Oklahoma Visual Arts Coalition

Momentum Emerging Curator: Candace Coker

noreply@blogger.com (Julia Kirt) — Thu, 26 Jan 2012 22:27:00 +0000

Momentum Emerging Curator Candace Coker
with OVAC Board Member Margo Shultes von Schlageter

Candace Coker has seen all sides of Momentum, from participating to artist and committee member to curatorial intern. Now serving as Emerging Curator alongside guest curator Alison Hearst, Coker said the experience “feels completely different” and is "exciting."

Coker and Hearst just completed their first visits to the Momentum Spotlight artists’ studios. Coker said she has enjoyed the challenge of talking with their artists about their work. She hopes to push them while ensuring the artists retain control of their projects. Next she and Hearst will select the artwork for the general survey exhibition from entries due by January 31.

Coker serves as Project Coordinator at City Arts Center in Oklahoma City where she assists with exhibitions, youth and adult studio classes, and more. She received her BFA from the University of Oklahoma. She was a member of the 2010 Leadership Arts Class of the Oklahoma Arts Council.

Working with the Oklahoma Visual Arts Coalition before, she interned for the inaugural Oklahoma Art Writing and Curatorial Fellowship and assisted Momentum OKC’s curators in 2010. She continues as an active volunteer for OVAC as well as Individual Artists of Oklahoma and Paseo Artists Association. Also a photographer, Coker has exhibited her work regionally.

Submissions for Momentum: Art Doesn’t Stand Still are due by January 31 at 5 pm. Oklahoma artists aged 30 and younger are eligible. The event opens March 9 and 10.

Guest Curator: Alison Hearst

noreply@blogger.com (Julia Kirt) — Wed, 18 Jan 2012 17:03:00 +0000

Luckily for us, Alison Hearst will be visiting Oklahoma artists quite a lot this year while serving as Guest Curator for both Momentum OKC and the Residencies for Concept/OK: Art in Oklahoma. Her background should help the community and artists she meets greatly. Now she’s working with the Momentum Spotlight artists on their projects that will debut in March. Her next tasks will be choosing finalists for the Residencies that she will visit in person (entries due January 20) and selecting the juried portion of Momentum OKC (entries due January 31).

Hearst is an art historian and writer living in Fort Worth, TX. She completed her MA in Art History from Texas Christian University and Bachelors in Art History from the University of North Texas. She has a long association with the Modern Art Museum of Fort Worth, serving first as an Assistant to the Director and now as an Assistant Curator.

Hearst co-founded an experimental art collaborative Subtext Projects. She and her curatorial partner create exhibitions, publications and film series designed to promote discussion about the issues and practices of contemporary art.

Also a prolific writer, she has published reviews in Art Critical, Art Lies, Glasstire, and …might be good. She is an editorial advisor and review contributor for a new publication, Pastelegram.

Hearst has interacted with Oklahoma’s art community before as part of the 2010 Oklahoma Art Writing and Curatorial Fellowship and contributing an essay about Liz Rodda for the Art 365 exhibition catalog.

Concept/OK: Frequently Asked Questions

noreply@blogger.com (Samantha Still) — Wed, 11 Jan 2012 21:12:00 +0000

Recently, we led two information sessions about the new exhibition, Concept/OK: Art in Oklahoma. At each session, we spent time fielding questions from the artists in attendance. Here are some of the most frequently asked questions.

General questions
Q: Is there a theme for Concept/OK?
A: No. The purpose of the exhibition is to highlight artists in Oklahoma. Both the Residency program and the Survey Exhibition are open to artists working in all media, and open to artwork engaged in any topic.

Q: Do I have to teach or do community workshops if I am in the exhibition?
A: No. Artists in the Residencies are asked to engage the public, which could include teaching. Artists in the Survey and Focus are not required to participate in public programs or teaching. Survey and Focus artists will be asked to suggest and lead educational programs during the exhibition to add to the outreach and audience, but are not required to do so.

Q: If I apply as an individual for either the Survey Exhibition or the Residency, can I also submit an application as part of a collaborative group?
A: No. You may apply as either an individual, or as part of a collaborative. Not both.

Q: If I don’t get accepted into the Residency program, can I apply for the Survey Exhibition?
A: Yes. You may not participate in both, but we encourage those who are not accepted into the Residency to then try for the Survey Exhibition. Residency applicants will be notified in late February 2012. Survey applications are due August 1, 2012 at 5pm.

Q: If I am not accepted into the Residency program, can I apply to the Survey Exhibition using the same proposed project?
A: Yes. But consider that the project will likely need to be on a smaller scale for the Survey Exhibition.

Q: When will the Hardesty Arts Center be completed?
A: The Arts and Humanities Council of Tulsa has commitment from the construction company that the building will be completed by December 2012. Concept/OK will be the Hardesty Arts Center’s inaugural exhibition.

Survey/Focus Exhibition
Q: Is everyone that enters the Survey Exhibition automatically entered to be considered for the Focus exhibition?
A: Yes. The curator will choose up to 5 artists from the Survey exhibition entries for the Focus exhibition. The curator will visit finalist artists personally to select the featured artists. Those chosen for the Focus exhibition will exhibit a small body of work, receive $1,500 honoraria, extra attention in the catalogue and featured publicity.

Q: Is it really possible that only 25-50 pieces will be chosen for the Survey?
A: Yes, we can’t say exactly how many artworks will be in the Survey. The curator will have to look at the type of work submitted before determining what to select. We only offer the 25-50 range as an average of past survey-type exhibitions the Oklahoma Visual Arts Coalition has coordinated.

Q: If I am chosen for the Focus Exhibition, how will my work get to Kansas City?
A: You will be responsible for getting your own work to Kansas City. Travel Stipends will be available.

Residency
Q: If I am accepted into the Residency program, when will I receive the money?
A: We will issue at least 2/3^rdsof the honorarium within a few weeks of the notification. The remaining funds will be issued once the show opens.

Hardesty Art Center - Ground Floor showing Main Gallery and Community Studio spaces

Hardesty Art Center - 2nd Floor showing Loft Gallery

Q: What facilities will be available to me in the studio while in residence? Are there any restrictions to the use of the space?
A: The community studios are made to be durable, with concrete floors and movable walls, to accommodate any type of project you may think of. You should specify what space you would need as you could request a small area up to more than 1,000 square feet. The exterior walls are glass and open to the street. Your project could connect to exterior spaces there. The studio space is not set up as a proper living space, but if your project called for it, you could spend all day and night there, put yourself on display for the public, etc.

Most of the Hardesty Arts Center’s other facilities, including printmaking, dark room, computer and other equipment, prep areas, and classroom space, will be available to you as an artist in residence. If you need firing facilities, neighboring groups in the Brady Arts District may partner with us, such as Mel Cornshucker’s ceramics studio and Tulsa Glassblowing Studio.

If you have specific questions, i. e. wall coverings or technical needs, please let us know so we can inquire with the Hardesty’s architects. Right now the only restrictions are that the studios must be returned to the state they were in when the residency starts, i.e. repainted if altered, cleaned up, etc.

Q: When would the artist be in residence?
A: Part of your proposal will include your timeline for the residency. The community studios will be available two weeks in advance of the opening and throughout the run of the exhibition. We would expect the artist to make a commitment to be on site and accessible to the public as possible, but there are no set required hours.

Q: What Residency work has to be completed when the show opens?
A: You may propose any number of ways of working and showing. Works in progress are welcome. Some completed work and some work still in progress would be fine. The studios allow for exhibiting work, which could be added as completed or start with some work when the exhibition opens.

Art on Location: Liz Roth

noreply@blogger.com (Julia Kirt) — Fri, 06 Jan 2012 14:25:00 +0000

by Katlyn Roberts, OVAC Intern

Stillwater artist Liz Roth has two interesting projects that she is pursuing in the coming months. Roth requires a travel easel to help her accomplish her ideas and has received an Oklahoma Visual Arts Coalition Professional Basics Grant in order to help her with her upcoming projects.

The first concept is titled Red Dirt Justice, where Roth has been cleared to create oil paintings in Oklahoma prisons. Her aim is to reveal the realities of the war on drugs and the large number of incarcerated women in Oklahoma.

The second project Roth is planning is called Overload, for which she will be painting in national parks across the nation. She wants to paint on site, rather than merely snapping a photograph to paint later. She was the Grand Canyon National Park Artist-in-Residence last summer.

The Oklahoma Visual Arts Coalition invests in artists’ project through grants for growing careers, creative projects and exceptional continuing education. The next application deadline is January 15. Find guidelines and application here.

Collaging History: Debbie Musick

noreply@blogger.com (Julia Kirt) — Wed, 04 Jan 2012 15:17:00 +0000

by Katlyn Roberts, OVAC Intern

Debbie Musick, Women of the West Book Cover, Mixed Media

A self-taught artist, Debbie Musick of Yukon has created a style of work that in her words is meant to “explore the layers of everyday life in the American West, past and present, in a tapestry of disparate threads, laughter shared, and stories remembered.” She adds meaningful images, artifacts, and hand rendered text onto textiles to create interesting, textural, mixed media works of art.

Debbie Musick, Women of the West Book Cover

[Detail: My grandmother's antique watch, once a carnival prize,

on a layer of bed ticking, canvas and frayed edges of vintage fabric]

Musick received an Oklahoma Visual Arts Coalition Education Grant to travel to the North Texas Collage Conference to attend workshops by K. C. Willis, who has been her long-time role model. This workshop will include lectures, hand-on techniques, and business information about fiber arts and collage.

Artist Residencies: Ideas & Examples

noreply@blogger.com (Julia Kirt) — Mon, 02 Jan 2012 16:02:00 +0000

Oklahoma Visual Arts Coalition’s new exhibition Concept/OK:Art in Oklahoma offers Oklahoma artists the chance to participate in a residency program. Two artists will be chosen for residencies that come with short term studio space, cash awards of $2,500 each, curatorial guidance and focused attention in the exhibition catalog. Proposals are due by January 20, 2012.

Stillwater artist Liz Roth at her residency in Kamiyama, Japan,
where local residents became subjects and participants in her work.

What do we mean by residencies?

Artist residencies mean different things in different communities and contexts, from referring to roles as dissimilar as teaching artists working in hosting institutions like schools, to spending time making new artwork in a remote studio.

For Concept/OK: Art in Oklahoma, residency artists must connect with the public in new and possibly multiple ways instead of solely making work for the exhibition. Residency artists will be part of the larger exhibition and engage the public beyond the exhibition.

Organizers for Concept/OK encourage the chosen artists to interpret “public interaction” as they see fit, allowing for multiple interpretations and dynamic projects. The Oklahoma Visual Arts Coalition and Hardesty Arts Center value new audiences learning about and connecting with living artists. Projects could take place mainly in the community or be anchored in the gallery.

For Concept/OK, the residency artists will be expected to create artwork for public viewing in one of the 1,000 square foot community studio spaces. Artwork could be created in advance, allowing for public access or input during the creation process, or in the Hardesty Arts Center before or during the run of the exhibition.

Residency proposals could include all kinds of interaction or public programs. Artist will not be expected to be onsite for the entire exhibition, but should propose possible times or duration for working in the studio. In developing their idea, artists should consider who their audience is and what their experience will be. The following are some examples of relevant residency programs. These projects and places are meant as inspiration, not specific models for artists to emulate.

Stillwater artist Anita Fields ceramic installation from
residency at the Eiteljorg Museum in Indianapolis.

Artists could create a project at the gallery using audience members’ help. Stillwater artist Anita Fields took part in a residency at the Eiteljorg Museum in Indianapolis. Fields asked visitors to make small ceramic pieces that she incorporated into a larger sculpture. She worked on a daily basis with student groups as well as general visitors, inviting them to participate to create the installation in the gallery.

Artists could propose giving insight into their process through educational or other public programs. For instance, Walton Creel created drawings in a residency at the Coleman Center for the Arts in York, Alabama. He generates his drawings by firing bullets through aluminum. During his residency, he visited area residents, offered a demonstration, gave audience members a memento and staged a community paintball event to make collaborative artwork.

Proposed projects could take place primarily in the community and have components. For instance, artist Ashley Hunt’s (long) residency at Project Row House in Houston, TX incorporated video, photography, mapping and writing to map the neighborhood around the gallery. He recruited collaborators, staged public conversations, gathered community stories and created a project-specific website to share the project www.communograph.com.

Example residency programs with public exhibition components:

Salina Arts Center, Salina, KS

http://www.salinaartcenter.org/artists/residency/

San Antonio, TX

http://artpace.org/exhibitions/about-2

Project Row Houses, Houston, TX

http://projectrowhouses.org/

Coleman Center for the Arts, York, Alabama

http://www.colemanarts.org/2005/artists.php

Spaces, Cleveland OH

http://www.spacesgallery.org/projects

Learn more about the background of Concept/OK: Art in Oklahoma, the hosting venue Hardesty Arts Center, the call for artists here. Free info sessions for artists will take place Wednesday, January 4 at 7 pm in Tulsa and Saturday, January 7 at 2 pm in OKC. RSVP to the Oklahoma Visual Arts Coalition if you’d like to attend.

Top 10: 2011’s Most Popular Blog Posts

noreply@blogger.com (Julia Kirt) — Thu, 29 Dec 2011 20:03:00 +0000

Highlighting artist proposals, Oklahoma artist interviews, reading suggestions, and more, here’s our top 10 most read blog posts over the past year. We hope you’ll find our archive inspiring with the artist profiles and useful for business of art tips.

The post showing Sarah Atlee’s actual proposal from the Art 365 exhibition in 2008 remains the most popular post (by far) as it’s a favorite of Google searches.

1. Artistic Proposal Sample: Sarah Atlee, Art 365 exhibition

2. Artist Statements: Grant Recipient Samples

3. Entering Art: Tips

4. We Need Public Art in Oklahoma!

5. Philosopher's Recommended Reading List on Contemporary Art

6. Tulsa Art Studio Tour Artist: George Kountoupis

7. Smoke & Mirrors: An International Juried Exhibition at OU's Lightwell Gallery

8. Holiday Open Studios and Art Markets

9. Open Letter to the Young Artists of Oklahoma

10. Exhibition Glimpse: Woodmansee & Twilley at Velvet Monkey

You can keep up through regular updates by subscribing to our blog via email here.

Concept/OK: Artist Info Session

noreply@blogger.com (Julia Kirt) — Thu, 22 Dec 2011 16:37:00 +0000

The Oklahoma Visual Arts Coalition prepared this short video for artists to explain the Concept/OK: Art in Oklahoma exhibition.

Free in person info sessions will take place Wednesday, January 4 at 7 pm in Tulsa and Saturday, January 7 at 2 pm in OKC. RSVP to the Oklahoma Visual Arts Coalition if you’d like to attend.

We welcome your questions about entering, eligibility or other questions about the exhibition, for an upcoming Frequently Asked Questions post. Feel free to leave questions as comments, email us, or call 405-879-2400.

Exploring Oklahoma Landscape: Margaret Aycock

noreply@blogger.com (Julia Kirt) — Mon, 19 Dec 2011 15:03:00 +0000

Margaret Aycock, Square Sky, Oil on Canvas

Tulsa artist Margaret Aycock will display her artwork at the Oklahoma State Capitol Galleries next summer. She will begin a new collection to highlight what she sees as the beautiful landscapes of Oklahoma.

With plans to travel to different areas of the state, Aycock received an Oklahoma Visual Arts Coalition Creative Project Grant to help her with travel expenses and physically preparing her work for presentation.

Margaret Aycock, Oklahoma Vinyard, Oil on Canvas

Aycock grew up in the Catskills and Adirondack Mountains of New York and said, “It took me years to appreciate Oklahoma’s beauty but now I find my ocean in the tall grass prairie and my green mountains have been replaced by the pink, rocky boulders of Quartz and Wichita Mountains.”

Square Sky ( from the Tall Grass Prairie, shape is square )

Oklahoma Vineyard

Sculptures on Steroids: Stuart Asprey

noreply@blogger.com (Julia Kirt) — Fri, 16 Dec 2011 14:12:00 +0000

by Katlyn Roberts, OVAC Intern

Stuart Asprey, The Chemist (Jose Canseco, 3”x3”x1.25”, 2011

With two art shows coming up at the beginning of 2012, Norman artist Stuart Asprey has received an Oklahoma Visual Arts Coalition Professional Basics Grant to present a new series. His work will be featured in Art Now at City Arts Center in January and a solo exhibition at Redlands Community College in April.

Stuart Asprey, The Chemist (Jose Canseco)[back], 3”x3”x1.25”, 2011

Asprey describes his work as being part of a narrative that plays off of legends of popular culture. This collection is based on the “Steroid Era” of professional baseball that took place in the 1990’s and early 2000’s. Asprey aims to stress the point that, at that time, performance enhancers, “trumped hard work and natural talent.” He said the deflated baseballs are juxtaposed with “inflated statistics” of steroid enhanced baseball players.

His grant will pay for baseball display cases for the sculptures.

Artist Survival Kit Wrap Up: The Artist and Curator in the Studio

noreply@blogger.com (Kelsey Karper) — Tue, 13 Dec 2011 15:46:00 +0000

by Sarah Hearn, ASK Workshop Liaison

Saturday, November 19 marked the second OVAC Artist SurvivalKit Workshop of the season. The topic of discussion was The Artist & Curator in the Studio: Professional Development for the Emerging Artist. Presenter and independent curator Shannon Fitzgerald demystified the symbiotic and sometimes long-term relationships that flourish between artists and curators. Individual Artists of Oklahoma gallery was the host venue for the workshop and the talk was well attended.

Fitzgerald opened with a brief slide lecture exploring the history of artists in their studios. This fun, voyeuristic trip through time peered into the disparate creative spaces of artists such as Rembrandt, Francis Bacon and Polly Apfelbaum. Fitzgerald also addressed the importance of artists maintaining an active studio practice. She provided frank, but sincere advice about hosting or participating in studio visits.

Although Fitzgerald’s workshop was informative and relevant to any artist working in the studio, it brought to my attention a major need for more curator/artist interaction. Currently there just aren’t enough local opportunities for artists to work directly with curators; therefore, many are unsure of what this experience entails. It is true that Oklahoma has the occasional contemporary curator or critic visiting specific arts institutions and universities, but it is rare that these people visit local artists studios or stay in state for any length of time. It is also true that there are a handful of curators at local arts institutions, but very few of them deal directly with contemporary artists on a regular basis. Those that do, are often so overwhelmed with their respective institutional responsibilities that these interactions can be infrequent or rushed.

I believe the artists of Oklahoma should respectfully cultivate change! How do we do this? Well, I propose we start by visiting each other’s studios. In fact, since November 19, I have hosted one studio visit and participated in two others. Each experience has been uniquely enriching; I intend to make these visits more frequently among my peers. If we want to be better artists, we need to discuss the content and outcome of our work, obtain and offer honest, critical feedback, and collectively celebrate the triumphs of local artistic success. Furthermore, there is no law against artists acting as curators themselves. Local artists should curate and organize more exhibitions among their peers. This experience can lead to not only a better understanding of the important role curators can play in artists careers, but lead to better visibility for emerging artists and curators alike. Advocacy should also factor into this cultivation. Once we raise our visibility collectively, we should request that institutions consider offering their guest curators, critics and lectures the opportunity to visit local studios. What do you think? Any takers?

The Painting Zone: 24 Works Artist Chad Mount

noreply@blogger.com (Julia Kirt) — Fri, 09 Dec 2011 14:49:00 +0000

Interview by Katlyn Roberts, OVAC Intern

Chad Mount, Wish You Were, Acrylic, graphite, colored pencil on paper, 22” x 28”

Chad Mount, Oklahoma City

Is this painting part of a series? If so could you discuss the series and how the pieces relate.

This painting is part of a series of 3 works on paper. The pieces were created at the same time each painting was approached with different yet overlapping color pallet. At the time of creation I was working through some personal relationship experiences and letting those emotions guide the direction of each painting. In this series there is also an underlying current inspired by my experiences diving among the coral reefs of the Caribbean.

I much prefer the viewer to draw their own conclusions when viewing my art, but I will say the piece "Wish you were" selected for 24 Works there is an intimate dance happening.

How did you develop the vision of your art work?

Hmmm… good question. I often use my art as a tool to help me process my experiences in life. When I go to the studio to paint it usually takes me a little time to get warmed up and then I just enter somewhat of a meditative zone and can paint for hours. I also see my painting studio as a laboratory where I'm constantly experimenting with different mediums. Often combining materials to see what sort of chemical reactions take place. Just the thing they train you not to do in art school. It works for me.

This interview features an artist from the 24 Works on Paper exhibition, which is on display at Rose State College in Midwest City through December 14. A collaborative exhibition from the Individual Artists of Oklahoma and the Oklahoma Visual Arts Coalition, this exhibition tours until September 2012. See more in the catalog and at www.24works.org.

OVAC Fellowship: Paul Bagley

noreply@blogger.com (Kelsey Karper) — Thu, 08 Dec 2011 15:00:00 +0000

Paul Bagley, Samhain: Into Her Dreaming, 2007, Reclaimed wood, metal, rope, piano wire, linen, LED lights, 12volt deep cycle battery, audio components, bronze, 60’ x 8’ x 15’

The Oklahoma Visual ArtsFellowships recognize Oklahoma artists with outstanding vision, rewarding them for their past achievement and future promise. A guest curator selects the awards through an open call process. The curator for the 2011 Fellowship is Ben Heywood, Executive Director of The Soap Factory, Minneapolis, MN.

Through his three-dimensional, multimedia work, Bagley encourages communal, creative or functional interactivity. He often generates artwork in response to the location where he works. The origin of materials provides the conceptual framework for every piece, such as wood recycled from demolished buildings or adaptive reuse of outdated technology.

“In studying sustainable design over the years, I’ve developed sensitivity to the layers of applied design integrated into our modern culture and how art appreciation functions within this realm,” said Bagley. He said this examination of our rapidly changing world “drives my creativity, addressing embodied energy, processing methods, material up-cycling, and those relationships relative to their history and environmental impact.”

Bagley received a BFA in Visual Communications from the University of Oklahoma.

Read more about the Fellowship winners in Art Focus Oklahoma magazine.

Visit Paul Bagley's website at: www.paulbagley.com

OVAC Fellowship: Eyakem Gulilat

noreply@blogger.com (Kelsey Karper) — Wed, 07 Dec 2011 16:08:00 +0000

Eyakem Gulilat, Sophie and Eyakem Gulilat, Archival Ink Jet Print, 24” x 50”

Gulilat’s photographs address how identity forms in the junctures of cross-cultural encounter. He focuses on communities that are underrepresented and his own memories of new cultures and physical landscapes.

“I treat my camera as a tool that captures one moment of a larger dialogue that occurs between me and my subjects,” said Gulilat. “Photographing the space in-between, along with both my perspective and my subject’s perspective, results in a collapse between boundaries.”

Gulilat received an MFA in Media Art/Photography from the University of Oklahoma and a BAS in Photojournalism and Art from Abilene Christian University.

Read more about the Fellowship winners in Art Focus Oklahoma magazine.

Visit Eyakem Gulilat's website at: www.eyakem.com

Shape & Design: Kim Rice

noreply@blogger.com (Julia Kirt) — Mon, 05 Dec 2011 14:49:00 +0000

by Katlyn Roberts, OVAC Intern

Kim Rice, Trip, Mixed Media Print

With an Individual Artists of Oklahoma exhibition just opened, Normal artist Kim Rice received an Oklahoma Visual Arts Coalition Professional Basics Grant to help her prepare her work for display.

After her first daughter was born just over a year ago, Rice changed the focus of her artwork from headlines and global issues to more intimate relationships of day to day happenings. Her current work is inspired by the shape and design of the mandala.

Kim Rice, Travel, Mixed Media Print

Describing her work, Rice said, “The repetition of photographs gives a feeling of organization in chaos creating sacred space in everyday life.” The title of her show is Revolve, and will be on display until December 16th.

Connecting Artists, the Public and Learning: Hardesty Arts Center

noreply@blogger.com (Julia Kirt) — Fri, 02 Dec 2011 14:14:00 +0000

Architects' rendering of the Hardesty Arts Center, opening December 2012

We recently announced a new 2012 exhibition featuring Oklahoma artists, Concept/OK: Art in Oklahoma. Last week we highlighted the planning that led to the exhibition format. This time, I want to profile our gallery partner, the new Arts & Humanities Council of Tulsa Hardesty Arts Center, also known as AHHA. We are pleased to work with AHHA because of their innovative educational programs, emphasis on connecting living artists with audiences and wonderful new galleries.

Slated to open in December 2012, AHHA will be a 42,656 square foot arts center in the Brady Arts District of Tulsa. The center will house galleries; classrooms for many studio disciplines; a media lab; a photography suite; a reference library; and indoor and outdoor event spaces. Reflecting its artist-centered focus, the building will be topped with studios accessible 24 hours a day.

AHHA Director Kathy McRuiz said, “AHHA will be a hub of activity with a street presence and a welcoming feel. OVAC’s track record of excellent exhibitions assures that we will have a first-class grand opening where Concept/OK will be seen by thousands of visitors from across the state and region. We are especially excited about the Residencies, which represent the audience participatory nature of future AHHA programs."

Planned over many years, the Arts & Humanities Council of Tulsa’s AHHA will house and improve the Council’s already established arts education programs.

When AHHA opens, youth will take classes and mentor with professional artists to develop their interest in the arts and become part of the creative culture. The Community and Learning Studios, where the Residencies will take place, will be incubators where visiting artists will get to know the participants and help create collective artistic statements or collaborative works. The center will offer much-needed space for artists and arts organizations to make and display their art, while making the arts accessible to all.

Read more about the project in this article or on the website ahhatulsa.com. Learn more about the Concept/OK: Art in Oklahoma exhibition, see www.Concept-OK.org.

Exhibition Review: Michael Eastman at OKCMOA

noreply@blogger.com (Kelsey Karper) — Wed, 30 Nov 2011 15:00:00 +0000

By Frances Hymes, OVAC Intern

A visitor is not always familiar with the museum they are touring or what work to anticipate from a newly introduced artist. The viewer must examine the work from the limited perspective of the image and title alone, without the knowledge of an artist’s intention. It’s evident touring the Oklahoma City Museum of Art that Michael Eastman’s Faded Elegance photos are better viewed in person. Their large format gives the images a grand presence and creates the illusion of being these spaces of Havana, Cuba. The two pieces, Isabella’s Two Chairs 2000 and #167, Havana share the common element of hanging clothes in their composition. There is a strong visceral effect standing in front of the decade-apart images.

Eastman’s #167, Havana photo of the exterior of a building is refreshing. The hanging linen look newly cleaned and blowing in the breeze. The composition is organic in the sunshine felt through the vibrant tone of the scene and sway of the clothes in the air. It draws the viewer into Havana as if the scene were caught in a glance during an actual stroll through Cuba. The photo is set off by the cool green contrasting with the natural light entering its outside space, not at all like the brown-beige interior of Isabella’s Two Chairs 2000.

Isabella’s is set in an open room where clothes hang symmetrically between a grand chandelier and the chairs below. The centered colored clothes are a shot of life in the aged greenish interior. Their stationary position in the room adheres with the stillness of the room. The clothesline they hang on runs out of the room leaving the viewer wanting to further explore the rooms it enters.

Eastman’s show is a step into Cuba for someone untraveled. His work takes the viewer on a personal trip to the interiors, neighborhoods and architectures of Havana. All are best appreciated in the large formats of their composition. His twenty nine pieces are at the Oklahoma City Museum of Art through December 31, 2011. Visit www.okcmoa.com for more information.

Layers: 24 Works Artist Michelle Junkin

noreply@blogger.com (Julia Kirt) — Mon, 28 Nov 2011 14:45:00 +0000

Interview by Katlyn Roberts, OVAC Intern

Michelle Phillip Junkin, Oklahoma Treasure:
A little bit modern & a little bit vintage, Mixed Media, 22” x 22”

MichellePhillip Junkin, Edmond

What made you begin using the paint layering technique exhibited in the piece?

I read the book, “Rethinking Acrylics” by Patti Brady and was intrigued by the variety of effects that one could achieve with gel mediums and pastes. Soon after, I purchased a sample kit of Golden Mediums and Pastes. I spent days playing in the studio. I started making a batch of modern abstract Oklahoma landscapes. At some point along the way, I started adding words cut out from magazines. The process slowly developed from there.

Do you plan out the colors and concept of the layering before you begin or does the process evolve naturally? Please explain.

I always know my palette going into the creation of a piece. I do not necessarily know the color that will be used to age / patina a section as the layers develop on the piece. I have found that the properties of liquid fluid acrylics are great for staining and often I apply glazes to give a “weathered” feel to the piece. This piece in 24 works is from the very early stages of the series.

In many ways, I was still adjusting to the learning curve of using the acrylic additives. Thus, the layering of acrylic paint and various mediums over the collage magazine scraps are an intentional decision within the design and layout of the piece. But, equally important, I try to keep an open mind as the medium layers interplay and build up amid the painted hues on the paper. Both then and now, I strive to let the piece have some freedom in finding its own direction while also staying on course with my own artistic compass intended for the artwork.

The question is tricky because I find that I have to answer ‘yes’ to both. Yes, I know the general design, feel, layout, color combinations, and inspiration going into a piece. At the same time parts of the process evolves naturally because the layers within this piece are built around the unique traits of the gel mediums / pastes (such as absorbency or water repelling properties) and how they react to each other with the paint on paper.

Ideas Behind the Concept/OK exhibition

noreply@blogger.com (Julia Kirt) — Wed, 23 Nov 2011 16:28:00 +0000

Last week we announced a new 2012 exhibition featuring Oklahoma artists, Concept/OK: Art in Oklahoma. The exhibition is an open call survey of Oklahoma artists’ work along with extra components to encourage audience involvement and more attention for artists.

I want to give you some background on how we planned the exhibition. Since we are always striving to serve more artists and serve them better, we constantly assess how our programs impact Oklahoma artists. This is only one of the many ways that the Oklahoma Visual Arts Coalition (OVAC) is trying to create opportunities for artists.

OVAC director Julia Kirt, curator Louise Siddons, 24 Works award
winning artists Romy Owens, Monika Linehan, & May Yang

After several years of assessment and strategic planning, the Exhibition Committee decided to create a new exhibition opportunity. Many artists and educators served on the Exhibition Committee during the development of the Art 365 and Concept/OK exhibitions. Members involved at various points in the planning included: Tomas Batista, Elizabeth Brown, Stan Carroll, Jean Ann Fausser, Anita Fields, Sarah Hearn, Skip Hill, Jonathan Hils, Pam Husky, EK Jeong, Jackie Knapp, Kathy McRuiz, Shawn Meyers, Audrey Schmitz, John Seward, Carl Shortt, Suzanne Thomas, Jeri Wensel, and Elia Woods. After several years of evaluation and planning, the committee introduced the new survey exhibition structure to the OVAC Board for approval in early 2010.

First, we assessed juried and curated exhibitions already taking place in Oklahoma, trying to make sure the OVAC exhibition does not duplicate other opportunities. We decided that we should focus on what could make the exhibition exceptional for the participating artists as well as the exhibition visitors.

24 Works exhibition audience

The committee emphasized increasing cash awards, growing the audiences, improving education for the community, and working with a partner gallery on a consistent basis. We agreed we should highlight all artistic media and connect the artists more closely with curators. We retained the basic expectations that the exhibition feature living Oklahoma visual artists, be open call to allow anyone eligible to apply, involve national curators and not censor artwork.

A completely new component, the curator will pick up to 5 artists from the Survey entries to be Focus artists. The Focus artists will show a small body of work in tandem with Kansas City artists. The Oklahoma artists will then exhibit in Kansas City. The committee conceived of the Focus as a way to offer special awards to artists and more interaction with the curator and regional art community.

Happy artists at the Art 365 exhibition opening

Another new element for Oklahoma exhibitions, two artists will be chosen for Residencies. Chosen from proposals, these artists will have longer to develop their work, which must engage the public. In planning, we decided Residencies would connect artists to the public more intimately. We hope audiences will learn more about the artists’ ideas and process for creation. Also, the Residencies link to the Hardesty Arts Center’s future programming.

Since OVAC does not have a gallery space, we instead work with museums and art centers that have compatible missions to present the exhibitions. The new Hardesty Arts Center is a perfect partner for Concept/OK because of its innovative educational programs, emphasis on connecting living artists with audiences and wonderful new galleries. Watch for more about the Center in a future blog post or read about it on the Arts and Humanities Council of Tulsa website.

We are thrilled for the launch of Concept/OK: Art in Oklahoma and hope the exhibition serves the artists and public well. You can read history of the Oklahoma Visual Arts Coalition’s exhibition programs here. Exhibitions OVAC now coordinates include Concept/OK every two years, Art 365 triennially, Momentum OKC and Tulsa annually, and, with Individual Artists of Oklahoma, 24 Works on Paper every two years.

Visit www.Concept-OK.org for more details about the exhibition and call for entries.

Collecting Objects Drives 24 Works Artist Betty Wood

noreply@blogger.com (Julia Kirt) — Mon, 21 Nov 2011 14:25:00 +0000

Interview by Katlyn Roberts, OVAC Intern

Betty Wood, Norman

Betty Wood, Quilt Fence, Etching, 22” x 28”

What was the technical process of creating this piece?

This was an etching done a zinc plate. The image was created by etching the plate with nitric acid. This involved several steps, blocking out part of the image with asphaltum and continuing to etch those areas I wanted to be darker. I also used mineral spirits, etc. The fence portion of the piece was done by using a mylar overlay made from a Xerox print, along with wild grasses. This image was etched on top of the background. The plate was inked with oil-based etching inks in three colors and printed on dampened printmaking paper, and run thru a printing press.

Could you further discuss how this piece “Comments on the relationship between nature and humanity?”

The urge to collect objects is my powerful, inborn passion. My love in experiencing the elements of grasses and other natural elements, makes me become part of the natural world. The viewer's attention is directed to the fragility of nature, its beauty, and preservation. The casual observer can find beauty in the most commonplace pieces of nature as the natural world is experienced. The relationship between nature and humanity are solidified as the environment is contemplated.

This interview features an artist from the 24 Works on Paper exhibition, which is on display at Rose State College in Midwest City. A collaborative exhibition from the Individual Artists of Oklahoma and the Oklahoma Visual Arts Coalition, this exhibition tours until September 2012. See more in the catalog and at www.24works.org.

Speeding Glance: 24 Works Artist Jean Longo

noreply@blogger.com (Julia Kirt) — Tue, 15 Nov 2011 18:43:00 +0000

Interview by Katlyn Roberts, OVAC Intern

Jean Longo, Oklahoma City

Jean Longo, Winter Morning Fog, Pigment print on Rives BFK 8” x 8”

How did you discover printing photos on watercolor paper?

I am primarily a painter, and I take photographs to use later as ideas or inspiration for paintings. While working in OSU’s Art Department, I provided the printing for a workshop with Barbara Robertson, an artist from Seattle. She requested Rives BFK as the paper for her workshop. It was during my interactions with her that I began to think about printing my photographs on watercolor paper. I felt it would help create the right mood for the images. Since I like building texture in my paintings, I had been trying to find a way to transfer that to my photographs, and I realized the texture of watercolor paper does create a greater complexity in the photographic images.

What interests you about the abstractions and textures of nature and have you always searched for that aspect of landscapes?

The affinity I have toward nature fuels my creative drive. I am always intrigued by the surface of natural objects and the diversity of these surfaces. Yet, I am not one to paint exactly what I see; rather, I paint objects from a distance and add texture to the surface of the painting. I have been approaching my landscape painting not with the idea that I am re-creating a landscape, but with the aim to express its essence. The multi-layered paintings capture some fragment of the landscape, and the colors and texture aim to add a sense of energy.

My goal with the photographs for this series (Speeding Glance) was to remove the details, yet have them recognizable as landscapes. I wanted to capture the essence of the landscape at a quick moment in time: that second when you see and recognize something without noticing the details. Sometimes a spot of color or an odd shape draws my attention to a particular place. With the Speeding Glance series, I would see a place that interested me, and I would come back to photograph it during the start or the end of a day when there was less light, therefore allowing the landscape to appear more abstract. To enhance this sense of abstraction I captured the images while driving, in an effort to make the foregrounds appear fluid.

Exhibit Review: Michi Susan at JRB Art at the Elms

noreply@blogger.com (Kelsey Karper) — Mon, 14 Nov 2011 15:15:00 +0000

by Frances Hymes, OVAC intern

Windsong 407-10 by Michi Susan. Image courtesy of JRB Art at The Elms.

Michi Susan’s exhibit was laid out during the month of October in the home-turned-gallery JRB Art at the Elms. The familiar setting of a home is comfortable to enter and browse the all-accessible rooms. In the entrance room two wooden and metal figures stood at the heart of Susan’s show. The two figures placed in the room were submitted without titles and later named Dynasty Figures: Male and Female after their feminine and masculine shapes. The two look like an aged couple visiting Susan’s show rather than a part of her work.

On the three walls surrounding the weathered sculptures were hangings of Susan’s paintings and mixed media work. A small section dedicated to Susan’s Poem pieces were sparsely placed and numbered allowing the viewer to appreciate them individually. The Poem worksare not pieces of text, instead arrangements of color, symbols, and materials. Their earthy compositions enable a visitor to make poetry of their own. The pieces work as a muse to inspire the viewer with the internal words that come when engaging with them.

Like the Poem pieces the Windsong works are numbered. Viewed from the side I see how wind can movie through Windsong 407-10, and can imagine how it affects the look of the piece as it does.

Susan’s pieces give the unique opportunity for visitors to interact with their theme rather than only appreciating the work put into them. Her dedication to art is felt through the room and carries into her many paintings and pieces of Windsong and Poem. Susan’s work is represented throughout the year at JRB Art at the Elms and can be viewed on the gallery website at www.jrbartgallery.com.

Curator’s Perspective: Professional Development for Artists

noreply@blogger.com (Julia Kirt) — Wed, 09 Nov 2011 14:30:00 +0000

Curator Shannon Fitzgerald discusses Art 365 artwork
placement with Liz Rodda & Frank Wick.

Independent curator Shannon Fitzgerald has worked with artists from students preparing for their first exhibition to internationally-known artists enjoying their museum retrospective.

Since Fitzgerald leads an Artist Survival Kit workshop on November 19, I wanted to revisit some past interviews with her about working with artists, studio practice and more. She will share her experience as a contemporary curator, giving artists an understanding of professional development and mindful career steps.

Read an interview Fitzgerald about working with local artists, studio visits and her selection process for the Art 365 exhibition in this Art Focus Oklahoma issue.

See this blog post with her ideas about curators visiting artists’ studios.

The workshop, “The Artist & the Curator in the Studio: Professional Development for the Emerging Artist” will be held Saturday, November 19, 1-4 pm at Individual Artists of Oklahoma Gallery, in Oklahoma City. See more information or register here: www.artistsurvivalkit.org

Oklahomans Abroad: Local Scholarship and Art Making in an International Context

noreply@blogger.com (Samantha Still) — Mon, 07 Nov 2011 17:00:00 +0000

Southern Cheyenne Mocassins.
Cowhide, rawhide, sinew, glass beads. Early 20th century

Welcome to new contributor Samantha Still, the Oklahoma Visual Arts Coalition's Volunteer & Office Coordinator.

Last May I completed my Master’s degree in Art History, with an emphasis in contemporary Native American art from the University of Oklahoma. Recently, I delivered a paper at the Native American Art Studies Association (NAASA) conference in Ottawa, ON Canada. At the conference I expected to meet other art historians from across North America. But what I didn’t expect was to meet an OU student with similar interests as my own, whose path I had never before crossed. John Lukavic is a Ph.D. candidate in the Department of Anthropology, who is particularly interested in the Cheyenne of Western Oklahoma. I learned that Lukavic is very much interested in applying art theory to his anthropological practice. How is Lukavic’s research relevant to OVAC? Well, Lukavic studies a group of art makers in Oklahoma, and is interested in developing a culturally specific art theory to the objects made by these fellow Oklahomans. So, OVAC blog readers, without further ado, meet John Lukavic:

SS: Why did you decide to study the Cheyenne of Oklahoma?

JL: Initially my research did not focus on the Cheyenne, but rather on the Indian art market in Oklahoma. I planned to study how non-Native consumer notions of tradition and authenticity differed from that of Native artists and Native consumers; however, as I focused my study, I limited my field site to western Oklahoma along the I-40 corridor and on the traditional arts for sale at tourist shops. I spent nearly a year collecting data on this topic, but once I began working with Cheyenne moccasin makers, my plans changed. The information I gathered opened my eyes to a complex system of cultural values in which Cheyenne moccasins circulate.

SS: In your NAASA paper you called for the development of a culturally specific art theory. Explain what you mean by this.

JL: I began my paper by explaining a deep connection between Cheyenne 'traditional' arts and orthodox Cheyenne beliefs. I argued that "in order to view it appropriately, one must understand the role of religious orthodoxy in Cheyenne arts," and that "any art theory that wants to claim authority in addressing Cheyenne arts must...be guided by the views found in the communities from which they originate." One cannot view art without a lens of interpretation, and to use a lens that dismisses the culture from which the art originates misses an opportunity to engage deeper meanings and is frankly disrespectful to those who possess an ideological system outside of Western Enlightenment. The idea that all art should be viewed from a single lens is a product of colonialism. Western Enlightenment, as I argue in my paper, "is insufficient for the study of Native arts," and that "Native art theory must grow organically from Native communities and be guided by the role art has within each of these communities."

Will you be my friend? Social networking for artists

noreply@blogger.com (Kelsey Karper) — Fri, 04 Nov 2011 14:00:00 +0000

For the 2011 Oklahoma Arts Conference, OVAC partnered with the Oklahoma Arts Council to present the Artist Track – designed specifically for artists to learn more about marketing their work. Our guest speaker Alyson Stanfield of Art Biz Coach led sessions focusing on marketing through social media.

Alyson Stanfield
Photo by Kimberly Lennox

As Alyson stated, social media is not to be used as a megaphone, blasting information to your readers. Instead, it is a tool for spreading your message but first you need a message to spread and you must cultivate relationships with people who want to listen.

Alyson outlined a Social Media Manifesto for artists. Here’s a brief synopsis.

1. Have fun! If you’re not having fun with it, odds are good nobody else will think it’s fun either. Keep it interesting to keep your audience.

2. Engage. Don’t just blast a message. Engage with your followers and tailor messages to their interests.

3. Listen. Pay attention to what others are doing on social media and respond when appropriate. People love someone who listens to them!

4. Be the thought leader. Why does someone follow you? They’re probably interested in what you think or what you have to say about art.

5. Make it easy for others to talk about you. When creating social media posts, consider how they might be shared by others. When your followers share your posts with their friends, they are giving you a high recommendation. Make it easy for them! Make images available, include captions on your images, make your tweets easy to re-tweet, etc.

6. Don’t build your brand on someone else’s platform. Social media tools are great for building audience and spreading your message. But, don’t forget that those sites (like Facebook and Twitter) are owned by someone else. You cannot control what they decide to do with their websites. Remember to build your online home base on a platform that you can control, such as a personal website or blog.

For more tips on the business of being an artist, subscribe to Alyson’s blog, Art Biz Blog at www.artbizblog.com.