Field Notes: OVAC Trip to Kansas City

One weekend in Kansas City is just not enough. In three days, Julia and I got the whirlwind tour of the arts community there - meeting artists, visiting spaces, and engaging in thoughtful conversations.

The Kansas City Flatfile exhibition at H&R Block Artspace. The work on this wall was selected by Kelsey Karper.

 Our first stop was the H&R Block Artspace at the Kansas City Art Institute. Director and Chief Curator Raechell Smith invited us to each curate one wall of their annual Flatfile Exhibition. This was a great introduction to artists working in Kansas City, as there are around 200 artists represented in the flatfiles. It was exciting to see fresh work up close, then to later get to meet some of the artists during the weekend’s events.

The studio of Garry Noland, Studios, Inc

We were also thrilled to be invited to visit two artist’s studios at Studios Inc, a 51,000 square foot building in the Crossroads Arts District, which has been converted to studio space. The studios are offered free of charge to mid-career artists. It also offers a wood shop, exhibition space, professional development, and networking.

Julia Kirt and Garry Noland in his studio at Studios, Inc.

Our first studio visit was with Garry Noland. His large tapestry-like works are constructed primarily of multi-colored duct tape, though you probably wouldn’t realize it at first glance. The works are intricate and detailed, and other materials invariably make their way in – like texture from the studio floor or bits of National Geographic magazines.

The studio of Dylan Mortimer, Studios, Inc.

We also visited the studio of Dylan Mortimer, whose clever works may go unnoticed if you aren’t paying attention. His “Road Signs” series combines official-looking street signs installed in public places with commentary about religion in the public realm. Though, his more recent works are little more difficult to miss, as they have become Las Vegas-style marquees, complete with glitter and lights.

"Float" by Jarrett Mellenbruch, a public art installation for Avenue of the Arts. Background: Kauffman Center for the Performing Arts.

Here are some of the other destinations we visited in Kansas City:

Nerman Museum of Contemporary Art

Paragraph + Project Space (Charlotte Street Foundation)

Dolphin Gallery

Bill Brady Gallery

Belger Arts Center + Red Star Studios

Nelson-Atkins Museum of Art

Kemper Museum of Contemporary Art

Plug Projects

Avenue of the Arts

Kauffman Center for the Performing Arts

Watch for more about our trip in an upcoming post from Julia.

KCMO Art Community: Enthusiastic and Candid

Cory Imig, Kelsey Karper, Blair Schulman, & Julia Kirt
(OK Art Writing Fellows with OVAC staffers) at Plug Projects

OVAC Associate Director Kelsey Karper & I have just returned from a jam-packed weekend in Kansas City, MO viewing art, visiting galleries and museums, chatting with artists and building on regional partnerships.  

We will post about specific spaces and conversations soon. Meanwhile, I wanted to reflect on some of the primary qualities that made the KCMO arts community so striking.

First of all, the arts community rolls out the welcome. Everyone we met, whether planned or spontaneously, received us with enthusiasm and curiosity. From individual artists to commercial gallerists, they were excited to discuss their art activities and inquire about ours (along with a reasonable amount of OKC Thunder talk).

KC artists work as part of the 2012 Kansas City Flatfile at H & R Block Artspace

Artists and other arts leaders express a pride in the city and the community’s art while simultaneously addressing the gaps and areas for improvement in their arts ecology candidly. This combination of acknowledging the strides already taken, while refusing to remain comfortably in the present, is exciting and healthy.

I was especially inspired by their openness about aspirations for the community and for artists in their community.

Thanks for having us Kansas City!  More later…

OVAC's Other Blog

Dear Reader,

This is to make sure you know the Oklahoma Visual Arts Coalition has another blog we encourage you to follow.

The Oklahoma Art Writing & Curatorial Fellowship gives insight into the art world, looking at the intellectual infrastructure and practical aspects of exhibitions, art publications, and scholarship about artists. The public presentations and blog are especially relevant if you want to be more informed about things like how and why artists find critical success, how contemporary art is seen and distributed, and the professional dialogues in the field.

The blog covers profiles, essays and public panel discussions from the the yearlong program. Through the program, each of the twelve Fellows will produce art writing and exhibition projects in mentorship with art world luminaries, and you can read some of their writings on the blog. The Oklahoma Visual Arts Coalition presents the program in partnership with the University of Oklahoma School of Art & Art History and the Oklahoma City Museum of Art. For more background on the program, visit http://www.write-curate-art.org

So, please keep reading here and check out http://write-curate-art.blogspot.com for different topics in art.

Thank you!

Best,
Julia Kirt,
OVAC Executive Director


Cartoon by Sue Clancy, Norman for Art Focus Oklahoma Magazine

Artist and Writer: John Brandenburg

One of Oklahoma’s longtime artists is also one of art’s finest ambassadors. John Brandenburg, a Norman artist known for his use of vivid color and organic forms, has been writing reviews for art exhibitions, artists and galleries around the state for nearly 30 years.

A quick search on the Daily Oklahoman’s website yields nearly 2,500 articles written by John over the past quarter century, a clear majority of those focusing on art.

John’s impact on the state arts is evident. It is obviously appreciated as well.

“John Brandenburg’s contribution to the arts community is invaluable,” said Suzanne Tate, executive director of the Oklahoma Arts Council. “As a leading voice of art critique in the state, his writings have offered an objective perspective to artists as a catalyst for artistic growth. As a practicing visual artist, he understands the process of creation and his reviews have also inspired curators by recognizing how the Capitol Galleries and other exhibit venues strive to promote Oklahoma artists.”

Each week, Daily Oklahoman readers can expect thoughtful reviews by John in Sunday’s Life section. But what they may not understand is the amount of time and attention he devotes to each article. At the Fred Jones Jr. Museum of Art, for example, a rolling chair awaits John’s arrival at each visit. John is known for spending hours studying individual works in exhibitions while scribbling notes and scooting across the room at his own pace.

It is his consistent attention to detail that enables readers to experience the wonderful and insightful imagery John’s passionate writing evokes. John uses language to repaint mental images for readers in order to help them understand the underlying depth of each exhibition and selected works.

With any fortune, Oklahoma readers and art enthusiasts will continue enjoying John Brandenburg’s works, both on canvas and in newspaper ink, for a long time to come. Oklahoma is a better place because of both.

Guest Blogger: Michael Bendure
Director of Communication, Fred Jones Jr. Museum of Art
University of Oklahoma

The Oklahoma Visual Arts Coalition launches the Oklahoma Art Writing & Curatorial Fellowship with a public panel February 20, 1-3 pm at the Fred Jones, Jr. Museum of Art. In honor of the importance of arts writing to artists in our state and the community, we will highlight active arts writers in Oklahoma throughout the year.

Image: Janet Massad, John Brandenburg, & Annalisa Campbell enjoy the 12x12 Art Sale and Event.

Frequently Asked Questions: Oklahoma Art Writing & Curatorial Fellowship Application

Below are some common questions about the Oklahoma Art Writing & Curatorial Fellowship. As more questions arise, we will update them here. If you have questions, please ask! The full call for applicants is online here. Deadline for applications is September 23 at 5 pm.

Who participated in the Fellowship previously?
The 2010 Fellows included curators, educators, writers and artists from the region. Read about the 2010 Fellows here.  The 2012 Fellowship will be the second installment of the program.

Am I too old/too young/too experienced/too inexperienced for this program?
This program is not geared towards a certain age. We want this program to deepen the pool of capable, inspired curators and writers working on ambitious projects that include Oklahoma artists. If you want to write about or curate living artists’ work and have some experience engaging critically with their work, you are our prospective participants.

OVAC wants the participants to have varied experience levels. Although some background showing you have a passion in this field and ability to write critically is required, the program is open to people with varying levels of experience.

Since masters and PhD students are eligible and you are working with a university, is the program focused on student participants?
No. The program is open to student applicants who are ambitious and prepared to engage with the field professionally. The program is focused on professionals working in or wanting to work more in the field, willing to dedicate themselves to study, practice, feedback, and the network of peers.

Can I participate if a work for an institution, the government, myself or if I don't work in the arts?
Yes. Employees of institutions including but not limited to museums and universities, are eligible. Due to the focused nature of this program, employees of partnering organizations are also eligible.

Why can participants only be within 350 miles from Oklahoma City?
OVAC wants writers and curators from the region to have an opportunity to connect. Also, OVAC seeks to better connect Oklahoma artists, curators and writers to the community beyond our state lines. 350 miles is a proximity that makes an easy drive. All Oklahoma residents are eligible. See map of distance here.

What does the curriculum include?
Shannon Fitzgerald, lead mentor, has designed the curriculum to help give an overview of the field with points of entry for visiting mentors. The curriculum is designed to introduce theoretical concepts to those that may not have a background in art theory and practical professional knowledge to those who may not have on-the-job art writing/curatorial experience.

Workshop days will cover:
-Looking at contemporary art (orientation)
-Writing about art in museums and academia (also public panel)
-What does a curator do? (also public panel)
-Criticism, critique and publishing (also public panel)

Fellows will participate in dialogue with their colleagues and the mentors throughout.

What type of work samples should I submit?
You may submit work samples that demonstrate your conceptual grounding and writing ability. Samples could include essays, articles, reviews and more.  Samples may be published or unpublished. 

I don’t want to apply, but am curious about these topics. Will there be a way to participate other than as a Fellow?
Yes! Public panels by the visiting mentors will take place during three of the program days in 2012. You will be welcome to attend these free events. Also, OVAC will document the program, offering information, writing and resources on the program blog throughout.

Other Resources:
“What is a Curator?” article, Art Focus Oklahoma, May/June 2009, page 24
http://www.ovac-ok.org/ArtFocus/Archive/PastIssues/ArtFocus-MayJun09.pdf

Curating from museum perspective: http://www.nyfa.org/archive_detail_q.asp?type=6&qid=42&fid=6&year=2001&s=Spring
















Academic studies about curatorial practice & art criticism with descriptions of the field:
Bard Center for Curatorial Studies
California College of the Arts who also produce symposia and publishes texts that are downloadable
Graduate School in Art Criticism