Concept 2020

O K L AHOMA V IS UAL ARTS C OALITION PRES ENTS

CONCEPT 2020

COPYRIGHT © 2020 BY OKLAHOMA VISUAL ARTS COALITION ALL RIGHTS RESERVED. THIS BOOK OR ANY PORTION THEREOF MAY NOT BE REPRODUCED OR USED IN ANY MANNER WHATSOEVER WITHOUT THE EXPRESS WRITTEN PERMISSION OF THE PUBLISHER EXCEPT FOR THE USE OF BRIEF QUOTATIONS IN A BOOK REVIEW. PRINTED IN THE UNITED STATES OF AMERICA ISBN // 978-0-578-64909-2 OKLAHOMA VISUAL ARTS COALITION 1720 N SHARTEL AVE, STE B, OKLAHOMA CITY, OK 73103 // OVAC-OK.ORG // 405.879.2400 DESIGN // CHRISTIE OWEN PHOTO CREDITS // THE ARTISTS, LAUREN FOURCADE SPONSORED BY

O K L AHOMA V IS UAL ARTS C OALITION PRES ENTS

CONCEPT 2020

FEBRUARY 7 – MARCH 22, 2020 AHHA TULSA // TULSA, OKLAHOMA MAY 1 – JUNE 15, 2020 HARVESTER ARTS // WICHITA, KANSAS CURATED BY // HEATHER PESANTI

CONCEPT SURVEY EXHIBITION // Installation view at ahha Tulsa

TABLE OF CONTENTS 6-7

INTRODUCTION & ACKNOWLEDGEMENTS KRYSTLE BREWER, EXECUTIVE DIRECTOR OKLAHOMA VISUAL ARTS COALITION

8 - 11

CURATOR’S ESSAY HEATHER PESANTI, GUEST CURATOR

12 - 45

FOCUS ARTISTS & RESPONSE WRITINGS SARAH AHMAD - RESPONSE BY CATHERINE CRAIN GEOFFREY HICKS - RESPONSE BY ALYSON ATCHISON NAIMA LOWE - RESPONSE BY LIZ BLOOD ANDY MATTERN - RESPONSE BY KYLE COHLMIA RACHEL FOSTER - RESPONSE BY LAUREN SCARPELLO MICALA GINGRICH-GAYLORD - RESPONSE BY LAURENCE REESE KEVIN KELLY - RESPONSE BY JOHN SELVIDGE AMANDA PFISTER - RESPONSE BY DANNY R.W. BASKIN

46 - 75

SURVEY ARTISTS

76 - 85

BIO INDEX

86 - 87

CONCEPT PARTNER INFORMATION

In its third iteration, Concept builds regional networks, supports the creation of new work, celebrates artistic achievement, and provides a platform for critical conversations—all encapsulated in the catalogue you now hold.

We believe each of these aims are critical to add to the current collection of contemporary art and surrounding discourse.

INTRODUCTION & ACKNOWLEDGEMENTS

This triennial program is made up of two parts: Focus and Survey. For the Focus component, our guest curator, Heather Pesanti, Chief Curator for The Contemporary Austin, selected four Oklahoma artists and four Wichita area artists to create new bodies of work over the course of six months.

We provided each of them with a stipend of $1,500 and curatorial support, both through in-person studio visits and digital communication, to make new work with the goal that they could challenge themselves in their practice. These projects debuted along with the Survey component at ahha Tulsa.

Following, the Focus projects travel to Harvester Arts in Wichita. This exchange provides the Focus artists the opportunity to show their work in a new community, reaching new audiences. Additionally, the artists themselves are exposed to new artists and art spaces.

The Survey component highlights the incredible work being made by Oklahoma artists and includes $3,000 in awards of artistic achievement, which you will see noted next to the awarded artwork. The twenty-seven works that were selected for Survey shows the breadth of work being made in Oklahoma including new media, installation, drawing, painting, and more— each thoughtfully engaging in their own right.

With Concept and its catalogue, we are able to connect writers to artists and provide a platform for critical writing. Through our Oklahoma Art Writing & Curatorial Fellowship program, we train promising writers and curators to expand the critical writing on contemporary art in Oklahoma.

We have selected graduates of this program to create written responses to each of the Focus projects, providing a unique lens in which to approach the work.

We are incredibly grateful to have had the opportunity to work with our organization partners ahha Tulsa and Harvester Arts.

Our collogues Holly Becker, Amber Litwack, and Jessica Walker were instrumental in ensuring the opening exhibition at ahha Tulsa was a success. Thank you for all of your support and problem-solving skills.

Additionally, Kate Van Steenhuyse, Kristin Beal, and Ryan Gates were critical in connecting us to the Wichita area artists,

hosting us through studio visits, and coordinating all aspects of the Focus exhibition at Harvester Arts. Both of these exhibitions were only made possible through the dedication and support of these partners.

Working alongside our curator, Heather Pesanti, was a truly enriching experience.

There are few curators I have personally worked with that compare to her level of generosity, vision, and thoughtfulness. Her attentiveness to each artist as well as her ability to discover the commonalities of these seemingly disparate narratives was a fascinating and impressive feat to observe.

I am fortunate to work with the OVAC Board of Directors who give greatly of their time, expertise, and vision to empowering the visual arts in Oklahoma—thank you for your leadership. Our devoted staff work tirelessly to implement all of our programs and I couldn’t ask for a more inspiring team: Alexa Goetzinger, Associate Director; Hayley Olson, Membership & Outreach Coordinator; Audrey Gleason, Programs & Events Coordinator; and Lauren Fourcade, Media & Programs Assistant.

This program was made possible by the generous support from The Andy Warhol Foundation for the Visual Arts, George Kaiser Family Foundation, and NBC Bank.

Additional organizational support comes from Allied Arts, Oklahoma Arts Council, National Endowment for the Arts, Kirkpatrick Family Foundation, and many individual donors and members. Thank you for believing in the work we do and the power of the arts to positively impact our communities in countless ways.

KRYSTLE BREWER

EXECUTIVE DIRECTOR

OKLAHOMA VISUAL ARTS COALITION

CONCEPT SURVEY EXHIBITION // Installation view at ahha Tulsa

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CURATOR’S ESSAY Musing on my research travels throughout Oklahoma and Kansas as guest curator of Concept, I’m reminded of my time in Buffalo, New York, where I lived from 2008 to 2012 while Curator of the Albright-Knox Art Gallery. During my tenure, I worked with the Land Artist Andy Goldsworthy on the commission of a permanent outdoor project on the grounds of the museum. While the development and construction of his project, Path, 2012-2013, was complex, the concept was simple: a weaving, serpentine line that alternately emerges and disappears along a traditional gravel path. This mercurial shadow was caused by fluctuations in temperature and precipitation interacting with a granite structure constructed by the artist (and his team of British wallers) and hidden beneath the pebbles. Imagining that Buffalonians might repeatedly traverse this route in various seasons and observe the path’s altered states—a snake-like drawing, speckled irregular shadows, or nothing at all—depending on the season, climate, time of day, and whether or not one might be looking downward, was central to the work. As the artist told me then, “Change is what happens when you observe the same place over time; otherwise it’s just difference.” 1 Thinking about the artists in Concept reminded me of this notion of change versus difference, particularly as it relates to one’s environment and surroundings.

Many of those whom I visited during the process of curating the Focus section were born and grew up in the region, or have lived there for decades, perhaps coming for school, a job, or a spouse, and staying. Others informed me they were living there temporarily, perhaps surprised by their own presence

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in an unfamiliar region. All shared an interest in maintaining a vibrant and evolving artistic practice engaged with the global art world while based in the Midwest (although Oklahoma, some might argue, could be considered the South). Outside of high-density commercial and creative capitals, these makers must forge a different path than those in major thoroughfares. Yet in our modern “global village,” to quote Marshall McLuhan, many off-center geographic sites—like Tulsa and Wichita—have cultivated intricate networks through technology, commerce, travel, and other means while establishing fertile creative roots within their own communities. 2 Several artists in Focus explore how identity and place can be manifested through materiality imbuing contemporary feminist takes into their practices.

Multi-disciplinary artist Sarah Ahmad (Tulsa, Oklahoma) merges her experience as an artist and single mother in the American Midwest with her Pakistani and Southeast Asian roots, resulting in fragmented, delicately patterned laser-cut installations inspired by Islamic architecture, meticulous drawings on vellum, and photographs of natural environments.

Here, her site-specific drawings of trees and wood are literally extended into the architecture of ahha Tulsa’s gallery and lived space, climbing onto the ceiling, floor, and staircase through intricate threads expanding outward into a cosmic network. Rachel Foster (Valley Center, Kansas) uses the traditional medium of painting on canvas to explore her own complex familial relationships. Foster’s large-scale, hyper-realist paintings comment on the complexities of being a female, a mother of five (including two of whom have autism, and are regular protagonists in her work), and a working artist in the agricultural Midwest. Mining Black cultural production and personal experience of “queer black folk from Tulsa,” Naima Lowe (Tulsa, Oklahoma) blends improvisation, music, imagery, and text into raw and powerful videos, drawings, and installations. 3 In one series of videos, Lowe worked with her father, jazz musician Bill Lowe, to create a musical score to accompany video clips of individuals filmed by Lowe as they sing and dance to different Black songs. Other text-drawings—visceral, poetic, and personal—are inspired by jazz musician John Coltrane and Afro-futurist pioneer Sun Ra, filtered through the lens of Lowe’s own experience, queer sexuality, and relationship to the black men in her life.

Artist in conversation with the author, Buffalo, New York, 2013.

See Marshall McLuhan, The Gutenberg Galaxy: The Making of Typographic Man (Toronto: University of Toronto Press, 1962).

Naima Lowe, artist statement for Concept, “Strange Old Black Men I Have Known and Loved,” June 30, 2019.

CONCEPT SURVEY EXHIBITION // Installation view at ahha Tulsa

KEVIN KELLY // Red Hat (Daddy) (top left) AMANDA PFISTER // audience interacting with What We Leave Behind (top right) NAIMA LOWE // Audience interacting with Aren’t They All Just Love Songs Anyway? (center right) CONCEPT SURVEY EXHIBITION // Installation view at ahha Tulsa (bottom)

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Other Focus artists interrogate artmaking through a conceptual, process-oriented framework. Critiquing the heady modernist premise of abstraction, Kevin Kelly (Wichita, Kansas) makes “soft sculpture” paintings through a tactile, layered process.

Beginning with a sketch enlarged and transferred onto a plastic sheet, the artist applies swaths of paint which are then peeled off, assembled, and installed on the wall or floor. These works are uniquely mesmerizing formal assemblages expanding on the intersection of abstraction and representation, while their flaccid, drooping, fragmented compositions suggest satirical critiques of stereotypical Midwestern tropes (i.e. Trumpian MAGA hat wearers, ugly men’s underwear). Andy Mattern (Stillwater, Oklahoma) uses photography to critique art historical clichés and methodologies imbued in the medium, often through self-referential objects and gestures. In the series Standard Size, 2014, Mattern plays with the design of photography by taking picture details of the boxes of analog and digital photo paper with their didactic text and imagery removed, resulting in layered, nuanced compositions. For this exhibition, Mattern—aware of the cautionary tale in rendering analog formats nostalgic—refurbished an antique Daguerreotype camera then took portraits, exploring the changing qualities of light, time, and imperfections in the medium as a contemporary premise.

Participation and collaboration, an increasingly important thread in contemporary art, anchored the practices of several others. For Micala GingrichGaylord (Wichita, Kansas), human connection and social purpose underlie her artistic practice.

As one who has dedicated her career to working with disadvantaged individuals, her current series explores the notion of objects—in particular, bricks—as vessels for projecting, carrying, and healing trauma. GingrichGaylord began by wrapping bricks with her grandmother’s linen, then expanded the project to invite others to bring and wrap their own bricks.

Each brick tells a story, alluded to (but not described completely) in their titles, in a subtle, poetic installation that speaks to the human condition. Also sourcing her audience for content, Amanda Pfister (Wichita, Kansas) embraces the quotidian aesthetic of digital photography and social media with community-based photo albums. Pfister invites her audience members to sit in the gallery at tables and print out a personal image, then pin each to the wall; these are then combined into a single “family” photo album.

Alternately poignant and disorienting, Pfister breaks down the walls of social interaction while highlighting the proliferation of mass image-making. Critiquing the ubiquity of cameras, “selfies,” and digital

surveillance in contemporary society, Geoffrey Hicks (Tulsa, Oklahoma) works with technology and light to create installations that respond to human interaction and site. Mirrors consists of a series of monitors each with front-facing video cameras filming visitors as they look at themselves, sometimes altered by an intentional programmatic delay. Alternately playful and foreboding, the installation provides an imaginative playground to look at one-self and others, while commenting on the dangerous ubiquity and loss of control of surveillance in our lives.

Twenty-seven Survey artists complement these eight Focus artists and together comprise the full Concept exhibition. In the Survey component, several artists explore ritual and symbolic object-making, or, conversely, root their practice in finding beauty in the mundane. Other artists alternately present rich meditations on personal histories, critiques of social and political issues, or renderings of the daily lives of others. Finally, some focus on the process of making itself, through abstractions, drawings, paintings, or sculpted objects, exploring the parameters of each medium.

In this mix of divergent practices and perspectives, one returns to the question of change versus difference. As an East-Coaster, née Yankee, now living in Austin, Texas, I am confronted daily with the fascinating mashup of residents from different coasts living amidst native-born Texans, a fast-growing population with little time to consider its growing pains, and a liberal city within a staunchly conservative state.

But step outside Austin into the countryside, where hundreds of miles of paddle cacti and big sky zoom on the horizon, and a spiritual sensibility can take over.

In this landscape, although everything might appear the same, change can be observed over time, through variations in light, space, and oneself. Goldsworthy’s intent with Path was that people walk the same route, repeatedly, and observe changes over time.

In off-center cities, such as Buffalo, Tulsa, and Wichita, sometimes change, rather than difference, can more readily be observed and embraced. In this spirit, the artists I encountered on my travels in Oklahoma and Kansas presented thoughtful, nuanced, and forward-thinking practices attuned to global trends while deeply responsive to place, site, and change.

HEATHER PESANTI CHIEF CURATOR & DIRECTOR OF CURATORIAL AFFAIRS THE CONTEMPORARY AUSTIN

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SARAH AHMAD // Installation views of Cosmic Identity

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SARAH AHMAD TULSA, OKLAHOMA

Cosmic Identity is an artistic inquiry into universal identity and the human condition that transcends borders and categorizations. Ubiquitous in nature, the human body, and the cosmos, the patterns of the cosmic web are the fundamental structure of the universe, identical to the structure of dendrites and the neural networks in the human brain.

My work encompasses themes of identity, migration, displacement, belonging, rebuilding life after destructive experiences, and what it means to create a space for oneself in the world.

My pen and ink drawings are inspired by nature—in its constantly changing state, including parts of trees, rocks, driftwood, and natural fractured patterns—and transforming these into new forms, serving as metaphor for creating harmonious realities from broken parts. Networks simulating the cosmic web and dendrites extend from these drawings in black threads creating a web of pathways in a cosmic simulation of our interconnectedness.

Beyond the contexts of cultures and places, transcending boundaries and categorizations, time stands still. In these moments, in the rhythm of creation, I feel free. Imbuing this freedom into my work, I investigate interconnectedness through common patterns in the human body, nature, and in the cosmos.

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SARAH AHMAD // Installation views of Cosmic Identity

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SARAH AHMAD RESPONSE BY CATHERINE CRAIN

A single thread. Or is it many? Where does one end and another begin? In Sarah Ahmad’s Cosmic Identity, black thread travels underneath the staircase, nestling amongst mounted drawings on paper, and expanding into the gallery space.

The vectorial patterns formed by the threads are carefully paired with the almost alchemical shapes that we see rendered on paper. The drawings resemble liquid metal, shapes that seem to exist in constant motion, composed of nodules drawn with Ahmad’s methodical hand. Macro and micro collide in the installation, which invites your eye to explore each mark that contributes to the larger composition.

Dynamic, frenetic, and almost overwhelming, we are drawn into this complex matrix and left to explore the maze of black and white.

Ahmad’s installation becomes a meditative experience, reflecting the structures that we see within us and those that are scattered across the cosmos. It engenders a true sense of unity, a feeling that we are part of the larger picture. Culturally-defined constrictions and invented boundaries fizzle away in these constellations, and we are left with the pathways that connect our human condition to the greater universe that can feel so foreign. Every thread is a synapse formed around a memory or a feeling or is it a newly discovered galaxy filled with mystery and opportunity? Perhaps both.

In Cosmic Identity, the differences between us and the cosmos seem to dissolve, and we are simultaneously one and part of the many.

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GEOFFREY HICKS // Installation views of Mirrors

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GEOFFREY HICKS TULSA, OKLAHOMA

Inspired by the conflicting views around cameras and digital surveillance in contemporary culture, Mirrors is an installation composed of a series of wall-mounted flat-panel monitors, each with an integrated video camera facing the audience.

The monitors, or “mirrors,� display the signal from the cameras with an ever-changing delay from real-time. When walking up to the installation, visitors view themselves in many of the screens at once, but at different moments over the previous minute or two. The amount of delay in each mirror continuously changes, lengthening, or catching up to the present moment in time.

As a reflection of the current selfie obsession, many individuals might be seduced by their multiplied reflections, perhaps interacting with the installation as they would with apps or social media. Others might approach the installation cautiously, considering the implications of cameras attached to Internet-connected devices that are ubiquitous. Like photography and surveillance today, this installation is, on one hand, playful and fun, and on the other, an ominous metaphor for the effects of ever-present cameras in our society.

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GEOFFREY HICKS // Installation views of Mirrors

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GEOFFREY HICKS RESPONSE BY ALYSON ATCHISON

People respond to the surprise of seeing their likeness on video monitors in public spaces in varied ways, often revealing their self perception, world view, and/or generation. Some are enamored by their reflection and want to play with it, while some are repulsed and walk away without looking more. Some are apprehensive about their privacy, while some are indifferent.

We often see these wide-ranging reactions in today’s popular culture of media and surveillance, be it the “kiss cam” at a sporting event or the surveillance monitors that watch customers in grocery stores and banks. Sometimes it’s a welcome mirror, and sometimes it’s an invasion of privacy.

Mirrors confronts us with all the above and more. The random and ever-changing lapse between the previous few minutes and real time, randomly scattered over the six monitors, simultaneously shows our present reflection alongside our relaxed and natural state before we discovered we were being watched, and possibly most revealingly—the moment we realized it. Did you straighten your posture and suck in your gut? Did you smile and lean in or cringe and walk away? Don’t worry, you’ll have several more chances to watch your instinctive reflex a few more times if you can stand it.

In the age of curated lifestyles on social media where we only reveal our best selves, Mirrors allows us to evaluate our natural selves beside our reactive selves and see what we do in the present moment. It reminds us that the world sees all versions of us.

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NAIMA LOWE TULSA, OKLAHOMA

This is the art that I talked myself out of making for decades because I heeded bad advice. I listened to the teacher who told me that if I wanted to be taken seriously as an artist, I would need to stop talking about my feelings. I listened to the books that told me that I could either be Black or work with expressive abstract forms, but not both. I listened to the voices in my head that told me that I wasn’t allowed to make music, even though it was my first language.

I spent last year making three interrelated bodies of work aimed at dispelling these myths: 1) a series of love poems made into video and drawings, 2) a series of abstract self-portraits in painting and sculpture, and 3) a collaboration in music and video with my father, Jazz composer/trombonist/tubist Bill Lowe about Black musical expression.

Love permeates these works and is my driving force. Love is messy, radical, and transformative, frequently commodified, oversimplified, and weaponized against those of us living on the margins. These works embrace contradictory and revolutionary types of love. Romantic Love. Familial Love. Love of Self. Love of Blackness. Loving enough to take no shit. Loving enough to change and grow.

NAIMA LOWE Installation views // Aren’t They All Just Love Songs Anyway? (top) Formulary, (bottom left) // Ropes, Pinks (bottom right)

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CONCEPT FOCUS EXHIBITION // Main Gallery view at ahha Tulsa NAIMA LOWE // Ropes, Pinks detail

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NAIMA LOWE RESPONSE BY LIZ BLOOD

Naima Lowe’s multi-faceted work investigates variations on the theme of love.

Like a novel-in-stories, viewers can take in Lowe’s pieces—installation work, printed text, and video and sound—each on its own, though they coalesce into one whole, concatenating and expanding upon each other.

Influenced by her father, jazz musician and composer Bill Lowe, Naima explores improvisation, black music and black expression, and what is considered serious art and by whom, all with love at the axis. Improvisation, she says, means bringing your best to the moment—the discipline one has committed to and the willingness to be guided by intuition.

Lowe’s work conveys an artist inwardly led. Rewarded by her instinct, viewers are probed to think about the many ways in which love presents itself, and how we might deny it.

Her video works, six in total, raise questions about why love songs are considered frivolous if they’re pop songs but high art if they’re jazz. These call out to her abstract installation—200 feet of hanging and tangled pink rope that suggests musicality and freedom in its apparent lightness, but also, through knots and counterweight, that some bodies have to work harder than others to show up where they do.

Expressing intense emotion and inner thought in glowing neon pink text, her screen prints embrace in their brief space self-love and complex feelings.

Relationship is examined everywhere—to one’s self, to others, to the traditions to which we belong or admire, and to those from which we might exclude others.

Lowe reminds us, both through her work and as she speaks in her poem, “love begins with trust, and that trust makes room for freedom.”

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ANDY MATTERN STILLWATER, OKLAHOMA

Most early photographs—daguerreotypes, ambrotypes, tintypes—are in fact mirror images, whereby the pictures are reversed from left to right. In portraiture, this subtle distortion is significant because it represents a key difference between how we see others and how we see ourselves. Prior to modern cameras, people saw themselves backwards either in a photograph or a reflection. This project, titled Visage, engages this paradox of vision by manipulating a set of found portraits in two phases. First, the images are digitally enlarged to life size using the irises of the eyes for scale. Second, the images are reproduced 1:1 with a 20” x 24” custom-built camera using direct positive gelatin silver paper. This final step flips the subjects back to their natural orientation and converts the images back into unique analog objects. The camera was built for this project around a specific lens that is made for producing life-size replicas. The new photographs are positioned on the wall at the approximate height of the people they depict, whether seated or standing. The result is an encounter with the subjects as they would have appeared in person, though still through the inscrutable translation of a photograph.

ANDY MATTERN // Installation view of Visage

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ANDY MATTERN // Installation view of Visage

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ANDY MATTERN RESPONSE BY KYLE COHLMIA

After purchasing a box of antique tintypes in Texas for $20, Andy Mattern embarked on his first figurative project in years. Using advanced photographic techniques to reconfigure 19th century portraits, Mattern’s installation, Visage, probes viewers to think about the accuracy in photographic representations in a manner he deems both hyper-representational and uncanny.

The images in Visage, five black-and-white headshots, are captivating while serving as a reminder of how photography has progressed. Mattern’s choice to enlarge and display the images to human scale connects viewers to the portraits in an intimate manner, and the subjects’ expressions project a hauntingly alluring gaze. However, the unsmiling faces, a contrast from the countless smiles we see in today’s headshots and social media posts, imply the difference in expression when photography was less advanced and instantaneous.

Additionally, Visage begs the question: what is lost through the process of photography? While the original prints developed as a mirror image, Mattern chose to flip the reversed portraits to their natural orientation. This subtle adjustment is significant as Mattern pays homage to the individuals by displaying them in a way that would allow the subjects to see themselves as the rest of the world sees them.

Equating the role of the portrait and viewer through life-size scale, Mattern challenges us to reflect, spatially, about our bodies when interacting with the artwork, while the gazes from the portraits are a reminder of the subjective nature of expression. Through Visage, viewers experience portraiture in a unique manner as Mattern reconfigures the reality of photographic representation and makes us wonder, can we ever truly see ourselves?

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RACHEL FOSTER VALLEY CENTER, KANSAS

These paintings are a visual record of my life with children with developmental disabilities. We live in the country to protect them from busy roads, intolerant neighbors, and people who don’t understand their behavior. This creates safety, but also isolation. For some time, I have been painting scenes from our domestic life as an observer. Recently, at the urging of close friends on the occasion of this exhibition, I enlisted my son Fionn to collaborate with me on a series of paintings. Fionn loves to draw on walls, windows, and doors, using text and drawings interchangeably, and—in a graffiti-esque, improvisational manner—his layered drawings develop over time from drawing, wiping away, and drawing again on the surface. When he first began writing on the walls, we found it frustrating, and would repeatedly clean and erase the marks. Finding this ineffective, today we embrace the drawings as a porthole to our son’s thoughts and interests. For these paintings, I photographed some of Fionn’s toys as he set them up, and I asked him to draw on the canvasses before I painted them.

I wanted to produce a group of paintings that would serve as a narrative of my experience in tandem with his, and I think we’ve done that.

RACHEL FOSTER // Installation views The Visitor, Fionn (top) // Summer, Iron Man, Heavy (bottom)

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RACHEL FOSTER // The Visitor detail

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RACHEL FOSTER RESPONSE BY LAUREN SCARPELLO

Of the multitude of moments experienced in a single day, the ones Rachel Foster chooses to paint demonstrate a formal interest inherent in the history of American portraiture and interior domestic scene painting. They are also an investment in her reality, acknowledging the balance between having control over, and being controlled by one’s environment. Here, safe in the countryside, she raises her children where the vernacular is controlled chaos; and the shared vocabulary is visual expression.

This work serves as an essential form of communication. Theirs is a world of spiraling microcosm: son draws on the walls, mother depicts the scene; son creates tableaux with his toys, mother captures the vignette. One such portrayal is the aptly named

Inspiration Porn of a Barbie doll arranged in a toy wheelchair. The title, a nod to the Instagram culture moniker, acknowledges the conflict between self-appointed autism advocates, and parents who desire autonomous control on how and when to share their children with the world without critique.

Maybe our hearts break a little from the disabled child on display, but that’s more about our own hang-ups as a culture than it is about protecting the child. Why shouldn’t artists be able to share the scenes of their lives? Because they may involve the aspects of life we’d rather not acknowledge as also being normal. Family life has uncomfortable sides. For us as the audience, this is necessary. Not only for how we define artistic practice, but for how we embrace that which is different.

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MICALA GINGRICH-GAYLORD WICHITA, KANSAS

Inspired by the tradition of communal storytelling and the archetypal themes of the Mother and the Trickster, my primary interest in making art is to create spaces for creative conversation and dialogue. The ability of art to connect people and catalyze change amidst the hard and heavy parts of the human condition, and to facilitate conversations across various communities, is integral to my practice. Working with underserved populations, interrogating taken-for-granted social dynamics, and highlighting the uneven power relationships that exist between groups and people, institutions and citizens, my work speaks to power dynamics in society while using artmaking as a catalyst to empower individuals and communities.

In Heavy Soft Arts, brick and cloth become metaphors for earthly and ethereal subject matter. Bricks, in their heavy and earthy substance, contain the density of history, and symbols of my personal weights, both emotional and historic. Cloth, delicate and soft, sourced from those passed down from my grandmothers and women I’ve met along the way, conveys something more genealogical: invoking a domestic, feminine lineage apparent in weaving, sewing, knitting, and embroidery.

Added to these, I invited members of the community to contribute bricks that I then wrapped and interpreted with short textual statements on the accompanying cards.

MICALA GINGRICH-GAYLORD // Installation views of Heavy Soft Arts

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MICALA GINGRICH-GAYLORD RESPONSE BY LAURENCE REESE

How do our personal stories build our community narratives? How do materials transform when we release our attachment to them? What stories do we tell ourselves and others to create a more complete picture of our collective lives?

Micala Gingrich-Gaylord’s investigations of these questions resolve into a chorus of stories in fabric and stone. She collected 300 bricks from participants in various communities, and each brick signifies its own personal history. Gingrich-Gaylord records and transforms these stories into abbreviated sections of a larger communal narrative. Wrapping bricks from her community with the linens from her own family, these soft, yet heavy, objects become signifiers for secrets, clandestine communication, and domestic foundations.

The rich earthy reds and browns of the bricks and the starched white linens create a visual polarity, while reminding us of the home. Bricks provide building foundations; Linens are used to decorate interior spaces—each object brings memories, personal and cultural, to mind of what the feminine and masculine spheres of domesticity are.

Bricks and linens are tactile things. By looking, we place ourselves in reference to the object: the weight of the bricks in our minds, imagining how crisp or how soft the linens are. Gingrich Gaylord is aware of our tactile desire and capitalizes on it through her installation. Each brick is assigned a number; viewers must find a corresponding story vignette. Viewers become archeologists, uncovering individual stories that build an overarching account of a community.

These linens were once kept clean and protected in cabinets by the matriarchs of her family. Now, they are released from their former lives as precious clean objects, instead protecting and enveloping the stories that are told by others. There is something taboo about using these pristine objects to wrap a dirty stone. They become weighted, and they cloister the stories in the brick. Gingrich-Gaylord disrupts the normative and questions the traditional feminine to represent the potential for new histories to be created.

MICALA GINGRICH-GAYLORD // Installation views of Heavy Soft Arts

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KEVIN KELLY WICHITA, KANSAS

For me, painting has always been about uncovering creative possibilities, freezing an artistic gesture, and finding an individual identity. These artworks occupy the uncomfortable space between a romanticized, painterly experience of the world and the awkward, unromantic accessories of the Midwest of my childhood—specifically, white, Middle America. My working-class, Catholic guilt upbringing bred suspicion towards non-utilitarian, and thereby self-indulgent, gestures. As an adult, I have become aware of the heavy-handed political and social messaging that impacts my community, where slogans like, “Pull yourself up by your bootstraps” or “Love it or leave it” gather more grit and residue as they recirculate through our divisive social landscape. The literal subjects of my paintings (such as ball caps and flags) allude to a broader conversation between figuration, or representation, and the gesture of painting, or abstraction. I use the vocabulary of painting to dissect its processes: literally, removing the paint from the canvas in large skins, and conceptually, by taking the painted gestures and the subjects out of their normal contexts, thereby bringing this conflict to the forefront.

KEVIN KELLY // Focus Installation view (top) // Red Hat (Marine) (left) // Red Hat (Troll) (right)

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KEVIN KELLY RESPONSE BY JOHN SELVIDGE

Torn from the picture plane, paint becomes unwieldy, unruly, three-dimensional.

As those who refer to “fly-over states” tend to forget, the map is not the territory.

When it becomes sculpture, paint reminds us that painting—like America—is always multiple, not subject to flattening or easy image-capture.

Kevin Kelly wrestles with broad swathes of peeled acrylic paint skins—he says you can sculpt them, but sometimes they just do what they want—while wrestling with middle America, mediating an uneasy space for whatever political approchement might still be possible in Wichita, Kansas. Living there means navigating the town’s socio-cultural land mines almost daily, as Kelly describes it. It’s unlikely these works could be made in New York—their regional tension seems too intimate and provocatively awkward, their humor masking a sigh of resignation that also stages, somehow, a semi-satirical celebration of Kansas’ unrepentant deplorables.

Semi-satirical, mind you, because Kelly’s treatment suggests that even the most red-hatted among us might be worth a second look. Human-sized, flecked with blue (surprisingly), and riddled with holes to invite negative space-for-thought, the

Red-Hats can withstand gazing at them as complex psychological types (Daddy, Troll, Marine) whose variously figured libidinal investments can be understood to fix their political allegiances differently. What could serve as a timely update of Jasper Johns’

Flag, livid and squirming with unrest, becomes a zone for possible negotiation that also records a failure to negotiate.

Kelly’s art dares to break strange news: Trump’s America will be with us for a while.

KEVIN KELLY // Flag (Stand For)

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AMANDA PFISTER WICHITA, KANSAS

What We Leave Behind invites community members to create a participatory art project in the form of a photo archive. Today, photos exist online through social media, cloud storage, or on our phones, raising the question of whether physical photographs will be around for future generations to remember the past. A social engagement proposal that translates memories into tangible photos, What We Leave

Behind asks members of the public to print two copies of a personal photo of their choice—one for them to keep and the other to be part of a collection of crowd-sourced photographs. Depending on the individual, the photos range from sentimental to artistic to familial, a favorite memory, or something completely random.

These images are then curated by me into a “common snapshot” photo album referencing different communities and their memories. By transferring these memories into a collective album, the mundane, traditional snapshot is elevated into a precious physical object. Viewers are then welcome to sit at tables and rifle through the photo boxes, sharing their favorite photos and conversing with nearby visitors.

The albums offer a voyeuristic gaze into the lives of others while fostering conversation and building community.

AMANDA PFISTER // Audience interacting with What We Leave Behind

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AMANDA PFISTER // What We Leave Behind

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AMANDA PFISTER RESPONSE BY DANNY R. W. BASKIN

A small table, a few chairs, and a box of photos. Other people’s photos. In What We

Leave Behind, Artist Amanda Pfister has tactilely recreated the repetitive, often addictive social media action of scrolling through other people’s lives, like taking a Spotify playlist and having it pressed into vinyl. It takes the same actions of the scroll and puts it back into the physical, creating a slower pace in a public space. Not an action that exists only between the small, brief movements of a thumb, a stare, and synapsys. There is more action involved in rifling through a box, more movement that can be viewed easily by others, commented upon with vocal tone and facial expression. Liking something is a collaborative effort once again. Friends appealing to the charm of someone else’s life with one another.

Life without Instagram and Facebook isn’t far in the past. This installation is somewhere in between the begrudging trips to the pharmacy in the 90’s to print out recent memories and the immediacy of the present, sharing a full day of excitement minute by minute on your Stories. There’s a little more speed than the past, a little more community than the now. It’s not a cold act, but it does feel scientific at times.

Something about the physicality highlights the voyeurism. The installation doesn’t feel like it’s showing us a better way, or giving us some saccharine glimpse of what used to be. It’s simply giving audiences a brief moment of reprieve.

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CONCEPT SURVEY EXHIBITION // Installation view at ahha Tulsa

SURVEY ARTISTS

MARIAH ADDIS TULSA SPRINGTIME – 2019, PORCELAIN AND STONEWARE, 12” X 11” X 5” Springtime is a place setting from a series of work that investigates the conceptual frameworks of pottery and the tablespace. The piece explores the signification of ceramic objects through compositional arrangements atop the table. From functional pottery to more ambiguous forms, Springtime is an assortment of symbolic and practical objects that co-mingle to participate in the drama of dining.

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PAUL BAGLEY OKLAHOMA CITY DISTANT OCEANIC MEMORIES – 2018-2019, ALUMINUM, STAINLESS STEEL AND GLASS, VARIOUS DIMENSIONS Distant Oceanic Memories is part of a series of abstract three-dimensional forms, some resembling fossil-like shapes, others as objects that evoke curiosity or wonder and appear to serve an unknown purpose.

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RAASHEDA BURNETT OKLAHOMA CITY HOW YOU FEELING? – 2019, ACRYLIC AND PASTELS ON HEAVYWEIGHT PAPER, 8” X 10” This piece is part of a series called Different Places...Different Faces, which explores the connection between body and spirit through futuristic imagery. Primarily merging eyes, lips, and patterns together to create a face within a scene. This piece shows how a bright sunny day can brighten your mood, yield good fruits/feelings, and hides a question mark which inspired the title How You Feeling?.

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CRYSTAL Z CAMPBELL TULSA CURRENCY (2019) – 2019, DIGITAL VIDEO WITH STEREO SOUND, 2’53” MINUTE VIDEO LOOP CURRENCY (2019) is a sonic film of refusal—a woman wears bygone forms of currency on the tips of her hair while preserving the greatest currency for herself.

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CURATOR’S CHOICE JASON CYTACKI NORMAN CAPRICCIO (LAWN CHAIR) – 2018, GRAPHITE, PAPER, WOOD, 36” X 36” X 36” This tableau is representative of a larger body of work in which I reconstructed fragmented pieces of my childhood home in Indiana. While these depictions of a stereotypical Midwestern America depicted are culled from my own memories and translated through the personal act of drawing, they are intended to evoke an ambiguous but relatable familiarity. The surrealistic illusion of surface and form suggests a sense of fragility and artifice, resulting in a futile recreation of an altogether unattainable reality.

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AMBER DUBOISE-SHEPHERD SHAWNEE ALL MY RELATIONS, PYÊCHIWÎTHENINO! (COME AND EAT) – 2019, MIXED-MEDIA, 18” X 30” All My Relations, Pyêchiwîthenino! (Come and Eat) represents my Sac & Fox people as the clans come together to begin a ceremonial feast here in Oklahoma. The imagery in the smoke represents the clans that represent the Sac & Fox and the prayers that will go to our ancestors. It’s our belief that when we have these feasts, our ancestors feast on the other side. The fire that burns in each of our clans lodge houses are one in the same as the fire that burns on the ‘other side’ and our direct link to our relatives and ancestors that have passed on.

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EMMA DIFANI OKLAHOMA CITY WILD PLACES – 2018, WOODCUT AND SCREENPRINT ON PAPER, 24” X 48” This piece explores the wild places in urban spaces of Oklahoma City. Living in a city where unaltered environments are scarce within the urban/suburban expanse, I’ve needed to broaden my appreciation of ecology to include the four foot squares of soil inset in the city sidewalks, the birds’ nests in the eaves of bridges and the ivy creeping unrestrained across parking garages. I map these traces of the grown environment on the constructed one and vice versa.

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ALEX EMMONS NORMAN FROM 2018, HOSPITAL SOCKS – 2018, DIGITAL PRINT, 12” X 20” From 2018 is a collection of visual records hallmarking my mom’s grace, fortitude, and humility while surviving pancreatic cancer from December 2017 to September 2018. This portfolio is part of a larger body of work called,

For Rosalie, hallmarking my mom’s legacy. My role as a daughter, care-taker, as well as my impression of loss and grief informs the design of these images. These pictures document as well as collage the variety of emotions surveying a terminal diagnosis as well as the regularity one performs for a loved one while they survive and thereafter.

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KRISTIN GENTRY OWASSO SINTI (SNAKE IN CHOCTAW) – 2019, ACRYLIC, 18” X 12” Sinti is the Choctaw language word for snake, and the coiling snake tail and repeated geometric shaping are present in both contemporary Choctaw clothing and dance. Medicine of the snake, medicine wheels, circles, and sun patterns all reflect the coiled circular dancing of the southeastern tribal dances.

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JESSICA HARVEY TULSA LITTLE ONE, FROM UNIVERSE (FAMILY PORTRAIT OF MY AUNT AND HER CHILDREN) – 2017, SILVER GELATIN PRINT PHOTOGRAM OF CREMATED REMAINS, 10” X 8” When I unexpectedly becoming the caretaker for my aunt in the final stage of her life, I also became responsible for sorting through everything she left behind after her death. While going through her life with no explanation of what was actually in her home, I came across a box in a closet marked “kids.” Thinking that it may be childhood photographs, I opened the box and discovered many small boxes of her dead animals’ cremated remains. Using these bodily materials, I created a series of photograms that made up a “family portrait” of my aunt and her family, acting as a contemporary take on postmortem photography.

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JENN JOHNSON STILLWATER BODY SURFACE: ARCH – 2018, LITHOGRAPH, 12.25” X 16.25” My series Body Surfaces highlights my interest in not just anatomy and body surfaces, but also in printing surfaces.

In Body Surface: Arch the model’s back is constructed from various elements obtained from the body; printed skin, photographs, and drawn material. The layering of the impressions in this print act as an example of my interest to interact with the body in the same manner that a printmaker might interact with a plate or block, in order to draw attention to the multifaceted nature of both printmaking and the human form.

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LAURA KENT OKLAHOMA CITY EMOTIONAL LABOR 1 – 2019, ACM PANEL, ACRYLIC, CHALK, 48” X 48” X 20” This piece is the beginning of a new series which explores the complex emotions associated with “emotional labor.” Inspired by postmodern feminist perspectives and finding myself faced with challenges associated with my personal experiences of emotional labor, this piece allowed me to consider how to locate myself in this discourse and how it shapes our experiences.

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NATHAN KENT OKLAHOMA CITY SIMULATION OF A SYNTHESIS 3 – 2019 GRAPHITE, GREASE PENCIL AND OIL ON PMMA 22” X 55” The thought behind this piece is largely based in my current process where I create a sculpture without a direct reference or intentional form and then use it as a reference for a drawing which represents it in a realistic way. This started as an interest in addressing a common theme in art, using an object as reference then abstracting it in a loosely based representation. I thought it would be interesting to start from the abstract and study that meticulously.

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SOLOMON MAHLATINI ADA DIASPORA DIARIES – 2019, VIDEO, 48 SECOND LOOP This is a familiar story of many immigrants, who travel miles coming to America, in search of the “American Dream.” They experience the pain of leaving loved ones; the struggle to assimilate; and enduring many trials such as racism, xenophobia, and identity crisis; all in an attempt to “chase the paper.”

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CURATOR’S CHOICE MIRELLA MARTINEZ STILLWATER HEY BUTTERCUP – 2019 HAND-BOUND LIMITED-EDITION BOOK 4.4” X 5.6” Hey Buttercup explores relationships and how we perceive them—shifting between emotions and judgement. Assembled from images collected over years and traditional media each book is woven and bound physically and in the viewers mind.

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PAUL MEDINA OKLAHOMA CITY ROSES AND THORNS #6 – 2018, MIXED MEDIA ON FIRED CLAY, 19” DIAMETER The piece, Roses and Thorns #6 is but one of many pieces of a continuing series of the same name.

It is a statement about loss and remembrance.

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EXCELLENCE IN ARTISTIC ACHIEVEMENT MOLLY MURPHY ADAMS TULSA BEADED MOCCASINS – 2019, BEADWORK ON ARCHIVAL PHOTO, 10” X 10” This series explores researching historic beadwork in museum collections and using those patterns on photographic prints. The two distinct media of beadwork and photography are combined to create a link between the landscape and the art created by the indigenous people in the landscape.

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EXCELLENCE IN ARTISTIC ACHIEVEMENT ROMY OWENS ENID BEAUTY IS TRANSFORMED OVERTIME, AND NOT WITHOUT DESTRUCTION – 2020, THREAD, NAILS, SCISSORS, 36” X 72” Vulnerability is at the heart of this piece of art. The care, planning, and patience required to create this site-specific thread installation is paired with the option for the viewer to spontaneously and permanently alter the piece by touching or cutting the thread. This work urges the audience to consider the impact of their actions.

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HALEY PRESTIFILIPPO NORMAN EFFERVESCING – 2018, GRAPHITE ON PAPER, 25” X 32” This drawing is part of a larger body of work exploring the complex, evolving nature of relationships within a system. In this piece, animals are isolated in some tumultuous unpredictable environment, where each creature’s species and station in the natural world is rendered irrelevant. Subsequently, a new order emerges, where the norms of predator and prey are upended, and ambiguous narratives evoke an ominous sense of mystery and peril.

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MARISSA RAGLIN OKLAHOMA CITY HORIZON I – 2017, COLLAGE, 21” X 29” Horizon I is a part of a series depicting diverse southwest landscapes. Within this series, I feature human interaction with desert solitude.

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SHENANDOAH DEL RIO EDMOND THE MESSAGE – 2018, INDIA INK ON PAPER, 9” X 12” The Message was inspired by my fascination with religious and occult symbology. This work includes some of my favorite symbols including the Eye of Providence, the Rose Line, and the Hourglass.

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BEHNAZ SOHRABIAN OKLAHOMA CITY I’M HERE #3 – 2019, OIL ON CANVAS, 20” X 20” My work is about me, about being a woman and giving voice to the many challenges that women face in this era.

I paint women as strong individuals free to express their feminine power and vision for a better world. I paint women as delicate and sensitive, but never weak. The people and natural world that I paint are manifestations of love, the highest expression we know in this life.

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SUZANNE THOMAS OKLAHOMA CITY SUBLIME GAZE – 2019, EMBROIDERY ON TULLE ON ETHIOPIAN LINEN, 32” X 32” This piece incorporates quite a few of my favorite things: fine linen, fiber art, texture, color, and any form of body decoration (as opposed to body modification). This image, which is in 2 layers and embroidered on tulle, is inspired by the Omi people of Southern Ethiopia. The larger cotton linen piece that it is sewn to is actually from Ethiopia. This represents a new direction for me as an artist. I am very energized by it and looking forward to discovering what I can do with it.

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AWARD OF MERIT JORDAN VINYARD MUSTANG S.C.U.M. GULLION – 2019, CAST PROSTHETIC, SILICONE, MONITORS, VIDEO/PERFORMANCE, WOOD, DVD PLAYERS, 12’ X 9’ Part of a larger body of work that synthesizes unorthodox cinematic milieu with non-narrative performance,

S.C.U.M. Gullion references spaghetti westerns. Filmed in Italy, Spain, and Oklahoma, this work oscillates histories to create satirical multi-media choreographies. Divided into chapter-segments with titles such as

Whoever Pulls the Trigger First Gets to be the Man, and Horse Traitor, S.C.U.M. Gullion subversively addresses socio political issues while demanding cultural autopsy.

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JIM WEAVER EDMOND YES, THIS IS WHAT WE ARE – 2019 RECLAIMED WOOD, TOOLED AND DYED LEATHER, BUCKLES, BOOKS, OYSTER SHELL 26” X 58” X 5.5” Normally, tooled western belts display the owner’s name. The belts in Yes, This Is What We Are diverge from individual identity and identify all of us with contemporary issues. Events continue to demonstrate that the most regrettable of the belts, Mass Shootings, remains a part of what we are.

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HOLLY WILSON MUSTANG GUARDIAN AND GUIDE – 2018 BRONZE, PATINA AND STERLING SILVER 18” X 54” X 24” The guardian watches over that which is important to her; she has her guide that scouts out what is beyond her view.

These fish are precious beings that hold the possibilities for today and that of tomorrow. The fish, the precious beings, and the guide, are also a burden, as anything or anyone you care for creates a responsibility for you. I echo this, casting them in sterling silver.

AWARD OF MERIT MADDY WITT TULSA SHADES OF BROWN – 2019, WATERCOLOR, PEN AND TRACING PAPER, 22” X 10” This piece was inspired by my en plein air sketches of the coffee shop Shades of Brown in Tulsa, Oklahoma. I took these sketches and turned them into a larger and more complex panoramic work. The addition of transparent paper to show more people and objects suggests a passage of time–a location revisited over a period of hours or months.

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NAIMA LOWE // Installation view of Do I Know This Tune Because You Told It To Me, Or Do I Know It Because You’re My Father? (top) AMANDA PFISTER // Audience interacting with What We Leave Behind (bottom left and right)

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CURATOR’S BIO HEATHER PESANTI, CONCEPT: SURVEY & FOCUS CURATOR AUSTIN, TEXAS Heather Pesanti joined The Contemporary Austin in 2013, and was named Chief Curator & Director of Curatorial Affairs in 2018. At The Contemporary, she has organized monographic exhibitions and outdoor commissions of work

by John Bock, Carol Bove, Abraham Cruzvillegas, Anya Gallaccio, Lionel Maunz, Rodney McMillian, Wangechi Mutu, Monika Sosnowska, Robert Therrien, and Marianne Vitale, as well as the thematic exhibitions Strange Pilgrims and The Sorcerer’s Burden: Contemporary Art and the Anthropological Turn. She is currently organizing forthcoming solo exhibitions of Nicole Eisenman (with catalogue), Deborah Roberts (with catalogue), and Torbjørn Rødland. Pesanti received her B.A. from the University of Pennsylvania, MSc in Cultural Anthropology from the University of Oxford, England, and M.A. in Art History from New York University’s Institute of Fine Arts. She has published monographic catalogue essays on Charles Atlas, Rodney McMillian, Angelbert Metoyer, Sofía Táboas, Robert Therrien, and Garth Weiser, and thematic exhibition catalogues for Strange Pilgrims, A Secret Affair: Selections from the Fuhrman Family Collection, Decade: Contemporary Collecting, 2002-2012, Wish You Were Here: The Buffalo Avant-garde in the 1970s, and Life on Mars: 55th Carnegie International.

RESPONSE WRITING BIOS ALYSON ATCHISON OKLAHOMA CITY, OKLAHOMA Alyson Atchison is an Oklahoma City-based curator and art writer. Through her curatorial and writing practice, Atchison strives to connect Oklahoma artists with each other and with those in under-represented and larger arts communities. She supports the growth and excellence of contemporary visual artists while continuing to introduce the arts to new audiences. Atchison earned a Bachelor’s degree in two-dimensional art and a Master’s degree in education from the University of Central Oklahoma. Her curatorial projects have been featured at Science Museum Oklahoma, Oklahoma Contemporary Arts Center, and the Oklahoma State Capitol.

DANNY R.W. BASKIN BENTONVILLE, ARKANSAS Danny R.W. Baskin is an artist and arts organizer living in Northwest Arkansas. He received his BFA from MICA and his MFA from the University of Arkansas. His work has been presented most recently at the Historic Arkansas Museum in Little Rock and COOP Gallery in Nashville. With partner Lee Byers, Baskin co-founded FEAST gallery in 2016. He also works as Exhibitions Coordinator for Crystal Bridges. He was lead curator for the Arkansas Artist Work Enrichment program in 2017 and was recently an Oklahoma Art Writing & Curatorial Fellow. His work frequently focuses on community building, conversation, & collaboration. dannyrwbaskin.com

LIZ BLOOD TULSA , OKLAHOMA Liz Blood is a writer and editor living in Tulsa, Oklahoma. Her journalism and essays, which often focus on memory, place, and contemporary art, have appeared in Oklahoma Today, AWP Writer’s Chronicle, Art Focus Oklahoma, Cimarron Review, and elsewhere. Blood hosts Seven Minutes in Heaven, a quarterly reading series of short fiction and nonfiction, and edits Ekphrasis, a poetry and visual art column featuring work from Oklahomans, published quarterly at Art Focus Oklahoma. She holds an MFA in creative writing from Vermont College of Fine Arts and is a 2019 and 2020 Tulsa Artist Fellowship recipient. lizblood.com

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KYLE COHLMIA PORTLAND, OREGON Kyle Cohlmia was born in Stillwater, OK. She received a BA in Art History and Italian with a minor in English from the University of Kansas and an MA in Instruction and Curriculum at the University of Colorado. Kyle worked at various institutions including the Denver Art Museum, Oklahoma Hall of Fame, and most recently, as curator for the Melton Gallery at the University of Central Oklahoma. She has written for publications including Art Focus, Art 365, and Oregon Arts Watch. Kyle currently lives in Portland, OR, working toward an MA in Critical Studies at Pacific Northwest College of Art.

CATHERINE CRAIN CHICAGO, IILINOIS Catherine Crain is an independent art writer and administrator. She is pursuing a Master’s degree in the Dual Degree Program at The School of The Art Institute of Chicago, studying Modern & Contemporary Art History and Arts Administration & Policy. Her research centers on issues of accessibility, phenomenological experience, and craft. She previously was the Community Engagement Manager at 108|Contemporary and a member of the 2018-2019 class of OVAC’s Oklahoma Art Writing & Curatorial.

LAURENCE MYERS REESE LAS VEGAS, NEVADA Laurence Myers Reese is an interdisciplinary artist in Las Vegas, NV. His practice is influenced by his work in both nonprofits and blue-collar factory settings. Reese’s performance-based research investigates the use of the queer body to navigate and disrupt capitalist labor environments. He has recently performed at KillJoy Collective (Portland, Oregon), Front/Space (Kansas City, Missouri) and 21c Museum Hotel (Bentonville, Arkansas). He received a BFA in Studio Art from the University of Oklahoma, Norman in 2012. Reese is a current Graduate Assistant and MFA candidate at the University of Nevada Las Vegas, where he is a co-founder of the Vegas Institute for Contemporary Engagement. lmyersreese.com

LAUREN SCARPELLO NEW ORLEANS, LOUISIANA Lauren Scarpello holds an MA from the University of New Orleans and a BA from SUNY Geneseo. Her writing has appeared in Pelican Bomb, Art Review Oklahoma, and Art Focus Oklahoma—of which she formerly served as editor.

She was a 2015 - 2016 Oklahoma Art Writing & Curatorial Fellow with the Oklahoma Visual Arts Coalition, and served as Associate Director of OVAC from 2015 – 2017. In 2017, she was a finalist for the Andy Warhol Foundation Art Writing Workshop. She currently resides in New Orleans where she teaches art and writing, and maintains a studio practice.

JOHN SELVIDGE OKLAHOMA CITY, OKLAHOMA John Selvidge works as a writer for a humanitarian organization in Oklahoma City where he maintains freelance and creative projects on the side. Before moving back to Oklahoma, he pursued a doctorate in Comparative Literature in Atlanta where he was a member of an experimental poetry collective that helped his work appear locally, nationally, and internationally. He has worked as a screenwriter for independent films, in nonprofit development for the Ralph Ellison Foundation, and has also enjoyed art and magazine writing. In 2018, he was selected for OVAC’s Oklahoma Art Writing & Curatorial Fellowship, for which he thanks OVAC very much.

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FOCUS ARTIST BIOS SARAH AHMAD TULSA, OKLAHOMA Sarah Ahmad’s artwork has been featured in exhibitions in galleries and cultural centers throughout the United States and in the United Arab Emirates and Pakistan, including the Gilcrease Museum in Tulsa, Oklahoma, the Sharjah Art Museum in the United Arab Emirates, public art projects in Tennessee, and solo shows in Pakistan and the United States. Ahmad received the New York Center for Photographic Art Juror’s Award, a fellowship from the Vermont Studio Center and has participated in numerous residencies. She was awarded the Tulsa Artist Fellowship and the Oklahoma Visual Arts Coalition Grant in 2019. She received an MFA from the Memphis College of Art, MA Education from Union University in Jackson, Tennessee, and BA Fine Arts from the National College of Arts, Lahore, Pakistan. sarahahmad.com

GEOFFREY HICKS TULSA, OKLAHOMA Geoffrey Hicks is a visual artist exploring the convergence of digital technologies with traditional art-making practices and the effect on audience interaction. His work often focuses on the medium of light and it’s transmission and manipulation through digital and analog processes. Hicks’ past endeavors range from temporary public art light installations to hacking and repurposing an industrial robotic arm to take the role of a photographer. He is continuing to explore the role of smartphones and social media on the medium of photography and how society responds to ever-increasing digital surveillance. geoffreyhicks.com

NAIMA LOWE TULSA, OKLAHOMA Naima Lowe comes from a long line of Black people who make things. She’s got parents, grandparents, great-grandparents and great-great-grandparents who are musicians, fashion designers, teachers, waitresses, and farm laborers. She’s steeped in a lineage of Black cultural production characterized by alchemic survival strategies known as collaboration and improvisation. Naima has exhibited videos, performances, and installations at Anthology Film Archive, Wing Luke Museum, MiX Experimental Film Festival, Jack Straw Cultural Center, Judson Church, and Seattle Contemporary Arts. Her B.A. is from Brown University, MFA from Temple University and she’s been an artist in residence at Millay Colony, Vermont Studio Center and Bemis Center. Naima is a 2019-20 fellow at Tulsa Artist Fellowship. naimalowe.net

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ANDY MATTERN STILLWATER, OKLAHOMA Andy Mattern’s recent work engages photography’s aesthetic conventions and physical materials as subject matter.

Since 2015, he has served as Assistant Professor of Photography and Digital Media at Oklahoma State University. His work is held in the permanent collections of SFMOMA, the New Mexico Museum of Art, the Tweed Museum of Art, and the Museum of Fine Arts, Houston. His photographs have been reviewed in publications such as ARTFORUM, The New Yorker, Camera Austria, and Photonews. He holds an MFA in Photography from the University of Minnesota and a BFA in Studio Art from the University of New Mexico. He is represented by Elizabeth Houston Gallery in New York. andymattern.com

RACHEL FOSTER VALLEY CENTER, KANSAS Rachel Foster is a painter living in rural Valley Center, Kansas. She received her BFA from Kansas State University in 2007, and her MFA from Wichita State University in 2013. She taught at multiple Kansas schools before being hired full time at Butler Community College. Rachel has an active painting practice, and shows work nationally. Rachel and her husband Frank are raising two sons on a small hobby farm, where they raise pigs and goats. rachelfoster77.com

MICALA GINGRICH-GAYLORD WICHITA, KANSAS Micala is a long time Kansan with roots in Colorado. She attended the School of Fine Arts at the University of Kansas, with an emphasis in painting and sculpture. Her work is informed in part through her experiences as a woman, as a woman with a large body and as a survivor of childhood trauma. She has worked professionally as an advocate for youth, the founder and director of an arts center for at-risk children living in foster care, the curator of a prison arts exhibition and currently oversees programming and cultural enrichment for a regional assisted living company. micalagg.wixsite.com/heavysoftarts

KEVIN KELLY WICHITA, KANSAS Kevin Kelly was born in 1978 and raised in a working-class family. He received a Bachelor in art education from Wichita State University in 2001, and began teaching at Wichita West High School the same year. He earned his MFA in painting from Wichita State University in 2008. His painting has been recognized through the Golden art residence, the Harvester Arts Community Fellowship program, and the Oklahoma Visual Arts Commission. Kelly has been featured in group and solo exhibits in Kansas, Oklahoma, Arkansas, and New York for the last 15 years. His work has been featured in several publications. instagram.com/kevinpkellyart

AMANDA PFISTER WICHITA, KANSAS Amanda Pfister is a visual artist using photography to explore ideas of place, feminism, community and social engagement. Through her love of collaboration, she co-curated a traveling exhibition, A Woman in Her Place, that focused on themes of women’s roles in society. She Cast Her Gaze, a collaboration with poet April Pameticky of photography and poetry responses is showing at Newman University’s Steckline Gallery. She founded ICT Soup in 2016, a grassroots effort for crowdfunding creative projects that has distributed funds to local Wichita creatives.

She was an artist in residency with The Luminary and a Community Fellow with Harvester Arts. amandapfister.com

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SURVEY ARTIST BIOS MARIAH ADDIS TULSA Mariah Addis is a ceramic artist based in Tulsa, Oklahoma. She received her Bachelor of Fine Arts at the New York State College of Ceramic Art at Alfred University in 2019. Mariah has received diverse grants and awards, including the Louis Mendez ’52, APEX grant for research in Columbia, and ARGUS grant for material research. She has exhibited internationally through group and solo exhibitions in the USA, Columbia, and Japan. She recently completed an artist residency at the Shigaraki Ceramic Cultural Park in Shigaraki, Japan. addisceramics.com

PAUL BAGLEY OKLAHOMA CITY Paul Bagley continues to make visual art outside his business Design Silo. Notable awards include a Oklahoma Visual Arts Fellowship (OVAC, OK), The Thanatopolis Prize (I-Park, CT), and a BRAF Grant, Burning Man (SF, CA).

In 2016, Bagley partnered with Butzer Architects and Urbanism as a finalist for Dallas Love Field Airport public sculpture. Notable influences include working with Architect and Artist Paolo Soleri, continuing what he has bestowed; his travels throughout the world, especially pre-capitalist China and his Irish heritage; participating in Burning Man; and living in the American South West. He currently shares a work station as a guest artist with Obelisk Engineering. paulbagley.com

RAASHEDA BURNETT OKLAHOMA CITY Raasheda Burnett is a multidisciplinary artist born in Dallas, later raised between North Tulsa and Oklahoma City.

The love for art began at an early age through painting and crafting. Burnett has held various children’s paint workshops on self-expression and positive self-image. She volunteers at various art organizations and continues to engage in community art involvement while challenging the social stigma of art as a wellness practice in communities of color. Currently working in painting, drawing and fibers. Her works reference the women quilters of Gee’s Bend as patterns, designs, geometry, and repetition are common threads throughout her works.

CRYSTAL Z CAMPBELL TULSA Crystal Z Campbell is a multidisciplinary artist and writer of African-American, Filipino, & Chinese descents.

Campbell excavates public secrets using performance, installation, sound, paintings, and film. Each project is a nudge to collective memory and the politics of the witness, doubling as a prompt to meditate on the future of our complicit fictions, suppressed memories, and shared histories. Campbell has exhibited internationally at Drawing Center, ICA-Philadelphia, Artissima, Studio Museum, Project Row Houses, and SculptureCenter, amongst others.

Selected honors include: Pollock-Krasner, MAP, MacDowell, Skowhegan, Rijksakademie, M-AAA, Whitney ISP, and Flaherty Fellowship. Campbell is a concurrent Drawing Center Fellow and Tulsa Artist Fellow. crystalzcampbell.com

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JASON CYTACKI NORMAN Jason Cytacki is an Associate Professor of Painting at the University of Oklahoma. Jason earned his MFA from the University of Notre Dame in 2011 and now lives and works in Norman, Oklahoma with his wife and two sons. His work examines the underlying framework that mediates the values, meanings and symbols of the world we inhabit. His work has been exhibited both Nationally and Internationally. His work is represented in commercial galleries including JRB Art at the Elms in Oklahoma City and is part of the permanent collection of the Rockwell Museum in Corning, NY. jasoncytacki.com

AMBER DUBOISE-SHEPHERD SHAWNEE Amber DuBoise-Shepherd depicts contemporary Native American narratives based on her family heritage of Navajo, Sac & Fox, and Prairie Band Potawatomi. Her mixed media pieces and oil paintings reference an illustrative quality. She has an Associates from Seminole State College and completed her Bachelor of Fine Arts in Spring 2016 at Oklahoma State University. DuBoise-Shepherd has shown work in exhibitions and gallery’s such as OVAC’s Momentum and the Southern Plains Indian Museum. She has won several awards as well for her artwork.

She is currently the Manager of Education and Outreach at the Mabee-Gerrer Museum of Art in Shawnee, OK since April 2019. amberlduboise-shepherdart.com

EMMA DIFANI OKLAHOMA CITY Emma Difani is a visual artist originally from Albuquerque, NM, living and working in Oklahoma City. She received a BFA from the University of New Mexico, teaches printmaking at Artspace at Untitled and Oklahoma City University, and is a member of the Factory Obscura Collective. Her work uses the obsessive layering of printmaking to examine the complex relationships between the natural and constructed environments. Emma collects, prints, walks, sculpts, builds, cooks, and draws to explore place, nature, and connectivity. emmadifani.com

ALEX EMMONS NORMAN Alex Emmons received her MFA in photography from Arizona State University in 2005. She grew up in upstate New York surrounded by the Catskill Mountains and influenced by her parent’s 16-year renovation project. These points of interest continue to inform her intuition today and domestic space as a central concept. In 2016, her work was featured in a two-person show entitled House & Garden at the MAINSITE Gallery in Norman, OK. Recent solo exhibitions include Valley City State University, Tarleton State University, and Visual Arts Center, University of Colorado, Boulder. alexemmons.com

KRISTIN GENTRY OWASSO Kristin Gentry is a fine artist, writer, educator, and curator. She explores the use of symbolic imagery of Southeastern tribal culture throughout her work to bring relevance from tribal origins prior to Indian Removal. Kristin has exhibited her artwork in numerous juried, invited, open, and group shows across the Midwestern United States. She primarily works within painting, printmaking, and photography. She is a citizen and registered artist of the Choctaw Nation of Oklahoma, and lives in Owasso with her family. In leisure, she enjoys gardening, camping, and being outdoors with family and friends. kristingentry.com

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JESSICA HARVEY TULSA Digging through public and private archives, Jessica Harvey conducts long-term investigations of historical and personal events based on the ever-changing interpretation of facts. She received her MFA from Cranbrook Academy of Art and was awarded a Fulbright Fellowship to Iceland. She has attended residencies at Ox-Bow, Wassaic, MASS MoCA, ACRE, Anderson Ranch, Byrdcliffe, The Luminary, LATITUDE, and Vermont Studio Center. Recent exhibitions include shows at The Wassaic Project (Wassaic, NY), Heaven Gallery (Chicago, IL), The Luminary (St. Louis, MO), Good Weather (Little Rock, AR), Camayuhs (Atlanta, GA), and Gilcrease Museum (Tulsa, OK). She is currently a 2020 Tulsa Artist Fellow. thejessicaharvey.com

JENN JOHNSON STILLWATER Jenn Johnson is an artist and printmaker from Oklahoma who focuses in figurative abstraction. She graduated from Oklahoma State University’s BFA program in 2018, where she studied multiple forms of printmaking. Her work has been shown in Unexpected Narratives in Albuquerque, NM, 528.0: Regional Juried Printmaking in Arvada, CO, and in OVAC’s traveling show 24 Works on Paper. Johnson has worked with various printmakers throughout Oklahoma, as well as interned at Universal Limited Art Editions in Long Island, NY. She currently works as an instructor, printmaker, and graphic designer at the Prairie Arts Center in Stillwater, OK. jennjohnson.myportfolio.com

LAURA KENT OKLAHOMA CITY Laura Kent is a visual artist and Art Therapist (AThR) from Oklahoma City. She primarily creates large-scale drawings and sculptures that question “truths” and explore the processing of complex emotions. She received a Master of Art Therapy degree from Western Sydney University in Australia and a BFA from the University of Central Oklahoma. She is currently interested in exploring art therapy and art making from a postmodern feminist lens that challenges limiting assumptions. lauralkent.com

NATHAN KENT OKLAHOMA CITY Nathan Kent is a visual artist who uses drawing to communicate the futility in classification. His work explores the threshold between recognition and the unrecognizable by challenging assumed definitions and categories. He creates abstract sculptures that mimic life and then uses them as reference for his meticulous representations.

He previously received a BFA from the University of Central Oklahoma where he emphasized in drawing and printmaking. nathanmkent.com

SOLOMON MAHLATINI ADA Solomon was born in Zimbabwe. In diary form he explores themes such as love, identity, sexuality, alienation, experiences as a foreigner, being “different” in his home country, and the emotions evoked by these experiences.

“I want the viewer to leave being aware of their authentic self. We get so caught up in daily activities, that we forget to ask ourselves important questions like; Who am I? What are my beliefs? What do I stand for? and How can I contribute to this universe during my tenure here?” Solomon attained formal training in Studio Art at East Central University, Ada, Oklahoma. solomonmahlatini.wixsite.com/solomonmahlatini

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MIRELLA MARTINEZ STILLWATER Born in Mexico, Mirella Martinez immigrated to the US with her family at a young age, and grew up in Oklahoma.

After attending Ringling College of Art and Design in Sarasota FL, she spent some time in the Sunshine State. Since then she spends her time traveling between Oklahoma and the west coast, while continuing to make photographs and other visual art that incorporates themes of nostalgia and memory, creating imagery that is peaceful while having a sense of spontaneity. mirellamartinez.com

PAUL MEDINA OKLAHOMA CITY Paul Medina is a mixed media artist and has created art works for over 40 years. Medina considers himself a series artist, changing not only his imagery through the years but tools and materials as well. Throughout his career, his themes have remained constant. Capturing moments of the human condition, and the truths they reveal, has been the overriding goal of his work. He has had many solo and group shows throughout America and is in art collections all over the world. Currently, he remains busy with commissions and developing a new series about loss and death and the recapturing joy in his life.

MOLLY MURPHY ADAMS TULSA Molly Murphy Adams is an exhibiting artist specializing in contemporary sculptural beadwork. Murphy Adams was raised in western Montana and earned a Bachelors in Fine Arts from The University of Montana in 2004. Murphy Adams’ work illustrates the blending of culture, identity, and histories. Murphy freely borrows from multiple disciplines to create fiber arts pieces reflecting diverse backgrounds and traditions. mollymurphyadams.com

ROMY OWENS ENID romy owens is an artist and curator living in Enid, Oklahoma. She makes site-specific installations, as well as smaller objects, in reaction to place, community, and transformation. Owens’ artistic practice is presently centered around community art designed to impact social change, using art as a method to broaden our understanding of specific issues. romyowens.com

HALEY PRESTIFILIPPO NORMAN A native of Augusta, GA, Haley Prestifilippo’s detailed graphite works reflect a deep interest in the drama and symbolism of Baroque still lives as well as the unpredictable aesthetics of Surrealism. She earned her BFA from the University of Notre Dame in 2009, and her MA in studio arts from Eastern Illinois University the following year.

She currently lives in Norman, OK with her family, where she teaches in both the Christopher C. Gibbs College of Architecture and the School of Visual Arts at the University of Oklahoma; Haley also enjoys working with the Firehouse Art Center. haleyprestifilippo.com

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MARISSA RAGLIN OKLAHOMA CITY Marissa Raglin is a nationally exhibiting visual artist. She can be found knee-deep in old illustration books and magazines plucked from thrift stores and half-priced book shops. Currently working on analog collage, Raglin received her BA in studio art from Oklahoma Baptist University in 2012. Raglin is the 2017-18 Skirvin Paseo Artist in Residence, and a 2015 Artist Inc. Live OKC Fellow. She creates in the historic Studio Six gallery located in the Paseo Arts District in Oklahoma City. mraglinart.com

SHENANDOAH DEL RIO EDMOND Shenandoah Del Rio was born in Mexico City, in 1984. At twelve years old he relocated to Oklahoma with his family.

Since childhood he’s enjoyed exploring various mediums and currently prefers drawing with India ink. Exposure to a diverse set of cultures sparked his interest in symbology. Symbols are an echo of our past—a way to understand how culture influences one generation to another. The world is filled with symbols and he seeks to learn more about them and incorporate them into his work. Shenandoah currently resides in Edmond, and serves as a recruiter for the US Air Force.

BEHNAZ SOHRABIAN OKLAHOMA CITY Born and educated in Tehran, Iran, Behnaz Sohrabian discovered her love of art, freedom, and creative expression; developed a passion for painting; and began her professional art career at the age of 10. Sohrabian earned a B.S. in Applied Chemistry from Azad University – Tehran, a B.A. in Painting from Alzahra University – Tehran, and a Master of Arts in Art Studies from Art University – Tehran. After completing her Master’s degree, she immigrated to the United States in 2010 and became a naturalized U.S. citizen in 2017. behnazsohrabian.com

SUZANNE C. THOMAS OKLAHOMA CITY Suzanne C. Thomas is painter and a mixed media artist. She received her BFA from Oklahoma State University and her MFA from Southern Illinois University at Carbondale. Suzanne is currently a professor of art at Rose State College.

Suzanne stays active in the local art community as not only an exhibiting artist, but also as a volunteer and advocate.

JORDAN VINYARD MUSTANG By challenging society’s prolific button-pushing tendencies, Jordan Vinyard’s kinetic sculptures, installations, and performances satirize the alchemizing effects of technology. A graduate of Florida State University, she has exhibited nationally and internationally, including at The International Symposium of Electronic Arts, Dubai; The Museum of Contemporary Art, Tucson; Art Basel, Miami; and The Mint Museum, Charlotte. She has been the recipient of the Oklahoma Artist Fellowship Award, and nominated twice for the Joan Mitchell Award. Currently, She’s an Associate Professor of Art at the University of Science and Arts of Oklahoma and organizer for Art Wrecker, a space predicated on experimental practices. jordanvinyard.com

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JIM WEAVER EDMOND Jim Weaver earned a BS degree from the State University of New York College of Environmental Science and Forestry, and MS and PhD degrees in Engineering from The University of Texas. He then spent 30 years working on remediation of drinking water contaminated by industrial chemicals, petroleum products, and crude oil. Jim’s artwork centers on tooled leather, either as the endpoint or as a matrix for printmaking. His work often presents a commentary on society or the state of the environment. jww-art.com

HOLLY WILSON MUSTANG Multi-media artist Holly Wilson creates figures which serve as her storytellers to the world, conveying stories of the sacred and the precious, capturing moments of our day, our vulnerabilities and our strengths. The stories are at one time both representations of family history as well as personal experiences. Wilsons work reaches a broad audience allowing the viewer the opportunity to see their personal connection. Wilson is of Delaware Nation and Cherokee heritage, now based in Oklahoma. She holds an MFA sculpture, MA ceramics from Stephen F. Austin State University and BFA ceramics from the Kansas City Art Institute. hollywilson.com

MADDY WITT TULSA Maddy Witt grew up in Albuquerque, New Mexico and completed her BA degree in fine art at Trinity University in San Antonio, TX. In 2016, she was awarded the Excellence in Art Award from Trinity University. She recently participated in the Momentum 2019 exhibition in Oklahoma City, OK and the juried group show Oh! Tulsa! in Tulsa, OK. Her work consists of on-location drawings and paintings that encompass the people and environments of her everyday life. mwittart.com

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EXHIBITION PARTNERS The Oklahoma Visual Arts Coalition (OVAC) grows and develops Oklahoma’s visual arts community through education, promotion, connection, and funding. A 32-year old nonprofit, OVAC produces publications, educational opportunities, exhibitions, and Oklahoma’s largest online gallery to connect audiences to art. ovac-ok.org ahha Tulsa is a nonprofit that seeks to cultivate a more creative Tulsa through advocacy, education, and innovative partnerships at the Hardesty Center and in the Tulsa area, which contribute to the quality of life and economic vitality in the greater community. ahhatulsa.org Harvester Arts launched in February of 2014 with a mission of providing a thoughtful platform for visual arts experimentation that engages the community through critical dialog and the creation of new work. harvesterarts.org

EXHIBITION SPONSORS

A supporting organization of Tulsa Community Foundation

The Andy Warhol Foundation for the Visual Arts

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OKLAHOMA VISUAL ARTS COALITION BOARD OF DIRECTORS PRESIDENT - JOHN MARSHALL, OKLAHOMA CITY VICE PRESIDENT - DOUGLAS SOROCCO, OKLAHOMA CITY SECRETARY - DIANE SALAMON, TULSA TREASURER - SAIYIDA GARDEZI, OKLAHOMA CITY PARLIAMENTARIAN - SUSAN GREEN, TULSA SUSAN AGEE, PAULS VALLEY MARJORIE ATWOOD, TULSA BOB CURTIS, OKLAHOMA CITY GINA ELLIS, OKLAHOMA CITY JON FISHER, OKLAHOMA CITY BARBARA GABEL, OKLAHOMA CITY DREW KNOX, OKLAHOMA CITY KYLE LARSON, ALVA TRAVIS MASON, OKLAHOMA CITY LAURA MASSENAT, OKLAHOMA CITY KIRSTEN OLDS, TULSA DOUGLAS SOROCCO, OKLAHOMA CITY CHRIS WINLAND, OKLAHOMA CITY RICCO WRIGHT, TULSA DEAN WYATT, OWASSO

OVAC STAFF EXECUTIVE DIRECTOR - KRYSTLE BREWER ASSOCIATE DIRECTOR - ALEXA GOETZINGER MEMBERSHIP & OUTREACH COORDINATOR - HAYLEY OLSON EVENTS & PROGRAMMING COORDINATOR - AUDREY GLEASON MEDIA & PROGRAMS ASSISTANT - LAUREN FOURCADE

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ISBN // 978-0-578-64909-2