Art Focus Oklahoma Winter 2021

Art Focus

O k l aho m a V i s ual A r ts C oal i t i on

Ok l a h o m a Vo l u m e 3 6 N o . 1

| Winter 2021

Art & Archeology:

Diane Savona

NOVEMBER 6, 2020– JANUARY 17, 2021

Select programming is funded in part by the Oklahoma Arts Council, National Endowment for the Arts and the Kathleen Patton Westby Foundation.

STARBURST by Jonathan Hils q

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DOMESTIC MARKINGS #2 by Diane Savona

Facets:

Jonathan Hils FEBRUARY 5– MARCH 21, 2021

www.108contemporary.org 108 East Reconciliation Way, Tulsa, OK 74103 | 918-895-6302 Brady Craft Inc., dba 108|Contemporary, is a charitable organization under Section 501(c)(3) of the Internal Revenue Code. 108|Contemporary is an equal opportunity employer committed to principles of the broadest form of diversity. Design by Charles Schmidt, Third Floor Design, The University of Tulsa.

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Art Focus

Ok l a h o m a Vo l u m e 3 6 N o . 1

| Winter 2021

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OK/LA: New Perspectives on Place and People

By Skylar Smith

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I-Witness Culture: Frank Buffalo Hyde

By Kristin Gentry

11 Back and Forth: Anticipation of the 2021 Steamroller Festival

By Alyson Atchison

F e a t u re s ON THE COVER: Frank Buffalo Hyde, Bison Selfie, 2016, mixed media on canvas, 24” x 20”, Courtesy of Tansey Contemporary, page 8.

14 In the Studio with Rick and Tracey Bewley

By Carleigh Foutch

18 In the Studio with Black Moon Tulsa

By Barbara Eikner

22 DIGITAL DIALOGUES: Art Crit Nights Promote

Audience Feedback in a Virtual World

By Piper Prolago

24 EKPHRASIS: Art & Poetry Edited by Liz Blood

27 OVAC News Emma Difani, A Conversation, 2020, screenprint, graphite on paper, 11” x 15”, page 22.

28 Gallery Guide

Support from:

Oklahoma Visual Arts Coalition PHONE: 405.879.2400 1720 N Shartel Ave, Ste B, Oklahoma City, OK 73103.

WEB: ovac-ok.org Editor: Krystle Brewer, director@ovac-ok.org Art Director: Anne Richardson, speccreative@gmail.com

The Andy Warhol Foundation for the Visual Arts

Art Focus Oklahoma is a quarterly publication of the Oklahoma Visual Arts Coalition dedicated to stimulating insight into and providing current information about the visual arts in Oklahoma.

Mission: Growing and developing Oklahoma’s visual arts through education, promotion, connection, and funding. 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.

2020-2021 Board of Directors: President: Douglas Sorocco, OKC; Vice President: Kirsten Olds, Tulsa; Treasurer: Diane Salamon, Tulsa; Secretary: Kyle Larson, Alva; Parliamentarian: Jon Fisher, OKC; Past President: John Marshall; Susan Agee, Pauls Valley; Marjorie Atwood, Tulsa; Bob Curtis, OKC; Barbara Gabel, OKC; Anna Inhofe, Tulsa; Farooq Karim, OKC; Kathryn Kenney, Tulsa; Drew Knox; Heather Lunsford, OKC; Laura Massenat, OKC; Chris Rogers, Tulsa; Chris Winland, OKC. The Oklahoma Visual Arts Coalition is solely responsible for the contents of Art Focus Oklahoma. However, the views expressed in articles do not necessarily reflect the opinions of the Board or OVAC staff. Member Agency of Allied Arts and member of the Americans for the Arts. © 2020, Oklahoma Visual Arts Coalition. All rights reserved. View the online archive at ArtFocusOklahoma.org.

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Patrick Blackwell (U.S. b. 1935), Joe Goode, Jerry McMillan, Ed Ruscha, and Patrick Blackwell in their shared studio, 1959, gelatin silver print, 9 5/8” x 7 5/8”, Loan courtesy of Hiromi Katayama and Joe Goode

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OK/LA: New Perspectives on Place and People

By Skylar Smith

According to Associate Curator, Dr. Hadley Jerman, “the Fred Jones Jr. Museum of Art is dedicated to exhibiting outstanding work by Oklahoma artists and creating intellectually engaging exhibitions about the history of art related to our region.” The OK/LA exhibition is certainly a sterling example of bringing this mission to life, and one that goes a step further as Dr. Jerman noted: “the six artists included in OK/LA held such a tremendous influence on the art world at large that the exhibition is significant not only on a local level, but nationally, if not internationally.”

The exhibition opened on Sept. 10, 2020 and will run until March 7, 2021.

The exhibition focuses on a group of six men: Patrick Blackwell (b. 1935), Joe Goode (b.

1937), Jerry McMillan (b. 1936), Ed Ruscha (b. 1937) and his brother, Paul Ruscha (b.

1943), and Mason Williams (b. 1938). As the artists worked in diverse mediums, the pieces on display range from photography, graphic design, painting, sculpture, and in the case of Mason Williams who wrote for the Smothers Brothers Sketch Comedy Hour, commemorative memorabilia and film clips.

Their individual portfolios are undoubtedly impressive and at first glance would probably appear complete, yet artists, like all people, are influenced by their surroundings; places and people leave impressions. This grouping of artists at first appears disparate, but in reality, their lives and their art have intersected for decades. Each artist spent their youth in Oklahoma and later moved to Los Angeles where five of the six men featured attended the Chouinard Art Institute and roomed together.

Both locations, Oklahoma and Los Angeles, left indelible marks on their artistic practices as evidenced through the incorporation of red dirt, cyclonic forms, iconic skylines, and state shapes. Their relationships with one another come through most strongly in the photographs taken by McMillan and Blackwell, however, their friendship remains a steady undercurrent as inside jokes and visual puns frequently appear in one another’s pieces.

This show was thoughtfully laid out to draw you in and have you hunt for the connecting threads between and among these men. The pieces are not sectioned out by artist but grouped loosely by themes un-announced by wall panels. For visitors unfamiliar with these artists, it could be tricky to keep each man’s oeuvre separate, so it might be useful to look up biographical information before or after viewing the exhibition. That said, the more you look at the individual pieces and read the labels, the more the landscape—physical and mental—of this group of friends unfolds.

In addition to presenting these artists’ works together in an unprecedented fashion, OK/ LA has also dealt with the extraordinary circumstances brought on by COVID-19.

The timeline for the show, which was initially planned to open over the summer, was pushed back as many lending institutions were shut down at that time. The staff however, skillfully adjusted and installed the show as works became available and the exhibition opened to the public in the fall. The Learning + Engagement department also pivoted to develop monthly Zoom sessions. Although (continued to page 6)

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Paul Ruscha (U.S. b. 1942), Dinner for Donald, 2020, table, toilets, and place settings, 156” diameter, Loan courtesy of the artist Mason Williams (U.S. b. 1938), Boneless Roast, 1967, book, 8 ½” x 5 ¾” x ½”, Fred Jones Jr. Museum of Art, The University of Oklahoma, Norman; Gift of Mason Williams, 2018

Edward Ruscha (U.S. b. 1937), OKLA., 1968, gunpowder on paper, 14 ½” x 22 5/8”, Don Bachardy, Courtesy Tracy Lew, James Corcoran Gallery

ABOVE: Joe Goode (U.S. b. 1937), Lyon (Tornado Drawing #35), 1991, sumi ink on washi paper, 50” x 38”, Fred Jones Jr. Museum of Art, The University of Oklahoma, Norman; Promised Gift of Edward Ruscha IV and Danna Ruscha, 2016 LEFT: Jerry McMillan (U.S. b. 1936), Untitled (L.A. Skyline), 1971, photoetched copper, 10” x 30” x 4”, Fred Jones Jr. Museum of Art, The University of Oklahoma, Norman; Promised Gift of Edward Ruscha IV and Danna Ruscha, 2016

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this shift is not necessarily preferable to inperson programming, going digital has allowed the show to reach more people than it might have under normal conditions since it has opened up the opportunity for interested parties to participate no matter their location or ability to visit Norman, OK. The exhibition is the first to bring this group together and the show represents the last exercise in curation by Dr. Mark White for the Fred Jones as he has become the Director of the New Mexico Museum of Art. When asked about how this show fit in or diverged from others he curated for the museum, he responded that he: was always interested in exploring how artists who had some attachment to Oklahoma engaged national and international trends. OK/LA was part of an unofficial series, at least in my mind, that included Picturing Indian Territory, A World Unconquered: The Art of Oscar Brousse Jacobson, Oklahoma Moderne: The Art and Design of Olinka Hrdy, and Macrocosm/Microcosm: Abstract Expressionism in the American Southwest. Each of those exhibits explored different artists, time periods, and aesthetic tendencies, but each also examined how Oklahomans were part of broader artistic discussions. As a native Oklahoman, I was always very interested in demonstrating that the artists of the state were not provincials and, at times, could be very influential, prescient, and insightful.

This exhibition certainly studies identity formation unique to our state and emphasizes the important contributions these artists have made in the fields of Pop Art, Conceptual Art, photography, comedy, music, and television.

Though the exhibition itself opened later than planned, it will run through March of 2021.

There is also a complete digital walkthrough available on the Fred Jones Jr. Museum of Art exhibition page. OK/LA, is an in-depth and fascinating look not only into the works of six accomplished artists, but a grouping that allows viewers to see the humanity of these professionals through the indelible influences that places and friendships have exerted on their lives, and by extension, artistic outputs. n

Patrick Blackwell (U.S. b. 1935), Clouds, 1971, silkscreen print, 25 ¾” x 20 ¼”, Loan courtesy of Edward Ruscha

Skylar is a curator, writer, and artist living in Tulsa, OK. She is a graduate of Oklahoma State University, Dartmouth College, and Bard Graduate Center and a Fellow for the Norman Rockwell Center for American Visual Culture. sketchesbyskylar.com re v i e w

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I-Witness Culture: Frank Buffalo Hyde

By Kristin Gentry

Frank Buffalo Hyde, Buffalo Dancers Study, 2016, acrylic on canvas, 30” x 40”, Courtesy of Tansey Contemporary

Fond memories of visiting the Gilcrease Museum with his father as a child came up as Frank Buffalo Hyde expressed the honor of having his own solo exhibition on display in the same museum now as an adult. Hyde was born in Santa Fe, New Mexico, is from both the Onondaga and Nez Perce tribes, grew up in New York with his mother on

her reservation, and then later returned to Santa Fe, New Mexico to attend the Institute of American Indian Arts for creative writing and two-dimensional studies and them the Santa Fe Arts Institute. Hyde creates a variety of work through mixed media paintings, mixed media sculptures, street art, writing, and collaborative sculptural pieces. His Katherine Hair’s whimsical, towering deer sculptures

are made from discarded and recycled branches.

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I-Witness Culture by Frank Buffalo Hyde Gallery Shot at the Gilcrease Museum. Photo by Kristin Gentry

mother is a traditional dancer, his father and uncles are artists, and now Hyde has been working on his arts practice for over twenty-five years.

Pieces for I-Witness Culture, which opened at the Gilcrease in February of 2020, are created with a spray-painted stencil style intermixed with traditional fine art painting. When interviewed, Hyde talked about wondering if anyone would be interested in people holding cell phones as he explored the idea through painting.

He continued on and the body of work developed into contexts of the mundane becoming high art. Our world culture view is now seen through the lens and screen of our cell phones. This body of work explores how the cell phone has changed our information exchange, how we interact as people, how our communication is now different, relationships, and that the human existence has forever been altered because of the cell phone technology.

He’s constantly working to dispel notions of what Indigenous art looks like. He says that, “Indigenous artists have an extra expectation to represent their culture.

We can make all different kinds of art, all styles. It doesn’t matter what you paint,

it’s inherently you no matter how you put it down on a plane. We need traditional work, but I’ve made choices to exist and create art in a different way and different areas.”

Chelsea Herr, Choctaw, Curator of Indigenous Art and Culture at Gilcrease Museum said that, “hosting a monographic exhibition of Frank Buffalo Hyde’s work at Gilcrease is not only an honor, but it’s also a great indicator of where I think the field of Indigenous art is headed. Much of the exhibition text is written from a firstperson perspective, allowing the viewer to engage with the artist’s own thoughts on his work. The visual presence of the artist in the gallery is augmented by his verbal presence, as well—but not so much as to overwhelm or negate the viewer’s own experience. It also adds to the personal, first-person perspective of many of Frank’s paintings. His work often mediates the audience’s own point-of-view through a painted phone screen, as seen in his pieces, Buffalo Dancers Study and Bison Selfie. This is a clever reminder to the viewer that what the general public tends to see, experience, or perceive about ‘Native culture’ is often highly filtered or decontextualized, providing only a singular glimpse into

something that is much more complex and dynamic than what we may see on our screens.”

In interviewing him, Hyde speaks about the content of his work being resonant with his own tribal cultures and that of the tribal cultures of the Southwest. Hyde reflects, “when I made the decision to become a professional artist, I decided I wouldn’t divulge ceremonial information that wasn’t already out in the public domain.” He does this out of respect, and believes that by not sharing private ceremonial information one has to actually be present to be a part of the culture. This presents the juxtaposition to a mainstream or westernized cultural norm that attempts to digitally record, show, and commodify everything. The southwestern tribal cultures are romanticized through media, film, stereotyping, etc., and Hyde works to show how tribal cultures are appropriated through marketing through his use of pop-cultural references. He’s excited for a museum to go from traditional southwestern art to contemporary. He hopes to make the path easier for other contemporary Indigenous artists with this body of work at Gilcrease Museum. (continued to page 10)

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The Covid-19 Pandemic has altered the entire art world from galleries to museum spaces. Herr stated, “The pandemic has affected the [Gilcrease] museum as a whole, but I-Witness Culture in particular. The show was scheduled to come down in May, but since the museum was closed from March through July, Frank was gracious enough to allow us to extend the show through January of next year. Since the pandemic has prevented us from hosting events for guests at the museum, we’ve moved our programming online, which has allowed us to reach a much wider audience than traditional in-person programs. In April, Laura Fry interviewed Frank for a Facebook Live event, and in August, the amazing Cherokee singer-songwriter Kalyn Fay held a live performance in the I-Witness Culture gallery. Both of these virtual events are available online at Gilcrease.org, on our YouTube page, and on our Facebook page.”

This exhibition has been organized by the Museum of Indian Arts and Culture/ Laboratory of Anthropology, Santa Fe, NM and circulated through Guest Curator Traveling Exhibitions. The show remains on view until January 17, 2021 n Kristin Gentry, M.S., B.F.A., is a citizen of the Choctaw Nation of Oklahoma. She’s an artist, writer, and curator.

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ABOVE & RIGHT: Frank Buffalo Hyde, Eagle Dancer Study, 2016, acrylic on canvas, 40” x 30”, Courtesy of Tansey Contemporary

BACK AND FORTH: Anticipation of the 2021 Steamroller Festival

By Alyson Atchison

Michael J. Wilson and Bonnie Amspacher, Past print from the Steamroller Festival, printed on Tyvek, 3’ x 6’

In printmaking, artists are taught to anticipate what might happen during the back and forth motion of the squeegee, press, baren, or other tool intended for smooth application of ink to paper. With that, patience is learned. Over the last year, we’ve all likely practiced some patience.

If you’re not already a printmaker, 2020 probably taught you the first step of the trade: patience. And for printmakers and everyone alike, we wait in anticipation for the next Steamroller Festival.

Before we look forth, let’s look back.

The Steamroller Festival began in 2013 at ARTSPACE at Untitled in Oklahoma City by bringing together dozens of artists, endless inks, papers, and blocks onto the streets of Deep Deuce to meet up with a five-ton steamroller. This inaugural event formed a community of printmakers working together to produce large scale prints.

In only a handful of years, the festival grew to become ARTSPACE’s largest annual event. It attracts over 2,000 visitors, more than 150 artists, as well as food trucks and live music during a one-day celebration.

Before the Steamroller Festival, many printmakers in Oklahoma might have only been familiar to you because they were your high school art teacher, your drawing instructor in college, or an artist-inresidence in educational programs. Did you know what kind of mastery of technique and skill they were hiding before you saw the large-scale block they carved?

Maybe or maybe not, but the Steamroller Festival has also attracted younger printmaking artists in its tenure—something that was lacking in Oklahoma in 2013. In addition, the festival laid the foundation for a successful mentorship program providing printmaking studies for rural students.

From back to forth, let’s look ahead to the 2021 Steamroller Festival and why it is so anticipated. The seventh annual festival was canceled and postponed in 2020 due to measures to keep our communities safe during the COVID pandemic. As we look ahead to 2021 and anticipate the next festival, we can learn from printmakers who wait patiently for the paper to be peeled from the block.

Oklahoma artist and educator, Glenda Ross says, “The Steamroller Festival was a great opportunity to expand my artist network and explore printmaking. It was good to have my students observe me working on this piece during class and be able to ‘art talk’ with them. I completed the carving.

When school went to ‘distance learning,’ and the 2020 event got postponed, I decided to use the block to teach my AP (continued to page 12)

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Steamroller Festival, 2019

Glenda Ross, 2020, using crayons to print in anticipation of the 2021 Steamroller Festival

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Steamroller Festival, 2019

Drawing class ideas about ‘mark making’ and used it as a relief for rubbings. I’m really looking forward to see the printed result and expand printing my series ideas more in the process in 2021!”

And from Oklahoma printmaker Michael Wilson about why the festival is so important, “Who doesn’t love to see heavy equipment being used in strange and playful ways? Also, igniting people’s imagination is always a worthwhile pursuit. Particularly now after we have all taken so many hits with the pandemic and everything else.”

The Steamroller Festival is a community gathering and celebration of printmaking, an artform that is at the core of ARTSPACE’s work. To be a part of the print party, visit ARTSPACE on Saturday, April 24, 2021, 10:00am to 6:00pm. ARTSPACE is located at 1 NE 3rd St in Oklahoma City’s Deep Deuce District. For more information, visit 1ne3.org. n Alyson Atchison is a printmaker, curator, and art writer based in Oklahoma City. She currently serves as curator of smART Space at Science Museum Oklahoma.

VISIT US

M-Th, 12 - 4 p.m. • Fridays, by appointment UCO Art and Design Bldg 100 N. University Dr. • Edmond, OK 73034

CONTACT US

@ucomeltongallery meltongallery@uco.edu • 405-974-2432

CALL FOR ART

UCO Melton Gallery welcomes submissions from artists and curators through our website: www.meltongallery.com

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ABOVE: The Gossips, wood, metal RIGHT: Tracey and Rick Bewley under their sculpture Slam Dunk in Red Andrews Park, OKC

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In the Studio with Rick and Tracey Bewley

By Carleigh Foutch

Tell us about yourselves. You’re both mixed media artists—do you have a preferred medium? How did you get your start? Is there a favorite project you’ve worked on together?

So, we collaborate on everything. If you look at our work, it’s typically just signed ‘Bewley’. We don’t differentiate, normally, between a piece I made or a piece Tracey made. There are exceptions, some of the 12x12 [fundraiser auctions] we enter separately.

RICK:

It’s almost a little bit of a competition for us. We joke around, try to see who sells for the most money...but that’s an unusual exception.

TRACEY:

Typically, we’re very collaborative, whether it’s the conception of a piece or the actual fabrication; it’s almost always a joint venture. We got started with glass.

Tracey has a degree in art [from Oklahoma City University], and I’m an old fabricator/ carpenter/plastic worker, that kind of thing.

RICK:

And you’re self-taught?

We are self-taught. We took an intensive course with a glass artist in Minnesota almost 20 years ago and then went from there. We sold a project before we even had glass or a kiln—that was very, uh, intense. We got the money down and then bought all of our supplies and materials, and halfway through we realized there wasn’t enough time for us to finish, ‘cause you know, a piece has to sit in the kiln for a finite time (about 12 to 14 hours), and there’s no adjusting that. So, we had to buy a second kiln that was twice as big as the first one and ended up delivering the last piece still warm. But that’s how we got our start! Shortly after that, the Oklahoma City Community College art festival noticed my brother, who we shared a shop with, laid an article on our table about them looking for artists and we thought, “Hey, let’s do that!”

RICK:

TRACEY: You

asked about our primary medium, and that’s fused glass. Originally, that was kind of entirely what we did. Glass plates, bowls, particularly in the early stages and we were totally enamored of it. We’d come home from work at lunch and rush to peek in the kiln and see how the pieces we’d done the night before were doing. So, yes,

The Bewley’s Art Fusion studio, located in OKC.

primarily fused glass, but particularly over the last few years, as we’ve acquired more equipment and added to our skillset, we’ve made it much more mixed media, including the wood, metal, acrylic, and everything up to our sculptural work and even furniture.

I have a BFA in art, but it was primarily a degree in your basic drawing and painting, which is what I focused on at the time. So, when we first started dating, we wanted to find a medium that we could both learn and work on together, and that was when we ended up being introduced to the fused glass.

We thought that would be a fun thing we could bring our different skill sets to and were unfamiliar with, so that it was something we could learn together.

We also both have manufacturing and commercial backgrounds, which is a skill we’ve been able to bring here [to the studio], since there’s only two of us. And in order to get as much work done as possible, we’ve really embraced technology. We have our own water jet cutter…

RICK:

Also, our own plasma cutter, sander…[laughs]. They’re all different pieces of equipment we’ve added over time when we’ve wanted to work in other materials and we’ve needed to find another way to have the designs that we draw on the computer and then have the equipment help us finish it out.

TRACEY:

Tell us a little bit about Art Fusion Studio.

How long has it been about? What are you working on now?

RICK: The building itself we bought in 2007, so it’s been about 15 years. We bought it when there was no Plaza District, no midtown—it was just a sketchy neighborhood, which meant we could afford it at the time. So, we were able to buy it at a reasonable price, but we were also stupid artists buying in a sketchy neighborhood…’course now we’re visionaries!

TRACEY: Yeah,

you know, the Plaza is just a couple blocks over, within walking distance, and midtown is the same way just in the other direction. So, we literally became sandwiched between two really hot, new districts that didn’t exist when we bought the building. It’s been great.

RICK: We

also live upstairs, and we eventually bought the building next door. We’re also getting ready to add on to the back of the place. We’re going to build an additional house. The top will be a loft for rent and the bottom will be excessive garage space that could end up being used for more shop space.

It’ll be a completely separate residence.

TRACEY: Yes, we’re still in the very early, preliminary stages with that, but it’s coming!

We do a lot of local art here in the studio,

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though. Most of our pieces that we sell are commissioned one way or another. We sell a few things through the showroom, but it’s not our primary income. Most people that we deal with are wanting some sort of special, custom commission. We’ve also been applying to a lot of public art projects, so those are probably the ones you see around town.

What is the ultimate goal of having a place where the two of you can collaborate together? How has it shaped you as artists?

TRACEY: We

are so pleased with how things have ended up. I can’t imagine working with anyone else. I can’t imagine even doing any of this by myself! And what’s particularly worked for us is with me coming from a more traditional art background of drawing and painting versus his handmade stuff...he’s always built and created and made things out of all kinds of materials. Well, I’d never built anything in my life that wasn’t a pen drawing or painting or something. So those two very different skill sets tend to blend very well.

Say we’ve got a public art project we need to work on. We generally start by having a drink and then start discussing the basic direction we want to go in. Then usually the next step is for me to try and illustrate that concept. I’ll work out the illustration, and we’ll bounce that back and forth and tweak it the way we want it, and then I may need to do some technical drawings for it (you know, in case there’s any specific dimensions or pieces that need to be cut on different equipment, I may start setting those up), but then that’s the point when [Rick] starts getting involved with the production side of things. He may draw some spec pieces of things that need to get built, but then he generally does a good portion of the building and the making of a piece. I may lend a hand on the glass elements, but anything besides that, he’ll be working on it. It really does end up a collaboration throughout the whole process.

What draws you to creating work with such interesting juxtapositions? You play around with light a lot...why does that appeal to the two of you?

RICK: You

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know, it’s one of those things...

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Rick and Tracey Bewely, fused glass & steel sculpture for NBC Bank in Oklahoma City, 9’ x 9’ x 9’

there’s just something about reflections and colors that are transmitted that’s just something that everyone seems to be drawn to. The second surface, “free art”, accidental whatever-you-want-to-call-it is just fun and interesting. Then I think when you have a piece of glass—fragile and breakable—next to a hard piece of metal or granite or concrete, there’s just something about that that’s always appealed to us.

Where do you see your work taking you in the future? What kind of statements do you think you’ll be making?

I don’t see any great changes from what we’re doing now, which is always moving forward and looking for the next fun project to come our way. One of the fun things about working with commissions is that they frequently take you in directions you don’t expect or might not necessarily go on your own. With a customer’s influence

TRACEY:

saying, “I want this or that,” and I’ve never done that before, it really makes me stop and think, “Well, how would I do that?” Having to figure that out and develop new ways of doing things just through, you know, trying to work out a customer’s concept is what we always look forward to doing. That’s part of the fun of what we do.

Is there anything else you want the Art Focus readers to know?

I know that whenever we’ve purchased our equipment, part of our justification has been, “Well if somebody ever needed something done, we’d gladly do it for them,” but we’ve never really reached out to anybody. There’s artists out there that might need something engraved or a laser cutter or plasma cutter. At some point I think we’re going to try and reach out and offer up our services of custom cutting.

RICK:

REGIONAL LISTENING SESSIONS

CENTRAL

January 15th, 10am

NORTHEAST

January 22nd, 10am The Bewley’s get creative with colorful fused glass plates.

Definitely. And we’ve definitely noticed throughout our own career that we might need a sample of something, or just one or two pieces made for an art project. Most people with the equipment we now have are looking to mass produce business, they don’t want to mess with little one-offs or anything. It can be a difficult thing sometimes for an artist to find, someone who’s willing to work with them to make something experimental. So, we’d love for that to be our next new phase, now that we’re talking about getting all of this new equipment, and be able to share that with other artists.

TRACEY:

To learn more about Rick and Tracey Bewley and to see their work, visit: artfusionstudio.com n Carleigh Foutch is a writer and activist living in Oklahoma City. She received her BA in Journalism from the University of Oklahoma and continues to write stories of all kinds in her spare time. To learn more about Carleigh and her work, visit carleighfoutch.weebly.com.

SOUTHEAST

January 29th, 10am

SOUTH CENTRAL February 5th, 10am

SOUTHWEST

February 12th, 10am

NORTHWEST

February 19th, 10am Register now: ovac-ok.org

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In the Studio with Black Moon

By B. L. Eikner

Black Moon original members from left to right: Alexander Tamahn, Tailynn Tindall, Elizabeth Henley, Audria Braggs, Summer Washington, Christina Henley, and Nosamyrag

Black Moon is a collective of Black artists in the Tulsa area defined as breaking standards, pushing innovations, and cultivating creativity among the local community.

This group was formed in March of 2018

by Elizabeth Henley and five other artists, as a platform to engage Black artists. The group is composed of nine artists to include Melody Allen, Aundria Braggs, Christina Henley, Elizabeth Henley, Erica Martez, Nosamyrag, Alexander Tamahn, Tai Tindal, and Summer Washington. Black Moon has exhibited at venues to include Tulsa Artists’ Coalition, Living Arts of Tulsa, Gilcrease Museum, Art Hall in Oklahoma City, and Black Wall Street Gallery. There are

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two planned exhibits entitled, Limitations of Now, at the Philbrook Museum of Art in Tulsa and a mural project for Monroe Demonstration Academy, both planned for 2021.

This, In the Studio With…, is a little different in that the interview will include three of the artists and their impressions of the Black Moon organization, where it is headed, and its future. Our interviewees are Melody Allen, graduate of Oral Roberts University and a painter; Aundria Braggs, graduate of the University of Central Oklahoma, and Co-Chair of OVAC’s Momentum 2021; and Nosamyrag, who attended Tyler Junior College and currently

has an exhibition at the Center of Public Secrets in Tulsa.

What has been the number one positive impact of Black Moon on your artistic career?

MELODY: Being a part of Black Moon has really challenged me in so many aspects.

They’ve helped me to elevate my artistic goals, to use more of my talents, to do a good job, to strive for greatness, and to do so much more than I’ve ever thought I could achieve. It has taught me to surround yourself with people who are better than you, not in the sense that we are not equals, but who have been where I want to go. This

Black Moon member Melony Allen with their work

group of individuals taught me that we can really achieve so much by coming together and collaborating. If Black Moon did not find me, I have no idea where I would be in my art journey.

Black Moon has been the #1 positive impact on my artistic career if I am being completely honest. Without the support of the collective, I would be aimless and uncertain of where I fit into the art community of Tulsa all while being completely intimidated by the established artists who are already here. Because we are a collective, we are stronger and more confident moving into new spaces together.

AUNDRIA:

Knowledge. I have gained so much in the past 3 years alone. My mind has been more open than ever before. I can only imagine what the future holds.

NOSAMYRAG:

As an artist you bring your social justice positions to the table of Black Moon; how is that expressed in your work?

MELODY: I usually do not create artwork with social justice themes. I’m not opposed to making socially political artwork, because I create that within the group, but concerning my personal work I tend to keep

Black Moon member Aundria Braggs working on a piece for Philbrook’s Drawing Rally

(continued to page 20)

f e a t u re 19

(continued from page 19)

Portrait of Nosamyrag

by Mellissa Lukenbaugh

Does Black Moon plan to incorporate an educational segment and if so when, where, what is the target audience and what will the focus be?

At the moment we have plans to incorporate education into our Collective.

We are on the hunt for a physical location.

Programming surrounding education, group shows, and merch sales is already on the table and it would be imperative to maintain a physical location.

AUNDRIA:

Earlier this year, we had a workshop in place along with the goal in mind of doing that throughout the year [but it was] stopped by the COVID-19 pandemic. We recognize the power we hold as artists in a collective; we would like to share the resources.

NOSAMYRAG:

What changes have you seen in the Tulsa Arts Community since the establishment of Black Moon?

MELODY: I admittedly had not been involved much in the Tulsa arts community before my involvement with Black Moon. I had recently graduated from college in 2015 and found myself just working a regular 9-5, vendor booths here and there, and not making much artwork. Joining Black Moon gave me insight into the Tulsa arts community and an avenue to navigate through it.

When I moved back to Tulsa in the Spring of 2019, I was uncertain of what I should expect from the art scene here. As far as I can see Tulsa is trying to keep the arts alive and it has felt as though more museums, organizations, artists, etc. have been reaching out to us. Since the recent reawakening of the Black Lives Matter movement Tulsa has put a sharp focus on the collective and in that way, I can say it has changed.

AUNDRIA:

it relaxed, whimsical, and colorful so as to de-stress from the stresses of everyday life.

I focus on representation and inclusion. My political stance has always been my sheer presence where I do not necessarily fit in. Of course, I am aware of political injustices; my approach has always been to bring awareness over criticism. I think the world needs more patience and understanding; therefore, I try to open dialogue with my work and relate to those who feel similarly.

AUNDRIA:

I want to plant seeds for the photographers after me. I want to lay down the foundation. The next generation has

NOSAMYRAG:

20 f e a t u re

more impact than they know. I want to guide them in the right direction my best way possible.

Do you see Black Moon expanding its membership to international, national, and or state levels?

MELODY: For the time being, we have narrowed our membership to the city of Tulsa and its surrounding areas.

At the moment I do not see Black Moon expanding beyond the state of Oklahoma. The collective is meant to uplift current citizens of this city so we can compare ourselves to other diverse and thriving artistic communities.

AUNDRIA:

Opportunity. A LOT of things have opened when Black Moon started and hit the ground running.

NOSAMYRAG:

Does Black Moon partner with other community, state organizations and if so who and how?

MELODY:

Black Moon is not in [legal]

partnership with any community or state organizations currently.

We accept donations from community organizations, businesses, individuals etc. The list is too great to mention here without leaving out valuable contributors, but I will say I have been astonished by how many have reached out to support us. We are grateful to have such a loving community here.

AUNDRIA:

Way too many to name. We play our part to the fullest—the best we can. Community is one of if not the biggest thing that matters to me. There are so many who want to do what we are doing and do not know how or when to start. We are here to push the narrative.

NOSAMYRAG:

Are you a full-time artist?

MELODY:

I am not currently a full-time

artist. I currently work as a sales associate in Tulsa. Balancing a full-time job and a growing art career has been a challenging balancing act, but anything fulfilling, and empowering is worth striving for.

My goal is to be a full-time artist and I am quite an active participant in the art community of Tulsa. I currently have a full-time job as a salon manager.

AUNDRIA:

I want to say yes and no. Yes, because when I originally went full-time, I did not have a 9-5 [job]. Now, I do have a 9-5 that deals with something I love—art.

NOSAMYRAG:

Any other closing statements?

MELODY: Thank you to Art Focus Magazine for reaching out to Black Moon for this amazing opportunity. For giving me a platform to share my thoughts and experiences with Black Moon and our

involvement in the Tulsa Arts Community.

It has been most enjoyable.

Thank you for your interest in our collective and I hope to see you at our future events.

AUNDRIA:

NOSAMYRAG:

Pay the artist(s).

Black Moon can be reached at blackmoontulsa@gmail.com, on Facebook at Black Moon, and on Instagram @blackmoontulsa. n B. L. Eikner is an author, journalist, poet, and event planner. She is the owner of Trabar & Associates, a regular contributor to Art Focus Oklahoma and The Oklahoma Eagle, has published two books, How Do You Love…

When? and Dirt and Hardwood Floors, and can be reached at Trabar@windstream.net or on Twitter @trabar1.

NOW OPEN

Image courtesy Andy Arkley

ahhatulsa.org/the-experience-imagine

Pictured: Andy Arkley's Together is a collaborative interactive installation that combines sculpture, animation, music and light.

f e a t u re 21

DIGITAL DIALOGUES: Art Crit Nights Promote Audience Feedback in a Virtual World

By Piper Prolago

In an increasingly virtual world, artists must take every chance to build communities where they are able to share their artworks and learn from each other. With Jarica Walsh and Jennifer Scanlan’s Art Crit Night, creators from across the state—even across the country—are able to come together and do just this. Created to provide artists at every stage of their careers with an opportunity to get feedback on their work, Walsh and Scanlan host this virtual event once a month. Applications are currently open to present at any of the upcoming Art Crit Nights.

Scheduled to be held on the second Tuesday of each month, artists and interested community members are invited to join the Art Crit Night Zoom call at 6:30 p.m. to engage in discussions about two scheduled artists’ works. At each Art Crit Night, these two artists each present a PowerPoint of works on which they’d like feedback and open the floor for questions, compliments, and critiques from the audience. While anyone on the call is welcome to speak (or chat) their mind about the artists’ presentations, many artists also request specific kinds of feedback depending on what they hope to gain from participating.

Walsh and Scanlan have known each other both professionally and personally for several years. Scanlan started her career as a curator in New York, moving to Oklahoma in 2016 and immediately resonating with the close-knit and supportive community of artists that smaller cities cultivate. As she interacted with artists through her work in Oklahoma, Scanlan noticed that “there weren’t enough curators out there doing studio visits” where they could give the kinds of feedback that seemed to help artists improve their practices.

Around the same time that Scanlan moved to Oklahoma, Walsh had started working in artist professional development at the Oklahoma Visual Arts Coalition (OVAC).

Here, Walsh recounts that “I spent a lot of time thinking about how to support artists and what education needs there were.”

22 f e a t u re

As businesses started closing due to the COVID-19 pandemic, Walsh reached out to Scanlan about organizing a virtual program.

“I was thinking about the artists who might’ve been a little bit at a loss, but I was equally thinking…how can I help?” Scanlan recalled. With this, the Art Crit Night program was born.

Walsh recounted that the inspiration for the virtual Art Crit Night came from another crit night organized by Art Group OKC that she attended. Impressed with the positivity that their group studio visits cultivated, Walsh wants her Art Crit Nights to similarly be the kind of environment where people would feel comfortable sharing their creations because “it takes a lot of courage to do…it’s such a personal thing.”

A practicing artist herself, Walsh compared this welcoming environment to art crit nights that are folded into many masters and even some undergraduate fine arts programs.

Here, artists engage in public evaluations with each other.

Outside of the university setting, crit nights become less common. While the intensity of the art crit nights may be more intimidating, the opportunity for this kind of organized evaluation of an artist’s work can provide meaningful guidance for artists at any point in their careers. This is what Scanlan and Walsh hoped to achieve in their virtual Art Crit Nights. Always maintaining an atmosphere of positivity, artists can learn a lot about how an audience is receiving their work, the aspects of their pieces that jump out to people, and even think about what might be missing to direct them moving forward. Even in a casual setting, Scanlan emphasized, “you realize what they’re responding to, what is working and why you’re not getting any feedback on other things.” Extending the academic crit night to meet the needs of other participants, Art Crit Nights can be an opportunity for artists to do anything from preparing for a specific fellowship application to getting input on a new direction they’ve more recently explored.

This was the case with Emma Difani, a printmaker based in Oklahoma City who

participated in the September Art Crit Night. Hoping to get more perspectives on her more recent work, Difani explained “I’d started a whole new body of work at home during the early months of the pandemic and hadn’t really shown it to anyone.”

Presenting at an Art Crit Night allowed Difani to collaborate and exchange ideas like she was used to doing in a printmaking workshop and through her work with Factory Obscura. Through this virtual platform, Difani was able to engage in dialogue with others about her new prints and gain valuable feedback to guide her continued exploration moving forward.

While Difani was drawn to these events based on her previous experiences in collaborative settings—both in printmaking workshops and in academic settings— another participant, Jim Weaver, was newer to the experience. “Being a self-taught artist and beginning later in life, there is a lot I haven’t learned about the art world,” Weaver explained, “so a ‘crit’ is something entirely new to me.” Weaver brought his work in tooled leather to the August Art Crit Night and was struck by the audience’s reception of his works, noting “the work doesn’t always communicate its intent,” which is valuable feedback for an artist in making their work. Regardless of their entrance to the art world or mediums of choice, Art Crit Nights have allowed for a continued connection between artists and their public throughout the pandemic.

Beyond being a convenient and meaningful opportunity for artists to receive feedback on their work with new restricted access to groups and dangers of in-person meetings, these virtual events provide meaningful tools for artists to succeed in a technologically driven world. Highlighting the importance of artists’ online presence in promoting themselves, Scanlan advises that all artists have websites and learn how to photograph a piece in a way that captures details like its texture or scale. In this way, the virtual format of Art Crit Nights also promotes skills that are imperative for an artist working in the 21st century. When most applications and proposals are not conducted in-person, learning how to most

Emma Difani, Land to Larder, 2020, milk carton drypoint, screenprint, watercolor, graphite on paper, 21” x 15”

effectively present your work online is more than pandemic-friendly—it’s a necessary tool.

Whether you’re an artist seeking constructive criticism, guidance, or a confidence boost, applying to present at one of the upcoming Art Crit Nights offers an opportunity that anyone can benefit from. For more information to attend an event or apply to be a featured artist, visit Art Crit Night’s Facebook page at: facebook.com/artcritnigh n

TOP: Jim Weaver, What Happens in the U.S. Stays, tooled leather, 25” x 25” BOTTOM: Jim Weaver, For the Cowboy’s Sweetheart, tooled leather

Piper Prolago is an undergraduate junior from Wichita, KS studying art history and anthropology at the University of Tulsa.

f e a t u re

23

EKPHRASIS: Art & Poetry Edited by Liz Blood

Ekphrasis is an ongoing series joining verse and visual art.

Here, Bailey Hoffner responds to a painting by Gabriel Rojas using the pantoum form. Hoffner says her poem “owes deep gratitude to the imaginative, radically restful, and life-altering work of Tricia Hersey and The Nap Ministry.”

Bailey Hoffner is a poet, mother, and cis white woman interested in interrogating entrenched ideas relating to gender, illness, spirituality, and place. She volunteers with Poetic Justice, an organization offering restorative writing workshops to incarcerated women, is a regular contributor to World Literature Today, and is the Metadata and Collections Management Archivist at the University of Oklahoma Libraries in Norman.

Gabriel Rojas is an ArgentinianAmerican artist living in Tulsa. His work investigates various systems of abstraction and formal relationships between space and color. Rojas often includes collage, mixed media, assemblage, and sculptural design in his paintings, creating visual structures that interweave his multiple influences and explore the materials’ potential to connect process with memory.

24

ekphrasis

Enough in our earliest sleeps hunger was always near only a question of distance to warm flesh

drug and disease accumulation answers questions of how much with more

hunger remains near though the knowledge of distance to warm flesh has been buried

accumulation answers what we carry grows like flame always more and our open eyes see nothing

though the knowledge of each warm-bodied root has been buried growing its heavy belly

what we carry holds no flame against all we’ve lain to rest and our open eyes see nothing but potential loss

each warm-bodied root will make good its promise hungered into a belly its urge toward rebirth

against all already lain to rest sleep can never be caught up on only lost and maybe if there is ever enough

will make good its promise as the buck’s tongue speaking its urge toward rebirth shouts red across the snow

sleep may never be caught up on but the outline of her face if there is ever enough at rest will be the moral

as the buck goes silent the irreverent crocus shouts red across the snow and we walk our whole bodies

just the outline of her face where hunger is always near her rest will be the moral spanning distance to warm flesh

irreverent as the crocus drugged and diseased we walk our whole bodies under questions of how much

hunger is always near in our earliest sleeps distance to warm flesh the only question

Gabriel Rojas, Grocery Shopping, 2020, acrylic and oil on canvas, 48” x 60”

e k p h r a s i s 25

“At TU we’re always trying new ways for students to apply what they’re learning in the classroom into different settings.”

TU Associate Professor of Art History and Director of the Arts, Culture, and Entertainment Management program Kirsten Olds is a #proudprof. The students in her Curatorial Practice course just recently realized an exhibition in the Alexandre Hogue Gallery, titled Garden of Earthly Delights. Undergraduate and graduate students handled all aspects of the show, from choosing the theme and inviting participating artists to writing interpretive labels and wall text, determining the installation in the gallery, and designing the postcard and collateral materials. They have even devised virtual programming to appear on the exhibition website they created: tugardenofearthlydelights.wordpress.com. “At TU we’re always trying new ways for students to apply what they’re learning in the classroom into different settings. In 2019 for the Venice Biennale, my colleague Dr. Maurer and I took students to Italy. I didn’t get to do any of this as a student!”

Dr. Olds laughed.

The environment at The University of Tulsa allows for faculty to get to know their students, and to encourage their specific interests. This aspect is one Dr. Olds appreciates the most about the School of Art, Design, and Art History — “We have had several students publish articles in Art Focus Oklahoma, and I hope that tradition continues! I have been so privileged to teach and learn from our TU students for the past 10 years, and look forward to many more in helping to guide future artists, art historians, and arts administrators on their personal journeys.”

Dr. Olds’ student-curated exhibition runs through February 4, 2021, and due to covid-19 protocols, is open to faculty, staff, and students at the University of Tulsa.

Please Follow us on Facebook: facebook.com/utulsaschoolofart Instagram: @utulsaart

For more information, visit http://www.utulsa.edu/art or call 918.631.2739 • TU is an EEO/AA institution •

26 o v a c n e w s

DEC 7 - FEB 26 Forest Heritage Center Museum, Broken Bow

MAR 15 - APR 23 McArts Gallery of Fine Art, McAlester 24 Works on Paper continues its tour around the state with two more stops. Curated by heather ahtone, the show features 24 works by living Oklahoma artists.

More info: 24works.org

OVAC'S GRANTS FOR ARTISTS DEADLINE: JAN 15 Get funding for your next project! Need help with your application? Sign up for Office Hours on January 6th.

More info: ovacgrants.org

GENERAL SURVEY DEADLINE: JAN 14 SPOTLIGHT @ 21C: FEB 22 - AUG 27 MOMENTUM @ MAINSITE: MAR 3 - 27 Last chance to apply for Momentum General Survey! Check out a preview of this year's Spotlight Artists at 21c Museum Hotel in OKC before seeing the full show at Mainsite in Norman.

More info: momentumoklahoma.org

FOR MORE INFO: OVAC-OK.ORG

OVAC NEWS

WINTER 2021

In December, we gave out $80,000 to artists impacted by the pandemic in Oklahoma Visual Arts Emergency Grants through support from the Andy Warhol Foundation for the Visual Arts. While this is an incredible opportunity to help artists in need, it is just the beginning in an ongoing relationship with the Foundation through their Regional Regranting Program. In the coming months, we will share more about our new Thrive Grants program that will support new artist’s projects statewide.

More information will be posted soon at thrivegrants.org.

Starting in 2021, we will offer the brand new OVAC Artist Marketplace! The marketplace will be a place that OVAC members can post items for sale and art buyers across the state can shop for new works of art to add to their collection. For more information on how to submit your work or to start shopping, visit ovac-ok.org/marketplace.

Krystle Brewer, Executive Director

Momentum Guest Curator, Pablo Barrera, and Emerging Curator, Kristin Gentry, have selected this year’s Spotlight Artists: Amber DuBoise-Shepherd (Shawnee, OK), Andrea Duran-Cason (Norman, OK),

and Marium Rana (Tahlequah, OK). To view these projects, along with the general survey, check out the show from March 3rd – 27th at MAINSITE in Norman and April 2nd – 23rd at Living Arts in Tulsa.

Though it won’t be the weekend-only party Momentum is known for, this format will provide more time and space for visitors and in two locations. Also, our Rockstar Momentum Committee is hard at work planning even more ways for everyone to experience the show safely.

To keep up with the latest OVAC news, follow us on Facebook, Instagram, and Twitter.

Sincerely,

Krystle K. Brewer Executive Director

Thank you to our new and renewing members from August 2020 to October 2020 Kasa de Arte, LLC Lynette Atchley Dustin Bailey Mattie Barlow Theresa Bembnister Marci Black Valerie Blackburn Tanner Bowen Jack Bryant Martha Burger Kathy Buttry Karin Cermak Jack Chapman Caroline Cohenour Sheridan Conrad Mackenzie Cooper

Peter Cullum Bob Curtis Isolete De Almeida Shyanne Kay Dickey Virginia Dowling Kika Dressler Bobby Edmon Alana Embry Christine Emond Janene Evard Ellen Frank Joan Frimberger Joey Frisillo Amy Jo Garner Tracy Gibson Matt Goad

Susan Green Jessica Harvey Shauna Henry Suzanne Henthorn Steve Hicks Cybele Yanez Hsu Lawrence Hultberg Lauren Hutson Renee Jones Kathryn Kenney Alyona Kostina Judy Laine Amanda Lawrence Tina Layman Nick Lillard Harolyn Long

Jean Longo Heather Lunsford Gianna Martucci-Fink Nathan McCullough Joseph McGlon III Ginger McGovern Lisa McIlroy Richard McKinstry Suzanne Wallace Mears Faye Miller Madison Moody Donna Newsom Ann Barker Ong Dustin Oswald Kim Pagonis Manjula Ramineedi

Marion Sadler Diane Salamon L.A. Scott Skylar Smith Kristina Tackett Cheri Tatum Kelly Temple Cathryn Thomas J.D. Trout Harwood Martha Turner Sandy Wallace Sam Wargin Therese Williams

o v a c n e w s 27 27

Gallery Listings & Exhibition Schedule Ada The Pogue Gallery Jan 15 – Mar 12 Lawn Games and Other Domestic Hazards Mar 25 – Apr 16 66th Annual Student Exhibition East Central University 900 Centennial Plaza (580) 559-5353 ecok.edu

Altus Wigwam Gallery Until Jan 15 Stitch by Stitch: The Art of Jeanette Glasgow Jan 25 – Apr 23 Bacone School Flatstyle Artwork 117 W Commerce St (580) 481-3150 nbcwigwam.art

Alva Graceful Art Center Jan 8 - 29 Tour de Quartz Jan 8 First Friday Art Walk Feb 5 - 26 Fabrics of the Heartland Featuring Qu’aint Feb 8 First Friday Art Walk Mar 5 - 26 Art of the West Mar 5 First Friday Art Walk 523 Barnes St (580) 327-ARTS gracefulartscenter.org

Ardmore

The Goddard Center 401 First Avenue SW (580) 226-0909 goddardcenter.org

Bartlesville Price Tower Arts Center 510 Dewey Ave (918) 336-4949 pricetower.org

Broken Bow Dec 7 – Feb 26 24 Works on Paper

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

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

Chickasha Nesbitt Gallery University of Science and Arts Oklahoma 1806 17th St (405) 574-1344 usao.edu/gallery/schedule

Claremore Foundations Gallery Temporarily Closed, Spring 2021 Rogers State University 1701 W Will Rogers Blvd (918) 343-7740 rsu.edu

Davis Chickasaw Nation Welcome Center Nov 1 – Feb 28 Amy Gantts 35 N Colbert Rd (580) 369-4222 chickasawcountry.com/explore/ view/Chickasaw-nationwelcome-center

Duncan Chisholm Trail Heritage Center Until Jan 4 Broken Beauty 1000 Chisholm Trail Pkwy (580) 252-6692 onthechisholmtrail.com

Durant Centre Gallery Southeastern Oklahoma State University 1405 N 4th PMB 4231

Durham Metcalfe Museum Temporarily Closed 8647 N 1745 Rd (580) 655-4467 metcalfemuseum.org

Edmond

Guymon

Donna Nigh Gallery University of Central Oklahoma 100 University Dr (405) 974-2432 uco.edu/cfad

All Fired Up Art Gallery 421 N Main (580) 338-4278 artistincubation.com

Edmond Historical Society & Museum Until Jan Back to the 1950s Until Jan 30 Darci Lynne’s Got Talent 431 S Boulevard (405) 340-0078 edmondhistory.org

Museum of the Red River Jan 31 – Feb 21 Expressions of Youth Art Show 812 E Lincoln Rd (580) 286-3616 museumoftheredriver.org

Fine Arts Institute of Edmond Jan 7 Matt Nelson - Gallery Opening Feb 4 Jennifer Cocoma Hustis & Mark Hustis - Gallery Opening March 4 Zoonly Looman - Gallery Opening 27 E Edwards St (405) 340-4481 edmondfinearts.com Melton Gallery Jan 14 – Mar 4 Ada Trillo: La Caravana Del Diablo Mar 21 – Apr 22 The Spaces Between University of Central Oklahoma 100 University Dr (405) 974-2432 uco.edu/cfad University Gallery Oklahoma Christian University 2501 E Memorial Rd oc.edu

El Reno Redlands Community College 1300 S Country Club Rd (405) 262-2552 redlandscc.edu

Guthrie Owens Arts Place Museum 1202 E Harrison (405) 260-0204 owensmuseum.com

Idabel

Lawton The Leslie Powell Foundation and Gallery 620 D Avenue (580) 357-9526 lpgallery.org Museum of the Great Plains Through Mar Mildred Douglas & Pat Chrisman: From Circus and Silent Screen to Trained Goats and Nursing Through May Kid Inventor 2.0 601 NW Ferris Ave (580) 581-3460 discovermpg.org

Norman The Crucible Gallery 110 E Tonhawa (405) 579-2700 thecruciblellc.com Downtown Art and Frame 115 S Santa Fe (405) 329-0309 Firehouse Art Center 444 S Flood (405) 329-4523 normanfirehouse.com Jacobson House 609 Chautauqua (405) 366-1667 jacobsonhouse.art

Fred Jones Jr Museum of Art Until Jan 17 Kiowa Agency Until Mar 7 OK/LA 555 Elm Ave (405) 325-4938 ou.edu/fjjma Lightwell Gallery University of Oklahoma Temporarily Closed 520 Parrington Oval (405) 325-2691 art.ou.edu MAINSITE Contemporary Art Gallery Jan – Feb Warren Visual Poetry Mar 3 - 27 Momentum 122 E Main (405) 360-1162 normanarts.org Moore-Lindsey House Historical Museum Until Jan 9 Victorian Christmas Exhibit 508 N Peters (405) 321-0156 normanhistorichouse.org The Depot Gallery 200 S Jones (405) 307-9320 pasnorman.org

Oklahoma City

ArtSpace at Untitled Jan 7 – Feb 20 Marcia Jubilee Ermy & Brandon Thompson Mar 11 – Apr 24 Big Ink 1 NE 3rd St (405) 815-9995 artspaceatuntitled.org Contemporary Art Gallery 2928 Paseo (405) 601-7474 contemporaryartgalleryokc.com DNA Galleries Jan Fresh StArt: Homeless Alliance Group Show Feb Virgina Sitzes, Jayna Hadwiger,

Due to changes caused by COVID-19, please check the individual institution’s website for current information.

Ginnie Baer, Emily Hamm Mar Haley Bell, Lauren Rosenfelt, Taylor Young 1705 B NW 16th St (405) 371-2460 dnagalleries.com Exhibit C Until Feb 28 Through the Kaleidoscope 1 E Sheridan Ave Ste 100 (405) 767-8900 chickasawcountry.com Factory Obscura 25 NW 9th St factoryobscura.com Grapevine Gallery Open Online 1933 NW 39th (405) 528-3739 grapevinegalleryokc.com Howell Gallery 6432 N Western Ave (405) 840-4437 howellgallery.com In Your Eye Studio and Gallery 3005A Paseo (405) 525-2161 inyoureyegallery.com Individual Artists of Oklahoma 1900 Linwood Blvd, Ste 100 individualartists.org JRB Art at the Elms 2810 N Walker Ave (405) 528-6336 jrbartgallery.com National Cowboy & Western Heritage Museum Until Jan 3 Wild Wooly Western Wildlife, In 3D! Tucker Smith A Celebration of Nature Nov 21 – May 16 Blazing a Trail Nov 25 – Jul 11 Close Encounters: Western Wildlife Dec 12 – May 16 Find Her West Feb 12 – May 9 Spiro and the Art of the Mississippian World 1700 NE 63rd (405) 478-2250 nationalcowboymuseum.org

Nault Gallery 816 N Walker Ave www.naultfineart.com Nona Hulsey Gallery, Norick Art Center Jan 6 – Feb 19 One Year Feb 26 – Apr 16 Dean Bloodgood: A Retrospective Oklahoma City University 1600 NW 26th (405) 208-5226 okcu.edu/artsci/departments/ visualart/exhibits/ Inasmuch Foundation Gallery Oklahoma City Community College 7777 S May Ave (405) 682-7576 occc.edu Objects Trouvés Nov 14 Chinascapes 6504 N. Western Ave (405) 593-1063 objetstrouvesok.com Oklahoma City Museum of Art Feb 20 – May 16 Moving Vision: Op and Kinetic Art from the Sixties and Seventies 415 Couch Dr (405) 236-3100 okcmoa.com Oklahoma Contemporary Arts Center Feb 11 – Jul 5 Ed Ruscha: OKLA 3000 General Pershing Blvd (405) 951-0000 oklahomacontemporary.org Oklahoma Hall of Fame Feb 9 – Apr 17 Behnaz Sohrabian | Tammy Brummell | Beatriz Mayorca 1400 Classen Dr (405) 235-4458 oklahomahof.com Oklahoma State Capitol Galleries 2300 N Lincoln Blvd (405) 521-2931 arts.ok.gov Paseo Art Space 3022 Paseo (405) 525-2688 thepaseo.com

Red Earth 6 Santa Fe Plaza (405) 427-5228 redearth.org smART Space Until Oct 10, 2021 Jumble Until Nov 7, 2021 Screens by Geoffrey Hicks Science Museum Oklahoma 2100 NE 52nd St (405) 602-6664 sciencemuseumok.org

Park Hill Cherokee National Historical Society, Inc. 21192 S Keeler Dr (918) 456-6007 cherokeeheritage.org

Pauls Valley The Vault Art Space and Gathering Place Mar Tour de Quartz 111 East Paul Ave, Suite 2 (405) 343-6610

Ponca City Ponca City Art Center 819 E Central (580) 765-9746 poncacityartcenter.com

Shawnee Mabee-Gerrer Museum of Art Dec 19, 2020 – Feb 14, 2021 Blessed Virgin: Images of the Virgin Mary in Art Mar 5 - 27 ArtsTrek 1900 W Macarthur (405) 878-5300 mgmoa.org

Stillwater Gardiner Gallery of Art Jan 19 – Feb 19 Altered Books & Artist Books Feb 24 – Mar 3 Scholastics Gold Winners Mar 8 – Mar 26 BFA Studio Capstone Exhibition Oklahoma State University 108 Bartlett Center for the Visual Arts (405) 744-4143 museum.okstate.edu

Postal Plaza Gallery Until May 29 The State We’re In Water: Constructing a Sense of Place in the Hydrosphere Oklahoma State University Museum of Art 720 S Husband St (405) 744-2780 museum.okstate.edu Modella Art Gallery Jan 14 – Feb 14 Faces of COVID Mar 6 – Apr 11 Reflection/Refraction 721 S Main Modellaartgallery.org

Sulphur Chickasaw Visitor Center Nov 1 – Feb 28 Ronnie Morris 901 W 1st St (580) 622-8050 chickasawcountry.com/explore/ view/Chickasaw-visitor-center

Tahlequah Cherokee Arts Center 212 S Water Ave (918) 453-5728 Cherokeenationart.com

Tonkawa Eleanor Hays Gallery Northern Oklahoma College 1220 E Grand (580) 628-6670 north-ok.edu

Tulsa 108|Contemporary Nov 6, 2020 – Jan 17 Art & Archeology: Diane Savona Feb 5 – Mar 21 Facets: Jonathan Hils 108 E Reconciliation Way, Tulsa, OK 74103 (918) 895-6302 108contemporary.org Aberson Exhibits 3624 S Peoria (918) 740-1054 abersonexhibits.com Ahha Jan 8 – Feb 21 The Trayectorias Mar 5 – Apr 24 Revisionist Future

101 E Archer St (918) 584-3333 ahhatulsa.org Gilcrease Museum Until Jan 17 I-Witness Culture: Frank Buffalo Hyde Until Feb 21 Landscapes on Fire: Paintings by Michael Scott Until Mar 28 Weaving History into Art: The Enduring Legacy of Shan Goshorn 1400 Gilcrease Road (918) 596-2700 gilcrease.utulsa.edu Henry Zarrow Center for Art and Education Temporarily Closed 124 E Reconciliation Way (918) 631-4400 gilcrease.utulsa.edu/Explore/ Zarrow Alexandre Hogue Gallery Temporarily Closed University of Tulsa 2930 E 5th St. (918) 631-2739 utulsa.edu/art Holliman Gallery Holland Hall Temporarily Closed, 2020-2021 5666 E 81st Street (918) 481-1111 hollandhall.org Joseph Gierek Fine Art 1342 E 11th St (918) 592-5432 gierek.com Living Arts Jan 8 - 22 Project Unity, Hope and Compassion Feb 5 – Mar 5 Champagne & Chocolate Member Showcase Feb 27 Champagne & Chocolate Gala Apr 2 - 23 Momentum 307 E. Reconciliation Way, Tulsa OK 74120 (918) 585-1234 livingarts.org

(continued to page 30)

g a l l e r y g u i d e 29

(continued from page 29)

Due to changes caused by COVID-19, please check the individual institution’s website for current information.

M.A. Doran Gallery 3509 S Peoria (918) 748-8700 madorangallery.com Liggett Studio Jan 8 – Feb 6 Anti-Venom Jan 8 – Feb 6 Dalia 314 S Kenosha Ave (918) 694-5719 liggettstudio.com Lovetts Gallery Feb 6 Radical Botanicals 6528 E 51st St (918) 664-4732 lovettsgallery.com

Philbrook Museum of Art Until Jan 3 Hearts of Our People: Native Women Artists Maria Martinez: Master Artist Spirit of Independence 2727 S Rockford Rd (918) 749-7941 philbrook.org

Tulsa Performing Arts Center Gallery 110 E 2nd St (918) 596-2368 tulsapac.com

Wilburton

Urban Art Lab Studios 1130 S Harvard Ave (918) 625-0777

Woodward

Pierson Gallery 1307-1311 E 15th St (918) 584-2440 piersongallery.com

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

Tulsa Artists’ Coalition Show postponed indefinitely due to COVID-19 9 E MB Brady St (918) 592-0041 tacgallery.org

SWOSU Art Gallery 100 Campus Drive (580) 774-3756 swosu.edu

Collector Level + Community Supported Art (CSA) Program $1,000 ($85 a month option) 2 original and quality pieces of art by Oklahoma artists 2 tickets to CSA Launch Events twice a year 2 tickets to 12x12 Art Fundraiser $400 of this membership is tax deductible All of below

PATRON $250 · · · · ·

Listing of self or business on signage at events Invitation for 2 people to private reception with visiting curator 2 tickets each to Momentum OKC & Momentum Tulsa $200 of this membership is tax deductible.

All of below

FELLOW $150 · · · · ·

Acknowledgement in Resource Guide and Art Focus Oklahoma Copy of each OVAC exhibition catalog 2 tickets to Tulsa Art Studio Tour $100 of this membership is tax deductible.

All of below

FAMILY $75

· Same benefits as Individual, for 2 people in household

INDIVIDUAL $45 · · · · ·

Subscription to Art Focus Oklahoma magazine Monthly e-newsletter of Oklahoma art events & artist opportunities Receive all OVAC mailings Listing in and copy of annual Resource Guide & Member Directory Invitation to Annual Members’ Meeting

Plus, artists receive: · Inclusion in online Artist Gallery, ovacgallery.com · Artist entry fees waived for OVAC exhibitions · Up to 50% discount on Artist Survival Kit workshops · Affiliate benefits with Fractured Atlas, Artist INC Online, Artwork Archive, and the National Alliance for Media Arts & Culture.

STUDENT $25

· Same benefits as Individual level. All Student members are automatically enrolled in Green Membership program (receive all benefits digitally).

30

Plains Indians and Pioneers Museum 2009 Williams Ave (580) 256-6136 nwok-pipm.org

Weatherford

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.

· · · · ·

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

MEMBER FORM ¨ Collector Level + Community Supported Art Program ¨ Patron ¨ Fellow ¨ Family ¨ Individual ¨ Student ¨ Optional: Make my membership green! Email only. No printed materials will be mailed.

Name Street Address City, State, Zip Email Website

Phone

Credit card #

Exp. Date

Are you an artist? Y N Medium?________________________ Would you like to be included in the Membership Directory? Y N

Would you like us to share your information for other arts-related events?

Y

N

Detach and mail form along with payment to: OVAC 1720 N Shartel Ave, Ste B, Oklahoma City, OK 73103 Or join online at ovac-ok.org

Beaux Arts at 75

We're open with limited capacity!

Reserve your timed ticket today.

Leon Kroll (American, 1884–1974) Composition in Two Figures (detail), 1958, Oil on canvas, 25 1/2 x 31 1/2 in. Oklahoma City Museum of Art, Museum purchase from the Beaux Arts Society Fund for Acquisitions, 1968.015

Art Focus

Ok l a h o m a

UPCOMING EVENTS

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

1720 N Shartel Ave, Suite B Oklahoma City, OK 73103 Visit ovac-ok.org to learn more.

Dec 7 – 24 Works on Paper, Forest Heritage Feb 26 Center Museum, Broken Bow Jan 14

Momentum General Survey Deadline

Jan 15

OVAC Grants for Artists Deadline

Jan 15

Listening Session: Central

Jan 22

Listening Session: Northeast

Jan 29

Listening Session: Southeast

Feb 5

Listening Session: South Central

Feb 12

Listening Session: Southwest

Feb 19

Listening Session: Northwest

Feb 22 – Spotlight Artist preview, Aug 27 21c Museum Hotel, OKC Mar 3-27 Momentum, Mainsite, Norman Mar 15 - 24 Works on Paper, McArts Gallery Apr 23 of Fine Art, McAlester

The M.A. Program in

Art History at Oklahoma State University

Pursuing A Career In The Art World?

Get your graduate degree in the supportive, collegial environment of the M.A. program in Art History at OSU. Our graduates find jobs in Oklahoma and across the country, and we offer full funding to many students in the program.

More Information Visit Our Website :

Art History at Oklahoma State differs from most traditional art history programs by emphasizing circuits of exchange and intercultural networks.

Faculty consider broad themes such as gender, globalization, transnationalism, propaganda, and modernity from a wide range of theoretical and historical perspectives.

art.okstate.edu/academics /art-history/ma Graduate Coordinator :

artgraddir@okstate.edu

Application Deadline: Feb 15