Gilcrease Magazine – Spring 2019 by The University of Tulsa

GILCREASE MAGAZINE S P R I N G 2 019

PULITZER PRIZE PHOTOGRAPHS

EDITION 1

March 29 - July 14, 2019

IN THIS ISSUE

ARTIST PROFILE: MAZEN ABUFADIL Meet local immigrant and Americans All! featured artist Mazen Abufadil.

GIFTS FUEL MUSEUM GROWTH Meet Gilcrease donors Dr. Pat and Patti Lester.

14 F E AT U R E A R T I C L E

PULITZER PRIZE PHOTOGRAPHS History comes to life with the most comprehensive collection of Pulitzer Prize-winning photographs ever assembled.

Like us on Facebook; follow us on Twitter and Instagram @GilcreaseMuseum.

KEEPING AN EYE ON THE ARCHIVES

16 CANâ&#x20AC;&#x2122;T MISS SPRING EVENTS

17 THE LAST WORD

VOLUME 27, NUMBER 2 SPRING 2019

PA R T N E R S H I P I N ACTION Learn about the latest efforts between The University of Tulsa and Gilcrease.

BEHIND THE SCENES Get to know Chief Conservator Joanna Didik and the important work her team does daily.

1. 1990 Feature, Freedom Uprising (Berlin Wall Falls), David C. Turnley

After more than five years in a North Vietnamese prison camp, U.S. Air Force Col. Robert Stirm was coming home. As his plane touched down March 17, 1973, at Californiaâ&#x20AC;&#x2122;s Travis Air Force Base, his wife and four children waited impatiently nearby.

2. 2003 Feature, Journey of Hope (Children on a Horse), Don Bartletti

1974 FEATURE Slava Veder The Associated Press March 17, 1973, Travis Air Force Base, Calif. Slava Veder/The Associated Press

3. 1949, Babe Ruth Final Farewell, Nathaniel Fein

BURST OF JOY

GILCREASE MAGAZINE

COVER EDITIONS

Gilcrease Museum Magazine / Spring / 2019

DIRECTOR’S REPORT With the completion of the interpretive plan and the City of Tulsa’s release of a request for qualifications to potential architect teams in January, Gilcrease Museum has accomplished two major milestones on the road to a reimagined Gilcrease. This is a monumental moment for both Gilcrease and the community as we reimagine the museum for a completely new visitor experience. Through the planning process, our collection was revealed in a new light that will allow us to reframe the Gilcrease narrative to include many stories reflecting our changing America. This once-in-a-generation project will not only increase access to the collection, but connect our treasures to 21st century America and provide increased access for all visitors. With selection of an architect by mid-summer and the design process set to get underway by the end of this year, a construction schedule can soon be better determined. In the meantime, the interpretive plan is already being infused into our upcoming exhibitions and programs. The future of Gilcrease has never been brighter, and we thank you for your continued support. Sincerely,

Susan Neal Executive Director of Gilcrease Museum and Helmerich Center for American Research Vice President for Public Affairs, The University of Tulsa

INTERPRETIVE PLAN OVERVIEW The following Core Idea Framework will guide the development of the Gilcrease Museum visitor experience. The plan’s three core ideas include “This American Landscape,” “Identities & Communities” and “Encounters & Interaction.” Connected by the concept of “Our Changing America,” these core ideas will allow Gilcrease to utilize its vast collection in a fresh and relevant way, while emphasizing that America is an everevolving country with myriad opportunities for inquiry, involvement and engagement.

THIS AMERICAN LANDSCAPE

OUR CHANGING AMERICA

IDENTITIES & COMMUNITIES

ENCOUNTERS & INTERACTION

CORE IDEA I:

THIS AMERICAN LANDSCAPE

How do we experience the American landscape and our place within it? This core idea will explore our beautiful, complicated and fragile relationship with this vast place. Americaâ&#x20AC;&#x2122;s landscapes are shaped by ideas of ownership and influence, by hardship and adaptations, and by the dynamic between development and preservation. This core idea will foster ongoing dialogues about borderlands, resources and the environment in the 21st century.

[sub-idea]

BORDERLANDS

[sub-idea]

R E L AT I O N S H I P S & RESOURCES OUR CHANGING AMERICA

[sub-idea]

CORE IDEA II:

AMERICA REVEALED

[sub-idea]

AMERICAN EXPERIENCE

IDENTITIES & COMMUNITIES

How do we define America? Our American identities are revealed through experiences within our own country, among our cultural group and with other communities. The voices of artists, thinkers, inventors and leaders help us interpret and understand how we see ourselves. Today, perspective of who we are as Americans continue to change.

OUR CHANGING AMERICA

CORE IDEA III:

ENCOUNTERS & INTERACTION

Disparate cultures, communities and groups interact with one another as each of us seeks to find our place in America. This core idea examines milestones in American history that had repercussions in Oklahoma, across the nation and throughout the world. Conflict, power struggles and diplomacy highlight historical moments of change and provide inspiration for activists and artists. Today, we encourage discourse and interaction across communities.

[sub-idea]

CONFLICTS & C O N F R O N TAT I O N

[sub-idea]

C R E AT I N G COMMUNITIES OUR CHANGING AMERICA

R E S I S TA N C E A N D C H A N G E : T H E ROLE OF THE PHOTOGRAPH Join us on March 15 at 1 p.m. for the Gilcrease Forum. Our guest speaker will be Dan Farnum, University of Tulsa associate professor of art and photography, and director of the Alexandre Hogue Gallery at TU.

“IF IT MAKES YOU LAUGH, IF IT MAKES Y O U C R Y, I F I T R I P S O U T Y O U R H E A R T, T H AT ’ S A G O O D P I C T U R E . ” -Pulitzer Prize-winning photographer Eddie Adams

ilcrease Museum is committed to presenting the art, archival and cultural objects in the collection as portals that provide visitors to our exhibitions with impactful historical content and context whenever possible. This goal also applies to the traveling exhibitions that we bring to Tulsa. The upcoming exhibition Pulitzer Prize Photographs, on view March 29 through July 14, 2019, from the Newseum in Washington, D.C., is the latest example of this commitment. Pulitzer Prize Photographs brings history to life with the most comprehensive collection of Pulitzer Prize-winning photographs ever assembled, with images of every prizewinning entry dating back to 1942, when the award was first presented. In addition to the 80 photographs, visitors can use interactive touch screens to access more than 1,000 additional images and 15 hours of video and audio compiled from interviews with the prizewinning photographers. Photographers have long used their medium to capture world events and record the defining moments of history with their iconic images. With the click of a button, they document the pain of tragedy, the ecstasy of victory and the triumph of redemption.

« 1945, Raising the Flag on Iwo Jima

Joe Rosenthal, The Associated Press, Feb. 23, 1945, Iwo Jima, Japan; Joe Rosenthal/The Associated Press

1996, Oklahoma City Bombing 1995, Charles Porter IV/The Associated Press

Experiencing Pulitzer Prize Photographs is indeed a history lesson. It is an opportunity to see

2003 Feature, Journey of Hope (Children on a Horse) Don Bartletti Los Angeles Times; Don Bartletti/Los Angeles Times

what Americans of the day saw when these photographs were first published. Contemplating these remarkable images in chronological order provides an opportunity to vicariously experience what was happening around the world at the very moment a photographer clicked the camera’s shutter. The images in Pulitzer Prize Photographs also have the power to release the full range of human emotions. Exhibition guests can share in the pure joy as a family is reunited with their husband and father after his release from five years in a North Vietnamese prisonerof-war camp; or, at the other end of the emotional spectrum, the horror and abject despair in seeing an Oklahoma City firefighter cradling the bloodied body of a baby killed in the April 19, 1995 bombing of the Alfred P. Murrah Federal Building. Yes, many of the photographs in the exhibition, like that of the Oklahoma City bombing, are images that some people would just as soon erase from their memories. But to learn from history demands that we not forget its lessons. To build a better world for generations to come requires that we learn from both the triumphs as well as the tragedies of the past. To paraphrase prize-winning photographer Eddie Adams, a visit to Pulitzer Prize Photographs will make you laugh, it will make you cry, and yes, it may even rip out your heart. To experience these emotions confirms and validates our shared humanity and the eternal hope for a better future. Pulitzer Prize Photographs was developed by the Newseum. The Newseum, headquartered in Washington, D.C., works to increase public understanding of the importance of a free press and the First Amendment.  Learn more about the power of photography with curator Mark Dolph at gilcrease.org/pulitzer.

ARTIST PROFILE: MAZEN ABUFADIL 6

Mazen Abufadil and his family left West Beruit, Lebanon in 1978 due to the civil war. Fast forward and his work is now on display in Americans All! alongside art icons including the likes of Thomas Moran and Albert Bierstadt. A selfproclaimed American dream come true, learn how one local immigrant, and his family, have enriched Tulsa in more ways than one. Q: How did your family land in Tulsa after leaving Beirut? A: Initially fleeing to the French WestIndies for a year, we managed our way to Tulsa through the help of an uncle who had settled in Oklahoma after attending college in Edmond. We were forced back to Lebanon, but only for a short period, and in the late 70s we were allowed to reside in Tulsa qualifying for refugee status. Q: How did you become an artist? A: Like so many young children, I was exposed to drawing, painting and craft in grade school. I was obsessively drawn to working with my hands and could think of little more enjoyable than spending my day using tempera paints or modeling clay. Q: Your work in Americans All! uses a photo-fresco technique. What is photo-fresco?

A: My first visit to Gilcrease was as a young immigrant with hardly a word of English in my vocabulary. I was in awe of the multitude of colors, forms and sublime space surrounding me. Since then, I’ve continued to visit and have always been amazed by the diversity of the collection, beauty of the grounds and the evolving exhibition space. Q: What do you hope visitors walk away with after viewing Americans All!? A: I hope that visitors will consider viewing all displayed work first and foremost as art, and then as representative of the individual desires of each of the exhibiting artists regardless of their ethnicity or cultural backgrounds. Additionally, I hope they view the work as representing the breadth of human experiences and of stories, past and present, being told. Learn more about Abudafil’s work and process by watching “Entry Point,” available both in the Americans All! exhibition and online at gilcrease.org/ americansall. 

TULSA TIES • Received his Master of Fine Arts from The University of Tulsa (TU) • Met his wife, a Japanese immigrant, while in school at TU • Art teacher at Holland Hall since 1999 • Family owned and operated Halim and Mimi’s Ethnic Cuisine

A: Photo-fresco, a term I coined, is a hybrid transfer process using “wet” pigment prints applied to a slaked lime plaster. While working in both photography and printmaking, I became as intrigued by the surface and form of the paper as I was by the image on it. This fascination, in conjunction with my time in Florence, Italy, where I was forced to source discarded materials for my crafts due to limited financial resources, contributed to the development of the technique. Q: What was your relationship with Gilcrease prior to being asked to exhibit in this show? Gilcrease Museum Magazine / Spring / 2019

GIFTS FUEL MUSEUM GROWTH Meet donors Dr. Pat and Patti Lester

Photographed: The Lesters in front of one of their gifted paintings, Untitled by Amado Pena. 8

Dr. Pat and Patti Lester have been involved in Gilcrease Museum for several decades in a variety of roles, including serving as co-chairs for several exhibitions, Rendezvous in 2004 and Pat as the president of the board in 2001-02. Throughout their involvement with the museum, the Lesters have donated more than 18 pieces of art and cultural items to the Gilcrease collection. The Lesters began collecting art in the 1980’s, following Pats innate impulse to collect. “I think collectors in general are born that way,” Pat explained. “In 1986, I attended an auction. I had some understanding of Native American art, but very little. We were able to purchase quite a few pieces at the auction. As I started studying those painters, I became more and more interested and saw that was an area that was not commonly collected.” Over time, Patti and Pat’s interest in Native American art continued to grow. The couple traveled nationwide to collect and learn more about Native American art and artists. Due to the lack of information about Native American artists at the time, Pat was inspired to blaze his own path and began working on his book, "The Biographical Directory of Native American Painters," which he published in 1995. “We went to a lot of places and found as many Native American artists as we could,” recalled Patti. “We went to many art shows all over the United States, from New York to California, and researched and wrote a lot of letters.” As the Lesters’ collection continued to grow, they made the collective decision to begin gifting some of their art so others could enjoy it. “When people collect, they come to a point where they’re not going to

collect anymore or they’re into their last decades of their life and satisfied with what they’ve done,” explained Pat. “So, what do you do with those collections? You either sell them or give them away. Most collectors would like to see what has thrilled them put on display for other people to enjoy.” With the belief of sharing their passion with others in mind, the Lesters have given generously to Gilcrease. Futhermore, due to the Lesters’ ongoing involvement in the museum, they were privy to the gaps in the Gilcrease collection, uniquely positioning them to help fill them. “Some of the pieces we donated because we knew there was a lack for a particular exhibition and we had them,” Patti stated. Occasionally, the Lesters would even seek out and purchase art from beyond their own collection in order to help fill these gaps. For example, their contributions almost doubled Gilcrease’s Inca collection. Likewise, according to Pat, they purchased Inuit pieces not to put in their own collection, but to help fill holes for Gilcrease. Due to this selfless mentality, Gilcrease has benefitted many times over from the Lesters’ generosity. And while Gilcrease reaps the benefits of their gifts up and down the halls on a daily basis, the Lesters are proud to have pieces from their collection at Gilcrease. “It’s similar to when you see your children or grandchildren accomplish something,” said Pat. “You’re proud that you had a little part in that, and we are proud to have art that is considered worthy to be placed in Gilcrease Museum.”  Hear more from the Lesters at gilcrease.org/news/lesters.

LASTING LEGACY Laura Fry, Senior Curator and Curator of Art How do museum collections evolve? The Gilcrease collection has never been static, and from the moment the museum opened in 1949 the collection has continued to grow and transform. In recent years, with clear collecting goals and through the generosity of donors, the Gilcrease collection has expanded with acquisitions of modern and contemporary art that bring new perspectives to the museum. Dr. Pat and Patti Lester are a big reason why. Over the last several decades, the Lesters have donated more than 18 works and artifacts by contemporary Indigenous artists to Gilcrease Museum. The works include a wide range of styles and media from the late 20th century, from monumental sculpture on the Gilcrease grounds to intimate, detailed ink drawings. In the Enduring Spirit exhibition at Gilcrease, several of the contemporary oil and acrylic paintings currently on display are Lester donations. From Earl Biss’s painting Riders in the Storm to Harry Fonseca’s sense of humor on display in Three Coyote Koshare and Two Coyotes and Flags, their contributions are evident around every corner. Additionally, the sculpture Strength of the Maker by Potawatomi artist Denny Haskew on the Gilcrease grounds is yet another Lester contribution. The magnificent artworks donated by the Lesters allow Gilcrease exhibitions to demonstrate how events of the past continue to impact our lives today and show how artists can help us see the world around us in a new light. As we continue to seek contemporary artists whose work contributes new understandings of the Gilcrease collection, we are humbled by the Lesters’ many gifts.

Gilcrease Museum Magazine / Spring / 2019

PA R T N E R S H I P I N A C T I O N The University of Tulsa (TU) and Gilcrease Museum partnership is much more than in name only. Featured below are a few of the latest collaboration efforts by TU students who are at Gilcrease daily, furthering scholarship on both campuses. BY THE NUMBERS (June 2018-Spring 2019) • 18 TU internships at Gilcrease (graduate and undergraduate) • Two graduate assistants at Gilcrease • Three Gilcrease staff teaching Museum Science & Management program classes M U S E U M S T U D I E S AT GILCREASE Each fall, Susan Buchanan, Gilcrease director of collections and chief registrar, and Diana Folsom, Gilcrease director of digital collections, team up to teach Museum Collections and Data Management MSM7073 to TU museum studies graduate students. Additionally, Joanna Didik, chief conservator at Gilcrease, teaches Conservation Principles MSM 7013. Through hands-on experience in the state-of-the-art Helmerich Center for American Research conservation labs to sessions in Anthropology and galleries, TU students are gaining invaluable experience only achievable through museum access. “THE KEY POSITIONS WE’VE HIRED IN THE D I G I TA L C U R AT I O N D E PA R T M E N T S O FAR HAVE BEEN TU G R A D U AT E S T U D E N T S , AND THEY HAVE PROVEN TO BE AMONG THE BEST AND BRIGHTEST IN THE C O U N T R Y. " - Diana Folsom, Gilcrease Museum - director of digital collections

GILCREASE JUNIOR BOARD Spring 2019 will launch the inaugural Gilcrease Junior Board. Made up of TU arts management students, this collaboration was created to fulfill the request of students to better understand the role boards of directors play in cultural institutions. While students will benefit from gaining real-world experience as an advisory committee, Gilcrease will gain invaluable perspectives from the young adults — a highly coveted museum demographic. HISTORY OF PHOTOGRAPHY CLASS FURTHERS MUSEUM RESEARCH Always looking for ways to amass content on the museum’s more than 350,000-item collection, Gilcrease teamed up with Associate Professor of Art History Kirsten Olds’ history of photography class during the fall semester. With the help of Gilcrease staff, students researched photographs in the collection for which little information exists. The class resulted in written essays from each student based off their research of selected objects. Additionally, students paired up to create essays on a theme that encapsulated 10 objects in the collection

" I N T E R N I N G AT GILCREASE HAS ALLOWED ME TO MEET SOME WONDERFUL PEOPLE, GAIN VALUABLE SKILLS AND HELPED ME DECIDE W H AT I W A N T T O D O CAREER WISE." - Lacey Faulkner, TU MSM student with successful essays being featured on the Gilcrease website. This collaboration is another example of the reciprocal benefits TU students and Gilcrease gain by working together. 

BLOOM Visit Gilcrease this spring and experience our magnificent grounds in full bloom. • 23 acres of manicured themed gardens • Stuart Park • 10 bronze sculptures • Tours available by appointment Gardens & Grounds Hours 6 a.m. to 11 p.m. daily Gilcrease Museum Magazine / Spring / 2019

BEHIND THE SCENE with Joanna Didik, chief conservator

Considered by most as “back of the house,” conservation is critical to all museum functions. We sat down with Chief Conservator Joanna Didik to shed light on the important work her team does daily to make Gilcrease a world-class museum. Q: Where are you from? A: I am from Torun, Poland. Q: What was your career path before landing at Gilcrease? A: Right after university, I took a position in State Archives of Poland and three years later in National Archives of Ireland, where I worked until 2015. One may think that archives are very different from a museum, but if you think about them as memory institutions (that’s what they are called in Europe) there are a lot of similarities. Regardless of the type, every collection not only corroborates the fact of the existence of the past and is an agent of its valuation and dissemination, but also contributes to understanding the present. Q: When it comes to conservation and science, there is a lot of overlap. What type of science background do you have? A: Indeed, there’s a lot of science in conservation. During my six years at the university, we had courses covering general and organic chemistry, physical chemistry, polymers and labs. In other words, I was exposed to all the possibilities one can encounter in conservation. Q: How big is the conservation team at Gilcrease, and what are the different roles?

A: Our team is three-women strong: two conservators (paper and objects) and one technician. Our work is mainly driven by exhibitions, and we need to keep up with the preparation of the objects requested. Q: Why is conservation critical to a museum? A: Conservation in a museum is the intersection of all institutional functions. Imagine a collection in such bad condition that it’s rendered unusable. All the museum responsibilities would be impaired or impossible to carry out. Because of the strong scientific foundation of the discipline, we are acutely aware of the importance of preventive conservation measures. This is also why conservation is a common effort of the whole museum team. Q: What is the biggest “enemy” of artwork in museums? A: In a gallery space, it would be human touch or scratches from people’s bags. Q: What do you enjoy most about your day-to-day job? A: The learning. Every day there’s something new to embrace — the unexpected configuration of materials in an object, a damage that doesn’t make sense at first glance, an unknown bug, or finding a housing solution for a difficult object. There is a lot of excitement in figuring all that out. It’s kind of like Sherlock Holmes. Learn more about conservation with Joanna at gilcrease.org/ news/meetjoanna.

ES Gilcrease Museum Magazine / Spring / 2019

KEEPING AN EYE ON THE ARCHIVES

Renee Harvey, librarian/archivist at the Helmerich Center for American Research (HCAR) at Gilcrease, is a self-proclaimed bookworm. “My love for books goes back to my first Little Golden Book,” said Harvey. “I remember holding the book in my hands and thinking it was the most magical thing ever and it was all mine. My love for museums is closely intertwined with my love for books. In my hometown, the main branch of the public library was on the first floor, while the second floor housed a museum. Once I checked out my books, I would go upstairs to look at the exhibits.” As the person responsible for managing the Gilcrease Library and Archive, which houses the museum’s more than 100,000 rare books, documents, maps and unpublished works, Gilcrease is fortunate to have this “bookworm” on the team. As one may surmise, she is a walking wealth of information and passionate about a field most don’t know too much about — the interworkings of a library and archive. “The fundamental differences between an archive and a library is that libraries are collections of published books and other print or non-print materials organized for people to use, whereas archives house both published and unpublished materials in any format and have specific usage guidelines,” said Harvey. “Furthermore, archives often contain unique, specialized or one-of-akind objects.” At Gilcrease, Harvey gets to work in both. While her favorite aspect of the job is interacting with people oneon-one, she also recognizes the value of facilitating research for visiting Helmerich Center scholars.

“Archival materials are important because they are records of enduring value, much like a painting or a sculpture,” said Harvey. “The enduring value is in the ability of the records to speak to each generation allowing them to interpret with their knowledge.” Last year, Harvey bolstered her qualifications by becoming a certified archivist through The Academy of Certified Archivists. As an independent, nonprofit certifying organization of professional archivists, members must meet set educational and experience requirements and pass the Archival Certification Examination. “The archival certification process is a voluntary process,” said Harvey. “I have a master's degree in library and information science from an American Library Association-accredited school, but I sought professional validation for the archival portion of my job. I also wanted to promote the profession of certified archivists.” With more works than she could ever read, Harvey is right at home in the Gilcrease Library and Archive. If not for her passion and work preserving and archiving history, one of the country’s most extensive collections of rare books, documents and maps would not be available to share with the world. And while definitions of library and archive may be up for debate, there is no question that because of Harvey the dreams of Thomas Gilcrease are being realized every day at HCAR. 

Gilcrease Museum Magazine / Spring / 2019

CAN’T MISS SPRING EVENTS From The Chisholm Kid to the Black Panther: Black Heroes and Popular Culture March 3 at 3 p.m. Gilcrease Museum | Free with museum admission Sponsored in partnership with The University of Tulsa Kendall College of Arts & Sciences Hear from Associated Press reporter and author of "Who is the Black Panther?," the novel companion to Marvel’s blockbuster movie “Black Panther,” Jesse Holland as he discusses black heroes and popular culture. His talk will expand on the significance of The Chisholm Kid: Lone Fighter for Justice for All and debunk Hollywood myths about black heroes. A book signing will follow his lecture. Memory, Memorials and Community March 29 (7 p.m.) & March 30 (10 a.m. to 4 p.m.) Gilcrease Museum | Free Co-sponsored by the Mary F. Barnard Endowment of the Chapman Trust and the Department of History at The University of Tulsa This two-day event will explore the energizing, solemn and often contentious role memorials play in the civic and social life of our city. The event will feature experts from around the country as they discuss hot-button issues. Plane Wreck at Los Gatos: An Evening With Lance Canales April 23 at 6 p.m. Gilcrease Museum | $5 In collaboration with the Woody Guthrie Center Roots-blues musician Lance Canales will perform a song based on Woody Guthrie's poem "Plane Wreck at Los Gatos Canyon." The poem tells the story of 28 migrant workers who were only referred to as "deportees" in the media after their plane carrying 32 passengers crashed in Los Gatos Canyon, Calif., killing everyone on board in 1948. The program will conclude with a panel discussion focused on human rights issues in our own community. Walter Echo-Hawk Talk and Book Signing May 2019 Gilcrease Museum | Free with museum admission Join distinguished speaker, author and attorney Walter Echo-Hawk (Pawnee) as he shares the history of the Pawnee Nation through the voices of 10 generations of the Echo-Hawk family. He will examine the spirit, heroism and family connections, as well as the wars, diseases and broken treaties that shaped the tribe’s fortunes. He will be signing his latest book, "The Sea of Grass: A Family Tale from the American Heartland." Tulsa Town Hall After Dark April 11 at 7 p.m. Cascia Hall PAC | General Admission $20 Co-sponsored by The University of Tulsa and Gilcrease Museum Hear scholar, acclaimed space archaeologist and $1 million TED Talk prize-winner Dr. Sarah Parcak at Cascia Hall. Using a new technology, she has identified thousands of undiscovered archaeological sites across the globe and developed GlobalXplorer, an online platform that allows citizen-scientists to search for lost civilizations. 16

MARK YOUR CALENDAR! Gilcrease Summer Camp member registration opening late March.

THE LAST WORD

with Tony Moore

Saltatio is the Latin word for renaissance; meaning a rebirth or a renewal of interest. So appropriately, I coined a new term…Tulsa-ltatio, pronounced Tul-salt-ta-tio, meaning the renaissance of Tulsa. As in the great European Renaissance, where religion, art, politics and economics influenced the cultural rebirth, I believe that Tulsa is experiencing a revival of its own. I frequently hear Tulsans referring to and symbolically acknowledging the architectural milestones that recently occurred in the downtown district with the building and opening of the BOK Center, ONEOK field and Guthrie Green. It seems the success of these additions have provided moving momentum to aspire even more growth. Currently, I see a city and a people trying to put into perspective the challenges of the past while focusing on the hopes of tomorrow. Most would agree that there is still a lot of work to be done, but perhaps we are headed in the right direction. The before mentioned investments in the downtown area is significant. Equally significant is the recent addition of Tulsa’s newest riverfront park, Gathering Place. A $465-million park designed to be a vibrant and inclusive space for all Tulsans. With such a mission, coupled with a great product, Gathering Place was also named best new attraction in America. It’s an exciting time for Oklahoma as the entire nation looks to and acknowledges middle America. But the accolades don’t start or stop there. Tulsa, without a doubt, has an awesome collection of world-class attractions that I believe collectively forms a compelling regional destination. We have a world-class zoo and aquarium, not to mention one of the most prominent collections of museums

led by Gilcrease and Philbrook. Tulsa could arguable offer one of the most comprehensive museum tours outside of the big metros of Washington and New York. The pedigree of our museum collection is impressive and respected on a national level. I was absolutely astonished to learn that right here in North Tulsa, Gilcrease houses the world's largest, most comprehensive collection of art of the American West, as well as a growing collection of art and artifacts from Central and South America. Truly a story and experience we need to share with the rest of the country.

renovation is not the sole task of just one attraction, but rather the sum thereoff. We must promote our attractions and speak proudly of the uniqueness and diversity of our portfolio. There is something contagious whenever parks and attractions are geographically centralized and in sync. It attracts other hospitality entities and businesses, thus creating a dominant nucleus of compelling attractions.

With the opening of the Gathering Place, I believe Oklahomans are starting to see firsthand the social and economic impact a vibrant, inclusive and interactive space can have in unifying and influencing a city. But the assignment of this regional

Tony Moore, Park Director Gathering Place

At the end of the day, it enhances the quality of life for its residents contributing to the halo-effect and attractiveness of a city.

Catch up with Susan and Tony as they discuss the future of Gilcrease at gilcrease.org/vision.

Gilcrease Museum Magazine / Spring / 2019

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A University of Tulsa/City of Tulsa Partnership The University of Tulsa does not discriminate on the basis of personal status or group characteristics including but not limited to the classes protected under federal and state law in its programs, services, aids, or benefits. Inquiries regarding implementation of this policy may be addressed to the Office of Human Resources, 800 South Tucker Drive, Tulsa, Oklahoma 74104-9700, 918-631-2616. Requests for accommodation of disabilities may be addressed to the University’s 504 Coordinator, Dr. Tawny Rigsby, 918-631-2315. To ensure availability of an interpreter, five to seven days notice is needed; 48 hours is recommended for all other accommodations. TU#19063

S AV E T H E D AT E S Mark your calendar for the next three wine dinners in our 2019 Exhibition Dinner series. Stay tuned for Gilcrease email invitations for menu, pricing and event details. Please contact Rachel Johnson at 918-596-2780 or rachel-johnson@utulsa.edu with any questions. Don't wait! Order online by Dec. 10 to ensure delivery by Christmas.

• May 17 • August 16 • November 7

MAIN NUMBER ......................918-596-2700

MUSEUM STORE ....................918-596-2725

gilcrease.org

TOURS .....................................918-596-2782

MUSEUM RESTAURANT ........918-596-2720