Art Focus Oklahoma, September/October 2008

ArtOFocus k l a h o m a

Ok la ho m a Vi s u a l A r ts C oal i t i on

th

A N N I V E R S A R Y

1

O

Vo l u m e 2 3 N o . 5

9

8

8

-

V

2

A

September/October

0

0

8

C

2008 th

A N N I V E R S A R Y 1

O

9

8

8

V

-

2

A

0

0

8

C

Michael Joy Wilson page 3

ArtOFocus kl a h o m a Oklahoma Visual Arts Coalition P.O. Box 1946 • Oklahoma City, OK 73101 ph: 405.232.6991 • e: director@ovac-ok.org visit our website at: www.ovac-ok.org Executive Director: Julia Kirt director@ovac-ok.org Editor: 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.

5

Marc Barker Oklahoma City

Liontas-Warren 6 Katherine Lawton

On the Cover: Michael Joy Wilson, Norman, I Love, Monotype, 24”x18” (collaboration with Bonnie Amspacher)

contents

View this issue with full color images at www.

ArtFocusOklahoma.org.

profiles

reviews/previews

6 8 10 11

Katherine Liontas-Warren Contemporary Craft BOK Center Architecture BOK Center Art

12 Adkins Collection

features

14 OVAC History of 12 X 12 16 OVAC Fellowships 2008 17 On The Map: The Plaza District

This program is supported in part by the Oklahoma Arts Council

Contemporary Craft

3 Michael Joy Wilson 5 Marc Barker

member agency

8

business of art

19 Artists Statements 19 Ask a Creativity Coach

OVAC news

20 New & Renewing Members 20 Round UP 20 At a Glance 22

gallery guide

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 Anonymous letters will not be published.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; Don Emrick, Tulsa; Susan Grossman, Sue Clancy, Norman; Michael Hoffner, Stephen Kovash, and Sue Moss Sullivan, Oklahoma City.

OVAC Board of Directors 2008-2009: R.C. Morrison, Bixby; Richard Pearson, Rick Vermillion, Edmond; Jonathan Hils, Norman; Jennifer Barron, Susan Beaty, Stephen Kovash (President), Paul Mays, Suzanne Mitchell (Vice President), Carl Shortt, Suzanne Thomas, Sydney Bright Warren, Elia Woods (Secretary), Oklahoma City; Joey Frisillo, Sand Springs; Anita Fields, Stillwater; Cathy Deuschle, Elizabeth Downing, Jean Ann Fausser (Treasurer), Kathy McRuiz, Sandy Sober, Tulsa; Eunkyung 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 Americans for the Arts. © 2008, Oklahoma Visual Arts Coalition. All rights reserved.

profile

Michael Joy Wilson, Norman, Short Circuit, Monotype and Oil, 30”x44”

Michael Joy Wilson: Printmaker

by Lori Oden Raw, natural talent is the driving force behind printmaker Michael Joy Wilson. It has kept her motivated, in spite of the challenges life has presented; and life has not been particularly kind to Wilson.

At a very young age, Wilson sculpted a life-size horse head and bust out of Arizona dirt, which can be compared to concrete.

That brief, seemingly unimportant story, spoke deeply about her commitment and her sensibility.

Michael, the girl, was born while her father was serving in Vietnam. Facing the horrors of war and uncertain if he would return home, Michael’s parents decided to name their first born child, no matter the gender, after him.

Fortunately, he did return home and the family eventually moved to Maricopa, Arizona.

Located in the southern part of the state, surrounded by Indian reservations, Maricopa was a small town. “If you could even call it a town.” Wilson said, “There was one school that all the kids attended, and we, along with most everyone, lived on a farm. It was like living in my own world, which gave me a very different awareness about myself.” The only child for the first eight years of her life, living

just outside of a small town, Wilson spent a lot of time alone.

in the wires? There is a sense of isolation and anxiety.

She stated, “Depression runs in my family.

Depression is a snowball-effect, chemical imbalance that is not governed by life experience, but can take over. It thickens the air around me like being dipped in molasses.”

Wilson continued, “Yet, my philosophy on life has become optimistic as I have traveled through my peculiar set of experiences. I find joy and humor where confusion and frustration used to lurk.”

Some recurring images in Wilson’s work include numbers, arrows, figures and text.

An untitled print that I was drawn to includes a dialogue bubble that is blank. The dialogue exists outside the bubble. It is random and jumbled, which would seem to make sense because it is outside where it is supposed to be. We have all probably been outside that bubble more than once. Wilson’s work is emotionally charged and one cannot help but feel involved.

Her father was interested in television, especially horror and monster films. Wilson grew up watching these types of movies, using hand radios rather than phones, and learning electronics. It was such a stirring revelation the more I learned about Wilson during our interview, and many of my initial responses to her art were validated.

When I first saw Wilson’s work, it hit me in my emotional gut. One that was of particular interest was Blast Off, a print of electric poles and wires that cut through an open sky. A rocket is barely visible in the center. Was the rocket an escape, or was it about to be tangled

Wilson moved to Norman, Oklahoma when she was sixteen years old. It was a dramatic change, to say the least. Wilson was not used to being around so many people who had such different lives. Anxious to leave Oklahoma, Wilson made her way to New York where she was able to focus on making art. She was accepted and attended the School of the Museum of Fine Art in Boston. Although exposed to all types of media, Wilson says that drawing and printmaking have always been her choice. continued page 4

3

prof ile continued from page 3 After several years in New York and Boston, she returned home to Norman where she currently lives with her son, Oscar. Wilson graduated with a Bachelor of Fine Arts degree and is in her final year of her Master of Fine Arts degree at the University of Oklahoma. Interested in traveling, Wilson has a mobile printmaking studio that she plans to take across the U.S. as part of her thesis.

She also teaches part time at the university. Her knowledge of printmaking is vast and any inhibitions she may have disappear completely. One interesting aspect of printmaking that I learned was that texture in a print is an illusion; the inking process is so precise that it picks up the various means that printmakers use to achieve the effect.

She is unassuming, but her rĂŠsumĂŠ is one of the most impressive I have seen; the experience, exhibitions and awards prove how accomplished Wilson has become in her career. In 2005 she received an honorable mention in the Oklahoma Painting and Drawing Biennial VIII, presented by the Oklahoma Visual Arts Coalition. Wilson was also one of the selected artists to attend Creative Capital, hosted by OVAC, in 2006, which she says changed her life.

Wilson describes her life similar to the way a rabbit runs. She said, “You know a rabbit never runs in a straight line, but it always gets to where it is going.�

However indirectly Wilson has arrived at being a gifted artist, she is that indeed. Her work can be viewed on her website at www.crazytoothpress.com, at Downtown Art and Frame in Norman, or various juried and solo exhibitions across the state and nation. n About the Author: Lori Oden is a photographer who specializes in nineteenth century processes; an adjunct professor at Oklahoma City University and Oklahoma State University – Oklahoma City; and the Executive Director for the Paseo Artists Association. She can be contacted at silversun1@cox.net.

U N I V E R S I T Y

O F

O K L A H O M A

S C H O O L

Michael Joy Wilson, Norman, Just a Thought, Monotype and Oil, 44�x30�

O F

A R T

&

A R T

H I S T O R Y

One Million Every Four Days large-scale installation

managing editor, Art in America magazine public lecture

Lightwell Gallery | Fred Jones Art Center

Fred Jones Jr. Museum of Art

Opening reception | Sunday, October 5, 2:00 PM

Richard Vine lecture | Thursday, October 16, 7:00 PM Rie Hachiyanagi lecture | Friday, October 17, 6:00 PM

For detailed information, schedule or directions call 405-325-2691 or visit:

special sponsorship provided by

http://art.ou.edu All events are free and open to the public. Accommodations on the basis of disability may be arranged by contacting 405.325.2691 in advance.

4

profile

Marc Barker

by Susan Grossman As Marc Barker speaks, a computer announces, “It’s 11 o’clock.” He smiles and stands up. The vocal interruption is a gentle reminder that it is time for a break. “I tend to get absorbed in what I am doing so I have programmed the computer to chime every 30 minutes,” he explained.

It’s easy to see why. A man of many diverse interests, Barker lives, works and creates out of his small home in The Village. His living room hums with the sounds of computer banks and a window air conditioner that regulates the temperature for the nerve center of his interactive business. Surrounding him are works of art from friends, colleagues and of course, his own. Leaning against the wall are pieces draped and waiting for an upcoming exhibit in the East Gallery of the Oklahoma State Capitol.

Seemingly everything about Barker’s life experiences comes together in his art, from earning a bachelor’s degree in zoology to surviving the dot.com bust. The name of the company over which he presides as president, Aeternitas, is named for the Roman goddess of eternity.

Barker oversees the development of Web and CD-ROM projects for a number of clients. His years in the business world have given him the appropriate balance between creativity, attention to detail, providing excellent customer service, and seeing before others do what is on the horizon. In fact, the horizon is a source of his inspiration.

“The horizon is my teacher,” Barker said. “It is not heaven and it’s not hell but somewhere in between. Whenever I am in a new town I look to the horizon. When you look there, even in your own town, you see things not seen before. You can refresh yourself.”

Growing up the son of a psychiatrist, there was a certain expectation that Barker would have a career in the sciences as well. Thinking he might like to be a researcher, Barker began a master’s degree in limnology where he discovered his attraction to caves.

“I love everything about them, the smell, the bats. … you can see things that you can’t see anywhere else,” he said. Caves figure prominently in many of his works, and Barker also belongs to the National Speleological Society and Central Oklahoma Grotto.

Although he dropped his degree plans, Barker picked up a camera and began photographing caves. He took a class in drawing (his first teacher was Brunel Faris) and started painting caves. Barker has worked as a camera operator and stripper in the graphic arts, learned fine art intaglio printmaking on the Paseo and took up oil painting. He also taught at the University of Central Oklahoma.

His background in science and in art culminated into his current career in interactive media where he and his team members have produced identity, collateral and interactive projects for national and international clients including Delta Dental, Enron Corporation, America Online, Oklahoma Visual Arts Coalition, Allied Arts, Oklahoma Arts Institute, Artworks, RED Prime Steak, to name just a few. “I really did not

Marc Barker, Oklahoma City, Nebulus Clouds, Oil on Masonite, 14”x11”

anticipate where all of this would lead me, but when I look back, I can see that there was a natural progression,” he said.

“It’s 11:30,” a computer announces. Again, Barker smiles and stands up.

There were a few lost art years when he was executive vice president of Interactive Services for Vectrix Corporation out of Dallas, Texas.

Between 1995 and 2002 to be exact. “I was working day and night and I could not do it,” he recalled. “There was a sign above my door that read, ‘If you got here before Marc, you got here yesterday.’”

Today, he reserves weekends for art, his studio a converted single car garage. The images he has assembled for the show at the Capitol are from a series called The Illusion of Mattering. Barker is reluctant to title the pieces because he does not want to interrupt the personal stories people bring to the images.

“You can make up your own stories when you see them,” he said. “These should conjure up something in you.”

Marc Barker’s exhibition The Illusion of Mattering will be on display at the Oklahoma State Capitol through September 14. For more information on the artist, visit his website at www.cosus.com. n About the Author: Susan Grossman is assistant director of marketing for University of Oklahoma Outreach and a freelance writer based in Norman. She can be reached at susangrossman@cox.net.

5

rev iew

Katherine Liontas-Warren, Lawton, Journey, Pastel, 36”x50”

A Little Birdhouse in Her Soul:

The Sabbatical Works of Katherine Liontas-Warren

by Michael Bendure

Lawton artist Katherine Liontas-Warren set out on a creative journey inspired by bird studies, Native American portraits and rural imagery. Her sabbatical culminated in more than 50 original prints and drawings, many of which were displayed recently in Lawton’s Leslie Powell Gallery.

Rich in detail and vivid color, Liontas-Warren uses avian images as symbols for her family.

“I create compositions that reflect my personal interpretations of landscapes using my family members as metaphors for story telling,” she said. “The birds are symbols that develop into personalities of each member of the family and their birdhouses become an important part of a personality by the use of color that describes a mood or personality trait.”

In several pastel drawings, Liontas-Warren creates large landscapes of lush, rolling hills spotted with birdhouses or farmhouses. In the foregrounds stand dominating birds staring at the viewer with intense focus, such as in Journey and The Global Watcher.

There’s a duality at work in many of her pieces: surrealism paired with photographic detail, haunting eeriness mixed with gentle calmness.

This powerful balance results in captivating artwork intent on drawing in the viewer.

6

Using colors pulled straight out of a Pendleton blanket, Liontas-Warren reveals bright worlds of deep hues.

“Pastels offer a rich palette of colors and this unique and versatile medium feels so beautiful in my hand,” she said. “The pastels become an extension of my fingers and the love for mark making explodes in every color stroke I create.”

Liontas-Warren is an award-winning professor of art at Cameron University in Lawton. For nearly 25 years, she has exhibited works in 16 solo shows and 200 national and regional juried competitive exhibitions throughout the United States and Europe.

Cameron awarded her a sabbatical for the spring 2007 semester which she used to create the new works. In the early stages of her break, LiontasWarren came across a book of bird illustrations

by Charles Tunnicliffe.

“The bird illustrations in this book reveal the genius of a great bird artist whose observational drawings are works of art,” she said. “At this time, I decided I would develop a series of bird drawings accurately portraying a faithful and life-like representation.”

Unlike Tunnicliffe, Liontas-Warren did not have any birds nearby, living or dead. So she

turned to old photographs and worked on capturing as much detail as possible.

Some watercolor and pencil drawings capture small birds with tiny detail. One can nearly feel the fine tendrils of each feather.

A recurring theme in many of her more surreal landscapes is the birdhouse: a small, simple structure with a roof, a perch and a hole for a door. But her birdhouses are more than just safe havens for birds.

In her Twin Bird Houses series, Liontas-Warren studies the relationship between two bird homes: one red and one green. Although they are reminiscent of enlarged Monopoly game pieces, they also take on nearly human qualities. Together they rest, play, face off, then depart, respectively. Birdhouses, it appears, are playful, if not moody.

Liontas-Warren’s bird studies continue with several large dry point intaglio prints.

Each drawing reveals a wildly textured bird emerging from a dark, smoky background.

Color is smeared beyond the surface of the birds, creating a warm, ethereal glow around each avian subject.

Her artwork takes a brief departure from birds for a collection of emotive Native American portraits. Inspired by the early

prev iew

1900s American Indian warrior photographs of Edward S. Curtis, Liontas-Warren’s four pastel portraits reflect three generations of a native family.

“I used [pastels] to evoke a more emotive composition which, in turn, creates a dynamic baroque and spiritual feeling of light and dark,” she said. “These portraits are spiritual and compelling in mood and color and are rendered with pure admiration and love for the contemporary American Indian.”

Be it Native American portrait, birdhouse or bird study, Liontas-Warren looks like she’s perched for a smooth flight. n About the Author: Michael Bendure is the public relations officer for the Fred Jones Jr. Museum of Art at the University of Oklahoma and a freelance writer and photographer. His email is michael_bendure@hotmail.com.

Katherine Liontas-Warren, Lawton, Portrait of Randy, Pastel, 36”x26”

7

rev iew

Contemporary Crafts

by Susan Grossman Contemporary craft is about making things. It is an intellectual and physical activity where the maker explores the infinite possibilities of materials and processes to produce unique objects. To see craft is to enter a world of wonderful things which can be challenging, beautiful, sometimes useful, tactile, extraordinary; and to understand and enjoy the energy and care which has gone into their making. Rosy Greenlees Director, Crafts Council, Victoria & Albert Museum Rosy Greenlees’ words perfectly sum up the recent Contemporary Crafts exhibit at JRB Art at the Elms. Made things of wood, glass, clay, metals. Infinite possibilities of materials and processes. Unique objects. Challenging to see. Useful. Extraordinary. All were featured in the May exhibit of contemporary craft artists at the Paseo gallery.

Charleen Weidell and Barbara Broadwell, co-curators of Contemporary Crafts, tapped a group of national and international craft artists who displayed an incredible variety of works. Knitted mesh wire, hollow ware, ceramics and enamel are just a few of the materials used to create one-of-a-kind pieces of jewelry, furniture and other utilitarian items.

Weidell is chair of the Art Department and head of the metals program at the University of Central Oklahoma in Edmond. As a metal smith, her work has been featured in a number of exhibits, publications and collections, including the Victoria & Albert Museum collection in London, England.

As a mixed media sculptor and two-dimensional artist, Broadwell’s work features complex layering of imagery, found objects, wood, metal and clay, accented with surface drawings. She is currently teaching at UCO and is recipient of numerous awards, her drawings and sculptures have been exhibited and collected on the local, national and international levels.

Of the exhibit, Weidell said her hope is that Contemporary Crafts furthered the discussion of where the crafts medium is today.

“I’m intrigued by the notion of craft,” she said. “Its history is woven in and out of cultures and modern art history. We find ourselves today in a quandary over, not only the definition of craft and its relationship to the fine art, but our identity as artists.

This dialog is not restricted to public opinion, but seems to be more of a question with the art community. It is my hope that Contemporary Crafts demonstrates the fusion of craft materials and processes with fine art concepts and furthers the discussion, ‘Where is contemporary craft today?’” Certainly, the artists on display explored the “infinite possibilities of materials and processes to produce unique objects.”

Arline Fisch is influenced by the Egyptian, Etruscan, Greek and Pre-Columbian cultures for her jewelry and clothing work. Her metal-based pieces, such as a fantastic knitted metal, beaded shrug seem perfectly wearable. Indeed, Fisch, who works in San Diego, Calif., said, “I try always to develop objects of personal adornment which have dramatic impact yet do not place the wearer in the role of anonymous pedestal, forms which please and exalt the wearer.”

Richard Burkett, San Diego, CA, Bio-Genomic Conception, Soda Fired Clay, 3”x14.5”x6” Wendy Maruyama, San Diego, CA, Blue Scarf, Pearwood, Digital Print

8

Reina Mia Brill, New York City, NY, Nola, Clay, Knitted Wire, 11”x4.5”x3”

rev iew

Wouldn’t we all feel exalted wearing one of these pieces?

In White Crows, Joanne Hayakawa suspends four white, porcelain crows from steel cables looped around their necks. The cables are attached to a metal ring and hung from the ceiling – a challenging piece to the viewer. Long involved with public art, Hayakawa’s work involves 2D surfaces and mixed media.

Metal smith Andy Cooperman of Seattle, Wash., created Ouch, a series of three, porcupine quill rings set into bands of silver and gold, adorned with diamonds. In an artist’s statement, Cooperman said wearing the rings is a “transformative affair.”

“The porcupine quills might at first be viewed as a simple ornament. But when integrated into rings the length of the quills extend the range of the hand and the body beyond their normal boundaries. The savage tips of each quill transforms this extended personal space into what might be perceived as a ‘no fly zone.’ The roles of defense and ornament can easily slip into one of aggression, depending on how the ring wearer decides to move through and interact with a crowd.”

Arline Fisch, San Deigo, CA, Lacy Net, Crocheted Silver, 3”x19”x19” Joanne Hayakawa, San Diego, CA, White Crows, Porcelain, Steel

A sampling of other artists included in the exhibit were: knitted mesh wire figures

by Reina Mia Brill, New York; silver jewelry and hollow ware by Cynthia Eid, Massachusetts; furniture by Mia Hall, Arkansas; metal works by Anne Hallam, Colorado; metal works by David Huang, Michigan; wood works by Matt Hutton, Maine; jewelry by Inger Blix Kvammen, Norway; ceramics by Kathleen Royster Lamb, Colorado; ceramics by Linda Litteral, California; pottery by Richard Burkett, California; and furniture by Wendy Maruyama ,California. n About the Author: Susan Grossman is assistant director of marketing for University of Oklahoma Outreach and a freelance writer based in Norman. She can be reached at susangrossman@cox.net.

9

prev iew

The BOK Center main entrance. Photo by Edward Main

The BOK Center as seen from the southwest corner. Photo by Edward Main

The Bank of Oklahoma Center: Playfully Post-Modern

by Janice McCormick and Edward Main The Bank of Oklahoma Center is the latest addition to the Tulsa skyline. Nearing completion and scheduled to open in September, this sports and performing arts arena is designed by the renowned Argentine architect Cesar Pelli. This review focuses first on the BOK Center as an independent architectural work of art, and then considers its relationship to the other buildings in downtown Tulsa.

The BOK Center consists of a series of wall panels leaning inward and curving around and upward, ending with the sweeping glass wall pointing towards downtown. This glass wall has been described as “iconic” and “definitive” in publicity. Each wall lies on a slightly different curving plane and are layered so that the higher one is set back from the lower one.

The effect is rather like that of separate sheets of construction paper loosely and irregularly wrapped around an upside-down bowl. A ramp-like roof, connecting these layered walls, cannot be seen from most perspectives. These walls feature protruding “racing” stripes which don’t run parallel to the walls’ edges, but rather have their own trajectory. Sometimes a series of windows are set between these stripes. With all these curves going in different directions, the whole work seems almost to hover.

The result is an energetic, complex, asymmetrical design. No two sides are identical. The iconic glass wall flanking the entire south side heightens this sense of swirling energy, while its transparency keeps this structure from being a grey ponderous mass. This glass also softens the movement of that last, tallest sweeping surface, directing attention back to the other surfaces in a continuous swirl. Ending at the main entrance

10

to the arena, this glass wall flares out and up like the playful swish of a cat’s tail. The east side features the wide mouth entrance, with its large glass panel overhead, the Bank of Oklahoma red logo, the BOK Center sign and several series of windows. Its gapping opening appears to want to scoop people up.

The western flank reveals the best view of the complex, criss-cross pattern of the six overlapping curved walls. It, too, has the BOK logo. It’s the view seen from the inner-dispersal loop on the west side of downtown. The view from the southwest affords the best glimpse of a connecting ramp between the walls. The northern side features a somewhat smaller entrance, complete with logo – one logo too many, in my opinion.

The play of light across the grey panels’ surface over time and under varying weather conditions creates a subtle sense of movement through time. On a dull, cloud-filled day, it takes on a rather duct-tape grey, while on bright clear day it is a steel grey. At sunset, the west side has a soft pink cast, then gradually the whole building transmutes into glowing silver at twilight. I am curious to see how it will look lit up at night.

The BOK Center’s relationship to the rest of Tulsa’s downtown architecture is dialectical.

Tulsa’s skyline is a mishmash of architectural styles: Art Deco, Neo-classical, Neo-Gothic, Early Modern, Mid-Modern, Late modern, Retro-Art Deco, plus the usual assortment of nondescript utilitarian boxes – all concentrated in a relatively small area. Thanks to urban renewal, it is Late Modern architecture that dominates the northern side of downtown.

There you will find the BOK Tower (formerly One Williams Center, designed by Minoru

Yamasaki in 1975) and the Williams Towers I & II (two irregular lozenge-shaped towers of black glass, designed by Henry C. Hwang in 1982 and 1983, respectively). By placing the BOK Center on the north-west edge of downtown and in close proximity to these three glass towers, Pelli wants to make the most of the contrast between his curvaceous and playful Post-Modern design and the rigidly geometric and austere Late Modern. Also, it serves as a visual bridge from the shorter (one and two story) buildings on the outskirts to these glass towers. Rather than trying to dominate the existing buildings by an effort to be the biggest, tallest, most important building around, it snuggles in against them with a lower profile, tickling the underside of the sky instead of abrasively scraping it.

Thus, on the whole, the arena’s visual impact is one of dynamic balance: its horizontality and massive size hug the ground, while the multiple curving wall panels lift upwards to the sky. Its postmodern form promises to provide an expansive space for entertainment excitement. It is a refreshing contrast insofar as it breaks away from the monotony of glass boxes and at least brings Tulsa a step closer to the 21st century. n About the Authors: Janice McCormick is an art reviewer who has been writing about art in Tulsa and Oklahoma since 1990. Currently she teaches philosophy part-time at Tulsa Community College.

She can be reached at artreview@olp.net.

Edward Main holds down a day-job as an attorney in Tulsa; is active in the Tulsa Philosophical Society and the Tulsa Artists’ Coalition; and has exhibited photographs at the TAC Gallery, the Tulsa Photography Collective and Apertures.

prev iew

BOK Center Art

Mark Lewis’ paintings in progress for installation in the BOK Center.

by Gretchen Collins The BOK Center is big, bold and unique. When it opens this fall, its art will be big, bold and unique as well. This was the first arena that Cesar Pelli designed and the art promises to keep pace with the Pelli reputation, but with a distinct Oklahoma flair.

Thanks to the 1%-for-Art program that a group of forward-thinking Tulsans created in 1969, the project includes $1.4 million for large-scale art. To date as of this writing, five artists have signed on and a sixth has yet to be finalized.

Current chair of the Arts Commission of the City of Tulsa, Ken Busby (also the executive director/CEO of the Arts & Humanities Council of Tulsa), said the commission put out a call for art four years ago. “It was a vetting process,” Busby says. “We looked at those who had done installation art on a larger scale.” A subcommittee evaluated the 260 submissions. “Everybody got a fair review and everybody got a hearing.”

The first pass narrowed the field to forty. After yet another evaluation process the Arts Commission worked with Pelli Clarke Pelli on the remaining 20 entrants. “We invited five. Everyone we invited said yes.”

Although the committee wanted the art to reflect local artists in some way, the ultimate criteria was to purchase the best art possible within their budget.

Bill and Demos Glass, an Oklahoma artist and Native American artist, were among those chosen. “The Native American component was something we wanted to do if possible,” Busby says. “Part of Pelli’s design in the overall building had a Native American influence to it. He tried to take all of our heritage into mind as he began to contemplate the final concept that became the BOK Center.”

The Glass project is four 22-feet terrazzo medallions. They will be embedded into the floor at the four cardinal points; north, south, east, and west. “The mosaics represent the upper world, the present world, and the lower world,” Busby says. “Often Plains Indians are not represented as much as the Southwest Indians. It’s nice to have, truly a Plains

Indian represented in the plains of Oklahoma and sharing some of their traditions and culture with the greater public.”

Mark Lewis, a Tulsan, is painting steel panels, made of the same zinc as the exterior walls of the arena. Each of the 25 panels are 3-x-4 feet.

The scenes reflect the Tall Grass Prairie at different times of day and throughout the seasons. It will be located in the entrance at the top of the grand staircase and wrap.

All of the artworks will be placed throughout the arena because the Art Commission wants it to surprise patrons as they move inside the structure.

The Kendall Buster (from Richmond, Virginia) sculpture will be suspended in the main atrium. “It’s beautiful white South African fabric over powder-coated steel,” Busby explains. “It’s translucent so light does play through it.” The free-hanging sculpture is 30-x-30-x-40 feet and has a cloudlike form.

Joe Andoe, a local-boy-made-good, and now a New York artist, is working on a 9-x-24 foot canvas of two horses rearing. It is reminiscent of a drive-in cowboy movie of yesteryear. Andoe didn’t waste his time at the Admiral Twin. The canvas, when complete, will be rolled and then restretched upon arrival. Its location is toward the north side of the building. It can be viewed from both the first and second levels.

Busby calls the works, “A wonderful blending of art and architecture. It makes a statement that a great building and great city deserves great art.”

Note: On November 5, 2008, the Mayoral Arts Celebration for the official BOK Center Inaugural Event will take place. The Ruskin Art Club, entering its 100th year, proposed the festivity. Mayor Joseph Riley of Charleston, South Carolina will speak on “The Arts and City-Making.” n About the Author: Gretchen Collins has covered the arts in Tulsa for the past 13 years. She is an award-winning writer; including the Society of Professional Journalists award, and was an art major in college.

11

prev iew

Adkins Gallery at the Philbrook

The Passion of the Collector Gene Adkins’ passion brought extensive collection to Oklahoma

by Barbara L. Eikner Collectors are drawn by some invisible force to search, study, store and sometimes sell those special objects that bring them internal and external joy. Though many on the outside describe this phenomenon as an obsession, those of us who are collectors call it passion.

To be able to find ones true passion, then to embrace it with the assurance that the universe approves - nothing and no one else really matters. For now, the journey can be made in peace.

When the world becomes the benefactor of ones passion to collect (art, theory, knowledge, etc.) the impact is a force that changes the directions of culture, tradition and the basic principles of life forever. This is what happens when the world experiences true enlightenment.

So it is with the distinguished collection of Eugene Brady Adkins, who was known as Gene to his close friends and associates. Gene found his passion and he never let it go. Moreover, when he left this side of the river, the universe spread his love throughout the state of Oklahoma and beyond.

Eugene Brady Adkins was a passionate collector of Southwest, Native, Western and Contemporary Art. He kept his home base in Tulsa but spent time and traveled extensively to Santa Fe, Taos and the American Southwest to secure pottery, jewelry, baskets, sculpture, painting and other award winning art objects by little-known and well-known craftsmen.

Gene Adkins was born under the sign of Capricorn on January 5, 1920 in Tulsa, Oklahoma to Eugene Sloan Adkins and Bess Brady Adkins.

He was the only child of this union. Being the benefactor of the late Tate Brady, a Tulsa pioneer and businessperson, Gene received a fine education at Dartmouth College and an MBA from Stanford University in California. He enlisted in the U.S. Navy in the 1940s.

12

His connection to the Southwest started early with family trips to Santa Fe and Taos. This was the catalyst to develop a love for the people and culture of Native Americans. Around his late twenties, Gene started seriously collecting artworks. He was not a casual collector but deeply researched, studied and developed hands on understanding and relationships with the artist and their cultures. He was very interested in ideas, philosophy, psychology and how they influenced the creations and lives of the artists he met.

Gene had established relationships with dealers and galleries but always controlled the passion of his collection. He was available when “he” was available.

One would think that as driven a collector as Gene was, the works of art would be hidden in some underground vault for protection and security, but the true lover of art surrounds himself with his objects. He keeps them close like kittens, independent but still needing a touch, a hug, a smile. Close, so that when the moment strikes to drench the soul with the uniqueness and strengths of color, texture, natural earth stones and minerals - you simply reach out and touch, see and mentally embrace the work of Dixon, Fechin, Martinez, Loloma and countless others.

Gene Adkins’ home was like a quaint antique shop and he was the skillful and knowledgeable antique dealer. From afar, you did not know where to start looking but the antique dealer knew where every piece was and what spirit dwelled in each.

The olla and wedding vases gently rest on the orange velvety couch in his living room, the silver, turquoise, and coral jewelry piled in the china cabinet, the walkways lined with paintings and prints and on and on.

Evidence of purchases from blue ribbons, receipts, news articles etc. support the value of what is now know as an exceptional collection and the care and protection provided to it by Gene Adkins.

prev iew

Gene Adkins passed away February 2006 and left to the citizens of Oklahoma the Eugene Brady Adkins collection. Part of the collection is now on exhibit at the Fred Jones Jr. Museum at the University of Oklahoma in Norman and the Philbrook Museum of Art in Tulsa. It is a gift of beauty, education and historical value to the people of the world. The pieces not currently on view are being cataloged, restored and prepared for their new facilities in Norman and Tulsa. These two facilities will fit like a hand in a glove as they house over 3,300 pieces of art, jewelry and pottery valued at approximately $50 million with a lease term of 50 years.

The tentative collection distribution will have western art prints and paper at the Fred Jones Jr. Museum at the University of Oklahoma and Philbrook. The Southwest and Native Art will be distributed between the Philbrook and Fred Jones Jr. Museums as well. To embrace the true passion of the Eugene Brady Adkins Collection, each citizen must travel both sides of the turnpike to feel and experience this wonderful collection.

No competition …simply passionate collaboration! n About the Author: Barbara L. Eikner is owner of Trabar & Associates, which provides artists with PR and management services. A member of PRSA, TAC, OVAC, Community Artist Collective, Philbrook Museum and Gilcrease Museums, she can be contacted at Trabar@valornet.com.

Charles Loloma (Hopi) Snake Pin c. 1974

Special thanks to Christina Burke, Tobie Cunningham and Tom Young of the Philbrook Museum.

Expose yourself to..

Apertures Photo Oklahoma’s finest photographic services since 1990 Apertures Photo Lab Copy your original artwork to digital files, 35mm slides, or 4x5 transparency. Printing standard or giclee prints to 40”x60”. Professional in-house lab with digital and film services.

Apertures Camera Store Come talk with our knowledgeable staff about your photographic needs – from 4X5 Film cameras to the latest and greatest digital SLR’s.

Apertures School of Photography Offering evening classes in a variety of subjects including Digital Photography, Adobe Photoshop CS3, Studio Lighting, Creative Portraiture, Sports Photography, to name a few.

Apertures Framing Custom framing by Juan Diaz for all your framing needs.

Check our web site for class schedule!

www.aperturesphoto.com

1936 S. Harvard Tulsa, OK 74112 | 918-742-0500 13

feat u re

HISTORY A History of the 12x12

by Sue Moss Sullivan OVAC has developed an amazing support system for visual artists in Oklahoma: grants, fellowships, a virtual gallery to showcase their work, business of art workshops, highly respected juried art exhibits, etc. Most of these programs are well-known to the artists, but the most public and anticipated event every year is the very important 12 x12 Art Show & Sale, the annual fundraiser.

John McNeese and John Richardson came up with the idea of asking artists to donate one work in a 12-x-12 inch format to be auctioned at a fund raising event to support the Individual Artists of Oklahoma which was based next door to their John Porter Gallery in the Classen Art Center.

After OVAC was established, the 12x12 became its annual fundraiser.

As with any event, it has gone through many trials and tribulations, but has evolved to a magnificent, fun, much-anticipated evening. The first 12x12 in 1990, was held at the original site of the Pickard Art Gallery.

Two generous supporters, Bob Cochran and Jan Semrod, purchased every piece before that evening, just to assure success. That was great for OVAC, but attendees felt a little cheated. They were anxious to buy art and it was all taken. We knew we had a great idea.

Over the years we’ve had great locations: newly renovated historic buildings, several well-established venues, some buildings still in very rough shape. People come for the art and to support OVAC, but they also love to see the venue. The 12x12 committee has always kept up with the trends in Oklahoma City, finding the next “place to be” for the big event. This has showcased both the rebirth of OKC and OVAC’s steady climb.

In 1991, HTB Architects offered their new offices, a renovation of an historic OKC church, now the Oklahoma Department of Commerce.

The crowd loved the chance to see the space. In 1992, the Oklahoma School of Science and Math was an unexpected surprise from the Lincoln 5th Year Center (an OKC public school) it had once been. Untitled [ArtSpace] has hosted the 12x12 four times, Stage Center three times, and Kirkpatrick Center twice. The venue at 412 N. Walker, Rick Dowell’s building, was physically the biggest challenge; the renovation still very raw. Somehow, the public tolerated the “pitfalls” and seemed to enjoy the urban atmosphere. The committee had a great time finding a sculpture to install as a barrier for a deep hole.

TAP Architecture on Broadway, the Montgomery on Main, the Sonic Building in Bricktown, and an old public school building on Walnut in Deep Deuce offered more downtown venues that brought an enthusiastic crowd to the inner city. The Fred Jones Industries Building was our 2007 venue and was very well-received. The historic Oklahoma City building with a well-known family name, helped round-out the 12x12 history.

The 12x12 story wouldn’t be complete without remembrances of basic human and crowd behavior. Over the years the “name drawing out of a hat” format (each piece was valued the same) has evolved to a minimum bid process. The “one price fits all” was very diplomatic and soothed artists’ egos, but the committee realized the sophisticated audience might pony up more money. Each system we’ve used has created some interesting human dynamics: people standing in front of a coveted piece hoping no one else will notice how fabulous it is; the proverbial 1999

1994

1994

1999

1994

1999 1994

14

1994

2000

1999

1999

1990 The First 12x12 Pickard Art Gallery

1993 Stage Center, 400 W. Sheridan

1991 HTB offices (now the Ok Commerce Department)

1994 Kirkpatrick Center, 2100 NE 52nd St.

1992 Oklahoma School of Science and Math, 1141 N. Lincoln

1995 Kirkpatrick Center, 2100 NE 52nd St.

1996 Stage Center, 400 W. Sheridan 1997 Stage Center, 400 W. Sheridan 1998 Laura Warriner’s Gallery, 1 NE 3, Raised: $19,827 1999 Untitled Gallery, 1 NE 3, Raised: $29,136

feat u re th A N N I V E R S A R Y 1

O peeking in bidding envelopes to “get a clue” and even picking up a piece to shield it from bidders’ eyes and not letting it go. Rumor has it there was a heated battle over a much desired artwork one year! It is also amazing that no matter how large our “bidding instructions” signs are, some guests remain clueless about the rules and eventually ask for help…could just be the great party atmosphere and bar.

We never have to beg for work. The artists know it is a beautiful venue to showcase their work and attract interest from established collectors. novice collectors have a great opportunity to acquire work from established or emerging artists at a great price. The 12x12 has always been a great promotional tool for artists. Since 2004, artists have had a choice to either donate the entire sales price to OVAC or receive 50% of the sale. This honors the hard work they do.

At the beginning of the show, artists donated the work 100% and Richardson would frame them impeccably. McNeese said that early on, “I or other board members asked artists whose work was good. There was no real organized effort when I was director. Hardly anyone said no.”

In 1998, organizers decided the exhibition had grown too large - not all the work was selling and submissions had become unwieldy. Co-Chairs Randy Marks and Gail Sloop recruited art consultant and art historian Alyson Stanfield to curate the artist invitations. They paired the artists down to under 60. The show’s popularity flourished again.

9

8

8

-

V

2

A

0

0

8

C

artists to participate. In 2001, they decided that only current OVAC members should be invited. Then in 2003, they started selecting new artists from OVAC’s Virtual Gallery. Artists working in a diversity of styles and media are selected with a focus on sales. In 2007, 93% of the artwork sold.

Besides the great donated art, one reason for our growing success is the strong committee recruited each year. It is an easier task each year because of the dedicated work by OVAC Board members and volunteers t h come from the community. Each is up to the task assigned and always through with their expertise and hard work. The 2008 committee has 28 members and another exciting event is highly anticipated.

A N N I V E R S A R Y

1

9

8

8

-

2

0

0

8

The first 12x12 began with 50 donated works earning $5000 in 1990.

In 2007, the 12x12 had 150 donated works earning about $60,000 for OVAC. We are confident the 2008 event, again scheduled at the Fred Jones Industries Building, 900 W. Main, will be a rip-roaring success.

The 2008 12x12 Art Show & Sale is set for Saturday, September 20 at 7 pm. A preview of the artwork and more information is available at www.12x12okc.org. Also catch a preview exhibition of some of the artwork at the gallery in the Leadership Square lobby, 211 N. Robinson, September 2-14. n

O

V

A

C

About the Author: Sue Moss Sullivan has served on the OVAC Board and has been in charge of the 12x12 installation since 1993.

Since OVAC’s membership has grown to more than 800 artist members, the invitation of artists has become much more of a process. Many artists want to participate and start lobbying early for invitations. The 12x12 Committee takes artist invitations seriously and now asks 150

2000

2005

2001

2000

2001

2006

2003

2002

2006

2007

2004

2000 Untitled Gallery, 1 NE 3, Raised: $31,291, Attendance 600

2003 TAPArchitecture, 415 N Broadway, Raised: $35,580, Attendance 495

2006 410 Walnut, former school, Raised: $43,706 Attendance 750

2001 Untitled Gallery, 1 NE 3, Raised: $32,475, Attendance 650

2004 The Montgomery, 500 W Main, Raised: $35,597, Attendance 620

2007 Fred Jones Industries Building, 900 W. Main, Raised: $59,637, Attendance 1071

2002 410 N Walker, Rick Dowell’s building, Raised: $34,427, Attendance 575

2005 Sonic Building 1st floor, 300 Johnny Bench Dr. Raised: $43,432, Attendance 645

2008 Fred Jones Industries Building, 900 W. Main.

To be held September 20, 2008.

Visit www.12x12okc.org

15

fellowsh ip

Oklahoma Visual Arts Fellowships 2008

by Kelsey Karper The Oklahoma Visual Arts Coalition holds as a core value that artists are worthy of support. This support takes many forms including professional development and providing resources. One key way that OVAC is supporting artists is through the annual Oklahoma Visual Arts Fellowships, providing two awards of $5,000 each to Oklahoma artists.

The 2008 recipients are Michelle Martin and Nathan Opp, both of Tulsa.

The curator for the 2008 Fellowship awards was Elizabeth Hahn, artist, co-owner of Hahn Ross Gallery in Santa Fe, NM and native Oklahoman.

From 83 Oklahoma artists, Hahn chose two to receive the awards.

In her curator’s statement, Hahn said, “The two people I picked were Nathan Opp and Michelle Martin. Both had very consistent style, technique and quality. As a person who has worked in galleries and museums for 30 years, I’ve seen a lot of images, not a lot really moves me on a personal level. These two people’s work did especially.”

Michelle Martin is a printmaker and mixed media artist living in Tulsa.

She received an MFA in Printmaking and Drawing from Ohio State University and a BFA from Texas Tech University. She is currently an Associate Professor of Printmaking at the University of Tulsa. Her work centers on the recreation of social situations, utilizing artistic methods of taking the viewer on an often disquieting journey through the playground of human interaction.

Nathan Opp is a painter, also living in Tulsa. He received an MFA in Painting from the University of Tulsa, an MS in Art History from the Pratt Institute of Art and a BS in Painting and Drawing from Biola University. He is currently an Assistant Professor of Studio Art at Oral Roberts University. His figure paintings explore human relationships and situations based on personal experiences and perceptions. The compositions investigate themes of tension and harmony, usually through the interplay between males and females.

For more information about the Oklahoma Visual Arts Fellowship, please visit www.ovac-ok.org or call OVAC at 405-232-6991. The Fellowship awards are sponsored in part by the Oklahoma Arts Council and the Kirkpatrick Family Fund. n About the Author: Kelsey Karper is the Editor of Art Focus Oklahoma and a photographer working in historic and alternative processes. She can be reached at publications@ovac-ok.org.

Above; Nathan Opp, Tulsa, Stirring, Oil on Canvas, 54”x33” Right; Michelle Martin, Tulsa, Untitled, reductive linocut, 14”x11”

16

ON THE

on t he map

The Plaza District

by Stephen Kovash Most “major league” cities have what is conventionally referred to as an “arts district.” From an urban development standpoint, an arts district is a roughly delineated area, usually near a downtown, intended to create a ‘critical mass’ of places of cultural consumption, such as art galleries, dance clubs, theaters, independent film and music venues, and areas for public performances. The area in OKC that includes the Civic Center, the Oklahoma City Museum of Art, the Arts Council and the Myriad Gardens has been designated by the city and others as “the arts district.” If you smoosh Bricktown into this area and ignore the dearth of art galleries, you could call the area a place of cultural consumption.

People (including the Mayor) are also quick to point out the Paseo Arts District. Like more famous and possibly notorious artist districts (think SoHo and Chelsea in NYC and Crossroads in KC), Paseo was formerly a rundown area with boarded up shops and houses and a relatively high crime rate. The rents were also very low which attracted artists looking for spaces to live and work. Over the years, these artists and other property owners worked hard to clean up the area and have succeeded brilliantly.

With galleries, shops, restaurants and several popular events and festivals, the Paseo District is a jewel in OKC and property values are hovering around $90 per square foot. The downside of this success is that emerging artists can’t afford to live and work in Paseo and need to look elsewhere.

The upside to the downside is an increased demand for art spaces which is spurring the evolution of arts districts in several locations around town.

The Plaza Arts District is one of these.

Described as a “hidden village” on their website, the Plaza District is rising as a revitalized setting for arts and entertainment, business and social activity.

Located on 16th Street between Classen and Penn, the Plaza was originally developed as a business district in the 1930s with the Plaza Cinema as its keystone. Like Paseo, the area had fallen into disrepair and drug dealing and prostitution were the prevalent forms of commerce. Inspired by the success of the Paseo District, Susan Hogan, Director of the Plaza District’s nonprofit organization

began the revitalization work in 1997. Enlisting the advice and guidance of notable urban “pioneers” including Lou Kerr, Meg Salyer, Oklahoma City University (OCU) President Tom McDaniel and developers Jeff and Aimee Struble, Hogan first worked with Lyric Theater to buy the landmark Plaza Theatre and an old grocery store on the strip. The Theatre has been renovated into a spectacular performing space and the grocery store has become the Thelma Gaylord Academy, which provides instruction in musical theatre. Based on the success of the Lyric renovation and sheer determination, other developers, notably Jeff and Aimee Struble have saved a number of historic properties and have “filled in” several vacant areas with affordable housing.

With Lyric as its centerpiece and its proximity to OCU (a preeminent performing arts university), performing arts has been a primary focus of the district. Nonetheless, a strong grass-roots visual arts presence is developing in the Plaza. Dylan and Amanda Bradway have opened DNA Galleries, showcasing artwork, prints and clothing. Keith Rinearson’s PhotoArt studio is housed in an amazingly restored building that formerly housed a clothing cleaner facility. His darkroom is in the vault where the cleaner used to store expensive furs for clients in the summer. By the time you read this article, the No Regrets Tattoo Studio and Art Gallery will also be up and running.

In addition to the visual art venues, the Plaza District is home to Lyric Theatre, Plaza Java Cafe, Everything Goes Dance Studios, two Latino Tiendas, a Guatemalan restaurant and the future home of the Velvet Monkey Salon.

Plaza events include art walks, a farmers market and the LIVE on the Plaza Festival. The LIVE on the Plaza Festival is scheduled for Saturday, September 27. The festival will feature artist booths as well as interactive “hands-on” arts experiences for patrons of all ages. There will also be a performing arts stage showcasing dance, live music, storytelling and theatre performances.

Food vendors and adult beverages will also be available. Additionally, the Locavore farmers market has become a part of the LIVE on the Plaza Festival.

The Locavore farmers market features fresh produce, treats, arts and crafts, and more all made in Oklahoma. As of this writing, the LIVE on the Plaza Art Walks have been occurring on the second Friday of each month and in addition to open studios and galleries, might feature independent film, live music, fashion shows and interactive art projects. As with all things artistic, the Plaza Art Walk schedule may be subject to some fluctuations in the coming months, so it would be best to check their website before heading out. If you would like more information about the Plaza District, you can visit their website at www.plazadistrict.org. You can also call (405) 8243066 or email at info@plazadistrict.org. n

About the Author: Stephen Kovash owns the Istvan Gallery at Urban Art, is an OVAC Board Member and has a day job with the Environmental Protection Agency. He can be reached at urbanartokc@gmail.com.

17

business of ar t

The Care and Feeding of Artist Statements Old and New

by Sue Clancy Artist statements are required by every gallery or organization artist’s work with. They form the backbone of our artistic body of work. As long as we remain artists such a backbone is essential and needs care and feeding. Some say that our artwork should ‘speak for itself’ and we shouldn’t have to formulate artist statements. Even if we could assume a level of artistic education on the part of our public (which we cannot) the public would still look for information that would tell them why we are doing art, what ways we’re thinking about our art, how we are getting our ideas and a bit about who we are. Putting art into a context is the purpose of the artist statement and other artistic identity pieces (the biography or exhibit essay). But how do we craft an artist statement in the first place? How do we update or know when to update the artist statements we already have?

Creating a new artist statement I find it too stressful to wait until a gallery owner or someone asks me for my artist statement. I have found it easiest to keep an up-to-date artist statement by keeping a journal as I create artwork and create my artist statement from that. This way I have an artist statement ready at all times and it flows out of the artwork creating process itself.

In my journal I write what I am reading or experiencing that makes me want to create artwork. I also write my thoughts as I create – I jot down what questions or additional thoughts I want to explore. I write what catches my eye and attention. I write as specifically as possible but I don’t worry too much about spelling and punctuation. I focus on getting my thoughts down. This act of writing my thoughts helps me to

articulate them later on. Such writing is what feeds my artist statement.

When I create or update my artist statement I re-read what I’ve written about my inspirations and thoughts as I created my artwork. From this raw data, I select and re-write my thoughts into the first person artist statement format. I don’t expect to write something perfect immediately.

At first I simply “dump” the raw ingredients of words and phrases onto a page in a list form. Then I will free-write using that information. By free-writing I mean that I write a bunch of sentences that contain the raw ingredients. When I have a number of sentences that seem workable I’ll re-write all of that into paragraph form using correct spelling and grammar. Often that gets re-written a number of times. This way my artist statement comes directly and organically from my thoughts about my artwork itself.

The self-packaging done by an artist within the artist statement should relate directly back to the artwork. A gallery owner or exhibit curator should be able to read your full page artist statement and view your artwork and have an increased awareness of what you are doing and why.

A visitor to the gallery should be able to look at the artwork, read the brief artist statement and then look again at the artwork with increased understanding. A casual acquaintance should be able to ask at a party “what kind of art do you do” and get a brief description that makes them want to see more of your artwork.

For these three purposes different types of artist statements are created 1) A full page artist statement, written in first person containing about

UNIVERSITY OF CENTRAL OKLAHOMA C O L L E G E

P ro g r e s s

O F

A RT S ,

on the

M E D I A

&

D E S I G N

L and:

Industry and the American Landscape Tradition 1830-1930

Oct. 26 thru Dec. 12, 2008 UCO’s Melton Gallery This national traveling exhibit offers a compelling look at the role of industry as a catalyst for artistic change through 42 works by some of America’s most important landscape painters.

18

Includes works from the Collections of the Melton Art Reference Library, the Mabee-Gerrer Museum of Art and UCO’s Melton Gallery.

Gallery Hours: Mon-Fri 9-5 pm

For more information, contact the Melton Gallery at (405) 974-5227 orWilliamWallo at wwallo@ucok.edu.

400 words that describes in narrative fashion what inspires your art, why you’re using that technique, how the technique relates to the art content, and all of the above should reflect a bit of who you are. Your artist statement should sound like you talking.

2) A brief two paragraph (or less) artist statement of 200 words (or less) that can be posted in an exhibit or reproduced in an exhibit catalogue. This is derived from the full page artist statement and is also written in the first person.

3) A two or three sentence artist statement that can be spoken during a brief meeting such as an elevator ride, or during a cocktail party. These brief two or three sentences are also used when applying for grants or awards. These sentences are a short summary derived from the longer artist statements and are also composed in the first person.

Updating an old artist statement I update my statement most strenuously when I have created a new body of artwork for a particular exhibit. Anytime, outside of a large exhibit, when I’m aware that my thinking about my artwork has shifted I’ll update my artist statement. Truth is, since artist statements are such an integral part of the artistic life seldom is it far from my thoughts.

I also use my artist statement as a “physical fitness” guide for how I want to develop my artwork in general. Writing in my journal is what keeps me aware of my artistic thinking and its changes. This act of caring for my own artistic thinking helps me to develop my ideas purposefully.

Not every revisiting of my artist statement results in a radical re-write. Some of the concepts from my old statement will still apply. Sometimes there are only minor changes. I refer back to my journal for how my thinking has changed specifically. Then I update my statement so that it best reflects my current thinking. This on-going care and feeding process helps me keep my artistic body-of-work’s backbone nice and strong. It also has the added benefit that whenever someone needs my artist statement I have it ready to go. n About the Author: Sue Clancy is a full-time professional artist whose artwork can be seen internationally – and locally at Joseph Gierek Fine Art gallery in Tulsa, OK (www.gierek.com) or at Downtown Art & Frame in Norman, OK. She checks her email artist@telepath.com occasionally, too.

At a Glance:

Yiren Gallagher’s The Butterfly Lantern

by Janice McCormick In the installation The Butterfly Lantern, Yiren Gallagher put Living Arts’ gloomy space to good use. The title piece, a large square structure of gauze with butterflies printed on its surface is lit from within. Its cool green glow creates a sense of calm – the calm after a storm. Small ovoid-shaped islands surrounding this lantern are awash with human and natural debris: a broken bowl, a pair of sunglasses, a conch shell, a piece of bleached coral, etc. At the far end of the installation, image and chant-like sounds of lapping ocean waves are projected on to two huge video screens; they serve to remind us of nature’s power to both nourish and destroy. Unlike the airy and colorful butterflies to which we are accustomed, these butterflies are black – a perfect symbol of the fragile renewal of life in the face of inevitable death. n About the Author: Janice McCormick is an art reviewer who has been writing about art in Tulsa and Oklahoma since 1990.

Currently, she teaches philosophy part-time at Tulsa Community College. She can be reached at artreview@olp.net.

Ask a

Creativity Coach

by Romney Nesbitt

Dear Romney,

I want to experiment with my artwork and try new ideas but find myself doing the same thing over and over again. My girlfriend insists my perfectionism is the reason for my inability to move forward artistically. Is she right? -Picky About the Details Dear Picky, Your girlfriend may be on to something. You say you have new ideas, but end up repeating past successes, i.e. what worked before. An article about perfectionism in the April 2008 Psychology Today Magazine revealed “Perfectionism reduces playfulness…it lowers the ability to take risks, reduces creativity and innovation…perfectionism keeps people engaged in perpetual self-evaluation— reaping frustration.”

There are really only two kinds of thought: memory or imagination. When you focus on creating a perfect end product, you’re leashing your creative mind to what is known: the past (which includes memories of past experiences and past performances, good or bad). When you allow your creative mind to wander into the realm of imagination you open your creativity to the unknown: a future full of new possibilities. Why is it easier to repeat the past than move into the future? Fear, usually. Fear that the future accomplishments will not measure up to your past successes.

The creative process happens over time—some of your ideas will be successes, others will look like failures. Don’t fear small mistakes along the way or begrudge the time spent in exploration. These sidetracks are all part of the growing pains of the creative process. Protect yourself from your inner critic by not grading each day’s work. This is not school. Don’t over-invest in the opinions of other people. Protect your feelings by not showing works in progress to friends until you feel pleased with your new results. Renew your artistic license and give yourself permission to make art free of the fear of failure. n About the Author: Romney Nesbitt is a creativity coach, artist, teacher, writer and workshop leader living in Tulsa. She welcomes your coaching questions for future columns. Contact her at RomneyN@cox.net.

Editor’s Note: This is a common predicament of artists and I would recommend a great book about this very subject called Art & Fear: Observations On the Perils (and Rewards) of Artmaking by David Bayles and Ted Orland.

19 19

OVAC news

Round Up

Sept/Oct 2008

OVAC welcomes six new board members who began their terms in July 2008.

Jennifer Barron, Oklahoma City, Jennifer holds a BFA in Painting and a BA in French from OU. Currently, she lives in Oklahoma City where she creates art and works for the Arts Council of Oklahoma City as Community Arts Program Director. She has volunteered for numerous local arts events and was one of the co-chairs of Momentum in 2007 and 2008. She looks forward to helping OVAC further its mission in any way she can.

Susan Beaty, Oklahoma City, is a native of Ponca City who holds degrees in letters and law from the University of Oklahoma and works for the Oklahoma Court of Civil Appeals. Susan has been on the 12x12 committee for five years, serving as co-chair this year. She has long been a supporter of visual arts in Oklahoma City and looks forward to becoming more involved in the statewide OVAC community.

Anita Fields, Stillwater, is a visual artist who primarily works in clay. Her work is exhibited throughout the United States. Anita presents workshops and residencies throughout Oklahoma and the United States. In April of 2008 she conducted a thirty-day residency and workshop in Indianapolis at the Eteljorg Museum, where she led groups ages four to eighty in the creation of a clay installation acknowledging the interdependence of all living things and their relationship to the earth and sky.

Paul Mays, Oklahoma City, is an artist and designer who has called Oklahoma City his home since graduating with honors from USAO in 2002 with a BFA. Mays is an active member of the Oklahoma art community and began his journey with OVAC when he served as an intern. Since initially volunteering in 2005 for OVAC’s Momentum, Paul has continued his service on multiple committees, and is currently a co-chair for 2009. Mays currently works as a designer for Oklahoma Gazette, and in his free time creates artwork.

Kathy McRuiz, Tulsa, is an artist and works for the Arts & Humanities Council of Tulsa as the Director for the future Visual Arts Center, scheduled to open in the Brady Arts & Entertainment District in the fall of 2010. Kathy received a MA in the Humanities and a BA in Fine Art, both from the University of Tulsa.

Although most of her time at the moment is spent on plans for the VAC, as often as possible she draws and reads and thinks in her studio. One day she’ll be there full time! Influential artist: Wolfgang Laib. His process is pure and his presentation breathtaking.

Sandy Sober, Tulsa, is a retired commercial interior designer and facility manager. She now spends her time painting, doing photography and volunteering (primarily) for arts organizations. She is currently on the Board of Directors for the Oklahoma Arts Institute and the Tulsa Arts & Humanities Council and is a Fellow in the American Society of Interior Designers (ASID).

We would also like to thank our board officers who were elected at the OVAC Annual Meeting (thanks to Istvan Gallery for hosting!). The OVAC Board President Stephen Kovash, Vice President Suzanne Mitchell, Treasurer Jean Ann Fausser and Secretary Elia Woods.

Thank you to this summer’s interns wrapping up who helped us immensely. Jacquelyn Sparks is a photography student at Oklahoma City University who dedicated herself to getting the Virtual Gallery looking great (check online for bios and nice thumbnails for all artists). Andrea Gardner is a recent University of Central Oklahoma graduate who is a metalsmith and jewelry artist. She industriously built our gallery listing for promoting Oklahoma-based artists to curators across the country. Thank you ladies.

Congratulations to OVAC’s Executive Director Julia Kirt who was selected as the 2008 recipient of the American’s for the Arts Emerging Leader award.

She accepted the award at the national conference in Philadelphia. Kirt said, “I am honored to have received

this award, knowing it reflects the hard work of the OVAC Board, volunteers and funders who make our programs happen. This award indicates that OVAC’s innovativeness has been recognized on the national stage, allowing us to promote Oklahoma artists in even bigger ways!” For more about the award and the Americans for the Arts, visit www.americansforthearts.org.

SAVE THE DATE! The annual 12x12 Art Show & Sale will be September 20, 2008. Once again, the event will be held at the Fred Jones Industries Building at 900 W. Main in downtown OKC. The exhibit will feature 150 of Oklahoma’s finest artists, delicious food from area restaurants, live music by Ali Harter and lots of fun.

Errata This is a correction to history of OVAC story published in the last Art Focus Oklahoma. We stated that John McNeese and Laura Warriner each gave personally in order to begin a fund for OVAC at the Kirkpatrick Foundation, but the sentence should have read that they gave to create the endowment fund at the Oklahoma City Community Foundation, which was matched by Mr. John Kirkpatrick.

Art People and News Congratulations to Peter Dolese who was named Executive Director of the Arts Council of Oklahoma City. Dolese has served as Festival Director for many years as well as leading Wintertales and other Arts Council of OKC initiatives. He’s also an excellent OVAC volunteer! Watch for him at the ticket table at almost any Momentum or 12x12 (hope he still has time).

The re-named Oklahoma Watercolor Association is expanding its horizons and broadening its scope to include creative opportunities for more artists. The new name for the organization is The Oklahoma Watermedia Association. www.watercolorok.com

Thank you to our New and Renewing Members from May and June 2008

20 20

Asia Tommy Ball Valerie Banes Lynne Nichols Betterton Elaine Bitting Ron Blankenship Bill Boettcher Zia Bowles Barbara Branstetter Alisa Brooks Steven L. Brown Jan Eckardt Butler Kim Camp Gayle Canada Craig Clingan Steve Cluck Mireille Damicone Adrienne Day Steve and Maggie Dixon Anke Dodson Stephania Gala Dulowski

James Eakins Kelly Elaine Nadia Ellis Don Emrick Kristin Gentry Steven Golsen Duke Goulden Jeannie Graham Che Graves Susan Grossman Ginger Hansen Michelle Himes-McCrory Carla Houston Cybele Hsu Courtney Hunnicutt Claudia Hunter Garvin Isaacs Jacqueline Iskander Lydia Jeffries Jamey Keffer Logan Kelsey

Clayton Keyes Joseph K. Kirk & Daniel G. Hardt Amanda Knowles Howard C. Koerth Trent Lawson Sean Lee Yvonne Lever and Scott Jones Lovetts Gallery Rebecca Lowber-Collins Phyllis Mantik Traci Martin Paul Mays Jenette McEntire Hugh Meade Suzanne Wallace Mears Melton Art Reference Library Anastassia Menshikova Sunni Mercer Eva Miller Suzanne Mitchell

Micheal Mooney Kay Moore Vicki, R.C. and J.P. Morrison Regina Murphy Stefani Nachatilo Don C. Narcomey Jake Nonmeiler David Nunneley Oklahoma City Museum of Art Erin Oldfield Rebecca Otwell-Edwards Andrew Phelan John Pollard Anna Rogers Kolbe Roper Linda Rous Cathy J. Rowten Scissortail Gallery of Fine Art Staceyleigh Shafer Byron Shen Tom Simonton

Shannon Smith Brenda Spencer Cassie Stover Michi Susan Suzanne C. Thomas Laurie Thompson Toothbrusher’s Dental Alex True Terri Wagner Elizabeth Walker Christopher Westfall George Whitlatch Lee Williams Richard and Kathy Wills James and Denise Wedel Lea Zrenda

21

galler y gu ide

&

Gallery Listings Ardmore

Chickasha

Ardmore Artists: Celebrating Our Evolving Culture September 3 – October 11 Christmas Ornament Exhibit October 15 – December 31 Studio 107 Gallery 107 East Main (580) 224-1143 studio107ardmore.com

Mary Nickell September 7 – October 3 Children’s Zoo October 13 - 27 University of Sciences and Arts of Oklahoma Gallery-Davis Hall 1806 17th Street (405) 574-1344 usao.edu/gallery/

Jesús Moroles September 15 – November 20 The Goddard Center 401 First Avenue SW (580) 226-0909 goddardcenter.org

Festival at the Farm September 27 Metcalfe Museum Rt. 1 Box 25 (580) 655-4467 metcalfemuseum.org

Bartlesville 3-logy Triennial 2008: “Imaginative Qualities of Actual Things” Through January 6, 2009 Family Arts Festival October 11, 11-3 Price Tower Arts Center 510 Dewey Ave. (918) 336-4949 pricetower.org

Broken Bow Masters At Work September 12 – October 19 Forest Heritage Center Beaver’s Bend Resort (580) 494-6497 beaversbend.com

Durham

Edmond Lisa Homan-Conger Opening September 11, 5-7 Shadid Fine Art 19 N. Broadway (405) 341-9023 shadidfineart.com

El Reno 5to9 Exhibition Through September 25 Roger Mills County: Josh Buss October 6 – November 25 Opening October 9, 4-6 Redlands Community College (405) 262-2552 redlandscc.edu

Exhibition Schedule Lawton Cecil Lee Opening September 3, 7-9 The Leslie Powell Foundation and Gallery 620 D Avenue (580) 357-9526 lpgallery.org

Norman Downtown Arts Market September 6 & October 4 Dreamer Concepts Studio & Foundation 324 East Main (405) 701-0048 dreamerconcepts.org Keepers of the Flame: Young Chickasaw Artists Through September 14 Art and Sculpture Masterpieces of Dick West September 20 – November 16 Jacobson House 609 Chautauqua (405) 366-1667 jacobsonhouse.com Highlights from the Adkins Collection Through December 28 Fred Jones Jr. Museum of Art 555 Elm Ave. (405) 325-4938 ou.edu/fjjma NEW Show: Benjy Russel and Friends Through October 4 Curtis Jones & Skip Hill October 10 – November 29 Opening October 10, 7-9 Mainsite Contemporary Art Gallery 122 East Main (405) 292-8095 mainsite-art.com

Oklahoma City White on White Carolyn Rossow: Who’s Throwing Rocks at Daddy?

October 9 – November 1 Opening October 9 City Arts Center 3000 General Pershing Blvd.

(800) 951-0000 cityartscenter.org

Traci Martin, Ardmore, Tranquility I, Digital Photograph, 16”x20” - a part of the Ardmore Artists: Celebrating Our Cultural Heritage exhibit at Studio 107 in Ardmore, September 3-October 11.

22

PhotoFest September 5 – 27 Opening September 5, 6-10 Matt Seikel, Denise Duong, Patrick Riley October 3 – 31 Opening October 3, 6-10 JRB Art at the Elms 2810 North Walker (405) 528-6336 jrbartgallery.com The Best of Ponca City Through September 24 Paul Mays: Feet in the Mud, Head in the Clouds September 26 – December 31 Opening October 2, 5-7 pm Gaylord-Pickens Oklahoma Heritage Museum 1400 Classen Dr. (405) 235-4458 oklahomaheritage.com One Off Broadway September 19 – October 10 Opening September 20, 6-9 Individual Artists of Oklahoma 811 N. Broadway (405) 232-6060 iaogallery.org Prix de West Through September 7 Traditional Cowboy Arts Association 10th Annual Exhibition September 27 – December 7 Craft in America – Expanding Traditions October 11 – January 18 National Cowboy & Western Heritage Museum 1700 NE 63rd (405) 478-2250 nationalcowboymuseum.org Governor’s Gallery: Carolyn Faseler Through October 5 North Gallery: K.O. Rinearson September 15 – November 9 East Gallery: Sue Clancy September 22 – November 16 Oklahoma State Capitol Galleries 2300 N. Lincoln Blvd (405) 521-2931 arts.ok.gov Roman Art from the Louvre Through October 12 Oklahoma City Museum of Art 415 Couch Drive (405) 236-3100 okcmoa.com

galler y gu ide Glen Thomas, Shana, a sculpture included in the White on White exhibit at City Arts Center, OKC, October 9-November 1.

Stillwater

Photo Fest on Paseo September 5-28 Opening September 5, 6-10 Gary Bates, Mixed Media Artist October 3 – November 2 Opening October 3, 6-10 Paseo Art Space 3022 Paseo (405) 525-2688 thepaseo.com American Falls: video installation by Philip Solomon and prints by Robert Rauschenberg September 12 – November 1 Untitled [ArtSpace] 1 NE 3rd St. (405) 815-9995 1ne3.org

Park Hill Beadwork Storyteller: A Visual Language Exhibit October 11 – December 31 Cherokee National Historical Society, Inc. 21192 S. Keeler Drive (918) 456-6007 cherokeeheritage.org

Ponca City Fine Arts Festival September 20-21 Ponca City Art Center 819 East Central (580) 765-9746 poncacity.com

Shawnee Grassroots: African Origins of American Art Baskets from Africa and South Carolina September 5 – October 19 Mabee-Gerrer Museum of Art 1900 West Macarthur (405) 878-5300 mgmoa.org

Snap to It Through September 13 Reception September 5, 6:30-8 Mark Sisson, Jack Titus & Marty Avrett September 16 – October 4 Reception September 26, 6:30-8 Show Your Support October 7 – 11 Reception October 11, 6:30-8 Fall Back: College Student Show October 14 – 25 Reception October 17, 6:30-8 Pixels and Pages October 28 – November 15 Reception October 31, 6:30-8 Exhibit One Gallery 102 N. Main St. (405) 533-3ART xonegallery.com

Tulsa Jacquelyn Erlacher Through September 11 Apertures Student Show September 18 – October 16 Apertures Gallery 1936 South Harvard (918) 742-0500 aperturesphoto.com

Coded: Jeanne Jo September 4-25 Mom Said “Have Faith” October 2 - 23 Living Arts 308 S. Kenosha (918) 585-1234 livingarts.org The Object Project: Common Subjects, Uncommon Results.

Through September 21 The Eugene B. Adkins Collection Through December 31 The Philbrook Museum of Art 2727 South Rockford Road (918) 749-7941 Philbrook.org

The Riddle – The Enigma of Art: David Cade September 2 – 26 Be Here Now: Michelle Firment Reid October 2 – November 2 Tulsa Performing Arts Center Gallery Third and Cincinnati (918) 596-2368 tulsapac.com

Contact editor for information about submitting listings at publications@ ovac-ok.org. For a more complete list of Oklahoma galleries, visit www.ovac-ok.org.

Vacilando: Photographs by Martina Galvan September 5 – 27 It’s All in the Eyes: Paintings by Eleanor Davy Carmack October 2- 25 Tulsa Artists Coalition Gallery 9 East Brady (918) 592-0041 tacgallery.org

Color Thoughts September 1- 30 Opening September 5, 5-8 Color Connection Gallery 2050 Utica Square (918) 742-0515 colorconnectiongallery.com 101 Ranch: The Real Wild West Through January 25, 2009 Gilcrease Museum 1400 Gilcrease Road (918) 596-2700 gilcrease.org Violence & Innocence: David Goodrich September 4-25 Passages: Joy Frangiosa & Jason Zaloudik October 2 - 23 Liggett Studio 314 S. Kenosha (918) 694-5719 liggettstudio.com

Paul Mays, Oklahoma City, Who Are You?, Mixed Media, 34”x28”, on display at the Gaylord-Pickens Oklahoma Heritage Museum in OKC, September 26-December 31

23

O O V V

K I

C C

O

C

O

K

V V I

L S

S O

A

U A

L

L

L

I

A

U A A

L

H

A

T

H

M R I

O

L I

O

A

A T

O

M R

I

A T

T O

S N

th

A S N

A N N I V E R S A R Y 1

O

9

8

8

-

V

2

A

0

0

8

C

th A N N I V E R S A R Y 1

O

ArtOFocus k l a h o m a

9

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

Student Membership: $20 Individual Membership: $35 Family/Household Membership: $55 Patron Membership: $100 Sustaining Membership: $250

8

-

V

2

A

0

0

8

C

th A N N I V E R S A R Y 1

O Annual Subscriptions to Art Focus Oklahoma are free with membership to the Oklahoma Visual Arts Coalition.

8

9

8

8

V

-

2

A

0

0

8

C

PO Box 1946 Oklahoma City, OK 73101

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