The Magazine for Members Fall/Winter 2016
Native Fashion Now Through January 8, 2017
From the Director
Current Obsessions Philbrook Director Scott Stulen on what he’s digging right now.
“I believe that for museums to thrive they must be reflective of their community.” I d e c i d e d t o be an artist on a fourth grade field trip to the Minneapolis Institute of Art (MIA). During our tour a docent showed Lucretia, the stunning Rembrandt portrait in the MIA collection. Mesmerized, I leaned in for a closer look, tripping every alarm and immediately swarmed by guards. In retrospect, two things sprang from this experience. First, I wanted to create things that could deeply impact people, like that painting. Second, I wanted to change how that experience happens within museums. To pursue this goal I went to art school, became an artist and professor, and later a museum educator, programmer, and curator. Throughout my career I have been fortunate to have the opportunity to create art, curate, and lead several talented teams working to shape the future of museums. I believe that for museums to thrive they must be reflective of their community, provide enriching and exceptional experiences, and welcome all audiences. Joining Philbrook is a once-in-a-lifetime opportunity to lead an institution
As a child of the 80’s, the Netflix series STRANGER THINGS is irresistible. The Duffer Brothers effortlessly blend suspense, horror, sci-fi and coming-of-age genres into something familiar, yet surprisingly fresh.
dedicated to those same principles of quality, accessibility, and innovation. The strong foundation built over the last 75+ years enables us to aggressively pursue new initiatives while insuring financial stability, which makes Philbrook a national model for the future of museums. My family and I are grateful and excited for the opportunity to lead Philbrook into its next chapter. English conceptual artist Jeremy Deller once said, “I went from being an artist who makes things, to an artist who makes things happen.” I use this quote often in relation to my career path. It also applies to our work ahead at Philbrook. Together, we are going to make things happen. Things which delight, amaze, and challenge us. And just like that kid on a field trip leaning too close to a painting, you never know what it might inspire.
Scott Stulen, Director Scott Stulen began as Philbrook Director on Aug. 22, 2016 after a seven-month search.
Santa Cruz Museum of Art and History Director Nina Simon’s latest book ART OF RELEVANCE speaks to one of the most pressing and important issues in the museum field—how do we remain vital to our evolving communities. I’m enjoying the new record by BON IVER, cryptically titled 22, A MILLION. From early reviews and shaky You Tube clips the record is mashup of music styles and influences, awkwardly out of step with any attempt at commercial viability, yet infectiously sincere and authentic.
Cover: Orlando Dugi Cape and dress from “Desert Heat” Collection, 2012 See page 5 for full caption Back Cover: Lusha Nelson Katherine Hepburn, 1933 Gelatin silver print Philbrook Museum of Art, Tulsa, Oklahoma Museum purchase
THE HOME TEAM: With a staff of well over 100 fulland part-time workers, it truly takes a village to keep your Museum the #1 Tulsa attraction on TripAdvisor and the “most beautiful place in Oklahoma” according to House Beautiful magazine.
COOPER LANGE (AGE 11)
Local Focus More than 200 artists responded to the open call from Philbrook Director Scott Stulen for the first-ever “Director’s Office Exhibition Series.” On a rotating basis, work by Tulsa area artists will adorn the walls of Scott’s office. Scott selects the objects personally, meets with the artists, and makes studio visits. A special “Kid Corner” features work by budding artists age 13 and under.
“ B E YO ND F EAT HERS & FR I NGE” –THE WALL STR EET JOUR NAL
Native Flair By Christina E. Burke Philbrook Curator of Native American and Non-Western Art
Surrounded by a dazzling array of clothing, jewelry, and accessories by more than 70 indigenous artists, this unique exhibition goes “well beyond feathers and fringe.”
Organized by the Peabody Essex Museum in Salem, Mass., this show celebrates cutting-edge designs by Native artists who create everything from everyday wear seen on the streets of Phoenix and Tulsa to one-of-a-kind couture gowns seen on the runways of New York, Paris, and even the 2013 finale of the popular reality show, Project Runway.
Left and page 6 far left: Orlando Dugi Cape and dress from “Desert Heat” Collection, 2012 Silk, organza, feathers, beads, and 24k gold; feathers, beads, and silver; Hair and Makeup: Dina DeVore. Model: Mona Bear. Photo by Nate Francis/Unék Photography.
SPECIAL EXHIBITION Native Fashion Now Oct. 2, 2016–Jan. 8, 2017 Philbrook (2727 S. Rockford Rd.) Helmerich Gallery
Right: Patricia Michaels Cityscape dress, Project Runway, Season 11 Collection, 2012 Leather, paint, and silk Collection of Kathryn Rossi
Native Fashion Now
The exhibition is divided into four thematic sections focusing on different aspects of creativity.
PATHBREAKERS sets the stage for the rest of the show, highlighting pioneers like Lloyd “Kiva” New and Frankie Welch (both Cherokee), whose innovative designs were available in high-end department stores and seen at official White House functions from the 1950s until the ’70s. More recent pathbreakers include Orlando Dugi (Diné [Navajo]), whose work is in traveling exhibitions and on runways throughout the U.S., and Dorothy Grant (Haida), whose designs were on the red carpet of this year’s Academy Awards celebration.
Jamie Okuma hand-stitched thousands of antique beads onto boots by the French designer Christian Louboutin.
REVISITORS highlights work by artists honoring the past but actively expanding the definition of tradition today. Designers use time-honored materials, techniques, and imagery as in the beautifully woven serape by Diné (Navajo) designer D.Y. Begay and the intricately inlaid buffalo horn glasses by Kevin Pourier (Oglala Lakota). However, their creations reflect their experiences as Native people in the 21st century. The unique kimono by Toni Williams (Northern Arapaho) features beaded appliqué of Plains pictographic figures often associated with paintings and drawings on hide, cloth, and the pages of ledger books, illustrating the multi-cultural identity of many people today who have Native, European, and Asian heritage.
Center: Jamie Okuma Boots, 2013–14 Commissioned by the Peabody Essex Museum with support from Katrina Carye, John Curuby, Karen Keane and Dan Elias, Cynthia Gardner, Merry Glosband, and Steve and Ellen Hoffman 2014.44.1AB
Right: Dallin Maybee and Laura Sheppherd Corset and skirt, 2010 Silk, cotton, and steel; silk shantung Courtesy of the artists Photo: Valerie Santagto
ACTIVATORS The pulse and energy of this section accentuates the ways contemporary Native people use fashion as self-expression every day and on special occasions. We see statements about Native identity painted and printed on a variety of fabrics, including a t-shirt that declares “Native Americans Discovered Columbus.” There are also evening ensembles for men and women, including My Ancestors by Tommy Joseph (Tlingit) who updates traditional Northwest Coast imagery—commonly seen carved into masks and totem poles—here printed onto a beautifully cut man’s suit. And while it may be tongue-in-cheek, Choctaw artist Marcus Amerman’s Lone Ranger and Tonto bracelet speaks to multiple facets of identity and history, using a pop art style to a create pop culture image using glass beads—a trade item that embodies generations of intercultural interaction.
FASHION MODEL: Philbrook Curator Christina E. Burke works on a scale model of the Helmerich Gallery in preparation for Native Fashion Now. Using miniature works of art and movable walls, curators explore different layouts and hangings prior to installation.
PROVOCATEURS The final section emphasizes experimental one-of-a-kind pieces that illustrate some of the ways Native designers investigate old and new materials, methods, and forms. Haida artist Lisa Telford created her PochaHaida dress by skillfully weaving red cedar bark using traditional techniques, but the asymmetry of the off-the-shoulder piece is strikingly contemporary. And rather than work with silver, as is expected of many Native jewelers, Pat Pruitt (Laguna Pueblo) uses his background in mechanical engineering and his unique aesthetic sense to fabricate a series of stainless steel “claws” imprisoning precious Tahitian pearls. The juxtaposition of these natural treasures with precision-machined metal is startling and exciting.
This electrifying exhibition is but one example of a growing movement to include fashion (clothing, jewelry, and accessories) in art museum collections and ongoing programming. This show, and others at the Metropolitan Museum of Art and the Los Angeles County Museum of Art (LACMA), affirm that fashion is another creative medium used by artists of diverse backgrounds to express personal identity and articulate contemporary perspectives on historical realities. From the street to the runway, these artists expand the definitions of fashion…with Native flair.
Left: Jared Yazzie Native Americans Discovered Columbus T-shirt, 2012 Peabody Essex Museum Gift of Karen Kramer, 2015 2015.11.4 Alano Edzerza Chilkat tunic, 2013 Peabody Essex Museum Gift of Karen Kramer, 2015 2015.11.2
Right: Sho Sho Esquiro Wile Wile Wile dress, Day of the Dead Collection, 2013 Peabody Essex Museum purchase with funds provided by Ellen and Steve Hoffman, 2016 2016.41.1 and 2016.42.1
Thank you Exhibition Series Sponsors* 2015–2017 Supporting Sponsor The Mary K. Chapman Foundation
Underwriting Sponsors Ralph & Frances McGill Foundation Nancy and Peter Meinig Sherman E. Smith Family Charitable Foundation
Contributing Sponsors The George & Wanda Brown Foundation C. W. Titus Foundation D&L Oil Tools, Pam and Lee Eslicker Helmerich Trust Barbara and Stephen Heyman Herman G Kaiser Foundation Matrix Service Company Philbrook Contemporary Consortium
to these supporters for their (valuable) contributions, which enable Philbrook to carry out its mission throughout the community.
Sponsors Barbara and Hal Allen Argonaut Private Equity Barnett Family Foundation Irene and Stan Burnstein Fulton and Susie Collins Foundation Margo and Kent Dunbar Beth and Ben Latham Holbrook Lawson and Rick Holder Mabrey Bank The Mervin Bovaird Foundation Oklahoma Arts Council Greg Ratliff and Cheryl Ulmer Sam J. and Nona M. Rhoades Foundation SemGroup Jill and Robert Thomas Susan and William Thomas The Walton Family Foundation Kathleen P. Westby Foundation Mollie Williford
Native Fashion Now Sponsor Osage Casino
THE PHILBROOK MISSION Philbrook strives to be an essential and exceptional participant in the cultural, educational, and economic life of a growing and diverse constituency. Defined by a unique combination of tradition and innovation, our collections, historic structures, programs, and exhibitions are dedicated to inspiring the broadest possible public engagement, access, and service.
Program Sponsors* Art Focus
Student Touring Program
Generously supported by the Alzheimer’s Association.
MyMuseum is made possible through the generous support of: The William S. & Ann Atherton Foundation; The American Electric Power Foundation; Bank of America; The Tulsa Foundation; The Don and Florence Sharp Charitable Foundation; and The Kerr Foundation, Inc.
Philbrook is grateful to the Oklahoma Arts Council and the National Endowment for the Arts, and the William And Gretchen Kimball Fund for their support of the student touring program.
Any Given Child Program Generously supported by the Raymond and Bessie Kravis Foundation.
The Collective Generously supported by the Google Foundation and Kathleen Patton Westby Foundation
Philbrook/CAP Tulsa’s Early Childhood Initiative
MyMuseum Mobile Junior League of Tulsa, Inc., The Charles and Marion Weber Foundation, and the Cuesta Foundation.
The John and Donnie Brock Foundation.
Philbrook Second Saturdays
Generously supported by Bill Knight Lincoln.
Made possible by a grant from the U.S. Institute of Museum and Library Services; The Schusterman Family Foundation, ONE Gas, Inc.; The Grace & Franklin Bernsen Foundation; and The Herman Kaiser Foundation 8 philbrook.org
Third Thursdays Third Thursdays are presented by the Oklahoma Arts Council, the National Endowment for the Arts, and GableGotwals.
Transportation Support Philbrook is grateful to the William And Gretchen Kimball Fund for providing support for school tour transportation funds.
General Education Support Philbrook is grateful to the Sherman E. Smith Family Charitable Foundation, and the Oklahoma Arts Council for providing operating support for Philbrook educational programming.
*As of the time of printing.
Meet artists featured in Native Fashion Now. (Buy their products.) Support Philbrook.
Exhibition catalogue for Native Fashion Now. Available in the Philbrook Museum Shop.
Wendy Ponca (Osage) Thursday, Nov. 17, Noon–8 p.m.
Jared Yazzie (Diné [Navajo]) Thursday, Dec. 15, 5–8 p.m.
Visit philbrook.org to learn more.
Shop Philbrook. Support Philbrook. All proceeds benefit Museum operations and education programming.
Philbrook Members receive a 10% discount. 918.748.5304 email@example.com philbrook.org 9
In Conversation Mike Glier
SPECIAL EXHIBITION Mike Glier: The Alphabet of Lili Oct. 8, 2016–Apr. 2, 2017 Philbrook Downtown (116 E. M.B. Brady St.) Burnstein Gallery
By Sienna Brown, Ph.D. Philbrook Nancy E. Meinig Curator of Modern and Contemporary Art
Mike Glier uses painting and drawing to explore interpersonal relationships and the impact of humanity on the world at large. T h e A l p h a b e t o f Lili, a series of twentysix paintings born out of the nightly ritual of a father reading to his daughter—Lili—thwarts the common “A for apple” primer by depicting unusual symbols for each letter that reflect a parent’s hopes and fears for his child. Twenty-five years after these works were made, this exhibition reveals the themes—artistic and personal— explored in the series and throughout Glier’s career. Landscape, love, portraiture, parenthood, and an anxiety about the future that is tempered with optimism combine to create works that are simultaneously personal and universal and have a continued resonance today. I recently spoke with Glier about his art, this show, and more.
Right: Mike Glier The Alphabet of Lili-A, 1991-92 Acrylic and charcoal on aluminum and fiberglass panel Courtesy of the artist
Sienna Brown: I know that The Alphabet of Lili was inspired by the nightly ritual of reading to your daughter. What did you read together? Did you make up your own stories? Did any of these materials work their way into the paintings? Mike Glier: We started out reading Mother Goose and I had this beautiful illustrated version from the 1940s. We did make up stories, a lot of them featured our dog, her name was Sneaky, she was an Australian Shepherd, the runt of the litter, and she moved much more quickly than she could think. She often got into trouble in real life because she was so fast and not so thoughtful. She was a great protagonist and had lots of adventures. Did they make it into the paintings? Only in that the bedtime stories were improvisations on daily life and the paintings were improvisations on daily life. Some of the violent imagery wasn’t our life, but it was in the news, the world swarming around us. SB: Do you or Lili have a favorite letter painting? Has it changed as you two have grown older? MG: My favorite painting is still the B painting and it hasn’t changed. That’s the painting with the little girl in the bathtub and the B stands for baby, boat, back, bath, bug, beetle, behind, it goes on. It’s sweetly colored and it reminds me of that nice hour right before bedtime with the bath and playing and then reading; it’s just a charmed moment of the day when you have a little one and it reminds me of those nice moments. Lili currently remembers the legs, she thought they were tender and moving. But when she was little—I think she was threeyears-old or four—she had a funny response to it. She came into my studio and they were all lined up and she kind of put her hands behind her back and paced back and forth looking at things, like an art critic. She stopped and turned to me and said, “But dad, this girl’s got a head.” Now she remembers the legs, but when she was three, she was complaining about the lack of heads.
SB: Did you paint the works in alphabetical order? If so, how did your approach change between A and Z? If not, was there another overarching approach? MG: I did work in alphabetical order. I kept some variables very limited, because I was concerned about keeping them continuous. I limited the palette; there are only three pigments in the paintings, plus charcoal: red oxide, yellow ocher, and an ultramarine blue. I did start with “A” and sort of work through, but I did always have at least five to six paintings going at once so I was always working on the neighbors. I never worked on one without working on the neighbors at the same time because I was trying to get a rhythm going of hot and cool—content hot, content cool—as you go through. SB: What kind of responses have you had to this series? MG: My favorite essay that was ever written about it was actually in the Los Angeles Times by David Pagel. It was a long review. He really understood that this piece was about masculinity and changing roles of masculinity. There haven’t been many works about childrearing by men. This, I think, is a piece that as much as it is about Lili, it’s about the changing role of men at a particular moment in American culture.
Related n Mike Glier—The Alphabet of Lili Thursday, Jan 19, 5:30–8 p.m. See page 18 for more details.
Txt w/o Msg
T h i s w i n t e r , P h i l b r o o k D o w n t o w n hosts the first museum exhibition of Christopher Wool since his acclaimed 20132014 retrospective at the Guggenheim Museum in New York and the Art Institute of Chicago. The Philbrook presentation, bringing cutting edge art to the Tulsa community, marks this important contemporary artist’s first solo exhibition in Oklahoma. Featuring prints largely made in the wake of his retrospective, the works play with Wool’s signature subjects: abstraction and text. Instead of recycling, Wool expands earlier motifs, combining them with the unique qualities of printmaking such as editioning and portfolios. Born in 1955 in Chicago, Christopher Wool studied at Sarah Lawrence College and The New York Studio School. Since the mid1980s, Wool has been experimenting with a variety of approaches to abstraction, using found images and materials. To make his early paintings, Wool utilized rollers with patterns cut into them, customarily used to emulate wallpaper. The repetitive nature of the all-over roller patterns makes the drips and imperfections in the artist’s application obvious. Shortly after making these paintings, Wool moved from found images to found text. His 1988 painting, Apocalypse Now, depicts a line from the 1979 film of the same name—“sell the house, sell the car, sell the kids”— in a blocky stencil with the words running together into a jumble. This work began Wool’s long-term
engagement with texts, words, and letters drained of easy interpretation and meaning. Expanding beyond these two styles, Wool produced silkscreens from his own pre-existing drawings and paintings to make entirely new works. He incorporated screen-printed elements as the basis for his paintings by erasing sections with turpentine, adding swathes of enamel, or spraying on fuzzy lines reminiscent of graffiti. The earliest print in the exhibition, Untitled (2013), includes recombined elements found in Wool’s earlier works. Meandering lines, like those made by his paint sprayer, weave in and out of a palimpsest of letters and punctuation in a variety of fonts and sizes that merge to create a sort of figure. The letters have been fully divorced from their usual function and become abstract elements. A painting which directly emulates Untitled (2013) was made the following year, making the print a precursor in which the artist worked out his ideas before turning to canvas. Other prints instead cull from paintings, such as the two series Portraits from 2014 which use as their ground an abstract blob from an untitled silkscreen painting of 2011. Wool layers a variety of vaguely anthropomorphic shapes over the base image. The initial painting is singular, but by creating a portfolio of printed works, Wool is able to explore multiple transformations of his own work. The most recent group of prints, all produced in 2016, return to text. The letters and punctuation marks are arranged in the syntax of words, but are otherwise meaningless. Our desire to make sense of them is thwarted. Wool’s earlier word paintings may be hard to read, but it is possible to make sense of the text. Here the “words” are rendered completely abstract, becoming text without message.
By Sienna Brown, Ph.D. Philbrook Nancy E. Meinig Curator of Modern and Contemporary Art
Txt w/o Msg: Christopher Wool Jan. 7–Apr. 30, 2017 Philbrook Downtown (116 E. M.B. Brady St.) Burnstein Gallery
Christopher Wool Untitled, 2013 Lithograph in two colors, ed. 48. Published by Universal Limited Art Editions (ULAE) Collection of ULAE. © Christopher Wool / ULAE
Ending Soon Oscar Bluemner: Forces of Nature and Industry through November 6, 2016, Philbrook
This collection of abstract drawings and one large painting, on loan from The Vilcek Collection, New York, presents the modern landscapes of Oscar Bluemner. An early American modernist known for his expressive, and at times psychological, use of color this exhibition instead focuses upon the artist’s bold, black-and-white contrasts and lyrical use of line.
New on View Max Weber Joins the Philbrook Collection
Joy Weber (center) at the opening of the 2012 Max Weber exhibition.
I n 2 0 1 2 P h i l b r o o k Chief Curator Catherine Whitney organized the first solo exhibition of Max Weber (American, 1881-1961) in over 20 years. Among the 50 works on view in that show, Whitney borrowed Wood Choppers (1911) from a private collection. The work belonged to the artist’s daughter, Joy Weber (pictured above) and her long-time companion Elena Lamb, who both visited Philbrook for the exhibition opening in November 2012. While an initial request to gift Wood Choppers to Philbrook was declined, Ms. Lamb recalled that request and recently donated the painting to Philbrook following Ms. Weber’s passing earlier this year. The first Weber in the Philbrook permanent collection, this early, semicubist work features a dark, rich palette and shows angular figures working in nature. A truly personal gift in honor of an important and generous family, this piece now hangs in the upper level Villa at the main Philbrook campus.
First Person: Remembering Little Bighorn through December 31, 2016, Philbrook Downtown
On June 25, 1876, Lakota and Cheyenne warriors overwhelmed General George A. Custer and the 7th Cavalry on the banks of the Little Bighorn River in present-day Montana. This event is well-known in U.S. history, but Native perspectives on the battle are less familiar. Lakota artists Stephen Standing Bear (c. 1859-1933) and Amos Bad Heart Bull (c. 1868-1913) were both present at the battle, and recorded their experiences using traditional pictographs drawn on cloth and paper. These illustrations, large and small, detail eye-witness accounts of a significant event in American history.
Left: Max Weber Wood Choppers, 1911 Oil on canvas Gift of Elena Lamb in memory of Joy S. Weber
Above: Stephen Standing Bear Battle of the Little Bighorn, c. 1890-1908 Pencil and ink on muslin Gift of Mrs. John Zink
Fantastic Beasts By Thomas Young Philbrook Librarian/Archivist
This holiday season, experience the sights, sounds, and scavenger hunt in the current spotlight exhibition, A Bestiary. “ b e s t ia r y ” usually refers to a collection of descriptions or images of animals, though, in its broadest sense, a bestiary can be an unexpected or eyecatching grouping of any type of object. This exhibition is just such a grouping—it brings together lithographs from Philbrook’s permanent collection made by two artists for different projects. Elisabeth Frink, an English sculptor and printmaker, often took animals as her subjects. Her prints present each animal against a blank background, giving them an iconic or symbolic presence. She often repeated these animals in her sculptures, and the delicately textured forms of her printed creatures echo the rough, heavily worked surfaces of her sculptures in plaster or bronze. Rudy Pozzatti is an American printmaker who has treated many subjects over the course of his career, in both independent prints and illustrations for books. In 1964 he produced new illustrations for a very traditional bestiary—an 11th-century book originally written in the term
Latin titled Bishop Theobald’s Bestiary of Twelve Animals (Physiologus Theobaldi Episcopi de Naturis Duodecim Animalium). For the new edition, the Latin verses were translated into English, and Pozzatti supplied ten woodcuts and twelve lithographs, several of which are presented in this exhibition. Like Frink’s animals, Pozzatti’s occupy the full sheet with their powerful forms. The accompanying texts describe the animals in imaginative and sometimes fanciful detail, and also give the creatures symbolic spiritual interpretations, in keeping with the medieval author’s Christian beliefs.
SPECIAL EXHIBITION A Bestiary: Prints by Elisabeth Frink and Rudy Pozzatti Jul. 3, 2016– Feb. 19, 2017 Philbrook (2727 S. Rockford Rd.) Spotlight Gallery
Rudy Pozzatti Fox, from “Physiologus Theobaldi Episcopi de Naturis Duodecim Animalium, 1964 Lithograph Gift of Teddy Lachterman in memory of Melvin J. Shapiro
Free. Family. Fun.
Hunt for beasts. Explore the Gardens. Create conversations. Pick up self-guided materials at the entry kiosk on your next visit.
Events & Programs Locations: Philbrook | Philbrook Downtown
Philbrook Second Saturdays Bring out the inner artist in each member of the family. Each Second Saturday is designed to explore one “Big Idea.” Visit on the second Saturday of each month from 10 a.m.–4 p.m. for free admission, family friendly art activities, scavenger hunts, story time and more. » Free n Big Idea: Food Saturday, Nov. 12, 10 a.m.–4 p.m. n Big Idea: Music Saturday, Dec. 10, 10 a.m.–4 p.m. n Big Idea: Time Saturday, Jan. 14, 10 a.m.–4 p.m. n Big Idea: Emotion Saturday, Feb. 11, 10 a.m.–4 p.m.
Philbrook Homeschool Art
Family Studio Saturdays
Each homeschool session offers gallery tours led by qualified art educators, an in-studio art-making project, as well as resources to guide parents through that week’s session into a month-long learning opportunity. Advance reservations recommended. » $10 per class, Philbrook Members only.
Family Studio Saturdays is a drop-in program for families with children of all ages (toddler-toteen). Each month a new skill is explored with both studio and gallery activities. » Included with Museum Admission.
n Big Idea: Food 5–8 year olds: Wednesday, Nov. 2, 1–3 p.m. 9–12 year olds: Wednesday, Nov. 16, 1–3 p.m. n Big Idea: Music 5–8 year olds: Wednesday, Dec. 7, 1–3 p.m. 9–12 year olds: Wednesday, Dec. 21, 1–3 p.m. n Big Idea: Time 5–8 year olds: Wednesday, Jan. 4, 1–3 p.m. 9–12 year olds: Wednesday, Jan. 18, 1–3 p.m. n Big Idea: Emotions 5–8 year olds: Wednesday, Feb. 1, 1–3 p.m. 9–12 year olds: Wednesday, Feb. 15, 1–3 p.m.
n November: Self Awareness Saturdays, Nov. 5, 19, 26, 12:30 p.m.–3:30 p.m. Families express who they are with activities in the studio and galleries. n December: Productivity Saturdays, Dec. 3, 17, 12:30 p.m.–3:30 p.m. Families engage in an activity that encourages them to get as many ideas on paper as possible. n January: Time Management Saturdays, Jan. 7, 21, 28, 12:30 p.m.–3:30 p.m. Families contend with the force that is time with playful studio and gallery activities. n February: Innovation Saturdays, Feb. 4, 18, 25, 12:30 p.m.–3:30 p.m. Families invent something using their brains and bodies.
For details & to RSVP my.philbrook.org
Performances & Screenings n Tulsa Camerata: Songs and Serenades Thursday, Nov. 10, 7–9:30 p.m. Tulsa Camerata continues its season with a concert of lyrical pieces, including music by Dohnányi, Loeffler and Mozart. » Season subscriptions available. Individual tickets also available: $25 general admission; Visit TulsaCamerata.org. $5 student admission at the door. n Tulsa Camerata: The End of Time Thursday, Jan. 26, 7–9:30 p.m. Tulsa Camerata presents Messiaen’s powerful Quartet for the End of Time, written during the composer’s internment in a Nazi POW camp. » Season subscriptions available. Individual tickets also available: $25 general admission; Visit TulsaCamerata.org. $5 student admission at the door. n Arias & Art Sunday, Feb. 19, 1–2 p.m. in partnership with Tulsa Opera. » Included with Museum admission
Adult Art Programs
n Art Focus Third Tuesday of each month, 10 a.m. – noon The third Tuesday of each month individuals with early-stage Alzheimer’s disease and their caregivers engage the mind and imagination through handson art activities and looking at art. Presented in partnership with the Alzheimer’s Association Oklahoma Chapter. » Free
Join Philbrook Curators and special guests on guided tours of the Museum collections and special exhibitions.
n Make & Mingle Thursdays, Dec. 1 and Dec. 8, 6–8 p.m. Enjoy a signature cocktail while making art and mingling with friends. » $50/Philbrook Members, $55/Not-yet Members
n First Person—Remembering Little Bighorn Friday, Dec. 2, 5:30–6:30 p.m. » Free
First Friday Art Crawl n First Friday Art Crawl First Friday of each month, 6–9 p.m. Friday, Nov. 4 Friday, Dec. 2 Friday, Jan. 6 Friday, Feb. 3 Visitors will experience the energy of the Brady Arts District First Friday Art Crawl, engage with artwork in the galleries, and enjoy mingling in the social spaces. » Free
n From Runway to Streetwear to Museum— Native Fashion Now Wednesday, Nov. 9, Noon–1 p.m. » Included with Museum Admission.
n Artist Insight—Native Fashion Now Wednesday, Dec. 14, Noon–1 p.m. Special guest and Native Fashion Now featured artist Jared Yazzie talks about his designs; his clothing company OxDx; and the Native culture, street art, and music from which he draws his ideas. » Included with Museum Admission. n Director’s Choice Wednesday, Jan. 11, Noon–1 p.m. Explore the Philbrook collection with Philbrook Director Scott Stulen and discover the works that have intrigued him during his first six months at Philbrook. » Included with Museum Admission. n Fancy Pants Wednesday, Feb. 8, Noon–1 p.m. There are stylish works of art in the Philbrook collection. Curators Catherine Whitney and Sarah Lees delve into two favorite paintings with welldressed subjects, revealing new insights and busting myths along the way. » Included with Museum Admission.
Creative Living Creative Living is an arts program for active boomer and senior adults. Participants visit Philbrook and work together alongside local Tulsa artists and Museum staff to creatively respond to artwork in the galleries through hands-on art making and group conversations. In partnership with Life Senior Services. » Free Wednesday, Nov. 9, 1 p.m.–3 p.m. Wednesday, Dec. 14, 1 p.m.–3 p.m. Wednesday, Jan. 11, 1 p.m.–3 p.m. Wednesday, Feb. 8, 1 p.m.–3 p.m.
Tours n Drop-in Tours Daily, 2 p.m. Tour Philbrook with the informative and friendly Philbrook Docents. » Included with Museum admission. nn Group Tours By appointment, three-week notice required To schedule private or group tours call 918.749.7941 or visit philbrook.org. » Included with Museum admission.
Events & Programs Locations: Philbrook | Philbrook Downtown
Philbrook Third Thursdays
n Brat Pack America: ’80s Party Thursday, Nov. 3, 7 p.m. Celebrate the 1980s! Dress up. Get down. Dive into the “Brat Pack” and your favorite ‘80s film with author Kevin Smokler. After an evening of books, music, and trivia at Philbrook, head over to Circle Cinema for a 30th anniversary screening of Pretty in Pink. » Philbrook event: 7 p.m., Included with Museum Admission; Circle film screening: 8:30pm, $5. In partnership with Booksmart Tulsa and Circle Cinema
On the third Thursday of each month, Philbrook addresses issues of contemporary art and culture through guest speakers, hands-on projects, and community collaborations. Guests enjoy a cash bar, light bites, music, and more.
n Wendy Ponca Trunk Show Thursday, Nov. 17, Noon–8 p.m. A special night in the Philbrook Museum Shop.Meet Native Fashion Now artist Wendy Ponca and shop her collection. n Philbrook Drawing Rally Saturday, Nov. 19, 5–8 p.m. Buy local art drawn live. n Festival Nights Select Nights, 5–8 p.m. Experience the glowing gardens from the Terrace to the Tempietto with tens of thousands of lights. » See page 21 for complete details. n Member Shopping Night Thursday, Dec. 8, 5:30–8 p.m. n Jared Yazzie Trunk Show Thursday, Dec. 15, 5–8 p.m. A special night in the Philbrook Museum Shop.Meet Native Fashion Now artist Jared Yazzie and shop his collection. n Winter Solstice Tour Wednesday, Dec. 21, Noon–1 p.m. Join Philbrook Garden Manager Sheila Kanotz and the garden staff and discover tips for the prep that is required for both winter rest and eagerly anticipated spring blooms. » Included with Museum Admission. n Lusha Nelson Photographs Member Opening Saturday, Feb. 4 » Invitation to follow 18 philbrook.org
n Art + Fashion Thursday, Nov. 17, 5:30–8 p.m. Philbrook is runway-ready. It’s all about inspiration, arts, and materials—with style and sass thrown in. Portico Dans Theatre will present a special performance of their short work Response of Form, which is inspired by the works in Native Fashion Now. See how materials shift and move—then hear featured artists (and Oklahomans!) Wendy Ponca and Margaret Roach Wheeler talk about their creations, their process, and how they play with materials to form their designs. » Included with Museum Admission. 1 n Print Action: Fashion(able) Thursday, Dec. 15, 5:30–8 p.m. It’s all about the fashion statement—and the Print Action. What statements we’ll make during this evening of screenprinting, art, fashion, and music. Native Fashion Now featured artist Jared Yazzie will join printmakers Bobby Martin, Michelle Martin, Denny Schmickle, and May Yang in the challenge to create original silkscreen designs. Mix, match, layer, and add your own touches to create a unique print while a DJ spins. Bring a t-shirt or tote to make your own wearable art. » Included with Museum Admission.
n Mike Glier—The Alphabet of Lili 2 Thursday, Jan. 19, 5:30–8 p.m. What does it take to make the ABCs of art? Renowned artist Mike Glier, whose work is on exhibition at Philbrook Downtown, will talk about his stunning works, his process, and how his daughter inspired his 26-panel Alphabet of Lili. » Included with Museum Admission. n Photo Interactive Thursday, Feb. 16, 5:30–8 p.m. Selfie, Polaroid, or old-fashioned studio camera… we all want that fabulous photo. In this interactive evening, take a look at the new exhibition about Lusha Nelson, and then experiment with photo methods and projects to create your own work of art. » Included with Museum Admission.
For details & to RSVP my.philbrook.org
At the Museum Team Philbrook recently attended the annual Oklahoma Museums Association Awards banquet to collect a variety of honors for staff, programs, publications, and exhibitions.
1 Award for Service to the Profession: Chris Kallenberger Chris Kallenberger retired last year after more than 30 years in the Philbrook Curatorial Department, wearing many hats and making an indelible impact on the Museum and community.
4 Best Outreach or Education Program (Budget of $15,000+: Off The Wall Mural Project The Philbrook Education Department worked with acclaimed artist Thomas “Breeze” Marcus on a collaborative project with students from Tulsa Public School Phoenix Rising.
2 Best Publication (Budget $5,000 or less): Philbrook Magazine For Members
Honorable Mention (Budget of $15,000+): Nir Evron: Projected Claims Philbrook Downtown debuted the first solo museum exhibition in the United States for Nir Evron, an emerging Israeli artist garnering international acclaim for his work in film, video, and photography.
3 Best Publication Budget of $15,000+): Collective Future: Gifts in Honor of Philbrook’s 75th Anniversary A beautifully-designed, limited-edition publication featuring the stunning variety of art donated to Philbrook to mark the Museum’s 75th anniversary. A tribute to the spirit of generosity that keeps Philbrook vital and growing.
Celebrate the holiday season with Philbrook! Nov. 19-Dec. 31, 2016 Day, night, any time. The Museum comes alive with festive holiday events, dĂŠcor, and thousands of lights reflecting the spirit of the season. Gather the whole family for unforgettable experiences. Enjoy the most beautiful place in Oklahoma during the most wonderful time of the year. philbrook.org/festival
$5 After 5 Festival Nights
On select nights, experience the glowing gardens from the Terrace to the Tempietto with tens of thousands of lights. Enjoy concessions (hot cocoa, cash bar), live music, and more. Special admission: $5 after 5 p.m. for adults and seniors! (Members and youth 17 and younger always free.)
Events n Philbrook Drawing Rally Saturday, Nov. 19, 5–8 p.m. Buy local art drawn live. n Make & Mingle Thursday, Dec. 1, 6–8 p.m.
On the following nights, the garden lights glow from 5 p.m. until just before Museum close at 8 p.m.
n Family Studio Saturday Saturday, Dec. 3, 12:30–3:30 p.m. n Member Shopping Night Thursday, Dec. 8, 5:30–8 p.m. n Make & Mingle Thursday, Dec. 8, 6–8 p.m.
n Second Saturday Saturday, Dec. 10, 10 a.m.–4 p.m. n Third Thursday: Print Action Thursday, Dec. 15, 5–8 p.m.
n Jared Yazzie Trunk Show Thursday, Dec. 15, 5–8 p.m. n Family Studio Saturday Saturday, Dec. 17, 12:30–3:30 p.m.
See pages 16-18 for more information. philbrook.org/festival
n Winter Solstice Tour Wednesday, Dec. 21, Noon–1p.m.
27th Annual Collectible Pin
In The News The current Philbrook Downtown exhibition First Person: Remembering Little Bighorn, was recently featured on the popular arts and culture website, Hyperallergic. Writer Allison Meier travelled from New York to Oklahoma to review the show and speak to the showâ€™s curator, Christina E. Burke, Philbrook Curator of Native American and Non-Western Art. First Person runs through Dec. 31, 2016 at Philbrook Downtown. To read the full article visit hyperallergic.com
Stay connected Explore First Person from anywhere in the world. Visit firstperson.philbrook.org.
In the Philbrook Gardens Seasonal updates from Philbrook Garden Manager Sheila Kanotz See the art. Be the art. An empty sculpture platform in the Philbrook Gardens becomes much more with a simple prompt. Guests are now striking poses and becoming living sculptures. Stop by and give it a try. Share your pic #philbrook.
NOVEMBER: We will be replacing our summer annuals with over 14,600 pansies and coolseason annuals and planting 21,700 flower bulbs to bloom in the spring. Additionally, we will be setting up Philbrook Festival Lights; removing and/or mulching leaves that have fallen to the ground; and preparing for winter by turning off fountains and ensuring mulch levels are adequate. DECEMBER: The perfect time to make sure that your equipment is ready for winter. We drain or stabilize gas in equipment that won’t be used for a few months.
JANUARY: Depending on the weather a lot of time may be spent indoors this month, planning the coming year’s garden. A great time to sharpen tools. FEBRUARY: Our staff begins planting coolseason edible crops. As the temperatures warm, it’s always a good idea to apply preemergent before weeds germinating the lawn or planting beds. We also use this time to prune trees and shrubs.
L U N C H , S U N DAY B R U N C H & S P E C I A L E V E N TS
Located in Philbrook, lower level 2727 S. Rockford Rd. Tulsa, OK 74114 Reservations: 918.748.5367
Of Murals and Mesas By Mark Brown Executive assistant to the director at Philbrook
Eugene Kingman, the first Philbrook Director, paints a mural commissioned by The New York Times in 1946. 24 philbrook.org
Right: Eugene Kingman Arkansas Cabin, c. 1943 Oil on canvas Museum purchase
The first Philbrook Director was all over the map
ne of the stories pitched on the March 1937 cover of National Geographic—sharing the marquee with the “First Color Photograph from the Stratosphere”—was a twin feature on Crater Lake and Yosemite, two national parks some 500 miles apart. “With 13 paintings by Eugene Kingman,” read the byline. Two years later, Kingman would become the first director of the new Philbrook Art Museum, the 72-room Renaissance villa gifted to the people of Tulsa by Genevieve and Waite Phillips, who’d built and lived in the house since 1927. But in ’37, Kingman was still on tour. His westward trek began in 1931, when the U.S. National Park Service commissioned Kingman to paint seven murals for the Paris Colonial Exposition, a six-month exhibition that drew some eight million visitors. “New Englander Chosen Philbrook Museum Head” read the Tulsa World headline of June 11, 1939. Kingman was an instructor of mural painting at the prestigious Rhode Island School of Design (RISD) when Philbrook came calling. However, it was the Nat Geo article that set him apart in the field of 40 candidates reviewed by the Southwestern Art Association board, the young Museum’s governing body. “It is fortunate that we have obtained a fine, young fellow with enthusiasm to build a museum,” said A.B. Butler Jr., board president, “and with the interest in geology which is particularly significant in the ‘oil capital’.” Kingman’s magazine assignment had been to imagine a time before Crater Lake, “Many thousands of years ago,” read the caption under one of his depictions, when “molten rock from deep within the earth poured forth to build in the Cascade Range of southern Oregon lusty Mount Mazama,” which
in time blew its top, leaving a crater, or caldera, steep-sided and icy deep. The seven paintings (and six more covering a similar geologic event in Yosemite Valley) portray Mazama through the seasons and the epochs, rugged contours bathed in winter and summer, fire and ice, in a style reminiscent of Alexander Hogue—if Hogue were a prehistoric natural realist. “The boy’s painting showed amazing freshness and vigor with a deep understanding,” said Wallace Atwood, who wrote the accompanying story. “With his aid, it has been possible to go beyond the realms of photography and reproduce the ancient landscapes interpreted from the geologic records.” The 30-year-old “boy” must have cut quite a swath. “Kingman is a big, husky fellow who has made frequent Western trips,” wrote Malvina Stephenson in that Sunday World story. Following up in the Tulsa Tribune, Sara Ann Mott began, “Easy to know and easy to like, young blond Mr. and Mrs. Eugene Kingman are in Tulsa today looking over their new job as director and ‘associate director.’ “His wife is almost as tall, and almost as blonde, and the green of her smartly tailored dress was reflected in her eyes. She uses her hands to emphasize her statements and looks to her husband for acceptance of what she is saying.” Elizabeth Yelm, one of the first women ever to earn a masters degree at the University of Denver, was a student of anthropology who worked in the museum at Mesa Verde National Park near Durango, Colorado. After a swift courtship, she and Kingman married shortly before he took the Philbrook job. But not so short they couldn’t fit in a honeymoon to San Francisco for a convention of the American Association of Museums (now the American Alliance of Museums). There was an attempt, in the news of the day, to allay any public dread that Philbrook had hired some East Coast elite with a foot in Europe and an eye toward the abstract. “Nothing Bohemian,” read a quote from Theodore Sizer of the Yale school of fine arts, where Kingman had studied. “His scientific interest (in dinosaurs) is almost as great as his artistic ones.” On the website devoted to his life and work (eugenekingman.com), daughter Mixie Kingman Eddy wrote that her father “reflected the spirit of plein air.” On that bio page, a photo captures Kingman painting a long view of the Sierra Nevada. He’s wearing a banded fedora and plaid shirt, with his khakis rolled up around his knees, and his horse hitched to a tree root. philbrook.org 25
“New Englander Chosen Philbrook Museum Head” Tulsa World, June 11, 1939
“The reading of resumes can sometimes be a rather dry exercise,” wrote David Pease, dean of Yale University, in a 1990 letter to the Boston Athenæum. “Such is not the case with Kingman.” Fifteen years after his death in 1975, and a full 50 since he took the Philbrook post, Kingman’s legacy remained of archival interest in the world of arts and letters. We’ll never know how long he might have stayed in Tulsa: Three years into his tenure, war broke out. Kingman went into the Army as a cartographer, assigned to the maps division of the Office of Strategic Services, a World War II incarnation of the CIA. After the war, Kingman took over the directorship of the Joslyn Art Museum in Omaha, where he stayed for 22 years. While exhibit design and promotion became his specialty, Kingman continued to paint, finding inspiration in his new environs. “Time for painting is limited,” he wrote in his artist’s statement for an exhibition titled Kingman’s Nebraska, “so my working radius is within a few miles of Omaha; but here at hand is a wealth of material that is expansive, yet intimate and human in all its parts.” K ingman’s landscapes bear the hallmarks of other American regionalist works, with a heartland vacillating between idyllic and apocalyptic, depending on the political climes and the inclemency of the sky. Kingman’s 26 philbrook.org
Oklahoma Artists’ Seventh Annual Exhibition jurors: left to right: Jerry Bywaters and Eugene Kingman, 1947.
style was literally all over the map, from the New Deal-era WPA commissions to paint dinosaurs on post office ceilings, to the yellow cornfields of the Platte valley rattling in late-harvest fallow, to the mountain vistas of his beloved West. While people seldom populate Kingman’s canvases, his paintings never fail to evoke a kind of humanity. “It was his philosophy that art cannot be held apart from everyday life and the historical development of a people,” wrote Laurance Hoagland, president of the Joslyn, on the passing of Kingman in 1975. A mural of the North Atlantic— painted by Kingman and cartographer Richard Edes Harrison and installed
in 1948—hung over the entrance in the lobby of the New York Times for 40 years. “Every Day Is a Fresh Beginning — Every Morn Is the World Made New,” read the accompanying excerpt from the Sarah Chauncey Woolsey poem, “Begin Again.” When the Times moved into new headquarters in 2007, the 147-square-foot artwork was rolled up and stuck in a basement. In time, it was rescued, now hanging in a branch of the Omaha Public Library. “The mural’s artistry — stunningly realistic for a generation that had never seen Earth from space — was looking out of date,” wrote Times Metro reporter David Dunlap.
Then and Now
Eugene and Elizabeth Kingman, 1938.
“What’s that?” said my oldest son, squinting south toward New Mexico. From the Park Point overlook atop Mesa Verde, white clouds billow above the valley floor, begging to be volleyed. Montezuma County, the southwestern most in Colorado, spreads north in a carpet of pasture and cropland; to the south, a smattering of mesas and mountain peaks. Out there, alone, stands Shiprock, a cathedral-like outcropping (the geologic term of art is “monadnock”) more than 1500 feet off the desert floor, and visible to a curious tween with a roving eye. It was here, on a tour of the Ancestral Puebloan ruins, that Eugene Kingman found love. “Mom and Dad met on one of her guided tours of the cliff dwellings at Mesa Verde,” Mixie Kingman Eddy wrote for The Living New Deal archival project. “According to Mom, it was her storytelling around the campfire that led Dad to fall in love with her. When she resigned from her ranger job a year later to marry him, all of her park colleagues (mostly men) signed her ranger hat.” After Kingman retired his post at the Joslyn, he and Elizabeth relocated to Lubbock, where in 1969 he became the first director of the new Museum of Texas Tech University, founded in 1929 as the West Texas Museum. Kingman could have been describing the Texas Panhandle when he said, upon taking the reins as director of Philbrook three decades earlier: “It’ll be a story of the southwest plains—a history of this territory by and for the people. It won’t be a museum. It’ll be a place to come and stay and return to again and again.” Eugene Kingman died in Lubbock on 20 February 1975. After a memorial service at St. Paul’s on the Plains, Kingman’s ashes were laid to rest at Swan Point Cemetery in his native Providence. Elizabeth “Betty” Kingman kept working well into her 80s, collaborating with a team of archaeological scholars at the School of American Research. She died in 2005. More than 75 years since the Museum’s opening, in many ways Philbrook still travels down the path mapped out by Kingman, striving daily to be “a place to come and stay and return to again and again.”
Much like Eugene Kingman, our new Philbrook Director found a path into the world of museums as a working artist. Scott Stulen has shown his work at a variety of venues including Weisman Art Museum (The University of Minnesota), Ebers Moore Gallery (Chicago) and Rochester Art Center (Rochester, MN). When not attending to Philbrook duties or his two young children, Scott still finds time to return to his artistic roots in the studio. It all comes back to art. Learn more about Scott and his work at www.scottstulen.com. Top: Scott Stulen in his studio. Bottom: Scott Stulen It’s Very Beautiful and Very Cold, 2010
MIX 2016, under the leadership of Co-Chairs Sarah and Craig Buchan, served a sellout crowd of 650 and raised over $140,000 with proceeds benefitting Philbrook educational programming and Museum operations. To date, MIX has raised over $400,000, while introducing dozens to the Philbrook Young Masters Society, an active group of Members under the age of 40 interested in promoting arts and culture through Philbrook. See you in 2017! #philbrookmix
Ryan Stack (left) of Prairie Brewpub took home the Judges' Choice award. Chris Armstrong (right) of Arnie's Bar earned People's Choice. Both left with a cash prize and yearlong bragging rights.
to all 2016 Philbrook MIX Sponsors & Patrons! $10,000 Premium Sponsor
$5,000 House Sponsor Nabholz Construction Patriot Bank Susan & Bill Thomas Valley National Private Bank
The 2016 judge panel included Imbibe Magazine Editor, Paul Clarke.
$2,500 Top Shelf Patron Sarah & Craig Buchan Conner & Winters, LLP Jillian & Will Ihloff McAfee & Taft Julie & Sanjay Meshri Parkhill’s South Liquors & Wine Stuart Family Foundation Visit Tulsa
$1,500 First Round Patron
Scott Stulen with 2016 MIX chairs, Sarah and Craig Buchan.
Argonaut Private Equity, LLC Black Optical BKD CPAs and Advisors Megan & Ryan Buchan Sarin & Brett Crump Payton Fesperman & Jared Lyon The First Ward Leigh Ann & Nick Gustafson Lisa & Josh Hairston Lane & Chris Hartshorn Michael Hedin & Marianne Brett Sarah & Jared Jordan Nikki Lamson Hayley & William Lee MabreyBank Alfredo Madrid Stephanie & Michael Madsen Logan Mercer Jordan Neal Nora O’Neill The Orthopaedic Center OwnTulsa, Dustin Thames & Christy Craig Adam Paluka Diana & Jim Pape Brooke & Lindsay Smith Whittney & Joey Stauffer Rania Nasreddine & Andrew Warren Jennie & Chris Wolek Megan & Don Zetik
$500 Mixer Patron Shelly & Alan Armstrong Molly & Brian Aspan Sara & Ryan Barry Andrea & Deke Canada Terri Carrington Chase Bank Pat Chernicky Laura & Keith Colgan Cindy & Marty Cunningham Karen Drulak & Neil Crowson Erin Donovan Elizabeth Downing & Gavin W. Manes Barbara & William Drotar Francis Renewable Energy, LLC Kim & Ryan Harper Sherri Hays Shelley & Greg Heckenkemper Greg Holt & Matt Wallace J.P. Morgan Private Bank Jo Lynn & David Jeter Mike Keys & Ty Kaszubowski Hayli & Adam Leavitt Regina & Michael Lodes Tracey & Jim Lyall Libby & Justin McCoy Old Village Wine & Spirits Susanne & Millard C. Pickering Chad Renfro Shenloogian Chiropractic Heather & Robert Sher Emily & Mary Stewart – Ranch Acres Wine Katie Villareal Steve Wright
Liquor Sponsors Glazers Premium Brands Republic (RNDC) Provisions
Grand Prize Game Sponsor JTR Group
Screen Printing Sponsor Flash Flood Print Studios
Food Sponsors 624 Kitchen & Catering Antoinette Baking Co.
Photography Jeremy Charles Photography Melissa Lukenbaugh Photography
SAVE THE DATE
mix 2017 8.19.17 Stephanie and Michael Madsen, 2017 MIX chairs.
Healthiest bank in Oklahoma. Ranked by DepositAccounts.com.
Your partners in progress.
By Emma Palmer High school senior, accepted into the Quartz Mountain Art Institute summer high school program
“I realized that art isn’t always about individual creativity or talent. Sometimes all it takes is everyone working together, striving to create something beautiful.” The Collective, 2015. #girlpower
I n t h e f a l l of 2015, I was a member of The Collective, an art program specifically designed for teens by Philbrook. It’s a great opporunity for teens (like me) to create and be our awkward, well-meaning, adolescent selves. Each December, the Collective kids are given the task of hosting an event at Philbrook Downtown during the monthly Brady Arts District First Friday Art Crawl. Essentially we have to create some sort of “experience” that will bring people into the art, facilite some degree of hands-on interaction, bridge gaps, and help people have personal experiences in the galleries. This event is put on entirely by us (with some help from the wonderful staff). When I first heard about The Collective I was ecstatic. Then the brainstorming sessions started, and I learned the meaning of the term “creative differences.” There was (thankfully) no animosity, but everyone had different ideas and priorities, and the
logistics began to get a little crazy. In the end we pulled an idea together with a goal of getting guests to create a collaborative piece of art. When the night came, I was so excited and anxious. I worried that it would be stressful for me, and people wouldn’t like our idea or participate in the project. It’s hard to be vulnerable. It feels like you’re opening up your insides and screaming to the world “HERE I AM. THIS IS ME.” But as the night went on, more than a thousand guests came through the doors, nearly all of them participating in our activity. By the end of the event, we had a beautiful piece of art created by everyone. From that night on I realized that art isn’t always about individual creativity or talent. Sometimes all it takes is everyone working together, striving to create something beautiful. You know, collectively. philbrook.org 31
Nonprofit Org. U.S Postage PAID Permit no.836 Tulsa, Oklahoma
Philbrook Museum of Art 2727 South Rockford Road Tulsa, OK 74114-4104 t. 918.749.7941 philbrook.org
Lusha Nelson Photographs: Celebrity, the Forgotten Man, and 1930s America Feb. 5â€“May 7, 2017