Art Focus Oklahoma, March/April 2007

ArtOFocus k l a h o m a

O k l ahoma Visu a l A r ts C o a l i t i o n

Vo l u m e 2 2 N o . 2

Oklahoma Visual Arts Coalition Biennial An exhibition of exceptional 2-D works

by Oklahoma artists. page 9

March/April 2007

ArtOFocus kl a h o m a

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contents

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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

profiles 3 Kevin Stark 5 Alexandra Alaupovic

Editor: Kelsey Karper publications@ovac-ok.org

reviews/previews 6 Art from Indian Territory 7 2007 Arts Festivals 8 The Taste of Metal 9 OVAC Biennial 10 Paseo Box Show 12 Fresh Show at Untitled

On the Cover: Jeff Dodd, Enid Jessica/Trix Oil on Panel 48”x30”

features 14 On the Map

business of art 16 Are you Ready for a Show?

18 Ask A Creativity Coach 17 Developing Creative Mental Muscles

member agency

OVAC news 19 At a Glance/Round UP 20 New & Renewing Members 21 gallery

This program is supported in part by the Oklahoma Arts Council

guide

Art Director: Anne Richardson anne@speccreative.com 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 Anonymous letters will not be published.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, Roger Runge and Sue Moss Sullivan, Oklahoma City.

OVAC Board of Directors 2006-2007: Kathleen Rivers, Ada; Rick Vermillion (Treasurer), Edmond; Suzanne C.Thomas, Nicoma Park; Thomas Batista, Skip Hill, Stephen Kovash, Suzanne Mitchell, Dwayne Morris, Ira Schlezinger, John Seward (Vice President), Carl Shortt, Lila Todd (Secretary), Elia Woods, Oklahoma City; Joellen Frisillo, Pam Hodges, Phd (President), Sand Springs; Chris Ramsay, Stillwater; Jean Ann Fausser, Michaela Merryday, Tulsa; E. K. Jeong, Weatherford.

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’ Organizations. © 2007, Oklahoma Visual Arts Coalition. All rights reserved.

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Kevin Stark, Pauls Valley Doodles & Dreams Hand Drawn on Paper with Color added Digitally 48” X 144”

Kevin stark:

The Super Hero and Action Figures of Pauls Valley

by Stephen Kovash The city of Pauls Valley is about an hour south of Oklahoma City, just east of I-35. Among other things, Pauls Valley is the home of the Toy and Action Figure Museum along with its Curator, artist Kevin Stark.

A graduate of the University of Oklahoma, Stark is a visual artist who includes oil, acrylic, watercolor and drawing in his repertoire. For the last twenty years the artist has maintained STARK ART, a studio and gallery in Pauls Valley. Through Stark Art and several other companies he began, Stark works for clients all over the world, producing everything from commissioned portraits, to logo designs, to image campaigns.

Stark is also an action figure artist who started with the Teenage Mutant Ninja Turtle toys 18 years ago. His action figure portfolio includes The Simpsons, Toonsylvania, the Coneheads, the Toxic Crusader, Mask (the Animated Series) and the Mummy. His Mummy action figure was recently voted as one of the top 10 scariest toys.

According to Stark, the modern history of action figures dates back to 1961 when Kenner Toys introduced the G.I. Joe to compete for

market share with Mattel’s infamous Barbie Doll. Due to the stigma associated with boys playing with dolls, Kenner coined the term “action figure” and threatened to withdraw product from those retailers referring to the G.I. Joe as a “doll.”

Stark’s amazing energy is also directed at comics and graphic novels. For the last five years, he has been writing and drawing the comic strip “Geezer” whose main character is the world’s only octogenarian super hero.

Geezer and a whole cast of characters (many based on Stark’s friends in Pauls Valley) will soon be appearing in a graphic novel.

Graphic novels are often referred to as comic books by the “uninitiated.” In January, The Toy & Action Figure Museum and GEEZER partnered with the Oklahoma City Philharmonic for a concert entitled “Salute to Superheroes.”

Due to a shortage of birthday parties growing up, Stark didn’t really start collecting his own action figures until 1986. Since then, he has amassed a collection of over 7,000 action figures and other toys that he originally kept in his studio. This was the beginning of what

would eventually become the museum. Stark was part of a committee tasked with creating a 10 year vision for Pauls Valley. In addition to an active arts council, an arts and cultural center and a new streetscape for downtown, the committee wanted to cultivate “unique tourist attractions” in the downtown area.

Stark made a joke about the toy collection in his studio being the “unofficial” tourist attraction of Pauls Valley and the committee assumed Stark would donate his collection to a museum. Unwilling to actually part with his beloved toys, Stark told them no, “... but I’ll put them on loan and help you put together a museum.”

The idea of a museum took off and they acquired a 6,000 square foot former department store, assembled a board of directors and obtained 501(c)(3) nonprofit status. Designs for the museum were put together and Stark traveled with his wife Linda to view other toy-related museums around the country. There were train museums and doll museums and the occasional all-over toy museum, but none devoted to just action figures. continued page 4

prof ile continued from page 3 When touring the other toy museums, Stark was concerned with making sure that children could interact with the displays. “We felt it was torture to tell a five year old kid that he was going to go to an action figure museum, but he couldn’t touch anything” stated Stark.

“We purposely set it up so that kids could play with the action figures and see how they work.” The toys and action figures contained in the interactive area come from Stark’s private collection as well as donations from toy companies and individuals. Stark has been known to actually give a toy to a child who becomes especially attached to a piece. There is also a costume room where the visitors of all ages can dress up as their favorite superheroes. “We’ve had several college-age people, and moms and dads dress up with their kids, so that’s been pretty cool!” states Stark. Moms and dads have also been drawn into the other areas of the museum when they see a particular toy they loved as a child.

The “non-interactive” areas of the museum include a recreation of what Stark’s bedroom might look like if he still lived with his parents, exhibits showing the behind-the-scenes aspect of the action figure market as well as bringing attention to the sculptors and designers involved in the world of comics, graphic novels and action figures.

The bedroom exhibit uses the actual furniture from Stark’s childhood.

Almost every square inch is covered with some toy or action figure, many dating back to the early 1960’s (anyone remember Major Matt Mason?). Stark is planning on living and working in the space for a week for an upcoming fundraiser.

The Cartoonists Collection, curated by Michael Vance, represents comic art from artists who are either from Oklahoma or have done professional work while living in Oklahoma. They include Russ Myers (Broom Hilda comic strip), Archie Goodwin (Spider- Man and other comic books), Don Martin (Mad and Cracked humor magazines) and Pawnee native Chester Gould (Dick Tracy).

Sculptor Kyle Windrix of Purcell is featured as Sculptor of the Year. He has created action figures for the Lord of the Rings movies, Hellraiser, Nightmare on Elm Street, Pirates of the Caribbean, and many others.

The museum opened its doors Oct 15, 2005, and by its first anniversary, had received over 15,000 visitors from all over the world.

They recently received the Redbud Award from the Governor’s Conference on Tourism for ‘Most Outstanding New Attraction’ in the state of Oklahoma for 2006.

The Toy and Action Figure Museum is located at 111 S. Chickasaw Street in downtown Pauls Valley. Admission is $6 for children and adults, $4 for senior citizens and children under 2 are admitted free. They offer group tour discounts and rent the space out for parties and special events (they have had TWO weddings so far!). Hours are 10 to 5 Tuesday through Saturday and 1 to 5 on Sundays. The museum is closed on Mondays. For more information, visit www.actionfiguremuseum.com or call (405) 238-6300. To view Geezer, visit www.geezercomics.com. n

(top) Kevin Stark, Pauls Valley Lisa, oil on wood panel, 30” X 40” (bottom) A prototype for the Balrog action figure, from the Lord of the Rings, sculpted by Kyle Windrix from Purcell.

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This article is a transcript from a series of oral history interviews conducted by University of Central Oklahoma Museum Studies students in collaboration with the Oklahoma Arts Council.

Profile: Alexandra Alaupovic

by Brodie Pitts Born in the Croatian town of Podravska Slatina in 1921, Alexandra Alaupovic produced her earliest sculpture at the age of five. Her father, a judge and a painter, and her mother, a watercolorist, encouraged Alaupovic’s talent as an artist. During the late 1940s, Alaupovic studied under sculptor Franco Krsinic at the Academy of Visual Arts in Zagreb and the Academy of Visual Arts in Prague.

When her husband, Pierre, accepted a post-doctoral position in biochemistry at the University of Illinois, Champagne-Urbana in 1957, the couple moved to the United States. Two years later, Alexandra studied photography and commercial art at the University of Illinois Art School. The couple moved to Oklahoma in 1960, and Alexandra began graduate studies in art at the University of Oklahoma in 1963. One year later, she received the Oscar Jacobson Award for her bronze sculpture, “Moon Girl.” She received the M.F.A. in 1966.

In an oral history interview with Brodie Pitts at her home in Edmond, Alexandra Alaupovic shares some of her thoughts about the creation of “Moon Girl” and the influence of the space program during the 1960s.

BP: I know that in 1964 while you were at OU you won the Oscar Jacobson Award for the sculpture “Moon Girl.”

AA: Yes, “Moon Girl.” But this is interesting because my professor didn’t like the way I was doing things.

BP: Was it a professor at OU? AA: Yes, and he didn’t put this piece in the exhibition and the Art Director asked me, “Why didn’t you take this to the exhibition?” I said, “Well, my professor didn’t want to have it there.” So, he said, “You get somebody to help you . . . .” (top) Alexandra Alaupovic Edmond Moon Girl photo by John Jernigan (bottom) Alexandra Alaupovic Edmond Mother and Child 17” x 6” x 5”

BP: Take it over there?

AA: Yes, and you take it there and I got the Jacobson Award for it.

BP: Well, I noticed in your shows that you were very busy in the mid to late 60s.

AA: Yes. BP: Do you think that your recognition for the Jacobson Award and “Moon Girl” helped to promote that, helped people recognize you?

AA: I really don’t know, they liked my work and maybe that’s what was important.

BP: That is important.

AA: Also, a lot of them were professors who knew me and they knew that I came from ChampagneUrbana where I learned more contemporary, especially commercial, art. When you learn commercial art you

are also learning about the new forms and space and about new things that are being accepted.

BP: But mostly contemporary and modern ways to do things?

AA: Yes, sure.

BP: You prefer to work with metals in your sculptures, is that right?

AA: Well, it depends on how I am going to express and what I want to express. My feelings - some go through the metal some go through the clay and then the rest… It depends what I would like to express.

Brodie Pitts and Alexandra Alaupovic then walk over to “Moon Girl” for closer examination.

BP: Tell me about “Moon Girl.”

AA: About “Moon Girl?” Oh, okay.

BP: Because she didn’t always look like she does now.

You were telling me the other day that “Moon Girl” started out as a commission.

AA: Well that lady wanted to have a portrait of her… but she didn’t like what I had done in the beginning and lots of people who were sitting to get the portrait - they all hated it. It is really funny because I told them put the head to the left and I… BP: They don’t like being a model and they don’t like the work you do after they model.

AA: Tell them how to turn and they hate it.

BP: They didn’t like that much. So by the time you got done they didn’t like your art?

AA: She didn’t want to come anymore, she didn’t want it. But I had it almost done and I thought it was brilliant, so nice and when… what’s the name of the gentleman who went on the moon in 1963 I think it was?

BP: The first astronaut?

AA: Yeah he went back on the moon and I thought “I am going to make a Moon Girl.” And so I did.

BP: Well you did a good job. Round expression of the moon and then the girls face in the moon.

AA: Yes. BP: When you look at the moon do you still see a girl?

AA: I see the girl because I would look at it with my father when I was a small girl and he would always ask me, “Can you see the girl there?” n

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(top left) Nathan Hart, Morningstar Resilience, Redwood Burl Wood Sculpture (top right) Gerald Cournoyer, Norman, Silence, Acrylic on Canvas

Art From Indian Territory 2007:

the State of Being American Indian

The American Indian Cultural Center and Museum’s First Touring Exhibition

by Cathy Deuschle Beginning in February and continuing through September, an exhibit of contemporary Native art will tour the state. Appearing first at Southwestern OSU in Weatherford, this show will then travel to the Southern Plains Indian Museum in Anadarko, to the Muscogee (Creek) Nation in Okmulgee, to Southeastern OSU in Durant, and will close at the Oklahoma History Center in Oklahoma City Co-curated by Mary Jo Watson and heather ahtone, this show introduces contemporary work by twenty Oklahoma Indian artists to Native communities throughout the state. One aim of this endeavor is to promote a broader view of what the term “Indian Art” encompasses by giving rural residents an opportunity to see the many sides of current work. Moving beyond aesthetic concerns, it will address issues related to Indian identity at this moment in history and reflect on changes to the Oklahoma Indian community a century after statehood. Organized around three themes: intimacy, multiplicity, and geography, the curators and sponsors of this exhibit hope to further dialogue on many fronts.

Intimacy refers to those whose families and tribes have a history in Oklahoma and thereby feel a deep connection to the land, a strong sense of place. Art representing this theme includes pottery by Jereldine Redcorn and Joanna Underwood, photography by Tom Fields, Daniel Worcester’s metalsmithing, beadwork by Kennetha Greenwood, and painting by Brent Greenwood. By forging links between innovation and tradition in terms of process, medium, motif, and aesthetic, these artists have found a multitude of ways to bridge past and present, thus keeping tribal art and culture relevant and alive.

The theme of multiplicity directs attention to those who count more than one tribe or race in their heritage. The common occurrence of inter-tribal and inter-racial marriage in American Indian communities typifies the notion of this country as a melting pot. In addition, this cultural diversity further complicates an individual’s search for identity

and place within a community. Culturally specific motifs are less visible and individualism more prominent in art that emerges from such a multi-faceted experience. Among the artists who chose multiplicity as a theme are Tony Tiger, Matt Bearden, Benjamin Harjo, Jr., Heidi Bigknife, and Anita Fields.

The third theme, geography, considers the migration to Oklahoma of those whose tribes are from other regions. These people must negotiate, or seek a personal balance, between their familiar tribal land and culture and the reality of the space and culture they now inhabit.

While tribal heritage may be central to artwork so influenced, the work can be further informed by present circumstance. Two artists representing this theme in the show, Marwin Begaye and Gerald Cournoyer, have enriched this state and their respective communities with fresh viewpoints while gaining artistic inspiration from a new locale.The Chickasaw Nation is the financial sponsor and the American Indian Cultural Center and Museum, the institutional sponsor for this exhibit. Although the museum isn’t projected to open until spring of 2009, this is considered its inaugural show. As it moves across the state, it will serve as a herald, bringing news of the lively diversity that is contemporary Indian art in Oklahoma, and generating excitement about the upcoming opening of the American Indian Cultural Center and Museum in Oklahoma City, common ground for Oklahoma’s thirty-nine tribes.

The concluding paragraph of the curatorial statement makes clear the intrinsic value of contemporary Indian art. “In this exhibition, the artists who work in traditional forms help to keep our community connected to the past. The artists who are expanding the possibilities in their media help us to connect to the future. The artists, who are documenting our present concerns and experiences, anchor us to this moment. As a whole they represent a bridge that represents the experiences of the larger American Indian community of Oklahoma.” n

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Downtown OKC Art Festivals Foster Collaborations

by Jeanne Flanigan Two Oklahoma City art festivals are fostering some important collaborations in 2007. The Festival of the Arts, which is over 40 years old, is sponsoring an exhibit called Braided Paths, a collaborative effort by the American Indian Cultural Center & Museum (AICCM) and the National Cowboy & Western Heritage Museum (NCWHM). Art on the Bricktown Canal, a 3 year old festival, is sponsored by The Arts Group (TAG), comprised of ten arts organizations from across the state.

Braided Paths will consist of 22 artists, eleven chosen by a panel of artists and art administrators from each organization. The Festival of the Arts is a project of the Arts Council of OKC, with offices at Festival Square, at Sheridan and Hudson Streets. The exhibit will be installed in a luxury 30’ x 50’ tent called the “South Hudson Gallery” during the festival, April 24 to 29. Festival Director, Peter Dolese, says, “There will be room in the tent for educational activities, music, dance, poetry readings, along with the exhibit.

The interior will be decorated like a gallery, and landscaped with native Oklahoma plants outside.

We are very excited to present this union of two cultures, expressed through art.”

Shoshana Wasserman of AICCM says “At this milestone in the state’s history, the South Hudson Gallery exhibition will reflect on the past 100 years, illustrating how Native American and

western heritage has influenced the present day reality. This unique partnership between AICCM and NCWHM will offer a creative and educational look at traditional Oklahoma culture, and how it expresses itself through the work of Oklahoma artists today. This is the first collaboration between our museums, and we anticipate many more in the future.” AICCM had a Ground Blessing Ceremony on November 1, 2006, followed by a luncheon, filled to capacity, at the NCWHM. Details on the construction and location of AICCM are at www.aiccm.org.

Contact NCWHM at www.nationalcowboy.org Braided Paths will be a combination of art media, produced by famous and not-so-famous artists, in contemporary and traditional styles.

From the 22 artists, two artists will be chosen to create a collaborative work that will be the signature piece for the exhibit.

The Festival of the Arts will also present Windscapes, the Sculpture Park, and 144 artist booths, along with 20 food booths, three live music stages, and street performers. The Galleria Parking Garage has been finished, with plenty of room for visitor and artists’ vehicles.

Contact the OKC Arts Council at www. artscouncilokc.com or 405-270-4848.

TAG is comprised of ten organizations, with an open invitation to other Oklahoma groups.

Their goal is to help each other in promoting

the arts. The groups are: Basketweavers Guild of Oklahoma, Fiber Artists of Oklahoma (formerly Handweavers League of Oklahoma), Canadian Valley Art Guild, Mid-Del Art Guild, Oklahoma Art Guild, Oklahoma Pastel Society, Oklahoma Watercolor Association, Oklahoma Silk Painters, Stillwater Art Guild, and Sooner Scribes.

Their first project of 2007 is to host an Artist Appreciation Party on March 8, at the Oklahoma Museum of History, from 5 to 8 pm. The purpose of the party is to give their members a chance to get acquainted, to develop a plan for the year, and to let the TAG Board of Directors know what their needs are. The party is open to other groups who might be interested in joining TAG. Approximately 20 artists participated in the Art on the Bricktown Canal last year, painting and sculpting in plein air (open air). The public had a chance to see works created over a number of hours, and to talk with artists about their work. The Bricktown Canal curves around many restaurants and shops on the lower level of the Bricktown district between I-235 and the railroad bridge east of downtown, with Reno on the south border. The canal is several miles long, so there is plenty of room for the event to grow. Contact Karoll Kyle about TAG at karollsews@msn.com and find out about events in Bricktown at www.bricktownokc.com. n

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UNIVERSITY OF OKLAHOMA S C H O O L Angela Evans

@

O F

Justen Reyner

A R T

Tony Tiger

MAINSITE CONTEMPORARY ART

122 East Main Street Norman, Oklahoma 405 292 8095 www.mainsite-art.com

04.06 - 04.27

thesis exhibition opening reception april 6, 2007 7 - 9PM

art.ou.edu

For more information about the School of Art programs visit our website or call 405 325 2691 Accommodations based on disability may be arranged by calling the School of Art at 405.325.3217

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Lori Oden, Oklahoma City Fisherman Silver Gelatin Print

Saferis Art Galleries’

“Taste of Metal”

by Janice McCormick Saferis Art Galleries in Bartlesville, located on the busy intersection of Highway 75 and E. Frank Phillips Boulevard, recently opened its doors to the public. This commercial gallery is under the direction of Manuel Valladares who seeks to connect with the public through a project entitled “Taste of Metal.” This project offers the Bartlesville community an opportunity to take part in the creative process.

“The overall design,” explains Valladares, “is to involve the lay person with an opportunity to express their lifestyle and uniqueness.”

They will do this not only by serving as models for photographic sessions, but also by choosing the metal objects with which they will be photographed. In effect, they will be collaboratively interpreting the theme of “metal objects that are representational (physical or suggestive) and that hold significance in the everyday life of our models.”

At the time of this writing (mid-January) the project is in its first stage: seeking out willing participants. Models are being contacted by way of flyers distributed in “shopping malls, artist areas, music stores, automobile/ motorcycle repair places, healthcare venues, and dining establishments with a 60 mile radius of the gallery.” Each flyer includes an established number of ‘numbered tickets’ that will be presented to the gallery for admittance to the photography sessions, which will have taken place by the end of February. The aim is to have 125 participants, who will pay $60 for participation and in return will receive an image copy for their personal records.

Lori Oden (past editor of Art Focus) will be the photographer. Of her involvement, Oden says, “I am very excited and feel privileged to be a part of the project. Typically my photography does not include portraits, but this particular job was so fresh and contemporary that I could not pass it up. The ‘Taste of Metal’ has so much potential - every person I have talked to about it (even though it may sound a little “off” at first) is extremely interested and ultimately want to know more and ask when it will be on exhibit. We hope that, eventually, this project will expand into other communities and a book or catalogue will be published.”

The use of special lighting will also play a role in creating the desired look of the photographic images. Oden explains, “As far as the Halo effect, we hope to achieve a bright pin point or circle of light in the eyes.

I recently purchased a special light to attempt this effect. My interpretation is that Manuel is trying to draw attention to the sitter’s eye as well as the metal piece because the background will be black and sitters will be asked to wear a black shirt so that the focus is on these two areas. The metal piece that the sitter chooses will have a personal connection to their lives and the light, or halo, will give the image a mystical effect.”

As to the choice of the now-considered “historic” process of black and white photography, Oden explains, “The images will be black and white and developed in a wet darkroom by hand. Manuel wanted to use traditional black and white because of the silver (metal) involved with this process.”

Thus, there is a perfect meshing of the artistic medium with the theme.

The resulting collection of 125 photographs (each measuring 8.50” x 11”) will be floated on flat white mats and placed on five panels, 25 images per panel. The opening for “Taste of Metal” is tentatively scheduled for March 15th. It will run through August 1, 2007.

The parameters of the photo shoot are to be controlled in several ways in order to achieve a unified vision. The way the model is dressed, the background, and how the model interacts with the metal object are spelled out by Valladares as follows: “the model will wear a solid black, collarless t-shirt. The image to be captured will be focused in view of a solid black background. The model will take the selected piece of metal or element … and place it in their mouth to simulate a biting motion/ act, hence the term, ‘Taste of Metal.’”

Vallesdares views “Taste of Metal” as the first in a series of projects in which the Saferis Galleries reaches out for community support.

His next one, entitled “Gypsy Sessions,” will be a mixed media production blending musical composition and the spoken word.

The Saferis Art Galleries’ address is 3707 S.E. Frank Phillips Blvd, Bartlesville, its website is www.Saferis.net. Gallery Hours are 11:00am - 5:00pm, Tuesday through Saturday. n

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MJ Alexander, Oklahoma City Baby Attacks Photograph, 20” X 30”

The Oklahoma Visual Arts Coalition

Biennial 2007

by Kelsey Karper Every other year, the Oklahoma Visual Arts Coalition presents the Biennial, an exhibition of exceptional 2-D works by Oklahoma artists. This year, the exhibition has changed its parameters to include not only painting and drawing, but also photography, printmaking, and other 2-D arts. As a result, the show will represent a greater variety of works and at the same time become more competitive.

The curator for this year’s exhibition is Catherine Morris, an independent curator and writer based in New York. Catherine also serves as Adjunct Curator of Contemporary art for the Philbrook Museum of Art in Tulsa. She has curated a number of exhibitions there and has also written a series of art books entitled The Essential Series, each focusing on an individual artist of significance. Catherine holds a Masters of Art History from Hunter College in New York.

(top) Matt Jarvis, Pawhuska Wen Miao Temple, Gushi County Photograph, 10” X 8” (bottom) Nick Bayer, Oklahoma City Truth Is Mixed Media, 30” X 25”

For each Biennial exhibition, OVAC chooses a new venue and this year it will be held at the Mabee-Gerrer Museum of Art in Shawnee. The opening reception will be at 7pm on March 31 but visitors can come an hour early to hear a talk by Curator Catherine Morris about how she selected the works in the exhibition and her thoughts about the show. Awards for the exhibition will also be chosen by the curator and will include a $2,000 Best in Show award, two $1,500 Awards of Merit and three $500 Honorable Mentions. Awards will be announced during the opening reception.

As an official project of the Oklahoma Centennial, the OVAC Biennial will certainly fulfill it’s mission to spotlight and reward excellence by Oklahoma artists working in all 2-D media. The exhibition will run through May 6, 2007. For more information, you can visit www.ovac-ok.org or call OVAC at 405-232-6991. n

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The Box Show at Paseo Art Space

by Lori Oden Artists usually think outside of the box, but the 2006 “Box Show” proved different. Inspired and sponsored by artist Michi Susan, this exhibition had more than 40 entries in the required mixed media format from artists all over the state.

It was juried by artist and UCO professor, Charlene Weidell who took several hours to study the entries. She focused on craftsmanship, the artists’ interpretation of the concept and design.

Weidell also took into consideration how each piece would work together to create a professional, stunning exhibition. The exhibit was on display at the Paseo Art Space this past December and January. With numerous positive comments by artists and visitors alike, Susan plans to sponsor a 2007 Box Show this November.

“Best of Show” was awarded to Stan Carroll and two “Award of Merits” recognized Kim Camp and AD Donovan. Carroll submitted two square metal boxes with carefully cut lines that allowed the metal to fold in; one metal box was given a heavy stone lid and the other was an airy, paper and metal lid. Shape and line was reminiscent of origami, which he so titled. Camp spent copious hours to make a satin, hand-beaded box with a ceramic figure peeking out of the lid. Her attention to detail in “Birds and the Beads” gave wonderment to each side of the box. Donavon used hand-dyed paints and special encaustic materials to create a diptych of two small boxes with linen textured surfaces.

Other artists included Clarissa Sharp who created a dark, yet whimsical collage in a glass and wooden box that included a real dead mouse and a beautiful, old black and white photograph of a young woman, whom Sharp placed fairy wings. Joy Beller created two gold and black fabric pieces that took special sewing techniques.

Annette Pate used photo transparencies and made a small lightpowered turbine that produced mystic images on the wall.

The Paseo Art Space gallery is managed by the Paseo Artists Association, a non-profit, artist-run organization that raises funds to promote artists, businesses and educational programming in the Historic Paseo District. For more information about the Paseo and PAA, visit www.thepaseo.com. n

(top) Kim Camp, Oklahoma City Birds and the Beads Mixed Media (middle) Stan Carroll, Oklahoma City Origami Mixed Media (bottom) AD Donovan, Oklahoma City Diptych Mixed Media

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Ceramic Sculptures

by Brandon

Brandon Reese Wichita 38"x 38"x 21" stoneware

Reese

February 23 to March 30, 2007

Artsplace Ponca City www.artsplaceponcacity.net 319 E. Grand Ave. Ponca City, OK 74601 580.762.1930 11

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Fresh Art

at Untitled [ArtSpace]

by Kelsey Karper

Six young artists from the Oklahoma City area were recently featured in an exhibition at Untitled [ArtSpace] entitled Fresh. Each artist had a distinctly recognizable style and all used different methods of creating. The work of these six distinct artists was united, however, through the use of layers with an emphasis on the creative process.

Trent Lawson exhibited his abstract mixed media paintings that are created using his unique process of laying string into wet gesso, letting the lines of the string define the shapes within the painting. His process invites the viewer to participate in his creative process by finding their own meaning or imagery within the piece.

Betsy Barnum, Program Assistant at Untitled, served as curator for the exhibition.

Moving to Oklahoma only recently, Betsy took a fresh look at the emerging artistic talent in Oklahoma City to create this exhibition. Of the experience, Betsy said, “I was impressed with how fervent the young art community is here. I jumped right in and was whole-heartedly welcomed.�

Science and nature are a source of inspiration in the work of Brooke Madden. Her installation piece called Development in Space creates a beautiful and otherworldly environment of honeycomb-like objects suspended from the ceiling. The spheres are created using natural materials like rice and paper.

All under the age of 30, the six artists featured in the exhibition were Amanda Weathers Bradway, Trent Lawson, Brooke Madden, Natalie Moore, Cassie Stover and Naomi Sumi.

Painting on wood was the medium of choice for Amanda Weathers Bradway and she effectively used the wood not only as a working surface but she also allowed the subtle grains to become a part of her composition. The faces of her female subjects were often simplified into shapes and planes. This simplicity was well balanced with the intricate details in other areas of her compositions, such as floral images and patterns.

Cassie Stover I Worry About You Acrylic on Canvas

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Natalie Moore is a senior studying graphic design and her large paintings on canvas reveal the influence of her studies in her work. Painterly brushstrokes in saturated hues are the background for layers of organic plant life, abstracted to become very graphic elements within the piece.

Urban elements like tattoo artistry, graffiti, underground cultures, and spray-paint made there way into the work of Cassie Stover. Her paintings had a narrative quality, seeming to tell a story about the people featured in them. The realistic portraits, juxtaposed with images of graffiti covered walls, gave a sense of something happening, something more than a single look would reveal.

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(left) Amanda Weathers Bradway You Silenced My Words Acrylic on Wood (right) Natalie Moore Roundabout Exchange Acrylic on Canvas

Naomi Sumi, an artist born and raised in Japan, presented a collection of small but elaborate serigraphs. Many of her prints were reminiscent of traditional Japanese patterns, an obvious influence of her culture. Naomi said that she loves patterns because they are unlimited, infinite and that many of her own patterns contain hidden messages and images within them. A close inspection of one of her petite prints may reveal another layer not seen at first glance.

Fresh provided an impressive look at young artistic talent in Oklahoma. The exhibition was at once diversified and interconnected, showing the developing movements of up and coming artists in our state. These six artists will be worth watching in the coming years.

Untitled [ArtSpace] is located at 1 Northeast 3rd St. in downtown Oklahoma City. For more information about the organization, you can visit their website at www.1ne3.org. n

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ON THE

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Pauls Valley:

Not Your Ordinary Small Town

by Jeanne Flanigan

The entrance to the Pauls Valley Park, located at the depot area.

The billboards on I-35 have made me curious about Pauls Valley, 50 miles south of OKC, and I wasn’t let down when I took the time to drive the 10 minutes to the town center. Wide brick streets welcome visitors, with 12 blocks of historic buildings, leading to the spacious plaza surrounding the restored Santa Fe Depot and Historical Museum. Several years ago, the Main Street Pauls Valley downtown revitalization program began restoring buildings, installing decorative sidewalks, and energizing a downtown culture. The downtown is at nearly full occupancy. With the data from a Vision 2000 process, the community established a tourism office, the Toy and Action Figure Museum, and the Pauls Valley Arts Council (PVAC).

Last year the City Hall moved into a historic downtown bank, and leased their two story brick building to the PVAC. This building will house the Main Street office, the PVAC, and will become the Pauls Valley Cultural Arts Center. There is much to be done for renovation, and the PVAC Board has been busy acquiring blueprints, a large grant and dedicated volunteers.

The facility will be a combination of state of the art technology and historic building, with a 50’ x 60’ theater upstairs, and a 40’ x 40’ gallery downstairs, both with 16 ft ceilings. An elevator will be installed, updated electrical wiring put in, and a backstage area devised.

Large decorative tin ceiling panels cover the theater area, over a sloping oak floor. There are walk-in safes on each floor. Rooms for classes, artists’ studios, and offices surround the central wooden staircase, leading out to Paul Avenue and Walnut.

Since the community supported the creation of PVAC, other civic organizations, city activities and school events are well coordinated so they don’t conflict with each other. The PVAC has a busy schedule with events every month and participation in annual city events like Brickfest, Okie Catfish Noodling Tournament, and Frontier Days by having special exhibits and openings. 2007 is the 150 year anniversary of Pauls Valley, which they will celebrate with a Historical Photography Show and other events, along with the Oklahoma Centennial in September.

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Performances by the Missoula Children’s Theater, the U.S. Army Field Band, the One Act Play Festival, the U.S. Air Force Stage Band, and the annual Oklahoma City Philharmonic Christmas Concert are currently held at the high school auditorium. In June, the Wacker Park After Dark Concert Series runs for three Saturdays, and an annual Variety Show gets everyone involved in July.

PVAC has initiated an artist registry for members, linking to their websites, and an Artist Re-Plant Project, to attract and aid artists in relocating to Pauls Valley. Partnerships with other community arts groups has been a goal of PVAC, bringing a group of the Paseo Arts District artists, and the Bricktown Artists Association to Pauls Valley, called the 500 lb. Gorilla Project. The relationship with the OKC Philharmonic has been of mutual benefit, providing the musicians with a concert date and an enthusiastic audience. The local galleries feel this support also, with attendance and amount of art sold going up in 2006.

All of the art galleries are in the downtown area, within walking distance of each other. Imagine is a combination gallery, photography studio, and beauty salon. Karen Chatham, owner, is an accomplished watercolorist, with at least 50 works on display.

Her renovation of her historic building included small rooms for exhibits, a booth for her daughter, Rhonda Rabensburg, for her “Mobile Munchies”, and a glamour photo studio for Gigi Webb. Besides portraits, Webb also does beautiful landscapes and industrial photography. A brick floored patio is in the rear, surrounded by tall rustic walls, shared by the Hatchery Community Arts Center.

The Hatchery is a work in progress by Linda Reavis Lasiter, who recently moved to Pauls Valley from Denver. She is a painter, digital photographer, and entrepreneur who envisions multi-disciplinary artistic functions for the building. The building is on the Historic Buildings Registry, with the facade restored accordingly. Currently, she holds exhibits of local artists on occasion. Within a year or so there will be a large gallery, an open room for seminars, classes and demonstrations, and a ceramics studio with kilns relocated from the Firehouse Art Center in Norman. Webb plans to have studio space to rent in the future.

Stark Art Studio and Gallery, owned by Kevin Stark, is around the corner from the International Toy and Action Figure Museum, which he created

feat u re

and filled with his collection of action figures. The gallery is a center of activity for the PVAC, an exhibit space for his and other local artists’ work, and home of his band, Squeaky Burger. Monthly exhibits by PVAC will be in Stark Studio until the Cultural Arts Center is finished.

A gift shop that has occasional exhibits and trunk shows is The Gallery.

Fine ceramics, metalwork, and glassware is available, plus items for the kitchen and bath. The Coffehouse Gallery is across the street from Imagine, and features local artists and glasswork of one of the owners, Patricia Dudding, of New Mexico. Her son, Robert Peterson, manages the gallery and makes some marvelous food. His specialty is from his mother’s recipes of New Mexico: green and red chili stews, gumbo, and a New Mexico Philly sandwich. Top that off with one of the coffee specialties: café mocha with raspberry flavoring and caramel topping- the Pauls Valley Special.

Speaking of culinary arts, the “Daily Oklahoman” featured 4 PV locations recently in their “Top 100 Oklahoma Foods to try before you die”. Their food critic liked the pecan pie at Field’s Pies, where you can get a tour of the factory. Also recommended was Ballard’s Drive-in’s cherry limeade, made by Johnny Ballard, 85, who has been in business for 54 years. Bedre Fine Chocolates, on Airline Road, was listed for their chocolate-dipped potato chips.

The fourth food to try is anything on the menu at Bob’s Pig Shop, in its present location since the 1930s. This is a regular hangout for the local artists, with room for 150 indoor and patio. Bob’s is also the home of Oklahoma Noodling, which you will see evidence of on the walls. Bob’s is famous for its wild boars’ heads over the front door, giving visitors a hairy goodbye.

If you stay too late on your day trip to Pauls Valley, there are plenty of hotel rooms near the highway, and restaurants for breakfast. On the way back you can try to win some money at the Washita Gaming Center, or spend a peaceful hour by one of the rivers nearby.

Contact the PVAC at www.pvartscouncil.com or the Pauls Valley Chamber of Commerce for events and recreation information at www.paulsvalley.com or call 405-238-6491. To find the Pauls Valley downtown, take I-35 south from OKC to exit 72, go east on Grant, turn right on Walnut and left on Paul Avenue. n

(top left) Paseo artist Cynthia Wolf talks with young visitors about her work featured in the “Paseo in Pauls Valley” exhibit presented by the Pauls Valley Arts Council. (top right) The clock tower and ticket office at the depot. (bottom) The Toasters, a musical act, play at the Wacker Park After Dark concert series, presented by the Pauls Valley Arts Council every summer.

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bus i ness of ar t

Are You Ready for a Show?

Artist Maturity 101

by Nathan Lee As serious artists we eventually come face to face with the question “Are we ready to show work on a gallery level?” The topic of maturity in artwork is an interesting subject. It is also one of the most important ones. Many artists like to work in different styles and mediums but fail to develop a cohesive vision for any of them. They are not aware how a qualified juror will view the work. When an artist submits artwork either on slides or CD that is too varied with no connecting element, it negatively affects the artist’s ability to get a show approved.

Many gallery owners and curators want to see consistency in the work. Wall space is money for a gallery and curators and directors want to make sure that the work can be produced on a consistent basis. A diverse set of slides more often than not tells the gallery that the artist has not found a voice for their work. It is possible for artists who are less skilled in a medium to get a show over a highly skilled artist who lacks cohesion and direction in their work because the former is producing art in a style that is consistent and recognizable. Jurors look at hundreds of slides over the course of the year. If they cannot pick out your work almost immediately from the other submissions, your package will almost certainly be bypassed for more consistent submissions.

One of the best ways to grow and show artistic maturity is to be more focused on the imagery of a body of work. Concentrate on developing a distinct recognizable style. Working often on your art is the best way to develop your vision. It will also make you a better artist in the long run.

As you grow and begin to keep company with quality artists, you will begin to notice what separates them is the visual presentation of their work. It is easy for most visual artists to paint a tree but the uniqueness of the image is what separates artist from artist. Quality and technique being equal, their artistic voice is what elevates them to be if nothing else, recognizable. Your voice as an artist will separate you from your contemporaries and it will make it easier for patrons to identify your work.

It is acceptable to have varied subject matter but the visual presentation should be of a style that is signature for you. Think about the work of Picasso. He painted in a realistic manner early in his career before he pioneered Cubism. As wonderful as both of these styles are, it would not have been smart for Picasso to submit a package that was half Cubist and half Realism.

The visual style of the art is completely dependent upon the artist and the only boundary set should be one of consistency and quality. There will always be someone who does not care for your imagery in particular, but that can also be said for even famous artists. Your work should never be criticized for the lack of cohesion and quality. Instead of submitting artwork in a wide variety of styles, commit to a distinct, highly consistent one for a package. For example, if you have a body of watercolor paintings in a certain style, just submit those images to the gallery prospect. You may have a group of sculptures that you are proud of but it might not be wise to include those with the watercolors. Unless you know that a gallery is seeking an individual for a project that encompasses two different unrelated mediums, take no chances.

You should always be ready to submit between 10-20 slides or CD images to the gallery that you are interested in.

I usually work in series and I submit packages by body of work. If I do a significant group of sculptures I will present a package with only that type of artwork. All artists don’t work in this manner, but I find it works best for me personally. By no means am I saying to avoid experimentation with various mediums and visions, you should always experiment and continue to grow. Just remember not to present an undeveloped vision that is still evolving. There are many galleries that will simply reject your artist package if it is not mature and ready.

Usually over time and through commitment to your work, consistency will develop a distinct cohesion naturally. Knowing and being aware of the criteria that many galleries look for in quality and consistency will help you become a more complete artist. n

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ASK A CREATIVITY COACH

by Romney Nesbitt

Dear Romney, When I get home from my day job I’m too tired to be creative. I feel like I’ve traded my dreams of an art career for a paycheck. How can I restore my creative spirit?

-In a rut

Dear rut, A day-job can steal the best hours of your day but this doesn’t mean that you have to surrender all your time and creative energies.

While your job keeps food on the table, your creative work feeds your soul. These suggestions may help you feel like you’re on track instead of losing ground. If your work leaves you worn out by day’s end, start your day an hour earlier. An early morning work time could be a bonus for your productivity.

In the morning you’re rested and your mind is clear (the phone doesn’t ring and the coffee pot is close too!). If you’re not a morning person your body will need three weeks or so to adjust to your new waking and sleep schedule, but once you’ve made the switch, the payoff will be more art work and a better attitude about your future.

Steal a little time mid-day by bringing your lunch and work on sketches at your desk.

Your day job may hold less power over you when you choose to use short breaks during the day to work toward your own goals.

End your day by writing down three tasks related to your art career that you can do the next day such as reading, correspondence or ordering art materials on line. As you relax into sleep, visualize yourself completing these tasks. The next morning when the alarm rings you’ll have several good reasons to get up and start your day.

bus i ness of ar t

DEVELOPING Creative Mental Muscles

by Sue Clancy Recently I went to the bookstore for a particular art magazine. In that section I bumped into a fellow artist who was gathering a number of magazines to review. I know him through a gallery we have in common. He creates still lifes that are wonderfully detailed. We chatted a bit and he told me that he had seen some Macintosh apples that he wanted to use in a still life, but he was stumped for how to use them, thus was at the bookstore for inspiration. I wished him luck and continued on to the cashier to purchase my magazine.

I kept thinking about my friend and how very normal his trouble was. The issue of inspiration and idea development is something that every artist is concerned about. How does one get inspiration and develop workable ideas?

How does one take ideas to a deeper level and have more of them?

My own breakthrough came when I realized that ‘inspiration’ is not the same as an ‘idea’. The dictionary defines inspiration as “means to be stimulated, to arouse a feeling of interest etc.” An idea is defined as a “product of mental activity, a plan, scheme or method... the gist of a specific action”. I realized that inspiration was just a starting point and had to be developed via mental activity into an idea that best communicated what I wanted to say. Then I realized that ideas were the result of mental exercise. I learned the process of idea-getting exercises didn’t have to produce perfectly formed ideas. Ideas breed ideas. So the first idea may be silly but is likely to lead to other ideas. I could decide later which ideas really merit actual studio work. The job at hand is to practice getting ideas, developing them and putting thoughts in my sketchbook so I have access to them anytime. This is just mental exercise in preparation for studio work, much as an athlete practices for actual competition. During the practice sessions, mistakes are made and learned from. It’s no big deal, just part of the process.

What would creative mental exercises be? Each artist ultimately develops their own exercise/training regimen but I’ll present mine.

which are: Memory, Imagination and Reason. I use these distinctions in the following ways: Memory.

I think of my inspiration subject - in this example Macintosh apples - and I ask myself the following questions. What memories do I have related to apples? What associations do I have of apples? What comes to mind immediately when I hear the word apple or when I see one or eat one? I may spend a few minutes a day for several days thinking about these questions. Occasionally, I’ll ask these questions of friends too.

A few answers: grandma’s apple pie, apple for the teacher, climbing apple trees (in an actual exercise many more answers would be produced).

Thus my inspiration subject becomes broader topics i.e. Apple plus Cooking, Apple plus Education, and Apple plus Gardening.

Imagination.

I think of my inspiration subject - in this example Macintosh apples - and I ask myself the following questions. What sources of stories, poems, art, movies etc. contain my subject? What does my subject represent in these existing sources? It may take several days spending a block of time looking up, reading or viewing these sources.

A few answers: Adam & Eve, Snow White and the seven dwarfs, continued on page 20

The University of Tulsa School of Art Presents

1. Remember that masterpieces are decided in hindsight (usually after an artist is dead) by art historians and critics. So I don’t worry about ‘creating a masterpiece’, I just do my best every time, at everything, including practice.

2. As I live day to day, I pay attention to everything that catches my attention, no matter how small. This is my ‘inspiration’ which I use during my exercise regimen. I cultivate curiosity - learn new things, try new things in all aspects of life, not just art. I try new foods, books, movies etc. from which I will gather even more ‘inspiration’ subjects.

3. Unlimited time to think, uninterrupted, is essential - and something that must be sought after in this age of television, cell phones, radio, internet, email, etc... This uninterrupted time to think doesn’t mean that I sit still in one place; in fact many times I visit the library or a bookstore and look at books or rent a movie or visit a museum or go for a walk.

Once I have several ‘inspiration’ subjects recorded in my sketchbook and a bit of time in which to think, I select one of my inspiration subjects for a mental workout. For this article, we’ll use my friend’s Macintosh apples as an example. In my own work I’d use a breed of dog (or other animal) or perhaps a phrase or a societal issue. You will use in your work what captures or inspires your interest!

March 8 - 23 New Genre Artist: Jody Sevron “Hanging On and Hanging Out” Opening Reception: March 8th 5-7pm Alexandre Hogue Gallery

March 29 - April 20 39th Annual Gussman Juried Student Exhibition Opening Reception and Awards: March 29th 5-7 pm Alexandre Hogue Gallery

My mental gymnasium consists of Francis Bacon’s (1561-1626) organization of knowledge which he based upon human capabilities

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University of Central Oklahoma C o l l e g e

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D e s i g n

UCO JURIED SPRING STUDENT EXHIBITION

April 5 – May 5, 2007 Donna Nigh Gallery, Nigh University Center UCO art students display jewelry, painting, ceramics, sculpture and screenprinting.

MELTON LEGACY COLLECTION

Open 9am–5pm, Mon–Fri Melton Art Gallery, UCO Art & Design Bldg.

View more than 500 years of European and American art, including the collection’s centerpiece Thomas Moran’s “Venice at Sunset.” This collection is on permanent display at the gallery. Reservations needed for groups of 25 or more.

Left: “Vision Mind’s Eye” by Joe Stansberry

F o r M o r e I n f o r m a t i o n : ( 4 0 5 ) 9 7 4 - 2 4 3 2 • w w w. c a m d . u c o k . e d u / e v e n t s

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Apertures School of Photography Evening classes in a variety of photography topics.

Apertures Framing Custom frame shop for all your framing needs.

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1936 S. Harvard Tulsa, OK 74112 | 918-742-0500 18

OVAC news continued from page 17 William Tell, Johnny Appleseed (in an actual practice exercise many more answers would likely be produced).

Thus my inspiration subject becomes broader topics i.e. Apple plus Sin, Apple plus Fertility, and Apple plus Trust/virtue.

Reason I think of my inspiration subject and I ask myself the following questions: What do science, philosophy, dictionaries, encyclopedias, etc. have to say about my subject? What is the core issue in these sources? Again it may take several days of viewing these sources to find answers.

A few answers: Over 7,000 varieties of apples are known but only 40 are commercially important.

Fifteen to 20 percent of the world’s apples are produced in the U.S. mostly in Washington, New York, Vermont, California and Michigan.

The most popular apple is the Red Delicious.

There are three main types of apples: cooking, dessert and those used in making cider (in an actual practice exercise many more answers would likely be produced).

Thus my inspiration subject becomes broader topics: Apple plus Environment, Apple plus Culture, Apple plus Health.

I keep all of the above mental exercise in my sketchbook as I can revisit this anytime in the

future. Remember, ideas breed ideas!

Now I will select one of my discovered broader topics and develop it into a specific painting or (hopefully) a series of paintings. At this particular moment the broad topic of Apple plus Cooking interests me. So if I were a still life artist, like my friend, I might set up a still life with my Macintosh apples and some cooking utensils and other ingredients needed to make an apple pie. I’d do some thumbnail sketches and make some notes in my sketchbook. I’d even do a painting or two. I’d probably also check my sources again to see if Macintosh apples were a dessert type of apple or not. If they were I’d be set! If they were not then I might go back to the cookbook section of the library to see what sorts of recipes required Macintosh apples. I’d try different compositions with different types of cooking utensils, perhaps exploring the old fashioned tools from bygone eras in antique stores. Back and forth I’d go from doing my thumbnail sketches, setting up still lifes, trying a painting or two and going back to my broad topic and source research.

Thus I could develop a series of apple paintings.

There could be a ‘dessert series’ where different dessert apples along with the ingredients and cooking utensils to make pies, strudel, crumb cake etc. would each be featured in their own still life painting. A ‘cooking series’ could explore recipes other than desserts, perhaps including elements

from different regions of the country or of different cultures. The ‘drink series’ would feature the implements and ingredients used to create apple cider, apple liquors and other beverages.

As you can see from the vague inspiration of Macintosh apples I now have, in the single broad topic of Apple plus Cooking, 50 to 100 ideas that could become specific paintings! I could change the fruit in the broad topic Apple plus Cooking to a pear or peach and do another series of dessert paintings!

At any point I could revisit my gymnasium (and sketchbook) and select another broad topic from the ones I’d determined earlier and develop it into specific paintings much as I did for Apple plus Cooking. I could even select another ‘inspiration subject’ altogether and repeat the entire process.

This mental exercise technique that I use works with any subject and for any format of art. Feel free to try it or better yet, develop your own. Such mental exercise is a way to help us think more completely - and practice thinking - beyond the first blush of inspiration towards developing our ideas into multiple works of art that we are proud to sign.

“I think that people who are not artists often feel that artists are inspired. But if you work at your art you don’t have time to be inspired. Out of the work comes the work.” - John Cage n

Thank you to our New and Renewing Members from November & December 2006 Raquel Adams Sam Gresham & Lyn Adams Nicholas Ajimine Bert Allen Bonnie Amspacher Asia Stuart Asprey Marty and Martha Avrett Alejandro Bagajewicz Joy Baresel Cody and Kelly Barnett Evan Beasley Kren Bennett Lauren Betz Jay Bonifield Lequetta Bowman Deborah Brackenbury John Brand Bob and Connie Bright Sara Brooks Tessa Brotherton Annalisa Campbell Eleanor Davy Carmack Marsha Carman Ian Carrig Stefan Chinov Abi and Jim Chodosh Drew Cooke Chris Corbett Steffie Corcoran Jon Corea John L. Cox Cameron Creed Shannon Leigh Crider Gayle Curry

Kari Darken Zach Davidson Lori Deemer Garris Dennis Elise Deringer Joanne DeShong Carolyn Deuschle Cathy Deuschle Roger Disney Steve and Maggie Dixon Gwen Dobbs A D Donovan Claudia Doyle Sandra Dunn Carolina Elizabeth Rand and Jeanette Elliott Tiffany English Janene Evard Thomas Fields Thomas and Anita Fields Jared Flaming Joyce Fogle Ron Franklin Natalie Friedman Sunshine Garner Darnell Gepford Gary D. Gilpin Diane Glenn Alycia Goeke Darryl Gouch Vanessa Greer David Halpern Jeanette Hane Burt Harbison Nancy Harkins

Virginia Harrison Steven Haught Bob and Janet Hawks Janet Shipley Hawks Heidi Helmers Shane Hemberger Arn Henderson Beatriz and Arn Henderson Shalene Henley Katharine Henry Drew Henson Stanley Hess Dore’ Hill John C. Hill Matthew Hill Michelle Himies-McCrory Lou Hodgson Don Holladay Dirk Hooper Shirley Houx Rusty Huckabee F. Bradley Jessop Mariah Johnson Carolyn Johnson Nancy Johnston Curtis Jones Adam Jones Ellen Jonsson Sarah Jrab Kato Kreg Kallenberger Deborah Kaspari Joe Kenney Angela King Brenna A. King

Stephen & Christina Kovash Paul Kriley Erin Latham Ruth Lebow Tom E. Lee Art and Betsy LeFrancois Sarah-Gretchen Lytle Bruce and Ellen Macella Brooke Madden Jason Martin Cristi Martin Maribel Martinez Nancy Masters Christa May Jennifer and Kevin McCoy Louisa McCune-Elmore Jennifer McFadden James McHenry Cindy McNicholas Delvie McPherson Kara Lee Merrell Randy Meyer Chelsea Meyers Sandra Midgett Marie Miller Thomas Mills Elizabeth L. Muller Susie Murphy Raybert Murrell Sabrina Myrick Dan and Elaine Nealey Trami Nguyen Lori Oden Oklahoma State U. Art Dept.

Barbara O’Neil

Nathan Opp William F. Osterman III Wallace Owens Romy Owens Kim Pankhurst Jeanne Parkhurst Cindy Pauchey Ronna Pernell Jennifer Perry Aaron Peterman Pierson Gallery Eric Pipkin Aaron Quinn Suzanne King Randall LaQuincey Reed Katherine Reynolds Tom and Babs Richardson Kathleen Rivers Liz Roth Rraydisa Lois Scharrer Patric Shurden Abby Simons Chris Small C. Elizabeth Smathers Laura Smith Sandy and Bob Sober Karin Stafford Leigh Victoria Standingbear Kevin Stark Aaron Sterba Jim Stewart Sarah and Aaron Stimpson Jelena Stojanovic Bethany K. Stone

M. Stoodley Mindy Stricke Gwen Suthers Michelle Tallent Andrew and Mary Tevington Skip Thompson George and Lila Todd Jim and Beth Tolbert Brooks Tower J. Diane Trout Harwood Susan Jennifer Tucker Kathryn Bray Tushka Denise Waible Michael Walsh Sarah Warmker Emily Warren Julia Wells Tony Westlund Frank Wick Charles and Renate Wiggin Lynden R. Wilcoxson Bill Williams Erin Williams Brian and Sarah Hearn Shannon Wilson Betty Wood Robert Wood Craig Wood Autumn Wright Janice Wright Mark Wyatt

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OVAC news

(left) Joe Slack, Oklahoma City Alchemy Pine, Poplar and Acrylic (above right) Carlie Bentley Oklahoma City Bearings Mixed Media

At a Glance

Twisted Stories at Liggett Studio

by Cathy Deuschle Fortunate were the Tulsans who ventured to the Liggett Studio this December to see “Twisted Stories”, a show curated by Julia Kirt. This personal project marked her curatorial debut.

When asked about the evolution of the project she replied that it began with “an interesting, zealous feeling of wanting to share”.

The theme came to her during the process of selecting the artists. “I really started with a few people’s work I love and wanted to show - Kara Hearn’s videos and Sarah Williams-Hearn’s photo drawings. Steve (Liggett) asked me to make it an exhibition of young artists who hadn’t shown in Tulsa. Then I started thinking of other artists whose work I have admired lately. There seemed to be this overlap in process - so many layers - as well as the use of something real, altered. I love how some use artifacts, while others create the image.”

All of those exhibiting were from Oklahoma City and the focus was decidedly contemporary. The fresh feel of the work stemmed, at least partly, from a willingness to play with process, explore content, and plumb emotional depths. Included were lush, exuberant , mixed media pieces

by Billy Reid; lively, nostalgia filled paintings by Nick Bayer; deft and austere assemblages by Carlie Bentley; emblematic, text filled works by Kolbe Roper; elegiac and weighty sculptures by Kjelshus HC; intensely colored, exploratory photographs by Sarah Williams-Hearn; wall mounts that positively buzzed with life by Joe Slack; and scene recreations on video by Kara Hearn that were twisted (like all the work represented) in the very best way. n

Round Up

Kelsey, I just read Sue Clancy’s article in AFO “The Question of Prints.” I feel the article could have been titled “The Question of Reproductions.” I realize that her article wasn’t necessarily intended to define the difference between an original print and a reproduction of original art although she does define the difference early in the article. Following these definitions however, Sue then repeatedly uses “print, prints, reproductive prints, and reproductions of original paintings” interchangeably when referring to reproductions. In the art world, a “print” is defined generally as “An image created from a master wood block, stone, plate, or screen, usually on paper.”

While Sue’s article did an admiral job of discussing the pro and cons of reproducing one’s original art, I feel that it also inappropriately used the term “print” in several places and thus missed an opportunity to help solidify the difference between original art and reproduced art by those reading her article.

Thanks, Carl Shortt

Author’s note: Carl Shortt is absolutely right and I apologize to all my friends who are printmakers. Wish Carl had been my proofreader on that article.

—Sue Clancy

March/April 2007

The Tulsa Performing Arts Center will host an exhibition of the amazing artists who have been on the Oklahoma Visual Arts Coalition Art Studio Tour in Tulsa. The opening will be Thursday, April 5 and we look forward to seeing you there. Watch for more information on our website, www.ovac-ok.org.

Despite the weather challenges, the Momentum OKC Committee pulled off an amazing Momentum. Thanks especially to Jennifer Barron and Christian Trimble who served as co-chairs. Watch for Momentum Tulsa in June!

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Letters to the Editor

Thanks to Stephen Kovash for curating the Oklahoma City Home and Garden Show exhibition that benefited OVAC. The artists who participated also deserve accolades—it was a one-time event, but really good for OVAC’s visibility. Thank you.

There are some great upcoming ASK Workshops planned: “Business of Art”, April 14, 1-4 pm, Mabee-Gerrer Museum of Art, Shawnee See the Oklahoma Visual Arts Coalition Biennial exhibition at the same time. n

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Gallery Listings

Exhibition Schedule

Ada

Durant

Henryetta

Rick Maxwell: Wood Sculpture and Lisa Erich: Ceramics Through March 16 Closing reception, March 16, 4-6 University Gallery East Central University (580) 310-5356 ecok.edu

Great Plains Juried Art Show Through March 23 Southeastern OK State University 1405 N. 4th PMB 4231 sosu.edu

Henryetta Historical Society 410 West Moore (918) 652-7112 territorialmuseum.org

Durham

Thirty Years, Thirty Treasures March 1 Dedication and Opening of new facilities March 4-6 Baskets: Made to Use, Made to Sell April 19 Lifewell Gallery Museum of the Red River 812 East Lincoln Road (580) 286-3616 museumoftheredriver.org

Ardmore

Jack Brooks: A Black Man’s Perspective on the Settlement of Oklahoma Official Centennial Exhibition Through March 28 All School Show April 1 - 28 Charles B. Goddard Center 401 First Avenue SW (580) 226-0909 godart.org

The Art of the Curve: An Exhibition of Sculpture March 1-May 28 Metcalfe Museum Rt. 1 Box 25 (580) 655-4467 metcalfemuseum.org

Lawton

Bartlesville Raymond Loewy: Designs for a Consumer Culture Through March 4 Tokyo: The Imperial Capital March 16-May 13 Price Tower Arts Center 6th and Dewey (918) 336-4949 pricetower.org

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

Chickasha Patricia Morgan Through March 16 Student Show March 30- April 20 University of Sciences and Arts of Oklahoma Gallery-Davis Hall 1806 17th Street (405) 574-1344 usao.edu/gallery/

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

Idabel

Cass Wonderly Cat’s Dream mixed media in Tulsa Artists’ Coalition Gallery exhibit from April 6-28

Edmond 21 Annual Watercolor Oklahoma Traveling Exhibit April 3-28 Edmond Historical Society 431 S. Boulevard (405) 340-0078 edmondhistory.org st

Shadid Fine Art 19 N. Broadway (405) 341-9023 shadidfineart.com UCO Art Faculty Exhibit Through March 8 University of Central Oklahoma 100 University Drive (405) 974-2432 ucok.edu

El Reno Cletus Smith Watercolors Through March 27 Student Show April 3-May 18 Redlands Community College (405) 262-2552 redlandscc.edu

Krispen Spencor and Kristy Andrews March 3-April 13 John Seward, Jansen Sterba, Melanie Seward, and Stephen Lewin April 21 – June 8 The Leslie Powell Foundation and Gallery 620 D Avenue (580) 357-9526 lpgallery.org

Norman OU Ceramics Faculty: V’Lou Olivera, Jane Aebersold and Stuart Asprey Through March 9 Ginna Dowling: Printmaking March 16-April 14 Jerrod Smith: Mixed Media Painting April 20-May 5 Firehouse Art Center 444 South Flood (405) 329-4523 normanfirehouse.com Stephen Mopope and the Art of Kiowa Five Through March 25 University of Oklahoma American Indian Artists Exhibition April 1-July 1 Jacobson House 609 Chautauqua (405) 366-1667 jacobsonhouse.com

Photographs by Brett Weston: Recent Gifts from Christian K. Keesee and the Brett Weston Archives Through April 1 93rd Annual School of Art Students’ Exhibition March 30-April 22 Fred Jones Jr. Museum of Art 410 W. Boyd Street (405) 325-3272 ou.edu/fjjma Billy Reid and George Bogart Through March 17 Mainsite Contemporary Art Gallery 122 East Main (405) 292-8095 mainsite-art.com

Oklahoma City

City Arts Center 3000 Pershing Blvd.

(800) 951-0000 cityartscenter.org Michele Mikesell and Brunel Faris March 2-31 Reception, March 2, 6-9 DJ Lafon and John Wolfe April 6-28 Reception, April 6, 6-9 JRB Art at the Elms 2810 North Walker (405) 528-6336 jrbartgallery.com Biting the Apple Erotic Art Show March 2-3 Edge Art Now April 6 - 27 Individual Artists of Oklahoma 811 N. Broadway (405) 232-6060 iaogallery.org Bringing the World Home: Stereographs from A-Z Through March 25 Eyes of the Storm: A Community Survives March-May International Photography Hall of Fame 2100 NE 52nd Street (405) 424-4055 iphf.org

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galler y gu ide

Indian Modernism: Selections from the Silberman Collection Through March 25 Pinturas de Fe: The Retablo Tradition in Mexico and New Mexico Through April 29 National Cowboy and Western Heritage Museum 1700 NE 63rd (405) 478-2250 cowboyhalloffame.org Steven L. Brown Through April 15 Roger Randle April 23-June 24 North Gallery America Meredith Through March 25 Kristy Lewis Andrew April 17-June 18 East Gallery Rick McClure Through May 29 Governor’s Gallery Oklahoma State Capital Galleries 2300 N. Lincoln Blvd (405) 521-2931 state.ok.us/~arts

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Napoleon An Intimate Portrait Through April 22 Oklahoma City Museum of Art 415 Couch Drive (405) 236-3100 okcmoa.com Student Exhibition March 25 Graduating Senior Exhibition April 15 Nona Hulsey Gallery, Norick Art Center Oklahoma City University 1600 NW 26th (405) 208-5226 okcu.edu The Fresh Show: Six Emerging OKC Area Artists Through March 3 Untitled [ArtSpace] 1 NE 3rd St. (405) 815-9995 1ne3.org University Gallery Oklahoma Christian University 2501 East Memorial Road www.oc.edu

Park Hill Moundville Pottery Through April 22 Cherokee National Historical Society, Inc. 21192 S. Keeler Drive (918) 456-6007 cherokeeheritage.org

OVAC’s Biennial Exhibition IX March 31- May 6 Opening reception, March 31, 7 pm Mabee-Gerrer Museum of Art 1900 West Macarthur (405) 878-5300 mgmoa.org

Ponca City

Stillwater

Ceramic Sculptures by Brandon Reese February 23 - March 30 Artsplace Ponca City 319 East Grand Ave (580) 762-1930 artsplaceponcacity.net Betty Dalsing Oil Paintings March 4-25 Youth Art April 1-25 Ponca City Art Center 819 East Central 580-765-9746

Shawnee The Inspired Line: Prints from Rembrandt van Rijn and Albrecht Durer Through March 18

Navigating the Mind: Psychological themes in work from the Gardiner Art Gallery Permanent Collection Through March 9 Reception and lecture, March 9, 5-7 pm Studio Capstone Exhibition March 14-March 30 Reception, March 30 5-6 Graphic Design Capstone Exhibition April 4-April 13 Reception, April 13, 5-6 Annual Juried Student Exhibition April 18- May 4 Reception and ceremony, April 29, 2-4 Gardiner Art Gallery Oklahoma State University 108 Bartlett University (405) 744-6016 art.okstate.edu

galler y gu ide Patricia Morgan, Oklahoma Road, on display at USAO Art Gallery, Chickasha, through March 16

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

Tulsa Photographs by Greg Gray Through March 24 Mazen Abufudil April Apertures Gallery 1936 South Harvard (918) 742-0500 aperturesphoto.com Matt Moffett March 7-31 Opening reception, March 7 5-8 Brushworks Gallery 3716 S. Peoria (918) 742-1138 brushworkstulsa.com Color Connection Gallery 2050 Utica Square (918) 742-0515 Emanual “Thank You Tour�

March 30-July 29 Gilcrease Museum 1400 Gilcrease Road (918) 596-2700 gilcrease.org

Holliman Gallery Holland Hall 5666 East 81st Street (918) 481-1111 Joseph Gierek Fine Art 1512 E. 15th St (918) 592-5432 gierek.com New Genre XIV March 1-4 and 8-11 Living Arts 308 S. Kenosha (918) 585-1234 livingarts.org Changing Hands: Art Without Reservation 2 Through April 22 The Philbrook Museum of Art 2727 South Rockford Road (918) 749-7941 Philbrook.org Colors in the Dark: Paintings by Betty Bowen March 2-31 Pucker Up to the Apocalypse with Cass Wonderly April 6-28 Tulsa Artists Coalition Gallery 9 East Brady (918) 592-0041 tacgallery.org

OVAC Studio Tour Exhibit March 1-31 Anniversary Exhibit March 30 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

Waterworks Art Studio 1710 Charles Page Blvd. cityoftulsa.org/parks/Waterworks (918) 596-2440

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

Woodward Plains Indians and Pioneers Museum 2009 Williams Ave (580) 256-6136 pipm1.com

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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

PO Box 1946 Oklahoma City, OK 73101

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