Art Focus Oklahoma, November/December 2006

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 1 N o . 6

science inspired photography page 9

November/December 2006

Sarah Williams-Hearn

ArtOFocus kl a h o m a 10

contents

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Executive Director: Julia Kirt director@ovac-ok.org

profiles 3 Bob Bartholic 5 Jim Powers

reviews/previews 7 The Gift of Art 9 Sarah Williams-Hearn

On the Cover: Sarah Williams-Hearn Evolution of Life Underwater Chromogenic Color Print

& Mateo Galvano

10 Heroes & Outlaws 11 Connie Seaborn 12 Hardin Photo Exhibit

features 13 On the Map 14 Artist & Patron

business of art 16 Does Art Matter?

18 Artist in Residence member agency

18 Ask A Creativity Coach

OVAC news 19 Round Up 20 At a Glance/Members This program is supported in part by the Oklahoma Arts Council

21 gallery

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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

guide

Editor: Kelsey Karper publications@ovac-ok.org 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 Anonymous letters will not be published.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 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’ Organization. © 2006, Oklahoma Visual Arts Coalition. All rights reserved.

prof ile Bob Bartholic in his studio Image ©Don Emrick

A Profile of Bob Bartholic: A Quiet Voice

by Janice McCormick Gaunt, dressed neatly in black, with thinning grey hair pulled back into a ponytail, Bob Bartholic comes across as a quiet gentleman.

Engaging him in conversation, you find him not only soft-spoken, but self-effacing as well. It is his low-key approach to both life and art that partly accounts for much of his art career staying under the radar.

teacher for the Tulsa Public Schools (1950-53), partner and industrial designer for a wrought iron business in Arkansas, gallery owner (1958-62), and staff artist for the Tulsa City-County Library System.

He retired in 1981 to focus entirely on painting and sculpture, but only recently has he shown these works publicly.

Bartholic’s interest in creating art began while stationed in the U.S. Air Force in Salt Lake City, Utah, during WWII, when he received a gift of an oil painting kit. A life drawing class began his life-long focus on the female figure, while a class visit to the life-drawing instructor’s home introduced him to modern contemporary art.

Returning to Tulsa, Bartholic was accepted into the art program of the University of Tulsa, where he wanted “to paint like Norman Rockwell.” Making the most of the GI Bill, he took just three years to complete his BA and one year for an MA. Recently he came across some of the ten oil paintings that formed his series entitled “The Woman,” which he created for his MA degree (1948-49). His tongue in cheek reaction was, “I was surprised how well done they were and that I haven’t improved in sixty years!” One work in this series, “Little Girl in the Window,” was awarded a purchase prize in the Tulsa Annual Show (in the early 1950’s) and is now owned by Philbrook Art Museum. As for the written thesis accompanying the series, he had tossed it out since he thought it was shallow.

Listening to him share his insights into the painting process, you come to realize that Bartholic operates more on an intuitive level, than on a reflective level; he finds it difficult to talk about his art in the abstract. Leafing through his portfolio, he comments that this one he plans on painting over. Asked why, he simply says, “I don’t like it.” He confides that it is so hard to paint freely. “The minute you get a subject, it locks you in, it limits your freedom, it sets up boundaries.” When asked what he means by freedom, he explains, “It is easier for me to be free with color, less free when it comes to forms.” Pointing to the painting “Forms in the Grass,” he says, “It represents a real breakthrough for me, where I had achieved this freedom [of forms].” Indeed, there is a broad, gestural quality to the strokes delineating the figure, almost carving it out of an atmospheric sea of color. Commenting on a work in progress, he explains, “Faces are hard to do. If you put in the face first, then everything has to work with it and if you need to make a change, you’ll have to change the face too. You need to paint the face and everything around it at the same time.”

Like many Oklahoma artists unable to support himself and his family through creating art, Bartholic has had to wear many hats: art

Besides painting, Bartholic has worked extensively in sculpture. continued page 4

prof ile It is easier for me to be free with color, less free when it comes to forms.” Pointing to the painting “Forms in the Grass,” he says, “It represents a real breakthrough for me, where I had achieved this freedom [of forms].” continued from page 3 Each month for a year (1972-73), Bartholic carved a wooden sculpture on commission for the Fields Gallery. One of his best known sculptural works was a large concrete bas relief “The Stone Horse” created for a commercial building in the Brookside area of Tulsa. His smaller version of this horse motif has proved very popular. Most unusual, however, is his concrete boat permanently in dry dock in his backyard which took thirteen years to create. Unfortunately, someone vandalized it by torching its interior. His wife Barbara describes it as “his greatest sculpture,” while he wryly calls it “my greatest fiasco.”

In discussing his found object assemblages, I noted how the past seems to haunt the present as in his “Through the Veil” (in the Tulsa Artists’ Coalition’s “Anthology Show” this past July, which I reviewed in the September/October issue of “Art Focus”). His explanation is simple: “the things you can get a hold of are usually from the past.” He points to a section of “Out of the Attic” (a large 7’ by 8’ assemblage) which has a dead frog set against a background of old sheet music.

He explains, “Barbara put that together, but she didn’t do anything with it so I borrowed it.”

Indeed, you come away feeling that Bob Bartholic not only has made an art out of making do with whatever comes to hand, but also has conveyed a palpable sense of the passage of time by using such memory-laden found objects.

Only recently, after a twenty-two year hiatus, has Bartholic sought out a public venue for his art - first with a retrospective at Living Arts (2002), then several group shows, and an upcoming solo exhibit at Tulsa Artists’ Coalition Gallery this December. As Bob’s wife Barbara explains, “It’s as though his art career is blooming again.” To which Bob wryly amends, “…more like a swan song.” There is an essential kernel of truth to this comment. It suggests that Bartholic wants to pass his artistic legacy on. This may sound grandiose and out of character for this self-effacing artist, but that is true only if you overlook his quiet determination to keep creating art all these years, despite the lack of a wider audience. He wants to have his voice heard; he has something worth saying.

(top) Bob Bartholic, Tulsa Forms in the Grass oil painting (bottom) Bob Bartholic, Tulsa The Stone Horse concrete

prof ile

(top left) Jim Powers with his sculpture Balanced Beam (top right) Jim powers giving a tour of his museum to Maxine and Guy Warren

Jim Powers:

(bottom right) Jim Powers and Julia Kirt outside the Little Red School House in Arnett (3/2001)

the Junk Yard Picasso

by Julia Kirt Jim Powers’ openness of spirit inspired many to look at the detritus of our world with fresh and creative eyes. In my first year with the Oklahoma Visual Arts Coalition, Jim greeted me with a friendly character and rapidly became one of OVAC’s biggest fans. His total enthusiasm for making his artwork transformed my understanding of artists—not only the possibilities for their careers, but also their varied motivations. Jim passed away last summer.

From Gage, Oklahoma, Jim served in the military from the time he was 18 for over twenty years. After retirement from the military, Jim established a scrap metal yard and operated it until federal regulations put the business in jeopardy. Around that time he became interested in art.

Creating works from scrap metal, much of it recycled from his former scrap metal yard, Jim generated artwork that was unusual in form and usually humorous. Jim’s work allows viewers of all ages to interact, connect, and appreciate art. Opening his yard as a museum grounds, Jim welcomed visitors from around the world to Gage, a town of less than 500. A large dinosaur made of recycled tire rims greeted visitors while a subtle abstract fountain indicated the exit.

He was also proud that several of his sculptures were purchased by the Ripley’s Believe it or Not Museum. He tried to keep up with the artworks as they traveled—sometimes Miami, Florida, other times they were on display in Korea!

I will never forget one of our early Artist Survival Kit workshops that was held at the Little Red School House near Arnettt (no actual address, just a highway junction) where area artists laid out an

unbelievable pot luck spread for the visiting artists from around the state. Conversations about art intertwined with casseroles and scenic landscape views.

Of course, we couldn’t get out of town without visiting Jim’s museum. He proudly showed us from sculpture to sculpture, making sure we caught all the puns. If visitors were getting bored, he showed them how they could move a ton of steel with their little finger in his “Balanced Beam” sculpture, convincing them to climb on the lumbering construction. His enjoyment of his own artwork was a spark for others.

Besides teaching me to reexamine each discarded treasure, Jim reminded me of the heart of art. He told Audrey Schmitz that he didn’t know what made him start creating art, but he knew, “It comes from the soul.”

A few years ago Jim Powers took me up to Battle Mound in northwest Oklahoma. As we stood on top of the mesa he verbally recreated the battle, vividly bringing to life the deadly 19th Century fight between the Kiowa and Cheyenne. This was only one of the hundreds of stories he could tell about the land and people he loved in that far corner of our state. We mostly knew Jim as a largely self-taught prolific and visionary artist. He was also an historian, rancher, junk dealer, rattle snake hunter, teacher, museum owner, lover of beauty and loyal friend. A High Plains da Vinci in overalls and a pickup. An Oklahoma original. I miss him.

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Give the Gift of Art!

by Kelsey Karper

Although it happens every year, I’m always surprised when I begin to see the Christmas and holiday decorations appear in the stores. A small tinge of panic creeps in the first time I see them – “I haven’t eventstarted my list yet!” Things are different for me this year, however, and I’m actually looking forward

to my holiday shopping. I’m giving the gift of art.

Each year, many artists host holiday open studio events where you can find a variety of handmade and unique items, perfect for gift-giving. To help fend off your pre-holiday panics, use this listing as a guide for finding one-of-a-kind holiday gifts.

Janey Crain Saturday, November 18 10am-6pm (or by appointment) 4th Street and Ash Noble, OK 1/2 block east of Main on Ash 405-872-1748 Janey will be offering functional and decorative ceramic works that make special and unique gifts.

Ruth Ann Borum Friday, December 1 7pm-11pm 122 E. Main Norman, OK (Above MAINSITE) lydialemontree@hotmail.com www.monstercoop.com Ruth Ann will be featuring her whimsical and wonderful paintings and ceramics. (above) Ruth Ann Borum, We Work Really Hard Not To Take Our Pain Too Seriously Oil on Canvas (left) Ruth Ann Borum, MMM…Like Royalty Oil on Canvas

Asia Saturday, November 25 & Saturday, December 2 10am-5pm 430 W. Comanche, Norman, OK 405-366-2809 Asia333@sbcglobal.net Find small to medium wire sculptures for hanging on trees or in windows. Some are even holiday themed!

(left) Asia Drummer Soul (right) Asia Copper Pony

Paseo Arts District First Friday Gallery Walk & Holiday Show Friday, Dec. 1, 6-9pm Saturday, Dec. 2, 10am-7pm Sunday, Dec. 3, Noon-5pm Second Gallery Walk & Holiday Show Friday, Dec. 15, Noon-9pm Saturday, Dec. 16, 10am-6pm Extended hours Dec. 18-23, Noon-6pm at several Paseo Galleries

Visit www.thepaseo.com for individual studio and gallery hours.

Galleries and studios will be open and most will have receptions, many with guest artists. Stores and restaurants will also be open.

Paseo Art Space at 3022 Paseo will feature the Mixed Media Box Show. The Paseo is home to 17 galleries and over 60 artists, all within walking distance.

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prev iew continued from page 7 Elia Woods Fridays, December 1, 15 & 22, 4-7pm Saturdays, December 2, 16 & 23, 1-4pm 1012 NW 32 Oklahoma City 405-524-3977 www.eliawoods.com Elia Woods will be offering a variety of handmade items including fused glass earrings, greeting cards, handwoven scarves, hand-dyed silk and cotton scarves, photo art quilts and photo fiber constructions. Prices start at only $15!

(top left) Handwoven Scarves

by Elia Woods (top right) Handmade Fused Glass Earrings by Elia Woods

Blue Sage Studios - Andrew Boatman, Roy McAlester, Brent Hickenbotham & Drew Ackerman December 1-3, 10am-6pm daily 2801 S. Post Rd. Jones, OK (4 miles East of I-35 then 1.7 miles South of 2nd St. in Edmond) 405-473-0754 www.bluesagestudios.com Blue Sage Studios features unique art glass and will host glass blowing demonstrations during their open studio. While youâ&#x20AC;&#x2122;re in the area, visit the Joy With Nativities Home Show just two miles away, featuring hand made nativity scenes. Visit www.withjoynativities.com for more information.

Birthe Flexner Friday, Dec. 8, 7-9pm Saturday, Dec. 9, 10am-5pm Sunday, Dec. 10, Noon-5pm 316 S. Park Dr. Norman, OK 405-364-7921 Birthe has worked in ceramics for 36 years, making functional and decorative objects. She uses stoneware clay. Some objects are fired in a gas kiln to 2300 degrees F. Other objects are fired adding salt or soda ash at the end of the firing cycle to create unique surfaces. The functional pieces are oven, dishwasher and microwave safe. Visitors to her open studio will also enjoy holiday refreshments.

(above) Stepping Stones Lori Oden Black & White Photography (left) Lori Oden Morning Tea Platinum Print from Glass Negative

(above left) Birthe Flexner Two Vases (above right) Birthe Flexner Tea Pot

Silver Sun Studio â&#x20AC;&#x201C; Lori Oden Sat & Sun, Dec 16-17, 10am-4pm 6800 Cricket Canyon Rd. Oklahoma City www.silver-sun-studio.com Silver Sun Studio is a home-based darkroom where Lori Oden creates photographs using many different processes that were popular in the 19th century. She also prints traditional black and white photography and Polaroid transfers, emulsion lifts and manipulation. Photographs in all sizes and price ranges will be available for unique gifts. Also, Lori will have her wet collodion equipment available for demonstrations and viewing.

Photo by Sheri Ishmael-Waldrop.

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MAINSITE: Sarah Williams-Hearn & Mateo Galvano

by Sheri Ishmael-Waldrop A contrast in artistic method doesn’t end with a choice of medium.

Photographer Sarah Williams-Hearn’s use of vivid colors and visual texture stands out against the subdued shades and material texture of abstract artist Mateo Galvano. Norman’s MAINSITE Contemporary Art, at 122 E. Main St, features both artists in an exhibition that continues through November 18, 2006.

“We chose to combine these two artists because they are both nonobjective,” said Christian Pitt, gallery manager. “Both artists have carved their own niche through their specific processes. They succeed in formalizing complex abstractions and conceptual subjects,” she said.

“Their work brings a vibrant calm to the gallery, much different than our last show which was an explosion of bold imagery and color.”

Williams-Hearn’s science inspired photography utilizes color and turmoil to draw the viewer into her visual retrospective. In Topology Collective she explores the sciences and their effect on the world around her utilizing her skill as an artist and love of photography.

“We will never know everything about our small planet and the universe that surrounds it,” Williams-Hearn said. “This is difficult for the brain to wrap around and there is a great deal of beauty and inspiration in that knowledge.”

Sometimes she knows the outcome of a piece when she begins the project, but sometimes she just lets it happen. Her art demonstrates a fascination with how cityscapes, oil derricks, grain silos, and nature coexist to create a living organism. Through experimentation, she developed a unique process which incorporates discarded papers, such as graph paper and topographical maps, and the use of pencils, pastels and markers to create a negative. The negative is then taken into the darkroom where she creates a color contact print. Williams-Hearn said she is always a little surprised by the end result due of the inherent unpredictability in the materials used.

“The possibilities are unlimited,” Williams-Hearn said.

Galvano’s richly detailed pieces are created through the use of oil paints and ink on layers of delicate collaged papers on canvas and wood. The Ohio artist uses earth tones, with splashes of pastels, blues and reds, to evoke an abstract quality within a geometric foundation in his current body of work. ”Language allows the viewer to

Photographer Sarah Williams-Hearn checks the colors on one of her prints as she prepares for a show at MAINSITE Contemporary Art. Sarah Williams-Hearn’s vivid photography and Mateo Galvano’s subdued abstract pieces brought a sharp contrast to the Norman Gallery.

look through a “veil”, observing nature’s mysteries, reading the signs of storms, tranquil atmospheres, the stillness of time and changing matter,” he said.

“When I work, I become witness to a quiet and passionate sense of perception in which marks on the surface can travel or speak, and colors can conjure revelations,” Galvano said in his artist statement. “I expect to excite in the viewer a memory of soul, to tell without word or symbol an inchoate and benevolent language, a song. I paint to recall the future, to contribute to evolution by experiencing something discrete as a particle in the vast human sea.”

His art has a true abstract quality when viewed from a distance, but as you move closer you begin to notice the detail and texture created by layering of paint and found papers. He said the use of white gives a sense of space to his art and the feeling of floating on the wall. They feel weathered and as though they are fading away.

“I find the work engaging,” Galvano said, “the color mixture and textures are really appealing. It draws people to them where they find all this detail. What I see isn’t always what the viewer sees, the ambiguity and mystery,” he said. “Everyone brings their own experience to the piece.”

The square format allows him the freedom to turn the piece and to combine sections, leaving interpretation of a piece open.

((top left) Mateo Galvano, Cisterna, Mixed Media (left) Mateo Galvano, Fingers, Mixed Media

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100 FACES OF OKLAHOMA

City Arts Center Celebrates 100 People from Oklahoma for the Centennial

by Lori Oden Quick! How many famous Oklahomans can you name? Even harder for some of you, how many living Oklahoma artists do you know? No matter the size of your list, you need to attend the City Arts Center exhibition, Heroes and Outlaws: 100 Oklahomans by 100 Oklahomans scheduled to open on Friday, November 17 from 5:30 pm to 8:30 pm (and, do not worry, I will be one of the first through the door because my lists were not very long either!). This exhibition will remain on display in the Eleanor Kirkpatrick Gallery through January 6, 2007 and has been recognized by the state as an Official Centennial Project.

What better way to celebrate the 100th birthday of our great state than to see a visual documentary of the many faces and artists of Oklahoma?

Some of the portraits will be recognizable by most, including Barry Switzer, Gary England and Shannon Lucid. My rebellious nature drew me to the outlaws that will be represented, such as Belle Starr and Bonnie Parker and Clyde Barrow. Other personalities might come as a surprise, but the artist renditions of each and every one will make the faces even more memorable.

The artists’ media expands the full range and styles are as diverse as the individuals represented. Talented artists such as Jeff Stokes will create the portrait of Mat Hoffman in abstract paint; Woody Guthrie will have his portrait made in ceramics by Peter Coates; and John Seward will photograph Linda Cavanaugh. Glass, mixed media, bronze, printmaking, fiber and more will make up the 100 portraits.

Artistic Director at the City Arts Center, Clint Stone, was the idea source for this exhibition. He said, “I read an article about some property going on the market that had Belle Starr’s grave. With the centennial approaching I became interested in Oklahoma outlaws and wondered ‘are there 100 famous outlaws from Oklahoma?’ The next thought was about more of the celebrated Oklahoman’s such as Will Rogers and Sequoyah. Soon I had compiled a list of all sorts of Oklahomans. I knew Oklahoma had an array of artists working in all sorts of techniques, styles, and media to create quite the menagerie of history, beauty and interpretive spin. I took the idea of the exhibit along with a list of famous Oklahomans to the CAC Exhibits Committee.

The Committee discussed the exhibit, made some suggestions and improvements and it was put on the schedule.”

Learn more about famous Oklahomans from the past 100 years, as well as see the talent of artists that will soon make a history of their own. For more information about the exhibit, visit www.cityartscenter.org.

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(top) Trent Lawson, Oklahoma City Chuck Norris mixed media (middle) Deb Grizzle, Oklahoma City with Barry Switzer Diana Tunnell, Piedmont Sequoyah mixed media

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Connie Seabourn at USAO Gallery

by Jeanne Flanigan A collection of 40 paintings of Connie Seabourn’s recent work will be presented at the beautifully designed University of Science and Arts of Oklahoma Art Gallery in Chickasha, November 12 to December 8. A manifestation of her lifelong study of religions of the world and her expertise in depicting the human form, many of her images are layered on large, complex, abstract color fields. Smaller works in watercolors and multi-media give intimate glimpses into Seabourn’s seeking mind.

Her paintings often make reference to her personal experience: the memory of a beloved dog, or the joy of mother and grand motherhood. Others explore a larger universe, women seeming to fly close to the sun, or goddesses protecting the earth and nature. The collection is a celebration of color, and of the adventure called life.

Flying is a theme that appears as clouds, birds, animals, and people, often inspired by dreams. Her use of texture, text and photo transfer collage makes these paintings as intriguing to view from inches away as from across the room, invoking more questions than answers.

Ms. Seabourn began her art career as a child, exhibiting in adult museum shows by age 18. While her favorite media is painting in oils or watercolor, she is proficient in serigraphy, intaglio, pastels, and in recent years, artists books. She combines many of these arts in her multimedia works, making a rich viewing experience. At a lecture for the Sooner Scribes Association, she presented no less than 30 one-of-a-kind artists books, with covers as diverse as copper and clam shells, and pages of handmade paper with paintings, drawings, collage and wire imagery. In her hands, unlikely materials become beautifully crafted and emotionally charged artworks.

These talents have been shared with many students, as Seabourn returned to college to earn her Masters degree in Art Education in 2003 from University of Central Oklahoma (UCO). Her earlier Bachelor of Fine Arts degree from University of Oklahoma in 1980 was in printmaking and painting, so her teaching is well-informed with studio experiences. Her classes at Rose State College, UCO, City Arts Center, and the Firehouse Art Center have been mainly in painting and drawing, color theory, and art appreciation. She is adding to that list in classes at her studio: relief printmaking, artists books, and creativity and spirituality (C & S).

Seabourn is currently writing a book on C & S, using her lesson plans and examples of her students’ work at her home studio.

This exploration of the connection between C & S is not new for Seabourn, having illustrated the covers for magazines and books on the subject, including “Body, Mind & Spirit Magazine;” “Divine Passages: Confessions of a Menopausal Woman,” by Judith Owens; “Peaceful Warrior Nurse” by Priscilla Smith-Trudeau; and “Rainbow

Connie Seaborn Eve

Spirit Journeys: Native American Meditations and Dreams” by Wolf Moondance. She is currently illustrating a book on childhood transitions in pastel watercolors, with author Yvonne Kauger.

Collectors of her work are as diverse as her many art forms, ranging from the passerby at the Paseo Art Festival, the OKC Festival of the Arts, Red Earth, and the Gallery at 50 Penn Place, to the Smithsonian Museum, the Heard Museum and the Gilcrease Museum. She has won awards at juried competitions at the Kennedy Center for the Performing Arts, the National Cowboy and Western Heritage Museum, and the Museum of Man. The reason for the success of her work is her deeply felt connection to her inspirations, her students, her family and her ability to translate emotion into imagery. Seabourn’s imagery depicts a powerful wish for all things to be in harmony that is irresistible in these times.

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prev iew “I’ve stayed in the picture business because of its beauty.

The best thing in life is to be with someone you love or admire. The next best thing is a reminder and the best reminder is a photograph.”

-Joseph W. Hardin, Interview in Tulsa Daily World, 1964 Spirit of St. Louis, Joseph W. Hardin

Joseph W. Hardin:

A Pioneer of Photography

by Kelsey Karper Just two blocks off of Main Street in downtown Henryetta sits a small yellow building with white trim. It has all the charm of an early 20th century home and it is clear that the building has been thoughtfully preserved. It has been a cornerstone of the community in Henryetta since it was built it 1905 as the first schoolhouse. Since then, the building has been a public library, a church, Boy Scout headquarters, a dentist’s office and a courtroom – among other things. After a three year restoration of the structure, completed in 1985, it finally became what it is now: the Henryetta Territorial Museum.

Inside, the history of the building is told between the creaks and moans of the old wooden floors. The museum’s permanent collection is filled with objects that tell the story of the community they are a part of. Among these objects is a collection of photographs that I would describe as the most stunning record of early Oklahoma history.

Joseph W. Hardin spent the early years of his life traveling as a photographer and accountant. His involvement in politics took him to Democratic National Conventions, as well as Presidential Inaugurations. His standing invitation to attend the Inaugurations took him to every one from 1900-1964. Hardin finally settled in Henryetta in 1919 and immediately opened the photography studio where he would spend a great deal of his life. By the time he died in 1968 at the age of 97, Hardin had made over one million photographs.

They can be found in collections such as the University of Florida and the University of Oklahoma, but much of what remains of his life’s work is housed in the Henryetta Territorial Museum.

Hardin’s photographs ranged in subject from coal miners to flamenco dancers, street scenes to beaches. His portraits are particularly striking.

He believed in the use of only natural light for his photos and had a skylight in his studio by which to photograph his subjects. One portrait shown in the exhibition is of an Indian woman, recorded to be 123 years old. Her face is softly lit, revealing her weathered and weary expression.

Each photo captures subtle and delicate details, a characteristic of his process. Hardin used the wet-plate process to make glass negatives and tintypes, a process known for its ability to render detail.

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Apart from his beautifully executed portraits, Hardin also developed a technique for creating panoramic film negatives, ten feet in length, often representing more than 360° of scenery. According to the National Archives, these are completely unique in photography. One such photograph is a peaceful representation of the beach along the Atlantic Ocean, taken in Jacksonville, Florida in 1927. On each end of the photograph, the boardwalk can be seen, lined with shops and bath houses. The majority of the scene is a deserted beach, only a young family standing directly in the center, looking out upon the ocean.

Another panorama depicts a bustling downtown, presumed to be a young Henryetta, with men in crisp white shirts and ties standing among the model-T cars that line the streets.

Joseph Hardin was truly a pioneer in photography and a methodical recorder of significant historical and industrial events in the early days of Oklahoma statehood. His work can be appreciated by the art lover and historian alike.

The Henryetta Territorial Museum is located at 410 West Moore in Henryetta. The museum is open 10-3, Wednesday through Saturday.

The Hardin exhibit will be on display through the end of the year. For more information, you can visit www.territorialmuseum.org.

The Henryetta Territorial Museum, 410 West Moore, Henryetta, OK

ON THE

feat u re

Treasure in Tahlequah

by Cathy Deuschle Tahlequah lies in the foothills of the Ozarks, a mile or so from the Illinois River and near the mouth of Tenkiller Lake. Defined by Cherokee history, and home to Northeastern State University, this town of around 16,000 is singular in character and culturally significant.

The native Cherokee language on street signs and storefronts illustrates the town’s roots and status as capital of the Cherokee Nation.

NSU’s centerpiece, Seminary Hall, which was built in the 1880’s as the Cherokee National Female Seminary, exemplifies Tahlequah’s long (by Oklahoma standards) history. Given these endowments, it’s no wonder this town has much to offer the artist and art lover. A short walk down Muskogee Ave. exposes one to a remarkable variety of work.

We’ll begin at the NSU gallery. Though the campus is convenient and contiguous to downtown, NSU has woven the gallery into the community by placing it in a central downtown location. Exposure is maximized in this highly visible and approachable storefront space. It serves its artists well.

Finding the gallery is easy as a mural filled with saturated color covers the building’s long exterior side. Designed by NSU faculty member, Lance Hunter, and executed by his students in 2004, this work titled “Reaching for Peace” has as its central figure a woman reaching up to a star filled sky. Though she is impeded by thorny branches; she is surrounded by peaceful things such as a white heron, a butterfly, a waterfall, a lily and a rose. To further illustrate the theme, the upper left corner contains a male figure attempting to touch a dove in flight. This personal vision is dreamlike, uplifting, and expressive of a universal sentiment: the desire for peace and beauty.

The inside gallery is composed of two cozy rooms. The walls and the floor are carpeted grey. Well lit and subdued, it provides a good backdrop for art. According to artist, NSU

faculty member and gallery director, Bobby Martin, this gallery is primarily designed for student exhibitions but also plays a community outreach role. Each semester opens with a visiting artist exhibit and additional time is available in the summer months for regional art shows. Professor Martin believes that strong support for the art program is evident in the university’s decision to keep the gallery open five days a week, year round.

NDN Art and Framing is less than a block away. Once the wordplay in the acronym is discovered, the name and essence of this gallery is apparent and hard to forget.

Included in the gallery are original works by painter/printmaker, Ben Harjo, and clay artist, Jane Osti. Ms. Osti, who has a studio in Tahlequah, has been designated a Cherokee Living Treasure. According to gallery owner, Lori Smiley, one has to have practiced his or her craft for at least ten years, and actively teach the associated skills and traditional beliefs behind the art form in order to be considered by the chief for this honor. Native art is the main focus of the gallery.

making, basketry and pottery; it holds two prestigious, competitive shows: the Cherokee Homecoming Art Show and Sale in the fall, and the Trail of Tears Art Show and Sale in the spring. While the Homecoming show is open only to artists with Cherokee citizenship, the Trail of Tears show is open to all.

Lively theater and music scenes round out Tahlequah’s art offerings. Downtown venues include the deco inspired Dream Theatre, the Jazz Lab, the Shawnee St. Theatre, and the University Playhouse.

According to Cherokee Heritage Center curator, Michael Yantz, an organization called the Tahlequah Artist’s Guild has been recently formed with the goal of having regular group shows. Hopefully this organization will enhance the careers of local artists and bring awareness of Tahlequah’s artistic riches to a wider audience. (top) NSU Gallery (bottom) The Jacob Gallery

At the Jacob Gallery across the street, one can see the art and books of husband/wife team, Murv Jacob and Deborah Duvall.

Murv is a prolific illustrator, painter, and clay artist who focuses on Cherokee subject matter. Effigy pipes are one of his specialties.

Deborah makes double walled honeysuckle baskets and has written eight Cherokee story books in collaboration with Murv.

Next to the Jacob Gallery is the Iguana Café which is locally famous for the erotic art show it holds each Valentine’s Day. An erotic art show in small town Oklahoma?

Yes, this place has a progressive spirit.

Several miles from downtown is the Cherokee Heritage Center. Besides offering one day intensive classes in such traditional skills as gourd carving, beadwork, flute 13

feat u re “Since I was a small child I have felt a passionate connection to art. I believe that creativity is an encounter, an act that states and makes evident the deeply held desire for knowledge and understanding of the human experience. Living my life as an artist brings me great joy and I feel honored to carry on this tradition.”

— Louise Higgs

Louise Higgs with Rhonda Vincent and daughters

Connecting: Patron and Artist

by Kathy McRuiz (Kathy is a Tulsa Artist and Development & Public Relations Director at the Arts & Humanities Council of Tulsa) For many artists, the creative process is painstaking, personal and full of mystery.

Sharing the final product with an audience, however, adds a new point of view that can enrich both the artist and the viewer.

Although this encounter often takes the form of an impersonal gallery transaction, there are ways to make the entire process more intimate and satisfying for both the artist and the patron.

Simply Oklahoma is one such approach.

The event is a fundraiser for the Arts & Humanities Council of Tulsa. It enables artists to meet their clients, and, as with a commission, for the client to have a voice in the production of the piece. The concept is simple: the patron purchases a “Featured Artist Table.” As part of the purchase, the patron has the opportunity to visit the artist’s studio, either to choose an existing piece or to consult with the artist to create a new work. The piece then serves as the table’s centerpiece at the event. At the event, patrons and their guests sit with the artist, and the patron takes the piece home. Ultimately, the client gains a deeper understanding of the creative process.

Louise Higgs is one of Simply Oklahoma’s Featured Artists for 2006. She is creating a piece for Rhonda and Carl Vincent. Louise recently visited with Rhonda Vincent at her home in Tulsa, where Louise could become familiar with the surroundings where her work will ultimately be displayed.

Louise uses a painstaking approach to creating a work of art. It often seems the entirety of art history is considered in each 14

motion of her brush, and she is glad to take you on the circuitous route from one stroke to the next. As Louise and Rhonda began talking about the piece Louise will create, Louise immediately launched into a brilliant discussion of Twentieth Century Italian painter Giorgio Morandi.

In the process, Louise drew connections between math and art by talking about Morandi’s use of geometric shapes, and then elaborated on circles as the perfect form. A discussion of the ellipse led into the logic of geometry and linear perspective, the Italian Renaissance, and ultimately Brunelleschi and the Baptistery in Florence, a perfect octagon.

All of this to say that: math is like art in that we are dealing with absolutes in both cases, and that art is a very analytical process no matter what style one incorporates.

In the process, if we are lucky, there is transcendence.

At some point in this discussion, the two young Vincent daughters wandered in, and Louise immediately involved them in the conversation. One of the daughters is a budding artist, and both daughters have already met Louise. The girls had joined Louise at Hillcrest Medical Center, where she introduced them to the work she is doing with Arts in Healthcare. They will later join her in her studio, where they will actually paint strokes on the work she is creating for the Vincent’s home.

As the discussion turned to the piece, Rhonda Vincent said it was important that everyone at her table experience the art and the artist. Louise then began to describe her

basic form for the piece: four painted screen panels that would be hinged together. For later display in the home, the panels could be separated for hanging on the walls in any arrangement.

To show the subject, color, size, and style of the piece, Louise brought four images she had completed from a series of flower paintings.

She would paint similar flowers on screens very much like Japanese folding screen paintings. Known in Japanese as byobu, these screens served many purposes: as room partitions, as settings for special events and as backdrops for dignitaries. They offered large and inviting surfaces for decorative painting and many of the finest Japanese artists worked in the format.

Rhonda was enthusiastic about Louise’s concept. She had heirlooms that reflected the Japanese motif on display in her home and was quite thrilled that this theme would be expanded, “I was so pleased with Louise’s design! I couldn’t believe her ideas perfectly matched the way we collect, and that she included the girls in the whole process.”

In so many ways, it was clear the interaction successfully informed the creative process and enhanced the experience for both artist and client. Before leaving, Louise invited the girls to come by the hospital and help paint some ceiling tiles. Rhonda was very happy with the entire experience, saying, “This has been a great chance to meet an artist and has given us wonderful insight into the creative process.

As a family we will have a rich set of memories each time we look at Louise’s paintings in our home gallery!”

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DOES ART

MATTER?

by Sue Clancy As an artist you typically work in solitude creating things and developing ideas to be presented to the public. You do your work and take it to the gallery or exhibit venue.

Except for opening night you aren’t there when people view your work. Seldom do you hear feedback directly. Consequently you don’t see first hand the impact your work has on the public. Such is the artist’s life. Melancholy can creep in. “What good is all this?” the artist on bad days can wonder. “Is art just another consumer item?

Does my art even matter?”

The artist is a public intellectual who doesn’t always feel very ‘public’. The influence you, as an artist, have on the community isn’t blatantly obvious. As a result you will have to learn to self-validate the importance of your own artistic work.

There are two crucial areas in which to focus such self-validation: Economic Impact and Quality of Life. In these areas each artist, no matter how ‘successful’ in terms of career advancement, has a direct impact upon the community.

Economic Impact Whether or not you personally sell a lot of your artworks is not the ‘economic impact’ upon which I focus. Individual artist’s sales come and go so one must take a broader view than that of short-term individual sales figures. If you exhibit your artwork regularly you are contributing to the economic health of a city, a region and a nation regardless of whether or not any artwork sold during any one exhibit.

An article titled “The Arts as a Commodity”

by Stanley S. Madega which was written in 1997 says (and I quote excerpts for brevity) “In the area of industrial output the reported output statistics for the...visual arts in the 1989 GNP was an estimated total dollar value of $314 billion, or about 6 percent of the GNP [for the United States].

The report compared industrial output for the arts with several other industries; for example, the output from the arts industries in 1989 was greater than the construction industry, which constituted 4.8 percent 16

of the GNP.... In the area of consumer spending on the creative arts, the report indicated that consumer spending as a percentage of after-tax income... increased from 7 percent in 1970 to 12 percent in 1990. This is compared to spectator sports, which was 16 percent in 1970 and decreased to 11 percent in 1990. The performing arts attracted more people in the 1980’s than spectator sports.”

More recently and closer to home Allied Arts reports that “Each year, arts programs generate $486 million in economic activity in the Greater Oklahoma City metro area.”

So if you are exhibiting your artwork with any regularity, you’re a part of all of those numbers! If that still feels vague and unrelated to life as you know it consider this: You have an idea for an exhibit and a gallery or non-profit space agrees to host your exhibit. Then you raise the funds to get the materials to create the artwork.

Money is spent on a variety of needs that relate to the artwork creation; materials, postage, time, models’ fees, photographic documentation, equipment rental or purchase, etc. All of that is money put into the economy. The same thing happens when it nears time to open the exhibit. The gallery (or non-profit space) spends money on the design and printing of invitations, postage for mailing them out and on staff to hang the exhibit. Perhaps a catalogue is printed. Money is spent on wine and food for the opening night. The exhibit is written about which helps to sell the newspapers and magazines. This is a very simple gloss of the economic impact just one exhibit can have on a local economy.

(And this omits sales of artwork) This may not sound like much but when you consider that multiple exhibits occur in any given week or month, it begins to add up. Not to mention the economic and exhibit scales vary. An exhibit at a cafe is on a smaller economic scale than a higher profile gallery exhibit would be. A museum’s exhibit expense scale is even larger. Of course the higher an artist’s profile (and career) becomes the larger the scale at which they

can work and more of an impact they will have. Yet even that small cafe exhibit positively affects the economy. The art on the walls is likely to bring more people into that cafe which will increase the cafe’s sales and also make it more likely that they will want more art on their walls... and thus the economic world turns.

Quality of Life “Another less tangible, but more important point, is that art has a very positive effect on the quality of life for the individual and the community in which he or she resides. The visual arts embody the aesthetic welfare of the community. The cultural life which is represented in the visual arts is important to the aesthetic well-being of each of us. The visual arts create an ambiance which enhances our lives and provides opportunity for a lifelong enjoyment in creative activities. Art becomes the cultural repository for the population’s artistic accomplishments which develops a sense of ownership and pride in the community or nation. In addition, art provides a bridge and a language for bringing cultures together. .... Consequently the arts play an important role as a common ground bridge to a tranquil and productive multi-cultural community. This concept is important to all of us as our economy shifts to a service oriented people-based world market oriented economy.” (The Arts as a Commodity by Stanley S. Madega) Richard Florida in his book The Rise of the Creative Class speaks voluminously of the importance of artists (and diversity) in the life of a community and specifically how the arts often attract business (and dollars) to an area. People (and businesses) prefer to live and work in locations where creativity, talent and the arts are valued. It’s just a better quality of life and higher standard of living.

Beyond the values of entertainment and commodity creation, you as an artist bring to a community your work as a public intellectual. By being a public intellectual, especially if you choose to focus in this arena, you are thinking about and

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interpreting the world around you. You are abstracting the immediate experience into something tangible and understandable.

Most of the public doesn’t have (or take) the time to think about culture and the world around them. They are simply a part of it.

Fish don’t think about the water. Artists are fish who not only think about the water but interpret it, depict it, explore it and offer our thoughts about it. By doing this we call the public’s attention to issues and ideas.

We invite the public to think too. This thinking (and action) that artists do directly influences improvements in the quality of life for everyone. “...artists may be seen as meddlers, naifs, do-gooders or chumps, but strangely empowered ones, empowered to say and do things that most people won’t do.” (Power and Mastery - Negotiations in Community-based Visual Art essay by Neill Bogan)

else may have and put into motion as a result of viewing your work. Thus you are important, more important than you know.

Imperative by Jodi Kushins http://aad.uoregon.edu/culturework The Arts as Commodity by Stanley S. Madeja http://aad. uoregon.edu/culturework

You are not alone, toiling in vain, even though sometimes it may feel that way.

Allied Arts www.alliedartsokc.com

References: Recognizing Artists as Public Intellectuals: A Pedagogical

Power and Mastery - Negotiations in Community-based Visual Art by Neill Bogan http://www.communityarts.net/

There isn’t enough space in this magazine to list all of the various ways current and past artists have stimulated positive changes in society. To name a prominent recent one: the various musicians and visual artists of New Orleans have been working tirelessly to provide solace and inspiration to the city and it’s people so ravaged by Katrina. Their work has had the function of keeping some media attention on the on-going problems New Orleans faces. (See for example the television program Nightline, Aug. 28, 2006) Though it may not always feel like it, and the government or community may not openly recognize your importance, nevertheless you and your work are vital.

You are essential as an economic and quality of life contributor to the community.

The more artists there are working in an area, the more positive influence the arts have! All of the artists, non-profit arts organizations, galleries, museums and etc. in an area are all contributing to the same economic and quality of life causes.

Art exists in and beyond the day and age in which it was created. Art becomes a lasting ‘time-capsule’ of the thoughts and feelings of a particular person, community and context. You can’t predict, or ever know, the thoughts and ideas someone 17

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Artist Residencies:

Opportunities for Time, Space, and Colleagues

by Julia Kirt Have you read the articles lately about your artistic colleagues heading off to fabulous locales like Spain, Costa Rica and Vermont (in the summer mind you!) to take the time to make art? Ever wondered how they got that chance to work in a fabulous borrowed studio? Thinking about finding a residency, but not sure where to start?

Well, luckily there is a national service organization for artists’ communities and residencies: Alliance of Artist Communities. Deborah Obalil, Executive Director, took the time to answer a few questions about finding artists spaces and residencies. They serve more than 250 artists’ communities in the United States that are located all across the country that offer all types of services from hands-on classes and stipends to isolated cabins in which you can hide out to create to your heart’s desire. When considering participating in an artist’s residency, the Alliance is a great place to find information and research places.

Q: How do you think an artist should define their search for a residency program? What first steps for where to possibly go?

Obalil: There are a number of questions an artist should ask him/ herself when considering what kind of artist residency opportunities to explore. How much time in residence would be ideal? What kind of environment would best suit you and your work at this point - solitude or active community, remote or urban, small group or large group of artists, space to simply think and create with any materials you bring in or technologically sophisticated studio space? The range of opportunities available to artists today in residencies is broad. There is no one-sizefits-all or “best” residency to attend. For that reason, some time for selfreflection on what would be most meaningful and useful to you is where I recommend artists start thinking about residencies.

Other logistical issues such as time of year you are available to do a residency, willingness or ability to travel, and family considerations (as many residencies do not allow spouses/partners or children to attend with

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the artist) are key to determining which residency is a good fit.

After an artist has a sense of these issues, the Alliance of Artists Communities web site (www.artistcommunities.org) is a great place to start browsing. The site includes detailed information on over 100 residency programs, with listings of many others. If an international residency is of interest, our partner organization Res Artis (www.resartis. org) has information on many programs around the globe in addition to those on the Alliance site.

Q. How far ahead should artists be planning?

Obalil: Generally speaking, it’s good to plan a year out for a residency.

Some residency programs have only one application date for an entire year, others have 2 or 3. These applications are usually due at least a year out from when you’d like to do your residency. For example, a February 2006 application due date for Winter/Spring residencies in 2007.

There are often opportunities available on shorter timelines, if planning that far out is not possible. However, that will limit the options available.

Q. How many residency programs/artist communities are there in your membership?

Obalil: There are currently around 140 residency programs represented in the Alliance membership. We have identified approximately 250 programs in the US, and another 200 or so globally, which are all listed in our resource guide Artists Communities: A Directory of Residencies that Offer Time and Space for Creativity.

Q. Any ideas for getting residencies funded?

Obalil: The funding required for doing a residency varies from program to program. In most cases, all the artist needs to pay for is their travel to get to the residency and the cost of any materials they’ll need while in residence. Studio space, room and board is covered by the program. In other cases, a small fee may be charged to help cover some of the infrastructure costs of the residency. To qualify as a member of the Alliance, the residency opportunity must be subsidized for the artist to some degree - we do not support programs that are making money from the artists in residence.

That being said, there are of course other financial considerations in taking a residency. As you are only gone from your “daily life” for a period of time, you will need to continue paying rent or mortgage on your home and other living costs that continue whether you are there or not. If, like many artists, you make your living doing something other than art, you need to consider how to get the time off and whether or not it will be a paid leave of absence.

Finding funding to support any or all of these costs is a challenge. State and local arts councils are often a good place to start looking. Many agencies have smaller grant options to support this type of professional development. Some artist-centered private foundations will also support the costs associated with a residency.

The Pollack-Krasner Foundation in New York is one example.

Searching on NYFASource (a web database of support sources for artists at www.nyfasource.org) is another good place to seek information. Lastly, some residency programs have scholarship or other support programs for those artists who fit certain critiera or can demonstrate a specific financial need, so be sure to look for that information when doing your residency search.

Note: Don’t forget, also, that OVAC gives Education Assistance Grants of up to $250 to help with continuing education like residencies, conferences, and more.

OVAC news

Round Up OVAC welcomes six new board members beginning their term in June 2006: Joey Frisillo, Sand Springs, lives and paints in the Lake Keystone area just west of Tulsa, Oklahoma. Her pastels and oils works are in the Color Connection Gallery, Utica Square in Tulsa and have been in numerous local and national juried exhibitions. She has served on the Art Studio Tour Committee and will help with the Artist Survival Kit workshops this year.

EunKyung Jeong, Weatherford, was born and raised in Korea. She received her BFA in Fiber Arts from Dong-A University (Korea) and completed MFA in sculpture and BA in Art History from the State University of New York at New Paltz. Currently, Jeong is an Assistant Professor of Art at the Southwestern Oklahoma State University. She recently helped as cocurator for Momentum Tulsa and will serve on the Artist Survival Kit Committee.

Stephen Kovash’s day job is as National Acquisitions Manager for the US Environmental Protection Agency in Ada (he lives in Oklahoma City). However, his more than full time job is as an arts volunteer and leader. Besides curating the Art House Salon Gallery, Kovash has led many events and committees for the Arts Council of Oklahoma City and has a Master of Public Administration, University of Oklahoma and Master of Business Administration in Arts Management, Oklahoma City University.

He has co-chaired OVAC’s 12x12 Art Sale and Event for the past two years and served on the committee for the last 7. He also writes for the Oklahoma Gazette and Art Focus, as well as serving on the editorial board.

Suzanne Mitchell, Oklahoma City, is the Senior Law Clerk for Judge Robert Henry. Originally from Bronxville, NY, she received her law degree from George Washington University and graduated from George Washington University’s School of Foreigh Service. She is also active in the Oklahoma SafeKids Coalition, Mesta Park Neighborhood Association, and Oklahoma City Running Club. Mitchell has served on the 12x12 Art Sale Committee for several years.

Ira Schlezinger, Oklahoma City, who served on the board from 1997 until 2000, returns bringing his experienece in strategic planning and the arts from stints on dozens of central Oklahoma arts boards. Currently, he serves as an Oklahoma Arts Council Member. Most recently, Schlezinger was the managing director of strategic services for Integris Health in Oklahoma City.

Elia Woods, Oklahoma City, has been stitching, weaving, and creating surface design on fabric for over twenty years. Her recent work has been included in Quilt Visions, San Diego and Quilt National, in Athens, Ohio, as well as Fiber Focus in St. Louis. Much of her inspiration comes from her love of gardening and the natural world. She has cochaired the Artist Survival Kit Committee for two years and is an active participant in the Handweaver’s League.

New officers were also elected at the Annual Member’s meeting in June (Thanks to Rick and Sarah Vermillion for hosting!). The OVAC Board president is Pam Hodgees, Ph.D, Tulsa, the Bernsen Director of Education & Public Programs at the Philbrook Museum of Art. John Seward, Oklahoma City was reelected as the Vice President of the Board, focusing his efforts on OVAC’s exhibition programming. Rick Vermillion, Oklahoma City, continues to serve as the Treasurer. Lila Todd, Oklahoma City, graciously continues as Board Secretary.

There are some great upcoming ASK Workshops planned: sign up for any or all!

November 4: The Artists Portfolio at the Super 8 Meeting Room in Guymon

November 18: Next Steps: Options for Your Artistic Career

at Oklahoma City University

January 20: Money, Money, Money at Hardesty Library in Tulsa

February 24: Art & Technology at East Central University in Ada

April 14: Business of Art at the Mabee-Gerrer Museum in Shawnee For detailed information visit www.ovac-ok.org/artinfoask.html.

Ask a

Creativity Coach

by Romney Nesbitt Dear Romney, For some time I’ve been out of the habit of making art due to some life changes (divorce and a move from another state).

I used to paint regularly and I participated in local art shows. Now that I am settled I would like to begin painting again but I don’t know what to paint. The images I used to paint no longer excite me. How do I find a new idea?

—Lost

Dear Lost, You’re asking the BIG question: “How do I find inspiration?” You don’t have to go out in search of inspiration like you’re on some artsy Holy Grail quest. Inspiration is not “out there” somewhere—inspiration is inside of you. Inside your creative mind is all the inspiration you’ll ever need, you just need to let it out and give it a chance to grow. To uncover the hidden new ideas in your mind become aware of anything that excites you--whatever that is, is a clue to your next idea. Realize that whatever intrigues you is drawing your awareness for a reason. Dr. Wayne W. Dyer in his latest book, Inspiration: Your Ultimate Calling, (published by Hay House, Inc., 2006) says “Become aware of anything that excites you…this is inspiration right in front of you, begging you to pay attention to that feeling. You have the ability to pursue it.” Dr. Dyer recommends keeping an on-going list of everything that captures your attention. Look at your list, then ask yourself “What is calling me to action?”

Choose to follow that lead and begin one piece and see where that leads you. Once you get the process started, just stay in the flow. You’ll find enough inspiration to keep your creative juices flowing.

Romney Nesbitt is a creativity coach, artist and writer living in Tulsa. She welcomes your coaching questions for future columns.

Contact her at RomneyN@cox.net.

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OVAC news

At a Glance La Voce Politica

by Jeanne Flanigan

Translated as “the political voice,” the show was a silent protest against unjustified war, racism, class distinctions, sexism, government control, religious propagation, and assaults on personal freedom. Individual Artists of Oklahoma Gallery lives up to its mandate to offer fine art with an edge, in this week-long show in August.

Hachivi Edgar Heap of Birds offered “Smile for Racism” and “Every Acre a Landmark Decision” addressing the subjugation of Native Americans. Charlene Weidell gave a reminder of the Holocaust, the pink triangle that designated homosexuals, revealed inside a triangular silver locket inscribed “I count.”

Several works addressed the tyranny of beauty and living the “politically polite” life, exploring the terrors of eating disorders, and compulsive, obligatory consumerism in the “I own it list.” “Cross Cart,” a combination motorcycle and small aircraft with a neon cross mounted on the top, straddled by a horse saddle, was a literal riding of the cross.

The anti-war commentary was the primary focus of the show, with subtle photo-fiber constructions by Elia Woods, and bold paintings of protesters, counter-protesters, soldiers and war by Eric Humphries, O. Gail Poole, John L. Cox and Sunni Mercer.

(top) Joseph Daun Cross Cart (below) Crowd at La Voce Politca

Thank you to our New and Renewing Members from July & August 2006

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Mazen H. Abufadil Robert Adams Dorothy Alexander Eileen Anderson Nick Backes Kimberly Baker Judith Bright Barnett Gary Betow and Kathy McKeown Elaine Bitting Steven L. Brown Tammy Brummell Andrew and Rebecca Bryant Tony Carrera Jeanene S. Carver Lisa Chronister and Aaron Mooney

Jim Coles Ryan Cunningham David Cunningham Dennis Matthew Dewey Shirley Dillon Dorothy Dinsmoor Jeff Dodd Kellie Eastham Clara Edmon Elizabeth Eickman Michael and Deanna Enochs Karin Teresa Fain Christiane E. Faris Jean Ann Fausser Brian Ferriso Carrie Flanders Craig Foster

David Goodrich Mary H. Grabow Lou Moore Hale Winnie Hawkins Yun Hendricks Teresa Herndon Helen F. Howerton Judith F. Ide Matt Jarvis F. Bradley Jessop Shannon Jilge Michelle Johnson Kathy Jones Jody Karr Julia J. Kirt Jacquelyn Knapp Debbie Langston

Rod Limke Marsha Mahan Janice Mathews-Gordon Janice McCormick and Ed Main Gregory Motto Jane Newman Dana Niblett Mary Nickell Molly O’Connor Caren O’Mealey Maryruth Prose Tammy Roberts David M. and Sharon Roberts Sylvia Rogers Cathy J. Rowten Mary Ruggles

Roger Runge Randel and Dana Shadid Gail Sloop Diana Smith Rob Smith Sue Moss Sullivan Angela True Joyce Ulstrup Becky Way B. J. White Debby Williams Thompson Williams Jennifer Woods May Yang

galler y gu ide

&

Gallery Listings

Exhibition Schedule

Ada

Durham

Idabel

Audrey Schmitz Through November 3 Closing Reception, November 3 24 Works on Paper Traveling Exhibition November 6-30 Senior Exhibitions December 1-18 University Gallery East Central University (580) 310-5356 ecok.edu

The 2005 “Augusta Metcalfe Memorial Competition” November 5 Not the Same ole Song and Dance.

Through November 30 A Retrospective: Eva Mae Young Through November 30 Museum Closed December-February Metcalfe Museum Rt. 1 Box 25 (580) 655-4467 metcalfemuseum.org

Coast To Coast Pre-Historic Culture of Central Mexico Through January 8 Lifewell Gallery Museum of the Red River 812 East Lincoln Road (580) 286-3616 museumoftheredriver.org

Charles B. Goddard Center 401 First Avenue SW (580) 226-0909 godart.org

Edmond

Ardmore

Bartlesville Architecture Study Center, Wright Restored: Frank Lloyd Wright’s Price Towers Interiors Both Through December 31 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

National Watercolor Association Exhibition Through December 2 Edmond Historical Society 431 S. Boulevard (405) 340-0078 edmondhistory.org Shadid Fine Art 19 N. Broadway (405) 341-9023 shadidfineart.com Chambers Library Gallery University of Central Oklahoma 100 University Drive (405) 974-5931 ucok.edu

El Reno

Mary Ellen Thomas and Brandon Wood Through November 5 Connie Seabourn November 12 – December 8 University of Sciences and Arts of Oklahoma Gallery-Davis Hall 1806 17th Street (405) 574-1344 usao.edu/gallery/

Return to Route 66: Photography from the Mother Road by Shellee Graham Through November 13 Gene Stewart November 20 – December 18 Redlands Community College (405) 262-2552 redlandscc.edu

Claremore

Henryetta

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

Durant Southeastern OK State University 1405 N. 4th PMB 4231 sosu.edu

Lawton

“Oklahoma: Centerfold” Biennial Juried Show November 4- December 30 The Leslie Powell Foundation and Gallery 620 D Avenue (580) 357-9526 lpgallery.org

Norman Gay Smith Through November 3 2006 Holiday Gift Gallery November 19 – December 31 Firehouse Art Center 444 South Flood (405) 329-4523 normanfirehouse.com Scandinavian Cultural Exhibition: Sweden Through November 26 Scandinavian Indian Christmas Exhibition

Tiger Art: Triumph over Tragedy December 3 – 23 Opening Reception December 3 Jacobson House 609 Chautauqua (405) 366-1667 jacobsonhouse.com Lori Oden December 3-8 Lightwell Gallery Fred Jones Jr. Museum of Art 410 W. Boyd Street (405) 325-3272 ou.edu/fjjma Sarah Williams & Mateo Galvano Through November 18 2006 Emergent Show December 1-Through January Mainsite Contemporary Art Gallery 122 East Main (405) 292-8095 mainsite-art.com

Oklahoma City

Heroes and Outlaws: 100 Oklahomans by 100 Oklahomans November 17 – January 6 Opening Reception November 17 City Arts Center 3000 Pershing Blvd.

(800) 951-0000 cityartscenter.org

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

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galler y gu ide Great Blue Heron John James Audobon (1821) Ink, sepia wash, and pencil on buff-colored wove paper On exhibit through January 1 at the Gilcrease Museum

Annual Sale of Small Works by Noted Artists November 3-27 Opening Reception November 3 Christmas at the Elms December 1-31 Opening Reception December 1 JRB at the Elms 2810 North Walker (405) 528-6336 jrbartgallery.com Art Ole: Not So Silent Night November 17, 7-11 Upgrade!

December 1-29 Opening Reception December 1 Individual Artists of Oklahoma 811 N. Broadway (405) 232-6060 iaogallery.org Silver Sea: A Retrospective Through November 28

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Magic Lanterns: Father of Film Through December 18 The Mega What?

Through November 30 Pure Seeing – Photographs by Ernst Haas December 2 – February 28 International Photography Hall of Fame 2100 NE 52nd Street (405) 424-4055 iphf.org Traditional Cowboy Arts Association 8th Annual Exhibition Through December 3 Contemporary Native American Art— Reflections After Lewis and Clark Through December 17 Indian Modernism: Selections from the Silberman Collection Through March 2007 National Cowboy and Western Heritage Museum 1700 NE 63rd (405) 478-2250 cowboyhalloffame.org

Oklahoma Today’s 50th Through November 26 North Gallery Gloria Abella de Duncun Meditations on Time and Memory Through November 5 Christina Pickard Through November 5 East Gallery James Bruce Through December 8 Governor’s Gallery Oklahoma State Capital Galleries 2300 N. Lincoln Blvd (405) 521-2931 state.ok.us/~arts Temples and Tombs: Treasures of Egyptian Art from British Museum Through November 26 Tour de Quartz Through November 19 Holiday Print Show December 14– January 14 Oklahoma City Museum of Art 415 Couch Drive (405) 236-3100 okcmoa.com

2006 High School Print & Drawing Exhibition November 5 – 21 Graduating Seniors December 3 - 22 5 Designers Graphic and Studio Art Nona Hulsey Gallery, Norick Art Center Oklahoma City University 1600 NW 26th (405) 208-5226 okcu.edu Off the Books: A Group Exhibition Through November 11 The Upgrade! International November 30 – December 3 Untitled [ArtSpace] 1 NE 3rd St. (405) 815-9995 1ne3.org University Gallery Oklahoma Christian University 2501 East Memorial Road

galler y gu ide Ernst Haas La Suerte de Capa (2001) Pure Seeing December 2, 2006 – February 28, 2007 at the International Photography Hall of Fame & Museum

Park Hill

Tonkawa

Arkansas Cherokees November 6 – December 31 Cherokee National Historical Society, Inc. 21192 S. Keeler Drive (918) 456-6007 cherokeeheritage.org

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

Ponca City

Apertures Photo School Student Show November 9- December 2 Opening Reception November 9 Laquita Hinton December 7- January 6 Opening Reception December 7 Apertures Gallery 1936 South Harvard (918) 742-0500 aperturesphoto.com

Exhibit Title: 529 Through November 10 Wichita State University Student Exhibit November 17 to December 22 Artsplace Ponca City 319 East Grand Ave (580) 762-1930 artsplaceponcacity.net Photographs of Willie Rumbo November 5-26 Annual Gingerbread Display and Christmas Tree Collage December 3-31 Ponca City Art Center 819 East Central 580-765-9746

Shawnee Silent Storytellers: Carpets from Around the World November 17-January 14 Mabee-Gerrer Museum of Art 1900 West Macarthur (405) 878-5300 mgmoa.org

Stillwater Graphic Design Portfolio Exhibition November 17 to December 15 Gardiner Art Gallery Oklahoma State University 108 Bartlett University (405) 744-6016 art.okstate.edu

Tulsa

Brushworks Gallery 3716 S. Peoria (918) 742-1138 Holiday Surprise: Group Exhibition November 30-December 31 Opening Reception November 30 Color Connection Gallery 2050 Utica Square (918) 742-0515 American Art in Miniature Through November 5 John James Audubon: American Artist and Naturalist Through January 1 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

Bill Munsell Mother and Child Unedited Digital Photography 30”x40” 5 to 9 Art Group Exhibit Artsplace Ponca City October 6-November 10, 2006

Day of the Dead Festival November 1 – 11 ArtCore Studios Fall Project Presentation November 5 The Fine Art of Shopping: Holiday Art Sale & Silent Auction November 17 Fundraiser Living Arts Gala: An Auction for the Arts & Objects d’Art Sale November 19 Exhibit – TBA December 2 – 23 Rental - Performance/Exhibit December 11 ArtCore Residency #3 December 14 -16 Living Arts Holiday Party/New Music Event December 17 Living Arts 308 S. Kenosha (918) 585-1234 livingarts.org William Bouguereau and his American Students Through December 31 The Philbrook Museum of Art 2727 South Rockford Road (918) 749-7941 Philbrook.org

Tulsa Photography Collective Gallery North Hall at OSU-Tulsa 700 North Greenwood Gailard and TU professor Art Exhibit November 1 – December 8 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

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

Woodward Carol Stake December 8 - 30 Plains Indians and Pioneers Museum 2009 Williams Ave (580) 256-6136 pipm1.com

Paintings by Shalla David November 3 – 25 Paintings by Bob Bartholic December 1 - 30 Tulsa Artists Coalition Gallery 9 East Brady (918) 592-0041 tacgallery.org Stage Hands November 2 – 26 Winter Solitics Tulsa Performing Arts Gallery November 30 – December 31 110 East 2nd Street (918) 596-7122

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Exhibitions • presentations • workshops • performances • screenings • and lectures by new-media artists and curators from more than 20 cities around the world.

Presented by: Untitled [ArtSpace] • Individual Artists of Oklahoma Gallery • Oklahoma Visual Arts Coalition • The University of Oklahoma School of Art • The Oklahoma City Museum of Art Film Program • Upgrade!

International/Oklahoma City • and the Kirkpatrick Foundation.

For more information: visit www.theupgrade.net To register: call 405-232-6991 • or e-mail assistant@ovac-ok.org

International

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