Art Focus Oklahoma, March/April 2006

ArtOFocus kl a h o m a Oklahoma V i s u a l A r ts C o a l i t i on

Vo l u m e 2 1 N o . 2 M a r c h / A p r i l 2 0 0 6

Natural

Progression Painter Cathy Deuschle exemplifies artistic growth with an annual self portrait series (p.3)

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contents

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profiles 3 cathy deuschle 5 tom lee

reviews/previews 7 money 8 unshowable 9 public art 10 south hudson

features 12 studio tour 15 beacon of hope 16 on the map 17 On the Cover: Cathy Deuschle Tulsa Self Portrait, age 47 oil on canvas 20” X 16”

business of art OVAC news

20 at a glance / round up 20 renewing members 21

gallery guide

ArtOFocus kl 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 Anonymous letters will not be published.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.

Art Focus Committee: Janice McCormick, Bixby; Sue Clancy, Norman; Janice Mathews-Gordon, Michael Hoffner, Stephen Kovash, Cindy Miller, Debbie Nauser and Sue Moss Sullivan, Oklahoma City.

OVAC Board of Directors 2005-2006: Kathleen Rivers, Ada; Elliott Schwartz, Rick Vermillion (Treasurer), Edmond; Diana Brown, Fort Sill; Suzanne Thomas, Nicoma Park; Thomas Batista, Skip Hill, J.D. Merryweather, Dwayne Morris, John Seward (Vice President), Carl Shortt (President), Lila Todd (Secretary), Oklahoma City; Pam Hodges, PhD (Vice President), Sand Springs; Chris Ramsay, Stillwater; Claudia Doyle, Jean Ann Fausser, Michaela Merryday, 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

© 2006, Oklahoma Visual Arts Coalition. All rights reserved.

prof ile Cathy Deuschle, Tulsa Stages of Fullness oil on canvas 26” X 24”

Cathy Deuschle, Tulsa Self Portrait, age 45 oil on canvas 20” X 16”

Cathy Deuschle:Reflection

by Julia Kirt Cathy Deuschle’s face stares back at me each time I see the Oklahoma Painting and Drawing Biennial catalog from last year.

Unapologetic, her detailed oil painting with a simple background engages frankly.

Come to find out, this self-portrait is a part of an annual series by Deuschle to chronicle her face through time.

Some day, she should be able to have an exhibition of 10 years of standard-sized paintings of her face from each year. How fascinating! I became curious about this artist who was either gutsy enough or introspective enough or both to analyze her own visage. Besides expressive brush strokes and subtle color choices, Deuschle’s artwork has a strong reflective quality.

Art Focus: What is your studio space like?

Cathy Deuschle: My studio is a small, chaotic room off the garage that was originally a servant’s quarters and now holds 30 years of art paraphernalia. It is not winterized (bad) and has no phone

(good). The dogs sleep in its little bathroom but, fortunately, turpentine trumps wet dog odor.

AF: How often do you paint and for what duration? When do you work best?

CD: I go into my studio every day – sometimes to piddle for an hour and sometimes I work from the morning through the night. To quote Marc Chagall, “I work in whatever medium likes me at the moment.” I enter contests because the deadlines help me focus and sometimes the odd requirements help me break new ground. For example, the show at the TAC centered on the poem The Love Song of J. Alfred Prufrock forced my first attempt at a 3-dimensional assemblage.

That was the only method through which I could access the poem, and doing so opened up a new form of expression for me. I also recently learned how to make stained glass panels – it was a natural extension of my interest in light, color and transparency and the glass cutting

and soldering skills came in handy with the assemblage. I am aware that too many different directions can dilute progress in any one, but I find that working in more than one media keeps me going creatively and that I transfer ideas from one outlet to another. I plan on being in this for the long haul.

AF: How has your work changed over the last 5 (or 10) years?

CD: I grew up in Tulsa. My mother was a painter throughout her life and a good one. Though she never instructed me, I learned from watching her paint and witnessed both the pleasure she derived from painting and the frustrations she felt as an artist. My elementary art teacher, Elizabeth Carruthers, was hugely encouraging, and one painting teacher in college (I have a BA in art history from Colby in Maine, and a Masters in Education from Harvard), Barbara Kassel, gave me a decent foundation from which to work. About 6 years ago I became continued page 4

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Cathy Deuschle, Tulsa Cornered oil on canvas 30 X 30”

continued from page 3 disconsolate towards my art and turned towards poetry. I credit my three years of effort in that direction and the efforts of some of my poet/teachers, chiefly Alfred Corn, for putting poetry and purpose back into my visual art. It had been there in the beginning but years of futile efforts to make my art marketable strait jacketed both it and me. Now, though I might honor a specific request, I no longer bother guessing what others want.

I’m horribly bad at it and such thoughts have no place in my artistic process. I’m kinder to my impulses and am enjoying the fruit of this kindness.

AF: Tell me about the imagery of the bottles.

CD: I often paint bottles because I love how they interact with light and intersect with each other. When I get tired of their formality, paleness and transparency, I sometimes switch to an earth toned palette and paint gourds – the natural, homely and eccentric distant relatives of bottles. I often assign them personalities and arrange intimate stage like scenes of gourd family life. It can be ugly at times.

My imagery mainly consists of empty, hollow, or stripped bare objects in neutral or imagined surroundings. I feel sympathy towards bottles, gourds, bones, and spent sea creatures. Light, shadow,

and reflection are used to either amplify, or partially rectify the void within these objects. Cast shadows sometimes dominate the work to reveal attributes hidden within physical objects and dynamics between them. In my work, the corporeal, the shadow, and the reflection are treated as a kind of trinity.

AF: Is your content metaphorical? If so, what would be an example?

CD: During my mother’s illness and subsequent death, I began a series of nocturnal paintings of decayed bones, spent sea life, driftwood, and other debris placed in watery, otherworldly contexts. These paintings were my way of grappling with loss, alienation, and the unknown realm of death.

AF: Tell me about your self-portrait series... Also, how many have you done?

CD: I’ve painted self portraits since college but recently decided to take a more scientific approach towards them.

For the past three years I’ve done self portraits in the same month (September) and on identically sized canvases. I plan on doing this indefinitely because it is like an annual painting, aging, and emotional checkup. Very interesting, though admittedly, it shows my high degree of self absorption.

AF: What is your feeling about the art community in Tulsa currently?

CD: I’ve crossed paths over the years with other artists through life drawing groups and various workshops. I’m glad there are a couple of places in Tulsa to draw the nude model. I wish I could take this for granted but experience has proven otherwise. And though I’m not a group person, I have benefited from the existence of the non profit arts organizations in Tulsa, namely the Arts and Humanities Council, and the Tulsa Artists Coalition and, on a statewide level, OVAC. I appreciate all the spaces that provide an alternative and an antidote to the country club conservative aesthetic that rules much of what is bought, sold, and shown in too many of Tulsa’s museums and galleries. This narrow minded aesthetic deludes many local artists into thinking, for example, that if they don’t paint like a medical illustrator, strip their work of anything that is sad or angry, or use lots of bright colors; they are somehow lacking. These prevalent attitudes can be dispiriting it you let them, but luckily there are many artist groups who are friendly and welcoming. If I had more sense, I’d be more active in them. I worry that the lack of an art education for many local children will perpetuate these attitudes.

prof ile Tom Lee, Norman Coffee Shop Photograph, 10.5” X 10.5” Tom Lee, Norman Chess Photograph, 9.5” X 13.5”

Tom Lee

Tom Lee, Norman Winter Photograph, 9.5” X 13.5”

by Lori Oden It was a wood sign on a creaky chain that read “Chouse.” A half of a smile made a wiry line into my cold cheek. Tom Lee’s studio was, however, at the back so I didn’t have the opportunity to enter “Chouse” yet. It suddenly didn’t matter because the studio/workshop was beautiful. Stained glass windows cast soft light on the framed black and white images. A thick, shiny wood table was where we began our conversation.

This building was an addition to the old church where he, his wife and six dogs and four cats live, but it was built to resemble the original church where he lives. Lee began the investment and renovation in Paseo over ten years ago; he sees an old building as a potential piece of beautiful sculpture. Born in Minnesota, Lee grew up in South Oklahoma City when his father transferred with the YMCA. Before a family reunion, Lee bought his first camera.

It has been more than twenty years since.

From freelance to fine art, and large format to small format, Lee’s photography has run the scope of the medium. He has found that still lifes, nudes and portrait photography is where he has found his success.

Keeping with traditional black and white photography and printing his own images in a wet darkroom, Lee has become locally and nationally known. What makes him and his accomplishments even more extraordinary is that he is quadriplegic.

Amazingly, Lee has adapted his camera where he can bite on the cable to take the photograph and advance the film with his chin. With an assistant, Lee works in the darkroom on Tuesdays and Thursdays. His assistant, however, is just to help make some of the work move quicker. Lee works the enlarger and helps with the development.

On Monday, Wednesday and Friday, Lee runs his gallery in the Paseo. It too is an old church; Lee had it moved to Oklahoma City from Canada.

Old Trinity is an Anglican Church that was built in 1842. It is constructed in the Gothic Revival style with pointed arched windows and doors. Deconsecrated in 1997 Lee found it for sale on the internet and bought it sight unseen. Located at 3000 North Lee, the natural light is mystical.

The walls are covered with all of Lee’s work.

Most of which was photographed in Old Trinity with the varying natural light. Lee has bought the churches for his house and

his gallery because, first he thought it was a great idea and second, the spiritually and peace that is part of being in a church.

Mainsite Contemporary Art Gallery in Norman is featuring recent work by Tom Lee. With an interest in history Lee has gathered a list of favorite quotes. He said, “History Repeats is a photography exhibit of quotations about politics and war; no mention is made of current politics. The point of the exhibit is that the nature of politics and war does not change. When we forget the lessons of history we will repeat the same mistakes over and over.” I had the chance to take a sneak peek at a few of the photographs and one of the most profound images referenced was a Socrates quote, “all wars are about money”. The exhibit remains on display through April 22.

“Chouse,” by the way, was gorgeous. The high ceilings, two lofts and most of the original architecture, windows and doors, I quickly realized the charm of living in a church. Lee and his wife open their house to the public for evening musical events and some art shows. “Several people have come by to reminisce of a wedding and we welcome them in every time.”

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Ken Little, Texas Father, 2002 $1 bills on steel frame 56” X 53” X 75”

The Commodification of Money

by Grant Lacquement Ken Little, formerly a tenured professor at the University of Oklahoma, left our state for the hope of enlarged possibilities. There are great risks associated with possibilities, but Little transformed risk and opportunity into professional growth. Recently, The Untitled [ArtSpace] Gallery presented the fruits of this growth with a survey of his recent work.

Ken Little’s work consists of figurative sculptures fabricated with welded steel armatures covered with wire mesh. This wire mesh is then covered with a final skin of dollar bills. The bills retain their original visual integrity, sometimes with writing and other signs of use. Viewed from a distance the sculptures have a kind of greenish patina. Closer, the bills form a pattern, as on a quilt.

Dave Hickey described money as something to turn into art, and art as something to turn into money. In my ideal world, money would transform into raw materials, then precipitate into art, which would so affect someone they would turn it into money again. This cycle would go on and on, over

and over. Little’s timing of this cycle has slipped. He went directly from the bank to his studio, bypassing the supply store. The effect is powerful, and the symbolism is impossible to escape.

I divided these sculptures in several groups, based on shared themes. The first group represented desires through objects. Miss looked like the swimming suit from a curvy lady; Oz was a pair of huge trousers for a well endowed man; and Bird was a gigantic finger. These sculptures represented universally experienced feelings of lust, the desire to wear the big pants, and where “the man” can put his money.

The second group included Found, which was a lady’s head mounted and floating in front of a wall. Father was a man’s head lying on the ground. It was reminiscent of a fragment from the statue of a deposed dictator, but a goofy dictator. Both busts had 1950s sitcom idealism about them; the feeling was a bit cartoon-like on the surface; however the eyes revealed a cold core. These eyes transformed the busts into representations of suffering. Somewhere

prosperity changed into an insatiable addiction: greed. For these busts, money has become the only goal, and they have made a paper thin identity from it.

The final group of sculptures addressed organizations, corporations, and governments taken over by the religion of money. The sculptures were hollow suits, punctured with slots where the pockets would normally go. Similar to slots in a piggy bank or election ballots, the slots took the place of the eyes in the previous sculpture;: an allegory for something terribly wrong. Pledge was the shape of a suit worn while saying the pledge of allegiance.

Past was a slightly shriveled suit stretched out on the ground saying to me, “This organization may not realize it, but it’s already dead.” Neither suit had anyone in it because the person wearing the suit was not important.

Where can we draw the line between everyday living and single minded greed?

Ken Little does not say, but I encourage you to draw this line with concern, care, and re-evaluation.

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Bob Bartholic Tulsa Daddy’s Home 3’ X 3’

Showing the Unshowable

by Janice McCormick I wish to preface my review of You Can’t Show That in Tulsa! with a disclaimer. Although I assisted in putting this joint Tulsa Artists’ Coalition and Tulsa Photography Collective exhibit together and chose the jurors, I did not take part in deciding what art was accepted. The three independent jurors were M. Teresa Valero, Otto Duecker and Nancy Smart Carlson.

With this rather flippant title, you would have expected to find plenty of sex, pointed social commentary and a bit of political satire. You would not have been disappointed.

Some works celebrated sexuality, such as the exuberant geometric sculpture Felicity by Julie Strauss and the exotic and erotic color photograph of hieroglyphs tattooed onto a female

torso in Projection by Western Doughty. More explicit sexuality was seen in Karen Greenawalt’s Friends, a wry, earthy black and white photograph of four out-of-shape nudes entangled in a group grope.

Others, however, explored the darker side of sexuality. Reflecting on society’s hypocritical attitude towards human sexuality, Anthony Carrera’s painting Spoiled Milk featured a creepy man pointing, apparently in shock, at the sight of lactating breasts, while secretly leering at them. Bob Bartholic’s painting Daddy’s Home, a Juror’s Choice Award winner and one of the most powerful works in the exhibit, delved into the forbidden topic of incest. It depicted stark light from an open door (off-canvas) raking across a vulnerable, prepubescent nude girl kneeling on her bed, her eyes wide with fear.

Some works focused on the social issue of body image in a culture that glorified youth, thinness and unobtainable ideals. Both Cynthia Marcoux and Kathleen King drew a connection between sex appeal and violence.

Another taboo topic in our youth oriented society – death – found touching expression in Don Emrick’s dark, grainy black and white photograph My Father, After Death. Looking at this image was like peering through a dark veil, the eye groping through the gloom to find the

frail, elderly man in a hospital bed, his mouth wide open and his eyes sunken into his skull.

Rraydisa addressed the violence of child abuse in the nail-laced and blood-splattered highchair ironically entitled The Learning Chair. Its metal cuffs on the armrests called to mind that other engine of violence - the electric chair. This work received a Juror’s Choice Award as well.

Walt Kosty’s I’m a Monkey provided political satire with President Bush as the main target.

He drew upon pop cultural icons to make his point. Playing with the Hear No Evil, See No Evil, Speak No Evil adage, Kosty replaced the monkeys with three images of President George W. Bush, his face superimposed over Alfred E. Newman’s jug-eared head. Instead of hands, Kosty used Bush’s election campaign decals (a “W,” part of the American flag and “2004”) to cover the ears, eyes and mouth. The overall result gives Bush a ludicrous, maniacal, and, dare I say, evil look?

You Can’t Show That in Tulsa! proved the deep desire and abiding commitment of artists to create art that unflinchingly bares the soul and secrets of our society – all the while knowing such art will not prove to be commercially viable.

Bravo!

Mexican Masters: Rivera, Orozco & Siqueiros

by Sarah Williams

I was pleased to find that the Oklahoma City Museum of Art was hosting an exhibition featuring artwork by Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros. It immediately brought to mind the powerful political impact artwork can have on a society and culture. I was, however, slightly disappointed to discover that the majority of the work on display focused on artists’ careers outside of visual activism.

raw today as it might have been in the 1930s. In the engravings Mujeres and La Chata, Orozco depicted women in a less than pleasant manner, with mild derogatory undertones. These playful, yet honest depictions of peasant life in Mexico juxtaposed with the glamorous portrait of movie star Delores Del Rio illuminated the tumultuous uncertainty of life at that time.

This rare exhibition was not your typical crowd-pleasing bouquet of pretty paintings one might expect of a “Masters Exhibit.” Instead it offered an alternate view of the gritty reality of life after brutal revolution. As the museum’s didactic information claimed, “The works on display from the Museo de Arte Carrillo Gil collection might seem uncharacteristic at first, but they convey the harsh reality of life in post-revolutionary Mexico.”

Uncharacteristic indeed, as these artists are best known for their largescale murals that earned them the title of “Los Tres Grandes” in their native Mexico.

To my surprise, the galleries dedicated to the lesser-known artists Gunther Gerzo and Luis Nishizawa were by far the strongest in the show.

I applaud the museum for including works of Mexican artists (with mixed heritage) unfamiliar to most American museum-goers, as it added an unexpected layer of depth.

The museum galleries dedicated to Rivera’s work consisted of watereddown sketches and lithographs coupled with his less-than-inspirational cubist paintings. In all fairness, the weakness of the galleries dedicated to Rivera’s work was countered by the strengths of the work in the Orozco and Siqueiros galleries, which were more cohesive.

Examples of the exhibit’s strength can be found in Orozco’s works on paper that seemed to transcend time, conveying powerful emotion. In the piece titled Hanged Man, the gloom and despair of the event felt as

Mexican Masters featured two rooms dedicated to the work of Siqueiros.

The range of emotion conveyed in Siqueiros work was demonstrated by contrasting the large-scale sketches of Los Centauros, and Cuanuhtemoc.

Los Centauros, which depicted mythological subject matter in a modern fluidity of form, mimics perpetual motion. While Cuauhtemoc, a totem-like figure reminiscent of an Egyptian sarcophagus appears static and bold.

In conclusion, if you have not already gone to see the Mexican Masters exhibit at the Oklahoma City Museum of Art, you should. Although this exhibit does not fully celebrate the power of activism the Tres Grandes conveyed through their murals, it does provide a thoughtful perspective on Mexican life and culture expressed in early twentieth-century art.

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Steven Siegel Public Art Sculpture Project OU-School of Art, Visual Art Student Association Untitled [ArtSpace]

by Jonathan Hils

Steven Siegel, California Did God Make a Worm?

Ingolsdadt, Germany 2005 aluminum auto body parts, 11’ X 30’ X 75’ 9000 lbs

Steven Siegel, California Freight and Barrel Three Rivers Arts Festival, Pittsburgh, PA 2004 plastic, ruber hose, wire Freight 10’ X 10’ X 10’ and Barrel 15’ X 15’ X 22’

Steven Siegel, California Stories of Katrina Montalvo Arts Center, Saratoga, CA 2005 paper, 19’ X 13’ X 13’

Sculptor Steven Siegel’s public sculptures address the very nature of contemporary art’s ability to address visual, social and environmental conditions. “Multilayering” serves to describe his work both literally and metaphorically. Using recycled plastics, newspapers, rubber, aluminum (and whatever else might be available) he presents these materials in large, organized accumulations of “stuff” placed within the public environment.

These collaborative projects fluctuate between immediate and temporary yet find a specific identity through the sheer presence of size and careful organization.

His work is most identifiable by large stacks of newspapers set within natural environments that reflect upon circular consumer mechanisms and a geological sense of time and change. Other notable works enclose discarded containers in a packaged orientation that often dwarf the spectator’s scale and assign a redefining wonder of the site within which these sculptures are placed.

From March 20th through the 26th Steven Siegel will be visiting the University of Oklahoma School of Art to create a work with students and community volunteers at Untitled [ArtSpace] in OKC as part of the university’s Speakers Bureau program.

Facilitated by the Visual Art Student Association (VASA), the OU-School of Art and Untitled [ArtSpace] in OKC, Siegel is the second internationally recognized contemporary artist brought to OU through student initiative within the year. Siegel’s visit will include a free lecture at the Fred Jones Jr. Museum of Art in Norman on Thursday, March 23 at 4:00 PM. He will also meet with students to discuss contemporary

art practice and share his particular knowledge regarding public art in today’s society.

Siegel’s methods are quite interesting and address many issues responding to the role of the artist in society today and the impact that social behavior has on both the nature of the environment and the function of art with the environment(s). These sculptures, much like the materials they are made from, remain useful or pertinent until they are deemed function-less. The works can on display for months or years, or until they themselves degrade through time.

The work’s permanence relies on the community or the environment within which they are placed. Time is a specific marker for life or longevity of his art, and as such, the public becomes involved through participation and experience over time.

Student and community volunteers will collect recycling materials from January through March in anticipation of the week long construction. Local university art programs & high school art programs throughout OKC will be invited to participate in this event.

A recipient of numerous grants including the NY Foundation for the Arts (2001) and Gunk Foundation Grant (2000), Siegel has executed works at the Gwuanju Nature Art Biennale, South Korea, Chemin d’Art, France and Ingolstadt, Germany. Domestically he has placed works on several university campuses including Kent State, University of Florida, Bowling Green, James Madison, University of Alabama, SUNY New Paltz and UC Bakersfield to name a few.

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Professional BMX Freestyle Athlete Mat Hoffman and Musician Wayne Coyne of the Flaming Lips at the Festival of the Arts South Hudson Gallery Pro-Am Match Party.

South Hudson Gallery

by Stephen Kovash Since 1967 the Arts Council of Oklahoma City has been presenting what has been called one of the top ten arts festivals in the nation. The Festival of the Arts offers live music, dance and other entertainment, art in just about all forms, hands on art activities for all ages, and food (of course) from over 21 specialty vendors. Scheduled for 25-30 April 2006 in Downtown Oklahoma City, the Festival is free, open to the public and features over 144 artists displaying and selling their work. When you go, one of your stops at the Festival this year should definitely be the South Hudson Gallery ProAm Exhibit, which is at the South end of artist’s row on Hudson Street.

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The South Hudson Gallery was originally conceived in 1997 with the intention of drawing more activity and attention to the south end of the area, where most of the 144 visual artists are located. Set in a large tent, the Gallery features a bistro atmosphere with imported beer, cappuccino, musical and spoken word performances and art work. For the first two years, the Gallery also featured art demonstrations and exhibitions of art from past Festival poster artists, with the “Pro-Am” concept being adopted in 1999. Under the “ProAm” concept, Festival Artists are teamed with celebrities and community leaders to collaborate on a piece to be displayed during the Festival. The South Hudson Gallery Committee begins meeting in the Fall of the year preceding the Festival to brainstorm possible choices for the matched pairs. In the past, the celebrity choices have

focused on business and civic leaders, among some of the public figures including, First Lady Kim Henry, Mayor Mick Cornett, Newscaster Alex Cameron and Valerie Thompson of the Urban League.

This year’s Festival Co-chairs Lynn Robberson and Tom Archibald wanted to include some Oklahoma celebrities from the performing arts world. This year’s ProAm pairs include: Chris Andersen, New Orleans/OKC Hornets Player and Alyson Atchison (Drawing/Graphics/Paper); Bob Barry, Sr., KFOR Sportscaster and Linda Kukuk (Water Media); Sam Bowman, Oklahoma City Councilman and Nona Leatherwood-Maxwell (3D/Misc - Hand Carved and decorated canes); Dennis & Suzi Clowers, Public Works Director & President of the Arthritis Foundation and Linda Tuma Robertson (oil); Bart Connor & Nadia Comaneci, Olympic gymnasts and Cathy Rowten (oil); Wayne Coyne & J. Michelle Martin Coyne, Musician, Flaming Lips & Photographer and Toby McGee (glass); Ernie Gomez, Condor Development Corporation Director and Jim Keffer (water media); Gary Good, Entertainment Agent & Producer and Bert Seabourn (water media); Chris Hicks, Musician and Joe Slack (sculpture); Mat & Jaci Hoffman, Professional BMX Freestyle Athlete and Artists: Matt Seikel & Denise Duong (clay); David Hooten, Musician and Rebecca Lowber-Collins (2D/Misc. Drawing/ Graphics/Paper); Brenda Hudson, Director, Dell OKC and Gillian Kemper (Water Media); Dr. Chris Knott-Craig, Chief of

Pediatric Cardiac Surgery at Children’s Hospital of Oklahoma and Diane Coady (Hand-dyed silk); Robin Marsh, KWTV News Anchor and Robin Thompson (Water Media); Andy & Marian Nunez, Musicians, Starlight Mints and owners of the Opolis Music Venue and Debbie Langston (Drawing/Graphics/Paper); John Richels, President of Devon Energy and Thomas Stotts (Oil); Jim Roth, Oklahoma County Commissioner and Skip Hill (2D/Misc.

Water Media); Diane West, Singer, Pinkie and the Snakeshakers and Kenny McCage (sculpture); Wendel Whisenhut, Director of Parks and Recreation and Gerald Smith (sculpture).

At a party in January, the Pro-Am matched pairs are introduced and the creative process begins. They set dates for the collaboration and discuss preliminary ideas for the piece they will produce. It will not generally be known what these Pro-Am teams will produce until the exhibit opens on the first day of the Festival, and based on this year’s participants, the sky may be the limit.

The work produced by these pairings will be displayed in the South Hudson Gallery during the Festival and will be available for sale. A portion of the proceeds from the sale will benefit the programs organized by the Arts Council throughout the year.

For more information, you can contact the Arts Council of Oklahoma City at (405) 270-4848 or go online at http://www. artscouncilokc.com.

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Artist Debby Langston and Andy and Marion Nunez of the Starlight Mints and Opolis at the Festival of the Arts South Hudson Gallery Pro-Am Match Party.

Celebrity photographer J. Michelle Martin Coyne and artist Toby McGee at the Festival of the Arts South Hudson Gallery Pro-Am Match Party.

Artist Joe Slack and Musician Chris Hicks at the Festival of the Arts South Hudson Gallery Pro-Am Match Party.

Artist Toby McGee, Celebrity Photographer J. Michelle Martin Coyne and Musician Wayne Coyne of the Flaming Lips at the Festival of the Arts South Hudson Gallery Pro-Am Match Party.

For the South Hudson Gallery Pro-Am Exhibit, Festival Artists are teamed with celebrities and community leaders to collaborate on a piece to be displayed during the Festival.

Professional BMX Freestyle Athlete Mat Hoffman, Jaci Hoffman and Festival Co-Chair Tom Archibald at the Festival of the Arts South Hudson Gallery Pro-Am Match Party.

Brenda Hudson of the Dell Corporation and artist Gillian Kemper at the Festival of the Arts South Hudson Gallery Pro-Am Match Party.

Committee Member Berry Pitts, Oklahoma County Commissioner Jim Roth, and artist Skip Hill at the Festival of the Arts South Hudson Gallery Pro-Am.

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Tulsa Artists Open Studio Doors to the Public

by Lori Oden The Oklahoma Visual Arts Coalition’s annual Art Studio Tour Tulsa is scheduled for Saturday and Sunday, April 22 and 23 from noon to 5pm each day. Art Studio Tour 2006 will feature eight artists at five different locations around the Tulsa metro area. As a self-guided tour, this is an excellent opportunity for behind the scenes interaction with artists who work in a variety of media, including painting, mixed media, photography, ceramics and jewelry. A special kickoff celebration will be held at the Tulsa Performing Arts Center on Thursday, April 6 from 5:30-9 pm. This is an opportunity to have a sneak peek at the artist’s work and purchase tour tickets.

Meeting and talking to artists in their studios, seeing their space and equipment is, however, worth making a day of it on a beautiful day this April. The cost for adults is $10 for adults or $5 for students.

in Tulsa”. Much of the original wallpaper and wood floor remains; however, some of the rooms have been expanded and others decreased for a variety of studio space. A 40 foot central hallway serves as gallery space for Reid and renting artists. Reid’s studio is also a place for her to entertain where she has a bar, coffee area and separate seating spaces.

Reid is a theme and series artist. She received her Bachelor of Fine Arts from The Corcoran College of Art and Design in 1991. Reid states, “Conceptual ideas with the use of paint and mixed media in an expressive manner give life to my canvases.

Working with a theme and series in mind, layers of paint shape and reshape themselves with the use of texture, line and color to evoke emotion. My interests take me to explore nature, world and women’s issues.

The intimate exploration of capturing wonder and pain has been a recurring theme throughout my work.”

Marjorie Atwood

Michelle Firment Reid Michelle Firment Reid recently opened an amazing studio in the former downtown Tulsa building, the May Rooms. From 1928-1978 the May Rooms was a brothel; it consisted of brick row buildings with 13 X 13 rooms. The sign above the front door now reads, “The best little Art House 12

Marjorie Atwood has been renting her studio at the May Rooms for several years now. Her space is huge and filled with big paintings. The space is large enough to house two special rooms for Atwood’s daughters to paint while at the studio with their mom. Similar to Reid, Atwood is a theme artist and focuses on women’s issues.

She graduated from Sarah Lawrence College in Bronxville, New York with a Bachelor of Arts degree. Atwood has continued her education regularly with courses and certificates in design, faux finishes, gilding techniques and Japanese lacquers, metalsmithing and more. After graduating with a Master of Fine Arts from the University of Tulsa, Atwood has developed quite a resume of television appearances, exhibitions, and major publications. The style of her work is based on a figurative tradition with a contemporary orientation

and is very dynamic. Her primary medium is oil on canvas, but also does some mixed media.

DJ Griffin and Carol Curry

DJ Griffin first held a video camera when her son was playing basketball. The interest carried over to still photography when Griffin came to the Midwest. She was seeking to change her lifestyle and made it happen. The change gave her an opportunity to explore a vocation in the arts where she refined her craft at the Philbrook Museum of Art and the University of Tulsa.

She has freelanced for American Airlines magazine, the Tulsa World and traveled the world. Carol Curry is Griffin’s partner and studio mate.

Curry had a love for photography from the time she was four years old. Her mother, a missionary in the Congo, documented her work through photography. Trained originally as a graphic designer, she worked in the corporate design and marketing capacities for more than 15 years. Curry transitioned to full-time photography in 2002 and moved into Griffin’s studio in August 2005.

SPEAKERS @ THE UNIVERSITY OF TULSA (918) 631 -2739

BERLIND ROBERT NEW GENRE JOSEPH DAUN Exhibition ExhibitionAlexandre AlexandreHogue HogueGallery GalleryNOV.3-DEC.2 MARCH 9-30 Public Lecture : Artist Lecture

4pm 4pm-5pm Phillips Hall Room 211

Room 211:

Phillips Hall Jeannie Graham Kelie Myers

Jeannie Graham and Kelie Myers Jeannie Graham is the proud owner of the 1915 renovated home-turned-gallery and studio at 1628 South Cincinnati in Tulsa.

It has big picture windows that let in a ton of natural light and a butterfly garden for inspiration. She has regular hours for the gallery from Tuesday through Saturday.

Graham has been painting most of her adult life and has experimented with 3-D, mixed media, ceramics and painting, which is her primary medium. She uses earthy tones and paints young women, usually with elongated necks and skinny faces. The loss of Graham’s daughter 18 years ago, she suggested, might be the underlying reason why she is painted young women. One of Graham’s studio mates is a young artist who just started her career - Kelie Myers.

Kelie Myers is a native Oklahoman who paints primary in oil, but also works in mixed media and printmaking. She began painting six years ago by accident. Kelie was placed in an art class, but decided to sit in and found she loved the process. Since then

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Mayo AND Visiting Artist: FEAR APATHY

NOV.93 MAR. 5pm-7pm

5pm-7pm

Opening Reception

Opening Reception

APRIL 6-28 GUSSMAN COCO FUSCO Student Exhibition OpeningChapman Reception:Hall, 5pm7pm - 7 pmDEC. APR. 16 J. Donald Feagin Visiting Artist:

Alexandre Hogue Gallery

she has studied under artists Lance Hunter, Bobby Martin and others. She graduated with a Bachelor of Arts from Northeastern State University in December of 2004.

With a style that is very diverse at times, all of Myers’ work has a sense of passion and energy that is unmistakable. She enjoys experimenting with mediums and new approaches, including her fingers, rags, and brushes. Messy is good. “The sense of verve that overwhelms me as I walk into my studio or start to work is the driving force behind why I do what I do. I never limit myself, I simply let the energy take over and a painting emerges. I feel so blessed to have been led into being exactly what I’m supposed to be.”

Fine Arts in two- and three- dimensional design at the Institute of American Indian Arts in Santa Fe, New Mexico. Later she graduated from the University of Illinois with a Master of Fine Arts with emphasis in color photography, videography and digital imaging. Bigknife currently works with jewelry as her primary medium. She was inspired during her time in Santa Fe to make jewelry. Her resume includes numerous national exhibitions. Bigknife took her grandmother’s name several years ago; her tribal affiliation is Shawnee.

She now owns “Bigknife Designs” and is earning a reputation for fine jewelry, especially her Genetic Memory series, as well as metalsmithing, where she uses metal & typed messages to become thoughtprovoking, politically and socially minded pendants and necklaces.

Ginger Tomshany

Heidi Bigknife Heidi Bigknife was born in Enid, but grew up in Denver. She received her Bachelor of Fine Arts in photography from Beloit College in Wisconsin. In the early 90s she received an Associate of

Ginger Tomshany is an accomplished ceramicist living and working in Tulsa. She has a Bachelor of Fine Arts in ceramics from Southwest Missouri State and a Master of Fine Arts from the University of Tulsa in ceramics. She earned the Ben G. Henneke Graduate Fellowship and Council Oak Award during her studies. She is currently the manager at Waterworks Art Studio as well as teaches ceramics at Waterworks. Her teaching expands beyond Waterworks as well. Tomshany has participated in national exhibitions. Her work consists of thrown functional and hand-built wall pieces.

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Beacon of Hope

by Susan Grossman It’s a can’t-miss kind of thing. Monolith by day, beacon at night. Situated at the gateway to east downtown Oklahoma City, the 19-ton steel Beacon of Hope at Stiles Park is one of the latest projects by the Oklahoma Centennial Commission. When illuminated, the light can be seen for miles in all directions, it’s green, soothing essence shooting a mile into the air.

“5 spirits. 20 Moons. Ancient campfires. Talking stones. The sun and stars. There will be roots, a compass, growth rings and shade. Think gateway, light circles and rings of stone. There is a sacred four, rings of steel, time and forever. Fire from the past. Fire of the future. It’s 1901 and 2005. Going forward it is a place to hold our hopes ...” ­—Rand Elliott

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Designed by Rand Elliott of Elliott and Associates, the beacon and the plaza at Stiles Park, located at Northeast 8th and Stiles, commemorate the Oklahoma Health Center’s 40th anniversary. In 1965 city leaders Harvey P. Everest, E.K. Gaylord, Dean A. McGee, Don O’Donoghue, M.D., and Stanton L. Young were inspired when they, along with 20 other members of their board, took a trip south of the border and visited the Texas Medical Center. The group returned to the Sooner State determined to create a similar center in Oklahoma.

The result of this determination is the sprawling complex of medical research, treatment and academic institutions in east Oklahoma City. Many of the buildings

The beacon itself sits just east of downtown in the 200-foot circular Stiles Park. The park is said to be the oldest in Oklahoma Territory, named in 1901 for David Frazier Stiles, an early peacekeeper on the plains. A plaza within the park is called Founders Plaza.

Four years in the making, the idea originated with James Pickel of Pickel and Smith Construction, and Hershel Lamirand, executive director of the Oklahoma Health Center Foundation. Funds from 28 donors helped pay for the project; a complex cast of structural engineers, painters, electricians, landscape architects and construction crews brought the beacon from concept to completion. The structure was tested in a wind tunnel at the University of Texas to ensure the massive shaft would remain anchored to the ground, safe from the omnipresent Oklahoma winds.

reveals the interior. You see eight lines, or tendons, below the surface that binds us together.”

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are a testament to these founders including the Dean A. McGee Eye Institute, and the O’Donoghue Research Building and Stanton L. Young Biomedical Research Center, both part of the University of Oklahoma Health Sciences Center.

A green light to symbolize the transformation of healing shoots nearly 5,500 feet into the air. The green, healing light, when ignited at night, passes over the representational tendons to evoke the concept of humans healing humans. Ultimately, light offers hope and “lights the way to an ever brighter future.”

Beacon of Hope was dedicated November 2, 2005 during a brief ceremony. Following a countdown, Stanton L. Young, the sole surviving member of the five founders, gave the command to throw the light switch.

Elliott uses light and its origin as a catalyst for architectural designs and has the source of light for the beacon coming from the interior of the beacon itself. The word poem above helped give Elliott inspiration and he often uses them in his work. Similar to the 70-foot Iron Feathers at the entrance to the Will Rogers World Airport complex, the Beacon of Hope is inspired by, and steeped in, Native American culture.

There are 20 trees that ring the park to recognize the original committee who started the medical center. Five light sticks, five rings and five redbud trees acknowledge the five founders. Stone circles symbolize ancient Indian campfires and connect us to our state history. Four benches mark the four cardinal directions and the four sacred Indian colors of red, yellow, black and white. A gold flame at the base of the beacon will turn fire yellow in spring and an ancient “grandfather” tree is a reminder of passing time.

The beacon itself stands at 100 feet, a nod to the state’s first 100 years, as well as to the next 100. Its circumference is eight feet.

To connect to the medical world of humans treating humans, Elliott used light and lines. “The surface is smooth, not unlike that of a human limb,” he explained. “Yet, the transformation from a circle to an ellipse 15

ON THE

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Bronze Horse Foundry in Pawhuska

by Sue Moss Sullivan

John Free, Jr. Patinas Soaring Spirit by Rosalind Carter, Tulsa (photo by Sue Moss Sullivan)

Small towns often hold surprises. Pawhuska, Oklahoma is the home of the Bronze Horse Foundry, established in l981 by artist John D. Free, Sr. He wanted to control the quality of sculptures that he and other artists spent long, laborious hours designing and sculpting.

David Phelps, an Oklahoma City sculptor, and I took a road trip last December so he could deliver some small waxes and I could visit the foundry that I had heard about for several years.

John D. Free, Sr., an Oklahoma painter and sculptor, is not part of the day-to-day operations, but occasionally stops by the Bronze Horse. Free still creates his own art and his wife, Rayma, does the accounting for the foundry. His sons, John, Jr. and Matt, now operate the foundry, each in charge of different aspects of the business. While John deals with the artists and the general “business of art” and Matt oversees the fabrication of the bronzes, they each fill in the different areas of the foundry when needed. I watched as John finished a patina on Soaring Spirit by the artist Rosalind Cook, and Matt welded together small parts of a sculpture; it was tedious work that eventually yields a seamless bronze.

The art of bronze sculpture is an ancient process believed to be over 4,000 years old.

Each step takes the artist’s design from the 16

positive to negative and back to a final positive with each of these steps being very time consuming.

It can take a foundry from one to six months to complete a sculpture, which explains the high cost of the art form.

When people view a large bronze, they may not realize that each piece is poured in sections: head, torso, leg. One work surface at the Bronze Horse might have small, complete sculptures lined up like little soldiers, all at attention. The next area may have a head from one piece and a leg from another right next to a small horse, rearing up and ready to run. However, David and I could not resist snapping shots of employees at their tables surrounded by figures designed by artists with different ideas and visions.

At first, the foundry seemed helter-skelter, as if the men and women working there have little regard for the art. After all, piles of bronze parts cast about in various stages of completion, seems disrespectful. This was, however, the “work of art,” the nittygritty part of the hot, dirty studio that goes along with the medium. The employees are dedicated to creating high quality bronzes that will replicate the artists’ designs and have the quality demanded of an art form that is meant to last for centuries. Among those I met was Marisol Amaya, who was working delicately on the wax figure, Wrangler, by John D. Free, Sr. Her job was to make sure that all imperfections are cleaned away and the piece is refined, so for the final stage, the bronze is perfect. She smiled easily when I asked her

about her work. She enjoys her contribution to this process.

As I moved outside, I watched Eddie Tyng chipping off the ceramic mold, the process that finally exposed the bronze. He stood next to a pile of several parts of soon-to-be completed sculptures, but at this stage, things still seemed to be uncoordinated. Suddenly, there was some activity and like a wellchoreographed dance, several men quickly moved to the pouring area. Ceramic molds were placed upside down in the sand and the crucible, dangerously hot with molten metal, was carefully moved to each mold, filling the negative space to make a positive.

This demanded extreme care, thought and planning. The casual, congenial attitude in the foundry was just on the surface and can be deceiving. Every station and skill was carefully orchestrated to produce the final product: a beautiful piece of art.

I felt very welcomed at the Bronze Horse.

John, Matt and their crew reflected the friendly small town attitude we have come to expect in Oklahoma. David picked up a small, completed piece he came to retrieve and we headed on to Tulsa where he could photograph his sculpture, Glide, which currently stands at New Block Park on the north side of the Arkansas River. I now have an even stronger appreciation for this magnificent, historical piece.

The Bronze Horse Foundry is located 4 miles south of Pawhuska on Highway 99.

To arrange a tour, please make an appointment by calling 918-287-4433.

Procrastination and Perfectionism

by Romney Nesbitt Did you know that a week has eight days?

Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday, and Someday. You know where I am headed. Someday, I will get back to my painting. Someday I will write a book. Someday I will step up my practice time. Someday never comes. What keeps you from beginning today and what you have been promising to do “Someday?”

Procrastination or perfectionism may be keeping you from accomplishing your dream. Procrastination keeps you from starting. You wake up with good intentions, but for one reason or another you just never get around to the number one item on your to-do list. On your way to your studio you stop to put in a load of laundry. When you sit at your computer to write your business plan you decide to check your e-mail just one more time.

A friend calls with a last-minute lunch invitation. For any number of completely legitimate reasons the productive day you envisioned has disappeared.

Perfectionism can be just as deadly as procrastination. Perfectionists are willing to start, but only when all conditions are right. Perfectionists see success so clearly in their mind: the painting is a contest-winner, the book is a New York Times bestseller, the performance of your conceptual art piece receives a standing ovation. The only thing that stands between you and your goal is a belief that someday your energy, time, and resources will be in perfect alignment.

For both the procrastinator and the perfectionist, “Someday” thinking still nets zero results in the real world. The answer to both problems is the same: you must be willing to create “in the middle of things.”

Author Eric Maisel explains this concept in his latest book Coaching the Artist Within, stating that, “You must be able to create in the middle of things, or else you will not create. You must learn to take whatever

practical and psychological actions are necessary to combat the anticreating forces that surround you and live within you.”

The procrastinator must learn to fight against anticreating forces outside of him, such as the everyday distractions and crises of normal life. The perfectionist must learn to fight against anitcreating forces inside, such as, unrealistic thinking about what is possible in an imperfect world.

So how do you start creating “in the middle of things?” Try these six steps to overcoming procrastination and perfectionism.

1. BE PRESENT Remember when you were in school and the teacher would call roll? If you were in your seat you said “Present.” Be present in your seat whether that is at your computer, drawing table, or piano bench. Be in your seat and be “present.”

2. STAY Once you get to your work space, stay there; if this feels too awkward after weeks or years of anti-creating, then set a timer for five or ten minutes, perhaps even twenty.

Do something until the timer goes off. If you are too scared to begin your real work just stay in place until the timer goes off.

Give your mind a chance to get used to the idea of creating again. Now here is the important part, while the timer is ticking do not leave your work space. Stay. Do not move--not for a phone call, not for a pet, not for a forgotten commitment. The world will still be in place after the timer goes off and you can take care of whatever it was that tried to kidnap your creative focus.

Give yourself the gift of time—time spent in the right space is a powerful beginning.

3. DO NOT LOOK BACK While you are in your work space, being present, do not existentialize or analyze all the reasons why you have not been doing what you said you wanted to do. Do

bus i ness of ar t

Six Steps to Overcoming

not make excuses, berate yourself or feel regret for lost time. Administer your own absolution. Forgive yourself for your pattern of inaction and start anew.

4. BELIEVE IN THE POWER OF “GOOD ENOUGH” Wanting the right time and place to begin is understandable, but waiting for what will never be a reality is a waste of time. Know that creative people, just like accountants, mothers, relief workers, and presidents all do their jobs in less than ideal conditions.

There is no perfect world, but on most days the world is “good enough.” Decide that a “good enough” work environment is okay for today. Your painting corner does not have to be outfitted like Chuck Close’s studio in order for you to begin your painting. Your office does not have to pass inspection for you to write your screenplay.

Fifteen minutes of practice three times a day is better than none.

5. TAKE ACTION AND DO NOT STOP Write one word, one sentence, squirt out your paints, put your hands on the keyboard and begin something. Move in the direction of your dreams. Start and do not stop.

6. TODAY Today is the day to begin, do not wait for “Someday.” Today is the day to start living your life in the arts. Do not waste yet another day. Go on, get started. You have work to do!

Romney Nesbitt is a creativity coach, artist and writer living in Tulsa, Oklahoma. Her business, Drawing on Life, supports the creative life of artists and writers by helping young people and adults develop habits for success to make their dreams for a life in the arts a reality. For more information about her creativity coaching practice contact her at RomneyN@cox.net or call her office 918.813.6962.

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Your Secret Agent: The Portfolio

by Sue Clancy I often hear artists say, “I would like to have an agent or a representative.” Well, guess what? You have one. It is your portfolio! Now, I know that was not exactly what you meant. And true, your portfolio is not a person, but next to you and your artwork itself, your portfolio is your best representative. More than likely it is going to be what sells your art and that is basically what an agent would do.

So, if you do not have a portfolio, or the one you do have is not doing the job properly, here are some suggestions to create a good industry standard.

A portfolio should contain: • An artist statement - a first-person statement about your art that is not more than two paragraphs • Your biography – a third person prose (about one page) that contains the highlights of your vitae, but is written in a narrative fashion • An abridged version of your vitae - no more than two pages of information highlighting your biggest, best and most impressive career items.

• Copies of published articles that mention you by name – such as reviews. If you 18

have more than one then select 3 or 4 of the most recent and most impressive • Ten to twenty images selected from your collection of artwork. Use ONE IMAGE PER PAGE and print on ONE SIDE of each sheet of paper. The image should list: -Title of Artwork by (You) Fabulous-Artist -Dimensions (Height x Width x Depth) -Medium • Slides or a CD containing images of your work • Price list for all the works in the portfolio I recommend that a legible font be used for all of your text - something simple and readable like Futura or Times. The idea is to be very clean, neat and legible with every bit of information that you present. The whole portfolio should have a consistent look, including your font, and even on the art identification tag.

Practice taking good photographs of your artwork. The need for good images of your artwork simply can not be expressed enough. Whether you use a digital camera and a computer, or if you type the text via computer and use a 35 mm camera, set

up the pages for your portfolio like one of these layout examples.

Once you have all of the various elements together, decide on the format in which you will present the ingredients of your portfolio.

(This is like deciding what suit your agent will wear.) Care and consideration must be made regarding if and how the portfolio will be mailed or displayed. It is also very important to know who will be receiving the portfolio. For example, if you are sending your portfolio to a gallery for review, a bound soft-cover portfolio is preferred to eliminate loose papers.

However, if your portfolio and artwork have already been accepted by a gallery they may prefer to it in a three-ring binder allowing them to put your portfolio out for display during an exhibit. If you are sending your portfolio to a gallery that also functions as a publisher they may wish to have the portfolio in a folder with all of the pages as individual sheets. This enables them to facilitate easy computer scanning of images and text for a website or publication.

Think about your artwork and develop a look to all of your portfolio materials that reflects YOU. Again, this does NOT mean using funky fonts or wild varying

bus i ness of ar t sizes of fonts. The readability of the information is NOT the place to express your creativity. What I mean by develop a look is to choose a creative cover. For example, if you will use red quite a bit in your artwork you might wish to use that color of paper to create your folder, 3-ring binder, or for the bound soft-cover. If you are a wire sculptor you might devise a way of binding a soft-cover portfolio that uses wire for the binding. These are some elements where your portfolio can reflect

YOU. In addition, you will want to affix an extra image of one of your artworks to the front cover of your portfolio, along with your name and contact information.

Whatever you send, make sure it is a copy.

NEVER send your originals. Keep your original portfolio pages separate. Either make a color copy from your master or print one from your computer to send to someone. If you have your entire portfolio on your computer make a backup disk and

also print it all out keeping a master copy on paper somewhere. Copy or print out your portfolio on the best quality paper that you can afford. What you want is a portfolio that is a workhorse for you, but - unlike a human â&#x20AC;&#x201C; is not expensive to maintain. (You wonâ&#x20AC;&#x2122;t have to split the profits with your portfolio either.) Your portfolio shows you at your best at all times. Especially when it is kept out there in circulation, and not a secret. Now that is a good agent!

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Rou nd U p

At a Glance

by Susan Grossman Joy Reed Belt doesn’t just talk about cultivating the much-discussed creative class. She and 12 young artists with Oklahoma ties ushered in 2006 at her gallery, JRB Art at the Elms. Selected for inclusion in Oklahoma’s Collectible Young New Artists by internationally-recognized artist and Oklahoma native Joe Andoe, the dozen were narrowed from a field of more than 60 nationwide. The competition was open to artists ages 21-34 who currently live, have lived or have been educated in the Sooner State. “The long-term goal is to retain our bright young aritsts and attract those who have left to come back,” Belt said. Mediums represented included acrylic on canvas, digital photography, sculpture, pencil and industrial enamel/oil and remained on display through January.

by Lori Oden I recently had the opportunity to spend a nice evening with my family in the Paseo district during their first Friday gallery walk. It was a cool evening, thanks to our warmer-than-usual winter and it was perfect. Smells of hot chocolate, wine, Galileo’s pasta and incense were overwhelming and reminded me of my college days. The art is diverse and exemplifies our excellent Oklahoma talent, the artists are exuberant, the gift shops are fun and the food is great.

Momentum: Art Doesn’t Stand Still, held on Saturday, January 14, 2006, was the event of the year. More than 2200 people came to witness over 200 works of visual art, film, performance art, live music and dance by young Oklahoma artists. T-shirt making, interactive art and more were part of the evening’s events. OVAC Executive Director said of the event, “We are blown away that so many people are interested in art and came to the event. We hope the energy of this show activates even more people in their creativity! Plus, we think that the value of original art was confirmed. We can’t wait for Momentum Tulsa in June.” Special thanks to all of our volunteers, artists and committee co-chairs!

OVAC hosts Momentum Tulsa every summer. In its third year, it is scheduled to open on Saturday, June 17, 2006. It is never too early to mark your calendars for Momentum OKC next year; it will be Saturday, January 13, 2007.

Thank you to our New and Renewing Members from November and December 2005 Megan Akers Bert Allen Asia Marty and Martha Avrett Amanda Baez Paul Barby Cody and Kelly Barnett Genie Basey Carlie Bentley Heidi BigKnife Nick Bolton Jay Bonifield Jan Bradfield Dylan and Amanda Bradway Bob and Connie Bright Sara Brooks Cynthia Brown Josh Buss Kelly Cameron Barbara Chaffin Stefan Chinov Jessi Clancy Jon Corea John L. Cox Shannon Leigh Crider Keith Curtis Sarah Davison Lynn Deal Lori Deemer Garris Dennis Bill and Janie Deupree Steve and Maggie Dixon

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Connie S. Doak Elizabeth Downing Claudia Doyle Sandra Dunn Rand and Jeanette Elliott Lisa Ensor Beverly Evans Cody Feuerborn Anita Fields Jon Fisher Joyce Fogle Kimberly Fonder Whitney Forsyth Ellen Frank Ron Franklin Natalie Friedman Joe Brandon Garcia Darlene Garmaker Sunshine Garner Sterling Gates Breanne George Chris Gonzalez Jim Gorton Darryl Gouch Martha Green John Green Vanessa Greer Ed Gruber Promise Guidry Benjamin Harjo, Jr. Nancy Harkins Virginia Harrison

Stuart Harrison Josh Heilaman Edwin Helm Shane Hemberger Drew Henson Brent Hichenbotham Geoffrey Hicks Oklahoma City Museum of Art Pam Hodges Shirley Houx William S. Jefferson Curtis Jones Adam Jones Kreg Kallenberger Deborah Kaspari Gena Destri Keffer Cate Kelly Joseph W. Kenney Christina Kovash Stephen Kovash Megan Landa Melissa Lawrence Art and Betsy LeFrancois Bryce Leverich Katherine Liontas-Warren Freeman Loughridge Jason Martin Heidi Mau Kirby McCarley Andrew McCoy Anthony McDermid, AIA

Cindy McNicholas Sunni Mercer Cameron Meyer Marie Miller Julie Miller Thomas Mills Selby Minner Elizabeth L. Muller Raybert Murrell Dan and Elaine Nealey Lori Oden Ann Ong D. Oswald Romy Owens Piyush Patel Cindy Pauchey Jennifer Perry Tom Pershall Elizabeth Peveto Eric Pipkin Suzanne King Randall Brandon Reese Billy Reid Angela Renke Anna Roche Rraydisa Joseph Russell Lacie Shaw Abby Simons C. Elizabeth Smathers Al Smith Geoffrey L. Smith

Sandy and Bob Sober Miranda Sowell Karin Stafford Leigh Victoria Standingbear Joe Staskal Jansen Sterba Jim Stewart Jeff Stokes Mindy Stricke Joe and Patty Sustaire Megan Talley Eileen Thomas Skip Thompson Brooks Tower Kelsey Trammell J. Diane Trout Harwood Vickie Tuohy Teresa Valero Patricia Vestal Anne Vieux Joe Walker PIE Wall Milly M. West Carol Whitney Mary Wielage Charles and Renate Wiggin Sarah Williams Alexis Winslow Craig Wood Janice Wright Joanna and Hernan Zuniga Kristal Zwayer

Ada

Claremore

Art Department Faculty Show March 20-April 28 Art Department Student Show April 10-28 University Gallery East Central University (580) 310-5356 www.ecok.edu

Foundations Gallery-Baird Hall Rogers State University (918) 343-7740

Ardmore

Annual All-School Exhibit Area Elementary Schools March 25-April 7; Reception April 4 Area Middle and High Schools April 10-21; Reception April 18 Charles B. Goddard Center 401 First Avenue SW (580) 226-0909 www.godart.org

Bartlesville Karim Rashid April 28–September 17 Price Tower Arts Center 6th and Dewey (918) 336-4949 www.pricetower.org

Broken Bow

Durant Arts Gala (featuring Jason Meadows) Saturday, March 4 at 6:00 p.m. at the VPAC Southeastern OK State University 1405 N. 4th PMB 4231 http://www.sosu.edu/department/art/ gallery.htm

Durham Museum closed through March 1 Metcalfe Museum Rt. 1 Box 25 (580) 655-4467 www.metcalfemuseum.org

Edmond Festivals of Asia-Celebrating Little Hearts Photographic Exhibit March 1-April 8, 2006 Edmond Historical Society 431 S. Boulevard (405) 340-0078 www.edmondhistory.org

Exhibition Schedule Shadid Fine Art 19 N. Broadway (405) 341-9023 http://www.shadidfineart.com Chambers Library Gallery University of Central Oklahoma 100 University Drive (405) 974-5931 http://www.ucok.edu

El Reno Bill Jaxon Exhibition Through March 29 Redlands Community College Student Art Show April 4-May 12 Redlands Community College (405) 262-2552 www.redlandscc.edu

Henryetta Joseph W. Hardin Photography Exhibit January 1-December 31, 2006 Henryetta Historical Society 410 West Moore (918) 652-7112 www.territorialmuseum.org

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Gallery Listings

Lifewell Gallery Museum of the Red River 812 East Lincoln Road (580) 286-3616 www.museumoftheredriver.org

Lawton VisionMakers March 11 – May 30, Reception March 11, 5-8pm The Leslie Powell Foundation and Gallery 620 D Avenue (580) 357-9526 www.lpgallery.org

Norman Tom Lee and Jack Slentz Through April 22 Mainsite Contemporary Gallery 122 E Main, Norman (405) 292-8095 www.mainsite-art.com

Forest Heritage Center Beaver’s Bend Resort (580) 494-6497 www.beaversbend.com

Chickasha Student Show March 31 to April 14 University of Sciences and Arts of Oklahoma Gallery-Davis Hall 1806 17th Street (405) 574-1344 www.usao.edu/gallery/

Bill Jaxon, Oklahoma City Take Me Home 18.5” X 13” Bill Jaxon’s work will be featured at the Redlands Community College Gallery in El Reno through March 29.

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Galler y G u ide

JoannaUnderwood & Amy Baldwin March 31- May 13, Reception Mar 31 from 7-9pm Firehouse Art Center 444 South Flood (405) 329-4523 www.normanfirehouse.com The Kiowa Five & 1 Through March 26 University of Oklahoma American Indian Artists Exhibition April 2 – 23 Opening; April 2, 2 - 4 p.m.

The Visual Voice of Kiowa Author N. Scott Momaday April 30-July 30 Jacobson House 609 Chautauqua (405) 366-1667 http://www.jacobsonhouse.com Nelson Shanks Through March 12 92nd Annual OU School of Art Students’ Exhibition March 30-April 23 Fred Writers: Photographs by Nancy Crampton March 31 - May 28 Jones Jr. Museum of Art 410 W. Boyd Street (405) 325-3272 www.ou.edu/fjjma/ Jack Slentz: Sculptures; Tom Lee: Photographs Through April 22 Mainsite Contemporary Art Gallery 122 East Main (405) 292-8095 www.mainsite-art.com

Oklahoma City

Art on Paper March 24–April 22 City Arts Center 3000 Pershing Blvd.

(800) 951-0000 www.cityartscenter.org

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Karl Brenner Landscape Paintings; Matt Seikel and Denise Duong Ceramics and Paintings Through March 18 JRB at the Elms 2810 North Walker-The Paseo Arts District (405) 528-6336 www.jrbartgallery.com Biting the Apple Friday and Saturday, March 3-4 New Genre Artist Meredith Monk at Living Arts March 18th Individual Artists of Oklahoma 811 N. Broadway (405) 232-6060 www.iaogallery.org International Photography Hall of Fame 2100 NE 52nd Street (405) 424-4055 www.iphf.org

Bob Kuhn Art Exhibition (Working Title) April 15–July 30 Music and Dance in American Indian Paintings Through May 7 National Cowboy and Western Heritage Museum 1700 NE 63rd (405) 478-2250 www.cowboyhalloffame.org Oklahoma State Capital Galleries 2300 N. Lincoln Blvd (405) 521-2931 www.state.ok.us/~arts Mexican Masters, Rivera, Orozco, and Siqueiros Through March 26 Tempests and Romantic Visionaries: Images of Storms in European and American Art April 20-August 13 Oklahoma Museum of Art 415 Couch Drive (405) 236-3100 www.okcmoa.com

Dr. Barry Rockler Photography Through March 17 Nona Hulsey Gallery, Norick Art Center Oklahoma City University 1600 NW 26th (405) 521-5226 Portable Light Signals March 10 - April 22 Reception, March 10, 5-9pm Untitled [ArtSpace] 1 NE 3rd St. (405) 815-9995 www.1NE3.com University Gallery Oklahoma Christian University 2501 East Memorial Road (800) 877-5010

Park Hill Cherokee Genealogy Dawes Roll Exhibit Through April 21 Cherokee National Historical Society, Inc. 21192 S. Keeler Drive (918) 456-6007 www.cherokeeheritage.org

Galler y G u ide Brandon Reese Fields Stoneware 24” X 33” X 23” Selected for the VisionMakers exhibit to open at the Leslie Powell Gallery in Lawton on March 11, 5-8 pm.

Ponca City Ceramics by Laurie Spencer Through March 31 Artsplace Ponca City 319 East Grand Ave (580) 762-1930 www.artsplaceponcacity.net Ponca City Art Center 819 East Central 580-765-9746

Shawnee

Color Connection Gallery 2050 Utica Square (918) 742-0515 Gilcrease Museum 1400 Gilcrease Road (918) 596-2700 www.gilcrease.org Holliman Gallery Holland Hall 5666 East 81st Street (918) 481-1111

Mabee-Gerrer Museum of Art 1900 West Macarthur (405) 878-5300 www.mgmoa.org

Joseph Gierek Fine Art 1512 E. 15th St (918) 592-5432 www.gierek.com

Stillwater

Living ArtSpace 308 Kenosha (918) 585-1234 www.livingarts.org

Gardiner Art Gallery Oklahoma State University 108 Bartlett University www.art.okstate.edu/gallery

Tonkawa Eleanor Hays Gallery Performing Arts Center Northern Oklahoma College 1220 East Grand (580) 628-6670

Tulsa Apertures Gallery 1936 South Harvard (918) 742-0500 www.aperturesphoto.com

Floating World Gallery 3714 S. Peoria Avenue (918) 706-1825 Bookworks: Exploring the Book as Art Through May 14 Cut: Film as Found Object in Contemporary Art Through March 26 Helmerich Gallery

Waking Dreams The Art of the Pre-Raphaelites from the Delaware Art Museum April 23 – July 2 Helmerich Gallery The Philbrook Museum of Art 2727 South Rockford Road (918) 749-7941 www.Philbrook.org Tulsa Artists Coalition Gallery 9 East Brady (918) 592-0041 www.tacgallery.org

Woodward Schindler’s List Performances/ Exhibitions Through March 8 Paul Laune March 10 - March 30 Pioneer Women April 6 - 30 | Plains Indians and Pioneers Museum 2009 Williams Ave (580) 256-6136 www.pipm1.com

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

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ArtOFocus kl a h o m a Annual Subscriptions to Art Focus Oklahoma are free with membership to the Oklahoma Visual Arts Coalition.

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

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

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