It's Back! - Oklahoma Visual Arts Coalition

Oklahoma Visual Arts Coalition 

ArtFocus 

O k l a h o m a 

It’s 

Back! 

After a three year 

hiatus, Individual 

Artists of Oklahoma 

(IAO) has brought 

back the 24 Works 

on Paper Traveling 

Exhibition. 

Vo l u m e 2 0 N o . 2 M a rc h / A p r i l 2 0 0 5 

$300

7 

on the cover 

Artist: Mark Hatley 

title: Sorry Spot, 

Monotype, 

contents 

In IAO’s 24 Works on Paper 

Member of 

the National 

Association 

of Artists’ 

Organization. 

10 

3 

6 

9 

11 

12 

13 

14 

15 

16 

17 

20 

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profiles 

tulsa artists’ studio tour 

artists out of their element 

reviews/previews 

24 works on paper 

24 hours from tulsa 

sacred hybrids 

back to basics photography 

contemporary fiber art 

features 

history of competitive shows 

and oklahoma: centerfold 

OVAC news 

at a glance 

round up / momentum okc 

renewing members 

gallery guide 

member agency This program is supported in part 

by the Oklahoma Arts Council 

ArtFocus 


Oklahoma Visual Arts Coalition 

P.O. Box 54416 • Oklahoma City, OK 73154 

ph: 405.232.6991 • e: director@ovac-ok.org 

visit our website at: www.ovac-ok.org 

Executive Director: Julia Kirt 

director@ovac-ok.org 

Editor: Janice McCormick 

(918) 366-3394 artreview@mindspring.com 

Art Director: Anne Richardson 

anne@speccreative.net 

Art Focus Oklahoma is a bimonthly publication 

of the Oklahoma Visual Arts Coalition dedicated 

to stimulating insight into and providing current 

information about the visual arts in Oklahoma. 

OVAC welcomes article submissions related to 

artists and art in Oklahoma. Article proposals should 

be sent to the OVAC office either by mail or email. 

Quality images are also accepted with complete 

caption information. Deadlines are six weeks before 

the publication date. For instance, the deadline for 

the May/June issue is March 15. OVAC includes 

gallery listings for visual art exhibitions for which 

the entire content of the show remains intact for the 

duration of the exhibition. Every effort is made to 

include galleries and venues statewide that provide 

OVAC timely information. 

OVAC welcomes your comments. Letters addressed 

to Art Focus are considered for publication unless 

they include the note “Not for publication” and may 

be sent to the editor at the address above. Letters 

may be edited for reasons of space or clarity. 

Anonymous letters will not be published. Please 

include your telephone number if your letter is to be 

published. 

Editorial Board: Janice McCormick, Bixby; Stephen 

Kovash, Randy Marks and Sue Moss Sullivan, 

Oklahoma City; and Teresa Valero, Tulsa. Assistance 

from Edward Main, Bixby. Cecil Lee, Norman/ 

Chickasha is editor emeritus. 

OVAC Board of Directors 2004-05: Richard Bivins, 

Cleveland; Elliott Schwartz, Rick Vermillion, Edmond; 

Diana Brown, Lawton; Maya Christopher, Joan Goth, 

Norman; Thomas Batista, Ellen Berney, Carissa 

Bish, J. D. Merryweather (Treasurer), John Seward 

(Vice President), Carl L. Shortt (President), Lila Todd, 

Oklahoma City; Suzanne C. Thomas (Secretary), 

Spencer; Chris Ramsay, Stillwater; Pam Hodges, 

Claudia Doyle, Teresa Valero, Tulsa. 

The Oklahoma Visual Arts Coalition is solely responsible 

for the contents of Art Focus Oklahoma. However, the 

views expressed in articles do not necessarily reflect 

the opinions of the Board or OVAC staff. 

© 2005, Oklahoma Visual Arts Coalition. All rights reserved.

Explore 

Behind the scenes with ceramic cats, wooden 

tornadoes, and bronze children, visitors can see 

how artists work on the Art Studio Tour. Set for 

Saturday, April 16 and Sunday, April 17 in Tulsa, 

the OVAC Art Studio Tour 2005 will feature 

nine artists demonstrating a variety of media, 

including wood, fiber, painting, landscape 

installation, and ceramics. 

creativity 

Art Studio Tour Exposes Artists in Tulsa 

The artists’ studios will be open to the public from noon until 

5 p.m. each day of the self-guided tour, giving visitors the 

chance to talk with the artists, view and buy artwork and see 

art being made. Visitors are able to see inside the working 

spaces of both established and emerging artists, from basement 

to loft, individual and shared. The works range from abstract 

to representational, realistic to expressionist and traditional to 

cutting edge. Best of all, the viewing experience is relaxed and 

informal. Each artist will be present both days at their studios for 

demonstrations, questions and conversation. 

Participating Tulsa artists are: Roz Cook, sculpture; Janet 

Duncan, landscape installation; Cynthia Brown and Walt Kosty, 

ceramics; Bob Hawks, wood; Janet Hawks, fiber; Louise Higgs, 

painting; Kate Kline, fiber; and Matt Moffett, painting. 

continued page 4 

Cynthia Brown from 

Brown Cat Studio 

with some of her 

ceramic creations. 

profile 

3

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Maps and tickets to the OVAC 2005 Art 

Studio Tour are $10, $5 for students and 

are available at Ziegler’s (6 N Lewis) or 

Brookside Pottery (3710 S Peoria) in Tulsa 

or online at www.ovac-ok.org. OVAC 

members will receive a coupon good for 

two tickets in the mail. Student or other 

groups may make special arrangements for 

discounted rates. 

For the first time this year, visitors will 

have the opportunity to preview the 

artwork and meet the artists in advance at 

a sample event at the Gilcrease Museum on 

April 7. For $30 or $50 a couple, patrons 

can view examples of each artist’s work 

and enjoy great refreshments. Their patron 

ticket will also be good for the tour the 

following weekend. 

Participating Artist 

Information: 

Rosalind Cook 

Sculpture 

Rosalind was born in Lima, Peru in 1946. 

Living in an isolated community high 

in the Andes until the age of seven was 

conducive to creativity as well as a love 

for varied cultures and people, which is 

often evident in her bronze sculptures. 

Sculpting was a hobby that began to grow 

along with Rosalind’s children. She began 

concentrated sculpting studies in the 1980s 

and knew this was a calling on her life. 

Soon after casting her first bronzes in 1989, 

her professional career quickly began to 

grow through select gallery representation 

and shows. Notable commissions enlarged 

the scope of her work, including works 

at hospitals, parks, libraries, churches, 

corporate headquarters as well as private 

homes across the country. Rosalind said, 

“My work is most recognized by the faces 

and the flowing forms of my sculptures. My 

goal is to capture the spirit of my subject, 

be it joyful, peaceful, animated, etc. I see 

my sculptures as a way to communicate 

with a viewer and hopefully celebrate the 

human spirit with them.” 

Janet Duncan 

Environmental artwork 

“The last 3-4 years of my life have been 

spent on a tract of land just north of Tulsa, 

Oklahoma creating an environmental 

earthwork. The original 10-acre plot 

was covered with trash and debris, 

overgrazed, and overgrown with vines. 

While discovering the land, I’ve begun 

to discover myself. What has evolved 

includes pathways, seating areas, sculptures 

and more. Additional expression through 

electronic media and written works 

document the many levels of my experience. 

The primary goal is to provide a space that 

shares my own experience with the viewer, 

while providing a space for their own inner 

reflections.” 

Bob Hawks 

Woodturning 

After serving five years in the Army during 

World War II, he attended the Art Center 

College in Los Angeles and in 1948 started 

his own commercial photography business. 

Bob’s clients included several well-known 

national magazines until 1987 when he 

relinquished management of the business 

and was able to devote most of his time 

to woodturning. While still active as a 

magazine photographer, he now has more 

time to create one of a kind, hollow vessels 

for sale and exhibit throughout the United 

States. Bob’s pieces are included in the 

permanent collections of The White House 

Collection of American Crafts, Oklahoma 

Governors Mansion, Glenbrook Hospital, 

Forest Heritage Center Museum, Arrowmont 

School of Arts & Crafts and more. 

Jan Hawks 

Fiber 

Jan Hawks is a fiber artist who grew up 

with adults who created clothing and 

decorative items by knitting, crocheting 

and sewing. Her interest in fibers started 

very early as she hung on her mother’s back 

as she sewed on a treadle sewing machine. 

At age six she learned to knit, was sewing 

all her own clothing by 15 and at 17 began 

to learn to weave. Through the years she 

has learned many crafts but currently is 

working mostly with fibers and the sewing 

machine. She started into quilting when 

she saw a magazine article on Seminole 

patchwork and much of her work contains 

this technique. She has had several magazine 

articles published showing her own designs 

using this technique and has had wall 

hangings and wearable art shown in juried 

shows in Texas and Oklahoma including 

Visionmakers and Fiberworks. She continues 

to experiment with traditional techniques 

using them in untraditional ways. 

Cynthia Brown and Walt Kosty, 

Brown Cat Studio 

Ceramics, Mixed Media Assemblage 

Each piece of artwork from the Brown 

Cat Studio is hand built and a one-of-akind 

ceramic sculpture. Cynthia works 

in coil, slab, and pinch construction for 

her whimsical and colorful creations. She 

frequently creates animal series, most 

recently on cats. Walt works in the studio 

also, which was originally conceived as an 

endeavor for Cynthia’s work. He is involved 

with the commercial aspects of the business, 

but also creates text pieces that he evolved 

into performance expressions. Using 

found and common artifacts, Walt builds 

assemblages or installations. 

Matt Moffett 

Painting 

Matt Moffett started oil painting because 

his dog died in 2000. Since then, his life has 

drastically changed from teaching Spanish 

at the University of Tulsa, to teaching art 

to public school kids at one of the poorest 

public elementary schools in Tulsa. Moffett 

paints pet portraits throughout the US and 

parts of Europe; collectors include Barry 

Switzer and President Gerald Ford. 

Kate Kline 

Fiber 

Kate is a fiber artist and runs a textile 

studio in Oklahoma, where she teaches 

quilting, hand-dyeing and surface 

design. In addition, she makes quilts and 

garments, and does machine quilting for 

other artists. “I have been working with 

fabrics as long as I can remember, from

dressing my dolls in scarves as a young girl 

to making garments and quilts from my 

hand dyed and embellished fabrics. 

Always wanting to create something 

unique, I have designed and constructed 

much of my own clothing since my college 

years. I started painting and printing on 

fabrics experimentally in the ‘90’s and took 

classes with Jane Dunnewald and Ann 

Johnston. I’m always experimenting with 

a variety of media from other disciplines, 

such as welding, pottery, painting and 

drawing. While I am often working in 

a somewhat traditional mode, my varied 

background and cross-media scrounging 

bring a unique touch to my work. 

Although I have some formal art training, 

I believe my ‘eye’ comes from experience, 

an open mind and passion.” 

Louise Higgs 

Painting 

Louise Higgs is a painter and educator. 

Higgs has served as the artist-in-residence 

for the Hospice of Green Country in Tulsa, 

working creatively with grieving family 

members, terminally ill patients and hospice 

staff members. 

OKC Art Studio Tour: 

The OVAC Board has elected to take a 

break from the OKC Art Studio Tour to 

draw together a task force to develop a 

statewide tour. OVAC’s goals are to grow 

links between artistic communities and 

highlight artists all over the state. Anyone 

interested in helping create this new 

statewide venture, call or email Julia Kirt 

(405-232-6991 or director@ovac-ok.org) 

to participate in the task force. 

Matt Moffett 

Lulu takes a dip 

24”x30”, 

oil on canvas, 

2004 

Picture from 

Janet Duncan’s 

environmental 

installation in 

north Tulsa. 

Rosalind Cook 

“Waterlily” 

bronze 

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6 

profile 

Out of Their Element 

Out in the Elements 

By Randy Marks 

My studio partner and well-known 

provocateur Larry Pickering suggested 

that we should have an outdoor 

sculpture show at Studio 31 Deuce on 

NE 37th in Oklahoma City. When 

I agreed that would be a good idea, 

he told me that I was in charge of it. 

This was apparently cosmic payback 

for my goading him into doing a show 

of nonfunctional sculpture as opposed 

to the functional art for which he is 

known. Fair enough. 

The first item of business was to put 

the show off as long as possible. Finally 

the Friday following Thanksgiving was 

chosen. The next item was theme. I 

kicked around several ideas then decided 

that this could be an opportunity for 

some fresh thinking. The question was 

posed “What would happen if you asked 

artists who had never done outdoor 

sculpture to do outdoor sculpture?” 

Item number three was recruitment. In 

order to make the proposition attractive 

it seemed smart to insure more exposure 

for the show than a one night stand 

at our studio. Joy Reed Belt stepped 

forward to host the show after the 

initial opening at JRB Art at the Elms. 

Recruitment came easily after that 

Audrey Schmitz 

Aphrodite’s Charms 

Stoneware clay, found 

iron elements 

and then a bonus was added. Audrey 

Schmitz, who had accepted an invitation 

to participate as a sculptor, said she 

would like the show to travel to the 

Eleanor Hays Gallery on the Northern 

Oklahoma College campus, Tonkawa. 

Fourteen artists accepted the challenge 

to get out of their normal element and 

try their hands at outdoor sculpture. 

The diverse group included a high 

school student, a blues guitarist, fiber 

artists, painters, architects and more. 

Following are comments from some of 

the participants:

Morgan Robinson 

seed pod/picked up/taken home/all alone 

thick & thins/once again/coffee shop/did not 

stop 

pushed the top/ink drops/sketched a bit/ 

quite intense 

pleasant trip/sang a song/devils claw 

felt the need/I let it bleed 

in letting go/I trapped some time/I called it 

mine/I stared in space/never erased 

my hand just sketched/I stretched/my 

window home/all alone 

I thought of Japan/sensitive land/seems to 

know/ thoughts that allow SEEDS to grow 

I gave it light/that dimly glows/my 

nudging spirit/lets me know/which way we 

should go 

I try to say/concentrate/don’t stay up late/ 

you took the bait 

watch the leaves/watch the trees/that let you 

in/allowing grins 

show me grass/sing me songs/quietly sway/ 

& sing along 

take a coffee/take a tea/don’t think too 

much/let it be 

simple sophisticated/ exchanged & traded/ 

blessed but frustrated 

walk around/ take a seat/suspended shapes 

encase me/in the minute’s moon & sun/ one 

in all and all in one 

Nathan Lee 

Most of my sculptures have the look of 

something that would more than likely 

live on the outside. I use parts of trees and 

other things that occur in nature. I try to 

make figures that are quite unnatural in 

appearance but seem some how familiar. If 

I can make people take a second look then I 

have accomplished my goal. 

I am glad that I participated in this 

exhibition because it gave me the 

opportunity to show my art in a different 

environment and it gave me a new direction 

for my art both in technique and execution. 

I made a few missteps when creating my 

piece but I also learned so much from a 

technical standpoint. This has opened a new 

door of possibilities with my work and I am 

looking forward to gaining more experience 

in showing in an outdoor environment. 

Brian Fitzsimmons 

When Randy invited me to be part of the 

exhibit, I was afraid. It had been some 

time since I’ve created an object with no 

physical purpose or as art in a pure sense. 

Although my work in architecture and 

furniture design attempts to be beautiful 

or intriguing as a piece of art in it’s own 

Brian Fitzsimmons 

stolen 

concrete 

right, the function/physical purpose of 

the piece always significantly impacts the 

design direction. With art, one should 

have something to say, or at least create 

something worth looking at more than 

once. Art has to stimulate the mind. 

So I started with trying to make something 

worth looking at. Along the way, the 

piece started to say something. Issues with 

religion and the hypocrisy that often stems 

from it began to find metaphor in stolen. The 

flightless wing strapped on as a religious 

guise, or an angel stripped of its wing 

and left powerless, the conflict between 

perception and reality. The use of material 

and form attempt to strengthen this notion. 

Concrete is used as both something heavy, 

rigid and solid, and something apparently 

fluid and delicate. 

That said, I chose to use concrete from the 

start. I have done a few concrete sculptures in 

the past, though none as large as stolen. The 

traditional use of concrete is unforgiving. A 

negative form is created to fill with concrete, 

making a positive. There are no second tries, 

short of starting over. Similar to architecture 

and furniture, plan it first, then make it. The 

base was created this way. 

In contrast, the wing explores the novel 

approach of pouring concrete over a wire 

armature. This approach allows some 

manipulation of the form to happen 

during the creative process. The form is 

slowly built up, … extending the time for 

decision-making. 

Michael Hoffner 

“Reluctant” might be a good word to 

describe the attitude with which I agreed 

to participate in this show - I had never 

done a sculpture large enough or permanent 

enough to stay outdoors. But having agreed, 

I was determined to do a good job. 

Layers of crumpled paper had figured in my 

work lately, and I thought a similar effect could 

be made with sheet metal. My first piece of 

outdoor sculpture would address the viewer at 

eye level, meaning there would probably be some 

kind of armature to position the sheet metal at 

viewing height. With a list of possibilities and 

constraints, I began my usual way of working. 

Sketches are done, usually three-dimensional 

views - I always try several ideas. When I hit 

on something I really like, I draw several views, 

details of how materials will come together 

and how connections will be made. After my 

pencil sketches had me convinced that the 

design for Sunflowers was worthy, I modeled it 

on my computer. Adjustments were made until 

the proportions looked right. Most of what 

remained at this point was to focus on the craft in 

executing the design. 

With the computer model, I was able to make 

a scale drawing to give the steel supplier. 

As a result of planning, every piece the steel 

supplier provided was exactly the right 

size, and every piece I needed was there. No 

material was wasted and there really wasn’t 

anything left to figure out. It was almost like 

assembling a kit—except that I didn’t know 

how to weld. 

Before Randy and Larry taught me to weld, 

I didn’t know there was anything missing 

from my life. Zoomed in on the finite world 

of creating a weld, there was a place where the 

sense of time and space was lost, except for 

a 3/16” pool of molten metal I was coaxing 

down the joint of two steel plates. The act 

of fabricating Sunflowers was a more visceral 

experience than my drawing or painting. The 

physical demands of working with large, heavy 

pieces contributed to the elevated focus that 

made this experience so enjoyable. Compared 

to two-dimensional work, the results are so 

much more tangible. If a painting is a diagram 

of an idea or an artifact, a sculpture is truly an 

artifact. I am no longer reluctant. 

Alyson Atchison 

I enjoyed this experience tremendously. 

Everyone should force themselves at least 

once to expand their usual way of thinking 

into a new dimension. I literally felt my 

brain stretching as I tried to picture how I 

would “draw” in the third dimension. In my 

drawings, the lines are the most important 

part of the image. I didn’t want to lose the 

sketchiness and expression that I get with my 

lines. So, it was important for me to be able 

to see my “style” in what I made. The steel 

rods I had available to work with lent well to 

this idea. 


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8 

It was still hard for me to transfer my 

thinking from 2D to 3D. Upon my 

orientation to welding, I told my teacher 

I wanted to make a building for a practice 

piece. He showed me how to get started 

and then I went to work, but stopped short 

with a flat outline of a building. I couldn’t 

see past the second dimension. I was sure 

my sculpture was supposed to be flat. It was 

like a light went on in my head when he 

showed me how far I could go with it. 

Heather Lee 

I think one of the most challenging things 

for me when making my sculpture was 

waterproofing it and getting it ready for an 

outdoor environment. Since all of my work is 

done using fabric, getting it ready for weather 

and the elements was the main priority. 

Angela Renke 

I reference parts of the human body to create 

something that may convey a small glimpse 

of my past along with my present thoughts 

on the nature of the two sexes. I have an inner 

obsession with the part of me that defines 

me as a woman. It is not so much a physical 

obsession, as it is a conceptual obsession. The 

vagina makes me a woman, it is so literal, 

but it is the most obvious difference between 

man and woman. The physicality of humans 

is one of few concrete differences; whereas 

other differences are left as subjective ideas. 

These differences create my fascination of our 

similarities. I am interested in understanding 

how our differences complement each. In this 

work I sought to focus on the gray areas of 

similarity between man and woman. I was 

thinking of these differences, whether they be 

physical or behavioral, which come together to 

form a similarity. 

Sue Moss Sullivan 

I have fantasized about working in 

metal or wood for the outside gallery, 

but needed this push, shove and 

challenge to move me out of the comfort 

of my chosen medium. The ideas for the 

two pieces I completed came easily, but the 

execution was the challenge. Fortunately, 

I have my own resident welder, Andy, 

who patiently waited while I lined up 

everything, and then threw me the grinder 

and plasma cutter to do my own finish work. 

I loved working with these tools and seeing 

it all come together. When I saw them 

installed, I wanted to alter and change them, 

but that’s for another time and other work. 


Aphrodite’s Charms evolved after thinking 

about the lives of women in ancient 

cultures, and making sketches for a 

sculpture that would commemorate their 

history in some way. To realize the piece as 

a giant bracelet came as a result of a visit 

to Tonkawa Foundry’s scrap lot to seek 

“art parts,” and finding some curved pipe. 

Although the pieces were not full circles, 

I saw the potential for charm bracelet 

fragments – no longer intact but offering 

traces of a life. 

Aphrodite, the Ancient Greek goddess 

of love, beauty and humanity became 

my subject – certainly she would have 

received many charms from her lovers and 

consorts... [and] The charms are handmade 

Oklahoma Painting and Drawing 

Biennial VIII 

April 30-June 10, 2005 

Opening reception: April 30, 2-4 pm 

Curator’s talk: 2:30 

Art Gallery at the University of 

Science and Arts in Chickasha 

photo credit: Ken Crowder 

ALTHOUGH THE PIECES 

WERE NOT FULL CIRCLES, 

I SAW THE POTENTIAL 

FOR CHARM BRACELET 

FRAGMENTS – NO LONGER 

INTACT BUT OFFERING 

TRACES OF A LIFE. 

of stoneware clay, hollow slab forms that 

are incised and glazed to resemble bronze 

or iron. Each charm represents the “giver” 

in both the design and personal message 

engraved into the clay... 

The major structural components are made 

of iron, mostly found elements left for 

scrap from the foundry yard and an oil-field 

supply business. Some machine work was 

required along with welding – so I bought 

or begged this expertise from friendly, 

talented and curious Tonkawa citizens. 

Randy Marks 

As the curator I should, mai oui, be biased. 

That aside I can say that I was happy and 

more so with the work that was presented. 

Each artist brought good work and a new 

perspective to their sculptures. 

Organized by the Oklahoma Visual Arts Coalition • For more information, go to: ovac-ok.org or call (405) 232-6991.

24 Works on Paper Traveling 

Exhibition 2004: A Speedy Review 

by Stephen Kovash 

After a three year hiatus, Individual Artists of 

Oklahoma (IAO) has brought back the 24 Works on 

Paper Traveling Exhibition. Once publicly funded, 

this 16th exhibition of works on paper is now 

sponsored by the Stephany Poorbaugh Memorial 

Fund and by a contribution from Dr. Mark Allen 

Everett as part of the Art Freedom Fund of IAO. 

24 Works on Paper travels to five locations in 

Oklahoma starting in September 2004, and return 

to Oklahoma City in July of 2005 for an artist’s 

reception and closing exhibition. The review was 

done at the East Central University Gallery in Ada. 

This exhibition, juried by Katherine Liontas- 

Warren, Professor of Art at Cameron University, is 

an outreach program of IAO. The purpose of the 

outreach is to provide quality contemporary art to 

communities that normally have limited access, 

and to give state-wide exposure to Oklahoma’s 

contemporary artists. All forms of works on paper 

are considered including: photography, painting, 

drawing, lithography, etching, serigraphs, collage, 

and mixed media. 

Usually by the time you read one of these articles, the 

exhibition has closed and you no longer have a chance 

to view the work. Since this show will be traveling 

through July, you still have a chance to see it. Venues 

for the exhibition include Northern Oklahoma 

College, Tonkawa, from the last week of September 

through the end of October, 2004; Southwestern 

Oklahoma State University, Weatherford, second 

week of November through the third week of 

December, 2004; East Central University, Ada, 

January through February, 2005; Leslie Powell 

Gallery, Lawton, May through June, 2005; and at 

IAO Gallery, Oklahoma City, July, 2005. 

Winners of the $200 Awards of Merit are Mark 

Hatley and Tim Sullivan. Each artist received a $25 

honorarium for accepted work. 

I have found it challenging to review single artist 

shows in that I need to be able to describe what is 

going on, give a fair indication of the overall show, 

while not taking up too much space. My test here is 

to attempt coverage to all the participating artists 

while considering your attention span. So in this era 

of “speed dating” and “poetry slams,” I am going to 

attempt “Speed Reviewing.” 

Burt Seabourn (OKC) Pablo and Me - Intaglio 

Etching – Collage format, found Picasso, couldn’t 

find Burt, browns predominate, mixture of 

masculine and feminine images. 


Kathleen Rivers 

Morning Coffee 

Giclee 

reviews 

9

10 

reviews 

William Struby (OKC) Distance – Mixed 

Media - Nice piece, reminiscent of a 

post-WWI French Poster, very blue, 

slender woman (in bondage?). 

Kathleen Rivers (Ada) The Dance 

- Collage Monotype - Businessman 

walking, towering buildings, crumbling 

destruction, fire, smoke, scribbling over 

the top of the piece. 

Kathleen Rivers (Ada) Morning Coffee 

- Giclee – Voluptuous female form, 

nice use of color, with black, white, 

pink (blood), yellow and orange 

predominating. A fancy coffee order is 

written over the piece. 

Trent Lawson (OKC) Belly - Mixed 

Media/Acrylic - paint and other material 

is layered on thick, creating a texture 

that looks like cracked earth/sculpture/ 

raku. Very earthy, like the floor of the 

Mojave Desert. 

D.J. Lafon (Norman) Gertrude Stein - 

Charcoal – VERY nice study of a woman 

(Gertrude Stein maybe?). 

Kolbe Roper (Edmond) Simple Celebration 

– Mixed Media - Middle Eastern feel, 

collage, Whirling Dervishes, people 

praying, Russian (?) Musicians in a rotunda 

(think Library of Congress). Collage 

includes three illustrations of some sort of 

grain. 

Mark Hatley (Ada/South Carolina) Sorry 

Spot – Monotype - Picasso meets Ren 

and Stimpy. Disturbing yet very pleasing. 

Great use of color – multicolor Ren with 

one big arm, one little arm, surrounded by 

stars. Green, blue and red predominate. 

Chris Corbett (OKC) In the Motionless 

and Timeless Center - Silver Gelatin Photo 

– Timeless is appropriate – classic female 

nude in a hollow tree/sylvan setting. 

Sue Clancy (OKC) Hungry for Music 

- Mixed Media – Classic Sue, whimsical 

figure, eating and drinking musical 

notes, hand made paper (Sue’s specialty), 

collage of images include Beethoven, 

Ears and the statement “About 1801, 

Beethoven began to experience deafness, 

but he did not allow this to interfere 

with his composing.” 

Christina Busche (OKC) Untitled - 

Photograph - Black and White, ghostly 

images (looks like New Orleans), 

possibly a man and woman in a hallway. 

Eerie yet compelling. 

Amanda Boehm (Lawton) 6 Visits 

or 21 Days Carpal #3 - Intaglio 

– very interesting, ropy and masculine, 

resembles a Japanese back tattoo. 

Keith Ball (OKC) Hub Cap Giclee Print, 

Acrylic – Partial photograph of a vintage 

wire hubcap, finished in graphite, paint 

splatters and graphics reminiscent of 80’s 

pop art – Duran Duran meets A-HA in 

automobile alley. 

Alyson Atchison (OKC) Girl with Grace 

- Serigraph – Alyson is going to be big, 

pick up her stuff while it is still underpriced. 

The print shows a figure of a 

girl commanding a fish from the water, 

stars and moon in the background. 

Turquoise blue, red, yellow and orange 

predominate. 

F. Bradley Jessop (Ada) Blue Yodel #2 

- Monotype, Mixed Media – Industrial, 

50’s/60’s (post?) modern images – female 

in profile, whimsical cat scratched 

cartoon. Neat high tech material 

– aluminized ink. 

Jacquelyn J. Knapp (Chickasha) 

Searching - Graphite – Very nice 

graphite (almost 3D) representation/ 

study of clouds possibly storm clouds. 

Betty Wood (Norman) Fantasy 

Landscape – Monoprint - Rolling 

destitute landscape, dried leaves/weeds, 

willow branches – lonely highway? 

Betty Wood (Norman) Arching Forms 

- Monoprint - Stark, black and white, 

deathly, arch shape predominates 

(tombstone?), winter, iris, ginkgo, 

willow branch. 

Petas (OKC) Symbols of Us, Reprise 

- Mixed Media- The Artist formerly 

known as Wendy Mahsetky-Poolaw 

– Cave paintings, horses, plants and 

flowers. Stark and compelling. 

Petas (OKC) Symbols of Us - Mixed 

Media – Very challenging piece, 

deceptive, images are there, you have to 

find them, face of a man in pain, conflict, 

wings. Black and whites predominate. 

Tim Sullivan (Norman) Apotheosis 

- Screen print – Kaleidoscopic vista of 

human form, black, blue, purple and 

earth tones, images intertwined in a 

psychedelic background, very 60’s. 

Michael Wilson (Norman) Precious 

- Monotype - Schizophrenic, beautiful, 

misshapen daisy with dollar bills for 

leaves, writing, coherent yet conflicting 

and contradictory. 

Michael Wilson (Norman) Ways In - 

Monotype – Child images, block numbers, 

windows, quote “Happiness is a warm 

puppy/so I got on/His name is Happy 

Stefan Chinov (Ada) Untitled – Etching 

– Black ink, white paper, rhomboid and 

other uneven shapes. 

This is a great, well juried show and is 

an excellent representation of what the 

artists in Oklahoma are currently doing. 

Please don’t miss it at the Leslie Powell 

Gallery or the IAO in July. 

Post Script – I promised to give a few 

words about Mark Hatley, who received 

one of the two awards of merit. Mark 

recently graduated from the Art Program 

at ECU which continues to produce 

very promising artists. I recently looked 

at Mark’s senior show that, while 

undisciplined, was wonderful to view. 

He shares the quirky dark cartoon style 

of many of his contemporaries and he 

deserved the award of merit. His “24 

Works” piece nicely represents his overall 

portfolio. Mark has moved to South 

Carolina to pursue graduate work. I look 

forward to see his work as it matures.

Bradley Jessop 

Blue Yodel #2 

Monotype and mixed media 

Ace Cuervo’s 

24 Hours from Tulsa By Janice McCormick 

Unlike Ian and Sylvia’s song of the same 

name, Ace Cuervo’s 24 Hours from Tulsa 

(recently at Holliman Gallery, Holland Hall 

campus) captures not a physical distance 

from Tulsa, but rather a psychological 

distance experienced while within Tulsa’s 

city limits. The titles to all of Cuervo’s 

black and white photographs merely 

state the exact time they were taken. His 

approach to the traditional subject matter 

of cityscape and architectural detail has 

a decidedly post-modern flair with its 

highly self-reflexive emphasis on the nature 

of photographic images as images. He 

achieves this by deliberately misemploying 

photographic techniques: over exposure 

when taking the picture or underexposure 

when printing (2:20pm); jostling the camera 

during a very long exposure resulting in 

wavy lines of light (1:26am, 1:45am); and 

simply leaving it out of focus (2:38pm). 

Among these images of Tulsa’s urban 

environment, there are familiar architectural 

landmarks: the old Mayo Hotel (3:08pm), 

the soon-to-be-demolished Denver Grill (1: 

27pm; 1:14pm), and the Admiral Twin Drivein 

Theater (10:22am). Even a new landmark 

is tossed in for good measure - the retro- 

Art-Deco downtown Bus Station (3:17pm). 

Yet, such familiarity does not bring comfort. 

Something is lacking. It takes a moment to 

realize that there are no people in this city. 

The very purpose for this architecture – to 

serve human needs – remains unfulfilled. You 

can almost hear the hollow footsteps of the 

photographer on an empty street. 

2:20pm, a large 17” by 22” photograph, 

captures the sweep of an extended overpass as 

viewed from below. Its concrete arc dominates 

the entire image. As it hovers over and curves 

away from you, a palpable sense of distance 

separates you from the bleached-out cityscape 

beyond. The “T” shaped concrete supports 

and steel guardrail heighten this separation. 

Here, the image’s large blank white areas 

(deliberately the result of improper exposure) 

amplify the barrenness of the scene. 

1:45am strikes the viewer as a drive-by shot 

of the cityscape taken at night from afar. 

Jiggling the camera while set on a long 

exposure distorts the lights of skyscrapers and 

lampposts into sharply delineated streaks, bars 

and tildes. The resulting rhythmic liveliness 

contrasts with the rather dark, uneventful 

sky and totally black foreground. Reflecting 

on this liveliness, you realize that it comes 

not from the city itself, but rather from the 

photographer’s actions. For all you see, this is a 

dead city. Furthermore, this blurred skyline of 

unremarkable, late modern glass-boxes (which 

could be any where in the world) leaves you 

disoriented and wondering, “Am I the only 

one here? And, where am I, anyway?” 

Several signs crop up through out the exhibit, 

but one in particular caught and held my 

attention. The lit neon sign in 9:53pm reads: 

“COUPLE $28 / Gateway Motor Hotel 

/ WKLY EXTENDED STAY / RATES 

STARTING AT $22/ SLEEP AMERICAN.” 

At first, the cartoon-like Uncle Sam holding 

a stars and stripes suitcase brings a smile 

because of its folksy charm. But, when 

coupled with the phrase “Sleep American”, 

it takes on an unwelcoming and excluding 

tone. And, you feel a bit sheepish for having 

found it amusing. 

With only traces of human activity found 

(a sun-lit but empty sidewalk - 4:25pm, an 

unmanned bike leaning against a bar or liquor 

store wall - 1:52pm, and a motel sign lit up 

to attract sleepy passer-bys - 9:53pm), it is 

startling and rather surreal to find human 

faces. But, these faces turn out to be images 

in the mural on the south-facing wall of the 

Denver Grill (1:14pm), taken in December 

2004. On a larger-than-life scale and painted 

in an awkward manner, the heads of Marilyn 

Monroe, James Dean and Elvis Presley peer 

out across a broad and empty stretch of gravel. 

All their color drained away by the black and 

white photograph portends their imminent 

destruction by the bulldozer. 

Breaking with the traditional, objective 

documentary approach that merely records 

what is present, Cuervo explores his own 

complex and ambivalent reactions to Tulsa by 

manipulating various photographic processes. 

And, in the process, he creates a psychic 

distance that allows us to look at Tulsa from a 

different perspective. 

11

12 

reviews 

Dragon Dance 

by Ron Fleming. 

redwood burl, from the 

exhibit Sacred Hybrids at 

Living ArtSpace, December 

2-23, 2004, Tulsa, OK. 

Sacred Hybrids 

There is a piece entitled, Nurture or Nature, in the 

Sacred Hybrids exhibit at Tulsa’s Living ArtSpace. 

The work is a bowl-shaped vessel of manzanita 

burl and gourd – beautifully gnarled, organic and 

irregular - that holds in its center a cradled shell 

from which an egg, born of polished stone, has 

emerged. A succession of protective orbs and vessels 

- molded by nature, molded by hands – this piece 

also holds in its center the essence of a collaborative 

exhibition by two Tulsa artists, Ron Fleming and 

Linda Stilley. If this title, Nurture or Nature, poses as 

a question, then this exhibit sets up a compelling 

dialogue between the two. And, if this title is the 

answer to a question, then it’s easy to accept its 

harmonious resolution. 

Vessels and bowls, urns and jars metamorphose 

into womb-like forms, alternately protective and 

vulnerable, inviting you to witness the birth and 

decay of nature. An intriguing combination of 

bio-morphic and geometric designs, natural and 

mannered surfaces, this collection reveals the 

individual style of each artist, but resolves itself best 

in the works which join the two most evocatively; 

these are the “sacred hybrids.” 

Ron Fleming’s turned-wood sculptures are texturally 

diverse and expressive. There are the simple vessels, 

with geometric patterns, combining smooth and 

jagged edges, like Pyramidal Vessel, made of spalted 

(a process of rotting the wood to create a pattern) 

by Rhonda S. Davis 

hackberry. Other works are composed of more 

elaborate, complex open and closed forms, playing 

off outer and inner light patterns. Serpico, a small 

vessel, retains the natural irregularities and openings 

of buckeye burl, allowing the light to shine through 

circular openings, repeating the cast light shapes from 

its exposed interior. Open and closed forms take a 

most ornate turn in Dragon Dance, made of redwood 

burl and mannered into fluid, leaf-like spirals. 

The hand of Linda Stilley becomes evident in the 

adornment of many of the works present, not just 

riding upon their surface, but penetrating into 

their content and three-dimensionality. Primarily a 

painter who has also worked in clay, Stilley appears 

to slip effortlessly into a collective consciousness 

with Fleming, elaborating on the integration of the 

tactile and spiritual by using opaque and translucent 

acrylic washes and the introduction of fetishes in 

the form of extraneous objects, such as beads and 

feathers. Time Frame incorporates hackberry, acrylic, 

leather, copper, stone and bone into a vessel. The 

repetition and subsequent patterns composed of 

these ornate features suggests musical rhythm, 

with perhaps ritualistic associations. At times, 

Stilley vacillates between suggestively unrestrained 

brushwork and the insistence of order, as she 

complements the forms. 

Method and content are tightly woven in this 

exhibit. Naturally evolving and deteriorating 

wood, suggestive of transition and the passage of 

time, crosses paths with the touch of the artists’ 

hands - gentle hands, playing off the stage of life 

of the material itself and intent on preserving its 

inherent beauty, but firm and molding hands as 

well. Metamorphosis rests in three pieces, made of 

sycamore, acrylics, hackberry, walnut and cocobolo. 

Like Nurture or Nature, it addresses the core of our 

existence, as it joins man and environment through 

the birth of one from the other. Smooth egg shapes 

that have left behind their broken shells, jagged 

from the break or trauma of birth, serve as symbolic 

reminders of both life’s protection and destruction. 

There is an implied tenderness toward the natural 

condition of the woods and materials in this 

collection – a respect for their innate qualities. There 

is the mark of the artist as well, searching for and 

determining his or her creative, but respectful role. 

Fleming and Stilley found a good match with each 

other for their respective aesthetics when they joined 

forces here, establishing a dynamic not unlike the 

one which exists in the play of the concepts of nature 

and nurture they address. It’s a dynamic operating 

on many levels, including one which reminds us of a 

shared passage of time with nature’s resources, where 

we recognize and find universal concepts of beauty.

Back to Basics 

Photography 

In an age where digital photography has 

become the norm, this exhibit will take 

an alternative view and feature Oklahoma 

and regional artists preferring light and the 

camera over a computer screen and Photoshop. 

A variety of photographic techniques 

such as Cyanotype, Polaroid Transfer and 

Daguerreotype will be on display. Back to 

Basics Photography and Eye Spy, a coinciding 

exhibition of children’s photography, will 

be on display April 28 – May 31, 2005 in 

the Eleanor Kirkpatrick Gallery at City Arts 

Center. There will be an opening reception on 

Thursday, April 28, 2005 from 5:30 -7:30pm. 

The Back to Basics Photography exhibit 

has been included in the 2005 gallery 

season to showcase the variety of styles 

and techniques within the medium of 

alternative photography. Don’t let the 

name “Back to Basics” deceive you! This 

exhibit will offer exceptional work that is 

anything but elementary! This celebration 

of the basic relationship between artist and 

camera has produced work that is innovative 

and contemporary. Each artist has explored 

alternative processes to develop a body 

of work with a fresh and unique appeal. 

Some artists such as Jim Meeks’ images 

will explore man-made objects in basic 

geometric shapes that were found in various 

places and that had either been thrown 

away or left to rust and decay. “I like the 

character these objects take on over time, 

the basic shapes, their commonness and the 

process of searching for them,” says Meeks. 

His works have been featured recently in 

the International Photography Hall of Fame 

in Oklahoma City and a number of his 

images are in public and private collections 

throughout the United States and Europe. 

Sarah Williams has returned to Oklahoma 

City from New York and is now making 

her presence in art venues in the Oklahoma 

market. Williams’ images are the result of 

a unique process that she has developed. In 

Topography of the Brain, Williams began with 

colored pencil and ink drawings, coated 

with cooking spray and baked in the oven, 

resulting in an orange cast. She then coated 

the drawings with gel medium making them 

printable. She has refined the process and 

her experience allows her the ability to color 

balance her imagery. “I immerse myself in the 

creative process beyond traditional techniques. 

The alchemy and unexpected surprises that are 

possible with processing prints by hand allow 

my creativity to flourish beyond the creation of 

a negative or a print,” says Williams. 

Dallas based artist Kimberly Rodriguez is 

the Merchandising Coordinator for Wright 

Studios which produces small product 

catalogues. Catalogue photography requires 

detailed attention to presentation, placement 

and lighting. In contrast Rodriguez prefers to 

photograph the world without manipulation. 

Rodriguez comments, “I want to show how or 

where things were before they were lit, shot 

and burned to a disc. The minute details that 

make up the world around me speak to me.” 

Using a Holga camera, she has allowed the 

natural occurrences of light leaks and ghosting 

previews 

to affect her composition. She creates an 

interesting visual collage of disoriented subject 

matter combined with scenes from daily life. 

Back to Basics Photography promises to 

be a photographic journey into the 

contemporary world of alternative process 

photography. Images will be presented in 

a wide variety of unique formats including 

light boxes, photographic constructions 

and installation pieces. 

In addition, there will be a coinciding 

children’s photography exhibit Eye Spy in 

the back of the gallery. Under the guidance 

of a professional photographer, children will 

be given cameras to photograph the world 

as they see it. This exhibit opportunity has 

been made possible by Kirkpatrick Bank. 

The Eleanor Kirkpatrick Gallery is located 

in City Arts Center at State Fair Park, 3000 

General Pershing Blvd., OKC, OK. For more 

information or call 951-0000, gallery hours 

are Monday - Thursday 9:00 a.m. - 10:00 p.m. 

and Friday - Saturday 9:00 a.m. - 5:00 p.m. 

Jim Meeks 

Campbell Center 

Back to Basics 

Photography at 

City Arts 

Kimberly Rodriquez 

NY Strip 

Back to Basics Photography 

at City Arts 

13

14 

previews 

CONTEMPORARY 

The 27th Annual Fiberworks Exhibition 

sponsored by the Handweaver’s League 

of Oklahoma will be featured in the 

Eleanor Kirkpatrick Gallery at City Arts 

Center March 12 – April 9 th , 2005. 

Oklahoma artisans working in a tactile 

medium are infusing innovation into 

a traditional artform, creating a new 

genre of contemporary “fiberworks.” This 

extraordinary exhibit includes objects 

made of felt, woven cloth, paper, dyed 

fabric, photo transfer onto fabric, basketry, 

knitting, quilting, beading and more. 

Artwork will be accepted for entry into 

this juried exhibit at City Arts Center 

on Saturday and Monday, March 5 th & 7 th 

noon to 4pm. A non-refundable entry and 

handling fee will cost members $15 and 

$20 for non-members. This entitles the 

entrant to submit up to three (3) works. 

Awards are given for outstanding entries. 

The Linen: Enduring and Endearing 

Workshop will be offered in conjunction 

with the exhibit on Saturday and 

Sunday, March 12 - 13, 2004 from 9am 

– 4pm at Center City Arts Center. The 

workshop cost is $60 for members and 

$80 for non-members. Artists interested 

in submitting work for the exhibition 

or attending the Linen: Enduring and 

Endearing Workshop should call Dorothy 

Dinsmoor at (405) 348-4666. 

Fiber Art 

Fiberworks began in 1978 by the 

Handweavers League to provide Oklahoma 

fiber artists with an opportunity to enhance 

and expand the artform and offer a venue 

for exhibiting and selling these unique 

works of art. “The Handweavers League 

is very proud of our annual Fiberworks 

Exhibition. It is the only statewide show 

that gives fiber artists the opportunity 

to exhibit their work and the show helps 

educate visitors about the history and 

traditions of fiber as an art medium. 

It is always an exciting exhibit and 

Handweavers League of Oklahoma greatly 

appreciates the partnership with City 

Arts Center, and the support of State 

Arts Council, and our generous donors,” 

comments Sue Moss Sullivan who is 

the 2004-2005 Handweavers League of 

Oklahoma President. 

The juror for the 2005 Fiberworks exhibit 

is Nancy Hoskins, from Eugene, Oregon. 

Ms. Hoskins has an extensive background 

as a weaver, an instructor, a writer, and a 

researcher. With an MS in Interdisciplinary 

Studies (Art History, Art Education, and 

Fine Arts) from the University of Oregon, 

she taught college weaving from 1981 to 

1996. Ms. Hoskins has a special interest 

in Pharaonic, Coptic, and Early Islamic 

textiles, which as resulted in numerous 

publications, including the recently 

above left: Laura Strand 

(Last year’s Juror of Fiberworks) 

If Only 

Painted silk 

above right: Lin Hartgrove-Sanchez 

Miho (left) Basile (right) 

Scanned photograph printed on vinyl, sliced by 

hand and woven 

published Coptic Tapestry Albums and the 

Archeologist of Antinoi, Albert Gayet. Ms. 

Hoskins researched Coptic collections in 

over fifty museums around the world to 

gather material for this book. She is also 

the author of Weft-faced Pattern Weaves: 

Tabby to Taqueti; Universal Stitches for 

Weaving, Embroidery, and Other Fiber Arts; 

Boundweaving (a video tape); and many 

articles in textile and archeological journals. 

Nancy Hoskins has exhibited in 30 

solo and group art exhibitions in the 

United States, Canada, and Australia, 

and has presented over 100 programs and 

workshops for guilds as well as for regional, 

national, and international conferences in 

18 states and five countries. With her broad 

range of interests, skills and experiences, 

Ms. Hoskins will bring to Oklahoma fiber 

artisans an extraordinary opportunity to 

gain both an introduction to Coptic and 

Early Islamic textiles and a unique handson 

weaving experience. 

City Arts Center is located at the State 

Fair Park, 3000 General Pershing Blvd., 

OKC, OK. Gallery hours are Monday- 

Thursday 9:00 a.m.-10:00 p.m. and 

Friday-Saturday 9:00 a.m.- 5:00 p.m. with 

no admission charge.


Icon 

Photo-assemblage: Silver gelatin prints, 

glass, wood 

20.75 x 12 x 4.75” 

Awarded Best of Show in Eleventh 

Biennial National Juried 

Oklahoma:Centerfold Exhibition. 

Stephanie Grubbs 

Swimming Flying 

wool felt 

Mike Stephens 

First Class 

Woodcut 

A Brief History of Competitive Shows 

and OKLAHOMA:Centerfold 

By Cecil Lee 

On January 16, the Leslie Powell Foundation and 

Gallery biennial, OKLAHOMA:Centerfold, opened 

with a reprise at the USAO Art Gallery in Chickasha. 

This is the first of three competitive shows to be in 

the USAO Art Gallery this Year. This density of 

Competitive Shows Would have been unusual 20 

years ago – but not forty years ago. As I remember, 

the first fall I taught at OU in 1959, shortly after I 

arrived as a new teacher, my colleagues and I attended 

the Southwest Biennial show sponsored jointly by 

the Oklahoma City Museum and the University of 

Oklahoma. Competitive shows were common after 

World War II and continued with full flourish until 

the mid-sixties. Then they disappeared 

from view in the serious art scene 

and did not reappear until a quarter 

of a century later. Why? First let me 

address the mid-century phenomenon, 

then the reemergence. 

While most of the Midwestern 

universities had developed art 

departments before the depression, there 

was a renewed energy with the GI Bill 

students and a new attitude toward the 

arts. John Dewey’s belief that art was a 

necessary component of the developed 

and balanced personality made its 

impact on art education and we had 

begun to see its first fruits. With low 

cost higher education and a firm belief 

that the war had been fought to make 

possible the pursuit of the “finer things 

in life,” the arts were embraced with a 

new enthusiasm. Numerous Hollywood 

movies featured young artists in Paris. 

In a post-war imitation of the Gertrude 

Stein circle, we found aspiring writers 

and poets, dancers and choreographers, 

musicians and composers, and painters 

and sculptors. The general affluence of 

the Eisenhower years made possible a 

reasonable hope of supporting oneself by 

being an artist. The post-war mentality 

was to embrace modernism as the 

significant direction for the arts. 

It is surprising, from our viewpoint, that the content 

of what we called modern had a wide and general 

approval. In painting, the style of the cubists, 

especially Picasso, was accepted. In music, Stravinsky 

and American jazz could be used as the standard; in 

literature, Hemingway and Maugham. Later, the 

more expressive artists were added to this pantheon 

of the accepted. The universal agreement and 

Maryruth Prose 

Ladder 

hand dyed and woven wool 

enthusiasm were overwhelming. I have a paper by a 

graduate student who claims we would go forward 

“by the grace of God and the guidance of Picasso.” 

This unanimity of opinion was, of course, limited to 

the art scene. At the Southwest Biennial opening in the 

fall of 1959, there were picketers at the fair grounds 

with literature denouncing us as communists or 

communist dupes who were knowingly misguiding 

the public by saying that bad art was good. These 

expressions of ours, it was argued, would eventually 

lead to the moral decline of the social fabric. But 

those in the avant-garde held their ground. 

The end of this solidarity (and with it, competitive 

art shows) was brought about by the 

diversity of new directions. The New 

Image show of 1959 and the Responsive 

Eye show of 1963, coupled with 

Andy Warhol’s contributions, raised 

questions of how one could compare 

diverse directions. That is, how can 

one say a particular Liechtenstein is 

better that a particular Rauschenberg, 

let alone the horror of a silk screen 

of a Marilyn Monroe photograph. 

Further, added to this was a group of 

traditional art patrons (often with a 

great deal of money) who had come 

to openly question the authority of 

the professional artists. Even academic 

administrators began to raise doubts. 

In Oklahoma City, the combination of 

an extremely advanced show juried by 

Clement Greenburg and the withdrawal 

of five abstract paintings alleged to 

be pornographic led to the end of the 

regional biennials. Similar dramas were 

enacted in most major cities. The age of 

the competitive shows was over. Small 

groups of particularized directions, such 

as representational water color, or china 

painting, alone continued. 

But, in the eighties the loss of a former 

age became evident. OVAC, in its 

inception, saw a need for the dynamic of 

the competitive show. The Leslie Powell 

Gallery in Lawton offered its first Centerfold show in 

1989 and The USAO Art Gallery began the Seven-State 

Biennial in 2001. Each had a different agenda. OVAC 

hoped to encourage the cutting edge of art and restore 

the modern to a vital role in Oklahoma. The founders 

of the coalition raised the comparison question. While 

willing to let the jurors deal with style problems, 

there remained the question of media breadth. Should 


feature 

15

16 

drawing and paintings be treated together? 

The Centerfold started eclectic with a loosely 

defined landscape idea (the dictates of the will 

of their patron, Leslie Powell) that became 

so loosely defined as to simply be a show of 

everything anywhere in the country. That there 

is a need for such a show is evident in the near 

800 entries from nearly every state. The show 

is well publicized in the national art media. 

Why would so many out-of-state artists pay to 

enter a show they have only a limit chance of 

getting in? All three shows have a respectable 

purse which is essential to their purpose. It is 

not the money itself that attracts the artists. The 

money guarantees a serious show and acceptance 

enhances their credentials. This is not unlike the 

role shows played in the 50s. How then do these 

shows differ from the early post-war models? 

Rather than attempt to grade the works as 

though they were by members of an academy 

(as was done in the 19 th century French salons) 

the juror forms an exhibition which exposes the 

general health of the art scene. This is a bit like 

Greenspan commenting on the economic well 

being of the nation. Even in the juror’s statement, 

Kristy Deetz said little about the particular 

aesthetic criteria of the work. She spends half the 

space quoting from her 1994 statement and then 

talks about the American scene. 

“Philosophically I viewed this year’s exhibition 

in much the same way [as she had done earlier]. 

Differences I did notice in the work submitted 

for the 2004/2005 Oklahoma:Centerfold include a 

broader range of voices, a heightened awareness 

of American and world politics, a stronger focus 

on gender issues and cultural criticism, and 

an increasing use of digital imagery and new 

technologies which are further blurring the 

boundaries among traditional media. 

“As a juror, I made selections based on the 

works’ capability to manifest a strong concept 

and effective technical execution, and to evoke 

in me a strong emotional/intellectual response. 

Congratulations to the winners especially, but 

to all entrants who undertook the challenge to 

unfold something of their individual landscapes.” 

In this eclectic array of art there are indeed 

some very fine pieces. D. J. Lafon’s oil painting, 

Morning Light, a figure study in ethereal colors 

shows a master artist at his finest. Lafon, retired 

from Ada and now living in Norman, is a 

frequent contributor to local shows and has 

become one of the assured statements of quality 

in any show. But to highlight the “comparing 

apples and oranges” dilemma, his work hangs 

next to a hand-dyed wool weaving by Maryruth 

Prose of Lawton. It is only in the last couple of 

decades that so purely a craft work could hang in 

a serious “art” show. There are still critics with 

mid-century criteria, but they are declining in 

number. Prose’s work, Ladder, is of unbelievable 

subtlety. First she has dyed an incredible range 

of color, then by sorting separate strands she 

makes a painterly illusion, reminiscent of the 

best of the op artists. 

Socio-political commentary dominates a 

woodcut called First Class by Mike Stephens of 

Corpus Christi, TX. The way in which Stephens 

comments on post 9/11 life recalls the early works 

of Ben Shahn, and, like Shahn, judgment of his 

work will probably depend more on the viewer’s 

red/blue position than on the aesthetics of the 

work. Reviewing the works in the show as one 

might a show a half century ago is impossible. 

There are many fine statements but not one 

concerted direction. The avant-garde is a thing 

of the past. In this post-modern world, a return 

to modernism—as we see in majority of the 

works—is merely another post modern position. 

It is certainly a show worth seeing. The aesthetic 

well being is still vigorous if lacking in direction. 

The selection of winners by Deetz continued in 

the democratic, aesthetically correct taste of the 

general selection. In the honorable mentions 

and critic choices one sees what is likely her 

taste, but the four top prizes are more like 

the best in four distinct categories or separate 

shows. First place winner, Stephens First Class 

has been mentioned above. Stephanie Grubbs, 

of Edmond, whose felt works have grown more 

and more sophisticated over the years was placed 

as second. An excellent work, called Swimming 

Flying, subtle colors and soft shapes give an 

evocative, loosely defined image. Nancy Morrow 

of Manhattan, KS, in her Heartland is probably 

the most typical of current style, although not 

one of the stronger works. Like many of postmodernist 

artists, she relies heavily on literary 

conceits at the cost of the visual. 

“Best in the Show” was given to Audrey 

Schmitz of Tonkawa, OK, for her silver gel 

prints and mixed media Icon. In some ways this 

piece does epitomize the tone of the show. The 

imagery of Schmitz’ work is highly eclectic. It is 

religious, but not of single defined religion. It is 

in the form of a sacred relic and requires a degree 

of reflection to grasp its spirituality. But, at the 

same time it is purely art. The use of materials 

is masterful, but the immediate effect has folk 

simplicity as though the artist had no idea about 

artfulness. The impact of Icon is conditioned 

by the presence of a second work very close in 

form called Beyond Mars. Like Icon it is sacred 

image. But Icon is far Eastern while Beyond Mars 

is American Indian in an implied Greco-Roman 

framework. Both works give a feeling of coming 

upon something of historical importance, not 

overwhelming but a good sense of presence. 

As a contemporary competitive show, The 

OKLAHOMA:Centerfold is certainly worth 

spending some time viewing. 

At A Glance 

Billy Reid 

‘Things Change’ 

40 x 40 inches 

mixed media on board 

by Julia Kirt 

The Untitled [Artspace] fall exhibitions were a great 

partnering of styles and media featuring Rob Phoenix, 

Shelly Collins, and Blake Collins running December 3 rd 

until January 22nd, 2005. Rob Phoenix’s introspective 

paintings filled the main gallery. Using a subdued 

palate, Rob’s acrylic on panel surfaces demanded 

attention. His imagery explored symbols, coming 

across like hieroglyphics with molded backgrounds. 

Above all, he seemed focused on the process of 

painting. In the small west gallery, Shelly Collins 

playful mosaics combined great textures. Her use of 

color and surfaces was great. Really, I couldn’t help 

but feel good looking at her work, as they seemed to 

exude a joy with life. 

Featured in the small east gallery, Blake Collins’ 

drawings were mesmerizing—-both mirthful and dark. 

Getting to see his sketchbooks had me transfixed. His 

style plays on the old school look of etching in crosshatching, 

but with a contemporary twist in scale or 

subject. I look forward to seeing more of his work. 

Mainsite Contemporary Art Gallery in Norman has 

made a consistent commitment to the best in 

contemporary art. Subsequently, the gallery has 

organized a regular series of exhibitions for young or 

up-and-coming artists. The most recent installment, 

Emerging Artists, was held December 3- January 

22. The exhibition featured Billy Reid, Erin Cochran, 

Katrina Tullius, Megan Akers, Garland Grantham, 

Ashley Nicole Smith, Craig Tompkins. I like the way 

the Mainsite asked each artist to really submit a body 

of work. Rather than a show with a smattering of 

pieces, viewers could get a strong sense of each 

artist’s direction. This type of challenge and focus 

is something I think we strongly need to improve 

the arts in Oklahoma—calling on each artist to pick 

their best work and make it even better. Anyway, 

the groupings of work were great. I was enthralled 

in Katrina Tullius’ works. She uses needlepoint on 

varying fiber backings, creating disconcertingly 

attractive and yet not harmonious compositions. Erin 

Cochran’s paintings were another highlight with their 

understated skill and wit.

Viewer’s Choice winner 

Matt Wiens with one of 

his paintings. 

Round Up March/April 

The next Oklahoma Visual Arts Coalition Artist 

Survival Kit workshop will be “The Organized 

Artist: Cataloging and Documenting Your Work” 

at the Edmond Historical Society on April 9, 

1-4pm. You know this is your chance to fulfill 

that New Year’s Resolution to get things in 

order! Watch for registration information via 

mail or online (www.ovac-ok.org) shortly. 

OVAC Program Assistant 

Stephanie Winter works with Trent 

Lawson, co-chair of Momentum 

committee, at the event. 

The fourth annual Momentum event in Oklahoma 

City on January 8, 2005 was OVAC’s biggest event 

ever—literally with over 1,100 attendees! 

Troy Wilson, Exhibits Director at City Arts Center, 

and Dustin Hamby, Assistant Director of JRB Art 

at Elms juried the exhibition this year. The cocurators 

were incredibly thorough, spending more 

than six hours reviewing submissions from 147 

young artists. They chose 160 works by 85 artists 

age 30 and younger, which included visual art, 

installations, dance, film, mixed media, and more. 

Of the selections, Wilson said, “I enjoyed the 

experience of seeing work created from a fresh 

perspective. My personal criteria for selection were 

based on an effective combination of the following: 

technical ability, presentation, genuine exploration 

of subject matter and most importantly, the presence 

of a unique artistic ‘voice.’” Hamby added, “Many 

of the artists’ works reviewed were new to me, and I 

was grateful for the exposure to so many interesting 

and challenging ideas.” 

The curators also selected six of the awards: Best in 

Show: Billy Reid, OKC; Pitchy Patchy Award: Ruth 

Ann, Borum, Norman; Doerner, Saunders, Daniel & 

Anderson LLP Award: Amanda Hagy, Stillwater; 

Awards of Merit: Scott Henderson, OKC; Elise 

Deringer, Norman; Jennifer Glenn, Stillwater 

The Viewers’ Choice Award was tallied by audience 

votes with Matt Wiens, OKC the runaway winner. 

The OVAC fellowship and awards selections are just 

in. Congratulations to Jonathan Hills, Norman who 

is the Oklahoma Visual Arts Fellowship for 2005 

recipient. This year’s Artist Awards of Excellence 

recipients are Joseph Daun, Oklahoma City; Laura A. 

Guth, Midwest City; and Gary Hickerson, Oklahoma 

City. Watch for more information and images next 

issue. Mark Pascale, who is the Associate Curator 

in the Department of Prints and Drawings at The Art 

Institute of Chicago, carefully selected the recipients. 

Robin Chase, co-chair of 

the Momentum committee. 

OVAC Director Julia Kirt with 

artists’ Trinity and Paul Mays. 

Momentum OKC: a Blow Out Success 

Four great bands kept the even lively including 

Simple Tree, 2Bass3, the B-Sides, and a classical 

duet of M. Brent Williams and Ginger Harkey. 

Perpetual Motion performed modern dances several 

times throughout the evening. Gary Parks brought 

his turntable to mix some old school music. Molly 

O’Connor performed “Oklahoma Land Crawl” to 

challenge the audience. Nicole Moan’s ceramic 

corsets made an appearance with new models. The 1/0 

collective performed an improvisational computer and 

projection spectacle that kept viewers mesmerized. 

The event took place at 1100 North Broadway 

on Historic Automobile Alley in downtown 

Oklahoma City. The location, generously donated 

by C.D. Warehouse, and offered a labyrinth of 

winding pathways and individual rooms to hold 

installations and film as well as larger galleries for 

the art, dance, and music. 

The event could never have taken place without 

the amazing volunteer committee co-chaired by 

Robin Chase and Trent Lawson. Other members 

were Jennifer Barron, Carissa Bish, Enise Carr, 

Maya Christopher, Elise Deringer, Sheila Guffey, 

Shana Keith-Ward, Heather Lee, Nathan Lee, Jeff 

Longstreth, Nicole Moan, Scott Jonathan Nixon, 

Romy Owens, Kolbe Roper, Anna Small, Clint Stone, 

Christian Trimble 

Watch for Momentum Tulsa in June 2005! 

A collaborative exhibition called Oklahoma 

Landscape will open March 12 at 2 pm in the 

Philbrook Museum of Art Education Center Gallery, 

Lower Level (North Wing). Curator Michael Freed 

selected the artists for the invitational exhibition from 

OVAC’s Virtual Gallery, www.ovacgallery.com. 

The next OVAC Grant deadline is April 15, 2005. 

Forms are available online www.ovac-ok.org. Call 

(405) 232-6991 or email if you have any questions. 

round up 

17

18 

Gallery Listings & Exhibition Schedule 

Ada 

Works from the ECU Collection 

Through March 13 

Annual Faculty Show 

March 21- April 8 

Opening reception, March 24, 

5 - 6:30 

Annual Student Show 

April 11- April 22 

Opening reception and awards, 

April 21, 5-6:30 

Senior Shows 

April 24- May 14 

University Gallery 

East Central University 

(580) 310-5356 www.ecok.edu 

Ardmore 

Selections from the Permanent Collection 

March 

The All-School Exhibit 

Area Elementary Schools 

March 28-April 8 

Reception April 5 

Area Middle and High Schools 


Reception April 20 

Charles B. Goddard Center 

401 First Avenue SW 

(580) 226-0909 www.godart.org 

Bartlesville 

Bold Improvisation: 120 years of 

African-American Quilts 


Dennis Oppenheim: Indoors, Outdoors 

March 18- May 22 

Price Tower Arts Center 

6 th and Dewey 

(918) 336-4949 www.pricetower.org 

Broken Bow 

Forest Heritage Center 

Beaver’s Bend Resort 

(580) 494-6497 

www.beaversbend.com 

Chickasha 

Painting and Sculpture by Joe B. 

Lucero 

February 20 to March 18 

Opening Sunday, February 20 

at 3:00 pm 

University of Sciences and Arts 

of Oklahoma Gallery-Davis Hall 

1806 17 th Street 

(405) 574-1344 

www.usao.edu/~gallery/ 

Claremore 

Foundations Gallery-Baird Hall 

Rogers State University 

(918) 343-7740 

Durant 

Southeastern OK State 

University 

1405 N. 4 th PMB 4231 

Durham 

Art of the Curve: An Exhibition of 

Sculpture 


Opening reception March 6, 1-3 

Metcalfe Museum 

Rt. 1 Box 25 

(580) 655-4467 

Edmond 

The 50 Years of Photojournalism of the 

Daily Oklahoma Exhibit 


Watercolor Oklahoma XX Exhibit 

May 3- 26 

Edmond Historical Society 

431 S. Boulevard 

(405) 340-0078 

www.edmondhistory.org 

Chambers Library Gallery 

University of Central Oklahoma 

100 University Drive 

(405) 974-5931 

www.camd.ucok/events.edu 

El Reno 

Gordon Parks Photography 

Competition: Celebration of Culture 

and Diversity 


Redlands Community College Student 

Show 


Redlands Community College 

(405) 262-2552 

www.redlandscc.edu/visitors/ 

gallery.htm 

Idabel 

30 Years, 30 Treasures 


Museum of the Red River 

812 East Lincoln Road 

(580) 286-3616 

www.museumoftheredriver.org 

Lawton 

Corazon Watkins and Gerald Clark 


The Leslie Powell Foundation 

and Gallery 

620 D Avenue 

(580) 357-9526 

www.lpgallery.org 

Norman 

Helen Giddens: Quilts 


Daniel Gegen: Ceramics 

April 22- June 4 

Firehouse Art Center 

444 South Flood 

(405) 329-4523 

www.normanfirehouse.com 

OU American Indian Student Faculty 

Staff Exhibit 

April 3-30 

Jacobson House 

609 Chautauqua 

(405) 366-1667 

Fred Jones Jr. Museum of Art 

410 W. Boyd Street 

(405) 325-3272 www.ou.edu/fjjma/ 

Haze Diedrich 

She Spoke in Circles 

48” x 53” oil on canvas, 

David Crismon 

Charles I, 1635 

42” x 42” oil on metal 

New Work from David Crismon 

and Haze Diedrich at Mainsite 

in Norman through March 12th. 

David Crismon and Haze Diedrich 


Mainsite Contemporary Art 

Gallery 

Sarah Williams 

Topography of the Brain 

Back to Basics Photography at 

City Arts in OKC 

122 East Main 

(405) 292-8095 

www.mainsite-art.com 

Oklahoma City 

Fiberworks 2005 


Opening reception March 12, 

6-8 pm; 

Back to Basics Photography & Eye Spy 


Opening reception April 28, 

5:30- 7:30 

City Arts Center 

3000 Pershing Blvd. 

(800) 951-0000 

www.cityartscenter.org 

The Heart of the Southwest 


New Works by DJ Lafon 


Opening reception April 1 

JRB at the Elms 

2810 North Walker- The Paseo 

Arts District 

(405) 528-6336 

www.jrbartgallery.com 

EdgeArtNow Exhibition 

April 1- 30 

Individual Artists of Oklahoma 

811 N. Broadway 

(405) 232-6060 www.iaogallery.org 

International Photography Hall of 

Fame Inductee Exhibit 

Through April 3 

The Noble Metals: Platinum and 

Palladium 


International Photography Hall 

of Fame and Museum 

2100 NE 52 nd Street 

(405) 424-4055 www.iphf.org

Kirkpatrick Galleries at the 

Omniplex 

2100 NE 52nd 

800-532-7652 www.omniplex.org 

Helicopter Cowboy 


An Artist with the Corps of Discovery: 

The Lewis and Clark Suite 


Brent Phelps: Photographing the Lewis 

and Clark Trail 

Through May 8 

Fred Beaver and Acee Blue Eagle: 

Oklahoma Indian Artists 

Through October 23 

National Cowboy and Western 

Heritage Museum 

1700 NE 63 rd 

(405) 478-2250 

www.cowboyhalloffame.org 

Augusta Metcalf 

Governor’s Gallery 


Bill Jaxon 

East Gallery 


Yosef Kahnfer 

East Gallery 


Oklahoma State Capital 

Galleries 

2300 N. Lincoln Blvd. 

(405) 521-2931 

www.state.ok.us/~arts 

Kid Size: The Material World of 

Childhood 


Margaret Bourke-White: The 

Photography of Design, 1927- 1936 


Oklahoma Museum of Art 

415 Couch Drive 

(405) 236-3100 www.okcmoa.com 

Oklahoma Watercolor Association 

Mixed Media and Collage Exhibit 


Nona Hulsey Gallery, 

Norick Art Center 

Oklahoma City University 

1600 NW 26 th 

(405) 521-5226 

April 30 to June 10 

OVAC (Oklahoma Visual Arts 

Coalition) 

Painting and Drawing Exhibition 

Opening Saturday, April 30, 2:00 

to 4:00 pm 

Martin Delabano 

Tom Toperzer 


Antje Manser: Botanicals 

Mykl Ruffino: New Works 


Untitled (Art Space) 

1 NE 3 rd St. 

(405) 815-9995 www.1NE3.com 

University Gallery 

Oklahoma Christian University 

2501 East Memorial Road 

(800) 877-5010 

Ponca City 

Dean Bloodgood 


Brent Greenwood and Randy Marks 


Artsplace Ponca City 

319 East Grand Ave 

(580) 762-1930 

Ponca City Art Center 

819 East Central 

Shawnee 

Brush in a Healing Hand: Barbara 

Gallagher 



7-9 pm 

Mabee-Gerrer Museum of Art 

1900 West University 

(405) 878-5300 www.mgmoa.org 

Stillwater 

Scott Reynolds: Standard American 


Pakistani Miniature Painting 

and Drawing Biennial 


Graphic Design Portfolio Exhibition 

April 10- 20 

Annual Juried Student Art Exhibition 


Gardiner Art Gallery 

Oklahoma State University 

108 Bartlett University 

art.okstate.edu/gallery.htm 

Tulsa 

G.C. Roundup: Cowboys of 

the Grand Canyon 

by Brian Magnuson 


Abstract Images by David Varmecky 


Apertures Gallery 

1936 South Harvard 

(918) 742-0500 

www.aperturesphoto.com 

D.J. Lafon 

Morning Light 

Oil 

from OKLAHOMA: 

Centerfold show 

Boston Artists 

Gallery 

23 East Brady 

(918) 585-1166 

1000 Years of 

Native American 

Art 

January 22- longterm 

exhibition opens 

Machu Picchu: Unveiling the Mystery 

of the Incas 

March 19- July 10 

Gilcrease Museum 

1400 Gilcrease Road 

(918) 596-2700 www.gilcrease.org 

Holliman Gallery 

Holland Hall 

5666 East 81 st Street 

(918) 481-1111 

Idol: A Man’s Obsession works by 

Aaron Hussey 

March 4-24 

Suffering Fools, Gladly: Works by 

Paul Medina 

April 1- 29 

Living ArtSpace 

308 Kenosha 

(918) 585-1234 www.livingarts.org 

Tom Conrad 


Ann Marie DiStefano 


Floating World Gallery 

3714 S. Peoria Avenue 

(918) 706-1825 

Hudson River School: Masterworks 

from Athenaeum Museum of Art 


The Philbrook Museum of Art 

2727 South Rockford Road 

(918) 749-7941 www.Philbrook.org 

Stitched Skins by Nancy Carlson 

March 4-26 

Michael Hoffner, Joseph Mills and 

Larry Pickering 

April 

Tulsa Artists Coalition Gallery 

9 East Brady 

(918) 592-0041 www.tacgallery.org 

Tulsa Performing Arts Gallery 

110 East 2 nd Street 

(918) 596-7122 

Tulsa Photography Collective 

Gallery 

North Hall at OSU-Tulsa 

700 North Greenwood 

Michael Barnes 

March 3- March 25 

Opening reception, March 3, 

5-6:30 pm 

37 th Annual Gussman Student 

Exhibition 



5- 6:30 pm 

Master Thesis Exhibition 


Opening reception April 28, 

5- 6:30 pm 

Alexandre Hogue Gallery 

Phillips Hall, the University of 

Tulsa 

600 South College Ave. 

(918) 631-2202 

www.cas.utulsa.edu/art/ 

Waterworks Art Studio 

1710 Charles Page Blvd. 

www.cityoftulsa.org/parks/ 

Waterworks.htm 

Woodward 

Annual Paul Laune High School Art 

Competition 

March 4- March 30 

Opening reception March 30 11- 2 

Harry Kraft Kites 

April 5- April 29 

Reception April 9. 2-4 

Plains Indians and Pioneers 

Museum 

2009 Williams Avenue 

www.pipm1.com 

(580) 256-6136 

Rob Phoenix 

untitled, 

acrylic on wood panel, 

22” x 31” 

19

ArtFocus 


ArtFocus Oklahoma may be purchased at: 

Oklahoma City 

Full Circle Book Store 

50 Penn Place, 1st floor 

NW Expressway & Pennsylvania 

OVAC office 

Stage Center 

400 South Sheridan 

Tulsa 

Apertures Photographic Services 

1936 South Harvard Avenue 

Steve Sundry Book & Magazines 

2612 South Harvard Avenue 

Back issues may also be purchased 

at the OVAC office. Cost is $3 per issue. 

Annual subscription is $15. Annual subscription 

free with membership in the Oklahoma Visual 

Arts Coalition. Membership forms and benefits 

can be found at www.ovac-ok.org or by phone 

(405)232-6991. 

Individual Membership: $30 

Student Membership: $15 

Family/Household Membership: $50 

Patron Membership: $100 

Sustaining Membership: $250 

Also, check out www.ovacgallery.com to learn 

more about artists in Oklahoma. 

Promise Guidry 

Cowboy Pickle 

acrylic on canvas 

2004 

Recently in Momentum 

PO Box 54416 

Oklahoma City, OK 73154 

Return Service Requested 

Shea Alexander 

Bonnie Amspacher 

Kristy Lewis Andrew 

Ty Atkins 

Margaret Aycock 

Maria Barakat 

Paul Barby 

Juli Barker 

Robert L. Barr 

Thomas Batista 

Nick Bayer 

Fred Bidwell 

J. Scott Black 

Kathleen Blake 

A. Clark Bockhahn 

Carol Bormann 

Bjorn Bower 

Eliazabeth Anne Brown 

Granger Brown 

Anji Bryner 

Kelly Cameron 

Barbara Chaffin 

Stefan Chinov 

Terry M. Clark 

Steve Cluck 

April Coates 

Kjelshus Collins 

John L. Cox 

Tara Crites 

Gayle Curry 

Adrienne Day 

de Shan 

Cathy Deuschle 

Brent Doster 

Elizabeth Downing 

Lori Duckworth 

Sandra Dunn 

Sam Echols 

Rand and Jeanette 

Elliott 

Nadia Ellis 

Maria Engles 

Kelley Farrar 

Randy Floyd and 

Michael Smith 

Joyce Fogle 

Denise Fox 

Tracy Frankfurt 

Robert A. French 

Casey Friedman 

Natalie Friedman 

Carrie Fudicker 

Darlene Garmaker 

Sunshine Garner 

Sterling Gates 

Jennifer Glenn 

Brent Goddard 

Shan Goshorn 

Darryl Gouch 

Garland Spencer 

Grantham 

Matt Gruber 

Amanda Hagy 

Nancy Harkins 

Cynthia Harris 

Bob and Janet Hawks 

Heidi Helmers 

Dana Helms 

Jaime Henderson 

Brandon Herrera 

Justin Hodges 

Pam Hodges 

F. Bradley Jessop 

Jane J. Johnson 

Kreg Kallenberger 

Jean Keil 

Jane Kistler 

Jordan Kopf 

Kristina Kroboth 

Chrysteena Lairamore 

Lynda Jo Laird 

Patrick Laird 

Carter Lees 

Vincent B. Leitch 

Ratna Kumar Lekkala 

P. Keith Lenington 

Adam Lopez 

Michael Lortz 

Jimmy Lovett 

Vicki Maenza 

Katrina Mann 

Randy L. Marks 

Jason Martin 

Maribel Martinez 

Joan Matzdorf 

Heidi Mau 

Paul and Trinity Mays 

Chris McMillin 

Cindy McNicholas 

Rick McQueen 

Sunni Mercer 

Shawn Meyers 

Marie Miller 

Francis Moran 

Susie Murphy 

Raybert Murrell 

Amber Nemelek 

Dylan Oaks 

Lori Oden 

Joshua Ogle 

D. Oswald 

Adam Oxsen 

Andrew Phelan 

Chris Presley 

Judith Prise 

Billy Reid 

Michelle Firment Reid 

Denise Rinkovsky 

Eric Saak 

Lane Savage and Chad 

Non Profit Org. 

US POSTAGE 

P A I D 

Oklahoma City, OK 

Permit No. 113 

Thank you to our New and Renewing Members 

from November and December 

Graham 

Klint Schor 

Bert D. Seabourn 

Cal Sechrest 

Hina Shafiq 

Mark Sharfman 

Ann Shaw 

Byron Shen 

Joe Slack 

Chris Small 

Geoffrey L. Smith 

Carrie Smith 

Miranda Sowell 

Jacquelyn Sparks 

Scott Spicer 

Sara Spradling 

Justin Spurlin 

Clint Stone 

Skip Thompson 

Justin Tilford 

Jennifer Tolman 

Tom R. Toperzer 

Brooks Tower 

J. Diane Trout Harwood 

Teresa Valero 

Cole Vittetoe 

Milly M. West 

Amy Widener 

Sarah Williams 

Michael J. Wilson 

Kody Wilson 

Ashley Nicole Winkle 

Betty Wood 

Joyce Yeich 

Joanna Zuniga 

Kristal Zwayer

It's Back! - Oklahoma Visual Arts Coalition

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