Art Focus Oklahoma, September/October 2009

ArtOFocus k l a h o m a

Okl a ho m a V i s u al A r ts C o al i t i on

Vo l u m e 2 4 N o . 5

September/October 2009

Momentum Tulsa 2009 As a venue for emerging

artists across Oklahoma, Momentum has been an energetic reminder that ‘Art doesn’t stand still.’ p.4

Drawing by Emma Ann Robertson.

f ro m t h e

editor

Art OFocus k l a h o m a

The coming of fall usually means a surge in the number of art events and happenings, and this fall is no different. In the OVAC office, we are feeling the rush of all the things to come and I’m sure that other arts organizations, galleries and artists feel it, too. As the weather starts to cool down, the activity heats up and we can all come out of our air-conditioned hiding.

Oklahoma Visual Arts Coalition 730 W. Wilshire Blvd., Suite 104 Oklahoma City, OK 73116 ph: 405.879.2400 • e: director@ovac-ok.org visit our website at: www.ovac-ok.org

With all that’s happening in the next few months, we were challenged to narrow our story ideas down to fit within these pages. In this issue, you’ll travel all the way from Bartlesville to Ardmore, and a few places in between. Remarkable art is being made and exhibited all over the state. I hope that you’ll get a glimpse of that in these pages.

Art Director: Anne Richardson anne@speccreative.com

If you turn to the OVAC News section in the back of this magazine, you’ll see a list of upcoming deadlines for artists, as well as for those interested in art writing or curatorial work. We are particularly excited about the announcement of two new programs, the Public Art Mentorship and the Oklahoma Art Writing and Curatorial Fellowship, both of which have application deadlines in September and October. These two programs will take OVAC in directions we have not reached before and we hope they will have a ripple effect that will impact artists all over our state. These new programs have led OVAC into new partnerships with other organizations, including Oklahoma Art in Public Places, Oklahoma City Museum of Art and the University of Oklahoma School of Art & Art History. These collaborations are an important part of making these big ideas come to life.

Looking forward at all that’s happening in the next few months, I know it’s impossible to see and do it all. I find that impossibility to be exciting, as evidence of the creativity that exists here.

Kelsey Karper

Executive Director: Julia Kirt director@ovac-ok.org Editor: Kelsey Karper publications@ovac-ok.org

Art Focus Intern: Emily Lewis 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; Don Emrick, Claremore; Susan Grossman, Norman; MJ Alexander, Stephen Kovash, Sue Moss Sullivan, and Christian Trimble, Oklahoma City.

OVAC Board of Directors 2009-2010: R.C. Morrison, Bixby; Richard Pearson, Rick Vermillion, Edmond; Jennifer Barron, Susan Beaty, Stephen Kovash (President), Paul Mays, Suzanne Mitchell (Vice President), Carl Shortt, Suzanne Thomas, Christian Trimble, Elia Woods (Secretary), Eric Wright, Oklahoma City; Joey Frisillo, Sand Springs; Anita Fields, Stillwater; F. Bradley Jessop, Sulphur; Cathy Deuschle, Elizabeth Downing, Jean Ann Fausser (Treasurer) Janet Shipley Hawks, Kathy McRuiz, Sandy Sober, Tulsa.

The Oklahoma Visual Arts Coalition is solely responsible for the contents of Art Focus Oklahoma. However, the views expressed in articles do not necessarily reflect the opinions of the Board or OVAC staff.

publications@ovac-ok.org

Member Agency of Allied Arts and member of the Americans for the Arts.

On the Cover Nick Bayer, Oklahoma City, American Voyeur, Constructed Painting and Collage on Wood, 65”x68”. Bayer is featured in the Momentum Spotlight at Momentum Tulsa on October 10. See page 4.

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© 2009, Oklahoma Visual Arts Coalition.

All rights reserved.

View this issue online at www.ArtFocusOklahoma.org.

contents

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p ro f i l e s Momentum Tulsa 2009: Spotlight

Three young artists are creating new projects for Momentum Tulsa, in collaboration with the curators.

7 Skip Hill: Sacred Gumbo?

An interview with Oklahoma City artist Skip Hill explores his beginnings as an artist, as well as recent projects.

10 Investing in Artists: OVAC Fellowships

An introduction to the artists who received the 2009 OVAC Fellowships and the new Student Awards of Excellence.

12 Lucy Addams

A sixteen-year-old Tulsan has big ideas in her young art career.

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re v i e w s / p re v i e w s

14 Going Low Tech: The Art Photography of Don Emrick

Claremore photographer Don Emrick goes analog in preparation for his exhibition at TAC Gallery.

16 12x12 Art Show & Sale 2009

OVAC’s annual fundraiser is just around the corner, with a few new twists in store.

18 UK/OK at Price Tower Arts Center

A new exhibition in Bartlesville pairs Oklahoma artists with across-the-pond counterparts.

19 George Oswalt at Mainsite

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A writer gets an in-studio preview of an upcoming exhibition in Norman.

20 Lovetts Makes the Art World Go Round!

With over 20 years in business, this Tulsa gallery is still finding new ways to create exciting exhibitions.

f e a t u re s

21 On the Map: Ardmore

The south-Oklahoma town of Ardmore has plenty to offer in the arts, making for a fun weekend road trip.

22 Norman Public Art: 29-Foot Sculpture in East Side Roundabout

The newest addition to the Norman Public Art collection will bring 29-foot prairie grass to a busy intersection.

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business of art

24 Exposing Yourself

An exercise in exposing yourself to a variety of artistic inspirations.

26 It’s later than you think

Keeping a calendar for your important projects and events can help your art business greatly... and may surprise you!

at a glance

27 Capturing Creativity

Two exhibitions at the Philbrook gave audiences a better understanding of the beauty of artistic inspiration.

OVAC news

28 Round UP | New & Renewing Members

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30 g a l l e r y g u i d e

(p. 7) Skip Hill, Oklahoma City, Ukiyo (Rojo), Acrylic and Collage on Paper, 12”x12” (p. 10) Kathleen Rivers, Ada, Recovery, Maps, Stamps, Paper Scraps, Old Books, Candy Wrappers on Paper, 24”x24” (p. 14) Don Emrick, Claremore, Tables, Holga Camera, 16”x16” , (p. 19) George Oswalt, Oklahoma City, Shadow of Doubt, Oil, 36”x48”

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Emily Kern, Stillwater, Untitled 1, Oil on Birch Panel with Graphite and Ink, 20”x24”

M omentum tulsa 2 0 0 9 : S potlight

by Jennifer Barron

As a venue for emerging artists across Oklahoma, Momentum has been an energetic reminder that ‘Art doesn’t stand still.’ This year that tagline rings truer than usual as both Momentum events move to new dates on the calendar. Momentum Oklahoma City moved from January to March with great success. Currently, Momentum Tulsa is gearing up for its move from summer to fall. This year’s exhibition is set to take place October 10.

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Emily Kern’s large-scale spirograph in use.

For the 3rd year, the event will take place at Living Arts, but this year even the organization that serves as its venue doesn’t stand still. Momentum Tulsa will be one of the first events to take place in Living Arts’ new location, in Tulsa’s historic Brady District at 307 E. Brady.

Selecting different curators for each event is one way that the feel of Momentum stays fresh and flexible. Curators for Momentum Tulsa this year are Scott Perkins, Curator of Collections and Exhibitions at the Price Tower Art Center in Bartlesville and emerging curator Frank Wick, artist and exhibit design specialist at the Sam Noble Museum of Natural History in Norman.

Since his arrival at the Price Tower in 2006, Perkins has curated numerous shows, including Wright Restored: Frank Lloyd Wright’s Price Tower Interiors (2006), and the upcoming Lights! Camera! Fashion: The Film Costumes of Edith Head (2010). In describing his curatorial style, Perkins refers to his work as a graduate assistant to Dr. Pat Kirkham at the Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture in New York City. He comments that Kirkham “had a wonderful editing style when it came to selecting objects, something I emulate in my own exhibition development and selection.”

The desire to find and encourage quality work by emerging artists is evidently shared by both curators, although their responses to some of my questions show a contrast of personalities: Wick describes his initial decision to study art at the University of Iowa as based “on a dare.”

Wick describes his own work in broad terms, as ‘maybe… an attempt at exploring the motivations of people.” He elaborates: “I spend a lot of time looking at things and thinking about how I might represent a difficult idea or problem simply.” The idea of curating was appealing to Wick as a way to organize ideas, and to use the perspective he had gained as an artist to help others.

He advises upcoming artists to stay selfcritical and open to honest criticism from others. Seeking feedback from other artists they know and respect can help artists continue to grow. “I think it is essential to talk to other artists and to do it bluntly.

Anyone can make art. The trick is to make sure it resonates with an audience you want it to resonate with.” At the end of the day, he reminds anyone making art: “it is important to keep making the work that makes you happy and that you believe in.”

Although the art for the group show is not yet selected- please visit www.MomentumOklahoma.org for the Call for Artists- the three Momentum Spotlight artists working on large bodies of work or site specific installations for the Momentum Spotlight have already been selected and are currently working alongside the curators to hone their ideas.

Nick Bayer lists art history, pop-culture, and a rural upbringing among his artistic influences, and uses diverse media, with a focus on constructed paintings and collage, continued on page 6

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continued from page 5

in creating his work. Perkins mentions a “handcrafted” quality in Bayer’s work that “appealed to [his] design sensibilities.” For Momentum Spotlight, Bayer’s proposal centers on creating a giant whirly-gig that is inspired by a similar – though much smaller- one created by his grandfather. Nostalgia and sentiment play a large part in Bayer’s practice, and in the reaction he hopes to stir in viewers.

This installation will be Bayer’s first foray into kinetic art.

Dustin Boise’s planned work deals with the widespread use of advertising images and propaganda to manipulate the public and promote varied agendas – “from mass genocide to what toothpaste is best” – through similar means. Boise’s installation, described by Perkins as “wonderfully playful” focuses on images and slogans used in dentistry. By his focusing on propaganda with such seemingly innocuous motives, Boise challenges viewers to become more conscious of the influence of advertising images in their daily lives.

Emily Kern’s proposal, titled Meditative Space: A New Generation, uses a series of landscapes to explore the possibility of and need for contemporary meditative spaces. These landscapes would alternate from traditional to digital, and would progress toward a point where viewers could participate in creating their own meditative images.

Scott Perkins describes planned spirograph-created elements in Kern’s digital work as “a detail that is both rational and calming against their swirling backgrounds.”

Momentum is known for being a fun and dynamic event, where the diversity of artwork on display speaks volumes about our state’s creative resources, and where you can always expect something interactive, challenging, or surprising. However, even more important than its ability to draw new crowds to art events, Momentum offers unique opportunities to emerging artists. As Wick notes, Momentum “seems invaluable” as “an opportunity for artists to evaluate their work and the presentation of their ideas.” Boise echoes this sentiment, emphasizing the importance of the event for students, who are barred from entering some other local shows. Supporting this event is not only a guaranteed good time, it helps to ensure that emerging artists have a place in our art community, and it shows artists of all ages that art truly does not stand still. I hope to see you there! n Jennifer Barron is an OVAC Board member, a volunteer and an artist who doesn't stand still, although her paintings typically do.

(Top) Dustin Boise, Edmond, Hype-Gentistry, Plaster, Video, Fabric, Paint, Foam, 16’x26’ (Middle) Dustin Boise, Edmond, Installation at Momentum OKC 2009, Serigraphs and Spray Paint on Wall (Bottom) Nick Bayer, Oklahoma City, It’s Good to be King, Constructed Painting and Collage on Wood, 65.5”x52”

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PROFILE: Skip Hill

Skip Hill, Oklahoma City, The Legend of John Henry, Mural at City Arts Center

by Romy Owens

I’m an unapologetic fan of Skip Hill’s art which embodies a hip fusion of culture, content, and style that radiate both cleverness and maturity.

And Skip is as radtastic as his art. ro: So Skip, your first name is Robert, no? I am so curious about how you got the nickname Skip?

SH: That’s right, my first name is Robert, which I always liked better than Skip. My grandmother has told me that in those ancient days, before sonograms, I was called Skip even in my Mama’s womb. ro: How long have you been arting?

SH: Before I even knew I was “arting,” I was doing what came naturally with a pencil and a scrap of paper. I have a clear memory of copying Van Gogh’s Bedroom at Arles with poster paints in second grade. I also remember lying on the floor in my grandmother’s den, as I drew animals and watched the Watergate hearings on TV. In elementary school, I was focused on cartoons and comic books which I created and sold to my classmates. At age eleven, I was featured in a half-page article in the Corpus Christi Caller Sunday Features section, which helped me believe that what I was doing was viable.

It also gave me a sense of confidence to put up with the haters that constantly ragged on a brother at school!

I’ve focused on my current art practice, as a student and working artist, for about the last 15 years. ro: I can envision seven-year-old Skip fastidiously copying Bedroom at Arles. This makes me want to ask about the series of paintings you created for City Arts Center this past summer. The theme for camp focused on folk tales, and the primary audience included the families with kids attending day camp. How did you pick your folk tales?

SH: Producing large-scale murals and conducting workshops for children has been a part of my art efforts for years, so I felt comfortable with the City Arts Center Hands On exhibit. I was selected by Clint Stone and Josh Buss because of my use of folk art as a source of inspiration in my studio work. We wanted to incorporate some tales that children were familiar with, like Pecos Bill and John Henry as well as stories from different cultures that are perhaps not as well known, such as the Japanese story of Momotaro the Peach Boy, and the Cherokee tale of the Bear Clan. ro: Would you mind sharing a little bit about your background?

SH: I was born at the Naval Air Station at Padre Island, near Corpus Christi, Texas. My father was in the Marine Corp, my mother was a beautiful honey brown girl who sang with a popular girl group that performed locally. They divorced when I was six or seven and I struggled with that loss well into adulthood. Immersing

myself into the fantastic world of books and comics I’m sure was an unconscious effort to escape the reality of my family life as we moved several times before arriving in Oklahoma in the early seventies.

At home I had practically no exposure to art, but at about eight-years-old I visited my father for the summer. He collected lithographs and art posters, and turned me on to African Art, the Harlem Renaissance and artists like Romare Bearden and Jacob Lawrence. He also had a library filled, floor to ceiling, with art catalogs, books and books and books. I discovered Afrocentric books, autobiographies of Fredrick Douglas, Malcolm X and W.E.B. Dubois. I fingered the pages of obscure metaphysical books like The Urantia Book and the Tibetan Book of the Dead. I was amazed by the hypersaturated color plates of Krishna and Arjuna on the battlefield in the Bhagavad Gita. He bought me oil paints, mediums and stacks of canvas board and encouraged me to create something every day. After that, I didn’t see him until I was a teenager, but he always greatly encouraged my art.

Still, I thought being a cartoonist or illustrator was as good as it could get. I graduated from Del City High School without taking a single art class. In hindsight, I’m sure I missed some opportunities early on in my career because of that decision. continued on page 8

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continued from page 7 I attended Oklahoma City University majoring in Advertising / Marketing. I produced awardwinning political cartoons for the student newspaper, The Campus, before dropping out after three semesters.

I’m also a huge fan of Petah Coyne‘s vulnerable, graceful sculptures and how they manage to convey loss, death, regeneration and renewal. ro: There is a film called Transcend in which you are one of five featured artists. For the Art Focus readers who are unfamiliar, will you describe the documentary?

SH: Transcend : 5 Black Artists by 5 Black Artists, is the brainchild of artist/curator Nathan Lee of Inclusion In Art, who wanted to present a revealing look into the personal, creative and socio-political lives of five African-American artists actively practicing their craft in the heart of Red-State-America. We recently got our first look during a private screening at Living Arts in Tulsa.

I worked in advertising for years as an Illustrator and Graphic Designer (pre-Macintosh). I relocated to California in 1987 with my girlfriend at the time and struggled to make a living freelancing. After that relationship ended, I spent most of my time lost, down, and out in Tijuana, beginning years of wanderlust.

I traveled to Thailand, and after a period of drunken, half out-of-my-mind, self-indulgent grief, I found a job as a writer correspondent for an English language business magazine, interviewing representatives from multinational corporations doing business in Thailand. I produced illustrations and designed advertising, as well.

Transcend is a very compelling film that looks at an aspect of art in a context absent from most art discussions. It’s going to create quite a buzz once it premieres.

Skip Hill, Oklahoma City, Bruised But Not Broken,

While in Bangkok, I fell in love with an ro: By the time this interview is published, Acrylic/Collage on Wood Panel, 24”x38” incredible woman and a year or so later I was Transcend will have premiered in Oklahoma living with her in The Netherlands. It was there that I began creating City. What do you mean that this film looks at an aspect of art in a context art for art’s sake for the first time since perhaps childhood. I made art absent from most art discussions? practically everyday, studied art history, visited galleries and some of the SH: I’m speaking on a local level about the presence and viability of great museums of Europe.

African-American artists creating in Oklahoma. I haven’t seen a project like this, that gathers a group of Black artists who are plugged into the While there, I managed to pick up the Dutch language, have several gallery Oklahoma arts community, who also have unique issues we encounter in shows, got some media play and received lots of commissions. I traveled finding an audience and collector base that is receptive to what we do. throughout Germany, to Czechoslovakia, Prague, Morocco and Essaouira. ro: One of the things you mentioned in Transcend is that artists need to Eventually, I returned to the States, and Oklahoma, where I studied Fine make art less intimidating. Please explain.

Art at OU under Edgar Hachivi Heap of Birds and George Bogart.

SH: Let me say up front, that as a relative insider and art aficionado I can appreciate the often cliquish, intellectually insulated culture of certain ro: You have a style that is very much your own. Will you describe the aspects of the fine art universe. I’m an unrepentant art junkie. I like galleries evolution of your art? and museums. I like art magazines. I like art lingo. I like openings, the SH: For years, It was a process of studying and drawing from others whose hype, the next big thing, the gossip, the criticism, ruminating over a glass art spoke to me on some profound, subconscious level. Initially, I copied of wine or a Guinness Draught on postmodern theory, painterly technique those artists whose myth, art style, career or fame attracted me (see: Jean or conceptualizing about an artist’s intentions… I’m digging all of that.

Michel Basquiat). But at some point, you have to grow past that level of It’s a world I can swim deep in without drowning, because I can see it in straight up mimicry and make your own way, which can be scary. What if perspective to a greater picture called “The Scheme of Things.” you have nothing to say?

Like cooking a gumbo, I’ve used a bit of this artist, a bit of that culture’s iconography or conceptual approach as I struggled to develop my own artistic voice and vision. In my current aesthetic, I’m interested in the blending of high and low culture, at the confluence of language, myth, sexuality, pop culture, history, identity, race and gender. The Boxer Series wall sculptures, for example, are inspired by cartoons, graffiti, African fetishes and Southern Folk art, as well as Japanese Nioh temple guardians and the formal flatness of Byzantine art. ro: I like the reference to gumbo. It’s a poignant way of describing multiple influences which develop into your own. Who are some of your favorite artists?

SH: The old school notables would include comic book artist and writer, Jack Kirby for his unique perspective, Romare Bearden’s use of collage and affirmative black imagery; Willem De Kooning, Robert Rauschenberg, and Cy Twombly just because. There’s Pablo and Jean-Michel, of course. I love the conceptual work of David Hammonds, the sculpture of Martin Puryear, the hip-hop baroque paintings of Kehinde Wiley, and how each of them synthesize European and African aesthetics into a uniquely American art.

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But as long as art (in the Western Euro-centric tradition) is considered by the majority of our community as incomprehensible, unapproachable, elitist and removed to its rarified ethers among a thin segment of us insiders, and away from being personally relevant to the heart and spirit of a greater portion of that community; then Art can hardly expect to rally more than a shrug when we call on the broader community to support or to appreciate what we artists feel passionately about and need to share.

Skip Hill’s artwork can be seen at JRB Art at the Elms Gallery in Oklahoma City, Mainsite Contemporary Art in Norman and the Judy Saslow Gallery in Chicago. Also visit his website at skiphill.moonfruit.com. n

romy owens is an artist based in Oklahoma City. She can be reached via mental telepathy or though her website romyowens.com. *Editor’s Note: this interview has been edited for space. To read the full interview, visit www.ArtFocusOklahoma.org.

3000 General Pershing Boulevard Oklahoma City, OK 73107 (405) 951-0000 www.cityartscenter.org

OPENING ARTIST RECEPTION Thursday, October 15 5:30 – 7:30pm In the Eleanor Kirkpatrick Gallery

Moss & Rivers

The Art of Barbara Robinette Moss New Works by Kate Rivers

OCTOBER 15 – NOVEMBER 7

Circle Gallery

Culti-Multural:

An installation by Narciso Argüelles & Cassandra Wozniak

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(left) Joshua Meier, Claremore, Perhaps This Time, Silver Gelatin, 20”x24” (right) Kathleen Rivers, Ada, Skin, Maps, Stamps, Paper Scraps, Old Books on Paper, 42”x58”

OVAC FELLOWSHIPS

Investing in Artists

by Kelsey Karper The Oklahoma Visual Arts Coalition (OVAC) presents the Oklahoma Visual Arts Fellowship, providing two awards of $5,000 each to Oklahoma artists. The 2009 recipients are Kathleen Rivers, Ada and Frank Wick, Norman.

New this year, OVAC also granted two Student Awards of Excellence of $500 each. Those were awarded to Riley Harmon, Shawnee and Joshua Meier, Claremore. OVAC is dedicated to supporting visual artists living and working in Oklahoma. The Fellowship awards are given to recognize past achievement and future promise and can be used as the artist’s needs require.

Kathleen Rivers is Associate Professor of Fine Art at East Central University in Ada. She received her MFA from University of South Carolina. Her current artwork is inspired by memories of home and travel. Intricate collages representing nests are made up of papers and other items that were fated for a trash bin, woven together as a bird weaves and constructs their home. More about Rivers can be found on her website at www.kateriversart.com.

Christopher Cook selected the awards as guest curator. Cook is curator of the Kemper Museum of Contemporary Art in Kansas City, Missouri.

He has organized nearly 30 exhibitions, received his MA in art history, theory, and criticism from the School of the Art Institute of Chicago, and his BA in art history from the University of Florida, Gainesville.

Frank Wick received his MFA in sculpture from the University of Miami and his MA in design from the University of Iowa. His work has been exhibited across the country and internationally. Wick uses humor in his installations and conceptual pieces as a way to engage audiences in his commentary on life and the world around him.

In his curator’s statement, Cook stated his excitement at discovering that Oklahoma is peppered with exceptional artists, stating that “there were numerous applicants that deserve special recognition...In the end, however, I was most captivated by the complex collages of found detritus by Kathleen Rivers and the witty and provocative sculptures of Frank Wick.”

Riley Harmon recently graduated from the University of Oklahoma with a BFA in Media Art and will pursue an interdisciplinary MFA from Carnegie Mellon University in the fall of 2009. Harmon works in a variety of forms and materials with his current art informed by topics in psychology, philosophy and computer science, often using unlikely materials such as discarded DVD players, computers and objects from his daily life. More about Harmon can be found on his website at www.rileyharmon.com.

Addressing the applicants to the Student Awards of Excellence, Cook said he was “impressed by the caliber of artists that applied. I selected

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artists Riley Harmon and Joshua Meier as this year’s award recipients.

Their work is visually sophisticated and conceptually rigorous. Take heed, their careers will be ones to watch!”

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(left) Frank Wick, Norman, WWJD (9-5), saw-horse, Christmas tree lights, timer set to operating from 9-5 weekdays. (right) Frank Wick, Norman, Soul Crusher, Fiberglass and Spray Paint

Joshua Meier is currently working towards an MFA in Photography/Printmaking at the University of Tulsa. His work explores the overlapping of the lives of humans as they interact with each other over time and in space. Meier photographs tracts of land which are being reinvented by bulldozers and backhoes and alters those images into a new object altogether, resembling the bark of a tree or even a human figure.

The Fellowship awards are sponsored in part by the Oklahoma Arts Council. OVAC is an Allied Arts member agency. n

(above) Riley Harmon, Shawnee, Laaagggggg in a complex system between us, bulk ethernet cables, electronics. (bottom: detail)

Kelsey Karper is Editor of Art Focus Oklahoma and a photographer working in historic and alternative processes. She can be reached at publications@ovac-ok.org.

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Switching from a paint brush to pencil and watercolors, artist Lucy Addams works on thumbnail ideas in her sketchbook for a comic book project.

Lucy Addams

By Sheri Ishmael-Waldrop

Finding your voice as an artist can be a struggle, but 16-year-old Lucy Addams uses a refreshing, un-influenced vision to create.

When asked “Why do you paint?” Lucy replied, “I don’t know. Why do I paint?”

Lucy has been painting formally for three years, since she began classes at the Tulsa Girls Art School (TGAS). She believes art is an expression of ones self. “My definition of ‘artist’ is looser than most peoples,” she said.

“I think anyone who expresses themselves in any way is an artist. I don’t care if you paint, or dance, or skip every third stair when going up a staircase. So yes, I consider myself an artist. There is nothing that doesn’t inspire me.”

In the classroom, founder Matt Moffett provides a “springboard” for Lucy and the other students to start with. Lucy said she then takes the most unlikely aspect, something the other students would not think of doing, and creates. When she paints at home, ideas move freely from her head and onto the canvas or sketchbook. At TGAS she works in a more structured way as she learns new techniques and explores new topics.

“Everything you do has a style all its own because you’re the one doing it, like a fingerprint, so when I paint it just comes out one way or another and I can’t control that,” she said. “Because that’s who I am, it’s the way it works out.”

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She likes to call her style “Pseudo-realism”, but then she added that she is just making it up as she goes. “I use color in a pretty textbook fashion, reds for anger and blues for softer calmer moods. Right now, I really like bright colors, anything that makes the viewer happier,” Lucy said.

Last year her art was dark and moody, this year she is exploring the brighter side of color and discovering how to create movement, both in her painting and in the development of her comic book artwork. Painting is not her favorite medium right now.

“I mostly use pen and pencil, markers... I do comics primarily, although I’m starting to look into the idea of using paint with my comics,” she said. When working on her comics she moves from sketch to ink and then to markers. She is currently experimenting with a “rougher” looser look created by filling with markers, while not inking the subject’s outline. “You’re not locked into it, you are freer,” she said.

Comic artists such as Hee Jung Park, Hiroki Endo, Neil Gaiman and Yun Kouga are her current inspiration, as well as her friends.

Lucy was working outside of class on a 16page action suspense comic for a convention held recently in Tulsa and is now designing a web-comic that should have similar qualities.

By merging Victorian and futuristic settings her vision is allowed the freedom to “make up” buildings and props as needed to fit her story line, she said. She considers her style to be a fusion of Japanese and Western, and with no formal training in Comic Book design she “makes it up” as she goes.

Although experimenting with comics and other techniques, she is still trying to figure out what she is doing and where she is going.

“I’m only 16, that is what I do.”

In 2008, Lucy’s art was selected for Tulsa Mayor Kathy Taylor’s holiday card. She was honored to be chosen, but her art philosophy is to do art for herself and if the public enjoys it that is wonderful.

“I didn’t really think much of it. I was given a short deadline so I was mostly worried about finishing everything on time.” Lucy said, “I don’t know about honors, I don’t really think in those terms.”

Lucy does not create in order to compete. She feels competitions are designed for outcome and not for the process. “I like the process. In competition you have rules and deadlines and I don’t like that.” She said, “Art is for myself and to inspire other people.”

Lucy said her art is generally positive, but she likes to include political undertones. She likes to see how others interpret her art and if they pick up on her hidden message.

“Lucy has become the most requested artist at the school. She is quite prolific and comfortable with the brushes,” said Moffett.

There are several clients who follow her work, and Lucy “greatly appreciates” their support.

“Everything I know about painting I learned from Matt Moffett. Mixing and layering colors, preparing a canvas, everything. Matt’s a great guy I’m very glad to have met him,” she said. Moffett’s desire to teach the girls all

aspects of art business has enabled Lucy to leave the school with the knowledge of how to set up a show and relate to her clients on a professional level.

Moffett said TGAS was lucky to have her. She has been a great mentor for the other students, she is the oldest and first to leave the program and go out into the world. “She has been an asset, we hope she comes back to visit. She has been dedicated to the school and her art. She has taught me so much,” he said.

Lucy will be attending the Tulsa School of Arts and Sciences and plans to attend Tulsa Community College and study Sociology, Psychology or Art. She feels she can combine the three interests into her comic book work, using art and story telling to express complex feelings and ideas. n

Sheri Ishmael-Waldrop is a freelance writer, art and journalistic photographer and a co-op artist with Water Street Art Gallery in Sapulpa, OK. Lucy Addams works on a on a comic book idea in her sketchbook.

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Going Low Tech:

Don Emrick, Claremore, Leased Landscape (Diptych), Holga Camera, 18” x 24”

The Art Photography of Don Emrick

by Janice McCormick Instead of going high definition and digital, the Tulsa Artists’ Coalition Gallery’s October exhibit goes Analog: Low Fidelity Photography, featuring the art of Don Emrick. This exhibit of twenty photographs runs from October 2 through the 31st, with the artist’s reception on October 2, 6p.m. to 9p.m. Even though I facilitated the TAC Selections committee which accepted Emrick’s proposal for an exhibit, I had no input into their decision. The following preview draws upon his submitted proposal and resume, personal conservations, and email exchanges.

A brief glance at Emrick’s resume reflects his passion for all things photographic, whether it is as a photojournalist, teacher, volunteer or artist. With an M.A. in Journalism and Mass Communication from the University of Oklahoma (1987), he has been a photojournalist for the Tulsa World and the Tulsa Tribune. He teaches both film and digital photography at Tulsa Community College and at the Rogers State University. Currently he serves on the Tulsa Artists’ Coalition Board and as Vice-President. He proves to be an invaluable member of its PR committee, handling the image side of publicity. He also serves on OVAC’s Art Focus editorial committee. His artwork has been in solo and group shows in Oklahoma since 1993. You might have seen his “Abstraction #42” in Julia Kirt’s curated show Spectrum at the Invited Artists Gallery in Oklahoma City. Currently, his “Mannequin” is part of the IAO/OVAC traveling exhibit 24 Works on Paper. Plus, his exhibit of abstract photographs, Found in Abstraction, is up at the State Capitol’s North gallery through October 10th.

Part of the raison d’être for Emrick’s exhibit at TAC is to show that just as photography did not kill painting, so too digital photography has not killed film photography. As he put it, “The use of film, or as some have called it ‘analog photography’, is very much alive within

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Fine Art, experiencing a resurgence that some might say is a reaction to the prevalence of digital photography – which seems to have taken over the more mundane functions of photography: family snapshots, photos of newborns, vacation pictures. Film… has been freed to reinvestigate and so reinvigorate itself as painting has done over the years.” He adds, “I wish to continue this explorative redefinition of photography, using alternative and vintage cameras that produce unique images.”

Not surprising, Emrick enthusiastically goes into great depth about the technical side of his photography. He describes Analog: Low Fidelity Photography as “part of my continuing use of alternative cameras and film techniques. In this case I’m using plastic medium format camera such as Holga and Diana cameras, a 4” x 5” wooden pinhole camera, a medium format pinhole camera, and a vintage Crown Graphic camera. All the images are photographed on film, color or B&W. The only ‘digital’ process involved is in the printing. Nothing is done to the original image that couldn’t be done in a traditional darkroom: dodging, burning, cropping, etc.”

As to why these cameras in particular, the artist states, “The interesting aspect with this choice of cameras is the inherent flaws that make the images so compelling (one reason for the phrase ‘low fidelity photography’). Each type of camera has its own unique signature. The Holga and Diana (with a single plastic lens), though often sharp at the center, blur and distort at the edge – resulting in vignetting. Even the boundaries of the image are often irregular, which is why they are printed with a black border.”

His simplest camera used for this exhibit is the pinhole. He describes it as having “no lens, merely a small brass plate with a tiny hole (an approximate aperture of F/235) that is surprisingly sharp – surprising for what is essentially a box with a hole in it. This harkens back to the

days when painters used a camera obscura.

There is no viewfinder, the image is composed mentally using an understanding of the basics of photography. Since there is no ‘shutter’, merely a plastic cover flipped open, and the aperture is so small, exposure time is measure in seconds or minutes – even on a sunny day. The images often appear similar to photographs from the 1870s.”

As for the Crown Graphic, Emrick says, “It is an old camera and operating it is like stepping back in time. Every action must be thought out, nothing is automated. A handheld light meter must be used, the shutter tripped manually via cable, even composing the images often requires being under a black cloth to view the scene on the ground glass.”

Later on, he adds, “The Crown Graphic, unlike the pinhole and Holga cameras, gives a very sharp image. It is one of the cameras Ansel Adams used.”

Another crucial aspect to using medium format film (2 ½” by 2 ¼”) and 4” by 5” sheet film, he notes, “is the size of the final print.

Print sizes exceeding 30” by 50” are possible with the latter and 24” by 24” easily done with the former. These are sizes not possible given the lack of available darkroom facilities in most cities these days (hence the digital printing).”

In order to get at the heart of his imagery, I ask him in a phone conversation, “What is it about these low fidelity techniques’ way of capturing images that intrigues you?”

He replies, “It’s not that I’m trying to get that old time look. It is the imperfections that make the image more artistic. It is the process of going back to the very basics of photography – the no frills, just a box with a hole in it and the film. There is no viewfinder for a pinhole camera. It is learning how the camera sees things. I have a good idea of how they should look. It is not just the result, it’s the process. With Holga cameras – plastic cameras – the image comes out distorted on the edges, sharp in the center. No two Holga cameras are alike in their distortions.”

his images. He says, with a laugh, “The short answer: it probably goes back to how things looked before I got glasses, when no one knew I needed glasses, when I was 10 years old.”

Not wanting to put words in his mouth, I break off the discussion and suggest he give it some more thought and email them to me.

Yet I cannot resist the temptation to ruminate about this idea of imperfections in his images.

Reflecting on his pinhole photographs in particular, I find that some of them capture the passing of time, of the present slipping into the past, and yet, paradoxically, freezing this past forever in the present images before me. They are by no means nostalgic. Verdigris River epitomizes this paradox: the soft, fluid blur of the water is juxtaposed to the hard, bumpy rocks on the bank– their rough edges somewhat rounded by that “soft” water over eons. A bleak mood permeates the image.

After a few days, Emrick emails his thoughts on imperfections: “Distortions, blurring.

I’m not sure why those really intrigue me.

While studying photography at OU, I used to develop film at high temperatures, then plunge it in nearly frozen water, finishing the process off with a high temperature wash that, at times, nearly melted the emulsion.

This produced very grainy, high contrast images. I also would put plastic wrap over the lens - the resulting images were often dreamlike, indistinct. Then there were also the Polaroid manipulations - where one starts with a perfectly good image, then presses

on the emulsion to create distortions and a unique image separate from the usual intent of a ‘photograph’.”

“The work I’m currently doing with plastic and pinhole cameras is really nothing more than a continuation of what I’ve been doing with photography for twenty some odd years. To put the ‘why’ into words, or to even attempt that when dealing with a visual medium, would probably kill the creative aspect. When I photograph well there are no words going through my mind, just the images. Analysis comes after the fact, after the compulsion to photograph fades, as dreams do after waking.”

The instant precision of high def digital maybe the wave of the future, but, as Analog: Low Fidelity Photography demonstrates, it is not the only wave. Just as Rembrandt’s soft, inky blacks and Monet’s impressionistic works continue to speak us, so too does the low fidelity, low tech photographs of Don Emrick. n 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.

Don Emrick, Claremore, Verdigris River, Pinhole Camera (4x5), 20”x24”

Obviously, the how and the why in creating art are inextricably bound. Yet, I can’t help but wonder about distortion and compelling flaws. So I push Emrick to explain why they appeal to him. As is his wont, he peppers his discussion of photography with references to prominent photographers, “It was a 1980s French fashion photographer who used crumpled up cellophane cigarette wrappers in front of the camera lens in order to achieve distortions.” I point out that this is an interesting bit of history, but it doesn’t explain why he desires distortion in capturing

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(top) Jean Ann Fausser, Tulsa, Feng Shui Greetings, Mixed Media

12x12

(middle second)) Katherine LiontasWarren, Lawton, Visitation at Quanah Parker Dam, Stone Lithograph (middle third) Carl Shortt, Oklahoma City, All Dressed Up, Wood

Art Show & Sale 2009

(btoom) Michi Susan, Oklahoma City, Poem 120-08, Mixed Media

by Allison Meier Rather than box them in, these equal sides and angles annually give Oklahomans the borderlines to simultaneously express their creativity while raising support for the visual arts.

The Oklahoma Visual Arts Coalition’s 12x12 Art Show and Sale will again be held at the Fred Jones Industries Building at 900 W. Main in downtown Oklahoma City. The former automobile manufacturing plant offers an industrial environment for contemporary art as well as a view of the Oklahoma City skyline, all accessed by the site’s freight elevator that will hoist attendees up from ground level to the huge gallery space. While this is the third year for the event to use the raw warehouse-sized room, the 20-year-old show is far from rusting.

“When you step off the elevator, you’re in a dream world,” said 12x12 Co-chair Susan Beaty.

“There will be 150 pieces of art by 150 artists that’s all 12-by-12 inches squared or cubed.

There will also be music and a cash bar, and lots of food from around 25 area restaurants.”

In addition to the drinks and delectable eats, there will be a drumline performance, live music from local favorite The Stringents, face painting for adults, and a photobooth run by OVAC artist Romy Owens. Like the 2008 photobooth, all of the images will be put online in a two-by-two format as a free souvenir for attendees. While maintaining favorites from previous years, the 2009 event promises to continue to be inventive with its art-accompanying entertainment and will surprise even those who come each year to add to their grid collection of 12x12 art.

“We’re trying to funk it up a little bit,” said 12x12 Co-Chair Sam Fulkerson.

Also included in the ticket price is access to the official 12x12 After Party at the Iguana Mexican Grill off of Automobile Alley. The downtown centralization of the show stresses its urban vibe and allows the over 1,000 expected guests to easily access the two parties.

The 150 works of art will be sold in two rounds of silent auctions, with bids starting at $168 for each piece. If buyers can’t bear to see a work slip away through the uncertain bidding process,

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they can choose the “buy it now” alternative and pay a set fee for the art.

Although many of the 12x12 artists will be returning participants from previous years, including Bob Curtis, Elizabeth Downing, Brad Jessop, Regina Murphy, Kolbe Roper, and Diana Smith, there will also be new and emerging artists added to the 150 chosen to showcase.

The art itself is also diverse and, while there are numerous square drawings, paintings, mixed media, and photographs, glass pieces, metal sculptures, and ceramics add a three-dimensional element. In order to part of the exhibit, the artists must be OVAC members and, after being picked for the show, must create a piece specifically for 12x12.

“It’s a rule that you can’t just dig something out of the closet,” Fulkerson said.

All of the artwork will be previewed online at www.12x12okc.org and some of it can be viewed in person in the three weeks before at the gallery space in Leadership Square at 211 N. Robinson in Oklahoma City. Nearly all of the work is usually sold at 12x12, making it an important promotional venue for the artists and an essential fundraiser for OVAC, which in turn gives the funds directly back to the artists through grants and programming.

“So many people want to come to 12x12 to have a bite of good food and a really good conversation,” Fulkerson said. “It is always an interesting crowd, from the straight laced attorneys to the people who are true artists. “ The 12x12 Art Show and Sale will be held at 7 pm on September 26. Tickets are $24 in advance and $30 at the door. They are available for purchase online through OVAC (www.12x12okc.org), or over the phone at 405879-2400. Tickets can also be purchased at the following ticket outlets: Full Circle Bookstore, New Leaf Florist and Guestroom Records. n Allison Meier is a freelance writing living and working in Brooklyn, New York. She can be reached at allisoncmeier@gmail.com.

nd FRIDAY enjoy ART with CART by riding the trolley for an experience unique to NORMAN

the 2nd friday of every month | 6-10 pm www.2ndfridaynorman.com a norman arts council initiative

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(left) Craig Wood, Tulsa, Tammy Faye, Glazed stoneware with underglaze. 16” x 12” x ½”

UK/OK at Price Tower Arts Center

(middle) Eleanor Pritchard, London, 405 Line Blanket, 625 Line Blanket, and Uniform Stripe Blanket (details), Woven lambswool. 82 ¾” x 82 ¾” each. (right) Janet Shipley Hawks, Tulsa, Glamour in Green, Machine embroidery thread, beads. 2” x 8” x 11”

by Elizabeth Downing From a place where August brings drizzly skies and 60 degree nights to our own homestate, where heat drizzles from the pavement instead and 60 degrees only exists in the fridge, the UK/OK show brought the work of British and Oklahoma artists to the Price Tower in August. Even more than uniting our artists with those from across the pond, this exhibit addresses the question of art and craft and of tradition and modernity.

Here, the union of art and craft are presented from two distinct cultural interpretations. We are led into work created across the pond and across the turnpike alike, and see how high craft meets design, tradition meets modernity, and Oklahoma meets Britain. Curator Scott Perkins from the Price Tower Arts Center says it is not about the “UK versus OK comparisons, but rather to comment on similarities between the two regions and the training, materials, and cultural identifiers of each.”

Tradition – it even sounds hard and unmoving, and conceptually it is: a reference point for comparison, always seen through rose colored glasses and always subject to an individual’s perception and memory.

Bringing tradition into the present is no easy task, but there is no area more ripe for the challenge than that of high craft.

The comparisons to flea markets tchotchkes and grandma’s quilts are inevitable but not always such a bad thing, and these 75 objects bridge the gap between that and “gallery” art.

This exhibit puts emphasis on the derivation of techniques from one medium to another. As Mr. Perkins says, “basketry techniques can be used to construct contemporary jewelry or the ways in which pottery can explore embroidery techniques.” And nothing is quite so modern as to repurpose an artistic technique.

The exhibition covers the gamut in terms of media, from ceramics covered in bottle caps to foldout paper books to colorful woven wall hangings. Some are recognizable, like Eleanor Pritchard’s earthy and geometric blankets, or Robert Dawson’s blue-and-white painted plates.

Others have a more contemporary air, like Valerie Banes’ wavy take on a stack of saucers and teacup and Janet Shipley Hawks’ threaded flower bowls. Some are contemporary by their choice of materials, like three small jewelry pins made out of circuit board. The whimsical has representation as well, with Craig Wood’s ceramic plates of smiling retro women, and Sarah Staton’s delightfully minimal thread and button sculpture.

These objects have a distinctly homey feeling in the least insulting way possible. Each of them, even those with the most contemporary treatments, are recognizable as things that are used or could be used in everyday life. There are purses, teapots, bowls, bracelets, blankets, embroidery and mosaics. This brings a very different feel to an art exhibit which mostly only exists within the context of a white box. But with the nature and the selection of these pieces, it is evident how art pervades the creation of something as simple as a plate, and how we are similarly influenced by association. n Elizabeth Downing is not an art critic, but a photographer of the urban landscape and a technical writer who lives in Tulsa. She can be reached at beth@bethdowning.com.

Robert Dawson, London, Crumpled, Print on bone china. ¾” x 10 ½” diameter

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George Oswalt, Oklahoma City, Doll House, Oil, 66”x48”

George Oswalt

at Mainsite

by Emily Lewis

Amnesia: Composition consisting predominantly of black and white with blue and purple streaks throughout. One solitary figure; a young woman wearing a collared dress is holding her purse with both hands. She’s looking straight ahead out of the composition. She stands comfortably in a mist of nothingness and is surrounded by a thin mauve frame. Outside the mauve is black.

The work of George Oswalt will be on exhibit at the Mainsite Contemporary Art Gallery in Norman, Oklahoma with an opening reception on October 9 from 7:00 to 9:00 p.m. and an artist’s talk on November 13 from 7:00 to 9:00 p.m.

Oswalt’s work continually emphasizes the figure rather than its surroundings. A reverse Gainsborough, the landscape is only present to support the figure and its objects that usually are set adrift in a vast expanse of space. The piece Smuggled Hope has two main characters wearing costumes floating above various unrelated items, yet neither character reacts to the other. They are as props on a stage with more minor props scattered about. Oswalt’s work is like a continuous play acted out in each composition with an intermission of wall space. The comic relief of this play would be two sister pieces examining a brief moment in the activities of the mild mannered, handsomely built and sometimes nude cowboy. He is an amalgam of past advertisements and iconic manhood, emphasized by the hat covering his forehead; he is a distinct character, yet unidentifiable. In the painting On Location, he wears a swimsuit and offers an ice-cream cone to a surfer.

The salmon pink tinge to his cowboy hat and his overexaggerated hand barely escaping the dripping ice-cream add a wonderfully playful sense from a character usually seen shooting at someone wearing a black hat.

In the sister piece, Sacred Mask, the severely muscular cowboy’s face is still obstructed by his hat and he has shed all his clothes and covers his genitalia with his hands while standing in an indistinguishable background that is segregated from the left side of the canvas by a line resembling a “zip.” These stringent lines of solid color are a common item in Oswalt’s work as they act as an indistinguishable middle ground as well as to separate the planes of the multitude of figures, so that they are in the same composition, but not in the same scene. On the left side an African mask seems to hover yet it is over a nude female who seems to have been covered over and slightly dissolved. This technique is seen in several of

Oswalt’s other works, the layering up of figures so that miscellaneous body parts suddenly appear out of an abyss or out of another figure. It is a very interesting aspect that gives the viewer a sense of uneasiness as well as revealing a more sensuous scene.

An abundant theme in the oeuvre is the use of toys or small dolls. Oswalt employs these as icons to almost assist the figures in relating to their surroundings as well as relating to a younger language of iconography. In Doll House this is very apparent. The main female figure is seen clutching a doll seemingly oblivious to her surroundings while another action figure stands erect and ever diligent.

This scene is very dubious because the viewer is unaware of the present location and the various lines of color are the main things separating the foreground, middle ground, and background. So it leaves the viewer stranded, wondering which character really is the doll, and whose house is burning? n Emily Lewis is a graduate of Art History from Oklahoma State University and is the summer Art Focus Intern. She can be reached at e.ann.lewis@gmail.com

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Lovetts Makes the Art World Go Round!

by Barbara L. Eikner Lovetts Gallery is the true Tulsa atelier for local, national and international artists in all medium. “Inspiration, exposure and education - that is the Lovetts way” is how Waylon Summers, Gallery Director, describes their place in the Tulsa and national arts community.

The gallery currently represents over 60 artists from Oklahoma and around the world.

Jack Summers has owned the gallery for over twenty years. He and his son, Waylon, moved the gallery from 41st Street, where it was a mainstay for over thirty years, to The Farm Shopping Center, 6528 E 51st Street, Tulsa, in April 2008.

The gallery originally opened in 1978.

Jack Summers is indeed a creative force ensuring the continuation of original works, even when the print market threatened to change the face and force of the art world. The gallery has an extensive collection of frame options from metal to wood molding and from 22K gold to hand carved Italian wood.

Lovetts’ goal is not to make art just a part of the gallery, but a natural part of life. In order to do that, the gallery has diversified its programs by reaching out to national and international artists who would not have had Tulsa on their tour lists, bringing in special programs, interacting with non-profit and community organizations, hosting juried art shows and has established a foundation.

Lovetts Foundation for the Arts ensures funding and a wider range of opportunities for the people of the Oklahoma community.

Series Review Diana Pardue, Curator of Collections at the Heard Museum in Phoenix, Arizona presented a warm and open presentation on Charles Loloma, the Hopi Jeweler, at the gallery in May 2009. Loloma: A Future Contoured complemented the concurrent exhibits of the Eugene Atkins Collection at the Philbrook in Tulsa and the Fred Jones Junior Museum of Art at the University of Oklahoma in Norman. The Heard Museum, which at one time held the largest collection of Charles Loloma, has been moved to second place by the Oklahoma collections.

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Pardue provided a journey through the life, influence and works of Charles Loloma with photos of his jewelry. In the audience was a friend of Loloma’s (who wishes to remain anonymous) who provided personal memories, which made the gallery talk feel like a fireside chat.

Pardue showed a number of images of bracelets, rings, earrings and bolos in vibrant and spectacular colors and design. Loloma’s use of texture and non-texture, recycled jewelry and material, adding attachments such as beads as ornaments to bracelets, increased the popularity of these items. His travels around the world gave him an opportunity to include cultural influence in his work.

Lovetts hosted its annual invitational Masters of Influence during June and July, where artists around the country paid homage to the iconic Hopi jeweler, Charles Loloma (19211992).

Upcoming Events Chris Ramsay, the interim Department Head of Fine Arts at Oklahoma State University and a noted metalsmith and jeweler, is presenting a discussion entitled Metal: an Oklahoma Legacy on Friday, September 18th from 5:00 to 7:00 pm.

Friday, October 9th Lovetts will open its Fall Perspective with artists Sophy Brown (Colorado), Christian Burchard (Oregon), Kirsten Kainz (Wyoming), Jerry Ricketson (Oklahoma), Janice Sugg (Colorado) and Kristen Vails (Oklahoma). This exhibit continues through December 9. n

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, Leadership Tulsa and Philbrook Museum, she can be contacted at trabar@valornet.com.

(top) Lovetts Gallery in Tulsa. (bottom) Kristen Vails, Oklahoma City, Stirring, Acrylic and Latex on Canvas, 48”x60”

ON THE

Ardmore

by Emily Lewis Taking an hour and a half drive south is very worthwhile when after the multitude of livestock one stumbles upon the thriving art scene in Ardmore, Oklahoma.

At 107 East Main Street you will meet the enthusiastic co-founder of Studio 107, Traci Martin. Studio 107 is a rather shotgun-style gallery with the main gallery in the front leading down a narrow hallway with examples of local pottery and crafts from Pretty Bird Designs and Jack Alan Ousey. There is also a room where the other co-founder, Susan Yeager, instructs Vocal and Theatrical Arts.

Continuing on, the back room acts as a studio and continued exhibition space, giving the entire gallery a rather relaxed atmosphere.

Currently, the exhibition Ardmore Artists II: Celebrating Our Evolving Culture is running September 2 through October 31, which is an exhibit of artist’s born in Ardmore or currently working in Ardmore.

and Performing Arts at 401 1st Avenue, where the wonderful granite garden of Jesús Moroles’ sculpture will greet you. Moroles is an avid contributor to the Ardmore community, having a permanent studio there as well as offering a granite workshop every July. This year, he is also offering a workshop October 15-18. If you’re as lucky as I was, you will run into the very helpful director of the Goddard Center, Maria Parrott, who enthusiastically will tell you about the Goddard Center’s desire to reach out to the Ardmore community as well as to the rest of the state. Through November 1, the Steven Poster Photography Exhibition will be taking place.

The Goddard Center is extensively involved in the Cuban Cultural Exchange which provided the works for their past exhibition, the 3rd Annual Arte de Cuba. Their extensive permanent collection includes the works

of D.J. Lafon, Leanora Carrington, and it’s difficult to turn one’s head without seeing the rather mildly surreal work of Susan Budge. They also offer extensive visual and theatrical art classes. The studio is connected to the main exhibition space by the granite garden and has a kiln for ceramicists and several other classes that would interest even the most amateur of artists. For information on those, please visit their website at www.goddardcenter.org.

So for an exciting evening, an artistic commute and a glass of wine on a Thursday direct yourself south and head to Ardmore. n Emily Lewis is a graduate of Art History from Oklahoma State University and is the summer Art Focus Intern. She can be reached at e.ann.lewis@gmail.com

Every third Thursday is a surprising celebration of the arts in Ardmore. At Studio 107, they offer a lecture series, currently finishing up a series on Impressionism. They will soon move on to the next series, Art Appreciation 107 which is compiled from the Metropolitan Museum of Art’s Seminars in the Arts.

Continuing your third Thursday tour, trek down the street to the gallery Kiva@ The 9, which wasn’t yet open to the public while I was visiting. You may run into owner Sandra Wells, an avid biker with an earnest personality. Kiva@ The 9 contributes as well to the third Thursday party with gallery openings, and the Unity 3 Project: Art, Community & Fitness. They offer cardio parties as well as Zumba. When I was visiting the gallery space was still being renovated but the plans for Kiva@ The 9 are big, so if you feel the need for some cultural exploration take a walk down Main Street in Ardmore.

Continuing our tour of Ardmore, we went to the Charles B. Goddard Center for the Visual

Granite sculptures by Jesús Moroles at The Goddard Center in Ardmore.

f e a t u re

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A mock-up of the sculpture by Juan and Patricia Navarrete to be placed in the East Side Roundabout in Norman.

Norman Public Art:

29-Foot Sculpture in East Side Roundabout

by Susan Grossman It took one year, 700 pages of documentation, 62 proposals, 24 semifinalists, 10 finalists, three models and one winner. Those numbers tell the story of the Norman Public Arts Board and the Norman Arts Council collaborative process for selecting a sculpture planned for a busy intersection on the east side of town.

Indian Grass by husband and wife team Juan and Patricia Navarrete of Taos, New Mexico was the favorite among three finalists and chosen in June. The 29-foot high sculpture will be made of steel and glass and represents hardy prairie grass, an important aspect of Oklahoma’s environmental history.

The Navarrete sculpture was designed specifically for the East Main Roundabout, located at the intersection of East Main Street, Carter Avenue, and Acres Street on the east side of Norman. A panel comprised of longtime Norman residents, City of Norman staff and local business people, along with the arts board and arts council studied the various proposals and ultimately narrowed the field to three. During a twoweek viewing at Norman Public Library, residents weighed in on their favorite of the three finalists. It was a clear winner, said Larry Walker, chair of the Norman Public Arts Board.

“Judging from the many comments we got, residents liked the abstract pieces best,” he said. “This piece got the public’s highest marks.”

The other two finalists included Spirit of the Prairies by Garegin Davtyan from Yerevan, Armenia which was a large buffalo and Native American combination and Selu by Howard Kalish of Brooklyn, New York who proposed a 25-foot piece composed of brightly painted aluminum tubes.

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Artists were asked to present sculptural proposals that represented the spirit of central Oklahoma. The Navarrete piece, which features five stalks of grass at varying heights, will be composed of Corten steel and is designed to convey the idea of sustainability.

The grass seed pods will be constructed out of stainless steel which will reflect light from the grass bristles, composed of a combination of Dichroic and safety glass.

The glass refracts light in different colors and vibrancy when viewed from different directions. The base of the sculpture is 8-feet in diameter and spans 24-feet. The seedpods are curvi-linear formations and will either be 3-by-1.5-feet or 2.5-feet-by-1.3-feet.

Jana Moring, a member of the Norman Public Arts Board, said structural engineering was one of the key factors in narrowing down the submissions.

“What I discovered during the selection process was that this kind of environmental art requires sound structural engineering practices,” she said. “The roundabout space is huge and the piece needs to fill it. We not only needed a piece the appropriate size but also the engineering knowledge to execute it.”

The selection marks a first for the Public Arts Board. In 2006, Norman City Council designated downtown Norman as an “arts district” and in 2007 created the Norman Public Arts Board to develop long range plans for expanding public art in the city.

Walker said currently there are 20 public arts pieces in various forms around Norman but there has been no concerted effort to raise private funds to execute a more long range vision.

“Outside the University of Oklahoma, which has supported public art for quite some time,

Legacy Trail in central Norman features a number of pieces,” he said. “Also in the City’s collection are pieces in a few city parks, the Veterans Memorial at Reaves Park, the Centennial Clock and statue of James Garner in downtown Norman, a tribute to the North Base Aviators and bronze historical cityscapes in Legacy Trail, and a statue of Abner Norman at City Hall.”

In addition, the city has received contributions for public art placements at Norman Public Library, City Hall, and street medians on West Main Street and South Classen.

Walker said that the roundabout is the perfect choice for the city’s concentrated public art effort.

“More than 9,000 cars go by that area every day,” he said. “It is on the eastern most edge of central Norman and near the original town site of Norman. This location is on a major artery to downtown.”

City of Norman will design, install and maintain landscaping in the roundabout area.

A public unveiling is planned for December.

The Norman Public Arts Board is continuing to solicit donations for the $60,000 sculpture through tax deductible gifts to the Norman Arts Council’s Art in Public Places Fund.

The fund is also supported through voluntary monthly donations in citizen’s utility bills.

For more information contact the Norman Arts Council, 210 E. Main Street, Norman, OK, 73069 or call 405-360-1162 n 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.

UN I V E RS I T Y C O L L E G E

O F

O F

C E N T R A L

A R T S ,

O K L A H O M A

M E D I A

&

D E S I G N

Design Foundations Exhibit

Sept. 3 - Oct. 25

Donna Nigh Gallery, Nigh University Center

Design by Daniel Agnew

This exhibit will feature unique 3-D compositions and other completed foundation assignments by UCO Design Foundations students. Free to the public. For more information: www.camd.uco.edu or call (405) 974-2432.

El Anatsui

September 18 - November 7

1 NE 3rd Street Oklahoma City, OK 73104 Tel: 405.815.9995 www.artspaceatuntitled.org

Awu (detail), 2009, aluminum and copper wire

Tues - Fri: 10 - 6pm, Sat: 10 - 4pm Sun & Mon: Closed

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Exposing Yourself

by Sue Clancy

“Just try one bite,” grown-ups will say to a young reluctant eater. Early in life we learn the value of trying new things. How quickly as adults we forget to try new things ourselves.

Work must be done and the bills paid. Before we realize it, routine has set in and “trying new stuff” is reserved for the once a year holiday if we’re lucky.

Cultivating Curiosity

Routine and work habits are not bad things.

In fact, a good work habit is an essential quality of success. Yet at the same time it is not healthy to become a slave of habits – even good ones. As artists our very job description is to look at things differently. Curiosity, diversity and fun are the spice of life. Nowhere is this truer than in the artistic life. They are key ingredients to approaching the world from different points of view. How do we maintain curiosity, diversity and fun while maintaining good work habits and staying focused?

2 what happens when shapes change?

I write here assuming that, like me, you know – or at least have a rough idea - what you’re focused on as an artist. (It’s the stuff that you write in your artist statement.) What we want to do is to take that focus point and create a “recipe book” that will enable us to inject curiosity, diversity and fun when we need it artistically to keep things “cooking” in the studio! This concept is similar to the way grown-ups will create a program to expose their children to new foods, new friends and new experiences. Our recipes are catered to our individual artistic focus. I write mine down in a sketchbook so that I can add to it or alter things as necessary without having to re-invent a recipe each time I need something.

It’s a cookbook that’s available for those times when I need inspiration. The recipes we create don’t need to be complicated. They need to have a variety of items which are adjustable for periods when there is less time or funds available than others.

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business of art

Now take the concept “Shape.” I’ll write in my sketchbook a list of ideas related to shape and I’ll leave my list open so I can add things later as necessary.

For example, I might list: 1 how do shapes influence each other?

3 how do shapes communicate to the viewer? (who uses them, to say what and why?)

4 what happens when shapes are made to change, or allowed to deteriorate over time?

5 how do shapes relate to scale and color?

With this list I would brainstorm exercises or experiments that might explore these both mentally and physically. The experiments become my “recipes” for each listed item sketching out various ways I can explore my thoughts and expose myself to new ideas.

For example, to explore how shapes influence each other I might study how the shapes of seeds influence the plant/produce that they become. I would find books on the subject. I might talk to farmers, gardeners or botanists.

I might also try growing some plants myself – and document how the shapes change over time. To explore what happens when shapes change – or are deliberately changed - I might read about Christo and JeanneClaude’s “wrapping” projects. Or I might read about Robert Smithson’s installations or any other artists who work with shape. To study how shapes communicate I may explore the concepts “beauty” and “ugly” in order to see how shapes considered beautiful or ugly convey these concepts to the viewer and how these concepts change over time. I might read about architecture and visit various physical locations said to be “beautiful” as well as those said to be “ugly” to see those

shapes myself and what part deterioration had played. I may travel to a place that has really large trees or buildings, or to a place that has really small ones – like for model trains – to experience how shapes are affected by scale.

This brainstorming would be listed in my sketchbook. When I need to take a break I do whatever experiment fits into my schedule. As new questions are raised by my experiments I will add them to my on-going list and create new recipes. This process helps me develop my curiosity and sense of fun while still being relevant to my artwork.

Delving Into Diversity We know that eating a diversity of foods is one key to good physical health. By trying a variety of new things related to an artistic focal point we expose ourselves to a diversity of thoughts which feed a healthy artistic life. For example, in my sketchbook I will also have a “diversity” list related to the concept “Shape.”

This list will contain items such as: 1) Explore the opposite of shape.

2) Explore the variety of subtleties of one shape.

3) How many different shapes can be derived from one “root” shape?

4) Explore opposing or contrasting shapes.

5) Explore how eye-level affects shape.

My sketchbook would contain experiments such as to read about ‘color field’ art – to explore whether any artwork has been made that did NOT use shape. I might look at the mound of apples in the grocery store and see if I can find how many shapes are “different” and not-round within all the rounded apple forms. I might look at the use of Fractals in math and the use of “root shapes.” I may use a computer or folded and cut paper to explore how many

We know that eating a diversity of foods is one key to good physical health. By trying a variety of new things related to an artistic focal point, we expose ourselves to a diversity of thoughts which feed a healthy artistic life.

derivations can be achieved from one shape.

If I’ve been working with small shapes I might deliberately work with large ones. Or, if I’ve been working with round ones, I may switch to triangular ones. I might see if I can determine how ordinary shapes look from the eye-view of my dog by hooking up a small video camera to the dog’s collar.

I fit the more dramatic experiments in to my work schedule when I need to “shake things up” but I also do the less dramatic ones in order to keep things spicy.

Fitting in Fun In my sketchbook/recipe book I also list the things that I encounter in the course of work that I find the most fun. This includes the experiments outlined above. Are some of the experiments more fun than others? Make a note of the fun one! Take note of the stuff encountered in life that is “Wow - Fun!” Make time to “just play” with art materials (& SHAPES!) the way a kid would play with her food. Note the fun then, too. Writing down what’s fun means that at any time we can open our book and “just try one.” Expose yourself to fun regularly! Deliberate efforts must be made to cultivate good work habits. Similar efforts must be made to keep fun as a part of regular life and thus a part of our artwork.

An artistic “recipe book” becomes a valuable resource for keeping things “cooking” in the studio. Being able to open a book and remind yourself of the next step or ingredient in your artistic adventure is similar in concept to keeping a calendar to help remember appointments - and it’s fun! n 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.

business of art

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Ask a Creativity Coach

It’s Later Than You Think

by Romney Nesbitt “Time is a created thing,” Lao Tzu said centuries ago. Couldn’t time also be a “creative” thing? Is time your ally or adversary? Changing the way you see time—literally—could make a difference in your ability to achieve your long term goals. A birds-eye view of time will give you a realistic picture of what’s ahead.

Artists create over time—minutes, hours, days, months and years.

Time is also invisible, elusive and it does funny things--it can get away from you, you can lose track of it, it flies when you’re having fun and it can creep up on you.

Managing time in minutes, hours and days is pretty easy. Many of my coaching clients meet their daily and weekly commitments; it’s the commitment months out into the future that are problematic.

Even when a show date has been set months or even years in advance, the weeks, days and hours leading up to deadline twist into a barbed wire of sleepless nights and frayed nerves. A customdesigned career calendar can lower your stress levels and help you meet your deadlines with confidence (and sanity).

10 Easy Steps To Create A Career Calendar Find a “flip the page” month-at-a-glance calendar. The best choice is one with big squares providing space for write-in information.

Make a copy of each month’s page starting with the current month through the month in which you have your big deadline. Enlarge the standard size sheet for more visual impact.

Lay the individual calendar pages out on a table with the months in order from left to right and tape them together. Take a moment to “see” the expanse of time before you.

Reference your personal calendar and record important dates on your career calendar such as holidays, days when you’ll be out of town, finals week or family events. Draw an “X” on the days that are already booked.

Count the remaining days. These are your “work” days—days when you can log in time on your creative project.

Write your “work” days total on your career calendar and circle it.

For example, if you start your calendar on Labor Day, September 7 and you have a show opening on Saturday, December 5, 2009 you have approximately sixty days to get your work completed (minus

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your “off” days).

Make this information more real by recording the numbers on each date working your way from the total number forward in time to D-Day which will be zero. (Think of this in the same way retailers calculate the number of shopping days until Christmas or students count the number of days until school’s out.)

At this point check your pulse. You’re either feeling encouraged by the number of days you have left to work or you’re in shock. It all depends on how close or far away you are to your deadline. Either way, at least you know the facts.

Make a commitment to work at least twenty minutes a day on each of your “work” days. Some days you’ll have a couple of hours. On busy days use twenty minutes to work on your mailing list or order frames. Working every day keeps you connected to your goal. Each day that you do some creative work, draw a star on that day as a tiny reward.

Look at your calendar daily to stay connected to your goal.

The career calendar works because it reminds you of the value of each and every day and it is visual proof that you’ve chosen to take charge of your time and career goals. People really do make time to do what’s important. n Romney Nesbitt is a Creativity Coach, artist and writer living in Tulsa.

She is the author of Secrets From a Creativity Coach, available on Amazon.com. Romney welcomes your questions for future columns. Contact her at romneyn@att.net, or at www.romneynesbitt.com.

(top) Peggy Preheim, Kid napping, Pencil on Paper (middle) Bartolomeo Passerotti, Male Head, Pen and brown ink on light blue paper (bottom) Peggy Preheim, No. 1, Pencil on one-dollar bill

At a Glance C apturing C reativity: From Michelangelo to Annibale Carracci: A Century of Italian Drawings From The Prado

by Katie Seefeldt Although Michelangelo Buonarotti is best known for his emotionally provoking sculptures or iconic frescoes in the Sistine Chapel, the artist was actually a true Renaissance man, working in a variety of mediums. Aside from sculptor and painter, Michelangelo was a poet, architect and draftsman. Indeed, his genius spanned the gamut of art. The exhibition From Michelangelo to Annibale Carracci: A Century of Italian Drawings From The Prado, on display at the Philbrook Museum of Art, exhibited three drawings by Michelangelo, providing visitors with a rare glimpse at the artist’s creative process. The exhibition focused on the burgeoning importance of preliminary drawings during the Renaissance, a time when paper became more readily available. This new commodity gave artists the opportunity to experiment with their designs, thus preserving for prosperity the creative processes of the great masters of the Renaissance and Baroque periods. Preparatory drawings have become appreciated for their ability to visually capture an artist’s momentary rush of inspiration.

The exhibition highlighted the beauty and naturalism of an artist’s creative process as it is captured on paper.

Accompanying this exhibition, and creating an interesting juxtaposition, was the art of Peggy Preheim, a contemporary artist who, like the Old Masters, flourishes in a variety of mediums.

The exhibition, Little Black Book, displayed Preheim’s drawings, sculptures and photographs. The most extraordinary pieces are the artist’s miniature graphite drawings, which are so delicate and detailed that the museum provides magnifying glasses for the viewer to truly appreciate the minute details that characterize the artist’s work. Unlike the masters of the Renaissance, Preheim does not make preparatory drawings. Instead, her work is an amalgamation of the creative process and the final product. Together, these two exhibitions encourage an understanding of the development of an artistic idea and capture the beauty of artistic inspiration. n Katie Seefeldt recently graduated with her Masters in Art history from the University of Georgia, where she specialized in Italian Renaissance and Baroque art. She is excited to be back in Oklahoma!

at a glance

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Round Up

September/October 2009

Don’t forget OVAC’s address and phone numbers have changed. The new address is 730 W Wilshire, Suite 104, Oklahoma City 731167738. Phone number: 405.879.2400.

We were fortunate to have summer interns helping us serve artists.

Kelley Lunsford brought her skills as an artist, manager in the Cultural Resources Department for the Chickasaw Nation, and East Central University student. She worked on interviews for OVAC’s blogs and other special projects. Micah Gamino, Oklahoma City University Masters of Liberal Arts student and writer, focused on grants research, artist health insurance resources and the 24 Works on Paper exhibition.

University of Oklahoma art history student Candace Wetmore assisted with volunteer recognition and Annual Meeting preparation. Thanks to these interns for all your work.

At the Annual Members Meeting in July, OVAC welcomed four new board members. We are thrilled to have them involved. New members are: Janet Shipley Hawks, Tulsa, received her BS in Occupational Therapy from University of Kansas. Currently retired, she is able to devote the majority of her time to her fiber creation, Sculpted Threads.

F. Bradley Jessop, Sulphur, is Chair of the Department of Art at East Central University in Ada. He holds a BFA in Printmaking and an MA in Painting from Emporia State University, as well as an Ed.D. from Oklahoma State University.

Christian Trimble, Oklahoma City, received his BA in Political Science from the University of Central Oklahoma and currently works as a Medical Sales Representative for Watson Laboratories. He has been actively involved with OVAC’s Momentum, serving as co-chair for two years.

Thank you to our New and Renewing Members from May and June 2009 Alexandra Alaupovic Randy Anderson Narciso Argüelles Sarah Atlee Eric Baker Lynn Barnett Sparks Justin and Betsy Barnum Robert Beatley Shelley Bittick Sherry and Ron Blankenship Ruth Ann Borum Lisa Boudreau Peter Bradford Dylan and Amanda Bradway Patti R. Bray Bryce Brimer Steven L. Brown Kendall Brown Dennis and Deborah Burian Pamela Byrd Annalisa and Bruce Campbell Gayle Canada Eleanor Davy Carmack Deon Cavner Marty Coleman Lloyd Conley Bryan Dahlvang Mireille Damicone Tünde Darvay Genni Davis Alysse DeSelle Alicia Diehl Anke Dodson Lauren and Tyler Downs Sam Echols JoAnn Eddy Nadia Ellis Don Emrick Ken Fergeson

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OVAC news

Denise Ferrell Thomas and Anita Fields Kimberly Fonder Whitney Forsyth James and Yiren Gallagher Kristin Gentry Che Graves Leanne Gross Stephanie Grubbs Dustin Hamby and Brian Barnes Ruth Harris Shelly Henry John C. Hill Mary Hines Michael Hoffner David Holland JJ Holley Paula Howell Vana Howell Cybele Hsu Eric Humphries Claudia Hunter Pamela Husky V. Kaye Jack Pherapha Jaidee Sam and Elizabeth Joyner Jean Keil John Kennington Neo Kirby Howard C. Koerth Carol Koss Stephen and Christina Kovash Trent Lawson Sean Lee Diane Leggett Leslie Lienau Lovetts Gallery Kelley Lunsford Bruce and Ellen Macella

Phyllis Mantik Roberta Martin Debora McCarty Colleen McCoy Jim McCue Mark and Terri McGugan Suzanne Wallace Mears Joshua Meier Melton Art Reference Library Tiffany Michelle Julie Miller Suzanne Mitchell Micheal Mooney Kay Moore Patricia Morgan Ann Morris Vicki and R.C. Morrison Pat Lynn Moses Regina Murphy Laura Murray Sydney Muse Don C. Narcomey Paula Nickl Wallace Owens Caroline Patton Suzanne Peck Nancy Peterson Bethany Petrone Andrew Phelan Angie Piehl Christian Pitt and Shawn Downey Paul Plowman Shawn M. Post Cristiana Prado Alice Lindsay Price Judith Prise Robert and Renee Reed Michelle Firment Reid Tom and Babs Richardson

David M. and Sharon Roberts John Rohloff Nancy Roper Linda Rous Cathy J. Rowten Tom and Velma Sanders Ciera Schibi Audrey Schmitz and Ken Crowder Asia Scudder Ann Shaw Byron Shen Frank and Pat Simons Heather Slate Skyler Smith Brenda Spencer Earline Strom William R. Struby Shirley Sutterfield Ashley Sword Andrew and Mary Tevington Don Thompson and Barbara Eikner Leigh Tomlin Alex True Kristen Vails Teresa Valero M. Walls Emily Warren Brent Weber Jeri Wensel Lee Williams Richard and Kathy Wills Karen Wilson Mark Wittig Wolf Production Leonard Charles Wright III Dixie Yoesting

Eric Wright, El Reno, received a BFA in Communication Design from the University of North Texas and spent 23 years as a commercial artist. He is now a full-time artist working in sculpture.

OVAC is calling for artists and participants for MANY things right now. Here are deadlines for each.

Artists: September 18: Public Art Mentorship OVAC is working in partnership with the Oklahoma Art in Public Places to provide mentorship for three sculpture commissions totaling $75,000 for Oklahoma artists new to public art September 26 & 27: Momentum Tulsa Event to be held at Living Arts, open call for actual artwork by artists aged 30 or under, more than $1,000 in prizes October 15: OVAC Grants Project-based grants for artists creating artistic community partnerships, developing new work, receiving continued training, and documenting their artwork October 16: Art 365 Five artistic projects will receive $12,000 each and curatorial guidance to create new work for 2011 exhibition.

Curators & Art Writers: September 14: Momentum OKC Emerging Curator Work with the Guest Curator to help three Spotlighted artists develop their artistic projects and jury Momentum OKC open call artwork for March 2010 event.

October 1: Oklahoma Art Writing & Curatorial Fellowship Presented in partnership with The School of Art & Art History at the University of Oklahoma and Oklahoma City Museum of Art, year-long institute for 12 Fellows to participate in a structured and innovative curriculum designed to encourage new writing and curatorial projects with nationally-recognized mentors Check our website www.ovac-ok.org or call the office 405.879.2400 for full prospectus.

Art People Alyson Atchison has been named the Curator of Education and Capitol Galleries with the Oklahoma Arts Council. She is an artist, past director of outreach for the Arts Council of OKC, and OVAC volunteer who received her MA in Education at the University of Central Oklahoma. n

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Gallery Listings Ada

Broken Bow

Lawton

Centennial Show: American Masterpieces, Leon Polk Smith Through September 26 A Woman From Texas: Emerging Female Artists from North Texas September 29- October 24 The Pogue Gallery Hallie Brown Ford Fine Arts Center 900 Centennial Plaza (580) 559-5353 ecok.edu

Master at Work Exhibit September 12- October 19 Forest Heritage Center Beaver’s Bend Resort (580) 494-6497 beaversbend.com

Jim Keffer and Linda Lugenbill September 12, opening reception September 12, 7-9 The Leslie Powell Foundation and Gallery 620 D Avenue (580) 357-9526 lpgallery.org

Ardmore

Ardmore Artists II: Celebrating Our Evolving Culture September 2- October 31 Studio 107 Gallery 107 East Main (580) 224-1143 studio107ardmore.com

Durham Kate Johnson: OK Cowboy Art and Denise Alexander: Darka Designs September 1-November 30 Metcalfe Museum Rt. 1 Box 25 (580) 655-4467 metcalfemuseum.org

Edmond

Myths and Magic Betty Dolman and Rudy Ellis Exhibition October 1-November 1 Worley Faver: Pottery and Steven Poster: Photography Through November 7 The Goddard Center 401 First Avenue SW (580) 226-0909 goddardcenter.org

Bartlesville UK/OK: Exploring Traditions in Contemporary Design Through January 3 Price Tower Arts Center 510 Dewey Ave. (918) 336-4949 pricetower.org

Karen Renfrow September Gary Lennon October Fine Arts Institute of Edmond 27 E. Edwards (405) 340-4481 edmondfinearts.com Dick Evans October 9 Opening reception, 5-7 Shadid Fine Art 19 N. Broadway (405) 341-9023 shadidfineart.com

El Reno Dream Land: Waste Land Conceptual Exhibit by Eric Wright Through September 25 Redlands Community College (405) 262-2552

Ann Powell, Abstract II, mixed media, on display through October 31 at the Istvan Gallery at Urban Art in Oklahoma City.

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Exhibition Schedule

gallery guide

Norman Marc Barker September 11- October 30 Opening reception, September 11, 6-10 Firehouse Art Center 444 South Flood (405) 329-4523 normanfirehouse.com Spirit Red: Visions of Native American Artists from the Rennard Strickland Collection Through September 13 Sooners in the Land of Enchantment: Oklahoma Artists and New Mexico October 10- January 3 Opening reception October 9, 7-9 Fred Jones Jr. Museum of Art 555 Elm Ave. (405) 325-4938 ou.edu/fjjma

Flat Files Exhibition and Live Drawing Rally September 11 George Oswalt, Garrison Buxton, Melanie Seward October 9 Mainsite Contemporary Art Gallery 122 East Main (405) 292-8095 mainsite-art.com

Oklahoma City Josh Reynolds September 4-27 Brandi Twilley October 2-31 aka gallery 3001 Paseo (405)606-2522 akagallery.net Moss & Rivers October 15 – November 7 Narciso Argüelles & Cassandra Wozniak October 15 – November 7 City Arts Center 3000 General Pershing Blvd.

(800) 951-0000 cityartscenter.org

Matt Seikel and Denise Duong September 4-26 JRB Art at the Elms 2810 North Walker (405) 528-6336 jrbartgallery.com Sarah Atlee: Back to Normal Through September 21 They Know Who They Are: Mike Larsen September 29- March 26 Gaylord-Pickens Oklahoma Heritage Museum 1400 Classen Dr. (405) 235-4458 oklahomaheritage.com Ann Powell, Dan Garrett and Christina Kovash Through October 31 Istvan Gallery at Urban Art 1218 N. Western Ave. (405) 831-2874 istvangallery.com Prix de West Invitational Art Exhibition Through September 7 Bonita Wa Wa Calachaw Nuñez: Selected Works September 19- January 10 Traditional Cowboy Arts Association 11th Annual Exhibition September 26- December 6 Arte en la Charreria: The Artisanship of Mexican Equestrian Culture October 10- January 3 Not Just a Housewife: The Changing Roles of Women in the West Through January 10 National Cowboy & Western Heritage Museum 1700 NE 63rd (405) 478-2250 nationalcowboymuseum.org

Turner to Cézanne: Masterpieces from the Davies Collection, National Museum Wales Through September 20 The Dutch Italianates: 17th Century Masterpieces from Dulwich Picture Gallery, London October 8- January 3 Oklahoma City Museum of Art 415 Couch Drive (405) 236-3100 okcmoa.com BJ Wood: Nature’s Sketchbook Through September 20 Governor’s Gallery Don Emrick: Found in Abstraction Through October 18 North Gallery Matt Moffett: Dog Show Through November 1 East Gallery Oklahoma State Capitol Galleries 2300 N. Lincoln Blvd (405) 521-2931 arts.ok.gov

Park Hill

Shawnee

57 Annual Cherokee National Holiday Arts and Crafts Show September 4-6 14th Annual Homecoming Art Show and Sale Through October 4 Cherokee National Historical Society, Inc. 21192 S. Keeler Drive (918) 456-6007 cherokeeheritage.org

Come and See: The Photographic Journeys of Linda Schaeffer September 11- October 25 Opening reception September 11, 7 pm Mabee-Gerrer Museum of Art 1900 West Macarthur (405) 878-5300 mgmoa.org

th

Ponca City Richard Gordon Matzene: Photography of the Royal Family of Nepal September 13- October 4 Ponca City Art Center 819 East Central (580) 765-9746 poncacity.com

Become a member of the Oklahoma Visual Arts Coalition! Join today to begin enjoying the benefits of membership, including a subscription to Art Focus Oklahoma.

Sustaining $250 -Listing on signage at events -Invitation to private reception with visiting curators -All of below

Patron $100 -Acknowledgement in the Resource Guide and Art Focus Oklahoma -Copy of each OVAC exhibition catalog -All of below

Family $55 -Same benefits as Individual for two people in household

Individual $35 -Subscription to Art Focus Oklahoma -Inclusion in online Virtual Gallery -Monthly e-newsletter of visual art events statewide -Monthly e-newsletter of opportunities for artists -Receive all mailed OVAC call for entries and invitations -Artist entry fees waived for OVAC sponsored exhibitions -Listing in Annual Resource Guide and Member Directory -Copy of Annual Resource Guide and Member Directory -Access to “Members Only” area on OVAC website -Up to 50% discount on Artist Survival Kit workshops -Invitation to Annual Meeting

Student $20 -Valid student ID required. Same benefits as Individual level.

Tonkawa 24 Works on Paper Through October 12 Eleanor Hays Gallery Performing Arts Center Northern Oklahoma College 1220 East Grand (580) 628-6670 north-ok.edu

Tulsa Thomas Gilcrease and the Making of an American Treasure Through January 10 Gilcrease Museum 1400 Gilcrease Road (918) 596-2700 gilcrease.org

Decennial September 17 – October 3 Opening September 17, 5-8 Magnetic Transformations: Michael Kessler October 15 – November 7 Opening October 15, 5-8 Joseph Gierek Fine Art 1512 E. 15th St (918) 592-5432 gierek.com Momentum Tulsa: Art Doesn’t Stand Still October 10, 8-midnight Exhibit hangs through October 24 Living Artspace 307 E. Brady (918) 585-1234 livingarts.org Fall Perspective October 9- December 9 Reception October 9, 5-8 Lovetts Gallery 6528 E 51st St (918) 664-4732 lovettsgallery.com

The Color Woodcuts of Gustave Baumann Through October 11 Northern Renaissance Prints from Philbrook’s Collection October 18- January 10 Auspicious Vision Through November 29 The Eugene B Adkins Collection Through December 31 Philbrook Museum of Art 2727 South Rockford Road (918) 749-7941 Philbrook.org Aggregate: New Works by TAC Members September 4-26 Analog: Low Fidelity Photography by Don Emrick October 2-31 Tulsa Artists Coalition Gallery 9 East Brady (918) 592-0041 tacgallery.org

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Detach and mail form along with payment to: OVAC, 730 W. Wilshire Blvd, Suite 104, Oklahoma City, OK 73116 Or join online at www.ovac-ok.org

ArtOFocus k l 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) 879-2400.

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

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