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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
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Page 3 and 4: Explore Behind the scenes with cera
Page 5 and 6: dressing my dolls in scarves as a y
Page 7 and 8: Morgan Robinson seed pod/picked up/
Page 9 and 10: 24 Works on Paper Traveling Exhibit
Page 11 and 12: Bradley Jessop Blue Yodel #2 Monoty
Page 13 and 14: Back to Basics Photography In an ag
Page 15: Audrey Schmitz Icon Photo-assemblag
Page 19 and 20: Kirkpatrick Galleries at the Omnipl

It's Back! - Oklahoma Visual Arts Coalition

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