Pantoja’s Gallery. The work of Cuban artist Jose Antonio Pantoja Hernandez is sadly beautiful, filled with the realities of Cuban people.

1. Art FocusArt FocusO k l a h o m a
Oklahoma Visual Arts Coalition
Volume 27 No. 6 November/December 2012

2. 2
When faced with a creative block, artists are often advised to
“go with what you know.” The implication is that familiarity
with a subject will shine through in the work, giving it depth
and honesty, not to mention a confidence that allows the artist
to work through a block. In this issue of Art Focus Oklahoma, we
introduce you to several artists who have put this concept into
action, expressing “what they know” on both personal and global
scales.
Though he is currently residing in Tulsa, Cuban artist Jose
Antonio Pantoja Hernández, known as Pantoja, (p. 10) expresses
the desperation of his home country in his paintings. His
experience with famine, lack of resources, and governmental
infringement bleed through in the work, showing his sense of despair for his family and
country.
Women who veil as a religious practice are at the center of the conversation in an exhibition at
Oklahoma State University’s Gardiner Art Gallery (p. 14). Rather than featuring a third person
opinion on the practice, the exhibition offers the women themselves a chance to express what
the tradition means to them. The result is a collection of highly personal works, with often
divergent reactions to the subject.
Tulsa artist Nathan Opp (p. 16) is intimately familiar with the subject of his paintings – the
domestic spaces of his everyday life. While the subject is personal, he portrays it in such a way
to become universal; any viewer could place themselves within the work.
Finally, I hope you’ll make plans to join us at the opening reception of the Oklahoma Visual
Arts Coalition’s new exhibition, Concept/OK: Art in Oklahoma (p. 18). We are thrilled to partner
with the Arts and Humanities Council of Tulsa to present the inaugural exhibition at the new
Hardesty Arts Center. At the reception on December 16, 1-5 pm, you’ll see artwork from many
Oklahoma artists, along with related works from artists living in the region.
As we wrap up the year 2012, I hope you’ll take advantage of the many opportunities to
experience art in our state, and consider how they add to or challenge “what you know.”
Art FocusO k l a h o m a
Oklahoma Visual Arts Coalition
730 W. Wilshire Blvd., Suite 104
Oklahoma City, OK 73116
ph: 405.879.2400 • e: director@ovac-ok.org
visit our website at: www.ovac-ok.org
Executive Director: Julia Kirt
director@ovac-ok.org
Editor: Kelsey Karper
publications@ovac-ok.org
Art Director: Anne Richardson
speccreative@gmail.com
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.
Mission: Supporting Oklahoma’s visual arts and artists
and their power to enrich communities.
OVAC welcomes article submissions related to artists and
art in Oklahoma. Call or email the editor for guidelines.
OVAC welcomes your comments. Letters addressed
to Art Focus Oklahoma are considered for publication
unless otherwise specified. Mail or email comments to
the editor at the address above. Letters may be edited
for clarity or space reasons. Anonymous letters will not
be published. Please include a phone number.
OVAC Board of Directors July 2012 - June 2013:
R.C. Morrison, Bixby; Patrick Kamann, Margo Shultes von
Schlageter, MD (Treasurer), Christian Trimble, Edmond;
Eric Wright, El Reno; Traci Layton, Enid; Suzanne
Mitchell (President), Norman; Jennifer Barron (Vice
President), Susan Beaty (Secretary), Bob Curtis, Gina
Ellis, Hillary Farrell, Michael Hoffner, Kristin Huffaker,
Stephen Kovash, Carl Shortt, Oklahoma City; Joey
Frisillo, Sand Springs; Jean Ann Fausser, Susan Green,
Janet Shipley Hawks, Kathy McRuiz, Sandy Sober, 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.
Member Agency of Allied Arts and member of the
Americans for the Arts.
© 2012, Oklahoma Visual Arts Coalition.
All rights reserved.
View the online archive at
www.ArtFocusOklahoma.org.
On the cover
Geoffrey Krawczyk, Norman, Psychopomp,
Mixed media on canvas, 55” x 59.5”.
Krawczyk is featured in the Concept/OK: Focus
exhibition. See page 18.
from the editor
Kelsey Karper
publications@ovac-ok.org
Support from:

3. 3
profiles
4 Preserving the Classics: Leslie Lienau’s Realism
Edmond artist Leslie Lienau’s appreciation and practice of classical artistic techniques led her to
found the Conservatory for Classical Art.
8 Home Court Advantage: Robbie Kienzle
As the City of Oklahoma City’s new Arts and Cultural Affairs Liaison, Kienzle is focusing on
incorporating art into downtown’s public places.
10 Pantoja in Tulsa: Fighting for Freedom Through Art
Cuban artist Jose Antonio Pantoja Hernández is currently living in Tulsa, creating artwork that
expresses his frustrations with and hopes for his home country.
12 Connecting the Dots: Steve Tomlin at Tulsa Performing Arts Center
In a new exhibition, Tomlin shows his love for color and its evocative and emotional possibilities.
previews
14 The Veil: Visible and Invisible Spaces
An exhibition at Oklahoma State University’s Gardiner Gallery gives context to the discussion around
veiling as a religious practice.
16 Nathan Opp: Recent Paintings
Quiet, everyday domestic scenes are transformed with light and color in a new series of paintings
by Tulsa artist Nathan Opp.
18 Concept/OK: Focus – An Oklahoma and Kansas City exchange
OVAC’s new exhibition, Concept/OK: Art in Oklahoma, presents a broad survey of Oklahoma artists
in context with artists from the region.
features
24 State of Art: The Central Oklahoma Artist Support Study
The Cultural Development Corporation of Central Oklahoma recently released a study examining the
opportunities for individual artists living and working in central Oklahoma.
business of art
26 Ask a Creativity Coach: Set the Stage for Sucess
The Creativity Coach offers advice on how to deal with frustrations and impatience when switching
gears in your art.
at a glance
27 Opening Party Welcomes New Collection and Returning Students
The James T. Bialac Collection at the Fred Jones Jr. Museum of Art in Norman celebrates Native
American culture in Oklahoma and the American Southwest.
OVAC news
28 OVAC News
29 New and Renewing Members
30 gallery guide
contents
(p. 4) Leslie Lienau, Edmond,
Thunderhead, Pastel on paper, 3” x 5”
(p.16) Nathan Opp, Tulsa, Woman on
Couch Resting with Cat, Oil on canvas,
24” x 36”
(p.13) Steve Tomlin, Tulsa, Applause,
Acrylic on Canvas, 24” x 24”
4
12
16

5. 5profile
Preserving the Classics: Leslie Lienau’s Realism
by Tiffany Barber
A young girl is pictured profile, wearing
a red scarf that completely covers her hair.
Her white blouse folds and covers her right
shoulder. She looks straight ahead, her eyelids
slightly heavy. She is surrounded by a blue
and grey background and centered between
the edges of the image. Line is defined but
soft; color is rich but subtle; texture is present
but refined. The work is Girl in a Red Scarf
(2011) by Edmond-based artist Leslie Lienau.
Rendered in pastel on paper, the simplicity of
the composition registers immediately then
quickly becomes more complex with closer
observation. Line dissolves into a painterly
quality of abstraction as layers of color are
revealed through deliberate shading; the
build-up of pastel on the surface of the paper
creates palpable texture. In its small, intimate
scale – the piece is 6 inches x 6 inches – Girl
in a Red Scarf draws the viewer into a world
that is at once unassuming, mysterious, and
well-composed.
Leslie Lienau began as a self-taught artist
working primarily in watercolors. Lienau
later studied briefly with painter Jacob
Collins, founder of Grand Central Academy
of Art in New York who encouraged her to
study with painter Ted Seth Jacobs at L’Ecole
Albert Defois in Les Cerqueux, France. While
working with Jacobs, Lienau learned the
importance of mindful copying. Lienau was
initially drawn to realism because it was a
style she could understand and identify with.
More importantly, she could copy it.
While in France, Lienau’s approach
to copying moved from mindless to
mindful practice, bringing a more focused
intentionality to her work. Lienau’s practice,
which includes portraiture, landscape, still
life, and abstraction, is best described as
contemporary realism. Artists working
in the US and Canada in the 1960s and
‘70s popularized contemporary realism, a
movement based in figuration. Contemporary
realism reinterprets classical realism,
privileging natural yet highly objective
representations of objects and subjects
that capture and portray the real rather
than the ideal. Following contemporary
realism, Lienau combines the training of
classical realism with an explorative and
impressionistic approach to her work. Lienau
counts Arizona-based representational
painter Dan Robinson as a core influence in
developing her current style. Her practice
has shifted away from her previous work
with watercolors. Now Lienau prefers pastels,
though she also works in graphite, charcoal,
and oil.
The practice of drawing has always been at
the center of Lienau’s approach to artmaking.
For Lienau, “the practice of drawing is
fundamental as well as the understanding
of design.” The importance of drawing and
design informs Lienau’s affinity for master
painters such as Da Vinci, Caravaggio, and
Rembrandt. In the artist’s words, these artists
“understood anatomy, light, composition,
and design.” Lienau brings age-old methods
established in the Italian Renaissance, Dutch
Golden Age, and Beaux-Arts traditions to
both her studio and teaching practices of the
past thirty years. In 2011, Lienau opened The
Conservatory for Classical Art (CCA) to meet
the expanding needs of the teaching studio
she maintained from her home.
The CCA is a private fine art teaching studio
that prepares students for further study
at larger academies, universities, and art
schools. The CCA occupies what used to be
the Edmond School of Ballet, founded by
Caroline Glasgow under a similar vision as
the CCA: to offer basic yet serious training
in classical forms of ballet. The school’s
curriculum is designed to instill strong skills,
knowledge, and understanding of traditional
techniques and practices of canonical and
present-day master painters and draftsmen. The
CCA offers a range of adult and youth classes,
workshops, and long courses taught by Lienau
and a host of local and visiting instructors.
Central to its mission is a scholarship program
for qualifying low- and middle-income youth
for which an online fundraiser was launched at
the end of October 2012.
continued on pg. 6
(opposite page) Leslie Lienau, Edmond,
Patty, Oil on linen, 8” x 10”
(left) Leslie Lienau, Edmond, The Girl With
The Red Scarf, Pastel on paper, 6” x 6”

6. 6 profile
Leslie Lienau, Edmond, Strawberries In A Bowl, Pastel on paper, 12” x 9”
The CCA functions as one of the region’s only
ateliers devoted to classical, academic visual
art instruction for youth and adults. The CCA
recently offered workshops in “Sculpting the
Portrait” with Alicia Ponzio and “Classical
Figure Drawing” and “Poster Study” with
Nicholas Enevoldsen; both Ponzio and
Enevoldsen trained at the Florence Academy
of Art in Italy. Of special note is the youth
atelier, a four-year studio program of intensive
study in drawing, color theory, painting,
sculpture, and art history. With a growing
enrollment of 72 students, Lienau hopes to add
a fully developed sculpture program and to
eventually move the school to Oklahoma City.
Leslie Lienau is a recurring participating artist
in OVAC’s 12x12 Art Fundraiser. Her work
has been exhibited at the Governor’s Gallery
in the Oklahoma State Capitol building and
at the American Art in Miniature Show at the
Gilcrease Museum in Tulsa, OK. Her work
is held in a number of private and public
collections. She lives and works in Edmond.
For more information, please visit
www.leslielienau.com or www.classicalart.org. n
Tiffany Barber is a freelance visual arts writer
and organizer. Her curatorial projects have featured
work by artists responding aesthetically to the
conditions of urbanization in the contemporary
moment. Tiffany is a PhD student in Visual and
Cultural Studies at the University of Rochester. Her
writings on contemporary art have been published in
Beautiful/Decay, THE Magazine Los Angeles,
Public Art Review, Art Focus Oklahoma and
online publications ForYourArt, Americans for the
Arts, LatinArt, and Evil Monito Magazine.
continued from pg. 5

7. 77
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Chambers Library,
2nd & 3rd floors
For information,contact:
Dr.William Hommel
(405) 974-5252
bhommel @uco.edu
Objects from the 1st
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8. Home Court Advantage: Robbie Kienzle
by Romy Owens
Imagine downtown Oklahoma City after
the Thunder wins a big game: thousands of
people in the midst of a street party, chanting,
cheering. Certainly, it’s not too difficult
to visualize as in May 2012, the Thunder
garnered national media for Oklahoma
City, and the day after the Thunder’s game
two win over the Miami Heat during the
playoffs, videos of the previous night’s riotous
celebration showed hundreds of people
crammed into the underpass at Sheridan and
EK Gaylord. (Search “OKC riot after thunder
game” on YouTube.)
“How cool would it have been to have some
amazing mural or mosaic art or a light display
in that tunnel?” asks Robbie Kienzle, Arts
and Cultural Affairs Liaison for the Oklahoma
City Planning Department. “That would have
shown the world that OKC is really cool.”
In 2009, the Oklahoma City Council approved
a plan that requires one percent of construction
expenses spent on city-owned property to be
spent on public art. Artwork installed in the
tunnel entrances to Bricktown is just one of
the possibilities of how to integrate art in
public places in downtown Oklahoma City.
Kienzle’s number one goal in her first year as
the city’s Arts and Cultural Affairs Liaison is
to develop a comprehensive master plan for
public art which will integrate public art into
the city’s current, and future, initiatives like
Core to Shore, Project 180, and MAPS 3.
“You know, when we have this amazing
convention center and a 70 acre park that
connects our convention center to all the
things going on at the river: an Olympic trial
ground, a white water kayaking facility…
combined with the American Indian Cultural
Center that represents 39 tribes… this is huge!
8 profile
One of the locations Robbie Kienzle imagines rotating public art is along the concrete portion of this parking garage at sheridan and walker where artists could
install panels of large scale 2D works.

9. “There’s an expectation for the art piece,” she
proclaimed. “We need to have guidance on
some of these world class [art] pieces to help
us complete that thought of having these
world class facilities.”
Prior to accepting her new liaison position,
which oversees Oklahoma City’s Arts
Commission, Kienzle was the Urban
Redevelopment Division Director of the
Oklahoma City Planning Department.
Kienzle also worked as the director for the
Festival of the Arts. “What I learned at the
Arts Council [of Oklahoma City] is that
people support what they help to create,”
she explained. Previously, she was the city of
Shawnee’s Oklahoma Main Street manager
and the executive director of the American
Institute of Architects.
As a visual art consultant for the Will Rogers
World Airport expansion, the Skydance
Pedestrian Bridge, and previous MAPS
projects, including the ballpark, downtown
library and canal, Kienzle has experienced the
subtleties involved in selecting the right art
for the right location.
Among her personal all time favorite
artworks are Claes Oldenburg’s large outdoor
sculptures. “I guess I have an obsession with
art as everyday objects.”
Philadelphia, Kansas City, Seattle,
Albuquerque and Tulsa all sustain successful
public art programs. According to the
National League of Cities, “Communities of
‘cookie-cutter’ developments are ill-prepared
for long-term sustainability because they
lack defining characteristics that distinguish
them from any other community.” Public
art is a substantial way to establish the
uniqueness of a city.
Kienzle believes that cities establish positions
for arts and cultural affairs when they’re
confident that they’re on the right track and
making big things happen. “They see the
economic value in both attracting people to
their cities as well as job creation benefits from
artists of all disciplines being employed.”
Looking ahead, Kienzle sees continued
development in the Oklahoma City art
community. “Good things take time,” she
explained. “I see more artistic enclaves,
more temporary public art, more collecting
from local artists, more art in schools,
more cross-disciplinary work, and a real
opportunity to grow our local music and
performance venues.”
In 2011, the Oklahoma state legislature
voted to suspend the state art in public places
act for three years. However, Kienzle doesn’t
believe the city will follow suit. “I think the
two governmental bodies think differently
about this because they have different roles
and responsibilities and different experience
with regard to community and economic
development.”
“The one thing we can count on in
[Oklahoma] City is that we’re a highly
critical city in a good way,” Kienzle
explained. “We’re always seeking excellence.
Even some of the biggest critics at the time of
the negotiations for bringing the Thunder to
OKC have been won over now because they
understand the value of it. I bet they have a
Thunder t-shirt and go to games.”
(To see a video of the proposed Core to Shore
development from 2010 to 2035 go to
http://blog.newsok.com/okccentral/video.) n
Romy Owens spends most of her time taking photos
and sewing them together. She can be reached via
mental telepathy or at romyowens.com.
profile
Robbie Kienzle at the entrance to Bricktown at EK Gaylord and Sheridan where she envisions the
possibilities of a large-scale site-specific public artwork.
9

10. 10 profile
Pantoja in Tulsa: Fighting for Freedom Through Art
by Britt Greenwood
Most Cubans never leave their country.
“You see the airplanes coming and going
and you think, maybe someday I will be
on one.” The day Jose Antonio Pantoja
Hernández boarded his first airplane was
his first flight towards freedom, landing in
Mexico and then northern bound.
From June through mid-August the
artist, known as Pantoja, took occupancy
at a temporary gallery space in Tulsa’s
Brady Arts District with his exhibit, The
Deterioration of Nostalgia. I was privileged
to meet with the artist on several occasions
before he closed his exhibit.
Pantoja’s oil paintings bleed desperation
and the color usage is reminiscent of a desert
- a barren world empty of hope. Pantoja’s
color palette typically remains somber
with grays, dull blues and tans balanced
by corals and sky blues. Although some
of his paintings lack the colorful addition
and remain dark with dim illumination
reflecting some of the darkest periods in
Cuban history. Remaining consistent in
his painterly style, Pantoja also creates
3-dimensional wooden artworks, including
carvings and assembled pieces. The artist
commented on the antique tools gifted to
him, “These chisels I received from one
old master [carpenter] before he died, so
I couldn’t leave them behind and brought
them with me. I know that here you can
find special tools but nothing like my
chisels.” Pantoja worked under the master
during Cuba’s Special Period -- a period of
widespread famine, lack of basic resources
and governmental infringement during the
1990s.
Within every artwork, emaciated figures,
ruined villages and grotesquely characterized
subjects devour the canvas and imagination.
Yet, his work is still beautiful. The works
are beautiful not necessarily in appearance
but beautiful because they are a raw glimpse
into the Cuban soul.
Pantoja’s art uses many layers of symbolism,
from the larger spectrum of symbolizing
Jose Antonio Pantoja Hernández, Tulsa, The Catfish, Oil on canvas, 47” x 26”

11. governmental control and an impoverished
nation to smaller references such as specific
villages, people and events.
Addressing governmental control in his
oil painting The Catfish, Pantoja uses this
character to symbolize the Special Period,
in which the government imported Chinese
hybrid catfish to help feed its starving
nation. Cuban citizens believe this has
negatively impacted the natural ecosystem.
In the painting, the fish’s head is likely that
of Fidel Castro with a decaying Cuba riding
on the back. Legs and claws protrude from
the fish’s belly; they are ugly and unnatural
much like the dictatorship reigning in
Cuba against freedom and decent humanity.
Beneath the creature, other symbolic
references are lying on the ocean floor -- the
sunken boat and inner-tube with paddles
reflect the Cubans’ lives lost who were
seeking freedom in the U.S.
In My Town, Pantoja references his
hometown, Bejucal, desecrated by
government sanctioned poverty. The
building protruding from the skull,
symbolizing Bejucal, leans unstably on an
empty wasteland with a singular living
palm tree and a dying tree rooting over
the skull, conveying the death of a healthy
society with little natural resources. What
resources do remain are not rooted, fruitful
or permanent.
Available on Amazon.com, Pantoja’s book,
The Deterioration of Nostalgia: The Art of Jose
Antonio Pantoja Hernández, depicts images of
his artwork accompanying the article, “The
Bottomless Ache of the Revolution,” written
by journalist and founder of This Land Press,
Michael Mason. The article covers Mason’s
experience in meeting and developing a
friendship with Pantoja and becoming
one of the life altering connections in the
artist’s escape. In order to highlight the
paramount art of Pantoja, Mason explains:
“The significance of Pantoja’s work is that it
is singular -- there is no other Cuban artist
that serves as a reference point. He painted
dissident art, under duress, during Cuba’s
darkest periods -- and he may be the only
artist to have done so successfully.”
Pantoja’s journey to Tulsa was an artist’s
fight, a stand against dictatorship. His art
is a message, more than a political battle cry
for freedom; every stroke of paint Pantoja
applies to canvas is a beckoning to humanity,
craving the understanding of viewers.
“It’s not about the money, it’s about the
message,” he repeated several times in our
conversations. When the word “freedom” is
spoken out from Pantoja’s Spanish accent,
it escapes from his breath with longing and
lingering disparity in his eyes. When the
idea of freedom is painted, it escapes from
Pantoja through the pigment he manifests.
Like My Town, the gallery space Pantoja
once filled with his artwork now stands
empty and baron. The future of Pantoja is
unknown. Homesick for loved ones in Cuba,
he has contemplated returning, risking
imprisonment and the likelihood he will
never return to the U.S.
Pantoja’s artwork can be seen and purchased
online at www.artmajeur.com/pantojaart. n
Britt Greenwood is a freelance writer, founder of
Tulsa Art Spot, www.tulsaartspot.com and Arts
Advocacy Captain for Oklahomans for the Arts.
11profile
(left to right) Jose Antonio Pantoja Hernández, Tulsa, Dictatorship, Oil on canvas, 48” x 48”; My Town, Oil on canvas, 48” x 48”;
the artist Jose Antonio Pantoja Hernández, known as Pantoja, in his studio.

12. 12 preview
Connecting the Dots:
Steve Tomlin at Tulsa Performing Arts Center
by Scott Hurst
Steve Tomlin paints in acrylic, usually on
canvas, sometimes on wood. He loves color,
with its evocative and emotional possibilities.
And he is, to use an expression my dad used to
say, a “people person.”
“People are more important than art,” Tomlin
said in a recent conversation. “Having a dual
career as an artist and a teacher gives me that
philosophy.” Currently he teaches art at Edison
Preparatory High School in Tulsa, though for
years he taught kids at the elementary school
level. There’s no reason to make a choice
between people and art. This artist spends
his days passing along his experience and
knowledge to budding young would-be artists,
while nights and weekends allow time to
pursue his own ideas and passions.
In November, Tomlin will be displaying some
of the results of the last few years in downtown
Tulsa at the Tulsa Performing Arts Center.
During a studio visit, I immediately found
myself jotting down observations I made of
some of his most recent pieces. He continues
to undergo change, as I think any healthy
and wide-awake artist does, and I noticed a
shift away from the more geometrical and
grid-related preoccupations he had been
wrestling with in 2003 – 2009. The newer
work tends toward a renewed spontaneity (I
say “renewed” because the paintings he made
during the 1980s and ‘90s were full of play
and the spontaneous, in terms of both gesture
and imagery).
“In the last four months I’ve been
unconsciously improvising,” Tomlin said.
I saw this as a sign that somehow he had
managed to overcome or at least get beyond
the issues/ concerns that had been dominating
his earlier work. However, when I visited again
two weeks later, some of the older motifs had
begun to creep back in. “I’ve discovered in the
last couple of weeks, during which I’ve been
Steve Tomlin, Tulsa, Youthful Spirit, Acrylic on Canvas, 20” x 20”

13. 13preview
working steadily, that I’m readdressing pattern
by adding dots, graphic dots, and thereby
going back to the more geometric stuff.”
Maybe he hasn’t worked through the geometric
issues to his own satisfaction. “I don’t know
whether it’s good or bad,” he added. Either way,
he seems to be forging his path on foot, pacing
it out honestly and without shortcuts. When
asked how he thought people might see his
more recent work, he said “I would hope they
see that I’m cautiously evolving.”
In Youthful Spirit I read a central shape as a
sort of abstracted nutcracker, which serves
to connect several other asymmetrically and
organically-inclined forms. The dark central
core in this rather small canvas spirals out
unpredictably into yellow, red and green
patches and spaces. Another work, Sunset,
features forms reminiscent of multicolored
tree trunks that are related to each other
by a horizontal band of yellow close to the
center of the square field, and brings to
mind Fauvist paintings by Andre Derain.
Odd shapes of summertime green jut out
here and there, answering to leaves. Good the
Next Morning made me think of Kandinsky’s
earlier, organic abstract period (ca. 1910), not
because it imitated the former, but as a source
that had been digested and understood, and
then brought to bear in the working out of a
different idea. This rectangular painting shows
a cluster of energized smaller forms battling it
out just to the right of center.
There are two pieces in particular that represent
where Tomlin has been artistically during the
last few years. One is a triptych from 2007,
each panel being 48” x 36”. The colors are a
golden yellow, with hints of orange, red, and
darker outlines here and there. It is quiet,
introspective even, with repeating circles
within a gridded square format. It does not
wave, offer to shake hands, or come out to
greet you. It seems to be waiting, perhaps for a
viewer who has experienced something of the
same emotional pitch or intellectual turmoil.
By contrast, a 48” x 48” acrylic on panel from
2009, nicely framed in wood painted to look
like metal, allows you to breathe and get your
bearings. Where the triptych takes up space
without really occupying it, this one seems
more alive, with big gestures and rich, vibrant
color. You can feel Tomlin’s love for the art
of Henri Matisse here, even though it doesn’t
look like a Matisse. In terms of the abstracted
imagery it resembles a vortex of some kind,
but a friendly vortex, welcoming you into the
inner life of a working painter, with all the
contradictions that implies.
Steve Tomlin: Inspirations runs from November 1
– 28 at the Tulsa Performing Arts Center, 110
E. 2nd
St., Tulsa, OK. n
Scott Hurst, a Tulsa-based painter and writer, lives
in the woods with his dogs Myrtle and Otis, a
turtle, and lots of books. You can reach him at
eshurst@cox.net.
Steve Tomlin, Tulsa, Color Stratum, Acrylic on Canvas, 16” x 16”

15. The Veil: Visible and Invisible Spaces
by Jennifer Barron
Veiling as a religious practice transcends
culture, language, and geography. While
today the act of veiling is most often associated
with devout Muslim women, veils are a
part of cultural and religious practices from
Hinduism and Amish tradition to Judaism
and Catholicism, as well as Islam. In some
countries, veiling for women is strictly
enforced by law. In others, it is banned. In
recent years, volumes have been written,
spoken, and debated about the practice of
veiling in Islam. Yet, with all of this attention,
the voices of women who choose to wear it
have largely been absent, leaving veiled women
shrouded in misunderstanding and cliché.
Against this backdrop, curator Jennifer Heath
aims to shift our focus, restoring context to the
decision to veil and placing women who veil at
the center of this discussion.
Heath’s exhibition, The Veil: Visible and
Invisible Spaces, comes to Oklahoma State
University this fall, bringing 29 artists
with often highly personal, often divergent
reactions to this subject. “The veil’s meaning
can only be defined by those who choose
it,” Heath offers, reiterating the focus of her
show. “I was less interested in whether artists
‘like’ or ‘dislike’ the veil. That is not really
the point. I wanted to give people historical
and cultural context, to understand more.”
This exhibition began for Heath as a
collection of essays. The writers she
contacted - all women - explored the
practice in the context of extremely diverse
religious traditions, from medieval saints
to contemporary Muslim activists. Despite
differences in geography, creed, and culture,
religious veiling across the world remains
“primarily a female practice,” Heath told
me, “so I wanted to hear from women.”
After publishing the anthology, Heath
became curious to see the reactions of visual
artists to this topic. “I was trying to find
artists who could fully contextualize the
veil, and at the same time, I recognized that
veiling was such a visual thing. I thought,
there must be different points of view on
veiling among visual artists, and I want to
know what they are.”
Heath speaks with great affection about the
works in this show. She describes Iranian-born
Yassi Golshani’s The Women as “beautiful, a
wonderful commentary.” The piece features a
series of dozens of small sculptures of veiled
women, created from papier-mâché Iranian
newspapers. The sculptures lie in neat rows,
carefully placed. They are at once delicate
and powerful, reminiscent of dolls, totems,
or cocoons, brimming with symbolism and
burgeoning potential.
Christine Breslin’s video work Beyond the Veil:
Interview with Young Muslim Women explores
veiling from an outsider’s perspective. Heath
explains that Breslin’s project began shortly
after September 11, 2001, when Breslin,
who was living in New York, was struggling
to process her own fear, uncertainty, and
personal reactions to the terrorist attacks.
“She also happened to go to a Ramadan
dinner around the same time,” Heath
explained, “and she became very curious
about Islam, and about people who practice
it.” Interviewees include adolescents, teens,
and young adults, each speaking frankly
about her faith and her decision to veil.
Although this work was created by a non-
Muslim, it still places the experiences of
Muslim women at its center, presenting
her subjects’ words without intervening
interpretation, and allowing them to stand
in their own context. This work was initially
presented as one part of a much larger
installation.
The Veil has travelled to venues throughout
the country since 2008. Heath sees this
exhibition as an extension of her academic
work, even commenting, “I’m not all that
interested in the ‘art world.’ I am primarily
interested in ways of thinking and expressing,
and in social justice movements in general.”
To her, the exploration made by the artists
and the interaction available through a
visual art show lends the work visibility and
accessibility that she finds valuable.
Heath writes in her exhibit materials:
“The veil is visible, yet it is also a means
of concealment.” This contrast between
the easily recognizable veil and the hidden
women underneath naturally leads to
curiosity, interest and even stereotyping
among people who are unfamiliar with the
tradition. These varied reactions are what
Heath describes as the heart of the show’s
unpredicted popularity. “This show captures
a lot, both lore and politics around the veil...
I think that people are curious-- they want to
know more. They want to know what it is.”
The artists of The Veil offer diverse responses,
but no dominant definition. For Heath, this is
the point. Each artist approaches veiling with
her own memory, ideology, cultural reference,
and history, laying bare the deeply personal
while covering the issue from all sides.
The Veil: Visible and Invisible Spaces is on
display at the Oklahoma State University’s
Gardiner Gallery through November 2. n
Jennifer Barron is an Oklahoma City based artist
and arts administrator who believes firmly in the
power of art to enhance lives, build communities
and push us forward from our comfort zones.
preview 15
(above) Yassi Golshani, The Women (detail), 2006,
Papier-mâché from Iranian newspapers.
(opposite page) Christine Breslin, Beyond the Veil:
Interview with Young Muslim Women, 2006, Video
Still.

16. 16 preview
Nathan Opp: Recent Paintings
by Krystle Brewer
Paintings of the interiors of homes with
unidentified human subjects is not a
contemporary concept. Genre paintings
from the sixteenth century Flemish Baroque
period and the seventeenth century Dutch
Golden Age were the first to classify this
concept of painting everyday common folk.
These paintings are important to history as
they document the lives of those depicted
and because a wide group of people could
see themselves in the paintings, they were
very popular in their time. This idea was as
relevant then as it is today.
Following in this same vein with a
contemporary lens, Nathan Opp takes
everyday domestic spaces with anonymous
figures and then begins to play with light and
color. His work is pure and honest without
a fabricated narrative or underlying intent.
Opp’s snapshots from within his own home
capture the light, space, and figures but leave
out identifiable details so the spaces and
people can be easily relatable to his audience.
Viewers can experience his paintings
simply for the skill, light, and familiarity
of the subject matter or project their own
Nathan Opp, Tulsa, Woman on Couch with Man in Hall, Oil on linen, 24” x 24”

17. commentary on to the composition.
He chooses to document spaces within his
home as they are naturally the ones he is most
familiar with. In choosing spaces so close to
him, he can return to them often to broaden
his understanding of how the changing angle
of the sun transforms the space throughout
the day with natural lighting. He is fascinated
with this light as well as artificial lighting and
how their interaction with one another can
alter the overall feeling and mood of a room.
Intensity, shadows cast, and warmth of the
light are all aspects he analyzes in his work.
He does not just look at how the light
transforms the space but also how it interacts
with his human subjects. In his piece Man
in Hallway with Cat, an unseen light source
illuminates the room with a warm glow. The
composition draws the viewer’s eye into the
doorway of the lit space and to rest on the
figure between his head and shoulder where
the light is refracting off his hair and clothing.
The man, as well as the cat, who is looking
back at the viewer, breaks up the light of the
composition with his presence and sends soft
shadows down the canvas. The light sources
become elements as important as the figure
and spaces depicted.
These spaces portray the typical,
contemporary, middle-class American in
their living environments. Influenced by
master Jan Vermeer and Modernist Edward
Hopper, Opp documents the homes and their
inhabitants of his time. Majority of viewers
can then identify with the spaces as being
similar to their own homes and lives. The
idea of a home is universal and personal. For
it is within these walls that people live out
some of life’s highlights thus making it an
intimate and important space.
The most inviting aspect of these paintings
is their peaceful nature. They are quiet and
calm spaces of a home where normal people
live and go about their daily domestic
activities while the viewer silently watches
as an invisible bystander. Their serenity
draws memories of a lazy Sunday afternoon of
relaxing on the couch, reading through the
week’s mail, or aimlessly wandering through
the home. He specifically chooses these near
action-less moments as opposed to depicting
something such as a family celebration,
because these are the contemplative still
moments that do not require a narrative.
The figures in his paintings are of his family
members and close friends (quite similar
subjects as our Flemish and Dutch schools
of painting mentioned previously) and
although he captures an aspect of them
displayed in their posture and position, they
are not characters playing a role or historical
documents of actual people. This ambiguity
is intentional for the purpose of making them
timeless. They capture not a specific man,
woman, and child but every man, woman,
and child of his era. To support this effort
of vagueness, he gives them dry, academic
titles only defining the gender and a unique
characteristic for the purpose of identifying
the painting against his whole body of work.
His paintings are academic, full of light, and
feel familiar to his audiences though they
have never visited the places depicted. They
remind the viewers of their own safe havens
they return to every evening while creating
a calming warm feeling in the concept of
“home.” In today’s context, they are stills
from the artist’s life that are relatable to his
viewers. In the future, they will be esteemed
paintings viewed as documenting the time
they were created and serve as windows into
past American lives. This exhibit is small and
intimate, allowing viewers to reflect on them
and their importance as Opp documents our
history just as his predecessors had done.
This exhibit will be on display at the Ponca
City Art Center from November 16th
to
December 23rd
. More information can be
found on the Ponca City Art Center website,
www.poncacityartcenter.com. n
Krystle Brewer received her BFA from Oklahoma
City University and is currently pursuing her MA
in Art History at Oklahoma State University
while working as a Research Assistant at the OSU
Museum of Art. She can be contacted at
krystle@krystlekaye.com.
17preview
Nathan Opp, Tulsa, Man in Hallway with Cat,
Oil on canvas, 30” x 20”

18. 18 preview
Concept/OK: Focus
An Oklahoma and Kansas City Exchange
by Kirsten Olds and Blair Schulman
Concept/OK: Art in Oklahoma, a new exhibition
from the Oklahoma Visual Arts Coalition
(OVAC), will open at the Arts and Humanities
Council of Tulsa’s Hardesty Arts Center
(AHHA) on December 16, 2012, with a
reception from 1-5 pm. Inviting audiences to
investigate current art making in Oklahoma,
the exhibition presents a broad survey of
Oklahoma artists in context with artists from
the region.
Liza Statton, an independent curator based
in Australia, curated the Concept/OK: Focus
portion of the exhibition. Statton selected
four Focus artists from both Oklahoma
and Kansas City. Each of these artists
will present new work at the December
exhibition in Tulsa before developing an
exhibition in Kansas City, at the Charlotte
Street Foundation’s La Esquina gallery.
By presenting artists from two locations in
two places, Concept/OK: Focus builds on the
connections between artists and art scenes in
our region. Statton likened these networks to
a mobile phone coverage map, where the areas
of dense coverage would convey where artists’
“concepts, intentions, and interests converge
and overlap in multiple ways.” Discussing
her selection of the nine Focus artists, Statton
commented on the innovative ways in which
they explored the intersections of material
and form. She also pointed out they use their
works as means to meditate on the human
condition: our changing relationships,
environment, and cultural products.
As the first installment of a recurring biennial
exhibition, Concept/OK marks just one node
in the nexus of artistic communication and
collaboration that creates a vital, sustainable
arts scene in this region.
FOCUS ARTISTS:
OKLAHOMA
by Kirsten Olds
Each of the four Oklahoma-based Focus artists
is engaged with currents in the contemporary
art world and yet is also producing art deeply
rooted in the Oklahoma experience. Using
different visual languages and modes of
address, they explore the transformation of our
environment—by technology, culture, politics,
history, and consumption.
Grace Grothaus
In her proposed work for the Concept/OK
exhibition, Re(view) in Situ, Tulsa artist Grace
Grothaus takes viewers on the equivalent of
a Situationist dérive through the streets of
downtown Tulsa, structuring an opportunity
for them to experience the urban landscape
anew. After downloading an application to
their smartphones or picking up a hard copy
handout, viewers follow a map to specific street
locations. Once there, by looking through the
viewfinder on their smartphone camera, they
see that exact location as it has been painted
by Grothaus. She has very literally substituted
her own vision of the scene for yours. And
yet her vision, enabled by the mobile app
(called Augmented Reality), actually calls
into question how technology mediates our
experience of the world, how it may have
supplanted the real with the virtual.
Her paintings themselves, are back-lit
abstractions of the urban environment.
In them, Grothaus has developed a fresh
perspective on the language of abstraction,
drawn more from the intersecting worlds of
circuit boards, maps, and petri dishes than
the austere formalism of early twentieth
century icons of modernism. Her paintings
are equivalents for the experiences she hopes to
prompt in viewers. They express the conditions
of landscape at the crossroads, not simply
between nature and the built environment, but
between the real and the simulated. At the
heart of Re(view) in Situ is a simple question,
one we should all ask of ourselves, “do we
understand the world we live in anymore?”
Grace Grothaus’ project, Re(view) in Situ, will take viewers on a walking tour to visit the locations that inspired her paintings. Using
her smartphone application, they can use their phone as a looking glass to view an imaginary world based on that exact location.

19. preview 19
Romy Owens
Although at first glance it might not seem
so, Romy Owens’ practice also involves
transforming our experience of the urban
environment. The Oklahoma City artist
shoots digital photographs of city buildings,
often focusing on largely overlooked or
seemingly insignificant details, such as the
empty spaces that frame a graffito scrawl.
She sutures portions of these photographs to
one another to create abstract tapestries that
explore the basic elements of art making:
color, line, plane, space. That these concerns
are most often associated with painting
only heightens the inventiveness of Owens’
practice—she frees photography from its
most frequent use as descriptive medium
and empowers it as the starting point for an
abstract visual language.
Owens then reinserts narrative back into
photography, not through the subjects of
the photographs themselves, which remain
largely obscured, but through her process.
The stitches are indexes of her time spent in
the repeated, ritual task of punching holes
and pulling thread through the paper. Hand-
written annotations on the verso provide logs
of the works’ own making—where Owens
began sewing, what time, and what she was
watching on the television, for example,
as her thimbled fingers worked needle and
paper again. These diary-like jottings paired
with the works’ titles—she called a previous
series The Keanues after the actor from Bill
and Ted’s Excellent Adventure and captioned
individual objects with movie quotes—add
an almost chatty personal dimension that
counters the cerebral, quiet beauty of the
compositions. The incursion of elements
from mass culture into the seemingly rarified
world of abstraction reminds us that these
exquisite formal arrangements are linked
to the world outside art; they are shaped as
much by the hum of the TV and grit of the
streets as they are by David Hockney’s photo-
collaged landscapes and the photographs
of Walker Evans and Sally Mann. The
annotations unravel a little about Owens and
the work itself, revealing that her practice,
at its most simplified and poignant, is about
deconstructing and reconstructing our own
worlds, one paper square and stitch at a time.
Geoffrey Krawczyk
Geoffrey Krawczyk’s project is very much
rooted in the world we inhabit, its histories,
its present, its contradictions, divisions,
and injustices. In Breaking Bread he extends
an invitation to the Oklahoma community
to share food and conversation with him
over a red cedar table. As viewers nibble
the fried bread Krawczyk plans to provide,
its greasy residue stains the table’s wooden
surface. These stains form a palimpsest over
the hand-engraved table top, which bears
a map of Oklahoma’s tribal jurisdictions.
The marks resemble scars on the indigenous
wood, evoking a subtle reminder of the
state’s fraught past: of the Indian Removal
Act of the 19th
century and the subsequent
westward relocation of tribes from east
of the Mississippi to Indian Territory.
A self-identified non-native American
artist, Krawczyk offers Breaking Bread
not as a confrontation, but in the spirit of
collaboration—to forge a dialogue with
native Oklahomans of all affiliations about
moving forward while not forgetting the past.
With this intervention, the Norman-based
Krawczyk also enters into an ongoing
dialogue in the contemporary art world,
participating in two of the most visible
strains of art-making in the past twenty years:
post-colonial theory and relational aesthetics.
Like the former, Krawczyk’s work negotiates
the complex issues of identity and history
in an increasingly global environment, one
that is nonetheless still shaped and shackled
by its colonial past. Relational aesthetics
becomes the vehicle for the exploration of
these concerns. In its participatory, communal
Romy Owens, Oklahoma City, down in the basement we hear the sound of machines, photographs and thread, 48” x 648”

20. 20 preview
nature Breaking Bread asserts the belief that
bringing people together in face-to-face
human interactions can itself initiate the slow
process of change. And, for Krawczyk, that
process starts at the dinner table.
Aaron Hauck
Aaron Hauck, an assistant professor of art at
East Central University, is also engaged with
ideas about consumption and community.
His practice confronts how consumerism has
transformed our lives and our environment.
Titles of past works, such as Save Money
Live Better and Even Smaller Footprints Have
Large Footprints, indict the “bigger, better,
faster, more” lifestyle that has shaped our
consumer landscape, and that, in turn, is
eroding our natural landscape. The work
Hauck is producing for Concept/OK questions
the sustainability and ethics of this kind of
approach. Icons of civilization—bridges,
pyramids, and skyscrapers, for example—will
appear to consist of processed food products;
these new cultural buildings lack the solidity
and durability of conventional materials such
as brick, steel, or stone. In the near future, as
these structures deteriorate, they will leave
behind not the rubble ruins that embody the
heights of Western civilization, but instead
non-degradable plastic packaging, symbols of
a throwaway culture. What’s the half-life of a
ziggurat of Happy Meal toys?
Hauck draws on the vocabulary of Pop art—
synthetic materials, slick surfaces, techniques
associated with mass production—but unlike
the ambivalence of much 1960s-era Pop, his
work falls squarely on the side of critique. He
uses different types of man-made materials,
among them Styrofoam, epoxy resin, MDF,
thermoformed plastic, and even Wal-Mart
shopping bags, in a way that heightens our
attention to the ubiquity of plastics in our
everyday lives. Like his fellow Focus artists,
he offers his work as a first step in prompting
us to re-engage with the world around us—as
we think we know it, as we actually see it,
and as we hope it will be.
FOCUS ARTISTS:
KANSAS CITY
by Blair Schulman
Jason Carron
The video work of Jason Carron portrays a
spastic reaction to human mental activities.
Given our proclivities for self-awareness,
Carron examines the in-between space of our
truest and most honest, inherent behaviors.
His use of the body and natural expressions
are groundings in reality that delineate the
complexities of idealistic theories and answers.
Nudity is no boundary, in fact, it’s a gateway
that his viewers can enter to receive an honest
rendering of how one responds and reports to
the sequence of movements and mind.
In his final year at University of Missouri
– Kansas City, Carron is working towards
his BA in Studio Art. However, the level of
openness is something that excels far outside
the academic mindset towards a less rigid,
ritualistic tenacity.
This is an ongoing experimentation with a
feel towards performance art and a nod to
Pop where he appears to surrender himself
to the journey of discovering interactions
of human traditions. It poses the question
that philosophers have pursued for centuries;
that without reciting clichés, the search for
the self is eternal. Does acknowledging the
absolute singularity of oneself portend to be
who the individual is, or who they pretend to
be? French philosopher Jacques Derrida once
remarked, “The difference between the who
and the what at the heart of love, separates the
heart…Often, love starts with some type of
seduction…”
To contextualize this with what Carron is
striving for, we must first seduce ourselves
into understanding what our true aims really
are. Before we can convince another that our
portrayal of the self is accurate we must first
make a production between mind and body
that is worthy to show others. Within this
space, Carron’s video work unpacks the who
and the what that isn’t always apparent to an
unconscious mind.
Garry Noland
Garry Noland works in the realm of
reincarnation. Transforming materials from
their original intent, he provides them with
new identities, eliciting transformative
experiences for both the work and those
who behold it.
Geoffrey Krawczyk at work
on the red cedar table that
is central to his Focus piece
Breaking Bread.
(top) Aaron Hauck, Afton, Cloud Buster,
Polystyrene, epoxy, and enamel, 24” x 14” x 24”
(bottom) Aaron Hauck, Afton, Temple, MDF,
epoxy, and enamel, 24” x 24” x 7”

21. 21preview
His earlier works were formations that utilized
International Morse Code, a universally
recognized symbol of communication, even
though rarely, if ever, used in a digitized society.
Noland incorporated the dots and dashes to
develop a message that is unintelligible without
the proper spaces between these dots and
dashes. To this end, Noland infers the human
race loses individual identity without the
connectivity of the non-human world, however
the two are placed or employed. On a more
recognizable plateau, Noland argues that racial
identities also experience diluted identities
when not coexisting with one another. Both
ends, however they’re sized, must behave side-
by-side in order for their natural identities to
flourish and be recognized by one another.
Noland’s newer work is derived from
accumulated, stacked, layered, and collaged
forms. These materials, more familiarly, tapes
of all shapes, sizes, colors and finishes, refer
back to his earlier theories. Two people can
look at the same patterning and derive different
states of completeness. He is interested in
what people feel should happen to a body of
work. Is this complete? What would it take to
make it complete? As Noland himself says, “It
condenses to these questions: What is better?
Who’s it better to? Who are you to decide?”
A native Missourian, Noland has always been
preoccupied with the reinvention of form. He is
reminded of his grandmothers’ rugs and quilts
made from scraps of old cloth. While he feels
his ancestors might not call themselves artists,
they accomplish precisely what an artist sets out
to do, which is to raise new identities by the
transformation of materials.
Cory Imig
In an age of multi-tasking as a necessity,
Cory Imig has turned it into a high art
that is entirely approachable. She adapts to
environments and advances her surroundings.
Her current studio work examines bonds
between people, places and things as a sinuous
relationship between herself and the world in
which she is surrounded. Everyday items like
a blown-up balloon propped within planks of
wood, left to deflate over time, is a striking
example of how one can experience a chrysalis
within the space-time continuum. A lofty
subject made instantly recognizable.
When not exploring these relationships, Imig
is focused on PLUG Projects, a curatorial
collaboration located in Kansas City’s
Stockyards District. Since their inaugural
exhibition in September 2011, fellow artists
Amy Kligman, Misha Kligman, Nicole Mauser,
and Caleb Taylor share PLUG’s mission to
bring new perspectives on art and conversation
Jason Carron, Kansas City, Video stills from: Don’t Think About It, 2012, 3 HD videos, sound, 04m16sec, continuous play
and Ideal and Actual, 2012, 3 silent HD videos, continuous play
Garry Noland, Kansas City, Ticket, Tape, floor
debris on tape, 103” x 98”. Photo by EG
Schempf.

22. 22 preview
to the local arts community. Those acquainted
with the arts and a public longing to experience
it are brought together by PLUG’s unique
programming schedule. Exhibiting challenging
new work, advancing critical dialogue between
artists and the public with their Critique Night
series, PLUG also seeks to expand connections
of artists in Kansas City as part of a wider,
national network of artists.
Prior to this moment, Imig attended Savannah
College of Art and Design to study jewelry
design. Realizing this was not for her, her
interest changed from metals to fibers.
The repetitive acts of using fibers created
structure, which morphed into work that was
performative, sculptural and conceptually-
based, eventually discovering her finished
pieces didn’t involve fibrous materials at all.
Returning to Kansas City, Imig was a resident
of the Charlotte Street Foundation Urban
Culture Project Residency Program. She
began considering how there exists infinite
possibilities of association in the mundane.
Categorizing and organizing information, this
work becomes a process of intuitive decisions.
Everyday situations, interacting among other
people, and her own personal relationships
were key components to her project Strangers
Like Us, where she contacted people with the
last name Imig from all around the world.
People she never met shared information, and
a family of Imigs from Nebraska came to the
show opening. This is an excellent investigation
of simple communication and how these
relationships are placed in the world.
Lindsey Griffith & Charlie Mylie
Documentation and assorted ephemera takes us
into the minds of Lindsey Griffith and Charlie
Mylie, but to gather a true understanding of
what exactly they are trying to do, one must be
present as these theories are executed.
What these ideas and theories are, exactly, is
not clear, and that may be precisely the point.
They ask a lot of questions: How can simple
joy be framed as a transformative moment?
How can a game between strangers be a
sustainable technology? They are out in the
field, “causing experiments, casting spells,
fulfilling wishes, and chasing fantasies with
our hands out- for trust, for participation,
as an invite to share in the toil and fruits of
a life worth living.” It takes a critical eye to
discern what it is they’re actually attempting
to demonstrate, but the gist appears to be an
experiment in documenting hedonism.
It is less performance art than actual life
as it rolls out before us. They denote an
acknowledgement of their culture and
themselves. As the hippie culture reverberated
throughout the 1960s and caused mass
awareness of a burgeoning youth that wanted no
part of their parent’s lives, here it seems to be a
similar philosophical denouncement of outside
forces to focus on the internal influences that
stem from spiritual understanding.
They are meaning to make a connection to
every moment with “truly meaningful bonds...”
In their own words, they seek to challenge
themselves to fulfill each other’s desires: “toss
almonds in each other’s mouths, hold eye
contact for way too long, climb something
tall together, take unexpected turns in full
confidence, kidnap someone to make them
happy, play games in front of other adults, spend
24 hours together, interview everyone always,
give each other tattoos, talk with conviction
about magic, and smile damn it.” The two want
to bring everyone about in a beautiful moment
of enlightenment and watch it unfold.
Concept/OK: Art in Oklahoma will be held
December 16, 2012 – February 16, 2013 at
the Arts and Humanities Council of Tulsa’s
Hardesty Arts Center, 101 E. Archer St,
Tulsa. For more information, including
related workshops and public events, visit
www.concept-ok.org.
Concept/OK: Art in Oklahoma is presented in
partnership with the Arts and Humanities
Council of Tulsa and Charlotte Street
Foundation. The exhibition is sponsored in
part by the Andy Warhol Foundation for the
Visual Arts, National Endowment for the
Arts, Kirkpatrick Family Fund, George Kaiser
Family Foundation, Oklahoma Arts Council,
and Allied Arts. n
Kirsten Olds is an art historian at the University
of Tulsa. You might find her poring over 1970s
fanzines for her research on artists’ groups, the
networks they created, and the ways in which they
explored the performance of identity.
Based in Kansas City, Missouri, Blair Schulman
is an art writer/critic and Editor of Cupcakes in
Regalia (www.cupcakesinregalia.com). He has
also published in Art Practical, Ceramics: Art
& Perception, Juxtapoz, the Kansas City Star
and was a longtime contributor to the now-defunct
Review magazine.
(left) Cory Imig, Kansas City, Squeezing Information for Materials Under Extreme Pressure, 2011, Wood, stain, polyurethane, balloon,
120” x 216” x 24”. (right) Lindsey Griffith & Charlie Mylie, Kansas City, documents from 24 Ours Together, in which the artists spent
from sunrise to sunset with two others, chasing their desires on the group-realized to-do list.

23. 23
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24. 24 feature
State of Art: The Central Oklahoma Artist
Support Study
by Erinn Gavaghan
On July 31st
, over one hundred artists,
arts supporters, arts managers, and even
some press gathered at the Lyric Theatre
in the Plaza District in Oklahoma City for
the release event of the first ever Central
Oklahoma Artist Support Study. Not
to worry if you missed it. The Cultural
Development Corporation of Central
Oklahoma (CDCCOK) has the complete
study available on its website.
The Artist Support Study began in January
of this year when the CDCCOK enlisted
the help of Minnesota-based Creative
Community Builders to examine the
opportunities for individual artists of all
disciplines living and working in central
Oklahoma. Working with a steering
committee of arts leaders, Creative
Community Builders began the immense
task of understanding the arts communities
and climate here. The six-month process
included interviews with over 120 artists,
organizations, and educators and culminated
with an Artist Summit in June.
They soon began to see that we have a large and
active population of artists working in diverse
disciplines. However, our arts community
is “silo-ed,” to use a Creative Community
Builders’ term. That means that our dancers
are disconnected from our visual artists, our
Latino artists are disconnected from our African
American artists, and our community programs
operate independently of each other. In addition,
artists desperately need to build connections to
audiences and someone needs to provide artists
with the business skills they will need to succeed.
“Greater appreciation for the depth and
breadth of creativity and cultural practices
in the central Oklahoma region must
begin with the artists themselves, and then
spread to broader community leadership
and the wider public,” said the Creative
Community Builders team in the Artist
Support Study Report.
Fortunately, Creative Community Builders has
left us with the recommendations and tools we
need to strengthen our arts community, work
together, and make sure individual artists are
being superbly served. The recommendations
are divided into three area of responsibility:
those led by artists, those organized by the
Oklahoma City Office of Arts & Cultural
Affairs, and those coordinated by the
CDCCOK. These initiatives will begin over
the next three years.
Led by Artists – As Creative Community
Builders stated in the report, “The most
important component of a support system for
artists is other artists.” An artist leadership
team has been formed and will oversee the
following recommendations:
• Build a multi-disciplinary artist network –
Bring those dancers and painters together
for business programing and socializing.
Central Oklahoma artists, educators and arts leaders gathered in June 2012 for the Artist Summit. The information gathered at the Summit
was part of the Artist Support Study.

25. 25
• Conduct an annual Artist Summit – Build
off the success of the first Artist Summit in
June. Think of it as discussing the State of
the Union of Artists.
• Pilot a Community Supported Art
program, modeling off the success of other
communities. This sounds big. It is! This
is the program that will get your art in the
hands of the people who desire to purchase it.
• Recognize outstanding contributions of
artists in the region – Hey, we all work
really hard, we should recognize each other
for it. It’s the Oscars of central Oklahoma!
Organized by the OKC Office of Arts
& Cultural Affairs – This brand new office
in the City, led by Robbie Kienzle (see story
on page 8), focuses on community initiatives:
• Formalize neighborhood-based cultural
economic development areas – With City
help, grassroots arts districts can become
real economic engines.
• Plan and institute a pop-up program for
artists – This is about connecting with
building owners and business people to
create temporary exhibits and shops in
empty spaces.
• Establish a public art program to include
local artists – Isn’t public art great? Wouldn’t
it be really great if it truly represented the
local artists of the area? It can!
• Coordinate a master list of artist
opportunities for all disciplines– Tired of
trying to find the needle in the haystack?
Soon, you may be able to find all your
opportunities in one place.
• Convene organizers of events and
festivals to leverage impact – There
are so many great festivals in central
Oklahoma, this is about sharing successes
among them to increase successes.
• Make under-utilized properties available
as artist spaces – Inexpensive studio space,
practice space, and even artist homes.
Coordinated by the Cultural
Development Corporation of Central
Oklahoma:
• Clarify roles among entities serving artists
– We need an organizational chart for arts
in central Oklahoma. Who does what? Who
supports whom?
• Expand business skills training for artists
– If you are reading this, then you know
OVAC is the leader here! What you may not
know is no one is doing the same thing for
performing artists. CDCCOK will look for
organizations to fill that gap.
• Build capacity among nonprofits for fiscal/
partner sponsorship – As an individual artist,
you want to access grant funds, but you don’t
want to have to form your own nonprofit. This
is about creating opportunities to partner with
established nonprofits to generate funding.
Exciting!
• Better engage and partner with higher
education resources – Our universities
have wonderful arts programs, we need to
convince graduating students that this is a
great arts community to stay in.
• Encourage leading philanthropies to provide
merit-based artist fellowships – Wouldn’t
it be amazing if someone gave you money
just so you could survive as a working artist?
CDCCOK will see what they can do about
finding those resources for you.
Many amazing recommendations were
presented at the Support Study release in July.
Probably the most amazing thing to come out
of this is communication. We are already seeing
people talking to each other about artist support
that just a few months ago had never had a
single conversation…about anything. This is
a very exciting time to be in the arts in central
Oklahoma. Great things are on the horizon.
The Cultural Development Corporation of Central
Oklahoma was established in 2000 to develop the
arts in Central Oklahoma through leadership,
planning and research. www.cdccok.com. n
Erinn Gavaghan is the Executive Director of the
Norman Arts Council, a 2012 Oklahoma Art
Writing and Curatorial Fellow, a board member
of the CDCCOK, and was a co-Chair for the
steering committee of the Artist Support Study.
She received her MA in Art History from Webster
University in St. Louis.
25feature

26. 26 business of art
Ask a Creativity Coach: by Romney Nesbitt
Set the Stage for Success
Any new endeavor will have a learning curve. Don’t be impatient;
allow yourself a period of time to experiment before knuckling down to
a production timeline. As your skills increase, your confidence in being
able to paint all the way from start to finish will return--the result will
be finished pieces that are marketable.
Your block is only temporary and can be addressed. Identify exactly
when the block occurs (this will be when you feel self-doubt and want
to quit painting). Let’s say you have good creative flow while sketching
and during the initial blocking in of color, but when you begin to
apply paint in detailed areas you start to feel anxious. Admit that an
unfortunate pattern of despair has taken your muse hostage, and admit
that it’s likely to happen again. Don’t cross your fingers and hope the
curse will be removed; make a plan to address it. Circumvent the
problem by being proactive instead of reactive. You are the only one
who can take responsibility for the success of your creative process.
Take the emotional power out of the block by nurturing your creative
spirit before the snag hits. Set the stage for your success when you’re
feeling successful, creative and confident. While you are in the creative
flow of your early steps of painting take a moment to light a scented
candle, play a favorite CD or call a friend to chat with while you
paint. Ease your way through the trouble spot with self-care. Be your
own best friend. You can bridge the gap from start to finish with a
proactive action plan. The result will be finished paintings and renewed
confidence in your ability to manage the predictable ups and downs of
the creative process. n
Romney Nesbitt is a Creativity Coach and author of Secrets from a Creativity
Coach. She welcomes your comments and questions at romneynesbitt@gmail.
com. Book her to speak to your group through OVAC’s ARTiculate Speakers
Bureau.
Dear Romney,
After years of painting realistically, I’ve started painting abstracts. I’m fine in the beginning steps of
my piece, but when it’s time to trust my intuition and paint freely—I can’t. The result is a stack of
half-finished pieces. Can you help me break through this block?
—Need a Breakthrough
Dear Breakthrough,
An agency of state government • arts.ok.gov
Developing creative thinking skills
173,000 kids served

27. 27at a glance
AT A GLANCE
On September 18th, the University of
Oklahoma (OU) College of Art and Art
History ushered in the James T. Bialac
Collection: Selected Works at the Fred Jones
Jr. Museum of Art (FJJMA) with a grand
celebration of the thriving, mystifying Native
American culture in Oklahoma and the
American Southwest. The gallery hummed
with the energy of excited students and
faculty, sustained by a soundtrack of Native
drum circles and tribal instrumentation.
The night was kicked off by interpretive
performances by the OU School of Dance
and capped with a university-sponsored free
concert by The Walkmen.
The James T. Bialac Collection includes
selections from the thousands of paintings
the generous collector donated to the
University of Oklahoma to enhance the
education of the community. The collection
is so expansive that two separate galleries
host these pieces within FJJMA, with more
selected works found in the Sam Noble
Museum of Natural History as well as the
OU Law School.
Works from the collection include an
untitled lithograph by George Morrison,
the prolific Abstract Expressionist, and
delicately made turquoise jewelry and woven
baskets. Other works utilize traditional
Native aesthetic with a modern twist. The
Whirling White Sun (Early East Dawn Before
Daylight), by Winnebago/Cherokee artist
Anton Balcomb, engages the viewers’ sense
of balance and rejuvenation like a sand-
painting ritual. In the mezzanine, smaller
works such as Cold Hands by Hopi artist
Neil David Jr., offer clarifying glimpses
into the vibrant and enigmatic traditions of
Native American folklore and history with
the candid expression of the Koshare.
The James T. Bialac Collection: Selected Works
will be on display at the Fred Jones Jr.
Museum of Art in Norman, Oklahoma
through December 30, 2012. For more
information, visit www.ou.edu/fjjma. n
Cierra Linander will graduate in December from
the University of Oklahoma, majoring in both
Art History and Spanish. She is currently an
OVAC intern and plans to return to Spain for
graduate studies.
Opening Party Welcomes
New Collection and Returning Students
by Cierra Linander
(Left to Right) Neil David Sr., [U.S., Hopi (Tewa); b. 1944], Cold Hands, n.d. Lithograph on paper, 16” x 13 ¼”. George Morrison [ U.S., Ojibew; 1919-2000],
Untitled, ca. 1997, Lithograph on paper, 46 ¾” x 38”. Anton Balcomb [U.S., Winnebago/Cherokee; b. 1941], The Whirling White Sun (Early East Dawn Before
Daylight), 1975, Pastel chalk, color pencil on paper, 22” x 20 ¾”.

28. 28
NOVember | DECEMber 2012OVAC NEWS
28 ovac news
“What is not being talked about that is
limiting artists in our area?” posed Sylvie
Fortin, Oklahoma Art Writing & Curatorial
Fellowship Mentor.
Encouraging questions, professionalism, and
engagement with the international art world,
OVAC staged three public panels about key
topics vital to developing our arts community
as part of the program. Preparing promising
writers in our region and highlighting
exemplary professional practices, the
Fellowship wraps up in December.
OVAC relished the rigor, discussions and
participation of the Fellows and visiting
Mentors. See www.write-curate-art.org for
more information.
Thanks for another record 12x12 Art
Fundraiser! The artists, committee, sponsors
and volunteers helped 12x12 support OVAC’s
programs even more. Thanks to chairs
Gina Ellis and Steve Boyd who spearheaded
OVAC’s only annual fundraiser. We also
appreciate Headline Sponsor Chesapeake
Energy & Premier Sponsors Kirkpatrick Bank
and Ackerman McQueen.
Recent OVAC artist project grants totaled
$4,768 and included the following artists.
Creative Projects Grants went to M. J.
Alexander, Oklahoma City for IN NO
MAN’S LAND: Portraits of the OK Panhandle,
a project in Boise City; and Kendall Brown,
Norman for Visual Notes from Children of a
War-Torn Country. Professional Basic Grants
were awarded to Jeri Redcorn, Norman
for upgrading her festival booth pedestals;
Kimberly Baker, Meeker, for the Earth
Chronicles Project Group Exhibition at Mabee-
Gerrer Museum of Art in Shawnee; Amena
Butler, Oklahoma City, for Spring Elements
at Langston University in Oklahoma City;
Romy Owens, Oklahoma City, for the
keanues presented at JRB Art at the Elms in
Oklahoma City, and Aaron Hauck, Afton,
for sending work for an Art Prize exhibition
in Grand Rapids, MI. The next OVAC artist
grant deadline is January 15.
Watch for calls for artists for all of
the Oklahoma Visual Arts Coalition’s
programs at http://tinyurl.com/OVACcalls.
Art People
Clint Stone was appointed Visual Arts
Director at the Oklahoma Arts Council.
There he will oversee the State Art Collection.
Previously he served as the executive director
of Individual Artists of Oklahoma and
the artistic director at City Arts Center of
Oklahoma City. Best wishes on this new
endeavor, Clint.
OVAC Executive Director Julia Kirt and Concept/OK: Art in Oklahoma curator Liza Statton sit for
Romy Owens’ Look at me. Don’t look at me. photobooth project in her Skirvin Hilton Hotel studio.
Scroll by Jeri Redcorn, who received an OVAC
Professional Basics Grant to upgrade her festival
booth pedestals. The next OVAC Grants for
Artists deadline is January 15.

29. Thank you to our new and renewing members from July and August 2012!
Jo Ann Adams
M.J. Alexander and
Alexander Knight
Lindsey Allgood
Sharon and Jeff Allred
Matt Atkinson
Valerie Aubert
Henri Badiane
Paul Bagley
Kelly Barber Rogers
Bjorn Bauer
Diann Berry
Malinda Blank
Viacheslav Bobarikin
Kendall Brown
Ellen Bussard
Kim Camp
Gayle Canada
Damon and Marla Cook
Mikey Coy
Glenn Herbert Davis and
Linda Clark
Hillary and Peter Farrell
Leslie Fast
Martha Green
Susan Green
Britt Greenwood
Christie and Jim Hackler
Laynie Hankins
Virginia Harrison
Tiffany Henley
Suzanne Henthorn
Charlotte Hickman
Terri Higgs
Jonathan Hils
Robert Hoggard
Jan Holzbauer
Helen F. Howerton
E Scott Hurst, Jr.
Frances Hymes
Sandy Ingram
Robert James
Patricia Jellerson
Curtis Jones
Dan and Renee Jones
JUURI
Jim and Laurie Keffer
Mary and David Ketch
Priscilla Kinnick
Richard Kleffman
Howard C. Koerth
Traci Layton
Marvin Lee and DaOnne Olson
Harolyn Long
Jarrett Maxwell
Jim McCue
James McDaniel
John Mesa
Ashlyn Metcalf
Sylvia Miller
Ella Moore
Vicki, R.C., and JP Morrison
Regina Murphy
Mary Nickell
Molly O’Connor
Erin Owen
Suzanne Peck
Christina Pickard
June Pierce
Harold Porterfield
Aaron Rayner
Anne Richardson
David M. Roberts
Abe Rucker
Barbara Ryan
L.A. Scott
Bert D. Seabourn
Glenda Skinner-Noble
Sky Horse Fine Art
Alicia Smith
Diana J. Smith
Irene Sowell
Laurie Spencer
Jessica Tankersley
Steve Tomlin
Thomas Tucker
Xiaomiao Wang
Todd Ward
Becki Warner
Becky Way
Kay West
B. J. White
George Wilson
John David Wolf,
Wolf Production
ovac news 29
Kendall Brown has been named Executive Director for
Individual Artists of Oklahoma in Oklahoma City. Brown is
an active photographer and writer who served as arts editor
for the Norman Transcript. Welcome, Kendall. We look
forward to working with you.
Krystle Brewer and Mary Kathryn Moeller were offered the
first Graduate Research Assistant positions at the Oklahoma
State University Art Museum. Brewer is a past OVAC intern
and Moeller was one of OVAC’s 2010 Oklahoma Art Writing
and Curatorial Fellows. A part of the new Master’s program
in art history at OSU, the Graduate Research Assistantships
work closely with museum staff as the building is renovated
and collections prepared for the 2013 opening. Watch osuma.
wordpress.com for information about the new museum
project and collection.
Romy Owens has received the first SPACE Residency (Skirvin
Paseo Artist Creativity Exposition). Through SPACE, a
year-long residency in the downtown Oklahoma City Skirvin
Hotel, Owens receives a highly-visible studio, stipend, and
complimentary meals in the hotel’s cafeteria. Owens moved
in September 1 and welcomes visitors throughout the year.
Congratulations Romy, Paseo Arts Association and Skirvin
Hotel on this admirable program! n
Oklahoma Art Writing & Curatorial Fellowship Mentor Gregory Volk shares
his experience with Fellows Erinn Gavaghan and Emily Newman during the
September 15 program.
Romy Owens was selected as the first artist-in-residence at the Skirvin Hilton
Hotel in downtown Oklahoma City. The residency program is a partnership
with the Paseo Arts Association.

30. Gallery Listings & Exhibition Schedule
Ada
Tammy Brummel
Through November 9
Revived: The Linsheid Museum
Collection
November 12-30
Senior Exhibit
December 3-14
The Pogue Gallery
Hallie Brown Ford Fine
Arts Center
900 Centennial Plaza
(580) 559-5353 ecok.edu
Alva
Paul Bevilacqua: Blown Glass
NWOSU Art Show
November
Graceful Arts Gallery and
Studios
523 Barnes St.
(580) 327-ARTS
gracefulartscenter.org
Ardmore
Henk Pander
Through November 10
Christen Humphries
November 15-January 12
The Goddard Center
401 First Avenue SW
(580) 226-0909
goddardcenter.org
Bartlesville
Marco Sassone: Architecture
and Nature
Through December 2
Price Tower Arts Center
510 Dewey Ave.
(918) 336-4949
pricetower.org
Chickasha
Paintings by Paul Walsh
Through November 9
Faces from the Goddard Center
November 17 - December 7
University of Sciences and
Arts of
Oklahoma Gallery-Davis
Hall
1806 17th
Street
(405) 574-1344
usao.edu/gallery/
Edmond
Nancy Junkin
November
FAI Faculty Show
December
Kirkpatrick Family Fund
Gallery
Fine Arts Institute of
Edmond
27 E Edwards St
(405) 340-4481
edmondfinearts.com
Guymon
Kristy Patterson: Original
drawings on distressed
Dictionary Pages
Through November 10
Miniature Show
November 17 - December
15
Wild Horse Gallery
421 N Academy
(580) 338-4278
artistincubation.com
Norman
Dreamer 45: Frame of
Reference
Through November 23
Dreamer Concepts Studio &
Foundation
324 East Main
(405) 701-0048
dreamerconcepts.org
Featured Cheyenne Artists
November - December
Jacobson House
609 Chautauqua
(405) 366-1667
jacobsonhouse.com
The James T. Bialac Native
American Art Collection:
Selected Works
Indigenous Aesthetics:
Selections from the James T.
Bialac Native American Art
Collection
Through December 30
Fred Jones Jr. Museum of
Art
555 Elm Ave.
(405) 325-4938
ou.edu/fjjma
Red Clay Faction Exhibition
November 16-27
Reception November 16,
5 pm
Intersession Printmaking
Exhibition
December 14 - January 8
Reception December 14,
6 pm
Lightwell Gallery,
University of Oklahoma
520 Parrington Oval
(405) 325-2691 art.ou.edu
The Unexplored: Emerging
Artists Show
December 14 – January 19
Reception December 14,
6-9 pm
Mainsite Contemporary Art
Gallery
122 East Main
(405) 360-1162
normanarts.org
Oklahoma City
E.CO Peru
Through January 5
[ArtSpace] at Untitled
1 NE 3rd
St.
(405) 815-9995
artspaceatuntitled.org
Boo Ritson: Homecoming
Through December
City Arts Center
3000 General Pershing
Blvd.
(405) 951-0000
cityartscenter.org
Denise Duong
November 2 – 30
Reception November 2,
6-10 pm
Regina Murphy
December 7-29
Reception December 7,
6-10 pm
JRB Art at the Elms
2810 North Walker
(405) 528-6336
jrbartgallery.com
6th
Anniversary Group
Show: Rick and Tracey
Bewley, Nathan Lee, Angela
Westerman and Dusty Gilpin
November 9 - January 13
Istvan Gallery at Urban Art
1218 N. Western Ave.
(405) 831-2874
istvangallery.com
National Geographic: Greatest
Photographs of the American
West
Through January 6
National Cowboy &
Western Heritage Museum
1700 NE 63rd
(405) 478-2250
nationalcowboymuseum.org
North Gallery: Sarah Harless
December 3 – February 3
Oklahoma State Capitol
Galleries
2300 N. Lincoln Blvd
(405) 521-2931 arts.ok.gov
Oklahoma Moderns 1910-
1960: From O’Keefe to
Rockwell
Through January 6
Oklahoma City Museum
of Art
415 Couch Drive
(405) 236-3100 okcmoa.com
The Container Show
November
The smART Show
December
Paseo Art Space
3022 Paseo
(405) 525-2688 thepaseo.com
Color and Shape: Michael
Wyman
November
Flowers: David Gill
December
Visions in the Paseo Art
Gallery
2924 Paseo
(405)557-1229
visionsokc.com
Ponca City
Nathan Opp Paintings
November 16 - December 23
Ponca City Art Center
819 East Central
(580) 765-9746
poncacityartcenter.com
Shawnee
Tails of Cats & Dogs
November 10-25
Mabee-Gerrer Museum of
Art
1900 West Macarthur
(405) 878-5300 mgmoa.org
Stillwater
Graphic Design Studio: Studio
Portfolio Exhibition
November 7 - 21
Senior Studio Capstone
Exhibition
November 28 - December 7
Gardiner Gallery
Oklahoma State University
108 Bartlett Center for the
Visual Arts
(405) 744-4143
museum.okstate.edu
Tulsa
Edgar Payne: The Scenic
Journey
December 2 - March 24
Gilcrease Museum
1400 Gilcrease Road
(918) 596-2700 gilcrease.org
Caution: Wet Paint!
December 8 - 31
Lovetts Gallery
6528 E 51st
St
(918) 664-4732
lovettsgallery.com
Models and Muses
November 4 - February 3
The Philbrook Museum
of Art
2727 South Rockford Road
(918) 749-7941
Philbrook.org
30 gallery guide

31. MEMBER FORMPATRON - $250
-Listing of self or business on signage at events
-Invitation for two people to private reception with visiting curators
-$210 of this membership is tax deductible.
-All of below
FELLOW - $125
-Acknowledgement in the Resource Guide and Art Focus Oklahoma
-Copy of each OVAC exhibition catalog
-$85 of this membership is tax deductible.
-All of below
FAMILY - $60
-Same benefits as Individual level for two people in household
INDIVIDUAL - $40
-Subscription to Art Focus Oklahoma
-Monthly e-newsletter of visual art events statewide (sample)
-Receive all OVAC mailings
-Listing in Annual Resource Guide and Member Directory
-Copy of Annual Resource Guide and Member Directory
-Access to “Members Only” area on OVAC website
-Invitation to Annual Meeting
Plus, artists receive:
-Inclusion in online Virtual Gallery
-Monthly e-newsletter of opportunities for artists (sample)
-Artist entry fees waived for OVAC sponsored exhibitions
-Up to 50% discount on Artist Survival Kit workshops
-Associate Membership in Fractured Atlas, with access to services
such as insurance, online courses and other special offers.
STUDENT - $20
-Valid student ID required. Same benefits as Individual level.
¨ Patron ¨ Fellow ¨ Family ¨ Individual ¨ Student
Name
Street Address
City, State, Zip
Email
Website Phone
Credit card # Exp. Date
Are you an artist? Y N Medium?_____________________________________
Would you like to be included in the Membership Directory? Y N
Would you like us to share your information for other arts-related events? Y N
Comments:
Detach and mail form along with payment to:
OVAC, 730 W. Wilshire Blvd, Suite 104, Oklahoma City, OK 73116
Or join online at www.ovac-ok.org
Become a member of the Oklahoma Visual Arts Coalition!
Join today to begin enjoying the benefits of membership,
including a subscription to Art Focus Oklahoma.
Splitting Time: A Digital
Media Exhibit
November
Children’s Show
December
Tulsa Artists Coalition
Gallery
9 East Brady
(918) 592-0041
tacgallery.org
C.S. Tomlin
November
Phil Cooper
December
Tulsa Performing Arts
Center Gallery
Third and Cincinnati
(918) 596-2368 tulsapac.com
Mayo Distinguished Artists
Jake Berthot
November 1 - December 13
Reception November 1,
5-7 pm
Alexandre Hogue Gallery
Phillips Hall, The
University of Tulsa
2930 E. 5th
St.
(918) 631-2739
cas.utulsa.edu/art
Tony Da (U.S., San Ildefonso-Pueblo, 1921-1971), Many
Faces of the Moon, 1964, Watercolor, 20” x 14”, at the
Fred Jones Jr. Museum of Art, the University of Oklahoma,
in Norman through December 30.

32. Non Profit Org.
US POSTAGE
P A I D
Oklahoma City, OK
Permit No. 113
Art FocusO k l a h o m a
730 W. Wilshire Blvd, Suite 104
Oklahoma City, OK 73116
Annual Subscriptions to
Art Focus Oklahoma are free
with OVAC membership.
Upcoming Events
Nov 1: Art 365 Exhibition
Entry Deadline
Dec 16: Concept/OK: Art in Oklahoma
Opening Reception
Jan 15: OVAC Grants for Artists
Deadline
Jan 28: Momentum OKC
Artist Entry Deadline
The Oklahoma Visual Arts Coalition supports
Oklahoma’s visual arts and artists and their
power to enrich communities.
Visit www.ovac-ok.org to learn more.
JRB ART AT THE ELMS
2810 North Walker
Phone: 405.528.6336
www.jrbartgallery.com
December
Opening Reception:
FRIDAY, NOVEMBER 2
6 - 10 P.M.
Opening Reception:
FRIDAY, DECEMBER 7
6 - 10 P.M.
Denise
Duong
Regina
Murphy
Gallery Hours:
Mon - Sat 10 am - 6 pm
Sun 1 pm - 5 pm
November