It's Back! - Oklahoma Visual Arts Coalition

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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.

Audrey Schmitz 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 continued page 16 feature 15

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