World War II and continued with full flourish until the mid-sixties. Then they disappeared from view in the serious art scene and did not reappear until a quarter of a century later. Why? First let me address the mid-century phenomenon, then the reemergence.

While most of the Midwestern universities had developed art departments before the depression, there was a renewed energy with the GI Bill students and a new attitude toward the arts. John Dewey’s belief that art was a necessary component of the developed and balanced personality made its impact on art education and we had begun to see its first fruits. With low cost higher education and a firm belief that the war had been fought to make possible the pursuit of the “finer things in life,” the arts were embraced with a new enthusiasm. Numerous Hollywood movies featured young artists in Paris.

In a post-war imitation of the Gertrude Stein circle, we found aspiring writers and poets, dancers and choreographers, musicians and composers, and painters and sculptors. The general affluence of the Eisenhower years made possible a reasonable hope of supporting oneself by being an artist. The post-war mentality was to embrace modernism as the significant direction for the arts.

enthusiasm were overwhelming. I have a paper by a graduate student who claims we would go forward “by the grace of God and the guidance of Picasso.”

This unanimity of opinion was, of course, limited to the art scene. At the Southwest Biennial opening in the fall of 1959, there were picketers at the fair grounds with literature denouncing us as communists or communist dupes who were knowingly misguiding the public by saying that bad art was good. These expressions of ours, it was argued, would eventually lead to the moral decline of the social fabric. But those in the avant-garde held their ground.

feat ure

A Brief History of Competitive Shows

The end of this solidarity (and with it, competitive art shows) was brought about by the diversity of new directions. The New Image show of 1959 and the Responsive Eye show of 1963, coupled with Andy Warhol’s contributions, raised questions of how one could compare diverse directions. That is, how can one say a particular Liechtenstein is better that a particular Rauschenberg, let alone the horror of a silk screen of a Marilyn Monroe photograph.

Further, added to this was a group of traditional art patrons (often with a great deal of money) who had come to openly question the authority of the professional artists. Even academic administrators began to raise doubts.

In Oklahoma City, the combination of an extremely advanced show juried by Clement Greenburg and the withdrawal of five abstract paintings alleged to be pornographic led to the end of the regional biennials. Similar dramas were enacted in most major cities. The age of the competitive shows was over. Small groups of particularized directions, such as representational water color, or china painting, alone continued.

But, in the eighties the loss of a former age became evident. OVAC, in its inception, saw a need for the dynamic of the competitive show. The Leslie Powell Gallery in Lawton offered its first Centerfold show in 1989 and The USAO Art Gallery began the Seven-State Biennial in 2001. Each had a different agenda. OVAC hoped to encourage the cutting edge of art and restore the modern to a vital role in Oklahoma. The founders of the coalition raised the comparison question. While willing to let the jurors deal with style problems, there remained the question of media breadth. Should

Maryruth Prose Ladder hand dyed and woven wool

It is surprising, from our viewpoint, that the content of what we called modern had a wide and general approval. In painting, the style of the cubists, especially Picasso, was accepted. In music, Stravinsky and American jazz could be used as the standard; in literature, Hemingway and Maugham. Later, the more expressive artists were added to this pantheon of the accepted. The universal agreement and

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drawing and paintings be treated together?

The Centerfold started eclectic with a loosely defined landscape idea (the dictates of the will of their patron, Leslie Powell) that became so loosely defined as to simply be a show of everything anywhere in the country. That there is a need for such a show is evident in the near 800 entries from nearly every state. The show is well publicized in the national art media.

Why would so many out-of-state artists pay to enter a show they have only a limit chance of getting in? All three shows have a respectable purse which is essential to their purpose. It is not the money itself that attracts the artists. The money guarantees a serious show and acceptance enhances their credentials. This is not unlike the role shows played in the 50s. How then do these shows differ from the early post-war models?

Rather than attempt to grade the works as though they were by members of an academy (as was done in the 19th century French salons) the juror forms an exhibition which exposes the general health of the art scene. This is a bit like Greenspan commenting on the economic well being of the nation. Even in the juror’s statement, Kristy Deetz said little about the particular aesthetic criteria of the work. She spends half the space quoting from her 1994 statement and then talks about the American scene.

“Philosophically I viewed this year’s exhibition in much the same way [as she had done earlier].

Differences I did notice in the work submitted for the 2004/2005 Oklahoma:Centerfold include a broader range of voices, a heightened awareness of American and world politics, a stronger focus on gender issues and cultural criticism, and an increasing use of digital imagery and new technologies which are further blurring the boundaries among traditional media.

“As a juror, I made selections based on the works’ capability to manifest a strong concept and effective technical execution, and to evoke in me a strong emotional/intellectual response.

Congratulations to the winners especially, but to all entrants who undertook the challenge to unfold something of their individual landscapes.”

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In this eclectic array of art there are indeed some very fine pieces. D. J. Lafon’s oil painting, Morning Light, a figure study in ethereal colors shows a master artist at his finest. Lafon, retired from Ada and now living in Norman, is a frequent contributor to local shows and has become one of the assured statements of quality in any show. But to highlight the “comparing apples and oranges” dilemma, his work hangs next to a hand-dyed wool weaving by Maryruth Prose of Lawton. It is only in the last couple of decades that so purely a craft work could hang in a serious “art” show. There are still critics with mid-century criteria, but they are declining in number. Prose’s work, Ladder, is of unbelievable

subtlety. First she has dyed an incredible range of color, then by sorting separate strands she makes a painterly illusion, reminiscent of the best of the op artists.

Socio-political commentary dominates a woodcut called First Class by Mike Stephens of Corpus Christi, TX. The way in which Stephens comments on post 9/11 life recalls the early works of Ben Shahn, and, like Shahn, judgment of his work will probably depend more on the viewer’s red/blue position than on the aesthetics of the work. Reviewing the works in the show as one might a show a half century ago is impossible.

There are many fine statements but not one concerted direction. The avant-garde is a thing of the past. In this post-modern world, a return to modernism—as we see in majority of the works—is merely another post modern position.

It is certainly a show worth seeing. The aesthetic well being is still vigorous if lacking in direction.

The selection of winners by Deetz continued in the democratic, aesthetically correct taste of the general selection. In the honorable mentions and critic choices one sees what is likely her taste, but the four top prizes are more like the best in four distinct categories or separate shows. First place winner, Stephens First Class has been mentioned above. Stephanie Grubbs, of Edmond, whose felt works have grown more and more sophisticated over the years was placed as second. An excellent work, called Swimming Flying, subtle colors and soft shapes give an evocative, loosely defined image. Nancy Morrow of Manhattan, KS, in her Heartland is probably the most typical of current style, although not one of the stronger works. Like many of postmodernist artists, she relies heavily on literary conceits at the cost of the visual.

“Best in the Show” was given to Audrey Schmitz of Tonkawa, OK, for her silver gel prints and mixed media Icon. In some ways this piece does epitomize the tone of the show. The imagery of Schmitz’ work is highly eclectic. It is religious, but not of single defined religion. It is in the form of a sacred relic and requires a degree of reflection to grasp its spirituality. But, at the same time it is purely art. The use of materials is masterful, but the immediate effect has folk simplicity as though the artist had no idea about artfulness. The impact of Icon is conditioned by the presence of a second work very close in form called Beyond Mars. Like Icon it is sacred image. But Icon is far Eastern while Beyond Mars is American Indian in an implied Greco-Roman framework. Both works give a feeling of coming upon something of historical importance, not overwhelming but a good sense of presence.

As a contemporary competitive show, The OKLAHOMA:Centerfold is certainly worth spending some time viewing.

Billy Reid ‘Things Change’ 40 x 40 inches mixed media on board

At A Glance

by Julia Kirt The Untitled [Artspace] fall exhibitions were a great partnering of styles and media featuring Rob Phoenix, Shelly Collins, and Blake Collins running December 3rd until January 22nd, 2005. Rob Phoenix’s introspective paintings filled the main gallery. Using a subdued palate, Rob’s acrylic on panel surfaces demanded attention. His imagery explored symbols, coming across like hieroglyphics with molded backgrounds.

Above all, he seemed focused on the process of painting. In the small west gallery, Shelly Collins playful mosaics combined great textures. Her use of color and surfaces was great. Really, I couldn’t help but feel good looking at her work, as they seemed to exude a joy with life.

Featured in the small east gallery, Blake Collins’ drawings were mesmerizing—-both mirthful and dark.

Getting to see his sketchbooks had me transfixed. His style plays on the old school look of etching in crosshatching, but with a contemporary twist in scale or subject. I look forward to seeing more of his work.

Mainsite Contemporary Art Gallery in Norman has made a consistent commitment to the best in contemporary art. Subsequently, the gallery has organized a regular series of exhibitions for young or up-and-coming artists. The most recent installment, Emerging Artists, was held December 3- January 22. The exhibition featured Billy Reid, Erin Cochran, Katrina Tullius, Megan Akers, Garland Grantham, Ashley Nicole Smith, Craig Tompkins. I like the way the Mainsite asked each artist to really submit a body of work. Rather than a show with a smattering of pieces, viewers could get a strong sense of each artist’s direction. This type of challenge and focus is something I think we strongly need to improve the arts in Oklahoma—calling on each artist to pick their best work and make it even better. Anyway, the groupings of work were great. I was enthralled in Katrina Tullius’ works. She uses needlepoint on varying fiber backings, creating disconcertingly attractive and yet not harmonious compositions. Erin Cochran’s paintings were another highlight with their understated skill and wit.

Robin Chase, co-chair of the Momentum committee.

Momentum OKC: a Blow Out Success Viewer’s Choice winner Matt Wiens with one of his paintings.

The fourth annual Momentum event in Oklahoma City on January 8, 2005 was OVAC’s biggest event ever—literally with over 1,100 attendees!

Troy Wilson, Exhibits Director at City Arts Center, and Dustin Hamby, Assistant Director of JRB Art at Elms juried the exhibition this year. The cocurators were incredibly thorough, spending more than six hours reviewing submissions from 147 young artists. They chose 160 works by 85 artists age 30 and younger, which included visual art, installations, dance, film, mixed media, and more.

Of the selections, Wilson said, “I enjoyed the experience of seeing work created from a fresh perspective. My personal criteria for selection were based on an effective combination of the following: technical ability, presentation, genuine exploration of subject matter and most importantly, the presence of a unique artistic ‘voice.’” Hamby added, “Many of the artists’ works reviewed were new to me, and I was grateful for the exposure to so many interesting and challenging ideas.”

The curators also selected six of the awards: Best in Show: Billy Reid, OKC; Pitchy Patchy Award: Ruth Ann, Borum, Norman; Doerner, Saunders, Daniel & Anderson LLP Award: Amanda Hagy, Stillwater; Awards of Merit: Scott Henderson, OKC; Elise Deringer, Norman; Jennifer Glenn, Stillwater The Viewers’ Choice Award was tallied by audience votes with Matt Wiens, OKC the runaway winner.

round up

OVAC Program Assistant Stephanie Winter works with Trent Lawson, co-chair of Momentum committee, at the event.

OVAC Director Julia Kirt with artists’ Trinity and Paul Mays.

Four great bands kept the even lively including Simple Tree, 2Bass3, the B-Sides, and a classical duet of M. Brent Williams and Ginger Harkey.

Perpetual Motion performed modern dances several times throughout the evening. Gary Parks brought his turntable to mix some old school music. Molly O’Connor performed “Oklahoma Land Crawl” to challenge the audience. Nicole Moan’s ceramic corsets made an appearance with new models. The 1/0 collective performed an improvisational computer and projection spectacle that kept viewers mesmerized.

The event took place at 1100 North Broadway on Historic Automobile Alley in downtown Oklahoma City. The location, generously donated

by C.D. Warehouse, and offered a labyrinth of winding pathways and individual rooms to hold installations and film as well as larger galleries for the art, dance, and music.

The event could never have taken place without the amazing volunteer committee co-chaired by Robin Chase and Trent Lawson. Other members were Jennifer Barron, Carissa Bish, Enise Carr, Maya Christopher, Elise Deringer, Sheila Guffey, Shana Keith-Ward, Heather Lee, Nathan Lee, Jeff Longstreth, Nicole Moan, Scott Jonathan Nixon, Romy Owens, Kolbe Roper, Anna Small, Clint Stone, Christian Trimble Watch for Momentum Tulsa in June 2005!

Round Up March/April The next Oklahoma Visual Arts Coalition Artist Survival Kit workshop will be “The Organized Artist: Cataloging and Documenting Your Work” at the Edmond Historical Society on April 9, 1-4pm. You know this is your chance to fulfill that New Year’s Resolution to get things in order! Watch for registration information via mail or online (www.ovac-ok.org) shortly.

The OVAC fellowship and awards selections are just in. Congratulations to Jonathan Hills, Norman who is the Oklahoma Visual Arts Fellowship for 2005 recipient. This year’s Artist Awards of Excellence recipients are Joseph Daun, Oklahoma City; Laura A. Guth, Midwest City; and Gary Hickerson, Oklahoma City. Watch for more information and images next issue. Mark Pascale, who is the Associate Curator in the Department of Prints and Drawings at The Art Institute of Chicago, carefully selected the recipients.

A collaborative exhibition called Oklahoma Landscape will open March 12 at 2 pm in the Philbrook Museum of Art Education Center Gallery, Lower Level (North Wing). Curator Michael Freed selected the artists for the invitational exhibition from OVAC’s Virtual Gallery, www.ovacgallery.com.

The next OVAC Grant deadline is April 15, 2005.

Forms are available online www.ovac-ok.org. Call (405) 232-6991 or email if you have any questions.

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Gallery Listings Ada Works from the ECU Collection Through March 13 Annual Faculty Show March 21- April 8 Opening reception, March 24, 5 - 6:30 Annual Student Show April 11- April 22 Opening reception and awards, April 21, 5-6:30 Senior Shows April 24- May 14 University Gallery East Central University (580) 310-5356 www.ecok.edu Ardmore Selections from the Permanent Collection March The All-School Exhibit Area Elementary Schools March 28-April 8 Reception April 5 Area Middle and High Schools April 11- May 2 Reception April 20 Charles B. Goddard Center 401 First Avenue SW (580) 226-0909 www.godart.org Bartlesville Bold Improvisation: 120 years of African-American Quilts Through March 6 Dennis Oppenheim: Indoors, Outdoors March 18- May 22 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 Painting and Sculpture by Joe B. Lucero February 20 to March 18 Opening Sunday, February 20 at 3:00 pm University of Sciences and Arts of Oklahoma Gallery-Davis Hall 1806 17th Street (405) 574-1344 www.usao.edu/~gallery/

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Exhibition Schedule

Claremore Foundations Gallery-Baird Hall Rogers State University (918) 343-7740 Durant Southeastern OK State University 1405 N. 4th PMB 4231 Durham Art of the Curve: An Exhibition of Sculpture March 1- May 28 Opening reception March 6, 1-3 Metcalfe Museum Rt. 1 Box 25 (580) 655-4467 Edmond The 50 Years of Photojournalism of the Daily Oklahoma Exhibit March 8- April 16 Watercolor Oklahoma XX Exhibit May 3- 26 Edmond Historical Society 431 S. Boulevard (405) 340-0078 www.edmondhistory.org

620 D Avenue (580) 357-9526 www.lpgallery.org Norman Helen Giddens: Quilts March 4- April 16 Daniel Gegen: Ceramics April 22- June 4 Firehouse Art Center 444 South Flood (405) 329-4523 www.normanfirehouse.com OU American Indian Student Faculty Staff Exhibit April 3-30 Jacobson House 609 Chautauqua (405) 366-1667 Fred Jones Jr. Museum of Art 410 W. Boyd Street (405) 325-3272 www.ou.edu/fjjma/

Chambers Library Gallery University of Central Oklahoma 100 University Drive (405) 974-5931 www.camd.ucok/events.edu El Reno Gordon Parks Photography Competition: Celebration of Culture and Diversity Through March 30 Redlands Community College Student Show April 5- May 19 Redlands Community College (405) 262-2552 www.redlandscc.edu/visitors/ gallery.htm Idabel 30 Years, 30 Treasures March 1- April 15 Museum of the Red River 812 East Lincoln Road (580) 286-3616 www.museumoftheredriver.org Lawton Corazon Watkins and Gerald Clark March 5- April 30 The Leslie Powell Foundation and Gallery

Haze Diedrich She Spoke in Circles 48” x 53” oil on canvas,

Sarah Williams Topography of the Brain Back to Basics Photography at City Arts in OKC

122 East Main (405) 292-8095 www.mainsite-art.com Oklahoma City Fiberworks 2005 March 10- April 9 Opening reception March 12, 6-8 pm; Back to Basics Photography & Eye Spy April 28- May 31 Opening reception April 28, 5:30- 7:30 City Arts Center 3000 Pershing Blvd.

(800) 951-0000 www.cityartscenter.org The Heart of the Southwest Through March 30 New Works by DJ Lafon April 1- May 21 Opening reception April 1 JRB at the Elms 2810 North Walker- The Paseo Arts District (405) 528-6336 www.jrbartgallery.com EdgeArtNow Exhibition April 1- 30 Individual Artists of Oklahoma 811 N. Broadway (405) 232-6060 www.iaogallery.org

David Crismon Charles I, 1635 42” x 42” oil on metal New Work from David Crismon and Haze Diedrich at Mainsite in Norman through March 12th.

David Crismon and Haze Diedrich Through March 12 Mainsite Contemporary Art Gallery

International Photography Hall of Fame Inductee Exhibit Through April 3 The Noble Metals: Platinum and Palladium April 9- June 30 International Photography Hall of Fame and Museum 2100 NE 52nd Street (405) 424-4055 www.iphf.org

D.J. Lafon Morning Light Oil from OKLAHOMA: Centerfold show

Kirkpatrick Galleries at the Omniplex 2100 NE 52nd 800-532-7652 www.omniplex.org Helicopter Cowboy Through March 6 An Artist with the Corps of Discovery: The Lewis and Clark Suite Through April 28 Brent Phelps: Photographing the Lewis and Clark Trail Through May 8 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 Augusta Metcalf Governor’s Gallery Through March 18 Bill Jaxon East Gallery Through April 22 Yosef Kahnfer East Gallery Through April 29 Oklahoma State Capital Galleries 2300 N. Lincoln Blvd.

(405) 521-2931 www.state.ok.us/~arts Kid Size: The Material World of Childhood Through March 20 Margaret Bourke-White: The Photography of Design, 1927- 1936 April 14- June 12 Oklahoma Museum of Art 415 Couch Drive (405) 236-3100 www.okcmoa.com Oklahoma Watercolor Association Mixed Media and Collage Exhibit Through March 11 Nona Hulsey Gallery, Norick Art Center Oklahoma City University 1600 NW 26th (405) 521-5226 April 30 to June 10 OVAC (Oklahoma Visual Arts Coalition) Painting and Drawing Exhibition Opening Saturday, April 30, 2:00 to 4:00 pm

Martin Delabano Tom Toperzer Through March 26 Antje Manser: Botanicals Mykl Ruffino: New Works April 8- May 28 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 Dean Bloodgood March 18- April 23 Brent Greenwood and Randy Marks April 29- May 28 Artsplace Ponca City 319 East Grand Ave (580) 762-1930 Ponca City Art Center 819 East Central Shawnee Brush in a Healing Hand: Barbara Gallagher March 18- May 8 Opening reception March 18, 7-9 pm Mabee-Gerrer Museum of Art 1900 West University (405) 878-5300 www.mgmoa.org Stillwater Scott Reynolds: Standard American Through March 2 Pakistani Miniature Painting and Drawing Biennial March 7- April 6 Graphic Design Portfolio Exhibition April 10- 20 Annual Juried Student Art Exhibition April 24- May 6 Gardiner Art Gallery Oklahoma State University 108 Bartlett University art.okstate.edu/gallery.htm Tulsa G.C. Roundup: Cowboys of the Grand Canyon

by Brian Magnuson Through March 10 Abstract Images by David Varmecky March 17- April 14 Apertures Gallery 1936 South Harvard (918) 742-0500 www.aperturesphoto.com

Boston Artists Gallery 23 East Brady (918) 585-1166 1000 Years of Native American Art January 22- longterm exhibition opens Machu Picchu: Unveiling the Mystery of the Incas March 19- July 10 Gilcrease Museum 1400 Gilcrease Road (918) 596-2700 www.gilcrease.org Holliman Gallery Holland Hall 5666 East 81st Street (918) 481-1111 Idol: A Man’s Obsession works by Aaron Hussey March 4-24 Suffering Fools, Gladly: Works by Paul Medina April 1- 29 Living ArtSpace 308 Kenosha (918) 585-1234 www.livingarts.org Tom Conrad Through March 18 Ann Marie DiStefano April 14- May 12 Floating World Gallery 3714 S. Peoria Avenue (918) 706-1825 Hudson River School: Masterworks from Athenaeum Museum of Art Through April 24 The Philbrook Museum of Art 2727 South Rockford Road (918) 749-7941 www.Philbrook.org Stitched Skins by Nancy Carlson March 4-26 Michael Hoffner, Joseph Mills and Larry Pickering April 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 Michael Barnes March 3- March 25 Opening reception, March 3, 5-6:30 pm 37th Annual Gussman Student Exhibition March 31- April 22 Opening reception March 31, 5- 6:30 pm Master Thesis Exhibition April 28- May 21 Opening reception April 28, 5- 6:30 pm 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. www.cityoftulsa.org/parks/ Waterworks.htm Woodward Annual Paul Laune High School Art Competition March 4- March 30 Opening reception March 30 11- 2 Harry Kraft Kites April 5- April 29 Reception April 9. 2-4 Plains Indians and Pioneers Museum 2009 Williams Avenue www.pipm1.com (580) 256-6136

Rob Phoenix untitled, acrylic on wood panel, 22” x 31”

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ArtFocus Ok l a h o m a ArtFocus Oklahoma may be purchased at: Oklahoma City Full Circle Book Store 50 Penn Place, 1st floor NW Expressway & Pennsylvania

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

PO Box 54416 Oklahoma City, OK 73154 Return Service Requested

OVAC office Stage Center 400 South Sheridan Tulsa Apertures Photographic Services 1936 South Harvard Avenue Steve Sundry Book & Magazines 2612 South Harvard Avenue Back issues may also be purchased at the OVAC office. Cost is $3 per issue.

Annual subscription is $15. Annual subscription free with membership in the Oklahoma Visual Arts Coalition. Membership forms and benefits can be found at www.ovac-ok.org or by phone (405)232-6991.

Individual Membership: $30 Student Membership: $15 Family/Household Membership: $50 Patron Membership: $100 Sustaining Membership: $250 Also, check out www.ovacgallery.com to learn more about artists in Oklahoma.

Promise Guidry Cowboy Pickle acrylic on canvas 2004 Recently in Momentum

Thank you to our New and Renewing Members from November and December Shea Alexander Bonnie Amspacher Kristy Lewis Andrew Ty Atkins Margaret Aycock Maria Barakat Paul Barby Juli Barker Robert L. Barr Thomas Batista Nick Bayer Fred Bidwell J. Scott Black Kathleen Blake A. Clark Bockhahn Carol Bormann Bjorn Bower Eliazabeth Anne Brown Granger Brown Anji Bryner Kelly Cameron Barbara Chaffin Stefan Chinov Terry M. Clark Steve Cluck April Coates Kjelshus Collins John L. Cox Tara Crites Gayle Curry Adrienne Day de Shan Cathy Deuschle Brent Doster Elizabeth Downing Lori Duckworth Sandra Dunn Sam Echols Rand and Jeanette Elliott

Nadia Ellis Maria Engles Kelley Farrar Randy Floyd and Michael Smith Joyce Fogle Denise Fox Tracy Frankfurt Robert A. French Casey Friedman Natalie Friedman Carrie Fudicker Darlene Garmaker Sunshine Garner Sterling Gates Jennifer Glenn Brent Goddard Shan Goshorn Darryl Gouch Garland Spencer Grantham Matt Gruber Amanda Hagy Nancy Harkins Cynthia Harris Bob and Janet Hawks Heidi Helmers Dana Helms Jaime Henderson Brandon Herrera Justin Hodges Pam Hodges F. Bradley Jessop Jane J. Johnson Kreg Kallenberger Jean Keil Jane Kistler Jordan Kopf Kristina Kroboth Chrysteena Lairamore

Lynda Jo Laird Patrick Laird Carter Lees Vincent B. Leitch Ratna Kumar Lekkala P. Keith Lenington Adam Lopez Michael Lortz Jimmy Lovett Vicki Maenza Katrina Mann Randy L. Marks Jason Martin Maribel Martinez Joan Matzdorf Heidi Mau Paul and Trinity Mays Chris McMillin Cindy McNicholas Rick McQueen Sunni Mercer Shawn Meyers Marie Miller Francis Moran Susie Murphy Raybert Murrell Amber Nemelek Dylan Oaks Lori Oden Joshua Ogle D. Oswald Adam Oxsen Andrew Phelan Chris Presley Judith Prise Billy Reid Michelle Firment Reid Denise Rinkovsky Eric Saak Lane Savage and Chad

Graham Klint Schor Bert D. Seabourn Cal Sechrest Hina Shafiq Mark Sharfman Ann Shaw Byron Shen Joe Slack Chris Small Geoffrey L. Smith Carrie Smith Miranda Sowell Jacquelyn Sparks Scott Spicer Sara Spradling Justin Spurlin Clint Stone Skip Thompson Justin Tilford Jennifer Tolman Tom R. Toperzer Brooks Tower J. Diane Trout Harwood Teresa Valero Cole Vittetoe Milly M. West Amy Widener Sarah Williams Michael J. Wilson Kody Wilson Ashley Nicole Winkle Betty Wood Joyce Yeich Joanna Zuniga Kristal Zwayer